8ff. including soprano and bass parts of sacred works consisting of 4ff. in a single hand notated in brown ink on 6-stave rastrum-ruled paper; 2ff. (263 x 152 mm); and 2ff. (297 x 198 mm). Text in Latin. The smaller leaves carry an attribution to "Ludovici Viadani" (a Magnificat "A 4. Primi Toni, BASSO.") The larger leaves contain no attribution, but one work has been located, the Cantus part of Hieronymus Praetorius's "Missa 8 vocum super factum est silentium." Plus 4ff. (296 x 196 mm), notated in brown ink on 8-stave rastrum-ruled paper in a separate hand, unattributed. Other works, all unlocated, include: - Exaudiat me Dominus in tribulationis - [S]ilentium in coelo - Congratulamini - EXI in vias - [Jubilate Deo] in ECCE voce exultationis, adduxerunt - Buccinate, Exaudiat me Dominus in tribulationis - Missa 8 vocum - Kyrie - Gloria - Cantate Domino Worn and soiled; minor splits to central fold; some worming and holes occasionally just touching notation; some loss to margins, not affecting music. RISM P5329 (Praetorius, first published 1616). Praetorius was a German composer, organist, copyist, and music editor. "All but five of [his] masses, motets, and vocal Magnificat settings were published between 1616 and 1625 in Hamburg as a five-volume collected edition. Some of the volumes had been published in earlier editions and a number of motets from the first two volumes appeared in the printed collections of Bodenschatz, Phalèse, and Schadaeus. All of Praetorius's masses are parody masses, four based on his own motets and the other two on motets by Jacob Meiland and Stefano Felis." Frederick K. Gable in Grove Music Online Viadana (ca. 1560-1627), an Italian composer, "ranks highly among composers of his period for the freshness, fluency and notably expressive quality of his music; above all, he gave a strong impulse to the vocal concerto with basso continuo in ecclesiastical music, and acquired many pupils who continued his work. . In Viadana's work, most of which survives, sacred vocal music is predominant. He cultivated the a cappella style and from op.13 onwards added a basso per l'organo which was a basso seguente rather than a true continuo bass. His style in these works ranges from the strict homorhythm of falsobordone and pseudo-polyphony to genuine polyphonic writing. The simpler music is purely functional, and as such was very successful." Federico Mompellio in Grove Music Online A group of early 17th century liturgical manuscript leaves from the early 17th century containing pieces by two important composers and exact contemporaries, Praetorius and Viadana. Worthy of further research.
