[Former General Mills worker Don Dodd standing in front of table with memorabilia displayed]
General Mills, inc.--History
Grain trade--New York (State)--Buffalo
Don Dodd displays General Mills and grain related memorabilia at his home in January 2020.
Kaye, Kate
https://redtailmedia.org/spilling-grain/
Grosvenor Room of B&ECPL (repository)
Dodd, Don
Antiphonaries
Music--Manuscripts
Manuscripts, Latin--Specimens
Manuscripts, Latin--New York (State)--Buffalo
Parchment; ff. 2, not consecutive nor attached to one another; with a very deep lower border (as if in anticipation of an eventual need to add notes to the page?); 9 lines of text, each preceded by its row of staves; pricking along both the outer and the inner margins that ties in groups of 5 holes to the 1 text line plus 4 stave lines. Formal gothic minuscule that includes both the curled line ("ricciolo") and the small waved line ("ondina") abbreviation marks for, respectively, the preconsonantal "r" and the prevocalic "r"; see Andrea Bocchi, "Riccioli e ondine. L'abbreviazione per vibrante preconsonantica e prevocalica nella gotica italiana dei secoli xiii e xiv," Scriptorium 61 n. 2 (2007) 430-437 and images on pl. 52; at the end of the article, Bocchi places use of these marks in central Italy, and he dates them to the time span of the 13th century and into the early years of the 15th. Music in square notation on 4-line red staves with a custos at the end of the set of staves. Initials of somewhat more than 1-line height (they extend into the staves' second line from the bottom) in plain alternating red with simplistic blue flourishing, and blue with red flourishing; the letter following the decorated initial and occasional other initials throughout the text are touched in red. Rubrics in red that are copied above (not before) the beginning of the relevant piece of text. Early modern pagination in ink in the uppermost outer corner of each side of the leaf.
Written in Italy during the early years of the 15th century. On p. 202, in the center lower margin, the pencilled note: "Mr. Charles D[avenport ?] Champlin, 3-2-36 D" presumably representing the person from whom these two leaves were acquired, and the date of acquisition, March 2, 1936; the initial "D" may represent the librarian. In-house library files cite the name of Louis Charles Elson (1848-1920) but probably incorrectly.
Bibliography: De Ricci. Census, p. 1212, no. 28
Antiphonal, with responsories 2 through 6, and their accompanying versicles, for Quinquagesima Sunday. -- Antiphonal, with responsories 1 through 5, and their accompanying versicles, for Passion Sunday.
Catholic Church
Buffalo and Erie County Public Library (publisher of digital)
Rare Book Room of B&ECPL (repository)
Digital image copyright 2023 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes.
lat
Leaves conjugate but not consecutive; 1st leaf (5 lines) with musical notation; 2nd leaf (15 lines) with text only.
Parchment; one bifolium, i.e. ff. 2, non-consecutive, with the leaves pasted together at the gutter; On f. 1: 5 lines of text and music, the text written in a formal gothic script, the music in square notation on red 4-line staves with a custos at the end of each set of lines; added tones for the antiphons are noted in the margins: 3rd tone on the recto; 5th tone on the verso. Rubrics in red. In the uppermost right corner of the recto, the folio number: 12. On f. 2: 15 lines of text; formal gothic script. In the uppermost right corner of the recto, the folio number: 19. The folio numbers on these two leaves and the basic knowledge that in books of Italian origin and at this date the standard quire size is of ten leaves point to this set of leaves as being the second bifolium in the second quire. On both leaves: 1-line initials (i.e. the height of slightly over one line of text) either in red with purple flourishing, or in blue with dark red flourishing; the painted blue initial on the first recto was originally written as a letter N that was then partially erased to give a majuscule letter I; 4 initials in black ink, with Elefantenr sel.
