Adrian Willaert: A Guide to Research (Routledge Musical Bibliographies)

ADRIAN WILLAERT Routledge Music Bibliographies SERIES EDITOR: BRAD EDEN COMPOSERS Isaac Albéniz (1998) Walter A. Clar...

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ADRIAN WILLAERT

Routledge Music Bibliographies SERIES EDITOR: BRAD EDEN COMPOSERS Isaac Albéniz (1998) Walter A. Clark C. P. E. Bach (2002) Doris Bosworth Powers Samuel Barber (2001) Wayne C. Wentzel Béla Bartók, Second Edition (1997) Elliott Antokoletz Vincenzo Bellini (2002) Stephen A. Willier Alban Berg (1996) Bryan R. Simms Leonard Bernstein (2001) Paul F. Laird Johannes Brahms (2003) Heather Platt Benjamin Britten (1996) Peter J. Hodgson Elliott Carter (2000) John L. Link Carlos Chávez (1998) Robert Parker Frédéric Chopin (1999) William Smialek Aaron Copland (2001) Marta Robertson and Robin Armstrong

Christoph Willibald Gluck, Second Edition (2003) Patricia Howard Paul Hindemith (2005) Stephen Luttmann Charles Ives (2002) Gayle Sherwood

Tomás Luis de Victoria (1998) Eugene Casjen Cramer Richard Wagner (2002) Michael Saffle Adrian Willaert (2005) David M. Kidger

Scott Joplin (1998) Nancy R. Ping-Robbins

GENRES

Zoltán Kodály (1998) Mícheál Houlahan and Philip Tacka

Central European Folk Music (1996) Philip V. Bohlman

Franz Liszt, Second Edition (2004) Michael Saffle

Chamber Music (2002) John H. Baron

Guillaume de Machaut (1995) Lawrence Earp Felix Mendelssohn Bartholdy (2001) John Michael Cooper Giovanni Pierluigi da Palestrina (2001) Clara Marvin Giacomo Puccini (1999) Linda B. Fairtile Maurice Ravel (2005) Stephen Zank

Choral Music (2001) Avery T. Sharp and James Michael Floyd Ethnomusicology (2003) Jennifer Post Jazz Research and Performance Materials, Second Edition (1995) Eddie S. Meadows The Musical (2004) William Everett Music in Canada (1997) Carl Morey

Gioachino Rossini (2002) Denise P. Gallo

North American Indian Music (1997) Richard Keeling

Alessandro and Domenico Scarlatti (1993) Carole F. Vidali

Opera, Second Edition (2001) Guy Marco The Recorder, Second Edition (2003) Richard Griscom and David Lasocki

Frederick Delius (2004) Mary Christison Huismann

Camille Saint-Saëns (2003) Timothy S. Flynn

Gaetano Donizetti (2000) James P. Cassaro

Heinrich Schenker (2003) Benjamin Ayotte

Edward Elgar (1993) Christopher Kent

Jean Sibelius (1998) Glenda D. Goss

Serial Music and Serialism (2001) John D. Vander Weg

Gabriel Fauré (1999) Edward R. Phillips

Giuseppe Verdi (1998) Gregory Harwood

String Quartets (2005) Mara E. Parker

ADRIAN WILLAERT A GUIDE

TO

RESEARCH

DAVID M. KIDGER

ROUTLEDGE MUSIC BIBLIOGRAPHIES ROUTLEDGE NEW YORK & LONDON

Published in 2005 by Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 www.routledge-ny.com Published in Great Britain by Routledge Taylor & Francis Group 4 Park Square Milton Park Abingdon OX14 4RN www.routledge.co.uk Copyright © 2005 by David M. Kidger Routledge is an imprint of the Taylor & Francis Group.

This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the author. Library of Congress Cataloging-in-Publication Data Kidger, David. Adrian Willaert : a guide to research / David M. Kidger. p. cm. — (Routledge music bibliographies) Includes bibliographical references. Discography: p. ISBN 0-8153-3962-3 (hb : alk. paper) 1. Willaert, Adrian, 1490?-1562—Bibliography. I. Title. II. Series. ML134.W641K54 2004 016.782'0092—dc22 2004023239

ISBN 0-203-99723-9 Master e-book ISBN

Contents

Acknowledgments

vii

Abbreviations

ix

I

Introduction and Chronology

1

Sources of Willaert’s Music: Principal Prints

7

II

III

Sources of Willaert’s Music: Print Anthologies

69

IV

Sources of Willaert’s Music: Manuscripts before 1600

119

V

Works List (A–J) A. Masses and Individual Mass Movements B. Motets C. Psalms D. Hymns E. Other Liturgical Music F. Chansons and Tenorlieder G. Madrigals H. Other Vocal Music with Italian Text I. Instrumental J. Arrangements of Other Composers’ Music by Willaert

197 198 201 238 244 252 255 269 281 284 287

v

vi

Contents

VI

VII

VIII

IX

X

Sources of Willaert’s Music: Arrangements of Wilaert’s Music (K)

291

Sources of Willaert’s Music: Manuscripts after 1600 (L)

303

Modern Editions of Willaert’s Music (M)

313

Bibliography (N) Printed Sources Manuscript Sources Facsimiles of Music Prints Facsimiles of Music Manuscripts Biography Willaert and the Venetian School Mass Motet Madrigal and Other Italian Vocal Forms Chanson Instrumental Music Willaert’s Arrangements of Other Composers’ Music and Arrangements of Willaert’s Music by Other Composers Willaert and Zarlino Other Studies on Topics in Theory Willaert in the General Musical Literature Secret Chromatic Art Musica Nova W1126 (1559) Musical Life in Venice in the Sixteenth Century Reference Materials for Discography

369 369 374 379 381 381 385 386 389 395 400 401 402 402 404 407 409 410 412 416

Discography (P) Released on Analog Disc

417 434

Titles in Latin Titles in Italian Titles in French Index of Names (Authors and Editors)

441 441 449 453 455

Indexes

Acknowledgments I would like to thank the University of Illinois Renaissance Archives, Herbert Kellman, director, for allowing me to use the archive and also to consult the proofs for the forthcoming RISM volume, Anthologies of Printed Music, 1500–1550. I am most grateful to Professor Kellman, and would like to thank him for his generosity in answering all questions. Thanks also to Sarah Long, who quickly answered several e-mail messages as I was completing this study. I would like to thank the Isham Memorial Library at Harvard University, Sarah Adams, keeper. I would also like to thank Doug Freundlich, assistant keeper, who many times answered questions and provided much support and assistance to me in my research. I am grateful to the following libraries: the Music Department of the Boston Public Library, the Norman and Rosita Winston Creative Arts Center at the Brandeis University Library, the Sibley Music Library at the Eastman School of Music, the Loeb Music Library at Harvard University, the Music Library of University of Illinois at Urbana-Champaign, the Music Library of the University of Michigan, Kresge Library at Oakland University, and the Scheide Music Library at Princeton University. Research for this study was funded by a summer research grant in 2001 and a special research grant in 2003 from Oakland University. I am grateful to Mary Lewis, who answered several questions and generously provided me with unpublished material relating to the final volume of her study of Antonio Gardano. Thanks to my colleagues and friends for their patience and support as I worked on this project. I would specially like to acknowledge Karl Boelter, Greg Cunningham, Gaye Ann Hofer, Roberta Lukes, Michael Tsuk, and Jackie Wiggins. Finally, I would like to acknowledge Lewis Lockwood, who first pointed me in the direction of Willaert as a subject worthy of research.

vii

Abbreviations AfM AM CMM DAI EM EMH JAMS JM JRMA MD MfM MGG

Archiv für Musikwissenschaft Acta Musicologica Corpus Mensurabilis Musicae Dissertation Abstracts International Early Music Early Music History Journal of the American Musicological Society Journal of Musicology Journal of the Royal Musical Association Musica Disciplina Monatshefte für Musikgeschichte Blume, Friedrich, ed. Die Musik in Geschichte und Gegenwart. 17 vols. Kassel: Bärenreiter, 1949–86. MGG2 Finscher, Ludwig, ed. Die Musik in Geschichte und Gegenwart. 2nd ed. New York, Kassel and Stuttgart: Bärenreiter, 1994 –. MQ Musical Quarterly MRM Monuments of Renaissance Music NG Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. 20 vols. London: Macmillan, 1980. NG2 Sadie, Stanley and John Tyrrell, eds. The New Grove Dictionary of Music and Musicians. 2nd ed. 29 vols. New York and London: Macmillan, 2001. NG2 online Macy, Laura, ed. The New Grove Dictionary of Music Online. RILM Répertoire International de Littérature Musicale RIM Rivista Italiana di Musicologia RISM Répertoire International des Sources Musicales RMS Renaissance Manuscript Studies RQ Renaissance Quarterly RRMR Recent Researches in the Music of the Renaissance SM Studi Musicali TVNM Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis UMI University Microfilms International

ix

I Introduction and Chronology

This book provides a bibliographic study of the sixteenth-century Flemish composer Adrian Willaert, maestro di cappella at the basilica of St. Mark’s in Venice from 1527 until his death in 1562. Willaert was one of the leading composers of the generation after Josquin Desprez, building a reputation as a versatile composer of almost all of the important genres of the time, as well as taking an integral role in establishing Venice as a major musical center by the mid-sixteenth century.1 The first section of this book (Chapters 2, 3, and 4) gives a concordance of all print and manuscript sources of Willaert’s music, including sources of his music transmitted anonymously. Chapter 2 comprises a complete inventory of music prints that are devoted to the music of Willaert. The complete contents of each print are listed. Where there is a reprint containing the same contents, order and pagination, or foliation as the original, the contents of the reprint are not given here, nor are they included in the worklist in Chapter 5. All reprints in this chapter are listed with title and RISM A/I sigla in chronological order, however their contents are not included.2 1

For an introduction to the biography and music of Willaert, see Lewis Lockwood and Jessie Ann Owens. “Willaert, Adrian.” NG. Vol. 20, pp. 421–428, [N103], and Lewis Lockwood, Giulio Ongaro, Michele Fromson, and Jessie Ann Owens. “Willaert, Adrian.” NG2 online [N104]. For a more extended introduction, see Ignace Bossuyt, Adriaen Willaert (ca. 1490–1562): Leven en werk—stijl en genres. Leuven: Universitaire Pers Leuven, 1985, [N085]. 2 RISM A/I provides a useful starting point for the materials described in Chapter 2. RISM A/I provides a catalog of individual editions of music printed between 1500 and 1800, devoted to a single composer. See Karlheinz Schlager, Einzeldrucke vor 1800. 12 vols. Kassel: Bärenreiter, 1971–. (Répertoire International des Sources Musicales, A/I, 1–9, 11–12, and supplements.)

1

2

Adrian Willaert

Chapter 3 comprises an inventory of works attributed to Willaert in at least one source, appearing in print anthologies. Only works attributed to Willaert, either directly or indirectly through another source, are listed here, thus none of the individual listings represents the complete contents of a print. Some pieces by composers other than Willaert, or with attributions to composers other than Willaert, are included where there is a conflicting ascription for a piece where at least one source ascribes a piece to Willaert. This list also provides an inventory of works by Willaert transmitted anonymously in print anthologies. As in Chapter 2, where there is a reprint containing the same contents, order and pagination, or foliation as the original, the contents of the reprint are not given; thus in the worklist in Chapter 7, citations of reprints of print anthologies are also not included. Reprints are listed immediately following the title of the respective print. Unlike Chapter 2, the titles and RISM B/I sigla for reprints are not included in this section.3 Chapter 4 comprises an inventory of works attributed to Willaert in at least one source, appearing in manuscripts from the sixteenth century. Only works attributed to Willaert, either directly or indirectly through another source, are listed here, thus with two exceptions, none of the individual listings represents the complete contents of a manuscript. For these two exceptions, the manuscripts ModE C.313 and ModE C.314, there are complete inventories. They are included here because of their close relationship with the 1559 Musica Nova print. Music by other composers in these two manuscripts is not included in the worklist. Some pieces by composers other than Willaert, or with attributions to composers other than Willaert, are included in this inventory where there is a conflicting ascription for a piece or where at least one source ascribes a piece to Willaert. Chapter 5 comprises a working catalog of Willaert’s works, includes all music ascribed to Willaert, and also works where there is a conflicting ascription including Willaert. The catalog includes items designated A through J, subdivided as follows: A. B. C. D. E. F. G. 3

Masses and Individual Mass Movements Motets Psalms Hymns Other Liturgical Music Chansons and Tenorlieder Madrigals

RISM B/I provides the standard numbering for print anthologies of the sixteenth and seventeenth centuries. See François Lesure, Recueils imprimés, XVIe–XVIIe siècles. Munich: Henle, 1966. (Répertoire International des Sources Musicales, B/I.) Also see N016, which presents a catalog of print anthologies of music from 1500 to 1550.

Introduction and Chronology

3

H. Other Vocal Music with Italian Text I. Instrumental J. Arrangements of Other Composer’s Music by Willaert Within each category there is a further subdivision according to number of voices. Works categorized as “Doubtful or Misattributed” are listed at the end of each category. To distinguish them from authentic works, they are assigned lowercase letters. Print sources refer to those listed in Chapters 2 and 3. Manuscript sources refer to those listed in Chapter 4, and thus only sixteenth-century manuscript sources are included there. Chapter 7 provides a separate inventory of manuscript sources after 1600. Modern editions published after 1800 are listed in Chapter 8, with bibliographic citations and commentary where necessary. Notes provide annotations for works, identifying compositional devices such as cantus firmus and canon, identifying the source of a text, and identifying the function of a sacred work where possible. The identification of liturgical function should be taken as being only preliminary.

Works with Conflicting Attribution Works with conflicting attribution have been evaluated on a case-by-case basis. In a situation where a clear argument has been made in the scholarly literature for a particular attribution, this catalog follows that case. Works that have a conflicting attribution are clearly indicated, and where possible the composer is identified. Nevertheless, this area should be treated with caution; each work should be approached on its own merits.

Works with Doubtful Attribution This catalog treats this matter with caution. Works are not listed under “Doubtful or Misattributed” solely on the basis of style. Since we have no complete edition of Willaert’s works, this kind of evaluation is often premature. Works where the attribution to Willaert has been questioned on the basis of style are identified in the catalog.

Works Assigned to Willaert on the Basis of Style This catalog does not assign anonymous works to Willaert on the basis of style. There is a single case in the literature (N145), where a few anonymous psalms have been attributed to Willaert on the basis of style. In this case, a third category has been included: “Conjecturally Attributed.” To distinguish them from authentic works, they are also assigned lowercase letters.

4

Adrian Willaert

To avoid any confusion with RISM A/I numbers and catalog numbers, RISM A/I numbers are always identified as such in the present volume. Numbers assigned to Willaert’s works are in the format, A001 or a001, etc. Chapter 6 (items K001–K034) provides a chronological inventory of arrangements of Willaert’s music by other composers and musicians in printed sources. Unless otherwise indicated, print sigla from N015 are used here.4 Works are identified according to their worklist number. For the bibliography of materials used in the compilation of this chapter, and for the bibliographic citations used here, see the first section of Chapter 9. Where the composer of the original work is identified, this is included in the entry for each respective work. Chapter 7 (L001–L035) comprises an inventory of Willaert’s works transmitted in manuscripts after 1600. These sources are not included in the worklist in Chapter 5. This inventory was compiled from the RISM A/II “Music Manuscripts after 1600” online database.5 Chapter 8 presents an annotated bibliography of editions of Willaert’s music published since 1800. They include items M001–M137. Chapter 9 (items N001-N302) presents an annotated bibliography of literature on Willaert. It is subdivided as follows: Printed Sources Manuscript Sources Facsimiles of Music Prints Facsimiles of Music Manuscripts Biography Willaert and the Venetian School Mass Motet Madrigal and Other Italian Vocal Forms Chanson Instrumental Music Willaert’s Arrangments of Other Composer’s Music, and Arrangements of Willaert’s Music by other Composers Willaert and Zarlino Other Studies on Topics in Theory Willaert in the General Musical Literature Secret Chromatic Art Musica Nova W1126 (1559) 4

Howard M Brown, Instrumental Music Printed before 1600, a Bibliography. Cambridge: Harvard University Press, 1965 [N015]. This remains the basic resource for print collections of instrumental music printed before 1600. The numbering system differs from RISM B/I, but the two systems are confusingly similar. This issue is described in more detail in the introduction to Chapter 6. 5 For a description of this database, see .

Introduction and Chronology

5

Musical Life in Venice in the Sixteenth Century Reference Materials for Discography Finally, Chapter 10 provides a discography of recordings of Willaert’s music (items P001–P104). Every attempt has been made to include all releases on CD.

CHRONOLOGY ca.1490 ca.1510

Willaert born. Willaert moves to Paris, initially to study law at the university. Student of Jean Mouton. 1514–1515 Hired as a singer in the service of Cardinal Ippolito I d’Este. First employment in Italy, based in Ferrara. Willaert travels to Rome. 1517 Willaert accompanies Ippolito to Hungary. 1519 Records show Willaert returned to Ferrara by August 1519. 1519 First example of Willaert’s music published by Petrucci. 1521 Death of Josquin Desprez. 1522 Death of Jean Mouton. 1527 Willaert hired as maestro di cappella at St. Mark’s Venice in December. 1536 Publication of Willaert’s Liber Quinque Missarum (W1103). 1539 Publication of three books of motets by Willaert (W1106, W1108, W1110). First prints of music by Willaert by the Scotto press. 1542 First return trip to Flanders after appointment at St. Mark’s. Publication of books of six-voice motets, and of hymns by Willaert (W1112, W1113). First prints of music by Willaert by the Gardano press. 1545 Reprints of books of four-voice motets (W1107, W1109). 1548 Publication of Willaert’s Canzon Villanesche (W1116). 1549 Willaert’s first surviving will written. 1550 Publication of cori spezzati Vespers psalms of Jachet of Mantua and Willaert (15501). 1551 Publication of collection of three-part recercari of Willaert (W1120). 1555 Publication of new collection of Vespers psalms by Willaert (W1123). 1556 Second return trip to Flanders. 1557 Claudio Merulo replaces Girolamo Parabosco as organist at St. Mark’s, where he remains until 1584. 1558 Publication of Zarlino’s Le Istitutioni harmoniche.

6

Adrian Willaert

1559

Publication of Musica Nova containing motets and madrigals by Willaert (W1126). Much of this music had been composed in the 1540s. 1562 Publication of retrospective collection of chansons by Willaert (W1129). 1562 Death of Willaert. 1563 Publication of retrospective collection of madrigals by Willaert (W1130). 1563–1564 Rore briefly succeeds Willaert as maestro di cappella at St. Mark’s. 1565 Zarlino is appointed as maestro di cappella at St. Mark’s, a post he holds until his death in 1590. 1566 Andrea Gabrieli receives a permanent position as organist at St. Mark’s, a post he holds until his death in 1585. 1570 Death of Sansovino. 1571 Publication of Zarlino’s Dimostrationi harmoniche. 1575–1576 Plague causes a substantial decline in the number of singers at St. Mark’s. 1576 Death of Doge Andrea Gritti. Death of Titian. 1588 Publication of Zarlino’s Sopplimenti musicali. 1590 Death of Zarlino. 1607 Giulio Cesare Monteverdi (brother of Claudio) acknowledges Willaert as the last of the group of composers of the prima prattica. The prima prattica “was finally perfected by Messer Adriano in actual composition, and by the most excellent Zarlino with most judicious rules.”

II Sources of Willaert’s Music: Principal Prints

Chapter 2 comprises a complete inventory of music prints that are devoted to the music of Willaert. They are presented in chronological order. The complete contents of each print are listed here. These are distinct from anthologies, which are described in Chapter 3. For the bibliography of materials used in the compilation of this chapter, and for the bibliographic citations used here, see the first section of Chapter 9. Where a full bibliographic description of a print is available, the reference is given immediately following details of the present location of exemplars. Facsimiles are also included here, but described in Chapter 9. Where there is a reprint containing the same music, order, and pagination or foliation of the original, the contents of the reprint are not given here, and thus in the worklist in Chapter 7 citations of reprints of works are not included. All reprints in this chapter are listed with title and RISM A/I siglum in chronological order, however their contents are not included. Complete inventories of prints are given here, thus some pieces not by Willaert appear. In these cases, unless there is an attribution to a work that is attributed to Willaert in another source, these pieces are not included in the worklist. The citation for each work is in the following format: Sigla (year) Title (including all sections or pars). Number of works in source; where this number is in parentheses, it has been added here and does not appear in the original. Foliation or pagination as appropriate.

7

8

Adrian Willaert

Attribution; where there is no attribution, this is given as “Anon.” Location Also included in citations are rubrics that appear in the original print, indicating the function or liturgical position of a particular work. Psalm numbers have been added where necessary. RISM A/I sigla are used here, along with the year of publication given in parentheses, unless otherwise indicated. An equal sign (=) indicates the same print with a different siglum (usually RISM B/I). W1103 (1536). Liber quinque missarum Adriani Willaert, ab ipso diligentissime castigatus, nunc primum exit in lucem. Cum privilegio. [Venice, Francesco Marcolini, 1536.] Location: Bologna. Civico Museo Bibliografico Musicale. (S). Munich. Universitätsbibliothek. (S, A, T, B). Regensburg. Bischöfliche Zentralbibliothek. (S, A, T). Missa Queramus cum pastoribus [no. 1], ff. 3–6v Missa Christus resurgens [no. 2], ff. 6v–11 Missa Laudate Deum [no. 3], ff. 11–15 Missa Gaude Barbara [no. 4], ff. 15–18v Missa Osculetur me [no. 5], ff. 19–23v W1104 (1536) = V1224 (1536). Intavolatura de li madrigali di Verdelotto da cantare et sonare nel lauto, intavolati per Messer Adriano, Novamente Stampata. Et con ogni diligentia corretta. M. D. XXXVI. Cum gratia et privilegio. [Venice, Andrea Antico and Girolamo Scotto, 1536.] Location: Vienna. Österreichische Nationalbibliothek, Musiksammlung. Reprinted in W1100 (1540) = V1225 (1540) N008: p. 249. N015: 15368, p. 55. Facsimile edition: N069

Sources of Willaert’s Music

9

Quanto sia liet’il giorno no. 1, f. 2

rubric: El canto a tre tasti della sottana

Quand’amor i begli occhi no. 2, f. 3v

rubric: Al quinto del canto

Donna leggiadr’ e bella no. 3, f. 4v

rubric: A tre dil canto

Madonna qual certezza no. 4, f. 5v

rubric: El canto vuoto

Con lagrime, et sospir no. 5, f. 7v

rubric: A tre tasti dil canto

Fuggi, fuggi cor mio no. 6, f. 8v

rubric: A tre dil canto

Igno soave ov’il mio foco no. 7, f. 10

rubric: A doi tasti dil canto

Amor se d’hor in hor no. 8, f. 11v

rubric: Al terzo de la sottana

Donna che sete tra le belle bella no. 9, f. 12

rubric: Al secondo dil canto

Se mai provasti donna no. 10, f. 13v

rubric: Al secondo de la sottana

Afflitti spirti miei no. 11, f. 14v

rubric: Al terzo tasto de la sottana

Ben che’l misero cor no. 12, f. 16

rubric: Al secondo dil tenore

Madonna il tuo bel viso no. 13, f. 17v

rubric: Al terzo de la sottana

Divini occhi sereni no. 14, f. 20

rubric: A cinque dil canto

Si liet’e grata morte no. 15, f. 21

rubric: El canto voto

10

Adrian Willaert

Vita de la mia vita no. 16, f. 23

rubric: Al canto voto

Gloriar mi poss’io donne no. 17, f. 24

rubric: Al quinto dil canto

Piove da gli occhi della donna mia no. 18, f. 25v

rubric: A tre de la sottana

Con l’angelico riso no. 19, f. 26v

rubric: A tre de la sottana

S’io pensasse madonna no. 20, f. 28

rubric: Al quinto dil canto

Madonna io sol vorrei no. 21, f. 29v Madonna per voi ardo no. 22, f. 30v

rubric: La sottana vota

W1106 (1539). Famosissimi Adriani Willaert, chori divi Marci illustrissimae Reipublicae Venetiarum Magistri, musica quatuor vocum, (quae vulgo motecta nuncupatur) noviter omni studio, ac diligentia in lucem edita. Liber primus. Quatuor vocum. Adriani Willaert, 1539. [Venice, Scotto, 1539.] Location: Brussels. Bibliothèque Royale de Belgique. (A, T). Cracow. Biblioteka Jagielloksa. (olim Berlin, Preuβische Staatsbibliothek). (A, T). Munich. Bayerische Staatsbibliothek, Musiksammlung. (S, A, T, B). Palermo. Biblioteca nazionale. (A, T, B). Vicenza, Biblioteca civica Bertoliana. (S). Revised second edition in W1107 (1545) N008: no. 7, pp. 238–240. Ave Maria, gratia plena no. 1 Videns Dominus flentes sorores Lazari no. 2 Quasi unus de paradisi fluminibus ii Deus qui beatum Marcum no. 3

Sources of Willaert’s Music

Antoni pastor inclite no. 4 Omnipotens sempiterne Deus no. 5 Angelus Domini descendit no. 6 Ave dulcissime Domine Jesu Christe no. 7 Natale Sancte Euphemiae ii Tu Domine notus omnibus no. 8 O gemma clarissima, Catherina no. 9 O Thoma, laus et gloria no. 10 Veni Sancte Spiritus ii Sine tuo nomine no. 11 Benedicta es, coelorum regina ii Per illud ave prolatum no. 12 Beata Dei genitrix Maria ii Et beata quae credidit no. 13 O Domine Jesu Christe … in cruce pendentem ii O Domine Jesu Christe … in cruce vulneratum iii O Domine Jesu Christe … propter illam iv O Domine Jesu Christe justos conserva no. 14 Mirabile mysterium declaratur hodie no. 15

11

12

Adrian Willaert

Magne martyr Adriane flos grecorum no. 16 Ave regina coelorum ii Gaude gloriosa no. 17 Domine Jesu Christe, fili Dei vivi qui de coelis no. 18 Armorum fortissime ductor Sebastiane ii Te igitur martir egregie supplices no. 19 In illo tempore stabant autem iuxta crucem no. 20 Joannes Apostolus et evangelista ii Ecclesiam tuam quaesimus Domine no. 21 Ad te Domine preces nostras fundentem no. 22 Tota pulchra es amica mea no. 23 Patefacte sunt janue coeli ii Mortem enim quam salvator no. 24 Surgit Christus cum tropheo ii Dic Maria quid fecisti contemplando iii Dic Maria quid fecisti postquam Jesum no. 25 Magnum hereditatis misterium no. 26 W1108 (1539). Motetti di Adrian Williart. Libro Secondo a quattro voci novamente impresso. Ad instantiam Andreae Antiqui. Cum gratia et privilegio. Venetiis. M. D. XXXIX. [Venice, Andrea Antico, and Brandino and Ottaviano Scotto, 1539.]

Sources of Willaert’s Music

13

Location: Bologna. Civico Museo Bibliografico Musicale. (S, A, T, B). Cracow. Biblioteka Jagielloksa. (olim Berlin, Preuβische Staatsbibliothek). (A, T). Munich. Bayerische Staatsbibliothek, Musiksammlung. (S, A, T, B). Palermo. Biblioteca nazionale. Vicenza, Biblioteca civica Bertoliana. (S.) Revised second edition in W1109 (1545) N008: no. 8, pp. 240–242. Qui habitat in adjutorio ii Cadent a latere tuo iii In manibus portabunt te no. 1 Parens tonantis maximi no. 2 Usquequo Domine oblivisceris me ii Illumina oculos meos no. 3 Strinxerunt corporis membra ii Mea nox obscurum non habet no. 4 Valde honorandus est beatus Joannes no. 5 Spiritus meus attenuabitur ii Libera me Domine et pone me no. 6 Victimae paschali laudes ii Dic nobis Maria no. 7 Domine Jesu Christe memento quod tu ii Et concede mihi omnipotens no. 8 Beatus Stephanus preciosus dei ii Et videntes vultum eius no. 9

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Adrian Willaert

Sancte Paule apostole predicator no. 10 Congratulamini mihi omnes ii Recedentibus discipulis no. 11 Ave regina coelorum, Mater regis angelorum no. 12 Quem terra, ponthus, aethera ii Beata coeli nuntio fecunda no. 13 O magnum mysterium ii Ave Maria gratia plena no. 14 Ave virginum gemma Sancta Catherina no. 15 Inviolata, integra et casta es Maria ii Nostra ut pura pectora no. 16 Salve crux sancta arbor ii Causa etiam vite ferret no. 17 Dominus regit me et nihil mihi deerit ii Parasti in conspectu meo mensam no. 18 Beatus Joannes apostolus et evangelista ii Ipse est qui evangelii fluenta no. 19 Congratulamini mihi omnes ii Beatam me dicent omnes generationes no. 20 Saluto te sancta virgo Maria ii Rogo te ergo per illud gaudium no. 21

Sources of Willaert’s Music

15

W1110 (1539). Famosissimi Adriani Willaert, chori divi Marci illustrissimae Republicae Venetiarum Magistri, musica quinque vocum, (quae vulgo motecta nuncunpatur) noviter omni stdio, ac diligentia in lucem edita. Liber Primus. Quinque Vocum. Venetiis. Apud Hieronymum Scotum. 1539. [Venice, Girolamo Scotto, 1539.] Location: Bologna. Civico Museo Bibliografico Musicale. (S). Cracow. Biblioteka Jagielloksa. (olim Berlin, Preuβische Staatsbibliothek). (C, A, Q, T, B). Jena. Universitätsbibliothek der Friedrich-Schiller-Universität. (C, A, Q, T, B). London. British Library. (C, A, Q, T, B). Munich. Bayerische Staatsbibliothek, Musiksammlung. (A, T). Palermo. Biblioteca nazionale. (A, T, B). Wolfenbüttel, Herzog-August-Bibliothek, Musikabteilung. (S, A, T, B, Q). Reprinted in W1111 (1550) N008: no. 9, pp. 242–244. Second column gives text in tenor and quinta pars, where applicable. Verbum iniquum et dolosum ii Duo rogavi ne deneges mihi [no. 1], f. I Salva nos ab excidio Geminiane [no. 2], f. II Christus resurgens ex mortuiis ii Dicant nunc Judei [no. 3], f. III Prolongati sunt dies mei ii Inveterata sunt ossa mea iii Sit ergo fas dicere [no. 4], f. IIII Si rore Aonio fluerent mea ii At deueta diu [no. 5], f. V Domine Jesu Christe, fili Dei vivi [no. 6], f. VI

16

Adrian Willaert

Adriacos numero si quis ii Nobis dum sacros templis [no. 7], f. VII Laetare sancta mater ecclesia ii Augustine lux doctorum [no. 8], f. VIIII

[T: Augustine lux doctorum]

Inclite dux salve Victor ii Sanguine tumulto victricia [no. 9], f. IX

[5: In Verona Agrippina]

Sacerdotum diadema ii O Gratiane, o pie [no. 10], f. X

[5: Sancte Gratiane] [5: Sancte Gratiane]

Regina coeli laetare ii Resurrexit sicut dixit [no. 11], f. XI Peccavi supra numerum ii Quoniam iniquitatem meam [no. 12], f. XII

[5: Tibi soli peccavi] [5: Tibi soli peccavi]

O crux splendidior cunctis ii Dulce lignum dulces clavos [no. 13], f. XIII Ecce lignum crucis ii Crux fidelis inter omnes [no. 14], f. XIIII Inclite Sfortiadum princeps [no. 15], f. XV

[5: Vivat dux Franciscus]

Locuti sunt adversum me lingua dolosa ii Et posuerunt adversum me [no. 16], f. XVI Haud aliter pugnans fulgebat Caeser [no. 17], f. XVII

Sources of Willaert’s Music

17

Victor io, salve tantum cui fata triumphi ii Quis curare neget divos mortalia [no. 18], f. XVIII Precatus est Moyses in conspectu Domini ii Memento Abraam, Isaac, et Jacob [no. 19], f. XIX Congratulamini mihi omnes ii Et dum flerem [no. 20], f. XX Ave Maris stella [ii] Monstra te esse matrem [no. 21], f. XXI Ave Maria ancilla sanctae trinitas [5: Ave Maria gratia plena] [ii] Ave Maria fons et pulchritudo [5: Ave Maria gratia plena] [no. 22], f. XXII Ne projicias nos Domine in tempore [no. 23], f. XXIII W1105 (1540) = V1225 (1540). Intavolatura de li madrigali di Verdelotto da cantare et sonare nel lauto, intavolati per lo eccellentissimi musico messer Adriano Vuillaert, maestro di Capella de la Illustrissima Signoria di Venegia. Novamente Stampata. Et con ogni diligentia correta. Cum gratia et privilegio. Venetiis apud Hieronymum Scotum. 1540. [Venice, Andrea Antico and Girolamo Scotto, 1540.] Location: London. British Library. Reprint of W1104 (1536) = V1224 (1536) W1112 (1542) = RISM B/I: 154210. Adriani Willaert musicorum omnium qui hactenus & nostro, & maiorum Euo floruerint, Longè, ac sine controversie principis celeberrimi, & in presenti Illustrissime Reipublice venetiaru[m] in ede Diui Marci Capelle Rectoris eminentissimi, Musicorum Sex vocum, que volto Motecta dicuntur, nuper omni studio, omniq[ue] indagine in lucem editorum. M. D. Liber Primus XXXXII. Venetis. [Venice, Antonio Gardano, 1542.] Location: Bologna, Accademia Filarmonica. (A, T, B, 6). Bologna. Civico Museo Bibliografico Musicale. (Q).

18

Adrian Willaert

Brussels. Bibliothèque Royale de Belgique. (S, A, T, B, Q). Chantilly. Bibliothèque du Musée Condé. (Q). Dresden. Katholische Hofkirche, Notenarchiv. (B—incomplete). London. British Library. (S, A, T, B, Q). Munich. Bayerische Staatsbibliothek, Musiksammlung. (S, A, T, B, Q, 6). Munich. Universitätsbibliothek. (S, A, Q, 6). Paris. Bibliothèque Nationale de France. (A). Regensburg. Bischöfliche Zentralbibliothek. (S, A, T, B, Q, 6). Toulouse. Bibliothèque du Conservatoire. (A). Verona. Biblioteca dell’Accademia filarmonica. (A, T, B, 6). Vienna. Österreichische Nationalbibliothek, Musiksammlung. (S, A, T, B, Q, 6). Wolfenbüttel, Herzog-August-Bibliothek, Musikabteilung. (S, A, T, B, Q, 6). N024: no. 34, pp. 343–348. Pater noster [no. 1], p. 4, Adrian VV. Ave Maria, gratia plena [no. 2], p. 6, Adrian VV. In te signis radians [no. 3], p. 8, Iachet Berchem Verbum bonum ii Ave solem genuisti [no. 4], p. 9–10, Adrian VV. Vocem iocunditatis [no. 5], p. 12, Adrian VV. O beatum pontificem … O Martine [no. 6], p. 14, Adrian VV. In excelso throno vidi sedere [no. 7], p. 16, Adrian VV. Ave virgo sponsa dei ii O Maria benedicta iii Igitur nos merito [no. 8], pp. 17–19, Adrian VV.

Sources of Willaert’s Music

Beatus Laurentius [no. 9], p. 20, Adrian VV. Obsecro Domine ii Qui regis israel intende [no. 10], pp. 20–22, Adrian VV. O salutaris hostia [no. 11], p. 23, Adrian VV. O gloriosa domina ii Maria mater gratie [no. 12], pp. 24–25, Adrian VV. Salve nos domine [no. 13], p. 26, Adrian VV. In diebus illis ii Et stans retro [no. 14], pp. 27–28, Adrian VV. Factum est verbum domini ii Ego vox clamantis [no. 15], pp. 30–31, Iachet Berchem [seconda pars mistakenly attributed to Adrian VV] Venator lepores mittet tibi ii At Franciscae ducum [no. 16], pp. 32–33, Adrian VV. Domine Jesu Christe ii O bone Jesu [no. 17], pp. 34–36, Adrian VV. O beata infantia ii O felices panni [no. 18], pp. 38–39, Loiset Pieton Beata viscera Maria virginis [no. 19], p. 40, Adrian VV. Peccantem me quotidie [no. 20], p. 41, Iachet Berchem

19

20

Adrian Willaert

Congregati sunt inimici ii Disperde illos in virtute tua [no. 21], pp. 42–43, Verdelot Ave virgo gratiosa [no. 22], p. 44, Iachet Regem regum dominum [no. 23], p. 46, Anon. Qui credit in domino [no. 24], p. 48, Maistre Ian W1113 (1542) = RISM B/I: 154211. Hymnorum musica secundum ordinem Romanae ecclesiae, excellentissimi Adriani Willart, ac aliorum authorum. Noviter in lucem. Venetijs apud Hieronymum Scotum, 1542. [Venice, Girolamo Scotto, 1542.] Location: Bologna. Civico Museo Bibliografico Musicale. (S, A, T, B). Jena. Universitätsbibliothek der Friedrich-Schiller-Universität. (S, A, T, B). Tarazona. Archivo capitular. (S). Verona. Biblioteca dell’Accademia filarmonica. (S, A, B). Reprinted in W1114 (1550) = RISM B/I: 15503 N008: no. 30, pp. 284–285. Music by Willaert unless indicated. Text in parentheses indicates first line of first verse of respective hymn. Text in second liturgical function, as indicated in original. Conditor alme siderum [a 4] iii Vergente mundi [a 4] v Te deprecamur [a 5] [no. 1], f. 2 [Christe redemptor omnium] ii Beata quoque agmina [a 4] iv Martyres dei [a 5] vi Gentem auferte [a 6] [no. 2], f. 2v [Christe redemptor omnium] ii Beata quoque agmina [a 4] vi Gentem [a 5] [no. 3], f. 3v, Iachet

In Adventu Domini. Ad Vesperas.

In Nativitate Domini. Ad Vesperas.

Sources of Willaert’s Music

[Hostis Herodes impie] ii Ibant Magi [a 4] iv Novum genus [a 5] [no. 4], f. 4

21

In Epiphania Domini. Ad Vesperas.

Aures ad nostras [a 4] iii Crimina laxa [a 3] v Christe lux [a 4] vii Tu nobis dona [a 3] ix Gloria deo sit [a 5] [no. 5], f. 4v

In Dom[inicis] diebus in Quadragesima. Ad Vesperas.

Vexilla regis [a 4] iii Quo vulneratus [a 4] v Arbor decora [a 4] vii O crux ave [a 5] [no. 6], f. 6

In Dominica de Passione. Ad Vesperas.

Vexilla regis [a 4] ii Quo vulneratus [a 3] iii Impleta sunt [a 4] iv Arbor decora [a 3] v Beata cuius [a 4] vi O crux ave [a 5] vii Te summa [a 6] [no. 7], f. 7 [Ad cenam agni providi] ii Cuius corpus [a 4] iv Jam pascha [a 3] vi Cum surgit [a 4] viii Gloria tibi [a 5] [no. 8], f. 8v

In tempore Paschali. Ad Vesperas.

[Magne pater] ii Amatorem paupertatis [a 4] iv Tu de vita [a 6] [no. 9], f. 10

In Festo Sancti Augustini. Ad Vesperas.

O iubar nostrae specimen [a 4] ii Reddis heu [a 3] iii Scimus hoc [a 2]

Ad Vesperas.

22

Adrian Willaert

iv Sindonem sacram [a 5] v Laus honor [a 6] [no. 10], f. 11 [Proles de coelo prodiit] ii Spoliatis Aegyptiis [a 4] iv Fac tria tabernacula [a 3] vi Dum reparat [a 5] [no. 11], f. 13v [Decus morum dux minorum] ii Plaudat frater [a 4] iv Pro terrenis [a 3] vi Regis signum [a 5] viii Mina gregem [a 6] [no. 12], f. 14 [Ad Cenam agni providi] Quo agnito discipuli/Sermone blando/Ad cenam [a 5] [no. 13], f. 15v Veni Creator Spiritus [a 4] iii Tu septiformis [a 3] v. Hostem repellas [a 4] vii Gloria patri [a 3] [no. 14], f. 16 [Adesto Sancta Trinitas] ii Te coelorum [a 4] iv Unum te lumen [a 6] [no. 15], f. 17 [Pange lingua gloriosi] ii Nobis datus [a 4] iv Verbum caro [a 4] vi Genitori genitoque [a 6] [no. 16], f. 17v [Ut queant laxis] ii Nuntius celso [a 4] iv Ventris obstruso [a 4] vi Sit decus [a 5] [no. 17], f. 18v

In Festo Sancti Francisci. In Primis Vesperis.

Sancti Francisci. In Secundis Vesperis.

In Tempore Paschali. Ad Vesperas. Tavola: In Festo S. Francisci In Festo Penthecostes. Ad Vesperas.

In Festo Sancte Trinitatis. Ad Vesperas.

In Festo Corporis Christi. Ad Vesperas.

In Festo Sancti Ioannis Baptiste. Ad Vesperas.

Sources of Willaert’s Music

[Ut queant laxis] ii Nuncius celso [a 4] iv Ventris obstruso [a 4] [no. 18], f. 19v, Iachet [Aurea luce et decore rose] Janitor coeli [no. 19], f. 20 [Fons pietatis culmina] ii Cuius refulsit [a 4] iv Prisci proceres [a 3] vi Gloria tibi trinitas [a 6] [no. 20], f. 20v Ave maris stella [a 4] iii Solve vincla [a 3] v Virgo singularis [a 5] vii Sit laus [a 6] [no. 21], f. 21 [Tibi Christe] ii Collaudemus venerantes [a 4] iv Gloriam patri [a 4] [no. 22], f. 22 [Iste confessor Domini] ii Qui pius [a 4] iv Unde nunc [a 5] [no. 23], f. 23 [Lucis creator optime] ii Qui mane junctum [a 4] iv Coelorum pulset [a 5] [no. 24], f. 24 [Exsultet coelum laudibus] ii Vos secli [a 4] iv Quorum precepto [a 4] [= music for strophe 2] vi Deo patri [a 5] [no. 25], f. 25

23

In Festo Sancti Ioannis Baptiste. Ad Vesperas.

In festivitatibus Apostolorum Petri & Pauli. Ad Vesperas.

In Festo Transfigurationis Domini. Ad Vesperas.

In Assumptione Beate Mariae Virginis. Ad Vesperas.

In Festo Sancti Michaelis. Ad Vesperas.

In Natali confessorum. Ad Vesperas.

In Dominicis diebus. Ad Vesperas.

Hynus De Apostolis. Ad Vesperas.

24

Adrian Willaert

[Jesu corona virginum] ii Qui pascis [a 4] iv Te deprecamur [a 5] [no. 26], f. 25v

In Natali Virginum. Ad Vesperas.

W1114a (1544). Canzone villanesche alla napolitana … a quattro voci con la canzona di Ruzante; con la gionta di alcune altre canzone villanesche alla napolitana di Francesco Silvestrino ditto Chechin et di Francesco Corteccia novamente stampate con le loe stanze. Primo Libro. Venezia, Antonio Gardano, 1544. [Venice, Antonio Gardano, 1544.] Location: Brussels. Bibliothèque Royale de Belgique. (T). W1114b (1544) = RISM B/I: 154427. Canzone Villanesche alla Napolitana di M. Adriano Wigliaret a quatro voci, con alcuni Madrigali da lui nuovamente composti & diligentemente corretti, con la Canzona di Ruzante. Con la giunta di alcune altre Canzone Villanesche alla Napolitana a Quatro Voci, composte da M. Francesco Corteccia no piu viste ne stampate, nuovamente poste in luce. Venetiis, apud Hieronymum Scotum M. D. XLIIII. [Venice, Girolamo Scotto, 1544.] Location: Italy. Pistoia. Biblioteca dell’Archivio Capitolare. (A —incomplete). W1114a and W1114b are listed as parallel editions in RISM A/I. N008: no. 48, pp. 319–320. Madonna io non lo so perche lo fai [no. 1], f. 2 Cingari simo venit’a giocare [no. 2], f. 2v Madonna mia famme bon’offerta [no. 3], f. 3 Un giorno mi prego una vedovella [no. 4], f. 3v A quand’a quand’haveva una vicina [no. 5], f.4 Vecchie retrose non valete niente [no. 6], f.4v

Sources of Willaert’s Music

25

W1107 (1545). Adriani Willaert musici celeberremi ac chori divi Marci illustrissimae Reipublicae Venetiarum magistri musica quatuor vocem (motecta vuilgo appelant) Nunc denuo summa diligentia recognita ac in lucem exeuntia Additis etiam ab authore multis motectis que in priori editione desiderabantur. Liber primus. Venetijs Apud Antonium Gardane. M. D. XXXXV. [Venice, Antonio Gardano, 1545.] Location: Coimbra. Biblioteca Geral da Universidade. (A). Cracow. Biblioteka Jagielloksa. (olim Berlin, Preuβische Staatsbibliothek). (S, A, T, B). Hamburg. Staatsarchiv. Staats- und Universitätsbibliothek, Musikabteilung. (S, A, T, B). London. British Library. (S, A, T, B). Lübeck. Bibliothek der Hansestadt Lübeck, Musikabteilung. (S, A, T, B). Munich. Munich. Bayerische Staatsbibliothek, Musiksammlung. (S, A, T, B). Newton, MA. Vershbow Collection. (A). Paris. Bibliothèque Nationale de France. (A). Treviso. Archivio della Cappella del Duomo. (destroyed in 1945). Vatican. Biblioteca Apostolica Vaticana. Cappella Sistina. (S, A, T, B). Vicenza, Biblioteca civica Bertoliana. (S). Vienna. Österreichische Nationalbibliothek, Musiksammlung. (S, A, T, B). Revised second edition of W1106 (1539) N024: no. 75, pp. 490–494. Congratulamini mihi omnes ii Recedentibus discipulis [no. 1], pp. I–II Antoni pastor inclite [no. 2], p. III Omnipotens sempiterne Deus [no. 3], p. IIII O gemma clarissima, Catherina [no. 4], p. V O Thoma, laus et gloria [no. 5], p. VI

26

Adrian Willaert

Angelus Domini descendit [no. 6], p. VII Joannes Apostolus et evangelista ii Ecclesiam tuam quaesimus Domine [no. 7], pp. VIII–IX Natale Sancte Euphemiae ii Tu Domine notus omnibus [no. 8], pp. X–XI O magnum mysterium ii Ave Maria gratia plena [no. 9], pp. XII–XIII Magne martyr Adriane flos grecorum [no. 10], p. XIIII In tua patientia permanens [no. 11], p. XV Homo quidam fecit cenam magnam ii Christus vere noster cibus [no. 12], pp. XVI–XVII Nazareus vocabitur puer iste [no. 13], p. XVIII Videns Dominus flentes sorores Lazari [no. 14], p. XIX Quasi unus de paradisi fluminibus ii Deus qui beatum Marcum [no. 15], p. XX Benedicta es, coelorum regina ii Per illud ave prolatum [no. 16], pp. XXII–XXIII Salve crux sancta arbor ii Causa etiam vite ferret [no. 17], pp. XXIIII–XXV

Sources of Willaert’s Music

27

Mirabile mysterium declaratur hodie [no. 18], p. XXVI Sancte Paule apostole predicator [no. 19], p. XXVII Ave regina coelorum ii Gaude gloriosa [no. 20], pp. XXVIII–XXIX Inviolata, integra et casta es Maria ii Nostra ut pura pectora [no. 21], pp. XXX–XXXI Dominus regit me et nihil mihi deerit ii Parasti in conspectu meo mensam [no. 22], pp. XXXII–XXXIII Saluto te sancta virgo Maria ii Rogo te ergo per illud gaudium [no. 23], pp. XXXIIII–XXXV Patefacte sunt janue coeli ii Mortem enim quam salvator [no. 24], pp. XXXVI–XXXVII W1109 (1545). Adriani Willaert musici celeberrimi ac chori divi Marci illustrissimae Reipublicae Venetiarum magistri musica qutuor vocum (motecta vulgo appellant) Nunc denuo summa diligentia recognita ac in lucem exeuntia Additis etiam ab authore multis motectis que in priori editione desiderabantur. Liber Secundus Venetijs Apud Antonium Gardane M. D. XXXXV. [Venice, Antonio Gardano, 1545.] Location: Antwerpen. Stadsarchief. (S, A, T, B). Cracow. Biblioteka Jagielloksa. (olim Berlin, Preuβische Staatsbibliothek). (S, A, T, B). Eichstätt. Staats- und Seminarbibliothek. (T). Fulda. Bischöfliches Priesterseminar, Bibliothek der Philosophisch-Theologischen Hochschule. (A). London. British Library. (S, A, T, B). Munich. Bayerische Staatsbibliothek, Musiksammlung. (S, A, T, B). Paris. Bibliothèque Nationale de France. (A–incomplete).

28

Adrian Willaert

Valladolid. Archivo musical de la Catedral. (A.). Vienna. Österreichische Nationalbibliothek, Musiksammlung. (S, A, T, B). Revised second edition of W1108 (1539) N024: no. 76, pp. 494–498. Pater noster ii Ave Maria [no. 1], pp. I–II Congratulamini mihi omnes ii Beatam me dicent omnes generationes [no. 2], pp. III–IIII Parens tonantis maximi regina [no. 3], p. V Usquequo Domine oblivisceris me ii Illumina oculos meos [no. 4], p. VI Magnum hereditatis misterium [no. 5], p. VIII Ave regina coelorum mater regis [no. 6], p. IX Spiritus meus attenuabitur ii Libera me Domine et pone me [no. 7], pp. X–XI Veni Sancte Spiritus ii Sine tuo nomine [no. 8], p. XII–XIII Domine Jesu Christe memento quod tu ii Et concede mihi omnipotens [no. 9], pp. XIIII–XV Quem terra, ponthus, aethera ii Beata coeli nuntio fecunda [no. 10], pp. XVI–XVII

Sources of Willaert’s Music

29

Dulces exuviae dum fata deus [no. 11], p. XVIII Flete oculi rorate genas [no. 12], p. XIX Beatus Stephanus preciosus dei ii Et videntes vultum eius [no. 13], pp. XX–XXI Beatus Joannes apostolus et evangelista ii Ipse est qui evangelii fluenta [no. 14], pp. XXII–XXIII Victimae paschali laudes ii Dic nobis Maria [no. 15], pp. XXIIII–XXV Surgit Christus cum tropheo ii Dic Maria quid fecisti contemplando iii Dic Maria quid fecisti postquam Jesum [no. 16], pp. XXVI–XXVIII Intercessio quaesumus domine beate Barbare [no. 17], p. XXX Qui habitat in adiutorio ii Cadent a latere tuo iii In manibus portabunt te [no. 18], pp. XXXI–XXXIII Armorum fortissime ductor Sebastiane ii Te igitur martir egregie supplices [no. 19], pp.XXXIIII–XXXV Regina coeli letare [no. 20], p. XXXVI In illo tempore stabant autem iuxta crucem [no. 21], p. XXXVII W1115 (1545) = RISM B/I: 154520. Canzone Villanesche alla Napolitana di M. Adriano Wigliaret a quatro voci con la Canzon di Ruzante. Con la

30

Adrian Willaert

gionta di alcune altre canzone villanesche alla napolitana di Francesco Silvestrino ditto Chechin et di Francesco Corteccia novamente stampate con le soe stanze. Primo Libro a quatro voci. Venetijs Apud Antonium Gardane. M. D. XXXXV. [Venice, Antonio Gardano, 1545.] Location: Cracow. Biblioteka Jagielloksa. (olim Berlin, Preuβische Staatsbibliothek). (B). Munich. Bayerische Staatsbibliothek, Musiksammlung. (S, A, T, B). Vienna. Österreichische Nationalbibliothek, Musiksammlung. (T). Wolfenbüttel, Herzog-August-Bibliothek, Musikabteilung. (S, A, T, B). Revised second edition in W1116 (1548) = RISM B/I: 154811 and W1117 (1548) Revised third edition in W1118 (1553) = RISM B/I: 155329 N024: no. 77, pp. 498–501. Sempre mi ride sta donna [no. 1], p. I, Adriano O dolce vita mia [no. 2], p. II, Adriano Madonn’io non lo so perche la fai [no. 3], p. III, Adriano Cingari simo venit’a giocare [no. 4], p. IIII, Adriano Vecchie letrose non valete niente [no. 5], p. V, Adriano Madonna mia famme bon’offerta [no. 6], p. VI, Adriano Se mille volte [no. 7], p. VII, Fran. Silvestrino O dio si vede chiaro cha per te moro [no. 8], p. VIII, Fran. Silvestrino Un giorno mi prego una vedovella [no. 9], p. IX, Adriano

Sources of Willaert’s Music

31

Si come bella sei [no. 10], p. X, Fran. Silvestrino A quand’a quand’havea [no. 11], p. XI, Adriano O bene mio famm’uno favore [no. 12], p. XII, Adriano Madonn’io t’heggi’ amato [no. 13], p. XIII, Fran. Corteccia Madonna mia io son un poverello [no. 14], p. XIII, Anon. Sospiri miei d’oime dogliorirose [no. 15], p. XIIII, Adriano Le vecchie per invidia sono pazze [no. 16], p. XV, Fran. Corteccia W1119 (1546) = V1414 (1546). Dei unico Adrian Wilaerth discipulo Don Nicola Vicentino madrigali a cinque voci per theorica et pratica da llui composti al nuovo modo dal celeberrimo suo maestro ritrovato. Libro primo. Con gratia & privilegio. Venetiis, [n.p.], M. D. XLVI. [First Book of Madrigals by Vicentino, who is identified as a student of Willaert in the title and dedication of the print. The print does not contain any madrigals by Willaert.] W1116 (1548) = RISM B/I: 154811. Canzon Villanesche alla Napolitana di Messer Adriano a quarto voci con la Canzon di Ruzante. Libro primo. In Vineggia Apresso Girolamo Scotto, M. D. XLVIII. [Venice, Girolamo Scotto, 1548.] Location: Paris. Bibliothèque Nationale de France. (A). Vienna. Österreichische Nationalbibliothek, Musiksammlung. (S, A, T, B). Contents and order identical to W1117 (1548) Revised second edition of W1115 (1545) = 154520 N008: no. 74, pp. 371–372. Sempre mi ride sta donna da bene [no. 1], p. 1, Adriano

32

Adrian Willaert

Zoia zentil che per secreta via (La canzon di Ruzante) [no. 2], p. 2, Adriano Madonn’io non lo so perche lo fai [no. 3], p. 3, Adriano Cingari simo venite’a giocare [no. 4], p. 4, Adriano O dolce vita mia che t’haggio fatto [no. 5], p. 5, Adriano Madonna mia fa famme bon’offerta [no. 6], p. 6, Adriano Vecchie letrose non valete niente [no. 7], p. 7, Adriano Un giorno mi prego una vedovella [no. 8], p. 8, Adriano O Dio si vede chiaro cha per te moro [no. 9], p. 9, F. Silvestrino A quand’a quand’havea una vicina [no. 10], p. 10, Adriano O bene mio fa fam’uno favore [no. 11], p. 11, Adriano Buccucia dolce chiù che canamielle [no. 12], p. 12, Piersson Sospiri miei d’oime dogliorirosi [no. 13], p. 13, Adriano Le vecchie per invidia sono pazze [no. 14], p. 14, Adriano W1117 (1548). Canzone Villanesche alla Napolitana di Messer Adriano a quatro voci con la Canzon di Ruzante. Libro primo. In Venetia Appresso di Antonio Gardane, 1548. [Venice, Antonio Gardano, 1548.]

Sources of Willaert’s Music

33

Location: Bologna. Civico Museo Bibliografico Musicale. (A). N024: no. 124, pp. 616–618. Contents and order identical to W1116 (1548) = RISM B/I: 154811 Revised second edition of W1115 (1545) W1111 (1550). Famossisimi Adriani VVillaert, chori divi Marci Illustrissimae Reipublicae Venetiaru Magistri. Mvsica quinque Vocum, (quae Motecta nuncupantur.) … Venetiis, Apud Hieronymum Scotum, 1550. [Venice, Girolamo Scotto, 1550.] Location: Cracow. Biblioteka Jagielloksa. (olim Berlin, Preuβische Staatsbibliothek). (S, A, T, B, Q). London, British Library. (S, A, T, B, Q). Ô Maribor, Sofijski Arhiv. (A, 5, dated 1552?). Munich, Bayerische Staatsbibliothek, Musiksammlung. (S, A, T, B, Q). Reprint of W1110 (1539) N008: no. 105, p. 420. W1114 (1550) = RISM B/I: 15503. Hymnorum musica secundum ordinem Romanae Ecclesiae, Eccellentissimi Adriani Vuillaert, Ac aliorum auctorum. Noviter in lucem oedita. Cantus. Venetiis, Apud Hieronynum Scotum, 1550. [Venice, Girolamo Scotto, 1550.] Location: Barcelona. Biblioteca Central. (T). Bologna. Civico Museo Bibliografico Musicale. (S, A). Reprint of W1113 (1542) = RISM B/I: 154211 N008: no. 106, p. 421. RISM B/I: 15501. Di Adriano et di Iachet. I salmi apertinenti alli Vesperi Per tutte le Feste Dell’anno, Parte a versi, & parte spezzadi. Accomodati da Cantare a uno & a duoi Chori, Nouamente per Antonio Gardane con ogni Diligentia ristampati & Corretti. Primus Chorus. Con Privilegio in Venetia Apresso di Antonio Gardane. 1550. [Venice, Antonio Gardano, 1550.] Location: Barcelona. Biblioteca Central. (TI). Bologna. Civico Museo Bibliografico Musicale. (SI, AI). Münster. Santini Bibliothek (S, A, T, B – II). Regensburg. Proskesche Musikbibliothek. (Complete). Revised second edition in RISM B/I: 15576 N025: no. 151, pp. 189–192.

34

Adrian Willaert

Cantus Primus=15501/I Psalm cix: Dixit dominus domino meo Septimi toni [no. 1], p. 2, Iachet [for even-numbered verse, see cantus secundus, no. 1] Psalm cx: Confitebor tibi domine Octavi toni [no. 2], p. 3, Iachet [for even-numbered verse, see cantus secundus, no. 2] Psalm cxi: Beatus vir qui timet Quinti toni [no. 3], p. 4, Iachet [for even-numbered verse, see cantus secundus, no. 3] Psalm cxxviii: Beati omnes qui timent Quarti toni [no. 4], p. 6, Iachet [for even-numbered verse, see cantus secundus, no. 4] Psalm cxii: Laudate pueri Quarti toni [no. 5], p. 7, Iachet [for even-numbered verse, see cantus secundus, no. 5] Psalm cxiii: In exitu Israel de egipto [no. 6], p. 8, Iachet [for even-numbered verse, see cantus secundus, no. 6] Psalm cxvi: Laudate dominum omnes gentes Sexti toni [no. 7], p. 11, Iachet [for even-numbered verse, see cantus secundus, no. 7] Psalm cix: Dixit dominus domino meo Primi toni [no. 8], p. 11, Iachet De Beatissima Virgine [for even-numbered verse, see cantus secundus, no. 8] Psalm cxii: Laudate pueri dominum Octavi toni [no. 9], p. 13, Iachet [for even-numbered verse, see cantus secundus, no. 10] Psalm cxxi: Letatus sum in his Quarti toni [no. 10], p. 14, Iachet [for even-numbered verse, see cantus secundus, no. 11] Psalm cxxvi: Nisi dominus edificaverit domum Sexti toni [no. 11], p. 16, Iachet [for even-numbered verse, see cantus secundus, no. 12]

Sources of Willaert’s Music

Psalm cxlvii: Lauda Jerusalem Dominum [no. 12], p. 17, Iachet

35

Octavi toni

Psalm cxxxi: Memento Domine David [no. 13], p. 18, Iachet [for even-numbered verse, see cantus secundus, no. 14] Psalm cxv: Credidi propter quod locutus sum [no. 14], p. 21, Iachet

Sexti toni

Psalm cxxv: In convertendo dominus [no. 15], p. 22, Iachet

Sexti toni

Psalm cxii: Laudate pueri dominum Primi toni [no. 16], p. 23, Adriano [for second chorus, see cantus secundus, no. 17] Psalm cx: Confitebor tibi domine Primi toni [no. 17], p. 24, Adriano [for second chorus, see cantus secundus, no. 18] Psalm cxlvii: Lauda Jerusalem dominum Secundi toni [no. 18], p. 26, Adriano [for second chorus, see cantus secundus, no. 19] Psalm cxxxviii: Domine probasti me [no. 19], p. 28, Henricus Scaffen

Octavi toni

Psalm cxxix: De profundis clamavi Quinti toni [no. 20], p. 31, Adriano [for second chorus, see cantus secundus, no. 23] Psalm cxxxi: Memento Domine David Octavi toni [no. 21], p. 32, Adriano [for second chorus, see cantus secundus, no. 24] Psalm cxxxviii: Domine probasti me Octavi toni [no. 22], p. 34, Adriano [for second chorus, see cantus secundus, no. 25] Psalm cxv: Credidi propter quod locutus sum Quarti toni [no. 23], p. 36, Adriano [for second chorus, see cantus secundus, no. 26]

36

Adrian Willaert

Psalm cxxv: In convertendo dominus Sexti toni [no. 24], p. 38, Adriano [for second chorus, see cantus secundus, no. 27] Cantus Secundus = 15501/II [Dixit dominus] Donec ponam inimicos tuos Septimi toni [no. 1], p. 2, Adriano [for odd-numbered verse, see cantus primus, no. 1] [Confitebor tibi] Magna opera Domini Octavi toni [no. 2], p. 3, Iachet [for odd-numbered verse, see cantus primus, no. 2] [Beatus vir] Potens in terra erit semen ejus Quinti toni [no. 3], p. 4, Adriano [for odd-numbered verse, see cantus primus, no. 3] [Beati omnes] Labores manuum turaum Quinti toni [no. 4], p. 6, Finot [for odd-numbered verse, see cantus primus, no. 4] [Laudate pueri] Sit nomen domini benedictum Quarti toni [no. 5], p. 7, Iachet [for odd-numbered verse, see cantus primus, no. 5] [In exitu] Facta est Iudaea sanctificatio ejus [no. 6], p. 8, Adriano [for odd-numbered verse, see cantus primus, no. 6] [Laudate dominum] Quoniam confirmata est super nos Sexti toni [no. 7], p. 10, Adriano [for odd-numbered verse, see cantus primus, no. 7] [Dixit dominus] Donec ponam inimicos tuos Primi toni [no. 8], p. 11, Finot [for odd-numbered verse, see cantus primus, no. 8]

Sources of Willaert’s Music

De profundis [no. 9], p. 12, Iachet

37

Quarti toni

[Laudate pueri] Sit nomen domini benedictum Octavi toni [no. 10], p. 13, Iachet [for odd-numbered verse, see cantus primus, no. 9] [Letatus sum] Stantes erant pedes nostri Quarti toni [no. 11], p. 14, Adriano [for odd-numbered verse, see cantus primus, no. 10] [Nisi dominus] Nisi dominus custodierit civitatem Sexti toni [no. 12], p. 16, Adriano [for odd-numbered verse, see cantus primus, no. 11] Laudate pueri dominum [no. 13], p. 17, Iachet

Secundi toni

[Memento Domine David] Sicut iuravit domino Octavi toni [no. 14], p. 18, Anon. [for odd-numbered verse, see cantus primus, no. 13] Letatus sum in his [no. 15], p. 22, M. Ian

Quinti toni

Nisi dominus edificaverit domum [no. 16], p. 22, M. Ian

Primi toni

Laudate pueri dominum [no. 17], p. 23, Adriano [for first chorus, see cantus primus, no. 16]

Primi toni

Confitebor tibi domine [no. 18], p. 24, Adriano [for first chorus, see cantus primus, no. 17]

Sexti toni

Lauda Jerusalem dominum [no. 19], p. 26, Adriano [for first chorus, see cantus primus, no. 18]

Secundi toni

38

Adrian Willaert

Dixit dominus domino meo [no. 20], p. 27, Iachet

Secundi toni

Confitebor tibi domine [no. 21], p. 28, Iachet

Sexti toni

Beatus vir qui timent dominum [no. 22], p. 29, Iachet De profundis clamavi [no. 23], p. 31, Adriano [for first chorus, see cantus primus, no. 20]

Quinti toni

Memento domine David [no. 24], p. 32, Adriano [for first chorus, see cantus primus, no. 21]

Octavi toni

Domine probasti me [no. 25], p. 34, Adriano [for first chorus, see cantus primus, no. 22]

Octavi toni

Credidi propter quod locutus sum [no. 26], p. 36, Adriano [for first chorus, see cantus primus, no. 23]

Quarti toni

In convertendo dominus [no. 27], p. 38, Adriano [for first chorus, see cantus primus, no. 24]

Sexti toni

W1120 (1551) = RISM B/I: 155116. Fantasi Recercari Contrapunti a tre voci di M. Adriano & de altri Autori appropriati per Cantare et Sonare d’ongi sorte di Stromenti, Con dui Regina celi, l’uno di M. Adriano et l’altro di M. Cipriano, Sopra uno medesimo Canto Fermo, Novamente dati In Luce et per Antonio Gardane Con ognii diligentia stampati. Libro primo. In Venetia Apresso di Antonio Gardane. 1551. [Venice, Antonio Gardano, 1551.] Location: Florence. Biblioteca Marucelliana. (S). Reprinted in W1121 (1559) = RISM B/I: 155925 and W1122 (1593) = RISM B/I: 15938 N015: 15516, p. 131. N025: no. 160, pp. 211–212.

Sources of Willaert’s Music

Regina coeli laetare [no. 1], pp. 1–2, Adriano Regina celi laetare [no. 2], pp. 3–4, Cipriano Recercar primo [no. 3], p. 5, Adriano Recercar segondo [no. 4], p. 7, Adriano Recercar Terzo [no. 5], p. 9, Adriano Recercar Quarto [no. 6], p. 11, Adriano Recercar quinto [no. 7], p. 13, Adriano Recercar sesto [no. 8], p. 15, Adriano Recercar Settimo [no. 9], p. 17, Adriano Recercar Ottavo [no. 10], p. 19, Adriano Recercar Nono [no. 11], p. 21, Incerto Autore Recercar Decimo [no. 12], p. 23, Adriano Recercar Undecimo [no. 13], p. 24, Incerto Autore Recercar Duodecimo [no. 14], p. 25, Antonino Barges

39

40

Adrian Willaert

Recercar Tertiodecimo [no. 15], p. 27, Antonino Barges Recercar Quartodecimo [no. 16], p. 29, Antonino Barges Recercar Quintodecimo [no. 17], p. 30, Ieronimo da Bologna W1118 (1553) = RISM B/I: 155329. Canzon villanesche alla Napolitana di Messer Adriano a quatro voci con la Canzon di Ruzante. A quatro voci. In Venetia Appresso di Antonio Gardane, 1553. [Venice, Antonio Gardano, 1553.] Location: London. British Library. (A, T, B). Pittsburgh. University of Pittsburgh Music Library. (S, A, T). Wolfenbüttel, Herzog-August-Bibliothek, Musikabteilung. (S, A, T, B). Revised third edition of W1115 (1545) = RISM B/I: 154520 N025: no. 185, pp. 269–270. Sempre mi ride sta donna da bene [no. 1], p. 1, Adriano Zoia zentil che per secreta via (La Canzon di Ruzante) [no. 2], p. 2, Adriano Madonn’io non lo so perche lo fai [no. 3], p. 3, Adriano Cingari simo venite a giocare [no. 4], p. 4, Adriano O dolce vita mia che t’haggio fatto [no. 5], p. 5, Adriano Madonna mia famme bon offerta [no. 6], p. 6, Adriano Vecchie letrose non valete niente [no. 7], p. 7, Adriano Un giorno mi prego una vedovella [no. 8], p. 8, Adriano

Sources of Willaert’s Music

41

O dio si vede chiaro cha per te moro [no. 9], p. 9, F. Silvestrino O quand’a quand’havea [no. 10], p. 10, Adriano O bene mio famm’uno favore [no. 11], p. 11, Adriano Buccucia dolce chiú che canamielle [no. 12], p. 12, Pierresson Sospiri miei d’oime dogliorirosi et senz’aita [no. 13], p. 13, Adriano Le vecchie per invidia sono pazze [no. 14], p. 14, Adriano W1123 (1555). I sacri e santi salmi che si cantano a vespro e compieta con li suoi Himni Responsorij et Benedicamus Composti da l’eccellentissimo Musico Adriano Vuillaert a uno Choro & a quatro voci Novamente per Antonio Gardano stampati & corretti. Con la gionta di dui Magnificat a quatro voci. In Venetia apresso di Antonio Gardano. 1555. [Venice, Antonio Gardano, 1555.] Although NG2 lists the 1571 print as a second edition, the contents of the four prints are identical. The additions listed in the NG2 worklist appeared in the original print. Location: Bologna. Civico Museo Bibliografico Musicale. (B). Brussels. Bibliothèque Royale de Belgique. (T). London. British Library. (B). Reprint in [1561, Gardano], W1124 (1565) and W1125 (1571). N025: pp. 317–319. Contents from tenor partbook Psalm cix: Dixit dominus [no. 1], p. 1.

Primi toni

Psalm cx: Confitebor tibi domine [no. 2], p. 1.

Secundi toni

Psalm cxi: Beatus vir [no. 3], p. 2.

Tertii toni

42

Adrian Willaert

Psalm cxxix: De profundis clamavi [no. 4], p. 3.

Quinti toni

Psalm cxxxi: Memento domine David [no. 5], p. 4.

Septimi toni

Psalm cxii: Laudate pueri dominum [no. 6], p. 6.

Quarti toni

Psalm cxxi: Letatus sum [no. 7], p. 7.

Sexti toni

Psalm cxxvi: Nisi dominus [no. 8], p. 7.

Tertii toni

Psalm cxlvii: Lauda Ierusalem [no. 9], p. 8.

Octavi toni

Iube domine benedicere [no. 10], p. 9.

Ad completorium

Psalm iv: Cum invocarem exaudivit me Deus [no. 11], p. 9.

Sexti toni

Psalm lxx: In te domine speravi [no. 12], p. 10.

Primi toni

Psalm xc: Qui habitat in adiutorio [no. 13], p. 11.

Septimi toni

Psalm cxxxiii: Ecce nunc benedicite dominum Sexti toni [no. 14], p. 12. Miserere mihi domine et exaudi [no. 15], p. 13. [Te lucis ante terminum] ii Procul recedant somnia [a 4] [no. 16], p. 13. Custodi nos domine [no. 17], p. 14.

Antiphona

Hymnus

Sources of Willaert’s Music

43

Nunc dimittis [no. 18], p. 14.

Sexti toni

Salva nos domine vigilantes [no. 19], p. 14.

Antiphona

Regina celi letare alleluia [no. 20], p. 14. [Ave maris stella] ii Sumens illud [a 4] [no. 21], p. 15.

In festivitatibus Beate Marie virginis Hymnus

Tecum principium in die virtutis [no. 22], p. 15.

In die nativitatis Domini Antiphone

[Christe redemptor omnium] ii Tu lumen tu splendor [a 4] [no. 23], p. 16.

Hymnus

Hodie christus natus est [no. 24], p. 17.

Antiphona

Deo dicamus gratias [no. 25], p. 17. [Magne pater Augustine] ii Amatorem paupertatis [a 4] [no. 26], p. 17. [Ad preces nostras] ii Respice clemens solio [a 4] [no. 27], p. 18.

Hymnus

Hymnus tempore quadragesime

Benedicamus in laude Iesu … Domino [no. 28], p. 18. [Magnificat] Anima mea [no. 29], p. 19.

Sexti toni

[Magnificat] Et exultavit [no. 30], p. 20.

Sexti toni

44

Adrian Willaert

Transcription of Table of Contents (Tenor) INDEX PSALMORUM/ Vespro Primo/In Nativitate Domini, Ad vesperas/Psalmi consueti cum suis Antiphonis./ Dixit dominus domino meo 1 Confitebor tibi domine 1 Beatus vir qui timet dominum 2 De profundis clamavi ad te domine 3 Memento domine David 4 Antiphone. Tecum principium in die virtutis tue cum reliquis Hymnus, Tu lumen tu splendor

15 17

Ad magnificat Antiphona Hodie Christus natus est Benedicamus domino

17 18

Vespro secondo della Madonna Dixit Dominus domino meo Laudate pueri dominum Letatus sum in his que dicta sunt mihi Nisi dominus edificauerit domum Lauda Ierusalem dominum Hymnus, Sumeus illud ave Benedicamus in laude Iesu

1 6 7 7 8 15 18

Ad completorium Psalmi, Antiphonie cum suo Hymno, & versiculis. Cum inuocarem exaudiuit me deus In te domine speravi non confundar Qui habitat in adiutorio altissimi Ecce nunc benedicite dominum Antiphona, Miserere mihi domine

9 10 11 12 13

Hymnus Procul recedant somnia & noctum Versiculi, In manus tuas domine Nunc dimittis servum tuum Antiphona, Salva nos domine Regina celi letare alleluia Hymnus, Amatorem paupertatis Hymnus, Respice clemens

13 13 14 14 14 18 18

Sources of Willaert’s Music

Tempore Quadragesime, & Adventus Anima me dominum Sexti Toni Alijs temporibus Et exultavit Spiritus Sexti Toni

45

19 20

FINIS RISM B/I: 15576. Di Adriano et di Iachet. I salmi apertinenti alli Vesperi Per tutte le Feste Dell’anno, Parte a versi, & parte spezzadi. Accomodati da Cantare a uno & a duoi Chori, Novamente per Antonio Gardano con ogni Diligentia ristampati & Corretti. Primus Chorus. Con Privilegio in Venetia Apresso di Antonio Gardano. 1557. [Venice, Antonio Gardano, 1557.] Location: Bologna. Civico Museo Bibliografico Musicale. (S, A, T, B – II). Cambridge. King’s College. (S – II). Regensburg. Proskesche Musikbibliothek. (A, T, B – II). Venice. Biblioteca Nazionale Marciana. (B – II). Verona. Accademia Filarmonica. (T, B – I; S, A, T, B – II). Revised second edition of RISM B/I: 15501 N025: no. 235, pp. 361–364. Tenor primus = 15576/I Psalm cix: Dixit dominus domino meo Septimi toni [no. 1], p. 1, Iachet [for even-numbered verse, see cantus secundus, no. 1] Psalm cx: Confitebor tibi domine Octavi toni [no. 2], p. 2, Iachet [for even-numbered verse, see cantus secundus, no. 2] Psalm cxi: Beatus vir qui timet dominum Quinti toni [no. 3], p. 4, Iachet [for even-numbered verse, see cantus secundus, no. 3] Psalm cxxviii: Beati omnes qui timent dominum Quarti toni [no. 4], p. 6, Iachet [for even-numbered verse, see cantus secundus, no. 4] Psalm cxii: Laudate pueri dominum Quarti toni [no. 5], p. 7, Iachet [for even-numbered verse, see cantus secundus, no. 5]

46

Adrian Willaert

Psalm cxiii: In exitu Israel de egipto [no. 6], p. 8, Iachet [for even-numbered verse, see cantus secundus, no. 6] Psalm cxvi: Laudate dominum omnes gentes Sexti toni [no. 7], p. 10, Iachet [for even-numbered verse, see cantus secundus, no. 7] Psalm cix: Dixit dominus domino meo Primi toni De [no. 8], p. 11, Iachet Beatissima Virgine [for even-numbered verse, see cantus secundus, no. 8] Psalm cxii: Laudate pueri dominum Octavi toni [no. 9], p. 13, Iachet [for even-numbered verse, see cantus secundus, no. 10] Psalm cxxi: Letatus sum in his Quarti toni [no. 10], p. 14, Iachet [for even-numbered verse, see cantus secundus, no. 11] Psalm cxxvi: Nisi dominus edificaverit domum Sexti toni [no. 11], p. 15, Iachet [for even-numbered verse, see cantus secundus, no. 12] Psalm cxlvii: Lauda Iherusalem dominum [no. 12], 17, Iachet

Octavi toni

Psalm cxxxi: Memento domine david Octavi toni [no. 13], p. 18, Iachet [for even-numbered verse, see cantus secundus, no. 13] Psalm cxv: Credidi propter quod locutus sum [no. 14], p. 21, Iachet

Sexti toni

Psalm cxxv: In convertendo dominus [no. 15], p. 22, Iachet

Sexti toni

Psalm cxii: Laudate pueri [no. 16], p. 23, Adriano [for second chorus, see cantus secundus, no. 17]

Primi toni

Psalm cx: Confitebor tibi domine [no. 17], p. 24, Adriano [for second chorus, see cantus secundus, no. 18]

Primi toni

Sources of Willaert’s Music

47

Psalm cxlvii: Lauda Jerusalem dominum [no. 18], p. 26, Adriano [for second chorus, see cantus secundus, no. 19]

Secundi toni

Psalm cxxxviii: Domine probasti me [no. 19], p. 28, Henricus Scaffen

Octavi toni

Psalm cxxix: De profundis clamavi [no. 20], p. 31, Adriano [for second chorus, see cantus secundus, no. 23]

Quinti toni

Psalm cxxxi: Memento domine david [no. 21], p. 32, Adriano [for second chorus, see cantus secundus, no. 24]

Octavi toni

Psalm cxxxviii: Domine probasti me [no. 22], p. 34, Adriano [for second chorus, see cantus secundus, no. 25]

Octavi toni

Psalm cxv: Credidi propter quod locutus sum [no. 23], p. 36, Adriano [for second chorus, see cantus secundus, no. 26]

Quarti toni

Psalm cxxv: In convertendo dominus [no. 24], p. 38, Adriano [for second chorus, see cantus secundus, no. 27]

Sexti toni

Cantus secundus = 15576/II Dixit dominus [no. 1], p. 2, Adriano [for odd-numbered verse, see tenor primus, no. 1]

Septimi toni

Confitebor tibi [no. 2], p. 3, Iachet [for odd-numbered verse, see tenor primus, no. 2]

Octavi toni

Beatus vir [no. 3], p. 4, Adriano [for odd-numbered verse, see tenor primus, no. 3]

Quinti toni

Beati omnes [no. 4], p. 6, Finot [for odd-numbered verse, see tenor primus, no. 4]

Quarti toni

48

Adrian Willaert

Laudate pueri [no. 5], p. 7, Iachet [for odd-numbered verse, see tenor primus, no. 5]

Quarti toni

In exitu israel [no. 6], p. 8, Adriano [for odd-numbered verse, see tenor primus, no. 6] Laudate dominum omnes gentes [no. 7], p. 10, Adriano [for odd-numbered verse, see tenor primus, no. 7]

Sexti toni

Dixit dominus [no. 8], p. 11, Finot [for odd-numbered verse, see tenor primus, no. 8]

Primi toni

De profundis [no. 9], p. 12, Iachet

Quarti toni

Laudate pueri [no. 10], p. 13, Iachet [for odd-numbered verse, see tenor primus, no. 9]

Octavi toni

Letatus sum [no. 11], p. 14, Adriano [for odd-numbered verse, see tenor primus, no. 10]

Quarti toni

Nisi dominus [no. 12], p. 16, Adriano [for odd-numbered verse, see tenor primus, no. 11]

Sexti toni

Laudate pueri [no. 13], p. 17, Iachet

Secundi toni

Memento domine David [no. 14], p. 18, Anon. [for odd-numbered verse, see tenor primus, no. 12]

Octavi toni

Letatus sum [no. 15], p. 21, M. Ian

Quinti toni

Nisi dominus [no. 16], p. 22, M. Ian

Primi toni

Sources of Willaert’s Music

49

Laudate pueri [no. 17], p. 23, Adriano [for first chorus, see cantus primus, no. 16]

Primi toni

Confitebor tibi [no. 18], p. 24, Adriano [for first chorus, see cantus primus, no. 17]

Primi toni

Lauda Jerusalem dominum [no. 19], p. 25, Adriano [for first chorus, see cantus primus, no. 18]

Secundi toni

Dixit dominus [no. 20], p. 27, Iachet

Secundi toni

Confitebor tibi domine [no. 21], p. 28, Iachet

Sexti toni

Beatus vir [no. 22], p. 29, Iachet

Primi toni

De profundis [no. 23], p. 31, Adriano [for first chorus, see cantus primus, no. 20]

Quinti toni

Memento domine David [no. 24], p. 32, Adriano [for first chorus, see cantus primus, no. 21]

Octavi toni

Domine probasti me [no. 25], p. 34, Adriano [for first chorus, see cantus primus, no. 22]

Octavi toni

Credidi propter quod locutus sum [no. 26], p. 36, Adriano [for first chorus, see cantus primus, no. 23]

Quarti toni

In convertendo dominus [no. 27], p. 38, Adriano [for first chorus, see cantus primus, no. 24]

Sexti toni

W1121 (1559) = RISM B/I: 155925. Fantasie Recercari Contrapunti a tre voci di M. Adriano & de altri Autori appropriati per Cantare & Sonare d’ogni

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sorte de Stromenti, Con dui Regina celi, l’uno di M. Adriano & l’altro di M. Cipriano, Sopra uno medesimo Canto Fermo, Novamente per Antonio Gardano ristampati. Libro Primo. In Venetia Apresso di Antonio Gardano. 1559. [Venice, Antonio Gardano, 1559.] Location: Madrid. Biblioteca de la Casa Ducal de Medinaceli. (T). Milan. Sartori Collection. (S, B). Munich. Bayerische Staatsbibliothek, Musiksammlung. (S, T, B). Padova. Buiblioteca universitaria. (B). Reprint of W1120 (1551) = RISM B/I: 155116 N025: no. 253, pp. 396–397. N015: 15598, pp. 189–190. Facsimile edition: N078. W1126 (1559). Musica Nova di Adriano Willaert all’illustrissimo et eccellentissimo signor Il Signor Donno Alfonso d’Este Prencipe di Ferrara. Con gratia et privilegio Della Illustrissima Signoria di Venetia, & di tutte li Prencipi Christiani, come ne I loro privilegi appare. In Venetia appresso di Antonio Gardano. 1559. [Venice, Antonio Gardano, 1559.] Location: Assis, Biblioteca communale. (S, A, T, B, Q, 6, 7). Barcelona. Biblioteca Central. (A, T, B, Q, 6, 7). Berkeley. University of California. Music Library. (A, Q, 6, 7). Bologna. Civico Museo Bibliografico Musicale. (S, A, T, B, Q, 6, 7). Brussels. Bibliothèque Royale de Belgique. (S, T, B, Q, 6, 7). Cracow. Biblioteka Jagielloksa. (olim Berlin, Preuβische Staatsbibliothek). (Q). Fabriano, Biblioteca communale. (7—incomplete). Hamburg. Staats- und Universitätsbiliothek, Musikabteilung. (S, A, T, B, Q, 6, 7). London. British Library. (S, A, T, B, Q, 6, 7). London. Royal College of Music. (Missing). Madid. Biblioteca nacional. (S). Madrid. Conservatorio Superior de Música. (S, A, T, B, Q, 6, 7). Modena. Biblioteca Estense. (S, T, B, 6, 7). Munich. Bayerische Staatsbibliothek, Musiksammlung. (S, A, T, B, Q, 6, 7). Naples. Biblioteca del Conservatorio di Musica S. Pietro a Maiella. (T—incomplete). Paris. Bibliothèque Nationale de France. (S, A, T, B, Q, 6, 7). Paris. Bibliothèque Sainte-Geneviève. (S, A, T, B, Q, 6, 7). Parma. Sezione Musicale della Biblioteca Palatina presso il Conservatorio “Arrigo Boito.” (S).

Sources of Willaert’s Music

51

Regensburg. Bischöfliche Zentralbibliothek. (B–missing). Rome. Biblioteca Casanatense. (A, Q). Treviso. Biblioteca communale. (S, T, B, Q, 6, 7). Turin. Biblioteca Nazionale. (A, Q). Venice. Biblioteca nazionale Marciana. (T, B). Verona. Biblioteca dell’Accademia filarmonica. (S, T, B, Q, 7). Vicenza. Biblioteca civica Bertoliana. (S). Reprint 1569 [lost] N025: no. 254, pp. 397–406. Domine, quid multiplicati sunt [a 4] ii Ego dormivi, et soporatus sum [a 4] [no. 1], pp. 1–2. Dilexi, quoniam exaudiet dominus vocem orationis meae [a 4] ii O domine libera animam meam [a 4] [no. 2], pp. 3–4. Confitebor tibi domine in toto corde meo [a 4] ii In quacunque die invocavero te exaudi me [a 3] iii Si ambulavero in medio tribulationis [a 4] [no. 3], pp. 5–7. Recordare Domine quid acciderit nobis [a 4] ii Patres nostri peccaverunt et non sunt [a 4] [no. 4], pp. 7–10. O admirabile commertium creator generis humani [a 5] ii Quando natus es ineffabiliter ex virgine [a 5] iii Rubum quem viderat Moyses incombustum [a 5] iv Germinavit radix lesse [a 5] v Ecce Maria genuit nobis salvatorem [a 5] vi Mirabile misterium declaratur hodie [a 5] vii Magnum haereditatis misterium [a 5] [no. 5], pp. 11–18. Miserere nostri Deus omnium et respice nos [a 5] ii Alleva manum tuam super gentes alienas [a 5] [no. 6], pp. 19–20. Sub tuum presidium confugimus sancta Dei Genitrix [a 5] [no. 7], pp. 21–22.

52

Adrian Willaert

Beati pauperes spiritu quoniam ipsorum est regnum coelorum [a 5] ii Beati qui persecutionem patiuntur propter iustitiam [a 5] [no. 8], pp. 23–24. Sustinuimus pacem et non venit [a 5] ii Peccavimus cum patribus nostris [a 5] [no. 9], pp. 25–26. Omnia quae fecisti nobis domine [a 5] ii Cognoscimus domine quia peccavimus [a 5] [no. 10], pp. 27–28. Veni Sancte Spiritus [a 6] ii O lux beatissima [a 6] [no. 11], pp. 29–32. Avertatur obsecro Domine furor tuus [a 6] ii Inclina deus meus aurem tuam et audi [a 6] [no. 12], pp. 33–34. Alma Redemptoris mater [a 6] ii Tu, quae genuisti [a 6] [no. 13], pp. 35–36. Peccata mea domine, sicut sagittae infixa sunt mihi [a 6] ii Quoniam iniquitatem meam ego cognosco [a 6] [no. 14], pp. 37–38. Salve sancta parens enixa puerpera regem [a 6] ii Virgo dei genitrix quem totus non capit orbis [a 6] [no. 15], pp. 39–40. Auditae insulae, et attendite populi de longe [a 6] ii Et posuit os meum quasi gladium acutum [a 6] [no. 16], pp. 41–42. Aspice Domine quia facta est [a 6] ii Plorans ploravit in nocte [a 6] [no. 17], pp. 43–44. Pater, peccavi in coelum et coram te [a 6] ii Quanti mercenarii in domo patris mei [a 6] [no. 18], pp. 45–46.

Sources of Willaert’s Music

Victimae paschali laudes immolent christiani [a 6] ii Dic nobis Maria quid vidisti in via [a 6] [no. 19], pp. 47–48. Mittit ad virginem non quem vis angelum [a 6] ii Exiqui mitteris haec dona dicerre [a 4] iii Audit et suscipit puella nuncum [a 6] [no. 20], pp. 49–52. Haec est domus Domini firmiter aedificata [a 6] ii Fundavit earn altissimus, qui super maria fundavit eam [a 6] [no. 21], pp. 53–54. Huc me sidereo desecendere iussit olimpo [a 6] ii Pungentem capiti dominum gestare [a 4] iii De me solus amor potuit perferre triumphum [a 6] [no. 22], pp. 55–57. Praeter rerum seriem parit Deum hominem [a 7] ii Virtus sancti spiritus opus illud coelitus [a 7] [no. 23], pp. 58–59. Inviolata, integra et casta es Maria [a 7] ii Tua per precata dulcisona [a 7] [no. 24], pp. 61–62. Benedicta es, coelorum regina [a 7] ii Per illud ave prolatum [a 7] [no. 25], pp. 63–64. Verbum supernum prodiens [a 7] ii Se nascens dedit socium [a 7] [no. 26], pp. 65–66. Te Deum patrem ingenitum [a 7] ii Laus Deo patri pariliquem proli [a 7] [no. 27], pp. 67–68. Io amai sempre [a 4] ii Ma chi pensò veder [a 4] [no. 28], pp. 69–71.

53

54

Adrian Willaert

Amor, Fortuna [a 4] ii Ne spero i dolci [a 4] [no. 29], pp. 72–73. Quest’anima gentil di tornino indietro [a 4] ii Se si posasse sotto el quarto nido [a 4] [no. 30], pp. 74–75. Lasso, ch’I ardo, & altri non me ‘l crede [a 4] ii Quest’ardir mio di che vi cal si poco [a 4] [no. 31], pp. 76–77. O invidia nemica di virtute [a 5] ii Ne però con atti acerbi [a 5] [no. 32], pp. 78–79. Piu volte gia [a 5] ii Ond’io non potè mai formar parola [a 5] [no. 33], pp. 80–81. Quando fra l’altre donne [a 5] ii Da lei ti vien [a 5] [no. 34], pp. 82–83. Laura mia sacra al mio stanco riposo [a 5] ii Ella si tace; & di pietà dipinta [a 5] [no. 35], pp. 84–85. Mentre che ‘l cor di gliamorosi vermi [a 5] ii Quel foco è morto, e’l copre un picciol marmo [a 5] [no. 36], pp. 86–87. Onde tolse Amor l’oro [a 5] ii Da quali angeli mosse, & di qual spera [a 5] [no. 37], pp. 88–89. Giunto m’ha amor fra belle, & crude braccia [a 5] ii Nulla posso levar io per mio ingegno [a 5] [no. 38], pp. 90–91. I begliocchi; ond’I fui percosso in guisa [a 5] ii Questi son que begli’occhi [a 5] [no. 39], pp. 92–93.

Sources of Willaert’s Music

Io mi rivolgo [a 5] ii Talhor m’assale [a 5] [no. 40], pp. 94–95. Aspro core [a 6] ii Vivo sol di speranza [a 6] [no. 41], pp. 96–97. Passa la nave [a 6] ii Pioggia di lagrimar [a 6] [no. 42], pp. 98–99. I piansi; hor canto [a 6] ii Sì profound’era [a 6] [no. 43], pp. 100–101. Cantai: hor piango [a 6] ii Tengan dunque ver [a 6] [no. 44], pp. 102–103. In qual parte del ciel [a 6] ii Per divina bellezza [a 6] [no. 45], pp. 104–105. I vidi in terra [a 6] ii Amor, senno, valor [a 6] [no. 46], pp. 106–107. Ove ch’i posi gliocchi lassi [a 6] ii Amor e’l ver fur meco [a 6] [no. 47], pp. 108–109. Pien d’un vago pensier [a 6] ii Ben, s’io non erro, di pietate un raggio [a 6] [no. 48], pp. 110–111. Quando nascesti, Amor [a 7] [no. 49], pp. 112–113. Liete e pensose [a 7] [no. 50], pp. 114–115. Che fai alma? che pensi? [a 7] [no. 51], p. 116.

55

56

Adrian Willaert

Occhi piangete, accompagnete il core [a 7] [no. 52], p. 117. W1127 (1560). Cincquiesme livre de chansons composé a troys parties par M. Adrian Willart nouvellement Imprimé en troys vollumes. A Paris. De l’imprimerie d’Adrian le Roy, & Robert Ballard, Imprimeurs du Roy, rue S. i.e.,an de Beauvais, à l’ensigne Satine Genevieve. 1560. Avec privilege du Roy, pour dix ans. [Paris, Adrian Le Roy and Robert Ballard, 1560.] Location: Paris. Bibliothèque Nationale de France. Vienna. Österreichische Nationalbibliothek, Musiksammlung. N021: no. 67, pp. 90–91. Allons allons gay gayment [no. 1], f. 2 Dessus nostre treille de may [no. 2], f. 3 Jean Jean quant tu t’en yras [no. 3], f. 4 Or suis je bien au pire [no. 4], f. 5 J’ayme par amours la belle [no. 5], f. 6 J’ay veu le regnard et le loup [no. 6], f. 7 Baysez moy tant tant [no. 7], f. 8 Quand le joly Robinet [no. 8], f. 9 [N’]as tu point veu la Viscontine [no. 9], f. 10 Vous marchez du bout du pied [no. 10], f. 11

Sources of Willaert’s Music

57

Qui la dira la peine [no. 11], f. 12 He dieu Helaine [no. 12], f. 12 La rousée du moy de may [no. 13], f. 13 Qui est celuy qui a dit mal [no. 14], f. 14 Sire don dieu tant ilz sont [no. 15], f. 15 Je ne sçauroys chanter [no. 16], f. 16 Qui veult aymer il faut estre [no. 17], f. 17 La jeune dame va au moulin [no. 18], f. 18 Perrot viendras tu au nopces [no. 19], f. 19 Sy je ne voy mamie [no. 20], f. 20 [1561, Gardano]. I sacri e santi salmi che si cantano a vespro e compieta con li suoi Hymni Responsorij et Benedicamus. Composti da l’eccellentissimo Musico Adriano Vuillaert a uno Choro & a quatro voci. Novamenteper Antonio Gardano ristampato & corretti, con la gionta di dui Magnificat. A quatro voci. In Venetia appresso di Antonio Gardano. 1561. [Venice, Antonio Gardano, 1561.] No RISM catalog reference Location: Bressanone. Priesterseimar. (Complete). Reprint of W1123 (1555) N025: p. 318.

58

Adrian Willaert

W1128 (1561)[1]. Hadriani Willaert musici excellentissimi moteta quatuor, quinque, et sex vocum, nunc primum in lucem edita. Liber Primus. Lovanii. Apud Petrum Phalesium Bibliopol. Iurat. M. D. LXI. Cum Gratia & Privilegio. [Leuven, Pierre Phalèse, 1561.] RISM A/I lists this print and the following print as one item, however they are given separate entries here, reflecting their separate publication. Location: Madrid. Conservatorio Superior de Música. (liber primus). Munich. Bayerische Staatsbibliothek, Musiksammlung. (liber primus and liber secundus). Wrocaw (Breslau), Biblioteka Uniwersytecka. (missing T, B). N031: no. 79, pp. 85–86. [Contains the first eleven motets of W1126 (1559).] Domine, quid multiplicati sunt [a 4] ii Ego dormivi, et soporatus sum [a 4] [no. 1], f.2. Dilexi, quoniam exaudiet dominus vocem orationis meae [a 4] ii O domine libera animam meam [a 4] [no. 2], f.3. Confitebor tibi domine in toto corde meo [a 4] ii In quacunque die invocavero te exaudi me [a 3] iii Si ambulavero in medio tribulationis [a 4] [no. 3], ff. 4–5. Recordare Domine quid acciderit nobis [a 4] ii Patres nostri peccaverunt et non sunt [a 4] [no. 4], ff. 5v–6. O admirabile commertium creator generis humani [a 5] ii Quando natus es ineffabiliter ex virgine [a 5] iii Rubum quem viderat Moyses incombustum [a 5] iv Germinavit radix iesse [a 5] v Ecce Maria genuit nobis salvatorem [a 5] vi Mirabile misterium declaratur hodie [a 5] vii Magnum haereditatis misterium [a 5] [no. 5], ff. 6v–9v. Miserere nostri Deus omnium et respice nos [a 5] ii Alleva manum tuam super gentes alienas [a 5] [no. 6], f.10.

