Medieval Manuscripts in Cambridge Libraries

A catalogue of Western manuscripts and papyri at Cambridge University Library, the Fitzwilliam Museum and selected Cambridge colleges

Cambridge, University Library, MS Ff.1.17(1)

Informal music book ('The Later Cambridge Songs')

Contents

Introduction: The manuscript Cambridge, University Library, Ff.1.17(1), dated 1180-c.1230, here called 'The Later Cambridge Songs', was for centuries hidden away and unregarded as part of the binding of a much larger manuscript of slightly later date. The thirty-five songs were copied onto parchment of the poorest quality. The four bifolia were already holed, torn, and creased; some of the holes were re-sewn before use. Over the centuries, with the rebinding of the main manuscript, the flyleaves have been further damaged by glue, hot water, and misplaced binding folds. Age and damp have also taken their toll. The resulting object is physically unhandsome, and in some places untranscribable. Despite such serious blemishes—or, paradoxically, because of them—this manuscript booklet is of quite exceptional interest. It is a rare survivor of a general species of manuscript which must in its time have been numerous—the informal. Unlike the huge majority of surviving manuscripts from this early period, it was evidently not intended to last. It contains nothing other than the songs, which are untitled, unattributed, and unrubricated. So mean an object could not conceivably have been dedicated or presented to anyone; and it would not have deserved a place in any library. An informal music book of this kind is rare indeed, and in early medieval Britain unique. British provenance has sometimes been questioned. However, the only positive manuscript evidence points to England. It must have been there at the time of binding, probably in the area of Leicester in the East Midlands. A Latin inscription naming 'Frater Roger of Schepiswed' as the donor of the first item of the theological main manuscript (a well-known Summa de vitiis et virtutibus) appears in the musical flyleaves, and, shortened, also in the main manuscript itself. Shepshed is a village just west of Loughborough. The main manuscript, now Ff.1.17(2), 292 folios, was acquired from the library of Richard Holdsworth, Master of Emmanuel College, in 1664. At that time MS Ff.1.17(1) had been bound with it for about four centuries as guard-leaves. The two manuscripts came together in the later thirteenth century. The four bifolia which the binder took off his scrap pile would by then have outlived their usefulness, and their music could have been outmoded. The miracle is that he used them entire, wrapping them round the 'new' manuscript without mutilation, except for minimal clipping. The unhandsomeness of the song booklet, it must be stressed, was there from the beginning, not only in the materials chosen but in the style of presentation. All the texts were intended for music; the ten which are not notated have either blank staves or blank spaces of the appropriate size. The songs were assembled, it appears, by a small group of scribes, working often in considerable haste with scant regard for design, execution, or even consistent legibility. They were not amateurs, but fluent trained scribes, accustomed to copying texts and notating complicated music. (The notation is fluid and cursive, transitional between neumatic and square.) However, on this occasion their standards were low, and a great deal of their work is casual and freehand. It seems likely that they were also the performers. This apparently self-contained song booklet of sixteen pages transmits thirty-five songs on secular and sacred subjects. The texts are entirely in Latin with the exception of nos. 27 and 31, which introduce phrases in Anglo-Norman. Songs 1-22 are monophonic (twelve unique to the MS); songs 23-35 are polyphonic for two voices (nine unique), with the exception of song 28, for three. The forms are varied and include conducti, strophic cantiones, and sequences; refrain-songs are frequent amongst them. The range of general literary themes is wide; and although the collection is emphatically not liturgical in the narrow sense, the great feasts of the Christmas season, from Advent to Candlemas, are much in evidence. The authors, at least of the texts, whose identities can be deduced from concordances, include Walter of Châtillon, Peter of Blois, and Philip the Chancellor. John Stevens† |from the Introduction to The Later Cambridge Songs: An English song collection of the twelfth century (Oxford: Oxford University Press, 2005). Reproduced by permission of Oxford University Press.
1. 1r
Gratulemur dies est leticie
Language(s): Latin
Incipit: 1r Gratulemur dies est leticie. Resurexit verus pastor hodie

This piece is unique.

