CONTENTS

Motets for Three Voices
1. Ave Maria gratia plena
2. Ave regina caelorum*
      2.p. Gaude gloriosa*
3. Cantate Domino ... laus ejus
4. Cantate Domino ... quia fecit mirabilia
5. Cantate Domino et benedicite
6. In lectulo meo
7. O clemens, o pia
8. O pulcherrima inter mulieres
9. Quam pulchra es
10. Virgo ante partum

Motets for Six Voices
11. Ave Maria gratia plena (See appendix)
      2.p. Tu parvi et magni (See appendix)
12. Ave regina caelorum
13. Ave virgo gratiosa / gloriosa*
14. Descendi in hortum meum*
15. Divitias et paupertatem'
16. Domine non secundum*
      2.p. Domine ne memineris*
      3.p. Adjuva nos*
17. In illo tempore respondens Jesus
      2.p. Venite ad me
18. Murus tuus dilecta nostra
      2.p. Ego murus sum'
19. Salve regina*
      2.p. Eya ergo*
      3.p. Et Jesum benedictum*
20. Surge Petre et induete*
      2.p. Si diligis me*

Motets for Seven and Eight Voices
21. Da pacem, Domine (a7)
22. Sancta Trinitas (a8)

Appendix
11. Ave Maria gratia plena (a6)
      2.p. Tu parvi et magni
23. Sancta Trinitas (a4) Antoine de Fevin

* N.B. These motets are not included here as a satisfactory modern edition is already available; for more information, see the critical notes.

The 6 parody masses, Magnificat, 4 motets, and untexted chanson in this volume complete the publication of the works of this composer of Spanish origin. Active in the Papal court in Rome in the first third of the 16th century, De Silva was highly regarded as one of Josquin’s successors, “who taught the world how music should be written.”

            CONTENTS: Masses
1. Missa diversorum tenorum, 4v. 3
2. Missa "Adieu mes amours," 4v. 36
3. Missa La mi sol fa mi ("Le content est riche"), 4v. 95
4. Missa "Joli marinier," 4v. 128
5. Missa "Angelus ad pastores ait," 4v. 158
6. Missa "Tu es pastor ovium," 7v. 181
Magnificat
7. Magnificat secundi toni, 4v. 242
Motets
8. In illo tempore dixit Jesus, 4v. 248
9. Attendite populi de longe, 4v. 257
10. Inviolata, integra et casta es, Maria, 4v. 264
11. Tota pulchra es, Maria, 4v. 272
Chanson
12. Fors seulement (textless), 4v. 274

                                CONTENTS: Chansons in Four Voices: 117. Se j’ay l’amour de celle ou je pretends; 118. Si au partir me convient congé prendre; 119. Si des haulx cieulx qui a gouvernement; 120a. Si la beaulté se perist en peu d’heure; 120b. Response: Si grant beaulté se perist en peu d’heure; 121. Si l’on me monstre affection; 122. Si mon service a merité; 123. Si mon travail vous peult donner plaisir; 124. Si n’attemprés ces yeulx ou mon ceur ard; 125. Si parvenir je puis a mon attente; 126. Si pour amans la lune est importune; 127. Si pour aymer et desirer; 128. Si Salamandre en flamme vit, c’est peu; 129. Si variable oncques fut damoiselle; 130. Soit bien ou mal, contrainct suis de t’aymer; 131. Souvent je m’esbas et mon cueur est marry; 132. Tant plus je pense estre pres de mon bien; 133. Tant qu’en amours tu seras ma maistresse; 134a. Tant seulement ton amour je demande; 134b. Response: Tant seulement ton repos je desire; 135. Tiens noz deulx cueurs par ung voloir unis; 136. Ton gentil corps en beaulté souveraine; 137a. Toutes les nuictz que sans vous je me couche; 137b. Response: Qu’est il besoing chercher toutes les nuictz; 137c. Replique: Tel est le tamps, il s’en fault contenter; 138. Ung doulx nenny avec ung doulx soubrire; 139. Ung gay bergier prioit une bergiere; 140. Ung souvenir en fermeté constante; 141. Response: Ung sy tresgrand eur preveoir; 142. Veu le grief mal que longuement j’endure; 143. Voiant souffrir celle qui me tourmente; 144. Vous avez tort, chascun vous blasmera; 145. Vous avez tort de luy estre contraire; 146. Voyez le tort d’Amour et de Fortune; APPENDIX 147. Ut flos in septis secretus nascitur hortis; 2. pars: Sponte sua tellus florem producit amoenum

THOMAS CRECQUILLON (ca. 1510-ca. 1557), Opera omnia, edited by Barton Hudson, Mary Tiffany Ferer, and Laura Youens; with Mary Beth Winn. In 20 volumes.