Sources of Willaert’s Music

59

Sub tuum presidium confugimus sancta Dei Genitrix [a 5] [no. 7], f.11. Beati pauperes spiritu quoniam ipsorum est regnum coelorum [a 5] ii Beati qui persecutionem patiuntur propter iustitiam [a 5] [no. 8], ff. 11v–12. Sustinuimus pacem et non venit [a 5] ii Peccavimus cum patribus nostris [a 5] [no. 9], ff. 12v–13. Omnia quae fecisti nobis domine [a 5] ii Cognoscimus domine quia peccavimus [a 5] [no. 10], ff. 9v–10. Veni Sancte Spiritus [a 6] ii O lux beatissima [a 6] [no. 11], ff. 11–12. W1128 (1561)[2]. Hadriani Willaert musici excellentissimi moteta sex et septum vocibus, nunc primum in lucem aedita. Liber Secundus. Lovanii. Apud Petrum Phalesium Bibliopol. Iurat. M. D. LXI. Cum Gratia & Privilegio. [Leuven, Pierre Phalèse, 1561.] RISM A/I lists this print and the preceding print as one item, however they are given separate entries here, reflecting their separate publication. N031: no. 80, pp. 86–88. [Contains the remaining sixteen motets of W1126 (1559).] Avertatur obsecro Domine furor tuus [a 6] ii Inclina deus meus aurem tuam et audi [a 6] [no. 1], ff. 2–3. Alma Redemptoris mater [a 6] ii Tu, quae genuisti [a 6] [no. 2], ff. 4–5. Peccata mea domine, sicut sagittaw infixa sunt mihi [a 6] ii Quoniam iniquitatem meam ego cognosco [a 6] [no. 3], ff. 6–7. Salve sancta parens enixa puerpera regem [a 6] ii Virgo dei genitrix quem totus non capit orbis [a 6] [no. 4], ff. 8–9.

60

Adrian Willaert

Auditae insulae, et attendite populi de longe [a 6] ii Et posuit os meum quasi gladium acutum [a 6] [no. 5], ff. 10–11. Aspice Domine quia facta est [a 6] ii Plorans ploravit in nocte [a 6] [no. 6], ff. 12–13. Pater, peccavi in coelum et coram te [a 6] ii Quanti mercenarii in domo patris mei [a 6] [no. 7], ff. 14–15. Victimae paschali laudes immolent christiani [a 6] ii Dic nobis Maria quid vidisti in via [a 6] [no. 8], ff. 16–17. Mittit ad virginem non quem vis angelum [a 6] ii Exiqui mitteris haec dona dicerre [a 4] iii Audit et suscipit puella nuncum [a 6] [no. 9], ff. 18–20. Haec est domus Domini firmiter aedificata [a 6] ii Fundavit earn altissimus, qui super maria fundavit eam [a 6] [no. 10], ff. 21–22. Huc me sidereo desecendere iussit olimpo [a 6] ii Pungentem capiti dominum gestare [a 4] iii De me solus amor potuit perferre triumphum [a 6] [no. 11], ff. 23–25. Praeter rerum seriem parit Deum hominem [a 7] ii Virtus sancti spiritus opus illud coelitus [a 7] [no. 12], ff. 26–27. Inviolata, integra et casta es Maria [a 7] ii Tua per precata dulcisona [a 7] [no. 13], ff. 28–29. Benedicta es, coelorum regina [a 7] ii Per illud ave prolatum [a 7] [no. 14], ff. 30–31.

Sources of Willaert’s Music

61

Verbum supernum prodiens [a 7] ii Se nascens dedit socium [a 7] [no. 15], ff. 32–33. Te Deum patrem ingenitum [a 7] ii Laus Deo patri pariliquem proli [a 7] [no. 16], ff. 34–35. W1129 (1562) = RISM B/I: 15629. Il terzo libro delle muse a tre voci di canzon francese di Adrian Willaert, nuovamente con alcune d’altri Autori insieme ristampate & con[n] somma diligenza corrette. In Venegia, Apresso Girolamo Scotto, 1562. [Venice, Girolamo Scotto, 1562.] Location: Bochum. Stadtbibliothek. Musikbücherei. (A). Bologna. Civico Museo Bibliografico Musicale. (T). Cracow. Biblioteka Jagielloksa. (olim Berlin, Preuβische Staatsbibliothek). (C, T, B). Florence. Biblioteca nazionale centrale. (S). London. British Library. (T). N008: no. 217, pp. 598–600. Sur le joly joly jonc ma doulce amye [no. 1], p. 1, Adriano Vuillaert Allons allons gay gayement [no. 2], p. 3, Adrien Vuillaert Or suis je bien au pire [no. 3], p. 5, Adrien Vuillaert J’ayme par amours [no. 4], p. 6, Adrien Vuillaert Le grant desir d’aymer my tient [no. 5], p. 7, Io. Mouto[n] Qui la dira la peine de mon cueur [no. 6], p. 9, Adrien Vuillaert La rouse du moys de may m’a gaste [no. 7], p. 10, Adrien Vuillaert

62

Adrian Willaert

Qui est celuy qui a dit mal du con [no. 8], p. 12, Adrien vuillaer Dessus dessus nostre treille de may [no. 9], p. 13, Adrien vuillaert Le bergier & la bergiere [no. 10], p. 15, N. Reuez Sire don dieu tant ilz sont ayses [no. 11], p. 17, Adriano Vuillaert En l’ombre d’ung buissonet [no. 12], p. 19, Iosquin Jan jan quant tu teniras [no. 13], p. 21, Adrien vuillaert Qui veult aymer il fault estre joyeulx [no. 14], p. 23, Adrien vuillaert Je ne scaroys chanter ne rire [no. 15], p. 31, Adrien vuillaert Baises moy tant tant [no. 16], p. 27, Adrien vuillaert Dessus son asne bouduin tout charge [no. 17], p. 29, Adrien vuillaert [= La jeusne dame va au molin.] Jay veu le regnart et le loup et le lievre [no. 18], p. 31, Anon. Quant le joly robinet entricote la bergiere [no. 19], p. 33, Adrien vuillaert Baises moy tant tant [no. 20], p. 35, Adriano Vuillaert [N’]a tu point veu la viscontine [no. 21], p. 37, Adrien vuillaert

Sources of Willaert’s Music

63

Vous marchez du bout du pie [no. 22], p. 39, Adrien vuillaert Perot Perot viendras tu aux nopces [no. 23], p. 41, Adrien vuillaert He diu Helayne la layne my fault [no. 24], p. 43, Adrien vuillaert On en dira ce qu’on vouldra mais m’amye [no. 25], p. 45, Claudin W1130 (1563). Madrigali a quatro voci di Adriano Willaert con alcune napolitane et la canzon de Ruzante tutte recolte insieme coretti & novamente stampati. In Venegia appresso Girolamo Scotto, MDLXIII. [Venice, Girolamo Scotto, 1563.] Location: Brussels. Bibliothèque Royale de Belgique. (S, T, B). Paris. Bibliothèque Nationale de France (S, A, T, B). N008, no. 241, pp. 637–639. Qual piu divers’& nuova [no. 1], p. 2 Quante volte diss’io [no. 2], p. 3 Lagrime mesti & voi sospir dolenti [no. 3], p. 4 Gia mi godea felic’ogni mio bene [no. 4], p. 5 Chi volesse saper che cos’e amore [no. 5], p. 6 Cosi vincet’in terra [no. 6], p. 7 Oime’l bel viso oime’l soave sguardo [no. 7], p. 8

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Con dogli’e con pieta piu ch’infinita [no. 8], p. 9 Qual anima ignorante, over piu saggia [no. 9], p. 10 Signora dolce io te vorrei parlare [no. 10], p. 11 Amor mi fa morire [no. 11], p. 12 Quando gionse per gl’occh’al cor madonna [no. 12], p. 13 Grat’e benigna donna [no. 13], p. 14 Madonna ‘l bel desire [no. 14], p. 14 Madonna mia gentile [no. 15], p. 15 Amor tu sai pur fare [no. 16], p. 16 Se la dura durezza [no. 17], p. 16 Voi sapete ch’io v’am’anzi v’adoro [no. 18], p. 17 Non piu ciance madonna [no. 19], p. 18 Madonna ohime per qual cogion m’havete [no. 20], p. 18 Madonn’io non lo so perche lo fai [no. 21], p. 19 Cingari simo venit’a giocare [no. 22], p. 20

Sources of Willaert’s Music

65

Madonna mia famme bon’offerta [no. 23], p. 20 A quand’a quand’havea una vicina [no. 24], p. 21 [In diapason si placet] O bene mio fa famm’uno favore [no. 25], p. 21 Zoia zentil che per secreta via [no. 26], p. 21 Occhio non fu giamai che lachrimasse [no. 27], p. 22 Quando di rose d’oro [no. 28], p. 23 W1124 (1565). I sacri e santi salmi che si cantano a vespro e compieta con li suoi Hinni Responsorij et Benedicamus a uno Choro & a quatro voci Composti da l’eccellentissimo Musico Adriano Vuillaert a uno choro, et a quatro voci. Novamente risampato, Con la gionta di dui Magnificat. In Venetia apresso di Francesco Rampazetto. 1565. [Venice, Francesco Rampazetto, 1565.] Location: London. Royal College of Music. (S, A, T, B). Reprint of W1123 (1555) 1569. Willart cantiones musicae Mutetae, cum aliis ejusdem cantionibus Italicus 4. 5. 6. & 7. vocum. 1569. [lost] Reprint of W1126 (1559) There was a reprint of the 1559 Musica Nova collection, of which no copy survives. W1125 (1571). I sacri e santi salmi che si cantano a vespro e compieta con li suoi Himni Responsorij et Benedicamus Composti da l’eccellentissimo Musico Adriano Vuillaert a uno Choro & a quatro voci. Novamente ristampato, con la gionta di dui Magnificat a quatro voci. Venezia, figliuoli di Antonio Gardano. 1571. [Venice, Antonio Gardano, 1571.] Location: Munich. Bayerische Staatsbibliothek, Musiksammlung. (S, A, T, B). Reprint of W1123 (1555)

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Adrian Willaert

W1131 (1578) = RISM B/I: 157816. Tiers livre de chansons a trois parties Composé par Ad. Vuillart. Imprimé en Trois volumes. A Paris. M.D.LXXVIII. Par Adrian le Roy, & Robert Ballard. Imprimeurs du Roy. Avec privilege de sa magesté pour dix ans. [Paris, Le Roy & Ballard, 1578.] Location: Cambridge, MA. Harvard University. Houghton Library. Vienna. Österreichische Nationalbibliothek, Musiksammlung. Würzburg. Universitätsbibliothek der Julius-MaximilliansUniversität N021: no. 219bis, pp. 193–194. Allons allons gay f. 1, Ad. Vuillard Sire don dieu f. 2, Vuillard Dessus nostre treille f. 2, Vuillard Qui est celuy f. 4, Vuillard Jehan Jehan f. 5, Vuillard Qui la dira f. 6, Ad. Vuillart [Richafort in table of contents] La rousé du moys de may f. 7, Vuillard J’ayme par amours f. 9, Vuillard J’ay veu le regnard f. 10, Vuillard Or suis je bien au pire f. 10, Vuillard

Sources of Willaert’s Music

Quand le joli Robinet f. 11, Vuillard Vous marchez du bout du pied f. 13, Vuillard [N’]as tu point veu la viscontine f. 14, Vuillard Baisez moy tant tant f. 15, Vuillard Je ne scauroys chanter f. 16, Vuillard Quy veult aymer f. 17, Vuillard La jene dame f. 18, Vuillard Perrot viendras tu aux nopces f. 19, Vuillard He Dieu Helayne f. 20, Vuillard Dessus l’herbe vert f. 21, Gascongne En contemplant f. 22, Gascongne En disant une chansonnette f. 23, Gascongne Le grand désir f. 23, Mouton Petitte camusette f. 25, Josquin

67

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Adrian Willaert

W1122 (1593) = RISM B/I: 15938. Fantasie recercari et contrapunti a tre voci, Di Adriano & de altri Autori, appropriati per Cantare & Sonare d’ogni sorte di Stromenti, Con due Regina celi, l’uno di Adriano & l’altro di Cipriano, Sopra uno medesimo Canto Fermo. Novamente con ogni diligenza Ristampate. Venetia, Angelo Gardano. M. D. LXXXXIII. [Venice, Angelo Gardano, 1593.] Location: Berkeley. University of California. Music Library. (B). London. British Library. (S, B). Reprint of W1120 (1551) = RISM B/I: 155116 N015: 15938, p. 392.

III Sources of Willaert’s Music: Print Anthologies

Chapter 3 comprises an inventory of works attributed to Willaert in at least one source, appearing in print anthologies. Only works attributed to Willaert, either directly or indirectly through another source, are listed here, thus none of the individual listings represents the complete contents of a print. For the bibliography of materials used in the compilation of this chapter, and for the bibliographic citations used here, see the first section of Chapter 9. Some pieces by composers other than Willaert (or with attributions to composers other than Willaert) are included where there is a conflicting ascription and at least one source ascribes a piece to Willaert. This list also provides an inventory of works by Willaert transmitted anonymously in print anthologies. Where there is a reprint containing the same contents, order and pagination, or foliation of the original, the contents of the reprint are not given, and thus in the worklist in Chapter 7, citations of reprints of print anthologies are also not included. Reprints are listed immediately following the title of the respective print. Unlike Chapter 2, the titles and RISM B/I sigla for reprints are not included in this section. RISM B/I sigla are used here unless otherwise indicated. An equal sign (=) indicates the same print with a different siglum (usually RISM A/I). An arrow (→) indicates a reprint of the print cited. Note that the reprint is not included later in the listing.

69

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Adrian Willaert

15193.

Motteti de la corona. Libro quarto. [Fossombrone, Ottaviano Petrucci, 1519.]

[c. 1528]9. Six Gaillardes et six Pavanes avec treze chansons musicales a quatre parties le tout nouvellement imprime par Pierre Attaingnant imprimeur et libraire domourant a Paris en la rue de la Harpe devant le bout de la rue des Mathurins pres leglise saint Cosme. desquelles la table sensuyt. [Paris, Pierre Attaingnant, 1530.] [before Easter, April 17, 1530, n.st.]. No 15: 15304, pp. 32–33. No 19, no. 17, pp. 230–231. A l’aventure, l’entrepris no. 13, f.v, Willart. Mon cueur mon corps no. 14, f.vv, Willart. Dessus le marché d’Arras, myrely, myrela, bon bas no. 20, f.xiiv, Willart. 15264.

Verbum bonum & suave [a 6] ii Ave solem genuisti no. II, ff. A2v–A3, Adrianus

15202.

Motteti novi libro tertio. Venetiiis impressum opera et arte Andree Antiqui. [Venice, Andrea Antico, 1520.] O gemma clarissima catherina [no. 12], ff. 10v–11, Anon.

15203.

Motetti novi & chanzoni franciose a quatro sopra doi. Venetiiis impressum opera et arte Andree Antiqui. [Venice, Andrea Antico, 1520.]

All ascriptions from tavola, except as noted. Sancta et immaculatta virginitas ii Cum jucunditate memoriam [no. 2], ff. 2v–3, Adrien Christi virgo dilectissima ii Quoniam peccatorum molle [no. 3], ff. 4v–5, Adrien

Sources of Willaert’s Music

71

Domine quis habitabit ii Nec fecit iii Qui iurat [no. 5], ff. 8v–11, Anon. Inter natos mulierum [no. 7], ff. 12v–13, Adrien Petite camusette a la mort [no. 23], ff. 28v–29, Adrien Irons nous tousjours coucher [no. 25], f. 30v, Adrien Mon petit cueur n’est pas a moy [no. 28], ff. 33v–34, Adrien [ascription not in tavola, it appears above the music on f. 33v] J’ayme bien mon amy [no. 30], f. 35v, Adrien J’ayme bien mon amy [no. 31], f. 36v, Adrien Mon mary m’a diffamee [no. 32], f. 37v, Adrien 15206.

Chansons a troys. Venetiiis impressum opera et arte Andree Antiqui. [Venice, Andrea Antico, 1520.] Dulces exuviae [a 3] f. 23, Anon.

[1521]4. [Motetti libro secondo] … Intercessio quesumus domine [no. 6], ff. 6v–8, Hadrien Regina celi letare ii Resurexit sicut dixit [no. 13], ff. 16–17, Hadrien

72

Adrian Willaert

[c.1521]7. [Motetti et carmina gallica] … Je l’aymee bien [no. 24], f. 19, Anon. [c.1526]7. Messa motteti Ca[n]zoni Novamente stampate Libro primo … Roma, Nicolo de Judici, 1526. Omnes sancti tui quesumus no. 1, Hadrien [c.1528]10. Chansons et motets en canon a quatre parties sur deux … [Paris, Pierre Attaingnant, n.d.] Christi virgo dilectissima ii Quoniam peccatorum [no. 3], f. 42v, Anon. [c.1530]1. Libro primo de la fortuna. In tua pacientia permanens ff. 2v–3, Adrien Nigra sum sed formosa f. 3, Adrien. [ascription implied in tavola] Quid non ebrietas ff. 4v–5, Adrien 15329.

Secundus liber cum quinque vocibus. [Lyons, Jacques Moderne, 1532.]

N028: no. 6, pp. 127–130. Ecce dominus veniet no. 8, f. 16, Adrianus Villart. Deus in nomine tuo ii Ecce enim no. 21, ff. 46–47, Adrianus Villart Ave Maria ancilla sancte trinitatis [a 5] ii Ave Maria fons no. 23, ff. 50–51, Adrianus Villart

Sources of Willaert’s Music

73

153210. Primus liber cum quatuor vocibus. Motteti del fiore. [Lyons, Jacques Moderne, 1532.] N028: no. 5, pp. 123–127. Pater Noster ii Ave Maria no. 16 and 17, ff. 29–30, Adrianus Villart. 153211. Secundus liber cum quatuor vocibus. Motteti del fiore. [Lyons, Jacques Moderne, 1532.] N028: no. 8, pp. 131–133. Stans autem iesus no. 19, p. 31, Adrianus Villart. 15343.

Liber primus quinque et viginti musicales quatuor vocum motetos complectitur … [Paris, Pierre Attaingnant, 1534.]

N029: no. 46, pp. 255–257. Beatus Stephanus, preciosus Dei prothomartyr ii Et videntes vultum eius tanquam vultum angeli no. 9, f. vii, A. Willart Intercessio, quaesumus Domine, neate Barbarae no. 16, f. xiv, A. Willart Salve crux sancta, arbor digna ii Causa etiam vitae foret cunctis no. 24, f. xvi, A. Willart 15344.

Liber secundus quinque et viginti musicales quatuor vocum motetos complectitur … [Paris, Pierre Attaingnant, 1534.]

N029: no. 47, pp. 257–258. Pater noster, qui es in coelis no. 1, f. iv, Willart Congratulamini michi omnes qui diligitis Dominum ii Recedentibus discipulis non recedebam no. 5, f. iiii, Willart

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Adrian Willaert

Omnipotens sempiterne Deus qui huius diei no. 13, f. ix, Willart Ave regina coelorum, ave domina ii Gaude gloriosa, superomnes speciosa no. 18, f. xiiv, Willart Patefacte sunt januae coeli ii Mortem enim quam Salvator noster dignatus est no. 21, f. xvi, Willart 15346.

Liber quartus XXIX musicales quatuor vel quinque parium vocum modulos habet … [Paris, Pierre Attaingnant, 1534.]

N029: no. 50, pp. 261–263. Precatus est Moyses in conspectu [Domini] Dei sui ii Memento Abraham, Ysaac et Jacob no. 1, f. iv, A. Willart 15349.

Liber septimus XXIIII. trium, quatuor, quinque, sexve vocum modulos dominici … [Paris, Pierre Attaingnant, 1534.]

N029: no. 56, pp. 267–269. Ecce Dominus veniet et omnes sancti eius no. 3, f. iii, A. Willart 153410. Liber octavus XX. musicales motetos quatuor, quinque vel sex vocum modulos habet. [Paris, Pierre Attaingnant, 1534.] N029: no. 57, pp. 269–271. Hac clara die turma festiva dat praeconia ii Cui contra Maria haec reddit famina no. 3, f. iiv, Willart [Prima pars, Ct, B: Mariam concrepando symphonia necterea] [in Annunciatione aut Assumptione beatae Mariae] Verbum bonum et suave ii Ave, solem genuisti, ave, prolem protulisti no. 8, f. viv, A. Wyllart [De beata Maria] Beata viscera Mariae virginis no. 14, f. xii, Willart

Sources of Willaert’s Music

75

Sancta Maria, regina coelorum ii O pia domina, per illud gaudium no. 18, f. xiiii, Willart 153416. [Il secondo libro di madrigali di Verdelot, novamente stampati] per Andrea Anticho intagliati. [Venice, Andrea Antico and Ottaviano Scotto, 1534.] Amor mi fa morire no. 1, Adrian Signora dolce io te vorrei parlare no. 2, Adrian Quando gionse per gli occhi no. 5, Adrian Madonna il bel desire no. 8, Adrian Grata e benigna donna no. 9, Adrian 15353.

[new style]. Lib. undecimus XXVI. musicales habet modulos quatuor et quinque vocibus editos … [Paris, Pierre Attaingnant, 1534.]

N029: no. 63, pp. 275–276. Videns Dominus flentes sorores Lazari no. 21, f. xiiiv, Willart 15354.

Lib. duodecimus: XVII. musicales ad virginem Christiparam salutationes habet … [Paris, Pierre Attaingnant, 1535.]

N029: no. 64, pp. 277–257. Regina coeli [a 5] no. 6, f. iiiiv, Wyllart 15358.

[Canzoni franzese… libro primo] per Andrea Anticho intagliati. [Venice, Andrea Antico and Ottaviano Scotto, 1535.] Alla venture lentrepris no. 1, f. 2–2v, Adriano

76

Adrian Willaert

C’est boccane no. 2, ff. 2v–3v, Adriano Mon cueur mon corps no. 3, ff. 3v–4, Adriano A vous me rends no. 4, ff. 4–4v, Adriano Quant ie stoye a marier no. 5, ff. 4v–5v, Adriano [numbers from tavola, pencil foliation] [1535]9. Libro secondo delle canzoni franzese. [Venice, Andrea Antico and Ottaviano Scotto, 1536.] Plaisir plaisir nay no. 2, Adrien [c.1535]14c. [68 Songs] [Frankfurt am Main, Christian Egenolff, after 1536.] Cedant [= C’est donc pout moi] no. 47, Anon. 15361.

La Courone et fleur des chansons a troys. Intagliato per Andrea Anticho da Montona. [Venice, Andrea Antico and A. dell’Abbate, 1536.] Allons, allons gay, gayement, ma mignone [no. 1], f. 2, Adrien Willaert Or suis je bien au pire [no. 2], f. 2v, Adrien Willaert J’ayme par amours [no. 3], ff. 2v–3, Adrien Willaert Qui la dira la peine de mon cueur [no. 5], f. 3v, Adrien Willaert La rousé du moys de may [no. 6], f. 4, Adrien Willaert

Sources of Willaert’s Music

Dessus nostre treille de may [no. 9], ff. 5v–6, Adrien Willaert Qui est celuy qui a dit mal du con? [no. 10], f. 6, Adrien Willaert Sire Dondieu [no. 11], ff. 6v–7, Adrien Willaert Jan, Jan, quant tu t’en iras [no. 16], f. 8v–9, Adrien Willaert Je ne sçaroys chanter ne rire [no. 17], f. 9, Adrien Willaert Qui veult aymer il fault estre joyeulx [no. 19], f. 10, Adrien Willaert Baisés moy tant tant [no. 20], f. 10v, Adrien Willaert La jeusne dame va au molin [no. 25], f. 13, Adrien Willaert J’ay veu le regnart et le loup et le lievre [no. 27], ff. 13v–14, Adrien Willaert Quant le joly Robinet [no. 30], f. 15, Adrien Willaert Baisés moy tant tant [no. 31], ff. 15v–16, Adrien Willaert [N’]a tu point veu la viscontine [no. 32], f. 16, Adrien Willaert Vous marchez du bout du pié [no. 33], ff. 16v–17, Adrien Willaert Perot, viendras tu aux nopces? [no. 36], f. 18, Adrien Willaert

77

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Adrian Willaert

He Dieu, Helayne! [no. 40], f. 19v, Adrien Willaert 15367.

Il secondo libro de madrigali di Verdelot insieme con alcuni altri bellissimi madrigali di Adriano, et di Constantio Festa … [Venice, Andrea Antico and Ottaviano Scotto, 1536.] Amor mi fa morire no. 1, Adrian Signora dolce no. 2, Adrian Quando gionse no. 5, Adrian Madonna il bel desire no. 8, Adrian Grat’e benigna donna no. 9, Adrian

153617. Canzoni francese di messer Adriano, & de altri Eccellentissimi Auttori, nuovamente con ogni diligentia stampate. Libro Primo. M. D. XXXVI. Con gratia, & Privilegio. Per Andrea Antigo intagliate. [Venice, Andrea Antico and Ottaviano Scotto, 1536.] Alla venture lentrepris no. 1, f. 2–2v, Adriano C’est boccane no. 2, ff. 2v–3v, Adriano Mon cueur mon corps no. 3, ff. 3v–4, Adriano A vous me rends no. 4, ff. 4–4v, Adriano Quant ie stoye a marier no. 5, ff. 4v–5v, Adriano

Sources of Willaert’s Music

15371.

79

Novum et insigne opus musicum, sex, quinque, et quatuor vocum, cuius in Germania hactenus nihil simile usquam est editum … [Nuremberg, Hieronymous Formschneider, 1537.] In diebus illus mulier [a 5] ii Susanna aliquando ingrediebatur iii Deus qui absconditorum no. 18, Adrianus Willart

153710. Il secondo libro de madrigali di Verdelotto insieme con alcuni altri bellissimi madrigali di Adriano, et di Constantio Festa: nuovamente stampati, et con somma diligentia corretti … [Venice, Andrea Antico and Ottaviano Scotto, 1537.] Amor mi fa morire no. 1, Adrian Signora dolce io te vorrei parlare no. 2, Adrian Quando gionse per gli occhi no. 5, Adrian Madonna il bel desire no. 8, Adrian Grata e benigna donna no. 9, Adrian 15382.

Tertius liber mottetorum ad quinque et sex voces … [Lyons, Jacques Moderne, 1538.]

→15394 →15424 N028: no. 15, pp. 143–145. Regina coeli laetare ii Resurrexit sicut dixit no. 16, pp. 32–33, A. Villart 15383.

Secundus tomus novi operis musici, sex, quinque et quatuor vocum, nunc recens in lucem editus … [Nuremberg, Hieronymous Formschneider, 1538.]

Facsimile: N070

80

Adrian Willaert

Ne projicias nos Domine [a 5] no. 18, Adrian Willart Prolongate sunt dies mei [a 5] ii Intemerata sunt ossa mea iii Sit ergo fas dicere no. 25, Adrianus Willart 15385.

Liber cantus (vocum quatuor) triginta novem motetos habet … [Ferrara, Johannes de Buglhat, 1538.] Joannes apostolus et evangelista ii Ecclesiam tuam quaesemus Domine no. 4, ff. 6v–7, Adrian vuillart Mirabile mysterium declaratur hodie [a 4] no. 15, f. 16v, Adrian vuillart Visita quesumus no. 16, f. 17, Iacquet [in tavola]/Adrian Vuillart [f. 17 above music] Congratulamini mihi omnes ii Recedentibus disculis no. 18, ff. 18v–19, Adrian vuillart Magnum haereditatis mysterium [a 4] no. 21, f. 21, Adrian vuillart In tua patientia permanens no. 30, f. 30v, Adrian vuillart Ad tua confugio supplex altaria no. 32, f. 32, Adrian vuillart Tota pulchra es amica mea no. 39, ff. 35v–36, Adrian vuillart

15386.

Tomus primus psalmorum selectorum à praestantissimis musicis in harmonias quatuor aut quinque vocum redactorum. [Nuremberg, Johann Petreius, 1538.] Deus in nomine tuo salvum me fac [a 5] ii Ecce enim Deus no. 25, Adrianus Vuillart

Sources of Willaert’s Music

15387.

81

Modulationes aliquot quatuor vocum selectissimae, quas volgo modetas vocant, à praestantiss. musicis compositae, iam primum typis excusae. [Nuremberg, Johann Petreius, 1538.] Pater noster ii Ave Maria no. 1, Adriani Vuillart Inviolata integra et casta ii Nostra ut pura pectora no. 6, Adriani Vuillart

15388.

Symphoniae iucundae atque adeo breves quatuor vocum, ab optimis quibusque musicis compositae, ac iuxta ordinem tonorum dispositae, quas vulto mutetas appellare solemus, numero quinquaginta duo … Vitebergae apud Georgium Rhau. Anno XXXVIII. [Wittenberg, Georg Rhaw, 1538.] Dulces exuviae no. 12, Anon. Videns dominus flentes sorores Lazari no. 29, Verdelot.

[c.1538]20. Di Verdelot le dotte et eccellente compositioni de i madrigali a cinque voci, insieme con altri madrigali di varij autori, novamente ristampati, & ricorretti … Venezia, Antonio Gardane, [n.d.]. [Venice, Antonio Gardane, 1554?] Facsimile: N071 Qual dolcezza giamai ii Et la dolc’armonia pp. 1–2, Adriano Quanto piu m’arde ii Non e ghiaccio’l mio pp. 2–3, Adriano 153821. Dei madrigali di Verdelotto et de altri eccellentissimi auttori a cinque voci, libro secondo. Venezia, Ottaviano Scotto, 1538. [Venice, Ottaviano Scotto, 1538.] Tanto alto sei signor [a 5] no. 14, Adrian

82

Adrian Willaert

15397.

Moteti de la Simia (Liber primus vocum quinque). [Ferrara, Johannes de Buglhat, Henrico de Campis, Antonio Hucher, 1539.] Ne proiicias nos in tempore no. 20, f. 16, Adrian Willart

15398.

Cantiones quinque vocum selectissimae, a primarijs (Germaniae inferioris, Galliae, & Italiae) musices magistris editae. Ante hac typis nondum divulgatae. Numero vigintiocto. Mutetarum liber primus. [Strasbourg, Peter Schöffer, 1539.] Congratulamini mihi omnes [a 5] ii Et dum flere ad monumentum no. 7, Adrian Vuillart Laetare sancta mater ecclesia [a 5] ii Augustine lux doctorum no. 21, Adrian Vuillart Peccavi super mumerum arenae maris ii Quoniam iniquitatem meam no. 22, Adrian Vuillart

153910. Tertius liber cum quatuor vocibus. Motteti del fiore. [Lyons, Jacques Moderne, 1539.] N028: no. 17, pp. 145–147. Tota pulchra es amica mea [no. 3], p. 5, A. Willart 153912. Primus liber cum quatuor vocibus fior de mottetti. Tratti dalli mottetti del fiore … [Venice, Antonio Gardano, 1539.] →15454 →15646 N024: no. 12, pp. 236–241. Pater Noster ii Ave Maria no. XLVI & XLVII, Adrianus uuillart 153919. Le Parangon des chansons. Quart livre contenant XXXII chansons a deux et a troys parties: que oncques ne furent imprimées au singulier prouffit et delectation des musiciens. [Lyons, Jacques Moderne, 1539.] N028: no. 20, pp. 151–154.

Sources of Willaert’s Music

83

Or suis ie bien no. 20, f. 21, A. vvillart Iaime par amours no. 24, f. 25, A. vvillart Allons allons gay no. 29, f. 30, A. vvillart 15406.

Selectissimarum mutetarum partim quinque partim quatuor vocumtomus primus. D. Georgio Forstero selectore. [Nuremberg, Johann Petreius, 1540.]

Second Series Ad tua confugio supplex altaria no. ix, Adri. Willart In tua pacientia permanens no. xi, Adri. Willart 15407.

Selectissimae necnon familiarissimae cantiones, ultra centum vario idiomate vocum, tam multiplicium quam etiam paucar. Fugae quoque, ut vocantur. Besonder ausserlessner kunstlicher lustiger Gesang mancherlay Sprachen … von acht Stymmen an bis auf zwo: … sinngen und auf instrument zubrauchen. [Augsburg, Melchior Kriesstein, 1540.] Enixa est puerpera fulget dies quem Gabriel ii Parvoque lacte pastus est fulget dies no. 5, Adrianus Willart Magnum haereditis mysterium [a 4] no. 19, Adrianus Willart Alligies moy [a 6] no. 32, Ioa. Lebrun Petite camuserte [a 6] no. 33, Adrianus Willart Dolour me bat [a 6] no. 34, Adrianus Willart

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Adrian Willaert

Fors seulement [a 5] no. 43, Adrianus Willart Ioissance [a 5] no. 44, Adrianus Willart La Rosee du moy de may [a 3] no. 87, Adrianus Willart 154018. Le dotte, et excellente compositioni de i madrigali a cinque voci da diversi perfettissimi musici fatte … Venetia, Scotto, 1540. [Venice, Girolamo Scotto, 1540.] N008: no. 15, pp. 255–257. Qual dolcezza giamai ii Et la dolc’armonia I, II, Adrian Vuillaert Quanto piu m’arde, e piu s’ascend’il foco ii Non e giacio ‘l mio giaccio II, III, Adrian Vuillaert 154020 = V1228. Di Verdelotto tutti li maderigali del primo, et secondo libro a quatro voci: con la gionta de i madrigali del medesmo auttore … [Venice, Girolamo Scotto, 1540.] N008: no. 14, pp. 251–254. Madonna ‘l bel desire no. XXXII, Anon. Grat’e benigna donna no. XXXIII, Adrian Vuillaert Amor mi fa morire no. XXXIIII, Adrian Vuillaert Quando gionse per gli occh’al cor madonna no. XXXV, Adrian Vuillaert Signora dolce io te vorrei parlare no. XXXVI, Adrian Vuillaert

Sources of Willaert’s Music

85

Gia ma godea felic’ogni mio bene no. XLVII, Adrian Vuillaert Qual anima ignorante over piu saggia no. XLVIII, Adrian Vuillaert Cosi vincet’in terra no. LV, Adrian Vuillaert 154022. Musica nova accommodata per canta et sonar sopra organi: et altri strumenti, composta per diversi eccellentissimi musici. Venezia, al segno del pozzo, 1540. [Venice, Andrea Arrivabene, 1540.] N015 15403, pp. 65. R.[icercar] no. I, f. N2, Adrian Willaert R.[icercar] no. X, f. O3v, Adrian Willaert R.[icercar] no. XIV, f. P1v, Adrian Willaert 15412.

Trium vocum cantiones centum, à praestantissimis diversarum nationum ac linguarum musicis compsitae. Tomi primi. [Nuremberg, Johann Petreius, 1541.] Perot viendras tu pas no. 61, Ad. Willart [N’]a tu point no. 62, Adrian. Willart Bayses moy tant no. 66, Adrian. Willart Or suis ie bien no. 83, Adrian. Willart La rouse de moys no. 84, Adrian. Willart

86

Adrian Willaert

Qui es celuy qui no. 85, Ad. Willart 15413

= G2982. Nicolai Gomberti musici excellentissimi Pentaphthongos harmonia, que quinque vocum Motetta vulgo nominantur … [Venice, Girolamo Scotto, 1541.]

N008: no. 19, pp. 264–266. Regina celi letare ii Resurrexit sicut dixit no. XXVI, Anon. RISM A/I: G2984 (1541). [Nicolas Gombert], Motectorum, quinque vocum, maximo studio in lucem editorum, liber secundus … [Venice, Girolamo Scotto, 1541.] →G2985 (1550) →15522 = G2986 (1552) N008: no. 20, pp. 266–268. Dolce lignum dulces clavos no. XX, Anon. 154113. Di Constantio Festa il primo libro de madrigali a tre vocim con la Gionta de Quanranta Madrigali di Ihan Gero… M. D. XLI. Excudebat Venetiis, Apud Antonium Gardane. [Venice, Antonio Gardano, 1541.] N024: no. 28, pp. 321–330. Cest donc pour moy que ansins suis no. 60, Ianequin 154114 = RISM A/I: G1626 (1541). Ihan Gero il primo libro de madrigali italiani, et canzoni francese, a due voci. Novamente composti, et con ogni diligentia corretti. Aggiuntovi alcuni canti di M. Adriano, et di Constantino Festa. [Venice, Antonio Gardano, 1541.] N024: no. 22, pp. 279–289. Et se per gelosia no. 54, Adrian Willaert 154116. La piu divina et pu bella musica che se udisse giamai delli presenti madrigali: a sei voci composti per Verdelot, et altri musici … [Venice, Antonio Gardano, 1541.] Rompi de l’empio cor il duro p. 10, Adrian

Sources of Willaert’s Music

87

154117. Le dotte, et eccellent compositioni de i madrigali di Verdelot, a cinque voci, & da diversi perfesttissimi musici fatte … [Venice, Antonio Gardano, 1541.] N024: no. 26, pp. 301–306. Qual dolcezza giamai ii Et la dolce armonia 2 & 3, Adrian Quanto piu m’arde 4, Adrian 154118 = RISM A/I: V1229 (1541). Di Verdelot tutti li madrigali del primo et secondo libro, a quatro voci: novamente ristampati, et da molti errori emendati … [Venice, Antonio Gardano, 1541.] N024: no. 27, pp. 306–321. Cosi vincet’in terra 24, Adrian Amor mi fa morire 37, Adrian Grat’e benigna donna 39, Adrian Quando gionse per gli occhi 41, Adrian Gia mi godea felic’ogni 42, Adrian Signora dolce io te vorrei parlate 50, Adrian Qual anima ignorante 60, Adrian 15427.

Quatuor vocum musicae modulationes numero XXVI. ex optimis diligenter … [Antwerp, Willem van Vissenaecken, 1542.] Stans autem Jhesus iussit cecum duci ad se [no. 14], f. 26v, Arnol [dus von Bruck]

88

Adrian Willaert

15428.

Tricinia. Tum veterum tum recentiorum in arte musica symphonistarum, latina, germanica, brabantica & galica, ante hae typis nunquam excusa, observato in disponendo tonorum ordine, quoutentibus sint accomodatiora. [Wittenberg, Georg Rhaw, 1542.] Dulces exuviae no. 50, Anon. Qui la dira la peine de mon cueur no. 74, Anon.

154217. D. autori il primo libro di madrigali de diversi eccellentissimi autori a misura di breve novamente … [Venice, Antonio Gardano, 1542.] N024: no. 36, pp. 351–359. Chi volesse saper VI, Adrian W. 154219 = RISM A/I: S2622 (1542). Madrigali a quatro voci con alcuni ala misura breve, et altri voci pari, novamente posti in luce, libro primo … [Venice, Girolamo Scotto, 1542.] N008: no. 29, pp. 282–283. Qual piu diversa et nova cosa fu mai f. 17v XXXII, Adrian Vuilliart O bene mio fam’uno favore f. 18v XXXIII, Adrian Vuiliart A quand’a quand’haveva una vicina f. 19 XXXIIII, Adrian Vuiliart Quante volte diss’io f. 19v XXXV, Adrian Vuiliart 15433.

Mutetarum divintatis liber primus quae quinquae absolutae vocibus ex multis praestantissimorum musicorum academiis collectae sunt. [Milan, Giovanni Antonio Castiglione, 1543.] Vado ad eum qui misit me p. 15, Adrian Vuillaert

15436.

Motetta trium vocum. Ab pluribus authoribus composita, quorum nomina sunt Iachetus Gallicus … [Venice, Antonio Gardano, 1543.]

Sources of Willaert’s Music

89

→15513 →15693 N015: 15433, p. 68. N024: no. 45, pp. 388–391. Re XXVI, Adrianus Mi XXVII, Adrianus Fa XXVIII, Adrianus Sol XXX, Adrianus 154317. De diversi autori, il primo libro d’i madrigali de diversi eccelentissimi autori a misura breve novamente ristampato, a quatro voci … [Venice, Antonio Gardano, 1543.] N024: no. 46, pp. 391–395. Chi volesse sapper che coss’e amore VI, Adrian W. 154323. Quaranta madrigali di Ihan Gero insieme trenta canzoni francese di Clement Ianequin di novo ristampati a tre voci. Venetijs Apud Antonium Gardane. M. D. XXXXIII. [Venice, Antonio Gardano, 1543.] N024: no. 49, pp. 405–411. Cest donc pour moy p. LII, [Ianequin] 15446.

Cipriani musici eccelentissimi cum quibusdam aliis doctis … Liber primus quinque vocum. [Venice, Antonio Gardano, 1544.]

N024: no. 56, pp. 425–429. Sacro fonte regenerata [a 5] ii Illustrante spiritu sancto pp. 7–8, Adriano Laus tibi sacra rubens [a 5] ii Basilii felix edes felici pp. 11–12, Adriano

90

Adrian Willaert

Benedictus redemptor omnium ii Magne pater sancte pp. 15–16, Adriano Clare sanctorum senatus apostolorum pp. 31–32, Adriano 154412. Le quatriesme livre des chansons a quatre parties au quel sont contenues trente et quatre chansons nouvelles … [Antwerp, Tylman Susato, 1544.] Facsimile: N072 Le dur traveil [a 4] f. xij, Adran Vuillart 154413. Le cincquiesme livre contenant trente & deux chansons à cincq et à six parties … [Antwerp, Tylman Susato, 1544.] Facsimile: N073 Faulte dargent [a 6] ii Qui a beau ne beuur ff. viiv–viij, Adran. Vuillart Douleur me bat [a 6] f. ix, Adri. Vuillart De retourner mon amy [a 6] f. xi, Adrian Vuillart 154417. Di Cipriano il secondo libro de madregali a cinque voci insieme alcuni di M. Adriano et altri autori … [Venice, Antonio Gardano, 1544.] →155115 →155224 →156220 →156314 →1593 (Angelo Gardano) N024: no. 58, pp. 435–440. Sciocco fu ‘l tuo desire III, Adriano Qual anima ignorante XIII, Adriano Qual vista sara mai XXXVIII, Adriano

Sources of Willaert’s Music

91

154418. Verdelot a quatro voci … [Venice, Antonio Gardano, 1544.] N024: no. 59, pp. 440–445. Cosi vincet’in terra XXVII, Adrian Amor mi fa morire XXXIIII, Adriano Grat’e benigna donna XXXVII, Adriano Quando gionse per glioch’al cor XXXVII, Anon. 154422 = RISM A/I: D3419 (1544). Dialogo della musica di M. Antonfrancesco Doni fiorentino … [Venice, Girolamo Scotto, 1544.] N008: no. 40, pp. 303–307. Beatus Bernardus quasi vas auri [a 6] ii Factus est quasi ignis effulgens [a 6] ff. 37–37v, ‘Canto XXI’, Adriano 154428 = RISM A/I: R2489 (1544). Madrigali a cinque voci, nuovamente ristampati … [Venice, Girolamo Scotto, 1544.] N008: no. 46, pp. 316–318. Qual vista sara mai occhi miei lassi XXII, Adrianus uuigliart 15452.

Concentus octo, sex, quinque, & quatuor vocum, omnium iucundissimi, nuspiam antea sic aediti … [Augsburg, Philipp Ulhard, 1545.] Dulces exuviae dum fata no. 20, Adrianus Villart

15453.

Cantiones septem, sex et quinque vocum. Longe gravissimae, iuxta ac amoenissimae, in Germania maxime hactenus typis non excusae … [Augsburg, Melchior Kriesstein, 1545.]

→15465

92

Adrian Willaert

Venator lepores mittet tibi ii Ad Franciscae Ducum no. 5 Obsecro Domine mitte quem misurus ii Qui regis Israel intende no. 6 15457.

Secundus tomus biciniorum, quae et ipsa sunt gallica, latina, germanica ex praestantissimis symphonistis collecta, et in Germania typis nunquam excusa. Additae sunt quaedam, ut vocant, fugae, pleane artis et suavitatis. [Wittenberg, Georg Rhaw, 1545.] Domine quis habitabit ii Nec fecit iii Qui iurat nos. 120–122, Anon. Exaudi Deus meus [a 4] no. 127, Adrien Nil stolidus differt [a 4] no. 126, Adrien

154514. Le sixiesme livre contenant trente et une chansons nouvelles a cincq et a six parties convenables et propices a jouer de tous instrumentz novellement imprimé … [Antwerp, Tylman Susato, 1545.] Facsimile: N074 Ioyssance vous donneray [a 5] f. ii, Adrian Vuillart Mon cueur mon corps [a 6] f. vij, Adrian. Vuillart A la fontaine du pres margo f. iW, Adrian. Vuillart 154519 = RISM A/I: V1231 (1545). Verdelot tutti li madrigali del primo et secondo libro: a quatro voci novamente ristampati, et con diligentia corretti … Venezia, 1545. →154933 = V1232 →155226 = V1233 →155533 = V1234 N008: no. 54, pp. 329–331.

Sources of Willaert’s Music

93

Cosi vincet’in terra XXVII, Adriano Amor mi fa morire XXXIIII, Adriano Grat’e benigna donna XXXVII, Adriano Quando gionse per gli occh’al cor madonna XXXVII, Anon. Non puo far mort’il dolce vis’amaro XXXXIII, Anon. 15468.

Selectissimae symphoniae compositae ab excellentibus musicis, antehac non aeditae. [Nuremberg, Johann von Berg and Ulrich Neuber, 1546.] Usquequo Domine oblivisceris me [a 4] ii Illumina oculos meos no. 4, Adrian Willart

15469

= RISM A/I: M3606 (1546). Moralis hispani et multorum eximiae artis virorum musica cum vocibus quatuor vulgo motecta cognominata. [Venice, Antonio Gardano, 1546.]

N024: no. 90, pp. 523–527. Victimae paschali laudes ii Surrexit Christus spes nostra nos. 18 & 19, Morales 154615. Il primo libro d’i madrigali de diversi autori a misura di breve novamente ristampato. Aggiontovi ancora alcuni madrigali novi et posto li suoi nomi veri di autori nelli madrigali dove erano stati posti altri nomi per errore a quatro voci. [Venice, Antonio Gardano, 1546.] →15486 →155015 →155218 N024: no. 99, pp. 547–552. Chi volesse saper che casse’e amore XXVII, Adriano 154619. Madrigali di Verdelot et de altri autori a sei voci nouamente con alcuni madrigali … [Venice, Antonio Gardano, 1546.] N024: no. 97, pp. 542–545.

94

Adrian Willaert

Rompi de l’empio cor XII, Adriano 154626 = RISM A/I: G2490 (1546). [Giovanni Maria da Crema] Intabolatura di lauto. Di recerchari, canzon francese, motetti, madrigali, padoane, e saltarelli … libro terzo … [Venice, Antonio Gardano, 1546.] Alons alons f. 21, Anon. 15475.

Liber tertius sacrarum cantionum, quatuor vocum, vulgo Moteta vocant, ex optimis quibusque huius aetatis musicis selectarum. [Antwerp, Tylman Susato, 1547.] Dulces exuviae dum fata f. .ixv, Adrianus Willart

154713. Il primo libro di madrigali di diversi eccellentissimi autori a misura di breve nuovamente ristampato … [Venice, Ottaviano Scotto, 1547.] N008: no. 65, pp. 353–355. Chi volesse saper che cos’e amore no. 4, f. VI, Adrian W. 15489.

[Cipriano de Rore] Il terzo libro de madrigali a cinque voci … [Venice, Ottaviano Scotto, 1548.]

N008: no. 73, pp. 368–370. Amor da che tu vuoi pur ii Gentil coppia eccellente XIIII, Adrian Vuillaert Dove sei tu mio car’& mio gentile ii Chi mi ti tols’oime forse fu il cielo XV, Adrian Vuillaert Mentr’al bel lett’ove dormia Phetonte ii In te Marte in te Apollo XIX, Adrien Vuillaert Se la gratia divina XXI, Adrien Vuillaert

Sources of Willaert’s Music

95

Ne l’amare & fredd’onde [ii] Ceda nata nel mar XXIIII, Adrien Vuillaert 154810. Musica di Cipriano Rore sopra le stanze del Petrarcha in laude della madonna … [Venice, Antonio Gardano, 1548.] N024: no. 123, pp. 610–616. Amor da che tu voi pur ii Gentil coppia eccellente XX & XXI, Adriano Se la gratia divina XXIII, Adriano Ne l’amar’& fredd’onde ii Ceda nata nel mar XXIIII & XXV, Adriano Mentr’al bel lett’ove dormia ii In te Marte in te Appollo XXVI & XXVII, Adriano 15498.

Il terzo libro di motetti a cinque voci di Cipriano de Rore & de altri eccellentissimi musici, novamente ristampato, con una buona gionta de motetti novi. [Venice, Antonio Gardano, 1549.]

N024: no. 134, pp. 640–643. Creator omnium deus [a 5] 37, Adriano 15499.

Musica quatuor vocum que materna lingua moteta vocantur. Ab optimus & variis authoribus elaborata, paribus vocibus decantanda nunc primum soliciti cura in lucem producta. [Venice, Antonio Gardano, 1549.]

→15499a. N024: no. 141, pp. 658–661. Ad tua confugio supplex 21, Adriano Tota pulchra es 26, Adriano

96

Adrian Willaert

154913. Elettione de motetti a tre voci libro primo … [Venice, Girolamo Scotto, 1549.] N008: no. 91, pp. 397–398. Angelus ad pastores ait VI, Adriano Quem vidistis pastores VII, Adriano Beata viscera Marie virginis VIII, Adriano Vuillaert Crimina laxa pietate ii Tu nobis dona fontem lachrimarum XIII & XIIII, Adrian Vuillaert 154914. Libro secondo de li motetti a tre voce … [Venice, Girolamo Scotto, 1549.] N008: no. 92. pp. 399–400. Iam pascha nostrum Christus est XXI, Adriano Tu septimformis munere XXII, Adriano Sicut sydus radium XXV, Adriano Equalis eterno patri XXVII, Adriano Quorum precepto subditur XXIX, Adriano Ceduntur gladiis more bidentium XXX, Adriano 154915. Di Verdelot Elletione de motetti a quatro voce. Libro primo … [Venice, Girolamo Scotto, 1549.] N008: no. 93, pp. 401–402.

Sources of Willaert’s Music

97

Victimae paschali laudes ii Surexit Christus spes mea XXVIII & XIX, Adriano 154916. Diphona amoena et florida selectore Erasmo Rotenbuchero, boiaro … [Nuremberg, Johann vom Berg and Ulrich Neuber, 1549.] Vix alia poteras [a 2] pp. VI–VII, Adrian Wilart 154931. Il vero terzo libro di madrigali de diversi autori a note negre, composti da eccellentissimi musici, con la canzon di cald'arrost, novamente dato in luce, a quatro voci … [Venice, Antonio Gardano, 1549.] N024: no. 143, pp. 663–666. Quante volte diss’io 11, Adriano Qual piu divers’ & nova cosa 25, Adriano 154932. Le dotte, et eccellente compositioni de i madrigali di Verdelot, a cinque voci, & da diversi perfettissimi musici fatte novamente ristampate, aggiontovi ancora alcuni madrigali d’Archadelt novi & non piu stampati. [Venice, Antonio Gardano, 1549.] N024: no. 136, pp. 646–649. Qual dolcezza giamai di canto ii Et la dolc’armonia 1, Adriano Quanto piu m’arde & piu s’accend’il foco ii Non e ghiaccio ‘l mio ghiaccio 2 & 3, Adriano 154934. Fantesie et recerchari a tre voci. Accomodate da cantare et sonare per ogni instrumento … composte da M. Giuliano Tiburtino… con la giunta di alcuni altri recerchari et madrigali a tre voce, composti da lo eccellentiss. Adriano Vulghart, et Cipriano Rore suo discepolo con somma diligentia stampati, et da gli proprii exemplari estratti, novamente posti in luce. [Venice, Girolamo Scotto, 1549.] N008: no. 95, pp. 404–406. N015: 15497, pp. 117–118.

98

Adrian Willaert

Se’ l veder voi m’ancide 16, [16], Adriano Vuigliart Sur le joly joly jonc ma doulc’amye 19, [18], Adriano Vuigliart Ricercare 26, [22], Adriano Vuigliart Ricercare 27, [23], Adriano Vuigliart Ricercare 28, [24], Adriano Vuigliart Ricercare 29, [25], Adriano Vuigliart Ricercare 30, [26], Adriano Vuigliart Ricercare 31, [27], Adriano Vuigliart Ricercare 32, [28], Adriano Vuigliart Ricercare 33, [29], Adriano Vuigliart 155014. Le treziesme live contenant vingt et deux chansons nouvelles a six et a huyt parties. [Antwerp, Tylman Susato, 1550.] Qui veult aymer [a 6] [18], f. xiiv, A. Villart 155015. Il primo libro de madrigali a quatro voci, de diversi autori a notte negre, con la giunta, novamente ristampati, & corretti. [Venice, Ottaviano Scotto, 1550.] N008 Chi volesse saper no.27, p. xxvii, Adriano: no. 107, pp. 421–423.

Sources of Willaert’s Music

99

[c.1550]24 Musicque de joye. [Lyons, Jacques Moderne, n.d.] N015: 154?6, pp. 122–123. N028: no. 41, pp. 182–185. Facsimile: N077 R[icercare] no. 3, Adrianus Willart R[icercare] no. 4, Adrianus Willart R[icercare] no. 7, Adrianus Willart R[icercare] no. 8, Julius de Modena [ascribed to Willaert in table of contents; 154022, no. 6, ascribed to Julio da Modena; by Julio de Modena] R[icercare] no. 17, Julius de Modena [same as no. 20; 154022, no. 15, ascribed to Julius de Modena – not by Willaert] R[icercare] no. 20, Adrian Willaert [same as no. 17; 154022, no. 15, ascribed to Julius de Modena – not by Willaert] R[icercare] no. 21, Adrian Willaert 155110. Madrigali a tre voci de diversi eccellentissimi autori … Libro primo. [Venice, Antonio Gardano, 1551.] →155528 →155920 →156111 →156627 →156922 →156923 →159716 M031: no. 162, pp. 214–216. Se’l veder voi m’ancide 1, Adriano [1552]9. La Fleur de chansons et quatriesme livre a quatre parties, contanant XXVII nouvelles chansons … [Antwerp, Tylman Susato, n.d.] C’est boucannes ff. ii–iii, Adrianus Williart

100

Adrian Willaert

155225 = RISM A/I: R2490 (1552). Di Cipriano Rore Il terzo libro de madrigali a cinque voci … [Venice, Antonio Gardano, 1552.] →156021= RISM A/I: R2492 →156616 = RISM A/I: R2494 N024: pp. 610–611. M031: no. 177, pp. 248–251. Amor da che tu vuoi pur ch’io m’arrischi ii Gentil coppia eccellente 28 & 29, Adriano Se la gratia divina 31, Adriano Ne le amar’et fredd’onde ii Ceda nata nel mar venere 32 & 33, Adriano Mentr’al bel lett’ove dormia Phetonte ii In te Marte in te Apollo 34 & 35, Adriano 15532.

Liber primus collectorum modulorum (qui moteta vulgo dicuntur) quae iam olim a praestantissimis … [Paris, Nicolas du Chemin and Claude Goudimel, 1553.] Pater noster f. xv, A. Vuillart [Prima pars only]

15535.

Tomus secundus Psalmorum selectorum, quatuor et plurium vocum … [Nuremberg, Johann vom Berg and Ulrich Neuber, 1553.] Psalm lxii: Deus, Deus meus [a 5] no. 5, Hubert VValrant [ascribed to VVillart above music, Hubert VValrant in tavola; by Walrant] Psalm xc: Qui habitat in adjutorio altissimi [a 4] ii Cadent a latere tuo mille iii In manibus portabant te no. 19, Adrianus Willart

15538.

Liber primus ecclesiasticarum cantionum quatuor vocum volgo moteta vocant … [Antwerp, Tylman Susato, 1553.]

Sources of Willaert’s Music

101

Pater peccavi in coelum et coram ii Quanti mercenarii in domo patris f. xviv–xvii, Adrianus Vuillart 15539.

Liber secundus ecclesiasticarum cantionum quatuor vocum vulgo moteta vocant … [Antwerp, Tylman Susato, 1553.] Da pacem Domine in diebus nostros [a 4] f. 10v, Adrianus Vuillart

155322. Tiers livre de chansons, composées a trois parties par bons et excellent musiciens … [Paris, Adrian Le Roy and Robert Ballard, 1553.] N021: 7 ter., Supplement. Allons allons gay gayement f. 3v, Adrian Vuillard La rousé de moys de may f. 9v–10, Richafort Si je ne voy mamie je mourray de douleur f. 28, Adrien Vuillard 15545.

Liber sextus cantionum sacrarum vulgo moteta vocant, quinque et sex vocum … [Leuven, Pierre Phalèse, 1554.]

→15585 →1564 (Phalèse) N031: no. 22, pp. 41–42. Creator omnium Deus p. 16, A. Willart 15548.

Liber quartus ecclesiasticarum cantionum quatuor vocum vulgo moteta vocant … [Antwerp, Tylman Susato, 1554.] Pater noster [a 4] ii Ave Maria ff. xiiiv–xiiiiv, Philippe de Vuildre [secunda pars is Ave Maria setting by Willaert, transposed up a fourth]

155410. Evangelia dominicorum et festorum dierum musicis numeris pulcherime comprehensa & ornata. [Nuremberg, Johann vom Berg and Ulrich Neuber, 1554. Mirabile mysterium declaratur no. 15, Adrianus Wuilart

102

Adrian Willaert

155411. Tomus quartus Psalmorum selectorum, quatuor et plurium vocum. [Nuremberg, Johann vom Berg and Ulrich Neuber, 1554.] Dominus regit me et nihil [a 4] ii Parasti in conspectu meo no. 36, Willart 155428. De diversi autori il quarto libro de madrigali a quatro voci a note bianche novamente dato in luce … [Venice, Antonio Gardano, 1554.] M031: no. 199, pp. 296–297. Quand’i begli occhi e quel soave riso 29, Adriano 155511. Tertius tomus Evangeliorum, quatuor, quinque, sex, et plurium vocum … [Nuremberg, Johann vom Berg and Ulrich Neuber, 1555.] Homo quidam fecit coenam magnam [a 4] ii Caro Christi quam sumimus 25, Adrianus Willart 155512. Quartus tomus Evangeliorum, quatuor, quinque, sex et plurium vocum … [Nuremberg, Johann vom Berg and Ulrich Neuber, 1555.] In illo tempore stabant autem 11, Adrianus Willart Salve, crux canta arbor digna [a 4] ii Causa etiam vite 18, Adrianus Willart Locuti sunt adversum me ii Et posuerunt adversum me 25, Adrianus Willart 15568.

Quintus tomus Evangeliorum, et piarum sententiarum: quinque vocum … [Nuremberg, Johann vom Berg and Ulrich Neuber, 1556.] Peccavi supra numerium ii Quoniam iniquitatem meam no. 33, Adrianus Vuillart

[15569]. Sextus tomus Evangeliorum, et piarum sententiarum. Quatuor, sex, et octo vocum … [Nuremberg, Johann vom Berg and Ulrich Neuber, n.d.]

Sources of Willaert’s Music

103

Pater peccavi in coelum et coram [a 4] ii Quanti mercenarii in domo patris II, Adrianus Willart Domine Jesu Christe memento [a 4] ii Et concede mihi omnipotens XIX, Adrianus Willart Infelix ego omnium [a 6] ii Ad te igitur piisime Deus XXXIIII, Adrianus Willart 155627 = RISM A/I: V1235 (1556). Tutti li madrigali del primo & del secondo libro a quattro voci: nuovamente ristampati & con somma diligentia corretti/di Verdelot … [Venice, Antonio Gardano, 1556.] M031: no. 223, pp. 339–341. Cosi vincet’in terra 27, Adriano Amor mi fa morire et pur il vo seguire 34, Adriano Grat’e benigna donna 37, Adriano 155629. Der fünffte Theil schöner frölicher frischer alter und newer teutscher Liedlein mit fünff Stimmen nicht allein zu singen … [Nuremberg, Johann vom Berg and Ulrich Neuber, 1556] Mein hertz und gmüt no. 48, Adrianus Vuillaert 15573.

Liber duodecmus ecclesiasticarum cantionum quinque vocum volgo moteta vocant … [Antwerp, Tylman Susato, 1557.] Creator omnium Deus [a 5] no. 15, f. 14v, Adrianus Vuillart

155716. De diversi autori, il primo libro de madregali a quatro voci a note negre con la gionta di cinque madregali Novamente con ogni diligentia ristampato. [Venice, Antonio Gardano, 1557.] M031: no. 236, pp. 365–367.

104

Adrian Willaert

Chi volesse saper che cos’e amore 27, Adriano 155723 = RISM A/I: R2496. Cipriano de Rore. Il quarto libro d'i madrigali a cinque voci con uno madregale a sei & uno dialogo a otto, novamente da lui composto & per Antonio Gardano stampato & dato in luce … [Venezia, Antonio Gardano, 1557.] →156315 M031: no. 232, pp. 356–358. Ingrata e la mia donna ii Ingrat’hai lasso l’amo 4, Adriano 155811. Il primo libro de madrigali, a quatro voci, de diversi autori, a notte negre, con la gionta di quatro madrigali, novamente ristampato, & con somma diligentia corretto. [Venice, Girolamo Scotto, 1558.] N008: no. 163, pp. 514–515. Chi volesse saper, che coss’e amore XXVII, Adriano 15591.

Secunda parts magni operis musici … [Nuremberg, Johann vom Berg and Ulrich Neuber, 1559.] In diebus illis mulier ii Susanna aliquando ingrediebatur iii Deus qui absconditorum cognitor no. 14, Adrian Willart Ne projicias nos Domine no. 15, Adrian Willart

155916. Il secondo libro de le muse a cinque voci Composto da diversi eccellentissimi musici con uno madregale a sei di Giovan Nasco, et con soi dialoghi a otto, novamente stampato & dato in luce. [Venice, Antonio Gardano, 1559.] →15619 M031: no. 247, pp. 388–390. Madonna s’io v’amai 1, Adriano

Sources of Willaert’s Music

105

155920. Madrigali a tre voci de diversi eccellentissimi auttori novamente date in luci … Con la nuova Gionta d’alcuni Madrigali d’Archadelt … Libro Primo. [Venice, Girolamo Scotto, 1559.] N008: no. 173, no. 1 Se ‘l veder voi m’ancide no. 1, p. I, Adriano 1560LM. Livre de Meslanges contenant six vingtz chansons, des plus rares, et plus industrieuses qui se trouvent, soit des autheurs antiques, soit des memorables de nostre temps: Composées a cinq, six, sept, & huit partiesen six volumes. A paris. De l’imprimerie d’Adrian le Roy, & Robert Ballard, Imprimeurs du Roy, ruë saint i.e.,an de Beauvais, à l’enseigne sainte Genevieve. 1560. Avec privilege du Roy, pour dix ans. [Paris, Adrian Le Roy and Robert Ballard, 1560.] N021: no. 68, pp. 91–94. Jouissance vous donneray [a 5] f. 2, Vuillard Qui la dira la peine [a 5] f. 3, Vuillard Vous aurés tout ce qui est mien [a 5] f. 3, Vuillard Helas ma mere [a 5] f. 4, Vuillard Mort ou mercy [a 5] f. 4, Vuillard Puisque j’ay perdu ma maitresse [a 5] f. 4, Vuillard Je l’ay aymé bien sept ans & demy [a 5] f. 5, Vuillard Sonnés my donc [a 5] f. 5, Vuillard Je ne sçauroye chanter [a 5] f. 6, Vuillard

106

Adrian Willaert

Pis ne me peut venir [a 5] f. 6, Vuillard A la fontaine du pré [a 6] f. 7, Vuillard Mon petit cueur [a 6] f. 7, Vuillard Or suis je bien au pire [a 6] f. 8, Vuillard Puis donc que ma maitresse [a 6] f. 8, Vuillard En douleur & tristesse [a 6] f. 9, Vuillard Faute d’argent [a 6] f. 9, Vuillard Qui a beau nez [a 6] f. 9, Vuillard Mon cueur, mon corps [a 6] f. 10, Vuillard Douleur me bat & trist [a 6] f. 10, Vuillard De retourner [a 6] f. 11, Vuillard Petite camusette [a 6] f. 11, Vuillard Qui veut aymer [a 6] f. 12, Vuillard Vous ne l’aurés pas [a 6] f. 12, Vuillard

Sources of Willaert’s Music

107

Baisés moy tant tant [a 5] f. 51, Vuillard Sire don dieu tant sont aises [a 5] f. 52, Vuillard [1560]1. Selectissimorum triciniorum … [Nuremberg, Johann vom Berg and Ulrich Neuber, n.d.] Perot Perot XXXI, Adrian Willart [N’]a tu point veu XXXII, Adrian Willart Baises moy tant XXXVI, Adrian Willart 15609

= RISM A/I: B1980 (1560). Il primo libro a due voci, novamente con ogni diligentia ristampato, & da molti errori emendato … [Venice, Girolamo, Scotto, 1560.]

N008: no. 188, pp. 556–557. Chi volesse saper che cos’e amore 27, Adriano 156021. Di Cipriano Rore. Il terzo libro de madregali dove si contengono le vergini … In Venetia Apresso di Antonio Gardano. 1560. [Venice, Antonio Gardano, 1560.] Amor da che tu vuoi pur ch’io m’arrischi ii Gentil coppia eccelente nos. 28 & 29, Adriano Se la gratia divina non mi tra fuor no. 31, Adriano Ne le amar’et fredd’onde ii Ceda nata nel mar Venere nos. 32 & 33, Adriano Mentr’al bel lett’ove dormia Phetone no. 34, Adriano

108

Adrian Willaert

156111. Madregali a tre voci de diversi eccellentissimi autori novamente con ogni diligentia ristampati & corretti. A tre voci. In Venetia Appresso di Antonio Gardano. 1561. [Venice, Antonio Gardano, 1561.] Se ‘l veder voi m’ancide no. 1, Adriano Willaert 156116. Madrigali di Verdelot a sei insieme altri madregali de diversi eccellentissimi autori novamente per Antonio Gardano con nova gionta ristampati a sei voci. In Venetia Appresso di Antonio Gardano. [Venice, Antonio Gardano, 1561.] Rompi de l’empio cor il duro p. 25 Adriano 15625.

I dolci et harmoniosi concenti fatti da diversi eccellentissimi musici sopra varii soggetti, a cinque voci … Libro primo … [Venice, Girolamo Scotto, 1562.]

N008: no. 219, pp. 601–603. Son gia molt’anni Amore ii Son giont’al fin di miei si longhi affanni 1, Adriano Willaert 156220. [Cipriano de Rore] Li madrigali a cinque libro secondo: insieme con alcuni di M. Adriano et de altri auttori, novamente ristampato … [Venice, Girolamo Scotto, 1562.] N008: no. 223, pp. 608–609. Qual vista sara mai occhi miei lassi 4, Adriano Sciocco fu ‘l tuo desire 5, Adriano Qual anima ignorante over piu saggia 11, Adriano 156221 = RISM A/I: R2497 (1562). [Cipriano de Rore] Li madrigali a cinque voci, libro quarto, novamente ristampati et con somma diligenza corretti … [Venice, Girolamo Scotto, 1562.] N008: no. 215, pp. 595–597.

Sources of Willaert’s Music

109

Se la gratia divina 16, Adriano Amor da che tu voi pur ch’io m’arrischi ii Gentil coppia eccellente 17, Adriano Ne le amar’et fredd’ onde si bagna ii Ceda nata nel mar Venere e Amore 21 & 22, Adriano 15637.

Musica spirituale libro primo di canzon et madrigali a 5 … [Venice, Girolamo Scotto, 1563.]

N008: no. 243, pp. 641–642. Pianget’egri mortali 12, Adrian 156314. Di Cipriano de Rore il secondo libro de madrigali a cinque voci insieme alcuni di M. Adriano & altri Autori Novamente Ristampato. A Cinque. In Venetia appresso di Antonio Gardano. [Venice, Antonio Gardano, 1563.] Sciocco fu ‘l tuo desire f. 3, Adriano Qual anima ignorante accompagnati da grave dolore f. 13, Adriano (Canto partbook only) Qual vista sara mai occhi miei lassi f. 38, Adriano. 156315. Di Cipriano Rore il quarto libro di madrigali a cinque voci con uno madregale a sei & uno Dialogo a otto, novamente ristampato. A Cinque voci con gratia et privilegio. In Venetia appresso di Antonio Gardano. [Venice, Antonio Gardano, 1563.] Ingrata e la mia donna e cosi ingrata ii Ingrat’hai lasso l’amo ff. 4–5, Adriano 15641.

Thesaurus musicus continens selectissimas octo, spetem, sex, quinque et quotuor vocum Harmonias … Tomi primi continentis cantiones octo vocum … [Nuremberg, Johann vom Berg and Ulrich Neuber, 1564.]

110

Adrian Willaert

Cum invocarem exaudit me Deus no. 51, Adrianus Willart In te Domine speravi no. 52, [Adrianus Willaert, see Carv1988.] Qui habitat in adiutorio no. 53, [Adrianus Willaert, see Carv1988.] Ecce nunc benedicite no. 54, [Adrianus Willaert, see Carv1988.] Magnificat no. 55, [Adrianus Willaert, see Carv1988.] [format of tavola implies that nos. 52–55 are by Willaert] 156416. Di Manoli Blessi il primo libro delle Greghesche con la musicha disopra … Libro primo con gratia et privilegio. In Venetia apresso di Antonio Gardano. [Venice, Antonio Gardano, 1564.] Dulce padrun ii Mi xe sta chel c’ha fado pp. 18–19, Adriano Vuilaert [Seconda apparition del Cagnolo del Mese d’Agosto] Sassi, Palae, sabbion [a 5] E vu fiumi chie de’u tributo’ al Mari pp. 20–21, Andrea Gabrieli [sopra la morte d’Adriano] Pianz’l grego pueta ii Fra tandi chie lo pianze pp. 21–22, Aluixe Vuillaert [nella morte d’Adriano] 156520 = RISM A/I: V1237. Di Verdelot tutti li madrigali del primo et del secondo libro a quatro voci novamente ristampati. A quatro voci. In Venetia Appresso di Antonio Gardano. [Venice, Antonio Gardano, 1565.] Amor mi fa morire f. 34, Adriano

Sources of Willaert’s Music

111

Grat’e benigna donna f. 37, Adriano 156617. Di Cipriano de Rore il quinto libro di madrigali a cinque voci insieme alcuni de diversi autori … [Venice, Antonio Gardano, 1566.] O Socij durate [a 6] pp. 19–20, Adriano Concordes, concordes, concordes p. 25, Cipriano [In morte Adriani Wilaert] 156627. Musica libro primo a tre voci … [Venice, Girolamo Scotto, 1566.] N008: no. 281, pp. 701–703. Se’l veder voi m’ancide no. 1, p. 2, Adriano 15671.

Suavissimae et iucundissimae harmoniae: octo, quinque, et quatuor vocum, ex duabus vocibus … [Nuremberg, Gerlach, 1567.] Sana me Domine xiii, Hadrianus Vuillart [Discantus and tenor: In Diatessaron, a 2 + 2]

RISM A/I: G145 (1568). Fronimo Dialogo di Vicentio Galilei Fiorentino … [Venice, Girolamo Scotto, 1568.] N008: no. 306, pp. 744–750. I begli occhi ond’io fui ii Questi son que begli occhi no. 53, pp. 100–101, Adriano Villahert Quando fra l’altre donne ii Da lei ti vien no. 54, p. 102, Cipriano [incorrect attribution in tavola, ascribed to Willaert in Musica Nova (1559)] Madonna s’io v’amai no. 55, p. 103, Adriano [attribution in tavola]

112

Adrian Willaert

Quando fra l’altre donne ii Da lei ti vien no. 60, p. 110, Adriano [incorrect attribution in tavola, by Rore, see 15489] Aspro core e selvaggio [a 6] ii Vivo sol di speranza no. 87, pp. 149–150, Adriano Villahert 15692.

Motectarum divinitatis liber primus que quinque absolute vocibus ex multis prestantissimorum musicorum academiis collecta sunt ac denuo impressa. Libro primus. [Venezia, Claudio Merulo, 1569.] Beata viscera Mariae virginis [a 3] p. 6

15693.

Motecta trium vocum ab pluribus authoribus composita quorum nomina sunt Iachetus Gallicus, Morales Hispanus, Constantius Festa, Adrianus VVigliardus. Trium vocum. Venetijs Apud Antonium Gardanum. [Venice, Antonio Gardano, 1569.] Re f. 24, Adrianus Mi f. 25, Adrianus Fa f. 26, Adrianus Sol f. 28, Adrianus

15696.

Selectissimarum sacrarum cantionum (quas vulgo Moteta vocant) flores, trium vocum … Liber tertius. Lovanii. Ex Typographia Petri Phalesij Bibliopolae Iurati. Anno 1569. Cum gratia & Priuilegio. [Leuven, Pierre Phalèse, 1569.]

N031: no. 133, pp. 144–145. Beata viscera Mariae Virginis no. 3, p. 6, Adrianus Vuillaert

Sources of Willaert’s Music

113

156911. Recueil des fleurs produictes de la divine musicque a trois parties, part Clemens non papa, Thomas Cricquillon, et aultres excellens musiciens. Tiers livre. [Leuven, Pierre Phalèse, 1569.] N031: no. 137, pp. 148–149. Allons allons gay gayement no. 11, p. xiij., Adria. Willaert Le grand desir no. 12, p. xiiij., Adria. Willaert [by Mouton] 156920. La eletta di tutta la musica intitolata Corona di diversi novamente stampata libro primo. [Venice, Antonio Gardano, 1569.] Amor fortuna ii Ne spero i dolci di 2 & 3, Adriano Willaert Oime il bel viso 4, Adriano Willaert Gia mi godea felice A, Adriano Willaert Chi volesse saper B, Adriano Willaert Quante volte diss’io C, Adriano Willaert Qual piu divers’ nova D, Adriano Willaert Cosi vincete in terra E, Adriano Willaert Lasso, ch’i ardo ii Quest’arder mio F & G, Adriano Willaert

114

Adrian Willaert

Io amai sempre ii Ma chi penso veder H & I, Adriano Willaert Quest’anima gentil ii Se si posasse L, Adriano Willaert 156922. Madregali a tre voci de diversi eccellentissimi autori novamente per Antonio Gardane con ogni diligentia ristampati. A tre voci. In Venetia Appresso di Antonio Gardano. [Venice, Antonio Gardano, 1569.] Se ‘l veder voi m’ancide f. 1, Adriano Willaert 15722.

Mellange de chansons tant des vieux autheurs que des modernes, a cinq. six. sept. et huict parties. A Paris. Par Adrian le Roy et Robert Ballard. Imprimeurs du Roy. Avec privilege de sa majesté. [Paris, Adrian Le Roy and Robert Ballard, 1572.]

N021: no. 165, pp. 156–159. Helas ma mere, helas maman [a 5] f. 1, Vuillard Joussance vous donneray, mon amay [a 5] f. 1, Vuillard Qui la dira la peine de mon coeur [a 5] f. 2, Vuillard Sonnés my donc quand vous irez [a 5] f. 17, Vuillard Puisque j’ay perdu ma maistresse [a 5] f. 18, Vuillard Aller my’ faut sur la verdure [a 5] f. 20, Ad. Vuillard Je l’ay aymée bien sept ans [a 5] f. 22, Vuillard Voulez ouyr chansonnette [a 5] f. 27, Vuillard

Sources of Willaert’s Music

Mort ou mercy en languissant j’atens [a 5] f. 28, Vuillard Vous aurez tout ce qui est mien [a 5] f. 31, Vuillard Sire don dieu tant ils sont aises [a 5] f. 37, Vuillard Je ne sçauroys chanter ne rire [a 5] f. 44, Vuillard Baisez moy tant tant [a 5] f. 48, Vuillard A la fontaine du pré Margot [a 6] f. 53, Ad. Vuillard Or suis je bien au pire [a 6] f. 54, Vuillard Puis donc que ma maistresse [a 6] f. 54, Vuillard En douleur & tristesse languiray je [a 6] f. 55, Vuillard Faute d’argent c’est douleur [a 6] f. 55, Vuillard Mon coeur mon corps, mon âme et mon avoir [a 6] f. 56, Vuillard Douleur me bat et tristesse m’affole [a 6] f. 56, Vuillard Petite camusette à la mort m’avez mis [a 6] f. 57, Vuillard Vous ne l’aurez pas si je puis [a 6] f. 57, Vuillard Qui veut aymer il faut estre joyeux [a 6] f. 58, Vuillard

115

116

Adrian Willaert

De retourner mon amy je te prie [a 6] f. 58, Vuillard Allegez moy [a 6] f. 68, Iosquin [Vuillard in index] 15743.

La Fleur des chansons a trois parties, contenant un recuiel … [Leuven, Pierre Phalèse; Antwerp, Jean Bellere, 1574.]

N031: no. 173, pp. 206–208. Allons allon gay no. 59, p. 75, Adria. Willaert 157815. Second livre de chansons a trois parties Composé par Ad. Vuillart. Imprimé en Trois volumes. A Paris. M. D. LXXVIII. Par Adrian le Roy, & Robert Ballard. Imprimeurs du Roy. Avec privilege de sa magesté pour dix ans. [Paris, Adrian Le Roy and Robert Ballard, 1578.] N021: no. 219, p. 193. La rousée du moys de may ff. 7v–8, Richafort 158012. Di Cipriano de Rore il quarto libro de madrigali a cinque voci, novamente ristampato. Venezia, Ang. Gardano, 1580. [Venice, Angelo Gardano, 1580.] Ingrata e la mia donna ii Ingrat’hia lasso pp. 5–6, Adriano 158831. Canzon di diversi per sonar con ogni sorte di stromenti … Libro primo … [Venice, Giacomo Vincenzi, 1588.] N015: 15888. Io visans [= Jouissance vous donneray] [a 5] no. 8, p. 8, Anon. A la fontaine [a 6] no. 12, p. 12, Anon. La Rose [a 6] [no. 13], p. 13, Anon. [all three chansons appear with text incipit only in the print]

Sources of Willaert’s Music

117

158912. Musicale essercitio di Ludovico Balbi maestro di capella del Santo di Padoa a cinque vocie. [Venice, Angelo Gardano, 1589.] Amor mi fa morire p. 2, Adriano Vuillaert 15936.

Di Cipriano de Rore il terzo libro di madrigali a cinque voce, dove si contengono le vergine, et altri madrigali. Novamente ristampato. [Venice, Angelo Gardano, 1593.] Qual anima ignorant over piu saggia p. 24, Adriano Qual vista sara mai occhi p. 26, Adriano Se la gratia divina p. 27, Adriano Nell’amare & fredd’onde ii Ceda nata nel mar Venere p. 28, Adriano Mentr’al bel lett’ove dormia ii In te Marte in te Apollo p. 30, Adriano

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IV Sources of Willaert’s Music: Manuscripts before 1600

Chapter 4 comprises an inventory of works attributed to Willaert in at least one source, appearing in manuscripts from the sixteenth century. Only works attributed to Willaert, either directly or indirectly through another source, are listed here, thus with two exceptions, none of the individual listings represents the complete contents of a manuscript. For these two exceptions (ModE C.313 and ModE C.314), included because of their close relationship with the 1559 Musica Nova print, there are complete inventories. Music by other composers in these two manuscripts is not included in the worklist. Some pieces by composers other than Willaert, or with attributions to composers other than Willaert, are included in this inventory where there is a conflicting ascription for a piece or where at least one source ascribes a piece to Willaert. For the bibliography of materials used in the compilation of this chapter, see the second section of Chapter 9. The sigla used here follow those of the Census Catalog unless otherwise indicated.

AugsS 1. Augsburg. Staats- und Stadtbibliothek. MS Tonkunst Schletterer 1 (= SchlettKK # 36). [Ascription in index: Adriani Willaert] Responsory: Domine ad adiuvandum ii Laus tibi domine [no. 35], ff. 214v–215r (extra opening missed in pagination; f. 214, f. [214bis], f. 215). 119

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Adrian Willaert

Psalm cix: Dixit Dominus [no. 36], ff. 215v–220 Psalm cx: Confitebor tibi domine [no. 37], ff. 220v–226. Psalm cxi: Beatus vir [no. 38], ff. 226v–231 Psalm cxxix: De Profundis [no. 39], ff. 231v–236 Psalm cxxxii: Memento domine [no. 40], ff. 236v–246 Psalm cxii: Laudate pueri [no. 41], ff. 246v–251 Psalm cxxxiii: Laetatis sum in his [no. 42], ff. 251v–256 Psalm cxxvi: Nisi dominus edificaverit [no. 43], ff. 256v–260 Psalm cxlvii: Lauda Jerusalem [no. 44], ff. 260v–265 BasU F.X.5–9. Basel. Öffentliche Bibliothek der Universität. MS F.X.5–9. Rex autem David [no. 33], ff. 25v–26, Anon. In diebus illis ii Susanna aliquando ingrediebatur iii Deus qui absconditorum [no. 35], ff. 26v–29v, A. Willart BergBC 1208. Bergamo. Biblioteca Civica. MS 1208 D. Ecce lignum cruces ii Crux fidelis inter omnes [no. 37], ff. 131v–133r, Anon.

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Sources of Willaert’s Music

121

BergBC 1209. Bergamo. Biblioteca Civica. MS 1209 D. O gemma clarissima [no. 26], ff. 37Ev–38, Anon. Emendemus in melius ii Peccavimus cum patribus nostris [no. 46], ff. 64v–66, Adrianus BerlGS 7. Berlin. Geheimes Staatsarchiv Preußscher Kulturbesitz. MS XX. HA StUB Königsberg Nr.7. [KönSU 1740 missing since World War II, except for bassus partbook, now BerlGS 7]. Domine Jesu Christe memento ii Et concede mihi ff. 79–80, A.W. Auxilientur mihi Domine Jesu Christe ii Et ideo de tua pietate ff. 80–81v, A.W. Ave regina coelorum Mater regis ff. 87v–88, A.W. Magnum haereditatis mysterium ff. 98v–99v, A.W. Victimae paschali laudes ii Dic nobis Maria ff. 99v–101, Adri: W. Inviolata integra et casta ii Nostra ut pura ff. 107–108, Adri: Wil: Ave regina coelorum ii Gaude gloriosa ff. 108–109, Adri: Wil: Patefactae sunt ianuae coeli ii Mortem enim ff. 113–114, Adri: W.

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122

Adrian Willaert

Salve crux sancta ii Causa etiam vitae ff. 118–119, A. W: Benedicta es coelorum regina ii Per illud ave prolatum ff. 119–120, A. W. Mirabile mysterium ff. 120v–121, A: W. Unum cole Deum ff. 139–139v, A: W: Ecce Maria genuit ff. 139v–140, A: W: Ego infelix peccator ff. 140–140v, A: W: Parce mihi Domine ii Peccavi ff. 140v–142v, A: W: Domine refugium ii Notum fecisti nobis ff. 142v–144, A. W: Ascendens Christus in altum ff. 144–144v, A. W: Domine Jesu Christe fili Dei ff. 147–148, A W. BerlS 40212.

Berlin. Staatsbibliothek Preußscher Kulturbesitz. MS Mus. 40212.

Joÿssance [vous donneray] ff. 44v–45, Adrian Wilhart Pis ne me peult venire ff. 45v–46, Crequilon

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Sources of Willaert’s Music

BerlS B357.

123

Berlin. Staatsbibliothek Preußscher Kulturbesitz. Sammlung Bohn Mus. Ms. 357.

A la fontaine [a 6] section II, no. 496, ff. 412v–413, Adrian Wuillart [manuscript not listed in Census Catalog] BolC A71.

Bologna. Civico Museo Bibliografico Musicale. MS A71 (olim 159).

Regina celi letare alleluya [a 4] ii Resurrexit sicut dixit alleluya pp. 209–210, Anon. BolC Q19.

Bologna. Civico Museo Bibliografico Musicale. MS Q19. “Rusconi Codex.”

Facsimile: N082 Salva nos domine [no. 18], ff. 22v–23, Jo. Moton O gemma clarissima Catherina [no. 67], ff. 109v–110, Adrianus Dominus regit me ii Parasti in conspectu meo [no. 71], ff. 114v–116, Adrianus Quia devotis laudibus [no. 72], ff. 116v–117, Adrianus BolC Q20.

Bologna. Civico Museo Bibliografico Musicale. MS Q20.

Cantate domino canticum novum quia mirabilia no. 11, ff. 13v–14, Willaert Quasi unus de paradisi fluminibus [a 4] ii Deus qui beatum Marcum evangelistam tuum no. 21, ff. 28–29, Anon. Congratulamini mihi omnes qui diligitis ii Recedentibus discipulis non recedebant no. 22, ff. 29v–31, Adrian Willart [attribution in Bassus]

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Adrian Willaert

Visita quesumus domine habitationem no. 28, ff. 37v–38, Jaquet BolC Q21.

Bologna. Civico Museo Bibliografico Musicale. MS Q21.

Se ie anj mon amie Circle canon in superius partbook, Anon. BolC Q23.

Bologna. Civico Museo Bibliografico Musicale. MS Q23.

[Lamentations] Heth. Misericordie domini Heth. Novi diluculo magna est Heth. Pars mea dominus Teth. Bonus est dominus Teth. Bonum est prestolari Teth. Bonum est viro Jod. Sedebit solitarius Jod. Ponet in pulvere Jerusalem convertere ad dominum [no. 15], ff. 9v–10, Adrien W. [Lamentations] Jod. Dabit percutienti [C]aph. [Q]uia non repellet [C]aph. [Q]uia se abiecit [C]aph. [n]on enim humiliavit [L]amech. [U]t convertere ad dominum [no. 16], ff. 10–10v, Adrian W. [T]ristis est anima mea ii [T]enebre facte sunt [no. 18], ff. 11v.12v, Adrianus [R]egina celi letare ii [R]esurrexit sicut dixit [no. 23], ff. 14v–15, Anon. BolC Q24.

Bologna. Civico Museo Bibliografico Musicale. MS Q24.

Passio domini nostri Jesu Christi secundum Joannem [no. 2], ff. 11v–22, Adrianus Willaert Deus qui manus tuas [no. 3], ff. 22–22v, Adrianus Willaert

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125

O salutaris hostia [a 6] [no. 4], f. 23, Adrianus Willaert Domine Jesu Christe amator ii O bone Jesu et dulcis [no. 5], ff. 23v.24v, Adrian.W. Missa Benedicta es celorum [no. 6], ff. 24v–29, Anon. BolC Q27(1).

Bologna. Civico Museo Bibliografico Musicale. MS Q27(Io).

Ne proitias nos in tempore [no. 25], f. 24, Adrian Salva nos ab excidio [no. 28], ff. 29v–30, Adrian Domine Jhesu Christe fili dei [no. 30], ff. 31v–32, Adrian Peccavi super numerum ii Quoniam iniquitatem meam [no. 34], ff. 35v–36, Adrian Ave et gaude gloriosa virgo [no. 43], f. 51, Adrian O crux splendidior cunctis ii Dulce lignum dulce clavos [no. 45], ff. 52v–53, Adrian Si rore aonio fluerent ii At desueta diu revocantem [no. 51], ff. 58v–60, Adrian Simile est regnum celorum ii Deus qui meritis beate [no. 55], ff. 72–72v, Adrian BolC Q40.

Bologna. Civico Museo Bibliografico Musicale. MS Q40.

A la fontaine [no. 3], ff. 17r–19r, Anon.

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Adrian Willaert

BolC R142. Bologna. Civico Museo Bibliografico Musicale. MS R142. Salva nos domine vigilantes custodi nos [no. 50], f. 57, Josquin BolC U92.

Bologna. Civico Museo Bibliografico Musicale. MS U92.

Missa Mente tota ff. 1–53, Adrianus BolSP 21.

Bologna. Archivio Musicale della Fabbriceria di San Petronio. MS A.XXI.

[Vexilla regis prodeunt] ii Quo vulneratus insuper iv Arbor decora et fulgida vi O crux ave spes unica [no. 28], ff. 58v–61, Anon. BolSP 35.

Bologna. Archivio Musicale della Fabbriceria di San Petronio. MS A.XXXV.

Hostis Herodes impie ii Ibant magi quam viderant vi Novum genus potentie [no. 16], ff. 50v–52, Anon. BolSP 38.

Bologna. Archivio Musicale della Fabbriceria di San Petronio. MS A.XXXVIII (olim CC).

Beata dei genitrix Maria cuius viscera ii Et beata que credidit quoniam [no. 13], ff. 25v–27, Anon. BolSP 39.

Bologna. Archivio Musicale della Fabbriceria di San Petronio. MS A.XXXIX.

Christus resurgens ex mortuis ii Dicant nunc Iudei [no. 1], ff. [iiiv]-5, Anon. Vado ad eum qui misit me [no. 18], ff. 78v–80, Anon. Obsecro domine mitte quem ii Qui Regis Israel intende [no. 21], ff. 85v–91, Anon.

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Sources of Willaert’s Music

BolSP 43.

127

Bologna. Archivio Musicale della Fabbriceria di San Petronio. MS A.XXXXIII.

Aures ad nostras deitatis [iii] Crimina laxa [v] Christe lux vera [vii] Tu nobis dona [ix] Gloria deo sit aeterno [no. 17], ff. 42v–47, Anon. [Ad cenam agni provide] [ii] Cuius corpus sanctissimum [iv] Iam pascha postrum [vi] Cum surgit Christus [viii]Gloria tibi domine [no. 18], ff. 47v–51, Anon. [Lucis creator optime] [ii] Qui mane iunctum [iv] Celorum pulset intimum [no. 20], ff. 55v–57, Anon. [Vexilla Regis prodeunt] [ii] Quo vulneratus [iv] Arbor decora et fulgida [vi] O crux ave [no. 23], ff. 63v–66, Anon. [Christe redemptor omnium] [ii] Beata quoque agmina [iv] Martires dei incliti [vi] Gentem auferte perfidam [no. 25], ff. 70v–73, Anon. BolSP 45.

Bologna. Archivio Musicale della Fabbriceria di San Petronio. MS A.XXXXV.

Inviolata, integra, et casta ii Nostra ut pura [no. 9], ff. 18v–20, Anon. [Vexilla regis] [iv] Arbor decora [no. 18], ff. 34v–35, Anon.

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[Lucis Creator optime] [iv] Coelorum pulset [no. 25], ff. 48v–49, Anon. [Veni Creator Spiritus] ii Qui paraclitus iv Accende lumen vi Per te sciamus [no. 31], ff. 59v–62, Anon. [Music of Qui paraclitus same as music of Accende lumen] [Adesto sancta Trinitas] [ii] Te coelorum militia [a 4] [iv] Unum te lumen [a 6] [no. 32], ff. 62v–64, Anon. [Pange lingua] [ii] Nobis datus [iv] Verbum caro [vi] Genitori, Genitoque [no. 33], ff. 64v–67, Anon. [Verbum caro… Genitori, Genitoque is a contrafactum with Gloria Deo, no. 28, anon. in BolSP 45; Willaert, verse 2 only] [Lucis creator] [ii] Qui mane [iv] Coelorum puliet [no. 35], ff. 69v–70, Anon. [Aurea luce ] [ii] Janitor coeli [no. 36], ff. 70v–71, Anon. [Vexilla Regis] [ii] Quo vulneratus [a 4] [iv] Arbor decora [a 4] [vi] O crux ave [a 5] [no. 41], ff. 79–81v, Anon. [Christe redemptor] [ii] Beata quoque agmina [a 4] [iv] Martyres Dei inclyti [a 5]

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[vi] Gentem auferte [a 6] [no. 43], ff. 83v–86, Anon. [Aures ad nostras] [ii] Respice clemens [a 4] [iv] Te sine taetro [a 4] [vi] Insere tuum [a 5] [viii]Procul a nobis [a 5] [no. 52], ff. 97v–100, Anon. [Ave maris stella] [ii] Sumens illud Ave [no. 63], ff. 113v–114, Anon. BolSP 51-2.

Bologna. Archivio Musicale della Fabbriceria di San Petronio. MSS A.LI and A.LII.

Psalm cxii: Laudate pueri [no. 12], ff. 37v–39, Anon. [incomplete in Ms A.LII] BrusBR II.3843. Brussels. Bibliothèque Royale. MS II.3843. Forma decens/Als in ehrenn no. 18, Anon. BrusC 27731. Brussels. Bibliothèque du Conservatoire Royal de Musique. MS 27731. Amor tu sai pur fare [no. 21], f. 17v., Anon. BrusC 27766. Brussels. Bibliothèque du Conservatoire Royal de Musique. MS 27766. Ave Maria gratia plena ff. 92v–95, Adrino BudOS 16. Budapest. Országos Széchényi Könyvtár (National Széchényi Library). MS Bártfa 16 (a–c). Allein nach dir Herr Jesu Christ [= Si pur ti guardo] [no. 68], ff. 51v–52, Anon.

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Adrian Willaert

BudOS 23. Budapest. Országos Széchényi Könyvtár (National Széchényi Library). MS Bártfa 23. Obsecro domine mitte quem missurus es ii Qui Regis Israel intende qui deducis [no. 117], ff. 70–71, Adrianus Wilhart CambraiBM 3.

Cambrai. Bibliothèque Municipale. MS 3.

[Missa] Queramus [cum pastoribus] no. 3, ff. 26v–42, Willart CambraiBM 125-8. Cambrai. Bibliothèque Municipale. MSS 125–128 (olim 124). Missa Gaude Barbara [no. 9], ff. 7–10v, Adriano Willaert Cest doncq par moy que je suis fortune [no. 20], f. 19, Anon. Missa Christus resurgens [no. 77], ff. 65v–69, Willaert Mon petiit cueur nest pas a moy [no. 92], f. 86, Willaert Da pacem domine in diebus nostris [no. 163], f. 128v, Willlart A vous me rens comme celle du monde [no. 182], f. 134, Gheerkin Dulces exuvie dum fata deusque [no. 192], f. 136v, Anon. CasAC C.

Casale Monferrato. Archivio e Biblioteca Capitolare, Duomo. MS C.

O salutaris hostia [a 6] [no. 38], ff. 95v–96, Anon. CasAC D(F). Casale Monferrato. Archivio e Biblioteca Capitolare, Duomo. MS D(F). Beata dei genitrix Maria cuius viscera [no. 30], ff. 55v, Anon.

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131

Verbum iniquum et dolosum longe fac a me ii Duo rogavi ne deneges mihi antequam [no. 47], ff. 89v–93, Anon. CasAC N(H). Casale Monferrato. Archivio e Biblioteca Capitolare, Duomo. MS N(H). Pater Noster ii Ave Maria gratia [no. 14–15], ff. 31v–33, Anon. Tota pulchra es [no. 17], ff. 35v–36, Anon. Congratulamini mihi omnes ii Recedentibus discipulis suis [no. 18], ff. 36v–38, Anon. Strinxerunt corporis membra ii Mea nox obscurum [no. 21], ff. 42v–44, Anon. Quem terra pontus ethera ii Beata celi nuntio [no. 35], ff. 75v–77, Anon. Spiritus meus attenuabitur ii Libera me Domine [no. 43], ff. 94v–96, Anon. CasAC P(E). Casale Monferrato. Archivio e Biblioteca Capitolare, Duomo. MS P(E). Omnipotens sempiterna Deus [no. 21], ff. 131v–133, Anon. ChelmE 2.

