Giovanni Pierluigi da Palestrina

ROUTLEDGE MUSICAL BIBLIOGRAPHIES

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Giovanni Pierluigi da Palestrina
A Guide to Research

Clara Marvin

Routledge
New York and London
Published in 2002 by
Routledge Publishing, Inc.
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An Imprint of the Taylor & Francis Group

Copyright © 2002 by Clara Marvin

All rights reserved. No part of this publication may be reprinted or reproduced or utilized in any form
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10987654321

Library of Congress Cataloging in Publication Data

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Marvin, Clara.
Giovanni Pierluigi da Palestrina: a guide to research / Clara Marvin.
p. cm. — (Composer resource manuals ; v. 56)
Includes discography (p. 383) and indexes.
ISBN 0-8153-2351-4 (acid-free paper)
1. Palestrina, Giovanni Pierluigi da, 1525?-1594—Bibliography. L Title. II. Series.
ML134.P2 M37 2001
016.7822'2'092—dc21
00-068435

Printed on acid-free, 250–year-life paper

Manufactured in the United States of America
 Contents

Introduction vii
Abbreviations xv

1. Chronology and Biographical Outline 1

2. Primary Sources: Printed Music 13
I. Early Editions of Printed Music by Palestrina as Sole Composer 13
II. Printed Compositions in Musical Anthologies 54
III. Contemporary Arrangements of Palestrina's Works 70
IV Prints in Books, Theoretical Treatises, Manuals of Instruction, and
Similar Sources Dating from before 1800 75
3. Primary Sources: A Checklist of Manuscripts 79
4. Modern Editions of Palestrina's Music I:
Comprehensive Editions 135
I. The "Haberl" Edition (1862-1907) 135
II. The "Casimiri" Edition (1939-1987) 164
III. The Palestrina Foundation Series (1975—) 187
5. Modern Editions of Palestrina's Music II:
Collected an d Individual Works 189
I. Selections in Anthologies, Collections, Sets, and Series 189
II. Individually Issued Items 221
6. Bibliography of Secondary Literature 253
I. General Background, History, and Contemporaries 253
II. Biographical Literature 265
III. Studies of Sources, Music, and S ty le 281
IV Reception History 323
1. From the Sixteenth Century to 1750 323
2. From 1750 to 1914 342
3. From 1914 to the Present 366
7. Discography 383

Index 437
Index of Titles and First Lines of Musical Works 437
Index of Names and Subjects 463
This page intentionally left blank
 Introduction

It has been justly said that the reputation of Giov an ni Pierluigi da Palest ri na
(c.1525-1594) is unlike that of any other musician. He is the oldest composer who has
been present continuously in the consciousness of the Weste rn art tradition since his
death over four centu ri es ago. For many historians writing from the seventeenth century
to well into the early twentieth, Palest ri na was the pivotal figure in the progressive
development of music. Musical historiography was rich with metaphorical language
emphasizing the composer's role both as an originator of "true" polyphony and as a
foundation for the organic development of the a rt of his professional successors. Not
only did many histo ri es divide music into "before and after Palest ri na" phases, but they
established the composer as a new musical foundation, the mighty root out of which
subsequent music had its growth and flower. Palest ri na was also the linchpin in many
genealogies of music: not only did the lines of musical descent, improving the musical
heritage from one generation to another, converge on and culminate in him, but those
who came after him were true followers only insofar as they continued to project quali-
ties epitomized in his style. Palest ri na was the musical Everest, the flagship on the sea of
harmony, the virtual Counter-Reformation saint, complete with a miracle—the "salva-
tion" of polyphony—to his credit. To Baini, his worshipful biographer, he was amanu-
ensis Dei, "God's secretary."
But Palestrina's reputation evolved in a series of shifting phases. Although he has not
needed reviving by mode rn scholarship, his historical image has undergone a remark-
able series of changes an d colorations, perhaps none more radical than in the twentieth
century. Even more than being regarded as a perfect model for the contrapuntal tech-
nique of the late Renaiss an ce, his name an d style early became a metaphor for an ideal
of pious devotion in ecclesiastical music, the semidivine purity of which vanquished the
indecorous an d the inept. Associated with these featured qualities were a cluster of dis-
tinct but intricately connected ideas whose links an d historical crosscurrents have not
always been fully understood. Many agendas have been at work in the history of Palest-
ri na reception which reach far beyond the specific assessment of the quality of his
music. In turns his fame was caught up in Roman Church history and reform, music the-
ory and technique, politics, poetics an d aesthetics, rationalist revision, antiquarianism,
spi ri tual and religious revival movements, nationalist pride, and sociological and scien-
tific study.
Unquestionably Palest ri na was greatly esteemed by his contemporaries. As an
incumbent of some of the most prestigious musical posts in Europe, he was described by
a diplomat in 1575 as "now considered the very first musician in the world." Late in his
life he was even presented with a printed collection of compositions by students and
friends dedicated to his honor—an early Festschrift, as it were. His own works contin-
ued to be printed until well after his death, and some of them were perpetuated in copies
that were well-used through not only the seventeenth but the eighteenth centu ri es. Yet
there is a difference between lasting regard, however strong, and becoming a "legend,"
viii Introduction
the real particulars of which in Palestrina's case did not evolve fully until well into the
seventeenth century.
This elevation in status was brought about by the intersection of several factors.
Musically, it came about in part because in the theory of style in baroque music, the
canons of generic propriety for compositional technique became increasingly severe,
especially for ce rt ain kinds of church music. The theory and practice of this st ri ct style
came to be regarded as the criterion by which quality and refinement of music for the
church were to be judged. Not only technical skill but conceptual insight into the contra-
puntal foundations of the tradition was the sine qua non for a truly learned and sophisti-
cated musicus. Producing effective exemplars of the style was not only a matter of spiri-
tual loyalty but an issue of professional dignity and pride.
Powerful cultural and political factors played a role in establishing Palest ri na as a
major role model for composers in the seventeenth century. As Jean Lionnet and
Arnaldo Morelli have established, direct evidence that Palestrina's music was cited as
an ideal model for emulation in the Sistine Chapel is not readily available before the
1660s. In the mid-seventeenth century, however, as the papacy ceased to play a critical
role in European political affairs and lost much of its ideological hegemony, it contin-
ued to assert its spi ri tual primacy in other ways. It presented itself as the fons et origo
and epicenter of a "t ru e" religious culture as exhibited in the institutional traditions that
it held should be transmitted to the rest of the world. It was during this period that
Palest ri na, the "p ri nce of musicians" who had once reigned over the pope's own musi-
cal chapels, was increasingly heralded as the great restorer of the music of the Roman
Catholic tradition.
Transmitted to the eighteenth century by such writers as Antimo Liberati and Adami
da Bolsena, this "tradition" was disseminated through such theorists as Fux and his suc-
cessors in methods of species counterpoint, and by composers who continued to emulate
the osservato or stile antico schools, with greater or lesser intensity depending on their
religious an d stylistic o ri entation. While this era tended to emphasize Palestrina's tech-
nical mastery and elegance, insofar as they had experienced it, by the later part of the
century a romanticized version of the "legendary" image began to reassert itself. Emerg-
ing with the nascent Romantic movement was a search for an aesthetic sense of spiritual
exaltation, as well as for a kind of noble and archaic simplicity—for "origins"—that led
to a revival of active interest in the composer. In 1814, E.T.A. Hoffmann predicated in a
famous essay a restoration of church music based on the transcendent purity of the
Palest ri na style, asserting that for sublimity it was the vocal counterpart of the absolute
symphonic style. To a startling extent, Giuseppe Baini's landmark biography of the
composer, published in 1828, reflected the romantic program of the composer as the
archetypically solitary, afflicted genius, one whose manner was at once grandly reli-
gious and sublimely simple. In Ian Bent's words, Palestrina's style was perceived to be
one "in which all antitheses are resolved: nature is wed to a rt , rhetoric and philosophy
are reconciled, and a rt and science join forces." But also thanks to the pioneering Baini,
Palest ri na was also the first of the pre-1600 composers whose biography an d works were
addressed in detail with some of the tools of documentary scholarship. While Baini
could not inte rv iew his subject, he was surrounded at the Vatican by a wealth of manu-
script and archival materials. He sought both to know something of Palestrina's person-
ality and to make a serious attempt to describe the composer's stylistic methods over
time as a series of phases in a stylistic development.
The resurgence of devoted interest in Palest ri na in the nineteenth century was pa rt of
Introduction ix
a general revival of older music, which was in itself a function of the period's aestheti-
cized nostalgia for the past. This was especially true within the Roman Catholic commu-
nity, many of whose European institutions, both monastic and secular, had been
destroyed or attenuated during the last decades of the eighteenth century. The church
music restoration movement was closely related to a general Catholic renewal in France,
and in central and southern Germany a strong continuity existed between the Romantic
revival and the various artistic, philosophical, and religious programs of the Cecilians.
By the 1880s there were also some in Italy who were reacting against the hegemony of
the current operatic style, and they looked to the stile alla Palestrina as a potential
model for a restoration of church music to spi ritual simplicity. Although the papacy
itself retreated politically into the Vatican after 1848, it continued to be powerfully con-
cerned with musical religious reform, and even during the most visible phase of the
movement for the recovery of Gregorian chant, it was recognized that there was a practi-
cal liturgical place for polyphony based on Palestrinian models. But interest in Palest-
rina was by no means exclusively associated with Roman Catholicism. His historical
prestige as spi ritual musician and contrapuntist par excellence was such that many High
Church Anglican and Lutheran circles in particular increasingly sought the music of the
older Roman school for their antiquarian and musicological studies, choral societies,
and liturgies through much of the nineteenth century.
Palestrina's music was also indirectly drawn into national and political issues. The
second modern edition of his music, announced by Monsignor Casimiri in 1934, was in
part a monument to the Italian striving at that time to recover the magnificent cultural
heritage of its own more remote past. To a number of early-twentieth-century Italians, it
then appeared that the continuity of their historical musical culture—seemingly swal-
lowed up by the great maw of nineteenth-century opera on the one hand and an apparent
German hegemony in instrumental music on the other—needed to be reasserted. While
the fascista mentality may have capitalized upon such thinking to some extent, these
stirrings had in fact been present virtually since Italy's birth as a united nation in the
1860s and '70s. Casimiri's edition was by his own admission meant not only to take
advantage of the tools of modem scholarship but to provide a particular kind of native
sensibility and commitment, both of which would act as a corrective to Haberl's treat-
ment of Latin and Italian prosody and text underlay.
Twentieth-century musicology has tempered some of the past extravagances
addressed to Palest rina. The hagiographies of the nineteenth century, with their imagi-
nary conversations with the composer and their sometimes treacly religious sentiment,
have been largely superseded, but the modified picture that has emerged, particularly
since 1960, is rich and various on its own terms. The composer's image has been put on
a more scientific and sociological footing. Palest rina has been discovered to be not only
for the ages, but also a man and citizen of his own time: a sophisticated working artist
among others in an energetic musical marketplace, a craftsman, a businessman, and a
family man, as well as a spi ritual being. Renewed studies of his music are being made
with a much more extensive knowledge of both his contemporaries and the structures
and practices of the cultures in which he lived. As a result, not only the "timeless" but
the modern and forward-looking qualities of his personal style have been rediscovered
and celebrated: his attention to sonority and color, his interest in vertical as well as linear
sound, his use of large-scale sonic groupings and contrasts and polychorality, his elegant
"finish"—the seemingly effortless art that conceals study, that quality so prized by
Renaissance culture—and his sophisticated attention to text setting.
x Introduction

In a postmodern era dominated by unpredictability, unceasing change, continuous

readjustment, and overwhelming cultural irony, Palestrina's music retains an immutable
quality that may be one of its great current at tractions. It seems to possess a magical
combination of exquisite technical comprehensibility and a ce rtain indefinable `other-
ness." Perhaps, in the wave of the `new age' phenomenon, some of the present at traction
of Palestrina's music may be due less to the association of his name with ce rtain tradi-
tions than to the sense of its differentness—to the sense that it is not really of our time.
How else to explain Sicut cervus being played on the boombox as "cooled-out" mood
music for Generation Xers while they throw steaks on the barbecue of a summer
evening? Perhaps it is the case, as James Erb has suggested, that notwithstanding the
magnificent range and breathtaking technique of even an Orlando di Lasso, Palest rina
has managed to keep an image of posthumous preeminence (whether deserved or not)
over Lasso, among many others, precisely because Palestrina's music is less turbulent
and more predictable in its parameters. These qualities, surely, seem to be different from
the life of our time. Indeed, the minutest aspects of Palestrina's technique have been
pondered, literally, for centu ries. But the precise relationship between Palestrina's per-
sonality and his music remains elusive, and that very elusiveness has created a defense
against final deconstruction and postmodern fatigue.
One of the recent remarkable discoveries about Palest rina is that, for a composer
whose entire oeuvre, more or less, has been available in collected editions for a century,
the range of prospective research options and projects yet to be done is remarkably wide.
Over the course of his research Noel O'Regan has pointed out the challenges in the area
of source work alone, where there is an ongoing need to establish manuscript and print
traditions of music and to review documents. In her disse rtation on a group of Palest-
rina's imitation masses, Veronica Franke has pointed out the need to address the difficult
problems of establishing a proper chronology of the composer's works: "The problem
[of mass chronology] ... remains almost entirely unresolved. The dates of few masses
can be ascertained. The majority were published posthumously and had been in manu-
script for many years. Stylistic elements in ce rtain masses as well as comments in some
of the composer's formal letters of dedication would seem to indicate that a fair number
of the masses published during Palestrina's lifetime were composed well before their
appearance in p rint" [Item E0232].
There have been excellent studies since 1975 of aspects of Palestrina's compositional
process, although much remains to be done with respect to his imitation technique, his
recomposition of model material, and parody procedures—not only those in masses but
in other genres cultivated in his time. In recent years several scholars have explored the
liturgical and paraliturgical use of particular genres, notably spi ritual madrigals as well
as motets in nonchurch contexts. Some notable work has been done with Palestrina's
activity for confraternities and devotional processions that has expanded understanding
of the cultural uses of music in a variety of social contexts. For that matter, knowledge of
the practical liturgical uses of Palestrina's motets might benefit from further investiga-
tion. In addition, it would be profitable to build upon some of the recent work on per-
formance practice in this repertory—its resources, vocal techniques, and ornamenta-
tion—not only to enhance perform ances in our time, but to understand better how the
execution of Palestrina's music has been understood in the past.
The present Composer Resource Manual is meant to facilitate some of the prelimi-
nary steps required for general or more specialized research in any of these suggested
directions. It presents a picture of primary sources, mode rn editions, current secondary
Introduction xi

literature, and the history of recordings of Palestrina's music. It is also designed in rt

pa
to provide a digest of the secondary literature, much of which is in languages other than
English, in order to assist researchers with acquiring some control over a wide-ranging
body of material. It is intended for use by students, researchers, and scholars as well as
practical musicians (primarily choral directors) involved in the preparation of perform-
ances of Palestrina's music. Items are identified by unique sigla that are identified and
explained in the List of Abbreviations, page xv, an d cross-listed in the indexes.
Chapter 1 contains a biographical outline of the composer's life and activities in
chronological order, based primarily on documentary sources. For researchers desiring a
more integrated or comprehensive biography, full studies can be located in the "Bio-
graphical Literature" section of the annotated bibliography in chapter 6.
Chapter 2 lists primary printed sources for Palestrina's music dating approximately
from before 1700. A remarkably large propo rt ion of the composer's oeuvre was printed
during his lifetime, sometimes clearly under his supervision, or within a few years of his
death by his immediate heirs. A number of these prints, particularly those associated
with Dorico, can be considered as reliable representations of the composer's text, as he
himself is believed to have had an editorial or supervisory function in their preparation.
The list is based on RISM, the collection and examination of individual prints, an d
library catalogues. The lists in this chapter include prints in anthologies dating from
before 1700, as well as prints and significant printed examples found in published theo-
retical treatises an d in studies of counterpoint or of musical style dating from before
1800. Here, an d throughout the text, irregularities in Latin and Italian spellings in the
primary sources have been preserved unless otherwise indicated.
Chapter 3 is a provisional checklist of primary manuscript sources for Palestrina's
music. It includes works that circulated and remained in manuscript; manuscript copies
of prints that were used usually for local ferial liturgical practice, when this can be deter-
mined, and works attributed to the composer but that, on examination of available evi-
dence, are doubtful or questionable. I have not separated manuscript copies of printed
material from copies that belong distinctly to a circulating manuscript tradition. This
area is very problematic and yet it clearly holds impo rt ant evidence on chronology and
performance tradition. Generally speaking, I have attempted to include significant man-
uscript music clearly datable up to about 1700 and some post-1700 manuscript material
associated with ce rt ain relatively well-documented and catalogued traditions such as
that of the Sistine itself. I have excluded most later eighteenth- and nineteenth-century
manuscript material, including scorings and arrangements made of the composer's
music by amateurs an d scholars. This includes most of the indisputably impo rt ant mate-
rial by Martini, Santini, Proske, an d others, unless it represents otherwise undocumented
or poorly documented music possibly associated with Palest ri na. Explanations are pro-
vided as necessary.
Chapters 4 and 5 present listings of mode rn printed editions of Palestrina's music
that have been published since approximately 1770. Chapter 4 is essentially a register of
the "Haberl" and "Casimiri" comprehensive editions, including a complete list of their
contents with page numbers and information on reprintings. It also includes desc ri ptions
of the presently available volumes in the series of p ri ma ry -source photoreproductions
that the Palest ri na Foundation began to publish in 1975. Chapter 5 is in two sections, the
first listing items from collected editions, sets, and anthologies, while the second is a
selective list of individual publications. Whenever possible, disposition, perform an ce
indications, and special remarks are added. Included here are a number of pedagogical
xii Int roduction
works on classical vocal polyphony, because they may contain extensive musical exam-
ples; there is some overlap in this case with material in the annotated bibliography in
chapter 6. A number of unusual nineteenth-century arr angements of works are included
here as evidence of performance traditions (either of a place or of a performer) that in
very recent years have been the subject of articles in the secondary literature. These
materials are often of genuine scholarly interest, even if they would not be recognized as
"editions of choice" for present-day performing groups.
Chapter 6 is an annotated bibliography of secondary literature. This contains cita-
tions from sources in English, German, Italian, French, Spanish, and Latin, together
with occasional entries in other languages if a tr an slation or summary in one of the listed
languages is provided. It deals primarily with books, jou rn al art icles or articles in com-
pendia or Festschriften, and doctoral disse rt ations. A more general book is included if it
is dedicated to a clearly Palestrina-related topic or contains a substantial po rt ion of rele-
vant material or a passage of impo rt ance for reception history. Items from newspapers
and reviews of books or other items such as recordings have been omitted unless a
review contains significant independent writing or presents new information that anno-
tates another source. The listing originated in the collation of a number of shorter and/or
unannotated bibliographies, plus an independent general search for literature after 1950.
General bibliographies consulted include Lino Bianchi's "Bibliografia brevis" in his
Palestrina nella vita, nelle opere, nel tempo (Palest ri na, 1996, pp. 911-913); Michael
Heinemann's in his Giovanni Pierluigi da Palestrina and seine Zeit (Laaber, 1994, pp.
285-309); Knud Jeppesen's in his a rt icle on Palest ri na in the first edition of Die Musik
in Geschichte and Gegenwart (1962); Lewis Lockwood's in his a rt icle on Palest ri na for
The New Grove Dictionary of Music and Musicians (1980); Peter Liittig's in his Der
Palestrina-Stil als Satzideal (Ttitzing, 1994); an d Giancarlo Rostirolla's dedicated "Bib-
liografia palestriniana" in La casa di Giovanni Pierluigi da Palestrina(Palestri na, 1986,
pp. 213 -259), as well as its amplified and updated version, Bibliografia degli scritti su
Giovanni Pierluigi da Palestrina (1568-1996) (Palestrina, 1997). Searches for literature
after 1950 were performed in RILM, The Music Index, the Social Sciences and Humani-
ties Index, OCLC, National Union Catalog, B ri tish Union Catalogue, an d Doctoral Dis-
sertations in Musicology. The bibliography represents a significant percentage of the
available literature, but it remains selective. Needless to say, given the specified research
parameters, a sizable amount of material was disqualified that may be of interest to some
serious researchers, who are encouraged to consult some of the additional bibliographies
listed here. Some judgment calls also had to be made, of course. Items which in the pres-
ent author's opinion were clearly peripheral, unoriginal, poorly written, repetitive, or
factually insubstantial, or did not contribute usefully to Palest ri na reception history were
eliminated, save for a few peculiar items included—with an explanation—because they
seemed representative of a type. I apologize in advance for inconvenience caused by the
absence of any more impo rtan t items that may have escaped my notice or did not fall
within my parameters for inclusion.
This bibliography is divided into four primary sections: 1) Selected studies offering
historical background on musical, social, and cultural life in sixteenth-century Italy that
offer useful information or insight into the contexts of Palestrina's creative, intellectual,
social, and personal life; 2) Biographical literature, consisting of full-length works and
selected source studies, documents, and iconographical items. The citations of full-
length biographical studies can be profitably examined in association with those for
reception history, with careful attention to publication dates and milieux of o ri gin; 3)
Introduction xiii
Studies of sources, music, an d style, involving citations of works dealing with aspects of
individual works, characteristics of genres, works of style analysis, music history, or
music history as applied to Palestrina's oeuvre. This section also contains historical
research on performance conditions and practices as they would have applied in Palest-
rina's time; 4) Reception history, embracing how Palestrina influenced, an d how his
influence has been assessed by, others. These items have been sorted roughly by date of
origin or the time frame they address, although there are inevitably items that overlap,
and a certain fogginess in the boundaries between subsections. They are divided roughly
into the periods dating from Palestrina's lifetime to about 1750; from about 1750 to
about 1914; from 1914 to the present. Included in this last category, in addition to
assessments as such, are items dealing with questions concerning the performance of
Palestrina's music in a late-twentieth-century context.
With respect to nineteenth-century reception history, the present author has had to
treat two topics with great selectivity. The personalities and activities of the Cecilian
movement form a major topic in themselves. I have included literature if the item was
directly relevant to image-making about Palest ri na; the recovery, editing, and perform-
ance of his music; if his music was used as a direct model for the work of another com-
poser; or if the item provided contemporary critical insight into the relevance of the
actual style to the musical or cultural life of the period. Items such as full-length biogra-
phical studies of ecclesiastics nominally associated with Cecilianism, for inst an ce, have
not been included, even if Palestrina is mentioned at times. The other topic involves the
literature about Hans Pfitzner's "musical legend," the opera Palestrina. The bibliogra-
phy does not survey the literature on this work. I have, however, included a few items
that deal with quotations or reworkings of Palestrina's music within the opera or that dis-
cuss how the image of Palestrina was refracted through nineteenth-century issues of
solitary genius, integrity, the defense of a rt , an d so forth, as found in Pfitzner's work.
This material—especially Pfitzner's own comments on these subjects—falls clearly
within the topic of Palest ri na reception.
Chapter 7 contains a discography of Palestrina's music, providing coverage of Euro-
pean an d No rt h American recordings made since 1900. It has often been said how rap-
idly a discography can become outdated, how full of erroneous information, and how
confusing the history of a recorded perform an ce can be in the retelling. I can only hope
that this doubtless incomplete discography is not a monument to the truth of those obser-
vations. It is arranged in alphabetical order according to the name of the recording com-
pany, beneath which are provided citations as complete as my direct examination of
discs and information resources allowed, including a list of the Palest ri na works
recorded. The reader is directed to search the title index for the work for which a record-
ing is sought, and to follow the sigla cited there back to the main discography. As I have
not been able to hear all of these recordings personally, I have annotated a few post-1960
recordings as well as ce rt ain older ones of particular historical interest, for choral direc-
tors desiring to gain ideas of style in performance, or for students and instructors who
wish to document and study aspects of music and style.
However one regards this particular effo rt at discography, careful study of the Palest-
ri na recorded repertory has its own fascinations. Through recordings alone, the history
of various national performing tr aditions for Palestrina's music can readily be followed
an d analyzed—Italian, German, and B ri tish especially. Perform an ce practices can be
traced not only nationally but chronologically, even to the very beginning of the twenti-
eth century, right to the very heart of the tr adition: the Sistine Chapel itself. Apparently
xiv Introduction

the very earliest extant and available recording of Palestrina's music is (to present sensi-
bilities) the rather strange—and yet historically priceless—performance from 1904 of
Palestrina's mad rigal La cruda mia nernica, which included Alessandro Moreschi, the
only true castrato known to have been recorded in the West.
In the preparation of this guide, I have had the great good fo rt une to benefit from the
assistance and advice of many people and numerous institutions. For their kindness I
would like to acknowledge the Edward Johnson Library of the University of Toronto,
where much of the initial research for this project was carried out, with special thanks to
Kathleen McMorrow, John Fodi, Suzanne Meyers Sawa, and all the other members of
the staff; to my gracious colleague Vivien Taylor, of the Music Library and Special Col-
lections at Queen's University, Kingston, for her generous help and advice on organizing
and accessing the information in this manual. My gratitude also goes to the staff of the
Queen's University Music Library, especially Susan Chan and Paula Werden, for their
constant cheerful help and their kindness and patience with a very demanding client; and
to the music libraries and staff of the Loeb Music Library of Ha rv ard University; the
Sterling Music Library, Beinecke Rare Book and Manuscript Library, an d the Seeley W.
Mudd Library, all of Yale University; and the Library of Congress, Washington, DC.
Additional thanks to the numerous libraries in Europe where I made my initial first-
hand acquaintance with much primary and secondary material referenced in this vol-
ume, especially to the Biblioteca Apostolica Vaticana, Rome, the Civico Museo Bibli-
ografico Musicale, Bologna, and the B ri tish Library, London; to Professor Noel
O'Regan of the University of Edinburgh, for responding to several queries an d for his
kind encouragement; to Ms. Susan Rosenstein and the Hispanic Society of America for
providing me with information on several manuscripts of Hispanic provenance; to Leo
Balk of Garland Publishing, who initially agreed to this project, and to my editors at
Garland and Routledge, who helped me in many ways, showed much patience, and
probably saved me from many a folly. All have my heartfelt thanks.
To Tim Bemers-Lee and the world of electronic communications, and to Chester
Carlson, inventor of photocopying, my thanks for their indispensible aid and comfort to
me as a researcher.
Finally, whatever is good in this work is dedicated with gratitude and affection to
three people:
To Professor Ma ry Ann Parker of the University of Toronto for her encouragement,
an d whose ongoing friendship and mentorship I cherish; to the memory of Al Raskin, a
wise and able man of boundless generosity who always expressed a genuine interest in
whatever I was doing (or said I was doing); and, as always, to Lawrie Raskin, who con-
tinues somehow to put up with household chaos and my long hours and has offered con-
stant good-humored support to this project. By now, he sure knows who Palest ri na is.

CLARA MARVIN
Queen's University, Kingston, Ontario
 Abbreviations

Guide to the Enumeration Classes Used in this Volume

A Early printed editions of music: dedicated prints, anthologies, collections, theoreti-

cal or didactic works (chapter 2)
B Manuscript sources (chapter 3)
C Comprehensive editions (chapter 4)
D Modern editions of printed music: sets, anthologies, series, and individual items
(chapter 5)
E Bibliography (chapter 6)
F Discography (chapter 7)

The siglum letter is followed by a number pertaining to the individual item, thereby indi-
cating both its unique identity and conveying general information about its type (printed,
manuscript, sound recording, etc.). It is also designed to offer more immediate recogni-
tion of a type of source referenced in an Index listing.

Abbreviations

4to quarto
5 quintus, quinta pars, quinto, fifth pa rt
6 sextus, sesta pars, sesto, sixth pa rt
8vo octavo, ottavo
A, a, alt alto
arr arranged by, arrangement
B, b, bas bass
Bar, bar baritone
be basso continuo
Cas Palestrina Works, ed. Raffaele Casimiri, et al. (1939—present)
c, ca. circa
ed edition, edited by
Eitner Robe rt Eitner, Quellen Lexicon (repr. Graz 1959)
-

facs facsimile
Hab Palestrina Works, ed. Haberl, et al. (1862-1907)
MGG Die Musik in Geschichte und Gegenwart (first edition)
MS, ms manuscript
mot motet
NdA Note d'Archivio (jou rn al)
p, pp page, pages
repr rep ri nt, reprinted
rev revised, revised edition
xvi Abbreviations
RILM Répertoire Inte rnationale de la Littérature Musicale
RISM Répertoire Internationale des Sources Musicales
S, s, sop soprano
SATB soprano, alto, tenor, bass
SATB56 soprano, alto, tenor, bass, quinto, sesto
T, t, ten tenor
trans translation, translated by
treb treble
Giovanni Pierluigi da Palestrina
This page intentionally left blank
 Chapter 1
Chronology and Biographical Outline

Part I: 1525-1544

Giovanni Pierluigi is bo rn , probably between February 3, 1525 and February 2, 1526,

either in the town of Palest ri na or in Rome, to Santo (also spelled Sante) Pierluigi and
his wife, Palma. The precise date of the child's birth remains unknown, but the obituary
written by Melchior Major describes him as having lived sixty-eight years. It has been
suggested that his birthday might have been December 27, the feast day of the com-
poser's name saint, John (Heinemann 1994). In a Rom an census in early 1527, one
"Santo de Prenestino" is listed as head of a household of twelve in the none Monti, a
neighborhood near the church of St. John Lateran (Casimiri 1918-1922).
The first documentary evidence of his life is in the form of a will made on October
22, 1527 by his paternal grandmother, Jacobella (Cametti 1903). In the will she divided
her estate among her four children, two sisters, a daughter-in-law Palma (Santo's wife),
and "il piccolo Giovanni," her grandson. The particular mention of Giovanni suggests
that he may have been a firstborn grandchild (Bianchi 1995 [E0079]).
On January 16, 1536, the composer's mother, Palma Pierluigi dies.
A contract dated October 25, 1537 lists "Giovanni da Palest ri na" as the second of six
pueri chorialis at Santa Ma ri a Maggiore (Casimiri 1918-1922) entitled to receive musi-
cal inst ru ction and an education as well as clothing and care. Hypothetically, he may
have entered the basilica as early as 1533, for the typical age of admission for such chil-
dren was around six to eight years of age. The music masters at the basilica in the period
1538-1540 included Rubino Mallapert (1538-1539), "Robert" (perhaps Robe rt de
Fevin), and Firmin Le Bel (1540).
On May 11, 1540, Santo Pierluigi, Giovanni's widowed father, married Ma ri a Gis-
mondi. Five children were eventually born of the marriage.

Part II: 1544-1571

1544— A contract dated October 28, 1544 indicates that "Giovanni figlio di Sante
1549 Pietro Aloisio da Palest ri na" has been engaged as an organist at the church of
S an Agapito in Palest ri na. He was required to play the organ on feast days and
to lead the choir at mass, vespers, an d compline. He was also expected to
instruct the clergy in plainchant or else to undertake the musical education of
some of the choirboys (Casimiri 1924; see item E0105). Further documenta-
tion of Giovanni's professional activities in Palest ri na is lacking until 1551.
On December 13, 1545, the Council of Trent (the Nineteenth General
Council of the church) is opened.
On June 12, 1547, Palestrina marries Lucrezia Gori, the daughter of the
deceased Francesco de Goris. On November 7, the couple receive a dowry of
130 florins from the estate of Lucrezia's father, while on November 16 the
2 Giovanni Pierluigi da Palestrina
division of property is made, and Lucrezia receives various household items
from her family inheritance. Sancta Gori, Lucrezia's mother, dies on Decem-
ber 13.
In Rome, Philip Neri with Persiano Rosa founds the confraternity of SS.
Trinità dei Pellegrini in 1548, while Marcello Cervini (afterwards pope)
becomes head of the Vatic an Library.
Lucrezia and Giovanni's son Rodolfo is born sometime in 1549 or 1550
(and dies in 1572).

1550 On February 8, after an extended conclave due to political conditions, Cardi-

nal Giovanni Maria Ciocchi del Monte (bishop of Palestrina) is elected Pope
Julius III. The new pope's successor in the bishopric of Palestrina, Cardinal
Luigi Borbone, names Giovanni Pierluigi as organist and maestro di cappella
at San Agapito.

1551— Palestrina's second son Angelo is born (dies 1571). On September 1, Pope
1553 Julius III appoints the composer maestro di cappella at the Cappella Giulia
(San Pietro). He receives a salary of 10 scudi per month, plus four more for the
maintenance of two choirboys. Mallapert meanwhile leaves the Vatican to
assume another position at S anta Maria Maggiore. Together with the chapel
choir, Palestrina probably also participates in confraternity, processional, and
other extramural activities. Some Magnificat and other works are datable to
this early Vatic an period, around 1552.

1554 Palestrina publishes Missarum liber primus [Doricol with a dedication to Pope
Julius III (Giovanni Maria del Monte). This is the first single publication of
masses issued in Rome by a native Italian composer. In the same year, the
madrigal Con dolce altiero appears in a Venetian anthology published by Gar-
dano.

1555 On January 13, Palest rina is admitted to the Sistine Chapel at the command of
Pope Julius, in spite of being married and without being examined or with the
consent of the singers. As he was not considered to have a particularly good
voice, he was most likely admitted on the basis of already demonstrated com-
positional skill (Shen 1994). On March 23, however, Julius III dies, and on
Ap ri l 9 he is succeeded by the humanist cardinal Marcello Cervini, who takes
the name Marcellus II. On Ap ri l 12, three days after his election, as reported in
the diary of Angelo Massarelli, the new pope's private secretary, Marcellus
admonishes the papal singers to sing the divine services "with properly modu-
lated voices, and ... in such a way that everything could be heard and under-
stood." However, after a pontificate of only three weeks, Marcellus dies (Ap ri l
30). He is succeeded on May 23 by Giovanni Pietro Caraffa, Pope Paul IV.
Beginning in mid-July, the composer apparently suffers from a serious ill-
ness for several weeks.
On July 30, a decretal is issued forbidding the presence of married singers
in the chapel membership. In September, Palest rina and two other married
singers are dismissed from the Cappella Sistina as the chapel's rule requiring
celibacy of its members is enforced. He receives a pension, however. But on
Chronology and Bibliographical Outline 3
October 1, he is named maestro di cappella of St. John Lateran, the pope's
episcopal seat, where he remains until 1560. His payment is 6 scudi per
month.
During this year, Il primo libro di madrigali a quattro voci is published by
Dorico.

1556 Between 1556 and 1561, Palestrina composes versions of the Improperia and
Lamentations (MS Lateran 59). In 1556, the town of Palest rina is sacked by
troops of the duke of Alba, enemy of the Caraffa, the current pope's family.
The tragedy is apparently compounded by devastation caused by weather con-
ditions. It is possible that early documentation of the Pierluigi family is lost at
this time.

1557 On May 30, the composer, together with his sons Rodolfo and Angelo,
receives the rights of Roman citizens.
In July, another sack of the town of Palestrina occurs, this time by troops of
Marcantonio Colonna, an ally of the duke of Alba. The destruction continues
for three weeks. Some of Palestrina's relatives, including his father, are in the
town or have fled from it.

1558 The composer's son Iginio is born (dies 1610).

In addition to his other duties, Palest rina imports wine from his hometown
to the Lateran.

1559 Palestrina's father, Santo, apparently dies around this time, for a cross is noted
next to his name on a list of members of the Compagnia del Corpo di Cristo in
Palestrina.
Pope Paul IV dies; as he was feared as the founder of the Inquisition, the
news of his death is received joyously. In December, Giovanni Angelo Medici
is elected as Pope Pius IV.

1560 Near the end of July, Palestrina is in disagreement with the chapter of St. John
Lateran over salaries and over the costs of instructing the pueri, and on August
3, he abruptly leaves the post. His son Rodolfo, a choirboy, leaves with him.
Cardinal Carlo Borromeo (nephew of Pope Pius IV) is appointed papal sec-
retary of state and archbishop of Milan.

1561 On March 1, Palestrina enters employment at Santa Ma ria Maggiore. He

receives 16 scudi per month for his services and for the upkeep of four of the
chapel's choirboys.
The composer has legal dealings with officials in the town of Palest rina,
apparently connected with the settlement and distribution of his father's estate.

1562 In the town of Palestrina, Palma Pierluigi, the composer's sister, marries Gio-
vanni di Tommaso Bovis, and the composer provides a dowry for the mar-
riage. This may be more indirect evidence that the composer was an eldest son
who effectively became head of the family on his father's death.
During this year, there is an exchange of music between Rome and
4 Giovanni Pierluigi da Palestrina
Munich, involving cardinals Borromeo and Vitelli in Rome and Duke Albrecht
V of Bavaria. In November, Palestrina's music, particularly a Missa Bene
dicta is sent to Munich through agency of Cardinal Truchsess von Waldburg. -dicta,
1563 In addition to his other duties, the composer takes pa rt in processional activi-
ties outside Santa Ma ri a Maggiore.
On September 17, the twenty-third session of the Council of Trent
addresses music in church: "Ab ecclesiis verp musicas, ubi sive organ sive
cantu lascivum aut impurum aliquid misceatur, arceant (ordinarii locorum) ut
domus Dei vere domus orationis esse videatur ac dici possit." In the twenty-
fourth council session on November 11, decisions regarding the implementa-
tion of the decretal of September 17 are expressly referred to the discretion of
bishops within their own respective dioceses.
Formal adjournment of the Council of Trent.

1564 Palestrina's Motecta festorum is published with a dedication to Cardinal

Rodolfo Pio Carpi. In his prefatory remarks, Palest ri na describes his use of
antiphons and his avoidance of all secular or questionable melodic content as
the basis for his motet material.
From July to September, Palest ri na works for Cardinal Ippolito II d'Este as
maestro dei concerti, receiving an honorarium of 6 scudi.
In October, the composer's recently married sister Palma dies. He travels to
Palestrina, where on October 26 he makes a formal declaration that Palma's
dowry has reverted to him.
Appointment of commission of cardinals by Pope Pius IV (including Car-
dinals Borromeo an d Vitelli) to carry out decrees of Trent within Rome.

1565 Between January and August, a commission of cardinals, including Carlo

Borommeo and Vitellozzi Vitelli, negotiates with the singers of the papal
chapel on size of its membership, sala ri es, and regulations. In September, Bor-
romeo leaves Rome permanently for Milan.
On January 20, Cardinal Borromeo orders his vicar in Mil an "to reform the
singing so that the words may be as intelligible as possible."
On February 1, the Seminario Romano (for the formation of priests) is
opened by Francesco Borgia. Palest rina does some work for the institution.
On March 10, Borromeo sends an order to Vincenzo Ruffo, maestro di cap-
pella at the Mil an Cathedral, for a mass "that should be as clear as possible
an d send it to me here [in Rome]."
The Sistine diaries record that on Ap ril 28, the singers of the papal chapel
"were assembled in the home of Cardinal [Vitelli] to sing some masses and
test whether the words could be understood, as their Eminences desire" It is
possible, although uncertain, that the Missa Papae Marcelli was among the
music performed.
The diaries also record that on June 6, 3 scudi, 13 baiocchi were paid to
Palestri na for the composition an d preparation of several works for the use of
the chapel musicians. The pope also bestows on Palest rina the title modulator
pontificus (papal composer). Records of the Sistine Chapel indicate that
Palestrina's pension is increased "owing to certain compositions he has written
Chronology and Bibliographical Outline 5
and is to write for the use of the chapel." He now receives 9 scudi per month
and has a position among the active singers. (Jeppesen MGG 1962). In Octo-
ber, Palestrina is paid by the papal chapel for "various musical compositions
that he has had copied for the chapel and is to have copied."

1566 Palestrina teaches music at the Seminario Romano (Casimiri 1935; see E0013)
until 1571. On Apri l 17, his two older sons, Rodolfo and Angelo, enter the
seminary as students, probably for the next five years, to receive instruction in
music, Latin and Greek, logic, and philosophy, and probably as partial recom-
pense for the composer's services. (After Rodolfo's early death, he is
described as accomplished in all these areas and could also play "all sorts of
instruments.")
At the death of Pope Pius IV, Michele Ghislieri is elected as Pius V. He pur-
sues seriously the ongoing reformation of the liturgy. Revisions of the cate-
chism and breviary appear.
Palestrina's po rtrait is painted in this year; it currently su rvives in a private
collection and is known as the "Gorga—de Rensis" portrait.

1567 During Holy Week (Ap ril), Palestrina is involved in music for services at St.
John Lateran, suggesting that he may no longer be working at S anta Maria
Maggiore (although documentation for this is lacking).
On August 1, Palestrina enters the full-time se rvice of Cardinal Ippolito II
d'Este, which continues until March 1571.
On November 8, Palestrina is approached by agents of Emperor Maximil-
ian II of Austria with an offer to become maestro of the imperial chapel in
Vienna. Palestrina makes a counteroffer asking for a salary of 400 scudi per
annum. Negotiations eventually break down when Palestrina's terms are found
to be too high. (In May of the following year, Philippe de Monte, who was
being considered before Palest rina entered the negotiations, is hired at a salary
of 300 scudi plus some payments in kind.)
In this year Dorico publishes Palestrina's second book of masses. In the
preface dedicating these works to Philip II of Spain, the composer stresses
their new method of composition.

1568 In this year, a remarkable exchange of correspondence begins between Palest-

rina and Duke Guglielmo Gonzaga of Mantua, which continues until
Guglielmo's death in 1587.
On February 2, by way of the Mantuan agent Annibale Capello, Palest rina
sends Duke Guglielmo some masses commissioned for the private use of his
chapel, noting "I beg you to let me know how you prefer it: whether long or
short or composed so that the words may be understood." The masses use an
alternatim technique, with chant specially composed for the Mantuan liturgy
alternating with Palestrina's polyphonic sections.
In a letter dated May 1, Duke Guglielmo sends an honorarium of 50 ducats
for the masses.
On July 31, Cardinal Scipio Gonzaga, titular bishop of Jerusalem and the
brother of Duke Guglielmo, sends to Mantua copies of some motets by Palest-
rina which he has heard in Rome. The composer receives a commission for
6 Giovanni Pierluigi da Palestrina
new works on texts selected by the duke, which due to illness are not dis-
patched to Mantua until December.
In Fronimo (published in Venice by Scotto), Vincenzo Galilei publishes an
intabulation of Palestrina's mad ri gal lo son ferito, citing the work for its skill-
ful expression of text through musical means.

1569 The first book of motets for five to seven voices, dedicated to Cardinal Ippolito
d'Este, is published by Dorico with a preface dated May 7 of this year.
On May 8, Palestrina signs a contract with the brothers Marzio and Vin-
cenzo Ceci for the purchase of a house at Via dei Giubbonari in Rome for 725
scudi. He probably lived there from 1566, and some pa rt of the purchase price
may have been paid in the intervening years.

1570 Sometime before March 3, Duke Guglielmo sends Palest ri na some motets an d
a mad rigal of his composition with a request for a c ri tique by the composer.
On March 3, in response to Guglielmo's request, Palest ri na gives his opin-
ion and suggestions, in the course of which he discusses matters of voice-lead-
ing as well as the challenges of making a text set to polyphony audible to the
listener.
In this year, the third book of masses is published by Dorico with a dedica-
tion to Philip II of Spain, whose daughter has just married Maximilian II of
Austria. Heinem an n suggests that this might have been a move on the com-
poser's pa rt to attract the renewed bounty of a previously generous patron at a
time when Palestrina's personal financial situation may have been strained.

Part III: 1571 1594 and Aftermath

-

1571 In Ap ri l, after the death of Animuccia on March 25, Palestrina returns to the
post of maestro di cappella in the Cappella Sistina, then under the patronage
of the chapel's patron director Cardinal Alessandro Farnese. The composer is
contracted to receive 100 scudi per annum (8 scudi, 33 baiocchi per month),
plus 12 scudi for the use of his house for the care of four choirboys. Cardinal
Alessandro Farnese becomes patron director of the Capella Giulia.
On December 4, a triumphal procession is held in Rome to mark the vic-
tory at Lepanto on October 7. Palestrina probably writes the mad ri gal Le
selv'avea (pub. 1574) for this event.
In this year, there is the possible, although unproved, development of a
relationship with Filippo Neri. Palestrina may have composed some works for
Neri's oratory.
The composer, his wife, and their children, as well as other persons living
in the household, are mentioned in the Roman census taken this year.

1572 Guglielmo Gonzaga visits Rome an d meets Palest ri na.

In September, Palestrina's second book of motets (published by Scotto in
Venice) appears with a dedication to Guglielmo Gonzaga. It contains works
for the special Mantuan liturgy as well as music by Palestrina's sons Rodolfo
and Angelo an d his brother Silla. Duke Guglielmo in return sends a gift of 25
scudi.
Chronology and Bibliographical Outline 7
On November 20, Palestrina's apparently gifted son Rodolfo dies.
Pope Pius V dies, and Ugo Buoncompagni is elected Pope Grego ry XIII.

1573 On January 1, the composer's brother Silla dies.

Angelo Pierluigi marries Doralice Uberti, the niece of a neighbor of Palest-
rina's, Giacomo Uberti. She brings a dowry of 1,000 scudi to be paid in install-
ments. Palestrina apparently invests this dowry money in property.
During the summer the composer visits the town of Palest rina.

1574 In a letter dated April 7, Palest rina mentions that he is writing Lamentations
for the use of the papal chapel.
On April 17, Palestrina returns to Guglielmo Gonzaga a mass composed by
the duke and sent to the composer for a critical review.
In a letter of June 5, he describes payments for and the purchase of a house
in Rome.
On November 7, Aurelia, the first child of Doralice Uberti and Angelo Pier-
luigi, is born.
Late in the year, the composer writes the motet Jubilate Deo it 8 for the
opening of the Holy Door, which inaugurates the Holy Year 1575. The work is
published in 1576.

1575 In diplomatic correspondence of this year, the agent of the duke of Ferrara
writes that Palestrina is "now considered the very first musician in the world."
On February 9, Palest rina informs Duke Guglielmo by letter that some
texts for which he has requested settings have been completed.
On April 14, the payment records of the Cappella Giulia indicate that
Lamentations by Palest rina were copied for the use of the chapel.
On December 11, the composer's son Angelo dies during an epidemic of
influenza that began in July and killed about 10,000 people in Rome.
In this year, Palestrina's salary at St. Peter's is increased to 240 scudi per
annum, possibly to prevent his transferring to S anta Maria Maggiore.
Palestrina also dedicates a third book of motets (published in Venice by
Scotto) to Alfonso d'Este, brother of his now-deceased patron Cardinal
Ippolito.

1576 On January 14, Doralice Uberti, the widow of Angelo Pierluigi, gives birth to a
posthumous son, Angelo.

1577 Doralice Uberti remarries and requires restitution of the dowry payments con-
tracted for her first marriage to Palestrina's late son. Palest rina apparently has
some liquidation difficulties and has a mortgage on the ground floor of his
house, but the matter is resolved on July 3, when his eighteen-year-old son
Iginio contracts to marry Virginia Guarnacci, who brings with her a dowry of
1,500 scudi. The wedding takes place on August 15.
On October 25, Palestrina and Annibale Zoilo are entrusted with the revi-
sions of the plainchant of the Roman Gradual and Antiphoner by Pope Gre-
gory XIII (Ugo Buoncompagni). Palestrina was responsible for work on the
proprium de tempore, while Zoilo addressed the feasts of the saints. They were
8 Giovanni Pierluigi da Palestrina
charged with removal of the "superfluities ... barbarisms and obscurities"
from these books. Palestrina evidently worked earnestly at this task for a few
years, but then his activity apparently diminished. The revisions were eventu-
ally completed by Francesco Soriano and Felice Anerio in 1614 to 1615 and
published as the Editio Medicea.

1578 Duke Guglielmo commissions Palestrina to write a series of masses based on

chant which had been specially composed for the Mantuan liturgy. Comple-
tion is delayed when Palestrina suffers from a serious illness in October, but
the first mass is delivered by way of the Mantuan commissioner for Rome,
Annibale Capello, on November 1. Two weeks later another is sent, and in
December four settings are sung in Mantua.
Gregory XIII reorganizes the Sistine Chapel into two choirs of twelve
singers each. Although the regulation stipulating that singers must be unmar-
ried remains in place, Palestrina's position as composer for the papal chapel is
confirmed.
On November 5, in a letter to Duke Guglielmo, Palest rina mentions his
work on the revision of the Gradual and purgation of the chant of "barbarisms
and bad sounds."
On November 23, Tommaso Pierluigi, the first child of Iginio Pierluigi and
Virginia Guarnacci (who together would eventually have ten children), is bap-
tized. Palestrina's patron, Cardinal Guglielmo Sirleto, is the boy's godfather.
In this year, Palest rina receives a payment of 80 scudi (partially payments
in kind or produce) for musical services to the Confratemità della Trinità dei
Pellegrini.

1579 In a letter of March 21, Palest rina thanks Duke Guglielmo for receipt of 100
scudi, and with the letter sends three more masses to Mantua.

1580 On June 16, Gregorio, son of Iginio Pierluigi and Virginia Guarnacci, is born.
On August 2, Lucrezia Gori, Palestrina's wife, dies suddenly during an epi-
demic. She is buried in the Cappella Nova in St. Peter's.
On November 13, Pope Gregory XIII receives Palestrina's petition for ordi-
nation to the priesthood. On December 7, the composer receives minor orders
and the tonsure in S an Silvestro al Quirinale, whose patron is his friend Cardi-
nal Sirleto.

1581 On January 18, Palest rina, still apparently planning to enter the priesthood, is
named chierico perpetuo beneficiato at the cathedral of Santa Maria Mag-
giore. The prebend, which carries with it no duties, provides an annual income
of 24 scudi.
On February 24 and 26 and March 5, however, banns are published indicat-
ing that the composer is contemplating remarriage. On March 28, with little
advance warning, Palestrina marries Virginia Dormoli, the widow of the papal
fur merchant Giuliano Guerrazzi, who had died in 1576 at the age of thirty-six.
The marriage takes place in the Dormoli house (rather than a church) by spe-
cial permission, and the couple settle in their own house on via Armellino. It is
evidently an advantageous match for both parties and finally provides the
Chronology and Bibliographical Outline 9
composer economic security. Virginia brings to her marriage with the now
internationally renowned Palest rina a dowry of 1,500 scudi, and he in turn will
play an important role in the management of her fur an d wine businesses.
Gregorio Pierluigi, the year-old son of Iginio, dies on June 21 and is buried
in the Cappella Nova with other members of his family.
Aurelia Pierluigi an d Angelo Pierluigi, the composer's two grandchildren
by Doralice Uberti an d his late son Angelo, also die within a sho rt period of
one another in August and September.

1582 On September 25, Palest ri na buys a parcel of land in the town of Palest rina
from Pietro Paolo Appolloni.
In October, Pope Grego ry XIII's calendar reform is implemented; eleven
days are added, and October 4 is followed the next day by October 15.

1583 The Mantuan ambassador to Rome indicates that Duke Guglielmo is looking
for a new maestro di cappella. After considering alte rn a ti ve c an didates, Palest-
rina enters into discussion with Guglielmo in March about the possibility of
transferring to Mantua himself as maestro. The composer may have seriously
considered the move but ultimately found the inducement to leave Rome
insufficient.
A letter to Mantua states that Francesco Soriano is among his pupils, and it
states that Marenzio is "not greater than Soriano, either in knowledge or in
managing musicians."

1584 Formation of the Vertuosa Compagnia de i Musici di Roma, founded under

papal auspices for the purposes of fraternal association, the perform an ce of
music, and probable job networking. Palestrina becomes one of the members.
At the end of 1583 an d beginning of 1584, the composer publishes the
fourth book of motets (Canticum canticorum) with a dedication to Grego ry
XIII Palestrina hastens to send a copy to Guglielmo Gonzaga in April with anXI.
insc ripti on.
On July 11, Virginia Dormoli makes a new will, increasing the value of
what she plans to leave to her second husband.

1585 Early in the year Palest ri na edits an d corrects some compositions by Duke
Guglielmo. In a letter of March 23, he thanks the duke for the privilege of
being allowed to advise him, "even at his advanced age."
On April 10, Pope Grego ry XIII dies.
On April 24, Felice Peretti is elected pope, and takes the name Sixtus V.
At this time Palest ri na is involved for several months in some conflict with
the other papal choirmaster, Antonio Boccapaduli, over privileges. Eventually
some singers are expelled from the chapel over this matter.

1586 By September 1, the papal chapel is reorganized: the leader of the chapel will
be chosen yearly from among the more senior members. Palest ri na remains
composer to the chapel while also serving as head of the Cappella Giulia.
The composer takes a partner, Annibale Gagliardi, into his wife's fur busi-
ness.
10 Giovanni Pierluigi da Palestrina
1587 On July 6, Palestrina writes his last letter to Duke Guglielmo, who dies on
August 14. At the duke's request, the composer has found a Roman bass singer
to serve at the Mantuan establishment.

1588 The composer has Lamentationes printed. Its dedicatory preface suggests an
elegiac, even depressed turn of mind, but he also asserts that "not even under
the most difficult circumstances have I neglected the study of music."

1589 The anthology Le gioie, a collection of madrigals by members of the Vertuosa

Compagnia de i Musici di Roma, assembled by Felice Anerio, is published.
Palestrina contributes the mad rigal Dunque perfido amante.
In the dedication of the volume of hymns published in this year, Palest rina
writes: "Nothing ... is so congenial to me, as to be able to give myself to that
study of music ... when I can abide by my purpose of embracing topics which
most fully show forth God's praise, and which, pondered in all their weighti-
ness and dignity of word and idea, and embellished with some amount of
musical art, may well move the heart of man to devotion."

1590 A large number of reprints of Palestrina's music are issued from presses in
Venice and Milan.
On August 20, Pope Sixtus V dies; Cardinal Giambattista Castagna is
named Pope Urban VII, but dies only a few weeks later; Cardinal Niccola
Sfondrato becomes Pope Grego ry XIV.

1591 On October 15, Pope Grego ry XIV dies; Cardinal Antonio Facchinetti is
elected Pope Innocent IX and crowned on November 3, but he dies on Decem-
ber 30.

1592 Palestrina receives the dedication of an anthology of vespers psalms for five
voices edited by G. M. Asola and containing works by Baccusi, Croce, Gas-
toldi, and Costanzo Porta.
In Prattica di musica, published in Venice in this year, Lodovico Zacconi
cites passages from Palestrina's masses Virtute magna, Ad coenam agni pro-
vidi, and L'homme armé as valuable studies in compositional problems of pro-
portion and rhythm.
After the death of Pope Innocent IX, Cardinal Ippolito Aldobrandini is
elected Pope Clement VIII on January 30 (dies 1605).

1593 Palestrina makes plans to transfer to the post of maestro di cappella at San
Agapito, the cathedral at Palestrina, the original home of the Pierluigi family.

1594 In the first weeks of January appear the last publications by the composer to be
published during his lifetime, the sixth book of masses for four and five voices
and the second book of spiritual madrigals.
On February 2, Palestrina dies in Rome. In the records of the Cappella Giu-
lia it is noted: "Giovanni da Palestrina died 2 February and was buried in our
basilica." The puntatore of the Cappella Sistina recorded: "Wednesday on the
2nd. This morning Sig. Giovanni Pierloisci, the most excellent musician our
Chronology and Bibliographical Outline 11
colleague and master of the Chapel in St. Peter's, passed from this life to a bet-
ter one.... At 24 hours he was borne to the said church, accompanied not only
by all the musicians of Rome but also by a multitude of people and, according
to our custom, in accord with our constitution, we sang the responsory Libera
me Domine..... He is buried in the crypt in which lie his first wife, his prede-
ceased sons Rodolfo and Angelo, and other family members. The Sistine
diaries note a memorial service held in his honor on February 14. Ruggiero
Giovanelli is elected in his place as maestro di cappella of the Cappella Giulia,
while Felice Anerio takes his place as the papal composer.
As the composer apparently dies intestate (rather surprisingly; his final ill-
ness must have been sudden and rapid), Iginio, the sole surviving son, spends
the next several months concluding his father's business affairs.
Shortly after the composer's death, Pope Clement VIII indicates interest in
having some of Palestrina's unpublished music printed for use in churches.
For Palestrina's seventh book of masses, the pope underwrites the publica tion
to the amount of 100 scudi. Most of the posthumous printing of the com-
poser's music, however, does not occur under Clement's direct auspices; but
Iginio Pierluigi continues to publish his father's music for several subsequent
years.
On March 14, Iginio signs a contract with Raimondi to publish the books
of Gregorian chant on which his father worked. This relationship is unsuccess-
ful and devolves into a series of lawsuits. The so-called Medicean edition does
not appear until 1614.
On May 30, Gregorio (a younger brother of the Gregorio who died in 1581)
and Olimpia, children of Iginio and Virginia, are confirmed in St. Peter's.

1595— Two more children are eventually born to Iginio and Virginia Pierluigi: Cate-
1678 rina in 1597 and Margherita on October 30, 1600 in Palest rina. Late in 1599,
with Iginio's agreement, his stepmother Virginia Dormoli has her dowry
returned to her. On June 12, 1605, his daughter Caterina is confirmed in St.
Peter's.
In 1608, Iginio's wife dies in Palestrina, and after her death, Iginio takes
holy orders, becoming a priest in 1609. However, he does not long enjoy his
clerical estate; Iginio dies on October 9, 1610. Two months later, on December
10, Virginia Dormoli, the composer's widow, dies and is buried next to her first
husband in San Girolamo della Carità.
Immediate descendants of the composer live on in the town of Palest na ri
until late in the seventeenth century. Iginio's son Tommaso (born 1578), also a
priest, becomes a canon of the cathedral there from 1621 until his death in
1633. Tommaso's brother Gregorio marries Maddalena Sepia, and together
they have seven children. The fifth child, Agapito, in his turn becomes a priest
and canon in Palestrina, where he dies on April 26, 1677, the last direct male
survivor in the family, although descendants in the female line su rvive until
circa 1880. The family house in Palestrina remains in the family's possession
until 1678. Since the 1960s it has undergone restoration, and it is presently the
seat of the Palest rina Foundation.
This page intentionally left blank
 Chapter 2
Primary Sources: Printed Music

I. Early Editions of Printed Music by Palestrina as Sole Composer

Masses

A0001 [RISM P655] Missarum liber primus. Rome: Valerio & Aloysio Dorico,
1554 [choirbook].
1. Missa Ecce sacerdos magnus a 4 (f.2v)
2. Missa O regem coeli a 4 (f.21v)
3. Missa Virtute magna a 4 (f.39v)
4. Missa Gabriel Archangelus a 4 (f.56v)
5. Missa Ad cenam Agni providi a 5 (f.74v)

Reprint History

A0002 [RISM P656] Missarum liber primus. Rome: heirs of Aloysio Dorico, 1572
[choirbook].

A0003 [RISM P657] Missarum liber primus quatuor vocum. Brescia: Tomaso Boz-
zola, 1581 [shortened version, partbooks].

A0004 [RISM P658] Missarum cum quatuor, quinque, ac sex vocibus, liber primus.
Rome: Alessandro Gardano ("impensis Jacobi Tornerij"), 1591 [enlarged
version, partbooks]:
1. Missa Ecce sacerdos magnus a 4 (p.1)
2. Missa Virtute magna a 4 (p.7)
3. Missa O regem coeli a 4 (p.12)
4. Missa Gabriel Arcangelus a 4 (p.18)
5. Missa Ad cenam Agni providi a 5 (p.25)
6. Missa Pro defunctis a 5 (p.29)
7. Missa sine nomine a 6 (p.32)

A0005 [RISM P659] Missarum cum quatuor, quinque ac sex vocibus ... liber primus.
Venice: Angelo Gardano, 1596 [partbooks].

Print Locations

[A0001] Vienna, Osterreiches Nationalbibliothek, Musiksammlung [incomplete,

with manuscript supplement]; Berlin, Staatsbibliothek; Bologna, Civico
Museo Bibliografico Musicale; Cambrai, Bibliothèque municipale; Flo-
rence, Biblioteca Nazionale Centrale; Gubbio, Biblioteca Vescovile Fonti e
14 Giovanni Pierluigi da Palestrina

Archivio; Pesaro, Biblioteca capitolare della Cattedrale Archivio del

Duomo; Rome, Biblioteca Musicale governativa del Conservatorio di Santa
Cecilia [incomplete, with manuscript supplement]; Rome, Archivio di San
Giovanni in Laterano; Vatican City, Biblioteca Apostolica Vaticana, fondo
Cappella Giulia; Spoleto, Archivio del Duomo; Tu ri n, Archivio capitolare
del Duomo [incomplete]; Venice, Biblioteca nazionale Marciana.

[A0002] Brussels, Bibliothèque Royale Albe rt I; Berlin, Staatsbibliothek; Saragossa,

Archivo di mtisica del Cabildo; London, B ri tish Library [three exemplars];
Assisi, Biblioteca comunale; Bologna, Civico Museo Bibliografico Musi-
cale; Bergamo, Biblioteca civico "Angelo Maj"; Florence, Biblioteca del
Conservatorio di Musica "Luigi Cherubini "; Ferrara, Biblioteca comunale
Ariostea; Lucca, Biblioteca del seminario archivescovile; Loreto, Archivio
Storico della Cappella Lauretana; Milan, Biblioteca del Conservatorio
"Giuseppe Verdi"; Orvieto, Archivio musicale del Duomo; Rome, Biblioteca
dell'Accademia nazionale dei Lincei e Corsiniana; Rome, Biblioteca Musi-
cale governativa del Conservatorio di S an ta Cecilia; Rome, Archivio capito-
lare di Santa Mari a Maggiore (housed in Biblioteca Apostolica Vaticana);
Vatican City, Biblioteca Apostolica Vaticana, fondo Cappella Giulia [three
exemplars], ibid., fondo Cappella Sistina; Reggio Emilia, Biblioteca munici-
pale [two exemplars, one of which lacks title page]; Reggio Emilia, Archivio
capitolare di San Prospero [incomplete]; Tu ri n, Archivio capitolare del
Duomo; Tern i, Istituto Musicale "G. Briccialdi"; Treviso, Archivio della
Cappella del Duomo; Urbino, Biblioteca Universitaria; Chicago, Newberry
Library; Washington, DC, Library of Congress, Music Division.

[A0003] Munich, Bayerische Staatsbibliothek, Musiksammlung [S,A,T,B]; Rome,

Biblioteca Casanatense [S,A,T,B]; Hlsingborg, Fryklund Collection [in
care of Stockholm, Kunglinga Musikaliska Akademiens Bibliotek] [S,A].

[A0004] Vienna, Osterreiches Nationalbibliothek, Musiksammlung [S,A,T,B,5/6];

Berlin, Staatsbibliothek [S,T]; Münster, Bibliothek des Bischüflichen
Priesterseminars und Santini-Sammlung; Regensburg, Bischüfliche Zentral-
bibliothek (Proske-Musikbibliothek) [S]; London, Royal College of Music
[S,A]; Bologna, Civico Museo Bibliografico Musicale; Macerata, Biblioteca
comunale "Mozzi-Borgetti" [S,A,5/6]; Rome, Biblioteca dell'Accademia
nazionale dei Lincei e Corsiniana; Rome, Biblioteca Musicale governativa
del Conservatorio di Santa Cecilia; Rome, Archivio di S an Giovanni in Lat
,anacitaV acilotsopA acetoilbiB ,ytiC nacitaV ;onare- fondo Cappella Giulia
[four exemplars], ibid., fondo Cappella Sistina; Rochester, NY, Sibley Music
Library, University of Rochester [5/6].

[A0005] Regensburg, Bischüfliche Zentralbibliothek (Proske-Musikbibliothek)

[A,T,B]; Bologna, Civico Museo Bibliografico Musicale [complete:
S,A,T,B,5/6]; Bologna, Archivio di San Petronio; Vatic an City, Biblioteca
Apostolica Vaticana; Gdansk, Biblioteka Polskiej Akademii Nauk [T,B];
Rochester, NY, Sibley Music Library, University of Rochester [S,A,T,B].
Primary Sources: Printed Music 15
A0006 [RISM P6601 Missarum liber secundus. Rome: heirs of Valerio and Aloysio
Dorico, 1567 [choirbook].
1. Missa De beata Vrgine a (f.2v)
2. Missa Inviolata a 4 (f.16v)
3. Missa Sine nomine a 4 (f.30v)
4. Missa Ad fugam a 4 (f.40v)
5. Missa Aspice domine a 5 (f.45v)
6. Missa Salvum me fac a 5 (f.63v)
7. Missa Papae Marcelli a 6 (f.82v)

Reprint History

A0007 [RISM P661] Missarum cum quattuor, quinque ac sex vocibus ... liber
secundus. Venice: Angelo Gardano, 1598 [partbooks].

A0008 [RISM P662] Missarum cum quatuor, quinque & sex vocum. Rome: Nicolo
Mutii, 1599 [choirbook].

A0009 [RISM P6631 Missarum cum quaternis, quinis ac senis vocibus. Rome:
Nicolo Mutii, 1600 [choirbook].

Print Locations

[A0006] Brno, Morayské museum, LJstav dejin hudby [incomplete]; Berlin, Staats-
bibliothek; Granada, Archivio capitulai de la Catedral; Segorbe, Archivo de
la Catedral; Cambrai, Bibliothèque municipale; London, British Library
[two copies]; Assisi, Biblioteca comunale [two copies]; Bologna, Civico
Museo Bibliografico Musicale; Bergamo, Civico Instituto musicale "G.
Donizetti"; Città di Castello, Archivio del Duomo (lacks title page); Flo-
rence, Biblioteca del Conservatorio di Musica "Luigi Cherubini"; Gubbio,
Biblioteca Vescovile Fonti e Archivio; Loreto, Archivio Storico della Cap-
pella Lauretana; Milan, Biblioteca del Conservatorio "Giuseppe Verdi";
Padua, Biblioteca capitolare; Palermo, Archivio del Duomo; Rome, Bib-
lioteca Musicale gôvernativa del Conservatorio di Santa Cecilia; Rome,
Archivio di S an Giovanni in Laterano; Vatican City, Biblioteca Apostolica
Vaticana, fondo Cappella Sistina; Reggio Emilia, Archivio capitolare di San
Prospero [incomplete, with manuscript supplement]; Terni, Istituto Musicale
"G. Briccialdi"; Treviso, Archivio della Cappella del Duomo [incomplete];
Coimbra, Biblioteca Geral daUniversidade; Chapel Hill, NC, University of
North Carolina Music Library [incomplete]; New York, James J. Fuld pri-
vate collection.

[A0007] Brussels, Bibliothèque Royale Albe rtI [complete: S,A,T,B,5/6]; Munster,

Bibliothek des Bischüflichen Priesterseminars und Santini-Sammlung;
Regensburg, Bischiifliche Zentralbibliothek (Proske-Musikbibliothek)
[A,T,B]; Brescia, Archivio del Duomo; Mil an, Biblioteca del Conservatorio
"Giuseppe Verdi" [A,T,5]; Piacenza, Archivio del Duomo; Vatican City, Bib-
16 Giovanni Pierluigi da Palestrina
lioteca Apostolica Vaticana, fondo Cappella Giulia, ibid., fondo Cappella
Sistina; Siena, Archivio musicale dell'opera del Duomo; Spello, Collegiata
di Santa Mari a Maggiore, Archivio [T].

[A0008] Ljubljana, University Library.

[A0009] Bologna, Civico Museo Bibliografico Musicale; Florence, Archivio musicale

dell'opera di S anta Mari a del Fiore; Lucca, Biblioteca del seminario arcivescov-
ile; Rome, Biblioteca Musicale govemativa del Conservatorio di S anta Cecilia;
Vatican Ci ty, Biblioteca Apostolica Vaticana, fondo Cappella Giulia.

A0010 [RISM P664] Missarum liber tertius. Rome: heirs of Valerio and Aloysio
Dorico, 1570 [choirbook].
1.Missa Spem in alium a 4 (f.lv)
2. Missa Primi toni a 4 (f.18v)
3. Missa Brevis a 4 (p.36v)
4. Missa De feria a 4 (f.46v)
5. Missa L'homme armé a 5 (f.52v)
6. Missa Repleatur os meum a 5 (f.71v)
7. Missa de Beata Virgine a 6 (f.87v)
8. Missa Ut re mi fa sol la a 6 (f.105v)

Reprint History

A0011 [RISM P665] Missarum cum quatuor; quinque, ac sex vocibus ... liber ter-
tius. Venice: Angelo Gardano, 1598 [partbooks].

A0012 [RISM P666] Missarum cum quatuor, quinque, ac sex vocibus ... liber ter-
tius. Venice: Angelo Gardano, 1599 [shortened edition, partbooks].

Print Locations

[A0010] Berlin, Staatsbibliothek; Munich, Bayerische Staatsbibliothek, Musiksamm-

lung; Regensburg, Bischbfliche Zentralbibliothek (Proske-Musikbibliothek)
[incomplete, with manuscript supplement]; London, B ri tish Library;
Albenga, Cattedrale di S an Michele, Biblioteca e Archivio Capitolari; Assisi,
Biblioteca comunale; Bologna, Civico Museo Bibliografico Musicale; Città
di Castello, Archivio del Duomo (imperfect copy); Fabriano, Biblioteca
comunale; Florence, Archivio musicale dell'opera di S. Ma ria del Fiore; Gub-
bio, Biblioteca Vescovile Fonti e Archivio; Pa ri s, Bibliothèque nationale
(ancien fonds du Conservatoire nationale de musique); Milan, Biblioteca del
Conservatorio "Giuseppe Verdi"; Palermo, Archivio del Duomo (Biblioteca
capitolare); Rome, Bibioteca Casanatense; Rome, Biblioteca dell'Accademia
nazionale dei Lincei e Corsiniana; Rome, Biblioteca Musicale govemativa
del Conservatorio di Santa Cecilia [two exemplars]; Rome, Archivio capito-
lare di Santa Ma ri a Maggiore (housed in Biblioteca Apostolica Vaticana);
Vatic an City, Biblioteca Apostolica Vaticana, fondo Cappella Giulia; ibid.,
fondo Cappella Sistina; Reggio Emilia, Archivio capitolare di San Prospero;
Primary Sources: Printed Music 17

Spoleto, Archivio del Duomo; Terni, Istituto Musicale "G. Briccialdi"; Tre-
viso, Archivio della Cappella del Duomo; Coimbra, Biblioteca Geral da Uni
-versidade; Berkeley, University of California Music Library [incomplete].
[A0011] Vienna, Osterreiches Nationalbibliothek, Musiksammlung [complete:
S,A,T,B, 5/6 (incomplete)].

[A0012] Regensburg, Bischôfliche Zentralbibliothek (Proske-Musikbibliothek)

[A,T,B]; Dresden, Sachsische Landesbibliothek, Musikabteilung [S,A,T,B,
5/6]; Cuenca, Archivo capitular de Cuenca [5/6 (incomplete)]; Bologna,
Civico Museo Bibliografico Musicale [S,T,5]; Milan, Biblioteca del Conser-
vatorio "Giuseppe Verdi"; Vatican City, Biblioteca Apostolica Vaticana,
fondo Cappella Giulia; ibid., fondo Cappella Sistina.

A0013 RISM P667] Missarum cum quatuor et quinque vocibus, liber quartus.
Venice: Angelo Gardano, 1582 [partbooks].
1. Missa Prima a 4 (p.1)
2. Missa Secunda a 4 (p.7)
3. Missa Tertia a 4 (p.13)
4. Missa Quarta a 4 (p.20)
5. Missa Prima a 5 (p.26)
6. Missa Secunda a 5 (p.35)
7. Missa Tertia a 5 (p.43)

Reprint History

A0014 [RISM P668] Missarum cum quatuor et quinque vocibus, liber quartus.
Milan: Francesco and heirs of Simon Tini, 1590 [partbooks].

A0015 [RISM P669] Basso principale co' 1 soprano del quarto libro delle messe a 4
e 5 u ... novamente fatto d' Alessandro Nuvoloni organista. Milan: heirs of
Simon Tini an d Francesco Lomazzo, 1610 [one vol].

Print Locations

[A0013] Vienna, Osterreiches Nationalbibliothek, Musiksammlung [exemplar

1=S,A,T,B,5; exemplar 2=A,B]; Berlin, Staatsbibliothek [T]; Regensburg,
Bischdfliche Zentralbibliothek (Proske-Musikbibliothek) [A,T,B]; Tudela,
Archivo capitular; Pa ri s, Bibliothèque nationale (ancien fonds du Conserva-
toire nationale de musique) [S,A,T,B]; London, British Library [A,T,B,5];
Assisi, Biblioteca comunale [S,A,T,B (incomplete), 5]; Bologna, Civico
Museo Bibliografico Musicale; Brescia, Archivio del Duomo [S,A,T,B];
Faenza, Archivio capitolare [5]; Pistoia, Archivio capitolare della Cattedrale
[S,A,T,B]; Vatican City, Biblioteca Apostolica Vaticana, fondo Cappella
Giulia [5], ibid., fondo Cappella Sistina; Gdansk, Biblioteka Polskiej
Akademii Nauk.

[A0014] Brussels, Bibliothèque Royale Albert I [S,5]; Aosta, Cattedrale, Biblioteca

18 Giovanni Pierluigi da Palestrina
capitolare [S,T,B]; Como, Archivio musicale storico del Duomo
[S,A,T,B,5]; Rome, Archivio di S an Luigi de' Francesi [T]; Vatic an City,
Biblioteca Apostolica Vaticana, fondu Cappella Giulia [S,A,T,B].

[A0015] Bologna, Civico Museo Bibliografico Musicale.

A0016 [RISM P670] Missarum liber quintus, quatuor, quinque, ac sex vocibus
concinendarum. Rome: Francesco Coattino ("sumptibus Jacobi Berichiae"),
1590 [choirbook]
1.Missa Aeterna Christi munera a 4 (p.1)
2. Missa lam Christus ad astra ascenderat a4 (f.12)
3. Missa Panis quem ego dabo a 4 (p.28)
4. Missa Iste Confessor a 4 (p.45)
5. Missa Nigra sum a 5 (p.57)
6. Missa Sicut lilium inter spinas a 5 (p.84)
7. Missa Nasce la gioia mia a 6 (p.106)
8. Missa Sine nomine a 6 (p.128)

Reprint History

A0017 [RISM P671] Missarum cum quatuor, quinque, et sex vocibus, liber quintus.
Venice: heir of Girolamo Scotto, 1591 [partbooks].

A0018 [RISM P6721 Missarum cum quatuor, quinque, et sex vocibus, liber quintus.
Rome: Nicolo Mutii, 1599 [partbooks].

Print Locations

[A0016] Cologny, Fondation Mart in Bodmer, Bibliotheca Bodmeriana; Prague,

Nårodni knihovna (drive Universitni knihovna); Berlin, Staatsbibliothek;
Munich, Bayerische Staatsbibliothek, Musiksammlung; Tarazona, Archivo
capitular [incomplete]; Paris, Bibliothèque nationale (ancien fonds du Con-
servatoire nationale de musique); London, B ritish Library [incomplete];
Assisi, Biblioteca comunale; Ferrara, Biblioteca comunale Ariostea; Flo-
rence, Archivio musicale dell' opera di Santa Ma ri a del Fiore; Fermo,
Archivio della Metropolitana, Duomo; Modena, Archivio capitolare
(Duomo); Loreto, Archivio Storico della Cappella Lauretana; O rv ieto,
Archivio musicale del Duomo; Pesaro, Biblioteca capitolare della Cattedrale
Archivio del Duomo; Rome, Biblioteca Musicale governativa del Conserva
-torio di Santa Cecilia; Rome, Archivio dell'Archiconfraternita di San Gio-
vanni de' Fiorentini; Rome, Archivio capitolare di S an ta Mari a Maggiore
(housed in Biblioteca Apostolica Vaticana); Vatic an City, Biblioteca Apos-
tolica Vaticana, fondo Cappella Giulia [two exemplars], ibid., fondo Cap-
pella Sistina; Venice, Museo Civico Correr; Coimbra, Biblioteca Geral da
Universidade; Lamego, Arquivo da Sé.

[A0017] Berlin, Staatsbibliothek [complete: S,A,T (two copies), B,5/6, with manu-
script b.c. part]; Regensburg, Bischtifliche Zentralbibliothek (Proske-Musik-
Primary Sources: Printed Music 19
bibliothek) [A,T,B]; Madrid, Biblioteca nacional [T]; Pa ris, Bibliothèque
nationale [S,B]; Bologna, Civico Museo Bibliografico Musicale; Milan,
Biblioteca del Conservatorio di Musica "Giuseppe Verdi"; Siena, Bibioteca
dell'Accademia Musicale Chigiana [A]; Vatican City, Biblioteca Apostolica
Vaticana,fondo Cappella Giulia [two exemplars, one of which lacks T part];
ibid., fondo Cappella Sistina; Spello, Archivio di S anta Ma ria Maggiore [T,
5/6]; Stockholm, Statens musikbibliotek [A]; Berkeley, CA, University of
California Music Library; Cambridge, MA, Harvard University Music
Libraries [A,T,B (incomplete), 5].

[A0018] Rome, Biblioteca Musicale governativa del Conservatorio di Santa Cecilia

[complete].

A0019 [RISM P673] Missarum cum quatuor vocibus, liber primus. Venice: Gia-
como Vincenti, 1590 [partbooks, containing two masses from Book II and
one from Book III; Missa Papae Marcelli from Book II is a four-part
arrangement here].
1. Missa Papae Marcelli a 4 [anonymous four-part arrangement of mass
a 6 from Book II]
2. Missa Sine nomine a 4 [from Book II (1567)]
3. Missa Brevis a 4 [from Book III (1570)]

Rep rint History

A0020 [RISM P674] Missarum cum quatuor vocibus, liber primus. Milan:
Francesco and heirs of Simon Tini, 1590 [partbooks].

A0021 [RISM P675] Missarum cum quatuor vocibus, liber primus. Venice: Gia-
como Vincenti, 1605 [partbooks].

A0022 [RISM P675a] Missarum cum quatuor vocibus, liber primus. Venice: Gia-
como Vincenti, 1608 [partbooks].

Print Locations

[A0019] Brescia, Archivio del Duomo [S,A,B]; Brescia, Biblioteca Queriniana [T];
Milan, Biblioteca del Conservatorio "Giuseppe Verdi" [complete: S,A,T,B];
Moscow, Rossijskaja Gosudarstvennaja Biblioteka [S,A,T].

[A0020] Berlin, Staatsbibliothek [complete: S,A,T,B]; Bologna, Civico Museo Bibli-

ografico Musicale [T,B]; Vercelli, Archivio del Duomo (Biblioteca capito-
lare) [A].

[A0021] Bologna, Civico Museo Bibliografico Musicale [T,B].

[A0022] Bologna, Civico Museo Bibliografico Musicale [complete: S,A,T,B].

A0023 [RISM P676] Missae quinque, quatuor ac quinque vocibus concinendae .. .

20 Giovanni Pierluigi da Palestrina
liber sextus. Rome: Francesco Coattino, 1594 [partbooks]
1.Missa Dies sanctificatus a 4
2. Missa In te Domine speravi a 4
3. Missa Sine nomine a 4
4. Missa Quam pulchra es a 4
5. Missa Dilexi quoniam a 5

Reprint History

A0024 [RISM P677] Missae cum quatuor, quinque, ac sex vocibus ... liber sextus.
Venice: Angelo Gardano, 1596 [enlarged edition, partbooks]:
1.Missa Dies sanctificatus a 4 (p.2)
2. Missa In te Domine speravi a 4 (p.10)
3. Missa Sine nomine a 4 (p.18)
4. Missa Quam pulchra es a 4 (p.25)
5. Missa Dilexi quoniam a 5 (p.34)
6. Missa Ave Maria a 6 (p.42)

Print Locations

[A0023] Bologna, Civico Museo Bibliografico Musicale [S]; Rome, Biblioteca dell'
Accademia nazionale dei Lincei e Corsiniana [complete: S,A,T,B,5]; Vati-
can City, Biblioteca Apostolica Vaticana, fondo Cappella Giulia; ibid., fondo
Cappella Sistina.

[A0024] Vienna, Osterreiches Nationalbibliothek, Musiksammlung [complete:

S,A,T,B, 5/6]; Regensburg, BischSfliche Zentralbibliothek (Proske-Musik-
bibliothek) [S,A,T,B]; Bologna, Civico Museo Bibliografico Musicale;
Milan, Biblioteca del Conservatorio di Musica "Giuseppe Verdi"; Siena, Bib-
lioteca dell'Accademia Musicale Chigiana [S,A]; Spello, Archivio di S anta
Maria Maggiore [T]; Vatic an City, Biblioteca Apostolica Vaticana, fondo
Cappella Sistina; Venice, Biblioteca nazionale Marciana; Amsterdam,
Toonkunst-Bibliotheek [T]; Warsaw, Bibliotecka Uniwersytecka [S,A,B,5/6].

A0025 [RISM P678] Missae quinque, quatuor ac quinque vocibus concinendae .. .

liber septimus. Rome: Francesco Coattino, 1594 [partbooks]
1.Missa Ave Maria a 4 (p.3)
2. Missa Sanctorum meritis a 4 (p.12)
3. Missa Emendemus a 4 (p.21)
4. Missa Sacerdos et Pontifex a 5 (p.27)
5. Missa Tu es Pastor ovium a 5 (p.35)

Reprint History

A0026 [RISM P679] Missae cum quatuor, quinque, ac sex vocibus ... liber septi-
mus. Venice: Angelo Gardano, 1605 [enlarged edition, partbooks].

A0027 [RISM P680] Missae cum quatuor; quinque, & sex vocibus, liber septimus.
Primary Sources: Printed Music 21
Venice: heirs of Girolamo Sco tt o, 1609 [enlarged edition, partbooks]:
1. Missa Ave Maria a 4 (p.2)
2. Missa Sanctorum meritis a 4 (p.11)
3. Missa Emendemus a 4 (p.20)
4. Missa Sacerdos et Pontifex a 5 (p.26)
5. Missa Tu es Pastor ovium a 5 (p.34)
6
6. Missa ad Beneplacitum a 6 (p.44)

Print Locations

[A0025] Berlin, Staatsbibliothek [T]; Regensburg, Bischdfliche Zentralbibliothek

(Proske-Musikbibliothek) [A,T,B]; London, B ritish Library [complete:
S,A,T,B,5]; Bologna, Civico Museo Bibliografico Musicale [A,T,B,5]; Vati-
can City, Biblioteca Apostolica Vaticana,fondo Cappella Giulia; ibid., fondo
Cappella Sistina.

[A0026] Oxford, Bodleian Library [complete: S,A,T,B,5/6]; Vatic an City, Biblioteca

Apostolica Vaticana, fondo Cappella Sistina; Siena, Archivio musicale dell'-
opera del Duomo; Chicago, Newberry Library.

[A0027] Vienna, Osterreiches Nationalbibliothek, Musiksammlung [complete:

S,A,T,B,5/6]; Münster, Bibliothek des Bischdflichen Priesterseminars und
Santini-Sammlung [S,B,5/6]; London, Royal College of Music [T]; Vatican
City, Biblioteca Apostolica Vaticana, fondo Cappella Sistina; Venice, Bib-
lioteca nazionale Marciana.

A0028 [RISM P681] Missarum cum quatuor, quinque, & sex vocibus, liber octavus.
Venice: Heir of Girolamo Scotto, 1599 [partbooks]
1.Missa Quem dicunt homines a 4 (p.3)
2. Missa Dum esset Summus Pontifex a 4 (p.12)
3. Missa O admirabile commercium a 5 (p.19)
4. Missa Memor esto a 5 (p.27)
5. Missa Dum complerentur a 6 (p.34)
6. Missa Sacerdotes Domini a 6 (p.42)

Reprint History

A0029 [RISM P682] Missarum cum quatuor, quinque, & sex vocibus, liber octavus.
Venice: heir of Girolamo Scotto, 1609 [partbooks].

Print Locations

[A0028] Regensburg, Bischdfliche Zentralbibliothek (Proske-Musikbibliothek)

[A,T,B]; Cuenca, Archivo capitular de Cuenca [S (incomplete)]; Bologna,
Civico Museo Bibliografico Musicale [complete: S,A,T,B,5/6]; Lucca, Bib-
lioteca del seminario arcivescovile; Mil an , Biblioteca del Conservatorio
"Giuseppe Verdi"; Vatican City, Biblioteca Apostolica Vaticana, fondo Cap-
pella Sistina; Gd an sk, Biblioteka Polskiej Akademii Nauk [S,T,B,5/6].
22 Giovanni Pierluigi da Palestrina
[A00291 Vienna, 6sterreiches Nationalbibliothek, Musiksammlung [complete:
S,A,T,B,5/6]; Vatican City, Biblioteca Apostolica Vaticana, fondo Cappella
Giulia; ibid., fondo, Cappella Sistina [two exemplars]; Venice, Biblioteca
nazionale Marciana.
A0030 [RISM P683] Missarum cum quatuor, quinque, & sex vocibus, liber nonus.
Venice: Heir of Girolamo Scotto, 1599 [partbooks]
1.Missa Ave regina coelorum a 4 (p.3)
2. Missa Veni sponsa Christi a 4 (p.12)
3. Missa Vestiva i colli a 5 (p.20)
4. Missa Sine nomine a 5 (p.28)
5. Missa In te Domine speravi a 6 (p.36)
6. Missa Te Deum laudamus a 6 (p.45)

Reprint History

A0031 [RISM P684] Missarum cum quatuor, quinque, & sex vocibus, liber nonus.
Venice: heir of Girolamo Scotto, 1608 [partbooks].

Print Locations

[A0030] Regensburg, BischSfliche Zentralbibliothek (Proske-Musikbibliothek)

[A,T,B]; Bologna, Civico Museo Bibliografico Musicale [complete:
S,A,T,B,5/6]; Vatican City, Biblioteca Apostolica Vaticana, fondo Cappella
Sistina; Gdansk, Biblioteka Polskiej Akademii Nauk [S,T,B,51; Washington,
DC, Library of Congress, Music Division.

[A0031] Vienna, Osterreiches Nationalbibliothek, Musiksammlung [complete:

S,A,T,B,5/6]; Brussels, Bibliothèque Royale Albert I; Vatican City, Bib-
lioteca Apostolica Vaticana, fondo Cappella Giulia; ibid., fondo, Cappella
Sistina; Venice, Biblioteca nazionale Marciana.

A0032 [RISM P685] Missarum cum quatuor, quinque, & sex vocibus, liber dec-
imus. Venice: heir of Girolamo Scotto, 1600 [partbooks]
1.Missa In illo tempore a 4 (p.3)
2. Missa Già fù chi m'ebbe cara a 4 (p.12
3. Missa Pietra sancta a 5 (p.19)
4. Missa O virgo simul et mater a 5 (p.27)
5. Missa Quinti toni a 6 (p.35)
6. Missa Illumina oculos meos a 6 (p.44)

Print Locations

[A0032] Vienna, Osterreiches Nationalbibliothek, Musiksammlung [complete:

S,A,T,B,516]; Regensburg, BischSfliche Zentralbibliothek (Proske-Musik-
bibliothek) [A,T,B]; Cuenca, Archivo capitulai de Cuenca [B]; Lucca, Bib-
lioteca del seminario arcivescovile [complete set, with S and A pa rts incom-
plete]; Milan, Biblioteca del Conservatorio "Giuseppe Verdi"; Pistoia,
Archivio capitolare della Cattedrale; Vatican City, Biblioteca Apostolica Vat-
icana, fondo Cappella Giulia; ibid., fondo, Cappella Sistina [three copies].
Primary Sources: Printed Music 23
A0033 [RISM P686] Missarum cum quatuor, quinque, & sex vocibus, liber undec-
imus. Venice: Heir of Girolamo Scotto, 1600 [partbooks]
1. Missa Descendit angelus a 4(p.3)
2. Missa Regina coeli a 5 (p.12: print says 22)
3. Missa Quando liera sperai a 5 (p.21)
4. Missa Octavi toni a 6 (p.29)
5. Missa Alma Redemptoris a 6 (p.39)

Print Locations

[A0033] Vienna, Osterreiches Nationalbibliothek, Musiksammlung [complete:

S,A,T,B,5/6]; Regensburg, Bischdfliche Zentralbibliothek (Proske-Musik-
bibliothek) [A,T,B]; Lucca, Biblioteca del seminario arcivescovile
[A,T,B,5]; Vatican City, Biblioteca Apostolica Vaticana, fondo Cappella
Giulia; ibid., fondo Cappella Sistina [three copies]; Berkeley, CA, Univer-
sity of California Music Library.

A0034 [RISM P687] Missarum cum quatuor; quinque, et sex vocibus, liber duodec-
imus. Venice: heir of Girolamo Scotto, 1601 [partbooks]
1.Missa regina coeli a 4 (p.3)
2. Missa O rex gloriae a 4 (p.12)
3. Missa Ascendo ad patrem a 5 (p.20)
4. Missa Qual è il più grand'amor a 5 (p.29)
5. Missa Tu es Petrus a 6 (p.37)
6. Missa Vin Galilaei a 6 (p.45)

Print Locations

[A00341 Brussels, Bibliothèque Royale Albert I [complete: S,A,T,B,5/6]; Regens-

burg, Bischdfliche Zentralbibliothek (Proske-Musikbibliothek) [A,T,B];
Vatican City, Biblioteca Apostolica Vaticana, fondo Cappella Giulia; ibid.,
fondo Cappella Sistina [two exemplars]; Berkeley, CA, University of Cali-
fornia Music Library.

A0035 [RISM 688] Missae quatuor octonis vocibus concinendae. Venice: Riccia-
rdo Amadino, 1601 [partbooks]
1.Missa Laudate Dominum omnes gentes a 8 (p.1)
2. Missa Hodie Christus natus est a 8 (p.8)
3. Missa Fratres ego enim accepi a 8 (p.14)
4. Missa Confitebor tibi Domine a 8 (p.22)

Print Locations

[A0035] Vienna, Osterreiches Nationalbibliothek, Musiksammlung [I: S,A,T,B; II:

A]; Regensburg, Bischdfliche Zentralbibliothek (Proske-Musikbibliothek)
[I: A,B; II: S]; Tarazona, Archivo capitular [complete: I: S,A,T,B; II:
S,A,T,B]; Bologna, Civico Museo Bibliografico Musicale [I: S,A,T,B];
Milan, Biblioteca del Conservatorio di Musica "Giuseppe Verdi"; Vatican
City, Biblioteca Apostolica Vaticana, fondo Cappella Sistina [II: S].
24 Giovanni Pierluigi da Palestrina
Motets

A0036 [RISM P689] Motecta festorum totius anni cum Communi sanctorum .. .
quarterais vocibus ... liber primus. Venice: Antonio Gardano, 1564 [part-
books] [see A0040 for contents].

Reprint History

A0037 [RISM P690] Motecta festorum totius anni cum Communi sanctorum .. .
quarterais vocibus ... liber primus. Venice: sons of Antonio Gardano, 1571
[partbooks].

A0038 [RISM P691] Motecta festorum totius anni cum Communi sanctorum .. .
quarterais vocibus ... liber primus. Venice: sons of Antonio Gardano, 1574
[partbooks].

A0039 [RISM P6921 Motecta festorum totius anni cum Communi sanctorum .. .
quarterais vocibus... liber primus. Venice: Angelo Gardano, 1579 [part-
books].

A0040 [RISM P693] Motecta festorum totius anni cum Communi sanctorum ... guar-
tends vocibus ... liber primus. Venice: Angelo Gardano, 1585 [partbooks]:
1.In die Natalis Domini, Dies sanctificatus (p.1)
2. In Sancti Stephani, Lapidabant Stephanum (p.2)
3. In Sancti Io. Evang., Valde honorandus est (p.3)
4. In die Circumcisionis Domini, Magnum hereditatis (p.4)
5. In Epiphania, Tribus miraculis (p.5)
6. In Purificatione B. M., Hodie beata virgo Maria (p.6)
7. In Annuntiatione, Ave Maria (p.7)
8. In Resurrectione Domini, lesus iunxit se (p.8)
9. In Ascensione Domini, O Rex gloriae (p.9)
10.In die Pentecostes, Loquebantur in varus linguis (p.10)
11.In festo Sanct. T ri n., Benedicta sit sancta Trinitas (p.11)
12.In die Corporis Christi, Lauda Syon (p.12)
13.In Nativitate Ioan. Bap., Fuit homo missus a Deo (p.13)
14.In Sancti Pet ri Apost., Tu es pastor ovium (p.14)
15.In Sancti Pauli, Magnus Sanctus Paulus (p.15)
16.In Visitatione B. Mariae, Surge propera (p.16)
17.In Sancte Mariae Mag., In diebus illis (p.17)
18.In Sancti Laurentii, Beatus Laurentius (p.18)
19.In Assumptione B. Mariae, Quae est ista (p.19)
20. In Decollatione Io. Bap., Misso Herodes spiculatore (p.20)
21.In Nativitate B. Mariae, Nativitas tua (p.21)
22. In festo Sanctae Crucis, Nos autem gloriari (p.22)
23. In festo Omnium Sanctorum, Salvator mundi (p.23)
24. In S. Mart ini episc., O quantus luctus (p.24)
25.In Presentatione B. M., Congratulamini mihi (p.25)
26. In Sancte Caecilie, Dum aurora finem (p.26)
27. In Sancti Andree, Doctor bonus (p.27)
Primary Sources: Printed Music 25

28. In conceptione B. M., Quam pulchri sunt (p.28)

Common of saints:
29. In festo Apostolorum, Tollite iugum (p.29)
30.In festo Evangelistarum, Isti sunt viri (p30)
31.In festo unius martins, Hic est vere martyr (p.31)
32. In festo plur. Mart., Gaudent in celis (p.32)
33.In festo confess. pont., Iste est qui ante Deum (p.33)
34.In festo confess. non pont., Beatus vir qui suffert (p.34)
35. In festo virginum, Veni sponsa (p.35)
36. In dedicatione templi, Exaudi domine (p36)

A0041 [RISM P694] Motecta festorum totius anni cum Communi sanctorum .
quarternis vocibus ... liber primus. Milan: Francesco and heirs of Simon
Tini, 1587 [partbooks].

A0042 [RISM P695] Motecta festorum totius anni cum Communi sanctorum .. .
quarternis vocibus ... liber primus. Rome: Francesco Coattino, 1590 [pa rt
books

A0043 [RISM P696] Cantiones sacrae quatuor vocum pro festis totius anni et Com-
muni sanctorum. Antwerp: Pierre Phalèse, 1613 [partbooks].

A0044 [RISM P6971 Motecta festorum totius anni cum Communi sanctorum .. .
quarterais vocibus ... liber prunus. Venice: heirs of Girolamo Scotto, 1595
(partbooks].

A0045 [RISM P698] Motecta festorum totius anni cum Communi sanctorum .. .
quarternis vocibus ... liber primus. Venice: Angelo Gardano, 1601 [part
books

A0046 [RISM P699] Motecta festorum totius anni cum Communi sanctorum .. .
quarternis vocibus ... liber primus. Rome: Luca Antonio Soldi, 1622.

Print Locations

[A0036] Naples, Biblioteca del Conservatorio di Musica S. Pietro a Maiella [T].

[A0037] Bologna, Civico Museo Bibliografico Musicale [complete: S,A,T,B];

Castell'Arquato, Archivio capitolare (parrocchiale), Archivio della Chiesa
Collegiata [A,T,B]; Treviso, Archivio della Cappella del Duomo.

[A00381 Vienna, Osterreiches Nationalbibliothek, Musiksammiung [S]; Regensburg,

Bischbfliche Zentralbibliothek (Proske-Musikbibliothek) [S,B]; Treviso,
Archivio della Cappella del Duomo [complete: S,A,T,B].

[A0039] Berlin, Staatsbibliothek [A,B]; Pa ris, Bibliothèque de l'Arsenal [T]; Assisi,

Biblioteca comunale [complete: S,A,T,B]; Bologna, Civico Museo Bibli-
ografico Musicale [T].
26 Giovanni Pierluigi da Palestrina
[A0040] London, Royal College of Music [complete: S,A,T (manuscript copy), B];
Vatican City, Biblioteca Apostolica Vaticana, fondo Cappella Sistina; Coim-
bra, Biblioteca Geral da Universidade [B].

[A0041] Cuenca, Archivo capitular de Cuenca [complete: S,A,T,B]; Tudela, Archivo

capitular.

[A0042] Rome: Biblioteca Musicale governativa del Conservatorio di Santa Cecilia

[complete: S,A,T (lacking title page), B].

[A0043] Regensburg, Bischdfliche Zentralbibliothek (Proske-Musikbibliothek)

[complete: S,A,T,B].

[A0044] Münster, Bibliothek des Bischdflichen Priesterseminars und Santini-Samm-

lung [complete: S,A,T,B]; Regensburg, Bischdfliche Zentralbibliothek
(Proske-Musikbibliothek) [A,T]; Mad ri d, Biblioteca nacional [T].

[A0045] Chapel Hill, NC, University of No rth Carolina Music Library [complete:
S,A,T,B].

[A0046] Odense, Odense Universitetsbibliotek, Musikafdelingen; Oxford, Ch ri st

Church Library [complete: S,A,T,B]; Vatican City, Biblioteca Apostolica
Vaticana,fondo Chigi [S,A].

A0047 [RISM P700] Liber primus ... mottettorum, quae partim quinis, partim
Benis, partim septenis vocibus concinantur. Rome: heirs of Valerio and
Aloysio Dorico, 1569 [partbooks; see A049 for contents]

Reprint History

A0048 [RISM P7011 Liber primus ... mottettorum, quae partim quinis, partim
senis, partim septenis vocibus concinantur. Venice: Angelo Gardano, 1579
[partbooks].

A0049 [RISM P702] Liber primus ... motettorum, quae partim quinis, partim
senis, partim septenis vocibus concinantur. Venice: heir of Girolamo Scotto,
1586 [partbooks]:
Five voices:
1. 0 admirabile commercium (p.2)
2. Stella quam viderant Magi (p.3)
3. OAntoni eremita (p.4)
4. Senex puerum portabat (p.5); Hodie beata virgo Maria [secunda pars]
(p.6)
5. Suscipe verbum virgo Maria (p.7); Paries quidem filium [secunda
pars] (p.8)
6. Alleluia! tulerunt Dominum (p.9)
7. Crucem sanctam subiit (p.10)
8. 0 beata et benedicta et gloriosa Trinitas (p.11); 0 vera summa
[secunda pars] (p.12)
Primary Sources: Printed Music 27
9. Ego sum panis vivus (p.13); Panis quem ego dabo [secunda pars]
(p.14)
10. Puer qui natus est (p.15)
11. Beatae Mariae Magdalenae (p.16)
12.Sancte Paule apostole (p.17)
13. Beatus Laurentius (p.18)
14.Hodie nata est beata virgo (p.19)
15. 0 beatum virum (p.20)
16. Venit Michael archangelus (p.21)
17. 0 beatum pontificem (p.22)
18.Deus qui dedisti legem (p.23)
19.Lapidabant Stephanum (p.24)
20. Hic est discipulus ille (p.25)
21. Sicut lilium inter spinas (p.26)
22. Quam pulchri sunt gressus (p.27)
23. Unus ex duobus (p.28)
24. Cum pervenisset beatus Andreas (p.29)
Six voices:
25. Viii Galilaei quid statis (p.30); Ascendit Deus in iubilatione
[secunda pars] (p.31)
26. Dum complerentur dies Pentecostes (p.32); Dum ergo essent in
unum [secunda pars] (p.33)
27. Pulchra es, o virgo Maria (p.34)
28. Solve jubente Deo (p.35); Quodcumque ligaveris [secunda pars]
(p.36)
29. Vidi turbam magnam (p.37); Et omnes angeli stabant [secunda pars]
(p.38)
30. 0 magnum mysterium (p.39); Quern vidistis pastores [secunda pars]
(p.40)
31. 0 Domine Jesu Christe (p.41)
Seven voices:
32. Tu es Petrus (p.42)
33. Virgo prudentissima (p.43); Maria Virgo [secunda pars] (p.44)

A0050 [RISM P703] Liber primus ... mottettorum, quae partim quinis, partim
senis, partim septenis vocibus concinantur. Venice: Angelo Gardano, 1590
[partbooks].

A0051 [RISM P704] Liber primus ... mottettorum, quae partim quinis, partim
senis, partim septenis vocibus concinantur. Venice: heir of Girolamo Scotto,
1600 [partbooks].

Print Locations

[A0047] Berlin, Staatsbibliothek [complete: S,A,T,B,5,6]; Hamburg, Staats- und Uni

-versitasbibiothek Carl von
Ossietzky, Musikabteilung [S,T,B,5,6 (lacking
A)]; Regensburg, Bischdfliche Zentralbibliothek (Proske-Musikbibliothek)
[A,B]; Valladolid, Archivo musical de la Catedral [T,B]; London, B ri tish
Library [S]; Bologna, Civico Museo Bibliografico Musicale; Coimbra, Bib-
28 Giovanni Pierluigi da Palestrina

lioteca Geral da Universidade [A, 6 (incomplete)]; Stockholm, Stiftelsen

Musikkulturens fra.mjande [S]; Rochester, NY, Sibley Music Library, East-
man School of Music, University of Rochester.

[A0048] Munich, Bayerische Staatsbibliothek [complete: S,A,T,B,5,6]; Cuenca,

Archivo capitular de Cuenca [A]; Paris, Bibliothèque nationale; Bologna,
Civico Museo Bibliografico Musicale; Gubbio, Biblioteca Vescovile Fonti
e Archivio [A,5,6]; Lucca, Biblioteca del seminario arcivescovile; Tre-
viso, Archivio della Cappella del Duomo [incomplete]; Legnica (Lieg-
nitz), Biblioteka Towarzystwa Przjaci6l Nauk [B]; Warsaw, Biblioteka
Narodowa [T,5,6]; Bloomington, IN, Indiana University School of Music
Library.

[A0049] Berlin, Staatsbibliothek [A,B]; Hamburg, Staats- und Universithtsbibiothek

Carl von Ossietzky, Musikabteilung [6]; Regensburg, Bischdfliche Zentral-
bibliothek (Proske-Musikbibliothek) [5]; Tudela, Archivo capitular [com-
plete: S,A,T,B,5,6]; Tarazona, Archivo capitular [T]; Saragossa, Archivo de
mûsica del Cabildo [A,6]; Pari s, Bibliothèque nationale [S,B,6]; Assisi, Bib-
lioteca comunale [A,T,B,5,6 (lacks S)]; Bologna, Civico Museo Bibli-
ografico Musicale; Bologna, Archivio di San Petronio; Vatican City, Bib-
lioteca Apostolica Vaticana, fondo Cappella Giulia [A,T,B,5,6 (lacks S);
ibid., fondo Cappella Sistina; Berkeley, CA, University of California Music
Library.

[A0050] Berlin, Staatsbibliothek [complete: S,A,T,B,5,6,1; Hamburg, Staats- und

Universithtsbibiothek Carl von Ossietzky, Musikabteilung [5]; Regensburg,
Bischdfliche Zentralbibliothek (Proske-Musikbibliothek) [S,T,5]; Cuenca,
Archivo capitular de Cuenca [A,B]; Montserrat, Monasterio di Montserrat
[A]; Valencia, Colegio y capilla del Corpus Christi; London, B ritish Library
[6 (two copies)]; Assisi, Biblioteca comunale [complete, with two copies of
B]; Bologna, Civico Museo Bibliografico Musicale [S,B]; Ferrara, Bib-
lioteca comunale Ariostea; Rome, Biblioteca Musicale governativa del Con-
servatorio di Santa Cecilia [A]; Vatican City, Biblioteca Apostolica Vati-
cana, fondo Cappella Giulia [A,T,B,5,6 (lacks S)]; Coimbra, Biblioteca
Geral da Universidade [A (incomplete)]; Stockholm, Statens musikbib-
liotek [5].

[A0051] Regensburg, Bischdfliche Zentralbibliothek (Proske-Musikbibliothek)[6];

Cambridge, University Library [6]; London, B ritish Library [T]; Rome,
Archivio di San Giovanni in Laterano [complete: S,A,T,B,5,6]; Vatican City,
Biblioteca Apostolica Vaticana, fondo Cappella Giulia [S]; ibid., fondo Cap-
pella Sistina; Lisbon, Biblioteca do Palåcio nacional da Ajuda; Berkeley CA,
University of California, Music Library [S,A,T (incomplete), 5]; Washing-
ton, DC, Library of Congress, Music Division.

A0052 [RISM P7051 Motettorum quae partim quinis, partim Benis, partim octonis
vocibus concinantur, liber secundus. Venice: Girolamo Scotto, 1572 [part-
books; see A056 for contents]
Primary Sources: Printed Music 29
Reprint History

A0053 [RISM P7061 Motettorum quae partim quinis, partim senis, partim octonis
vocibus concinantur, liber secundus. Venice: Girolamo Scotto, 1573 [part-
books].

A0054 [RISM P707] Motettorum quae partim quinis, partim senis, partim octonis
vocibus concinantur, liber secundus. Venice: Heir of Girolamo Scotto, 1577
[partbooks].

A0055 [RISM P708] Motettorum quae partim quinis, partim senis, partim octonis
vocibus concinantur, liber secundus. Venice: Heir of Girolamo Scotto, 1580
[partbooks].

A0056 [RISM P709] Motettorum quae partim quinis, partim senis, partim octonis
vocibus concinantur, liber secundus. Venice: Heir of Girolamo Scotto, 1588
[partbooks]
Five voices:
1. 0 virgo simul et mater (p.3)
2. Memor esto verbi tui (p.4)
3. Corona aurea (p.5); Domine praevenisti eum [secunda pars] (p.6)
4. In illo tempore egressus (p.7)
5. Coenantibus illis (p.9)
6. Derelinquat impius (p.10)
7. Ascendo ad patrem meum (p.11); Ego rogabo patrem [secunda pars]
(p.12)
8. Canite tuba in Sion (p.14); Rorate coeli [secunda pars] (p.15)
9. Exi cito in plateas (p.16)
10. Circuire possum (p.17); In hac truce te invenit [secunda pars] (p.18)
[Angelo Pierluigi]
11. Gaude Barbara beata (p.19); Gaude quia meruisti [secunda pars]
(p.20)
12. Domine Pater (p.21) [Silla Pierluigi]
13. Confitebor tibi Domine (p.22) [Rodolfo Pierluigi]
14. Peccantem me quotidie (p.23)
15. Domine Jesus in qua nocte (p.24)
Six voices:
16. Tribularer si nescirem (p.25); Secundum multitudinem dolorum
[secunda pars] (p.26)
17. Veni Domine et noli tardare (p.27); Excita Domine [secunda pars]
(p.28)
18. Hierusalem, cito veniet salus tua (p.29); Ego enim sum Dominus
[secunda pars] (p.30)
19.Beata Barbara (p.31); Gloriosa mortem [secunda pars] (p.32)
20. Sancta et immaculata virginitas (p.33); Benedicta tu [secunda pars]
(p.34)
21. Cantabo Domino in vita mea (p.35); Deficiant peccatores [secunda
pars] (p.36)
30 Giovanni Pierluigi da Palestrina

22. Tu es Petrus et super hanc petram (p.37); Quodcumque ligaveris

[secunda pars] (p.38)
23.Nunc dimittis (p.40) [Silla Pierluigi]
Eight voices:
24. Confitebor tibi Domine (p.40); Notas facite in populis [secunda pars]
(p.41)
25. Laudate pueri Dominum (p.42); Quis sicut Dominus Deus [secunda
pars] (p.44)
26. Domine in virtuta tua (p.46); Magna est gloria eius [secunda pars]
(p. 47)
27. Laudate Dominum omnes gentes (p.48)

A0057 [RISM P710] Motettorum quae partim quinis, partim senis, partim octonis
vocibus concinantur, liber secundus. Venice: Angelo Gardano, 1594 [part-
books].

Print Locations

[A0052] Regensburg, Bischofliche Zentralbibliothek (Proske-Musikbibliothek)

[A,B]; Bologna, Civico Museo Bibliografico Musicale [lacks T part];
Castell'Arquato, Archivio capitolare (parrocchiale) [6]; Milan, Conservato-
rio di Musica "Giuseppe Verdi" [complete: S,A,T,B, 5, 6 (two copies of this
part)]; Rome, Biblioteca Musicale governativa del Conservatorio di Santa
Cecilia [A]; Coimbra, Biblioteca Geral da Universidade [A].

[A0053] London, B ritish Library [S, incomplete]; Assisi, Biblioteca comunale

[S,A,T,5,6]; Bologna, Civico Museo Bibliografico Musicale [B]; Piacenza,
Archivio del Duomo [A,T,B,5,6 (two copies), lacks S]; Spello, Collegiata di
Santa Maria Maggiore, Archivio [T,5 (both incomplete)].

[A0054] Munich, Bayerische Staatsbibliothek; Valladolid, Archivo musical de la Cat-

edral [B]; Paris, Bibliothèque nationale [A]; Assisi, Biblioteca comunale [6];
Bologna, Civico Museo Bibliografico Musicale [complete: S,A,T,B,5,6];
Vatican City, Biblioteca Apostolica Vaticana, fondo Cappella Giulia [S];
Siena, Biblioteca dell'Accademia Musicale Chigiana [S (incomplete), A,B];
Spoleto, Archivio del Duomo [A,T,5,6]; Treviso, Archivio della Cappella del
Duomo [S,A,B,5,6 (lacks T)]; Legnica (Liegnitz), Biblioteka Towarzystwa
Przjaciôl Nauk [B]; Warsaw, Biblioteka Narodowa [T,5,6]; Rochester, NY,
Sibley Music Library, University of Rochester.

[A0055] Brussels, Bibliothèque Royale Albert I; Hamburg, Staats- und Universitats-

bibliothek, Musikabteilung [6]; Tarazona, Archivo capitular [T]; Bologna,
Civico Museo Bibliografico Musicale [complete: S,A,T,B,5,6]; Bologna,
Archivio di San Petronio [S,A,T,B,5 (lacking 6)]; Lucca, Biblioteca del sem-
inario arcivescovile; Modena, Biblioteca Estense [A,5,61; Modena, Duomo,
Biblioteca e Archivio capitolare [T]; Piacenza, Archivio del Duomo
[S,A,T,B,5 (lacking 6)]; Treviso, Archivio della Cappella del Duomo
[A,B,5]; Rochester, NY, Sibley Music Library, Eastman School of Music,
University of Rochester.
Primary Sources:
Sources: Printed
Printed Music
Music 31
[A0056] Berlin,
[A0056] Berlin,Staatsbibliothek
Staatsbibliothek[S];
CS];Regensburg,
Regensburg,Bisch&fliche
BischoflicheZentralbibliothek
Zentralbibliothek
(Proske-Musikbibliothek)[5,6];
(Proske-Musikbibliothek) [5,6];Valencia,
Valencia,Colegio
Colegio yy capilla del
del Corpus
Corpus
Christi [S,A,T,B];
Christi Saragossa, Archivo
[S,A,T,B]; Saragossa, Archivo di di musica
m$sica del
del Cabildo [A,6]; Pa ris,
Paris,
Bibliothèque nationale [S,B,6];
Bibliotheque [S,B,6]; Camb ridge, UK, University
Cambridge, University Library
Library [6];
[6];
Glasgow, Euing
Glasgow, Euing Music
Music Library
Library [S,A,B,5,6 (lacks T)];
[S,A,B,5,6 (lacks T)]; London,
London, B ritish
British
Library [T];
Library [T]; London,
London, Royal
Royal College
College ofofMusic
Music [A,T,5];
[A,T,5]; Bologna,
Bologna, Civico
Civico
Museo Bibliografico Musicale
Musicale [complete:
[complete: S,A,T,B,5,61;
S,A,T,B,5,6]; Rome,
Rome, Biblioteca
Biblioteca
Musicale governativa
govemativa del Conservatorio
Conservatorio di di Santa
Santa Cecilia
Cecilia[S,A];
[S,A]; Vatican
Vatican City,
City,
Biblioteca Apostolica
Apostolica Vaticana, Cappella Sistina
Vaticana, fondo Cappella Sistina [complete,
[complete, inin 22
exemplars]; Lisbon, Biblioteca do do Palåcio
Pahicio nacional da Ajuda;
nacional da Ajuda; Berkeley
Berkeley CA, CA,
University of California, Music Library
University Library [A,5];
[A,5]; Camb ridge, MA, Harvard
Cambridge, Harvard
University Music
University Music Libraries [A,T,5
[A,T,5 (incomplete),
(incomplete), 6]; Oberlin,
Oberiin, OH,
OH, Oberlin
Oberiin
College Conservatory
College Conservatory of Music, Ma Maryry M.
M. Vail
Vail Library;
Library; Washington,
Washington, DC,
Library of
of Congress, Music
Music Division.
Division.

[A0057] Berlin,
[AOO57] Staatsbibliothek
Berlin, Staatsbibliothek [S,A,T,B,5
[S,A,T,B,5(lacks
(lacks6)];
6)];Hamburg,
Hamburg,Staats-
Staats- und Univer-
sitatsbibiothek Carl von Ossietzky, Musikabteilung
sitatsbibiothek Musikabteilung [5]; Regensburg, Bis
Regensburg, Bis-
chofliche Zentralbibliothek (Proske-Musikbibliothek) [S,T]; London,-ch6flieZntrabok(Pse-Muiblothk)[S,T];Lnd
British Library [6];
[6]; Assisi,
Assisi, Biblioteca
Biblioteca comunale
comunale [complete:
[complete: S,A,T,B,5,6];
S,A,T,B,5,6];
Milan, Biblioteca nazionale Braidense
Braidense [A,T,B,5,6
[A,T,B,5,6 (lacks
(lacks S)];
S)]; Vatican
Vatican City,
City,
Biblioteca Apostolica
Biblioteca Apostolica Vaticana, fondo Cappella Giulia [three exemplars: one
Vaticana,fondo
and two lack S pa rt, three lacks S, 6 parts]; ibid.,fondo
part, ibid., fondo Cappella Sistina [6];
Amsterdam, Toonkunst-Bibliotheek [5]; [5]; Coimbra,
Coimbra, Biblioteca
BibliotecaGeral da Uni-
Geral da Uni
versidade [A]; Stockholm, Statens musikbibliotek [5]; Cambridge, ridge, MA,-versida[A];Stockhlm,ensuibotk[5];Cam
Harvard University Music Libraries
Libraries [5].
[5].

A0058
AOO58 [RISM P711]
[RISM P7Il] Motettorum
Motettorum quae
quae partim
partim quinis
quinis partim
partim senis,
senis, partim octonis
vocibus coincinantur, Venice: heir
liber tertius. Venice:
coincinantur, liber heir of Girolamo Scotto,
Scotto, 1575
1575
[list of contents from A059,
A059 , below].

Reprint History

A0059 [RISM P712] Motettorum

[RISM Motettorum quae
quae partim
partim quinis
quinis partim
partim senis,
senis, partim
partim octonis
vocibus coincinantur, Venice: heir
coincinantur, liber tertius. Venice: heir of Girolamo Scotto, 1581
1581
[partbooks]::
[partbooks)
Five voices:
1. Pater
Pater noster
noster(p.3)
2. Ave Maria
Maria gratia
gratia plena (p.4)
plena (pA)
3. Cantantibus
Cantantibus organis
organis Caecilia
Caecilia (p.5); Biduanis
Biduanis et triduanis [secunda
triduanis [secunda
pars] (p.6)
4. Caro
Caro mea vere est cibus (p.7)
5. Angelus Dominus [secunda pars] (p.9)
Dominus descendit (p.8); Et introeuntes {secunda
6. Congrega
Congrega Domine (p.12); Aiflige opprimentes nos
Afflige opprimentes [secunda pars]
nos [secunda
(p.14)
(p.l4)
7. Inclytae sanctae virginis
virginis Catherinae
Catherinae (p.16)
8. Fuit homo missus
8. (p.17); Erat
missus a Deo (p.I7); bannes in
Erat Ioannes [secunda
deserto [secunda
in deserto
pars] (p.18)
lux et
9. 0 lux et decus
decus hispaniae (p.19); 00 singulare
hispaniae (p.l9); [secunda
singulare praesidium [secunda
pars] (p.20)
32 Giovanni Pierluigi da Palestrina
10. Quid habes Ester (p.21); Vidi te Domine [secunda pars] (p.22)
11. Tradent enim vos (p.23)
12. Sanctificavit Dominus (p.24)
13. 0 quam metuendus (p.25)
14. Jubilate Deo omnis terra (p.26); Laudate nomen eius [secunda pars]
(p.27)
15. Omnipotens sempiterne Deus (p.28)
16. 0 sancte praesul Nicolae (p.29); Gaude praesul optime [secunda
pars] (p.30)
17. Domine Deus qui conteris (p.31); Tu Domine cui humilium [secunda
p ar s] (p.32)
18.Manifesto vobis (p.33)
19.Pax vobis noli timere (p34)
Six voices:
20. Susanna ab improbis (p35); Postquam autem [secunda pars]
(p.36)
21. Cum mortuns fuerit [sic; recce Cum ortus fuerit] (p.37)
22. Rex pacificus (p.38)
23. Haec dies quam fecit Dominus (p.39)
24. Columna es immobilis (p.40)
25. Iudica me Deus (p.41)
26. Accepit Jesus calicem (p42)
27. 0 bone Iesu exaudi me (p.43)
28. Deus qui ecclesiam tuam (p.44)
Eight voices:
29. Surge illuminare Hierusalem (p.46)
30. Lauda Syon (p.47)
31. Veni sancte spiritus (p.48)
32. Ave regina coelorum (p.49)
33. Hodie Christus natus est (p.50)
34. Jubilate Deo (p.51)

A0060 [RISM P713] Liber III. motectorum quinque vocum. Milan : Francesco an d
heirs of Simon Tini, 1587 [partbooks].

A0061 [RISM P714] Liber III. motectorum quinque vocum. Venice: heir of Giro-
lamo Scotto, 1589 [partbooks].

A0062 [RISM P715] Liber III. motectorum quinque vocum. Venice: Angelo Gar-
dano, 1594 [partbooks].

Print Locations

[A0058] Berlin, Staatsbibliothek [B]; Munich, Bayerische Staatsbibliothek [com-

plete: S,A,T,B,5,6, with manuscript supplement to S]; Regensburg, Bis
;]B,A[ )kehtoilbibkisuM-eksorP( kehtoilbiblartneZ ehcParis, ilfShcBiblio-
-
th èque nationale [A]; London, B ri tish Library; Assisi, Biblioteca comunale;
Bologna, Civico Museo Bibliografico Musicale; Castell'Arquato, Archivio
Primary Sources: Printed Music 33
capitolare (parrocchiale) [6]; Milan, Biblioteca del Conservatorio "Giueppe
Verdi"; Spello, Collegiata di Santa Ma ria Maggiore, Archivio [5]; Treviso,
Archivio della Cappella del Duomo [S,A,T,B,6 (lacks 5)]; Venice, Archivio
della Procuratoria di S an Marco; Amsterdam, Toonkunst-Bibliotheek [5];
Legnica (Liegnitz), Biblioteka Towarzystwa Przjaci61 Nauk [B]; Warsaw,
Biblioteka Narodowa [T,5,6;]; Rochester, NY, Sibley Music Library, East-
man School of Music, University of Rochester.

