WARD 1986 listed the first two motets of this cycle (cited only by their foliation, ff. 64v-66r) among the “possibile motetti missales cycles in the Gafurius codices” (p. 523, footnote 56). GASSER 2001 was the first to propose a larger, three-motet cycle. As the same author admits, however, the third motet has a different tonal type (p. 347). While this “may seem to throw out the possibility of a unified, tri-partite cycle”, Gasser observes that all three motets “share the same hexachordal identity of cantus mollis” and feature “similar musical techniques and a consistent approach to composition, including some potential thematic connections” (ibid.).
listed under "Motetti missales consequentes" as "Salve mater salvatoris gaffori | cum tota missa" (I-Mfd 1, index)
Identified as a cycle based on:
index of I-Mfd 1 (see Cycle rubric); consensus in the "motetti missales" literature
Number of voices:
4
Signature:
-
Clefs:
c1c3c4c4
Final:
G
Devotional / liturgical association:
BVM
Modern editions:
AMMM 5, 75-104; MCE 4; MM 1 (see the records of the individual motets)
Further notes:
All the component motets are in more than one pars. Second/third partes are not listed in I-Mfd 1, index (except for the 3a pars of Imperatrix gloriosa), do not have separate attributions, and are linked with “verte folium” and/or “custodes”.
AMMM 5, 119-124 (without "Eia mater"); GASSER 2001, 543-545 (for "Eia mater"); MM 1 (see the records of the individual motets)
Further notes:
GASSER 2001 was the first to include Eia mater in this cycle. According to ROSSI 2019B, 391-393, and MM 1, xxx, this cycle does not include Eia mater, and starts with the motet Verbum sapientiae (I-Mfd 1, ff. 98v-99r).
GASSER 2001, 553-563; MM 1 (see the records of the individual motets)
Further notes:
MM 1, xxx, xxii, adds to this cycle the motet "O beata praesulis" (I-Mfd 1, ff. 108v-109r), which shares motif links with the other motets. This four-motet cycle was first listed among "possible motetti missales cycles" by WARD 1986, 523, n. 56. According to MM 1, xxxii, this cycle has to be ascribed to Gaffurius for stylistic reasons.
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.
GASSER 2001, 604-617; MM 1 (see the records of the individual motets)
Further notes:
C24 and C25 share the same three motets, but in C25 (from I-Mfd [4]) they surround a Mass and the order is M089-M090-M091, whereas C24 (from I-Mfd 3) is a “standalone” cycle, and the order is M090-M089-M091. There is no attribution in either book, nor in ANNALI 1885 (the Imperatrix gloriosa attributed to Gaffurius there at 169 is not M089 but M016). As for the catalogue BERWIN-HIRSCHFELD 1892, 91, it is unclear whether the Mass in included in the attribution to Gaffurius, or M089 only is intended. EITNER 1900-04, IV, 122 indicates, however, that the Mass is indeed a Missa [super] Imperatrix gloriosa; WARD 1986, 497 seems to accept the attribution and extends it to the other two motets, followed by Bonnie J. Blackburn, "Gaffurius, Franchinus," Grove Music Online. Oxford Music Online (Oxford University Press), http://www.oxfordmusiconline.com/subscriber/article/grove/music/10477.
C24 and C25 share the same three motets, but in C25 (from I-Mfd [4]) they surround a Mass and the order is M089-M090-M091, whereas C24 (from I-Mfd 3) is a “standalone” cycle, and the order is M090-M089-M091. There is no attribution in either book, nor in ANNALI 1885 (the Imperatrix gloriosa attributed to Gaffurius there at 169 is not M089 but M016). As for the catalogue BERWIN-HIRSCHFELD 1892, 91, it is unclear whether the Mass is included in the attribution to Gaffurius, or M089 only is intended. EITNER 1900-04, IV, 122 indicates, however, that the Mass is indeed a Missa [super] Imperatrix gloriosa; WARD 1986, 497 seems to accept the attribution and extends it to the other two motets, followed by Bonnie J. BLACKBURN, "Gaffurius, Franchinus," Grove Music Online. Oxford Music Online (Oxford University Press), http://www.oxfordmusiconline.com/subscriber/article/grove/music/10477.
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.
AMMM 5, 13-14; 125-129 ("O Iesu dulcissime" missing)
Further notes:
WARD 1986, 506 proposes a “virtual” five-motet cycle including also M068 Accepta Christi munera. This hypothesis is accepted by ROSSI 2019A, 221-222, who, in MM 1, xxx, xxxii, further adds to this "virtual" cycle a sixth motet,Trophaeum crucis (Librone 1, ff. 31v-32r). See also the shorter cognate cycle C33a.
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.
MACEY 1989 proposed an extended and partially reordered cycle, including Josquin’s “little” Ave Maria and his Tu lumen, tu splendor patris. Elders discusses the hypothesis in the critical notes to the edition of the work in NJE (CC) 25.
