Trium vocum carmina.

Nuremberg: Hieronymus Formschneider, 1538, vdm: 41

Title page:

❧ TENOR ☙ || TRIVM VOCVM CARMINA || A DIVERSIS MVSICIS COMPOSITA.|| Cum priuilegio Caesareæ atq𝔷 Regiæ maies: ad sexennium.||

[other partbooks:]
DISCAN⸗ || ❧ TVS ☙ || [woodcut decoration]
❧ BASSVS ☙ || [woodcut decoration]


Impressum Nürenberge per Hieronymum || Formschneyder.|| 1538.||

Editor: [Wilhelm Breitengraser]
Hieronymus Formschneider
Publisher: [Wilhelm Breitengraser]
Place of printing:


Further information on dating: from colophon
Type of source:

Polyphonic music book

Catalogue references:
RISM B/1 1538/9
VD16 T 2011
Boeker-Heil 21
Further details:

A collection of 100 tricinia, the first ever printed. All compositions are without text, title or composer’s name. The tenor partbooks in Berlin and Jena have some attributions and text inserted by hand. Gustavson 1998, 163–164, argues that Wilhelm Breitengraser probably lay behind this collection.


Cum privilegio Caesareae atque Regiae maiestatis ad sexennium (title page).


Tenor, Aa2r: preface from the editor/publisher (Wilhelm Breitengraser?): “CANDIDIS MVSICIS SALVTEM. EN damus vobis magno numero …”.



4º oblong
Printed area: 148 x 100 mm
Number of leaves:
Collation: Discantus: A–N4. Tenor: Aa–Nn4. Bassus: O–Z4, a–c4.
Original foliation:

None, but the pieces are number 1–100

Autopsy copy:

D-Ju 4 Mus.6a(2); 4 Mus.6c(2); 4 Mus.6d(2).

Online facsimile:

D-Ju (Bassus), D-Ju (Discantus), D-Ju (Tenor)

D-Ju 4 Mus.6c(2), Aa1r

D-Ju 4 Mus.6c(2), Nn3v
Technique for printing music:

single impression

Single impression music font:


Text font:

Antiqua (Roman), Fraktur

Musical layout:


Mensural notation

Number of staff lines:
Number of voices:

full-length staff 147.5 x 10.5 mm; minim height: 9 mm


motet, German Lied setting (Tenorlied), polyphonic song, mass ordinary


One hundred pieces without text and author, including eighteen German Lieder, arranged by mode. The Tenor partbook of the copy in D-Ju gives many incipits and ascriptions to Ludwig Senfl, Henricus Isaac, Antoine Brumel, Hayne [van Ghizeghem], Josquin des Prez, Jacob Obrecht, Loÿset Compère, Heinrich Finck, Alexander Agricola, Jacobus Barbireau, Hans Buchner, Johannes Ghiselin, Sixt Dietrich, Nicolaus Craen, Arnold von Bruck, Johannes Prioris, Samson. The ascription to Ockeghem related to Eitner is from a later hand.


D-Bhm, *D-Ju

Copies in historical catalogues:

A copy of this edition was in the Palace library of Duke Albrecht of Prussia (1540-48, see Tondel, Müller-Blattau) and in the 1548 Bibliography by Gesner (see Bernstein).

Secondary literature:

Holzmann, Klaus. “Hieronymus Formschneyders Sammeldruck Trium Vocum Carmina.” Unpublished diss., Albert-Ludwigs-Universität Freiburg im Breisgau, 1956
Gustavson, Royston. “Hans Ott, Hieronymus Formschneider and the Novum et insigne opus musicum (Nuremberg, 1537-1538).” PhD diss., University of Melbourne, 1998 (158)
Judd, Cristle Collins. Reading Renaissance Music Theory. Hearing with the Eyes. Cambridge: Cambridge University Press, 2000 (103)
Tondel, Janusz. Eruditio et Prudentia. Die Schlossbibliothek Herzog Albrechts von Preußen. Bestandskatalog 1540-1548. Wolfenbütteler Schriften zur Geschichte des Buchwesens 30. Wiesbaden: Harrassowitz, 1998 (p. 134, Nr 467)
Josef Müller-Blattau. "Die musikalischen Schätze der Staats- und Universitätsbibliothek zu Königsberg i. Pr." ZfMw 6 (1924). p. 215-237. (220)
Bernstein, Lawrence F. “The Bibliography of Music in Conrad Gesner's Pandectae (1548).” Acta Musicologica 45 (1973): 119-163 (no. 227)
Eitner, Robert. Bibliographie der Musik-Sammelwerke des XVI. und XVII. Jahrhunderts. Zusammen mit Franz Xaver Haberl, Dr. Anders Lagerberg und Carl Ferdinand Pohl bearbeitet und herausgegeben. Berlin: Leo Lipmannssohn, 1877 (p. 44)

