D-Rtt F.K. Mus. 48.II

D-Rtt F.K. Mus. 48.II

Regensburg, Fürst Thurn und Taxis Hofbibliothek, F.K. Mus. 48 Abth. II Choirbook of liturgical music.

Provenance: Copied for Neresheim Abbey, 1570 (date stamped on cover).

Published inventory and study: Barbara Eichner, "Getting Proper-ly Started: Isaac's Choralis Constantinus and the Introduction of Polyphonic Mass Propers in South-German Monasteries," in Heinrich Isaac and Polyphony for the Proper of the Mass in the Late Middle Ages and Renaissance, ed. David J. Burn and Stefan Gasch (Turnhout [Belgium], 2011), pp. 269-95.

No DIAMM entry.

Source of pieces in Choralis Constantinus II:

Copied from a source based on the printer's exemplar. That source was the same as the exemplar for D-As Tonkunst Schletterer 7 and 23. It was probably at the monastery of SS. Ulrich and Afra in Augsburg before the appearance of the Choralis print.

Choralis Constantinus II contents:

• Mass 1
  • Introit-Puer natus est (fol. t1v)
  • Alleluia-Dies sanctificatus (fol. t6v)
  • Sequence-Natus ante saecula (fol. u4v)
  • Communion-Viderunt omnes (fol. x6v)
• Mass 2
  • Sequence-Laetabundus (fol. dd3v) - for Purification
• Mass 3
  • Introit-Ecce advenit (fol. 27v)
  • Alleluia-Vidimus stellam (fol. aa4v)
  • Communion-Vidimus stellam (fol. 38v)
• Mass 4
  • Introit-Suscepimus Deus (fol. bb5v)
  • Alleluia-Post partum virgo (fol. cc5v)
  • Communion-Responsum accepit Simeon (fol. ee8v)
• Mass 5
  • Introit-Rorate coeli (fol. iiv)
  • Tract-Ave Maria (beginning with verse 3) (fol. ii7v)
  • Communion-Ecce virgo concipiet (fol. ll2v)
• Mass 6
  • Introit-Resurrexi (fol. a4v)
  • Gradual-Haec dies (fol. b5v)
  • Communion-Pascha nostrum (fol. c6v)
• Mass 7
  • Introit-Viri Galilei (fol. d2v)
  • Alleluia-Dominus in Sina (fol. e1v)
  • Sequence-Summi triumphium (fol. e6v)
  • Communion-Psallite Domino (fol. g4v)
• Mass 8
  • Introit-Spiritus Domini (fol. g7v)
  • Alleluia-Veni Sancte Spiritus (fol. h5v)
  • Sequence-Sancti Spiritus adsit nobis gratia (fol. i2v)
  • Communion-Factus est repente (fol. i8v)
• Mass 9
  • Introit-Cibavit eos (fol. q3v)
  • Alleluia-Caro mea (fol. q7v)
  • Sequence-Lauda Sion (fol. r5v)
  • Communion-Qui manducat (fol. u8v)
• Mass 13
  • Introit-Gaudeamus omnes (fol. x3v)
  • Alleluia-Magnificat (fol. y1v)
  • Sequence-Lauda sponsa (fol. y7v)
  • Communion-Beata viscera (fol. b8v)
• Mass 14
  • Communion-Dico vobis (fol. g3v) - for St. Afra
• Mass 15
  • Introit-Gaudeamus omnes (fol. g6v)
  • Alleluia-Assumpta est Maria (fol. h4v)
  • Sequence-Congaudent angelorum chori (fol. i1v)
  • Communion-Dilexisti iustitiam (fol. l2v)
• Mass 18
  • Introit-Gaudeamus omnes (fol. n4v)
  • Alleluia-Nativitas (fol. o3v)
  • Communion-Diffusa est gratia (fol. p2v)
• Mass 19
  • Introit-Terribilis est (fol. l5v)
  • Alleluia-Vox exultationis (fol. m3v)
  • Communion-Domus mea (fol. m8v)
• Mass 21
  • Introit-Gaudeamus omnes (fol. p6v)
  • Communion-Amen dico vobis (fol. q4v)
• Mass 23
  • Introit-Gaudeamus omnes (fol. q8v)
  • Alleluia-Felix virgo (fol. r5v)
  • Communion-Beata viscera (fol. s3v)
• Mass 25
  • Communion-Diffusa est gratia (fol. s6v)

Character of variants in Choralis Constantinus II pieces:

Where the end of a phrase has an accent on the antepenultumate syllable of a phrase and the Choralis print has a semibreve penultimate note, the manuscript usually has two minims in one or two voices. D-As Tonkunst Schletterer 7 and 23 usually have a dotted minim and semiminim in the corresponding places.