Written in Italy, probably towards the end of the 15th century; this late date is suggested by the presence of a comma (!) in the text on f. 1 recto. According to De Ricci, the library acquired these leaves from Henkels, in December 1931, and there is a note in pencil in the lower margin of f. 1 reporting this fact: "Henkels 12-8-31 [signed:] E."
Bibliography: De Ricci. Census, p. 1212, no. 27
Office for the Purification of the Virgin (2 February), in part, but with musical notation showing the importance of this feast. -- Office for the feast of Agatha (5 February), at matins, including here the end of the second nocturn and the beginning of the third.
Buffalo & Erie County Public Library (Publisher of digital)
Graduals (Chants)
Illumination of books and manuscripts--Specimens
Miniature of the Annunciation; decorative border.
Parchment; f. 1; 9 lines of text and music, the text written in a formal and very spiky Germanic gothic book hand, and the music in square notation on 4-line staves, with a custos at the end of each line of staves; the vertical rules on either side of the written space are doubled.
A square miniature opens the feast of the Annunciation, the height of almost 2 lines of text and music: enclosed in a wooden frame, in a large and deep Renaissance-style bedroom, with a long hall reaching straight back to a garden, the archangel Gabriel approaches in flight from the upper left, with the Holy Spirit in the form of a dove above the Virgin's head, as she turns backwards from her prayers to see the angel; a large vase with lilies sits in the center of the floor. For another pattern of the same miniature, see, for example, Glasgow, University Library, Hunter MS 25 (S. 2.15), the one full-page miniature in the book (there are nine smaller miniatures), in a breviary with pictures attributed to the Master of the First Prayer Book of Maximilian. This manuscript is discussed in Thomas Kren and Scot McKendrick, Illuminating the Renaissance: the Triumph of Flemish Manuscript Painting in Europe (Los Angeles: Getty Museum, 2003), in a section by Thomas Kren on pp. 317-318, n. 89, with a reproduction of the Hunterian manuscript's miniature of the Annunciation.
In the BECPL manuscript, on the recto, a 2-sided border of interconnecting triangles in red, dark blue, green and yellow, each one decorated with faint drawings; the blue triangle directly below the archangel Gabriel contains a coat of arms: quarterly, 1 and 4, [two or three objects?], 2 and 3, argent [?], two bars [azure?]. The R that opens the chants for the Annunciation is rendered as if a 3-dimensional wooden letter, with shadows, sitting on a gray ground; other initials: two are the height of one line of text and one set of staves, in red; another initial, of the same size, is in black Elefantenr sel with flourishes of curled acanthus leaves, touched in green. Rubrics in red. Foliation in black ink in the center of the outer margin of the recto, and with the same number in early modern foliation in the upper right corner of the leaf: "xciiii" (= 94).
Written probably in Austria during the turn from the 15th to the 16th century; the assigning of this leaf to Italy in De Ricci's Census proves that De Ricci himself had not seen this leaf. According to the BECPL inhouse website, the leaf belonged to Louis Charles Elson (1848-1920), although there is no comment to that effect in De Ricci, and there is no oval or round sticker with Elson's name on the leaf (as there is on the leaves in this library's collection that certainly belonged to Elson). We are very grateful to Peter Kidd, who proposed the similar pattern of the Annunciation in the manuscript held in Glasgow, and to his citation of relevant bibliography
"Formerly used as a wrapper for deeds."--De Ricci
Bibliography: De Ricci. Census, p. 1212, no. 26
Gradual, with the end of the gradual chant and then the communion chant for the feast of St. Benedict (21 March), followed by the introit for the feast of the Annunciation (25 March), with its versicle and the beginning of its gradual; references to other parts of what was once the book that contained this leaf are, on the recto between the rubric and the beginning of the text, "Vultum tuum, fo. 1" and on the verso before the present gradual chant, "Graduale, Diffusa est, [fo.] lii."