[A0059] Berlin, Staatsbibliothek [complete: S,A,T,B,5,6]; Hamburg, Staats- und Uni

-versitatsbibiothek Carl von
Ossietzky, Musikabteilung [6]; Tarazona,
Archivo capitulai [T]; Saragossa, Archivo de mûsica del Cabildo [A,6]; Lon-
don, British Library [6]; Ancona, Biblioteca comunale Luciano Benincasa
[A,5]; Bologna, Civico Museo Bibliografico Musicale; Modena, Biblioteca
Estense [A,5,6]; Vatican City, Biblioteca Apostolica Vaticana, fondo Cap-
pella Sistina [two exemplars, both complete]; Treviso, Archivio della Cap-
pella del Duomo [A,B,5]; Stockholm, Statens musikbibliotek [6]; Cam-
bridge, MA, Harvard University Music Libraries [A,T,5,6].

[A0060] Milan, Archivio della Veneranda Fabbrica, Cappella Musicale del Duomo
[complete: S,A,T,B,5].

[A0061] Berlin, Staatsbibliothek [S,A]; Regensburg, Bischofliche Zentralbibliothek

(Proske-Musikbibliothek) [6]; Jaca, Archivo musical de la Catedral [B,6];
Valencia, Colegio y capilla del Corpus Ch risti [complete: S,A,T,B,5,6];
Paris, Bibliothèque nationale [S,B,6]; Cambridge, UK, University Library
[6]; London, Royal College of Music [T]; Bologna, Civico Museo Bibli-
ografico Musicale; Vatican City, Biblioteca Apostolica Vaticana, fondu Cap-
pella Giulia [two exemplars: one complete, one incomplete (lacks 6)]; ibid.,
fondo Cappella Sistina; Lisbon, Biblioteca do Palåcio nacional da Ajuda;
Washington, DC, Library of Congress, Music Division.

[A0062] Berlin, Staatsbibliothek [complete: S,A,T,B,5,6]; ]; Hamburg, Staats- und

Universitatsbibiothek Carl von Ossietzky, Musikabteilung [5]; Regensburg,
Bischbfliche Zentralbibliothek (Proske-Musikbibliothek) [S,T,5 (two
copies)]; London, British Library [6]; Assisi, Biblioteca comunale; Milan,
Biblioteca nazionale Braidense [A,T,B,5,6]; Rome: Biblioteca Musicale
governativa del Conservatorio di Santa Cecilia [A]; Vatican City, Biblioteca
Apostolica Vaticana, fondo Cappella Giulia [lacks S]; ibid., fondo Cappella
Sistina [A,6]; Coimbra, Biblioteca Geral da Universidade [A]; Berkeley,
CA, University of California, Music Library [A,5].

A0063 [RISM P716] Motettorum quinque vocibus liber quartus. Rome: Alessandro
Gardano, 1583 [tenor and bassus partbooks dated 1583; superius, altur, and
quintus partbooks dated 1584]
1. Osculeturme (p.1)
2. Trahe me post te (p.2)
3. Nigra sum sed formosa (p.3)
4. Vineam meam (p.4)
34 Giovanni Pierluigi da Palestrina
5. Si ignoras te (p.5)
6. Pulchri sunt (p.6)
7. Fasciculus mirrae (p.7)
8. Ecce tu pulcher es (p.8)
9. Tota pulchra es (p.9)
10. Vulnerasti cor meum (p.10)
11. Sicut lilium (p.11)
12.Introduxit me (p.12)
13. Leva eius (p.13)
14. Vox dilecti (p.14)
15.Surge propera (p.15)
16.Surge arnica mea (p.16)
17.Dilectus meus (p.17)
18.Surgam et circuibo (p.18)
19.Adiuro vos (p.19)
20. Caput eius (p.20)
21. Dilectus meus (p.21)
22. Pulchra es arnica mea (p.22)
23. Quae est ista (p.23)
24. Descendit in hortum meum (p.24)
25. Quam pulchri suns (p.25)
26. Collum tuum (p26)
27. Quam pulchra es (p.27)
28. Guttur tuus (p.28)
29. Veni veni dilecti mei (p.29)

Reprint History

A0064 [RISM P717] Motettorum quinque vocibus liber quartus ex canticis Salomo-
nis. Venice: Angelo Gardano, 1587 [partbooks].

A0065 [RISM P718] Liber IIII motectorum quinque vocum. Milan: Francesco an d
heirs of Simon Tini, 1587 [partbooks].

A0066 [RISM P719] Motectorum quinque vocibus liber quartus. Venice: Giacomo
Vincenti, 1588 [partbooks].

A0067 [RISM P720] Motectorum quinque vocibus liber quartus ex canticis

Salomonis. Mil an : heirs of Francesco and Simon Tini, 1593 [partbooks].

A0068 [RISM P721] Mottetorum cum quinque vocibus liber quartus, ex canticis
Salomonis. Venice: Heir of Girolamo Scotto, 1596 [partbooks].

A0069 [RISM P722] Motectorum cum quinque vocibus liber quartus, ex canticis
Salomonis. Venice: Angelo Gardano, 1601 [partbooks].

A0070 [RISM P723] Mottetorum cum quinque vocibus liber quartus, ex canticis
Salomonis. Venice: Heir of Girolamo Scotto, 1603 [partbooks].
Primary Sources: Printed Music 35
A0071 [RISM P724] Cantiones sacrae quinque vocum ex cantico canticarum.
Antwerp: Pierre Phalèse, 1605 [expanded edition, partbooks].

A0072 [RISM P725] Motectorum ... addita parte infima pro pulsatoris organi
comoditate. Venice: Alessandro Raverii, 1608 [partbooks].

A0073 [RISM P726] Organum pro libro quarto motectorum ex canticis Salomonis .. .
quinque vocibus. Venice: Angelo Gardano and brothers, 1608.

A0074 [RISM P7271 Cantica Salomonis quinque vocum . . . liber quartus, bassus
ad organum. Venice: heirs of Bartolomei Magni, 1613 [partbooks].

Print Locations

[A0063] Berlin, Staatsbibliothek [complete: S,A,T,B,5]; Regensburg, Bisch&fliche

Zentralbibliothek (Proske-Musikbibliothek) [A,B]; Rome, Biblioteca
Casanatense; Treviso, Archivio della Cappella del Duomo [A,B,5];
Rochester, NY, Sibley Music Library, Eastman School of Music, University
of Rochester.

[A0064] Berlin, Staatsbibliothek [complete: S,A,T,B,5]; Munich, Bayerische Staats-

bibliothek; Valencia, Colegio y capilla del Corpus Christi; Bologna, Civico
Museo Bibliografico Musicale; Vatican City, Biblioteca Apostolica Vaticana,
fondo Cappella Giulia [two copies: one complete, one lacks S part]; Gdansk,
Biblioteka Polskiej Akademii Nauk [S,A,T,5].

[A0065] Milan, Archivio della Veneranda Fabbrica, Cappella musicale del Duomo
[complete: S,A,T,B,5].

[A0066] Nuremberg, Bibliothek des Germanischen National-Museum [A]; Tudela,

Archivo capitular [complete: S,A,T,B,5]; Tarazona, Archivo capitular [T];
Assisi, Biblioteca comunale [complete, two copies]; Rome, Biblioteca
Musicale governativa del Conservatorio di S an ta Cecilia [S,T,B]; Gdansk,
Biblioteka Polskiej Akademii Nauk [T,B]; Camb ridge, MA, Harvard Uni-
versity Music Libraries [A,T,5].

[A0067] Aosta, Cattedrale, Biblioteca capitolare; Lodi, Biblioteca comunale Lau-

dense [5]; Piacenza, Archivio del Duomo [A,T,5]; Trento, Biblioteca comu-
nale [S].

[A0068] Brussels, Bibliothèque Royale Albert I [complete: S,A,T,B,5]; Valladolid,

Archivo musical de la Catedral [1,5]; Pa ri s, Bibliothèque nationale [S,B];
London, Royal College of Music [S,A]; Bologna, Civico Museo Bibli-
ografico Musicale [S]; Ferrara, Biblioteca comunale Ariostea; Washington,
DC, Library of Congress, Music Division.

[A0069] Hamburg, Staats- und Universitütsbibiothek Carl von Ossietzky, Musik-

abteilung [5]; Cuenca, Archivo capitular de Cuenca [S,B]; Saragossa,
36 Giovanni Pierluigi da Palestrina

Archivo de mûsica de Cabildo [A]; London, Royal College of Music [T];

Bologna, Civico Museo Bibliografico Musicale [complete: S,A,T,B,5];
Bologna, Archivio di S an Petronio; Vatican City, Biblioteca Apostolica Vati-
cana, fondo Cappella Sistina [T,B,5]; Coimbra, Biblioteca Geral da Univer-
sidade [A].

[A0070] Regensburg, Bischôfliche Zentralbibliothek (Proske-Musikbibliothek)

[S,T,5]; Gerona, Archivo musical de la Catedral [A]; Vatican City, Biblioteca
Apostolica Vaticana,fondo Cappella Sistina [A].

[A0071] Oxford, Bodleian Library [complete: S,A,T,B,5].

[A0072] Aosta, Cattedrale, Biblioteca capitolare; Bologna, Civico Museo Bibli-

ografico Musicale [complete: S,A,T,B,5, organ]; Vatican City, Biblioteca
Apostolica Vaticana,fondo Cappella Sistina [S].

[A00731 Bologna, Civico Museo Bibliografico Musicale.

[A0074] Regensburg, Bischdfliche Zentralbibliothek (Proske-Musikbibliothek) [5];

London, British Library [complete: S,A,T,B,5, org an]; Bologna, Civico
Museo Bibliografico Musicale [organ]; Pistoia, Archivio capitolare della
Cattedrale [organ]; Rome, Biblioteca Musicale governativa del Conservato-
rio di Santa Cecilia [A]; Vatic an City, Biblioteca Apostolica Vaticana, fondo
Cappella Sistina [A,T,B].

A0075 [RISM P728] Motettorum quinque vocibus liber quintus. Rome: Alessandro
Gardano, 1584 [partbooks]
1. Laetus Hyperboream (p.1); O patruo [secunda pars] (p.2)
2. Paucitas dierum (p.3); Manus tuae Domine [secunda pars] (p.4)
3. Tempus est ut revertar (p.5); Nisi ego abiero [secunda pars] (p.6)
4. Domine secundum actum meum (p.7); Ave mundum sanctuarium [Ave
Trinitas sanctuarium] [secunda pars] (p.8)
5. Parce mihi Domine (p.9); Peccavi peccavi [secunda pars] (p.10)
6. Orieturstella (p.11)
7. Egipte poli flere [Aegypte noli flere] (p.12)
8. Ardens est cor meum (p.13)
9. Sic Deus dilexit mundum (p.14)
10. Surge Petre (p.15)
11. Apparuit caro suo (p.16)
12. Ecce mercer sanctorum (p.17)
13. Ideus secundus [Videns secundus] (p.18)
14.Rex Melchior (p.19)
15. Ave regina coelorum (p.20)
16. Gaude gloriosa (p.21)
17. Exultate Deo (p.24)
18. Tribulationes civitatum (p.23); Peccavimus [secunda pars] (p.24)
19. Surge sancte Dei (p.25); Ambula sancte Dei [secunda pars] (p.26)
20. Salve Regina (p.27)
Primary Sources: Printed Music 37

Reprint History

A0076 [RISM P729] Motettorum quinque vocibus liber quintus. Venice: heir of
Girolamo Scotto, 1588 [partbooks].

A0077 [RISM P7301 Motettorum quinque vocibus liber quintus. Venice: heir of
Girolamo Scotto, 1593 [partbooks].

A0078 [RISM P731] Motettorum quinque vocibus liber quintus. Venice: Angelo
Gardano, 1595 [partbooks].

A0079 [RISM P732] Motettorum quinque vocibus liber quintus. Venice: heir of
Girolamo Scotto, 1601 [partbooks].

Print Locations

[A0075] Munich, Bayerische Staatsbibliothek [complete: S,A,T,B,5]; Regensburg,

BischSfliche Zentralbibliothek (Proske-Musikbibliothek) [A,B]; Tudela,
Archivo capitular; Bologna, Civico Museo Bibliografico Musicale [S];
Rome, Biblioteca Casanatense; Vatican City, Biblioteca Apostolica Vaticana,
fondo Cappella Sistina; Spoleto, Archivio del Duomo; Treviso, Archivio
della Cappella del Duomo [A,B,5]; Gdansk, Biblioteka Polskiej Akademii
Nauk [S,A,T,5 (lacks B)]; Berkeley, CA, University of California Music
Library [A,T,B,5, all parts incomplete]; Rochester, NY, Sibley Music
Library, Eastman School of Music, University of Rochester.

[A0076] Berlin, Staatsbibliothek [A]; Tarazona, Biblioteca capitular [T]; Saragossa,

Archivo di mtisica del Cabildo [A]; Bologna, Civico Museo Bibliografico
Musicale [complete: S,A,T,B,5]; Rome, Biblioteca Musicale governativa del
Conservatorio di S anta Cecilia; Vatic an City, Biblioteca Apostolica Vaticana,
fondo Cappella Sistina; Gdansk, Biblioteka Polskiej Akademii Nauk [T,B];
Cambridge, MA, Harvard Universi ty Music Libraries [A,T,B (incomplete),
5]; Washington, DC, Library of Congress, Music Division.

[A0077] Paris, Bibliothèque nationale [S,B].

[A0078] Berlin, Staatsbibliothek [complete: S,A,T,B,5]; Hamburg, Staats- und Uni

-versiti tsbibiothek CarlMusikabteilung
Ossietzky, von [5]; Regensburg, Bis
-chdfliche Zentralbibliothek (Proske-Musikbibliothek) [S,T,5 (2 copies)];
Cuenca, Archivio capitular de Cuenca [B]; London, Royal College of Music
[T]; Rome, Biblioteca Musicale govemativa del Conservatorio di S anta
Cecilia [A]; Vatic an City, Biblioteca Apostolica Vaticana, fondo Cappella
Giulia [two copies: one complete, one lacks S part]; ibid., fondo Cappella
Sistina; Coimbra, Biblioteca Geral da Universidade [A].

[A0079] Oxford, Bodleian Library [complete: S,A,T,B,5]; Assisi, Biblioteca cornu-

nale [B]; Vatic an City, Biblioteca Apostolica Vaticana, fondo Cappella
Sistina [A]; Lisbon, Biblioteca do Palåcio nacional da Ajuda; S an Francisco,
38 Giovanni Pierluigi da Palestrina
CA, San Francisco State College, Col. Frank V. de Bellis Collection [5];
Washington, DC, Library of Congress, Music Division; Wellesley, MA,
Wellesley College Library [S].

A0080 [RISM P733] Liber secundum motectorum quatuor vocum. Milan:

Francesco an d heirs of Simon Tini, 1587 [partbooks]
1.Domine, quando veneris; Commisso mea [secunda pars]
2. Heu mihi Domine; Animamea turbata est [secunda pars]
3. Super flumina Babilonis
4. Ecce nunc benedicite Dominum
5. Ad te levavi oculos meos; Miserere nostri Domine [secunda pars]
6. Ad Dominum cum tribularer; Sagittae potentis [secunda pars]
7. Fundamenta eius; Numquid Sion dicet [secunda pars]
8. Quia vidisti me Thoma
9. Ego sum panis vivus
10.Sicut cervus desiderat; Sitivit anima mea [secunda pars]
11.Ave regina coelorum; Gaude gloriosa [secunda pars]
12. Alma redemptoris mater; Tu quae genuisti natura mirante [secunda
pars]
13.Salve regina; Eja ergo advocata nostra [secunda pars]
14.Ave Maria gratia plena
15. Haec dies quam fecit Dominus
16. Confitemini Domino
17. Pueri Hebraeorum
18.Sub tuum praesidium
19.Adoramus te Christe
20. Surrexit pastor bonus
21. Gloriosi principes

Reprint History

A0081 [RISM P733a] Motettorum quatuor vocibus, liber secundus. Venice: heir of
Girolamo Scotto, 1588 [partbooks].

A0082 [RISM P734] Motettorum quatuor vocibus, partim plena voce, et partim
paribus vocibus, liber secundus. Venice: heir of Girolamo Scotto, 1596
[partbooks].

A0083 [RISM P735] Motettorum quatuor vocibus, liber secundus. Venice: Heir of
Girolamo Scotto, 1596 [partbooks].

A0084 [RISM P736] Motectorum quatuor vocibus, partim plena voce et partim
paribus vocibus, liber secundus. Venice: Angelo Gardano, 1604.

Print Locations

[A0080] Milan, Archivio della Veneranda Fabbrica, Cappella musicale del Duomo
[A,T,B (lacks S)]; Coimbra, Biblioteca Geral da Universidade [T].
Primary Sources: Printed Music 39
[A0081] Valencia, Real Colegio-Seminario del Corpus Christi (Patriarca), Archivio
[complete].

[A0082] Regensburg, Bischiifliche Zentralbibliothek (Proske-Musikbibliothek)

[S,A]; London, British Library [S,A,B (lacks T)]; Treviso, Archivio della
Cappella del Duomo [complete: S,A,T,B].

[A0083] Regensburg, Bischdfliche Zentralbibliothek (Proske-Musikbibliothek)

[A,T,B]; Madrid, Biblioteca nacional [T]; Pa ris, Bibliothèque nationale
[S,B]; Florence, Biblioteca Ricciardiana [S,T]; San Francisco, CA, San
Francisco State College Library, Col. Frank V. de Bellis Collection [T].

[A0084] London, Royal College of Music [S,A,T]; Assisi, Biblioteca comunale

[complete: S,A,T,B]; Fabriano, Biblioteca comunale [T]; Rome, Biblioteca
Musicale governativa del Conservatorio di Santa Cecilia; Chapel Hill, NC,
University of North Carolina Music Library.

Hymns

A0085 [RISM P737] Hymni totius anni, secundum Sanctae Romanae Ecclesiae
consuetudinem, quattuor vocibus concinendi, necnon hymni religionum.
Rome: Giacomo Torniero and Bernardo Donangelo (Francesco Coattino),
1589 [choirbook]
1. Conditor aime siderum (p.1)
2. Vergente mundi vespere (p.2)
3. Te deprecamur agie (p.3)
4. Laus honor virtus gloria (p.4)
5. Christe Redemptor omnium (p.6)
6. Memento salutis auctor (p.7)
7. Hunc coelum terra (p.8)
8. Gloria tibi Domine (p.9)
9. A solis ortus cardine (p.10)
10. Castae parentis (p.11)
11. Enixa est puerpera (p.13)
12. Gaudent chorus coelestium (p.14)
13. Salvete flos martyrum (p.15)
14. Gloria tibi Domine (p.16)
15. Hostes Herodes impie (p.17)
16. Lavacra puri gurgitis (p.18)
17. Gloria tibi Domine (p.19)
18. Lucis Creator optime (p.21)
19. Ne mens gravata crimine (p.22)
20. Praesta pater piissime (p.23)
21. 0 lux beata Trinitas (p.25)
22. Deo Patris sit gloria (p.26)
23. Ad praeces nostras (p.28)
24. Crimina laxa (p.29)
25. Christe lux vera (p.30)
40 Giovanni Pierluigi da Palestrina
26. Tu nobis dona (p.31)
27. Gloria Deo (p.32)
28. Vexilla regis prodeunt (p.33)
29. Impleta sunt (p.34)
30. Beata cuius brachiis (p.35)
31. 0 crux ave spes unica (p.36)
32. Te summa Deus Trinitas (p.37)
33. Ad coenam Agni providi (p.39)
34. Protecti Paschae vespere (p.40)
35. 0 vere digna hostia (p.41)
36. Quaesumus auctor omnium (p.42)
37. lesu nostra redemptio (p.44)
38. Inferni claustra penetrans (p.45)
39. Tu esto nostrum gaudium (p.46)
40. Veni Creator Spiritus (p.48)
41. Tu septiformis munere (p.49)
42. Hostes repellas longius (p.50)
43. Gloria patri Domino (p.52)
44. Pange lingua gloriosi (p.54)
45. In supreme nocte coene (p.55)
46. Tantum ergo sacramentum (p.56)
47. Quodcumque vinclis (p.58)
48. Doctor egregie (p.60)
49. Ave maris stella (p.62)
50. Solve vincla refs (p.63)
51. Virgo singularis (p.64)
52. Sit laus Deo Patri (p.65)
53. Quo vulneratus insuper (p.66)
54. Arbor decora (p.67)
55. O crux ave (p.68)
56. Ut queant laxis (p.69)
57. Illi promissi (p.70)
58. Gloria Patri(p.72)
59. Aurea luce (p.74)
60. O felix Roma (p.76)
61. Lauda mater Ecclesia (p.78)
62. Post fluxa carnis (p.79)
63. Surgentem cum victoria (p.80)
64. Petrus beatus (p.81)
65. Quicumque Christum quaeritis (p.83)
66. Hic ille rex (p.84)
67. Gloria tibi Domine (p.85)
68. Tibi Christe (p.86)
69. Quo custode procul (p.87)
70. Christe Redemptor omnium (p.88)
71. Vates aeterni iudicis (p.89)
72. Chori sanctarum virginum (p.90)
73. Gloria patri ingenito (p.91)
Primary Sources: Printed Music 41
In communi Apostolorum:
74. Exultet coelum laudibus (p.93)
75. Qui coelum verbo (p.94)
76. Ut cum index (p.95)
77. Tristes erant Apostoli (p.96)
78. Illae dum pergunt (p.97)
79. Quaesumus auctor (p.98)
80. Deus tuorum militum (p.99)
81. Poenas cucurrit (p.100)
82. Laus et perennis gloria (p.101)
83. Deus tuorum militum (p.103)
84. Poenas cucurrit (p.104)
85. Gloria tibi Domine (p.105)
86. Sanctorum meritis (p.106)
87. Hi pro te furias (p.107)
88. Quae vox quae poterit (p.108)
89. Rex gloriose martyrum (p.110)
90. Tu vincis in martyribus (p.111)
91. Iste confessor (p.112)
92. Ad sacrum cuius (p.113)
93. Sit salus illi (p.114)
94. lesu corona virginum (p.116)
95. Quodcumque pergis (p.117)
96. Laus honor (p.118)
97. lesu corona virginum (p.119)
98. Quodcumque pergis (p.120)
99. Gloria tibi Domine (p.121)
100. Huius obtentu (p.122)
101. Urbs beata Jerusalem (p.123)
102.Portae nitent (p.123)
103. Gloria et honor Deo (p.124)
104. Magne pater Augustine (p.125)
105. Quae obscura (p.129)
106. Regi regem salus (p.130)
107.Laudibus rummis (p.132)
108.Ex suo te nunc (p.133)
109. Dive celestique (p.134)
110.En gratulemur (p.136)
111. Longe lateque (p.137)
112. Sub tanto duci (p.138)
113.Prestet hoc nazi (p.139)
114. Proles de coelo (p.140)
115.Assumptus cum apostolis (p.141)
116.Legi prophete gratiae (p.142)
117.Domum portam (p.143)
118.Franciscus tenens (p.144)
119.Demptum solo (p.145)
120.Hunc sequantur huic (p.146)
42 Giovanni Pierluigi da Palestrina
121.Est dux fidus (p.147)
122. Christe qui lux est (p.148)
123. Ne gravis somnus (p.149)
124.Defensor noster (p.150)
125. Deo patri sit gloria (p.151)
126. Prima lux surgens (p.152)
127. Polio visi (p.153)
128.Ac tuo nuctu (p.154)
129. Nunc iuvat celsi (p.156)
130.Dum fames terrain (p.157)
131. Claudis et pubes (p.158)
132.Mensis augusti (p.159)
133. Candido velans (p.160)
134. Vicit altricem (p.161)

A0086 [RISM 738] Hymni totius anni, secundum Sanctae Romanae Ecclesiae con-
suetudinem, quattuor vocibus concinendi, necnon hymni religionum. Venice:
Angelo Gardano, 1589 [partbooks]:
1. Conditor aime siderum (p.2)
2. Christe Redemptor omnium (p.2)
3. A solis ortu cardine (p.6)
4. Salvete flos Martyrum (p.8)
5. Hostes Herodes impie (p.9)
6. Lucis Creator optime (p.11)
7. 0 lux beata Trinitas (p.13)
8. Ad preces nostras (p.14)
9. Vexilla regis prodeunt (p.16)
10. Ad coenam Agni providi (p.19)
11. Jesu nostra redemptio (p.21)
12. Veni Creator Spiritus (p.23)
13. Pange lingua gloriosi (p.26)
14. Quodcumque vinclis (p.28)
15. Doctor egregie (p.29)
16.Ave maris stella (p.30)
17. Quo vulneratus insuper (p.32)
18. Ut queant laxis (p.34)
19. Aurea luce (p.36)
20. Lauda mater Ecclesia (p.37)
21. Petrus beatus (p.39)
22. Quicumque Christus quaeritis (p.40)
23. Tibi Christe splendor Patris (p.41)
24. Christe Redemptor omnium (p.42)
In communi Apostolorum:
25. Exultet coelum laudibus (p.44)
26. Tristes erant Apostoli (p.46)
27. Deus tuorum militum (p.48)
28. Deus tuorum militum (p.50)
29. Sanctorum meritis (p.51)
30. Rex gloriose Martyrum (p.53)
Primary Sources: Printed Music 43

31. Iste confessor (p.54)

32. Iesu corona virginum (p.56)
33. Iesu corona virginum (p.57)
34. Huius obtentu (p.59)
35. Urbs beata Jerusalem (p.59)
36. Magne pater Augustine (p.62)
37. Laudibus summis (p.64)
38. En gratulemur hodie (p.66)
39. Proles de coelo prodiit (p.68)
40. Decus morum (p.70)
41. Christe quilux es (p.72)
42. Prima lux surgens (p.74)
43. Dum fames terras (p.76)
44. Mensis augusti (p.77)
45. Hymnis canoris (p.79)

Reprint History

A0087 [RISM P739] Hymni totius anni, secundum Sanctae Romanae Ecclesiae
consuetudinem, quattuor, quinque et sex vocibus concinendi, necnon hymni
religionum. Venice: heir of Girolamo Scotto, 1590 [partbooks].

A0088 [RISM P740] Hymni totius anni secundum Sanctae Romanae Ecclesiae con-
suetudinem, cum basso ad organum, necnon hymni religionum quatuor
vocibus concinendi. Rome: Luca Antonio Soldi, 1625 [partbooks].

A0089 [RISM P741] Hymni sacri in Breviario Romano . . . cantu musico pro prae-
cipuis anni festivitatibus express i. Antwerp: "ex officina Platiniana, Bal-
tasaris Moreti," 1644 [choirbook].

Print Locations

[A00851 Gassing, Franziskaner-Kloster; Vienna, Osterreiches Nationalbibliothek,

Musiksammlung; Brussels, BibliothèqueRoyale Albert I; Augsburg, Staats-
und Stadtbibliothek; Berlin, Staatsbibliothek; Munich, Bayerische Staats-
bibliothek; Paris, Bibliothèque nationale (ancien fonds du Conservatoire
nationale de musique); London, British Library (with manuscript supple-
ment); Assisi, Biblioteca comunale; Bologna, Civico Museo Bibliografico
Musicale; Florence, Biblioteca del Conservatorio di Musica "L. Cherubini";
Florence, Archivio del Duomo, Archivio musicale dell' opera di Santa Ma ria
Maggiore; Gubbio, Biblioteca Vescovile Fonti e Archivio; Modena, Archivio
capitolare (Duomo); Modena, Biblioteca Estense; Naples, Archivio musi-
cale della Communità Oratoriana del Padri Filippini; O rvieto, Archivio
musicale del Duomo (lacks title page); Padua, Biblioteca capitolare; Pia-
cenza, Archivio del Duomo; Rome, Biblioteca Musicale governativa del
Conservatorio di Santa Cecilia; Rome, Archivio di S an Giovanni in Later-
ano; Rome, Archivio dell'Arciconfraternita di San Giovanni de'Fiorentini;
Vatican City, Biblioteca Apostolica Vaticana, fondo Cappella Giulia; ibid.,
fondo Cappella Sistina; Spoleto, Archivio del Duomo; Terni, Istituto Musi-
44 Giovanni Pierluigi da Palestrina

cale "G.Briccialdi"; Urbino, Biblioteca universitaria; Venice, Biblioteca del

Conservatorio "Benedetto Marcello"; Venice: Museo Civico Corner; Coim-
bra, Biblioteca Geral da Universidade.

[A0086] Regensburg, Bischofliche Zentralbibliothek (Proske-Musikbibliothek)

[S,B]; London, Royal College of Music [complete: S,A,T,B]; Bologna,
Civico Museo Bibliografico Musicale; Bologna, Archivio di San Petronio;
Vatican City, Biblioteca Apostolica Vaticana, fondo Cappella Sistina; Tre-
viso, Archivio della Cappella del Duomo; Princeton, NJ, Princeton Univer-
sity Library.

[A0087] Paris, Bibliothèque nationale [S,B]; London, B ritish Library [B]; Lucca,
Biblioteca del seminario arcivescovile [complete: S,A,T,B,5]; Camb ridge,
MA, Harvard University Music Libraries [A,T,B (lacking title page), 5].

[A0088] Hannover, Niedersdchsische Landesbibliothek [S,A,TB,5, with fragmentary

manuscript basso continuo pa rt]; Rome, Biblioteca dell'Accademia
nazionale dei Lincei e Corsiniana [S,A,T,B]; Vatican City, Biblioteca Apos-
tolica Vaticana, fordo Cappella Giulia [S,A,T,B (two copies of part)].

[A0089] Munich, Bayerische Staatsbibliothek; Assisi, Biblioteca comunale; Bologna,

Civico Museo Bibliografico Musicale; Loreto, Archivio Storico della Cap-
pella Lauretana (incomplete); Rome, Archivio di San Giovanni in Laterano
(lacks title page); Vatican City, Biblioteca Apostolica Vaticana, fondo Cap-
pella Sistina.

Lamentations

A0090 [RISM P742] Lamentationum Hieremiae prophetae, liber primus. Rome:

Alessandro Gardano, 1588 [partbooks]
Feria V. In coena Domini
1.Lectio I [Incipit Lamentatio ... Aleph. Quomodo sedet]
2. Lectio II [Vau. Et egreesus est]
3. Lectio III [Jod. Manum suam]
Feria VI. In Parasceve
4. Lectio I [De lamentatione ... Cogitavit]
5. Lectio II [Lamed. Matribus suis]
6. Lectio III [Aleph. Ego vir videns]
Sabbato sancto.
7. Lectio I [De lamentatione ... Heth. Misericordiae Domini]
8. Lectio II [Aleph. Quomodo obscuratum est]
9. Lectio III [Incipit oratio ... Recordare Domine]
10. Benedictus Dominus Deus Israel

Reprint History

A0091 [RISM P743] Lamentationum Hieremiae prophetae cum quatuor vocibus,

liber primus. Venice: Heir of Girolamo Scotto, 1589 [partbooks].
Primary Sources: Printed Music 45

Print Locations

[A0090] Regensburg, Bischdfliche Zentralbibliothek (Proske-Musikbibliothek)

[complete: S,A,T,B]; London, British Library [B].

[A0091] Regensburg, Bischofliche Zentralbibliothek (Proske-Musikbibliothek) [T];

Wolfenbtittel, Herzog-August-Bibliothek [complete: S,A,T,B]; Lucca, Bib-
lioteca del seminario arcivescovile; Padua, Biblioteca del seminario
vescovile; Vatican City, Biblioteca Apostolica Vaticana, fondo Cappella
Sistina [S].

Litanies

A0092 [RISM P744] Litaniae Deiparae Virginis ... cum quatuor vocibus; additae
litaniae, quae in sancta ecclesia Lauretana utuntur, auctore Orlando Lasso.
Venice: Angelo Gardano, 1600
1. Litaniae Deiparae Virginis. Prima parte: Kyrie eleison ... Virgo mater
audi nos. Ave Ma ria gratia plena. Seconda parte: Kyrie eleison .. .
Maria Mater gratiae. Terza parte: Kyrie eleison ... Virgo Maria
respice nos. Quarta parte: Kyrie eleison ... Ave de coelis. Quinta
parte: Kyrie eleison ... Ab omni malo. (pp.1-10)
2. [new title page:] Litaniae Liber Secundus. Prima parte: Kyrie eleison .. .
Virgo mater audi nos. Ave Maria gratia plena. Seconda parte:
Kyrie eleison ... Maria Mater gratiae. Terza parte: Kyrie eleison . .

Virgo Maria respice in nos, Virgo virginum, defende nos. Quarta

parte: Kyrie eleison ... Ave de coelis. Quinta parte: Kyrie eleison .. .
Ab omni malo. (pp.11-20)

Print Locations

[A0092] Bologna, Civico Museo Bibliografico Musicale [complete: S,A,T,B]; Lon-

don, British Library.

Magnificat

A0093 [RISM P745] Magnificat octo tonum. Venice: Angelo Gardano, 1591 [part-
books].

Anima mea Dominum Et exultavit spiritum meum

("odd" verses] ["even" verses]
1. Primi toni (p.2) 9. Primi toni (p.18)
2. Secundi toni (p.5 [recte 4]) 10. Secundi toni (p.20)
3. Tertii toni (p.6) 11. Tertii toni (p.22)
4. Quarti toni (p.7) 12. Quarti toni (p.24)
5. Quinti toni (p.10) 13. Quinti toni (p.26)
6. Sexti toni (p.12) 14. Sexti toni (p.28)
7. Septimi toni (p.14) 15. Septimi toni (p.29)
8. Octavi toni (p.16) 16. Octavi toni (p.31)
46 Giovanni Pierluigi da Palestrina

Reprint History

A0094 [RISM P745a] Magnificat octo tonum. Liber primus ... nunc recens in
lucem editus. Rome: Alessandro Gardano, 1591 [partbooks].

Print Locations

[A0093] Brussels, Bibliothèque Royale Albert I [B]; Kassel, Murhard'sche Biblio-

thek der Stadt Kassel und Landesbibliothek [complete: S,A,T,B]; Regens-
burg, Bischofliche Zentralbibliothek (Proske-Musikbibliothek) [B];
Bologna, Civico Museo Bibliografico Musicale; Brescia, Archivio e Bib-
lioteca capitolare; Brescia, Biblioteca Queriniana [A]; Milan, Biblioteca del
Conservatorio di Musica "Giuseppe Verdi"; Siena, Biblioteca dell'Accade-
mia Musicale Chigiana; Vatican City, Biblioteca Apostolica Vaticana, fondo
Cappella Sistina [S,T]; Treviso, Archivio della Cappella del Duomo; Venice,
Biblioteca nazionale Marciana; Lisbon, Arquivo da Fabrica da Sé; Moscow,
Rossijskaja Gosudarstvennaja Biblioteka [S,A,T]; Berkeley, CA, University
of California Music Library.

[A0094] Bologna, Civico Museo Bibliografico Musicale; Pistoia, Biblioteca del-

l'Archivio capitolare [S]; Vatican City, Biblioteca Apostolica Vaticana,
fondo Chigi [A].

Offertories

A0095 [RISM P746] Offertoria totius anni, secundum Sanctae Romanae Ecclesiae
consuetudinem, quinque vocibus concinenda pars prima. Rome:
Francesco Coattino, 1593 [partbooks]
1.Ad te levavi animam meam (p.1)
2. Deus tu conversas (p.2)
3. Benedixisti Domine (p.3)
4. Ave Maria (p.4)
5. Tui sunt coeli (p.5)
6. Elegerunt Apostoli Stephanum (p.6)
7. Justus ut palma (p.7)
8. Anima nostra (p.8)
9. Posuisti Domine (p.9)
10. Deus enim firmavit (p.10)
11. Inveni David (p.11)
12. Reges Tarsis (p.12)
13. Jubilate Deo omnis terra (p.13)
14. Jubilate Deo universa terra (p.14)
15. Dextera Domini (p.15)
16. Bonum est confiteri (p.16)
17. Perfice gressus meos (p.17)
18. Benedictus Domine (p.18)
19. Scapulis suis (p.19)
20. Meditabor in mandatis (p.20)
Primary Sources: Printed Music 47

21. lustitiae Domini (p.22)

22. Laudate Dominum quia benignus (p.22)
23. Confitebor tibi Domine (p.23)
24. Improperium exspectavit (p.24)
25. Terra tremuit (p.25)
26. Angelus Domini (p.26)
27. Deus Deus meus (p.27)
28. Lauda animamea (p.28)
29. Benedicta gentes (p.29)
30. Ascendit Deus (p.30)
31. Confirma hoc Deus (p.31)
32. Benedicta sit (p.32)
33. Sacerdotes Domini (p.33)
34. Domine convertere (p.34)
35. Sperent in te omnes (p.35)
36. Illumina oculos meos (p.36)
37. Benedicam Dominum (p.37)
38. Sicut in holocaustis (p.38)
39. Populem humilem (p.39)
40. Iustitiae Domini (p.40)

Reprint History

A0096 [RISM P747] Offertoria totius anni, secundum Sanctae Romane Ecclesiae
consuetudinem, quinque vocibus concinenda ... pars prima. Venice: Angelo
Gardano, 1593 [partbooks].

A0097 [RISM P7481 Offertoria totius anni, secundum Sanctae Romanae Ecclesiae
consuetudinem, quinque vocibus concinenda ... pars prima. Venice: Angelo
Gardano, 1594 [partbooks].

Print Locations

[A0095] Berlin, Staatsbibliothek [complete: S,A,T,B,5]; Hannover, Niedersdchsische

Landesbibliothek [T,B,5, with manuscript S (fol.37-56) and bc]; Regens-
burg, Bischhfliche Zentralbibliothek (Proske-Musikbibliothek) [S,T]; Tara-
zona, Archivo capitular [S,T, B (lacks title page), 5]; London, B ritish Library
[S,T,B,51; London, Royal College of Music; Lucca, Biblioteca del seminario
arcivescovile; Florence, Biblioteca del Conservatorio di Musica "Luigi
Cherubini"; Pistoia, Archivio capitolaredella Cattedrale [with various frag-
ments, both manuscript and printed]; Rome, Archivio di San Giovanni in
Laterano; Vatic an City, Biblioteca Apostolica Vaticana, fondo Cappella Giu-
lia; ibid., fondo Cappella Sistina [T,B,51; Vercelli, Archivio del Duomo (Bib-
lioteca capitolare) [S,B,51.

[A0096] London, B ritish Library [B].

[A0097] Hamburg, Staats- und Universitasbibiothek Carl von Ossietzky, Musik-

48 Giovanni Pierluigi da Palestrina

abteilung [5]; Cuenca, Archivo capitular de Cuenca [S,A,T,5]; London,

British Library [B]; Assisi, Biblioteca comunale [S,A,T,5]; Bologna, Civico
Museo Bibliografico Musicale [complete: S,A,T,B,5]; Mil an, Biblioteca del
Conservatorio "Giuseppe Verdi"; Pistoia, Archivio capitolare della Catte-
drale [A,T,b]; Vatican City, Biblioteca Apostolica Vaticana, fondo Cappella
Sistina [T]; Treviso, Archivio della Cappella del Duomo; Rochester, NY,
Sibley Music Library, Eastman School of Music, University of Rochester;
Washington, DC, Library of Congress, Music Division.

A0098 [RISM P749] Offertoria totius anni, secundum Sanctae Romanae Ecclesiae
consuetudinem, quinque vocibus concinenda . . . pars secunda. Rome:
Francesco Coattino, 1593 [partbooks]
1. Exaltabo te (p.1)
2. Precatus est Moyses (p.2)
3. In te speravi (p.3)
4. ImmittitAngelus (p.4)
5. Exspectans exspectavi (p.5)
6. Domine in auxilium meum (p.6)
7. Oravi ad Dominum (p.7)
8. Sanctificavit Moyses (p.8)
9. Si ambulavero (p.9)
10. Super fiumina (p.10)
11. Vi r erat in terra (p.11)
12. Recordare mei (p.12)
13. De profundis clamavi (p.13)
14. lustus ut palma (p.14)
15. Mihi autem nimis (p.15)
16. Confessio et pulchritude (p.16)
17. Assumpta est Maria (p.17)
18. Stetit angelus (p.18)
19. Constitues eos principes (p.19)
20. Confitebuntur coeli (p.20)
21. In omnem terram (p.21)
22. lustorum animae (p.22)
23. Veritas mea (p.23)
24. Laetamini in Domino (p.24)
25. Afferentur regi (p.25)
26. Domine Deus (p.26)
27. Diffusa est gratia (p.27)
28. Tu es Petrus (p.28)

Reprint History

A0099 [RISM P750] Offertoria totius anni, secundum Sanctae Romanae Ecclesiae
consuetudinem, quinque vocibus concinenda . . . pars secunda. Venice:
Angelo Gardano, 1596.

A0100 [RISM P751] Cantiones sacrae quinque vocum pro diebus dominicis & fes-
Primary Sources: Printed Music 49
tis totius anni. Antwerp: Pierre Phalèse, 1603 [pa rts 1 and 2] [partbooks].

Print Locations

[A0098] Hannover, Niedersdchsische Landesbibliothek [complete: S,A,T,B,5]; Tara-

zona, Archivo capitular [S,T,B,5]; Valladolid, Archivo musical de la Catedral
[T]; Aosta, Cattedrale, Biblioteca capitolare [S,A,5]; London, B ritish
Library [S,T,B,5]; London, Royal College of Music; Lucca, Biblioteca del
seminario arcivescovile, Pistoia, Archivio capitolare della Cattedrale [with
various fragments, both manuscript and printed]; Rome, Archivio di S an
Giovanni in Laterano; Vatican City, Biblioteca Apostolica Vaticana,
fondo
Cappella Giulia; ibid., fondo Cappella Sistina [T,B,5]; Vercelli, Archivio del
Duomo (Biblioteca capitolare) [S,B,5 (two copies)].

[A0099] Brussels, Bibliothèque Royale Albert I [complete: S,A,T,B,5]; Hamburg,

Staats- und Universitdtsbibiothek Carl von Ossietzky, Musikabteilung [5];
Cuenca, Archivo capitular de Cuenca [T,B]; London, B ritish Library [B];
Bologna, Civico Museo Bibliografico Musicale; Milan, Biblioteca di Con-
servatorio di Musica "Giuseppe Verdi"; Pistoia, Archivio capitolare della
Cattedrale [A,T,b]; Treviso, Archivio della Cappella del Duomo; Venice,
Biblioteca nazionale Marciana [T]; Rochester, NY, Sibley Music Library,
Eastman School of Music, University of Rochester; Washington, DC,
Library of Congress, Music Division.

[A0100] Oxford, Bodleian Library [complete: S,A,T,B,5].

Madrigals

A0101 [RISM P752] Il primo libro di madrigali a quattro voci di Gio. Pierluigi da
Palestrina cantore nella cappella di N.S. Rome: Valerio and Aloisio Dorico,
1555 [partbooks]
1. Deh horfoss'io col vago (p.1) [Petrarch]
2. S'il dissi mai, ch' io venga (p.2) [Petrarch]
3. Queste saranno ben lagrime (p.3) [N. Armanio]
4. Che non sia che già mai (p.4) [N. Armanio]
5. Rime dai sospir miei (p.5)
6. Lontan dalla mia diva (p.6)
7. Là ver l'aurora, che si dolce l'aura (p.7) [Petrarch]
8. Chiara, si chiar' è de'vostr'occhi (p.8)
9. Che estinguerà' l mio foco (p.9) [L. Capilupi]
10. Donna, vostra mercede ogni pietade (p.10)
11.Già fu chi m'hebbe cara (p.11) [G. Boccaccio]
12. Che debbo far, che mi consigli (p.12) [Petrarch]
13. Ovver de'sensi è priva (p.13)
14.Amor, fortun' et la mia mente schiva (p.14) [Petrarch]
15.[seconda parte:] Nè spero i dolci di (p.15) [Petrarch]
16. Gitene, liete rime (p.16)
17.Mentre a le dolci et le purpuree labbia (p.17)
50 Giovanni Pierluigi da Palestrina
18.Amor, che mec'in quest'ombre (p.18) [P. Bembo]
19.[seconda pa rt e:] Ecc'ove gionse prima (p.19) [P. Bembo]
20. Vaghi pensier, che cosi passo passo (p.20) [Petrarch]
21. Mentre ch'al mar descenderanno i fiumi (p.21) [Petrarch]
22. Qual rime fur si chiare (p.22)
23. Ecc'oscurat'i chiari raggi al sole. Sestina (p.23) [Cristiani]
24. [seconda pa rt e:] Rara beltà, non mai più vista (p.24) [Cristiani]
25. [terza pa rte:] Questo doglioso stilcolmo (p.25) [Cristiani]
26. [quarta pa rt e:] Mai fu più cruda, o più spietata morte (p.26) [Cris-
tiani]
27. [quinta parte:] Privo di fed'oltra l'usato corso (p.27) [Cristiani]
28. [sesta part e:] Ma voi fiorit' et honorati colli [a 5] (p.28) [Cristiani]

Reprint History

A0102 [RISM P753] Il primo libro di madrigali a quattro voci di Gio. Pierluigi da
Palestrina . . . nuovamente ristampato. Venice: Claudio Merulo da Corregio,
1568 [partbooks].

A0103 [RISM P754] Il primo libro di madrigali a quattro voci di Gio. Pierluigi da
Palestrina . . . di nuova ristampato, et da M. Claudio Merulo da Corregio
con ogni diligenza corretto. Venice: Giorgio Anglieri, 1574 [partbooks].

A0104 [RISM P755] Il primo libro di madrigali a quattro voci di Gioan Pierluigi
da Palestina . . . novamente ristampati, & corretti. Venice: Giacomo Vin-
centi and Ricciardo Amadino, 1583 [partbooks].

A0105 [RISM P756] Il primo libro di madrigali a quattro voci di Gioan Pierluigi
da Palestina . . . novamente ristampati, & corretti. Venice: Ricciardo
Amadino, 1587 [partbooks].

A0106 [RISM P757] Il primo libro di madrigali a quattro voci di Gioan Pierluigi
da Palestina . . . novamente ristampati & corretti. Venice: Giacomo Vin-
centi, 1588 [partbooks].

A0107 [RISM P758] Il primo libro di madrigali a quattro voci di Gioan Pierluigi
da Palestina.... Venice: Angelo Gardano, 1594 [enlarged edition]. [Nesun
visse giamai più di me lieto [Petrarch] is added between nos. 5 and 6 of the
1555 Dorico ordering and is also listed as being on page 6.]

A0108 [RISM P759] Il primo libro di madrigali a quattro voci di Gio. Pierluigi da
Palestina . . . novamente ristampato. Venice: Heir of Girolamo Scotto, 1596
[partbooks].

A0109 [RISM P760] II primo libro di madrigali a quattro voci di Gioan Pierluigi
da Palestina . . . novamente ristampato. Venice: Angelo Gardano, 1605
[partbooks].
Primary Sources: Printed Music 51
Print Locations

[A0101] Rochester, NY, Sibley Music Library, Eastman School of Music, University
of Rochester [S].

[A0102] Brussels, Bibliothèque Royale Albert I [S].

[A0103] London, B ritish Library [S].

[A0104] Munich, Bayerische Staatsbibliothek [B].

[A0105] Brussels, Bibliothèque Royale Albert I [complete: S,A,T,B]; Munich, Bay-

erische Staatsbibliothek [S,A,T]; Bologna, Civico Museo Bibliografico
Musicale [A,T,B]; Gdansk, Biblioteka Polskiej Akademii Nauk.

[A0106] Treviso, Archivio dellaCappella del Duomo [B]; Vatican City, Biblioteca
Apostolica Vaticana [S,T,B]; Coimbra, Biblioteca Geral da Universidade
[B].

[A0107] Rome, Archivio Doria Pamphili [A].

[A0108] Bologna, Civico Museo Bibliografico Musicale [complete: S,A,T,B].

[A0109] Regensburg, Bischtifliche Zentralbibliothek (Proske-Musikbibliothek) [T];

Wolfenbtittel, Herzog-August-Bibliothek [complete: S,A,T,B]; Bologna,
Civico Museo Bibliografico Musicale; Vatican City, Biblioteca Apostolica
Vaticana, fondo Cappella Sistina [S,A].

A0110 [RISM P761] 1l primo libro di madrigali a cirque voci, di Gio. Petr'Alosio
Prenestino novamenti composti et dati in luce. Venice: Angelo Gardano,
1581 [partbooks]
1. Vergine bella, che di sol vestita (p.1) [Petrarch]
2. [seconda parte:] Vergine saggia et del bel numer'una (p.2) [Petrarch]
3. [terza parte:] Mergine pura, d'ogni part'intera(p.3) [Petrarch]
4. [quarta parte:] Vergine santa, d'ogni gratfa piena (p.5) [Petrarch]
5. [quinta parte:] Vergina sola al mondo senz'esempio (p.6) [Petrarch]
6. [sesta parte:] Vergine chiara e stabile in eterno (p.8) [Petrarch]
7. [settima parte:] Vergine, quante lagrime ho già sparte (p.9) [Petrarch]
8. [ottava pa rte:] Vergine, tale è terra e post'ha in doglia (p.10)
[Petrarch]
9. Spirito santo, amore, consolator interno di quel lume superro (p.12)
10. 0 sol, incoronato disette adorni lumi, o foco temperato (p.13)
11. 0 cibo di dolcezza, che pascl et non fastidi, fontana d' allegrezza
(p.14)
12. 0 refrigerio acceso d'un nutricante foco, o leve et dolce peso (p.15)
13. Tu sel suave flume de bei parlar profondi, tu sei mediante lume
(p.16)
52 Giovanni Pierluigi da Palestrina
14.Paraclito amoroso, quando t'havrd io quando(p.17)
15.Amor, senza il tuo dono in van io m'affatico (p.18)
16.Dunque, divin spiracolo, inspira il mio cor vano (p.19)
17. 0 manna saporita, d'ogni dolcezza pieno (p.20)
18.Signor, dammi scientia, consiglio et intelletto (p.21)
19. 0 Iesù dolce, o infinito amore, inestimabile dono (p.22)
20. Giamai non resti a mille dolci modi (p.23)
21. Quanto più t' offendo'io, tanto più sei cortese (p.24)
22. Non basta ch'una volta, tu portasti si vil morte (p.25)
23. S'io non ti cognoscessi in altre cose (p.26)
24. Ma soben, signor mio, che cid the fai è solo (p.27)
25. E tu, anima mia, fatta di Dio si bella et si gentile (p.28)
26. Per questo, signor mio, non ti stancare (p.29)

Reprint History

A0111 [RISM P762] Il primo libro di madrigali a cinque voci, di Gio. Petr'Alosio
Prenestino . . . novamente ristampato. Venice: Angelo Gardano, 1604 [part -

books].

Print Locations

[A0110] Vienna, Osterreiches Nationalbibliothek, Musiksammlung [complete:

S,A,T,B,5]; Brussels, Bibliothèque Royale Albe rt I [A]; Berlin, Staatsbiblio-
thek; Kassel, Murhard'sche Bibliothek der Stadt Kassel und Landesbiblio-
thek; Koln, Universitats- und Stadtbibliothek [S,A,5]; Munich, Bayerische
Staatsbibliothek; Regensburg, BischSfliche Zentralbibliothek (Proske-
Musikbibliothek) [S,T]; Valencia, Catedral, Archivio musical [S,A,T,B];
London, B ritish Library [S]; Bologna, Civico Museo Bibliografico Musi-
cale; Amsterdam, Toonkunst-Bibliotheek [S,T]; Gd ansk, Biblioteka Polskiej
Akademii Nauk [T,B,5]; New York, New York Public Library at Lincoln
Center [5].

[A0111] Bologna, Civico Museo Bibliografico Musicale [complete: S,A,T,B,5];

Milan, Archivio dellaVeneranda Fabbrica, Cappella musicale del Duomo
[A,T,B,5 (lacks S)].

A0112 [RISM P763] Il secondo libro di madrigali a quatro voci. Venice: heir of
Girolamo Scotto, 1586 [partbooks]
1. Cosi la fama scriva in sempiterni marmi (p.3)
2. S'un sguardo un fa beato (p.4) [Alfonso d'Avalos]
3. Amor, ben puoi tu hormai (p.5)
4. Partomi, donna, e teco lascio il core (p.6)
5. Veramente in amore (p.7) [P. Bembo]
6. Gioia m'abond'al cortanta (p.8) [P. Bembo]
7. Donna gentil, quando tal'hor degnate (p.9)
8. lo dovea ben pensarmi (p.10)
9. Se'l pensier che mi strugge (p.11) [Petrarch]
Primary Sources: Printed Music 53
10. Che dunque fia se voi donne (p.12)
11. Mirate altrove, vita mia (p.13)
12. Siè debole il filo (p.14) [Petrarch]
13. I vaghi fiori e l'amorose fronde (p.15)
14. Mori quasi il mio core (p.16)
15.A la riva del Tebro (p.17)
16.Amor, quando fioria mia speme (p.18) [Petrarch]
17.Beltà, se come in ment'io (p.19)
18.La cruda mia nemica (p.20)
19. 0 che splendor (p.21)
20. lo sento qui d'intorno spirarmi (p.22)
21. Deh foss'hor qui, madonna (p.23)
22. Se non fuss'il pensier crudel (p.24) [P. Bembo]
23. Perchè s'annida amore nelle luci(p.25)
24. Ogni beltà, madonna, ch'io veggio (p.26)
25. Ardo lungi et da pressa (p.27)

Print Locations

[A0112] Wolfenbüttel, Herzog-August-Bibliothek [complete: S,A,T,B]; Dresden,

Sachsische Landesbibliothek [T (incomplete), B); Paris, Bibliothèque
nationale [T]; London, B ritish Library; Oxford, Harding private collection
[A]; Bologna, Civico Museo Bibliografico Musicale; Parma, Sezione Musi-
cale della Biblioteca Palatina presso il Conservatorio Arrigo Boito";
Gdansk, Biblioteka Polskiej Akademii Nauk [S,A,T]; Boston, MA, Boston
Public Library, Music Department; Cambridge, MA, Ha rvard University
Music Libraries [A,T].

A0113 [RISM P764] Delle Madrigali spirituals a cinque voci di Gio. Pietm Luigi
Prenestino, maestro di cappella di S. Pietro di Roma. Libro Secondo... .
Rome: Francesco Coattino, 1594 [partbooks]
1. Figlio immortal d'immortal padre (p.3)
2. E se maivoci di qua giù son grate (p.4)
3. Hor tu sol, che di vivi, almi splendori (p.5)
4. Dammi, scala del ciel e delciel porta (p.6)
5. E se fur già le mie mani immonde l'opre (p.7)
6. Dammi vermiglia rosa e bianco e puro giglio (p.8)
7. E se'l pensier de la futura morte (p.9)
8. Eletta Mirra, che suave adore doni (p.10)
9. Cedro gentil, da gli amorosi vermi (p.11)
10. Fà che con l'acque tue splendenti e vive (p.12)
11. Se amarissimo fele e mortal tosco cibo (p.13)
12. Horto, che ses si chiuso e si serrato (p.14)
13. E se nel foco di lascivie ardendo (p.15)
14. Vincitrice de l'empia hidra infernale (p.16)
15. Città di Dio, cui fa tempi e fortezze (p.17)
16. Santo altare, d'odor più vers e degni ardente (p.18)
17. Tu di fortezza torre e torre eburna (p.19)
54 Giovanni Pierluigi da Palestrina

18. Specchio, the fosti si polito e terso sempre (p.20)

19. Vello di Gideon, cio Dio si largo fu (p.21)
20. Novella aurora, che nascendo allegri il mondo (p.22)
21. E questo spirto, de la propriafede scacciato (p.23)
22. E dal letto di mille e mille colpe (p.24)
23. Et arda ogn'hor sopr'l lapideo altare(p.25)
24. E tua mercè, da cosi cieca e folta nebbia (p.26)
25. E quella certa speme e quellafede (p.27)
26. Anzi se foco e foco e se veleno (p.28)
27. E con i raggi tuoi, splendenti e chiari (p.29)
28. Regina de le vergini e di tutte le squadre beatissime (p.30)
29. Al fin, madre di Dio, che ne più bella cosa (p.31)
30. E tu, Signor, tu la tua gratia infondi al core (p.32)

Print Locations

[A0113] Bologna, Civico Museo Bibliografico Musicale; Florence, Biblioteca

nazionale; London, Royal College of Music [complete: S,A (in manuscript),
T,B,5].

II. Printed Compositions in Musical Anthologies

Masses

A0114 [RISM 15855] Di M. Giovanni Pierluigi da Palestina una messa a Otto voci
sopra il suo Confitebor a due cori. Et di M. Bartholomeo lo Roi maestro di
Capella di Vicere di Napoli una messa a quattro sopra Panis quem ego dabo
tibi, de Lupo. Novamente poste in luce. Venice: heirs of Girolamo Sco tto, 1585.
Includes Missa Confitebor tibi a 8.

A0115 [RISM 1590 1] Missae quinque, quinis vocibus, a diversis et aetatis nostrae
praestantissimus musicis compositae: ac in usum Ecclesiae DEI nuperrimé
editae, studio et opera Friderici Lindeneri. Nuremberg: Catharina Gerlach,
1590.
Includes Missa Primi toni a 5; Missa Sine nomine a 5; Missa Secunda
(Veni Sancte Spiritus) a 5.

A0116 [RISM c.15902 ][Missae 4 voc.]—(s.l. n.d.) 1 vol in fol, 31 f. [date uncer-
tain; title page missing].
Includes Missa Sine nomine a 4.

A0117 [RISM 1592 1 ] Missae dominicales quinis vocibus diversorum auctorum a E

Julio Pellino carmel. mant. collectae. Milan: M.Tini, 1592.
Includes Missa Dominicalis a 5.

A0118 [RISM 1599 1 ] Selectissimarum missarum flores, ex praestantissimis nostrae

aetatis autoribus quatuor, quinque, sex et plurimum vocum collecti: et ad
ecclesiae catholicae usum ordine deceenti dispositi. Opera D. Matthiae Pot-
Primary Sources: Printed Music 55
tier cathedralis D. Mariae antverpiensis phonasci.... Antwerp: P. Phalèse,
1599.
Includes Missa Sacerdotes et pontifex a 6.

A0119 [RISM 16192] Messe a quattro voci. Le tre prime del Palestrina, cioè Iste
Confessor, Sine nomine, & di papa Marcello, ridotta a quattro da Gio.
Francesco Anerio, et la quarta della bataglia dell'istesso Gio. Francesco
Anerio con il basso continuo per sonare. Rome: L.A. Soldi, 1619 [repr.
1626, 1635, 1639].
Includes Missa Iste confessor a 4; Missa sine nomine a 4; Missa Papae
Marcelli a 4.

A0120 [RISM 1626 1] Messe a quattro voci. Le tre prime del Palestrina cioè Iste
Confessor; Sine nomine & di Papa Marcello ridotta a 4 da Gio. Francesco
Anerio, & la quarta della Battaglia dell'istesso Gio. Francesco Anerio.
Rome: P. Masotti, 1626.
See item A119.

A0121 [RISM 1646 1 ] Messe a quattro voci le tre primi del Palestina cioè, di Papa
Marcello ridotta a 4 da Gio. Francesco Anerio, Iste Confessor & Sine
nomine & la quarta della Bataglia, dell'istesso Gio. Francesco Anerio con il
Basso continuo per l'organo Di nuovo cornette con l'aggiunta di una messa
di Pietro Heredia et un'altra per i Defonti del medessimo. Rome: Lodovico
Grignani 1646.
Includes Missa Papae Marcelli (arr. Anerio a 4); Missa Isle Confessor a
4; Missa Sine nomine a 4.

A0122 [RISM 1689 1] Messe a quattro voci del Palestina cioè, di Papa Marcello
ridotta à quattro da Gio. Francesco Anerio, Iste Confessor; & Sine nomine;
e la quarta della Battaglia à del istesso Gio, Francesco Anerio. Con il basso
continuo per l'organo. Di novo diligentemente corretta da Francesco Gan-
nini. Rome: Mascardi, 1689 [partbooks, 5 vols in 8vo].
Includes Missa Papae Marcelli [a 4]; Missa Iste Confessor a 4; Missa
Sine nomine a 4.

Motets

A0123 [RISM 15633] Liber primus Musarum cum quatuor vocibus sacrarum can-
tionum que vulgo mottetta vocantur ab Orlando di Lassus, Cipriano Rore, et
aliis ecclesiasticis authoribus compositarum, et ab Antonio Barré collec-
tarum et in lucem nunc primum editarum. Venice: F. Rampazzetto, 1563.
Includes motets p.2, O quam suavis est Dominus a 4; p.14, Nativitas tua
Dei genetrix a 4.

[RISM 1572 1 =RISM P705] lohannis Petraloysii praenestini Motettorum

quae partim quinis, partim senis, partim octonis vocibus concinantur, liber
secundus nunc primum in lucem aeditus. Venice: Girolamo Scotto, 1572
[repr. 1573, 1577, 1580, 1588, and 1594].
56 Giovanni Pierluigi da Palestrina
See A052. Included here because the print contains music by members of
Palestrina's family. Includes motets p.3, 0 virgo simul et mater; p.4, Memor
esto verbi tui; p.5, Corona aurea [secunda pars Domine prevenisti eum]; p.7,
In illo tempore; p.9, 0 sacrum convivium; p.10, Coenantibus illis; Derelin-
quat impius (pp.10-13); Canite tuba in Sion [secunda pars Rorate coeli
desuper]; Homo quidam (p.14); Ascendo ad patrem [secunda pars Ego
rogabo] (p.14); Exi cito (p.16); Gaude Barbara beata [secunda pars Gaude
quia meruisti] (p.18-20); Peccantem me quotidie (p.23); Dominus Jesus in
qua nocte (pp.24); Tribularer si nescirem [secunda pars Secundum multi-
tudinem] (pp.25-26); Veni Domine et non tardare [secunda pars Excita
Domine] (pp.27-28); Hierusalem cito veniet [secunda pars Ego enim sum
Dominus] (pp.29-30) Beata Barbara [secunda pars Gloriosum mortem
magis] (pp.30-31); Sancta et immaculata virginitas [secunda pars Benedicta
tu] (pp.33 -34); Cantabo Domino [secunda pars Deficiant peccatores]
(pp.35-36); Tu es Petrus [secunda pars Quodcumque ligaveris] (pp.37-39);
Confitebor tibi [secunda pars Notas facite] (pp.40-41); Laudate pueri
Dominum [secunda pars Quis sicut Dominus] (pp.42-45); Domine in virtuta
tua [secunda pars Magna est gloria eius] (pp.46-51); Laudate Dominum
omnes gentes (p.52)
Publication also includes the following music by members of Palestrina's
immediate family:
Angelo Pierluigi: p.17, Circuire possum a 5 [secunda pars In hac cruce].
Rodolfo Pierluigi: p.22, Confitebor tibi Domine a 5.
Silla Pierluigi: p.21, Domine Pater a 5; p.40, Nunc dimittis a 6.

A0124 [RISM 15832] Harmoniae miscellae cantionum sacrarum, ab

exquisitis-
simis aetatis nostrae musicis cum quinque & sex vocibus concinnatae, pler-
aque omnes novae, necdum in Germania typis scriptae nunc autem editae
studio Leonardi Lechneri athesini. Nuremberg: Gerlach, 1583.
Includes motets no.5, Fuit homo missus a Deo a 5 [secunda pars Erat
Joannes in deserto]; no.30, Susanna ab improbis [secunda pars Postquam
autem salso eorum]; no.36, Haec dies quam fecit Dominus a 6.

A0125 [RISM 1585 1] Sacrae cantiones, cum anni, a praestantissimis Italiae musi-
cis nuperrime concinnatae. Quarum quaedam antea Venetiis separatim edi-
tae Bunt, quaedam verb planè novae, nec usquam excusae, at nunc in gra-
tiam & usum scholarum atque ecclesiarum germanicarum in unum corpus
redactae, studio & opera Friderici Lindneri, ...Nuremberg: Catharina Ger-
lach, 1585.
Includes motets no.1, 0 magnum mysterium a 6 [secunda pars Quem vidis-
tis pastores]; no.4, 0 admirabile commercium; no.7, Stella quam viderunt
magi; no.12, Suscipe verbum virgo Maria; no.19, Alleluia. Tulerunt Dominum;
no.24, Vin Galilaei a 6 [secunda pars Ascendit Deus]; no.25, Dum compleren-
tur a 6 [secunda pars Dum ergo essent]; no.30, Puer qui natus est nobis a 5.

A0126 [1587] Cantus ecclesiasticus officii maioris hebdomadae iuxta ritum Capel-
lae Sanctissimi Domini nostri Papae ac Basilicae Vaticane. . . . ed. J.
Giudetti. Rome: J. Tornerius, 1587.
Primary Sources: Printed Music 57

Includes falsibordoni motets p.36, Miserere mei a 4; p.78, Miserere mei a

5; p.112, Miserere mei a 6; p.114, Benedictus Dominus a 4 [anon; found in
Lateran 59 autograph] [Jeppesen (1958) suggested that the following, all
anonymous in the source, may also be by Pales trina: p.36-37, Benedictus
Dominus a 4; p.78-79, Benedictus Dominus a 4; p.112-113, Benedictus
Dominus a 4].

A0127 [RISM 15883] Liber primus musa rum cum quatuor vocibus, seu sacrae can-
tiones, quae vulgo motecta appellantur, ab Orlando Lasso, Cipriano Rore,
& alijs ecclesiasticis authoribus compositae, et ab Antonio Barre collectae,
& in lucem editae, addito nuper dialogo cum octo vocibus Orphei Vecchij.
Milan: Francesco and heirs of Simon Tini, 1588 [partbooks, four vols in 4to,
16f].
Includes motets p.2, 0 quam suavis est Dominus a 4; p.14, Nativitas tua
Dei genetrix a 4.

A0128 [RISM 15905] Corollarium cantionum sacra rum quinque, sex, septem, octo,
et plurium vocum, de festis praecipuis anni. Quarum quaedam antea, a
praestantissimis nostrae aetatis musicis, in Italia separatim editae sunt,
quaedam vero nuperrime concinnatae, nec uspiam typis excusae, at nunc in
unum quasi corpus redactae studio & opera Friderici Lindneri &c. Nurem-
berg: Catharina Gerlach, 1590.
Includes motets no.14, Senex puerum portabat [secunda pars Hodie
becta Virgo]; no.29, Angelus Dominus descendit [secunda pars Et introe-
untes]; no.36, Ascendo ad Patrem [secunda pars Ego te rogabo patrem];
no.37, Veni Sancte Spiritus; no.48, Tu es Petrus a 7; no.49, Solve jubente
Deo [secunda pars Quodcumque ligaveris]; no.50, Tu es Petrus a 6 [secunda
pars Quodcumque ligaveris]; no.61, Hierusalem cito veniet [secunda pars
Ego enim sum]; no.62, Veni Domine a 6 [secunda pars Excita Domine];
no.63, Canite tuba [secunda pars Rorate coeli desuper]; no.70, Surge illu-
minare a 8.
Also includes motet by Silla Pierluigi: no.19, Nunc dimittis a 6.

A0129 [RISM 15906] Suavissimorum modulorum selectissimae cantiones sacrae,

ex praestantissimis quibusdam musicis collectae, quatuor, quinque, sex et
octo vocum, cum viva voce, tum omnis generis instrumentis cantatu corn-
modissime. His adjuncta est missa eleganti artificio composita, sex vocum.
Nunc demum summa diligentia in gratiam studiosorum Musices in lucem
emissae. Munich: Adam Berg, 1590 [six vols in 4to].
Includes motet Surge propera arnica mea a 4.

A0130 [RISM 15922] Psalmi Motecta, Magnificat, et antiphona, Salve Regina

diversorum auctorum: octo vocibus concinenda, selecta a Jo. Luca Conforti.
Rome: E Coattino, 1592 [four vols. in 8tvo, 28pp].
Includes motet p.25, Vos amici mei estis a 8.

A0131 [RISM 15963] Responsoria antiphonae, et hymni in processionibus per

annum, quinis, et quaternis vocibus concinenda. Auctore Joanne Matelarto
58 Giovanni Pierluigi da Palestrina
flandren. Collegiatae Ecclesiae S. Laurentii in Damaso de Urbe Capellae
magistro. Rome: N. Mutii, 1596.
Includes motet Sicut cervus a 4; Crucem sanctam a 5; Hodie beata Virgo
a 4; Homo quidam fecit coenam a 5; Jesus junxit se a 4.

A0132 [RISM 15982] Sacrae symphoniae, diversorum excellentissimorum autho-

rum. Quaternis, V. VI. VII. VIII. X. XII. & XVI. vocibus, tam vivis, quam
instrumentalibus accomodatae. Editae studio & opera Casparis Hasleri
S.P.Q. norimberg. organista. Nuremberg: P. Kaufmann, 1598 [eight vols in
8vo] [repr. 1601/2].
Includes motets no.14, Ave Maria gratia plena a 5; no.15, Elegerunt
Apostoli Stephanum a 5; no.16, Ad te levavi animam meam a 5; no.17, Justo-
rum animae in manu Dei a 5.

A0133 [RISM 15992] Motetti et salmi a Otto voci composti da Otto eccellentiss.
autori, con la parte de i bassi, per poter sonarli nell'organo.... Venice:
Giacomo Vincenti, 1599 [nine vols in 8vo, 14pp].
Includes motet p.5, Vos amici mei estis a 8.

A0134 [RISM 15994] Motetti di Orfeo Vecchi maestro di Capella di S. Maria della
Scala, e d'altri eccellentiss. musici a cinque voci. Libro primo. Con dili-
genza revisti et ristampati. Milan: heir of S. Tini and G. F. Besozzi, 1599
[five vols in 8vo, 21pp].
Includes motets p.2, Surge propera arnica mea a 5 [secunda pars Veni
dilecti mi] [=Vestiva i colli a 5]; p.14, Quanti mercenarii in domo patris mei
[=Io son ferito ahi lasso a 5].

A0135 [RISM 16002] Sacrarum symphoniarum continuatio. Diversorum excellen-

tissimorum authorum. Quaternis, V VI. VII. VIII. X. et XII. vocibus tam vivis,
quam instrumentalibus accomodata. Nuremberg: P. Kaufmann, 1600 [eight
vols in 8vo].
Includes motet Justus ut palma a 5.

A0136 [RISM 1600 11] Della nova Metamorfosi dell'infrascritti autori. Opera del
R.P.F. Geronimo Cavaglieri con alcuni motetti dell molt'ill. sig. Lucio
Castelnovato. Milan . A Tradate, 1600 [six vols in 8vo, 21pp].
Includes motets p.1, Repleatur os meum laude tua a 5 [secunda pars
Exsurge gloria]; p.14, Semper laudabo salvatorem meum [secunda pars
Sana mea Domine et sanabor] [questionable attribution].

A0137 [RISM 16036] Motetti di Orfeo Vecchi maestro di Capella di S. Maria della
Scala, e d'altri eccellentiss. auttori. A cinque voci. Libro primo. In questa
terza impressione, aggiontovi un motetto, con diligenta revisti, et corretti.
Milan: heirs of S. Tini and F. Lomazzo, 1603. 1599 [five vols in 8vo, 12f].
Includes motets Surge propera arnica mea a 5 [secunda pars Veni dilecti
mi] [=Vestiva i colli a 5]; Quanti mercenarii in domo patris mei [=Io son fer
-ito ahi lasso a 5].
A0138 [RISM 1605 1 ] Triodia sacra, sive modi musici te rnis vocibus tam ad
Primary Sources: Printed Music 59
tironum, quam peritiorum usum facti, et partim ex lectis auctoribus delecti,
partira recens conditi. Liber I, ... Dillingen: A. Meltzer, 1605.
Includes hymn Monstra te esse a 4 [Hab. XXX].

A0139 [RISM 16056] Della nova Metamorfosi de diversi autori. Opera del R.PE
Geronimo Cavaglieri dell'Ordine di S. Basilio dell'Armeni. Libro secondo a
croque voci. Milan: A. Tradate, 1605.
Includes motet Salve sancta facies a 5 [=Pulchra es arn ica mea a 5].

A0140 [RISM 16066] Hortus musicalis, varus antea diversorum authorum Italiae
floribus consitus, jam vero latins fructus, mira suavitate quinque vocibus
concinendos, pie & artificiose germinans. Authore R.P. Michaele Herrerio,
ad S. Nicolai Strasburgi praeposito. Liber primus. Pavia: M. Nenninger,
1606.
Includes motets no.23, Succurite ahi lasso vos sancti Dei [=Io son ferito
a 5]; no.25, Festiva dies agitur/Solemnitas haec est [=Vestiva i colli a 5/Cosi
le chiome mie].

A0141 [RISM 16076] Musarum Sioniar: motectae et psalmi latini, Michaelis Prae-
torij C. apud sereniss. principem Henricum Julium ducem Brunsv. &
Lunaeb., chori musici magistri, IV. V. VI. VII. VIII. IX. X. XII. XVI. vocum,
choro et organis accommodatae. I. Pars. Nuremberg: A. Wagenmann, 1607.
Includes motet no.39, Laudate Dominum in sanctis a 8.

A0142 [RISM 1609 1 ] Florilegium sacrum cantionum quinque vocum pro diebus
dominicis & festis totius anni, e celeberrimis nostri temporis musicis, quo-
rum nomina habentur in indice. Antwerp: Pierre Phalèse, 1609.
Includes motets, all a 5: 0 admirabile commercium; Stella quam vider
-ant; Senex puerum portabat [secunda pars Hodie beata virgo]; Suscipe ver
-bum virgo Maria; Angelus Dominidescendit [secunda pars Et introeuntes];
Alleluia. Tulerunt Dominum; Ascendo ad patrem [secunda pars Ego rogabo
patrem]; Misit me vivens Pater; Puer qui natus es; Canite tuba; Corona
aurea [secunda pars Domine praevenisti eum].

A0143 [1612 = RISM P19741 Cantiones sacrae, pro praecipuis festis totius anni et
communi sanctorum, quinis vocibus.... Antwerp: Pierre Phalèse, 1612.
Includes motets p.30, Surge propera arnica mea a 5 [=Vestiva i colli a 5];
p.32, Quand mercenarii [=Io son ferito ahi lasso a 5].

A0144 [RISM 16123] Promptuarii musici, sacras harmonias sive motetas V. VI. VII.
& VIII. vocum, e diversis, clarissimis huius & superioris aetatis authoribus,
in Germania nusquam editis collectas exhibentis. Pars altera: quae aestivi
temporis festivitatibus dominicisque diebus selectiores concentus S.S. Eccle-
siae usui inservientes contint. Collectore Abrahamo Schadaeo, senffteber-
gensi. Cui basin ad organa musicaque instrumenta accommodatum, vulgo
generalem dictam adjecit. Caspar Vincentius, spirensium organicem. Stras-
bourg: K. Kieffer, 1612.
Includes motet no.50, Lauda Sion Salvatorem a 8.
60 Giovanni Pierluigi da Palestrina
A0145 [RISM 1613 1 ] Sacrae symphoniae, diversorum excellentissimorum auto-
rum: quaternis, 5. 6. 7. 8. 10. 12. & 16 vocibus, tam vivis quam instrumen-
talibus, accomodatae: hac quidem forma nunquam editae, studio et opera
Casparis Hasleri.... Nuremberg: P. Kaufmann, 1613 [eight vols in 8vo].
Includes motets Ad te levavi animam meam; Justorum animae.

A0146 [RISM 16132] Promptuarii musici, sacras harmonias sive motetas V. VI. VII.
& VIII. vocum, e diversis, iisque clarissimis hujus et superioris aetatis
authoribus collectas comprehendentis, pars tertia: quae exhibet Concentus
varios selectioresque, qui solennioribus sc. SS. Trinitatis, ... Collectore
Abrahamo Schadaeo senj febergeni ... Strasbourg: K. Kieffer, 1613 [nine
vols in 4to].
Includes motet no.48, Tradent enim vos a 5.

A0147 [RISM 16143] Selectae cantiones excellentissimorum auctorum octonis

vocibus concinendae. A Fabio Constantino romano urbeveteranae cathe-
dralis musicae praefecto in lucem editae. Cum basso ad organum. Rome: B.
Zannetti, 1614.
Includes motets Sub tuum praesidium a 8; Fratres ego enim accepi a 8;
Cam mea vere est cibus [secunda pars Hic est panis] a 8.

A0148 [RISM 16167 =RISM P1983, also =RISM 1621, 10 1631 1 ]. Les rossignols
spirituels, liguez en duo dont les meilleurs accords, nommément les bas, rel-
evant du seigneur Pierre Philippes. Valenciennes: J. Vervliet, 1616.
Includes Hodie Maria virgo coelos a 4 [ascribed in source to "I.Palestine"].

A0149 [RISM 1617 1 ] Promptuarii musici, sacras harmonias V. VL VII. et VIII.

vocum, e diversis, clarissimis huius et superioris aetatis authoribus, in Ger-
mania nusquam editis, collectas exhibentis. Pars quarta: quae exhibet Con-
centus varios selectioresque, qui omnibus a SS. Trinitatis Dominicis inclu-
sive inserviunt: cum spiritualibus Canticis, & sylva harmonica Deiparae
Virgini sacra. Collegit vero et basi generali accommodavit Caspar Vincen-
tius S. Andreae wormatiensis organoedus. Strasbourg: A. Be rtram, 1617.
Includes motets Homo quidam fecit coenam a 5; Fratres ego enim
accepi a 8.

A0150 [RISM 1621 1] Sacrae cantiones excellentissimorum auctorum octonis

vocibus collectae a Fabio Constantino urbevetanae cathedralis musicae
prefecto. Cum basso continuo ad organum. Antwerpen, P. Phalèse, 1621
[nine (?) vols in 4to, 31pp] [from cantus II choir].
Motets: p.3, Sub tuum praesidium a 8; p.4, Fratres sobrii estote a 8
[=Fratres ego enim accepi a 8];p.5, Caro mea vere est cibus [secunda pars
Hic est panis].

A0151 [1628 =RISM P1988, under name of Peter Philips] Paradisus sacras cantion-
ibus consitus, una, duabus et tribus vocibus decantandis, cum basso generali
ad organum ... prima pars. Antwerp: Pierre Phalèse, 1628 [repr. 1633, 1641].
Includes motet Quanti mercenarii [=Io son ferito].
Primary Sources: Printed Music 61
A0152 [1631; not in RISM; see Eitner QIII/163] Florilegium musicum Lib. I Joh.
Degen.... Bamberg: A. Baals, 1631.
Includes Hierusalem, quare moerore comsumeris [=Privo defede (pt.5 of
Ecc'oscurati)].

A0153 [RISM 16392] Psalmi, Magnificat e Motetti a Otto voci.... Orvieto: Ruuli,
1639.
Includes motet Ave Maria a 8.

A0154 [RISM 1641 t] Paradisus sacris cantionibus consitus, una, duabus et tribus
vocibus decantandis. Cum basso generali ad organum. Auctore R.D. Petro
Philippo anglo, ecclesiae collegiatae S.Vincenti. Editio tertia. Antwerp:
heirs of P. Phalèse, 1641.
Includes motet no.15, Benignissime Jesu a 3 [with basso continuo, ques-
tionable attribution].

Lamentations

Lamentationum Hieremiae prophetae, liber primus.Rome: Alessandro Gar-

dano, 1588.
See A0090. In addition to the Lamentations, this print also includes the
motet Benedictus Dominus Deus Israel.

Litanies

A0155 [RISM 15962] Thesaurus litaniarum. Quae a praecipuis hoc aevo musicis,
tam in laudem sanctiss. nominis Iesu, quam in honorem deiparae coeli-
tumque omnium, quatuor, quinque, sex, plurium vocum compositae: ad
communem vero Ecclesiae usum collectae, opera & studio Georgii Vic-
torini in aede D. Michaelis.... Munich- Adam Berg, 1596 [eight vols in
8vo].
Includes ten litanies, in two parts of five each [=Hab. XXVI.1-64].

A0156 [RISM 1620 1 ] Scelta de Salmi a 8, Magnificat, Antifone, cioe, Regina caeli,
Ave regina caelorum, Alma Redemptoris. Et Litaniae della Madonna. De
diversi eccellentissimi autori. Post'in luce da Fabio Costantini romano
maestro di Cappella dell' illustrissima citta d'Orvieto con il basso continuo
per l'organo. Libro quinto. Opera seconda. Orvieto: B. Zannetti, 1620.
Includes litany p.20, Litaniae dellaBeata Virgine a 8 [=Hab. XXVI.95].

Madrigals

A0157 [RISM 155428] De diversi autori il quarto libro de madrigali a quattro voci
a note bianche novamente dato in luce. Venice: A. Gardane, 1554.
Includes madrigal p.2, Con dolce, altiero ed amomso cenno a 4.

A0158 [RISM 155724] Di Cipriano de Rore il secondo libro de madregali a quatro

voci con un canzon di Gianneto sopra di Pace non trovo con quatordeci
62 Giovanni Pierluigi da Palestrina

stanze novamente per Antonio Gardano stampato et dato in luce. Venice: A.

Gardano, 1557 [four vols. in 8vo. repr. 1569, 1571].
Includes madrigal stanze, stanza 1 (p.10), Da fuoco cosi bel; stanza 2
(p.11), Rapace'ingord'e venenosa fera; stanza 3 (pp.11-12), Amo'e non
nacque del mi'amor; stanza 4 (p.12), Da l'empia gelosia nasce il tormento;
stanza 5 (p.13), Si mi vince tal'hor l'aspro martire; stanza 6 (p.14), 0 effetto
rio che'l più felice stato; stanza 7 (p.15), Amor non volev'io ch'el mio gioire;
stanza 8 (p.16), Non mi sferr'il crude; stanza 9 (p.17), Poi che la vista del
mio caro sole; stanza 10 (p.18), Io non ho lingua e senza gl'occhi; stanza 11
(p.19), L'alta cagion del mio fermo pensiero; stanza 12 (p.20), Misero stato
de gl'amanti; stanza 13 (p.21), Fuggir devriassi se fuggir se puote; stanza 14
(p.22), Satio di tormentarm'amore stassi.

A0159 [RISM 1558 13] Secondo libro delle muse, a quattro voci. Madrigali ariosi,
de diversi eccell. mi autori, con doe canzoni di Giannetto, di nuovo raccolti
et dati in luce. Rome: A. Barré, 1558.
Includes madrigal p.4, Se da i soav'accenti ch'i si dolce; canzone in five
parts pp.30-34, Chiare, fresche e dolci acque [seconda parte S'egli è pur il
mio destino; terza parte Tempo verrà ancor forse; quarta parte Da'be'rami
scendea; quinta parte Quante volte diss'io); canzone in four parts pp.28-30,
Voi mi poneste in foco [seconda parte Perd che da l'ardore; terza parte Che
se tant'a voi piace; quarta parte E di voi non mi doglio].

A0160 [RISM 1559 16] Il secondo libro de le Muse a cinque voci composto da
diversi eccellentissimi musici con uno madregale a sei di Giovan Nasco, et
con doi dialoghi a otto, novamente stampato & dato in luce. Venice: A. Gar-
dano, 1559 [repr. 1561].
Includes madrigal p.5, Ogni loco mi porge doglia e pianto a 5 [seconda
parte p.6, Poscia the per mio mal] [anonymous in 1583 p rint].

A0161 [RISM 1559 17] Secondo libro delle muse a quattro voci, madrigali ariosi de
diversi eccell. autori, con due canzone di Giannetto, di nuovo raccolti et dati
in luce. Venice: G. Scotto, 1559.
Includes madrigal Se da soav'accenti ch'i si dolce; canzone in four parts
Voi mi poneste in foco [seconda parte Perà che da l'ardore;terza parte Che
se tant'a voi piace; quarta parte E di voi non mi doglio]; canzona in five
parts Chiare, fresche e dolci acque [seconda parte S'egli è pur il mio destino;
terza parte Tempo verrà ancor forse;quarta parte Da'be'rami scendea;
quinta parte Quante volte diss'iol.

A0162 [RISM 156010] Madregali ariosi a quatro voci composti da diversi eccellen-
tissimi autori, novamente con somma diligentia stampatti. Libro secondo.
Venice: A. Gardano, 1560.
Includes canzone: [prima parte] Chiare, fresche e dolci acque (p.1); [sec-
onda parte] Se gli e pur mio destino (p.2); [terza parte] Tempo verr'anchor
forse ch'al'usato (p.3); [quarta parte] Da bei rami scendea (p.4). Quante
volte diss'io (p.5); Se da'soavi accenti (p.6). Canzona: [prima parte] Voi me
ponest'in foco (p.21); [seconda parte] Perà che da l'ardore (pp.21-22);
Primary Sources: Printed Music 63
[terza parte] Che se tant'a voi piace veder (p.22); [quarte parte] Et di voi non
mi doglio (p.23).

A0163 [RISM 156023] Di Alessandro Striggio gentil'huomo mantovano servitore

dell'illustriss. & eccellentiss. Cosmo de Medici. .. . Il primo libro de
madregali a croque voci novamente per Antonio Gardano con nova gionta
ristampato. Venice: A. Gardano, 1560 [repr. Gardano 1569 without Rore
mad ri gal; repr. Scotto 1560, 1564, 1585].
Includes mad ri gal Donna bell'e gentil (p.36).

A0164 [RISM 156024] Madrigali a croque voci d'Alessandro Striggio gentil'huomo

mantovano servitore dell'illustr. & eccell. Cosmo de Medici duca di Firenze,
& di Siena. Novamente con la gionta ristampato e coretto. Libro primo.
Venice: G. Scotto, 1560 [= 1560 (previous publication), 1585].
Includes mad ri gal Donna bell'e gentil (p.36).

A0165 [RISM 1561 10] Il terzo libro delle Muse a cinque voci composto da diversi
eccellentissimi musici con uno madregale a sei, et uno dialogo a Otto, nova-
mente per Antonio Gardano stampato & dato in luce. Venice: A. Gardano, 1561.
Includes madrigals Com'in più negre tenebre e più folte (p.5); Se fra
quest'erb'e flore (p.6); Il dolce sonno in cui sepolto giace (p.7); Io son ferito
(p.9); Se ben non veggon gl'occhi (p.12) ; Dolor non fu, ne sia (p.16); Strug-
gomi, e mi disfaccio (pp.18-19); Se lamentar augelli (pp.22-23).

A0166 [RISM 15627] Il terzo libro delle Muse a quattro voci. Madrigali ariosi, da
diversi eccell. musici raccolti, et dati in Luce. Rome: A. Barré, 1562 [repr.
1563].
Includes madrigals Da poi ch'io vidi nostra falsa fede (p.16); Perch'al
viso d'amor portan'insegna (pp.16-17); Qual più crudel martire (pp.21-22)
[this last is anonymous in 1583's].

A0167 [RISM 156222] Di Francesco Rosselli il primo libro de madrigali a croque

voci, insieme de altri autori, novamente per Antonio Gardano stampato et
dato in luce. Venice: A. Gardano, 1562.

s in gioia
Includes mad ri gal Soligno e vagh'augello (p.16), [seconda parte] Io vis
sol di pianto(pp.16-17, parts incomplete).

A0168 [RISM 15663] Il Desiderio secondo libro de madrigali a cinque voci, de

diversi auttori, novamente posti in luce, per Giulio Bonagionta da S. Genesi.
Venice: G. Scotto, 1566.
Includes madrigal Vestiva i colli (pp.8-9), [seconda parte] Cosi le chiome
mie (pp.9-10).

A0169 [RISM 1566 17] Di Cipriano de Rore il quinto libro di madrigali a cinque
voci insieme alcuni de diversi autori. Novamente ... stampato & dato in
luce. Venice: A. Gardano, 1566 [enlarged repr. 1568, 1574].
Includes mad rigal Iltempo vola (p.24), [seconda parte] Ivi vedrai la gloria
(p.25).
64 Giovanni Pierluigi da Palestrina
A0170 [RISM 1568 16] Corona della morte dell' illustre signore, il sig. Comendator
Anibal Caro. Al nobile e generoso cavaliero il signor Giovanni Ferro da
Macerata. Di novo posta in luce per Giulio Bonagionta da S. Genesi.
Venice: G. Scotto, 1568.
Includes madrigal Il caro è morio & pur lasso (p.25); [seconda parte]
Nor the la nobil lingua fredda giace (p.26).

A0171 [RISM 1568 19] Di Cipriano de Rare il quinto libro di madrigali a cinque
voci insieme alcune de diversi autori novamente per Antonio Gardano con
nova gionta ristampato. Venice: A. Gardano, 1568 [repr. 1574].
Includes madrigal Il tempo vola (p.24) [seconda parte] Ivi vedrai la glo-
ria (p.25).

A0172 [RISM 1569 18] Il terzo libro delle muse a cinque voci composto da diversi
eccellentissimi musici con uno madregale a sei, et uno dialogo a sette, d'Or-
lando novamente per Antonio Gardano ristampato. Venice: Antonio Gar-
dano, 1569.
Includes madrigals Com'in più negre tenebre (attributed to Cartolaio); Se
fra quest'erb e fiori; Il dolce sonno in cui giace; Io son ferito ahi lasso; Se
ben non veggon gl'occhi; Dolor non fu ne fia; Struggomi et mi disfaccio; Se
lamentar augelli.

A0173 [RISM 156935] Di Alessandro Striggio gentil'huomo mantovano servitore

dell'illustriss. et eccellentiss. Cosimo de Medici.... Il primo libro de
madregali a cinque voci novamente per Antonio Gardano con nova giunta
ristampato.... Venice: Antonio Gardano, 1569.
Includes madrigal Donna bell'e gentil (p.37).

A0174 [RISM 1570 15] I dolci frutti primo libro de vaghi et dilettevoli madrigali di
diversi eccellentissimi auttori a cinque voci, novamente posti in luce per il
R.P.F. Cornelio Antonelli da Rimini detto il Turturino. Venice: G. Scotto,
1570.
Includes madrigal Quand'ecco donn'il vostro braccio (quinta stanza,
p.13).

A0175 [RISM 1570 16] Prima Stella. De madrigali a cinque voci,di Orlando Lasso.
Di Zanetto di Palestina. Di Giovan Nascho. Di Francesco Roscelli. Et altri
eccellentissimi musici. Novamente posti in lace. Venice: G. Scotto, 1570.
Includes madrigals Se fra quest'erb'e fiori (p.6); Il dolce sonno (p.7); Io
son ferito (p.9); Se ben non veggon gl'occhi (p.13); Dolor non fu (p.15);
Struggomi, e mi disfaccio (p.18); Se lamentar augelli (p.19).

A0176 [RISM 1573 16] Primo libro de madrigali a cinque voci, composti diversi
da
eccell. autori et raccolti da M. Francesco Antoniio Baseo maestro di
Capella del Duomo della citta di Leccio, novamente posti in luce. Venice:
son of A. Gardano, 1573.
Includes madrigal lo son ferito hai lasso (p.13; cf. setting in 1593).
Primary Sources: Printed Music 65

A0177 [RISM 15744] Il quarto libro delle muse a croque voci composto da diversi
eccellentissimi musici, insieme dui mad. a sei, novamente stampati et dati in
luce, intitolati benigni spirti. Venice: son of A. Gardano, 1574 [Palestrina
works repr. in 1582 ed.].
Includes madrigals lo felice sarei (p.27) Le selv'avea [seconda parte
Quando fe'loro impallidir]; Saggio e Santo pastor [seconda parte Onde
seguendo] (p.2); Se di pianti e di stridi (p.6). [Also includes mad rigal by
Rodolfo Pierluigi, Ahi! letizia fugace (p.17).]

A0178 [RISM 15765] Musica di XIII. autori illustri a cinque voci, novamenti per
Angelo Gardano raccolta et data in luce. Nella quale si contengono i pu
belli madrigali che hoggidi si cantino.... Venice: Angelo Gardano, 1576.
Includes madrigals Placide l'acqu', e placid'era il vento (p.29); Soave
fia il morir (p.30).

A0179 [RISM 15777] Il primo flore della ghirlanda musicale a cinque voci con un
dialogo a nove. Di diversi eccellentissimi musici novamente posto in luce.
Venice: heir of Girolamo Scotto, 1577.
Includes mad rigal Anima dove sei che pensi homai (p.24; tenor, basso,
quinto partbooks missing).

A0180 [RISM 15809] Il terzo libro delle muse a cinque voci composto da diversi
eccellentissimi musici, novamente con ogni diligentia ristampato. Venice: A.
Gardano, 1580.
Includes madrigals Corn' in più negre tenebre (p.5, here attributed to G.
Cartolaio); Se fra quest'erb e fiori; Il dolce sonno in cui giace; lo son ferito
ahi lasso; Se ben non veggon gl'occhi; Dolor non fu ne fia; Struggomi et mi
disfaccio; Se lamentar augelli.

A0181 [RISM 15824] Dolci affetti madrigali a cinque voci de diversi eccellentis-
simi musici di Roma. Novamente posti in luce. Venice: Heir of G. Scotto,
1582 [repr. 1585, 1590].
Includes madrigal O bella Ninfa mia (p.9).

A0182 [RISM 15826] Il quarto libro delle Muse a cinque voci composti da diversi
eccellentissimi musici novamente ristampati, intitolati Benigni spirti.
Venice: Angelo Gardano, 1582.
Includes madrigals Saggio Santo Pastor (p.3); [seconda parte] Onde
seguendo l'honorat'impresa (pp.3 4); Se di pianti et di stridi (p.4); Le
-

selv'avea (p.8); [seconda parte] Quando fe toro impalidir le frontl (p.9); Io

felici sarei se gl'occhi ond'io (p.26). [Also includes madrigal by Rodolfo
Pierluigi Ahi letitie fugace (p.16).]

A0183 [RISM 1583 12] Li amorosi ardori di diversi eccellentissimi musici nova-
mente composti, et dati in luce. Libro primo a cinque voci. Venice: Angelo
Gardano, 1583.
Includes madrigal Febre, ond'or per le vene (p.20).
66 Giovanni Pierluigi da Palestrina
A0184 [RISM 1583 14] Harmonia celeste di diversi eccellentissimi musici a 1111. V.
VI. VIL. et VIII. voci, nuovamente raccolta per Andrea Pevemage, et data in
luce. Nella quale si contiene una scielta di migliori madrigali che hoggidi si
cantino. Antwerp: P. Phalèse and J. Bellère, 1583 [repr. 1589].
Includes madrigal O bella Ninfa mia (f.20A).

A0185 [RISM 1583 15] Musica divina di XIX. autori illustri, a IIIL V. VL et VIL. voci,
nuovamente raccolta da Pietro Phalesio, et data in luce. Nella quale con-si
tengono i più excellenti madrigali che hoggidi si cantino. Antwerp: P.
Phalèse and J. Bellère, 1583 [repr. 1588, 1591, 1595, 1606, 1614, 1623,
1634].
Includes madrigal Vestiva i colli [spelled "Festivi colli"] (f.16v), [sec-
onda parte] Cosi le chiome (p.17).

A0186 [RISM 15845] Spoglia amorosa. Madrigali a cinque voci di diversi eccel-
lentissimi musici, nuovamente posti in luce. Venice: heir of G. Scotto, 1584
[repr. in 1585, with ed. in slightly different state but same Palestrina mate-
rial; this version reprinted 1588, 1590, 1602, 1607].
Includes madrigal Vestiva i colli [seconda parte Cosi le chiome mie].

A0187 [RISM 1585 16] De floridi virtuosi d'Italia il secondo libro de madrigali à
cinque voci, novamente composte, et dati in luce. Venice: G. Vincenzi and R.
Amadino, 1585.
Includes madrigals Erano le vostre lagrime (p.5); Dido che giace entro
(p.15).

A0188 [RISM 15869] De floridi virtuosi d'Italia, il terzo libro de madrigali a

cinque voci, novamente composti et date in luce. Venice: G. Vincenzi and R.
Amadino, 1586.
Includes madrigal Dido che giace entro quest' Lima (p.15).

A0189 [RISM 1586 11 ] Corona di dodici sonetti di Gio. Battista Zuccarini alla Gran
Duchessa di Toscana posta in musica da dodici eccellentiss. auttori a cinque
voci. Venice: A. Gardano, 1586.
Includes madrigal ["Sonetto"] O felice hore (pp.13-14), [seconda parte]
Per mostrar gioia del conubio vostro (p.14).

A0190 [RISM 15875] Il quarto libro delle Muse a cinque voci, composto da diversi
eccellentiss. musici. Novamente coretto [e] ristampato. Milan: Francesco
and heir of S. Tini, 1587.
Includes madrigals Saggio e santo Pastor (p.3); [seconda parte] Onde
seguendo l'honorat'impresa (pp.3-4); Se di pianti et di stridi (p.4); Le
selv'avea (p.8); [seconda parte] Quando fe Toro impalidir le fronti (p.9); Io
son ferito; Io felici sarei se gl'occhi ond'io (p.26). [Also includes mad rigal
by Rodolfo Pierluigi, Ahi letitie fugace (p.16).]

A0191 [RISM 1588 19] Giardinetto de madrigali et canzonette a tre voci. De diversi
auttori. Novamente posti in luce. Libro primo. Venice: R. Amadino, 1588.
Primary Sources: Printed Music 67
Includes mad rigal Amor se pur sei Dio (p.4; tenor and alto partbooks
missing).

A0192 [RISM 1588 21 ] Gemma musicalis: selectissimas varii stili cantiones (vulgo
Italis madrigali et napolitane dicuntur) quatuor, quinque, sex et plurium
vocum continens: quae ex diversis praestantissimorum musicorum libellis,
in Italia excusis, decerptae, & in gratiam utriusque musicae studiosorum,
uni quasi corpori insertae & in lucem editae sunt, studio & opera Friderici
Lindneri lignicensis. Liber primus. Nuremberg: Catharina Gerlach, 1588.
Includes madrigals no.27, Vestiva i colli a 5 [seconda parte: Cosi le
chiome miei]; no.46, 0 bella Ninfa mia a 5; no.47, Io son ferito ahi lasso a 5.

A0193 [RISM 158829] Musica transalpina. Madrigales translated of foure, five and
sixe parts, chosen out of divers excellent authors, with the first and second
part of La Verginella, made by maister Byrd, upon two stanza's of Ariosto,
and brought to speake English with the rest. Published by N. Yonge, in
favour of such as take pleasure in musick of voices. London: Thomas East,
1588.
Includes madrigals no.3, "Joy so delights my heart" [=Gioia m'abond'al
cor]; no.4, "False Love now shoot and spare not" [=Amor ben puoi]; no.8,
"What meaneth Love to nest him" [=Perché s'annida Amore];no.9, "Sweet
Love when hope was flowring" [=Amor quando fioriva]; no.30, "Sound out
my voice" [=Vestiva i colli].

A0194 [RISM 15896] Musica di tredici autori illustri a cinque voci, per Angelo
Gardano raccolta & data in luce, & dinovo ristampata, nella quale si con-
tengono I più belli madrigali; che hoggidi si cantino, delli infrascritti au-
tori.... Venice: Angelo Gardano, 1589.
Includes madrigals Placide l'acque (p.29); Soave fia il morir (p.30).

A0195 [RISM 15897] Le gioie. Madrigali a cinque voci di diversi eccel.mi musici
della compagnia di Roma, novamente posti in luce. Libro primo. Venice: R.
Amadino, 1589 [repr. 1590].
Includes mad ri gal Dunque perfido Amante (p.2).

A0196 [RISM 158911] Ghirlanda di fioretti musicali composta da diversi ecc.ti

musici a 3 voci con l'intavolatura del cimbalo, et liuto. Rome: Simone
Verovio, 1589 [see also Section III, Arrangements].
Includes mad ri gal Ahi che quest'occhi miei (p.1); Da cosi dotta man sei
stato (p.3).

A0197 [RISM 1589 12] Musicale essercitio di Ludovico Balbi maestro di capella del
Santo di Padoa a cinque voci. Venice: A. Gardano, 1589.
Includes madri gal Mentre ch'al mar a 5.

A0198 [RISM 1591 10] Melodia olympica di diversi eccellentissimi musici a 1111. V.
VI. et VIII. voci, nuovamente raccolta da Pietro Phillippi inglese, et data in
luce. Nella quale si contengono i piu eccellenti madrigali che hoggidi si can-
68 Giovanni Pierluigi da Palestrina

tino. Antwerp: P. Phalèse and J. Bellère, 1591 [repr. 1594, 1611, 1630].
Includes madrigals Mori quasi il mio core (p.5); Veramente in amore
(p.7); Non son le vostri mani (p.18).

A0199 [RISM 1592 11 ] Il trionfo di dori, descritto da diversi, et porto in musica, a

sei voci, da altretanti autori. Venice: Angelo Gardano, 1592 [repr. 1595,
1596, 1599, 1601, 1614, 1628].
Includes madrigal Quando del terzo cielo (p.29).

A0200 [RISM 1592 13] De 'floridi virtuosi d'Italia. Il secondo libro de'madrigali a
cinque voci. Nuovamente ristampati, et con diligenza corretti. Venice: G.
Vincenti, 1592.
Includes madrigal Eran le vostre lagrime nel viso (p.2).

A0201 [RISM 1592 15] Spoglia amorosa. Madrigali a cinque voci, de diversi eccel-
lentissimi musici. Novamente ristampata. Venice: Angelo Gardano, 1592
[repr. 1600].
Includes madrigal Vestiva i colli a 5 [seconda parte Cosi le chiome miei].

A0202 [RISM 1593 3] Florindo, e Armilla canzon pastorale, ornata di musica da

doversi de pin celebri compositori de tempi nostri, et con altri madrigali
novamente posta in luce. A cinque voci. Venice: R. Amadino, 1593.
Includes madrigal Non son le vostre mani (p.19).

A0203 [RISM 1593 4] Harmonia celeste di diversi eccellentissimi musici a 1111. V.

VI. VII. et VIII. voci. Nuovamente raccolta per Andrea Pevernage et data in
luce. Nella quale si contengono i piu eccellenti madrigali the hoggidi si can-
tino. Antwerp: P. Phalèse and J. Bellère, 1593 [six vols in 8vo], [repr. 1605
(?), 1614, 1628].
Includes madrigal O bella ninfa mia a 5 (f.20v).

A0204 [RISM 15935] Nuova spoglia amorosa nella quale si contengono madrigali
a quattro, et cinque voci scielti dall'opere de più famosi, et eccellenti musici
nuovamente posta in luce. Venice: Giacomo Vincenti, 1593.
Includes madrigals Mori quasi il mio core a 4 (p.20); lo son ferito ahi
lasso a 5 (p.31, setting different from 1573); Vestiva i colli a 5.

A0205 [1594=RISM D3948] Il quarto libro di madrigali a cinque voci di Giov.

Andr. Dragoni.... Venice: Giacomo Vincenti, 1594.
Includes madrigal O pastor dove vai a 6.

A0206 [RISM 1596 10] Paradiso musicale di madrigali et canzoni a cinque voci, di
diversi eccellentissimi'autori. Novamente raccolti da
P. Phalesio et posti in
luce. Antwerp: P. Phalèse, 1596.
Includes madrigal Io son ferito a 5.

A0207 [RISM 1596 11 ] Vittoria amorosa de diversi authori a cinque voci nuova-
mente stampata. Venice: Giacomo Vincenti, 1596.
Primary Sources: Printed Music 69

Includes madrigal Donna presso al cui viso (p.6); Non fu già suon di
trombe (p.14) [cantus and tenor partbooks missing].

A0208 [RISM 1597 14] Canzonette a quattro voci composte da diversi eccellenti
musici. Nouvamente date in luce. Venice: G. Vincenti, 1597.
Includes canzonette Pose un gran foco nel mio petto (p.li); Vedrassi
prima senza luce (p.13).

A0209 [RISM 1597 15] Il vago alboreto di madrigali et canzoni a quattro voci, di
diversi eccellentissimi autori. Novamente raccolti et posti in luce. Antwerp:
P. Phalèse, 1597.
Includes madrigals O che splendor de luminosi radi (p.19); I vaghi fiori
& l'amorose fromde (p.24v).

A0210 [RISM 16008] De floridi virtuosi d'Italia madrigali a cinque voci ridotti in
un corpo. Nuovamente con ogni diligentia stampati & seguendo l' ordine de
suoi toni postl in luce. Antwerp: P. Phalèse, 1600.
Includes madrigal Donna presso al cui viso a 5.

A0211 [RISM 1601 8] Canzonette alla romana de diversi eccellentiss. musici

romani a tre voci, novamente composte, et date in luce. Venice: Angelo Gar-
dano, 1601 [three vols in 8vo, 12f].
Includes canzonette Ahi che quest'occhi miei (f.10); Da cosi dotta man
(1.1 1).

A0212 [RISM 1604 11 ] Scielta de madrigali a'cinque voci de diversi eccel. musici,
accommodati in motetti da Orfeo Vecchi con la partitura d'essi motetti. Nuo-
vamente data in luce. Milan: heirs of S. Tini and F. Lomazzo, 1604.
Includes Domine in virtute a 5 [=Io felice sarei a 5].

A0213 [RISM 16059] Nervi d'Orfeo, di eccellentiss. autori a cinque et sel voci:
nuovamente con ogni diligentia raccolti, & sequendo l'ordine de suoi toni
posti in luce. Leiden: H. L. de,Haestens, 1605.
Includes madrigal no.77, Quando dal terzo ciela 6.

A0214 [RISM 1607 14] Canzonette alla romana de diversi eccellentissimi musici
romani a tre voci. Nuovamente raccolte & date in luce. Antwerp: P. Phalèse,
1607.
Includes canzonette Ahi che quest'occhi miei (p.28); Da cosi dotta man
sei stato (p.39).

A0215 [RISM 160822] Newe teutsche Canzonetten mit dreyen Stimmen, von den
f irtrefflichsten italienischen Componisten auff ihre Sprach componiret,
und hiebevor in Italia zusammen getruckt. An jetzo aber mit unser Sprach
den teutschen Musicis, Instrumentisten, und andern der Music Lieb-
habern zu Gefallen unterlegt. Durch Andream Myllerum hammelbur-
gensem seeligen. Frankfurt am Main: W. Richter, 1608 [three vols in 4to,
26pp].
70 Giovanni Pierluigi da Palestrina

Includes canzonette Als Piramus kam a 3 [=Da cosi dotta man sei stato];
Soll ich dean meiden dich a 3 [=Ahi the quest'occhi a 3].

A0216 [RISM 1613 13] Rest musikalisches Streitkrcinzleins:• hiebevorn von den
allerfürtrefflichsten unnd berhümtesten Componisten, in welscher Sprach,
pro certamine, mit sonderlichen Fleiss, und auffs kiinstlichst, mit 6. Stimmen
auffgesetzt, und dannenhero Tromphi di Dori oder de Dorothea genennet .. .
in Druck gefôrdert, durch Solomonem Engelhart, ... Nuremberg: B. Scherff,
1613 [six vols in 4to].
Includes mad ri gal no.14, Sagt einer viel a 6 [=Quando del terzo delo].

A0217 [RISM 1619 16] Triumphi de Dorothea, non illâ italico-prophan; sed
angelico-coelesti & immortali, id est: musica, sive laus musicae; a praes-
tantissimis musicorum italicorum coryphaeis, olim, quasi aliud agentibus;
sub nomine Dorotheae cujusdam, 6. vocibus, decantata. Das ist geistliches
musicalisches Triumph-Crcintzlein von der hochedlen und recht englischen
Dorothea oder grossen Gottes Gabe der Fraw Musica; ... Aus dem der aller
vortrefflichsten italiânischen Componisten, certamine musico Triomphi de
Dori entlehnet:... mit gantz newen deutschen geistlichen Texten exorniret
durch M. Martinum Rinckhardum ilebergensem.... Leipzig: L. Koeber (B.
Voigt), 1619.
Includes madrigal Wach auf mein Ehr a 6 [=Quando del terzo cielo].

III. Contemporary Arrangements of Palestrina's Works

[This section includes intabulations for various instruments, arrangements of composi-

tions for voices together with lute or other instruments, an d addition of passeggiati or
ornamented versions of works.]

A0218 [1568] Fronimo dialogo di Vincentio Galilei florentino, nel quale si con-
tengono le vere, et necessarie regole del intavolare la musica nel liuto, posto
nuovamente in luce & da ogni errore emendato. Venice: Girolamo Scotto,
1568.
Includes madrigals Vestiva i colli (p.15; seconda parte Cosi le chiome mie
p.16); Se tra quest'herbe'e flore (p.31); Io son ferito hai lasso (p.146); Se
ben non veggion gl'occhi (p.147) [lute intabulations].

A0219 [RISM 1574 14] Il primo libro di tabolatura di citthara diricercari madrigali
anzoni napolitane et saltarelli. Di Paolo Virchi Organista Bresciano .. .
novamente posta in Luce.... Venice: heir of Girolamo Scotto, 1574.
Includes mad ri gal lo son ferit'ahi lasso (p.16) [intabulation for six-
course cittern].

A0220 [RISM 1582 1] Novae tabulae musicae testudinariae hexachordae et hepta-

chordae. Julii Caesaris Barbetti Paduani. NeuLautenbuch auff sechs und
Siben Chorseyten gestalt. ... Strasbourg: Bernhart Jobin, 1582.
Includes mad ri gal Dolce fiai mortir [sic] (f. F3) ["P.A. penesstrina"] [lute
intabulation].
Primary Sources: Printed Music 71

A0221 [RISM 158323] EM schôn nutz unnd gebreiichlich Orgel Tabulaturbuch.

Darinnen etlich der beriimbten Componisten, beste Moteten, mit 12. 8. 7. 6. 5.
und 4. Stimmen ausserlesen.... Zu letzt auch allerhand der schonsten Lieder,
Pass'e'mezzo, und Taentz, alle mit grossem Fleiss coloriert ... in Truck ver
-willigt. Von Paixlacobo
ausgustano.... Laugingen: L. Reinmichel, 1583.
Includes organ intabulations of twelve Palestrina motets: Angelus Domini
a 5 [seconda pars Et introeuntes] (fol. B 1 1 —C 1 1, transposed down a fourth);
Viri Galilaei a 6 [secunda pars Ascendit Deus in jubilatione] (fol. C3 1—D 1 1 ,
transposed down a fourth); Dum complerentur a 6 [secunda pars Dum ergo
essent] )fol. E3 1—F1 1 , transposed down a fourth); O beata et gloriosa Trini-
tatis a 5 [secunda pars O vera summa sempiterne Trinitas] (fol. F1 1—F61 ,
transposed down a fourth); Hodie Christus natus est a 8 (fol. G4—G61 , trans-
posed down a fifth); Haec dies quam fecit Dominusa 6 (fol. G4—G6 1 , trans-
posed down a fourth); Lapidabant Stephanum a 5 (fol. I2 1 -15 1 , transposed
down a fourth); Valde honorandus est a 4 (fol. I5 1 —K 1 1 , transposed down a
fifth); Senex puerum portabat a 5 [secunda pars Hodie beata virgo Maria]
(fol. K 1 1 —K6 1 , untransposed); Tribus miraculis a 4 (fol. K6 1—L3, transposed
down a fourth); Cantantibus organis a 5 [secunda pars Biduanis ac tribua-
nis] (fol. M3 1—•, 1 , transposed down a fourth); Pater poster a 5 (fol. 041—P 1 ,
transposed down a fourth).

A0222 [RISM 1584] Il vem modo di diminuir, con tutte le sorte di stromenti di fiato,
& corda, & di voce human.... Girolamo dalla Casa.... Libro secondo.
Venice: Angelo Gardano, 1584.
Includes madrigal Vestiva i colli (book 2, p.36; with seconda parte Cosi le
chiome mie, book 2, p.37).

A0223 [RISM 1584 12] Pratum musicum longe amoenissimum, cuius spatiosissimo,
eoque iucundissino ambitu, (praeter varii generis automata seu phantasias)
comprehenduntur.... Omnia ad testudinis tabulaturam fideliter redacta, per.. .
Emanuelem Hadrianium.... Adiuncta est singulis carminibus, in gratiam
eorum, qui vivae vocis concentu oblectantur, distincta vocibus aliquot notu-
larum discriptio.... Opus novum. Antwerp: Pierre Phalèse, 1584 [one vol in
4to].
Includes madrigal no.30, Vestiva i colli (f.34v; seconda parte, COST le
chiome mie, f.35v) [lute intabulation and mensural notation].

A0224 [RISM 15845] Il Fronimo dialogo di Vincentio Galilei nobile fiorentino,

sopra l'arte del bene intavolare, et rettamente sonare la musica.... Venice:
Girolamo Scotto, 1584 [2nd ed.].
Madrigals: p.26, Vestiva i colli a 5 [seconda parte Cosi le chiome mie];
p.53, Se tra quest'herbe e flore a S; p.121, lo son ferito hai lasso a S; p.122,
Il dolce sonno in cui sepolto giace a 5 [intabulations for solo lute].

A0225 [RISM 158538] Ricercate passaggi et cadentiae, per potersi essercitar nel
diminuir terminatamente con ogni sorte d' instrumento: & anco diversi pas-
saggi per la semplice voce.... Venice: Giacomo Vincenti and Ricciardo
Amadino, 1585. See A0230.
72 Giovanni Pierluigi da Palestrina
A0226 [1586. Il primo libro d'intavolatura d'arpicordo ... Marco Facoli.]
No copy extant; possible contents inferred from manuscript materials
[Brown]. May include mad ri gal Vestiva i colli [keyboard intabulation].

A0227 [RISM 15862] Diletto spirituale canzonette a tre et e quatro voci composte
da diversi ecc.mi musici. Raccolte et scritte da Simone Verovio.... Con l'in-
tavolatura del Cimbalo. Rome: M. van Buyten, 1586 [repr. 1590, 1592].
Includes hymns no.4, Jesu rex admirabilis a 3; no.9, Tua Jesu dilectio a
3, with Tua Jesu dilectio [intabulation]; no.13, Jesu flos matris Virginis a 4,
with Jesu flos matris Virginis [intabulation]; In Domino laetabitur a 4.

A0228 [RISM 15897] Thesaurus motetarum. Newerlessner zwey und zweintzig her-
rlicher Moteten, rechte Kunst Stiick: der aller berhiimbsten Componisten, in
der Ordnung wie sie nach einander gelebt: und jede Moteten zum ihrem
gewissen Modo gesetzt. Mit sonderm hohen Fleiss und müh zusamen getra-
gen und in diese breuchige Tabulatur gebracht von JacoboPaix augustano,
organico lavingano. Strasbourg: Bernhart Jobin, 1589.
Includes motet no.18, 0 sacrum convivium (f.48v) [organ or keyboard
intabulation].

A0229 [RISM 1589 11 ] Ghirlanda di fioretti musicali composta da diversi ecc.ti

musici a 3 voci con l'intavolatura del cimbalo, et liuto.... Rome: Simone
Verovio, 1589.
Includes madrigals no.1, Ahi che quest'occhi miei (p.1); no.2, Di cosi
dotta man ses stato (p.3).

A0230 [1591 ] Motetti, madrigals et canzoni francese, di diversi Eccellentissimi Aut-

tori à Quattro Cinque, & Sei Voci. Diminuiti per sonar con ogni sorte di
stromenti, & anco per cantar con semplice Voce da Giovanni Bassano
musico della Serenissima Signoria di Venetia. Novamente dati in luce.
Venice: Giacomo Vincenti, 1591.
Includes diminutions for motets no.1, Benedicta sit sancta Trinitas (p.6);
no.2, Ave Maria a 4 (p.8); no.3, Hodie beata Virgo (p.9); no.17, Fuit homo
missus a Deo (p.25); no.18, Benedicta sit sancta Trinitas [same model as
no.1] (p.26); no.44, Tota pulchra es (p.64); no.45, Introduxit me (p.66);
no.46, Pulchra es arnica mea (p.66); no.47, Veni, veni dilecte mi (p.68);
diminutions for madrigals no.26, Vestiva i colli (p36; seconda parte Cosi le
chiome mie p.37); no.27, Io son ferito ahi lasso (p.38).

A0231 [RISM 1591 12] Canzonette a quattro voci, composte da diversi ecc.ti musici,
con l'intavolatura del cimbalo et del liuto.... Rome: Simone Verovio, 1591.
Includes madrigals no.8, Pose un gran foco (f.9v); no.10, Vedrassi prima
senza luce (f.11v) [keyboard score with Italian lute tabulature].

A0232 [RISM 1591 14] Canzonette per cantar et sonar di liuto a tre voci, Composte
da diversi auttori, et nuovamente date in luce. Libro primo. Venice: Gia-
como Vincenti, 1591.
Includes madrigals no.9, Da cosi dotta man (f.6); no.10, Ahi che
quest'occhi miei (f.6v) [voice and lute intabulations].
Primary Sources: Printed Music 73
A0233 [RISM 1592 11 ]Diletto spirituale canzonette a tre e quattro voci composte da
diversi ecc.mi Musici con L'intavolatura a del Cimbalo & Liuto. Rome:
Simone Verovio, 1592 [vocal settings on left side of opening; keyboard and
lute intabulations on right side].
Includes spi ritual canzonette Jesu Rex admirabilis a 3 (f.12v); Tua Jesu
dilectio a 3 (f.13v); Jesu fi ers matris a 4 (f.21v).

A0234 [RISM 159222] Novum pratum musicum longo amoenissimum, cujus spatio-
sissimo, eoque iucundissimo ambitu (praeter varii generis aytomata, seu
phantasias) comprehenduntur selectissimi diversorum autorum et idioma-
turn madrigales, cantiones, & moduli 4. 5 & 6 vocum.... Omnia ad testudi-
nis lideliter redacta, per id genus verpiensum.... Tu rn etiam methodus ad
omnes omnium tonorum cantiones, in gratiam illorum, qui in fac arte medi-
ocriter versati.... Opus plane novum, nec hactenus editem. Antwerp: P.
Phalèse and J. Bellère, 1592.
Includes madrigals no.27, Ogni beltà (f.7v); no.40, Vestiva i colli (f.21v;
seconda parte Cosi le chiome mie, f.22v).

A0235 [RISM 1593 11 ] Di Gio. Antonio Terzi da Bergamo, intavolatura di liutto,

accomodata con diversi passagi per suonar in concerti a duoi liutti, et solo.
Libro primo. Il quai contiene, motetti, contraponti, canzoni italiane, et
francese, madrigali, fantasie, et balli di diversi sorti, italiani, francese, et
alemani. Venice: R. Amadino, 1593 [facs. repr. Antiquae Musicae Italicae
Monumenta Bergomensia 14. Bergamo, 1964].
Includes motets no.4, Tu es pastor ovvum a 4 (p.7); no.5, Angelus ad pastores
a 4 (p.9) [intabulations for solo lute]; madrigals no.10, Vestiva i colli (p.19);
"Contraponto sopra Vestiva i colli per sonar a duoi liutti in quarta o in concerto"
(p.20); [seconda parte] Cosi le chiome mie (p.24); "Contraponto sopra il predetto
per suonar come di sopra" (p.25) [intabulations for two lutes or solo lute].

