Portuguese Early Music Database (PEM)
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P-AR (Arouca) Museu Regional de Arte Sacra do Mosteiro de Arouca Res. Ms. 032
Shelf-mark:
Res. Ms. 032
Siglum:
P-AR Res. Ms. 032
Subcategory of book:
Polyphonic choirbook
Category:
polyphony
Completeness:
complete or nearly complete
Document type:
manuscript
Main place of use:
Monastery of Santa Maria - Arouca
Provenance:
Monastery of Santa Maria - Arouca
Date:
c. 1610-20
Cursus:
Monastic
Tradition:
Cistercian
Contents:
9 Alleluias, 2 Antiphons, 4 Benedicamus Domino, 8 Canticles, 3 Hymns, 1 Litany, 3 Masses, 1 Planctus, 6 Psalms, 1 Preces, 3 Versicles (= 41)
Material:
paper
Condition of document:
Some folios show signs of exposure to humidity (guard leaf and ff. 1v-16r); torn folios (guard-leaf and folio 1r); ink corrosion in the second half of the book (especially between ff. 62v-87v)
Bindings:
Covers of light brown skiver
Foliation/Pagination:
i+103+i. The number sequence is complete, although there are signs of torn folios in the two final gatherings
Gathering structure:
14 gatherings a8 (ff.1r - 8v); b8 (ff. 9r-16v); c8 (ff. 17r-24v); d8 (ff. 25r-32v); e8 (ff. 33r-40v); f8 (ff. 41r-48v); g6 (ff. 49r-54v); h6 (ff. 55r – 60v); i8 (ff. 61r-68v); j8 (ff. 69r-76v); k6 (ff. 77r-82v); l8 (-1) (ff. 83r-89v); m8 (-1) (ff. 90r-96v); n8(-1) (ff. 97r- 103r)
Watermarks:
4: Trefoil/ellipse/bifoil [guard-leaf]~Gravell SPH.007.01, Heawood 3839, 3840, Melo nº 114; Fleur-de-lis/crown [f. 4r]~ 1627, 1629; “Pilgrim”~ P-Cug MM 8, MM 26, P-Ln L.C. 57 (Rees: 1995: 387, 396, 437) [f. 68r]; trefoil/ellipse/bifoil/letters [added bifolium]~Heawood 3809, Melo nº117
Page layout:
Choirbook format; 358 X 245mm
Type of script:
Humanistic
Type of notation:
Mensural (white)
Decoration:
No illuminations; Initials with simple decorative designs
Inscriptions and marks:
Latin voice names in some of the items until folio 60r.
ff. 2v-3r: “este mesmo verso se segue singello”; f. 3r: “seis dedos”; f. 5r: “hum dedo”; f. 12v: “Seguesse outro a cinquo”; f.13r: “outro a cinquo"; f. 15r “Hymnus”; f. 16r: “Hymnus” f. 16v-: “Hymnus”; f. 17v: “Tonus69”; f. 18f: “Tonus sextus”; f. 20r: “Altus tacet”; f. 24r: “primus tonus”; f. 25v: “tenor tacet”; f. 30r: “seis dedos no baixão”; f. 35r: “a 4”; f. 45v: “Sobre O gram senhora”; f. 60r: “mea mão no baixão”; ff. 70v e 71 r: “a seis”; ff. 72v- 73r: “a 4”; f. 73r: “primeiro falsete”; f. 87v: “este verso he deste magnificat atras”; f. 92v (ad.) “Bns das trevas”; f. 92v (ad.) “o?? Donde acaba o verso”; 93r: “por este verso se digam todosos mais do Bns acrescentando ou diminuindo mais ou menos pontos conforme o pedir a letra"; f. 93r: “na primeira contra baxa quinto trasto”; f. 92v-93r (ad.): “Ladainha pª sabbado mayor de Pascua; f.97r: “primeira corda segundo trasto”; f. 100v: “sup. ig. :A 4”; f.101r: “tempera por lamire; tange por ffau[t]”
Remarks:
The book is clearly divided in two parts: the first, carefully written and with a concern for clarity and coherence of contents, always by the same scribe; the second clearly with much less concern with visual presentation and handwriting; it is possible to find three more hands, different from the one in the first section: one ff. 61v to 80r and 98v-103; a second one ff. 81v-87r and a third one ff. 87v-98r. Fols. 75v-76r consist of four part-book format folios for each of four voice parts pasted onto the existing folios. These are richly decorated: initials in red with elaborate filigree designs; drawings of several motifs of Nature are drawn in the heading of each voice (flowers in the superius primus and tenor, a bird in the altus)
References:
D’ALVARENGA, João Pedro, “Manuscripts Oporto, Biblioteca Pública Municipal, MM 40 and MM 76-79: Their Origin, Date, Repertories and Context” in KNIGHTON, Tess & Bernadette NELSON (eds.), Pure Gold: Golden Age Sacred Music in the Iberian World: A Homage to Bruno Turner (De Musica, 15), Kassel, Edition Reichenberger, 2011, pp. 43-58
FERREIRA, Manuel Pedro, & Mara FORTU, “A música antiga nos manuscritos de Arouca: contribuição para um catálogo” in MELO, Ângela (coord.), O órgão do Mosteiro de Arouca: conservação e restauro do património musical, Vila Real - Arouca, Direcção Geral de Cultura do Norte, 2009, pp. 40-5
FERREIRA, Manuel Pedro, Antologia de Música em Portugal na Idade Média e no Renasci-mento, (2 vols.) Lisboa, Arte das Musas, 2008
FREITAS, Frederico de, “Os livros de Música do Museu de Arouca”, Novidades, 26 de Setembro, 1948 (suplemento Letras e Artes)
NELSON, Bernadette, 'Morales's Magnificats in Portugal and Some Anonymous Settings in Portuguese Sources: Questions of Style and Authorship, Revista Portuguesa de Musicologia n.s. 2/2, 2015, pp. 193-214
RIBEIRO, Mário Sampayo de, Sete «Alleluias», Inéditos (dum códice do Mosteiro de Arou-ca) apresentados por Mário de Sampayo Ribeiro, transcritos e interpretados por D. Mauro M. Fábregas, O.S.B., Porto, Ora & Labora, 1949-50
STEVENSON, Robert, “Some Portuguese Sources for Early Brazilian Music History”, Yearbook of the Inter-American Institute for Musical Research, IV, 1968, pp. 1-43
STEVENSON, Robert, Latin American Colonial Music Anthology, Washington, General Secretariat, Organization of American States, 1975
Submitted by Ana Delfina Carvalho — Wed, 2011-11-16 22:59
