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Historical anthology of
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Davison, Archibald T
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Archibald T.
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HISTORICAL
ANTHOLOGY OF MUSIC
Oriental, Medieval, and Renaissance Music
Antholoey
Historical
OF
'MUSIC
BY'
ARCHIBALD T. DAVISON ^nd wIUI APEL
ORIENTAL MEDIEVAL
,
and
RENAISSANCE MUSIC
REVISED EDITION
HARVARD UNIVERSITY PRESS

CAMBRIDGE, MASSACHUSETTS
Copyright 1946 and 1949

By the President and Fellows of Harvard College
Twelfth Printing, 1974
ISBN
0-674-39300-7
Printed in the United States of America
PREFACE
T|HE
query
is
sometimes raised
as to
why,
why
there
is
.uuhologics of music; and
in
view of
their
acknowledged value, there are not more
not at least one which
may
be said to be truly representative
one which puts before the reader a reproduction of the material free from those compromises which seem to be an inevitable feature of such compilations. Best qualified to answer this
question are those who have attacked the problem actively and who know from experience that the flawless
in scope, or
m which lifetimes are at least twice as long as those

knowledge is boundless, where financial caution is unknown, where human error is
non-existent, and where publication is the plaything of idealists. Proceeding under such limitations as at
present exist, the editors of a work of this kind must, to the best of their ability, attempt to realize two objectives: first, the compilation of a body of music which, by itself and without regard to any practical usefulness, represents a comprehensive survey of the music of any given period; and second, the selection, where
choice is possible, of material which will prove profitable to the most varied types of musical interest. The
editors have striven to attain these two objectives, and again with due regard for inescapable limitations
they hope that in the main they have succeeded. If their ambitions have been realized, this volume should
anthology of music belongs to that imagmary world
we now
enjoy, where
prove useful alike to the musicologist, the amateur, the practical musician, the student, and the teacher; and
as it illustrates the styles, idioms, and technical procedures typical of the periods represented, it should find
ready place as a textbook in courses in music history such as are offered
There
modern
is
in colleges
and conservatories.
amount of music which the editors believe has not heretofore appeared in
Much, but by no means all of this, is drawn from the medieval period; and some of it,
been previously transcribed. A goodly portion of this "new" material is to be found in the
here a considerable
notation.
certainly, has not
music of the twelfth
to the fourteenth centuries, a period of the greatest significance, especially to
students of music history. In view of Dr. Apel's experience in the medieval field
assume final responsibility

work. These illustrations,
it
was agreed
advanced
that he should
and the above-mentioned transcriptions are entirely his

which will be generally unfamiliar, were not chosen for their noveltv.
They were included because they seemed most representative.
for the music in that section,
like others
In the highly controversial matter of editorial accidentals the editors have adopted the practice, ncrw'
more and more
into general acceptance
reticence in this detail has been
they see
among
scholars, of
employing the utmost
reserve.
Those who
coming
feel that
overemphasized may, of course, deal with the question of the accidentals
as
fit.
Foreign
texts arc translated,
has, in general,
meaning
many
of
them quite
literally.
Such virtue
as
been consciously forsworn through the conviction that
of each foreign
word
is
might be claimed
in a
work
for the paraphrase
of this nature the exact
more valuable than a statement of the approximate meaning of a whole

some of the translations may at a first reading appear baffling; but when
we hope, will become clear. There is a brief commentary for each number,
passage. Thus, taken by themselves,
referred to the original their sense,
with reference
to the source of the selection.
Reference will be found to phonograph records of a number of the selections. In order to supply these the
editors had recourse to the usual sources of information; but being aware of the rapidly changing catalogues of
phonograph companies, they make no pretense to thoroughness in this department of the work.
Furthermore, they have not even heard a measurable proportion of the records cited and they therefore wish
to disclaim any responsibility for the value of this feature. If the records are found to be useful, that will
the various
certainly justify their mention.
The
agreement from the outset as to the principles which should govern the selection
Each piece must be a complete composition or a whole movement from a larger work, as for
the Agnus Dei from a Mass or the Secunda Pars of a motet. Each selection must illustrate something
editors have been in
of the examples.
instance,
And underlying the whole procedure of choice has been the conviction
no music should be offered, regardless of its historical or technical fitness, which could not lay claim to
consideration on grounds of artistic significance. Such slight departures from these principles as have been
historically or technically important.
that
VI
made represent no more than compromises inevitable in a volume

The first compromise an obvious one and so necessary as to
normal limitations of
subject to the
be a compromise in
name
space.
only, concerned
the reduction of scores to practical, readable size. Vocal scores of six or eight staves, orchestral pages of ten or
twelve,
may
present no difficulties to the expert musician; but for the average student they
volume such
as this relatively useless.
The prime requirement
is,
of course, that
all
would render
the notes of any selection
and after that, that the music shall be available for as many grades of reading ability as possible.
But reduction unquestionably raises a difficulty; for it sometimes yields a bewildering array of stems which
are necessary for keeping clear the progress of several voices written on the same staff. Only where the persistent
use of the correct stemming would have produced a quite unreadable result, notably in certain passages of
No. 157, have the editors been willing to compromise with necessity. The editors feel that, under almost any
conditions, difficulties due to stemming are not comparable with those imposed in the reading of a full score.
Furthermore, to have issued the selected material in open score would have confined a comparatively small
shall appear;
segment of music history
to
single
volume and would have swollen
the whole
work
to a library of
encyclopedic proportions.
In the vocal pieces
it
has seemed the part of
which they belong

of reduced scores, where
notes with the syllables to
wisdom
is
to avoid repeating the text
self-evident.
And
this
whenever coincidence of the
has seemed a particularly desirable
to have included every word would have needlessly cluttered

compromise in the case
complication.
In
spite of conscientious effort, no uniform system for indicating
of
not
innocent
already
page
up a
we
word-omission has proved practicable, but
all
believe that such devices as the brace to indicate the use of the
by two adjacent voices and successive dots to signify text-repetition will be found sufficiently clear. In
cases the editors have employed abbreviation of the text only where, they believe, ambiguity is impossible.
A compromise which dictated the use of expert copying instead of the customary printing process is one
same
text
which may bring some objection. Printing

the opinion of the editors
its
superiority
permits the sale of the volume
is
is
doubtless
more satisfactory, but it is also more expensive; and in

marked to offset an advantage to the purchaser which
not sufficiently
at a relatively
low
figure.
All compromises with the exception of the last-mentioned have been of an entirely practical nature; that
is,
they represent an effort to avoid visual complication and thus facilitate the reading of the score. In attempting
to achieve this end, however, the editors have occasionally found themselves unable to employ an entirely
method of notation. Where three voices occupy a single staff, for instance, the voices absent from any
one measure will be accounted for by separate rests; where all the voices are silent, it has been thought
that one rest would prove an adequate substitute for three.
As the work progressed the editors have become convinced that adherence to the principles upon which the
project was founded would necessitate the distribution of the material through two volumes rather than one,
consistent
as originally planned: the first
volume
to include Oriental,
Medieval, and Renaissance music; the second,
now
work into two volumes, while it has

solved one major editorial problem, has in no sense destroyed the persistent dilemma of what to choose and
what to omit from an initial list of very measurable proportions. The question has never been one of finding
enough illustrative material, but rather of deciding what, regretfully, must be left out. As a practical reinforcein preparation, to
continue to approximately 1800. Even
so, division
of the
Anthology the authors have in mind the writing of a history of music and the issuing of records,
both based upon the contents of this volume and the one to follow.
A grant from the William F. Milton Fund of Harvard University has aided the editors substantially in
assembling the material; and for this they are deeply grateful. Another financial contribution, no less gratefully received, has been made by the Carl Schurz Memorial Foundation, Philadelphia. Hearty recognition is
offered for the generous assistance of those who have contributed much of value to this volume. Among
them are several to whom we are indebted for music which is the fruit of their own research. Following is
ment
to the
of these, together with the
list
numbers they supplied us: Dr. Armen Carapetyan, No. 113; Professor Edward
No. 66; Professor Alfred Einstein, No. 158; Mr. Elmer Olsson,
numbers has been
71; Mr. Alfred Zighera, No. 176. Advice regarding the selection of certain
Sutherland, and
Gordon
Mr.
Bukofzer,
F.
received from Professor Alfred Einstein, Dr. Manfred
Lawton, No.
Nos. 67 and
gratefully
161; Professor Oliver Strunk,
Mr. Siebolt Frieswyk.
The bulk
of the translating was done by Mr. Benjamin Bart, Teaching Fellow in Romance Languages in
translations were generously supplied by the following, all of Harvard University:
Harvard University. Other

Professor
Yuen Ren Chao, No.
2;
Professor Walter E. Clark,
No.
4; Professor
Harry A. Wolfson, No.
8;
Vll
Werner
Jaeger, No. 7; Professor William C. Greene, No. 6; Professor Taylor Starck, Nos. 20, 24, 60,
and Professor George B. Weston, Nos. 47, 49, 54. 91, 95, 96, 125, 130, 131, antl 160. For the translation of No. 22a we are indebted to Miss Caroline B. Bourland of Boston; and to Miss Isabel Pope of Cambridge for translations of Nos. 22b, 22c, 97, and 98.
Too much cannot be said for the skill and devotion of Mr. Alfonso Pasqualc of New York, on whom fell
the responsibility of making all the final copies, with the exception of five which are the work of Mr. John Scabia
Professor
81, 87, 93;
of Boston.
During the
which have been occupied with the preparation of
years
constantly aware that
number
all their
of hands through
ambitions could not be
this
volume the
editors have been
have they feared that considering the

the course of its preparation the hope of bringing
fulfilled. Especially
which the manuscript must pass
in
out a volume in which every note and every word should be presented with undeviating accuracy
They
to be realized.
will not be surprised, but they will
Whatever opinion may be held of the

educational or
many
artistic value,
it
may
be grateful,
validity of the contents
if
readers will inform
from the standpoint
them
is
not likely
of errors.
of inclusiveness, or of
be said sincerely that the editors have tried conscientiously to balance the
to avoid what appeared to them to be

same time, added what they believe to be some
features of positive value. Nor have they accepted the necessary compromises without trying to wring from them
what virtue they could. Their ablest apologist is, of course, the music itself. For that no excuses need be made.
factors involved,
and
to select
and
reject accordingly.
Endeavoring
the shortcomings of previous anthologies, they have, at the
Cambridge, Massachusetts
For the
December 1945
j^
'Y
editors,
D.
PREFACE TO THE REVISED EDITION

The
musical material contained
in the first issue of
remains intact with one exception: No.

place have been substituted Nos. 76a
translation of
No.
first
volume the
table feature of the initial printing of a
book
of the Historical
Anthology of Music here
76b.
We
are grateful to Father Alex.
J.
Denomy,
its
C.S.B., for the
76a.
In the preface to the
of the
and
Volume
mistakenly ascribed to Obrecht, has been withdrawn and in
76,
to notify
them
editors forecast that fair percentage of errors
music
of any mistakes
collection.
At the same
which
an almost
inevi-
humbly besought
users
to that request has
been
time, the editors
which might be discovered. The response
most generous, and the editors wish to express their thanks to the following
who
is
have been especially help-
Margaret Dewey, Western College, Oxford, Ohio; Charles Warren Fox and
his seminar at the Eastman

York; Charles Goodman, Grace Church Rectory, Y'antic, Connecticut;
A. Tillman Merritt, Harvard University, Cambridge, Massachusetts; Daniel Pinkham, Boston; Robert
ful:
School of Music, Rochester,
Tangeman,
Juilliard School of Music,
This revision represents

sincerely
New
hope that readers
much
New
closer
will apprise
York
City.
first edition, and the editors
which should be made in subsequent
approach to accuracy than did the
them
of any further changes
printings.
Cambridge, Massachusetts
September 1948
For the editors,

A. T. D.
CONTENTS
CHAPTER
ORIENTAL AND GREEK MUSIC

hem Number
Section
Oriental Music
Page Number
i-6
....
7-8
....
9-16
....
10
i7~24
....
14
25-29
....
21
30-39
30
40-41
....
42
42
....
44
Chinese; Japanese; Siamese; Hindu; Arabian; Jewish
Greek Music
Greek; Byzantine
CHAPTER
II
EARLY MEDIEVAL MUSIC

(400-1300)
Liturgical
Monophony
Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences
Religious and Secular
Monophony
Latin Lyrics; Troubadours; Trouveres; Minnesingers; Laude; Cantigas; English Songs; Mastersingers
Early Polyphony
ParalleLOrganum; Free Organum; Melismatic Organum; Benedicamus Domino: Plainsong, Organa, Clausulae, Motets; Organum
Thirteenth-Century Polyphony
Clausulae;
Organum; Motets;
Petrus de Cruce;
Adam
de
la
Halle;
Trope; Conductus
Thirteenth-Century Dances
CHAPTER
III
LATE MEDIEVAL MUSIC

(1300-1400)
English
Sumer
French
Roman
Is
Icumen In
de Fauvel; Guillaume de Machaut; Jacopin

Cordier; Guillaume Legrant
Selesses;
43-48,56
45,60
49-55)59
52,63
Baude
Italun
Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze;
Francesco Landini; Johannes Ciconia; Dances
X
hem Number
Section
English
School of Worcester;
Number
Page
6i
....
64
61-64
65
65-72
....
70
73-78
....
76
79
....
83
80-84
....
84
85-86
....
89
89-98
...
91
57~58
Organ Estampie
German
60
Oswald von Wolkcnstein
CHAPTER
IV
EARLY FIFTEENTH CENTURY

English
John Dunstable; Lionel Power; Damett
French
Guillaume Dufay;
Gilles
Binchois;
Arnold de Lantins;
Hugo
de
Lantins
CHAPTER V
LATE FIFTEENTH CENTURY
Flemish
Johannes Ockeghem; Jacob Obrecht
French
Loyset
Compere
German
Heinrich Finck; Conrad Paumann; Glogaucr Liederbuch; Adam
borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter
Ile-
English
Song; Robert Cornysh; Cooper
CHAPTER
VI
EARLY SIXTEENTH CENTURY

Vocal Compositions
87,
Heinrich Isaac; Josquin des Pros; Pierre de la Rue; Paulus Hofhaimer;

Giacomo Fogliano; Bartolomeo Tromhoncino; Jusquin d'Ascanio;
Canto Carnascialesco; Millan; Juan Enema
Instrumental Compositions
99-105
106-114
108
115-124
120
88,
91, loi
Heinrich Isaac; Joanambrosio Dalza; Francesco Spinaccino; Arnoit

Schlick; F. de la Torre; Hans Week; English dompe; French pavane;
Hans Neusiedler
Vocal Compositions
Antoine de Fevin; Clement Janequin; Thomas Stoltzer; Ludwig
Send; Johann Walter; Arnold von Bruck; John Taverner; Adrian
Willaert; Nikolaus Gombert
Instrumental Pieces AND Lute Songs

Girolamo Cavazzoni; Silvestro Ganassi; John RedLuis de Milan; Luis de Narvaez; Miguel de Fuenllana; An-
Adrian Willaert;
ford;
riquez de Valderravano
XI
Section
Item
Vocal Compositions
Clemens non Papa; Claude Goudimel; Claude
Page Number
Number
125-132
I33~i37
138-139
134
Jeune; Thomas
Tallis; Cristobal Kforales; Costanza Festa; lacob Arcadclt; Cipriano
do Rorc; Louis Bourgeois
Ic
^44
Antonio dc Cabczon; Andrea Gabrieli; Claude Gervaise
Vocal Compositions
Claude
le
149
Jeune; Francisco Guerrero
CHAPTER
VII
LATE SIXTEENTH CENTURY

Vocal Compositions
Giovanni
140-152
...
152
153-154
168
155-172
173
189, 198
Orlando di Lasso [Keyboard arrangement,

Philips); Jacob van Werth; Philipp de Monte; Guillaume Costclcy;
Jacobus de Kerle; Tomas Luis de Victoria; William Byrd; Giovanni
Maria Nanini
Palestrina;
Claudio Merulo; Nicolaus Ammerbach; Giovanni Picchi
Vocal Compositions
Luca Marcnzio; Jacob Handl; Giovanni Gabrieli; Giovanni Gastoldi;
Thomas Morley;
Felice Anerio; Carlo Gesualdo; John Danyel; John
Dowland; Hans Leo Hassler; Gregor Aichinger; Michael Praetorius;

Melchior Franck; Thomas Tomkins; Thomas Wcelkes; Orlando Gibbons
167b, 173-181
Michael Praetorius; Giovanni Gabrieli; Giovanni Macque; Florentio

Maschera; Thomas Tomkins; John Munday; John Bull; Orlando Gibbons; Jean Titelouze; Jan Pieterszon Sweelinck
COMMENTARY AND TRANSLATIONS

Commentary, with Notes on the Sources
213
Translations of the Literary Texts
239
Oriental, Medieval, and Renaissance Music
Ancient and Oriental Music
I.
I.
a.
Entrance
Hymn
for the
Chinese
Emperor
looo B.C.
c.
5Un
'
,
J
|
IVumt And Wood

b.
..
J J It
blocUs
t J
>
Jt'iJn
t J
|J
Jt Ji J t
Jn
JiJ iJ Ji Jt
J J
n T
j
Instrumental piece for flute and guitar
J|
Modern
tf^
^p
p^
r
h^
e=i
m ^m m
jtji j]j
|
j]
J j
p-i
îjtu
tp
r^'f Jlff^r k
pp^
^^
f^
#ff
2..
'
'^
-'
^3
Japanese
Accompanied song
^m
m^m
ta-
w^^^
6^
i pp
3.
Kham Horn
BcU chimes
(Sweet Words)
1
Siamese
Orchestral piece
'
<}
;>
[J
1^
^^
-^^
"
-^-
'
Wn
j-
.^^^
T lags Jrn^
^â
EdWtf5-r
W
J
n=f
^cr;.:r'
s;Sj'
s L-mygg
M JS*'i--Jt-
tftf.^^
mmrniir^
r^n
jjfflpffi.j^
w r
f^^^
mclto rtt-4fiiarulo
4-
J
,
fi4^l
P âiT
Hindu
4-
Saman:two
1.
2.
From
From
versions
the ancient notation.

a phonographic recording.
thr time*
iiUuUi^jj,
ha-u.ha-u
Ka-
^'j
aj-ya-do-han[-ina]
t*
a- ra- tim pr-
va-
inur-ihl-nan-<li-i
jU j^^--U
iJJ^'i^Jj,
^fftf
ja-ta-ina-gnvm[-a]
a-
V--
JJJ
i jjj.
'
Mn-nakin- trS-an ja-na-
i*-taa
vais-va-ru-ram[-a]
'i
wta.-tt thin ja-ni- nam ta]
ja
ka- \n.-[in-9sam-t5
tltii-)ia[-K]
-o
yat-ta, de-vaf-lv3
twice
eM
iu iui'
^ iui
i
J-44ijjj
-0-
-m- -0-
-9^
-m-
ha-u ha-u ha-u
aj-ya-ctj-kimftna] Ij-ya-cLj-
'j.
Ha-
iu i J
'
j j^'^Ji^.gi. j7
va
J-
^J Ui J-j. JJJ3
aj- ya- (lo-kam[-ma]c
ai-ya-dfl-ha-
ha-
5.
yn.
ham-mi
r.^
Arabian
Popular song
i-^riii innadi hadiek
elwardu jtnha-tez.
't<ia
heHnmastm*
<|aa-^
waMtmsu
<llc
walru^nu. jtrtdaivL
Uk wamAlqdtner
V
tiibahe za-ma/
wa
'abcdiU
/(.Two
sajjadt
"ta ja
ilmilik
li câblckwa
t>a-d<rt4"
i\n^lT^4^JMr
Drum.
\i
^. ;
fi-am
9^
S^
rua-
ri.
za
wissa-
'a-
i/
J-
vn- ta
wnbcna- wl- ta- ja
ja tftbtfna-
la
i'i
-i
i
zcr-
yJ
S^ t
j^^^f^
Ba^Y^F*
Tînc.
^
la
"t*
Z42r-
'a-
S ^#^
web- na
tu
za-
M?t-
J
ii-'ar
ta-ja
^-5^
~s
iA
y*'
U'aUs-
t'amiU faI
~t
rjirjJ
ha
i
>^
r*
hi-
tiib
7 7
m s^^
dir-
7 -y-
%_^
--^
m ^3 m^
^ Jj;jLirî jn~|j^j
jj
mi-
tl
7 y
bin.
Jul-
m^
>1j
ji
ja. TftPte
1 J^^
y * y
W.
HI
ml ak
JAmmjLjam
J*
y
^y
.uu.
y'T
mi-tnn. iul-
lr'-,j',
^yi'yJ'y
iomnu.
um-
with new ttfvt-
6.
a.
b.
Jewish
Accents (Ta'amim), Syrian
Syrian intonation of the Pentateuch

*.
AUs-ju-rii
t-
mde
-^
teliol z.i^n(
haf-pa-5a)i. Ulq/tlt-tenv
.1-
jiera-el
uMj-jom<ra-Uheiit,int'{e-|ui.
aj-ûdai^
e-zoV
]iima-zu-2ot minhaAdaui a.-irbissa
c'.
wc-ai-iem,
ut'-balt^nt
\a tt-'sc-u,
tu-hu Utwatfion
IfmtS-M-tufeehcin
KMSdlU'^
bajJ<iamiiMrbasMf Htug-dd.-tmlhaniRidS^ u-l 4e-i
tl
miê-tah. bete ad booer.
Ledovid boruh (Psalm 144): four versions

1.
Spha\lic
C Oriental)
fytmii
Jijjt
2. Se|7ltArdic ( Ccndon.)
5.
'^.
AsHkeixaxtc (Contmetti^^l)
AftHUenixit (Condon)
|'^v
JJJ'j'W^îg' ffr
le-do-vidboruka-do-nojisu-
rv
ham-
la- nuzd
f}W^r fr^^
-^\r
jo-daj laluw et-lw-o-
ssaj
la-mil- jumto
p
Hasdi
um-tsu-
Fr^
do-si
Greek
7a.
First
Hymn
Delphic
c.
138 B.C.
A
'
Jfc-MyHi' He-
\ih
I*.
U-
P.
tu>-
na tu-thy- tW-irun
>
Mo-U-te sytt-o- mil-men hi-na
\^^
r *
hai.
-P
PtKn-oi-bott
>
o-
{a.-
chc-ia
Di-os
J^^
(la- ei-- sirv
met-
e- ri-
]7se- tc
btv- nuju-mi
l
I
chw-
thy-ga-trcs cw-
o-
le-nol.
^^^ll* y=^^
sc-
o-tto-mjin.,
Hos a-na
lii-ko-
Seikilos
c.
Sons
^hsi-nou.me-denho-lo-os sy
Ho-sonzes
ist
8.
Ode
a.
bro-
^J
Hym-nou-
ta
tri-bon
<l0-xa-
toift
Hymn
b.
o-li-aon a-es-H
ta- lo6he dnro-ncsa-val-tii-ci.
Byzantine Chant (13th Century)
M-ten
zo-
|>o-lon. tl.-th-6>n
he-mttv,
hen Uaf ou- l-
n.
i-
sort
te
fia.-
tri
kal
men.
from the Octoechos
men ton
he- m-ra
F4î^^c;p
o-t-ra,
a+t -
11.
t#(t
t,,
ck
teft
iiif'^ J rrp
pir-ttw-tiou ar- Iw- ttiawta,
dc-tou- ntc-nos tw-muv
to
ma-aA
lii'
lu-maaar
ff i'u^'^' is
- itsu-ro-
iha
kai te
i
trt-
a- la- o*.
Early Medieval Music (400-1300)
Monophony
A. Liturgical
9.
a.
io z^-an, to
AD
for Christmas
l(o-re*
ek
ly- you-ou..Vro&
century
Ambrosian
Hymns
Aeterne rerum conditor: three melodies

1.
ti..,
'
'
'
.
*-
JS_
^^
A-ter-ti
*^ '
I :'=E
K-nun. am-<litor, Hoctcin
1
(ii.-em.-c]ue <}ul
re- gia,
10
tem^- rum. cUd
teia-po-ra-,
Ut
ai--
le-v9 fi- stv- cU,-.n..
b.
Acterna Christi munera: two versions
lo.
lJ
j.
Ambrosian Chant
Verse "Eructavit" of the Gradual "Speciosus Forma"

1,
In
2.
In
Ambrosian (Milanese) chant.

Gregorian (Roman) chant.
vit cor
-Tu.-cta.-
ma-
'^
bunv
'
' #;
r^;
"
.y
r *>
bo-
II.
Gregorian Chant
Psalm 146 with antiphon
-M*-
2.
<ntma ma
JwU
9.
Jeminu* eutoditil-w-n,
SUrta pi
Lsida-bo. l.Lau-cU
ccnfwUr
Sicut cr*t"
p|rill4met/
in vi -
Lau-<U-bo De-um ma- tun
iri ct
mprinct|n *
nutuct
II
pflUtm Pomtn itw
jH-bu: in {ilii
vtduam Sus-ci-pt
m w>tA KM- A
ta mc-
in p-in-ci
AnîpKon..
gtF^^
-w->-
Dc-mi-num, UiulabelXprnmum
4
^^
ttrmiivatia
tntfxltAtto
flctr*
ct"
fi-li-o
Mm-
hwivnum tn
dum-dt-t4.
qui- bus
non
:="^ *ii^
iSf
iu-i-ro.
sa-
rum iU-yer-
ctviufcas
to
at tpi
ri- tu- i ancu- Uj-ruttv. A-
ptr: *< in
tltcuU Ae
luf,
(Lrt".
do,
intv.
II
Gregorian Chant
11.
Gmduul: Haec
dies
[Chorus]
[SoleUli]
fV;G>n\-t'-inirvi
mi-
Po-
no,
[C'horvis]
<\'lufl-
nvam
tn tae-
Gregorian Chant
13.
Angelas Domini
Alleluia:
[SoloUu]
[ChoruiJ
^_^
^l- U-
Al-U-
lu.-U.
[SoloUtt]
7.
Vu- ta.
An-a- Im6 Do- mt-nt (kt-ccri[Ckcrus]
dlt-
cae-
<1
lo:
ctac-ce-
<lns
14.
Responsorium: Libera
vit
re-vel-
k-
î- d<nv,ct ge-d*- bat
su-pr c-mtv.
Gregorian Chant
me
j: iCHorne)
li -be
mi-
ra me.Po-
nc, ile
;i!<.
T^ Dv-es il-ta, dt-e
i- rac,
t5oU>)
I
f. . J
yRc-û,v.
em
a'ter-nant
ca-Ui-ml-ta-ti*
ct-
,^-^
do-na e- i Do-
mi-na:
'
*
et-
^
_^
\iue
'>^.
12
ct
nea ^'*
-rTj
a- -maraval-
d.
mo-
>3uan-icac- It
ia:
.
'
n > ~%
Oiunw-
.^^*..
1,-
qnem-.
(Chorus, repeat* ;(^-t)
"*"l
p<r.pc-tn-
tre-
il-la
miea-ri- ae, dt-esmaana

'
Ji- e
vn
mor-tc a-Jcr- na^
'
^-^-0
lu- ce-Ai"
II
ia.
-v
Ci- be- ra m
^
1.-
ai>-
15-
Gregorian Chant
Kyrie IV: Cunctipotens
a.
le-i-aon(l) Ky-ri- e
l- i-eon.
Kyrie-Trope: Omnipotens
b.
Tuotilo (d.
c.
915)
Om-ni-po-tns
1.
a Fons ct 0- ri3. Sil- vi - f i - cat
am-ni-un\ crc-a-tor;elux-auc per- en nis: cpi-s-tas tu-a nos.ba-iie rec-tor:c-
pa-tri3-qutf so-pKi-a.:
4la-psi
re- pa-ra- tor: e
fac^tu- ra i.*-ui->: e-
5.
ley-son. 'Am-bo-rum sa-crum epi-ra-men ne-xus amor-que: e

ley-son. x^Pro-ca-iensfo-mas vi-tae,fon5pu-ri-fi-cans nos:eK
J
j
J
ley-son.
Pur-ga-tor cul-pae,ve- nl-ae Lar-ji-tor op- ti-mc,of
fen-eas de-
16.
Alleluia:
a.
ley- son. 1. CKri- stc> i?e- i

Jor- ma, \nr-tu3
Uy- son. iChri- stc, p-tris &plcn-dor,or- bis
ley- son. 3 Nc
tu- a. dam- ne- tnur 3e-6u
gc-ni- tor, Dc-us

40 bo-ni,pi-e
Dominus
in Sina,
le,
sanc-to nos mu-nc-re re-plc; e-
with Sequence: Christus hunc diem
Notker Balbulus
(d.
912)
Of
De-i,
tcAn-^c-li
fi- ci-is
me-di-a-tor na- tu-rae no-strae ac di-vi- nac,3cr-ra6, De-us. vi - si - ta- sti ae-ter-nus,ae-th<-ra no-vusho-mo trans-vo-lane.
- iûe nu-bes sti- pant ad pa-trem re-ver-eu-rum. Sed ()ue mi-rum, cum lac-tan-ti ad-huc stcl-la ti- H 6cr-wi-ret etAn-gLi f
at
'.I
V.Tu ho-di-c tcr - rc-Btri-bu rem no-wamet dul-ccmd-di-tL, do-mi-ne, spe-ran-di coe-le-sti -a.
Te ho-mi-nem non t-<rum. levan-dc su-pn* St.- de-rc-as ma-tas reaum,ic-mine.
5
TT
pUnt a-po-6to-
los,
coc- Los per-qe- re
b.
son.
2..0iri-ste 3-6U, Ji-li
su-is.
3.
Wy-
Sequences
ftlCWristusHuntdi-em jo-cimdumcun-ctiB con-cc-dat es-se Chri-sti-a-nis a-ma-to-ri - bus
ley- son.
ley- son.
8.
9.
t>.
7.
a:
duamhi-la-res in coe-listi-bl se-cur-runt no-l or-di-nos

In hu-me-ris portanti di-u di-p4r-um a lu-pts jre-ijcm u-num
10.
Quern, Chnte,bo-ne pastor, dignarc custodire.
Wipo
Victimae paschali laudes

I_
Vi-cî-mac pa-sdva-U lau-des im-mo-lcntChri-sti-a-ni.
Atlors
Sct-inuCKn-tum
M*
'
eur-re-iri-aae
icxDo-i05o)
gnusre de-mit- j- ws: Ckri-stui in-no-ccnd Hi-tri re-con-ci-U- a-vit

con-fli->oe-rc mi- rando duxvi-tae morhi- us
?t- vv-ta dw-el-U?
I
pec-ca- t- res. Dicno-bi rtla-rt-a, quid vi-dt-stv tn vi- a.? 5-pulre- flnat vi- VU6. Ati-qe-U- cos te- 9tes,su- da-ri- um, cf \je- stes. 5w-rc
(r.
...
in
tu-09 rcQiun-ta gau-di-a

Quis de-di-sti cer-ne-re,te
.M
-''^
crum Chn-sti vi-itn-tis, et alo-ri-am^ I'i-di resurgcnKs.

"fit
Chri-stussfcs me- a
ore-ce-det su.-os uv6alt-te-am
:
am<7r-ta-i6\'e-re: tu no-bis, vi-cfcrKe>f, mv-6- iv- r.
13
A- men.
^^
Al- Ic-lu-
ia.
c.
Adam
Jubilemus Salvatori
Ou.-Vv. W'tnufr SAt-va.-to-ri
Pav dc
Ctf-
lo t\un-cl'A-iur,
qutfm ce-Utar-ra -
sttfa
U?
de
St.
Uu^flnt^ cHo- ft
con-cor-d'i
l-ti-ci-A.
Ver-Wun car-nv
fc-dc^- ri-
d.n.-^fl. lis
tfc-clc-9i-a.
Vir-oO
tw-r,
pa-
Victor
>- tt-
rit'fJ'c-i
(nth century)
ni-+umj
6tc-t*t c-
tcm-plum, ncc w-
*'a.'t-
tfTt-plar
d.
Sol oritur
Us
Troubadours
1 8.
Pax
a.
Marcabru
nomine (Vers)
in
liv tn tio-mi-na Do-mi-tu.! Fctz HUf- ca- bms I09 motx el

so.
Del yri-meinn. ho-tm?
l- Vu7,
ProWltft di2 U -Qtut-oc Ca-i'
1.
5.
^^
J^J^JllJ'
g
Singn_.
rem <jit ill
4r
e
Tms
sH - aus
rTr-}'
c_
la- \7a- dor

la-
r,rLCIf>^Jl:
3o- sa- plias,

sso a- trs6
quast ic
d'a.-
a-
Quen.
our
jatxcju* itt:
taneais-ai.
Cane dr ou-
...
Se
va- dor Nos
rrr
vos
co-
nort".
ov- zon
et-
en.
sort".
.^\j
tot iorn
me
fit sem- blan.
^^^^
Ji
nis
ra
cu-
JTTi
cla-
riin-i'
ve& Vcn- ta- dom

ia mays Lai torn
J
rrp
i- rat
<
mom
Ttuk
Tant
a- mic po6 ma dona

vas mi bra-va e
nos
tn^v
es
Caren. s'a-mormi de-
Iwtj
cm
so-
1.
2.
(Ceroid)
S_
(Besseler)
ij
Sl.Keis
Z Deue
J J
j
^lort-os,
i
'
(d.
1195)
m-i
igii
ma.
re-
cla-
-ma.
JI-SJ JTjjiJiJJ
jorn.
dc
res als nos
ma.
f3^Jijnr
jJ
lai clc-ves
tornem. los aar-
rrp
Guiraur de Bornelh
(Angles)
îi jJ
Cn d
1^.
Reis glorios (Canzo): three rhythmic interpretations
c.
j>or-ta
Ventadom
no ma-
-IJ JiJ^JQiJi-QlNJ
\0
150)
!i
mri!ii.nnt rm
sa tlous- sor, Lo
ho- nor. Vi-
per
sc- ra JKe-sus co- mu,- rv&us,
r^'/^
sat-
c.
m^
Bernart de
^!i-
'
per-dut lay enra- zon que icu.
m'an.
Non ay
.
A ait,
a 0iu no
no5
tra- mar n.on rort

reft taue
Be m'an perdut (Canzo)
b.
Cum
C'lts
^^^^^
R"i?-tct dc nos uncr a- mtcs co- fans Cab la vcr-tuV del

c- Ic-
Aa-
(d.
JJ^
r
vc - rai lums
pc-de-rofi, ten- her, gl
uA^
r.iH rm^ J;i

i
JJ
clar- tatz
vos
ii:ii
,j
platz^
15
ijJ
j,i
trti-rî^
<u 4vm- panK
3.AI
St-
as
ii-
iu-
izio)
c.
3=^*fi3
*&
xelsa-
(d.
Qu'en
da,
Queu non
d.
vi
pos
Id nctti.
fc
Kalenda maya (Estampie)

I
^-^41^^^^
maUn1.
Ka-
1.
Son es c|uc'mpla-
<la
Raimbault dc \'aqueiras
|0
H'
Ni chanzdau-zalK
y'a,Pros ilom.- tva fliw.-
ya, Tiv ou'un
5.
ya
tra-
it.
ya 'm. tru cha- ya Pc i^la-
ja-
19.
nuns hons
h.
j^
J,
flors df
aU>Ji
<k QlaT^
y- snelk Ms- sa- taicf a-
ya
ya
ya Na vos dom-na vc- raya 'Lqe-los ans
ya.
'
5.1<
5.J)cl
+.
con.
vo- stre bclKCbrs

no- vclh flu'a-
quc'm nu- stra-
Richard Cocur-de-Lion
pris (Ballade)
(1
p-
Quant
ca dcua y- vers
ya.
Trouveres
tirts ne <U- ra
sa rai- son
A-droi-te- mcnt, sc d<J- iart-te-mant njn. S.Hon- te t a-vron.t,6e per
"^
ct- tort pMHl fai-t^j chan-con, Wlout at a- mi*^ maie
vre sunt U
don.
5u.i
-L
Pla zcr
l.Danun hong
2.TTUi*|ar
P#
îr
ya
a. J.i
ir-3
ya
ma
\nors
ya Nt fuUts-
cha.-
7
^^ chan-ter
,
...
vo- lovr
brev-
#-.
<,u
J
ne E
6C- Lsi-^
chan-te-
c.
Et
rat:
Douce dame
^'^'^
a.mon
cucr
juen-
<ûartV
nxi-ia.-
me
ct4.L i.
plai.-
ttvou-trov-
ra
Jou: a-
Li-
ge-
msttt-,
M'cn a
Jatf com.-
man-d-m2nt,&
vrai.
(Ballade)
^' 7^
vm* doins
61.
Carce-le a-
a.
est-
**"'
*^"
saju re-
qufe-
"'-' "Rw-woL
tral-rc:
mi?"
Ja
"Sen ca
qu* tr^
h>l <U-
m'a- mourtna
l6
faut?"
VNevous
fcut."
te
Uj.
ral."
<ax cltaut- tl?"
"Fi,Tiuu- vaisou- kl."
En mn dame (Rondeau)
d.
I.
ma
l. n.
(Lung at intgtnoncuCT
ICf wonpgn-ttr. ^N'enpftr-K-nat a
t'cUr:7. nnia
d'otil fa vv-ant-
I.
Jwgat
rwiiuer^^ ^n
mi tnaneuerftft tnottpgn-acr.
Vg
1 t-T-
I-
1-5.
Ccfrt
g.
E,
4.
5i
1.
So-
5.Dont-
h.Pour
fm
is-
Vgv q tAtf
nua
^*--
ee-
ma
tor- mnt-
O-
vant
me
voiv
mous an
mon
Igs
Espris d
c,
Men. par
par- tiSi mont' sor-
ai.
ivt
pria
mtg
a
won, aier
Z.9.
nul fucr
t>.
vair cell
2.8.
b.
Ng vo9, tvzvoa
Senior
ait
<:-
sa-vgi
n't
oitc n"oa
vair
Ct ingn ytn- '

Vt - ant cFcl
a- Wn
no- m.
Mg
ne vos
l>os ,
5o->ant~ m't fait-
-n t
e-
d'.\iniciis
ga- vgz a-- kr.

te sou- pi rcr.
'
'
k-
nte-
rju^
4. ^ftt-
iue
n.
mift
lea
frcs,
con-
Kg
bat- Iten \'e8- trc

sans w-cir lllet
nion
,
.-i^y^r;
..~:i cutr
-r
Lt cuntU mall aa-mtr Kc par sa si- qno- rt
It-
ma-ori-
toui
rat
Si mont- *w<-pri &t
ST
jolie (Virelai^
pVai-qnani'
a- mant
an mon
a- voir
1:
Doit
cur doU cucr
lo-
sant
jo- tanV
Rlc
Du- nc
Cui.
ma-
tcUi.
malt
ne
pgtr.
vo
sat
CO- vicnfr chan- tgir
lai- itmait-tri.
cuer (Rotrouenge)
WL TWr mott cnr reiChtn-ter vou vwctl eanz.

ie
cugr
3. (W
i'ai- m
6ter
i.
ta.
fin (Virelai)
la
dame
t S .e,
"?t- g
^ com j c faz.
lit par main. T- va
ves- ti- at mtcuz 3 pa-ra
Biau oe
cur
Guillaume
"T
5.
Cest
f.
"'a-
B<U A- a-
mon
itii^
(Rondeau)
'aler
5.
k tna dame
l.^-.T.
5.
Vos n
iame at
5.
e.
itia
la*
brae
'ire
Car
St
clc
a-
cter
XWd
ten.- clr
O'tt -
ne
en-
Or
dont dec autl
e-
a
vrai.
tier
trv-toitt
jc
tt-
chan- ôn
mult d-
febon-nat-pat-
t.
won
etter
yrie
sa
a-
me mgc
an.
sex
dg
rg,
re,
re.
5 S
Cer- tc6 ja
U.
dtfltT
i-
ams de-voit a-
Ux.
Guillaume
17
TW
le
Vinier
oitr
de mil &tg cascua jour.1eu6 est ma vi- e.
mtl- lour Quantpouriotget pcurdou.courDg moitnia ft- e
et pa-
mon
'Vta..
(Lai)
>!.- pri (Tire gt da- mour.Plaina ma hau-<e fc>Iffur, Dont jaijoig

ZJoie ai
de ma tris-tour 6t dugl <ie ma bau.- daur. Bin pgrt" de
mr tt
brut-
voir
tr^
JIlj.
a- mi- iz,
dfiu-ce
1 TIt
a compiianicas-cun sr U'tinaw-ki sV-mi-U-
ifluaiit
iVen
c,
a,
ijJ
<!,
J J
Pc mot
C
a
fbur croi - tra
3a
6n.
fft
qu'il tv'a-
Puit VD- tVe
tt vers moi
Utt. nut-sir Puet plus

mfin- rtr
Ulais hiensasi' ven-iîITlc

vec ct, dc-
prot, fail- Ur Fait pris
a-
i- riSt- ano-ri-
a cest
tour,
^ ^ ^S ^
1.
TlWt nw sanS -
tlUmlt-a-
1 Car s'or-gttcr par aa l)cu-bati-ce

pc- tit"
dc <ks- pc- i^tt- c<?
quic jc fairizcn-sn- cc
3. fit" si
ijrc- ttin-ce
'.DontpUiS (2- rics
vail-lan-cc
van- cc,
vail- latt-ce.
ma
vt- sc, tns-tuta- vtf- nir

1. Se- lone ma dmo-ranV tan-Qnir.
1.
nu. haute im- prt- sc, U
3.
mors, Ui
fain- tt - sc lU'a fait- en- lai- dir.
IVov
ov
tar-ottr
QuariJ-cc
S'al U)iia
vos os
'
ir- te
guir-pir Vos
\'c-nir
\-i
MaC-c's
Ivl
tr
tra- ir
vrir,
ha-
lufs
,rj,n
tle-ve-
ir.
iHriJi
'
'
Hu en
wu>-rir;
al
î-ao-
"W vo-
brv- se,
Dor-oucl
Ki co-
crois*^ s'o- nroir.
ttlcs-tuct
kc
2.
5.
Veut vos-trc biau-tu
i.
("our;
rour
Tt"
Tx-tie
rCvr
ct
ran-
A
A
[^[^r^^J
8
5a-vna
cht- e,
en.
mot
mi- se
Vie n
liu
de
^^
r'f^+^f
wife
r
flut".
T^r
Bern, cr 9t
wtlltcKUcW
viaaa.
aantz^tv fruMxri gar
ttvnk,
tut*,
Dai
Daz. &i qelv-chc emandet*
ist
r
t-xm.
Cr?
missetat,
'^
;
Ca
t'st"
^^
(nth
min
wer-dc
Stt
cr-
Pen man
dtf
d^s vritind^s
^^
Aax ku.nne.
r;!?^^
tnt-chel ivunne.
(d. 1130)
yfp.-#^^fff=tL^_^^^^
stin.-
die
tlL
der
ot*.-
ge
stht"
ren-
aiHt".
5. tnirftt aa- scltchen
ded tch je
bat:
stat Da got num-nisch- IL- chn tiah
Neithart von Reuenthal (d.
Der maj hat me-ni^ her-cie Koch
century)
Walther von der Vogelvveide
-â^
kom-mtfn an dws
r- stai- jett
Spndt eiti matd,er Katt ea wohl cr-cxat-get
r
klai-dt-'ar-cicn
alle
r-' ^-^
kclert,Dm. merct" stek
Der May
^<^ner
an
(Bar)
al-Srst Icbe ich. mtr

1. Hie daz land. iind. aucK dw
bin.
Tlltt'
ir^^rrir
!r
al 'erst
nr
g^P^^
1- Km.
IcK.
bt-ae-stat
vrittivde
^P
Swa vrttinda eynander
Nu
rcrfr'
ll
des-eoi-t".
Spervogel
cyn vruuul cUi arulm.
Sura
c.
mon
con-jrt Fin
Otf
dtf
Swa eyn vriund

r r
b.
Sortant
Minnesingers
2.O.
a.
mort;
dentin wei-eepl&t.
T r
i
Al-le dae der tvint-ter
Was sein 9u-6ser icun-nc
nfrr^
KeH be-ciwun-oen Das
wil der
may -nu
1140)
c.
that,
^^
juit- acjt
d.
Winder wie
ist
Neithart von Rcucnthal
(Bar)
wrrjirr^mr^^-.
iWiti-dcr wic Ui mt iein Vraj^ Wor- Aui âr urv- &l-a4-hij> Scyi der mxf
iVur d^n wil-dinau^ dcr plan. SicKt- man. vol -kumen-U-duzn ttaji .ih-ti! planvb-
l^^f
bc-sim-dcr
3.Gar
tcK vcr rwHnv. Mart undfriw-ca
i:feJ3.:g
g^T-tf
Wie dcs IwK-tcn nvay-iai scHar Stat be- cUit uv pir-pu.r far.
min irhifft Auff iCr Katt iu- .to~-'-- pro-QC- 'ta-n.

Der Han ich
)jc'
'
cHcrv.
chert.
'
fcfcstia^
r
I
durch cinunmdr sol-cHc^ Uun-dcr
sci-
.>
Icit
Icirv
Wtfl'
den aw -en
sult&chawcn in
ir
o-nc&cham,
-l
Dun-gcnmault- das nch-metwar,
bUi.- bet tm.-ver-spro-ch<ai.
Laude (13th Century)
2.1.
Gloria in cielo
a.
&lc-
ri-a
in cie-Uj
pa
cc
Vi- Jw-rc. Nat
sal-
in <vr-fa Nat' c'l no-stro
Cvi
stij
jb-ri
so
B.C.
Cal-to Dvo
h.
1.5.
'f.
Fa-cbji
so
6v-<le-
om. oc-
tv
so
be-ni-ono
Lo
ere-
a- io-
fl"
tutta gente (Ballata)
iitt-ta
g en-'
Art-ci yren-de-
te
fa-
cio
tie
fe-
pre- ^ ho
tt
nen. vo
stc
per
ru>- bi -
di
co
cW-sK-a- na
<lc
ver-gv- n, cKe'a pic-co-la 4-
i.
3.
W.4- ra-vi-ftUo'
U-
mc-co TTlar- g a- ri
CKc tau-dt
Clw sea- ci-a va-na et a a
ta-
de.
Dt-
da
Che
ioii
ta
vi
ie-sie
e-n
vo- i
ta ait^
Di^ scr-
I'W- tgv^n- te.
a-ca- vi sua. spo-sa

mon-do ro-sa.
c
cs-
scr del
Santo Lorenzo (Ballata, modified)
c.
Fine.
l.y.
San- TO Lo-
rgtt-
mar-Vr
z^
d'a-
ma -re.
Crt-sto
stl
io-
(g
ran-
dc scr-vn- do-
^Llr-^^^^p
1
Con Wu-
S.Pcr cio
\.
Fbr te,
mil-
ta-dAl
san- c+o
lau.-
dare Sem-
pre
mar-
tCr
va-
Wn-re at
di
pa-
dnjTij-sKi
bv-di-en-tc
fa-
dtf
lo-ve-Al
nv-p-
19
tv-
tc
9e'
r TUt-ta
au-k.- te
lit-
ma-nagen-te
2.2.
a.
Madre (Villancico)
|j
fj;
%.
Kis- dra
dip q ua
Uu-rau.
w^\TT r-^ ^t
\
n Be-
I.
JE. fijr
0r- ges un. I'u-
c- st mi-agr'a-
^ ^ ^
Cantigas (13th Century)
#E^
U- 5-
Pit1
ea Da--nv-
g- aa do o- ao a uardou.
ta.1
toga,
iu.-
<i-a
W-Jro,et un fil-lo
sen
a, t o m-nyn-tio sen. it
^
bi.-
cri-*''
--
p ^J
^
i
rcn^r ^;j rrr

i
u.
Onh-'o* crts-chi-os
-OS
nal
?e
xf-ra
<i'I-Ta-
quea.-zer sa-
p.p
Un me-nyn-no
cl.
:'ri^nt^nrrfriVirrr r7rirr Crr>
^4.- vc,
---
Rir auantcnd'a- jn-cndi

pa-<ire<jue o
6t
gl
dcu.
Dos
]7r sa.
yfo-ii-
Itli
r,r rfrif.i'
i
en maUtumi- W.ha.-ti-mo ra-cc-bi-
Que cL
fr r?jia
i
a.
a.y
f^
Ofi- dre Sa- ntii.-ra qtvu.

scu. paseu.
e a- -na
>nu.- el.
9<vu.
De'-ron U'enton mor-te oua.1 CUus dar a eu. fill' A- bcL.
tfs-col,
Via <iS-col,
Xla
Mais nos faz (Villancico)
b.
|j r]| r]j
1.5.
nUtf
i^
%.
wt
fttiT*
~^.
1. Pot*
_.
..
.
c-
3.
la
._
sa n -eta tlla- rt-a

Wir-ru> n.-Vnj-a
pCfnos pcf.
Da man- cl -a
Aque
c.
qu
scu fU-
ITlais
do-oa
Jo-oa
Dens
i>eus
oo- etou
Pot*
do
to p cr-dg- ar
Qua nos ptr
ntuTbonta- Utt Tant'a boa
ly- ssa
fvllo
fe- Uro - jo -
a t .'tmoifaa Que o toy
cr- rar.
sa - car-
dA-dam,
pe- ca- do
lo
10
pe
qu sof-rcu, mutt af- fan..
serven (Villancico)
1. 5.
A-
't-.
6ran
q ue 5f-'an.
tv - an - ca
^^
to- do'an a -
los ccla,
J^^JJ
a-
ui-
tar-
Det'
un aranmv-
ra- gre
fci 5an-
ta
Wa-
3.
De
5a- vas
Hu
mol-lr
qits
*-
poi*
2.3.
JlJJ
6aa- re- cgr bm

Po- en- do ant'
U-sK- a-
i-
ri u.C-
1^
i^
po- dc aa cha- gas mor- faseu- aL - tar e- eta.- dao
'i
Us
e5.
a.
English Songs
Sainte Marie
a.
Ur ct
end' el
St.
Godric
(d.
170)
I.
Sainte tTla-ri-e
virai-ne, Ttlodcr Jcsu Crtsles Ha-za- re- n^
On- Jb sckiUl Kelp tkin Sod-
rte.
Onfong K-vn^
I.
He- gi-
Di- li-
lidi witK tWe in 6o-d<zs
mva
tn-ne, rt)r in.
ri-dw.
Sain-te
min moA,
Vrlna
Crt-Mes bur, ttlaidenes clcn- had. moderes Jlut)
Itlari-
me
to
20
win-
na with
th
se^d God.
Worldcs
b.
Wort-des
în-de
bUs ne
pris
ant ba-re.
centurv
i^,th
blis
last
thcr on.
no tKrow-
For
all
hit
mon wen hit
Hit let
Hit wit
is
în-net
i-
and wend a- wey a- non. TKc
Icn-ûr tkal Kich hit
mcynd wyd ka-m, tUid 6or-rew-e ant widu-uel fa-
re.
knouve,
Ant at the las-tc pou-re
ôn. Al the blis-se thia he-re ant th<M<, bi-lonketh at hen-dc
a-
Jhc laswhit
wop ant
mon.
14. Mastersingers
Dcr Gulden Ton
Hans Sachs (1494-1576)
(Bar)
^
8
iCob
sei
2.dar
darchwir
Sott
Va- ter
clar d en
in dem ITwon.schon, jron,

wil- Icn 6c ln. fein, rein.
der uns scin Wort, dcr 6na - den Hort,

er - ken nen hy
on iwei - ff el y
4-
an
fl
clar
man-ni^ Ort, yet qne-digk-lich au&e

lau-ter wy auss der hei- li - ên
3.Die vor
ifft-
was gar ver-dun-kelt
6 ehr von der eched-U-
Schrijft.
-+-
chen AAen-schen Cehr, die uns pracht in der Zwei-ffel
S das, seit
uns
viel
bass lisbet die
strass menech-
C. Early
2.5.
achwer; der
li -
cher
her
lu^
und
Polyphony
Parallel
|ijft.
(to i2_oo)
Organum
a.
1.
Scholiii
Oroanum of
No$
1.
ttw.
oAaz
outvtvimus benedicimus Dommunv ev hoc nunc er uddu
Oraanwnv of the f^j^
in.
sacculum.
Contposite
a=
fox e raattdU:
3.
hen-get uns
ver
Compooi-te
Oroarutm. of thtff<?ufHt
V'cv
oraanalt*
21
enchmadts
(c.
850)
A\i/-SiCiJ t'lichiriiidis (f.