Previously classified as RBR MSS. C33G76 1500
Education--New York (State)--Buffalo
Education--New York (State)--Erie County
Bullying
Serious incidents of school bullying were receiving national attention in 2011. President Barrack Obama held a White House conference on preventing bullying after high profile cases of teenage suicides struck a national nerve. In Western New York, worried parents of young victims of bullying were concerned that their school districts were not dealing effectively with the issue. A rash of incidents on school buses targeted students as young as six years old. WIVB-TV Senior Correspondent Rich Newberg reported on young children being tormented and found that school superintendents were reluctant to go on-camera to discuss the issue. Parents said bullies were not being punished, even after repeated incidents were documented. There was enough pubic interest in the growing problem to warrant a special WIVB-TV presentation. On March 2, 2011, large portions of the 5 and 6 o’clock newscasts were set aside to feature a panel of experts who took calls from concerned viewers. They addressed issues including whether or not a targeted child should fight back. Parents were also advised to look for signs indicating that their child might be a victim of bullying. It was noted that victims can carry deep emotional scars. There were calls for serious interventions by school districts that had been reluctant to take direct action against known bullies. The segments ended with high profile celebrities and politicians, including President Obama, offering words of encouragement to those who were being tormented at school. Students were urged not to remain silent and to seek help from those they trust, including parents and teachers. Legendary Buffalo boxer “Baby Joe” Mesi told a group of public school children that he had been a victim of bullying. The former world heavyweight contender said he built up his self confidence by learning how to box. “Too often the voice of the victim, the target of the bully, goes unheard,” said WIVB-TV General Manager Chris Musial. He added, “Young people still feel trapped, abused and tormented. We at WIVB-News 4 and CW23-WNLO are committed to digging deeper in our coverage of this important issue. Whether it begins in the schoolyard or school bus, or in cyberspace through online taunting or texting, we will continue our efforts to find solutions that lead to an end of these horrible actions by bullies.” “The Bully Project” was honored with a national Sigma Delta Chi Public Service Award from the Society of Professional Journalists.
Newberg, Rich
Buffalo & Erie County Public Library (publisher of digital)
WIVB (Television Station : Buffalo, N.Y.)
Murphy, Kurt (Graphic Artist)
George Richert (Reporter)
Copyright held by WIVB-TV. Access to this digital version provided by the Buffalo & Erie County Public Library. Videos or images in this collection are not to be used for any commercial purposes without the expressed written permission of WIVB-TV and the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes.
eng
Parchment; ; f. 1; 7 lines of text and music, the text copied in a highly fractured gothic book hand, and the music in Hufnagelschrift on 5-line red staves, with a custos at the end of each set of staves, with text and music placed within "tram lines" that border the written area on both vertical sides. The opening initial corresponding to the height of 2 lines of text and their corresponding 2 sets of staves in an initial formed of scrolling green leaves, set on a punched gold ground, and enclosed withing a frame of pieces of "wood" in alternating red and blue sections; growing out of the initial, and running the length of the page in its far left border is an extended scroll of multicolored acanthus leaves and gold dots, the entire spray of leaves is roughly trimmed on the left by the knife of the person who removed this leaf from its binding. In the lower margin, an equivalent spray of acanthus leaves, flowers and gold dots, enclosed within a narrow silver frame. On the verso, a calligraphic initial (equivalent to 1 line of text and its music) in the ink of the text. In upper right area of the recto of the leaf, the foliation in red roman numerals, "ccxi."
Written in Austria during the time at the end of the 15th and the beginning of the 16th century. Although the Buffalo and Erie County Public Library states that the leaf was part of the collection of Louis Charles Elson (1848-1920), there are no round / oval stickers on the leaf that assert Elson's ownership of the leaf, nor is that assertion of provenance in the record by S. De Ricci. Formerly in the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library.
Bibliography: De Ricci. Census, p. 1212, no. 25
Antiphonal with the very end of the service for the feast of the Decollation of John the Baptist (29 August) and the beginning of the service for the feast of the Nativity of the Virgin (8 September).