A0236 [1594; RISM B4029] Regole, passaggi di musica, madrigali, e motteti

passeggiati di Gio. Battista Bovicelli d' Assisi.... Venice: Giacomo Vin-
centi, 1594 [facs. repr. ed. Nanie B ridgman. Documenta musicologica 1/12.
Kassel: Barenreiter-Verlag, 1957].
Includes diminution for madrigal Io son ferito (pp.38-42); diminution for
Ave verum corpus [contrafactum of Io son ferito] (pp.42 46). -

A0237 [RISM 15963] Canzoni alla francese a quattro voci per sonare dentrovi, un
Echo, & in fine una Battaglia a Otto, & dui Concerti fatti sopra Lieto godea.
Di Adriano Banchieri Bolognese Organista in S. Michele in Bosco. Libro
Seconder.... Venice: Ricciardo Amadino, 1596.
Includes no.6, `Canon Sesta. L' Alcenagina. Sopra " `Vestiva i colli' "
(p.6); no.9. " `Canzon Nona.' La Camerina. Sopra `Veni dilecti mi' " (p.9)
[organ intabulations].

A0238 [RISM 1599 19] Il secondo libro de intavolatura di liuto di Gio. Antonio
Terzi da Bergamo. Nella quale si contengono fantasie, motetti, canzoni,
madrigali pass'e mezi, et balli di varie, et diverse sorti. Novamente da lui
data in luce. Venice: G. Vincenti, 1599.
74 Giovanni Pierluigi da Palestrina
Includes madrigal no.67, 0 bella Ninfa mia (p.86) [intabulation for solo
lute].

A0239 [RISM 16005a] Flores musicae, hoc est, suavissimae et lepidissimae can-
tiones, madrigalia vulgus nominat, una cum variis pavanis, paduanis, gal-
liardis, intradiis, fantasiis & choriis, ex quam plurimis autoribus
italicis,gallicis & germanicis magna industria collectae, et nunc primum ita
decriptae, ut testudinis fidibus cani possint, per Joannem Rudenium lip-
siensem. . . . Una veneunt Matthaei Raymanni toronensis Noctes musicae
perquam artificiose compositae, in quibus variata praeludia et passamezae,
. . . Heidelberg: Vegelin, 1600.
Includes O bella Ninfa mia a 5; Vestiva i colli a 5 [seconda parte Cosi le
chiome mie] [keyboard intabulation].

A0240 [RISM 160018] Pratum musicum longe amoenissimum, cuius spatiosissimo,

eoque iucundissimo ambitu (praeter varii generis aytomata, seu phantasias)
comprehenduntur. Selectissimi diversorum autorum et idiomatum madri-
gales, et cantiones 4. 5. 6. vocum, Balletti 5. vocum. Cantiones trium vocum
. . . variae . . . modulationes. Omnis generis choreae, passomezo cum suis
saltarellis, galliardae, alemandae, branslae, courantae, voltae,&c. Omnia
ad testudinis tabulaturam fideliter redacta, per id genus musices . . . Eman-
nelem Hadrianum, antverpiensem. . . . Editio nova priori locupletior.
Antwerp: P. Phalèse, 1600.
Includes intabulation of a Palestrina work [according to RISM].

A0241 [RISM 1601 18] Florida, sive cantiones, e quamplurimus praestantissimo-

rum nostri aevi musicorum libris selectae. Ad testudinis usum accomodatae
... I. van Hove, antverpiani.... Utrecht: S. de Roy and J. G. de Rhenen,
1601
Includes intabulations of two Palestrina works [according to RISM].

A0242 [1620; RISM R1942] Selva di varii passaggi secondo l'uso moderno, per
..
cantare, & sonare.
con ogni sorte de stromenti divisa in due parti
Francesco Rognoni Taegio.... Milan- Filippo Lomazzo, 1620, and [1620;
RISM R1942] Selva di varii pasaggiparte seconda, ove si tratta dei pasaggi
difficili, par gl'istromenti del dar l'archata, portardella lingua, diminuire di
grado in grado, cadentie, finali, essempi, canti diminuiti. Con la maniera di
suonar la Viola bastarda ... di Francesco Rognoni.... Milan: Filippo
Lomazzo, 1620 [facs. repr. ed. Guglielmo Barblan. Bologna, 1970. (Bib-
lioteca musica Bononensis I11153). MT80.R6554.1620a].
Parte prima includes diminutions for motet Pulchra es amica mea for
soprano or tenor (pp.45-46) and for basso and for the viola bastarda
(pp.46-47); diminutions for Quanti mercenarii [sacred contrafactum of lo
son ferito] (pp.48-48). Parte secondaincludes diminutions for madrigals lo
son ferito (pp.55-57); Vestiva i colli (pp.59-61, 65-67).

A0243 [1638] Canzoni fantasie et correnti da suonar ad una 2.3.4. con basso con-
tinuo. Del P.F. Bartolomeo de Selma et Salaverde Agostiniano Spagnolo, già
Primary Sources: Printed Music 75
musico & suonator di fagotto.... Venice: Bartolomeo Magni, 1638.
Includes mad ri gal no.6, Vestiva i colli (book 1, pp.15-16; book 2,
pp.11-12, 35-36).

IV. Prints in Books, Theoretical Treatises, Manuals of Instruction,

and Similar Sources Dating from before 1800

Bassano, Giovan ni. See item A0230.

Bovicelli, Giov an ni Battista. See item A0236.

Burney, Charles. A General History of Music from the Earliest Ages to the
Present Period. To which is prefixed a Dissertation on the Music of the
Ancients. By Charles Burney.... Volume the first [—the fourth]. London: T.
Becket, J. Robson, G. Robinson, 1776-1789 [four vols.] [repr. ed. Frank
Mercer. New York: Dover, 1935. Repr. 19571.
Ori ginal edition of 1776-1789 includes a print of the motet Exaltabo te a
5 (III, 191), as well as an excerpt from Magnificat secundi toni (Deposuit
potentes de sede a 3, III, 170).
See item E0475 for main entry.

Dalla Casa, Girolamo. See item A0222.

Eximeno y Pujaver, Antonio. Delle origini e delle regole della musica colla
storia del suo progresso, decadenza, e rinnovazione. Rome: Michel'Angelo
Barbiellini, 1774 [466pp].
Plate 9 provides scored excerpts from the Missa Papae Marcelli: Kyrie
(first pa rt only, six voices and basso continuo); Gloria (beginning only, six
voices an d basso continuo).
See item E0482 for main entry.

Galilei, Vincenzo. See items A0218 and A0224.

Hawkins, Sir John. A General History of the Science and Practice of Music,
by Sir John Hawkins. London, 1776.
In the 1853 rep ri nt: vol.1: Motet Sicut cervus a 4 [secunda pars Sitivit
anima mea] (pp.423-426); spi ritual mad ri gal Credo gentil dagli amorosi
vermi (pp.427-429).
See item E0494 for main entry.

Kircher, Athanasius. Athanasio Kircheri Musurgia universalis sive ars

magni consoni et dissoni in X libros digesta.... Tomus I–II. Romae, Haere-
des Francisci Corbelletti; [deinde] Ludovicus Grignanus, 1650 [two vols, 10
fnc + 692pp.; 2 fnc + 462pp].
Crucifixus etiam pro nobis a 4 (vol.1, p.582 [i.e. 584]); Quia amore
langueo [from motet Introduxit me Rex a S] (vol.!, p.599 [i.e. 601]).
See item E0430 for main entry.
A0244 Martini, Giov anni Battista. Esemplare o sia saggio fondamentale pratico di
76 Giovanni Pierluigi da Palestrina

contrappunto sopra il canto fermo.... Parte prima. Bologna: Lelio della

Volpe Impressore dell'Instituto delleScienze, 1774.
This outstanding work teaches the art of composition using a cantus fir-
mus through a detailed study of models and representative examples for each
of the eight church tones. Each example is heavily annotated with Martini's
observations on use of the cantus firmus, dissonance treatment, and other
aspects of contrapuntal technique. Palestrina is the most abundantly repre-
sented composer. All works are scored with o riginal clefs and note values
and are probably derived from Martini's collection of early Palestrina prints.
Introduction: "Deposuit potentes" a 3 (from Magnificat secundi toni,
pp.xxx—xxxi).
Tone I: no.2, "Chori Sanctarum Virginum" a 4 (third strophe of a hymn
for the feast of All Saints, pp.5-8); no.3, "Sit laus Deo Patri" a 5 (final stro-
phe of hymn Ave maris stella a 5, pp.8-11); no.4, "Et exultavit" a 5 (trans-
posed up a fourth, from Magnificat primi toni a 5, pp.12-14).
Tone II: no.2, "Post fluxae carnis scandala" a 4 (from hymn for St. Mary
Magdalene, pp.19-21); no.3, "Sicut locutus est" a 5 (from Magnificat
secundi toni a 5, pp.21-24).
Tone III: no.3, "Quae vox quae potent" a 4 (fifth strophe of vespers hymn
for several martyrs, pp.47-50); no.4, "Laus et perennis gloria" a 5 (last stro-
phe of hymn for a martyr, pp.51-53); no.5, "Sicut locutus est" (from Magni-
ficat tertii toni a 5, pp.54-56).
Tone IV: no.2, "Hic ille Rex est gentium" a 4 (third strophe of hymn for
the Transfiguration, pp.70-72); no.4, "0 felix Roma" a 5 (third strophe of
hymn for saints Peter and Paul, pp.75-79); no.5, "Sicut erat in principio" a 7
(from Magnificat quarti toni a 5, pp.80 87).
-

Tone V: no.2, "Legi prophetae gratiae" a 4 voci pari (from hymn for St.
Francis, pp.97-99); no.3, "Praestat hoc nati genitor" a 5 (from hymn for St.
Anthony of Padua, pp.100-102); no.4, "Esurientes" a 5 (from Magnificat
quinti toni a 5, pp.103-106).
Tone VI: no.3, "Gaudent in coelis" a 4 (antiphon for second vespers for
several martyrs, pp.122-128).
Tone VII: no.2, "Veni sponsa Christi" a 4 (antiphon for the vespers on a
feast of a virgin, pp.144-148); no.5, "Sicut erat in principio" a 6 (from Mag-
nificat septimi toni a 5, pp.153-157); no.6, `Agnus Dei II" a 6 (from Missa
Tu es Petrus, book 12 of masses, pp.158-162).
Tone VIII: no.2, "Hostem repellas longius" a 4 (from hymn for Pentecost,
pp.166-169); no.3, "Beatus Laurentius" a 5 (motet from Book I for five
voices, pp.170-177); no.6, "Quia fecit mihi magna" a 6 (from Magnificat
octavi toni a 6, pp.186-189).

A0245 Martini, Giovanni Battista. Esemplare o sia saggio fondamentale pratico di

contrappunto fugato.... Parte seconda. Bologna: Lelio della Volpe Impres-
sore dell'Instituto delle Scienze, 1774.
The second volume of the Esemplare is devoted to the study of imitative
writing and fughe. A majority of Martini's examples are drawn from com-
posers of the seventeenth and eighteenth centu ries, although there are a sig-
nificant number by Marenzio and Palestrina.
Primary Sources: Printed Music 77
Includes "Fuga a tre voci", that is, a "Pleni sunt coeli" from the Missa
tertiaa 5 [Missa O magnum mysterium] from Masses Book IV (pp.45-47);
"Fuga a quattro voci," that is, the madrigal Alla riva del Tebro (pp.72-77);
"Fuga a cinque voci," that is, the spi ri tual mad ri gal Tu di fortezza torre
(pp.173-179).

Paolucci, Giuseppe. Arte prattica di Contrappunto dimostrata con esempi di

varj autori e con osservazioni di F. Giuseppe Paolucci minor Conventuale.
Venice: Antonio de Cas tro, 1765-1772 [three vols, xv+269pp., 315pp,
vii+247pp].
Vol. 1 includes Benedictus a 3 [from Missa Emendemus] (p.81); Litaniae
Beatae Maria Virginis a 4 [incomplete] (pp.175-183); Sicut cervus a 4
[pri ma parte only].
Vol. 2 includes Plange quasi virgo a 5 [ascribed then to Palestrina, now
to Marc' Antonio Ingegneri].
See item E0530 for main entry.

Zacconi, Lodovico. Prattica di musica.... Divisa in quattro libri. Ne i

quali ... si dichiara Lutta la Messa del Palestrina titolo Lomè armè... .
Venezia: Girolamo Polo, 1592; Venice: Ba rt olomeo Carampello, 1596
[218pp]. Second part Venice: Alessandro Vincenti, 1622 [283pp].
Book II, chap. 38, ff. 115v-121v includes a discussion of notational
questions and printed selections from Missa L'homme armé a 5: Kyrie I
(115v-116); Christe (116v-117); Kyrie II (117v-118); Gloria (118v-119);
Osanna (119v-120); Agnus Dei (120v-121).
See item E0459 for main entry.
This page intentionally left blank
 Chapter 3
Primary Sources:
A Checklist of Manuscripts

B0001 Augsburg. Staats- und Stadtbibliothek. MS Tonkunst Schletterer 4 (ohm

Schletterer 23). Choirbook labeled "Farrago cantionum." Dates 1598 and
1610 in MS. Provenance Augsburg. 304ff.
Contains motet f.147, Ascend() ad Patrem a 5.

B0002 Augsburg. Staats- und Stadtbibliothek. MS Tonkunst Schletterer 18 (ohm

Schletterer 21). Choirbook. Dated 1595-1596. Provenance Benedictine
Cloister SS Ulrich an d Afra, Augsburg. 375ff.
Contains f.4v, Missa Beata Dei genetrix (also known as Missa Sine
nomine) a 6.

B0003 Augsburg. Staats- und Stadtbibliothek. MS Tonkunst Schletterer 20 (ohm

Schletter 24). Choirbook. Dated 1602.
Contains f.67v, 8 Magnificat [(even-numbered verses) beginning Et exul-
tavit, Tone 1-8] a 4.

B0004 Augsburg. Staats- und Stadtbibliothek. MSS Tonkunst Schletterer 273-278

(formerly Schletterer 452-454). Six partbooks. Dated 1570-1571, with
additions ca. 1598.
Contains motet f.18, Dum complerentur a 6.

B0005 Barcelona. Biblioteca Central. MS 382 [Pedrell]. Choirbook. End 16th to

beginning 17th century. In various hands.
Contains motet Senex puerum portabat a 5.

B0006 Barcelona. Biblioteca Central. MS 587 [=Pedrell 383]. Choirbook. Late 16th
century. Proven an ce Spanish.
Contains mass f.20v, Missa Lauda Sion (Missa Prima) a 4; lamentations
f.74v, Aleph. Quomodo sedet a 4; f.76v, Heth. Cogitavit a 4; f.78v, Heth.
Misericordiae a 4.

B0007 Barcelona. Biblioteca Central. MS 682 [=Pedrell 385]. Choirbook. 16th cen-
tury.
Contains motet f.63, Valde honorandus est a 4; f.67, Lapidabant
Stephanum a 4; f.71, Tu es pastor ovium a 4; f.73, Congratulamini mihi a 4;
f.86, Dies sanctificatus a 4; f.87, Fuit homo missus a Deo a 4.

B0008 Barcelona. Biblioteca Central. MS 394 [Pedrell]. Four partbooks. Mid-17th

century.
80 Giovanni Pierluigi da Palestrina

Contains Missa Papae Marcelli a 4 [not original a 6].

B0009 Barcelona. Biblioteca Central, MS 859. MS in three sections: I (2nd half

16th century); II (2nd half 17th century); III (late 16th century).
Reported to contain two works by Palest ri na.

B0010 Barcelona. Biblioteca de l'Orfeo Català. MS 10. Late 17th or early 18th cen-
tury.
Contains Requiem a 4 attributed to Palestrina, arguably genuine.

B0011 Barcelona. Biblioteca de l'Orfeo Català. MS 1 lbis (shelf mark: 12—VII-27).

Early 17th century. Spanish origin.
Reported to contain two works by Palestrina.

B0012 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.3 [formerly

Breslau, Stadtbibliothek. MS Mus. 3]. Volume of intabulated scores. Second
half 16th century.
Contains motets no.10, Veni sancte spiritus a 8; no.11, Dum compleren-
tur a 6 [secunda pars Dum ergo essent]; no.50, 0 beata et benedicta a 5
[secunda pars O vera summa]; no.59, Lauda Sion a 8; no.61, Vidi turbam
magnam a 6 [secunda pars Et omnes angeli stabant].

B0013 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.4 [formerly

Breslau, Stadtbibliothek. MS Mus. 4]. Volume of intabulated scores. Dated
circa 1575.
Contains motets no.65, In illo tempore egressus Jesu a 5; no.69, Homo
quidam fecit a 5; no.70, Exi cita in plateas a 5; no.74, Unus ex duobus dis
-cipulis [secunda
a 5 pars Cum pervenisset beatus Andreas]; no.75, Sancte
Paule Apostole a 5; no.82, Sancta et immaculata virginitas a 6 [secunda pars
Benedicta tua]; no.89, Fuit homo missus a Deo a 5; no.97, Puer qui natus a
5; no.104, Tu es Petrus a 7; no.105, Tu es Petrus a 6 [secunda pars Quod-
cumque ligaveris]; no.111, Beatae Mariae Magdalenae a 5; no.118, Venit
Michael Archangelus a 5; no.123, Corona aurea a 5 [secunda pars Domine
praevenisti eum]; no.124, Tradent eum vos in conciliis a 5; no.125,
Omnipotens sempiterne Deus a 5.

B0014 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.5 [formerly

Breslau, Stadtbibliothek. MS Mus. 5]. Six partbooks. Late 16th century.
Proven an ce Breslau, copied for local evangelical church use.
Contains motets no.20, Alleluia tulerunt Dominum a 5; no.21, Ascendit
Dominus a 5; no.26, Haec dies a 6; no.70, Alleluia tulerunt Dominum a 5;
no.101, Viri Galilaei a 6 [secunda pars Ascendit Deus in iubilatione];
no.112, Ascendo ad Patrem a 5; no.120, Veni sancte spiritus a 8; no.127,
Dum complerentur a 6; no.166, 0 beata et benedicta a 5 [secunda pars O
vera summa]; no.184, Fuit homo missus a Deo a 5; no.190, Tu es Petrus a 6
[secunda pars Quodcumque ligaveris]; no.197, Beatae Mariae Magdalenae
a 5; no.204, 0 lux et decus Hispaniae a 5 [secunda pars 0 singulare o rna
Primary Sources: Manuscripts 81
mentum]; no.206, Omnipotens sempiterne Deus a 5; no.213, Venit Michael
Archangelus a 5.

B0015 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.6 [formerly

Breslau, Stadtbibliothek. MS Mus. 6]. Volume of intabulated scores. Dated
1567.
Contains motets no.41, Hodie Christus natus est a 8; No.42, 0 magnum
mysterium a 6 [secunda pars Quern vidistis pastores]; no.43, Surge illu-
minare a 8; no.50, Nunc dimittis a 6 [Silla Pierluigi]; no.55, Senex puerum
portabat a 5 [secunda pars Hodie beata virgo]; no.58, 0 admirabile com-
mercium a 5; no.59, Stella quam viderant Magi a 5.

B0016 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.11 [formerly

Breslau, Stadtbibliothek. MS Mus. 11]. Six partbooks. Dated 1583 on cov-
ers. Provenance Breslau, copied for local evangelical church use.
Contains motets no.2, Unus ex duobus a 5 [secunda pars Cum pervenisset
beatus Andreas]; no.27, Veni Domine et noli tardare a 6 [secunda pars
Excita Domine]; no.28, Hierusalem cito veniet a 6 [secunda pars Ego enim
sum Dominus]; no.29, Canite tuba in Sion a 5 [secunda pars Rorate coeli
desuper]; no.44, Hodie Christus natus est a 8; no.45, Surge illuminare a 8;
no.92, 0 admirabile commercium a 5; no.101, Stella quam viderant Magi a
5; no.108, Sancte Paule Apostole a 5; no.110, Nunc dimittis a 6 [Silla Pier-
luigi]; no.113, Senex puerum portabat a 5 [secunda pars Hodie beata virgo];
no.122, Sancta et immaculata virginitas a 6 [secunda pars Benedicta tu];
no.123, Suscipe verbum Virgo Maria a 5 [secunda pars Paries quidem fil
vos a 5.no.128, 0 Domine Jesu Christe a 6; no.140, Lauda Sion salvatorem a-ium];
8; no.142, Vidi turbam magnam a 6 [secunda pars Et omnes angeli stabant];
no.147, Corona aurea a 5 [secunda pars Domine praevenisti eum]; no.149,
Tradent eum vos a 5.

B0017 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.12 [formerly

Breslau, Stadtbibliothek. MS Mus. 12]. Six partbooks. Early 17th century.
Proven an ce Breslau, copied for local evangelical church use.
Contains motet no.11, Tu es Petrus a 6 [secunda pars Quodcumque lig-
averis].

B0018 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.15 [formerly

Breslau, Stadtbibliothek. MS Mus. 15]. Five partbooks (of an ori ginal 8 or
more). Late 16th century (date 1587 in MS). Provenance Breslau, copied for
local evangelical church use.
Contains motets no.57, 0 Domine Jesu a 6; no.69, Hodie Christus natus
est a 8; no.150, Alleluia tulerunt Dominum a 5; no.175, Tu es Petrus a 6
[secunda pars Quodcumque ligaveris]; no.296, Haec dies a 6; no.303, Con-
fitebor tibi Domine a 8 [secunda pars Notas facite].

B0019 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.16 [formerly Bres-

lau, Stadtbibliothek. MS Mus. 16]. Two partbooks (of an ori ginal six or more).
Late 16th century. Proven an ce Breslau, copied for local evangelical church use.
82 Giovanni Pierluigi da Palestrina

Contains motet no.9, Vidi turbam magnum a 6 [secunda pars Et omnes

angeli stabant].

B0020 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.18 [formerly

Breslau, Stadtbibliothek. MS Mus. 18]. Volume of intabulated scores. Dated
1580.
Contains motets no.24, Hodie Christus natus est a 8; no.25, Surge illu-
minare a 8; no.72, 0 Domine Jesu a 6; no.135, Viti Galilei a 6 [secunda pars
Ascendit Deus in iubilatione]; no.160, Dum complerentur a 6 [secunda pars
Dum ergo essent].

B0021 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.20 [formerly

Breslau, Stadtbibliothek. MS Mus. 20]. Volume in folio of intabulated
scores. Dated ca.1600.
Contains no.34, Hodie Christusnatus est a 8.

B0022 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.22 [formerly

Breslau, Stadtbibliothek. MS Mus. 22]. Eight partbooks. Early 17th century
(date 1614 in MS).
Contains no.19, Hodie Christus natus est a 8.

B0023 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.23 [formerly

Breslau, Stadtbibliothek. MS Mus. 23]. Six partbooks of an original eight.
First half of 17th century. Various hands [pa rt s for compositions intabulated
in Wroclaw MSS 20 and 21].
Contains no.78, Hodie Christus natus esta 8.

B0024 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.28 [formerly

Breslau, Stadtbibliothek. MS Mus. 28]. Three partbooks of an o riginal five.
Early 17th century (dates 1613 and 1616 in MS). Various hands.
Contains no.6, 0 Domine Jesu a 6.

B0025 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.31 [formerly

Breslau, Stadtbibliothek. MS Mus. 31]. Seven partbooks of an o ri ginal nine.
17th century. Various hands.
Contains no.4, Hodie Christus natus est a 8.

B0026 Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn Mus.ms.32 [formerly

Breslau, Stadtbibliothek. MS Mus. 32]. One partbook (basso continuo).
Early 17th century.
Contains no.1, Hodie Christusnatus est a 8.

B0027 Berlin. Staatsbibliothek zu Berlin (Staatsbibliothek Preussischer Kulturbe-

sitz). Sammling Bohn. Mus.ms. 357. Section I: six partbooks, dated to
1580-1600; section II: German organ tablature.
Section I contains motets no.18, 0 admirabile commercium a 5; no.30,
Viii Galilei a 6 [secunda pars Ascendit Deus in iubilatione]; no.32, Dum
complerentur a 6 [secunda pars Dum ergo essent]; no.267, 0 Domine Jesu
Primary Sources: Manuscripts 83

Christe a 6; no.268, Nunc dimittis a 6 [Silla Pierluigi]; no.274, Cantabo

Domino in vita mea a 6 [secunda pars Deficiant peccatores].
Section II contains no.25, 0 admirabile commercium a 5; no.42, Vin
Galilei a 6 [transposed a fourth; secunda pars Ascendit Deus in iubilatione];
no.44, Dum complerentur a 6 [transposed a fourth; secunda pars Dum ergo
essent]; no.271, 0 Domine Jesu Christe a 6 [transposed a fourth]; no.272,
Nunc dimittis a 6 [Silla Pierluigi; transposed a fourth]; no.279, Cantabo
Domino in vita mea a 6 [transposed a fourth; secunda pars Deficiant pecca-
tores].

B0028 Berlin. Staatsbibliothek zu Berlin (Staatsbibliothek Preussischer Kulturbe-

sitz). Ms. Mus. 40039 [olim 239]. Twelve partbooks. Dates 1570 and 1628
in MS. Copied by various hands.
Contains no.54, Laudate Dominum in sanctis eius a 8 (f.52); no.77,
Heiliger Geist du Truster mein a 8 [=Veni sancte Spiritus] (f.68v).

130029 Berlin. Staatsbibliothek zu Berlin (Staatsbibliothek Preussischer Kulturbe-

sitz). Ms. Mus. 40073. One partbook. First qua rter of 17th century. Prove-
nance Poland. 162ff.
Contains no.9, Mass, C-Ionian, number of voices uncertain (f.23).

B0030 Berlin. Former Preussische Staatsbibliothek. Ms. Mus. 40192. Dated 1581
[MS missing since 1945].
Reported to contain one work by Palestrina.

B0031 Berlin. Staatsbibliothek zu Berlin (Staatsbibliothek Preussischer Kulturbe-

sitz). Ms. Mus. 40209 [ohm 40257]. Five partbooks. First qua rt er of 17th
century. Provenance Saxony.
Contains motets no.7, Stellam quam viderant magi a 5 (f.7v); no.17,
Senex puerum portabat a 5 [with secunda pars Hodie beata virgo Maria]
(f.21).

B0032 Berlin. Staatsbibliothek zu Berlin (Staatsbibliothek Preussischer Kulturbe-

sitz). Ms. Mus. 40212. Partbook. Dated after 1582. Proven an ce Germany.
Contains motet, no.93, Alleluia! tulerunt Dominum a 5; madrigals no.5,
Il tempo vola e se non fuggon a 5 [with seconda parte Ivi vedrai la gloria];
no.10, Vestiva i colli a 5 [with seconda parte Cosi le chiome mie]; no.11, Io
son ferito ahi lasso a 5.

130033 Berlin. Staatsbibliothek zu Berlin (Staatsbibliothek Preussischer Kulturbe-

sitz). Ms. Mus. 40299. Partbook. Dated circa 1615. Provenance Eastern Ger-
many. 20ff.
Contains motet no.5, 0 Domine Jesu Christe adorn te a 6.

130034 Bologna. Archivio di San Petronio. Choirbook (partitura) Lib. P.12—II.

17th-18th century.
Contains masses Missa Ecce sacerdos a 4 [with organ pa rt ]; Missa
Salvum me fac a 5 [with organ part]; motet Caro mea a 4.
84 Giovanni Pierluigi da Palestrina

B0035 Bologna. Civico Museo Bibliografico Musicale. MS C.33. Treatise Il dol -

cimelo d'Aurelio Virgiliano dove si contengono variati pasaggi, e diminu-
tioni cosi per voci, come per tutte sorte d'instrumenti musicali; con Toro
accordi, e modi di sonare. Dated circa 1600.
Contains madrigal f.35v, Vestiva i colli with diminuitions.

B0036 Bologna. Civico Museo Bibliografico Musicale. MS E888. Score. Undated

but probably early 18th century. Copied by Antonio Maria Pacchioni.
Contains mass Missa Ecce sacerdos magnus a 4; motets Sicut cervus a 4;
Lauda Sion a 4; Veni sancte Spiritus a 8; Ave Regina coelorum a 8; In diebus
illis a 4; Quae est ista a 4; Nativitas tua a 4; Nos autem gloriari a 4; Dum
aurora a 4; Doctor bonus a 4; Regem cui omnia a 5; Miserere a 5; Stabat
Mater a4et8.

B0037 Bologna. Civico Museo Bibliografico Musicale. MS E889. Score. Undated

but probably early 18th century. Copied by Antonio Ma ri a Pacchioni.
Contains Missa L'homme armé a 5 [labelled in source "Missa vulgo del-
l' Uomo Armato"].

B0038 Bologna. Civico Museo Bibliografico Musicale. MS E891. Score. Undated

but probably early 18th century. Copied by Antonio Maria Pacchioni.
Contains motets Hic est vere; Gaudent in coelis; Ego sum panic; Caro
mea vere est; Salvator mundi; Coenantibus illis; Congratulamini mihi; Q
quantus luctus; Cantabitur organis [Cantantibus organs]; Biduanis;
Angelus Domini; Et introeuntes; Inclytae sanctae; Fuit homo; Erat Joannes;
O lux et decus; O singulare praesidium; Tradent enim vos; Significavit
Dominus; O quoniam metuendus; Pax vobis; Cum ortus fuerit; Rex pacifi-
cus; Haec dies quam fecit Dominus; Virgo singularis; Sit laus [marked
Canon in Gaspari]; hymns Lucis creator optime; Ne meus; Praesta Pater; O
lux beata Trinitas; Deo Patri; Ad preces nostras; Crimina law; Christe lux
vera; Tu nobis dona; Gloria Deo [marked Canon in Gaspari]; Ad coenam
agni; Protecti Pasche; O vere digna Hostia; Quaesumus auctor; Jesu nostra
redemptio; Inferni claustra; Tu esto [marked Canon in Gaspari]; Quod-
cumque vinctis; Doctor egregie; Vexilla regis; Impleta cunt; Beata cuius; O
crux; Te fons.

B0039 Bologna. Civico Museo Bibliografico Musicale. MS Q.22. Four partbooks.

16th to 17th century.
Contains Missa Sine nomine a 4 [Cas. v.191 [anon. in source].

B0040 Bologna. Civico Museo Bibliografico Musicale. MS Q.31. Choirbook.

Dated 1580 in MS. Provenance Rome.
Contains hymns f.54v, Lauda mater ecclesia a 4 [not in Haberl]; f.56v,
Quicumque Christum quaeritis (strophes 2, 4); f.58v, Quicumque Christum
quaeritis a 4 [not in Haberl]; f.70v, Vox primae Christi a 4 [=Salvete flores
martyrum] (strophe 2).

B0041 Bologna. Civico Museo Bibliografico Musicale. MS Q.34. Score. Dated

Primary Sources: Manuscripts 85
1613. Copied by Joannes Amigonus Mantuanus.
Contains motets f.46v, Corona aurea a 5; f.50, Introduxit me rex a 5;
f.51v, Pulchra es arnica mea a 5; madrigals f.27, Vestiva i colli a 5; f.31, lo
son ferito a 5.

B0042 Bologna. Civico Museo Bibliografico Musicale. MS Q.35. Dated 1603.

Provenance Brescia.
Contains f.73, Stabat Mater a 4 et 8 [two choirs].

B0043 Bologna. Civico Museo Bibliografico Musicale. MS Q.40. Score. 17th cen-
tury.
Contains p.1, Stabat Mater a 8.

B0044 Bologna. Civico Museo Bibliografico Musicale. MS Q.117. Large choir-

book. Dated 1617.
Contains 4 Magnificat a 4 [beginning Anima mea verse: f.1v, tone 1; f.7v,
tone 2; f.13v, tone 3; f.19v, tone 4].

B0045 Bologna. Civico Museo Bibliografico Musicale. MS R.281. Score. First half
of 19th century. Scoring by Fortunato Santini. [Contains two otherwise
undocumented motets attributed to Palestrina.]
Contains motets Ascendit Deus a 4; Panis angelicus a 4; Pater poster a 4
[recte Willaert]; p.12, Lumen a 4 et 5; p.20, O bone Jesu o piissime a 4; Qui
pacem a 4.

B0046 Bologna. Civico Museo Bibliografico Musicale. MS S/9. Choirbook. Dated

ca 1600. Copied by Teodore Clingher.
Contains hymns f.57, Conditor aime siderum a 4; f.59v, Christe redemp-
tor omnium a 4; f.65, A solis ortus cardine a 4; f.66, Salvete flos a 4; f.68,
Hostes Herodes impie a 4; f.71v, Lucis creator optime a 4; f.74, O lux beata
Trinitas a 4; f.75, Ad preces nostras a 4; f.82, Vexilla regis a 4
[Hab.VIII.35]; f.86v, Ad coenam agni a 4; f.90v, Jesu nostra redemptio a 4.

B0047 Bologna. Archivio Musicale della Fabbriceria di S an Petronio. MS

A.XXXIX. Dated 1552 [badly deteriorated].
Reported to contain music by Palestrina, although catalogue cites
twenty-eight anonymous works in this source.

B0048 Breslau. Former Stadtbibliothek. MS Mus. 2 [presently lost; contents known

from Bohn catalogue]. Score in intabulated notation. Dated 1573 [Palestrina
motets are transposed to the lower fourth].
Contains motets no.45, Haec dies a 6; no.114, Alleluia tulerunt
Dominum a 5 [secunda pars no.115, Angelus Domini a 5]; no.155, Vin
Galilei a 6 [secunda pars Ascendit Deus in iubilatione]; no.166, Ascendo ad
Patrem a 5.

B0049 Cambri dge. Fitzwilliam Museum. Music MS 279 (AC) [ohm 52 A 33-35].
Three partbooks of an o ri ginal five. Copied late 16th to early 17th century.
86 Giovanni Pierluigi da Palestrina
Provenance English, Paston household.
Reported to contain three works by Palestrina.

B0050 Cambridge. King's College, Rowe Music Library. MS316. Partbook (con-
tratenor). Dated ca. 1560 with late 16th-century additions [desc ription in
Iain Fenton, Cambridge Music Manuscripts 900-1700, Cambridge 1982,
pp.135-137].
Reported to contain two works by Palest rina.

B0051 Chicago. Newberry Library, Case MS 7A/2. Late 17th to early 18th century.
Contains two Aldrich-Palestrina recompositions, including Be thou
exalted.

B0052 Città di Castello. Cattedrale di San Florido, Archivio Capitolare MS 2084

(olim VI C 11). Choirbook. Late 1550s.
Contains three hymns, including Lauda mater ecclesia.

B0053 Civitanova Marche. Biblioteca Comunale. MSS s.s. (1). Four partbooks.
Dated ca. 1555-1560. Provenance Florence.
Reported to contain three works by Palestrina.

B0054 Coimbra. Biblioteca Geral da Universidade. MS 44. Choirbook. 17th cen-

tury. Provenance Santa Cruz, Coimbra.
Contains no.27, Missa Quartus tonus [Missa Gabriel Arcangelus] a 4;
no.28, Missa brevis a 4.

B0055 Dresden. Sl chsische Landesbibliothek. Musikabteilung MS Mus 1/B/98.

Score entitled "Collectaneorum musicorum libri quatuor" [four volumes].
Dated 1718.
Vol. 3 contains masses by Palestrina, four to six voices.

B0056 Dresden. Sachsische Landesbibliothek. MS Mus. 2/D/22 (olim B.266) Part-

books. Dated ca. 1590-1600. Probable central German provenance.
Contains motets no.9, 0 admirabile commercium a 5; no.12, Stella quam
viderant a 5 [secunda pars Tribus miraculis].

B0057 Dresden. Sàchsische Landesbibliothek. MS Grimma 56 (1-5). Partbooks.

Dated ca. 1568-1585. Provenance Meissen.
Contains motets no.8, 0 admirabile commercium a 5; no.21, Dum com-
plerentur a 6 [secunda pars Dum ergo essent]; no.22, Vin Galilaei a 6
[secunda pars Ascendit Deus]; no.70, 0 magnum mysterium a 6 [secunda
pars Quem vidistis pastores].

B0058 Escorial. Real Monasterio de San Lorenzo del Escorial, Biblioteca y

Archivio de Musica. MS 2 (=BeniCAM 4). Choirbook. Dated 1604 in
inscription. Copied at Esco rial.
Contains masses f.lv, Missa Iste confessor a 4; f. 11v, Missa Brevis a 4;
f.81v, Missa Nasce la gioia mia a 6; motets f.28v, Domine quando veneris a
Primary Sources: Manuscripts 87

4 [secunda pars Comissa mea pavesco]; f.32v, Heu mihi Domine a 4

[secunda pars Anima mea turbata est]; f.36v, Ad te levavi oculos meos a 4
[secunda pars Miserere nostri Domine]; f.40v, Ad Dominum cum tribularer
a 4 [secunda pars Sagittae potentis]; f.42v, Sicut cervus a 4; f.43v, Super flu-
mina a 4; f.45v, Quia vidisti me Thoma a 4; f.46v, Magnus sanctus Paulus a
4; f.48v, Veni sponsa Christi a 4; f.49v, Nativitas tua a 4; f.50v, Nativitas
tua; f.51v, Exaudi Domine a 4; f.52v, Veni sponsa Christi a 4 [=f.48v]; f.53v,
Gaudent in coelis a 4; f.54v, Tollite jugum meum a 4; f.55v, Beatus vir qui
suffert a 4; f.56v, Iste est qui ante Deum; f.60v, Jesus junxit se a 4; f.62v,
Loquebantur in varus linguis a 4; f.64v, Ego sum panis vivus a 4; f.66v,
Exaudi Domine a 4 [=f.51vi.

B0059 Escorial. Real Monasterio de San Lorenzo del Esco ri al, Biblioteca y
Archivio de Musica. MS 3 (=BeniCAM 3). Choirbook. Late 16th to early
17th century. Copied at Esco ri al.
Contains motets f.11v, Alleluia! tulerunt Dominum a 5; f.13v, O vera
summa sempiterna Trinitas a 5; f.15v, Ego sum panis vivus a 5; f.17v,
Crucem sanctam a 5; f.22v, Tradent enim vos a 5; f.24v, Sanctificavit Domi-
a
nus5;a 5; f.26v, O lux et decus hispaniae a 5; f.28v, Puer qui natus est a 5;
f.30v, Venit Michael Arcangelus a 5; f.37v, Beatae Mariae Magdalenae a 5;
f.39v, Haec dies a 6; f.40v, Midi turbam magnam a 6; f.42v, Beatus Lauren-
tius a 5; f.43v, Vin Galilaei a 6 [secunda pars Ascendit Deus]; f.45v, 0 bea-
tum virum a 5; f.48v, 0 Domine Jesu Christe a 6; f.49v, Solve juvente Deo a
6; f.51v, Dum complerentur a 6 [secunda pars Dum ergo essent]; f.56v,
Hodie beata virgo Maria a 5; f.58v, Suscipe verbum a 5; f.60v, Hodie nata
est beata virgo a 5; f.62v, Quam pulchri suns a 5; f.69v, Maria virgo coelos
ascendit a 7; f.74v, Cum pervenisset beatus Andreas a 5.

B0060 Escori al. Real Monasterio de San Lorenzo del Esco ri al, Biblioteca y
Archivio de Musica. MS 4 (=BeniCAM 2). Choirbook. Early 17th century.
Copied at Esco ri al. 86ff.
Contains masses no.22, Missa de feria a 4 (f.57v); no.26, Missa de feria
a 4 [=no.22] (f.70v); motet no.5, Pueri Hebraeorum a 4 ["de voces iguales "]
(f.9v).

B0061 Esco ri al. Real Monasterio de San Lorenzo del Esco ri al, Biblioteca y
Archivio de Musica. MS 5 (=BeniCAM 1). Choirbook. Early 17th century.
Copied at Escorial. 75ff.
Contains motet, no.2, Pueri Hebraeorum (f.1v); mass, no.9, "Misa cum 6
vocibus" [CCATTB] (f.54v).

B0062 Esco ri al. Real Monasterio de San Lorenzo del Esco ri al, Biblioteca y
Archivio de Musica. MS 6. Choirbook. Dated between 1689 and 1750.
Contains masses no.3, Missa brevis (f.9v); no.4, Missa Iste confessor
(f.31v); no.5, Missa sexti toni (f.53v); no.6, Missa Aeterna Christi munera
(f.74v); no.7, Missa Emendemus in melius (f.96v).

B0063 Esco ri al. Real Monasterio de San Lorenzo del Esco ri al, Biblioteca y
88 Giovanni Pierluigi da Palestrina
Archivio de Musica. MS 8. Score. Dated 1786. Provenance Spanish. ii +
187ff.
Contains offertory motets p.1, Ad te levavi oculos meos a 5; p.7, Deus tu
convertens a 5; f.11, Benedixisti Domine a 5; p.17, Ave Maria a 5; p.23,
Bonum est confiteri a 5; p.29, Perfice gressus meos a 5; p.35, Benedictus es
Domine a 5; p.41, Scapulis suis a 5; f.p.47, Meditabor in mandatis tuis a 5;
p.53, Justitiae Domini a 5; p.59, Laudate Dominum a 5; p.65, Confitebor tibi
Domine a 5; p.71, Improperium a 5; p.77, Custodi me Domine a 5; p.83,
Domine exaudi orationem meam a 4.

B0064 Escorial. Real Monasterio de San Lorenzo del Esco rial, Biblioteca y
Archivio de Musica. MS 9. Score. Dated 1786. Proven ance Spanish. iv +
56ff.
Contains offertory motet no.18, "Miércoles santo" [Domine exaudi ora-
tionem a 4].

B0065 Escorial. Real Monasterio de San Lorenzo del Esco rial, Biblioteca y
Archivio de Musica. MS 1.247. Four partbooks. Copied 18th century.
Contains masses no.l, Missa Brevis a 4; no.2, Missa Iste confessor a 4;
no.3, Missa sexti toni a 4.

B0066 Escorial. Real Monasterio de San Lorenzo del Escorial, Biblioteca y

Archivio de Musica. MS 1.248. Four partbooks. Copied 18th century.
Contains masses Missa Aeterna Christi munera a 4; Missa Emendemus
in melius a 4.

B0067 Ferrara. Biblioteca Comunale Ariostea. Officium defunctorum. 18th century.

Contains Missa defunctorum a voci (three tenors, one bass)
pari
[ascribed to Palestrina in MS; argued to be correct attribution in 1975 by
Adriano Cavicchi, but status is unresolved].

B0068 Florence. Biblioteca nazionale centrale. Cod. Miscelli 89. Treatise Lezioni di
contrappunto fatte da Francesco Maria Bassani, con alcuni toccate e vari
madrigali rotti (ossia passeggiati) da Orazio Bassani suo zio anno 1621,
come sta stritto nel verso della seconda carta. 1621.
Contains madrigals f.16v, Io son ferito ahi lasso [with diminutions];
f.19v, Cosi le chiorne mie[seconda parte of Vestiva i colli, with diminutions].

B0069 Florence. Archivio del Duomo, Archivio musicale dell'Opera di Santa Ma ria
del Fiore. Ms. Polifonico 18. Choirbook. 16th to 17th century.
Contains f.lv, Missa Gabriel Arcangelus a 4.

B0070 Florence. Archivio del Duomo, Archivio musicale dell'Opera di Santa Ma ria
del Fiore. Ms. Polifonico 20. Choirbook. Dated ca. 1650.
Contains motet f.79v, Tota pulchra es a 5; hymn f.88v, Pange lingua cor
-poris mysterium a 4.
B0071 Florence. Archivio del Duomo, Archivio musicale dell'Opera di S anta Maria
Primary Sources: Manuscripts 89
del Fiore. Ms. Polifonico 21. Three partbooks. Dated ca. 1700.
Contains p.52, Missa Sine nomine a 4.

B0072 Florence. Archivio del Duomo, Archivio musicale dell' Opera di Santa Ma ri a
del Fiore. Ms.Polifonico 25. Choirbook. Dated ca. 1600.
Contains motet f.91v, Tribulations civitatum a 5.

B0073 Florence. Archivio del Duomo, Archivio musicale dell'Opera di Santa Ma ri a

del Fiore. Ms. Polifonico 33. Small choirbook. Dated ca. 1655.
Contains masses f. 1v, Missa Papae Marcelli a 6; f.53v, Missa Sine
nomine a 4; hymn f.160v, Iste Confessor a 4.

B0074 Gdansk (Danzig). Stadtbibliothek, MS 4005. Six partbooks. End of 16th

century. Provenance S. Bartholomei, D an zig.
Contains mass no.4, Missa Papae Marcelli a 6; no.42, Missa O magnum
mysterium Vilissa Tertia]a 5.

B0075 Gd an sk (Danzig). Stadtbibliothek, MS 4007. Three partbooks of an o ri ginal

eight. End of 16th century. Proven an ce S. Bartholomei, Danzig.
Contains mass f.92v, Missa Prima [Hissa Eripe me de inimicis] a 5.

B0076 Guadalupe. Real Monasterio de S anta Ma ri a, Archivio de Musica. MS

s.s.(1) (olim I; A; 1). Choirbook. Dated between 1603 and ca. 1675. Possible
provenance Jeronimite monastery at Guadalupe.
Contains mass Missa Signe [sic; recte Sine] nomine a 4 [pub. 1567, but
with an additional final Kyrie that is absent from published version].

B0077 Guadalupe. Real Monasterio de Santa Ma ri a, Archivio de Musica. MS

s.s.(2) (ohm II; B; 2). Choirbook. Dated between 1603 and ca. 1675. Possi-
ble proven an ce Jeronimite monastery at Guadalupe.
Contains masses f.151v, Missa Aspice Domine a 5/6; f.187v, Missa
Papae Marcelli a 6; f.219v, Missa Ut re mi fa sol laa 6.

B0078 Guatemala City. Catedral, Archivio Capitular. MS 1. Choirbook. Dated

1760s, recopied partially from a collection dated 1602. 193ff.
Contains mass f.31v, Missa Sine nomine a 4 [=from Book II of masses].

B0079 Guatemala City. Catedral, Archivio Capitular. MS 2. Choirbook. Early 17th

century. Provenance Cathedral in Guatemala City. 259ff.
Contains f.20v-32, Magnificat primi toni cum 4 vocibus paribus [odd-
numbered verses beginning Anima mea f.20v-26; even-numbered verses
beginning Et exultavit f.26v-32].

B0080 Guatemala City. Catedral, Archivio Capitular. MS 4. Choirbook. Dated ca.

1600-1602. Proven an ce Guatemala City [desc ri ption in AIM, Census-Cata-
logue of Manuscript Sources of Polyphonic Music].
Reported to contain two works, one attribued to Palestrina, one attributed
"Morales/Palestrina."
90 Giovanni Pierluigi da Palestrina
B0081 Krakow. Archiwum Panstwowym Miasta Krakowa i Wojewodztwa
Krakowskiego (State Archives of the Town and Province of Krakow). MSS
D32-35. Partbooks. Dated late 17th to early 18th century. Provenance
Krakow.
Reported to contain three works by Palestrina.

B0082 Liegnitz (Legnica). Former Kdnigliche Ritter-Akademie. Bibliotheca

Rudolfina. MS 7 (Pfudel catalogue). Six partbooks. 16th to 17th century
[note: after World War II, pa s rtof the Rudolfina collection were dispersed to
various Polish libraries in Liegnitz, Warsaw, Wroclaw [Breslau], and Lublin.
The location of individual items has not been ascertained by the present
author. Inventories derived from Pfudel catalogue].
Contains motet no.17, Salve Regina misericordiae a 5.

B0083 Liegnitz (Legnica). Former Kdnigliche Ritter-Akademie. Bibliotheca

Rudolfina. MS 16 (=Pfudel). Volume of German organ tablature. Early 17th
century.
Contains motet no.191, Lauda Sion salvatorem a 8.

B0084 Liegnitz (Legnica). Former Kdnigliche Ritter-Akademie. Bibliotheca

Rudolfina. MS 20 (=Pfudel). Six partbooks. Dated first half of 17th century.
Compiled in various hands.
Contains madrigal no.29, Vestiva i colli a 5.

B0085 Liegnitz (Legnica). Former Kdnigliche Ritter-Akademie. Bibliotheca

Rudolfina. MS 24 (=Pfudel). Eight partbooks. 17th century [compilation in
four sections].
Section 3 contains madrigal no.60, Vestiva i colli a 5.

B0086 Liegnitz (Legnica). Former Kdnigliche Ritter-Akademie. Bibliotheca

Rudolfina. MS 26 (=Pfudel). Volume of German organ tablature. Early 17th
century. 346ff.
Contains motets no.275, 0 magnum mysterium a 6 [secunda pars Quern
vidistis pastorer]; no.276, Beatus Laurentius a 5; no.277, Lapidabant
Stephanum a 5 (incomplete); no.279, Ascendo ad Patrem a 5; no.280, Homo
quidam fecit a 5; no.281, Canite tuba in Sion a 5 (incomplete).

B0087 Liegnitz (Legnica). Former Kdnigliche Ritter-Akademie. Bibliotheca

Rudolfina. MS 31 (=Pfudel). Volume of German organ tablature. 17th cen-
tury. [Compilation in fourteen sections.]
Section III contains motets from the printed Books 1, 2, and 3: no.7, 0
Antoni eremita a 5; no.8, Alleluia tulerunt Dominum a 5; no.9, Crucem
sanctam a 5; no.10, 0 beata et gloriosa Trinitas a 5 [prima et secunda pars];
no.11, Ego sum panis a 5 [prima et secunda pars]; no.12, Beatus Laurentius
a 5; no.13, Hodie nata est beata virgo a 5; no.14, 0 beatum virum a 5;
no.15, 0 beatum pontificem a 5; no.16, Deus qui dedisti a 5; no.17, Lapida
-bant Stephanum ano.18, 5; Hic est discipulus a 5; no.19, Sicut lilium a 5;
no.20, Quam pulchri sunt a 5; no.21, Viri Galilaei a 5 [prima et secunda
Primary Sources: Manuscripts 91

pars]; no.22, Dum complerentur a 6 [prima et secunda pars]; no.23, Pulchra

es a 6; no.24, Vidi turbam magnam a 6 [prima et secunda pars]; no.25, Virgo
prudentissima a 6 [prima et secunda pars]; no.26, 0 virgo simul et mater a 5;
no.27, Memor esto verbi tui a 5; no.28, 0 sacrum convivium a 5; no.29,
Coenantibus illis a 5; no.30, Derelinquat impius a 5; [no.31, Angelo Pier-
luigi, Circuire possum Domine a 5, prima et secunda pars]; no.32, Gaude
Barbara beata a 5 [prima et secunda pars]; [no.33, Silla Pierluigi, Domine
Pater a 5; no.34, Rodolfo Pierluigi, Confitebor tibi a 51; no.35, Peccantem
me quotidie a 5; no.36, Jesus in qua nocte a 5; no.37, Tribularer si nescirem
a 6 [prima et secunda pars]; no.38, Confitebor tibi Domine a 8 [prima et
secunda pars]; no.40, Laudate pueri Dominum a 8; no.41, [secunda pars]
Quis sicut Dominus a 8; no.42, Domine in virtute tua a 8 [prima et secunda
pars]; no.43, Laudate Dominum onmes gentes a 8; no.44, Pater poster a 5;
no.45, Ave Maria a 5; no.46, Cantantibus organis Caecilia a 5 [prima et
secunda pars]; no.47, Caro mea a 5; no.48, Congrega Domine a 5 [prima et
secunda pars]; no.49, Inclytae sancte virginis a 5.
Section IX contains no.155, 0 Domine Jesu Christe a 6.
Section XIV contains no.169, Beate Marie Magdalene a 5.

B0088 Liegnitz (Legnica). Former Kdnigliche Ritter-Akademie. Bibliotheca

Rudolfina. MS 49 (=Pfudel 18). Six partbooks. Dated ca. 1625. Provenance
Liegnitz.
Section 4 contains no.31, 0 Domine Jesu a 6.

B0089 Lisbon. Palåcio Ducal daSerenissima Casa de Bragança de Vila Viçosa. MS

12. Choirbook. Dated 1735.
Contains motet f.2v, Pueri Hebraeorum; f.26v, mass Missa de Beata Vir-
gin [Credo only]; motet f.103v, Dominus Jesus in qua nocte.

B0090 Ljubljana. Narodna in Univezitetna Knjiznica, Rokopisni Oddelek. MS 207.

Partbook. Dated late 16th to early 17th century. Proven ance Slovenian 79ff.
Reported to contain two works by Palest rina.

B0091 London. British Library, Reference Division. Department of Manuscripts.

MSS Additional 17840. Score. 18th century. 154ff. [Palest rina-Aldrich
recompositions].
Contains no.29, "We have heard with our ears" (f.66); no.30, "Hold not
thy tongue" (1.68).

B0092 London. B ritish Library, Reference Division. Department of Manuscripts.

MSS Additional 17842. Score. 18th century. Proven ance Oxford. 145ff.
[Palestrina-Aldrich recompositions].
Contains no.4, "We have heard with our ears" (f.14) [with annotation
"adapted by Dr. Aldrich from Palastrini (sic) and Carissimi"]; no.9, "Why
art thou so vexed" (f.37); no.10, "My heart is fixt" (1.40); no.11, "The eye of
the Lord" (1.43); no.17, "0 God the King of Glory" (f.64).

B0093 London. B ritish Library, Reference Division. Department of Manuscripts.

92 Giovanni Pierluigi da Palestrina
MSS Additional 29372-29377 ("Tristitiae Remedium" of Thomas Muriell).
Partbooks. Dated 1618. Provenance London.
Contains madrigal f.56v, Sound out my voice a 5 [=Vestiva i colli]
["Gianetto Palaestina"].

B0094 London. B ritish Library, Reference Division. Department of Manuscripts.

MSS Additional 29388-29392. Partbooks. Early 17th century. English
provenance.
Contains motet f. 1, Dum complerentur a 6 [secunda pars Dum ergo
essent].

B0095 London. B ritish Library, Reference Division. Department of Manuscripts.

MSS Additional 31398. Score. Dated circa 1759.
Contains f.34v, "O God the King of Glory" a 4 [with annotation "Altered
by Dr. Aldrich from the motet `O Rex gloriae' "1.

B0096 London. British Library, Reference Division. Department of Manuscripts.

MSS Additional 31399. Score. 18th century.
Contains "O Lord God of our Salvation" [attributed to Aldrich-Palest-
rina].

B0097 London. B ritish Library, Reference Division. Department of Manuscripts.

MSS Additional 31404. Organ part. 18th century.
Contains no.7, "We have heard with our ears" (f.87v).

B0098 London. British Library, Reference Division. Department of Manuscripts.

MSS Additional 41156-41158. Partbooks. Early 17th century. English
provenance.
Reported to contain one work by Palestrina.

B0099 British Library, Reference Division. Department of Manuscripts. MSS

Egerton 2009, 2011, 2012. Three partbooks of original five. Dated early
17th century. English provenance.
Reported to contain works by Palestrina.

B0100 London. British Library, Reference Division. Department of Manuscripts.

MS Egerton 2010. Partbook. Early 17th century. English provenance.
Reported to contain works by Palest rina.

B0101 London. B ritish Library, Reference Division. Department of Manuscripts.

MS Egerton 3665 ("Tregian Manuscript"). Early 17th century.
Contains madrigal, f.199v.

B0102 London. B ritish Library, Reference Division. Department of Manuscripts.

MS Harley 7337-7342. Score [six volumes]. Late 17th to early 18th century.
[Note volume 2, Harley 7338, 254 ff: the following works were "set to Eng-
lish words by ye Revd. Dr. Aldrich, Dean of Xt Church"].
Contains no.23, "We have heard with our ears" [Doctor bonus, f.154v];
Primary Sources: Manuscripts 93
no.24, "Why a rt thou so vexed, O my soul" [Ave Maria, f.156v]; no.25, "My
heart is fixt, O God [Nos autem gloriari, f.158]; no.26, "The eye of ye Lord"
[Jesus junxit se, f.159v]; no.27 "0 God, ye King of Glory" [O Rex gloriae,
f.161]; no.28., "Hold not thy tongue" [Nativitas tua, f.162v].

B0103 London. B ri tish Library, Reference Division. Music Library. MS Mad ri gal
Society G.27. Partbook. Early 17th century. English provenance.
Reported to contain one work by Palestrina.

B0104 London. Royal College of Music. MS 2041. Partbook (of o ri ginal 8?). Early
17th century. English provenance. [Missing since 1960s].
Reported to contain one work by Palestrina.

B0105 Loreto. Biblioteca della S an ta Casa. MS 35. Choirbook. 17th century.

Contains f.1v, Missa Gig fu the m'ebbe cara a 4; f.15v, Missa In illo tern-
pore a 4; f.37v, Missa Dum esset summus Pontifex a 4; f.67v, Missa Sine
nomine (Je suis desheritée) a 4.

B0106 Loreto. Biblioteca della S anta Casa. MS 37. Choirbook. Early 17th century.
Possible provenance Loreto, Cappella Lauretana.
Contains motets f.145v, Pulchra es arnica mea a 5; f.147v, Quae est ista
quae progreditur a 5; f.149v, Vulnerasti cor meum soror mea a 5; f.151v,
Surge arnica mea a 5; f.155v, Dilectus meus descendit a 5; f.166v, Veni
dilecti mi a 5; f.172v, Isti sunt viri sancti a 4; f.174v, Tollite jugum meum a
4; f.178v, Veni sponsa Christi a 4; f.180v, Valde honorandus est a 4; f.182v,
O admirabile commercium a 5.

B0107 Loreto. Biblioteca della Santa Casa. MS 81. Choirbook. 16th to 17th cen-
tury.
Contains masses [all anonymous in source] f.25v, Missa Petra sancta a
5; f.75v, Missa Memor esto a 5; f.141v, Missa Papae Marcelli a 6.

B0108 Lucca. Biblioteca del Seminario Arcivescovile. MS A 8 (or A VIII). Choir-

book. Dated ca. 1576-1577. Provenance Rome.
Contains hymn f.47v, Veni Sancte Spiritus a 4.

B0109 Mexico City. Biblioteca Octaviano Valdés. Choirbook ( "Valdés Codex").

Dated to ca. 1561-1571. Paper of Madrid provenance. 139ff.
Contains masses f.5v, Missa Quem dicunt homines a 5; f.18v, Missa Già
fu chi m'ebbe cara [anonymous in source] f.56v, Missa Aeterna Christi
munera a 5; f.86v, Missa Ave regina coelorum a 4; f.101v, Missa Christus
resurgens [last is unicum source, either by Palestrina or Pierre Colin].

BO110 Mexico City. Metropolitan Cathedral of Mexico. Ms.5. Choirbook. Dated

16th to 17th century.
Reported to contain masses by Palestrina.

B011l Milan. Biblioteca del Conservatorio di Musica Giuseppe Verdi, MS s.s.

94 Giovanni Pierluigi da Palestrina

( "Tarascon Codex," "Clerici Codex"). Dated last third of 16th century, com-
pleted 1585-1586. Proven an ce Parma.
Contains madrigals f.48v, Piovommi amare lacrime a 5 [seconda parte
Ma gli spiriti miei] (att ri bution to Palestrina uncertain); f.49v, Come in più
negre tenebre; f.49v, Il gran splendor [seconda parte Io fui in poter]; f.78v,
Vestiva i colli [seconda parte Cosi le chiome]; f.79v, Se fra quest'erb'e fiori;
f.80v, Io son ferito; f.92v, Il tempo vola [seconda parte Ivi vedrai la gloria];
f.128v, Dolor non fu né fia; f.193v, In dubio di mio stato [seconda parte Or
fia giammai] (attribution to Palestrina uncertain).

B0112 Milan. Biblioteca del Conservatorio di Musica Giuseppe Verdi, Ms. Fondo
S an ta Barbara MS 14. Five partbooks. Last third of 16th century.
Contains p.1, Missa In duplicibus (minoribus I) a 5; p.9, Missa De beata
Marie (Virginis III) a 5; p.17, Missa Festis Apostolor(um I) a 5; p.25,
[Missa] in D[omi]nicis diebus a 4; p.33, Missa In semiduplicibus (majoribus
II) a 5.

B0113 Milan. Biblioteca del Conservatorio di Musica Giuseppe Verdi, Ms. Fondo
S an ta Barbara MS 109. Four partbooks. Dated late 16th century.
Contains Missa Sine nomine a 4.

B0114 Milan. Biblioteca del Conservatorio di Musica Giuseppe Verdi, Ms. Fondo
Santa Barbara. MS 164. Choirbook. Dated 1587, copied by Franceso Sforza.
[Alternatim polyphony format].
Contains f.lv, Missa In duplicibus (minoribus I) a 5; f.23v, Missa In
duplicibus (minoribus II) a 5; f.44v, Missa De beata Marie (Virginis I) a 5;
f.66v, Missa De beata Marie (Virginis II) a 5; f.84v, Missa De beata Marie
(Virginis III) a 5.

B0115 Milan. Biblioteca del Conservatorio di Musica Giuseppe Verdi, Ms. Fondo
Santa Barbara. MS 166. Choirbook. 1592, copied by Francesco Sforza.
Contains f.23v, Missa Festis Apostolor(um I) a 5; f.44v, Missa Festis
Apostolor(um II) a 5; f.85v, Missa In semidupl(icibus) major(ibus I) a 5;
f.103v, Missa In semiduplicibus (majoribus II) a 5.

B0116 Modena. Duomo, Biblioteca e Archivio Capitolare. MS Mus. VI. Partbook

(c an tus or tenor). Dated ca. 1560-1570. Provenance Modena.
Contains f.11v, "Missa Pilastrina" [attribution doubtful]; f.24v, Missa
Ut, re, mi, fa, sol, la a 6.

B0117 Modena. Duomo, Biblioteca e Archivio Capitolare. MS Mus. XII. Choir-

book. Dated 16th century, in several layers. Proven an ce Modena.
Contains f.32v, Missa Papae Marcelli a 6.

B0118 Modena. Biblioteca Estense. Ms.mus. D.303. Three partbooks. Dated 17th
to 18th century [att ri bution doubtful, but considered authentic by Jeppesen].
Contains Missa Sine nomine a 4 [without Gloria or Credo, with organ
and violone pa rt s added].
Primary Sources: Manuscripts 95
B0119 Modena. Biblioteca Estense. Ms.mus. D.305. Partbooks. Dated 17th to 18th
century.
Contains Missa Emendemus a 5 [with organ or violone part; lacks Gloria
in organ part].

B0120 Modena. Biblioteca Estense. Ms.mus. E888. Score. Dated to beginning of

18th century. Possibly copied by Antonio Ma ria Pacchioni.
Contains sequence p.41, Stabat Mater a 4 et 8 (incomplete); motet p.83,
Miserere mei a 5.

B0121 Modena. Biblioteca Estense. Ms.mus. E889. Score. Dated to beginning of

18th century. "From the hand of the celebrated Don Antonio Ma ria Pac-
chioni."
Contains Missa L'homme armé a 5.

B0122 Montserrat. Biblioteca del Monestir. MS 767. Dated 1586. Provenance

Madrid.
Reported to contain one work by Palestrina.

B0123 Munich. Bayerische Staatsbibliothek, Musiksammlung. Mus. Ms 46 (ohm

Maier 18). Choirbook. Dated ca. 1565. Provenance Munich.
Contains Missa Benedicta es coelorum Regina a 6 ["Gianetto"].

B0124 Munich. Bayerische Staatsbibliothek, Musiksammlung. Mus. MS 64 (olim

Maier 23). Choirbook. Dated ca. 1570. Proven ance Benedictine Cloister,
Tegemsee. 231ff.
Contains f.2, Missa Octo vocum a 8 VII. toni [copied by E. Flori, ca.
1565-1588]; f.59, Missa Escoutes tous gentilz a 8 [parody mass based on
Jannequin model; copied by J. Pollet, ca. 1555-1570] ["Janetto Palestrino";
attributions doubtful].

B0125 Munich. Bayerische Staatsbibliothek. Musiksammlung Anh. Mus. Ms 259

(ohm Maier 218). Score. Dated 1628. Made by Wilhelm Krumper, organist
of the Augustinian cloister in Polling, based on the print Hortus Musicus
(1606). 178ff.
Contains no.23, Succurite ahi lasso vos Sancti Dei [contrafactum=lo son
ferito ahi lasso a 5]; no.25, Festiva dies agitur a 5 [contrafactum=Vestiva i
colli a 5].

B0126 Munich. Bayerische Staatsbibliothek. Musiksammlung Mus. Ms 511 (ohm

Maier 53). Choirbook. Dated 1596-1597. Proven ance Benedictine cloister,
Thierhaupten. 133ff.
Contains f.49v, Missa Secunda (Veni Sancte Spiritus) a 5 (Et incarnatus
est only) [Hab. XXVIII.239].

B0127 Munich. Bayerische Staatsbibliothek. Musiksammlung Mus. Ms 668. Score.

Dated 1834. In hand of E M. Clos of Grafrath.
Contains p.203, Miserere mei a 5.
96 Giovanni Pierluigi da Palestrina
B0128 Munich. Bayerishce Staatsbibliothek, Musiksammlung. Musica Ms 1536
(olim Lat.16527b; Maier 132). Five partbooks (of original 8). Dated 1583.
Provenance south Bavaria.
Contains motets no.106, Surge illuminare a 6; 107, Hodie Christus natus
est a 8; no.108, Veni sancte spiritus a 8; no.109, Lauda Sion a 8; no.110, Ave
regina coelorum a 8; no.111, Jubilate Deo omnis terra a 8.

B0129 Munich. Bayerishce Staatsbibliothek, Musiksammlung. Mus. Ms 1641

(olim Maier 257). Volume of German organ tablature. End of 16th century.
Provenance Augustinian cloister in Au am Inn. 221ff.
Contains motets no.31, Fuit homo missus a Deo a 5 [secunda pars Erat
Johannes in deserto]; no.56, Susanna ab improbis senibus a 6 [secunda pars
Postquam autem falso]; no.62, Haec dies quam fecit Dominus a 6; no.121,
Fuit homo missus a Deo a 5 [secunda pars Erat Johannes in deserto; this
item transposed one tone higher than no.31].

B0130 Munich. Bayerische Staatsbibliothek, Musiksammlung. Mus. Ms 6483 (no

Maier number). Two partbooks of o riginal eight. Dated 1596. Provenance
Bavarian Augustinian cloister.
Contains motets Part I, no.9, Surge illuminare a 8; Part II, no.15, Deus
qui ecclesiam tuam a 6 [secunda pars Tribue nobis].

B0131 Munich. Metropolitankirche zu Unserer Lieben Frau. Mf. Chb.11. Choir-

book. Dated 1741, copied by Sebastian Pattinger. Palest rina material copied
from RISM 1646 1 .
Contains f.27, Missa Iste Confessor a 4.

B0132 Munster. Bibliothek Fortunato Santini. MS 872. Score. First half of 19th
century, in hand of Fortunato Santini.
Contains motets f.10v, Da pacem Domine a 6.

B0133 Münster. Bibliothek Fortunato Santini. MS 1208. Score. First half of 19th
century, in hand of Fortunato Santini.
Contains motet p.5, Lauda Sion salvatorem a 6 [with note "ex Corsiniana
e ne esiste altra copia nella Barberiana"]; p.28, Christus resurgens a 5.

B0134 Munster. Bibliothek Fortunato Santini. MS 1236. Score. First half of 19th
century, in hand of Fortunato Santini.
Contains motet p.16, Cum invocarem a 6; p.26, Ecce nunc benedicite a
6; p.34, Nunc dimittis a 6; p.37, Ave regina coelorum a 4 [attribution ques-
tioned]; hymns p.31, Te lucis ante terminum a 4; p.39, Fortem virili pectore
a 4 [=Lauda mater ecclesia].

B0135 Munster. Bibliothek Fortunato Santini. MS 1244. Score. First half of 19th
century, in hand of Fortunato Santini.
Contains motet p.50, Christus factus est a 4.

B0136 Münster. Bibliothek Fortunato Santini. MS 2332. Score. First half of 19th
Primary Sources: Manuscripts 97
century, in hand of Fortunato Santini.
Contains p.8, Nunc dimittis a 4.

B0137 Munster. Bibliothek Fortunato Santini. MS 2762. Four partbooks. 18th cen-
tury.
Contains motet p.17, Vidi acquam a 4.

B0138 Münster. Bibliothek Fortunato Santini. MS 2932. Score. First half of 19th
century, in hand of Fortunato Santini.
Contains motets f. l v, Cantabant sancti a 4; f.4, Domine secundum actum
a 4; f.6, Deus qui animae a 4; f.8, Ecce nunc benedicite a 4; f.10v, Gaude
Barbara a 4; f.13, Innocentes pro Christe a 4; f.15, Princeps gloriosissime a
4; f.16v, Veni sancte Spiritus a 8; f.21, Haec dies a 8.

B0139 Munster. Bibliothek Fortunato Santini. MS 4283. Score. First half of 19th
century, in hand of Fortunato Santini.
Contains motets f.47v, O salutaris Hostia a 4; f.77, Inter vestibulum a 4;
f.114v, Ascendens Christus a 4; f.126v, Vidi acquam a 4; hymns f.49v, Glo-
ria laus a 4 [Hab.XXXI]; f.166v, Tantum ergo a 4.

B0140 New Haven. Yale University, Music Library. Miscellaneous MS 170, Filmer
l/a—e (olim Beinecke Library for Rare Books and Manuscripts,
MA21/F48/A11) ( "Filmer Partbooks"). Five partbooks. Dated ca.
1588-1603. Copied in England.
Contains one work by Palestrina.

B0141 New York. The Hispanic Society Library. MS **HC 392/278. Choirbook.
Early 17th century. Copied at the Escorial.
Contains motet f.3, Pueri Hebraeorum a 4.

B0142 New York. The Hispanic Society Library. MS **HC380/861. Choirbook.

Early 17th century. Copied at the Escorial.
Contains masses f.51, Missa Iste confessor a 4; f.66, Missa Ut re mi fa
sol la a 6; f.85, "Missa Pasce la giona mia" [sic;rette Missa Nasce la gioia
mia a 6].

B0143 New York. The Hispanic Society Library. MS **HC380/871. Choirbook.

Early 17th century. Copied at the Esco rial.
Contains f.l, Missa Ut re mi fa sol la a 6.

B0144 New York. Public Library, Music Division. MSS Mus. Res. Drexel
4180-4185. Six partbooks. First half of 17th century. Probably western Eng-
land provenance.
Contains madrigals: Vergine bella à 5, Vergine saggia à 5, Vergine pura à
5, Vergine santa à 5, Vergine sol'al monio à 5, Vergine chiara à 5, Vergine
quanti [lagrime] à 5.

B0145 Oporto. Biblioteca Publica Municipale. MS Musical 40 [ohm 1609]. Choir-

98 Giovanni Pierluigi da Palestrina

book. Second half of 16th century. Proven an ce Po rtugal. 358ff.

Reported to contain one work by Palestrina.

B0146 Oxford. Bodleian Library. MSS Tenbury 340. Volume of lute tablature.
Dated circa 1600.
Contains motet no.4, Dum complerentur a 6 (f.6v).

B0147 Oxford. Bodleian Library. MSS Tenbury 349-353. Five partbooks. Early
17th century. English proven an ce.
Reported to contain three works by Palest ri na; titles ascribed but not
authors.

B0148 Oxford. Bodleian Library. MSS Tenbury 359-363. Five partbooks. Early
17th century. English provenance.
Reported to contain two works by Palestrina, of which one is no.52,
Pacem relinquo (f.47v).

B0149 Oxford. Bodleian Library. MSS Tenbury 374-378. Five partbooks. Early
17th century. English proven an ce.
Reported to contain six works by Palest ri na, of which one is Pacem relin-
quo (f.16v).

B0150 Oxford. Bodleian Library. MSS Tenbury Tenbury 385-388. Four partbooks
of an o ri ginal five. Late 16th century.
Contains f.26v, Sancta et immaculata; f.27v, O Beata et benedicta; f.28v
[secunda pars], O vera summa.

B0151 Oxford. Ch ri st Church Library. MS 8. Score. 17th century.

Contains Madrigali spirituali a 5(1594) in score; first work is texted, the
rest are without text.

B0152 Oxford. Ch ri st Church Library. MSS Mus.10. Score. Late 17th century, in
hands of William Husbands an d Hen ry Aldri ch.
Contains Liber quintus motettum (complete, in Husbands's hand).

B0153 Oxford. Ch ri st Church Library. MSS Mus. 16. Score. Dated to 1670s, in
hand of Hen ry Aldri ch [contains Aldrich reworkings /recompositions based
on Palestrina].
Contains no.22, "Hold not thy tongue" [Nativitas tua] (p.103); no.24, "O
God the king of glory" [O rex gloriae] (p.107); no.25, "Hold not thy tongue"
[second version based on Nativitas tua] (p.109); no.26, "We have heard with
our ears" [Doctor bonus] (p.112); no.27, "Why a rt thou so vexed" [Ave
Maria] (p.115); no.28, "The eye of the Lord" [Jesus junxit se] (p.118);
no.29, "My heart is fixed" [Nos autem gloriari] (p.121); no.30, "The eye of
the Lord" [second version based on Jesus junxit se] (p.123).

B0154 Oxford. Ch ri st Church Library. MSS Mus. 48. Score. Late 17th century
[Aldrich- Palestrina attributions].
Primary Sources: Manuscripts 99
Contains "O Lord God of our salvation" [attributed to Palestrina in Lon-
don, British Library, MS Add. 31399]; `Be thou exalted" [attributed to
Palestrina by John Gostling in Newberry Library Case MS 7A/2].

B0155 Oxford. Christ Church Library. MSS Mus. 521-524. Partbooks, late 17th
century.
Contains motets Liber primus motettum (complete); "O God the King of
Glory" [Palestrina-Aldrich, based on O rex gloriae a 4]; "Why art thou so
vexed" [Palestrina-Aldrich, based on Ave Maria a 4].

B0156 Oxford. Christ Church Library. MS Mus.1142B. Guardbook of miscella-

neous items. Late 17th century.
Contains f.59, "Hold not thy tongue" [sho rt score of second version
based on Nativitas tua].

B0157 Oxford. Christ Church Library. MSS 1220-1224. Five partbooks. Dated
1643-1644, with later additions. Provenance Oxford [Palestrina- Aldrich
recompositions].
Contains "O God the King of Glory" [O rex gloriae a 4]; "Why art thou
so vexed" [Ave Maria a 4].

B0158 Oxford. Christ Church Library. MS Mus. 1230. Book of organ music. Dated
probably ca. 1710-1718, in hand of Richard Goodson senior [Palestrina
Aldrich recompositions].
Contains "Hold not thy tongue" [Nativitas tua a 4]; "Behold now praise
the Lord" [a 5, uncertain att ribution or source]; "My heart is fixed" [Nos
autem gloriari a 4]; "0 Lord God of my salvation" [uncertain source]; "The
eye of the Lord" [Jesus junxit se a 4]; "We have heard with our ears" [Doctor
bonus a 4]; "Why art thou so vexed" [Ave Maria a 4].

B0159 Paris. Bibliothèque nationale. Département de la Musique. Fonds du Con-

servatoire. MS Res. Vma. 851 ("Bourdeney Manuscript"). Dated to late 16th
century. Copied in Parma or Ravenna. i + 290 + i ff. [motets probably copied
from Motecta festorum, Liber I, Liber III; Masses from Liber 1 and III].
Contains masses Missa Virtute magna a 4; Missa Ecce sacerdos magnus
a 4; Missa O regem coeli a 4; Missa Gabriel Archangelus a 4; Missa Ad
cenam Agni providi a 4; Missa Spem in alium a 4; Missa Primi toni [super Jo
son giovenetta] a 4; Missa Brevis a 4; Missa De feria a 4; Missa L'homme
armé a 5; Missa Repleatur os meum a 5; Missa De beata Virgine a 6; Missa
Ut re mi fa sol la a 6; motets Dies sanctificatus a 4; Lapidabant Stephanum
a 4; Valde honorandus est a 4; Magnum haereditatis a 4; Tribus miraculis a
4; Hodie beata Virgo a 4; Ave Maria gratia a 4; Jesus iunxit se discipulis a
4; 0 rex gloriae a 4; Loquebantur varus linguis a 4; Benedicta sit sancta
Trinitas a 4; Lauda Sion a 4; Fuit homo missus a 4; Tu es pastor ovium a 4;
Magnus Sanctus Paulus a 4; Surge propera arnica a 4; In diebus illis a 4;
Beatus Laurentius a 4; Quae est ista a 4; Misso Herodes a 4; Nativitas tua a
4; Nos autem gloriari a 4; Salvator mundi a 4; 0 quantus luctus a 4; Con-
gratulamini a 4; Dum aurora finem daret a 4; Doctor bonus a 4; Quam pul-
100 Giovanni Pierluigi da Palestrina
chri sunt a 4; Isti sunt viri a 4; Hic est vere martir a 4; Tollite iugum meum a
4; Gaudent in celis a 4; Iste est qui ante Deum a 4; Beatus vir qui suffert a 4;
Veni sponsa Christi a 4; Exaudi Domine a 4; Pater poster a 5; Ave Maria a
5; Tribularer si nescirem a 6; Accepit Jesus calicem a 6; Sicut lilium a 5;
Introduxit me rex a 5 [incomplete]; madrigals Io son ferito ahi lasso a 5; Ves
tiva i colli a 5[seconda parte Cosi le chiome mie]; lo felice sarei a 5; 0 bella-tivacolia5
Ninfa mia a 5.

B0160 Pelplin. Biblioteka Seminarium. MSS 304-308, 308a [or 382-386, 386a].
Volumes (six in all) in "new" German organ tabulature. Dated ca.
1620-1630.
Contains no.314, Quanti mercenarii a 5; no.396, Domine in virtute tua a 5.

B0161 Pistoia. Archivio Capitolare. Ms.mus. B.21, N.6. Partbooks (incomplete).

Dated 16th to 17th century.
Contains (no.6) incomplete part material for a mass Sine nomine in six-
teen parts/four choirs "del Palestina." Att ribution doubtful.

B0162 Plasencia. Archivio del Cathedrale. MS 3. Choirbook. 17th century.

Contains motets no.1, Asperges me a 4; no.2, Vidi acquam a 4; masses
no.3, Missa Brevis a 4; no.4, Missa Iste Confessor a 4; no.5, Missa Sexti toni
a 4; no.6, Missa Aeterna Christi munera a 4; no.7, Missa Emendemus in
melius a 4.

B0163 Puebla (Mexico). Archivo de Musica Sacra de la Catedral. MS I. Choirbook.

Second half of 17th century. Provenance Puebla.124 ff.
Reported to contain one work by Palestrina
(liturgical music).

B0164 Puebla (Mexico). Archivo de Musica Sacra de la Catedral. MS10. Choir-

book. Early 17th century.
Contains masses f.10, Missa brevis a 4; f.32v, Missa Iste Confessor a 4;
f.75v, Missa Aeterna Christi munera a 4; f.97v, Missa Emendemus a 4;
motet f. l v, Aspersorium per annum a 4.

B0165 Puebla (Mexico). Archivo de Musica Sacra de la Catedral. MS13. Choir-

book. Early 17th century.
Contains masses f.2v, Missa Sine nomine a 6; f.20v, Missa Nasce la gioia
mia a 6; f.37v, Missa Nigra sum a 5; f.55v, Missa Sicut lilium inter spinas a
5; f.72v, Missa Aeterna Christi munera a 4; f.82v, Missa Iste Confessor a 4;
f.92v, Missa Jam Christus astra ascenderat a 4; f.106v, Missa Panis quem
ego daboa4.

B0166 Puebla (Mexico). Archivo de Musica Sacra de la Catedral. MS20. Choir-

book. Early 17th century.
Contains masses f.10v, Missa Quem dicunt hominesa 4; f.28, Missa Dum
esset Summus Pontifex a 4; f.41v, Missa O admirabile commercium a 5;
f.60v, Missa Memor esto a 5; f.79v, Missa Dum complerentur a 6; f.106v,
Missa Sacerdotes Dominia 6.
Primary Sources: Manuscripts 101

B0167 Regensburg. Bischdfliche Zentralbibliothek. MS A.R. 728-732. Five part-

books. First qua rt er of 17th century. Proven an ce German.
Contains motet no.119, Justorum animae a 5.

B0168 Regensburg. Bischdfliche Zentralbibliothek. MS A.R. 775-777. Six part-

books. Dated 1579. Provenance South German or Austrian.
Contains motet no.98, Laudate Dominum in sanctis eius a 8 [attri bution
questioned].

B0169 Regensburg. Bischdfliche Zentralbibliothek. MS A.R. 942-946. Six part-

books. Dated 1609-1610. Proven ance Regensburg.
Contains motet no.78, O admirabile commercium a 5.

B0170 Regensburg. Bischdfliche Zentralbibliothek. MS A.R. 985-986. Two part-

books of an o ri ginal six. Dated ca. 1602. Proven ance Regensburg [possibly
transcribed from RISM 1585 1 (ed. Lindner)].
Contains motets no.14, 0 magnum mysterium a 6 [secunda pars Quem
vidistis pastores] ; no.21, O admirabile commercium a 5.

B0171 Regensburg. Bischdfliche Zentralbibliothek. MS A.R. 1011-1017. Seven

partbooks of an o ri ginal eight. Dated ca. 1610. Proven an ce possibly
Neuburg or Augsburg.
Contains motets no.18, Justorum animae a 5; no.29, Haec dies quam
fecit Dominus a 6; no.32. Hodie Christus natus est a 8; no.125, 0
admirabile commercium a 5.

B0172 Regensburg. Bischdfliche Zentralbibliothek, MS B. 205-210. Five part-

books of an ori ginal eight. Beginning of 17th century. Provenance Augsburg.
Contains motets no.48, Hodie Christus natus est a 8; no.55, Surge illu-
minare Hierusalem a 8; no.59, Jubilate Deo omnis terra a 8.

B0173 Regensburg. Bischdfliche Zentralbibliothek, MS B. 268-270. Two part-

books of an o ri ginal eight. Beginning of 17th century. Provenance Augsburg.
Contains motets no.25, Surge illuminare a 8; no.62, Veni sancte spiritus a 8.

B0174 Regensburg. Bischdfliche Zentralbibliothek, MS B. 271-274. Three part-

books of an o ri ginal six. Beginning of 17th century. Provenance Augsburg.
Contains motets no.90, Exultate Deo a 5; no.91, Exi cito in plateas a 5;
no.92, Justorum animae a 5; no.95, Ad to levavi animam meam a 5.

B0175 Regensburg. Bisch6fliche Zentralbibliothek, MS B.H. 6002 (olim C. II).

Choirbook. 16th to 17th century. Proven ance Church of San Spirito in Sas
sia, Rome
Contains f.2v, Veni Domine a 6; f.31v, Missa Emendemus in melius a 4;
f.55v, Missa In illo tempore a 4; f.71v, Missa Già fu chi m'ebbe cara a 4;
f.84v, Missa Sanctorum mentis a 4; f.100v, Missa Veni sponsa Christi a 4;
f.112v, Thomas unus a 4; f.116v, 0 magnum mysterium a 6; f.118v, Missa
Ut re mi fa sol la a 6; f.158v, Lauda Sion a 4.
102 Giovanni Pierluigi da Palestrina

B0176 Regensburg. Bischbfliche Zentralbibliothek, MS B.H. 6004 (ohm C. IV).

Choirbook. Dated ca. 1700. Provenance Church of San Spirito in Sassia,
Rome.
Contains motets p.90, Sicut lilium a 5 [secunda pars Quam pulchri sunt];
p.134, Hic est discipulus ille a 5.

B0177 Regensburg. Bischbfliche Zentralbibliothek, MS B.H. 6005 (olim C.V.)

Choirbook. End of 17th century. Provenance Church of San Spirito in Sas
sia, Rome
Contains motet p.20, Victimae paschali a 4 et 8.

B0178 Regensburg. Bischbfliche Zentralbibliothek. MS B.H. 6007 (ohm C.VII).

Choirbook. Dated 1625, copied by Paolo Troiano. Provenance Church of
San Spirito in Sassia, Rome.
Contains offertory motets f.2v, Deus tu conversus a 5; f.4v, Benedixisti
Domine a 5; f.6v, Ave Maria a 5; Ad te levavi a 5; f.8v, Tui sunt coeli a 5;
f.10v, Elegerunt Apostoli a 5; f.12v, Justus ut palma a 5; f.14v, Anima nostra
a 5; f.17v, Posuisti Domine a 5; f.1 8v, Deus enim firmavit a 5; f.20v, Inveni
David a 5; f.22v, Reges Tharsis a 5; f.24v, Jubilate Deo omnis terra a 5;
f.26v, Jubilate Deo universa a 5; f.28v, Dextera Domini a 5; f.30v, Bonum
est confiteri a 5; f.32v, Peifice gressus a 5; f.34v, Benedictus es a 5; f.36v,
Scapulis suis a 5; f.38v, Meditabor in mandatis a 5; f.40v, Justitiae Domini
rectae a 5; f.42v, Laudate Dominum quia a 5; f.44v, Confitebor tibi Domine
a 5; f.46v, Improperium exspectavit a 5; f.48v, Terra tremuit a 5

B0179 Regensburg. Bischbfliche Zentralbibliothek. MS B.H. 6008 (ohm C.VIII).

n.d.
Contains motet f.20v, Lauda Sion salvatorem a 4; f.47v, Peccantem me
quotidie a 5

B0180 Regensburg. Bischbfliche Zentralbibliothek. MS C. 119. Volume of organ

tablature. Dated 1590-1593. Provenance possibly Gmunden. 188ff.
Contains motet no.98, Susanna ab improbis senibus a 6 [secunda pars
Postquam autem].

B0181 Regensburg. Bischdfliche Zentralbibliothek. MS AN 1. Five partbooks of an

original six. Dated 1607. Provenance possibly Regensburg.
Contains motets no.6. 0 magnum mysterium a 6; no.43, 0 admirabilis
commercium a 5.

B0182 Rome. Archivio della Congregazione dell'Oratorio dei Padri Filippini. Ms. I,
II, III. Probably early 17th century.
Contains Missa Papae Marcelli a 12 [arranged probably by Stefano
Nascimbeni].

B0183 Rome. Archivio del Pio Sodalizio dei Piceni. Miscellaneous items, no shelf
number known. Provenance S. Ma ria di Loreto di Marchegiani, Rome. n.d.
Contains motet Domine quando veneris a 4 [see Lepanto de Angelis NdA
1939, item E0171].
Primary Sources: Manuscripts 103
B0184 Rome. Biblioteca Casanatense, MS 2564 (ohm O. II.184). Score. Early 19th
century, partially transcribed by Giuseppe Baini.
Contains motets in section 17, Lumen ad revelationem gentium a 4 et 5.

B0185 Rome. Biblioteca Casanatense. MS 2748 (ohm O. III.48). Score. End of

17th century. Provenance Bernardo Pasquini, later Giuseppe Baini.
Contains masses no.1, Missa De beata Virgine a 4; no.2, Missa Ad fugam
a 4; no.3, Missa Ad coenam Agni providi a 5; no.4, Missa Papae Marcelli a 6.

B0186 Rome. Biblioteca Casanatense. MS 2760 (ohm O. IV.174). Score. First half
of 19th century [formerly belonging to Giuseppe Baini, containing in pa rt
.]skrow detubirtta ylsuoibud ro nwonknu esiwrehto
Contains motets p.12, Stabat Mater a 8; p.70, Veni sancte Spiritus a 4;
p.97, Magnus sanctus Paulus a 4; p.99, Gaudent in coelis a 4; p.101, Valde
honorandus est a 4;p.103, Nos autem gloriari oportet a 4; p.111, 0 Domine
Jesu a 4; p.113, Adoramus te Christe a 4; p.119, Popule meus a 4 [two
choirs]; p.134, Asperges me a 4; magnificat p.122 Magnificat a 8 [tone 1].

B0187 Rome. Biblioteca Casanatense 2852 (olim O. II.196). Score in quarto note-
book. Early 19th century [formerly belonging to Giuseppe Baini, made with
reference to sources apparently derived in pa rt from the archive of the Cap-
pella Giulia and which, though known to Haberl, are now thought to be lost].
Contains Missa Papae Marcelli a 6 [Agnus Dei 11 only]; motets Alma
redemptoris mater a 8; Ave regina coelorum a 8; Fratres ego enint accepi a
8; Haec dies a 8; Hic est papis a 8; Jesus junxit se a 8; Lauda Sion salva-
torem a 8; Miserere mei a 12; Regina coeli a 4; Stabat Mater a 8; Sub tuum
praesidium a 8; Tria sunt munera a 8; Tu es pastor ovium a 5; Veni sancte
Spiritus a 8; Venite exultemus a 8; Victimae paschali a 8; hymns O gloriosa
Domina a 4 et 12.

B0188 Rome. Biblioteca Corsiniana. Ms. M 14 (olim 2490). Score. Dated ca. 1600.
Contains 8 Ricercari [questionable att ribution although usually accepted
in practice as by Palestrina].

B0189 Rome. Biblioteca Musicale Governativa del Conservatorio di Musica Santa

Cecilia. MS G.389. Score. Copied 1617. Provenance Rome [once owned by
Alexander Nison, organist of Santa Ma ria sopra Minerva, Rome].
Contains motets f.1, Congratulamini mihi a 6 [unicum]; f.33v, Surgam et
circuibo a 5; f.37, Vulnerasti cor meum soror mea a 5; f.46, Ego rogabo
patrem a 5; f.49v, Homo quidam fecit a 5.

B0190 Rome. Biblioteca Musicale Governativa del Conservatorio di Musica Santa

Cecilia, MSS G.792-795 [formerly Riserva B. I. I] [read in conjunction with
Biblioteca Nazionale mss 117-121, cited below]. Four partbooks of o riginal
twelve. Dated ca. 1590-1620, copied probably in Rome. Provenance Chiesa
Nuova, Rome.
Contains motets no.2, Assumpta estMaria a 6; no.6, Sacerdotes Domini
a 5; no.13, 0 admirabile commercium a 5; no.14, Crucem sanctam a 5;
no.43, Derelinquat impius a 6; no.44, 0 bone Jesu a 6; no.45, 0 bone Jesu a
104 Giovanni Pierluigi da Palestrina
6; no.47, Vidi turbam magnam a 6 [ascribed to Vincenzo Ruffo]; no.49,
Salve regina mater misericordiae a 6; no.71, 0 pretiosum et admirabile con-
vivium a 8; no.75, Magna est gloria a 8; no.77, Surge illuminare a 8; no.78,
Ave regina coelorum a 8; no.82, Laudate Dominum omnes gentes a 8;no.88,
O admirabile commercium a 8; no.89, Videntes stellam Magi a 8; no.98, 0
Domine Jesu a 8; no.103, Laudate Dominum in tympanis a 12; no.104, Ecce
nunc benedicite a 12; no.115, Stabat Mater a 12 [ascribed to F. Anerio];
no.116, Nunc dimittis a 12.

B0191 Rome. Biblioteca Musicale Governativa del Conservatorio di Musica S an ta

Cecilia MSS 796-805 (olim 761-770). Ten partbooks (two exemplars of
each voice pa rt). Dated ca. 1580. Provenance Church of San Spirito in Sas
sia, Rome
Contains motets p.1, Coenantibus illis a 5; p.7, Misit me vivens Pater a 5;
p.12, Ascendo ad Patrem a 5; p.14, Confirma hoc a 5; p.15, Benedicite
gentes a S; p.16, Tu es Petrus a 5; p.17, Domine Pater a 5 [Silla Pierluigi];
p.18, 0 sapientia a 5; p.20, Confitebuntur coeli a 5; p.26, Corona aurea a 5.

B0192 Rome. Biblioteca Musicale Governativa del Conservatorio di Musica Santa

Cecilia. MS 1147. Choirbook. Late 17th century. Provenance possibly San
Giovanni in Laterano.
Contains mass p.185, Missa Già fu chi m'ebbe tara a 4; magnificat
p.211, Magnificat a 4 [tone 6, Hab. XXVII.26]; p.225, Magn ificat a 4 [tone
4, Hab. XXVII.15].

B0193 Rome. Biblioteca Musicale Governativa del Conservatorio di Musica Santa

Cecilia. Riserva B. I. I, Single-sheet parts on leaves. Provenance unknown
[believed to be in Palestrina's autograph]. Late 16th century.
Contains motets Beata es a 8; Omnis pulchritudo Domine a 8.

B0194 Rome. Biblioteca Nazionale Centrale Vitto ri o Emanuele II. MSS Musicali
77-88. Twelve partbooks. Copied 16th an d 17th centu ri es in various hands.
Provenance Chiesa Nuova, Rome.
Contains motets p.3v, Laudate Dominum omnes gentes a 8; p.8, Beati
omnes a 12; p.9v, O Domine Jesu a 6; p.10, O bone Jesu a 6; p.17, Ad te lev
avi a 12 p.22v, Salve Regina a 4/8/12; f.25v, Regina coeli a 4.

B0195 Rome. Biblioteca Nazionale Centrale Vitto ri o Emanuele II. MSS Musicali
117-121 Five partbooks of original twelve. Dated ca. 1590-1620. Prove-
nance probably Rome [the Rome S anta Cecilia mss 792-795 are four more
from the same original set; the B 1, Q, S books have been missing since
1958. A transc ription of the entire set was made by Fortunato Santini in
1821 an d is preserved in Münster].
Contains motets no.2, Assumpta est Maria a 6; no.6, Sacerdotes Domini
a 5; no.13, 0 admirabile commercium a 5; no.14, Crucem sanctam a 5;
no.43, Derelinquat impius a 6; no.44, 0 bone Jesu a 6; no.45, 0 bone Jesu a
6; no.47, Vidi turbam magnam a 6 [ascribed to Vincenzo Ruffo]; no.49,
Salve regina mater misericordiae a 6; no.71, 0 pretiosum et admirabile con-
Primary Sources: Manuscripts 105

vivium a 8; no.75, Magna est gloria a 8; no.77, Surge illuminare a 8; no.78,

Ave regina coelorum a 8; no.82, Laudate Dominum omnes gentes a 8; no.88,
O admirabile commercium a 8; no.89, Videntes stellam Magi a 8; no.98, 0
Domine Jesu a 8; no.103, Laudate Dominum in tympanis a 12; no.104, Ecce
nunc benedicite a 12; no.115, Stabat Mater a 12 [ascribed to E. Anerio];
no.116, Nunc dimittis a 12.

B0196 Rome. San Giovanni in Laterano. Archivio Musicale. MS 48. Choirbook.

Late 16th century.
Contains Missa Sacerdotes et pontifex a 5.

B0197 Rome. San Giov an ni in Laterano. Archivio Musicale MS 55. Choirbook.

Dated 1607.
Contains Missa Assumpta est Maria a 6.

B0198 Rome. San Giov an ni in Laterano. Archivio Musicale. MS 56. Choirbook.

16th century.
Contains 8 Magnificat [beginning with even-numbered Et exultavit
verse: no.1, tone 1 a 5; no.2, tone 2 a 5; no.3, tone 3 a 6; no.4, tone 4 a 6;
no.5, tone 5 a 5; no.6, tone 6 a 6; no.7, tone 7 a 5; no.8, tone 8 a 6].

B0199 Rome. San Giovanni in Laterano. Archivio Musicale. MS 58. Choirbook.

16th century.
Contains Lamentations f.45v, Aleph. Quomodo obscuratum a 4; f.54v,
Recordare a 6; f.62, Jod. Manum suam a 6; f.67, Heth. Peccatum peccavit a
5. [Works attributed to Francesco Soriano in MS but, according to Jeppesen,
undoubtedly by Palestri na].

B0200 Rome. San Giovanni in Laterano. Archivio Musicale MS 59. Small choir-
book. Second half of 16th century [Contains material in Palestrina's auto-
graph.]
Contains motets f.1, Miserere mei a 5; f.26v, Ecce nunc benedicite a 4 et
5; f.27v, Nunc dimittis a 4 et 5; f.59v, Lucis creator optime a 4; f.65v, Coeli
Deus sanctissime a 4; f.67v, Magnae Deus a 4; f.71v, O lux beata Trinitas a
4; f.90v, Hodie Christus natus est a 4; f.89v, Popule meus a 4 [two choirs];
f.92v, Libera me a 3 et 4; f.94v, Benedictus Dominus a 4; hymns f.6v, Aurea
luce et decore a 4; f.7v, Lauda mater ecclesia a 4; f.8v, Petrus beatus a 4;
f.8v, Quicumque Christum quaeritis a 4; f.9v, Tibi Christe splendor a 4
[s tr ophes 1 and 3]; f.10v, Christe redemptor omnium a 4; f. 11v, Exultet
coelum. a 4 [Hab.VIII]; f.13v, Deus tuorum militum a 4; f.14v, Sanctorum
meritis a 4; f.15v, Iste Confessor a 4; f.16v, Jesu corona virginum a 4
[Hab.VIII.123]; f.17v, Huius obtentu a 4; f.17v, Urbs beata Jerusalem a 4;
f.19v, Rex gloriose martyrum a 4; f.20v, Jesu corona virginum a 4
[Hab.VIII.127]; f.21v, Vexilla regis a 4 [Hab.VIII.70]; f.22v, Tibi Christe
splendor a 4; f.45v, Creator aime siderum a 4; f.46v, Conditor aime siderum
a 4 [s tr ophes 2, 4]; f.49v, Christe redemptor omnium a 4 [strophe 2, a 4;
strophe 4, a 3; strophe 6, a 5]; f.53v, A solis ortus cardine a 4; f.55v, Salvete
flos a 4; f.56v, Hostes Herodes impie a 4 [strophes 2 an d 4, Casimiri, Codice
106 Giovanni Pierluigi da Palestrina
59, 21]; f.61v, Immense coeli conditor a 4; f.62v, Tristes erant Apostoli a 4;
f.63v, Telluris ingens a 4; f.68v, Deus tuorum militum a 4; f.69v, Plasmator
hominis a 4; f.72v, Audi benigne a 4; f.73v, Ad preces nostras a 4; f.75v,
Vexilla regis a 4 [Hab.VIII.35]; f.80v, Ad coenam agni a 4; f.82v, Jesu nostra
redemptio a 4; f.84v, Veni creator a 4 [Hab.VIII]; f.86v, Pange lingua a 4
[Hab.VIII]; f.87v, Doctor egregie a 4; f.87v, Quodcunque vinclis a 4; £91v,
Ut queant laxis a 4; f.97v, Ave maris stella a 4; magnificat f.77v, Magnificat
[tone 4 a 4, Hab. XXVII.244]; lamentations f. l , Heth. Misericordiae a 4;
f.1v, Aleph. Quomodo sedet a 4; f.2v, Heth. Peccatum peccavit a 4; f.3v,
Heth. Cogitavit a 4; f.5v, Heth. Misericordiae a 4; f.5v, Pars mea a 4; f.23v,
Recordare a 6; f.28v, Aleph. Quomodo sedet a 4; f.29v, Vau. Et egressus a 4;
f.31v, Jod. Manum suam a 5; f.33v, Lamed. Matribus a 4; f.34v, Heth. Cogi-
tavit a 4; 1.34v, Theth a 4; f.37v, Aleph. Ego vir a 5; f.39v, Aleph. Quomodo
obscuratum a 5; f.42v, Recordare a 6.

B0201 Rome. San Giovanni in Laterano. Archivio Musicale. MS 61. Choirbook.

Dated 1575. Provenance Rome, possibly copied by Annibale Stabile for use
at S. Giovanni Laterano. i + 158ff.
Contains hymns f.136v, Veni Creator a 4 [Hab. XXX]; f.140v, Pange lin-
gua a 4; f.143v, Tristes erantApostoli a 5 [Hab. XXXI].

B0202 Rome. San Giovanni in Laterano. Archivio Musicale. MS 87. Choirbook.

Dated ca. 1600 and early 17th century. Provenance S an Giovanni in Later-
ano, Rome. 78ff.
Contains Lamentations [attributed to Dragoni in MS but identical to
those in Spoleto 9 attributed to Palestrina]. Feria V. in coena Domini; Feria
VI. In Parasceve.

B0203 Rome. San Giovanni in Laterano. Archivio Musicale. MS A52-54. Three

volumes. Late 16th to early 17th century.
Contains Missa Cantantibus organis Caecilia a 12. [Palestrina=Et in
terra pax].

B0204 Rome. San Giovanni in Laterano. Archivio Musicale. MS Mazzo IV. Six
volumes. End of 16th century.
Contains motets no.7, Ingrediente Domino a 4 [unique attribution]; no.9,
O bone Jesu misererea 4; no.10, 0 Redemptor a 4; no.11, Salve Regina mis
-ericordiae a 4;hymn no.5, Gloria laus a 4 [Hab. XXXI].

B0205 Saragossa. Iglesia Metropolitana de la Virgen del Pilar. Archivo Musical.

Armario B-2, MS 34. Partbook. Dated last third of 16th century (date 1570
on f.29). Provenance presumably Saragossa.
Reported to contain three works by Palestrina.

B0206 Segovia. Archivo Capitular de la Catedral. MS 1. Choirbook. Early 17th

century. Provenance Segovia, copied for use by cathedral choir.
Reported to contain one work by Palestrina.
140207 Segovia. Archivo Capitular de la Catedral. MS 2. Choirbook. Early 17th
Primary Sources: Manuscripts 107
century, with additions in 1759. Provenance Segovia, copied for cathedral
choir use. i + 161ff.
Reported to contain four works by Palestrina.

B0208 Spoleto. Archivio Capitolare, Cod 9 Small choirbook. Probably compiled

ca. 1564. 102ff.
Contains Lamentations a 4 f.lv-4, 11v-15, 15v-19 [identical to those in
Lateran 87 attributed to Dragoni]: f.lv, Aleph. Quomodo sedet a 4; f.4v, Vau.
Et egressus a 4; f.7v, Jod. Manum suam a 4; 1.11v, Heth. Cogitavit a 4; f.15v,
Lamed. Matribus a 4; f.19v, Aleph. Ego vir a 4; f.23v, Theth. Misericordiae
a 4; f.26v, Aleph. Quomodo obscuratum a 4; f.30v, Recordare a 4.

B0209 Stockholm. Kungliga Musikaliska Akademiens Biblioteket. MS Tyska

Kyrkans Samling 32. Four partbooks of original six. Late 16th century (date
1595 in tenor book). Provenance, possibly copied in Stockholm.
Reported to contain one work by Palestrina.

B0210 Tarazona. Archivo Capitulai de la Catedral. MS 1. Choirbook, 16th century.

Contains motets f.35v, Dies sanctificatus a 4; f.36v, Lapidabant
Stephanum a 4; f.38v, Valde honorandus est a 4; f.40v, Magnum haeredi-
tatis a 4; f.42v, Tribus miraculis a 4; f.45v, Hodie beata ergo a 5; f.47v, Ave
Maria a 4; f.49v, Jesus junxit se a 4; f.51v, 0 rex gloriae a 4; f.53v, Loque
ni rutnvarusab- linguis a 4; f.56v, Benedicta sit a 4; f.59v, Lauda Sion Sal-
vatorem a 4; f.61v, Tu es pastor ovium a 4; f.64v, Magnus sanctusPaulus a
4; f.67v, Surge propera amica mea et veni a 4; f.70v, Quae estista quae pro-
cessit a 4; f.72v, Misso Herodes spiculatore a 4; f.74v, Nativitas tua Dei
genetrix a 4; f.76v, Nos autem gloriari oportet a 4; f.78v, Salvator mundi a
4; f.80v, O quantus luctus hominum a 4; f.82v, Congratulamini mihi a 4;
f.84v, Dum aurora a 4; f.86v, Doctor bonus et amicus Dei a 4; f.89v, Quam
pulchri sunt a 4.

B0211 Tarazona. Archivo Capitulai de la Catedral. MS 4. Choirbook Late 16th

century. Proven ance Tarazona, copied for use by cathedral choir. 151ff.
Contains mass f.118v, Missa sine nomine a 4; motets (all a 4): f.35v, Dies
sanctificatus a 4; f.37v, Lapidabant Stephanum a 4; f.39v, Valle honorandus
est a 4; f.41v, Magnum haereditatis a 4; f.43v, Tribus miraculis a 4; f.46v,
Hodie beata Virgo a 4; f.48v, Ave Maria a 4; f.50v, Jesus iunxit se a 4; f.52v,
Rex gloriae a 4; f.54v, Loquebantur a 4; f.57v, Benedicta sit a 4; f.60v, Lauda
Sion a 4; f.62v, Tu es Pastor a 4; f.65v, Magne Sancte Paule a 4; f.68v, Surge
propera a 4; f.71v, Quae estista a 4; f.73v, Misso Herodes a 4; f.75v, Nativitas
tua a 4; f.77v, Nos autem gloriari a 4; f.79v, Salvator mundi a 4; f.81v, Quan-
tum luctum a 4 [0 quantus luctus]; f.83v, Congratulamini a 4; î85v, Dum
aurora a 4;f.87v, Doctor bone a 4 [Doctor bonus];f.90v, Quam pulchri a 4.

B0212 Tarazona. Archivo Capitulai de la Catedral. MS 7. Choirbook. Second half

of 16th century. Proven ance Tarazona, probably copied for use by cathedral
choir. 100ff (originally 111+).
Contains hymn f.76v, 0 lux et decus Hispaniae a S.
108 Giovanni Pierluigi da Palestrina

B0213 Tarazona, Archivo Capitular de la Catedral. MS10. Choirbook (paper).

Dated 16th century. 89ff.
Contains magnificat, f.lv- 41, Magnificat a 4 [a set through the eight
tones, odd-numbered verse settings only]; f.41v-89, Magnificat a 4 [a set
through the eight tones, even-numbered verse settings only].

B0214 Tarazona, Archivo Capitular de la Catedral. MS11. Choirbook (paper). 17th

to 18th century. 17ff total.
Contains motet Pulchra es arnicamea a 4.

B0215 Tarazona, Archivo Capitular de la Catedral. MS 16.One partbook (cantus) of

a probable o ri ginal eight. Early 17th century. Provenance Tarazona, possibly
copied in Tarazona by a Spanish copyist.
Contains motet Petre amas me [attribution to Palestrina, unicum, argued
as genuine]; magnificat Magnificat sexti toni [doubtful att ribution].

B0216 Trento. Collection L. Feininger. Volume of organ intabulations. Dated 17th

century. Italian provenance. 97ff. [cit. Willi Apel, Keyboard Music, 805;
identification R. Shindle].
Contains Missa O magnum mysterium a 5 [Kirie a 5 and Benedictus a 3
only].

B0217 Treviso. Biblioteca Capitolare del Duomo. MS 29. Five partbooks of origi-
nal six. Dated ca. 1570-1575 in Treviso for use of cathedral choir [destroyed
1944 but contents known from catalogue made by archivist Giovanni d'
Alessi].
Contains motets no.27, Tu es Petrus a 6 [secunda pars: Quodcumque lig-
averis]; no.38, Beatus Dei famulus a 5 [secunda pars: Gaude tarvisina civi-
tas]; no.74, 0 sancte praesul Nicolae a 5 [secunda pars: Gaude praesul
optime]; no.76, Columna es a 6; no.82, In medio eccelsiae a S [secunda pars:
Jucunditatem]; no.84, Silvester beatissimus a 5; no.100, Tradent enim vos a
5; no.104, Corona aurea a 5 [secunda pars: Domine prevenisti]; no.107, Fil
-iae Jerusalem a 5 [secunda pars: Quoniam confortavit]; no.111, Haec est
vera fraternitas a 5 [secunda pars: Ecce quam bonus];no.126, Sanctificavit
Dominus a 5; no.127, 0 quam metuendus a 5; no.128, Inclitae sanctae virgi-
nis a 5; no.129, Fuit homo missus a 5 [secunda pars: Erat Joannes]; no.130,
O lux et decus Hispaniae a 5 [secunda pars: O singulare praesidium];
no.131, Praeceptor bonum est a 5 [secunda pars: Non enim]; no.132,
Omnipotens sempiternae Deus a 5; second series, no.32, 0 virgo simul et
mater a 5; no.33, Sancta et immaculata a 6 [secunda pars: Benedicta tu];
also contains Angelo Pierluigi, Circuire possum a 5 [secunda pars: In hac
cruce].

B0218 Tu ri n. Biblioteca Nazionale Universitaria. MS Riserva musicale IV.45 (olim

Regia Biblioteca dell' Università, qm VI.86). Six partbooks now bound
together. Late 16th century. Provenance probably Tu ri n, copied for use of
cou rt chapel of Carlo Emanuele I (1562-1630) of Savoy.
Reported to contain five works by Palest ri na.
Primary Sources: Manuscripts 109
B0219 Valencia. Colegio y Seminario del Corpus Christi del Patriarca, Archivo.
MS20. Eight partbooks. Early 17th century. Provenance Valencia.
Contains motet p.55, Surge propera arn ica mea et veni a 4; p.56, Veni
veni dilecti mi a 5.

B0220 Valladolid. Catedral Metropolitana, Archivo de Musica. MS 17. Partbook.

Dated to last third of 16th century. Provenance probably Valladolid. 136ff. of
o ri ginal 200.
Contains motet f.181 v, 0 bone Jesu a 6; two other works.

B0221 Vatic an City. Biblioteca Apostolica Vaticana. MS Barberini lat. 4184 (for-
merly XLVII.55). Score. 17th century. Proven an ce possible Spanish. 206ff.
Contains masses f.l, Missa Laudate Dominum a 8; f.23, Missa Hodie
Christus natus est a 8; f.42v, Missa Fratres ego enim accepi a 8; f.63, Missa
Confitebor tibi Domine a 8; motets f.106, Pater noster a 8; f.108, Ave Maria
a 8; f.110, Fratres ego enim accepi a 8; f.113, Expurgate vetus fermentum a
8; f.116v, Apparuit gratia a 8 [anonymous in source]; f.119v, Sub tuum
praesidium a 8; f.121v, Caro mea a 8; [anonymous in source]; f.126v, Ave
mundi spes a 8; f.131v, Dies sanctificatus a 8; f.134v, Haec est dies
praeclara a 8; f.136v, Disciplinam et sapientiam a 8; f.139v, Congratu-
lamini mihi a 8 [anonymous in source]; f.141v, Magnus sanctus Paulus a 8;
f.146v, O quam suavis a 8; f.148v, Nunc dimittis a 8; f.151v, Omnes gentes
plaudite a 8; f.156v, Surge illuminare Jerusalem a 8; f.158v, Lauda Sion a
8; f.161, Veni sancte Spiritus a 8; f.164v, Hodie Christus natus est a 8;
f.171, Victimae paschali a 8; f.173v, Alma redemptoris mater a 8 [anony-
mous in source]; f.176, Ave regina coelorum a 8; f.178v, Regina coeli a 8;
f.181v, Salve regina a 8; f.184v, Confitebor tibi Domine a 8; f.194v, Laudate
pueri a 8; f.197v, Domine in virtute a 8; f.204, Laudate Dominum omnes
gentes a 8; litanies f.87, Litaniae sacrae eucharistiae a 8 [Hab. XXVI.125];
f.90v, Litaniae Domini a 8 [Hab. XXVI.119]; f.94, Litaniae Beatae Mariae
Virginis a 8 [Hab. XXVI.78]; f.103, Litaniae Beatae Mariae Virginis a 8
[Hab. XXVI.95].

B0222 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Giulia VIII.39

(ohm Cod.47). Choirbook. Second half of 16th century. Provenance Rome,
copied for use by Cappella Giulia. 220ff.
Contains motets f.190v, Sancta Dei genetrix a 4; f.191v, Petrus apostolus
a 4; f.192v, Da pacem Domine a 4; magnificat f.214, Magnificat [tone 6 a 4,
Hab. XXVII.251].
Note: Palestrina also added si placet part s to two Magnificat by Cristobal
de Morales in this source.

B0223 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XII.6

(ohm Cod.50). Choirbook. Dated 1540-1541, with additions in 1587. Prove-
nance Rome, copied for use by Cappella Giulia. 142ff.
Contains hymns f.63v, Monstra te esse a 4 [=Ave maris stella a 3 by
Costanzo Festa, to which Palestrina added the fourth Si placet part]; f.94v, Deus
tuorum militum a 4 [Hab. XXX]; f.97v, Exultet coelis a 4 et 5 [Hab. XXX].
110 Giovanni Pierluigi da Palestrina
B0224 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XIII.16.
Choir part material (with basso continuo). Dated to 17th to 18th century.
56ff.
Contains f.37, Missa sine nomine a 4 [with basso continuo].

B0225 Vatican Ci ty . Biblioteca Apostolica Vaticana. MS Cappella Giulia XIII.17.

Choir pa rt material (with basso continuo). Dated to early 18th century.
Contains hymns no.1, Placare Christe a 4 [=Christe redemptoromnium
a 4]; no.2, Veni Creator a 4 [Hai. XXX]; no.3, Aurea luce et decore a 4;
no.4, Tantum ergo a 4 [unicum].

B0226 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XIII.18.

Scored music and pa rt s. Dated 17th and 18th to early 19th century [appar-
ently gatherings of Palestrina material in various hands, some of which is in
autographs of Giuseppe Ottavio Pitoni and Giuseppe Baini]. 554pp.
Contains motets f.1, Confitebor tibi Domine a 8 [secunda pars Notas
facite]; f.49, Accepit Jesus calicem a 6; f.73, Tu es Petrus a 6 [with basso
continuo]; f.223, Tu es Petrus a 6 [with basso continuo]; f.269, Domine
Jesus in qua nocte a 5; f.291, Caro mea vere a 5; f.312, Ego sum panis vivus
a 5 [secunda pars Panis quem ego dabo]; f.357, O sacrum convivium a 5;
f.279, Sicut cervus a 4; f.398, Coenantibus illis a 5; f.422, Domine quando
veneris a 4 [with basso continuo]; f.465, Peccavimus a 5; f.487, Fratres ego
enim accepi a 8; f.497, Fratres ego enim a 8 [=f.487; this layer contains
scorings of several motets by Baini].

B0227 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XIII.19.

Twenty-one pa rt s including some copies. 17th to early 18th century. 128ff.
[Cantus III is headed "Palestrina."]
Contains Missa Tu es Petrus a 18 [eighteen pa rt s in three choirs, with
basso continuo].

B0228 Vatic an Ci ty . Biblioteca Apostolica Vaticana. MS Cappella Giulia XIII.20.

Scored music and pa rt s. Dated 17th to 18th century. Proven an ce Rome
[much of this material is in the autograph of Giuseppe Ottavio Pitoni]. 158ff.
Contains offertory motets f.1, Justus ut palma a 5; f.7, Confessio et pul-
chritudo a 5; f.13, Hodie beata virgo Maria a 4; f.35, Confitebor tibi
Domine a 5; f.47, Improperium expectavit a 5; f.59, Dextera Domine a 5;
f.78, Constitues eos a 5 [with basso continuo]; f.90, Inveni David a 5 [with
basso continuo]; f.99, O angelorum principes a 6; f.107, Justus ut palma a 5
[with basso continuo]; f.114, Posuisti Domine a 5; f.120, Veritas mea a 5
[with basso continuo]; f.140, Stetit angelus a 5 [with basso continuo]; f.147,
Tui suns coeli a 5; f.153, Lauda Sion salvatorem a 8.

B0229 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XIII.21.

Sixteen partbooks bound in parchment. Dated 1708-1718. Copied by Corra-
dini. 28ff.
Contains motets f.3v, Pueri Hebraeorum a 4; f.4, Gloria laus a 4 [Hab.
XXX]; f.8r—v, 0 Redemptor a 4; f.8r—v, Sicut cervus a 4 [secunda pars Sitivit
Primary Sources: Manuscripts 111

anima mea]; hymns f.5 5v, Vexilla regis a 4 [Hab. XXX]; f.5v 7, Pange lin-
- -

gua a 4 [Hab. XXX]; f.9 10v, Veni creator spiritus a 4 [Hab. XXX].
-

B0230 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XIII.24

(olim Cod. 60). Eight partbooks. Second half of 16th century.
Contains motets f.3-3v, Regina coeli a 4 in 2 cori [secunda pars Resur-
rexit a 8 in 2 cori]; f.4 4v, Salve regina a 8 in 2 cori; f.4v, Ave regina coelo-
-

rum a 8; f.5v, Alma redemptoris mater a 8; f.7v, Ave mundi spes a 8; f.8 8v,-

Beata es a 8 [secunda pars Ave Maria]; f.9, O quam suavis a 8; f.9v 10, Dis
-

;8 a maitneipas tef.10v, maDomine

nilpiquis
c- habitabit a 12 in 3 cori; f.11,
Laudate Dominum omnes gentes a 8; f.12, Tantum ergo a 4; f.14v, 0 bone
Jesu a 8; f.15, O Domine Jesu Christe a 8; f.17, Nunc dimittis a 8; f.17v,
Omnes gentes plaudite a 8; f.18v, Fratres ego enim accepi a 8; f.19 19v, -

Expurgate vetus fermentum a 8; f.24, Laudate Dominum de coelis a 8; f.25,

Sub tuum praesidium a 8; p.46, Beata es a 8 [attribution in source: Ruggiero
Giovanelli]; f.26v, Pater noster a 8; f.35 35v, Salve regina a 4/8/12 in 3
-

cori; f.36v, Jubilate Deo omnes terra a 12 [secunda pars Laudate nomen
eius]; f.39, Ave Maria a 8; f.43v, O gloriosa Domina a 12 in 3 cori; f.44, O
quantum bonus a 12 in 3 cori; f.46, Ad te levavi a 12; f.46v, Beati omnes qui
Liment a 12; litanies f.16 16v, Litaniae Beatae Mariae Virginis a 6 [Hab.
-

XXVI.71]; f.21v 22, Litaniae Domini a 4 et 8 [Hab. XXVI.102]; f.26 26v,

- -

Litaniae Domini a 8 [Hab. XXVI.113]; f.29 29v, Litaniae Beatae Mariae

-

Virginis a 8 [Hab. XXVI.78]; f.38v 39, Litaniae Beatae Mariae Virginis a 8

-

[Hab. XXVI.95]; f.39v 40, Litaniae Domini a 8 [Hab. XXVI.119]; f.40r v,

- -

Litaniae sacrae eucharistiae a 8 [Hab. XXVI.125]; f.41v, Litaniae sacrae

eucharistiae a 8 [Hab. XXVI.133].

B0231 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XIII.25.

Four partbooks. 17th century.
Contains p.49, Magnificat a 8 [tone 1, Hab. XXVII.235].