1.
*
"Ot, TV.
850)
2.7a.
ViIn.
If^
Organum
Vidcrunt Hcni.mucl
tSo to)
Melismatic
dera -
School
ol Sr,
Marrial
IChoru*)
runt
He-
ma-
i -
nam
I9-
....-:.-
.-.
nura-
^^
el
di
pa-tris
at
ea-
u- nilu- tern
ge- ni-
po-si-
(c.
1115)
2.8.
Benedicamus Domino:
Plainsong, Organa, Clausulae, Motets

Plainsong
a.
Be-
di-ca-mus Do-
ttc-
H-
49.
School of Compostela (c
Two-voice organum
b.
112.5)
^^^
Two-voice organum
c.
Dame
School of Notre
1175)
(c.
.^^MM^^^^^^^MM^^^î^^^^^^ s
m^
Be-
int.
m
p
.1
.J
,i)j
.^j
J^
i
j^4J^j;j
ii.j.Nj ,i .J.^.M^
,-^
J:
J-
ij^^-^
r^:
!-r^:
,^J. ,^j.
J
,
J-
yj
;h.
j
,
Jj; j^j jj Jjvj^j
,hj
;,uj.
^ ^-'-i/^;vi,i,ilVi',|ir^l
I:
^j.
|J-
J-
|J-
ij:
!:
V^-^-VJ- l
iJ.-^J
,^J. n:j. J4^.^^.^%-,;;^j.
JîJ
JJ J
J.
,
d.
Domino
School of Notre
(Clausula)
iSfcr Crrr
i
8 (Chorus)
rrfJ.
r'.
J-
I.
^ ^
^
fe
(c.
mmm
r' ff,r rfff n.J:n J.Mr-J'J

i
(Soloiota)
^^^
50-
Be- n- cU-catiuu
Dame
vr^
'
-0^
Sg;
Hif-inrcriLL
^
24
^
MI-
iioo)
^m
gm.-
Domino
e.
School of Notre
(Cl.iusula]
p^
^-
J-
If
Mr
DO-
^n.
^-
J.
j.
ir-J-
If
^y^r
^.
f ^
'
i-
rr"
Mr f
i
NO.
[Ml-
i^-
pr'
fH-i-
Hr
jl
}.} ^
Domino
fidelium
da. mt-no
mt-ns
Do-
>
Jaft- iii-
^-H-
Domino
li-
,jt_^
a^ a
um.
unv
Ont-nv- um.
Oitv-nv-
'^
'
g.
*
i
Dominator
Do- ml-nA-
^r
Ec-
rir
^^
N-
jl }}l^\^JTj^7\^^^,[
\
l^^^,
f'
rMr
Vi-
ta
M- sK-
t'w-
'R5t"cul-jJ
^^^^ffe
^rir
Ve-
tor
ml-na
ia.
vtr-av-
ne
*
I
ll^-
M-tm
inv-
iJ^g
ev- i-
îr
li-
pi- di-
mo-
m
um-.
^
School of Notre
Ms-hwna-tws
^t^- hv-lai'
Ih'-tet'ti
in,
Ju-
ab
-^
îf
Sub-it" pa-tti-a
um.
ro-
1115)
^^
Jjii
JJ
(r.
Dame
la- tu* Es ^tto Ito- ini-n,
(c.
i2.X5)
Mun-
^^^^^îj^-^-%-:.l-
r-
ca tnv- ni.--fetc-
Qui
Jf^*i^
rc-ma-J^-
mi
r
i
K- dw-me-at"
v- tar.
Dame
cum piv-co-tu
ora- ce- ni -- o
Lau-Alt
Lau-îft
ÊÊ^
e
o
Ecce Domino (Motet)
^ ^f4f-M^
^^"'^
VU,- bit nA-tl-
7"
^^
"-
Mr
^-
12.00)
NO
^-Us Aa-vo^-vo~ clv- d-Us
<
cri'^
r r
Cu- tu bc-n-t- ci-o
School of Notre
Do
>
(Motet)
lau-Ji- o
9'
(_c.
^^^^^^^^^
zb
Ml-
f.
iri
50-]
fiu.u ^h}\J}^ \h}
Dame
rt-urti
Mi- r
IVo-fart al- vws vvf-oi-nifi
Lu- cis
Jl^l^^
25
r-
''^
<ii-
um-
-U
rri.-
hu
hjl-lit"
Ui'<^ ^
k^-
ml-
a
* tios
a cri-mi-n*
TJlf-
i-
frti*
Ut U- tl pUu-su oc-
j""^^
tw
rg
Tt- bi
ftv-
Nunc i- tw ft-t-lt
ci-um-
stB vi-
int-
n
tie
ttr-
Motet: Pucelete
2.
<rt
\o-li6, en- voi- ilea at"
tvv
a- mant:
^^
-mauft.
Hym-numtv- ^'nt-niM Og-
ittt- ita
Jo-
Li-e- tc-
[^
oouce
School of Notre
Trop
a-
mv-
mcnh
lp
ini.-
no.
Jo-Lt-c-te,
j>o-lt
eb
t-plet-sant;
U-
jo
Bcl a-ntv-c
:e3
Quimavi
etv
ma-
la-
ta.sa-d-tB <)M<tjd-sir
26
lis,
Ma-mv-e-
Jcvoscri mtfr-ctcn sou-pv-
tan-t",
l-J^^
Qu' a-mu
"
mi-
12.50)
ttf
^
^-J-J
dt
iioo)
Ml &it
tarvt-
Sa-me-ral d cucren-tw-nr-nwnt'
w baiUi* a-vcs tenu-c
'^
J.
no.
Dame
(c.
î-^r^
no.
r*r
no.
N^s^n maveiVsigativusstjtoUt'clian-tartt
Cea-
int
(c.
li
la bru-nc-te
Do-
a- v- nant-
^
au.-
ca- **
Je languis Domino
beU
Pu-cc-le-te
<li -
^Hr1^ J^4^.,M^^ U
mv-
^ra=^^
rf
tsf-mi-no Bc-n-
Clausula and derivative motet

1. Clausula: Domino
h.
^m
w
P^^
noj
id
m.o-
a.-
rant;
Tenor: "Flos Filius," with ClausuLi

and French motet (III)
i.
(I),
Latin motet
(II),
School of Notre
Dame
1150)
(c.
m
tan-
men
jm-
a- Ui. par un
Can -di-da vu'- ji-
ni- ta
(Li6
U - ti -
ut
tor
tn.
wv
unv,
can.-
ii-d*
pop cîMln-
jat-dwv mVii cntrai
cun-<U-U6 per Jv- li-
|-
ftjr;
T*
"X
twn.,
jm.-
K-Ut jo-
twvii
plaisanty
cointc
da
cim- <U-ta6 hu-mi- li
FLOS FILIUS
ittr^"
8 tor
et ^j.
si.
^7t:i~j^
S
lun-
c,-
^^^
---^-^
cuer
etU:a
pJinJû
Kosiis
Hf pr
J'f
v
i
J '
I
.
JJ j
f-^H^^^
J J'j
pa-tri-UTrv
a- pe-
rifc
"
^
^
autma<lv- e: j 'a.-mcI
J'J
^^^3E i^
*
'
J.
tf==t^
:>
p^ û
J'jlj.
-J-
j.jU
J^J
J'r
Organum
In Leoninus style
J-
ta
^ ^ ^^
^^^
^
^
rai.
J'P^^
jM
per Ti ft- Jê t spe* et ca- ri-
dies
^^^
au^
C'cgtla. ftria
Pf pJîrf^r r^^î^
2.9.
Hec
j^
^r*-d
J'f
^=^:p
ar-ti -utn
t2=^^
J'r
1^
<fuen^c-ntii
^^
9^
^j
^^
con-te- rtt,
^^^
'
A-mortai,
nuu.:
r.
e^-jnii
^-H
^^^
dianbni cnîvnt ee-
[Solo]
27
^^î"-
U. JJ 'i
t>l
''
(c.
175)
^^
J
t>
im^
r^J K ^ r^'--^'.^^-,^
nI
i'JT^
^^J--^J j>bn==^-
[GautuU]
^^
iau.sj^:jis::\j
ilJ
>
;
E
J.
'^/"U-
iJJjJJ
r.
i-l^j^
^^^^
^^
-^^.^ JH^ H-^
bo-
r^fe^^
^l
^^-'->^
^^
j-JÛ
Quo
i^J-
j^J^'iv^'.
Mj^
j.
J.
j^
j^^
^
Egag^
* *f
s
B^
[CKort**]
tni-se-
di-a c-
TV- cor-
i'u.
D. Thirteenth-Century Polyphony
"Hec Dies"
Clausulae for
30.
[Sc-lo]
J-
.Ji^^J^J^.JJ^J.
J.
>i^JjV
,1
ij
C'^'
J>
^F=^
I
'^^^
'
=^-
Dd- mt -
cit-
7^T7v r:r >;

:
in
niM-r
xwl-tc-
nuS'.
yi
î
n-
,'
.1.
-.
J.
rr rnr
11
ll
i
\ Jllt^^
i.
r'r-
U- fe-
ct
^"jM^^
/
OUJMX fe-
3E
c-
^^^-
^3
i|'
1^
}0 ,^^ i
I.
J-
Jj.
H ^^hM
J-
^^
^W-^^^^+^di^
J-
J-
Mh^-J^
i^lîli J.iMW: t^:iti^L. 1^

m-
bo-
am.
nue, QUO-
nt - Am.
-iT|f4.^^rf37ri#^n^:-.:-rJ
lum.
'
'
III
30
mite-
ri-cor-
di-a
c-
].
31.
Hec
Organ um
In Perotinus style (f.
dies
iioo)
/7^
f=^^
#-. i
^^1
ifi-
y
^1
rJ
ip-
a^^p^.
iCrr ircLi'- '?ir*-i'^'
r îp
^^m^. ^tgp
rr
ir
f r f
I
rgmr \r rr
I.
I-
r-r
..
rr rrir rp
i
pr
^ r^rr
i
Huic main
M'
D-
fioufi
?r r
i
Hec
fe^
r-
..
yrrt.
p-
-g
^^
i^^p^
r f'rfgrXijrjti^
!r-i?ggj!OC.'-
rgr rgr rpr

i
m.
0'
^fP
rMgr#Pi|g
Motets for "Hec Dies'
iS
ncj^^
U- nc vu- cU
*
A!
dies
r
cjr[;rr
ua yin var- dw'-ani'
a-mour
,..
|
,.f^Nf^rr^,t rr-
^
E
mc
sp
''
ti\j-viii
r-H
iic-scs coii-lMtt,
r6 rort-dit-:
vmI ni-bm-che-res
'f^
32
tjLots
m^
me traU
vers
TW^y
1
fina.
-S
31.
a.
^^
r
H f^fffH.
ri
*^^t^
|
rrfr-
=:
gfpir r
r r r-i4f:f4FU4p
pri
P-
ja Qar^kv
jni-flnfit
^-
wi
3c
b.
mitissima (Quant voi)

Quant
]l^-
TC-
voi.
Ks -
|tj
Vir-
ve-
nvr
Dm-
nta
Vir-
num,
ILu-
61^
wr-
av-
JO
Virgo Hec dies

te
sai-
la
go
Ma-
ri-
Que
son,
P03
4,
num.
lu
tw-
cc
t^
int
bois
IJ
Re-
r-
fimt"
ra-
ten-
urn.
fv
ti-
in-
mi
Iw-
triif
HEC DIES
ir^
.ir f
t.-_
di-
CHec
ctl
ot-
stl-
Ion,
Ut
no-
bis
au-
i-
Qua
por-
ta-
sH
Bo-
Tuif
tir
AII-
un
Dct"
nuttv.
Per
done plur et
ffciii*
gran^
Con -
tra
Jc -
at"
re- m-
di-
hj.
Ma-
rt-
d-
rj~n7i:3^
J
tni,-
sou-pir
Pc-
a,
^-^lr
j_M
vc-
twr
ni-
Hec
Quki ie
têl-
Ma-
ks
as-
tn.-
rt-
Tal-U- bi-
^
An-
a.
aege-
to
Jj.
Et
ho-
+,
Vtr
^S
prt
en.
'^
son,.
ne- qui- ci-
rum.
as.
an-
nurt- cv-
as
^
ci-
mon euer
Qui
Ottf
cs
post"
an.
ct-
fe.
:?t:
a
Deo
c.
confitcmini
P-
1^
Domino
I'^fî ^
eon-ti-
t-a-'
mi-'m.
A^
'Iff ^'r^
Uui su-a
rt-
a.
clc-
MJJ
^- ffi^yi'fy
A- hrs-ha sc-
tkt-ni
'Ut-
^
nv
''f^'^r^
r ^JiJ^^V~fe^
tar-ncm 6u- Au.- wt -nl
Jun-x'tt-
^,V
wwn- ti- a
U Mj
nj.
Do-
'
r'
i^:
'iri
jij
MJ.
MJ JIJ
IJ
H ^ p r
Pro- mie-sa fr-njt"
'
'
f-
IP
'
'
p^ f'j
aw-vv-
r^'r
U-a
'^
'
'^
l^
Se
g^ r^
con- or- mans ho-
^*l" =U
T=
s^sî
Do-
^
1^
Sic
Hj.
T"^^^
sub- tec-
tum
IJ.
crl -
MJ
Sc-
'mi-jni,
JIJ
>
cW-
tlun I10S-
Ke ma- 'U-
^.
33
Ti-U
î.-
Re-
li/z-
>o
-mtt *nor-
Mia-
Mi.
'
^'j^
t-c
pi-
^m
nn
d.
Bruncte In seculum
UÂlÂj^^:^
Trop sovent
Trop
M-
vevt
me
duevl
tt"
sui
T^^^
n gric-
BfM,- ntfte
IN
<|u.t.
jai nwti cucr io-
por
mal
crv- du.- re.
jai- tant'
na
Por
voz
ai
tnaint oricf
me
a-
R>r Dcu-lpre- ^n
j,
'^jQ
'T^[^
'U
j;
Umv]
cu.-
sc
-i%
e.
Ouv
SECULUM
J
[In
ce-
^r-
tSJui^
Et"
fee
r^
Instrumental motet: In seculum
%l_^^^^^\_i
PA
\^__t_
i^M
\^
IN SECULUM
^ ^^mjJJM
^^^^^
^r^^TT^fei f
H^r
li
ir
iff-^
34
llw
J J J
^ rr
33^
jy
,,
rr
r^
r;
^ }
li'fl
^^
h\
t|J ^
i\Mz^',
.M-tt^
.-^^
^'J
^"
r,
tr-
rf
r.
f^
33-
AIIc, psallite
a.
.^
\
Two
feff^
Motets
AlleJuyu
Triplum
b.
ALLELUYA
On
parole
^^^ jj
i
Paris
Frese nouvele
iij^mJJM
Oncaro- kdabatTet Se-VAiwarEt dcfo-vret dc
^^^^Tt
MaU> cesiedwii
han-nr,
trojp
lJ.
ma cUi- v\^-
îr^-U '-l^^
t
R-
sc Tuju-
ve
ma-
cUr
tin.TTM'on
boa
^jain
Muc-rc ran-
cc,
mM-r muarc rMi-
35
ct
hon.
^^
CC
Bm-
LRu-
^
ent} Car tl
fe
d '*
nest
e Que
6t Ivtfne vt-
bottpoifi-
69.
nou,'
et"
aran-t"
bau-
arts,
sc
a.
nou--
ve-
nws-tkr, Powr
Owniaris, truf-an,9 ct*
tre- deus
Aucun
Ic!
Lone
tans
^^-"^^
^
Et d'a-
*'
naur,
da-mes a de-vts:
voir, auant* con.
J^J- J-
-J-
Et
truav
0n.
Tvc-
t>e
sv
-fli"
bvert
f-^
De menre
eur
Mure fratv-
c,
Et"
rwu-
si
pour ho-mS de-
nurc,m.ure
fran-
et-
ittue.
.]
Motet
34.
Petrus de Cruce (d.
t^6a-g:e,in<ffiaitu>tn.dnc}un,- sort
fctj^nmbtlgftM-gefaag
ce!
tout ce truce on. a Ri- ris.
ft
f^
r^P^
Annuntuntes
Aicun.onttmW dt par
Fre-
Mt4-rc fran- <x,m\utre,vnxtarc fran-
cier Be- les
-*^
vc-
ig
Sens son- ti -
a-nw-rous,
-mc^dW-
p<ms, Et d'estnt a-
muare, muere fean-
'-J-
dc cVia-
lU-U
jov-aua da-
Ic
so- La-
ce,
cW wn et
t89 guisascompai-onffna,
dour,hia.xAS
jov-
twt-
Mtiere ran-
1^
veuc tons com.- paianons, Lies
Dc bon
&e
at-
6otv,Dc
U\
ve-
cl0t)
^^m m
bon-
Anou,(fui resbaiuliet numcoura- ge Si
remm,.
'i,*^-,^
36
ft je.
<^
<ju
liai Jiithoiutug^, Pour
c.
m'ea-tuat Jîre
6rvir
tout
1300)
dtan-
gE, lVUji--at cur siuia penaffl-W-ki- Botv,
a-
fe
'
ti^ a*-
tncur
'
-nw
'
ît;
rr
r
de-
6v-
5FF
it.
pov-ee-e
iPr
P-
harl-ta. -
=t
Tn
Ml.
fetv-
da.
aa,
pn.-
eon..
[ji; r
j'ainv
n.
rt"
c-apg-rer flu-
en.-
se-
de cc
Qti ji-c tv'aise
qg
C'M'-
tie ja
fxnu- ce
tu
-pen-
eeral
dre tw
s'ov
put
otv:
rir
ym-
me
1^
fW-ce
<Je
tie txn* ({uant scur
eotv.
r*r r]:irr *prrJX^- rrrr^'J

rr/^îrr
Tuit et eou'tUtneni; a3iilUr> Ke>v coiwtivlMLe-
tUng un iota
<] IL
ir
mon cUnutnat wCa^scua-gy 6t jatfc
<)
M.-ge Anumnyrt mot tout mon.vtvant:tx-tur
r^-rV
8 ûant
cu*
III*-
Cat
^ fuu.-
Clun-te-rat,
verb li toce
rs
sv- e.
de
li-
fiOtV,
ir-r-r
r
i
gnj^ge tie
ffli
Qu
grantr
de-duii:
I
37
wi-
J^r
nr^^^r
cor& ne- plan-te
nun piutcUmcf
t7-
ait:
du.
35-
Je cuidoie
Ic cuidoi-e
Se
j'ui
Motet
Solem
binnwh
Period of Petrus de Cruce
iuA ie ioi*s naiiist i'imawf, Mai ie
setttoUe plus
CW (levant sou-prts-dduce-m^nf
^ûna aitwurncuve-
itwnV
N
*
soleIvT
le.DcU
Qm
tioti
Et
rn*,
mout"
mot.
Que iccmdc hUnc^txlncmen^'
dourCtftcA son droit twtv.Elccfitsv trcs douce \?oire-twttt
^p^
^^
^
gra-a-fiu-6<2 ic
C^c-
[fi^
ve
U-
5flns
^^
rt
g P F ^ p P
p
A-ve-ic-ven^ a.mtMY Aiourm&r
QMcDwuset' naVM.re
[?
i-
ij
MP
il
(^
H-yp^^
iiiVe ct-e-A-tu-ra; Car
menh
Ce
If
set wuin oiî-
^-^Fl
en
i;PP^r
<*
a-
^'
I'
i^
nu fautrwndque-l* n sott
p^^
aui
Le
sent;
^
*
amonrowsc-te oavfav-te-itwttt.
l.
re.
la
MaU
or
bowt En dotts
sitt bien-
mon
Elcast'Vnuvete, sa-(k-t, Cbvute, joncttc,
Gt-ailtfte,
sawwusefc, Et ^lu one utvlauhv jo-U-c-
Tis wcrnwilWtB.Plaisart-wwnt',
Slmrkte en sa manwrete
ore
D'a
38
^st; cf: d<j
wour*
bclcon-ic-na- men/k.
a5 -
* Sovdou6clrvl-ai-r monsty(juUcstdlw-nai.i:
vne
iai/t; en.
^~
j>
r^>
SI laimst btcn.PouftDwTus! (juc
e,
ct
jV pring
Bel
d<ctp
^-r
boiwa-mour Quapi*csclobur, Parma.
>,^
/!>
ment,
le-
f'
i"
i'
nw
rent:
^p
. je
lênt".
^
Adam
36.
de
Halle
la
{c.
12.30-12.87)
Monophonic
Li maus d'amer
a.
l.Li maus da2.Carines s-
tnr
b.
lii's
4U1,
,rt-
Tant con
suS-rc et
Kf
R'attuintfl- inant'
tr.
Si.
-plus
jo-
mc
piaist
CWsfijHus a-
ans
jot-
je
a sen-
-me pUvt miev
poire* a4t i'ait- trui
*3.Caruantplus
mivt.pw>cliavnc-m<Jrtt'.
=:*
wlou.r,fcTanV'dou<;K<3i4,r
w ^
wrtd^cltw: S jata-mj: tropfolcmcnt autaucli,jemcnwpertt5'<m.a-
tivs fo-
si
m M^f ff44^-^^'
0-c<>v-
E^
damei*
E^
p^#5
.^-^
fefe
four
espcrer <U
^^=p
m
-m
araxv^ yiie
Wen
auc
nc
fait
tn plaint <iuan-û
soi-<j
cs-
vant"
It
dons
a- mours
lo- Us
at"
<1*
mmchan-
voi-
joi
tans.
ballade
a,
a.
^s-
si
ioi-
Rondeau
vivrai
<y4.s .
3.
5^
Ja
Aivis
n en
VOu
^ i ii
It^^
ir
par-
rt-
SCI--
vt -
111^
\
rr
toui.
rat
ir
39
Diex
c.
soit
Chest as
a-
crv-
nJtt'
^j
ii
sts
ris
i^
,^
reus
tnoM.-
-$m
^ ^^
; pa- raises nou-
a-
Et- as
Nous a
frans hoir-
VtS;
rus-
Et-
si-
en. -
itt^
gfP
hicn
a-
lieu.
tra-
^^
courfots
crv
son.
^
fe
da
5.
Pre.
Ces
Two- Voice Trope
7.
Early 13th century
Ve-
us
^^
pa-
flucm
vcit-
h*o
he-
J.
5u-nw
lau- d6
tio-
a-
^jj^y
pa-ra- elite ob-
1.
Qui
di-otuun Csris tha-
T\.-ae,
sas,
te
stras,
MaMa-
[fz JS]
rj
na-
tu*
ri-
ri-
al-
r r r'p
umbrans cor-nus Ma-
lamum
pc-tw
Ma-
r'
r
i'.
"
rr?
3.
Ma-ri- di-
a
dit"
mad di-
ri-ae, e
ri-ae, e-
ma-
tre,
mun-
do,
e-
t"js,
a-
son
leyley-
son.
son.
ley- son.
rT^'^^
son.
\cyleyicy-
son.
son.
^r::fjj'^%7[^
^f'
^
UJ'-
ca-
rr'r^'-^fi^
levley-
rL^^^4^^<.^4J;s7^
Q'
tra, ho- -mc
vT
1.
mun-ilo fu-
'
rr
cus, e
rr rrr
de
rl- ae deMa- ri-am.,
1.
p-
re
9i-nuta- ma- for, Pa- us. Mastir-pe

rc-gi- a.
pro- du-cvs
2- lus 6-cl- pe dt-qttas pro
^^
l.CHristc
iss
r^ pf
Rex virginum
vlr-
-J.
con-.
533^
l.lUv,
Pour a - Voir dcs

son- mes de
itSOtn
pns,
mtS,
son..
zWrv -
m m
rEE
'
rr
5.
Qui
rr'r
su-)Vr cl6 spi-
^
ritum
1-
vas Ma-
son.
Fae
nos pot tpsam. scandetv
hv-a vir-tu-te,
Spl-
40
tus
al-
-m
Icy-
38.
Roma
Two-Voice Conductus
Early 15th century
giiudens jubila
M^Jma
aau.-
fUns
iu.-
bt-
Mca-Ks
la,
v-
Ut
pel-
}w- Ji-
tf
Spkn-dor |a- eve ct
nlo-
ri-
Ti- dc
^^
jlr
SU6-
CI,-
tn-
sti-
K-
r-
>
I
r
Ev-
r f
t-
U-
r r
Fr
frP-L
5a-
a!
^^
Ks
'i
^-^
^
1
ad.- est"
1^
rp^-
Sur-
^^
^JXZ
yf rir
^=4
9^^' ^^'
^Hr
U- a
tw-o
#
c
ft-
d-
Mp- ^r
^r r
ao
cr-
on.
-i*
ciun.
r'l'i^-
If
lu-
_r=f^
r-Hi^^
3plen-
aen-tl- bus Or-
rPr^--*î^-r-t3r
i^^r^r^"^
r
ir
p r
^
c
P^^
Jam.
"
ii-
iS=!f
i
'
f^
rflt-
iwan
qtun.
re- gem.
qetn
pfljr^
r r^ r^r FiGr
i
(^
'^
j>iJ-
J-
pc.
39.
Hac
la
trlr!;rT=iss
bus lu-
5y-
f ?r
rH-
ir
r r
pn^
^Vf4f^
r
ci- ve.
frin.-
ir
3'c
^sr
tu.-
U-
na- bi-
pro- cuL
dor
1^^^]
rT^^r^ff^^lr(?r
\r
in anni janua
Three- Voice Conductus

Early, 13th century
te^
E.
Thirteenth-Century Dances
40.
a.
Danse Royale
1.
b.
Danse Royale
Monophonic Dances
Ductia
6.
b.
Ductiu
Ir6
Roman
43.
de Fauvel
Isorhvthmic moter
Detractor est
De-
Rr
trautar t nsouissuru vtU - pes
Vcrbum
tnt4uu.itt e/titôroium
ta^ma-tUa
arc-veau-tmi
sa.
yt&-
6t
ct
ablwmtnabvtur I>omtnu6.
nan mmut a'du- tA-tor bUn-du,
Cw*
<la
fott"
Om-
ro.y,j>rtn-<ft,can-t> <!.
tittuiSuntfei-Usfii-ji-at-iU..
-i
R-
ie-U-bu
S<ui5ttUS-^-s<m
tw-nc sr- vt - unt"
.^
Et Ii.t4n*plu<f4
De ca-U- ce
U autre* en-<ll
ta- les
bv-
tmntr
Dc-
me-
JJ_
tra-lw-tB4l-U vl att-ii- ne
Ms
vi
45
i^
izt
<le
vrai
9ra-
s-
ri.
^W---4j-U-t
Unma-di-ftant- 
,
JL^^î/^f
6u-
retfton
<)i)-c>iiûar6-a-n.
a a<nontn-thc-n..
Hi
ce<mi-<Lit<i-miiu:
bi-
nan U-eu
m^
|j.J?::
Ant
Sur
bunmalp-U-ant
'û-tteie-ui da-tractort su.-
mt-
vwf,
pUm arpo-
\ntii ont'
<fut-
li-
fC'
ir
l>|i'
f>
j^
Szleurme-dibcar U& sontitvp U-
tie.
Isorhvthmic motet
I
-^
EccUzftt-as
rl
cstoit nulz
Sil a-
tn-Uaentîn-
^^Tjôt:
Dudutfsacbnc
1%ir
Guillaume de Machaut (1300-13 77)
44.
S'il
t>t-bunt0ti-ci-unt'
,M;j>J'J^J' jii,j hJ>

es-pc-cede
dontcityi-tie i'enioriyluiUurt
<k e-OE
vice-cbmi' ne
Ce-pmûc <|ut
JJ^^JJ^J^
fe>6
In.
at*
stoit nulz qui
je
'
*-
plzindre se dc- ust
me
d.eoroi.-e
bienplemdre
pour nul
tnes-
sans re-traire.
46
chief
car
que
datnour
re-
ce-
quant pre-miersTne vint enamou-
ne
onaucs in moy War-dement de-mou-rer
qui plus
ce
tnais
mc
dolour
rc-trai-i^Jj
qui e- spoir nve donnoit de jo- Ir
et
laisott rea-jo- Ir
ma
dz
vest Uis-sier
Tcs
el-
que,
plus
gardant,sans
le
_y.
'
di-
re
ne
fist
Jâi-re,
de-
par-
tir
de
moy,
pais en prison
me mistou
j'euc
seun tout eeulplus
ma U- vri- son.
que droit
dc
a.rdan6 dc&irs
en e- usse^Je acay de voir que
47
vi- vre
qui
si
m pe-ue-ae
mc
tient con- trai -
sanz
le
re
aecours
nva.-
cLame de
ban-
qal m'a
re
nai-
cour-toi-ei- e
et
te
ottt
en
cct bieti droiscardoucourcnTn-
morir ras-pi-tc. t
sans
ci,
<i
Icur
re-
pai
^^^^
s'A-maurs
doit,
'd-^
'jj^ ^trop Ian- guir.
âit
-o-
45.
Guillaume de Machaut
Ballade
Jc puis trop bien
*-^*'
ct.
trap
h'wn
^*Â
da-
ôi-
re
fu.,
tAn^
belle
...
..
ciTm-pa-rer a 1^'- "la91 satis |wriJu plus I'a-
et-
ge
ma
'
ggi
l>i
^j fTTT^r
T-'
^^ ?*
<ûe
'"rrrr
J|
^r^^Cjf'T
^^
^^^
fiattyma-tl-
rrrr
^^
^ ^m
retfwn-doit. Eins-st
me
ijjj
j,
folx
on..
fait
#=^^
^mr
y\
î
eel- le
({ut
Iz:Oij^^,mia
^
ntH
me
puvA
tiniats La
irr
^
i
UU-
mon cuer
fonl^,
qw'a-
pJ-
J-
J-
d5
la
irr
If
'
i'
r-
--^!^
[I
crt- oit,
mais
ip
ij
^
i>
ly-
iM
ma-ae
i^'
ip
48
iT
ricrts
gir
^
p
mn- M< me - spit
et"
rrrsiyr r
rff4t-tfr
'T=ri
f^rrir
Guilkuime de Machaut
46.
Virelai
Comment qua moy
a.
1 5-
^-
UJmmcnt qua may
Ion-
ve
ccr- i-în- niz
t-x
nva-
re
niij-
'p
l-Car Sou-we-nir me
5. CO
biautc 6ou-ve-
tein- rtc
eoi-
es,
rf-
vo
i^-^
i'on-nour,
jrc-Bchc oou- lour
tir'Tifi
mein-nc,
IlITdI
vousynro-
iw
qui nt pa- Ic
^.<ûa-de3 saneaeora- ci- cus a-
61
vo
rein- nc,
^
i^^
mc-ala
ei
pen-ser nuit ct
ne par
chein-
vein- nc,
^JOv
jour.
sans- jour.
toti- difi
jour
tour,
Virelai
Plus dure
b.
1.5. Plus
* par
du.-
re
un.
a*:-
mant
que un dy-a.cucil at-trai- ant,
VC6 pi-
te,^
me.
^simple <+
4c
vo
pw-
pleln d'u-
vostreadûea a-
wr^ ju-
n'a-
-T-
rrnrrn
e
ne que
mbnt au
pier-re
d'a.-
cuer en
re-
M^-^(^r
P N
mant
qu'o- ei-
es
en
de.-
tartt
que vo
qra,-
cc
qu'tl
rf
biau-te
qut
tou-ies
passe,
ml-
de
dou-ceur
fi-
ne
t-e.
na-
jort
^.Tur
re
vo dur-
y- mantett
sjar-dant si
^5
'
si- ranV
te,
da,-
qu*.
vre.
auc
ja
mais
mongr^, ct
yn-
najol-
8j^^
iJostre
a- tant m'au-
'
*?.
a- mX-
tie.
ree diin-
ne'.
"^tt^
sam- Want
re,
en
sous-ri-
ant;
p-4
47.
En
Jacopin Selesses (Late 14th Century)

Ballade
attendant
erf
49
darit"
ea- pe- ran- cc
dant-
se
^r
da-
rHr-
du.it-
et
con-
ôr-
te
dc-
por-
ta
r^
fe^
pae- 6c
tcm^s at
an
sal-
8am
en.
ten
a.t-
fl-
63.
li
an-.
^'
1
n^-
=i=it
^'î
a
^^
=pt
'
ll
^?
fe^
0r?
fl-
^'r
qui
Cilz
fui-
M'
r^
ce
ntce
eet
eer-
5"
-M-
s
^?^
r
n
Bt vtv-rc
#^
^^
f
t-aue
(U
^^^^^^
^
^'
met
dant
^^
eane
^
=^^
m îs^jy
J.
>-r-
J j
^m
f f
48.
a.
i
f
Baude Cordier
(fl.
c.
*=*=^=* ^"^^^1^
T-
1400)
Amans ames
Rondeau
J*
AIA-
;^?
-^L
-W-"
3.Wc-
cst-
î-
S.Car
aif ^fp-
b.
fr
tfr^.i^r
-^
tf
1./
a-/-/p
is
con.-
cr
)itiâp^t;r> r JiM
ê^
t^
1^
i^r
Belle bonne
Rondeau
1.4.7.Bcl-lc
bon-nc
3.
Da
5.
Car tint vous
sa-
rc-ca- voir cc
Ccntwitctwr
51
aim
go
pla'i-
san- tc
soy- oa
<lon na
qu'3tlleur& nay man.
ct
Qtn-
lanen-
ten-
Ic
Ic i.fl.Vous fats
ht 6. Qui tame
p r
U,
3c
t,
Et-
'l^'"
d'u-
cKas- cun,
pH^
qtt
'^=^^
^^=Rg
Dc - dcnB mon
Ic
Flour dc
Xa.:
.-
*-^
N J/ilN^;JlJ
^^
cocur qui a wouB

tc
sur toutcs
.Li
nr
se
pre- sen- tc.
ev-
ceL- ln-t.
^^
-le-
^5
1.
al
J
i-^
i
NJ
Jirr
ij;
i^
Jij
PP^^SI
i
i
F
49.
Non
fr
hcau.-
w^ mM
^H^
vcl-
set
cet-
son nou-uclvous ap-yel
chan-
Ti^
a- vcs qu
que Ian se re- nou-ma dou-cc de- moivou es-tss seu- le
cy
ce jour
vouA supsy scay
Jacopo da Bologna
(fl.
c.
1350)
suo amante
Madrigal
al soil -man- te piu Di- a- na piala -pas- tu-rc- laâl-pe-tiaecru-
Non
mi
i.C'a
1. >\cm,
at so
l.C'a.
mi
la
a-man.pas-
tc
tu-
piu Di-
a - na
re - la al-pe - stnw
pi* -
cru -
vi-
50.
î^;jjij
in mc-iyO
Jie-\e
i-
ai-\.li
Giovanni da Florentia
(fl.
c.
1350)
Ncl mezzo
Nd.
S.
i
rfe
Ma'l
Madrigal
mer-zo
fiuo
com-
VA-
VI-
di-
ta
&u<
hci
prcjel
va
auar-
Qru>
un
oa
frtntr
6cfi-
>j:u
btin -
UzcUn-
ri ^.pr-j'
52..
Tosto chc
Hit n-"^'-
I'alba
f> ^
Ghirardcllo da Firenze
(fl.
c.
1375)
Caccila
5 3-
Amor
t.5.
(i 32.5-1
397)
tuo suggetto
c'al
A.-
Per
Ballata
mor
c'al
tuo
6\tg-get-
to O-
mai
da
Ue-
chc
tat-
ta.
v>ir-tu,
i"
^'^
si
<^"^-
F^^^^
Contratenor
>tr
Tanor
Francesco Landini
r'
^-^p
i
rg ^
Sot- to
a.
^^^
P^
fefeStf
tFiae)
too
gvo-
go
ce
cul
VIIc-
vo san- ca
ca
ghi a ttal
S-
pa-
tc-
na..
^^
Sacunda pars
fJlJjiJ.
6n-
a-
o^
na-
O'lJ^'ti^
pra ata
gua- gUa-
Po
Tal
ra
^=#
chc
tna
la
pro-
F^=#^
Efe
54-
Francesco Landini
Madrigal
Sv dolce non sono
^
Sy
'
-'
cc non 60-noehVlir' Or- Jc
dol-
duarid'
Corvtra tenor
doL-ccnon sono
Sy
din.- fan-trz
din-
^-C'Pf
can tan. -do
^
ntio
rr
d'iafan -
i^-
Co-
mr;
rf
me
U)
gal-Lo mio
gal-lo
oa
mîo
dlfuxn-da
bo-
di jfuorda bo-
f^
i
Co~
de-
te di
lo
ter
me.
\x3
qal
Miillj^ff
schi
Con.
Con.
no-
ff
di
Or-
Co-mc
te di dc-
^^f4f
edti
Ur
di
fan-
cViol
Jtujrda
ta- l
no-ta.
ta.
ta
cKe gia-ma' u.- di.-
ta-U
ia-le
fr/g-bo-
Cor
schi
57
no-ta ta
Lc
che dia-
U>
-^
T*
Ju
<la
lo-
fi-
iric-mm
*-
\Jer-dl
ba-
ju da J"u -
mii-i'ua
in.
-r
Nc
uiu
can- to
piu fn-bo
ûan-d^
ba canto
tt2-
.ûan.-
&cKcr-tvi-
do
scHcr-ni
ver- dt
piu fcbo
^^^^^^m
Marsia fa Buo
sao
fu.
ti
H-bta
C/C/^^J
bo-
biiîn. fol-tl
in.
s^
V vln
can-
do
l!
U> spoalio
lo epo-gUo
bo-
di
^^~J^.K
:J^^^^f
li
aMj-ltiMbjn^J
v4vin-cu-do
'
di
JJ Jj
^^
'
'
siw
tl-bli
loinccn-
do
foltl
ir
'4J^-I
'
ta.
Jj^jTJ J.,5b,j-^^^j^sg
|
^^
vl-
Oo-
fecKl
Do-
bo
Jol-tl
6ch<:r-
^s
^^^^
dp
juan-
ta
scKl
Mar-siafu.
can -
^
^
;i
lo
spo-
olio di
ta.
ta.
LR<-t:omUo]
JTJ
-
l'^
'^
JJJijijj.} ^^^^=^3?jjfii
Jcb av^mc cl c\iiuAcni Amfi ~o
P-ff itSH^FP^BFrMf
si
T-^
r r
ir^f t
i
Teb'auan^ el diiiul^nt AmJ'i - o -
58
^^
fitio
in terra
cotitrarujal gor-go-
Johannes Ciconia
55.
Et
fa.
(fl.
1400)
Mass movement
pax
Slo-ri-
Qui tol-
no- bU.
r^^^^^^pS
r^^yiff^V'
6ra.
K-a a-av-mu
tt-
hi
'
^^^r'i
far
rni-
tJrop-
Out sc<ls a<l<leiftj-ram Pa-
tris,
i^J^.-^^'
ff^
'
CO
lus
om- ni-Tpo^na.
Soitti-nuft,
^f
^î
'
Doiu.
r'Wr^
<>
fj
-j
irie
tris.
^4^^
^ r
fv- It
nl-ae-nt'-ta
lus
3e- sumua3-au.
:.
'
te.
nan tio-
'f^=^^''
-n
Da
ni-
anv
tu so - 1u5
cocXe-stii,
us,
f^
Vo-
Ckrt-te.
Qiri-6te,
\
'
mme De-us, 3-
Cum SandtjSpni'
-^
iT
^^
ViOffp
59
ff^^-^
'tfr
gnus
tu.
in.
olo- ri
p^
^r^T^^r
^^
ff
fru
W'^ lîiiYfr
^NIJr i^
.rrrirrp^
r'
IV'
sa>v ctue,
A-
^^
stnm.
''-^
ttiv-
U^^tt^w^Tu
^;^ iU
/'^V^y
^Vj'* ^"
^^^
ft- It-M*
Dc-i.
'
Vf^
Pâ^
mute
(o-
(i-ea.- tnus
dt--Tfrea-il- o-
h'i
'
-^
u pi-tcr
iti-ei-
lit 'pece&ta ituut-di,
^^
P
rr
r
rpf
56.
Guillaume Legrant
(fl.
141 9)
Mass movement
Bi-
nv-
ont-
trcnv
voRw-tff-
twn. eoa-
It-
et ter- Me,vi-si.-W.-U-nom-iu-um
CSoU>]
in.
DeeumOirt-
num. Do-itu-num
t-
stunt.
It-
vmv
De-
u--
tqwm*]
Et
ejf
Va- trena-tunvan t otnni.- A
S- i-
ottent
om-
F.
tt-a fac-
f-r
l^r'r
g(^m om-ni-a
^
fac
ta
J
-
non.
turn.,
J
ta.
ac-
iaecu-la.,
turn., cotv-
Pe-untdDc-
sub-stan-
lu-tnan.de
ti- a.~
fci*
Uut
propter
#iibib
propfcet* r
propfcer
nostram
suttt.
Sincto
T^-tri,
f^
r r
r.fr T
mJ6 ho-mt-nes et
Smvh
5m.ri-tt4.
5ptri-tt4.
Uzttt
Dc- wnv va-rvtm
[Chi-ut]|
o
Et itv-car-na-tiwest
iiv-car-na-tiwest de
cJe
lu.-ivt-n<j,
or
Ma-rt-a Vtr-at-M, at homo
60
acttts et.
sa- lu-
lis.
tew- <icscencitfr deiioehu
57a.
School of Worcester (14th Century)

Motet
Alleluia psaihit
^-
U-lu. ya. ytal- lat
At-
le- Ui- ya con-ci-net
hatcja.-mi-\i-a.
Kaac-
8 lac- tu* coc- tu6
cum har-m^-m- a
Ai- \e- lu-ya
fa-mi-lt-a
Al-
tim-panU ct al- U-Vu-ya peal- lat
lae-tu6Coe-lu cum. 1iar-nu7-nt.- a
U-lu-ya Hm-pa-nUe4r
al- l-ltt-a psallat-
Al-l-U*->
Al- Ic-lu- ya pal-
KntfanU
praco-
it'
al-
Dc- o lau demct' pra^-co-nl- a
lat
U-lu-ya cit-ta-rU
t"
laetitecvetue
cum
tiamui- ni- a..
U-
ni-a
61
u*.
Al- t- lu-ya.
b.
Mass movement
Gloria in excels IS
Et
tr-r*
in.
pav
^'"r iif r
ho- vi - nt/ - bus
bo-ne
rrr c?S^r7T f
^r-f-afpf^rTTrtr rirr
Ti-tnus
tc.
is-ii^
Dc-
U.S
tc
bb-ri-ft- ca- miiS
rf
rev coc-U-stts
"Ic-su
Chri
ste.
TVimus
Sm-ti-as
tc.
0^
De-
us
^
T^-
i^:i^
a
<la-
wus
=^:r-r^rT
gi-
mus
ter
t^,:-
bi
proptai-
otn- nv -
potens. Do-
Organ Estampie
(c.
r rr
r
[irr
waortam jlo-rt-atn tuam,
fr r
ft-
^t
t,
A-flnuS
B- i-dt-ca-tnus
te.
imn^r r
Lau.-
Be-
Do-mv-tvc D- MS,
58.
^
vo- Uuv- ta- tts.
mt-tuz
ti -
132.5)
us
li
A<l-o-
^ r
^^^^^
Do-mi.-n<j
i^r
u-
nt-^c- ni-
gt
fi
'
fee.
Pa-
trts.
ri
F?f^
6o.
Oswald von Wolkenstein
(i
377-1445)
Accompanied song
Der May
i^ ^^
^^^
-f F r p JMtV arossem unoemaclv,
fe^-:
>
loleicW. Ho- ret
^^1=^
^^^4
'
w^
ten!
J.
^m
3^f^
Deni
gilj
tntr^Pen
^r^M-Ut
63 tuid tu-Uh
tu-icK tu'tcK
tu-idi
^rrrmwf
tu.- tcH,
da sa sd sa &a sa sa da
^^P^
sa.
J-
60I ich ? So sprach das klcinc
1^
kumm.wir iin
[!
cu -cu.,
dm Maatn echier
W^
ippg F=M=;^
Pi^^
^^
Kutuel, zetsel, mays, lerch,nu
#==^
M J J i
Mti*
wil vcK hanwrt dir
vicH.
Per aauck fleudtt hindai
er epriurk:
?â^
!^5=f|S
^^
KUini.en veacliin
'ac\eu
p^
|##NNg
ft-
^p^ f?pg^ WWiâsas;

n
i#=# ^^ i fe#
t^
ppp
lander, lerchcn, xosthtl, nadxtl-
P-
tvacK
^#^
4vn -
eehil Erklin- QCrt,
-~
d
1
1
da sa sa, t
iJJ-^^^Ff
ftd^li
ideli
fidicU
^^^?rT[P'?l5^^
i,
ci
ci-e- ri-rt ci-rt ct-iz- ri-rt cv- rt
64
i-rv <a-ri-U,
sia
0'
|
6ia
eo
-|^
6iru<W
^^
1^
nsMd^ jTTIjtI^
r^^
rp
PI!
ZwaricK sina
Auck vcl,
r r
1^^ ^ 1
h
ScUtuh mn,
]>as
1^
^^
hr- ut, vol tein.
(iie
Ciri
li-rt
li-ri.
li-rv
U-rl-W,
U-rt
Sff
Urcfi^
^
satio
t^
Urch
<lu:
ana
<li
krcK,M>
^^^ *f-^-f=
(?
Ich sina he\ ein dtvsdix kin,
'"S
Uh s'lna
hel cin.dro*Mein,
uh din^
Iwl ein drvsch le'in, das in damwiid.ci^lmat',

t
g
fF=lF=t>
f ^
^^n ^=^
sang
wwnrn ^^^
mus
Vol
>
J>
J'
i^
tr-Ue-int', lie- rarA,ara.<iiiei, aroAie^ tuiti uTA-chet'
M pp HfT
htn unci Ywr, recht
p p
ft-
zi-si-ri-QO, nacht-iâUjDiiz
^^44^
6lb-
tnit'
unset" pha-rer.
M H
f'
Zt-<it-iyuJ{,xt-<lt-tyufc,zt- <li-wi<k,
ff g
^^^
^^^^
irctn ac- lanj behub Aen
aU
'Ik
i>
f /sl S
ill.
satt^
behub den
IV. Early Fifteenth Century

6i.
John Dunstable
(c.
13 70-1 453)
Accompanied song
rosa Bella
65
Cinstl-J
6i.
John Dunstable
Hymn
Sancta Maria
W-
Sane
Jj:
J.
Ct.
#-H^-
^.
Sane-
^
Sanc-
J-in
J- J.
'
f*'
Ma-
ir
a,
non est
A. J
Citfiv Stic
i^
ta_
^'
fÛ
0-
Ma..
(motet)
rr-
Ma-i*t
66
ii
n>ir^
mm
sa,
f^^T
^J^J
fU-
^fe
*.
J>|
grans
sicut
m-
fU-
^ms m^ ^
^
m i^
*^^
f-
grans
u-
Skcut:
twit,
o- ra
jT<3
no-
g
o- ra
p-<J
1pro
bu^
an-
no
ta
63. Lionel
Power
(Early 15th Century)

Mass movement
Sanctus
tSan-
ctua,
Stu\- ctut,
5an.- ctu
Tb-mituic De-
u Sa-
ha-oth.
67
^ct.
fi
64.
Damett
(Early 15 th Century)
Hvmn
Beata Dei genitrix

[Soloist]
.J-JLJ.
ppf
Spt-
m*=
enifrto
TV-
JJ
J,
iJJ JJ J^J
^:AT,
^m
W^
J J
f
San-
tufi
'i:
li
So-
cfi:
H^
[SoloittJ
So-
pU-
la
91-
P ^
^:^
3c-
su.
ChiT-
J-
6u
Chri-
sto.
fcff
am-y\e fiUcu.-
i-
-^-.^--I j
po-
JJJj
i
tnt|nt-
ml-
So.
Ui
lo,
I
,
tu>
JJ ^J
JJ^ J
I-
ir-
69
ve-
ni
pv
clc-
sto.
'
l
,J.J j ,|
j
vo,
in-
ter-
jJ.iJ
cc-
(^,u^
re m.
^m PF
JVtf-
'"j/i
ii
,J
;l
ori-
-us
A.
^^
ji.-
rr
r f
Agnus Dei
c.
Missa
III
i^
Oitwn.'. Cartcct-
car rlcnuset r<leAttw|îu.
L'Homme arme
^^c;
tsUtifi
j/
1>^-
i!E=E
si
imm
^^
rrr
77^
izr 77^ TF riT
tei
p^
s"^
J-JJJ
rfr XWrf=f.
I
^^^-'''tfe
i ^^^^ Jj-^.^-^
i
ff
na
no-
r r
r-
iibi;
^^/i
^
^^Wf
i^f"
;J.i
rrr
rr fjfri ^=ffefe
IHS
^^ fprf i ^
^-f--
do-
JJ
l^L
.ij^ rjJ j^-J-
^Tfff
OT
^^ ^m ^jg^
J-l-JJuJ
r "fFr
72
pA-
cent.
Guillaume Dufay
67-
Mon
chier
Ballade
amy
Cinstru nucntall!]
Mon ckUr a
2.
Se diûr nous A
tny au'a-veg veus
un.
ven- 6C
a -
tn-
my
bon A-
?iH^_f_îi
i^JZTBret-
So.
t-
n VOUS
ntr
vrc

in-iit-
eMJ î ?î
hrf^^ i
.^
Iw
<a>-
M^P3:f f
r^
.J
#_ -ejL
^JE^î^^tJ-pU
-
^1
si
fe^ fe^
ii
f
J
JI
ban- <lon
3.Nc tnat-tas pas
/7S
r
r
la
la
lUim^^^
?N-^^
W,
Car
tt- -nc
r'f-r
Ur
tOl
TV>U6
u4t ce pas ^s
[tnfttrumcntal ?]
^[^gg if^
scr.
i^
-Jrjn^ JlT?
l
fe^
f^
^TT ^TTT
68.
Guillaume Dufay
Adieu m'amour
Tnor
A-
dieu-
m.'a-
mour,a-
A-dieuLc
dieu.
Contratcnor
73
6o-
Usque
i'a-
wou-
i
't^
i;
/
A-diuma.
le-4-
l maU-fcrcs-
c di-rca-dieu.
i^
S^
ma
A-dicu
.
*
6C
*^
Qutl nuz dam- blc que rno-
me
Qail
si
rir
tant
?g
^r-
5.
5.
T.
11 s ^
_K.plud
^^
Ct-.
-- re sc
que I'e
(c.
jsiijrjiu
1400- 1467)
J.
m.
1-
re ciiu-
.-|L
^^^
sir
Que lay dc
\>0U
vir,
6n.
nant
frou6-i-
eel ,
cL-
J_..
dou-
ComroCc-
._
J-
ce- da.m.a
toti6 jours vcus
û
cutfr-
r - ^ 1- _.
jen-teet
es -tea
sn
m^
ioi-asc|
ou- vr
re
rr
Files
;i
'
^g^
que- ret
''
70.
bal-
n^^
tuHi- ctfl
iiri
mm
!._i
celtel-
^ tatt
^^
ii-
rr
f^
Gilles Binchois
Chanson
maricr
V=^
R.-
Les
^^^^^--J N
A nta-rt- er,
ne.
J,
.rj
w^^=^
^^^(J
mc bUs-
Rondeau
Ne CUV- di'o^ pa
H- LaA, se vou
s;s=t
m^
fjrt
6am.-bUqiLe mo-n.r doy-
fu-.u.puji-j'iujjjj jijjj^^
!..*.
Da ^lu&
en
^
fort
^ps
plus en plus
Iv.T.
tant
i'iJj
-tpi'-^ J.
j J.l
doy
69. Gilles Binchois
De
>
Lc di- rea-^.*"-
.i-b^j
bkfi-
Pf
iJ^^
wmm
5
Jdij-ii
JL_I_
le mais-trcs-
le- a.-
1-..
tft-
P^
M)
J rili^TTllTt^
p^
p^^
^ ^
^^'PF.
-r-trr
^p
ne vou ma-rv-ei
vtfu5ma.-rt.-ex ja
J>
f>
ja,ne vousma-ri-ei
'
Ua a ma-rt-er, ne tfousma-rt-ex
mmm
ne
la.
i
,
74
ja,[ntf^vus
\)oua tna-rt - ez
^"^v
la
ma-rl-et
^-
^f ; M ^__i_. jp^te
ma.-rv-cx
la..
ife
Mt
414,
'J"?'
71.
jc
au. |Ci*grôv-g
na-
he
He -
Las
5.
Tlint
m*m i
[ill
(fl.
c.
Rondeau
nty
sont'
ou.
bun
biov pen-
enj}"* ^Miirtt
dtf
9
a-
Clu vo -
vee
St
1.8.1tU)rt
sy
(9.
Vs
tre
suy ct
ciwr cer- tes

no rcrt - ires
que vous ay
vei -
ant
cû.si-
vy.
^^^
^^=f=
ria-
na.-
1450)
SOU-r -
t*al-
cuerioy- i
loy-a
tta.'f*a[au.ct4rioy-n.a-r^,
n'a-Ta,aucur jo^-c na--r^3
loy- ttA-fa[au.ctrjojf-tf
clwy-
ws
ne vous rw
nc
r-
voy
3.
cfi-
LuL.ia-mai
la-mai
no. Lul,
rt
T-wffhirf^^
ra.
Arnold de Lantins
nrn
^Ttrf'
mAisna iwu5
]&
la-
joy-ni-rA,
r*
1^-4-}
cuerjoy-e nx-ra.
Lou-du
Uû-du &
J.U Cu4iriOV-c nJL'
Puisquc
iia.la--
^r-^^ r
^ ^-
^ûj'j^
ai
ir-
mais] limatd nc vOus nc lu.t
^r.
6 i4-U>u-*i4
Car
/>
L^__
_J
vouft
vrl
Ly
?''-f^
irr
ttc toufc
^Lai-
sire
sotit"
dtf
soy
Et ûc
dim-
*y
ai-
re
rai.- son-
|OfirTTiPff-î^p r
pr
dtf-
bsun'a-
'
ttfs.
vrfs.
r^f^fp^'-
75
rT'=w
^:
u-
t^crCr^^
p^
72..
Ce
Hugo
de Lantins
(fl. c.
1450)
Rondeau
ieusse fait
vA)
f.rrirJrir
Cc
C<!
ivu-frec
t ^'
fjii-t-
<|u<
\i't=rM=hm^'^^^^^
fN-^
<)ue
ca
Jait
tc
Hrf
irrr
11,,
ep
fuftfjtf
(b;,
.
tncn pa-
Jti-fr_cn
^^
^
&c
Ei
ill'
ee
Ct-
jtci
pan-
ic
a-
i^r
tcu-sse
ys
nnv
9c-
Dtf
(B)
r^
man
^'-^
pa-
Ir-rr+i
ri'r^
n^
E^
'î
rir
*rrr
i'^
Jc
plus
ri>ye
nc
ftc-
^^
rr^V^
plitfr
^^
4fja^^
'^
3~ A5au-
rr
^
vis
rirr
"'"T^^
if-^Tr
igl-
cAxc-
nc
tcl-
Ptf
u-
rrrnrJ
irT=^
Ic
u.
V. Late Fifteenth Century

