Title page:

CANTIONES SELE⸗||CTISSIMÆ LXVIII. VOCVM || TRIVM▸|| TENOR▸||

[other partbook:]
[DISCANTVS] (title page of the single copy is missing)
[third partbook lost]

[Frankfurt am Main]

Only two partbooks (Discantus and Tenor) of three are extant. A manuscript copy of the lost Bassus is at D-HB X/2, nos. 1-31 (Gustavson, Egenolff Catalogue). Assigned to Egenolff by N. Bridgeman. This edition is not in RISM. Nr. 14-25 are taken from vdm 15 (Gustavson, Egenolff Catalogue).

Polyphonic music book

Italian; Latin; High German; French

Tenor: aa-kk8, Discantus: ll-vv8

Autopsy copy:

F-Pn RES VM7-504/3

single impression

Egenolff

Measurements:

full-length staff: 76.0 x 8.0 mm; height of minim (max.): 7.5 mm

Schwabacher, Italic

Only text marks (D). Italic fonts are used for the Latin and Italien text marks, Schwabacher for the other languages. The stems of the minims are printed over two and a half interspaces. The breve measures 2.0 mm. The g-clef measures 3 mm. Triangular flags.

Sixty-eight songs, many in French, some in Flemish, Italian, German and Latin. Three pieces are without text. Ascriptions through concordances: Johannes Heugel, Heinrich Isaac, Ludwig Senfl, Jacob Tadinghen, Josquin des Prez, Loyset Compère, Alexander Agricola, Antoine Brumel, Jacob Obrecht, Hayne van Ghizeghem, Arnold Schlick, Erasmus Lapicida, Andreas Vogelsang, Girolamo Savanarola, Henselin von Cöln, Thelamonius Hungarus, Mathias Greitter, Nicolaus Craen, Thomas Sporer, Johannes Ghiselin, Jean Richafort, Johannes Ockeghem and Frantz Struyß.

K7r-K8r (end of the Tenor partbook): Register, in alphabetic order by text incipit.

Index of pieces with incipits in Bridgman.

Title page of the Tenor partbook: woodcuts of a crow or raven, and of a bird on a branch. The woodcuts on the title page appear to be from the same set as those in the February 1535 edition of the Gassenhawerlin (vdm 21).

Secondary literature:

Berz, Ernst-Ludwig. “Die Notendrucker und ihre Verleger in Frankfurt am Main von den Anfängen bis etwa 1630: eine bibliographische und drucktechnische Studie zur Musikpublikation.” In Catalogus musicus 5. Kassel: Internationale Vereinigung der Musikbibliotheken / Internationale Gesellschaft für Musikwissenschaft, 1970 (Nr. 8); Bridgman, Nanie. “Chrstian Egenolff, Imprimeur de musique (A propos de recueil res. Vm7 504 e la Bibl. nat. de Paris).” Annales Musicologiques 3 (1955): 77-178; Fallows, David. “The Songbooks of Christian Egenolff.” In NiveauNischeNimbus. Die Anfänge des Musikdrucks nördlich der Alpen, edited by Birgit Lodes, 355-368. Tutzing: Schneider, 2010: 347-354; Müller, Hans Christian. “Die Liederdrucke Christian Egenolffs.” Diss., Kiel, 1964 (for dating! ); Berz, Ernst-Ludwig. “Die Notendrucker und ihre Verleger in Frankfurt am Main von den Anfängen bis etwa 1630: eine bibliographische und drucktechnische Studie zur Musikpublikation.” In Catalogus musicus 5. Kassel: Internationale Vereinigung der Musikbibliotheken / Internationale Gesellschaft für Musikwissenschaft, 1970 (p. 148 # 8); Gustavson, Royston. “Egenolff, Christoph.” In Musik in Geschichte und Gegenwart, edited by Ludwig Finscher, Personenteil 6: 98-103; Staehelin, Martin. "Petruccis Canti B in deutschen Musikdrucken des 16. Jahrhunderts." In Gestalt und Entstehung musikalischer Quellen im 15. und 16. Jahrhundert, edited by Martin Staehelin, 125-131. Wolfenbütteler Forschungen 83, Quellenstudien zur Renaissance III. Wiesbaden: Harrassowitz, 1998. (126-129); Gustavson, Royston. "The Music Editions of Christian Egenolff. A New Catalogue and its Implications." In Early Music Printing in German-Speaking Lands, edited by Andrea Lindmayr-Brandl, Elisabeth Giselbrecht, and Grantley McDonald, 153-195. London & New York: Routledge, 2018.