B0232 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XIII.26.

Choirbook. Late 16th century, with additions dated 1675. Provenance Vati-
can. 16ff.
Contains motets f.7, Pueri Hebraeorum a 4; f.8, Sicut cervus a 4
[secunda pars Sitivit anima mea]; f.10v, O redemptor sume carnet?? a 4;
hymns f.5, Vexilla regis prodeunt a 4; f.5v, Veni creator spiritus a 4; f.7v,
Gloria laus a 4; Lily, Pange lingua a 4.

B0233 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XV.15

(olim Cod.13) [exemplar of print of Liber primus missarum with manuscript
appendix].
Appendix contains mass f. 1v, Missa pro defunctis a 5; motet f.15v, Lib-
era me a 5.
B0234 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XV.19
(ohm Cod.15) Choirbook, inscribed on cover "Inni del Palestrina." Dated
late 16th and early 17th centu ries.
Contains hymns f.1 v, Conditor aime siderum a 4; f.7v, Christe redemp-
112 Giovanni Pierluigi da Palestrina
tor omnium a 4; f.13v, A solis ortus cardine a 4; f.18v, Salvete fl os martyrum
a 4; f.20v, Hostes Herodes impie a 4; f.24v, Lucis creator optime a 4; f.278v,
Immense coeli conditor a 4; f.31 v, Telluris ingens a 4; f.34v, Coeli Deus a 4;
f.37v, Magnae Deus a 4; f.40v, Plasmator hominis a 4; f.43v, O lux beata
Trinitas a 4; f.46v, Audi benigne a 4; f.49v, Ad preces nostras a 4; f.54v,
Vexilla regis a 4 [Hab.VIII.35]; f.60v, Ad coenam agni a 4; f.65v, Jesu nostra
redemptio a 4; f.69v, Veni creator a 4 [Hab.VI1I]; f.75v, Pange lingua a 4
[Hab.VIII]; f.80v, Quodcunque vinlis a 4; f.82v, Doctor egregie a 4; f.84v,
Ave maris stella a 4; f.89v, Ut queant laxis a 4; f.94v, Aurea luce et decore a
4; f.98v, Lauda mater ecclesia a 4; f.101v, Petrus beatus a 4; f.103v,
Quicumque Christum quaeritis a 4; f.107v, Ti bi Christe splendor a 4;
f.111v, Christe redemptor omnium a 4; f.117v, Exultet coelum a 4
[Hab.VIII]; f.122v, Tristes erant Apostoli a 4; f.125v, Vexilla regis a 4
[Hab.VIII.70]; f.128v, Deus tuorum militum a 4 [Hab.VIII.110]; f.131v, Rex
gloriose martyrum a 4; f.133v, Jesu corona virginum a 4 [Hab.VIII.127];
f.137v, Deus tuorum militum a 4 [Hab.VIII.105]; f.142v, Sanctorum meritis
a 4; f.145v, Iste confessor a 4; 1.149v, Jesu corona virginum a 4
[Hab. VIII.123]; f.152v, Huius obtentu a 4; f.153v, Urbs beata Jerusalem a
4; f.159v, Deus tuorum militum a 4 [Hab. XXX]; f.166v, Exultet coelis a 4 et
5 [Hab. XXX]; f.174v, Forte virili pectore a 4 [=Lauda mater ecclesia];
f.178v, Pater superhi luminis a 4 [=Lauda mater ecclesia]; f.184v, Laus et
perennis gloria a 5 [=Gloriatibi Domine (Hab.VIII)].

B0235 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XV.21

(ohm Cod.10). Choirbook, inscribed "Libro con le lamentatione della setti-
mana santa del Palestrina."Second half of 16th century. 57ff.
Contains lamentations f.lv, Fe ria V: Incipit lamentatio a 5; f.7v, Vau. Et
egressus a 5; f.14v, Jod. Manum suam a 6; Feria VI: f.20v, Heth. Cogitavit a
5; f.26v, Lamed. Matribus suis a 5; f.33v, Aleph. Ego vir a 6; Sabbato sancto
f.38v, Heth. Misericordiae a 5; f.44v, Aleph. Quomodo obscuratum a 5;
f.51v, Recordare a 6.

B0236 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XV.22

(ohm Cod.16). Choirbook, entitled "Palestina con 16 Magnificat dentro."
Late 16th century. 129ff.
Contains sixteen Magnificat [beginning even-numbered Et exultavit
verse; f.2v, tone 1 a 5; f.10v, tone 2 a 5; f.17v, tone 3 a 6; f.26v, tone 4 a 6;
f.37v, tone 5 a 5; f.45v, tone 6 a 6; f.55v, tone 7 a 5; f.64v, tone 8 a 6. Begin-
ning odd-numbered Anima mea verse: f.74v, tone 1 a 4; f.82v, tone 2 a 4;
f.89v, tone 3 a 4; f.95v, tone 4 a 4; f.102v, tone 5 a 4; f.109v, tone 6 a 4;
f.116v, tone 7 a 4; f.123v, tone 8 a 4].

B0237 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XV.62.

Nine partbooks. 17th century. 68pp [page numbers from cantus 1 partbook].
Contains motets p.62, Ave Maria a 8; p.65, Sub tuum praesidium a 8;
litany p.18, Litaniae Beatae Mariae Viriginis a 8 [Hab. XXVI.95].

B0238 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XV.66.

Eight partbooks. 17th to 18th century.
Primary Sources: Manuscripts 113

Contains motets f.8, Domine quando veneris a 4; f.9, Heu mihi Domine a 4.

B0239 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Giulia XVI.15.

Choirbook. Dated 1602. Proven ance Rome, copied by G.A. Fanensis.
Contains f.lv, Missa Tu es pastor ovium a 5; f.23v, Missa Vestiva i colli a
5; 150v, Missa O admirabile commercium a 5; f.73v, Missa Sine nomine a
5; f.102v, Missa Sacerdotes Domini a 6; f.131v, Missa Assumpta est Maria
a 6.

B0240 Vatican City. Biblioteca Apostolica Vaticana. MS Ottoboniani lat. 3386.

Choirbook. Dated 1607. Provenance Altaemps library.
Contains no.1, Missa Assumpta est Maria a 6; no.2, Missa Tu es Petrus a
6; no.3, Missa Te Deum laudamus a 6.

B0241 Vatican City. Biblioteca Apostolica Vaticana. MS Ottoboniani lat. 3387.

Choirbook. Dated ca. 1600. Provenance Altaemps library.
Contains motet Popule meus a 4 [two choirs]; Lamentations: no.1, Aleph.
Quomodo sedet a 5; no.2, Vau. Et egressus a 5; no.3, Jod. Manum suam a 5;
no.4, Heth. Cogitavit a 5; no.5, Lamed. Matribus a 6; no.6, Aleph. Ego vir a
6; no.7, Heth. Misericordiae a 5; no.8, Aleph. Quomodo obscuratum a 5;
no.9, Recordare a 6.

B0242 Vatican City. Biblioteca Apostolica Vaticana. MS Ottoboniani lat. 3389.

Choirbook. Dated ca. 1600. Provenance Altaemps library.
Contains masses no.6, Missa Sanctorum muftis a 4; no.8, Missa In
majorius duplicibus a 4; no.9, Missa In minoribus duplicibus a 4; hymns
no.1, Immense coeli conditor a 4; no.2, Telluris ingens a 4; no.3, Coeli Deus
sanctissime a 4; no.4, Magnae Deus a 4; no.5, Plasmator hominis a 4.

B0243 Vatican City. Biblioteca Apostolica Vaticana. MS Ottoboniani lat. 3391.

Choirbook. Dated ca. 1600. Provenance Altaemps library, copied by Luca
Orpheo Fano.
Contains Missa Assumpta est Maria a 6.

B0244 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 22.

Choirbook. Dated ca. 1565 and 1568. Provenance Rome, copied for use by
Cappella Sistina. 144ff.
Contains f.42v, Missa Benedicta es coelorum Regina a 6; f.71v, Missa
Papae Marcelli a 6;f.94v, Missa Illumina oculos meos.

B0245 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 29.

Choirbook. Dated ca. 1590. Proven ance Rome, copied for use by Cappella
Sistina. i + 197ff.
Contains motets f.15v, Jerusalem cito veniet a 6 [secunda pars Ego enim
sum Dominus]; f.29v, Cum autem esset Stephanus a 6 [secunda pars Possitis
autem genibus]; f.36v, Hic est beatissimus Evangelista a 6 [secunda pars Hic
est discipulus ille]; f.43v, Surge illuminare Jerusalem a 8 [secunda pars Et
ambulabunt gentes]; f.50v, Responsum accepit Simeon a 6 [secunda pars
Cum inducerent puerum Jesum]; f.84v, Surrexit pastor bonus a 8 [two
114 Giovanni Pierluigi da Palestrina
choirs: secunda pars Et enim Pascha nostrum]; f.89v, Jesus iunxit se discip-
ulis a 8 [two choirs: secunda pars Et increpavit eos]; f.94v, Spiritus sanctus
replevit a 8; f.98v, Hodie gloriosa semper Virgo a 8 [secunda pars Regina
mundi]; f.111v, Tradent enim vos a 6; sequence f.76v, Stabat mater a 8;
magnificat f.165v, Magnificat a 8 [tone 11.

B0246 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 30.

Choirbook. Dated 1594. Proven an ce Rome. 161ff.
Contains masses f.25v, Missa Salve Regina a 5; f.100v, Missa O sacrum
convivium a 4; f.135v, Missa Ecce ego Johannes a 6.

B0247 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 32.

Choirbook. Dated 1585. Provenance Rome. 148ff.
Contains masses f.26v, Missa Viri Galilei a 6; f.56v, Missa Dum com-
plerentur a 6; f.88v, Missa Aspice Domine a 5; f.123v, Missa Te Deum lau-
damus a 6.

B0248 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 33.

Choirbook. Dated 1610. Proven ance Rome, copied by Orazio Griffio. 112ff.
Contains motets f.2v, Viri Galilei a 6 [secunda pars Ascendit Deus];
f. 11v, Dum complerentur a 6 [secunda pars Dum ergo essent]; f.20v, Veni
Domine e noli tardare a 6 [secunda pars Excita Domine]; f.33v, O magnum
mysterium a 6 [secunda pars Quem vidistis pastores].

B0249 Vatican Ci ty . Biblioteca Apostolica Vaticana. MS Capppella Sistina 38.

Choirbook. Dated 1563. Proven an ce Rome, copied by Johannes Parvus.
163ff.
Contains motets f.79v, Beatus Laurentius a 5; f.155v, Estote fortes in
Bello a 6.

B0250 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 39.

Choirbook. Dated 1563. Provenance Rome, copied by Johannes Parvus.
131ff.
Contains mass f.59v, Missa Ut re mi fa sol la a 6.

B0251 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 43.

Choirbook. Dated 1619. Proven an ce Rome, copied by Nicola de Fantis. i, ii
+ 161ff.
Contains offertory motets (all a 5): f.3v, Jubilate Deo omnis terra; f.7v,
Dextera Domini fecit virtutem; f.11v, Bonum est confiteri Domino; f.15v,
Angelus Domini descendit de coelo; f.19v, Deus meus ad te de luce vigilio;
î23v, Lauda anima mea Dominum; f.27v, Jubilate Deo universa terra; f.31v,
Benedicite gentes Dominum; f.36v, Ascendit Deus in iubilatione; f.40v, Con-
firma hoc Deus; f.44v, Sacerdotes Domini incensum; f.49v, Domine convert-
ere; f.53v, Sperent in te omnes; î58v, Illumina oculos meos; f.62v, Benedicam
Dominum qui tribuit mihi; f.66v, Perfice gressus meos; f.70v, Sicut in holo-
caustus arietum; î74v, Populem humilem; f.78v, lustitiae Domini rectae;
f.82v, Ad te levavi animam meam; f.86v, Exaltabo te Domine; f.90v, Praeca-
Primary Sources: Manuscripts 115
tus est Moises; f.94v, In te speravi Domine; f.98v, Immittit Angelus Domini;
f.102v, Expectans expectavi Dominum; f.106v, Domine in auxilium meum
respice; f.110v, Oravi ad Dominum; f 114v, Sanctificavit Moises altare
Domino; f.118v, Si ambulavero in medio tribulationis; f.122v, Super (lumina
Babilonis; f.126v, Vir erat in te rra Hus; f.130v, Recordare mei Domine;
f.134v, De profundis clamavi; f.139v, Tradent enim vos in conciliis; f.144v,
Corona aurea super caput eius; f.148v, lustorum animae in manu Dei sunt;
f.152v, Veritas mea et misericordia mea; f.156v, Afferentur
erentur Regi virgines.

B0252 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 47.

Choirbook. Dated 1616 [some material recopied 1704; manscript restored
1724]. Provenance Rome, copied by Domenico Brancadore. 165ff.
Contains masses f.4v, Missa [sine nomine] a 4 (doubtful attribution?);
f.26v, Missa Lauda Sion salvatorem a 4; f.46v, Missa O admirabile com-
mercium a 5; f.80v, Missa Memor esto a 5 [recopied in 1708]; f.107v, Missa
O virgo simul et mater a 5 [recopied 1708]; f.134v, Missa Octavi toni a 6
[lacks Agnus Dei II].

B0253 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 52.

Choirbook. Dated 1612 and 1613. Provenance Rome, copied by Ippolito
Fersini. i + 99ff.
Contains masses f. 1v, Missa Sacerdos et pontifex a 5; f.37v, Missa
Ascendo ad Patrem a 5; f.67v, Missa Tu es Petrusa 6.

B0254 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 54.

Choirbook conflated from various fascicles. 16th and 17th centuries. Prove-
nance Rome, some materials apparently copied by Johannes Parvus. 151ff.
Contains motets f.111v, Viri Galilaei 6 [secunda pars Ascendit Deus in
iubilatione]; f.121v, Per lignum a S [ascribed to Palestrina in Haberl edition;
work is probably by Divitis]; f.127v, Tu es Petrus a 6 [secunda pars Quod-
cumque ligaveris]; f.133v, Ego sum panis vivus qui a 5 [secunda pars Panis
quem ego dabo]; f.139v, Ascendo a Patrem meum a 5 [secunda pars Ego
rogabo patrem]; f.147v, 0 beata et benedicta et gloriosa Trinitas a 5
[secunda pars O vere summa sempitema Trinitas].

B0255 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 57.

Choirbook, conflated from various fascicles. Mid-16th century. Proven ance
Rome, in various hands, some material in hand of Johannes Parvus. 139ff.
Contains masses f.3v, Missa O magnum mysterium (Missa Tertia) a 5;
f.24v, Missa Veni creator spiritus a 6.

B0256 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 66.

Choirbook. Dated 1671. Provenance Rome. 33ff.
Contains mass f.2v, Missa Beatus Laurentiusa 5.

B0257 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 68.

Choirbook. Dated 1618. Proven ance Rome, copied by Domenico Bran-
cadore. 114ff.
116 Giovanni Pierluigi da Palestrina
Contains masses f.3v, Missa Pater nostera 4; f.31v, Missa Veni Sponsa
Christi a 4; f.57v, Missa Iesu nostra redemptio (Missa Tertia) a 4; f.81v,
Missa Pietra santa a 5.

B0258 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 70.

Choirbook. Dated 1666. Provenance Rome, in hand of Ba rt olomeo
Belleschi. 50ff.
Contains mass f.2v, Missa Nativitas tua Dei genetrix a 5 [anonymous in
source; attributed to Palestrina by Bernhard Janz in 1997].

B0259 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 71.

Choirbook. Dated 1631. Provenance Rome, copied by Orazio Felice and
Giuseppe Dosi. 61ff.
Contains antiphon motet f.lv, Lumen ad revelationem gentium a 4 et 5,
with canticle Nunc dimittis.

B0260 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 72.

Choirbook, a conflation of several fascicles. 16th century [restoration work
done in 1721]. i + 103ff.
Contains motets: f.3v, Salvatorem expectamus Dominum a 6 [secunda
pars Sobrie e juste] [questioned attribution]; f.19v, O Rex gloriae a 4; f.25v,
Suscipe verbum virgo Maria a 5 [secunda pars Paries quidem filium]; f.47v,
Salvum me fac a 5 [questioned attribution; possibly by Jachet?]; f.53v,
Angelus Domini descendit de coelo a 5 [secunda pars Et introeuntes] a 5;
f.87v, Fuit homo missus a Deo a 5 [secunda pars Erat Joannes in deserto].

B0261 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 73.

Choirbook, conflation of several fascicles. Dated 1659. Provenance Rome,
in various hands. 49ff.
Contains motets f.3v, Salvator mundia 4; f. 11v, Confessio et pulchritudo
a 5; f.36v, Derelinquat impiusa 5.

B0262 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 76.

Choirbook, conflation of several fascicles. Dated 1599. Provenance Rome,
in various hands. 191ff.
Contains masses f.4v, Missa Assumpta est Mariaa 6; f.26v, Missa Beatus
Laurentiusa 5; f.50v, Missa Dilexi quoniam a 5; f.80v, Missa Vestiva i copia
5; motet f.177v, Tu es Petrusa 6.

B0263 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 78.

Choirbook. 16th century. Proven an ce Rome. i + 29ff.
Contains f.2v, Missa Tu es pastor ovium a 5; f.24v, motet, Tu es pastor
ovium a 5.

B0264 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 88.

Choirbook. 17th century. Proven ance Rome, copied by Orazio Felice. 53ff.
Contains motets f.lv, Pulchra es arnica mea a 5; f.7v, O Antoni eremita a
5; f.13v, O quantus luctusa 4; f.20v, Cantantibus organis Cecilia a 5; f.25v,
Misit Rex incredulusa 4; f.29v, O doctor optime a 4; f.35v, Dexteram meam
Primary Sources: Manuscripts 117

et collum meum a 5; f.41v, Cum descendisset Jesus de monte a 4; f.47v,

Quern dicunt hominesa 5.

B0265 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 91.

Choirbook, conflation of various fascicles. Dated 1620, 1622. Proven ance
Rome, in hand of Giuseppe Dosi. 35ff.
Contains motet f.31v, Beatus Laurentius orabat a 4.

B0266 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 96.

Choirbook. Dated 1630. Provenance Rome, copied for the use of the Sistine
Chapel. i, ii + 52ff.
Contains motets f.18v, Quam pulchri sunt a 4; f.24, Congratulamini mihi
a 4; f.28v, Hodie nata est beata Virgo Maria a 5; f.34, Surge propera arnica
meaa 4; f.40v, Tempus est ut revertar a 5 [secunda pars Nisi ego abiero].

B0267 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 97.

Choirbook. Dated 1687. Provenance Rome. i + 22ff.
Contains motets f.3v, Surrexit pastor bonus a 8 [secunda pars Etenim
Pascha nostrum]; f.11v, Jesus iunxit se a 8 [secunda pars Et increpavit eos].

B0268 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 100.

Choirbook, conflation of several fascicles. Dated 1659. Provenance Rome,
in various hands. 33ff.
Contains motets f.9v, Lauda Sion a 4; f.25v, Veni sponsa Christi a 4;
f.29v, Valde honorandus est a 4.

B0269 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 101.

Choirbook. Dated 1638. Provenance Rome, in hand of Orazio Felice. 37ff.
Contains motets f.14v, O beata et benedicta et gloriosa Trinitas a 5
[secunda pars O vera summa]; f.24v, Vidi turbarn magnam a 5 [secunda pars
Et omnes angeli].

B0270 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 104.

Choirbook. Dated 1709. Provenance Rome. i, ii + 28ff.
Contains motets f.2v, Vari Galilei quid statis a 6 [secunda pars Ascendit
Deus]; f.12v, Dum complerentur dies Pentecostes a 6 [secunda pars Dum
ergo essent].

B0271 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 105.

Choirbook, conflation of several sources. 17th century; the Palestrina work
was apparently copied in 1627. Proven ance Rome. 57ff.
Contains motet f.52v, Rex Melchiora 5.

B0272 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 108.

Choirbook. Dated 1697. Proven an ce Rome, copied by Jacopo Tartani. i +
40ff.
Contains motet f.10v, Corona aurea a 5 [secunda pars f.16v, Domine
praevenisti eum].
118 Giovanni Pierluigi da Palestrina
B0273 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 113.
Choirbook. Dated 1709. Provenance Rome, copied by Jacopo Tartani. i +
46ff.
Contains mass f.lv, Missa Virgo simul et matera 5.

B0274 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 117.

Choirbook. Dated 1662. Provenance Rome, copied by Ba rtolomeo
Belleschi. 25ff.
Contains motets f.3v, Fratres ego enim accepi a 8; f.10v, Salvum me fac
Dominea 5 [questioned att ri bution; possibly by Jachet?].

B0275 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 120.

Choirbook. Dated 1791. Provenance Rome, copied by Enrico Giorgi. 20ff.
Contains mass f.2v, Missa Nigra sum a 5.

B0276 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 125.

Choirbook. Dated 1760. Proven ance Rome, copied by Francesco Biondini. i
+ 27ff.
Contains motet f.7v, Princeps apostolorum a 6 [secunda pars Quod-
cumque ligaveris] [contrafactum text; music=Solve jubente].

B0277 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 126.

Choirbook. Dated 1762. Provenance Rome, copied by Francesco Biondini.
31ff.
Contains motets f.2v, Virtute magna reddebanta 5 [secunda pars Repleti
quidem spiritus][contrafactum text; music=Ascendo ad Patrem/Ego rogabo
Patrem]; f.10v, Inveni David servum meum a 5 [contrafactum text;
music=Exi cito in plateas a 5].

B0278 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 127.

Choirbook. Dated 1786. Provenance Rome, copied by Bernardino Sebas-
tiani. i + 33ff.
Contains mass f.2v, Missa Assumpta est Maria a 6.

B0279 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 129.

Choirbook. Dated 1710. Provenance Rome, copied by Tommaso Altavilla. i
+ 47ff.
Contains mass f.2v, Missa Memor esto a 5.

B0280 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 131.

Choirbook. Dated 1714. Proven an ce Rome, copied by Jacopo Tartano. i +
42ff.
Contains mass f.3v, Missa Viri Galilaei a 6 [lacks Agnus Dei II].

B0281 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 132.

Choirbook. 17th century. Provenance Rome, MS restoration with recopying
1753. 39ff.
Contains masses f.3v, Missa Dilexi quoniam a 5; f.21v, Missa Nigra sum
a 5.
Primary Sources: Manuscripts 119
B0282 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 133. Choir-
book. Dated 1709. Provenance Rome, copied by Tommaso Altavilla. i + 53ff.
Contains mass f.2v, Missa O admirabile commercium a 5.

B0283 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 134.

Choirbook. Dated 1621. Provenance Rome, MS restoration 1721. i + 33ff.
Contains motets f.14v, Osculetur me osculo oris sui a 5; f.17v, Trahe me
post te a 5; f.21v, Vulnerasti cor meum a 5; f.24v, Sicut lilium inter spinas a
5; f.28v, Surge, propera arnica mea formola a 5.

B0284 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 135.

Choirbook. Dated 1703. Provenance Rome, copied by Jacopo Tartani. 47ff.
Contains mass f.lv, Missa Tu es pastor ovium a 5 [lacks Agnus Dei II];
motet f.38v, Tu es pastor ovium a 5.

B0285 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 137.

Choirbook. Dated 1668. Provenance Rome, copied by Bernardino Sebas-
tiani. i + 34ff.
Contains mass f.3v, Missa Assumpta est Maria a 6 [lacks Agnus Dei II].

B0286 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 140.

Choirbook. Dated 1676. Provenance Rome, copied by Bartolomeo
Belleschi. i + 34ff.
Contains mass f.3v, Missa Papae Marcelli a 6 [lacks Agnus Dei II and
III].

B0287 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 141.

Choirbook. Dated 1660. Provenance Rome, copied by Ba rtolomeo
Belleschi. i + 40ff.
Contains mass f.3v, Missa Sine nomine (Cantabo Domino, or Beata Dei
genetrix) a 6 [lacks Agnus Dei II].

B0288 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 143.

Choirbook. 18th century. Proven ance Rome. 29ff.
Contains mass f.lv, Missa Beatus Laurentiusa 5 [lacks Agnus Dei II].

B0289 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 144.

Choirbook. Dated 1768. Provenance Rome. i + 21ff.
Contains mass f.2v, Missa Papae Marcellia 6 [lacks Credo, Agnus Dei II
and III].

B0290 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 146.

Choirbook. Dated 1747. Provenance Rome, copied by Biondini. i + 29ff.
Contains motets f.3v, Loquebantur varus linguis a 4; f.9v, Sanctificavit
Dominusa 5; f.15v, Cum pervenisset Beatus Andreas a 5.

B0291 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 147.

Choirbook, from different fascicles combined into a single volume. Dated
1785. Provenance Rome. i + 58ff.
120 Giovanni Pierluigi da Palestrina

Contains masses f.lv, Missa Alma Redemptoris matera 6 [lacks Christe,

Credô Benedictus, Agnus Dei II]; f.26v, Missa [Quinti toni] a 5 [lacks
Christe, Benedictus and Agnus Dei 11].

B0292 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 149.

Choirbook. Mid-16th century. Provenance Rome, in hand of Johannes
Parvus. i + 28ff.
Contains f. l v, Missa Confitebor tibi Domine a 8.

B0293 Vatican Ci ty . Biblioteca Apostolica Vaticana. MS Cappella Sistina 153.

Choirbook. 16th century. Provenance Rome, copied by Luca Orpheus. 30ff.
Contains mass f.lv, Missa Panem nostruma 5 [lacks Agnus Dei II]; motet
f.21v, Ecce sacerdos magnusa 6 [secunda pars Ideo iureiurando].

B0294 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 171.

Choirbook. 17th century. Provenance Rome, formerly owned by Girolamo
Chiti. 48ff.
Contains f.19v, Missa Laudate Dominum omnes gentes a 8, cho ru s I
[lacks Agnus Dei II].

B0295 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 172.

Choirbook, 17th century. Provenance Rome, formerly owned by Girolamo
Chiti, paired with MS 171. 41ff.
Contains f.19v, Missa Laudate Dominum omnes gentes a 8, cho ru s II
[lacks Agnus Dei II].

B0296 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 182.

Choirbook. Dated 1726. Provenance Rome. i + 11ff.
Contains improperia f.lv, Popule meus a 8, cho ru s I a 4.

B0297 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 183.

Choirbook, dated 1726. Proven an ce Rome, paired with MS 182. i + 9ff.
Contains improperia f.lv [Popule meusa 8], Quia eduxi te, cho ru s II a 4.

B0298 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 194.

Choirbook. 17th century. Proven an ce Rome, copied by Bartolomeo
Belleschi. 37ff.
Contains mass f. 1v, Missa Lauda Sion salvatorem a 4 [lacks Agnus Dei
Il].

B0299 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 198.

Choirbook, conflation of various fascicles. 17th century, restored 1724. i +
92ff.
Contains lamentation f.22v, Feria VI Lectio II Lamentatio Ieremiae
Prophetae: Matribus cui comparabo and Jerusalem a 4; f.26, Aleph. Quo-
modo sedet a 5; f.31v, Heth. Cogitavit a 5 [anonymous in source].

B0300 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 205.

Primary Sources: Manuscripts 121
Choirbook, conflation of various fascicles. 17th century. 58ff.
Contains improperia f.2v, Popule meus a 8, chorus I; f.42v, Psalm 50, Mis-
erere mei Deus a 9, cho ru s I; f.44v, improperia Popule meus a 8, choru s I.

B0301 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 206.

Choirbook, conflation of various fascicles. 17th century. Paired with MS
205. 61 ff.
Contains improperia f.2v [Popule meus a 8], Quia eduxi te, cho ru s II;
f.39v, Psalm 50, Miserere mei Deus a 9, chorus II; f.44v, improperia [Popule
meus a 8] Quia eduxi te, cho ru s II.

B0302 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 215.25,

215.27-33. Partbooks. Dated 1721. Provenance Rome.
Contains motets f.26v, Fratres ego enim accepi a Domino a 8; f.28, Jubi-
late Deo omnis terra a 8 [from cantus primi chori].

B0303 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 219.

Choirbook. Mid-18th century. Proven an ce Rome, copied by singer Giovanni
Celio for use in the Sistine Chapel. 36ff.
Contains mass f.lv, Missa pro defunctis a 5 [Kyrie, Offertorium, Sanctus,
Benedictus, Agnus Dei]; f.25v, responsory Libera me a 3 et 4.

B0304 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 221.

Choirbook. Dated 1688. Provenance Rome, copied by Niccolo Porta. i +
189ff.
Contains motet f.34v, Derelinquat impius a 5; hymn f.110 [anonymous],
Crudelis Herodes a 4 [=Hostes Herodes impie].

B0305 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 267.

Score. Dated 1792. 5ff.
Contains scoring of canon Cantabimus canticum novum a 4 [not in
Haberl or Casimiri]. This c an on was said to have been incised in stone on the
funeral monument to the papal singers situated until 1640 in Santa Ma ri a in
Vallicella (Chiera Nuova), where it was ascribed to Palestrina. The 1792
transc ription was written out by Leander Piazza [Llorens, Capellae Sixtinae
Codices, p.304]. The c anon was more likely to have been composed by Gre-
gorio Allegri; see item E0198.

B0306 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 273.

Choirbook. Dated 1753. Provenance Rome, copied by Francesco Biondini. i
+ 38ff.
Contains mass f.2v, Missa Gabriel Archangelus a 4 [lacks Benedictus,
Agnus Dei II and 117].

B0307 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 276.

Choirbook. Dated 1724. Provenance Rome, copied by Giov an ni Domenico
Biondini. 28ff.
Contains mass f.lv, Missa sine nomine a 4 [lacks Agnus Dei II and III].
122 Giovanni Pierluigi da Palestrina
B0308 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 280.
Choirbook. Dated 1724. Provenance Rome, copied by Piero Fiori. i + 72ff.
Contains masses f.lv, Missa brevis a 4 [lacks Agnus Dei II]; f.37v, Missa
Aeterna Christi munera a 4 [lacks Agnus Dei II].

B0309 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 281.

Choirbook. Dated 1734. Provenance Rome, copied by Giov an ni Domenico
Biondini. i + 30ff.
Contains mass f.2v, Missa Iste Confessor a 4 [lacks Agnus Dei II].

B0310 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 285.

Choirbook. Dated 1795. Provenance Rome, copied by Leonardo Testa. i +
61ff.
Containts masses f.19v, Missa Iste Confessor a 4 [Credo only]; f.28v,
Missa Aeterna Christi munera a 4 [Credo only].

B0311 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 286.

Choirbook. Dated 1791. Provenance Rome, restored 1850. i + 40ff.
Contains masses f.2v, Missa Dilexi quoniam a 5 [lacks Credo, Benedic-
tus, Agnus Dei II and 111]; f.21v, Missa Nigra sum a 5 [lacks Benedictus and
Agnus Dei Ill].

B0312 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 287.

Choirbook. Dated 1750. Provenance Rome, copied by Giovanni Domenico
Biondini. 44ff.
Contains mass f.3v, Missa Repleti sunt omnes a 4 [lacks Agnus II and
III].

B0313 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 288.

Choirbook. Dated 1707. Proven an ce Rome, copied by Tommaso Altavilla,
restored 1768. 54ff.
Contains masses f.3v, Missa Pietra sancta a 4 [lacks Credo and Agnus
Dei II and III]; f.33v, Missa Vestiva i colli a 5 [lacks Credo, Benedictus, and
Agnus Dei II an d III].
B0314 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 289.
Choirbook. Dated 1796. Provenance Rome. 21ff.
Contains mass f.2v, Missa Papae Marcelli a 6 [lacking Credo an d Agnus
Dei II an d III].

B0315 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 291.

Choirbook. Dated 1739. Provenance Rome, copied by Giovanni Domenico
Biondini for use in the Sistine Chapel. i + 33ff.
Contains mass f.2v, Missa pro defunctis a 5; f.24v, responsory Libera me
a 3 et 4.

B0316 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 292.

Choirbook. Dated 1749. Provenance Rome, copied by Giovanni Domenico
Biondini. i + 37ff.
Primary Sources: Manuscripts 123

Contains motets f.3v, O magnum mysterium a 5 [secunda pars Natum

vidimus]; f.11v, Surge illuminare a 8 [secunda pars Et ambulabunt gentes];
f.23v, Responsum accepit Simeon a 6 [secunda pars Cum inducerent
puerum]; f.31v, Derelinquat impiusa 5.

B0317 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 293.

Choirbook. Dated 1748. Proven ance Rome, copied by Giovanni Domenico
Biondini. i + 55ff.
Contains motets f.31v, Plangant euma 6 [contrafactum text; music=Deus
qui ecclesiam tuam a 6]; f.42v, Stabat mater a 8 [secunda pars Eja mater].

130318 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 294.

Choirbook. Dated 1748. Provenance Rome, copied by Francesco Biondini.
55ff.
Contains motets f.13v, Jesus iunxit se a 8; f.27v, Angelus Domini a 8;
f.37v, Viri Galilaei a 6; f.45v, Dum complerentur dies Pentecostes a 6
[secunda pars Dum ergo essent].

B0319 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 295.

Choirbook. Dated 1749. Proven an ce Rome, copied by Francesco Biondini.
51ff.
Contains motets f.3v, O beata et gloriosa Trinitas a 5 [secunda pars O
vere summa]; f.13v, Vidi turbam magnam [secunda pars Et omnes Angeli
stabant]; f.23v, Salvatorem exspectamus a 6 [secunda pars Sobrie et juste];
f.33v, Jerusalem cito veniet a 6 [secunda pars Ego enim]; f.42v, Canite tuba
a 5 [secunda pars Rorate coeli].

B0320 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 296.

Choirbook. Dated 1749. Provenance Rome, copied by Giovanni Domenico
Biondini. i + 47ff.
Contains motets f.3v, Veni Domine et noli tardare a 6 [secunda pars
Excita Domine]; f.30v, Cum autem esset Stephanusa 6 [secunda pars Positis
autem genibus]; f.38v, Hic est beatissimus Evangelista a 6 [secunda pars Hic
est discipulus].
B0321 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 297.
Choirbook. Dated 1749 and 1777. Provenance Rome, copied by Giov an ni
Domenico Biondini. i + 62ff.
Contains motets f.19v, Ne timeas Maria a 6 [secunda pars Et dabit illi
Dominus]; f.53v, Fuit homo missus a Deo a 5 [secunda pars Erat Johannes
in deserto].

B0322 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 298.

Choirbook. 18th century. Provenance Rome, copied by Giovanni Domenico
Biondini. i + 63ff.
Contains motets f.5v, Sancte Paule Apostole a 5; f.13v, Tu es pastor
ovium a 4; f.18v, Solve iubente Deo a 6 [secunda pars Quodcumque
ligaveris]; f.29v, Surge Petrea 5; f.54v, Tu es Petrus a 6 [secunda pars Quod-
cumque ligaveris].
124 Giovanni Pierluigi da Palestrina

B0323 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 299. Dated
1743. Provenance Rome, copied by Giovanni Domenico Biondini. i + 40ff.
Contains motet f.15v, Corona aureaa5; f.30v, Tu es Petrus a 6 [secunda
pars Quodcumque ligaveris].

B0324 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 300.

Choirbook. Dated 1749. Provenance Rome, copied by Giovanni Domenico
Biondini. i + 38ff.
Contains motet f.25v, Sancta et immaculata virginitas a 6 [secunda pars
Benedicta tu].

B0325 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 301.

Choirbook. Dated 1743. Provenance Rome, copied by Giovanni Domenico
Biondini. i + 34ff.
Contains motet f.4v, Memor esto verbi tui a 5.

B0326 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 302.

Choirbook. Dated 1742. Provenance Rome, copied by Giovanni Domenico
Biondini. i + 44ff.
Contains motet f.14v, Veni sponsa Christi a 4; f.21v, Iste est qui ante
Deum a 4; f.29v, Nos autem gloriari a 4; f.36v, Hic est vere martyr a 4.

B0327 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 306.

Choirbook, conflated from several fascicles. 18th century. Provenance
Rome, copied by Giuseppe Lorenzini. i + 50ff.
Contains motet f.lv, Haec dies a 6.

B0328 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 308.

Choirbook in two parts. Dated 1752 and 1798. Provenance Rome, copied by
Francesco Grimaldi. i + 39ff.
Contains motet f.2v, Fratres ego enim accepia 8.

B0329 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 309.

Choirbook. 18th century. i + 17 ff.
Contains motet [sequence] f.9v, Lauda Sion salvatorem a 5 [strophes 1,
2, 23].

B0330 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 310.

Choirbook. Dated 1795. Provenance Rome, copied by Leonardo Testa. 26ff.
Contains motet f.3v, Mirificat Dominus a 5 [contrafactum text;
music=Deus qui dedisti legem a 5].

B0331 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 311.

Choirbook. Dated 1761 and 1760. Provenance Rome, copied by Giuseppe
Lorenzini. i + 35 ff.
Contains motets f.3v, Descendit lux magna a 8 [secunda pars Dies sancti-
ficatus] [contrafactum text; music=Laudate pueri Dominum]; f.16v, Psallite
Deo nostro a 8 [contrafactum text; music= Domine in virtute a 8]; f.26v,
Primary Sources: Manuscripts 125
Germinavit radix Jesse a 5 [secunda pars Hodie beata virgo] [contrafactum
text; music=Senex puerum portabat].

B0332 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 314.

Choirbook. Dated 1761. Provenance Rome, copied by Francesco Biondini. i
+21 ff.
Contains motet f.3v, Advenit ignisa 6 [contrafactum text; music=Respon-
sum accepit Simeon a 6].

B0333 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 315.

Choirbook. Dated 1767. Proven ance Rome, copied by Francesco Biondini.
40ff.
Contains motets f.3v, Exultate Deo adjutori nostro a 8 [contrafactum
text; music=Magna est gloria]; f.16v, Coronas aureas a 5.

B0334 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 320.

Choirbook. Dated 1780. Provenance Rome, copied by Giuseppe Lorenzini. i
+33ff.
Contains mass f. lv, Missa Papae Marcelli a 4 [Anerio's reduced version
of the original mass a 6].

B0335 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 321.

Choirbook. Dated 1830. i + 25ff.
Contains motets f.2v, Salvator mundl a 4; f.6v, Dies sanctificatus a 4;
f.10v, 0 rex gloriaea 4; f.14v, Loquebantur varfis linguis a 4; f.18v, Bene
-dicta sit sancta Trinitasa f.22v,4;Sicut cervus a 4.

B0336 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 331.

Choirbook, conflated from three fascicles. 18th century. Provenance Rome,
in various hands. 57ff.
Contains hymn f.8v, Salutis humnae sator a 4 [=Jesu nostra redemptio]
[verses 1, 3, 5 in polyphony; other verses in plainchant].

B0337 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 340.

Choirbook. Dated 1748 and 1777. Provenance Rome, hands of Giov anni
Domenico Biondini and Giuseppe Lorenzini. 35ff.
Contains f.17v, Improperia a 4 [second chorus] [see also B0338].

B0338 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 341.

Choirbook. Dated 1748 and 1777. Provenance Rome, hands of Giovanni
Domenico Biondini and Giuseppe Lorenzini. 37ff.
Contains f.19v, Improperia a 4 [first chorus] [see also B0337].

B0339 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 342.

Choirbook, "Liber Lamentationum." Dated 1733. Provenance Rome, copied
by Giovanni Domenico Biondini. i + 31 ff.
Contains Lamentation f.16v, Feria VI in Parasceve Lamentatio Jeremiae
prophetae Lectio I [three sections].
126 Giovanni Pierluigi da Palestrina

B0340 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 354.

Choirbook, conflated from numerous fascicles. Late 18th to early 19th cen-
tury. In several hands. 458ff.
Contains f.164, Missa [Sine nomine] a 8; f.195, Missa Veni sponsa Ch risti
a 4; motets f.220, Coronas aureas a 5;f.228, Descendit lux magna a 8 [con-
trafactum text; music=Laudate pueri a 8]; f.244, Exultate Deo a 8 [con-
trafactum text; music=Magna est gloria]; f.258, Germinavit radix Jesse a 5
[contrafactum text; music=Senex puerum portabat]; f.266, Mirificavit
Dominus a 5 [contrafactum text; music=Deus qui dedisti legem a 5]; f.270v,
Princeps apostolorum a 6 [contrafactum text; music=Solve jubente]; f.282,
Princeps apostolorum a 6 [sic, as with f.270v]; f.290, Tanquam sponsum a 7
[contrafactum text; music =Tu es Petrus a 7]; f.298, Virtute magna a 5; f.407,
Psallite Domino nostro a 8.

B0341 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 355.

Score, inscribed as containing unpublished compositions by Palestrina.
Dated 19th century. Material copied from Ottoboniani sources MSS 2923
and 2928, formerly owned by Giuseppe Baini. 522ff.
Contains masses f.22, Missa Tu es Petrus a 6; f.53, Missa in maioribus
duplicibus a 4; f.80, Missa in minoribus duplicibus a 4; f.104, Missa Papae
Marcelli a 4 [cantus only]; f.108, Missa Iste Confessor a 4 [cantus only]; f.111,
Missa Sine nomine [cantus only]; hymn f.120, Immense coeli conditor a 4.

B0342 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 452.

Score. 19th century. Provenance Giuseppe Baini. 133 ff.
Contains f.11, Improperia a 8; f.27, motets Pueri Hebraeorum, Gloria
laus et Ingrediente Domino a 4; f.91, Lamentationes Ieremiae prophetae a 4.

B0343 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 453.

Score. 19th century. Provenance Giuseppe Baini. 118 ff.
Contains masses f.1, Missa Brevis a 4; f.24, Missa Papae Marcelli a 6;
f. 56, Missa Quem dicunt homines a 4; f.79, Missa Ut re mi fa sol la a 6
[some voices missing in each item].

[Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina

456-472. Scores. 19th century.
A series of scorings in the hand of Giuseppe Baini of primary source
prints of Palestrina's music in several genres.]

B0344 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistine 473.

Scores. Early 19th century. In the hand of Giuseppe Baini, described as works
"found in various manuscripts with the name of Gio. Pierluigi da Palestrina,"
including material formerly located by Girolamo Chiti in Roman archives.
Baini notes that authorship of several works was uncertain. i—vi + 40 ff.
Contains hymns fasc I: f.1, Audi benigne Conditor a 4; f.3, Te lucis ante
terminum a 4; f.5, Immense coeli conditor a 4; f.5v, Telluris ingens conditor
a 4; f.6v, Coeli Deus sanctissime a 4; f.8, Magnae Deus potentiae a 4; fasc
III: responsories f.3v, In manus tuas and Nunc dimittis a 4; f.15, In monte
Primary Sources: Manuscripts 127

Oliveti a 5; f.16, Ecce vidimus a 5; f.17, Amicus meus a 5; f.18, Judas mer
Oliveti a 5;f.18v, Unus ex discipulus a 5; f.19v, Erat quasi agnus a 5; f.20v,-catora5;
Una hora a 5; f.21v, Seniores populi a 5;f.22v, In monte Oliveti a 5; f.23v,
Judas mercator; f.24, Unus ex discipulus a 4; f.24v, Erat quasi agnus a 4;
f.25, Una hora a 4; f.26, Seniores populi; fasc V: motets f.27, Ave verum a 5;
f.28, Exaudi Domine a 5; f.29v, Illumina oculos meos a 5; f.31, Qui mandu-
cat meam carnem a 5; f.32, Ne reminiscaris Domine a 5; f.35v, Venite exul-
temus a 5; f.38, Tu es pastor ovium a 5 [secunda pars Quodcumque lig-
averis].

[Vatican Ci ty . Biblioteca Apostolica Vaticana. MS Cappella Sistina

474-478, 480. Scores. 19th century.
A series of scorings in the hand of Giuseppe Baini of primary source
prints of books of Palestrina's motets.]

B0345 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 479.

Score. 19th century. Partly in hand of Giuseppe Baini [ce rt ain works in this
score, printed in Haberl, are based on sources located by Girolamo Chiti but
are now believed lost]. i-iv + 69 ff.
Contains Lamentations f.25, Incipit Lamentatio et seq.; motets f.50, Sta-
bat mater a 8; f.55v, Sub tuum praesidium a 8; f.57, Fratres ego enim a 8;
f.59v, Caro mea vere est cibus a 8; f.61v, Hic est panis a 8; f.63v, Tria sunt
munera a 8; f.66, Fili non te frangunt a 8; f.68, Ecce veniet dies illa a 8.

[Vatican City. Biblioteca Apostolica Vaticana. MS Cappe ll a Sistina 481.

Scores. 19th century.
Scorings in the hand of Giuseppe Baini of masses by Palestrina.]

B0346 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 484-489.

Six partbooks. Mid-18th century, circa 1751. Provenance Rome, in hand of
Giovanni Celi [foliation from cantus part ].
Contains motets f.8, Qui manducat meam carnem a 5; f.8v 9, Ne remi- -

niscaris Domine a 5; f.9v, Ave veruma 5; f.10v, Caro mea vere est cibusa 4;
f.12, Exaudi Domine preces a 5; f.15, Salvatorem exspectamus a 6; f.18,
Ecce sacerdos magnus a 6 [anonymous in source]; f.19, Responsum accepit
Simeon a 6; f.19v, Cum autem esset Stephanus a 6 [secunda pars Positis
autem genibus]; f.20v, Hic est beatissimus Evangelistaa 6 [secunda pars Hic
est discipulus]; f.23v, Assumpta est Maria a 6 [secunda pars Quae est ista a
6]; f.25, O beata et benedicta et gloriosa Trinitas a 5 [secunda pars O vera
summa et sempiterna Trinitas a 6]; f.26, Ne timeas Maria a 6 [secunda pars
Et dabit illi Dominus] [contrafactum text; music=Dum complerentur a 6];
f.35v, O magnum misteriuma 6 [secunda pars Quern vidistis pastores]; f.37v,
De profundis clamavi a 4; f.48v, Laudate coeli a 5; f.50v, O vos omnes a 4;
f.48r v, Litaniae beatae Mariae virginis a 5; motets f.48v, Laudate coeli a 5;
-

f.52v, Lumen ad revelationem gentium a 4 et 5; f.54v, Alma redemptoris

Mater a 8; f.55, Regina coeli a 8; f.55v, Salve Regina a 8.

B0347 Vatic an City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 527-530.

128 Giovanni Pierluigi da Palestrina

Partbooks. Dated 1746. Provenance Rome, in hand of Giovanni Celi. 42 ff

[foliation from cantus].
Contains masses f.3, Missa Io mi son giovinetta a 4; f.9, Missa Brevis a
4; f.13, Missa De Feria a 4; f.15, Missa Sine nomine pulcherrima a 4; f.18,
Missa Prima [Quarti Libri] a 4; f.22, Missa Secunda [Quarti Libri] a 4; f.26,
Missa Tertia [Quarti Libri] a 4; f.30, Missa Quarta [Quarti Libri] a 4; f.34,
Missa Ave regina coelorum a 4; f.38v, Missa Pater poster a 4.

B0348 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 531-534.

Partbooks. Dated 1748. Provenance Rome, in hand of Giovanni Celi. 39 ff
[foliation from cantus].
Contains masses f.3, Missa Inviolata a 4; f.7, Missa Spem in alium a 4;
f.11, Missa Veni sponsa Christi a 4; f.15, Missa Già fu chi m'ebbe cara a 4;
f.18, Missa Repleti sunt omnes a 4; f.22, Missa Regina coeli a 4; f.27, Missa
O rex gloriae a 4; f.31, Missa ad fugam a 4; f.34, Missa de beata virgine a 4.

B0349 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 535-539.

Partbooks. Mid-18th century. Provenance Rome, in hand of Giovanni Celi
and others. 37 ff [foliation from cantus].
Contains masses f.3, Missa Repleatur os meum a 5; f.9, Missa Vestiva i
colli a 5; f.16v, Missa O virgo simul et mater a 5; f.21v, Missa Sine nomine a
5; f.27, Missa Petra sancta a 5;f.31, Missa Beatus Laurentius a 5.

B0350 Vatican City. Biblioteca Apostolica Vaticana. MS Cappella Sistina 604.

Score. 19th century. Proven ance Rome. 122 ff.
Contains motet [sequence] f.21, Veni sancte spiritus a 8.

B0351 Vatic an City. Biblioteca Apostolica Vaticana. MS Santa Ma ri a Maggiore

[Jeppesen says MS 11 (ohm 27)]. Choirbook. Second half of 16th century.
100ff [MS reported to be in poor condition; present state unknown].
Contains hymns f.2v, Deus tuorum militum a 4 [Hab. XXX]; f.8v, Exultet
coelum a 4 et 5 [Hab. XXX]; f. l lv, Immense coeli conditor a 4; f.14v, Tel-
luris ingens a 4; f. 17v, Coeli Deus sanctissime a 4; f.20v, Magnae Deus a 4;
f.23v, Plasmator hominis a 4; f.26v, Audi benigne a 4; Lamentations f.55v,
Aleph. Quomodo sedet a 5; f.59v, Vau. Et egressus a 5; f.64v, Jod. Manum
suam a 6; f.70v., Heth. Cogitavit a 5; f.74v, Lamed. Matribus a 5; f.79v,
Aleph. Ego vir a 6; f.84v, Heth. Misericordiae a 5; f.89v, Aleph. Quomodo
obscuratum a 5; f.93v, Recordare a 6.

B0352 Vatic an City. Biblioteca Apostolica Vaticana. MS Santa Ma ri a Maggiore 29

[ohm J.J. I1I.7]. Choirbook. Dated circa 1580. Provenance Rome, copied by
Johannes Parvus. 139 ff [all items anonymous in source].
Contains f.lv, Missa Papae Marcelli a 6; f.22v, Missa Sine titulo (Io mi
son giovinetta) a 6; f.53v, Missa Benedicta es coelorum Regina a 6; f.89v,
Missa Ut re mi fa sol la a 6; f.112v, Missa De beata Virgin a 6; motet f.82v,
Beata es a 6.

B0353 Vatic an City. Biblioteca Apostolica Vaticana. MS Santa Ma ria Maggiore 32

Primary Sources: Manuscripts 129
[olim J.J.III.10]. Choirbook. Second half of 16th century. Provenance Rome,
copied partly by Johannes Parvus, partly by another hand. 153 ff.
Contains f.134v, Magnificat [beginning Et exultavit verse: tone 6 a 4,
Hab. XXVII.251].

B0354 Vatican City. Biblioteca Apostolica Vaticana. MS Vaticani Latini 10776.

Second half of 16th century. Proven ance presumably Rome. 59 ff [believed
once owned by Palestrina, contains autograph material].
Contains f.55v, Dixit Dominus a 4 [this work has been identified as by
Palestrina; there are fourteen anonymous works in the MS].

B0355 Vienna. Osterreichische Nationalbibliothek Musiksammlung. MS Mus.

15507. Choirbook. Dated 1637. Copied by Georg Moser.
Contains hymns p.41, 0 solis ortus cardine a 4; p.69, Deus tuorum mili-
tum a 4 [Hab. XXX]; p.363, Quicumque Christum quaeritis a 4.

B0356 Vienna. Osterreichische Nationalbibliothek, Musiksammlung, MS Mus.

15807. "Partidura." Dated 1601.
Contains masses f.67v, Missa Jesu nostra redemptio (Missa Tertia) a 4;
f.75v, Missa lam Christus astra a 4; f.82v, Missa Aeterna Christi munera a
4; f.87, Missa Sanctorum meritis a 4; 1.94v, Missa Iste Confessor a 4; f.99,
Missa Ecce sacerdos magnus a 4; f.109v, Missa O Regem coeli a 4; f.118,
Missa Virtute magna a 4; f.125v, Missa De beata Virgine a 4; f.132v, Missa
Inviolata a 4; f.140v, Missa Spem in alium a 4; f.149v, Missa Primi toni (lo
mi son giovinetta) a 4; f.162v, Missa Sine nomine (Je suis desheritée) a 4;
hymns f.1, Conditor aime siderum a 4; f.3v, Christe redemptor omnium a 4;
f.5v, A solis ortus cardine a 4; f.8, Hostes Herodes impie a 4; f.8v, Lucis cre-
ator optime a 4; f.9v, O lux beata Trinitas a 4; f.10v, Ad preces nostras a 4;
f.13, Vexilla regis a 4 [Hab.VIII.35]; f.14v, Ad coenam agni a 4; f.16v, Jesu
nostra redemptio a 4; f.20, Veni creator a 4 [Hab.VIII]; f.22, Pange lingua a
4 [Hab.VIII]; f.23v, Quodcunque vinclis a 4; f.24, Doctor egregie a 4; f.26v,
Ave maris Stella a 4; f.26v, Vexilla regis a 4 [Hab.VII1.70]; f.27v, Ut queant
Taxis a 4; f.29v, Aurea luce et decore a 4; f.31v, Lauda mater ecclesia a 4;
f.32v, Petrus beatus a 4; f.33v, Quicumque Christum quaeritis a 4; f.34, Tibi
Christe splendor a 4; f.36, Placare Christe a 4 [=Christe redemptor omnium
a 4]; f.37v, Exultet coelum a 4 [Hab.VIII]; f.39v, Tristes erant Apostoli a 4;
f.41, Deus tuorum militum a 4; f.42, Deus tuorum militum a 4; f.42v, Sanc-
torum meritis a 4; f.43v, Rex gloriose martyrum a 4; f.45, Iste confessor a 4;
f.46v, Jesu corona virginum a 4 [Hab.VIII.123]; f.48, Jesu corona virginum
a 4 [Hab.VIII.127]; f.48v, Huius obtentu a 4; f.49v, Urbs beata Jerusalem a
4; f.51v, Magne Pater Augustine a 4; f.54, Laudibus summis a 4; f.55v, En
gratulemur a 4; f.56v, Proles de coelo a 4; f.58v, Decus morum a 4; f.59v,
Christe qui lux est a 4; f.61v, Prima lux surgens a 4; f.63v, Nunc juvat celsi
a 4; f.65, Mensis Augusti a 4; f.66v, Hymnus canoris a 4.

B0357 Vienna. Osterreichische Nationalbibliothek. Musiksammlung. MS Mus.

15942. Choirbook. 17th century. Copied by Georg Moser.
Contains hymn f.161v, Vexilla regis prodeunt a 4 [Hab.VIII.35].
130 Giovanni Pierluigi da Palestrina

B0358 Vienna. tosterreichische Nationalbibliothek. Musiksammlung. MS Mus.

15943 (ohm A.N.43.E.21). Choirbook. Mid-17th century. Provenance
Vienna, copied for use of cou rt chapel of Emperor Ferdinand III. 270 + i ff.
Contains f.96, Benedictus a 4; f.161v, Magnificat a 4 [odd verses, tone 1].

B0359 Vienna. elsterreichische Nationalbibliothek. Musiksammlung. MS Mus.

15944. Choirbook. Mid-17th century.
Contains masses f.1, Missa Lauda Sion salvatorem a 4; f.29, Missa Jesu
nostra redemptio (Missa Tertia) a 4; f.60, Missa L'homme armé (Missa
Quarta) a 4; f.91, Missa Secunda (primi toni) a 4; f.122, Missa Ad fugam;
f.143, Missa Sine nomine a 4; f.166, Missa Brevis a 4; f.198, Missa Papae
Marcelli a 4 [4vv version].

B0360 Vienna. 15sterreichische Nationalbibliothek. Musiksammlung. MS Mus.

15945. Choirbook. 17th century. Copied by Georg Moser. i + 259ff.
Contains masses f.1, Missa Primi toni (Io mi son giovinetta) a 4; 1.44,
Missa Gabriel Arcangelus a 4; f.83, Missa Spem in alium a 4; f.127, Missa
Virtute magna a 4; f.172, Missa 0 Regem coeli a 4; f.214, Missa Ecce sacer-
dos magnus a 4.

B0361 Vienna. Osterreichische Nationalbibliothek. Musiksammlung. MS Mus.

16199. Choirbook. Dated 1646. Copied by Georg Moser. IT + 194ff.
Contains hymns f.lv, Creator aime siderum a 4 [=Conditor aime
siderum a 4]; f.6v, Jesu redemptor a 4 [=Christe redemptor omnium a 4];
f.12v, Deus tuorum militum a 4 [Hab. XXX]; f.14v, Exultet orbis a 4 [=Sal-
vete fins]; f.16v, Salvete fl os a 4; f.20v, Crudelis Herodes a 4 [=Hostes
Herodes impie]; f.26v, Lucis creator optime a 4; f.31v, Jam sol recedit a 4
[=0 lux beata Trinitas];f.36v, Audi benigne a 4; f.40v, Vexilla regis prode-
unt a 4 [Hab.VIII.35]; f.45v, Ad coenam agni a 4 [text Ad regias agni];
f.50v, Salutis humanae sator a 4 [=Jesu nostra redemptio];f.56v, Veni cre-
ator a 4 [Hab.VIII]; f.61v, Pange lingua a 4 [Hab.VIII]; f.64v, Rex gloriose
martyrum a 4; f.68v, Quodcumque in orbe a 4 [=Quodcunque vinclis]; f.74v,
Egregie Doctor a 4 [=Doctor egregie]; f.80v, Ave maris Stella a 4; f.84v,
Tristes erantApostoli a 4 [=Uexilla regis]; f.91v, Ut queant laxis a 4; f.96v,
Aurea luce et decore a 4; f.102v, Pater superni luminis a 4 [=Lauda mater
ecclesia]; f.111v, Quicumque Christum quaeritis a 4; f.115v, Te splendor et
virtus a 4 [=Tibi Christe splendor]; £119v, Custodes hominum a 4 [ =Sancto-
rum meritis]; f.125v, Proles de coelo a 4; f.129v, Decus morum a 4; f.133v,
Placare Christe a 4 [=Christe redemptoromnium a 4]; f.139v, Exultet orbis
gaudiis a 4 [=Exultet coelum a 4] [Hab.VIII]; f.144v, Tristes erantApostoli a
4; f.149v, Deus tuorum militum a 4 [Hab.VIII.105]; f.154v, Deus tuorum
militum a 4; f.158v, Sanctorum meritis a 4; f.167v, Iste confessor a 4; f.169,
Iste confessor a 4; f.174v, Fortem virili pectore a 4 [=Jesu corona virginum]
[Hab.VIII.123]; f.178v, Jesu corona virginum a 4 [Hab.VIII.127]; f.183v,
Fortem virili pectore a 4 [=Jesu corona virginum] [Hab.VIII.123]; f.187v,
Coelestis urbs Jerusalem a 4 [=Urbs beata Jerusalem].

B0362 Vienna. bsterreichische Nationalbibliothek. Musiksammlung. MS Mus.

Primary Sources: Manuscripts 131
16200. Choirbook. Early 17th century.
Contains mass f.31r, Missa Ave regina coelorum a 4.

B0363 Vienna. Osterreichische Nationalbibliothek. Musiksammlung. MS Mus.

16704 (olim A.N.62.G.3). Choirbook. Early 17th century. Provenance Graz,
copied for use of cou rt of Ferdinand, Archduke of Styria (1578-1637,
Emperor Ferdinand II from 1619). 309ff.
Contains motets f.15v, Unus ex duobus a 5 [secunda pars Beatus
Andreas]; f.24v, Canite tuba a 5 [secunda pars Rorate coeli]; f.28v, Suscipe
verbum virgo Maria a 5; f.32v, Veni Domine a 6 [secunda pars Excita
Domine potentiam]; f.39v, O sancte praesul Nicolae a 5 [secunda pars
Gaude praesul optime]; f.48v, Suscipe verbum virgo Maria a 5 [secunda
pars Paries quidem filium]; f.58v, Columna es a 6; f.62v, Quia vidisti me
Thoma a 4; f.114v, Lapidabant Stephanum a 5; f.118v, Hic est discipulus
ille a 5; f.132v, 0 bone Jesu exaudi me a 6; f.139v, Stella quam viderant a 5;
151v, Senex puerum portabat a 5 [secunda pars Hodie beata Virgo Maria];
f.165v, Surge Petre a 5; f.263v, Crucem sanctam dubiit a 5; f.267v, Angelus
Domini a 5 [secunda pars Et introeuntes]; f.279v, Haec dies a 6; f.302v, Viri
Galilei a 6 [secunda pars Ascendit Deus in iubilatione].

B0364 Vienna. Osterreichische Nationalbibliothek. Musiksammlung. MS Mus.

16705. Choirbook. 16th century. 309ff.
Contains motets f.10v, Dum complerentur a 5 [secunda pars Cum ergo
essent]; f.21v, Salve Regina a 5 [secunda pars Eia ergo advocata]; f.33v, O
beata et benedicta et gloriosa a 5 [secunda pars O vere summa]; f.42v,
Lauda Sion salvatorem a 4; f.48v, Coenantibus illis a 5; f.52v, Fuit homo
missus a Deo a 5 [secunda pars Erat Joannes in deserto]; f.60v, Tu es Petrus
a 6 [secunda pars Quodcumque ligaveris]; f.68v, Sancte Paule Apostole a 5;
f.72v, Beatae Mariae Magdalenae a 5; f.76v, O lux et decus Hispaniae
[secunda pars O singulare praesidium]; f.84v, Beatus Laurentius a 5; f.92v,
Omnipotens sempiterne Deus a 5; f.96v, Hodie nata est beata Virgo Maria a
5; f.104v, Venit Michael a 5; f.117v, 0 beatum pontificem a 5; f.122v, Can-
tantibus organis Caecilia a 5 [secunda pars Biduanis]; f.130v, Inclyta sanc-
tae virginis Catharinae a 5; f.134v, Gaude Barbara a 5 [secunda pars
Gaude quia meruisti]; f.145v, Sanctificavit Dominus a 5 [secunda pars O
quam metuendus est]; f.156v, Domine Deus qui conteris a 5 [secunda pars
Tu Domine, cui humilium]; f.181v, Ave Maria a 5; f.203v, Quam pulchri sunt
a 5; f.208v, Sancta et immaculata a 6 [secunda pars Benedicta tu in
mulieribus]; f.235v, Tradent enim vos a 5; f.240, Corona aurea super caput
a 5 [secunda pars Domine praevenisti].

B0365 Vienna. Osterreichische Nationalbibliothek. Musiksammlung. MS Mus.

16709 [MS source for motet Ave regina coelorum a 8\4, doubtful?; Alma
redemptoris mater a 4, not in Haberl or Casimiri].
Contains motets f.58v, Columna es a 6; f.213v, Salve Regina misericor-
diae a 4; f.216v, Alma redemptoris mater a 4; f.219v, Ave regina coelorum a
4; f.221v, Regina coeli; f.263v, Crucem sanctam a 5; hymns f.4v, Creator
arme siderum a 4 [=Conditor aime siderum a 4]; f.10v, Christe redemptor
132 Giovanni Pierluigi da Palestrina

omnium a 4; f.17v, Salvete flos a 4; f.19v, Hostes Herodes impie a 4; f.23v,

Ave maris stella a 4; f.29v, O lux beata Trinitas a 4; f.33v, Lucis creator
optime a 4; f.38v, Quodcunque vinclis a 4; f.41v, Doctor egregie a 4; f.43v,
Ad preces nostras a 4; f.51v, Vexilla regis a 4 [Hab.VIII.35]; f.60, Ad
coenam agni pmvidi a 4; f.68v, Tristes erant Apostoli a 4; f.73v, Deus tuo-
rum militum a 4 [Hab.VIII.1101; f.76v, Rex gloriose martyrum a 4; f.79v,
Jesu corona virginum a 4 [Hab.VIII.127]; f.85v, Vexilla regis a 4
[Hab.VIII.70]; f.89v, Te fons salutis a 4 [=0 crux ave from Vexilla regis];
f.90v, Jesu nostra redemptio a 4; f.96v, Veni creator a 4 [Hab.VIII]; f.104v,
Tantum ergo a 4; f.106v, Pange lingua a 4 [Hab.VIII]; f.112v, Congratule-
mur hodie a 4 [=En gratulemur]; f.118v, Ut queant laxis a 4; f.124v, Aurea
luce et decore a 4; f.129v, Lauda mater ecclesia a 4; f.133v, Hymnus
canoris a 4; f.136v, Petrus beatus a 4; f.138v, Quidumque Christum quaeri-
tis a 4; f.142v, Magne Pater Augustine a 4; f.148v, Laudibus summis a 4;
f.154v, Tibi Christe splendor a 4; f.158v, Proles de coelo a 4; f.164v, Decus
morum a 4; f.169v, Christe redemptor omnium a 4; f.175v, Exultet coelis a
4; f.180v, Deus tuorum militum a 4 [Hab.VIII.105]; f.185v, Sanctorum meri-
tis a 4; f.190v, Iste confessor a 4; f.196v, Jesu corona virginum a 4;
[Hab.VIII.1231; f.201v, Huius obtentu a 4; f.203v, Urbs beata Jerusalem a
4; f.207v, Magne Pater Augustine a 4; f.210v, Audi benigne a 4.

[Vienna, Osterreichische Nationalbibliothek. Musiksammlung. MS Mus.

17473-17523 inclusive.
A series of 18th-century copies of individual works, with one or two
Palestrina works per MS.]

B0366 Vienna, Osterreichische Nationalbibliothek. Musiksammlung. MS Mus.

19426 (olim A.N.43.E.13). iv + 324 + i paper folios. Dated 1630 (dated
index), probably copied in Vienna for use of cou rt chapel of Emperor Ferdi-
nand II.
Contains mass f.151v, Missa Dies sanctificatus a 4 [Kyrie, Sanctus,
Benedictus, Agnus Dei only]; hymn f.85v, Vexilla regis prodeunt a 4
[Hab.VIII.35]; canticles f.212v, Benedicite Dominus Deus a 4; f.254, Mag-
nificat a 4 [odd verses, tone 1].
B0367 Vienna, 6sterreichische Nationalbibliothek. Musiksammlung. MS Mus.
19428. Choirbook. 17th century. 86ff.
Contains f.58v, Sicut cervus a 4 [secunda pars Sitivit anima mea].

B0368 Washington, DC. Catholic University of America. Mullen Library. Bib-

lioteca Albani Urbinas F V.8 [MS 201]. Choirbook. Dated 1726. Provenance
Rome, Sistine Chapel, copied by Giovanni Domenico Biondini. i + 147ff.
Contains motets f.2v, O magnum mysterium a 5; f. 10v, Surge illuminare
Jerusalem a 8; f.23v, Responsum acceppit Simeon a 6; f.31v, Derelinquat
impius a 5; f.78v, Stabat Mater dolorosa a 8; f.91v, Fratres ego enim accepi
a 8; f.108v, Jesus junxit se a 8; f.118v, Surrexit pastor bonus a 8; f.138v, Ne
timeas Maria a 6.

B0369 Washington, DC. Catholic University of America. Mullen Library. Bib-

lioteca Albani Urbinas F V.9 [MS 202]. Choirbook. Dated 1727. Proven ce an
Primary Sources: Manuscripts 133

Rome, Sistine Chapel, copied by Giovanni Domenico Biondini. i + 155ff.

Contains motets f.10v, Viri Galilaei a 6; f.20v, Dum complerentur dies
Pentecostes a 6; f.30v, O beata et gloriosa Trinitas a 5; f.40v, Fuit homo
missus a Deo a 5; f.50v, Tu es Petrus a 6; f.70v, Vidi turbam magnam a 6;
f.83v, Salvatorem expectamus a 6; f.91v, Jerusalem cito veniet a 6; f.100v,
Veni Domine a 6; f.111v, Canite tuba in Sion a 5; f.139v, Cum autem esset
Stephanus a 6; f.147v, Hic est beatissimus evangelista a 6.

B0370 Washington, DC. Catholic University of America. Mullen Library. Bib-

lioteca Albani Urbinas F V.10 [MS 203]. Choirbook. Dated 1726. Prove-
nance Rome, Sistine Chapel, copied by Giovanni Domenico Biondini. i +
57ff.
Contains motet f.40v, Ave Maris stella a 4.

B0371 Washington, DC. Catholic University of America. Mullen Library. Bib-

lioteca Albani Urbinas F V.11 [MS 204]. Choirbook. Dated 1726. Prove-
nance Rome, Sistine Chapel, copied by Giovanni Domenico Biondini. i +
45ff [contains plainsong propers as well as polyphony].
Contains mass f.2v, Missa Assumpta est Maria a 6; motet f.25v,
Assumpta est Maria a 6.

B0372 Washington, DC. Folger Shakespeare Library. MSS V.a.405-407 (olim

460328). Three partbooks of o ri ginal four. Early 17th century. Provenance
English, household of Edward Paston.
Reported to contain one work by Palestrina.

B0373 Wroclaw [Breslau]. Biblioteka Uniwersytecka, Oddzial Zbiorow Muzy-

cznych. MS Brieger Musiakaliensammlung K.34. Six partbooks. Dated
circa 1600. Provenance Brzeg [Brieg], derived from prints published
1597-1599, copied in various hands.
Contains no.10, Confitebor tibi Domine a 8 [secunda pars Notas facite]
[ascribed to Clavius in this source; Berlin, Staatsbibliothek zu Berlin,
Sammlung Bohn, Mus.ms.15 (formerly Breslau, Stadtbibliothek, MS Mus.
15) ascribes this to Palestrina as no.303].

B0374 Wroclaw [Breslau]. Biblioteka Uniwersytecka, Oddzial Zbiorow Muzy-

cznych. MS Brieger Musiakaliensammlung K.36. Six partbooks. Dated
1592. Provenance Brzeg [Brieg], contains contents of RISM 1585/17, RISM
L981, RISM S2300, with MS additions.
Contains no.29, O Domine Jesu Christe a 6.

B0375 Wroclaw [Breslau]. Biblioteka Uniwersytecka, Oddzial Zbiorow Muzy-

cznych. MS Brieger Musiakaliensammlung K.40. One partbook. Last quar-
ter of 16th century, some additions possibly extend into early 17th century.
Provenance Brzeg [Brieg], contains contents of RISM L880, U125, L871,
with MS additions at end.
Contains no.30, O Domine Jesu Christe a 6.

B0376 Wroclaw [Breslau]. Biblioteka Uniwersytecka, Oddzial Zbiorow Muzy-

134 Giovanni Pierluigi da Palestrina
cznych. MS Brieger Musiakaliensammlung K.53. Three partbooks. Late
16th century. Contents derive from prints dated 1568 an d 1586, in various
hands.
Contains no.17, Hodie Christus natus est a 8.

B0377 Zwickau. Ratsschulbibliothek. MS XXXI, 32 (=Vollhardt MS 17). Five pa rt -

books of o ri ginal six. Last third of 16th century. Proven an ce Zwickau,
copied by C. Freund for use at Church of St. Ma ry.
Contains motet no.79, Dum complerentur dies Pentecostes a 6 [secunda
pars Dum ergo essent]; no.17, Viri Galilaei qui statis a 6 [secunda pars
Ascendit Deus].

B0378 Zwickau. Ratsschulbibliothek. MS XXXIII, 34 (=Vollhardt MS 19). Five

partbooks. Dated ca. 1580. Proven an ce Zwickau, copied by C. Freund for
use at Church of St. Ma ry .
Reported to contain one work by Palestrina, unidentified [only anony-
mous titles listed].

B0379 Zwickau. Ratsschulbibliothek. MS LIII, 1 (=Vollhardt MS 627). Four pa rt -

books of an ori ginal five.
Contains mad ri gal lo son ferito ahi lasso a 5.

B0380 Zwickau. Ratsschulbibliothek. MS LXXIV, 1 (=Vollhardt MS 11). Six pa rt -

books. Late 16th century. Provenance Zwickau, copied by Johann Stoll for
use at Church of St. Mary.
Contains motets no.76, trri Galilaei a 6 [secunda pars Ascendit Deus];
no.79, Dum complerentur a 6 [secunda pars Dum ergo essent]; no.128, 0
admirabile commercium a 5.

B0381 Zwickau. Ratsschulbibliothek. MS XCVII, 2 (=Vollhardt MS 47). Two pa rt -

books. Dated 1625. Provenance Zwickau, probably copied by D aniel Ferber.
Reported to contain two works by Palest ri na, unidentified [only anony-
mous titles listed].
 Chapter 4
Modern Editions of Palestrina's Music I:
Comprehensive Editions

I. The "Haberl" Edition (1862-1907)

C0001 Giovanni Pierluigi da Palestrina. Opera omnia, ed. Franz Xaver Haberl et
al. Leipzig Breitkopf & Hdrtel, 1862-1907.33 vols.
This is described as the first critically supervised collected edition.
Each volume of music is printed with the cleffings and notes values found
in the primary sources. Each has a substantial preface with detailed infor-
mation about the sources consulted for the works contained in it. Volumes
1-6, however, were not initially designated as pa rt of this edition an d
were published separately. Although this opera omnia is popularly known
as the "Haberl" edition, several editors contributed: Theodor de Witt
edited vols. 1-3, Franz Espagne edited vols. 4-8, and Franz Commer
edited vol. 9. Haberl himself was responsible for vols. 10-33.

Reprints of This Edition

C0002 Giovanni Pierluigi da Palestrina. Works. Farnborough: Gregg Interna-

tional Publishers, 1968. 33 vols [facsimile rep ri nt].

C0003 Giovanni Pierluigi da Palestrina. Opera omnia, ed. Franz Xaver Haberl et
al., 1862-1907. New York: University Music Editions, 1968 [facsimile
reprint on microfiche].

Contents

[Volume 1] Motetten von Pierluigi da Palestrina in Partitur gesetzt und redigirt von
Theodor de Witt. Erster Band. Fiinf- Sechs- und Siebenstimmige Motetten
[pub. 1862]. [Book I of motets (1569), for five, six, and seven pa rt s]
Five-Pa rt Works
1. 0 admirabile commercium (pp.3 5) -

2. Stella quam viderant Magi (pp.6 9) -

3. O Antoni eremita (pp.10 13)

-

4. Senex puerum portabat (pp.14 17)-

[secunda pars:] Hodie beata Virgo Maria (pp.18 21)-

5. Suscipe verbum Virgo Maria (pp.22 25) -

[secunda pars:] Paries quidem filium (pp.26 29)

-

6. Alleluja! tulerunt Dominum (pp.30 33) -

7. Crucem sanctam subiit (pp.34 36)

-

8. 0 beata et gloriosa Trinitas (pp.37 40) -

[secunda pars:] 0 vera summa sempiterna Trinitas (pp.40 43) -

136 Giovanni Pierluigi da Palestrina
9. Ego sum panic vivus (pp.43-46)
[secunda pars:] Panis quem ego dabo (pp.47-50)
10. Puer qui natus est (pp.50-53)
11. Beatae Mariae Magdalenae (pp.54-57)
12. Sancte Paule apostole (pp.57-60)
13. Beatus Laurentius orabat (pp.61-63)
14.Hodie nata est beata Virgo (pp.64-67)
15.0 beatum virum (pp.67-'70)
16. Venit Michael archangelus (pp.71-74)
17.0 beatum pontificem (pp.74-78)
18.Deus qui dedisti legem (pp.79-82)
19.Lapidabant Stephanum (pp.83-86)
20. Hic est discipulus ille(pp.87-90)
21. Sicut lilium inter spinas (pp.90-94)
22. Quam pulchri sunt gressus (pp.94-97)
23. Unus ex duobus (pp.98-101)
24. Cum pervenisset beatus Andreas (pp.101-104)
Six-Part Works
25. Vin Galilaei quid statis (pp.105-107)
[secunda pars:] Ascendit Deus in jubilatione (pp.108-110)
26. Dum complerentur dies pentecostes (pp.111-114)
[secunda pars:] Dum ergo essent in unum discipuli (pp.115-117)
27. Pulchra es, O Maria Virgo (pp.118-122)
28. Solve jubente Deo (pp.123-125)
[secunda pars:] Quodcumque ligaveris (pp.126-129)
29. Vidi turbam magnam (pp.129-133)
[secunda pars:] Et omnes angeli stabant (pp.134-137)
30.0 magnum mysterium (pp.137-140)
[secunda pars:] Quern vidistis pastores (pp.141-144)
31.0 Domine Jesu Christe (pp.144-145)
Seven-Pa rt Works
32. Tu es Petrus (pp.146-151)
33. Virgo prudentissima (pp.152-157)
[secunda pars:] Maria Virgo (pp.158-162)

[Volume 2] Motetten von Pierluigi da Palestrina in Partitur gesetzt und redigirt von
Theodor de Witt. Zweiter Band. Fünf- Sechs- und Achtstimmige Motetten
[pub. 1862]. [Book II of motets (1572) for five, six, and eight pa rt s]
Five-Part Works
1.0 Virgo simul et mater (pp.3-7)
2. Memor esto verbi tui servo tuo (pp.7-11)
3. Corona aurea (pp.12-15)
[secunda pars:] Domine praevenisti eum (pp.15-18)
4. In illo tempore egressus(pp.18-22)
5.0 sacrum convivium (pp.23-26)
6. Coenantibus illis accepi Jesus (pp.26-29)
7. Derelinquat impius viam (pp.29-33)
8. Ascendo ad patrem meam (pp.33-36)
[secunda pars:] Ego rogabo patrem (pp.37-39)
Modern Editions of Palestrina's Music I 137

9. Homo quidam fuit (pp.39-43)

10. Canite tuba in Sion (pp.43-46)
[secunda pars:] Rorate coeli (pp.46-50)
11. Exi cito in plateas (pp.50-53)
12. Circuire [Angelo Pierluigi] (pp.53-56)
[secunda pars:] In hac cruce te invenit (pp.57-59)
13. Gaude Barbara beata (pp.59-62)
[secunda pars:] Gaude quia meruisti (pp.63-67)
14. Domine Pater [Silla Pierluigi] (pp.67-70)
15. Confitebor tibi Domine [Rodolfo Pierluigi] (pp.70-73)
16. Peccantem me quotidie (pp.73-76)
17. Dominus Jesus in qua nocte (pp.77-80)
Six-Part Works
18. Tribularer si nescirem (pp.81-84)
[secunda pars:] Secundum multitudinem dolorum (pp.84-88)
19. Veni Domine et non tardare (pp.88-91)
[secunda pars:] Excita Domine (pp.91-94)
20. Hierusalem, cito veniet salus tua (pp.94-97)
[secunda pars:] Ego enim sum Dominus (pp.98-101)
21. Beata Barbara (pp.101-105)
[secunda pars:] Gloriosem mortem (pp.105-109)
22. Sancta et immaculata Virginitas (pp.109-112)
[secunda pars:] Benedicta tu (pp.112-115)
23. Cantabo Domino in vita mea (pp.115-118)
[secunda pars:] Deficiant peccatores (pp.119-121)
24. Tu es Petrus et super hanc petram (pp.121-124)
[secunda pars:] Quodcumque ligaveris (pp.121-127)
25. Nunc dimittis servum tuum [Silla Pierluigi] (pp.128-131)
Eight-Part Works
26. Confitebor tibi Domine (pp.132-137)
[secunda pars:] Notas facite in populis (pp.138-142)
27. Laudate pueri Dominum (pp.142-147)
[secunda pars:] Quis sicut Dominus Deus (pp.148-153)
28. Domine in virtuta tua (pp.153-158)
[secunda pars:] Magna est gloria ejus (pp.159-163)
29. Laudate Dominum omnes gentes (pp.164-168)

[Volume 3] Motetten von Pierluigi da Palestrina in Partitur gesetzt und redigirt von
Theodor de Witt. Dritter Band. Fiinf- Sechs- und Achtstimmige Motetten
[pub. 1862]. [Book III of motets (1575) for five, six, and eight pa rts]
Five-Pa rt Works
1. Pater poster (pp.3-6)
2. Ave Maria gratia plena (pp.6-9)
3. Cantantibus organis, Caecilia (pp.9-12)
[secunda pars:] Biduanis ac triduanis (pp.12-15)
4. Caro mea vere est cibus (pp.15-18)
5. Angelus Domini descendit de coelo (pp.18-23)
[secunda pars:] Et introeuntes in momentum (pp.23-27)
6. Congrega, Domine (pp.28-31)
138 Giovanni Pierluigi da Palestrina
[secunda pars:] Afflige opprimentes nos (pp.32-35)
7. Inclytae sanctae virginis Catherinae (pp.36-38)
8. Fuit homo missus a Deo (pp.39- 41)
[secunda pars:] Erat Joannes in deserto (pp.42-44)
9.0 lux et decus Hispaniae (pp.45-47)
[secunda pars:] O singulare praesidium (pp.48-51)
10. Quid babes Hester (pp.51-54)
[secunda pars:] lydi te Domine (pp.55-58)
11. Tradent enim vos (pp.59-62)
12. Sanctificavit Dominus (pp.62-65)
13.0 quam metuendus (pp.66-69)
14.Jubilate Deo omnes terra (pp.69-72)
[secunda pars:] Laudate nomen ejus (pp.72-75)
15. Omnipotens sempiterne Deus (pp.75-78)
16.0 sancte praesul Nicolae (pp.78-82)
[secunda pars:] Gaude praesul optime (pp.82-85)
17. Domine Deus, qui conteris (pp.85-88)
[secunda pars:] Tu Domine cui humilium (pp.89-91)
18.Manifesto vobis veritatem (pp.92-95)
[secunda pars:] Pax vobis, noli timere (pp.96-99)
Six-Pa rt Works
19.Susanna ab improbis (pp.100-103)
[secunda pars:] Postquam auteur (pp.103-107)
20. Cum ortus fuerit (pp.107-110)
21. Rex pacificus (pp.111-113)
22. Haec dies, quam fecit Dominus (pp.114-116)
23. Columna es immobilis (pp.116-119)
24. Judica me Deus, et disce rne (pp.120-123)
25. Accepit Jesus calicem (pp.123-126)
26.0 bone Jesu exaudi me (pp.127-129)
27. Deus qui ecclesiam tuam (pp.129-133)
Eight-Pa rt Works
28. Surge illuminare Hierusalem (pp.134-138)
29. Lauda Sion (pp.138-143)
30. Veni Sancte Spiritus (pp.143-149)
31. Ave Regina coelorum (pp.150-154)
32. Hodie Christus natus est (pp.155-159)
33. Jubilate Deo (pp.160-166)

[Volume 4] Motetten von Pierluigi da Palestrina in Partitur gesetzt von Theodor de

Witt. herter Band. Fiinfstimmige Motetten redigirt und herausgegeben
con Franz Espagne [pub. 1874]. [Book IV of motets (Canticum cantico-
rum, 1583-1584); Book V of motets (1584), five-pa rt motets]
Book IV
1. Osculetur me osculo oris sui (pp.3-5)
2. Trahe me post te (pp.5-8)
3. Nigra sum, sed formosa (pp.8-11)
4. Vineam meam non custodivi (pp.11-13)
Modern Editions of Palestrina's Music I 139
5. Si ignoras te, o pulchra inter mulieres (pp.14-16)
6. Pulchrae sunt genae tuae (pp.17-19)
7. Fasciculus myrrhae (pp.20-22)
8. Ecce tu pulchrr es, dilecte mi (pp.22-24)
9. Tota pulchra es amina mea (pp.25-27)
10. Vulnerasti cor meum (pp.27-30)
11. Sicut lillium inter spinas (pp.30-33)
12. Introduxit me Rex in cellam (pp.34-36)
13. Laeva ejus sub capite meo (pp.36-38)
14. Vox dilecti mei (pp.39-41)
15. Surge, propera arnica mea (pp.41-44)
16. Surge arnica mea, speciosa mea (pp /M 47)
17.Dilectus meus mihi et ego illi (pp.47-49)
18.Surgem et circuibo civitatern (pp.50-52)
19.Adjuro vos, filiae Hierusalem (pp.52-55)
20. Caput ejus aurum optimum (pp.55-58)
21. Dilectus meus descendit in hortum suum (pp.58-60)
22. Pulchra es arnicamea (pp.61-63)
23. Quae est ista (pp.63-65)
24. Descendi in hortum meum (pp.66-68)
25. Quam pulchri suns gressus tui (pp.68-71)
26. Duo ubera tua (pp.71-74)
27. Quam pulchra es et quam decora (pp.75-77)
28. Guttur tuum sicut (pp.78-80)
29. Veni, veni dilecte mi (pp.81-83)
Book V
1.Laetus Hyperboream (pp.91-93)
[secunda pars:] O patruo pariterque (pp.93-96)
2. Paucitas dierum meorum (pp.96-98)
[secunda pars:] Manus tuae Domine (pp.98-100)
3. Tempus est, ut revertar (pp.101-103)
[secunda pars:] Nisi ego abiero (pp.104-106)
4. Domine secundum actum meum (pp.106-109)
5. Ave Trinitatis sanctuarium (pp.109-112)
6. Parce mihi Domine (pp.112-115)
[secunda pars:] Peccavi, peccavi (pp.115-118)
7. Orietur stella (pp.118-121)
8. Aegypte poli flere (pp.121-124)
9. Ardens est cor meum (pp.124-127)
10. Sic Deus dilexit mundum (pp.128-130)
11. Surge Petre (pp.130-134)
12.Apparuit cam suo (pp.134-137)
13. Ecce mercer Sanctorum (pp.137-140)
14. Videns secundus (pp.140-143)
15.Rex Melchior (pp.143-145)
16.Ave Regina coelorum (pp.146-148)
17. Gaude gloriosa (pp.149-151)
18.Exultate Deo (pp.151-154)
140 Giovanni Pierluigi da Palestrina
19. Tribulationes civitatum (pp.154 157)
-

[secunda pars:] Peccavimus (pp.157 159)

-

20. Surge sancte Dei (pp.159 162)

-

[secunda pars:] Ambula sancte Dei (pp.162-165)

21. Salve Regina (pp.165-167)
[secunda pars:] Eia ergo advocata (pp.167-169)

[Volume 5] Motetten von Pierluigi da Palestrina. Fiinfter Band. Vierstimmige Motet-

ten redigirt und herausgegeben von Franz Espagne [pub. 1875]. [Four-
part motets of the Motecta Festorum totius anni (first pub. 1564).
Espagne edition facsimile title page from print of 1590)]
Book I
1.In Festo Nativitatis Domini. Dies sanctificatus (pp.3-5)
2. In Festo S. Stephani. Lapidabant Stephanum (pp.5-8)
3. In Festo S. Joannis Evangelistae. Valde honorandus est (pp.8-10)
4. In Die Circumcisionis Domini. Magnus haereditatis mysterium
(pp.11-13)
5. In Epiphania Domini. Tribus miraculis (pp.14-17)
6. In Festo Purificationis B. Mariae. Hodie beata Virgo Maria
(pp. 17-20)
7. In Festo Annuntiationis B. Mariae. Ave Maria gratia plena (pp.20-22)
8. In Festo Resurrectionis Domini. Jesus junxit se (pp.23-26)
9. In Festo Ascensionis Domini. O Rex gloriae (pp.26-29)
10.In Die Pentecostes. Loquebantur varus linguis (pp.29-32)
11.In Festo Sanctae Trinitatis. Benedicta sit Sancta Trinitas (pp.33-35)
12.In Festo Corporis Ch ri sti. Lauda Sion Salvatorem (pp.36-38)
13.In Festo S. Joannis Baptistae. Fuit homo missus a Deo (pp.38-41)
14.In Festo S. Pet ri Apostoli. Tu es pastor ovium (pp.41-43)
15.In Die Sancti Pauli Apostoli. Magnus Sanctus Paulus (pp.11 16)
16. In Festo Visitationis Beatae Mariae. Surge, propera arnica mea
(pp.47-49)
17.In Die Sanctae Mariae Magdalenae. In diebus illis (pp.50-53)
18.In Festo Sancti Laurentii. Beatus Laurentius (pp.54-56)
19.In Assumptione Beatae Mariae. Quae est ista (pp.57-59)
20. In Decollation Sancti Joannes Baptistae. Misso Herodes spiculatore
(pp. 60-62)
21. In Festo Nativitatis Beatae Mariae. Nativitas tua (pp.63-65)
22. In Festo Sanctae Crucis. Nos autem gloriari (pp.66-68)
23. In Festo Omnium Sanctorum. Salvator mundi salvo nos (pp.69-71)
24. In Festo Sancti Ma rt ini Episcopi. O quantus luctus (pp.72-'74)
25. In Festo Presentationis Beatae Mariae. Congratulamini mihi omnes
(pp.74-76)
26. In Festo Sanctae Caeciliae. Dum aurora finem daret (pp.77-79)
27.In Festo Sancti Andreae. Doctor bonus (pp.80-83)
28. In Festo Conceptionis Beatae Mariae. Quam pulchri sunt (pp.83-86)
Common of Saints
29. In Festo Apostolorum. Tollite jugum meum (pp.87-89)
30. In Festo Evangelistorum. Isti sunt viii sancti (pp.89-92)
31. In Festo Unius Martyris. Hic est vere martyr (pp.92-95)
Modern Editions of Palestrina's Music I 141
32. In Festo Plurimorum Martyrum. Gaudent in coelis (pp.96-98)
33.In Festo Confessorum Pontificum. Iste est quiante Deum (pp.99-102)
34. In Festo Confessorum non Pontificum. Beatus vir qui suffert
(pp.102-105)
35.In Festo Virginum. Veni sponsa Christi (pp.105-107)
36. In Dedication Templi. Exaudi Domine (pp.107-109)
Book II (pub. 1587; fascimile title page from edition of 1604)
1.Domine quando veneris (pp.117-118)
[secunda pars:] Commissa mea (pp.119-120)
2. Heu mihi Domine (pp.121-123)
[secunda pars:] Anima mea turbata (pp.123-125)
3. Super flumina Babylonis (pp.125-127)
4. Ecce nunc benedicite Dominum (pp.128 -130)
5. Ad te levavi oculos meos (pp.130-132)
[secunda pars:] Miserere nostriDomine (pp.133-134)
6. Ad Dominum cum tribularer (pp.135-136)
[secunda pars:] Sagittae potentis (pp.137-138)
7. Fundamenta ejus (pp.139-14 1)
[secunda pars:] Numquid Sion dicet (pp.141-143)
8. Quid vidisti me Thoma (pp144-145)
9. Ego sum panis vivus (pp.146-148)
10. Sicut cervus desiderat (pp.148-150)
[secunda pars:] Sitivit anima mea(pp.150-152)
11.Ave Regina coelorum. Paribus Vocibus (pp.152-154)
[secunda pars:] Gaude gloriosa (pp.154-156)
12.Alma redemptoris mater. Paribus Vocibus (pp.156-158)
[secunda pars:] Tu quae genuisti natura mirante (pp.158 -160)
13. Salve Regina (pp.160-162)
[secunda pars:] Eja ergo advocata nostra (pp.162-164)
14.Ave Maria gratia plena. Paribus Vocibus (pp.164-167)
15. Haec dies quam fecit (pp.167-169)
16. Confitemini Domino. Paribus Vocibus (pp.170-171)
17. Pueri Hebraeorum. Paribus Vocibus (pp.172-173)
18. Sub tuum praesidium. Paribus Vocibus (pp.173-175)
19.Adoramus te Christe. Paribus Vocibus (pp.176-177)
20. Surrexit pastor bonus (pp.177-179)
21. Gloriosi principes (pp.180-181)

[Volume 6] Werke von Pierluigi da Palestrina. Sechster Band. Fünf- sechs- und
acht-
stimmige Motetten aus dem Nachlass. Herausgegeben von Franz
Espagne [pub. 1876]. [Five-, six-, and eight-pa rt motets]
Eight-Part Works [pub. 1614]
1.Sub tuum praesidium (pp.1-4)
2. Fratres ego enim accepi (pp.4-9)
3. Caro mea vere est cibus (pp.10-14)
4. [secunda pars:] Hic est panis (pp.14-18)
"From the archive of the papal chapel"
Five-Pa rt Works
5. Tu es pastor ovium (pp.21-24)
142 Giovanni Pierluigi da Palestrina
6. [secunda pars:] Quodcumque ligaveris (pp.24-27)
Six-Part Works
7. In Assumptione Beatae Mariae Virginis Assumpta est Maria
(pp.28-31)
8. [secunda pars:] Quae est ista (pp.31-35)
9. In Festo S. Stephani Protomartyris. Cum autem esset Stephanus
(pp.36-38)
10.[secunda pars:] Positis autem genibus (pp.39-41)
11. In Festo S. Joannis Apostoli et Evangelistae. Hic est beatissimus
(pp.41Ø)
12.[secunda pars:] Hic est discipulis ille (pp.45-47)
13. In Festo Purificationis Beatae Mariae Virginis. Responsum accepit
(pp.48-50)
14.[secunda pars:] Cum inducerent puerum Jesum (pp.50-53)
15. Tradent enim vos in conciliis (pp.53-56)
Eight-Part Works
16.Surrexit pastor bonus (pp.57-61)
17.[secunda pars:] Et enim pascha nostrum (pp.61-65)
18.Jesus junxit se discipulis (pp.66-71)
19.[secunda pars:] Et increpavit eos dicens (pp.71-75)
20. Spiritus sanctus replevit (pp.76-82)
21. In Assumptione Beatae Mariae Virginis. Hodie gloriosa semper
Virgo (pp.82-86)
22. [secunda pars:] Regina urundum hodie (pp.86-89)
23. Et ambulabunt gentes in lumine [Secunda pars of the motet "Surge,
illuminare Jerusalem" (see vol.3 p.134)] (pp.90-95)
24. Stabat Mater dolorosa (pp.96-108)
"From th e archive of th e Capella Giulia in the Vatic an"
Eight-Pa rt Works
25. Ave mundi spes, Maria (pp.111-118)
26. Beata es, Virgo Maria (pp.118-121)
27. Ave Maria, gratia plena (pp.121 124)
-

28. 0 quam suavis est, Domine, spiritus tuus (pp.125-129)

29. Disciplinam et sapientiam docuit eos (pp.129-134)
30.0 bone Jesu, exaudi me (pp.135-139)
31.0 Domine Jesu Christe (pp.140-143)
32. Expurgate vetus fermentum (pp.144-149)
33. Pater noster, qui es in coelis (pp.150-153)
34. Salve Regina, mater misericordiae (pp.153-158)
35. Alma redemptoris Mater (pp.159-164)
36. Regina coeli, laetare (pp.165-170)

[Volume 7] Motetten von Pierluigi da Palestrina. Siebenter band. Vier- sechs- acht-
und zwlilfstimmige Motetten aus dem Nachlass. Herausgegeben von
Franz Espagne [pub. 1874]. [Four-, six-, eight-, and twelve-pa rt motets,
plus an alphabetical index (by text incipit) of vols.l-7 (pp.201-206)]
Six-Part Works
1.Salve Regina, mater misericordiae (pp.3-6)
2. [secunda pars:] Eja ergo, advocata nostra(pp.6 9)
-
Modern Editions of Palestrina's Music I 143
Eight-Part Works
3.0 pretiosum et admirandum convivium (pp.10-14)
4.0 admirabile commercium (pp.14-19)
5. Videntes stellam Magi (pp.19-24)
Twelve-Pa rt Works
6. Laudate Dominum in tympanis (pp.25-34)
7. Ecce nunc benedicite Dominum (pp.35-43)
8. Nunc dimittis servum tuum, Domine (pp.44-52)
"From the library of the Roman College"
Four-Part Works
9. In Ascensione Domini. Ascendens Christus in altum (pp.55-57)
10. Domine secundum actum meum (pp.57-59)
11.In Missis defunctorum. Ne recorde ris peccata mea (pp.60-62)
12.Ecce nunc benedicite Dominum (pp.62-64)
13. In Festo S. Gregorii Papae. Deus, qui animae famuli tui Gregorii
(pp.64-66)
14.Innocentes pro Christo infantes (pp.66-68)
15.In Festo S. Michaelis Archangeli. Princeps gloriosissime (pp.68-70)
16.In Festo S. Barbarae Virginis. Gaude, Barbara beata (pp.70-72)
Eight-Part Works
17.Alma redemptoris Mater (pp.73-75)
18. Tria sunt munera pretiosa (pp.76-80)
19. Fili, non te frangant labores (pp.80-83)
20. [secunda pars:] Ecce veniet dies illa (pp.84-87)
21. Haec dies, quam fecit Dominus (pp.88-91)
22. Lauda Sion Salvatorem (pp.91-105)
23. Victimae paschali laudes (pp.105-111)
24. Victimae paschali laudes (pp.112-117)
25. Veni Sancte Spiritus (pp.117-123)
26. Ave Regina coelorum (pp.124 129)
-

Twelve-Pa rt Works
27. Stabat Mater dolorosa (pp.130-150)
"From the library of the Barberini Palace"
Eight-Part Works
28. Apparuit gratia Dei (pp.153-157)
29. Dies sanctificatus (pp.158-162)
30. Haec est dies praeclara (pp.163-167)
31. Congratulamini mihi omnes (pp.167-171)
32. Magnus sanctus Paulus(pp.171-175)
33. [secunda pars:] Sancte Paule Apostole (pp.176-180)
34. Nunc dimittis servum tuum (pp.181-186)
35. Omnes gentes plaudite manibus (pp.187-194)
36. 'Victimae paschali laudes (pp.194-199)

[Volume 8] Hymnen von Pierluigi da Palestrina. Herausgegeben von Franz Espagne

[pub. 1878]. [Hymns, based on publication of 1589]
1.In Adventu Domini. Conditor alme siderum (pp.1-6)
2. In Nativitate et Circumcisione Domini. Christe redemptor omnium
(pp.6-12)
144 Giovanni Pierluigi da Palestrina
3. In Nativitate. Ad Laudes. A solis ortus cardine(pp.12-17)
4. In Festo Sanctorum Innocentium. Salvete flores martyrum (pp.17-19)
5. In Epiphania Domini. Hostes Herodes impie (pp.19-22)
6. In Dominicis per Annum. Lucis creator optime (pp.23-26)
7. In Sabbatis. O lux beata, Trinitas (pp.27-29)
8. In Dominicis Quadragesimae. Ad preces nostras (pp.29-35)
9. In Dominica Passionis et Exaltatione S.Crucis. Vexilla regis prodeunt
(pp.35-41)
10.In Dominicis Tempore Paschali.Ad coenam Agni providi (pp.42-46)
11.In Ascensione Domini. Jesu, nostra redemptio (pp.47-51)
12.In Festo Pentecostes. Veni creator Spiritus (pp.51-56)
13.In Festo Corporis Christi. Pange lingua gloriosi (pp.57-61)
14.In Festo Cathedrae S. Petri. Quodcumque vinclis (pp.62-63)
15.In Conversione et Commemoratione S.Pauli. Doctor egregie
(pp.63-65)
16.In Festo Beatae Virginis. Ave maris stella (pp.65-69)
17.In Inventione S. Crucis. Vexilla regis prodeunt (pp.70-73)
18.In Festo S.Joannis Baptistae. Ut queant laxis (pp.73-77)
19.In Festo Apostolorum Petri et Pauli. Aurea luce (pp.78-81)
20. In Festo S. Mariae Magdalenae. Lauda mater ecclesia (pp.
82-84)
21. In Festo S.Petri ad Vincula. Petrus beatus (pp.85-86)
22. In Festo Transfigurationis Domini. Quicumque Christum quaeritis
(pp. 86-89)
23. In Festo S. Michaelis Archangeli. Tibi Christe, splendor Patris
(pp.90-92)
24. In Festo Omnium Sanctorum. Christe redemptor omnium (pp.93-98)
25. In Communi Apostolorum et Evangelistarum. Exultet coelum
laudibus (pp.98-101)
26. In Festo Apostolorum et Evangelistarum. Tempore Paschali. Tristes
erantApostoli (pp.102-105)
27. In Communi Unius Martyrus. Deus tuorum militum (pp.
105-109)
28. In Festo Unius Martyrus. Tempore Paschali. Deus tuorum militum
(pp.110-112)
29. In Commune Plurimorum Martyrum. Sanctorum meritis (pp.
113-116)
30.In Festo Plurimorum Martyrum. Tempore Paschali. Rex gloriose
martyrum (pp.117-119)
31.In Natali Confessorum. Iste confessor (pp.119-123)
32.In Natalitiis Virginum et Martyrum. Jesu corona virginum (pp.
123-126)
33. In Festo Virginum et Martyrum. Tempore Paschali. Jesu corona vir
ginum (pp.127-131)
34.In Festo Sanctarum Mulierum. Hujus obtentu (pp.131-132)
35.In Festo Dedicationis Ecclesiae. Urbs beata Jerusalem (pp.132-138)
36. In Festo S. Augustini. Magne pater Augustine (pp.138-142)
37.In Festo S. Nicolai de Tolentino. Laudibus rummis (pp.142-147)
Modern Editions of Palestrina's Music I 145

38. In Festo S. Antonii de Padua. En gratulemur hodie (pp.

147-151)
39. In Festo S. Francisci. In Primis Vesperis. Proles de coelo prodiit
(pp.152-157)
40. In Festo S. Francisci in Secundis Vesperis. Decus morum, dux mino -

rum (pp.157-161)
41. In Quadragesima ad Completorium. Christe, qui lux es et dies
(pp.161-165)
42. In Festo S. Elisaei. Prima lux surgens (pp.165-169)
43. In Festo S. Eliae. Nunc juvat celsi (pp.169-173)
44. In Festo S. Albe rti. Mensis Augusti (pp.173-177)
45. In Festo S. Jacobi. Hymnus canoris personet (pp.177-179)

[Volume 9] Offertorien von Pierluigi da Palestrina. Herausgegeben von Franz Gom-

mer [pub. 1881]. [Offertories, all for five voices, based on 1593 publica-
tion]
First Pa rt
1.Dominica prima Adventus. Ad te levavi animam meam (pp.3-6)
2. Dominica secunda Adventus. Deus tu convertens (pp.6-9)
3. Dominica te rt ia Adventus. Benedixisti Domini terram tuam (pp.
10-12)
4. Dominica quarta Adventus. Ave Maria gratia plena (pp.13-15)
5. In Nativitate Domini ad tertiam Missam, et in Circumcisione. Tui suet
coeli (pp.16-18)
6. In Festo Sancti Stephani protomartyris. Elegerunt Apostoli Stephanum
levitam (pp.18-21)
7. In Festo S. Joannis Apostoli. Justus ut palma (pp.21-24)
8. In Festo Sanctorum Innocentium. Anima nostra sicut passer
(pp.24-26)
9. In Festo Sancti Thomae Archiepiscopi et martyris. Posuiste Domine in
capite eius (pp.27 29)
-

10. Dominica in fra oct. Nativitatis Domini. Deus enim firmavit orbem
terrae (pp.29-32)
11.In Festo Sancti Silvestri, Papae et conf. Inveni David servum meum
(pp.32-34)
12.In Epiphania Domini. Reges Tarsis et insulae (pp.35-37)
13.Dominica infra octavum Epiphaniae. Jubilate Deo omises terra
(pp. 37-40)
14. Dominica secunda post Epiphaniam. Jubilate Deo universa terra
(pp.40-43)
15.Dominica te rt ia, quarta et V. post Epipha. Dextera Domini fecit vir-
tutem (pp.43-45)
16.Dominica in Septuagesima. Bonum est confiteri (pp.46-48)
17.Dominica in Sexagesima. Perfice gressus meos (pp.48-51)
18.Dominica in Quinquagesima. Benedictus domine doce me
(pp.51-54)
19.Dominica p ri ma Quadragesimae. Scapulis suis obumbrabit
(pp.54-57)
146 Giovanni Pierluigi da Palestrina
20.Dominica secunda Quadragesimae. Meditabor in mandatis tuis
(pp.57-60)
21.Dominica tertia Quadragesimae. Iustitiae Domini rectae (pp.60-63)
22.Dominica quarta Quadragesimae. Laudate Dominum quia benignus
est (pp.63-66)
23.Dominica de Passione. Confitebor tibi Domine (pp.66-69)
24.Dominica Palmarum. Improperium exspectavit cor meum
(pp. 69-72)
25.Dominica Resurrectionis Domini. Terra tremuit et quievit (pp.72-75)
26.Dominica in Albis, in octava Paschae. Angelus Domini descendit
(pp.75-78)
27.Dominica secunda post Pascha. Deus Deus meus ad te (pp.78-81)
28.Dominica tertia post Pascha. Lauda anima mea Dominum
(pp• 81-83 )
29.Dominica quinta post Pascha. Benedicite gentes Dominum
(pp• 84-87)
30. In Die Ascensione Domini. Ascendit Deus in iubilatione (pp.87-89)
31. In Dominica Pentecostes. Confirma hoc Deus (pp.90-92)
32. In Festo S.S.Trinitatis. Benedictus sit Deus Pater (pp.93-95)
33. In Solemnitate Corporis Christi. Sacerdotes Domini (pp.96-98)
34.Dominica secunda post Pentecosten. Domine convertere
(pp.99-101)
35.Dominica tertia post Pentecosten. Sperent in te omnes (pp.102-105)
36.Dominica quarta post Pentecosten. Illumina oculos neos
(pp.105-108)
37.Dominica quinta post Pentecosten. Benedicam Dominum
(pp.108-111)
38.Dominica septima post Pentecosten. Sicut in holocaustis
(pp.111-114)
39.Dominica octava post Pentecosten. Populum humilem salvum
(pp.114-117)
40.Dominica nona post Pentecosten. Iustitiae Domini rectae
(pp.117-120)
Second Part
41.Dominica XI post Pentecosten. Exaltabo te Domine (pp.125-127)
42.Dominica XII post Pentecosten. Precatus est Moyses (pp.128-130)
43.Dominica XIII post Pentecosten. In te speravi Domine (pp.131-133)
44.Dominica XIV post Pentecosten. Immittet Angelus Domini
(pp.134-136)
45.Dominica XV post Pentecosten. Expectans expectavi Dominum
(pp.137-139)
46.Dominica XVI post Pentecosten. Domine in auxilium meum
(pp.140-142)
47.Dominica XVII post Pentecosten. Oravi ad Dominum Deum meum
(pp.143-145)
48.Dominica XVIII post Pentecosten. Sanctificavit Moyses
(pp.146-148)
49.Dominica XIX post Pentecosten. Si ambulavero in medio
(pp.149-152)
Modern Editions of Palestrina's Music 1 147

50. Dominica XX post Pentecosten. Super flumina Babylonis

(pp.152-154)
51. Dominica XXI post Pentecosten. Vir erat in terra Hus (pp.155-157)
52. Dominica XXII post Pentecosten. Recordare mei Domine
(pp.158-160)
53. Dominica XXIII et XXIV post Pentecosten. De profundis clamavi
(pp.161-163)
54. In Nativitate S. Joan. Baptistae. Justus ut palma(pp.164-166)
55. In Die S. Jacobi Apostoli. Mihi autem nimis (pp.167-169)
56. In Festo S. Laurentii Martyris. Confessio et pulchritudo
(pp.170-172)
57. In Assumptione Beatae Mariae Virginis. Assumpta est Maria
(pp.173-175)
58. In Festo Dedicationis S. Michaelis, Archang. Stetit angelus juxta
aram (pp.176-178)
59.In die Commemorations omnium Sanctorum. Constitues eos
principes (pp.179-181)
60. In Festo SS. Apost. Philippi et Jacobi. Confitebuntur coeli
(pp.182-184)
61. In Festo SS. Apost. Simonis et Judae. In omnem terram exivit
(pp.185-187)
62. In Die S. Matthiae Apostoli. Justorum animae in manu Dei
(pp.187-190)
63. Commune Sanctorum. Veritas mea et misericordia (pp.190-192)
64. Commune plurimum Martyrum. Laetamini in Domino (pp.193-195)
65. Commune Virginum. Afferentur regi virgins (pp.195-197)
66. In Festo Dedicationis Ecclesiae. Domine Deus in simplicitate
(pp.198-200)
67.In Festo Purificationis B. Mariae Virginis. Diffusa est gratia
(pp.200-203)
68. In Festo Cathedrae sancti Petri. Tu es Petrus (pp.203-206)

[Volume 10] Erstes Buch der Messen von Pierluigi da Palestrina. Herausgegeben von
Franz Xaver Haberl [pub. 1880]. [Masses, Book I (1554), based on edi-
tion of 1591]
For Four Voices
1. Missa Ecce sacerdos magnus (pp.3-31)
2. Missa O regem coeli (pp.32-54)
3. Missa Virtute magna (pp.55-79)
4. Missa Gabriel Archangelus (pp.80-104)
For Five Voices
5. Missa Ad cenam agni providi (pp.105-137)
6. Missa Pro defunctis (pp.138-152)
For Six Voices
7. Missa Sine nomine (pp.153-174)

[Volume 11] Zweites Buch der Messen von Pierluigi da Palestrina. Herausgegeben
von Franz Xaver Haberl [pub. 1881]. [Masses, Book II (1567)]
148 Giovanni Pierluigi da Palestrina
For Four Voices
1. Missa de Beata Virgine (pp.1 20) -

2. Missa Inviolata (pp.21 40)

-

3. Missa Sine nomine (pp.41 56) -

4. Missa Ad fugam (pp.57 70)

-

For Five Voices

5. Missa Aspice Domine (pp.71 96) -

6. Missa Salvum me fac (pp.97 128) -

For Six Voices

7. Missa Papae Marcelli (pp.128 155) -

[Volume 12] Drittes Buch der Messen von Pierluigi da Palestrina. Herausgegeben von
Franz Xaver Haberl [pub. 1881]. [Masses, Book III (1570)]
For Four Voices
1. Missa Spem in alium (pp.3 25) -

2. Missa Primi toni (pp.26 49)-

3. Missa Brevis (pp.50 65)

-

4. Missa De Feria (pp.66 74)

-

For Five Voices

5. Missa L'homme arme [sic] (pp.75 104) -

6. Missa Repleatur os meum (pp.105 134) -

For Six Voices

7. Missa De beata Virgine vel Dominicalis (pp.135 164) -

8. Missa Ut re mi fa sol la (pp.165 193) -

[Volume 13] Viertes Buch der Messen von Pierluigi da Palestrina. Herausgegeben von
Franz Xaver Haberl [pub. 1882]. [Masses, Book IV (1582)]
For Four Voices
1. Missa Prima (Lauda Sion) (pp.1 14) -

2. Missa Secunda (Frimi Toni) (pp.15 28) -

3. Missa Tertia (Jesu, nostra redemptio) (pp.29 44) -

4. Missa Quarta (pp.45 58)

-

For Five Voices

5. Missa Prima (Eripe me de inimicis meis) (pp.59 84) -

6. Missa Secunda (pp.85 109)

-

7. Missa Tertia (O magnum mysterium)(pp.110 139) -

[Volume 14] Fiinftes Buch der Messen von Pierluigi da Palestrina. Herausgegeben
von Franz Xaver Haberl [pub. 1882]. [M as ses, Book V (1590)]
For Four Voices
1. Missa Aeterna Christi munera (pp.1 14) -

2. Missa Jam Christus astra ascenderat(pp.15 33) -

3. Missa Panis Buem ego dabo (pp.34 53) -

4. Missa Iste Confessor (pp.54 65) -

For Five Voices

5. Missa Nigra sum (pp.66 94) -

6. Missa Sicut lilium inter spinas (pp.95 117) -

Modern Editions of Palestrina's Music I 149
For Six Voices
7. Missa Nasce la gioia mia (pp.118-139)
8. Missa Sine nomine [see Book I, vol.10, p.153]

[Volume 15] Sechstes Buch der Messen von Pierluigi da Palestrina. Herausgegeben
von Franz Xaver Haberl [pub. 1883]. [Mass, Book VI (1594), based on
1596 Gardano print]
For Four Voices
1.Missa Dies sanctificatus (pp.1-21)
2. Missa In te Domine speravi (pp.22-43)
3. Missa Sine nomine (pp.44-59)
4. Missa Quam pulchra es (pp.60-83)
For Five Voices
5. Missa Dilexi quoniam (pp.84-112)
For Six Voices
6. Missa Ave Maria (pp.I13-151)

[Volume 16] bannis Petraloysii Praenestini. Opera Omnia. Tom.XVI. Missarum

librum septimum curavit Franciscus Haberl [pub. 1884]. [Masses, Book
VII (1594)]
For Four Voices
1. Missa Ave Maria (pp.1-21)
2. Missa Sanctorum meritis (pp.22-43)
3. Missa Emendemus (pp.44-59)
For Five Voices
4. Missa Sacerdos et pontifex (pp.60-84)
5. Missa Tu es pastor ovium (pp.85-108)

[Volume 17] Achtes Buch der Messen von Pierluigi da Palestrina. Herausgegeben von
Franz Xaver Haberl [pub. 1885]. [Masses, Book VIII (1599)]
For Four Voices
1.Missa Quem dicunt homines (pp.1-22)
2. Missa Dum esset Summus Pontifex (pp.23-37)
For Five Voices
3. Missa O admirabile commercium (pp.38-62)
4. Missa Memor esto (pp.63-84)
For Six Voices
5. Missa Dum complerentur (pp.85-112)
6. Missa Sacerdotes Domini (pp.113-140)

[Volume 18] Neuntes Buch der Messen von Pierluigi da Palestrina. Herausgegeben
von Franz Xaver Haberl [pub. 1886]. [Masses, Book IX (1599)]
For Four Voices
1.Missa Ave Regina coelorum (pp.1-20)
2. Missa Veni sponsa Christi (pp.21 -37)
For Five Voices
3. Missa Vestiva i colli (pp.38-63)
4. Missa Sine nomine (pp.64-90)
150 Giovanni Pierluigi da Palestrina
For Six Voices
5. Missa In te Domine speravi (pp.91 118) -

6. Missa Te Deum laudamus (pp.119 143)-

[Volume 19] Zehntes Buch der Messen von Pierluigi da Palestrina. Herausgegeben
von Franz Xaver Haberl [pub. 1888]. [Masses, Book X (1600)]
For Four Voices
1. Missa In illo tempore (pp.1 21) -

2. Missa Già fù chi m'ebbe cara (pp.22 36) -

For Five Voices

3. Missa Petra sancta (pp.37 62)
-

4. Missa O Virgo simul et mater (pp.63 84) -

For Six Voices

5. Missa Quinti toni (pp.85 108)
-

6. Missa Illumina oculos meos (pp.109 140) -

[Volume 20] Elftes Buch der Messen von Pierluigi da Palestrina. Herausgegeben von
Franz Xaver Haberl [pub. 1889]. [Masses, Book XI (1600)]
For Four Voices
1. Missa Descendit angelus Domini (pp.1 21) -

For Five Voices

2. Missa Regina coeli (pp.22 49)
-

3. Missa Quando lieta sperai (pp.50 79)-

For Six Voices

4. Missa Octavi toni (pp.80 105)
-

5. Missa Alma redemptoris (pp.106 132) -

[Volume 21] Zwdlftes Buch der Messen von Pierluigi da Palestrina. Herausgegeben
von Franz Xaver Haberl [pub. 1889]. [Masses, Book XII (1601)]
For Four Voices
1. Missa Regina coeli (pp.1 21)
-

2. Missa O rex gloriae (pp.22 37)

-

For Five Voices

3. Missa Ascendo ad Patrem (pp.38 61) -

4. Missa Qual è il più grand'Amor (pp.62 85) -

For Six Voices

5. Missa Tu es Petrus (pp.86 110)
-

6. Missa Viri Galilaei (pp.111 136)-

[Volume 22] Dreizehntes Buch der Messen von Pierluigi da Palestrina. Heraus-
gegeben von Franz Xaver Haberl [pub. 1890]. [Masses, Book XIII
(1601), four masses in eight parts]
For Eight Voices
1. Missa Laudate Dominum omnes gentes (pp.1 39) -

2. Missa Hodie Christus natus est (pp.40 73) -

3. Missa Fratres ego enim accepi (pp.74 109) -

4. Missa Confitebor tibi Domine (pp.110 154) -

[Volume 23] Vierzehntes Buch der Messen von Pierluigi da Palestrina. Nach romis-
Modern Editions of Palestrina's Music 1 151
chen Handschriften herausgegeben von Franz Xaver Haberl [pub. 1888].
[Masses, Book XIV, based on Roman manuscripts]
For Four Voices
1.Missa In majoribus duplicibus (pp.1-25)
2. Missa Inminoribus duplicibus (pp.26-47)
For Five Voices
3. Missa Beatus Laurentius (pp.48-70)
4. Missa O sacrum convivium (pp.71-96)
For Six Voices
5. Missa Assumpta est Maria (pp.97-121)
6. Missa Veni Creator Spiritus (pp.122-150)
Appendix:
Alternate Christe, Missa Assumpta est Maria (pp. 1 5 1-152)

[Volume 24] Fiinfzehntes Buch der Messen von Pierluigi da Palestrina. Heraus-
gegeben von Franz Xaver Haberl [pub. 1887]. [Masses, Book XV, based
on manuscript sources]
For Four Voices
1. Missa Pater poster (pp.1-19)
For Five Voices
2. Missa Panem nostrum (pp.20-45)
3. Missa Salve Regina (pp.46-71)
For Six Voices
4. Missa Sine titulo (pp.72-104)
5. Missa Tu es Petrus (pp.105-128)
6. Missa Ecce ego Joannes (pp.129-154)

[Volume 25] Lamentationen. Herausgegeben von Franz Xaver Haberl [pub. 1888].
[P ri ncipal primary sources: Book I from print of 1583; Book II on MS
Lateran 59; Book III on MS Cappella Giulia XV.21; Book IV on MS
Ottoboni 2928/3387]
Liber Pri mus [Book I]
Feri a V. In coena Domini
Lectio I [Incipit Lamentatio ... Aleph. Quomodo sedet] (pp.1-4)
Lectio II [Vau. Et egreesus est] (pp.4-7)
Lectio III [Jod. Manum suam] (pp.8-12)
Feria VI. In Parasceve
Lectio I [De Lamentatione ... Cogitavit] (pp.12-16)
Lectio II [Lamed. Matribus suis] (pp.16-19)
Lectio III [Aleph. Ego vir videns] (pp.20-23)
Sabbato Sancto
Lectio I [De Lamentatione . . . Heth. Misericordiae Domini]
(pp. 24-28)
Lectio II [Aleph. Quomodo obscuratum est] (pp.28-31)
Lectio III [Incipit oratio ... Recordare Domine] (pp.32-35)
Liber Secundus [Book II]
Feri a V. In coena Domini
Lectio I [Incipit Lamentatio . . . Aleph. Quomodo sedet]
(pp.39-42)
152 Giovanni Pierluigi da Palestrina

Lectio II [Vau. Et egressus est] (pp.43 48)

-

Lectio III [[Jod. Manum suam] (pp.49 53)

-

Feria VI. In Parasceve

Lectio I [De Lamentatione ... Cogitavit] (pp.54 59) -

Lectio II [Lamed. Matribus suis] (pp.60 65)

-

Lectio III [Aleph. Ego vir videns] (pp.65 69)

-

Sabbato Sancto.
Lectio I [De Lamentatione . . . Heth. Misericordiae Domini]
(pp.70 74)
-

Lectio II [Aleph. Quomodo obscuratum est] (pp.74 79) -

Lectio III [Incipit oratio ... Recordare Domine] (pp.80 87) -

Liber Tertius [Book III]