2. 1r
Eterni patris filius
Language(s): Latin
Incipit: 1r Eterni patri filius nostrum videns interitum

Blank staves

This piece is unique.

3. 1r-1v
Resonet intonet fidelis concio
Language(s): Latin
Incipit: 1r Resonet intonet fidelis concio mentibus vocibus solenpni gaudio

Blank staves

Thie piece is widely known and survives in at least four other manuscripts:

  • Madrid, Biblioteca Nacional, MS 289, fol. 99v
  • Naples, Biblioteca Nazionale Vittorio Emanuele III, MS VI G 34, fol. 39v
  • Vatican City, Biblioteca Apostolica Vaticana, MS Barb. lat. 603, fol. 3r-v
  • Colmar, Bibliothèque de la ville, MS 187, fol. 45v

4. 1v
Sol ex supernis oritur
Language(s): Latin
Incipit: 1v Sol ex supernis oritur cuius ortu mors moritur

Blank staves

This piece is unique.

5. 1v
Hec est dies salutaris
Language(s): Latin
Incipit: 1v Hec est [dies] salutaris in qua nobis stella maris

Blank staves

This piece is known from two other manuscripts:

  • Munich, Bayerische Staatsbibliothek, MS clm 14834, fol. 26r
  • Prague, University Library, MS VIII.G.16, fols 179v-180r

6. 1v
Tronus regis instauratur
Language(s): Latin
Incipit: 1v Tronus regis instauratur hodie puella

The first stanza and refrain only of perhaps a longer song on the Annunciation.

This piece is known from one other manuscript, Berlin, Staatsbibliothek, MS Phillipps 1996, where it has five stanzas and is found among a collection of Latin verses inserted into the works of Bernard of Clairvaux.

7. 2r
Adulari nesciens
Language(s): Latin
Incipit: 2r Adulari nesciens ab amicis deseror

This piece is known from three other manuscripts:

8. 2r
Argumenta faluntur fisice
Language(s): Latin
Incipit: 2r Argumenta faluntur fisice, ruunt leges Aristotilice

This piece is unique.

9. 2r-2v
Vacillantis trutine libramine
Language(s): Latin
Incipit: 2r Vacillantis trutine libramine mens suspensa fluctuat

Versions of this song survive in two other manuscripts:

10. 2v
Diastematica vocis armonia
Language(s): Latin
Incipit: 2v Diastematica vocis armonia festa pascalia celebrentur

This piece is unique.

11. 2v-3r
Ecce torpet probitas
Language(s): Latin
Incipit: 2v-3r [E]cce torpet probitas virtus sepelitur

This song is attributed by Karl Strecker to Walter of Châtillon (active 1170-1180) .

Of the four other sources containing this poem, one is now lost. The others (all without music) are:

12. 3r-3v
Partu prodit arida
Language(s): Latin
Incipit: 3r Partu prodit arida hyeme latente que concepit gravida gremio tumente

Blank staves

This piece is unique.

13. 3v-4r
In hoc ortus occidente
Language(s): Latin
Incipit: 3v In hoc ortus occidente sol emergens de torrente tenebras illuminat

This piece is also found with the same music in two other manuscripts:

  • Florence, Biblioteca Mediceo-Laurenziana, MS Plut. 29, 1
  • Burgos, Monasterio de Santa Maria la Real de Las Huelgas, MS IX, fol. 167r-v
and without music in another two:

14. 4r
Licet eger cum egrotis
Language(s): Latin
Incipit: 4r [L]icet eger cum egrotis et ignotus cum ignotis

Without music.

This piece is found in Munich, Bayerische Staatsbibliothek, MS clm 4660, fol. 45r-v and at least eight other manuscripts.

15. 4r-4v
Dissoluta glatie
Language(s): Latin
Incipit: 4r [D]issoluta glatie gelu temperato temporis primicie vere renovato

Blank staves

This piece is unique.

