ABSTRACT
On the basis of codicological and biographical evidence, Part I of this study put forward the hypothesis that rés. 571 had been copied and eventually bound by André Pechon during two separate periods in his long career (the 1630s to 1640s and the early 1680s), although there was nothing to suppose that Pechon was the composer of any works other than the three attributed to him. In its own terms this hypothesis is attractive, but without verification it must remain merely that – a hypothesis. Part II will therefore attempt to relate the conclusions of Part I with the observable characteristics of the largely anonymous music found in rés. 571, and to provide a credible explanation which both accounts for these features and verifies the hypothesis of Part I.
