CMM 15.4 (O admirabile commercium); AMMM 13, 151-156 (O admirabile commercium); AMMM 6, 12-16 (Sanctus, from I-Mfd 2)
Further notes:
All movements have concordances elsewhere in the Libroni (for the Sanctus, see I-Mfd 2, ff. 35v-36r); therefore, it is possible to access the full score of the cycle in spite of the damaged state of the reference source (notice, however, the reworkings pointed out by WARD 1986, 512-515, and see the further notes to M103).
WARD 1986, 506, 508-515 proposes and discusses the reconstruction of a “virtual” five-movement cycle including two additional motets from I-Mfd 1, ff. 149v-151r.
Verse 1a and 1b of the sequence Ave Maria, gratia plena (Cantus ID 850309) quoted in transposition in the corresponding passages of T1 and T2 (alternating):
Typical recitation formula used in the passage "Ecce ancilla domini fiat mihi secundum verbum tuum", quote distributed between T1 and T2:
1--k--k--k--k--k--h----k--k--k--k--k--k--h---4
E.g. "Dominus vobiscum. Et cum spiritu tuo." (GT 820)
Verse 1a and 1b of the sequence In honore matris dei (which was sung on the tune of Sospitati reddit aegros) quoted in transposition in the corresponding passages of T1 and T2 (alternating):
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:
5
Length:
57
Signature:
-
Clefs:
c1c4c4c4f4
Final:
D
Music incipit:
..acafgf
.acafcdc
..acafag
......ac
acdafffd
Modern editions:
AMMM 13, 84-88; CMM 15.2; MCE 3.3
Further notes:
The shorter cycle C14a, whose three component motets (M071, M072 and M074) are concordant with motets in the present cycle, is attributed to "Loyset" in I-Mfd 1, index (see the record for fuller details). Therefore, the present motet has been unanimously attributed to Compère as part of C14b: see for instance FINSCHER 1964, 92.
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:
5
Length:
40
Signature:
-
Clefs:
c1c4c4c4f4
Final:
A
Music incipit:
dddcffga
addedcba
dfgaaagf
dfga...a
dbbaddgd
Modern editions:
AMMM 13, 94-97; CMM 15.2; MCE 3.5
Further notes:
Cycle C14a, whose three component motets (M071, M072 and M074) are concordant with motets in C14b, is attributed to "Loyset" in I-Mfd 1, index (see the record for fuller details). The present motet has been unanimously attributed to Compère as part of C14b: see for instance FINSCHER 1964, 92.
At the end of the bass part there is a "verte folium" rubric pointing to the next motet (M076); moreover, the present motet ends with breves, whereas all the other motets in the cycle end with longae: GASSER 2001, 310 therefore considers M075 and M076 as one motet for the Sanctus-ad elevationem-post elevationem complex.
2nd phrase of verse 1 of the sequence Mane prima sabbati (Cantus ID ah54143) quoted in T1 (passage "ave lumen luminum"):
1--f--d--f--c--f--e--d--4
"surgens dei filius" (ibid.)
3rd phrase of verse 1 of the sequence Mane prima sabbati (Cantus ID ah54143) quoted in T2 (passage "ave stella praevia"):
1--f--g--h--g--f--e--d--4
"nostra spes et gloria" (ibid.)
1st phrase of verse 2a of the sequence Mane prima sabbati (Cantus ID ah54143) quoted in T1 (passage "castitatis lilium"):
1--h--g--f-e--d--g--g--a---4
"Victo rege sceleris" (ibid.)
2nd phrase of verse 2a of the sequence Mane prima sabbati (Cantus ID ah54143) quoted in T2 (passage "consolatrix omnium"):
1--h--g--fe--de--f--e--c---4
"rediit ab inferis" (ibid.)
3rd phrase of verse 2a of the sequence Mane prima sabbati (Cantus ID ah54143) quoted in T1 (passage "peccatorum venia"):
1--e--f--d--e--c--d--d----4
"cum summa victoria" (ibid.)
Number of voices:
5
Length:
53
Signature:
-
Clefs:
c1c4c4c4f4
Final:
D/D
Music incipit:
fegfgfff
fgddcdda
acbagaaf
acbagaa.
dcgdeddd
Modern editions:
AMMM 13, 98-103; CMM 15.2; MCE 3.6
Further notes:
Cycle C14a, whose three component motets (M071, M072 and M074) are concordant with motets in C14b, is attributed to "Loyset" in I-Mfd 1, index (see the record for fuller details). The present motet has been unanimously attributed to Compère as part of C14b: see for instance FINSCHER 1964, 92.