Chelmsford. Essex Record Office. Ms D/DP Z6/2.

Pis ne me peult venire ff. 58v–59, Cricquillon ChiN M91. Chicago. Newberry Library. Case MS.-VM 1578.M91. [Four partbooks: remaining alto partbook of set = SuttonO 4]

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Pater Noster [a 4] Series 1, no. 4, Anon. Congratulamini mihi omnes [a 4] ii Recedentibus discipulis Series 1, no. 8, Anon. Ecce Dominus veniet [a 5] Series 2, no. 7, Anon. CivMA 53. Cividale del Fruili. Museo Archeologico Nazionale. MS LIII. Missa Queramus cum pastoribus [no. 12], ff. 139v–151, Willaert Missa Gaude Barbara [no. 13], ff. 151v–167, Willaert CoimU 2.

Coimbra. Biblioteca Geral da Universidade. MS M.2.

Missa Laudate deum [no. 2], ff. 22v–33v, Adrianus Willaert [lacks part of Sanctus and Agnus] Missa Benedicta es coelorum [no. 9], ff. 138–156, Anon. CoimU 32. Coimbra. Biblioteca Geral da Universidade. MS M.32. Rex autem David cooperto [no. 47], ff. 56v–57, Anon. CoimU 48. Coimbra. Biblioteca Geral da Universidade. MS M.48. Peccavi super arenam ii Quoniam iniquitatem meam no. 16, ff. 28v–30, Adrian W. [score notation, manuscript not listed in Census Catalog] CopKB 1848. Copenkagen. Det Kongelige Bibliothek. MS Ny kongelige Samling 1848, 2o. Congratulamini michi omnes qui diligitis ii Recedentibus discipulis non recedebam [no. 36], ff. 72–79, Anon.

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133

CopKB 1872. Copenkagen. Det Kongelige Bibliothek. MS Gamle kongelige Samling 1872, 4o. Forma decens mores casti tum pectus/All[e]s in Ehrenn [no. 33], f. 27, Adrianus Willart Alligies moÿ [= Allegez moy douce plaisant brunette] [no. 80], f. 70v, Anon. Domine Jhesu Christe amator benignissime ii O bone Jhesu Christe et dulcis spes [no. 90], ff. 79v–81, Anon. CopKB 1873. Copenkagen. Det Kongelige Bibliothek. MS Gamle kongelige Samling 1873, 4o. Creator omnium Deus terribilis [et fortis] [a 6] [no. 62], Anon. DresSL 1/D/3. Dresden. Sächsische Landesbibliothek. MS Mus. 1/D/3 (olim B. 1270). O beatum pontificem qui totis visceribus [no. 43], ff. 71–71v, Adrianus Wilhart Domine Iesu Christe a matre benignissime ii O bone Iesu et dulcis spes anime [no. 52], ff. 83v–84v, Adrianus Wilhart DresSL 1/D/4. Dresden. Sächsische Landesbibliothek. MS Mus. 1/D/4 (olim B. 1276). Bewahr uns herr o trewer Gott no. 24, Adrianus Wilhart DresSL Löbau 12. Dresden. Sächsische Landesbibliothek. MS Löbau 12 (1–6). Verbum iniquum et dolosum [a 5] ii Duo rogavi te no. 18 [no. 21], A Wilhardt Infelix ego omnium [a 6] ii Ad te igitur piissime no. 22 [no. 25], Adrianus Willart

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Adrian Willaert

EdinU 64.

Edinburgh. University Library. MS 64 (olim Db.I.7) (“Dunkeld Antiphonary”).

Infelix ego omnium ii Ad te igitur piissime [no. 13], f. 11, 36v, 68v, 97, 121v, Anon. ErlU 473/1.

Erlangen. Universitätsbibliothek. MS 473/1 (olim 792).

Magnum haereditatis mysterium templum [no. 10], ff. 51v–57, Adrianus Vuillart ErlU 473/3.

Erlangen. Universitätsbibliothek. MS 473/3 (olim 794).

In diebus illis erat vir [Vagans: Consumetur nequitia] ii Susanna aliquando ingrediebatur [Vagans: Voce mea ad Dominum] iii Deus qui absconditorum es [Vagans: Exaudivit Dominus vocem] [no. 18], ff. 203v–222, Adria Willart FlorBN Magl.125bis. Florence. Biblioteca Nazionale Centrale. MS Magliabechi XIX 125bis. Domine Yhesu Christe amator benignissime ii O bone Yhesu et dulcis spes anime [no. 22], ff. 27–28v, Anon. FlorBN Panc. 27. Florence. Biblioteca Nazionale Centrale. MS Panciatichi 27. Rex autem David operuit caput suum [no. 176], ff. 149v–150, Anon. FlorD 4.

Florence. Duomo. Archivio Musicale dell’Opera di Santa Maria del Fiore. MS 4.

Omnipotens sempiterne deus [no. 18], ff. 85v–89, Anon. Verbum iniqum et dolosum ii Duo rogavi [no. 19], ff. 89v–95, Anon. FlorD 27.

Florence. Duomo. Archivio Musicale dell’Opera di Santa Maria del Fiore. MS 27.

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135

Pater noster qui es [no. 25], ff. 122v–125, Anon. FlorL 666.

Florence. Biblioteca Medicea-Laurenziana. MS Acquisti e doni 666. (“Medici Codex”).

Facsimile: N081 Virgo gloriosa Christi Margareta preciosa [no. 1], ff. 2v.4, Adriano Saluto te sancta virgo Maria domina ii Rogo te ergo per illud gaudium [no. 5], ff. 22v–26, Adriano Regina celi letare alleluya ii Resurrexit sicut dixit alleluya [no. 15], ff. 47v–49, Adrien Christi virgo dilectissima virtutum ii Quoniam peccatorum molle premimur [no. 21], ff. 60v–62, Adrien Veni sancte spiritus et emitte celitus ii Sine tuo nomine [no. 22], ff. 62v–66, Adrien Beatus Johannes apostolus et evangelista ii Ipse est qui evangelii fluenta [no. 24], ff. 67v–70, Adrien Intercessio quesumus domine beate Barbare [no. 25], ff. 70v–72, Adrien Salva nos domine vigilantes custodi nos [no. 34], ff. 87v–88, Mouton Gdn´PAN 4003. Gdn´sk (Danzig). Biblioteki Polskiej Akademij Nauk. MS 4003 (olim Mus. q.20). Dessus le marchie darras mireli mirela [no. 2], ff. 7v–8, Anon. A vous me rends comme celle du monde [no. 67], f. 58v, Anon.

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Adrian Willaert

Si purti vardo [= Si pur ti guardo] [no. 75], ff. 72v–73, Adrianus Vuillart Alons alons gay gayement [no. 90], ff. 83v–84, Anon. La rousee du mois de may ma gaste [no. 91], ff. 84v–85, Anon. Vous marchiez du bout du pied Marionette [no. 92], ff. 85v–86, Anon. HagueKB 74/h/7. The Hague. Koninklijke Bibliotheek. MS 74/h/7, (olim Utrecht, Bibliotheek der Rijksuniversiteit, MS 202). [D]essus le marchiet d’Arras [no. 15], ff. 17–18, Anon. HalleU 1147.

Halle an der Salle. Universitätsbibliothek. MS Ed. 1147.

Salva nos [domine vigilantes custodi nos] [no. 4], f. 77, Anon. Verbum iniquum et dolosum longe fac ii Duo rogavi te ne deneges mihi ff. 98v–99, Adrianus Wilhart HamSU (IV). Hamburg. Staats- und Universitätsbibliothek. MS Hans III, 4 (IV) [missing since World War II]. Alligies moy dolce plaisir brunette [= Allegez moy doulce plaisant brunette] [no. 2], Barbe Petite cammusette [no. 3], Adrian Willaert Doleur me bat et tristesse [no. 4], Adrian Willaert HeilbS X/2. Heilbronn. Stadtarchiv, Musiksammlung. MS X/2. Cedant par moy no. 1, Adrianus Wilhart

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137

HeilbS XCIII/3. Heilbronn. Stadtarchiv, Musiksammlung. MSS XCIII–XCVI/3. Deus in nomine tuo salvum me fac ii Ecce enim deus adiuvat me [no. 13], Anon. ’s HerAB 72A. ’s Hertogenbosch. Archief van de Illustre Lieve Vrouwe Broedershap. MS 72A. Missa sex vocum super Benedicta [no. 1], ff. 1v–18v, Adrianus Willart [mass is for five voices not six] Missa [no. 2], ff. 19v–38r, Adrianus Willart ’s HerAB 72C. ’s Hertogenbosch. Archief van de Illustre Lieve Vrouwe Broedershap. MS 72C. Salva nos domine vigilantes [a 6] [no. 4], ff. 46v–47, Johannes Mouton Infirmitatem nostram [a 5] [no. 14], ff. 152v–153, Anon. ’s HerAB 75. ’s Hertogenbosch. Archief van de Illustre Lieve Vrouwe Broedershap. MS 75. Missa Benedicta es [no. 7], ff. 131v–154, Anon. Missa Gaude Barbara [no. 9], ff. 180v–201r, Anon. HerdF 9821. Herdringen. Schloss Fürstenberg, Bibliothek. MS 9821 (olim Paderborn, Erzbischöfliche Akademische Bibliothek). Pater noster qui es in coelis [no. 9], [ff. 9v–15v], Antho. Wilhart Videns dominus flentes sorores Lazari [no. 12], [ff. 147–150v], Willart

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Adrian Willaert

HradKM 21. Hradec Králové. Krajske Muzeum, Literární Archiv. MS II A 21 (olim 8707). O gemma clarissima Katherina sanctissima [no. 55], p. 79, Anon. HradKM 29. Hradec Králové. Krajske Muzeum, Literární Archiv. MS II A 29 (olim 8669). In diebus illis [erat vir Babyloniae] ii [Susanna aliquando] … et senes eam iii Deus qui absconditorum es cognitur pp. 27–33, Anon. Ne prociicias nos in tempore senectutis pp. 118–119, Anon. Pater noster qui es in coelis ii Ave Maria gratia plena dominus tecum pp. 122–127, Anon. Domine Iesu Christi amator benignissime ii O bone i.e.,u et dulcis spes animae pp. 355–358, Anon. Venator leporis mittet tibi maxime ii Et Francisce ducum dux maxime pp. 367–369, Anon. Infirmitatem nostram quaesumus domini pp. 490–491, Anon. Victimae paschali laudes immolent Christiani ii Dic nobis Maria quid vidisti in via pp. 662–664, Anon. Veni sancte spiritus et emitte coelitus ii O lux beatissima reple cordis pp. 664–669, Anon. Avertatur obsecro domine furor tuus ii Inclina deus meus aurem tuam pp. 669–671, Anon.

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139

Te deum patrem ingenitum te filium ii Laus deo patri parilique proli pp. 672–674, Anon. Peccata mea domine sicut sagittae infixa ii Quoniam iniquitatem meam ego cognosco pp. 692–695, Anon. KasL 38.

Kassel. Murhard’sche Bibliothek der Stadt Kassel und Landesbibliothek. MSS 4o Mus. 38/1–6.

Adieu mes amours [no. 30], A.W. Ferendum est aequo animo quod a deo [no. 31], A.W. KönSU 1740.

Königsberg (Kaliningrad) Former Staats- und Universitätsbibliothek. MS 1740 (olim Pb 11)

[missing since World War II, except for bassus book, now BerlGS 7]. LeidGA 1441. Leiden (Leyden). Gemeentearchief. Archieven van de Kerken. MS 1441 (olim D; 425; 763; 864; 1006). Infirmitatem nostram quesumus domine/Fors seulement [no. 52], Willart LeidGA 1442. Leiden (Leyden). Gemeentearchief. Archieven van de Kerken. MS 1442 (olim E; 426; 764; 865; 1007). Pater noster qui es in celis [no. 38], ff. 98v–101, Adrianus Willaert [Magnificat] Quarti thoni: Et exultavit spiritus meus [no. 60], ff. 202v–208, Willart LeipU 49.

Leipzig. Universitätsbibliothek. MS Thomaskirche 49 (1–4), (olim III, A. α 17–20) and MS Thomaskirche 50 (olim III, A. α 21).

Domine Iesu Christe amator benignissime ii O bone Iesu et dulcis spes animae ff. 52–53, Adrian Willaert Pater noster qui es in coelis ff. 196–197, Obrecht

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Adrian Willaert

Videns dominus fluentes sorores Lazari ff. 291v–292, Anon. LeipU 51.

Leipzig. Universitätsbibliothek. MS Thomaskirche 51 (1–2), (olim III, A α 22–23).

Pater noster qui es in coelis ii Ave Maria gratia plena dominus tecum ff. 86–87v, Anon. Beata Dei genitrix Maria ii Et beata quae credidit ff. 108v.109, Anon. LeuvU 163.

Leuven (Louvain). Former Bibliothèque de l’Université. MS 163. [destroyed in 1914].

Infirmitatem nostram quesumus domine [no. 14], f. 31v, Verdelot Magnum hereditatis misterium templum dei [no. 31], f. 68v, Willaert Beatus Bernardus quasi vas auri sancti ii Factus est quasi ignis effulgens [no. 51], f. 110, Adrian Willart LonBL 19583. London. British Library. Reference Division. Department of Manuscripts. MS Additional 19583. [see also ModE F. 2.29 and ParisBNN 4599]. Intercessio quesumus domine beate Barbare [no. 14], ff. 29v–30, A. Wilaert LonBL 35087. London. British Library. Reference Division. Department of Manuscripts. MS Additional 35087. Cest donc par moy qui ainsy suis fortunee [no. 68], ff. 81v–83, Anon. LonRC 2037.

London. Royal College of Music. MS 2037, (olim Sacred Harmonic Society S.H. 1743).

[Discantus book foliation]

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Sources of Willaert’s Music

Pater noster qui es in celis ii Ave Maria gratia plena dominus tecum [no. 2–3], ff. 5v–7, Adrianus Willaert Magnum hereditatis misterium templum dei [no. 5], ff. 8v–9, Adrianus Willaert Mirabile misterium declaratur hodie [no. 6], ff. 9v–10, Adrianus Willaert Benedicta es celorum regina ii Per illud ave [no. 7], ff. 10v–12, Adrianus Willaert Videns dominus flentes sorores Lazari [no. 8], ff. 12v–13, Adrianus Willaert Quasi unus de paradisi fluminibus evangelista ii Deus qui beatum Marcum evangelistam [no. 9], ff. 13v–15, A. Willaert Tristis est anima mea usque ad mortem ii Tenebre facte sunt dum crucifixissent [no. 10], ff. 15v–17, Adrianus Willaert Plange quasi virgo plebs [no. 11], ff. 17v–18, Adrianus Willaert Ave regina celorum ave domina angelorum ii Gaude gloriosa [no. 12], ff. 20–21, Adrianus Willaert Inviolata integra et casta es Maria ii Nostra ut pura pectora sint et corpora [no. 13], ff. 20–21, Adrianus Willaert Dominus regit me et nihil mihi ii Parasti in conspectu meo mesam [no. 14], ff. 21v–23, Adrianus W. Patefacte sunt ianue celi Christi ii Nortem enim quam salvator noster [no. 15], ff. 23v–24, Adrianus Willaert

141

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Saluto te sancta virgo Maria domina ii Rogo te ergo per illud gaudium [no. 21], ff. 31v–33, Adrianus Willaert Victimae paschalli laudes [no. 24], ff. 35v–37, Adrianus Willaert In tua pacientia permanens [no. 33], ff. 49v–50, A. Willaert Ave virginum gemma [no. 41], ff. 60v–61, Adrianus Willaert O gemma clarissima [no. 42], ff. 61v–62, Adrianus Willaert Visita quesumus domine [no. 43], ff. 62v–63, Jacquet Quem terra pontus ii Maria mater gratie [no. 44], ff. 63v–65, Adrianus Willaert Intercessio quesumus domine [no. 47], ff. 69v–70, Adrianus Willaert Salve crux sancta ii Causa etiam vite [no. 51], ff. 76v–78, Adrianus Willaert O magnum misterium ii Ave Maria gratia plena [no. 52], ff. 78v–80, A. Willaert Valde honorandus est [no. 53], ff. 80v–81, A. Willaert Regina celi letare ii Resurexit sicut dixit [no. 59], ff. 86v–87, Adrianus Willaert Domine ihesu Christe [no. 60], ff. 87v–88, Adrianus Willaert

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Sources of Willaert’s Music

LucBS 775.

143

Lucca. Biblioteca Statale. MS 775.

O stupor et gaudium ii Tuis astra posteris [no. 6], ff. 8v–10, Anon. Salva nos ab exidio Geminiani [no. 28], ff. 38v–39, Anon. Adriacos numero si qui comprehendere ii Nobis dum sacros templis [no. 40], ff. 49v–50v, Anon. Clare sanctorum Princips orbis [no. 43], ff. 53v–54, Anon. Laus tibi sacra Rubens ii Basilii felix ades [no. 44], ff. 54v–55, Anon. Sancte Francisce [no. 47], ff. 58v–59, Anon. O proles Hispanie [no. 48], ff. 59v–60, Anon. LüneR 144. Lüneburg. Ratsbücherei. MS Mus. ant. pract. K.N. 144 (1–4). Allein nach dir, Herr Jesu Christ Quarta Pars, no. 1, Anon. MilC s.s.

Milan. Biblioteca del Conservatorio di Musica Giuseppe Verdi. MS s.s. (“Tarasconi Codex”; “Clerici Codex”).

Ove ch’i posi gli occhi [a 6] ii Amor e’l ver [no. 208], f. 195v, Adriano Wilaert Quando nascesti amor? [a 7] [no. 219], f. 209v, Anon. Che fai alma? che pensi? [a 7] [no. 220], f. 210v, Adriano Wilaert

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Adrian Willaert

ModD 3.

Modena. Duomo, Biblioteca e Archivio Capitolare. MS Mus. III.

[B]eata dei genitrix Maria cuius viscera ii [B]eata que credidit quoniam perfecta ff. 158v–160, Anon. ModD 4.

Modena. Duomo, Biblioteca e Archivio Capitolare. MS Mus. IV.

[I]nfirmitatem nostram quesumus domine f. 13v, Verdelot ModD 9.

Modena. Duomo, Biblioteca e Archivio Capitolare. MS Mus. IX.

Regina celi letare alleluya ii Resurrexit sicut dixit alleluya [no. 14], ff. 29v–31, Adrian Salva nos domine vigilantes custodi [no. 17], ff. 34v–35, Mouton [O] beata infantia per quam nostri generis ii [O] felices panni quibus peccatorum [no. 29], ff. 55v–58, Jo. Richafort Ave maris stella dei mater alma ii Monstra te esse matrem sumat per te [no. 31], ff. 61v–64, Adrian Salva nos ab excidio Geminiane scelerum [no. 32], ff. 64v–65, Anon. Armorum fortissime ductor Sebastiane [no. 33], f. 65v, Adrian [incomplete] O gloriosa domina excelsa super sidera ii Maria mater gracie mater misericordie [no. 34], ff. 67v–69, Anon. O beatum pontificem qui totis visceribus [no. 35], f. 69v, Anon. [St. John Passion]: Jesum Nazarenum [no. 44], f. 88v–93v, Anon.

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Sources of Willaert’s Music

ModE C.313.

145

Modena. Biblioteca Estense e Universitaria. MS C.313 (1–4).

A complete inventory of the manuscript is included here, because of the central position of this manuscript for the repertory of the 1559 Musica Nova collection. Motets for Four Voices Nunc pio corde [no. 1], p. 1, Adrianus W. Aule lucide [no. 2], p. 2, Adrianus W. Audi dulcis [no. 3], p. 4, Iachetus Dic nobis quibus [no. 4], p. 6, Adrianus W. Intercessio quaesumus [no. 5], p. 8, Adrianus W. Confitebor tibi domine ii In quacunque die invocavero te exaudi me iii Si ambulavero in medio tribulationis [no. 6], p. 9, Adrianus W. Dilexi quoniam exaudiet dominus ii O Domine libera animam meam [no. 7], p. 12, Adrianus W. Congratulamini mihi ii Beatam me dicent omnes generationes [no. 8], p. 14, Adrianus W. Spem in alium [no. 9], p. 16, Iachetus Domine quid multiplicati ii Ego dormivi, et soporatus sum [no. 10], p. 18, Adrianus W.

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Adrian Willaert

Tota pulchra es [no. 11], p. 20, Adrianus W. Motets for Five Voices Veni redemptor [no. 12], p. 25, Adrianus W. O admirable commercium [no. 13], p. 26, Adrianus W. Quando natus est [no. 14], p. 28, Adrianus W. Rubum quem viderat [no. 15], p. 29, Adrianus W. Germinavit radix Iesse [no. 16], p. 30, Adrianus W. Ecce Maria [no. 17], p. 31, Adrianus W. Mirabile misterium [no. 18], p. 32, Adrianus W. Magnum hereditatis [no. 19], p. 33, Adrianus W. Beati pauperes ii Beati qui persecutionem [no. 20], p. 34, Adrianus W. Salvum me fac ii Veni in altitudinem [no. 21], p. 36, Iachetus Dixit autem dominus ii Serve ne qum omne debitum [no. 22], p. 39, Iachetus

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Sources of Willaert’s Music

Ave maris stella ii Monstra te esse matrem [no. 23], p. 41, Adrianus W. Dilectus meus ii Sub umbra illius quem [no. 24], p. 44, Al. Viola Locuti sunt [no. 25], p. 46, Adrianus W. Ne proiicias [no. 26], p. 48, Adrianus W. Venit lumen [no. 27], p. 49, P. Animicius In die tribulationis [no. 28], p. 50, Iachetus Locutus est [no. 29], p. 52, Jachetus Omnia quae fecisti [no. 30], p. 54, F. Viola Tribularer [no. 31], p. 56, Ciprianus R. Ecce dominus veniet [no. 32], p. 58, Adrianus W. Hodie Christus natus est [no. 33], p. 59, Adrianus W. Domine secundum actum [no. 34], p. 64, Iachetus Creator omnium [no. 35], p. 65, Adrianus W. Rex babilonis [no. 36], p. 66, Iachetus

147

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148

Adrian Willaert

Nigra sum [no. 37], p. 68, Iachetus Et filius [no. 38], p. 70, F. Viola Cantate domino [no. 39], p. 71, P. Animucius Surge patre [no. 40], p. 72, Iachetus Ad te levavi [no. 41], p. 74, Ciprianus R. Si vera in cessu [no. 42], p. 82, Iachetus Laetare Hierusalem [no. 43], p. 84, Jo. Continus Domine Jesu Christe [no. 44], p. 85, Adrianus W. Verbum iniquum ii Duo rogavi ne deneges mihi [no. 45], p. 86, Adrianus W. Laudem dicite [no. 46], p. 88, Ciprianus R. Salva nos Domine [no. 47], p. 89, Adrianus W. Prolongati sunt ii Inveterata sunt ossa mea iii Sit ergo fas dicre [no. 48], p. 90, Adrianus W. Vado ad eum [no. 49], p. 93, Ciprianus R.

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Laus tibi [no. 50], p. 94, Adrianus W. Benedictus redemptor ii Magne pater [no. 51], p. 96, Adrianus W. Domine Deus [no. 52], p. 98, Ciprianus R. Christus resurgens ii Dicant nunc Judei [no. 53], p. 101, Adrianus W. In convertando [no. 54], p. 104, Ciprianus R. O altitudo [no. 55], p. 106, Ciprianus R. In die tribulationis [no. 56], p. 108, Ciprianus R. Aspice domine [no. 57], p. 109, Iachetus Si bona suscepimus [no. 58], p. 110, Verdelotus Pater noster [no. 59], p. 111, Iachetus Peccavi super numerum ii Quoniam iniquitatem meam [no. 60], p. 113, Adrianus W. Laetare sancta mater ii Augustine lux doctorum [no. 61], p. 115, Adrianus W. Omnes in domino [no. 62], p. 117, Jo. Continus

149

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Adrian Willaert

O quam praeclara [no. 63], p. 118, Iachetus Si bona suscepimus [no. 64], p. 122, R. Josephus Benedictus Deus [no. 65], p. 124, R. Nicolaus Angelus domini [no. 66], p. 126, Jo. Continus Alleluya surrexit [no. 67], p. 127, Jo. Continus Da pacem [no. 68], p. 135, Ciprianus R. Ave vivens hostia [no. 69], p. 136, Jo. Continus Repleatur os meum [no. 70], p. 137, Iachetus Beatus homo [no. 71], p. 138, Ciprianus R. Mane prima sabbati [no. 72], p. 141, Adrianus W. O sacrum convivium [no. 73], p. 142, Morales Mirabile misterium [no. 74], p. 144, Iachetus Justus est dominus [no. 75], p. 145, Ciprianus R. Miserere nostri ii Alleva manum tuam [no. 76], p. 146, Adrianus

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151

Sub tuum [no. 77], p. 148, Adrianus W. Benedictum est nomen [no. 78], p. 150, Ciprianus R. ModE C.314.

Modena. Biblioteca Estense e Universitaria. MS C.314 (1–7).

A complete inventory of the manuscript is included here, because of the central position of this manuscript for the repertory of the 1559 Musica Nova collection. Motets for Six Voices Creator omnium [no. 1], p. 1, Adrianus W. Audite insule ii Et posuit os meum quasi gladium acutum [no. 2], p. 2, Adrianus W. Vocem iocunditatis [no. 3], p. 4, Adrianus W. Hodie completi sunt [no. 4], p. 6, Io. Continus Miserimini mei [no. 5], p. 8, Io. Continus Benedictus Deus [no. 6], p. 10, Io. Continus Ascendo ad Patrem [no. 7], p. 17, R. Iosephus Z. Domine Jesu Christe ii O bone Jesu [no. 8], p. 18, Adrianus W. Murus tuus dilecta [no. 9], p. 22, Iachetus

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152

Adrian Willaert

In diebus illis ii Et stans retro [no. 10], p. 24, Adrianus W. Hodie Christus natus est [no. 11], p. 26, Ciprianus R. Pater peccavi ii Quanti mercenarii [no. 12], p. 28, Adrianus W. Mittit ad virginem ii Exiqui mitteris haec dona dicerre iii Audit et suscipit puella nuncum [no. 13], p. 42, Adrianus W. Salve sancta parens ii Virgo dei genitrix [no. 14], p. 46, Adrianus W. Regina coeli ii Resurrexit sicut [no. 15], p. 48, Adrianus W. [p. 40 in tavola incorrect] O gloriosa domina ii Maria mater gratie [no. 16], p. 50, Adrianus W. Miserere mei Deus [no. 17], p. 52, R. Josephus Z. Pater Noster ii Ave Maria [no. 18], p. 56, Adrianus W. Ave virgo sponsa dei ii O Maria benedicta iii Igitur nos merito [no. 19], p. 60, Adrianus W. O proles hispaniae [no. 20], p. 64, Adrianus W.

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Domine deus iustorum [no. 21], p. 66, F. Viola Nativitas tua [no. 22], p. 68, Io. Continus Misereris omnium Domine [no. 23], p. 69, R. Jospehus Z. Descendit hodie lux magna [no. 24], p. 70, F. Viola Alma redemptoris ii Tu, quae genuisti [no. 25], p. 82, Adrianus W. Victimae paschali ii Dic nobis Maria [no. 26], p. 84, Adrianus W. Peccata mea domine ii Quoniam iniquitatem [no. 27], p. 86, Adrianus W. Huc me sidereo ii Pungentem capiti dominum gestare iii De me solus amor potuit perferre triumphum [no. 28], p. 88, Adrianus W. O salutaris hostia [no. 29], p. 91, Adrianus W. In felix ego ii Ad te igitur [no. 30], p. 92, Adrianus W. Descendit in ortum [no. 31], p. 94, Jachetus Beata viscera [no. 32], p. 96, Adrianus W.

153

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Ave regina coelorum [no. 33], p. 97, Iachetus O beatum pontificem [no. 34], p. 98, Adrianus W. Veni sancte spiritus ii O lux beatissima [no. 35], p. 100, Adrianus W. Motets for Seven Voices Praeter rerum seriem ii Virtus sancti spiritus [no. 36], p. 113, Adrianus W. Inviolata integra ii Tua per precata dulcisona [no. 37], p. 116, Adrianus W. Quem vidistis [no. 38], p. 120, Ciprianus R. Te Deum ii Laus Deo patri pariliquem [no. 39], p. 122, Adrianus W. Descendit in ortum [no. 40], p. 126, Ciprianus R. Benedicta es ii Per illud ave [no. 41], p. 130, Adrianus W. Verbum supernum ii Se nascens dedit socium [no. 42], p. 134, Adrianus W. Ave regina coelorum no. 43[h], p. 138, Ciprianus R. ModE F. 2.29. Modena. Biblioteca Estense e Universitaria. MS α.F. 2.29 (Lat.1232). [see also LonBL 19583 and ParisBNN 4599].

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155

[Intercessio quesemus] domine beate Barbare virginis [no. 18], f. 16v, A. Wilaert [Fragment of tenor] ModE N.1.1. Modena. Biblioteca Estense e Universitaria. MS α.N.1.1 (Lat. 451; olim V.H.1). Missa Mittit ad virginem no. 5, ff. 134v–173, Adrianus Willaert ModE N.1.2. Modena. Biblioteca Estense e Universitaria. MS α.N.1.2 (Lat. 452; olim V.H.2). Missa Benedicta es celorum regina no. 8, ff. 19v–36, Hedin Ave regina celorum mater regis angelorum [a 4] no. 16, ff. 181v–182, Adrianus W: Regina celi letare alleluya [a 4] ii Resurexit sicut dixit alleluya no. 22, ff. 188v–190, Adrianus W: MontsM 769.

Montserrat. Biblioteca del Monestir. MS 769.

[Magnificat] Quarti toni f. 81v, Johanes Mouton [Attri. Willaert in LeidGA 1442, ff. 202v–208] MunBS 16. Munich. Bayerische Staatsbibliothek, Musiksammlung. Musica MS 16 (olim H.C. 56; = MaiM 92). Clare sanctorum senatus apostolorum [no. 11], ff. 68v–77, Adrianus Vilhart MunBS 19. Munich. Bayerische Staatsbibliothek, Musiksammlung. Musica MS 19 (olim H.C. 27; = MaiM 43). Benedicta es celorum regina et mundi [a 4] ii Per illud ave prolatum et tuum [no. 6], ff. 50v–57, Adrianus Vuillaert

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156

Adrian Willaert

MunBS 42. Munich. Bayerische Staatsbibliothek, Musiksammlung. Musica MS 42 (olim H.C. 62; = MaiM 15). Missa Mente tota [no. 6], ff. 163v–227, Anon. MunBS 260. Munich. Bayerische Staatsbibliothek, Musiksammlung. Musica MS 260 (= MaiM 202). Missa Benedicta es [Pleni sunt caeli and Agnus Dei II only] nos. 23 and 24, Anon. MunBS 274a. Munich. Bayerische Staatsbibliothek, Musiksammlung. Musica MS 274a (= MaiM 123). Dulces exuviae ff. 3–3v, Anon. Dessus le merchy d’Arras ff. 14–14v, Anon. MunBS 1501. Munich. Bayerische Staatsbibliothek, Musiksammlung. Musica MS 1501 (= MaiM 207). Dessus le merchy d’Arras [no. 27], f. 14v, Anon. MunBS 1503b. Munich. Bayerische Staatsbibliothek, Musiksammlung. Musica MS 1503b (= MaiM 124). Ne procias nos [no. 1], ff. 1–1v, Adrien Willaert MunBS 1508. Munich. Bayerische Staatsbibliothek, Musiksammlung. Musica MS 1508 (= MaiM 205). Alaventure pensant en fin gaigner [no. 74], ff. 45v–46, Anon. Hellas ma mere hellas maman les dentz [no. 75], ff. 50–50v, A. Willart Qui la dira la peine de mon coeur [no. 85], f. 55v, A. Willart

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157

La roussee du moy de may ma gate [no. 94], f. 60v, A. Willart Je ny scaurois chanter ne rire [no. 101], f. 65v, A. Willart Sonne my donc quant vous ires [no. 102], ff. 66–66v, A. Willart A la fonteine du prey Margot set [no. 114], f. 72v, Anon. Or suis ie bien au pire de mes malheureulx [no. 118], f. 75, A. Willart Vous ne lares pas si ie puis [no. 119], f. 75v–76, A. Willart MunBS 1516. Munich. Bayerische Staatsbibliothek, Musiksammlung. Musica MS 1516 (= MaiM 204). Cest dant par moy [no. 119], Anon. Larouset [no. 137], Anon. MunBS 1536. Munich. Bayerische Staatsbibliothek, Musiksammlung. Musica MS 1536 (olim Lat. 16527b; = MaiM 123). [Cum invocarem exaudivit me] In tribulatione dilatasti mihi Series 1, no. 11, Adrianus Willart Praeter rerum seriem parit deum ii Virtus sancti spiritus opus illud Series 2, no. 22, Adrianus Willart Inviolata integra et casta es Maria ii Tua per praecata dulcisona nobis Series 2, no. 23, Adrianus Willart Benedicta es coelorum regina ii Per illud ave prolatum et tuum Series 2, no. 24, Adrianus Willart

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Verbum supernum prodiens nec patris linguens ii Se nascens dedit socium convescens Series 2, no. 25, Adrianus Willart Te deum patrem ingenitum te filium ii Laus deo patri parilique proli Series 2, no. 26, Adrianus Willart Salva nos domine vigilantes custodi Series 3, no. 90, Johannes Mouton MunU 326. Munich. Universitätsbibliothek der Ludwig-Maximilians-Universität. MS 8o 326 (olim Cim. 44b). [R]ex autem David f. 18v, Anon. Pater noster qui es in coelis ii Ave Maria gratia plena dominus tecum ff. 26v–28, Adrianus Vuillart MunU 327. Munich. Universitätsbibliothek der Ludwig-Maximilians-Universität. MS 8o 327 (olim Cim. 44b). In diebus illis [erat vir Babyloniae] ii [Susanna aliquando ingrediebatur] Et senes videbant iii Deus [qui] absconditorum es cognitur ff. 3–5v, Adrianus Wilhart MunU 401. Munich. Universitätsbibliothek der Ludwig-Maximilians-Universität. MS 4o Art. 401 (1–4) (olim Cim. 44i). O crux splendidior cunctis astris mundi ii Dulce lignum dulces clavos [no. 36], ff. 51–52, Adrianus Ave maris stella dei mater alma ii Monstra te esse matrem sumat per te [no. 37], ff. 52v–54, Adrianus Sancta et immaculata virginitas quibus ii Cum iocunditate conceptionem beatae [ff. 71–72], no. 50, Anon.

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159

NurGN 8820B. Nuremberg. Bibliothek der Germanischen Nationalmuseums. MS 8820 B. Mittit ad virginem ii Exi qui mitteris iii Audit et suscipit puella no. 15, ff. 189v–216, Anon. Huc me sidereo ii Pungentem capiti iii De me solus amor no. 22, ff. 335v–354, Ad. Vuil: PadBC A17.

Padua. Biblioteca Capitolare. MS A 17.

Sancta Maria regina celorum stella maris ii O pia domine per illud gaudium [no. 10], ff. 17v–19, Anon. Beata dei genitrix Maria cuius viscera ii Beata que credidit quoniam perfecta [no. 16], ff. 29v–30, Anon. Sancta et immaculata virginitas quibus ii Cum iocunditate festivitatem beate [no. 46], ff. 72v–73, Anon. Omnipotens sempiterne deus qui huius diei [no. 89], ff. 131v–132, Anon. Inclite dux salve Victor salvete quirites ii Sanguine tumulto victricia signa [no. 97], ff. 142v–144, Anon. In tua patientia permanens possedisti [no. 103], ff. 153v–154, Anon. Intercessio quesumus domine beate Justine [no. 105], ff. 155v–156, Anon. PadBC D27.

Padua. Biblioteca Capitolare. MS D 27.

Ave regina celorum ii Gaude gloriosa [no. 19], ff. 33v–35, Anon.

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Patefacte sunt ii Mortem enim quam [no. 37], ff. 69v–71, Anon. Salve crux sancta ii Causa etiam [no. 39], ff. 73v–74, ff. 76v–77, Anon. Inviolata integra ii Nostra ut pura [no. 44], ff. 83v–85, Anon. O magnum misterium ii Ave Maria gratia plena [no. 50], ff. 94v–96, Anon. Infirmitatem nostram [no. 54], ff. 102v–103, Anon. Salva nos ab excidio [no. 67], ff. 123v–124, Anon. ParisBNC 851. Paris. Bibliothèque Nationale, Département de la Musique. Fonds du Conservatoire. MS Rés. Vma. 851 (“Bourdeney Manuscript”). Regina celi [a 3] pp. 1–2, Adriano W. Kyrie pp. 10–11, Adrian Willart Pater noster qui es in celis p. 13, Adrian W. Vado ad eum qui misit me pp. 26–27, Anon. Sel veder voi m’ancide et evvi grant pp. 78–79, Anon. Amor da che tu vuoi pur ch’io m’arrischi ii Gentil coppia eccelente chi vi mira pp. 187–188, Anon.

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Se la gratia divina non mi tra pp. 189–190, Anon. Vous ne l’aures pas si ie puis p. 488, Adrian Vuillart Joussance vous donnerai p. 489, Adrian Vuillart Helas ma mere pp. 489–490, Anon. Qui la dira pp. 490–491, Anon. Puis qu j’ai perdu ma maistresse p. 491, Anon. Vous aures tout ce qui est mien pp. 491–492, Anon. Mort ou merci en languissant j’attens p. 492, Anon. Je l’ay aimee p. 493, Anon. Sonnez mi donc quand vous ires pp. 493–494, Anon. Pis ne me peult venir p. 494, Anon. Je ne scaurois chanter ne rire pp. 494–495, Anon. Mon petit cueur tu nes plus mien p. 495, Anon. Baises moi tant tant pp. 495–496, Anon.

161

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Sire don dieu tant ils sont aises p. 496, Anon. A la fontaine du pre Margot s’est baignee p. 497, Adrian Vuillaert Puis donc que ma maistresse pp. 497–498, Adrian Vuillaert Qui a beau nez beuvra à la bouteille p. 498, Adrian Vuillaert Faute d’argent c’est douleur non pareille pp. 498–499, Ad. Vuillaert Or suis ie bien au pire de mes malheureux pp. 499–500, Anon. En douleur en tristesse pp. 500–501, Anon. Mon cueur mon corps mon ame mon avoir p. 501, Anon. Douleur me bat pp. 501–502, Anon. Petite camusette pp. 502–503, Adrian Vuillart De retourner mon ami je te prie p. 503, A Vuillart Qui veult aimer il fault estre pp. 503–504, Anon. La rousee du mois de may p. 517, Jehan Mouton ParisBNN 4599.

Paris. Bibliothèque Nationale, Département des Manuscrits. Nouvelles Acquisition Françaises. MS 4599. [see also LonBL 19583 and ModE F. 2.29].

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163

Jay veu le regnart et le loup [no. 7], ff. 7v–8, A. Wilaert PiacD (1).

Piacenza. Archivio del Duomo, Fondo Musicale. MSS s.s. (1).

[foliation from superius partbook] M[issa] 5 Christus resurgens ff. 40v–49, Anon. Missa 6 Osculetur me ff. 49v–58, Anon. Missa 7ma Queramus cu[m] pastoribus ff. 58v–66, Anon. Missa ottava Laudate deum ff. 66–72v, Anon. Missa 7ma Benedictus [from Sanctus of Missa Queramus cum pastoribus] f. 73, Anon. PiacD (2).

Piacenza. Archivio del Duomo, Fondo Musicale. MSS s.s. (2).

Christus resurgens ii Dicant nunc iudei [no. 4], ff. 8v–10, Anon. Prolungati sunt dies ii Inveterata sunt iii Sit ergo fas dicere [no. 5], ff. 10v–12, Anon. Letare sancta mater ii Augustine lux doctorum [no. 6], ff. 12v–14, Anon. Peccavi super numerum ii Quoniam iniquitatem meam [no. 7], ff. 14–15v, Anon. PiacD (3).

Piacenza. Archivio del Duomo, Fondo Musicale. MSS s.s. (3).

Vocem jocunditatis anuntiate et audiatur ff. 29v–30, Anon.

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Ave virgo sponsa dei sancti spiritus ii O Maria benedicta in mulieribus iii Igitur nos merito erata nostra ff. 30v–31v, Anon. In craticula te deum non negavi ff. 31v–32, Anon. [Ad cenam agni providi stolis albis] “Sabbato in albis” ii Cuius corpus sanctissimum in ara crucis vi Cum surgit Christus tumulo victor viii Gloria tibi domine qui surrexisti ff. 48v–50, A.W. Veni creator spiritus mentes tuorum “In festo penthecostes” iii Tu septiformis munere dextre dei v Hostem repellas longius pacemque dones viii Gloria patri domino natoque qui a mortuis ff. 49v–52, A.W. [Magne pater Augustine preces nostras] “In festo sancti augustini” ii Amatorem pauperitatis te collaudant iv Tu de victa clericorum sanctam scribis ff. 51v–53, A.W. [Hodie festum pie celebremus diem] “In festo sancti marci evangelisti” ii Quo sanctorum Marcum chorus angelorum iv Sacerdotali predictum honore typicum vi Ut a devotis fratribus exactus ff. 54v–56, “Adrianus vuilaert usque ad finem.” [implies attribution to Willaert for remaining hymns listed below] [Festum nunc celebre manaque gaudia] “In festo ascensionis domini” ii Conscendit iubilans letus ad ethera iv Oramus domine conditor inclite devotos vi Presta hoc genitor optime maxime ff. 56v–58, Anon. [Adesto sancta trinitas par splendor] “In festo sanctae trinitatis” ii Te celorum militia laudat adorat iv Unum te lumen credimus quod et ter ff. 57v–59, Anon.

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[Pange lingua gloriosi corporis mysterium] “In festo corporis Christi” ii Nobis datus nbis natus ex intacta iv Verbum caro panem verum verbo carnem vi Genitori genitoque laus et jubilatio ff. 58v–61, Anon. [Aurea luce et decore roseo lux lucis] “In festo petri et pauli apostolorum” ii Janitor celi doctor orbis pariter ff. 61v–62, Anon. [Maria mater domini Maria soror Lazari] “In festo sancte marie magdalene” ii Impar ancila domine sed pari fulget iv Maria pedes genuit quos ista plorans vi Accessit eius merito mirabilis dignatio ix Gloria sit unigenito eiusque unigenito ff. 62v–64, Anon. [Christe redemptor omnium conserva] “In festo omnium sanctorum et in nativitate domini” ii Beata quoque agmina clestium iv Martires dei incliti confessoresque vi Gentem auferte perfidam credentium ff. 64v–66, Anon. Conditor alme siderum eterna lux “Dominica prima de adventu” iii Vergente mundi vespere uti sponsus vi Te deprecamur agie venture iudex ff. 66v–67, Anon. [Hostis Herodes impie Christum venire] “In Epiphania domini” ii Ibant magi quam viderant stellam vi Novum genus potentie aque rubescunt ff. 67v–68, Anon. Aures ad nostras deitatis preces deus “In dominica in quadragesima” iii Crimina laxa pietate multa v Christe lux vera bonitas et vita vii Tu nobis dona fontem lachrimarum ix Gloria deo sit eterno patri sit tibi ff. 68v–70, Anon. Vexilla regis prodeunt fulget crucis “In dominica de passione” iii Quo vulneratus in super mucrone diro

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v Arbor decora et fulgida ornata regis vii O crux ave spes unica hoc passionis ff. 69v–72, Anon. [Fons pietatis culmina thabor petens] “In transfigurationis domini” ii Cuius refulsit faties velut sol iv Prisci proceres temporis intuentes vi Gloria tibi trinitas equalis un deitas ff. 71v–73, Anon. Ave maris stella dei mater alma “In omnibus solemnitatibus virginis marie” iii Solve vincla reis profer lumen v Virgo singularis inter omnes mitis vii Sit laus deo patri summo Christo ff. 73v–75, Anon. [Lucis creator optime lucem dierum] “In dominicis diebus” ii Qui mane iunctum verperi diem iv Celorum pulset intimum vitale ff. 75v–76, Anon. Vexilla regis prodeunt fulget crucis ii Quo vulneratus insuper mucrone diro iv Impleta sunt que concinit David v Arbor decora et fulgida ornata regis vi Beata cuius brachiis secli pependit vii O crux ave spes unica hoc passionis viii Te summa deus trinitas collaudet ff. 78v–81, Adrian PiacD (4).

Piacenza. Archivio del Duomo, Fondo Musicale. MSS s.s. (4).

Ave Maria ancilla ii Ave Maria fons [no. 12], ff. 18v–19, Anon. Ad tua confugio [no. 24], ff. 28–28v, Anon. Strinxerunt corporis membra ii Nea nox obscurum [no. 28], ff. 32v–33v, Anon.

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Sources of Willaert’s Music

Tota pulchra es amica mea [no. 39], ff. 39v–40, Anon. Beatus Laurentius orabat [no. 40], ff. 40–41v, Anon. Simile est regnum celorum ii Deus quji beate Helene [no. 46], ff. 55v–56, Anon. O crux splendidor ii Dulce lignum [no. 49], ff. 58–58v, Anon. [Vocem] jocunditatis [no. 50], ff. 58v–59, Anon. In diebus illis ii Et stans retro [no. 52], ff. 60v–61, Anon. In ex[itu Israel] ii Somus Jacob de populo [no. 57], ff. 63v–66, [Jaquet of Mantua/Willaert – alternating verses] Ave virgo sponsa dei ii O Maria benedicta iii Igitur nos merito [no. 65], ff. 73v–74, Anon. In craticula te deum [no. 66], f. 74v, Anon. PiacD (5).

Piacenza. Archivio del Duomo, Fondo Musicale. MSS s.s. (5).

Ecce lignum crucis ii Crux fidelis [no. 4], f. 2v–3, Anon. Ecce dominus veniet [no. 9], ff. 9v–10, Anon.

167

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Infirmitatem nostram [no. 28], f. 25v, Anon. Verbum iniquum ii Duo Rogavi [no. 61], ff. 62v–63, Anon. Congratulamini mihi omnes ii Et dum flerem [no. 66], ff. 65v–66, Anon. Regina celi letare ii Resurrexit sicut dixit [no. 68], ff. 67–67v, Anon. Obsecro domine ii Qui regis Israel [no. 83], ff. 89v–90, Anon. Vidi sedere virum [no. 100], ff. 104–104v, Anon. Ne proicias nos [no. 102], ff. 105–105v, Anon. RegB 786–837.

Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 786–837.

Benedicta es coelorum regina ii Per illud ave prolatum [no. 37], Adr. Vuillaert Te deum patrem ingenitum te filium ii Laus deo patri parilique proli [no. 38], Adr. Vuillaert Inviolata integra et casta es Maria ii Tua per precata dulcisona nobis [no. 39], Adrianus Vuillaert Verbum supernum prodiens nec patris linguens ii Se nascens dedit scoium convescens [no. 40], Adrianus Vuillaert

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169

Praeter rerum seriem parit deum hominem ii Virtus sancti spiritus opus illud [no. 41], A. Vuillaert RegB 838–43. Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 838–843. Mirabile misterium genuit nobis salvatorem [no. 23], ff. 86v–90, Adrianus Vuillart RegB 844–8.

Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 844–848.

Homo quidam fecit coenam magnam et misit ii Christus vere noster cibus [no. 31], ff. 64v–72, Adrianus Vuillart RegB 849–52. Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 849–852. Victimae paschali laudes immolent Christiani ii Dic nobis Maria quid vidisti in via? [no. 39], ff. 150v–158, Adrianus Vuillaert RegB 853–4.

Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 853–854.

O admirabile commertium ii Quando natus es iii Rubum quem viderat iv Germinavit radix Jesse v Ecce Maria vi Mirabile mysterium vii Magnum haereditatis nos. 9–15, [no. 9], ff. 24–36, Adrianus Vuillart Beata viscera Maria no. 19, [no. 25], ff. 57v–59, Adrianus Vuillart RegB 855–6.

Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 855–856.

Allein nach dir, Herr Jesu Christ [= Se pur ti guardo] no. 20, ff. 36v–38, Anon. RegB 857–60. Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 857–860. Mittit ad Virginem ii Exi qui mitteris iii Audit et suscipit puella [no. 28], Adrianus Vuillart

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170

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RegB 861–2.

Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 861–862.

[In excelso throno] Vidi sedere virum [no. 18], Adrianus Vuillart RegB 863–70. Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 863–870. Homo quidam fecit coenam magnam et misit ii Christus vere noster cibus Christus [no. 36], ff. 72–75v, Adrianus Vuillart RegB 871–4.

Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 871–874.

Victimae Paschali laudes ii Dic nobis Maria no. 22, [no. 29], ff. 57–59v, Adrianus Vuillart RegB 875–7.

Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 875–877.

Pater noster ii Ave Maria no. 21, [no. 53], ff. 90–92v, Adrianus Vuillart RegB 878–82. Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 878–882. Veni sancte spiritus ii O lux beatissima reple cordis [no. 18], ff. 35–39, Adrianus Vuillart Mirabile mysterium declaratur hodie [no. 29], ff. 73v–74v, Adrianus Vuillart RegB 887–90. Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 887–890. Haec est domus domini firmiter aedificata ii Fundavit eam altissimus qui super [no. 5], ff. 13–16, Adrianus Vuillart RegB 893.

Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 893.

Peccata mea domine sicut sagittae infixa ii Quoniam iniquitatem meam ego no. 36, Adrianus Vuillart Audite insulae et attendite populi ii Et posuit os meum quasi gladium no. 37, Adrianus Vuillart

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Infelix ego omnium ausilio destituti ii Ad te igitur piissime deus tristis no. 38, Adrianus Vuillart Pater peccavi in coelum et coram te ii Quanti mercenarii in domo patris no. 39, Adrianus Vuillart Avertatur obsecro domine furor tuus ii Inclina deus meus aurem tuam no. 40, Adrianus Vuillart Huc me sidereo descendere iussit Olympo ii Pungentem capiti dominum gestare iii De me solus amor potuit perferre no. 41, Adrianus Vuillart RegB 940–1.

Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 940–941.

Rex autem David cooperto capite incedens no. 29, Anon. Pater peccavi in coelum et coram te ii Quanti mercenarii in domo patris no. 164, Adrianus Vuillart Beata dei genitrix Maria cuius viscera ii Et beata quae credidit quoniam perfecta no. 223, Lhéritier Pater noster qui es in coelis no. 287, Adrianus Vuillart Dulces exuviae dum fata deusque no. 289, Joannes Mouton Ave Maria gratia plena dominus tecum no. 291, Adrianus Vuillart RegB 987.

Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 987.

Mittit ad Virginem ii Exi qui mitteris iii Audit et suscipit puella no. 4, Adrianus Vuillart

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RegB 1018.

Regensburg. Bischöfliche Zentralbibliothek. MS A.R. 1018.

Beata dei genitrix Maria cuius viscera ii Et beata quae credidit quoniam no. 59, Anon. RegB B211–5. Regensburg. Bischöfliche Zentralbibliothek. MS B. 211–215. Verbum iniquum et dolosum longe fac ii Duo rogavi [te] ne deneges mihi ff. 63–65, Anon. Lamentabatur Jacob de duobus filiis suis ff. 104–105, Hadrianus Willart RegB B220–2.

Regensburg. Bischöfliche Zentralbibliothek. MS B. 220–222.

Rex autem David cooperto capite incedens f. 88, [no. 52], Anon. RegB B223–33.

Regensburg. Bischöfliche Zentralbibliothek. MS B. 223–233.

Enixa est puerpera no. 20, Adri: Willart Creator omnium deus no. 22 (second list) = [no. 49], Adrianus Willart RegB C99. Regensburg. Bischöfliche Zentralbibliothek. MS C 99 (olim A.R. 772). [Magnificat] Sexti toni Et exultavit ff. 191v–198, Anon. Pater noster ii Ave Maria ff. 226v–234, no. 16, Adrianus Willart RegB C120.

Regensburg. Bischöfliche Zentralbibliothek. MS C 120 (olim D XII; “Pernner Codex”).

Domine quis habitabit ii Nec fecit iii Qui jurat pp. 250–253, no. 64, Anon.

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RegT 3/I.

173

Regensburg. Fürst Thurn und Taxis Hofbibliothek. MS Freie Künste Musik 3/I.

Si purti quardo [= Si pur ti guardo] no. 42, Anon. ReggioSP s.s.

Reggio Emilia. Archivio della Chiesa di San Prospero. MSS s.s.

[Missa] Benedicta es celorum regina [no. 22], ff. 149–158v, Anon. RokyA 22.

∨

Rokycany. Archiv De kanství v Rokycanech. MS A V 22 (a–b).

Sicut sydus radium profert virgo filium ff. 47–47v [superius], Anon. RomeM 23–4.

Rome. Palazzo Massimo. MSS VI.C.6.23–24.

Videns dominus flentes sorores Lazari [a 4] [no. 9], ff. 8v–9, Adriano Willart Domine Ihesu Christe fili dei vivi [a 5] [no. 17], ff. 32–32v, Adrian Villar. Infirmitatem nostram quesumus domine [a 5] [no. 18], ff. 32v–33, Verdelot Beata viscera Marie virginis que portaverunt [a 6] [no. 20], f. 34, Adriao. Villar. O gloriosa domina excelsa supra sydera [a 6] ii Maria mater gratie mater misericordie [no. 30], ff. 45v–46, Adriano Villart O beatum pontificem qui totis visceribus [a 6] [no. 31], ff. 46v–47, Adriano W. RomeSC 792–5.

Rome. Biblioteca Musicale Governativa del Conservatorio di Musica Santa Cecilia. MSS G. 792–795, [see also RomeBN 177–21].

Pater noster qui es [no. 1], ff. 1–1v, Adriano

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Deducant oculi nostri [no. 6], f. 4v, Adriano RomeV 35–40.

Rome. Biblioteca Vallicelliana. MS SI 35–40 (olim Inc. 107bis; S. Borromeo E.II.55–60).

Infirmitatem nostram quesumus domine Series 1, no. 3, Verdelot Peccavi super numerum arene maris ii Quoniam iniquitatem meam ego cognosco Series 1, no. 5, Adriano Domine Iesu Christe fili dei vivi Series 1, no. 8, Adriano Simile est regnum celorum homini negotiatori ii Deus qui meritis beate Helene Series 1, no. 12, Adriano Verbum iniquum et dolosum longe fac a me ii Duo rogavi te ne deneges mihi Series 1, no. 13, Adriano O crux splendidor cunctis astris mundi ii Dulce lignum dulces clavos dulcia Series 1, no. 18, Adriano Deus in nomine tuo salvum me fac ii Ecce enim deus adiuvat me et dominus Series 1, no. 27, Lirithyer O stupor et gaudium O iudex homo mentium ii Tuis asta posteris pater Francisce Series 1, no. 28, Adriano Ave Maria ancilla sancte trinitatis sponsa ii Ave Maria fons et pulcritudo confessorum Series 1, no. 30, Adriano Ave maris stella dei mater alma ii Mo[n]stra te esse matrem sumat per te Series 1, no. 34, Adriano

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Ecce dominus veniet et omnes sancti eius Series 1, no. 35, Adriano O salutaris hostia que celi pandis Series 2, no. 1, Adriano O beatum pontificem qui totis visceribus Series 2, no. 4, Adriano O gloriosa domina excelsa super sidera ii Maria mater gratie mater misericordie Series 2, no. 8, Adriano Obsecro domine mitte quem missurus es ii Qui regis Israel intende qui deducis Series 2, no. 13, Adriano Beata viscera Marie virginis que portaverunt Series 2, no. 15, Verdelot Domine Jesu Christe amator benignissime ii O bone Jesu et dulcis spes anime Series 2, no. 24, Adriano O beata infantia per quam nostri generis ii O felices panni quibus peccatorum Series 2, no. 35, Adriano SGallS 463.

Saint Gall. Stiftsbibliothek. MS 463 (“Tschudi Liederbuch”).

Dulces exuviae desperata quae te dementia f. 13v, Adrianus Villaert Rex autem David cooperto capite incedens f. 37, Adrianus Villaert Ie laÿ aymee bien sept ans e dimÿ f. 68v, Adrian Villaert SilosA 21.

Santo Domingo de Silos. Abadía Benedictino, Archivo. MS C 21.

Pater noster qui es in celis ii Ave Maria gratia plena dominus tecum [no. 26], ff. 89v–94, Anon.

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Adrian Willaert

SionA 87–4.

Sion (Sitten). Archives du Chapitre. MS 87–4.

Rex autem David cooperto capite incedens f. 31, Anon. StockKB 229. Stockholm. Kungliga Biblioteket. MS Holm. S 229: 1–2 [see also StockKM 45] E quando [ha fato l’ovo la mattina] [no. 38], Anon. Si pur ti guardo [dolce anima mia] [no. 39], Anon. I vidi in terra [angelici costumi] ii [Amor senno valor pietate e doglia] [no. 77], Anon. Audite insula [et attendite populi de longe] ii Et posuit os meum [quasi gladium] [no. 85], Anon. Verbum supernum ii Se nascens dedit socium [no. 184], Anon. Quando nascesti amor [no. 185], Anon. Che fai alma [no. 186], Anon. Inviolata [integra et casta es Maria] ii Tua per precata [no. 187], Anon. StuttL 2.

Stuttgart. Württembergische Landesbibliothek. MS Musica folio I 2.

Te deum patrem ii Laus deo patri no. 5, ff. 32v–47, Adrianus Vuillart Mittit ad virginem ii Exi qui mitteris

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iii Audit et suscipit no. 6, ff. 47v–71, Ad: Vuillaert Victimae paschali laudes ii Dic nobis maria no. 8, ff. 89v–103, Adrianus Vuillart Veni sancte spiritus ii O lux beatissima no. 9, ff. 103v–123, Adrianus Willart Beati pauperes ii Beati qui persecutionem no. 10, ff. 123v–139, Vuillart Avertatur obsecro ii Inclina deus meus no. 11, ff. 139v–152, A. Vuillart Peccata mea domine ii Quoniam iniquitatem no. 12, ff. 152v–164, Vuillart Pater peccavi ii Quanti mercenarii no. 13, ff. 164v–179, A. Vuillart StuttL 3.

Stuttgart. Württembergische Landesbibliothek. MS Musica folio I 3.

Salva nos domine no. 17, ff. 185v–186, Joannes Mouton StuttL 30.

Stuttgart. Württembergische Landesbibliothek. MS Musica folio I 30.

Domine Jesu Christe ii Et concede mihi no. 4, ff. 44v–56, Adrianus Vuillart Pater peccavi ii Quanti mercenarii no. 5, ff. 56v–68, Adrianus Willart

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StuttL 35.

Stuttgart. Württembergische Landesbibliothek. MS Musica folio I 35.

Visita quaesumus domine [no. 4], ff. 46v–56, Jachet StuttL 43.

Stuttgart. Württembergische Landesbibliothek. MS Musica folio I 43.

Deus in nomine tuo [a 5] ii Ecce enim deus [no. 1], ff. 1v–14, Anon. Domine Jesu Christe [a 6] ii O bone Jesu [no. 2], ff. 14v–25, Anon. StuttL 46.

Stuttgart. Württembergische Landesbibliothek. MS Musica folio I 46.

Missa super Benedicta [no. 1], ff. 1–38, Adriani Wilhart SuttonO 4.

Sutton Coldfield. Oscott College, Old Library. MS Case B No. 4 [see also ChiN M91].

[Alto partbook: remaining four partbooks of set = ChiN M91] Pater Noster [a 4] Series 1, no. 4, Anon. Congratulamini mihi omnes [a 4] ii Recedentibus discipulis Series 1, no. 8, Anon. Ecce Dominus veniet [a 5] Series 2, no. 7, Anon. ToleBC 10.

Toledo. Biblioteca Capitular de la Catedral Metropolitana. MS B. 10.

O salutaris hostia que celi pandis no. 17, ff. 92v–97, Verdelot ToleBC 17.

Toledo. Biblioteca Capitular de la Catedral Metropolitana. MS B. 17.

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179

Visita quesumus domine habitationem istam [no. 2], ff. 11v–15, Liritier ToleBC 21.

Toledo. Biblioteca Capitular de la Catedral Metropolitana. MS B. 21.

Pater noster qui es in celis no. 18, ff. 53v–56, Villar TrevBC 1.

Treviso. Biblioteca Capitolare del Duomo. MS 1 (olim A), [destroyed in 1944].

Missa Benedicta es celorum [no. 1], ff. 2–10, Gedin Missa Mente tota [no. 13], ff. 112–122, Adrian TrevBC 3.

Treviso. Biblioteca Capitolare del Duomo. MS 3 (olim E), [destroyed in 1944].

Veni creator spiritus [no. 11], ff. 14v–18, Anon. [Iste confessor] ii Qui pius prudens iv Unde nunc [no. 29], ff. 43v–45, Adrianus [Hostis Herodes] ii Ibant magi iv Novum genus [no. 40], ff. 58v–59, Adrianus Aures ad nostras deitatis [no. 41], ff. 59v–61, Adrianus Vexilla regis [no. 46], ff. 71v–73, Adrianus TrevBC 4.

Treviso. Biblioteca Capitolare del Duomo. MS 4 (olim F), [destroyed in 1944].

Benedictus redemptor omnium [no. 1], ff. 1v–3, Adrian

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Beatus Laurentius [no. 6], ff. 8v–9, Adrian In craticula te deum [no. 7], ff. 9v–10, Adrian Beatus Bernardus ii Factus est quasi [no. 11], ff. 13v–15, Adrian Omnipotens sempiterne deus [no. 12], ff. 15v–16, Adrian Laetare sancta mater ecclesia ii Augustine lux doctorum [no. 13], ff. 16v–18, Adrian O beatum pontificem ii O sanctissima anima [no. 49], ff. 71v–72v, Adrian Ave virginum gemma [no. 52], ff. 79v–80, Adrian O gemma clarissima [no. 53], ff. 80v–81, Adrian TrevBC 5.

Treviso. Biblioteca Capitolare del Duomo. MS 5 (olim H), [destroyed in 1944].

Salve crux sancta ii Causa etiam vite [no. 3], ff. 5v–7, Anon. Ecce lignum crucis ii Crux fidelis [no. 6], ff. 10v–12, Anon. O salutaris hostia [no. 23], ff. 43v–44, Anon. Creator omnium Deus [no. 30], ff. 51v–52, Anon.

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181

In diebus illis ii Et stans retro [no. 46], ff. 74v–77, Adrian W. TrevBC 6.

Treviso. Biblioteca Capitolare del Duomo. MS 6 (olim I), [destroyed in 1944].

Sancte Paule apostole [no. 4], ff. 7v–9, Anon. Qui habitat in adjutorio [no. 12], ff. 25v–27, Anon. Locuti sunt adversum me ii Et posuerunt adversum [no. 20], ff. 47v–50, Anon. Beatus Marcus [no. 35], ff. 76v–77, Adriano Willaert TrevBC 7.

Treviso. Biblioteca Capitolare del Duomo. MS 7 (olim K).

Ferr1990, pp. 21–35. Angelus domini descendit [a 4] [no. 1], ff. 1v–2, Adrianus Vullaert Videns dominus fluentes sorores [a 4] [no. 41], ff. 83v–84, Jachet/Magni Adriani [Original scribe wrote Jachet on f. 83v, later scribe crossed out Jachet and wrote Magni Adriani on f. 84.] TrevBC 8.

Treviso. Biblioteca Capitolare del Duomo. MS 8 (olim L).

Ferr1990, pp. 36–50. Ecce dominus veniet [a 5] [no. 7], ff. 13v–14, Adrianus W: Obsecro Domine mitte [a 6] ii Qui regis Israel [no. 11], ff. 20v–22, Adrianus In tua pacientia [a 4] [no. 17], ff. 37v–38, Anon.

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Patefacte sunt Janue [a 4] ii Mortem enim quam salvator [no. 26], ff. 59v–61, Adrianus Beatus Stephanus preciosus [a 4] ii Et videntes vultum [no. 28], ff. 63v–65, Adrianus Joannes apostolus et evangelista [a 4] ii Ecclesiam tuam quesumus [no. 30], ff. 67v–69, Adrian Vuillaret Beatus Joannes apostolous [a 4] ii Ipse est qui evangelii [no. 31], ff. 69v–71, Anon. Antoni pastor inclite [a 4] [no. 36], ff. 83v–85, Anon. Armorum fortissime Ductor Sebastiane [a 4] ii Te igitur martir egregie [no. 38], ff. 87v–90, Anon. Ave Maria gratia plena [a 4] [no. 51], ff. 122v–124, Anon. TrevBC 10.

Treviso. Biblioteca Capitolare del Duomo. MS 10 (olim N).

Ferr1990, pp. 63–74. In manus tuas domine [a 4] [no. 9], ff. 7v–8, Adrianus W. TrevBC 11b. Treviso. Biblioteca Capitolare del Duomo. MS 11b (olim P). Ferr1990, pp. 74–83. [second of set of two choirbooks containing music for double chorus, first choirbook no longer extant] [Psalm cxii: Laudate pueri] Laudate nomen domini [no. 3], ff. 11v–12, Adrianus W.

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[Psalm cxv: Credidi propter] Ego dixi in excessu [no. 4], ff. 12v–13, Anon. [Psalm cxxv: In convertando] Tunc repletum [no. 5], ff. 13v–14, Anon. [Psalm cxxxviii: Domine probasti me] Intellexisti cogitationes [no. 6], ff. 14v–16, Anon. [Psalm cx: Confitebor tibi] Exquisita in omnes [no. 9], ff. 19v–20, Anon. [Psalm cxxix: De profundis] Fiant aures tue [no. 11], ff. 21v–22, Anon. [Psalm cxxxi: Memento Domine David] Sicut juravit domino [no. 12], ff. 22v–24, Anon. [Psalm cxvi: Laudate dominum] Quoniam confirmata est [no. 21], ff. 35v–36, Anon. [Psalm cxii: Laudate pueri] Laudate nomen domini [no. 23], ff. 38v–39, Anon. [= no. 3] [Psalm cxxxxvii: Lauda Jerusalem] Lauda Deum tuum [no. 26], ff. 41v–42, Anon. [Psalm cxiii: In exitu Israel] Facta est Judea [no. 35], ff. 57v–59[b], Anon.

183

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TrevBC 13.

Treviso. Biblioteca Capitolare del Duomo. MS 13 (olim R).

Ferr1990, pp. 94–108. [Even-numbered hymn settings, text incipit of verse 1 given in parentheses] [Lucis creator optime] ii Qui mane iunctum In dominicis Diebus. [no. 17], ff. 31v–33, Adrianus [Sanctorum meritis] ii Hi sunt quos retinens In natiivit: plurimor[um] Martirum. [no. 18], ff. 33v–36, Adrianus [Ad cenam agni providi] ii Cuius corpus sanctissimum Dominica in albis. [no. 22], ff. 41v–43, Adrianus W. [Ad cenam agni providi] ii Cuius corpus sanctissimum Dominica in albis. [no. 23], ff. 43v–46, Adrianus Wilert [Hodie festum pie] ii Quo sanctum Marcum Pro Sancto Marco. [no. 25], ff. 47v–50, Hadrianus vvert [Christe redemptor omnium] ii Beata quoque agmina In festo omnium Sanctor[um]. [no. 26], ff. 50[a]–50[d], Anon. [= no. 40] [Festum nunc celebre] ii Conscendit jubilans In Ascensione. [no. 27], ff. 51v–54, Adrianus W. [Doctor egregie Paule] ii Sit trinitati sempiterna In conversione sancti Pauli. [no. 30], ff. 59v–60, Adrianus W. [contrafactum of no. 38] [Gaude mater pictatis] ii Ubi patres precellentes In festo transfigurationis Domini. [no. 33], ff. 63v–65, Anon. [contrafactum of [Tibi, Christe, splendor], ii Collaudemus [a 4] in 154211]

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Sources of Willaert’s Music

[Adesto sancta trinitas] ii Te celorum militia In festo et in dividue sanctissima[ae] Trinitas [no. 35], ff. 67v–69, Adrianus [Pange lingua] ii Nobis natus nobis datus In Corpore Christe. [no. 36], ff. 69v–72, Adrianus [Aurea luce] ii Janitor celi In festo Apostolor[um Petri et Pauli [no. 37], ff. 72v–73, Adrianus [Aurea luce] ii Janitor celi [no. 38], ff. 73v–74, Anon. [contrafactumn of no. 30] [Maria mater domini] ii Impar ancilla In festo sancte Marie Magdalene [no. 39], ff. 74v–76, Adrianus [Christe redemptor omnium] ii Beata quoque agmina In festo omnium Sanctor[um]. [no. 40], ff. 76v–79, Anon. [= no. 26] Conditor alme siderum Dominica prima de adventu [no. 41], ff. 79v–82, Adrianus [Proles de celo] ii Spoliatus egyptiis In vigilia sanctj Francisci Hymnus. [no. 43], ff. 85v–88, Anon. [contrafactum of no. 45] [Decus morum dux minorum] ii Plaudat frater regnat In die sanctj Francisci Hymnus. [no. 44], ff. 88v–91, Anon. [En gratulemur hodie] ii Francisci patris emulus [no. 45], ff. 93v–96, Anon. [contrafactum of no. 43]

185

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186

Adrian Willaert

TrevBC 24.

Treviso. Biblioteca Capitolare del Duomo. MS 24a–b.

Ferr1990, pp. 151–166. Psalm cxv: Credidi propter 24a: Ego autem humiliatus 24b: Ego dixi in exessu 24a, no. 2, ff. 1v–3: 24b, no. 2, ff. 1v–3, Anon. Psalm cxii: Laudate pueri 24a: Sit nomen domini 24b: Laudate nomen domini 24a, no. 7, ff. 12v–14: 24b, no. 7, ff. 16v–18, Anon. Psalm cxxxviii: Domine probasti 24a: Tu cognovisti 24b: Intellexisti cogitationes 24a, no. 9, ff. 15v–19: 24b, no. 9, 13v–17, Anon. Psalm cxxxi: Memento Domine 24a: Et omnis mansuetudinis 24b: Sicut iuravit domino 24a, no. 22, ff. 40v–43: 24b, no. 22, ff. 39v–42, Anon. TrevBC 25.

Treviso. Biblioteca Capitolare del Duomo. MS 25.

Ferr1990, pp. 167–197. Veni creator spiritus iii Tu septiformis munere v Hostem repellas [no. 16], ff. 30v–33, D. Adriani Vuil: [Magne pater Augustine] ii Amatorem paupertatis In festo sancti nostri Augustini iv Tu de vita clreicorum [no. 33], ff. 68v–70, Anon. [Lucis creator optime] ii Qui mane iunctum In Dominicis diebus. iv Celorum pulset intimum [no. 60], ff. 101v–102v, Adrian [incomplete due to missing folio]

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Sources of Willaert’s Music

TrevBC 29.

187

Treviso. Biblioteca Capitolare del Duomo. MS 29. [destroyed in 1944]

O sodales sancti Vindemialis et Florentii no. 32, [no. 32], Adriani Will. O proles hispaniae no. 33, [no. 33], Adrianus Willaert [O] Christi martir sancte Chiliane no. 41, [no. 41], Adrianus Vuillart Benedictus redemptor omnium ii Magne pater sancte no. 46, [no. 46], Adrianus Vuillart Beatus Laurentius no. 48, [no. 48], Adrianus Willaert Beatus Bernardus no. 50, [no. 50], Adrianus Sancte Francisce no. 56, [no. 56], Adrianus Gaudeamus ii Cantemus no. 57, [no. 57], Anon. Gaudeamus omnes no. 59, [no. 59], Adrianus O beatum pontificem no. 69, [no. 69], Adrianus O doctor optime no. 116, [no. 116], Adriani Will. O gloriosa domina ii Maria mater gratiae no. 6, [no. 138], Adrian W. Beata viscera no. 8, [no. 140], Adrian Will.

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188

Adrian Willaert

Ave virgo sponsa ii Igitur nos no. 14, [no. 146], Adriani Vuillart Ave et gaude no. 31, [no. 163], Adriani Vuillaert Sub tuum presidium no. 35, [no. 167], Adriani Vuillert Alma redemptoris ii Tu quae genuisti no. 36, [no. 168], Adriani Willaert Benedicta es ii Per illud ave no. 37, [no. 169], Adriani Willaert Inviolata ii Tua per precata no. 38, [no. 170], Adriani Willaert Salve sancta parens ii Virgo dei genitrix no. 39, [no. 171], Adriani Willaert Praeter rerum seriem ii Virtus sancti spiritus no. 40, [no. 172], Adriani Willaert TrevBC 30.

Treviso. Biblioteca Capitolare del Duomo. MS 30. [destroyed in 1944]

Letare sancta mater ecclesia quia salvator ii Augustine lux doctorum fundamentum [no. 4], Adrian W. Peccata mea domine sicut sagitte infixa ii Quoniam iniquitatem meam ego cognosco [no. 20], Anon. Infelix ego omnium auxilio destituti ii Ad te igitur piissime deus tristis [no. 27], Adriani W.

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Sources of Willaert’s Music

189

Enixa est puerpera fulget dies quem predixerat ii Parvoque lacte pastus est fulget dies [no. 28], Adrian W. TrevBC 34.

Treviso. Biblioteca Capitolare del Duomo. MS 34. [destroyed in 1944]

Ave dulcissime domine Jesu [no. 2], Anon. Ad te domine preces [no. 5], Anon. Pater noster ii Ave Maria [no. 13], Anon. TrevBC 35.

Treviso. Biblioteca Capitolare del Duomo. MS 35. [destroyed in 1944]

In manus tua domine [no. 9], ff. 11v–13, Adrian Willaert TrevBC 36.

Treviso. Biblioteca Capitolare del Duomo. MS 36. [destroyed in 1944]

Sacerdotum dyadema [a 5] ii O Geminiane pie [no. 19], ff. 13–14, Adrian Letare sancte mater ecclesia [a 5] ii Augustine lux doctor [no. 20], ff. 14–14v, Adrian Ecce dominus veniet [a 5] [no. 21], ff. 14v–15, Adrianus TurBN IV.45.

Turin. Biblioteca Nazionale Universitaria. MS Riserva musicale IV.45, (olim Regia Biblioteca dell’Università, qm VI. 86).

Vado ad eum [a 5] [no. 19], Anon. Dilexi quoniam exaudiet [a 4] ii O domine libera animam meam [no. 20], Anon.

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190

Adrian Willaert

Creator omnium deus [a 5] [no. 26], Anon. Laus tibi sacra rubens [a 5] ii [B]asiliis felix edes felicia [no. 29], Anon. UlmS 235.

Ulm. Münster Bibliothek, Von Schermar’sche Familienstiftung. MS 235 (a–d).

Allein nach dir her Jesu Christ [= Si pur ti guardo] [no. 2], ff. 5v–7, Anon. UlmS 237.

Ulm. Münster Bibliothek, Von Schermar’sche Familienstiftung. MS 237 (a–d).

Cest don par moy [no. 33], ff. 21v–22, Anon. UppsU 76b.

Uppsala. Universitetsbiblioteket. MS Vokalmusik I Handskrift 76b.

He Dieu Helayne ff. 131v–132, Anon. UppsU 76c.

Uppsala. Universitetsbiblioteket. MS Vokalmusik I Handskrift 76c.

La rouzee [du moys de may m’a gasté] [no. 38], ff. 116v–117, Anon. UtreR 3.L.16. Utrecht. Bibliotheek der Rijkuniversiteit. MS 3.L.16. (“Lerma Codex”). Si pur ti gardo ff. 26v–27, Orlando VallaC 17.

Valladolid. Catedral Metropolitana, Archivio de Música. MS 17.

Jouissance vous donneray mon amy ff. 77v–78, Willart Enixa est puerpera fulget dies quem Gabriel ii Parvoque lacte pastus est fulget dies ff. 192v–194, Adrianus Willart VallaP s.s.

Valladolid. Parroquia de Santiago. MS s.s., (“Diego Sánchez Codex”).

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Sources of Willaert’s Music

191

Pater Noster [no. 15], ff. 22v–24, Adriano VastS 71.

Västerås. Stadsbiblioteket. MS 71.

Rex autem David cooperto no. 24, [no. 24], Anon. O milde Jesu ewige guds son [= Se pur ti guardo] no. 91, [no. 100], Anon. VatG XII.4. Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XII 4. Magnum hereditatis misterium templum no. 11, ff. 29v–31, Adriano O salutaris hostia que celi pandis no. 36, ff. 106v–108, Adriano VatP 1976–9.

Vatican City. Biblioteca Apostolica Vaticana. MSS Palatini Latini 1976–1979.

Pater noster qui es in celis [a 4] [no. 1], ff. 2v–4v, Anon. VatP 1980–1.

Vatican City. Biblioteca Apostolica Vaticana. MSS Palatini Latini 1980–1981.

Saluto te sancta virgo Maria domina [a 4] ii Rogo te ergo per illud gaudium [no. 14], ff. 70v–71v, Anon. Salva nos domine vigilantes custodi nos [a 4] [no. 21], ff. 75, Anon. VatS 16. Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 16. Missa de Mente tota tibi supplicamus no. 9, ff. 116v–130, Adrien VatS 19.

Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 19.

Missa de Benedicta [no. 6], ff. 109v–127, Hesdin

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192

Adrian Willaert

VatS 38.

Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 38.

Beatus Laurentius orabat dicens domine [no. 34], ff. 144v–146, Anon. Salva nos domine vigilantes custodi nos [no. 37], ff. 151v–152, Jo. Mouton VatS 46.

Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 46. Facsimile: N080

Enixa est puerpera ii Parvoque lacte pastus est fulget dies [no. 11], ff. 43v–47, Adrian VatVM 571.

Vatican City. Biblioteca Apostolica Vaticana. MS Vaticani Musicali 571.

Ecce dominus veniet et omnes sancti eius [a 5] [no. 2], f. 1v, Anon. Omnipotens sempiterne deus qui huius diei [a 4] [no. 3], ff. 2–2v, Anon. Salva nos domine vigilantes custodi nos [a 6] [no. 12], f. 8v, Anon. Peccavi super numerum arene maris [a 5] ii Quoniam iniquitatem meam ff. 24v–25, no. 29, Anon. Pater noster qui es celis [a 4] ii Ave Maria gratia plena dominus tecum [nos. 31 & 32], ff. 26v–28, Anon. VerBC760. Verona. Biblioteca Capitolare. MS DCCLX. Pater noster qui es in celis [a 4] [no. 34], ff. 41v–42, Adrianus Rex autem David cooperto capite incedens [no. 40], ff. 49v–50, Anon.

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Sources of Willaert’s Music

193

Strinxerunt corporis membra posita super ii Mea nox obscurum non habet sed omnia [no. 64], ff. 83v–85, Anon. VienNB Mus. 15500. Vienna. Österreichische Nationalbibliothek, Musiksammlung. MS Mus. 15500. Pater noster qui es in celis ii Ave Maria gratia plena dominus tecum [no. 22], ff. 199v–206, Willart VienNB Mus. 15950. Vienna. Österreichische Nationalbibliothek, Musiksammlung. MS Mus. 15950. Missa Benedicta es celorum regina [no. 13], ff. 225v–253, Anon. WhalleyS 23.

Whalley (Lancashire). Stonyhurst College Library. MS B.VI.23.

Allons Allons gay gayement ma mignonne Series II, [no. 95], ff. 66v–67, Adrianus Willart Je my levay par ung matin que iour Series II, [no. 97], ff. 68v–69, Adrianus Willart Cest donc par moy que ansins suis fortunee Series II, [no. 102], f. 72, Ninot le Petit WinF 153.

Winchester. Winchester College, Warden and Fellows’ Library. MS 153 (“Winchester Partbooks”).

Madonna mia fa [no. 20], ff. 18v–19, Adrianus Willart Vecchie letrose non valete [no. 21], ff. 19v–20, Adrianus Willart E quand’ fa [no. 23], ff. 21v–22, Adrian Willart Se je ne voy mamye [no. 105], f. 103, Anon.

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194

Adrian Willaert

WittenL 1048.

Wittenberg. Staatliche Lutherhalle. S 403/1048.

Videns dominus fluentes sorores Lazari [no. 62], ff. 104–105 Anon. Wolfa 293. Wolfenbüttel. Herzog August Bibliothek. MS Guelferbytanus 293 Musica Handscrift. [Discantus foliation] Clare sanctorum senatus [a 5] no. 1, ff. 2v–3, Adrianus Willaert Laus tibi sacra rubens [a 5] ii Basilii felix edes no. 2, ff. 3–3v, A. Willaert Creator omnium deus [a 5] no. 8, f. 7v, Anon. Se la gratia divina [a 5] no. 10, f. 9, Anon. Beatus Bernardus [a 6] ii Quin tenes legum no. 28, ff. 25v–26, Adrianus Willaert O proles hispanie [a 6] no. 32, f. 29v, Ad. Willaert Sancte Francisce [a 6] no. 33, f. 29, A. Willaert Creator omnium deus [a 6] no. 34, f. 30, Anon. In felix ego omnium [a 6] ii Ad te igitur no. 37, ff. 32–33v, Adrianus W. Dove sei tu mio caro [a 5] ii Chi mi ti colse no. 51, ff. 46v–47, Adr. W.

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195

Amor da che tu voi [a 5] ii Gentil coppia’eccellente no. 59, ff. 56v–57, Anon. Ne lamare’e fredd’onde [a 5] ii Ceda nata nel mar no. 60, ff. 57v–58, Anon. WrocS 2.

Wrocl⁄ aw (Breslau). Former Stadtbibliothek. MS Mus. 2, [now in Berlin PS].

Victimae paschali laudes immolent Christiani ii Dic nobis Maria quid vidisti in via [no. 30], Adr. Willart [manuscript not listed in Census Catalog] WrocS 5.

Wrocl⁄ aw (Breslau). Former Stadtbibliothek. MS Mus. 5, [now in Berlin PS].

Victimae paschali laudes immolent Christiani ii Dic nobis Maria quid vidisti in via [no. 12], Adr. Willart WrocS 8.

Wrocl⁄ aw (Breslau). Former Stadtbibliothek. MS Mus. 8, [now in Berlin PS].

Salva nos domine vigilantes custodi nos [no. 32], Anon. WrocU 42. Wrocl⁄ aw (Breslau). Biblioteka Uniwersytecka, Oddzia Zbiorów Muzycznych. MS Brieger Musikaliensammlung K.42. Visita quaesumus Domine [no. 16], Anon. ZwiR 92.

Zwickau. Ratsschulbibliothek. MS XCII (= VollBM 40;479).

Allein nach dir her Jesu Christ [= Si pur ti guardo] [no. 2], ff. 2–2v, Anon. ZwiR 100/4.

Zwickau. Ratsschulbibliothek. MS C, 4 (= VollBM 35).

Allein nach dir her Jesu Christ [= Si pur ti guardo] [no. 18], Anon.

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V Works List (A–J)

This list comprises a working catalog of all works ascribed to Willaert, in whole or in part. The catalog has been subdivided as follows: A. B. C. D. E. F. G. H. I. J.

Masses and Individual Mass Movements Motets Psalms Hymns Other Liturgical Music Chansons and Tenorlieder Madrigals Other Vocal Music with Italian Text Instrumental Arrangements of Other Composers’ Music by Willaert

Within each category there is a further subdivision according to number of voices. Works categorized as “Doubtful or Misattributed” are listed at the end of each category. To distinguish them from authentic works, they are assigned lower-case letters. Print sources refer to those listed in Chapters 2 and 3. Manuscript sources refer to those listed in Chapter 4. Only sixteenth-century manuscript sources are included here. Chapter 7 provides a separate inventory of manuscript sources after 1600. Editions refer to modern editions published after 1800. These are listed in Chapter 8, with bibliographic citations and commentary where necessary. Notes provide annotations for works, identifying compositional devices such as cantus firmus and canon, identifying the source of a text, and identifying the function of a sacred work where possible. The identification of liturgical function here should be taken as being only preliminary. 197

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198

Adrian Willaert

The methodology employed for handling special categories of works is described below:

Works with Conflicting Attribution Works with conflicting attribution have been evaluated on a case-by-case basis. In a situation where a clear case has been made in the scholarly literature for a particular attribution, this catalog follows that case. Works that have a conflicting attribution are clearly indicated, and where possible the composer is identified. Nevertheless, this area should be treated with caution; each work should be approached on its own merits.

Works with Doubtful Attribution This catalog treats this matter with caution. Works are not listed under “Doubtful or Misattributed” solely on the basis of style. Since we have no complete edition of Willaert’s works, this kind of evaluation is often premature. Works where the attribution to Willaert has been questioned on the basis of style are identified in the catalog.

Works Assigned to Willaert on the Basis of Style This catalog does not assign anonymous works to Willaert on the basis of style. There is a single case in the literature (N145) where a few anonymous psalms have been attributed to Willaert on the basis of style. In this case, a third category has been included: “Conjecturally Attributed.” To distinguish them from authentic works, they are also assigned lower case letters. To avoid any confusion with RISM A/I numbers, RISM A/I numbers are always identified as such in the present volume. Numbers assigned to Willaert’s works are in the format, A001 or a001, etc.

A. MASSES AND INDIVIDUAL MASS MOVEMENTS Four Voices A001. Print: MS:

Missa Christus resurgens W1103 (1536), [no. 1], ff. 3–6v. CambraiBM 125-8, [no. 77], ff. 65v–69, Willaert; PiacD (1), ff. 40v–49, Anon. Edition: M009, no. 2, pp. 34–70. Notes: On motet by Richafort.

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Works List (A–J)

199

A002. Print: MS:

Missa Gaude Barbara W1103 (1536), [no. 2], ff. 6v–11. CambraiBM 125-8, [no. 9], ff. 7–10v, Adriano Willaert; CivMA 53, [no. 13], ff. 151v–167, Willaert; ’s HerAB 75, [no. 9], ff. 180v–201r, Anon. Edition: M009, no. 4, pp. 108–143. Notes: On motet by Mouton. A003. Print: MS:

Missa Laudate Deum W1103 (1536), [no. 3], ff. 11–15. CoimU 2, [no. 2], ff. 22v–33v, Adrianus Willaert, [lacks part of Sanctus and Agnus]; PiacD (1), ff. 66–72v, Anon. Edition: M009, no. 3, pp. 71–107. Notes: On motet by Mouton. A004. Print: MS: Edition: Notes:

Missa Osculetur me W1103 (1536), [no. 4], ff. 15–18v. PiacD (1), ff. 49v–58, Anon. M009, no. 5, pp. 144–180. On motet by Gascongne, M009, no. 7, pp. 219–225.

A005. Print: MS:

Missa Queramus cum pastoribus [1] W1103 (1536), [no. 5], ff. 19–23v. CivMA 53, [no. 12], ff. 139v–151, Willaert; PiacD (1), ff. 58v–66 and f. 73, Anon. Edition: M009, no. 1, pp. 1–33. Notes: On motet by Mouton. A006. Print: MS: Edition: Notes:

Missa Queramus cum pastoribus [2] None. CambraiBM 3, no. 3, ff. 26v–42, Willart. M009, no. 6, pp. 182–218. On motet by Mouton; authenticity questioned in M009 on the basis of style.

A007. Print: MS: Edition: Notes:

Kyrie [Cunctipotens genitor] None. ParisBNC 851, pp. 10–11, Adrian Willart. None. Cantus firmus setting.

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Adrian Willaert

Five Voices A008. Print: MS: Edition: Notes:

Missa [mi ut mi sol] None. ’s HerAB 72A, [no. 2], ff. 19v–38r, Adrianus Willart. None. Cantus firmus setting, possibly soggetto cavato.

Six Voices A009. Print: MS:

Missa Mente tota None. BolC U92, ff. 1–53, Adrianus; MunBS 42, [no. 6], ff. 163v–227, Anon.; TrevBC 1, [no. 13], ff. 112–122, Adrian; VatS 16, no. 9, ff. 116v–130, Adrien. Edition: M022 Notes: on motet by Josquin (5 pars of Vultum tuum). A010. Print: MS: Edition: Notes:

Missa Mittit ad virginem None. ModE N.1.1, no. 5, ff. 134v–173, Adrianus Willaert. None. On Willaert’s own motet [B175].

Doubtful or Misattributed (a) Five Voices a011. Missa Benedicta es Source with ascription to Willaert Print: None. MS: ’s HerAB 72A, [no. 1], ff. 1v–18v, Adrianus Willart; StuttL 46, [no. 1], ff. 1–38, Adriani Wilhart. Other sources Print: None. MS: BolC Q24, [no. 6], ff. 24v–29, Anon.; CoimU 2, [no. 9], ff. 138–156, Anon.;’s HerAB 75, [no. 7], ff. 131v–154, Anon.; ModE N.1.2, no. 8, ff. 19v–36, Hedin; MunBS 260, nos. 23 and 24, [Pleni sunt caeli and Agnus Dei II only]; ReggioSP s.s., [no. 22], ff. 149–158v, Anon.; TrevBC 1, [no. 1], ff. 2–10, Gedin; VatS 19, [no. 6], ff. 109v–127, Hesdin; VienNB Mus. 15950, [no. 13], ff. 225v–253, Anon. Edition: M021. Notes: By Hesdin or Willaert.

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Works List (A–J)

B. MOTETS Two Voices B001. Print: MS: Edition:

Vix alia poteras 154916, pp. VI–VII, Adrian Wilart. None. None.

Three Voices B002. Print: MS: Edition: Notes:

Angelus ad pastores ait 154913, VI, Adriano. None. None. Antiphon for Lauds, Feast of the Nativity.

B003. Print: MS: Edition: Notes:

Beata viscera Maria virginis 154913, VIII, Adriano Vuillaert; 15696, p. 6, Adrianus Vuillaert. None. None. Responsory for Matins, Feast of the Nativity.

B004. Print: MS: Edition:

Ceduntur gladiis more bidentium 154914, XXX, Adriano. None. None.

B005. ii Print: MS: Edition:

Crimina laxa Tu nobis dona 154913, XIII & XIIII, Adrian Vuillaert None. None.

B006. Print: MS: Edition: Notes:

Dulces exuviae 15206, f. 23, Anon.; 15428, no. 50, Anon. SGallS 463, f. 13v, Adrianus Villaert. None. Text from Virgil, Aeneid, 4, v.651–654.

B007. Print: MS: Edition:

Equalis eterno patri 154914, XXVII, Adriano. None. None.

201

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B008. Print: MS: Edition:

Iam pascha nostrum Christus est 154914, XXI, Adriano. None. None.

B009. Print: MS: Edition: Notes:

Quem vidistis pastores 154913, VII, Adriano None. None. Responsory for Matins, Feast of the Nativity.

B010. Print: MS: Edition:

Quorum precepto subditur 154914, XXIX, Adriano. None. None.

B011. Print: MS: Edition:

Tu septiformis munere 154914, XXII, Adriano. None. None.

Four Voices B012. Print: MS: Edition:

Ad te Domine preces nostras fundentem W1106 (1539), no. 22. TrevBC 34, [no. 5], Anon. M001, no. 6, pp. 19–22; M016, no. 6, pp. 14–16.

B013. Print:

Ad tua confugio supplex 15385, no. 32, f. 32, Adrian vuillart; 15406, Second Series, ix, Adri. Willart; 15499, 21, Adriano. MS: PiacD (4), [no. 24], ff. 28–28v, Anon. Edition: None. B014. Print: MS: Edition:

Angelus Domini descendit W1106 (1539), no. 6; W1107 (1545), [no. 6], p. VII. TrevBC 7, [no. 1], ff. 1v–2, Adrianus Vullaert. M001, no. 13, pp. 41–43; M016, no. 16, pp. 40–41.

B015. Print: MS: Edition:

Antoni pastor inclite W1106 (1539), no. 4; W1107 (1545), [no. 2], p. III. TrevBC 8, [no. 36], ff. 83v–85, Anon. M001, no. 9, pp. 30–33; M016, no. 12, pp. 32–34.

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203

B016. ii Print: MS:

Armorum fortissime ductor Sebastiane Te igitur martir egregie supplices W1106 (1539), no. 19; W1109 (1545), [no. 19], pp. XXXIIII–XXXV. ModD 9, [no. 33], f. 65v, Adrian, [incomplete]; TrevBC 8, [no. 38], ff. 87v–90, Anon. Edition: M002, no. 22, pp. 107–112; M016, no. 53, pp. 170–173. B017. Print: MS: Edition:

Ascendens Christus in altum None. BerlGS 7, ff. 144–144v, A. W:. None.

B018. Print: MS: Edition:

Aule lucide None. ModE C.313, [no. 2], p. 2, Adrianus W. None.

B019. ii Print: MS: Edition:

Auxilientur mihi Domine Jesu Christe Et ideo de tua pietate None. BerlGS 7, ff. 80–81v, A.W. None.

B020. Print: MS: Edition:

Ave dulcissime Domine Jesu Christe W1106 (1539), no. 7. TrevBC 34, [no. 2], Anon. M001, no. 2, pp. 4–7; M016, no. 2, pp. 3–5.

B021. Print:

Ave Maria, gratia plena W1106 (1539), no. 1; 15548, ff. xiiiv–xiiiiv, Philippe de Vuildre [secunda pars of Pater noster] MS: TrevBC 8, [no. 51], ff. 122v–124. Edition: M001, no. 1, pp. 1–4; M016, no. 1, pp. 1–3. Notes: Transposed version in TrevBC 8 and 15548, up a fourth from W1106 version. B022. ii Print:

Ave Regina coelorum, Ave Domina angelorum Gaude gloriosa 15344, no. 18, f. xiiv, Willart; W1106 (1539), no. 17; W1107 (1545), [no. 20], pp. XXVIII–XXIX. MS: BerlGS 7, ff. 108–109, Adri: Wil:; LonRC 2037, [no. 12], ff. 20–21, Adrianus Willaert; PadBC D27, [no. 19], ff. 33v–35, Anon.; Edition: M001, no. 27, pp. 91–95; M016, no. 30, pp. 77–79; M038; M044, no. 18, pp. 134–140.

