E-TZ 2/3

Updated on 01/02/2022
Full reference
Spain, Tarazona, Archivo Capitular de la Catedral, Ms. 2/3
Short description
Choirbook, manuscript on paper, origin unknown, possibly copied shortly before 1528.
External references

Currently, there are two competing theories concerning the origin and date of this manuscript: Ros-Fábregas 2017 has suggested that it was copied in Tarazona in the middle or the second half of the 16th century; however, Rodríguez-García has showed that Ros-Fábregas claim is hardly tenable and proposed that the manuscript was most probably copied in the decade before the death of Francisco de Peñalosa in 1528. This latter hypothesis is in line with the most common assumption, that E-TZ 2/3 was copied in the first third of the 16th century. She has also tentatively proposed that the manuscript could have been copied for the household of the infante Ferdinand (later Ferdinand I, Holy Roman Emperor).

These theories do not preclude some of the repertory from a Sevillian origin, as shown by Ruiz Jiménez 2005. However, a Sevillian origin of the manuscript based on the identity of the scribes of E-TZ 2/3 and E-Sco 5-5-20 (as posited by Carl Manns in the Census Catalogue, 1986) must be rejected. Freund Schwartz 2001 has proved that the scribes are not the same, therefore rendering the hypothesis invalid. 

Originally conceived as one volume but separated into two volumes (Ms. 2 and Ms. 3) before 1550, or 1570, in Tarazona Cathedral; bound as a single volume again in 2002. Before 1930, ff. 58-61 were excised and they constitute now manuscript E-Bbc M 1167.

Anglés, Higinio, ed, La Música en la Corte de los Reyes Católicos. I. Polifonía religiosa, Monumentos de la Música Española, 1 (Madrid: Consejo Superior de Investigaciones Científicas, Instituto Diego Velázquez, 1941), pp. 122-24
Esteve Roldán, Eva, “Manuscrito Musical 2-3 de la Catedral de Tarazona. Estudio historiográfico”, Nassarre: Revista Aragonesa de Musicología, 22 (2006), 131-72
Freund Schwartz, Roberta, “Sevilla 5–5–20, Tarazona 2/3 y otras fuentes de la música iberica del siglo XVI: Una reconsideración de relaciones”, in Fuentes musicales en la Península Ibérica (ca. 1250–ca. 1550), ed. by Maricarmen Gómez and Màrius Bernadó (Lleida: Universitat de Lleida, 2001) pp. 203–17
Hamm, Charles, and Herbert Kellman, Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550, 5 vol. (Stuttgart-Neuhausen: Hänssler-Verlag, 1979–1988), vol. 3 (1986), p. 195
Rodríguez-García, Esperanza, “Tarazona 2/3, Francisco de Peñalosa, and a ‘Dis-attributed’ Credo: New Light on the Origins of the Manuscript”, in The Anatomy of Iberian Polyphony around 1500, ed. by Esperanza Rodríguez-García and João Pedro d’Alvarenga, Iberian Early Music Studies, 5 (Kassel: Reichenberger, 2021) pp. 190-226
Ros-Fábregas, Emilio, “Manuscripts of Polyphony from the Time of Isabel and Ferdinand”, in Companion to Music in the Age of the Catholic Monarchs, ed. by Tess Knighton (Leiden, Boston: Brill, 2017) pp. 404-68, at pp. 446-52
Ros-Fábregas, Emilio, “The Manuscript Barcelona, Biblioteca de Catalunya, M. 454: Study and Edition in the Context of the Iberian and Continental Manuscript Traditions” (unpublished Ph.D. dissertation, The City University of New York, 1992), pp. 237-44
Ruiz Jiménez, Juan, “‘Infunde amorem cordibus’: An Early Sixteenth-Century Hymn Cycle from Seville”, Early Music, 33 (2005), 619–38
Sevillano Ruiz, Justo, “Catálogo musical del Archivo Capitular de Tarazona”, Anuario Musical, 16 (1961), 149-76
Works in this source
Location in source Title Composer
ff. 278v-279r O felix Maria Alba, Alonso (Pérez) de
ff. 270v-271r O sacrum convivium Alba, Alonso (Pérez) de
ff. 245v-246r Stabat mater Alba, Alonso (Pérez) de
ff. 282v-283r Te ergo quaesumus Alba, Alonso (Pérez) de
ff. 279v-280r Domine Jesu Christe, qui hora Anchieta, Juan de
ff. 273v-274r O bone Jesu Anchieta, Juan de
ff. 277v-278r Virgo et mater Anchieta, Juan de
ff. 259v-260r Ave, festiva ferculis Anonymous
ff. 255v-256r Ave, verum corpus natum Anonymous
ff. 256v-257r O decus virgineum Anonymous
ff. 275v-276r Ave sanctissimum (short version) Díaz
ff. 271v-272r Clamabat autem mulier Escobar, Pedro de
ff. 283v-284r Memorare piissima Escobar, Pedro de
ff. 246v-247r O Maria, mater pia Escobar, Pedro de
ff. 276v-277r Stabat mater Escobar, Pedro de
ff. 247v-248r Sub tuum praesidium Escobar, Pedro de
ff. 286v-287r Conceptio tua Illario
ff. 274v-275r O admirabile commercium Illario
ff. 267r-268r Ave, vera caro Christi Peñalosa, Francisco de
ff. 268v-269r Ave, vere sanguis Domini Peñalosa, Francisco de
ff. 262v-263r Deus, qui manus tuas Peñalosa, Francisco de
ff. 264v-265r Domine Jesu Christe, qui neminem Peñalosa, Francisco de
ff. 266v-267r In passione positus Jesus Peñalosa, Francisco de
ff. 261v-262r Precor te, Domine (medium version) Peñalosa, Francisco de
ff. 21v-24r Magnificat, tone 8 Porto, Pedro do
ff. 258v-259r Ave Maria Ribera, Antonio de
ff. 152v-160r Missa sine nomine Ribera, Antonio de
ff. 272v-273r Patris sapientia Ribera, Antonio de
ff. 287v-288r Lilium sacrum Rodríguez de Sanabria, Juan
ff. 64v-67r Magnificat, tone 1 Tordesillas
ff. 62r-64r Magnificat, tone 6 Tordesillas
ff. 191v-200r Missa sine nomine Tordesillas
ff. 297v-299r Zain. Recordata est Tordesillas
ff. 9v-10r Pange lingua I Urrede, Juan de