[The cataloguing project Musikalische Quellen (9.-15. Jahrhundert) in der Österreichischen Nationalbibliothek (Musical Sources (9th-15th Century) in the Austrian National Library), conducted by Alexander Rausch and Robert Klugseder at the Austrian Academy of Sciences, has made the Linz Fragments available online in high-resolution images. All links to the source including a preliminary inventory by Reinhard Strohm go to the homepage of this project. The image rights lie with Robert Klugseder who took the photos.]
Linz Fragment 29 features yet another textless piece, which in Reinhard Strohm’s preliminary inventory is listed under the title “Domine martine”, as a possible reading of the abbreviated incipit after the marking of the tenor voice.
The tenor line is almost complete and can easily be aligned with the end of the cantus line in a score. All the rest remains educated guesswork: No clefs, no key signatures survive and above this the fragmented bits of the contratenor voice are very difficult to insert into the proper places of the edition. The resulting edition, however, suggests that the piece was intended as a three voice composition. I assumed standard clefs for the surviving voices and introduced the accidental of one b-flat, which I believe solves the situation best.
PS: The piece has since been identified by David Fallows to be a transmission of “Dung plus amer”—for more information see the recent post: Linz Fragment 29 – Revisited.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.