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Songs in British Sources c.1150-1300


Edited by Helen Deeming
First published in 2013
Pages: 288
Format: Hardback
Dimensions (mm): 330 x 254 x 30
Weight: 1.955kg

Partly as a result of the nature of their manuscript transmission, songs from the period 1150 to 1300 have remained unknown or unnoticed with the exception of Sumer is icumen in and Angelus ad virginem. The rich variety of content in MB95 is therefore an important corrective and addition to our knowledge of the period, and is evidence for a vigorous interest in the cultivation and preservation of song in the twelfth and thirteenth centuries. Not all the songs edited here originated in Britain, but their presence in manuscripts of British origin suggests that all were at least sung here. Most items are found uniquely in single music sources, or with text-only concordances, and around half are published for the first time.

Full contents…(PDF)

Ref: MB95 ISBN: 9780852499351 ISMN: 9790220223662 Categories: , , , , , ,



Composer Title
ANONYMOUS Absit nobis gloriari
ANONYMOUS [… a]mer me estut a tute fin
ANONYMOUS Amor patris et filii
ANONYMOUS Angelus ad virginem
ANONYMOUS Ante thronum regentis omnia
ANONYMOUS Ante thronum regentis omnia (alternative version)
ANONYMOUS Ar ne kuthe
ANONYMOUS Ave gloriosa mater salvatoris
ANONYMOUS Ave gloriosa mater salvatoris (alternative version)
ANONYMOUS Ave gloriosa virginum regina
ANONYMOUS Ave Maria, gratia plena
ANONYMOUS Ave Maria, preciosa gemma
ANONYMOUS Ave mundi spes Maria
ANONYMOUS Ave purum vas argenti
ANONYMOUS Ave virgo Maria
ANONYMOUS Bien deust chanter
ANONYMOUS Capud draconis ultimum
ANONYMOUS […] chant ai entendu
ANONYMOUS Congratulamini Marie virgini
ANONYMOUS De ma dame
ANONYMOUS Dic, qui gaudes prosperis
ANONYMOUS Dolorum solatium
ANONYMOUS Duce creature
ANONYMOUS Duce creature (alternative version)
ANONYMOUS Dulci voce, menta munda
ANONYMOUS Dulcis ave penitentis
ANONYMOUS Dulcis Jesu memoria
ANONYMOUS Dum Maria credidit
ANONYMOUS Edi beo þu
ANONYMOUS Ego, mundi timens naufragium
ANONYMOUS El tens d’iver
ANONYMOUS Eterni numinis mater et filia
ANONYMOUS Ex te lux oritur
ANONYMOUS Eyns ne soy
ANONYMOUS Felix sanctorum chorus
ANONYMOUS Flos convallis est egressus
ANONYMOUS Flos excellens, flos beatus
ANONYMOUS Flos pudicitie
ANONYMOUS Flur de virginité
ANONYMOUS Foweles in þe frith
ANONYMOUS Frigescente karitatis
ANONYMOUS Gabriel fram evene king
ANONYMOUS Gaude gloriosa (first version)
ANONYMOUS Gaude gloriosa (second version)
ANONYMOUS Gaude salutata virgo
ANONYMOUS Gloriosa Dei cella
ANONYMOUS Hodierne lux diei
ANONYMOUS In ecclesiis celi gloria
ANONYMOUS In hac die Dei
ANONYMOUS In te concipitur
ANONYMOUS Inter flores electorum
ANONYMOUS Interni festi gaudia
ANONYMOUS Jesu Cristes milde moder
ANONYMOUS Letabundus exultet fidelis chorus
ANONYMOUS Licet eger cum egrotis
ANONYMOUS Magdalene laudes plene
ANONYMOUS Man mei longe
ANONYMOUS Mater Dei, lumen rei
ANONYMOUS Mater gaude, fons meri gaudii
ANONYMOUS Mellis stilla, maris stella
ANONYMOUS Mirie it is while sumer ilast
ANONYMOUS Miro genere
ANONYMOUS Missus Gabriel de celis
ANONYMOUS Mult s’asprisme li termines
ANONYMOUS Nobilis, humilis
ANONYMOUS O domina, dominatrix
ANONYMOUS O labilis, O flebilis
ANONYMOUS Oblatum canticum
ANONYMOUS Omnis caro peccaverat (Cambridge, Gonville and Caius College)
ANONYMOUS Omnis caro peccaverat (Paris, Bibliothèque nationale de France)
ANONYMOUS Orbis honor, celi scema
ANONYMOUS Parti de mal
ANONYMOUS Perspice Christicola
ANONYMOUS Planctus ante nescia
ANONYMOUS Processit in capite
ANONYMOUS Psallat celum, plaudit tellus
ANONYMOUS Quaunt le russinol se cesse
ANONYMOUS Qui passus est pridie
ANONYMOUS Quid tu vides, Jeremia?
ANONYMOUS Recitemus per hec festa
ANONYMOUS Regina clemencie, Maria vocata
ANONYMOUS Risum fecit Sare
ANONYMOUS Salve celi ianua
ANONYMOUS Salve mater salvatoris, mater salutifera
ANONYMOUS Salve mater salvatoris, vas electum (Dorchester, Dorset Record Office)
ANONYMOUS Salve mater salvatoris, vas electum (Oxford, Trinity College)
ANONYMOUS Salve sancta Dei parens
ANONYMOUS Salve sanctarum sanctissima
ANONYMOUS Salve signum sancte crucis
ANONYMOUS Salve virgo, sacra parens
ANONYMOUS Salve virgo singularis
ANONYMOUS Salve virgo vere
ANONYMOUS Salve virgo virginum
ANONYMOUS Samson dux fortissime
ANONYMOUS Scribere proposui
ANONYMOUS S’onques nuls hoem
ANONYMOUS Spe mercedis et corone
ANONYMOUS […] speciale gaudium
ANONYMOUS Specialis, graciosa
ANONYMOUS Spei vena, melle plena
ANONYMOUS Stabat iuxta Christi crucem
ANONYMOUS Stand wel moder
ANONYMOUS Stella maris singularis
ANONYMOUS Stillat in stellam radium
ANONYMOUS […] stod ho ƿere neh
ANONYMOUS Stond wel moder
ANONYMOUS Sumer is icumen in
ANONYMOUS Superne matris gaudia
ANONYMOUS Þe milde Lomb
ANONYMOUS Veine pleine de duçur
ANONYMOUS Veni sancte spiritus (Cambridge, Gonville and Caius College)
ANONYMOUS Veni sancte spiritus (London, British Library)
ANONYMOUS Verbo celum quo firmatur
ANONYMOUS Verbo verbum incarnatur
ANONYMOUS [Verbum bonum et suave]
ANONYMOUS Veri floris sub figura
ANONYMOUS Virgo, truces tres tortores
ANONYMOUS Worldes blis ne last no throwe
ANONYMOUS Worldes blis ne last no þrowe
ANONYMOUS Zima vetus expurgetur
GODRIC OF FINCHALE Crist and Sainte Marie
GODRIC OF FINCHALE Sainte Marie, Christus bur
GODRIC OF FINCHALE Sainte Marie, virgine
GODRIC OF FINCHALE Sancte Marie, virgine
GODRIC OF FINCHALE Seinte Marie, virgine
HOILANDE, Renaud de Si tost c’amis


