Start

Introduction

Description

Contents

Evaluation of the repertory

Dating and function

Comments on Hand B’s last entries

Bibliography

 

 

General Index of music editions
   
by first line
   by composer

 

Other editions and papers on this site:

Copenhagen Chansonnier

Complete Works of Gilles Mureau

Amiens MS 162 D

Sacred music of the 15th century

Homepage
Peter Woetmann Christoffersen


Papers on

Basiron’s chansons
Busnoys & scibes PDF
Caulaincourt
Chansons in Fa-clefs
Chansoner på nettet
Fede, Works
Dulot’s Ave Maria
Open access 15th c.
MS Florence 2794

 

 

THE UPPSALA CHANSONNIER MS 76a

The music manuscript Vokalmusik i Handskrift 76a in the University Library of Uppsala

A selection of music, secular and sacred, courtly and popular,

from a French musical manuscript dating from the beginning of the 16th century

 

Edited by Peter Woetmann Christoffersen

 


 

Anonymous, Quant je fuz prins au pavillon (no. 7)

Anonymous, En actendant la grace souvereine (no. 8*)

Anonymous, Benedicite domine nos (no. 11)

Anonymous, Ce que ma bouche n’ose dire (no. 17)

Anonymous, Helas madame (no. 26*)

Anonymous, Nuyt et jorn ne peult dormir (no. 29*)

Jacob Obrecht, Parce, Domine, populo tuo (no. 30)

Anonymous, Faulces Amors, Dieu vous maudie 4v (no. 32*)

Anonymous, Adieu Soulas [tous Plaisirs et Liesse] 4v (no. 33*)

Anonymous, Helas madame, “Duo” 3v [!] (no. 34*)

Antoine Riche [Divitis], Mon cueur est tant bien assis (no. 36*)

Anonymous, Pensez de faire garnison (no. 39)

Ninot le petit, Pourtant si mon amy n’a point de monnaye 4v ex 2v (no. 41*)

Anonymous, Dame, venez moy secourir 2v (no. 42*)

Antoine de Fevin, Je le lairray puisqu’il my bat (no. 43)

Anonymous, Adieu toute joyeuseté (no. 50*)

Alexander Agricola, Gardez vous bien de ce fauveau (no. 53*)

Anonymous, O quam glorifica luce coruscas (no. 54*)

Prioris, Dulcis amica dei 4v (no. 56)

Jehan Mire, O quam presul domine Nicolae (no. 57*)

Anonymous, Kirie – Langentibus in purgatorio 2v (no. 66*)

Anonymous, La gasquona 1v (no. 71*)

– most conpositions are for three voices; the ones marked * are unique;
the links in the titles above lead to pages for each composition,
which contain links to PDF-scores.