16. 4v
Mitis furor
Language(s): Latin
Incipit: 4v Mitis furor amor est cuius dulcis dolor est

Blank staves

This piece is unique.

17. 4v
Magno gaudens gaudio
Language(s): Latin
Incipit: 4v [M]agno gaudens gaudio nostra puericia sallat cum tripudio propter hec natalia

Song for the Feast of the Holy Innocents (28 December).

This piece is unique.

18. 4v
Virgo mater salvatoris
Language(s): Latin
Incipit: 4v Virgo mater salvatoris legem sequens hodie fert ad templum Dei verbum sub humana specie

Song for the Feast of the Purification (2 February).

This piece is unique.

19. 5r
Olim sudor Herculis
Language(s): Latin
Incipit: 5r Olim sudor Herculis monstra late conterens pestes orbis auferens claris longe titulis enituit

Attributed elsewhere to Peter of Blois (approximately 1135-approximately 1212) .

This piece is unique.

20. 5v
Salve festa dies
Language(s): Latin
Incipit: 5v [S]alve festa dies danda gaudio adest sancta sancti Thome passio

Song for the feast of St Thomas of Canterbury (29 December).

This piece is unique.

21. 5v
Rerum Deus conditor
Language(s): Latin
Incipit: 5v Rerum Deus conditor et mundane molis genitus et genitor carne nostre prolis

A Christmas song.

This piece is unique.

22. 5v
Pax in terris
Language(s): Latin
Incipit: 5v Pax in terris nuntiatur in excelsis gloria

A Christmas song which has been attributed to Walter of Châtillon (active 1170-1180) .

This piece is found in two other manuscripts:

23. 5v-6r
Cantu miro summa laude
Language(s): Latin
Incipit: 5v Cantu miro summa laude summo viro vir applaude quem confortat

Song for the feast of St Nicholas (6 December).

This piece is found in two other manuscripts:

24. 6v
Regis cuius potentia
Language(s): Latin
Incipit: 6v Regis cuius potentia manet per cuncta secula

Song for the feast of St Stephen (26 December).

This piece is unique.

25. 6v
Ad honorem salvatoris
Language(s): Latin
Incipit: 6v Ad honorem salvatoris huius festum confessoris recolit ecclesia

This piece is unique.

26. 6v
Benedicamus domino Spiritus almi gratia
Language(s): Latin
Incipit: 6v Benedicamus domino Spiritus almi gratia renovati spiritus almie illustrator

Trope

This piece is unique.

27. 7r
Exultemus et letemur
Language(s): Latin and Anglo-Norman
Incipit: 7r Exultemus et letemur Nicolaum veneremur

Song for the feast of St Nicholas (6 December), a conductus ad lectionem (piece to accompany a small procession escorting the reader of the lesson to the lectern).

The refrain is in Anglo-Norman.

This piece is unique.

28. 7r
Verbum patris umanatur
Language(s): Latin
Incipit: 7r Verbum patris umanatur, O O, dum puella saluttur, O O, salutata fecundatur viri nescia

Christmas song for three voices.

This piece is found in four other manuscripts, two with music:

and two without:

29. 7r
In natali novi regis
Language(s): Latin
Incipit: 7r In natali novi regis quisquis cantas sive legis omni gaude gaudio

Christmas song for two voices, a conductus ad lectionem (piece to accompany a small procession escorting the reader of the lesson to the lectern).

This piece is found in two other manuscripts:

  • Munich, Universitätsbibliothek, MS 156 (Moosburg gradual), fols 237v-238r (for 1 voice)
  • Graz, Universitätsbibliothek, MS 409, fol. 72r (without music)

30. 7r
Hoc in solemnio
Language(s): Latin
Incipit: 7r Hoc in solemnio sallat tripudio homo cum homine

A conductus ad lectionem (piece to accompany a small procession escorting the reader of the lesson to the lectern).

This piece is unique.

31. 7v-8r
Benedicamus Domino: Amborum sacrum spiramen
Language(s): Latin with Anglo-Norman
Incipit: 7v Benedicamus Domino. Amborum sacrum spiramen nexus amorque

This piece is unique.