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204

Adrian Willaert

B023. Print: MS:

Ave Regina coelorum, Mater regis angelorum W1108 (1539), no. 12; W1109 (1545), [no. 6], p. IX. BerlGS 7, ff. 87v–88, A.W.; ModE N.1.2, no. 16, ff. 181v–182, Adrianus W:. Edition: M002, no. 9, pp. 32–35; M016, no. 40, pp. 114–116; M038; M050, no. 7, pp. 31–33. Notes: Canon: S–“Canon duorum temporum fuga in subdiapente.” B024. Print: MS:

Ave virginum gemma Sancta Catherina W1108 (1539), no. 15. LonRC 2037, [no. 41], ff. 60v–61, Adrianus Willaert; TrevBC 4, [no. 52], ff. 79v–80, Adrian. Edition: M002, no. 3, pp. 8–10; M016, no. 10, pp. 25–26. B025. ii Print: MS:

Beatus Joannes apostolus et evangelista Ipse est qui evangelii fluenta W1108 (1539), no. 19, W1109 (1545), [no. 14], pp. XXII–XXIII. FlorL 666, [no. 24], ff. 67v–70, Adrien; TrevBC 8, [no. 31], ff. 69v–71, Anon. Edition: M002, no. 17, pp. 71–75; M016, no. 48, pp. 142–145; M052, no. 24, pp. 172–179. Notes: For Feast of St. John, Apostle and Evangelist B026. ii Print:

Beatus Stephanus preciosus dei Et videntes vultum eius 15343, no. 9, f. vii, A. Willart; W1108 (1539), no. 9; W1109 (1545), [no. 13], pp. XX–XXI. MS: TrevBC 8, [no. 28], ff. 63v–65b, Adrianus. Edition: M002, no. 16, pp. 66–71; M016, no. 47, pp. 138–142; M032, pp. 10–14; M043, no. 9, pp. 71–81. B027. ii Print: MS:

Benedicta es, coelorum Regina Per illud ave prolatum W1106 (1539), no. 12; W1107 (1545), [no. 16], pp. XXII–XXIII. BerlGS 7, ff. 119–120, A. W.; LonRC 2037, [no. 7], ff. 10v–12, Adrianus Willaert; MunBS 19, [no. 6], ff. 50v–57, Adrianus Vuillaert. Edition: M001, no. 23, pp. 78–82; M016, no. 26, pp. 67–70. Notes: Attributed to Bouteillier in 15344, but to Willaert in all other sources; by Willaert. Marian sequence. B028. Print: MS: Edition:

Cantate Domino canticum vocum None. BolC Q20, no. 11, ff. 13v–14, Willaert. None.

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B029. ii Print: MS: Edition: Notes:

Christi virgo dilectissima Quoniam peccatorum molle 15203, [3], ff. 4v–5, Adrien; [c.1528]10, [3], f. 42v, Anon. FlorL 666, [no. 21], ff. 60v–62, Adrien. M052, no. 21, pp. 150–156. Double canon, 4vv from 2. Responsory, Feast of the Annunciation.

B030. ii iii Print: MS: Edition:

Confitebor tibi domine in toto corde meo In quacunque die invocavero te exaudi me [a 3] Si ambulavero in medio tribulationis W1126 (1559), [no. 3], pp. 5–7; W1128 (1561)[1], [no. 3], ff. 4–5. ModE C. 313, [no. 6], p. 9, Adrianus W. M005, no. 3, pp. 15–23.

B031. ii Print: MS: Edition:

Congratulamini mihi omnes Beatam me dicent omnes generationes W1108 (1539), no. 20; W1109 (1545), [no. 2], pp. III–IIII. ModE C.313, [no. 8], p. 14, Adrianus W. M002, no. 5, pp. 18–23; M016, no. 36, pp. 101–105.

B032. ii Print:

205

Congratulamini mihi omnes Recedentibus discipulis 15344, no. 5, f. iiii, Willart; 15385, no. 18, ff. 18v–19, Adrian vuillart; W1108 (1539), no. 11; W1107 (1545), [no. 1], pp. I–II. MS: BolC Q20, no. 22, ff. 29v–31, Adrian Willart [attribution in Bassus]; CasAC N(H), [no. 18], ff. 36v–38, Anon.; ChiN M91, Series 1, no. 8, Anon.; CopKB 1848, [no. 36], ff. 72–79, Anon.; SuttonO 4, Series 1, no. 8, Anon. Edition: M001, no. 8, pp. 26–30; M016, no. 11, pp. 29–32; M044, no. 5, pp. 32–41.

B033. Print: MS: Edition:

Da pacem, Domine 15539, f. 10v, Adrianus Vuillart. CambraiBM 125-8, [no.163], f. 128v, Willlart. M026, no. 8, pp. 42–43.

B034. Print: MS: Edition: Notes:

Deducant oculi nostri None. RomeSC 792-5, [no. 6], f. 4v, Adriano. None. Text from Jeremiah, 9:18.

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206

B035. Print: MS: Edition: Notes:

Adrian Willaert

Dic nobis quibus None. ModE C.313, [no. 4], p. 6, Adrianus W. None. AH 53, no. 60; Feast of Resurrection of Our Lord. Sequence (complete).

B036. ii

Dilexi, quoniam exaudiet dominus vocem orationis meae O domine libera animam meam, quoniam exaudiet dominus vocem orationis meae Print: W1126 (1559), [no. 2], pp. 3–4; W1128 (1561)[1], [no. 2], f. 3. MS: ModE C.313, [no. 7], p. 12, Adrianus W.; TurBN IV.45, [no. 20], Anon. Edition: M005, no. 2, pp. 8–15. Notes: Text from Psalm cxiv. B037. Print: MS:

Domine Jesu Christe, fili Dei vivi qui de coelis W1106 (1539), no. 18. BerlGS 7, ff. 147–148, A W.; LonRC 2037, [no. 60], ff. 87v–88, Adrianus Willaert. Edition: M001, no. 5, pp. 16–19; M016, no. 5, pp. 12–14. B038. ii Print:

Domine Jesu Christe, memento quod tu Et concede mihi omnipotens W1108 (1539), no. 8; W1109 (1545), [no. 9], pp. XIIII–XV; [15569], XIX, Adrianus Willart. MS: BerlGS 7, ff. 79–80, A.W.; StuttL 30, no. 4, ff. 44v–56, Adrianus Vuillart. Edition: M002, no. 12, pp. 49–53; M016, no. 43, pp. 125–128. B039. ii Print: MS: Edition: Notes:

Domine, quid multiplicati sunt Ego dormivi, et soporatus sum W1126 (1559), [no. 1], pp. 1–2; W1128 (1561)[1], [no. 1], f. 2. ModE C.313, [no. 10], p. 18, Adrianus W. M005, no. 1, pp. 1–8. Text from Psalm iii.

B040. ii Print: MS: Edition:

Domine refugium Notum fecisti nobis None. BerlGS 7, ff. 142v–144, A. W:. None.

B041. ii

Dominus regit me et nihil mihi deerit Parasti in conspectu meo mensam

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Print:

W1108 (1539), no. 18; W1107 (1545), [no. 22], pp. XXXII–XXXIII; 155411, no. 36, Vvillart. MS: BolC Q19, [no. 71], ff. 114v–116, Adrianus; LonRC 2037, [no. 14], ff. 21v–23, Adrianus W. Edition: M001, no. 29, pp. 99–105; M016, no. 32, pp. 83–87. B042. Print:

Dulces exuviae 15388, no. 12, Anon. W1109 (1545), [no. 11], p. XVIII; 15452, no. 20, Adrianus Villart; 15475, f. ixv, Adrianus Vuillart. MS: CambraiBM 125-8, [no. 192], f. 136v, Anon.; MunBS 274a, ff. 3–3v, Anon.; RegB 940-1, no. 289, Joannes Mouton. Edition: M002, no. 14, pp. 59–62; M016, no. 45, pp. 133–135; M034, no. 3, pp. 9–12. Notes: Text from Virgil, Aeneid, 4, v.651–654; altus ad placitum voice in RegB 940-1 and 15388, perhaps added by Mouton. B043. Print: MS: Edition: Notes:

Ecce Maria genuit None. BerlGS 7, ff. 139v–140, A: W:. None. Different setting of text found in quinta pars of O admirabile. Antiphon for the Feast of the Circumcision of Our Lord (January 1).

B044. Print: MS: Edition:

Ego infelix peccator None. BerlGS 7, ff. 140–140v, A: W:. None.

B045. ii Print: MS: Edition: Notes:

Emendemus in melius Peccavimus cum patribus nostris None. BergBC 1209, [no. 46], ff. 64v–66, Adrianus. None. Authenticity questioned in N104 on basis of style. Prima pars, Responsory for Ash Wednesday.

B046. Print: MS: Edition: Notes:

Exaudi Deus meus 15457, no. 127, Adrien. None. None. Double canon, 4vv from 2; authenticity questioned in N104 on basis of style.

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Adrian Willaert

B047. Print: MS: Edition:

Flete oculi, rorate genas W1109 (1545), [no. 12], p. XIX. None. M002, no. 15, pp. 62–66; M016, no. 46, pp. 136–138.

B048. ii Print: MS: Edition: Notes:

Hac clara die / Maria concrepando Cui contra Maria 153410, no. 3, f. iiv, Willart. None. M047, no. 3, pp. 15–25. Rubric “De beata Maria”; for the Feast of the Annunciation.

B049. ii Print: None:

Homo quidam fecit cenam magnam Christus vere noster cibus W1107 (1545), [no. 12], pp. XVI–XVII; 155511, 25, Adrianus Vvillart. RegB 844-8, ff. 64v–72, Adrianus Vuillart; RegB 863-70, [no. 36], ff. 72–75v, Adrianus Vuillart. Edition: M001, no. 19, pp. 62–69; M016, no. 22, pp. 55–60. B050. Print:

In illo tempore stabant autem iuxta crucem W1106 (1539), no. 20; W1109 (1545), [no. 21], p. XXXVII; 155512, 11, Adrianus Vvillart. MS: None. Edition: M002, no. 24, pp. 115–119; M016, no. 55, pp. 175–178.

B051. Print: MS: Edition: Notes: B052. Print:

Inter natos mulierum 15203, [7], ff. 12v–13, Adrien. None. M054, no. 1, pp. 2–3. Double canon, 4vv from 2; for the Feast of St. John the Baptist.

Intercessio quaesumus Domine beate Barbare [1521]4, [6], ff. 6v–8, Hadrien; 15343, no. 16, f. xiv, A. Willart; W1109 (1545), [no. 17], p. XXX. MS: FlorL 666, [no. 25], ff. 70v–72, Adrien; LonBL 19583, [no. 14], ff. 29v–30, A. Wilaert; LonRC 2037, [no. 47], ff. 69v–70, Adrianus Willaert; ModE C.313, [no. 5], p. 8, Adrianus W.; ModE F. 2.29, [no. 18], f. 16v, A. Wilaert, [frag. of T.]; PadBC A17, [no. 105], ff. 155v–156, Anon. Edition: M002, no. 20, pp. 93–96; M016, no. 51, pp. 159–161; M043, no. 16, pp. 131–137; M052, no. 25, pp. 180–185. Notes: Prayer to St. Barbara.

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B053. Print:

In tua patientia permanens [c.1530]1, ff. 2v–3, Adrien; 15385, no. 30, f. 30v, Adrian vuillart; 15406, Second Series, xi, Adri. Willart; W1107 (1545), [no. 11], p. XV. MS: LonRC 2037, [no. 33], ff. 49v–50, A. Willaert; PadBC A17, [no. 103], ff. 153v–154, Anon.; TrevBC 8, [no. 17], ff. 37v–38, Anon. Edition: M001, no. 18, pp. 59–62; M016, no. 21, pp. 53–55; M035. B054. ii Print:

Inviolata, integra et casta es Maria Nostra ut pura pectora 15387, no. 6, Adriani Vuillart; W1108 (1539), no. 16; W1107 (1545), [no. 21], pp. XXX–XXXI. MS: BerlGS 7, ff. 107–108, Adri: Wil:; BolSP 45, [no. 9], ff. 18v–20, Anon.; LonRC 2037, [no. 13], ff. 20–21, Adrianus Willaert; PadBC D27, [no. 44], ff. 83v–85, Anon. Edition: M001, no. 28, pp. 95–99; M016, no. 31, pp. 80–82. Notes: Marian sequence. B055. ii Print:

Joannes Apostolus et evangelista Ecclesiam tuam quaesimus Domine 15385, no. 4, ff. 6v–7, Adrian vuillart; W1106 (1539), no. 21; W1107 (1545), [no. 7], pp. VIII–IX. MS: TrevBC 8, [no. 30], ff. 67v–69, Adrian Vuillaret. Edition: M001, no. 14, pp. 43–49; M016, no. 17, pp. 42–45. B056. Print: MS: Edition:

Lamentabatur Jacob None. RegB B211-5, ff. 104–105, Hadrianus Willart. None.

B057. Print: MS: Edition: Notes:

Magne martyr Adriane flos grecorum W1107 (1545), [no. 10], p. XIIII. None. M001, no. 17, pp. 57–59; M016, no. 20, pp. 52–53; M040. AH 28, no. 281; Feast of St. Adrian, March 4, Antiphon.

B058. Print:

Magnum hereditatis mysterium 15385, no. 21, f. 21, Adrian vuillart; W1106 (1539), no. 26; 15407, no. 19, Adrianus Willart; W1109 (1545), [no. 5], p. VIII. MS: BerlGS 7, ff. 98v–99v, A.W.; ErlU 473/1, [no. 10], ff. 51v–57, Adrianus Vuillart; LeuvU 163, [no. 31], f. 68v, Willaert; LonRC 2037, [no. 5], ff. 8v–9, Adrianus Willaert; VatG XII.4, no. 11, ff. 29v–31, Adriano. Edition: M002, no. 8, pp. 32–35; M016, no. 39, pp. 112–114.

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Adrian Willaert

B059. Print:

Mirabile mysterium declaratur hodie 15385, no. 15, f. 16v, Adrian vuillart; W1106 (1539), no. 15; W1107 (1545), [no. 18], p. XXVI; 155410, no. 15, Adrianus Vvuilart. MS: BerlGS 7, ff. 120v–121, A: W.; ErlU 473/1, [no. 10], ff. 51v–57, Adrianus Vuillart; LonRC 2037, [no. 6], ff. 9v–10, Adrianus Willaert; RegB 838-43, ff. 86v–90, Adrianus Vuillart; RegB 878-82, [no. 29], ff. 73v–74v, Adrianus Vuillart. Edition: M001, no. 25, pp. 86–89; M016, no. 28, pp. 73–75. B060. ii Print: MS: Edition:

Natale Sancte Euphemiae Tu Domine notus omnibus W1106 (1539), no. 8; W1107 (1545), [no. 8], pp. X–XI. None. M001, no. 15, pp. 49–53; M016, no. 18, pp. 46–49.

B061. Print: MS: Edition:

Nazareus vocabitur puer iste W1107 (1545), [no. 13], p. XVIII. None. M001, no. 20, pp. 69–71; M016, no. 23, pp. 60–61; M036.

B062. Print: MS: Edition:

Nigra sum [c.1530]1, f. 3, Adrien [ascription implied in tavola]. None. None.

B063. Print: MS: Edition: Notes:

Nil stolidus differt 15457, no. 126, Adrien. None. None. Double canon, 4vv from 2; authenticity questioned in N104 on basis of style.

B064. Print: MS: Edition:

Nunc pio corde None. ModE C.313, [no. 1], p. 1, Adrianus W. None.

B065. ii iii iv Print:

O Domine Jesu Christe … in cruce pendentem O Domine Jesu Christe … in cruce vulneratum O Domine Jesu Christe … propter illam O Domine Jesu Christe justos conserva W1106 (1539), no. 14.

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211

MS: None. Edition: M001, no. 4, pp. 10–16; M016, no. 4, pp. 8–12. B066. Print:

O gemma clarissima, Catherina 15202, [no. 12], ff. 10v–11, Anon.; W1106 (1539), no. 9; W1107 (1545), [no. 4], p. V. MS: BergBC 1209, [no. 26], ff. 37Ev–38, Anon.; BolC Q19, [no. 67], ff. 109v–110, Adrianus; HradKM 21, [no. 55], p. 79, Anon.; LonRC 2037, [no. 42], ff. 61v–62, Adrianus Willaert; TrevBC 4, [no. 53], ff. 80v–81, Adrian. Edition: M001, no. 11, pp. 36–38; M016, no. 14, pp. 37–38; M025, no. 9, pp. 32–34; M041; M055, no. 24, pp. 286–289. Notes: Rhymed prayer to Saint Catherine of Alexandria. B067. ii Print: MS:

O magnum mysterium Ave Maria, gratia plena W1108 (1539), no. 14; W1107 (1545), [no. 9], pp. XII–XIII. LonRC 2037, [no. 52], ff. 78v–80, A. Willaert; PadBC D27, [no. 50], ff. 94v–96, Anon. Edition: M001, no. 16, pp. 53–57; M016, no. 19, pp. 49–51; M029, no. 16, pp. 18–21; M053, no. 11, pp. 38–41. B068. Print: MS: Edition: Notes:

Omnes sancti tui quesumus [c.1526]7, 1, Hadrien. None. None. Only superius partbook survives; following motet in print is for four voices.

B069. Print:

Omnipotens sempiterne Deus 15344, no. 13, f. ix, Willart; W1106 (1539), no. 5; W1107 (1545), [no. 3], p. IIII. MS: CasAC P(E), [no. 21], ff. 131v–133, Anon.; FlorD 4, [no. 18], ff. 85v–89, Anon.; PadBC A17, [no. 89], ff. 131v–132, Anon.; TrevBC 4, [no. 12], ff. 15v–16, Adrian; VatVM 571, [no. 3], ff. 2–2v, Anon.; Edition: M001, no. 10, pp. 33–36; M016, no. 13, pp. 35–36, M044, no. 13, pp. 93–98. B070. Print: MS: Edition: Notes:

O Thoma, laus et gloria W1106 (1539), no. 10; W1107 (1545), [no. 5], p. VI. None. M001, no. 12, pp. 39–40; M016, no. 15, pp. 38–39. For Feast of St. Thomas Aquinas.

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212

Adrian Willaert

B071. ii Print: MS: Edition:

Parce mihi Domine Peccavi None. BerlGS 7, ff. 140v–142v, A: W:. None.

B072. Print: MS: Edition:

Parens tonantis maximi W1108 (1539), no. 2; W1109 (1545), [no. 3], p. V. None. M002, no. 6, pp. 23–26; M016, no. 37, pp. 105–107.

B073. ii Print:

Patefacte sunt januae coeli Mortem enim quam salvator 15344, no. 21, f. xvi, Willart; W1106 (1539), no. 24; W1107 (1545), [no. 24], pp. XXXVI–XXXVII. MS: BerlGS 7, ff. 113–114, Adri: W.; LonRC 2037, [no. 15], ff. 23v–24, Adrianus Willaert; PadBC D27, [no. 37], ff. 69v–71, Anon.; TrevBC 8, [no. 26], ff. 59v–61, Adrianus. Edition: M001, no. 31, pp. 105–110; M016, no. 34, pp. 92–94; M044, no. 23, pp. 176–181. B074. ii Print:

MS:

Pater noster Ave Maria, gratia plena 153210, no. 16 and 17, ff. 29–30, Adrianus Villart; 15344, no. 1, f. iv, Willart [prima pars only]; 15387, no. 1, Adriani Vuillart; 153912, XLVI & XLVII, Adrianus uuillart; W1109 (1545), [no. 1], pp. I–II; 15532, f. xv, A. Vuillart, [prima pars only]. CasAC N(H), [no. 14–15], ff. 31v–33, Anon.; ChiN M91, Series 1, no. 4, Anon.; FlorD 27, [no. 25], ff. 122v–125, Anon.; HerdF 9821, [no. 9], [ff. 9–v15v], Antho. Wilhart; HradKM 29, pp. 122–127, Anon.; LeidGA 1442, [no. 38], ff. 98v–101, Adrianus Willaert; LeipU49, ff. 196–197, Obrecht; LeipU 51, ff. 86–87v, Anon.; LonRC 2037, [no. 2–3], ff. 5v–7, Adrianus Willaert; MunU 326, ff. 26v–28, Adrianus Vuillart; ParisBNC 851, p. 13, Adriano W. RegB 875-7, no. 21, [no. 53], ff. 90–92v, Adrianus Vuillart; RegB 940-1, no. 287, Adrianus Vuillart, [prima pars]; RegB 940-1, no. 291, Adrianus Vuillart [secunda pars]; RegB C99, ff. 226v–234, no. 16, Adrianus Willart; RomeSC 7925, [no. 1], ff. 1–1v, Adriano; SGallS 463, [no. 26], ff. 89v–94, Anon.; SuttonO 4, Series 1, no. 4, Anon.; ToleBC 21, no. 18, ff. 53v–56, Villar; TrevBC 34, [no. 13], Anon.; VallaP s.s., [no. 15], ff. 22v–24, Adriano; [no. 1], ff. 2v–4v, Anon.; VatVM 571, [nos. 31 & 32], ff. 26v–28, Anon.; VerBC760, [no. 34], ff. 41v–42, Adrianus; VienNB Mus. 15500, [no. 22], ff. 199v–206, Willart.

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213

Edition: M002, no. 4, pp. 11–17; M016, no. 35, pp. 97–101; M025, no. 7, pp. 25–29; M027, pp. 538–551; M030; M033, no. 11, pp. 32–33; M044, no. 1, pp. 1–7; M057, no. 1. Notes: Prima pars’ Lord’s Prayer. B075. ii Print: MS:

Pater, peccavi Quanti mercenarii 15538, f. xviv–xvii, Adrianus Vuillart; [15569], II, Adrianus Willart. RegB 940-1, no. 164, Adrianus Vuillart; StuttL 30, no. 5, ff. 56v–68, Adrianus Willart. Edition: None. B076. Print: MS: Edition:

Plange quasi virgo plebs None. LonRC 2037, [no. 11], ff. 17v–18, Adrianus Willaert. None.

B077. ii Print: MS:

Quasi unus de paradisi fluminibus Deus qui beatum Marcum W1106 (1539), no. 3; W1107 (1545), [no. 15], p. XX. BolC Q20, no. 21, ff. 28–29, Anon.; LonRC 2037, [no. 9], ff. 13v–15, A. Willaert. Edition: M001, no. 22, pp. 73–78; M016, no. 25–63–64. B078. ii Print: MS:

Quem terra, ponthus, aethera Beata coeli nuntio fecunda W1108 (1539), no. 13; W1109 (1545), [no. 10], pp. XVI–XVII. CasAC N(H), [no. 35], ff. 75v–77, Anon.; LonRC 2037, [no. 44], ff. 63v–65, Adrianus Willaert. Edition: M002, no. 13, pp. 54–59; M016, no. 44, pp. 129–133. B079. Print: MS: Edition:

Quia devotis laudibus None. BolC Q19, [no. 72], ff. 116v–117, Adrianus. M025, no. 8, pp. 30–31.

B080. Print: MS: Edition: Notes:

Quid non ebrietas [c.1530]1, ff. 4v–5, Adrien. None. None. Double canon, 4vv from 2; also version for two voices.

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214

Adrian Willaert

B081. ii iii Print:

Qui habitat in adjutorio Cadent a latere tuo In manibus portabunt te W1108 (1539), no. 1; W1109 (1545), [no. 18], p. XXXI–XXXIII; 15535, no. 19. MS: TrevBC 6, [no. 12], ff. 25v–27, Anon. Edition: M002, no. 21, pp. 96–107; M016, no. 52, pp. 161–169. B082. ii Print: MS: Edition:

Recordare Domine quid acciderit nobis Patres nostri peccaverunt et non sunt W1126 (1559), [no. 4], pp. 7–10; W1128 (1561)[1], [no. 4], ff. 5v–6. None. M005, no. 4, pp. 23–30.

B083. Print: MS: Edition: Notes:

Regina coeli laetare W1109 (1545), [no. 20], p. XXXVI. None. M002, no. 23, pp. 112–115; M016, no. 54, pp. 173–175; M028. Marian antiphon, Sunday at Compline.

B084. ii Print: MS:

Regina coeli laetare Resurrexit sicut dixit [1521]4, [13], ff. 16–17, Hadrien; 15413 = G2982, XXVI, Anon. BolC A71, pp. 209–210, Anon.; BolC Q23, [no. 23], ff. 14v–15, Anon.; FlorL 666, [no. 15], ff. 47v–49, Adrien; LonRC 2037, [no. 59], ff. 86v–87; Adrianus Willaert; ModD 9, [no. 14], ff. 29v–31, Adrian; ModE N.1.2, no. 22, ff. 188v–190, Adrianus W. Edition: M052, no. 15, pp. 114–119. Notes: Marian antiphon, Sunday at Compline. B085. Print: MS:

Rex autem David None. BasU F. X.5–9, [no. 33], ff. 25v–26, Anon.; CoimU 32, [no. 47], ff. 56v–57, Anon.; FlorBN Panc. 27, [no. 176], ff. 149v–150, Anon.; MunU 326, f. 18v, Anon.; RegB 940-1, no. 29, Anon.; RegB B220-2, f. 88, [no. 52], Anon.; SGallS 463, f. 37, Adrianus Villaert; SionA 87-4, f. 31, Anon.; VastS 71, no. 24, [no. 24], Anon.;VerBC760, [no. 40], ff. 49v–50, Anon. Edition: None. Notes: Authenticity questioned in N104 on basis of style. B086. ii

Saluto te sancta virgo Maria Rogo te ergo per illud gaudium

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215

Print: MS:

W1108 (1539), no. 21; W1107 (1545), [no. 23], pp. XXXIIII–XXXV. FlorL 666, [no. 5], ff. 22v–26, Adriano; LonRC 2037, [no. 21], ff. 31v–33, Adrianus Willaert; VatP 1980-1, [no. 14], ff. 70v–71v, Anon. Edition: M001, no. 30, pp. 105–110; M016, no. 33, pp. 87–91; M052, no. 5, pp. 48–56. Notes: Chev. III, no. 33059. B087. ii Print:

Salve crux sancta arbor Causa etiam vite ferret 15343, no. 24, f. xvi, A. Willart; W1108 (1539), no. 17; W1107 (1545), [no. 17], pp. XXIIII–XXV; 155512, 18, Adrianus Vvillart. MS: BerlGS 7, ff. 118–119, A. W:; LonRC 2037, [no. 51], ff. 76v–78, Adrianus Willaert; PadBC D27, [no. 39], ff. 73v–74, ff. 76v–77, Anon. Edition: M001, no. 24, pp. 83–86; M016, no. 27, pp. 70–72; M043, no. 24, pp. 188–195.

B088. Print: MS: Edition: Notes:

Sana me 15671, xiii, Hadrianus Vuillart. None. None. Double canon, 4vv from 2; authenticity questioned in N104 on basis of style.

B089. ii Print: MS:

Sancta et immaculata virginitas Cum jucunditate memorium 15203, [2], ff. 2v–3, Adrien. MunU 401, [ff. 71–72], no. 50, Anon.; PadBC A17, [no. 46], ff. 72v–73, Anon. Edition: None. Notes: Double canon, 4vv from 2. B090. Print: MS: Edition:

Sancte Paule apostole predicator W1108 (1539), no. 10; W1107 (1545), [no. 19], p. XXVII. TrevBC 6, [no. 4], ff. 7v–9, Anon. M001, no. 26, pp. 89–91; M016, no. 29, pp. 75–76.

B091. ii Print: MS: Edition:

Spiritus meus attenuabitur Libera me Domine et pone me W1108 (1539), no. 6; W1109 (1545), [no. 7], pp. X–XI. CasAC N(H), [no. 43], ff. 94v–96, Anon. M002, no. 10, pp. 37–42; M016, no. 41, pp. 116–119.

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Adrian Willaert

B092. Print:

Stans autem Jesus 153211, no. 19, p. 31, Adrianus Villart; 15427, [no. 14], f. 26v, Arnol [dus von Bruck]. MS: None. Edition: M063, no. 19, pp. 207–211. B093. ii Print: MS:

Strinxerunt corporis membra Mea nox obscurum non habet W1108 (1539), no. 4. CasAC N(H), [no. 21], ff. 42v–44, Anon.; PiacD (4), [no. 28], ff. 32v–33v, Anon.; VerBC760, [no. 64], ff. 83v–85, Anon. Edition: M002, no. 1, pp. 1–6; M016, no. 8, pp. 21–24. B094. ii iii Print: MS: Edition:

Surgit Christus cum tropheo Dic Maria quid fecisti contemplando Dic Maria quid fecisti postquam Jesum W1106 (1539), no. 25; W1109 (1545), [no. 16], pp. XXVI–XXVIII. None. M002, no. 19, pp. 82–92; M016, no. 50, pp. 150–158.

B095. Print:

Tota pulchra es amica mea 15385, no. 39, f. 35v–36, Adrian vuillart; 153910, [no. 3], p. 5, A. vvillart; W1106 (1539), no. 23; 15499, 26, Adriano. MS: CasAC N(H), [no. 17], ff. 35v–36, Anon.; ModE C.313, [no. 11], p. 20, Adrianus W.; PiacD (4), [no. 39], ff. 39v–40, Anon. Edition: M001, no. 7, pp. 22–25; M016, no. 7, pp. 16–18; M042, no. 21, pp. 80–85. B096. ii Print: MS:

Tristis est anima Tenebrae factae sunt None. BolC Q23, [no. 18], ff. 11v–12v, Adrianus; LonRC 2037, [no. 10], ff. 15v–17, Adrianus Willaert. Edition: None. B097. Print: MS: Edition:

Unum cole Deum None. BerlGS 7, ff. 139–139v, A: W:. None.

B098. ii Print:

Usquequo Domine oblivisceris me Illumina oculos meos W1108 (1539), no. 3; W1109 (1545), [no. 4], p. VI; 15468, no. 4, Adrian Willart.

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217

MS: None. Edition: M002, no. 7, pp. 26–32; M016, no. 38, pp. 108–112. B099. Print: MS: Edition:

Valde honorandus est beatus Joannes W1108 (1539), no. 5. LonRC 2037, [no. 53], ff. 80v–81, A. Willaert. M002, no. 2, pp. 6–8; M016, no. 9, pp. 24–25.

B100. ii Print: MS: Edition:

Veni Sancte Spiritus Sine tuo nomine W1106 (1539), no. 11; W1109 (1545), [no. 8], p. XII–XIII. FlorL 666, [no. 22], ff. 62v–66, Adrien. M002, no. 11, pp. 42–49; M016, no. 42, pp. 120–125; M052, no. 22, pp. 157–168. Sequence for Whit Sunday.

Notes: B101. ii Print: MS:

Victimae paschali laudes Dic nobis Maria quid vidisti W1108 (1539), no. 7; W1109 (1545), [no. 15], pp. XXIIII–XXV. BerlGS 7, ff. 99v–101, Adri: W.; LonRC 2037, [no. 24], ff. 35v–37, Adrianus Willaert. Edition: M002, no. 18, pp. 76–82; M016, no. 49, pp. 146–150. B102. ii Print: MS: Edition: Notes: B103. Print:

Victimae paschali laudes Surrexit Christus spes nostra 15469, nos. 18 & 19, Morales; 154915, XXVIII & XIX, Adriano. None. None. Morales attribution unreliable (title page only); probably by Willaert.

Videns Dominus flentes sorores Lazari 15353 [n.st.], no. 21, f. xiiiv, Willart; 15388, no. 29, Verdelot; W1106 (1539), no. 2; W1107 (1545), [no. 14], p. XIX. MS: HerdF 9821, [no. 12], [ff. 147–150v], Willart; LeipU49, ff. 291v–292, Anon.; LonRC 2037, [no. 8], ff. 12v–13, Adrianus Willaert; RomeM 23-4, [no. 9], ff. 8v–9, Adriano Willart; TrevBC 7, [no. 41], ff. 83v–84, Jachet/Magni Adriani, [Original scribe wrote Jachet on f. 83v, later scribe crossed out Jachet and wrote Magni Adriani on f. 84.]; WittenL 1048, [no. 62], ff. 104–105, Anon. Edition: M001, no. 21, pp. 71–73; M016, no. 24, pp. 62–63; M037; M048, no. 21, pp. 158–161. Notes: Also attributed to Verdelot and Jachet; by Willaert.

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218

B104. Print: MS: Edition: Notes:

Adrian Willaert

Virgo gloriosa Christi Margareta preciosa None. FlorL 666, [no. 1], ff. 2v.4, Adriano. M052, no. 1, pp. 1–5. Prayer to St. Margaret, Virgin and Martyr (July 20).

Five Voices B105. ii Print: MS: Edition:

Adriacos numero si quis Nobis dum sacros templis W1110 (1539), [no. 7], f. VII. LucBS 775, [no. 40], ff. 49v–50v, Anon. M003, no. 7, pp. 35–40.

B106. Print: MS:

Ave et gaude None. BolC Q27(1), [no. 43], f. 51, Adrian; TrevBC 29, no. 31, [no. 163], Adriani Vuillaert. Edition: None. B107. ii Print:

Ave Maria ancilla sanctae trinitas / Ave Maria gratia plena Ave Maria fons et pulchritudo / Ave Maria gratia plena 15329, no. 23, ff. 50–51, Adrianus Villart; W1110 (1539), [no. 22], f. XXII. MS: PiacD (4), [no. 12], ff. 18v–19, Anon.; RomeV 35-40, Series 1, no. 30, Adriano. Edition: M003, no. 22, pp. 114–120. Notes: Cantus firmus “Ave Maria gratia plena” in quintus voice throughout. B108. ii Print: MS:

Ave Maris stella / Ave Maris stella Monstra te esse matrem / Ave Maris stella W1110 (1539), [no. 21], f. XXI. ModD 9, [no. 31], ff. 61v–64, Adrian; ModE C.313, [no. 23], p. 41, Adrianus W.; MunU 401, [no. 37], ff. 52v–54, Adrianus; RomeV 3540, Series 1, no. 34, Adriano. Edition: M003, no. 21, pp. 107–114. Notes: Cantus firmus “Ave Maris stella” in quintus voice throughout. B109. ii Print: MS:

Beati pauperes spiritu quoniam ipsorum est regnum coelorum Beati qui persecutionem patiuntur propter iustitiam W1126 (1559), [no. 8], pp. 23–24; W1128 (1561)[1], [no. 8], ff. 11v–12. ModE C.313, [no. 20], p. 34, Adrianus W.; StuttL 2, no. 10, ff. 123v–139, Vuillart.

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219

Edition: M005, no. 8, pp. 67–74. Notes: Setting of the Eight Beatitudes. B110. Print: MS: Edition: Notes:

Beatus Bernardus [lost] None. TrevBC 29, no. 50, [no. 50], Adrianus Vuillart. None. Contrafactum of Domine Jesu Christe, fili dei [B116].

B111. Print: MS: Edition:

Beatus Marcus [lost] None. TrevBC 6, [no. 35], ff. 76v–77, Adriano Willaert. None.

B112. ii Print: MS:

Benedictus redemptor omnium Magne pater sancte 15446, p. 15–16, Adriano. ModE C.313, [no. 51], p. 96, Adrianus W.; TrevBC 4, [no. 1], ff. 1v–3, Adrian; TrevBC 29, no. 46, [no. 46], Adrianus Vuillart. Edition: M039, no. 3, pp. 22–30. B113. ii Print: MS:

Christus resurgens ex mortuiis Dicant nunc Judei W1110 (1539), [no. 3], f. III. BolSP 39, [no. 1], ff. [iiiv]-5, Anon.; ModE C.313, [no. 53], p. 101, Adrianus W.; PiacD (2), [no. 4], ff. 8v–10, Anon. Edition: M003, no. 3, pp. 11–17.

B114. Print: MS:

Clare sanctorum Princeps orbis 15446, p. 31–32, Adriano. LucBS 775, [no. 43], ff. 53v–54, Anon.; MunBS 16, [no. 11], ff. 68v–77, Adrianus Vilhart; Wolfa 293, no. 1, ff. 2v–3, Adrianus Willaert. Edition: None. B115. ii Print: MS: Edition:

Congratulamini mihi omnes Et dum flerem 15398, no. 7, Adrian Vuillart; W1110 (1539), [no. 20], f. XX. PiacD (5), [no. 66], ff. 65v–66, Anon. M003, no. 20, pp. 102–106; M060.

B116. Print:

Creator omnium Deus 15498, 37, Adriano; 15573, no. 15, f. 14v, Adrianus Vuillart.

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MS:

ModE C.313, [no. 35], p. 65, Adrianus W.; RegB B223-33, no. 22 (second list) = [no. 49], Adrianus Willart; TurBN IV.45, [no. 26], Anon.; Wolfa 293, no. 8, f. 7v, Anon. Edition: M062, pp. 297–302. Notes: Contrafactum of O doctor optime [B137], now lost. B117. Print: MS:

Domine Jesu Christe, fili Dei vivi qui frigestente W1110 (1539), [no. 6], f. VI. BolC Q27(1), [no. 28], ff. 29v–30, Adrian; ModE C.313, [no. 44], p. 85, Adrianus W. RomeM 23-4, [no. 17], ff. 32–32v, Adrian Villar.; RomeV 35-40, Series 1, no. 8, Adriano. Edition: M003, no. 6, pp. 31–35. Notes: Contrafactum of Beatus Bernardus [B109], now lost. B118. Print: MS:

Ecce Dominus veniet et omnes sancti 15329, no. 8, f. 16, Adrianus Villart; 15349, no. 3, f. iii, A. Willart. ChiN M91, Series 2, no. 7, Anon.; ModE C.313, [no. 32], p. 58, Adrianus W.; PiacD (5) [no. 9], ff. 9v–10, Anon.; RomeV 35-40, Series 1, no. 35, Adriano; SuttonO 4, Series 2, no. 7, Anon.; TrevBC 8, [no. 7], ff. 13v–14, Adrianus W:; TrevBC 36, [no. 21], ff. 14v–15, Adrianus; VatVM 571, [no. 2], f. 1v, Anon. Edition: M046, no. 3, pp. 20–25. B119. ii Print: MS:

Ecce lignum crucis Crux fidelis inter omnes W1110 (1539), [no. 14], f. XIIII. BergBC1208, [no. 37], ff. 131v–133r, Anon.; PiacD (5), [no. 4], f. 2v–3, Anon.; TrevBC 5, [no. 6], ff. 10v–12, Anon. Edition: M003, no. 14, pp. 72–77. B120. Print: MS:

Forma decens mores casti tum pectis / Alles in Ehrenn None. BrusBR II.3843, no. 18, Anon.; CopKB1872, [no. 33], f. 27, Adrianus Willart. Edition: M056. Notes: Survives with only text incipits. Alles in Ehren was the device of Johann Friedrich I of Saxony. B121. ii Print: MS: Edition: Notes:

Gaudeamus omnes [lost] Cantemus None. TrevBC 29, no. 57, [no. 57], Anon. None. Contrafactum of Quando fra l’atre donne [G037].

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Works List (A–J)

B122. Print: MS: Edition: Notes:

Gaudeamus omnes [lost] None. TrevBC 29, no. 59, [no. 59], Adrianus. None. Contrafactum of Alleva manum [B132/ii].

B123. Print: MS: Edition:

Haud aliter pugnans fulgebat Caeser W1110 (1539), [no. 17], f. XVII. None. M003, no. 17, pp. 87–89.

B124. Print: MS: Edition:

Hodie Christus natus est None. ModE C.313, [no. 33], p. 59, Adrianus W. None.

221

B125. ii iii Print: MS:

In diebus illis Susanna aliquando Deus qui absconditorum 15371, no. 18, Adrianus VVillart; 15591, no. 14, Adrian Vvillart. BasU F. X. 5–9, [no. 35], ff. 26v–29v, A. Willart; ErlU 473/3, [no. 18], ff. 203v–222, Adria Willart; HradKM 29, pp. 27–33, Anon.; MunU 327, ff. 3–5v, Adrianus Wilhart. Edition: None. B126. ii Print: MS: Edition: Notes:

Inclite dux salve victor / In Verona Agrippina Sanguine tumulto victricia W1110 (1539), [no. 9], f. IX. PadBC A17, [no. 97], ff. 142v–144, Anon. M003, no. 9, pp. 44–50. Cantus firmus “In Verona Agrippina” in quintus voice in prima pars.

B127. Print: MS: Edition: Notes:

Inclite Sfortiadum / Vivat dux Franciscus W1110 (1539), [no. 15], f. XV. None. M003, no. 15, pp. 78–82. Soggetto cavato cantus firmus “Vivat dux Franciscus” in quintus voice in prima pars.

B128. Print: MS:

Infirmitatem nostram quesumus domine / Fors seulement None. ’s HerAB 72C, [no. 14], ff. 152v–153, Anon.; HradKM 29, pp. 490–491, Anon.; LeidGA 1441, [no. 52], Willart; LeuvU 163,

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[no. 14], f. 31v, Verdelot; ModD 4, f. 13v, Verdelot; PadBC D27, [no. 54], ff. 102v–103, Anon.; PiacD (5), [no. 28], f. 25v, Anon.; RomeM 23-4, [no. 18], ff. 32v–33, Verdelot; RomeV 35-40, Series 1, no. 3, Verdelot. Edition: None. B129. ii Print: MS:

Laetare sancta mater ecclesia / Augustine lux doctorum Augustine lux doctorum 15398, no. 21, Adrian Vuillart; W1110 (1539), [no. 8], f. VIIII. ModE C.313, [no. 61], p. 115, Adrianus W.; PiacD (2), [no. 6], ff. 12v–14, Anon.; TrevBC 4, [no. 13], ff. 16v–18, Adrian; TrevBC 30, [no. 4], Adrian W.; TrevBC 36, [no. 20], ff. 14–14v, Adrianus. Edition: M003, no. 8, pp. 40–44. Notes: Cantus firmus “Augustine lux doctorum” in tenor voice in prima pars. B130. ii Print: MS:

Laus tibi, sacra rubens Basilii felix edes felici 15446, p. 11–12, Adriano. LucBS 775, [no. 44], ff. 54v–55, Anon.; ModE C.313, [no. 50], p. 94, Adrianus W.; TurBN IV.45, [no. 29], Anon.; Wolfa 293, no. 2, ff. 3–3v, A. Willaert. Edition: M039, no. 2, pp. 13–21. B131. ii Print: MS:

Locuti sunt adversum me Et posuerunt adversum me W1110 (1539), [no. 16], f. XVI; 155512, 25, Adrianus Vvillart. ModE C.313, [no. 25], p. 46, Adrianus W.; TrevBC 6, [no. 20], ff. 47v–50, Anon. Edition: M003, no. 16, pp. 82–86. B132. Print: MS: Edition: Notes:

Mane prima sabbati None. ModE C.313, [no. 72], p. 141, Adrianus W. None. AH 54, no. 214. (first five verses); for Second Vespers, Easter Sunday.

B133. ii Print: MS: Edition: Notes:

Miserere nostri Deus omnium et respice nos Alleva manum tuam super gentes alienas W1126 (1559), [no. 6], pp. 19–20; W1128 (1561)[1], [no. 6], f. 10. ModE C.313, [no. 76], p. 146, Adrianus. M005, no. 6, pp. 56–62. Prima pars a contrafactum of O sodales sancti Vindemialis et Florentii [B139], now lost; Secunda pars a contrafactum of Gaudeamus omnes [B121], now lost.

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223

B134. Print:

Ne projicias nos, Domine 15383, no. 18, Adrian VVillart; W1110 (1539), [no. 23], f. XXIII; 15397, no. 20, f. 16, Adrian Willart; 15591, no. 15, Adrian Vvillart. MS: HradKM 29, pp. 118–119, Anon.; ModE C.313, [no. 26], p. 48, Adrianus W. Edition: M003, no. 23, pp. 121–123; M061, no. 20, pp. 260–266. B135. ii iii iv v vi vii Print: MS:

O admirabile commertium creator generis humani Quando natus es ineffabiliter ex virgine Rubum quem viderat Moyses incombustum Germinavit radix i.e.,sse Ecce Maria genuit Mirabile mysterium declaratur hodie Magnum hereditatis mysterium W1126 (1559), [no. 5], pp. 11–18; W1128 (1561)[1], [no. 5], ff. 6v–9v; ModE C.313, [no. 13–19], p. 26–33, Adrianus W.; RegB 853-4, nos. 9–15, [no. 9], ff. 24–36, Adrianus Vuillart. Edition: M005, no. 5, pp. 31–56. Notes: First five pars were set as a multipart motet by Josquin. For the Feast of the Circumcision of Our Lord. B136. Print: MS: Edition: Notes:

[O] Christi martir sancte Chiliane [lost] None. TrevBC 29, no. 41, [no. 41], Adrianus Vuillart. None. Contrafactum of prima pars of Più volte già dal bel sembiante [G033].

B137. ii Print:

O crux splendidior cunctis Dulce lignum dulces clavos W1110 (1539), [no. 13], f. XIII; G2984 (1541), XX, Anon. [secunda pars only]. MS: BolC Q27(1), [no. 45], ff. 52v–53, Adrian; MunU 401, [no. 36], ff. 51–52, Adrianus; PiacD (4), [no. 49], ff. 58–58v, Anon.; RomeV 35-40, Series 1, no. 18, Adriano; TrevBC 5, [no. 3], ff. 5v–7, Anon. Edition: M003, no. 13, pp. 66–72. B138. Print: MS: Edition: Notes:

O doctor optime [lost] None. TrevBC 29, no. 116, [no. 116], Adriani Will. None. Contrafactum of Creator omnium Deus [B115].

B139. ii

Omnia quae fecisti nobis domine Cognoscimus domine quia peccavimus

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Adrian Willaert

Print:

W1126 (1559), [no. 10], pp. 27–28; W1128 (1561)[1], [no. 10], ff. 9v–10. MS: None. Edition: M005, no. 10, pp. 80–87. Notes: Canon: T–“Fuga quinque temporum in diatessaron intensum.” B140. Print: MS: Edition: Notes:

O sodales sancti Vindemialis et Florentii [lost] None. TrevBC 29, no. 32, [no. 32], Adriani Will. None. Contrafactum of prima pars of Miserere nostri Deus [B132/i].

B141. ii Print: MS:

O stupor et gaudium … tu Francisce Tuis astra posteris pater Francisce None. LucBS 775, [no. 6], ff. 8v–10, Anon.; RomeV 35-40, Series 1, no. 28, Adriano. Edition: None. B142. ii Print:

Peccavi supra numerum / Tibi soli peccavi Quoniam iniquitatem meam / Tibi soli peccavi 15398, no. 22, Adrian Vuillart; W1110 (1539), [no. 12], f. XII; 15568, no. 33, Adrianus Vuillart. MS: BolC Q27(1), [no. 34], ff. 35v–36, Adrian; CoimU 48, no. 16, ff. 28v–30, Adrian W.; ModE C.313, [no. 60], p. 113, Adrianus W.; PiacD (2), [no. 7], ff. 14–15v, Anon.; RomeV 35-40, Series 1, no. 5, Adriano; VatVM 571, ff. 24v–25, no. 29, Anon. Edition: M003, no. 12, pp. 61–65. Notes: Cantus firmus “Tibi soli peccavi” in quintus voice throughout. B143. ii Print: MS: Edition:

B144. ii iii Print: MS:

Precatus est Moyses in conspectu Domini Memento Abraham, Isaac, et Jacob 15346, no. 1, f. iv, A. Willart; W1110 (1539), [no. 19], f. XIX. None. M003, no. 19, pp. 96–101; M045, no. 1, pp. 1–11.

Prolongati sunt dies mei Inveterata sunt ossa mea Sit ergo fas dicere 15383, no. 25, Adrianus Vvillart; W1110 (1539), [no. 4], f. IIII. ModE C.313, [no. 48], p. 90, Adrianus W.; PiacD (2), [no. 5], ff. 10v–12, Anon. Edition: M003, no. 4, pp. 18–25.

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B145. ii Print:

Regina coeli laetare Resurrexit sicut dixit 15354, no. 6, f. iiiiv, Wyllart; 15382, no. 16, pp. 32–33, A. Villart; W1110 (1539), [no. 11], f. XI. MS: PiacD (5), [no. 68], ff. 67–67v, Anon. Edition: M003, no. 11, pp. 56–61; M049, no. 6, pp. 34–42; M058. Notes: Canon: T–prima pars: “Canon in subdiapenthe,” secunda pars: “Canon in epidiapenthe.” Marian antiphon, Sunday at Compline. B146. ii Print: MS: Edition: Notes:

Sacerdotum diadema/Sancte Gratiane O Gratiane, o pie W1110 (1539), [no. 10], f. X. TrevBC 36, [no. 19], ff. 13–14, Adrianus. M003, no. 10, pp. 50–56. Cantus firmus “Sancte Gratiane” in tenor voice in prima pars.

B147. ii Print: MS: Edition:

Sacro fonte regenerata Illustrante spiritu 15446, p. 7–8i, Adriano. None. M039, no. 1, pp. 1–12.

B148. Print: MS:

Salva nos ab excidio Geminiane W1110 (1539), [no. 2], f. II. BolC Q27(1), [no. 5], ff. 23v.24v, Adrian.W.; LucBS 775, [no. 28], ff. 38v–39, Anon.; ModD 9, [no. 32], ff. 64v–65, Anon.; PadBC D27, [no. 67], ff. 123v–124, Anon. Edition: M003, no. 2, pp. 8–10. B149. ii Print: MS: Edition: Notes: B150. ii Print: MS:

Sancta Maria, Regina coelorum O pia domina, per illud gaudium 153410, no. 18, f. xiiii, Willart. PadBC A17, [no. 10], ff. 17v–19, Anon. M047, no. 18, pp. 164–174. Quinta: “Pulchra es et decora”; rubric “De beata Maria.”

Simile est regnum Deus qui meritis None. BolC Q27(1), [no. 55], ff. 72–72v, Adrian; PiacD (4), [no. 46], ff. 55v–56, Anon.; RomeV 35-40, Series 1, no. 12, Adriano. Edition: None.

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226

B151. ii Print: MS: Edition:

Adrian Willaert

Si rore Aonio fluerent mea At deueta diu W1110 (1539), [no. 5], f. V. BolC Q27(1), [no. 51], ff. 58v–60, Adrian. M003, no. 5, pp. 26–31.

B152. Print: MS:

Sub tuum presidium confugimus sancta Dei Genitrix W1126 (1559), [no. 7], pp. 21–22; W1128 (1561)[1], [no. 7], f. 11. ModE C.313, [no. 77], p. 148, Adrianus W.; TrevBC 29, no. 35, [no. 167], Adriani Vuillert. Edition: M005, no. 7, pp. 62–67. B153. ii Print:

Sustinuimus pacem et non venit Peccavimus cum patribus nostris W1126 (1559), [no. 9], pp. 25–26; W1128 (1561)[1], [no. 9], ff. 12v–13. MS: None. Edition: M005, no. 9, pp. 74–80. Notes: Canon in altus voice throughout: “Fuga quatuor temporum in diapenthe remissum.” B154. Print: MS: Edition:

Veni Redemptor None. ModE C.313, [no. 12], p. 25, Adrianus W. None.

B155. ii Print: MS:

Verbum iniquum et dolosum Duo rogavi ne deneges mihi W1110 (1539), [no. 1], f. I. CasAC D(F), [no. 47], ff. 89v–93, Anon.; DresSL Löbau 12, no. 18 [later no. 21], A Wilhardt; FlorD 4, [no. 19], ff. 89v–95, Anon.; HalleU 1147, ff. 98v–99, Adrianus Wilhart; ModE C.313, [no. 45], p. 86, Adrianus W.; PiacD (5), [no. 61], ff. 62v–63, Anon.; RegB B211-5, ff. 63–65, Anon.; RomeV 35-40, Series 1, no. 13, Adriano. Edition: M003, no. 1, pp. 1–7. B156. ii Print: Edition: Notes:

Victor io, salve tantum cui fata triumphi / Salve sfortiarum Quis curare neget divos mortalia / Salve sfortiarum W1110 (1539), [no. 18], f. XVIII. M003, no. 18, pp. 90–95. Cantus firmus “Salve Sfortiarum” in tenor voice throughout.

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Six Voices B157. ii Print: MS:

Alma Redemptoris mater Tu, quae genuisti W1126 (1559), [no. 13], pp. 35–36; W1128 (1561)[2], [no. 2], ff. 4–5. ModE C.314, [no. 25], p. 82, Adrianus W.; TrevBC 29, no. 36, [no. 168], Adriani Willaert. Edition: M005, no. 13, pp. 109–118. Notes: Canon in tenor voice, resolved in quintus voice. Marian antiphon, Sunday at Compline. B158. ii Print: MS: Edition: Notes:

Aspice Domine quia facta est Plorans ploravit in nocte W1126 (1559), [no. 17], pp. 43–44; W1128 (1561)[2], [no. 6], ff. 12–13. None. M005, no. 17, pp. 144–154. Canon: T–“Fuga trium temporum in diapente intensum.”

B159. ii Print: MS:

Auditae insulae, et attendite populi de longe Et posuit os meum quasi gladium acutum W1126 (1559), [no. 16], pp. 41–42; W1128 (1561)[2], [no. 5], ff. 10–11. ModE C.314, [no. 2], p. 2, Adrianus W.; RegB 893, no. 37, Adrianus Vuillart; StockKB 229, [no. 85], Anon. Edition: M005, no. 16, pp. 135–144. B160. ii Print: MS:

Avertatur obsecro Domine furor tuus Inclina deus meus aurem tuam et audi W1126 (1559), [no. 12], pp. 33–34; W1128 (1561)[2], [no. 1], ff. 2–3. HradKM 29, pp. 669–671, Anon.; RegB 893, no. 40, Adrianus Vuillart; StuttL 2, no. 11, ff. 139v–152, A. Vuillart. Edition: M005, no. 12, pp. 100–109. B161. ii iii Print: MS:

Ave virgo sponsa Dei / Inviolata integra O Maria benedicta / Inviolata integra Igitur nos merito / Inviolata integra W1112 = 154210, [no. 8], pp. 17–19, Adrian VV. ModE C.314, [no. 19], p. 60; Adrianus W.; PiacD (3), ff. 30v–31v, Anon.; PiacD (4), [no. 65], ff. 73v–74, Anon.; TrevBC 29, no. 14, [no. 146], Adriani Vuillart. Edition: M004, no. 8, pp. 37–44. Notes: Cantus firmus “Inviolata integra” in tenor voice throughout; text, prayer to BMV.

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Adrian Willaert

B162. Print: MS:

Beata viscera Maria virginis 153410, no. 14, f. xii, Willart; W1112 = 154210, [no. 19], p. 40, Adrian VV. ModE C.314, [no. 32], p. 96, Adrianus W.; RegB 853-4, no. 19, [no. 25], ff. 57v–59, AdrianusVuillart; RomeM 23-4, [no. 20], f. 34, Adriao. Villar.; RomeV 35-40, Series 2, no. 15, Verdelot; TrevBC 29, no. 8, [no. 140], Adrian Will. Edition: M004, no. 19, pp. 105-108; M047, no. 14, pp. 126–132. Notes: Canon in dyapenthe, rubric “De beata Maria;” text, Communion for feasts of the Virgin Mary. B163. ii Print: MS:

Beatus Bernardus Factus est quasi 154422 [= D3419], ff. 37–37v, Canto XXI, Adriano. LeuvU 163, [no. 51], f. 110, Adrian Willart; TrevBC 4, [no. 11], ff. 13v–15, Adrian; Wolfa 293, no. 28, ff. 25v–26, Adrianus Willaert [ii Quin tenes legum]. Edition: M051, Canto 21, pp. 213–233. B164. Print: MS:

Beatus Laurentius W1112 = 154210, [no. 9], p. 20, Adrian VV. PiacD (4), [no. 40], ff. 40–41v, Anon.; TrevBC 4, [no. 6], ff. 8v–9, Adrian; TrevBC 29, no. 48, [no. 48], Adrianus Willaert; VatS 38, [no. 34], ff. 144v–146, Anon. Edition: M004, no. 9, pp. 44–47. Notes: Antiphon of the second nocturn of Matins for the Feast of St. Laurence, Martyr.

B165. Print: MS:

Creator omnium Deus 15545, no. 16, A. Willart; 15585. ModE C.314, [no. 1], p. 1, Adrianus W.; CopKB 1873, [no. 62], Anon.; Wolfa 293, no. 34, f. 30, Anon. Edition: None. Notes: Canon: T–“Fuga in dyapenthe remissum.” B166. Print: MS: Edition: Notes:

Deus qui manus tuas None. BolC Q24, [no. 3], ff. 22–22v, Adrianus Willaert. None. For Good Friday. Devotions to the Cross and Passion of Christ.

B167. ii Print:

Domine Jesu Christe, amator benignissime / Gaudent in coelis O bone Jesu et dulcis spes anime / Gaudent in coelis W1112 = 154210, [no. 17], pp. 34–36, Adrian VV.

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MS:

BolC Q24, [no. 5], ff. 23v.24v, Adrian.W.; CopKB1872, [no. 90], ff. 79v–81, Anon.; DresSL 1/D/3, [no. 52], ff. 83v–84v, Adrianus Wilhart; FlorBN Magl. 125bis, [no. 22], ff. 27–28v, Anon.; HradKM 29, pp. 355–358, Anon.; LeipU49, ff. 52–53, Adrian Willaert; ModE C.314, [no. 8], p. 18, Adrianus W.; RomeV 35-40, Series 2, no. 35, Adriano; StuttL 43, [no. 2], ff. 14v–25, Anon. Edition: M004, no. 17, pp. 88–97. Notes: Cantus firmus “Gaudent in coelis” throughout in sextus voice. B168. ii Print: MS:

Enixa est puerpera fulget dies quem Gabriel Parvoque lacte pastus est fulget dies 15407, no. 5, Adrianus Willart. RegB B223-33, no. 20, Adri: Willart; TrevBC 30, [no. 28], Adrian W.; VallaC 17, ff. 192v–194, Adrianus Willart; VatS 46, [no. 11], ff. 43v–47, Adrian. Edition: None. B169. ii Print: MS: Edition: Notes:

Haec est domus Domini firmiter aedificata Fundavit earn altissimus, qui super maria fundavit eam W1126 (1559), [no. 21], pp. 53–54; W1128 (1561)[2], [no. 10], ff. 21–22. RegB 887-90, [no. 5], ff. 13–16, Adrianus Vuillart. M005, no. 21, pp. 188–197. Canon: 6–“Fuga quinque temporum in diapente remissum.”

B170. ii iii Print: MS:

Huc me sidereo desecendere iussit olimpo Pungentem capiti dominum gestare [a 4] De me solus amor potuit perferre triumphum [a 6] W1126 (1559), [no. 22], pp. 55–57; W1128 (1561)[2], [no. 11], ff. 23–25. ModE C.314, [no. 28], p. 88, Adrianus W.; NurGN 8820B, no. 22, ff. 335v–354, Ad. Vuil:; RegB 893, no. 41, Adrianus Vuillart. Edition: M005, no. 22, pp. 197–208. B171. Print: MS:

In craticula te deum non negavi None. PiacD (3), ff. 31v–32, Anon.; PiacD (4), [no. 66], f. 74v, Anon.; TrevBC 4, [no. 7], ff. 9v–10, Adrian. Edition: None. Notes: Only two parts survive; different motet from Phinot six-voice setting. B172. ii Print:

In diebus illis Et stans retro W1112 = 154210, [no. 14], pp. 27–28, Adrian VV.

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Adrian Willaert

MS:

ModE C.314, [no. 10], p. 24, Adrianus W.; PiacD (4), [no. 52], ff. 60v–61, Anon.; TrevBC 5, [no. 46], ff. 74v–77, Adrian W. Edition: M004, no. 14, pp. 67–74. Notes: Antiphon for the Magnificat at First Vespers on the Feast of St. Mary Magdelen. B173. Print: MS: Edition: Notes:

In excelso throno Vidi sederevirum W1112 = 154210, [no. 7], p. 16, Adrian VV. RegB 861-2, [no. 18], Adrianus Vuillart. M004, no. 7, pp. 34–37. Intonation “In excelso throno,” followed by polyphony; introit.

B174. ii Print: MS:

In felix ego omnium Ad te igitur piissime [15569], XXXIIII, Adrianus Willart. DresSL Löbau 12, no. 22 [later no. 25], Adrianus Willart; EdinU 64, [no. 13], Anon.; ModE C.314, [no. 30], p. 92, Adrianus W.; RegB 893, no. 38, Adrianus Vuillart; TrevBC 30, [no. 27], Adriani W.; [Rore/Willaert]; Wolfa 293, no. 37, ff. 32–33v, Adrianus W. Edition: M064, no. 25, pp. 135–151. B175. ii iii Print: MS:

Mittit ad virginem non quem vis angelum Exiqui mitteris haec dona dicerre [a 4] Audit et suscipit puella nuncum [a 6] W1126 (1559), [no. 20], pp. 49–52; W1128 (1561)[2], [no. 9], ff. 18–20. ModE C.314, [no. 13], p. 42, Adrianus W.; NurGN 8820B, no. 15, ff. 189v–216, Anon.; RegB 857-60, [no. 28], Adrianus Vuillart; RegB 987, no. 4, Adrianus Vuillart; StuttL 2, no. 6, ff. 47v–71, Ad: Vuillaert. Edition: M005, no. 20, pp. 173–188. Notes: Marian sequence, Feast of the Annunciation.

B176. Print: MS: Edition: Notes:

Nil postquam sacrum [lost] None. None. None. Mentioned in Zarlino, Istitutioni harmoniche (3/1573), 325.

B177. Print: MS:

O beatum pontificem … O Martine W1112 = 154210, [no. 6], p. 14, Adrian VV. DresSL 1/D/3, [no. 43], ff. 71–71v, Adrianus Wilhart; ModD 9, [no. 35], f. 69v, Anon.; ModE C.314, [no. 34], p. 98, Adrianus W.; RomeM 23-4, [no. 31], ff. 46v–47, Adriano W.; RomeV 35-40, Series 2,

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no. 4, Adriano; TrevBC 4, [no. 49], ff. 71v–72v, Adrian; TrevBC 29, no. 69, [no. 69], Adrianus. Edition: M004, no. 6, pp. 28–34. Notes: Antiphon for the Magnificat at Second Vespers on the Feast of St. Martin. B178. ii Print: MS:

O gloriosa domina / Maria mater gratiae Maria mater gratie / Maria mater gratiae W1112 = 154210, [no. 12], pp. 24–25, Adrian VV. ModD 9, [no. 34], ff. 67v–69, Anon.; ModE C.314, [no. 16], p. 50, Adrianus W.; RomeM 23-4, [no. 30], ff. 45v–46, Adriano Villart; RomeV 35-40, Series 2, no. 8, Adriano; TrevBC 29, no. 6, [no. 138], Adrian W. Edition: M004, no. 12, pp. 59–65. Notes: Cantus firmus “Maria mater gratiae” throughout in Quintus and Tenor voices, as a written-out canon (tenor-dux, quintus-comes). B179. Print: MS:

O proles Hispaniae None. LucBS 775, [no. 48], ff. 59v–60, Anon.; ModE C.314, [no. 20], p. 64, Adrianus W. TrevBC 29, no. 33, [no. 33], Adrianus Willaert; Wolfa 293, no. 32, f. 29v, A. Willaert. Edition: None. Notes: AH 5, no. 42; for Feast of St. Anthony of Padua, First Vespers, Antiphon. B180. Print: MS:

O salutaris hostia W1112 = 154210, [no. 11], p. 23, Adrian VV. BolC Q24, [no. 4], f. 23, Adrianus Willaert; CasAC C, [no. 38], [ff. 95v–96], Anon.; ModE C.314, [no. 29], p. 91, Adrianus W.; RomeV 35-40, Series 2, no. 1, Adriano; ToleBC 10, no. 17, ff. 92v–97, Verdelot; TrevBC 5, [no. 23], ff. 43v–44, Anon.; VatG XII.4, no. 36, ff. 106v–108, Adriano. Edition: M004, no. 11, pp. 55–59. Notes: Antiphon for Elevation of the Host. B181. Print: MS: Edition: Notes:

O Socij durate 156617, pp. 19–20, Adriano. None. M014, no. 33, pp. 142–148. Rubric “Illustrissimi et reverendissimi Cardinalis Granvellani emblema”; Virgil, Aeneid, 1, v.198–208.

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Adrian Willaert

B182. ii Print: MS:

Obsecro Domine Qui regis israel intende W1112 = 154210, [no. 10], p. 20–22, Adrian VV.; 15453, no. 6. BolSP 39, [no. 21], ff. 85v–91, Anon.; BudOS 23, [no. 117], ff. 70–71, Adrianus Wilhart; PiacD (5), [no. 83], ff. 89v–90, Anon.; RomeV 35–40, Series 2, no. 13, Adriano; TrevBC 8, [no. 11], ff. 20v–22, Adrianus. Edition: M004, no. 10, pp. 47–54. Notes: Responsary and versus for the sixth lesson at Matins on the first Sunday in Advent. B183. ii Print: MS:

Pater noster Ave Maria, gratia plena W1112 = 154210, [nos. 1–2], pp. 4–7, Adrian VV. BrusC 27766, ff. 92v–95, Adrino [secunda pars only]; ModE C.314, [no. 18], p. 56, Adrianus W. Edition: M004, nos. 1–2, pp. 1–11. B184. ii Print: MS:

Pater, peccavi in coelum et coram te Quanti mercenarii W1126 (1559), [no. 18], pp. 45–46; W1128 (1561)[2], [no. 7], ff. 14–15. ModE C.314, [no. 12], p. 28, Adrianus W.; RegB 893, no. 39, Adrianus Vuillart; StuttL 2, no. 13, ff. 164v–179, A. Vuillart. Edition: M005, no. 18, pp. 154–164. Notes: Canon: 6–“Fuga quinque temporum in diatessaron intensum.” B185. ii Print: MS:

Peccata mea domine Quoniam iniquitatem meam ego cognosco W1126 (1559), [no. 14], pp. 37–38; W1128 (1561)[2], [no. 3], ff. 6–7. HradKM 29, pp. 692–695, Anon.; ModE C.314, [no. 27], p. 86, Adrianus W.; RegB 893, no. 36, Adrianus Vuillart; StuttL 2, no. 12, ff. 152v–164, Vuillart; TrevBC 30, [no. 20], Anon. Edition: M005, no. 14, pp. 119–126. B186. ii Print: MS: Edition: Notes:

Regina coeli laetare Resurrexit None. ModE C.314, [no. 15], p. 48, Adrianus W. [p. 40 in tavola incorrect]. None. Marian antiphon, Sunday at Compline.

B187. ii

Salve sancta parens enixa puerpera regem Virgo dei genitrix quem totus non capit orbis

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Print: MS:

W1126 (1559), [no. 15], pp. 39–40; W1128 (1561)[2], [no. 4], ff. 8–9. ModE C.314, [no. 14], p. 46, Adrianus W.; TrevBC 29, no. 39, [no. 171], Adriani Willaert. Edition: M005, no. 15, pp. 127–135. Notes: Double canon: C and A–“Fuga trium temporum in diapente remissum.” B188. Print: MS:

Sancte Francisce None. LucBS 775, [no. 47], ff. 58v–59, Anon.; TrevBC 29, no. 56, [no. 56], Adrianus; Wolfa 293, no. 33, f. 29, Ad. Willaert. Edition: None. B189. ii Print: MS: Edition: Notes:

Venator lepores mittet tibi / Argentum At Franciscae ducum / Argentum W1112 = 154210, [no. 16], pp. 32–33, Adrian VV.; 15453, no. 5. HradKM 29, pp. 367–369, Anon. M004, no. 16, pp. 81–88. Cantus firmus “Argentum” throughout in Quintus and Sextus voices, as a written-out canon (Prima pars: quintus-dux, sextus-comes, Secunda pars: sextus-dux, quintus-comes).

B190. ii Print: MS:

Veni Sancte Spiritus O lux beatissima W1126 (1559), [no. 11], pp. 29–32; W1128 (1561)[1], [no. 11], ff. 11–12. HradKM 29, pp. 664–669, Anon.; ModE C.314, [no. 35], p. 100, Adrianus W.; RegB 878-82, [no. 18], ff. 35–39, Adrianus Vuillart; StuttL 2, no. 9, ff. 103v–123, Adrianus Willart. Edition: M005, no. 11, pp. 88–100. Notes: Canon in sextus voice, resolved in quintus voice. B191. ii Print:

Verbum bonum Ave solem genuisti 15193, II, f. A2v–A3, Adrianus; 153410, no. 8, f. viv, A. Wyllart; W1112 = 154210, [no. 4], p. 9–10, Adrian VV. MS: None. Edition: M004, no. 4, pp. 16–24; M047, no. 8, pp. 62–78. Notes: AH 54, no. 343; BMV, sequence. B192. ii Print: MS:

Victimae paschali laudes Dic nobis Maria quid vidisti in via W1126 (1559), [no. 19], pp. 47–48; W1128 (1561)[2], [no. 8], ff. 16–17. HradKM 29, pp. 662–664, Anon.; ModE C.314, [no. 26], p. 84, Adrianus W.; RegB 849-52, ff. 150v–158, Adrianus Vuillaert; RegB 871-4,

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no. 22, [no. 29], ff. 57–59v, AdrianusVuillart; StuttL 2, no. 8, ff. 89v–103, Adrianus Vuillart; WrocS 2, [no. 30], Adr. Willart; WrocS 5, [no. 12], Adr. Willart. Edition: M005, no. 19, pp. 164–173; M031, no. 113, pp. 116–118; M059. B193. Print: MS:

Vocem iocunditatis W1112 = 154210, [no. 5], p. 12, Adrian VV. ModE C.314, [no. 3], p. 4, Adrianus W.; PiacD (3), ff. 29v–30, Anon.; PiacD (4), [no. 50], ff. 58v–59, Anon. Edition: M004, no. 5, pp. 25–28. Notes: Introit.

Seven Voices B194. ii Print:

Benedicta es, coelorum Regina Per illud ave prolatum W1126 (1559), [no. 25], pp. 63–64; W1128 (1561)[2], [no. 14], ff. 30–31. MS: ModE C.314, [no. 41], p. 130, Adrianus W.; MunBS 1536, Series 2, no. 24, Adrianus Willart; RegB 786-837, [no. 37], Adr. Vuillaert; TrevBC 29, no. 37, [no. 169], Adriani Willaert. Edition: M005, no. 25, pp. 238–252. Notes: Double canon in tenor voice, prima pars: “Fuga trium temporum in diapente, et octo temporum in diapason.” Secunda pars: “Fuga trium temporum in diapente, et quinque temporum in diapason.” Marian sequence. B195. ii Print:

Inviolata, integra et casta es Maria Tua per precata dulcisona W1126 (1559), [no. 24], pp. 61–62; W1128 (1561)[2], [no. 13], ff. 28–29. MS: ModE C.314, [no. 37], p. 116, Adrianus W.; MunBS 1536, Series 2, no. 23, Adrianus Willart; RegB 786-837, [no. 39], Adrianus Vuillaert; StockKB 229, [no. 187], Anon.; TrevBC 29, no. 38, [no. 170], Adriani Willaert. Edition: M005, no. 24, pp. 223–237. Notes: Double canon: C–“Fuga quatuor temporum in diatessaron remissum, et Fuga septem temporum in diapason remissum.” Marian sequence. B196. ii Print:

Praeter rerum seriem parit Deum hominem Virtus sancti spiritus opus illud coelitus W1126 (1559), [no. 23], pp. 58–59; W1128 (1561)[2], [no. 12], ff. 26–27.

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MS:

ModE C.314, [no. 36], p. 113, Adrianus W.; MunBS 1536, Series 2, no. 22, Adrianus Willart; RegB 786-837, [no. 41], A. Vuillaert; TrevBC 29, no. 40, [no. 172], Adriani Willaert. Edition: M005, no. 23, pp. 209–223. Notes: Double canon: A– prima pars: “Canon: Trinitas in unitate. Fuga, primo in diatessaron et diapente, secundo in diapente et diatessaron, ut signatum est;” secunda pars: “Fuga in diapente et diatessaron. Diapente nunc praecedat, nunc sequatur, diatessaron semper sequatur, ut signatum est.” B197. ii Print:

Te Deum patrem ingenitum Laus Deo patri pariliquem proli W1126 (1559), [no. 27], pp. 67–68; W1128 (1561)[2], [no. 16], ff. 34–35. MS: HradKM 29, pp. 672–674, Anon.; ModE C.314, [no. 39], p. 122, Adrianus W.; MunBS 1536, Series 2, no. 26, Adrianus Willart; RegB 786-837, [no. 38], Adr. Vuillaert; StuttL 2, no. 5, ff. 32v–47, Adrianus Vuillart. Edition: M005, no. 27, pp. 270–283. Notes: Double canon throughout, tenor voice, no rubric. B198. ii Print:

Verbum supernum prodiens / O salutaris hostia Se nascens dedit socium / O salutaris hostia W1126 (1559), [no. 26], pp. 65–66; W1128 (1561)[2], [no. 15], ff. 32–33. MS: ModE C.314, [no. 42], p. 134, Adrianus W.; MunBS 1536, Series 2, no. 25, Adrianus Willart; RegB 786-837, [no. 40], Adrianus Vuillaert; StockKB 229, [no. 184], Anon. Edition: M005, no. 26, pp. 253–269. Notes: Cantus firmus “O salutaris hostia” in tenor voice throughout; Canon: T–“Fuga quatuor temporum in diapente intensum.” For Feast of Corpus Christi.

Doubtful or Misattributed (b) Three Voices b199. Print: MS: Edition: Notes:

Sicut sydus radium 154914, XXV, Adriano RokyA 22, ff. 47–47v [superius], Anon. None. Secunda pars of Laetabundus exultet fidelis attributed to J. Ponte in 15397, probably by Ponte.

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Adrian Willaert

Four Voices b200.

Ave verum corpus Sources with ascription to Willaert MS: Münster. Santini-Bibliothek. Hs 1244, no. 5, 2 f. , Adriano Villaert. Edition: None. Notes: In score, copied by Fortunato Santini; see L025. b201. ii

Beata Dei genitrix Maria Et beata quae credidit Source with ascription to Willaert Print: W1106 (1539), no. 13. Other sources Print: 153910, Conseil. MS: BolSP 38, [no. 13], ff. 25v–27, Anon.; CasAC D(F), [no. 30], ff. 55v, Anon.; LeipU 51, ff. 108v.109, Anon.; ModD 3, ff. 158v–160, Anon.; PadBC A17, [no. 16], ff. 29v–30, Anon.; RegB 940-1, no. 223, Lhéritier; RegB 1018, no. 59, Anon. Edition: M001, no. 3, pp. 7–9; M016, no. 3, pp. 5–8. Notes: Also attributed to Conseil and J. Lhéritier; probably by Lhéritier. b202. ii iii

Domine quis habitabit Nec fecit Qui iurat Sources with ascription to Willaert Print: None. Other sources Print: 15203, [no. 5], ff. 8v–11, Anon; 15457, nos. 120–122, Anon. MS: RegB C120, pp. 250–253, no. 64, Anon. Edition: None. Notes: Double canon, 4vv from 2; listed in N095, N103 and N104 as by Willaert, however, no ascription to Willaert in 15203; not by Willaert. b203.

O coeleste convivium Source with ascription to Willaert Print: None. Other sources Print: None. MS: None. Edition: M033, no. 11, pp. 32–33. Notes: Albert Smijers does not list the source for this piece in his edition.

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b204.

Visita quesumus Source with ascription to Willaert Print: 15385, no. 16, f. 17, Iacquet [in tavola], Adrian Vuillart [f. 17 above music]. Other sources Print: None. MS: BolC Q20, no. 28, ff. 37v–38, Jaquet; LonRC 2037, [no. 43], ff. 62v–63, Jacquet; ToleBC 17, [no. 2], ff. 11v–15, Liritier; WrocU 42, [no. 16], Anon. Edition: M061, no. 16, pp. 55–61. Notes: By Jacquet of Mantua.

Five Voices b205. ii

Deus in nomine tuo salvum me fac Ecce enim Deus Sources with ascription to Willaert Print: 15329, no. 21, ff. 46–47, Adrianus Villart; 15386, no. 25, Adrianus Vuillart. Other sources MS: HeilbS XCIII/3, [no. 13], Anon.; RomeV 35-40, Series 1, no. 27, Lirithyer; StuttL 43, [no. 1], ff. 1v–14, Anon. Edition: None. Notes: By Lheritier. b206. ii Print:

Factum est verbum domini Ego vox clamantis W1112 = 154210, [no. 15], pp. 30–31, Iachet Berchem, [seconda pars mistakenly attributed to Adrian VV]. MS: None. Edition: None. Notes: By Jachet de Berchem. b207. Print: MS:

Vado ad eum qui misit me 15446, Cipriano de Rore;. BolSP 39, [no. 18], ff. 78v–80, Anon.; ModE C.313, [no. 49], p. 93, Ciprianus R.; ParisBNC 851, pp. 26–27, Anon.; TurBN IV.45, [no. 19], Anon. Edition: None. Notes: By Rore.

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Six Voices b208.

Ferendum est aequo animo quod a deo Source with ascription to Willaert MS: KasL 38, [no. 31], A.W. Other sources Edition: None. b209. ii

[O] beata infantia per quam nostri generis [O] felices panni quibus peccatorum Source with ascription to Willaert MS: RomeV 35-40, Series 2, no. 35, Adriano. Other source Print: RISM A I: R1300 (1556), f. 14. MS: ModD 9, [no. 29], ff. 55v–58, Jo. Richafort;. Edition: None. Notes: By Richafort. b210.

Salva nos Domine Source with ascription to Willaert Print: W1112 = 154210, [no. 13], p. 26, Adrian VV. MS: ModE C.313, [no. 47], p. 89, Adrianus W. Other sources MS: BolC Q19, [no. 18], ff. 22v–23, Jo. Moton; BolC R142, [no. 50], f. 57, Josquin; FlorL 666, [no. 34], ff. 87v–88; Mouton; HalleU 1147, [no. 4], f. 77, Anon.; ’s HerAB 72C, [no. 4], ff. 46v–47, Johannes Mouton; ModD 9, [no. 17], ff. 34v–35, Mouton; MunBS 1536, Series 3, no. 90, Johannes Mouton; StuttL 3, no. 17, ff. 185v–186, Joannes Mouton; VatP 1980-1, [no. 21], ff. 75, Anon.; VatS 38, [no. 37], ff. 151v–152, Jo. Mouton; VatVM 571, [no. 12], f. 8v, Anon.; WrocS 8, [no. 32], Anon. Edition: M004, no. 13, pp. 65–67; M052, no. 34, pp. 227–230. Notes: Text, Antiphon for the Nunc dimittis at Compline; by Mouton.

C. PSALMS Four Voices C001. Print: MS: Edition:

Cum invocarem exaudivit me Psalm iv, sexti toni. W1123, [no. 11], p. 9. None. None.

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C002. Print: MS: Edition:

In te Domine speravi Psalm lxx, primi toni. W1123, [no. 12], p. 10. None. None.

C003. Print: MS: Edition:

Qui habitat in adiutorio Psalm xc, septimi toni. W1123, [no. 13], p. 11. None. None.

C004. Print: MS: Edition:

Dixit Dominus Domino meo Psalm cix, primi toni. W1123, [no. 1], p. 1. AugsS 1, [no. 36], ff. 215v–220, Adriani Willaert. None.

C005. Print: MS: Edition:

Confitebor tibi … in consilio Psalm cx, secundi toni. W1123, [no. 2], p. 1. AugsS 1, [no. 37], ff. 220v–226, Adriani Willaert. None.

C006. Print: MS: Edition:

Beatus vir qui timet Dominum Psalm cxi, tertii toni. W1123, [no. 3], p. 2. AugsS 1, [no. 38], ff. 226v–231, Adriani Willaert. None.

C007. Print: MS: Edition:

Laudate pueri Dominum Psalm cxii, quarti toni. W1123, [no. 6], p. 6. AugsS 1, [no. 41], ff. 246v–251, Adriani Willaert. None.

C008. Print: MS: Edition:

Laetatus sum Psalm cxxi, sexti toni. W1123, [no. 7], p. 7. AugsS 1, [no. 42], ff. 251v–256, Adriani Willaert. None.

C009. Print: MS: Edition:

Nisi Dominus Psalm cxxvi, tertii toni. W1123, [no. 8], p. 7. AugsS 1, [no. 43], ff. 256v–260, Adriani Willaert. None.

C010. Print: MS: Edition:

De profundis clamavi Psalm cxxix, quinti toni. W1123, [no. 4], p. 3. AugsS 1, [no. 39], ff. 231v–236, Adriani Willaert. None.

239

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Adrian Willaert

C011. Print: MS: Edition:

Memento Domine David Psalm cxxxi, septimi toni. W1123, [no. 5], p. 4. AugsS 1, [no. 40], ff. 236v–246, Adriani Willaert. None.

C012. Print: MS: Edition:

Ecce nunc benedicite Dominum Psalm cxxxiii, sexti toni. W1123, [no. 14], p. 12. None. None.

C013. Print: MS: Edition:

Lauda Jerusalem Dominum Psalm cxlvii, octavi toni. W1123, [no. 9], p. 8. AugsS 1, [no. 44], ff. 260v–265, Adriani Willaert. None.

Two Alternating Choirs C014. Print:

Dixit Dominus Domino meo Psalm cix, septimi toni. Primus-15501/I, [no. 1], p. 2, Iachet; 15576/I, [no. 1], p. 1, Iachet, Dixit dominus Domino. Print: Secundus-15501/II, [no. 1], p. 2, Adriano; 15576/II, [no1.], p. 2, Adriano, Donec ponam. MS: None. Edition: M008, no. 1, pp. 1–6. Notes: 4–5vv. Willaert–Sicut erat [a 4], Canon: T–“Canon in diapente.”

C015. Print:

Beatus vir qui timet Dominum Psalm cxi, septimi toni. Primus-15501/I, [no. 3], p. 4, Iachet; 15576/I, [no. 3], p. 4, Iachet, Beatus vir qui timet. Print: Secundus-15501/II, [no. 3], p. 4, Adriano; 15576/II, [no. 3], p. 4, Adriano, Potens in terra. MS: None. Edition: M008, no. 3, pp. 15–19. Notes: 4–5 vv. Willaert–Gloria patri [a 4] ], Canon: T–“Canon in diapente.”

C016. Print:

In exitu Israel Psalm cxiii, toni peregrini. Primus-15501/I, [no. 6], p. 8, Iachet; 15576/I, [no. 6], p. 8, Iachet, In exitu Israel de egipto. Print: Secundus-15501/II, [no. 6], p. 8, Adriano; 15576/II, [no. 6], p. 8, Adriano, Facta est Iudaea. MS: TrevBC 11b, [no. 35], ff. 57v–59[b], Anon. [second choir]. Edition: M008, no. 6, pp. 28–39; M024, no. 9, p. 19 (verse 12 only). Notes: 4 vv. Willaert–Gloria patri [a 4] ], Canon: C–“Canon in diapente.”

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C017. Print:

Laudate Dominum omnes gentes Psalm cxvi, sexti toni. Primus-15501/I, [no. 7], p. 11, Iachet; 15576/I, [no. 7], p. 10, Iachet, Laudate dominum. Print: Secundus-15501/II, [no. 7], p. 10, Adriano; 15576/II, [no. 7], p. 10, Adriano, Quoniam confirmata. MS: TrevBC 11b, [no. 21], ff. 35v–36, Anon. [second choir]. Edition: M008, no. 7, pp. 40–42. Notes: 4–5 vv. Willaert–Sicut erat [a 4] Canon: T–“Canon in diatessaron.” C018. Print:

Laetatus sum Psalm cxxi, quarti toni. Primus-15501/I, [no. 10], p. 14, Iachet; 15576/I, [no. 10], p. 14, Iachet, Letatus sum in his. Print: Secundus-15501/II, [no. 11], p. 14, Adriano; 15576/II, [no. 11], p. 14, Adriano, Stantes erant pedes. MS: None. Edition: M008, no. 10, pp. 51–56. Notes: 4 vv. Willaert–Gloria patri [a 4] Canon: C–“Canon in diapente.” C019. Print:

Nisi Dominus Psalm cxxvi, sexti toni. Primus-15501/I, [no. 11], p. 16, Iachet; 15576/I, [no. 11], p. 15, Iachet, Nisi dominus edificaverit. Print: Secundus-15501/II, [no. 12], p. 16, Adriano; 15576/II, [no. 12], p. 16, Adriano, Nisi dominus custodierit civitatem. MS: None. Edition: M008, no. 11, pp. 57–61. Notes: 4 vv.

Eight-Voice Double Choir C020. Print:

Confitebor tibi … in consilio Psalm cx, primi toni. Primus-15501/I, [no. 17], p. 24, Adriano; 15576/I, [no. 17], p. 24, Adriano. Print: Secundus-15501/II, [no. 18], p. 24, Adriano; 15576/II, [no. 18], p. 24, Adriano. MS: TrevBC 11b, [no. 9], ff. 19v–20, Anon. [second choir]. Edition: M008, no. 25, pp. 107–115. Notes: Vespers Psalm. C021. Print: Print:

Laudate pueri Dominum Psalm cxii, primi toni. Primus-15501/I, [no. 16], p. 23, Adriano; 15576/I, [no. 16], p. 23, Adriano. Secundus-15501/II, [no. 17], p. 23, Adriano; 15576/II, [no. 17], p. 23, Adriano.

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Adrian Willaert

MS:

BolSP 51-2, [no. 12], ff. 37v–39, Anon., [incomplete in Ms A.LII]; TrevBC 11b, [no. 3], ff. 11v–12, Adrianus W.; TrevBC 11b, ff. 38v–39, Anon. [second choir]. Edition: M008, no. 24, pp. 102–107. Notes: Vespers Psalm. C022. Print: Print:

Credidi propter quod locutus sum Psalm cxv, quarti toni. Primus-15501/I, [no. 23], p. 36, Adriano; 15576/I, [no. 23], p. 36, Adriano. Secundus-15501/II, [no. 26], p. 36, Adriano; 15576/II, [no. 26], p. 36, Adriano. MS: TrevBC 11b, [no. 4], ff. 12v–13, Anon. [second choir]. Edition: M008, no. 30, pp. 154–160. Notes: Vespers Psalm.

C023. Print: Print:

In convertendo Dominum Psalm cxxv, sexti toni. Primus-15501/I, [no. 24], p. 38, Adriano; 15576/I, [no. 24], p. 38, Adriano. Secundus-15501/II, [no. 27], p. 38, Adriano; 15576/II, [no. 27], p. 38, Adriano. MS: TrevBC 11b, [no. 5], ff. 13v–14, Anon. [second choir]. Edition: M008, no. 31, pp. 160–164; M066. Notes: Vespers Psalm.

C024. Print: Print:

De profundis clamavi Psalm cxxix, quinti toni. Primus-15501/I, [no. 20], p. 31, Adriano; 15576/I, [no. 20], p. 31, Adriano. Secundus-15501/II, [no. 23], p. 31, Adriano; 15576/II, [no. 23], p. 31, Adriano. MS: TrevBC 11b, [no. 11], ff. 21v–22, Anon. [second choir]. Edition: M008, no. 27, pp. 122–128; M067. Notes: Vespers Psalm.

C025. Print:

Memento Domine David Psalm cxxxi, octavi toni. Primus-15501/I, [no. 21], p. 32, Adriano; 15576/I, [no. 21], p. 32, Adriano. Print: Secundus-15501/II, [no. 24], p. 32, Adriano; 15576/II, [no. 24], p. 32, Adriano. MS: TrevBC 11b, [no. 12], ff. 22v–24, Anon. [second choir]. Edition: M008, no. 28, pp. 129–140, M065, pp. 5–24. Notes: Vespers Psalm. C026. Print: Print:

Domine probasti me Psalm cxxxviii, octavi toni. Primus-15501/I, [no. 22], p. 34, Adriano; 15576/I, [no. 22], p. 34, Adriano. Secundus-15501/II, [no. 25], p. 34, Adriano; 15576/II, [no. 25], p. 34, Adriano.

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MS: TrevBC 11b, [no. 6], ff. 14v–16, Anon. [second choir]. Edition: M008, no. 29, pp. 140–153. Notes: Vespers Psalm. C027. Print: Print:

Lauda Jerusalem Dominum Psalm cxlvii, secundi toni. Primus-15501/I, [no. 18], p. 26, Adriano; 15576/I, [no. 18], p. 26, Adriano. Secundus-15501/II, [no. 19], p. 26, Adriano; 15576/II, [no. 19], p. 25, Adriano. MS: TrevBC 11b, [no. 26], ff. 41v–42, Anon. [second choir]. Edition: M008, no. 26, pp. 115–122. Notes: Vespers Psalm.

Doubtful or Misattributed (c) c028. Print: MS: Edition: Notes:

Deus, Deus meus [a 5] Psalm lxii. 15535, no. 5, Hubert VValrant None. None. Ascribed to VVillart above music, Hubert VValrant in tavola; by Walrant]

c029. Print: MS: Edition: Notes:

Cum invocarem exaudit me [a 8] Psalm iv. 15641, no. 51, Adrianus Willart. None. M023, no. 7. Compline psalm; attribution to Willaert questioned in N145 on basis of style.

Conjecturally Attributed c030. Print: MS: Edition: Notes:

In te Domine speravi Psalm xxx. 15641, no. 52, [Adrianus Willaert, see N145]. None. M023, no. 8. Compline psalm; attribution to Willaert questioned in N145 on basis of style.

c031. Print: MS: Edition: Notes:

Qui habitat in adiutorio Psalm xc. 15641, no. 53, [Adrianus Willaert, see N145]. None. None. Compline psalm; attribution to Willaert questioned in N145 on basis of style.

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Adrian Willaert

c032. Print: MS: Edition: Notes:

Ecce nunc benedicite Psalm cxxxiii. 15641, no. 54, [Adrianus Willaert, see N145]. None. None. Compline psalm; attribution to Willaert questioned in N145 on basis of style.

c033. Print: MS: Edition: Notes:

Lauda anima mea Dominum Psalm cxlv. None. TrevBC 11b, no. 24, Anon. None. Second choir only, attributed to Willaert in N145 on basis of style.

c034. Print: MS: Edition: Notes:

Laudate Dominum quoniam bonum psalmus Psalm cxlvi. None. TrevBC 11b, no. 25, Anon. None. Second choir only, attributed to Willaert in N145 on basis of style.

D. HYMNS D001. ii iv vi viii Print: MS:

[Ad cenam agni providi] Cuius corpus [a 4] Jam pascha [a 3] Cum surgit [a 4] Gloria tibi Domine [a 5] W1113, [no. 8], f. 8. BolSP 43, [no. 18], ff. 47v–51, Anon.; PiacD (3), ff. 48v–50, A.W.; TrevBC 13, [no. 24], ff. 43v–46, Adrianus Wilert. Edition: M007, no. 6, pp. 41–46. Notes: AH 51, no. 83. Rubric, “Tempore paschali. Ad Vesperas.” 8. pars, Canon: T–“Fuga trium temporum in [sub]diapente. D002. ii Print: MS: Edition: Notes:

[Ad cenam agni providi] Cuius corpus [a 4] None. TrevBC 13, [no. 23], ff. 41v–43, Adrianus W. None. AH 51, no. 83. Rubric, “Dominica in albis.”

D003.

[Ad Cenam agni providi] Quo agnito discipuli/Sermone blando/Ad cenam [a 5]

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Print: MS: Edition: Notes:

W1113, [no. 13], f. 15v. None. M007, no. 11, pp. 71–73. AH 51, no. 83. Rubric, “In tempore Paschali. Ad Vesperas.” Prima pars, canon in altus voice.

D004. ii iv Print: MS: Edition: Notes:

[Adesto Sancta Trinitas] Te coelorum [a 4] Unum te lumen [a 6] W1113, [no. 15], f. 17. PiacD (3), ff. 57v–59, Anon.; TrevBC 13, [no. 35], ff. 67v–69, Adrianus. M007, no. 13, pp. 79–82. AH 51, no. 96. Rubric, “In Festo Sanctae Trinitatis. Ad Vesperas.” 4. pars, double canon in cantus I voice: “Trinitas in unitate.”

D005. ii Print: MS: Edition:

[Ad preces nostras] Respice clemens solio [a 4] W1123, [no. 27], p. 18. None. None.

D006. ii Print: MS: Edition: Notes:

[Aurea luce et decore roseo] Janitor coeli [a 5] W1113, [no. 19], f. 20. PiacD (3), ff. 61v–62, Anon.; TrevBC 13, [no. 37], ff. 72v–73, Adrianus. M007, no. 16, pp. 99–102. AH 51, no. 188. Rubric, “In Festivitatibus Apostolorum Petri et Pauli. Ad Vesperas.”

D007. ii Print: MS: Edition: Notes:

[Aurea luce] Janitor celi [a 4] None. TrevBC 13, [no. 38], ff. 73v–74, Anon. None. AH 51, no. 188; contrafactum of Sit trinitati sempiterna [D015].

D008. iii v vii ix Print:

Aures ad nostras [a 4] Crimina laxa [a 3] Christe lux [a 4] Tu nobis dona [a 3] Gloria deo sit [a 5] W1113, [no. 5], f. 4v.

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Adrian Willaert

MS:

BolSP 43, [no. 17], ff. 42v–47, Anon.; PiacD (3), ff. 68v–70, Anon.; TrevBC 3, [no. 41], ff. 59v–61, Adrianus. Edition: M007, no. 4, pp. 18–23. Notes: AH 51, no. 61. Rubric, “In Dominicis diebus in quadragesima. Ad vesperas.” 9. pars, canon in tenor I voice. D009. iii v vii Print: MS: Edition: Notes:

Ave Maris stella [a 4] Solve vincla [a 3] Virgo singularis [a 5] Sit laus [a 6] W1113, [no. 21], f. 21. PiacD (3), ff. 73v–75, Anon. M007, no. 18, pp. 107–113. AH 51, no. 123. Rubric, “In Assumptione Virgin Mary. Ad Vesperas.” 5. pars, canon in cantus I voice.

D010. ii Print: MS: Edition:

[Ave Maris stella] Sumens illud [a 4] W1123, [no. 21], p. 15. None. None.

D011. ii iv vi Print: MS:

[Christe, Redemptor omnium] Beata quoque agmina [a 4] Martyres dei [a 5] Gentem auferte [a 6] W1113, [no. 2], f. 2v. BolSP 43, [no. 25], ff. 70v–73, Anon.; PiacD (3), ff. 64v–66, Anon.; TrevBC 13, [no. 26], ff. 50[a]–50[d], Anon.; TrevBC 13, [no. 40], ff. 76v–79, Anon. Edition: M007, no. 2–I, pp. 6–12. Notes: AH 51, no. 129. Rubric, “In Nativitate Domini. Ad Vesperas.” Secunda pars, Canon: C–“Fuga in diatessaron.” Tertia pars, Canon: TI–“Fuga quatuor temporum in diapente.”

D012. ii Print: MS: Edition:

[Christe redemptor omnium] Tu lumen tu splendor [a 4] W1123, [no. 23], p. 17. None. None.

D013. iii

Conditor alme siderum [a 4] Vergente mundi [a 4]

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(v) vi Print: MS: Edition: Notes:

Te deprecamur [a 5] W1113, [no. 1], f. 2. PiacD (3), ff. 66v–67, Anon.; TrevBC 13, [no. 41], ff. 79v–82. M007, no. 1, pp. 1–5. AH 51, no. 47. Rubric, “In Adventu Domini. Ad Vesperas.”

D014. ii iv vi viii Print: MS: Edition: Notes:

[Decus morum, dux minorum] Plaudat frater [a 4] Pro terrenis [a 3] Regis signum [a 5] Mina gregem [a 6] W1113, [no. 12], f. 14. TrevBC 13, [no. 44], ff. 88v–91, Anon. M007, no. 10, pp. 65–71. AH 52, no. 198. Rubric, “In Festo Sancti Francisci. In Secundis Vesperis.” 6. pars, canon in tenor I voice. 8. pars, canon in tenor I voice.

D015. ii Print: MS: Edition: Notes:

[Doctor egregie Paule] Sit trinitati sempiterna [a 4] None. TrevBC 13, [no. 30], ff. 59v–60, Adrianus W. None. Rubric, “In conversione sancti Pauli”; contrafactum of Janitor celi [D007].

