Add MS 32429

Passim. ‘Miserere mei, Deus’: four settings by anonymous composers, in parts. Imperfect, consisting of bass part only, except in no. 1, for which the soprano and 2nd tenor parts are given as well; and no. 3, which consists of 6 contralto and 2 tenor parts. Nos. 1, 3 and 4 end with the ‘Gloria Patri.’ 1. In F, omitting the ‘Tunc acceptabis.’ ff. 23b, 30b, 47. 2. In D minor. Beginning only. f. 29. 3. In F (à 4), described as ‘del Giubileo.’ The 1st tenor and contralto parts are in duplicate. ff. 58-72b. 4. In C minor. f. 91.

ff. 1-7b. Second tenor and bass parts of a 'Te Deum,' in A. Anonymous.

ff. 9-101 passim. Motets, in parts, written in Italy, most of them by anonymous composers. Unless the contrary is stated, only the bass part is given. Most of them end with the ‘Gloria Patri.’ 1. End of a ‘Benedictus’ (1st tenor). f. 9. 2. ‘Laudate, pueri‘; in F (1st and 2nd tenor). Described as ‘della Rossa.’ ff. 9, 11. 3. ‘Gloria Patri‘; in F. f. 14. 4. 'Laudate, pueri’; in F (bass and 1st tenor), ff. 14b, 40. 5. ‘Pange, lingua‘ (contralto, 2 tenors, and bass). Described as ‘della Volata.’ ff . 16b, 52, 54, 56. 6. ‘Lauda, Jerusalem’ (2nd tenor and bass), ff. 21b, 37b. 7. ‘Benedictus‘; in G. f. 27. 8. Another; in E flat (soprano, 2 tenors, bass), ff. 34b, 40b, 43, 47b. 9. Beginning of a ‘Virgo predicanda’; for 4 voices, in score, f. 42b. 10. ‘Pater de Cœlis‘ (soprano, contralto, tenor, bass), ff. 49-51. 11. ‘Letatus sum in [h]is que dicta sunt michi‘ (2 tenors). At the beginning are the initials R. B., but whether those of composer or singer does not appear, ff . 73, 75. 12. ‘Exultet orbis’; apparently by Giuseppe Pai (see f. 103b). f. 76. sNos. 13-15 are described as ‘Salmi da cantarsi il Giorno di S. Tom[mas]o.’ 13. ‘Credidi propter quod locutus sum.’ f. 78. 14. ‘In convertendo.’ f. 80b. 15. ‘Domine, probasti me.’ f. 82. 16-19. ‘Litanie del Ghida (sic),’ beginning ‘Mater cristi, mater divine gratie.’ Four settings, two of which are apparently by Giuseppe Pai (see f. 103b). ff. 86b, 87, 88, 88b. 20. ‘Laudate, pueri‘; in B flat. f. 89. 21. ‘Tantum ergo.’ f. 90b. 22. ‘Jesu, Redemptor omnium.’ Duplicate parts, ff. 95, 96. 23. ‘Laudate, pueri‘; in D. f. 97. 24. [‘Mater christi, mater divinæ gratiæ‘] (cf. nos. 16-19). f. 101. The names ‘della Rossa,’ ‘della Volata,’ etc., are suggestive of the collections of Motets which appeared in the first half of the 16th century.

ff. 98b-113b passim. Parts (bass, unless the contrary is stated) of the following compositions, the first two of which are anonymous: — 1. ‘Cantiamo su, cantiamo inni di Gloria al Dio.’ f. 98b. 2. ‘O pane del cielo.’ f. 100. 3. 'Sommo ben, mio signor‘ (contralto and 2 basses). ‘Fanetti.’ ff. 101b-104. 4. The same words. ‘Majer.’ f. 105. 5. The same words. ‘Arici.' f. 106. 6. ‘Lodate Maria.’ f. 112b. Apparently this and presumably also the two following compositions are by ‘Giuseppe Pai.’ (See f. 103b). 7. ‘Maria, sei gilio.’ f. 113. 8. ‘O Madre di Dio.’ f. 113b.

ff. 99b, 107-111 passim. Part-music to Italian words. Anonymous. 1. 'Col crin di floride.' Bass part. f. 99b. 2. '[....] la notte placida.' Bass part, f. 107. 3. 'Su, lodate, o valli'; for alto, 2 tenors, and bass, in score, f. 108.