Parchment; ; f. 1; 5 lines of text and music, with the text copied in a formal gothic hand and the music in black square notation on 4-line red staves. Initial S of the height of one line of text and one of music, in dusty rose, infilled with stacked aroid flowers in petals of dark blue, red, green and gray, the whole set on a very spiked gold ground, with a leafy extension in rose and blue; a gold ball in the margin. The initials E and G, the height of one line of text and two (of the four lines of the staves) in white-decorated blue or red, set against a ground of negatively-designed leaves on grounds red and blue or blue alone; the letters X, L, and A (directly following the decorated initials) in elaborate gothic format against a ground of negatively patterned leaves in the ink of the text. On the recto, in the center of the outer margin, the folio number in red roman numerals, "CL." Small round label in the upper innermost corner of the verso, "Elson n. 17."
Written towards the end of the 15th century in Italy, and most likely in Lombardy given the spiky gold ground around the major initial; the rayed gold ball above that initial also occurs in the northern parts of Italy. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This fragment was n. 17 in the Elson collection.
Bibliography: De Ricci. Census, p. 1212, no. 24
Gradual with the end of the sung parts of a mass for many martyrs, and the introit for another mass for many martyrs.
Canon law--Manuscripts
Canon law--Commentaries
Parchment; ; ff. 3 of which the first is a single leaf, and the second two are the innermost bifolium of a quire with consecutive text. Written in a light brown ink by a very unexpert (or very hurried) hand in a compressed gothic book hand in a space that seems to be ruled only for the vertical lines that designate the width of the writing area, although some areas do show the horizontal text lines: e.g. on f. 3v, in the inter-column space adjacent to the gloss's 2-line initial, and on that same page, in the lower right column, where 6 lines were left blank in order to copy the gloss's final line on the very last line available on that page (so that no one could insert other gloss without noticeably interrupting the flow of the text). The number of lines in either the text or the gloss area varies according to the amount of space necessary to copy the gloss that is relevant to the text on that page: the text lines on these leaves varies from 2 columns of 3 lines (on f. 1) to 2 columns of 36 lines (on f. 2); the number of lines of the gloss varies from 2 columns of 60 lines (on f. 1) to 2 columns of 66 lines (on f. 2; but note that the columns have here shrunk in width to where they accommodate only some 4 to 6 letters).
In both the text and the gloss, 3-line initials (although, since the text lines are more widely spaced than those of the gloss, a 3-line initial within the text is larger than an initial of the same spacing in height in the gloss) in alternating dusty rose or in blue, both with some patterning in white, and with flourishing in white-patterned dusty rose; the tendrils of the flourishing end with trilobe leaves or gold balls; in the gloss on f. 1v, the ground of the painted initial is particolored, red and blue. In the gloss on these three leaves, only one 2-line initial with penwork flourishing: on f. 3v, an initial in red with purple penwork. In both texts, paragraph marks alternating in red or in blue. Running headlines: on the verso, "L" (for Liber), and on the recto, the roman numeral in alternating red and blue numbers, "III." Early modern foliation in the upper right corner of the recto: 43; 50; 51.
Written in southern France, possibly in Montpellier given its law school, during the times after the first quarter of the 14th century: either after 21 March 1314, when its text was promulgated by Clement V, or after 25 October 1317, when John XXII, in his bull "Quoniam nulla" promulgated it as an obligatory text. According to De Ricci, this manuscript was acquired from "Weyhe" in March 1921, although it is unclear which "Weyhe" was intended: either the bookstore of the family of Heinrich Weyhe in Salzwedel (some 110 miles west of Berlin, in the former Prussian Saxony), which only closed in 2021 at the death of the last owner, Helga Weyhe; or De Ricci may have intended by the name "Weyhe" the bookstore that belonged to a nephew of that family, Erhard Weyhe whose shop at 794 Lexington Avenue in New York City was active in the 1920s and 1930s; Erhard Weyhe died in 1972. Belonged to the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library.
