AMMM 11 and the facsimile edn. of I-Mfd 2 propose a five-motet cycle comprising M039, M043, M044, M035, and M036; the corresponding rubric reported in AMMM 11, iii as present in the manuscript index derives, on the contrary, from an editorial annotation in SARTORI 1957, 48.
AMMM 11 and the facsimile edn. of I-Mfd 2 propose a five-motet cycle comprising M039, M043, M044, M035, and M036; the corresponding rubric reported in AMMM 11, iii as present in the manuscript index derives, on the contrary, from an editorial annotation in SARTORI 1957, 48.
WARD 1986, 507-508 proposes the reconstruction of a “virtual” seven-motet cycle combining motets from the present cycle and C37b.
LINDMAYR-BRANDL 1992 and PAVANELLO 2009 have proposed to discard M140 (whose attribution to Gaspar is doubtful) from the cycle on textual and stylistic grounds.
This motet possibly quotes pre-existing material, but it can not be linked to any Cantus prius factus with a corresponding text.
Number of voices:
4
Discography:
Compère: Missa Galeazescha: Music for the Duke of Milan. Odhecaton, Paolo Da Col, Arcana-Outhere, 2017.
Length:
77
Signature:
-
Clefs:
c1c3c4f4
Final:
A
Music incipit:
agcbag..
eecgeebc
abadcb.g
aefgaeee
Modern editions:
CMM 106.4; AMMM 11,4-7; DRAKE 1972
Further notes:
Additional concordances in mss. that do not transmit motet cycles: I-Pc MS A.17, ff. 156v-157r; I-VEcap MS DCCLVIII, No. 9, ff. 19v-20r; ZA-Csa 3.b.12 (“Codex Grey”), No. 67, ff. 107v-108r.
Concordances in mss. that do not transmit motet cycles: B-Br MS 228, ff. 47v-48r; CH-SGs MS 463 (“Tschudi Liederbuch”), No. 102; E-Bbc M 454 (“Cancionero musical de Barcelona”), ff. 130v-131r; I-Fn MS Banco Rari 229, ff. 161v-162r; I-Fn MS Magl. XIX.178, ff. 72v-73r; PL-Wu 5892 (olim 2016), ff. 10v-11r; US-Wc M2.1.M6 Case (“Wolffheim Fragment”), ff. 86v-87v.
"Begirlich in dem Hertzen min mit rechter lieb in stetigkeit" (DIERGARTEN 2017, 79-83)
Number of voices:
4
Length:
55
Signature:
b
Clefs:
c1c3c4f4
Final:
G / G
Music incipit:
.....gdd
gddgffgb
......gd
.gddgffg
Modern editions:
AMMM 11, 28-31; CMM 106.3; MCE 5.5
Further notes:
Elevation motet (2a pars).
The versions in I-Mfd 1 and I-Mfd 2 correspond, but for the text incipit (I-Mfd 2 skips the first line of the Marian antiphon and repeats “Ave domina angelorum” instead).
Additional concordance in a ms. that does not transmit motet cycles: B-Br MS IV.922 (“Occo Codex”), f. 4r (only the section O salutaris hostia). In B-Br MS IV.922 there are only four fermatas in C and T and three fermatas in S and B (http://depot.lias.be/delivery/DeliveryManagerServlet?dps_pid=IE7950914). According to DIERGARTEN 2017, 82-83, "it suggests that the presence or absence of fermatas in note-against-note settings is a question of notational preference, unstable in the transmission process, and not a question of style". At m. 55 (CMM 106.3, p. 11) the Contratenor is different in the three sources (I-Mfd 1, I-Mfd 2 and B-Br MS IV.922). See also CMME: http://www.cmme.org/database/pieces/110 (edition and commentary of the piece).
The passage "Ave corpus domini ... mundo dixit vale" possibly quotes pre-existing material, but it can not be linked to any Cantus prius factus with a corresponding text.
Number of voices:
4
Length:
84
Signature:
b
Clefs:
g2c2c3c4
Final:
G / D
Music incipit:
...gabce
.defgfdc
..gabcde
defgabgc
Modern editions:
AMMM 11, 58-63; CMM 106.3; MCE 6.5
Further notes:
Elevation motet (2a pars).
“Verte folium” (I-Mfd 1) or “verte folium” and “custodes” (I-Mfd 2) to next motet (O Maria clausus hortus); consequently GASSER 2001, 285-286 considers them as one long motet consisting of three partes.
