Translation: The keys, time signatures, notes' values, accidentals and colourings are as in the manuscript.
Translation: Moreover Brahms clearly saw his work as the latest in a line of Protestant Requiems stretching back to Luther.
Translation: At the bottom of the preceding manuscript’s page is written. Sacred , Mass.
Translation: The keys, time signatures, notes' values, accidentals and colourings are as in the manuscript. tr92. Anonymous.
Translation: The keys, notes' values, accidentals and colourings are as in the manuscript. Anonymous.
Translation: Transcribed from the Trent manuscript tr88, the Tenor is taken from the Binchois ’ chanson “ Files a marier ”.
Translation: The coloured group containing minimæ are in “proportio sesquialtera”. XIII. Anonymous.
Translation: The notes' values, accidentals and colourings are as in the manuscript, the coloured notes are “hemiolæ”.
Translation: Glory. The coloured groups of notes containing minimæ are in “proportio sesquialtera”. Anonymous. A cappella.
Translation: Only God in the Hoh Kudos. The time signatures, notes' values and accidentals are as in the manuscript.
Translation: The notes' values within the "ligaturæ" are semibreves. Wind ensemble. Sacred , Motet. Language.
Translation: The keys, time signatures, notes' values, accidentals and colourings are as in the manuscript. Johannes Bassere.
Translation: To see the fac simile of the manuscript follow the external link below and click “Collections” tab. A cappella.
Translation: The three settings are. The Wind — about 2'4. All parts split except the tenors. The Moonchild — about 2'1.
Translation: The attribution to Brassart is not confirmed. The notes' values within the "ligaturæ" are as follows. John Brassart.
Translation: The time change near the end of the Superius. John Brassart. A cappella.
Translation: The notes' values within the "ligaturæ" are as follows. H. Beat. Secular , Motet. Language.