D-Ju 4 Mus.6c(2), Aa2v

D-Ju 4 Mus.6c(2), Aa3r
D-Bhm (Berlin, Universität der Künste, Universitätsbibliothek)
Partbooks present:

D, T, B



D-Ju (Jena, Thüringer Universitäts- und Landesbibliothek)
Shelfmark: 4 Mus.6a(2); 4 Mus.6c(2); 4 Mus.6d(2)
Partbooks present:

D, T, B

Description of binding: Restored by Hans Heiland in 1955. Full leather binding with the names of the voice parts stamped on the covers. Around the border are stamped various allegorical figures (Iusticia, Occasio, Prudencia) and the date 1526. The leather of each volume is a different colour: white pigskin for the Discantus, mid-brown for the inner voices, dark brown for the Bassus. An old paper label with the letter F is stuck on the front cover of the Discantus book. The Tenor partbook has a hand-written index of pieces bound in before and after the first item, but like the first few leaves in the volume, it is badly damaged. Before the second item is bound in a list of the tricinia, with Incipits and composers named. The bookplate of Johann Friedrich I of Saxony is stuck in the back of the Tenor book. A largely illegible label from the Tenor book is bound in the back of the Tenor book; the only legible words are “Officia paschalia”.
Content of composite volume:

1. Secundus tomus novi operis musici. Nuremberg: Hieronymus Formschneider, 1538, vdm: 37
2. Trium vocum carmina. Nuremberg: Hieronymus Formschneider, 1538, vdm: 41
3. Modulationes aliquot quatuor vocum selectissimae. Nuremberg: Johann Petreius, 1538, vdm 39
4. Missae tredecim quatuor vocum. Nuremberg: Hieronymus Formschneider, 1539, vdm: 43
5. Officia paschalia de resurrectione et ascensione domini. Wittenberg: Georg Rhau, 1539, vdm: 46

Bound with copies from vdm:

Secundus tomus novi operis musici [Formschneider 1538] - D-Ju
Modulationes aliquot quatuor vocum selectissimae [Petreius 1538] - D-Ju
Missae tredecim quatuor vocum [Formschneider 1539] - D-Ju
Officia paschalia de resurrectione et ascensione domini [Rhau 1539] - D-Ju

Manuscript additions or corrections:

Author attributions in the Tenor partbook: 1. LS, 3. H. Isac, 4. Anton. Brumel, 7. Hayne, 10. Joskin, 12. Jacobus Obrecht, 16. Joskin, 18. L. Compere, 22. H. Finck, 23. H. Isaac, 26. Agricola, 27. Alexander agricol, 28. Jacob barbiraun, 29. H. Isac, 30. H. Isac, 31. Joskin, 38. Johan Buchner, 43. Joh. Ghiselin, 55. Ant. Brumel, 56. Xythus Dietrich, 64. Jo. Ghiselin, 65. Nicolaus Caen, 67. LS, 71. Arnoldus brugensis, 72. Prioris, 84. Agricola, 86. Okeghem [Eitner S. 7?58] (modern hand), 88. H. Isac, 98. Samson, 99. Alexander Agricola; some incipits and some text underlay.


Bookplate from the library of Johann Friedrich I of Saxony (cf. Wiedeburg 1754).

Secondary literature:

Wiedeburg, Basilius Christian Bernhard. Ausführliche Nachricht von einigen alten teutschen poetischen Manuscripten […]. Jena: Johann Adam Melchiors Witwe, 1754 (4-5)

Link to online scan:

D-Ju (Tenor); D-Ju (Discantus); D-Ju (Bassus)