This new volume in the sturdy series Musica Britannica represents an exceptional publication which should revolutionize future perspectives on the insular song repertory of the Middle Ages. Various features of its contents make it a bold and unusual volume for Musica Britannica, a series with many volumes of neglected works by Elizabethan, Jacobean or 18th-century British (and mainly English) composers. Helen Deeming’s volume presents the earliest repertory in the series to date and contains monophonic music, music with French and Latin texts, (as well as English ones), and much that is anonymous, in contrast to the usual fare of polyphonic pieces, with English texts (for sung music), and often with named authors. In a further innovation, not only is the volume supplemented by the inclusion of a few manuscript images, but further commentary on notation is available online via the Digital Image Archive of Medieval Music (

This volume is designed to enable the songs edited here to be viewed as a repertory, despite their wide variety. Nonetheless, it is not comprehensive, and part of the introduction is dedicated to explaining the rationale for choice and exclusion. The songs that Deeming views as being readily available in good modern editions, for example, are omitted, although her view depends in part on whether the editorial approach is, like Deeming’s, to present a reading that is substantially that of a single manuscript. As Deeming admits, ‘others may disagree with the choices I have made about inclusion and exclusion’, but her decisions chart a moderate course, well supported in her measured and authoritative introduction and fulfilling her aim ‘to bring to light a wealth of new pieces never before published, and to re-establish the musical context of pieces that have long been known, in an attempt to recreate as much as can be recovered of the song culture of medieval Britain’. In sum, this volume is an exciting, original and magnificent achievement, a splendid addition to the Musica Britannica series.
Elizabeth Eva Leach – Excerpts from review in Early Music © The Author 2014. Published by Oxford University Press

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