32. 8r
Agnus Dei: Qui pius est factus
Language(s): Latin
Incipit: 8r Agnus Dei. Qui pius es factus prothoplasti sanet ut actus

This piece is unique.

33. 8r
Divino maduit
Language(s): Latin
Incipit: 8r Divino maduit area rore virgula fronduit indita flore

Song for the Annunciation.

This piece is unique.

34. 8v
Flos floriger candor mundicie
Language(s): Latin
Incipit: 8v Flos floriger candor mundicie semper clara lux altrix gratie

Song addressed to the Blessed Virgin Mary.

This piece is unique.

35. 8v
Ad cantus letitie
Language(s): Latin
Incipit: 8v Ad cantum letitie nos invitat hodie spes et amor patrie celestis

Christmas song which also honours St Michael.

There are ten other sources for this song; this is the earliest and others range in date from the thirteenth to the sixteenth century.

Physical Description

Form: codex
Support: Parchment
Extent: iv + 8 + v
Dimensions (leaf): 192-198 × 145-152 mm.
Foliation:

Two sets of modern pencil pagination and one set of foliation.

  • 1. Upper right corner: 2, 1, 5, 6, 7, 8, 4, 3.
  • 2. Lower right corner: 2, 1, 298, 297, 300, 299, 4, 3.
  • 3. Bottom right hand corner: a2, a1, b1, b2

Collation

The manuscript consist of a single quire of eight leaves which was originally used as part of the binding of another manuscript (CUL MS Ff.1.17(2)). The leaves were disordered with the two outer bifolia forming the front flyleaves and the two inner bifolia forming the back flyleaves of the composite manuscript.

Condition

The manuscript is in poor general condition: it has stains and water damage (especially on fol. 2), holes, marks of stitching, and creases as a result of the later binding (especially on fol. 5). The top edges of the pages have been trimmed, leading to some loss of text and notation.

Layout

The layout is irregular and inconsistent with a mixture of text and music staves on each page. Some of the staves are ruled free hand while others are drawn with a rastrum or ruler. There is little attempt at vertical alignment and texts often extend into the margins. The ruling is in red and/or various shades of brown ink.

Hand(s)

Gothic textualis

With regard to the text, Schumann (1943-50) commented that at first glance the manuscript appears to be written in a single hand; he goes on to identify as many as eleven hands at work. Stevens (2005:9-12) suggests that although there are numerous variations in ink, nib sharpness, size of script, and axis, there may be only ‘two main hands with brief intrusions from one or two others.’

With regard to the music hands, Stevens (2005:16-19) suggests that ‘this songbook was written by one main 'hand' (A) in varying 'manners', with substantial contributions from two or three other hands.’

Musical Notation: ‘The style of notation is transitional betwqeen neumatic and quadratic. It may be further characterised as 'cursive', 'itrregular', and 'informal'.’ (Stevens 2005:12).

Additions

Flyleaf iiir contains a concordance of the foliation and bibliographical entries in two modern hands.

Binding

Early 20th century buckram binding by J.P. Gray and Son, Cambridge. Previously used as guard leaves around CUL MS Ff.1.17(2).

History

Origin: 1180-c. 1230. ; England.

Provenance and Acquisition

At the foot of folio 7v is a donation inscription in a fourteenth-century hand refering to the main volume of which this is orginally a flyleaf (Ff.1.17(2)): ‘Summa de vitiis et vertutibus abbreviata ex dono fratris Rogeri de Schepiswed’. Shepshed is a village west of Loughborough in Leicestershire.

One of the manuscripts of Richard Holdsworth (1590-1649) , Master of Emmanuel College.

Acquired by the University Library in July 1664: no. 126 in the inventory of Holdsworth's manuscripts compiled by William Crowe (MS Ff.4.27 / Dd.8.45).

Additional Information

Record Sources

This catalogue entry draws on the description in the edition and facsimile of the manuscript by John Stevens.