CONTENTS: Chansons in Three Voices: 174. A la fontaine du prez; 175. Amour, hellas, on a pas d’avantaige (opus dubium); 176. Avant l'aymer je l'ay voulu cognoistre; 177. C’est a grand tort que moy povre j’endure; 178a. Content desir qui cause ma doleur = Du faux desir qui cause ma douleur; 178b. Response: Vivre ne puis content sans ta presence; 179. De moins que riens à peu l’on peut venir; 180. En languissant je consomme mes jours; 181. Hastés vous de moy faire grace; 182. Je suis aymé de la plus belle (1); 183. Je suis aymé de la plus belle (2); 184. Jour desiré, qui te pourra attendre; 185. Le trop long temps qu’ay esté sans te veoir; 186. L’oeil dict assés, s’il estoit entendu = Mon cri, Seigneur, soit de toi entendu; 187. O combien est malheureux le desir; 188. Or vray Dieu, qu’il est enuyé (opus dubium); 189. Si me tenez tant de rigueur = Sentant du peché la rigueur; 190. Touttes les nuicts que sans vous je me couche; 191. Vostre rigueur veult doncques que je meure = Donne secours, Seigneur, il en est heure; Chansons in Six Voices: 192. Retirer il me fault; 193. Si me tenez tant de rigueur; 194. Petite camusette; Chanson in Twelve Voices: 195. Belle sans per ou gist tout mon espoir; INDEX TO THE EDITION: Masses; Motets;  Secular Works

HEINRICH ISAAC (ca. 1450-1517), Opera omnia, edited by Edward R. Lerner.

Vol. X: Motets, Part I

     CMM 65-10 978-1-59551-501-8            1st ed., 2011
    lxx+176 pp.        36 cm                                    $130.00

CONTENTS: 1. Accessit ad pedes; 2. Alma redemptoris mater; 3. Angeli, Archangeli; 4. Anima mea liquefacta est; 5. Argentum et aurum; 6. Ave Ancilla Trinitatis; 7. Ave Regina caelorum; 8. Ave sanctissima Maria; 9. Benedic, anima mea, Domino; 10. Christus surrexit; 11. (Quid ...) Credidi, propter quod locutus sum; 12. Cum esset desponsata; 13. Defensor noster aspice; 14. Ecce sacerdos magnus; 15. Gaude Dei Genetrix; 16. Gratias refero tibi; 17. Hodie Deus homo factus; 18. Hodie scietis, quia veniet Dominus; 19. In convertendo Dominum; 20. Inviolata, integra, et casta es Maria; 21. Judea et Jerusalem; 22. Nil prosunt lacrimae; 23. O decus ecclesiae Virgo; 24. O Maria, Mater Christi; 25. Optime divino date munere pastor ovili

HEINRICH ISAAC (ca. 1450-1517), Opera omnia, edited by Edward R. Lerner.

Vol. XI: Motets, Part 2

     CMM 65-11 978-1-59551-502-5            1st ed., 2011 
     xciv+208 pp.        36 cm                                $158.00

CONTENTS: 26. Oratio Jeremiae Prophetae; 27. Parce, Domine; 28. Prophetarum maxime; 29. Quae est ista; 30. Quem tremunt; 31. Qui paracletus diceris; 32. Quid retribuam tibi; 33. Quis dabit capiti meo aquam; 34a. Quis dabit pacem populi timenti; 34b. Illumina oculos meos (contrafactum); 35. Recordare, Jesu Christe; 36. Regina caeli; 37a. Rogamus te piisima virgo maria; 37b. La Mi La Sol (textless); 38. Salve Regina (1); 39. Salve Regina (2); 40. Sancta Maria Virgo; 41. Sancti spiritus assit nobis gratis; 42. Sive vivamus; 43. Sol occasum; 44. Spiritus sanctus; 45. Sub tuum praesidium; 46. Sustinuimus pacem; 47. Te mane laudum carmine; 48. Tota pulchra es; 49. Tristitia vestra; 50. Virgo prudentissima quo progederis; 51a. Virgo prudentissima quae pia; 51b. Christus filius Dei (contrafactum)

The publication of these 52 motets in two volumes helps to complete our picture of the voluminous musical legacy of Flemish composer Heinrich Isaac (1450-1517). Many of these works are published here in modern notation for the first time. Although these motets are not commonly known today, they were widely circulated in Isaac’s time. Some appeared in editions printed by Petrucci as early as 1506, and others appeared in volumes printed by Rhao, Petreius, and Montanus & Nauber. Some of these motets only appeared in manuscripts such as Berlin MS 40021 or the Regensburg collection of manuscripts from 1570-80. Under the supervision of Isaac’s student Ludwig Senfl, many of these motets were copied or printed well into the sixteenth century.

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. His first published music, the Primo libro de motetti a due, tre, quattro, cinque, & otto voci, con una Messa à quattro (Venice, 1610), contains two fairly conventional compositions, a polychoral motet and a four-voice setting of the Ordinary of the Mass. The core of the collection, however, is a set of innovative few-voice motets in which Grandi introduces a variety of novel formal schemes and compositional techniques. He juxtaposes short motives in ways that suggest both dialogue techniques and the concerato interplay of voices common in the lighter secular genres. Several motets employ parlante subjects that recall the clipped diction of Monterverdi’s fourth and fifth book of madrigals, and Grandi’s quasi-canonic entries built over harmonic sequences evoke duet passages from the continuo madrigals that close Monteverdi’s Fifth Book. In short, Grandi’s Primo libro de motetti shows that he helped to forge the concertato style in the early years of the seventeenth-century.