Text in 2 columns, surrounded by commentary; 65-71 lines of commentary.
Leaves numbered 30-31 and 43, with [book] III in top margin.
Bibliography: De Ricci. Census, p. 1212, no. 21
Clement V, Pope, approximately 1260-1314
Parchment; the lower portion of one leaf, including a very large empty bottom margin. 3 lines of text and 2 lines of superscript red 4-line staves (the topmost set of staves is cut away); written in a formal gothic book hand; music in square notation on 4-line red staves, with a custos at the end of each set of staves. 1-line initials in red with purple flourishing, or in blue with red flourishing. Rubrics in red. The cut-off upper portion may have contained a very nice initial.
Written in Italy during the second half of the 15th century. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This fragment was n. 31 in the Elson collection.
Bibliography: De Ricci. Census, p. 1211, no. 19
Illumination of books and manuscripts
Manuscripts--New York (State)--Buffalo
The letter D illuminated with colors and gilt, within a frame; excised from large format choirbook.
1 fragment; written in a formal gothic book hand; square black notation on 5-line red staves. The initial (here taken as a letter C), set within a narrow frame in dark brown with 2 gold rules around all sides, formed of an elaborate lavender scroll, shaded with dark blue, and decorated on the cusp of its far left scroll with green and yellow acanthus leaves attached by a knob of the same color; these colors also used for the scroll that closes the 2 front lines of the C; the whole against a dark blue-gray ground that is embellished in the center with a scrolled design of painted gold leaves and flowers; more of the same leaves and flowers are attached to outside parts of the letter.
Written in Spain, possibly during the 16th century. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Public Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. In the lower margin of side of the fragment treated as the recto, "BECPL." On a small oval label now affixed upside down on the fragment, "No. 25, Elson Collection."
Bibliography: De Ricci. Census, p. 1211, no. 18
Elson, Louis Charles, 1848-1920
Parchment, one bifolium containing the first and the last leaf of, presumably, the first quire of the book (although there may have been a quire with chapter headings that preceded this opening of the text); in the center of the lower margin of the present f. 2, the catchword to the next quire, enclosed in a box: "maius"; 2 columns of 63 lines, ruled in lead; written in a formal gothic book hand. 8-line painted initial in pale pink (?) now much abraded, set on a burnished gold ground with infilling of scrolling leaves in red and blue, and bar borders across the top and bottom margins, and along the inner margin, in all cases matching the reach of the text; on the curve of the lower bar are a fighting rabbit and greyhound, both with wings (or swirling capes); the space containing the gold is heavily outlined in black. 6-line initial opening the text in parted red and blue, decorated with narrow strips of space left in void, infilled with red flourishing, and set on a squared ground with flourishing in purple (?). 2-line initials alternating red with purple flourishing, and blue with red flourishing; paragraph marks alternating red and blue.
Berengarius Fredoli, Inventarium iuris canonici, containing the key points in the Decretum, the Liber Extra and the Liber Sextus. Berengarius (1250-1323), bishop of B̌ziers and appointed cardinal in 1305, wrote the introductory letter of this text to Guillelmus de Mandagot, bishop of Embrun (1295-1311), and dated his letter from Tiveretus (?) on the Sunday after the feast of the Assumption in the year 1300, i. e. on 21 August 1300. This text has not been printed; comparisons here are to another manuscript: Paris, Bibliotḧque nationale de France, lat. 15415. See Giovanna Murano, Opere diffuse per exemplar e pecia. Textes et Études du Moyen ℗ge, 29. (Turnhout: Brepols, 2005), "Berengarius Fredoli," n. 226, p. 306, listing five manuscripts of this text known to her as having been copied from rented pecia; Murano does not list the present bifolium which has not yet been examined for pecia marks
Bibliography: De Ricci. Census, p. 1211, no. 16
Frédol, Bérenger, -1323
Missals
Manuscripts, Latin--15th century
Parchment; formal gothic book hand in two sizes of script; 2 columns of 30 lines, ruled in lead (?). 2-line initials within the text area (except for the letter I, which is placed outside of the text area, and is equivalent to ca. 5 lines in height), alternating gold with dark blue (or black) flourishing, or blue with red flourishing. Rubrics in red. Foliation in red roman numerals in the center upper margin of the recto: CCXXII; what may be modern foliation is in pencil in the lower outer corner of the recto, "130."