Feria V. In coena Domini
Lectio I [Incipit Lamentatio . . . Aleph. Quomodo sedet]
(pp.91-96)
Lectio II [Vau. Et egressus est] (pp.97-104)
Lectio III [Jod. Manum suam] (pp.104-110)
Feria VI. in Parasceve
Lectio I [De Lamentatione ... Heth. Cogitavit] (pp.111 116) -

Lectio II [Lamed. Matribus suis] (pp.116 123)-

Lectio III [Aleph. Ego vir videns] (pp.124 129) -

Sabbato Sancto
Lectio I [De Lamentatione . . . Heth. Misericordiae Domini]
(pp.130 137)
-

Lectio II [Aleph. Quomodo obscuratum est] (pp.137 143) -

Lectio III [Incipit oratio ... Recordare Domine] (pp.144 151) -

Liber Quartus [Book IV]

Feria V. In coena Domini
Lectio I [Incipit Lamentatio . . . Aleph. Quomodo sedet]
(pp.155 159)
-

Lectio II [Vau. Et egressus est] (pp.160 166)

-

Lectio III [Jod. Manum suam] (pp.166-173)

Feria VI. In Parasceve
Lectio I [De Lamentatione ... Cogitavit] (pp.173-180)
Lectio II [Lamed. Matribus suis] (pp.180 187)-

Lectio III [Aleph. Ego vir videns] (pp.187-192)

Sabbato Sancto
Lectio I [De Lamentatione . . . Heth. Misericordiae Domini]
(pp.193-199)
Lectio II [Aleph. Quomodo obscuratum est] (pp.200-204)
Lectio III [Incipit oratio ... Recordare Domine] (pp.204 209) -

[Volume 26] Drei Bucher Litaneien, Motetten und Psalmen [pub. 1886]. Heraus-
gegeben von Franz Xaver Haberl. [Three books of litanies, motets, and
psalms]
Book I
Litaniae deiparae virginis a 4 (pp.1 29)
-

Book II
Litaniae deiparae virginis a 4 (pp.33 64)
-
Modern Editions of Palestrina's Music I 153

Book III
1. Litaniae de Beata Virgine Maria a 5 (pp.67-70)
2. Litaniae de Beata Virgine Maria a 6 (pp.71-77)
3. Litaniae de Beata Virgine Maria a 8 (pp.78-94)
4. Litaniae de Beata Virgine Maria a 8 (pp.95-101)
5. Litaniae Domini a 8 (pp.102-112)
6. Litaniae Domini a 8 (pp.113-118)
7. Litaniae Domini a 8 (pp.119-124)
8. Litaniae Sacrosanctae Eucharistiae a 8(pp.125-132)
9. Litaniae Sacrosanctae Eucharistiae a 8 (pp.133-138)
Appendix
1. Ad te levavi oculos meos a 12 [o ri ginal chorus III parts missing; pa rt s
in this edition composed by Michael Haller] (pp.139-152)
2. Beati omnes a 12 [ori ginal chorus III pa rt s missing; pa rt s in this edi-
tion composed by Michael Haller] (pp.153-165)
3. Dominus, quis habitabit a 12 [chorus III missing, these pa rt s com-
posed by Michael Haller] (pp.166-177)
4. Jubilate Deo omnis terra a 12 [secunda pars: Laudate nomen ejus;
o ri ginal chorus III part s missing; these pa rt s composed by Michael
Haller for the present edition] (pp.178-196)
5. 0 quam bonus et suavis a 12 [chorus III missing; these pa rt s com-
posed by Michael Haller for the present edition] (pp.197-210)
6. Antiphona: Salve Regina a 12 [chorus III missing; these pa rt s com-
posed by Michael Haller for the present edition] (pp.211-220)

[Volume 27] 35 Magnificat (Lobgesang Mariens). Herausgegeben von Franz Xaver

Haberl [pub. 1885]
Liber Primus
[four voices, odd-numbered verse settings]
Primi toni (pp.1-5)
Secundi toni (pp.6-10)
Tertii toni (pp.11-15)
Quarti toni (pp.15-20)
Quinti toni (pp.20-25)
Sexti toni (pp.26-30)
Septimi toni (pp.30-35)
Octavi toni (pp.35-40)
[Even-numbered verse settings]
Primi toni (pp.4O-45)
Secundi toni (pp.45-49)
Tertii toni (pp.49-53)
Quarti toni (pp.54-58)
Quinti toni (pp.58-62)
Sexti toni (pp.63-67)
Septimi toni (pp.67-72)
Octavi toni (pp.72-76)
Liber Secundus
[four to five voices, even-numbered verse settings]
154 Giovanni Pierluigi da Palestrina
Primi toni (pp.79 87)
-

Secundi toni (pp.88 96) -

Tertii toni (pp.97 104)

-

Quarti toni (pp.105 112)-

Quinti toni (pp.113 120)

-

Sexti toni (pp.121 127)

-

Septimi toni (pp.128 135)

-

Octavi toni (pp.136 143)-

Liber Tertius
[five to seven voices, odd-numbered verse settings]
Primi toni (pp.147 157)
-

Secundi toni (pp.158 167) -

Tertii toni (pp.168 178)

-

Quarti toni (pp.178 191)-

Quinti toni (pp.191-202)

Sexti toni (pp.202-214)
Septimi toni (pp.214-224)
Octavi toni (pp.225-234)
Appendix
Primi toni octonis vocibus [from Vatican Library, Cappella Sistina MS
29, all verses] (pp.235-243)
Quarti toni cum quatuor vocibus paribus [from Rome, San Giovanni in
Laterano, MS59, even-numbered verses] (pp.244-250)
Sexti toni [from Vatican Library, Cappella Giulia MS47, even-numbered
verses, four to five voices] (pp.251-258)

[Volume 28] Vierstimmige Madrigale (1. und 2. Buch). Drei- bis sechstimmige Madri-
gale (3. Buch). Herausgegeben von Franz Xaver Haberl [pub. 1884].
[Four-part mad ri gals, books 1 and 2. Three- to six-part madri gals, Book
3, based on publications in anthologies. Madrigal texts pp.xi-xxi]
Book I for Four Voices
1.Deh orfoss'io col vago (pp.1 2) -

2. S'i'l dissi mai ch'i venga in odio (pp.3 4) -

3. Queste saranno ben lag rime (pp.5 7) -

4. Che non fia che giammai dal cor (pp.7 9) -

5. Rime, dai sospir miei nati e dal pianto (pp.10 12) -

6. Lontan dalla mia diva (pp.12 14)

-

7. Nessun visse giammai più (pp.15 16) -

8. La ver l'aurora, che si dolce l'aura(pp.17 18) -

9. Chiara, si chiaro e de'vostr'occhi (pp.19 20) -

10. Che estinguerà il mio foco (pp.21 23) -

11.Donna, vostra mercede ogni pietade eccede (pp.24 26) -

12. Già fu chi m'ebbe cara (pp.26 28) -

13. Ovver de'sensi è priva (pp.29 30) -

14. Amor, Fortuna, e la mia mente (pp.31 33) -

[seconda parte:] Ne spero i dolci di tornino (pp.33 34) -

15. Che debbo far, che mi consigli, Amore? (pp.34 36) -

16. Gitene liete rime, ov'er si siede (pp.37 39) -

17.Mentr a le dolci e le purpuree labbia (pp.39 41) -

Modern Editions of Palestrina's Music 1 155
18.Amor, che meco in quest' ombre ti stava (pp.42-43)
19. Ecc'ove giunse prima (pp.43-45)
20. Vaghi pensier, che cosi passo (pp.45-47)
21. Mentre ch'al mar discenderanno (pp.47-49)
22. Quai rime fur si chiare (pp.50-52)
23. Ecc'oscurati i raggi al sole (pp.52-54)
[seconda pa rt e:] Rara beltà non mai più vista (pp.54-56)
[terza pa rte:] Questo doglioso stil (pp.57-58)
[quarta pa rt e:] Mai fu più cruda (pp.59-60)
[quinta part e:] Privo di fede oltra l'usato (pp.61-62)
[ultima part e:] Ma voi, fioriti ed onorati (pp.63-66)
Book II of Madrigals for Four Voices
1. Cosi la fama scriva in sempiterni marmi [dedication `All' illustrissi.
ed eccellentissi. Sign. Giulio Cesare Colonna principe di
Palestine"] (pp.71-72)
2. S'un squardo un fa beato (pp.73-75)
3. Amor, ben puoi tu ormai (pp.75-77)
4. Partomi Donna, e teco lascio il core (pp.77-80)
5. Veramente inamore (pp.80-82)
6. Gioia m'abond'al cor (pp.82-84)
7. Donna gentil, quando talor degnate (pp.85-87)
8. lo dovea ben pensarmi (pp.87-90)
9. Se'l pensier che mi strugge (pp.90-92)
10. Che dunque fia, se voi donna (pp.92-95)
11.Mirate altrove, vita mia (pp.95-97)
12. Si è debile il filo a cui sattene (pp.97-100)
13. I vaghi fiori e l'amorose fronde (pp.100-102)
14.Mori quasi il mio core (pp.103-105)
15.Alla riva del Tebro (pp.105-107)
16.Amor, quando fioria mia speme (pp.107-109)
17.Beltà, se com'in ment'io (pp.110-112)
18.La cruda mia nemica (pp.112-114)
19. 0 che splendor de'luminosi rai (pp.115-117)
20. Io sentoqui d'intorno (pp.117-119)
21. Deh! Fuss'or qui madonna (pp.119-122)
22. Se non fusse il pensier (pp.122-124)
23. Perche s'annida amore nelle luci (pp.124-126)
24. Ogni beltà, madonna, ch'io veggie (pp.126-129)
25. Ardo lungi e dappresso (pp.129-131)
Book III of Madrigals for Three, Four, Five, and Six Voices:
1.Ahi che quest'occhi miei a 3 (p.135)
2. Da cosi dotta man sei stato a 3 (p.136)
3. Pose un gran foco nel mio petto Amore a 4 (p.137)
4. Vedrassi prima senza luce a 4 (pp.138-139)
5. Ahi! letizia fugace a5 [Ridolfo Pierluigi] (pp.140-143)
6. Com'in più negre tenebre a 5 (pp.143-146)
7. Dido, che giace entro quest'urna? a 5 (pp.146-148)
8. Dolor non fu, ne fia a 5 (pp.149-153)
9. Donna bell'e gentil a 5 (pp.153-156)
156 Giovanni Pierluigi da Palestrina
10.Eran le vostre lagrime nel viso a 5 (pp.157-160)
11. Febbre, ond'or per le vene a S (pp.160-163)
12.Il dolce sonno in cui sepolto giace a 5 (pp.164-169)
13.Il tempo vola, e se ne fuggon gli anni a 5 (pp.169-172)
[seconda parte:] Ivi vedrai la gloria (pp.173-176)
14.Io son felice sarei a 5 (pp.176-179)
15. lo son ferito, ahi lasso a S (pp.179-183)
16.Le selv'avea d' intorn'al lido Eusino a 5 (pp.183-186)
[seconda parte:] Quando fe'loro impallidir (pp.186-189)
17.Non son le vostre mania 5 (pp.189-192)
18.0 bella Ninfa mia a 5 (pp.192-194)
19.O felice ore, oh giorno fortunato a 5 (pp.195-198)
[seconda parte:] Per mostrar gioia (pp.198-200)
20. Ogni loco mi porge doglia e pianto a 5 (pp.201-204)
[seconda parte:] Poscia che per mio mal (pp.204-206)
21. Placide l'acqu'e placid'era il vento a 5(pp.207-210)
22. Saggio e santo Pastor a 5 (pp.210-213)
[seconda parte:] Onde seguendo l'onorata impresa (pp.213-215)
23. Se ben non veggon gl'occhi a 5 (pp.215-219)
24. Se di pianti e di stridi a S (pp.219-222)
25. Se fra quest'erb'e fiori a 5 (pp.222-226)
26. Se lamentar augelli a 5 (pp.226-230)
27. Soave fia il morir a 5 (pp.231-233)
28. Struggomi, e mi disfaccio a 5 (pp.234-239)
29. Vestiva i colli a 5 (pp.239-242)
[seconda parte:] Cosi le chiome mie (pp.243-246)
30. Quando dal terzo cielo a 6 (pp.246-249)

[Volume 29] Fiinfstimmige Madrigale (1. und 2. Buch). Herausgegeben von Franz
Xaver Haberl [pub. 1883]. [Five-part madrigals, books 1 and 2]
Book I of [Spiritual] Madrigals for Five Voices
[Madri gal texts (pp.xi-xiv)]
1. Vergine bella, che di sol vestita (pp.1-6)
2. Vergine saggia, e del bel numer'una (pp.7-11)
3. Vergine pura d'ogni part' intera (pp.11-15)
4. Vergine santa, d'ogni grazia piena (pp.16-20)
5. Vergine sola al mondo (pp.21-26)
6. Vergine chiara e stabile in eterno (pp.26-31)
7. Vergine, quante lagrime ho già sparte (pp.32-37)
8. Vergine, tale è terra (pp.37-42)
9. Spirito santo, Amore (pp.42-45)
10. O Sol' incoronato (pp.45-48)
11.0 cibo di dolcezza (pp.49-51)
12. O refrigerio acceso (pp.52-54)
13. Tu sei soave flume (pp.55-57)
14. Paraclito amoroso, quando t'avrà io?(pp.58-60)
15. Amor, senza il tuo Bono (pp.60-62)
16. Dunque divin Spiracolo (63-65)
17. O Manna saporito (pp.65-67)
Modern Editions of Palestrina's Music 1 157
18. Signor, dammi scienza (pp.67-69)
19.0 Jesu dolce, o infinito amore (pp.70-73)
20. Giammai non resti a mille dolci modi (pp.74-76)
21. Quando più t'offend'io (pp.76-78)
22. Non basta ch'una volta tu portasti (pp.79-81)
23. S'io non ti conoscessi (pp.82-84)
24. Ma so ben, Signor mio (pp.84-87)
25. Et tu, anima mea, fatta da Dio (pp.87-89)
26. Per questo, Signor mio, non ti stancare (pp.90-92)
Book II of [Spiritual] Madrigals for Five Voices
1. Figlio immortal d'immortal padre (pp.97-100)
2. E se mai voci di quaggiù son grate (pp.100-103)
3. Or tu sol, che di vivi almi splendors (pp.103-106)
4. Dammi, scala del ciel e del ciel porta (pp.107-109)
5. E, se fur già de le mie mani (pp.110-112)
6. Dammi, vermiglia Rosa e bianco (pp.113-116)
7. E, se il pensier de la futura morte (pp.116-119)
8. Eletta Mirra, che soave odore (pp.119-122)
9. Cedro gentil dagli amorosi vermi(pp.123-125)
10. Fa, che con l'acque tue splendenti (pp.126-128)
11. Se amarissimo fiele e mortal tosco (pp.129-131)
12. Orto che ses si chiuso e si serrato (pp.132-134)
13. E se nel foco di lascivie ardendo (pp.134-137)
14. Vincitrice de l'empia idra infe rnale (pp.137-140)
15. Città di Dio, cui fan Tempi e Fortezze (pp.141-144)
16. Santo Altare, d'odor più vers e degni (pp.144-147)
17. Tu di fortezza torre (pp.147-151)
18. Specchio the fosti si polito (pp.151-154)
19. Vello di Gedeon, cui Dio si largo (pp.154-157)
20. Novella Aurora, che nascendo allegri (pp.157-160)
21. E questo spirto, de la propria sede (pp.160-163)
22. E dal letto di mille e mille colpe (pp.163-166)
23. Ed arda ognor sopra il lapideo altare (pp.166-169)
24. E tua mercè da cost cieca e folta nebbia (pp.169-172)
25. E quella certa speme e quella fede (pp.172-175)
26. Anzi se foco e ferro e se veleno (pp.176-179)
27. E con i raggi tui splendenti e chiari (pp.179-182)
28. Regina delle Vergini e di tutte (pp.182-186)
29. Al fin, madre di Dio, che ne più bella cosa (pp.186-190)
30. E tu Signor, tu la tua grazia infondi(pp.190-193)

[Volume 30] Erster Nachtrag zur Gesammtausgabe der Werke von Pierluigi da Palest-
rina Herausgegeben von Franz Xaver Haberl [pub. 1891]. [First supple-
ment to the collected edition]
A. Ex Collectionibus Impressis Saeculi XVI et XVII
I. Cantiones Sacrae
1.Jesu rex admirabilis a 3 [spiritual canzonetta] (p.3)
2. Canon a 3 all'unisono and Resolutio [doubtful attribution] (p.3)
3. Tua Jesu dilectio a 3 [spiritual canzonetta] (p.4)
158 Giovanni Pierluigi da Palestrina
Intavulatura del cimbalo [of no.3] (p.4)
4. Canon a 4 di quarta in quarta and Resolutio [doubtful attribution]
(PP. 4-5 )
5. Jesu flos matris Virginis a 4 [spi ri tual canzonetta] (pp.5-6)
Intavolatura del cimbalo [of no.5] (p.6)
6.0 quam suavis est Domine a 4 [motet] (pp.7-9)
7. Benedictus Dominus Deus Israel a 4 [canticle, odd-numbered verses]
(pp.10-13)
8. Miserere mei Dominus [falsobordone] (p.14)
9. Missa Papae Marcelli [anonymous arr an gement for four voices, pub.
1590] (pp.15-27)
10.Missa Dominicales, altus and bassus pa rt s [pub. 1592] (pp.28-34)
11. Laudate Dominum in sanctis ejus a 8 [motet, pub. 1607] [Haberl
considered doubtful; presently accepted as genuine] (pp.35-41)
12. Vos amici mei estis a 8 [motet, pub. 1591] (pp.42-46)
II. Cantiones Profanae
1. Amor, se pur sei Dio [cantus and bassus only] (pp.47-48)
2. Chiare, fresche e dolci acque a 4 [c an zone] (pp.48-50)
[seconda parte] S'egli e pur mio destino (pp.50-52)
[terza parte] Tempo verra ancor force (pp.53-55)
[quart a parte] Da'be'rami scendea (pp.55-57)
[quinta parte] Quante volte diss'io (pp.58-60)
3. Da fuoco cost bel a 4 [canzone] (pp.61-63)
[II. stanza] Rapace ingorda (pp.63-65)
[III.stanza] Amo, e non nacque del mio amor (pp.65-67)
[IV.stanza] Da l'empia gelosia (pp.67-69)
[V.stanza] Si mi vince talor (pp.69-71)
[VI.stanza] O effetto rio (pp.72-74)
[VII.stanza] Amore, non volendo io (pp.74-76)
[VIII.stanza] Non mi sferra il crudel (pp.76-78)
[IX.stanza] Poi che la vista (pp.78-81)
[X stanza] Io ho non lingua (pp.81-83)
[XI.stanza] L'alta cagion (pp.83-85)
[XII.stanza] Misero stato degli amanti (pp.85-87)
[XIII.stanza] Fuggir dovriasi (pp.87-90)
[XIV.et ultima stanza] Sazio di tormentarmi (pp.90-92)
4. Con dolce, altiero ed amoroso cenno a 4 [mad ri gal] (pp.93-95)
5. Se dai soavi accenti a 4 [madrigal] (pp.96-98)
6. Voi me poneste in foco a 4 [canzona] (pp.99-100)
[II.parte] Perd che da'l ardore (pp.101-102)
[III.parte] Che se tant'a voi place (pp.102-104)
[IV.parte] E di voi non mi doglio (pp.104-106)
7. Donna, presso al cui viso a 5 [madrigal, cantus and tenor lacking]
(pp.107-109)
8. Non fu gib suon di trombe a 5 [mad rigal, cantus an d tenor lacking]
(pp.110-112)
9. II caro è morto a 5 [mad ri gal, tenor lacking here] (pp.113-115)
[II. parte] Or the la nobil lingua fredda (pp.116-118)
Modern Editions of Palestrina's Music 1 159

10. Anima, dove sei a 5 [mad ri gal; tenor, quinto, basso part s lacking
here] (pp.119-121)
11. Quand'ecco, donna, il vostro braccio a 5 [canzona, fifth stanza only
by Palestrina, tenor I an d basso lacking here] (pp.122-125)
12. Dunque perfido Amante a 5 [madri gal] (pp.126-128)
B. Ex Archivo Capellae Juliae ad S. Petrum
1. Hymnus: In Sancti Stephani Protom [four to six voices, from I-Rvat
CG50, CG15] (pp.129-132)
2.Hymnus: In Festo S. Joannis Apostoli et Evang [four to five voices,
from I-Rvat CG50, CG15] (pp.133-137)
3. Hymnus: Gloria, laus a 4 [questioned att ri bution] (p.138)
4. Ex hymno: Ave maris stella a 4 [verse Monstra te only; cantus I]
(p.139)
5. Hymnus: O Redemptor a 4 [questioned a ttri bution] (pp.140-141)
6. Hymnus: Pange lingua a 4 (pp.142-149)
7. Antiphona: Pueri Hebraeorum a 4 (pp.150-152)
8. Ex hymno: Pange lingua [Tantum ergo] a 4 (pp.153-154)
9. Hymnus: Veni Creator Spiritus a 4 (pp.155-160)
10.Hymnus: Vexilla Regis prodeunt a 4 [questioned att ri bution]
(pp.160-161)
11.Responsorium: Beata es Virgo cum II. parte Ave Maria a 8
(pp.162-169)
12. Laudate Dominum de coelis a 8 (pp.170-174)
13.Antiphona: Regina coeli, laetare a 8 (pp.175-180)
14.Hymnus: O gloriosa Domina a 12 (pp.181-188)

[Volume 31] Zweiter Nachtrag zur Gesamtausgabe der Werke. Herausgegeben von
Fraz Xaver Haberl [pub. 1892]. [Second supplement to the collected edi-
tion, containing unpublished sources from the Sistine Chapel, the Vatican
Library and the archive of St. John Lateran]
C. Ex Archivo Capellae Pontificiae
1. Cum descendisset a 4 [doubtful attribution, from I-Rvat CS80]
(pp.1-3)
2. Lectio I. Feria VI. in Parasceve ["Palestrina-Biordi," four to five
voices] (pp.4-10)
3. In die Pentecostes. Dum complerentur a 4 [doubtful att ribution]
(pp.11-13)
[secunda pars:] Et repleti cunt omnes (pp.13-14)
4. Gloria Patri a 4 [from I-Rvat CS76] (p.15)
5. Lectio II. Feriae VI. In Parasceve a 4 (pp.16-18)
6. Responsorium: Libera [three to four voices, alternate choruses, from
I-Rvat CS219] (pp.19-24)
7. Miserere mei Deus [falsobordoni, four and five voices] (pp.24-27)
8. Miserere mei Deus in duplici choro 4 et 5 votum (pp.28-34)
9. Misit rex a 4 [from I-Rvat CS88] (pp.35-36)
10. 0 Doctor optime a 4 [from I-Rvat CS88] (pp.37-38)
11. Dexteram meam a 5 [from I-Rvat CS88] (pp.39-40)
12. Laudate coeli a 5 [doubtful attribution] (pp.41-43)
160 Giovanni Pierluigi da Palestrina
13.Ne reminiscaris a 5 [doubtful attribution] (pp.44-47)
14. Per lignum a 5 [doubtful attribution, from I-Rvat 54] (pp.48-51)
15. Quern dicunt homines a 5 [from I-Rvat CS89] (pp.52-54)
16. Qui manducat a 5 [doubtful attribution] (pp.55-57)
17. Salvum me fac a 5 [doubtful attribution, from I-Rvat CS72 and 117]
(pp• 58-62)
18. Tu es pastor ovium a 5 (pp.63-66)
[secunda pars:] Quodcumque ligaveris (pp.66-69)
19. Ecce sacerdos magnus a 6 [questioned att ribution, from I-Rvat
CS153] (pp.70-72)
[secunda pars:] Ideo jure jurando (pp.72-74)
20. Estote fortes in bello a 6 (pp.75-78)
21. Salvatorem exspectamus a 6 (pp.79-81)
[secunda pars:] Sobrie et juste (pp.82-84)
D. Ex Bibliotheca Vaticana
(5) Hymni Feriales ad Vesperas
1.Feriae II. Immense coeli conditor a 4 (pp.85-87)
2.Feriae III. Telluris ingens conditor a 4 (pp.87-89)
3. Feriae IV. Coeli Deus sanctissime a 4 (pp.90-93)
4. Feriae V. Magnae deus potentiae a 4 (pp.93-95)
5. Feriae VI. Plasmator hominis Deus a 4 (pp.96-98)
XI exercizi sopra la scala [doubtful att ribution]
6. I (pp.99-100)
7. II (pp.100-101)
8. III (pp.101-102)
9. IV (pp.102-103)
10.V (pp.103-104)
11.VI (pp.104-105)
12.VII (pp.105-106)
13.VIII (p.107)
14.IX (pp.108-109)
15.X (pp.109-110)
16.XI (pp.110-111)
17. Canticum: Benedictus Dominus Deus Israel a 5 [odd-numbered
verses in plainchant; even-numbered verses in polyphony]
(pp.112-118)
E. Ex Archivo Basilicae S Joannis ad Lateranum
1. Sabbata Quadragesimae. [Audi benigne Conditor] Nostras preces
[hymn, four to five voices, odd-numbered verses in polyphony]
(pp.119-122)
2. In Adventu Domini. [Creator aime siderum] Aeterna lux credentium a
4 [hymn] (pp.123-124)
3. Lectio I. Feriae VI. In Parasceve 4 et 5 vocum (pp.125-129)
4. Fragmenta diversa:
a. Ex lectione II. Feriae V. In Coena Domini a 4 (pp.130-132)
b. (pp.132-133)
5. Gloria laus a 4 (p.134)
6. Hodie Christus natus esta 4 (pp.135-137)
Modern Editions of Palestrina's Music I 161

7. Ingrediente Domino a 4 [doubtful attribution] (pp.137-139)

8. Respons. Libera me, Domine a 4 (pp.140-144)
9.0 bone Jesu a 4 (p.145)
10.0 Redemptor a 4 (p.146)
11. Salve Regina a 4 (pp.147-149)
[secunda pars:] EtJesum, benedictum (pp.150-151)
12. Hymnus de Communi Apostolorum temp. pasch. [Tristes erant
Apostoli] Sermone blando [even-numbered verses] (pp.152-155)
13. Ecce nunc benedicite a 4 et 5 vocum [even-numbered verses in
polyphony; baritone voice supplied by Michael Haller]
(pp.156-157)
14. Canticum: Nunc dimittis a 4 et 5 vocum [even-numbered verses in
polyphony] (pp.158-159)
15.Miserere mei Deus [falsobordone] (p.160)
16. Lectio III. Sabbati sancti [six to eight voices] (pp.161-168)
17. Canticum Zachariae a 4 (pp.169-170)
18. a. Improperia secundum autographum Praenestini (pp.171-172)
b. Improperia Jo. Petri Aloysii Praenestini juxta Cod.205 et 206
Cap. Pontificiae (pp.175-180)

[Volume 32] Drittes Nachtrag zur Gesammtausgabe der Werke. Herausgegeben von
Franz Xaver Haberl [pub. 1892]. [Third supplement to the collected edi-
tion, containing unpublished sources from the archives of Santa Ma ri a
Maggiore, Biblioteca Altempsiana, and various libraries]
Note: The responsories marked as **, already considered doubtful
attri butions by Haberl, have since been firmly established as composed
by Marc'Antonio Ingegneri.
E. Ex Archivo Basilicae Liberianae ad S. Mariam Majorem
1.Beata es a 6 (pp.1-5)
[secunda pars:] Ave Maria gratia plena (pp.5-9)
2. Missa sine titulo a 6 [from I-Rsm 29] (pp.10-42)
G. Ex Bibliotheca olim Collegii Romani
1. Hymnus: Tempore Quadragesimae. [Audi benigne conditor] Nostras
preces a 4 [odd-numbered verses in polyphony] (pp.43-46)
2. Hymnus: Te lucis ante terminum a 4 [verses 1, 3] (pp.47-48)
3. Resp. breve: In manus a 4 (p.49)
4. Canticum Simeonis: Nunc dimittis. Salva nos a 4 (pp.49-50)
5. Regina coeli a 4 (pp.51-52)
6. Venite exsultemus Domino a 5 (pp.53-58)
7. Benedictus pro Hebdomada sancta a 9 (pp.59-67)
8. Miserere mei Deus 12 vocum in 3 choris (pp.68-79)
H. Ex diversis bibliothecis et archivis
VIII Ricercari a 4 vocum
1.I. tono (pp.80-81)
2. II. tono (pp.81-83)
3. III. tono (pp.83-84)
4. IV. tono (pp.84-86)
5. V. tono (pp.86-87)
162 Giovanni Pierluigi da Palestrina
6. VI. tono (pp.88-89)
7. VII. tono (pp.89-91)
8.VIII. tono (pp.91-92)
XXVII Responsoria Tridui Sacri** [4 vocum]
In Coena Domini ad Matutinum in Primo Nocturno
9. I. Responsorium. In monte oliveti (p.93-94)
10.II. Responsorium. Tristis est anima mea (pp.94-95)
11.III. Responsorium. Ecce vidimus eum (pp.96-97)
In Secundo Nocturno
12.IV. Responsorium. Amicus meus osculi me tradidit (pp.98-99)
13.V. Responsorium. Judas mercator pessimus (pp.99-100)
14.VI. Responsorium. Unus ex discipulis (pp.100-101)
In Tertio Nocturno
15.VII. Responsorium. Eram quasi agnus innocens (pp.101-102)
16.VIII. Responsorium. Una hora non potui (pp.102-103)
17.IX. Responsorium. Seniores populi (p.104)
In Parasceve ad Matutinum. In Primo Nocturno
18.I. Responsorium. Omnes amici mei (pp.105-106)
19.II. Responsorium. Velum templum scissum est (pp.106-107)
20. III. Responsorium. Vinea mea electa (pp.107-108)
In Secundo Nocturno
21. IV. Responsorium. Tanquam ad latronem (pp.109-110)
22.V. Responsorium. Tenebrae factae lunt (pp.110-1 11)
23.VI. Responso ri um. Animam meam dilectam (pp.112-113)
In Tertio Nocturno
24.VII. Responsorium. Tradiderunt me (pp.114-115)
25.VIII. Responsorium. Jesum tradidit impius summis (pp.115-116)
26. IX. Responsorium. Caligaverunt oculi (pp.116-117)
Sabbato Sancto. In Primo Nocturno
27. I Responsorium. Sicut ovis ad occisum (p.118)
28. II. Responsorium. Jerusalem surge (p.119)
29. III. Responsorium. Plange quasi virgo (p.120)
In Secundo Nocturno
30. IV. Responsorium. Recessit pastor poster (pp.121-122)
31.V. Responsorium. O vos omnes (pp.122-123)
32.VI. Responsorium. Ecce quomodo moritur (pp.123-125)
In Tertio Nocturno
33.VII. Responsorium. Astiterunt reges terrae (p.125)
34.VIII. Responsorium. Aestimatus sum (pp.126-127)
35. IX. Responsorium. Sepulto Domino signatum est (pp.127-128)
36. Et erexit a 4 [doubtful attribution] (p.128)
37.Ant. Asperges me a 4 (pp.129-130)
38.0 bone Jesu a 4 (pp.131-132)
39.0 Domine Jesu Christe a 4 (p.133)
40. In festo sancti Thomae Apostoli. Thomas unus ex duodecim a 4
(pp.134-136)
41. Sequentia in Festo Pentecostes. Veni Sandte Spiritus [four to six
voices] (pp.137-142)
Modern Editions of Palestrina's Music I 163
42. Antiph. in distributione candelarum. Lumen ad revelationem [four
and five voices] (pp.143-154)
43. Respons: Libera me Domine a 5 (pp.155-160)
44. Miserere mei Deus [falsibordone a 5] (p.161)
45. Miserere a 6 (p.162)
46. Lectio I. Feria V. In Coena Domini a 8 (pp.163-168)
47. Lectio II. Feria V. (pp.168-171)
48. Lectio III. (Fragmenta.) (p.172)
49. Stabat Mater [four and eight voices] (pp.173-179)
50. Sequentia: Victimae paschali laudes [two choruses; one lacking an d
composed here by Michael Haller] (pp.180-182)

[Volume 33] Inertes Nachtrag zur Gesammtausgabe. Herausgegeben von Franz Xaver
Haberl [pub. 1907]. [Fourth supplement to the collected edition, with
miscellaneous works an d indexes]
1. Missa Dominicalis a 5 [contains alternatim setting of Gloria an d
Credo] (pp.1-33)
2. Opem nobis a 5 (pp.34-36)
3. Surge propera a 5 (pp.37-39)
[secunda pars:] Veni dilecti mi (pp.39-41)
4. Quanti mercenarii a 5(pp.41-44)
5. Benedicta sit sancta Trinitas (Diminuito) (pp.45-48)
6. Ave Maria (Diminuito) (pp.48-49)
7. Hodie beata Virgo (Diminuito) (pp.49-50)
8. Fuit homo missus (Diminuito) (p.51)
9. Tota pulchra es (Diminuito) (pp.52-53)
10.Introduxit me Rex (Diminuito) (pp.54-55)
11.Pulchra es (Diminuito) (pp.56-57)
12. Veni, veni dilecti mi (Diminuito) (pp.58-59)
13. Vestiva i colli (Diminuito) (pp.60-61)
14.Io son ferito (Diminuito) (p.62)
15.Io son ferito an d Ave verum corpus (Diminuito) (pp.63-66)
16.Donna, presso al cui a 5 (pp.67-69)
17. Vestiva i colli [embellished cantus part , including seconda parte Cosi
le chiome mie, from dalla Casa II, p.36] (pp.70-71)
18. Vestiva i colli [lute intabulation, includes seconda parte Cosi le
chiome mie, from Galilei 1584, p.26] (pp.71-73)
19. Se tra quest'erbe e flore [lute intabulation, from Galilei 1584, p.53]
(pp.73-74)
20. Io son ferito ahi lasso [lute intabulation, from Galilei 1584, p.121]
(pp. 74-75)
21. Il dolce sonno in cui sepolto giace[lute intabulation, from Galilei
1584, p.122] (p.75)
22. Da poi ch'io viddi vostra falsa fede [cantus an d alto lacking here]
(p.76)
23. Perch'al viso d'amor [cantus an d alto lacking here] (pp.77-78)
24. Qual più crudel martire [cantus and alto lacking here] (pp.78-79)
25. Misit me vivens Pater a 5 (pp.80-83)
164 Giovanni Pierluigi da Palestrina

Index alphabeticus verborum, a quibus modui operum Praenestini initium faciunt.

(pp.84-96). Works, listed by text incipit or title.

Index musicus omnium operum Joannis Petraloysii Praenestini. (pp.97-129). Thematic

index of works, listed by genre and musical incipit.

II. The "Casimiri" Edition (1939-1987)

Current editor: Lino Bianchi

C0004 Palest rina, Giovanni Pierluigi da. Le opere complete. Rome: Fratelli
Scalera, 1939-1951 (vols.l-18); Rome: Istituto Italiano per la Storia
della Musica, 1953 to date (vols.19-34). Thirty-four volumes to date; the
most recent volume was published in 1987, and at least one further vol-
ume is forthcoming.
In 1934, Raffaele Casimiri (1883-1943) announced a new "national
edition" of Palestrina's works, which in his view aimed to rework, mod-
ify, and correct the Haberl edition in light of the rules of historical criti-
cism an d the latest discoveries of musicological research. The actual
editorship consisted of Casimiri for volumes 1-15, Lavinio Virgili for
volumes 16-17, Knud Jeppesen for volumes 18-19, and Lino Bianchi for
volumes 20-34. Each volume contains a critical repo rt .
There are some significant differences between the contents of this
and the Haberl edition. A number of items in "Haberl" do not appear in
the present collection, but this edition also contains impo rt ant newly
recovered music, the most significant being the series of masses Palest-
rina wrote for Duke Guglielmo Gonzaga of Mantua that were located by
Knud Jeppesen in Milan in the late 1940s. The scorings of this edition are
characterized by the use of mode rn clefs and note values reduced by half.
Sensitivity to issues of text underlay an d to sixteenth-century Latin an d
Italian prosody is somewhat more evident here than in the Haberl edition.
Casimiri retranscribed some passages of proportional notation in an inter-
pretation different from Haberl's; his views on this admittedly difficult
issue led to some strongly worded exchanges with other scholars, notably
Antoine Auda. For a comparison of the critical an d working methods evi-
dent in the Haberl and Casimiri editions, see Fischer 1997, item E0592.

Reprint of This Edition

C0005 New York: Edwin Kalmus, ca. 1965-1972.74 volumes, paperbound.

The Kalmus rep ri nt is incomplete. It divides volumes 1-17 and 20-31
of the Casimiri edition among seventy-four paperbound volumes. The
Casimiri edition page numbers were retained in the Kalmus repri nt even
when the Kalmus volume number changed, so in the present listing the
equivalent Kalmus rep ri nts of Casimiri are indicated thus:
[Volume number and bibliographical citation for the Casimiri edition,
followed by:
K1=pp.1-61; K2=pp.62-124; K3=pp.125-210, etc.)
For example, in locating Missa Ad coenam Agni providi a 5, the reader
Modern Editions of Palestrina's Music I 165
notes that it is printed in volume 1, pages 125-163 of the Casimiri edi-
tion. Beneath the bibliographical citation heading the list for that volume
it will be noted that K3 includes these pages; thus this mass would be
found in the Kalmus edition, volume 3, pages 125-163.

Contents

[Volume 1] Il libro primo delle messe a 4, 5 e 6 voci secondo la edizione originale del
1554 e la ristampa del 1591. ed. Raffaele Casimiri. Rome: Fratelli
Scalera, 1939
[K1=pp.1-61; K2=pp.62-124; K3=pp.125-2101
For Four Voices
1.Missa Ecce sacerdos magnus (pp.1-34)
2. Missa O regem coeli (pp.35-61)
3. Missa Virtute magna (pp.62-92)
4. Missa Gabriel Archangelus (pp.93-124)
For Five Voices
5. Missa ad coenam agni providi (pp.125-163)
6. Missa Pro defunctis [Kyrie, Offertorium, Sanctus, Agnus Dei I-III]
(pp.164-181)
For Six Voices
7. Missa Sine nomine (pp.182-210)

[Volume 2] Il libro primo di madrigali a 4 voci secondo la ristampa del 1596, con
altri madrigali a 4 e 5 voci, pubblicati in raccolte dal 1554 e 1561.ed.
Raffaele Casimiri. Rome: Fratelli Scalera, 1939
[K4=pp.1-107; K5=pp.107-1851
Madrigals for Four Voices
1.Deh or foss' io col vago de la Luna (pp.1-3)
2. S'i'l dissi mai ch'i'venga (pp.3-5)
3. Questa saranno ben lagrime (pp.5-7)
4. Che non fia che giammai (pp.7-10)
5. Rime, dai sospir miei nate e dal pianto (pp.10-12)
6. Lontan dalla mia diva (pp.12-14)
7. Nessun vissi giammai più di me lieto (pp.15-16)
8. La ver l'aurora che si dolce l'aura(pp.16-18)
9. Chiara, si chiaro e de'vostr'occhi il sole (pp.18-20)
10. Chi estinguerà il mio foto (pp.20-23)
11.Donna vostra mercede ogni pietade eccede (pp.23-25)
12. Già fu chi m'ebbe tara (pp.25-Z7)
13. Ovver de'sensi e priva (pp.27-29)
14.Amor, Fortuna e la mia mente(pp.30-32)
15.[seconda parte:] Ne spero i dolci di tornino (pp.32-33)
16. Che debbo far, che mi consigli, (pp.33-35)
Amore?
17. Gitene liete rime, ov'or si siede (pp.35-37)
18.Mentre a le dolci e le purpuree (pp.38-40)
19.Amor, che meco in quest'ombre ti stavi (pp.40-41)
20. Vaghi pensier, che cosi passo passo (pp.43-45)
166 Giovanni Pierluigi da Palestrina

21. Mentre ch'al mar discenderanno (pp.46-48)

22. Quai rime fur si chiare (pp.48-50)
23. Ecc'oscurati i chiari raggi al sole (pp.51-52)
[seconda parte:] Rara beltà non mai più vista (pp.52-53)
[terza parte:] Questo doglioso stil colmo di pianto (pp.54-56)
[quarta parte:] Mai fu più cruda o più spietata morte (pp.56-58)
[quinta parte:] Privo di fede oltra l'usato (pp.58-60)
[ultima parte a 6:1 Ma voi, fioriti ed onorati colli (pp.60-63)
24. Con dolce, altiero ed amoroso cenno (pp.64-66)
25. [pri ma stanza:] Da fuoco cosi bel nasce il mio ardore (pp.67-69)
[seconda stanza .] Rapace ingorda e venenosa (pp.69-71)
[terza stanza:] Arno e non nacque del mio amor giammai (pp.72-'74)
[quart a stanza:] Da l'empia gelosia nasce il tormento (pp.75-77)
[quinta stanza:] Si mi vince talor l'aspro martir(pp.77-80)
[sesta stanza:] O effettorio che'l più felice stato (pp.81-83)
[settima stanza:] Amore non volendo il che'1 mio gioire (pp.84-86)
[ottava stanza:] Non mi sferra il crudel (pp.86-89)
[nona stanza:] Poi che la vista del mio caro sole (pp.89-92)
[decima stanza:] Io non ho lingua e senza gli occhi (pp.92-96)
[decimauna stanza:] L'alta cagion del mio fermo pensiero
(pp.96-98)
[decimaseconda stanza:] Misero stato degli amanti (pp.99-101)
[decimaterza stanza:] Fuggir dovriasi se fuggir (pp.101-104)
[decimaquarta et ultima stanza:] Sazio si tormentarmi (pp.104-107)
26. [prima parte:] Chiare, fresche et dolci acque (pp.107-109)
[seconda parte:] S'egli e pur mio destino (pp.110-112)
[terza parte:] Tempo verrà ancorforse (pp.113-115)
[quart a parte:] Da'be'rami scendea (pp.115-119)
[quinta parte:] Quante volte diss'io (pp.119-122)
27. ["Anno 1558":] Se da'soavi accenti (pp.122-126)
28. [`Anno 1558." Canzona: p ri ma parte:] Voi me poneste in foco
(pp.127-129)
[seconda parte:] Perà che da l'ardore (pp.129-131)
[terza parte:] Che se tant'a voi piace (pp.131-133)
[quart a parte:] E di voi non mi doglio (pp.133-136)
29. ["Anno 1559" p ri ma parte:] Ogni loco mi porge doglia a 5
(pp.137-140)
[seconda parte:] Poscia the per mio mal a 5 (pp.141-143)
30. ["Anno 1560"] Donna bell'e gentil a 5 (pp.144-148)
31. [`Anno 1561"] Dolor non fu, ne fia a 5 (pp.148-153)
32. ["Anno 1561"] Il dolce sonno in cui sepolto giace a S (pp.153-161)
33. ["Anno 1561"] Io son ferito, ahi lasso a 5 (pp.161-165)
34. ["Anno 1561"] Se ben non veggon gl'occhi a 5 (pp.165-169)
35. ["Anno 1561"] Se fra quest'erb'e flore a 5 (pp.170-175)
36. ["Anno 1561"] Se lamentar augelli a 5 (pp.175-180)
37. [`Anno 1561"] Struggomi, e mi disfaccio a 5 (pp.180-185)

[Volume 3] Il libro primo dei mottetti a 4 voci secondo la ristampa del 1590. ed. Raf-
Modern Editions of Palestrina's Music I 167

faele Casimiri. Rome: Fratelli Scalera, 1939. [Edition of Motecta festo-

rum totius anni, 1563]
[K6=pp.1-70; K7=pp.70-137]
1.In festo Nativitatis Domini. Dies sanctificatus (pp.1-4)
2. In festo S. Stephani. Lapidabant Stephanum (pp.4-8)
3. In festo S. Joannis Evangelistae. Valde honorandus est (pp.8-11)
4. In die Circumcisionis Domini. Magnum haereditatis mysterium
(pp.11-15)
5. In Epiphania Domini. Tribus miraculis (pp.15-19)
6. In festo Purificationis Beatae Mariae. Hodie beata Virgo (pp.19-22)
7. In Annuntiatione Beatae Mariae. Ave Maria (pp.23-25)
8. In Resurrectione Domini Jesus junxit se (pp.26-30)
9. In Ascensione Domini. O Rex gloriae (pp.30-34)
10.In die Pentecostes. Loquebantur varus linguis (pp.34-38)
11.In festo Sanctae T ri nitatis. Benedicta sit (pp.38-42)
12.In festo Corporis Ch sti.ri Lauda Sion (pp.42-45)
13.In Nativitatis Joannis Baptistae. Fuit homo (pp.46-49)
14.In die Sancti Petri Apostoli. Tu es pastor ovium (pp.49-53)
15.In die Sancti Pauli Apostoli. Magnus sanctus Paulus (pp.53-57)
16.In Visitatione Beatae Mariae. Surge propera (pp.57-61)
17.In die Sanctae Mariae Magdalenae. ln diebus illis (pp.61-66)
18.In festo Sancti Laurentij. Beatus Laurentius (pp.66-70)
18. In Assumptione Beatae Mariae. Quae est ista (pp.70-74)
19.In Decollatione Sancti Joannis Baptistae. Misso Herodes spiculatore
(pp. 74-78)
21. In festo Nativitatis Beatae Mariae. Nativitas tua (pp.78-82)
22. In festo Sanctae Crucis. Nos autem gloriari (pp.82-86)
23. In festo Omnium Sanctorum.Salvator mundi (pp.86-90)
24. In festo Sancti Ma rtini Episcopi. O quantus luctus (pp.90-93)
25. In festo Praesentationis Beatae Mariae. Congratulamini mihi
(pp.94-96)
26. In festo Sanctae Caeciliae. Dum aurora (pp.97-100)
27. In festo Sancti Andreae. Doctor bonus (pp.100-104)
28. In festoo Conceptionis Beatae Mariae. Quam pulchri sunt
(pp.104-108)
29. In festo Apostolorum. Tollite jugum meum (pp.109-112)
30. In festo Evangelistarum. Isti sunt viri sancti (pp.113-116)
31.In festo unius Martyris. Hic est vere Martyr (pp.116-120)
32.In festo plurimorum Martyrum. Gaudent in coelis (pp.121-124)
33.In festo Confessorum pontificum. Iste est (pp.125-129)
34.In festo Confessorum non pontificum. Beatus vir (pp.129-132)
35.In festo Virginum. Veni sponsa Christi (pp.132-135)
36. In Dedicatione Templi. Exaudi Domine (pp.135-137)

[Volume 4] Il libro secondo delle messe a 4, 5 e 6 voci secondo la stampa originale

del 1567 e la ristampa del 1600. ed. Raffaele Casimiri. Rome: Fratelli
Scalera, 1939.
[K8=pp.1-73; K9=pp.74-166; K10=pp.167-2011
168 Giovanni Pierluigi da Palestrina
For Four Voices
1. Missa De Beata Virgine (pp.1-25)
2. Missa Inviolata (pp.26-52)
3. Missa Sine nomine (pp.53-73)
4. Missa Ad fugam (pp.74-90)
For Five Voices
5. Missa Aspice Domine (pp.91-125)
6. Missa Salvum me fac (pp.126-166)
For Six Voices
7. Missa Papae Marcelli (pp.167-201)
Appendix: Gloria ex missa De Beata [edition of 1600] (pp.i-iv)

[Volume 5] Il libro primo dei mottetti a 5, 6 e 7 voci secondo la ristampa del 1600.
ed. Raffaele Casimiri. Rome: Fratelli Scalera, 1939. [Book I of motets]
[K11=pp.1-78; K12=pp.79-149; Kl3=pp.149-218]
1.0 admirabile commercium a 5 (pp.1-4)
2. Stella quam viderant Magi a 5 (pp.5-9)
3. O Antoni eremita a 5 (pp.10-14)
4. Senex puerum portabat a 5 (pp.15-19)
[secunda pars:] Hodie beata Virgo (pp.20-24)
5. Suscipe verbum Virgo Maria a 5 (pp.25-29)
[secunda pars:] Paries quidem filium (pp.30-35)
6. Alleluja: Tulerunt Dominum a 5 (pp.35-40)
7. Crucem sanctam subiit a 5 (pp.41Ø)
8. 0 beata et gloriosa Trinitas a 5 (pp.45-49)
[secunda pars:] O vera summa sempiterna Trinitas (pp.50-53)
9. Ego sum panis vivus a 5 (pp.54-58)
[secunda pars:] Panis quem ego dabo (pp.59-63)
10. Puer qui natus est a 5 (pp.611 68)
11. Beatae Mariae Magdalenae a 5 (pp.69-73)
12. Sancte Paule apostole a 5 (pp.74-78)
13. Beatus Laurentius a 5 (pp.79-83)
14. Hodie nata est a 5 (pp.83-88)
15.0 beatum virum a 5 (pp.88-93)
16. Venit Michael Archangelus a 5 (pp.94-98)
17.0 beatum Pontificem a 5 (pp.98-104)
18. Deus, qui dedisti legem a 5 (pp.104-109)
19. Lapidabant Stephanum a 5 (pp.110-115)
20. Hic est discipulus ille a 5 (pp.116-120)
21. Sicut lilium a 5 (pp.121-125)
22. Quam pulchri sunt a 5 (pp.126-130)
23. Unus ex dunbus a S (pp.131-135)
24. Cum pervenisset beatus Andreas a 5 (pp.135-140)
25. Viii Galilaei a 6 (pp.141-144)
[secunda pars:] Ascendit Deus (pp.145-149)
26. Dum complerentur a 6 (pp.149-153)
[secunda pars:] Dum ergo essent (pp.154-158)
27. Pulchra es, o Maria a 6(pp.158-164)
Modern Editions of Palestrina's Music I 169

28. Solve, jubente Deo a 6 (pp.165-168)

[secunda pars:] Quodcumque ligaveris (pp.169-173)
29. Vidi turbam magnam a 6 (pp.174-179)
[secunda pars:] Et omnes Angel (pp.179-183)
30.0 magnum mysterium a 6 (pp.184-188)
[secunda pars:] Quem vidistis pastores (pp.188-192)
31.0 Domine Jesu Christe a 6 (pp.193-195)
32. Tu es Petrus a 7 (pp.196-204)
33. Virgo prudentissima a 7 (pp.204-211)
[secunda pars:] Maria Virgo (pp.212-218)

[Volume 6] Il libro terzo delle messe a 4, 5 e 6 voci secondo la edizione originale del
1570. ed. Raffaele Casimiri. Rome: Fratelli Scalera, 1939. [Masses, Book
III, 1570]
[K14=pp.1-61; K15=pp.62-135; K16=pp.136-253]
For Four Voices
1. Missa Spem in alium (pp.1-29)
2. Missa Primi toni (pp.30-61)
3. Missa Brevis (pp.62-83)
4. Missa De feria (pp.84-96)
For Five Voices
5. Missa L'homme armé (pp.97-135)
6. Missa Repleatur os meum (pp.136-174)
For Six Voices
7. Missa De beata Virgine (pp.175-215)
8. Missa Ut re mi fa sol la (pp.216-253)

[Volume 7] Il libro secondo dei mottetti a 5, 6 ed 8 voci secondo la ristampa del

1573. ed. Raffaele Casimiri. Rome: Fratelli Scalera, 1940. [Book II of
motets]
[K17=pp.1-64; K18=pp.65-134; K19=pp.135-2251
1.0 virgo simul et mater a 5 (pp.1-6)
2. Memor esto a 5 (pp.7-12)
3. Corona aurea a 5(pp.13-16)
[secunda pars:] Domine praevenisti eum (pp.17-20)
4. In illo tempore a 5 (pp.21-27)
5. 0 sacrum convivium a 5 (pp.27-31)
6. Coenantibus illis a 5 (pp.31-36)
7. Derelinquat impius a 5 (pp.37-41)
8. Ascendo ad Patrem a 5 (pp.42-46)
[secunda pars:] Ego rogabo Patrem (pp.47-50)
9. Homo quidam a 5 (pp.50-55)
10. Canite tuba a 5 (pp.56-59)
[secunda pars:] Rorate coeli (pp.60-64)
11. Exi cito a 5 (pp.65-69)
12. Circuire possum Dominea 5 [Angelo Pierluigi] (pp.70-74)
[secunda pars:] In hac cruce (pp.75-77)
13. Gaude Barbara a 5 (pp.78-82)
170 Giovanni Pierluigi da Palestrina
[secunda pars:] Gaude, quia meruisti (pp.83-88)
14.Domine Pater a 5 [Silla Pierluigi] (pp.89-92)
15. Confitebor tibi Domine a 5 [Rodolfo Pierluigi] (pp.93-97)
16.Peccantem me quotidie a 5 (pp.98-101)
17.Dominus Jesus a S (pp.102-106)
18. Tribularer sinescirem a 6 (pp.107-111)
[secunda pars:] Secundum multitudinem (pp.112-116)
19. Veni Domine a 6 (pp.117-120)
[secunda pars:] Excita Domine (pp.121-125)
20. Hierusalem, cito veniet a 6 (pp.125-130)
[secunda pars:] Ego enim sum Dominus (pp.130-134)
21. Beata Barbara a 6 (pp.135-140)
[secunda pars:] Gloriosam mortem (pp.140-145)
20. Sancta et immaculata a 6 (pp.146-149)
[secunda pars:] Benedicta tu (pp.150-154)
21. Cantabo Domine a 6 (pp.154-158)
[secunda pars:] Deficiant peccatores a 6 (pp.158-161)
23. Tu es Petrus a 6 (pp.162-166)
[secunda pars:] Quodcumque ligaveris (pp.166-170)
22. Nunc dimittis a 6 [Silla Pierluigi] (pp.171-175)
24. Confitebor tibi Dominea 8 (pp.176-184)
[secunda pars:] Notas facile in populis (pp.184-190)
25. Laudate pueri a 8 (pp.190-197)
[secunda pars:] Quis sicut Dominus (pp.197-204)
26. Domine in virtuta tua a 8 (pp.205-212)
[secunda pars:] Magna est gloria ejus (pp.212-219)
27. Laudate Dominum omnes gentes a 8 (pp.219-225)

[Volume 8] Il libro terzo dei mottetti a S, 6 ed 8 voci secondo l' edizione originale del
1575. ed. Raffaele Casimiri. Rome: Fratelli Scalera, 1940. [Book III of
motets]
[K20=pp.1-84; K21=pp.85-150; K22=pp.151-216]
1.Pater noster a 5 (pp.1-5)
2. Ave Maria a 5 (pp.5-10)
3. Cantantantibus organisa 5 (pp.10-14)
[secunda pars:] Biduanis ac triduanis (pp.14-18)
4. Caro mea a S (pp.19-22)
5. Angelus Domini descendit a 5 (pp.23-28)
[secunda pars:] Et introeuntes in monumentum (pp.29-34)
6. Congrega Domine a 5 (pp.35-40)
[secunda pars:] Afflige opprimentes nos (pp.40-45)
7. Inclytae sanctae virginis Catherinae a 5 (pp.45-49)
8. Fuit homo missus a Deo a 5 (pp.49-53)
[secunda pars:] Erat Joannes in deserto (pp.53-57)
9. 0 lux et decus Hispaniae a 5 (pp.57-61)
[secunda pars:] 0 singulare praesidium (pp.61-65)
10. Quid habes Hester? a 5 (pp.66-70)
11. Vidi te Domino a 5 (pp.70-75)
Modern Editions of Palestrina's Music I 171
12. Tradent enim vos a 5 (pp.75-80)
13. Sanctificavit Dominus a 5 (pp.80-84)
14. 0 quam metuendus est a 5 (pp.85-89)
15.Jubilate Deo a 5 (pp.89-93)
[secunda pars:] Laudate nomen ejus (pp.94-97)
16. Omnipotens sempiterne Deus a 5 (pp.98-101)
16 bis. O sancte praesul Nicolae (pp.102-106)
[secunda pars:] Gaude praesul optime (pp.107-110)
17. Domine Deus qui conteris bella a S (pp.l l 1-115)
[secunda pars:] Tu Domine cui humilium (pp.115-119)
18.Manifesto vobis veritatem a 5 (pp.120-124)
[secunda pars:) Pax vobis (pp.125-129)
19. Susanna ab improbis a 6 (pp.130-134)
[secunda pars:] Postquam autem (pp.135-139)
20. Cum ortus fuerit sol a 6 (pp.140-143)
21. Rex pacificus a 6 (pp.144-147)
22. Haec dies a 6 (pp.148-150)
23. Columna es immobilis a 6 (pp.151-155)
24. Judica me Deus a 6 (pp.155-159)
25. Accepit Jesus calicem a 6 (pp.160-164)
26. 0 bone Jesu a 6 (pp.165-167)
27. Deus qui Ecclesiam tuam a 6 (pp.168-173)
28. Surge illuminare Hierusalem a 8 (pp.174-179)
29. Lauda Sion Salvatorem a 8 (pp.180-185)
30. Veni Sancte Spiritus a 8 (pp.186-194)
31. Ave Regina coelorum a 8 (pp.195-201)
32. Hodie Christus natus est a 8 (pp.202-207)
33. Jubilate Deo a 8 (pp.208-216)

[Volume 9] Il libro primo dei madrigali (spirituals) a 5 voci secondo la stampa origi-
nale del 1581, con appendice di madrigali pubblicati in raccolte dal 1566
al 1576. ed. Raffaele Casimiri. Rome: Fratelli Scalera, 1940. [Book I of
spiritual madrigals; madrigals from an ologies
th 1566-15761
[K23=pp.1-80; K24=pp.81-165]
1. Vergine bella, the di Sol vestita (pp.1-8)
2. Vergine saggia, e del bel numer'una (pp.9-15)
3. Vergine pura d'ogni parte intera (pp.15-22)
4. Vergine santa, d'ogni grazia piena (pp.22-29)
5. Vergine sola al mondo senzza esempio (pp.29-37)
6. Vergine chiara e stabile in eterno (pp.38-44)
7. Vergine, quante lagrime ho già sparte (pp.45-51)
8. Vergine, tale è terra e post'ha in doglia (pp.52-58)
9. Spirito santo, Amore, consolator (pp.58-62)
10.0 Sol'incoronato disette adorni lumi (pp.63-66)
11. 0 cibo di dolcezza (pp.67-70)
12.0 refrigerio acceso d'un nutricante foco (pp.70-74)
13. Tu ses soave flume de'bei parlar profondi (pp.74-77)
14. Paraclito amoroso, quando t'avro io? (pp.78-80)
172 Giovanni Pierluigi da Palestrina
15. Amor, senza il tuo dono (pp.81-83)
16. Dunque divin Spiracolo inspira il mio cor vano (pp.84-86)
17.0 Manna saporito d'ogni dolcezza (pp.86-89)
18. Signor; dammi scienza (pp.89-92)
19.0 Jesu dolce, o infinito amore (pp.93-96)
20. Giammai non resti a mille dolci modi (pp.97-99)
21. Quanta più t'offend'io (pp.99-102)
22. Non basta ch'una volta tu portasti (pp.102-105)
23. S'io non ti conoscessi in altre cose (pp.106-108)
24. Ma so ben, Signor mio (pp.108-111)
25. E tu, anima mia, fatta da Dio (pp.111-113)
26. Per questo, Signor mio, non ti stancare (pp.114-116)
Appendix: [Secular] Madrigals for Five Voices
1. [`Anno 1566"] Vestiva i colli a 5 (pp.117-121)
[seconda parte:] Cosi le chiome mie (pp.122-125)
2. [`Anno 1568"] Il tempo vola (pp.126-129)
[seconda parte:] lvi vedrai la gloria (pp.129-132)
3. ["Anno 1574"] Io felice sarei se gli occhi a 5 (pp.133-136)
4. [`Anno 1574"] Ahi letizia fugace a 5 [Rodolfo Pierluigi]
(pp.137-140)
5. [ "Anno 1574"] Le selv'avea d'intorn'al lido a 5 (pp.141-144)
[seconda parte:] Quando de'loro inpallidir a5 (pp.144-148)
6. [ "Anno 1574"] Saggio e santo Pastor a 5 (pp.148-151)
[seconda parte] Onde seguendo l'onorata impresa (pp.152-154)
7. [`Anno 1574"] Se di pianti e di stridi a 5 (pp.155-158)
8. [ "Anno 1576"] Placide l'acque e placid'era il vento a5 (pp.158-161)
9. [`Anno 1576"] Soave fia il morir a 5 (pp.162-165)

[Volume 10] Il libro quarto delle messe a 4 e 5 voci secondo la stampa originale del
1582. ed. Raffaele Casimiri. Rome: Fratelli Scalera, 1940. [Book IV of
masses]
[K25=pp.1-78; K26=pp.79-188]
For Four Voices
1. Missa prima. Lauda Sion (pp.1-18)
2. Missa secunda. [Primi toni] (pp.19-37)
3. Missa tertia. Jesu nostra redemptio (pp.38-59)
4. Missa quarta. L' homme armé (pp.60 78) -

For Five Voices

5. Missa prima. Eripe me de inimicis meis (pp.79-114)
6. Missa secunda (pp.115-149)
7. Missa tertia. O magnum mysterium (pp.150-188)

[Volume 11] Il libro secondo dei mottetti a 4 voci secondo la ristampa del 1604. Il
libro quarto deimottetti a 5 voci [Cantico dei Cantici] secondo la ristam-
pata del 1588. ed. Raffaele Casimiri. Rome: Fratelli Scalera, 1941. [Book
II of motets; Book 1V of motets]
[K27=pp.3-62; K28=pp.63-138; K29=pp.139-200]
Mottetti a 4 Voci Dispari e Pari
Modern Editions of Palestrina's Music I 173
1. Domine quando veneris a 4 (pp.3-5)
[secunda pars:] Commissa mea pavesco (pp.6-8)
2. Heu mihi Domine a 4 (pp.8-11)
[secunda pars:] Anima mea turbata est (pp.11-14)
3. Super flumina Balylonis a 4 (pp.14-16)
4. Ecce nunc benedicite Dominum a 4 (pp.17-19)
5. Ad te levavi oculos meos a 4 (pp.20-22)
[secunda pars:] Miserere nostri Domine a 4 (pp.23-25)
6. Ad Dominum cum tribularer a 4 (pp.26-28)
[secunda pars:] Sagittae potentis acutae (pp.28-30)
7. Fundamenta ejus a 4 (pp.30-33)
[secunda pars:] Numquid Sion dicet (pp.33-36)
8. Quia vidisti me Thoma a 4 (pp.36-39)
9. Ego sum panis vivus a 4 (pp.39-42)
10.Sicut cervus a 4 (pp.42-44)
[secunda pars:] Sitivit anima mea (pp.44-47)
11.Ave Regina coelorum a 4. Paribus vocibus (pp.47-49)
[secunda pars:] Gaude, Virgo gloriosa (pp.50-52)
12.Alma Redemptoris Mater a 4. Paribus vocibus (pp.52-54)
[secunda pars:] Tu quae genuisti (pp.55-57)
13.Salve Regina a 4. Paribus vocibus (pp.57-60)
[secunda pars:] Eja ergo (pp.60-62)
14.Ave Maria a 4. Paribus vocibus (pp.63-66)
15.Haec dies a 4. Paribus vocibus (pp.66-70)
16. Confitemini Domino a 4. Paribus vocibus (pp.70-72)
17.Pueri Hebraeorum a 4. Paribus vocibus (pp.72-74)
18.Sub tuum praesidium a 4. Paribus vocibus (pp.75-77)
19.Adoramus te Christe a 4. Paribus vocibus (pp.78-79)
20. Surrexit pastor bonus a 4. Paribus vocibus (pp.79-82)
21. Gloriosi Principes terrae a 4. Paribus vocibus (pp.83-85)
I1 Libro Qua rt o dei Mottetti a 5 Voci [Cantico dei Cantici]
1. Osculetur me (pp.89-92)
2. Trahe me post te (pp.93-97)
3. Nigra sum sed formosa (pp.97-101)
4. Vineam meam non custodivi (pp.101-104)
5. Si ignoras te (pp.105-108)
6. Pulchrae cunt genae tuae (pp.109-112)
7. Fasciculus myrrae (pp.113-116)
8. Ecce tu pulcher es (pp.116-120)
9. Tota pulchra es (pp.120-123)
10. Vulnerasti cor meum (pp.124-127)
11.Sicut lilium inter spinas (pp.128-131)
12.Introduxit me rex (pp.132-135)
13.Laeva ejus (pp.135-138)
14. Vox dilecti mei (pp.139-142)
15. Surge propera (pp.142-146)
16.Surge amica mea (pp.146 -150)
17.Dilectus meus mihi (pp.150-154)
174 Giovanni Pierluigi da Palestrina
18. Surgam et circuibo civitatem (pp.154-157)
19. Adjuro vos fiiiae Jerusalem (pp.157-162)
20. Caput ejus (pp.162-165)
21. Dilectus meus descendit (pp.166-169)
22. Pulchra es (pp.169-173)
23. Quae est ista (pp.173-176)
24. Descendi in hortum meum (pp.177-180)
25. Quam pulchri sunt (pp.181-184)
26. Duo ubera tua (pp.185-189)
27. Quam pulchra es (pp.189-192)
28. Guttur tuum (pp.193-196)
29. Veni dilecte mi (pp.197-200)

[Volume 12] Il libro quinto dei mottetti a 5 voci secondo la ristampa del 1588. ed. Raf-
faele Casimiri. Rome: Fratelli Scalera, 1941. [Book V of motets]
[K30=pp.1-53; K31=pp.54-113]
1. Laetus Hyperboream (pp.l- 4)
[secunda pars:] O patruo (pp.5-9)
2. Paucitas dierum (pp.9-12)
[secunda pars:] Manus tuae (pp.12-15)
3. Tempus est (pp.16-19)
[secunda pars:] Nisi ego abiero (pp.20-23)
4. Domine secundum actum meum (pp.23-27)
5. Ave Trinitatus sacrarium (pp.27-31)
6. Parce mihi Domini (pp.31-36)
7. Peccavi quid faciam tibi (pp.36-39)
8. Orietur stella (pp.40-44)
9. Aegypte poli fl ere (pp.45-49)
10. Ardens est cor meum (pp.49-53)
11. Sic Deus dileit mundum (pp.54-58)
12. Surge Petre (pp.58-63)
13. Apparuit caro suo Joanni (pp.64-67)
14. Ecce merces Sanctorum (pp.68-72)
15. Videns Secundus (pp.73-76)
16. Rex Melchior (pp.76-80)
17. Ave Regina coelorum (pp.80-84)
18. Gaude [Virgo] gloriosa (pp.84-87)
19. Exsultate deo (pp.88-92)
20. Tribulationes civitatum (pp.92-96)
[secunda pars:] Peccavimus (pp.96-99)
21. Surge sancte Dei (pp.100-103)
[secunda pars:] Ambula sancte Dei (pp.104-107)
22. Salve Regina (pp.108-110)
[secunda pars:] Eja ergo (pp.111-113)

[Volume 13] Le lamentazioni a 4, 5, 6 ed 8 voci seconda la stampa originale del 1589

e codici sincroni. ed. Raffaele Casimiri. Rome: Fratella Scalera, 1941
[K32=pp.1-41; K33=pp.42-102; K34=pp.103-174;
Modern Editions of Palestrina's Music I 175

K35=pp.175-270]
Liber Pri mus
Fe ri a V. In Coena Domini
Lectio I. Incipit Lamentatio ... Aleph. Quomodo sedet (pp.1-4)
Lectio II. Vau. Et egressus est (pp.5-9)
Lectio III. Jod. Manum suam (pp.9-13)
Fe ri a VI. In Parasceve
Lectio I. De lamentatione ... Heth. Cogitavit (pp.14-18)
Lectio II. Lamed. Matribus suis (pp.18-22)
Lectio III. Aleph. Ego vir videns (pp.22-26)
Sabbato Sancto
Lectio I. De lamentatione ... Heth. Misericordiae Domini (pp.27-31)
Lectio II. Aleph. Quodomo obscuratum (pp.32-36)
Lectio III. Incipit Oratio ... Recordare (pp.36-41)
Liber Secundus
Feria V. In Coena Domini
Lectio I. Incipit Lamentatio ... Aleph. Quomodo sedet (pp.42-46)
Lectio II. Vau. Et egressus est (pp.47 -53)
Lectio III. lod. Manum suam (pp.54 -60)
Feria VI. In Parasceve
Lectio I. De Lamentatione ... Heth. Cogitavit (pp.61-67)
Lectio II. Lamed. Matribus suis (pp.68-74)
Lectio III. Aleph. Ego vir videns (pp.74-79)
Sabbato Sancto
Lectio I. De Lamentatione ... Heth. Misericordiae (pp.80-86)
Lectio II. Aleph. Quomodo obscuratum (pp.86-92)
Lectio III. Incipit Oratio ... Recordare (pp.94-102)
Liber Tertius
Fe ri a V. In Coena Domini
Lectio I. Incipit Lamentatio ... Aleph. Quomodo sedet (pp.103-109)
Lectio II. Vau. Et egressus est (pp.110-119)
Lectio III. lod. Manum suam (pp.120-127)
Fe ri a VI. In Parasceve
Lectio I. De Lamentatione ... Heth. Cogitavit (pp.128-133)
Lectio II. Lamed. Matribus suis (pp.134-142)
Lectio III. Aleph. Ego vir videns (pp.142-149)
Sabbato Sancto
Lectio I. De Lamentatione ... Heth. Misericordiae (pp.150-158)
Lectio II. Aleph. Quomodo obscuratum est (pp.158-165)
Lectio III. Incipit Oratio ... Recordare (pp.166-174)
Liber Quartus, 5 et 6 Vocibus
Fe ri a V. In Coena Domini
Lectio I. Incipit Lamentatio ... Aleph. Quomodo sedet (pp.175-181)
Lectio II. Vau. Et egressus est (pp.181-189)
Lectio III. lod. Manum suam (pp.190-197)
Fe ri a VI. In Parasceve
Lectio I. De Lamentatione ... Cogitavit (pp.198-206)
Lectio II. Lamed. Matribus suis (pp.206-215)
176 Giovanni Pierluigi da Palestrina

Lectio III. Aleph. Ego vir videns (pp.216-222)

Sabbato Sancto
Lectio I. De Lamentatione ... Heth. Misericordiae (pp.223-231)
Lectio II. Aleph. Quomodo obscuratum est (pp.231-237)
Lectio III. Incipit Oratio ... Recordare (pp.237-242)
Appendix
Lectio I. Feria VI. In Parasceve (pp.243-248)
Lectio II. Feria VI. In Parasceve (pp.249-252)
Lectio II. Sabbato Sancto (pp.252-257)
Lectio III. Sabbato Sancto (pp.258-267)
Lectio IV. Feria V. In Coena Domini [fragment] (pp.268-270)

[Volume 14] Inni di tutto l' anno

a 4, 5 e 6 voci secondo la stamps originale del 1589.
ed. Raffaele Casimiri. Rome: Fratelli Scalera, 1942. [Hymns]
K36=pp.1-73; K37=pp.74-155; K38=pp.155-237]
1.In Adventu Domini. Conditor aime siderum[odd strophes] (pp.1-70)
2. In Nativitate et Circumcisione Domini. Christe redemptor omnium
[odd] (pp.8-14)
3. In Nativitate Domini. A solis ortus cardine [odd] (pp.15-20)
4. In festo Sanctorum Innocentium. Salvete flos Martyrum [odd]
(pp. 21-22)
5. In Epiphania Domini. Hostis Herodes impie [odd] (pp.23-27)
6. In Dominicis per Annum. Lucis Creator optime [odd] (pp.28-33)
7. In Sabbatis. O lux beata Trinitas [odd] (pp.33-37)
8. In Dominicis Quadragesimae. Ad preces nostras [odd] (pp.37-45)
9. In Dominica Passionis et Exaltationis S. Crucis. Vexilla regis prodeunt
[odd] (pp.46-53)
10.In Dominicis, Tempore Paschali. Ad coenam agni providi [odd]
(pp.54-60)
11.In Ascensione Domini. Jesu nostra redemptio [odd] (pp.60-66)
12.In festo Pentecostes. Veni Creator Spiritus [odd] (pp.67-73)
13.In festo Corporis Christi. Pange lingua gloriosi [odd] (pp.74-80)
14.In festo Cathedrae S. Petri. Quodcumque ligaveris [odd] (pp.80-83)
15.In Conversione et Commemoratione S. Pauli. Doctor egregie [odd]
(pp. 83-85)
16.In festis beatae Virginis. Ave maris stella [odd] (pp.85-91)
17.In Inventione S. Crucis. Tempore paschali. Vexilla regis prodeunt
[even] (pp.91-96)
18.In festo S. Joannis Baptistae. Ut queant laxis [odd] (pp.96-103)
19.In festo apostolorum Petri et Pauli. Aurea luce [odd] (pp.103-108)
20. In festo S. Mariae Magdalenae. Lauda mater Ecclesiae [odd]
(pp.109-112)
21. In festo S. Petri ad Vincula. Petrus beatus [odd] (pp.112-114)
22. In festo Transfigurationis Domini. Quicumque Christum quaeritis
[odd] (pp.114-118)
23. In festo S. Michaelis Archangeli. Tibi Christe splendor Patris [odd]
(pp.119-122)
24. In festo Omnium Sanctorum. Christe Redemptor omnium [odd]
(pp.123-129)
Modern Editions of Palestrina's Music I 177
25. In Communi Apostolorum et Evangelistarum. Exsultet caelum
laudibus [odd] (pp.130-135)
26. In festo Apostolorum et Evangelistarum. Tempore paschali.
Tristis
erant apostoli [odd] (pp.136-140)
27. In Communi unius Martyris. Deus tuorum militum [odd]
(pp.141-145)
28. In festo unius Martyris. Tempore paschali. Deus tuorum militum
[odd] (pp.146-149)
29. In Communi plurimorum Martyrum. Sanctorum meritis [odd]
(pp.150-155)
30. In festo plurimorum Martyrum. Tempore paschali. Rex glorisose
martyrum [odd] (pp.155-158)
31. In Natali Confessorum. Isle Confessor [odd] (pp.158-164)
32. In Natalitiis Virginum et Martyrum. Jesu corona Virginum [odd]
(pp.164-168)
33. In festo Virginum et Martyrum. Tempore paschali. Jesu corona WI--
ginum [odd] (pp.169 -175)
34. In festo Sanctarum Mulierum. Hujus obtentu [odd] (pp.175-176)
35. In festo Dedicationis Ecclesiae. Urbs beata Jerusalem [odd]
(pp.177-183)
36.In festo S. Augustini. Magnus pater Augustine [odd] (pp.184-189)
37.In festo S. Nicolai de Tolentino. Laudibus summis [odd]
(pp.190-195)
38.In festo S. Antonii de Padua. En gratulemur hodie [odd]
(pp.196-201)
39.In festo S. Francisci. In primis Vesperis. Proles de coelo prodiit [odd]
(pp.202-208)
40. In festo S. Francisci. In secundis Vesperis. Decus morum dux mino-
rum [odd] (pp.208-214)
41. In Quadragesima. Ad Completorium. Christe qui lux es et dies [odd]
(pp.215-219)
42. In festo S. Elisaei. Prima lux surgens [odd] (pp.220-224)
43. In festo S. Eliae. Nunc juvat celsi [odd] (pp.225-229)
44. In festo S. Alberti. Mensis Augusti [odd] (pp.230-234)
45. In festo S. Jacobi. Hymnus canoris [odd] (pp.235-237)

[Volume 15] Il libroquinto delle messe a 4, 5 e 6 voci secondo la stampa originale del
1590. ed. Raffaele Casimiri. Rome: Fratelli Scalera, 1941. [Book V of
masses]
[K39=pp.1-88; K40=pp.89-190]
For Four Voices
1.Missa Aeterna Christi munera (pp.1 -19)
2. Missa Jam Christus astra ascenderat(pp.20-44)
3. Missa Panis quem ego dabo (pp.45-71)
4. Missa Iste Confessor (pp.72 -88)
For Five Voices
5. Missa Nigra sum (pp.89-129)
6. Missa Sicut lilium inter spinas (pp.130-160)
178 Giovanni Pierluigi da Palestrina
For Six Voices
7. Missa Nasce la gioja mia (pp.161-190)

[Volume 16] I Magnificat a 4, 5, 6 ed 8 voci secondo la stampa originale del 1591 e i

codici manoscritto dell'epoca. ed. Lavinio Virgili. Rome: Fratelli
Scalera, 1950. [Magnificat]
[K41=pp.1 -97; K42=pp.98 -189; K43=pp.190 -302; K44=pp.303 -334]
Liber Pri mus
Primi toni a 4 [odd-numbered verses] (pp.1 -7)
Secundi toni a 4 [odd] (pp.7 -13)
Tertii toni a 4 [odd] (pp.13 -18)
Quarti toni a 4 [odd] (pp.19 -25)
Quinti toni a 4 [odd] (pp.25 -31)
Sexti toni a 4 [odd] (pp.23-3'7)
Septimi toni a 4 [odd] (pp.38-44)
Octavi toni a 4 [odd] (pp.44-49)
Primi toni a 4 [even-numbered verses] (pp.50 -55)
Secundi toni a 4 [even] (pp.56-61)
Tertii toni a 4 [even] (pp.62 -67)
Quarti toni a 4 [even] (pp.68 -73)
Quinti toni a 4 [even] (pp.74 -79)
Sexti toni a 4 [even] (pp.80 -85)
Septimi toni a 4 [even] (pp.86 -92)
Octavi toni a 4 [even] (pp.93 -97)
Liber Secundus
Primi toni a 4 [even] (pp.98 -111)
Secundi toni a 4 [even] (pp.111 -124)
Tertii toni a 4 [even] (pp.124 -135)
Quarti toni a 4 [even] (pp.136 -146)
Quinti toni a 4 [even] (pp.147 -157)
Sexti toni a 4 [even] (pp.157 -167)
Septimi toni a 4 [even] (pp.168 -179)
Octavi toni a 4 [even] (pp.179 -189)
Liber Tertius 5et 6 Vocum
Primi toni a 5 [even] (pp.190 -203)
Secundi toni a 5 [even] (pp.203 -215)
Tertii toni a 6 [even] (pp.215 -228)
Quarti toni a 6 [even] (pp.229 -245)
Quinti toni a 5 [even] (pp.246 -259)
Sexti toni a 6 [even] (pp.260 -275)
Septimi toni a 5 [even] (pp.276 -290)
Octavi toni a 6 [even] (pp.290 -302)
Appendix
Quarti toni cum quatuor vocibus paribus [even] (pp.303 -311)
Sexti toni [even] (pp.312-322)
Primi toni octonis vocibus [complete] (pp.323 -334)

[Volume 17] Offertori di tutto l' anno

a 5 voci secondo la stampa originale del 1593.
ed. Lavinio Virgili. Rome: Fratelli Scalera, 1952. [Offe rt ori es]
Modern Editions of Palestrina's Music I 179
[K45=pp.1-89; K46=pp.90-195; K47=pp.196-257]
1.Dominica p ri ma Adventus. Ad te levavi animam meam (pp.1-5)
2. Dominica secunda Adventus. Deus to convertens (pp.5-9)
3. Dominica tertia Adventus. Benedixisti Domini (pp.10-13)
4. Dominica quarta Adventus. Ave Maria (pp.14-17)
5. In Nativitate domini ad tertiam Missam, et in Circumcisione. Tui sunt
coeli (pp.18-22)
6. In festo Sancti Stephani protomartyris. ElegeruntApostoli (pp.22-26)
7. In festo S. Joannis Apostoli. Justus ut palma (pp.26-30)
8. In festo sanctorum Innocentium. Anima nostra (pp.30-34)
9. In festo sancti Thomae Archiepiscopi et martyri s. Posuisti Domine
(pp.34-37)
10.Dominica infra oct. Nativitatis Domini. Deus enfim firmavit
(pp.38-39)
11.In festo sancti Silvestri, Papae et conf. Inveni David (pp.41-45)
12.In Epiphania Domini. Reges Tharsis (pp.45-48)
13.Dominica in fr a oct. Epiphania. Jubilate Deo omnis terra (pp.49-52)
14.Dominica secunda post Epiphaniam. Jubilate Deo universa terra
(pp.53-57)
15.Dominica tertia, quarta et V. post Epiphaniam. Dextera Domini
(pp. 57-60)
16.Dominica in Septuagesima. Bonum est confiteri (pp.61-64)
17.Dominica in Sexagesima. Perfice gressus meos (pp.64-68)
18.Dominica in Quinquagesima. Benedictus es (pp.69-73)
19.Dominica p ri ma Quadragesimae. Scapulis suis (pp.73-77)
20. Dominica secunda Quadragesimae. Meditabor (pp.77-81)
21. Dominica tertia Quadragesimae. Justitiae Domini (pp.81-85)
22. Dominica qua rt a Quadragesimae. Laudate Dominum quia benignus
est (pp.85-89)
23. Dominica de Passione. Confitebor tibi (pp.90-94)
24.Dominica Palmarum. Improperium exspectavit (pp.94-99)
25.Dominica Resurrectionis Domini. Terra tremuit (pp.99-103)
26. Dominica in Albis, in Octava Paschae. Angelus Domini (pp.103-
107)
27. Dominica secunda post Pascha. Deus Deus meus (pp.107-110)
28. Dominica tertia post Pascha. Lauda anima mea (pp.111-114)
29. Dominica quinta post Pascha. Benedicite gentes (pp.115-119)
30. In die Ascensione Domini. Ascendit Deus (pp.120-123)
31. In Dominica Pentecostes. Confirma hoc (pp.123-127)
32.In festo SS. Trinitatis. Benedictus sit Deus (pp.128-132)
33.In Solemnitate Corporis Ch risti. Sacerdotes Domini (pp.132-136)
34.Dominica secunda post Pentecosten. Domine convertere
(pp.136-140)
35.Dominica tertia post Pentecosten. Spe rent in te (pp.141-145)
36.Dominica quart a post Pentecosten. Illumina oculos meos
(pp.145-149)
37.Dominica quinta post Pentecosten. Benedicam Dominum (pp.150-153)
38. Dominica septima post Pentecosten. Sicut in holocaustis
(pp.154-158)
180 Giovanni Pierluigi da Palestrina

39. Dominica octava post Pentecosten. Populum humilem (pp.158-162)

40. Dominica nona post Pentecosten. Justitiae Domini (pp.162-166)
Offertoria Secunda Pars
41. Dominica XI. post Pentecosten. Exaltabo te (pp.167-170)
42. Dominica XII. post Pentecosten. Precatus est Moyses (pp.171-175)
43. Dominica XIII. post Pentecosten. In te speravi (pp.175-179)
44. Dominica XIV. post Pentecosten. ImmittetAngelus (pp.179-183)
45. Dominica XV. post Pentecosten. Exspectans expectavi (pp. 183-
187)
46. Dominica XVI. post Pentecosten. Domine in auxilium (pp.187-191)
47. Dominica XVII. post Pentecosten. Oravi ad Dominum (pp.191-195)
48. Dominica XVIII. post Pentecosten. Sanctificavit Moyses
(pp.196-200)
49. Dominica XIX. post Pentecosten. Si ambulavero (pp.200-204)
50. Dominica XX. post Pentecosten. Super flumina (pp.205-208)
51. Dominica XXI. post Pentecosten. Vir erat in terraHus (pp.209-212)
52. Dominica XXII. post Pentecosten. Recordare me (pp.213-217)
53. Dominica XXIII. et XXIV. post Pentecosten. De profundis
(pp. 217-221 )
54. In Nativitae S. Joan. Baptistae. Justus ut palma (pp.221-225)
55. In die S. Jacobi Apostoli. Mihi autem nimis (pp.225-229)
56. In festo S. Laurentii Martyris. Confessio et pulchritudo
(pp.229-233)
57. In Assumptione Beatae Mariae Virginis. Assumpta est Maria
(pp.233-237)
[In festo S. Bartholomaei: vide Mihi autem, p.225]
58. In festo Dedicationis S. Michaelis Archang. Stetit Angelus
(pp.237-241)
59. In die SS. Apostol. Pet ri et Pauli. Constitues eos (pp.241-246)
[In Annuntiatione B. M.V. Ave Maria]
60. In festo SS. Apostol. Philippi et Jacobi. Confitebuntur coeli
(pp.246-250)
61. In festo SS. Apostol. Simonis et Judae. In omnem terram
(pp.250-254)
62. In die Commemorationis Omnium Sanctorum. Justorum animae
(pp.254-257)
63. Commune Sanctorum. Veritas mea (pp.258-261)
64. Commune plurimorum Martyrum. Laetamini in Domino
(pp.262-265)
65. Commune Virginum. Afferentur Regi (pp.266-268)
66. In festo Dedicatione Ecclesiae. Domine Deus (pp.269-272)
67. In festo Purificationis B. Mariae Virginis. Diffusa est gratia
(pp. 272-276)
68. In festo Cathedrae Sancti Pet ri. Tu es Petrus (pp.277-281)

[Volume 18] Le messe di Mantova (1). Inedite dai manoscritti di Santa Barbara. ed.
Knud Jeppesen. Rome: Istituto Italiano per la Storia della Musica, 1954.
[Pages ix-xxvi contain prefatory matter by Jeppesen on the recovery,
sources, and construction of these masses]
Modern Editions of Palestrina's Music I 181

For Five Voices

1. Missa In duplicibus (minoribus I) (pp.1-41; alternatim setting)
2. Missa In duplicibus (minoribus II) (pp.42-82; alternatim setting)
3. Missa Beatae Mariae Virg(inis I) (pp.83-125; alternatim setting)
4. Missa Beatae Mariae Virg(inis II) (pp.126-161; alternatim setting)
5. Missa Beatae Mariae Virg(inis III) (pp.162-201; alternatim setting)

[Volume 19] Le messe di Mantova (2). Inediti dai manoscritti di Santa Barbara. ed.
Knud Jeppesen. Rome: Istituto Italiano per la Storia della
Musica, 1954.
For Five Voices
1. Missa In festis Apostolor(um I) (pp.1-42; alternatim)
2. Missa In festis Apostolor(um II) (pp.43-86; alternatim)
3. Missa In semidupl(icibus) maior(ibus I) (pp.87-128; alternatim)
4. Missa In semidupl(icibus) maior(ibus II) (pp.129-167; alternatim)
For Four Voices
5. Missa (Sine nomine) [polyphony throughout] (pp.168-193)

[Volume 20] Le litanie a 3, 4, 5, 6 e 8 voci secondo la ristampa del 1600 e i diversi

codici manoscritti. ed. Lino Bianchi. Rome: Istituto Italiano per la Storia
della Musica, 1955. [Litanies]
[K48=pp.1-71; K49=pp.72-160]
Liber Primus
Litaniae Deiparae Virginis a 4:
Prima pars [Kyrie eleison ... Virgo Mater] (pp.1-6); Ave Maria
(pp.6-9); Secunda pars [Kyrie eleison ... Maria Mater gratiae]
(pp.10-15); Tertia pars [Kyrie eleison ... Virgo Maria] (pp.15-20);
Quarta pars [Kyrie eleison ... Ave de coelis] (pp.21-26); Quinta pars
[Kyrie eleison ... Ab omni malo] (pp.27-35).
Litaniae Liber Secundus Ternis et Quaternis Vocibus Aequalibussi Relin-
quatur Superior Pars
Prima pars [Kyrie eleison ... Virgo Mater] (pp.36-42); Ave Maria
(pp.42-44); Secunda pars [Kyrie eleison ... Maria Mater gratiae]
(pp.45-51); Tertia pars [Kyrie eleison ... Virgo Maria] (pp.51-58);
Quarta pars [Kyrie eleison ... Ave de coelis] (pp.58-65); Quinta pars
[Kyrie eleison ... Ab omni malo] (pp.65-71).
Appendix
1. Litaniae de Beata Virgine Maria a 5 (pp.72-76)
2. Litaniae de Beata Virgine Maria a 6 (pp.77-85)
3. Litaniae de Beata Virgine Maria a 8 (pp.86-105)
4. Litaniae de Beata Virgine Maria a 8 (pp.106-115)
5. Litaniae Domini a 8 (pp.116-128)
6. Litaniae Domini a 8 (pp.129-135)
7. Litaniae Domini a 8 (pp.136-143)
8. Litaniae Sacrosanctae Eucharistiae a 8 (pp.144-153)
9. Litaniae Sacrosanctae Eucharistiae a 8 (pp.154-160)

[Volume 21] Il libro sesto delle messe a 4, 5 e 6 voci secondo la stampa originale del
1594, la seconda edizione del 1596, e codici manoscritti. ed. Lino
Bianchi. Rome: Istituto Italiano per la Storia della Musica, 1956. [Book
182 Giovanni Pierluigi da Palestrina

VI of masses]
[K50=pp.1-104; K51=pp.105-187]
For Four Voices
1. Missa Dies sanctificatus (pp.1-25)
2. Missa In te Domine speravi (pp.26-51)
3. Missa Sine nomine (pp.52-72)
4. Missa Quam pulchra es (pp.73-104)
For Five Voices
5. Missa Dilexi quoniam (pp.105-141)
For Six Voices
6. Missa Ave Maria (pp.142-187)

[Volume 22] Il libro secondo dei madrigali spirituali a 5 voci [Priegoalla B. Verging,
secondo la stampa originale del 1594. ed.Lino Bianchi. Rome: Istituto
Italiano per la Storia della Musica, 1957. [Madrigal texts pages xiii-xv.]
[Book II of spi ri tual madrigals]
[K52=pp.1-97]
1. Figlio immortal d'immortal Padre (pp.1-4)
2. E se mai voci di qua giù son grate (pp.4-7)
3. Hor tu sol, che di vivi almi splendori (pp.7-10)
4. Dammi, scala del ciel e del ciel porta (pp.10-13)
5. E se fur gig de le mie mani immonde (pp.13-15)
6. Dammi, vermiglia rosae bianco e puro (pp.16-19)
7. E se'l pensiez de la futuramorte (pp.19-22)
8. Eletta Mirra, che soave odore (pp.22-25)
9. Cedro gentil, da gli antorosi vermi (pp.25-28)
10. Fa che con l'acque tue splendenti e vive (pp.28-31)
11. S'amarissimo fele e mortal tosco (pp.31-34)
12. Horto che sei si chiuso e si serrato (pp.34-37)
13. E se nel foco di lascivi ardendo (pp.37-40)
14. Vjncitrice de l'empia hidra infernale (pp.40-43)
15. Città di Dio, cui fan tempi e fortezze (pp.43-46)
16. Santo Altare, d'odore più veri e degni (pp.46-50)
17. Tu di fortezza torre e torre eburna (pp.50-53)
18. Specchio the fosti si polito e terso (pp.54-57)
19. Vello di Gedeon, cui Dio si largo (pp.57-60)
20. Novella Aurora, che nascend'allegri (pp.60-63)
21. E questo spirito, de la propria sede (pp.63-66)
22. E dal letto di mille e mille colpe (pp.66-69)
23. Et arda ogn'hor sopra'l lapideo altare(pp.70-72)
24. E tua mercè da cosi cieca e folta (pp.73-75)
25. Et quella certa speme e quella fede (pp.76-79)
26. Anzi, se foco e ferro e se veleno (pp.79-82)
27. E con i raggi tuoi splendenti e chiari (pp.82-86)
28. Regina de le Vergini e di tutte (pp.86-89)
29. Al fin, Madre di Dio, che ne più bella (pp.90-93)
30. E tu Signor, tu la grazia infondi (pp.94-97)
Modern Editions of Palestrina's Music 1 183

[Volume 23] Il libro settimo delle messe a 4 e 5 voci secondo la stampa originale del
1594, le edizioni del 1605 e del 1609, e codici manoscritti. ed. Lino
Bianchi. Rome: Istituto Italiano per la Storia della Musica, 1957. [Book
VII of masses]
[K53=pp.1-81; K54=pp.82-148; K55=pp.149-212]
For Four Voices
1. Missa Ave Maria (pp.1 29)
-

2. Missa Sanctorum meritis (pp.30 60) -

3. Missa Emendemus (pp.61 81) -

For Five Voices

4. Missa Sacerdoes et pontifex (pp.82 114) -

5. Missa Tu es pastor ovium (pp.115 148) -

Appendix: For Four Voices

6. Missa In majoribus duplicibus (pp.149 181) -

7. Missa In minoribus duplicibus (pp.182 212) -

[Volume 24] Il libro ottavo delle messe a 4, 5 e 6 voci secondo la stampa originale del
1599, la seconda edizione del 1609, e codici manoscritti. ed. Lino
Bianchi. Rome: Istituto Italiano per la Storia della Musica, 1958. [Book
VIII of masses]
[K56=pp.1-85; K57=pp.86-156; K58=157-263]
For Four Voices
1. Missa Quem dicunt homines (pp.1 31) -

2. Missa Dum esset summis pontifex (pp.32 51) -

For Five Voices

3. Missa O admirabile commercium (pp.52 85) -

4. Missa Memor esto (pp.86 116)-

For Six Voices

4. Missa Dum complerentur (pp.117 156) -

5. Missa Sacerdotes Domini (pp.157 193) -

Appendix: For Five Voices

6. Missa Beatus Laurentius(pp.194 226) -

7. Missa O sacrum convivium (pp.227 263) -

[Volume 25] Il libro nono delle messe a 4, 5 e 6 voci. Secondo la stampa originale del
1599, la seconda edizione del 1608, e codici manoscritti. ed. Lino
Bianchi. Rome: Istituto Italiano per la Storia della Musica, 1958. [Book
IX of masses]
[K59=pp.1-92; K60=pp.93-171; K61=pp.172-286]
For Four Voices
1. Missa Ave Regina coelorum (pp.1 29) -

2. Missa Veni sponsa Christi (pp.30 53)-

For Five Voices

3. Missa Vestiva i colli (pp.54 92)-

4. Missa Sine nomine (pp.93 130)

-

For Six Voices

5. Missa In te Domine speravi (pp.131 171) -
184 Giovanni Pierluigi da Palestrina
6. Missa Te Deum laudamus (pp.172-208)
Appendix: For Six Voices
7. Missa Assumpta est Maria (pp.209-245)
8. Missa Veni Creator Spiritus (pp.246-286)

[Volume 26] Messa Tu es Petrus, a 18 voci, in tre cori. Prima stampa secondoil codici
Manoscritto. ed. Lino Bianchi. Rome: Istituto Italiano per la Storia della
Musica, 1959.
[K62=pp.1-76]
1. Kyrie (pp.1-10)
2. Glo ria (pp.11-32)
3. Credo (pp.33-61)
4. Sanctus (pp.62-70)
5. Agnus Dei (pp.71-76)

[Volume 27] Il libro decimo delle messe a 4, 5 e 6 voci. Secondo la stampa originale
del 1600, stampe del tempo, e codici manoscritti. ed. Lino Bianchi.
Rome: Istituto Italiano per la Storia della Musica, 1959. [Book X of
masses]
[K63=pp.1-88; K64=pp.89-198; K65=pp.199-2581
For Four Voices
1.Missa In illo tempore (pp.1-29)
2. Missa Già fu chi m'ebbe cara (pp.30-51)
For Five Voices
3. Missa Petra Sancta (pp.52-88)
4. Missa O Virgo simul et Mater (pp.89-119)
For Six Voices
4. Missa Quinti toni (pp.120-154)
5. Missa Illumina oculos meos vel ad beneplacitum (pp.155-198)
Appendix: For Four Voices
6. Missa Pater poster (pp.199-225)
For Five Voices
7. Missa Panem nostrum (pp.226-258)

[Volume 28] Il libro decimoprimo delle messe a 4, 5 e 6 voci. Secondo la stampa orig-
inale del 1600 e codici manoscritti. ed. Lino Bianchi. Rome: Istituto Ital-
iano per la Storia della Musica, 1960. [Book XI of masses]
[K66=pp.1-113 ; K67=pp.114-221; K68=pp.222-302]
For Four Voices
1.Missa Descendit Angelus Domini (pp.1-31)
For Five Voices
2. Missa Regina coeli (pp.32-70)
3. Missa Quando lieta sperai (pp.73-113)
For Six Voices
4. Missa Octavi toni (pp.114-147)
5. Missa Al ma redemptoris (pp.148-184)
Appendix: For Five Voices
6. Missa Salve Regina (pp.185-221)
Modern Editions of Palestrina's Music I 185
For Six Voices
7. Missa Sine titulo (pp.222 267)
-

8. Missa Tu es Petrus (pp.268 302)

-

[Volume 29] Il libro decimosecondo delle messe a 4, 5 e 6 voci. Secondo la stampa

originale del 1601 e codici manoscritti. ed. Lino Bianchi. Rome: Istituto
Italiano per la Storia della Musica, 1961. [Book XII of masses]
[K69=pp.1-87; K70=pp.88-158; K71=pp.159-234]
For Four Voices
1.Missa Regina coeli (pp.1 29)
-

2. Missa O rex gloriae (pp.30 53)-

For Five Voices

3. Missa Ascendo ad Patrem (pp.54 87) -

4. Missa Qual'è il più grande amor (pp.88 122) -

For Six Voices

5. Missa Tu es Petrus (pp.123 158)
-

6. Missa Vin Galilaei (pp.159 196)

-

Appendix: For Five Voices

7. Missa Ecco ego Joannes (pp.197 234) -

[Volume 30] Le messe a 8 voci. Secondo le stampe originali del 1585 e del 1601 e cod-
ici manoscritti. ed. Lino Bianchi. Rome: Istituto Italiano per la Storia
della Musica, 1961. [Masses for eight voices]
[K72=pp.1-109; K73=pp.110-227]
1.Missa Laudate Dominum omnes genies (pp.1 58) -

2. Missa Hodie Christus natus est (pp.59 109) -

3. Missa Fratres ego enim accepi (pp.110 162) -

4. Missa Confitebor tibi Domine (pp.163 227) -

[Volume 31] Il libro secondo dei madrigali a 4 voci. Secondo la stampa originale del
1586. ed. Lino Bianchi. Rome: Istituto Italiano per la Storia della Musica,
1965. [Book II of mad ri gals a 4]
[K74=pp.1-79]
1. Cosà la fama scriva in sempiterni marmi (pp.l 4) -

2. S'un sguardo un fa beato (pp.4 7) -

3. Amor, ben puai tu hormai (pp.7 10) -

4. Partomi, donna, e teco (pp.10 13)

-

5. Veramente in amore (pp.14 16)

-

6. Gioia m'abond'al cor (pp.17 20) -

7. Donna gentil (pp.20 24)

-

8. lo dovea ben pensarmi (pp.24 28)-

9. Se'l pepsier che mi strugge (pp.28 30) -

10. Chi dunque fia (pp.31-34)

11. Miratealtrove (pp.34-37)
12. Si è debile il filo (pp.37 41)
-

13. I vaghifiori (pp.41Ø)

14. Mori quasi il mio core (pp.11 17)
15. Alla riva delTebro (pp.47 50)
-
186 Giovanni Pierluigi da Palestrina
16. Amor, quando fioriva (pp.50-53)
17. Beltà se come in ment'io (pp.54-56)
18. La crudamia nemica (pp.57-59)
19. 0 the splendor (pp.60-62)
20. Io sento quid'intorno (pp.62-65)
21. Deh, fuss'hor qui madonna (pp.65-68)
22. Se nonfusse il pensier (pp.68-70)
23. Perché s'annidaamor (pp.70-73)
24. Ogni beltà, madonna (pp.73-76)
25. Ardo lungie dapresso (pp.77-79)

[Volume 32] Le composizioni Latine a 12 voci. ed. Lino Bianchi. Rome: Istituto Ital-
iano per la Storia della Musica, 1972.
Five Motets
1. Ecce, nunc benedicite Dominum (pp.1-14)
2. Servum verbum tuum [Nunc dimittis servum tuum Domine]
(pp. 15-27)
3. Laudate Dominum in tympanis (pp.28-43)
4. 0 gloriosa Domina (pp.44-55)
5. Miserere mei Deus (pp.56-70)
Mass
6. Missa Cantantibus organis Caecilia [complete] (pp.71-173)
Et in terra pax ... filius Patris [Gloria]contributed by Palestrina
(pp. 84-95)

[Volume 33] Composizioni Latine a 8 e 9 voci. ed. Lino Bianchi. Rome: Istituto Ital-
iano per la Storia della Musica, 1981.
1. Surrexit pastor bonus a 8 (pp.15-21)
[secunda pars:] Etenim Pascha nostrum a 8 (pp.21-27)
2. Jesus iunxit se discipulis a 8 (pp.28-35)
[secunda pars:] Et increpavit eos a 8 (pp.36-42)
3. Stabat mater dolorosa a 8 (pp.43-49)
[secunda pars:] Eia mater fons amoris a 8 (pp.50-60)
4. Hodie gloriosa a 8 (pp.61-66)
[secunda pars:] Regina mundi a 8 (pp.67-71)
5. Spiritus sanctus replevit a 8 (pp.72-80)
6. Et ambulabunt gentes a 8 (pp.81-89)
[This is the secunda pars of Surge illuminare Hierusalem: see vol 8
pp.174-179]
7. 0 pretiosum a 8 (pp.90-96)
8. 0 admirabile commercium a 8 (pp.97-102)
9. Videntes stellam Magi a 8 (pp.103-110)
10. Miserere mei Deus [in duplici choro] 4 et 5 vocum (pp.111-117)
11. Miserere mei Deus. In duplici choro 4 et 5 vocum (pp.118-125)
12. Qui statis in domo Domini (Ecce nunc benedicite) [In duplici choro]
4 et 5 vocum (pp.126-127)
13. Quia viderunt oculi mei (Nunc dimittis) [In duplici choro] 4 et 5
vocum (pp.128-129)
Modern Editions of Palestrina's Music 1 187
14. Benedictus pro Hebdomanda sancta a 9 (pp.130-145)

[Volume 34] Le composizioni Latine a 8 voci. ed. Lino Bianchi. Roma: Istituto Italiano
per la Storia della Musica, 1987.
1. Regina caeli (pp.1-10)
2. Regina caeli (pp.11-19)
3. 4lma]Redemptoris (pp.20-28)
4. Ave mundi spes, Maria (pp.29-40)
5. Beata es Virgo Maria (pp.41-46)
[secunda pars:] Ave Maria (pp.47-53)
6.0 quam suavis (pp.54-60)
7. Disciplinam et sapientiam (pp.61-69)
8. Nunc dimittis (pp.70-78)
9. Omnes gentes plaudite (pp.79-89)
10. Fratres ego enim accepi (pp.90-97)
11. Expurgate vetus fermentum (pp.98-106)
12. Laudate Dominum de caelis (pp.107-114)
13. Sub tuum praesidium confugimus (pp.115-120)
14. Pater noster (pp.121-125)
15. Apparuit gratia Dei (pp.126-133)
16. Caro mea vere est cibus (pp.134-140)
[secunda pars:] Hic est panis (pp.141-147)
17. Dies sanctificatus (pp.149-155)
18. Hic est dies praeclarus (pp.156-162)
19. Congratulamini mihi omnes (pp.163-168)
20. Magnus Sanctus Paulus (pp.169-177)
[secunda pars:] Sancte Paule Apostole (pp.178-186)
21. Victimae paschali (pp.187-195)
22. Benedictus Dominus (p.196)
23. Popule meus (pp.197-198)
24. Popule meus (pp.199-205)
25. Vos amici mei estis (pp.206-212)
26. Tria sunt munera pretiosa (pp.213-219)
27. Haec dies, quam fecit Dominus (pp.220-225)
28. Lauda Sion Salvatorem (pp.226-250)
29. Victimae paschali laudes 251-260)
30. Veni Sancte Spiritus (pp.261-271)

[Volume 35] Miscellaneous compositions, not yet published

III. The Palestrina Foundation Series (1975- )

C0006 Giovanni Pierluigi da Palestrina. Edizione anastatica delle fonti

palestriniane. ed. Lino Bianchi. Palestrina (Rome): Fondazione Giov an ni
Pierluigi da Palestrina, 1975ff.
The stated mission of the Fondazione Giovanni Pierluigi da Palestrina
is to publish all surviving o ri ginal sources for Palestrina's life and works.
This edition is projected as a photoreproduction with critical apparatus of
188 Giovanni Pierluigi da Palestrina

three series of impo rtant materials dealing with Palestrina's life and
works. The projected series are: 1) Opere a stampa [printed music]; 2)
Opera manoscritte [manuscript works]; 3) Documenti [documents,
including letters, church records, iconographic material, etc.].
To date, the Palestrina Foundation has published the following:
[Series 1, Volume 1. Palestrina, Giovanni Pierluigi da] Mis
sarumliber primus. ed. Giancarlo Rostirolla. Edizione anastat--sarum
ica delle fonte Palestriniani, Prima serie: Opere a stampa 1.
Palestrina (Rome): Fondazione G.P. da Palestrina,1975. 81pp.
M3.1.P25.V62.1975.
Introduction by Giancarlo Rostirolla, pp.1-22, followed by
facsimiles of the First Book of Masses as published by Dorico
in 1554, reduced in size so as to fit four reproductions per page.
Contains Missa Ecce sacerdos magnus a 4; Missa O Regem
celi a 4; Missa Virtute magna a 4; Missa Gabriel archangelus a
4; Missa Ad cenam Agni providi a 5.

[Series 1, Volume 2. Palestrina, Giovanni Pierluigi da] Il primo

libro dei madrigali a quattro voci. ed. Giuliana Gialdroni. Edi-
zione anastatica delle fonti Palestriniani, Prima serie: Opere a
stampa 2. Palestrina (Rome): Fondazione Giovanni Pierluigi da
Palestrina, 1989.
Introduction by Giuliana Gialdroni, pp.7-23; facsimiles,
pp.25-213. Presentation of facsimiles of all known extant prints
of the First Book of Madrigals issued by a variety of printers
between 1555 and 1605. Nine editions are represented; each
page of the facsimile edition presents one page of the original
as found in each of the contemporary prints.

Two further volumes in this series are projected but not yet pub-
lished. Volume 3 is planned as an edition of the Hymni totius
anni (Rome: Tornieri e Donangelo, 1589). Further information
regarding the contents of Volume 4 is not yet generally avail-
able.

[Series 2, Volume 1. Palestrina, Giovanni Pierluigi da] Il codice

59 dell'Archivio musicale della Basilica di San Giovanni in
Laterano: autografo di Giovanni Pierluigi da Palestrina. ed.
Giancarlo Rostirolla. Edizioni anastatica (Opere manoscritte 1).
Palestrina: Fondazione Giovanni Pierluigi da Palestrina,1996.
Reproduction and examination of the p rincipal Palestrina
musical autograph.

One further volume in this series is projected but not yet pub-
lished.

[Series 3, Volume 1] Projected, but not yet published.

 Chapter 5
Modern Editions of Palestrina's Music II:
Collected and Individual Works

I. Selections in Anthologies, Collections, Sets, and Series

D0001 [No editor listed] Musica sacra quae cantatur quotannis per Hebdomadam
sanctam Romae in Sacello pontificio. Lipsiae [Leipzig]: Sumptibus C.F.
Peters, 1808. Contents listing on paper cover.
This edition is evidently based on Bumey's 1771 publication, as layout
and annotations follow the earlier print in most details. This is likely the edi-
tion referred to by Fétis in his Biographie universelle article on Palestrina,
although he lists the publisher as Breitkopf und Hrtel.
Contains Stabat Mater a 8 (pp.2-12); Fratres ego enim a 8 (pp.13-17);
Improperia [from Popule meus to miserere nobis] a 8 (pp.23-24). [Also con-
tains Allegri's Miserere and Tommaso Bai's Miserere.]

D0002 [no editor listed] Palestrina. 4 Misas. De Beata Virgine paråfrasis;

L' homme armé tenor; Tu es Petrus parodia; Ad fugam libre. Serie Musica
callada 2. Madrid: Editorial Miisica mundana, n.d. [ 1990s].
Evidently items reprinted from the Casimiri edition [not named here], in
miniature score.
Contains Missa de Beata Virgine a 6 (pp.6-30); Missa L' homme armé a
4 (pp.31-49); Missa Tu es Petrus a 6 (pp.50-84); Missa Ad fugam a 4
(pp.85-101).
Also contains an appendix including various Gregorian mass movements
(pp.102-107), the L'homme armé melody (p.107), and the model for the
Missa Tu es Petrus, the Palestrina motet Tu es Petrus a 6 (together with its
secunda pars, Quodcumque ligaveris) (pp.108-116).

D0003 [No editor listed] [Madrigals, four voices]. Da rtmouth Collegium Musicum
series 3, part 1. Hanover, NH: Dartmouth Publications, 1966.
SATB, English text taken from Musica transalpina [1589] translations,
Italian text also given.
Contains madrigals Joy so delights my heart [Gioia m'abond'al cor];
What meaneth love to nest him? [Perché s'annida Amore].

D0004 Alfieri , Pietro, ed. Excerpta ex celebrioribus de musica viris Jo. Petro
Aloisio Praenestino, Thoma Ludovico a Victoria Abulensi et Gregorio Alle-
grio Romano: in usum cathedralium et collegialium ecclesiarum: conci-
nenda in Dominica Palmarum et majori hebdomada. . . . Roma: Petri
Pueri
Contains Sistine Holy Week repertory, including Palestrina items Surge
Hebraeorum (SSAT, pp.5-9); Lamentatio I Feria V. In coena Domini (SSAT,
190 Giovanni Pierluigi da Palestrina

pp.29-39); Feria VI in Parasceve ad Matutinum. Lectio I (SSAT to SSATB,

pp.39 -58); Ad Missum dum fit adoratio Crucis canuntur Improperia (SATB
SATB, pp.67 -76).

D0005 Alfie ri , Pietro, ed. Raccolta di musica sacra in cui contengonsi i tapi lavori
de'più celebri compositori italiani consistente in messe, sequenze, offertori,
mottetti, salmi, inni, responsori, ec. Roma: P. Pittarelli e Comp., 1841-1846.
Seven vols. M3.P13A4.
Although far from complete, this set constitutes an early and representa-
tive collected edition of Palestrina's sacred music, complete with catalogue
in Volume 7.
Vol 1 contains masses: Papae Marcelli ["di PapaMarcello"]; pro defunc-
tis a 5 [`per I Defonti"]; Missa Canonica a 4; 0 regem coeli a 4; Aeterna
Christi munera a 4; Dies sanctificatus a 4; De feria a 4; Brevis ["Breve"] a
4; Ego enim accepi a 8.
Vol 2 contains motets for five voices: Adjuro vos; Ave Trinitatis sacrar-
ium; Beatus Laurentius; Canite tuba in Sion; Caput ejus; Caro mea;
Coenantibus illis; Crucem sanctam subiit; Derelinquat impius; Descendit in
hortum meum; Dilectus meus descendit;Dilectus meus mihi; Domine secun-
dum actum meum; Duo ubera tua; Ecce tu pulcher es; Exi cito in plateas;
Exultate Deo adjutori nostro; Fasciculus myrrhae; Guttur tuum; Introduxit
me Rex; Lapidabant Stephanum; Leva ejus; Manus tuas Domine; Nigra
sum, sed formosa; O admirabile commercium; O beata, o benedicta; O
sacrum convivium; O vera summa sempiterna; Osculetur me osculo; Parce
mihi Domine; Pater noster; Paucitas dierum meorum; Peccantem me quoti-
die; Peccavi quid faciam tibi; Peccavimus cum patribus nostris; Pulchra es
arnica mea; Pulchrae sunt genuae tuae; Quae est ista; Quam pulchra es;
Quam pulchri sunt; Rorate coeli; Salve Regina; Si ignorasSicut
te; lilium
inter spinas; Surgam, et circuibo; Surge arnica mea; Surge propera; Tota
pulchra es; Trahe me post te; Tribulationes civitatum; Veni veni dilecte mi;
V ineam meam; Vox dilecti mei; Vulnerasti cor meum.
Vol 3 contains Hymni totius anni (pub. Rome, 1589) [complete].
Vol 4 contains "Lamentazioni di G.P. da Palestrina. Liber tre" [Books I,
II, III; Feri a VI. in Parasceve, Lectio I "as used in papal chapel 1587"].
Vol 5 contains Offertoria totius anni... quinque vocibus concinenda
(Rome, 1593) "Offertorii a 5 voci di G.P. da Palestrina" [complete].
Vol 6 contains motets, antiphons, an d sequences: Jerusalem cito veniet a
6 [secunda pars Ego enim]; Veni Domine a 6 [secunda pars Excita Domine];
O magnum mysterium a 6 [secunda pars Quem vidistis pastores]; Cum ortus
fuerit sol a 6; Responsum accepit Simeon a 6; Cum inducerent a 6; Sancta et
immaculata a 6 [secunda pars Benedicta tu]; Haec dies a 6; Vin Galilei a 6
[secunda pars Ascendit Deus]; Dum complerentur a 6; Tu es Petrus a 6
[secunda pars Quodcumque ligaveris]; Solve jubente Deo a 6 [secunda pars
Quodcumque ligaveris]; Deus qui Ecclesiam tuam a 6; Vidi turbam magnam
a 6 [secunda pars Et omnes angeli]; Columna est immobilis a 6; Cantabo
Domino a 6 [secunda pars Deficiant peccatores]; Regina mater misericor-
diae a 6; Tu es Petrus a 7; Virgo prudentissima [secunda pars Maria Virgo];
Surge illuminare a 8 [secunda pars Et ambulabunt]; Caro mea vere est cibus
[secunda pars Hic est panis]; Laudate Dominum; Alma redemptoris mater a
Modern Editions of Palestrina's Music II 191
8; Ave regina coelorum a 8; Jubilate Deo, psalm Laudate Dominumn a 8;
[secunda pars Quis sicut Dominus]; sequence Victimae paschali a 8;
sequence Veni Sandie spiritus a 8; sequence Stabat Mater a 8.
Vol 7 contains hymn O gloriosa virginum à 12; sequence Stabat Mater a
12; Absolutio in messa defunct. a 4: Libera me, Kyrie, etc; motet In messa
defunct. a 4: Ne recorderis. Domine secundum actum meum; motet Inno-
centes pro Christo a 4; motet Valde honorandus a 4; motet Deus qui animae
famuli Gregorii a 4; motet Ascendens Christus a 4; motet Princeps glorios-
sisime Michael; hymn Gaude Barbara a 4; psalm Venite a 5; motet Cantan-
tibus organic Caecilia a 5 [secunda pars Biduanis]; motet Assumpta est
Maria a 6 [secunda pars Quae est ista]; motet Cum autem esset Stephanus à
6 [secunda pars Positis autem]; motet Hic est beatissimus Evangelista a 6
[secunda pars Hic est discipulis]; motet Fratres ego enim a 8; motet Jesu
junxit se a 8 [secunda pars Et increpavit eos]; motet Spiritus sanctus; magni-
ficat Primi toni a 8; magnificat Primi toni a 5 et 6; magnificat Secundi toni a
5 et 6; magnificat Tertii toni a 6; magnificat Octavi toni a 6; magnificat Octo
tonorum a 4. Pars 1: 1,2,3,4,5,6,7,8. Altera pars: 1,2,3,4,5,6,7,8. Catalogo
de tutte le opere del Palestrina.

D0006 Alfie ri , Pietro, ed. Raccolta di musica sacra di Giovanni Pierluigi da Palest-
rina principe della musica opera publicata da Monsignor Pietro Alfieri
Romano. Seconda edizione/vol. I/dedicato all'Eminentissimo Cardinale
Costantino Patrizi Vicario di Nostro Signore Papa Pio IX. Rome: Federico
Chiapperini, 1876. Two vols.
Vol 1 contains Missa Papae Marcelli a 6; Missa Per defonti a 5 [hissa
Pro defunctis]; Missa Canonica a4 [Hissa Ad fugam]; Missa O regem coeli
a 4; Missa Aeterna Christi munera a 4; Missa Dies sanctificatus a 4; Missa
De feria a 4; Missa Brevis a 4; Missa Fratres ego enim accepi a 8.
Vol 2 contains a selection of motets.

D0007 Anderson, A rt hur Olaf, ed. Selected Compositions of Palestrina. Chicago:

Hall & McCreary, 1940.
Score, 32pp. SATB, with pi an o accompaniment for rehearsal only.
Contains motets O sacrum convivium a 4; 0 Domine Jesu Christe a 4; Dies
sanctificatus a 4. Masses: Missa sine nomine a 4 [Kyrie only]; Missa Aeterna
Christi munera a 4 [Sanctus only]; Missa Brevis a 4 [Benedictus only].

D0008 A rn old, Samuel, ed. Cathedral Music: Being a Collection in Score of the
Most Valuable and Useful Compositions for that Service, by the Several
English Masters, of the Seventeenth & Eighteenth Centuries. 1790; rev. ed.
Edward F. Rimbault, London, 1843.
Vol 1 contains "We Have Heard with Our Ears" [Ald ri ch- Palestrina
recomposition of Doctor bonus].

D0009 Bauerle, Hermann, ed. Pierluigi da Palestrina. Leipzig: Breitkopf and Hir-
tel, 1904+. Eight vols [seven + one unnumbered volume].
These items were also issued either individually or in small groups
[Hefte] over a period of several years beginning in 1904. They were adver-
tised as "altklassisiche Kirchenmusik in moderner Notation" [i.e. old classi-
192 Giovanni Pierluigi da Palestrina
cal church music in modern notation], that is, the polyphony was arranged in
systems of two or three staves. Many were reissued individually in the 1950s
and can still be found in libraries with that imprint. Introductions by Her-
mann Bauerle.
Vol 1, Vierstimmige Messen, all designated SATB, contains no.1, Missa
Aeterna Christi munera; no.2, Missa Brevis; no.3, Missa Dies sanctificatus;
no.4, Missa Emendemus; no.5, Missa Jesu nostra redemptio; no.6, Missa
Iste Confessor; no.7, Missa Lauda Sion; no.8, Missa Sine nomine I (X. toni);
no.9, Missa Sine nomine 2 (IV. toni); no.10, Missa Veni Sponsa Christi.
Vol 2, Vierstimmige Messen, all designated SATB, contains no.1, Missa
De Feria; no.2, Missa Secunda; no.3, Missa Dum esset summus Pontifex;
no.4, Missa Quarta; no.5, Missa lam Christus astra ascenderat; no.6, Missa
Pater poster; no.7, Missa Regina coeli; no.8, Missa De Beata Virgine; no.9,
Missa Sanctorum meritis; no.10, Missa Ave regina coelorum.
Vol 3, Fünfstimmige Messen, all designated SATTB, contains no.1,
Missa Ascendo ad Patrem; no.2, Missa Beatus Laurentius; no.3, Missa
Dilexi quoniam; no.4, Missa O admirabile commercium; no.5, Missa O
sacrum convivium; no.6, Missa Petra sancta; no.7, Missa Pro defunctis;
no.8, Missa Regina coeli; no.9, Missa Sacerdos et Pontifex; no.10, Missa
Sicut lilium.
Vol 4, 30 Vierstimmige Motetten (in twelve Hefte) include no.1, Ave
Maria; Benedicta sit; no.2, Salvator mundi; Exaudi Domine; no.3, Loque
varus linguis; O Rex gloriae; no.4, Dies sanctificatus; Nos autem-bantur
gloriari; no.5, Lauda Sion; Ego sum panic vivus; Sicut cervus [secunda pars
Sitivit anima mea]; no.6, Tu es pastor ovium; Magnus sanctus Paulus; no.7,
Veni sponsa Christi; Gaudent in coelis; no.8, Lapidabant Stephanum; Quia
vidisti me, Thoma; no.9, Dum aurora; Doctor bonus; no.10, Quae est ista;
Nativitas tua; no.11, 0 quantus luctus; Fuit homo; no.12, Domine, quando
veneris; Commissa mea pavesco; Heu mihi Domine; Anima mea turbata est;
Super flumina Babylonis; Ecce nunc benedicite.
Vol 5, Achtstimmige Motetten, includes no.1, Stabat mater; no.2, Pater
poster; no.3, Ave Maria; no.4, Jubilate Deo; no.5, Haec dies.
Vol 6, Fünfstimmige Offertorien, (two Hefte in partitura) consists of Heft
I: Für die Adventzeit, containing no.1, Ad te levavi; no.2, Deus tu con-
vertens; no.3, Benedixisti Domine; no.4, Ave Maria. Heft II: Für die Weih-
nachtzeit, contains no.1, Deus firmavit; no.2, Tui Bunt coeli; no.3, Elegerunt
Apostoli; no.4, Anima nostra.
Vol 7, Achtstimmige Messen (in partitura) contains no.1 Missa Confite
-bor tibi Domine; no.2, Missa Fratres ego enim accepi.
Unnumbered volume, 19 Et incarnatus est, "aus den übrigen vierstim-
migen Messen."

