P-Cug MM 036
Updated on 30/10/2024- Full reference
- Short description
- Digital reproduction
- External references
- Notes
The second front flyleaf bears the title “Obras Do Padre Dom Pedro Conego Regular” (Works of Father Dom Pedro, Canon Regular) written in the composer’s own hand, suggesting that all sixty-one works contained in the manuscript are his. However, only one has an individual ascription — the psalm Dixit Dominus, copied on ff. 56v-57r, with the heading “Primejro tom. D. Pedro” (First tone. D. Pedro). Another work, the motet Dicebat Jesus turbis Judaeorum, copied on ff. 34v-35r, is attributed in concordant sources to António Carreira. Still another work, the Alleluia included on ff. 70v-71r, is by Manuel Mendes, as confirmed by the many sources that also transmit it. This latter piece was copied by a second scribe, who also entered the music for the first Benedicamus Domino on ff. 12v-13r and the motet Quaeramus cum pastoribus on ff. 55v-56r (with the corresponding texts added by Pedro de Cristo). A number of other pieces, although copied by the composer, cannot be attributed to him with any reasonable certainty. Such is the case with the setting of the Lamentations on ff. 26v-27r, as they use the text prior to the Breviary of Pius V (1568); the motet In monte Oliveti dixit Jesus, copied right after the motet Dicebat Jesus turbis Judaeorum on ff. 34v-35r, whose stylistic features point to the authorship of António Carreira, who is the composer of the latter piece; and the Alleluia on ff. 61v-62r, which has a concordance in a choirbook of Benedictine origin dated to c.1590, MM 40 of the Public Library of Porto (P-Pm MM 40). The correspondences between this manuscript and the manuscripts of Santa Cruz mainly concern either Spanish repertory (Cristóbal de Morales, Ortiz) or works from the circle of the Royal Chapel (Bartolomeu Trosilho, António Carreira). Other pieces are too brief or do not reveal clear stylistic markers. This category includes the textless piece on f. 1r, the Alleluia on ff. 27v-28r and the responses to the Preface of the Mass added on the same pages, the fabordões copied on the last page of the volume, f. 71v, and the second verse of the Compline hymn Te lucis ante terminum, found on ff. 68v-69r.
- Bibliography
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Rees, Owen, Polyphony in Portugal c.1530-c.1620: Sources from the Monastery of Santa Cruz, Coimbra, Outstanding Dissertations in Music from British Universities (New York & London: Garland, 1995), pp. 247-53Rees, Owen, “Newly Identified Holograph Manuscripts from Late-Renaissance Portugal”, Early Music, 22 (1994), 261-77
- Works in this source
Location in source Title Composer ff. 16v-17r O lux beata Trinitas Pedro de Cristo ff. 42v-44r Alma Redemptoris Mater [Pedro de Cristo] ff. 30v-31r Ave Regina caelorum [Pedro de Cristo] ff. 69v-70r Christus natus est nobis [Pedro de Cristo] ff. 65v-67r Es nascido [Pedro de Cristo] ff. 16v-17r In ferventis olei [Pedro de Cristo] ff. 37v-38r Judas mercator pessimus [Pedro de Cristo] ff. 68v-69r Lumen ad revelationem [Pedro de Cristo] ff. 9v-10r Regina caeli (I) [Pedro de Cristo] ff. 57v-58r Regina caeli (II) [Pedro de Cristo]