D016. ii Print: MS: Edition: Notes:

[En gratulemur hodie] Francisci patris emulus [a 4] None. TrevBC 13, [no. 45], ff. 93v–96, Anon. None. Contrafactum of Spoliatis Aegyptiis [D032].

D017. ii iv vi Print: MS: Edition: Notes:

[Exsultet coelum laudibus] Vos secli [a 4] Quorum precepto [a 4] Deo patri [a 5] W1113, [no. 25], f. 25. None. M007, no. 22, pp. 125–129. AH 51, no. 108. Same music for verses 2 and 4.

D018. ii Print:

[Festum nunc celebre] Conscendit jubilans [a 4] None.

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Adrian Willaert

MS:

PiacD (3), ff. 56v–58, Anon.; TrevBC 13, [no. 27], ff. 51v–54, Adrianus vv. Edition: None. Notes: Rubric, “In Ascensione.” D019. ii iv vi Print: MS: Edition: Notes:

[Fons pietatis culmina] Cuius refulsit [a 4] Prisci proceres [a 3] Gloria tibi trinitas [a 6] W1113, [no. 20], f. 20v. PiacD (3), ff. 71v–73, Anon. M007, no. 17, pp. 102–106. AH 11, no. 15 and 16. Rubric, “In Festo Transfigurationis Domini. Ad Vesperas.” 6. pars, Canon: AII–“Fuga in [sub]diatessaron.”

D020. ii Print: MS: Edition: Notes:

[Gaude mater pictatis] Ubi patres precellentes [a 4] None. TrevBC 13, [no. 33], ff. 63v–65, Anon. None. Rubric, “In festo transfigurationis Domini;” contrafactum of Collaudemus [D035]

D021. ii Print: MS: Edition: Notes:

[Hodie festum pie] Quo sanctum Marcum [a 5] None. TrevBC 13, [no. 25], ff. 47v–50, Hadrianus vvert. None. Rubric, “Pro Sancto Marco.”

D022. ii iv vi Print: MS: Edition: Notes:

[Hodie festum pie celebremus diem] Quo sanctorum Marcum chorus angelorum Sacerdotali predictum honore typicum Ut a devotis fratribus exactus None. PiacD (3), ff. 54v–56, “Adrianus vuilaert usque ad finem.” None. Rubric, “In festo sancti marci evangelisti”; contrafactum of Nuntius celso [D036].

D023. ii iv

[Hostis Herodes impie] Ibant Magi [a 4] Novum genus [a 5]

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Print: MS: Edition: Notes:

W1113, [no. 4], f. 4. PiacD (3), ff. 67v–68, Anon.; TrevBC 3, [no. 40], ff. 58v–59, Adrianus. M007, no. 3, pp. 15–18. AH 50, no. 53. Rubric, “In Epiphania Domini, Ad Vesperas.” Canon in tenor I voice: “Fuga in unisono. ”

D024. ii iv Print: MS: Edition: Notes:

[Iste confessor Domini] Qui pius [a 4] Unde nunc [a 5] W1113, [no. 23], f. 23. TrevBC 3, [no. 29], ff. 43v–45, Adrianus. M007, no. 20, pp. 118–122. AH 51, no. 118. Rubric, “In Natali Confessorum. Ad Vesperas.” 4. pars, canon in tenor voice: “Fuga quatuor temporum in diapente intensum.”

D025. ii iv Print: MS: Edition: Notes:

[Jesu corona virginum] Qui pascis [a 4] Te deprecamr [a 5] W1113, [no. 26], f. 25v. None. M007, no. 23, pp. 129–132. AH 50, no. 21. Rubric, “In Natali Virginum. Ad Vesperas.”

D026. ii iv Print: MS:

[Lucis Creator optime] Qui mane junctum [a 4] Coelorum pulset [a 5] W1113, [no. 24], f. 24. BolSP 43, [no. 20], ff. 55v–57, Anon.; TrevBC 13, [no. 17], ff. 31v–33, Adrianus; TrevBC 25, [no. 60], ff. 101v–102v, Adrian. Edition: M007, no. 21, pp. 122–125. Notes: AH 51, no. 34. Rubric, “In Dominicis diebus. Ad Vesperas.” Canon in 4. pars, TI–“Ecco la fuga cum 5 vocibus,” TII: “[Resolutio:] Fuga in diapente remisse.”

D027. ii iv Print: MS: Edition: Notes:

[Magne pater Augustine] Amatorem paupertatis [a 4] Tu de vita [a 6] W1113, [no. 9], f. 10. PiacD (3), ff. 51v–53, A.W.; TrevBC 25, [no. 33], ff. 68v–70, Anon. M007, no. 7, pp. 46–50. AH 52, no. 117. Rubric, “In Festo Sancti Augustini. Ad Vesperas.” Canon: T–“Fuga trium tepmorum in hyperdiapente.”

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D028. ii Print: MS: Edition: Notes:

[Magne pater Augustine] Amatorem paupertatis [a 4] W1123, [no. 26], p. 17. None. None. AH 52, no. 117.

D029. ii iv vi ix Print: MS: Edition: Notes:

[Maria mater domini] Impar ancila domine sed pari fulget [a 4] Maria pedes genuit quos ista plorans [a 4] Accessit eius merito mirabilis dignatio [a 3] Gloria sit unigenito eiusque unigenito [a 5] None. PiacD (3), ff. 62v–64, Anon.; TrevBC 13, [no. 39], ff. 74v–76, Adrianus. None. Rubric, “In festo sancte Marie Magdalene.”

D030. ii iii iv v Print: MS: Edition: Notes:

O iubar [a 4] Reddis heu [a 3] Scimus hoc [a 2] Sindonem sacram [a 5] Laus honor [a 6] W1113, [no. 10], f. 11. None. M007, no. 8, pp. 51–61. Chev. III, no. 30543. Rubric, “Ad Vesperas.” 4. pars, Canon: A–“Fuga trium temporum in diapente remissum.” 5. pars, Canon: CII–“Fuga trium temporum in diapason.”

D031. ii iv vi Print: MS: Edition: Notes:

[Pange lingua gloriosi] Nobis datus [a 4] Verbum caro [a 4] Genitori genitoque [a 6] W1113, [no. 16], f. 17v. PiacD (3), ff. 58v–61, Anon.; TrevBC 13, [no. 36], ff. 69v–72, Adrianus. M007, no. 14, pp. 83–91. AH 50, no. 386. Rubric, “In Festo Corporis Christi. Ad Vesperas.”

D032. ii iv vi

[Proles de coelo prodiit] Spoliatis Aegyptiis [a 4] Fac tria tabernacula [a 3] Dum reparat [a 5]

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Print: MS: Edition: Notes:

W1113, [no. 11], f. 13v. TrevBC 13, [no. 43], ff. 85v–88, Anon. M007, no. 9, pp. 61–65. AH 52, no. 195. Rubric, “In Festo Sancti Francisci. Im primis Vesperis.” 6. pars, canon in cantus I voice: “Fuga duorum temporum praecedendo in diatessaron.” Contrafactum of Francisci patris emulus [D016].

D033. ii Print: MS: Edition: Notes:

[Sanctorum meritis] Hi sunt quos retinens [a 5] None. TrevBC 13, [no. 18] ff. 33v–36, Adrianus. None. Rubric, “In natiivit: plurimor[um] Martirum.”

D034. ii Print: MS: Edition:

[Te lucis ante terminum] Procul recedant somnia [a 4] W1123, [no. 16], p. 13. None. None.

D035. ii iv Print: MS: Edition: Notes:

[Tibi, Christe, splendor] Collaudemus [a 4] Gloriam patri [a 4] W1113, [no. 22], f. 22. None. M007, no. 19, pp. 114–117. AH 50, no. 156. Rubric, “In Festo Sancto Michaelis. Ad Vesperas.” Contrafactum of Ubi patres [D020].

D036. ii iv [vi] Print: MS: Edition: Notes:

[Ut queant laxis] Nuntius celso [a 4] Ventris obstruso [a 4] Sit decus [a 5] W1113, [no. 17], f. 18. None. M007, no. 15–I, pp. 91–96. AH 50, no. 96. Rubric, “In Festo Sanctis Joannis. Ad Vesperas.” 4. pars, canon in cantus voice. 6. pars, canon in altus I voice: “Fuga in diapente.” Contrafactum of Quo sanctorum Marcum [D022].

D037. iii

Veni Creator Spiritus [a 4] Tu septiformismunere [a 3]

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v vii Print: MS:

Hostem repellas [a 4] Gloria patri [a 3] W1113, [no. 14], f. 16. PiacD (3), ff. 49v–52, A.W.; TrevBC 3, [no. 11], ff. 14v–18, Anon.; TrevBC 25, [no. 16], ff. 30v–33, D. Adriani Vuil:. Edition: M007, no. 12, pp. 73–78. Notes: AH 50, no. 144. Rubric, In Festo Pentecostes. Ad Vesperas.” 7. pars, canon in tenor I voice: “Fuga trium temporum in unisono.” D038. iii v vii Print: MS:

Vexilla regis [a 4] Quo vulneratus [a 4] Arbor decora [a 4] O crux ave [a 5] W1113, [no. 6], f. 6. BolSP 21, [no. 28], ff. 58v–61, Anon.; BolSP 43, [no. 23], ff. 63v–66, Anon.; PiacD (3), ff. 69v–72, Anon.; TrevBC 3, [no. 46], ff. 71v–73, Adrianus. Edition: M007, no. 5–I, pp. 24–30. Notes: AH 50, no. 67. Rubric, “In Dominica de Passione. Ad Vesperas.” 7. pars, canon in tenor I voice: “Fuga in hypodiatessaron.” D039. ii iii iv v vi vii Print: MS: Edition: Notes:

Vexilla regis [a 4] Quo vulneratus [a 3] Impleta sunt [a 4] Arbor decora [a 3] Beata cuius [a 4] O crux ave [a 5] Te summa [a 6] W1113, [no. 7], f. 7. PiacD (3), ff. 78v–81, Adrian. M007, no. 5–II, pp. 31–41. AH 50, no. 67. Rubric, “In Dominica de Passione. Ad Vesperas.” 6. pars, canon in altus I voice: “Canon in subdiapente.”

E. OTHER LITURGICAL MUSIC Antiphons (All for Four Voices) E001. Print: MS: Edition:

Benedicamus in laude Jesu W1123, [no. 28], p. 18. None. None.

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E002. Print: MS: Edition:

Hodie Christus natus est W1123, [no. 24], p. 17. None. None.

E003. Print: MS: Edition:

Miserere mihi, Domine W1123, [no. 15], p. 13. None. None.

E004. Print: MS: Edition:

Regina celi W1123, [no. 20], p. 14. None. None.

E005. Print: MS: Edition:

Salva nos Domine W1123, [no. 19], p. 14. None. None.

E006. Print: MS: Edition:

Tecum principium in die virtutis W1123, [no. 22], p. 15. None. None.

Lamentations E007.

Heth. Misericordie domini Heth. Novi diluculo magna est Heth. Pars mea dominus Teth. Bonus est dominus Teth. Bonum est prestolari Teth. Bonum est viro Jod. Sedebit solitarius Jod. Ponet in pulvere Jerusalem convertere ad dominum Print: None. MS: BolC Q23, [no. 15], ff. 9v–10, Adrien W. Edition: None. E008.

Jod. Dabit percutienti [C]aph. [Q]uia non repellet [C]aph. [Q]uia se abiecit

253

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[C]aph. [n]on enim humiliavit [L]amech. [U]t convertere ad dominum Print: None. MS: BolC Q23, [no. 16], ff. 10–10v, Adrian W. Edition: None.

Magnificats E009. Print: MS: Edition: Notes:

Magnificat Anima mea [a 4–5] W1123, [no. 29], p. 19. RegB C99, ff. 191v–198, Anon. None. “Sexti toni.”

E010. Print: MS: Edition:

Magnificat Et exultavit [a 4] W1123, [no. 30], p. 20. None. None.

E011. Print: MS: Edition: Notes:

Magnificat del secondo tono [lost] None. None. None. Lost. Mentioned in N229, Letter 106.

Responsories E012. ii

Domine ad adiuvandum [a 4] Laus tibi domine [Vespers Responsory] Print: None. MS: AugsS 1, [no. 35], ff. 214v–215r, Adriani Willaert. Edition: None.

St. John Passion E013. Print: MS:

Passio domini nostri Jesu Christi secundum Joannem Passio … secundum Joannem Venice, 1557, Rore. BolC Q24, [no. 2], ff. 11v–22, Adrianus Willaert; ModD 9, [no. 44], f. 88v–93v, Anon. Edition: M068. Notes: Ascribed to Rore and Willaert; probably by Willaert.

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Versicle E014. Print: MS: Edition:

Custodi nos domine [a 4] W1123, [no. 17], p. 14. None. None.

E015. Print: MS: Edition:

Iube Domine benedicere [a 4] W1123, [no. 10], p. 9. None. None.

E016. Print: MS: Edition:

Nunc dimittis [a 4] W1123, [no. 18], p. 14. None. None.

Doubtful or Misattributed e017. Print: MS: Edition: Notes:

[Magnificat] quarti toni None. LeidGA 1442, [no. 60], ff. 202v–208, Willart. None. Version with different verses 4, 8, and 10, attributed to Mouton; ascription to Willaert questioned in N104.

e018. Print: MS: Edition: Notes:

Magnificat 15641, no. 55, [Adrianus Willaert, see N145]. None. M023, no. 6. For eight voice double choir, authenticity questioned in N145 and attributed to Ruffino on basis of style.

F. CHANSONS AND TENORLIEDER Chansons Three Voices F001. Print:

Allons, allons gay 15361, [no. 1], f. 2, Adrien Willaert; 153919, no. 29, f. 30, A. vvillart; 1553 22 , f. 3v, Adrian Vuillard; W1127 (1560), [no. 1], f. 2;

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Adrian Willaert

W1129 = 1562 9 , [no. 2], p. 3, Adrien Vuillaert; 1569 11 , p. xiij, Adria. VVillaert; 1574 3, p. 75, Adria. VVillaert; W1131 = 157816, f. 1, Ad. Vuillard. MS: GdaPAN 4003, [no. 90], ff. 83v–84, Anon.; LonBL 29380, ff. 23–27 [= pp. 41–49], Adrianus Willaert; WhalleyS 23, Series II, [no. 95], ff. 66v–67, Adrianus Willart. Edition: M018, no. 1, pp. 1–4; M075, pp. 3–5; M083, [no. 3], pp. 29–31. F002. Print:

[N’] a tu point veu la viscontine 15361, [no. 32], f. 16, Adrien Willaert [attributed to Richafort in table of contents]; 15412, no. 62, Adrian VVillart; [1560]1, XXXII, Adrian Willart; W1127 (1560), [no. 9], f. 10; W1129 = 15629, [no. 21], p. 37, Adrien vuillaert; W1131 = 157816, f. 14, Vuillard. MS: None. Edition: M018, no. 32, pp. 130–133. Notes: By Willaert. F003. Print:

Baisés moy tant tant [1] 15361, [no. 20], f. 10v, Adrien Willaert; W1127 (1560), [no. 7], f. 8; W1129 = 15629, [no. 16], p. 27, Adriano Vuillaert; W1131 = 157816, f. 15, Vuillard. MS: None. Edition: M018, no. 20, pp. 75–79. Notes: Different setting from 15361, [no. 31].

F004. Print:

Baisés moy tant tant [2] 15361, [no. 31], ff. 15v–16, Adrien Willaert; 15412, no. 66, Adrian … VVillart; [1560]1, XXXVI, Adrian Willart; W1129 = 15629, [no. 20], p. 35, Adriano Vuillaert. MS: None. Edition: M018, no. 31, pp. 125–129; M079, no. 4, pp. 8–9. Notes: Different setting from 15361, [no. 20].

F005. Print:

C’est donc pour moy que ansins [c.1535]14c, Cedant, no. 47, Anon; 154113, no. 60, Ianequin; 154323, p. LII, [Ianequin]. MS: CambraiBM 125-8, [no. 20], f. 19, Anon. [si placet setting]; HeilbS X/2, Cedant par moy, no. 1, Adrianus Wilhart; MunBS 1516, Cest dant par moy, [no. 119], Anon.; UlmS 237, [no. 33], ff. 21v–22, Anon.; WhalleyS 23, Series II, [no. 102], f. 72, Ninot le Petit. Edition: M082, [no. 28], pp. 65–67. Notes: Also attributed to Ninot in London, British Library, MS Add.29381; by Willaert.

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F006. Print:

Dessus nostre treille de may 15361, [no. 9], ff. 5v–6, Adrien Willaert; W1127 (1560), [no. 2], f. 3; W1129 = 15629, [no. 9], p. 13, Adrien vuillaert; W1131 = 157816, f. 2, Vuillard. MS: None. Edition: M018, no. 9, pp. 29–33; M073. F007. Print:

He Dieu, Helayne! 15361, [no. 40], f. 19v, Adrien Willaert; W1127 (1560), [no. 12], f. 12; W1129 = 15629, [no. 24], p. 43, Adrien vuillaert; W1131 = 157816, f. 20, Vuillard. MS: UppsU 76b, ff. 131v–132, Anon. Edition: M018, no. 40, pp. 163–166; M079, no. 6, pp. 12–13. F008. Print:

Jan, Jan quant tu t’en iras 15361, [no. 16], f. 8v–9, Adrien Willaert; W1127 (1560), [no. 3], f. 4; W1129 = 15629, [no. 13], p. 21, Adrien vuillaert; W1131 = 157816, f. 5, Vuillard. MS: None. Edition: M018, no. 16, pp. 58–63; M079, no. 13, pp. 26–28. F009. Print:

J’ayme par amours 15361, [no. 3], ff. 2v–3, Adrien Willaert; 153919, no. 24, f. 25, A. vvillart; W1127 (1560), [no. 5], f. 6; W1129 = 15629, [no. 4], p. 6, Adrien Vuillaert; W1131 = 157816, f. 9, Vuillard. MS: None. Edition: M018, no. 3, pp. 8–10; M079, no. 7, pp. 14–15. F010. Print:

J’ay veu le regnart 15361, [no. 27], ff. 13v–14, Adrien Willaert; W1127 (1560), [no. 6], f. 7; W1129 = 15629, [no. 18], p. 31, Anon.; W1131 = 157816, f. 10, Vuillard. MS: None. Edition: M018, no. 27, pp. 108–114. F011. Print:

Je ne sçauroys chanter ne rire 15361, [no. 17], f. 9, Adrien Willaert; W1127 (1560), [no. 16], f. 16; W1129 = 15629, [no. 15], p. 31, Adrien vuillaert; W1131 = 157816, f. 16, Vuillard. MS: None. Edition: M018, no. 17, pp. 64–67; M079, no. 5, pp. 10–11.

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F012. Print:

La jeusne dame va au molin 15361, [no. 25], f. 13, Adrien Willaert; W1127 (1560), [no. 18], f. 18; W1129 = 15629, [no. 17], p. 29, Adrien vuillaert; W1131 = 157816, f. 18, Vuillard. MS: None. Edition: M018, no. 25, pp. 101–104. F013. Print:

La rousé du moys de may 15361, [no. 6], f. 4, Adrien Willaert; 15407, no. 87, Adrianus Willart; 15412, no. 84, Adrian. VVillart; 155322, f. 9v–10, Richafort; W1127 (1560), [no. 13], f. 13; W1129 = 15629, [no. 7], p. 10, Adrien Vuillaert; 157815, ff. 7v–8, Richafort; W1131 = 157816, f. 7, Ad. Vuillart [Richafort in table of contents]. MS: Gdan`PAN 4003, [no. 91], ff. 84v–85, Anon.; MunBS 1516, [no. 137], Anon. Edition: M018, no. 6, pp. 17–20; M079, no. 12, pp. 24–25. F014. Print:

Or suis je bien au pire 15361, [no. 2], f. 2v, Adrien Willaert; 153919, no. 20, f. 21, A. vvillart; 15412, no. 83, Adrian. VVillart; W1127 (1560), [no. 4], f. 5; W1129 = 15629, [no. 3], p. 5, Adrien Vuillaert; W1131 = 157816, f. 10, Vuillard. MS: None. Edition: M018, no. 2, pp. 5–7; M079, no. 9, pp. 18–19. F015. Print:

Perot, viendras tu aux nopces? 15361, [no. 36], f. 18, Adrien Willaert; 15412, no. 61, Ad. VVillart; [1560]1, XXXI, Adrian Willart; W1127 (1560), [no. 19], f. 19; W1129 = 1562 9 , [no. 23], p. 41, Adrien vuillaert; W1131 = 1578 16 , f. 19, Vuillard. MS: None. Edition: M018, no. 36, pp. 148–152. F016. Print:

Quant le joly Robinet eut tricoté la bergiere 15361, [no. 30], f. 15, Adrien Willaert; W1127 (1560), [no. 8], f. 9; W1129 = 15629, [no. 19], p. 33, Adrien vuillaert; W1131 = 157816, f. 11, Vuillard. MS: None. Edition: M018, no. 30, pp. 121–124; M079, no. 2, pp. 4–5. F017. Print:

Qui est celuy qui a dit mal du con? 15361, [no. 10], f. 6, Adrien Willaert; 15412, no. 85, Ad. VVillart; W1127 (1560), [no. 14], f. 14; W1129 = 15629, [no. 8], p. 12, Adrien vuillaer; W1131 = 157816, f. 4, Vuillard.

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MS: None. Edition: M018, no. 10, pp. 34–36. F018. Print:

Qui la dira la peine de mon coeur 15361, [no. 5], f. 3v, Adrien Willaert; 15428, no. 74, Anon.; W1127 (1560), [no. 11], f. 12; W1129 = 15629, [no. 6], p. 9, Adrien Vuillaert; W1131 = 157816, f. 6, Vuillard. MS: None. Edition: M018, no. 5, pp. 13–16; M079, no. 10, pp. 20–21. F019. Print:

Qui veult aymer il faut estre joyeulx 15361, [no. 19], f. 10, Adrien Willaert; W1127 (1560), [no. 17], f. 17; W1129 = 15629, [no. 14], p. 23, Adrien vuillaert; W1131 = 157816, f. 17, Vuillard. MS: None. Edition: M018, no. 19, pp. 71–74; M079, no. 3, pp. 6–7. F020. Print:

Sire don dieu tant ils sont aises 15361, [no. 11], ff. 6v–7, Adrien Willaert; W1127 (1560), [no. 15], f. 15; W1131 = 157816, [no. 11], p. 17, Adriano Vuillaert. MS: None. Edition: M018, no. 11, pp. 37–41; M079, no. 8, pp. 16–18. F021. Print:

Sur le joly jonc 154934, XIX, [18], Adriano Vuigliart; W1129 = 15629, [no. 1], p. 1, Adriano Vuillaert. MS: None. Edition: M071, no. 27, pp. 67–71; M086, no. 8, pp. 22–25. F022. Print: MS: Edition: F023. Print:

Sy je ne voy m’amie 155322, f. 28, Adrien Vuillard; W1127 (1560), [no. 20], f. 20. BolC Q21, Circle canon in superius partbook, Anon. M083, [no. 26], pp. 77–78.

Vous marchez du bout du pié 15361, [no. 33], ff. 16v–17, Adrien Willaert; W1127 (1560), [no. 10], f. 11; W1129 = 1562 9 , [no. 22], p. 39, Adrien vuillaert; W1131 = 157816, f. 13, Vuillard. MS: Gdan`PAN 4003, [no. 92], ff. 85v–86, Anon. Edition: M018, no. 33, pp. 134–138; M079, no. 1, pp. 1–3.

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Four Voices F024. Print: MS: Edition:

A l’aventure, l’entrepris cuisdant gaigner en fin le pris 15358, no. 1, f. 2–2v, Adriano. MunBS 1508, [no. 74], ff. 45v–46, Anon. M074, pp. 16–22.

F025. Print: MS:

A vous me rends 15358, no. 4, ff. 4–4v, Adriano. CambraiBM 125-8, [no. 182], f. 134, Gheerkin (as Si je l’amais); Gdan`PAN 4003, [no. 67], f. 58v, Anon. Edition: None. F026. Print: MS: Edition:

C’est boccane 15358, no. 2, ff. 2v–3v, Adriano; [1552]9, ff. ii–iii, Adrianus Williart. None. None.

F027. Print: MS:

Dessus le marché d’Arras None. Gdan`PAN 4003, [no. 2], ff. 7v–8, Anon.; HagueKB 74/h/7, [no. 15], ff. 17–18, Anon.; MunBS 274a, ff. 14–14v, Anon.; MunBS 1501, [no. 27], f. 14v, Anon. Edition: M076; M127, Series II, no. 9, pp. 96–99. F028. Print: MS: Edition: Notes:

Irons nous tous jours coucher 15203, [25], f. 30v, Adrien. None. M077, no. 1. Double canon, 4vv from 2.

F029. Print: MS: Edition: Notes:

J’ayme bien mon amy [1] 15203, [30], f. 35v, Adrien. None. M084, no. 3, pp. 6–7. Double canon, 4vv from 2.

F030. Print: MS: Edition: Notes:

J’ayme bien mon amy [2] 15203, [31], f. 36v, Adrien. None. M084, no. 4, pp. 8–9; M078, no. 2, pp. 4–5. Double canon, 4vv from 2.

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261

F031. Print: MS: Edition: Notes:

J’ay veu le regnart None. ParisBNN 4599, [no. 7], ff. 7v–8, A. Wilaert. None. Altus part only.

F032. Print: MS: Edition:

Le dur traveil ou mon coeur 154412, f. xij, Adran. Vuillart. None. None.

F033. Print: MS: Edition:

Mon cueur, mon corps, mon ame 15358, no. 3, ff. 3v–4; Adriano. None. None.

F034. Print: MS: Edition: Notes:

Mon mary ma diffamee 15203, [32], f. 37v, Adrien. None. M084, no. 5, pp. 10–11. Double canon, 4vv from 2.

F035. Print: MS: Edition: Notes:

Mon petit coeur n’est pas a moy 15203, [28], f. 33v–34, Adrien. CambraiBM 125-8, [no. 92], f. 86, Willaert. M084, no. 2, pp. 4–5; M070, nos. 1–2; M078, no. 3, pp. 6–7 [resolution II]. Canon in altus part: “Alterius dicetis amant alterna camene.”

F036. Print: MS: Edition: Notes:

Petite camusette 15203, [23], f. 28v–29, Adrien. None. M078, no. 1, pp. 1–2 Double canon, 4vv from 2.

F037. Print: MS: Edition:

Plaisir n’ay plus mais vis [1535]9, no. 2, Adrien. None. None.

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262

F038. Print: MS: Edition:

Adrian Willaert

Quant j’estoye a marier 15358, no. 5, ff. 4v–5v, Adriano. None. None.

Five Voices F039. Print: MS: Edition:

Aller m’y faut sur la verdure 15722, f. 20, Ad. Vuillard. None. M019, no. 2, pp. 14–23.

F040. Print: MS: Edition:

Baisés moy tant tant 1560LM, f. 51, Vuillard; 15722, f. 48, Vuillard. ParisBNC 851, pp. 495–496, Anon. M019, no. 3, pp. 24–32; M087, no. 5, pp. 18–25.

F041. Print: MS: Edition: Notes:

Fors seulement la mort 15407, no. 43, Adrianus Willart. None. M019, no. 25, pp. 195–201. “Ad equales voces.”

F042. Print: MS:

Helas ma mere helas maman 1560LM, f. 4, Vuillard; 15722, f. 1, Vuillard. MunBS 1508, [no. 75], ff. 50–50v, A. Willart; ParisBNC 851, pp. 489–490, Anon. Edition: M019, no. 8, pp. 65–73. F043. Print:

Je l’ay aymee bien sept ans & demi [c.1521]7, [24], f. 19, [Anon.]; 1560LM, f. 5, Vuillard; 15722, f. 22, Vuillard. MS: ParisBNC 851, p. 493, Anon.; SGallS 463, f. 68v, Adrian Villaert. Edition: M019, no. 9, pp. 74–81. Notes: Canon in quinta pars: “Canon in diathessarum, ad longum.”

F044. Print: MS:

Je ne sçauroys chanter ne rire 1560LM, f. 6, Vuillard; 15722, f. 44, Vuillard. MunBS 1508, [no. 101], f. 65v, A. Willart; ParisBNC 851, pp. 494–495, Anon. Edition: M019, no. 10, pp. 82–89. Notes: Canon in superius voice: “Canon in subdiathessarum, ad longum.”

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263

F045. Print:

Jouissance vous donneray 15407, no. 44, Adrianus Willart; 154514, f. ii, Adrian Vuillart; 1560LM, f. 2, Vuillard; 15722, f. 1, Vuillard; 158831, Io visans, no. 8, p. 8, Anon. MS: BerlS 40212, ff. 44v–45, Adrian Wilhart; ParisBNC 851, p. 489, Adrian Vuillart; VallaC 17, ff. 77v–78, Willart. Edition: M019, no. 11, pp. 90–96; M088, no. 4; M131, no. 4, pp. 100–112.

F046. Print: MS: Edition: Notes:

Mort ou mercy en languissant j’attens 1560LM, f. 4, Vuillard; 15722, f. 28, Vuillard. ParisBNC 851, p. 492, Anon. M019, no. 13, pp. 104–110. Canon in tenor voice: “Canon in diathessarum, ad longum.”

F047. Print: MS: Edition:

Puis que j’ai perdu ma maitresse 1560LM, f. 4, Vuillard; 15722, f. 18, Vuillard. ParisBNC 851, p. 491, Anon. M019, no. 16, pp. 135–140.

F048. Print: MS:

Qui la dira la peine de mon coeur 1560LM, f. 3, Vuillard; 15722, f. 2, Vuillard. MunBS 1508, [no. 85], f. 55v, A. Willart; ParisBNC 851, pp. 490–491, Anon. Edition: M019, no. 18, pp. 141–145; M081, no. 2; M086, no. 9, pp. 8–14, M128, no. 26, pp. 157–162. Notes: None. F049. Print: MS: Edition:

Sire don dieu tant ils sont aises 1560LM, f. 52, Vuillard; 15722, f. 37, Vuillard. ParisBNC 851, p. 496, Anon. M019, no. 20, pp. 152–159.

F050. Print: MS:

Sonnez m’y donc quand vous irez 1560LM, f. 5, Vuillard; 15722, f. 17, Vuillard. MunBS 1508, [no. 102], ff. 66–66v, A. Willart; ParisBNC 851, pp. 493–494, Anon. Edition: M019, no. 21, pp. 160–165. Notes: Canon in Quinta voice: “Canon in diathessarum, ad longum.”

F051. Print: MS: Edition:

Voulez ouir chansonnette 15722, f. 27, Vuillard. None. M019, no. 22, pp. 169–178.

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264

F052. Print: MS: Edition: Notes:

Adrian Willaert

Vous aurez tout ce qui est mien 1560LM, f. 3, Vuillard; 15722, f. 31, Vuillard. ParisBNC 851, pp. 491–492, Anon. M019, no. 23, pp. 179–184. Canon in tenor voice: “Canon. Tot capita tot sensus, ad longum.”

Six Voices F053. Print:

A la fontaine du pré Margot 154514, f. ivv, Adrian. Vuillart; 1560LM, f. 7, Vuillard; 15722, f. 53, Ad. Vuillard; 158831, no. 12, p. 12, Anon. MS: BerlS B357, section II, no. 496, ff. 412v–413, Adrian Wuillart; BolC Q40, [no. 3], ff. 17r–19r, Anon.; MunBS 1508, [no. 114], f. 72v, Anon.; ParisBNC 851, p. 497, Adrian Vuillaert. Edition: M019, no. 1, pp. 5–13; M072, volume 7, pp. 43–48; M080, pp. 91–95; M085, no. 1, pp. 2–8. M131, no. 1, pp. 63–74. F054. Print:

De retourner mon amy 154413, f. xi, Adrian Vuillart; 1560LM, f. 11, Vuillard; 15722, f. 58, Vuillard. MS: ParisBNC 851, p. 503, A Vuillart. Edition: M019, no. 4, pp. 33–39; M069, pp. 86–90. Notes: Canon in superius voice: “Canon in subdiathessarum, ad longum.” F055. Print:

Douleur me bat & tristesse m’affolle 15407, no. 34, Adrianus Willart; 154413, f. ix, Adri. Vuillart; 1560LM, f. 10, Vuillard; 15722, f. 56, Vuillard. MS: HamSU (IV), [no. 4], Adrian Willaert; ParisBNC 851, pp. 501–502, Anon. Edition: M019, no. 5, pp. 40–47. F056. Print: MS: Edition: Notes:

En douleur et tristesse 1560LM, f. 9, Vuillard; 15722, f. 55, Vuillard. ParisBNC 851, pp. 500–501, Anon. M019, no. 6, pp. 48–56. Canon in tenor voice: “Canon in subdyathessarum, ad longum.”

F057. ii Print:

Faulte d’argent c’est douleur nompareille Qui a beau nez beuvra à la bouteille 154413, ff. viiv–viij, Adran. Vuillart; 1560LM, f. 9, Vuillard; 15722, f. 55, Vuillard. ParisBNC 851, 2nda pars, p. 498, Adrian Vuillaert; ParisBNC 851, Prima pars, pp. 498–499, Ad. Vuillaert.

MS:

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265

Edition: M019, no. 7, pp. 57–64; M075, pp. 70–73. Notes: Canon in quinta pars: “Canon in subdyapenthe, ad longum.” F058. Print:

Mon cueur, mon corps, mon ame 154514, f. vij, Adrian. Vuillart; 1560LM, f. 10, Vuillard; 15722, f. 56, Vuillard. MS: ParisBNC 851, p. 501, Anon. Edition: M019, no. 12, pp. 97–103. Notes: Canon in tenor voice: “Canon in diapenthe, ad longum.” F059. Print: MS: Edition:

Mon petit cueur tu n’es plus 1560LM, f. 7, Vuillard [superius only]. ParisBNC 851, p. 495, Anon. [in score–all parts]. None.

F060. Print: MS:

Or suis je bien 1560LM, f. 8, Vuillard; 15722, f. 54, Vuillard. MunBS 1508, [no. 118], f. 75, A. Willart; ParisBNC 851, pp. 499–500, Anon. Edition: M019, no. 14, pp. 111–119. Notes: Double canon in quinta voice: “Canon in dyapenthe, & dyapason, ad longum.” F061. Print:

Petite camusette à la mort 15407, no. 33, Adrianus Willart; 1560LM, f. 11, Vuillard; 15722, f. 57, Vuillard. MS: HamSU (IV), [no. 3], Adrian Willaert; ParisBNC 851, pp. 502–503, Adrian Vuillart. Edition: M019, no. 15, pp. 120–126.

F062. Print: MS: Edition: F063. Print:

Puis donc que ma maitresse 1560LM, f. 8, Vuillard; 15722, f. 54, Vuillard. ParisBNC 851, pp. 497–498, Adrian Vuillaert. M019, no. 16, pp. 127–134.

Qui veut aymer il faut estre joyeux 155014, [18], f. xiiv, A. Villart; 1560LM, f. 12, Vuillard; 15722, f. 58, Vuillard. MS: ParisBNC 851, pp. 503–504, Anon. Edition: M019, no. 19, pp. 146–151. Notes: Canon in superius voice: “Canon in subdyapason, ad longum.”

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266

Adrian Willaert

F064. Print: MS:

Vous ne l’aurez pas si je puis 1560LM, f. 12, Vuillard; 15722, f. 57, Vuillard. MunBS 1508, [no. 119], f. 75v–76, A. Willart; ParisBNC 851, p. 488, Adrian Vuillart. Edition: M019, no. 24, pp. 185–194. Notes: Double canon.

Doubtful or Misattributed (f) f065.

Adieu mes amours [a 6] Source with ascription to Willaert MS: KasL 38, [no. 30], A.W. Other sources None. Edition: None. f066.

Allegez moy [a 6] Source with ascription to Willaert Print: 15722, f. 68, Vuillard (index) Other sources Print: 15407, no. 32, Barbe/Ioan. Lebrun (index); 154515, f. ix, Iosquin de Pres; 1550, Attaingnant, Trente sixiesme livre, no. 16, Josquin Des Prez; 15722, f. 68, Iosquin. MS: CopKB1872, [Alligies moÿ], [no. 80], f. 70v Anon.; HamSU (IV), [Alligies moy], [no. 2], Barbe [lost]. Edition: None. Notes: Ascribed to Barbé/Josquin/Lebrun/Willaert; probably by Josquin. f067.

La rousée du moy de may [a 5] Source with ascription to Willaert Print: None. MS: MunBS 1508, [no. 94], f. 60v, A. Willart. Other sources Print: 15407, Benedictus Appenzeller; 154315, Mouton. MS: UppsU 76c, [no. 38], ff. 116v–117, Anon.; ParisBNC 851, p. 517, Jehan Mouton. Edition: None. Notes: By Mouton. f068. Print:

La rose/La rousée du moys de may [a 6] Source with ascription to Willaert None.

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267

Other sources 158831, [no. 13], p. 13, Anon. None. M085, no. 2, pp. 8–14; M131, no. 5, pp. 113–122. Attributed to Gombert in dalla Casa, 1584; attributed to Willaert in Bassano, 1591.

f069.

Je my levay par ung matin que iour Source with ascription to Willaert Print: None. MS: WhalleyS 23, Series II, [no. 97], ff. 68v–69, Adrianus Willart. Other sources Print: None. MS: FlorC 2442, Ninot Le Petit. Edition: None. Notes: Also ascribed to Ninot Le Petit/Appenzeller/Janequin/Verdelot; probably by Ninot Le Petit. f070.

Le grand desir [a 3] Source with ascription to Willaert Print: 156911, p. xiiij, Adria. Vuillaert. Other sources Print: W1129 = 15629, [no. 5], p. 7, Io. Mouto[n]. MS: None. Edition: None. Notes: Ascribed to Mouton and Willaert; by Mouton. f071.

Pis ne me vault venire [a 5] Source with ascription to Willaert Print: 1560LM, f. 6, Vuillard. Other sources Print: [1543]15, f. 7, Thomas Crecquillon; 156914, ff. 14v–15, Crequillon; 15722, no. 46, Crequillon. MS: BerlS 40212, ff. 45v–46, Crequilon; ChelmE 2, ff. 58v–59, Cricquillon; ParisBNC 851, p. 494, Anon. Edition: Hudson, Barton and Laura Youens, eds. Thomas Crequillon Opera Omnia. American Institute of Musicology; Neuhausen-Stuttgart, Hänssler Verlag, 2000. vol. 19, p. 116. (Corpus Mensurabilis Musicae, 63.) Notes: Other MS sources listed in CMM edition; ascribed to Crecquillon and Willaert; by Crecquillon.

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268

Adrian Willaert

Tenorlieder F072. Print: MS: Edition:

Bewahr uns herr o trewer Gott None. DresSL 1/D/4, no. 24, Adrianus Wilhart. None.

Doubtful or Misattributed (f) f073.

Allein nach dir Herr Jesu Christ Source with ascription to Willaert Print: None. MS: None. Other sources Print: None. MS: BudOS 16, “Allein nach dir Herr Jesu Christ,” [no. 68], ff. 51v–52, Anon.; LüneR 144, “Allein nach dir, Herr Jesu Christ,” Quarta Pars, no. 1, Anon.; RegB 855-6, “Allein nach dir, Herr Jesu Christ,” no. 20, ff. 36v–38, Anon.; UlmS 235, “Allein nach dir her Jesu Christ,” [no. 2], ff. 5v–7, Anon.; ZwiR 92, “Allein nach dir her Jesu Christ,” [no. 2], ff. 2–2v, Anon.; ZwiR 100/4, “Allein nach dir her Jesu Christ,” [no. 18], Anon. Edition: None. Notes: Contrafactum of Se pur ti guardo [g067]; not by Donato or Willaert. f074. Print: MS: Edition: Notes:

f075.

Mein hertz und gmüt 155629, no. 48, Adrianus Vuillaert. None. M089, no. 48, pp. 159–160. Attribution questioned in M019; not a contrafactum of N’est ce point un grand de plaisier, itself a spurious work; not by Willaert.

O milde Jesu ewige guds son Source with ascription to Willaert Print: None. MS: None. Other sources Print: None. MS: VastS 71, “O milde Jesu ewige guds son,” no. 91, [no. 100], Anon. Edition: None. Notes: Contrafactum of Se pur ti guardo [g067]; not by Donato or Willaert.

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G. MADRIGALS Three Voices G001. Print:

Se’l veder voi 154934, XVI, [16], Adriano Vuigliart; 155110, 1, Adriano; 155920, no. 1, p. I, Adriano. 156111, no. 1, Adriano Willaert; 156922, f. 1, Adriano Willaert. MS: ParisBNC 851, pp. 78–79, Anon. Edition: M014, no. 1, pp. 1–4.

Four Voices G002. ii Print: MS: Edition: Notes:

Amor, Fortuna Ne spero i dolci W1126 (1559), [no. 29], pp. 72–73; 156920, 2 & 3, Adriano VVillaert. None. M013, no. 2, pp. 4–7. Petrarch, Sonnet No. CXXIV.

G003. Print:

Amor mi fa morire 153416, no. 1, Adrian; 15367, no. 1, Adrian; 153710, no. 1, Adrian; 154020 [=V1228], XXXIIII, Adrian Vuillaert; 154118 [=V1229], 37, Adrian; 154418, XXXIIII, Adriano; 154519 [=V1231], XXXIIII, Adriano; 155627, 34, Adriano; W1130 (1563), [no. 11], p. 12; 1565 20 = [V1237], f. 34, Adriano; 158912, p. 2, Adriano Vuillaert. MS: None. Edition: M014, no. 2, pp. 4–7; M096, no. 31, pp. 59–62; M098, no. 1, pp. 2–6; M101. G004. Print:

Chi volesse saper 154217, VI, Adrian W; 154317, VI, Adrian VV.; 154615 [= 15486 = 155015 = 155218], XXVII, Adriano; 154713, no. 4, f. VI, Adrian VV.; 155716, 27, Adriano; 155811, XXVII, Adriano; 15609 [= B1980], 27, Adriano; W1130 (1563), [no. 5], p. 6; 156920, B, Adriano VVillaert. MS: None. Edition: M014, no. 10, pp. 31–35. G005. Print: MS: Edition:

Con dogli’ e con pietà W1130 (1563), [no. 8], p. 9. None. M014, no. 14, pp. 49–54.

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270

Adrian Willaert

G006. Print:

Cosi vincet’in terra 154020 [=V1228], LV, Adrian Vuillaert; 154118 [=V1229], 24, Adrian; 154418, XXVII, Adrian; 154519 [=V1231], XXVII, Adriano; 155627, 27, Adriano; W1130 (1563), [no. 6], p. 7; 156920, E, Adriano VVillaert. MS: None. Edition: M014, no. 9, pp. 26–31. G007. Print:

Già mi godea felice 154020 [=V1228], XLVII, Adrian Vuillaert; 154118 [=V1229], 42, Adrian; W1130 (1563), [no. 4], p. 5; 156920, A, Adriano VVillaert. MS: None. Edition: M014, no. 7, pp. 16–20. G008. Print:

Grat’e benigna donna 153416, no. 9, Adrian; 15367, no. 9, Adrian; 153710, no. 9, Adrian; 1540 20 [=V1228], XXXIII, Adrian Vuillaert; 1541 18 [=V1229], 39, Adrian; 154418, XXXVII, Adriano; 154519 [=V1231], XXXVII, Adriano; 1556 27 , 37, Adriano; W1130 (1563), [no. 13], p. 14; 1565 20 [=V1237], f. 37, Adriano. MS: None. Edition: M014, no. 6, pp. 13–16; M110, no. 8, pp. 33–40. G009. ii Print: MS: Edition: Notes:

Io amai sempre Ma chi pensò veder W1126 (1559), [no. 28], pp. 69–71; 156920, H & I, Adriano VVillaert. None. M013, no. 1, pp. 1–4. Petrarch, Sonnet No. LXXXV.

G010. ii Print: MS: Edition: Notes:

Lasso, ch’i ardo Quest’arder mio W1126 (1559), [no. 31], pp. 76–77; 156920, F & G, Adriano VVillaert. None. M013, no. 4, pp. 11–14; M092, no. 19, pp. 42–44; M094, pp. 385–388. Petrarch, Sonnet No. CCIII.

G011. Print:

Madonna, il bel desire 153416, no. 8, Adrian; 15367, no. 8, Adrian; 153710 no. 8, Adrian; 154020 [=V1228], XXXII, Anon.; 154118, Verdelot; W1130 (1563), [no. 14], p. 14. MS: None. Edition: M014, no. 5, pp. 11–13.

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G012. Print:

Qual anima ignorante 154020 [=V1228], XLVIII, Adrian Vuillaert; 154118 [=V1229], 60, Adrian; 154417, XIII, Adriano; 156220, 11, Adriano; W1130 (1563), [no. 9], p. 10. MS: None. Edition: M014, no. 8, pp. 20–26. G013. Print:

Qual più diversa e nova cosa 154219 [=S2622], f. 17v, XXXII, Adrian Vuilliart; W1130 (1563), [no. 1], p. 2. MS: None. Edition: M014, no. 11, pp. 36–40. G014. Print:

Quando gionse per gli occhi 153416, no. 5, Adrian; 153710, no. 5, Adrian; 154118 [=V1229], 41, Adrian; W1130 (1563), [no. 12], p. 13. MS: None. Edition: M014, no. 4, pp. 9–11. G015. Print: MS: Edition:

Quando i begli occhi 155428, 29, Adriano. None. M014, no. 13, pp. 44–48.

G016. Print:

Quante volte diss’io 154219 [=S2622], f. 19v, XXXV, Adrian Vuiliart; 154931, 11, Adriano; W1130 (1563), [no. 2], p. 3; 156920, C, Adriano VVillaert. MS: None. Edition: M014, no. 12, pp. 40–43. G017. ii Print: MS: Edition: Notes: G018. Print:

Quest’anima gentil Se si posasse W1126 (1559), [no. 30], pp. 74–75; 156920, L, Adriano VVillaert. None. M013, no. 3, pp. 8–10. Petrarch, Sonnet No. XXXI.

Signora, dolce io te vorrei 153416, no. 2, Adrian; 15367, no. 2, Adrian; 153710 no. 2, Adrian; 154020 [=V1228], XXXVI, Adrian Vuillaert; 154118 [=V1229], 50, Adrian; W1130 (1563), [no. 10], p. 11. MS: None. Edition: M014, no. 3, pp. 7–8.

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Five Voices G019. ii Print:

Amor da che tu vuoi Gentil coppia eccellente 15489, XIIII, Adrian Vuillaert; 154810, XX & XXI, Adriano; 155225, 28 & 29, Adriano; 156021, nos. 28 & 29, Adriano; 156221 [= R2497], 17, Adriano. MS: ParisBNC 851, pp. 187–188, Anon.; Wolfa 293, no. 59, ff. 56v–57, Anon. Edition: M014, no. 23, pp. 92–96. G020. ii Print: MS: Edition:

Dove sei tu, mio caro Chi mi ti tols’oimé 15489, XV, Adrian Vuillaert. Wolfa 293, no. 51, ff. 46v–47, Adr. W. M014, no. 24, pp. 97–102.

G021. ii Print: MS: Edition: Notes:

Giunto m’ha Amor Nulla posso levar W1126 (1559), [no. 38], pp. 90–91. None. M013, no. 11, pp. 40–45; M097, no. 1, pp. 1–13. Petrarch, Sonnet No. CLXXI.

G022. ii Print:

I begli occhi Questi son que’begli occhi W1126 (1559), [no. 39], pp. 92–93; G145 (1568), no. 53, pp. 100–101, Adriano Villahert. MS: None. Edition: M013, no. 12, pp. 45–49. Notes: Petrarch, Sonnet No. LXXV. G023. ii Print:

Ingrata è la mia donna Ingrat’ hai lasso l’amo 155723 [= R2496], 4, Adriano; 156315, ff. 4–5, Adriano; 158012, pp. 5–6, Adriano. MS: None. Edition: M014, no. 28, pp. 116–123; M099, no. 1, pp. 13–20. G024. ii Print: MS:

Io mi rivolgo Talhor m’assale W1126 (1559), [no. 40], pp. 94–95. None.

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Edition: M013, no. 13, pp. 49–54. Notes: Petrarch, Sonnet No. XV. G025. ii Print: MS: Edition: Notes:

L’aura mia sacra Ella si tace W1126 (1559), [no. 35], pp. 84–85. None. M013, no. 8, pp. 28–31. Petrarch, Sonnet No. CCCLVI.

G026. Print: MS: Edition:

Madonna s’io v’amai 155916, 1, Adriano. None. M014, no. 29, pp. 123–127.

G027. ii Print: MS: Edition:

Mentre al bel letto In te Marte 154810, XXVI & XXVII, Adriano; 156021, no. 34, Adriano. None. M014, no. 25, pp. 102–107.

G028. ii Print: MS: Edition: Notes:

Mentre che ‘l cor di gliamorosi vermi Quel foco è morto, e’l copre un picciol marmo W1126 (1559), [no. 36], pp. 86–87. None. M013, no. 9, pp. 32–36; M095, no. 1, pp. 5–11. Petrarch, Sonnet No. CCIV.

G029. ii Print:

Ne l’amar’e fredd’onde Ceda nata nel mar Venere 15489, XXIIII, Adrien Vuillaert; 154810, XXIIII & XXV, Adriano; 1552 25 , 32 & 33, Adriano; 1560 21, nos. 32 & 33, Adriano; 1562 21 [= R2497], 21 & 22, Adriano; 15936, p. 28, Adriano. MS: Wolfa 293, no. 60, ff. 57v–58, Anon. Edition: M014, no. 27, pp. 111–116. G030. ii Print: MS: Edition: Notes:

O invidia Né però con atti W1126 (1559), [no. 32], pp. 78–79. None. M013, no. 5, pp. 14–19. Petrarch, Sonnet No. CLXXII.

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G031. ii Print: MS: Edition: Notes:

Onde tolse Amor Da quali angeli W1126 (1559), [no. 37], pp. 88–89. None. M013, no. 10, pp. 36–40; M091, no. IV, pp. 22–25. Petrarch, Sonnet No. CCXX.

G032. Print: MS: Edition:

Pianget’egri mortali 15637, 12, Adrian. None. M014, no. 31, pp. 131–135; M103, no. 3, pp. 84–94.

G033. ii Print: MS: Edition: Notes:

Più volte già Ond’io non pote’mai W1126 (1559), [no. 33], pp. 80–81. None. M013, no. 6, pp. 19–23. Petrarch, Sonnet No. CLXX; prima pars a contrafactum of [O] Christi martir sancte Chiliane [B135], now lost.

G034. Print:

Qual anima ignorante 154020 [=V1228], XLVIII, Adrian Vuillaert; 154118 [=V1229], 60, Adrian; 154417, XIII, Adriano; 1562 20 , 11, Adriano; 1563 14 , f. 13, Adriano (Canto partbook only); W1130 (1563), [no. 9], p. 10; 15936, p. 24, Adriano. MS: None. Edition: M014, no. 21, pp. 82–88. G035. ii Print:

Qual dolcezza giami A la dolce armonia c.[1538]20, pp. 1–2, Adriano; 154018, I, II, Adrian Vuillaert; 154117, 2 & 3, Adrian; 154932, 1, Adriano. MS: None. Edition: M014, no. 18, pp. 65–70; M102, no. 26, pp. 212–222. G036. Print:

Qual vista sarà mai 154417, XXXVIII, Adriano; 154428 [=R2489], XXII, Adrianus uuigliart; 156220, 4, Adriano; 156314, f. 38, Adriano; 15936, p. 26, Adriano. MS: None. Edition: M014, no. 22, pp. 88–92. G037. ii

Quando fra l’altre donne Da lei ti vien

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275

Print:

W1126 (1559), [no. 34], pp. 82–83; G145 (1568), no. 54, p. 102, Cipriano, [incorrect attribution in tavola, ascribed to Willaert in Musica Nova (1559)]. MS: None. Edition: M013, no. 7, pp. 23–27. Notes: Petrarch, Sonnet No. XIII; contrafactum of Gaudeamus omnes [B120], now lost. G038. Print:

Quanto più m’arde c.[1538]20, pp. 2–3, Adriano; 154018, II and III, Adrian Vuillaert; 154117, 4, Adrian; 154932, 2 & 3, Adriano. MS: None. Edition: M014, no. 19, pp. 71–76, M101. G039. Print: MS: Edition:

Sciocco fu’l tuo desire 154417, III, Adriano; 156220, 5, Adriano. 156314, f. 3, Adriano. None. M014, no. 20, pp. 76–81.

G040. Print:

Se la gratia divina 15489, XXI, Adrien Vuillaert; 154810, XXIII, Adriano; 155225, 31, Adriano; 156221 [=R249], 16, Adriano; 156021 , no. 31, Adriano; 15936 , p. 27, Adriano. MS: ParisBNC 851, pp. 189–190, Anon.; Wolfa 293, no. 10, f. 9, Anon. Edition: M014, no. 26, pp. 107–111.

G041. ii Print: MS: Edition:

Son già molt’anni Son giont’al fin 15625, 1, Adriano VVillaert. None. M014, no. 30, pp. 127–131.

G042. Print: MS: Edition:

Tant’alto sei signor 153821, no. 14, Adrian. None. M014, no. 17, pp. 61–65.

Six Voices G043. ii Print:

Aspro core Vivo sol di speranza W1126 (1559), [no. 41], pp. 96–97; G145 (1568), no. 87, pp. 149–150, Adriano Villahert.

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276

Adrian Willaert

MS: None. Edition: M013, no. 14, pp. 54–60. Notes: Petrarch, Sonnet No. CCLXV. G044. ii Print: MS: Edition: Notes:

Cantai, hor piango Tengan dunque ver W1126 (1559), [no. 44], pp. 102–103. None. M013, no. 17, pp. 73–79. Petrarch, Sonnet No. CCXXIX.

G045. ii Print: MS: Edition: Notes:

In qual parte del ciel Per divina bellezza W1126 (1559), [no. 45], pp. 104–105. None. M013, no. 18, pp. 79–84. Petrarch, Sonnet No. CLIX.

G046. ii Print: MS: Edition: Notes:

I piansi, hor canto Sì profound’era W1126 (1559), [no. 43], pp. 100–101. None. M013, no. 16, pp. 67–73. Petrarch, Sonnet No. CCXXX.

G047. ii Print: MS: Edition: Notes:

I vidi in terra Amor, senno, valor W1126 (1559), [no. 46], pp. 106–107. StockKB 229, [no. 77], Anon. M013, no. 19, pp. 85–90. Petrarch, Sonnet No. CLVI.

G048. ii Print: MS: Edition: Notes:

Ove ch’i posi gli occhi Amor e’l ver fur meco W1126 (1559), [no. 47], pp. 108–109. MilC s.s., [no. 208], f. 195v, Adriano Wilaert. M013, no. 20, pp. 90–96. Petrarch, Sonnet No. CLVIII.

G049. ii Print: MS:

Passa la nave Pioggia di lagrimar W1126 (1559), [no. 42], pp. 98–99. None.

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277

Edition: M013, no. 15, pp. 61–67; M102, no. 27, pp. 223–241. Notes: Petrarch, Sonnet No. CLXXXIX. G050. ii Print: MS: Edition: Notes:

Pien d’un vago pensier Ben, s’io non erro W1126 (1559), [no. 48], pp. 110–111. None. M013, no. 21, pp. 96–102. Petrarch, Sonnet No. CLXIX.

G051. Print: MS: Edition: Notes:

Rompi de l’empio core 154116, p. 10, Adrian; 154619, p. XII, Adriano; 156116, p. 25, Adriano. None. M014, no. 32, pp. 136–142; M099, no. 1, pp. 21–25. Poem by F. Strozzi.

Seven Voices G052. Print: MS:

Che fai alma? che pensi? W1126 (1559), [no. 51], p. 116. MilC s.s., [no. 220], f. 210v, Adriano Wilaert; StockKB 229, [no. 186], Anon. Edition: M013, no. 24, pp. 114–118; M100, no. 2, M101. Notes: Petrarch, Sonnet No. CL. “Dialogo a sette.” G053. Print: MS: Edition: Notes:

Liete e pensose W1126 (1559), [no. 50], pp. 114–115. None. M013, no. 23, pp. 108–114; M096, no. 32, pp. 63–72. Petrarch, Sonnet No. CCXXII. “Dialogo a sette.”

G054. Print: MS: Edition: Notes:

Occhi piangete, accompagnate il core W1126 (1559), [no. 52], p. 117. None. M013, no. 25, pp. 119–124. Petrarch, Sonnet No. LXXXIV. “Dialogo a sette.”

G055. Print: MS: Edition: Notes:

Quando nascesti, Amor W1126 (1559), [no. 49], pp. 112–113. MilC s.s., [no. 219], f. 209v, Anon., StockKB 229, [no. 185], Anon. M013, no. 22, pp. 103–107; M093. Poem by Panfilo Sasso. “Dialogo a sette.”

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278

Adrian Willaert

Doubtful or Misattributed (g) g056.

Amor tu sai pur fare [a 4] Source with ascription to Willaert Print: W1130 (1563), [no. 16], p. 16, Willaert. Other sources Print: A1314 = 153922, no. 47, Arcadelt; see N024, p. 204, for list of sources. MS: BrusC 27731, [no. 21], f. 17v., Anon. Edition: None. Notes: By Arcadelt. g057.

E quand’ fa Source with ascription to Willaert Print: WinF 153, [no. 23], ff. 21v–22, Adrian Willart, [E quando ha fatto l’ovo ‘La Canzon della Gallina’)]. Other sources Print: D3405, 155020, 155113, 155222, 155625, 155815, and 158537. MS: StockKB 229, [no. 38] Anon. Edition: None. Notes: By Fabrianese. g058. Print: Print: Notes: g059. Print: Print: Notes: g060.

Io son tal volte donna [a 4] Source with ascription to Willaert 154118, Willaert. Other sources 153416, 15367, 153710, 154020, all to C. Festa. See N012, 156–157; by Costanzo Festa. Io son tal volte donna [a 4] Source with ascription to Willaert 154518 (T), Willaert. Other sources 154112, Arcadelt; 153924, 154518, both to Verdelot. See N012, 156–157; by Verdelot.

Lagrime meste [a 4] Source with ascription to Willaert Print: W1130 (1563), [no. 3], p. 4, Willaert. Other sources Print: A1382 = 154416, XIIII, Leonardus Barre; A1383 = 155017, p. 14, Leonardus Barre. Edition: M014, no. 16, pp. 58–61. Notes: By Barré.

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279

g061.

Le vecchie per invidia [a 4] Source with ascription to Willaert Print: W1116 = 154811, [no. 14], p. 14, Adriano. Other sources Print: W1115 = 154520, [no. 16], p. XV, Fran. Corteccia; W1118 = 155329, [no. 14], p. 14, Anon. Edition: M014, no. 44, pp. 173–174. Notes: By Corteccia. g062.

Madonna mia gentile [a 4] Source with ascription to Willaert Print: W1130 (1563), [no. 15], p. 15, Willaert. Other sources Print: A1314 = 153922, no. 44, Arcadelt. Edition: None. Notes: For list of sources, see N024, p. 203; by Arcadelt. g063.

Madonna, ohime, per qual cagion [a 4] Source with ascription to Willaert Print: W1130 (1563), [no. 20, p. 18], Willaert. Other sources Print: A1314 = 153922, no. 38, Arcadelt; A1322 = 154617, p. 26, Const. Festa. Edition: None. Notes: For list of sources, see N024, p. 200; by Arcadelt. g064. Print: Print: Notes:

Ne pergratia giammai [a 4] Source with ascription to Willaert 15367 (T), Willaert. Other sources 153416, 15367, 153710, all to Verdelot. see N012, 156–157; by Verdelot.

g065.

Non più ciance Madonna [a 4] Source with ascription to Willaert Print: W1130 (1563), [no. 19, p. 18], Willaert. Other sources Print: A1314 = 153922, no. 17, Arcadelt. Edition: None. Notes: For list of sources, see N024, pp. 190–191; by Arcadelt. g066. Print:

Oimè ‘l bel viso [a 4] Source with ascription to Willaert W1130 (1563), [no. 7], p. 8, Willaert; 156920, 4, Adriano Vvillaert.

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Adrian Willaert

Other sources Print: V1128 = 154020, 68, LXVII, Leonardus Barrae. Edition: M014, no. 15, pp. 54–57. Notes: For list of sources; see N008, p. 1078; by Barré. g067. ii

Quando fra l’altre donne Da lei ti vien Source with ascription to Willaert Print: G145 (1568), no. 60, p. 110, Adriano [incorrect attribution in tavola to Adriano]. Other sources Print: 15489. Edition: None. Notes: By Rore. g068.

Se la dura durezza [a 4] Source with ascription to Willaert Print: W1130 (1563), [no. 17], p. 16, Willaert. Other sources Print: A1314 = 153922, no. 20, Arcadelt. Edition: None. Notes: For list of sources, see N024, p. 192; by Arcadelt. g069.

Se pur ti guardo [a 4] Source with ascription to Willaert MS: Gdan´PAN 4003, “Si purti vardo,” [no. 75], ff. 72v–73, Adrianus Vuillart; Other sources Print: c.155019, ‘incerto autore’ (and many other printed sources); 158915, Donato. MS: BudOS 16, “Allein nach dir Herr Jesu Christ,” contrafactum, [no. 68], ff. 51v–52, Anon.; LüneR 144, “Allein nach dir, Herr Jesu Christ,” contrafactum, Quarta Pars, no. 1, Anon.; RegB 855-6, “Allein nach dir, Herr Jesu Christ,” contrafactum, no. 20, ff. 36v–38, Anon.; RegT 3/I, “Si purti quardo,” no. 42, Anon.; StockKB 229, [no. 39], Anon.; UlmS 235, “Allein nach dir her Jesu Christ,” contrafactum, [no. 2], ff. 5v–7, Anon.; VastS 71, “O milde Jesu ewige guds son,” contrafactum, no. 91, [no. 100], Anon.; ZwiR 92, “Allein nach dir her Jesu Christ,” contrafactum, [no. 2], ff. 2–2v, Anon.; ZwiR 100/4, “Allein nach dir her Jesu Christ,” contrafactum, [no. 18], Anon. Edition: M014, no. 47, pp. 177–179. Notes: Not by Donato or Willaert.

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g070.

Voi sapete ch’io v’am’anzi [a 4] Source with ascription to Willaert Print: W1130 (1563), [no. 18], p. 17, Willaert. Other sources Print: A1314 = 153922, no. 21, Arcadelt. Edition: None. Notes: For list of sources, see N024, p. 192; by Arcadelt.

H. OTHER VOCAL MUSIC WITH ITALIAN TEXT Canzoni H001. Print: MS: Edition:

Occhio non fu giamai W1130 (1563), [no. 27], p. 22. None. M014, no. 45, pp. 175–176; M017, no. 12, pp. 29–31.

H002. Print: MS: Edition:

Quando di rose d’oro vien W1130 (1563), [no. 28], p. 23. None. M014, no. 46, pp. 176–177; M017, no. 13, pp. 31–32.

H003. Print:

Zoia zentil che per secreta via ‘La canzona di Ruzante’ W1116 = 154811, [no. 2], p. 2, Adriano; W1118 = 155329, [no. 2], p. 2, Adriano; W1130 (1563), [no. 26], p. 21. MS: None. Edition: M014, no. 44, pp. 170–173; M017, no. 20, pp. 51–55; M105, no. 3, pp. 8–10; M106, pp. 15–17.

Mascherata alla napolitana H004. Print:

Cingari simo venit’a giocare [a 4] W1114b = 154427, [no. 2], f. 2v; W1115 = 154520, [no. 4], p. IIII, Adriano; W1116 = 154811, [no. 4], p. 4, Adriano; W1118 = 155329, [no. 4], p. 4, Adriano; W1130 (1563), [no. 22], p. 20. MS: None. Edition: M014, no. 37, pp. 156–157; M017, no. 3, pp. 6–9; M108, no. 2; M112, no. 30, pp. 173–177.

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282

Adrian Willaert

Greghesca H005. ii Print: MS: Edition: Notes:

Dulce padrun mi ho cognuso [a 5] Mi xe sta chel c’ha fado 156416, pp. 18–19, Adriano Vuilaert. None. M014, no. 50, pp. 185–189; M107. “Seconda apparition del Cagnolo del Mese d’Agosto.”; companion to Daniel Grisonio, Vu ha ben casun, “Primo apparition del Cagnolo del Mese de Luio.” See M014, no. 49, pp. 181–185.

Villote H006. Print:

Sospiri miei d’oime dogliorirosi [a 4] W1115 = 154520, [no. 15], p. XIIII, Adriano; W1116 = 154811, [no. 13], p. 13, Adriano; W1118 = 155329, [no. 13], p. 13, Adriano. MS: None. Edition: M014, no. 43, pp. 168–170; M017, no. 17, pp. 41–44; M109, no. 4. H007. Print:

Un giorno me pregò una vedovella [a 4] W1114b = 154427, [no. 4], f. 3v; W1115 = 154520, [no. 9], p. IX, Adriano; W1116 = 154811, [no. 8], p. 8, Adriano; W1118 = 155329, [no. 8], p. 8, Adriano. MS: None. Edition: M014, no. 40, pp. 162–165; M017, no. 18, pp. 44–48; M105, no. 2, pp. 5–7; M109, no. 3; M110, no. 9, pp. 41–45.

Villanesche H008. Print: MS: Edition: H009. Print:

E se per gelosia [a 2] 154114 [=G1626], 54, Adrian vvillaert. None. M014, no. 48, pp. 179–181.

A quand’a quand’haveva una vicina [a 4] 154219 [=S2622], f. 19, XXXIIII, Adrian Vuiliart; W1114b = 154427, [no. 5], f. 4; W1115 = 154520 , [no. 11], p. XI, Adriano; W1116 = 1548 11 , [no. 10], p. 10, Adriano; W1118 = 1553 29, [no. 10], p. 10, Adriano; W1130 (1563), [no. 24], p. 21. MS: None. Edition: M014, no. 41, pp. 165–166; M017, no. 1, pp. 1–2. Notes: Cantus voice may be sung an octave lower, rubric “In diapason, si placet.”

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H010. Print:

Madonn’io non lo so perchè lo fai [a 4] W1114b = 154427, [no. 1], f. 2; W1115 = 154520, [no. 3], p. III, Adriano; W1116 = 154811, [no. 3], p. 3, Adriano; W1118 = 155329, [no. 3], p. 3, Adriano; W1130 (1563), [no. 21], p. 19. MS: None. Edition: M014, no. 36, pp. 154–155; M105, no. 10, pp. 18–19; M108, no. 1; M112, no. 31, pp. 178–181. H011. Print:

Madonna mia famme bon’offerta [a 4] W1114b = 154427, [no. 3], f. 3; W1115 = 154520, [no. 6], p. VI, Adriano; W1116 = 154811, [no. 6], p. 6, Adriano; W1118 = 155329, [no. 6], p. 6, Adriano; W1130 (1563), [no. 23], p. 20. MS: WinF 153, [no. 20], ff. 18v–19, Adrianus Willart. Edition: M014, no. 39, pp. 160–161; M017, no. 5, pp. 11–13; M108, no. 3. H012. Print:

O bene mio fam’uno favore [a 4] 154219 [=S2622], f. 18v, XXXIII, Adrian Vuiliart; W1115 = 154520, [no. 12], p. XII, Adriano; W1116 = 154811, [no. 11], p. 11, Adriano; W1118 = 155329, [no. 11], p. 11; W1130 (1563), [no. 25], p. 21. MS: None. Edition: M014, no. 42, pp. 166–167; M017, no. 9, pp. 20–22; M104, no. 2, p. 12; M108, no. 5; M111, no. 9; M112, no. 32, pp. 182–185. Notes: Cantus voice may be sung an octave lower, rubric “In diapason, si placet.”

H013. Print:

O dolce vita mia che t’haggio fatto [a 4] W1115 = 154520, [no. 2], p. II, Adriano; W1116 = 154811, [no. 5], p. 5, Adriano; W1118 = 155329, [no. 5], p. 5, Adriano. MS: None. Edition: M014, no. 35, pp. 151–153; M017, no. 11, pp. 25–28; M105, no. 9, pp. 16–17; M109, no. 2. H014. Print:

Sempre mi ride sta donna da bene [a 4] W1115 = 154520, [no. 1], p. I, Adriano; W1116 = 154811, [no. 1], p. 1, Adriano; W1118 = 155329, [no. 1], p. 1, Adriano. MS: None. Edition: M014, no. 34, pp. 149–151; M017, no. 15, pp. 35–38; M109, no. 1.

H015. Print:

Vecchie letrose non valete niente [a 4] W1114b = 154427, [no. 6], f. 4v; W1115 = 154520, [no. 5], p. V, Adriano; W1116 = 154811, [no. 7], p. 7, Adriano; W1118 = 155329, [no. 7], p. 7, Adriano.

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284

Adrian Willaert

MS: WinF 153, [no. 21], ff. 19v–20, Adrianus Willart. Edition: M014, no. 38, pp. 158–159; M017, no. 19, pp. 49–51; M108, no. 4.

I. INSTRUMENTAL Three Voices I001. Print: MS: Edition:

[Ricercare in] Re 15436, XXVI, Adrianus; 15693, f. 24, Adrianus. None. M020, no. 18, pp. 139–143.

I002. Print: MS: Edition:

[Ricercare in] Mi 15436, XXVII, Adrianus; 15693, f. 25, Adrianus. None. M020, no. 19, pp. 144–148.

I003. Print: MS: Edition:

[Ricercare in] Fa 15436, XXVIII, Adrianus; 15693, f. 26, Adrianus. None. M020, no. 20, pp. 149–154; M116, no. 11, pp. 28–30; M119, vol. 1, pp. 56–60.

I004. Print: MS: Edition:

[Ricercare in] Sol 15436, XXX, Adrianus; 15693, f. 28, Adrianus. None. M020, no. 21, pp. 155–1??.

I005. Print:

Ricercare 154934, 26, [22], Adriano Vuigliart; transposed 4th lower in 154934, 33, [29], Adriano Vuigliart; W1120 = 155116, Recercar quinto, [no. 7], p. 13, Adriano. MS: None. Edition: M020, no. 7, pp. 55–65; M114, no. 5, pp. 15–18. I006. Print:

Ricercare 154934, 27, [23], Adriano Vuigliart; transposed 4th higher in W1120 = 155116, Recercar sesto, [no. 8], p. 15, Adriano. MS: None. Edition: M020, no. 8, pp. 66–73; M114, no. 6, pp. 19–21; M116, no. 10, pp. 24–27.

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I007. Print:

Ricercare 154934, 28, [24], Adriano Vuigliart; W1120 = 155116, Recercar Quarto, [no. 6], p. 11, Adriano. MS: None. Edition: M020, no. 6, pp. 43–54; M114, no. 4, pp. 12–15. I008. Print:

Ricercare 154934, 29, [25], Adriano Vuigliart; W1120 = 155116, Recercar Ottavo, [no. 10], p. 19, Adriano. MS: None. Edition: M020, no. 10, pp. 82–99; M114, no. 8, pp. 23–26. I009. Print:

Ricercare 154934, 30, [26], Adriano Vuigliart; W1120 = 155116, Recercar Terzo, [no. 5], p. 9, Adriano. MS: None. Edition: M020, no. 5, pp. 33–42; M114, no. 3, pp. 9–12. I010. Print:

Ricercare 154934, 31, [27], Adriano Vuigliart; W1120 = 155116, Recercar segondo, [no. 4], p. 7, Adriano. MS: None. Edition: M020, no. 4, pp. 24–32; M114, no. 2, pp. 7–9; M120, no. 14, pp. 36–39. I011. Print:

Ricercare 154934, 32, [28], Adriano Vuigliart; W1120 = 155116, Recercar Settimo, [no. 9], p. 17. MS: None. Edition: M020, no. 9, pp. 74–81; M114, no. 7, pp. 21–23; M118, no. 15, pp. 36–39.

I012. Print: MS: Edition:

Regina coeli laetare W1120 = 155116, [no. 1], pp. 1–2, Adriano. ParisBNC 851, pp. 1–2, Adriano W. M020, no. 1, pp. 1–13.

I013. Print: MS: Edition:

Ricercare W1120 = 155116, Recercar primo, [no. 3], p. 5, Adriano. None. M020, no. 3, pp. 14–23; M113, no. 2, pp. 4–8; M114, no. 1, pp. 4–6; M115, no. 42, pp. 78–81.

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286

I014. Print: MS: Edition:

Adrian Willaert

Ricercare W1120 = 155116, Recercar Decimo, [no. 12] p. 23, Adriano. None. M020, no. 12, pp. 100–104; M117, no. 115, pp. 120–121; M114, no. 9, pp. 26–27; M116, no. 9, pp. 22–23.

Four Voices I015. Print:

Ricercare 154022, R.[icercar], I, f. N2, Adrian Willaert; [c.1550]24, R[icercar], no. 3, Adrianus Willart. MS: None. Edition: M121, no. 1, pp. 1–6. I016. Print:

Ricercare 154022, R.[icercar], X, f. O3v, Adrian Willaert; [c.1550]24, R[icercar], no. 4, Adrianus Willart. MS: None. Edition: M121, no. 10, pp. 43–48; M123. I017. Print:

Ricercare 154022, R.[icercar], XIV, f. P1v, Adrian Willaert; [c.1550]24, R[icercar], no. 21, Adrianus Willart. MS: None. Edition: M121, no. 14, pp. 66–74.

I018. Print: MS: Edition:

Ricercare [c.1550]24, R[icercar], no. 7, Adrianus Willart. None. M121, pp. 125–127; M124, no. 1.

Doubtful or Misattributed (i) i019.

Ricercare [a 4] Source with ascription to Willaert Print: [c.1550]24, tavola has ascription to Willaert. Other sources Print: [c.1550]24, no. 8, Julius de Modena; 154022, no. 6, Julio da Modena; MS: None. Edition: None. Notes: By Julio da Modena (Julio Segni).

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i020.

287

Ricercare [a 4] Source with ascription to Willaert Print: [c.1550]24, no. 20, Adrian Willaert. Other sources Print: 154022, no. 15, Julio da Modena; [c.1550]24, no. 17, Julius de Modena. MS: None. Edition: None. Notes: By Julio da Modena (Julio Segni). i021. MS: Edition: Notes:

Ricercare [a 5] York Minster Library MS. M91(S), ff. 127–131. M122. Adrianus fanstasie a 5. (Willaert?).

J. ARRANGEMENTS OF OTHER COMPOSERS’ MUSIC BY WILLAERT J001. Print: MS: Edition:

Afflitti spirti miei W1104 = V1224, [no. 11], f. 14v. None. M126.

J002. Print: MS: Edition:

Amor se d’hor in hor W1104 = V1224, [no. 8], f. 11v. None. M126.

J003. Print: MS: Edition:

Ben che’l misero cor W1104 = V1224, [no. 12], f. 16. None. M126.

J004. Print: MS: Edition:

Con lagrime, et sospir W1104 = V1224, [no. 5], f. 7v. None. M126.

J005. Print: MS: Edition:

Con l’angelico riso W1104 = V1224, [no. 19], f. 26v. None. M126.

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288

Adrian Willaert

J006. Print: MS: Edition:

Divini occhi sereni W1104 = V1224, [no. 14], f. 20. None. M126.

J007. Print: MS: Edition:

Donna che sete tra le belle bella W1104 = V1224, [no. 9], f. 12. None. M126.

J008. Print: MS: Edition:

Donna leggiadr’ e bella W1104 = V1224, [no. 3], f. 4v. None. M126.

J009. Print: MS: Edition:

Fuggi, fuggi cor mio W1104 = V1224, [no. 6], f. 8v. None. M126.

J010. Print: MS: Edition:

Gloriar mi poss’io donne W1104 = V1224, [no. 17], f. 24. None. M126.

J011. Print: MS: Edition:

Igno soave ov’il mio foco W1104 = V1224, [no. 7], f. 10. None. M126.

J012. Print: MS: Edition:

Madonna il tuo bel viso W1104 = V1224, [no. 13], f. 17v. None. M126.

J013. Print: MS: Edition:

Madonna io sol vorrei W1104 = V1224, [no. 21], f. 29v. None. M126.

J014. Print:

Madonna per voi ardo W1104 = V1224, [no. 22], f. 30v.

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Works List (A–J)

MS: None. Edition: M126. J015. Print: MS: Edition:

Madonna qual certezza W1104 = V1224, [no. 4], f. 5v. None. M126.

J016. Print: MS: Edition:

Piove da gli occhi della donna mia W1104 = V1224, [no. 18], f. 25v. None. M126.

J017. Print: MS: Edition:

Quand’amor i begli occhi W1104 = V1224, [no. 2], f. 3v. None. M126.

J018. Print: MS: Edition:

Quanto sia liet’il giorno W1104 = V1224, [no. 1], f. 2. None. M126.

J019. Print: MS: Edition:

Se mai provasti donna W1104 = V1224, [no. 10], f. 13v. None. M126.

J020. Print: MS: Edition:

Si liet’e grata morte W1104 = V1224, [no. 15], f. 21. None. M126.

J021. Print: MS: Edition:

S’io pensasse madonna W1104 = V1224, [no. 20], f. 28. None. M126.

J022. Print: MS: Edition:

Vita de la mia vita W1104 = V1224, [no. 16], f. 23. None. M126.

289

VI Sources of Willaert’s Music: Arrangements of Wilaert’s Music

This chapter provides a chronological inventory of arrangements of Willaert’s music by other composers and musicians in printed sources. Unless otherwise indicated, print sigla from N015 are used here. Works are identified according to their worklist number. For the bibliography of materials used in the compilation of this chapter, and for the bibliographic citations used here, see the first section of chapter 9. Where the composer of the original work is identified, this is included in the entry for each respective work. Where the attribution of the original work is not identified, this is indicated as “Anon.” = Indicates the same print with a different sigla, identified by prefix. Numbers in parentheses following title indicated the catalog number of the model on which the piece is based. K001 15312 = RISM B/I: 15317. Vingt et cinq chansons musicales, reduictes en la tabulature des orgues espinettes mancordions & telz semblables instrumentz musicaulx Imprimees a Paris par Pierre Attaingnant demourant en la rue de la Harpe pres leglise saint Cosme Desquelles la table kla. februarii 1530 … Avec privilege du Roy nostre sire pour trois ans. [Paris, Pierre Attaingnant, 1531.] [February, 1531, n.st.]. N015: 15312, pp. 35–36. N019, no. 23, pp. 237–238.

291

292

Adrian Willaert

Dessus le marché d’Arras [F027] no. 9, f.lv, Anon. K002 15331 = RISM B/I: 15334 = RISM A/I: G1621. Tabulatur auff due Laudten. Etlicher Preambel, teutscher, welscher und francösischer Stück, von Liedlein, Muteten, und schönen Psalmen… Durch Hanns Gerle Luttinisten … [Nuremberg, Hieronymus Formscheider, 1533.] N015: 15331, pp. 42–43. Alaventure [F024] no. 39, f.49, Anon. K003 15363 = RISM B/I: 153611. Intabolatura di liuto de diversi, con La Bataglia, et altre cose bellissime, di M. Francesco da Milano … [Venice, Francesco Marcolini, 1536.] N015: 15363, pp. 46–47. Can gieto fu marie [F038] no. 26, f.20v, Anon. K004 RISM B/I: 154424. Das erst Buch. Ein newes Lautenbüchlein mit vil feiner lieblichen Liedern für die jungen Schuler die fein leicht … [Nuremberg, H. Günther, 1544.] Mon petit Nose [F035] no. 36, f.H1v, Anon. K005 15453 = RISM B/I: 154521. Des chansons reduictz en Tabulature de Lut à deux, trois et quatres aparties … Livre premier. A Lovvain par Iacques Bathen et Reynier Velpen. Aux despens de Pierre Phaleys Libraire. Lan de Grace M. D. XLV. [Leuven, Pierre Phalèse, 1545.] N015: 15453, pp. 74–75. C’est donc par moy [F005] no. 31, Anon. K006 15465 = RISM B/I: 154624 = RISM A/I: B2596. Intabolatura de lauto di Dominico Bianchini ditto Rossetto di recercari motetti madrigali canzon francese napolitane et balli novamente stampati. Libro primo. In Venetia Apresso di Antonio Gardane, M. D. XXXXVI. [Venice, Antonio Gardano, 1546.] →15542 = RISM A/I: B2597 →15632 = RISM A/I: B2598 N015: 15465, pp. 78–79.

Sources of Willaert’s Music

293

N024: no. 82, pp. 511–512. Facsimile: N075 MadonnA/Io non lo so [H010] no. 7, f.B2v, Anon. Le dur travail [F032] no. 22, f.D3v, Anon. K007 15469 = RISM B/I: 154631 = RISM A/I: G1622. Musica und Tablatur, auff die Instrument der kleinen und grossen Geygen … [Nuremberg, Hieronymus Formschneider, 1546.] N015: 15469, pp. 82–84. Le dur travil [F032] no. 36, f.O3v, Anon. K008 154610 = RISM B/I: 154625 = RISM A/I: G2489. Ioan MariA/Intabolatura de lauto di recercari canzon francese motetti madrigali padoane e saltarelli composti per lo eccellente musicho, et sonator di lauto messer Io. Maria da Crema novamente ristampata et del medesmo autore corretta libro primo. In Venetia apresso di Antonio Gardane. M. D. XXXXVI. [Venice, Antonio Gardano, 1546.] →154611 N015: 154610, pp. 84–85. N024: no. 86, pp. 517–519. Allons allons [F001] no. 31, f.F1, Anon. reprint in RISM B/I: 154626 = RISM A/I: G2490 K009 154614. Alonso, Mudarra. Tres Libros de music en cifras para vihuela… Libro tercero de musica, en cifras y canto de organo para taner y cantor con la vihuela … [Seville, Juan De Leon, 1546.] N015: 154614, p.87–89. Pater noster [B074/i] no. 49, f.2 [=f.1], Vuilliart. reprint in RISM B/I: 154634 K010 154615 = RISM B/I: 154633 = RISM A/I: R2800. Intabolatura de lauto di lo eccellentissimo musicho messer Antonio Rotta di recercari motetti, balli, madrigali, canzon francese da lui composti, & intabulati. Libro primo. Con gratia e privilegio. [Venice, Girolamo Scotto, 1546.]

294

Adrian Willaert

N008: no. 64, pp. 350–352. N015: 154615, pp. 89–90. Sancte paule [B090] no. 20, f.34v, Adr. Vuilgliar. reprint in 154616 = RISM B/I: 154632 = RISM A/I: R2799 K011 15473 = RISM B/I: 154722 = RISM A/I: G2092. Intabolatura de lauto di Simon Gintzler musico del Reverendissimo Cardinale di Greto … Libro Primo … [Venice, Antonio Gardano, 1547.] N015: 15473, pp. 96–97. N024: no. 108, pp. 574–576. Ne proijcias nos [B134] no. 18, Adriano. Magnum hereditatis [B058] no. 20, Adriano. Sancte paule [B090] no. 23, Adriano. first two reprinted in RISM B/I: 154722 K012 15475 = RISM B/I: 154725. Libro de musica de vihuela, intitulado silva de sirenas … Compuesto por Enrriquez de Valderravano … [Valladolid, Cordova, 1547.] N015: 15475, pp. 99–104. Peccavi supra numerum [B142] no. 24, f.16v, Adriano. Augustine lux doctorum [B129/ii] no. 25, f.17, Adriano. Comiençan las obras compuestas del quarto Libro … Petite camusete [F036] no. 76, f.47v, Adriano. Pater noster [B074/i] no. 82, f.53v, Adriano. Cancion de sibivit [F014] no. 84, f.55v, Adriano.

Sources of Willaert’s Music

295

K013 [1547]11. Des chansons Gaillardes, Paduanes & Motetz, Reduitz en tablature de luc … A Louvain par Piere Phaleys Libraire Jure. Nel an de grace M. D. XLVII. Avec Grace & Privilege. [Leuven, Pierre Phalèse, 1547.] [lost] →[1547]12 [lost] N015: [1547]11, pp. 108–109. Allons, allons [F001] no. 17, f.D2, Anon. Le dur travail [F032] no. 22, f.E2v, Anon. reprint in RISM B/I: 154729 [lost] K014 RISM B/I: 154720. Des chansons reduictz en tablature de lut à deux, trois, et quatre parties … Livre premier. A Louvain par Pierre de Phaleys libraire jure lan M. D. XLVII. Avec Grace & Privilege. [Leuven, Pierre Phalèse, 1547.] →154719 C’est donc par moy [F005] no. 22, p.D3v, Anon. reprint in 15498 = RISM B/I: 154938 K015 RISM B/I: 154726. Das erst Buch. Ein newes Lautenbüchlein mit vil feiner lieblichen Liedern … [Nuremberg, Christoff Gutknecht, 1547.] Mon petit Nose [F035] no. 36, f.H1v, Anon. K016 RISM A/I: B3772 (1548). Intavolature di lauto dell’eccellente Pietro Paolo Borrono da Milano, nouvamente postA/In luce, et con ogni diligentia corretta, opera perfettissima sopra qualunche altrA/Intavolatura che da quA/Indrieto sia stampata. Libro Ottavo. Venetiis apud Hieronymum Scotum. M. D. LVIII. [Venice, Girolamo Scotto, 1548.] N008: no. 68, pp. 359–361. N015: 15482, pp. 110–111. Ala venture Canzon Francese [F024] no. 20, f.H3, Anon. reprint in RISM A/I: B3772

296

Adrian Willaert

K017 15481 = RISM B/I: 154812 = RISM A/I: A180. Intabolatura di lautto libro secondo. Madrigali a cinque & a quattro. Canzoni Franzese a cinque & a quattro Motetti a cinque, & a quattro Recercari di fantasia, Napolitane a quattro Intabulati & accomodati per sonar di Lautto per lo Excellentissimo M. Iulio Abondante. Novamente poste in luce, & per lui medemo corretti. In Venetia appresso Hieronimo Scotto. M. D. XLVIII. [Venice, Girolamo Scotto, 1548.] N008: no. 67, pp. 357–359. N015: 15481, pp. 109–110. Facsimile: N076. Qual dolcezza giamai [G035] ii Et la dolc’armonia si fa serena l’aria ff. +2 – +3, Adriano uilaert. Helas mamert [F042] f.C2v, Anon. Pater Noster [B074/i] f.E4v, Adriano. Madonna mia fami bona offerta [H011] f.G2v, Anon. Q quando a quando havea [H009] f.G3, Anon. Vechie retrose [H015] f.G3v, Anon. MadonnA/Io non lo so perche lo fai [H010] f.G4, Anon. K018 15496 = RISM B/I: 154941. Das Ander Buch ein new künstlich Lauten Buch … durch mich Hansen Newsidler Lutinisten … [Nuremberg, Fabritius, 1549.] N015: 15496, pp. 115–117. Mon cuor [mon] corps [F033] no. 54, f.r3v, Anon.

Sources of Willaert’s Music

297

K019 15527 = RISM B/I: 155235 = RISM A/I: P2448. Libro de musica de vihuela, agora nuevamente compuesto por Diego Pisador … [Salamanca, Pisador, 1552.] N015: 15527, pp. 139–142. Libro Sexto que tracta de motetes … Ave maria [B074/ii] no. 70, f.76, Adrianus de vilart. Pater noster [B074/i] no. 71, f.77, Adrianus de vilart. Libro Septimo que trata de villanescas A quand’a quand’haveva [H009] no. 88, f.89, Anon. Madonna mia fa [H011] no. 90, f.90, Anon. O bene mio fa famm’uno favore [H012] no. 91, f.90v, Anon. K020 155211 = RISM B/I: 155229. Hortus musarum in quo tanquam flosculi quidam selectissimorum carminum collecti sunt ex optimis quihusque autoribus … [Leuven, Pierre Phalèse, 1552.] N015: 155211, pp. 143–146. Magnum haereditaris [B058] no. 72, p.60, Anon. Or suis je bien [F014] no. 105, p.108, Anon. K021 15543 = RISM B/I: 155432. Libro de musica para vihuelA/Intitulado Orphenica lyra. [Seville, Martin de Montesdoca, 1554.] N015: 15543, pp. 153–159. Orphenica lyra Libro segundo Ave maria [B074/ii] no. 37, f.35, Adrian villar.

298

Adrian Willaert

K022 15663 = RISM B/I: 156630. Il secondo libro intabolatura di liuto di Melchior Neysidler … Venice, Antonio Gardano, 1566. [Venice, Antonio Gardano, 1566.] N015: 15663, pp. 222–223. Jouissance [F045] no. 9, p.22, Anon. K023 15682 = RISM A/I: G145. Fronimo dialogo di Vincentio Galilei Fiorentino. Nel quale si contengono le vere, et neccessarie regole del Intavolare la Musica nel Liuto, In Vinegia, Appresso Girolamo Scotto. M. D. LXVIII. [Venice, Antonio Gardano, 1568.] N008: no. 306, pp. 744–750. N015: 15682, pp. 225–229. I begli occhi ond’io fui [G015] ii Questi son qu begli occhi no. 53, pp. 100–101, Adriano Villahert. Quando fra l’altre donne [G037] ii De lei ti vien no. 54, pp. 102. Madonna s’io v’amai [G026] no. 55, p.103, Adriano [in tavola]. Aspro core e selvaggio [G043] ii Vivo sol di speranza no. 87, pp. 149–150, Adriano Villahert. K024 15704. Selectissima, elegantissimaque, gallica, italica et latinA/In guiterna ludenda carmina … Lovanii apud Petrum Phalesium, Antwerpiae apud Joannem Bellerum. Anno M. D. LXX. [Leuven, Pierre Phalèse, 1570.] N015: 15704, pp. 248–250. Branle à la fontaine du pré [F053] no. 102, f.77v, Anon. K025 15721 = RISM B/I: 157212. Das erste Buch newerlessner fleissiger ettlicher viel schöner Lautenstück … [Strasbourg, Bernhard Jobin, 1572.] N015: 15721, pp. 263–264.

Sources of Willaert’s Music

299

Joyssance [F045] no. 18, f.E2v, Adrian Villart. K026 15745 = RISM B/I: 157413. Teutsch Lautenbuch darinnenn kunstliche Muteten, lieblieche Italianische, Frantzösische, Teütsch Stuck … durch Melchior Newsidler … [Strasbourg, Bernhard Jobin, 1574.] N015: 15745, pp. 272–274. Creator omnium [B115] no. 4, f.B4, Adrianus Willart. K027 15763 = RISM A/I: V33. Intavolatura de cimbalo recercare fantasie et canzoni … Libro primo. De M. Antonio Valente Cieco … [Naples, Gioseppe Cacchio dall’Aquila, 1576.] N015: 15763, p.284. Chi la dirra [F018] no. 10, p.43, Anon. K028 15783 = RISM B/I: 157824. Obras de musica para tecla arpa y vihuela, de Antonio de Cabeçon … [Madrid, Francisco Sanchez, 1578.] N015: 15783, pp. 290–294. Ye fille qua ni le me dona de que no. 100, f.136, Adrian Villarte. [not by Willaert; on Je fille quand Dieu by Philip Van Wilder] Qui la dira [F018] no. 110, f.153, Adrian Villart. K029 15841. Il vero modo di diminuir, con tutte le sorti di stromenti … di Girolamo dalla Casa detto Da Udene … Libro primo … [Venice, Angelo Gardano, 1584.] N015: 15841, pp. 327–328. Se la gratia divina [G040] no. 11, p.16, Adriano. Helas ma mere [F042] no. 26, p.29, Adriano. Voules ouiir [F051] no. 29, p.36, Adriano.

300

Adrian Willaert

Alla fontaine [F053] no. 43, p.42, Adriano. K030 15842. Il vero modo di diminuir, con tutte le sorte di stromenti … di Girolamo dalla Casa detto Da Udene … Libro secondo … [Venice, Angelo Gardano, 1584.] N015: 15842, pp. 328–329. Joyssance [F045] no. 8, p.14, Adriano. K031 15845 = RISM B/I: 158415. Fronimo dialogo di Vincentio Galilei Fiorentino. Nel quale si contengono le vere, et neccessarie regole del Intavolare la Musica nel Liuto. [Venice, Girolamo Scotto, 1584.] N015: 15845, pp. 331–334. Qual’animA/Ignorante [G012] no. 69, f.142, Adrian Willaert. [second revised edition of 15682] K032 15912. Motetti, madrigali et canzoni francese, di diversi eccellentissimi auttori … da Giovanni Bassano … [Venice, Giacomo Vincenti, 1591.] N015: 15912, pp. 366–367. A la fontana [F053] no. 42, p.60, Adrian. Le rose [f068] no. 43, p.62, Adrian. K033 159911 = RISM B/I: 159919 = RISM A/I: T541. Il secondo libro de intavolatura di liuto di Gio. Antonio Terzi da Bergamo … [Venice, Giacomo Vincenti, 1599.] N015: 159911, pp. 435–437. Jouisans canzon Francesa [F045] no. 13, p.14, Adriano. Alermifault. Canzon Francese [F039] no. 38, p.46, Adriano.

Sources of Willaert’s Music

301

K034 Alcune opere de diverse voci, passaggiate principalmente per la viola bastarda, ma anco per ogni forte di stromenti e di voci da Vicenzo Bonizzi … [Venice, Alessandro Vincenti, 1626.] Facsimile: N079 Jouissance [F045] pp. 22–30, D’Adriano.

VII Sources of Willaert’s Music: Manuscripts after 1600 (L)

Chapter 7 comprises an inventory of Willaert’s works transmitted in manuscripts after 1600. These sources are not included in the worklist in Chapter 5. The present list was compiled from the RISM A/II “Music Manuscripts after 1600” online database. This can be accessed through: . For the bibliography of other materials used in the compilation of this chapter, and for the bibliographic citations used here, see the second section of Chapter 9. L001. Arnsberg-Herdringen. Schlossbibliothek, Biblioteca Fürstenbergiana. Ms. Fü 9821 Pater noster [B074] Antho. Wilhart Videns Dominus [B103] Antho. Wilhart [both in score] L002. Berlin. Staatsbibliothek zu Berlin Preuβscher Kulturbesitz. Mus. Ms. 13715 Sicut erat [a 4] f. 24r, Adriano Willaert

303

304

Adrian Willaert

[Manuscript copy from Poelchau collection. “Esempj/Esemplare/o soa/ Saggio fondamentale pratico/Sopra il Canto Fermo/da F. Giambattista Martini/Minor Conventuale/Accademico dell’Instituto delle Scienze/e Filarm./Parte I e II./Bologna 74.”; “Esempio II. Sesto Tuono. Di Adriano Willaert.” Copy ca. 1780] L003. Brussels. Bibliothèque Royale. Ms. II 3942 Mus Fétis 2289 Amor mi fa morire [G003] pp. 41–45, Adrien Willaert [in score, copied by François-Louis Perne, “Madr: stampati Venezia 1589/Madrigale Adrien Willaert de Bruges.”] L004. Brussels. Bibliothèque Royale. Ms. Fétis 7328 C Mus Pien d’un vago pensier [G050] ff. 51–55, Adrien Willaert [“Madrigal à 6 voix par Adrien Willaert, de Bruges (1558)”; copied by Fétis, “Collection des morceaux exécutés dan les concerts historiques.”] L005. Brussels. Bibliothèque Royale. Ms. II 271 Mus Missa Gaude Barbara [A002] Sup. ff. 1–6, Adriano Willaert Missa Christus resurgens [A001] Sup. ff. 29v–34, Willaert A vous me rends [F025] Sup. f. 76v, Gheerkin Mon petit cueur [F035] Sup. f. 82, Willaert [Manuscript titled, “Extraits du ms. 124 de la Bibl. De Cambrai”; copied by Coussemaker] L006. Copenhagen. Det kongelige Bibliothek Slotshomen. Mss. R151–R154 Fors seulement [F041] f. 13 (R151), Anon.