73.
Johannes
Ockeghcm (1430-1495)
Missa
76
L'Homme arme
b.
Agnus Dei
Missa
III
L'Homme arme
Clut
pftc-ca-
tot- Ite-pec
j^
pecca-t&
8
ta.
ta.
ta^mu-n
"
j>
i'
muamArt-
77
mun,-
cLi
pa-
Ma
Ockeghem
Johannes
74.
Virelai
maitresse
^^TTj^fW^WW^^WZjUWZl^
VCU&
s ^m
?^
"^f
r^
drc
que
bitfn
plain -
voir
Qtx
ûl-
i^T
-M Jj ^JJ
l
UTTTr
w-ov-
a,
6oy
c.
5tl
Tout
r^
'>.
\
^^
pUtst <:^
^^ ^^^
mcnt iwue
pUist d"
re
en
tf ,
ncy-
*?,
78
ffr
TUa Nc
f^f? ^P
r rr^frf'
r^
TTj'
brtcf-
J.
|ini?ur,
jus-
,PIJ
jur
tiju'a-
r^r
Johannes
75-
Ma
bouchc
1.5.1TU bouthe
Ockeghem
Virt-lai
rit
rifc
m*
ytn-se-e
man
{lUu-
niaU
re.
Quit eust
Ain- ii
bMinqui sa
maurtvitiO^
en.
oetl
r -
eueivt mAu-dii: leu<1- tnû vi- vnt je
mon
e'es- jot
aueur
veult"
fan- te de-chjiAvt- v^nt tresfias-
Sir
se.
ttlai*
pour ce-
que Lamoi+
lev
mai <jui
U.
^#^ff-t
re.
1. Ha.,
re.
3.
cutfM-r |7ar- vera, faul-Ciiu-e

i
^15
du.tv
Ctf
point'
VOU
VOLl
et
VO-
lei ven- gi"",
JLSte-
maOU-
79
Ken.t'ast'
a.<1
^^
icx.
o-
se
nva.
Vt^
^^
^ a^
^=f e i
(aul-car ce qu
gsr,
tes camnuttt'
Tan- sax
fe#
^#
^ 53
provex
mis
ntt&.
Jacob Obrccht (1430-1 505)
76.
a.
Motet
beate Basili (prima pars)

te
tae
vi-
vc-nc-rMidtyCuius
fia-6i.-li,c(m-fe^-sÎJ(^m-ni
B UnttrumtnUt^
il-lu.ri-tis il-li
ffm.
gfr
^m i^fe
tef
sa
stum
p^^^m ^^^^^
is ^^^^
coe-
<l
lis
r<J-
Us,
ia.-
^'^#^^
tm-
fl-
9a
pw
u-t
sum.
yto
intbtts
net 3.- mi-
î^^^ iî^^
II,
^P
tu-
SH-
tws
OlH-
ts
ts
di,-
SI-
*!.-
PS^^^^^flff
f^^f^^V^^
f^^^^^??
^^fe^
lunt-
*s i=^ lii
c-ta-
prr-[fjf
3fS
it^^P
r"
^^
>-
n i ^^
CIS.
strts ic-p<7-
2:
O
^
b.
vos omnes
S
V6
^
w^
B
W9
O-
iii
rr
^^
mnes
gg
mtt5 Out tmn-i-tis
^^
Qui
tian-i- ti.
2:
Vm
pei*
3-
Motet
Un-
^^
At-
vt
m^^
at-
pel-
ili:
S
tiatw-
80
tert.-
i"
<li-t
*t
vi-de-
ct
m
Zat-
ct
vi-
ie.
.J J J
t- r
at- ten-
te>
ct'
vt<
tt.
Sv
e^ Aa- lor.
tc
Si
a^ do-tor,
si -cut
tor
si
do-
cut do-
77.
a.
Kyrie
-, J-
lor
î
^ffr^^T^
it
etvi-cU
'
efr
lo-
me-
Jacob Obrecht
t:
81
Ioi>
U9.
m-
Itfr
m a^^
tc
ii-
vi-dc-
us.
b.
Agnus Dei
Missa Sine nomine
II
i
<>ui
J.
j-i.i
ra-
rw-
bift,
78.
mi--
Lis
tol-
JJ-J
>ji J^J^-î
J^^J
J.
Ac-re-
Jacob Obrecht
Instrumental canzona
Tsaat een meskin
82
ff^^^
U=M ^^ûi^Wf mHH^^^
ii
:^
ii
ii
if
^\[}i]Mpmfp^^
i.
^^^^^^
n
^
m
fL^r
tf
IL
79.
Roync du
*?
du
du
j=
^ r
f^
Compere
(<f/.
15 18)
v^
A-
aul du layt vir-
du dtcu
filz.
ftt^
Rondeau
ySi^j,!
li2
Loyset
r-i^-cf r
cicl
Rjy-nc du cicL
Ic
i^^
[j-^
d diula is-
j'j'i
a-ce
R-e-ser-vcz.
ntotl-
moy
J
ca
:r-vez moy
i 1
83
S^Q
I[i
ftfl
,^
.4=4,
Conrad Paumann (1410-1473)
8i.
a.
Mit ganczem Willcn
^.1
Jjj.J
Lochamer Liederbuch,
j^t '^
.*;-;
(Instnimîtal)
î-t ântiem. Willcn.
Ob
aiLZf
vein on
b.
spfft
rif
So
\>\exb
i,
uh
,1,
JJ1
J
|
id\ dein aI- iey-
Mit sianczcm Willen
wiinschuhdir
Sci.id.
ac- stchtnachXjiri bijoiir Will
J_iJ
ne Du.
al-
Ick
nuchdir cr- a-
Ich ac-
-J-^
l:r-Li<;t>6ts
^
,
hen
wiltla.î- cKcn
c.
1450
ITtcpctitio)
:{^
I
h'
^-
k^n.
In.
<ici-
nem
a\>c>t
fnw
etsn
--^^ Jl
frcw-
l:i
Paumann's
lu/inLiinent/n// Or^jnisiindi,
1452.
Quodlibet
lb
ra.t.
tumwh..
oe- mut.
Siti. ujol
gchaneSt^, soU.und.iwtL,
Habtch.
Mem
So hrcn- rxetmainherx.
In eMrsHltr
im hr-
Ub
to
Mcirvtraut
zngeil. IdtdacheeinsmaU.
Itftdick tiofc
Tu.
Ub-ete zarh Ee
Dr mci, dcr
a- ecil.
e-
al-Ur-
au,ninn
86
Uifc-mtr hart.
s^tn
Ubte. lib-
-mci tit" Win.
<:ltcha0t'.
Tî-
Hllf
VuhmK-
So $ mein Ub-
<la-hin
<laniuM
tind-
II
cWcn
6i
sain-.
83.
Glogauer Liederbuch
Instrumental piece
_^
r
J.
^!
iJ-j:^
^-^
^^
b.
sLt sUi(>U
rr-^
Der neue Bauernschwanz
jc^
f^
^ ^
_
f"^
J i^ 4iJ
'
''i
fr
^r
;d^
jjjJii:jjj
U ^^
7t
f^Tf>c
.jj^-ii[]j
j
i^
^
/3>
I
jiJ UM:U4^.LU^
^f^ rr^
For Instruments
84.
a.
Praeambulum
in
Organ Preludes
Tablature of
Adam
Ileborgh, 1448
>-n,frrfrr.f; T*iTg
|
b.
Praeambulum super D, A, F
i^jm
lijJJJiJJJJi-i
et
iTJ^îjj'^rJî^^^J'JJJ^jh
Tablature of
iii'ji
Adam
Ileborgh
-4
e.
Praeambulum
in
mi
Tablaturc of Lconhard Kleber, 1514
mrîr^
^^^
-.TTf <7-
--^
'i:zi^^^:iTi
f.
Praeambulum
fAj.
in re
^=rf-
fiiuzi
Tablature 0+ Leonhard KJeber
Two
86.
a.
dew,
dew
Un-tyl I
s
b. I
c.
1500
Robert Cornysh (1465-152.3)
rt^
H^
English Part Songs,
d- Us, a-
dye
daw my
joy
las.
44J
rr p
i
have been
haws bene a
'
rr
^
Cooper
a foster
io-
etcr
Una ami man-y
day
90
fo-
stcr
wyl
be
Tw
more, no
lort-
VL
Early Sixteenth Century
87.
Heinrich Isaac
{c.
145 0-15 17)

German
Zwischen Berg und tiefem Tal

ial, zu'i-
mue5
Y"-
f*-
i^*"-
tdicn pei^
unct tWi-*")
flW
*ai
da
If*^*'
em
part song
Va-
'^'
88.
Heinrich Isaac
91
|A
we- ri-
tae
vi-
at"
ta.
^
,
ad
te
CO-
lum
con-
giT^r
'fU-qi.-
7J-8
o,
re
rum
rDa-
tf
^^ *?
!^
rum
\-
r,
su.
CKn
6t
91.
mtf,
WiTJ.
M ^^
do,
lo,
un- ailUdlK
wn-
PC^
r\e
tin*
quant
^^l Ê^
f=P=
Chanson
Rtul- tc dW-ênlr,
tc
dar- Qnt,
Josquin des Pres
y .5u|fariu*
Ob'
Ê^
rr-
4-
Ê^
i
"n*!
Faulte d'argent
Fjul
spe-
te
ftlJC
Ad.
m^
aa^.
Ptf
m^
Ml
^M
^ J^^
l^ J=i
l
\\
v-
^^
(o-o) ro.
c'et iou. .
Uur tun
pa-
ml-
93
tc
fAul-
ie dkr-acnt,
c'aatrdou-Uur
c'ctt
deu-leur
'non^-
won
-retl-
pa-
non pa-ril-
c'csf ioii-lcur
Se
^^
U6, ig acay bU.,
Us,
le
scay
pour-
bicn
c^twy,
94
r-
tnc aui
Ic,
ia.
^^V'
doi-t:
yoUr ar- ênt
dis,
â,
u,
pour ar-gent*
M tv-sveil'l,
four 2ir-ênt
ôur ar-aant
^^îd mit
6ei
rc-4tftl-
s re-sveil
i,
J-^^:
P
f
cm
ma
pour araeni-sciv-
ajM+.i
sivit-
?v
P=^
lurarMnt dc re-
l,
sveil-
U,
A
f^
se re-dvetl-Wt
91.
Kyrie
Kyric
and
m^
Pierre de
la
Rue
re-
{c.
Sveil-
Le.
1460-15 18)
Missa L' Homme arme'
II
I.
Ky- rl
&e
fTOur ar-qent'
J r
irTf
J
\ i'
ii^'
e=:n:
iji
c-
'
i'-'
rr rrr rr
'
rr'^r^*'^-
i
I'^r
ley
'
^
95
'U
'J.
ijjji
'
p^m
^-
fTQ'Jfr#^j=Mi^'[j irC- r Pr
p^^
-#
*i^^
93.
Mein's traurens
McinS
Tu- rcns
div ill-
dcnn-
JJ
hJ
i'
it.
man trau-n
it,
nuitu
(Unn dtr
oin
dcnn
6tl mvr
kla-rcr
ur-
i&V,
mm
Itfvn,
trau-rens
dir all-
it"
silt,
urnunn
nw-
ich
pflin
frchtftn,
frflu- rcns
*&tr
dir
tfin,
lU.-
muM
icH
tarfi
mir
kU-
rer
ftchtfjti
mantlt
(laff
dffint-
Kalb
ur- &a<H
nwin kU-
part song
fAtt
mandtdarfkla-
^tfn,
CMunt
nau-rcna
C darvn
dtr
kU-
'^
ên,
gen,
Mr mcia
tst'
elrv,
L:Kwlt,aUuk mir,
dtfnn
tra-
mir
jbriftt,
dae
ich.
rdr
6<hain,
pen
muss
i-
saiiv
mir
Ula-
rer
chicr
das icK nu hffin,{>inmuicH-
gbrisl-
aa dan iod ur-
l<i*-
deint-
9n,dartn
dh li-sover-
tod
or-
aen
ich dcint-Halbtra-
tra-
all
darf kla- aen,

ia
tra- qcn.
alaut> "ur,
frirHlar
96
(M
mua5
kU-
nitf-
Paulus Hofhaimer (1459-1537)
cln,
dir al-
German
all-
'"
p-^
-nr^
ist
.u-rcnft
C
-r-
p^-fy
p f
dtn
kw -
Ivtf-
halb
scn3
dbuut didi ^l
so
\r-
ani
Iw-
Giacomo Fogliano (1473-1548)
94.
Ave
Lauda
M;iri;i
*"'
Do-tnl-nus tcum,b->i-<lM:-t*
^W=^
a
fl>**
ti-a pUj-na.
m.u-\i-c- ri-hu.s,ct be-ne-di-
fructus iJcntrts tu-i
ctus
rf
<?
SM*.
San-ct-a Ma-ri-a,
Ma-ter Dc-
^^
rr rrir r
o-
v,
ra pro tio-bts
î=g=
W *
rrr-pr
rf
nunc t in Kora mor-tia,
nunc
35.
a.
Non
RifTCfti
1.
v.il
Nn
p^;/5El
^^
ct" in.
Two
ho-rj mor-
pcccato
ri- bus
m^m
^^
A
'
tncn,
Bartolomeo Tromboncino
tffll
a-
auaal
mio
fo-
CO
ha
mio
aran
t*l
tU-
"-
0-
<a>,
Ch per
- la, Clt per
pM- Mtt- za
del
97
man.
Frottole
aqua
ma
Ic
mic
2.An-ztonrt s'a- tnor-ia,

pian- to
pian- to ojn hor yiu cr-9cuz,.|| 5 gj ^^^
in- ttn- (v -non ric-tct-''
_
(tl.
1500)
an
tier
6.-
^^frrppi^^
rf'r
mcel fa-
iSXce i-
mi
con.
quel
ûatuiel fro-
rin-for- za, flmnto piu.

6cie Chetul a-
se
Cl)^?iu.
5t<J- CO.
prto lo-
Volta.
co:
wm wm mm
r r
5Eg
v^l
^^^*^
6a-itu)rza,
J-
^r r
Che per
ylan,-
^^
m-îIi 1^
pp
Ripfia.
Jusquin d'Ascanio (n.
1.
In
do-m\- nc,5pc-ra-
tc,
A,
J i
U)
ta in
es)
tarspe-
e -
mi
rar
xn.
no,
^ rr rr
Ful
Tri-
bu- Ian- (load te
frw.-
1.
Ma
fitin
la-
T
I
^ 'i^
l
ro
tri-
ri-
bo- ra-
VI.
ma-
vi:
cla-
[In
Spc
urt
e-
te
do -
Del
non
W)lt-a.
fc.
Irt
ne.]
rrr
98
ciel
in vol-
I ^
Si Sî^^
9CU- ro in- er6c
to,
r
ZLT iii;:,jj__u
vai-
IM
s tf
9t C ob-
mi -
tragio tl
wtvo
I'joo)
sfc
trr
F^
tn.
to, .||5:F..i
<5)
CT
r
ter^tan
tan-
(i)
^ ^#f
>U
^'^^TT r
Per
Vc^-
za;
ra.
^mm. ^
ii
V'b
ft
Uot-toc al vcn-too-gni ape- ran

IVSu-spir
-&M-pir
la-ckTV-mc ma- van-
(s.
1-
(*)
Dominc
In tc
p,
^^^
tnu7
a-itKjr-
î^^Jj^
b.
a.L
('
tion.
fro
ua
^^ m
ft
tton.
^'S^!
.LJL
^^1^
F^
Nan
b-
J.
auan-
ru>
to
Canto Carnascialesco
96.
(r.
1500)
Per scriptorcs
Vanoaai
Clu eoe boUe vol
J J J j
r r r f
Or- 6u, Or-
nifl
ch*siamscrio- tu-
ri.
r. rr-r.f
lpeidtr,
îmUa
Bti
nul
ch eiam.
iu-,
Vsnaa
fecriptu
aa nut
ri-.
-^ -
it
^.
'
Pr
ft
"j
'
'
^ >-T
i
xa-ccui al-
-i
r ^r
"i
''
mr
to
ccta al-
J.
a- oiiA al- tti
trt-
rr
T-|
.j
f'
rrf
ftcn.- pttc -
Oh
CiuAn-to
î^
rt.
ri.
oW-
T^
'
97.
a.
rr
Millan (Late 15 th Century)

Villancico
dulce
'^^.tW'^km^M
99
I>eaf)o
98.
a.
Juan Encina (1469-f. 1530)
Congoxa mas
Villancico
>I>A.
Fiwe
'
'f
'
PF^ fe*
/aB,
J- fj j^
"W
ur5.EC
rr
b.
vfffi.jna- cu>-
aa V
tir
acil- ti-
1'
^
J>a
capo al fUte
Pues que jamas
X.'(W&
due
.o^
^wTr
\'ilhiancico
^ mf F^
j^_^
Rne
^ÛJ-
tna -
r<JS,Qu<
Ml*
^darmtf gaUrdon,
p^^ F ^
lardnt
ca-L raifln
No di-ra
LlA
w ^^
p^
Pa capo al Fine
100
Mas
A.
c.
Villancico
\ale trocar
^ ^^nj^ ^^^
Fine
J.'
vt- le trocar Pla-car por ocUires
Qu'gs-tar sin a-
lores
^ ^^^^
re*.
m^ rr^^'^
Tastar dc cordc con
b.
Riccrcar
il
Two
Lute Ricercars
(c.
1500)
Joanambrosio Dalza
riccrcar dictro
Francesco Spinaccino
Arnolt Schlick
100.
(d.
after 15 17)
Organ hymn
Salve Regina
-'.
Sal-
.,
/
Vp 3
ve,
Mi
J ^
^ ^ A'
^
99.
a.
PcapoalKn
3.
tte- ql-
ij
|
m^
-na,
!!'
mater
ma.-
jj'^Yto
^ m -
ee-ri -an--4i- ae.
d ^
i
i
JjJjJi J.njj,f^H-T^
J n J
t>^
lOI
.^
J . pg
I*
i^-^^
I02..
Two
Dances
F.
1,.
r H
1'
de
la
Torre
(c.
iôo)
b.
Spiinyoler
fej
.J
Tancz
rm
Hans Week
(f.
1510}
rf>j jjltij
I04-
French Pavane (1530)

For Harpsichord
'J'jjjjj
^
^T
î
rnn g
i
iii:inu i
^^ n
^>^Q;^J7n Dj
:^->r
îji
r
f J73J
nr
-Iff
js^m i
-^Tfag
Qjj
ii
^^
iii
^=^=*f
-I?
fr
flj
106
Hans Neusicdler (1508-1563)
105a.
Lute dance
Hoftanz
m^_ f^^mm i^mi

Eir
^^-\fi
teg^
inîm^
Dcr Hujif 4f
V *l
>{
^w ^
^5|i^
y^
^T
M'
w^^m ^1 rrm
^
i
'
i'l
l|
mp^ i[m f^f^
pp^prMiii^\^
.'I
^
^ p^^
^
107
Ml
^m
b.
Lute dance
Der Juden Tanz
Hupf auf
Sji tfJ=rj
^m
i^
06.
mm
*F
p>p
ittml
i^t^
Antoine de Fevin (i437-r.i5 15)

Missa Mentt tota
m
s
r=f=
.i
i;vr|-^nr r
c.f
nt-
jj jin
ij J
|r-^^^rjr
^m
rrTr
J
p
J,
J.
108
a- re-
e fF
-f-n
tlTTTr
.LJi-
I.
^-
<)ui tol
sas
mv-
r*t Cjr
se
t^Cf
re-
f^LT
K>J',
^J
o-
mi - s
w.
^;3 Jj
re
re
re -
=g^
A-gusDe-t,
1.
*Ji^J^
IJffT rrrr
r r
A-anw Se-
^
ui
^^
tol- lis
r
S
^vj' ^
rrr
JJ
ca-
ta
rrr f^
in^
ii
'
I
i^
JiJ
dona
r'r
n^~^r
u
w
^
^^ i^ S=
wur
tnuti
3'
Hrrinun-
^^
dt
^
11
iAU44J-JH^
n rrr ff
^ hHmi\
$
i
1
i
'^
i
ûi tol-tvs êcpecca- ta
.^V
cjultoUUd pec-
J J J
^ ^ tt
iiJ
''11
J4- flrius
nu6 BeBA- onus
f^^
5=J:
rrf
no -bis pa
Do-
107.
na.
no-
bis pa-
cam.
Clement Janequin (1485 -c 1560)

Program chanson
^^^
Or
MS, or
109
5U<>
vom*
'OM* dor-nuz
trp,
trp,
'
Ma
cU.-
tnat^-U
tt gat,
~f;^
C6t
tour,
t U. asttour, te- ws sm9,
i7
- scou-itx
t'a.-
tou- et-
tc,
a-
a- aeon,
Acou.,
<t-
cou.,
E-
ves sus,
to
seou.,
E - 9cu.,
-ftcou-ie
I'a-Uiu-ct-
scou..
e-
te,
- scOH-tctVi-lou-'et-
et-
ecou- taz L'a- tou-
^
r
0- cou-
p
bzz.
tax
la
l'a. -
H-
t.
Pc-
''^
^1^
P-ti-
lou-et-te,
tou- dc -
pc-ti-
ia,
t,
tc,
^ ^ ^
^^ ^
aitWeuJli (fet ioiiju <*t
fe-
tl <it iour, it
te,
Pa-
ti
tl
tlt iour, tl
it
^
wur,
"y-^
f-r-li-reU
iiitl>iu,j-ti-tc, ty,
ûe t iitl>i<m,j-ti-i,
<)Ue
tour,
ip
[;
r;
^^
f-r-li-r
i-r-li-r
ti,
U
It
i ^
(ûeiit
Pieu, qtte-
<lit
<fue
Steu,
ia-ra-
i
''
>
tt
est tout*-
est^
Pf^^
ty, pi, ii,
est tour,
p-tv-te,-
rpp
p
p
tl est iour,
ppp
qv
=p^=^^
p
:J
P
^
Jc
P-
te
|>e -
ii
ty,
tc,
it
o-frt
urut*
Steu,
J
P
ye-
"\P
tt -
t^,
^
P
T^^-^^ji'j^j'
f-^Tf
est tour'
P r
ti- tc,
|>e-
fej=a^
F
p p
f-
ii
tl
^''P pT
^- it-t,--
^P
r P c P P
qtte te ditpieu,-
- tcj
P^PPP y r^^rrf^
tt
F p
ye- ti-
no
^,
^
p
est tour--
|7-
tt-
te,
ti
I,
Li- re
-ra- U-w
ty
^
U-
re,
li-ra,
re,
U-
1 ^
'^=
K,
ti,
It-
ran, ia-ra-\v-ra
U-
tw,
r*
Iv
*\.-\i
ly,
?Li-
h;-
pv, ty
'
Iv
row..
u-
T^
J.
T^?'
QucditPigu
u- l.i;
i
i
f-re-U-re
ly,
ti- ty
=^
;.
-pi-
Qu'on <u-
P'
ft-re- li- re ly-
Que
K-
H-lv
"DioM.
ce
faul.ir
It
pv-ty.
j^r
i'
X, /r
re,
h N
pi
iffi):
J,
f-
^^
>
J>
J.
ty,
:^'^=^.
Qu'cnttu-e
royi'
II
la-lau*-
TIC vault-
oe faulria-toutf
e,
d'uiu vteuhr yen- d>4.(Lxt wi^ ir-
ye U*br-ya
/-.
Ptn
'
cho-re.
:
It-re
tti.-
cha',P-t-^tie-ti, BA-ttv^
It-chtmfm.
U-chim,(hiit,<tt<:,ctwc,flDc,fUK:,che- re-ly
)Pt)^n^^^^^l^tl ^^lJ
l
It
Mt
tur, il
Ml wmyi)
M*-rault, Uur-
ûtn,
if
dm,
Hou,
flac.ehe-re
/
UIk.
ly
chtm,
lit ^m[)9,
Umr-
iaiit,
~wu,
fi-de-
^_
faifiy*
TV
^
hou,
^^
Qw'vl
^'U est
Utt,
te
4>-
U-
it
tt- re,
bru-
Ny-
J.
iu-
flw'tt
bi4-
sit
lt-Aiin,chm, dtcc, choc,
Ny-4ult,
sU,
fll^fl^^^^
Fait,
tHi,
c*uj-r,
l
'
'
e,
Tre-
WenJa-
i^,
Ser- re, treuS-
U>c,
fart-ta.- ri-la- twrt

âuUr,
Be-
ta- Uwe-
o-cy, o
'
60it
Pc-
tin,
ly, fC-<le-ly>
t>^-^,
a'al-i^r
du'tt
y^^
W,
Fort
^r- ro
ca
itwnt-
Muf-
^M.'a
vtl-
tîn.
re,
fluant
Par- Icr
a sonpUi- mr,
Ouc-u n n-tr-W.nir,
dir.
ID
lr,
itient
t'anv-
bras-
ier,
frv
va
tnou -
Christ
W-
lEt
va ten imou-
ment
ist
cor-
num.- n'r,
Vtr,
mow.
<)M..
s'rf-
fre
veU-Ur_ct__aor-
'Qi
ier,
rir,
CO-
on
emin
vcr-
cha
{c.
aul -
tre
De
va
ment
ir
r
bai-
t'en.
pUi- Ur.
Ûi
Jtr.
^0,
iv
co-
aul- 1-
aul-
nwu-
va
t'ci
1480-15x6)
German hvmn
erstanden
Christ
soUen Wr
r,
r
sr,'r
i^
'ce
-ment-
'
Cro - .[mr
fa-
aul- tr-
OM.
Stoltzer
nun
cun
ott
rtr,
Thomas
08.
tiM.,
laU
lu
tst
r-
ttan-
flwh
<Ien
Voti
f^vuit
Mar
tar
al-
setn, Clhrist will
112
^ aolUn
al-
xxfiv
smnt
roh
un- s*r
Girist- wtll
un 62m
wcsv
sei-
sr
Trf
ecin,
Christ-will
l^y-
un-
Mr
W-
Trofit-
e-
teeing
ChmfrwtU
id^-m
EH^
sain.
&crTr<>&t'
'at
sain,
.^^
un-
Imih,
un-
dîn, Christ will
Trtjst"
&^
iAv-
set
J:
Twl-
^vltr
stn.
Ky-
4n,
son
Itfi-
^^.:i?''W?
son.
son.
P0^^.
log.
Ludwig
Senfl
{c.
sorv.
1490-c. 1550)
Salutatio prima
ro
bMm
J^T rjLJ iii-
m r Nr
etum,
lactUm.fionsfri-le' ta-l
fbns
fp"*
t|i--
T^
Si-
^t,
on& pt--
**-
ri''
bum
t- ctunv.
H3
fims
-pi-
'
e-
m^
tie
ta-
tis.
no. Ludwig
Da Jakob nu
Senfl
das Klcid ansah
rrrtrr
un<
OU wildanTitr
m^m
ntn
zar-
&an.
bis-
inn
han ihn zrrts

ts- 6cn,
Itenam
in He-
0-
6en,una
zsr-ris-
bar
-4
^ ^^
num
ten
wcr tvvU mi<4t>U-
tan,
33;
^r
lic-lwr Sohn,
,75^
uârunll
^
mtdt Al
tr(5
Ubr
will
ten.
M-
trd-
6tn
nun
Dirtit Idii/orLu.-'
^
M-
tin ir- 1
"iWan 'nuni
'
wertifillmuh
f-E
nurt
Drnn
"n:
jttfn
^S;
urui
^S^
de
<i*
muMr-ter
mu
r-tr-
de tnu*5
ln
b<2n
Um
Una
dainu$ ar-
renvonoia- ,^^
ZjZltr.
von
rcn
u|n<l
r^
Sohn,
[u
tnuirm^h-
psi^^p"
u.
n ichvor Li-
cU mu69 erstar-i>n
icK vor C<t-
'
t<n.
^m ?^
U^
^Sf .c;r
Sohn,
mtdt >U-
bar
Ita
iie^
eWn nun^
P^P^P
r
mat.
ain
wer will mick %Al'
Sehn,
P^^^^: &ph,
i<zin
traung LaU-
j^
Tl
r;i
^
sUr-
^^5r=^
nd traurtf
(Un,
-toî^ r
duz- UJ 64^
Er
triung ah -
frrf
1 r
on<ii<ren von
(km
_^
1^-
aw -
I''
ran
<Iri,
^
*
den,
*r r-
Er
'
Er-
fe
îlj^^
dan,
dit-
taj
scr Er-
a<n.
von
J*^ J I,
vorv duller
uni
<lrt,
114
haurid ah-
rcn won di-
'
s^r Er-
'
dan.
Au4
tic-iir
Pciii
oni - dio
1.
.Aus
ti-jEizr
Diui
Not trhrei
Oil-
r*in.
Not" schvSi
ich
iit
Utfhr
zm.
-^^^
B^
tT#^
'
ia(if.
hat
han
Sund
ticfcr
-J
Denn
iî3
fir
ist-otan,
uJr kiHti, Hcrr,
H-
fer
Not idinu
9"^-
"lifl
Oh
eo
Im
du.
wilt
IE
li
du.
Wt
rcn
^
JnXr
I- tan.,
bUl-' "*
d'ir
ifjJir
icK
zu-
dir,
Hair 6ott
er-
hor
mm Ru-
iu
mir,
Und
Bitt
iui
''
i
ias
i-
Hrr 6ottar-
&<
Wcr kann,
Heir,
fur dir
'
112..
itietn'Ru-
i
I
ban?
lUa6
mcKt
jTyI
î^
roc
ocht"
r
r
Sundund Un- tWUr
bUi
U-
PiiP
dn,
S-hortneut
^tv,
t
I
1500- 15 54)
fCM..
und Un-
ni
(r.
af-
Sundund
5und.
kind.
an.
UUs
W4&
iVbs
len iut,
das
'
hor
in,
an,
yutn
S^^
^tT
t^
n
tt^
b<at^
'
rx
Vfer Wann Herr,
John Taverner
fur
(c.
149 -1545)
The Western Wynde
|o-ir
b.
Hojrr,
Uhr
-1
a.
wcr Idnn,
tare,
Arnold von Bruck-
wiU-
ion.
war Uiinn,Hen;iur dir
tdtv,
Not
lUx
!fe^^
iu-
^^
ittst atf-
Uj
so
_,;
1.,:-
^ w^
^' LJc
I
^<l"i
hen sat, was Sundund
l.Au
LDcin.
ztt.
Hcrr
dii*,
^^^
Aus
H<m-6(rttr- fwr main

main^r Bitt si*?
urid mauxer
und
iir.
ntir
wilt 1I4S
b.
(rfU-.)
German Chorale
|ohann Walter (1496-1570)
MJiii__il
t
1.
Settings of
Not
Alls tieter
Two
[.
pipJ'Jr îJ.'^JJij.-iJ^h^g^rpiJjJ^J-
j'uJJj
J.
p-pr^ ^-^^JuJ
i
Mass The Western Wynde
Benedictus
"5
Oyj
JlJ
ttuJ-
tau-
..
Unt
efiri-
<la5m.-
etu in-
dtrt-tC-A-
in0-Uttr
J-nihi^ :j2J
^.
Chrt- itu inChri-itus in-
vee,
^^
et
ii
^
vv-
^^
fw-
T^l'
2^-J
con-c
II-
du-alle
trt
vit-
-11
con- rt.- '
vitrvaxatv-
U-la
oi-
III i
3*
sp^
to-
mtv-cene
vttâc- ca- to
t,"
con-fli-ifc-
Mam
at
n-
ta,
dit-jolOl-
Cfftt-
Ut-
afl
I
^
tadu-cl-
pec-
Otri-etus
re-can-ct-U-a-
ih
A-
^^^^^
f:f=
Chrt'etue inno- cons
pa-
tw-
j^
-nocsns
Chri- etud in-n^-cand
vt-
^ mû
^
cen&
neotni
>^=i
i^
6tum-
Chrt-
SP
6tu m-n0cnpa trt tw- contrl IVtw- C0M6 _

|
î^ i i
^^
^s*-
?F^
vek'C^lfiaiui
fttus&if'in Chito-ct*
tU>CSMft
*
'
no. WH5ChrifittS in.tw-
d-mtt 0-
^^
etu in-
Chri-
^ i=^
"
m.vj^,Chrltu
Chrt-
itv
cet6
ti-cenAChrt*(u*in-
da- wit o-
fJ
la cott- fit.-
e- iw mt-iwt-
d0,
I,
du-el-
"7
lo
can-
i\l-*e-
u J=U
k
IV
nit*' 'MM.-
vl-
taa
wor- tu- ua,
du
iae
mor- tu- u6,
du* vt-
taemor-
tacinor- tu-u r-
<lu
^nat
ra-
9>ut vv-vus,dtix
ta mar-
vi -
t"- ".
anatvt- vu6.
'
tu- ms, rc-artat" vi-
114. Nikolaus
Gombert
(d.
c.
1560)
Motet
Supcr Humina
Su-
dum
re-cor- ii-
tu-
6y-
Ba-K-
flwmina
tnur,
reSy-
iu.. i,
orv,
V""*
on..
nis,
rc-r- da-
dutn
In
U>-
6a- U-ct-bu
Ba- bi-
iW-
mur, ra-
cor-da-iv-
mc-di-
In.
tf
lU
II- ticsit-
lo- n\..
a- ius
sa.-
U-cibuft
sa-
in
bus
itic-dt,-
Jt\i
me-di- o
in
a-
ctbus
ti-
di - o
e-
ius,
medi-o
-^
(
ius
e-
^m
tneat-0
lus,
c- tus
in ma-di- o
i
&A-il-
vti
bud
ci-
in
tus
e-
ttttfdi -o
mfU:i}iifrH
rio-atri.
iyan-
^^
mws
it-
Kc,
Qwt-
>
di-
liSi
I
"
f ^
r ili
dui-
^^^ ca-
-pti-
?=
ptl
in- jer-ro-ija-verufit
-no^,
tirro-oi-ve
tic
vntarroJ
il- lie
mnt
P r r
ro-
ja-vc- ruHt nos,
can-ti-o
J V ^
vet
.cj
num.,
Jver-
Et
qui ab-
-i^,-^
^^
ru^^
canti- o-
v-
di4
al^-
bd.
ba
Or
nunv.
fci ^^
can- tt-o- num.
runt
tios
di^-
aui ca-
|
I
num,
t>4.
Da
t^
canti- o-
ba
ba
tium,
Et
Eti]-ui
ab- Ju-
fr
.,|
ct
iîab-du-
"cmnt noi,
hytn-num can
quv
-,..,
ab-
rT^^T-
Hym-jtum can- ta
ta
no-
nos:
du-Vt:-rt4Mt
Et
varvcr-
Et
^ F^
qtiv
119
ab-<lu-
::..
ica-runt nos:
bis,
hy)ti
i^li-
P^^
r
runtnos,
r.
ba cait-ti-o-
^^^^J^^^^4^
. 1.
can-ti-0|-
vr-
num.
canti,-
ba
^^^^^^
canti- u-
ba
Aiivûmi
ct qui
r_
-nos,
out ca
vr-
tto,
wer-
runt
i^^
^ nos
runt
du-KVrutit ^^^f^
tium
p'i
r^=^ ^^
^^
î-v^f^t^^^
^
f^^
rl
v<?
*'*"
vflr-
mm
î!^^
vg& du-ygrunt i-ws,
vr- ba
iu-
VOS
1"
d-vrunt
^^
pti-viTSdit-xwruntTios,
aui ca-ptt
Tii>.
u>- stra.
in-ferro-ga-va-
m tr-
!!;
-'
spendt mus or-aana
^ ^
ca-
qui.
du-
VOS
6u-
r^
r.
stna,
tic
g^
a
out- a
lie,
vU
'
no
a.
i.rv-
duw-a it'
s ^r.
(ûi--
MOS,
ga- na
<f-
6u-
a-
U- a-
da
b*
no-
is-ia
can-ti-cia Sy- o*v,C<U catt-tt-e^
5y-
owj
na..
115. Adrian Wilkert

For Instruments
Ricercar
T=r
f^'j^Jh
^S
120
iJi-
ji^
^
1 1
Liccrcar
Jr
\.n r
-.
6.
Girolamo Cavazzoni
(h.
c.
15 15)
r^
^rr
'
'
122
f^frff^
jîkmi
W^
117.
Girolamo Cavazzoni
Organ Mass
Missa Apostolorum (Cunctipotcns)
CHyri primu5
iv-ru
le-i-son..
* ' * '. --^-

'-'-.
...
'
Christe
Chri-lU
<-
=
l-i-m..
I^J
ft
Chine quaitu5
6t
in terra
Z'"*
>
'* ,-*Tr'
'
"'-^^
kJ.
pax
'
Ct
tc-i-aon..
tr-r* pa* Ho- mi- nl-bua botu volun-ta-ti.
in.
^^^^S
B
m
^â
^ ^S
Pw
^
ffi^
^
i
s ^
J-JH
rr
-^ra
Ji^"4^
^^
^*
;i^
fr
fr
jj
|.l.
pnrr lA^
^FP^^^f^
f pr
T^'W^^
Bcncdicimus tc ^zS*^:.:..!^
^-fu- cLl-ct-mus te
iTTirir
r'-f
r^
fi^
r'^
ffff^
tH
i-
'
Slorificamus tc
124
''eil-ri-fi-
ca-mJs
ÔVlinC VCIXS f KX
-m
SX3
^^^
i
Oomi n*0-u, Ba>.U-*tiP-
^P^ TJJ^
Dotninc Dens, AgHus Det
'^li.r. r
l
> rrTj
..
trom-ni.- po- ten
fi^l^l
vn Ji
If
J-
^dii'^ ;/ , A-gnu. d. ; n-
^ #i ^^rr
J.
Pa-
m ^Jjji
g^:
P
P
irr^^ mmLir}
'
ufi
J.
SS
j=
tru
u- u. pa-
j-
ly
HH^ &U
i_iij
^1
I'
r'r
* *
Ctuo-ni- am. tu.
dtlOTLL^tn
^^
fHUT
t'
mi Awurt
1^
&jr^
''
#
r
Amen
^
jm^
r
8.
i.?
I*
J-
te.
îp
4^^.
^
^S
^-i
ss
W^ F^
J_m^^
W
^
^^5i! 31^
ffi
^^:^^T^f7^T^^H^^Wff
Girolamo Cavîzzoni
Or
F.iltc d'ariicns
du Chri-
PP P^*f
1 1
r^^
muspe-
^^
t*
^^
ganctus
^
Wtf^^tfg
7u solus altissimus
f^
^5
doLus
126
*=?
rr
ss
4V
PT
:=:g^
^^
^^
^^
rrf
7^ *S5 3
rr?
r=T
ixo.
a.
Organ hymn
Veni redcmptor
Ve- nl
re-iemptor OBn-tt-unv, o- ten-dc par-tum vir- gi- nis, mi- re-tur om- ne
Ir
b.
John Redford (1485-1 545)
rj'^n"rr
'-g t
se-cu-lum.ta-Via <U-cet
par- tua de-um.
T7
Organ hymn
Lucem tuam
f^m
XT
rr
r^frrr
IT
i'
i
rrrf
-
m^
i.'
iJ
J=
rrTrrrJ
o
Ff fffr
128
^
rf
Luis de Milan
(fl.
1535)
For Lute
Fantasia
(lA^^g J
2.1.
Luis de Narvaez
12-2..
Difcrcncias sobni
Prvmcra
)--t
x^
mrf^^
\r
m^
i,J
final
Itnat
*?=
^^^ mt
fe[
^P
Pp
^^
mff^^
Lcqut ds
Deedtf acaui.
^Ji:
fpr^f rri
irnMvJrft
3i
'
"TTT
ii
E i.
^^p
pp^ p^^
Si-
=tF=
f^
r^M
kftf^tar
f^
^ ^^ ^f
^JSE-J
Tcrcera. difcrcncia
^P
m
TTT
;j:^tfjr|fj];7:^
f^
iFe=
Variations for Lute
^^
m
w
hrrrr
Dominu
ii-ferettcl*
^
'
Gloriosa
1538)
(fl.
duo.
J-
^.Ji'j.
rr r
fszi
r
^rara.
<fti4Z
-paraeca
rrrrlrrr/rrf |fr
130
dtlevar ntuy aprlcAO. el cotnpas
f^
^f|,.^
jj..pm
V
1
iXcr [rr
^ff
^^^
ktn
^r:n-|r^ jr;rr^
^
^ffd
Quartii diicrencvx Ac proporcvori.
/7\
Qu.in.ia.
dtfercncta..
El canto llano
-por iiyle.
'
'^
ji>
fj
mA ir^^
mr""'r
5E
E^^
r^r
rr^
^-tf
p
m^^
iiES
wr^
-^
^t.J*'^'^!
M
i i
^fe^^dl
r
=33^533
MI
Seta dvêrenCLa- El canto llano
cs final
Deftdtf acqu.1
u
m w rr
i^
ii
fTf
r
frfr ^
J.J-J-
rf
>J
rf^^ rrcj
^#^=^ i
/Ti
^=M
Miguel de Fuenllana
113.
^
îit^
^
^
m r"TT fTT
i5i
=e=to
fc
=U^
^
rrr rfff^
i *i^
rrr'r
-por tenor.
1554)
(fl.
Lute song
Piiseabase el rey
Voictf
Lufra
nrinr
i=F
ro
^^;
fet
^rLîtii^.
^^
'
^^
i
J~U
Cb-mo At- tia- tna
K>-j j~3
la
ai-i
va
na-
dra-
J
^
I
i-^j
j'
ii
\rf
tiey
t-l
il
'm
i!aj
da.
î;^;sfe^
f^^TT
Ay!
Ay
da.
s*
to-
i-
?=^
dad
~rT'r-E
qa-
1^
i=ii
iJ
9c-
Ps-
î|'i'î,"i,?',i,'^î
LT^^J
i'
tno-
J
|
^,J
i'
jg?rJ--i-
132
Al-
..
.J
lu-
Co-mo A\-ha-
tria!
ma. a- va ja- wa- da.'^V
114. Anriquez de Valderravano

Diferencias sobre
Guardame
las
ff^
i m
rr T^rr
fr
^^ rrrr
If
^^ ^
M
m
^fe ^^ ^ ^^
^ ^^
w sm^
^
i
^ ^^
r
rj.^JUJ^rli'
<>-^_^tr
r-r
fe
rrr
jj'j
aJ=n6
^^^ rjjyj^rJlr-cjrr ^
.Lj^
r r r
^
^ WTTY
IZ
f^%
^M
r ^s
m
iU^^
rA
nr
^
g^-^
^^ ^^
^^
^
r7^
rrr
urni'r
^
r
JjTiTJJJ
rrfr
3.
^ ^^^^
i^
^rrcr
^
^^
^
1547)
Variations tor Lute
^ ^
f^^ ^
g ir
(fl.
vacas
1.
ha-
'^^'
12-5-
Vox
in
Clemens
Non
Papa
1510-r. 1555)
Rama
Motet
Ra. -
Vor
ra-
(c.
tu
at
vt- tit- la-
^^
134
ma
tut. 114'-
au-di-ta
chel Û>-
rans,
Kn-dii
Rn-dwl
Sunt,
suntjdui-^ tiMt
Two
116.
a.
Debii contre
Pa-
bo. con.-
I)b -
bx
r-
bacon
D-
U-
tre
a>n-\ tre
mes
mcs ic -
 -
Et
cc,
le
d'al
Settings of Psalm 35
Gm.-
^ ivur ttw
a- vant,
Seignaitr,
ba-,
Com
tcuvd,
I'J,
ba,5i^ttu-,)s
ûriiw5-au-rirt'-ii--
CCf
Ur plus
Com-
nuts
Di.
CHar-
a,
me,a'
ge
Us,
135
gt itxardtfau
CKar-oe
me
ct
&.- poi-jtwnuivboH-aiiritlan-
comba-turs,
le u6
C-
tui.
tes,
bpuclwret"
bou< clierct lan-ea,
Em-iMi<ne
&e-cou-rvr ta- van

tnon a-
ba-teursEm ;vt^< moi.
ScijnjuiiBws
c.
1505-1571)
(c.
comba - tgura.
ba -turft&n ba icianaurma com-b4-teur6.
ba om-intmasila-ba-teurs,
sunt.
tiotv
Claude Goudimel
\M-icun,
dc-
out-
ri,
mes debateurs
cou-rw ta-wan-
^.
cott-scsc-la
la
tto-lu-Ct^
lan-
ot, Eit ^wur
me
^'"
*y*^'
ettnarcheaude-vant'
qui ga-
>vn-
ttr
tg
fîi*.
b.
Deba centre mes debateurs
Claude
tra
Em.-
vox - ar\a max
bou'dUr,
'et
Un-
met de-h-tcun,T<t-bacen-
<)<J
ta
d'al- lr ]>lua
a- vnV,
<i'*l-Ur
mc
ylu6
'
lur
^)om
a- want-. Pt
n^
matt
Jeune (1518-1600)
^Mn-,
<lc- t>a- ieuiv,
|6*
|ce
6a.r-
tra
le
me
b,
Sei-
6c-ccu-
am,
6iir-
dc,
man am: A-
^rme
dtf
ig sius,
ill
m*
A-
i "
Ci-Wl
Qui
OS.-
12.7.
in-
Vir
te
ji4i,
Thomas
A-
me
Tallis
io
C-
"is
(c.
6mU
Ce,- Utv
liti
<ûi
r'ft
"^V
di--
â-
9^" '^"
"
^V"
hr
ta
ywtg.
tê
ruis.
1505-1585)
Responsorium
Audivi vocem
Au-
S'"'
VX,
An.-
di
\t.,
aw. -
di-
vi,
au.-
0- Ic-Min-
Emendemus
E- men-
m '
ad-
rit.
Gloria Titri, ct Ti- li-o
12.8.
^TipU.
[Charus]
y~^
rSolotsta]
[CUorvis]
in
tft
5pt rt - ttc- i
Cristobal Morales
(r.
0-Ie-um---
San-cto.
ad- ve-
^^
Wt,
tte-
1500-1553)
Motet
melius
4*-miits in
n^-\y-u^
ifufu
ig-np-nin-
Ûr,<{y3ii ujtwriifi-
IE-
tar
tnus^ptfc-ca - vt- tnua^^ûa^-
ftc
mui in ma -It- us aiaic
itwn-de-
to- tio- tan- itfrjxc-
pec-
'
pecca -VI - mu, fluJw to- iui-
rati
sitb- i.-tD,Sub-i-
TiT' T'^ i i
t -
138
mor-
ai-
mor
j\
mi4spa-U- uin,atuw-ni-mii
nitf epa-
jUiiA-ra-
ti
ai
apa-ti-uiiv
>a-n-, um.
pvc-
nt- wn-ti-
tgn-ti-jig
r
6p-
Tie -
spi - ty My
/A_V-
rfp-
Me-
te-
tn
ve- nt -
.i
p-
Jj
-non vob-
^-
nt-
tn
lsn-tt-i,
pofi
'
et
mus,
ti.
nt- re
ow
-n J
f tw-'nt-
ve-nt-
won
ro
pi-
tnufi,
twn
TC
yffS
fcE^
no n.
tW6-
A-
trt-
6v-mu5.
at
tut-
'
de
in-
J.
g^^^^^
<A
re-
et
j^
tn-va
^^ ^^
lie
mt- ne.Dp-
I
=^ ten-
ve-
^Wf
w=^
tn-ve- nt-
tt
ten-
et
My
s'i-inus,
Do-
se-
et
i - inu,
I rrrf
^
di- -
ae
^ rr
t^^m ^
i
^^^
non
Sfw-
tcn-tt-
d^=^
A-
mus,
um.qtuu-
mus
in-
- ten
tenUt
ntt-tn-ttten
cn'^=^
nt
tt-unt
^ ^m
1 rr^
TC et
m-
i
I
1^ i
^-fm
mi4t,et
nonfws-t-
-h
aua-
ti
f^^f
ra muaspa-
re
.n
we-
'j"jJ
'Li
OUiaa-
it
isi^
PPP^
'-PMr--fr.rr.
nt-wn-tt-
ti-
tva.-
um.,
tt-
sm-
ti-um,
Do-
mt -nc,
Mf ^
r*^
de
re,
mt- &e-
Do-
r
tt
Tie,
et"---
, et mt-s-
mtis
H-
bl,
vcc-
ca-
ixg. Costanzo Festa
Quando
(d.
1545)
Madrigal
ritrova
WW
rr
'
^nT
,J
Ht
Ltf
au
tan-t,
"L
"1
'is-lios-la
fvrul*'inch' el- ii
i';^' |^^
^'
l
'i
vcr
nttf
ta du-ra,
i^^J
rr^
son a
duel tuo
<x>r-
^'|'l^'^^'^|'
140
oa -it- a,
Ma
,',','!
,'i','ii'i'i'i'
9 nan mai
Vt-
tuA
130. lacob Arcadelt

Voi ve n'andat'
^m
Wji
Jia tl'ati
Voi
vc
^-
m a^
Madrigal
al cielo
ve nan -dat' at cia-
m ^^
r^
Vol
r-n
j=
i ^^^
3=^
oc^Ki
1111
W^
?
san-tt,
san-
san-
G>-At
vedre-fite
pot
pot;
6uar-<lat
h'iSiAar-
^.
dttclke-l--
6uanUt'---
mto en
dt't
vn vol chiu' so t-
re.
Jo^
w 'lu-
Co't vostro diia-
:J=^
m'
sl wstro v-
fi'f I
V0-
3:
141
t"
aat'
^ ?
r
mu7 chin
voi chiu
CKaU.'
tct-
t,
J>J| J
JjH
po-
dfrtuinon po-
votMon
duard^t"
t, 6i4ar
^F^
^
jedcri voi
te,
chl serc-nt vet,
lontJOvc- dcr voi nonw-
s'ct vo-siro
r-^r r ^
ri
i it
^^
ti",
oprimici-cait-
can-
Oc-
-so CO-
'
chiaro
*"'MCh'aUWvdr(Ssi voi.Ouel c)te(Lc'ha-vr un bcnptfto
hor
Col
stro chia-ro
fCCff'l
co'l--
î^^^W ^
.ilE^^
iliini
vostn)chtar lum'a- conmiaiân
F=F^
^Bf
Quelche-
v-<lraste poi,
f.
Co'l
chl beat'
(i
ri^=T
\vr
^m
oc-cki
lo,
n'andat' al cito>
v<2
H,
1514-after 1557)
{c.
Z^
te-
nen vo- te-
^^
^
so te-
m
-ne-
t.
te.
^
tc.
Rore (1516-iifter 1557)
131. Cipriano de
Da
Madrigal
comrade
Ic belle
Da
lecon-t,fi-mva
ttitfw-
ft
rtf,
nr r.rr
'
I #^^
fff.
Tin
vat,
0,
T'ci
vai,
lui
hap-
l^^
0,
Tartval,
Wann!
J-
\\M,-
jrj
'
:"r
fe hu-
ta-
noiv
.-^
ife
Ut
S;
V
cor,
del-
ûi-
dv
mf
sti
ra
dt
sou-
P
ifui
ma-
ca
?P
da.-
il-
^^
a^
^^^^^ ^ ^^^ ^
ma
i:hea-m
<U-o!
=U:
r.
mu>
i
Che sa-
sow' a
da-
A- aUd
1^^
'
r f
tH dal
5p- ran-
tc:
^ ^
A
ha;
nai-
ie:
r.r'''
chg sa-ra
jti'
^=F i
vat,
'
Se-U
\\ixv\i, Till vai,
0.
71
del iki-o duel îa-Wf
6cn-Hdayp un ^-ifir Ar-dan-
fluan- do
Ti
o,,
bf^c-ctal iivtrt t-
tg,
r^T
icrt-
in-
fwhu-ma-a
'.
Ona
^^^ ÊE^
142
^^ ^
di
tf
do- lui-
-o
Mu.
a-
erui.'
Mii
tnar,
f^^-
cvuA'
^ ^^^^^
A-*neAQmen-
crwl 4- mar Ahi
icnwl
a-
i^
t>
^m
chan-ior
l'c-strie-srr-
wioyta-car
wf-
i^^
fi;-
te'in
fUn- to."
^^
ygttfn^
nv- 6C
J
6trc-
>
-mopia-cer
tc, cin.-
>. )>fiJ
eame. (or- to
ni- si'in
to
nan-
I- to-
I-to-ran-
i'Jj
.-fi,
r-to- ran-
<lo gl
am- pUst'
in tanti no-
it,
ii
per
'r
ln& tor-
di,
ttf
Che
;;r
I-to-ran-
^- mai
ne
do
gl
ampUd -
r.
'gg
si,
(lo
gl'am-
in.
U.
ran-
fer
Che gia-mai
n^
er
cr
pin
ytu
tan-
cm.-
jtuAe or-
<li,
tit
in
tan-
'
Icdr'
a-
l'.
tanti
ti
tw-
l-ta-r^n
do...
J
r
'in
can-
di.
rJ^J'j^
r
w.,
no
tt
Ja^'am-pcss'
in tanti n0-
t^^
f
tan-
tt
J-
no
ai,
^ ^^
rr
piu.
Che...
Tne
fi>r-
fc
to,
^m^^^m i
ie gt'am-pUs*'
ledr
r.
seme
Fi
yUss'
r^^^rS
f
^^
Km-
l-tc-rando fllam-plcss'
fer piu, die..
' r
stf-mefitr-
cin-
-me9r-
'
]?'r
't<
7âm-
i-wran-
Che
ao- <U,
cin- s-masr-
yo-to-<la <Ur ptu, ne-..
tor-
LV-
-^4^
atam-ptes-a-)

^â^
cm-
to"
U-
i-i^-4J^
_E?! tan- doiir ptu
pUrt-
ii
se-mc for
t'-
Ou
<to <lir fiu-
docUr
ton- (l0du
Ne tw- ten-
to."
to I-to-ian-
s<-tnc
t, cin-
JJl^
P
'L-t^4
cin-
!-
s<-me&t*-
to.'
^-jy^
matt-
pia-
ciian-cor
,^N...
ttK- mo
Out
ai.
^^
l^^^^f^
rxi
ao-
^^*
1^^?
^;
><
>
ti-
l_^.iî.
[>
^-
tl
r.
nwrlBfitdon
vol chVin-cm-
la--
o.
(.4-
I'edr'
^-^
Ji/
can-
u.
I
Wr'
can-
r
'
la- can-
r
to,
Che---
a-
14.5
can-
t<>.
132..
Qui au
Louis Bourgeois
(r.
1510-after 15 61)
Psalm
conseil
n"as-
tc.
hctt-
en
ie-
133.
et -
Antonio de Gibezon (15 10-1566)

Organ
'
M H H m m
M H h
verses
Pl
Iiplc canto llano

^^"^
cSt-'N'l
^
"
iCT
tf>
^ M mA
^jr=
m M?
ffff rrf
1.
^ ^-il
?==
remf.
rcux)
Versos del sexto tono
I.
iai
rr
^^
Canto llano cont-raLto
ia^
-&- e
rr ^
^ ^=^ J^
-M'rr
ij-
^ s--rr
h-jjiyjT}
r' r
rr
'
i^^y^ iiii
'
r r r
144
r r r
^m ^
s=
3- Tenor
ca.nto lia.no
^prrr'ritfctcf
ft.
i
T=^=^
*=i
^-r
*^
J:^fci^t*
^^
^^ ^ff r~rf ^s
rTY
3*
ij
^
^
i^
nrf
V
I,
3^ i=^
rT
r
(2)
i==^
^'
'
iT rr
"nr
'mU
'
'
Variations
rrrtfY r^ff 111

^ i^ is
rTT^
rt>
Antonio de Cabezon
Diferencias Cavallcro
(I)
Via.no
f-fi:rr
i3t^
134.
ContrabaMO canto
r:;^
^ la
'M
^^n #=4
r=^
'A
f frrr
im
atfrÊ^T'r
^^pf^
145
gpW
UM4î44
jH^jr-J
J-
^jr^Vîî,
t^J
J
^
rwT r:^^
^t
^W^#i*^ ^#?
IZiJ J^
^J-h
.1
i^M
<(,M
H.
j'li
Fcfi"
>^.
Jj-.Aj.iL
J,
135.
^^
^^
Wl
Jij-.j;:j.
tlXTEEa-r
j-
"tJtclj
' i
:j
y-
^w^n^^figr^giffl'g? ib^
^
J
j
i^^M
i J^-JSlksa33 JTOj
Andrea Gabrieli (15 10-1586)

Organ prelude
Intonazione settimo tono
,^^ps
JPâ0 [aiâ'^&&:^J^?]]^-^
i
*
146
136.
Andrea Gabrieli
Ricercare del ii' tono'
m:
r- ^LiTf
,.rjjij
i
i J i
?p^
'47
nu
P^^^
,.Bj
F^^
'
'
vf
TIT],
137. Claude Gervaise