D0010 Becker, Carl Ferdinand, ed. Kirchengescinge berühmter Meister aus der
15. 17. Jahrhundert. Five vols. Dresden: Wilhelm Paul, n.d. M2082.B395.
-

D0011 Bellermann, Heinrich, ed. Palestrinas Werke. Herausgegeben von Heinrich

Bellermann. Erster Theil. Vierstimmigen Motetten. Liber I. (Liber secun-
dus). Bergedorf: H. Weissenborn, 1869.
Modern Editions of Palestrina's Music II 193
Second edition or reissue, Bergedorf, H. Weissenborn, 1871.
This item was originally intended as pa rt of a six-volume Denkmdler der
Tonkunst series under the general editorship of F riedrich Chrysander. It also
exists in a version with an English title page, "The Works of Palestrina
edited by H. Bellermann. Volume the First. 66 four pa rt Motets" and on the
outside bottom margin carries the statement "To be completed in 16 Vol-
umes."
Contains the motets of the Motecta festorum and of Book II. Original
note values observed; Latin text underlaid; several motets in transposition.

D0012 Mime, Franz Magnus, ed. Die hohen Feste in Liedern. 50 Weihnachtslieder,
Neujahrs-, Passions- und Pfingstgesdnge filr eine Stimme mit Pianoforte
Begleitung. Dresden: W. Bock, n.d. [ca.1880].
Includes a version of part of Stabat Mater a 8 [two strophes; the two
canto/soprano voices are reduced to one, and the remaining voices are
reduced to a piano accompaniment].

D0013 Bonnet, Joseph, ed. Historical Organ Recitals, in Six Volumes. New York:
-

G. Schirmer, 1917-1940.
Vol 1, ed. Joseph Bonnet, Forerunners of Bach, contains "Ricercare"
[primo tuono, H xxxii,80] (pp.15-18). Manualiter, detailed registration
directions.

D0014 Bordes, Charles, ed. Anthologie des maîtres religieux primitifs des quinz-
ième, seizième et dix - septième siècles. Paris: Durand et Fils, 1893. Six vols.
Reprint New York: Da Capo, 1981.
All items also issued separately in the series Anthologie des maîtres
religieux ancients pour chant et orgue, ser. 1. Répetoire des chanteurs de
Saint Gervais. Edition populaire. Paris: Bureau d'Edition de la Schola Can-
-

torum, c. 1893-1912. Each of the motets was published with a vocal reduc-
tion for keyboard (organ), and was extensively edited.
Vol 1, Première année, Livre de messes, contains Missa Brevis a 4
(pp.1 22), Missa Ascendo ad Patrem a 5 (pp.42 69), Missa O regem coeli a
- -

4 (pp.152 183).
-

Vol 2, Première année, Livre de motets, contains no.2, Peccantem me

quotidie (pp.4 6); no.6, Coenantibus illis a 5 (pp.21 24); no.7, Trois repons
- -

[In monte Oliveti (pp.25 27); Tristis est anima mea (pp.27 29); Ecce
- -

vidimus eum (pp.29 31)]; no.13, Trois repons [Sicut oves ad occisum
-

(pp.58 60); Jerusalem surge (pp.60 62); Plange quasi Virgo (pp.62 63)];
- - -

no.21, Trois repons [Omnes amici mei (pp.98 100); Velum templi
-

(pp.100-102); Vinea mea electa (pp.102-103)]; no.32, Exultate Deo a 5

(pp.164-167); no.34, Alma redemptoris matera 4 (pp.174-176); no.40, Veni
sponsa Christi a 4 (pp.191 194).
-

Vol 3, Deuxième année, Livre de messes, contains the Missa Papae Mar-
celli a 6 (pp.1 41).
-

Vol 4, Deuxième année, Livre de motets, contains no.44, Trois repons

[Recessit Pastor poster; O vos omnes; Ecce quomodo moritur justus
(pp.16-21)]; no.49, Stabat Mater a 8 (SATB/SATB, interlinear-type French
194 Giovanni Pierluigi da Palestrina

tran slation on a single empty stave, pp.40-53); no.50, Dextera Domini a 5

(pp.54-56)]; no.51, Ave Maria a 4 (pp.57-60); no.53, Assumpta est Maria a 6
(SSATTB, untransposed, pp.63-67, with no.53a, Quae estista a 6, pp.68-72);
no.57, Loquebantur in varus linguis a 4 (pp.85-89); no.64, 0 admirabile com-
mercium a 5 (SATTB, untransposed, pp.121-124); no.68, Congratulamini
mihi a 4 (pp.159-162); no.72, Tantum ergo a 4 (pp.177-180).
Vol 5, Troisieme année, Livre de messes, contains Missa Salve Regina à 5
(pp.69-99) and Missa Sine nomine à 4 (pp.100-123).
Vol 6, Troisième année, Livre de motets, contains no.77, Dum aurora
finem daret a 4 (pp.4-8); no.81, Ego sum panis vivus a 4 (pp.16-19); no.83,
Ave Maria à 4 voix égales (SSSA, pp.32-35); no.85, Ne recorderis peccata
mea Domine (SSSA or TTTB, pp.43-46); no.86, Miserere mei Deus (fal-
sobordone) a 4 (TTBB, p.48); no.87, Adoramus te Christe à 4 voix égales
(TTTB or TTBarB, pp.51-52); no.91, Sicut cervus a 4 [secunda pars Sitivit
anima mea] (pp.60-65); no.92, Tantum ergo sacramentum à 4 voix égales
(F1'BarB, pp.66-67); no.94, Vexilla regis prodeunt (odd-numbered verses in
square plainchant notation; even-numbered verses for various vocal ensem-
bles from two choirs) (pp.70-73) , with no.94bis, O crux ave a 4 (pp.74-75);
no.103, Tribulationes civitatum a 4 (with secunda pars, Peccavimus,
pp.121-126); no.106, Dies sanctificatus a 4 (pp.137-140); no.110, Domine
quando veneris a 4 (pp.151-153); no.112, Exaudi Domine a 4
(pp.157-160); no.115, Innocentes pro Christo à 4 voix égales (pp.169-171);
no.120, 0 rex gloriae a 4 (pp.180-184); no.125, Ad te levavi a 4
(pp.192-195); no.125bis, Miserere nostri (pp.196-199).

D0015 Brace, Geoffrey, ed. Partsongs for Equal Voices. Something to Sing 3. Cam-
bridge: Camb ri dge University, 1966.51 pp.
These are choral scores directed to younger performers. Latin text, with
English adaptations by the editor. Contains motet Jesu rex admirabilis (SSA
or TTB). Items also published separately (ref. 521 04299 2).

D0016 Brandt, William Edward, and A rthur Corra, William Ch ri st, Richard Delone,
an d Allen Winold, eds. The Comprehensive Study of Music. Vol. 1: Anthol-
ogy of Music from Plainchant through Gabrieli. New York: Harper's College
Press, 1980.
Contains complete motet O magnum mysterium a 6 (SSAATB,
pp.185-189; secunda pars Quem vidistis (pp.190-194), and large excerpts
from Missa O magnum mysterium (pp.195-221). A substantial pa rt of each
movement of the mass is printed; those sections which are omitted are iden-
tified by their text. Useful for study of p arody/imitation technique if a com-
plete score is not available. Text translation into English, p.15.

D0017 Burkhart, Charles, ed. Anthology for Musical Analysis. 3rd ed. New York:
Holt, Rinehart an d Winston, 1979.
Contains Missa Aeterna Christi munera [Sanctus and Benedictus only]
(pp.33-28). The second edition (pub.1972) contains Missa Aeterna Christi
munera [Sanctus, Benedictus, Agnus DeiI, Agnus Dei II] (pp.27-36).
D0018 Burney, Ch arles, ed. La musica the si canta annualmente nelle funzioni
della settimana santa nella Cappella Pontificia composta dal Palestrina,
Modern Editions of Palestrina's Music II 195

Allegri, e Bai: raccolta e pubblicata da Carlo Burney. London: Robert

Bremner, 1771.
Preface by the editor, pp. i—iv, including a biographical notice of Palest-
rina. Contains Stabat Mater a 8 (SATB SATB) "si canta nella Funzione delle
Palme alla Messa" (pp.l-13); motet Fratres ego enim accepi a 8 (SATB
SATB) "si canta il Giovedi Santo alla Messa" (pp.14-23); Improperia Pop-
ule meus [to miserere nobis] (SATB SATB) "Improperia Petrus Aloysius
Prenestinus/Si cantano nella Mattina del Venerdi Santo, all'Adorazione della
Croce" (pp.31-34). There is another version of this publication with the
imprint "Londra: Stampata per [blank] nella Strand" that also apparently
dates from the early 1770s.

D0019 Busch, Hermann J., ed. Two Settings of Palestrina's Missa Papae Marcelli.
Recent Researches in the Music of the Baroque Era 16. Madison, WI: A—R
Editions, 1973.
Both versions of this mass are by younger contemporaries and associates
of Palestrina and reflect changing perspectives on the prima prattica in the
generation active ca.1590-1620. Preface (pp.5-9); facsimiles from two pub-
lications: Anerio's version (pp.13-14) and Soriano's (pp.55-56). Version 1
(pp.15-51), by Giovanni Francesco Anerio (1567-1630), is an arr angement
for four voices (SATB) and basso continuo; Version 2 (pp.57-106) is by
Francesco Soriano [Suriano] (1549—c.1621), arranged for eight voices in
cori spezzati (SATB/SATB) with figured bass.

00020 Calahorra Martinez, Pedro, ed. Missae sex IV.V. et VI. Vocum ... /Pedro Rui-
monte. Publicaciones de la Sociedad Espanola de Musicologia. Secciôn D.
Ediciones de mnsica antigua 3. Zaragoza: Sociedad Espanola de Musicolo-
gia, 1982.
Contains Palestrina motets In diebus illis; Lapidabant Stephanum. Rui-
monte published these two motets and other music by Guerrero as models
on which his imitation masses were based. Critical notes in Spanish.

Carver, Anthony F., ed. Cori Spezzati: The Development of Sacred Poly-
choral Music to the Time of Schutz. Vol.2: An Anthology of Sacred Poly-
choral Music. Cambridge: Cambridge University Press, 1988.
See E0192 for description of main text. Vol. 2 contains motet Videntes
stellam Magi (pp.86-92), based on the Casimiri edition.

D0021 Casimiri, Raphael [Raffaele]. Anthologia polyphonica auctorum saeculi XVI

paribus vocibus. Roma: Edizioni "Psalterium" [c.1924-1932]
Works in score.

Casimiri, Raffaele. Il "Codice 59" dell'Archivio Musicale Lateranense.

Autografo di Giov. Pierluigi da Palestrina. Rome: Tipografia Poliglotta Vat-
icana, 1919. ML410.P15C26.
See item E0193 for bibliographical entry. Casimiri's meticulous exami-
nation of the most extensive Palestrina autograph contains an appendix of
transcriptions of previously unpublished works, as well as eight fold-out
pages of manuscript facsimiles (including Lateran 59, ff.9v, and 57v, which
196 Giovanni Pierluigi da Palestrina
are among the material transcribed here). The appendix includes hymns
pp.1 6, Tibi Christe splendor Patris a 4 [from ff.9v 10]; pp.7 10, Conditor
- - -

aime siderum a 3 et 4 [from ff.46v 47]; pp.11 20, Christe redemptor

- -

omnium a 3, 4 et 5 [from ff.49v 52}; pp.21 27, Hostes Herodes impie [from
- -

ff.56v-58]. Original clefs and note values are preserved, and hymn strophes
are indicated.
Transcriptions of sections of other works appear throughout the text.

D0022 Casimiri, Raphael [Raffaele], ed. Monumenta polyphoniae Italicae. Rome:

Pontificium Institutum Musicae Sacrae, 1930.
Vol 1: Missa cantantibus organis, Caecilia: 12 vocibus. ed. Raphael
Casimiri.
Preface in Italian and Latin (pp.xi-xxi); two pages of facsimiles from pri-
mary source, Lateran cod.52. Palestrina contributed part of the Gloria [Et in
terra pax ... filius patris] (pp.11-19) to this work. The motet on which this
mass was based, Cantantibus organis a 5, also by Palestrina,is printed here
as well (pp.87-91).

00023 Casimiri, Raphael [Raffaele], ed. Societas Polyphonica Romanae ... Reper-
torium; cura et studio Raph. Casimri. Vols. 1 6. Rome: "Psalterium,"
-

1925-1934.
Note values are halved, and the music is edited for dynamics and other
performance indications. Listed on the inside covers of each volume are the
Latin text and a sho rt commentary for every selection.
Vol 1 (1925) contains no.1, offertory Laudate Dominum a 5 (SATTB,
pp.l-6); no.2, offertory Vox dilecti mei a 5 (SATTB, pp.7-14); no.3, offer-
tory Improperium exspectavit a 5 (SATTB, pp.12-17); no.6, offertory Ad te
levavi a 5 (SATTB, pp.30-35); no.7, motet O quantus luctus a 4 (SATB,
pp.36-40); no.10, motet Exultate Deo a 5 (STTBarB, pp.51-56).
Vol 2 (1925) contains no.1, offertory Bonum est a 5 (SATTB, pp.1-5);
no.5,motet Alleluja, tulerunt Dominum a 5 (SATTB, pp.20-27); no.6, motet
Adjuro vos a 5 (STTBarB, pp.28 34); no.7, motet Paucitas dierum meorum
-

[seconda pars Manus tuae] a 5 (STTBarB, pp.35-43); no.8, mass movement

Missa Papae Marcelli [Credoonly] a 6 (SATTBB, pp.44 57). -

Vol 3 (1925) contains no.1, offertory Exaltabo te a 5 (pp.1 3); no.2,

-

motet Nigra sum a 5 (SATTB, pp.6 11); no.3, motet Tribulationes civitatum
-

[seconda pars Peccavimus] a 5 (SATTB, pp.12-21); no.5, motet Tota pul-

chra es a 5 (SATTB, pp.25-29); no.6, offertory Dextera Domini a 5
(SATTB, pp.30-34); no.8, Super flumina Babylonis a 4 (SATB, pp.39-42);
no.9, motet Introduxit me Rex a 5 (SATTB, pp.43-47); no.10, Improperium
Incipit Hieremiae a 6/8 (pp.48 59).
-

Vol 4 (1927) contains no.2, motet Dilectus meus a 5 (SATTB, pp.6-10);

no.6, Sicut cervus a 4 (STTB, pp.19-21).
Vol 5 (1927) contains no.1, motet Surge amica mea a 5 (SATTB,
pp.1-6); no.3, motet Hodie Christus a 4 (SSAT, pp.11-14); no.5, offertory
Confitebor a 5 (SATTB, pp.20-25).
Vol 6 contains no.1, motet Peccantem me quotidie a 5 (STTBarB,
pp.1-6); no.5, sequence Stabat Mater a 8 (SATB SATB, pp.33-47).
Modern Editions of Palestrina's Music II 197
Celler, Ludovic, ["L. Leclercq"], ed. La Semaine sainte au Vatican: étude
musicale et pittoresque: texte et musique. Paris: Hachette et Cie., 1867. xii +
120pp.
See item E0477 for main bibliographical entry. The first pa rt of this work
is text describing events during Holy Week, including notes on perform ance
practice of the PalestrinaLamentations and the history of the Sistine Chapel.
The second part contains music by Palestrina, Victoria,Allegri, and others.
Palestrina, Stabat Mater a 8 (printed on two staves, pp.1-14); Victo ria,
Reponsiones populi (pp.15-25); Allegri, Miserere (pp.26-31); Bai, Miserere
(pp.32-41); Victoria, Responsiones ad missam in passionem secundum
Joannem (pp.42-70); Palestrina, Improperia (after Burney, pp.49-70);
Palestrina, motet Christus factus est (pp.71-72); Palestrina, Missa Papae
Marcelli [Kyrie through Agnus Dei I] (pp.73-120).

D0024 Choron, Alexandre-Etienne, ed. Collection des pièces de musique religieuse

qui s'exécutent tous les ans à Rome, durant la Semaine Sainte, dans la
Chapelle de souverain pontife. Recuillies et publiées par M. Alexandre
Choron, ancien chef de brigade à l'École Polytechnique.... Paris: Chez
l'Éditeur, au Pensionnat Royal de Chant [1810-1820].
Compilation derived from years of Choron's directorship, which
included performance revivals of music by Palestrina and other sixteenth-
century composers. See also Choron, Raccolta generale delle opere clas-
siche musicali item D0026.

D0025 Choron, Alexandre-Etienne. Principes de Composition des Ecoles d'Italie.

Adoptés par le Gouvernement Français pour servir à l'instruction des
Élèves des Maîtrises de Cathedrales. 3 vols. Paris: Le Duc, 1808.
A massive treatise on composition, with examples included here rather
than in Chapter 2 because of the post-1800 publication date. Book 6 repre-
sents a compendium of examples in church, chamber, and theatrical styles,
in which both church and chamber music are represented by works by
Palestrina.
Livre Sixième. Rhétorique Musicale contains the appendix Modèles pour
le sixième livre. Styles. Première section: Styles d'église, including the fol-
lowing as examples written in the eight church modes.
Mode 1: pp.3-4, Chori sanctorum a 4; pp.4-5, Sit laus Deo Patri summo
Christo a 5; pp.6-7, Et exultavit a 5.
Mode 2: pp.14-15, Post (luxa carvis scandala a 5; pp.15-16, Sicut locu-
tus est a 5.
Mode 3: pp.26-27, Quae vox quae potent a 4; pp.28-29, Laus et peren-
nis gloria a 5; pp.29-30, Sicut locutus est a 5; pp.37, Pleni sunt coeli a 3
[with note: "Cet exemple est tiré de la Seconde Partie"].
Mode 4: pp.39-40, Hic ille Rex est gentium a 4; pp.41-43, 0 felix Roma
a 5; pp.44-46, Sicut erat a 7 [with canons at diapente and diapason].
Mode 5: pp.50-51, Legi prophetae gratiae a 4; pp.51-52, Praestet hoc
nati genitor a 4; pp.53-54, Esurientes implevit bonis a 5.
Mode 6: pp.65-67, Gaudent in coelis a 4.
Mode 7: pp.79-81, Veni sponsa Ch risti a 4; pp.84-86, Sicut erat a 6;
pp.87-89, Agnus Dei a 6.
198 Giovanni Pierluigi da Palestrina

Mode 8: pp.91 92, Hostem repellas longius a 4; pp.93 95, Beatus Lau-
- -

rentius a 5; pp.100 101, Quia fecit mihi magna a 6.

-

Seconde Section: S tyle de Chambre. Première espèce: Madrigaux da

Tavolino; pp.210 211, Alla riva del Tebro a 4; pp.228 230, Tu di fortezza
- -

torre a 5.

D0026 Choron, Alexandre Étienne, ed. Raccolta generale delle opere classiche
-

musicali. Paris: Auguste le Duc, ca. 1810.

These items, a by-product of Choron's association with the revival of
early music and didactic activities, were apparently issued individually
around 1810 and were subsequently reissued in different formats around
1825.
Includes no.2, Missa ad fugam in perpetuo canon, in G, a quattro voci,
da capella (pub. ca. 1810), iii + 15pp; no.3, Stabat Mater, motetto a otto voci
reali, da cappella (pub. ca. 1810), iii +14pp.

D0027 Cisilino, Siro, ed. Sedici salmi a croque voci di quattordici autori veneti
cinquecenteschi dedicati a Giovanni Pierluigi da Palestrina. Padova: G.
Zanibon, 1978.
This is a modern edition of RISM 15923, a compilation of works by
Asola and others, dedicated to Palestrina. Preface in Italian and English
pp.iii—ix, providing notes on the preface, as well as biographies and publica-
tion histories of the various contributors. Two facsimiles on pp.x—xi. In addi-
tion to the publication contents, Cisilino has also published Palestrina's aptly
titled response to this Festschrift, the motet Vos amici mei estis a 8 (SATB
SATB, pp.139-146).

D0028 Commer, Franz, ed. Musica Sacra. Sammlung der hesten Meisterwerke des
16. 17. und 18. Jahrhunderts. Gesammelt und herausgegeben von Franz
Commer. Berlin: Ed. Bote & G. Bock, 1838.4 vols. New series beginning
with vol 5, various editors, pub. ca. 1842-1846. Only volumes containing
music by Palestrina listed here.
Vol 2, Sammlung der besten Meisterwerke des 16. 17. und 18. Jahrhun-
derts für 2, 3, und 4 Miinnerstimmen (German translation of texts by Wil-
helm von Waldbruhl) contains "Quo cunque di Palestrina" ["Wohin du
wallest Jungfrau"] (Latin and German texts both underlaid, pp.118-119).
Vol 3, Sammlung der hesten Meisterwerke des 16. 17. und 18. Jahrhun-
derts für 4 bis 8 Stimmen [gemischter Chor], contains no.3, Nos autem glori-
ari (SATB, Latin text only underlaid, pp.12-14); no.10, O crux ave (SATTB,
tranposed, Latin text only underlaid, pp.34-35)].
Vol 5, ed. A.H. Neidhardt, Sammlung religidser Gesdnge dlterer und
neuester Zeit zum bestimmten Gebrauch für den Kdniglichen Berliner Dom-
chor, contains no.1, Kyrie eleison (SATB, pp.3 4); no.2, Sanctus ["Heilig"]
-

(SATTBB, pp.5-9); no.3, Agnus Dei ["0 Lamm Gottes"] (SATTBB,

pp.10-14) [nos.1-3 are movements from the Missa Papae Marcelli, with
Latin and German text underlay]; no.4, "Wie der Hirsch schreit" [Sicut
cervus] (SATB, German text only underlaid); no.5, Improperia ["Imprope-
rien," marked "Der zweite Chor wird nur schwach, ein feder Stimme von
Modern Editions of Palestrina's Music II 199

2.-3. besten Scingern besetzt"] (pp.18-19); no.6, "Lasst uns mit Jesu ziehn"
[designated "unterlegt unter den ersten Theil des Gesanges: Nos autem glo-
riari" (SATB, pp.20-21); no.7, Hymnus O crux ave ["O Jesu Christ dein
theures Blut," text by the poet Oleander] (SATTB).
Vol 6, ed. A. H. Neidhardt, J. Seyler, and C.J.A.H. Hoffmann, Sammlung
religidser Gescinge cilterer und neuester Zeit zum bestimmten Gebrauch für
den Kdniglichen Berliner Domchor, contains no.2a, De lamentatione
(SSAT, with note "from 1587," pp.6-9); 2b, "Jerusalem" (SATB, with note
"from 1587," pp.10-11); no.4, Kyrie eleison (SATB, Latin underlay,
pp.16-17); no.5, Benedictus qui venit (SAT, Latin underlay, p.18); no.6,
Agnus Dei (SATB, Latin underlay, pp.19-20); no.7, Agnus Dei (SAATB,
Latin underlay, pp.21-22).
Vol 12, ed. A. H. Neidhardt, Sammlung religidser Gescinge cilterer und
neuester Zeit zum bestimmten Gebrauch für den Kdniglichen Berliner Dom-
chor für Mdnnestimmen, contains no.1, Adoramus te Christe (TTBB,
pp.3-4); no.2, Crucifixus (TTBB, pp.5-8); no.3, Christus factus est (TTBB,
p.9); no.4, Pueri Hebraeorum (TTBB, pp.10-12); no.5, Lamentation I
(TTBB, pp.13-17), no.6, Lamentation II (TTBB, pp.18-27). Latin underlay
in each selection.
Vol 14, ed. R. von Hertzberg, Sammlung religidser Gesiinge titterer und
neuester Zeit zum. bestimmten Gebrauch für den Kdniglichen Berliner Dom-
chor contains no.2, Responsorium "Velum templi scissum est" (SATB,
pp.7-8; Latin underlay with interlinear German translation).
Vol 15, ed. Albe rt E. A. Becker, Sammlung religidser Gesiinge ülterer
Zeit zum bestimmten Gebrauch für den Kdniglichen Berliner Domchor,
contains no.1, Quia vidisti me, Thoma (SATB, pp.3-6); no.2, Heu mihi
Domine (SATB, pp.7-10; secunda pars Anima mea turbata est, SATB,
pp.11-14); no.3, Ad te levavi oculos meos (SATB, pp.15-19; secunda pars
Miserere nostri, SATB, pp.20-23); no.4, Super flumina Babylonis (SATB,
pp.24-27); no.5, 0 sacrum convivium (SATTB, pp.28-33); no.6, Haec
dies quam fecit Dominus (SSATTB, pp.34-38); no.7, Laudate Dominum
omnes gentes (SATB SATB, pp.39-47); no.8, Agnus Dei a 7 (SSATTBB,
with the second soprano and second tenor pa rt s as resolved voices and the
first bass pa rt presenting the canon, pp.48-52). Latin underlay in all selec-
tions.

D0029 Crotch, William, ed. Specimens of Various Styles of Music Referred to in a

Course of Lectures Read at Oxford and London and Adapted to Keyed
Instruments by William Crotch. London: Robt. Birchall, ca. 1806-1808.
MT6.5.C951.S7.
Vol 2 (pub. 1808) contains a Deposuit potentes adapted as "We have
heard with our ears."

D0030 Cusma' Piccione, Cono. Giovanni Pierluigi da Palestrina: Ilquarto libro di

Messe a quattro e cinque voci. Edizione critica. Laureate thesis, Università
degli Studi di Pavia, Scuola di Paleografia e Filologia Musicale, 1988-1989.
424pp.
Transc ri ption, critical apparatus and commentary on the masses of Book
200 Giovanni Pierluigi da Palestrina
IV (1582). Includes Missa Prima a 4; Missa Secunda a 4; Missa Tertia a 4;
Missa Quarta a 4; Missa Prima a 5; Missa Secunda a 5; MissaTertia a 5.

D0031 Dakers, Lionel, ed. The New Oxford Church Anthem Book. Oxford an d New
York: Oxford University Press, 1992.
Contains preface. Latin underlay; note values halved, with some editorial
indications for dynamics expression an d liturgical uses.
Contains no.4, Adoramus te, Christe a 4 (pp.14-17); no.77, Salvator
mundi a 4 (pp.404-412).

D0032 David, Hans Theodore, ed. The Art of Polyphonic Song. Compositions of the
16th and 17th Centuries for Two to Eight Parts. New York: G. Schirmer,
1940.
Includes an introduction (pp.6-37) containing discussions of polyphony,
rhythm, melody, harmony, and dynamics as applied to this music. The intro-
duction itself contains examples from various authors, including one of the
disputed Esercizi sopra la scala (dated 1581, SSSA, keyboard accompani-
ment, pp.22-23). There are also notes on the motet Alma Redemptoris Mater
(pp.32-33), as well as the complete music for this work, extensively edited
(arr. SSSA, Latin and English texts both underlaid, pp.72-75, secunda pars
Tu quae genuisti, pp.75-79).

D0033 David, Hans Theodore, ed. Madrigals for Four Mixed Voices, by G.P. da
Palestrina with Contemporary English Translations. New York: Music
Press, 1945.
Notes indicate that music is reprinted from vol 28 of the Haberl/Bre-
itkopf & Hdrtel edition; English texts have been taken from the contempo-
rary Musica transalpin (1589). Contains madrigals a 4, Sweet Love when
hope was flowring [Amor, quando floriva] and Joy so delights my heart
[Gioia m'abond'al cor]. Editing.

D0034 Davison, Archibald, an d Willi Apel, eds. Historical Anthology of Music. Vol-
ume I: Oriental, Medieval and Renaissance Music. revised edition. Cam-
bridge, MA: Harv ard University Press, 1949.
Historical anthology popular in mid-twentieth century, with works
arranged on sho rt scores. Notes for each work provided at the back of the
volume: Palestrina selections are annotated p.232.
Contains no.140, Missa Papae Marcelli, Agnus Dei I (six voices
arranged on three staves, pp.152-153); no.141, Sicut cervus (motet a 4 with
secunda pars, Sitivit anima mea, four voices arranged on two staves,
pp.153-154); no.142, Alla riva del Tebro (madri gal, four voices arranged on
two staves, p.155).

Dehn, Siegfri ed. Lehre von Contrapunkt, dem Canon und der Fugue. Nebst
Analysen von Duetten, Terzetten, Fugen, etc. von Orlando di Lasso, Mar-
cello, Palestrina u.a. Neu bearbeitet von Bernhard Scholz. Berlin: W. Weber,
1882. 192pp. MT55.D31.1882. [Original edition 1859].
See item E0481 for main bibliographical entry. Contains a series of
Modern Editions of Palestrina's Music II 201

examples meant to be studied in conjunction with the text: pp.54 55, "II.
-

Terzett von Gio. Pier Luigi, genannt Palestrina," with commentary on writ-
ing in the strict a cappella style, relates to example no.2, "Terzetto di Palest-
rina" [a Benedictus] (pp.147 149); pp.131 132, "Achtstimmiger Satz," deal-
- -

ing with writing for double choirs, refers to example no.12, Sub tuum
praesidium a 8 (pp.183-190), which is labelled as "a cori battenti."

D0035 Dixon, Graham, ed. Masterworks from Rome. Faber Motet Series. London:
Faber & Faber, 1994.
Introduction by Dixon in English with German translation.
Contains motet Jesus iunxit se (pp.15-19). SATB with basso seguente
organ part. Note values halved; transposed down a minor third.

D0036 Dixon, Jon, ed. Alma Redemptoris. Dies sanctificatus. Carshalton Beeches,
Surrey: JOED Music, ca. 1994. 8pp. M2092.P25A46 1994.
SATB da cappella. Latin text, with English tr an slati ons printed in cap-
tions. Transposed into modern clefs at a pitch suitable for SATB choirs.
Edited from the Alfie ri edition. Prefatory note indicates that the setting of
Alma redemptoris mater "was not published in [Palestrina's] lifetime and it
was first printed in the mid 19th century from a manuscript then in the pos-
session of the Collegio Romano."

D0037 Dixon, Jon, ed. Ave Regina. Alma Redemptoris. Salve Regina. Carshalton
Beeches, Surrey: JOED Music, 1994. 21pp. M2084.P35D5 1994.
SSSA da cappella. Latin text, with English tr an slation printed in cap-
tions. Transposed into modern clefs at a pitch suitable for women's voices.
Edited from the editions published in Venice by Gardane in 1596 an d 1604.
Prefatory note.

D0038 Dixon, Jon, ed. Nunc dimittis. Ecce nunc benedicite. Stabat Mater. Carshal-
ton Beeches, Surrey: JOED Music, 1995. 28pp. M2082.P34D5 1995.
SATB SATB SATB da cappella. Latin text, with English translations
printed in captions; transposed into modern clefs at a pitch suitable for
SATB choirs. Edited from the Haber] edition. Prefatory note.

D0039 Dixon, Jon, ed. Osculetur me. Quae est ista. Carshalton Beeches, Surrey:
JOED Music, 1995. 12pp.
Prefatory note to works edited from the edition published in Venice in
1613. SATTB an d SSATB da cappella; La ti n text, with English translations
printed in cap ti ons; "transposed into modern clefs at a pitch suitable for
SATB choirs."

D0040 Dixon, Jon, ed. Surge propera. Veni dilecti me [mi]. Carshalton Beeches,
Surrey: JOED Music, 1994. 12pp. M2092.P25M66 1994.
Prefatory note, indicating that works were edited from the Venice 1613
edition. SATTB da cappella. Latin text, with English tr an slation printed in
captions. Transposed into modern clefs at a pitch suitable for SATB choirs.
Edited from the Venice, 1613 edition.
202 Giovanni Pierluigi da Palestrina
D0041 Druffel, Peter, ed. Sechs ausgewühlte Madrigale von Pierluigi da Palestrina.
Zum praktischen Gebrauch fur Freunde eines stylvollen mehrstimmigen
Chorgesanges a capella [sic]. Leipzig: Breitkopf und Hürtel, 1887.
Part.B.902; Ch.B.303.
Preface in German, with extensive introduction an d analysis of selec-
tions; also contains a guide to pronunciation of Italian. German and Italian
text both underlaid. Extensively edited.
Contains "O Mutter volt Erbarmen" [Donna, vostra mercede] (SATB,
pp.19-23); "Was soil ich nun auf Erden" [Che debbo far, che mi consigli]
(SATB, pp.24-27); "O welch ein Glanz" [O che splendor] (SATB,
pp.28-32); "Buick' ich umher, O Frau" [Ogni beltà, madonna] (SATB,
pp.33-38); "Wie kannst du nur vergleichen" [Non son le vostre mani]
(SAATB, pp.39-45); "0 süsser Tod!" [Soave fia il morir] (SAATB,
pp.46-52).

D0042 Engel, Lehman, ed. Renaissance to Baroque. Three Centuries of Choral

Music. vol. 2: Italian Music. Delaware Water Gap, PA: Harold Flammer,
1940.
Contains motet Congratulamini mihi a 4 (SATB; piano pa rt for rehearsal
only, pp.49-57), editing. Preface (p.2) and English tran slation of Latin text
(p.3); introductory remarks at head of work (p.49).

D0043 Erig, Richard, ed. an d Veronika Gutmann, coll. Italienische Diminutionen:

Die zwischen 1553 und 1638 mehrmals bearbeiteten Siitze [Italian diminu-
tions: the pieces with more than one diminution from 1553 to 1638]. Prattica
Musicale 1. Zürich: Amadeus, 1979.
Includes Palestrina works with more than one contemporaneous diminu-
tion, compiled in a comparative score format. The o ri ginal work is printed
out in score on the upper part of the page, and the va ri ants are laid on staves
beneath the o ri ginal, one under the other.
Includes no.14, Io son ferito ahi lasso, with diminutions by Bassano,
Bovicelli (2 versions, including Bovicelli's contrafactum Ave verum cor-
pus), Rognoni (2 versions), and Bassani (pp.252-268); no.22, Vestiva i colli,
together with its seconda parte, Cosi le chiome mie, with diminutions by
dalla Casa, Bassano, Rognoni (2 versions), Terzi, Ba rt olomeo de Selma (2
versions), and Virgiliano (pp.347-376 and 377-388); no.23, Pulchra es
arnica mea, with diminutions by Bassano (2 versions) an d Rognoni (2 ver-
sions) (pp.389-399).

D0044 Fellerer, Karl Gustav, ed. Drei Motetten. Heidelberg: Süddeutscher

Musikverlag, Willy Müller, n.d. SM936.
Contains motets Ave Maria; Benedicta sit sancta Trinitatis; Pulchra es
arnica mea. SATB, a cappella.

D0045 Fellerer, Karl Gustav, ed. Pre-Classic Polyphony. Anthology of Music 28.
Köln: Arno Volk, 1965.
Historical in troduction, pp.5-14, in English tr an slation by Robe rt Kol-
ben.
Modern Editions of Palestrina's Music II 203

Contains no.8, Praestet hoc nati genitor a 5 (hymn strophe from En grat-
ulemur hodie, pp.33-34). Note values halved; Mensurstrich.

D0046 Fellerer, Karl Gustav, ed. Ricercari sopra li tuoni, a quattro. Vierstimmige
Ricercare in den acht Kirchentonarten für ein Tasteninstrument oder
beliebige Einzelinstrument. Antigua, eine Sammlung alter Musik. Mainz: B.
Schotts Sohn; New York: Associated Music Publishers, 1933.27pp.
For four unspecified instruments SATB in open score, together with an
"intavolatura," here a keyboard reduction.
Contains no.1, Ricercar del primo tuono (pp.3-5); no.2, Ricercar del sec-
ondo tuono (pp.6-8); no.3, Ricercar del tertio tuono (pp.9-11); no.4, Ricer-
car del quarto tuono (pp.12-14); no.5, Ricercar del quinto tuono
(pp.15-17); no.6, Ricercar del sesto tuono (pp.18-20); no.7, Ricercar del
settimo tuono (pp.21-24); no.8, Ricercar del ottavo tuono (pp.25-27).

D0047 Guilmant, Alexandre, ed. Concert historique d'orgue. Morceaux d'Autuers

célèbres de diferentes écoles du XVIe au XIXe siècle. Historical organ con-
cert. Pieces by celebrated composers of different schools from the XVIth to
the XIXth centuries. Mainz: B. Schotts SShne/London: Schott & Co. Ltd,
n.d.
Contains a Ricercare.

D0048 Haas, Robert . Auff ihrungspraxis der Musik. Handbuch der Musikwis-
senschaft. Wildpark-Potsdam: Akademische Verlagsgesellschaft Athenaion,
1931.
Modern edition of diminutions of Palestrina works published by Gio-
vanni Bassano in 1591: motet Benedicta sit sancta Trinitas a 4 (2 versions,
both p.115); mad ri gal Vestiva i colli a 5 with seconda parte, Cosi le chiome
mie (p.117).

D0049 Haberl, Franx Xaver, ed. Ad finem Laudum Tridui Sacri. Canticum `Bene -
dictus" quatuor et quinque vocum auctore J. Petraloysis Praenestino,
Antiph. "Christus foetus est" quatuor et quinque voc. Auctore Joanne
Franc. Anerio, quae ex codicibus originalibus redegit E. X. Haberl. Regens-
burg: F ried ri ch Pustet, 1886.
Contains motet Benedictus Dominus Deus Israel a 4 et 5.

D0050 Hamburger, Povl, ed. Four Motets. Egtved [Denmark]: Musikhojskolens

Forlag, n.d.
No.2 in Orbis chori series. Preface and commentary in German.
Contains a cappella motets Ad te levavi oculos meos [secunda pars Mis-
erere nostri Domine] (SATB); Ave regina coelorum [secunda pars Gaude
virgo gloriosa] (SSSA); Isti sunt (SATB); Quae est ista (SSATB).

D0051 Harman, Alec, ed. Ten Four-Part Motets for the Church's Year. London:
Oxford University Press, 1964.
Preface by Alec Harman; Latin texts with English tr an slations, both
underlaid; optional keyboard accompaniment.
204 Giovanni Pierluigi da Palestrina
Contains Ave Maria (Advent, pp.1-9); Dies sanctificatus (Ch ri stmas,
pp.10 18); Tribus miraculis (Epiphany, pp.19 31); Ad te levavi oculos meos
- -

(pars p ri ma only, Lent, pp.31 40); Nos autem gloriari oportet (Passiontide,
-

pp.41 51); Haec dies quam fecit Dominus (Easter, pp.52 60); 0 Rex gloriae
- -

(Ascension, pp.61-71); Loquebantur variis linguis (Pentecost/Whitsun,

pp.72-83); Benedicta sit sancta Trinitas (Trinity, pp.84-95); Salvator mundi
(All Saints, pp.84-95).

D0052 Hawke, H. William, ed. Italian Keyboard Music. Indianapolis: Ernest White
Editions, 1970.6 vols.
Vol 3 contains Ricercar on the fifth tone (pp.45-47); Ricercar on the sixth
tone (pp.48-50), both arranged for two manuals and pedal. Collections pref-
aced by historical notes and notes on the performance of each work.

D0053 Hennefeld, Norman, ed. The Liturgical Music Press, Inc. Masterpieces of
Organ Music. Selected Compositions of the Old Masters. New York: Liturgi-
cal Music Press, Inc., 1944 .
—

Folio 22 contains Ricercar on the second tone; Ricercar on the fourth

tone; Ricercar on the fifth tone; Ricercar on the sixth tone (16pp).
Folio 55 contains Ricercar on the seventh tone; Ricercar on the eighth
tone.

D0054 Hohn, Wilhelm. Notenbeispiele zu Der Kontrapunkt. Palestrina und seinen

Zeitgenossen. Regensburg: F ri ed ri ch Pustet, 1918. MT55.H75
Examples intended to complement Bellermann's counterpoint text.

D0055 Hübsch, Hanns, ed. Laudate Dominum. Heidelberg: Süddeutscher

Musikverlag Willy Müller, 1949 et seq.
This series was designed to provide suitable musical materials for vari-
ous seasons of the liturgical year. Items issued separately. Latin text, score
format. Heft 1 [SM1507] contains hymn Creator aime siderum (SATB to
SATT to SATTB); Heft 2 [SM1516, pub.1953] contains motet Hodie Chris-
tus natus est (SSAT); Gloria tibi Domine (SSATTB); Hunc coelum (SATB);
Heft 3 [SM 1509, pub.1960] contains motet Ad Dominum cum tribularer
(SATB); Manus tuae Domine (SATTB); Paucitas dierum meum (SATTB);
Heft 4 [SM1517] contains Cui comparabo te (SATB); Heft 5 [SM1511,
pub.1949] contains Haec dies (SSATTB); Exsultate Deo (SATTB); Surrexit
pastor bonus (SATB).

D0056 Hiischen, Hans, ed. The Motet. Anthology of Music 47. General ed. Karl
Gustav Fellerer. Köln: Arno Volk, 1975.
Historical in troduction to the motet genre, pp.5-23.
Contains motet Rex pacificus a 6 (pp.55-57). Note values halved; Men-
surstrich.
D0057 Imrie, Martyn, ed. Hodie Christus Natus Est! An Anthology of Motets for
Advent and Christmas. London: Vanderbeck & Imrie, 1986.
Preface containing biographical material and desc ription of the motet
selection (p.2). English translation at head of music; Latin text underlay.
Modern Editions of Palestrina's Music II 205

Note values halved; transposed down 1 tone.

Contains Canite tuba in Sion [secunda pars Rorate coeli desuper]
(pp. 9-17).

D0058 Imrie, Martyn, ed. Mapa Mundi. Renaissance Performing Scores. Mapa
Mundi, 1981.
Series E, Italian Church Music, contains no.9E, Ascendo ad Patrem: For
5 Voices [pub. 1981; motet SATTB, Latin text]; no.10, Missa Ascendo ad
Patrem for 5 Voices [pub.1981; mass SATTB, Latin text]. Issued separately.

D0059 Jancsovics, Antal, ed. Canticum canticorum: 29 motetta. Musicotheca clas-

sica 5. Budapest: Editio Musica, 1976.
Contains the 29 motets of Book IV (1584) in one volume. Each motet
was also issued separately, in series numbered 312-42000-312-42028,
listed in brackets following the incipit below.
Contains Osculetur me [312-42000] (SATTB, pp.9-11); Trahe me post
te [312-42001] (SATTB, pp.11-15); Nigra sum, sed formosa [312-42002]
(SATTB, pp.15-19); Vineam meam [312-42003] (SATTB, pp.19-22); Si
ignoras te [312 42004] (SATTB, pp.23 27); Pulchrae sunt genuae tuae
- -

[312-42005] (SATTB, pp.27-31); Fasciculus myrrhae [312-42006]

(SATTB, pp.31-34); Ecce tu pulcher es [312-42007] (SATTB, pp.34-37);
Tota pulchra es [312 42008] (SATTB, pp.38 41); Vulnerasti cor meum
- -

[312-42009] (SATTB, pp. 41-45); Sicut lilium inter spinas [312-42010]

(SATTB, pp.45-49); Introduxit me Rex [312-42011] (SATTB, pp.49-52);
Laeva ejus [312-42012] (SATTB, pp.53-56); Vox dilecti mei [312-42013]
(SATTB, pp.56-60); Surge propera arnica mea [312-42014] (SATTB,
pp.60-63); Surge, arnica mea [312-42015] (SATTB, pp.64-67); Dilectus
meus mihi [312-42016] (SATTB, pp.68-71); Surgam et circuibo
[312-42017] (SATTB, pp.71-74); Adjuro vos, filiae [312-42018] (SATTB,
pp.75-79); Caput ejus [312-42019] (AATTB, pp.79-83); Dilectus meus
descendit [312 42020] (AATTB, pp.83 87); Pulchra es amica mea
- -

[312-42021] (AATTB, pp.87-90); Quae est ista [312-42022] (AATTB,

pp.90-94); Descendi in hortum meum [312-42023] (AATTB, pp.94-98);
Quam pulchr sunt [312 42024] (SSATB, pp.98 102); Duo ubera tua
- -

[312-42025] (SSATB, pp.102-106); Quam pulchra es et quam decora

[312-42026] (SAATB, pp.107-111); Guttur tuum sicut [312-42027]
(SAATB, pp.111-115); Veni veni dilecte mi [312-42028] (SATTB,
pp.115-119).

D0060 Jeppesen, Knud, ed. Italia Sacra Musica. Musiche corali italiane
sconosciute della prima meta del cinquecento. Copenhagen: Wilhelm
Hansen, 1962.3 vols.
Vol 3, Unknown Italian Cathedral Music of the Early 16th Century, con-
tains remarks on the publication, a list of manuscript and print sources, and
notes on the various composers represented in the volume. Includes Palest-
rina: hymn Quicumque Christum quaeritis (pp.163-168, SATB, alternatim
[even-numbered strophes in polyphony] with plainchant verses also
printed); hymn Salvete flos martyrum (pp. 169-171, SATB, alternatim
206 Giovanni Pierluigi da Palestrina

[even] with plainchant verses also printed); Lamentationes (pp.172 191, -

SATB to SATTB: Feria V. In coena Domini, Lectio I, pp.172 177; Feria VI.
-

In Parasceve, Lectio I, pp.178 184; Lectio II pp.185 191). Mensurstrich.

- -

D0061 Die junge Kantorei. Stuttgart: Hanssler, 19—.

This series is divided into a number of subseries containing works by
Palestrina, including: vol 5 (the first of a subseries of three volumes [5, 9,
10]), ed. Diethard Hellmann, Introiten und Motetten zum Kirchenjahr; vol
33 (the first of a subseries of two volumes [33, 38]), Introiten und Psalmen;
vol 39, Chorgestinge zum gottesdienstlichen Gebrauch; vol 57, 100 Jahre
Verband Evangelischer Kirchenchdre in Wurttemberg.

D0062 Klein, Maynard, ed. Eleven Motets for Treble Voices. Chicago: G.I.A. Publi-
cations, 1978.
A collection of motet and mass excerpts for three and four voices, geared
to younger performers. Provides Latin text with English tr anslation. Bears
edition number 2143; items also issued individually, but also under the same
edition number, 2143. Contains Adoramus te Jesu Christe (SSAA); Con-
fitemini Domino (SSAA); Jesu rex admirabilis (SSA); Missa Lauda Sion
(Benedictus only, SSA); Missa Sacerdotes Domini (Pleni sunt coeli only,
SSA); Sicut cervus (SATB).

D0063 K6nigliche Akademie der Kunste. Berlin. Musikalische Section. Auswahl

vorzüglicher Musik -Werke in gebundener Schreibart von Meister alter und
neuer Zeit ... zur Befdrderung des hdhern Studiums der Musik. No.1 48. -

1-16 Lief. Berlin: T. Trautwein, 1835-1841.

No.28 contains motet Tu es Petrus a 6.

D0064 Kbthe, Bernard, ed. Musica Sacra. Sammlung von Hymnen und Motetten fur
Münnerstimmen. Leipzig: F.E.C. Leuckart, n.d.

D0065 Kraus, Eberhard, ed. Cantantibus organis. Sammlung von Orgelstücken

alter Meister. Regensburg: Friedrich Pustet, 1958.
Contains editions of intabulations for organ of Palest rina motets made by
Jacob Paix (1556-1623), from Paix's Ein schdn Nutz und Gebrduchlich
-

Orgel Tabular (RISM 1583 22).

Vol 1, Die Orgel im Kirchenjahr: Advent/Weihnachten (1958), contains
Palestrina/Paix: no.10, Hodie Christus natus est (pp.25-28); no.15, Lapida-
bant Stephanum (pp.45-49); no.20, Senex puerum (pp.58-61).
Vol 6, Orgelmusik an europliischen Kathedralen Il: St. Peter in Rom
(1961), contains Palestrina/Paix: no.9, Cantantibus organis (pp.18 24).
-

Kuhn, Max. Die Verzierungs Kunst in der Gesangs Musik des 16. 17.
- - -

Jahrhunderts (1535 1650). Beihefte der Internationalen Musikgesellschaft

-

7. Leipzig: Breitkopf und Hrtel, 1902. KL1403.K96.

See item E0278 for main bibliographical entry. On pp.100-109 is printed
Bassano's diminutions on Palestrina's Benedicta sit sancta Trinitas in a
composite score drawn from pp.1 et seq. and p.9 of Bassano's text, with the
Modern Editions of Palestrina's Music II 207

soprano diminution on the top staff and the bass diminution on the lowest
staff. On pp.122-125 Bovicelli's diminutions on Io son ferito [p.38 of his
text] are printed in a system of two staffs, containing the embellished and
unembellished lines respectively.

D0066 La Fage, Adrien de [Juste-Adrien- Lenoir de], ed. Cinq messes tirées du
répetoire de la chapelle sixtine à Rome. Paris: Mme. Ve. Launer, n.d.
[ 1840s]
Introductory notes discussing Palestrina's life and works [see item
E0518]. Contains masses: Papae Marcelli a 6 (pp. 1-52); Per i deffonti [pro
defunctis: Kyrie, Offertorium, Sanctus, Agnus Dei] a 5 (pp.53-76); Canon-
ica a 4 (pp.77-112); 0 regem coeli a 4 (pp.113-156); Aeterna Christi
munera a 4 (pp.157-184).

D0067 La Fage, Adrien de [Juste-Adrien-Lenoir de], ed. Vingt motets tirées du

répetoire de la chapelle sixtine à Rome composés par Jean Pierluigi de
Palestrina. Edition revue et corrigée avec le plus grand soin. Paris: Mme.
Ve. Launer, n.d. [1840s]
Contents all for five voices and derived from motet prints of 1569-1584.
Includes introductory notes [see item E0515] 1. Coenantibus illis accepit
(pp.1-6); 2. Tribulations civitatum (pp.6-10; secunda pars Peccavimus cum
patribus pp.10-14); 3. Salve Regina (pp.14-20); 4. Exultate Deo
(pp.21-26); 5. Pater noster (pp.26-31); 6. Parce mihi Domine (pp.32-36;
secunda pars Peccavi pp.37-40); 7. Beatus Laurentius (pp.41-45); 8. Lapid-
abant Stephanum (pp.46-52); 9. Peccantem me quotidie (pp.53-57); 10.
Caro me a vere est cibus (pp.57-62); 11. Crucem sanctam (pp.62-66); 12.
Canite tuba in Sion (pp.66-71; secunda pars Rorate coeli pp. 71-76); 13.0
beata et benedicta (pp.77-82); 14. Ave Trinitatis (pp.87-92); 15. Exi cito in
plateas (pp.92-97); 16. Paucitas dierum (pp.97-100; secunda pars Manus
tuae Domine pp.101-104); 17. Domine secundum actum (pp.104-109); 18.
Derelinquat impius (pp.109-114); 19.0 sacrum convivium (pp.115-120);
20.0 admirabile commercium (pp.120-124).

D0068 Lerner, Edward R., ed. Study Scores of Musical S ty les. New York: McGraw-
Hill, 1968. M2.L47.S9

D0069 Liliencron, Rochus Freiherr von, ed. Chorordnung frir die Sonn- und Fest-
tage des evangelischen Kirchenjahre, entworfen und erldutert.... Güter-
sloh, 1900. New edition, ed. Hans Joachim Moser. Kassel: Bdrenreiter,
1929.
Freiherr von Liliencron was one of the outstanding scholars of his gener-
ation; among his many achievements was the editing of well over forty vol-
umes of the Denkmciler deutscher Tonkunst. The Chorordnung contains ver-
sions of ten Palestrina works.

D0070 Luck, Stephan, ed. Sammlung ausgezeichneter Compositionen fiir die

Kirche. Trier, 1859; second ed. Leipzig: P. Braun's Verlag, 1884-1885.
The first edition was published in two volumes.
208 Giovanni Pierluigi da Palestrina
Vol 1 contains Missa Papae Marcelli.
Vol 2 contains motets Haec dies; Loquebantur varus lin guis; O salutaris
hostia; O bone Jesu; Tu es Petrus; Veni sponsa Christi; Alma redemptoris
mater; magnificat Magnificat octavi toni.
For the second edition, vols 1-3 were edited by Michael Hermesdorff;
vol 4 was edited by Heinrich Oberhoffer. Preface by Stephan Luck dated
July 1883 in French and German double-column format. In this edition, note
values were halved throughout; Latin texts were underlaid; some dynamics
markings and other editing added.
Vol 1 contains no.5, Missa Aeterna Christi munera a 4 (SATB,
pp.87-112).
Vol 2 contains no.5, Missa Iste Confessor a 4 (SATB, pp.85-108); no.8,
Missa Papae Marcelli a 6 (SATTBB, pp. 149-199, transposed down 1 tone).
Vol 3 contains no.3, Dies sanctificatus a 4 (SATB, pp.9-15); no.23, Haec
dies a 6 (SSATTB, pp.82-86); no.26, Loquebantur varus linguis a 4 (SATB,
pp.95-100); no.31, Exultate Deo a 5 (SAATB, pp.113-119): no.42, O salu-
taris hostia a 4 (SATB, pp.156-158).
Vol 4 contains no.3, O bone Jesu a 4 (SATB, pp.4-5); no.20, Tu es Petrus
a 6 (SSA11B, pp.61-67); no.29, Veni sponsa Christi a 4 (SATB,
pp.106-109); no.37, Magnificat octavi toni a 8 (SATB SATB, two choirs
arranged on one 4-stave system, pp.134-148), no.39, Alma Redemptoris
Mater a 4 (SATB, pp.155-158).

00071 Manoscritti musicali rani. Rome: Studio Internationale, 1949.

Series contains no.!, Gianfranco Maselli and Virgilio Mortari, ed. Omnis
pulchritudo Domino, a 8 voci in 2 con, da un manoscritto autografo inedito.
Rome: De Santis, 1950.
SSAT ATTB, unaccompanied. Latin text. Edition based on a manuscript
in the Biblioteca del Conservatorio Santa Cecilia, Rome (I-Bsc Ris.B. I. I.),
of which a page (cantus of chorus I) is reproduced in fascimile. Scored by
Maselli; prefatory notes by Mortari.
Contains motet Omnis pulchritudo Domine a 8.

D0072 Marchai, André, ed. 8 [Huit] ricercari [4 vocum] dans le 8 tons. Orgue et
liturgie 3. Paris: Éditions musicales de la Schola Cantorum et de la Procure
generale de musique, 1951.24pp.
Arranged for organ. Contains prefatory notes and remarks by Marchai on
registration; a preface by Joseph Samson; suggestions for execution by
Joseph Bonnet.
Contains Ricercare 1 del primo tono (pp.8-9); Ricercare II del secondo
tono (pp.10-11); Ricercare Ili del tertio tono (pp.12-13); Ricercare IV del
quarto tono (pp.14-15); Ricercare V del quinto tono (pp.16-17); Ricercare
VI del Sesto tono (pp.181-19); Ricercare VII del settimo tono (pp.20-22);
Ricercare VIII del ottavo tono (pp.22-24).

00073 Margittay, Sandor, ed. Anthologia Organi. Orgelmusik aus acht Jahrhun-
derten. Mainz: B. Schott's S&hneBudapest: Editio Musica, 1976.
Vol 3, Die Rumische Schule und ihre Nachfolger [ED6758], contains
Modern Editions of Palestrina's Music II 209

Ricercar del settimo tuono (pp.22-25). Preface with notes; musical edition
based on Fellerer's 1933 publication of ri cercari. Edited.

D0074 Merritt, Arthur Tillman. Sixteenth-Century Polyphony. A Basis for the Study
of Counterpoint. Cambridge, MA: Harvard University Press, 1939.
A respected manual for the study of sixteenth-century style, containing
numerous musical examples. Only complete works or sections (rather than
phrases or cadences) are listed here. Contains Missa Aeterna Christi
munera, Kyrie (untexted, p.103); 0 bone Jesu (motet a 4, dubious attribu-
tion, pp.105-107); Anima mea turbata est (motet a 4, pp.108-117); Missa
Gabriel Archangelus, Sanctus (Pleni sunt coeli only, pp.157-160); In diebus
illis (motet a 4, pp.169-183); Dies sanctificatus (motet a 4, pp.186-196).

D0075 Mikel, E., ed. Lauda Sion. Sammlung von hundertfünfzig 2- 3- und 4-stimmi-
gen Gradualien, Offertorien, Hymnen und marianischen Antiphonen für das
ganze Kirchenjahr. Op. 7. Regensburg: Pustet, 1904 (Vorrede 1880).

D0076 Morris, Reginald Owen. Contrapuntal Technique in the Sixteenth Century.

Oxford: Clarendon, 1922.74 + 49pp. ML446. M8.
A twentieth-century counterpoint manual that rejects species counter-
point, clearly admires Palestrina, and takes numerous examples from his
work. There is a large number of two- or three-measure quotations of voice
leading examples, interspersed with complete or half-complete sections of
several works. Editions use o riginal note values, modern clefs. Contains
no.55, part of Missa Aeterna Christi munera [part of Agnus Dei] (p.9);
no.157, Missa Petra sancta [Kyrie I] (p.20); no.168, Missa Veni sponsa
Christi [part of Sanctus] (p.23); no.169, Missa De feria [part of Kyrie II]
(p.23); no.183, Missa Brevis [part of Agnus Dei] (p.29); no.184, Missa Sac-
erdotes Domini [Sanctus] (p.30); no.192, motet Veni sponsa Christi [com-
plete] (pp.32-34); no.193, motet Tu es Petrus [to cadence on ecclesiam
meam] (pp.35-36); no.194, motet O bone Jesu (p.37).

D0077 Die Motette im Wandel des Kirchenjahres. Heidelberg: Süddeutscher

Musikverlag Willy Müller, n.d. [1960s].
A series of works designated for seasons and feasts of the liturgical year,
issued separately. Latin text. Contains [MO221 Loquebantur in variis linguis
(SATB); [M040] Salvator mundi (SATB); [M044] Quam pulchri sunt
(SATB); [M047] Quae est ista (SATB).

D0078 Musica sacra: La settimana santa nella Cappella Sistina. Roma: Typis Ejus-
dem Ephemiridis apud Typographeum R.C.A., 1870.

D0079 Ney, Joseph Napoleon [" le Prince de la Moskowa"], ed. Recueil de musique
ancienne. Recueil des morceaux de musique ancienne, exécutés aux concerts
de la Société de Musique Vocale, Religieuse et Classique, fondée à Paris en
1833... sous la direction de M. Le Prince de la Moskowa. Publié par la
Société. Paris: Pacini, 1842. 11 vols.
Vol 1 contains Missa Papae Marcelli ["Pape Marcel"](pp.1-68); Missa
210 Giovanni Pierluigi da Palestrina

Aeterna Christi munera (pp.69-104); sequence Stabat mater a 8

(pp.105-130); motet Fratres ego enim a 8 (pp.131-142); motet Adoramus te
(pp.144-145); mass movement Pleni sunt coeli a 3 (ATB, pp.146-147);
madri gal Alla riva del Tebro (pp.149-152).
Vol 5 contains madrigals Vaghi pensieri (pp.85-91); Là ver l'aurora
(pp.92-96).
Vol 7 contains Tribularer si nescirem; Agnus Dei; Popule meus; Canite
tuba; Vinea mea electa; Una hora non potuisti; Tantum ergo; Tristis est
anima mea [secunda pars In monte Oliveti]; Esurientes;Corporis misterium;
O bone Jesu; Sicut erat; Dei mater alma; Lauda anima mea; Hodie Christus
natus est; Gloria Patri.
Vol 9 contains Missa Canonica ["Messe Canonique "]; Missa pro defunc-
tis ["Messe de Requiem"].
Vol 10 contains motets no.106, Dies sanctificatus (pp.1-10); no.107,
Sicut cervus (pp.11-16); no.108, Sicut cervus transposed up a minor third
["Même morceau en la bémol"] (pp.17-22); no.109, Laus honor virtus glo-
ria (pp.23-30); no.110, Veni sponsa Christi (pp.31-38).

D0080 Niedermeyer, Louis, ed. La Maîtrise [later La Grande Maîtrise]. Pari s: Edi-
tions Publimuses, 1857-1861.
A composer who became deeply committed to religious music, Nieder-
meyer (1802-1861) sought to found a school which prepared church musi-
cians through a study of ch an t, counterpoint, and study of the works of mas-
ters of the sixteenth through eighteenth centu ri es. This series was founded in
1857 with Joseph d'Ortigue as a jou rn al of religious music with an ulti-
mately didactic intent. Compositions by Palestrina include the following:
Year 1 (pub. 1857), no. 1. Kyrie ... à quatre voix [Missa Aeterna Christi
munera]; no. 4.0 bone Jesu. Motet à quatre voix; no. 5. Gloria ... à quatre
voix [Missa Aeterna Christi munera]; no. 7. Pleni sunt coeli, à trois voix
[Missa O magnum mysterium]; no. 8. Dei mater alma. Motet à quatre voix
[hymn Ave maris Stella]; no. 10. Sicut cervus desiderat ad fontes. Motet It
quatre voix; no. 11. Credo ... à quatre voix [Missa Aeterna Christi munera].
Year 2 (pub. 1858), no. 2. Sanctus et Benedictus ... a quatre voix [Missa
Aeterna Christi munera]; no. 3. Agnus I ... à quatre voix [Missa Aeterna
Christi munera].
Year 3 (pub. 1859), no.13. Quae vox, à quatre voix [hymn Sanctorum
mentis].

D0081 Novack, Saul, ed. Masses and Motets. Giovanni Pierluigi da Palestrina.
Based on Raffaele Casimiri's edition. New York: Dover, 1993.
Economical and attractive paperbound selection of material from the
Kalmus repri nt of the Casimiri edition. Contains (pp.vii—xi) "Publisher's
Note" with some Gregorian incipits and "Texts and Translations" of all Latin
material.
Contains Missa Ave regina coelorum a 4 (pp.1-29); motet Veni sponsa
Christi a 4 (pp.30-32); Missa Veni sponsa Christi a 4 (pp.33-56); motet O
magnum mysterium a 6 [seconda pa rt e: Quem vidistis] (pp.57-65); Missa O
magnum mysterium a 5 (pp.66-104); motet Ascendo ad Patrem a 5 [secunda
pars Ego rogabo Patrem] (pp.105-113); Missa Ascendo ad Patrem a 5
Modern Editions of Palestrina's Music II 211

(pp.114-147); Missa L'homme armé a 5 (pp.148-186); Missa Papae Mar-

celli a 6 (pp.187-221).

D0082 Novello, Vincent, ed. The Fitzwilliam Music, being a collection of sacred
pieces, selected from manuscripts of Italian composers in the Fitzwilliam
Museum, now for the first time published by permission of the University of
Cambridge. London: Pub. for the Editor, 1825.5 vols.
Vol 1, pp.32-34 contains a "Quintetto" Et incarnatus est, with a reduc-
tion of the vocal parts added as organ accompaniment. It is listed as derived
"from an MS Mass in A Minor by Palestrina" in the Fitzwilliam Museum,
Cambridge. Preface pages iii—vii; paragraph about Palestrina on page iv.

D0083 O'Regan, Noel, ed. Giovanni Pierluigi da Palestrina. Three Pieces for
Triple Choir. Ad te levavi. Beall omnes. Salve Regina. SATB/SATB/SATB.
Edinburgh: Edinburgh Music Imprint, 1994.
Preface (pp.1-2) and editorial commentary with English translations of
texts printed before each work. Noted as the first modern edition to use the
recently rediscovered o riginal choir III parts by Palestrina.Contains motets
Ad te levavi (pp.3-10); Beati omnes (pp.11-19); Salve Regina (pp.20-28).

DOOM Palisca, Claude V., ed. Norton Anthology of Western Music. Third ed. New
York: No rton, 1996.2 volumes.
Vol 1, Ancient to Baroque, includes two movements from the Missa
Papae Marcelli [Credo, pp.218-228, and Agnus Dei I, pp.229-231].
Reprinted from the Casimiri edition, vol 4, pp.177-187 and 194-196 respec-
tively. Commentary on the music on pp.232-233; Latin and English texts of
the Credo at the bottom of p.228. The first edition of this anthology (pub-
lished 1980) contains the music of the Credo only (vol 1, pp.200-210), with-
out printed commentary.

D0085 Pellini, Giulio, Siro Cisilino, and Charles van den Borren, eds. Sei missae
dominicales a cinque voce (1592). Celebre raccolte musicali venete del
Cinquecento. Padova: G. Zanibon, 1981.255pp.
Note [as translated from Italian] indicates "also contains the Missa
Dominicalis, unpublished, by Giov. Pierluigi da Palestrina, with whom his
brother Silla and his sons Rodolfo and Angelo collaborated (from the exem-
plar in London, Buckingham Palace, and the manuscript in the Biblioteca
Estense, Modena)."
Contains Missa dominicalis a 5 by Palestrina; a Missa dominicales a 5 by
Palestrina in collaboration with members of his family; plus other Missae
dominicales by Giaches de Wert, Francsco Rovigo, Giangiacomo Gastoldi,
and Alesssandro Striggio.

D0086 Perinello, Carlo, ed. Pier Luigi Sante da Palestrina. Madrigali a 4 e 5 voci,
trascritti in notazione moderna con sottoposto un sunto per pianoforte. [alter-
native title Canzonette e madrigali: per canto e pianoforte]. I Classici della
musica italiana 21. Raccolta nazionale delle musiche italiane 82-84. Gen. ed.
Gabriele d' Annunzio. Milano: Società anonima notari, ca. 1919.3 vols.
Text is both printed before each work and underlaid. The piano accompa-
212 Giovanni Pierluigi da Palestrina
piment is equivalent to a reduction of the various vocal parts. Music is exten-
sively edited.
Vol 82 (all selections SATB), contains Donna, vostre mercede (pp.3-9);
Che debbo far, the mi consigli, Amor? (pp.10-15); Veramente in amore
(pp.16-22); I vaghi fiori e l'amorose fronde (pp.23-30).
Vol 83 contains Mori quasi il mio core (SATB, pp.3-10); La cruda mia
nemica (SATB, pp.l 1-19); O bella Ninfa mia (SATTB, pp.20-27).
Vol 84 contains Placide l'acqu'e placid'era il vento (SATTB, pp.3-11);
Soave fia il morir (SAAB, pp.12-18).

D0087 Phillips, Peter, general ed. Renaissance Masters. Masses. Bury St.
Edmunds: Chester Music, 1990.
General introduction by Peter Phillips; introduction by Ivan Moody; sug-
gestions for perform an ce by Peter Phillips.
Vol 1, ed. Ivan Moody, Missa Dies sanctificatus: SATB. Renaissance
Masters. Motets. London: Novello Publishing, 1995.
Introductory notes by Peter Phillips (dated 1990); introduction by Ivan
Moody (dated 1991); comments on individual works and suggestions for
their performance by Peter Phillips (dated 1991). Includes English transla-
tions printed as text in captions; keyboard reductions for rehearsal.
Vol 2, ed. Ivan Moody, Motets for Four Voices. Bury St. Edmunds: Nov-
ello, 1995.
Contains motets Ave Maria (transposed up 1 tone, pp.8-12); Benedicta
sit sancta Trinitas (transposed down 1 tone, pp.13-19); In diebus illis (trans-
posed up minor third, pp.20-27); Lapidabant Stephanum (transposed down
1 tone, pp.28-33); Loquebantur varus linguis (transposed down 1 tone,
pp.34-40); 0 Rex gloriae (transposed down 1 tone, pp.41-46); Valde hono-
randus est (transposed down 1 tone, pp.47-51).

D0088 Pirrotta, Nino, and Giuliana Gialdroni, eds. I musici di Roma e il madrigale:
Dolci affetti (1582) e Le gioie (1589). L'Arte Armonica/Musica Palatina 1.
Roma: Accademia Nazionale di Santa Cecilia/Libreria Musicale Italiana,
1993. 186pp. ISBN 88-7096-089-7.
An edition of two impo rtan t mad ri gal collections to which the best-
known composers active in Rome in the second half of the sixteenth century,
including Palestrina, contributed. Contains Dunque perfido amante (p.2).

D0089 Powley, Harrison, ed. Il Trionfo di Dori: The 29 Madrigals of the 1592 Col-
lection for Mixed Voices. Renaissance Voices series. New York: Gaudia
Music and A rt s, Inc., 1990.
Contains no.29, Quando dal terzo cielo à 6 (pp.239-246). SSATTB, Ital-
ian and English translation at head of text, transposed down a fourth. With
introductory notes, facsimile reproductions, and an appendix containing edi-
torial guidelines an d a list of sources.

D0090 Proske, Karl, ed. Missa Papae Marcelli triplici concentu distincta, videlicet:
I. Joannis Petri Aloisii Praenestini Missa ... genuin sex votum. II. Missa
eadem ad quatuor voces reducta, auctore Joanne Francisco Anerio. III.
Modern Editions of Palestrina's Music II 213
Eademque Missa duplici choro octo vocibus concinenda, auctore Francisco
Suriano ... juxta editiones principes fidelissime in partitionem redegit .. .
publicavit Carolus Proske. Mainz: B Schott's Sdhne, 1850.
Includes three versions of the mass: Palestrina's o riginal for six voices;
the reworking by Giovanni Francesco Anerio for four voices; the version by
Francesco Soriano for eight voices. Scored with retention of the o riginal
note values; untransposed, without tempo or dynamic markings.

D0091 Proske, Karl, ed. Musica divina. Sive thesaurus concentuum selectissimo-
rum omni cultui divino totius anni juxta ritum Sanctae Ecclesiae Catholicae
inservientium: Ab excellentissimis superioris aevi musicis muneris harmoni-
cis compositorum. Quos e codicibus originalibus tam editis quam ineditis
accuratissime in partitionem redactos. Ad instauranam polyphoniam vere
ecclesiasticam publice offert Carolus Proske. Annus 1-2. Ratisbonae: Frid-
erici Pustet [Regensburg: F ri ed ri ch Pustet], 1853-1876. Year 1 vol 4 and
Year 2 ed. J. Schrems or Franz Xaver Haberl.
Year 1, vol 1, Liber Missarum (1853), contains masses Missa Brevis
(pp.1-30); Missa Iste Confessor (pp.31-54); Missa Dies sanctificatus
(pp.55-90).
Vol 2, Liber Motettorum (1855), contains motets Dies sanctificatus
(pp.29-33); Valde honorandus (pp.59-63); Pueri Hebraeorum
(pp.117-220); Haec dies (pp.134-138); Surrexit pastor (pp.154-158);
Loquebantur varus linguis (pp.179-185); Quam pulchri (pp.271-277); Fuit
homo (pp.313-318); Quae est ista (pp.346-351); Misso Herodes
(pp.359-364); Adoramus te (pp.377-379); Princeps gloriossisime Michael
(pp.382-385); Salvator mundi (pp.394-398); 0 quantus luctus
(pp.414-418); Congratulamini mihi a 4 (pp.423-426); Isti sunt viii
(pp.443-447); Veni sponsa Christi (pp.506-510); Exaudi Domine
(pp.519-523); Sicut cervus (pp.533-539; secunda pars Sitivit anima).
Vol 3, Psalmodiam, Magnificat, Hymnodiam, et Antiphonas B. Mariae
Virg. complectens (1859), contains a Magnificat octavi toni (pp.282-289);
hymns Hostes Herodes (pp.357-363); Vexilla regis (pp.363-373); Veni Cre-
ator spiritus (pp.378-386); motet Alma Redemptoris mater (pp.496-502;
secunda pars Tu quae genuisti).
Vol 4, Liber Vespertinus (1863), contains Lamentationes: In coena
Domini; Parasceve; Sabbato sancto (pp.49-104); falsobordone Miserere
(pp.209); Benedictus Dominus (pp.263-268); Improperia (pp.295-297);
litany Litaniae BMV (pp.362-369).
Year 2, vol 1, Liber Missarum (ed. J. Schrems, 1855-1857), contains
masses Missa Tu es Petrus a 6 (facs.4); Missa Ascendo ad Patrem a 5
(facs.6); Missa Papae Marcelli a 6 (facs.7); Missa Aetema Christi munera a
4 (facs.8).
Vol 2, Liber Motettorum (ed. J. Schrems and F. X. Haberl, 1869-1876),
contains motets Diffusa est gratia (facs.2, pp.20-24); Vidi turbam magnam
(facs.3, pp.60-76).
Vols 3 and 4 contain no music by Palestrina.

D0092 Proske, Karl, ed. Selectus novus missarum praestantissimorum superioris

214 Giovanni Pierluigi da Palestrina
aevi auctorum, juxta codices originales turn manuscriptos turn impressos
editarum a Carob Proske. Ratisbonae [Regensburg]: Pustet, 1853-1861. 2
vols.
Vol 1 (1855-1857) contains masses Veni sponsa Christi a 4 (pp.l-32);
Assumpta est Maria a 6 (pp.85-138).
Vol 2 (1861) contains mass Dum complerentur a 6 (pp.401-456).

D0093 Items D0091 and D0092 reprinted as Musica divina; Annus primus & Annus
secundus. Selectus novus missarum. In tr od. Paul Henry Lang. New York:
Johnson Rep ri nt Corp., 1973. 10 vols in 8.
Rep rint in one collec ti on of the two Proske editions.

D0094 Riemann, Hugo, ed. Musikgeschichte in Beispielen. Leipzig: Verlag von E.

A. Seeman, 1911. M2.R53.

D0095 Rimbault, Edward F., ed. A Collection of Ancient Church Music, Printed for
the Motet Socie ty. London: J.A. Novello, 1847.3 vols ["Divisions"].
Each selection was printed with a keyboard accompaniment for
rehearsal. The underlaid English tr an slations are adaptations of Anglic an
rv ice texts. Some music was evidently edited and adapted to fit English se
words smoothly. At times this apparently meant adding or removing meas-
ures or sections. The o ri ginal Latin texts were not attributed in this edition,
though several works are very familiar and recognizable; for example, nos.8
and 11 of volume 3 are Sicut cervus and Exaltabo te, respectively. In vol 1
("First Division"), indications for liturgical placement/use are provided at
the head of each selection.
First Division, Anthems for Festivals. No.4, "If thou shalt confess" [St.
Andrew] (SATB, pp.14-21); no.5, "Almighty and everliving God" [St.
Thomas] (SATB, pp.21-27); no.6, "0 Jerusalem" [St. Stephen] (SSTB,
pp.28-33); no.7, "These things have I written unto you" [St. John the Evan-
gelist] (SSTB, pp.34-3'7); no.8, "These are they that follow the Lamb"
[Innocents] (SATB, pp.38-40); no.9, "This shall be the Covenant" [Circum-
cision] (SATTB, pp.41-46); no.10, "Break forth into joy" [Epiphany];
no.28, "Behold the Lamb of God" [Easter] (SATTB, pp.160-168); no.29,
"How beautiful upon the mountain" [Ascension] (SATB, pp.169-176);
no.31, "Holy, holy, holy, Lord God Almighty" [Trinity] (SSATB,
pp.180-188).
Second Division, Se rvices. Contains Magnificat (SATB, pp.91-98);
Nunc dimittis (SATB, pp.99-102).
Third Division, Miscellaneous Anthems. Contains no.8, "0 God, thou
art my God" (SATB, pp.26-29; secunda pars "My soul thirsteth for thee"
pp.29-32); no.11, "I will magnify thee, O God" (SSATB, pp.39-44); no.14,
"O Lord my God" (SATB, p.55); no.23, "0 Lord God of our salvation"
("adapted to English words by Dr. Ald rich," SATTB, pp.93-98).

D0096 Robinson, Ray, ed. Choral Music: A Norton Historical Anthology. New
York: Norton, 1978. M1495.C54218.
Contains selections from Missa Papae Marcelli (Sanctus and Benedic-
Modern Editions of Palestrina's Music II 215

tus) (pp.63-70) drawn from Ewerhart edition. Provides English translation

of text at end.

D0097 Roche, Jerome, ed. The Flower of the Italian Madrigal for Mixed Voices.
Volume II: Monte Willaert. Renaissance Voices series. New York: Galaxy
-

Music, 1988.
Assisted by Elizabeth Roche. Translations into English by Mary
Ambrose.
Contains madrigals Il tempo vola a 5 (SAATB, pp.70-76; seconda parte
Ivi vedrai la gloria pp.76 - 83); Soave fia il morir (SAATB, pp.84 - 89;
SAATB; transposed up minor third). Italian and English texts at head of
music.

D0098 Roche, Jerome, ed. Introduction to the Italian Madriagl for Four Voices.
Renaissance Voices series. New York: Galaxy Music, 1990.
Contains Alla riva del Tebro (pp.115-118). Italian and English texts
(translations by Barbara Reynolds) at head of music. SATB, transposed
down 1 tone. Note: "Newly revised an d edited from the former Penguin
Book of Madrigals for Mixed Voices."

Rochlitz, Friedri ch, ed. Sammlung vorziiglicher Gesangstiicke der

anerkannt-grassten Geschichte der Tonkunst.... Mainz, Pari s und Antwer-
pen: B. Schotts Sbhnen, 1835.3 vols.
For main entry describing this early history of music in text and exam-
ples, see item E0540.
Includes the following music by Palestrina: no.A: Adoramus te a 4
(SATB, p.1, Latin underlay only); no.B, Gloria (SATB SATB arranged on
one 4-stave system, p. 2, Latin underlay); no.C, Pleni cunt coeli a 3 (ATB,
p.3, Latin underlay); no.D, motet O bone Jesu a 4 (SATB, p 4, Latin under-
lay); no.E, Improperia (SATB SATB, pp.5-7, Latin underlay, some tempo
markings given); no.F, mad rigal Credo gentil a 5 (SATTB, pp.8-9, Italian
underlay); no.G, psalm motet Lauda, anima mea (SAATB, pp.10-12, Latin
underlay).

D0099 Rbseling, Kaspar, ed. Musica Spiritualis. Eine Auswahl altklassischer kirch-
licher a cappella Gesange und Messen, in Verbindung mit Dr. F. Haberl, H.
Hiibsch, Prof. Th. B. Rehmann, Prof. Dr. Th. Schrems, Prof. H. Schroeder.
Regensburg: Franz Feuchtinger, 1950.
Series IA, Masses: no.2, Missa Aeterna Christi munera (ed. Hanns Hüb-
sch, pub. 1952, SATTB).
Series IB, Motets: no.5, Sicut cervus [secunda pars Sitivit anima mea]
(ed. Hanns Hübsch, pub. 1950, SATB).

D0100 Rose, Bernard, ed. A Sixteenth Century Anthem Book. London: Oxford Uni-
-

versity Press, 1960.

Contains selections from Missa Quarta [1582] (Benedictus a 3-4,
pp.23-26; Sanctus "Holy, Holy, Holy" a 4 pp.44-47). Note values halved;
transposed up 1 tone.
216 Giovanni Pierluigi da Palestrina

DO101 Rutter, John, ed. Choral Classics. Oxford: Oxford University Press, 1999.
Contains pp.63-69, Hodie Christus flatus est (SSAB + ATTB), based on
the print in the Motettorum liber tertius, Venice 1575.

D0102 Saint-Réquier, Leon, ed. Collection "Palestrina": édition populaire des

oeuvres religieuses des grands maîtres de XVIme, XVIIme et XVIIIme siè-
cles. Transcription avec clefs usuelles et indications d' interprétation... .
Pari s: Hérelle, ca. 1913.4 vols.
Note values halved; extensive editing.
Vol 1 contains no.1, O bone Jesu a 4 (SATB, pp.1-2); no.8, Salvator
mundi a 4 (SATB, pp.23-28); no.9, Missa Iste Confessor a 4 [Kyrie, Gloria,
Sanctus, Benedictus, Agnus Dei I only] (SATB, pp.29-44); no.10, Verbum
caro a 4 (SATB, pp.45-46); no.12, Salve Regina à 4 voix égales (pp.49-55);
no.14, Sub tuum praesidium à 4 voix égales (pp.58-61); no.18, Confitemini
Domino à 4 voix égales (pp.73-75); no.20, Lauda Sion a 4 (SATB,
pp.78-81).
Vol 2 contains no.22, Tantum ergo a 4 (SATB, pp.6-8); no.25, Tantum
ergo a 5 (SATTB, pp.15-18); no.33, Christe lux vera a 4 voix égales
(pp.43-45).
Vol 3 contains no.46, Missa Aeterna Christi a 4 [lacking Credo] (SATB,
pp.5-24); no.50, motet Jesu rex admirabilis a 3 (SAT, p.32); no.51, O
Redemptor a 4 [doubtful att ri bution] (SATB, p.33); no.57, Isti sunt viri
sancti a 4 (SATB, pp.47-51); no.68, Valde honorandus est a 4 (SATB,
pp.77-81).
Vol 4 is a rep ri nt of the selections in the preceding volumes which were
designated for equal voices: no.12, Salve Regina; no.14, Sub tuum praesid-
ium; no.18, Confitemini Domino; no.33, Christe lux vera.

D0103 Schauerte, Gustav, ed. Hymnar. New York: Schw an n, n.d.

A collection that may be derived from an earlier publication, with its
respective selections also issued separately. All selections are TTBB for
men's voices. Contains [1455I1I] Alma redemptoris; Pueri Hebraeorum; O
bone Jesu; [1455XIII] Nunc dimittis.

D0104 Schering, Arnold, ed. Geschichte der Musik in Beispielen. Dreihunder tfiin-
fzig Tonsiitze aus neun Jahrhunderten. Leipzig: Breitkopf und Hirtel, 1931;
repr. New York: Broude Brothers, 1951; repr. Wiesbaden: Breitkopf & Har-
tel, 1959. M2.S34.
Contains no.121, "Benedictus, dreistimmig, aus der Missa `Lauda Sion'
(Venedig 1582)" [Missa Lauda Sion (Benedictus only, 3 vv on 2 staves)]
(p.120); no.122, "Aus der Hohe-Lied Motetten (Rom 1584)" [Adjuro vos,
filiae Jerusalem, 5vv on 3 staves] (pp.121-123).

D0105 Schinelli, Achille and Giovanni Vianini, eds. Collana di composizione poli -
foniche vocali sacre e profane, a due, tre, quattro e cinque voci dei secoli XV,
XVI e XVII. Per gli Istituti Magistrali, scuole secondarie, Società Corali,
Conservatori di Musica. Milan: Edizioni Curci, 1958-1986.5 vols.
Commentary in Italian, English, German. These selections were intended
Modern Editions of Palestrina's Music II 217

to provide students with an in troduction to historical styles and their per-

formance. The music is printed a cappella; Schinelli's selections are exten-
sively edited, while Vianini's suggest relatively more discreet inte rv ention.
(Vol.5 contains no music by Palestrina.)
Vol 1, Canzone sacre,Versetti, Inni, Mottetti e brani diversi a 2, 3, 4 e 5
voci, contains no.2a, Pars mea a 3 voci pari (SSAM p.23); no.2b, Recordata
a 3 voci pari (from Lamentations for Holy Saturday, SSA, pp.24-25); no.3a,
Et misericordia a 3 voci pari (from Magnificat primi toni, SAA, p.26);
no.3b, Deposuit potentes a 3 voci pari (from Magnificat octavi toni, SAA,
p.27); no.3c, Esurientes a 3 voci pari (from Magnificat septimi toni, SSA,
p.28); no.4, Jesu rex admirabilis a 3 (SABar, p.29, Latin underlaid, second
verse printed below music); no.9, 0 bone Jesu a 4 (SATB, p.36); no.15,
Super flumina Babylonis a 4 (SATB, pp.50-53); no.16, Sicut cervus a 4
(SATB, pp.54-56); no.17, Nigra sum a 5 (SATTB, pp.57-60). From a selec-
tion of Madrigali spirituali in the same volume, no.4, Vergine chiara a 5
(SATTB, pp.72-78).
Vol 2, 64 Composizioni profane (ed. Schinelli, with preface in Italian,
English, an d German by G. C. Paribeni; printed a cappella, extensively
edited), contains canzonette from the Ghirlanda publication of 1587: no.27,
Da cosi dotta man à 3 (SAT, p.60, verse 1 Italian text underlaid, with texts of
verses 2 and 3 at bottom of score); no.28, Ahi, the quest'occhi miei à 3 (SAT,
p.61, verse 1 Italian text underlaid, with texts of verses 2-4 at bottom of
score); no.34, Pose un gran foco nel mio petto amore à 4 (SATB, p.67, verse
1 Italian text underlaid, text of verse 2 at bottom of score); no.35, Vedrassi
prima à 4 (SATB, pp.68-69, verse 1 Italian texts underlaid, with texts of
verses 2-4 at bottom of score).
Vol 3, 50 Composizioni profane (Madrigali) (ed. Schinelli), contains
no.19, Già fu chi m'ebbe cara (SATB, pp.54-56); no.20, Chiare, fresche e
dolci acque (SATB, pp.57-59); no.21, I vaghi flor e l'amorose fronde à 4
(SATB, pp.60-63); no.22, Alla riva del Tebro à 4 (SATB, pp.64-66); no.23,
La cruda mia nemica à 4 (SATB, pp.67-69); no.31, Vestiva i colli (in due
parte) à 5 (SATTB, pp.102-110, from Il Desiderio [1560]); no.32, Le selve
avea d'intorno (in due parte) à 5 (SATTB, pp.111-117, from Quarto libro
delle Muse [1574]); no.33, Placide l'acque, e placid'era il vento à 5
(SATTB, pp.118-121, from Mus. XIII illustri [15761).
Vol 4, 23 Mottetti sacri a quattro voci misti (ed. Giovanni Vianini), con-
tains Ave maris stella (SATB, pp.16-17, two voices have Latin text under-
lay); Alma redemptoris mater (SATB, pp.24-26); Bone Pastor [labelled "dal
`Lauda Sion' Cantico dei Cantici"] (SATB, pp.27-29); Christus factus est
(SATB, pp.38-39); Dies sanctificatus ((SATB, pp.42-46); 0 Domine Jesu
Christe (SATB, pp.72-73).

D0106 Schmidt-Gbrg, Joseph, ed. History of the Mass. Anthology of Music 30.
General ed. Karl Gustav Fellerer. Köln: Amo Volk Verlag, 1968.
Historical introduction to the mass genre, pp.5-16; English translation by
Robert Kolben.
Contains Missa Assumpta est Ma ria a 6 [Kyrie only] (pp.67-70). Note
values halved; Mensurstrich.
218 Giovanni Pierluigi da Palestrina

D0107 Schoberlein, Ludwig, and F ri edrich Riegel, ed. Schatz des liturgischen
Chor- und Gemeindegesangs nebst dem Altarweisen in der deutschen evan-
gelischen Kirchen aus den Quellen vornehmlich des 16. und 17. Jahrhun-
derts geschdpft mit den ndthigen geschichtlichen und praktischen
Erliiuterungen versehen und unter der msikalischen Redaktion von
Friedrich Riegel fur den Gebrauch in Stadt- und Landkirchen.... Gottingen:
Vanderhoeck und Ruprecht, 1865-1872.2 vols.
This formidable work is a compilation of service music for the Lutheran
liturgical year, for Sunday communion services (ordinary and proper mate-
rial), vespers, feast days, and special occasions. The repertory is drawn pri-
marily from sixteenth- and seventeenth-century Lutheran composers but
also contains a significant number of examples by Palestrina, Anerio, and
other members of the Rom an school. Three volumes were projected, but
only two eventually appeared. All the material by Palestrina below contains
a German text underlay, with identification of the source and Latin incipit.
Vol 1 contains no.274, "0 guter Jesu, ach erbarm dich unser" [O bone
Jesu a 4], partitura, (p.438); no.275, "0 Jesu Ch ri st, dein theures Blut" [Ad
coenam Agni providi], partitura (pp.438Ø1).
Vol 2 contains no.32, "Hosanna" [not identified, SSAT] (pp.42-43); [no
number] "Allgemeine Ton für die Passions-Antiphonen [after the Imprope-
ria for Good Friday by Palestrina, 4 voices on 2 staves] (p.397); no.260,
"Gott, der Herr, der Gott Israel, sei gelobt" [for Maundy Thursday, 4 voices
on 2 staves] (p.397); no.298, "0 Kreuz, du einz'ger Hoffnung Zier" [O crux
spes unica, from Vexilla regis prodeunt, SATB] (pp.497 498); no.309,
-

"Improperia: Was hab ich dir gethan, O mein Volk? [Popule meus, for Good
Friday, SATB on 2 staves] (pp.518-519); no.314, "Preis und Ehr, Herr Jesu"
[Adoramus te, Christe, SATB on 2 staves] (p.527); no.323, "Wie der Hirsch
schreit" [Sicut cervus, SATB on 2 staves] (pp.466-469); no.620, "Ky ri e"
[complete, not identified in source, SATB on 2 staves] (pp.928-930);
no.647, "Am blberg in Gethsemane" [In monte oliveti, SATB on 2 staves]
(pp.1007-1009); no.648, "Tief betrtibt bis zum Tode" [Tristis est anima
mea, SATB on 2 staves] (pp.1009-1011); no.649, "Siehe, als wir ihn sahen"
[Ecce vidimus eum, SATB on 2 staves] (pp.1011-1014); no.650, "Einer
unter euch wird heute mich verrathen" [Unus ex discipulus, SATB on 2
staves] (pp.1014-1015); no.651, "Alle Altesten des Volkes haben sich ver
sammelt[Seniores populi consilium, STAB on 2 staves] (pp.1015-1016);-sam elt"
no.652, `Alle meine Freunde haben verlassen mich" [Omnes amici mei,
SATB on 2 staves] (pp.1017-1018); no.653, "Ausgeliefert bin ich" [Tra-
diderunt me in manus impiorum, SATB on 2 staves] (pp.1018-1020);
no.654, "Ich bin ausgeschüttert wie Wasser" [Sicut aqua effusus sum, SATB
on 2 staves] (pp.1020-1021); no.655, "Dunkel geworden sind meine Augen"
[Caligaverunt oculi mei, SATB to SSAA, on 2 staves] (pp.1022-1023);
no.656, "Finsternis ward über das Land" [Tenebrae factae sunt]
(pp.1024-1025); no.657, "Da ward er gestraft und gemartert" [Sicut ovis ad
occisum] (pp.1025-1027); no.658, "Auf doch, Jerusalem" [Jerusalem surge,
SATB to SSAA] (pp.1027-1029); no.659, "Siehe, wie dahin" [Ecce quo-
modo moritur, SATB] (pp.1029-1031); no.660, "Konige stehen auf in
Lande" [Adstiterunt reges terrae] (pp.1031-1032); no.661, "Joseph von Ari-
mathea hat Pilatum" [Rogavit autem Pilatum] (pp.1032-1034).
Modern Editions of Palestrina's Music II 219
D0108 A Selection from the works of Palestrina, in vocal score, with an accompani-
ment for the organ or pianoforte. London: Novello an d Co., ca.1865.
SATB with added keyboard accompaniment: Missa Papae Marcelli
(pp.115-140).

D0109 Soderlund, Gustave Fredric, and Samuel H. Scott, eds. Examples of Grego-
rian Chant and Sacred Music of the 16th Century. New York: Prentice-Hall,
1971.
This is a companion volume to Soderlund's Direct Approach to Counter-
point in Sixteenth-Century S ty le (New York: Appleton-Century-Crofts,
1947, with several reprintings). Uses modern clefs and o ri ginal note values.
Includes discussion of sources, commentary and tr an slations of texts
pp.294-303.
For examples of three-voice counterpoint: Magnificat primi toni: Et mis
-ericordia a 3 (pp.57-58);Magnificat tertii toni: Et misericordia a 3
(pp.59-60); Magnificat quinti toni: Et misericordia a 3 (pp.61-62); Magnifi-
cat sexli toni: Et misericordia a 3 (pp.63-64); Magnificat secundi toni:
Deposuit potentes a 3 (pp.67-68); Magnificat quarti toni: Deposuit potentes
a 3 (pp.69-70); Magnificat octavi toni: Deposuit potentes a 3 (pp.71-72);
Missa lam Christus antra ascenderat, C re do ("Crucifixus" to "non erit finis"
a 3, pp.77-79); Missa Spem in alium, Credo ("Crucifixus" to "non erit fi nis"
a 3, pp.80-86); Missa Repleatur os meum laude, Credo ("Crucifixus" to
"non erit finis" a 3, pp.87-90); Missa Inviolata, Credo ("Crucifixus" to "ad
dexteram Patris" a 3, pp.91-93); Missa de beata Virgine, Sanctus ("Pleni
sunt coeli" a 3, pp.102-103); Missa Ad fugam, Sanctus ("Pleni sunt coeli" a
3, pp.104-105); Missa Aspice Domine, Sanctus ("Pleni sunt coeli" a 3,
pp.106-108); Missa Brevis, Benedictus (to " ... in nomine Domini" a 3,
pp.111-113).
For examples of four-voice counterpoint: Missa De feria, Kyri e a 4 (com-
plete, pp.124-128); Missa Dies sanctificatus, Kyrie a 4 (complete,
pp.129-131); Missa Gabriel Archangelus, Hosanna (pp.132-133); Missa
Sine nomine, S an ctus a 4 (pp.134-136); Dies sanctificatus (motet a 4, com-
plete, pp.137-140); Oculos in altum tollite (hymn for the feast of the Trans-
figuration a 4, pp.141-145); Magnificat quinti toni (a 4, complete,
pp.146-156); Missa Sanctorum meritis, Agnus Dei I and II a 4
(pp.157-161).
For examples of five- and six-voice counterpoint, and for complete works
(including sections intended to complete the presentation of works already
introduced): Missa Petra sancta, Kyrie a 5 (complete, pp.162-167); Missa
Vestiva i colli, Ky rie a 5 (complete, pp.168-172; Glo ri a complete,
pp.173-181); Alleluia! Tulerunt Dominum (motet a 5, pp.182-189); Tu
nobis dons fontem a 3 an d Gloria Deo (last two strophes of hymn Ad preces
nostras for Quadragesima Sunday, pp.190-192); Laudate Dominum (offer-
tory a 5, pp.193-197); Improperium exspectavit (offertory a 5, pp.197-202;
also facsimile reproduction of original vocal pa rt s for this work
pp.211-213); Exaltabo te (offertory a 5, pp.202-206); Litaniae de Beata Vir-
a 5 (pp.207-210);
gine Missa Ad fugam, Ky ri e a 4 (pp.214-215, together
with Hos an na a 4, pp.215-216, Benedictus a 3, p.217, an d Agnus Dei I a 5,
pp.218-219); Missa L'homme armé a 5 (complete, all movements,
220 Giovanni Pierluigi da Palestrina
pp.220-249); Missa Ut re mi fa sol la a 6 (complete, all movements,
pp.250-278); Missa Repleatur os meum laude (Kyrie, pp.279-283; Sanctus-
Benedictus, pp.284-289; Agnus Dei I pp.289-291; Agnus Dei II
pp.291-293).

D0110 Somma, Bonaventura, ed. Polifonia vocale sacra e profanasec. XV I. Roma:

de Santis, c.1942-[1947]. M2.P65.
Vol 3 contains Missa Papae Marcelli: sex vocum (edition no. 609, SAT-
TBB, 36 pp; cor pts 609A-B); [M2011.P157.P2+ S6].
Vol 6 (pub. ca. 1947) contains Missa brevis quattuor vocum (1570) (edi-
tion no. 703, SATB, 34pp; cor pts 704-705).

D0111 Stewart, Robert. An Introduction to Sixteenth - Century Counterpoint and

Palestrina's Musical Style. New York: Ardsley House Publishers, 1994.
The author/compiler's goal was "to provide a representative cross-sec-
tion of Palestrina's ecclesiastical compositions for study and analysis."
Contains Lamentation: Feria VI in parasceve, Lectio II, Filii Sion (p.93);
Missa Tertia Jesu nostra redemptio [Benedictus] (p.94); Missa Veni sponsa
Christi [Pleni sunt coeli] (p.99); Missa Quarta L'homme armé[ Benedictus]
(p.102); Missa O Rex gloriae [Benedictus] (p.104); Missa Ave Maria [Pleni
sunt coeli] (p.106); Magnificat IV toni [Fecit potentiam] (p.109); hymn
Virgo singularis (p.112); hymn Lavacra puri (p.115); Missa Secunda [
Benedictus] (p.117); Missa Ave Regina coelorum [Crucifixus] (p.120);
motet Exaudi Domine (p.124); Magnificat V toni [Et exsultavit] (p.129);
motet Surrexit pastor bonus (p.132); motet Anima mea turbata est (p.139);
Magnificat II toni [Sicut erat] (p.144); Hymn Castae parentis (p.146); offer-
tory Deus enim firmavit (p.149); Missa L'homme armé [Kyrie excerpt]
(p.155); Lamentation: Feria VI in parasceve, Lectio III [Aleph, Ego vir,
Aleph (p.158); Me minavit (p.162); Aleph (p.163); Tantum in me vertit
(p.164); Beth (p.165); Vetustam fectit (p.166); Jerusalem (p.167)]; Missa Ad
fugam [Kyrie (p.170); Sanctus (p.171, no Pleni); Hosanna (p.172); Benedic-
tus (p.174); Agnus Dei II (p.176)];Litaniae liber secundus: Prima pars
[condensed: Kyrie eleison (p.180); Ave Maria (p.184)].

D0112 Wennerstrom, Mary. Anthology of Musical Structure and S ty le. Englewood

Cliffs, NJ: Prentice-Hall, 1983.
These examples are reprinted from the Casimiri edition.
Contains motet Veni sponsa Christi (pp.51 54); mass Missa Veni sponsa
-

Christi [Kyrie complete (pp.54-57)].

D0113 Witt, Franz Xaver, ed. Musica sacra. Musikbeilage 1. Regensburg: Friedrich
Pustet, 1868.
Contains arrangements of vocal music as "Praeludien für die Orgel"
[preludes for the organ].
Includes Missa Brevis [Kyrie II only]; Missa Iste Confessor [Sanctus
only].

D0114 Wolff, Hellmuth Christian, ed. Original Vocal Improvisation from the
Modern Editions of Palestrina's Music II 221

16th-18th Centuries. Anthology of Music 41. Cologne: Arno Volk, 1972.

Pages 67-83 contain diminutions for Io son ferito and Ave verum corpus
by Bovicelli.
The four unembellished parts have the suggested scoring for perform-
ance of viola 1, viola 2, violoncello 1, violoncello 2.

II. Individually Issued Items

A number of items listed below are associated with broader-ranging series, although
issued as individual items. When possible, the publisher's reference number is supplied
following the publication date, and before the number of pages.

D0115 [No editor listed] Adoramus te. New York: Schwann, n.d. H13. 1p. TTBB,
men's voices.

D0116 [No editor listed] Amors Pfeil. (Nessun visse giammai più di me lieto.) Das
Singwerk series. Frankfurt: C. F. Peters, ca. 1958. l 1pp.
SATB, madrigal from Book I for four voices; German and Italian texts.

D0117 [No editor listed] Come, Thou Holy Spirit, Come. Church Music Society
Reprints no.24. London: S.P.C.K., 1928; London: Oxford University Press,
1934.
Arrangement of hymn [Hab.V11.25] as anthem.

D0118 [No editor listed] Death Is but Sleep. O Gentle Death. New York: Carl Fis-
cher, 1938.
SAATB a cappella, version of mad rigal Soave fia il morir with English
text by A. Mattulath.

D0119— [No editor listed] Missa Aeterna Christi munera. Amsterdam: Uitgave
D0120 Annie Bank, ca. 1966. JP 6, 15pp; JP 7, 12pp.
JP 6, for TTBB, transposed down a fourth from the o riginal. The Credo
[JP 7] was published separately from the rest of the mass.

D0121 [No editor listed] Missa Ascendo ad Patrem. Church Music of the XVIth and
XVIIth Centu ries for unaccompanied voices no.6110. New York: J. Fischer
& Bro., n.d. [early 20th century].
SATTB, extensively edited.

D0122 [No editor listed] Missa Brevis. Church Music of the XVIth and XVIIth
Centuries for unaccompanied voices no.5040. New York: J. Fischer & Bro.,
n.d. [early 20th century].
SATB, extensively edited.

D0123 [No editor listed] Missa celeberrima vulgo dicta Papae Marcelli 6 vocibus
concinenda.... Editio nova secundum editionum Romanum anni 1567
unacum praevia vita auctoris et historia hujusce missae.... Augsburg:
Anton Bohm, c.1840.
222 Giovanni Pierluigi da Palestrina
D0124 [No editor listed] Missa In festis apostolorum II quinque vocum cum populo
activa. Regensburg: Friedrich Pustet, 1961. 34pp. M2011.P25.I5.

D0125 [No editor listed] Missa Iste confessor. SATB a cappella. Palestrina. New
York: Edward B. Marks Music Corp., 1949. 46pp.
SATB, Latin text.

D0126 [No editor listed] Missa Papa Marcelli, a seis voces. Madrid, Union Musical
Espanola, 1961. 61 pp. M2011.P25.P37.
Reduction for keyboard for rehearsal. Latin text.

D0127 [No editor listed] Missa Papae Marcelli. [Credo]. Church Music of the
XVIth and XVIIth Centu ries for unaccompanied voices no. 6221. New York:
J. Fischer & Bro., n.d. [early 20th century].
SATTBB.

D0128 [No editor listed] Missa Regina coeli für gemischten Chor a cappella. Graz:
Styria Steirische Verlaganstalt, 1949. 28pp. M2011.P25.R4.

D0129 [No editor listed] Motet for the Festival of Our Lord's Nativity. Edinburgh:
Paterson & Sons, 1897.

00130 [No editor listed] Quando dal terzo cielo. Laaber: Laaber Verlag, n.d.
AV 103-03.6pp.
SSAB, for mixed voices. Italian text.

D0131 [No editor listed] Sicut cervus. Egtved: Edition Egtved, n.d. KB065.
SATB, motet a cappella.

D0132 [No editor listed] Sitivit anima mea. Egtved: Edition Egtved, n.d. KB207.
Secunda pars of Sicut cervus. SATB, a cappella.

D0133 [No editor listed] Sicut cervus. Williamstown, MA: Broude Brothers, n.d.
MGC VII-3.
Contains also secunda pars, Sitivit anima mea. Latin text with English
translation.

D0134 [No editor listed] Laudate Dominum in tympanis [a 12]. Polyphonic festival
motets by XVIth century masters. New York: J. Fischer & Bro., ca. 1942.
SATB SATB SATB, with piano reduction.

D0135 Atkins, I., ed. O bone Jesu, exaudi me. O blessed Jesus, hear Thou my
prayer. Novello's Octavo Anthems no.1141. London: Novello, 1926.
SATB SATB, Latin motet, edited with English text by I. Atkins.

D0136 Bank, J.A., ed. Adoramus te. Amsterdam: Annie Bank B.V., 1950. A004.
2pp.
SSAA, women's voices, or SSAT, mixed voices, ranked as of `medium
difficulty' in performance. Latin text.
Modern Editions of Palestrina's Music II 223

Bank, J.A., ed. Canticum canticorum. Amsterdam: Annie Bank, n.d. [ca.
1950].
Each of the 29 motets of Book IV, Canticum cauticorum, was issued sep-
arately, as series HI—H29; da cappella with underlaid Latin text.

D0137 Hl: Osculetur me (SATTB).

D0138 H2: Trahe me post te (SATTB).
D0139 14 3: Nigra sum, sed formosa (SATTB).
D0140 H4: Vineam meam (SATTB).
D0141 H5: Si ignoras te (SATTB).
D0142 H6: Pulchrae sunt genuae tuae (SATTB).
D0143 H7: Fasciculus myrrhae (SATTB).
D0144 H8: Ecce tu pulcher es (SATTB).
D0145 11 9: Tota pulchra es (SATTB).
D0146 11 10: Vulnerasti cor meum (SATTB).
D0147 H11: Sicut lilium inter spinas (SATTB).
D0148 H12: Introduxit me Rex (SATTB).
D0149 H13: Laeva ejus (SATTB).
D0150 H14: Vox dilecti mei (SATTB).
D0151 H15: Surge propera arnica mea (SATTB).
D0152 H16: Surge, arn ica mea (SATTB).
D0153 H17: Dilectus meus mihi (SATTB).
D0154 H18: Surgam et circuibo (SATTB).
D0155 H19: Adjuro vos, filiae (STTBB).
D0156 11 20: Caput ejus (STTBB).
D0157 H21: Dilectus meus descendit (SATBB).
D0158 H22: Pulchra es arn ica mea (STTBB).
D0159 H23: Quae est ista (SATTB).
D0160 H24: Descendi in hortum meum (SATBB).
D0161 H25: Quam pulchri sunt (SSATB).
D0162 H26: Duo ubera tua ( SATTB).
D0163 H27: Quam pulchra es et quam decora (SAATB).
D0164 H28: Guttur tuum sicut (SAATB).
D0165 H29: Veni veni dilecte mi (SATTB).

D0166 Bank, J.A., ed. Confitemini Domino. Amsterdam: Annie Bank B.V., 1950. 4pp.
SSSA, for women's voices Latin text, from Psalm 117.

D0167 B an k, J.A., ed. Dies sanctificatus. Amsterdam: Annie Bank B.V., 1950.
K015. 2pp.
SATB, mixed voices, Latin text.

D0168 Bank, J.A., ed. Missa Brevis. Amsterdam: Annie Bank B.V., 1951. JP14.
20pp.
SATB, mixed voices. Latin text.

D0169 B an k, J.A., ed. Missa Sine nomine (Mantuana). Amsterdam: Annie Bank,
B.V., n.d. [ca.1950]. JP9. 23pp.
TTBB, men's voices. Latin text.
224 Giovanni Pierluigi da Palestrina
D0170 Bank, J.A., ed. O admirabile commercium. Amsterdam: Annie Bank B.V.,
1950. K047. 2pp.
SATTB, mixed voices. Latin text.

D0171 Bank, J.A., ed. Popule meus. Amsterdam: Annie Bank B.V., n.d. [ca.1950].
GW90. 2pp.
TTBB, men's voices. Latin text.

D0172 Bank, J.A., ed. Surrexit pastor bonus. Amsterdam: Annie B an k B.V., n.d.
P27. 2pp.
TTBB, men's voices. Latin text.

D0173 Bank, J.A., ed. Tantum ergo. Amsterdam: Annie Bank B.V., 1950. A015.
4pp.
TTBBB, men's voices. Latin text.

D0174 Barclay Squire, William, ed. Stabat Mater. Motet for Double Chorus (Unac-
companied) Composed by G. Pierluigi da Palestrina. Novello's ori ginal
octave edition. London: Novello & Company, Ltd., 1898.
SATB SATB, piano accompaniment for rehearsal only, Latin text under-
laid. Prefatory notes by William Barclay Squire.

D0175 Barclay Squire, William, ed. Miserere mei Deus. Have Mercy upon Me, O
God. Penitential Psalm for Two Choirs, Nine Voices. Unaccompanied. Nov-
ello's Collection of Anthems 811. London: Novello, 1905 [O riginal edition
ca. 1876].
Barclay Squire's adaptation using the words of the English Book of Com-
mon Prayer.

D0176 Barnes, R., ed. O magnum mysterium. London: Cathedral Music, 1978. 6pp.
M2092.P25.O2.1978.
SSAATB, a cappella. Facsimile reproduction of transcriber's manu-
script.

Bduerle, Hermann, ed. Pierluigi da Palestrina. Leipzig: Breitkopf und Har-

tel, 1904.8 vols.
These items were issued separately, in small groups an d in volumes. For
comprehensive listing of contents, see item D0009.

D0177 Bennett, G. J., By the Waters of Babylon. [Super flumina Babylonis]. Nov-
ello's Octavo Anthems no.1074. London: Novello, 1920.

D0178 Benson, L., ed. I vaghi fiori. When Flow'ry Meadows. Madrigal. Oriana
series no.44. London: Novello, 1905.

D0179 Benson, L., ed. Quando del terzo cielo. When from the Realm Supernal. Ori-
ana series no.42. London: Novello, 1905.
Edition of madrigal from Il trionfo di Dori [Venice, 1592], English trans-
lation of text by W. G. Rothery.
Modern Editions of Palestrina's Music II 225
D0180 Benson, L., ed. Se di pianti e di stridi. If in Lovers' Lamenting. Oriana series
no.51. London: Novello, 1905.
Edition of madrigal from Il quatro libro delle muse [Venice, 1574], Eng-
lish text by A. C. Curtis.

D0181 Bevan, Gwilym, ed. Children of the Hebrews. Waterloo, ON: Waterloo
Music Co. Ltd., n.d.
SATB, arrangement of Pueri Hebraeorum, graded as "medium easy."

D0182 Boepple, Paul, ed. Assumpta est Maria. Motet for Six Mixed Voices, or Three
Women's Voices with Strings or Three Men's Voices with Strings. Dessoff
Choir Series 1. New York: Music Press, 1941. 18pp. M1495.D43. no.1.
Latin text underlay, also printed as text with English translation preced-
ing score.

D0183 Boepple, Paul, ed. Magnificat in the Fourth Mode. For Women's Voices a
cappella SSAA. Palestrina. Dessoff Choir Series 12. New York: Music Press,
1941. 16pp. M1495.D43. no.12.
SSAA, Latin text underlay, also printed as text with English translation
preceding score.

Bordes, Charles, ed. Anthologie des maîtres religieux primitifs des quinz-
ième, seizième et dix -septième siècles. Paris: Durand et Fils, 1893. 6 vols.
Reprint New York: Da Capo, 1981.
These items were issued both in a series of six volumes, and separately,
as a series entitled Anthologie des maîtres religieux ancients pour chant et
orgue, ser. 1. Répetoire des chanteurs de Saint- Gervais. Edition populaire.
Paris: Bureau d'Edition de la Schola Cantorum, ca. 1893-1912.
Each motet was published with a vocal reduction for keyboard (organ),
and was extensively edited. See item D0014 for a comprehensive listing of
contents.

00184 Braune, O., ed. Missa Assumpta estMaria in coelum fur sechs Singstimmen.
Leipzig: Breitkopf und Hrtel, ca.1865.
Score with piano arrangement.

D0185 de Brant, Cyr [pseudonym for Vincent Higginson], ed. Missa Aeterna
Christi munera. Giovanni Pierluigi da Palestrina. Church Music of the
XVIth and XVIIth Centu ries for Unaccompanied Voices no.8127. New
York: J. Fischer & Bro., 1945. 1 plate, 38pp. M2011.P25.A3.
SATB and SATB with piano reduction. Reproduced from manuscript
copy.

D0186 Bridge, Sir Frank, ed. This Is the Day. Motets by Palestrina and His School
4. London: Bosworth and Company, 1907.
SATB arrangement of motet Haec dies, with texts translated from the
Latin to English and adapted by the Rev. H.C. Daniell-Bainbridge. Music
has English underlay only, with organ part for practice only.
226 Giovanni Pierluigi da Palestrina
D0187 B ri dge, Sir Frank, ed. With Other Tongues Spake the Apostles. Motets by
Palestrina and His School 7. London: Bosworth and Company, 1907.
SATB, arr an gement of motet Loquebantur in varus linguis, with texts
translated from the Latin to English and adapted by the Rev. H.C. Daniell-
Bainbridge. Music has English underlay only, with organ part for practice
only; note values halved, 3 flats in signature.

D0188 B ri dge, Sir Fran k, ed. Thou Art Peter. Motets by Palestrina and His School 8.
London: Bosworth and Company, 1907.
SSATTB, arrangement of Tu es Petrus [pri ma pars only], with texts trans-
lated from the Latin to English and adapted by the Rev. H.C. Daniell-Bain-
bridge. Music has English underlay only; SATB, with organ pa rt for practice
only; note values halved; 2 flats in signature.

D0189 Budd, G.W., ed. False Love, Now Shoot, and Spare Not. Madrigals for Four
Voices ... scored from the original Part Books, published by N. Yonge in
1588, by G.W. Budd. London: Calkin & Budd, ca. 1843; reissued London:
Addison, Hollier & Lucas, 1859.
Edition of the mad ri gal Amor ben puoi as it was published with an Eng-
lish text as no.4 in Musica Transalpina of 1588.

D0190 Budd, G.W., ed. Love So Doth Fill My Heart. Madrigal for Four Voices .. .
scored from the original Part Books, published by N. Yonge in 1588, by G.W.
Budd. London: Calkin & Budd, ca. 1843; reissued London: Addison, Hollier
& Lucas, 1859.
Edition of the madrigal Gioia m'abond'al cor as it was published with an
English text as no.3 inMusica Transalpina in 1588.
D0191 Button, H.E., ed. Exaltabo te, Domine. Novello's Octavo Anthems no.1135.
London: Novello, 1924.
Edition based on manuscript London, B ri tish Library Add.31398.

D0192 Buxton, Ralph W., ed. O bone Jesu. New York: NDC Editions Inc./C.F.
Peters, 1999. N10.6pp.
SSATTB, mixed voices, ranked as of `medium difficulty' in perform an ce.
Latin text.

D0193 Buxton, Ralph W., ed. Peccantem me quotidie. New York: NDC Editions
Inc./C.F. Peters, 1999. N11. 7pp.
SATTB, mixed voices. Latin text.

D0194 Caillard, Mari e-France, ed. Adoramus te. Fontenay [Fran ce]: Philippe Cail-
lard, 1993. PC298. 2pp.
SATB, mixed voices. Latin text.

D0195 Caillard, Philippe, ed. O Domine Jesu Christe. Fontenay [France]: Philippe
Caillard, 1994. PCO289. 2pp.
SATB, mixed voices. Latin text.
Modern Editions of Palestrina's Music II 227
D0196 Caillard, Philippe, ed. Pars mea/Bonus est Dominus. Fontenay [France]:
Philippe Caillard, 1995. X0069. 4pp.
SAB, mixed voices. Latin text.

D0197 Caillard, Philippe, ed. Salve Regina. "Répertoire de l'Ensemble Vocal

Philippe Caillard" Fontenay [France]: Philippe Caillard, n.d. R42. 8pp.
SATB + SATB, mixed voices. Latin text.

D0198 Caillard, Philippe, ed. Surge, illuminare Jerusalem. "Répertoire de l'Ensem-

ble Vocal Philippe Caillard." Fontenay [France]: Philippe Caillard, n.d. R41;
PC0441. 8pp.
SATB + SATB, mixed voices. Latin text.

D0199 Cain, Noble, ed. Dies sanctificatus. New York: Boosey & Hawkes, 1948.
9pp.
SATB.

D0200 Cain, Noble, ed. Loquebantur varus linguis. New York: Harold Flammer,
1945. 12pp.
SATB arrangement a cappella.

D0201 Cain, Noble, ed. Salvator mundi. New York: Boosey & Hawkes, 1948. lOpp.

D0202 Cain, Noble, ed. Surrexit pastor bonus. New York: Boosey & Hawkes, 1955.
8pp.
SATB, a cappella. Latin text, with English text adapted by Noble Cain.

D0203 Cecil, Leonard, ed. Giovanni Palestrina 1525-1594. Deh! Fuss 'or qui
madonna. Cologne: Haas-Verlag, 1995. HM 294-9.
Transcription by Cecil of this madrigal for an ensemble of four brass
instruments.

D0204 Clough-Leighter, H., ed. Alla riva del Tebro. On the Banks of the Tebro.
Boston: Boston Music. 1911.
SATB, with English text by N. H. Dole.

D0205 Clough-Leighter, H., ed. Ogni beltà, madonna. All Other Beauty, Lady.
Boston: Boston Music. 1911.
SATB, with English text by N.H. Dole.

D0206 Coates, Henry, ed. Ah, Look upon These Eyes. Canzonet for Female Voices.
Novello's Octave Edition of T rios, etc., for Female Voices no.575. London:
Novello, 1939.
Adaptation of Ahi, the quest'occhi for three female voices, with music
and English text by Hen ry Coates.

D0207 Coates, Henry, ed. Joy in My Heart Doth Dwell. The Oriana no.109. Lon-
don: Novello, 1938.
228 Giovanni Pierluigi da Palestrina

Edition of madrigal Gioia m'abond'al cor, with musical edition and Eng-
lish text by Coates.

D0208 Coates, Hen ry , ed. My Heart with Grief Did Fill. [The Musical Times
no.1164.] London: Novello, 1940.
SATB, madri gal Mori quasi il mio core [Book 1I], with musical edition
and English text by Coates.

D0209 Coates, Hen ry, ed. O Radiant Glory. Oriana series no.108. London: Novello,
1938.
SATB, madrigal O the splendor [Book II], with musical edition and Eng-
lish text by Coates.

D0210 Coates, Hen ry , ed. Tell Me, What Master Hand. Canzonet for Female Voices.
Novello's Octave Edition of Trios, etc., for Female Voices no.576. London:
Novello, 1939.
Adaptation of Da tosi dotta man, with musical edition and English text
both by Hen ry Coates.

D0211 Collins, H.E., ed. Alma redemptoris mater: Latin Church Music of the Poly-
phonic Schools no.16. London: J & W Chester, 1931.
SATB, motet with Latin text underlay. English translation provided at
head of music, a piano reduction for rehearsal only.

D0212 Collins, H.E., ed. Creator arme siderum. Vesper Hymn for Advent. London:
editor, 1921.
Lithograph edition in score.

D0213 Collins, H.E., ed. Crucem sanctam subiit. Motet for Five Voices. London:
editor, 1916.
Lithograph edition in score. Another edition of this work by Collins pub-
lished in 1931 as no.22 in series Latin Church Music of the Polyphonic
Schools, q.v.

D0214 Collins, H.E., ed. Crucem sanctam subiit. Latin Church Music of the Poly-
phonic Schools no.22. London: J & W Chester, 1931.
SSATB, a cappella. Latin text underlay. English translation provided at
head of music.