Written in France during the first half of the 15th century. This manuscript uses the word "officium" to designate the introit of the mass; such usage is common to books of Carthusian, Dominican or Carmelite rite. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library; initials BECPL stamped in lower margin of the recto. This leaf was n. 20 in the Elson collection; that information in the small ovel label on the uppermost corner of the recto: "No. 20, Elson Collection."
Bibliography: De Ricci. Census, p. 1211, no. 15
Missal, with the mass for the feast of The Chains of Peter (1 August) from its introit through the beginning of its post-communion prayer.
Hymnals
Parchment?; f. 1; 10 lines of text and of 5-line staves for the music. Written in a squared gothic book hand. Music in Hufnagelschrift with a custos at the end of each set of staves. Initials in alternating red or blue occupying the height of one line of text and one set of staves. The initial on the recto that opens the hymn to Cyprian is blue with a small reserved white decoration. Rubrics in red.
Written in Germany during the 15th century; it bears remembering that the head of St. Anne was held in the Stiftskirche St. Stephan in Mainz until 1510, when it was stolen and taken to D en in north Rhine-Westphalia (the church that housed this relic was completely destroyed in Allied bombing in 1944). Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library; initials BECPL stamped in lower margin of the recto. This leaf was n. 19 in the Elson collection; that information in the small ovel label on the uppermost corner of the recto: "No. 19, Elson Collection."
Bibliography: De Ricci. Census, p. 1210, no. 14
Hymn dedicated to St. Anne (possibly for her feast on 7 March; end of the hymn that begins "Gaude mater anna gaude mater omni digna mater tante filie / Anne recte nuncuparis") and a hymn dedicated to St. Cyriacus (16 March; beginning of the hymn).
Formerly classified as RBR MSS. C33G74 1300Z
Parchment; f. 1; 7 lines of text and music, the text written in a formal gothic bookhand, the music in square notation on 4-line red staves with the custos at the end of each set of staves. Some flaking of the ink off from the flesh side of the parchment (i.e. the recto of this leaf). Initials alternating red with purple flourishing, and blue with red flourishing; rubrics in red; in the upper left corner of the recto, the foliation in roman numerals, alternating red and blue letters: LXXV. A small indentation in the lower margin, near the fore edge, was perhaps intended to help the singer turn the page.
Written in Italy during the fifteenth century. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 18 in the Elson collection.
Bibliography: De Ricci. Census, p. 1210, no. 13
Gradual with chants for the 3rd Sunday in Lent, beginning with the introit, In convertendo inimicum meum retrorsum.
Formerly classified as RBR Mss. C33G73 1300z
Gradual with the beginning of the introit (on the recto) and the beginning of the gradual (on the verso) for the mass for Easter Sunday. Parchment:; the upper half (?) of a leaf; 3 lines of text each with its 5-line staves of music. Written in a formal gothic book hand; on the recto, a line filler shaped as multiple small lozenges stacked one on top of the other. On the recto, square notation in red ink on 5-line red staves; on the verso, the notation is in black. The initial R (for Resurrexi) in parted red and blue with a narrow strip of blank parchment separating the two colors; blank parchment square boxes on the initial's red; elaborate red flourishing along the outer left and the outer right of the initial (but no infilling, or flourishing at top or bottom of the initial). One initial in blue with red flourishing the height of one line of text and one set of staves. Rubrics in red. Added in a noting hand on the verso, along the left margin, cropped: "//erna //te vetus //agdalene."