Three Dances
l3a&&e dn6e La Vbluntc
tt. S
(fl.
^jLg!!
1550)
For Instruments
S.Altamanele
rr
^PP
iî^l'rr
î^lf^
^^f
iijTn
ii ^m ij i^ iin
S ^^^ rr W^^ rr ^^ rr
TT
rT^J^ JJJ^.J
^M
^
#m
J
II''
m^
^^
r
jJ
j Ji j
ij
'
tt
f^^
138. Claude
ui
''
^'i'
f
Jeune (15x8-1600)
le
D'unc coline
J
Dtt-ne
CO-
U-ttimy
,J
prou-tntf-ttaitt
Par
ta ptu vcrf et
{>lu
,.
oay-
e sai-zon
Quandiou-tcdio-
Ji^^
^-
^^ Ji
grr^^.^^-^^^^ H^^|l
'
ne RS-
u.-
z ver-mait- Ic-te
ij i^
i'
Mi
toH-te leu-re-ta da flour de bau- ta
Qi**i
'i
fi^
i_J
Efr
tlcp^fta
ie
ma
I'ai--
fort,
le
la.
veu.
cuait-lir,
^^
5*
iaut
ta voy
^r r
'<rr
f
r^^
Et La
main
y tens,
'm^
n
^^P
Kait loin.
-^^
J,
J J
tens,
Maid
CJ
ta
Lad
<U
voy
cast:
loin,
vaixt.
^=^ s
* 1^^
Mais las
c'est
en vain.
Contra
TatUa
le la
f=
la
ij
^^L-U
Deasus
ge
et
<le
iJ
jjjjl
^ :^^
Pas- sa
^''^
6 rid au. dtams,
^^
TailU
Bafi<(iintra
|J
iii jg
*F^^fT '^rr
'49
j:
i i
Ji
;:5i
^ ^
['
139- Francisco Guerrero (i 52.8-1 599)

Antiphon B.M.V.
Salve Regina
Cantortfs
Sal-
v, R-gi-
wa,
dul-co-
ta,
Vt-
inatartt-giri-cor<lt- ae
CO.-
Xa, duX.-
gt
do,
apes
tio-atra
aal-vc,
et
*p6
tio-
stra.,
sal-
al-
stra,
ru?-
v,
stra.eal-
tifl-
ve t apes
io,
Ad.
v.
tc-
pfr^^nT^^^rr^rrrrtrrrr rtr^r
pes nostra,
tnaela-
dtra.saU
et sped
ve,
$ial-
sal-
stra,
spes no-
st"
stfajsal-
ma-
vc.
Cantorcs.
eta-
ma-
te
,44.
da-
ma-
t-U-i
tfv-su- les,
mus,
He- vac
ge-men.- t<s et
su-spt-
a- -mud, ad te su-
spt.-a
la-
crymarum val-
r^'j'ij7
in
m
T. henW!
tes
haci
hac
la-
cryc
hac
hac,
m^sm
in
nentes,
tft-
err
itia-
hac
ila
150
cry-
1 ij^^
ci^-ma-
.J.
t'um,
ta-
mm'
cry-
m
rum
val-
^M
u.
'
val-
^û^ ?^
it
in
hac lacry-
ta- crymaruir
fr^
nvi- rum,
tn
it^
hjc
U-
'
J,
try-ma- rwtn valEt
Ic.
jc-
E-
ia cr-ou,
SH in,
ct-
Advoca-
ta nostra illos tu.-
p^ ^(i-
+-
OS mis<?l"u:or-
das o-
dtum vtfrtven. -
trifi
tM.-
frtt-
cium
ctum-ven.
151
tris
Vtfrf-
tvis
tu-
tu-
w.
t.,
trts
VIL Late Sixteenth Century

140. Giovanni Palestrina (i 52.5-1594)
Agnus Dei
Missa Papae Marcelli
re
no-
152
se-re-
re
no-
se-
141.
TVinui Pais.
re.
Giovanni Palestrina
Sicut cervus
re.-
Motet
Sic-
ut-
'53
De-
Si- ti-
Vit-
us, ad te 0c-
do va- ttl-am
dvtan-
jj\ Vum.,Vt.
ap- pare
ct"
quando-
bo,
:^
r
I
tr. r
'
r
OMan-'do
vc-m-an
^^ ^m ^m
an-te fa- ciem.
I>e
I,
faatv-tc
an-te
f),
^S
anie fa-
ciem.
ru - emtt mi- hi
an
u-
ct-turmi-hi quo-ti- dt-:
r
tur
|tnv-
^m
I
citur
'J
crunt tni-
cta,<ium- di--
cry- -mac
ta.-
ct-tur.
se
t''
ncsdt-c ac rto-
hi
FU-
,M-^
cwnt Dc-
an-te la-
runt
rr^
j=it
pV
J-
t-r
Fita -
r>:,
Ap-pa-
iii
ffi?
Pc
ak - te
cv-em.
am ct
do ve- nv-amct ap-|)a-
()uai
juan-
^TT $
do va-
(]uai
c<7,
^ ^^
fTTr
hi.
fi=?;
wi - hi
f-
r.
qu ti dt
-
J4
bi cat
J-
I'
luoti.
(JUT
dt
i^^
^
u-
W^ ^^
Dc- us
i>J
est-
ttt-
Dc- iis tC- 'us

J
i:
qv(0
MO-U-
avo-ti-di- e
tu-
Uh
U6,
-^^J
r
dt-
ir
pf
C:
U-
bt est
ir
Pc-
dum--
M6i
154
r r r
vfe iU-iks
i!i6
^ pf
Pu& tu-u,
Giovanni Palcstrina
142..
Alia
riv.i
del
Tcbro
Madrigal
Al-
la
ri
del
va.
bro
T<t-
jto-
va.--Mt-
va-nt-
^M W^
vj-q o
i'o,
vicL'
pa-
io
va-ct-
to
tfuL'
to,
^^^=^
ra,
>,
to-
tav vo-
aio-
va
va-nct-
d
^2^^
mandar
ua-
Sa-
^r
Da-
del-
a,
D-
feti
a, delta
a,
mia a-c0r-ttae
ta miai-oer-
^y
delta,
mia a
cer-
bae re-
ch tl duol I'an- ii -
f.
sor-
fs,
v4hi
ia,\
or-
t!
155
o pa- stogo pa-to-
zia-tt,o
re,
ci-M-
Ef^
mandartai
ma
6C- va-btt
mcr-
rr
ittor-
ma
dtr mom pwote iMor-
mom puoMOM
Iti
Ite
te,
E^
^^^
dtr
De-
da
te
2ta-tt.,o
P"^^
tturt
^=i.
f==f
pa- sto- re,
ia dJr tion ptto -
a,
mi-
re
sa-
M^
mi -
se-ra-bil
va- 00
9i'
sa-
a;
ra-btt
xL^^
AHi
sto-ve,
zia-ti,
ba c
ch'tt dttot t'an-et.
io
dir 0n pvto-
ba "^
latmaa-eerla mta
vid
to
fli"
go pa-
ra*p
i^ r-rr PPi^ ^^^
rc^'-T
del:l-
to
tv
P^
va-
to,
vid.'
rul' io.
to Vid io,
va- go pa-
vid' to
va-nt
to vui
nt - to id' io
va-
5a-
re:
foo
em- da
va- -nat- to
îo-
^ ^r
IV,
=F=f
see-
gto -
star,
sto-
va- 00 pa-
ra
va- 00 pa-stO'
6tor,
itor,
va-j-Mct-
au>-
nt- to
ato-
to
rT
tc.fhit
n\M,i
mor-
ttf
143- Orlando di Lasso (1532.-1594)

Missa Pro defunctis
Requiem aeternam
Introit:
tr-
nam,
aa-
^
f
J.
r
ts
D<j-
Do-
is
w
1
na
-mi
mi
- rui,
ct
tuf, e^t
^^^ s^ m
nc,
etr
t^
f Do-
miv
at
PTi" L n
lux,
t :l^
e
fcr-nsnvac-
^^
lux,
'M
ttr-
lux
Uuf pr-
1
^^^
t
^
tj
F^^
par-
|tlC
lux per
lu-
156
tw-
f.-
Imv per-
^-
lux.
^^^
1
it.r-
ce- at
'
J=2
îe-tu- a,
*-
v,
lu-
ce--at
rwl-
"i*-
l&.
To.
aa -
tui"
iccat Hytnnu5 Dcvti
tcni ex-
in 5ion.
US o-
rTTf=
ra-tt- o~
twin
nam
vc-
i*z
tnc-
144.
Penitential Psalm
III, v.
i,
10,
Orlando
di
Lasso
io
1.
.C Do-
mi-
nc,
irv fw,-
ro- r
j^
tu-
o,
ai*- OjUrii
157
me,
-nl- ct.
vk-as me.
au.-
A*
in:
tw- îM in
tpSUttt tioix
n-
i.-ii
ttte-
cor-ri-
<)u
cum.
vi.-
tn-
't--
pt-
tjiiJci lau-
iam
tUz-H
vi
vunt,
mtifr
158
mc
et con-fir-ma-
vunt,
et
in-
cimfir-ma-
Iti
si/rt
su
writ
145-
Bon
a.
jour,
man
Orlando
di
Lasso
Chanson
cocur
J
J.,jj?j J
<y-
b.
Bon
't^"
jour,
mon
coeur
Keyboard arrangement by Peter Philips
(f.
1560
after 1633)
146. Madrigal
a.
Cam
Ca
hi
with Parody Mass

Jacob van Werth (15^6-1596)
vita (Madrigal)
ra
la
vi-ta wiv- a,
Ejt'
j>ur
v- cH'altra ftam-
itia,
cH'il
vWtlpt-t
in
tan-to
tern-
ietn-
-fio
6ir
turbat'e
t>o
fU-
b.
fti
tur-
bat'c
Missa super Cara
la
ic
ro,
**
'
tUrtfat'fc
si,
turbat'e
fie-
fi--ro,
tempo
si
itu d'amor tion
to
vareil
P*?
si
Mm-
yet-
turbat'a
ii
tUr-
tur-i
Philipp de
ctu,
siltI
fum
tctt-
Vo, in tart -to
p_
tra
-Vo, ?n'tn-
To,
vita (Parody Mass)

ctws,
tanto
in.
tur-
J
-po
ch'al- tri fiamnuid'anuirtwtv
d'a- mor,
ctw, San-''
160
Monte
(152.1-1603)
tw.
U,
f>l<-
nvfunt eaS'
tii
uv
147.
A lion,
P\ni tunt CAt-
Guillaume Costeley (1531-1606)

Chanson
gay, gay
U-
161
a-
res,
5uy-v
ft
Hoy,
\c
AUoit,allon voir
iUon,aUoii voir
Alton, altgi
yii-
Qui duciei,
sir
du
cicl
Al-ton-
ygf^frttay.Cay, gay,
r 4t nay,6ay, g^y. giy. îy.

en ten* est nay, gay gaj lAl-lon.aay,
ter (Tui-du cial
IJay,>,
ter-
^ jjj
fTT^
Jg cy
got-
fla-
tat
tAi.wautrresint
fla-gol- Ictaua
-c^ la-jol-
JbJ>j)i-
m^
^ ^
*r
jtj
nmi W
J^^J
luy
I
^^
i.J^
j>^
'r
-aegg-
'
^
J
moy, Plain Hanap
J-
ri-
^'
ge-ifwa,
'U
Uz
Roy
?f
aU,
ho,
Sa
f
bott,,
At-
SuyVax
SuoVc
Ic
'^
patypaty
la,
S
ie
^^Xii
tc
-^
tt-te burn sans le doiot,
^?^
ktr
iar
fet-U btan sati*
tet-U
dotot"
bunt, &ans la dotgr
t<t-(- bunt,&ans
"tt
tc bven'il
1
ri t*fc-
gay,
6ay,
^J^
J-
ton
la,!
,) Al-lon.
boitT
Roy
J>^
Roy
wioy.
ton---
jg
:S
'loi^t,
boit.^lJov
boit,
Un--
Xix-Xy^rriX ^c-P ^'rf^
ttgy,
J^''
don-ne- ray,
Alton.,--
yaue- la,
r
Ho,
^];!
6ay,gay,
J
te btn sans
res,
i=^
;;;
h J
\^
tant-
ifciL
At-
Say, gay,
ray,
Paiv-la,
Ho, ho, Tkiv-
Lc pc-tyt
<lK--K
luy of-
Ho, ho,
rPT
^ i^
*T^
i'&y, (jiuji'ay tatitr
^J'ay,<,ueJ'i,j.
7bfr
Et-
luy offri-
Plain Hawap
qua jay taut
Al-lon,
gay.gay,
don-
Ê^
^^ ^^f^^ fr^
J
1^
Unaftstcau.
Ul- Ion ri'
j 'ay.
(jtta
boit.
162
MJ^
M-
ton
^- iz
rt-
6oy- cz.
{42 -
148. Jacobus de Kerle (1531-1591)

Exurge,
Domine
E*-ur
man
tu-
um, propter
149.
vos
Tomas Luis
de Victoria
{c.
540-161
1)
Motet
omnes
mnti,
qui
St
'65
transi-
est
cL)-
lor
tis
|f
vi
am.,
tu
i-
cut
dolor
me-
u&, si-
6t- -
cut-
cut
us, Sicut-
150. William Byrd (1543-16x3)
Non
Motet
vos relinquam
Non
or-
v<7S
re-
T^hino6,
lm-<jMam or-
al-U-
ytu-nofl, gl-
Ug-Ut-
lu
164
Et atu-da- Wtr
^trvun-f
et
ajiuda-
cor vc-
strum,
lu-
eir
,41-
ii,
ISI.
aau6i- bit cor v
Uz- lyt"
al-U-ltt-
ta
ta,
Verse anthem
Christ
^
thnst
al- te- tu- la.
William Byrd
Christ rising again
U-
al-
trum,
teff
.65
Ks-
?3=
rv*-
^r3&_
Chri
hrtt
"97
^.
f^
i#
Chriat
t0|)uta-\oy
sin,
ri^-
i"|9
arUjintrornVne.
am
t>Mt
'
c^r
'
'
now dt-eth net
dgad.
i66
in that he
ttv-
etk
he Uvetttuntff
Tn
lux.OAMdvurtio
'3-
sus our
ina t*n-
sut,
^.
in Christ
151.
est
'<"^>
Uirdi
le- sus ovir
nrtfrt
Hie
t0
u$ our UnliUt Christ
Oirtst:
Lord,
Giovanni Maria Nanini
tn
(c.
Christ la -
sus our
û6
lord.
our
toni.
1545-1607)
hcjtissimus
Motet
si- musE-van-gc- ll-
-gelt
st-mua - van-gelista
I
po-
sto
ll-
ita
i.,
a- -mo- rts oraeci

yfACi i-pu-t
jKJstolus
lo-an-ni
lus ô-an-iies,
out. prtwt- le-
fli'"
a-tto-rts
out |Tri-vv- Uz- oi-0
67
it
A-
^ J 4 ^^
a->w-rt
rt
^nHCS
pw,-
prac-
gi.-
pislJlui
ostoltts Aoant
jrac
hit est be
yrl-vi-le-
ûi-
m
A-
hie gt tc-ii-ttg-
Dcatotus Joannes,
Joanne;
out
nes,
maris praect- pi4^
.4.-
ct >A-jio-6<otus ^-an-ng,
lus
si-musE-wan-jc-tista t
a-
van^-
mf
a- tU-
E-
gt A-po&tplu5 jo-an-ncs,
fe
Ju3
ct A-jfOiMui'jo-a.n-nes,
sta
<jiii
J4.-
t.
pri-i- Us
torts
al-H- us
i-rt*-t t
a Bomiruj me- ru-it ho- no-
ri
-ra-
tn-
rM-ifr hc-no- ra-
ho-tio-r4-
155. Claudio
Merulo (15 3 3-1604)
Toccata
168
ri,
r-r
^r
ific;
170
154- Passamezzo antico

Nicolaus Amiiierhach
4i
hi
(c.
530-1 597)
Secotula. Rirt
[^^^
Cjjf
^_f]
15
Madonna mia
5-
Luca Marenzio
15 60- 15 99)
{c.
Madrigal
gcntil
mta
ch jnavvi-
î^
^^
ch
dw mawitot
to,
maww-
^^ ^^
tal
ao- 4- ne
^J
il
dara it
^î^
^^
T
se,
^
9"-
=^=f
ra-
di-
tal che
90,
it
pa- ra-<li-
i J=J
ibiEi
mav -VI,-
at
*,
^
Aa mawt -
iV
Ul
fiO
taU-
tal.
F^^
di-
J-
^
i3
cUz- twu
veil pa-ra-d
oA-ra-digq- d-
ra
Sît'
li
^ ^^ ^^
[>ara<it-
^ S
jp^
li
1 SSf^
î
ra-ra-
p-
tr-
Stan-
tirj
lat
ao,
doln
Êi
# F iii
ial
iat..
^f^
Tii u
m
tat...
'73
Stan-
do in
tr
ra
pa-
00- derc il
S..
Handl (15 50-1 591)
156. Jacob
Eccc
quomodo
Motet
stus
CO.,
TTKvdo nuj-
quo-
ri-turju
rt-turiu-
1^^^
6tus
'
frtus,
.tus,
<r-
!W!
et
^m
r^=f
'
'Ji4--V
''^gl^gl^
^
III
e-
tus,
/t c-nr inra-ceX'"*"""^-^ -
'
lus-
I.Pars
In, pa-, c tactus
p^r
l^
î^^r
ff^
^^Jm
-i-i
ffff^.^
1^
rrpr
'74
Tst
bi-ta-tuJ
*rr rr^
ut pa-
in pa-ca 1 ntcmflriJa
on habt ta-
^"^
3n
^
^
If f r
me-mo-ifa
157-
Giovanni Gabrieli (1557-1612.)

Motet with Oiân and Instruments
[n ccclcsiis
59pr*rt0
^rufv
I.
dtnfonva.
'75
fff^
ij
fffl
te.
^;^
T:r
J
''^îi t^
l
;"'
I'
rj
to
C"-ir
LLij
^\z.
]^-
^
p^f ^
-
0|-
4-^M
'\J
^^
tîf
>
^^^ s
vp-ca-mui,
in- vo-p-|mi4i
'
'-
J''
Ti
f^r
vo-jta-lnW
tiv-
Itei
.^
J>J
r^-^
*=:
m-
J.
ra.-
L:.|*^-rr;;:r
uu'iy-
in- vo-camu
^ |"j-
^.^-;^.
r^r
rr^Lfrrr-^trtrr-ir i^r
Ml
177
sl,
'
'id
mi
"H^
"7
^r
^r-^^
158.
Giovanni Gastoldi
L'Acccso
{c.
15 56 -162.2.)
Balletto
179
159-
My
bonny
Thomas Morley (i557'i6o3)

Ballett
lass
My
80
i6o. Felice Anerio (1560-1614)

a.
Song
suon
fAiac-cra-
Ma
n5aiJ*.l5t.
Ma
K,
^^
b.
6ca.il
rt-K N4 vn-U,-no' in-
ts-b,
da-
cjirt.-
Ma ve-
tl,
SSL
^ -can- i, Ma
U- tw- svJn-can-K,
#
..VMa vc-Xi-no-6lin-
vc- ia-no-iwfcan
fe
Lute
'2-^^
tl.
For Harpsichord and Lute
w
^
S ^^ ^^
&
^
Hat^tidtod
'*-tj,.
îT^^^
^^ ^#^
I'-
Al suon
S=
no-sijn-can-
-cart
ve
Ma
le-
F^^
r
^^
J.j.
'^F^^
^ S m. rr
p*
^
181
.J
m ^m
f
r
k isî
r ?r r
^ ^^
6 1. Carlo Gesualdo
(c.
15 60-1 614)
Madrigal
lo pur rcspiro
re- apt - ro
X-..J4
purw-
der
tl
vt,
<dt-spt<-
ix- to
CO
no-strpa
ti;,
dan-
nea- i- ta, dan-nea-
t.-
ta'-
U tustroa-ma-to
be-tw!
Deh nur-
Dan- >Wii-
te,
182
ta,Qan-twa-
.-
ia:
Uc-
ct-dt'ductta
ci-ii<fiesi vi
a,
tc-
^^
to-
fie- U>-
na(-rt-
^
to-
pitf -
sa,
sci,
fc
e- ri-
-r
to-
at
^ ^^
<lu0oran
gran ou
al
\o.
^^
et
at ^rar dvui-
U.
duo-
to.
-i2
siSto ^ ill J"
E^
scv,
p^^
nc-
"'-'^^^
c>
a^
to.
='g:
ct
fuv at al jrait <lu0-l0,
,T>r
u>.
^"
-
^ ^^ ^^m
fo-W-
*.
b dU
fea
=
iii-^
tic
Ff
set,
M, qran duo-
U>,
6 2-.
John Danyel
1565 -1630)
(c.
Ayre with Lute and Viola da gamba
Stay, cruel, stay
klndc,
,&s
liiiii!^
^^
3^3=^^
s^>
^^=?=
not t* grieve tor
**
f^
^^=^
that y0u leave behind, Ani. t you'll aoa,
lfi^
L
and. if you'll
o(7
tt
f*^
yet let your fii-
-^
^ri
fcJ F
t
i
^ r #=!
ft^ps
stay,
yet-let"
your pit -tie stayand
if
PBtm
rH
you will aoe
inA
if
you will ooe, yet
ay
will you^
^^
r^
6ay are-wel,
yet aay fantivel,
wilt
f^
yet eay farewel,
yit-ti stay,
yet
let
your
pit -tie
SSFU^
Zj
^^^f^^^
J^
^^^^ e ^
will you aoe 4
your
f^-^^^nim
^^^1
mm ^m
n p ^TW^
Mt
^^^^
let-
you ooe dnd sheur that you
ne-alect,
farewel,
iretvel
you
) 1
Ji
J-
jhat
farewel,
yetr
} }
ne- olect
Vet-
itte?
say farewel, and
y}
^
1=1
seeme but to
ra-
II
::
184
1
'
^j'r
PCjUjU.JjJ'
but to
MKct.O exutnc
-I ,
ra-
163.
a.
What
if I
spoct'mM.
yet Myf^rewci,
dpect-mw.
John Dowland (1563 -i6i6)

Ayre (choral)
never speed
CJn
I ncv-er
Or hall Idunaemy
l.'U'tut if
1.
pair
love, Fbr
find jvwfr to
dc-
fart,
r-
j=H^
'
J J
r
in
'
A-
r-C:
if
will
wy
<U-sir
a.d
my nuBn
prove
on ior-
rov)
mfni-
son
my love
That can no
loss
cin comitutid
/]
r7^ ^
sttU (i
pi-ty
}uitc
re-
my
Jr^
^W
Thn ev-fr shall 6tw
^3
liuemy dear
tlc-
B^ttfctuwiU
light.
to da-
Contt,
whiU
coma,
for ei - ttwr I will
low
or
ad-
ittir*
have
ttwe.
tirt.
ttue,
Comi,
come,
b.
What
if
Solo with Lute
never speed
m
1.
Z.
What
Or
if
Slwill
_^
Ft'
II^J
.1,1
n<JV-
crliJti^^
er
iy
Shall I
For
I
straight yield
find
yowcr
to
Aa
to
<1-
pait-
Ani.
be- i.-
K],
tt
at-
/.J
>
IJ
165.
Ach
Schatz
Ach--
Adi.
A<H5duti,
?^
Adi..
^
AcK-
vdi thu
ît*
UU-gv Adt.
^^ rp
J^
l<-
tu- ja.
JJ
Jj
Hans Leo Hassler
mm
Lied
^^ m
ikn
iro*5ov diniertien
den
^^m
don
J J J i i
i^
^^ ^^^
=J:
()tv
187
--
4.
s
^
dAv
vcrkehr
mir idTur-zen, VerkAir,
Tu. fi'Mn<iltckmi<r
i66.
mia
fra*d
in
Gregor Aichinger (1564-
zcn,
adtmei--
Sijnst.--
162.8)
Motet
Factus est
i J^J
'
; rp r
etui Hit rcfan
t.
Ji^
la
p*f ^
decoaU
da
te-
r-
r-
ct65trprt-
Fa-
<1 coe-
^
cUi-
P?
to,
de cot
nu6,
dtf
co<C0<-
coc-lo,
an-
fi- ri^ tu6
tift
i>
i i
attam ad vcni-en-tis
spi-
spi
1 ^
ri-tus,
^^ ^
j:2>-i
ad-
\k
to
^..^2.-
lo,
de coe-
^
-
'
I
i^
nu*
nuj Un-aium a<lMi. J*:^
J'
i i
tan-
le
ri-tus,
iotui
^^,y^
'Tni
^^^=^
spt1.
ao50-
to
1:02-
tanûam
uam advent.en-tii syiadvf ni- en
-xis
quam advMti -an1!^
i i
dc coelo
to
i-
ic
to,
tOi
df
da coc-
rWff
ttt
I'll'l
<1
i
4i
1-
^^
so-
O
^^ ^ ^ r^
7m^
P
frm-
F^-f'
d coe-
dtf ceff- t,
JJ^JJ
Sp-
C<7- to
C<7<
ctu-
fp
n-van-
^^^
^r^tr
ifl^
coc-io
rfijs tf^t
Fa.-
^^
J.
Ian
7'
tis
pppp
(ful
tan
t
sjn
H- tws,
J.
rg ^ r
r
adveni-en- Hs,
taii-
^^
tanou
ta-
tanautm--
tan-quam-
<(uam-
6fi-
Tt-tus
vtf
vc- lu- nuntts,
v-lt- nwntts,
-h-morttis,
he-man-
lis.
v-h-nwit-
vc-ht-ttunltc,
167. Michael Praetorius (1571-162.1)

a.
Vater unser im Himmelreich
it- -,Va-tor
^^
=ff
^ ^^
,.^
6r im Himittfl ivtcU, Vater umcr im
un
HtmttKlmt sr mt Mtmtti
^m
Vjt-
b.
far
Ballet
Chorale bicinium
du Roy pour sonner
'
^^
al-U,
HunnKlreuii,
ter
un-icr
JiJ
im.
Htm-
tntfl
r4<Jv,JcrJu
I
<lei
du un.6 a^l -
le
heUtcst
um A- U twi*4<Kt,iUr du un6
j^JJJJlJ^^^
aieitit,
al- l
Instrumental suite
apres
189
68.
Melchior Franck
(c
1573 -1639)
So wiinsch ich ihr
Lied
^
1.
^==s
^^
m
tau-
dotvumch uhihrOM
tub erst recht
Nacht
be-
nil
2. Winn' tdt ihr
^^J:
i^
tra<itt^
tat
ifCnd.
Stun-
hwn4ert- iaudend ûn- dtn.zu. kund<rt-tauLcld var- 6Chu>und<,it
m^
JtMn-
5.
Wann u*v
&
sidt,
^'
^'^r-fifi::
Leul ver- dtu>un-
rtd
kann
ihr nccht ur- ad-
190
TlA}dji
t|
er- frout' sic muH,<2r- fnmt"
MnddtundAn
169.
When
Thomas Tomkins (i573 "1636)

Anthem
David heard
ttuLt.
m^
up
up
to
hie ChAm-btf,
to hifi
rCham-bcr, he-
t?
ha
i
up
;J ^^

t
^p
ov-
^=^H^
ne went
we
up
to ttis
*"
âte,
Ê^
^
the
a^te,
the
{)ate,
the
aate,
aat,
anA, vfcyt,
wept,
and
jind
<jv-
my
191
ivcpt*
^^^^^
the
oatv
J-
and
and wept,
wept-,
and
the
son,
and.
and wApt,
P]S
^^
Cham-ber
tVu
cr
v-
to hifi Cham-tMr,
ja*.
v>tnt
tny
wept,
and
^^
and
Ab-
ion.
M>v,
mv
Mtt,
i*-\om.
my
sotv,
Ab. tA-imnmfton,
192
Ab-
,*7
Y7
/f
iotx,
my
ot,
Ab-
lam
my
170.
Hark,
all
All
^HarU
i\
A
r
my
tom.
Thomas Weelkes
(c.
&av.
1575 -1613)
ye lovely saints
^^m
"
.Ab-
en.,
Mrv,
j^.u[f-M_.Pg-lHM!^
y
Iffvtf-
ly
all
v U>v- ly
ji
A ^
tr
Ballett
saints
;i.
saints a-
beve,
biTvc,
Si
an- a Hath a-
Pi'
an - a
hatti
a- r
^
arotfd.
a *ttv lUw,
-^
Dv- an
|a
193
iwUH
with l0V,hath
^^
J
Utk
hath a-
areaivtiih
J:
^read-
love,
ieve-,
hi*
hit
rrrrr
Orlando Gibbons (1583 -162.5)
171.
Lord, increase
my
Anthem
faith
^r7 f ^^ ^
0-.
6ti*nath-.n
Lord,
0...
in
/.
ntt
aiid
stttnattv -
an.
StwttSth-an
^^ ^T
un-
firm nt* \n
rr^
thy
iw
ami nii'm
ttk:
m '"*K"^1^'^j"T
tt
tru
ttiy
me "'^tH
taith'.tndu*
i^niu* H/J
tmc
j^^
r
rr
in thy
tm
faitKj
En- iUie>mwtthwU4<i,ttthwidîn,
my
slt
in
Ad-vr-i-
my
tt,
ill
i,v
advr-6v-tt,ail-ivei"-
r'
194
1^1
111
iwui
V^J
Tiwia.
3L*j
Wt'
A-
172..
This
mtn.
'
wan..
Orlando Gibbons
the record of John
IS
TVtie
ContvAtanor
'J
î
J.
to
Ask
16
vMtnthe'lMHtntyruis^Myi.ie.viUs
tha r-cor<lo IoHh,
J J
^^
^^
Who
him:
Verse
^t
?fff
J
J-^
n^
art tiuu^
Ja-rulkm,6t)m>
^^
^^^^^
^
#^#
^
>
fratn
a^fe
r^
^^
fTT FP~r-T
î
^'^^
v4ndhe con-ss- ad at\ddt- nl-
ed
Anthem
not,
-^-^
F=r
and
&ai<l
plain- ty;
am.
not the Christ.
I^nd ha
a>tv-es9-izi andde-tii.-
cd
ndudpUtn-
195
ty:
and-"
am
Oictf
ot
ask-
tti
ad
Chnst,
am
Aft
twt
ail
the
ttumttie
p-ophtt,
.Art
thauE- lias
.Art-
And
Art
he
aniwutvd No.
him: WHat art
hiln What art
tywu
Christ. CCbntvatano*']
4i<l
atn
Whatartthou then^
Him-.
Christ, I
rvjt thfc
then?
Art ihtfue-
iy6
U-
as?
Andhesaui; I
am
Then
[Cbtitratoiof]
said
ttuy
unto
htm: What art ttiouiTKattwc may
give-,
that
we may gtv an anivia- unto
thatr
them.
^r
^
itnt
WhAt taygatthoHof thy-
u&.
t;
#^
'j"3
f^pJ
r-
cri- eth
p 'T
tn the wtl-
* " ^ît*
^^^rm
u-
is'
-f
Make tmiflht ttu way
him
f=^T
3^
1
j;:i
^^ r=3^
the
ff
197
way
^ f i^s
r^'^^
?i*
îi
'
that
^^^g^
make-
of the Lord,
thfiwiccof
Ji^jJ
r
^^^^m ?^^f^
f^^--
=i:
^ t=
<lr-ne6S:
am.
.iJiiAj P^
t""'
W=^=^ ^^^fazraf^
^^'î^
S#^=#
f
And. h said:
sglf?
cjW
ff
am
o the
^
.
Malw stnat^ht the
wake.--
itteLffrd
th voice of him.
Ae66:
Mal(
fn
Matt-
m
Make
J
vMPf
at.
Lord,
ttut
^^
LJord,
i i^^
J7J
Mie
w-ay
*^?
maWe-
the Lord,
^ ^m ^
wt
iwd,
ttte
wjay g thg
r
make-
rr rp
tj
^
ake-
^;
Urd,
j
-r
iliakc.
lord,
-maJw straight the
f^
malcc
=r?
way of
w^
w
the
Lord.
the
iiw
Lord..
way
e (he Lori-
ai
dr-ness:
eth
f^"^T^ r
^
Mak-
e9s:
of
inaice-
ties
Ê^
*i
cri. -
that
th
ttJoMt
173.
Giovanni Gabrieli
Sonata plan' e forte
For Instruments
Coro 1
198
Coro I
199
pip
Giovanni Macque
174.
pT
(fl.
r-rr^^
1584- 161
3)
Consonanzc stravaganti
iiSE
.JJ-rJ
J
"
:i
For Organ
f
S
3^
P=p
200
^m
5
Mj
^s^
'f ...
"pm"
175. Florentio Maschera (1540- 15 84)

For Instruments
Canzona
f^
^^F^ ^Sâ ^^ ^î-Fl^^

J=Q
n-T^-s-
Ji
jjijij
fljxnijmn-1
f^
^^rf
wa
fe^
201
yi
C;:;^^
^^g^^
^;^
^^
.m
ni^
J-
i^^^^rT
176.
In
eee^
"cnrr
^^^
^S
J__SJ/
F^
tnr
J
lAA^ ^
i.
fj
Thomas Tomkins (1573 - 1656)
Nomine
cJLrr
'
For Instruments
Treble viot.
Tz
a a JL _
Diseant- viol
^Sg Sp
W~Z-
Ba^6
?s =g
viol.
f^^^^
IT-
pg ^^
^^ ^^
i
202
^^mm
wm
^^
Iâ^^w
sbi^W^S F^^m
m
^ ^ mmMm
^
^^
203
i&
r^-^^-^
-fit-
177-
Joh" Munday
(d.
1630)
Goe from my window
^^
rrr r
^
''
>:A"
^
r
Harpsichord variations
Êi Ê^
l^m^^
^
^T r
1 ^^
p^s ^^ f=^ ##^
i
'
l^JJTl
JJ
t=fe
*zbsr
Tcjr
to F:fW '':"'jK:'j;i"r/i^L
iJ ii
j^^^ r^^
1^
g
iWf^
J.
^^
dt
iJ333
Clilf.J^
J33
^J-'^Jto'i"
Aj^
ST
mm r57-^W!cr^Jp^^ ^-^^^
y^_^
^
F
>'[U-JTJ^
J-
j>;i:^
1:-
204
'
'r
t^t-j
179. Orlando
Pavane Lord Salisbury
1
206
'
Gibbons
^t
'
tf..
'
Pange lingua
^^^Û
80. Jean Titelouze
(1563 -1633)
Organ hymn
Jan Pieterszon Sweelinck (1562.-162.1)
1.
For Organ
Fantasia in echo
m
n^
Ei
^ mi
^w
4i-^
'An
^^m ^
#
^ ^
îJ
J'
mî^
rr
^^
i
j .
J
Se^
i
^3^^
ppp
Jj
If
209
/C^
'
'
^^
i^
',
j-a
,
A'\l
f^
;^
m
^^m
^
tf
r7\
IFH=
^^^
i^ s?
.-, f.
m^^
m ^^m
^ ^1 J^JTn
(/)
mm
f^
=j=
'^^^
5d^=*l
=i=^
210
vl
^^"^
COMMENTARY
ABBREVIATIONS
AdHM
ApNPM
AR
AS
G. Adler, Handlnich der Mustl^geschichle, 2
vols., 1330
Apel, Notation of Polyphonic Music, Third Edition, 1945
Antiphonale Sacrosanctae Romanac Ecctesiae, 1924 (No. 820)
W.
L'Anthologie Sonorc
Ba
Codex Bamberg Ed. IV.
DdT
DTB
DTOe
ExMM
F
GSE
LU
Mo
6, ed.
by P. Aubry, Cent Motets du Kill'
Dcnl^miiler detitscher Tonl^nts!, 65
vols.,
Denk,maler der Tonl^îmst in Bayern, 36
1894-1938
vols.,
H. Expert, Les Maitres musiciens de la renaissance franfaise

Codex Florence, Bibl. Laur. plut. 2g.i
The Gramophone Shop Encyclopedia of Recorded Music, 1942
Liber Usiialis Missae et
Codex Montpellier,
siecle,
Officii,
1937 (No. 780)
Med.
Fac. des
1908
1900-1913
vols.,
Dcnl{miiler der Tonl^tinst in Oesterreich, S3
siecle, 3 vols.,
1892-1931
ed.
i()6,
by Y. Rokseth, Polyphonies du XIH"
4 vols., 1936-39
ReMMA
G. Reese, Music in the Middle .4ges, 1940
W,
Codex Wolfenbiittel 677
(facsimile edition by
J.
H. Baxter,
.tn
Old
St.
Andrews Music
Bool{, 1931)
NOTE. The
inal
Codex Wolfenbiittel 1206
source references indicate either the orig-
source of the composition or a
modern
reprint,
de-
pending upon which of these has been used. Reference to

records
is
made on
the basis of the Columbia, Decca,
Victor catalogues, L'Anthologie Sonore, and
and
The Gramo-
piece, like the
Chinese melodies,
used here includes a semitone:

of the descending motif
f Source:
is
pentatonic, but the scale
e-f-a-b-d'-e'.
The frequent use

may be noticed,
b-a-f-e (or e'-d'-b-a)
Td\yd Ongal{u
(Tol^yo School
Gak^lô, Sdl{yo\nshii
of Music, Songs Accompanied by the So),
29.
11,
phone Shop Encyclopedia of Recorded Music (1942).

3.
1.
CHINESE. The
formed
Entrance
Hymn
for
a part of the ancient tradition of the
Emperor
the
Chinese court
ceremonial, a tradition which dates back perhaps
more than
one thousand years before Christ. In the period of the

dynasty
(a.d.
618-907) such "instrumental
Tang
hymns" were
formed by large orchestras, consisting of 120 zithers
per-
(c/i'in),
mouth organs {sheng), 20 oboes, and

and chimes. The melodies of both
hymn and the modern instrumental piece are
180 lutes (p'ip'a), 200
numerous drums,
the ancient
and seventh degrees of

and hence there are no semiA. van Aalst, Chinese Music (1884,
this scale the third
the diatonic scale are omitted,

tones, f Sources: (a)
}.
^933)' P- 26; (b) E. Fischer, in
Sammelbdnde der
Interna-
This composition affords a good example
of heterophonic accompaniment, that
same melody
is
Siam (and of Java)
probably descended from
same
melody with certain variants (heterophonic accompaniment).
The whole composition sounds an octave higher than written.
The tempo gradually increases from M.84 to M.136. fl Source:
C. Stumpf, "Tonsystem der Siamesen," Beitrdge ziir A}{iisti\
those of ancient China. All the instruments play the
und
Mitsikîi'issenschaft, vol.
ill
(1901), Beilage.
chant) is from the

4. HINDU. This chant {sdman
Samaveda, a body of religious texts dating back to about
1000 B.C. The first melody here given (i), transcribed from
the
Hindu
followed by
all
notation,
second version
Simon,
JAPANESE.
regional rulers of
large orchestras,
(2)
is
perhaps just as old as the
gives the
same chant
as
text.
The
sung today,
transcribed from a phonographic recording. ^Sources: (i) R.
tionalen Mttsi\gesellschajt, xii, 189.
2.
fairly
bells,
written in the traditional five-tone scale (pentatonic scale) of
Chinese music; in
SIAMESE. The
maintain
is,
a style in
which the
the performers with slight
modifications. The so (or \oto) is an oblong zither, derived

from the Chinese ch'in. The dissonant anticipations, as in
measure 8, are typical of Japanese music. The melody of this
in
Wiener
Zeitschrift fiir die
Kttnde des Morgen-
landes, xxvii (1913), 318; (2) E. Felber, in Sitziingsberichte
der Kaiserlichen A/(ademie der Wissenschaften Wien, Phil.Hist. Klasse,
5.
Band
ARABIAN.
170,
Abhandlung 7
This example
(1912), p. loi.
illustrates the
of the Arabians, as practiced in the
popular music
towns of Tunisia.
It is
COMMENTARY
song accompanied by the hendir {handar), a tambourine
provided with a snare, and the zukra {zuqqara), a bagpipe
with two chanters. A piece of Arabian music is invariably
composed
in a given
maqam,
term which
is
to the eight
modes
Roman Church,
of the
fl
Source: H.
J.
W.
Tillyard, "Mediaeval Byzantine Music," Musical Quarterly,
xxin, 206 and 208, where most of the examples are incorrectly
frequently
titled.
"mode." Actually, a maqnm prescribes not only a

do our church modes) but also the use of tradimotives, ornaments, etc. The present example shows,
translated
tional
first,
of Milan,
song
itself,
JEWISH. The
6.
signs
tional
first
of ancient
5.
example (a) shows some of the notaJewish music, ta'amim (so-called
accents), with their rendition according to the Syrian
The
rite. It
consists, not of a freely
tone
invented melody, but of a suc-
lower than
a quarter-tone
is
in
our
scale.
The
The
third
shows the beginning of Psalm 144 as sung in

four different localities. The Ashkenazic (North European)
versions show the influence of European musical style,
f Sources: (a) A. Z. Idelsohn, Gesdnge der babylonischen
example
(c)
Juden (1922),
ninth century Mttsica enchiriadis;
what is frequently assumed to be the original form

of the Ambrosian hymns, a reconstruction based on St.
Augustine's remark that they were tria tcmpontm (in three
beats). The Ambrosian hymns, which form only a small
division of the entire Ambrosian chant, are syllabic, in contrast
to the remainder of the chant, f Sources (a) ( i ) H. Riemann,
Handbuch der Miisil{geschichte, 1.2, p. 17; (2) P. Wagner,
Netimen/yunde (1905, 1912), p. 239; (3) AR, p. 6. (b) (i)
in
(2)
second example (b) shows the intonation pattern used
cession of stereotyped motives represented by ta'amim.
represent an
sions, (i) as notated in the
rite.
reading from the Pentateuch, according to the Syrian
in
St. Ambrose (d. 397), bishop

the most important figure in the early develop-
of Latin
hymns
his
tunisischen Stadtcn," Archiv jiir Musilywissenschajt, vol. v,
Notenbeilage Nr. 4 and
is
hymnody. To what extent the melodies for

Ambrosian tradition is uncertain. In
some cases the same text appears provided with a number of
different melodies dating from various periods. Example 9a
shows three different melodies (twelfth to fourteenth centuries) for "Aeterne rerum conditor." Example 9b shows the
melody for "Aeterna Christi munera" in two rhythmic verment
macjam Hasin saba; then an "Introducto establish the maqam; and finally
Source: R. Lachmann, "Musik in den
the scale of the
tory Model" which serves
the
AMBROSIAN HYMNS.
9.
(as
scale
Gerbert, Scriptores
p. 44, no. 4; (b) ibid., p. 34; (c) ibid., p. 75!?.
i,
154; (2) cf.
AMBROSIAN CHANT.
10.
AdHM,
p. 80.
That branch of Christian
chant which according to tradition was founded by
GREEK. The
7.
First
Hymn
Delphic
(No. 7a), datmg
from about 138 b.c, is the most considerable example of

Greek music known. Only the first two sections are reproduced here, the third being incomplete. The first section (A)
is in the Dorian octave species, normally e to e' (an ambitus
corresponding to that of the Phrygian church mode), but
transposed a whole tone upwards, f-sharp to f'-sharp, with
b as the center tone (niese). To this tonality that of the
second section (B) offers a striking contrast, owing to the
Milan (therefore
music.
as cretic meter,
The
who
kilos
(No.
7c), dated variously
to the first century a.d.,
to d'
Sun (No. 7b)
is
The Song
is
Phrygian octave
upwards,
fl
Sources:
The
and
B.C.
(c)
S.
Records: (a) MSS-^4
(ReMMA,
p.
p. 434.
Antiphon and psalm. This
Gregorian method of psalm singing.
illustrates the
verses of the psalm are
The
number
sung
to
recitation
melody
of short inflections called initium (intonation),
intonation
is
for longer verses
used for the
which
and
first
terniinntio (cadence).
verse only, the flex only
are divided into three sections in-
which mediation and cadence only

is invariably added as
a final verse of the psalm. The psalm is preceded and followed by an antiphon, in the present case "Laudabo Deum
meum in vita mea." Before the psalm the antiphon is usually
reduced to its first word (here, "Laudabo"), being sung in
full only after the psalm. ^Source: AR, p. 127.
stead of the usual two, for
465); (b) and
are used.
Decca 20/56.
BYZANTINE CHANT.
liturgical
flexa (flex), mediatio (mediation),
species,
Mitsiqiie grecque (1926), p. 177; (b) ibid., p. 196, (c) ibid.,

p. 193. f
The melo-
(psalm tone) which consists of a reciting note called tenor
Th. Reinach, La
(a)
LU
GREGORIAN CHANT.
11.
example
(corresponding to the Dorian church mode), trans-
posed a tone
Milanese chant).
as
Am-
are considerably
miistcale, vi, 86; (2)
of Sei-
from the second century
in the
known
also
St.
the cathedral of
at
more melismatic than

Gregorian (Roman) chant. The present example
those of
Mesom-
ascribed to
lived about a.d. 130.
use today
in
shows the verse of the gradual (called psalmelhis in the

Ambrosian rite) "Speciosus forma," (i) in the Ambrosian
and (2) in the Gregorian version. ^Sources: (i) PaUographie
played an important part in Greek
Hymn to the
edes of Crete,
still
is
dies of this chant
extensive use of chromatic progressions. Quintuple rhythm,
known
and which
brose,
These examples illustrate the

music of the Byzantine Empire (founded a.d. 328;
destroyed in 1453). While the rhythmic rendition of Gre-
The doxology
"Gloria Patri"
gorian chant has to the present day remained a subject of

debate, that of Byzantine chant
Middle Period,
details.
c.
100-1450)
Octoechos (eight modes)
which hymns
the eight
(at
least,
of the
so-called
has been clarified in

is
the
name
all
12.
of the Byzantine
Gradual.
The gradual
It
is
the
consists
and the
sung by the
chorus, except for the solo beginning, and the verse is sung
of books in
of
for the daily offices are arranged according to
modes
GREGORIAN CHANT:
second of the five items of the Proper of the Mass.
its
two
verse
Church which correspond

214
sections,
the response
("Confitemini
.").
("Haec
The
dies
response
is
.")
COMMENTARY
soloist or soloists,
by the
except for the choral close, as indi-
The
cated by the asterisks in the text.
resulting
manner
of per-
formance, an alternation between the soloists and the choir,

attains particular importance in the polyphonic compositions
and similar chants (see Nos. 26(f). The

taken from the Mass for Easter Sunday.
of the graduals
present gradual
is
LU
See also Nos. 29, 30, 31, 32. f Source:
GSE,
p. 778.
Record:
fl
in use today. Example i6c represents a later type, the

rhymed sequence. This usually has double-line stanzas
(double versicles) all the way through. It was introduced
by Adam of St. Victor (d. 1192), who wrote and composed
a great number of such sequences in a style of formalistic
elegance. The common French name for sequence is prose,
still
probably
LU,
(a)
p. 201.
an
abbreviation
Gallen, p. 21;
GREGORIAN CHANT:
13.
The
Alleluia.
alleluia
Les Proses d'Adam de
the
is
form (and manner

of performance) is similar to that of the gradual. The melody
for the response ("Alleluia") usually recurs at the end of the
verse. The present example belongs to the Mass for Easter
of
pro
s\equenti]a.
f Sources:
and Schubiger, Die Sdngerschide von St.

(b) LU, p. 780; (c) P. Aubry and E. Misset,
p. 848,
St.
Victor (1900), p. 238.
third item of the Proper of the Mass. Its
Monday. See
also
No.
LU
^Source:
26c.
LATIN LYRICS. The
17.
Latin lyric poetry of the twelfth
and thirteenth centuries is known under the name of conductus. Examples i7a-d represent the monophonic conductus
which, of course, preceded the polyphonic conductus exem-
p. 786.
by No. 38 and No. 39 of this collection. The

Conductus ad tabtdam (17a), widely known as the "Song
of the Ass," belongs to the popular sphere. It formed the
central part of a liturgical play at Beauvais during which the
plified
GREGORIAN CHANT:
14.
selection
Responsorium. The present
an example of the responsoria prolixa, as they are
is
from the much shorter responsorta hrevia.

sung at Matins or Nocturns
(Christmas, Easter) and on a few other occa-
called in distinction
The former
of high feasts
sions.
The
"Libera me," which
interesting because
is
is
sung
illustrates
it
responsorial singing in
alternates
Virgin
are elaborate chants
which
ing to a structure similar to that of the
used in the final
movements
ductus in the
form which
modern rondo
R V,
R'
LU
The
V, R" V3 R.
meter
Kyrie
is
the
first
Kyrie and Kyrie-trope.
The
item of the Ordinary of the Mass. Trope
(cf.
term for textual additions to the authorized texts

were set down by Pope Gregory I. The present exam-
ple of the
Kyrie (a)
is
from the Mass IV,
also
known
as
The former name
Gall (d.
c.
Bibl.
poem
ascribed to Tuotilo of
18.
915) and sung in syllabic style to the melody of
SEQUENCES. The
is
156V;
fol.
(F),
Laur. pint. 29.1
fol.
(d)
422r. f
Codex Florence,
GSE,
Record: (c)
form
a,
b, c c,
i,
number
k;
by no means as clear and simple as

is
it
is
one of the few
se-
quences whose melody can be traced back to some extent to

that of an alleluia. It is ascribed to Notker Balbulus of St.
who died in 912. Example i6b is

Wipe {c. 1000-1050), one of the five
the Easter Sequence
by
sequences which are
troubadours were aristocratic
inaugurated the
first
great flowering of secular music.
trouveres and the
frequently suggest
agreement regarding the
details of
its application. Marcabru's "Pax in nomine" (i8a), said to

have been composed in 1147, is an example of the vers, that is,
of a through-composed song. Numbers i8b and i8c are examples of the camo. showing the form a a b, which recurs
fre-
Gall,
100,
that scholars are not in
of double-line stanzas. Musically,
quently thought to be. Example i6a
TROUBADOURS. The
as alleluia tropes. Textually
the relationship of the sequence melodies to those of the

alleluias
M.
more or less free rhythmic style (cf. the explanations under

No. 17) The alternative versions given in No. i8c (i Angles;
2: Ceroid; v Besseler) show that even within the limitations
of modal rhythm various interpretations are possible, and
they begin and end with a single line (a, k) and in
between there are
^Sources: (a) G.
are accretions to the alleluias,
they are long poems, usually in the

is,
p. 187).
They were followed about 11 50 by the

minnesingers. The troubadour melodies
sequences are the oldest and most
They
and therefore can be described

that
here indicated in small notes
is
poet-musicians of southern France (Provence) who, about
Kyrie. f Sources: (a) LU, p. 25; (b) A.

Schubiger, Die Sdngerschide von St. Gallen (1858), p. 40.
16.
which
AdHM,
P- 343-
the (melismatic)
important type of tropes.
in
refers to the trope here given (b) for
the Kyrie of this Mass, a Latin

St.
Ludwig,
Wolfenbiittel 1206 (Wj),
Missa
Cunctipotens (cunctipotens ^= omnipotens) or Missa Apostoloriim.
(triple time),
F.
Dreves, Analecta hymnica, xx, 217, 257, and H. C. Greene,

in Speculum, vol. vi; (b) Dreves, xxi, 213; (c) Codex
is
the generic
as they
figures prominently in the secular music of the
No. i9d-e). Examples

and i7d illustrate a more elaborate type of conductus
melody, employing extended melismas (copula, cauda). Our
rhythmic rendition of these songs is meant to bring out that
peculiar mixture of metrical and non-metrical elements
which, in the opinion of the editors, comes much closer to
their true rhythm than the current interpretation in modal
p. 1767.
GREGORIAN CHANT:
15.
first, fourth, and seventh

Example 17b is a rondellus, that is, a conform of the medieval rondeau: a a ab a b, a
17c
as
Here Vj, Vo, and V3 are the verses Tremens, Dies, and
Requiem; R is the response Libera me, R' and R" are sections
thereof, f Source:
riding on an ass into the cathedral.
thirteenth to the fifteenth centuries (cf.
thus lead-
of sonatas or concertos.
as follows:
is
form of
a choral refrain, the response,

soloists,
Mary was shown
the seven stanzas of the text, the
are given here.
at the Burial Service,
the early, full
with various verses sung by the
form of the "Libera me"
Of
and in the Bar of the minnesingers

and mastersingers. Number i8d is an estampie, a type of
music which properly belongs to the instrumental field (see
Nos. 40, 41). In fact, an old report tells us that Raimbault
in the trouvere ballade
215
COMMENTARY
wrote the words of "Kalenda maya" to a melody which two
from northern France) per-
"joglar de Fransa" (jongleurs
Sources:
formed on viols at the court of Montferrat.
(a) Tribune de St. Gervais, x, ii3ff; (b) C. Appel, Die Singweisen da Bernart de Ventadorn (1934); (c) cf. the referfl
ences given in
ReMMA.
H Records: (c) Fr. Col.
p. 215;
(d) Bibl. Nat. /225./J, p. 62.
DFioj; (d) Decca
melodies. Its somewhat irregular rhythm and free throughcomposed form indicate the influence of early troubadour
style. Walther von der Vogelweide's celebrated Palestine
Song (probably written in 1228) is an example of the most
important form of minnesinger music, the Bar, with the
scheme a a b, the German counterpart of the troubadour
canzo
20158.
(cf.
Owing
19.
TR0UVRES. The
songs of the trouveres of northern
France show more clearly defined contours than those of the

troubadours, in their rhythm as well as in their formal
Modal rhythm can be applied in most cases,

usually without much ambiguity. Very likely there is a
causal connection between the appearance of modal rhythm
in the trouvere songs and its appearance at the same time
structure.
and place
Dame
(cf.
Nos.
2S1T).
The
fixed
strictly
forms: the ballade (iga-c) with the scheme a
(cf.
the
remark on the canzo. No. 18), the rondeau (igd, e) with the
scheme
(capital letters indicate the refrain,
that is, repeated text), and the virelai (iqf, g) with the
scheme A b b a A. Example igd shows a rondeau notated in
two ways: first, running on continuously as it is sung; second,
ABaAabAB
arrangement commonly used
in the abbreviated
editions, with the figures
the lines of the
method
is
in
modern
and
less frec]uent
which
(h), the characteristic feature of
lai (i)
is
LAUDE. The
21.
with the
activity of St.
all
two: a a a a
the
other types.
It
French
the sections C, F,
and
also
name
i,
iiS'';
from the
known under
is
appropriate
Apel, Harvard
complete structure.
p. 392, for the
Le Chamonnier Cange
(c) F.
(1927),
Gennrich, Rondcaux, Virclais
(1921), 291;
ibtd., p. 37;
W.
are omitted. See
Dictionary of Music (1944),

^Sources: (a) J. B. Beck,
No.
virelai (cf.
continued to play an im-
of the Italian people.
19), freely modified.
one of the few laude showing the

as
(d)
ibid.,
p.
85;
(e)
F. Liuzzi,
(a)
375; (c) ibid.,
La Laiida
II,
AS-8 (GSE.
(a)
259
p.
(cf. also
555); (c)
11,
metrical rendi94.)
30;
fl
Sources:
(b) ibid.,
p. 211). f
Liim-pni8
CANTIGAS. The
22.
hymns
(ReMMA,
ibid.,
cantigas
Spanish
are
of the thirteenth century, mostly
11,
Records:
p.
472).
in
devotional
honor of the
Virgin Mary (Cantigas de Santa Maria). They were

lected in various magnificent
Sabio (1252-1284),
who
volumes
for the
col-
king Alfonso
probably himself contributed part
Most of them are written in the refrain form

of the French virelai (cf. No. 19), or, as the Spanish called
it, viLlancico. Modifications of the strict virelai form occur,
though less frequently than with the Italian laude (cf.
No. 21). ^Sources: (a) J. Ribera, La Miisica de las Cantigas
(1922), no. 5; (b) ibid., no. 4; (c) ibid., no. 132.
ENGLISH SONGS. Among
we
p. 471).
MINNESINGERS. The German

courtly love) originated
minnesinger move-
around
1150,
under
Provencal troubadours. Textual as well
as musical considerations
lead to a rhythmic rendition of

even note values (4/4 meter). Indeed, the
"weightiness" of this meter is more appropriate for the
German
No.
AdHM.
(ReMMA,
their songs
strictly
(1935),
songs that survive, those ascribed to
ment (M/nne :=
is
(g) ibid., p. 129; (h) F. Gennrich,
fl
'the influence of the
Example 21b
form of the virelai, or,

No. 51). A rendition in
Die altfranzosische Rotroiienge (1925), p. 40; (i) A. Jeanroy

and P. Aubry, Lais et descorts franâis (1901), p. 87. Records: (a and b) AS-18 {GSE, pp. 377, 343); (e) Liim-ôo$8
20.
Most
strict
was called in Italy, ballata (cf.

rhythm seems preferable to the
it
of the contents.
(f)
life
or
different
was
They
of the medieval laude are written in the refrain form of the
el
p. 84;
37.
Francis of Assisi (11S2-1226), and
portant part in the religious
obscurity of text encountered in this type. In our example
iind Balladen,
laude are Italian devotional hymns.
until the nineteenth century they
an extended poem of a narrative
descort (disorder), and this
(b) ibid.,
DTOe
originated in the thirteenth century, probably in connection
because of the irregularity of form as well as the intended
62'';
204); (c)
tion used in Liuzzi's edition. (Cf. also
lyrical character of the
i,
AdHM,
Record: (b) Decca 20158.
33; (d) ibid., p. 32. f
igf illustrates the corresponding
or contemplative character, essentially
name
I,
poem. No.
lines of a stanza except the last, or the last
the
Molitor, in Sammelbiinde der Internationalen Miisil{gesellschajt, XII, 475, facs. (cf. also
free
seems to be the repetition of the same melody for
The
19).
interesting for its use of successive thirds, f Sources: (a) F. L.