D0215 Collins, H.E., ed. De profundis a 5. Latin Church Music of the Polyphonic
Schools 36. London: J & W Chester, 1936.
SATTB, a cappella. Latin text underlay, with English translation pro-
vided at head of music.

D0216 Collins, H.E., ed. Domine, quando veneris judicare terram, ubi me abscon-
dam? London: editor, 1918.
SATB, lithograph edition in score.
Modern Editions of Palestrina's Music II 229
D0217 Collins, H.E., ed. Dum complerentur dies Pentecostes. Motet for Six Voices.
London: Dinham Blyth & Co., 1916.
Lithograph edition in score. Another edition of this work by Collins pub-
lished in 1934 as no.28 in series Latin Music of the Polyphonic Schools, q.v.

D0218 Collins, H.E., ed. Dum complerentur a 6. Latin Church Music of the Poly-
phonic Schools no.28. London: J & W Chester, 1934.
SAATTB, a cappella. Latin text underlay, with English translations pro-
vided at head of music.

D0219 Collins, H.E., ed. Exaltabo te a 5. Latin Church Music of the Polyphonic
Schools 38. London: J & W Chester, 1937.
SATTB, a cappella. Latin text underlay, with English translations pro-
vided at head of music.

D0220 Collins, H.E., ed. Exultate Deo. Sing with Joy and Gladness. Ridley's New
Series Classical Church Music no.3. London: A. W. Ridley, 1936.
SAATB, with English translation by W.A. Pickard-Camb ridge.

D0221 Collins, H.E., ed. The First Lamentations of the Matins of Good Friday.
London: editor, 1919.
Lithograph edition in score of Lamentationes [based on MS sources, later
printed edition in Cas.XIII].

D0222 Collins, H.E., ed. Peccantem me quotidie. Motet for Five Voices. London:
Dinham Blyth & Co., 1916.
SATTB, lithograph edition in score. Another edition of this work by
Collins in the Ridley series.

D0223 Collins, H.E., ed. Peccantem me quotidie. My Sins Are with Me Ev'ry Day.
Ridley's New Series Classical Church Music no.2. London: A. W. Ridley,
1936.
SATTB, with English translation by W.A. Pickard-Cambridge.

D0224 Collins, H.E., ed. Popule meus, quid feci tibi? The Improperia for the Morn-
ing Office of Good Friday. London: editor, 1918.
Lithograph edition in score.

D0225 Collins, H.E., ed. Quae est ista. Latin Church Music of the Polyphonic
Schools no.23. London: J & W Chester, 1931.
SSATB, a cappella. Latin text underlay. English translation provided at
head of music.

D0226 Collins, H.E., ed. Quae est ista, quae progreditur. London: Dinham Blyth &
Co., 1915.
Lithograph edition in score. Another edition of this work by Collins pub-
lished in 1931 as no.23 in series Latin Church Music of the Polyphonic
Schools, q.v.
230 Giovanni Pierluigi da Palestrina

D0227 Collins, H.E., ed. Rorate coeli desuper. Motet.... London - Dinham Blyth &
Co., 1915.
Lithograph edition in score. Another edition of work published in 1930.

D0228 Collins, H.E., ed. Rorate coeli desuper. Latin Church Music of the Poly-
phonic Schools 19. London: J & W Chester, 1930.
SSATB a cappella, motet [secunda pars of Canite tuba, not included
here] with Latin text underlay. English translations of text provided at the
head of the music.

D0229 Collins, H.E., ed. Salve Regina. London: editor, 1917.

SATB SATB, lithograph edition in score.

D0230 Collins, H.E., ed. Salve Regina a 8. Latin Church Music of the Polyphonic
Schools 26. London: J & W Chester, 1933.
SATB SATB, a cappella, Latin text underlay.

D0231 Collins, H.E., ed. Surge, illuminare a 8. Latin Church Music of the Poly-
phonic Schools 40. London: J & W Chester, 1938.
SATB SATB, a cappella. Latin text underlay, with English translation at
head of music.

D0232 Collins, H.E., ed. Tu es Petrus. Motet for Six Voices. London: editor, 1916.
Lithograph edition in score.

D0233 Collins, H.E., ed. Tu es Petrus. Motet for Six Voices. Polyphonic Motets
no.68. London: Cary & Co., 1932.

D0234 Damrosch, Frank, ed. Hodie Christus natus est. Now, Today, Christ the Lord
Is Born. New York: G. Schirmer, 1969. 15pp.
SATB SATB, double choir. Text with English translation by George
Mead. A reworked version of an edition by Damrosch issued by Schirmer in
1899.

D0235 Damrosch, Frank, ed. Missa brevis, for Soprano, Alto, Tenor and Bass, a
capella/Giovanni Pierluigi da Palestrina. G. Schirmer's collection of
masses and vespers. New York: G. Schirmer, 1899.
SATB, piano accompaniment for rehearsal, heavily edited.

D0236 Damrosch, Frank, ed. Pater Noster. New York: G. Schirmer, 1903.
SSATB, motet.

D0237 Damrosch, Frank, ed. Popule meus. For Double Chorus. Antiphonal. New
York: G. Schirmer, 1899.
SATB SATB.

D0238 Damrosch, Fr an k, ed. Stabat Mater. Motet for Twelve Voice Parts. Palest-
-

rina. Musical Art Society of New York series 66. New York: G. Schirmer;
Modern Editions of Palestrina's Music II 231
Boston: Boston Music Co., c. 1909.
SATB SATB SATB, piano accompaniment for rehearsal only.

D0239 Darvas, Gabor, ed. Missa L'homme armé for Mixed Choir (S, A, TI, TII, B) a
cappella. Budapest: Editio Musica Budapest, c. 1975. Z6441. 59pp.
SATTB. In series Missae super L'homme armé. Preface and notes in
English an d Hungarian. Editorial notes, p.60.

D0240 Darvas, Gabor, ed. Missa Lauda Sion. Budapest: Editio Musica Budapest,
n.d. [ 1970s]. 213192(2). 23pp.
SATB, mixed voices. Latin text.

D0241 Davison, Nigel, ed. Assumpta est Maria. Motet for Six Voices. London: J &
W. Chester, 1971. 8881. iii + 21pp.
SSATTB with prefatory notes.

D0242 Deis, Carl, ed. Missa Papae Marcelli for Chorus of Mixed Voices a cappella.
English adaptation by Willis Wager. New York: G. Schirmer, 1941. Ed. 1733.
SATTBB; note values halved; piano pa rt for rehearsal; English text
underlaid with Latin; heavily edited.

D0243 Deis, Carl, ed. O bone Jesu. O Blessed Jesus. For Four-Part Chorus of
Mixed Voices. New York: G. Schirmer, 1952. 3pp.
SATB; note values halved; piano part for rehearsal. English text under-
laid with Latin. Heavily edited.

D0244 Dixon, Jon, ed. Confitebor tibi Domine. Carshalton Beeches, Surrey: JOED
Music, c. 1994. 2Opp. M2092.P25M52 1994.
SATB SATB a cappella. Latin text, with English tr an slation printed in
captions.

D0245 Dixon, Jon, ed. Haec dies. Carshalton Beeches, Surrey: JOED Music, c.
1995. 6pp. M2092.P25M54 1995.
SSATTB a cappella. Latin text, with English translation printed in cap-
tion. Transposed into modern clefs at a pitch suitable for SATB choirs.
Edited from the first edition.

D0246 Dixon, Jon, ed. Hodie Christus natus est. Renaissance polyphonic choral
music. JOED P3. Surrey: JOED Music, 1993.
SSAB ATTB. Score based on a reworking of the Haberl edition of 1890.
English preface, p.2. Note values halved; transposed down 1 tone.

D0247 Dixon, Jon, ed. O Domine Jesu Christe. Renaissance polyphonic choral
music JOED P43. Carshalton Beaches, Surrey: JOED Music, 1994. 8pp.
M2092.P25O15 1994.
SATB SATB, a cappella, score based on a reworking of the Haberl edi-
tion, with note values halved; transposed into modern clefs; Latin text, with
English translation at head of music.
232 Giovanni Pierluigi da Palestrina
D0248 Dixon, Jon, ed. O gloriosa Domina. Carshalton Beeches, Surrey: JOED
Music ca. 1993. 12pp. M2092.P25016 1993.
SATB SATB SATB, a cappella. Latin text, with English translation
printed in caption. Transposed into modern clefs at a tone down from the
ori ginal pitch. Edited from the Haberl edition.

D0249 Dixon, Jon, ed. Sicut cervus. Carshalton Beeches, Surrey: JOED Music,
1994. 8pp. M2092.P25M57 1994.
SATB, a cappella. Latin text, with English translation printed in caption.
Transposed into mode rn clefs at a pitch suitable for SATB choirs. Edited
from the Venice editions of 1598 and 1604.

D0250 Dixon, Jon, ed. Stabat Mater Dolorosa. Carshalton Beeches, Surrey: JOED
Music, 1995. 21pp. M2099.L82P3 1995
SATB SATB, a cappella. Latin text, with English translation printed in
caption. Transposed into modern clefs at a pitch suitable for SATB choirs.
Edited principally from the Haberl edition.

D0251 Dower, Catherine, ed. Regina coeli. New York: Broude Brothers, n.d.
AB721. 11 pp.
SATB, mixed voices. Latin text.

D0252 Druffel, Peter, ed. Soave fia il morir. O Gentle Death. Madrigal for Five
Voice-Parts a cappella. New York: G. Schirmer, 1911.
SAATB, with English text version by Frank Damrosch. Probably based
on Druffel's Breitkopf edition of 1887.

D0253 Dunkley, Sally, ed. Giovanni Pierluigi da Palestrina (1525-1594). Missa

Aeterna Christi Munera. Ilkley, UK: PCA/Pro Cantione Antigua Ltd., 1991.
SATB; note values halved; Latin text underlay only.

D0254 Dunkley, Sally, ed. Giovanni Pierluigi da Palestrina (1525-1594). Missa

Assumpta est Maria. Ilkley, UK: PCA/Pro Cantione Antigua Ltd., 1992.
SSATTB; note values halved; transposed down a fourth; Latin text under-
lay only.

D0255 Dunkley, Sally, ed. Giovanni Pierluigi da Palestrina. Missa Brevis. Ilkley,
UK: PCA/Pro Cantione Antigua Ltd., 1992.
SATB; note values halved; Latin text underlay only.

D0256 Ewerhart, Rudolf, ed. Aeterna Christi Munera. Missa for Four-Part Chorus
of Mixed Voices a cappella. Wiesbaden: Breitkopf & Hartel; New York:
Associated Music Publishers, 1959.
SATB; note values halved; Mensurstrich.

D0257 Ewerhart, Rudolf, ed. Assumpta est Maria. Missa for Six-Part Chorus of
Mixed Voices a cappella. Wiesbaden: Breitkopf & Hartel; New York: Asso-
ciated Music Publishers, 1959.
Modern Editions of Palestrina's Music II 233
SSATTB; note values halved; transposed down major 2nd; Mensurstrich.
Based on manuscript in the Vatican Library, Cappella Sistina MS 76.

D0258 Ewerhart, Rudolf, ed. Assumpta est Maria. Motet for Six-Part Chorus of
Mixed Voices a cappella. Wiesbaden: Breitkopf & Hartel; New York: Asso-
ciated Music Publishers, 1963.
SSATTB; note values halved; transposed down 2nd; Mensurstrich. Based
on manuscript in the Vatican Library, Cappella Sistina MS 76.

D0259 Ewerhart, Rudolf, ed. Ave, mundi spes, Maria. Motette für acht Summen.
Wiesbaden: Breitkopf & Hartel, 1993. 12pp.
SATB SATB a cappella.

D0260 Ewerhart, Rudolf, ed. Confirma hoc. Motet for Six-Part Chorus of Mixed
Voices a cappella. Breitkopf & Hartel Chor-Bibliothek 3508. Wiesbaden:
Breitkopf & Hartel, 1960.
SATTB; note values halved; Mensurstrich.

D0261 Ewerhart, Rudolf, ed. Dies sanctificatus. Missa for Four-Part Chorus of
Mixed Voices a cappella. Wiesbaden: Breitkopf & Hdrtel; New York: Asso-
ciated Music Publishers, 1960.
SATB; note values halved; transposed down major 2nd; Mensurstrich.
Based on Book VI of masses [Rome, 1594].

D0262 Ewerhart, Rudolf, ed. Dies sanctificatus. Motet for Four-Part Chorus of
Mixed Voices a cappella.
Wiesbaden: Breitkopf & Hdrtel; New York: Associated Music Publishers,
1961.
SATB; note values halved; transposed down major 2nd; Mensurstrich.
Edition based on the 1590 reprint of the edition of 1563.

D0263 Ewerhart, Rudolf, ed. Ecce ego Joannes. Missa for Six-Part Chorus of Mixed
Voices a cappella.
Wiesbaden: Breitkopf & Hdrtel; New York: Associated Music Publishers,
1960.
SATTBarB; note values halved; Mensurstrich.

D0264 Ewerhart, Rudolf, ed. Hodie Christ natus est. Motet for Eight-Part Chorus
of Mixed Voices a cappella. Wiesbaden: Breitkopf & Hrtel; New York:
Associated Music Publishers, 1958.
SSAB ATTB; note values halved; transposed down down major 2nd;
Mensurstrich. Foreword, with English translation of text. Edition based on
version in Book III of motets [Rome, 1575].

D0265 Ewerhart, Rudolf, ed. Iste Confessor. Missa for Four-Part Chorus of Mixed
Voices a cappella. Wiesbaden: Breitkopf & Hdrtel; New York: Associated
Music Publishers, 1961.
SATB; note values halved; transposed up major 2nd; Mensurstrich.
Based on Rome, 1590 edition.
234 Giovanni Pierluigi da Palestrina

D0266 Ewerhart, Rudolf, ed. Lauda Sion. Missa for Four-Part Chorus of Mixed
Voices a cappella. Wiesbaden: Breitkopf & Hartel; New York: Associated
Music Publishers, 1959.
SATB; note values halved (quartered in t ri ple sections); transposed up
minor 3rd; Mensurstrich. Based on on Venice, 1582 edition.

D0267 Ewerhart, Rudolf, ed. Lauda Sion Salvatorem. Motet for Four-Part Chorus
of Mixed Voices a cappella. Wiesbaden: Breitkopf & Hrtel; New York:
Associated Music Publishers, 1961. A-539-4.
SATB; note values halved (in t ri ple sections they are quartered); trans-
posed up minor 3rd; Mensurstrich. Based on Venice, 1564 edition.

D0268 Ewerhart, Rudolf, ed. O magnum mysterium. Motet for Six-Part Chorus of
Mixed Voices a cappella. Wiesbaden: Breitkopf & Hdrtel; New York: Asso-
ciated Music Publishers, 1958.
SSAATB; note values halved; transposed up minor 3rd; Mensurstrich.
Foreword, with text translation into English. Based on Rome, 1569 p ri nt.

D0269 Ewerhart, Rudolf, ed. Pater noster. Missa for Four-Part Chorus of Mixed
Voices a cappella. Wiesbaden: Breitkopf & Hdrtel; New York: Associated
Music Publishers, 1962.
SATB; note values halved; transposed down major 2nd; Mensurstrich.
Based on the manuscript Biblioteca Apostolica Vaticana, Cappella Sistina 68
and Haberl's version in the comprehensive edition.

D0270 Ewerhart, Rudolf, ed. Stabat Mater Dolorosa. Breitkopf & H5rtel Chor-Bib-
liothek 3146. Wiesbaden: Breitkopf & Hdrtel, ca.1957.
SATB SATB; note values halved; Mensurstrich.

D0271 Ewerhart, Rudolf, ed. Tu es Petrus. Missa for Six-Part Chorus of Mixed
Voices a cappella. Wiesbaden: Breitkopf & Hdrtel; New York: Associated
Music Publishers, 1959. A-535.
SSATBarB; note values halved; transposed down major 2nd. Mensu-
rstrich. Based on I-Rvat Ottob. 2927/Haberl edition. This is the mass pub-
lished in 1572, not the one in Book XII (1601).

D0272 Ewerhart, Rudolf, ed. Tu es Petrus. Motet for Six-Part Chorus of Mixed
Voices a cappella. Wiesbaden: Breitkopf & Hartel; New York: Associated
Music Publishers, 1959.
SSATBarB; note values halved; transposed down major 2nd; Mensur-
strich. Edition based on the print in the second book of motets (Rome,
1572). Foreword, with English text tran slation.

D0273 Expert , Henry, ed. Tantum ergo sacramentum. "Répe rt oire des Maîtres
Musiciens de la Renaiss an ce Française: Collection Hen ry Expert." Pa ri s:
Salabert, n.d. 3pp.
SATB, mixed voices. Latin text.
Modern Editions of Palestrina's Music II 235
D0274 Fellerer, Karl Gustav, ed. Dies sanctificatus. Munster: Gregorius Musikver-
lag, 1970. W36. 4pp.
SATB, mixed voices. Latin text.

D0275 Ferrenberg, J. G., ed. Messe fur die Verstorbenen, (Missa Requiem) nebst
dem Responsorium Libera me, in der heutigen Schreibweise herausgegeben.
... Cologne and Bonn, 1853.
Edition of Missa pro defunctis a 5 from the enlarged edition of Missarum
liber primus [1591].

00276 Fink, Hans, ed. Missa "Quai è il più grande amor," fur fiinfstimmigen gemis-
chten Chor a cappella. Wien: Verlag Ludwig Doblinger, 1954.
SSATB, unaccompanied, transposed up a minor third. Critical repo rt by
Hans Fink. 36pp.

D0277 Fissinger, Edwin, ed. O beata et gloriosa Trinitas. New Berlin, WI: Jenson
Publications, n.d.
Motet SSATB, a cappella.

D0278 Galloway, G., ed. Creator Blest of Every Star. Novello's Sho rt Anthems
no.272. London: Novello, 1936.
SATB, English paraphrase of hymn Creator aime siderum
[Hab.XXXI.123], translation of o ri ginal Latin text by H. E. Crewdson.

D0279 Galloway, G., ed. O Blessed Jesu. Novello's Short Anthems no.273. London:
Novello, 1936.
SATB, a cappella, motet O bone Jesu, with English text version by Gal-
loway.

00280 Galloway, G. ed. O Praise the Lord. Motet for Double Choir [Laudate
Dominum omnes gentes]. Novello's Octavo Anthems no.1207. London:
Novello, 1936.

00281 Goldschmidt, Otto, ed. Missa Papae Marcelli (Six Parts). Novello's o ri ginal
octavo edition. London: Novello, 1881. 52pp.
SSA(A&T)BB, in troduction (pp.i—iv) by Otto Goldschmidt dated 1880.

D0282 Gray, Robe rt , ed. Now Do We Behold Him [Ecce vidimus eum: attributed to
Palestrina; recte by Marc'Antonio Ingegne ri ]. Robe rt Gray Classic Choral
Series. Ft. Lauderdale, FL: Tetra/Continuo Music Group, 1991. 8pp.
SATB a cappella. English and Latin texts; English-language arrange-
ment by Robe rt Gray.

00283 Gray, Robe rt , ed. O Blessed Jesus [O bone Jesu]. Robe rt Gray Classic
Choral Series. Ft. Lauderdale, FL: Te tra/Continuo Music Group, 1991. 4pp.
SATB a cappella. English an d Latin texts; English-language arrange-
ment by Robe rt Gray.
236 Giovanni Pierluigi da Palestrina
D0284 Gregory, Eleanor C., ed. O Holy and Glorious Trinity. Church Music Society
Reprint no.30. London: Oxford, 1955. 16pp.
SSATB, English and Latin text.

D0285 Gregory, Eleanor C., ed. Veni Creator. London: Oxford, 1936.
ATB, hymn based on tenth-century Latin text with English text by
"Y. H."

D0286 Grote, Gottfried, ed. Christe redemptor omnium. Kassel: Merseburger Ver-
lag, 1986. EM321A. 4pp.
SATB, mixed voices. Latin text with German adaptation by the editor.

D0287 Haberl, Franz Xaver, ed. Masses, Book 6. Missa Dies sanctificatus. Bre-
itkopf & Hartel Partitur-Bibliothek 2786. Leipzig: Breitkopf & Hdrtel, 1957.
SSAAT [soloists] and SATB [chorus].

D0288 Haberl, Franz Xaver, ed. Repertorium musicae sacrae ex auctoribus saeculi
XVI. et XVII. Collectum et redactum a Franc. Xay. Haberl. Missa "O
admirabile commercium" quinque vocum. Supplement to Kirchenmusikalis-
ches Jahrbuch 9 [Cdcilienkalendar 191 (1894): 3-44. Regensburg: F riedrich
Pustet, 1896.
Edition of Missa O admirabile commercium. Michael Haller wrote an
analysis of this mass on pages 69-76 of the same volume. Numeration sepa-
rate from the volume of the jou rnal proper, which begins again after page 44,
with page 1, and was made for separate publication. This edition was evi-
dently published in connection with the 1894 tercentenary commemora-
tions. Original note values and cleffings observed.

D0289 Haller, Michael., ed. Missa Brevis fiir Sopran, Alt, Tenor und Bass. Regens-
burg: Alfred Coppenrath, 1904.
Two-staff arrangement of voices, modern clefs, extensively edited; Bene
dictusand Agnus Dei I are shortened.

D0290 Hanson, Howard, ed. Missa Papae Marcelli. New York: J. Fischer & Bro.,
1937.
Vocal score arrangement of a transc ription of the mass for SSATBB and
orchestra.

D0291 Hasberry, Robert L., ed. Jesu, fins matris. Polyphonic Motets no.18. London
L.J. Cary, 1960.
SATB.

D0292 Hasberry, Robert L., ed. Pange lingua gloriosi. Polyphonic Motets no.13.
London: L. J. Cary, 1960. 3pp.
SATB, alternating verses of the plainchant hymn with Palestrina's poly-
phonic verses.

D0293 Hellmann, Diethard, ed. Missa Brevis, für Chor SSATTB, zwei Trompeten
Modern Editions of Palestrina's Music II 237
[Cornetti], 4 Posaunen und Basso Continuo. Stuttgarter Bach-Ausgaben.
Series C, Supplement, Von Johann Sebastian Bach Bearbeitete Werke.
Neuhausen -Stuttgart: Hünssler Verlag, 1988 [Edition no. 35.301/01].
An edition of the Kyrie and Gloria sections of Palestrina's Missa sine
nomine a 6 (Masses, Book 5) in an arr an gement made by J. S. Bach for
choir, with two trumpets and four tr ombones colla parte and organ basso
continuo, included here for its special historical interest. Prefaces in English
and German; critical repo rt ; figured bass realization.

D0294 Hellmann, Diethard, ed. Veni Creator Spiritus. Die Motette no.96. Stuttga rt :
Hânssler, [1980s].
SAATB, a cappella; ori ginal note values, with Latin an d German text
underlay.

D0295 Henson, B. R., ed. Super flumina Babylonis. Psalm 137. Greystone Press
Choral Series. Ft. Lauderdale, FL: Greystone Press, ca. 1986. 1 1pp.
SATB, a cappella.

D0296 Herrmann, William, ed. Sanctus. New York: G. Schirmer, 1968.

SSAA arran gement of Sanctus from the Missa Aeterna Christi munera
for women's voices.

D0297 Hopkins, Bernard, ed. Missa Papae Marcelli. Agnus Dei. Berkeley, CA:
Musica Sacra et Profana, n.d.
SATTBB, optional instrumental accompaniment, graded at medium diffi-
culty.

00298 Hopkins, Bernard, ed. Missa Ut re mi. Agnus Dei. Berkeley, CA: Musica
Sacra et Profana, n.d.
Seven-part chorus, optional instrumental accompaniment, graded as easy
to perform.

D0299 Hübsch, Hanns, ed. Hodie Christus natus est. Heidelberg: Süddeutscher
Musikverlag Willy Müller, n.d. SM1961-04.
TTBB arr an gement, men's voices. Latin text.

Hübsch, Hanns, ed. Das Hohe Lied Salomonis. Heidelberg: Willy

Müller/Süddeutscher Musikverlag [1960s].
These items, issued separately, are all printed a cappella, an d are graded
as of medium difficulty in perform an ce. The series is an incomplete collec-
tion of motets from Canticum canticorum. Latin text, some with German
translations.

00300 SM0750/01 Osculetur me (SATTB).

D0301 SM0750/02 Trahe me post te (SATTB).
00302 SM0750/03 Nigra sum, sed formosa (SATTB).
D0303 SM0750/04 Vineam meam (SATTB).
D0304 SM0750/05 Si ignoras te (SATTB).
238 Giovanni Pierluigi da Palestrina
D0305 SM0750/06 Pulchrae sunt genuae tuae (SATTB).
D0306 SM0750/07 Fasciculus myrrhae (SATTB).
D0307 SM0750/08 Ecce tu pulcher es (SATTB).
D0308 SM0750/09 Tota pulchra es (SATTB).
D0309 SM0750/10 Vulnerasti cor meum (SATTB)
D0310 SM0750/11 Sicut lilium (SATTB).
D0311 SM0750/12 Introduxit me rex (SATTB).
D0312 SM0750/13 Laeva ejus (SATTB).
D0313 SM0750/14 Vox dilecti mei (SATTB).
D0314 SM0750/15 Surge propera (SATTB).
D0315 SM0750/16 Surge, arnica mea (SATTB).
D0316 SM0750/17 Dilectus meus mihi (SATTB).
D0317 SM0750/18 Surgarn et circuibo (SATTB).
D0318 SM0750/19 Adjuro vos (SATTB).
D0319 SM0750/20 Caput ejus (SATTB).
D0320 SM0750/21 Dilectus meus descendit (SATTB).
D0321 SM0750/22 Pulchra es (SATTB).
D0322 SM0750/23 Quae est ista (SATTB).

D0323 Jancsovics, Antal. Canticum canticorum: 29 motetta. Musicotheca classica

5. Budapest: Editio Musica, 1976.
This edition, which was issued as a single volume (119 pp.), was also
issued as individual numbers, series 312-42000-312-42028. See itemiza-
tion in item D0059.

D0324 Jarczyk, Michael. Coenantibus illis. Motette fur fiinf Stimmen a cappella.
Berlin: Musikverlag Ferraresi, 1980.
Contains preface in German and English; 1 page of fascimile manuscript
reproduction. SATTB (CATQB), pp.3-8, unaccompanied.

D0325 Kelley, K.G., ed. Father Almighty, We Thy Children Pray. Boston: Boston
Music, 1935.
SATB, a cappella, adapted from Credo of the Missa Brevis, with English
text by K.G. Kelley.

D0326 Kingsbury, John, ed. O Have Mercy on Us (Miserere Nostri, Domine). B ry n

Mawr: Theodore Presser Company, 1968; 1980.312-41340.
SSATB, a cappella, with piano pa rt for rehearsal only; Latin and English
text both underlaid in score; note values halved.

D0327 Klein, Maynard, ed. Alma Redemptoris Mater. Loving Mother of Our Sav-
iour. New York: G. Schirmer, 1974. 7pp.
SATB, a cappella. Latin text with English version by Maynard Klein.

D0328 Kraft, Leo, ed. Benedictus. For Three Voices. New York: Mercury Music,
1960.5pp.
SSA or TTB a cappella, from Missa Repleatur os meum laude [Book
III].
Modern Editions of Palestrina's Music II 239

D0329 Kraft, Leo, ed. Dies sanctificatus. New York: Mercury Music, 1959. lOpp.
SATB a cappella.

D0340 Kraus, Egon, ed. Alla riva del Tebro. On the bank of the Tiber. Zürich:
Pelikan, 1955. Ed 2061. 4pp.
SATB, mixed voices. Text adapted by Alicia Adler Smith.

D0341 Kreckel, Philip G., ed. O bone Jesu. New York: J. Fischer & Bro., 1952. 3pp.
STB arrangement.

D0342 Kruger, Katrin, and Siegfried Petrenz. Vestivi i colli. Diminutionen uber ein
Madrigal von G.P. de Palestrina für Sopranoblockfldte und Cembalo/
Francesco Rognoni. Celle, Germany: Moeck, 1994.
An edition of Rognoni Taeggio's diminutions on the famous mad rigal.
Issued as score (11pp) [2547 Moeck] and one pa rt for soprano recorder.
Preface in German with English and French tr anslations.

D0343 Lamb, Gordon H. ed. Magnificat; in Primi Toni (XXXV) for Double Chorus
of Mixed Voices, a Cappella. Giovanni Pierluigi da Palestrina. New York:
Lawson-Gould Music Publishers, 1975.
SATB SATB, with piano reduction for rehearsal. 36pp.

D0344 Laubenstein, Paul F., ed. Tollite jugum meum. Take My Yoke. New York: G.
Schirmer, 1949. lOpp.
SATB, a cappella.

D0345 Lee, John, ed. Panis angelicus. Chicago: G.I.A. Publications, 1976. G-2003.
SATB, mixed voices, with organ accompaniment. Latin text by Thomas
Aquinas, with English adaptation by the editor.

D0346 Leicht, Hans, ed. Palestrina. Missa Iste Confessor. Solothurn: Solothurner
Musikverlag, 1946. 24pp.
SATB.

D0347 Ley, H. G., I Beheld and Lo! A Great Multitude [Vidi turbam magnam]. Nov-
ello's Octavo Anthems no. 1215. London: Novello, 1936.
SATB, arrangement of motet Vidi turbam magnam with English text by
H.G. Ley.

D0348 Ley, H. G., ed. Now When Was Come the Day of Pentecost. Novello's Octavo
Anthems no.1206. London: Novello, 1936.
Dum complerentur dies Pentecostes, with English text by H. G. Ley.

D0349 Ley, H. G., ed. On This Day, the Blessed Virgin Ma ry. Novello's Octavo
Anthems no.1217. London: Novello, 1937.
Hodie beata virgo Maria, with English text by H. G. Ley.

D0350 Ley, H.G., ed. The Star Which the Wise Men Had Seen. Novello's Octavo
240 Giovanni Pierluigi da Palestrina
Anthems no.1216. London: Novello, 1937.
Stella quam viderant Magi, with English text by H. G. Ley.

D0351 Ley, H.G., ed. Then Came Michael the Archangel. Novello's Octavo
Anthems no.1211. London: Novello, 1936.
Venit Michael Archangelus, with English text by H. G. Ley.

D0352 Ley, H.G., ed. They Have Taken My Lord Away. Novello's Octavo Anthems
no.1222. London: Novello, 1937.
Alleluia! Tulerunt Dominum, with English text by H. G. Ley.

D0353 Liebergen, Pat ri ck Michael, ed. O bone Jesu. New York: Carl Fischer, 1989.
CM8299.
SATB, mixed voices. Latin text with English adaptation.

D0354 Lockwood, Lewis. Pope Marcellus Mass: An Authoritative Score, Back-

grounds and Sources, History and Analysis, Views and Comments. No rton
Critical Scores. New York: No rton, 1975.
In addition to a score of the m as s (pp.39-73) derived from vol 4 of the
Casimiri edition, Lockwood presents a large body of relevant documentary
and critical material.

D0355 Malin, Don, ed. City of God. New York: Edward B. Marks Music, n.d.
00007534.
Spiritual mad ri gal Città di Dio. SSATB, a cappella, English an d Italian
texts.

D0356 Malin, Don, ed. O Kindly Jesus. New York: Edward B. Marks Music, n.d.
00007813.
Spiritual madrigal O Jesu dolce. SATTB a cappella, English and Italian
texts.

D0357 Malin, Don, ed. Missa Primi Toni. Benedictus. New York: Belwin-Mills, n.d.
No.2428.
SSA, a cappella. Latin text.

D0358 Malin, Don, ed. Missa Primi Toni. Domine Fili Unigenite. New York: Bel-
win-Mills, n.d. No.2429.
SSA, a cappella. Latin text.

D0359 Mandt, Heinrich, ed. Giovanni Pierluigi da Palestrina (1524-1594). Missa

Emendemus; für vierstimmigen gemischten Chor. Düsseldorf: Schwann,
1949. 22pp.
SATB, on two staves, a cappella.

D0360 Mandt, Heinrich, ed. Missa Brevis, ad voces inaequales. Düssel-

quatuor
dorf: Schwann, 1952. 31pp.
Modern Editions of Palestrina's Music II 241
D0361 Marks, A.S., ed. Missa Brevis ... Adapted for Use in the English Church.
Mode rn Church Se rv ices no.192. London: Stainer & Bell, 1914.
SATB, a cappella. Prefatory note by A.S. Marks.

D0362 Marlhom, A., ed. Sicut cervus. As the Hart Panteth. New York: Harold Ham-
mer, 1938.
SATB, a cappella.

D0363 Marshall, Charles, ed. O Lord, Have Mercy. New York: Frank Music, 1967.
SATB, a cappella, arrangement of the Kyrie from the Missa Sine nomine
[Book VI] by Charles Marshall. English and German texts.

D0364 Marshall, Charles, ed. This Glad Day. New York: Frank Music, 1966.9pp.
SSATBB, a cappella, version of motet Haec dies quam fecit Dominus,
Latin text with English text adapted from psalms by Charles Marshall.

D0365 Mart in, George C., ed. Communion Service ("Assumpta est Maria"), Com-
posed by G. Pierluigi da Palestrina. Edited and adapted to English words by
G. C. Ma rt in. London: Novello, 1901.65pp.
Arr an gement and adaptation of the Missa Assumpta est Maria for the
older Anglican liturgical order: Kyrie (pp.1-13); Credo (pp.14-31); Sanctus
(pp.32-37); Benedictus (pp.38-43); Agnus Dei (pp.44-53); Gloria
(pp.54-65). For SSAA(i.e. A or T)TB, transposed down one tone; English
words only underlaid.

D0366 Martin, George C., ed. Communion Service (Missa Papae Marcelli) Com-
posed by G. Pierluigi da Palestrina. English adaptation by the Rev. W. Rus-
sell. London: Novello an d Comp any Ltd., 1898. 63pp.
Arrangement an d adapta ti on of the Missa Papae Marcelli for the older
Anglic an liturgical order: Kyrie (pp.1-10); Credo (pp.11-29); Sanctus
(pp.30-43); Agnus Dei (pp.44-50); Gloria (pp.51-63). Pa rt of the Kyrie is
adapted as the "Response to the Commandments" of the Anglic an se rvice. For
SATTBB, transposed down one tone; English words only underlaid, edited.

D0367 Mart in, George C., ed. I Will Magnify Thee, O Lord. Novello's Collection of
Anthems no.886. London: Novello, 1876 [repr. 1907].
SATTB adaptation of motet Exaltabo te, Domine.

D0368 Martin, George C., ed. Palestrina's Mass "Aeterna Christi munera"
Adapted for Use in the English Church. ["New Edition, with marks of
expression."] London: Novello, 1917.
Arrangement and adaptation of Missa Aeterna munera for the older
Anglican service. SATB, English words only, edited. Based on an earlier
edition, one probably in conformity with the items by Ma rtin listed above.

D0369 Mawby, Colin, ed. Asperges me. Westminster Series no. 6. London: L.J.
Cary, 1962.4pp.
SATB, Latin text.
242 Giovanni Pierluigi da Palestrina
D0370 Mawby, Colin, ed. Sicut cervus. Westminster Series no.10. London: L. J.
Cary & Co, 1962. 7pp.
SATB, Latin text.

D0371 Mitterer, Ignatio, ed. Joannes Petraloysii Praenestini. Missa celebris Papae
Marcelli. Ad quattuor voces nove reducta. Regensburg: Alfred Coppen-
rath/H. Pawelek, n.d. [before 1900]. 32pp.
SATB, transposed down one tone, liberally edited. The Agnus Dei II was
newly composed out of motivic material drawn from the rest of the mass.
This edition was an original reduction of Palestrina's work by the editor, not
based on the early print by Anerio.

D0372 Mitterer, Ignaz, ed. Missa Papae Marcelli. Church Music of the XVIth and
XVIIth Centuries for Unaccompanied Voices no.6904. New York: J. Fischer
& Bro., n.d.
SATB, evidently a reprint or reworking of the Coppenrath 1900 edition.
Extensively edited.

Monterosso Vacchelli, Anna Ma ria. Missa L'Homme armé. Cremona: Fon-

dazione Claudio Monteverdi, 1979.
Modern musical edition pp.79-132. For full desc ription of volume see
item E0294.

D0373 Niven, Lewis, ed. Quern vidistis, pastorer? Shepherds, Whom Beheld Ye?
Glen Rock, NJ: J. Fischer, 1963. 15pp.
SSAT(or A)TB, Latin text, with English text derived from the Bible.

D0374 Ouvrard, Jean-Pierre, ed. Ad te levavi. Paris: Heugel et Cie., 1986. H33671,
PJ505.11pp.
SATB, mixed voices, ranked as of `medium difficulty' in performance.
Edition based on the Gardano edition of the second book of motets (1604).

D0375 Parkinson, John A., ed. As the Hart Pants. Sevenoaks, UK: Novello & Co.,
Ltd., 1955.
Adaptation of Sicut cervus. SATB, English and Latin texts.

D0376 Parratt, Walter, ed. Super flumina Babylonis. London, 1883; later edition
London: Leonard, Gould & Bolttler, 1940. 8pp.
SATB arr angement.

D0377 Petti, Anthony G., ed. Alma redemptoris. London: Chester Music, 1977.
J.W.C. 55096. 3pp.
SATB, mixed voices, with piano accompaniment for rehearsal. Latin
text. Present edition based on print of the second book of motets for four
voices (1581).

D0378 Petti, Anthony G., ed. Canite tuba. New York: Alexander Broude, n.d.
SSATB, a cappella.
Modern Editions of Palestrina's Music II 243
D0379 Petti, Anthony G., ed. Dum complerentur. Now When the Day. London: J. &
W. Chester, 1967. 11 pp.
SAATTB, a cappella, motet for Pentecost, Latin text with alte rn ative
English text by Anthony Petti.

D0380 Petti, Anthony G., ed. Dum ergo essent. When All Disciples. London: J. &
W. Chester, 1967. 8pp.
SAATTB, motet for Pentecost [secunda pars of Dum complerentur, but
issued separately], Latin text with alternative English text by Anthony Petti.

D0381 Petti, Anthony G., ed. O beata Trinitas. The Italian and Spanish Schools for
Five Voices. London: Chester Music, 1980. J.W.C. 55241. 7pp.
SATTB, mixed voices, with piano pa rt for rehearsal. Latin text. Edition
based on print in Liber primus mottettorum quae partim quinis, partim senis,
partim septenis vocibus concinantur (1569).

D0382 Petti, Anthony G., ed. Super (lumina Babylonis. The Italian School for Four
Voices. London: Chester Music, 1977. J.W.C. 55096. 4pp.
SATB, mixed voices, with pi an o accompaniment for rehearsal Latin
text, based on Psalm 136:1. Present edition based on print of the second
book of motets for four voices (1581).

D0383 Petti, Anthony G., ed. Surge illuminare Jerusalem. London: J. & W. Chester,
1975. 16pp.
SATB SATB, double choir, motet for Epiphany.

D0384 Pike, Lionel, ed. Hodie Maria virgo. Magnificat Antiphon for Second Ves-
pers of the Assumption of the Blessed Virgin Ma ry. Borough Green, UK:
Novello, 1976.
SSAT, a cappella or with organ accompaniment.

D0385 Pisano, Richard, ed. O Domine Jesu. Ft. Lauderdale, FL: Plymouth Music
Co., ca. 1967. 4pp.
SATB, a cappella.

D0386 Pisano, Richard, ed. Praise Be to Thee. Ft. Lauderdale, FL: Plymouth Music
Co., ca. 1988. 4pp.
SAB, a cappella.

D0387 Pizarro, David, ed. This Is the Day. New York: H. W. Gray, 1960. 12pp.
SSATTB, a cappella, Latin an d English texts; adaptation of Latin motet
Haec dies quam fecit Dominus, with English text adapted from Psalm 118
by Pizarro.

D0388 Procter, Michael, ed. Missa Papae Marcelli. Gloucester, UK: Beauchamp
Press, 1994. 24pp.
SSATTB, da cappella. Preface in English by Michael Procter.
244 Giovanni Pierluigi da Palestrina

D0389 Reichwein, Heinz, ed. O Domine Jesu Christe. Museler Verlag, 1990. 2pp.
TTBB, men's voices. Latin text.

D0390 Reynolds, G., ed. Adoramus te Christe. New York: J. Fischer & Bro., 1923.
Arrangement of motet for women's voices.

D0391 Richardson, [ ], ed. Jesus Christ, Our Lord Was Crucified. New York: Spratt
Music Publishers, n.d.
SATB, adaptation of Christus foetus est.

D0392 Richardson, [ ], ed. Upon the Mount of Olives. New York: Spratt Music Pub-
lishers, n.d.
SATB, adaptation of In monte Oliveti [work now ascribed to Ingegneri].

D0393 Roberts, J.V., ed. Come Holy Ghost. Anthem for Unaccompanied Singing.
Novello's Collection of Anthems 829. London: Novello, 1876.
Adaptation of a Gloria Patrifrom the Magnificat tertii toni; edition based
on a manuscript in Magdalen College Library, Oxford. This is the movement
that became popular in the Anglican hymnal as the Easter melody "Victory,"
usually sung to words beginning "The strife is o'er, the battle done."

D0394 Rockstro, W[illiam] S[myth], ed. Missa Assumpta est Maria (VI vocum)
auctore Giovanni Pierluigi da Palestrina. London: Novello, n.d. [ca.18821.
[also pub. New York: H. W. Gray, 1883]. 56pp. M2011.P25.A7.
SSATTB, with "reductio partiturae"; numerous suggestions for perform-
ance.

D0395 [Rockstro, William Smyth, ed.] Missa Brevis. London, Novello and New
York: H.W. Gray, 1890. 55pp.

D0396 Rockstro, W[illiam] S[myth], ed. Missa "O Admirabile Commercium" for
Five Voices in the Mixolydian Mode (Transposed) Composed by G. Pierluigi
da Palestrina. London and New York: Novello, Ewer & Co., 1891.
Original note values; organ part for rehearsal; transposed down I tone;
extensively edited.

D0397 Roff, J., ed. Jesu! Rex admirabilis. Jesu! O King Most Wonderful. New York:
Edwin H. Morri s, 1955.
SSA or TTB, arrangement with Latin and English texts.

D0398 Rose, Bernard, ed. Missa Quarta. London: Oxford, 1957.

SATB, da cappella. Edition of this mass (from Missarum liber quartus,
1582) in older Anglican liturgical format: Kyrie, Sanctus, Benedictus, Agnus
Dei, Credo, Gloria. Partly reissued in A Sixteenth-Century Anthem Book,
item DO100.

D0399 Rostagno, J.H., ed. Missa Sine nomine. Super modulum Je suis desheritée.
Church Music of the XVIth and XVIIth Centuries for Unaccompanied Voices
6220. New York: J. Fischer & Bros., 1930.
Modern Editions of Palestrina's Music II 245

D0400 Rowl an ds, Léo, ed. Alma redemptoris. Miami: McLaughlin & Reilly, 1936.
921. 4pp.
SATB, mixed voices. La ti n text.

D0401 Saar, Louis Victor, ed. O bone Jesu. Boston: Oliver Ditson, 1928.
332-14207. 2pp.
SSA, for women's voices Latin text with English adapta ti on.

D0402 Sargent, Malcolm, ed. O admirabile commercium. London: Oxford Univer-

sity Press, 1963. 7pp.
SSATB, a cappella.

D0403 Sargent, Malcolm, ed. Videntes stellam. London: Oxford, 1965. 8pp.
SSAATTBB, a cappella.

D0404 Schabasser, Josef, ed. O crux ave. Vienna: Doblinger Musikverlag, 1965.
43503/D.9139. 2pp.
SATB, for mixed voices. Latin text, hymn Vexilla regis (verse 6). Previ-
ously published in "Passion undOstern," Chorsütze alter Meister.

D0405 Schabasser, Josef, ed. Stabat Mater. Vienna: Doblinger Musikverlag, 1965.
43503/D.9141.36pp.
SATB + SATB, for mixed voices. Latin text, from sequence Stabat Mater
by Jacopone da Todi. Previously published in "Passion und Ostern,"
Chorsåitze alter Meister.

D0406 Scheel, J., ed. Stabat Mater ... für zwei Chore mit gemischten Stimmen. Mit
Vortragsbezeichnungen nach R. Wagner für Mcinnerchiire. Leipzig: Kahnt,
1887.
SATB SATB in score, bringing forward Wagner's perform an ce sugges-
tions from the Kahnt edition of 1878.

D0407 Schering, Arnold, ed. Missa Papae Marcelli. London: E. Eulenburg; New
York: Eulenburg Miniature Scores, 1923. x + 52pp. E.E. 4376. Reissued in
1950s as score no. 963.
Miniature score format; preface by A rnold Schering dated 1923 in Ger-
man and English; Latin text underlaid, with German tr an slation; pi an o
reduction also provided.

D0408 Schering, A rnold, ed. Stabat Mater. Edition Eulenburg 996. Leipzig: Ernst
Eulenberg, 1924. Reissued London: E. Eulenburg, 1949; New York: Edition
Eulenburg [1950s].
SATB SATB. Miniature score. Preface by A rnold Schering, German and
English, 1924.

D0409 Scott, Cyril K., ed. Ave Ma ria. For Four Female Voices. London: Oxford,
1927.
Motet a vocibus paribus, with English text by B. E. Bulman.
246 Giovanni Pierluigi da Palestrina

D0410 Scott, Cyril K., ed. Christe redemptor. Motets of the Polyphonic School 1.
London: Stainer & Bell, 1919.
Adaptation with English text by D.P. Thomas.

D0411 Shaw, Watkins, ed. Missa Aeterna Christi munera. Church Music Society
Reprints 49. London: Oxford University Press, 1969. 16pp.
SATB, movements in older Anglican/Episcopalian liturgical sequence
(Ky rie, Sanctus, Benedictus, A gnus Dei, Gloria [with intonation]). English
translation by Henry Sandon underlaid. Piano accompaniment/reduction for
practice only, some editing of pa rts.

D0412 Simkins, C.F., ed. Vexilla regis prodeunt. The Royal Banners Forward Go.
London: Hinrichsen, 1968. 2Opp.
SATB, hymn with Latin text (Venantius Fortunatus); English translation
by J. M. Neale.

D0413 Smith, H.G. et al., ed. Arise, Shine, for Thy Light Is Come. Anthem for Four
Voices with English Words. York Series no.1069. York: Banks & Son, 1931.
SATB adaptation of the Gloria from the Missa Ecce ego Joannes.

D0414 Smith, H.G., ed. As the Hart Panteth. Anthem.... Choir Series of Anthems
no.189. London: The Choir Office, 1924.
SATB, adaptation of motet Sicut cervus desiderat, with English text
adapted by H.G. Smith.

D0415 Smith, H.G., ed. Behold, and See If There Be Any Sorrow. York Series
no.922. York: Banks & Son, 1927.
Adaptation of Kyrie of the Missa Ave Regina coelorum [Book XI].

D0416 Smith, H.G., ed. By the Waters of Babylon. York Series no.1067. York:
Banks & Son, 1930.
Adapted to English words by H.G. Smith.

D0417 Smith, H.G., ed. Come unto Him. Introit or Short Anthem. Dublin: H.G.
Smith, 1925.
Adaptation of Sanctus of the Missa De beata virgine [Book II], English
text by H.G. Smith.

D0418 Smith, H.G., ed. God Is a Spirit. Introit or Short Anthem. Choir Series
no.245. London: J.A. Sharp, 1929.
Adaptation of Sanctus of the Missa Ave Regina coelorum [Book XI],
English text by H.G. Smith.

D0419 Smith, H.G., ed. God Shall Wipe Away All Tears. Anthem. Dublin: H.G.
Smith, 1925.
Adaptation of A gnus Dei I of the Missa De beata virgine [Book II].

D0420 Smith, H.G., ed. God So Loved the World. London: Cary & Co., 1933.
Modern Editions of Palestrina's Music II 247

M2092.4.P.
SATB, with keyboard accompaniment for rehearsal only.

D0421 Smith, H.G., ed. Hear Thou in Heaven. Introit or Short Anthem. Dublin: H.
G. Smith, 1925.
Adaptation of Agnus Dei I of the Missa Ave Regina coelorum [Book IX].

D0422 Smith, H.G., ed. Holy, Holy. Introit or Short Anthem. Choir Series no.242.
London: J. A. Sharp, 1929.
SATB, adaptation of Sanctus from the Missa Aeterna Christi munera,
with English text adapted by H.G. Smith.

D0423 Smith, H.G., ed. I Will Arise. Choir Series no.254. London: J. A. Sharp, 1930.
SATB adaptation of Agnus Dei I of the Missa O sacrum convivium, with
music and English text adapted by H.G. Smith.

D0424 Smith, H.G., ed. Is It Nothing to You? Choir Series no.265. London: J. A.
Sharp, 1931.
Adaptation of Improperia. Popule meus as anthem, with music and text
adapted by H.G. Smith.

D0425 Smith, H.G., ed. Jesu, the Very Thought of Thee. Choir Series no.252. Lon-
don: The Choir Office. 1930.
SATB adaptation of Agnus Dei of the Missa Regina coeli [Book XII].
English text adapted from an eleventh-century Latin hymn by E. Caswell.

D0426 Smith, H.G., ed. Lamb of God. Introit or Short Anthem. York Series no.1035.
York: Banks & Son, 1920.
SATB adaptation of the Agnus Dei from the Missa O admirabile com-
mercium, edited an d with English text supplied by H.G. Smith.

D0427 Smith, H.G., ed. Lead Thou and Guide Me. Motet. York series no.1068.
York: B an ks & Son, 1931.
SATB adaptation of motet Perfice gressus roeos, with English text ver-
sion by H.G. Smith.

D0428 Smith, H.G., ed. Let the People Praise Thee. Choir Series no.300. London:
The Choir Office, 1935.
SATB adaptation of the Gloria of the Missa O admirabile commercium,
edited and with English text supplied by H. G. Smith.

D0429 Smith, H.G., ed. Lift Up Your Heads, O Ye Gates. Anthem. York Series
no.1096. York: Banks & Co., 1932.
Adaptation of the motet Loquebantur in varfis linguis, with adaptation of
texts from Psalm 24 by H.G. Smith.

D0430 Smith, H.G., ed. Lord, Thou Hast Been Our Dwelling Place. Anthem. Choir
Series no.209. London: J. A. Sharp, 1926.
248 Giovanni Pierluigi da Palestrina

SATB adaptation of the Gloria of the Missa Brevis, with English text
adapted from Psalm 90 by H.G. Smith.

D0431 Smith, H.G., ed. O Sacred Head Once Wounded. Choir Series no.280. Lon-
don: The Choir Office, 1933.
SATB adaptation of the Kyrie from the Missa Sine nomine [Book VI],
edited and with English text by H.G. Smith.

D0432 Smith, H.G.,ed. O Lord, Bow Down Thine Ear. Introit or Short Anthem. York
Series no.893. York: Banks & Son, 1925.
SATB adaptation of the Kyrie of the Missa Aeterna Christi munera, with
English text by H.G. Smith.

D0433 Smith, H. G., ed. O Lord God, Lamb of God. Anthem. Choir Series no.326.
London: The Choir Office, 1929.
SATB adaptation of the Gloria from the Missa Papae Marcelli, with
English text by H. G. Smith.

D0434 Smith, H.G., ed. O God, Have Mercy. Anthem. Choir Series no.247. London:
The Choir Office, 1929.
SATB adaptation of the Kyrie from the Missa Papae Marcelli, with Eng-
lish text derived from Psalm 51 and adapted by H.G. Smith.

D0435 Smith, H.G., ed. O Sing Unto the Lord. Anthem. Choir Series no.223. Lon-
don: J. A. Sharp, 1927.
SATB, adapted from Credo of the Missa Brevis, with English text derived
from Psalm 96 by H.G. Smith.

D0436 Smith, H.G., ed. Praise Ye the Lord. Anthem. Choir Series no.269. London:
The Choir Office, 1931.
Motet Ego sum panis vivus, adapted to English text by H.G. Smith.

D0437 Smith, H.G. et al., ed. Seek Ye the Lord. Introit or Short Anthem adapted to
English Words. York Series no.1034. York: Banks & Son, 1930.
Adaptation of Alma redemptoris Mater.

D0438 Smith, H.G., ed. Thy Rebuke Hath Broken His Heart. Anthem. York Series
no.958. York: Banks & Son, 1928.
SATTB arrangement of Improperium expectavit, with English text
adapted by H.G. Smith.

D0439 Smith, H.G., ed. We Laud and Praise Thee. Anthem. Choir Series no.253.
London: The Choir Office, 1930.
SATN adaptation of the Sanctus from the Missa Papae Marcelli, with
English text by H.G. Smith.

D0440 Smith, H.G., ed. Why Art Thou Cast Down, O My Soul? York Series
no.1390. York: Banks & Son, 1938.
Modern Editions of Palestrina's Music II 249
Adaptation of Anima mea turbata est [secunda pars of Heu mihi], with
English text adapted by H.G. Smith.

D0441 Smith, H.G., ed. The Wilderness Shall Be Glad. Choir Series no.293. Lon-
don: The Choir Office, 1933.
Adaptation of Gloria of the Missa Regina coeli [Book XII], with music
and English text adapted by H.G. Smith.

D0442 Somma, Bonaventura, ed. Missa Aeterna Christi munera. Rome: de Santis,
ca.1950. edition #1037/1038A-B.
SATB.

D0443 Stern, Hermann, ed. Missa ad fugam für Chor SATB (SAATB). Die Motette
no.609. Neuhausen- Stuttgart: Hanssler-Verlag, 1983.
SATB (SAATB); original note values, with both Latin an d German text
underlay; plainchant intonations supplied for Gloria and Credo. Mensu-
rstrich.

D0444 Stewa rt , C. Hylton, ed. Adoramus te. Novello's Sho rt Anthems no.249. Lon-
don: Novello, 1924.
SATB, with English text by Hylton Stewa rt .

D0445 Stewa rt , C. Hylton, ed. We Adore Thee, Lord Jesus. Novello's Sho rt
Anthems no.333. London: Novello, 1960. 4pp.
SATB, Latin text with English version by Hylton Stewa rt ; transposed.

D0446 Taylor, Deems, ed. Sub tuum [praesidium]. New York: J. Fischer & Bro.,
1921.
Arranged for four-part female choir.

D0447 Terry, Richard R., ed. Bone Pastor. Very Bread, Good Shepherd, Tend Us.
Polyphonic Motets no.44. London: Ca ry & Co., 1931.
SATB, adaptation of motet Lauda Sion, with an English text by Richard
Terry.

D0448 Theil, Carl, ed. Palestrina's Missa Papae Marcelli—sechstimmig—für den

praktisch-liturgischen Gebrauch. Berlin: Sulzbach, ca.1902. [Fourth edition
1912] 27pp.
SSATTB in score. A version of pa rt of this edition [Kyrie, Benedictus,
Agnus Dei] is located in Die Musik 4 (1905), Musikbeilage, Heft 22. 8pp.

D0449 Thomas, Bernard, ed. Divisions on Vestiva i colli: For Treble Instrument and
Continuo. Ricercari e passagi 13. London: Pro Musica Edition, ca. 1987.
Contains score and 3 parts of instrumental settings and elaborations of
Vestiva i colli by Girolamo dalla Casa, Giov an ni Bassano, Francesco
Rognoni, and Ba rt olomeo de Selma e Salaverde.

D0450 Vervoitte, Charles Joseph, ed. Iste confessor, messe à 4 voix avec accompag-
250 Giovanni Pierluigi da Palestrina

nemt d'orgue ou de piano, ad libitum. Pari s:

Girod, ca.1865. 46pp.
SATB, with additional accompaniment for rehearsal or perform an ce
Edited.

D0451 Wagner, Richard, ed. Stabat Mater. Motet for Double Chorus a cappella. G.
da Palestrina. New York: G. Schirmer, ca.1900.
SATB SATB. Alternations of soli and chori marked in score, and other-
wise edited. 19pp.

D0452 Wagner, Richard, ed. Stabat mater. Motette für zwei Chore a capella. Mit
Vortrags-Bezeichnungen für Kirchen- und Conzert-Auffiihrungen ein-
gerichtet von Richard Wagner. Leipzig: Kahnt, 1878.
SATB SATB in score, edited an d with suggestions for performance by
Wagner.

D0453 Washington, Hen ry , ed. Exultate Deo. London: J. & W. Chester, 1958. 7pp.
SATB, motet; additional score reduction for rehearsal; note values
halved.

D0454 Washington, Hen ry, ed. Missa Aeterna Christi munera. London: J. & W.
Chester Ltd., 1953. 31pp.
SATB/SATTB; additional score reduction for rehearsal; note values
halved. Preface by Washington with mass plainchants and commentary.

D0455 Washington, Hen ry , ed. and arr. Missa Brevis for Four Voices by Palestrina.
London: J. & W. Chester, 1950. 32pp.
SATB; additional score reduction for rehearsal; note values halved. Pref-
ace by Washington.

D0456 Washington, Hen ry, ed. Stabat Mater dolorosa. London: J. & W. Chester,
1974. 36pp.
SATB SATB; additional score reduction for rehearsal; note values
halved.

D0457 West, J.E., ed. In Divers Tongues Spake the Apostles. Novello's Collection of
Anthems no.913. London: Novello, 1876.
Arr an gement of motet Loquebantur in variis linguis, with English text
paraphrased from Acts of the Apostles, ch.2, by W.G. Rothery.

D0458 Williams, W., ed. Like as the Hart. New York: G. Schirmer, n.d.
SATB, a cappella. Adaptation of Sicut cervus, together with its secunda
pars, Sitivit anima mea, rendered here as My Soul Is Athirst.

D0459 Williamson, John Finlay, ed. Alleluia! Tulerunt Dominum. For Five-Part
Chorus of Mixed Voices a cappella. New York: G. Schirmer, 1932.
SSATB, Latin with English text adapted by Gustave Reese.

D0460 Williamson, John Finlay, ed. Alma redemptoris mater. Bow Down Thine Ear,
Modern Editions of Palestrina's Music II 251

O Lord. New York: G. Schirmer, 1933.

SATB, a cappella. English text adapted from Psalm 86 by Arthur
Mendel.

D0461 Williamson, John Finlay, ed. Bonum est confiteri. It Is a Good Thing to Give
Thanks. New York: G. Schirmer, 1945. 8pp.
SSATB, a cappella. English text adapted from Psalm 92:1 by Gustave
Reese.

D0462 Williamson, John Finlay, ed. Exultabo te. Thee Will I Extol, O My Lord. New
York: G. Schirmer, 1932.
SSATB, a cappella. English text adapted from Psalm 30 by Gustave
Reese.

D0463 Williamson, John Finlay, ed. Exultate Deo. Sing and Praise Jehovah. New
York: G. Schirmer, 1933.
SSATB, a cappella. English text version adapted from Psalm 81 of the
King James version of the Bible by Arthur Mendel.

D0464 Williamson, John Finlay, ed. Introduxit me rex. To the Cellar of Wine I
Came. New York: G. Schirmer, 1936.
SATTB, a cappella. English text by A rt hur Mendel.

D0465 Witt, Franz Xaver. Missa "Hodie Christus natus est" octo vocibus conci-
nenda. Regensburg: Pustet, 1871.

D0466 Woodworth, G. Wallace, ed. Benedictus. Harvard-Radcliffe Choral Music

series no.9814. New York: G. Schirmer, 1949.
SSAA, a cappella with piano reduction for rehearsal only. Text in Latin
with English translation. Adaptation of Benedictus from Missa O admirabile
commerium.

D0467 Woodworth, G. Wallace, ed. Sanctus and Osanna. Harvard-Radcliffe Choral

Music series no.9809. New York: G. Schirmer, 1949.
SSAATB, a cappella with piano reduction for rehearsal only. Text in
Latin with English tr anslation. Adaptation of Sanctus and Osanna from
Missa O admirabile commercium.

D0468 Woodworth, G. Wallace, ed. Stabat Mater. Harvard-Radcliffe Choral Music

series no.9811. New York: G. Schirmer, 1949.
SATB SATB, a cappella with piano reduction for rehearsal only. Text in
Latin with English translation.

D0469 Woodworth, G. Wallace, ed. Supplicationes. Harv ard-Radcliffe Choral

Music series no.9798. New York: G. Schirmer, 1949.
TTBB, a cappella with piano reduction for rehearsal only. Arrangement
of excerpts from the Litaniae liber secundus.
252 Giovanni Pierluigi da Palestrina
00470 Zanon-Vené, ed. Corporis mysterium. Sacrament of Priceless Worth. New
York: G. Ricordi, 1957. 7pp.
SATB, a cappella; hymn arranged as motet. Latin text from Pange lin-
gua; English tran slation by Harold Heiberg.

00471 Zanon-Vené, ed. Gaude Barbara. O Sing Joyfully. New York: G. Ricordi,
1957. 9pp.
SSAA, a cappella; motet, Latin text; English translation by Harold
Heiberg.

D0472 Zanon-Vené, ed. Salvete flores martyrum. Descend, Thou Heavn'ly Dove.
New York: G. Ricordi, 1957. 7pp.
SATB, a cappella; hymn arranged as motet. Latin text; English transla-
tion by Harold Heiberg.

D0473 Zanon-Vené, ed. Veni sponsa Christi. The Crown Eternal. New York: G.
Ricordi, 1957.
SATB, a cappella; motet. La ti n text. English tr anslation by Harold
Heiberg.

D0474 Zipper, Herbe rt , ed. Palestrina. Missa Iste Confessor. SATB a cappella.
A rt hur Jordan Conservatory of Music Choral Series 16. New York: Edward
B. Marks Music Corp., 1949.46pp.
SATB, keyboard reduction for rehearsal; Latin text. Prefatory notes on
sources, particulars of edition, and editorial policy.
 Chapter 6
Bibliography of Secondary Literature

I. General Background, History, and Contemporaries

E0001 Abbiati, Franco. Storia della Musica. 3rd ed. Milan: Garzanti, 1967. 3 vols.
ML 160.A224.
In vol 1 of this general history, Dalle origini al Cinquecento, pp.424-463
address the state of church music, the Council of Trent an d the Counter-
Reformation, and the music of Palestrina and his contemporaries. This sec-
tion also contains a color plate with a po rtrait of the composer an d a facsim-
ile page from the Lateran 59 autograph. In the second edition, comparative
coverage is found in vol 1, pp.491-518, with more extensive illus tr ations.

E0002 Abraham, Gerald, ed. The New Oxford History of Music. Vol 4: The Age of
London: Oxford, 1968. ML60.N44. vol 4.
Humanism 1540-1630.
See pp. 312-371, the chapter by Hen ry Coates and Gerald Abraham enti-
tled "Latin Church Music on the Continent. 2. The Perfection of the A Cap-
pella Style," which discusses the style of Palestrina and his contemporaries
Lasso, de Monte, and others, and provides a good style overview by genre.

E0003 Agee, Richard John. "The Privilege and Venetian Music Printing in the 16th
Century." Ph.D. disse rt ation, P ri nceton, 1982. 401 pp. [43/07A, p.2147
DEU82-28188].
Documents by means of an examination of archival documents the terms
under which various sixteenth-century Venetian firms were licensed to print
music publications. Demonstrates that licensing was an evolving process in
which the nature and circumstances of a privilege changed over time.

E0004 Agee, Richard J. "The Venetian Privilege an d Music-Printing in the Six-

teenth Century." Early Music History 3 (1983): 1-42.
Distilled from the author's Ph.D. thesis; see preceding item.

E0005 Ambros, August Wilhelm. Geschichte der Musik. Breslau and Leipzig: Bre-
itkopf und Hartel, 1862-1882. 5 vols. [vol 1, 1862; vol 2, 1864; vol 3, 1868;
vol 4, 1878; vol5, 1882]. ML160.A56.1887.
Volume 4 of this work, perhaps the last multivolume general history of
music authored by a single person, deals with Palestrina and the Rom an
school. See also E0065 for Italian translation of the materialPalestrina
on by
Giovanni Insom (ed. Lino Bianchi).

E0006 Atlas, Allan. Renaissance Music: Music in Western Europe, 1400-1600. The
No rt on Introduction to Music History series. New York: No rt on, 1998. ISBN
0-393-97169-4. ML172.A84.1998.
254 Giovanni Pierluigi da Palestrina
A fine recent period history directed to serious students and early music
specialists, with an unfolding of developments in style over two centu ri es
and an interesting historiographical method. In chapter 37, "The Counter-
Reformation in Italy an d Spain," pp.580-605 devote particular attention to
Palest ri na and the genres in which he composed. An exceptional amount of
judiciously chosen source documents, style examination, an d reception his-
tory in the space allowed.

E0007 Bi umker, Wilhelm. "Die polyphone Musik auf dem Concile von Tri ent,
sess. XXII" Monatshefte für Musikgeschichte 9 (1877): 123-125, 147-148.
Mainly provides text (in Latin, with parallel German translation) of the
eighth canon debated during the twenty-second session of the Council of
Trent on September 10, 1562.

E0008 Beck, Hermann. "Das Konzil von Trient und die Probleme der Kirchen-
musik." Kirchenmusikalisches Jahrbuch 48 (1964): 108 117.-

A more-than-usually careful examination of the T ri dentine conciliar dec-

retals and debate on the question of the place of music in the Roman liturgy,
as well as the subsequent history of this debate in church thought and disci-
pline, an d its effects on Italian church music generally.

E0009 Bernstein, Jane. "Financial Arrangements and the Role of Printer and Com-
poser in Sixteenth-Century Italian Music Printing." Acta Musicologica 63
(1991): 39-56.
Examination of the economic effects of the sixteenth-century music pub-
lishing industry on printers and composers, focused mainly on the period
1540 to 1580. Discusses issues of marketability and funding, describing how
independent production, partnerships, commissions, and patronage were
used in financing editions. Notes that composers clearly found advantages in
publication, both in terms of financial return an d in the accurate transmis-
sion of their works.

E0010 Brown, Howard Mayer, and Louise K. Stein. Music in the Renaissance. 2nd
ed. Prentice Hall History of Music Series 2. Englewood Cliffs, NJ: Prentice-
Hall, 1999. ISBN 0-134-00045-5. ML172.B86.1999.
An excellent introduction to musical style in the fifteenth and sixteenth
centu ri es. Chapters 10 an d 11 (pp. 273-329) address the Council of Trent
an d provide clear and elegant examinations of the styles of Palestrina, Lasso,
Victo ri a, and Byrd. Chapters contain judicious sho rt bibliographies.

E0011 Casimiri, Raffaele. "Annibale Zoilo (1540?-1592) e la sua famiglia. Nuovi

documenti biografici." Note d'Archivio 17 (1940): 1-25.
Biographical material about the younger contemporary with whom
Palestrina undertook the emendation of the Rom an Gradual beginning in
1577. Contains appendix of Italian and Latin documents.

E0012 Casimiri, Raffaele. "I `Diarii sistini: " Note d'Archivio 1 (1924): 85-99,
149-162,267-274; 3 (1926): 1-16,169-192,257-272; 4 (1927): 256-266; 9
Bibliography of Secondary Literature 255

(1932): 53-60, 150-159, 260-266; 10 (1933): 45-57, 149-164, 261-276,

326-343; 11 (1934): 76-92, 300-315; 12 (1935): 55-70, 126-141, 249-264;
13 (1936): 59-76, 147-156, 201-214; 14 (1937): 19-33, 73-88, 128-143,
298-313; 15 (1938): 281-287; 16 (1939): 74-99; 17 (1940): 65-71.
Older but still useful transcription of Sistine diary entries for the years
1535 to 1560.

E0013 Casimiri, Raffaele. " D isciplina musicae' e `maestri di capella' dopo il Con-
cilio di Trento nei maggiori istituti ecclesiastici di Roma: Seminario
romano Collegio germanico—Collegio inglese (secoli XVI-XVII)." Note
d'Archivio 12 (1935): 1-26, 73-81; 15 (1938): 1-14, 49-64, 97-112,
145-156, 225-247; 16 (1939): 1-9; 19 (1942): 102-109, 159-168; 20
(1943): 1-17.
An early documentary study of three selected Roman seminaries in the
sixteenth and seventeenth centu ries. Contains details of musical organiza-
tion, descriptions of duties, and numerous biographical notices of maestri,
students, and musicians. Vols 12 and 15 in particular contain details of activ-
ities of musicians in Palestrina's orbit. Casimiri referred the reader to his
1922 documentary biography for amplification of remarks on Palestrina, the
first maestro di cappella of the Roman Seminary (1566-1571).

E0014 Casimiri, Raffaele. "Firmin Le Bel di Noyon, maestro in Roma di Giovanni

Pierluigi da Palestrina." Note d'Archivio 1 (1924): 64-77.
Documentary sources for Firmin, who, as maestro di cappella at Santa
Maria Maggiore in 1540, had the juvenile Palestrina among his choristers.
Includes transcription of Firmin's 6-voice motet Puer natus est.

E0015 Casimiri, Raffaele. " `Il Vittoria': nuovi documenti per una biografia sincera
di Tommaso Ludovico de Victoria." Note d'Archivio 11 (1934): 111-197.
Biographical study of Palestrina's notable contemporary, with a large
quantity of documentary material, 23 items of which are reproduced.
Derides in passing the description of Victoria as "the ape of Palestrina,"
asserting the distinctive qualities and Hispanic roots of Victoria's personal
style.

E0016 The Catholic Encyclopedia. New York: The Encyclopedia Press,

1907-1954. 16 vols. Supplement. New York: The Gilmary Society,
1922-1951.2 vols. BX841.C3.
Reference work addressing Catholic thought, history, liturgy, practices,
and personalities for the educated layperson, with a clear post-T ridentine
(and pre-Vatican II) perspective. Useful for explanations of liturgical termi-
nology, organization, and practices relevant to Palestrina's religious music.
See also item E0042.

E0017 Ceremoniale Episcoparum lussu Clementis VIII. Pont. Max. nouissimi refor-
matum. Omnibus Ecclesiis; praecipue autem Metropolitanis Cathedralibus,
& Collegiatus perutile, ac necessarium. Rome, 1600; Rome: Lepido Fatij,
1606.
256 Giovanni Pierluigi da Palestrina
Manual of liturgical ceremonial, procedure, and performance practice
issued during the reign of the last pope for whom Palestrina worked.

E0018 Culley, Thomas D. Jesuits and Music. I. A Study of the Musicians Connected
with the German College in Rome during the Seventeenth Century and of
Their Activities in Northern Europe. Rome: Jesuit Historical Institute, 1970.
ML 3033.8.R6C8. vol 1.
Provides valuable information on the manner in which many sixteenth-
and seventeenth-century church musicians were educated in Rome, includ-
ing many younger contemporaries and disciples of Palest ri na. Also suggests
what repertories of music were used in contemporary liturgical ceremonies
and how, as well as some avenues through which the polyphonic style of the
Roman school was disseminated outside Italy.

E0019 Cusick, Suzanne Ge rtru de. "Valerio Dorico: Music Printer in Sixteenth Cen-
tury Rome?' Ph.D. disse rt ation, University of North Carolina at Chapel Hill,
1975. [36/10A, p.6359 DDJ76-092311 Pub. as Valerio Dorico: Music
Printer in Sixteenth Century Rome. Studies in musicology 43. Ann Arbor:
UMI Research Press, 1981. ISBN 0-8357-1173-0. ML427.D7C9.
Discusses in detail the printing an d editorial practices of the publisher
responsible for over half the music printed in Rome ca. 1550 to 1580. Dorico
published most of Palestrina's prints through 1572. In practice this tipografo
gave composers considerable legal and editorial authority over the process
of printing their own works, and music published by him has a reasonable
claim to be authoritative text. Bibliographical catalog included.

E0020 Damilano, Piero. "Liturgia e musica nell' epoca palestriniana." Atti del Con-
vegno di Studi Palestriniani. 28 settembre-2 ottobre 1975, ed. Francesco
Luisi. Palestrina: Fondazione Giovanni Pierluigi da Palestrina, 1977.
ML410.P 15C77.1975. pp. 313-325.
Enumerates some of the perceived abuses present in mid-sixteenth cen-
tury Roman liturgies and describes the revision of Roman se rv ice books ca.
1570 to 1615. Indicates general directives for reform an d their implications
for Palestrina's production, especially regarding polyphonic style, choice of
text propers for setting, and his cultivation of recently approved texts,
notably ce rt ain lit an ies.

E0021 Fellerer, Karl Gustay. "Ausdruck and Kl ang in der Kirchenmusik um 1600."
Kirchenmusikalisches Jahrbuch 65 (1981): 31-44.
Discussion of the increasing verticality of harmonic conception in church
music generally, which is traced through both theoretical and practical
source readings that deal with the relationship of counterpoint an d harmony,
dating from the second half of the sixteenth century. Notes that new an d
expressive possibilities were also being realized ca. 1600 through chromati-
cally colored writing, which was not inconsistent with the goals of church
music provided that declamatory needs were met.

E0022 Fellerer, Karl Gustay. "Church Music and the Council of Trent." Musical
Quarterly 39 (1953): 576-594.
Bibliography of Secondary Literature 257

Reviews writings and activities concerned with the reform of church

music in the early and mid-sixteenth century. Notes that there is a recurrent
emphasis on the intelligibility of text and on a spiritual attitude in the com-
poser, rather than on specifically stylistic issues. Argues that the ideal from
the church's perspective was an amalgam of the new spiritual principles with
a polyphonic/harmonic compromise of texture with correct text declama-
tion. Points out that many of the younger generation would in fact see the
mandates of the council realized in monodic genres; but the demand for
intelligibility also affected conce rt ante music and even plainchant itself. The
council issued little in the way of decrees, but it did mark out a path of devel-
opment by offering the spi ri tual foundation for reform.

E0023 Fellerer, Karl Gustav, ed. Geschichte der katholischen Kirchenmusik. Kas-
sel: Brenreiter, 1972-1976. 2 vols. ISBN 3-7618-0225-0.
ML3002.F43.1972.
Vol 2, Die Kirchenmusik vom Tridentinum bis zur Vaticanum II, pp.7 71, -

contains a series of seven a rt icles by various authors constituting an

overview of varieties and developments in church music in the T ri dentine
and immediate post-Tri dentine period. Includes a discussion of Palestrina
and numerous contemporaries, as well as a bibliography.

E0024 Fenlon, Iain. "Patronage, Music and Liturgy in Renaissance Mantua." In

Plainsong in the Age of Polyphony. Cambridge: Camb ri dge, 1992. ISBN
0-521-40160-7. ML178.P6.1992t. pp. 209-235.
Studies the new liturgical foundation of S. Barbara in Mantua an d the
interests which underlay Duke Guglielmo Gongaza's creation of this musi-
coliturgical complex. In it the duke sought to bring together traditions of
plainsong and polyphony for political and social, as well as religious, pur-
poses. Palestri na had an impo rt ant working relationship with this foundation
from 1568 to 1587 through the patronage of the duke and the music he wrote
for the Santa Barbara liturgy.

E0025 Fenlon, Iain, ed. The Renaissance from the 1470s to the End of the Sixteenth
Century. Man an d Music. Englewood Cliffs, NJ: Prentice-Hall, 1989. ISBN
0-13-773409-3. ML172.R6.1989t.
Presented as a series of detailed and very interesting a rt icles designed to
indicate together the contexts and sociointellectual forces that shaped the
development of musical genres in this period. In addition to Fenlon's intro-
ductory essay on music and humanistic society, the book examines musical
life in major Western European cultural centres. See Christopher Reynolds
on Rome, item E0050.

E0026 Finscher, Ludwig, ed. Die Musik des 15. und 16. Jahrhunderts. Neues Hand-
buch der Musikwissenschaft 3.. ed. Carl Dahlhaus. Laaber: Laaber,
1989-1990.2 vols. ISBN 3-89007Ø3-4. ML172.M88.1989-90.
Vol 2, chapters 2-5 are style-cultural histories of the mass, motet, an d
liturgical Gebrauchsmusik in the sixteenth century, with special attention to
Palestrina pp.246-252, and many mentions passim in the discussion of
issues of style.
258 Giovanni Pierluigi da Palestrina
E0027 Gaspari, Gaetano et al. Bologna. Conservatorio di musica "G.B. Ma rt ini."
Biblioteca. Catalogo della biblioteca del Liceo musicale di Bologna.
Bologna, Libreria Romagnoli dall'Acqua, 1890-1893. Vol 4 has imprint:
Bologna: Fratelli Merliani; vol 5 has imprint Bologna: Azzoguidi.
ML136.B6L6.
A great store of information about early printed music an d manuscript
items pertaining to Palestrina (and many others), this is the catalog of the
great collection located in what is now known as the Civico Museo Bibli-
ografico Musicale, Bologna. In addition to valuable desc ri ptions of individ-
ual items, Gaspari also frequently transcribes prefatory material which con-
veys much primary information on music of the sixteenth through
eighteenth centu ries.

E0028 Georgiades, Thrasybulos. Musik und Sprache. Berlin: Springer, 1954; Music
and Language: the Rise of Western Music as Exemplified in Settings of the
Mass, trans. Marie Louise GSllner. Camb ri dge, UK: Camb ri dge, 1982.
139pp. ISBN 0-521-29902-0. ML3849.G43.1982.
A study of the history of musical accentuation of text, with a section on
Palestrina.

E0029 Grout, Donald Jay, and Claude V. Palisca. A History of Western Music. 5th
edition. New York: W.W. Norton, 1996. ISBN 0-393-96904-5.
ML160.G87.1996.
Chapter 8 of this well-known history, "Church Music of the Late Renais-
sance an d Reformation" (pp.239-267), contains an introduction to the music
of Palestrina (pp.250-256), including a look at the Missa Papae Marcelli, as
well as sho rt studies of his great contemporaries Victo ri a, Lasso, and Byrd.

E0030 Haberl, Ferdinand. "Jacobus de Kerle e le sue Preces speciales per il Con-
cilio di Trento." Quadrivium 7 (1966): 31-38.
Describes the interactions of the Roman cardinals Vitelli an d Borromeo
with cardinal Truchsess von Waldburg, the employer of Jacobus de Kerle.
Contains an analytical discussion of the music of the Preces.

E0031 Hayburn, Robe rt F. Papal Legislation on Sacred Music 95 A.D. to 1977 A.D.
Collegeville, MN: Liturgical Press, 1979. ISBN 0-814-61012-5.
ML3002.H43.
Contains English translation of texts of encyclicals an d directives relating
to purposes, uses, and kinds of liturgical music, as well as to the manage-
ment, discipline, an d privileges of church musicians and musical establish-
ments. Arranged in chronological order by papal reign.

E0032 Hermelink, Siegfri ed. Dispositiones Modorum. Die Tonarten in der Musik
Palestrinas und seiner Zeitgenossen. Münchener Veroffentlichungen zur
Musikgeschichte 4. Tutzing: Schneider, 1960. ML3811.H4.
A study of the nature an d use of modality in the sixteenth century, with
Palestrina's music as a primary focus but encompassing that of numerous
other composers. Derived from the structures of plainchant, based on exami-
Bibliography of Secondary Literature 259
nation of octave species and transpositions, twenty scales are demonstrated
to be used in polyphony of the period.

E0033 Hucke, Helmut. "Die rdmische-katholische Kirche." In Religiose Author-

itciten und Musik, ed. Dorothea Baumann and Kurt von Fischer. Kassel: J.
Stauda, 1984. 136pp. ISBN 3-798-2017-9. ML36.R45.1984. pp. 24-46.
Historical overview of conciliar decretals and papal documentary state-
ments dating from ca. 600 to the Second Vatican Council regarding the
nature and role of music used in the Roman Catholic liturgy.

E0034 Leichtentritt, Hugo. "The Reform of Trent and Its Effect on Music." Musical
Quarterly 30 (1944): 319-328.
Examines some of the music specially composed in response to issues
debated by the Council of Trent, notably Kerle's Preces speciales, as well as
reviewing motets by Vincenzo Ruffo, Francesco Rosselli, and Don Fernando
de las Infantas. Notes that in point of fact these composers modified their
stylistic manners more significantly to meet the newly affirmed qualities for
optimal church music than Palestrina did.

E0035 Lockwood, Lewis. The Counter-Reformation and the Masses of Vincenzo

Ruffo. Studi di Musica Veneta 2. Venice: Fondazione Cini, 1970. ML
410.R898.L6.
In addition to being the principal study of Ruffo's music and activities,
this is a valuable study of the environment of church music in Italy ca. 1540
to 1580 for Ruffo and his contemporaries and contains careful assessment
and use of documentary sources. Indicates that provided the Tridentine man-
date to respect the decorum and audibility of the liturgical text was observed,
there was a greater range of and toleration for stylistic diversity and experi-
mentation in music than had been previously realized.

E0036 Lockwood, Lewis. "Some Obse rvations on the Commission of Cardinals

and the Reform of Sacred Music." Quadrivium 7 (1966): 39-55.
A clearheaded reevaluation of the connection of the Commission of Car-
dinals with the "reform" of sacred polyphonic composition. Reviews evi-
dence that the careful and objective Karl Weinmann did not have on this
matter [Das Konzil von Trent and die Kirchenmusik, Leipzig 1919] that sug-
gests there may have been some real interest on the pa rt of some of the com-
mission members in banning polyphony, as one had in fact briefly done so in
his own diocesan cathedral in the 1530s. Also indicates some of the possible
reactions by cardinals Vitelli and (in greater depth) Borromeo to the "try-
outs" of "intelligible" music in 1565.

E0037 Lockwood, Lewis. "Vincenzo Ruffo and Musical Reform after the Council
of Trent." Musical Quarterly 43 (1957): 342-371.
Insightfully examines two separate but related phases toward church
music reform beginning around 1560: various opinions regarding the merits
and usefulness of polyphony, and individual searches for an appropriate
sacred music. Traces in particular Carlo Borromeo's association with Ruffo
260 Giovanni Pierluigi da Palestrina

and others, and indicates the nature of some of their musical experiments.
Notes the extraordinary flexibility in Ruffo's own stylistic stance, which, it
is suggested, enabled him to embrace reform ideals (as exemplified in musi-
cal styles) to a radical degree. Concludes with an assessment of Ruffo in the
context of his contemporaries, notably Palest ri na.

E0038 Lightbourne, Ruth. "A Roman Procession (1583)." In Liber Amicorum John
Steele. A Musicological Tribute, ed. Warren Drake. Festschrift series 16.
Stuyvesant, NY: Pendragon, 1997. ISBN 0-945-19380-7. ML55.S82.1997.
pp. 117-138.
Detailed study of a Corpus Ch ri sti procession based on a lengthy diary
entry by the rector of the German College in Rome, Michele Lauretano.
Addresses the scope and impo rt ance, pageantry, an d musical practices of
these significant devotional and social events. Includes full Italian transcrip-
tion of the diary entry on which th e a rticle is based.

E0039 Ludwig, Peter. Studien zum Motettenschaffen der Schuler Palestrinas. Kdl-
ner Beitrüge zur Musikforschung 143. Regensburg: Bosse, 1986. ISBN
3-764-9231-2. ML1403.L83.1986.
A review of repertory by younger Roman contemporaries of Palest rina,
indicating some of the stylistic directions in which sacred-style composition
was moving in the years between about 1580 and 1620.

E0040 Meier, Bernhard. Die Tonarten der klassischen Vokalpolyphonie. Wesen und
Bedeutung. Utrecht: Oostheck, Scheltema an d Holkema, 1974. ISBN
90-313-0009-8. ML.3811.M43; The Modes of Classical Vocal Polyphony
Described According to the Sources. With Revisions by the Author, trans.
Ellen S. Beebe. New York: Broude Bro th ers, 1988. ISBN 0-8450-7025-8.
ML3811.M4313.1988.
Magisterial study of th e behavior of modal types, melody, and cadence
structures found in classical polyphony. Presents an influential method for
modal analysis of Renaissance compositions, based on immersion in the
writings an d terminology of fifteenth- an d sixteenth-century theorists an d a
powerful grasp of the relationships among modality, structure, and expres-
sion. To her well-informed translation of Meier's sometimes difficult prose,
Beebe has added corrections and an index of musical examples.

E0041 Mercati, Angelo. "Melchiorre Major, l'autore del vibrante necrologio di

Giovanni Pierluigi da Palestrina." Note d'Archivio 1 (1924): 57-63.
Traces Lorraine-born clerk (1539 to after 1614) associated with th e con-
fraternity of SS. Nicola e Caterina and the church of S. Luigi dei Francesi,
who wrote a eulogy of Palestrina that is important evidence for his date of
birth as well as a record of his death an d burial.

E0042 The New Catholic Encyclopedia. New York: McGraw-Hill, 1967. 15 vols.
Supplement 1967-1974 (vol 16). New York: McGraw-Hill, 1974. Supple-
ment: Change in the Church (vol 17). ISBN 0-070-10235—X.
BX841.N44.1967.
Bibliography of Secondary Literature 261
Younger version of The Catholic Encyclopedia is less close to the post-
Tridentine mentality but evidently compiled with a more liberal an d objec-
tive critical attitude.

E0043 O'Regan, Noel. "Processions and Their Music in Post-T ri dentine Rome."
Recercar 4 (1992): 45-80.
Examination of the role and scope of music in Rome in processions
around 1575 to 1600. Holy Thursday, St. Mark's Day, the Corpus Ch ri sti,
and other processions are described in detail. Archival and source evidence
indicates that writing and directing music for these events were impo rt ant
activities of the period. The music covered a broad range of chant, alternatim
settings, falsobordone, an d more complex polyphony. It is often difficult to
say exactly what music was used an d how it was performed in a specific
instance, but informed reconstructions of processional activity can be made.

E0044 O'Regan, Noel. "Music at the Roman Archiconfraternity of S an Rocco in

the Late Sixteenth Century." In La musica a Roma attraverso le fonti
d'archivio: atti del convegno internazionale, Roma 4-7 giugno 1992, ed.
Bianca Ma ri a Antolini, Arnaldo Morelli, and Vera Vita Spagnuolo. Lucca:
Libreria Italiana Musicale, 1994. ISBN 8-870-96050-1.
ML290.8.R79M94.1994X. pp. 521-552.
An excellently documented study of the musical regulation and activities
of a major Rom an confraternity during the last third of the sixteenth century.

E0045 Pastor, Ludwig von. Geschichte der Piipste seit dem Ausgang des Mittelal-
ters.... Freiburg im Breisgau, 1866-1938; History of the Popes from the
Close of the Middle Ages: Drawn from the Secret Archives of the Vatican and
Other Original Sources. London: Routledge & Kegan Paul, 1894-1961 [var-
ious publishers]. 40 vols. BX955.P35.
A central source for the history of the papacy, providing some of the
essential background to Palestrina's professional and social environment.

E0046 Perkins, Leeman L. Music in the Age of the Renaissance. New York: No rt on,
1999. 1147pp. ISBN 0-393-04608-7. ML172.P47.1999.
A history of genre and style of great breadth. The p ri ncipal material on
Palestrina (pp.871-897) in Chapter 25, "The Final Synthesis," is offered as
illustration of "the continuities of tradition through more than a century and
a half [of previous music history] and the relative coherence of the stylistic
developments associated with it" [p.870]. Palestrina is understood to be at
once representative of his age and exceptional for his individual creative
gifts and the magnitude of his recognition by his contemporaries and poster-
ity. Discussion of music is organized by stylistic genre.

E0047 Pirrotta, Nino, and Giuliana Gialdroni, eds. /Musici di Roma e il Madrigale:
Dolci Affetti (1582) e Le Gioie (1589). L' arte Armonica/Musica Palatina 1.
Rome: Accademia Nazionale di Santa Cecilia/Libreria Musicale Italiana,
1993. 186 pp. ISBN 88-7096-089-7.
A study and edition of two impo rt ant mad ri gal collections to which the
262 Giovanni Pierluigi da Palestrina
most famous composers active in Rome in the second half of the sixteenth
century, including Palestrina, contributed. Introduction examines social
background of the publications, noting that all contributors were members of
the "Compagnia dei Musici di Roma," and that the patrons were noted as
instrumental in the expansion of sacred music in this period.

E0048 Quadflieg, Jakob. "Über Textunterlage and Textbehandlung in kirchlichen

Vokalwerke." Kirchenmusikalisches Jahrbuch 8 (1903): 95-138.
A detailed discussion of the problems encountered in interpreting and
preparing text underlay for modern editions from pre-1600 musical sources,
including ten "rules" for general procedure. Quadflieg was a major editor
involved in early music publications (especially of Palest rina) issued around
1900 to 1910 by Breitkopf and Hârtel, and had much opportunity to formu-
late his ideas. Also interesting in a slightly different context when it is
remembered that questions of underlay and declamation in the "Haberl" edi-
tion were among those challenged by Casimiri.

E0049 Reese, Gustave. Music in the Renaissance. Rev. ed. New York: W. W. Nor-
ton, 1959. ISBN 0-393-09530-4. ML172.R42.1959.
This vast bibliographical study of music from 1400 to 1600 is still a valu-
able guide to scholarship before 1960. Chapter 9, "Sacred Vocal Music of
the Late Renaissance" (pp.448-518), contains an overview of the Council of
Trent and a survey of the music of Palestrina and a number of his important
contemporaries in Rome and elsewhere. Discussion (pp.452-481) of Palest-
rina's background, biography, historical and stylistic position, and a general
examination of his motets and masses, including numerous musical exam-
ples and work lists.

E0050 Reynolds, Christopher. "Rome: a City of Rich Contrast." In The Renais-

sance from the 1470s to the End of the 16th Century, ed. Iain Fenlon. Man
and Music series. Englewood Cliffs, NJ: Prentice-Hall, 1989. ISBN
0-333-47261-6. ML172.R46.1989. pp. 63-101.
A detailed and valuable study of musical culture and institutions in Rome
in this period.

E0051 Roche, Jerome. North Italian Church Music in the Age of Monteverdi.
Oxford: Clarendon, 1984. ISBN 0-193-16118.4. ML2933.R6.1984.
Insightful study of the genres, uses, and dissemination of church music in
the last years of Palestrina's life and shortly after his death. Indicates general
stylistic tendencies in this period with implications for the composer's later
compositions. Indicates that an ongoing major use of his smaller-scale a cap-
pella music might have been for ferial observance in the larger foundations.

E0052 Rostirolla, Giancarlo. "La Cappella Giulia in San Pie o negli

tr anni del mag-
istero di Giovanni Pierluigi da Palestrina." In Atti del Convegno di Studi
Palestriniani. 28 settembre-2 ottobre 1975, ed. Francesco Luisi. Palestrina:
Fondazione Giovanni Pierluigi da Palestrina, 1977. ML410.P15C77.1975.
pp. 99-283.
Bibliography of Secondary Literature 263
An extensive study of the organization, operations and liturgical duties,
financial situation, and personnel of the Cappella Giulia for the years 1551
to 1554 and 1571 to 1594, based on archival documents. Conveys a strong
sense of the chapel's working ambience during Palestrina's years there. Doc-
ument transc ri ptions, tabulated personnel rosters, many individual biogra-
phies included.

E0053 Schaefer, Edward. `A Reexamination of Palestrina's Role in the Catholic

Reformation." Choral Journal 35.1 (1994): 19-25.
Main interest here is in excerpts from contributors to the debate on
church music reform in the years 1543 to 1563: bishop of Vienne Fridericus
Blancicampianus, Emperor Ferdinand I; also specific T ridentine minutes.

E0054 Sherr, Richard. "Competence an d Incompetence in the Papal Choir in the

Age of Palestrina." Early Music 22 (1994): 607-629.
Traces fluctuating size and levels of overall vocal competence in the Sis-
tine choir from around 1550 to 1580. Documents subversion of constitu-
tional practices, in that certain singers were admitted without audition: some
were pa tronage appointments of unqualified persons imposed by papal
authority; some were admitted due to skill in composition although their
voices were judged inadequate (including Palest ri na). Other singers were
older or ill, with probable effects on performance sound. Deduces that there
was therefore often a substantial minority of voices unequal to producing the
loud and full sonority considered ideal for a cappella singing.

E0055 Sherr, Richard. "From the Diary of a Sixteenth-Century Papal Singer." Cur-
rent Musicology 25 (1978): 83-98.
Examines the diaries and accounts of Giovanni Antonio Merlo, a singer
in the papal chapel from 1551 to 1588. A source of documentation for chapel
activities, hirings, fines, an d internal disputes, the diary also contains notes
on works that were apparently pa rt of the repertory of the chapel in the later
1560s.

E0056 Sherr, Richard. `A Letter from Paolo Animuccia: A Composer's Response to

the Council of Trent." Early Music 12 (1984): 74-77.
Examines an autograph letter dated 1566 by the brother of Giovanni Ani-
muccia. It intimates the practical way in which Paolo understood reactions
in Rome to the events of the Council of Trent, and how he offered to under-
take the composition of polyphony for the papal chapel in the "reformed"
style. A rare item that not only documents a rather enterprising job search,
but also indicates the personal sensitivity of a renaissance composer to con-
temporary currents in music.

E0057 Stinger, Charles. The Renaissance in Rome. Bloomington, IN: Indi an a Uni-
versity Press, 1985. DG812.1.S75.1985; 2nd ed. with new preface 1998.
ISBN 0-253-33491-8.472 pp.
An outstanding study of Roman intellectual and cultural life from the
reign of Eugenius IV to that of Clement VII (1443-1527).
264 Giovanni Pierluigi da Palestrina

E0058 Strunk, Oliver. "Some Motet-Types of the Sixteenth Century." In Proceed-

ings of the American Musicological Society, 1939, pp.155 et seq.; repr. in
Essays on Music in the Western World. New York: Norton, 1974. ISBN
0-393-02178-5. ML60.S862.E8. pp. 108-113.
An older comprehensive review of the motet genre in the sixteenth cen-
tury in order to define the general character and the extent of the relationship
between liturgical situation and musical style.

E0059 Ursprung, Otto. Jacobus de Kerle. Sein Leben und Werk. Dissertation,
Munich: J. Heldwein, 1913. 115pp. ML410.K38U8.1913a.
A study of the composer of the Preces speciales for the Council of Trent.
Notable for publishing correspondence concerning the exchanges of church
polyphony between Cardinals Vitelli and Borromeo and the German cou rt at
Munich in the early 1560s.

E0060 Vita Spagnuolo, Vera. "Gli atti notarili dell'Archivio di Stato di Roma. Sag-
gio di spoglio sistematico: l' an no 1590." In La musica a Roma attraverso le
fonti d'archivio: Atti del convegno internazionale, Roma 4-7 giugno 1992,
ed. Bianca Maria Antolini, Arnaldo Morelli and Vera Vita Spagnuolo. Lucca:
Libreria Italiana Musicale, 1994. ISBN 88-709-6050-1.
ML290.8.R79M94.1994X. pp. 521-552.
Emphasizes the wealth of documentary evidence to be derived from the
systematic examination of notarized papers—payment statements, property
payments, transfers and inventories, wedding contracts, and wills, for exam-
ple—in the Archivio di Stato in Rome. As a case study, it lists abundant
notices for Roman musicians, inst rument makers, music printers, and pub-
lishers for one year (1590).

E0061 Weber, Edith. Le Concile de Trente et la Musique de la Réforme et la Con-

tre-Réforme. Musique-Musicologie 12. Collection ed. Danièle Pistone.
Paris: Champion, 1982. 301pp. ISSN 0-398-259-9. ML3003.W3.
Presents multidisciplinary documentary material on the Council of Trent
and church music in an extended-outline format. Addresses the dissemina-
tion of the Protest ant Reformation; the Council of Trent and its response to
the Roman Church crisis (especially the 22nd and 24th sessions); the Com-
mission of Cardinals and the reform of liturgical books, the Congregation of
Rites and the actions of provincial synods. Dedicated section deals with
issues of church music in this historical phrase, with its national and reli-
gious "schools," its genres and formal procedures, and the aesthetics of Tri-
dentine music generally.

E0062 Weinmann, Karl. Geschichte der Kirchenmusik. Regensburg: Friedrich

Pustet, 1910; History of Church Music. Regensburg: Friedrich Pustet, 1910
[Facs. repr. of translated edition Westport, CT: Greenwood Press, 1979.
ISBN 0-8371-4363-2. ML3002.W34.1979].
Older but respected sho rtgeneral history of church music, informed by
late Cecilian interests but also grounded in research current at the period of
writing. Palestrina and the Roman school addressed on pp.108-129.
Bibliography of Secondary Literature 265
E0063 Weinmann, Karl. Das Konzil von Trent and die Kirchenmusik. Leipzig: Bre-
itkopf and Hàrtel, 1919. [Facs. repr. Hildesheim: Georg Olms, 1980. ISBN
3-487-07006-5. ML3003.W451919a].
Probably the best work to address this issue up to its time, and still valu-
able. Weinmann rejected the myth of the origins of the Missa Papae Mar-
celli; although the council had condemned the admixture of secular elements
with sacred music, it had not actually made a decision to ban polyphony. He
also examined the activities of the persons associated with the Commission
of Cardinals of 1564 to 1565, notably cardinals Vitelli and Borromeo. Notes
that the interest of the cardinals was primarily in promoting an ideal of text
clarity, rather than a "reform" of church music or the superimposition of any
particular compositional style per se.

E0064 Winterfeld, Carl von. Johannes Gabrieli und sein Zeitalter. Berlin, 1834. 3
vols. [Facs. repr. Hildesheim: Georg Olms, 1965. ML290.2.V4.W7.1965].
Vol 1, pp.194-196 of this pioneering work on the great Venetian com-
poser includes a comparison of Gabrieli's cantus firmus techniques with
those of Palestrina and some of his contemporaries.

II. Biographical Literature

E0065 Ambros, August Wilhelm. "Giovanni Pierluigi da Palestrina. Italian trans.

Giovanni Insom. ed. Lino Bianchi." Nuova Rivista Musicale Italian 30
(1997): 264-322.
Italian tr an slation of the material on Palestrina in vol 4 of Ambros's His-
tory of Music, originally published in 1878. P. 264 is a portrait of the com-
poser. On p. 265 Lino Bianchi offers an introductory note on Ambros, and
the translation by Insom follows.

E0066 d'Amore, Giulio, an d Mari a A. Morabito. "Gli esami di amissione e i con-

corsi per la Cappella Sistina dallo spoglio dei diari dei puntatori
(1545-1607)." In Studi in onore di Giulio Cattin, ed. Francesco Luisi.
Rome: Torre d'Orfeo, 1990. ISBN 88-851-4724-0. ML55.C288.1990. pp.
193-216.
An overview of examination an d admission procedures for the Sistine
Chapel, drawn from the chapel diaries dated 1545-1607.

E0067 Angoff, Charles. Palestrina, Savior of Church Music. New York: Ackerman,
1944.64pp. ML410.P15.A6.
Sho rt general biography.

E0068 Baini, Giuseppe. Memorie storico-critiche della vita e della opera di Gio-
vanni Pierluigi da Palestrina. 2 vols. Rome: Società Tipografica, 1828
[Facs. repr. (lacking frontispiece por trait) Hildesheim: Georg Olms, 19661
ML410.P15.
Although criticized for its inaccuracies of fact, its hagiographical tone,
an d its dearth of actual musical examples at a time when Palestrina's music
in print was relatively scarce, this was nonetheless a pivotal an d immensely
266 Giovanni Pierluigi da Palestrina
influential biography. It was impo rtant in terms of its scope in its conscien-
tious attempt to use the archival and manuscript material to which Baini had
access, its thoughtful (though by some contested) style analysis, and its
appearance during the early flourishing of the Romantic movement. Its
image of the composer is also surprisingly rom antic; it projects him both as
spiritual visionary and solitary struggling genius.

E0069 Bandiera, Luigi, Lino Bianchi, R. Pentrella, and Giancarlo Rostirolla. La

casa di Giovanni Pierluigi da Palestrina: Cronistoria, restauro, prospettiva
di utilizzazione. Ministero per i beni culturali. Palestrina: Fondazione G.
Pierluigi da Palestrina, 1986. 259pp.
Chronicles the history of the house where members of the Pierluigi fam-
ily lived from the early sixteenth century until 1677, and documents its
twentieth-century restoration. Includes architectural plans and many photos
of the restoration process. Repo rts on the organization and activities of the
Palestrina Foundation, which uses the house as its administrative center.
Includes a general Palestrinabibliography compiled by Rostirolla.

E0070 Bandiera, Luigi. "Il Palestrina e la sua città" In Atti del II Convegno Inter-
nazionale di Studi Palestriniani. Anno Europeo della Musica. 3-5 maggio
1986, ed. Lino Bianchi and Giancarlo Rostirolla. Palestrina: Fondazione
Giovanni Pierluigi da Palestrina/Centro di Studi Palestriniani, 1991.
ML410.P15C77.1986. pp. 83-92.
Discusses the socioeconomic, professional, and ecclesiastical placement
of the Pierluigi family in their native city of Palestrina for the period from
1513 to 1677.

E0071 Bandiera, Luigi. "Sulla seconda casa di Giovanni Pierluigi da Palestrina."

Studi Romani 26 (1978): 370-374.
Identifies a house on vicolo del Duomo in Palestrina as a second house
belonging to the Pierluigi family.

E0072 Baumker, Wilhelm. "Einiges über Palestrina." Monatshefte fiir

Musikgeschichte 9 (1877): 219-221.
Review of the evidence for Palestrina's date of birth, in which four points
are presented in suppo rt of the author's contention [not generally accepted]
that the correct date is 1514.

E0073 Bellaigue, Camille "Giovanni Pierluigi da Palestrina." Portraits et silhou-

ettes des musiciens. Paris: Delagrave, 1896.
Contains a short biographical article by a noted French late-nineteenth-
century critic.

E0074 Bertini, Argia. "Palestrina e l'ambiente filippino." In Atti del Convegno di

Studi Palestriniani. 28 settembre-2 ottobre 1975, ed. Francesco Luisi.
Palestrina: Fondazione Giov anni Pierluigi da Palestrina, 1977. ML
410.P15C77.1975. pp. 367-380.
Historical overview of arguments for and against the supposition that
Palestrina was acquainted with S an Filippo Neri. Reviews circumstantial
Bibliography of Secondary Literature 267

evidence and concludes that while their meeting does seem possible, it can-
not be said conclusively that it happened.

E0075 Bertolotti, Antonio. Musici alla code del Gonzaga in Mantova dal secolo
XV al XVIII. Notizie e documenti raccolti negli Archivi Mantovani Mil an ,
1890 [Facs. repr. Biblioteca Musica Bononiensis sec.III no.17. Bologna:
Forni, 1978]. ML107.M29.B3.1969.
Pp. 47-55 print the complete correspondence of Palest ri na with
Guglielmo Gonzaga between 1568 and the duke's death in 1587, as well as
additional diplomatic correspondence dealing with the composer. P. 48 has a
facsimile signature, p. 51 an entire facsimile letter.

E0076 Bianchi, Lino. "Antoine de la Baume ultimo mecenate del Palestrina."

Nuova Rivista Musicale Italiana 26 (1992): 85-90.
Traces the life and some of the activities of the cleric Antoine de la
Baume, the warmly commended dedicatee of Palestrina's Offertoria, the last
work published during the composer's lifetime.

E0077 Bianchi, Lino. "Due nuovi ritratti di Giovanni Pierluigi da Palestrina."

Nuova Rivista Musicale Italiana 20 (1986): ii + 1-5.
Describes two recently located portraits of the composer, both currently
in private collections. One, dated 1566 an d painted on wood, is identified
with the so-called Gorga—de Rensis portrait; the other is in oils on canvas
an d was formerly in the library of the Barberini Palace. Illustrations
included.

E0078 Bianchi, Lino, and Karl Gustav Fellerer. Giovanni Pierluigi da Palestrina.
Turin: ERI (RAI), 1971. 429pp. ML410.P15B5.
This dual volume is authored as follows. Bianchi composed "La vita"
[the biography] (pp.11-255) and "I repertori liturgici e i madrigali profani e
spirituali" [liturgical repertory in genres other than mass and motet, an d the
the secular and spi ritual madrigals] (pp.371-421). Fellerer's cont ribution,
translated into Italian here by Lorenzo Bianconi, deals with "Le messe e i
motetti" (pp.263-370). Fellerer's material reappeared in German in Palest-
rina-Studien, while Bianchi's was amplified into the 1995 biography. The
biographical section of the book contains 24 interesting plates of illustra-
tions, and the book is accompanied by a recording of the Missa Hodie Chris-
tus natus est a 8 and several motets (see Discography, item F0368).

E0079 Bianchi, Lino. Giovanni Pierluigi da Palestrina nella vita, nelle opere, nel
suo tempo. Palestrina: Fondazione Giov an ni Pierluigi da Palestrina, 1995.
945pp. ML410.P15B53.1995X [French trans. Malettra an d Claudine Mela.
Pari s: Fayard, 1994. ISBN 2-213-59253-5. ML410.P15.B514.1994].
This second edition of Bianchi's outstanding study is a massive rework-
ing an d amplication of his po rt ion of the 1971 dual biography with Fellerer,
both in its biographical an d analytical aspects. The opening section ("nella
vita"), to p. 274, contains the most up-to-date and meticulous biographical
documentation of the composer to date in a judicious narrative; pp.281-605
("nelle opere") contain an examination of the sources, styles, an d technical
268 Giovanni Pierluigi da Palestrina
features of the masses; pp.607-788 study the motets; pp.793-907 ("nel suo
tempo") examine not only the madrigals but Palestrina's general publication
history in anthologies and the professional context in which he worked. Rec-
ommended.

E0080 Bianchi, Lino. Guida alla mostra biografica Palestriniana, ed. Lino
Bianchi, design by Marta Daretti. Palestrina (Rome): Fondazione Giovanni
Pierluigi da Palestrina/Centro di Studi Palestriniani, 1994.
ML141.P15P34.1998.
A guide to the exhibition mounted in commemoration of the quatercente-
nary of the composer's death in 1994.

E0081 Bianchi, Lino, and Giancarlo Rostirolla, eds. Iconografia Palestriniana:

Giovanni Pierluigi da Palestrina, ilsuo tempo e la sua fortuna nelle immag-
ini. Arte Armonica: Serie IV, Iconografia e cataloghi 1. Lucca: Libreria
Musicale Italiana, 1994. 300 p. ISBN 88-709-6100-1. ML88.P2412.1995.
With about 300 illustrations and facsimile reproductions, together with
numerous tables, the most extensive iconographic collection on Palestrina
and his world to date.

E0082 Bianchi, Lino. "Il Palestrina."In Musica e Musicisti nel Lazio, ed. Renato
Lefevre and Arnaldo Morelli. Lunario Romano 1986. XV. Rome: Palombi,
1985. ML290.2.L38M8.1985. pp. 137-143.
In the context of a simple narrative outlining Palestrina's life and work,
Bianchi emphasizes the influence of the composer's education and experi-
ence, and asserts that, through all his appointments, in the wake of the Coun-
cil of Trent Palestrina was called not merely to work as a maestro di cap-
pella, but to express and attain the highest values of the Ch ristian spirit.

E0083 Blume, Friedrich. "Lasso und Palestrina."Deutsche Musikkultur 9 (1944):

31-45.
Short consecutive biographies, continuing a tradition of contrasting the
careers and reputations of the two great contemporaries.

E0084 Boetticher, Wolfgang. Von Palestrina zu Bach. Erweiterte Neuausgabe.

Taschenbücher zur Musikwissenschaft 66, ed. Richard Schaal. Wil-
helmshaven: Heinrichshofen, 1981. ISBN 3-7959-0306-8. ML194.B64.1981.
Chapter 1, pp.9-23, "Palestrina und Lasso," consists of two short consec-
utive biographies and some comparative assessment of the composers.

E0085 Brenet, Michel [Marie Bobillier]. Palestrina. Les Maîtres de la Musique.

Paris: Alcan, 1906; 2nd ed. 1919. 3rd ed. 1926 [repr. Saint-Pierre-de-
Salerne: G. Montfo rt, 1983]. ML410.P15B66.
Biography enriched by the recent publication of Cametti's researches and
the author's own, some of which had appeared in the Gazette musicale.
Sometimes spiritualized but often refreshingly clearheaded for the period.
Also contains a sho rt reception history, a review of the works and style, a
Bibliography of Secondary Literature 269
catalogue of the early printed music, with references to the Haberl edition,
and a bibliography.

E0086 Brumana, Biancamaria, and Galliano Ciliberti. O rv ieto: una cattedrale e la

sua musica (1450-1610). Historia Musicae Cultores Biblioteca 58. Ho-
rence: Olschki, 1990. ISBN 88-222-3776-5. ML3033.8.O9B7.1990.
Of interest in the present context because, in examining the roles of intel-
lectuals, prelates, and patrons in the rich musical life of this cathedral, there
is notice of activities of Monaldo Monaldeschi, a pa tr on of early editions of
Palestrina's music.

E0087 Cametti, Alberto. "Le case di Giovanni Pierluigi da Palestrina in Roma. La

casa in Borgo San Pietro." Rivista Musicale Italiana 28 (1921): 419-432.
Contains facsimile of Palestrina autograph dated June 5, 1574, regarding
payments an d purchase of a house in Rome.

E0088 Cametti, Alberto. Le case dei Pierluigi a Palestrina. Rome: Tipografia

Manuzio, 1925 [facs. repr. ed. L. Puliti an d Giancarlo Rostirolla. I quaderni
della Biblioteca Pierluigi 4. Palestrina: Fondazione Palestrina, 1996].
Documentation and discussion of the ownership histo ri es of properties
associated with the Pierluigi family.

E0089 Cametti, Alberto. Cenni biografici di Giovanni Pierluigi da Palestrina corn-

pilati in occasione del terzo centenario della sua morte. Milan: Ricordi,
1894. 142pp.
One of the first volumes to gather results of the new wave of archival and
documentary research on the composer that was in motion by the 1880s.
Contains much recently recovered material regarding the composer's biog-
raphical history and that of other members of the Pierluigi family, as well as
comments on the relationships with the house of Gonzaga, the alleged con-
nection with San Philip Neri, the composer's career aspirations, an d the ter-
centenary commemorations. Also has a bibliography of writings about the
composer dating from before 1895.

E0090 Cametti, Alberto. "Dove fa sepolto il Palest ri na ?" In Annuario della Reale
Accademia di Santa Cecilia (1928/29): 351-369. Rome: Mezzetti, 1929.
Attempts to locate the site of Palestrina's grave. It is clear that he was
buried in S. Peter's in what is now the Chapel of SS. Simon an d Jude, which
when facing the main altar is in the end of the left arm of the tr ansept, but
beyond this, the precise place is uncertain.

E0091 Cametti, Alberto. "Giov an ni Pierluigi da Palestrina e le sue alleanze matri-

moniali." Rivista Musicale Italiana 30 (1923): 489-510.
Actually a series of biographical notices about the family, drawn from
census an d parochial records of 1571, 1573, an d 1587 to 1589. Describes the
persons present in the Pierluigi household in 1571 and 1573, an d documents
the composer's three children, Rodolfo (his desc ription by bishop
270 Giovanni Pierluigi da Palestrina
Odescalchi and his burial notice), Angelo (his marriage, his death, and the
births an d deaths of his two children), and Iginio (his marriage and the birth
or baptismal records of his ten children).

E0092 Cametti, Alberto. "Un nuovo documento sulle origini di Giovanni Pierluigi
da Palest ri na: it Testamento di Jacobella Pierluigi (1527)." Rivista Musicale
Italiana 10 (1903): 517-525 [repr. in Atti del III Congresso Internazionale
di scienze storiche (Rome, 1-9 Ap ri l 1903), 87-92. Rome: Reale Accademia
dei Lincei, 1904, which were reprinted by Nendeln: Kraus, 1972].
Transcribes an d discusses a will made by the composer's paternal grand-
mother, which contains the earliest known documentary evidence of Palest-
rina's life. He was then one or two years old.

E0093 Cametti, Alberto. Palestrina. Mil an : Bottega di Poesia, 1925 [facs. repr. ed.
Giancarlo Rostirolla. Rome: Tone d'Orfeo, 1994. xi + 394pp].
ML410.P15C24.
A full-length biography and general style appreciation representing the
fru its of a number of years of documentary research. While his conception
of the composer is still idealized an d grounded in a certain spirituality,
Cametti's many cont ri butions did much to put the twentieth-century cultural
reassessment of Palestrina on a modern basis.

E0094 Cametti, Alberto. "Palestrina pellicciaio." Musica d'oggi 4 (1922): 15.

Notice concerning a contract regarding Palestrina and his wife's fur busi-
ness.

E0095 Cametti, Alberto. "Quale fama godesse ai suoi tempi il Palest ri na." Musica
d'oggi 10 (1928): 285-286.
Indicates that Palestrina and his music received special recognition and
praise in a desc ri ption written by Salvatore Torello of the procession accom-
panying the translation of the relics of S. Grego ry Nazianzus to St. Peter's on
June 10, 1580.

E0096 [Cametti, Alberto (unsigned in source)]. "La solenne inaugurazione del

monumento a Giovanni Pierluigi da Palestrina." Musica d'oggi 3 (1921):
289.
Notice concerning the ceremonies associated with the unveiling of a
monument to Palestrina in the Piazza Margherita, Rome, on October 2,
1921.

E0097 Campori, Giuseppe. Delle relazioni di Orlando di Lasso e Gio. Pierluigi da

Palestrina co'principi estensi. Modena, 1869 [repr. Atti e memorie delle R.R.
Deputazioni di storia patria per le province Modenesi 5 (1870): 47-54].
Noteworthy as an early source describing the working relationship of
Palestrina to Cardinal Ippolito II d'Este.

E0098 Canal, Pie tro. "Della Musica in Mantova. Notizie tratte principalmente dal-
l'Archivio Gonzaga." In Memorie del P. Istituto Veneto do Scienze, Lettere
ed Arte, 655-774. Venice 1880/1881.
Bibliography of Secondary Literature 271

Contains the earliest publication of much of the correspondence between

Palestrina and Duke Guglielmo Gonzaga of Mantua. See also Bertolotti,
item E0075.

E0099 Cascioli, Giuseppe. "Un ritratto del Palestrina." Note d'Archivio 1 (1924):
113-115.
Describes and reproduces a Palestrina portrait.

E0100 Cascioli, Giuseppe. La vita e le opere di Giovanni Pierluigi da Palestrina

principe della musica. Publicata nella ricorrenza del terzo centenario della
sua morte.... Rome: Tipografia Cooperativa Operaia, 1894. 124pp.
This biography provides a history of church music, describes Palestrina's
family background, and offers an earnestly researched, albeit somewhat
romanticized, account of the composer's life. While affected by a line of
musical historiography reverting to Liberati and before, and while reminis-
cent of the suffering-heroic biographical stance taken by Baini, Cascioli's
book also contains a significant amount of newly presented documentary
material, describes the location of some impo rtant manuscript material in
Roman archives, and notes the composer's ultimate connection to the
Accademia Santa Cecilia. Also contains a list of quotations about Palest rina
in parallel text—translation columns from a series of writers between the six-
teenth and nineteenth centuries.

E0101 Casimiri, Raffaele. "La casa ospitale del Palestrina in Roma, nel 1586."Note
d'Archivio 16 (1939): 256-257.
Transcribes a letter arranging for relatives of a papal singer to stay in
Palestrina's house ("no less safe than in a monastery") in 1586.

E0102 Casimiri, Raffaele. "Un falso autografo palestriniano." Note d'Archivio 1

(1924): 163-175.
Further to item E0106, author reveals that, rather than having obtained
evidence which established the date of Palestrina's birth, he was in fact the
victim of a hoax. Reprints various newspaper items and exchanges of corre-
spondence on this curious matter.

E0103 Casimiri, Raffaele. "Firmin le Bel e la data di sua morte." Note d'Archivio 3
(1926): 41-45.
While investigating the juvenile Palestrina's association with the church
of Santa Maria Maggiore, Casimiri discovered that the composer's probable
teacher, Firmin Le Bel, died between 27 and 30 December 1573.

E0104 Casimiri, Raffaele. G. Pierluigi da Palestrina:nuova documenti biografici.

2 vols. Rome: Psalterium, 1918-1922.
Extensive biographical material based on then-recent research and the
author's own tireless investigation of Roman and other archives.

E0105 Casimiri, Raffaele. "Memorie musicali prenestine del sec. XVI" Note
d'Archivio 1 (1924): 7-56.
Presents archival documents concerning activities of the organists and
272 Giovanni Pierluigi da Palestrina
directors of music of the cathedral at Palestrina in the sixteenth an d seven-
teenth centu ries. Numerous biographical notices of the Pierluigi family in
their home city during the same period.

E0106 Casimiri, Raffaele. "9 maggio 1525." Note d'Archivio 1 (1924): 1-6.
Presents a manuscript document purportedly in Palestrina's hand sug-
gesting a precise birthdate for him of May 9, 1525. But see item E0102.

E0107 Casimiri, Raffaelo. "Il Palestrina e il Marenzio in un privilegio di stampa del

1584." Note d'Archivio 16 (1939): 253-255.
Contains Latin brief of Pope Grego ry XIII granting a printing privilege
for Palestrina motets as well as spi ri tual madrigals by Marenzio.

E0108 Casimiri, Raffaele. "Palest ri na ... e i più recenti dati biografici." Note
d'Archivio 10 (1933): 70-71.
List of biographical facts and hypotheses meant to correct an d annotate a
history of music published in 1931.

E0109 Casimiri, Raffaele. "Palestrina e la scuola italiana del bel c anto." Note
d'Archivio 10 (1933): 69-70.
Interest here is in item derived from Casimiri's review of writings an d
notes by Raphael Molitor, who pointed out a report of surprisingly luke-
warm remarks about Palestrina made by Giovanni Ma ri a Nanino.

E0110 Cecconi, Luigi. Di Pier Luigi da Palestrina; Memoria dell'avvocato L. C.,

dedicata all'eccellenza di d. Sigismondo de'principi Chigi. Rome: Giunchi
and Mordacchini, 1825 [recte 1826].
An early-nineteenth-century notice of the composer.

E0111 Coates, Hen ry. Palestrina. Master Musicians series. London: J. M. Dent an d
Sons Ltd., 1938 [repr. London, 1948. Italian trans. L. Panella Coggi. Milan,
1946]. ML410. P15C7. 1948.
A popular life-and-works, adulatory but also informed by then-recent
research. A biography is followed by a study of style characteristics, which
introduces a general survey of the music by genre. Still swayed by the myth,
the author finds Palestrina's "worldly" ability to look after his professional
an d personal interests coupled with the "spi ri tual" qualities of his music to
be evidence of a curiously inconsistent personality. Palest rina is a "culmina-
tion" figure in church music; it could not develop beyond him because his a rt
ips ni tnahcnialp ot dengila ylesolc orist ansadwmelody.
E0112 De Napoli, Giuseppe. Deponendosi una corona alla casa di Pierluigi.
Palestrina, 1913.