At the end of the bass part in the previous motet (M075) there is a "verte folium" rubric pointing to the present motet; moreover, M075 ends with breves, whereas all the other motets in the cycle end with longae: GASSER 2001, 310 therefore considers M075 and M076 as one motet for the Sanctus-ad elevationem-post elevationem complex.
1st phrase of verse 4 of the sequence Veni sancte spiritus (Cantus ID ah54153) is quoted in T2 (passage "tu nostrum refugium"):
1--k---k---j-h--j--k-j---h---g---4
"Flecte quod est rigidum" (ibid.) See MACEY 1996, 171.
2nd phrase of verse 4 of the sequence Veni sancte spiritus (Cantus ID ah54153) is quoted in T1 (passage "da reis remedium"):
1--h---h---fe--f--gf--e--d---4
"riga quod est aridum" (ibid.)
last phrase of verse 4 of the sequence Veni sancte spiritus (Cantus ID ah54153) is quoted in T2 (passage "procul pelle vitia"):
1--e---g--h--g--k---jh---h-----4
"sana quod est saucium" (ibid.)
Number of voices:
5
Length:
44
Signature:
-
Clefs:
c1c4c4c4f4
Final:
D
Music incipit:
.dafegfe
dcbadcbc
..daagac
...ccafg
dagfdaed
Modern editions:
AMMM 13, 104-107; CMM 15.2; MCE 3.8
Further notes:
Cycle C14a, whose three component motets (M071, M072 and M074) are concordant with motets in C14b, is attributed to “Loyset” in I-Mfd 1, index (see the record for fuller details). The present motet has been unanimously attributed to Compère as part of C14b: see for instance FINSCHER 1964, 92.
First half of verse 1 of the sequence Virginis Mariae laudes (Cantus ID 850309) quoted in T1 (opening):
1--dd--c--d--f--g--f--e--d---4
"Virginis Mariae laudes"
(GOEDE 1965, No. 73)
Second half of verse 1 of the sequence Virginis Mariae laudes (Cantus ID 850309) quoted in T2 (opening):
1--h--g--f--g--f--e--d---4
"intonent christiani."
(GOEDE 1965, No. 73)
First part of verse 2a of the sequence Virginis Mariae laudes (Cantus ID 850309) quoted in T1 (second phrase):
1--h--k--l--h--g--h--h---4
"Eva tristis abstulit"
(GOEDE 1965, No. 73)
Second part of verse 2a of the sequence Virginis Mariae laudes (Cantus ID 850309) quoted in T2 (second phrase):
1--h--g--h--g--f--e--d---4
"sed Maria protulit"
(GOEDE 1965, No. 73)
Last part of verse 2a of the sequence Virginis Mariae laudes (Cantus ID 850309) quoted in T1 (third phrase):
1--f--g--d--f--d--c--f--f--e--d----4
"natum, qui redemit peccatores."
(GOEDE 1965, No. 73)
Number of voices:
5
Length:
65
Signature:
-
Clefs:
c1c4c4c4f4
Final:
D
Music incipit:
dedfgagf
abcbagfe
dcdfgfed
...agfgf
dadgcdab
Modern editions:
CMM 15.2; AMMM 13, 108-112
Further notes:
Cycle C14a, whose three component motets (M071, M072 and M074) are concordant with motets in C14b, is attributed to "Loyset" in I-Mfd 1, index (see the record for fuller details). The present motet has been unanimously attributed to Compère as part of C14b: see for instance FINSCHER 1964, 92.
WARD 1986 considers this a concordance for Compère’s O genetrix gloriosa (WARD 1986, 499, 506; edited in CMM 15.4 after MotettiA, ff. 4v-6r, but contained incompletely in three Libroni: I-Mfd 1, ff. 149v-150r, 2nd part; I-Mfd 2, ff. 36v-37r, 2nd part; and I-Mfd 3, ff. 51v-52r, 1st part). This piece is however not a real concordance for O genitrix gloriosa, but rather a cognate setting of a partially concordant text, with substantial musical similarities.
The textually similar passage of the antiphon Sancta Maria succurre miseris (Cantus ID 004703) displays similarities with the C in the passage "sentiant omnes tuum iuvamen
quicumque celebrant tuum natalem":