Saran, Die Jenaer Liederhcjndschrift (1902), 11, 20; (b) R. F.
to 8 indicating the succession of
for the virelai. Less clearly defined
b B.
No.
(cf.
of his songs extant, Neithart
the rotroiienge
a a a
number
von Reuenthal stands out as the central figure of minnesinger music. His charming song "Der May" is particularly
great majority of the
songs are written in one of three
trouvere
and the trouvere ballade
18)
polyphonic music of the School of Notre
in the
at Paris
No.
to the large
in
23.
interesting.
As
in the case of
the few early

St.
English
Godric are the most
other early
monophonic songs,
modal rhythm
prefer a free rhythmic rendition over one in
(cf. ReMM.-l, p. 241). "Worldes blis" is a characteristic example of thirteenth-century Anglo-Saxon poetry, which has
been described as "sad and foreboding" (cf. ReMM.4. p. 242).
f Sources: cf. E. Trend, in Music and Letters, ix (1928), 112;
(a) frontispiece in G. Saintsbury, History of English Prosody;
(b) facsimile in H. E. Wooldridge, Early English Harmony,
vol.
(1897),
pl- 23.
songs than the "elegance" of modal rhythm which
French trouveres. Example

one of the few surviving twelfth-century minnesinger
fits
so well the melodies of the
20a
is
216
24.
MASTERSINGERS. The
singer) were craftsmen
who
mastersingers (G. Meister-
continued the tradition of the
COMMENTARY
minnesingers.
century, with
They flourished particularly in the sixteenth

Hans Sachs as their most outstanding repre-
technical procedures of the mastcrsinger school
III,
was cultivated
2).
LU,
(cf.
(1907), p. 79.
While
p. 409).
composition shows the technique
this
of a "melismatic" upper part only in spots, the
Compostela (b)
25.
PARALLEL ORGANUM. Organum
name
the collective
is
cantus firmus,
various methods of early polyphony, from
for the
The
about 800 to about 1200.
p.
present examples illustrate the
organum, characterized by the use of two

voices in parallel fifths and fourths. The original melody,
borrowed from Gregorian chant and designated as vox
principalis, lies above the added voice part, known as vox
The
first
organum, which
parallel
strictly
also existed in three-
four-voice modifications (composite
The
octave duplications.
fifth
which the two voice parts start

(c), from the Orkneys,
which was
dinavia
(cf.
Scriptores
1931),
I,
resulting
ReMMA.
p. 388f).
.
gratias
which
at the
is
sung
The
first
tenor
for
{torn).
f Sources: (a)
vols.
167; (b) ibid., p. i85fl;
(1784;
M.
AdHM,p.
(c) cf.
Number
28a
No.
167.
26. FREE ORGANUM. About the year 1000 the parallel

organum was replaced by one using mainly contrary motion
of the two voice parts. The vox principalis (or cantus firmus,
as it may be called) is now usually the lower part. No. 26a
is based on the Kyrie-trope "Cunctipotens [or Omnipotens]
genitor" (cf. No. 15b), while No. 26c uses the Alleluia
"Angelus Domini" (cf. No. 13) as a cantus firmus. The latter
composition (26c), which comes from the School of Chartres
is
illustrates a characteristic
which survived
both voice parts.
in
manner
in
century
also
(b)
and Oxford History of Music,
ApNPM,
pp. 205, 207; (c)
(c) Victor-i^^^
(2nd
AdHM,
"Deo
gratias" by
is
usually
composed polyphon-
to
style
organum from
Number
28b
is
the School of Compostela, similar
the "Cunctipotens genitor"
(No. 27b).
Num-
Dame
(Magister Leoninus,
fl.
c.
1175), that
is,
clausulae,
the
which form a large portion

Dame, were used
either as substitutes for the corresponding sections of
organa or (more
likely) as
independent compositions
fuH
in con-
nection with plainsong. Thus, in the present case, the word

Benedicamus would be sung by the soloists in plainsong, the
word Domino by the same soloists in two-voice composition,
and the Deo gratias by the choir in plainsong. Number 28e
is another clausula Domino, in which the plainsong melody
is sung twice (double cursus), with a shift of the rhythmic
Numbers 28f through 28!

development of the thirteenth-
pattern for the second statement.

illustrate various stages of the
century motet, a type which

in
which
In fact,
etc.).
ReMMA,
may
be described as a clausula
provided for each of the upper parts.

the motet was originated through exactly this process
a full text
is
of textual addition, as can be seen

illustration of this process
ed., 1929), 45;
p. 175.
soloist(s),
of the repertory of the School of Notre
The origin of this procedure is found in

same principle of alternation occurs in all
the Gregorian graduals, alleluias, responsoria, etc. (see Nos.
12, 13), and that only the solo sections (that is, the verses) of
the chants were composed polyphonically, for a few solo
singers of special ability and training, probably not more than
two or three for each part. It was not until the middle of the
sixteenth century that larger choirs were used for the per-
p. 262),
period.
melismatic passage thereof, in the present case that for the
No. 127),
few picked
(cf.
this
sung responsorially:
the choral answer being in plainsong.
word Domino. These
polyphonic sections.
faciendum
during
the entire soloist section of the chant), but only a single
the fact that the
Ad organum
music
rhythmic modes. Number 28d is a clausula, that is, a polyphonic composition using not the entire chant (more properly,
the former for the monophonic, the latter for the
f Sources: (a) Treatise
the
given
melody, represent a survey of the
polyphonic
the plainsong melody,
is
throughout
The compositions
introduction of a strictly measured rhythm, in one of the
(cf.
formance of polyphonic church music (motets, masses,
this
liturgy
was very frequently used
compositions
centuries.
26, the first section only
Notre
of performance, traces of
as late as the sixteenth
namely, the alternate use of the entire choir and a

soloists,
It
on
of
Benedicamus
Roman
ber 28c illustrates the epochal innovation of the School of
remarkable for the use of extended
melismas (note against note)
(1938),
the choir. In conformity with the practice explained under
ed.,
a two-voice
Northern France,
polyphonic
"Benedicamus Domino" by the
Gerbert,
facsimile
its
to various melodies
offices,
all
of these melodies
development
ically,
in
end of
illustrates the use of parallel
here, all based
a salutation of the
is
twelfth and thirteenth
and Scan-
(For
ApNPM,
AdHM, p. 179);
Sources: (a)
BENEDICAMUS DOMINO. The
Domino, Deo
as
il
the differing transcription in
shows a freer type, in

and end in unison. The last
restricted to the British Isles
ecdesiastici
and
from
26a.)
I.
28.
(b, 2)
example
thirds,
organum)
Nos. 15 and
example from
this technique.
H. Angles, El Codex musical de Las Huelgas
III,
four examples (a, 1-3; b, i) illustrate the
on
entirely based
is
cf.
(cf. also
209
(b)
earliest type of
organalis.
in
tended trope of the Christmas gradual "Viderunt omnes"
<;
Puschmann
Limoges
in the School of St. Martial at
Southern France and in the School of Santiago de Compostela

in Galicia. Example 27a uses as a cantus firmus an ex-
are aptly set
Richard Wagner's Die Meistersinger (Act I, 3, and

Source: G. Miinzcr, Das Singebtich des Adolf
fortli in
In the twelfth century
evolved, characterized by the
tained notes in the cantus firmus. This important innovation
consisting of
ing strains
organum
use of extended melismas in the upper part against fewer, sus-
is the Bar (cf. No. 20),

"zween Stollen und ein Abgesang" (two openand one concluding strain). This form and other
Their main musical form
sentative.
MELISMATIC ORGANUM.
27.
yet another type of
showing
^Records:
The
and FM-7J9.
217
is
a clausula, "Flos Filius,"
tenor
of
these
from No. 28h. Another
giv n in the next example (28i),
with two derivative motets.

is
taken from the re-
compositions
COMMENTARY
sponsorium "Stirps Jesse" (In Nativitatem B. M. V.), but
its melody is the same as that of "Benedicamus Domino."
Another point of interest presented by the motet III of this
group is the use of the refrain Cest la fin (at the end of the
which is taken text as well as music from

the trouvere song "Vos n'aler" (No. igf). For another example illustrating this practice of incorporating popular reSources:
frains into motets (refrain motet) see No. p.d.
(a) LU, p. 124; (b) H. Angles, El Codex musical de Las
Hitelgas (ig^S), "i. 47; (c) Codex Florence, Bibl. Laur.
French
text)
1]
(d)
plut. 29, / {F), fols. 86v, 87r;

fol.
88v; (f)
dii
XI lie
fol.
LEONINUS' STYLE.
This composition provides a fuller illustration of the technique of Leoninus, a first example of which is given in
No.
28c.
The
Easter gradual
source of this extended composition
"Haec
of this chant are
sung by the choir

is
No. 12). In conformity with

No. 26, only the solo sections
composed polyphonically, the others being

in plainsong.
Hec
strictly
dies
will be noticed that there
It
and irregular style of the

and Confitemini on the one side, and the
a striking contrast
sections
the
is
dies" (cf.
the principles explained under
between the
free
contrapuntal style of the sections Domino, Oitoniam.
The
In secuhim, on the other.
organal style and discant

are clausulae,
current designation for these
style.
which appear here
The
is
sections in discant style
as parts of
an organum. This
was doubtless their original status, whereas subsequently they

were taken out of their contexts and became independent
pieces in their own right. A comparison of our rendition with
the widely differing transcription given in
will
show
problems offered by the music of
in the
Codex Wolfenbuttel 677 {W,),

'3555:
GSE,
p.
258 (both after
fol.
AdHM,
which
the considerable uncertainty
still
this period. %
27. f
1.
fols.
ORGANUM "HEC
31.
used in connection with
46V-48V.
PEROTINUS'
IN
DIES"
tendency pointed out in No. 30 appears again

in the present composition. Perotinus also took the step
from two-voice composition to composition in three and four

parts. Our example shows somewhat less than half of the
complete organum, to the word "bonus." ^Source:
,.
fol. 81.
MOTETS FOR "HEC
32.
217,
p.
DIES." Regarding the origin

No. 28f-i. It
of the motet, see the explanations given under
goes without saying that, after the introduction of the motet

as a textual derivative of clausulae, motets
posed independently, that

existing clausula.
ORGANUM "HEC DIES" IN
STYLE. The
179V; (g)
Codex Bam-
Steele (1908),
berg Ed. IV. 6 (Ba), No. 31; (h) Y. Rokseth, Polyphonies

du XIII Steele (1936-39); Codex Montpellier, Fac. des Med.
196 (Mo), No. 143; (i) ApNPM. pp. 237, 273, 285.
29.
may have been
88v; (e) ibid..
ibid., fol.
Codex Wolfenbuttel 1206 {W,),
Aubry, Cent motets
P.
clausulae as they
plainsong. f Source:
to say,
The examples
methods
trate various special
(a), the original
first
is
melody
were
also
com-
without the use of a pre-
of the present group illus-
of motet composition. In the
words Hec dies
for the
is
en-
larged through repetition, according to the scheme a a a b
a,
scheme which is somewhat similar to that of the medieval

rondeau (see No. i9d, e). The second example (b) shows
the substitution of a French for a Latin text in the upper
part, a method which is frequently encountered in the
thirteenth-century repertory of motets. No. 32c is an example
of the so-called condttctus motet, that is, one in which the
upper parts show identical text as well as identical rhythm,
as
the case with the polyphonic conductus (see Nos. 38,
is
39).
There
earliest
is
types,
reason to believe that this was one of the

if
not the earliest type, of motet. This also
shows an interesting
stylistic
feature of thirteenth-century
composition, the so-called exchange of parts

taiisch; see the section
"Se conformans").
tremely dissonant style which
is
(G. Stimm-
illustrates
It
an ex-
not infrequent in music of
thirteenth century. The tenor and middle part

(duplum) form a pair of consonant voices, as do the middle
part and upper part (triplum), whereas the combination of
the early
prevails
Source:
Records: Victor-
three parts produces sharp dissonances.
all
AdHM).
p.
280.)
The
fourth motet (d)
is
(Cf.
ApNPM,
another example of the
which is explained under No. 28i. (For the

No. igd.) The last composition of this group (e)
an "instrumental motet," if this somewhat self-contra-
refrain motet
30.
CLAUSULAE FOR "HEC
plained (No. 28d), a clausula

of a short passage of a chant.
"Haec
is
DIES." As previously
a polyphonic
From
ex-
refrain see
composition
is
study of the gradual
dictory term be permitted; that
No. 12) it will be seen that the clausulae of

the present example (see also No. 29) are based on melismatic
passages of the chant, that is, on passages in which a florid
melody consisting of numerous notes occurs with a single
word or a single syllable. In fact, all the clausulae are invariably based on such "melismas," never on the syllabic
sections of the chant. The clausulae of the present example are
written in the style of Magister Perotinus
successor of Leoninus.
sections
of
Leoninus'
(<r.
to be
29)
an instrumental composi-
viols
(one of them is called "In Seculum

Codex Bamberg. A particularly in-
teresting feature of this composition
hocket. This
means
is
the extensive use of
the truncation of a
melodic
line
into
which are given

Sources: (a) Mo, No.
to two voices in quick alternation,
184; (b) Mo, no. 45 and Ba. no. 96; (c) W^, fols. 126-7;
short fragments (frequently single notes)
fl
1160-1220), the
illustrates
performed on
viellatoris"), exist in the
comparison with the corresponding
organum (No.
is,
tion written in the style of a motet. Several such compositions,
dies" (see
(d)
Mo,
no. 85; (e) Ba, no. 108.
the
TWO
MOTETS. These two compositions illustrate the

33.
development of music around and after 1250, at the time of
Franco of Cologne. The triplum (that is, the highest voice)
now becomes the predominant part, melodically as well as
more crystallized
and more concise style of composition. It should be noted
that the present example is not a unified composition in the
proper sense of the word. It merely shows a number of
general tendency of Perotinus towards a
218
COMMENTARY
rhythmically. In the
example (a) exchange of parts is

32c). Another interesting feature
first
extensively used (see
No.
the extended vocalizations
is
be noticed that vocalization
on
the syllable "a
required for
is
." It
should
the textlcss
all
(2) a prevailingly syllabic style;
nique for
be noticed that
all
formance of these
writings,
frequently
parts,
extremely unlikely.)
is
the complete breaking
trates
liturgical connection.
The
(Instrumental
motets.
The
away
suggested
in
modern
second motet (b)

of the
tenor no longer
per-
illus-
motet from
is
its
Gregorian
cantus firmus, but a freely invented melodic phrase repeated
all
found
these traits are
It
may
organa
in the earliest
of the ninth through the eleventh centuries (sec Nos. 25, 26).
In regard to the
parts of early polyphonic music, particularly for the tenors of
the organa, clausulae, and
note-against-note tech-
(3)
the parts; (4) identical text for both parts.
all
first
of these four characteristics,
our example,
said that
like the eleventh-century
tens genitor" (No. 26a),
Rex virginum
it
may
based on a Kyrie-trope (Kyrie,
is
Moreover, both tropes use the same
.).
melody, that of the Kyrie of the Mass IV (see No. 15).

other three
traits
ductus (see Nos.
be
"Cunctipo-
The
occur also in the thirteenth<entury conSource: W,,
38, 39). f
i76r.
fol.
several times in the character of a basso ostinato. All the
comments on
texts are
the gay
38.
of Paris; the tenor ap-
life
parently reproduces a familiar street cry. f Sources: (a) Mo,

no. 339; (b) Mo, no. 319. f Record: (a) Ltim-po2j {ReMMA,
PETRUS DE CRUCE:
34.
who
Motet. Petrus de Cruce,
made an
important contribution towards the development of musical
notes.
complete disregard of what are considered today the
most elementary principles of textual declamation

by-product of this
style.
<I
Source:
Mo,
is
jubila."
As explained
the Latin lyric poetry of the twelfth
the liturgical repertory,
rhythm by introducing quick note values (semibreves) to

be sung in groups up to seven in the place of a quarternote (brevis). There results a somewhat mannered style in
which quick parlando passages alternate with relatively long
gaudens
and
was generically designated as conductus.
In the thirteenth century these songs were composed polyphonically, mostly in three parts, and it is to this type of music
that the term conductus usually applies. The general style
of conductus composition is the same as that described under
No. 37, except that the tenor, instead of being borrowed from
17,
thirteenth centuries
P-474)-
lived in the second half of the thirteenth century,
CONDUCTUS: "Roma
under No.
The
melody.
invented, text as well as
freely
is
conductus, therefore, represents the earliest type
of completely free polyphonic composition.

tion
may
garding the question as
to
Our
ReMMA,
be compared with that in
transcrip309. Re-
p.
whether the conductus should be
rendered in even note values or in alternating longs and
a typical
(modal rhythm),
shorts
no. 254.
ApNPM,
cf.
p. 224. f
Source: W,,
fol. i07r.
35.
MOTET
motet also
may
"JE
CUIDOIE." Judging from
its style,
this
39.
well be a composition of Petrus de Cruce's.
CONDUCTUS:
like this
makes ample use of the hocket technique explained under

No. 32. f Source: Mo, no. 332.
"Hac
anni janua." Compositions
in
one lend themselves well
to a study of thirteenth-
It
century three-voice
full
16.
ADAM DE LA HALLE.
triads
that
harmony
is,
(or counterpoint).
sharply dissonant "appoggiaturas"
Adam
de
la
Halle
(c.
1230-
H',, fol. 7ir (cf. also
The
including the third
of triads
ApNPM.
may
use of
and
of'
be noticed. [Source:
p. 221)!
1287) holds an interesting historical position
on the border
line between an old and a new school of thought. He was
one of the last to cultivate the monophonic songs of the
trouvere period, and one of the first to transfer them to the
field
of polyphonic music, thus inaugurating a trend
40.
more
is
which
characterized by a form similar to that of the sequences
rather conservative, except for a
which
ornamenting figures than was customary

36a is a monophonic ballade; 36b is a
liberal use of
three-voice rondeau; while 36c
modern rondo,
is
interesting as
an
come
into
Adam
de
GSE,
p. 2.
general
la
use
a b a b
until
Halle (1872), pp.
a,
after
early in-
1650
35, 230, 232. f
Record: (c)
TWO-VOICE TROPE:
position
is
"Rex virginum." This com-
ending
cf.
ReMMA,
p. 393fl).
of these "insular" compositions
fascicle 11 of
W,)
The main
from
consists of four to seven
which
for the repetition. In
is
repeated, with a
some
p. 14; (b) ibid., p. 19; (c)
Musil{wissenschaft,
fiir
Early Bodleian Music,
an example of a special type of thirteenth-century

is thought to be of British origin (according to
Handschin;
istics
It
<!
(GSE,
music which
J.
doubtless derived.
danses royales (1906),
Archiv
37.
is
cases the same

two endings are used for all the sections, as, for instance, in
our first two examples here given (a, b), a type for which
the term "rounded estampie" may be suggested. If the
dance had only three or four puncti, it was also known under
the name of dtictia.
Sources: (a) P. Aubry, Estampies et
difTerent
form which did not

(see No. 147).
f Source: E. de Coussemaker, Oeuvres completes du trouvere
stance of the
it
sections, called punctus, each of
Number
before him.
All the dances of the
and fourteenth centuries belong to one main type,

known as estampie. The estampie, an early example of which
was encountered in the "Kalenda maya" of No. i8d, is
predominated in the French Ars nova of the fourteenth

century. In his style he
MONOPHONIC DANCES.
thirteenth
p.
vol.
555) contains,
i,
i,
first
22 (facsimile in
pi.
side.
VII).
fl
No. 40c
}.
J.
Wolf,
in
Stainer,
Record: AS-16
(repetitions of
punctus 1-3 are omitted). No. 40a (drum accompaniment

added). No. 41a; second
character-
(mostly preserved in
side,
formance; only the sections
are the use of (i) a non-Gregorian tenor;
played), No. 59a.
219
No. 40b (abbreviated
la, ib, 2a, 3b, 4a, 5b, 6a,
per-
7b are
COMMENTARY
TWO-VOICE DANCES.
Both exnmples are polyphonic elaborations of the type described above (No. 40) as
ductia. No. 41a has the basic ductia melody in the lower
part. It consists of three short sections (i, 2, 3), each of which
41.
is
repeated with a di(Tcrent ending (la, lb
melody
is
.).
the
"SUMER
known
5,
No. 41b
6).
IS
ICUMEN
based on a ductia
is
IN." This composition
to require explanatory
remarks. Suffice
according to recent investigations,
its
date
is
it
is
seum, Harleian
43.
early
ill,
25.
throughout
gjS.
<;
marked
an important
"Detractor
ginning of a new
probably
The Roman
The motets
are
among
these
is
the
rigidly
art,
patterned style of the
no doubt, marks the
an Ars nova
be-
in the true sense of the
GUILLAUME DE MACHAUT: Two
admirable
written in the style of Petrus de Cruce (see Nos. 34 and 35),

but some of them show features characteristic of fourteenth-
century music. Notable
to
iga-c) as
virelais.
Machaut wrote monophonic as well as polyphonic virelais.

His monophonic "Comment qu'a moy" is a most charming
song, written in a folk-like style which is astonishingly
similar to the style of present-day French folksong. No less
literary
motets inserted in a continuous narrative.
who
centuries,
fifteenth
No.
word, f Source: F. Ludwig, Giiillaume de Machaut, Miisilâlische WerlyC, i, 31. ! Record: AS-6j {GSE, p. 274).
46.
est."
contrast
thirteenth century. This contrast,
and musical source of the

fourteenth century, containing monophonic songs and
is
and
fourteenth
the
an elaborate
form of polyphonic music. The freedom, subtlety, and expressiveness of melody, as well as the variety of rhythm, are
Record: Columbia-^ji^.
ROMAN DE FAUVEL:
"Je puis trop bien."
begins the long line of composers, extending
cultivated the trouvere ballade (see
too
to say
GUILLAUME DE MACHAUT:
45.
With Machaut
about seventy years later than has been assumed (cf. M. P.

Bukofzer, Sumer is iciimen in, 1944). f Source: British Mu-
de Faiwel
but the notes are shifted to
Gtiilluume de Macliant, Mitsikalisclie Werl{e,
in
that,
second statement (B) has nearly
lirst,
century clausulae such as No. 28e. ^Source: F. Ludwig,
40.
well
The
structure as the
other positions, a procedure which originated in thirteenth-
The whole
melody of two puncti (1, 2) which are subsequently transferred to the upper part (3, 4) and transposed to the upper
fifth. ^Sources: (a) J. Wolf, Handbuch der Notationsl{itnde
(1910), p. 224; (b) ApKIPM, p. 247. il Record: (a) See under
42.
stated twice.
is
same
stated twice, each time with a different counter-
point in the upper part (4,
No.
as color)
is
the artistic refinement of the polyphonic "Plus
masterpiece of musical art. f Source:

F. Ludwig, Guillanme de Machaut, Musif(alische Wer\e,
dure," an exquisite
the isorhythmic struc-
I,
72, 86.
means that the melody of the tenor is

organized rhythmically on the basis of a rather elaborate
pattern of note values which is repeated throughout the
lected in order to represent
entire tenor. In the present motet this pattern (the so-called
of
ture of the tenor. This
talea) comprises six measures.
construction
is
The
47.
music history, the
This composition has been
se-
one of the least-explored periods
late
fourteenth
century.
Very few
principle of isorhythmic
compositions of this period are available for study because
but an amplification and elaboration of the
of the extraordinary difficulties presented by their notation.
shorter rhythmic patterns
thirteenth-century motets
usually found
(e.g.,
in
Nos. 32b,
The most
the tenors of
striking characteristic of these compositions
their
is
rhythmic complexity, which indeed has never been paralleled
c). Nevertheless,
the isorhythmic technique presented a novel procedure, since

it
JACOPIN SELESSES.
in all
music
ApNPM,
history, f Source:
p. 423.
meant abandoning the rhythmic modes which governed
the rhythmic structure of nearly
all
the tenors in the music
48.
der Mensiiralnotation (1Q04), vol.

diilers
many
in
details
11,
in
Wolf's
His "Amans ames" follows the tradition of the
vol. III).
his
GUILLAUME DE MACHAUT:
44.
Machaut
is
"S'il
estoit
nulz."
embody
achievements of the Ars nova, achievements which
may even
say,
49.
writing was
illustrate the Italian
During
isorhythmic (see No. 43), with a talea comprising

is shortened. As usual in
3/2 measures; the fourth talea
beginning. This
the
was
ApNPM,
also a
pun on
pp. 175, 427.
melody (designated
the
than the
first
49 to 54 serve to
movement of no
contemporary movement
Ars nova,
half of
less artistic
in
France.
the fourteenth century, two-part
commonly employed, with
the upper part form-
ing a Iforid counterpoint to the longer notes of the lower
the present example has a double cursus,
the plainsong
for
JACOPO DA BOLOGNA. Numbers
motet
is,
imitation
Romanticism. Machaut 's motets
significance
that
while
Year's present to the poet's ladylove,
the composer's name, f Source:
from the motet of the thirteenth century, but even in these

works the novelty of style is striking, particularly as regards
suppleness of rhythm and of melodic design. The present
Machaut 's motets,
of
past,
remarkably progressive, particularly
symbol of the idea of the poem, and perhaps
in the
are the most conservative of his compositions, being evolved
is
use
New
is
ingeniously written in the shape of a heart, a charming
direction of liberation, secularization, refinement, expressive-
ness and, one
its
composition, a
the great
lie
bonne"
"Belle
because of
the outstanding representative of French four-
teenth-century music. His compositions
five
Baude Cordier represents the
transition
no. 6 (our transcription
from the one given
BAUDE CORDIER.
between the mannerism of the late fourteenth

century (see No. 47) and the new classicism of the fifteenth
century, embodied by Dufay and Binchois (see Nos. 65fl).
of the thirteenth century, f Source: Joh. Wolf, Geschichte
part.
The
preferred form of this period
was the madrigal,
which, as a poetic form, consists of two or three strophes of
in this connection
220
COMMENTARY
three lines each, followed by a final strophe (n'tornello) of
JOHANNES CICONIA:
55.
"Et
in terra pax."
While the
musical form follows closely that of the poetry,
"proto-renaissance" of the fourteenth century had led to a
same music (a) being used for the two (or three) stanzas,
and different music (b) for the ritornello, so that the form
a a b (or a a a b) results. ^Source: Codex Rcina (Paris,
Hibl. Nat., fonds fr. notiv. acq. 677/), fol. 3V. ^Record:
striking superiority of secular over sacred music, the pendu-
two
The
lines.
the
GSE,
p. 240.
DA
FLORENTIA: "Nel mezzo." This

GIOVANNI
madrigal, with the modified
eleven-line
example
of
the
an
is
scheme a a a b b. f Source: Joh. Wolf, Gescliichte der Men50.
siiralnotation (1904), vols.
identical
virelai,
an example of the Italian
is
"lo son un pelle-
ballata, a
form which
with (and evidently taken over from) the French

b b a
(cf.
Nos. 19 and
f Source: Paris, Bibl. Nat., fonds
.45-5(G5,
ital.
and
46, also 21
^68, fol. 42V.
No.
form belonging
<[
22).
Record:
ing scenes full of lively description.
two
strict
measures, which is
canon
in
particularly in-
Ars nova
to the early Italian
caccia (chase, hunt). Its literary subjects are
imitating)
first
indication of this reversal
fifteenth
66). Ciconia's "Et in terra pax"
is
to be
is
a Gloria, the initial
phrase ("Gloria in excelsis Deo") being sung in plainsong.
shows characteristic tendencies toward clarity and simtoward a polyphonic texture with greater participation of the lower parts (which are probably instrumental),
and toward dignified expression. A peculiarity of this
composition is the use of the same music for two sections
of the Gloria text, from "Laudamus te" to "filius Patris" and
from "Qui toUis" to "Dei Patris." fl Source: Ch. van den
It
Borren, Polyphonia sacra (1952),
p. 88.
p. 555).
GHIRARDELLO DA FIRENZE. A
teresting
swing back with the advent of the
found in
the numerous compositions of single items of the Ordinary
of the Mass (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei)
which preceded the composition of complete Masses (see
GUILLAUME LEGRANT.
56.
52.
to
The
plicity,
in, no. 38.
GIOVANNI DA FLORENTIA:
51.
grin." This
is
11,
lum began
century.
The
hunting or
fish-
musical form
usually supported by a free
tenor in longer note values, f Source:

p. 70.
is
more
parts at the distance of eight or
Marrocco, i^th-Century Italian Cacce (1942),
AS-S9 (G5E,
the
is
not
(i.e.,
W. Th.
Legrant's Credo
an-
is
other example of the church music of the early fifteenth

century.
and
It is
interesting for
in three parts, the
its
alternation of sections in
former probably for
No.
for the choir (see also
64).
The
two
soloists, the latter
choral sections are in
chordal style (familiar style) and provide a most
full
teresting
insight
into
^Source: Same as No.
the harmonic
in-
idiom of the period.
55, p. 127.
f Record:
57.
p. 557).
SCHOOL OF WORCESTER. To
judge from the
remnants of fourteenth-century English music, the

School of Worcester played a leading role in its development.
The examples given here illustrate the strong hold which the
scarce
53.
FRANCESCO LANDINI: "Amor
Landini
is
c'al
tuo suggetto."
Ars
the outstanding master of the late Italian
nova, during the second half of the fourteenth century. His
tradition of the thirteenth century retained in
compositions are usually in three parts, not in two as was
time
customary before him. His preferred form

rived
from the French
virelai,
is
when France and Italy had made

entirely new directions. They show the
the ballata, de-
conductus
while the earlier Italian masters
style,
which continued
cultivated chiefly the indigenous madrigal. Stylistically, his
the fifteenth century.
most conspicuous achievement over
thirteenth-century style
much
and
greater subtlety
particularly in
its
his predecessors
the
variety of the polyphonic texture,
rhythmic aspect. For
whom, however,
indebted to Machaut,
is
this
he
is
54.
FRANCESCO LANDINI:
he surpasses in the
103.
"Sy dolce non sono." This
medieval music of a deviation from the standard forms which
were traditionally used for the musical structure of a com-
on
it is
Thus
it
its
58.
49), but is through-comanticipates the procedure which was universally
On
from the
fact that
it
is
interesting
ORGAN ESTAMPIE. The main interest of the present
example
lies
in the fact that
it
represents the earliest key-
board music which has been preserved. It occurs, together

with a few other pieces, in the so-called Robertsbridge Codex
the other
connection with the tradition of the fourteenth cen-
tury appears
in the "Alleluia psallat"
an
No.
adopted for the sixteenth<entury madrigal.

hand,
is
not set to music in the correspond-
ing musical form, a a a b (see

posed.
Although the poem
a poetic text.
eleven-line madrigal,
indication of
(exchange of
the Stimmtausch
mostly as an example of the sixth-chord style, usually called

fauxbourdon, which is frequently encountered in the English
sources of the period and which differs in the position of the
cantus firmus from the true fauxbourdon of French fifteenth,
century music, as exemplified by Dufay. The English type
has the cantus firmus in the tenor, the French in the soprano.
Harmony (1928),
51 Source: A. Hughes, Worcester Mediaeval
pp. 83, 39. H Record: (a) Victor-i^^^g and VM-J29-
composition affords one of the few examples to be found in
position based
in
music well into
measures 2 and 6). The Gloria (57b)
(e.g.,
sweetness and expressiveness of his melodies, f Source: F.
EUinwood, The Work^s of Francesco Landini (1939), no.
in English
between the two upper voices
parts)
evidently
at a
steps
influence of the
particularly obvious
is
England
decisive
of about 1325 (cf.
has an isorhythmic tenor,
in the
with a talea of seven measures, f Source: F. EUinwood, The

Wor){^s of Francesco Landini (1939), facsimile facing p. 34.
ApNPM,
form of the estampie
p. 37f). It is a
(sec
No.
from the original dance connotation of

six
221
puncti are reproduced here.
From
long composition
40), but far

this
removed
form. Three of
the stylistic point of
COMMENTARY
view, the old-fashioned parallel
fifths
and the hocket passages
They
the upper part as well as in the contrapuntal parts.
no
less
sidered to be of English origin, internal features, particularly
significance than those represented by Josquin, Palestrina,
and
notational details, point to Italy, f Source: H. E. Wooldridge,

Harmony, vol. i (1897), plate 43.
Bach,
are noteworthy.
Although
composition
this
constitute a culmination of contrapuntal technique of
usually con-
is
fl
Source:
DTOe
229 (corrected after facs. iv).
vii,
Early English
62.
ITALIAN D.^NCES. A
59.
number
considerable
of
mono-
phonic Italian dance melodies, evidently written for the

script in the British
of the estampie,
Museum. They
is
are written in the
Two
in the entire literature for stringed instruments. It
is
par-
flavor.
The
followed by a Nachtanz (La Rotta) in
dif-
ticularly interesting for
main dance
is
As
form
its
unmistakable folk-like
longs to the type of "rounded estampie" (see
No.
secunda volta. f Source: Brit. Mus. Add.

63r-63v. H Record: (a) AS-16 {GSE, p. 555).
original sacred affiliation by the
its
He abandoned
the poly-
textuality as well as the cantus-firmus tenor of the
medieval
in a style
proper to
its
church use.
motet, and established the motet as a free composition on
40). In
liturgical
text.
Dunstable's "Sancta Maria"
that
2991^7,
Germany made
is,
the triadic construction of his melodies. For instance,
During the
major.
poser in
number
of compositions have been preserved. In these, the
characteristic trait of Dunstable's style
a late
innovation
triad
as
beginning,
at its
The importance of
can hardly be overestimated. Here we find
followed by modulation into
roots of that trend
the field
the
which
cornerstone
of
musical
be observed in
the use of the upper appogiaturas
the eloquent eN]iressiveness of the melodic lines.
the
same
its
primitiveness, surpasses
direction.
6L
DTOe
ix.
i,
is
is
striking for
of evolution, involving, as
it
rosa bella."
The
line
does, short periods of extraor-
text
flowering
viously (see
No.
century hardly
style
the limits of thirteenth-century
upon
is
interesting as an
It
was not
until
Ockeghem
The
other three voices have the text
The Old Hall

Ramsbotham and H. B. Collins,
are indicated in the score, f Source:
MS
(new
1935-38),
HI, 76.
and technique. This situation changed completely with

a composer of the highest significance who
a penetrating influence
This Sanctus
simultaneously, except for minor variants which
edition by A.
John Dunstable,
had
in the original.
syllables
57), English music during the fourteenth
moved beyond
to
Source:
and Obrecht (see Nos. 7^ to 78) that four-voice counterpoint became firmly established as the normal procedure. In
this composition the plainsong Sanctus from the Mass XVII
(for the Sundays of Advent and Lent; cf. LU, p. 61) is used
as a cantus hrmus in the tenor. The contratenor has no
between centuries of slow progress or

almost complete stagnation. As has been pointed out pre-
dinary
much
<1
experiments in four-voice harmony.
the establishment of the Flemish School under
history of
and eruptive
LIONEL POWER.
extremely scarce in music prior to this time.
interesting in this respect,
irregular
its
so
Full triads in four voices, such as appear repeatedly here, are
attempts in
179.
JOHN DUNSTABLE: "O
English music
later
which add
VII, 197.
illustration of the early
comparison with Janequin's program
chanson L'Aloitette (No. 107)

f Source:
many
63.
the
Another
technique.
may
Ars nova. The latter influence is particularly

patent in Wolkenstein's "Der May," which is an adaptation
of a composition by the French fourteenth-century composer
}. Vaillant. But under Wolkenstein's hands the composition
has gained rather than lost in charm and freshness. It is one of
the earliest known examples of word painting, and one which,
DTOe
this
led to the establishment of the
influence of the minnesinger tradition combines with that of
the French
in spite of
the initial passage of the soprano part shows an unmistakable
and slow start in

of polyphonic music. Wolkenstein is the first comthis development from whose work a considerable
fourteenth century,
illustrates
particularly important trait of the composer's musical style,
emphasis on the tones of the C-major triad
OSWALD VON WOLKENSTEIN.
60.
which
throughout the fourteenth century (see No. 44).

Dunstable was one of the first to cultivate the motet again
persisted
supertonic
the
of
fol.
early as the
intrusion of secular texts in the vernacular, a procedure
ferent meter. This composition as well as the Saltarello be-
both examples the prima volta closes on the
fifteenth-
interest in,
had been diverted from
of the
one of the most charming compositions
certainly
The
Mass composition (see Nos. 55, 56),

and attitude toward, the motet.
middle of the thirteenth century this form
new
but also to a
reproduced here. The "Lamento di
shorter examples are
Tristan"
all
most of them extremely long.
"Sancta Maria."
activity in the field of
manu-
are preserved in a fourteenth-century
(viola)
vielle
JOHN DUNSTABLE:
century return to church ideals not only led to an extensive
64.
the further development of
DAMETT.
As was pointed out under No.
61,
belongs to the "domestic" school of English music.
It
Damett
should
music, particularly in France (Dufay, Binchois), where he
be noticed, however, that the present example shows the
in-
He became
fluence of "Continental" thought to a larger extent than
do
is
believed to have spent a good deal of his
the founder of
what
known
life.
as the "Continental" school
other works of his and of his colleagues. For a discussion of
of fifteenth-century English music (Lionel Power, Beding-
the alternation of two-voice polyphonic sections for soloists
ham, and others), in contrast to the "domestic" school (Cooke,

Damett, Sturgeon), which largely retained the conservative
methods of the fourteenth century. Dunstable's compositions
and three-voice chordal sections for chorus (the chorus

once more with the words "Ora pro nobis"), see No.
are admirable mainly for the beauty of their melodic lines, in
liturgical text
is
may
222
starts
56. It
be noticed that our composition, although based on a
(antiphon for the Presentation of the Blessed
COMMENTARY
Virgin Mary; cf. LU p. 1754) does not use the plainsong
melody of this text. Thus it represents one of the early examples of free composition on a liturgical text, Source: Same
as No. 63, vol. I, p. 164. f Record: GSE, p. 124.
had held during the fourteenth century (see Nos.
lade
45,
somewhat declined during the fifteenth century. Nevertheless, Dufay and others continued to use this form as a
47)
fl
The
vehicle of elaborate polyphonic style.
passages at
florid
end of the various sections as well as the somewhat complex cross rhythms characterize this composition as belonging
the
GUILLAUME DUFAY:
65.
"Alma redemptoris
mater."
Dufay, together with Binchois, is the founder of the Burgundian School (formerly termed "First Netherlands
Dufay's earlier period, f Source: Oxford, Bodleian LiMs. Canonici misc. 21^ {c. 1450), fol. 134V.
to
brary,
School") which grew up in the splendid cultural sphere of
kingdom of Burgundy, under Philip the Good (1419-67)

and Charles the Bold (1467-77). The music of the Burgundian School represents a reaction against the complexity and
mannerism of the late Ars nova. Preceded by composers like
68.
composition, a
Baude Cordier and strongly influenced by Dunstable, Dufay

and Binchois developed a musical language whose beauty
and tender sweetness are just as lively today as they were
five hundred years ago. Dufay 's "Alma redemptoris mater"
belongs to a special type of cantus-firmus composition which
may be termed discant motet. This means that the plainsong
melody
(cf.
LU
p. 273)
melody
more consistent use of imitation. For the complete text

M. Loepelmann, Die Liederhandschrijt des Cardinals
Rohan (1923), no. 372. Source: F. Blume, Das Chorwerl^,
Heft 19, p. 22. f Record: AS-4S (GSE, p. 556).
fl
69.
cf.
No.
is
as well
It
melodicaliy as well as rhythmically.
chant,
aflords a clear insight into this technique by
chant
The work
of
Burgundian School,
not yet sufficiently known to permit an exact evaluation.
would seem that he tended towards a slightly more "pop-
The beginning
standards of Dufay.
borrowed
charming "De
of the
plus en plus" offers another example of the triadic type of
Our example
which
plus en plus."
ular" style, without, however, sacrificing the high artistic
100), the discant cantus
firmi are noticeable for their free treatment of the
GILLES BINCHOIS: "De
Binchois, the other great master of the
as to a strict rhythmical pattern (either isorhythmic or, later
on, in evenly sustained notes;
is
see
but in the soprano (discant). While most of the tenor cantus

firmi rigidly adhere to the original plainsong
rondeau,
the
used, not in the tenor as usual,
is
GUILLAUME DUFAY:
"Adieu m'amour." This

most beautiful example of
Dufay's late style, characterized by translucent clarity of
texture and subtle sensuousness of expression, as well as by
the
melody which had been inaugurated by Dunstable (see No.

F. Blume, Das Chorwer/^, Heft 22, no. 5.
f Record: AS-j^ (GSE, p. 62).
62). f Source:
a plain-
changed ("secularized," one might almost say) into

melody of an entirely different character, f Source:
Record: AS-^$ {GSE, p. 147).
xx\7i.i, p. 19.
is
a graceful
DTOe
70.
1;
GUILLAUME DUFAY:
66.
Missa
L'Homme
arme.
character.
most famous of all cantus firmi used for Mass

compositions is the melody of a fifteenth-century French
folksong, "L'Homme arme" (The armed man). It was used
by numerous composers of Masses, throughout the fifteenth,
Easily the
sixteenth, and, less frequently, seventeenth centuries.
L'Homme arme
Missa
The Kyrie
Dei
III offers
uses the
is
first
one of the
earliest
of
phrase of the melody.
the
The
"Cancer
inscription
eat
full
is
to
71.
six-
plenus
be sung twice,
it
excels
far
in
Marix, Les Mttsiciens de
true
joyful
(see
musical
la coiir
No.
progressive
liveliness
of
107), which,
vitality.
^Source:
de Bourgogne an
XVe
first
ARNOLD DE LANTINS.
Arnold de Lantins is anBurgundian School, probably a slightly

older contemporary of Dufay and Binchois. At least some
of his compositions fully come up to the artistic rank of the
two leading masters. The triadic structure of the melody
kind.
The Agnus
et
redeat medius" ("Let the crab proceed full and return half")
indicates that the cantus firmus
the
its
siecle (1937), p. 46.
an example of the "canonic riddles" frequently
centuries.
of
program chansons by Janequin
however,
J.
remarkable for
much
anticipates
It
This delight-
"Files a marier."
is
Dufay 's
its
encountered in the Masses of the fifteenth and early

teenth
GILLES BINCHOIS:
miniature composition
ful
other
member
may
be noticed,
AS-^g (GSE,
in
of the
fl
Source:
Same
as
No.
67, fol. 52V. f
Record:
p. 556).
note values, then in halved values and in retrograde
motion
(this
being indicated by the word "returns"). Since,
however, the crab's normal motion
72.
HUGO DE
LANTINS. The
compositions of this
Burgundian master
are remarkable for their frequent use of
ceeding" section actually
imitation. Since the
more extended use
section, therefore, in
belongs to a somewhat
measure of
backwards, the "pro-
is retrograde, and the "returning"

normal motion. The sign in the first
line 5, p. 72, indicates the
statement of the tune.
and the Agnus Dei
is
is
The
B-flat in the three
Lantins. f Source:
ApNPM,
73.
chier
may
p. 141.
JOHANNES OCKEGHEM:
With Ockeghem and
GUILLAUME DUFAY: "Mon
de Lantins
lower parts
only, f Source: Cappella Sistina, Cod. ^9.
67.
of imitation normally
Hugo
be assumed to be a younger brother (or son?) of Arnold de
beginning of the second
original notation of the Kyrie
with a
later period,
his
Missa
L'Homme
contemporary Obrecht
arme.
new and
most important phase of music history begins, that is, the

Flemish School (formerly called Second Netherlands School).
In many respects the early Flemish music offers a sharp con-
amy." This ex-
ample is one of the numerous secular compositions of the

Burgundian master. The prominent position which the bal-
223
COMMENTARY
trast to that of
This means the use of the same motive for the beginning of
Burgundy. In the Burgundian School there
was, by and large, an unmistakable emphasis on secular

music,
while
mainly
the
in
all,
Ockeghem and Obrecht were active

held of church music. The Burgundian
both
<i
masters wrote numerous songs in which instruments participated, while the Flemish wrote chiefly masses
for a cappella chorus. Technically,
may
Christe
74.
ter of the
two accompanying
of section
73, p. 124.
parts, both of
The
(by
Job.
virelai
is
iv,
JACOB OBRECHT:
"Tsaat een meskin." Yet anis
based on his posi-
He
is
the
first
be noticed.
features.
the tradition of
tion;
worth noticing. ^Source: Same

f Record: AS-i {GSE, p. 554).
the former
is
the consistent use of imita-
the latter, the use of a different text for the
The
tenor repeats the
phrase "Regina coeli" several times through ascending degrees of the scale, a
method which may perhaps be explained

an isorhythmic tenor. The
as a sequential modification of
No.
as
Among
among
tenor, as in a thirteenth-century motet.
which are more
are also
LOYSET COMPfiRE:
"Royne du ciel." Compere, a

Ockeghem, is a member of the so-called School of
Cambrai, which combined Flemish elements with the heritage
of Dufay, who lived in Cambrai from 1450 till his death.
Our example shows a mixture of progressive and archaic
79.
pupil of
contrasting meter and style
JOHANNES OCKEGHEM: "Ma
interesting
Wolf), Missen,
complete composition
strictly secular
is
a rondeau,
form which
is
ABaAabAB,
bouche
rit."
This
(edited by
H. Hewitt,
used here with a religious text
(for the full text see the source), f Source:

75.
An
composer to whom a considerable number of purely instrumental pieces is known to belong. His "Tsaat een meskin"
("A maiden sat"), obviously based on a Dutch folk tune,
bears all the characteristic earmarks of the instrumental
canzona (see Nos. 88, 118, 136, 175). The original melody is
in the tenor, f Source: Complete edition (by Joh. Wolf), Wereldlijke Werken .\v/xvi, 7. ^ Record: AS-2y {GSE, p. 556).
Dufay. Distinctive features to be noticed in this example, a

virelai, are the extended phrases and the individual characfigurate than the upper part.
of the Mass.
tion in the history of instrumental music.
maitresse." In his
Ockeghem continued
movements
Complete edition
Source:
78.
offers a
JOHANNES OCKEGHEM: "Ma
secular compositions
the
other of Obrecht's claims to eminence
good example of the highly

embroidered (figurate) counterpoint to be found in many
compositions of Ockeghem's. ^Source: Complete Works, ed.
by D. Plamenac, i, 99^.
III
all,
the sequential passage near the end of the Agnus.
and motets
one of their most impor-
was the final establishment of four-part

writing as the normal te-xture of polyphonic music. This was
accompanied by a clearer separation of the vocal ranges than
had existed before. Finally, the ideal of a contrapuntal web
consisting of four or more equally important parts was more
clearly realized than before. The Kyrie of Ockeghem's Missa
UHomme armc uses the three phrases of the tune for its
three sections, Kyrie, Christe, and Kyrie. The contrast between the figurate counterpoint of the two Kyrie's and the
The Agnus Dei
is
41.
tant contributions
prevailingly chordal style of the
or nearly
detail
Odhecaton
1942), no. 84.
one of the most beautiful compositions of a master
whose claims
to recognition are often incorrectly based
feats of technical skill such as a 36-voice
canon or
on
80.
HEINRICH FINCK. The
Germany came
"Missa
very
late,
and
it
rise
of polyphonic music in
was not until the end of the

von Fulda, Heinrich Finck,
and "O vos
under Adam
and Alexander Agricola, that a continuous development
started there, influenced, it would seem, by the figurate style
of Ockeghem. The present composition skillfully combines
the melodies of two Ambrosian hymns in the manner of a
quodlibet, a form which was much in favor with the German
omnes." Although Ockeghem and Obrecht are usually named

in one breath, the difference between their styles is no less
composers of the fifteenth and sixteenth centuries (see No.

82). H Source: Das Chorwer\, xxxii, 19.
cuiusvis toni."
point of special interest
is
the continuous
fifteenth century,
flow of the contrapuntal web, which never comes to a complete stop except at the
aton
76.
(edited by
end of each
H. Hewitt,
section, f Source:
Odhec-
1942), no. 54.
JACOB OBRECHT: "O
beate Basih"
considerable than in the case of other musical twins, such as
Bach and Handel. Of the two, Obrecht is the more progreshe does, a good many of the achievements of Josquin. His style is less embroidered, more structural and motival, than that of Ockeghem, and employs
sive, anticipating, as
shorter phrases with
than anybody
else,
more
clearly
he deserves
marked
cadences.
More
credit for the establishment of
the technique of imitative counterpoint which
became the
foundation stone of sixteenth-century musical style, f Source:

Complete edition (by Job. Wolf), Motetten, 11, 85, and iv, 173.
77.
JACOB OBRECHT:
movements
Kyrie and Agnus Dei.
of the Missa Sine
Nomine
The two
CONRAD PAUMANN.
Germany, though tardy in

was ahead of the other nations
in the field of organ music. Paumann's Fundamentum
organisandi (1452) contains, in addition to numerous instructive examples of organ composition, a few organ pieces
based on German folksongs. Some of these songs are preserved in a contemporary source of vocal music, the Lochamer
Liederbuch. Our example shows one of these, "Mit ganczem
Willen," in its original form (cf. the reconstruction by H.
Rosenberg, in ZMW, xiv, 85), and in Paumann's beautiful
81.
cultivating vocal polyphony,
organ composition. In the original manuscript the closing
illustrate the "cyclical"
section
treatment frequently found in masses of the Flemish era.
Our
224
of
Paumann's composition is erroneously notated.

is based on the assumption that, beginning
rendition
COMMENTARY
with the a of the
fifth
measure from the end, the melody
written a third too high. ^ Source:

(facsimile edition by
Das Lochamer
K. Ameln, 1925), pp.
87.
is
Ltcderbiich
HEINRICH ISAAC:
Hcinrich Isaac
ami French songs
Italian,
GLOGAUER LIEDERBUCH.
83.
82,
This interesting
manuscript contains a considerable number of polyphonic
The
compositions, vocal as well as instrumental.
quodlibtt
"O rosa bella"

German folksongs.
reproduced as No. 82 combines the melody of

(see
No. 61) with numerous snatches
A number
of
The
music.
"Zwischen Berg und ticfcm Tal."

"international" composer of the
first
Of Flemish
Renaissance.
30, 72.
the
is
extraction,
wrote German,
and instrumental
he
as well as sacred
present composition apparently
is
polyphonic
elaboration of a folksong which appears as a canon in the

tenor and the bass, the other parts weaving around
and free figuration. ^ Source:

f Record: AS-i {GSE, p. 554).
imitation
DTOe
it
xiv.i,
in
26.
of these occur separately in the Glogauer Licder-
buch, and their beginnings are given here, together with the
composition based on them, in order to make possible a

study of the technique employed. The instrumental pieces
contained in the Glogauer Liedcrbuch are
among
the earliest
HEINRICH
88.
.\mong
IS.'VAC: Instrumental canzona.
the various individual
traits
of Isaac's style the use of short,
and the writing of extended sequential
characteristic motives
of their kind, aside
passages (see No. 77) are particularly striking. The present

example illustrates both these traits as well as others indica-
the thirteenth
tive of that trend
from the "In seculum" compositions of

century (see No. 32e). Particularly interesting
The
example, "Der neue Bauernschwanz" (The new
towards rationalization which characterizes
are the various dances, for three or four instruments.
the transition from the late Middle
present
sance.
peasant dance)
(that
is
especially
which comes surprisingly

rentos" written before and
Boo/{,
new
84.
remarkable for
second dance) in quick
is,
Frescobaldi).
edition by
<I
its
numerous
"cor-
sources
Ages
to the early Renais-
119.
89.
JOSQUIN DES PRES: Agnus
Dei. Josquin's historical
after 1600 {Fitzwilliam Virginal
Das Glogauer Liederbuch,
history of painting. Naturally, his artistic rank should not be
Source:
H. Ringmann,
German
DTOe xiv.i,
and artistic position in the development of music may well

be compared to that of his contemporary Raphael in the
vol.
(1936), pp. 40, 49, 87.
ORG.AN PRELUDES. The
tained in
Source:
Naclitanz
triple meter, the style of
close to that of
numerous preludes confrom about 1450 to about 1520
judged from compositions
keyboard music
the present one,
illustrate
which
is
the use of canonic
riddles in Flemish music, a trait which, although not with-
constitute a tradition of particular interest, because they represent the earliest type of idiomatic
like
given here only in order to
as dis-
out interest, has been overemphasized in
modern
As
tres" (three voice
indicated by the
words "Ex una voce
writings.
parts out of one), this composition has only one
from types influenced by dance music (see No. 58) or

vocal music (see No. 8ib). The preludes contained in the
tablature by Adam Ileborgh show a melodic line in rambling
style and free rhythm, extending over a few sustained chords.
notated
tinct
part,
parts
when
it
given
at the
beginning. Compositions of this type are
modern
90.
and concise style, melodically as well as harmonically and rhythmically, fl Sources: (a) and (b) W. Apel,
"Die Tabulatur des Adam Ileborgh" (ZMW, xvi); (c) and
(d) Buxheim Organ Book, c. 1470 (Munich, Staatsbibliothek, Mus. Ms. S7^5)> nos. 53 and 216; (e) and (f) Tablature of Leonhard Kleber, 1524 (Berlin, Staatsbibliothek, Mas.
Ms. Z. 26), fols. yv and 4V; (g) W. Apel, Miisi/{ aus jriiher
as
the three different
mensurations
known
transcription.
<|
Source:
ApNPM,
p. 181.
JOSQUIN DES PRS: "Tu pauperum
refugium."
"Tu pauperum refugium" (the second part of his

motet "Magnus es tu, Domine") is one of numerous compositions
else, to
from
his
pen which elevate him, more than anyone
the rank of the classical master of Renaissance music.
shows an admirable combination of spirituality and exand clarity, of technical mastery and
simplicity of means as well as close reciprocity between text
and music in short, all those traits which make him the
It
pressiveness, of variety
I.
ENGLISH PART SONGS. Toward
outstanding master of musical
(anachronistically designated in
the
modern
ings,
editions
91.
86.
11
Mus. Add. j/922,
fols.
fl
No.
p. 242.
JOSQUIN DES PRS:
"Faulte d'argent."
The
present
French chanson of the early sixteenth

century, a type which was destined to have a far-reaching
Sources: No. 85: John
(1901), 177;
Record: GSE,
example
1450) than for the rather nicely polished
Stainer, Early Bodleian Music,
in sixteenth-
many subtle examples of word paintedition (by Smijers), Bundel III,

Complete
f Source:
p. 93. ^
suggests a slightly earlier date for this "bright and racy"

(r.
or,
composition contains
King Henry VII made some contributions to this repertory.