Sources of Willaert’s Music

305

Creator omnium Deus terribilis [B165] f. 64 (R151), Anon. [dated 1556] L007. Detmold. Lippische Landesbibliothek. Mus 9881 O bene mio fa [H012] no. 1, 1 f., sup. only, Adrian Willaert [“4v/No. 1 O bene mio Adrian Willaert Chorwerk No5/2.”] L008. Hamburg. Staats- und Universitätsbibliothek Carl von Ossietzky, Musikabteilung. Ms. M B/2488 A la fontana [F053] no. 47, Adrian [arrangement by Giovanni Bassano] Le Rose [f068] no. 48, Adrian [arrangement by Giovanni Bassano] [from the library of F. Chrysander; copied from 1591 collection] L009. Hannover. Stadtbibliothek, Musikabteilung. Kestner No. 67 Sempre mi ride sta donna [H014] no. 1, 1 f., Adriano O dolce vita mia [H013] no. 2, 2 f., Adriano Madonn’io non lo so perché [H010] no. 3, 2 f., Adriano Cingari siamo [H004] no. 4, 1 f., Adriano Vecchie letrose non valete niente [H015] no. 5, 1 f., Adriano

306

Adrian Willaert

Madonna mia fa femme [H011] no. 6, 2 f., Adriano Un giorno mi prego una vedovella [H007] no. 9, 2 f., Adriano A quando haveva [H009] no. 11, 1 f., Adriano O bene mio femm’uno favore [H012] no. 12, 1 f., Adriano Sospiri miei [H006] no. 14, 2 f., Adriano [in score] L010. Hannover. Stadtbibliothek, Musikabteilung. Kestner No. 67 a Ma chi penso veder mai [G009/ii] no. 1, 3 f., Anon. [fragment] Amor Fortuna e la mia mente schiva [G002] no. 2, 4 f., Anon. Quest’anima gentil [G017] no. 3, 4 f., Anon. [in score] L011. Hannover. Stadtbibliothek, Musikabteilung. Kestner No. 67 b Ella si tace è di pietà [G025/ii] no. 1, 1 f., Villaert L’aura mia sacra [G025/i] no. 2, 2 f., Willaert Io amai sempre [G009/i] no. 3, 1 f., Willaert [in score, fragments]

Sources of Willaert’s Music

307

L012. Hannover. Stadtbibliothek, Musikabteilung. Kestner No. 67 c Quem dicunt homines 2 f., Adr. Willaert [in score, not by Willaert, motet is by Richafort] L013. Hannover. Stadtbibliothek, Musikabteilung. Kestner No. 67 d Simulacra gentium [C016/v.12] 1 f., Adr. Willaert [in score, “Toni Peregrini. “Simulacra gentium” Adr. Willaert.”] L014. Hannover. Stadtbibliothek, Musikabteilung. Kestner No. 80 V Mein Herz und Gmüt [f074] no. 48, 2 p., Adrianus Willaert [in score, nineteenth century copy from 155629] L015. London. British Library. Ms. R.M.24.d.15.(2) Quem dicunt homines [a 4] 3 ff., Adrianus [eighteenth century, in score; not by Willaert, motet is by Richafort] L016. London. British Library. Reference Division. Department of Manuscripts. MS Additional 11582. Verbum bonum et suave [B191] ii Ave solem genuisti ff. 74v–76v, Adrianus [before 1782, Burney collection; Burney refers to his score of this motet in A General History of Music, see N248] L017. London. British Library. Reference Division. Department of Manuscripts. MS Additional 11583. Praeter rerum seriem [B196] f. 14v Inviolata integra et casta [B195] f. 20v

308

Adrian Willaert

[before 1782, Burney collection; both motets from the Musica Nova collection] L018. London. British Library. Reference Division. Department of Manuscripts. MS Additional 11584. Da pacem Domine [B033] no. 1, f. 9 O lux beatissima [B190/ii] no. 3, f. 40v Aspice Domine [B158] no. 14, f. 45 I vidi in terra [G047] no. 24, f. 42v [before 1782, Burney collection] L019. London. British Library. Reference Division. Department of Manuscripts. MS Additional 11585. Salve sancta parens [B187] no. 10, f. 44v, Adrianus [before 1782, Burney collection] L020. London. British Library. Reference Division. Department of Manuscripts. MS Additional 11588. Douleur me bat [F055] no. 51, f. 61, Adrian Willaert Je ne scay pas comment [F044] no. 52, f. 62v, Adrian Willaert [before 1782, Burney collection] L021. London. British Library. Reference Division. Department of Manuscripts. MS Additional 29380. Allons, allons gay [F001] ff. 23–27 [=pp. 41–49], Adrianus Willaert [copied by John Immyns in 1741]

Sources of Willaert’s Music

309

L022. London. British Library. Reference Division. Department of Manuscripts. MS Additional 29381. C’est donc pour moy [F005] f. 35v, Ninon le Petit [copied by John Immyns in 1741] L023. London. British Library. Reference Division. Department of Manuscripts. MS Additional 31409. De retourner mon ami [F054] f. 33 [scored by E. T. Warren Horne] L024. London. British Library. Reference Division. Department of Manuscripts. MS Additional 34071. De retourner mon ami [F054] no. 13, f. 12v. Qual anima ignorante [G034] no. 18, f. 16v. [“in score from Dr. Burney’s collections.”] L025. Münster. Santini-Bibliothek. Hs 1244 Ave verum corpus [b200] no. 5, 2 f., Adriano Villaert [in score, for four voices, copied by Fortunato Santini] L026. Münster. Santini-Bibliothek. Hs 1449 Laudate Dominum Sexti toni [C017] no. 13, 2 f., Adriano Willaert [incomplete, “II. Esempio. Estratto dal/Salmo Laudate Dominum/omnes gentes/Di/Adriano Willaert.” manuscript copied by Raphael Georg Kiesewetter, in score]

310

Adrian Willaert

L027. Münster. Santini-Bibliothek. Hs 2750 Joannes apostolus [B055] no. 4, 4 f., Villaert Mirabile mysterium [B059] no. 14, 2 f., Hadrian Villaert Visita quaesumus Domine [b204] no. 15, 3 f., Adriano/Villaert Congratulamini mihi omnes [B032] no. 17, 3 f., Villaert/Adriano Magnum haereditatis mysterium [B058] no. 20, 3 f., Villaert In tua patientia [B053] no. 29, 2 f., Villaert Ad tua confugio [B013] no. 31, 2 f., Villaert Tota pulchra es amica mea [B095] no. 38, 2 f., Villaert [in score, copied from 15385 by Fortunato Santini, February 1849] L028. Münster. Santini-Bibliothek. Hs 3512 Dixit Dominus Septimi toni [C014] no. 1, 2 f., Adriano [“Adriano 7.o Tono in Venezia 1550/Dixit,” copied by Giuseppe Jannaconi] L029. Münster. Santini-Bibliothek. Hs 3590 Deducant oculi nostri lacrimas [B034] no. 2, 2 f., Adriano Willaert [copied by Santini, 1821] L030. Rome. Academia Nazionale dei Lincei e Corsiniana, Biblioteca. Ms. Musica M 14

Sources of Willaert’s Music

Qui la dira [F018] ff. 86v–87, Anon. [eighteenth century] L031. Stockholm, Kungliga Biblioteket. Ms. S 227 Se la gratia divina [G040] Adriano Willart Amor da che tu vuoi [G019] Adriano Willart Son già molt’an’Amore [G041] Adriano Willart Jouissance vous donnerai [F045] Adrianus Willart [incomplete, only one part, V 5] L032. Stockholm, Kungliga Biblioteket. Ms. S 229: 1–2 Praeter rerum seriem [B196] Anon. Liete e pensose [G053] Anon. I vidi in terra [G047] Anon. Audite insulae [B159] Anon. Verbum superum prodiens/O salutaris [B198] Anon. Inviolata integra [B195] Anon. Quando nascesti Amor [G055] Anon.

311

312

Adrian Willaert

Che fai lama [G052] Anon. [incomplete, only two parts, S 2 and B 1; no text] L033. Trier. Bistumsarchiv. Ms. 104/243 00 Hodie Christus natus est [a 4] [E002] 1 f. [incomplete], Willaert [in score] L034. Trier. Bistumsarchiv. Ms. 104/243 01 Magnificat Sexti toni [E009] 3 f., Willaert [in score; “München 21. Juli/1857.”] L035. Venice. Fondazione Ugo e Olga Levi, Biblioteca. Ms. cf. C.103 Pange lingua [D031] pp. 23–38, Anon. [in score]

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VIII Modern Editions of Willaert’s Music (M)

Complete Edition (American Institute of Musicology-CMM) Zenck, Hermann, Walter Gerstenberg, Berhard Meier, and Helga Meier, eds. Adrian Willaert: Opera Omnia. Rome: American Institute of Musicology in Rome, 1950–. (CMM, 3) The CMM complete edition of Willaert still lacks crucial volumes as indicated below. It is not possible to assess the edition as a scholarly resource, since it lacks any critical apparatus. Volumes do not list concordant sources. There is little explanation of the methodology for the addition of editorial accidentals to the edition, thus performers would be well advised to treat the edition with caution. With the exception of vol. 14 (M014), the editors based their editions on prints devoted to Willaert, assigning a special status to such prints ahead of other sources. At least the remaining sources should be carefully considered in an edition of this importance. While the production quality of the edition is high, nevertheless, a new edition with full critical apparatus is needed to allow scholars and performers to properly assess the music of Willaert in the context of a critical edition of the highest standard. M001. Zenck, Hermann, ed. Adrian Willaert: Opera Omnia. 1—Motetta IV vocum, Liber primus, 1539 et 1545. Rome: American Institute of Musicology in Rome, 1950. (CMM, 3) Based on the first and second editions of the libro primo of Willaert’s four-voice motets, W1106 (1539) and W1107 (1545). 313

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Adrian Willaert

Motets for Four Voices, Part One (1539 and 1545) Title

No.

Pages

Ave Maria, gratia plena

1

1–4

Ave dulcissime Domine

2

4–7

Beata genitrix ii Et beata

3

7–9

O Domine Jesu Christe … in cruce pendentem ii O Domine Jesu Christe … in cruce vulneratum iii O Domine Jesu Christe … propter illam iv O Domine Jesu Christe justos conserva

4

10–16

Domine Jesu Christe

5

16–19

Ad te Domine

6

19–22

Tota pulchra es

7

22–25

Congratulamini mihi omnes ii Recedentibus discipulis

8

26–30

Antoni pastor inclyte

9

30–33

Omnipotens sempiterne Deus

10

33–36

O gemma clarissima

11

36–38

O Thoma laus et gloria

12

39–40

Angelus Domini descendit

13

41–43

Joannes Apostolus ii Ecclesiam tuam

14

43–49

Natale sanctae Euphemiae ii Tu Domine

15

49–53

O magnum mysterium ii Ave Maria

16

53–57

Magne martyr Adriane

17

57–59

In tua patientia

18

59–62

Homo quidam fecit ii Christus vere

19

62–69

Nazaraeus vocabitur

20

69–71

Videns Dominus

21

71–73

Quasi unus de paradisi fluminibus ii Deus, qui beatum Marcum

22

73–78

Benedicta es ii Per illud ave

23

78–82

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Motets for Four Voices, Part One (1539 and 1545) (continued) Title

No.

Pages

Salve crux sancta ii Causa etiam

24

83–86

Mirabile mysterium

25

86–89

Sancte Paule Apostole

26

89–91

Ave Regina coelorum ii Gaude gloriosa

27

91–95

Inviolata, integra ii Nostra ut pura pectoral

28

95–99

Dominus regit me ii Parasti

29

99–105

Saluto te ii Rogo te

30

105–110

Patefactae sunt januae ii Mortem enim

31

110–113

M002. Zenck, Hermann, ed. Adrian Willaert: Opera Omnia. 2—Motetta IV vocum, Liber secundus, 1539 et 1545. Rome: American Institute of Musicology in Rome, 1950. (CMM, 3) Based on the first and second editions of the libro secondo of Willaert’s four-voice motets, W1108 (1539) and W1109 (1545). Motets for Four Voices, Part Two (1539 and 1545) Title

No.

Pages

Strinxerunt corporis membra ii Mea nox

1

1–6

Valde honorandus est beastus Joannes

2

6–8

Ave virginum gemma Sancta Catharina

3

8–10

Pater Noster ii Ave Maria

4

11–17

Congratulamini mihi omnes ii Beatam me dicent

5

18–23

Parens tonantis maximi

6

23–26

Usquequo Domine ii Illumina oculos

7

26–32

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Motets for Four Voices, Part Two (1539 and 1545) (continued) Title

No.

Pages

Magnum haereditatis mysterium

8

32–35

Ave Regina coelorum, Mater Regis angelorum

9

35–37

Spiritus meus attenuabitur ii Libera me

10

37–42

Veni sancta Spiritus ii Sine tuo numine

11

42–49

Domine Jesu Christe ii Et concede mihi

12

49–53

Quem terra, Pontus, aethera ii Beata coeli nuntio

13

54–59

Dulces exuviae

14

59–62

Flete oculi

15

62–66

Beatus Stephanus ii Et videntes

16

66–71

Beatus Joannes ii Ipse est

17

71–75

Victimae paschali laudes ii Dic nobis Maria

18

76–82

Surgit Christus cum tropheo ii Dic Maria quid fecisti contemplando iii Dic Maria quid fecisti postquam Jesum

19

82–92

Intercessio, quaesumus, Domine

20

93–96

Qui habitat in adjutorio ii Cadent iii In minibus

21

96–107

Armorum fortissimo ii Te igitur

22

107–112

Regina coeli laetare

23

112–115

In illo tempore stabant

24

115–119

M003. Zenck, Hermann, ed. Adrian Willaert: Opera Omnia. 3—Motetta V vocum 1539 et 1550. Rome: American Institute of Musicology in Rome, 1950. (CMM, 3) Based on the edition of Willaert’s five-voice motets published by Girolamo Scotto, W1110 (1539)

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Motets for Five Voices (1539 and 1550) Title

No.

Pages

Verbum iniquum ii Duo rogavi

1

1–7

Salva nos ab excidio

2

8–10

Christus resurgens ii Dicant nunc Judaei

3

11–17

Prolongati sunt ii Inveterata sunt iii Sit ergo

4

18–25

Si rore Aonio ii At desueta diu

5

26–31

Domine Jesu Christe

6

31–35

Adriacos numero ii Nobis dum sacros

7

35–40

Laetare sancta mater Ecclesia ii Augustine, lux doctorum

8

40–44

Inclite dux ii Sanguine tam multo

9

44–50

Sacerdotum diadema ii O Gratiane

10

50–56

Regina coeli laetare ii Resurrexit

11

56–61

Peccavi supra numerun ii Quoniam iniquitatem

12

61–65

O crux splendidior ii Dulce lignum

13

66–72

Ecce lignum cruces ii Crux fidelis

14

72–77

Inclite Sfortiadum princes

15

78–82

Locuti sunt ii Et posuerunt

16

82–86

Haud aliter pugnans

17

87–89

Victor io, salve ii Quis curare neget

18

90–95

Precatus est Moyses ii Memento Abraham

19

96–101

Congratulamini mihi omnes ii Et dum flerem

20

102–106

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Motets for Five Voices (1539 and 1550) (continued) Title

No.

Pages

Ave maris stella ii Monstra te esse matrem

21

107–114

Ave Maria, ancilla sanctae Trinitatis ii Ave Maria, fons et pulchritude

22

114–120

Ne projicias nos, Domine

23

121–123

M004. Zenck, Hermann, ed. Adrian Willaert: Opera Omnia. IV—Motetta VI vocum, 1542. Rome: American Institute of Musicology, 1952. (CMM, 3) Based on the edition of Willaert’s six-voice motets, published by Antonio Gardano, W1112 (1542). Motets for Six Voices (1542) Title

No.

Pages

Pater Noster

1

1–5

Ave Maria, gratia plena

2

6–11

In te signis radians (Iachet Berchem)

3

12–15

Verbum bonum ii Ave, solem genuisti

4

16–24

Vocem jucunditatis annuntiate

5

25–28

O beatum pontificem

6

28–34

In excelso throno vidi sedere virum

7

34–37

Ave virgo ii O Maria iii Igitur nos merito

8

37–44

Beatus Laurentius

9

44–47

Obsecro Domine ii Qui Regis Israel

10

47–54

O salutaris hostia

11

55–59

O gloriosa Domina ii Maria, mater gratiae

12

59–65

Salva nos, Domine

13

65–67

In diebus illis ii Et stans retro

14

67–74

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Motets for Six Voices (1542) (continued) Title

No.

Pages

Factum est verbum ii Ego vox clamantis (Iachet Berchem)

15

75–80

Venator lepores ii At Francisce

16

81–88

Domine Jesu Christe ii O bone Jesu

17

88–97

O beata infantia ii O felices panni (Loyset Pieton)

18

97–104

Beata viscera Mariae virginis

19

105–108

Peccantem quotidie (Iachet Berchem)

20

109–111

Congregati sunt ii Disperde illos (Verdelot)

21

111–117

Ave virgo gratiosa (Iachet)

22

117–123

Regem regum Dominum (Anon.)

3

123–130

Qui credit in Domino (Maistre Jan)

4

130–133

M005. Gerstenberg, Walter, ed. Adrian Willaert: Opera Omnia. V—Musica Nova, 1559, Motetta. Rome: American Institute of Musicology, 1957. (CMM, 3) The Motets from the Musica Nova Edition of 1559, W1126 Title

No.

Pages

Four Voices Domine, quid multiplicati sunt ii Ego dormivi

1

1–8

Dilexi, quoniam exaudiet ii O Domine libera

2

8–15

Confitebor tibi Domine ii In quacumque die iii Si ambulavero

3

15–23

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Adrian Willaert

The Motets from the Musica Nova Edition of 1559, W1126 (continued) Title

No.

Recordare Domine ii Patres nostril peccaverunt

Pages

4

23–30

O admirabile commercium ii Quando natus es iii Rubum quem viderat iv Germinavit radix Jesse v Ecce Maria genuit vi Mirabile mysterium vii Magnum haereditatis mysterium

5

31–56

Miserere mostri Deus omnium ii Alleva manum tuam

6

56–62

Sub tuum praesidium confugimus

7

62–67

Beati pauperes spiritu ii Beati qui persecutionem

8

67–74

Sustinuimus pacem ii Peccavimus cum patribus nostris

9

74–80

10

80–87

Veni Sancte Spiritus ii O lux beatissima

11

88–100

Avertatur obsecro ii Inclina, Deus

12

100–109

Alma Redemptoris Mater ii Tu quae genuisti

13

109–118

Peccata mea ii Quoniam iniquitatem

14

119–126

Salve sancta parens ii Virgo Dei Genitrix

15

127–135

Audite insulae ii Et posuit

16

135–144

Aspice Domine ii Plorans ploravit in nocte

17

144–154

Pater, peccavi ii Quanti mercenarii

18

154–164

Five Voices

Omnia quae fecisti ii Cognoscimus Domine Six Voices

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The Motets from the Musica Nova Edition of 1559, W1126 (continued) Title

No.

Pages

Victimae paschali laudes ii Dic nobis Maria

19

164–173

Mittit ad Virginem ii Exi qui mitteris iii Audit et suscepit

20

173–188

Haec est domus Domini ii Fundavit eam

21

188–197

Huc me sidereo ii Pungentem iii De me solus amor

22

197–208

Praeter rerum seriem ii Virtus Sancti Spiritus

23

209–223

Inviolata integra ii Tua per precata

24

223–237

Benedicta es coelorum Regina ii Per illud Ave

25

238–252

Verbum supernum/O salutaris hostia ii Se nascens

26

253–269

Te Deum Patrem ingenitum ii Laus Deo Patri

27

270–283

Seven Voices

M006. [Vol. 6, not yet published, is to include critical notes] [All the Rest of the Motets] M007. Gerstenberg, Walter, ed. Adrian Willaert: Opera Omnia. VII—Hymnorum Musica, 1542. Rome: American Institute of Musicology, 1959. (CMM, 3) Based on the 1542 collection of four-voice hymns published by Girolamo Scotto, W1113. The Hymns from Hymnorum Musica of 1542, W1113 No. (from edition)

Title

Pages

Conditor alme siderum [a 4] iii Vergente mundi vespere [a 4] (v) vi Te deprecamur, hagie [a 5]

1

1

[Christe, ii iv vi

2–I

6

redemptor omnium] Beata, quoque agmina [a 4] Martyres Dei incliti [a 5] Gentem auferte perfidam [a 6]

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The Hymns from Hymnorum Musica of 1542, W1113 (continued) No. (from edition)

Title

Pages

[Christe, redemptor omnium] ii Beata, cuius brachiis [a 4] vi Gentem auferte perfidam [a 5] [Jachet]

2–II

12

[Hostis Herodes impie] [ii] Ibant Magi quam viderant [a 4] [iv] Novum genus potentiae [a 5]

3

15

Aures ad nostras deitatis [a 4] iii Crimina lax pietate [a 3] v Christe lux vera [a 4] vii Tu nobis dona fontem [a 3] ix Gloria Deo sit aeterno Patri [a 5]

4

18

Vexilla Regis prodeunt [a 4] iii Quo vulneratus insuper [a 4] v Arbor decora et fulgida [a 4] vii O Crux ave, spes unica [a 5]

5-I

24

Vexillas Regis prodeunt [a 4] [ii] iii Quo vulneratus [a 3] [iii] iv Impleta sunt [a 4] [iv] v Arbor decora et fulgida [a 3] [v] vi Beata, cuius brachiis [a 4] [vi] vii O Crux ave, spes unica [a 5] [vii] viii Te summa Deus Trinitas [a 6]

5-II

31

[Ad cenam Agni provide] ii Cuius corpus [a 4] iv Jam pascha [a 3] vi Cum surgit [a 4] viii Gloria tibi Domine [a 5]

6

41

[Magne pater Augustine] ii Amatorem paupertatis [a 4] iv Tu de vita [a 6]

7

46

O iubar, ii iii iv v

8

51

9

61

nostrae specimen salutis [a 4] Reddis, heu, Christi [a 3] Scimus noc nostrum [a 2] Sindonem sacram colimus [a 5] Laus, honor Christo [a 6]

[Proles de coelo prodiit] ii Spoliatis Aegyptiis [a 4] iv Fac tria tabernacula [a 3] vi Dum reparat virtutibus [a 5]

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The Hymns from Hymnorum Musica of 1542, W1113 (continued) No. (from edition)

Pages

[Decus morum, dux minorum] ii Plaudat frater, regnat [a 4] iv Pro terrenis [a 3] vi Regis signum duce [a 5] viii Mina gregem dux [a 6]

10

65

Ad cenam Agni provide [a 5] [i] Sermone blando angelus [a 5]

11

71

Veni Creator Spiritus [a 4] iii Tu septiformis [a 3] v Hostem repellas longius [a 4] vii Gloria Patri Domino [a 5]

12

73

[Adesto Sancta Trinitas] ii Te coelorum militia [a 4] iv Unum te lumen [a 6]

13

79

[Pange lingua gloriosi] ii Nobis datus [a 4] iv Verbum caro [a 4] vi Genitori Genitoque [a 6]

14

83

[Ut queant laxis] ii Nuntius celso[a 4] iv Ventris obstruso [a 4] [vi] Sit decus [a 5]

15-I

91

[Ut queant laxis] ii Nuntius celso [a 4] iv Ventris obstruso [a 5] [Jachet]

15-II

96

[Aurea luce et decore roseo] ii Janitor coeli [a 5]

16

99

[Fons pietatis culmina] ii Cuius refulsit [a 4] iv Prisci proceres [a 3] [vi] Gloria tibi Trinitas [a 6]

17

102

Ave maris stella [a 4] iii Solve vincla [a 3] v Virgo singularis [a 5] vii Sit laus [a 6]

18

107

[Tibi, Christe, splendor patris] ii Collaudemus venerantes [a 4] iv Gloriam Patri [a 4]

19

114

Title

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The Hymns from Hymnorum Musica of 1542, W1113 (continued) No. (from edition)

Title

Pages

[Iste Confessor Domini sacratus] ii Qui pius [a 4] iv Unde nunc [a 5]

20

118

[Lucis Creator optime] ii Qui mane [a 4] iv Coelorum pulset [a 5]

21

122

[Exsultet coelum laudibus] ii Vos saecli [a 4] iv Quorum praecepto [a 4] vi Deo Patri [a 5]

22

125

[Jesu corona Virginum] ii Qui pascis [a 4] iv Te deprecamur [a 5]

23

129

M008. Gerstenberg, Walter, ed. Adrian Willaert: Opera Omnia. VIII—Psalmi Vesperales, 1550. n.p. : American Institute of Musicology, 1972. (CMM, 3) Based on the collection of psalm settings by Jachet of Mantua and Adrian Willaert, published in 1550 by Antonio Gardano, RISM B/I: 15501. Vespers-Psalms (1550) Title

Psalm No.

Composer

No.

Pages

Numbers 1–12: Alternating Choirs by Verses of Psalms Dixit Dominus

cix

Jachet and Willaert

1

1

Confitebor tibi Domine Beatus vir

cx

Jachet

2

6

cxi

Jachet and Willaert

3

15

Beata omnes

cxxvii

Jachet and Finot

4

19

Laudate pueri Dominum

cxii

Jachet

5

23

In exitu Israel

cxiii

Jachet and Willaert

6

28

Laudate Dominum

cxvi

Jachet and Willaert

7

40

Dixit Dominus

cix

Jachet and Finot

8

42

Laudate pueri Dominum

cxii

Jachet

9

47

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325

Vespers-Psalms (1550) (continued) Title

Psalm No.

Composer

No.

Pages

Laetetus sum

cxxi

Jachet and Willaert

10

51

Nisi Dominus

cxxvi

Jachet and Willaert

11

57

Memento Domine David

cxxxi

Jachet and Anon.

12

61

Numbers 13–23: Only Uneven Verse Settings of Psalms Lauda Jerusalem

cxlvii

Jachet

13

72

Credidi, propter quod locutus sum

cxv

Jachet

14

76

In convertendo

cxxv

Jachet

15

78

Domine probasti me

cxxxviii

Scaffen

16

79

De profundis

cxxix

Jachet

17

85

Laudate pueri Dominum

cxii

Jachet

18

87

Laetetus sum

cxxi

Nasco

19

90

Nisi Dominus

cxxvi

Nasco

20

92

Dixit Dominus

cix

Jachet

21

93

Confitebor tibi Domine

cx

Jachet

22

96

Beatus vir

cxi

Jachet

23

99

Numbers 24–31: Double-Choir Psalms Laudate pueri Dominum

cxii

Willaert

24

102

Confitebor tibi Domine

cx

Willaert

25

107

Lauda Jerusalem

cxlvii

Willaert

26

115

De profundis

cxxix

Willaert

27

122

Memento Domine David

cxxxi

Willaert

28

129

Domine probasti me

cxxxviii

Willaert

29

140

Credidi, propter quod locutus sum

cxv

Willaert

30

154

In convertendo

cxxv

Willaert

31

160

M009. Meier, Helga, ed. Adrian Willaert: Opera Omnia. IX—Liber quinque missarum IV vocum, 1536. Neuhausen-Stuttgart: Hänssler-Verlag, American Institute of Musicology, 1987. (CMM, 3) The first five masses are based on the edition of Willaert’s four-voice masses, published by Francesco Marcolini in 1536 (W1103). The second Missa Quaeramus cum pastoribus is unique to CambraiBM 3. Though it certainly reflects a different compositional procedure than its twin in W1103, the editor’s rejection of Willaert as composer of this mass is premature.

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Masses for Four Voices Masses

No.

Pages

Missa Quaeramus cum pastoribus

1

1

Missa Christus resurgens

2

34

Missa Laudate Deum

3

71

Missa Gaude Barbara

4

108

Missa Osculetur me

5

144

Missa Quaeramus cum pastoribus [CambraiBM 3]

6

182

Motet Osculetur me [Gascogne?]

219

M010. [Vol. 10, not yet published; [Masses for Five and Six Voices, Kyrie, Passion of St. John] M011. [Vol. 11, not yet published; [Music for Vespers and Compline (1555); Ricarcari] M012. [Vol. 12, not yet published; [Chansons] M013. Gerstenberg, Walter, ed. Adrian Willaert: Opera Omnia. XIII—Musica Nova, 1559, Madrigalia. n.p. : American Institute of Musicology, 1966. (CMM, 3) The madrigals from the Musica Nova edition of 1559, W1126. Musica Nova, Madrigals (1559) Title

No.

Pages

1

1

Amor, Fortuna ii Né spero i dolci

2

4

Quest’anima gentil ii Se si posasse

3

8

Lasso, ch’i ardo ii Quest’arder mio

4

11

O invidia ii Né però che con atti

5

14

Più volte già ii Ond’io non pote’mai

6

19

Four Voices Io amai sempre ii Ma chi pensò veder

Five Voices

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Musica Nova, Madrigals (1559) (continued) Title

No.

Pages

Quando fra l’altre donne ii Da lei ti vien

7

23

L’aura mia sacra ii Ella sit ace

8

28

Mentre che’l cor ii Quel foco è morto

9

32

Onde tolse Amor ii Da quail angeli

10

36

Giunto m’ha Amor ii Nulla posso levar

11

40

I begli occhi ii Questi son que’begli occhi

12

45

Io mi rivolgo ii Talhor m’assale

13

49

Aspro core ii Vivo sol di speranza

14

54

Passa la nave ii Pioggia di lagrimar

15

61

I piansi, hor canto ii Sì profund’era

16

67

Cantai: hor piango ii Tengan dunque ver

17

73

In qual parte del ciel ii Per divina bellezza

18

79

I vidi in terra ii Amor, senno, valor

19

85

Ove ch’i posi gli occhi ii Amor e’l ver fur meco

20

90

Pien d’un vago pensier ii Ben, s’io non erro

21

96

Quando nascesti, Amor [poet: Panfilo Sasso]

22

103

Liete e pensose

23

108

Che fai alma? Che pensi?

24

114

Occhi piangete, accompagnate

25

119

Six Voices

Seven Voices

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M014. Meier, Helga, ed. Adrian Willaert: Opera Omnia. XIV—Madrigali e Canzoni Villanesche. Neuhausen-Stuttgart: n.p.: Hänssler-Verlag, American Institute of Musicology, 1977. (CMM, 3) An anthology of the remaining madrigals and Italian-texted works by Willaert. It includes two works written in honor of Willaert (nos. 51 and 52). Madrigals and other Italian-Texted Works Title

No.

Pages

Se’l veder voi m’ancide

1

1

Amor mi fa morire

2

4

Signora dolce

3

7

Quando gionse per gli occhi

4

9

Madonna, il bel desire

5

11

Grat’e benigna donna

6

13

Già mi godea felice

7

16

Qual anima ignorante [a 4]

8

20

Così vincete in terra

9

26

Chi volesse saper

10

31

Qual più diversa e nova cosa

11

36

Quante volte diss’io

12

40

Quando i begli occhi

13

44

Con doglia e con pietà

14

49

Oimè’l bel viso [Leonardus Barré]

15

54

Lagrime meste [Leonardus Barré]

16

58

Tant’alto sei, signore

17

61

Qual dolcezza giamai ii A la dolce armonia

18

65

Quanto più m’arde

19

71

Sciocco fu’l tuo desire

20

76

Qual anima ignorante [a 5]

21

82

Qual vista sarà mai

22

88

Amor, da che tu vuoi ii Gentil coppia eccellente

23

92

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Madrigals and other Italian-Texted Works (continued) Title

No.

Pages

Dove sei tu, mio caro ii Chi mi ti tols’, oimè

24

97

Mentre al bel letto ii In te Marte

25

102

Se la gratia divina

26

107

Ne le amar’e fredd’onde ii Ceda nata nel mar Venere

27

111

Ingrata è la mia donna ii Ingrat’hai lasso l’amo

28

116

Madonna, s’io v’amai

29

123

Son già molt’anni ii Son giont’al fin

30

127

Pianget’egri mortali

31

131

Rompi de l’empio cor

32

136

O socii, durate

33

142

Sempre mi ride sta

34

149

O dolce vita mia

35

151

Madonn’io non lo so

36

154

Cingari simo

37

156

Vecchie letrose

38

158

Madonna mia fa

39

160

Un giorno mi pregò

40

162

A quand’a quand’havea

41

165

O bene mio

42

166

Sospiri miei

43

168

Zoia zentil

44

170

Le vecchie per invidia

44

173

Occhio non fu giamai

45

175

Quando di rose d’oro

46

176

Se pur ti guardo

47

177

E se per gelosia

48

179

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Madrigals and other Italian-Texted Works (continued) Title

No.

Pages

Vu hà ben casun ii Unde Straluso [Daniel Grisonio]

49

181

Dulce padrun ii Mi xe stà chel

50

185

Sassi palae ii E vu fiumi [Andrea Gabrieli]

51

190

Pianza’l Grego Pueta ii Fra tandi [Alvise Willaert]

52

195

M015. [Vol. 15, not yet published, is to include critical notes]

COMPLETE EDITION (BREITKOPF) M016. Zenck, Hermann, ed. Adrian Willaert Sämtliche Werke, Erste Band: Motetten zu 4 Stimmen, 1 und 2. Buch (1539 und 1545). Leipzig: Breitkopf und Härtel, 1937. Reprint Hildesheim: Georg Olms, 1968. (Publikationen älterer Musik, Jarhg. IX) This edition contains the same motets as in M001 and M002. The edition here is virtually identical to M001 and M002, with the exception of choices of clef for the transcriptions. This edition includes a detailed critical apparatus, making it the preferred edition of this repertory above the CMM edition. Title

No.

Pages

Ave Maria, gratia plena

1

1

Ave dulcissime Domine

2

3

Beata Dei Genitrix ii Et beata

3

5

O Domini Jesu Christe

4

8

Domine Jesu Christe, Fili Dei

5

12

Ad te Domine

6

14

Tota pulchra es

7

16

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Modern Editions of Willaert’s Music (M) Title

331 No.

Pages

Strinxerunt corporis membra ii Mea nox

8

21

Valde honorandus est beatus Joannes

9

24

Ave Virginum gemma

10

25

Congratulamini mihi omnes ii Recedentibus

11

29

Antoni pastor inclyte

12

32

Omnipotens sempiterne Deus

13

35

O gemma clarissima

14

37

O Thoma laus et Gloria

15

38

Angelus Domini descendit

16

40

Joannes Apostolus ii Ecclesiam tuam

17

42

Natale Sanctae Euphemiae ii Tu Domine

18

46

O magnum mysterium ii Ave Maria

19

49

Magne martyr Adriane

20

52

In tua patientia

21

53

Homo quidam fecit ii Christus vere

22

55

Nazaraeus vocabitur

23

60

Videns Dominus

24

62

Quasi unus de paradise ii Deus qui beatum Marcum

25

63

Benedicta es coelorum Regina ii Per illud Ave

26

67

Salve, Crux sancta ii Causa etiam

27

70

Mirabile mysterium

28

73

Sancte Paule Apostole

29

75

Ave Regina coelorum ii Gaude gloriosa

30

77

Inviolata integra ii Nostra ut pura

31

80

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Pages

Dominus regit me ii Parasti

32

83

Saluto te ii Rogo te

33

87

Patefactae sunt januae ii Mortem enim

34

92

Pater noster ii Ave Maria

35

97

Congratulamini mihi omnes ii Beatam

36

101

Parens tontantis maximi

37

105

Usquequo Domine ii Illumina oculos

38

108

Magnum haereditatis mysterium

39

112

Ave Regina coelorum, Mater regis

40

114

Spritus meus ii Libera me

41

116

Veni Sancte Spiritus ii Sine tuo

42

120

Domine Jesu Christe memento ii Et concede

43

125

Quem terra, Pontus, aethera ii Beata coeli

44

129

Dulces exuviae

45

133

Flete oculi

46

136

Beatus Stephanus ii Et videntes

47

138

Beatus Joannes Apostolus ii Ipse est enim

48

142

Victimae paschali laudes ii Dic nobis

49

146

Surgit Christus ii Dic Maria iii Dic Maria

50

150

Intercessio, quaesumus

51

159

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Modern Editions of Willaert’s Music (M) Title

333 No.

Pages

Qui habitat ii Cadent iii Ijn manibus

52

161

Armorum fortissimo ii Te igitur

53

170

Regina coeli laetare

54

173

In illo tempore stabant

55

175

CRITICAL EDITIONS OF WILLAERT’S MUSIC FROM OTHER SERIES M017. Cardamone, Donna G., ed. Adrian Willaert and His Circle: Canzone Villanesche alla Napolitana and Villotte. Madison: A-R Editions, 1978. (RRMR, 30) This is an excellent critical and performing edition of this repertory. It also includes lute intabulations of a number of Willaert’s pieces; these are listed below in the section “Arrangements of Willaert’s Music by Other Composers.” Only Willaert pieces are listed in the following table. Title

No.

Pages

A quand’a quand’haveva una vicina

1

1

Cingari simo venit’a giocare

3

6

Madonna mia famme bon’offerta

5

11

Madonn’io non lo so perchè lo fai

7

15

O bene mio fam’uno favore

9

20

O dolce vita mia che t’haggio fatto

11

25

Occhio non fu giamai che lachrimasse

12

29

Quando di rose d’oro

13

31

Sempre mi ride sta donna da bene

15

35

Sospiri miei d’oime dogliorirosi et senz’aita

17

41

Un giorno me pregò una vedovella

18

44

Vecchie letrose non valete niente

19

49

Zoia zentil che per secreta via

20

51

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For edition of arrangements of Willaert’s works, see below. M018. Bernstein, Lawrence F., ed. La Couronne et Fleur des Chansons a Troys. 2 vols. New York: The Broude Trust, 1984. (Masters and Monuments of the Renaissance, 3) An excellent study and edition of this important collection of three-voice chansons. La Couronne et Fleur contained nearly all of Willaert’s threevoice chansons (missing are C’est donc pour moy que ansins, Sur le joly jonc, and Sy je ne voy m’amie—none of which appear in 15361). The critical notes and commentary are of the highest standard. Part 1: Music [all a 3]. (Only Willaert Chansons for three voices listed). Title

No.

Pages

Allons, allons gay, gayement, ma mignone

1

1

Or suis je bien au pire

2

5

J’ayme par amours

3

8

Qui la dira la peine de mon cueur

5

13

La rousé du moys de may

6

17

Dessus nostre treille de may

9

29

Qui est celuy qui a dit mal du con?

10

34

Sire Dondieu

11

37

Jan. Jan. quant tu t’en iras

16

58

Je ne sçaroys chanter ne rire

17

64

Qui veult aymer il fault estre joyeulx

19

71

Baisés moy tant tant

20

75

La jeusne dame va au molin

25

101

J’ay veu le regnart et le loup et le lievre

27

108

Quant le joly Robinet

30

121

Baisés moy tant tant

31

125

[N’]a tu point veu la viscontine

32

130

Vous marchez du bout du pié

33

134

Perot, viendras tu aux nopces?

36

148

He Dieu, Helayne!

40

163

M019. Bernstein, Jane A., ed. Adrian Willaert: The Complete Five and Six-Voice Chansons. New York and London: Garland, 1992. (The Sixteenth-Century Chanson, 23)

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The present volume lacks a full critical report. Bernstein does provide an introduction to the repertory, and a useful discussion of works with problematic ascription. The edition itself is of a high standard and is well presented. Title

No.

Pages

A la fontaine du pré Margot [a 6]

1

5

Aller m’y faut sur la verdure [a 5]

2

14

Baisés moy tant tant [a 5]

3

24

De retourner mon amy je te prie [a 6]

4

33

Douleur me bat & tristesse m’affolle [a 6]

5

40

En douleur & tristesse [a 6]

6

48

Faulte d’argent c’est douleur nompareille [a 6]

7

57

Helas ma mere helas maman [a 5]

8

65

Je l’ay aymée bien sept ans & demy [a 5]

9

74

ii Qui a beau nez beuvra à la bouteille [a 6]

Je ne sçaurois chanter ne rire [a 5]

10

82

Jouissance vous donneray [a 5]

11

90

Mon coeur mon corps, mon ame & mon avoir [a 6]

12

97

Mort ou mercy en languissant j’attens [a 5]

13

104

Or suis-je bien au pire [a 6]

14

111

Petite camusette [a 6]

15

120

Puis donc que ma maistresse [a 6]

16

127

Puis que j’ay perdu ma maitresse [a 5]

17

135

Qui la dira la peine de mon coeur [a 5]

18

141

Qui veut aymer il faut estre joyeux [a 6]

19

146

Sire don dieu tant ils sont aises [a 5]

20

152

Sonnez m’y donc qund vous irez [a 5]

21

160

Voulez ouir chansonette [a 5]

22

169

Vous aurez tout ce qui est mien [a 5]

23

179

Vous ne l’aurez pas si je puis [a 6]

24

185

Fors seulement la mort [a 5]

25

195

M020. Judd, Robert, ed. Adriano Willaert, Antonino Barges, Girolamo [Cavazzoni] da Bologna, Cipriano de Rore, and Anonymous: “Fantasie recercari contrapunti a tre voci (Venice, 1551),” and Adriano Willaert: Ricercars

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from “Motetta trium vocum ab pluribus authoribus composita (Venice, 1543).” New York and London: Garland, 1994. (Italian Instrumental Music of the Sixteenth and Early Seventeenth Centuries, 2) Excellent edition, with commentary and critical report. Title

No.

Pages

Regina celi

1

1

Recercar primo

3

14

Recercar segondo

4

24

Recercar terzo

5

33

Recercar quarto

6

43

Recercar quinto

7

55

Recercar sesto

8

66

Recercar settimo

9

74

Recercar ottavo

10

82

Recercar decimo

12

100

[Recercar primo in] Re

18

139

[Recercar secondo in] Mi

19

144

[Recercar terzo in] Fa

20

149

[Recercar quarto in] Sol

21

155

OTHER EDITIONS OF WILLAERT’S WORK Masses M021. Averkamp, Anton, ed. Missa super Benedicta door Adriaen Willaert. Naar het handschrift in de bibliotheek van de Illustre Lieve-Vrouwe broederschap te ‘s Hertogenbosch in partituur gebracht, voor practisch gebruik ingericht en van een inleiding voorzien. Amsterdam: G. Alsbach, 1915. (Vereeniging voor Nederlandse Muziekgeschiedenis, Uigave 35.) Missa Benedicta es pp. 3–26. The edition is transposed on to B flat; the introduction contains facsimile pages of ‘s HerAB 72A, ff. 1v –2r (Kyrie I), on which the edition is based.

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M022. Lenaerts, Rene, ed. Missa “Mente Tota” 6 Vocum. Mechelen: Private Edition, 1935. Missa Mente tota Handwritten transcription. See Lenaerts’ article in Musica Sacra on this mass.

Motets M023. Commer, Franz. Collectio operum musicorum batavorum saeculi XVI. 2 vols. Berlin: M. Bahn, 1844–1858.

Band 2 Magnificat no. 6. Cum invocarem examdivit no. 7. In te Domine speravi no. 8. Early edition of Willaert’s in important historical anthology from the mid-nineteenth century, e018, c029, c030. Magnificat is e018, almost certainly not by Willaert. Commer’s source for all three works must have been 15641. M024. Maldeghem, Robert Julien van, ed. Trésor musical: collection authentique de musique sacrée & profane des anciens maitres belges recueillie et transcrite en notation moderne. Brussels: Librairie Européenne de C. Muquardt, 1865–1893. Reprint Vaduz, Liechtenstein: Kraus, 1965. Musique Religieuse (1865, Première Année). Simulacra gentium no. 9, p. 19. Maldeghem’s Trésor musical is the most extensive historical anthology of the nineteenth century. Sources for transcriptions are provided. Simulacra gentium is verse 12 of psalm cxiii, In exitu Israel (C016). Maldeghem probably used the example from Martini’s Esemplare (1774), pp. 211–212.

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M025. Maldeghem, Robert Julien van, ed. Trésor musical: collection authentique de musique sacrée & profane des anciens maitres belges recueillie et transcrite en notation moderne. Brussels: Librairie Européenne de C. Muquardt, 1865–1893. Reprint Vaduz, Liechtenstein: Kraus, 1965. Musique Religieuse (1866, Deuxième Année). Pater Noster [a 4] no. 7, pp. 25–29. Quia devotis laudibus [a 4] no. 8, pp. 30–31. O gemma clarissima [a 4] no. 9, pp. 32–34. Editions of B074, B079 (still the only published transcription of this motet), B066. M026. Maldeghem, Robert Julien van, ed. Trésor musical: collection authentique de musique sacrée & profane des anciens maitres belges recueillie et transcrite en notation moderne. Brussels: Librairie Européenne de C. Muquardt, 1865–1893. Reprint Vaduz, Liechtenstein: Kraus, 1965. Musique Religieuse (1880, Seizième Année). Da pacem Domine no. 8, pp. 42–43. Edition of B033. M027. Ambros, August W., Geschichte der Musik. 3. gänzlich umgearb. Aufl. Leipzig: F. E. C Leuckart, 1887–1891; repr. Hildesheim: Georg Olms, 1968. (Vol. 5, Auserwählte tonwerke der berühmtesten meister des 15. und 16. jahrhunderts, 1889) Pater Noster [a 4] ii Ave Maria pp. 538–551. Early edition of one of Willaert’s most famous motets, B074. Uses original note values, and provides comparative reading of motet from two sources, 15387 and W1109 (1545). A valuable edition. M028. Collins, Henry, ed. Regina coeli (Musica quatuor vocum. Liber secundus). London: 1917.

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Regina coeli [a 4] Performing edition of B083, transposed on A, now superceded by M002. M029. Einstein, Alfred, ed. Beispielsammlung zur Musikgeschichte. Leipzig: B. G. Teubner, 1930. O magnum mysterium no. 16, pp. 18–21. Edition of B067. Example of Willaert for 1930 historical anthology. This Christmas motet remains one of Willaert’s most popular works. Edition now superceded by M001 and M016. M030. Collins, Henry, ed. Pater noster. London: Cary & Co., 1931. Pater noster Performing edition of B074, transposed on A, now superceded by M002 and M016. M031. Davison, Archibald T., and Willi Apel, eds. Historical Anthology of Music-Oriental, Medieval and Renaissance Music. Cambridge, MA: Harvard University Press, 1946. Victimae paschali laudes [a 6] no. 113, pp. 116–118. Edition of B192, now superceded by M005. The edition includes only the prima pars, and is based on the 1559 collection, Musica Nova. M032. Engel, Lehman, ed. Three Centuries of Choral Music: Renaissance to Baroque, Selected and Edited, with Historical and Biographical Notes. Vol. 2, Italian Music. New York: Flammer, 1940. Beatus Stephanus pp. 10–14. Edition now superceded by M002 and M016. M033. Smijers, Albert, ed. Oud-Nederlandsche Kerkmuziek: Twaalf Motetten voor Gemendgd Koor. 2 vols. Utrecht: W. J. R. van Rossum, 1946. Vol. 1 O coeleste convivium no. 11, pp. 32–33.

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Vol. 2 Pater noster no. 11, pp. 26–30. O coeleste convivium (b203) has not been traced to any manuscript or print source. It seems unlikely that Smijers would have been mistaken, but unfortunately he does not provide the source for his edition. Therefore it is catalogued here under “Doubtful and Misattributed.” M034. Osthoff, Helmut, ed. Fünf Vergil-Motetten: zu 4–7 Stimmen. Wolfenbüttel: Möseler, 1956. (Das Chorwerk, Heft 54) Dulces exuviae, dum fata deusque sinebat no. 3, pp. 9–12. Collection of five motets based on texts by Virgil. The edition is transposed up a minor third here. Now superseded by M002 and M016. Other composers include Arcadelt, Josquin, and Rore. M035. Zanon, Maffeo, ed. In tua patientia. New York: Ricordi, n.d. [1957]. In tua patientia [a 4] Performing edition. Editions in M001 and M016 are preferable. M036. Zanon, Maffeo, ed. Nazaraeus vocabitur. New York: Ricordi, n.d. [1957]. Nazaraeus vocabitur [a 4] Performing edition. Editions in M001 and M016 are preferable. M037. Zanon, Maffeo, ed. Videns dominus. New York: Ricordi, n.d. [1957]. Videns dominus [a 4] Performing edition. Editions in M001 and M016 are preferable. M038. Zanon, Maffeo, ed. Ave regina caelorum. New York: Ricordi, n.d. [1957]. Ave regina caelorum [a 4] Performing edition. Editions in M001 and M016 are preferable. M039. Gerstenberg, Walter, ed. Adrian Willaert-Drei Motetten zu fünf Stimmen. Wolfenbuttel: Möseler Verlag, 1957. (Das Chorwerk, Heft 59) Sacro fonte regenerata ii Illustrante Spiritu no. 1, pp. 1–12.

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Laus tibi, sacra rubens ii Basilii felix aedes no. 2, pp. 13–21. Benedictus redemptor omnium ii Magne pater no. 3, pp. 22–30. Edition of B147, B130, B112. No other edition of these motets has been published. All three motets appear in 15446. M040. Zanon, Maffeo, ed. Magne martyr Adriane. New York: Ricordi, n.d. [1958]. Magne martyr Adriane [a 4] Performing edition. Editions in M001 and M016 are preferable. M041. Zanon, Maffeo, ed. O gemma Clarissima. New York: Ricordi, n.d. [1958]. O gemma Clarissima [a 4] Performing edition, transposed on D. Editions in M001 and M016 are preferable. M042. Lenaerts, Rene. Die Kunst der Niederlander. Köln: A. Volk, 1962. (Das Musikwerk, eine Beispielsammlung zur Musikgeschichte, Heft 22) Tota pulchra es no. 21, pp. 80–85. Edition based on M001 and M016. M043. Smijers, Albert, ed. Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535. Vol. 1. Paris: Éditions de l’Oiseau lyre, 1934. Beatus Stephanus no. 9, pp. 71–81. Intercessio, quaesumus Domine no. 16, pp. 131–137. Salva crux sancta no. 24, pp. 188–195. Edition of B026, B052, B087. The edition is based on the reading in Attaingnant’s print, 15343. No critical notes, but edition is reliable.

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M044. Smijers, Albert, ed. Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535. Vol. 2. Paris: Éditions de l’Oiseau lyre, 1936. Pater noster qui es in caelis no. 1, pp. 1–7. Congratulamini mihi omnes no. 5, pp. 32–41. Omnipotens sempiterne Deus no. 13, pp. 93–98. Ave regina caelorum no. 18, pp. 134–140. Patefactae sunt januae caeli no. 23, pp. 176–181. Edition of B074, B032, B069, B022, B073. The edition is based on the reading in Attaingnant’s print, 15344. No critical notes, but edition is reliable. M045. Smijers, Albert, ed. Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535. Vol. 4. Paris: Éditions de l’Oiseau lyre, 1960. Precatus est Moyses ii Memento Abraham Ysaac et Jacob no. 1, pp. 1–11. Edition of B143. The edition is based on the reading in Attaingnant’s print, 15346. No critical notes, but edition is reliable. M046. Smijers, Albert, ed. Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535. Vol. 7. Paris: Éditions de l’Oiseau lyre, 1962. Ecce Dominus veniet no. 3, pp. 20–25. Edition of B118. The edition is based on the reading in Attaingnant’s print, 15349. No critical notes, but edition is reliable. M047. Merritt, A. Tillman, ed. Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535. Vol. 8. Paris: Éditions de l’Oiseau lyre, 1962. Hac clara die ii Cui contra Maria haec reddit no. 3, pp. 15–25.

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Verbum bonum et suave ii Ave solem genuisti no. 8, pp. 62–78. Beata viscera Mariae no. 14, pp. 126–132. Sancta Maria regina caelorum ii O pia domina no. 18, pp. 164–174. Edition of B048, B191, B162, B149. The edition is based on the reading in Attaingnant’s print, 153410. No critical notes, but edition is reliable. M048. Merritt, A. Tillman, ed. Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535. Vol. 11. Paris: Éditions de l’Oiseau lyre, 1962. Videns Dominus flentes sorores no. 21, pp. 158–161. Edition of Willaert’s four-voice Videns Dominus (B103). The edition is based on the reading in Attaingnant’s print, 15353. No critical notes, but edition is reliable. M049. Merritt, A. Tillman, ed. Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535. Vol. 12. Paris: Éditions de l’Oiseau lyre, 1963. Regina caeli laetare ii Resurrexit sicut dixit no. 6, pp. 34–42. Edition of Willaert’s five-part Regina coeli (B145), which includes a canon in the tenor voice. The edition is based on the reading in Attaingnant’s print, 15354. No critical notes, but edition is reliable. M050. Fellerer, Karl G., ed. Altklassische Polyphonie. Cologne: A. Volk, 1965. (Das Musikwerk, eine Beispielsammlung zur Musikgeschichte, Heft 28) Ave Regina coelorum no. 7, pp. 31–33. This motet (B023) was included in this anthology to illustrate Willaert’s use of canon. The edition here is similar to that found in M002. There are no critical notes.

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M051. Malipiero, G. Francesco, and Fagotto, Virginio, eds. Antonfrancesco Doni-Dialogo della Musica. Vienna: Universal, 1965. (Collana di musiche veneziane inedite o rare, 7) Beatus Bernardus Canto 21, pp. 213–233. Edition presented in the context of Doni’s treatise, Dialogo della Musica (1544). M052. Lowinsky, Edward E., ed. The Medici Codex of 1518; a Choirbook of Motets Dedicated to Lorenzo de’ Medici, Duke of Urbino. 3 vols. Chicago: University of Chicago Press, 1968. (MRM, 3–5, vol. 4, transcription) Virgo gloriosa Christi Margareta preciosa no. 1, pp. 1–5. Saluto te sancta virgo Maria domina ii Rogo te ergo per illud gaudium no. 5, pp. 48–56. Regina celi letare alleluya ii Resurrexit sicut dixit alleluya no. 15, pp. 114–119. Christi virgo dilectissima virtutum ii Quoniam peccatorum molle premimur no. 21, pp. 150–156. Veni sancte spiritus et emitte celitus ii Sine tuo nomine no. 22, pp. 157–168. Beatus Johannes apostolus et evangelista ii Ipse est qui evangelii fluenta no. 24, pp. 172–179. Intercessio quesumus domine beate Barbare no. 25, pp. 180–185. Salva nos domine vigilantes custodi nos no. 34, pp. 227–230.

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Editions of Willaert’s motets found in FlorL 666; B104 (only edition available), B086, B084, B029 (only edition available), B100, B025, B052 and b210 (now thought to be by Mouton and not Willaert). The editions here are to be preferred to those found in the CMM edition. Includes extensive notes and critical commentary. See separate entries for volumes 3 and 5 in this bibliography. M053. Petti, Anthony G., ed. The Flemish School: For 4 Voices. London: Chester Music, 1977. (The Fifth Chester Book of Motets.) O magnum mysterium no. 11, pp. 38–41. Performing edition of Willaert’s Christmas motet, B067. M054. Thomas, Bernard, ed. Adrian Willaert—Five Double Canons for Four Voices or Instruments. London: London Pro Musica, 1986. (London Pro Musica, TM65) Inter natos no. 1, pp. 2–3. See M084. Only edition of four-voice setting of Inter natos (B051). Edition is based on reading in Antico’s 1520 collection (15203). M055. Picker, Martin, ed. The Motet Books of Andrea Antico. Chicago: University of Chicago Press, 1987. (MRM, 8) O gemma clarissima, Katherina [a 4] no. 24, pp. 286–289. Scholarly edition of B066, prepared from 15202 as the principal source. Includes critical commentary. This is the preferred edition of this motet. M056. Thomas, Bernard, ed. 2 Motto Motets from the Copenhagen MS:For 5 Instruments. London: London Pro Musica, 1995. (Early Music Library, 284) Forma decens mores/Alles in Ehren Edition of B120, otherwise unavailable. The edition also contains the motto motet, Commoda res et pulchra/Vertrau Gott allein by Jorgen Presten. M057. Roche, Jerome, ed. Masterworks from Venice: Willaert, Andrea Gabrieli, Merulo, Croce, Finetti, Monteverdi. London: Faber and Faber, 1994. Pater Noster ii Ave Maria no. 1.

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M058. Regina coeli. Musica V vocum: Venice 1539, Adrian Willaert. [Churcham]: Beauchamp Press, 1995. Regina coeli [a 5] Performing edition. Edition in M003 is preferable. M059. Victimae paschali laudes. Musica nova: Venice 1559. Adriaen Willaert. [Churcham]: Beauchamp Press, 1995. Victimae paschali laudes [a 6] Performing edition. Edition in M005 is preferable. M060. Congratulamini. Motecta liber primus V vocum: Venice, 1539. Adriaen Willaert. [Churcham]: Beauchamp Press, 1995. Congratulamini [a 5] Performing edition. Edition in M003 is preferable. M061. Lewis, Mary, ed. The Buglhat motet anthologies: selections from Liber cantus (vocum quatuor) triginta novem motetos habet (Ferrara-Buglhat, Hucher, and Campis, 1538) [and] Moteti de la simia (liber primus vocum quinque) (Ferrara-Buglhat, Hucher, and Campis, 1539); The Gardane motet anthologies: selections from Electiones diversorum motetorum distincte quatuor vocibus, nunc primum in lucem misse auctore excellenti musico Verdeloto et quorundam musicantium aliorum meditationes musices dulcissime (Venice, 1549). New York: Garland, 1995. (The Sixteenth-Century Motet, vol. 14) Visita quesumus domine [a 4] no. 16, pp. 55–61. Ne proiicias nos [a 5] no. 20, pp. 260–266. Edition of b204 and B134. No critical report. Reliable readings. M062. Sherr, Richard, ed. Liber undecimus ecclesiasticarum cantionum quinque vocum-: (Antwerp, Ssusato, 1555); Liber duodecimus ecclesiasticarum cantionum quinque vocum-: (Antwerp, Susato, 1557); Liber XIII [i.e., XIIII] ecclesiasticarum cantionum quinque vocum- (Antwerp: Susato, 1557. New York: Garland, 1997. (The Sixteenth-Century Motet, vol. 18) Creator omnium Deus [a 5] pp. 297–302. Only edition of B116 available. No critical report, but reading is reliable.

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M063. Sherr, Richard, ed. The Moderne Motet Anthologies—Four-Voice Motets from the Motteti del fiore Series, Part I. New York: Garland, 1998. (The Sixteenth-Century Motet, vol. 9) Stans autem Iesus no. 19, pp. 207–211. Only edition of B092 available. No critical report, but reading is reliable. M064. Macey, Patrick P., ed. Savonarolan Laude, Motets, and Anthems. Madison, Wisc.: A-R Editions, 1999. (RRMR, vol. 116) Infelix ego no. 25, pp. 135–151. Only edition of B174 available. Extensive commentary and note, excellent edition.

Psalms M065. Long, Joan, ed. Memento Domine David by Adrian Willaert. University Park, Pa. and London: Pennsylvania State University Press, 1969. (Penn State Music Series, no. 20) Memento Domine David (Psalm xxxi) pp. 5–24. Excellent edition of this double-chorus psalm, with full critical commentary. M066. Hunter, Ralph, ed. In convertendo Dominus: Psalm 125: A Song of Thanksgiving: for Double Chorus of S.A.T.B. and S.A.T.B. with Organ Accompaniment. Melville, NY: Belwin Mills, 1981. In convertendo Dominus Performing edition of this double-chorus psalm. The editor has added an organ part to the edition, doubling the vocal parts. M067. Hunter, Ralph, ed. Willaert—De Profundis (Psalm 129: A Song of Hope), SATB-SATB, Organ. New York: Peters Edition, 1992. De Profundis pp. 1–28. Performing edition of this double-chorus psalm. The editor has added an organ part to the edition, doubling the vocal parts.

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Miscellaneous Liturgical Music M068. Schmitz, Arnold, ed. Oberitalienische Figuralpassionen des 16. Jahrhunderts. Mainz: Schott, 1955. (Musikalische Denkmäler, Band I) [St. John Passion] Passio domini nostri Jesu Christi secundum Joannem [Rore/Willaert] pp. 61–92. The attribution of this work is problematic, though Willaert seems the more likely candidate. The edition itself collects a number of settings of the Passion from composers in Italy in the sixteenth century. Schmitz provides an extensive introduction to this passion in the preface. The edition is based on the 1557 print.

Chansons M069. Musica Antiqua. A Selection of Music of this and other Centuries from the Commencement of the Twelfth to the Beginning of the Eighteenth Century. London: Preston, 1812. De retourner mon ami [a 6] pp. 86–90. Early historical anthology edition of F054. M070. Maldeghem, Robert Julien van, ed. Trésor musical: collection authentique de musique sacrée & profane des anciens maitres belges recueillie et transcrite en notation moderne. Brussels: Librairie Européenne de C. Muquardt, 1865–1893. Reprint Vaduz, Liechtenstein: Kraus, 1965. Musique Profane (1878, Quatorzième Année). Mon pauvre cuoeur n’est pas à moi [a 4] nos. 1–4, pp. 3–6. [=Mon petit Coeur] Maldeghem’s Trésor musical is the most extensive historical anthology of the nineteenth century. Sources for transcriptions are provided. Edition of F035. Numbers 1 and 2 provide two resolutions of canonic chanson (two voices + two canonic voices). Numbers 3 and 4 present each resolution transposed down a perfect fourth (“transposé pour quatre voix d’hommes”).

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M071. Wolf, Johannes, ed. Sing- und Spielmusik aus älterer Zeit. 2d ed. Leipzig: Quelle & Meyer, 1931. Reprint New York: Broude Brothers, 1955. (Wissenschaft und Bildung, 218) Sur le ioly ioly ionc [a 3] no. 27, pp. 67–71. Important early-twentieth-century historical anthology. Edition of F021 based on W1129 here. The edition in M086 is preferable. M072. Bernet Kempers, Karel P., ed. Clemens non Papa: Opera omnia. Rome: American Institute of Musicology, 1951–1976. (CMM, 4) A la fontaine [a 6] vol. 7, pp. 43–48. This chanson (F053) was used as a model by Clemens non Papa in his six-voice Missa A la fontaine du prez. The edition here reduces rhythmic note values by four. M019 provides a preferable edition. M073. Holst, Imogen, ed. Dessus, nostre treille de may. Canzonet. London: Hawkes & Sons, n.d. [1955]. Dessus, nostre treille de may [a 3] Performing edition of F006, transcribed for recorders. M074. Seay, Albert, ed. Thirty Chansons for Three and Four Voices, from Attaingnant’s Collections. New Haven, Conn.: Department of Music, Yale University, 1960. (Collegium Musicum, no. 2) A l’aventure [a 4] pp. 16–22. Only edition of F024 available. Based on 15304. M075. Brown, Howard Mayer, ed. Theatrical Chansons of the Fifteenth and Early Sixteenth Centuries. Cambridge, Mass.: Havard University Press, 1963. Allons, allons gay [a 3] pp. 3–5. Faulte d’argent, c’est douleur non pareille [a 6] pp. 70–73. Editions of F001 and F057. The respective editions contained in M018 and M019 are preferable. Also see N205 for Brown’s important study Music in the French Secular Theater, 1400–1550.

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M076. Erb, James, ed. Chanson on Dessus le marché d’Arras: SATB, a cappella. New York: Associated Music Publishers, 1969. (New York Pro Musica Series, no. 31) Dessus le marché d’Arras [a 4] Performing edition of F027. Version in M127 is preferable. M077. Thomas, Bernard, ed. Seven Double Canons (Early 16th Cent.): For Four Instruments or Voices. London: Pro Musica, 1972. (London Pro Musica, RB2) Irons nous jours coucher no. 1. Only edition of F028 available. M078. Thomas, Bernard, ed. Four Double Canons for 4 Voices or Instruments (ATTB). North Harton, England: Antico Edition, 1973. Petite Camusette [a 4] no. 1, pp. 1–2. J’ayme bien mon amy [a 4] no. 2, pp. 4–5. Mon Petit Cueur [a 4] no. 3, pp. 6–7. Three four-voice chansons of Willaert, each a double canon (F036, F030, F035). These works are all early; they were published in Antico’s 1520 collection (15203). As the editor notes, these works are particularly difficult to perform because of the difficulties involved in adding editorial accidentals and musica ficta. M079. Thomas, Bernard, ed. Adrian Willaert-13 Chansons for Three Voices or Instruments. London: London Pro Musica, 1978. (London Pro Musica, PC 12) Vous marchez du bout du pié no. 1, pp. 1–3. Quant le joly Robinet no. 2, pp. 4–5. Qui veult aymer no. 3, pp. 6–7.

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Baisés moy no. 4, pp. 8–9. Je ne sçaroys chanter no. 5, pp. 10–11. He Dieu, he layne, la layne m’y fault no. 6, pp. 12–13. J’ayme par amours no. 7, pp. 14–15. Sire don Dieu no. 8, pp. 16–18. Or suis je bien au pire no. 9, pp. 18–19. Qui la dira no. 10, pp. 20–21. Perot, Perot, viendras tu aux nopces no. 11, pp. 22–23. La rousé du moys de May no. 12, pp. 24–25. Jan, Jan, quant tu t’en iras no. 13, pp. 26–28. Collection of chansons, all from 15361. The edition in M018 is preferable in all cases. M080. Gruber, Gernot, ed. Parodiemagnificat aus dem Umkreis der Grazer Hofkapelle:1564–1619. Graz: Akademische Druck- und Verlagsanstalt, 1981. (Denkmäler der Tonkunst in Österreich, Bd. 133) A la fontaine [a 6] pp. 91–95. This chanson (F053) was used as a model for an imitation magnificat by Andreas Zweiller. The edition here reduces rhythmic note values by four. M019 provides a preferable edition.

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M081. Thomas, Bernard, ed. Three Chansons (1572–1575) for Five Voices or Instruments. London: London Pro Musica, 1981. (London Pro Musica, EK18a) Qui la dira no. 2. Edition of F048. M086 provides a preferable edition. M082. Adams, Courtney S., ed. French Chansons for Three Voices (ca. 1550), Part I: Three-Part Chansons Printed by Gardane (154113). Madison, WI: AR Editions, 1982. (RRMR, vol. 36) C’est donc pour moy que ansins suis fortunée [a 3] [no. 28], pp. 65–67. The only edition available of F005. Excellent introduction and critical commentary. M083. Adams, Courtney S., ed. French Chansons for Three Voices (ca. 1550), Part II: Three-Part Chansons Printed by Gardane (154321) and the Tiers livre de chansons Printed by LeRoy and Ballard (155322). Madison, WI: A–R Editions, 1982. (RRMR, vol. 37) Allons, allons gay, gayement ma mignonne [a 3] [no. 3], pp. 29–31. Si je ne voy m’amie [a 3] [no. 26], pp. 77–78. Edition of F001 based on reading in 155322, with important variants from reading in 15361 (see M018). This is the only edition of Si je ne voy [F022]. Excellent introduction and critical commentary. M084. Thomas, Bernard, ed. Adrian Willaert—Five Double Canons for Four Voices or Instruments. London: London Pro Musica, 1986. (London Pro Musica, TM65) Mon petit cueur no. 2, pp. 4–5. J’ayme bien mon amy (I) no. 3, pp. 6–7. J’ayme bien mon amy (II) no. 4, pp. 8–9.

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Mon mary m’a diffamee no. 5, pp. 10–11. See M054. Edition of F035, F029, F030, F034. Examples of four-voice chansons by Willaert, each a double canon. Edition is based on reading in Antico’s 1520 collection (15203). M085. Thomas, Bernard, ed. Adrian Willaert—Two Chansons for Six Voices or Instruments. London: London Pro Musica, 1986. (London Pro Musica, Recercate e Passaggi, 8a) A la fontaine [a 6] no. 1, pp. 2–8. Arousez vo violette [a 6] no. 2, pp. 8–14. = La rose [f068] Editions of F053 and f068. The attribution of f068 comes from an arrangement in Bassano’s print of 1591 (see K032). f068 appears without text in 158831; the editor has taken the text from a five-voice setting by Benedictus and adapted it for the present chanson. This bibliography catalogs this work as La rose [f068]. The editions here have rhythmic values reduced by 4. This is the only edition of f068; M019 provides a preferable edition of F053. M086. Dobbins, Frank, ed. The Oxford Book of French Chansons. Oxford and New York: Oxford University Press, 1987. Sur le joli jonc [a 3] no. 8, pp. 22–25. Qui la dira [a 5] no. 9, pp. 26–29. Good performing editions of F021 and F048. M087. Hillier, Paul, ed. Le beau ballet d’amour: An Anthology of French Chansons from the Sixteenth Century. Newton Abbott, England: Antico, 1991. (Antico Edition, AE30) Baisés moy tant tant no. 5, pp. 18–25. Performing edition.

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M088. Thomas, Bernard, ed. The Schott Recorder Consort Anthology. Französische und spanische Musik London: Schott, 1991. vol. 2. Jouissance vous donneray no. 4. Performing edition of F045, arranged for recorders.

Tenorlied M089. Gudeweill, Kurt, and Horst Brunner, eds. Georg Forster: frische teutsche Liedlein (1539–1556), fünfter Teil (1556). Wolfenbüttel: Möseler Verlag, 1997. (Das erbe deutsche Musik, Band 63: Abteilung mehrstimmiges Lied, Band 8) Mein herz und gmüt no. 48, pp. 159–160. Critical edition with commentary. Jane Bernstein questions the attribution of this piece (see M019, xii–xiii).

Madrigals M090. Apollonian Harmony: a Collection of Glees, Catches, Madrigals, Canzonetts, Rounds & Canons … London: Thompson, n.d. [1795–1798?] Vol. 6, p. 57, contains a canon (4 in 2, inverted) ascribed to Willaert. Text “Amen, Hallelujah” probably added later. M091. Kiesewetter, Raphael G., ed. Schicksale und Beschaffenheit des weltlichen Gesanges vom frühen Mittelalter bis zu der Erfindung des dramatischen Styles und den Anfängen der Oper; mit musikalischen Beilagen. Leipzig: Breitkopf und Härtel, 1841. Onde tolse Amor l’oro no. IV, pp. 22–25. One of the earliest historical anthologies. Edition of G031 is transposed up a tone. M092. Maldeghem, Robert Julien van, ed. Trésor musical: collection authentique de musique sacrée & profane des anciens maitres belges recueillie et transcrite en notation moderne. Brussels: Librairie Européenne de C. Muquardt, 1865–1893; repr. Vaduz, Liechtenstein: Kraus, 1965. Musique Profane (1878, Quatorzième Année).

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Sasso chio ardo [a 4] no. 19, pp. 42–44. [= Lasso, ch’i ardo] Maldeghem’s Trésor musical is the most extensive historical anthology of nineteenth century. Sources for transcriptions are provided. Edition of G010. M093. Latham, Morton, ed. Dialogi a sette voce by Willaert. Bach Choir Magazine 30, n.d. [1892]. Quando nascesti, Amor Edition of G055. M094. Riemann, Hugo, ed. Handbuch der Musikgeschichte. Leipzig: Breitkopf und Härtel, 1907. (Zweiter Band, erster Teil: Das Zeitalter der Renaissance bis 1600) Lasso ch’io ardo pp. 385–388. Keyboard reduction of G010. An early example of a madrigal from the Musica Nova collection appearing in a general music history text. (See M092). M095. Wiora, Walter, ed. Italienische Madrigale: zu 4–5 Stimmen. Wolfenbüttel: Möseler, 1930. 31 p. (Das Chorwerk, Heft 5) Mentre che’l cor ii Quel foco è morto no. 1, pp. 5–11. Early edition of G028, transposed up a tone. One of the earliest editions of a madrigal from the Musica Nova. Version in M013 is preferable. M096. Einstein, Alfred, The Italian Madrigal. 3 vols. Princeton, NJ: Princeton University Press, 1949. Reprint 1971. Amor mi fa morire no. 31, pp. 59–62. Liete, e pensose, accompagnate no. 32, pp. 63–72. Third volume of Einstein’s study contains an anthology of examples including G003 and G053. See N181.

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M097. Malipiero, Gian Francesco, ed. Adriano Willaert e i suoi discendenti. Venice: Istituto per la collaborazione culturale, 1963. (Collana di musiche veneziane inedite o rare, 4) Giunto m’ha amor ii Nulla posso levar no. 1, pp. 1–13. Performing edition of G021. M098. Harman, Alec., ed. Popular Italian Madrigals of the Sixteenth Century. Oxford: Oxford University Press, 1976. Amor mi fa morire no. 1, pp. 2–6. Performing edition of G003. Version in M014 is preferable. M099. Luisi, Francesco, ed. Quattro madrigali a cinque e sei voci miste—Adriano Willaert, Cipriano de Rore. Roma: Pro Musica Studium, 1980. (Florilegio Musicale, 7) Ingrata è la mia donna [a 5] ii Ingrat’, hai lasso, l’amo no. 1, pp. 13–20. Rompi de l’empio cor [a 6] no. 1, pp. 21–25. Performing editions of G023 and G051. M100. Stevens, Denis, ed. Ten Renaissance Dialogues: For Mixed Voices. Sevenoaks, England: Novello, 1981. Che fai, alma? no. 2. Performing edition of G052. M101. Harman, Alec, ed. The Oxford Book of Italian Madrigals. Oxford: Oxford University Press, 1983. Amor mi fa morire no. 2, pp. 7–11. Quanto più m’arde no. 4, pp. 19–27.

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Cantai, or piango no. 22, pp. 115–126. Performing editions of G003, G038, G044. M102. Roche, Jerome, and Elizabet Roche, eds. The Flower of the Italian Madrigal: For Mixed Voices. Vol. 2, Monte–Willaert. New York: Galaxy, 1988. Qual dolcezza giami ii Et la dolce armonia no. 26, pp. 212–222. Passa la nave ii Pioggia di lagrimar no. 27, pp. 223–241. Edition of G035 transposed up a minor third. Edition of G049 untransposed. Performing editions. M103. Powers, Katherine, ed. Musica Spirituale, Libro Primo (Venice, 1563). Madison, Wisc.: AR Editions, 2001. (RRMR, vol. 127) Pianget’egri mortali no. 3, pp. 84–94. Scholarly edition of G032, with full commentary and introductory notes. The edition is preferable to the version in M014.

Other Vocal Music with Italian Text M104. Wiora, Walter, ed. Italienische Madrigale: zu 4–5 Stimmen. Wolfenbüttel: Möseler, 1930. (Das Chorwerk, Heft 5) O bene mio no. 2, p. 12. Early edition of H012. M105. Hertzmann, Eric, ed. Volkstümliche italienische Lieder: zu 3–4 Stimmen. Wolfenbüttel: Möseler, 1930. (Das Chorwerk, Heft 8) Un giorno mi prego no. 2, pp. 5–7. Zoia zentil no. 3, pp. 8–10.

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O dolce vita mia no. 9, pp. 16–17. Madonn’ io non lo so no. 10, pp. 18–19. Also see Chapter 9 for Hertzmann’s study of this repertory. Volume also contains works by Giovane de Nola and Thomaso Cimello. M106. Vanicky´, Jaroslav, ed. Madrigaly a Chansony. Prague: Státní Nakaladatelství Literatury, 1957. Zoia zentil pp. 15–17. Performing edition of H003. M107. Cisilino, Sira, ed. Grechesche libro I (1564): 39 composizioni di diversi autori su testi poetici di Manoli Blessi detto il Burchiella. Padova: G. Zanibon, 1974. (Celebri raccolte musicali venete del Cinquecento) Dulce padrun mi ho cognuso ii Mi xe sta chel c’ha fado Critical edition of Dulce padron (H005). This edition also contains its companion work, Daniel Grisonio’s, Vu ha ben casun. This edition is preferable to that in M014, and contains a detailed commentary and introduction to the 1564 collection of grechesche. M108. Thomas, Bernard, ed. Adrian Willaert—Five Villanelle (1545) for Four Voices or Instruments SATB. London: London Pro Musica, 1984. (London Pro Musica, TM42) Madonn’io non lo so no. 1. Cingari simo no. 2. Madonna mia fa no. 3. Vecchie letrose no. 4. O bene mio fa no. 5.

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359

Performing edition of H010, H004, H011, H015, H012. Editions in M017 are preferable. M109. Thomas, Bernard, ed. Adrian Willaert—Four Villanelle (1545) for Four Voices or Instruments SATB. London: London Pro Musica, 1985. (London Pro Musica, TM49) Sempre mi ride no. 1. O dolce vita mia no. 2. Un giorno mi prego no. 3. Sospieri miei no. 4. Performing editions of H014, H013, H007, H006. Editions in M017 are preferable. M110. Roche, Jerome, ed. Introduction to the Italian Madrigal: For Four Voices: Newly Revised and Edited from the Former Penguin Book of Madrigals for Mixed Voices. New York: Galaxy, 1989. Grat’e benigna donna ii Quando giunse no. 8, pp. 33–40. Un giorno mi pregò no. 9, pp. 41–45. M111. Thomas, Bernard, ed. The Schott Recorder Consort Anthology. Italienische Musik. Vol. 3. London: Schott, 1991. O bene mio famm’uno favore no. 9. Arrangement of H012 for recorder consort. M112. Roche, Jerome, and Elizabeth Roche, eds. The Flower of the Italian Madrigal: For Mixed Voices. Vol. 3, Light Madrigals and Villanellas. New York: Gaudia Music and Arts, 1995. Cingari simo no. 30, pp. 173–177.

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Madonn’io non lo so no. 31, pp. 178–181. O bene mio no. 32, pp. 182–185. Good performing editions of H004, H010, H012.

Instrumental M113. Tagliapietra, Gino, ed. Antologia di Musica Antica e Moderna. Vol. 1. Milan: G. Ricordi, 1931–1932. Ricercare a Tre Parti no. 2, pp. 4–8. Piano score of I013. M114. Zenck, Hermann, ed. Willaert Ricercari a 3 voci für beliebige Instrumente. Mainz: Edition Schott, 1933. Ricercari No. 1 pp. 4–6. Ricercari No. 2 pp. 7–9. Ricercari No. 3 pp. 9–12. Ricercari No. 4 pp. 12–15. Ricercari No. 5 pp. 15–18. Ricercari No. 6 pp. 19–21. Ricercari No. 7 pp. 21–23. Ricercari No. 8 pp. 23–26.

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Ricercari No. 9 pp. 26–27. First complete edition of Willaert’s three-voice ricercari from W1120. Contains I005–I011, I013, I014. Note values reduced by half. M115. Riemann, Hugo. Musikgeschichte in Beispielen: eine Auswahl von 150 Tonsätzen. geistliche und weltliche Gesänge und Intrumentalkopositionen zur Veranschaulichung der Entwicklung der Musik im 13.–18. Jahrhundert. 3d edition. Leipzig: Breitkopf und Härtel, 1925. Ricercar no. 42, pp. 78–81. Piano score of I013. M116. Peeters, Flor, ed. Ounederlandse Meesters voor het Orgel: Les Maitres Anciens Néerlandais pour Grand Orgue. Vol. 1. Paris and Brussels: Henry Lemoine, 1938. Ricercar no. 9, pp. 22–23. Ricercar no. 10, pp. 24–27. Ricercar no. 11, pp. 28–30. Arrangements for organ of I014, I006, I003. M117. See M031. Ricercar no. 115, pp. 120–121. Piano score of I014. M118. Peeters, Flor, ed. Ounederlandse Meesters voor het Orgel: Les Maitres Anciens Néerlandais pour Grand Orgue. Vol. 2. Paris and Brussels: Henry Lemoine, 1945. Ricercar no. 15, pp. 36–39. Arrangement of I011 for organ.

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M119. Klein, John, ed. The First Four Centuries of Music for the Organ from Dunstable to Bach (1370–1749). 2 vols. New York: Associated Music Publishers, 1948. Trio Ricercare vol. 1, pp. 56–60. Arrangement of I003 for organ. M120. Peeters, Flor, ed. Ounederlandse Meesters voor het Orgel: Les Maitres Anciens Néerlandais pour Grand Orgue. Vol. 3. Paris and Brussels: Henry Lemoine, 1949. Ricercar no. 14, pp. 36–39. Arrangement of I010 for organ. M121. Slim, H. Collin, ed. Musica nova. Accommodata per cantar et sonar sopra organi et altri strumenti, composta per diversi eccellentissimi musici. In Venetia, MDXL. Chicago: University of Chicago Press, 1964. (MRM, 1) Ricercar I no. 1, pp. 1–6. Ricercar X no. 10, pp. 43–48. Ricercar XIV no. 14, pp. 66–74. Appendix Ricercar 1 pp. 125–127. Critical edition with commentary of all of Willaert’s four-voice ricercari (I015–I018). Detailed introduction to the 1540 Musica nova collection. M122. McCoy, Stewart, ed. Adrianus fanstasie a 5. anonymous (Willaert?). [London]: Viola da gamba society, 1981. (Viola da gamba Society of Great Britain. Supplementary publications, no. 141) i021. Five-part instrumental work for viols. Edition is in five parts with no score. M123. Possiedi, Paolo, ed. Fantasie e ricercari per liuto. Milan: Edizioni Suvini Zerboni, 1981.

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Ricercar X Arrangement of I016 for lute. M124. Thomas, Bernard, ed. Five Italian Ricercars of the Mid-sixteenth Century: For Four Instruments ATTB. London: London Pro Musica, 1981. (London Pro Musica, TM31) Ricercar 7 no. 1. Performing edition of I018, from Musicque de Joye, 1550. M125. Thomas, Bernard, ed. Capricci e ricercare: Of the Mid-sixteenth Century: For Three Instruments. London: London Pro Musica, 1991. (London Pro Musica, TM21) Ricercar no. 4.

ARRANGEMENTS OF OTHER COMPOSER’S MUSIC BY WILLAERT M126. Thomas, Bernard, ed. Intavolatura de li madrigali di Verdelotto: de cantare et sonare nel lauto, 1536. London: London Pro Musica, 1980. (London Pro Musica Renaissance Music Prints, RM3) Title

No.

Catalog

Quanto sia liet'il giorno

1

J018

Quando Amor i begli occhi

2

J017

Donna leggiadra e bella

3

J008

Madonna qual certezza

4

J015

Con lagrime, et sospir

5

J004

Fuggi, fuggi cor mio

6

J009

Igno soave ove il mio foco

7

J011

Amor se d'hor in hor

8

J002

Donna che sete tra le belle bella

9

J007

Se mai provasti donna

10

J019

Afflitti spirti miei

11

J001

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Title

No.

Catalog

Ben che'l misero cor

12

J003

Madonna il tuo bel viso

13

J012

Divini occhi sereni

14

J006

Si lieta e grata morte

15

J020

Vita de la mia vita

16

J022

Gloriar mi poss'io donne

17

J010

Piove da gli occhi della donna mia

18

J016

Con l'angelico riso

19

J005

S'io pensasse madonna

20

J021

Madonna io sol vorrei

21

J013

Madonna per voi ardo

22

J014

Performing edition with critical commentary of W1104. Edition based on W1105 (1540).

ARRANGEMENTS OF WILLAERT’S MUSIC BY OTHER COMPOSERS M127. Seay, Albert, ed. Pierre Attaingnant-Transcriptions of Chansons for Keyboard. Rome: American Institute of Musicology, 1961. (CMM, 20) Dessus le marche darras Series II, no. 9, pp. 96–99. Critical edition of keyboard transcription (K001) and original four-voice chanson (F027). M128. Jacobs, Charles, ed. Antonio Valente, Intavolatura de cimbalo (Naples, 1576). Oxford, Clarendon Press, 1973. RILM: 1976-09482-cw. Chi la dira no. 10, pp. 68–72. Chanson model no. 26, pp. 157–162.

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365

Critical edition of keyboard version of Chi la dira by Antonio Valente (K027), with edition of original five-voice chanson [F018]. This is the earliest attributable source of Italian harpsichord music. Title

No.

Pages

A quand’a quand’haveva [Willaert-Abondante]

25

66

Madonn’io non lo so [Willaert-Bianchini]

26

67

Madonna mia fami bona offerta [Willaert-Abondante]

27

70

Madonn’io non lo so perchè lo fai [Willaert-Abondante]

28

72

Vecchie retrose [Willaert-Abondante]

29

74

A quand’a quand’haveva una vicina [Willaert-Pisador]

30

77

Madonna mia famme bon’offerta [Willaert-Pisador]

31

79

O bene mio famm’uno favore [Willaert-Pisador]

32

82

Lute Intabulations

Intabulations for Voice and Vihuela

Critical edition with commentary of lute intabulations, and intabulations for voice and vihuela, of Italian-texted works by Willaert. M130. Jacobs, Charles, ed. Miguel de Fuenllana. Orphenica lyra (Seville, 1554). Oxford: Clarendon Press, 1978. Orphenica lyra Libro segundo Ave maria [B074/ii] [o.37, f. 35, Adrian villar.] M131. Erig, Richard, and Veronika Gutmann, eds. Italian Diminutions: The Pieces with More Than One Diminution from 1553 – 1638. Zurich: Amadeus, 1979. [Italienische Diminutionen: die zwischen 1553 and 1638 mehrmals bearbeiten Sätze.]

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A la fontaine du pré no. 1, pp. 63–74. [with two divisions by dalla Casa and Bassano] Iouissance vous donneray no. 4, pp. 100–112. [with a division by dalla Casa, and a division for viola and basso continuo by Bonizzi] La rose no. 5, pp. 113–122. [with two divisions by dalla Casa and Bassano] Parallel editions of instrumental versions of F053, F045, f068. Critical commentary and introduction. M132. Thomas, Bernard, ed. Antonio Valente-Ricercars, Chansons and Dance from Intavolatura de Cimbalo 1576. London: London Pro Musica, 1980. (London Pro Musica, EK 18) Chi la dirra, disminuita (= Qui la dira) no. 4. Performing edition of keyboard version of Chi la dira by Antonio Valente (K027), M133. Wensiecki, Edmund, ed. Aus alten Lautentabulaturen: 24 Originalsätze des 16. und 17. Jahrhunderts für Altblockflöte (Querflöte, Violine) und Renaissancelaute oder Gitarre. Wilhelmshaven: Noetzel Edition, 1984. Con lagrima e sospir no. 3. Lute intabulation of J004. M134. MacClintock, Carol, trans. and ed. Vincenzo Galilei: Fronimo 1584. Neuhausen-Stuttgart: American Institute of Musicology/Hänssler, 1985. (Musicological Studies & Documents, 39) Qual’anima ignorante pp. 208–210. Facsimile of lute intabulation from 1584 edition of Fronimo. M135. Thomas, Bernard, ed. Girolamo Dalla Casa and Giovanni Bassano-Divisions on Chansons, III London: London Pro Musica, 1986. (London Pro Musica Edition Recercate e Passaggi, 8)

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367

A la fontaine [Bassano-Willaert] no. 1, pp. 1–8. Arousez vo violette [Bassano-Willaert] no. 2, pp. 8–14. Arousez vo violette [Dalla Casa-Willaert] no. 3. Arrangements of A la fontaine (F053) and Arousez vo violette [= La rose] (f068), for treble instrument and keyboard.

MUSIC COMPOSED IN HONOR OF WILLAERT M136. Meier, Helga, ed. Fünf Madrigale venezianischer Komponisten um Adrian Willaert: zu 4–7 Stimmen. Wolfenbüttel: Möseler Verlag, 1969. (Das Chorwerk, Heft 105) Giunto Adrian Lorenzo Benvenuti no. 1, pp. 1–8. M137. Meier, Bernhard, ed. Cipriano Rore: Opera Omnia. Vol. 5, Madrigals from Three to Eight Voices. Rome: American Institute of Musicology in Rome, 1959–1977. (CMM, 14) Concordes adhibete animos [In mortem Adriani Willaert] Cipriano de Rore pp. 118–121. M138. See M014. Sassi palae ii E vu fiumi no. 51, pp. 190–195, [Andrea Gabrieli]. Pianza’l Grego Pueta ii Fra tandi no. 52, pp. 195–201, [Alvise Willaert].

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M139. Kämper, Dietrich, ed. Giovanni Battista Conforti: Ricercare (1558) und Madrigale (1567). Cologne: Volk, 1978. (Concentus Musicus— Veröffentlichungen der musikgeschichtlichen Abteilungen des Deutsche Historischen Instituts in Rom, Band IV) S’hoggi son senz’honor Giovanni Battista Conforti no. 2, pp. 92–98. Kämper suggests Conforti may be identified as the Munich court musician G. B. Romano. S’hoggi son senz’honor was composed on the death of Willaert.

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IX Bibliography (N)

PRINTED SOURCES N001. Agee, Richard J. “The Privilege and Venetian Music Printing in the Sixteenth Century.” Ph.D. diss., Princeton University, 1982. UMI: 8228188. DAI: 43, no. 07A, (1982): 2147. RILM: 1982-04414-dd. Archival study of the relationship between the printing privilege and music printers in Venice in the sixteenth century. Examines the context of the Venetian printing privilege against the background of privileges issued in other centers of publishing. N002. Agee, Richard J. “The Venetian Privilege and Music-Printing in the Sixteenth Century.” EMH 3 (1983): 1–42. RILM: 1983-06726-ap. Summarizes findings from N001. Provides an appendix of privileges and licenses issued by the Venetian authorities from 1497 to 1612. N003. Agee, Richard J. “A Venetian Music Printing Contract and Edition Size in the Sixteenth-Century.” SM 15 (1986): 59–64. RILM: 1986-01107-ap. Archival study traces the connection of the Scotto printing house and the commissioner Benedetto “Vinitiano” a monk of San Giorgio, in relation to an edition of the music of Pauletto Ferrarese. N004. Agee, Richard J. The Gardano Music Printing Firms, 1569–1611. Rochester, NY: University of Rochester Press, 1998. (Eastman Studies in Music, 11). ISBN: 1580460208. RILM: 1999-23305-bm. 369

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Examines the role of Angelo and Alessandro Gardano, who continued the music printing business of Antonio Gardano. This study contains an inventory of music prints published by the Gardano press from 1569 to 1611. N005. Bernstein, Jane A. “The Burning Salamander: Assigning a Printer to some Sixteenth-Century Music Prints.” Notes 42 (1986): 483–501. RILM: 198606991-ap. A number of prints of lute music published in Venice between 1545 and 1547 appeared anonymously. Bernstein assigns these unsigned editions to Scotto on the basis of iconographical evidence. N006. Bernstein, Jane A. “Girolamo Scotto and the Venetian Music Trade.” In Atti del XIV congresso della Società Internazionale di Musicologia, Bologna, 1987: Trasmissione e recezione delle forme di cultura musicale. 3 vols. Vol. 1 edited by Angelo Pompilio, 295–305. Turin: Edizioni di Torino, 1990. Brief study of the career of Girolamo Scotto. Discusses distribution and sale of music prints, includes an examination of book fair catalogs. N007. Bernstein, Jane A. “Financial Arrangements and the Role of Printer and Composer in Sixteenth-Century Italian Music Printing.” AM 63 (1991): 39–56. RILM: 1991-12557-ap. Provides extensive background on the economics of the music printing business, with emphasis on the Scotto press. N008. Bernstein, Jane A. Music Printing in Renaissance Venice: the Scotto Press, 1539–1572. New York and Oxford: Oxford University Press, 1998. ISBN: 0195102312. RILM: 1999-23304-bm. Detailed bibliographic and historical study of the Scotto press, a principal Venetian printer of Willaert’s music. A principal source for Chapters 2 and 3 of the present study. N009. Bernstein, Jane A. Print Culture and Music in Sixteenth-Century Venice. New York and Oxford: Oxford University Press, 2001. ISBN: 0195141083. Essays from N008. Provides an overview of the relationship between the Scotto press and the Venetian music publishing business during the midsixteenth century. Includes tables of Venetian music editions, and dedicatees of Italian music edition from this era. Excellent chapters on the preparation, financing, production, and selling of the music print from the perspective of the Scotto press. N010. Bernstein, Lawrence F. “La courone et fleur des chansons a troys: A Mirror of the French Chanson in Italy in the Years between Ottaviano Petrucci and Antonio Gardano.” JAMS 26 (1973): 1–68. RILM: 197300244-ap.

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Bibliography (N)

371

Detailed discussion of important 1536 collection, containing most of Willaert’s three-voice chansons. Bernstein distinguishes three types of chanson in the collection: three-part arrangements, arrangements influenced by Parisian style, and free chansons in “patter style.” N011. Bernstein, Lawrence F. La Couronne et Fleur des Chansons a Troys. 2 vols. New York: The Broude Trust, 1984. (Masters and Monuments of the Renaissance, 3) ISBN: 0845073036. RILM: 1987-01473-cw. Contains a valuable discussion of Willaert’s three-voice chansons. See also the entry M018 in Chapter 8. N012. Boorman, Stanley. “Some Non-conflicting Attributions, and some Newly Anonymous Compositions, from the Early Sixteenth Century.” EMH 6 (1986): 109–157. RILM: 1986-01122-ap. Traces through bibliographical analysis, “conflicting attributions” in the early prints of Scotto and Gardano. Argues that three later attributions of madrigals to Willaert should be rejected in favor of attributions to Festa and in two cases, Verdelot (see g059, g060, g064). N013. Boorman, Stanley. “Early Music Printing: Working for a Specialized Market.” In Print and Culture in the Renaissance: Essays on the Advent of Printing in Europe, edited by Gerland P. Tyson and Sylvia S. Wagonheim, 222–245. Newark, DE: University of Delaware Press, 1986. ISBN: 087413286X. RILM: 1988-01760-ac. Provides a context for Venetian music printing in the period immediately before the first music editions of Scotto and Gardano. This coincides with the time of Willaert’s appointment and early years at San Marco. N014. Brown, Horatio F. The Venetian Printing Press, 1469–1800. An Historical Study Based upon Documents for the Most Part Hitherto Unpublished. New York: G. P. Putnam’s Sons; London: J. C. Nimmo, 1891. This is still a basic resource for research on printing in Venice. Contains much valuable material on printing in Venice in the sixteenth century. N015. Brown, Howard M. Instrumental Music Printed before 1600, a Bibliography. Cambridge: Harvard University Press, 1965. ISBN: 0674456106. This includes a large number of sources of Willaert’s instrumental music, and of instrumental arrangements of Willaert’s music by other composers. This volume was a principal source for Chapter 6 of the present study. N016. Brown, Howard M., completed and edited by Herbert Kellman, with Stacey Jocoy and Trudie Ranson. Anthologies of Printed Music, 1500–1550: Their Contents. 2 vols. Munich: Henle, (forthcoming). (RISM, Series B) Bibliography and inventories of print anthologies from 1500 to 1550.