Written in Spain during the 16th century. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 16 in the Elson collection; that number on a small oval label in the upper left corner of the recto.
Bibliography: De Ricci. Census, p. 1210, no. 12
Formerly classified as RBR Mss. C33G72 1300z
Sequentiaries
Parchment; f. 1; 9 lines of text and music; the text written in a formal gothic book hand; the music in square notation on 4-line red staves, with the custos added at the end of the staves in a light, noting hand. One historiated initial, the height of 2 lines of text and music: the Virgin, seated on a cushion in a garden, with the baby Jesus (both with rosy cheeks) standing in her lap and reaching his arms up to her face; extending from the pale brown leafy initial, and across the upper margin, a vine with green leaves and clusters of colored berries; gold dots. The second sequence introduced by an initial of the height of 1 line of text and music in particolored red and blue, with infilling of light brown leaves, and with red penwork surrounding the initial on 3 sides (not the top). Alternating plain red and blue initials, the height of 1 line of text and music. In the mid outer margin of the recto, foliation in red roman numerals: CCXXXIX. Early foliation (?) in the lowermost right corner of the recto: xvi (but cropped?); early modern foliation (?) in the uppermost right corner of the recto: 7 (?).
Written in Germany (or rather, in a Germanic area, including Austria) during the 15th century. The book which contained this leaf has here been termed a sequentiary, although it could have been a gradual. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 12 in the Elson collection.
Bibliography: De Ricci. Census, p. 1210, no. 11
Sequences for Christmas Day (and other feasts) and for Easter.
Formerly classified as RBR MSS. C33G75 1400Z
Gradual, with, on the recto, sung parts of masses for Processus and Martinianus (2 July), the octave of Peter and Paul (6 July), the Seven Brothers (10 July), and on the other side of the leaf, parts of the masses for Apollinaris of Ravenna (23 July) and Felix II, pope (29 July).
Parchment; the lower part of a single leaf, constituting perhaps 1/2 of what would have been the full height of the leaf. Now with 5 lines of text, written in a formal gothic book hand. Each line of text is surmounted by a set of 4-line staves, of which one line is enhanced by a horizontal red line; this red line bears the letter "f" or "c" (?) on the far left at the beginning of the set of staves. Musical notation in Hufnagelschrift. The two introits are introduced by plain red initials of the height of 2 lines of both text and music; heavy red 1-line initials the height of one line of text and one of music; smaller 1-line red initials; initials the height of one line of text and copied in the same ink as the text, but highlighted by a red stroke along the length of a pen stroke; Elefantenr sel with some frequency and often adding a red vertical stroke to the initial; on the recto, one very elaborate letter S, the height of one line of text and of one set of staves in which the uppermost bar of the S is repeated upwards again and again in an ever-smaller set of curls with red dots and lines running through them and with a sketched profile of a monk (given his tonsure) attached to the left of the initial. Another similar profile attached to the left of an initial M on the verso. Along the left margin of the recto, a vertical dark stripe left on the parchment by the adhesive that held this fragment in place as a pastedown.
Written in Germany during the 14th century. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 8 in the Elson collection; see the oval label attached to the uppermost left corner of the recto.
Bibliography: De Ricci. Census, p. 1210, no. 8
Catholic Church--Liturgy--Texts--Manuscripts
Manuscripts, Medieval--Specimens
Manuscripts, Medieval--New York (State)-- Buffalo
Gradual, presumably for the common of saints: for apostles, for a confessor bishop, for one martyr, for one martyred bishop. Specifically, the leaf contains: at the beginning, two communion chants the one immediately after the other and both for, inter alia, the common of apostles; an introit for the common of a confessor bishop (Sacerdotes tui domine induunt iusticiam); chants for the common of one martyr; an introit for a martyred bishop (Statuit ei testamentum pacis et principem fecit eum).