The somewhat primitive style of the "Tappster, Drinker"
compositions given under No.
humanism
century terminology, of mttsica reservata. Incidentally, this
"madrigals") were written by various composers, and even
drinking song
in
Josquin's
end of the
fifteenth century there appeared in England a modest flowering of secular music. Part songs of a more or less popular
character
read
mensuration canons (see No. 92). Our example shows

this interesting specimen in its original notation and in
crystallized
85, 86.
is
as
Those from the Buxheim Organ Book usually alternate between free passages and sections in chordal style. The preludes
of the early sixteenth century (tablatures by Leonhard Kleber
and Johannes Kotter) show the tendency towards a more
Zeit, vol.
which, however, leads to three rhythmically diflerent
influence
illustrates the
upon the further course of music, leading later to

and ulti-
the instrumental canzona (sec Nos. 118, 136, 175)
86: Brit.
mately to the sonata. Particularly noteworthy in this respect
23V, 65V.
225
COMMENTARY
ABA
(cf.
form of the present composition,
ie le dis," and "Femme"). Another
the ternary
is
interesting feature
pi V r P2 V
is: r
scheme usually
the sections "Faulte," "Se
or, perhaps,
the canonic treatment of the contra-
is
AB
(A~
Werken," Nr.
15.
PP-
PIERRE DE LA RUE. As
92.
yet
little
known
is
of the
of this composer,
imperfectum) by the
Misse Petri de
bass. ^ Source:
custom
show
a typically
German
und neuer
1539) only the tenor has a text,
fl
teiitscher Liedlein
Source: H.
J.
Gesammelte Tonsatze Paul Hojhaimer's (1929),

94.
part
the Italian laude (cf.
No. 21) reappeared
The
polyphonic compositions.
Cancionero del palacio of Madrid.
written in a simple chordal
temporary
frottole (cf.
No.
style, similar to that
95).
also
{LU
95.
lar
form of
form
(a b a b
p.
1861)
99.
ally
a).
first sec-
^Source: F. A. Barbieri,
XV
XVI
(1890), nos.
is,
Most
has a wider significance.
or
It
is
the equivalent of our
some other term
enough
expression
"study"
embrace
considerable variety of instrumental styles and
known
love
The
loose
to
lute ricercars con-
pieces thus
named. They are
free studies in lute style
designed to exploit the idiomatic resources of
No. 993
Italian courts,
lived.
TWO LUTE RICERCARS. The term ricercar, though
tained in Petrucci's lute books of 1507-08 are the earliest
(tastar
of
consists of
two
short
sections,
trucci, Intabulatiira
11
has the same text and, except for a cadential extension, the
(1507),
100.
fol.
226
de lauto,
51
in
Sources: (a) Pe-
vol. iv (1508); (b) Intabidatura
46V.
ARNOLT SCHLICK:
Schlick, the
of these sections
instrument.
few notes obviously wrong
the original edition have been corrected.
cf. Nos. 19 and 21).

an initial refrain (ripresa, r), a number of
p), and a concluding refrain {volta, v) which
this
a sort of prelude
de corde, touching of the strings) and the ricercar
dietro (ricercar thereafter).
similar to that of the
The arrangement
with the
text, closing
types (cf. Nos. 114, 116, 119, 136).
consist of
as the ripresa.
usually understood to indicate an early type of fugue, actu-
is
They
same music
270. 343. 152, 22, 190.
thirteenth-century ballata (or virelai;
stanzas (piedi,
are mostly written in the
of the con-
books of Frottole, that
the frottole are written in a
on Fine
Cancionero musical de los siglos
laude are
an extensive cultivation of secumusic. In the years from 1504 to 1514 the Venetian pub-
vogue among the members of the North

Mantua where Tromboncino
new
repeated five times with

tion,
songs composed in three or four parts which were greatly

in
They
style.
form abba, derived from the French virelai (cf. No. 19),
which was used as early as 1300 in the Spanish cantigas (cf.
No. 22). In the "Durandarte" the two sections of music are
it
particularly at
as a poet,
examples of a popular
TWO FROTTOLE. The splendid vitality of the Italian
lisher Petrucci issued eleven
evidence seems
slighter value than the earlier ones, nevertheless are attractive
recommended, f Source: K. Jeppesen, Die mehrstimmige

italientsche Laude um 1^00 (1935), p. 163.
Renaissance brought with
Stylistic
cf. No. 121) than for Juan Encina,

whose songs figure largely among
the Cancionero. Encina's songs, though generally of
famous
those of
comparison of Fogliano's
composition with the plainsong melody
of the Italian frottola
fused with Luis de Milan,
p. 72.
the
in
rise
to indicate a slightly earlier date for Millan (not to be con-
Moser, 91
sixteenth-century
MILLAN, ENCINA. The
paralleled by that of the Spanish villancico of the period
1500. About 450 such compositions, lyrical songs with

instrumental accompaniment, are preserved in the so-called
After an interruption of
no doubt, by the loss of sources,
years, caused,
dlterer Zeit
around
GIACOMO FOGLIANO.
two hundred
und Spielmusi\ aus
(1931), p. 49.
His "Mein's traurens ist" has the structure of the

Bar (see Nos. 20 and 24), and is written in the Phrygian
mode, which was frequently used in the period of Josquin
(cf. Nos. 90 and iii). In the original edition (Georg Forster,
alter
pun
lost
H Source: Joh. Wolf, Sing-
feeling.
Ein Aussztig guter
as scribes offer-
on the audience at a time when the

papal bulls was a notoriously slow procedure.
despatch of
and depth of
seriousness
were disguised
ing their efficient services for the writing of bulls, a
which was not
the
is
Rue
la
German
Josquin in France. His compositions, mostly
songs,
street procession, as
day in various Latin countries. The
to the present
singers of the "Per scriptores"
ing representative of the early Renaissance in Germany, as

is
songs of
They were sung by masked people
standing in open carriages in a
the outstand-
is
aab A"
as
CANTO CARNASCIALESCO. The carnival
97, 98.
Hofhaimer
same
the
is
the Italian Renaissance.
is
PAULUS HOFHAIMER.
The musical
the early sixteenth century reflect the exuberant liveliness of
(Petrucci, 1503).
93.
14. 37-
96.
whose importance may well be considerably greater than is generally assumed today when his
fame rests mainly on his mastery of the "intricacies of
mensural notation." For this mastery the present example
serves as an illustration. It is a mensuration canon (see No.
89), that is, 9 composition in which a single written line
serves for two (or more) voice-parts, when the line is read
in different mensurations. In the present case the melody of
"L'Homme arme" is sung simultaneously in triple time
(tempus perfectum) by the tenor and in duple time {temptis
work
A, except for a cadential extension.)

f Source: R. Schwartz, Ottaviano Petrucci, Frottole (1935),
adaptation of this chanson see No. ii8. f Source: Complete

edition (by A. Smijers), "Wereldlijke
tenor anti the quinta pars, the latter imitating the former in
the lower fifth at a distance of three measures. For an organ
pi v po v
is
"Salve Regina."
With Arnolt
development of German organ music
(cf.
Nos.
COMMENTARY
and 84) came
8i
an early culmination of great
to
'ignificance.
Spiritually
belong to a
somewhat
and
period than that
earlier
tury,
which
in
they were written, namely, to that of the late Gothic

represented by Ockeghem. Evidence of this connection
in the strictly horizontal structure of the "Salve
found
quently the case in the dance literature of the sixteenth cen-
artistic
compositions
his
stylistically
as
in
Sources: (a) F. A. Barbieri, Cancionero musical del los
î
XV y XVI
sighs
W.
(i<Syo), no. 439; (b)
den deutsclicn I'alndutiirbiichcni
Mcrian, Der Tanz
des
16.
Jahrhunderts
(1927), p. 48.
is
Re-
gina," in the sustained notes of the cantus firmus, in the
ENGLISH DOMPE.
103.
This interesting composition is

Museum which was
design of the contrapuntal parts which
is
largely free
contained in a manuscript in the British
from the rational methods of the Renaissance.
noteworthy
written about 1525, the earliest preserved source of English
florid
exception to the
statement
last
keyboard music aside from the Robcrtsbridge Codex (see
the imitative entrance of
is
the three contrapuntal parts, each of
No.
which begins with the
same "subject," if this term may be permitted for a musical

idea which has little in common with a subject in the usual
sense of the word. See also No. 139. % Source: Arnolt Schlick,
Tabidattiren etlicher Lohgesang
(1512), new edition by
.
Harms
G.
"Dump"
58).
is
believed to be a lamenting and sorrowful
type of English or Irish song. Shakespeare, however, men"doleful
tions
Juliet,
IV, 4).
dumps" and "merry dumps" {Romeo and

The present dance is particularly interesting
because of the ostinato character of the accompaniment. In
(1924).
way,
can be considered as
it
continuous varia-
a series of
on a tonic-dominant harmony as a "theme." Thus it

belongs in the same category with the passacaglia or chaconne
of the seventeenth century. Source: Brit. Mus. Roy. App. 5S.
tions
101.
ARNOLT SCHLICK: "Maria zart." Among Schlick's
organ pieces the "Maria zart"
German
devotional
hymn,
is
is
the only one based
on
<!
the others being adapted from
Roman
the Latin liturgy of the
derivation
all
Church. This exceptional
104.
FRENCH PAVANE.
The melody
is
the basse danse (see
plainsong.
differs
amples in
more tuneful and folk-like than the chants of

from plainsong also in its clearly marked
thus foreshadowing the Lutheran chorale which
the fore some twenty years after Schlick. Of particu-
phrases,
came
lar
to
It
importance
this iTielody
is
is
the fact
meter.
em-
poration of thematic material, either in the
Vorimitation
105.
man
the technical term for the imitative
is
early ex-
the galliard,
pavane
special trait of the
is
the
(1529),
of canonic
imitation or of Vorimitation. Literally, anticipating imitation,
Nachtam,
frequently followed by a
few
always in slow duple
is
facsimile edition by E. Bernoulli (1914), p. 73.
skillful incor-
manner
pavane
Attaingnant, Quatorze gaillardes, neuf pavanes
contrapuntal parts which are remarkable for the exquisite
most
It is
from
102). Aside
marked sections, ABC, each of

which is repeated. This form is shown by the present example
as well as by most of the English pavanes dating from the
end of the century (see Nos. 137, 179). f Source: Pierre
used, not as a structural cantus firmus in evenly
clarity of their lines as well as for their
a courtly dance,
is
structure in three clearly
by subtle ornamentations and supported by two
bellished
No.
triple meter, the
in c]uicker triple meter.
that in Schlick's organ composition
sustained notes, but as a freely exhibited soprano part,
The pavane
probably of Spanish origin, which around 1500 superseded
reflected in various features of the musical style.
HANS NEUSIEDLER. Among
lute
the
numerous Ger-
composers of the sixteenth century, Hans Neusiedler
is,
perhaps, the most important. His "Hoftanz" (court dance)
preparation to the full statement of the melody, f Source:
is
similar in
Same
Hans Week (No.
treatment of a chorale line (or of
as
No.
its
initial
motive), as a
100.
Dance)
is
rhythm and
"Spanyoler Tancz" by
"Der Juden Tanz" (The Jew's
style to the
102b). His
one of the most remarkable specimens of sixteenth-
TWO D.\NCES. The sixteenth century may fittingly'
century music. Shrill dissonances, otherwise unheard of be-
be characterized as "the century of the dance." Encour-
fore the adventurous experiments of twentieth-century music,
aged by a freer attitude towards the authority of the Church,
result
102.
people of
to
all classes
nobility,
burghers, and peasants
dancing with an abandon for which there
is
took
the history of
Most of them
category of tenor dances, that
forms the basic
part.
Such
is,
a tenor
clearly
two
conflicting tonal realms
portions of mensural notation (proportio tripla).
DTOe
note values in the lower parts, and lively passages and figurations in the upper part.
of
D-sharp in the melody against E-natural in the
harmony. They produce an extremely realistic picture, not

lacking a touch of satire. Each dance is followed by a Nachtanz ("Hupf-auf," literally jump-up, i.e., jumping dance)
which is a rhythmic variant of the main dance. Such dances
were called Proportz, a name which is derived from the pro-
hardly a par-
mankind. The two dances given here

represent an early type which occurs in Spanish, German,
Italian, and French sources around and after 1500, in the
Italian known as bassa danza and in the French as basse
danse. These dances are in slow triple meter, with longer
allel in
from the daring use
(bitonality),
belong to the
xviii.2,
34 and 58
(cf. also
the
remark
in
fl
Sources:
ApNPM.
p. 78).
dances in which the tenor

is
easily discernible in the
"Alta" of the Spanish composer F. de
la
106.
Torre, while in
ANTOINE DE FEVIN.
Josquin, certainly
Week's "Spanyoler Tancz" the same melody ("Spagna")

occurs in the soprano. Week's composition consists of two
dances [Hopper dancz means jumping dance), as is fre-
was
Fevin,
a "felix Jodoci
ful follower of Josquin), to use Glarean's

is
admirable for
The
227
its
clarity,
simplicity,
present example illustrates,
not a pupil of
if
aemulator" (a successwords. His
and
among
style
expressivene.ss.
other things, the
COMMENTARY
irom
The
move along
of musical composition in this genre.
chorale
the customary four to two (or three), in the present case for
the second Agnus Dei. This method, obviously an ctlort to
wrest some contrast from the uniform medium of a choral
the tenor, but the other voices
in a fairly simple
frequently found in the fifteenth century (see, for

example, Nos. 56, 64), but was seldom used after Josquin.
The Agnus III illustrates another characteristic trait of the
melody as a free canon between the tenor and the soprano,

a method which is found in a number of Bach's organ
practice of temporarily reducing the
group,
number
of voices
is
Josquin period, namely, the imitation in paired voice parts

(cf. the passages "Agnus Dei" and "dona nobis pacem").
^Source: Liher quindedm mtssanim (new edition
in
chordal
style,
in
still
is
such as became universally adopted for the
chorale in the seventeenth century. Bruck treats the chorale
chorales,
(b)
fl
Sources: (a)
Gesangbuch
lich
DTOe
Job. Walter,
(1524),
new
Wittembergisch
by
edition
Eitner,
geistp.
10;
XXXIV, 104. f Record: (b) Decca-20160.
ExMM,
JOHN TAVERNER.
112.
p. 116).
The development
of English
music, which suffered a considerable lapse after Dunstable
CLfiMENT JANEQUIN. The
present example is
which made Janechansons
program
one of the
quin one of the most popular composers of the sixteenth
century, and which constitute an early example of true secular style. Although of a somewhat limited artistic significance,
107.
several
these compositions are remarkable for their technical cleverness
and
elegance, qualities which, in combination
stylistic
with their witty and somewhat frivolous

success. ^ Source:
their
for
edition in
ExMM,
CI.
texts, easily
account
(new
Janequin, Chansons
(cf.
No. 61), again
century. Taverner
composers
who
rose to
is
new
heights during the sixteenth
the oldest in the T-triad of early
brought about
Thomas Tallis (see No. i27'>

The composition of masses based on an English folk tuuv.,
"The Western Wynde," was almost as popular among Eng-
being Christopher Tye and
lish
in
Western
Wynde
the tune
is
stated three times in full: first
the frequent use of a small motive,
THOMAS STOLTZER. Stoltzer
108.
is
member
of that
group of early sixteenth-century composers who came under

the influence of the Lutheran Reformation (1519) and contributed towards the musical repertory of the newly founded
Protestant
Church
become
to
time of
J.
Germany, thus laying
the foundation
chorale melody (cantus firmus) in the tenor, the

tion of the initial phrase
and the chordal
"Christ will unser Trost sein"
DdT
may
Vorimka-
style of the
passage
be noticed, f Source:
xxxiv, 26.
109.
LUDWIG SENFL:
pupil of Isaac,
chapel of the
offers a
good
whom
with which
"Salutatio prima." Senfl
was a
he succeeded as director of the court
Emperor Maximilian
I.
His "Salutatio prima"
illustration of the imitative
sixteenth century, with
its
this principle
motet
style of the
quickly changing points of imita-
illustrates the considerable
tion. It also
particularly
Of
was
applied,
fl
degree of freedom
Source:
DTB
111.2,
in
during the
l2ob).
*I
earlier
Source:
The
soprano.
part of the
use
special interest
.
(see
of
is
measure
such "ostinato"
trait of
English music
sixteenth century
Tudor Church Music,
ADRIAN WILLAERT:
IB.
an integral part of the contrapimtal web,
the
motives seems to have been a peculiar
a cornerstone of
Bach. In the present example, which has the
S.
5 of the tune), as
development of the Protestant chorale which

German music through the
for the splendid
was
in
"L'Homme arme"
musicians as was the similar use of
France. In the "Benedictus" from Taverner's Mass the
in the soprano, then twice in the tenor.
p. 105).
Tudor
development, the others
this
I,
(see
No.
20.
"Victimae paschali laudes."
who
Willaert was a Flemish musician
settled
in Venice,
where he founded a school of composition including among

others Andrea Gabrieli, Claudio Merulo, and Giovanni
Gabrieli and known as the Venetian School. Very few of
his compositions have been made accessible in modern editions. No doubt, further studies will prove him to be an
even greater master than is generally assumed today. In his
"Victimae paschali laudes" the plainsong melody of this
celebrated sequence (cf. No. i6b) is used as a cantus firmus,
first in the Sextus which sings the initial phrase only, then
in the Quintus which has it entire. Our example shows only
the Prima pars of the motet. ^Source: A. Willaert, Musica
nova (1559).
p. 103.
114.
LUDWIG SENFL:
NIKOLAUS GOMBERT.
who was
Gombert was
Flemish
"Da Jakob nu das Kleid ansah."

Senfl's German songs run the whole gamut of musical expression, from rugged humor to profound seriousness. In the
offers a
present example the story of Jacob's despair at seeing the
style
bloodstained coat of his son Joseph finds a musical expression
sions of the text, each of these "points" being based
on a
one point
(e.g.,
110.
fully as
moving
as the
words of Scripture.
H Source:
master
a pupil of Josquin. His "Super flumina"
good example
for the study of the classical
style of the sixteenth century.
DdT
is
The
motet
basic principle of this
the use of short "points of imitation" for small divi-
different subject. Usually the conclusion of
"Super flumina") overlaps with the beginning of the next
xxxiv, iSo.
("illic
TWO
SETTINGS OF A GERMAN CHORALE.

in.
Johann Walter's setting of the German chorale "Aus tiefer
Not," if compared with Stoltzer's "Christ ist erstanden" (No.
108), illustrates the tendency toward less elaborate methods
sedimus"). While most of the divisions of the text are
treated in this fashion, there are

is
modified
as, for
example, in
subject for the soprano

bass, or in
228
"Quomodo
and
some
"illic
alto,
in
which the method
sedimus," which has one
another for the tenor and
cantabimus," in which a more har-
COMMENTARY
monic
style
is
The
used.
influence of Josquin
may
traordinarily large repertory of liturgical organ compositions
be seen in
which exists between the text and

the music, f Source: N. Gombert, Mtisica quatitor vocum
example shows that even in the celebration of the Mass the

organ took a prominent part. It is based on the Missa Apostolomm (Mass No. IV, ahso known as Missa Cimctipotens;
see No. 15), and consists of a number of short organ pieces
(1541)-
ADRIAN WILLAERT:
115.
portance in the
Ricercar.
im-
Willaert's
of instrumental music has long been
field
for the Kyrie
recognized. His ricercars conform to the current interpreta-
term
tion of this
come much
they
this
is
motet
closer to the true
example, the ricercars by Cavazzoni

son for
the plainsong
No.
(cf.
116).
One
the latter being used for
"Laudamus
rea-
that they are not written for the organ, as
by three solo singers
is
cated in the
per
priati
title
vocalizing
textless)
(i.e.,
is
(after the Christe)
sonare
d'ogni
sorte
or recorders, not organ or harpsichord.)
Source: A. Wil-
last
(1559), Ricercar
chant, f Source:
Fantasie, Ricercari, Contrapunti
the fact that the "second Kyrie"
is
Kyrie, after
first
being
Kyrie" actually becomes the fourth.
the so-called "second
Naturally, the same
laert,
in-
designated in the original source as
is
{Stromenti means here ensemble instruments such as viols

fl
which are not
etc.)
played on the organ, was sung twice in plainsong, so that
stromenti."
di
te,"
"Chyrie quartus." Evidently, the
indi-
inscription of the original edition: "appro-
cantare
and plainsong,
the sections ("Gloria in excelsis,"
"Adoramus
te,"
alternating performance
execution
also a distinct possibility as
all
cluded in the organ composition. Another evidence of this
is
frequently assumed, but for three melody instruments, such

as viols or recorders.
consisted of an alternation of organ music
in fact,
than, for
style
and the Gloria of this Mass. A comparison with

Mass {LU p. 25) will show that the musical
performance of the Mass was not purely instrumental, but
as a designation for instrumental pieces in
the imitative style of the sixteenth-century motet;
Our
designed to take the traditional place of plainsong.
the degree of poignancy
method
applies to the Christe
and the
Kyrie, in accordance with the traditional structure of this
Same
as
No.
116.
decimo.
118.
GIROLAMO CAVAZZONI:
GIROLAMO CAVAZZONI:
"Fake d'argens." This
Cavazzoni
holds a central position in the early development of organ
music. Judging from a remark in the preface to his organ
books of 1542/43, he was a young man when he published
composition
them. Nevertheless the compositions contained therein are
Josquin's "Faulte d'argent," a French chanson
landmarks
remarkable
name "canzona
116.
in
the history of organ
and
for their novelty
Cavazzoni's ricercars are the

that
is,
Ricercar.
Obrecht (see No. 78). As a comparison with No. 91 readily

shows, this is an organ composition based on the themes of
proper,
ferring the lively character, the tone-repeating motifs, and the
style of
sectional structure of the
It
should be noticed, however,
115).
The most important
more independent
points of imitation,
No.
difference
organ canzona {canzona d'organo)
which form the
114), are frequently
each of which presents
semble canzona
No.
is
may
well be said to consist of
four or five "fugues," a statement which
would
apply to a sixteenth-century motet. Another

arity
worthy of note
is
(see
No.
the free-voice
rarely,
stylistic
writing
if
This book
ever,
is
particularly interesting for
modeled
voice-parts, omission of rests in places
are "studies" similar in character
strict
counterpoint, use
lute ricercars (see
is
a characteristic by-product of the
for lute or viola
new
emergence of
keyboard instruments as well as
as
numerous musical
gamba
are not,
after the imitative style of the motet,
No.
but
and purpose to the early

The second of the two examples
99).
is
edition by
himni magnifjcati
120.
among
G. Benvenuti.
JOHN REDFORD.
the
GIROLAMO CAVAZZONI:
The organ music
Byrd,
Bull,
Apparently, from what
Missa Apostolomm.
Redford
is
the most outstanding
numerous English organ composers before the
"virginalists"
117.
Same
da gamba (see No. 119). f Source: G. Cavaz-
zoni, Intavolatura cioe recercari canzoni
(1542/43),
Source:
remarkable for its extended use of double-stops,

Ganassi,
Regola Rubertina (facsimile edition by
Source:
f
M. Schneider, 1924), Libro i, no. i, and Libro 11, no. 2.
given here
of five-voice chords within a four-voice texture, etc. This free
solo instrumental music, for
its
ments. Ganassi's ricercars for the viola da
(German,
number of
where they would be
of course,
treatment
fl
examples, the earliest extant compositions for these instru-
peculi-
Freistimmigkfit), entailing free change in the

required from the point of view of
136).
116.
119. SILVESTRO GANASSI. Ganassi is the author of the

Regola Rubertina (1542/43), the earliest treatise dealing with
the playing of the viol and the bass viol (viola da gamba).
considerably
than that of the points in a motet of comparable length.

ricercars
The
the most important
is
numerous statements.
Consequently, the number of these sections
Thus, Cavazzoni's
organ as
(canzona da sonare) developed into the
Baroque chamber sonata
of motet style
extended into lengthy sections,
subject in
its
basis
to the
forerunner of the seventeenth-century fugue, while the en-
that the short
is
French chanson
well as to instrumental ensembles (see Nos. 136, 175).
of their model than the ensemble ricercars by Willaert (cf.
less
com-
type, trans-
ricercars
first
that these organ ricercars are considerably
(cf.
same
posers wrote original compositions of the
for their artistic perfection.
(hence the
francese" or, simply, "canzona"). Later
organ compositions written in the imitative
the sixteenth-century motet.
No.
another example of the early instrumental
canzona, the origin of which can be traced back as far as
music, being equally
organ
is
is
Gibbons,
known
and
to us,
their
colleagues.
he devoted himself
exclusively to the cultivation of liturgical organ music.
of the sixteenth century includes an ex-
229
Our
COMMENTARY
example (a)
first
based on the melody of the Ambrosian

gentium." This melody is not used
is
chamber music written for one singer and two

melody instruments (see Nos. 67, 69, 71, etc.). In these
Spanish sixteenth-century songs the emphasis is clearly on
the vocal part, and the lute provides a subsidiary accompaniment consisting of chords and modest figurations, while in
of polyphonic
hymn "Veni redemptor

in
original form, but
Its
freely amplified by inserted notes,
is
a procedure reminiscent of the discant cantus firmi of the
Dufay period
No. 65). The "Lucem tuam" (b)
(see
is
in-
which
teresting as another e.xample of the ostinato technique
the fifteenth-century songs the solo singer
has been encountered in Taverner's Mass (see No. 112). In

the present case, the ostinato motif occurs in both contrapuntal parts, soprano as well as bass,
John Redford (1934), pp.
teichcr,
61
and
fl
base
Source: C. Pfat-
rey"
el
was a Spanish folksong,
that various lute
and Narvaez).
121.
LUIS
DE MILAN.
Examples
121 to 124 illustrate the
Spanish lute music of the sixteenth century. It is interesting

to notice that the flowering period of Spanish music preceded
that of Spanish
by
literature
years
fifty
1682). Milan's Libra de musica de vihuela de
Book
Lute)
the
for
of
1535
contains
compositions in a free idiomatic lute
mano (Music
The
duced
to
124.
sonancia a espacio" (the ornamented passages
This
is
the
first
as
is
is
easily explained
insistence
to play these
la
on
by the novelty of the procedure.
DE NARVAEZ.
The
125.
justly
Source:
variations contained in
it
was
as yet
unknown
in other countries.
tion
tion
"Guardame
las
CLEMENS NON PAPA.

famous
for
This Flemish composer
the expressiveness of
his
is
melodies, the
Here
follow translations of the various original inscriptions: First
126.
TWO
SETTINGS OF PSALM
35.
'While the Ger-
man Reformation under Luther led to the establishment of

the German chorale (see Nos. 108, iii), the Genevan Refor-
Here begins the final [cadenza]. Second variawith two upper parts above the tenor. Third variain two parts; it should be played in a fast meter in order
variation.
title
Spanish folksong which
standard to which this form had developed in Spain at a
when
The
a
of his style, and his advanced treatment of the

harmonic idiom. It will be noticed that the basic method
of motet technique, the principle of points of imitation, is
used in this composition with considerably greater freedom
than by Gombert, for instance (see No. 114). For example,
the phrases "audita est" and "et ululatus" show little, if
any, trace of this method. As regards the harmonic point of
view, the Neapolitan sixth in measure 5 of system 4 may be
noticed. The composition is not based on the plainsong
melody of the text (cf. LU p. 430). ^Source: C. Proske,
Musica divina, tomus 11.
this point
51
is
clarity
Narvaez's lute book of 1538 are the earliest extant examples

of the variation form. They clearly demonstrate the high
time
the Spanish lutenists, as well
by the organ master Cabezon.
con-
and the
fast,
p. 42.
LUIS
present
based on a theme which
variations.
Milan, Libra de musica (new edition by L. Schrade, 1927),
122.
all
is
Moreover, it forms the melodic basis for the

passamezzo antico (see No. 154). f Source: Valderravano,
Libra llamada Silva de Sirenas (1547).
clearly
instance in music history of a
and Milan's
deliberately free tempo,
lute variations
has been used by practically
harmonies slowly) adding that "este musica no tiene mucho

respecto al compas" (cf. pp. 24, 36, and 48 of the modern
edition).
Record: AS-iy (GSE,
ANRIQUEZ DE VALDERRAVANO. The
example of Spanish
particularly interesting to
a free tempo, "es redobles apriesa
in
198. f
was very popular at that time. Its melody is essentially a

descending group of four notes. Of particular interest is the
fact that the "Guardame" melody is identical with the socalled "Romanesca" which was used by numerous Italian
Baroque composers (Trabaci, Frescobaldi) as a theme for
admonishes the reader
notice that he repeatedly

fantasias
is
11,
P- 555-)
of
dominant. The special nature of these fantasias

it
Fuenllana, Pisador,
(e.g.,
Source: G. Morphy, Les Luthistes espa-
consisting
No. 17) belongs to a group (Nos. 10

which the polyphonic or imitative element is rea minimum, while the other two traits are pre-
pointed out by Milan, and
fact
vacas" suggests that the theme
present fantasia (his

in
"Pasea-
or
chords, running passages, and pseudo-polyphonic elements.
to 18)
The
from the
fantasias,
forty
style
<1
gnoles du xvie siecle (1902),
(Cervantes, 1547-
Lope de Vega, 1567-1635), and that of Spanish painting

by one hundred years (Velasquez, 1599-1660; Murillo, 16171633;
as appears
coupled with
composers have used the same melody, pro-
viding different accompaniments
18.
is
instrumental participants of equal importance.
mation under Calvin (1541) rejected such texts on the ground

that they were man-made and not "inspired." Instead, the
Fourth variation in proportion

triple time]. Fifth variation; the plainproportio
song
the soprano. Here begins the
[cadenza].
gregational singing, and the
Sixth variation; the plainsong in the tenor, f Source: Narvaez,
taining metrical paraphrases of the psalms in the French
to
make
it
sound
well.
psalms were chosen as the only source of texts for con-
tripla,
[i.e.,
in
Los seys
final
libros del
Delphin de musica (1538).
language, was
Genevan
adopted by the Protestant churches
officially
and the Netherlands. The simpler

by that shown in No. 132;
the Goudimel and Claude le Jeune examples given here
represent a more elaborate treatment. ^Sources: (a) Claude
Goudimel, ler. Fasc. des i$o Psaumes (ExMM, i, 51); (b)
Claude le Jeune, Dadecacorde (ExMM, 11, 26).
in Switzerland, France,
123.
MIGUEL DE FUENLLANA.
The
lute
books of
style for Psalter texts
Fuenllana and of Valderravano (see No. 124) contain a

great number of solo songs with lute accompaniment. These
are the earliest examples of
accompanied song
in the
Psalter of 1562, con-
modern
sense of the word, in contrast to the fifteenth-century type
230
is
illustrated
COMMENTARY
THOMAS TALUS.
127.
The "Audivi voccm"
is
monastictim, 1893, p. 236).
As explained under Nos.
the rcsponsoria, as well as the graduals
and
about 1541 to 1557 he was the musical editor of the Genevan

Psalter. His polyphonic settings of the Psalter texts are the
are
chants in which sections for soloists alternate with others for
As
the full choir.
Bourgeois played a leading

development of Reformed Church music. From
role in the
12-14,
alleluias,
LOUIS BOURGEOIS.
132.
re-
pluribiis virginibus"; cf. ihc Processionale
sponsorium ("pro
They
earliest.
one note to a
solo sections by poly-
in the tenor,
became established of replacing the
phonic compositions, while the choir sections continued to

be sung in plainsong (see Nos. 26ff).
It
interesting to ob-
is
are almost uniformly in a single chordal style,
Most of them employ the Psalter tunc

and the present example is one of these. (See
also the commentary on No. 126.) <1 Source: Doucn, C. Marot
ct lePsatitier Huguenot. 11, 83.
early as the thirteenth century the practice
syllable.
serve that this practice survived as late as the sixteenth century,
the present composition being an
example
are three solo sections in this chant, namely,
There
in point.
"Media nocte . venit," and "Gloria patri." Tallis, howcomposed only the first two of these, probably because
the Church did not permit the Gloria patri to be replaced by
a polyphonic setting. Very likely the polyphonic sections
were sung, not by the whole choir, but by a few picked
soloists, f Source: Tudor Church Music, vi, 90.
.
ANTONIO DE CABEZON:
133.
the association has considerable significance.
ever,
they differ in their forms and
in their musical spirituality, in their profundity
CRISTOBAL MORALES. Although the Flemish

became the international musical language of the sixteenth century, this language naturally was colored to a cer-
used
Spain
even
it
frequently
dramatic,
adopted
ill
is,
and
and
austerity
The
"Versos"
short organ pieces designed to be
short recitation formula, led in the sixteenth century to the
motet
of
practice
replacing the even-numbered
verses
phonic
Eslava, Lira sacro-Hispana (1869).
Pedrell, Hispaniae schola tnusica sacra (1895-98),
129-131.
(tiple),
literary
men
(see
like
living in Italy,
earliest
style,
first
No.
95),
The
by the "Quando ritrova," by Festa, the

composer of madrigals. Arcadelt's "Vol ve
more
advanced type which clearly shows the influence of the
contemporary motet but also includes expressive elements

proper to the madrigal, as for instance, the impatient urge
considerably
contrade"
"Ma
struggendo." This tendency
farther
with
its
in
Cipriano de Rore's
exclamations
exciting
daring change of harmony
is
"Da
"Ten
le
of
The
limits of this style they offer
belle
measure
6,
page 143 will doubtless be noted. They occur in the edition
from which the
editors
drew
than the Spanish
all
an admirable variety of musical
all his variation works

Cabezon connects the variations by transitional passages, a
happy device which is rarely encountered elsewhere, f Source:
Same as for No. 133, vol. viii, p. 3. ^Record: AS-6g (GSE,
ideas. It
its
at
parallel unisons in score 4,
this fact
contrapuntal paraphrases of a cantus firmus, but within the
"Ahi crud' amor," its wordpainting of the "Iterando amplessi," and its prophetic use
of chromaticism.
has been pointed out previously (see No. 122) that Spain
concluding half of the tune. Cabezon's variations are
carried
vai,"
27.
which stand at the beginning of the development of this form. The theme of Cabezon's "Diferencias
Cavallero," evidently an ancient Spanish folksong, is interesting because of its rhythmic structure. Although it is
notated in 2/2 throughout, its musical rhythm projects itself
more clearly if the two opening quarter-notes are regarded as
an up beat, and if the subsequent first half of the theme is
read according to the following metrical scheme: 2/2, 2/2,
3/2, 3/2, 3/1, a scheme which is repeated identically for the
as illustrated
of the passage
iii,
lute variations
Cardinal Bembo, and of Flemish composers
n'andate," published in 1539, represents a considerably
{contrabaxo) . ^Source: F.
form. Cabezon's variations for keyboard instrument ofTer an
madrigals are written in a very simple homophonic
native
and bass
even more convincing evidence of
under the refining influence of
mainly Verdelot, Willaert, and Arcadelt.
tenor,
played a leading role in the development of the variation
de-
veloped from earlier types of Italian secular music, such as

the frottola
alto,
ANTONIO DE CABEZON: "Diferencias Cavallero."
134.
It
madrigal, the most important
The madrigal
by poly-
chorus or for the organ. Cabezon
wrote for each psalm tone four versets which have the
firmus {canto llano) successively in the soprano
three compositions given here
illustrate the early history of the
settings, either for
cantus
COSTANZO FESTA, lACOB ARCADELT,
type of sixteenth-century secular music.
but
last
connection with the singing of the psalms. The
"Emendemus in melius" is an impressive example of this

spirit. The dramatic element may be observed here in the
grim reiteration "Memento homo" which interrupts at intervals the petition "Emendemus in melius." f Source: D. H.
CIPRIANO DE RORE. The
as
monotony inherent in the traditional psalm-singing of plain(cf. No. 11), with its frequent repetition of the same
subjective,
Morales'
expression.
mastery of technical means.
much
each other
song
by the national characteristics of the different

In
in their
are organ versets, that
128.
occasionally
points to an
styles, are close to
of thought, in their seriousness of purpose,
style
countries.
It
inner relationship between these two masters, who,
not least
tain extent
"Versos del sexto tono."
Cabezon, the Spanish organ master of the sixteenth century,

has repeatedly been associated with Bach, and in this case
"Audivi vocem,"
is
interesting to notice that in
p. 92).
and they are certainly

Mus. Add. 54071, ff. 28a
this piece,
questionable, f Sources: (129) Brit.
and b; (130) and (131) F. Blume, Das Chorwer\, Heft

nos. 4 and 7. fl Record (129) GSE, p. 167.
135.
The
v,
ANDREA
GABRIELI:
"Intonazione settimo tono."
"Intonazioni" of Andrea Gabrieli are festive
organ
preludes written in the style of his toccatas. While the toccatas
231
COMMENTARY
from monotony,
are not free
this flaw
even-numbered
cases, the odd-numbered)

sung alternatim in plainsong. A
comparison with the plainsong melody {LU p. 276) shows
avoided in {he con-
is
siderably shorter intonations, f Source: Intonationi d'organo

di Andrea Gabriels et di Giov. siio nipote
(1593).
.
GABRIELI:
This composition, although

actually
"Ricercare
originally
12
del
tono."
freely
"ricercar,"
entitled
is
a canzona, as appears
themes
II,
style. It is
140.
GIOVANNI PALESTRINA:
Agnus Dei
composition as
in
vocality suggestive of the melodic flow
sonare, a type which, during the seventeenth century, gradu-
bility
in contrasting
Our example
rhythms and
movements of the
di Andrea Gabrieli
et ricercari
Istituzioni e
I,
montnnenti
music preeminent
sections
which eventually became
styles
the separate
shows the
clearly
sonata,
.
Source
fl
new
(1589),
Record; Columbia-jo^66D.
137.
CLAUDE GERVAISE.
were beginning
Madrigali
edition in
five instruments.
This example
marked
less
1550-1555 src a large collection of dances for chamber en-
sembles of four or
period
abstraction,
is its
which
its
avoidance
century
in the sixteenth
be applied to secular style in particular
to
pulse, extensive chromaticism, sharp dissonance,
and expressive melody. After Palestrina, Roman Catholic

composers began to cultivate a less pure style. The Missa
Papae Marcelli (composed about 1560) is notable for its flaw-
"Danseries" of
Gervaise's
in its
of those technical resources
dell' arte miisicale italiana (i93ifT),
86. f
Palestrina
modal counterpoint and in

and rhythmic flexiof plainsong. The quality which makes Palestrina's
expressed
represents one of the earliest examples of the canzona da
ally led to the sonata.
I.
represents the culmination of the Flemish style of church
written, not for organ, but
quartet of instruments such as viols, and therefore
48.
as well as
foreign to the ricercar

for
composed, but are polyphonic paraphrases of the chant.
^Source: F. Pedrell, Hispaniae schola musica sacra (1894),
from the lively character of

from the fact that entire sections are
repeated, a procedure which is frequent in canzonas but
its
other
in
that the polyphonic sections of Guerrero's "Salve" are not
ANDREA
136.
(or,
the others being
verses,
counterpoint
and
for
the
beauty and dignity of
musical expression, f Source: Complete edition (Haberl),

149. f Record: Victor- ^^g^.
illustrates
its
xi,
three important types of sixteenth-century dance music, the

basse danse
1525-1600), and
141.
the allemande, which appeared around 1550 and was adopted
initial
{c.
1475-1525), the pavane
{c.
Baroque period. The pavane
into the suite of the
theme, to the words "Sicut
markable
of the
present example shows the typical structure of this dance, in
The
for
The
musiciens de
thought
4, 18, 48.
fl
(familiar style)
and
in a
rather
Record
plain chordal
rhythm which
Jeune,
Le Printemps
139.
and
the
melody are ascribed

This antiphon
is
to
into
fall
GSE,
two halves expressing the same
ways, f Source: Complete edition,
v, 148.
p. 340; Victor-zoHijH.
"Alia riva del Tebro."
one sense
his madrigals are in
a witness to his preoccupa-
employ only
to a
modest
with secular musical method. In
fact
they are
hardly more "expressive" than some of the motets of his

colleagues Nanini and Victoria, and they never approach
either in technique or in spirit the
of Marenzio and Gesualdo. Yet

Palestrina's
own
church
style.
more "modern" madrigals

they are
Theirs
is
not
written in
beauty which results
from a combination of technical perfection, reserve, and a

profound sensitiveness to certain aspects of secular expression
to which by nature he seems to have been drawn. In the
xxxv, 91.
present example, the expressive descending melody for the
"Salve Regina"
is
words "Ahi
Complete
(G5E,p.338).
closing
text
f Source:
and plainsong
sorte" should be particularly noticed,
edition,
xxviii,
105.
^Record: AS-^J
(1013-1054).
sung by alternating choruses,
143. 144.
was retained in the polyphonic

compositions of the "Salve" which usually include only the
and the ancient
used particularly in connection
exactly reproduces
Hermannus Contractus
traditionally
is
associated
most celebrated of the four antiphons of the Blessed

Its
pars,
degree the technical resources which were becoming definitely
<I
Virgin Mary (antiphons B. M. V.).
It
style
la renaissance franâise,
(Prima
very frequent procedure in sixteenth-
tion with church style, in that they
weak syllables. Source: Claude le

new edition in H. Expert, Les
FRANCISCO GUERRERO. The
is
in different
Records:
142.
(1603),
Maitres musiciens de
re-
Palestrina devoted himself chiefly to the field of sacred music,
the declamation of the text, by giving the strong syllables
twice the duration of the
of a
which usually
138. CLAUDE LE JEUNE. The present composition is an

example of vers mesure. The vers mesure (ascribed to
Antoine de Baif) originated in French literary humanism
as a reaction against what is called vers rime with its regularly
recurring accents. It is based not on the regular meters imposed by rhymed poetry but on the classical system of long
and short feet. Musicians like Claude le Jeune were strongly
influenced by these literary tendencies. They composed
in
is
with texts of "antiphonal" structure, such as psalm verses,
51
texts
division
Secunda pars)
180).
music to the poetic
aquarum,"
motet into two sections
century composition.
AS-5 (GSE.p.
as are other motives used in the continuation of the motet.
galliard, as
la renaissance franâise, xxiii,
individual design and expressive quality,
its
was often
the case in the sixteenth century, uses the same melody and
approximately the same harmonies as the pavane, the chief
difference being a change from duple to triple meter
{proportz; cf. No. 105). f Source: H. Expert, Ma'itres
three sections (cf. Nos. 104, 179).
The
"Sicut cervus."
and
practice
ORLANDO
DI LASSO: "Requiem aeternam"
Penitential Psalm. Lasso, sometimes called the last great
Netherlander of the Golden Age of choral music, represents
232
COMMENTARY
the
consummation of one
move more
rapidly than Palestrina's; there
tention to color, so that all in
be more emotional than
likely to
The Missa pro
too,
is
among
belonging
as
more
remarkable and advanced

the major
mode
(G. Costeley, Musique,
is
less
from the minor
the change
to
for the last statement of the refrain, f Source:
H. Expert, Les Maitres
at-
is
miisiciens de la renaissance jranqaise

i,
65).
<]
Record: AS-4^ {GSE,
p. 120).
the case with Palestrina.
defunctis and the Penitential
accepted
generally
is,
the effect of the music
all
No
"Allon, gay, gay") with various couplets (episodes).
aspect of a technique (Netherlaiuls)
which dominated musical thought for at least a hundred

years. The harmonics underlying his counterpoint often
Psalms are
Lasso's
148.
JACOBUS DE KERLE. This
other things, the gradual
highest
increase
motet
illustrates,
among
purely chordal
of the
achievements, representing, as they do, complete mastery of
(homophonic)
contrapuntal and expressive resource. Certainly they long
the latter part of the sixteenth century.
have been considered as models in the study of sixteenth-
and imitative texture of the beginning is abandoned, at the

words "adjuva nos" and "et libera," for one which, although
still
imitative, emphasizes the harmonic rather than the
melodic element; and the final section, to the words "propter
nomen," is plainly chordal. Not unworthy of notice, too, is
the literal repetition in this final section of an entire passage.
Regarding chordal style in general, it may be said that where
the words are particularly poignant or of special liturgical
century
counterpoint,
f Sources:
musices (1589);
(144) O.
choral
PiUrocinium
poenitentiales
psiilmi
in
(14:;)
di
Breitkopf
(ed.
O. Lassus,
Lasso, Septem
und
Hartel).
f Record: (143) Victor-ij^6o.
ORLANDO
DI LASSO: "Bon jour, mon coeur."

was not limited to the sacred field, for his
secular pieces enjoy great renown and are still frequently
performed. The texts embody a wide variety of ideas, and
H5.
Lasso's genius
each
is
accorded
characteristic
most
musical
appropriate
significance, f Source: C. Proske,
mon
149.
melody of the original choral composition were retained,
performed. This process was known as "coloration."

Only the opening of Philips' version is here reproduced but
be
will sutflce to
(new
Bool{
I.
make
the
Complete Worl{s,
method
xii,
clear.
^Source: (a) O. di
100; (b) Fitzivilliam Virginal
edition by Fuller Maitland
91.
and Barclay Squire),
317-
MADRIGAL WITH PARODY MASS. A
Spaniard,
his colleagues. Reference has already
been made
to
and expressiveness
that occur in the music of certain members of the Roman
group (see No. 142). The melodic freedom, harmonic richness, and emotional power that are to be found in Nanini's
work are also a feature of Victoria's writing. But the latter
seems occasionally to embody a quality which transcends
personal feeling and approaches the dramatic. The sixteenthcentury ideal of vocality was best expressed in the constantly
moving melodic line; and No. 149 will be found, in the
main, to conform to that ideal. Where, however, there occurs
a single word like "dolor," or even a whole passage such as
"attendite universi populi," which is in a sense crucial and
technique of the instrument on which the selection was to
it
11,
the extraordinary differences in technique
and these were surrounded by passages appropriate to the
Lasso,
Musica divina,
TOMAS LUIS DE VICTORIA. Victoria, a
among
cccur" into a piece
for harpsichord. In transcriptions of this type, the notes of
the
truly polyphonic
was a distinguished member of the Roman school of church

composition, and numbered both Palestrina and Nanini
which permitted the choice of

some choral piece, often a madrigal, for conversion to an
instrumental medium, the English composer Peter Philips
jour,
The
treatment,
of Lasso's versatility as a composer. Follow-
"Bon
technique of composition during
import, the use of chordal writing clearly emphasizes their
ing a custom of the period
has transformed Lasso's
style in the
very fre-
which claims the particular attention of the hearer, Victoria
quent procedure in the sixteenth-century composition of
employs the dramatic device of the repeated note, used so

effectively by Monteverdi and later opera composers, fl Source:
146.
masses was the use of musical material borrowed from other

pieces
that
chansons, motets, or madrigals.
the term
"parody mass"
refers.
It is
Complete edition (by F. Pedrell),
to this technique
Philipp de
Monte's
i,
27.
f Record:
GSE,
p. 498.
Missa super Cara
van Werth.
show
la vita is based on a madrigal by Jacob

comparison of the Sanctus with the madrigal
150.
to
herited
to all others of his era
This charming Christmas song, abounding in originality and vitality, shows the
French school of the sixteenth century at its very best. It
is
all
with
comparison was
the possible exception of Lasso
futile.
as a
an example (no doubt
in
accord with the innermost nature of the
human
voice.
This, together with a highly effective choral technique and
modern rondo form, characterized
by the alternation of a recurrent refrain (in the present
no good
Dependence on plainsong
model for vocal procedure was never as great in England
as on the Continent. In its place is to be found preoccupation
with a type of lyricism that is wholly English and utterly
GUILLAUME COSTELEY.
earliest) of the
tradition that
long-standing conviction that Palestrina was so far superior
that
one of the
and now happily discredited
musical thing could come out of England and partly to the
vol. XXI.
should be noticed that this chanson
appreciation of William Byrd
as
<I
147.
WILLIAM BYRD. An
one of the overtopping figures among sixteenth-century

church composers has been delayed, owing partly to the in-
what extent the musical substance of the latter

is incorporated into the former. Aside from the initial motive,
various others are used, "ch'altra fiamma" ("Dominus Deus")
and "in tanto tempo" ("Pleni sunt caeli"), for instance.
Source: Ch. van den Borren, Opera Philippi de Monte,
will
a singularly subtle
case.
233
harmonic method reinforced by
diversified
COMMENTARY
and
telling
rhythms, accords Byrd's music
unique position.
before
shortly
Byrd was
word "Alleluia" is
fond, once the text had been fully set, of dispatching the
singers on an excursion devoted to some word like "Amen"
pavane.
nature, invited vocal expansion.
sources
The coda on
characteristic.
the
or "Alleluia" which, by
VII,
gems
(particularly
clearly be distinguished
of choral art. % Source:
WILLIAM BYRD:
soprano, which, after every
in the
anthem, that
is,
sections for full chorus alternate with others for
an
one in which
teresting variations {parte; only three of six are given here),
accompanied
and general contours of

N. Ammerbach, Orgel
oder Instrument Tabulatur (1571); (b) G. Picchi, Intauolatura di balli d'arpicordo (1620), new ed. O. Chilesotti,
is
solo voice or voices as well as with purely instrumental sec-
This type, which became established in the
late
six-
one of the various indications of the general trend towards introducing into music the element of
contrast, a trend which became one of the basic characterteenth century,
notes to the next.
its
Giovanni Picchi (who stands at the very close of Renaissance

keyboard music) treats the theme in a number of most in-
"Christ rising again." This
of the so-called verse
the earlier
on a standard melody which occurs first in Spanish

under the name of "Guardame las vacas" (see
No. 124). In Ammerbach's passamezzo this melody can
two measures, proceeds from one of
example
tions.
passamezzi
variations
318.
151.
superseding the basse danse and the
of the
ones) are not entirely original compositions, but are elaborate
and enthralling to the

Tudor Church Music,
to the hearer
These codas, beautiful

singer, are
its
1550,
Many
is
retaining only the structural basis
the original melody.
*I
Sources: (a)
Biblioteca di raritd musicali,
9.
11,
LUCA MARENZIO.
struments as well as the voices, f Source: W. Byrd, Songs of

Sundry Natures
(1589), new ed. by E. H. Fellowes,
Marenzio may be said to hold

development of the Italian madrigal similar
to that of Schubert in the development of the symphony
on the border line between "classical" repose (represented by
Arcadelt and Palestrina; cf. Nos. 130, 142) and "romantic"
The English Madrigal
emotionalism
Baroque music
of
istics
(stile
The beginning
concertato).
numerous
ex-
motives of the
in-
of the present composition affords one of the
amples of word painting,
in the "rising"
School, xv, 280.
155.
a position in the
by
(represented
Gesualdo,
Monteverdi;
cf-
one of the
161). Noteworthy features of the present example are

the purely homophonic beginning, the use of a short and
the long line of musicians collectively referred to as
characteristic motif for the imitative section "tal che m'avviso,"
No.
GIOVANNI MARIA NANINI.
152.
first in
the
Roman
School.
Among
much
the
members of this group in

who, compared with Nanini,
Opulence of texture,
these and more are
the sacred music of Nanini. That
frequently to be found in
him
to
rank
among
borne out by a remark of the

surprise
ever,
is
is
all
the musical prophets
late Sir
Donald Tovey
mediately following, in which the idea of "stando in terra"
He was
is
portrayed. Another example of
used
scale
at the close for the
also a finished
JACOB HANDL.
156.
Latinized
name
gallus),
the leading
is
sixteenth-century
abandoning
f Source:
157.
toccata,
German
"familiar
is
style,"
DTOe
xii, 171.
typical
among
others,
style,
cata sections are treated with
which
is
a far cry
in
sterility
PASSAMEZZO ANTICO. The
passamezzo
It
is
pomp came
extraordinary boldness and
and
brilliant
is
structure.
new domains of musiHis choral writing far exceeds
sonorities
anything written before his time.

work for double chorus,
a truly magnificent
and organ.
works of Gabrieli, incorporating as it does the early Baroque achievements of the
stile concertato, that is, the combined use of voices and
instruments. For the organ, the bass part only is given in the
original, in the manner of thorough-bass technique. A full
violin being called at that time violino piccolo),
of the early
Obviously
p. 15.
154.
With
solo voices, brass instruments, violino (actually a viola, the
Merulo, Toccate, Libro secondo (1604),
most important dance of the sixteenth century.
its
"In ecclesiis"
of his toc-
boldness and imagination
from the dryness and
toccatas, f Source: CI.
work
realization.
cal expression
over the harmonies as well as the passage
fullest
imagination he ventured into entirely
form by the introduction

T R T or sometimes
R
ricercar style.) More-
of imitative sections, in the order
= toccata
in-
Andrea
and Claudio Merulo. In Gabrieli, the Venetian
to
T. (T
the
parts,
Giovanni Gabrieli repre-
than sustained chords and interlacing scale passages, Merulo
TRTR
by
Venetian School which was
penchant for magnificent display and splendid
this
example of
p. 224.
(by Andrea Gabrieli and others) consist of nothing more
its
the
cock, Latin
characterized
Record: GSE,
GIOVANNI GABRIELI.
Gabrieli
earliest toccatas
i.e.,
representative of the school of
augurated by Willaert and included,
artistic significance
broadened the contents of
Source:
rhythmic individuality of the voice
of
sents the culmination of the
which originated
about 1550, first reached a peak of great

under the Venetian master Merulo. While the
11
(1929), 25.
known under
also
= Hahn,
His "Eccc quomodo"
was invariably the servant of beauty.