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N017. Chapman, Catherine W. “Andrea Antico.” Ph.D. diss., Harvard University, 1964. This remains the best resource on the music printer and music prints of Andrea Antico. His Motetti novi & chanzoni franciose a quatro sopra doi (15203) is a very important early printed source for canonic chansons and motets by Willaert. N018. Eitner, Robert. Biographisch-bibliographisches Quellen-Lexikon der Musiker und Musikgelehrten der christlichen Zeitrechnung bis zur Mitte des neunzehnten Jahrhunderts. 10 vols. Leipzig: Breitkopf & Härtel, 1900–1904. Section on Willaert includes list of manuscripts and prints containing Willaert’s music. Though outdated, this is still an important basic source. Also see N093. N019. Heartz, Daniel. Pierre Attaingnant, Royal Printer of Music. Berkeley and Los Angeles: University of California Press, 1969. ISBN: 0520015630. RILM: 1969-00655-bm. Authoratative study of Pierre Attaingnant. Includes inventories of music prints by Attaingnant, with bibliographic data. Attaingnant was the most important printer of Willaert’s music outside Venice. This study was an important source for Chapter 3 of this book. N020. Lesure, François. Recueils imprimés, XVIe-XVIIe siècles. Munich: Henle, 1960. (RISM, B/I) Catalog of printed anthologies of music of the sixteenth and seventeenth centuries. Catalog numbers are used throughout this study. N021. Lesure, François, and Geneviève Thibault. Bibliographie des éditions d’Adrian le Roy et Robert Ballard (1551–1598). Paris: Heugel, 1955. Bibliographic study of the music prints of Le Roy and Ballard. The 1560 print of Le Roy and Ballard, Livre de Meslanges, and their 1572 print, Mellange de chansons, are central late sources for Willaert’s chansons. N022. Lewis, Mary S. Antonio Gardane and his Publications of Sacred Music, 1538–55. Ph.D. diss., Brandeis University, 1979. UMI: 7925673. DAI: 40, no. 06A, (1979): 2972. Lewis’s dissertation is now superceded by her more recent studies of Antonio Gardano. The dissertation focuses on Gardano’s biography, and on his prints of sacred music from 1538 to 1555. N023. Lewis, Mary S. “Antonio Gardane’s Early Connections with the Willaert Circle.” In Music in Medieval and Early Modern Europe: Patronage,

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Bibliography (N)

373

Sources and Texts, edited by Iain Fenlon, 209–226. Cambridge: Cambridge University Press, 1981. ISBN: 0521233283. Examination of the relationship that developed between Gardane and Willaert in the late 1530s and 1540s. Argues that Gardane’s editions of music by Willaert and his circle may have a special authority. N024. Lewis, Mary S. Antonio Gardano, Venetian Music Printer, 1538–1569: A Descriptive Bibliography and Historical Study. I: 1538–1549. New York: Garland, 1988. (Garland Reference Library of the Humanities, 718). ISBN: 0824084543. Reviews listed in RILM: 1988-11567-bm. Detailed bibliographic and historical study of Antonio Gardano, a principal Venetian printer of Willaert’s music along with Scotto. Covers years from 1538 to 1549. Includes inventories of prints, along with concordances of individual works. This was a principal source for Chapters 2 and 3 of the present study. N025. Lewis, Mary S. Antonio Gardano, Venetian Music Printer, 1538–1569: A Descriptive Bibliography and Historical Study. II: 1550–1559. New York: Garland, 1997. (Garland Reference Library of the Humanities, 719). ISBN: 0824084551. RILM: 1999-17888-bm. Continuation of N030, covers years from 1550 to 1559. N026. Patalas, Aleksandra. Catalogue of Early Music Prints from the Collections of the Former Preuβische Staatsbibliothek in Berlin. Kept at the Jagiellonian Library in Cracow. Kraków: Musica Iagellonica, 1999. This inventory lists the music prints formerly held at the Preuβische Staatsbibliothek in Berlin, now held at the Jagiellonian Library in Kraków. A large number of Willaert prints and print anthologies containing Willaert’s music are now held in Kraków. N027. Picker, Martin. The Motet Books of Andrea Antico. Chicago and London: University of Chicago Press, 1987. (MRM, 8). ISBN: 0226667960. See M055. Includes a checklist of prints by Andrea Antico, updating the work of Catherine Chapman (see N017). N028. Pogue, Samuel F. Jacques Moderne: Lyons Music Printer of the Sixteenth Century. Geneva: Librairie Droz, 1969. A bibliographic study of the music prints of Jacques Moderne. N029. Sartori, Claudio. Bibliografia delle opere musicali stampate da Ottaviano Petrucci. Florence: Olschki, 1948. Though now outdated, this study provides an easy reference for the contents of most of Petrucci’s music prints. One print by Petrucci (15193)

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contains a motet by Willaert, Verbum bonum et suave. This is the earliest printed source for a work of Willaert. N030. Schlager, Karlheinz. Einzeldrucke voor 1800. 12 vols. Kassel: Bärenreiter, 1971–. (RISM, A/I) RISM catalog of music prints before 1800. This study uses catalog numbers from this catalog. N031. Vanhulst, Henri. Catalogue des éditions de musique publiées à Louvain par Pierre Phalèse et ses fils 1545–1578. Brussels: Palais des Académies, 1990. Bibliographic study of the music prints of Pierre Phalèse. N032. Van Orden, Kate. “Imitation and ‘la musique des anciens’: Le Roy & Ballard’s 1572 Mellange de Chansons.” Revue de Musicologie 80 (1994): 5–29. Suggests that this print was a conscious retrospective of repertories from much earlier in the sixteenth century (15722). This print is a very important late source for Willaert’s chansons. N033. Vogel, Emil. Bibliothek der gedruckten weltlichen Vocalmusik Italiens, aus den Jahren 1500 bis 1700. 2 vols. Berlin: Haack, 1892. Bibliographic study of printed sources of Italian secular music.

MANUSCRIPT SOURCES N034. d’Alessi, Giovanni. “I manoscritti musicali del sec. XVI del Duomo di Treviso.” Acta Musicologica 3 (1931): 148–155. Brief introduction to the music manuscripts of the Archivio del Duomo in Treviso. N035. Blackburn, Bonnie J. Music for Treviso Cathedral in the Late Sixteenth Century: A Reconstruction of the Lost Manuscripts, 29 and 30. London: Royal Musical Association, 1987. (RMA Monographs, 3). ISBN: 0947854029. Reviews listed in RILM: 1987-01479-bm. TrevBC 29 and TrevBC 30 were two of the most important manuscript sources for Willaert’s motets. Shows a number of works in the manuscript were contrafacta of other motets and madrigals. Review of this study by Pozzobon revealed the recovery of much of TrevBC 29, now in a damaged state. N036. Brauner, Mitchell P. “The Parvus Manuscripts: A Study of Vatican Polyphony, ca. 1535 to 1580.” Ph.D. diss., Brandeis University, 1982.

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Traces the career of Johannes Parvus, the principal scribe of polyphony for the Papal chapel in the mid-sixteenth century. Discusses choice of repertory, and affects of Counter-Reformation on the choice of music to be copied. Relatively little music by Willaert appears in this group of manuscripts. N037. Bussi, Francesco. Piacenza Archivio del Duomo: Catalogo del Fondo Musicale. Milan: Istituto editoriale italiano, 1967. (Bibliotheca Musicae, 5) Catalog of music manuscripts at the Archivio del Duomo in Piacenza. N038. Call, Jerry, and Herbert Kellman. Census-Catalogue of Manuscript Sources of Polyphonic Music, 1400–1550. Compiled by the University of Illinois, Musicological Archives for RMS. 5 vols. [Rome]: American Institute of Musicology; Neuhausen-Stuttgart: Hänssler-Verlag, 1979–1988. (RMS, 1) Descriptive catalog, bibliography, and index of music manuscripts from 1400–1550. It also contains a number of later manuscripts containing Willaert’s music. This was a principal source for Chapter 4 of the present study. N039. Coussemaker, Charles E. Notice sur les Collections Musicales de la Bibliothèque de Cambrai. Paris: Techner, 1843. Reprint Hildesheim and New York: Olms, 1975. Includes inventories of CambraiBM 3 and CambraiBM 125-8, the latter superceded by Diehl’s study (N042 and N043). N040. Crawford, David E. “Vespers Polyphony at Modena’s Cathedral in the First Half of the Sixteenth Century.” Ph.D. diss., University of Illinois, 1967. UMI: 6808043. DAI, 28: no. 12A, (1967): 5087. Establishes a repertory of polyphony for Vespers from thirteen extant manuscripts. ModD 9 is an important source for Willaert’s motets. N041. Crawford, David E. Sixteenth Century Choirbooks in the Archivio Capitolare at Casale Monferrato. [Rome]: American Institute of Musicology, 1975. (RMS, 2)RILM: 1975-00556-bm. Examination and inventory of seven manuscript choirbooks at Casale Monferrato. Four of the choirbooks contain motets by Willaert. N042. Diehl, George K. “The Partbooks of a Renaissance Merchant. Cambrai: Bibliothèque municipale, MSS 125–128.” Ph.D. diss., University of Pennsylvania, 1974. Detailed examination of the partbooks, CambraiBM 125-8.

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N043. Diehl, George K. “The Illuminated Music Books of a Renaissance Merchant.” In Studies in Honor of Otto E. Albrecht, edited by John Walter Hill, 88–109. Kassel: Bärenreiter, 1980. Provides modern inventory and description of CambraiBM 125-8, based on the author’s dissertation. N044. Ferrarese, Francesca. Il Fondo musicale della Biblioteca capitolare del duomo di Treviso. Rome: Torre d’Orfeo, 1990. (Cataloghi di fondi musicali italiani, 12) Includes thematic indices of the surviving Treviso manuscripts. N045. Finscher, Ludwig. “Der Medici-Kodex-Geschichte und Edition.” Die Musikforschung 30 (1977): 468–481. RILM: 1977-04467-bm. Review of Lowinsky’s edition of FlorL 666. N046. Gaspari, Gaetano. Catalogo della Biblioteca del Liceo Musicale in Bologna. 5 vols. Bologna: Libreria Romagnoli dall’Acqua, 1890–1905. Catalog of music manuscripts in the library of the Biblioteca del Liceo Musicale in Bologna. N047. Gottwald, Clytus. Die Musikhandschriften der Staats- und Stadtbibliothek Augsburg. Wiesbaden: Harrassowitz, 1974. (Handschriftenkataloge der Staats- und Stadtbibliothek Augsburg, B and I) Includes inventory and description of AugsS 1. N048. Gottwald, Clytus. Codices Musici (Cod. Mus. Fol. I 1–71). Wiesbaden: Harrassowitz, 1964. (Die Handscrhriften der Württembergischen Landesbibliothek Stuttgart, Band 1/I) Includes inventories and descriptions of StuttL 2, StuttL 3, StuttL 30, StuttL 35, StuttL 43, and StuttL 46. N049. Kellman, Herbert, ed. The Treasury of Petrus Alamire: Music and Art in Flemish Court Manuscripts, 1500–1535. Ghent and Amsterdam: Ludion, 1999. ISBN: 9055442704. Provides inventories and descriptions of manuscripts copied by Petrus Alamire and his workshop. Includes a number of color facsimile plates. Three manuscripts in this group contain music by Willaert: ‘s HerAB 72A, ‘s HerAB 72C, and VatP 1976-9. This study adds much new material to Smijers’ discussion of ‘s HerAB 72A and ‘s HerAB 72C. N050. Ktobukowska, Jadwiga. “Repertuar Rkopisu 4003 z Biblioteki Pan w Gdan`sku I Jego Znaczenie Historyczne.” Muzyka VI/3 (1963): 74–80. Brief discussion and inventory of Gdan`PAN 4003.

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N051. Kmetz, John. Die Handschriften der Universitätsbibliothek Basel; Katalog der Musikhandschriften des 16. Jahrhunderts. [Basel]: Universitätsbibliothek Basel, 1988. Includes inventory and description of BasU F.X.5-9. N052. Lockwood, Lewis. “Sources of Renaissance Polyphony from Cividale del Friuli: the Manuscripts 53 and 59 of the Museo Archeologico Nazionale.” Il Saggiatore Musicale 1 (1994): 249–314. Detailed investigation of CivMA 53 and CivMA 59 with inventories of the two manuscripts. N053. Lodi, Pio. Città di Modena: R. Biblioteca Estense. Parma: Fresching, 1923. (Bollettino dell’Associazione dei Musicologi Italiani, 8) Information on music manuscripts held at the Biblioteca Estense in Modena. N054. Lowinsky, Edward E. “A Newly Discovered Sixteenth-Century Motet Manuscript at the Biblioteca Vallicelliana in Rome.” JAMS 3 (1950): 173–232. RomeV 35-40 is a most important source for Willaert’s motets. N055. Lowinsky, Edward E. The Medici Codex of 1518; a Choirbook of Motets Dedicated to Lorenzo de’ Medici, Duke of Urbino. 3 vols. Chicago: University of Chicago Press, 1968. (MRM, vols. 3–5). Vol. 3, Historical Introduction and Commentary. RILM: 1968-01727-bm. Includes a detailed critical report on eight of Willaert’s motets in FlorL 666. Inventories of BolC Q27(1), LonRC 2037, and MunU 401, all important sources for Willaert’s motets. N056. Maier, Julius. Der musikalischen Handschriften der K. Hof- und Staatsbibliothek in München. Erster Theil. Die Handschriften bis zum Ende des XVII. Jahrhunderts. Munich: In Commiossion der Palm’schen Hofbuchhandlung, 1879. (Catalogus codicum manuscriptorum Bibliothecae Regiae Monacensis, Tomi 8/1) Inventories of several music manuscripts containing works by Willaert. Maier’s catalog numbers have now been superceded by new catalog numbers, however Chapter 4 does provide references to Maier’s catalog. N057. Mischiati, Oscar. “Un’Antologia Manoscritta in Partitura del Secolo XVI: Il Ms. Bourdeney della Bibliothèque Nationale di Parigi.” RIM 10 (1975): 265–328. Discussion and inventory of ParisBNC 851; a large manuscript collection notated in score, containing many works by Willaert.

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N058. Perkins, Leeman. Review of The Medici Codex of 1518; a Choirbook of Motets Dedicated to Lorenzo de’ Medici, Duke of Urbino, by Edward E. Lowinsky. MQ 55 (1969): 255–269. Suggests alternative hypothesis for the donor and compiler of the manuscript. Argues that Pope Leo X was responsible for having the manuscript compiled and copied. N059. Pozzobon, Michele. Review of Music for Treviso Cathedral in the Late Sixteenth Century, by Bonnie J. Blackburn. EMH 9 (1990): 251–259. Review revealed the recovery of much of TrevBC 29, now in a damaged state. N060. Slim, H. Colin. A Gift of Madrigals and Motets. 2 vols. Chicago and London: University of Chicago Press, 1972. RILM: 1972-00289-bm. An examination and edition of four partbooks (at the time of this study, the fifth altus partbook was thought to be lost) in the Newberry Library, ChiN M91. Contains three motets by Willaert. N061. Slim, H. Colin. “A Royal Treasure at Sutton Coldfield.” EM 6 (1978): 57–74. Announces the discovery of the fifth altus partbook, SuttonO 4, completing the set of partbooks at the Newberry Library (see N060). N062. Smijers, Albert. “Meerstemmige muziek van de Illustre Lieve Vrouwe Broederschap te ‘s-Hertogenbosch.” TVNM 16 (1940–1946): 1–30. Includes description and inventories of ‘s HerAB 72A, ‘s HerAB 72C, and ‘s HerAB 75. N063. Taricani, JoAnn. “A Chansonnier from a Library in Renaissance Augsburg: Munich Bayerische Staatsbibliothek, Mus. Ms. 1508.” Ph.D. diss., University of Pennsylvania. MunBS 1508 contains nine chansons by Willaert. Suggest that the manuscript was compiled in the 1540s. N064. Thompson, Glenda G. “Spanish-Netherlandish Musical Relationships in the Sixteenth Century: Mary of Hungary’s Manuscripts at Montserrat.” In Musique des Pays-Bas Anciens-Musique Espagnole Ancienne (1450–1650), edited by Paul Becquart and Henri Vanhulst, 69–113. Leuven: Peeters, 1988. (Colloquia Europalia, 3). ISBN: 9068311050. RILM: 1988-01964-as. Investigates the relationship between Mary of Hungary, who governed the Netherlands as regent of Emperor Charles, and a group of manuscripts belonging to the Netherlands Court complex, now in the Spanish monastery of Montserrat.

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N065. Tirro, Frank P. “Giovanni Spataro’s Choirbooks in the Archive of San Petronio in Bologna.” Ph.D. diss., University of Chicago, 1974. DAI: 35, no. 08A, (1974): 5455. Detailed examination of five manuscript anthologies of sacred polyphony, copied in whole or in part by Giovanni Spataro, who was maestro di canto of the church of San Petronio in Bologna from 1512 to his death in 1541. Discussion of the editorial approach of Spataro and the other scribes, relating to text underlay and musica ficta. N066. Tirro, Frank P. “La stesura del testo nei manoscritti di Giovanni Spataro.” RIM 15 (1980): 31–70. RILM: 1980-02664-ap. Discusses issues of text underlay in the context of its treatment in choirbooks from San Petronio in Bologna, the importance of the choirmaster Giovanni Spataro in the treatment of text, and contemporary theoretical statements from Lanfranco, Stocker, Vicentino, and Zarlino. Includes musical example of Willaert. N067. Tirro, Frank P. Renaissance Musical Sources in the Archive of San Petronio in Bologna. I: Giovanni Spataro’s Choirbooks. Neuhausen-Stuttgart: American Institute of Musicology, Hänssler-Verlag, 1986. (RMS, 4). ISBN: 3775108068. RILM: 1986-00134-bm. Examination and inventory of five choirbooks in the archive of San Petronio, BolSP 29, BolSP 31, BolSP 38, BolSP 45, and BolSP 46. N068. Weidensaul, Jane B. “Early 16th-Century Manuscripts at Piacenza: A Progress Report.” Current Musicology 16 (1973): 41–48. RILM: 197303259-ap. Brief discussion of the five sets of partbooks (some incomplete) of sacred music at the Fondo Musicale, Archivio del Duomo, in Piacenza. The manuscripts include a polyphonic hymn cycle by Willaert.

FACSIMILES OF MUSIC PRINTS N069. Intavolatura de li Madrigali di Verdelotto—Venezia 1536. Florence: Studio per Edizioni Scelte, 1980. (Archivum Musicum Collana di test rari no. 36) W1104 (1536) N070. Secundus tomus novi operis musici: sex, quinque et quaturo vocum, nunc recens in lucem editus Noribergae: H. Grapheus, 1538. Stuttgart: Cornetto-Verlag, 1996. (Faksimile Heilbronner Musikschatz; Nr. 9) 15383

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N071. Di Verdelot le dotte et eccellente compositioni de I madrigali a cinque voci. Brussels: Editions culture et civilisation, 1970. (Corpus of Early Music, 26) [Venice: A. Gardane, n.d.] [c.1538]20 N072. Le quatriesme livre des chansons à quatre parties. Brussels: Editions culture et civilisation, 1970. (Corpus of Early Music, 5) [Antwerp: T. Susato, 1544] 154412 N073. Le cincquiesme livre contenat trente & deux chansons à cincq et à six parties. Brussels: Editions culture et civilisation, 1970. (Corpus of Early Music, 6) [Antwerp: T. Susato, 1544] 154413 N074. Le sixiesme livre contenant trente & une chansons nouvelles à six parties. Brussels: Editions culture et civilisation, 1970. (Corpus of Early Music, 7) [Antwerp: T. Susato, 1545] 154514 N075. Intabolatura de lauto: Venedig 1546, Dominico Bianchini. Neuss: Päffgen, 1977. (Institutio pro arte testudinis. Serie A ; Band 4) K006, 15465 N076. Intabolatura di lauto: Libro primo, secondo et quinto-Giulio Abondante. Geneva: Minkoff, 1982. K017, 15481 N077. Musicque de joye. Edited by Samuel F. Pogue. Peer: Alamire, 1991. (Facsimile editions of prints and manuscripts, no. 21). ISBN: 9068530526. [c.1550]24 Introduction discusses the relationship between this collection and the earlier Musica Nova of 1540. N078. M. Adriano & De altri autori, Fantasie Recercari Contrapunti a tre voci— Venetia, Antonio Gardano, 1559. Edited by Ignace Bossuyt. Peer: Alamire, 1986. W1121 (1559) N079. Alcune opere de diverse voci, passaggiate principalmente per la viola bastarda, ma anco per ogni forte di stromenti e di voci. Venice, Alessandro Vincenti, 1626. Florence: Studio per Edizioni Scelte, 1983. (Archivum Musicum Collana di test rari, no. 54)

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FACSIMILES OF MUSIC MANUSCRIPTS N080. Dean, Jeffrey, ed. Vatican City, Biblioteca Apostolica Vaticana. Mansucript. Cappella sistina MS 46. New York: Garland, 1986. (Renaissance Music in Facsimile, 21) VatS 46. N081. Lowinsky, Edward E., ed. The Medici Codex of 1518; a Choirbook of Motets Dedicated to Lorenzo de’Medici, Duke of Urbino. 3 vols. Chicago: University of Chicago Press, 1968. (MRM, vols. 3–5). vol. 5, facsimile edition. FlorL 666. N082. Owens, Jessie Ann, ed. Bologna. Civico museo bibliografico musicale, MS. Q19: The Rusconi codex. New York: Garland, 1988. (Renaissance Music in Facsimile, 1) BolC Q19.

BIOGRAPHY N083. Aerbeydt, Guido. “Adriaen Willaert, eminent componist en grondlegger van de Venetiaanse school, niet te Brugge, maar te Roeselare of in de onmiddellijke omgeving van Roeselare geboren.” De Vlaamse Stam 13 (1978): 273–300. Detailed archival investigation of Willaert’s birthplace. Argues that Willaert was born in Roulaers, not Bruges. N084. Angillis, A. “Adrien Willaert.” Annales de la Société d’Emulation pour l’Etude de l’Histoire et des Antiquités de la Flandre 21 (1869): 364–365. Early examination of Willaert’s birthplace, with discussion of de Meyere’s claim that Willaert was born in Roulaers. N085. Bossuyt, Ignace. Adriaen Willaert (ca. 1490–1562): Leven en werk-stijl en genres. Leuven: Universitaire Pers Leuven, 1985. ISBN: 9061861829. The only one-volume study of Willaert available. Provides an overview of biography, style, and individual genres. Contains an important discussion of the possible birthplace of Willaert (pp. 15–21). Authoritative. N086. Bossuyt, Ignace. De Vlaamse polyfonie. Leuven: Davidsfonds, 1994. ISBN: 9061528437. RILM: 1994-02865-bm. Discussion of the history of a Flemish style in polyphony in the fifteenth and sixteenth centuries. Second half of the book treats a series of composers

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from Dufay to De Monte. Includes a brief treatment of Willaert and his contemporaries (pp. 117–126). N087. Bossuyt, Ignace, and Ferdinand de Hen, eds. Adriaan Willaert, Vlaams musicus te Venetië. Gruuthusemuseum 16/7 – 31/8/1995. Bruges: Festival van Vlaanderen, 1985. Exhibition catalog. N088. Carton, Charles-Louis. Notice sur Adrian Willaert, précédée et suivie de quelques détails sur les musiciens de la Flandre occidentale. Bruges, 1849. Early biographical sketch on Willaert that suggests Willaert was from Roulers and not Bruges. N089. De Bruyne, M. “Een standbeeld voor Adriaen Willaert te Roeselare.” In Jaarboek 1963, Geschied- en Oudheidkundig Genootschap van Roeselare en Ommeland, 27–32. Roeselare, 1963. Discussion of document suggests a connection between Willaert and Roulaers. N090. De Meyere, Jacques. Flandricarum rerum. Antwerp, 1531; Bruges, 1842. A contemporary of Willaert, Jacques de Meyere claimed that Willaert was born in Roulaers (see book 10). N091. Dewitte, A. “Gegevens betreffende het muziekleven in de voormalige SintDonaaskerk te Brugge 1251–1600.” Handelingen van het Genootschap “Société d’Emulation” te Brugge 111 (1974): 129–174. Includes discussion of Willaert’s contact with the church of St. Donatian’s in Bruges. N092. Eitner, Robert. Bibliographie der Musik-Sammelwerke des XVI. und XVII. Jahrhunderts. Berlin, 1877. Reprint Hildesheim: G. Olm, 1963. Eitner provides the first attempt at a worklist of Willaert’s music (pp. 923–931). N093. Eitner, Robert. “Adrian Willaert.” Monatshefte für Musikgeschichte 19 (1887): 81–92. Bibliographic essay provides inventories of several of the most important prints of Willaert’s music. N094. Felon, Iain. Music and Patronage in Sixteenth-Century Mantua. 2 vols. Cambridge: Cambridge University Press, 1980. Includes a facsimile and transcription of a letter from Willaert to Cardinal Ercole Gonzaga, dated 23 February 1549 (vol. 1, p. 176).

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N095. Gerstenberg, Walter. “Willaert, Adrian.” In MGG. Vol. 14, 662–676. Historiographic essay. Contains a working list of manuscript and print sources, superceding Eitner’s 1887 inventory. N096. Gregoir, Édouard. Adriaan Willaert—Levensschets. Brussels: Schott, 1869. 15 p. Early biographical sketch of Willaert. N097. Kubinyi, Andras. “Musikleben am Budaer Konigshof, Anfang des 16. Jahrhunderts. Geschulte Musiker und Spielleute.” Studia musicologica Academiae Scientiarum Hungaricae 15 (1973): 89–100. RILM: 1974-01953-ap. Suggests that Willaert may have been employed at the royal court in Buda. This suggestion must be treated with caution. N098. Lenaerts, René B. “Notes sur Adrien Willaert maître de chapelle de Saint Marc à Venise de 1527 à 1562.” Bulletin de l’Institut historique belge de Rome 15 (1935): 107–117. Willaert’s career as maestro di cappella at San Marco is examined. Lenaerts uses mostly secondary sources for this article. Includes a monochrome plate of the eighteenth-century portrait of Willaert from the Liceo Musicale in Bologna (discussed in Lowinsky “Problems in Adrian Willaert’s Iconography”). Includes a transcription of Willaert’s testament from March 1549. N099. Lenaerts, René B. “La chapelle de Saint-Marc à Venise sous Adriaen Willaert (1527–1562).” Bulletin de l’Institut historique belge de Rome 19 (1938): 205–255. Documentary study with transcriptions of primary documents concerning Willaert and San Marco, many published for the first time. This study remained the most important source for Willaert’s career at San Marco until Ongaro’s 1986 dissertation (N107). N100. Lenaerts, René B. “Voor de biographie van Adrian Willaert.” In Hommage à Charles van den Borren à l'occasion du centenaire de sa naissance, 17 novembre 1874, edited by Suzanne Clercx and Albert vander Linden, 205–215. Antwerp: Nederlandsche Boekhandel, 1945. Summary of Willaert’s biography based on secondary literature. Argues for Willaert’s birthplace as Bruges. N101. Lockwood, Lewis. “Josquin at Ferrara: New Documents and Letters.” In Josquin des Prez: Proceedings of the International Josquin FestivalConference Held at the Julliard School at Lincoln Center in New York City, 21–25 June 1971, edited by Edward E. Lowinsky, 103–137. London

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and New York: Oxford University Press, 1976. ISBN: 0193152290. RILM: 1976-05220-as. Documents for the first time the presence of Willaert in the chapel of Ippolito d’Este from 1516. Suggests that Willaert’s career began in Italy perhaps as early as 1515, certainly by 1516. Until this study, the earliest trace of Willaert in Italy was not until 1522 (see pp. 119–121). N102. Lockwood, Lewis. “Adrian Willaert and Cardinal Ippolito I d’Este: New Light on Willaert’s Early Career in Italy, 1515–1521.” EMH 5 (1985): 85–112. RILM: 1985-01347-ap. Examines Willaert’s relationship with Cardinal Ippolito I d’Este. Suggests that Willaert went at least once to Hungary with Ippolito. Appendix includes transcriptions of documents recording payments to Willaert. N103. Lockwood, Lewis, and Jessie Ann Owens. “Willaert, Adrian.” NG. Vol. 20, pp. 421–428. Incorporates biographical data to approximately 1975. Worklist supercedes Gerstenberg’s MGG list. N104. Lockwood, Lewis, Giulio Ongaro, Michele Fromson, and Jessie Ann Owens. “Willaert, Adrian.” NG2 online. Biographical essay and newly written discussion of music by Michele Fromson. Entry in NG2 online already contains revisions from the published artilce in NG2. NG2 online article is preferred. N105. Lowinsky, Edward E. “Problems in Adrian Willaert’s Iconography.” In Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, edited by Jan LaRue, 576–594. New York: Norton, 1966. RILM: 1995-15125-ac. A crucial study on Willaert’s iconography. Discusses portraits in Musica Nova as well as a number of posthumous portraits. Suggests a portrait in the Art Institute of Chicago may be of Willaert. This article is reprinted in N106, with superior reproductions of the plates. N106. Lowinsky, Edward E. Music in the Culture of the Renaissance and Other Essays. 2 vols. Edited by Bonnie J. Blackburn. Chicago: University of Chicago Press, 1989. ISBN: 0226494780. Collects essays and studies of Edward Lowinsky. This chapter treats articles separately under individual entries. N107. Ongaro, Giulio M. “The Chapel of St Mark’s at the Time of Adrian Willaert (1527–1562).” Ph.D. diss., University of North Carolina, 1986. UMI: 8711146. DAI: 48, no. 02A, (1986): 0245.

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Provides a documentary study of the administration and patronage of music at St. Mark’s with particular emphasis on the role of Willaert. This study is based on detailed archival research, with many examples provided in transcription. This dissertation was the first detailed investigation of this area since Caffi’s Storia della Musica. Appendices attempt to include all existing archival records relating to the history of the chapel up to 1562. N108. Ongaro, Giulio M. “Willaert, Gritti, e Luppato: Miti e realtà.” SM 17 (1988): 55–70. RILM: 1988-01909-ap. Archival study examining the roles of Pietro Lupato, Pietro de Fossis, and Adrian Willaert at San Marco in the first half of the sixteenth century, and their relationship with Doge Andrea Gritti. N109. Pistarino, G. “Ritratto di Adriano Willaert.” Rivista musicale italiana 56 (1954): 117–124. Brief discussion of aspects of Willaert’s biography. Based on secondary literature. N110. Sweertius, Franciscus. Athenae Belgicae. Antwerp, 1628. Sweertius claimed that Willaert was born in Bruges (p. 104). N111. Van Acker, L. “Was Adriaen Willaert een Roeselarenaar?” Vlaamse Stam 15 (1979): 241–245. Response to the Aebeydt’s study, arguing against Roulaers as Willaert’s birthplace. N112. Weyler, Walter. “Documenten betreffende de muziekkapel aan het hof van Ferrara.” Vlaamsch jaarboek voor muziekgeschiedenis 1 (1939): 81–113. Documentary study of the chapel at the Ferrarese court, showing Willaert’s presence from 1522. N113. Zolnay, László. “Data of the Musical Life of Buda in the Late Middle Ages.” Studia Musicologica 9 (1967): 99–113. RILM: 1967-01534-ap. Suggests a connection between Willaert and the court of Prince Sigismund Jagello’s court in Buda. This suggestion must be treated with caution.

WILLAERT AND THE VENETIAN SCHOOL N114. Beck, Hermann. Die venezianischer Musikerschule im 16. Jahrhundert. Wilhelmshaven: Heinrichshofen, 1968. RILM: 1969-00587-bm. Broad discussion of Willaert and Rore and a Venetian School in the sixteenth century.

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N115. Beck, Hermann. “Grundlagen des Venezianischen Stils bei Adrian Willaert und Ciprian de Rore.” In Renaissance-muziek, 1400–1600: donum natalicum René Bernard Lenaerts, edited by Josef Robijns, 39–50. Leuven: Katholieke Universiteit, Seminarie voor Muziekwetenschap, 1969. RILM: 1971-00290-ae. Suggests characteristics of a Venetian style, examining mass settings of Willaert and Rore. The methodology here is unsound; the choice of a single genre, and in particular the mass, is problematic. N116. Gerstenberg, Walter. “Um den Begriff einer Venezianischen Schule.” In Renaissance-muziek 1400–1600 donum natalicium René Bernard Lenaerts, edited by Jozef Robijns, 131–142. Leuven: Katholieke Universiteit, 1969. RILM: 1971-00320-ae. Traces the origin of the concept of the Venetian School. Questions meaning and justification of the notion of a “school” and its relationship to the work of Willaert. N117. Caffi, Francesco. Storia della musica sacra nella già cappella ducale di San Marco in Venezia dal 1318 al 1797. 2 vols. Venice, Antonelli, 1854–1855. Reprint Florence: Olscki, 1987. Though now outdated, Caffi’s study was most influential in the second half of the nineteenth century. Chapter 6 of vol.1 devoted to Willaert (pp. 81–103). N118. Von Winterfeld, Carl. Johannes Gabrieli und sein Zeitalter. Zur Geschichte der Blüthe heiligen Gesanges im sechzehnten, und der ersten Entwicklung der Hauptformen unserer heutigen Tonkunst in diesem und dem folgenden Jahrhunderte, zumal in der Venedischen Tonschule. 3 vols. Berlin, 1834. Reprint Hildesheim: G. Olms, 1965. Important early study incorporates a discussion of a Venetian school with St. Mark’s at the center, with consideration of Willaert’s position in this tradition. Moves beyond earlier historical accounts, and includes the first published lists of maestri di cappella and first and second organists at St. Mark’s.

MASS N119. Antonowytsch, Myroslaw. Die Motette Benedicta es von Josquin des Prez und die Messen super Benedicta von Willaert, Palestrina, de la Hêle und de Monte. Doctoral diss., Rijksuniversiteit te Utrecht. Utrecht: J. R. van Rossum, 1951. Examines the complex of masses based on Josquin’s six-voice motet, Benedicta es.

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N120. Averkamp, Anton. “Adrian Willaert.” TVNM 10 (1915): 13–29. See M021 for Averkamp’s edition of the Missa Benedicta es (a011). Includes analysis of the Missa Benedicta es. N121. Beck, Hermann. “Probleme der venezianischen Messkomposition im 16. Jahrhundert.” In Bericht über den Internationalen Musikwissenschaftlichen Kongress, Wien, Mozartjahr 1956, edited by Erich Schenk, 35–40. Graz-Köln: Hermann Böhlaus, 1958. Discusses Willaert’s compositional techniques as found in his masses. Examples include Missa Benedicta es (a011). This study predates Beck’s later formulation of Willaert as the head of a Venetian school. N122. Beck, Hermann. “Studien zu Adrian Willaert Messen und ihrer Stellung in der Geschichte der Kirchenmusik.” Habilitationsschrift, Julius-MaximiliansUniversität, Würzburg, 1958. The first detailed examination of Willaert’s masses since Haberl’s “Messen Adrian Willaert’s” (N126). Includes individual analyses of each of the masses. N123. Beck, Hermann. “Adrian Willaerts Messen.” AfM17 (1960): 215–42. Introduction to Willaert’s masses based on the author’s dissertation. N124. Beck, Hermann. “Adrian Willaerts Motette Mittit ad Virginem und seine gleichnämige Parodiemesse.” AfM18 (1961): 195–204. Examination of Willaert’s six-voice motet Mittit ad Virginem (B175), which Willaert used as the model for his six-voice Missa Mittit ad Virginem (A010). N125. Beck, Hermann. “Adrian Willaerts fünfstimmige Missa Sine Nomine aus Hertogenbosch, Ms. 72A.” Kirchenmusikalisches Jahrbuch 47 (1963): 53–73. Discuses Willaert’s Missa [mi ut mi sol] (A008). Provides analysis of the cantus firmus and its implications for the structure of the mass, and also for the music of the surrounding voices. The source of the cantus firmus remains unknown, though it seems to be of the soggetto cavato type. N126. Haberl, Franz X. “Messen Adrian Willaert’s.” Monatshefte für MusikGeschichte 3 (1871): 81–89. The first scholarly study of Willaert’s masses. Haberl concentrates on the 1536 print of Francesco Marcolini (W1103). The exemplars used by Haberl are now deposited in the Bischöfliche Zentralbibliothek in Regensburg. The altus part was apparently missing at the time of his study, hence examples only appear in three parts. A complete set of W1103 was

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discovered in the Universitätsbibliothek in Munich by Oscar Mischiati in the early 1960s. N127. Kidger, David M. “The Masses of Adrian Willaert: A Critical Study of Sources, Style and Context.” Ph.D. diss., Harvard University, 1998. UMI: 9910086. DAI: 59, no. 10A, (1998): 3691. Source-critical examination of Willaert’s masses. Detailed examination of the 1536 Marcolini print (W1103), and inventories of each of the manuscript sources with full concordance. Shows Missa Benedicta es (a011) is based on multiple motet models. N128. Lenaerts, René B. “De zestimmige mis Mente tota van A. Willaert.” Musica Sacra (Bruges/Mechelen) 42 (1935): 153–165. Analysis of Willaert’s Missa Mente tota (A009), based on Josquin’s Mente tota (5 pars of Vultum tuum). N129. Lenaerts, René B. “The 16th-Century Parody Mass in the Netherlands.” MQ 35 (1950): 410–421. Composers chose varied polyphonic models for their masses, including chanson, and motet. Suggests that this type of mass setting began to predominate in the generation of composers after Josquin. N130. Lockwood, Lewis. “A View of the Early Sixteenth-Century Parody Mass.” In Queens College Department of Music: Twenty-Fifth Anniversary Festschrift (1937–1962), 53–77. New York: Queens College of the City University of New York, 1964. Article discusses the parody mass in the early sixteenth century. Examines mass settings of Mouton and Divitis, based on Richafort’s motet Quem dicunt hominess. Important discussion of compositional approach and procedure, with implications for analysis of Willaert’s four-voice masses. N131. Lockwood, Lewis. “On ‘Parody’ as Term and Concept in 16th-Century Music.” In Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, edited by Jan LaRue, 560–575. New York: Norton, 1966. Discusses compositional techniques and terminology of the ‘parody’ mass. Introduces concept of imitation mass. N132. Marvin, Jameson N. “Ferrarese Masses of the Late Renaissance.” D.M.A. diss., University of Illinois, 1971. v, 453 p. UMI: 7212286. DAI: 32, no. 10A, (1971): 5828. Examination of the choirbook ModE N.1.2, containing five masses by Willaert (A010), Luzzasco Luzzaschi, and Francesco della Viola. Includes transcriptions of the five masses.

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N133. Quereau, Quentin W. “Sixteenth-Century Parody: An Approach to Analysis.” JAMS 31 (1978): 407–441. RILM: 1978-06123-ap. Introduces new methodology of graphical analysis for the examination of parody masses and their models. N134. Smijers, Albert. “Hesdin of Willaert?” TVNM 10 (1920): 180–181. Brief discussion of the contents of the manuscript ‘s HerAB 72A. Raises the question of the attribution of the Missa Benedicta es, ascribed to Hesdin and Willaert (a011). N135. Sparks, Edgar H. Cantus Firmus in Mass and Motet, 1420–1520. Berkeley and Los Angeles: University of California Press, 1963. Though it does not discuss Willaert’s music directly, this is still an important study of the mass and motet in the generation of composers before Willaert. N136. Wagner, Peter. Geschichte der Messe. Leipzig: Breitkopf & Härtel, 1913. Reprint Hildesheim: G. Olms, 1963. (Kleine Handbücher der Musikgeschichte nach Gattungen, Band 11) Wagner’s study of the history of the mass to 1600. Brief discussion of Willaert and Rore (pp. 196–202).

MOTET N137. d’Alessi, Giovanni. “Precursors of Adriano Willaert in the Practice of Coro Spezzato.” JAMS 5 (1952): 187–210. First study to show that the Coro Spezzato practice was a wider tradition that did not originate with Willaert. N138. Armstrong, James. “How to Compose a Psalm: Ponzio and Cerone Compared.” SM 7 (1978): 103–139. Article compares the approaches of two theorists, Ponzio and Cerone, on the characteristics of polyphonic settings of the Vespers Psalm and Magnificat, and in particular on how to compose these types. Includes a discussion of the psalm settings of Jachet of Mantua and Willaert, particularly the 1550 print collection, to which Ponzio appears to refer. N139. Bettley, John. “L’ultima hora canonica del giorno: Music for the Office of Compline in Northern Italy in the Second Half of the Sixteenth Century.” Music and Letters 74 (1993): 163–214. Establishes a wider context for Willaert’s 1555 collection of Vespers Psalms (W1123).

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N140. Bettley, John. “Psalm-Texts and the Polyphonic Vespers Repertory of St. Mark’s, Venice.” In La cappella musicale di San Marco nell’etá moderna: atti del convegno internazionale di studi, Venezia, Palazzo Giustiniani Lolin, 5–7 settembre 1994, edited by Francesco Passadore and Franco Rossi, 103–117. Venice: Fondazione, 1998. Examines variants of Psalm texts specific to the liturgy of San Marco, with important implications for Willaert’s psalm settings. N141. Bossuyt, Ignace. “O socii durate: A Musical Correspondence from the Time of Philip II.” EM 26 (1998): 432–444. RILM: 1998-01845-ap. Letters of Antoine Perrenot de Granvelle to Lasso and Willaert are transcribed and discussed. Includes facsimile of letter from Willaert to Granvelle, 25 July 1557 (p. 434). N142. Brown, Howard M. “Notes towards a Definition of Personal Style: Conflicting Attributions and the Six-Part Motets of Josquin and Mouton.” In Proceedings of the International Josquin Symposium, Utrecht 1986, edited by Willem Elders and Frits de Haen, 185–207. Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1991. ISBN: 9063751486. Important discussion of motet attribution and musical style in the motet. N143. Bryant, David D. “The cori spezzati of St. Mark’s: Myth and Reality.” EMH 1 (1981): 165–186. RILM: 1981-06012-ap. Argues that there were two distinct repertories at San Marco, the Vesper Psalms of Willaert and Croce, and the ceremonial music of Andrea Gabrieli, Giovanni Gabrieli, and Bassano. Particular attention is paid to performing forces and their placement in the basilica. N144. Carver, Anthony F. “The Psalms of Willaert and his North Italian Contemporaries.” AM 47 (1975): 270–283. RILM: 1975-00545-ap. Describes the polychoral style found in church musc in northern Italy prior to the publication of the 15501 collection of double-choir psalms by Jachet and Willaert. Importantly argues against Venice being the source of this style and tradition. N145. Carver, Anthony F. Cori spezzati: the Development of Sacred Polychoral Music to the Time of Schütz. 2 vols. Cambridge: Cambridge University Press, 1988. ISBN: 0521303982. Reviews listed in RILM: 1988-01773-bm. Detailed examination of the tradition of the cori spezzati. Includes examination and discussion of a number of works of Willaert. Includes an important consideration of attribution of a number of hymn settings and

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a setting of the magnificat. This is incorporated into the worklist in Chapter 5. See c029-c034, and e018. N146. Chilesotti, Oscar. “Il Pater Noster di Adriano Willaert.” Sammelbände der Internationalen Musikgesellschaft 3 (1902): 468–472. A discussion and transcription of Julio Abondante’s intabulation (K017) of Willaert’s Pater Noster (B074). Refers to the example given in Ambros (M027). N147. Dunning, Albert. Die Staatsmotette, 1480–1555. Utrecht: A. Ooosthoek, 1970. RILM: 1971-02107-bm. Includes a discussion of the motet in Venice, particularly of Willaert (pp. 282–293). Examples include Haud aliter pugnans (B123) and Adriacos numero (B105). See also the accompanying record (P099). N148. Finscher, Ludwig. “Von Josquin zu Willaert: Ein Paradigmenwechsel?” In Musik/Revolution: Festschrift für Georg Knepler zum 90. Geburtstag, edited by Hans-Werner Heister, Vol. 1, 145–173. 3 vols. Hamburg: Von Bockel, 1997. ISBN: 3928770721. RILM: 1998-23238-ae. Argues that Willaert’s early motets in FlorL 666, BolC Q19, and PadBC A17, represent a contrapuntal reaction to the “classical” motet style of Josquin. Argues that his motets show an anti-Josquin attitude that distinguishes Willaert from his contemporaries. N149. Fromson, Michele. “Imitation and Innovation in the North Italian Motet, 1560–1605.” Ph.D. diss., University of Pennsylvania, 1988. UMI: 8908333. DAI: 50/01:16. RILM: 1988-01824-dd. Examination of the motet in the Counter-Reformation period; argues for the development of compositional conventions that later would be connected with the stile antico. N150. Gerstenberg, Walter. “Zur Motette im 16. Jahrhundert.” In Festschrift Alfred Orel zum 70. Geburtstag, 73–75. Wiesbaden: Rohrer, 1960. General discussion of the motet in the sixteenth century, with Willaert as a principal focus of enquiry. N151. Just, Martin. “Zur Kanontechnik in Adrian Willaerts Motetten.” In Gedenkschrift Hermann Beck, edited by Hermann Dechant and Wolfgang Sieber, 19–31. [Laaber]: Laaber-Verlag, 1982. ISBN: 3921518695. RILM: 198202255-ae. Examines the use of canons in Willaert’s motets. Suggests a tension between the use of canon, and issues of text interpretation and declamation can be found in some examples.

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N152. Long, Joan A. “The Motets, Psalms, and Hymns of Adrian Willaert: A Liturgico-Musical Study.” Ph.D. diss., Columbia University, 1971. UMI: 7201353. DAI: 32, no. 06A, (1971): 3352. Constructs a liturgical context for a large body of Willaert’s Latin-texted music in the context of the liturgy of San Marco. Includes a valuable chapter on the festivals and liturgy of Venice and a classification of motets based on liturgical function (not otherwise specified in the original print or manuscript). The basic premise that Willaert wrote this music for Venice and more specifically for San Marco is problematic. Nevertheless, there are some clear examples where this is the case, and for these examples, Long’s study is important. N153. Macey, Patrick. “Savonarola and the Sixteenth-Century Motet.” JAMS 36 (1983): 422–452. RILM: 1983-04716-ap. Examination of sixteenth-century composers’ settings of text either written by or associated with Girolamo Savonarola. This includes Willaert’s sixvoice motet, In felix ego. N154. Macey, Patrick. Bonfire Songs: Savonarola’s Musical Legacy. Oxford: Clarendon Press, 1998. ISBN: 0198166699. RILM: 1999-28122-bm. Examines the musical influence of Savonarola in the decades following his death. Willaert’s Infelix ego (B174) is a setting of Savonarola’s meditation on Psalm 50. See also the accompanying CD (P028). N155. Lockwood, Lewis. “A Sample Problem of Musica Ficta: Willaert’s Pater noster.” In Studies in Music History: Essays for Oliver Strunk, edited by Harold Powers, 161–182. Princeton, NJ: Princeton University Press, 1968. Examination of different readings of Willaert’s Pater noster (B074) to show different approaches to musica ficta. Shows that achieving a definitive version of the music is most difficult given the variants found in the source tradition. (This motet is by far Willaert’s most popular motet, at least as far as the number of sources in which it survives is concerned.) N156. Lowinsky, Edward E. “Music in Titian’s Bacchanal of the Andrians: The Origin and History of the Canon per Tonos.” In Titian: His World and His Legacy, edited by David Rosand, 191–282. New York: Columbia University Press, 1982. ISBN: 0231053002. Supports the attribution to Willaert of the canon in Titian’s Bacchanal of the Andrians, first proposed by Getrude Smith (see N169). Suggests a new reconstruction of it as a canon per tonos. Includes an edition of Sancta et immaculata (B089).

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N157. Meier, Bernhard. “Die Octo Beatitudines in der Vertonung von Adrian Willaert und Orlando di Lasso.” In Chormusik und Analyse: Beiträge zur Formanalyse und Interpretation mehrstimmiger Vokalmusik, edited by Heinrich Poos, Vol. 1, 43–54. 2 vols. Mainz: Schott, 1997. ISBN: 3795717833. RILM: 1997-02661-ac. Comparison of the approach to text setting found in the Beati pauperes by Willaert (B109), and Lasso. N158. Moore, James H. “Bartolomeo Bonifacio’s Rituum ecclesiasticorum ceremoniale: Continuity of Tradition in the Ceremonial of St. Mark’s, Venice.” In La musique et le rite sacre et profane: actes du XIIIe Congrès de la Société internationale de musicologie, Strasbourg, 29 août–3 septembre 1982, edited by Marc Honegger, Christian Meyer, and Paul Prévost, 365–408. 2 vols. Strasbourg: University of Strasbourg, 1986. ISBN: 2868201075. RILM: 1987-01597-as. The 1564 ceremoniale of Bonifacio, containing services for the ducal chapel (St. Mark’s) is examined here. N159. Osthoff, Helmuth. “Vergils Aeneis in der Musik von Josquin Desprez bis Orlando di Lasso.” AfM11 (1954): 85–102. Examination of settings of texts from Virgil’s Aeneid. Includes discussion of Willaert’s setting of Dulces exuviae. N160. Plant, Lourin Douglas. “A Study of Selected Renaissance Settings of the Medieval Latin Hymn Ave maris stella from Leonel Power to Claudio Monteverdi.” D.M.A. diss., University of Cincinnati, 1997. UMI: 9804427. DAI: 58, no. 08A, (1997): 2900. Incorporates a comparative analysis of settings of Ave maris stella, including that of Willaert. N161. Rifkin, Joshua. “Miracles, Motivicity, and Mannerism: Adrian Willaert’s Videns Dominus flentes sorores Lazari and Some Aspects of Motet Composition in the 1520s.” In Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, edited by Dolores Pesce, 243–264. New York: Oxford University, 1997. ISBN: 0195097092. RILM: 1997-02743-as. Analysis of motivicity in Willaert’s motet Videns Dominus (B102). Willaert’s motivic technique blurs articulation in contrast to the classic balanced techinique of Josquin Desprez. N162. Schiltz, Katelijne. “Le motet Confitebor tibi d’Adrien Willaert: Une analyse structurelle de la secunda pars.” Musurgia 7 (2000): 45–59. RILM: 2000-10586-ap.

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Analysis of the three-voice secunda pars of Willaert’s motet Confitebor tibi (B030), In quacunque die invocavero te exaudi me (B030/ii). N163. Schiltz, Katelijne. “Adriaan Willaert en de Venetiaanse motetpraktijk. Een onderzoek naar stijlbepaling.” Ph.D. diss., Katholieke Universiteit Leuven, 2001. Schiltz provides a new overview of Willaert’s motets in the context of contemporary developments in Venetian musical style and theory. N164. Schiltz, Katelijne. “Adrian Willaert’s ‘Beati pauperes spiritu’-a Structual Analysis of its Organisation.” Muziek & Wetenschap 7 (2001): 305–318. Analysis of Beati pauperes spiritu (B109). N165. Schiltz, Katelijne. “Content and Context: On Public and Private Motet Style in Sixteenth-Century Venice.” In Théorie et analyse musicales: 1450–1650, edited by Anne-Emmanuelle Ceulemans and Bonnie J. Blackburn, 323–339. Louvain-la-Neuve: Département d’histoire de l’art et d’archéologie, Collège Érasme, 2001. ISBN: 293031401X. Distinguishes between public and private modes of performance for motets; also parallels this situation to published and unpublished repertories of motets. Suggests the possibility of a different musical style connected to this distinction. N166. Schiltz, Katelijne. “Een zestiende-eeuwse variatie op het Ma fin est mon commencement-thema: Adriaan Willaerts Homo quidam fecit.” Tijdschrift voor muziektheorie 7 (2002): 24–32. Analysis of Willaert’s Homo quidam fecit (B049), based on observations of Vicentino and Zarlino about the structure of its musical soggetto. N167. Skei, Allen B. “Dulces exuviae: Renaissance Settings of Dido’s Last Words.” Music Review 37 (1976): 77–91. RILM: 1976-02513-ap. Study finds sixteen settings of Dulces exuviae by composers in the sixteenth century. Brief analysis; a detailed study of this complex remains to be done. N168. Smith, Anne. “Willaert Motets and Mode.” Basler Jahrbuch für historische Musikpraxis 16 (1992): 117–165. RILM: 1993-10947-ap. Argues that mode was used as a method for ordering Willaert’s motets in two prints of Antonio Gardano. Includes an analysis of Mirabile mysterium (B059) and Ave Regina coelorum (B023). Also discusses differences between the Gardano and Scotto editions of the two books of Willaert’s four-voice motets. N169. Smith, Gertrude P. “The Canon in Titian’s Bacchanal.” Renaissance News 6 (1953): 52–56.

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Suggests that the musical canon in Titian’s painting Bacchanal of the Andrians was composed by Willaert. N170. Taricani, JoAnn. “The Early Works of Jacquet de Berchem: Emulation and Parody.” Revue Belge de Musicologie 46 (1992): 53–79. Establishes a repertory of early works by Jacquet de Berchem. Suggests influence of Willaert, especially for the genre of the motet. N171. Weidensaul, Jane B. “The Polyphonic Hymns of Adrian Willaert.” Ph.D. diss., Rutgers University, 1978. UM: 7901320. DAI: 39, no. 07A (1978): 3913. Examination of Willaert’s hymns, tracing relationships between manuscript sources and print collections. Argues for two distinct styles based on the type of text underlay, with a change in approach found in I sacri e santi salmi, W1123 (1555). N172. Zenck, Hermann. “A. Willaerts Salmi spezzati (1550).” Die Musikforschung 2 (1949): 97–107. First detailed examination of 15501, now superceded by Carver’s study (N144 and N145).

MADRIGAL AND OTHER ITALIAN VOCAL FORMS N173. Agee, Richard. “Ruberto Strozzi and the Early Madrigal.” JAMS 36 (1983): 1–17. RILM: 1983-00349-ap. Presents letters of Ruberto Strozzi illustrating the development of the madrigal in the 1530s and 1540s. Discusses a patron of the Willaert circle, Neri Capponi, who was newly employed by the Strozzi family. N174. Bossuyt, Ignace. “Het zevenstemmige madrigaal Occhi piangete van Adriaan Willaert.” Muziek & Wetenschap 2 (1992). Discussion of Willaert’s Occhi piangete (G054). N175. Buja, Maureen E. Italian Renaissance Poetry: A First-Line Index to Petrarch, Ariosto, Tasso and Others. New York and London: Garland, 1987. (Garland Reference Library of the Humanities, vol. 712.) ISBN: 0824085817. RILM: 1987-00374-bm. Series of indices; a useful tool for tracing the authorship of Italian texts set to music. N176. Bujic, Bojan. “Palestrina, Willaert, Arcadelt and the art of imitation.” Recercare 10 (1998): 105–131. RILM: 1998-05076-ae.

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Compares Willaert’s and Palestrina’s setting of Petrarch’s sonnet Amor, fortuna. N177. Cardamone, Donna G. “The Canzone Villanesca alla Napolitana and Related Italian Vocal Forms, 1537–1570.” Ph.D. diss., Harvard University, 1972. UMI: 7526110. DAI: 36, no. 06A, (1972): 3197. RILM: 1972-01552-dd. Detailed history of the three- and four-voice settings of villanesca as a poetic-musical form. Discusses the tradition of instrumental arrangements of this repertory. See the author’s edition of Willaert’s canzone villanesche in M017. N178. Carroll, Linda. “Carnival Rites as Vehicles of Protest in Renaissance Venice.” Sixteenth-Century Journal 16 (1985): 487–502. RILM: 198811379-ap. Examines carnival plays, especially focusing on the work of Angelo Geolco, as a forum for protest in Renaissance Venice. Considers role of Willaert in this tradition. N179. Durling, Robert M., ed. Petrarch’s Lyric Poems: The ‘Rime sparse’ and Other Lyrics. Cambridge, Mass.: Harvard University Press, 1976. ISBN: 0674663454. Parallel edition of original Italian and English translation. Useful reference for the Petrarch settings by Willaert. N180. Einstein, Alfred. “The Greghesca and the Giustiniana of the Sixteenth Century.” Journal of Renaissance and Baroque Music I (1946): 19–32. Study of two largely unrelated Italian-texted musical forms from the sixteenth century. There is one example of a greghesca by Willaert, Dulce padrun (H005). N181. Einstein, Alfred. The Italian Madrigal. Translated by Alexander H. Knappe, Roger H. Sessions, and Oliver Strunk. 3 vols. Princeton: Princeton University Press, 1949. Section on Willaert and Venice (pp. 318–340). Provides a detailed historical and musical context. Discussion of music and text relationships now superceded by Feldman’s City Culture and the Madrigal (see N187). See M096 for vol. 3. N182. Feldman, Martha. “Venice and the Madrigal in the Mid-Sixteenth Century.” Ph.D. diss., University of Pennsylvania, 1987. UMI: 8725158. DAI: 48, no. 08A (1987): 1923. Examination of Venetian madrigals of the mid-sixteenth century in the context of the literary theories of Pietro Bembo and the following generation

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of theorists. Special attention is paid to the collection of madrigals and motets in Musica Nova, composed around 1540 to 1545, and to the Primo Libro of madrigals by Rore published in 1542. N183. Feldman, Martha. “The Composer as Exegete: Interpretations of Petrarchan Syntax in the Venetian Madrigal.” SM 18 (1989): 203–38. RILM: 1998-09309-ap. Examination of the relationship of music and text, and of text setting in the madrigals of Adrian Willaert, Jacques Arcadelt, and Cipriano de Rore. Willaert examples include Io mi rivolgo (G024), I begli occhi (G022), and Pien d’un vago (G050). N184. Feldman, Martha. “Rore’s ‘selva selvaggia’: The Primo libro of 1542.” JAMS 42 (1989): 547–603. RILM: 1989-11137-ap. Compares Rore’s Primo Libro collection of madrigals published in 1542, with the madrigals found in Musica Nova, composed about the same time. N185. Feldman, Martha. “The Academy of Domenico Venier, Music’s Literary Muse in Mid-Cinquecento Venice.” RQ 44 (1991): 476–512. RILM: 199101910-ap. The academy of Venier is examined as a context for the contemporary developments in literary theory. Discusses the performance of solo singers, and the settings of Vernier’s poetry by Cambio Perissone and Baldassare Donato. N186. Feldman, Martha. “Petrarchizing the Patron in Cinquecento Venice.” Revista de musicologia 16 (1993): 2505–2520. RILM: 1997-02505-as. Examination of the phenomenon of dialogic writing between patron and composer. Shows the influence of Petrarch on writing and music as an important cultural movement at the time. N187. Feldman, Martha. City Culture and the Madrigal at Venice. Berkeley and Los Angeles: University of California Press, 1995. ISBN: 0520083148. RILM: 1995-02619-bm. Establishes new political, social, historical, and musical contexts for the madrigal in Venice in the mid-sixteenth century. This is particularly important for Willaert, the principal Venetian composer of madrigals at the time. Draws on contemporary literary and musical theory. Includes an extensive discussion of Willaert’s madrigals, especially those in the Musica Nova (pp. 197–259). N188. Fenlon, Iain, and James Haar. The Italian Madrigal in the Early Sixteenth Century. Cambridge: Cambridge University Press, 1988. ISBN: 0521252288. Reviews listed in RILM: 1988-01816-bm.

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An important study of the early madrigal that focuses on sources, both print and manuscript, and their interpretation. Provides an important discussion of the relationship between the frottola and the madrigal. Part 2 contains a number of inventories of early print and manuscript collections of madrigals and related genres. N189. Haar, James, ed. Chanson and Madrigal, 1480–1530. Studies in Comparison and Contrast. A Conference at Isham Memorial Library, September 13–14, 1961. Cambridge, Mass.: Harvard University Press, 1964. Conference proceedings. Papers and discussions of the relationship between the madrigal, frottola, and chanson. N190. Haar, James, ed. “The Early Madrigal: A Re-Appraisal of Its Sources and Its Character.” In Music in Medieval and Early Modern Europe, edited by Iain Fenlon, 163–192. Cambridge: Cambridge University Press, 1981. Study traces the historiography of the early madrigal. Argues for the preeminence of Florence and Florentine composers prior to 1530. Traces a separate tradition emerging in Venice, for which the theories of Pietro Bembo were significant. N191. Haar, James, ed. The Science and Art of Renaissance Music. Edited by Paul Corneilson. Princeton, N.J.: Princeton University Press, 1998. ISBN: 0691028745. Collection of articles by James Haar, newly edited by Paul Corneilson. Includes reprints of a number of articles listed individually in this chapter. N192. Hertzmann, Erich. Adrian Willaert in der weltlichen Vokalmusik seiner Zeit: Ein Beitrag zur Entwicklungsgeschichte der niederländisch-französischen und italienischen Liedformen in der ersten Hälfte des 16. Jahrhunderts. Leipzig: Breitkopf & Härtel, 1931. Reprint Walluf bei Wiesbaden: Sändig, 1973. (Sammlung musikwissenschaftlicher Einzeldarstellungen, Heft 15) Influential early examination of Willaert’s secular music. Also see M105. N193. Kroyer, Theodor, Die Anfänge der Chromatik im italienischen Madrigal des XVI. Jahrhunderts. Leipzig: Breitkopf and Hartel, 1902. (Publikationen der Internationalen Musikgesellschaft, Heft IV) Influential early study considering chromaticism in the Italian madrigal of the sixteenth century. Includes discussion of theoretical literature. This is the first item referenced in Lowinsky’s Secret Chromatic Art. N194. Mace, Dean. T. “Pietro Bembo and the Literary Origins of the Italian Madrigal.” MQ 55 (1969): 65–86. RILM: 1969-00689-ap.

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Important study showing the connections of Pietro Bembo’s literary theories and treatment of text in Willaert’s settings of Petrarch. This revised the view of this repertory presented in Einstein’s Italian Madrigal, and was later taken up by Martha Feldman. N195. Meier, Helga, ed. Fünf Madrigale venezianischer Komponisten um Adrian Willaert. Wolfenbüttel: Moseler, 1969. (Das Chorwerk, 105) Suggests quotations of Willaert’s madrigals in works of his pupils, Cipriano de Rore and Lorenzo Benvenuti. N196. Miller, Jonathan M. “Word-Sound and Musical Texture in the MidSixteenth-Century Venetian Madrigal.” Ph.D. diss., University of North Carolina, 1991. UMI: 9216755. DAI: 53, no. 03A, (1991): 0659. Considers Willaert’s madrigal compositions of the 1540s in the context of Bembo’s neo-Cicerconian literary theory. Focuses especially on the four-voice madrigals of the Musica Nova collection. Argues that Rore’s 1542 Primo libro was a significant influence on Willaert’s new style of composition. N197. Nutter, David A. “The Italian Polyphonic Dialogue of the Sixteenth Century.” Ph.D. diss., University of Nottingham, England, 1978. Includes a detailed examination of Willaert’s treatment of the polyphonic dialogue in his settings of Petrarch in the 1559 Musica Nova collection. N198. Plantinga, Leon. “Poetry and Music: Two Episodes in a Durable Relationship.” In Musical Humanism and Its Legacy: Essays in Honor of Claude V. Palisca, edited by Nancy Kovaleff Baker and Barbara Russano Hanning, 321–353. Stuyvesant, N.Y.: Pendragon, 1992. (Festschrift Series, no. 11). ISBN: 0945193297. RILM: 1992-12970-ae. Discussion and analysis of Willaert’s Aspro core (g043) and Schubert’s Lied Wandrers Nachtlied II. N199. Pirrotta, Nino. “Willaert and the Canzone Villanesca.” in Music and Culture in Italy from the Middle Ages to the Baroque, 175–197. Cambridge, Mass.: Harvard University Press, 1984. ISBN: 0674591089. RILM: 198004482-ap. This study of Willaert and the canzone villanesca first appeared in SM 9 (1980); translation is by Vanni Bartolozzi. Argues for a new compositional style in this repertory, and includes an appendix of Willaert’s collections of Villanesche and their contents. N200. Schick, Paul C. “Concordia Discourse: Polyphony and Dialogue in Willaert, Wert, and Monteverdi.” Ph.D. diss., Yale University, 1997. UMI: 9731069. DAI: 58, no. 04A, (1997): 1147.

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Comparative study of the musical dialogue settings of Willaert, Wert, and Monteverdi. Argues that the principle of concordia discors provided a conceptual link between polyphony and dialogue. Chapter 2 includes detailed analyses of Willaert’s Liete e pensose, Che fai, alma? and Occhi piangete. N201. Stevens, Denis. “Choral Dialogues of the Renaissance.” Musical Times 122 (1981): 667–670. RILM: 1981-04569-ap. Brief overview of choral dialogue in the sixteenth century. Discusses Willaert’s Che fai, alma, che pensi? (G052). N202. Tarrini, Maurizio. “Una gara musicale a Genova nel 1555.” Note d’archivio per la storia musicale 3 (1985): 159–170. RILM: 1985-01409-ap. Documents in the Archivio di Stato in Genoa record a musical contest between two composers, Andrea Festa and Benedetto Spinone, who each had to write a sixth part to two five-voice madrigals by Rore and Willaert

CHANSON N203. Barbier, J. “Faulte d’argent: modeles polyphoniques et parodies au XVI siècle.” Revue de Musicologie 73 (1987): 53–79. Examines the complex of polyphonic works based on the chanson, Faulte d’argent. Includes a discussion of Willaert’s six-voice canonic setting (pp. 190–194). N204. Bernstein, Lawrence F. “Josquin’s Chansons as Generic Paradigms.” In Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, edited by Jessie Ann Owens and Anthony M. Cummings, 35–56. Warren, MI: Harmonie Park Press, 1997. (Detroit Monographs in Musicology/Studies in Music, no. 18). ISBN: 0899901026. RILM: 199702397-ae. Provides an important context for the chanson in the generation of composers before Willaert. N205. Brown, Howard M. Music in the French Secular Theater, 1400–1550. Cambridge, Mass.: Harvard University Press, 1963. Discusses a special type of chanson, the theatrical song. Provides social and historical context. Includes a discussion of Willaert’s Allons, allons gay (pp. 132–133). Includes a catalog of theatrical chansons with a number of examples by Willaert. N206. Brown, Howard M. “The Genesis of a Style: The Parisian Chanson, 1500–1530.” In Chanson and Madrigal, 1480–1530. Studies in Comparison

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and Contrast. A Conference at Isham Memorial Library, September 13–14, 1961, edited by James Haar, 1–50. Cambridge, Mass.: Harvard University Press, 1964. Brown’s study of the Parisian chanson remains a basic text. Focuses especially on the role of Attaingnant. Establishes a historical and stylistic context for Willaert’s early chansons. N207. Brown, Howard M. “Words and Music: Willaert, the Chanson, and the Madrigal about 1540.” In Florence and Venice, Comparisons and Relations: Acts of Two Conferences at Villa I Tatti in 1976–1977, edited by Sergio Bertelli, Nicolai Rubinstein, and Craig Hugh Smyth, Vol. 2, 217–266. 2 vols. Florence: La nuova Italia, 1979–1980. Considers Willaert’s early chansons and madrigals. N208. Freedman, Richard. “Claude Le Jeune, Willaert and the Art of Musical Translation.” EMH 13 (1994): 123–148. RILM: 1995-02634-ap. Examines an adaptation of a musical dialogue Quando nascesti, Amor from Willaert by Claude Le Jeune in the form of the sonnet Amour quand fus-tu ne? N209. Hewitt, Helen. “Fors seulement and the Cantus Firmus Technique of the Fifteenth Century.” In Essays in Musicology in Honor of Dragan Plamenac on His 70th Birthday, edited by Gustave Reese and Robert J. Snow. Pittsburgh: University of Pittsburgh Press, 1969. ISBN: 0822910985. RILM: 1969-00656-ae. Substantial examination of the complex of works based on, or relating to, Ockeghem’s Fors seulement. Includes a consideration of the context of Willaert’s setting. N210. Litterick, Louise. “Who Wrote Ninot’s Chansons?” In Papal Music and Musicians in Late Medieval and Renaissance Rome, edited by Richard Sherr, 240–269. Oxford: Clarendon Press, 1998. Includes consideration of two chansons with conflicting attributions including Willaert, C’est donc pour moy que ansins (F005) and Je my levay par ung matin que iour (f069).

INSTRUMENTAL MUSIC N211. Slim, H. Colin. “The Keyboard Ricercar and Fantasia in Italy, ca. 1500–1550.” Ph.D. diss., Harvard University, 1960. Still provides an excellent introduction to keyboard music in the first half of the sixteenth century.

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N212. Slim, H. Colin. “Some Puzzling Intabulations of Vocal Music for Keyboard, ca. 1600, at Castell’Arquato.” In Five Centuries of Choral Music: Essays in Honor of Howard Swan, edited by Gordon Paine, 127–152. Stuyvesant, NY: Pendragon, 1988. ISBN: 0918728843. RILM: 1989-02165-ae. Three problematic arrangements for organ from this manuscript are discussed in detail, including O gloriosa domina, based on a hymn by Willaert. N213. Swenson, Milton A. “The Four-Part Italian Ensemble Ricercar from 1540 to 1619.” Ph.D. diss., Indiana University, 1970. UMI: 7121294. DAI: 32, no. 02A (1971): 1004. Broad historical survey of the ricercar from the Musica Nova collection of 1540, to the ricercari of Antonio Cifra, published in 1619.

WILLAERT’S ARRANGEMENTS OF OTHER COMPOSERS’ MUSIC AND ARRANGEMENTS OF WILLAERT’S MUSIC BY OTHER COMPOSERS N214. Brown, Howard M. “Bossinensis, Willaert and Verdelot: Pitch and the Conventions of Transcribing Music for Lute and Voice in Italy in the Early Sixteenth Century.” Revue de Musicologie 75 (1989): 25–41. RILM: 198901997-ap. Discusses Willaert’s arrangements of Verdelot’s madrigals for voice and lute, published in 1536. Argues that lutenists transposed the notated pitch of the music to suit the performance, ignoring absolute pitch as such. N215. Ness, Arthur, “The Siena Lute Book and Its Arrangements of Vocal and Instrumental Part-Music.” In Proceedings of the International Lute Symposium Utrecht 1986, edited by Louis Peter Grijp and Willem Mook, 30–49. Utrecht: STIMU Foundation for Historical Performance Practice, 1988. ISBN: 9072786017. RILM: 1989-02113-as. Collection contains arrangements for lute of large and varied retrospective repertory, including ricercari by Willaert. N216. Ortner, Oswald. “Adrian Willaerts Lautenbearbeitungen von Madrigalen des Philippe Verdelot.” Ph.D. diss., Vienna, 1939. First study of Willaert’s arrangements of Verdelot’s madrigals (W1104).

WILLAERT AND ZARLINO N217. Edwards, Rebecca A. “Setting the Tone at San Marco: Gioseffo Zarlino amidst Doge, Procuratori and Cappella Personnel.” In La cappella musicale

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di San Marco nell’età moderna. Atti del convegno internazionale di studi. Venezia - Palazzo Giustinian Lolin 5–7 settembre 1994, edited by Francesco Passadore and Franco Rossi, 389–400. Venice: Fondazione Levi, 1998. RILM: 1999-25979-as. Musical life at San Marco under Zarlino, who was maestro di cappella at St. Mark’s from 1565 until his death in 1590. N218. Fromson, Michele Y. “Zarlino’s Modal Analysis of Willaert’s Avertatur obsecro.” In Secondo Convegno Europeo di Analisi Musicale, Vol. 1, 237–248. 2 vols. Trento: U. degli Studi, Dipartimento di Storia della Civilta, 1992. RILM: 1995-12130-as. Examines Zarlino’s analysis of Willaert’s motet Avertatur obsecro (B160), especially his methodology for determining the mode of this piece. N219. Harrán, Don. “Vicentino and His Rules of Text Underlay.” MQ 59 (1973): 620–632. RILM: 1973-03197-ap. Traces Vicentino’s rules of text underlay back to his time as a student of Willaert. Comparison of Vicentino’s rules of text underlay with those of Lanfranco and Zarlino. N220. Harrán, Don. “New Light on the Question of Text Underlay prior to Zarlino.” AM 45 (1973): 24–56. RILM: 1973-00269-ap. Study examines to what extent Willaert followed Zarlino’s rules of text underlay in his works appearing before the publication of Institutioni Harmoniche (1558), and also how theorists before Zarlino applied rules of text underlay. Includes translations of theoretical literature relating to text underlay. N221. Lewis, Mary. “Zarlino’s Theories of Text Underlay as Illustrated in His Motet Book of 1549.” Notes 42 (1985): 239–267. RILM: 1985-01345-ap. The discovery of a complete set of partbooks of Zarlino’s 1549 motet collection permits an examination of how Zarlino applied his own rules for text underlay, as described in his Istitutioni harmoniche (1558), to his own music. N222. McKinney, Timothy R. “Hearing in the Sixth Sense.” MQ 82 (1998): 517–536. Discusses new theory shown in the writings of Zarlino and Vicentino assigning affective qualities to melodic and harmonic intervals. Includes examination of the affective use of sixths in the compositions of Willaert and his circle.

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N223. Palumbo-Fossati, Isabella. “La casa Veneziana di Gioseffo Zarlino nel testamento e nell’inventario dei beni del grande teorico musicale.” Nuova rivista musicale italiana 20 (1986): 633–649. RILM: 1986-01215-ap. Testament and inventory of possessions of Gioseffo Zarlino. Also gives the location of Zarlino’s residence in Venice. N224. Richenhagen, Albert. “Zarlinos Lehre vom doppelten Kontrapunkt in der Duodezime: Aspekte ihrer Vorgeschichte und ihrer Nachwirkung.” In Kirchenmusik in Geschichte und Gegenwart: Festschrift Hans Schmidt zum 65. Geburtstag, edited by Heribert Klein and Klaus Wolfgang Niemöller, 139–148. Köln-Rheinkassel: Dohr, 1998. ISBN: 3925366628. RILM: 1998-17292-ae. Suggests that Zarlino was influenced by Mouton and Willaert in his examination of double counterpoint at the twelfth in the third volume of his treatise Le Istitutioni harmoniche (1558). N225. Rivera, Benito V. “Theory Ruled by Practice: Zarlino’s Reversal of the Classical System of Proportions.” Indiana Theory Review 16 (1995): 145–170. RILM: 1995-02841-ap. Discusses Zarlino’s three-note chordal sonorities (from part 3 of Le Institutioni harmoniche), and three types of proportionality, relating to the Classical system of proportions.

OTHER STUDIES ON TOPICS IN THEORY N226. Allaire, Gaston G. “Performance Practice Idiosyncrasies of the Modes of the fa-fa and ut-sol Fifth Species in pre-1600 Polyphony.” Revue belge de musicologie 51 (1997): 63–80. RILM: 1997-12941-ap. Includes a consideration of Willaert’s Pater Noster (B074) in this context. N227. Bent, Margaret. “Accidentals, Counterpoint and Notation in Aaron’s Aggiunta to the Toscanello in musica.” JM 12 (1994): 306–344. RILM: 1994-11619-ae. Includes a discussion of Aaron’s use of examples of music by Willaert to illustrate issues of musica ficta. N228. Berger, Karol. Musica ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino. Cambridge: Cambridge University Press, 1987. ISBN: 0521328713. Reviews listed in RILM: 1987-01471-bm.

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This is the best introduction to this topic now available. Includes a discussion of Quid non ebrietas (pp. 39–41), and the notion of the “Secret Chromatic Art” (pp. 43–48). N229. Blackburn, Bonnie J., Edward E. Lowinsky, and Clement A. Miller, eds. A Correspondence of Renaissance Musicians. Oxford: Clarendon Press, 1991. ISBN: 0193151537. RILM: 1991-01847-bc. An annotated edition with condensed English translations of 110 Italian letters (1517–1543) by the theorists Giovanni Spataro, Pietro Aaron, Giovanni del Lago, Giovanni Lanfranco, and eleven lesser-known musicians. Contains extensive discussion of Willaert and his music by his contemporaries. N230. Busse Berger, Anna Maria. “The Relationship of Perfect and Imperfect Times in Italian Theory of the Renaissance.” EMH 5 (1985): 1–28. Study argues that Italian theorists from 1400 to 1600 equate the breves of perfect and imperfect time, thus making the semibreve of perfect time one-third shorter than the semibreve of imperfect time. Important consequences for performance practice. N231. Busse Berger, Anna Maria. Mensuration and Proportion Signs: Origins and Evolution Oxford: Clarendon Press, 1993. ISBN: 0198162308. Abstract and reviews listed in RILM: 1993-10644-bm. Reassesses the theoretical literature of the fifteenth and sixteenth centuries concerning mensuration and proportion. This study has stimulated an ongoing debate on the meaning and use of mensuration and proportion signs in Renaissance music. N232. Fromson, Michele Y. “Cadential Structure in the Mid-sixteenth Century: The Analysis Approaches of Bernhard Meier and Karol Berger Compared.” Theory and practice 16 (1991): 179–213. RILM: 1991-09419-ap. Discusses the issue of cadence, comparing modern definitions with those from treatises from Zarlino and other sixteenth-century theorists. Uses examples from the polyphony of Willaert. N233. Gosman, Alan. “Stacked Canon and Renaissance Compositional Procedure.” Journal of Music Theory 41 (1997): 289–317. RILM: 1997-13687-ap. Stacked canon is defined as “a canon in which any voice that is a comes can also serve as a dux and in which any two consecutive voices are related by the same interval (usually a fourth or a fifth).” Includes discussion of such a canon in Willaert’s Sy je ne voy (F022). N234. Haar, James. “Notes on the Dialogo della Musica of Antonfrancesco Doni.” Music and Letters 47 (1966): 198–224.

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Doni was a well-known musician, writer, and academic. His Dialogo della Musica was published by Girolamo Scotto in 1544. Though not a treatise as such, it is a valuable document, containing many examples including a motet by Willaert, Beatus Bernardus (B163). Also see M051. N235. Haar, James. “A Diatonic Duo by Willaert.” TVNM 21 (1969): 68–80. RILM: 1969-00646-ap. Examines Willaert’s setting of the villota text, E se per gelosia. Also looks at other settings of this text by other composers. Suggests the text may have been originally set monophonically. Includes a transcription of Willaert’s setting (H008). N236. Haar, James. “A Sixteenth-Century Attempt at Music Criticism.” JAMS 36 (1983): 191–209. RILM: 1983-04192-ap. Examines the second part of Lodovico Zacconi’s Prattica di musica (1622), which records a conversation said to have taken place in 1584 in Venice, in which Zarlino listed seven qualities necessary to good music. Includes a consideration of Willaert among other composers in this context. N237. Harrán, Don. “Elegance as a Concept in Sixteenth-Century Music Criticism.” RQ 41 (1988): 413–438. Notion of elegance was used in both literary and musical criticism. Argues that this is an example of music that was viewed as a form of speech, with important consequences for the vocabulary used in the description and criticism of music. N238. Jeppesen, Kund. “Eine musiktheoretische Korrespondenz des früheren Cinquecento.” AM 13 (1941): 3–39. Provides an introduction and inventory of the manuscripts containing the musical-theoretical correspondence of Spataro and a circle of music theorists in the early sixteenth century. These were edited and translated in A Correspondence of Renaissance Musicians (N229). N239. Meier, Bernhard. “Rhetorical Aspects of the Renaissance Modes.” Translated by Geoffrey Chew. JRMA 115 (1990): 183–190. Argues that affective character of a particular mode, discussed by theorists of the sixteenth century, can be found in polyphony of composers such as Willaert, Rore, and Lasso. N240. Newcomb, Anthony. “When the Stile Antico Was Young.” In Atti del XIV congresso della Società Internazionale di Musicologia, Bologna, 1987: Trasmissione e recezione delle forme di cultura musicale, edited by Angelo Pompilio, Vol. 3, 175–181. 3 vols. Turin: Edizioni di Torino, 1990. RILM: 1991-02044-as.

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Examines the compositional techniques found in the imitative ricercare and fantasia, from 1550 to 1590. Puts Willaert at the head of an early school of Venetian composers from 1540 and the early 1550s, and then suggests a later Venetian school of Merulo, Andrea Gabrieli, and Bertoldo. N241. Rasch, Rudolf A. “The Musical Circle. III: Second Thoughts and Further Additions.” Tijdschrift voor muziektheorie 4 (1999): 23–39. RILM: 199900340-ap. Discusses examples of enharmonic exchanges and chord progressions through the circle of fifths in a number of examples of polyphony by Willaert, Marenzio, and other composers. N242. Rivera, Benito.V. “Finding the Soggetto in Willaert’s Free Imitative Counterpoint.” In Music Theory and the Exploration of the Past: Essays in Honor of Patricia Carpenter, edited by Christopher Hatch and David W. Bernstein, 73–102. Chicago: University of Chicago Press, 1993. RILM: 1993-02395-ae. Analysis of Willaert’s five-voice madrigal, O invidia (G030), with emphasis on Willaert’s treatment of the soggetto cavato. N243. Urquhart, Peter W. “Canon, Partial Signatures, and Musica Ficta in Works by Josquin Desprez and His Contemporaries.” Ph.D. diss., Harvard University, 1988. UMI: 8909017. DAI: 50, no. 02A, (1988): 0299. The problem of unsigned accidentals in vocal polyphony around 1500 is explored, paying particular attention to the use of the compositional technique of canon. Includes a discussion of canon as found in thirteen of the twenty-seven motets in Musica Nova (pp. 9–39). N244. Urquhart, Peter W. “Calculated to Please the Ear: Ockeghem’s Canonic Legacy.” TVNM 47 (1997): 72–98. Includes discussion of circle canon in BolC Q21, Sy je ne voy m’amie.

WILLAERT IN THE GENERAL MUSICAL LITERATURE N245. Ambros, August W. Geschicte der Musik. 5 vols. Breslau: Leuckart, 1862–1882. Band 3, Im Zeitalter der Renaissance bis zu Palestrina. Section on Willaert and the Venetian music school (pp. 502–531). N246. Atlas, Allan W. Renaissance Music: Music in Western Europe, 1400–1600. New York: Norton, 1998.

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Discusses cori spezzati settings of Vespers Psalms (pp. 413–416). Incorporates an examination of Willaert and the madrigal in the 1540s, with an extended analysis of Aspro core (pp. 432–440). N247. Brown, Howard M. Music in the Renaissance. Englewood Cliffs, NJ: Prentice Hall, 1976. ISBN: 0136085059. Section on Willaert discusses changing approach to text setting and the Musica Nova collection of motets and madrigals (pp. 199–206). Examples cited include I piansi, hor canto and Beati paupere. Briefly mentions the chromatic duo Quid non berietas. N248. Burney, Charles. A General History of Music, from the Earliest Ages to the Present Period. 4 vols. London, 1776–1789. Reprint with critical and historical notes by Frank Mercer. London: Foulis, 1935. Reprint 2 vols. New York: Dover, 1957. One of the earliest historians to assign Willaert as the founder of a Venetian school in the sixteenth century (book 3, pp. 170–172). Burney’s main source for information on Willaert was Zarlino. N249. Carter, Tim. Music in Late Renaissance and Early Baroque Italy. Portland, Ore. Amadeus Press, 1992. ISBN: 0931340535. RILM: 1992-02018-bm. Broad discussion of music and musical style in Italy in the decades after the death of Josquin Desprez. N250. Grout, Donald J., and Claude Palisca. A History of Western Music. 6th ed. New York: Norton, 2001. Focuses on Zarlino’s notion of “evading the cadence” (pp. 178–181). Superficial discussion of Aspro core (pp. 186–187). N251. Hawkins, John. A General History of the Science and Practice of Music. 2 vols. London, 1776; 2nd ed. with introduction by Charles Cudworth. London, 1853. Reprint New York: Dover, 1963. Discussion of Willaert includes a complete transcription of Richafort’s motet Quem dicunt homines, which Hawkins incorrectly assigns to Willaert (Vol.1, pp. 338–344). N252. Martini, Giovanni B. Esemplare o sia saggio fondamentalepratico di contrappunto sopra il canto fermo. 2 vols. Bologna: Volpe, 1774. Martini cites two examples of Willaert, both given in score: Sicut erat (from Laudate Dominum, C017) as an example of polyphony on the sixth tone with canon (Vol. 1, pp. 119–121), and Simulacra gentium (from In exitu Israel, C016) as an example cited by Zarlino (Vol. 1, pp. 212–213).

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N253. Pirro, André. Histoire de la musique de la fin du XIVe siècle à la fin du XVIe. Paris: Librairie Renouard, 1940. Pirro includes a substantial section on Willaert and the mass, showing Mouton’s influence on Willaert through Willaert’s borrowing of Mouton’s motets in three of his four-voice masses (pp. 238–254). Assesses Willaert’s position as a Flemish composer in Italy. N254. Reese, Gustave. Music in the Renaissance. Rev. ed. New York: Norton, 1959. Still a useful source for discussion of Willaert’s music and that of his contemporaries. See the discussion on Mon petit cueur and other chansons (pp. 309–311), madrigals and the Musica Nova collection (pp. 323–324), and sacred works (pp. 368–375). N255. Straeten, Edmond van der. La Musique aux Pays-Bas avant le XIXe siècle. 8 vols. Brussels: G. A. Trigt, 1867–1888. Reprint in 4 vols. New York: Dover, 1969. This is still a basic resource for music from the Low Countries. Volume 6 is devoted to Flemish composers in Italy and thus has a substantial section on Willaert (pp. 174–268). Many basic documents concerning Willaert were published for the first time here. Volume 7 includes a Spanish inventory of the library of Mary of Hungary, which contained a manuscript of seven masses and other works by Willaert (pp. 471–485). This manuscript is now lost. N256. Van den Boren, Charles. Geschiedenis van de muziek in de Nederlanden. 2 vols. Amsterdam: Wereldbibliotheek, 1949. Considers Willaert as a Flemish composer in the context of composers such as Gombert and Clemens non Papa (pp. 251–259).

SECRET CHROMATIC ART N257. Keyser, Dorothy. “The Character of Exploration: Adrian Willaert’s Quid non ebrietas.” In Musical Repercussions of 1492: Encounters in Text and Performance, edited by Carol E. Robertson, 185–207. Washington, D.C.: Smithsonian Institution, 1992. ISBN: 1560981830. Discussion of the secondary literature concerning Willaert’s Quid non ebrietas. Draws on Lowinsky’s comparison of the tonal journey in this work with Magellan’s 1519 voyage around the world. N258. Levitan, Joseph S. “Adrian Willaert’s Famous Duo Quidnam ebrietas, A Composition Which Closes Apparently with the Interval of a Seventh.” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 15 (1938–1939): 166–233. Detailed initial study of Quid non ebrietas (B080).

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N259. Lowinsky, Edward E. Secret Chromatic Art in the Netherlands Motet. Translated by Carl Buchman. New York: Columbia University Press, 1946. Highly influential and, for some, controversial study with important implications for treatment of musica ficta and manuscript accidentals. Principal composers were Clemens non Papa and Hubert Waelrant. Includes a detailed consideration of Willaert’s Quid non ebrietas (B080). N260. Lowinsky, Edward E. “Adrian Willaert’s Chromatic ‘Duo’ Re-Examined.” TVNM 18 (1956): 1–36. Suggest four-voice version of Willaert’s Quid non ebrietas (B080). Includes a score of the four-voice reading. N261. Lowinsky, Edward E. “Echoes of Adrian Willaert’s Chromatic “Duo.” in Sixteenth- and Seventeenth-Century Compositions.” In Studies in Music History: Essays for Oliver Strunk, edited by Harold Powers, 183–238. Princeton, NJ: Princeton University Press, 1968. RILM: 1968-03152-ae. Suggests influence of Willaert’s chromatic “duo” in a number of later chromatic compositions. N262. Lowinsky, Edward E. “Secret Chromatic Art Re-examined.” In Perspectives in Musicology: The Inaugural Lectures of the Ph.D. Program in Music at the City University of New York, edited by Barry S. Brook, Edward O. D. Downes, and Sherman Van Solkema, 91–135. New York: Norton, 1972. ISBN: 0393021424. Discussion and reappraisal of several examples from the original study, based on new theoretical evidence that had appeared since its original publication. Reinforces the primacy of the four-voice version of Quid non ebrietas (B080). N263. Van Crevel, M. “Secret Chromatic Art in the Netherlands Motet?” TVNM 16 (1946): 253–304. Review article on Lowinsky’s Secret Chromatic Art, questioning basic premises underlying the study.

MUSICA NOVA W1126 (1559) N264. Agee, Richard J., and Jessie Ann Owens. “La stampa della Musica nova di Willaert.” Rivista Italiana da Musicologia 24 (1989): 219–305. RILM: 1989-12722-ap. A documentary study of Musica Nova, including documents from archives in Modena and Venice. Known documents are also reassessed, and

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a context for the Musica Nova is established. This article is basic to a correct understanding of the issues behind the publication of Musica Nova. N265. Butchart, David. “La Pecorina at Mantua, Musica Nova at Florence.” EM 13 (1985): 358–366. RILM: 1985-01280-ap. Suggests that the music of the 1559 Musica Nova collection was known, when it was in manuscript form, as La Pecorina in Mantua. Two letters from 1555 mention such a collection by name. Letter of Alfonso II d’Este of July 1555 requests “a copy of the music of Adriano called ‘la Pecorina.’” N266. Carapetyan, Armen. “The Musica nova of Adriano Willaert: With a Reference to the Humanistic Society of Sixteenth-Century Venice.” Ph.D. diss., Harvard University, 1945. First extended examination of the 1559 Musica Nova print. N267. Carapetyan, Armen. “The Musica Nova of Adrian Willaert.” Journal of Renaissance and Baroque Music 1 (1946–1947): 200–221. Summarizes the author’s dissertation on the Musica Nova. N268. Fromson, Michele Y. “Themes of Exile in Willaert’s Musica Nova.” JAMS 47 (1994): 442–487. RILM: 1994-02975-ap. Argues that Willaert wrote his Musica Nova to commemorate Florence. Suggests that Willaert’s quotation of text and phrases from plainchant allude to a symbolic network, commemorating Florence as a fallen Republic. N269. Meier, Helga. “Zur Chronologie der Musica Nova Adrian Willaerts.” Analecta musicologica 12 (1973): 71–98. RILM: 1974-00246-ap. Argues two principal points; first, in favor of the suggestion that the repertory under consideration was composed twenty years before its publication in Musica Nova; second, against the suggestion that the Musica Nova had earlier been published under the title La Pecorina. See Newcomb’s N270 for a full explanation and discussion of the second point. N270. Newcomb, Anthony. “Editions of Willaert’s Musica Nova: New Evidence, New Speculations.” JAMS 26 (1973): 132–145. RILM: 1973-00281-ap. Full examination of the purchase of Alfonso d’Este of a manuscript copy of music by Willaert from Polissena Pecorina in December 1554. Identifies this collection with the later Musica Nova. His suggestion that Gardano’s publication of the collection in 1569 with the title La Pecorina has now been rejected. N271. Schiltz, Katelijne. “Mäzenatetentum und Selbstdarstellung im Exil: Die Florentiner ‘fuorusciti’ in Venedig (ca. 1536–1546).” Die Musikforschung 56 (2003): 46–53.

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Suggests a connection between Willaert and the Florentines Ruberto Strozzi and Neri Capponi in the composition of part of the repertory that would be later published as the Musica Nova of 1559.

MUSICAL LIFE IN VENICE IN THE SIXTEENTH CENTURY N272. Baldauf-Berdes, Jane L. Women Musicians of Venice: Musical Foundations, 1525–1855. Rev. ed. Oxford: Clarendon Press, 1996. ISBN: 0198166044. This study focuses on the ospedali grandi. There are many problems with this book, and it should only be used with caution. Much work remains to be done in this area. N273. Bartoli, Rebecca. “L’apprendistato italiano di Orlando di Lasso.” SM 20 (1991): 235–265. RILM: 1991-01832-ap. Suggests that Lasso’s early madrigals show influence from those of Venetian composers, especially Perisonne Cambio, Cipriano de Rore, and Adrian Willaert. N274. Bastian, James G. “The Sacred Music of Claudio Merulo.” Ph.D. diss., University of Michigan, 1967. UMI: 6807557. DAI: 28, no. 12A, (1967): 5084. RILM: 1968-00210-dd. Examination and source study of Claudio Merulo’s sacred music. N275. Bonicatti, Maurizio. “Tiziano e la cultura musicale del suo tempo.” In Titiano e Venezia, 461–477. Vicenza: Neri Pozza, 1980. Examines the relationship between music, painting, and theory in Venice and Ferrara in the sixteenth century. Discusses the association of Willaert and Titian. N276. Brown, Howard M. “On Gentile Bellini’s Processione in San Marco (1496).” In Report of the Twelfth Congress of the International Musicological Society, Berkeley, 1977, edited by Daniel Heartz and Bonnie Wade, 365–408. Kassel: Bärenreiter, 1981. ISBN: 3761806493. Important study of Bellini’s famous painting. N277. Cattin, Giulio. Musica e liturgia a San Marco: testi e melodie per la liturgia delle ore dal XII al XVII secolo: dal graduale tropato del Duecento ai graduali cinquecenteschi. 4 vols. Venezia: Fondazione Levi, 1990–1992. Reviews listed in RILM: 1992-14422-bc. Basic resource for the liturgy and traditions of San Marco.

