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Musica Disciplina, vol. 59 (2014)
edited by Jeffrey Kurtzman, with Dennis Collins,
Robert Kendrick, Steven Saunders, and John Whenham.
Alessandro Grandi (ca. 1586–1630) is best known as the first composer to use a form of the word “cantata” to describe a set of musical compositions (for his Cantade et arie, ca. 1618) and as Monteverdi’s vice-maestro di cappella at San Marco in Venice during the 1620s. Grandi’s Fourth Book of motets (1616), mainly smaller-scale pieces, contains works that can be linked to his two “academic” employers in Ferrara, the confraternity-academies of the Spirito Santo and the Morti. Like Grandi’s other prints, this book received multiple reprints, and some of its contents were copied as far away as north Germany and England. The present volume also contains major new biographical findings by Rodolfo Baroncini, and represents the first modern edition of most of the pieces.
Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart. Edited by Anna Zayaruznaya, Bonnie J. Blackburn, & Stanley
Musica Disciplina, Vol. 58 (2013)
JEAN MOUTON (ca. 1459-1522), Opera omnia. Edited by Andrew C. Minor and Thomas G. MacCracken. Vol.V Missa Sine nomine I & II, Credo a 4, Magnificat et Cantiones.
Jean Mouton is widely regarded as one of the most important composers contemporary with Josquin Des Prez. This volume contains two Masses discovered since Andrew C. Minor published thirteen such works to inaugurate the Complete Works edition, together with an independent Credo, nine Magnificats, and 25 chansons. Both Masses and six of the Magnificats appear in print here for the first time, while the chansons have never before been gathered together in one place. The extensive Critical Notes provide not only a complete collation of variants but also informative commentary on the sources, musical structure, and texts for each piece.
CONTENTS Acknowledgements xi Abbreviations xii Introduction xiii Editorial Procedure: Music xiii Editorial Procedure: Text xiv Critical Notes xvii A. Music for the Mass Ordinary xvii B. Magnificats xxiii C. Chansons lv D. Fragments and Works Probably by Other Composers cxv Appendix: Extant and Suggested Reconstructions of Cantus Firmi for Selected Compositions, and Two Additional Polyphonic Fragments cxxi A. Music for the Mass Ordinary 1. Missa Sine nomine (I) 3 2. Missa Sine nomine (II) 39 3. Credo 65 B. Magnificats 4. Magnificat Primi toni, K. 936 81 5. Magnificat Primi toni, K. 937/943 94 6. Magnificat Primi toni, K. de-est 106 7. Magnificat Tertii toni, K. 942 114 8. Magnificat Quarti toni, K. 938 126 9. Magnificat Quarti toni, K. 939 132 10. Magnificat Quarti toni, K. 1154 142 11. Magnificat Quinti toni, K. 940/291 152 12. Magnificat Sexti toni, K. 941 163 C. Chansons 13. Adieu mes amours 185 14. Ce que mon coeur pense 188 15. De tous regretz 193 16. Dieu gard de mal, de deshonneur 197 17. Du bon du coeur, ma chere dame 200 18. En venant de Lyon 204 19. Jamais, jamais, jamais 206 20. Jamais n’aymeray machon 211 21. Je le laray puisqui’il my bat 213 22. La, la, la, l’oysillon du boys 215 23. La rousée du moys de may (I) 218 24. La rousé du moys de may (II) 222 25. Le berger et la bergere 228 26. Le grant desir d’aymer my tient (I) 232 27. Le grant desir d’aymer my tient (II) 235 28. L’ort vilain jaloux 237 29. Mais que ce fust le plaisir d’elle 241 30. Prens ton con, grosse garsse noyre 243 31. Qui ne regrettroit le gentil Fevin 245 32. Resjouyssés vous, bourgoyses 247 33. Ve le cy, ve le la, ma mere 251 34. Vray Dieu d’amours 256 35. Vray Dieu, qu’amoureux ont de peine 260 D. Fragments and Works Probably by Other Composers 36. Magnificat Quarti toni, K. 1154, alternate settings of verses 4, 8, and 10 269 37. Fecit potentiam Quinti toni, K. 945 273 38. J’ay mys mon cuer (Tu sola es mater purissima) 275 39. Je ne puis 276 40. Payne trabel 277
Collected Vocal Works,
edited by Frederick K. Gable.
The Liber misssarum (Opus musicum III, 1618), contains six
impressive settings of the Ordinary of the Mass for five, six, and eight
voices. The double-choir masses are based on his own motets for Christmas,
Easter, and St. Michael’s Day; a fourth mass on his “Benedicam Dominum” a 6;
and two on motets by Stephano Felis and Jacob Meiland—all are included in
the edition. Praetorius blends the older motet-style with the new
concerto-style polychorality by his word declamation, short motives,
repetition of sections, sequencing of ideas, and varieties of choir
CLAUDIN DE SERMISY
(ca. 1490-1562), Opera omnia. Edited by Gaston Allaire and Isabelle Cazeaux, complete in 7 volumes. Vol. VII: 28 Motets Published by Attaingnant in 1542
The 28 motets for 3–6 voices published in 1542 by the Parisian printer Attaingnant form the core of this last volume in the Sermisy Opera Omnia sub-series. Appearing here in a critical edition for the first time are several of Sermisy’s more famous motets, works that were widely reprinted in the sixteenth and seventeenth centuries. Equally noteworthy are Allaire’s comments on hexachordal transposition in these motets, which support his choices for musica ficta.
JACQUET DE MANTUA (Jachet de Mantua) (1483-1559), Opera omnia. Edited by Philip T. Jackson
and George Nugent, complete in 7 volumes. Vol.VII Motets for 3, 6, 7, & 8 Voices.
Jacquet (Jachet) de Mantua, active between Josquin and Palestrina, was
considered a leading master of sacred polyphonic composition by his
contemporaries, but he is also sometimes confused with Jacquet de Berchem.
This collection of the remaining 9 motets for 3 voices, 4 for 6 voices, 1
each for 7 and 8 voices from the first half 16th century form a smaller
sub-repertoire of works that were not written in the dominant scoring at the
time, that for 4 or 5 voices.