The example here presented, a strict canon between soprano
and bass, is intended to illustrate this latter aspect of Nanini's
genius. ^Source: A. Proske, Musica divina, 11, 57.
his technical proficiency
Handl,
(Handl
of Gallus
Palestrina.
CLAUDIO MERULO. The
the rising
is
technician according to the best Netherlands standards, yet
153.
word painting is
word "paradiso."
A. Einstein, Luca Marenzio, Sdmtliche Werke,
that
always imminent in Nanini's music. This, how-
but one facet of his work.
clearly contrasting effect of the sustained chords im-
and the
conservative.
chromaticism, expressive melody,

his daring entitles
is
the
Nanini's time was Palestrina,
seems very
Nanini
the
appeared
234
this
is
one of the
later
COMMENTARY
organ accompaniment has therefore been added in small
notes. Naturally, in a composition of this period the realiza-
73ff. f
si.xteenth
mascherata,
etc.
name
field,
THOMAS MORLEY.
7.
Gastoldi's style
a "fa-la-la"
particularly inclined to express in music the sorrows of love
and the general
spirit of
melancholy which were fashionable
in the poetry of the time.
his palette
won
great ac-
however,
as
Lighter tints were not missing on
is
shown by
with
be seen from time
Morley. Morley
is
one of
His music frequently suggests the
of English folksong, f Source:
First
Boo\
Thomas Morley, The

new edition by
of Ballets to 5 Voices (1598),
H. Fellowes, The English Madrigal School,
FELICE ANERIO. The
iv, 23.
its
instrumental music which took place towards the end of
north, south, and east of a table.
the sixteenth century, foreshadowing the
song
Baroque practice
many
other similar ones)
is
for lute.
My
rendition follows closely the notation of the original
source in which the choral version

two others on the next. Needless
strumental parts can be combined
songs
(cf.
given on one page, the
in various ways,
and
in-
But love aims
And
one pos-
He
at
one scope
lost will still return.
that once loves with a true desire never can depart,
For Cupid
an accompaniment, as in the earlier Spanish

No. 123). fl Source: Ghirlanda di Fioretti
Musicali (1589),
161.
is
to say, the vocal
griefs each other greet.
Oft have I left my hope

As a wretch by fate forlorn;
being the combination of the soprano part with the
lute version as
lute
and
stanza of the
Oft have I dream'd of joy,

Yet I never felt the sweet,
But, tired with annoy,
given in three
versions, for three-part chorus, for harpsichord,
The second
as follows:
is
of accoinpanied song. In the original edition this composition
sibility
the present example,
that they can be read simultaneously by three singers seated
may
influence
Thomas
spirit
Our
"Semper
dolens" (always grieving), as he said of himself, he was
present example serves to
of the sixteenth century.
as
the most fatnous of
pieces
little
the most characteristically English of the secular composers
well
is
blurring of the borderlines between vocal and
its
time in the work of
illustrate the
Dowland
the lutenist song writers of the Elizabethan period.
(1595).
JOHN DOWLAND.
163.
and became
charming refrain "Come, come." This song is another example of the late sixteenth-century practice of performing the same song in various ways (see No. 160). The
original edition shows a peculiar arrangement of the various
parts which throws an interesting light on that practice. On
the left-hand page of the opened book is printed the soprano
part with the lute accompaniment directly underneath, as
in a modern accompanied song. The right-hand page shows
the parts for the three lower voices arranged in such a manner
claim in England, and
(as
rendition
John Danyel, Songs for the Lute Viol and Voice
(1606), no.
songs, f Source:
Fa-las for such
G. Gastoldi, Balletti a cinque foci
160.
Our
importance in the period of Baroque music.
villanella, villota, balletto,
Gastoldi exxelled in this
burden, hence the
E.
use of a
gives the bar-lines as they appear in the original edition.
In the later part of the
famous for his ballettos, light-hearted

written with an easy hand. Most of them have
to
The
composition.
da gamba for the reinforcement of the bass indicates the

beginning of a practice which was to become of fundamental
viola
926'.
particularly
159.
numerous English
century there developed various special types of
popular music, such as the
light
in the present
illustrated
tion,
f Source
GIOVANNI GASTOLDI.
158.
Record: Victor
the
particularly because of his subtle feeling for textual declama-
thorough-bass has to follow methods entirely

the familiar methods of the period of Corelli
from
dilTerent
or of Bach. It will be seen that the organ style of Claudio
Merulo (see No. 153) has served as a model in the present
case, f Source: C. von Winterfeld, Johannes Gabrieli iind sein
tion of the
Zettaher (1834), in,
JOHN DANYEL. Among
162.
masters of the ayre John D.inycl takes a prominent place,
is
the king of every heart.
Come, while I have a heart to desire thee.

Come, for either I will love or admire thee.
p. 29f.
CARLO GESUALDO.
f Source: J. Dowland,
or Aires (1603), no. 9.
In the hands of Gesualdo the
The Third and Last Booke
of
Songs
madrigal became the vehicle of daring experiments and novel

thoughts, foreshadowing the basic tendencies of
music.
He
developed a highly personal
not free from a certain mannerism,
and imagination.
He
is
style
Baroque
164.
which, although
always
is
ventures in the field
particularly
other typical trait of his style
is
the use of short, excited
abandoned
for
new
motives or contrasting sec-
tions in sustained chords. All these
picture of utter refinement
traits
and nervous
combine
form a
f Source:
into a
vidisti
me." Hassler
of the period around 1600.
characteristic
DdT
ii,
trait
of
the
period
No.
181).
As
com-
(cf.
31.
instability, creating
atmosphere not unlike that of Debussy's impressionism. ^ Source C. Gesualdo, Partitura delli sei libri
a fin-de-siecle
165.
book (1613),
fol.
HANS LEO HASSLER:
poser of
de' madrigali a cinque voci, 6th
"Quia
cases, of
motives which are imitated at a very close distance and which

are abruptly
German composer
His compositions show the influence of Lassus, or, in many

Giovanni Gabrieli. In his motet "Quia vidisti me"
he proves himself a gifted follower of the former master, except for the closing "alleluia" section, which is somewhat
monotonous and repetitious. However, such echo efTects
full of vitality
famous for his daring

of harmonies and chromaticism. Anis
HANS LEO HASSLER:
the foremost
German
"Ach
Schatz."
of succession to his great predecessors Isaac
210V.
235
secular songs, Hassler stands in direct line
and
Senfl. In
COMMENTARY
the deep feeling expressed in his compositions there
which
quality
is
German, and
essentially
is
this manifests
self particularly in his melodies. Hassler's secular music
as
fundamentally
DTBu,
German
as Morley's
is
expression which fully measures up to the tragic greatness
and
5. ^. 5.
is
Parts (1622),
6.
T/ie English Madrigal School, xviii, 112.
English. ^ Source:
112.
THOMAS WEELKES.
170.
GREGOR AICHINGER.
166.
Thomas Tomkins, Songs of

new edition by E. H. Fellowes.
of the Biblical text, f Source:
it-
In
is
trend
the
ballett
this
towards refinement and subtlety, which
Aichinger, side by side
noticeable in the
with Handl and Hassler (No. 156, No. 164), belongs to that
group of musicians who carried on the tradition of Lassus
in the various cities of southern Germany, thus helping to
lay a foundation for the splendid development of German
development
music in the ensuing centuries. In his motet "Factus est,"

Aichinger, though making rather too much use of note
repetition, nevertheless employs this technique advanta-
of the chromatic principle to the melodic line rather than
geously from the point of view of a clear and forceful delivery
second stanza of the present example
of the
text.
<|
Source: A. Proske, Mttsica divina,
11,
is
English as well as Italian secular music,
of
good deal further than, for instance, in Morley's

given as No. 159. Weelkes was a pioneer in the
carried a
ballett
chromatic writing, and by his frequent application
field of
chord he achieved effects unusual in his time which

were adopted by English composers who followed him. The
to the
See
^
Record
167.
GSE,
p. 2.
Praetorius,
are
chorales, particularly those in

tricinia).
his
elaborations
two or three
of
*I
and
more
(No. 165) Melchior Franck
German
polyphonic
of his songs
is
lied.
is
excelled
crease
is
Das Chorwer\,
the
of
sacred
my
faith"
a verse
is
an example of the
"This
is
full
the record of John,"
anthem, that
music and in
"O
Lord,
in-
anthem, though on
on the other hand,
one in which sections for
is,
he
full
These two anthems
clearly illustrate
Gibbons' pivotal
He
looked back to
ponent, and forward to the coming style of the seventeenth

century.
(1602),
new
Organ accompaniment
for viols here given

is
is
the record of John."
viols because
it is
more
to be
The
as well as the
found
accompaniment
in manuscripts of
editors have selected the
typical of Gibbons' style in
mental writing, f Source: Tudor Church Music,
edition,
"This
one for
accompaniiv,
270, 297.
xxxviii, 12.
173.
THOMAS TOMKINS.
Tomkins
close of the great English polyphonic choral tradition,
and
stands
GIOVANNI GABRIEL!:
Numbers
pian' e forte"
tensive activity in this field.
this
field;
forte."
mental and keyboard music about 1600. Gabrieli's "Sonata
decessors outstanding
in
"Sonata pian' e
173 to 181 serve to illustrate the status of instru-
he displays those particular virtues which made his pre-
an unerring sense of
what is appropriate from the singer's point of view, and the power to
convey through music the subtler shadings in the meaning
of the text. His "When David heard" is, no doubt, one of
the most impressive among the many outstanding anthems
of the period around 1600. The deeply moving story of
David's grief at the death of his son has found here a musical
is
field
Of
his fellow musicians,
many
the
what
most of
the older choral tradition of which Byrd was the great ex-
near
169.
in
represents
renaissance music.
masters of the
peculiar feature found in
Bergreihen
GIBBONS. Gibbons
position in the history of English music.
the solo introduction, the initial phrase being
Musil{alischer
Record: Coliimbia-î66M.
chorus alternate with others for accompanied solo voice or
sung by the tenor only. Possibly this is a reminiscence of a

mastersinger tradition. Another feature suggestive of this
relationship is the use of the Bar form, a a b (see No. 20).
^ Source:
particularly
a small scale.
Like Hans Leo Hassler

last
*I
compositions for keyboard (see No. 179). His
Mnsae
Sources: (a)
one of the
^2.
serious character than
voices.
MELCHIOR FRANCK.
x,
the final culmination of English
Sionae ix (1610), complete edition by F. Blume (igiSff),

IX, 82; (b) Terpischore (1612), complete edition, xv, 160.
168.
and Madrigals to Five Voices

H. Fellowes, The English
edition by E.
ORLANDO
172.
171,
style offers a de-
and massive texture which prevails in the choral music of the late sixteenth century. His
numerous dance compositions are interesting as early examples of the suite, which was to become of foremost im<]
new
Madrigal School,
lightful contrast to the rich
portance in the seventeenth century.
Source: T. Weelkes, Ballets
(1598, 1608),
German
parts {hicinia
Their clear and truly polyphonic
love witli love's increase;
Diana hath procured your peace.

Cupid hath sworn
His bow forlorn
To break and burn, ere Ladies mourn.
Fa la la.
though long
famous as the author of a highly important theoretical book,

the Syntagma mnsiciim, did not until much later win due
recognition as an outstanding composer of the late Renaissance. Aside from numerous compositions in the established
styles and forms of the sixteenth century his complete works
contain much of a refreshingly novel character. Most remarkable among these
as follows:
your mistress bids you cease
see,
And welcome
MICHAEL PRAETORIUS.
is
18S.
vocally effective, a strong feeling for
tion
one of the most famous products of an ex-
is
It is
the earliest extant composi-
which makes use of the contrast between piano and
forte,
and Gabrieli apparently thought so much of this innovation

as to make it a part of the title of his work. It is written for
two groups of instruments, which, if sounding singly, play
pompous
forte.
Another claim
to precedence lies in the fact that this
com-
position
first
piano, but repeatedly unite their forces in a
236
is
the
to
show
a detailed indication of the in-
COMMENTARY
struments. Therefore
it
stands at the beginning of the his-
it
There
tory of orchestration.
prominent place
is
Httle reason,
form
this
is
merely nominal.
monumenti dell' arte musicale

Record: AS-2^ {GSE, p. 177).
f Source: Istittizioni e
u, 64 (1932). f
connec-
in the history of the sonata; its
development of
tion with the
late
the
English sixteenth-century
GIOVANNI MACQUE.
who
down
Macque was
settled
Flemish com-
rapid passage
figures,
Munday
No.
f Source:
3S).
161).
>v,
The
appoggiatura
J.
style of this
"Toccate
Frescobaldi's
in
durezza
di
Monumenta Musicae
Watelet,
modeled
(that
Belgicae (1932-
178.
Although the history of
JOHN BULL.
its
development
contrast
started, a
The
style,
sections,
prima (1590),
Innomine)
of instrumental music. For
is
is
as
The
All these In
named "In Nomine"
is
Why
relationship to the introit "In

identical
trinitas."
The
present example, with
late
its
almost
for
the
missing
thorough-bass
from the
original,
i,
in
edited
quarter notes,
by
Fuller
fl
Source: Fitzwilliam
Maitland
and
Barclay
ORLANDO
GIBBONS:
"Pavane Lord Salisbury."
at intervals of
twenty years
156:;,
is
masterpiece whose utter technical refinement
treats,
not in the stereotyped pattern of a four-measure

continuous flow carrying the musical thought
unit, but as a
far
parts,
beyond
Gibbons,
a texture strikingly similar to the trio style of the
H Source: Transcript
158.
he
tibi
contrast between the
two quickly moving upper
re-
and transcendental spirituality recall the late sonatas of

Beethoven. Like many pavanes of the sixteenth century,
this composition consists of three sections, each of which
develops a different thought (see Nos. 104, 137). Particularly
noteworthy is Gibbons' mastery of the musical phrase, which
GSE,
seventeenth century, exemplified by Lully and Corelli,
except
Squire,
Salisbury
are
cantus firmus has no

is
dull.
to this rule, as
and 158^ respectively), represent three successive

generations in the development of virginal music. Gibbons
as an instrumental composer is a typical example of a "late"
master whose fin-de-siecle personality exudes the fascination
of an approaching decadence, but whose creative power is
still unbroken. The pavane which he wrote for the Lord of
years
Nomines
Jesu," but
measure
Boo/(,
(1543,
No-
In
with the melody of the antiphon "Gloria
sustained bass part and the
shows
The
nomine
to a final
179.
these pieces should have been
not clear.
and rather
an exception
pavanes and galliards. Particularly
his
Byrd, Bull, and Gibbons, born
cantus-firmus compositions, based on the same cantus firmus:
dfdddcfgfga.
is
than as a composer.
show
exclusively an English type
last.
as a virtuoso rather
the natural retardation of the motion towards
is
Virginal
does the
p. 29.
"In Nomine."
primed book of
owes his fame
notes to a passage in dotted rhythm, to eighth-note motion,
and
into
more than one hundred
and Purcell the
first
the close of the prelude, leading from the running sixteenth-
written
falls
some of
markable
English musicians wrote numerous In Nomines, Taverner

first
of the Partlienia. the
present prelude certainly
are also
development which
The canzona
between these
THOMAS TOMKINS:
(also spelt
title
of his compositions are over-extended
point of departure.
professori d'organo, Ltbro
being the
famous masters William
achievements
canzona by Andrea Gabrieli reproduced as No. 136. ^Source:

Canzorii di Florentio Maschera, novamente ristampate per
176.
the "three
Many
and idiomatically instrumental
stylistic
mine
Of
to his
various sections of contrapuntal imitation, but does not
Morlcy) on the folk song "Goc
these technical
an instrumental
to say,
to be of profound consequence, leading, as it did, to the

Baroque sonata. Maschera stands at the very beginning of
this development, and the canzona reproduced here serves
any
and
virginal music, published in 1611), John Bull
was
lively
thirds
In the variations by
polyphonic vocal chanson)
is
after the style of the
that a continuous
parallel
in
etc.
Morley.
to
can be traced back as far as the end of the fifteenth century

(see Nos. 78, 88), it was not until the late sixteenth century
in
idio-
Byrd, Dr. John Bull and Orlando Gibbons" (as they are
the instrumental canzona
to illustrate
made
taste
called in the
piece
variations.
ligatura."
37-
FLORENTIO MASCHERA.
175.
dances
means are used with

and ingenuity. Variations No. 3 and No. 6
are here omitted, f Source: Fitzwilliatn Virginal Boo^,
edited by Fuller Maitland and Barclay Squire, i, 153.
f Record: GSE, p. 304, where the variations are attributed
composition
e
scales
one hand),
(also attributed to
my window,"
remarkable
appoggiatura
chords and chromatic modulations, an illustration of the

same tendencies which found a more convincing expression
in the chromatic madrigals of his contemporary Gesualdo
(see
and
pieces, fantasias,
work,
sixths (occasionally for
from
recurs
includes
matic harpsichord style by the introduction of broken-chord
(particularly Cabezon) and that of

Macque's "Consonanze stravaganti" (extravain
The
harpsichord.
for
literature
important contributions towards the development of an
in
an interesting study
organ
178), liturgical
the sixteenth century
is
name
virginalist
In the last-named category particularly, the virginalists
Frescobaldi.
gant consonances)
of
(mostly pavanes and galliards, sec No. 179), preludes (see
Naples where he founded a remarkable school of keyboard music, with Antonio Valente,
Giovanni Trabaci, and Ascanio Mayone as his successors.
This school forms the link between the organ music of
poser
the
repertory
large
italiana,
prominent figure
is
numerous English keyboard composers of the

sixteenth century known as virginalists, from virginal,
No.
174.
JOHN MUNDAY. Munday
177.
among
however, to give
its
expected limit.
<!
Source:
M. H. Glyn, Orlando
Complete Keyboard Worlds,
vol.
iii.
ij
Record:
p. 180.
accompaniment.
made by Dr.
E. B.
180.
JEAN TITELOUZE. Our
knowledge of the develop-
ment of keyboard music in France during the sixteenth
Helm.
237
COMiMENTARY
century
all
is
sorely incomplete,
owing
shadow
to the loss of practically
time was
No. 104) and the organ works of Titelouze, published in

1623 and 1626. Titelouze's compositions are all liturgical
organ pieces of a strongly conservative and somewhat academic character, similar in style to the more inspired works
of Cabezon. The "Pange lingua" has the cantus firmus in
the lowest part and free contrapuntal lines in the others.
Source: A. Guilmant, Archives des maitres d'orgue,
i,
181.
JAN PIETERSZON SWEELINCK:

is
"Fantasia
by far the most influential of
organ composers of the
late
all
just
organists).
He
absorbed the figurative harpsichord
style of
the virginalists as well as the contrapuntal elements of Italian
keyboard music, and combined these with many novel
Among
26.
the latter his extended
our example
use of echo effects
traits.
illus-
worth noticing, all

the more so as he treated this somewhat dangerous device
with great ingenuity, f Source: Sweelinck, Complete Worl{s
trated
echo." Sweelinck
ahead into the period of Baroque music. The
majority of his pupils
(see
11
far
came from Germany, which at that

emerging as a leading member in the family
of musical nations, and he well deserved the title accorded
him of "deutscher Organistenmacher" (maker of German
sources between the publications of Attaingnant in 1530
in
the
sixteenth century, casting his
in
(edited by
238
M.
Seiffert),
is
i,
particularly
51.
TRANSLATIONS
The following
literal,
for the
translations of the literary texts appearing with the music are quite
most
part,
and when
it
is
practicable, are given
passages from scripture or the liturgy, however,
we have
Hook
of the Authorized Version of the English Bible or the
Fulî
2.
No Kyoku
line for
Common
of
The so-called Rich and Noble are like grass. The

and Noble, [endowed with] freedom and virtue, are
Rich
Father of the bright-eyed
ray and turning over
And
Seil(ilos'
7c.
As long
mouth: Ajyadoham.
you
as
text,
which evidendy
and Time claims
Ode
to
out and
called for all the elders of Israel,

Isike
you
For
nothing grieve you. For
let
tribute.
jor Christmas
praise as being substantially equal
His
to
from the Octoechos
Redeemer who was born in the flesh of the Virgin.

was crucified for us, and He arose from the dead on the
praise the
He
Aeterne rerum conditor
ga.
O
day,
eternal author of the universe,
and who
who
createst eternity, alleviate
rulest the night
and the
our burden.
Ps.
First
7a.
its
third day, giving us the great mercy.
12:21-22.
[A Psalm] of David. Blessed be the Lord my strength, which

my hands to war and my fingers to fight: My goodness and
.
whom we
Hymn
We
teacheth
fortress
heaven;
8b.
Ledovid boruh
my
speeds
E.\.
6c.
it
Father and to mortals.
and said unto them,

lamb according to your families, and kill
the passover. And ye shall take a bunch of hyssop, and dip it in
the blood that is in the bason, and strike the lintel and the two
side posts with the blood that is in the bason; and none of you
shall go out at the door of his house until the morning.
Then Moses
glad as
By miracles the Lord has rescued the people, in that He once

made the watery wave of the sea into dry land; and being born
of His own free will from the Virgin He has paved for us the way
Verses from the Pentateuch
Draw
is
is
corrupt.]
6b.
due season leads the way
Song
be cheerful;
live,
8a.
this
in
of white kine; and thy mild spirit
Arabian Popular Song

has not been possible to translate
Before
Olympus, ever
through the richly clad firmament.
life is short,
[It
Moon
before thee the silvery
amid throngs
Ha-u: The head of heaven, the ruler of the earth, Agni Vais-
5.
the lovely day.
fortli
singing their unrestrained song, rejoicing in the lyre of Phoebus.
vanara, born in holy Order, the sage sovran, guest of men, was
for their
bring
fire
thee the gentle chorus of the stars dance over lord
fit
dost drive thy rosy chariot
the earth the far-seeing fount of splendor:
all
thy streams of immortal
[The opening and closing wortls of the text, lu'iu and djyadoham are
a sort of magic formula. Aiya means "claritied butter"; this was used
as an offering in the service of Agni, the god of (ire, who served as a
messenger between men and the gods. The main text of the hymn,
translated here, begins with mtirdha and ends with devah. Cf. R. H.
Griffith, Hymns of ihe Samaveda (1907), p. 15, verse 5.]
generated by the gods as our vessel
Sun
to the
Dawn, who
with the winged courses of thy steeds, delighting in thy golden

hair, over the boundless vault of heaven, shedding thy far-piercing
blessed,
Hindu Chant
4.
Prayer.
Hymn
7b.
[truly]
For
line.
used the familiar words
Delphic
14.1:1-2.
Aeterna Christ: muncra
9b.
With joyous
Hymn
spirit
and
dutifully offering our praises,
the gifts of the eternal Christ
A: Hark, ye fair-armed daughters of the loud thundering Zeus

dwell in the deep forests of Helicon! Hasten hither, to praise
who
we
sing
victories of the martyrs.
Eructavit
10.
song your brother Phoebus, of the golden locks, who high

above the rocky dwellings of the two-peaked Parnassus, surrounded by the august daughters of Delphi, betakes himself to the
waters of limpid Kastalis, visiting at Delphi the prophetic crag.
B: Lo, the famous Attica, with its great city, which, thanks to
the prayer of the arms-bearing Triton, inhabits an unassailable
region. On holy altars Hephaestus consumes the thighs ot bullocks; together Arabian incense rises toward Olympus. The oboe
shrilly sounding brings forth music with varied melodies, and the
golden sweet-voiced kithara sounds with hymns.
and the
in
My
heart overfloweth
v\'ith
good matter.
Ps. 45:1
Psalm 146 with Antiphon
II.
Praise ye the Lord. Praise the Lord,
While
my God
will
live
while
Put not your

there
239
is
no
help.
praise
O my
the Lord:
soul.
will
sing praises unto
have any being.

trust in princes, nor in the son of
man,
in
whom
TRANSLATIONS OF THE LITERARY TEXTS

The Lord preserveth the strangers; he rcheveth tlie fatherless
and widow: but the way of the wicked he turneth upside down.
Ps. 146:1-3, 9.
What
joyous new ranks meet thee in the heavens

As thou bearest upon thy shoulders a flock for a long time
(8)
(9)
dispersed by the wolves.
world without end. Amen.
(10) This flock,
live will
thou hast granted that they might percei\e thee
rising to the skies.
Gloria Patri: Glory be to the Father, and to the Son, and to the
Holy Ghost; as it was in the beginning, is now, and ever shall be,
Anttphon: While
To whom
(7)
Christ,
This
is
I.
which the Lord hath made; we
the day
be glad in
to guard.
Victimae paschali laiidei
i6b.
Gradual: Hacc Dies
2.
good shepherd, deign
praise the Lord.
will rejoice
and
II.
Let Christians dedicate their praises to the Easter victim.
The iamb
give thanks unto the Lord; for he
good: for
is
endureth forever.
Death and
mercy
his
life
have fought in wondrous
the leader of
io6;i.
Ps.
has redeemed the sheep; the innocent Christ has
reconciled the sinners with the Father.
Ps, 118:24.
it.
conflict; after
death
living, reigns,
life,
O Mary, what thou sawest upon thy way?

have seen the sepulchre of the living Christ, and the glory
in. Tell us,

I
Angelus Domini
Alleluia:
13-
of the rising [Christ],
The
For the angel of the Lord descended from heaven, and came and
rolled back the stone [from the door] and sat upon it.
Matt. 28:2.
IV.
Deliver me,
when
my
We know
hope, has arisen, he goes before his
and the earth

fire.
tremble and
to
I.
judgment comes, and thy wrath is upon us. That day, day of
wrath, of calamity and woe, great day and bitter in truth. Grant
them eternal rest, O Lord, and may eternal light shine upon diem.
Peace
Lord, have mercy upon us.

IL Christ, have mercy upon us.
I.
in. Lord, have
mercy upon
is
III.
From
The
have mercv upon
all:
astray:
root of Jesse signified
(i) Sacred spirit of both,
and united
(2) Perpetual instigator of
life,
gentle Jesus:
love:
We are
VI. Jesus,
fount purifying us:
(3) Highest redeemer of sin, bestower of mercy, take
our offense,
King David,
the stem the Virgin
fill
us with thy holy bounty:
fruit of a Virgin,
thee be praise
us.
day for rejoicing
and
whose perfume
is
life
giving, to
glory.
away
So"S
Out from lands
"/ '^"'
'"^^^
of Orient
the ass divinely sent.
Strong and very
fair
was
^^
^*
he,
Bearing burdens gallantly.
assembled loving
to his
birth give us peace
Was
(i) Christ grants this
its taste, its
Christus hiinc diem
i6a.
Christians.
Heigh, Sir Ass, oh heigh!
Christ Jesus, son of God, mediator between our nature
and the divine.
Thou
4.
hast visited the places of the earth, a
new man
through the ether.

angels with their ministrations and the clouds crowd
about thee as thou art rising to thy Father;
But who should wonder that the stars and the angels thus
Church he bravely bore.

Into the
serve thee.
7.
thing,
Thou
new and sweet
Lord, a true man, rising above the starry
Ancient
kingdom.
great arc the joys that
Stuffed with grass, yet speak
and say
Amen, ass, with every bray:

Amen, amen say again:
Lord, a heavenly hope:
thyself,
limits of the
How
men
Red gold from Arabia,

Frankincense and, from Sheba,
Myrrh he brought and, through the door.
fJving
The
(4) This day thou gavest to earth-born
sins
hold in disdain.

fill
ot
commends.
recreated in this flower which invites us by
17a.
.
which the plenitude
the beauty of the flower,
and its appearance.

immortal child, may this day of thy
I.
(6)
the rain, the
smell,
and joy.
Flower and
have mercy upon
is
seven-fold grace
(3) Let us not disdain thy deeds,
(5)
let fall
the root a flower arises as the Prophet foretold, fulfilling
V. Wondrous
Fount and source of good, kindly light eternal:

May thy mercy save us, O good leader:
IL (i) O Christ, Lord, form, power and wisdom of the Father:
have mercy upon us.
(2) O Christ, splendor of the Father, redeemer of the world
(3)
(3)
the dew, the clouds
forth, the hills flow: the root of Jesse grows.
Mother, the flower the Child.
(2)
it.
let fall
the prophecy.
us.
(2)
to
is united with the flesh, as was predestined.

Without carnal sin the Virgin gives birth, the temple of the
Lord standing alone throughout the ages.
O new and wondrous thing, the fire glows in the ruby, but
does not destroy
IV.
creator of
joined
is
The Word
The heavens
us.
Kyrie-Trope: Omnipotens
Omnipotent Father, Lord
the heavenly choirs united
announced from on high, the earth
mountains gush
15b.
whom
heaven, the church to the angels.
Kyrie
15a.
Let us sing to the Saviour

praise with joy.
II.
III.
Amen.
Jitbtlemtis Sidi'atori
i6c.
when thou comest to

fear when
shall shake,
am made
the
(i)
victorious king:
into Galilee.
Lord, from eternal death, on that awesome day:
the heavens
judge the world with
own
from the dead: be
in truth that Christ has arisen
merciful unto us,
Me
Responsoriiim: Libera
14.
angelic witnesses, the veil and the garments.
Christ,
(Translation by H. C. Greene, in Speculum VI, 1931)
thy aposdes
240

Christo p sailat
17b.
(i)
The Church
(2)
Gentle mercy.
19a.
(2)
(5) Gentle mercy.
(3)
He
They
will be
am
put to shame,
Quant uoi
power
(i)
At the end of the summer when
under another garment, has pronounced the peace of

God and man. O amazing wonder and new joy, the mother, having
borne a child, remains a virgin.
(2)
And
(3)
Then
blessed offspring of the Virgin Mary, concealing the
rises in the
[here the text
is
dew on
sky like the
For she to
Therefore
corrupt].
The
and Lucifer
born from the
fleece (?),
divine Child
is
whom
Pax
Peace in the
I.
name
in
nomine
Marcabru made the words
how through His kindness the
and when
En
(i) In
my
(3)
(5)
Have
lost
have no reason ever

So harsh is she toward
See
why
Because
And
find joy
is
and peace
lady
my
have placed
mind.
dame
my
my
have placed
lady
have placed
And my
heart
heart.
my
heart
mind.
Vos
don't live as
n'aler
do.
Nor do you /{noiv how

Nor do you know hoiv
(2)
to live thus.
to live thus.
(3) Fair Alice arose one morning,

(4) You don't live as 1 do.
in her love!
which she may lament or com-
(5) Dressed herself fairly
(2 stanzas)
plain.
Good-day
(6)
[ Line 4 is corrupt in our source; for a correct reading sec C. Appcl,
Die Singweisen des Bernart de Ventadorn, p. 25.]
and decked
to her
whom
me
Often she makes

(7)
You
don't live as
and clarity,
Almighty God, Lord, if it pleases thee,
Be a faithful help to my companion.
For
have not seen him since the night came,
And soon it will be dawn.
(6 stanzas)
herself better.
dare not name;
sigh.
do.
Nor do you know how

Nor do you kn'<^ Aoh/
(8)
Reis glorias
8c.
nia
was overcome by her grey eyes

(6) Laughing and clear:
() You
so ill-humored.*
the only thing over
to live thus,
to live thus.
(i) Glorious King, true light

(2)
(3)
C'est la fin
igf.
(i)
This
is
the end, no matter what be said:
I shall love.
(2)
down
It is
(3) This
(4)
Kalenda maya
i8d.
(i)
The
first
of May, neither leaf of beech nor song of bird nor
flower of sword
(2) Pleases
(5)
lily
me, lady noble and gay,
is
there amidst the fields.
the end,
wish to love.
Games and dances
are being held there,
I.
fair
This
is
friend have
the end, no matter
what be
said:
I shall love.
until
receive
speedy
messenger
(3)
(4)
(5)
(6)
From your fair self who will tell me

The new delight which love brings me,
And joy; and which draws me toward you, true lady.
And may he die of his wounds, the jealous one, before
take
my
leave.
me
shall
not leave her for any reason:
my
she always appears angry and grim:
this
ige.
to return there,
me and
perdtit
my friends, there around Ventadorn,

me since my lady does not love me.
lady
shall
(4) hi
(8)
Be m'an
lady pleases,
And my
(2)
(7) In
ail
my
to sing;
have
joy,
E,
ipg.
(i)
dame
jolie
Ah, pretty lady.
My
heart, without deceit,
put in your keeping,

For 1 do not k""'" your equal.
I
(5 stanzas)
241
giv.-
yoi'
my
(3 stanzas)
igd.
and let us drive out die foul wretches who believe

auguries and fates.
(8 stanzas)
Indeed
wont.
love."
us;
18b.
an end,
my
Douce dame
of the Lord!
friend to him, for, by virtue of the cleansing place Christ will be
in
to
"Sweet and gentle lady!"

"Fauvel, what do you wish?"
(2) "I give you my heart without restraint."
"You are out of your mind."
(3) "Don't you care?" "Out upon you, wretch!"
"What shall I do now?" "Indeed I shall not
and the song. Hear what he tells:

heavenly Lord has made us a place to purify ourselves, such as
there never was except beyond the sea, out there toward Josaphas;
and I shall tell you about this one, here.
5. There come, of the lineage of Cain, of the first wicked man,
so many who do not honor God. We shall see who will be a true
one with
is
give myself loyally has ordered
shall:
come
(i)
pure body of the virgin child-hearer.
8a.
sec the leaves fall
greater than
feel a desire to sing
19c.
The sun
the great prettiness of the birds
Sol oritur
I7d.
gifts.
ransom
for
if
held here for two winters.
19b.
of the spirit
be sadly.
it
But with an elTort, he can make a song.

have many friends, but poor are their
Beata viscera
The
pris
his story
tell
has destroyed death.
17c.
Indeed, no captive can

Properly, unless
(3) Let the redeemed daughter of Sion

(4) Give praises to the King of Glory:
(6) This day
nuns horn
/,/
(i)
sings psahiis to Christ:

(2) Often
go complaining
And bemoaning
Over
in
my
Der May
20c.
heart
"May
a discomfort
Said a young maid.
Which should rejoice

The heart of every lover
(3)
Who
is
The sweet pain
many hearts"
"He has shown
what his sweet joy can do,

he clothes the blackthorn in white blossoms.
All that winter had in his time overcome
Full well,
When
overcome by such an
(4) So greatly pleases
has lifted up
ill.
me
May now
about to
is
make young
again."
of love.
That I must sing

At its command.
Winder wie
2od.
how has your strength

May has struck you with
(i) Winter,
(5) Ah, pretty lady,
Since
My
heart, without deceit,

put in your /peeping.
For I do not \now your equal.
ist
been brought low

his spear!
(2)
On
the
meadows
before the
woods one
Brilliant, beautiful flowers; of these
Pour man cuer
iph.
To
(i)
(2)
rejoice
my
(3)
wish to make a song.
Whom
love with
let it
all
Young
my
would
find
more
tents.
it
net.
arms broken,
meadows
favor with his wife.
A
(i)
has been considered best
To
people
all
That they
which was a tradition

merely to summarize the con-
(2)
join
tutta gente
ma\e my prayer and
me
as\
in praising the fair Marguerite.
O virgin who, when still young,

Sawest that thou didst belong to God, and he
made
thee his spouse;
(A) "Overcome with sorrow and love" the poet bemoans his
unsuccessful suit which is driving him to madness. (B) She drives
the poet from her company and treats him harshly. But by humiliating himself he increases his honor. (D) He begs the lady to
abandon her haughty attitude which does her no credit. (E) If
she does not change her attitude, he has no hope save in death.
(H) He must either succeed in winning her, or die. (I) He begs
Love to change her arrogance to pity: "Thus you will have put
life in me instead of death; on such a comforting note I close
my
the
stands clad in royal
Gloria in cielo
to the deliberate obscurity of the text,
in this form,
upon
May
in
2 lb.
[Owing
to look
host of
heaven and peace on earth! Born is our Saviour. Born is

Christ the glorious. The high, miraculous God has made himself
a man full of desire, the benign creator.
Glory
Espris d'ire
igi.
all
maids, take heed and do not plight your troth.
2 1 a.
the cuckold were to have his
If
heard quite plainly:
heart,
here appear.
(4) Indeed I shall never tire of loving her

For she has captured all my heart in her
(5)
a miracle
have plucked
purple.
wish to sing to you without argument

a very comely lass
May God
Through
Men and women, you are

And see how the shining
heart
Of
(3)
sees standing in full
splendor
(3 stanzas)
(3)
And
because of thy generosity
Thou
didst not wish to be a flower of the world;
(4) Rather didst thou take the Christian faith

Which drives away vain things and makes
of
(5)
To
one a servant
God.
all
people
That they join
ma\e my
me
prayer and as\
in praising the fair Marguerite.
descort."
Santo Lorenzo
2IC.
Swd
20a.
(i) Saint Laurence, martyr oj lore.
eyn I'riund
To
Whenever one
In
full loyalty,
without
There the
friend's aid
To him
whom
to
false deed,
is
indeed good.
he grants
it
(4)
willingly,
Wherever
friends are well disposed to each other
Then
is
(2)
With humility
to the holy
(3)
For
human
this all the
Martyr worthy and
To
So that they are in complete agreement.

His kin increases in numbers.
that
Christ thou wast a great servant.
friend stands by another
the
valiant.
Omnipotent thou
22a.
Nu
(2)
Now
Now
Here the land and
The Mother
such high honor.
on the spot
human form has
A
I.
in
Him who
Madre
saved from being burnetl the son of a
little
And
trod.
242
saved Daniel from the lions.
fire
child oj Israel.
There was a Jew
Who knew how
set foot
That God
of
Saved jrom the
so often prayed:
have
how Mary
joined the Christians in school and had taken
soil
in
tells
Jew whose father had thrown him into the furnace because he had
communion.]
while
have attained that for which

I
[This cantipa
my life seems worth

my sinful eyes behold
Which men hold

(3)
al'erst
at last
that
art a fragrant flower.
(5) Saint Laurence, martyr oj love.

To Christ thou wast a great servant.
a great joy.
2ob.
(i)
Father thou wast obedient.
race should always praise thee.
his only
son
to
in
make
Bourges
glass,

For he had no other,
As
far as
among
Studied
And
King
the Christian boys at school,
uas grievous
that
The Mother
oj
to his father
Him who
Saved jrom the
Kcx
25c.
learned
Titan [sun] and of the dark earth, thy humble servants entreat
thee, by worshipping thee with pious words as thou hast com-
Samuel.
saved Daniel jrom the lions.
manded,
Jewish
And
Was
baptized forthwith. But the father
The
evil
little
believed at once;
little
Cunctipotcns genitor
26a.
Christ, Lord, splendor,
lions.
upon
Sacred
(ii stanzas)
child of Israel.
us.
spirit of both,
united love: have mercy upon us.
Vt tuo propitiatus
26b.
By thy
Ojt indeed does
Holy Mary
He
That
26c
Lord
join us,
Alleluia:
An gel us Domini
For the angel of the Lord descended from heaven, and came and
and sat upon it.
Matt. 28:2.
He went
for her sake
We, who through our

Continue to falter and
him
out.
Work
(3)
Son of the Father, offered

Israel,
man
created in time,
word
fall
born in the
in the beginning,
err.
God. Be joyful
serven
and served
in the Lord, all ye lands.
poor
All-powerful father. Lord, creator of

Christ,
Lord,
form,
mercy upon
woman who had
[Cf. Ps. 98:3.]
Cunctipotcns genitor
27b.
beings serve
Offering candles before her
Sacred
power, and
have mercy upon
all:
wisdom
of
father:
the
us.
have
us.
spirit of both,
united love: have mercy upon us.
her,
altar.
Benedicamus Domino
28a-e.
She whom all celestial beings serve

Well \nQws the cure of mortal wounds.
Let us praise the Lord. Thanks be to God.
Domino
28f.
Der gulden Ton
24.
for the
palace of the city which he had founded, the salvation of our
a great miracle for a
(4) Great trust in her,
Emanuel, the only-begotten

and for the salvation of
All the ends of the earth have seen
She
Well \nows the cure of mortal wounds.
(2) Of such kind did Saint Mary of Salas
ii'hom all celestial
Viderunt Hemanuel
27a.
to bring
jolly
Aque
22c.
purged
rolled back the stone [from the door]
(5) Oft indeed does Holy Mary

Cause her Son to pardon us.
(5)
the propitiating
entered into hell;
But with so much good will

Did she plead with her Son
(i)
may
intervention,
of our sins, with the citizens of heaven.
Cause her Son to pardon us.

We, who through our jolly
Continue to jalter and err.
(2) For her sake God forgave us Adam's sin of tasting
(3) The apple for which we suffered grievous woe.
(4)
all: have mercy upon us.

and wisdom of the Father: have mercy
All-powerful father. Lord, creator of
hiais nos jaz

(l)
and
steadfast martyr, virtuous, useful
their frail flesh.
same death
22b.
Magnus
to Saint
humble Magnus,
who had done
That he had wished to give his son Abel.

The Mother of Him who saved Daniel jrom the
Saved from the fire
noble,
burdened by the load of
boy
deed, for his wickedness
Suffered the
ills.
venerable leader and praiseworthy protector, guard your subjects
The
the
sundry
their
Hymn
25d.
XI. Because of this miracle
woman
them from
to free
fire
child of Israel.
little
cocli
of heaven. Lord of the wave-sounding sea, of the shining
fidelium
Domino
out in joy and

whose grace life is renewed. Let the
host of the people redeem from exile the house of their father
after the remedying of their guilt. ... (.'')
Let the faithful devotion of all the faithful call
[The short rhyme
syllables are omitted.]
praise to the Lord, through
the Father on his throne, who graciously makes

His word, the treasure of Grace, in many a place.
(2) Thereby we clearly recognize His will from the Holy
(i) Praise
known
God
to us
Scriptures.
has decreed this for us since

error
EcceDomino
Dominator
28g.
(3) These were hitherto quite obscured by the harmful

trines of men, that have plunged us into grave doubts. The
we have embraced
the path of
doc-
Dominator: O Lord God who, born of a Virgin Mother, wast

sacrificed for man, cleanse us from sin so that, rejoicing with
Lord
human
we may
redoubled praise,
and poison.
bless thee
womb
Ecce: Behold, the
without end,
of Christ miraculously, like a ray of light.

sin of the first
Kos qui vivimus
25a.
We who
Now
Lxjrd.
without end
That
we
birth
sing a
removes the
hymn
to
the
Lord.
live praise the
Lord now and
in eternity.
Pucelctc
28h.
25b.
man.
of a Virgin brings forth the ministry
Sit gloria
Domini
Pucelete: Fair
Glory be to the l-ord, in eternity the Lord will rejoice in his

works.
Domino
]e languis
maid and pleasing
ant, the delightful
gay and loving. In
243
one
whom
May
there
pretty one, polite
desire so
is
and
much makes me
no nightingale
pleas-
joyous,
so gaily singing

love with
I shall
my
all
brunette. Sweetheart,
so long,
heart
who
my
who
sweetheart
have held
my
have endured
many
languish from the malady of love. Far rather would

[Such] death is very
I that this illness kill me than any other.
pleasing. Relieve me, sweet friend, of this malady lest love kill me.
grievous
From
noble loving heart.
cry mercy, sighing.
]e languis:
whom
Brunete: Brunete, to
is such a fair
your command
in
life
28i.
II.
33a.
Candida Virginitas
Flos
God with
Candida: The virginity is white like the lily, fecundity is white

through the Son. May the humble exult in joy. Chastity
through it
destroys the head of the enemy [text corrupt]
faith and hope and charity.
Flos films ems: Her Son is the flower.
.
III.
Quant
revient
When
rcrient:
leaves
Flos
L'atitre jor
On
Filiiis
God then reminds me of love, who has ever been

and gentle with me, by his help assuaging my pain when
wish. Much wealth and honor comes from following his
ness of spring,
we
Hec
dies
will rejoice
of
and
give thanks unto the Lord, for he
good: for his mercy
is
endureth forever.
Ps.
Some
For
report.
Lone
tans
.-Innitntiantes
dies
may
his prison.
my
incentive, rejoicing
a lady
And
my
that assuages
106:1.
in
-Hec
of dig-
at Paris.
invent their songs through habit, but
me my
a song.
good
theless love
Huic
32a.
one finds
all this
I,
me
makes
sweet
ill
shall sing, for
find joy: This
is
love
is
I
must
and wise,
to serve her all
my
receive
life
from
the thought
me hope for cure. Neverme and hold me all my life
and makes
claim lordship over
Nor indeed
it
heart so that
love her, a lady fair
who have sworn
with loyal heart and no betraying,

her so sweet a gift that in it alone
Ps. 118:24.
it.
and devoted heart
and winnowing and
of beating
wish: and
Aucun
make
we
Alle- with a full
igf.]
.4uci(n:
the day which the Lord hath made;
luya.]
Frese: Fresh strawberries, wild blackberries!
which gives
29-31.
.tile-
Paris: In Paris,
34.
No.
word
morning and night, one finds good bread and

good clear wine, good meat and good fish, companions of all sorts,
cle\-er wit, great joy, ladies of honor; and also there are, at good
occasion, means to live for poverty-stricken men.
L'autre jor: The other day I went along a path. I entered a

garden to pick flowers. There I found a lady, tastefully dressed,
whose heart was gay. There she sang most heartily. I am in love,
what shall I do? This is the end, no matter what be said: I
[Cf.
.-illetuya
A ParisFrese nouvcle
They speak
parole:
solace us as
command.
be glad in
love.
ging and of plowing, but these pastimes displease me. For there is
no life so good as being at ease, with good clear wine and capons,
and to be with good companions, gay and joyous, singing, cheating,
and amorous; and to have, when one needs them, fair ladies to
and flowers return with the sweet-
shall love.
parole
courtly
is
luya.
On
33b.
a trope of the
praise with luya.
.-tile-
Filitis
is
[pure]
This
comes
\indliness
Alle, psallite
praise
you
love, for
In God's name, take pity on me,
[This text
Ouant
my
have given
ills.
shall
blame him
for
this
imprison-
ment. So subtly does he attack that one cannot defend one's self
against him. A strong heart and noble lineage are of no avail.
And if he wishes a ransom, I surrender to him and give him as
Huic main: This morning in the sweet month of May, as the sun
was rising I entered an orchard. Beneath a verdant pine a maid
I found, roses picking. Then I drew near her and offered her true
love. She replied to me: Never shall you touch me, jor I have a
pledge
my
heart,
mercy of him
sweet friend.
in
my
for
which I abandon wholly to him. And I beg

have no other resource nor any other reason
favor.
Lone
32b.
mitissima (Ouant voi)
mitissima:
Virgo Hec
tans: For a long time I have refrained from singing, but

have reason to be joyous, for true love makes me long for
the best-bred [lady] whom one can find in all the world. And
now
dies
sweetest Virgin Mary: beg thy son to give us
help and resources against the deceiving tricks of the
since
demons and
Ouant
voi:
birds
When
make
see returning the
wood
the
I
feel
summer
resound, then
season,
weep and
for fair Marion,
who
and
all
bore the Lord: through thee,
Thou
Deo
32c
whatever
art a
Mary,
let
after.
Domino
confitemini
the
BruneteIn
much
pleasure in the
loves truly leads a
most
Se
Solem
j'ai
manner
is
she,
and of
fair
mien; her sweet bright face shows that she is gracious: this makes
me most joyfully hope for her favor soon. And 1 love her so well,
Sweet Lord, that I gladly seize the occasion to say: if I have loved
too foolishly other than her, I repent of it. And most willingly do I
thank Love that after great pain for my folly she gives me great
secutum
sweetness.
Trap sovent: Too often do I lament and grieve, and all for her
whom I have loved so much, because of her great pride and her
haughtiness. In my lady have 1 placed my heart and my mind.
[Cf.
so
be said.
red smile, pleasingly; unaffected in her
led by the enemy's wickedness.
Trop sovent
who
thought I had abandoned the sweet occupation of love, but I felt myself more than ever sweetly surprised
by a new love for the gracious one whose name is Sweet One,
if she be rightly named. She is so sweet in truth that I think
very certainly that God and Nature called in Love to form such a
creature; for in her there is nothing lacking that she be perfect
for love. She is a brunette, wise, knowing, young, slim, savory,
and more than any other, pretty. She has a mouth with a sweet
grace be given, as
Virgin before and
may
Je cuidoie
35.
has imprisoned
Lord who by His clemency united the flesh

with His spirit in Mary, so that He might bring the promised
help to the seed of Abraham, conforming himself to man. Thus
by his pious death He redeemed [mankind], subject to crime, mis-
32d.
life,
Je cuidoie: Indeed
the angel announced:
and take
can indeed prove that he
the
heart.
Acknowledge
sigh for the
Virgo: Virgin of virgins, light of lights, reformatrice of men,
who
love so priceless a lady,
delicious
great desire which
my
thought,
their iniquities.
little
No.
have loved foolishly and most deeply hurt myself

this my heart knows, and feels it. Dearly have I
bought it. But now I am glad to be overcome by a love which gives
all good; and therefore I repent of having loved so very foolishly.
Se
j'ai:
If
without redress,
igd.]
244

Li mails d'amer
^6a.
The pain
Than do
of love pleases
a lover,
For my hope is worth as much as another's enjoyment.

Therefore whatever love sends me pleases me well
For the more I sutler, the more it pleases me that I be
Happy and
As
if I
As long
Detractor
as I lire
slanders he
shall not leave
bland
(4)
As long
(5) Rather
as
you
have given myself wholly
Diex
(2)
Our
at
That
To
To
this
is
house
wealth and joy a-plenty.
his friends
to the lovers.
the well-bred, courtly ones,
get alms
a-plenty.
He
(5)
there
If
respite, so that
S'amours:
If
and
is
did not have to die.
And who are his children.

May God dwell in this house
And may there be wealth and
(i) King, lover of virgins,
lectic
II.
(i)
Oh
compare my lady
To the image which Pygmalion made.
(2)
Christ,
the Father, born a
mother, Mary: have mercy upon

(2)
Whom
Mary gave
womb:
(l)
Oh
(3)
(3)
forth
to
the
man from
thy
too well
Out of his senses, he prayed to

But the image answered him not.
Thus does
I
it
unceasingly.
me who makes my
she treat
pray her ever, and she answers
heart melt.
me
world from her holy
not.
(3 stanzas)
Mary:
Comment qua moy
46a.
(i) Although you are jar jrom me,
us.
Who made the body of Mary a worthy chamber:

Who raisest the spirit of Mary above the skies. Make
.
ascend after her through thy power, beloved Spirit:
Still
us
.
you are near
(3)
Roma
to
me
gatidcns jubila
Your sovereign
me
beauty,
Your sure manner and your

Neither pale nor ruddy
my
noble lady.
in thought, night
(2) For memory so leads
(4)
38.
all
It was of ivory, so beautiful, without peer.

That he loved it more than Jason did Medea.
For
Comforter, protecting the body of Mary: have mercy
upon
(2)
us.
(3) Accept our praises, consecrated to thy beloved

III.
God from
a dia-
Men
Je puis trop
God, glory of Mary: have mercy
Who
every lover rejoice at the begin-
him languish very much. [This text represents

commentary on the theme of the other text.]
can
us.
quite proper,
joy a-plenty.
brought forth Mary from royal stock:

(3) Recei\e her prayer, a worthy offering on behalf of the
world:
(2)
is
love makes
45-
upon
make
love were to
this
abode in her.
than he could wish for, when joy rewards him. And for this
reason, one should feel no regret at loving well, even though his
he has nourished
Rex virginum
\.
And
courtliness have their
would lessen his worth, for no lover would have the great
pleasure that one enjoys in serving a lady of honor. But he who
lives in desire, and whom true love perceives, has more pleasures
has sent us
37.
ning, he
That he [himself] would beg untiringly

But in his stead to the wicked
Whom
estoit:
for sweet pity
such
is
57/ estoit nulz
me
May God dwell in this house

And may there be wealth and joy
Our Lord
anyone who should complain of harm

received from love, I should indeed complain without restraint.
For when love first came to enamor me, what boldness I had
would never let me tell of my sadness; rather she took away from
me what most made me rejoice and gave me hope of success:
looking at her, without saying or doing more. Then she put me
in prison, where I had my share of ardent desires which were so
displeasing that I more than anyone have a right to say that in
truth I cannot live without the help of my gentle lady: she gave
At Noel.
(4)
corrupt.]
44.
Christmas time for
Lord's birth
Sends us to
(3)
is
S'il
May God dwell in

And may there be
his
he
flatterer.
alms.]
(i)
is
soil
chanson de quete, sung by children
is
less
same vein.]
Qui secuntur: Those who follow the camps are wretched, for
poorly are their services rewarded
[The remainder of the
text
36c.
By
fox.
in the
to you.
I live
(8) / shall not love another than you.
[This
disparager
shall serve
As long
is the most worthless

harms others and himself worse. But no
est:
For he deceives kings, princes, counts, dukes. Sucii

ones are to be fled by all
[The remainder of the text is corrupt and, in many places, meaningless; it seems to continue much
as I live.
(6) Loyally
(7)
Detractor est
43.
je vivrai
(2) / s/hill not love another than you.

(3)
anni janua
in
beginning of the year, in this month of January, let us

turn to our heavy tasks, assisted by our virtues. Tlie joys arc
mutual, vice has been made mute. The misguided activities of
this
the evildoers are reproved.
Tant con
36b.
(l)
hi
as joyous
Hac
39.
singing.
am as gay and
were more favored.
Therefore
daughter of Sion! The Lord of Salvation is at hand, so

may be ended with joy: receive the King of Kings.
that thine exile
many
the joys [of love]
ness,
me more
and day.
that always without respite
your gracious appearance,
fresh color
see always
without
respite.
(5) Although you are jar jrom me, my noble lady.

Still you are near to me in thought, night and day.
Let Rome, rejoicing in exultation, today drive the clouds far
away; a splendor of the mind, a splendor of peace, glory unto the

faithful, sprung from your Lord. Therefore arise from thy sad-
(3 stanzas)
245

Plus dure
46b.
(i)
Or a
On
this
(8) /
lodestone
And
all
so
and modest.
Bedecked with fine sweetness,
with an attractive welcome
Have wounded me
(3)
So that
(5)
me
(i)
In the midst of six peacocks,
With
lodestone
And when
attendant
Then
to love long.
(4)
And I go singing with fine voice.

