E-TZ 2/3Updated on 21/08/2020
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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. 122-24Esteve Roldán, Eva, “Manuscrito Musical 2-3 de la Catedral de Tarazona. Estudio historiográfico”, Nassarre: Revista Aragonesa de Musicología, 22 (2006), 131-72Freund 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. 203–17Hamm, 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. 195Rodríguez-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), forthcomingRos-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. 446-52Ros-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. 237-44Ruiz Jiménez, Juan, “‘Infunde amorem cordibus’: An Early Sixteenth-Century Hymn Cycle from Seville”, Early Music, 33 (2005), 619–38Sevillano Ruiz, Justo, “Catálogo musical del Archivo Capitular de Tarazona”, Anuario Musical, 16 (1961), 149-76
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