Parchment; f. 1 but significantly cropped the length of one side and across the top; now with 11 lines of text and their 4-line staves of music. Written in a formal gothic hand with variously long red horizontal lines connecting syllables of a single word when the music called for stretching out the sound; the musical notation in Hufnagelschrift. One plain red initial extending the height of one line of text and one set of staves (for the introit, Sacerdotes tui); smaller initials in alternating plain red or plain blue; lesser initials in the ink of the text with Elefantenr sel along the left side of ascenders, and with single red lines along the same left sides of ascenders.
Written in Germany during the 14th century. De Ricci states that the leaf was formerly used as a wrapper for deeds, presumably in reference to the long vertical fold towards one edge of the leaf that is pierced three times as if to hold binding thongs. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. An oval label in the uppermost left corner of the recto, "No. 7, Elson Collection."
Bibliography: De Ricci. Census, p. 1210, no. 7
Formerly classified as RBR MSS. C33M52 1200Z
Manuscripts, Medieval--New York (State)--Buffalo
Gradual with sung parts of the mass from the end of the 8th through the beginning of the 10th Sunday after Pentecost; added between the lines at the beginning of the 9th and the 10th Sundays are the cues for the collect, epistle and gospel readings for those Sundays.
Parchment; f. 1; 10 lines of text with 3-line staves for musical notation in Hufnagel format. The ruled lines for the text and the music alternate lead, then ink (?), then lead, and so forth; the lines of the staves are marked at the beginning of each set of lines as C or F, or as G or C. Copied in an early gothic book hand that retains the use of ampersands for elegance; each letter copied independently of its neighbors; round r and round s where expected. Foliation in red roman numerals on the verso of the leaf, towards the middle of the page; here, cropped, "//vii." Major initials, equivalent to 2-line height of text lines (plus the necessary 6 lines of music) for the introits: on the recto, in red and green with leafy flourishes, and with a hand, with pointing finger, extending from behind the initial towards the text of the introit; on the verso, mainly in blue with the crossbar of the E in red; leafy flourished in red and blue; 1-line initials in red; rubrics, including references to folio numbers elsewhere in the book. Several short lines added at the end of one Sunday's service, and before the following Sunday with the spoken (not sung) incipits for the collect, and the epistle and gospel readings.
Written in Germany during the period between the late 12 and the early 13th century. In the upper left corner of the recto, later notes probably from the 16th and then the 17th (?) century showing that the leaf served as a wrapper for deeds. In the lower margin of the recto, in modern ink (?): No. 8. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 6 in the Elson collection.
Bibliography: De Ricci. Census, p. 1210, no. 6
Formerly classified as RBR MSS. C33M51 1100Z
Antiphonal, with the end of the night office for the feast of St. Paul (29 June) signaled by the rubric on the recto, "In III nocturno," and on the verso with the beginning of Lauds with the rubric, "In Mat. Laud.," for which see R.-J. Hesbert, Corpus antiphonalium officii (Rome: Herder, 1963-1979) vol. 1, and as an example of this type of book, no. 102b for Bamberg. The book from which this leaf was taken was intended for secular (rather than monastic) use, as shown by the three antiphons for the third nocturn (here, preceded by the responsories for the second nocturn; and then followed by the responsories for the third nocturn, and at the end, Lauds).
Parchment; ; f. 1; 22 long lines of text with the musical notation in neumes in campo aperto copied above each text line. Written in a pregothic script (no fusing of contrary convex curves and no round letter "s"; but also no "ae" or "oe" diphthongs; one cedilla'd e noticed). Rubrics in a dark red ink, and adjacent major initials in a reinforced ink of the text itself. Copied in Germany, or more carefully stated, in Eastern Europe, during the 12th century, as is shown by the shapes of the neumes; use of this book was certainly in a secular church (see note, regarding the text).
Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 5 in the Elson collection (his name and the number, on an oval sticker attached to the upper recto). Stamp of the library (as BECPL) in lower margin of the recto
Bibliography: De Ricci. Census, p. 1209, no. 5
Elson, Louis Charles,1848-1920