With sweet appearance and with blond
(3)
have nothing but the pilgrim's staff and wallet,

And I cry out and cry out and there is no one
you wish
am
hoping for
wind
contrary
day when the year
(3)
Do
I
my
Tosto che I'alba
52.
As soon
bonne
is
dawn
as the
it
is
of the fair
now
a gift of a
my
new song
And
(6)
the high
mountain with good
coming to you. Carbona has seized her and holds her in his
mouth." From the mountain, he who was up there called out
now to one, now to another, and sounded his horn.
you.
gift,
sweet damsel,
much
love you so
indeed
Upon
is
itself to
(4) Fair \lady\, good, wise, pleasing and noble,

On this day when the year is renewed;
(5) Because
day appears, the hunter awakens.
time!" "Call out the dogs; here, here,
dogs in hand and the pack silent, and on the long slope each in
order. "I see one of our best hounds sniffing. He must be on the
trail of something. Let each one of you pierce through, from all
sides into the thickets, for the quail calls." "Hola, hola, the hind
and noble.
renewed
heart which gives
not be slow to accept this
beg you,
me.
am a pilgrim who goes seething alms.

Crying mercy for God's sake.
(i) Fair [lady], good, wise, pleasing
ma^f you
weather,
fair
arises against
Viola here, Primera here!"
Within
know
Whose fame
who
(5) /
to love long.
Belle
(2) /
tresses.
the sweetness of love bitter.
48b.
this
and
un p el I e grin
(2)
"Arise, arise, for
On
has.
am
And when
(7) Lovers, love secretly,

(S) //
heart.
beauty
answers.
Because whoever does diflerendy
Makes
my
wearisome song displeases him:
lo son
without hope.
(4) Lovers, love secretly;
(6)
his
a pilgrim who goes seething alms,

Crying mercy for God's sal(e.
(i) /
(3) Receive diis advice:
(5)
one
for beauty's sake he spreads his tail as a fan
51.
Amans ames
you wish
a white
cloak.
(i) Lovers, love secretly

(2) //
saw
his
(5)
While waiting, time and season passes.

While waiting, he puts his trust in it;
Of all these viands is served in plenty
live
52.]
soft feathers.
stole
he shows
(4) Because her
desires fulfillment;
The one who cannot
Madrigal no.
companion goes ever looking at him,

And ever singing never parts from him;
And he artfully makes her go from him
But
(2) While waiting, he enjoys and disports himself

While waiting for a first reward.
(3)
the breeze:
fiery.
All those of other colors pay him honor

For the graceful appearance of love that he
(3 stanzas)
While waiting, hope comforts
The man who
gold and
crest of
So beauuful that he
(2)
(3)
En
is
Nel mezzo
grace.
47.
the sky
[Cf. Petrarch, ed. Carducci-Ferrari,
Is your harshness.
Lady, who feel no pity
For your loi'er whom you ){ill
As he desires your friendship.
(i)
made me, now when
All tremble with a chill of love.
so deeply in the heart
Harder than a diamond
Or a
it
50.
Your
suo amante
As [pleases] me the rustic and cruel shepherdess

Washing her white veil
Which shall protect her fair hair from the sun and
As I looked at you
That never shall I have joy
Until you shall have given
al
did Diana ever please her lover
(2)
Smiling,
And
Not
So much, v\hen through such good fortune he saw her naked

In the midst of the cool waters,
I feel
your appearance,
(3) Simple
(4)
my
Non
(i)
is
a gift of a new song

heart which gives itself to you.
ma\e you
49.
(2) Lady, your pure beauty.
surpasses
day when the year
Within
your harshness,
Lady, who jcel no pity
For your loi'er whom you }(iU
As he desires your friendship.
Is
Which
and noble.
renewed
(7) Fair [lady], good, wise, pleasing
Harder than a diamond
that
is
that otherwise
will
have no peace,
(i)
you are the only one
such that
Flower of beauty, above
all call
all
Amor
53.
you:
Love
that
without suffering under thy
And
dost give strength to thy subject,
thus do
Since thou hast
246
suggetto
I live
(2)
other excelling.
now
c'al ttio
yol{e.
wish to remain forever happy,
made me
a slave to this goddess.

resound with sweet bird
(3) For she cannot be compared to anything,

Such the one who could do everything brought her
dove and
sing lusty songs.
forth,
(4) Because every virtue
happy the one

(5) Loi'C that
1 live
call;
and nightingale
lark, thrush
now
The cuckoo comes
created in her:
is
whom
a terror to the
thou dost bind with such chains.
aflying after them,

birds.
little
Listen to what he says:
dost giie strength to thy subject,
cu, cu, cu, cu, cu, cu,
without suffering under thy yoke.
me my
pay
due,
must have that from you.

Hunger makes my stoinach almost ravenous.
Alack a day! You would
I
Sy dolce non sono
54.
So sweetly did not Orpheus sound with his lyre.

When he drew toward himself beasts, birds, and woods,
(i)
that
From Philomel
(3)
Oci
fi
Nor more did Phoebus sing when his flute was scorned
By Marsias in the verdant woods.
Where victorious he deprived him of his life.
ci
ci
[The
text of the ritornello
who
Gorgon,
the
turned
corrupt. Apparently
is
Amphion, who moved
it
ri
And
contains an allu-
the stones with the music of his lyre,
beholder
the
into
stone;
hence,
Amphion
"facto fa contrario al Gorgone."]
towards men.
we
We
praise thee,
we
glorify thee,
high,]
my
song goes thus:
Son of the Father,
have mercy upon

Father, have
That song resounds
You
that takest
must be
away the
sins of the
sanr ;he
lark.
:n the forest.
our
Cidiwigg
priest.
.
Nightingale, she with her song lightened our woe.
us.
rosa bella
61.
beautiful rose,
O my
sweet soul, do not
Ah, woe is me, must

well and loyally loved?
liness.
Credo
one God] the Father Almighn', Maker of heaven

all things visible and invisible: and in one Lord
Jesus Christ, the only-begotten Son of God; begotten of his Father
before all worlds, God of God, Light of Light, Very God of very
God; begotten not made; being of one substance with the Father;
by whom all things were made: who for us men and for our
salvation came down from heaven, and was incarnate by the Holy
Ghost of the Virgin Mary, and was made man.
[I
you preen yourselves,
pipe
just like
world,
the Father.
and
you rock and wave

to and fro
Lamb
Lord God,
For thou only art holy; thou only art the Lord; thou only,
Christ, with the Holy Ghost, art most high in the glory of God
56.
full!
thrush sing clearly,
little
thee,
Thou that takest away the sins of the world,

Thou that sittest at the right hand of God the
mercy upon
in! all in!
Lord
us.
receive our prayer.
it
.
give thanks to thee for thy great glory,
Lord, the only-begotten Son, Jesus Christ;
of God,
the
full;
so sang the lark, so sang the lark, so
will
sing well too
must be
and on earth peace, good

we bless thee, we worship
God, heavenly King, God the Father Almighty.
the while the cuckoo sang only:
said the crow.
Shovel
Et in terra pax
God on
[Glory be to
but
Liri
55.
all
Indeed
and
a-singing:
Caw,
sion to
now we come
and toowee, toowee, toowee, toowee
oci
green woods;
in the
should' so spoke the small birds.
Kiingel, siskin, titmouse, lark,
Singing of the divine child of Love,

(2) As did my rooster from out the woods,
With such sound as was never heard
let
end sorrowing
me
for
die in court-
having served
believe in
and
earth,
Sancta Maria
62.
of
Holy Mary, in this world

women. Blooming like the
Sancttis
63.
Alleluia psallat
of thy glory.
This congregation sings Alleluia, with cymbals and zithers the

joyous crowd in harmony sings to God praise and glory.
the highest.
Blessed
64.
Gloria in excelsis
57b.
we
give thanks to thee for thy great glory,
and Benedictus qui venit
is
God
of hosts;
65.
Der May
with
hill
all
and
its
charming host
mountain and
in
Beata Dei genitrix
Alma
se.x.
Alleluia.
redemptoris mater
who
stayest at the doors of
heaven, Star of the sea: aid the falling, rescue the people who
struggle. Thou who. to the astonishment of nature, hast borne
thy Creator: Virgin before and after, who heard the
the mouth of Gabriel, be merciful to sinners.
the land,
plain,
Hosanna
of the Lord.
Matt. 21:9.
Gracious Mother of the Redeemer,
covers
full
[Cf. Isaiah 6:3]
the clerus, intercede for the devoted feminine
the Father.
May
heaven and earth are
Hosanna in the highest.

he that cometh in the name
pleased the Lord Jesus Christ. Pray for the people, intervene for
Lxjrd
God, heavenly King, God the Father Almighty. O Lord, the onlybegotten Son, Jesus Christ; O Lord God, Lamb of God, Son of
60.
us,
Blessed Mary, mother of God, eternal virgin, temple of the Lord,

sanctuary of the Holy Spirit: Thou alone, without example, hast
[Glory be to God on high,] and on earth peace, good will

towards men. We praise thee, we bless thee, we v\orship thee, we
glorify thee,
among
pray for
holy Mother of God.
Holy, holy, holy Lord

57a.
there has arisen none like thee

rose, fragrant as the lily,
vale
247
Ave from

L'Homme mmc
Missa
66.
(5) Nevertheless,
That
Uhomme
armc: One must be on guard against the soldier.

Everywhere it has been announced that everybody should arm
himself with an iron hauberk.
Kyric: Lord, have mercy upon
O Lamb
Agnus Dei:
(7) Since
God, who
of
away
takest
And
Mon
you were wrong

you had no reason to act thus.
that
heart, indeed,
(i)
That you indulge
Though God
(2)
And
it.
Ce
If
melancholy,
this
good
has been a
would be more than
To
(3) Don't despair of life;

Prithee, give up this grief.
(2 stanzas)
this step.
had done what I am thinking

if I were in my country,
And
friend to you
has kept you company.''
For once we must take
teusse fait
on your mind,
is
in
left
amy
cliicr
dear friend, what
satisfied
an outcome.
see such
Kyrie
73a-
Lord, have mercy upon
my
Good-by,
my
Good-by,
To
my
seems
it
De
69.
(l)
More and more
My
My
there
is
that
Agnus Dei
73b.
much
so
O Lamb of God,
must
die.
plus en plus
Ma
(i)
jair.
My
Perfect in qualities
wish to obey.
there is renewed.
sweet lady, noble and jair.
shall
I
And
Fearing
heart
May
there
is
But
fair.
Hence comes my very great

hear news of you.
My
desire
75.
(i)
Girls to be married, never marry. For
in
if it
if
there be jealousy, never
your heart.
Puis que
(i) Since
And
(2)
My
And
(4) Since
And
all
pretty one, that
is
pleasure has
so
that
my
It
my well-beloved
am so unhappy
to love
if
lady.
an hour longer, nor even
woman
ever
received that
a half.
was;
hour
good which destroys my
that pleasure with
pretty one, that you
Ah, perverse,
which death pursues
to aid or succor
health,
me
lying,
me.
and deceiving
heart.
me how
you have dared to think

Of not fulfilling what you have promised me.
Tell
(3) Since you wish to avenge yourself this
You should know
it.
that
much.
you are cutting short
life.
cares!
do not love
you have chosen some one else.
see,
I
am.
and angers me,
Ma bouche rit
My mouth laughs and my heart weeps.
My eye rejoices and my heart curses the
me
wounded
left
see displeases
voy
ah me, my deeds are all evil

hence I have nothing but sorrow and
I
true,
do not wish
(2)
heart, indeed,
That
(3) Alas,
my
shortly.
be satisfied until then.
never be,
is
When
you do not love

that you have chosen some one else,
I see,
Without consolation
je
you again
mistress
And
71-
see
and my greatest friend.

The mortal enemy of my desire,
Files a marier
you or he have joy
me
She whom, alone, fame and rumor report

As being without peer, shall I never see you?
To
yo.
let
unable to love another.
sorrowing heart weeps.

your pity have fallen asleep.
Perfect in qualities
will to see you.
(8)
shall
lest
this
That
(5)
renewed.
sweet lady, noble and
who make me
my
service
upholding your cause.
still
More and more
My
My
Nor
would be without abandoning your
(6) But this
should indeed complain of you.
love,
(4) Endlessly
my
does not please you to
Everything that
will to see you.
you are cruel to me

have such anguish in
shall want to die:
was;
(3) For without seeing you wherever
More and more
That
will
Alas,
(2)
hold back,
My
if
woman
ever
if
She whom, alone, fame and rumor report

As being without peer, shall I never see you?
great desire
Whom
(5) Alas,
maitresse
and my greatest friend.

The mortal enemy of my desire,
If it
My
My
the sins of the world: grant us
mistress
Since always you are the one

I
away
takest
74-
renewed.
Hence comes my very

To hear news of you.
I
who
thy peace.
will to see you.
(3) Don't think that
(7)
me
me
to
sweet lady, noble and
(2)
(4)
joy
solace.
loyal mistress.
say good-by hurts
That
my
love, good-by,
Good-by, what was
us.
mercy upon us.

Lord, have mercy upon us.
Christ, have
Adieu, m'amour
68.
me
wounded
so
is
pleasure has
all
72-
My
when you have considered well

have served you
will realize that
That
67.
my pretty one, that you do not love

you have chosen some one else,
My
(8)
sure that
see,
that
the sins of the
world, grant us thy peace.
am
yours and that
You
And
(6)
us.
am
me
(4)
248
cannot
live
thus as you have
made me.
demands then that I die.

But my fate demands that I remain alive.
Your
pity
my

Thus
God
14.
Thus,
15.
never
16.
am
17.
18.
Friendly place, what (?)
and
to hide the pain
And
to
My mouth laughs and my heart weeps.

My eye rejoices and my heart curses the
(5)
13.
living pass away.

which does not cease
cover the grief under which I labor.
die living,
Only
hour
good which destroys my health,
pleasure with which death pursues me
When it
And that
received that
Without
76a.
heate BastU
my
dear beloved.
knew what
real love
was.
forgotten.
force of desire.
love,
19.
If
20.
Open,
21.
At
22.
suffer.
my
dearest love.
times.
all
my
take
must
leave, .iml that
be.
blessed Basil, venerable confessor of the Lord, by the merits
whose
of
me.
consolr.iion to aid or succor
bless you.
life
column of
to Christ for
from on high hath appeared, pray
fire lit
He may
thy servants that
Lord
blessed Father Basil, implore the
76b.
my
Between the mountain and the deep

There runs a free highroad.
Jesus for our impieties.
Whoever does not

Must let him go.
vos omnes
and
.Ml ye that pass by, behold
unto
Zwischcn Berg und tiejem Tat
87.
forgive us, his friends.
sec
if
Lamentations L12.
Agnus Dei
89.
Kyrie
O Lamb
Agnus Dei
77b.
O Lamb
of God,
mercy upon
who
takest
who
of God,
mercy upon
us.
II
away
art the refuge of the poor, alleviator of
Queen of heaven, ho with

Hath moistened the face of
me from
Save
For thou
lodgings of
milk
Son of God,
virginal
the
soul
may
never sleep in death.
art the treasurer of grace.
Faulte d'argent
91.
Veni
Spirit,
Lack of money is an evil without equal. If I say so, alas, I know

well why! Without the wherewithal one must keep very quiet.
[But] a woman that sleeps wakes up for cash.
creator spiritus
and send forth the ray of thy
light
from
heaven.
creating Spirit,
the
visit
minds
own,
of thine
fill
with
thy high grace the hearts which thou hast created.
Kyne
92.
Mit ganczem
81.
I
With
all
Then
Mein's traurcns
93.
(i)
your wish
My
lady dear,
My
't
is
(2)
true.
will be yours alone,
is
grief
good reason
ist
for
my
plaint.
is
I may voice my grief

To no one but to you.
That
Completely in your command,
Thus
There
My
will place myself
us.
IVillen
have surrendered rnyself to you

my soul I wish you well.
Since
If it is
the erring,
and life. And now. Lord redeemer, I take refuge in thee

alone; I worship thee, the true God. In thee I hope, in thee I
trust. My salvation, Jesus Christ, uphold me, in order that my
truth
hell,
Veni sancte spiritus
Come,
weakness, hope
of the e.xiled, strength of the heavy-laden, path for
Royne du del
Come, Holy
the sins of the world: have
pauperum rejugium
Ttt
Thou
away
takest
us.
90.
the sins of the world: have
us.
79.
80.
his love,
there be any sorrow like
sorrow.
77a.
keep
wisli to
valley
dearest lady.
(3)
My
shining sun.
On
your account
suffer pain.
would, believe me.
Sooner choose death

Quodlibet:
82.
O my
beautiful rose,
[Snatches of
1.
In
2.
My
fire's
heat
my
rosa bella
sweet soul, do not
Oh, woe is me, must

and loyally loved'
liness.
well
Than
let
end sorrowing
me
for
having served
[Cf.
German
No.
Hail Mary,
8.
May
9.
Desirable fair one.
is
12.
My
Non
95a.
(i)
Water
Which
(2)
avails not for

is
On
my
Lord
is
with thee; blessed art thou
for us sinners,
(3)
only hope.
My
fire
That
249
it
vol
aqua
fire.
not quenched by tears.
the contrary,
it
increases
I
weep.
has [become] such a habit
even increases by
womb, Jesus.
now and in the
the offspring of thy
great
Ever more the more
cash and luck, heart full of lust.
saw once.
11.
is
hour of our death. Amen.
gone.
10. Success,
blessed
Holy Mary, Mother of God, pray
tender love.
7.
5.
6.
full of grace, the
among women, and
heart burns.
troubles me.
Help and advise.
Be joyous.
Look into my heart.
My dear companion.
Ave Maria
94.
61.]
songs\
3. It
4.
lose you.
die in court-
tears,

(4)
And
on greater power
takes
(2)
When my purpose does not succeed.

(5) And my fire is like the fish
Which
(6)
Water
Which
has
proper place
its
my
avails not lor
great
(3)
in the water.
(4) But
fire,
not quenched by tears.
is
That
Only pain can that vision

Should fortune fail me:
Then my
my
(i) In Thee, Lord, did I put
To
see
my
my
Than
hope;
my
In
sorrow
forgotten
live
Than
live
iiithout
106.
.-Ignus
O Lamb
To turn out your bulls.

And will send them to
us.
who
of God,
love.
stanzas)
Dei
away
takest
(4
the sins of the world:
have
mercy upon us.

Lamb of God, who takest away the sins of the world; have
mercy upon us.
Lamb of God, who takest away the sins of the world: grant us
thy peace.
make you wait long for them,

But are willing to make an agreement
To turn out as many as
will not
satirical
comment on
[Much
R,ibclais.
notoriously slow
the
Oh duke
O, sweet, sad inemory!
into a ditch.
that past glory
In which
him be
him
Or
let
offers to kiss his wife, to
once rejoiced!
There follows
Qu'il soil: Let
the pain with the bliss
Of
of this text consists of nonsense
words piled up
translation of selected
in the style of
portions of the text.]
Or stis: Get up, get up, you sleep too much, my pretty lady, the
day is here, arise! Listen to the lark.
Qu'on tue: Let this false rival be killed, the horned cuckold, all
awry, misshapen, he is not worth the trousers of an old hanged
man.
redaction
of papal bulls.
97a.
L'.4louette
107.
Eight per day, and do as good a job

As any other scribe.
:
sweet;
Passion and grief

(4 stanzas)
Per scriptores
text
honored
is
is
(4) Better to suffer
my hope
Come, come, fair sirs,

Whoever wishes to dispatch his bulls.
Let him come to us who are scribes.
Come, sirs, if you wish
We
without love.
it
not to live;
Is
find pity for ever.
96-
[The
To
(3)
called to Thee.
live
Where
To die
(2)
was hurt; however
(6) In Thee, Lord, did I put
To
[is]
sad hope [once] so great.

I
(5)
vale trocar
Pleasure for grief
wind
weeping;
to
3 stanzas)
'
Better e.xchange
me
(4) Sighs, tears remain to
Of
(0
in vain.
[scattered] to the
Heaven turn me
did to lore you!
Mas
98c.
and suffered
Broken and
heart will never say.
hope
But in a sad and dark Hell
Was
(3)
true love.
Ah, the wrong
find pity for ever;
(2)
my
you, for
if
be,
Will but reward me.
(6 stanzas)
Domine
In te
95b.
vision of you will bring
Sadness and sorrow;
(2 stanzas)
one do
as
he pleases, or
bound, shut up, beaten, and thrown

some other manner. When one
embrace her, to knock her over, let every
tied,
suffer in
else
go
off
and
die.
Dtirandarte, Durandarte
97b.
Knight doughty and

Let us speak,
Christ has arisen from
true.
rejoice, Christ will be
prithee.
Of time gone by
Christ
108.
Durandarte, Durandarte,
(i)
An
My
Salutatio
cruel
anguish worse than cruel

saddened life combats.
cause was
(2)
To
(3)
The thought
better
my
it
Can
word made
it
Lamb
word
of the Father, son
God, salvation of the world, sacred
Da
]a\ob
nii
das Kleid ansah
When Jacob now saw the coat.

He spake with great dolor:
life
departure.
Ah, the great woe.
(4 stanzas)
My
dear son
The
heart
For
wrong
And
did to gaze upon you!
250
is
evil beasts
dead.
have devoured him,
And have rent his coat with their teeth.

Oh Joseph, my dear son!
Who shall now console me in my old age.''
lack reward,
.ih, the
of
fountain of mercy.
flesh,
no.
will be to die.
now my
shall all
prima
Jesus Christ, blessed king,
departure.
ne'er forget you.
Should
Lord
of the Virgin,
Pues que jamas olridaros
98b.
we
of you, gracious and gentle lady,
The cause was my
(i) Since
depart, yet not relinquish
(4) So saddens
That
my
erstanden
(5li stanzas)
Hail,
The
ist
His sufferings. Therefore
our consolation. Kyrieleison.
109.
Congoxa mas que
98a.
all
must die of grief.

go from this earth.
sadly
host,

A us
111.
[This
Out
of the depths have
Lord, hear
my
tiejer
Not
rhymed paraphrase
is
of
cried unto thee,
When
voice: let thine ears be attentive to
mark
thou, Lord, shouldest
iniquities,
voice of
tlie
who
Lord,
shall
No
Benedictus
who comcth
he]
in the
of the Lord.
But
Hosannah
in the pasture,
May you
be welcome.
gentle shepherdess,
cruel than beautiful.
do not be
Then
name
say to her:
my
fight against
Alas,
[is
she replies to me:
less
You
Blessed
ritrova
shepherdess
meadow, with the sheep

approach her and greet her.
Then
Then
stand.''
112.
my
find
In the
Lord.
my
supplications.
If
Quando
129.
130:1-3.]
Ps.
happiness.
so harsh to me.
am well disposed toward your

you have no money, go your way.
she answers:
if
suit,
in the highest.
Vol ve n'jndat' al cielo
130-
Victimae paschali laudes
113.
Ye go heavenward,
Let Christians dedicate their praises to the Easter victim.
The lamb
With your
redeemed the sheep; the innocent Christ has

Death and life have fought
has
While
reconciled the sinners with the Father.
wondrous
in
conflict; after
death the leader of
life,
By the
We
we
rivers of Babylon, there
we remembered
Remain saddened
down,
sat
yea,
we
wept,
hanged our harps upon the willows
in
For then would ye
when
Zion.
in the
midst thereof.
For there they that carried us away captive required of us a

song; and they that wasted us required of us mirth, saying. Sing
us one of the songs of Zion.
How shall we sing the Lord's song in a strange land?
sorrow and
Pasedbase
see that
And
ye cannot see your
if
own
[heart],
Then
look at mine which ye hold imprisoned within you.
From
the fair regions of the East,
Da
And
Was
el rey
tears.
a pitying heart should have;
le belle
contiade
Brightly and cheerfully rose the

123.
my
arms of
in the
dawn;
divine idol
no human mind can grasp:
rejoicing in such bliss as
The Moorish king was walking
When
Through
"Hope of my heart, sweet desire.

Thou art going, alas!
Thou leavest me alone. Farewell!
What will become of me, saddened and
the city of Granada.

had come to him
How .Mhama had been taken.
Alas! my Alhama!
Letters
Ah,
Vox
125.
in
In Rama was there a voice heard, lamentation, and weeping,

and great mourning, Rachel weeping for her children, and would
MatL
not be comforted, because they are not.
heard, after a burning sigh:
sorrowful.'
cruel love.
Uncertain and brief are thy

And it even pleases thee
Rama
holy.
that to ye.
Which
131.
Ps. 137:1-4-
and
songs;
fain rise in flight,
Would th.\t love do

Ye eyes serene.
Super flumina
114.
my
cold and with nothing to console me,
I,
Would
living, reigns.
ye eyes blessed
bright light and
joys.
That the greatest happiness should end in

Unable to say more she held me fast.
Repeating the embraces in so many coils
That never ivy or acanthus made more.
2:18.
tears."
Deba contre mes debateurs
126.
[This
is
rhymed paraphrase
of Ps. 35:1-3.]
Qui au
132.
my
Plead
against
them
Take hold
Draw
secute
cause,
Lord, with them that strive with me: fight
and buckler, and stand up
out also the spear, and stop the
me: say unto
my
soul,
am
way
mine help.
them that per-
Blessed
for
against
conseil
rhymed paraphrase
is
man
the
of Ps.
1:1-2.]
that walketh not in the counsel of the un-
way
godly, nor standeth in the
thy salvation.
of sinners, nor sitteth in the seat
of the scornful.
But his delight is in the law of the Lord; and

he meditate day and night.
Audi VI vocem
127.
is
me.
that fight against
of shield
[This
heard a voice coming from heaven: Take oil in your vessels,

while the bridegroom tarries. And at midnight there was a cry
in his
Dune
138.
made. Behold, the bridegroom cometh.

[Cf. Matt. 25:4-6]
Glory be to the Father, and to the Son, and to the Holy GhosL
When
Emendemus
128.
Let us
make amends for the

we should suddenly,
in
sins
melius
we have committed
thou shah return.
at the
[Cf.
see
it
I
wish
And
Gen. 3:19]
surpasses every other flower in beauty.
from
love
it
afar.
dearly;
to pick
it,
stretch
my hand
But, alas,
251
fields,
see a red rose
And
I
seasons,
everything smiles in the
Which
in igno-
day of death, seek a place

of repentance, and not be able to find one. Harken to us, God, and
have pity on us, because we have sinned against thee.
Memento: Remember, man, that dust thou art and unto dust
rance, lest
eoline
walk upon a hill

In the gayest and greenest of
As
it
is
in vain.
toward
it,
law doth
TRANSLATIONS OF THE LITERARY TEXIS

Salve Rcgiiui
139.
Hail, Queen,
Our
To
To
thee
we
we
And show
Come now,
Come now,
cry, the exiled sons of Eve.

sigli,
in this valley of tears.
upon
merciful,
O sweet
pious,
Let us go to see the King

Who was born to us from heaven.
us.
us, after this exile, Jesus, the hiessed fruit of thy
womb.
Come now
Virgin Mary.
I
O Lamb of God,
upon
who
Dei
This
takest aw.iy the sins of the world: have
And
Ho, ho,
As
the hart panteth after the water brooks, so panteth
after thee,
My
soul
my
soul
He
God.
him
the
for
living
God: when
shall
have, so gay.
a cake
noil'
him
.
a full
bumper.
see him.
suckles well without his thumb.
Come now
God,
thirsteth for
a nice present,
shall offer
Come
cervus
be?
it
which
shall give
Sictit
shall
flute
Come now
mercy
us.
141.
make him
shall
What
/Igniis
140.
gay, gay shepherds,
gay, gay, be joyous.
me.
Folloti'
lamenting and weeping
then, our advocate, turn thy pitiful eyes
Vv'ell
Allan, gay, gay
147.
pity!
sweetness, nn<i hope, hail!
life,
thee
mother of
come and appear before God?
My
tears
have been my meat day and night, while they continume, where is thy God?
Ps. 42:1-3.
Exurge,
148.
D amine
ally say until
Arise and help us, and deliver us, for thy name's sake.
Ps. 44:26.
Alia lira del Tebro
142.
On
the bank of the Tiber, a youth I see,

charming shepherd, a charming youthful shepherd.
149.
vos
All ye that pass by, behold
Voicing his feeling there:
Be satisfied, O cruel Goddess, with my woe and pain.

But a dead man cannot say that sorrow kills hiin.
unto
my
omnes
and
see
if
there he any sorrow like
sorrow.
Lamentations
1:12.
Alas, wretched fate!
Non
150-
Requiem aeternam
143-
will not leave
I'os
rehnqitam
vou comfortless;
will
come
to you and your

John 14:18; 16:22.
heart shall rejoice.
Rest eternal. Lord, give to them, and
let
light perpetual lighten
Thou. God, art praised in Sion; to thee is the vow

formed in Jerusalem. Hear, O God, my supplication. All
Cometh unto thee.
tliem.
perflesh
Hie
152.
This
est heatissimus
the most blessed evangelist
is
and
apostle John
favor of outstanding love, deserves to be honored by

Penitential
144.
Lord, rebuke
me
Psalm
all
not in thy wrath: neither chasten
me
others.
in thy
hot displeasure.
My
eyes,
heart panteth,
it
They
I
also
my
strength faileth me: as for the light of
Madonna mia
155.
my
also that render evil for
follow the thing that good
good are mine
adversaries; because
Giving
Ps. 38:1, 10, 20.
is.
Who
mnn
^^'^ ]oiiy,
145*
Ah! good day, my
Good
my
day,
sv,-eet
delight,
sweet pleasure,
my
my
my
While being on earth
my
sweet one.
flower.
memory
sweet dove.
11.
my fair turtle-dove,
Good day, my sweet rebel.
Cara
My
dear
life, it is
other flame burns in
man perisheth and no one layeth it to

men are taken away and no one considereth it. The
man is taken away from the face of iniquity, and his
will be in peace.
His place
memory
is
made
in
peace and his habitation in Sion.
In ecelesiis
In every place of worship praise him. Alleluia.
God, who is my salvation and glory, is my help, and my hope is

God, Alleluia.
My God, we invoke thee, we worship thee; deliver us, quicken us,
In
Holy, holy, holy. Lord
Hosanna
God
in
of hosts: heaven and earth are full
in the highest.
his
Praise the Lxird in the congregation. Alleluia,
SanctHS
of thy glory.
And
will be in peace.
157-
la vita
indeed true that no other flame I love, that no

my heart in a lime so turbulent and wild.
146b.
to enjoy Paradise.
Behold the righteous
righteous
new
seem
heart. Just
love.
sweet
Ecce qtiomodo
1.
lark,
146a.
to you.
156.
pretty one,
spring time,
it
are not only beautiful
But adorned with such virtues that
c<ur
Good day my heart.

Good day my .sweet life.
Good day my eye.
Good day my sweet heart.
My
My
My
gentil
My gentle lady, thank love

Who has taken my heart
gone from me.
is
who, by
God above
Alleluia.
God
[Cf. Isaiah 6:3]
252
our advocate in eternity. Alleluia.

L'Acceso
158.
Ach Schatz
165.
My
More than any other, Chloris,

You arc beautiful and charming,
And
Which
your countenance delights every
soul.
Indeed I burn for you inwardly

outwardly, my fair sun,
You
are cruel toward
my
Al
must
to
shall
my
you about
great grief
bear.
sweet solace of
Else
my
turn to me.
life,
joy.
soon perish in despair.
tortures,
refuse even a single look as a reward.
160.
complain
Be friendly with me.

Convert my woe into
And
And you
love,
166.
Factus
There caine
SHOT!
est
sound from heaven
as of a
rushing mighty wind.

Acts 2:2.
At the sound [of the music] the heart

But it increases the cruel ardor;
rests not,
For yours are not songs.

But poisonous charms.
Vater unset-
167a.
Our
and
pur respiro
lo
161.
may
In such anguish
And
you
still
still
breathe.
Merciful,
To
life
who
desirest all of us to be like brothers,
to adore thee, to pray to thee: grant that not the
pray, but that
[the prayer]
may come from
mouth only
the depths of
the heart.
oh pitiless heart!
no longer hope
So wiinsch ich ihr
168.
death, give us help:
Kill this
father in heaven,
live,
Ah, that there is

Of seeing once again our well-beloved
Oh
Himmclreich
III!
(6 stanzas)
(i)
life;
wound
us,
and
let
single
blow
give an end and to great woe.
Thus I wish her good night

At a hundred thousand hours.
(2) If I consider her love.
my grief disappears.
When I see her she delights me;
She has captured my heart,
Therefore my heart burns and
cannot
All
Quia
164.
vidisti
me
(3)
Thomas, because thou
hast seen
are they that have not seen
and
me
thou hast believed: blessed
yet have believed.
John 20:29
forget her.
(3 stanzas)
253
INDEX
Reference
is
made
item numbers, not pages. Ordinary figures (roman type)
to
refer to the items themselves together with the related article in the
italic
figures refer to the
names
W
A
A
capitals.
Bauernschwanz, Dcr ncue, 83b

Be m'an perdut, i8b
Beata Dei genitrix, 64
dew, 86a
madre, 22a
lb
Comment qu'a moy, 46a

Compere, Loyset, 79
Compostela, School of, 27b, 28b
Conductus, 17, 38, 39, 57
Beata viscera, 17c
Accents, Jewish, 6a
Commentary;
alone. Titles of compositions are italicized,
and small
of composers in cn|'itals
detv, a
ttitta gcTite, 2
Commentary
Belle bonne, 48b
Conductus motet,
67-72, 74, 75, 95, 97, 98, 123, 160, 162, 163
Acfi Schatz, 165
Benedicamus Domino, 28
Congoxa mas, 98a

Consonanze stravaganti, 174
Adam
Adam
Bernart de V'entadorn, i8b
Accompanied song,
de
i.a
2, 45,
46b, 47-54, 60, 61,
Halle, 36
de St. Victor, i6c
Benedictus, 63, 112b
Cooper, 86b
Cordier, Baude, 48
Cornysch, Robert, 86a
COSTELEY, GuILLAUME, I47
Credo, 56
Bicinium, 167a
Adieu m'amoiir, 68
Aeterne Christi mtincra, gb
BiNCHOIS, GiLLES, 69, 70

Bitonality, so^b
Aetcrjte reriim conditor, 9a
Bon
Agnus
Bourgeois, Louis, 132
Dei, 66c, 73b, 77b, 89, 106, 140
mon
jour,
_J2C
cocur, 145
AlCHINGER, GrEGOR, i66
Bruck, Arnold von,
Al suon, 160
Bull, John, 178
Cretic meter, 7
Cunctipotens genitor, 26a, 27b, 117. See also
Missa Apostolorum; Omnipotens genitor
Burgundian School, 65-72
Cyclical Mass, yy
Alia riva del Tebro, 142

Alleluia Angelus Domini,
Dominus
Alleluia
13,
26c
in Sina, i6a
Alleluia psallat, 57a
nib
Buxheim Organ Book, 84c-d

Byrd, William, 150, 151
Da
Da
Byzantine chant, 8
AUemande, lyj
Cabezon, Antonio
AUon
Alma
Caccia, 52
gay, gay, 147

redemptoris mater, 65
Alta, 102a
Amans, ames, 48a

Ambrosian chant, to
Ambrosian hymn, 9
Ammerbach, Nicolaus, 154a
de,
Dance,
Candida virginitas, 28i

Canon, 42, 52, (>(>, 87,
nib, 752
Canto carnascialesco, 96
Cantus firmus, 2(1, 27,
89,
gi ,
101,
gz,
6j,
Canzo,
Canzona (instrumental),
d^,
66,
75,
g2,
i8b-c,
65,
100,
139
Arabian music, 5
Arcadelt, Iacob, 130
Arrangement, 118, 145b,
Ars antiqua, 28-41
160, 163
Ars nova, 44- ^g

Ascanio, Jusquin d', 95b
Aueun-Lonc tans-Annuntiantes, 34
Audii'i voeem, 127
Aus tiejer Not, in
Are Maria. 94
Ayre, 162, 163
Delphic
De
ig
Hymn,
plus en plus, 6g
Cara la rita, 146

Cavazzoni, Girolamo, 116-118
Ce
Descort, ig
ieusse fait, 72
7a
confitemini, 32c
Der
Der
Der
Der
78, 88, 9/, 118, 136,
175
serven, 22c
Danse Royale, 40a-b

Danyel, John, 162
D'Ascanio, see Ascanio
Deba contre mes debateurs, 126
Deo
100, 112, II}, 120, 755, iy6, 180
151, i6g, 171, 172
40, 41, 59, 83b, 102-105, i37> '54. 167b.
179
Cantiga, 22
Anthem,
Aque
Damett, 64
133, 134
tuo suggetto, 53
Anerio, Felice, 160
c'al
Antiphon, 11
Anliphon, B.M.V.,
Gidden Ton, 24
May (Reuenthal), 20c
May (Wolkenstein), 60
neue Bauernschwanz, 83b
C'est la fin, igf
Detractor
Chacon ne, /oj
Diex
Chanson, 70, 91, 107, 147

Chant, 4, 6, 8, 10-16
Chinese music, i
Diferencias Cavallero, 134; sohre Guardame

las vacas, 124; sobre O Gloriosa Domina,
Chorale,
roi,
loS,
Chordal
style,
56,
Christ
ist
64,
108,
erstanden, 108
Christmas,
Ode
psallat,
for, 8a
17b
soit,
est, 43.
36c
122
in, 167a
Christ rising again, 151

Christ
in,
i}8,
1^6
Discant motet, 6;
Discant style, 2g
Dominator-Ecce-Domino, 28g
Domino, 2Sd-h
Domino
fidelittm-Domino, 28f
Dompe,
103
Christus hunc diem, i6a

Chromaticism, /j/, i6t, 774
CrcoNiA, Johannes, 55
Double chorus, 757, lyj

Double cursus, 28e, 44
Douce dame, 19c
Balletto, 158, 159
Clausula, 28d-e-h-i, 30
Dowland, John, 163
Bar form, i%b-e, 2ob-d, 24, 93, 168
Clemens non Papa, 125
Doxology, //
Basse danse, /02, 137, 1^4
Color, 44
Ductia, 40a, 41
Ballade, i8a-c, iga-c, 36a, 45, 47, 67

Ballata, 2ib-c, 51, 53, g;
Ballet
du
no
contrade, 131
Dalza, Joanambrosio, gga
Alle, psallite-AUeluya, 33
Amor
Ja\ob nu das Kleid ansah,

le belle
roy, 167b
INDEX
DUFAY, GUILLAUME, 65-68
Guerrero, Francesco, 139
Kyrie, 15a, 66b, 73a, 77a, 92
D'utie colme, 13S
Guillaume d'Amiens, ige

GUILLAUME LE ViNIER, igi
GuiRAUT DE BORNELH, l8c
Kyrie-trope, 15b, 37
Dunstable, John,
61, 62
Dtirandarte, 97b
E,
dame
Uae
Ecce quomodo, 156
in
anni janua, 39
Encina, Juan, gS
English music, 23, 25c, 37, 40c, 42, 57, 58,
Hermannus Contractus,
Emendemus in melius,
En attendant, 47
En ma dame, igd
128
61-64, 85, 86, 103, 112, 120, 127, 150, 151,

159,
176-179
163, 169-172,
Hymn
Entrance
Heterophonic,
Hie
for the Emperor, la
Lamento
di Tristan, 5ga
Landini, Francesco, 53, 54
Lantins, Arnold de, 71
170
165
Estanipie, 40, 58
55. See also Gloria in excelsis
Lasso,
Hopper dancz, 102b

main-Hec dies, 32a
L'Homme
Familiar
style,
Hymn,
See also 91
^6, 64, i}8, 1^6
118.
Hymn
Hymn
Hymn
Fantasia, 121
72
143-145
di,
arme, 66, 73, 8g, g2
Libera me, 14
Li maus d'amer, 36a
Hupf-auf, 105
Fa-la, /;5, 759, lyo
de,
Orlando
Lauda, 21, g4
Laudabo, 1
Ledovid boruh, dc
Legrant, Guillaume, 56
Le Jeune, Claude, 126b, 138
Leoninus, 28e, 2g
^
est heatissimus, 152
hitdc
Factiis est, 166
Hugo
Lantins,
759
Hocket, j2e, 55, ^8

HOFHAIMER, PaULUS, 93
Hoftanz, 105a
Espris d'ire, igi
Falte d'argens,
92
L'Alouette, 107
2,
Hindu music,
Eriictavit, 10
Et in terra pax.
de,
Lai, igi
Haec dies, 12, 29-32

Handl, Jacob, 156
Har^ all ye lovely saints,
Hassler, Hans Leo, 164,
Hec dies, see Haec dies
162,
La Rue, Pierre
L'Acceso, 158
igg
jolie,
la, 7a-b, 8b, g, 25c, 62, 64,
108
Lochamer Liederbuch, 8ia
from the Octoechos, 8b
Lucem tuam, 120b
to the Sun, 7b
Lute music,
99, 105, 121-124, 160, 163
Magnus, 25c
to St.
Fantasia in Echo, 181
Ma
Faulte d'argcnt, 91. See also 118
hare been a foster, 86b

Ileborch, Adam, 84a-b
Fauxbourdon, 57
Festa, Costanza, 129
Imitation, 48, 68, 76, 79, 8y, 100, 106, log,
Fevin, Antoine de, 106
11$, it6, 12^
Files a marier, 70
Finck, Heinrich, 80
Flemish School, 73-78, 87-92, 113-115, 125,
130,
Flos
131, 143-146,
filitis,
148, 174, 181
Mais nos
136,
Ma
i,
3, 32e, 59, 78,
167b,
137,
173,
83, 88,
175,
176.
See also Keyboard music. Lute music

Intabulierung,
17-19,
26c,
27a,
28-39,
4oa-b, 43-48, 56, 65-72, 79, 89-92, 104, 106,

107, 126, 132, 137, 138, 147, 180
Frottola, 95, 729
Fuenllana, Miguel
Ful{i no l{yol{t4, 2
119,
de, 123
Intonazione settimo tono, 135

Introit, 143
Gabrieli, Andrea, 135, 136

Gabrieli, Giovanni, 157, 173
un
87, 88
music, 15b, i6a-b, 20, 24, 80-84, 93, 100.

loi, 102b, 105, 108-111, 154a, 156, 164-168
Gervaise, Claude, 137

Gesualdo, Carlo, i6i
Ghirardello da Firenze, 52
Gibbons, Orlando, 171, 172, 179
Giovanni da Florentia, 50, 51
Glogauer Liederbuch, 82, 83
Gloria in excelsis, }), 57b
Gloria in cielo, 21a
Isorhythmic, 43, 44, 54, -jg

Italian music, 9-15, 21, 49-55, 58, 59, 94-96,
99, 116-119, i2g, 135, 136, 140-142, 153,
154b, 155, 157, 158, 160, 161, 173-175
nuns hons pris, iga

Jacopo da Bologna, 49
Janequin, Clement, 107
12,
13,
Jewish music, 6
fubilemus Salvatori, i6c
vale trocar, 98c
Kalenda maya, i8d
Kham Hom,
29-31
100-104, 116-118,
120, 133-135, 153, 154. 160, 174, 177-181
Greek music, 7
Kleber, Leonhard,
Gregorian chant, 10-16
Koto, 2
754
8ib,
84e-t
Mese, 7
Mesomedes of Crete, 7b
de, 121
Minnesinger, 20
Missa Apostolorum, 75, 117
Missa L'Homme arme, 66, 73, 89, 92
Missa Mente toto, 106
Modal rhythm, 18, 79, 20,

chier amy, 67
Monte, Philipp de, 146b
Motet,
28f-i,
115,
32-35, 43, 44, 57a, 62, 76, 90,

128, 141, 148-150, 152, 156,
125,
157, 164, 166
256
}8, 43
Morales, Cristobal, 128

Morley, Thomas, 159, 777
113,
Kotter, Hans, 84g
93
Mon
de, 148
58,
ist,
Mensuration canon, 89, 92

Merulo, Claudio, 153
Missa Sine nomine, 77

Missa super Cara la vita, 146b
Mil gantzem Willen, 81
fuden Tanz, Der, 105b
Gradual,
55, 56, 57b, 63, 66, 73, 77,
Missa Papae Marcelli, 140

Missa Pro dejunctis, 143
JOSQUIN DES PrES, S9-9I
Keyboard music,
15,
106, 112, 117, 140, 143, 146b
MlLLAN, 97
fe cuidoie-Se j'ai-Solem, 35
]e puis trap bien, 45
Kerle, Jacobus
las vacas, 124,
Mass,
Milanese chant, 10
Japanese music, 2
Goe from my window, 177

GOMBERT, NiKOLAUS, II4
Goudimel, Claude, 126a
Guardame
Marcabru, 1 8a
Marenzio, Luca, 155
Maria zart, loi
Maschera, Florentio, 175
Milan, Luis
German
22b
Mein's traurens
fa
Ganassi, Silvestro, 119

Gastoldi, Giovanni, 158
12,
Maqam,
Mas
Galliard, 137, 179
10,
faz,
Mastersingers 24
pellegrin, 51
Heinrich,
142,
maitresse, 74
8g, 92,
lo pur respiro, 161
Isaac,
organisandi, 8ib
See also Arrangement
14'ih.
Intonation of the Pentateuch, Syrian, 6c
lo son
75
146a, 155, 159, 161, 170
Domine, 95b
115,
Franco of Cologne, 33
i6c,
te,
rit,
Madrigal (medieval), 49, 50, 54

Madrigal (Renaissance), 8^, 86, 129-131,
157
Instrumental music,
FOGLIANO, GlACOMO, 94
Folk song, 66, i2j, 124
Franck, Melchior, 168
French music,
ecclesiis,
In nomine, 176
In seeuhim, 32d, e
In
28i
Fundamentum
In
bouche
Machaut, Guillaume de, 44-46

Macque, Giovanni, 174
Madonna mia gentil, 155
INDEX
MuNDAY, John,
Praeambulum,
177
Musica enchiriadis, 25b

Musica reservata, go
My bonny lass, 159

My Lady Carey's Dompe,
103
Neithart von Reuenthal, 20C-d

Nel mezzo, $0
Neusiedler, Hans, 105
Non
Non
Non
al
sua amante, 49
val aqua, 95a

I'os
relinqtiam, 150
Nos
NoTKER Balbulus, i6a
Notre Dame, School of,
qui lii'imus, 25b
Nu
28c-i,
29-32, 38, 39
20b
al'erst,
beate Basili, 76
Prelude, 84, 99a, 135, 178

Program music, 84, gga, 10$, 755, iy8
Sol oritur, lyd
Proportz,
Song
Hymn
from
the,
8b
Psalm
Speciosus Forma, 10
gloriosa
mitissima {Quant t'oi)-Virgo-Hec dies, 32b
Domina, 122
Lord, increase
Oh
my
15b.
See
also
parole-A Paris-Frese nouvele, 33b
Orchestral music,
173
3,
Organ hymn, 100, loi, 120, 180

Organ Mass, 117
Organ music, see Keyboard music
Organum, 25-27, 28b-c, 29, 30
Orientis parti bus, 17a
Stay, cruel, stay,
Cuncti-
Sumer
Quia
Sun,
Stoltzer, Thomas, 108
Song (Nu
al'erst),
me, 164
Palestrina, Giovanni, 140-142
Pange lingua, 180

Parody Mass, 146
42
SwEEi.iNcK, Jan Pieterszon, i8i

Sy dolce non sono, 54
Syrian intonation of the Pentateuch, 6b
Ta'amim, 6a
14,
127
Talea, 43, 44, 34

Tallis, Thomas, 127
116,
Tappster, drinker, 85
Tastar de corde, 99a
Rex coeli, 25c

Rex virginum, 37
115,
Tant con
119,
136
Richard Coeur-de-Lion, 19a
This
38
is
the record of John, 172
Thorough-bass, 757
Titelouze, Jean, 180
Romanesca, 124
Toccata, 735, 153
School, 752
ToMKiNs, Thomas,
Rondeau (medieval),
17b, I9d-e,
79
321;,
36b, 48,
169,
176
Torre, F. de la, 102a

Tosto che I'alba, 52
Triadic melody, 62, 6g, yi
Trio style, 776
Tromboncino, Bartolomeo, 95a

Trope, 15b,
Rotta, 59a
Royne du
36b
Tenor dance, 702
Roma gaudens jubila,

Roman de Fauvel, 43
Roman
je vii'rai,
Taverner, John, 112
Ripresa, g$
Ritornello, 49
27b, 37
16,
Trap soi'ent-Brunete-ln seculum, 32d

ciel,
79
Troubadours,
Hymn
18
Trouveres, 19
Tsaat een mesl{in, 78
TuoTiLo OF St. Gall, 15b
St.
Magnus,
St.
Martial, School of, 27a
Passamezzo
Sainte Marie, 23a
antico, 124, 154
in,
to the, 7b
Raimbault de Vaqueiras, i8d
Passacaglia, /05
Paumann, Conrad, 81
icumen
Super flumina, 114

Swa eyn vriund, 20a
Sachs, Hans, 24
St. Godric, 23a
Part song, 85, 86, 93

Paseabase el rey, 123
is
Hymn
Qiiodlibet, 80, 82
Rondo, 14, }6c, 147

Rore, Cipriano de, 131
20b
i6yb
Suite,
Rotrouenge, I9h
Palestine
757, 757
Stimmtausch, j2C, jja, 57

Stollen, i8b
Rondellus, 17b
vos omnes, 76b, 149
162
Stile concertato,
Quando ritrova, 129

Quant revient, 28i
Quant voi, 19b, 32b
Qui au conseil, 132
68, 69, 71, 72,
rosa bella, 61, 82
Ostinato, ^^b, 10^, 112, 120b
Spinaccino, Francesco, 99b
Pues que jamas, 98b

Puisque je I'oy, 71
vidisti
102a
Spervogel, 20a
Pucelete-fe languis-Domino, 28h
Ricercar, 99,
gcnitor,
potens genitor
On
tone, ;/
Psalter, 126
Responsorium,
faith, 171
dulce, 97a
Omnipotens
144
Requiem aeternam, 143
O
O
Sonata, 97, 756, 173, 775

of the Ass, 17a
Psalmellus, 10
6c
6c, II, III, 114, 126, 132,
Rcprisa, 154
Oile for Christmas, 83
ich ihr, 168
Spanish music, 22, 27b, 28b, 97, 98,

I2I-I24, 128, 133, 134, 149
Spanyoler Tancz, 102b
Psalm,
Refrain, 19b, 14, 28i, 32d, 95

Reis glorias, i8c
OcKEGHEM, Johannes, 73-75

Octoechos,
737
/05,
Redpord, John, 120
Obrecht, Jacob, 76-78
25b
Sit gloria,
So wiinsch
Prose,
Nachtanz, 59a, 8j, 102b, 104, 10$, lyg

Nanini, Giovanni Maria, 152
Narvaf.z, Luis de, 122
Neopolitan sixth, 725
see Prelude
Praetorius, Michael, 167
to,
25c
Tu pauperum
Vt
refugium, 90
tiio propitiatus,
26b
Pavane, 104, 137, 179
Saltarello, 59b, 154

Salutatio prima, 109
Pavane Lord Salisbury, 179

Pax in nomine, i8a
Salue regina, 100, 139
Valderravano, Anriquez
Soman,
Variations, 703, 122, 124, 134, 154, 177
Penitential Psalm, 144
Sancta Maria, 62
Vater unser, 167a
Perotinus,
Sanctus, 63, 146b
Venetian School, 114, 135, 136, 153, 157, 175

Veni creator spiritus, 80
Veni rcdemptor, 120a
17c, 50, 31
Santo Lorenzo, 21c

Schlick, Arnolt, 100, loi
Perrin d'Agincourt, 19b

Per Scriptores, 96
Petrus de Cruce,
34, 35,
45
Scholia enchiriadis, 25a
Veni sancte
spiritus,
Song
Ventaporn,
see
80
Bernart
Philips, Peter, 145b
Seikîlos,
PiccHi, Giovanni, 154b
Selesses, Jacopin, 47
Vers,
Piedi, 95
Senfl, Ludwig, 109, no

Sequence (medieval), 16, 113
Sequence (modern), yy, yg, 88
Vers mesure, 138

Verse anthem, 151, 172
Plainsong, see Gregorian chant

Plus dure, 46b
Polychoral, see
Double chorus
Pour mon cuer, i^\\

Power, Lionel, 63
of, 7c
de, 124
8a
Sicut cervus, 141
Versos del sexto tono, 133

Victimae paschali laudes, i6b, 113
Victoria, Tomas Luis de, 149
S'il estoit ntilz,
Videriint
Siamese music, 3
44
Hemanuel, 27a
INDEX
Walter von
Villancico, 22, 97, 98

Virelai, igf-g, 21, 22, 46, 5
Vocalization, j^, 114

Voi ve n'andat' ul ctelo, 130
Volta, 95
Vorimitation,
101,
Vos
n'aler, ige
Vox
in
Rama, 125
108
der Vogelweide, 20b

Walter, Johann,
Weck, Hans, 102b
Weelkes, Thomas, 170
ma
Viola da gamba, 119, 162

74, 75, 95, 97
Winder wie ist, 2od

Wipo, i6b
WOLKENSTEIN, OsWALD VON, 6o
Worcester, School
of,
57
Werth, Jacob van, 146a

Western Wynde, The, 112a
What if I never speed, 163
Word
When David
Zunschen Berg iind ticjem Tal, 87
heard, 169
Willaert, Adrian,
113, 115
2S8
painting, go,
Worldes
blis,
ig, fî ,
755
23b

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Historical anthology of

Oriental, Medieval, and Renaissance Music

ARCHIBALD T. DAVISON ^nd wIUI APEL

HARVARD UNIVERSITY PRESS

Copyright 1946 and 1949

Printed in the United States of America

.uuhologics of music; and

acknowledged value, there are not more

not at least one which

be said to be truly representative

m which lifetimes are at least twice as long as those

certainly, has not

music of the twelfth

to the fourteenth centuries, a period of the greatest significance, especially to

assume final responsibility

and the above-mentioned transcriptions are entirely his

more and more

into general acceptance

reticence in this detail has been

employing the utmost

overemphasized may, of course, deal with the question of the accidentals

texts arc translated,

been consciously forsworn through the conviction that

for the paraphrase

of this nature the exact

more valuable than a statement of the approximate meaning of a whole

passage. Thus, taken by themselves,

referred to the original their sense,

to the source of the selection.

certainly justify their mention.

editors have been in

made represent no more than compromises inevitable in a volume

as this relatively useless.

The prime requirement

the notes of any selection

segment of music history

volume and would have swollen

In the vocal pieces

has seemed the part of

which they belong

notes with the syllables to

to avoid repeating the text

whenever coincidence of the

has seemed a particularly desirable

to have included every word would have needlessly cluttered

word-omission has proved practicable, but

which may bring some objection. Printing

permits the sale of the volume

more satisfactory, but it is also more expensive; and in

as originally planned: the first

Medieval, and Renaissance music; the second,

work into two volumes, while it has

continue to approximately 1800. Even

of these, together with the

161; Professor Oliver Strunk,

Mr. Siebolt Frieswyk.

Harvard University. Other

Yuen Ren Chao, No.

Professor Walter E. Clark,

Harry A. Wolfson, No.

81, 87, 93;

which have been occupied with the preparation of

constantly aware that