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N278. Cumming, Julie E. “Music for the Doge in Early Renaissance Venice.” Speculum 67 (1992): 324–364. RILM: 1992-02036-ap. Examines music and musical life in Venice in the late-fourteenth and fifteenth centuries. Along with Fenlon’s study (N280), provides important information on the status of music in Venice in the period before Willaert’s arrival at San Marco in 1527. N279. Edwards, Rebecca A. “Claudio Merulo: Servant of the State and Musical Entrepreneur in Later Sixteenth Century Venice.” Ph.D. diss., Princeton University, 1990. DAI: 51/11, p. 3551, 1991. Merulo was first organist at San Marco from 1557 to 1584. The position of first organist was second only to the position of maestro di cappella in the administrative organization of the musical life at St. Mark’s. This study, based on new archival research, reveals the business and financial dealings of Merulo while he was at St. Mark’s. Discussion includes a consideration of Merulo’s venture into music printing. N280. Fenlon, Iain. “St Mark’s before Willaert.” EM 21 (1993): 547–563. RILM: 1993-02237-ap. Argues that there was quite substantial musical activity at St Mark’s before Willaert, but that surviving documentation of this activity is scarce. N281. Fenlon, Iain. “Venice: Theatre of the World.” In The Renaissance from the 1470s to the End of the 16th Century, edited by Iain Fenlon, 102–131. Englewood Cliffs, NJ: Prentice Hall, 1989. ISBN: 0137734093. Chapter 3 provides an overview of music and musical life in Venice in the sixteenth century. Several other chapters in this volume provide introductions to music in other cities and courts in Europe in this period. Thus the focus is civic, social, and geographic, rather than about the individual composer. N282. Fenlon, Iain. “Music, Liturgy and Identity in Renaissance Venice.” Revista de Musicologia 16 (1993): 603–606. RILM: 1997-02506-as. Discusses the role of music in public events in Venice, particularly the ducal procession or anadata. In the sixteenth century a liturgy at San Marco associated with the Doge developed alongside the existing Roman Catholic liturgy. Venice developed a symbolic image as a holy and apostolic city. N283. Fenlon, Iain. “Music, Ceremony and Self-Identity in Renaissance Venice.” In La cappella musicale di San Marco nell’etá moderna: atti del convegno internazionale di studi, Venezia, Palazzo Giustiniani Lolin, 5–7 settembre

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1994, edited by Francesco Passadore and Franco Rossi, 7–21. Venice: Fondazione Levi, 1998. Examines the role of the music, ritual, and liturgy of San Marco in establishing a distinct Venetian consciousness and self-idenity. N284. Fenlon, Iain. Music and Culture in Late Renaissance Italy. Oxford: Clarendon Press, 2002. ISBN: 0198164173. Chapter 1, “Magnificance as Civic Image,” provides an important investigation of St. Mark’s Square in Venice as a ceremonial space in the time of Willaert. Traces the use of music in civic and liturgical processions in the square. N285. Glixon, Jonathan E. “Music at the Venetian Scuole Grandi, 1440–1540.” In Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, edited by Iain Fenlon, 193–208. Cambridge: Cambridge University Press, 1981. Study draws on material from the author’s dissertation to provide an introduction to the role of the scuole grandi in their patronage of music. Argues for a strong local influence for each Scuola on music in its particular district. N286. Fenlon, Iain. Honoring God and the City: Music at the Venetian Confraternities, 1260–1807. Oxford: Oxford University Press, 2003. ISBN: 9780195134896. This is the culmination of Glixon’s research to date. Chapters 5, 6, and 7 provide an examination of the scuole grandi and scuole piccoli in the time of Willaert and the following generation of composers. These chapters help to establish a wider cultural and historical context for sacred music in Venice in the sixteenth century. N287. Ongaro, Giulio M. “Sixteenth-Century Patronage at St Mark’s, Venice.” EMH 7 (1988): 81–115. RILM: 1988-01908-ap. Article provides a summary of important conclusions from Ongaro’s dissertation. N288. Ongaro, Giulio M. “New Documents on a Sixteenth-Century Venetian Viol Maker.” Journal of the Viola da Gamba Society of America 27 (1990): 22–28. RILM: 1990-07807-ap. New biographical information on the Venetian viol maker Ventura Linarol, based on archival research in the Venetian archives. N289. Ongaro, Giulio M. “La musica come professione nelle attività dei musicisti Marciani tra la fine del cinquecento e il primo seicento.” In La cappella musicale di San Marco nell’etá moderna: atti del convegno

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internazionale di studi, Venezia, Palazzo Giustiniani Lolin, 5–7 settembre 1994, edited by Francesco Passadore and Franco Franco, 215–224. Venice: Fondazione Levi, 1998. Music as a profession among the musicians of San Marco at the end of the sixteenth and beginning of the seventeenth centuries. N290. Passadore, Francesco, and Franco Rossi, eds. San Marco: vitalità di una tradizione: il fondo musicale e la Cappella dal Settecento ad oggi. 4 vols. Venice: Fondazione Levi, 1994–1996. Though this study covers the period from the seventeenth century to the modern era, it still contains much essential material concerning the basilica of San Marco. N291. Passadore, Francesco, and Franco Rossi, eds. La cappella musicale di San Marco nell’etá moderna: atti del convegno internazionale di studi, Venezia, Palazzo Giustiniani Lolin, 5–7 settembre 1994. Venice: Fondazione Levi, 1998. Contents and reviews listed in RILM: 1999-25959-bs. Conference proceedings on the music chapel of the basilica of San Marco. N292. Quaranta, Elena. Oltre San Marco: Organizzazione e prassi della musica nelle chiese de Venezia nel Rinascimento. Florence: Olschki, 1998. (Studi di musica veneta, 26.) ISBN: 8822246624. A broad examination of church music in Venice in the Renaissance. N293. Robbins Landon, H. C., and John Julius Norwich. Five Centuries of Music in Venice. New York: Schirmer, 1991. ISBN: 0028713184. General introduction for the nonspecialist. N294. Rosand, Ellen. “Music and the Myth of Venice.” RQ 30 (1977): 511–537. Examines the role of music in the construction and maintenance of the image and reputation of Venice as “la Serenissima” in the sixteenth century. N295. Rosand, Ellen. “Music and Iconology.” In Meaning in the Visual Arts: Views from the Outside: A Centennial Commemoration of Erwin Panofsky (1892–1968), edited by Irving Lavin, 257–264. Princeton: Institute for Advanced Study, 1995. SBN: 069100630X. RILM: 1997-17351-as. Includes an account of Panofsky’s conversation with Edward Lowinsky regarding Titian’s Bacchanal of the Andrians, and a consideration of Lowinsky’s study of the canon in this painting. N296. Selfridge-Field, Eleanor. Venetian Instrumental Music from Gabrieli to Vivaldi. Oxford: Blackwell, 1975. 3d ed. New York: Dover, 1994. ISBN: 0486281515. RILM: 1994-03878-bf.

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Chapter 3 on Venetian instrumental music before Gabrieli does not pay enough attention to the role of Willaert and his contemporaries in this development.

REFERENCE MATERIALS FOR DISCOGRAPHY N297. Clough, Francis F., and Geoffrey J. Cuming, eds. The World’s Encyclopedia of Recorded Music. London: Sidgwick and Jackson, 1952. First Supplement (April 1950–June 1951) bound with main volume. Second Supplement (1951–1952), London, 1952. Third Supplement (1953–1955), London, 1957. Provides catalog information for recordings of Willaert from the era before LPs. N298. Coover, James, and Richard Colvig. Medieval and Renaissance Music on Long-Playing Records. Detroit: Information Service, 1964. (Detroit Studies in Music Bibliography, 6) Catalog includes a large section on anthologies on record. N299. Coover, James, and Richard Colvig. Medieval and Renaissance Music on Long-Playing Records: Supplement, 1962–1971. Detroit: Information Coordinators, 1973. (Detroit Studies in Music Bibliography, 6) N300. Croucher, Trevor. Early Music Discography. From Plainsong to the Sons of Bach. 2 vols. London: Library Associated Publishing, 1981. N301. Darrell, R. D. The Gramophone Shop Encyclopedia of Recorded Music. New York: Gramophone Shop, 1936. N302. McComb, Todd M., ed. Early Music FAQ CD Directory Online. This database provides by far the best resource for researching recordings on CD of medieval and Renaissance music currently available. The database also provides more limited information on recordings released on LP. Full bibliographic data is provided. Each database entry is signed and includes detailed track information.

X Discography (P)

All items included here were released or reissued on CD. P001. Antonio de Cabezón: Glosados, Diferencias, Tientos. Trio Unda Maris. 1995. La mà de guido 2014. Track 5

Tiento IV Qui la dira [K028]

P002. Art of Flemish Song. Live Oak. rec. 1990, rel. 1991. Centaur Records 2109. Track 15 Willaert/Pisador: A quand’ haveva (2 voices, vihuela) [K019] Track 16 Willaert/Pisador: O bene mio (2 voices, vihuela) [K019] Track 17 Vecchie letrose [H015] P003. Canzoni villanesche alla Napolitana. Ensemble Daedalus. 1994. Accent ACC 94107D. Track 13 A quand’a quand haveva una vicina [H009] Sensitive performance of one Willaert’s most popular pieces in which the performers exploit textural changes to their advantage. Part of an anthology of canzoni villanesche, which also includes Perissone Cambio, Baldassare Donato, and Orlando di Lasso.

417

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Adrian Willaert

P004. Italian Renaissance Madrigals. Hilliard Ensemble. 1991. EMI Reflexe CDC 7 54435 2. Reissued as Virgin Veritas 61671. 2000. Track 22 Madonna mia fa [H011] This madrigal is performed one to a part, by the Hilliard Ensemble. The rich sonority of the group is perhaps too much for this madrigal, though there is a very strong sense of ensemble here. P005. La dolce vita: Music in Renaissance Naples. The King’s Singers/ Tragicomedia. 1991. EMI CDC 7541912. Track 2 Track 10 Track 16 Track 20

O dolce vita mia [H013] Ave virgo sponsa Dei [B161] Qual dolcezza giamai [G035] Vecchie letrose [H015]

This CD provides a fascinating comparison with P040. The highlight is the King’s Singers performance of Ave virgo sponsa Dei, a wonderful performance of great sensitivity. Their performances of Qual dolcezza giamai and Vecchie letrose are also strong. O dolce mia vita is performed on instruments only. P006. Musiche per Van Dyck: Chanson e Madrigali dei secoli XVI e XX. Ring Around Quartet. 1997. Rivo Alto 9703. Track 11 Madonn’io non lo so [H010] P007. Noël de la Renaissance. Ensemble Claude-Gervaise. 1998. SNE 551-CD. Track 19 Allons allons gay [F001] [Track 10, listed as Missa Noe noe, Kyrie/Adrian Willaert, not by Willaert.] P008. San Marco 1527–1740. Gloriae Dei Cantores. 1998. Helicon Records 22. Track 1

O magnum mysterium [B067]

P009. Time Signals, Recorder Music from the Netherlands. Amsterdam Loeki Stardust Quartet. rec. 1999, rel. 2001. NM Classics NM 92100. Track 1 A la fontaine du prez [F053] Track 10 Virgo gloriosa Christi, Margareta [B104] P010. Vecchie letrose. Syntagma Musicum. 1997. Arts 47504. Track 9 Vecchie letrose [H015] Track 21 Sempre mi ride [H014]

Discography (P)

419

P011. Baiano, Enrico. Cabezón: Obras de música para tecla. rec. 1998, rel. 1998. Symphonia 98156. Track 17 Qui la dira [K028] Performance on harpsichord of Cabezón’s arrangement [K028] of Qui la dira [F018]. P012. Barnes, Philip, dir. Rome’s Golden Poets a Cappella Settings of Latin Verse. Saint Louis Chamber Chorus. 1999. Saint Louis Chamber Chorus SLCC05. Track 6

Dulces exuviae [B042]

P013. Blachly, Alexander, dir. The Flemish Masters. Netherlanders in Italy in the 16th Century. Vol. 1. Pomerium Musices. rec. 1988, rel. 1989. Classic Masters CMCD-1007. Track 7 Track 8 Track 9

Dulces exuvaie [B042] Un giorno mi prego [H007] Veni sancte spiritus [B190]

The two motets receive powerful performances. The group is less well suited to the secular idiom of Un giorno mi prego. P014. Blachly, Alexander, dir. Musica Vaticana: Music from the Vatican Manuscripts (1503–1534). Pomerium. 1998. Pure Classics Glissando 779 001-2. Track 7

Enixa est puerpera [B168]

Enixa est puerpera is one of only three motets by Willaert to survive in the manuscripts of the Cappella Sistina. The performance here is well done, with two voices to a part. The CD also contains three motets by Costanzo Festa, an important contemporary of Willaert, as well as Josquin’s six-voice setting of the sequence Benedicta es, coelorum Regina. P015. Brown, Jonathan, dir. Pierre de la Rue-Missa cun iucunditate: Motets by Clemens no Papa, Josquin, Ockeghem, Willaert. Henry’s Eight. rec. 1997, rel. 1999. Etcetera KTC 1214. Track 5

O crux splendidior [B137]

This is an intense performance and recording of Willaert’s O crux splendidior. The other works on this CD are equally well done. The dense and dark sonorities of this choir are used to great effect here.

420

Adrian Willaert

P016. Collarile, Luigi, dir. Willaert-Mottetti et Ricercari (Complete Works Volume 2). Accademia della Selva, José Hernández-Pastor, alto. rec. 2002, rel. 2003. Stradivarius STR33656. Track 1 Track 4 Track 6 Track 8 Track 12

Ave Regina caelorum [B022] Angelus Domini [B014] O magnum mysterium [B067] O Domine Jesu Christe [B065] Inviolata, integra [B054]

A selection of four-voice motets from the 1539 and 1545 prints performed by alto with conetto, trombones, and organ. P017. Cordes, Manfred, dir. The Spirit of the Renaissance. Weser-Renaissance. rec. 1993, rel. 1995. Georgsmarienhütte CPO 999294. Track 6

Dulces exuviae [B042]

P018. Danek, Petr, dir. Felix Austriae domus. Duodena Cantitans/Capella Rudolphina. rec. 1997, rel. 1997. Supraphon SU 3326-2 231. Track 8

Haud aliter pugnans [B122]

P019. Douglass, David, dir. Canzonetta. The King’s Noyse. rec. 1993, rel. 1994. Harmonia Mundi HMU 907127 Released as Harmonia Mundi Classical Express 3957127. 2002. Track 15 Io visans [F045] Track 19 O bene mio fam’uno favore [H012] Both of these pieces are performed by a consort of viols in this recording. The performances are musical, and the recording is of good quality. P020. Douglass, David, dir. Le Jardin de Mélodies. The King’s Noyse. 1997. Harmonia Mundi USA 907194. Track 10 Baisés moy tant tant [F040] Good performance of Willaert’s five-voice version of this chanson, with a consort of viols. The CD also contains a number of anonymous French instrumental works published by Attaingnant and Phalèse. P021. Hadden, Nancy, dir. Music from the Spanish Kingdoms. Circa 1500. rec. 1987, rel. 1989. CRD Records CRD 3447. Also released as Musical Heritage Society 313259M (1992). Track 7

Vecchie letrose [H015]

Discography (P)

421

Enjoyable performance of one of Willaert’s most popular canzone villanesche. This CD provides some interesting examples of Spanish instrumental music from the first half of the sixteenth century. P022. Keller, James, dir. Recordings for Norton Anthology of Western Music. 3d ed. Volume 1, Disc 2. Collegium Musicum Yalenses. 1996. Sony Music Special Products A 26640 (6 CDs). Reissued on Sony Music Special Products A651490 (2001). Tracks 42–46 Aspro core e selvaggio [G043] Good control of texture and color. This madrigal is otherwise unavailable on a recording. P023. Kirkman, Andrew, dir. Josquin Des Pres and his Contemporaries. The Binchois Consort. rec. 2000, rel. 2001. Hyperion CDA67183. Track 4

Verbum bonum et suave [B191]

Outstanding performance and recording of one of Willaert’s earliest motets, Verbum bonum et suave, a work that according to Zarlino, the members of the Papal chapel mistakenly thought was by Josquin. The choir is a cappella, with one voice for each part. This results in a clarity of texture in the recording that helps to maintain lucidity in Willaert’s polyphony. The remaining items on the disc include a number of works by Josquin des Pres or attributed to Josquin des Pres. P024. Lonardi, Massimo (lute), and Giuseppe Zambon (countertenor). Voice and Lute in 16th-Century Venice. 1989. Edelweiss 1016. Track 18 Verdelot/Willaert: Quando Amor i belli occhi [J017] P025. Lonardi, Massimo (lute), Silvia Piccollo (soprano), Giuseppe Zambon (countertenor), Sergio Balestracci (recorder), and Gaetano Nasillo (viola da gamba). Adrian Willaert: Intavolatura de li Madrigali di Verdelotto, 1536 (Complete Works Volume 6). Il Desiderio. 1995. Stradivarius STR33325. Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8

Quanto sia liet’il giorno [J018] Quando Amor i begli occhi [J017] Quando Amor i begli occhi [J017] Donna leggiadra e bella [J008] Madonna qual certezza [J015] Madonna qual certezza [J015] Con lagrime, et sospir [J004] Fuggi, fuggi cor mio [J009]

422

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Track 9 Track 10 Track 11 Track 12 Track 13 Track 14 Track 15 Track 16 Track 17 Track 18 Track 19 Track 20 Track 21 Track 22 Track 23 Track 24 Track 25 Track 26 Track 27

Igno soave ove il mio foco [J011] Amor se d’hor in hor [J002] Donna che sete tra le belle bella [J007] Donna che sete tra le belle bella [J007] Se mai provasti donna [J019] Afflitti spirti miei [J001] Ben che’l misero cor [J003] Madonna il tuo bel viso [J012] Divini occhi sereni [J006] Si lieta e grata morte [J020] Vita de la mia vita [J022] Gloriar mi poss’io donne [J010] Piove da gli occhi della donna mia [J016] Piove da gli occhi della donna mia [J016] Con l’angelico riso [J005] S’io pensasse madonna [J021] Madonna io sol vorrei [J013] Madonna per voi ardo [J014] Quanto sia lieto il giorno [J018]

This CD provides a complete recording of the book of madrigals by Verdelot published in 1536, which were arranged for voice and lute by Willaert himself. The CD includes a second version of a number of the madrigals in which an instrument takes the place of the voice, and in which the performer has realized an embellished version of the vocal line. The CD booklet explains the approach clearly, and it works well. P026. Longhini, Marco, dir. Adrian Willaert: Vespro di Natale (Complete Works Volume 12). I piccoli musici. Delitiae Musicae. 1998. Stradivarius STR 33373. Track 3 Track 4 Track 5 Track 6 Track 9 Track 10 Track 11 Track 12 Track 13 Track 15 Track 16

Dixit Dominus [C004] Confitebor tibi Domine [C005] Ricercare IX [I014] Beatus vir [C006] De profundis clamavit [C010] Tecum principium [E006] Memento Domine David [C011] Ricercare I [I013] Hodie Christus [E002] Benedicamus [E001] Magnificat sexti toni [E009]

Discography (P)

423

The CD is based on the Vespers music found (and indexed) in the Gardano print of 1555 (W1123). Thus this is not a reconstruction, but rather an authentic recreation of Christmas Vespers polyphony by Willaert. The music itself was specially edited for the recording, as it has not yet appeared in the complete edition. It is certainly the most important CD to have been released to date in the series from Stradivarius. The recording, made in the church of San Briccio di Lavagno in Verona, is rich and quite spectacular. To provide a complete liturgy, the recording includes plainchant as required; there is also an organ intonazione of Andrea Gabrieli, and a ricercare of Willaert. Strongly recommended, it provides an excellent introduction to Willaert’s Vespers music. P027. Lorenzini, Danilo, Antonio Eros Negri, Riccardo Villani, and Giuseppe Azzarelli (organs and harpsichord). Adrian Willaert: Ricercari da Musica Nova (Complete Works Volume 7). 1996. Stradivarius STR 33355. Track 1 Ricercare I [I015] Track 8 Ricercare X [I016] Track 12 Ricercare XIV [I017] This CD provides keyboard realizations of the ricercari from the 1540 Musica Nova collection. In the context of a complete works series, perhaps it would have been valuable to include some of the ricercari performed by an instrumental ensemble (see nos. P047 and P053). P028. Macey, Patrick, dir. Bonfire Songs, Savonarola’s Musical Legacy (CD issued with book). Eastman Capella Antiqua. rec. 1997, rel. 1998. Oxford: Clarendon Press, 1998. ISBN: 0198166699. Track 23 Infelix ego [B174] Very good performance of a difficult motet. This CD accompanies Patrick Macey’s study, Bonfire Songs, and is only available with the book. Many libraries have catalogued this CD with the book, and not as a separate item. P029. Malfeyt, Philippe, dir. Adrian Willaert: Madrigali, Chansons, Villanelle. Romanesque, Katelijne Van Laethem (soprano). 1994. Ricercar 151145. Track 1 Track 2 Track 3 Track 4 Track 5

Qual dolcezza giamai (voice, 3 viols, bass lute, harp, recorder) [G035] Zoia zentil (voice, 2 viols, recorder, lute, harp) [H003] Dessus le marché d’Arras (voice, lute, harp, viol) [F027] Pierre Attaingnant: Dessus le marché d’Arras (recorder, 3 viols) Allons, allons gay (voice, 2 viols, lute, harp, cittern) [F001]

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Track 6 Track 7 Track 8 Track 9 Track 10 Track 11 Track 12 Track 13 Track 14 Track 15 Track 16 Track 17 Track 18 Track 19 Track 20 Track 21 Track 22 Track 23

Giovanni Antonio Terzi: Canzon “Allez mi faut” di Adriano (lute, harp) [K033] Quante volte diss’io (voice, 3 viols, lute) [G016] Vecchie letrose (voice, 3 viols, lute, harp, percussion) [H015] Chia la dira (voice, recorder, 3 viols) [F048] Antonio Valente: Chia la dira disminuita (lute, harp) [K027] Antonio de Cabezón: Tiento IV sobre “Qui la dira” (recorder, 3 viols) [K028] E se per gelosia (voice, 3 viols, harp, lute, recorder) [H008] Un giorno mi pregò (voice, 3 viols, lute) [H007] Giovanni Bassano: A la fontana (recorder, harp, guitar) [K032] Cingari simo (voice, recorder, 3 viols, harp, percussion) [H004] Willaert/Giulio Abondante: O quando a quando havea (voice, lute, harp, 3 viols) [K017] Joyssance vous donneray (voice, recorder, 3 viols) [F045] Vincenzo Bonizzi: Joyssance (viol, guitar) [K034] Arousez vo violette (voice, 3 viols, lute) Willaert/Diego Pisador: O bene mio famm’uno favore (voice, lute) [K019] Ricercare X (recorder, 3 viols) [I016] Occhio non fu (voice, harp) [H001] Sempre mi ride sta (voice, recorder, 2 viols, cittern, lute, harp) H014]

This is the best single recording or CD of secular music by Willaert. It provides a representative survey of all genres, with French and Italian examples, arrangements, and instrumental ricercari. Ms. Van Laethem gives excellent performances, with sensitive instrumental accompaniment (as indicated above). One needs to hear this music also performed without instruments to get a complete picture, but nevertheless this CD provides an excellent introduction to Willaert’s secular music. P030. Manneke, Daan, dir. Benedicta es, celorum Regina: Renaissance in the Netherlands. Cappella Breda/Daniël Speer Trombone Consort. rec. 1998, rel. 1999. Erasmus 249. Track 6

Beatus Stephanus [B026] Missa Benedicta es Track 7 Kyrie [a011/i] Track 8 Gloria [a011/ii] Track 10 Sanctus [a011/iv] Track 11 Agnus Dei [a011/v]

Discography (P)

425

Good performances, with lower voices doubled by trombones. The composer of this mass remains uncertain, Hesdin or Willaert; nevertheless the mass itself was certainly popular in the 1540s and 1550s. The Credo is missing from the Missa Benedicta es, which is a pity. The recording favors the lower voices, resulting in some balance problems. Beatus Stephanus is performed with a consort of trombones only. P031. Mayr, Michael, dir. Canti carnascialeschi. Josquin-Ensemble Wien. 1988. Christophorus CD 74538. Previously released on LP, Christoporus 74026. Track 19 Cingari siamo [H004] Track 23 Sempre mi ride sta [H014] Track 24 Vecchie letrose [H015] Idiomatic performances, Cingari siamo and Vecchie letrose with wind instruments, Sempre mi ride sta is sung a cappella. P032. Negri, Antonio Eros, dir. Adrian Willaert: Le Villanesche (Complete Works Volume 1). Collegio vocale e strumentale Euterpe. rec. 1993, rel. 1994. Stradivarius STR 33311. Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 Track 9 Track 10 Track 11 Track 12 Track 13 Track 14 Track 15 Track 16 Track 17 Track 18 Track 19

Le vecchie per invidia sono pazze [g061] Madonn’io no lo so [H010] Un giorno mu pregò una vedovella [H007] O bene mio [H012] Ricercare I [I015] Cingari simo [H004] Se pur ti guardo [g069] Occhio non fu giamai [H001] Zoia zentil [H003] Ricercare a tre voci Sempre mi ride sta donna [H014] Quando di rose d’oro [H002] A quand’a quand’havea [H009] O dolce vita mia [H013] Ricercare X [I016] Madonna mia famme bon’offerta [H011] Sospiri miei [H006] E se per gelosia [H008] Vecchie letrose [H015]

This CD provides the most complete collection of recordings of Willaert’s villanesche available. The performances vary in terms of the forces used; generally where instruments are used, they double existing vocal lines.

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The performers’ obvious familiarity with the idiom of these works is clear. The recordings of some of the most famous villanesche are particularly successful (especially tracks 4, 9, 13, and 19). The strength here is that the poetic rhythm of the text itself is allowed to come through in these performances. P033. Negri, Antonio Eros, dir. Adrian Willaert: Vespro della Beata Vergine (Complete Works Volume 11). Collegio vocale e strumentale Euterpe, Riccardo Villani (organ). 1994. Stradivarius STR 33326. Track 3

Dixit Dominus (Chorus 1, Jachet: Chorus 2 Adrian Willaert) [C014] Track 5 Laudate pueri (Chorus 1, Adrian Willaert: Chorus 2 Adrian Willaert) [C021] Track 7 Laetetus sum (Chorus 1, Jachet: Chorus 2 Adrian Willaert) [C018] Track 9 Nisi Dominus (Chorus 1, Jachet: Chorus 2 Adrian Willaert) [C019] Track 11 Lauda Jerusalem (Chorus 1, Adrian Willaert: Chorus 2 Adrian Willaert) [C027] Track 13 Ave maris stella [B108] This CD includes Vespers music from the Gardano print of 1550 (RISM B/I: 15501). It thus includes psalm settings for double choir (two fourvoice choirs), of which there are five examples here. Tracks 5 and 11 have the two psalms for which the music for both choirs was composed by Willaert, while the remainder have the settings in which the music for the first choir was composed by Jachet of Mantua and the music for the second choir was composed by Willaert. For the performance of Ave maris stella, in which Willaert composed polyphony for the odd-numbered voices, the even-numbered voices are performed in plainchant. The CD also includes five intanazioni by Andrea Gabrieli. P034. Petersen, Patricia, dir. Christmas Motets from Renaissance Europe. Fortuna. 1992. Titanic 211. Track 2 Track 6

O magnum mysterium [B067] Mirabile mysterium [B059]

Excellent performances of two four-voice motets by Willaert. CD includes other motets by composers including Josquin, Morales, and Victoria. P035. Ragin, Derek Lee (countertenor), and Peter Croton (lute). Italian lute songs. rec. 1991, rel. 1992. Channel Classics CCS 4092. Track 1

Verdelot/Willaert: Madonna il tuo bel viso [J012]

Discography (P)

Track 2 Track 3 Track 5 Track 6 Track 7

427

Verdelot/Willaert: Con l’angelico riso [J005] Verdelot/Willaert: Se mai provasti donna [J019] Verdelot/Willaert: Donna che sete [J007] Verdelot/Willaert: Ben che’l misero cor [J003] Verdelot/Willaert: Fuggi, fuggi, cor mio [J009]

P036. Rahe, Johannes, dir. Canticum Canticorum. Vokalensemble Cantos, Osnabrück. rec. 1991, rel. 1992. Carus 83.123. Track 6

Tota pulchra es [B095]

P037. Raisin-Dadre, Denis, dir. Viva Napoli: Canzoni villanesche. Doulce mémoire. rec. 1998, rel. 2000. Astrée Auvidis E 8648. Track 8 Vecchie letrose [H015] Track 9 O bene mia fa [H012] Track 20 Madonna mia fa [H011] Vecchie letrose and Madonna mia fa both use vocal ensemble with percussion accompaniment added here. O bene mia fa uses vocal ensemble with recorder ensemble doubling vocal parts. Embellishments have been added by the performers. P038. Raisin-Dadre, Denis, dir. Le siècle du Titien. Ensemble Doulce Mémoire. 2001. Astrée 8847. Track 14 Liete e pensose [G053] Track 18 Cingari simo [H004] Track 20 Sempre mi ride sta [H014] An anthology of various vocal works with Italian texts ranging from pieces by Cara and Tromboncino, to Vicentino and Willaert. With respect to Willaert, the highlight is certainly Liete e pensose from the Musica Nova collection of 1559. The performance here uses a mixed consort of voices and instruments. Some embellishments have been added by the performers, but this does not detract from this recording. This is one of the few discs available that includes a seven-voice madrigal by Willaert. P039. Rooley, Anthony, dir. The King’s Singers’ Madrigal History Tour. The King’s Singers/The Consort of Musicke. rec. 1983, rel. 1984. EMI CDM 7698372. Previously released on LP, EMI SLS 1078393. Track 22 Faulte d’argent [F057] The title of this excellent CD is misleading, since it contains a wide range of secular works from Italy, England, France, Spain, and Germany from

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Adrian Willaert

the sixteenth and early seventeenth centuries. The performance of Faulte d’argent is performed with voices and instruments, one to a part. P040. Rumsey, Shirley (lute). Music of the Italian Renaissance. rec. 1993, rel. 1994. Naxos 8.550615. Track 10 Vecchie letrose [H015] Vecchie letrose sung by Shirley Rumsey, accompanying herself on cittern. This CD provides an excellent anthology of early sixteenth-century Italian vocal music, with performances mostly by Shirley Rumsey with lute accompaniment, along with a selection of fantasias and ricercari by Francesco d Milano. Though some of the realizations are Rumsey’s own, there is no doubt that this mode of performance is well known through contemporary documents and, for example, in Willaert’s own arrangement of Verdelot madrigals for voice and lute. P041. Savall, Jordi, dir. Renaissance Music in Naples. Hespèrion XX. rec. 1983, rel. 1984. EMI CDC 7490082. Released on LP as EMI 1C 067 143 629-1, in USA as Angel DS-38083, released on CD as EMI 567 143 629-2 and reissued as Virgin Classics Veritas 5 61222 2 2 (1985), Virgin Classics 7243 5 61875 2 8 (2001). Track 19 Vecchie letrose [H015] This is a classic recording of this repertory, including music from the late fifteenth and early sixteenth centuries, with original works as well as contemporary instrumental arrangements. Vecchie letrose is performed by soprano and mixed consort in a lively and musical performance. P042. Savall, Jordi, dir. Musique de Ioye. Hespèrion XX. 1992. Astrée 7724. Track 16 Ricercar IV [I016] This collection is based on the print Musicque de joye published in Lyons by Jacques Moderne, RISM B I [c.1550]24. Unfortunately only one of Willaert’s three ricercari is included on the CD. This is an important CD, which provides an insight into the variety of instrumental styles that were being cultivated in the mid-sixteenth century. This recording uses a consort of viols. P043. Savall, Jordi, dir. Carlos V. Mille Regretz: La Canción del Emperador. La Capella Reial de Catalunya, Hespèrion XXI. rec. 2000. Aliavox AV 9814. Also issued as ORF Edition Alte Musik CD 245. Track 12 Vecchie letrose [H015]

Discography (P)

429

Elaborate performance of this canzona villanescha. There is as much of Savall’s interpretation as there is of Willaert’s music in this recording, but it nevertheless works well. P044. Schreurs, Eugeen, dir. Renaissance-polyfonie in Brugge, Het liedboek— The Songbook of Zeghere van Male. Capilla Flamenca. Eufoda 1155, 1990. Mon petit cueur [F035] P045. Snellings, Dirk, dir. The A-La-Mi-Re Manuscripts. Capilla Flamenca. rec. 1999, rel. 2000. Naxos 8.554744. Track 5

Willaert/Hesdin: Missa Benedicta es, Agnus Dei [a011/v]

As indicated, in the worklist, this mass may be by Willaert or Hesdin. Its presence in ‘s HerAB 72A, where it is attributed to Willaert, accounts for the presence of the final Agnus Dei on this disc, which is a collection of music copied into manuscripts in the workshop of the scribe Petrus Alamire. The performance of the Agnus Dei, sung a cappella, shows that whoever was the composer of this mass, it is a truly outstanding work, fully justifying its popularity as witnessed by its presence in ten manuscripts. The remainder of the CD includes other sacred works and chansons, including a little known setting of Dulces exuviae by Marbianus de Orto. P046. Stevens, Denis, dir. Recordings for Norton Anthology of Western Music. 2d ed. Volume 1, Disc 2. The Ambrosian Singers. 1988. Sony/Norton A 20386 (6 CDs). Tracks 55–56 O crux, splendidior [B137] Transfer from CBS Odyssey 32 16 0202. Obtrusive tape hiss on transfer. P047. Summerly, Jeremy, dir. Adrian Willaert: Missa Christus resurgens, Magnificat sexti toni, Ave Maria. Oxford Camerata. rec. 1998, rel. 1998. Naxos 8.553211. Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8

Christus resurgens (Richafort) Missa Christus resurgens [A001] Kyrie Gloria Credo Sanctus Agnus Dei Magnificat sexti toni [E009] Ave Maria … virgo serena [B021]

[Kyrie of mass in Naxos 8.556707, Credo of mass in Naxos 8.556708.]

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Adrian Willaert

An excellent CD of Willaert’s sacred music. The performances here are all a cappella. Richafort’s motet Christus resurgens, the model for Willaert’s mass (and a number of masses by other composers), is included here. The mass was published in 1536, and probably dates from Willaert’s early years in Venice. P048. Tamminga, Liuwe (organ). Musica Nova. 1995. Tactus 540001. Track 1 Ricercare I [I015] Track 8 Ricercare X [I016] Track 12 Ricercare XIV [I017] Three of Willaert’s four-voice ricercars, performed on organ. This CD presents the Musica Nova collection of 1540. Companion disc to Tactus 540002. [P054]. P049. Taylor, James, dir. O dolce vita mia: Italian Music of the High Renaissance. The London Early Music Group. rec. 1981, rel. 1982. Nonesuch 979029-2. Track 4 Track 9

O bene mio fam’uno favore [H012] O dolce vita mia [H013]

As well as the two Willaert pieces, this CD contains music by Gastoldi and Merulo. For both the examples here the singer, Glenda Simpson, is accompanied by an instrumental consort. The singer’s rapid vibrato is out of place in the context of the relatively plain timbres provided by the accompaniment. [First released on LP, track information on CD booklet is incorrect.] P050. Thomas, Bernard, dir. Gentil Madonna. London Pro Musica. rec. 1993, rel. 1996. Carlton Classics 30365 00082. Also released as Cala Records 88004, Carlton Classics 6600862, United 88004. Track 24 Vecchie letrose [H015] P051. Thorby, Philip, dir. The Field of Cloth of Gold: A Celebration in Music of the Meeting in 1520 of Henry VIII of England and François I of France. Musica Antiqua of London. rec. 1990, rel. 1994. Amon Ra CD-SAR-65. Also released as Musical Heritage Society 515543T, 513752W. Track 18 Baisez moi P052. Thorby, Philip, dir. Master of Musicians: Songs and Instrumental Music by Josquin Des Pres, His Pupils and Contemporaries. Musica Antiqua of London. 2000. Signum 025. Track 32 Faulte d’argent [F057]

Discography (P)

431

Performance with two singers, John Potter and Robert Evans, with the remaining parts taken by a consort of viols. This CD also has Josquin’s five-voice setting of Faulte d’argent. P053. Thorby, Philip, dir. Word Play: Virtuosic Instrumental Settings of Madrigals and Chansons from 16th Century Italy. Musica Antiqua. 2000. Signum 031. Track 9

Cantai or piango [G044]

P054. Toffano, Giovanni, dir. Musica Nova. Consort Veneto. rec. 1996, rel. 1996. Tactus 540002. Track 1 Ricercare I [I015] Track 8 Ricercare X [I016] Track 12 Ricercare XIV [I017] Three of Willaert’s four-voice ricercars performed by a consort of recorders. This CD presents the Musica Nova collection of 1540. Companion disc to Tactus 540001. [P048]. P055. Turner, Bruno, dir. The Flowering of Renaissance Choral Music. Pro Cantione Antiqua, London. rec. 1977, rel. 1994. Archiv Produktion 445 667-2 (7 CD set). First released on LP in 1977 as Archiv Produktion 2533 361, Gombert, Willaert: Ave Regina; also released on LP in set as Archiv Produktion 2523 070, The Flowering of Renaissance Choral Music. CD 5, track 3 Ave regina coelorum, Mater regis angelorum [B023] CD 5, track 6 In convertendo [C023] In convertendo is particularly successful, showing Willaert’s technique of overlapping double choirs. This is part of a larger project recording sacred music of the fifteenth and sixteenth centuries. P056. Van Hauwe, Walter (recorder), and Toyohiko Satoh (lute). Blockflutes 3 the Early Seventeenth Century. 1990. Channel Classics CCS3392. Track 8

Bassano/Willaert: Le rose [K032]

P057. Van Nevel, Erik, dir. Adriaan Willaert en Italië. Capella Sancti Michaelis/ Currende Consort. 1993. Eufoda 1160. Issued in De Vlaamse Polyfonie, Eufoda 1160/69 (10 CDs). Track 2 Track 3 Track 6

Ave virgo [B161] Lauda Jerusalem [C027] Douleur me bat [F055]

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Adrian Willaert

Track 7 Vecchie ietrose [H015] Track 13 Quante volte diss’io [G016] Unfortunately this CD only seems to be available in a ten-CD set, though it is catalogued as a single disc also. The performances of representative works by Willaert are excellent throughout. Douleur me bat is particularly successful; this is one of only a few recordings to really approach one of Willaert’s chansons with the care needed. P058. Van Nevel, Erik, dir. Venetian Music for Double Choir: Adriaan Willaert, Giovanni Gabrieli. Currende, Concerto Palatino. rec. 1993, rel. 1994. Accent ACC 93101D. Track 1 Track 2 Track 3

Lauda Jerusalem [C027] Credidi, propter quod locutus sum [C022] Ricercar X [I016]

Admirable performances of two of Willaert’s large-scale psalm settings, with a strong atmospheric recording and acoustics. Uses instruments (cornetti and trombones) doubling vocal parts for two psalms. This CD includes music by Giovanni Gabrieli, and shows clearly how the northern Italian style of polychoral sacred music was well established in Venice, and especially at the basilica of San Marco by the end of the sixteenth century. P059. Van Nevel, Paul, dir. Vox Neerlandica 1. Nederlands Kamerkoor. rec. 1996, rel. 1997. NM Classics NM 92064. Track 8

Pater Noster [B074]

P060. Van Nevel, Paul, dir. Le Chant de Virgile. Huelgas Ensemble. rec. 2000, rel. 2001. Harmonia Mundi France 901739. Also issued as Haydn Society L’Anthologie sonore HS-AS 5, Disques Adès MS 25 AS 536. Track 7

O socii neque enim [B181]

Excellent performance of Willaert’s O socii. The performance is done with voices and a consort of string instruments. This is a very valuable CD, collecting settings of Virgil by Josquin, Mouton, Rore, Willaert, and others. It includes three settings of Dulces exuviae (though not the Willaert setting). P061. Visse, Dominique, dir. Une fête chez Rabelais. Ensemble Clément Janequin. 1994. Harmonia Mundi 901453. Track 10 Dessus le marché darras [F027]

Discography (P)

433

This is a powerful performance of this chanson, which is dramatic to say the least. Ensemble Clément Janequin is better known for their performances of sacred music, but this works very well. This CD provides an excellent introduction to the chanson in the group of composers immediately following Josquin. P062. Werthen, Rudolf, and Erik van Nevel, dirs. Renaissance of the Spirit: Music of Orlando di Lasso and His Contemporaries. I Fiamminghi, Currende. rec. 1998, rel. 2000. Telarc CD 80521. Track 10 Pater Noster [B074] ii Ave Maria This was Willaert’s most famous four-voice motet. Excellent performance with low brass doubling lower parts of choir. P063. Wickham, Edward, dir. O Socii Durate: Motets by Willaert, Lassus, Manchicourt, De Rore. The Renaissance Singers. rec. 1998, rel. 1998. ASV QS 6228. Track 7 Track 8 Track 9 Track 10

Alma redemptoris mater [B157] Domine, quid multiplicati sunt [B039] Victimae paschali laudes [B192] O socii durate [B181]

O socii durate was composed in April 1558, making it one of the latest works by Willaert with a secure chronology. This CD includes Rore’s setting of the same text, in which Rore used the same cantus firmus ostinato as Willaert. Alma redemptoris mater and Victimae paschali laudes, two six-voice motets from the Musica Nova collection of 1559, are particularly successful. Fine singing and atmospheric recording. P064. Wilson, Christopher, and Shirley Rumsey, dirs. Musica Mediterranea: Music of the Italian and Spanish Renaissance. Kithara. rec. 1993, rel. 1994. Chandos Chaconne CHAN 0562. Track 1 Track 9

A quand’a quand’haveva una vicina [H009] O bene mio fam’uno favore [H012]

Both canzone villanesche are sung by Shirley Rumsey, who is better known as a lutenist. This CD provides a useful anthology of music from Italy and Spain in the first half of the sixteenth century.

434

Adrian Willaert

P065. Yacus, David, dir. Giovanni Bassano: Motets, Madrigals and Canzoni. Musica Figurata. rec. 1998, rel. 1999. Tactus 550201. Track 5

Quando di rose d’oro [H002]

RELEASED ON ANALOG DISC P066. Flemish Music and Society in the XVth and XVIth centuries. Quatuor vocal de Bruxelles. 1965. Archiv Produktion 629 517/8 [2-LP set]. Track 14a. O dolce vita mia [H013] Track 14b. Allons, allons gay [F001] Track 14c. Quidnam ebrietas [B080] P067. History of Music in Sound, Volume IV: The Age of Humanism (1540–1630). Basle Schola Cantorum Viol Ensemble. n.d., History of Music in Sound G.HMS 41 [78 rpm, mono]. Also released on LP as HMV HLP 8/9/10, and RCA Victor LM 6029 (2). Ricercar No. 7 (Ricercari e Fantasie … 1549) P068. Italian Madrigals. Abbey Singers. 1965. Decca DL 10,103 [LP, mono]. Released in stereo on Decca DL 710,103; Brunswick AXA 4538, SAXA 4538. O bene mio [H012] P069. A música no tempo de Camões. Segréis de Lisboa. 1979. EMI Voz do Dono 8E 17140511/2. Willaert/Pisador: Madonna mia fami bona offerta [K027] P070. Musique au temps de la Renaissance. The London Ambrosian Singers and Consort/Franz Tenta Consort, Salzburg/Ensemble Les Ménestrels. n.d., Belvédère ELY 0501. Track 17. Madona io non lo so [H010] P071. Musique flamande-Renaissance et Baroque. Ensemble Alarius/Quatuor vocal de Bruxelles. 1968. Alpha DBM-129C. Also released as Alpha MBM 10. Track 8.

O dolce vita mia [H013]

P072. Polyphonies belges, anciennes et modernes. La Groupe Vocal Fritz Hoyois. n.d., Alpha 3013. O bene mio [H012] O dolce vita [H013]

Discography (P)

435

P073. Recorder Music of Renaissance Italy. Wiener Blockflötenensemble. 1977. Telefunken Das Alte Werk AW6.42033. Musical Heritage Society MHS 7081, MHS 7081M; also released on Celestial Harmonies 13095. Passa la nave [G049] Ricercar a 3 [I014] P074. Adams, F. John, dir. Jacobus de Kerle: Missa Regina Coeli. Harvard Glee Club. 1982. Musical Heritage Society MHS 4590. Side 2/track 4 Regina Coeli laetare [B084] All-male choir in a cappella performance. Musical, good intonation, choral sound is on the rich side. Record has a number of settings of Regina coeli. P075. d’Alessi, Giovanni, dir. Motets of the Venetian School, Volume 2. Capella di Treviso. 1953. American Vox PL 8610 [LP, mono]. Ego dormivi [B039/ii] P076. Blanchard, Roger, dir. Anthologie de la chanson française de 1450 à 1550. Ensemble vocal Blanchard. n.d., Discophiles français 330 222/4 [LP (3), mono]. Also released as Discophiles français 330.111-4. Track 60. Dessus le marché d’Arras [F027] P077. Blanchard, Roger, dir. The Basilica of St. Mark. Pierre Froidebise (organ), Roger Blanchard Vocal Ensemble. 1962. Record Society RSS 18. Domine Jesu P078. Bloch, Suzanne. Lute Songs and Dances from Italy, Germany, France and England. n.d., [1950?]. Allegro AL 93 [LP, mono]. Track 7.

Con lagrime e sospir [J004]

P079. Boogaarts, Jan, dir. L’Amore, l’amour: madrigalen, chansons uit de Renaissance. Cappella Traiectina. 1976. Eurosound 313-11. Side 1/track 1 Amor fortuna [G002] Mechanical performance, not recommended. P080. Boogaarts, Jan, dir. Marien-Motetten der Renaissance. StudentenKammerchor Utrecht. Charles Toet (trombone). rec. 1977, rel. 1980. Schwann Musicia Sacra AMS 2 602. Track 5.

Alma redemptoris mater [B157]

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Adrian Willaert

P081. Brown, Howard M., dir. Historical Anthology of Music in Performance, Volume 4: Late 16th-Century Music. University of Chicago Collegium Musicum/Southern Illinois University Collegium Musicum. 1969. Pleiades Records P 253. Side 1/track 12 Side 2/track 2

Victimae paschali laudes [B192; HAM, no. 113] Ricercar [I014; HAM, no. 115]

Ricercar performed on recorders. P082. Cohen, Joel, dir. The Wandering Musicians: Flemish Composers in Renaissance Italy. The Boston Camerata. 1973. Turnabout Vox TV-S 34512. Released in Germany on FSM STV 34 512, also on FSM 33030/31. Side 2/track 7

O bene mio [H012]

This performance suffers from problems of intonation. P083. Cuénod, Hugues (tenor) and Hermann Leeb (lute). Italian Songs of the 16th and 17th Centuries; Spanish Songs of the Sixteenth Century. 1950. Westminster WL 5059. LP. Westminster XWN 18654 (1963); released in UK as Nixa WLP 5059. Side 1/track 4 Side 1/track 5

Verdelot/Willaert: Fuggi, fuggi cuor mio [J009] Verdelot/Willaert: Con lagrime e sospir [J004]

P084. Czidra, László, dir. Music to Entertain the Kings of Hungary 1490–1526. Camerata Hungarica/Ars Renata. 1979. Hungaroton SLPX 11983/4 [2 LPs]. Side 2/track 3 Side 2/track 4 Side 2/track 6 Side 2/track 7

A quand’, a quand’- O bene mio [H009–H012] Alons, alons gay [F001] Ricercare [I018] Un giorno mi prego- O dolce vita- Sempre mi ride [H007-H013-H014]

A quand’, a quand’, and O bene mio are performed by soprano, Melinda Legosi, accompanied by vihuela. Alons, alons gay is performed on instruments only here. The most effective performances on this recording are of the three villanelle, which are performed a cappella. P085. Fromme, Wolfgang, dir. The Most Beautiful Madrigals. Collegium Vocale (Köln). 1980. CBS Masterworks 79333 [3 LP set]. Side 5/track 3

Amor mi fa morire [G003]

Side 5 of this collection presents a set of Lamento settings, starting with Monteverdi’s Lasciate mi morire. The performance of Amor mi fa morire emphasizes the lamenting quality of Willaert’s setting. Despite the text, this madrigal should surely be sung faster than in this recording.

Discography (P)

437

P086. Hoyois, Fritz, and Charles Koenig, dirs. [Willaert] Oeuvres religieuses & profanes, vocales & instrumentals. Maria Ceuppens (soprano), Ensemble vocal de Bruxelles/Ensemble Polyphonies. n.d., [1970?]. Erato STU 70602. O salutaris Hostia [B180] O Domine Jesu Christe [B065] Ricercare O Thoma, laus et gloria [B070] Flete oculi [B047] In Dominicis diebus Dessus le marché d’Arras [F027] Un giorno mi prego [H007] O bene mio [H012] Madonn’io non lo so [H010 O dolce vita mia [H013, two versions] Lasso, ch’io ardo [G010] Zoia zentil [H003] Giunto m’ha amor, nulla posso levar [G021] P087. Jürgens, Jürgen, dir. Ihr Musici, frisch auf! Alte Madrigale, Villanellen und Chansons. Monteverdi-Chor, Hamburg. 1966. Telefunken Das Alte Werk SAWT 9462. Also as Telefunken AN6.41167, Telefunken-Decca Das Alte Werk 6.35 052 DX (2). O bene mio [H012] P088. Kinslow, Valerie (soprano), dir. English and Italian Music for Viols and Voice. Dulces Musicae. 1981. Musical Heritage Society MHS 4363. Side 2/track 2

Dulces exuviae [B042]

With soprano accompanied by viols, this recording emphasizes the top voice. This approach works well for this piece, in which homophonic textures predominate. P089. Kronenburg, Hans, dir. Arti Vocali. Arti Vocali. 1976. KRO Klassiek 313-10. Pater Noster [B074] P090. Meili, Max (tenor) and Fritz Wörsching (lute). Music of the Renaissance. n.d., [1938?]. RCA Victor 11-0010/12 [78 rpm (3)]. Verdelot/Willaert: Con lagrime e sospir [J004] P091. Munrow, David, dir. The King’s Singers: A French Collection. The King’s Singers, The Early Music Consort of London. 1973. EMI CSD 3740. Released in the United States as Courtly Pleasures, Angel S 37025.

438

Adrian Willaert

Side 1/track 2c Allons, allons gay [F001] Side 1/track 3* Faulte d’argent [F057] Musical performances spoiled by a poor recording; the acoustic is unsuitable for this repertory. Allons, allons gay is sung a cappella, while Faulte d’argent is performed with a mixed consort of instruments from the Early Music Consort of London. P092. de Nobel, Felix, dir. The Birth of Christ. Netherlands Chamber Choir. 1959. Epic LC 3614 [LP, mono]. Released in the United Kingdom as Nixa PLP 239; released in France as Contrepoint MC 20069. O magnum mysterium [B067] P093. Peeters, Flor (organ). Old Netherlands Masters. 1959. Renaissance X 39 [LP, mono]. Side 1/track 6 Ricercar [I014] Recording is somewhat distant. P094. Planchart, Alejandro, dir. Renaissance motets. Capella Cordina. rec. 1972, rel. 1973. Lyrichord LLST 7245. Side 2/track 2 Veni Sancte Spiritus [B100] Mixed consort of instruments doubling vocal parts. Performance emphasizes density of texture. P095. Pohl, Rudolf, dir. Ave Maria Kaiserin: Musik im Dom zu Aachem. Aachener Domchor. n.d., Harmonia Mundi (BASF) DC 21 443-5. Reissued in 1972 as Deutsche Harmonia Mundi (EMI) 1C 065 99 601, Harmonia Mundi BASF HB 21443. Track 14. O magnum Mysterium [B067] P096. Raugel, Félix, dir. Madrigaux et chansons des XVe et XVIe siècles. Quatuor Vocal Néerlandais. rel. 1951. Haydn Society L’Anthologie Sonore 2501 LD [LP, mono]. Un giorno mi prego una vedovella [H007] Madonn’io non lo so [H010] O bene mio [H012] P097. Rifkin, Joshua, dir. Willaert Motets (for four voices). Boston Camerata. rec. 1975, rel. 1975. Nonesuch H-71345. Track 1. Benedicta es, celorum regina [B027]

Discography (P)

Track 2. Track 3. Track 4. Track 5.

439

Magnum hereditatis misterium [B058] Quem terra, ponthus, ethera [B078] Saluto te, sancta virgo Maria [B086] Pater noster [B074]

This remains one of the most outstanding recordings of Willaert’s music. The Boston Camerata sing a cappella. This record has been out of print for many years; nevertheless it is a basic and important recording of Willaert’s music. At the time of its first release, this was the by far the best recording of Willaert’s sacred music, a situation that remained through the 1980s. P098. Rooley, Anthony, dir. Musicke of Sundrie Kindes: An Introduction to Secular Renaissance Music, 1480–1620. The Consort of Musicke. 1975. L'Oiseau-Lyre Florilegium 12BB 203-6 [ 4 LPs]. E qui la dira Madonna, qual certezza [J015] P099. Ruhland, Konrad, dir. Staatsmusik der Renaissance. Capella Antiqua, München. 1971. Telefunken Das Alte Werk SAWT 9561/2 (2 LPs). Reissued on Telefunken Das Alte Werk TK 11515-2, Telefunken-Decca Das Alte Werk 6.35 052 DX(2). Side 3/track 1

Victor io salve-Quis curare neget [B156]

Companion recording to N147. The Willaert motet is performed with chorus and trombone for the cantus firmus. P100. Schlick, Barbara (soprano). Alte Weihnachtslieder. Cologne Viol Consort. n.d., Thorofon MTH 201. O magnum mysterium [B067] P101. Sterne, Colin, dir. Florentine Carnival Songs and Other Music of the Italian Renaissance. The Antiqua Players. n.d., Classic Editions 1042 [LP, mono]. Side 1/track 6 Side 1/track 7

O dolce vita mia [H013] Zoia Zentil [H003]

P102. Stevens, Denis, dir. The Music of Adrian Willaert. The Ambrosian Singers. 1968. CBS Odyssey 32 16 0202. Side 1/track 1 Side 1/track 2 Side 1/track 3

Zoia Zentil [H003] À l’aventure [F024] Ricercar No.2 [I010]

440

Adrian Willaert

Side 1/track 4 Side 1/track 5 Side 1/track 6 Side 2/track 1 Side 2/track 2 Side 2/track 3 Side 2/track 4 Side 2/track 5

Dessus le marché d’Arras [F027] Dessus le marché d’Arras (keyboard version – Attaingnant) [K001] O Crux splendidior [B137] ii Dulce lignum Dulces exuviae [B042] Quando nascesti, amor? [G055] Ricercar X [I016] O dolce mia vita [H013] Beata viscera [B162]

The earliest LP record devoted to Willaert’s music only, the choice of repertory is representative. Performances now show their age. There are some intonation problems, which are not helped by a somewhat heavyhanded approach. Ricercar No. 2 is performed on viols, Ricercar X is performed on harpsichord. P103. Stevens, Denis, dir. Amorous Dialogues of the Renaissance. Accademia Monteverdiana. 1972. Nonesuch H-71272. Side 2/track 4

Chi fai, alma? [G052]

The only recording of this madrigal from the 1559 Musica Nova collection. Unfortunately this is not a strong performance; the quality of vocal production is not refined enough. P104. Talsma, Willem Retze (organ). Die Niederländische Orgelschule. 1967. Archiv Produktion SAPM 198445. Ricercar

Titles in Latin

Workslist (A–J); Arrangements (K); Manuscript sources after 1600 (L); Recordings (P). References to modern editions of Willaert’s Music (M) are not given here, but instead appear in the worklist in Chapter 5.

A Accessit eius merito mirabilis dignatio [a 3], D029/vi Ad te Domine preces nostras fundentem, B012 Ad te igitur piissime, B174/ii Ad tua confugio supplex, B013, L027 Adriacos numero si quis, B105 Alleva manum tuam super gentes alienas, B133/ii Alma Redemptoris mater, B157, P063, P080 Amatorem paupertatis [a 4], D027/ii Amatorem paupertatis [a 4], D028/ii Angelus ad pastores ait, B002 Angelus Domini descendit, B014, P016 Antoni pastor inclite, B015 Arbor decora [a 3], D039/iv Arbor decora [a 4], D038/v Armorum fortissime ductor Sebastiane, B016 Ascendens Christus in altum, B017 Aspice Domine quia facta est, B158, L018 At deueta diu, B151/ii At Franciscae ducum/Argentum, B189/ii Audit et suscipit puella nuncum, B175/iii

Auditae insulae, et attendite populi de longe, B159, L032 Augustine lux doctorum, B129/ii, K012 Aule lucide, B018 Aures ad nostras, D008 Auxilientur mihi Domine Jesu Christe, B019 Ave dulcissime Domine Jesu Christe, B020 Ave et gaude, B106 Ave Maria ancilla sanctae trinitas/Ave Maria gratia plena, B107 Ave Maria fons et pulchritudo/Ave Maria gratia plena, B107/ii Ave Maria, gratia plena, B021, P047 Ave Maria, gratia plena [a 4, prima pars O magnum mysterium], B067/ii Ave Maria, gratia plena [a 4, prima pars Pater noster], B074/ii, K019, K021, L001 Ave Maria, gratia plena [a 5, prima pars Pater noster], B183/ii Ave Maris stella [a 4], D009 Ave Maris stella [a 5], B108, P033 Ave Regina coelorum, Ave Domina angelorum, B022, P016 Ave Regina coelorum, Mater regis angelorum, B023, P055

441

442

Titles in Latin

Ave Ave Ave Ave

Coelorum pulset, D026/iv Cognoscimus domine quia peccavimus, B139/ii Collaudemus, D035/ii Conditor alme siderum, D013 Confitebor tibi … in consilio [primi toni], C020 Confitebor tibi … in consilio [secundi toni], C005, P026 Confitebor tibi domine in toto corde meo, B030 Congratulamini mihi omnes [a 4, secunda pars Beatam me dicent], B031 Congratulamini mihi omnes [a 4, secunda pars Recedentibus discipulis], B032, L027 Congratulamini mihi omnes [a 5], B115 Conscendit jubilans, D018/ii Creator omnium Deus [a 5], B116, K026 Creator omnium Deus [a 6], B165, L006 Credidi propter quod locutus sum, C022, P058 Crimina laxa [a 3], D008/iii Crimina laxa [a 4], B005 Crux fidelis inter omnes, B119/ii Cui contra Maria, B048/ii Cuius corpus [a 4], D001/ii Cuius corpus [a 4], D002/ii Cuius refulsit [a 4], D019/ii Cum invocarem exaudivit me [a 4, sexti toni], C001 Cum invocarem exaudivit me [a 8], c029 Cum jucunditate memorium, B089/ii Cum surgit [a 4], D001/vi Custodi nos domine [a 4], E014

solem genuisti, B191/ii verum corpus, b200, L025 virginum gemma Sancta Catherina, B024 virgo sponsa Dei/Inviolata integra, B161, P005, P057 Avertatur obsecro Domine furor tuus, B160

B Basilii felix edes felici, B130/ii Beata coeli nuntio fecunda, B078/ii Beata cuius, D039/v Beata Dei genitrix Maria, b201 Beata quoque agmina, D011/ii Beata viscera Maria virginis [a 3], B003 Beata viscera Maria virginis [a 6], B162, P102 Beatam me dicent omnes generationes, B031/ii Beati pauperes spiritu quoniam ipsorum est regnum coelorum, B109 Beati qui persecutionem patiuntur propter iustitiam, B109/ii Beatus Bernardus [lost], B110 Beatus Bernardus, B163 Beatus Joannes apostolus et evangelista, B025 Beatus Laurentius, B164 Beatus Marcus [lost], B111 Beatus Stephanus preciosus dei, B026, P030 Beatus vir qui timet Dominum [tertii toni], C006, P026 Beatus vir qui timet Dominum [septimi toni], C015 Benedicamus in laude Jesu, E001, P026 Benedicta es, coelorum Regina [a 4], B027, P097 Benedicta es, coelorum Regina [a 7], B194 Benedictus redemptor omnium, B112

C Cadent a latere tuo, B081/ii Cantate Domino canticum vocum, B028 Cantemus [lost], B121/ii Causa etiam vite ferret, B087/ii Ceduntur gladiis more bidentium, B004 Christe lux, D008/v Christi virgo dilectissima, B029 Christus resurgens ex mortuiis, B113 Christus vere noster cibus, B049/ii Clare sanctorum Princeps orbis, B114

D Da pacem, Domine, B033, L018 De me solus amor potuit perferre triumphum [a 6], B170/iii De profundis clamavi [a 4, quinti toni], C010, P026 De profundis clamavi [a 8, quinti toni], C024 Deducant oculi nostri, B034, L029 Deo patri [a 5], D017/vi Deus in nomine tuo salvum me fac, b205 Deus qui absconditorum, B125/iii Deus qui beatum Marcum, B077/ii Deus qui manus tuas, B166 Deus qui meritis, B150/ii Deus, Deus meus, c028 Dic Maria quid fecisti contemplando, B094/ii Dic Maria quid fecisti postquam Jesum, B094/iii Dic nobis Maria quid vidisti [a 4], B101/ii

Titles in Latin Dic nobis Maria quid vidisti [a 6], B192/ii Dic nobis quibus, B035 Dicant nunc Judei, B113/ii Dilexi, quoniam exaudiet dominus vocem orationis meae, B036 Dixit Dominus Domino meo [primi toni], C004, P026 Dixit Dominus Domino meo [septimi toni], C014, L028, P033 Domine ad adiuvandum [a 4], E012 Domine Jesu Christe, amator benignissime/Gaudent in coelis, B167 Domine Jesu Christe, fili Dei vivi qui de coelis [a 4], B037 Domine Jesu Christe, fili Dei vivi qui frigestente [a 5], B117 Domine Jesu Christe, memento quod tu, B038 Domine probasti me, C026 Domine quis habitabit, b202 Domine refugium, B040 Domine, quid multiplicati sunt, B039, P063 Dominus regit me et nihil mihi deerit, B041 Dulce lignum dulces clavos, B137/ii Dulces exuviae [a 3], B006 Dulces exuviae [a 4], B042, P012, P013, P017, P088, P102 Dum reparat [a 5], D032/vi Duo rogavi ne deneges mihi, B155/ii

E Ecce Ecce Ecce Ecce Ecce

Dominus veniet et omnes sancti, B118 enim Deus, b203/ii lignum crucis, B119 Maria genuit [a 4], B043 Maria genuit [a 5, quinta pars of O admirabile commertium], B135/v Ecce nunc benedicite Dominum [a 4, sexti toni], C012 Ecce nunc benedicite Dominum, c032 Ecclesiam tuam quaesimus Domine, B055/ii Ego dormivi, et soporatus sum, B039/ii, P075 Ego infelix peccator, B044 Ego vox clamantis, b206/ii Emendemus in melius, B045 Enixa est puerpera fulget dies quem Gabriel, B168, P014 Equalis eterno patri, B007 Et beata quae credidit, b201/ii Et concede mihi omnipotens, B038/ii

443 Et Et Et Et

dum flerem, B115/ii ideo de tua pietate, B019/ii posuerunt adversum me, B131/ii posuit os meum quasi gladium acutum, B159/ii Et stans retro, B172/ii Et videntes vultum eius, B026/ii Exaudi Deus meus, B046 Exiqui mitteris haec dona dicerre [a 4], B175/ii

F Fac tria tabernacula, D032/iv Factum est verbum domini, b206 Factus est quasi, B163/ii Ferendum est aequo animo quod a deo, b208 Flete oculi, rorate genas, B047, P086 Forma decens mores casti tum pectis/Alles in Ehrenn, B120 Francisci patris emulus, D016/ii Fundavit earn altissimus, qui super maria fundavit eam, B169/ii

G Gaude gloriosa, B022/ii Gaudeamus omnes [lost], B122 Genitori genitoque, D031/vi Gentem auferte, D011/vi Germinavit radix Iesse, B135/iv Gloria deo sit, D008/ix Gloria patri, D037/vii Gloria sit unigenito eiusque unigenito, D029/ix Gloria tibi Domine [a 5], D001/viii Gloria tibi trinitas [a 6], D019/vi Gloriam patri, D035/iv

H Hac clara die/Maria concrepando, B048 Haec est domus Domini firmiter aedificata, B169 Haud aliter pugnans fulgebat Caeser, B123, P018 Hi sunt quos retinens, D033/ii Hodie Christus natus est [a 4], E002, L033, P026 Hodie Christus natus est [a 5], B124

444 Homo quidam fecit cenam magnam, B049 Hostem repellas, D037/v Huc me sidereo desecendere iussit olimpo, B170

I Iam pascha nostrum Christus est, B008 Ibant Magi, D023/ii Igitur nos merito/Inviolata integra, B161/iii Illumina oculos meos, B098/ii Illustrante spiritu, B147/ii Impar ancila domine sed pari fulget, D029/ii Impleta sunt, D039/iii In convertendo Dominum, C023, P055 In craticula te deum non negavi, B171 In diebus illis [a 5, secunda pars Susanna aliquando], B125 In diebus illis [a 6, secunda pars Et stans retro], B172 In excelso throno Vidi sederevirum, B173 In exitu Israel, C016, L013 In felix ego omnium, B174, P028 In illo tempore stabant autem iuxta crucem, B050 In manibus portabunt te, B081/iii In quacunque die invocavero te exaudi me, B030/ii In te Domine speravi [primi toni], C002 In te Domine speravi, c030 In tua patientia permanens, B053, L027 Inclina deus meus aurem tuam et audi, B160/ii Inclite dux salve victor/In Verona Agrippina, B126 Inclite Sfortiadum/Vivat dux Franciscus, B127 Infirmitatem nostram quesumus domine/Fors seulement, B128 Inter natos mulierum, B051 Intercessio quaesumus Domine beate Barbare, B052 Inveterata sunt ossa mea, B144/ii Inviolata, integra et casta es Maria [a 4], B054, P016 Inviolata, integra et casta es Maria [a 7], B195, L017, L032 Ipse est qui evangelii fluenta, B025/ii Iube Domine benedicere, E015

Titles in Latin

J Jam pascha, D001/iv Janitor coeli [a 4], D007 Janitor coeli [a 5], D006/ii Joannes Apostolus et evangelista, B055, L027

K Kyrie [Cunctipotens genitor] [a 4], A007

L Laetare sancta mater ecclesia/Augustine lux doctorum, B129 Laetatus sum [quarti toni], C018, P033 Laetatus sum [sexti toni], C008 Lamentabatur Jacob, B056 Lauda anima mea Dominum, c033 Lauda Jerusalem Dominum [secundi toni], C027, P033, P057, P058 Lauda Jerusalem Dominum [octavi toni], C013 Laudate Dominum omnes gentes, C017, L026 Laudate Dominum quoniam bonum psalmus, c034 Laudate pueri Dominum [primi toni], C021, P033 Laudate pueri Dominum [quarti toni], C007 Laus Deo patri pariliquem proli, B197/ii Laus honor, D030/v Laus tibi domine, E012/ii Laus tibi, sacra rubens, B130 Libera me Domine et pone me, B091/ii Locuti sunt adversum me, B131

M Magne martyr Adriane flos grecorum, B057 Magne pater sancte, B112/ii Magnum hereditatis mysterium [a 4], B058, K011, K020, L027, P097 Magnum hereditatis mysterium [a 5, prima pars O admirabile], B135/vii Mane prima sabbati, B132 Maria mater gratie/Maria mater gratiae, B178/ii Maria pedes genuit quos ista plorans [a 4], D029/iv

Titles in Latin Martyres dei [a 5], D011/iv Mea nox obscurum non habet, B093/ii Memento Abraham, Isaac, et Jacob, B143/ii Memento Domine David [septimi toni], C011, P026 Memento Domine David [octavi toni], C025 Mina gregem [a 6], D014/viii Mirabile mysterium declaratur hodie [a 4], B059, L027, P034 Mirabile mysterium declaratur hodie [a 5, prima pars O admirabile], B135/vi Miserere mihi, Domine, E003 Miserere nostri Deus omnium et respice nos, B133 Missa [mi ut mi sol] [a 5], A008 Missa Benedicta es [a 5], a0112 Missa Christus Resurgens [a 4], A001, L005 Missa Gaude Barbara [a 4], A002, L005 Missa Laudate Deum [a 4], A003 Missa Mente tota [a 6], A009 Missa Mittit ad virginem [a 6], A010 Missa Osculetur me [a 4], A004 Missa Queramus cum pastoribus [1] [a 4], A005 Missa Queramus cum pastoribus [2] [a 4], A006 Mittit ad virginem non quem vis angelum, B175 Monstra te esse matrem/Ave Maris stella, B108/ii Mortem enim quam salvator, B073/ii

N Natale Sancte Euphemiae, B060 Nazareus vocabitur puer iste, B061 Ne projicias nos, Domine, B134, K011 Nec fecit, b202/ii Nigra sum, B062 Nil postquam sacrum [lost], B176 Nil stolidus differt, B063 Nisi Dominus [tertii toni], C009 Nisi Dominus [sexti toni], C019, P033 Nobis datus, D031/ii, L035 Nobis dum sacros templis, B105/ii Nostra ut pura pectora, B054/ii Notum fecisti nobis, B040/ii Novum genus, D023/iv Nunc dimittis, E016 Nunc pio corde, B064 Nuntius celso, D036/ii

445

O O admirabile commertium creator generis humani, B135 [O] beata infantia per quam nostri generis, b209 O beatum pontificem … O Martine, B177 O bone Jesu et dulcis spes anime/Gaudent in coelis, B167/ii [O] Christi martir sancte Chiliane [lost], B136 O coeleste convivium, b203 O crux ave [a 5], D038/vii O crux ave [a 5], D039/vi O crux splendidior cunctis, B137, P015, P046, P102 O doctor optime [lost], B138 O Domine Jesu Christe justos conserva, B065/iv O Domine Jesu Christe … in cruce pendentem, B065, P016, P086 O Domine Jesu Christe … in cruce vulneratum, B065/ii O Domine Jesu Christe … propter illam, B065/iii O domine libera animam meam, quoniam exaudiet, B036/ii [O] felices panni quibus peccatorum, b209/ii O gemma clarissima, Catherina, B066 O gloriosa domina/Maria mater gratiae, B178 O Gratiane, o pie, B146/ii O iubar, D030 O lux beatissima, B190/ii, L018 O magnum mysterium, B067, P008, P016, P034, P092, P095, P100 O Maria benedicta/Inviolata integra, B161/ii O pia domina, per illud gaudium, B149/ii O proles Hispaniae, B179 O salutaris hostia, B180, P086 O Socij durate, B181, P060, P063 O sodales sancti Vindemialis et Florentii [lost], B140 O stupor et gaudium … tu Francisce, B141 O Thoma, laus et gloria, B070, P086 Obsecro Domine, B182 Omnes sancti tui quesumus, B068 Omnia quae fecisti nobis domine, B139 Omnipotens sempiterne Deus, B069

P Parasti in conspectu meo mensam, B041/ii Parce mihi Domine, B071

446 Parens tonantis maximi, B072 Parvoque lacte pastus est fulget dies, B168/ii Patefacte sunt januae coeli, B073 Pater noster [a 4], B074, K009, K012, K017, K019, P059, P062, P089, P097 Pater noster [a 6], B183 Pater, peccavi in coelum et coram te, B184 Pater, peccavi, B075 Patres nostri peccaverunt et non sunt, B082/ii Peccata mea domine, B185 Peccavi supra numerum/Tibi soli peccavi, B142, K012 Peccavi, B071/ii Peccavimus cum patribus nostris [a 4], B045/ii Peccavimus cum patribus nostris [a 5], B153/ii Per illud ave prolatum [a 4], B027/ii Per illud ave prolatum [a 7], B194/ii Plange quasi virgo plebs, B076 Plaudat frater, D014/ii Plorans ploravit in nocte, B158/ii Praeter rerum seriem parit Deum hominem, B196, L017, L032 Precatus est Moyses in conspectu Domini, B143 Prisci proceres, D019/iv Pro terrenis, D014/iv Procul recedant somnia, D034/ii Prolongati sunt dies mei, B144 Pungentem capiti dominum gestare, B170/ii

Q Quando natus es ineffabiliter ex virgine, B135/ii Quanti mercenarii [a 4], B075/ii Quanti mercenarii [a 6], B183/ii Quasi unus de paradisi fluminibus, B077 Quem terra, ponthus, aethera, B078, P097 Quem vidistis pastores, B009 Qui habitat in adjutorio [a 4, secunda pars Cadent a latere], B081 Qui habitat in adiutorio [a 4, septimi toni], C003 Qui habitat in adiutorio, c031 Qui iurat, b202/iii Qui mane junctum, D026/ii Qui pascis, D025/ii Qui pius, D024/ii

Titles in Latin Qui regis israel intende, B178/ii Quia devotis laudibus, B079 Quid non ebrietas, B080, P066 Quis curare neget divos mortalia/Salve sfortiarum, B156/ii Quo agnito discipuli/Sermone blando/Ad cenam, D003 Quo sanctorum Marcum chorus angelorum, D022/ii Quo sanctum Marcum, D021/ii Quo vulneratus [a 3], D039/ii Quo vulneratus [a 4], D038/iii Quoniam iniquitatem meam/Tibi soli peccavi, B142/ii Quoniam iniquitatem meam ego cognosco, B185/ii Quoniam peccatorum molle, B029/ii Quorum precepto, D017/iv Quorum precepto subditur, B010

R Recedentibus discipulis, B032/ii Recordare Domine quid acciderit nobis, B082 Reddis heu [a 3], D030/ii Regina coeli [a 3, instrumental], I012 Regina coeli laetare [a 4, antiphon], E004 Regina coeli laetare [a 4], B083 Regina coeli laetare [a 4, secunda pars Resurrexit sicut dixit], B084, P074 Regina coeli laetare [a 5], B144 Regina coeli laetare [a 6], B186 Regis signum, D014/vi Respice clemens solio, D005/ ii Resurrexit sicut dixit [a 4], B084/ii Resurrexit sicut dixit [a 5], B144/ii Resurrexit sicut dixit [a 6], B186/ii Rex autem David, B085 Rogo te ergo per illud gaudium, B086/ii Rubum quem viderat Moyses incombustum, B135/iii

S Sacerdotali predictum honore typicum, D022/iv Sacerdotum diadema/Sancte Gratiane, B146 Sacro fonte regenerata, B147

Titles in Latin Saluto te sancta virgo Maria, B086, P097 Salva nos ab excidio Geminiane, B148 Salva nos Domine [a 4], E005 Salva nos Domine [a 6], b210 Salve crux sancta arbor, B087 Salve sancta parens enixa puerpera regem, B187, L019 Sana me, B088 Sancta et immaculata virginitas, B089 Sancta Maria, Regina coelorum, B149 Sancte Francisce, B188 Sancte Paule apostole predicator, B090, K010, K011 Sanguine tumulto victricia, B126/ii Scimus hoc, D030/iii Se nascens dedit socium/O salutaris hostia, B198/ii Si ambulavero in medio tribulationis, B030/iii Si rore Aonio fluerent mea, B151 Sicut sydus radium, b199 Simile est regnum, B150 Sindonem sacram, D030/iv Sine tuo nomine, B100/ii Sit decus, D036/[vi] Sit ergo fas dicere, B144/iii Sit laus, D009/vii Sit trinitati sempiterna, D015/ii Solve vincla, D009/iii Spiritus meus attenuabitur, B091 Spoliatis Aegyptiis, D032/ii Stans autem Jesus, B092 Strinxerunt corporis membra, B093 Sub tuum presidium confugimus sancta Dei Genitrix, B152 Sumens illud, D010/ii Surgit Christus cum tropheo, B094 Surrexit Christus spes nostra, B102/ii Susanna aliquando, B125/ii Sustinuimus pacem et non venit, B153

T Te coelorum, D004/ii Te deprecamur [a 5], D013/(v) vi Te deprecamur [a 5], D025/iv Te Deum patrem ingenitum, B197 Te igitur martir egregie supplices, B016/ii Te summa, D039/vii Tecum principium in die virtutis, E006, P026 Tenebrae factae sunt, B096/ii

447 Tota pulchra es amica mea, B095, L027, P036 Tristis est anima, B096 Tu de vita, D027/iv Tu Domine notus omnibus, B060/ii Tu lumen tu splendor, D012/ii Tu nobis dona, D008/vii Tu nobis dona fontem lachrimarum, B005/ii Tu septiformis munere [a 3], B011 Tu septiformis [a 3, verse iii of Veni Creator Spiritus], D037/iii Tu, quae genuisti, B157/ii Tua per precata dulcisona, B195/ii Tuis astra posteris pater Francisce, B141/ii

U Ubi patres precellentes, D020/ii Unde nunc, D024/iv Unum cole Deum, B097 Unum te lumen, D004/iv Usquequo Domine oblivisceris me, B098 Ut a devotis fratribus exactus, D022/vi

V Vado ad eum qui misit me, b207 Valde honorandus est beatus Joannes, B099 Venator lepores mittet tibi/Argentum, B189 Veni Creator Spiritus, D037 Veni Redemptor, B154 Veni Sancte Spiritus [a 4], B100, P094 Veni Sancte Spiritus [a 6], B190, P013 Ventris obstruso, D036/iv Verbum bonum, B191, L016, P023 Verbum caro, D031/iv Verbum iniquum et dolosum, B155 Verbum supernum prodiens/O salutaris hostia, B198, L032 Vergente mundi, D013/iii Vexilla regis [a 4], D038 Vexilla regis [a 4], D039 Victimae paschali laudes [a 4], B101 Victimae paschali laudes [a 4], B102 Victimae paschali laudes [a 6], B192, P063, P081 Victor io, salve tantum cui fata triumphi/Salve sfortiarum, B156, P099 Videns Dominus flentes sorores Lazari, B103, L001

448 Virgo dei genitrix quem totus non capit orbis, B187/ii Virgo gloriosa Christi Margareta preciosa, B104, P009 Virgo singularis [a 5], D009/v

Titles in Latin Virtus sancti spiritus opus illud coelitus, B196/ii Visita quesumus, b204, L027 Vix alia poteras, B001 Vocem iocunditatis, B193 Vos secli [a 4], D017/ii

Titles in Italian

A A la dolce armonia, G035/ii A quand’a quand’haveva una vicina, H009, K017, K019, L009, P003, P032, P064, P084 Afflitti spirti miei, J001, P025 Amor da che tu vuoi, G019, L031 Amor e’l ver fur meco, G048/ii Amor mi fa morire, G003, L003, P085 Amor se d‘hor in hor, J002, P025 Amor tu sai pur fare, g056 Amor, Fortuna, G002, L010, P079 Amor, senno, valor, G047/ii Aspro core, G043, K023, P022

B Ben che‘l misero cor, J003, P025, P035 Ben, s’io non erro, G050/ii

Con dogli’ e con pietà, G005 Con lagrime, et sospir, J004, P025, P078, P083, P090 Con l’angelico riso, J005, P025, P035 Cosi vincet’in terra, G006

D Da lei ti vien, G037/ii Da lei ti vien, g067/ii Da quali angeli, G031/ii Divini occhi sereni, J006, P025 Donna che sete tra le belle bella, J007, P025, P035 Donna leggiadr’ e bella, J008, P024 Dove sei tu, mio caro, G020 Dulce padrun mi ho cognuso, H005

E C Cantai, hor piango, G044, P053 Ceda nata nel mar Venere, G029/ii Che fai alma? che pensi?, G052, L032, P103 Chi mi ti tols’oimé, G020/ii Chi volesse saper, G004 Cingari simo venit’a giocare, H004, L009, P029, P031, P032, P038

E quand’ fa, g057 E se per gelosia, H008, P029, P032 Ella si tace, G025/ii, L011

F Fuggi, fuggi cor mio, J009, P025, P035, P083

449

450

G Gentil coppia eccellente, G019/ii Già mi godea felice, G007 Giunto m’ha Amor, G021, P086 Gloriar mi poss’io donne, J010, P025 Grat’e benigna donna, G008

I I begli occhi, G022, K023 I piansi, hor canto, G046 I vidi in terra, G047, L018, L032 Igno soave ov’il mio foco, J011, P025 In qual parte del ciel, G045 In te Marte, G027/ii Ingrat’ hai lasso l’amo, G023/ii Ingrata è la mia donna, G023 Io amai sempre, G009, L011 Io mi rivolgo, G024 Io son tal volte donna, g058 Io son tal volte donna, g059

L L’aura mia sacra, G025, L011 Lagrime meste, g060 Lasso, ch’i ardo, G010, P086 Le vecchie per invidia, g061, P032 Liete e pensose, G053, L032, P038

M Ma chi pensò veder, G009/ii, L010 Madonn’io non lo so perchè lo fai, H010, K006, K017, L009, P006, P032, P070, P086, P096 Madonna il tuo bel viso, J012, P025, P035 Madonna io sol vorrei, J013, P025 Madonna mia famme bon’offerta, H011, K017, K019, L009, P004, P032, P037 Madonna mia gentile, g062 Madonna per voi ardo, J014, P025 Madonna qual certezza, J015, P025, P099 Madonna s’io v’amai, G026, K023 Madonna, il bel desire, G011 Madonna, ohime, per qual cagion, g063 Mentre al bel letto, G027

Titles in Italian Mentre che ‘l cor di gliamorosi vermi, G028 Mi xe sta chel c’ha fado, H005/ii

N Ne l’amar’e fredd’onde, G029 Ne pergratia giammai, g064 Né però con atti, G030/ii Ne spero i dolci, G002/ii Non più ciance Madonna, g065 Nulla posso levar, G021/ii

O O bene mio fam’uno favore, H012, K019, L007, L009, P019, P032, P037, P049, P064, P068, P072, P082, P084, P087, P096 O dolce vita mia che t’haggio fatto, H013, L009, P005, P032, P049, P066, P071, P072, P084, P086, P101, P102 O invidia, G030 Occhi piangete, accompagnate il core, G054 Occhio non fu giamai, H001, P029, P032 Oimè ‘l bel viso, g066 Ond’io non pote’mai, G033/ii Onde tolse Amor, G031 Ove ch’i posi gli occhi, G048

P Passa la nave, G049, P073 Per divina bellezza, G045/ii Pianget’egri mortali, G032 Pien d’un vago pensier, G050, L004 Pioggia di lagrimar, G049/ii Piove da gli occhi della donna mia, J016, P025 Più volte già, G033

Q Qual anima ignorante, G012, K031 Qual anima ignorante, G034, L024 Qual dolcezza giami, G035, K017, P005, P029 Qual più diversa e nova cosa, G013 Qual vista sarà mai, G036 Quand’amor i begli occhi, J017, P024, P025 Quando di rose d’oro vien, H002, P032, P065

Titles in Italian Quando fra l’altre donne, G037 Quando fra l’altre donne, g067 Quando gionse per gli occhi, G014 Quando i begli occhi, G015, K023 Quando nascesti, Amor, G055, L032, P102 Quante volte diss’io, G016, P029, P057 Quanto più m’arde, G038 Quanto sia liet’il giorno, J018, P025 Quel foco è morto, e’l copre un picciol marmo, G028/ii Quest’anima gentil, G017, L010 Quest’arder mio, G010/ii Questi son que’begli occhi, G022/ii, K023

451 Son giont’al fin, G041/ii Sospiri miei d’oime dogliorirosi, H006, L009, P032

T Talhor m’assale, G024/ii Tant’alto sei signor, G042 Tengan dunque ver, G044/ii

U R

Un giorno me pregò una vedovella, H007, L009, P013, P029, P058, P084, P086, P096

Rompi de l’empio core, G051

S Sciocco fu’l tuo desire, G039 Se la dura durezza, g068 Se la gratia divina, G040, K029, L031 Se mai provasti donna, J019, P025, P035 Se pur ti guardo, g069, P032 Se si posasse, G017/ii Se’l veder voi, G001 Sempre mi ride sta donna da bene, H014, L009, P010, P029, P031, P032, P038, P084 Sì profound’era, G046/ii Si liet’e grata morte, J020, P025 Signora, dolce io te vorrei, G018 S’io pensasse madonna, J021, P025 Son già molt’anni, G041, L031

V Vecchie letrose non valete niente, H015, K017, L009, P002, P005, P010, P021, P029, P031, P032, P037, P040, P041, P043, P050, P057 Vita de la mia vita, J022, P010, P025 Vivo sol di speranza, G043/ii Voi sapete ch’io v’am’anzi, g070

Z Zoia zentil che per secreta via ‘La canzona di Ruzante’, H003, P029, P032, P086, P101, P102

Titles in French

A A l’aventure, l’entrepris cuisdant gaigner en fin le pris, F024, K002, K016, P102 A la fontaine du pré Margot, F053, K024, K029, K032, L008, P009 A vous me rends, F025, L005 Adieu mes amours, f065 Allegez moy, f066 Aller m’y faut sur la verdure, F039, K033 Allons, allons gay, F001, K008, K013, L021, P007, P029, P066, P084, P091

B

Dessus le marché d’Arras, F027, K002, P029, P061, P076, P086, P102 Dessus nostre treille de may, F006 Douleur me bat & tristesse m’affolle, F055, L020, P057

E En douleur et tristesse, F056

F

Baisés moy tant tant [1] [a 3], F003 Baisés moy tant tant [2] [a 3], F004 Baisés moy tant tant [a 5], F040, P020

Faulte d’argent c’est douleur nompareille, F057, P039, P052, P091

C

H

C’est boccane, F026 C’est donc pour moy que ansins, F005, K005, K014, L022

Fors seulement la mort, F041, L006

He Dieu, Helayne!, F007 Helas ma mere helas maman, F042, K017, K029

D

I

De retourner mon amy, F054, L023, L024

Irons nous tous jours coucher, F028

453

454

Titles in French

J

O

J’ay veu le regnart [a 3], F010 J’ay veu le regnart [a 4], F031 J’ayme bien mon amy [1] [a 4], F029 J’ayme bien mon amy [2] [a 4], F030 J’ayme par amours, F009 Jan, Jan quant tu t’en iras, F008 Je l’ay aymee bien sept ans & demi, F043 Je my levay par ung matin que iour, f069 Je ne sçauroys chanter ne rire [a 3], F011 Je ne sçauroys chanter ne rire [a 5], F044, L020 Jouissance vous donneray, F045, K022, K025, K030, K033, K034, K043, L031, P019, P029

Or suis je bien [a 3], F014, K012, K020 Or suis je bien [a 6], F060

P Perot, viendras tu aux nopces?, F015 Petite camusette [a 4], F036, K012 Petite camusette [a 6], F061 Pis ne me vault venire, f071 Plaisir n’ay plus mais vis, F037 Puis donc que ma maitresse, F062 Puis que j’ai perdu ma maitresse, F047

Q L La jeusne dame va au molin, F012 La rousé du moys de may [a 3], F013 La rousée du moy de may [a 5], f067 La rose/La rousée du moys de may [a 6], f068, K031, L008, P028 Le dur traveil ou mon coeur, F032, K006, K007, K013, K020, K030 Le grand desir, f070

Quant j’estoye a marier, F038, K003 Quant le joly Robinet eut tricoté la bergiere, F016 Qui a beau nez beuvra à la bouteille, F057/ii Qui est celuy qui a dit mal du con?, F017 Qui la dira la peine de mon coeur [a 3], F018, K027, K028, L030 Qui la dira la peine de mon coeur [a 5], F048, P029 Qui veult aymer il faut estre [a 3], F019 Qui veut aymer il faut estre [a 6], F063

M S Mon cueur, mon corps, mon ame [a 4], F033, K018 Mon cueur, mon corps, mon ame [a 6], F058 Mon mary ma diffamee, F034 Mon petit coeur n’est pas a moy, F035, K004, K015, L005, P044 Mon petit cueur tu n’es plus, F059 Mort ou mercy en languissant j’attens, F046

N [N’] a tu point veu la viscontine, F002

Sire don dieu tant ils sont aises [a 3], F020 Sire don dieu tant ils sont aises [a 5], F049 Sonnez m’y donc quand vous irez, F050 Sur le joly jonc, F021 Sy je ne voy m’amie, F022

V Voulez ouir chansonnette, F051, K029 Vous aurez tout ce qui est mien, F052 Vous marchez du bout du pié, F023 Vous ne l’aurez pas si je puis, F064

Index of Names (Authors and Editors)

Items refer to sources in Chapter Eight, Modern Editions (M), or Chapter Nine, Bibliography (N). A Adams, Courtney, M082, M083 Aerbeydt, Guido, N083 Agee, Richard, N001, N002, N003, N004, N173, N264 d’Alessi, Giovanni, N034, N137 Allaire, Gaston G., N226 Ambros, August W., M027, N245 Anglillis, A., N084 Antonowytsch, Myroslaw, N119 Apel, Willi, M031 Armstrong, James, N138 Atlas, Allan W., N246 Averkamp, Anton, M021, N120

B Baldauf-Berdes, James L., N272 Barbier, J., N203 Bartoli, Rebecca, N273 Bastian, James G., N274 Beck, Hermann, N114, N115, N121, N122, N123, N124, N125 Bent, Margaret, N227 Berger, Karol, N228 Bernet Kempers, Karel P., M072

Bernstein, Jane A., M019, N005, N006, N007, N008, N009 Bernstein, Lawrence F., M018, N010, N011, N204 Bettley, John, N139, N140 Blackburn, Bonnie, N035 Bonicatti, Maurizio, N275 Boorman, Stanley, N012, N013 Bossuyt, Ignace, N078, N085, N086, N087, N141, N174 Brauner, Mitchell P., N036 Brown, Horatio F., N014 Brown, Howard M., M075, N015, N016, N142, N205, N206, N207, N214, N247, N276 Brunner, Horst, M089 Bryant, David D., N143 Buja, Maureen E., N175 Burney, Charles, N248 Busse Berger, Anna Maria, N230, N231 Bussi, Francesco, N037 Butchart, David, N265

C Caffi, Francesco, M117 Call, Jerry, N038 Carapetyan, Armen, N266, N267 Cardamone, Donna G., M017, N177

455

456 Carroll, Linda, N178 Carter, Tim, N249 Carton, Charles-Louis, N088 Carver, Anthony F., N144, N145 Cattin, Giulio, N277 Chapman, Catherine W., N017 Chilesotti, Oscar, N146 Cisilino, Sira, M107 Clough, Francis F., N297 Collins, Henry, M028, M030 Colvig, Richard, N298, N299 Commer, Franz, M023 Coover, James, N298, N299 Coussemaker, Charles E., N039 Crawford, David E., N040, N041 Croucher, Trevor, N300 Cumming, Geoffrey J., N297 Cumming, Julie E., N278

D Darrell, R.D., N301 Davison, Archibald T., M031 Dean, Jeffrey, N080 De Bruyne, M., N089 De Meyere, Jacques, N090 Dewitte, A., N091 Diehl, George K., N042, N043 Dobbins, Frank, M086 Dunning, Albert, N147 Durling, Robert, N179

E Edwards, Rebecca A., N217, N279 Einstein, Alfred, M029, M096, N180, N181 Eitner, Robert, N018, N092, N093 Engel, Lehman, M032 Erb, James, M076 Erig, Richard, M130

Index of Names (Authors and Editors) Fellerer, Karl G., M050 Fenlon, Iain, N094, N188, N280, N281, N282, N283, N284 Ferrarese, Francesca, N044 Finscher, Ludwig, N045, N148 Freedman, Richard, N208 Fromson, Michele, N104, N149, N218, N232, N268

G Gaspari, Gaetano, N046 Gerstenberg, Walter, M005, M007, M008, M013, M039, N095, N116, N150 Glixon, Jonathan E., N285, N286 Gosman, Alan, N233 Gottwald, Clytus, N047, N048 Gregoir, Walter, N096 Grout, Donald J., N250 Gruber, Gernot, M080 Gudeweill, Kurt, M089 Gutmann, Veronika, M130

H Haar, James, N188, N189, N190, N191, N234, N235, N236 Harberl, Franz X., N126 Harman, Alec, M098, M101 Harrán, Don, N219, N220, N237 Hawkins, John, N251 Heartz, Daniel, N019 Hen, Ferdinand de, N087 Hertzmann, Eric, M105, N192 Hewitt, Helen, N209 Hillier, Paul, M087 Holst, Imogen, M073 Hunter, Ralph, M066, M067

J F Fagotto, Virginio, M051 Feldman, Martha, N182, N183, N184, N185, N186, N187

Jacobs, Charles, M128, M129 Jeppesen, Knud, N238 Judd, Robert, M020 Just, Martin, N151

Index of Names (Authors and Editors)

K Kämper, Dietrich, M137 Kellman, Herbert, N016, N038, N049 Keyser, Dorothy, N257 Kidger, David M., N127 Kiesewetter, Raphael G., M091 Klein, John, M119 Kobukowska, Jadwiga, N050 Kmetz, John, N051 Kroyer, Theodor, N193 Kubinyi, Andras, N097

L Latham, Morton, M093 Lenaerts, Rene, M022, M042, N098, N099, N100, N128, N129 Lesure, François, N020, N021 Levitan, Joseph S., N258 Lewis, Mary, M061, N022, N023, N024, N025, N221 Litterick, Louise, N210 Lockwood, Lewis, N052, N100, N101, N102, N103, N104, N130, N131, N155 Lodi, Pio, N053 Long, Joan A., M065, N152 Lowinsky, Edward E., M052, N054, N055, N081, N105, N106, N156, N259, N260, N261, N262 Luisi, Francesco, M099

M Macclintock, Carol, M133 Mace, Dean T., N194 Macey, Patrick, M064, N153, N154 Maier, Julius, N056 Maldeghem, Robert Julien van, M024, M025, M026, M070, M092 Malipiero, G. Francesco, M051, M097 Martini, Giovanni B., N252 Marvin, Jameson N., N132 McComb, Todd M., M302 McCoy, Stewart, M122 McKinney, Timothy R., N222 Meier, Bernhard, M136, N157, N239 Meier, Helga, M009, M014, M135, N195, N269

457 Merritt, A Tillman, M047, M048, M049 Miller, Jonathan M., N196 Mischiati, Oscar, N057 Moore, James H., N158

N Ness, Arthur, N215 Newcomb, Anthony, N240, N270 Norwich, John Julius, N293 Nutter, David A., N197

O Ongaro, Giulio M., N107, N108, N287, N288, N289 Ortner, Oswald, N216 Osthoff, Helmut, M034, N159 Owens, Jessie Ann, N082, N103, N104, N264

P Palisca, Claude, N250 Palumbo-Fossati, Isabella, N223 Passadore, Francesco, N290, N291 Patalas, Aleksandra, N026 Perkins, Leeman, N058 Peters, Flor, M116, M118, M120 Petti, Anthony G., M053 Picker, Martin, M055, N027 Pirro, André, N253 Pirrotta, Nino, N199 Pistarino, G., N109 Plant, Lourin Douglas, N160 Plantinga, Leon, N198 Pogue, Samuel F., N028, N077 Possiedi, Paolo, M123 Powers, Katherine, M103 Pozzobon, Michele, N059

Q Quaranta, Elena, N292 Quereau, Quentin W., N133

458

R Rasch, Rudolf A., N241 Reese, Gustave, N254 Richenhagen, Albert, N224 Riemann, Hugo, M094, M115 Rifkin, Joshua, N161 Rivera, Benito V., N225, N242 Robbins Landon, H. C., N293 Roche, Elizabeth, M102, M112 Roche, Jerome, M057, M102, M110, M112 Rosand, Ellen, N294, N295 Rossi, Franco, N290, N291

S Sartori, Claudio, N029 Schlager, Karlheinz, N030 Schick, Paul C., N200 Schiltz, Katelijne, N162, N163, N164, N165, N166, N271 Schmitz, Arnold, M068 Seay, Albert, M074, M127 Selfridge-Field, Eleanor, N296 Sherr, Richard, M062, M063 Skei, Allen B., N167 Slim, H. Collin, M121, N060, N061, N211, N212 Smijers, Albert, M033, M043, M044, M045, M046, N062, N134 Smith, Anne, N168 Smith, Gertrude P., N169 Sparks, Edgar H., N135 Stevens, Denis, M100, N201 Straeten, Edmond van der, N255 Swenson, Milton A., N213 Sweertius, Franciscus, N110

Index of Names (Authors and Editors) Thibault, Genviève, N021 Thomas, Bernard, M054, M056, M077, M078, M079, M081, M084, M085, M088, M108, M109, M111, M124, M125, M126, M131, M134 Thompson, Glenda G., N064 Tirro, Frank P., N065, N066, N067

U Urquhart, Peter W., N243, N244

V Vanhulst, Henri, N031 Vanický, Jaroslav, M106 Van Acker, L., N111 Van Crevel, M., N263 Van den Boren, Charles, N256 Van Orden, Kate, N032 Vogel, Emil, N033 Von Winterfeld, Carl, N118

W Wagner, Peter, N136 Weidensaul, Jane B., N068, N171 Wensiecki, Edmund, M132 Weyler, Walter, N112 Wiora, Walter, M095, M104 Wolf, Johannes, M071

Z T Tagliapietra, Gino, M113 Taricani, JoAnn, N063, N170 Tarrini, Maurizio, N202

Zanon, Maffeo, M035, M036, M037, M038, M040, M041 Zenck, Hermann, M001, M002, M003, M004, M016, M114, N172 Zolnay, László, N113