Availability

Entry to read in the Library is permitted only on presentation of a valid reader's card. For information on eligibility and admissions procedures, see Joining the Library). For further enquiries, and to confirm the availability of the manuscript, please contact the Special Collections Reading Room.

Bibliography

    Edition

    The later Cambridge songs: an English song collection of the twelfth century, Stevens, John (Oxford, Oxford University Press, 2005)

Bibliography

    Secondary literature

    Bibliotheca Musico-Liturgica: A Descriptive Handlist of the Musical and Latin-Liturgical MSS. of the Middle Ages Preserved in the Libraries of Great Britain and Ireland, Frere, W.H. (London, 2, 1894) Early English harmony from the 11th to the 15th century: illustrated by facsimiles of mss. with a translation into musical musical notation, (London, Published by the Plainsong and Mediaeval Music Society, 1897) Geschichte der Mehrstimmigkeit: historische und phänomenologische Studien [...], Schneider, Marius (Berlin, Gebrüder Borntraeger, 1934) Die jüngere Cambridger Liedersammlung Studi medievali, Schumann, O. (16, 48-85, 1943) Conductus-Spicilegien Archiv für Musikwissenschaft, Handschin, Jacques (9, 101-19, 1952) Repertorium organorum recentioris et motetorum vetustissimi stili. Catalogue raisonné der Quellen; Handschriften in Quadrat-Notation, Ludwig, Friedrich (Hildesheim, Georg Olms, 1964) Die Mehrstimmigen Ordinarium Missae-Sätze vom ausgehenden 11. bis zur Wende des 13. zum 14. Jahrhundert, Lütolf, Max (1968, unpublished PhD dissertation) Diastematica vocis armonia Festschrift Bernhard Bischoff zu seinem 65. Geburtstag, dargebracht von Freunden, Kollegen und Schülern, Schmid, Hans (Stuttgart, 391-405, A. Hiersemann, 1971) Review: J.H.L. Kengen, ed., 'Memoriale credencium: A late Middle English manual of theology for lay people edited from Bodley MS Tanner 201' Speculum: A Journal of Medieval Studies, Hanna, Ralph (56, 151-154, 1981) Cambridge Music Manuscripts, 900-1700, Fenlon, Iain (Cambridge, Cambridge University Press, 1982) The text of Memoriale Credencium Neophilologus, Hanna, Ralph III (67, 284-292, 1983) Cambridge, University Library, Ff.i.17(1) Publications of mediaeval musical manuscripts, (Ottawa, Institute of Mediaeval Music, 1989) Petri Blesensis carmina Corpus Christianorum. Continuatio mediaeualis, (Turnhout, Brepols, 1998) Taking the rough with the smooth: melodic versions and manuscript status The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagiography. Written in Honor of Professor Ruth Steiner, Rankin, Susan K. (Oxford, 213-233, Oxford University Press, 2000) The earliest songbook in England [sound recording]., Page, Christopher, (London, Hyperion, 2000) Editing twelfth-century music Journal of the Royal Musical Association, Caldwell, John (131, 1, 151-159, 2006) Catalogue of manuscripts written or owned in England up to 1200 containing music, Hartzell, K.D. (Woodbridge, Boydell Press, 2006) Livres et écritures en français et en occitan au XIIe siècle. Catalogue illustré Scritture e libri del medioevo, Careri, MariaShort, IanRuby, Christine (Rome, Viella, 2011) The beginnings of the Middle English secular lyric: texts, music, manuscript context The Genesis of Books: Studies in the Scribal Culture of Medieval England in Honour of A.N. Doane Studies in the Early Middle Ages, Reichl, Karl (Turnhout, 195-243, Brepols, 2011) Digital Image Archive of Medieval Music :: GB-Cu Ff.i.17, (2019, 2019-01-15T14:47:36Z, https://www.diamm.ac.uk/sources/334/#/)

Digital Images

Cambridge Digital Library

Abbreviations

View list of abbreviations and editorial conventions.

Study at Cambridge

About the University

Research at Cambridge