E0113 De Napoli, Giuseppe. Pierluigi da Palestrina(La vita e le opere). Biblioteca

del Popolo 35. Milan: Sonzogno, 1933.

E0114 Dixon, Graham. "Editorial." Early Music 22 (1994): 549.

An introduction to a special issue devoted to Palestrina, this item con-
Bibliography of Secondary Literature 273
tains an English translation of a biographical notice about the composer in
Memorie Prenestine disposte in forma di annali (1795) indicative of "the
remarkable way in which [Palestrina's] fame was perpetuated."

E0115 Eitner, Robert. [untitled]. Monatshefte für Musikgeschichte 9 (1877):

221-223.
Cites contemporary documents in suppo rt of his own contention that,
contrary to the image of Palest rina as impoverished throughout his life, the
evidence is that (especially after the 1570s) the composer was in fact quite
prosperous economically.

E0116 Felix, G[abrielle]. Palestrina et la musique sacrée. Société de Saint-

Augustin. Bruges: Desclée, de Brouwer et Cie., 1895. 236pp. ML3003.F45.
Ostensibly a history of sacred music, this volume is written in a tone of
meditative lay Catholic piety of the kind observed in the late nineteenth cen-
tury, and with a sentimental enthusiasm that can easily become cloying. Text
conveys ideas in the form of stories, legends, poetry, hymn texts, reworked
liturgical material, and so forth, and line engravings of the kind associated
with Cecilian publications, but with little in the way of chronology or histor-
ically oriented organization of material. Palest rina takes up roughly the last
third of the volume, where there is some factual data derived from Baini or
Fétis which then dissolves in a bath of dramatization of the Marcellus legend
and of Palestrina's own artistic personality. Included here mainly as an inter-
esting representative of one of the ways the composer's image was con-
ceived in the later nineteenth century.

E0117 Fellerer, Karl Gustay. Palestrina. Leben und Werk. Zweite, vollig umgear-
beitete, vermehrte und verbesserte Auflage mit Kunstdruckabbildungen und
zahlreichen Notenbeispielen im Text. Düsseldorf: Schwann, 1960 [orig. pub.
Regensburg, 1930]. 244pp.
An important study of the composer's life and works that systematically
attempts to perceive biography in terms of the cultural currents of the period
and Palestrina's own stylistic and technical development in pa rticular. Close
attention paid to his contrapuntal technique, the influence of Gregorian
melody, and the interrelationships of music, language, and liturgical context,
and supplies many musical examples. The aesthetic and spi ritual tone, while
clear, does not overtake other aspects of the text. Includes a synchronic table
describing Palestrina's life and works, music history generally, cultural
events and general history, and a work list.

E0118 Fétis, François-Joseph. "Palestrina." In Biographie universelle des musi-

ciens et bibliographie générale de la musique. Vol 6, pp.428 436. Brussels,
-

1835-1844; 2nd ed. Paris: Librairie de Firmin Didot Frères, Fils et Cie.,
1864. ML105.F4.
This article from the famed encyclopedia was an influential general
source of information about the composer at the time in France. Provides
biographical chronology, discussion of Trent and church music reform and
the Missa Papae Marcelli, assessing the composer as "the greatest musician
of his time." Mentions roles of Choron, Cherubini, and Fétis himself in
274 Giovanni Pierluigi da Palestrina
reviving interest and performances of the music. Provides fairly comprehen-
sive work list and indicates his knowledge of the Baini, Santini, Landsberg,
and Proske collections.

E0119 Ferracci, Emilio. II Palestrina. Documenti di vita. Problemi e prospettive

d'arte. Accademia Internazionale "Giov anni Pierluigi da Palestrina" Col-
lana di Studi Palestriniani 1. Rome: Edizioni del Centro di Studi Palestrini-
ani, 1960. 131pp. ML410.P15F48.
Clear chronicle of Palestrina's life and activities, together with the publi-
cation and editing history of his works through 1960. Documents Pierluigi
family connection with the house in Palest rina until 1677 and traces subse-
quent owners through the nineteenth century. Written as pa of art campaign
to motivate Italian government authorities to assist in restoration of the
house as a center for Palestrina studies. Appends archival list of meticulous
measurements and renovation cost estimates made in 1677 for the house.

E0120 Frey, Hermann Walter. "Das Diarium der Sixtinischen Sanger Kapelle in
Rom für das Jahr 1594." Analecta Musicologica 14 [Studien 9] (1974):
445-505. ML5.A47.v.14.
Transcription of the Sistine diary entries made for the year 1594 by the
punctator Ippolito Gambocci. Particularly notable here for their notices of
Palestrina's death, funeral, and memorial service, they are also a valuable
record of the lives of the singers, the daily se rvices and activities of the
choir, and the events associated with the appointment of new members and,
in this case, a maestro di cappella.

E0121 Gallico, Claudio. "Guglielmo Gonzaga signore della musica." Nuova Rivista
Musicale Italiana 11 (1977): 321-334.
A study of the compositions of Guglielmo Gonzaga, patron of Palestrina,
interesting for its implications for Palestrina's c ritiques of the duke's work.
Contains (pp.330-334) a catalog of compositions recognized as
Guglielmo's, including hymns, masses, motets, and madrigals.

E0122 Gautier, Jean-François. Palestrina, ou l'esthétique de l'âme du monde.

Arles: Actes Sud, 1994. ISBN 2742701680. ML410.P15G38.1994X.
Argues that insight into the cultural, aesthetic, and spi ritual life of an
epoch through various kinds of analysis enables a closer understanding of
the composer, his works, and the age in which they are produced. The culti-
vation of counterpoint, a discipline involving both reason and the senses, is
emblematic of that "musical" life and also characteristic of the musical his-
tory of the west generally. Also contains annotated discography of selected
recordings of 1980s and 1990s (pp. 111-119). See Chapter 7.

E0123 Giazotto, Remo. "Giovanni Pierluigi da Palestrina, Quinzio Solini, Tar-

quinio Merula: cinque documenti inediti.... Tre documenti inediti sulla lib-
era attività in Roma di Giovanni Pierluigi da Palestrina." Nuova Rivista
Musicale Italiana 18 (1984): 625-630.
Cites three documents concerning Palestrina's activities in 1578 Claims
that they have not been published; author is apparently unaware that they
Bibliography of Secondary Literature 275
were previously transcribed by Kinsky. Notes that they were formerly pa rt of
the Heyer Collection and sold in 1927. The location of the first of the three is
unspecified or unknown, but a facsimile of it is reproduced (p.629); the other
two are presently in a private collection in Tu rin. See also item E0130.

E0124 Haberl, Franz Xaver. "Das Archiv der Gonzaga in Mantua, mit besonderer
Rücksicht auf Giovanni Pierluigi da Palestrina." Kirchenmusikalisches
Jahrbuch 1 (1886): 31-45.
Excerpts for German readers from Pietro Canal's "Della musica in Man-
tova" (1881) [see item E0098] for the period 1550 to 1587. Gives details
about musical activities at the Mantuan cou rt and the ducal church of S anta
Barbara. Prints German translation of some of Palestrina's correspondence
with Duke Guglielmo Gonzaga and reproduces numerous references to
Palestrina and other composers in diplomatic exchanges and other archival
sources.

E0125 Haberl, Franz Xaver. "Die Cardinalskommission von 1564 und

Palestrinas
Missa Papae Marcelli." Kirchenmusikalisches Jahrbuch 7 (1892): 82-97.
Argues from documentary evidence against positions held by Baini.
Although the authorized purpose of the Commission of Cardinals of 1564
was the organizational reform of the papal bureaucracy, it did not specifically
implement church music reform: the Council of Trent left this in the hands of
provincial synods and diocesan bishops. Nor was Palestrina selected by this
commission to compose three masses, among them the Missa Papae Mar-
celli, to exemplify correction of the misapplications of music for the mass, for
the Papae Marcelli mass was in existence well before this time. This article
was pivotal for the debunking of the Marcellus mass myth and is still valu-
able, especially when read in conjunction with more recent work by Jeppesen
on the mass and Lockwood on the 1564 Commission.

E0126 Haberl, Franz Xaver. "Nach Palestrina wegen Palestrina." Cdcilienkalendar

4 (1879): 6-15.
Describes some of Haberl's explorations in Rome and in the town of
Palestrina on a search for archival and biographical material, as well as some
of his early work on the comprehensive edition. Contains tr anscriptions of
[Latin] contracts: between the young musician and the cathedral of San
Agapito; his and Lucrezia Gori's marriage contract; and a will detailing
property division among the heirs of Francesco Gori (Lucrezia's father).
Text contains four engravings.

E0127 Haberl, Franz Xaver. "Synchronistische Tabelle über den Lebensgang und
die Werke von Giovanni Pierluigi da Palestrina und Orlando di Lasso."
Kirchenmusikalisches Jahrbuch 9 (1894): 86-99.
Chronologically organized, this article gives then-known biographical
information about Palestrina an d Lasso in a parallel column format. Appar-
ently meant in part to stimulate further interest in research into lesser-known
areas of Palestrina's and particularly in Lasso's life; Haberl was well aware
that the superb Lasso had had, up to that time, less general critical attention
than Palestrina.
276 Giovanni Pierluigi da Palestrina

E0128 Heinemann, Michael. Giovanni Pierluigi da Palestrina and seine Zeit.

Laaber: Laaber, 1994. ISBN 3-89007-292-5. ML410.P15H45.1994.
Recent German biography, strongly influenced by recent historiography
on reception history. Also contains useful apparatus: a detailed chronologi-
cal outline including parallel events in contemporary history, religion, and
culture, a catalog of works, and an extensive bibliography.

E0129 King, Ethel M. Palestrina, the Prince of Music. Brooklyn, NY: Theo Gaus's
Sons, 1965. ML410.P15.K5.

E0130 Kinsky, Georg. "Schriftstucke aus dem Palestrina-Kreis." In Festschrift Peter

Wagner zum 60. Geburtstag, ed. Karl Weinmann. Leipzig: Breitkopf und
Hartel, 1926. ML55.F47. pp.108-117.
Transcribes manuscript receipts purchased from Roman collector Carlo
Lozzi in 1909 for the Wilhelm Heyer collection of Cologne. Includes three
payment orders connected with Palestrina's professional activities in March
to May 1578, one bearing an autograph statement.

E0131 Lindell, Robe rt . "Die Neubesetzung der Hofkapellmeisterstelle am Kaiser-

hof in den Jahren 1567-1568: Palest ri na oder Monte?" Studien zur Musik-
wissenschaft 36 (1985): 35-52.
The story that Philippe de Monte obtained the position of Kapellmeister
at the imperial cou rt because Palest ri na, who was previously considered for
the position, had asked too high a salary, is well known. Although this is fun-
damentally accurate, Lindell notes that Monte an d Roussel were both being
considered before Palest ri na entered the ranks, and that Palestrina's case
moved so far along because the imperial cou rt had had trouble communicat-
ing with Monte, who was in Naples at the time. It is also likely that Palest-
rina did not seriously want to relocate, whereas Monte might have found the
imperial position naturally more congenial because of his Flemish ethnic
and cultural background.

E0132 Lockwood, Lewis, and Jessie Ann Owens. "Palestrina, Giovanni Pierluigi
da." The New Grove Dictionary of Music and Musicians, ed. St an ley Sadie.
Vol 14, pp. 118-137. London: MacMill an , 1980.
See item E0133.

E0133 Lockwood, Lewis, and Jessie Ann Owens. "Palestrina." In The New Grove
High Renaissance Masters. Josquin, Palestrina, Lassus, Victoria, Byrd. New
York: No rt on, 1984. ISBN 0-393-01689-7. ML390.H622.1984t. pp.
93-153.
A somewhat expanded and updated version of the fine a rt icle published
in the New Grove Dictionary of Music and Musicians (see item E0132).
Lockwood wrote the main text; Owens prepared the work list.

E0134 Lunelli, Renato. "Iconografia monteverdiana." Rivista Musicale Italiana 47

(1943): 38-45.
A po rtrait in the Ferdinandeum Museum, Innsbruck, once thought to be
of Palestrina, is demonstrated to be Claudio Monteverdi.
Bibliography of Secondary Literature 277
E0135 Mischiati, Oscar. "Minima praenestina: un ritratto di Palestrina alla Bib-
lioteca Casanatense." In Atti del II Convegno Internazionale di Studi
Palestriniani. Anno Europeo della Musica. 3-5 maggio 1986, ed. Lino
Bianchi and Giancarlo Rostirolla. Palestrina: Fondazione Giovanni Pierluigi
da Palestrina/Centro di Studi Palestriniani, 1991. ML410.P15C77.1986. pp.
610-611.
Description of a Palestrina portrait owned by the Casanatense Library,
bequeathed to it by Giuseppe Baini in 1837.

E0136 Molitor, Raphael. Die nachtridentische Choralreform zu Rom Ein Beitrag zur
Musikgeschichte des XVI. und XVI I. Jahrhunderts. Leipzig: Leuckart, 1902.
2 vols [facs. ed. Hildesheim: Georg Olms, 1977. ML3084.M72.1901A].
Vol 1, Die Choral-Reform unter Gregor XII, pp.216-305, deals with the
period in which Palestrina and Zoilo actually worked on the reform of chant
books. Vol 2, Die Choral-Reform unter Klemens VIII und Paul V, pp.1-57,
deals with the fate of the chant books between 1585 and 1605. This includes
an assessment of Palestrina's cont ribution to the books as of 1594, and con-
tinues with an account of the series of lawsuits brought by Iginio Pierluigi
against the publisher Raimondi and members of the Camera Apostolica. The
lawsuits took place in three phases between 1596 and 1602, and were
decided, despite appeals, in favor of Raimondi.

E0137 Naumann, Emil. Italienische Tondichter von Palestrina bis auf die Gegen-
wart. Eine Reihe von Vortragen, gehalten in 1874 u. 1875. Berlin: R. Oppen-
heim, 1876. ML390.N345.
Not reviewed.

E0138 O'Regan, Noel. "Orl ando di Lasso and Rome: Personal Contacts and Musi-
cal Influences." In Orlando di Lasso Studies, ed. Peter Bergquist. Cam-
bridge, UK: Cambridge University Press, 1999. ISBN 0-521-59387-5.
ML410.L3075. pp. 132-157.
In examining Lasso's relations with Rome, the article discusses the pos-
sibility of musical cross-fertilization between Lasso and Palestrina. This
could have been effected both personally, through points of contact such as
their common connections to major Rom an basilicas and to the Arciconfra-
ternita del Santissimo Crocifisso, and through the influence of compositions
by Lasso on Roman style, particularly with respect to newer textural and
harmonic features, especially in the areas of polychoral music and the treat-
ment of musical imitation or parody.

E0139 O'Regan, Noel. "Palestrina, a Musician and Composer in the Market-Place."

Early Music 22 (1994): 551-572.
Discusses changing employment conditions of church musicians in later
sixteenth-century Rome. Describes Palestrina's known freelance activity,
which included providing music for processions in Rome in the 1550s and
for the Confraternity of SS. Trinità in 1576 and 1578.

E0140 O'Regan, Noel. "Palestrina and the Oratory of Santissima Trinità dei Pelle -
grini." In Atti del II Convegno Internazionale di Studi Palestriniani. Anno
278 Giovanni Pierluigi da Palestrina

Europeo della Musica. 3-5 maggio 1986, ed. Lino Bianchi and Giancarlo
Rostirolla. Palestrina: Fondazione Giovanni Pierluigi da Palestrina/Centro di
Studi Palestriniani, 1991. ML410.P15C77.1986. pp. 95-121.
English and Italian texts; Italian translation pp.109-120 by Sophie Le Cas-
tel. Documents Palestrina's responsibilities in connection with the musical life
of the confraternity and oratory of SS. Trinità dei Pellegrini in the 1570s,
including preparation of music for Lent, Holy Week, and for processions.

E0141 Pedrell, Felipe. "Palest rina." In Mtisicos contempordneos y de otros tempos.

Paris: Sociedade de Ediciones Literarias y Artisticas. Libreria Paul 011en-
dorf, 1910. ML60.P373. pp. 325-330.
Item is dated 1908 in text. Refers to Brenet's new Palestrina (see item
E0085) as putting to rest some of the legendary material about the composer
by presenting documentary evidence. Reviews literature on Palestrina's date
of birth, the myth of the Missa Papae Marcelli, the composer's alleged
poverty, and other comparable material.

E0142 Pedrell, Felipe. "Palestrinay Victoria." In Homenaje a Menendez y Pelayo

en el ano vigésimo de su professorado. Madrid: Libreria General de Victori-
ano Suarez, 1899. PQ6004.M4. pp. 149-152.
Short comparison of styles of Palestrina and Victoria.

E0143 Pertica, Domenico. "Il Restauro della Casa del Palestrina." In Il Palestrina.
Bolletino trimestrale del Centro Internazionale di Studi Palestriniani 3
(1963): 14-20.
Details plans for restoration of the house in Palestrina where the com-
poser's family lived and where he is thought to have been born. Describes
confirming the identity of the house, its fate over the centu ries, and the
planned steps to be taken during the actual renovation.

E0144 Prod'homme, Jacques-Gabriel, ed. Écrits de musiciens (Xve-XVIIIe siècle).

Paris: Mercure de France, 1912 [3rd ed. repr. New York: Da Capo Press,
1985]. ML90.P7.
Pp. 56-63 contain French translations of the dedications of the First
Book of Motets a 5, 6, 7 to Ippolito d'Este (1567), of the Fourth Book of
Motets (Canticum canticorum) to Pope Gregory XIII (1584), and of the
Hymnus totius anni to Pope Sixtus V (1589).

E0145 Pugliese, Annunziato. "La cappella musicale del cardinale Ippolito d'Este."
In La Cappella Musicale nell'Italia della Controriforma. Atti del Convegno
(Cento 1989), ed. Oscar Mischiati and Paolo Russo. Quaderni della RidM
27. Florence: Olschki, 1993. ISSN 0394-4395-27. ML3033.2.C65.1989X.
pp. 381-394.
Chronicles the activities and personnel of Cardinal Ippolito's chapel, for
which Palestrina was maestro during the years 1567 to 1571.

E0146 Pyne, Zoë Kendrick. Giovanni Pierluigi da Palestrina: His Life and Times.
London: Lane, 1922 [repr. Westport, CT: Greenwood Press, 1970].
ML410.P15.P9.
Bibliography of Secondary Literature 279
An intelligent and readable biographical narrative in English that fleshes
out the then relatively recent documentary researches of Cametti, Casimiri,
and numerous others working in the years from 1880 to 1920, while manag-
ing for the better part to avoid hagiographical excess. Narrative is balanced
with information conveying some sense of papal, cou rt, and cultural life in
the sixteenth century.

E0147 Raugel, Félix. Palestrina. Les Musiciens Célèbres. Paris: Librairie

Renouard/Henri Laurens, 1930. ML410.P15R38.
Biography containing an interesting blend of early twentieth-century
archival research with some imaginative embroidery and "great man" histo-
riography. Moves away from the savior myth and deals with some qualities
of compositional style, but also contains imaginary conversations and other
romantic vestiges.

E0148 Ramella, Carlo. "Puer qui natus est, mottetto a cinque voci di Guglielmo
Gonzaga." Rivista Internazionale di Musica Sacra 15 (1994): 254-270.
Discussion and transcription of a motet preserved in the Santa Barbara
fondo of the library of the Verdi Conservatory in Milan (numbered S.B.8), a
work also printed during Duke Guglielmo's lifetime. Interesting as an exam-
ination of the musical accomplishments of Palestrina's patron, for Palestrina
is known to have provided critical advice on ce rtain of Guglielmo's compo-
sitions at the duke's particular request.

E0149 Samson, Joseph. Palestrina ou la poésie de l'exactitude. Geneva, 1940 [repr.

Geneva: Henn, 1950. ML410.P15S15.1950].
Investigates the animating spirit of Palestrina's music, which uses church
liturgy as a framework. His music's constructive elements are cantus firmus,
canon, and "cyclic" themes, and its structural unity depends on a succession
of related ideas brought into a just relationship with the rhythms and mean-
ings of the text. Concludes that both spiritually and technically Palestrina
was attached to the past.

E0150 Schmid, Theodor. "Principes musicae—Fiirsten der Tonkunst." Kirchen-

musikalisches Jahrbuch 20 (1895): 49-76.
Consecutive biographies and obse rvations on Palestrina and Lasso, noted
by the author as the most extensive and fitting attempt of its kind to date. In
the Palestrina section is a review of his life and early reception history, and
observations on the issues of Trent and church music reform, a résumé of the
history of the revision and publication of the Medicean gradual, and
thoughts on the composer's ability to set a text.

E0151 Schmitz, Eugen. Palestrina. Leipzig: Breitkopf und Hrtel, 1914 [repr.
1953].
Not reviewed.

E0152 Schwartz, Rudolf. "Zur Partitur im 16. Jahrhunderts." Archiv für Musikwis-
senschaft 2 (1920): 73-78.
Noted here as it contains the transcription of Palestrina's letter of March
280 Giovanni Pierluigi da Palestrina

3, 1576, to Guglielmo Gonzaga, in which the composer mentions putting

music into partitura in order to study it. The a rticle, a study of the practice of
scoring in the sixteenth century, provides context for this remark.

E0153 Sharp, Geoffrey Brinsley. Lassus and Palestrina. Novello Short Biogra-
phies. London: Novello, 1972. ML410 L3 S47. pp. 12-20.
Short biography, breezy in tone, intended for amateurs and audiophiles.

E0154 Simi Bonini, Eleanora. "Minima archivalia: Giov anni Pierluigi da Palestrina
tra la cappella di S. Giovanni in Laterano e la cappella di S. Ma ria Mag-
giore." In Atti del II Convegno Internazionale di Studi Palestriniani. Anno
Europeo della Musica. 3-5 maggio 1986, ed. Lino Bianchi and Giancarlo
Rostirolla. Palestrina: Fondazione Giovanni Pierluigi da Palestrina/Centro di
Studi Palestriniani, 1991. ML410.P15.C77.1986. pp. 65-79.
Biographical notices from archives of San John Lateran and S anta Mary
Major relevant to Palestrina's adolescenceand apprenticeship. Tr anscrip-
tions in appendix.

E0155 Summers, William J. "The Compagnia dei Musici di Roma 1584-1604: a

Preliminary Report." Current Musicology 34 (1982): 7-25.
Discusses early history of this confraternity, of which most of the preem-
inent Roman musicians, including Palest rina, were members. Relatively lit-
tle is known about its in fluence on musical, academic, and cou rt life in Italy,
but its membership and activities have been somewhat clarified. Includes
table of members, table of printed anthologies with music by members; dis-
cusses other published compilations where the membership of the society
was strongly represented.

E0156 Super, Antoine. Palestrina (G. Pierluigi): Étude historique et critique sur la
musique religieuse. Précédée d'une lettre adressée à l'auteur par un maître
en liturgie Mgr. Isard, l'éminent Éveque du diocèse de Annecy. Paris: V.
Retaux, 1892. xxiv + 82pp. ML410.P15S86.
Not reviewed.

E0157 Torrigio, Francesco Maria. Le sacre Grotte Vaticane. Rome: Mascardi, 1630.
Contains early information, including the note (pa rt 2, p.166) that Palest-
rina was buried in St. Peter's before the altar in the chapel of SS. Simon and
Jude.

E0158 Venuti, Massimo. "Inedito Palestrina nel quarto centenario della mo rte."
Rassegna Musicale Curci 47.2 (1994): 10-13.
Notes that Palestrina had a much stronger and economically astute per-
sonality than is often popularly imagined. Suggests that Palestrina's artistic
mandate was not so much the comprehensibility of text per se as the evolu-
tion of a personal modus operandi, where the listener would not primarily
contemplate the complexities of technique and structure, but rather develop
a personal rappo rt with text and music.
Bibliography of Secondary Literature 281

E0159 Walter, Anton. "Palest ri na und Orlando. Eine kunst- und cul-
turgeschichtliche Studie zum dritten Centenarium ihres Todesjahres." His-
torisch-politische Blütter 113 (1894): 777-804, 873-879.
A comparative study of the two composers, for the third centenary of the
death of both.

E0160 Walter, Anton. "Dr. Witts Zeugnis für Palestrina und Orl an do. Eine
dsthetisch-liturgische Jubildumsgabe." Kirchenmusikalisches Jahrbuch 9
(1894): 48-59.
A comparative study; see also item E0159.

E0161 Weidinger, Josef. "Palestrina und Lasso, zwei Classiker der Kirchenmusik."
Zeitschrift für katholische Theologie 21 (1897): 503-511.
Another comparative study of the works and style of these two com-
posers.

E0162 Weiss, Piero, ed. Letters of Composers through Six Centuries. Philadelphia:
Chilton Book Company, 1967. 622pp. ML90.W44.
Pp. 16-17 contain English translations of two letters from Palest rina to
Duke Guglielmo Gonzaga, dated February 2, 1568, and March 3, 1570,
respectively. Comments on letters on p. 480.

E0163 Weinmann, Karl. Palestrinas Geburtsjahr. Ein historisch-kritische Unter-

suchung. Regensburg: Pustet, 1915.
A careful review of the evidence for Palestrina's date of birth—which is
still not precisely known—and writings up to the publication date on the
subject.

E0164 Weinmann, Karl. "Die pdpstliche Kapelle unter Paul IV." Archiv fur Musik -
wissenschaft 2 (1920): 54-72.
Desc ri ption an d history of the reform program for the Sistine Chapel
under Paul IV, who is noted in this context as the pope who removed Palest-
rina from the roster because of his married status. Provides a list of the
singers present in 1555, each of whom has a biographical chronology of
activities, as well as a (Latin) tr ansc ri ption of the Sistine diaries from May
23, 1555, to August 18, 1559, the day Paul IV died.

III. Studies of Sources, Music, and Style

E0165 Acciai, Giov an ni. "La Canzone alla Vergine del Petrarca nell' interpre-
tazione madrigalistica di Cipriano de Rore e Giov anni Pierluigi da Palest-
ri na." In Atti del II Convegno Internazionale di Studi Palestriniani. Anno
Europeo della Musica. 3-5 maggio 1986, ed. Lino Bianchi and Giancarlo
Rostirolla. Palestrina: Fondazione Giov an ni Pierluigi da Palestrina/Centro di
Studi Palestriniani, 1991. ML410.P15C77.1986. pp. 167-174.
Studies the treatment of modality, melodic design, disposition of
cadences, rhetorical figures, and musical symbolism in two settings of
282 Giovanni Pierluigi da Palestrina

Petrarch's Vergine poetic cycle by Rore and Palest rina respectively. In both
cases the verses are treated as a single great lyric scheme composed of sev-
eral movements, each with its own stylistic profile. Apart from their differ-
ences in cadential treatment, Palestrina's cycle is distinguished by modal
subtleties and clear perception of poetic construction, while Rore's is
notable for the richness of its motivic technique, its musical-rhetorical sym-
bolism, and stylization.

E0166 Ackermann, Peter. "Motette und Madrigal. Palestrinas Hohelied-Motetten

im Spannungsfeld gegenreformatorischer Spiritualit t." In Festschrift für
Winfried Kirsch zum 65. Geburtstag, ed. Peter Ackermann, Ulrike Kienzle,
and Adolf Nowak. Tutzing: H an s Schneider, 1996. pp. 49-64.
Examining the modal, sectional and the richly expressive relationships
among the motets of the Canticum canticorum (Book IV of the motets for
five voices), Ackermann perceives the use of cyclic closure in the structure
of the series as a whole. He considers that all these factors emphasize the
expression of a dramatic concept which causes Canticum canticorum to
transcend the typical stylistic and structural boundaries of the motet as a
genre. In the case of extraliturgical texts such as these, the rules for motets
(note values, modality, text expression) can be subject to such variation, and
here, in fact, Palestrina uses style elements associated with the mad rigal.
This bridging of genres is a response to his sense of the modified parameters
the texts allow, and the works are evidence of his sensitive and dynamic con-
ception of the relationship of genre and style.

E0167 Ackermann, Peter. "Die Werke Palestrinas im Repertoire der Cappella

Sistina." In Collectanea II. Studies zur Geschichte der piipstlichen Kapelle.
Tagungsbericht Heidelberg 1989, ed. Bernhard Janz. Capellae Apostolicae
Sixtinaeque Collectanea Acta Monumenta 4. Vatican City: Biblioteca Apos-
tolica Vaticana, 1994. ISBN 88-210-0655-7. ML3051.V3C65.1994. pp.
405-430.
Notes that 40 percent of the items listed in Llorens's Cappella Sistina cat-
alog contain items by Palestrina. This includes nearly all the printed music
published during his lifetime, as well as 101 manuscript items. Main pa rt of
the article is a study of the manuscripts and their contents, organized by date
of copying or compilation. Notes that the appearance of Palestrina items
falls into phases: from around 1563 to around 1616, 1616 to 1687 and the
early eighteenth century, and the middle decades of the eighteenth century.
Includes a list of the Palestrina motets that were assigned new texts from the
1740s to the 1760s and indicates some of their concomitant rhythmic modi-
fications.

E0168 Ahnjeld, Paul Floyd. "The Madrigals of Horato Fåa." D.M.A. thesis, Univer-
sity of Illinois, Urb ana-Champaign, 1988. DA 8823071.
Compares Fåa's cyclic madrigals with Palestrina's and argues that Fåa's
are more like We rt's.
E0169 Allaire, Gaston Georges. "Rediscovering Modulations in the Secular and
Sacred Works of Palestrina."Recercare 6 (1994): 5-40.
Examines the structural dimension of the hexachord system and implica-
Bibliography of Secondary Literature 283

tions for the mode system in Glarean's Dodecachordon. Notes the function
of the Guidonian hand as a contemporary frame of reference for reading
polyphonic music, and studies conven tions regarding signatures and
cadences in the performance practice of the music. Scores of Vestiva i colli a
5 and O quam suavis a 4 (printed pp.25-37) are used to discuss and illustrate
the main points of discussion.

E0170 Alwes, Chester. "Palestrina's Style: the A of rt Balance." Choral Journal

35.1 (1994): 13-17.
Discusses aspects of Palestrina's style that caused it to be considered the
epitome of sixteenth-century modal counterpoint: distinctive yet carefully
controlled dissonance treatment, and flexibility in use of textures and in
treatment of text stresses and accents. Missa brevis examined as case in
point.

E0171 Angelis, Lepanto de. "Musiche manoscritte inedite del sec. XVI—XVII del-
l'archivio del Pio Sodalizio dei Piceni in Roma." Note d'Archivio 16 (1939):
29-31.
Inventory of unpublished manuscripts, many anonymous, containing
works by sixteenth- and seventeenth-century Rom an polyphonists. Among
them is a copy of Palestrina motet Domine quando venerisa 4.

E0172 Angles, Higinio. "Palestrina y los `Magnificat' de Morales." Anuario musi-

cal 8 (1953): 153-166.
Discusses several Magnificats by Cristobal de Morales, some verses of
which Palestrina elaborated with one or two si placet parts in a manuscript
presently located in the Cappella Giulia fondo of the Vatican Library. Ana-
lyzes Palestrina's technique and compares differences in color and tempera-
ment with Morales's o riginal.

E0173 Antonowytsch, Miroslaw. Die Mofette Benedicta es von Josquin des Prez
und die Messen super Benedicta von Willaert, Palestrina, de le Hèle und de
Monte. Utrecht: J. R. van Rossum, 1951. ML3003.A58.1951.
A comparative study of how Josquin's motet Benedicta es was parodied
in four masses by Willaert, Palestrina, de le Hèle, and de Monte. Includes
analysis of the motet and its dissemination in manuscript and printed
sources, and a movement-by-movement study of the relationship of the
four masses to the model. Argues that in several technical aspects the
influence of Josquin on Palestrina is not confined to this particular imita-
tion mass but can be observed in other music of Palestrina's early creative
period.

E0174 Apfel, Ernst. "Zur Entstehungsgeschichte des Palestrinasatzes." Archiv für

Musikwissenschaft 14 (1957): 30-45.
Argues that the key to understandingthe origin of the observant contra-
puntal technique associated with Palestrina and his successors is found by
examining the evolution of various kinds of two- and three-voice cadence
formulas and how they served to establish the general structure of a free
composition.
284 Giovanni Pierluigi da Palestrina

E0175 Auda, Antoine. "La mesure dans la messe `L'homme armé' de Palestrina."
Acta Musicologica 13 (1941): 39-59.
Argues vehemently against Casimiri's transcription of the problematic
notation of the L'homme armé mass in vol 3 of the second edition of Palest-
rina's works.

E0176 Auda, Antoine. "La prolation dans l'édition princeps de la MessaL'homme

armé de Palestrina et sa résolution dans l'édition de 1599." Scriptorium 4
(1950): 85-102.
Auda's concluding publication dealing with the contentious notation of
Palestrina's L'homme armé mass, based on a comparison of primary source
printings.

E0177 Auda, Antoine. "Le `Tactus' dans la Messe L'homme armé de Palestrina."
Acta Musicologica 14 (1942): 27-73.
Auda's response to Casimiri's La polifonia vocale. See also items E0195
and E0196.

E0178 Barbieri, Patrizio. "Chiavette and Modal Transposition in Italian Practice (c.
1500-1837)." Recercare 3 (1991): 5-79.
Historical survey of the use of transposition clefs, or chiavette, in Italy,
with lucid and extensive documentation from theoretical sources. Examines
their purposes and their relationship to the changing mode systems of the
seventeenth century, and addresses questions of vocal tessitura and clef
groupings in performance practice. Although chiavette largely fell out of use
in the mid-seventeenth century, they were retained by academic musicians
and followers of the stile alla Palestrinainto the 1800s.

E0179 Barbieri, Patrizio. "On a Continuo Organ Pa rt Attributed to Palestrina."

Early Music 22 (1994): 587-606.
Documents evidence of origins of se rvices in pontifical private apart-
ments around 1585. Notes practice of intabulating polyphonic vocal compo-
sitions and early liturgical appearances of basso per l'organo, and offers
hypotheses for their use; also describes the type and registration of organs
used in Rome.

E0180 Barblan, Guglielmo, and Agostino Zecca Laterza. "The Tarasconi Codex in
the Library of the Milan Conservatory." Musical Quarterly 60 (1974):
195-221.
Discussion and index of the Milan Biblioteca del Conservatorio di
Musica Giuseppe Verdi MS s.s., known as the Tarasconi or Clerici codex, a
mid-latter-sixteenth century MS mad rigal collection of Parmesan prove-
nance containing works by 33 composers. Provides a lengthy list of concor-
dances and modern editions of contents. Eight madrigals (nos. 69, 71,
101-103, 116, 154, 204) are ascribed to Palestrina, the attributions of two of
which (69 and 204) are noted as "G.P." and considered uncertain.

E0181 Baroffio, Giacomo Bonifacio. "Palestrina e il canto gregoriano: l'Innodia"

Bibliography of Secondary Literature 285
In Atti del II Convegno Internazionale di Studi Palestriniani. Anno Europeo
della Musica. 3-5 maggio 1986, ed. Lino Bianchi an d Giancarlo Rostirolla.
Palest ri na: Fondazione Giovanni Pierluigi da Palestrina/Centro di Studi
Palestriniani, 1991. ML410.P15C77.1986. pp. 23-26.
Notes that Palestrina's polyphonic hymns were mostly appropriate to ves-
pers services and were suitable for the propers of various religious orders.
Suggests that Gregorian melodies, particularly hymns and sequences, were
sung in a mensurally rhythmic manner, not a free oratorical one.

E0182 Belli, Antonio. "I madrigali profani del Palest ri na." Il Palestrina. Bolletino
trimestrale del Centro Internazionale di Studi Palestriniani 3 (1963): 9-13.
Traces the history of Palestrina's mad ri gal publications. Asks whether the
works are largely neglected due to their incompatibility with Palestrina's
image as a composer of sacred music, because of his own belief in their
moral profanity, or due to an inability of the public to see that they are the
product of a solidarity with all aspects of Ch ri stian humanist experience.
Asserts that while they are not overly innovative, they exhibit refined skill,
"color" and "imitazione della natura" in a universal sense.

E0183 Besutti, Paola. "Giov an ni Pierluigi da Palestrina e la liturgia mantovana." In

Atti del II Convegno Internazionale di Studi Palestriniani. Anno Europeo
della Musica. 3-5 maggio 1986, ed. Lino Bianchi and Giancarlo Rostirolla.
Palestrina: Fondazione Giovanni Pierluigi da Palestrina/Centro di Studi
Palestriniani, 1991. ML410.P15C77.1986. pp. 157-164.
Discussion of music composed for the palatine basilica of S. Barbara in
Mantua. "Neo-Grego ri an" ch an t melodies expressly composed for the Man-
tuan liturgy demonstrate modal considerations suggesting they were con-
ceived with possible polyphonic elaboration in mind. Palestrina's poly-
phonic masses for Mantua constitute a unicum within his production due to
the contrapuntal treatment used, the particulars of the plainchant on which
they are constructed, and their unusual alternatim manner of performance.

E0184 Bewerunge, Heinrich. "Der metrische Bau der Themen Palestrinas." Musica
Divina. Monatschrift für Kirchenmusik 5 (1917): 72-75; 6 (1918): 133-140,
173-179, 211-221.
Not reviewed.

E0185 Bianchi, Lino, and Giancarlo Rostirolla, eds. Atti del II Convegno Inter-
nazionale di Studi Palestriniani. (Palestrina e la sua presenza nella musica e
nella cultura europeo dal suo tempo ad oggi. 3-5 maggio 1986]. Palestrina:
Fondazione Giovanni Pierluigi da Palestrina/Centro di Studi Palestriniani,
1991. ML410.P15C77.1986.
A compilation of papers presented at the conference "Palestrina an d his
presence in music and in European culture from his time to today," European
Year of Music, May 3-5, 1986. Papers in this volume are individually
indexed in the present bibliography.

E0186 Bini, Annalisa. "Catalogo della mostra bibliografica-documentaria"In Atti

286 Giovanni Pierluigi da Palestrina

del II Convegno Internazionale di Studi Palestriniani. [Palestrina e la sua

presenza nella musica e nella cultura europeo dal suo tempo ad oggi. 3-5
maggio 1986]. Palestrina: Fondazione Giovanni Pierluigi da
Palestrina/Centro di Studi Palestriniani, 1991. ML410.P15C77.1986. pp.
631-710.
Catalogue of exhibition displayed at the 1986 conference.

E0187 Blume, Jürgen. Geschichte der mehrstimmigen Stabat-Mater-Vertonungen.

Musikwissenschaftliche Schriften 3. Munich: Emil Katzbichler, 1992. 2
vols. ISBN 3873971224. ML3090.B6.1992.
Vol 1, pp.52-66, and vol 2, pp. 29-39, contain useful studies of Palest-
rina's Stabat Mater settings as well as discussion of works that Palestrina's
setting immediately influenced.

E0188 Bobbitt, Richard. "Harmonic Tendencies in the Missa Papae Marcelli."

Music Review 16 (1955): 273-288.
Attempts to understand compositional processes in the Gloria and Credo
of this mass in terms of an idiosyncratic theory of harmonic tonality. Appre-
ciates some characteristic qualities of the composer's ve rtical structures,
although analysis is historically somewhat decontextualized.

E0189 B6ker-Heil, Norbe rt. "Der Zustand polyphoner Strukturen: ein Beispiel
automatischer Stilbeschreibung." In International Musicological Society.
Report of the Eleventh Congress, Copenhagen 1972, ed. Henrik Glahn,
Søren Sørensen, and Peter Ryom. Copenhagen: Wilhelm Hansen, 1974.
ISBN 87-7455-026--8. ML36.I6.1972. pp. 108-120.
Uses madrigal Vestiva i colli in comparison with other works to demon-
strate how computer software can be used as a means of establishing style-
specific formal constants in polyphonic music that are difficult to investigate
and elaborate by other means.

E0190 Brenet, Michel. "L'auteur des Répons de Palestrina." Gazette Musicale, June
20 and 27, 1897.
A response to Tiersot's insistence that e th
set of 27 responsories in vol 32
of the "Haberl" edition, declared doubtful by Haberl, must be by Palestrina.
Tiersot continued the exchange and continued to hold his view through the
1920s. See below, item E0359.

E0191 Bujic, Bojan. "Palestrina, Willaert, Arcadelt and the Art of Imitation."
Recercare 10 (1998): 105-131.
Investigates factors which could explain some similarities between
Willaert's and Palestrina's mad rigal Amor, Fortuna, e la mia mente. A close
reading of the rhetorical techniques of Petrarch's sonnet together with con-
temporary critical commentaries suggest that Willaert associated the sonnet
conceits with musical motifs that create a system of reference throughout his
composition. Palestrina's version, while sharing several musical traits and
structural details with Willaert's and indicating a close reading of the text,
pays less attention to refinements of rhetoric. It is impossible to ascertain
Bibliography of Secondary Literature 287

that Willaert's version influenced Palestrina's directly, but similarities in the

openings of both madrigals argue for their possible common knowledge of
models and imitative procedures associated with this kind of setting, likely
derived from Arcadelt.

E0192 Carver, Anthony E Cori Spezzati: The Development of Sacred Polychoral

Music to the Time of Schutz. Cambridge, UK: Cambridge University Press,
1988.2 vols.
A study of the historical evolution of the technique of writing for sepa-
rated choirs, including theoretical discussions by Vicentino and Zarlino and
copious examples of its practical development. Vol 1, pp. 108-118, contains
a valuable discussion of Palestrina's polychoral music in several genres; vol
2 pp. 86-92, reprints the polychoral motet Videntes stellam Magi from vol
33 of the Casimiri-Bianchi complete edition.

E0193 Casimiri, Raffaele. Il "Codice 59" dell'Archivio Musicale Lateranense,

autografo di Giov. Pierluigi da Palestrina. Rome: Tipografia Poliglotta Vati-
cana, 1919.
A detailed inventory and study of the p rincipal surviving Palestrina auto-
graph: its provenance and history; obse rvations on the composer's working
process; editorial corrections of works published in the Haberl edition; edi-
tions of some previously unpublished works.
See also cross entry in Chapter 4, "Casimiri ... Codice" for a list of the
works published in the volume.

E0194 Casimiri, Raffaele. "Un dibattito musicologico a proposito della missa

L'homme armé del Palestrina." Note d'Archivio 20 (1943): 18-42.
A continuing refutation of Antoine Auda's position (see item E0175) on
the mensural interpretation of selected passages in the L' homme armé mass,
in 25 points. This was the effective end of the Auda-Casimiri exchange;
Casimiri died soon after completing this a rticle, although Auda continued to
publish on the subject into the 1950s.

E0195 Casimiri, Raffaele. "Il `Kyrie' de la Messa L'homme armé di Giov. Pierluigi
da Palestrina e una trascrizioneerrata." Note d'Archivio 10 (1933): 101-108.
Discussion of perceived errors in the Haberl transc ription of this work.
Also a mission statement describing the aims and purposes of Casimiri's
"national edition" of Palestrina's works, which purports to modify and cor-
rect the errors of the Haberl edition in light of the rules of historical criticism
and the latest discoveries of musicological research.

E0196 Casimiri, Raffaele. La polifonia vocale del sec. XVI e la sua trascrizione
musicale moderna. A proposito di un critica di Antoine Auda. Rome:
Psalterium, 1942.
A summary statement of Casimiri's views in the controversy with Auda
over correct transcription of some aspects of sixteenth-century music, a
debate that by this time had continued for more than ten years.
288 Giovanni Pierluigi da Palestrina

E0197 Casimiri, Raffaele. "La Missa Cantantibus Organis Caecilia a 12 voci di

Giovanni Pierluigi da Palestrinae de'suoi scolari." Note d'Archivio 8 (1931):
233-244.
Discusses mass for three choirs, movements of which were composed by
Palestrina (part of the Gloria), Annibale Stabile, Francesco Soriano, Andrea
Dragoni, Ruggero Giovanelli, Prospero Santini, and Curzio Mancini, based
on material from Palestrina's 5-pa rt motet Cantantibus organis.

E0198 Casimiri, Raffaele. "Il sepolcro dei canton pontifici nelle Chiesa Nuova di
Roma." Note d'Archivio 3 (1926): 221-232.
Description, with two illustrations dated 1640 and 1792, of the monu-
ment to papal singers who were buried at Santa Maria in Vallicella (Chiesa
Nuova), together with a commentary on the musical canon incised on it.
Although several pre-twentieth century writers believed that the canon was
composed by Palestrina, it was most likely written by Gregorio Alleg ri.
Casimiri transcribed the resolved canon on pp.230-232.

E0199 Casimiri, Raffaele. "I 'XXVII Responsoria' di M.A. Ingegneri, attribuiti a

Giov. Pierluigi da Palestrina." Note d'Archivio 3 (1926): 17-40, plus 4
unnumbered pages of tipped-in examples.
Examines primary sources, early prints, and internal stylistic evidence,
particularly chromatic use, to argue that 27 responsories, attributed to Palest-
rina since about 1750, were in fact composed by Marc' Antonio Ingegneri.
Another response to Tiersot's insistence that the Palestrina attribution was
correct. See item E0359.

E0200 Cattin, Giulio. "Scelta di testi e `cantus firmi' nel primo libro dei mottetti di
Palestrina." In Atti del II Convegno Internazionale di Studi Palestriniani.
Anno Europeo della Musica. 3-5 maggio 1986, ed. Lino Bianchi and Gian-
carlo Rostirolla. Palestrina: Fondazione Giovanni Pierluigi da
Palestrina/Centro di Studi Palestriniani, 1991. ML410.P15C77.1986. pp.
141-153.
Analysis of first book of motets, with respect to liturgical placement of
texts and the presence or absence of a cantus firmus in individual settings.
Of 36 motets, only 7 employ a cantus firmus. Notes that use of a Gregorian
cantus firmus as an element of musical structure is more frequent in Palest-
rina's successive motet publications.

E0201 Cavicchi, Adriano. "Appunti sulla prassi esecutiva della musica sacra nella
seconda meth del XVI secolo con riferimenti alla musica del Palestrina." In
Atti del Convegno di Studi Palestriniani. 28 settembre-2 ottobre 1975, ed.
Francesco Luisi. Palestrina: Fondazione Giovanni Pierluigi da Palestrina,
1977. ML 410.P15C77.1975. pp. 295-311.
A judicious exploration, with roundtable discussion, of questions sur-
rounding the practical performance of late sixteenth-century music, with ref-
erence to contemporary evidence: the great diversity in manner and taste
from one place to another; differences in pitch levels, timbres, and phrasing
and accentuation; number of players or singers per pa rt, and solo/chorus or
Bibliography of Secondary Literature 289

concertato alternations; improvisation of ornaments and counterpoints;

accompaniment by organ and instruments; differences in approach between
sacred and profane music.

E0202 Cavicchi, Adriano. "Una sconosciuta messa funebre di probabile

attribuzione palestriniana." In Atti del Convegno di Studi Palestriniani. 28
settembre-2 ottobre 1975, ed. Francesco Luisi. Palestrina: Fondazione Gio-
vanni Pierluigi da Palestrina, 1977. ML 410.P15C77.1975. pp. 411-414.
Notice of a funeral mass a voci pari (3 tenors and bass) which is ascribed
to Palestrina in a manuscript located in Ferrara, Biblioteca Comunale
Ariostea. States belief that att ribution is correct, calls for further stylistic
study, and suggests that work could have been written for the Ferrarese
Accademia della Morte.

E0203 Census-Catalogue of Manuscript Sources of Polyphonic Music, 1400-1550.

American Institute of Musicology/Neuhausen-Stuttgart, Hanssler,
1979-1988.5 vols. ISBN 01967037. ML135.R46.1979t.
A census containing detailed desc riptions and bibliography for manu-
scripts containing music by composers active within the dates indicated,
listed by city and site of holding.

E0204 Cerone, Pedro. El Melopeo y el Maestro. Tractado de Musica Theorica y

Pratica. Naples: J. B. Gargoni and L. Nucci, 1613 [facs. repr. Bologna:
Forni, 1969]. MT6.C35.1971.
Contains (p.1013 et seq.) an extensive discussion of the mensuration
problems presented by Palestrina's Missa L'homme armé, in part drawn on
Zacconi's discussion.

E0205 Chambure, Alain de. Palestrina. Catalogue des oeuvres religieuses. Vol 1.
Paris: Société Palestrina—Fondation France Télécom, 1989. 67pp.
"Provisional edition." Provides lists of the religious works by text incipit,
genre, length in measures in modern transcription, scoring in parts, year of
original publication, and notes on their respective locations in the Haberl,
Casimiri, and Kalmus editions; a chronological list of publications
1554-1601, with the titles of the works in each; a list of feasts and occasions
of the liturgical year paired with compositions by Palestrina suitable for per-
formance on those occasions, and a list of works in manuscript presumed to
be by Palestrina although unpublished. Especially useful as a reference in
liturgical and conce rt performance preparation.

E0206 Chater, James. "Two Forgotten Madrigals by Palestrina." Studi musicali 11

(1982): 203-228.
Transcriptions and analysis of text and music of Soligno e vagh'augello
(pub. 1562; the bass part here is a reconstruction) and O pastor, dove vai cosi
doglioso? (pub. 1594). Chater disputes Einstein's interpretation of the latter
work (see E0223), suggesting instead that O pastor has a metaphysical
theme, and that its poetic and musical conventions reflect a meditation upon
the composer's own approaching death.
290 Giovanni Pierluigi da Palestrina
E0207 Chrysander, Friedrich ["Chr."]. "Das `Hobe Lied' von Palestrina." Leipziger
allgemeine musikalische Zeitung 16 (1881): 99-103, 115-119, 132-134,
148-152,166-172,181-185,410-411,423-427.
Discusses vol 4 of the Haberl edition, concentrating on Canticum canti-
corum ("The Song of Songs"), although the volume contains 21 additional
5—voice motets. Examines the somewhat enigmatic text, approaches to text
setting, and rationales for Palestrina's personal compositional choices. Pro-
vides critical discussion of its early publication history and analyzes the
cycle's possible modal organization.

E0208 Ciliberti, Galliano. "Una nuova fonte per lo studio degli inni di Costanzo
Festa e Giovanni Pierluigi da Palestrina(Cattedrale di S. Florida di Città di
Castello)." Revue Belge deMusicologie 46 (1992): 145-62.
Discusses manuscript Città de Castello, Cattedrale di S. Florido,
Archivio Capitolare MS 2084 (olim VI C 11), probably redacted in late
1550s, containing 3 hymns (including the unpublished Lauda mater eccle-
sia) written by Palestrina during his tenure at St. John Lateran (1555-1560),
as well as 26 hymns by Costanzo Festa. Examines its relationship to other
manuscripts produced by Vatican scriptorium. Hypothesizes present location
of MS due to activities of Cardinal Vitellozzo Vitelli.

E0209 Ciliberti, Galliano. "Organizzazione della Chiesa e organizzazione musicale

in Umbria nel XVI secolo." In La Cappella Musicale nell'Italia della Con-
troriforma. Atti del Convegno (Cento 1989), ed. Oscar Mischiati and Paolo
Russo. Quaderni della RidM 27. Florence: Olschki, 1993. pp. 337-352.
Noteworthy for indicating holdings of Palestrina material (both manu-
script and printed) in the Umbrian cities of Assisi, Città del Castello, Gub-
bio, Orvieto, Perugia, Spello, and Spoleto.

E0210 Ciliberti, Galliano. "Jacobus Handl Gallus e la `Scuola musicale Romana'

del XVI secolo." In Gallus Carniolus in Europska renesansa. Gallus
Carniolus und die europdische Renaissance. Internationale Tagung Ljubl-
jana October 21-24, 1991. vol 2 ed. Dragotin Cvetko and Danila Pokorn.
Ljubljana: Slovenska Akademija Znanosti in Umetnosti, 1992. ISBN
86-7131-068—X. ML410.H315G33.1991.v.2. pp. 101-131.
Notes the strong presence of Gallus in sixteenth-century Italian religious
musical institutions (especially papal) and argues that his relationship to
them and their stylistc influence on him are greater than has been realized.
Points out strong similarities between Gallus's musical treatment of particu-
lar texts and those by Palestrina and others. Palestrina compositions particu-
larly examined include Tribus miraculis, Quem vidistis pastores, and Ave
Maria a 4.

E0211 Comes, Liviu. "L'importanza delle formule melodiche nello stile palestrini-
ano," trans. Traian Sofonea and Pie tro Derossi. In Atti del Convegno di Studi
Palestriniani. 28 settembre-2 ottobre 1975, ed. Francesco Luisi. Palestrina:
Fondazione Giovanni Pierluigi da Palestrina,1977. ML410.P15C77.1975.
pp. 287-294.
Contends that Palestrina's style can be comprehended in terms of its fili-
Bibliography of Secondary Literature 291
ation to Gregorian monophony, not only in terms of mode, intervallic rela-
tionships, and rhythmic shaping, but also in the composer's tendency to
express and transform formulaic melodic phrases as applied to a polyphonic
context.

E0212 Comes, Liviu. Melodica palestriniana. Bucharest: Editions musicales de

l'Union des Compositeurs, 1971. 198pp. Italian trans. by Pietro Derossi and
Traiano Sofonea, La melodia Palestriniana e il canto gregoriano. Jucundum
laudatio 1974-1975, A13. Venice: San Giorgio Maggiore, 1974-1975.
262pp.
Examines the sources and technical and structural characteristics of Gre-
gorian melodies used by Palestrina. Notes the importance of these character-
istics for understanding the underlying shaping and rhythms of the com-
poser's melodies. Points out melodic features in his music, understood as a
function of vertical musical formulas that are useful in study of style consid-
erations.

E0213 Crawford, David. "Two Choirbooks of Renaiss ance Polyphony at the

Monasterio de Nuestra Senora of Guadalupe." Fontes artes musicae 24
(1977): 145-174.
Discussion of two manuscripts of Spanish proven ance, copied mainly
between about 1560 and 1610, which contain several Palestrina masses.
These versions contain several interesting va riants from the texts which
Palestrina published in Books II and III of masses; there is also a new final
Kyrie for the Missa sine nomine a 4 which is absent from the printed version
of 1567.

E0214 Cummings, Anthony M. "Toward an Interpretation of the Sixteenth-Century

Motet." Journal of the American Musicological Socie ty 34 (1981): 43-59.
Examines the Sistine Chapel diaries for the years 1534-1559,
1560-1561, 1594, and 1616 for evidence to suppo rt the assumption that the
liturgical uses of the motet were freer than formerly believed. Besides their
performance in a variety of extraliturgical contexts, motets were clearly
associated with the Offertory, Elevation, and Communion of the Mass, even
though their texts might be only marginally related to the liturgical feast
being sung.

E0215 Dean, Jeffrey. "The Repertory of the Cappella Giulia in the 1560s." Journal
of the American Musicological Socie ty 41 (1988): 465-490.
Analyzes an inventory of Cappella Giulia music books (Vatican City,
Biblioteca Apostolica Vaticana, Archivio di Stato di San Pietro, Armadi
XX-XXIII; fondo Cappella Giulia, Miscellanea. Busta 426, fascicolo 15,
no.2) compiled between 1559 and 1566. They contain no music by Palest-
rina, although he was the maestro di cappella of the Giulia from 1551-1554.
Concludes that most of Palestrina's sacred music was apparently composed
after his return to the Cappella Giulia in 1571, probably in response to the
Tridentine liturgical reforms of 1568 to 1570.

E0216 Dixon, Graham. "The Performance of Palestrina: Some Questions, but

292 Giovanni Pierluigi da Palestrina

Fewer Answers." Early Music 22 (1994): 667-675. [French version "L'inter-

prétation des oeuvres de Palestrina. Des questions, peu des réponses." In
L'interprétation de Palestrina. Paris: Association Palestrina, 1991. pp.
67-77.]
Deals with the conditions for performance of polyphonic music in
smaller churches in sixteenth-century Rome. Addresses questions of the
number of singers in a typical choir (generally one per pa rt), the participa-
tion of organ and instruments, the use of improvised embellishment, sound-
ing pitch, and issues of expressiveness.

E0217 Dolinar, Anton. "Die mehrstimmige Behandlung der Kirchentdne bei Palest-
rina." Dissertation, University of Vienna, 1927.206pp.
Not reviewed.

E0218 Dower, Cathe rine Anne. "Cappella Sixtina Codices in the Catholic Univer-
sity of America Library." Notes 36 (1980): 615-623.
A history and desc ription of four manuscript codices (MSS 201-204)
presently located in the Mullen Library, Catholic University of America,
originally associated with the Sistine Chapel and the Vatican Library, which
were copied from 1726 to 1727. They contain numerous works by later
sixteenth-century Rome-based composers, including 24 compositions by
Palestrina. Three facsimiles included.

E0219 Dower, Catherine Anne. "Eighteenth-Century Sixtine Chapel Codices in the

Clementine Library of the Catholic University of America." Ph.D. disserta-
tion, Catholic University of America, 1968.
The author's doctoral disse rtation, from which the material in item
E0218 derives.

E0220 Dufourcet-Hakim, Marie-Bernadette. "La Missa Veni Sponsa Christi de

Giovanni Pierluigi da Palestrina." Ostinato rigore: Revue internationale d'é-
tudes musicales 4 (1994): 163-178.
Analyzes this parody mass, demonstrating its balance between counter-
point and homophony for the benefit of its greater intelligibility, Latin
prosody, and expressive qualities. Indicative of some of the tendencies in
Roman church music in the later sixteenth century.

E0221 Dowell, Klaus Ulrich. "Studien zur Kompositionstechnik der Mehrchorigkeit

im 16. Jahrhundert. Dargestellt an Werken von Lasso, Palestrina, Victoria,
Handl und Giovanni Gabrieli." Inaugural dissertation, Kdln, 1963.
ML174.D85.
A comparative study of the treatment of polychoral writing in works of
the later sixteenth and early seventeenth centu ries.

E0222 Einstein, Alfred. The Italian Madrigal, trans. Alexander H. Krappe, Roger
H. Sessions, and Oliver Strunk. 3 vols. Princeton, NJ: Princeton University
Press, 1949; repr. 1971. ISBN 0-691-09112-9. ML2633.E32.
Vol 1, pp.311-318, of this classic study addresses Palestrina's secular
Bibliography of Secondary Literature 293
madrigals, with special attention to his first book (1555). Interprets the oeu-
vre as essentially moderately conservative, with its primary stylistic fore-
bears in Festa and Arcadelt, possessing great harmonic purity an d a special
feeling for sonority. Somewhat limited in its appreciation of Palest ri na in
part icular, not effectively accounting for the lasting popularity of a number
of his works.

E0223 Einstein, Alfred. "Ein unbekanntes Madrigal Palestrinas." Zeitschrift für

Musikwissenschaft 7 (1925): 530-534.
Identifies and transcribes Palestrina mad ri gal O pastor, dove vai cost
doglioso? in Giov an ni Andrea Dragoni's fourth mad ri gal book (1594). Char-
acterizes work as an occasional piece, a farewell in dialogue form with pas-
toral trappings. But see Chater, item E0206.

E0224 Eitner, Robe rt . "Palestrina als Chromatiker." Monatsheft fur

Musikgeschichte 18 (1886): 77-82.
In this older item, the author, remarking how startled he is by the opening
progression of the Stabat Mater, notes a number of instances using similar
chromatic techniques in works by Palestrina, Lassus, and Hassler.

E0225 Fellerer, Karl Gustay. "Das Credo in Palestrinas Missa Ecce Sacerdos. Ein
kleiner Beitrag zur Stilkunde des 16. Jahrhunderts." In Gedenkschrift für
Hermann Abert von seinem Schülem, ed. Fri edri ch Blume. Halle und Saale:
Niemeyer, 1928. ML/55/A28B6. pp. 44-56.
See Fellerer, Palestrina-Studien 1982, pp. 247-257, item E0228.

E0226 Fellerer, Karl Gustay. Die Deklamationsrhythmik in der vokalen Polyphonie

des 16. Jahrhunderts. Düsseldorf: Schwann, 1928.
See Fellerer, Palestrina-Studien 1982, item E0228.

E0227 Fellerer, Karl Gustay. "Zur Frage der Deklamationsrhythmik." Zeitschriftfür

Musikwissenschaft 11 (1928): 314-318.
See Fellerer, Palestrina-Studien 1982, item E0228.

E0228 Fellerer, Karl Gustay. Palestrina-Studien. Collection d'Études Musi-

cologiques/Sammlung musikwissenschaftlicher Abhandlungen 66. Baden-
Baden: Valentin Koerner, 1982. ISBN 3-87320-566-1. ML410.P15F46.
A gathering of a large number of Fellerer's earlier publications on Palest-
rina's music, on individual works, genres, and aspects of style; the "Palest-
rina style"; and the so-called stile antico in the eighteenth century. The chap-
ters or selections are not literal rep rints in every case; some are indeed
rep ri nts, but others represent a conflation or reworking of more than one
item into a continuous text. Useful to read as a single document. Those items
which have some form of rep ri nt in the present text are individually indexed
in citations documenting their o ri ginal publication.

E0229 Fenlon, Iain. Music and Patronage in Sixteenth-Century Mantua. Cam-

bridge, UK: Camb ri dge, 1980.2 vols.
294 Giovanni Pierluigi da Palestrina
Vol 1, pp. 79-117, study the building of the basilica of S. Barbara and the
development of a liturgical repertory for it, including an extended discussion
of Palestrina's relationship with Duke Guglielmo Gonzaga and the music the
composer produced for perform ance at this church.

E0230 Fischer, Klaus. "Le composizioni policorali di Palestrina," trans. Sergio

Sablich. In Atti del Convegno di Studi Palestriniani. 28 settembre-2 ottobre
1975, ed. Francesco Luisi. Palest ri na: Fondazione Giovanni Pierluigi da
Palestrina, 1977. ML410.P15C77.1975. pp. 341-363.
Consideration of the composer's role in developing the polychoral idiom.
Asserts that Palestrina obse rv es universal generic requirements but in man-
ner is closer to Romans such as Animuccia than to Lasso or the Venetians.
His double-choir litanies exhibit somewhat greater contrast of material and
shorter, more rapidly alternating choirs than are found in most of his other
polychoral music, which typically shows longer individual choral state-
ments, imitation in consecutive ve rt ical blocks, and correspondence of the-
matic material between choirs.

E0231 Fragapane, Carlo. Indice alfabetico per incipit verbali delle opere di Gio-
vanni Pierluigi da Palestrina. Florence: Author, 1981. Reprinted in La
cartellina 8, no. 29 (1984): 80-85.
A list of works organized by text incipit.

E0232 Franke, Veronica Ma ry . "Palestrina's Fifteen Five-Pa rt Imitation Masses

Modelled Upon Motets: a Study of Compositional Procedures." D.Phil. the-
sis, Christ Church, Oxford, 1990.
Examines Palestrina's selection of models as a basis for mass composition
in terms of possible motivation, how his selection compares with those of con-
temporaries, how choices reflect his compositional outlook. Studies Palest-
rina's borrowing an d procedures for transformation of material. Advocates a
broadened idea of imitatio to "elaboration upon a known polyphonic source"
Endeavors to move beyond studies of line and dissonance treatment to explo-
ration of ve rtical dispositions, textures, and sonority of Palestrina's masses.

E0233 Fromsen, Michele. `A Conjunction of Rhetoric an d Music: Structural Mod-

elling in the Italian Counter-Reformation Motet." Journal of the Royal Musi-
cal Association 117 (1992): 208-246.
In examining compositional procedures by which composers imitated
formal characteristics of their models, the author studies the manner in
which Palestrina's motet Quem vidistis pastores was used as a model for
Victoria's motet on the same text.

E0234 Gallico, Claudio. "Observations on Palestrina Vestiva i colli." In Interna-

tional Musicological Socie ty . Report of the Eleventh Congress, Copenhagen
1972, ed. Henrik Glahn, Søren Sørensen, and Peter Ryom. Copenhagen:
Wilhelm Hansen, 1974. ISBN 87-7455-026-8. ML36.I6.1972. pp. 86-89.
Obse rv es that in the poetic text the words, syllables, and vowels as
phonemes are of great impo rt ance for the quality an d color of the sound of
Bibliography of Secondary Literature 295
this mad ri gal. Notes that the musical setting tends to cancel the peculiarly
poetic dimension of the text, substituting or transposing it into a domain
modified as to language and communication, and making it something
unique. There may be in it a lack of inva ri able correpondence between the
rhythmic structure and the qualitative poetic scheme, but rhythmic features
may be superimposed from without from a variety of factors (generic tradi-
tion of musical formulas, for example). Notes that in this mad ri gal overall
there is some contradiction between prosodic and architectonic structures;
but the weight of values is on musical language and technique.

E0235 Godt, I rv ing. `A New Look at Palestrina's Missa Papae Marcelli." College
Music Symposium 23.1 (1983): 22-49.
Believes assumption by some that the thematic material of Missa Papae
Marcelli is based on L'homme armé tune is probably without foundation.
Suggests instead that Palest ri na may have followed a deliberate stylistic neu-
trality respecting his choice of materials. Asserts that the mass's unities
derive from the functional equivalences and allusive power of cyclic and the-
matically transformed material. While such material can seem commonplace
in itself, it is treated with great flexibility, ingenuity, and persuasive art.

E0236 Gottwald, Clytus. "Palestrina: L'homme anné." In Palestrina: Zwischen

Démontage und Rettung, ed. Heinz-Klaus Metzger and Rainer Riehn.
Munich: Text + K ri tik, 1994. pp. 43-59.
Reviews the history of L'homme armé masses, the challenges to scholars
an d interpreters which were posed by Palestrina's two masses, and the sub-
sequent controversies over the transc ription of the composer's notation.
Offers hermeneutical discussion of whether the Missa Papae Marcelli is
based on the L'homme armé melody, and what messages the ambiguous
similarity of themes may convey.

E0237 Haar, James. "The Early Madrigals of Lassus" Revue Belge de Musicologie
39-40 (1985-86): 17-32.
Argues for influence of Palestrina, among others, on Lassus's early
madri gal style.

E0238 Haar, James. "Pace non trovo: A Study in Literary and Musical Parody."
Musica Disciplina 20 (1966): 95-149 [Italian tr an slation "Pace non trovo:
una parodia letteraria e musicale" In Il madrigale tra Cinque e Seicento, ed.
Paolo Fabbri. Bologna: Il Mulino, 1988. pp. 231-2481.
An exemplary study of how a sonnet by Petrarch (which was para-
phrased, parodied, centonized, and burlesqued, both as to text and text
meaning) was set by a number of composers, including one No (probably
No Barry ), Ihan Gero, an d indirectly by Palestrina. In one text version of
uncertain authorship, one line of the Petrarch sonnet is quoted as the last line
of each of fourteen verses. Palestrina set this text, creating a kind of madri-
gal cycle or series. In a remarkable parody, displaying a "chromatic" style
not overt in his first madrigal book, Palestrina closes each stanza of his own
setting of the fourteen verses with a parodied quotation of the appropriate
296 Giovanni Pierluigi da Palestrina
line from the No setting of the o ri ginal sonnet. Each step in the evidence and
argument is meticulously examined, and the a rticle concludes with a discus-
sion of the parody techniques used by Palestrina here.

E0239 Haar, James. "Palestrina as Histo ricist: the Two L'homme armé Masses."
Journal of the Royal Musical Association 121 (1996): 191-205.
Argues that in his L'homme armé masses, Palestrina displayed a histori-
cist sense through his choice of cantus firmus and virtuoso emulation of
mensuration practices from 50 years before his time. Asserts that these ges-
tures indicate a wish to connect himself with the professional tr adition of the
Cappella Sistina.

E0240 Haass, Walter. Studien zu den "L'homme armé" Messen des 15. und 16.
Jahrhunderts. Kolner Beitrage zur Musikforschung 136, ed. Heinrich
Hüschen. Regensburg: Gustav Bosse Verlag, 1984. 178 pp.
Comparative study of over two dozen masses, including both of Palest-
rina's, which use the famous chanson tune as a cantus firmus. Chapters deal
in turn with some style characteristics and arrange material according to the
approximate date of setting. Formal structure of the chanson, the st ru cture of
Mass movements relative to it and diverse methods of treating the contra-
puntal material are analyzed.

E0241 Haberl, Franz Xaver. Bibliographischer und thematischer Musik-Katalog

des püpstlichen Kapellarchivs im Vatikan zu Rom. Bausteine für
Musikgeschichte. Vierteljahrsschrift für Musikwissenschaft 2. Leipzig,
1888. ML160.H98.
An early published catalog of the papal collections. See also items E0281
and E0282.

E0242 Haberl, Franz Xaver. "Die ersten drei Bande der Motetten Palestrinas."
Kirchenmusikalisches Jahrbuch 5 (1890): 1-27.
An examination (work by work) of salient stylistic tr aits in Palestrina's
first three books of motets (pub. 1569, 1572, 1575), with running commen-
tary on remarks by Baini, Kandler et al.

E0243 Haberl, Franz Xaver [sacerdote Francesco Saverio Haberl]. Giovanni Pier-
luigi da Palestrina e il Graduale Romanum Officiate dell'Editio Medicaea
(1614). Contribuito alla Storia della Liturgia dopo il Concilio di Trento.
Regensburg: F ri edri ch Pustet, 1894. 59pp [also in German trans. as Gio-
vanni Pierluigi daPalestrina und das Graduale Romanum der Editio Med
icaea von 1614 Regensburg: F ri ed rich Pustet, 1894].
A history of the so-called Medicean edition of the Roman Gradual and
effo rt s to revive its standard use in the 1870s. Examines some of the docu-
ments and correspondence associated with the preparation of the edition
(1578-1615; a series of them printed in the appendix, pp.36 et seq.). Dis-
cusses Palestrina's role in the revision of the chant an d offers some sugges-
tions as to why his activity on the work was largely discontinued after about
1580 (he was sidetracked by other work; another gradual was published in
Bibliography of Secondary Literature 297
Venice; possibly inadequate methods for printing plainchant). Suggests rea-
sons why it took this gradual so long to reach p rint.

E0244 Haberl, Franz Xaver. "Praefationes." In Giovanni Pierluigi da Palestrina.

Opera Omnia. vols. 10-33. Leipzig: Breitkopf und Mite', 1880-1907.
The series of prefaces, beginning with vol 10, found in each of the indi-
cated volumes of the first comprehensive edition are of great value for infor-
mation on and desc riptions of printed and manuscript sources for Palestrina
in the late nineteenth century, an d for knowledge of Haberl's critical appara-
tus and methodology.

E0245 Haigh, Andrew C. "The Harmony of Pales tr ina." Dissertation, Ha rv ard Uni-
versity, 1946. 324pp.
See item E0246.

E0246 Haigh, Andrew C. "Modal Harmony in the Music of Palestrina." In Essays

on Music in Honor of Archibald Thompson Davison, by His Associates.
Camb ri dge, MA: Harvard, 1957. ML55.D28H3. pp. 111-120.
Investigates some of the harmonic tendencies in Palestrina's music. Does
statistical analysis to indicate proportionate use of various modes. Suggests
that the composer tends to exhibit preferences among mode choices, and that
works in the various modes show characteristic an d distinctive harmonic
patterns as well as patterns of modal cadences an d cadence formulas. While
these modal haronic patterns exist, they show ce rt ain slight unexplained
irregularities that seem evidence of the pull of tonality, a feeling for which
was growing in later sixteenth century music. Offers a "theory of modal har-
monic gravitation" in which harmonies are attracted toward the center of the
total harmonic sphere, in which modal "tonics" occupy various positions.

E0247 Hall, Alison. Palestrina: An Index to the Casimiri, Kalmus and Haberl Edi-
tions. MLA Index an d Biography Series 22. Philadelphia: Music Library
Association, 1980. xiii + 82pp. ISBN 0-914-95418-0. ML134.P26.H3
Locator for works in three editions, organized by title/incipit index and
by classified (genre) index.

E0248 Haller, Michael. "Analyse der Missa: `O admirabile commercium' von Giov.
Pierluigi daPalest ri na." Kirchenmusikalisches Jahrbuch 9 (1894): 69-76.
An analysis that pa rt itions the motet model into its eight constituent
phrase/music components and indicates how each phrase's material is dis-
tributed through the various movements of the mass. Notes as an impo rtan t
feature the elaboration of the adapted material through devices of imitation
an d inverted counterpoint, and the creation of variety and expressiveness
through coloristic groupings of voices.

E0249 Haller, Michael. "Meditationen über die 'alten Schule,' nebst einer Analyse
der Missa Iste Confessor' von G. Pierluigi da Palestrina." Ccicilienkalendar
6 (1881): 36-45.
Following a discussion of "strict" an d "free" contrapuntal styles, the for-
298 Giovanni Pierluigi da Palestrina
mation of melody appropriate for st rict counterpoint, note values, rhythm,
and mode issues, Haller applies the discussion to an examination of the
hymn Iste confessor, and in turn analyzes how the phrases of the hymn are
used to generate melodic and imitative material for each of the movements
of the polyphonic Missa Iste confessor.

E0250 Haller, Michael. "Motivierung des neukomponierten III. Chores in sechs

12— stimm. Compositionen Palestrina." Kirchenmusikalisches Jahrbuch 4
(1889): 38-44.
Discusses compositional decisions involved in the reconstruction by
Haller of the missing third-choir parts of t riple choir pieces published in vol-
ume 26 of the Haberl edition. Note: the original missing parts for some of
these works were recently recovered and the compositions republished. See
O'Regan, items E0301, E0302, and E0680.

E0251 Hamburger, Povl. Studien zur Vokalpolyphonie. Bd. I—II. German trans.
Hans Georg Lenz. Wiesbaden, 1956. Orig. published Copenhagen: Nordisk
Forlag Arnold Busck, 1956. ML446 H3.
Contains a list of Palestrina's masses (p.44).

E0252 Hanson, John R. "Enumeration of Dissonance in the Five-Voice Masses of

Palestrina." Theory and Practice 9 (1984): 125-141.
Statistical study of the appearance and uses of various disson ances in
Palestrina's five-voice masses. Hanson enumerates the numbers and distri-
bution of these devices and combines them in a database with information
acquired in his study of three- and four-voice masses and mass sections of
1983 (item E0253) in an attempt to clarify Palestrina's compositional style.

E0253 Hanson, John R. "Enumeration of Disson ance in the Masses of Palestrina."

College Music Symposium 23.1 (1983): 50-64.
Statistical study of selected uses of disson ance, first in three-voice mass
sections, then in four-voice masses, primarily for pedagogical purposes.
Enumerates uses of five kinds of suspensions, accented passing tones, con-
sonant fourth, cambiata, and 6/5 harmonic combination in order to 1) pro-
vide a list of sources with many occurrences of a particular device; 2) high-
light their prototypical dist ribution; 3) evaluate generalizations about the
style in counterpoint books; 4) provide a basis for comparison to selections
in anthologies; 5) make a list of sources which illustrate rare or exceptional
devices.

E0254 Hanson, John R. "Pedagogy of Sixteenth-Century Counterpoint: Selected

Examples with Commentary." Theory and Practice 4 (1979): 5-14.
Examines disson ance treatment in works by Josquin and Palest rina found
in some general anthologies, and comments on the suitability of those
sources for classroom teaching.

E0255 Harran, Don. "Stories from the Hebrew Bible in Music of the Renaissance."
Musica Disciplina 37 (1983): 235-288.
Bibliography of Secondary Literature 299
Attempts to isolate and define a repertory of Hebrew Bible (Old Testa-
ment) stories in musical settings. Among the motets selected for examina-
tion are four by Palestrina: Aegypte noli flere a 5, Santificavit Moyses a 5,
Inveni David a 5 and Susanna ab improbis senibus a 6. The collection is
examined for the textual and musical procedures used; for their relationship
to other bodies of information where parallels of Old Testament narrative
exist, especially those in painting; for the relation of these biblical stories to
other biblical texts (narratives, psalms, Lamentations, and the Song of
Songs). Opens up consideration of these texts in terms of motives and activ-
ities of Christian Hebraicists of the Old Testament in the Renaiss ance.

E0256 Haydon, Glen. "The Lateran Codex 61." In Inte rnationale Gesellschaft fiir
Musikwissenschaft. Bericht über den siebenten inte rnationalen musikwis-
senschaftlichen Kongress Kïiln 1958, ed. Gerald Abraham et al. Kassel:
Barenreiter, 1959. ML36.I6.1958. pp. 126-131.
A study of the manuscript Rome, S an Giovanni in Laterano, Archivio
Musicale MS61, a collection of hymns probably written around 1575,
mostly by or under the direction of Annibale Stabile, and apparently copied
from an earlier, lost MS. Interspersed among Festa's Hymni per totum
annum are 27 hymns by other composers, including three by Palestrina, Veni
creator a 4, Pange lingua a 4, and Tristis erant apostoli a 4. Compositional
style of these works is analyzed in text, and a table describing the non-Festa
hymns generally is provided on pp.129-131.

E0257 Hell, Helmut. "Die Vorlagen zur unechten Messe 69 in der neuen Reihe der
Lasso-Gesamtausgabe." Musik in Bayern 20 (1980): 39-49.
Demonstrates that a mass purported to be by Lasso is actually a probable
nineteenth-century conflation of material by Carl Neuner. The "mass" con-
sists of a contrafactum of a motet by Lasso, together with a Benedictus by
Albrechtsberger and an Agnus Dei by Palestrina.

E0258 Hdfler, Janez. "Sui motetti a doppio coro di G.P. da Palestrina."

In L'Arte di
Giovanni Pierluigi da Palestrina. Atti e Documentazione. VI Convegno
Europeo sul Canto Corale. Promosso e Organizzatodalla Corale Goriziana
"C.A. Seghizzi." Gorizia: Grafica Goriziana, 1975. pp. 23-32.
Studies four motets from Libro secondo (1572) and seven from Libro
terzo (1575) that are datable with relative security. Argues that the 8—pa rt
1572 motets are based on psalmodie structures and use diverse combinations
of voices without adhering to any preset bichoral scheme, while the 1575
works are more obviously antiphonal, respect verse structure, and frequently
repeat text in both choirs. Following a suggestion in Cerone that Palestrina
composed "in the style of Phinot," Hdfler compares the 1575 pieces with
double choir music in Novus thesaurus musicum (1568).

E0259 Hüschen, Heinrich. "Lob- und Preismotetten auf die Musik aus früheren
Jahrhunderten." In Musica Scientiae Collectanea 12. Festschrift für Karl
Gustav Fellerer zum siebzigsten Geburtstag am 7. Juli 1972, ed. Heinrich
Hüschen. Küln: Volk, 1973. pp. 225-242.
300 Giovanni Pierluigi da Palestrina
Contextualizes setting of the text Cantantibus organis Caecilia with
material about the Cecilian legend, an analysis of the text itself an d its musi-
cal treatment by several Renaissance composers as well as Palestrina.

E0260 Illing, Carl-Heinz. Zur Technik der Magnificat- Komposition des 16.
Jahrhunderts. Kieler Beitrge zur Musikwissenschaft 3. Wolfenbüttel and
Berlin: Kallmeyer, 1936.
Originally a Ph.D. disse rt ation from the University of Kiel. About half of
this book is devoted to analysis of Palestrina's magnificats.

E0261 Janz, Bernhard. "Nativitas tua Dei genetrix virgo. Palestrinas Motette und
die gleichnamige Parodiemesse im Kodex Cappella Sistina 70." In Auf-
führungs- und Bearbeitungspraxis der Werke Palestrinas vom 16. bis zum
20. Jahrhundert, ed. Fri ed ri ch Wilhelm Riedel. Kirchenmusikalische Stu-
dien 3. Sinzig: Studio, Verlag Schewe, 1997. pp. 25-42.
Examines an anonymous mass entitled Nativitas tua Dei genetrix in the
manuscript I-Rvat Cappella Sistina 70, which Janz recognizes as a parody
mass based on a motet published by Palestrina in Motecta festorum (1564).
Argues from a variety of inductive, circumstantial, and stylistic evidence
(including the manner of disposition of the thematic material, consistent
with Palestrina's methods but sometimes divergent from Pontio's theoretical
instructions) that Palestrina is the author of the mass, and suggests reasons
why it may have been neglected and fallen out of the Sistine repertory.

E0262 Jeppesen, Knud. "Das isometrische Moment in der Vokalpolyphonie." In

Festschrift Peter Wagner zum 60. Geburtstag, ed. Karl Weinmann. Leipzig:
Breitkopf und Hrtel, 1926. repr. 1969. ML55.F47. pp. 87-99.
Contains a history of the use of note-against-note declamatory polyphony
for drawing attention to particular words or phrases in vocal music from
1300 to 1600. Palestrina's uses of such text setting tend to be somewhat
more inflected verbally, more natural, and more fl exible than the rather
mechanical an d emblematic uses of such declamation in earlier Netherlan-
dish polyphony or fourteenth-century c as es such as Machaut.

E0263 Jeppesen, Knud. Kontrapunkt. Lehrbuch der klassischen Vokalpolyphonie.

Leipzig: Breitkopf und Hrtel, 1935, repr. Leipzig: VEB-Breitkopf und Hilr-
tel, 1956 [trans. Counterpoint. The Polyphonic Vocal Style of the Sixteenth
Century. Englewood Cliffs, NJ: Prentice-Hall, 1939]. MT55.J54K.
A manual of instruction in sixteenth-century counterpoint reli an t on
Jeppesen's The S ty le of Palestrina and the Dissonance, E0267. See espe-
cially pp.83-97.

E0264 Jeppesen, Knud. "Marcellus -Probleme." Acta Musicologica 16 (1944): 11-38.

ML5 A2 [trans. in Giovanni Pierluigi da Palestrina: Pope Marcellus Mass.
Norton Critical Score. New York: No rt on, 1975. M2011.P25.M38.1975].
Contains rep ri nt of "Wann entstand die Marcellus-Messe ?" [see item
E0272].
Bibliography of Secondary Literature 301
E0265 Jeppesen, Knud. "Le Messe Mantovane di Giovanni Pierluigi da Palestrina."
Manifestazioni di attività culturale. Rome: Accademia Nazionale di S.
Cecilia, 1955.
See item E0266.

E0266 Jeppesen, Knud. "Pierluigi da Palestrina, Herzog Guglielmo Gonzaga und

die neugefundene Mantovaner -Messe Palestrinas: ein erg nzender Bericht."
Acta Musicologica 24 (1953): 132-179.
The expanded repo rt on a recovery of Palest ri na material of outstanding
import ance, namely the works the composer wrote for Duke Guglielmo
Gongaza and his new liturgical foundation of Santa Barbara in Mantua.
Describes the Santa Barbara collection and how it was settled in Mil an ; the
Santa Barbara foundation itself, with its distinctive liturgy and plainchant;
elaborates in depth Palestrina's working history with Duke Guglielmo,
including transc ri ptions of much of their correspondence. Provides exten-
sive analyses of the masses and their relationship to the unique chant they
use, an d discusses their alternatim manner of perform ance. Studied together
with the extant correspondence, these works (the only ones Palestrina wrote
for a liturgy other than the Roman) are of very great value for understanding
the composer's working methods and aspects of style.

E0267 Jeppesen, Knud. Palestrinastil med saerligt henblik paa dissonansbehandlin-

gen. Copenhagen, 1923; 2nd ed. Copenhagen: Ejnar Munksgaard, 1946 [Ger-
man trans. Die Dissonanzbehandlung in den Werken Palestrinas. Copen-
hagen, 1925; German trans. Der Palestrinastil und die Dissonanz. Leipzig,
1925. repr. 1927, 1946. English trans. The Style of Palestrina and the Disso-
nance, 1927; 2nd. ed. intro Edward J. Dent. London: G. Cumberlege, 1946,
repr. New York: Dover, 1970]. ML3003.J362.1946; ML410.P15.J5.
An exhaustive and influential study of the composer's contrapuntal tech-
nique. The approach used does not attempt to group compositions chrono-
logically or in terms of style phases, and thus does not readily indicate how
his overall style may have evolved over time, but still an impressive analysis
of Palestrina's characteristic technical decisions.

E0268 Jeppesen, Knud. "Problems of the Pope Marcellus Mass: Some Remarks on
the Missa Papae Marcelli by Giovanni Pierluigi da Palestrina." In Giovanni
Pierluigi da Palestrina. Pope Marcellus Mass. An Authoritative Score. Back-
grounds and Sources. History and Analysis. Views and Comments, ed. Lewis
Lockwood. No rt on Critical Score. New York: W.W. No rt on, 1975. ISBN
0-393-02185-8; ISBN 0-393-09242-9 (pbk). M2011.P25M38.1975. pp.
99-130.
English translation of the Acta Musicologica art icle.

E0269 Jeppesen, Knud. "The Recently-Discovered Mantova Masses of Palestrina.

A Provisional Communication." Acta Musicologica 22 (1950): 36-47.
A desc ri ption of manuscript masses in the S an ta Barbara fondo of the
Conservatorio di Musica Giuseppe Verdi in Milan, which are identified with
302 Giovanni Pierluigi da Palestrina
the masses known to have been composed by Palestrina and sent to
Guglielmo Gonzaga of Mantua on his commission in 1578 to 1579. Also
comments on Oliver Strunk's a rticle in the 1947 Musical Quarterly dealing
with Duke Guglielmo and a Missa Dominicalis ascribed to Palestrina.

E0270 Jeppesen, Knud. "Palestriniana. Ein unbekanntes Autogramm Palestrinas

und einige unveroffentlichte Falsibordoni des Giovanni Pierluigi da Palest-
rina." In Miscelknea en Homenaje a Monsenor Higinio Anglés I, ed. Miguel
Querol et al. Barcelona: Consejo Superior de Investigaciones Cientificas,
1958-1961. ML55.A58. pp. 417-432.
Discusses Vatican City, Biblioteca Apostolica Vaticana, MS Vat. Lat.
10776, a Palestrina autograph containing hymns and falsibordoni, in the
context of a large amount of other affiliated manuscript and print material.
Suggests some identifications for falsibordone material in the Guidetti 1587
publication as well.

E0271 Jeppesen, Knud. "II. Über einen Brief Palestrinas." In Festschrift Peter Wag-
ner zum 60. Geburtstag, ed. Karl Weinmann, Leipzig: Breitkopf and Hürtel,
1926. repr. 1969. ML55.F47. pp. 100-107.
Analyzes a letter written by Palest rina on March 3, 1570, in response to
Duke Guglielmo Gonzaga's request for a c ri tique of some of his composi-
tions. Examines Palestrina's comments as reflecting his methods for instruc-
tion and critical assessment of music. Comments to Guglielmo indicate that
Palest ri na put the duke's work into score and advised the enriching of its
harmonic sonorities and the polishing of its contrapuntal treatment. In the
absence of any actual annotated scores, Jeppesen suggests examples from
Palestrina's music as illustrations.

E0272 Jeppesen, Knud. "Wann entstand die Marcellus- Messe ?" In Studien zur
Musikgeschichte: Festschrift für Guido Adler zum 75. Geburtstag. Vienna:
Universal-Edition, 1930; repr. 1971. pp. 126-136.
This art icle formed part of the "Marcellus-Probleme" a rt icle by Jeppesen
that appeared in Acta Musicologica in 1944-1945. The Acta version, trans-
lated into English by Lewis Lockwood, appears in the No rt on Critical Score
edition of the Missa Papae Marcelli, item E0268.

E0273 Killing, Joseph. Kirchenmusikalische Schdtze der Bibliothek des Abbate

Fortunato Santini. EM Beitrag zur Geschichte der katholischen Kirchen-
musik in Italien. Düsseldorf: Schwann, 1910.
A history and desc ri ption of the great collection of Fortunato Santini
(1778-1861). He spent more than half a century collecting and scoring
music from before 1800, much of which was from then-inaccessible
libraries and archives. A number of his o ri ginal sources have since disap-
peared. The collection of nearly six thousand items—manuscripts, prints,
and scorings of parts—eventually came to reside at the Episcopal Seminary
in Münster. An important location for early prints of Palestrina's music and
for investigating manuscript traditions, otherwise untraceable works, an d
opera dubia.
Bibliography of Secondary Literature 303
E0274 Klassen, Johannes. "Zur Modellbehandlung in Palestrinas Paro-
diemessen." Kirchenmusikalisches Jahrbuch 39 (1955): 41 55. -

Examines how thematic material from polyphonic models is integrated

into Palestrina's mass movements. Discusses the sectionalization of models
and argues for the composer's careful attention to adapting word-rhythm
relationships, metrical phrase treatments, and text assonance and alliteration
in the models to particular mass passages. Finds evidence of symbolic allu-
sions between po rtions of model text an d passages in masses suggested
through melodic shaping and affective parallels.

E0275 Klassen, Johannes "Die Parodiemesse bei Palestrina." Dissertation, Bonn,

1950. 123pp. (typescript).
See items E0274, E0276, E0277.

E0276 Klassen, Johannes. "Das Parodieverfahren in der Messe Palestrinas."

Kirchenmusikalisches Jahrbuch 38 (1954): 24 54. -

A more detailed statistical study of the dist ri bution and modification of

the material of a polyphonic model within the various movements of Palest-
rina's parody masses. Examines direct and symbolic text-music relation-
ships, as well as thematic and rhythmic modifications of preexistent material
when adapted from one context to another.

E0277 Klassen, Joh an nes. "Untersuchungen zur Parodiemesse Palestrinas."

Kirchenmusikalisches Jahrbuch 37 (1953): 53 63. -

Investigation of 41 parody masses by Palestrina, of which 23 use models

derived from his own work, while 18 are based on models by others. The
non- Palestrina sources tend to be representative of the post- Josquin, Italian-
ized Netherlandish style.

E0278 Kuhn, Max. Die Verzierungs Kunst in der Gesangs Musik des 16. 17.
- - -

Jahrhunderts (1535 1650). Beihefte der Internationalen Musikgesellschaft

-

7. Leipzig: Breitkopf und Hârtel. 1902. ML1403.K96.

An early and influential study of printed sources on diminution and orna-
mentation technique an d their practical application to music of the late
Renaissance and early Baroque. Reviews the relevant texts, examines their
suggestions, and reproduces a large number of examples from various
books. See entry in Chapter 5, "Modern Editions" for a desc ri ption of the
Palestrina examples transcribed in this text, under section I, cross-listing
"Kuhn"

E0279 Kurtzman, Jeffrey G. "Tones, Modes, Clefs and Pitch in Roman Cyclic
Magnificats of the 16th Century." Early Music 22 (1994): 641-664.
Derived from a study of relationships between Magnificats of Palest ri na
and those of sixteenth-century predecessors in the Sistine chapel. Hypothe-
sizes that the practical origin and purposes of so-called chiavette and other
related clef combinations derived from a wish to create a notational corre-
spondence (whatever the sounding pitch may have been) between the recit-
ing tones of antiphons and their psalms or canticles.
304 Giovanni Pierluigi da Palestrina
E0280 Leichtentritt, Hugo. Geschichte der Motette. Leipzig: Breitkopf & Hartel,
1908 [facs. repr. Hildesheim: G. Olms, 19671. ML3090.L52.
Chapter 6, pp.142-207, deals with "Palestrina an d the Roman School."
Influenced by the newly completed Haberl edition, this is a survey of salient
features of many of Palestrina's better-known motets, emphasizing both
their technique an d the interdependence of their rhetorical an d affective
qualities.

E0281 Llorens, Josephus M. Capellae Sixtinae Codices musicis notis instructi sive
manu scripti sive praelo excussi. Studi e testi 202. Vatican City: Biblioteca
Apostolica Vaticana, 1960 [repr.1972].
Highly detailed catalog (in Latin) of the Biblioteca Apostolica Vaticana's
Sistine fondo, one of the most important sources for Palest ri na works in
early manuscript copies and the cen tr al custodian of the earlier performance
tradition.

E0282 Llorens, José M. [Josephus]. Le opere musicali della Cappella Giulia I:

manoscritti e edizioni fino al `700. Studi e testi 265. Vatican City: Biblioteca
Apostolica Vaticana, 1971.
Catalog of the Cappella Giulia musical fondo, another of the most impor-
tant sources for primary Palestrina material.

E0283 Llorens, José M. "Tres ignoradas antifonas de Giovanni Pierluigi da Palest-

ri na, identificadas en el fondo musical de la Cappella Giulia." Anuario musi-
cal 22 (1967): 1-19.
Discusses three unattributed antiphon motets, Sancta Dei genetrix a 4,
Petrus apostolus a 4, and Da pacem Domine a 4, in Rome, Biblioteca Apos-
tolica Vaticana, Cappella Giulia VIII.39, ff.190v-193, together with docu-
mentary evidence pinpointing Palestrina's authorship. (This is the same MS
containing Morales Magnificats with si placet part s by Palestrina.) Con-
tains transc riptions of these three works (pp.13-17), plus four pages of
plates with facsimiles of the three works and the receipt from Archivio
Capitolare di S an Pietro, vol 150, f.23, that proves that Palestrina was their
composer.

E0284 Lockwood, Lewis, ed. Giovanni Pierluigi da Palestrina. Pope Marcellus

Mass. An Authoritative Score. Backgrounds and Sources. History and Analy-
sis. Views and Comments, ed. Lewis Lockwood. No rton Critical Score. New
York: W.W. No rt on, 1975. ISBN 0-393-02185-8; ISBN 0-393-09242-9
(pbk). M2011.P25M38.1975. pp. 99-130.
In addition to a score of the mass (pp.39-73) derived from vol 4 of the
Casimiri edition, Lockwood presents English translations of a large body of
relev an t contemporary documents and critical reception material. Also
included is Lockwood's a rt icle "Notes on the Text and Structure of the Pope
Marcellus Mass" (pp.77-98) and his English tran slation of Knud Jeppe-
sen's "Problems of the Pope Marcellus Mass: Some Remarks on the Missa
Papae Marcelli by Giovanni Pierluigi da Palestrina" (pp.99-130) [see item
E0268].
Bibliography of Secondary Literature 305
E0285 Luisi, Francesco. "Le alterazioni nella musica di Palestrina." In Atti del Con-
vegno di Studi Palestriniani 28 settembre-2 octobre 1975, ed. Francesco
Luisi. Palestrina: Fondazione Giovanni Pierluigi da Palestrina, 1977. ML
410.P15C77.1975. pp. 51-98.
Relying on sixteenth-century theoretical sources dicussing musica ficta,
it is argued that alteration of pitches at cadences to "modernize" the lan-
guage beyond what is found in contemporaneous sources of Palestrina's
sacred vocal music is appropriate more often than is assumed.

E0286 Marshall, Robert L. "The Paraphrase Technique of Palest rina in his Masses
Based on Hymns." Journal of the American Musicological Socie ty 16
(1963): 347-372.
Study of nine masses using techniques of polyphonic construction
derived from preexistent material belonging to a specific monophonic genre.
Palestrina first derives a subject suitable for imitation by imposing a rhyth-
mically distinct and concise form upon the model, then distributes it accord-
ing to the sequence of phrases found in the o riginal hymn. In polyphonic
elaboration he achieves variety through a constantly changing order of voice
entries in the presentation of the borrowed material, but the disposition of
the hymn phrases over the course of a movement depends on the design both
of the hymn and the particular mass section. Each mass represents individual
solutions to these problems.

E0287 McCray, James E. "A Survey of Published Magnificats for Treble Voices."
Choral Journal 28 (1988): 5-11.
Surveys and describes a selection of Magnificats for the period from
1450 to 1980. Palestrina's are among the earliest represented.

E0288 Meier, Bernhard. "Modale Korrektur and Wortausdeutung im Choral der

Editio Medicaea." Kirchenmusikalisches Jahrbuch 53 (1969): 101-132.
After reviewing the foundations of the reform, this study examines how the
"reformed" chant of the Medicean edition was reshaped modally and had its
"superfluities" and "barbarisms" removed for the sake of enhancing both musi-
cal and textual clarity. Concludes that the edition is actually better than its rep-
utation, and that the editing work was relatively rationally based, not so very
far off the mark, and certainly not done in blind ignor ance or silly pedantry.
Article does not directly mention Palestrina for obvious reasons, but presum-
ably at some level his handiwork is present among the examples studied here.

E0289 Meier, Bernhard. "Zu den `in mi' fundierten Werken aus Palestrinas Offerto-
riums-Motettenzyklus." Die Musikforschung 37 (1984): 215-220.
In examining Palestrina's offertory cycle (pub. 1593), Meier argues
against Harold Powers's interpretation of the first 32 motets of the collection
as being organized in series according to the eight traditional church modes.
Argues that in considering the "in mi"
group (nos. 9-16, founded on modes
III and IV), Palestrina actually seems to have transposed the order of the
mode presentation (i.e. III follows IV). Suggests that this is because the
affective character of the texts and their liturgical placement were better
306 Giovanni Pierluigi da Palestrina

served through the choices of mode that were actually made here, even if
there was a seeming inconsistency in the pattern of the cycle as a result.

E0290 Mies, Paul. "Stabat mater dolorosa. Probleme und Grundlagen für eine
Untersuchung über das Verhaltnis von textlicher und musikalischer Struk-
tur." Kirchenmusikalisches Jahrbuch 27 (1932): 146-153.
Comparisons of structure and declamation in Palestrina's musical treat-
ment of the Stabat mater text with those found in settings by Josquin, Ane-
rio, and Pergolesi.

E0291 Mischiati, Oscar. "Il manoscritto corsiniano dei `Ricercari'di Giovanni Pier-
luigi da Palestrina." In Atti del II Convegno Internazionale di Studi
Palestriniani. Anno Europeo della Musica. 3-5 maggio 1986, ed. Lino
Bianchi and Giancarlo Rostirolla. Palestrina: Fondazione Giovanni Pierluigi
da Palestrina/Centro di Studi Palestriniani, 1991. ML410.P15C77.1986. pp.
177-201.
A study, inventory of and concordance list for Rome, Biblioteca Corsini-
ana Ms. M 14 (ohm 2490), the source for the Ricercari attributed to Palest-
rina. Mainly a large collection of vocal music in partitura, the MS was prob-
ably written out around 1600 for compositional study and for the practice of
basso continuo/basso seguente accompaniment by an organist.

E0292 Mischiati, Oscar. "`Ut verba intelligentur': circostanze e connesioni a

proposito della Missa Papae Marcelli." In Atti del Convegno di Studi
Palestriniani (28 settembre-2 ottobre 1975), ed. Francesco Luisi. Palestrina:
Fondazione G.P. da Palestrina, 1977. ML 410.P15C77.1975. pp. 415-426.
Notes that the demand for intelligibility of the text in polyphony was the
function of a broader humanistic and Renaiss ance aesthetic. Its direct impli-
cations for the Tridentine deliberations are evident in correspondence which
preceded and was contemporary with the council, and the practical results of
such attitudes are clearly observed in the stylistic formulation of the Missa
Papae Marcelli.

E0293 Monterosso, Raffaello. "La prassi esecutiva palestriniana nella prospettiva

del pensiero teorico rinascimento." In L'arte di Giovanni Pierluigi da
Palestrina. Atti e documentazione. VI Convegno europeo sul canto corale.
Promosso e organizzato dalla Corale Goriziana "C.A. Seghizzi." Gorizia:
Grafica Goriziana, 1975. pp. 41-54.
Addresses problems in reading sixteenth-century notation, questions of
rhythmic organization, and aspects of interpretive expression. Discusses
notational problems of the L'homme armé mass and cites numerous
sixteenth- and seventeenth-century theorists on the changing nature, speed,
and treatment of the tactus. Traces Haberl/Casimiri/Auda controversies over
L'homme armé notation. Reviews theorists' remarks on differences between
manners of singing church and chamber polyphony with respect to physical
deportment, number and fullness of voices, and application of ornaments to
music.
Bibliography of Secondary Literature 307
E0294 Monterosso Vacchelli, Anna Ma ria. La Messa `L'homme armé' diPalestrina:
Studio paleografico ed edizione critica. Istituta e Monumenta, Se rie II, Instituta
7. Cremona: Fondazione Claudio Monteverdi, 1979. M2011.P25.H6.1979.
Introduction, pp.13-41, reviews the long and controversial history deal-
ing with the interpretation of the notation in this work; pp.42-47 present a
critical apparatus; pp.51, 52-61, and 62-75 reproduce in facsimile the edi-
tions of 1570 and 1599 respectively, and pp.79-132 present Monterosso
Vacchelli's transcription of the mass.

E0295 Morelli, Arnaldo. "Intorno a un codicetto polifonico del primo Seicento (I-
Rsc, G.389)." Recercare 1 (1989): 97-109.
Discussion of provenance and function of this MS, drawn up in 1617 by
organist Alessandro Nison. Besides containing four other Palestrina motets,
it is the only known source for his 6-pa rt motet Congratulamini.

E0296 Moser, Hans Joachim. "Vestiva i colli." Archiv fiir Musikforschung 4 (1939):
129-156. Reprinted in H ans Joachim Moser. Musik in Zeit und Raum. Aus-
gewdhlte Abhandlungen. Berlin: Merseburger, 1960. pp. 34-58.
Discusses adaptation of the material of Palestrina's popular secular work
in a series of imitation masses by the composer himself and by several of his
contemporaries, namely Nanino, Giovanelli, Belli, Biondi da Cesena,
Nucius, and Lasso. Also examines arrangements, diminutions, reworkings,
and even burlesques of the original madrigal.

E0297 Novack, Saul. "Tonality and the Style of Palestrina." In Music and Civiliza-
tion: Essays in Honor of Paul Henry Lang, ed. Edmond Strainchamps, Ma ria
Rika Maniates, and Christopher Hatch. New York: No rton, 1984. ISBN
0-393-01677-3. ML55.L213.1984. pp. 428-443.
Describes how problematic it has been to speak of the operations of
modality in sixteenth-century polyphony music, and that identification of
specific modes in terms of the church modes or Glarean's extension of them
has been inadequate. Notes that studies of Palestrina's style have not
reflected his considerations of tonality as a unifying force. Points out that the
composer uses various kinds of harmonic function, both internally and at
final cadences, and in the large-scale projection of various chords, especially
IV and V. Such chords not only function as structural harmonic chords but
are also themselves prolonged harmonically. Functioning chords combine
with the directions of voices and repetitions of design to create inner form
and a strong sense of tonal direction.

E0298 011ikkala, Debra Margaret. "G.P. da Palest rina: A Study of His Paraphrase
Masses Based on Antiphons." D.M.A. thesis, University of Illinois at
Urbana-Champaign, 1993. DA932912.
Studies the structural and stylistic features of nine mass settings based on
antiphons. Explores paraphrase procedures, namely the transformation of
the antiphon into material suitable for polyphony and the use of that material
throughout the mass.
308 Giovanni Pierluigi da Palestrina
E0299 011ikkala, Debra Cairns. "The Use of Cadences to Define Structure in
Selected M as ses of Palestrina." Choral Journal 35.1 (1994): 27-32.
Discusses cadential hierarchies serving to articulate segments of musical
stru cture as an aspect of Palestrina's compositional procedure. Four cate-
gories of cadence types are described according to their general contrapuntal
features an d their relative strength. Analysis of Credo from Missa Regina
coeli a 5 illustrates how cadences define syntactical units together with vari-
ous levels of musical st ru cture. Notes on communicating these qualities in
performance are offered.

E0300 O'Regan, Noel. "The Early Polychoral Music of Orl an do di Lasso—New

Light from Roman Sources." Acta Musicologica 56 (1984): 234-251.
Contains information on a number of 8-voice motets by Palestrina in
sources of Roman o ri gin, particularly MS partbooks with a provenance of
Santa Ma ri a in Vallicella (Chiesa Nuova) and Cappella Giulia. Evidence
indicates that some of these motets were reworked by Palestrina or others in
order to be sung by spatially separated choirs.

E0301 O'Regan, Noel. "The Introduction of Polychoral Music into the Papal
Chapel in the Late Sixteenth an d Early Seventeenth Centuries." In Col-
lectanea II. Studien zur Geschichte der pcipstlichen Kapelle. Tagungsbericht
Heidelberg 1989, ed. Bernhard Janz. Capellae Apostolicae Sixtinaeque Col-
lectanea Acta Monumenta 4. Vatic an City: Biblioteca Apostolica Vaticana,
1994. ISBN 88-210-0655-7. ML3051.V3C65.1994. pp. 431-450.
Polychoral music does not seem to have been adopted in Rome before
the 1570s, but Palest ri na was the first Roman composer to publish such
music in 1575. This study examines eleven Cappella Sistina manuscripts
which contain such music (a significant amount of which is by Palest ri na) to
understand the extent of the repertory, the composers associated with it, its
stylistic evolution, and its impo rt ant uses. Notes that it was relatively slow to
be introduced into the chapel, not becoming fully established until the
1590s, and it remained in regular use but was being composed in an idiom
already retrospective by the 1620s. It was used especially for Vespers an d for
motets during mass on feast days.

E0302 O'Regan, Noel. "The Performance of Palestrina: Some Further Observa-

tions." Early Music 24 (1996): 145-154.
Responds to a rticles by Dixon (item E0216) and Sherr (item E0054) in
1994 Early Music. Suggests that perform an ce practice changed between the
late fifteenth an d late sixteenth centu ri es with respect to the number of
vocalists per pa rt in polyphonic music, and that singing by single and multi-
ple singers on each pa rt coexisted throughout the period, although there was
an increase in one-per-pa rt singing as the sixteenth century progressed.

E0303 Ouvrard, Je an -Pierre. "Le tempo chez Palestrina." In L'interprétation de

Palestrina. Journées d'étude. Royaumont: Société Palestrina, 1990. pp.
45-65.
Questions the presence both of tempus imperfectum integrum in Vestiva i
Bibliography of Secondary Literature 309
colli and the tempus imperfectum diminutum in the mass on that madrigal,
which would make possible an execution in equalized values. This is consis-
tent with Casimiri's position in the debate with Antoine Auda on this subject.

E0304 Owens, Jessie Ann. "Palestrina as Reader: Motets from the Song of Songs."
In Hearing the Motet. Essays on the Motet of the Middle Ages and Renais-
sance, ed. Dolores Pesce. New York: Oxford, 1997. ISBN 0-195-09709-2.
ML3275.H4.1997. pp. 307-328.
Notes the unusual qualities of Palestrina's fourth motet book for five
voices (Canticum canticorum, or the "Song of Songs"): a single source, the
Bible, provided all its texts, which the composer himself probably selected
and arranged; the motets themselves made a unified whole, individually
similar in length and structure and probably composed within a sho rt period
of time. Musically and conceptually the texts are divided into four large sec-
tions, each with a particular tonality or tonal type. The composer created a
large-scale motet cycle by interrelating these sections through a variety of
thematic and refrainlike techniques. He musically reinforced his "reading"
of the texts by accentuating particular aspects of their meaning and structure,
and by treating them in a somewhat "livelier" manner than was typical for
motets.

E0305 Paccagnella, Ermenegildo. Palestrina, il linguaggio melodico e armonico.

Biblioteca Historiae Musicae Cultores 7. Florence: Olschki, 1957. 126 pp.
ISBN 3-87397 - 122-4. ML3090.B6.1992.

E0306 Phillips, Peter. "Reconsidering Palestrina." Early Music 22 (1994):

574-585.
A consideration of Palestrina's cori spezzati writing as found in motet
publications of 1572 and 1575. Argues that Palest rina refined his use of the
idiom from one involving imitative writing, diverse textures, and somewhat
limited choral separation to one demonstrating a more sharply focused sepa-
ration of two answering choirs, together with scoring which is more clearly
homophonic than polyphonic.

E0307 Pike, Lionel. "New Palestrina Sources." Musical Times 117 (1976):
685-688.
Discusses arrangement by Peter Phillips of two works by Palestrina: the
5-voice Quanti mercenarii (itself a contrafactum of Io son ferito) for cantus,
bassus, and bassus generalis in Paradisus sacris of 1628, and the 4-voice
motet Hodie Maria virgo found in a publication dated 1616 (ascribed to
Palestrina but not in the collected editions). Argues that study of these
works, especially Hodie Maria virgo, gives valuable insights into matters of
style; discusses performance issues at length.

E0308 Pike, Lionel. "The Opening of Palestrina's Stabat Mater." Consort 42

(1986): 29-34. ML5 C65 MUSI.
Examines opening progression as vehicle for close interpretation of the
text and as harnessing of techniques of "new music" to increase directness of
310 Giovanni Pierluigi da Palestrina
musical approach. Notes that the composer chose solmization syllables sim-
ilar to sound of text, as well as molle hexachords to convey ideas of suffering
and sweetness. Suggests methods employed here are similar to those used in
madrigal La ver l'aurora.

E0309 Poos, Heinrich. "Saggio sul vero metodo di analisi della musica palestrini-
ana [Versuch über die wahre A rt, Palestrina zu analysieren]" In L'arte di
Giovanni Pierluigi da Palestrina. Atti e Documentazione. VI Convegno
Europeo sul Canto Corale. Promosso e Organizzato dalla Corale Goriziana
"C.A. Seghizzi." Gorizia: Grafica Goriziana, 1975. pp. 65-77.
Admonishes the deficient aesthetic perception of Palestrina as stylisti-
cally undifferentiated, which Poos ascribes to the nineteenth-century empha-
sis on instrumental music. Claims that writings which seriously analyze
Palestrina are statistical in method and without context. Using the Kyrie I of
the Missa Quem dicunt hommes as an example, he proposes an analytical
procedure which addresses the subtle and intricate affinities of pa rts, as well
as the overall contrapuntal conception, asserting that this will improve
insight into individual style formation in sixteenth-century music generally.

E0310 Possiedi, Paolo. "Intavolature di musiche vocali. Note per l'esecutore." Il

Fronimo 7.4 (1980): 5-14.
Uses contemporary intabulations of Palestrina's popular mad rigal Vestiva
i colli by Terzi and Galilei to illustrate various principles and techniques for
the intabulation of sixteenth-century vocal music for the lute.

E0311 Powers, Harold S. "The Modality of Vestiva i colli" In Studies in Renais-

sance and Baroque Music in Honor of Arthur Mendel, ed. Robert L. Mar-
shall. Kassel: Barenreiter, and Hackensack, NJ: Joseph Boonin, 1974. ISBN
0-193-57426-0. ML55.M415.S7. pp. 31-46. [also published in Interna-
tional Musicological Society, Report of the Eleventh Congress Copen- —

hagen 1972. Copenhagen, 1974. pp. 89 103. Italian trans as "La modalità di
-

Vestiva i colli." In Il madrigale tra Cinque e Seicento, ed. Paulo Fabbri.

Bologna: Il Mulino, 1988. pp. 189-206].
Insightful and influential article offering modal and structural analysis of
Palestrina's famous mad rigal, based on a study of sixteenth- and early-
seventeenth-century theoretical writings and a review of some twentieth-
century authorities on Renaissance mode theory. Additionally examines
cleffing and mode structure in Palestrina's Vergine madrigal cycle (1581)
and the Offertoria (1593).

E0312 Powers, Harold S. "Modal Representation in Polyphonic Offertories." Early

Music History 2 (1982): 43-86 [Cambridge: Camb ridge University Press,
1982].
Examination of modal practices in Palestrina's offertories suppo rts the
contention that the offertory cycle was intended to bring the tradition of
singing freestyle motets (without plainchant referents) meant to accompany
the action around the Offertory more in line with the official language of the
divine service. This was done by providing free motets with texts not merely
appropriate to the day but proper to the liturgy. Notes also that collection
Bibliography of Secondary Literature 311
shows the innovation of arranging the first 32 items in order of the eight
church modes.

E0313 Powers, Harold S. "Tonal Types and Modal Categories in Renaissance

Polyphony." Journal of the American Musicological Society 34 (1981):
428-470 [repr. in Garland Library of the History of Western Music. Renais-
sance Music, Part 2, ed. Ellen Rosand. New York: Garland Publishing, Inc.,
1985. pp. 98-140].
Study of correlation of tonal types in Renaissance polyphonic composi-
tions with modal categories according to traditional schemes. Notes con-
trasting patterns in systems, cleffing, and final sonorities as objective criteria
minimally marking off ce rtain tonal types from one another. But while they
may represent a concept of church modes, they are not church modes per se;
church modes are culture-contextual "emic" musical concepts, while tonal
types are objectively marked "etic" musical entities.

E0314 Quereau, Quentin W. "Aspects of Palestrina's Parody Procedure." Journal of

Musicology 1 (1982): 198-216.
Discusses normative parody procedures in masses based on motets pub-
lished by Moderne in the 1530s and '40s. Considers the factors which play a
part in the selection and dist ribution of model material through the sections
of a particular mass. Examines Palestrina's transformational procedures,
pointing out both similarities and differences between the model and the
composer's reworking.

E0315 Quereau, Quentin W. "Palest rina and the Motetti del Fiore of Jacques Mod-
erne: a Study of Borrowing Procedure in Fourteen Parody Masses." Ph.D.
dissertation, Yale University, 1974. DDJ75-01392.
Examines five aspects of models drawn from Moderne's 1532 anthology
on which Palestrina based masses, namely melody, harmonic vocabulary,
rhythmic procedure, stability of motivic content, and dissonance treatment.
Finds strong stylistic resemblances between Palestrina's models and his
compositional techniques in the masses based on those models. Concludes
that there is a good possibility the composer knew the Mode rne publication.

E0316 Quereau, Quentin W. "Sixteenth-Century Parody: An Approach to Analy-

sis." Journal of the American Musicological Socie ty 31 (1978): 401-441.
Analyzes contrapuntal relationships between overlapping motivic entries
in passages working with borrowed motifs.

E0317 Radole, Giuseppe. "Tematica gregoriana in Palestrina." In L'arte di Gio-

vanni Pierluigi da Palestrina. Atti e Documentazione. VI Convegno Europeo
sul Canto Corale. Promosso e Organizzato dalla Corale Goriziana "C.A.
Seghizzi." Gorizia: Grafica Goriziana, 1975. pp. 79-88.
Discusses the rhythmic and structural modi fications Palestrina made to
cantus firmus melodies so as to endow them with free declamatory qualities
and to render them suitable for imitative requirements and useful generally
as the basis for a contrapuntal structure. Discussion is grouped according to
the strict or free use of the chant and by compositional genre.
312 Giovanni Pierluigi da Palestrina
E0318 Rahe, Heinrich. "Die Motette Palestrinas." Dissertation, Münster, 1943
(typescript).
Not reviewed, but clearly the basis for items E0319, E0320.

E0319 Rahe, Heinrich. "Der Aufbau der Motetten Palestrinas." Kirchenmusikalis-

ches Jahrbuch 35 (1951): 54-83.
Examines the construction of Palestrina's motets. Finds that local con-
trasts in melodic and textural treatment are organized in terms of polar sym-
metries, and that such organization extends to large-scale sections of the
motet text. Observes that a sense of symmetry underlying a principle of con-
trast is consistent with the larger aesthetic sensibility of the sixteenth cen-
tury.

E0320 Rahe, Heinrich. "Thema und Melodiebildung der Motetten Palestrinas."

Kirchenmusikalisches Jahrbuch 34 (1950): 62-81.
Analysis of the intervallic makeup, linear shaping, and imitative quali-
ties, together with their interrelationships, in the melodies and counter-
melodies in Palestrina's motets. Observes that not only does Palestrinian
melody fulfill the Renaissance search for symmetry and balance of tensions
and contrasts, but that through its qualities is projected a sense of the lan-
guage being set.

E0321 Reardon, Colleen. "Two Parody Magnificats on Palestrina's Vestiva i colli."

Studi musicali 15 (1986): 67-99.
Points out that virtually every genre of sixteenth-century music was
affected by the parody process. Discusses two Magnificats parodies of
Palestrina's madrigal by Joseph Ascanio ( fl . 1581-1589) and Carlo Berti
(ca.1561-1602), comparing transformative and compositional decisions
made by two different composers who adopted the same model. Parody/imi-
tation process per se comes under review, and it becomes evident that par-
ody technique as applied to the Magnificat is distinctly different from that
for polyphonic masses.

E0322 Rees, Owen. "Roman Polyphony at Tarazona." Early Music 23 (1995):

410-419.
Discussion of Tarazona, Archivo Capitular, MS16, an isolated manu-
script cantus partbook (the first of a set for a group of 8-pa rt works) contain-
ing late-sixteenth-century Roman polychoral repertory. Two works are
attributed to Palestrina.One, a Magnificat sexti toni, is unlikely to be his, but
stylistic examination of the other work, a unica motet Petre amas me, sup-
ports an attribution to Palestrina. This manuscript suggests there is scope for
further investigation of the influence of large-scale Rom an polyphony on
sacred music in Spanish institutions, whether through Neapolitan connec-
tions or through the existence in Rome of an Aragonese confraternity. Petre
amas me is transcribed (p.413), as well as examples of other work.

E0323 Rees, Owen. "Triple-Choir Works by Palestrina an

d Victo ria." Early Music
26 (1996): 170-172.
Bibliography of Secondary Literature 313
A review of Noel O'Regan's 1994 edition of three triple-choir works
(item D0083), but with interesting additional material. Comments on the ori-
gin of the music, with the suggestion that these works may have been written
for the confraternity of Trinità dei Pellegrini in 1576 and 1578, when Palest-
rina is known to have been connected with the institution.

E0324 Reese, Gustave. "The Opening Chant for a Palestrina Magnificat." In A

Musical Offering. Essays in Honor of Martin Bernstein, ed. Edward
Clinkscale, and Claire Brook. New York: Pendragon Press, 1977.
ML55.B384.1977. pp. 239-241.
Brief note supporting a correction made by Paul Boepple in 1941 to the
plainchant verses sung altematim with a Palestrina Magnificat on the fourth
tone. Boepple's edition differed from those of Haberl and Casimiri.

E0325 Reese, Gustave. "The Polyphonic Magnificat of the Renaissance as a Design

in Tonal Centers." Journal of the American Musicological Socie ty 13 (1960):
68-78.
Outlines some characteristic procedures for this genre: liturgical prac-
tices and psalm tone formulae, use of psalm tone as a melodic element,
investigation of tonal schemes, orchestration of polyphony. Obse rvations are
claimed to be compatible with over 200 settings by composers of various
nationalities, including 35 Magnificats by Palestrina.

E0326 Respighi, Carlo [monsignor]. Giovanni Pierluigi da Palestrina e l'emen-

dazione del Graduale Romano. Società di San Giovanni Evangelista. Rome:
Desclée, 1899.
A study of the so-called Medicean edition of the Rom an Gradual, in
which it is concluded that Palestrina cannot be regarded as an important edi-
tor of Gregorian chant, much less of the edition that was published some
twenty years after his death.

E0327 Respighi, Carlo [monsignor]. Nuovo Studio su Giovanni Pierluigi da Palest-

rina e l'emendazione del Graduale Romano con Appendice di Documenti.
Società di San Giovanni Battista. Rome: Desclée, 1900.
Another treatment of the origins and history of the Medicean edition,
published not long after the preceding item. Disputes Haberl's assumptions
and suggestions about why the work was not completed during the reign of
Gregory XIII or during Palestrina's lifetime.

E0328 Riedel, Friedrich Wilhelm, ed. AuØhrungs- und Bearbeitungspraxis der

Werke Palestrinas vom 16. bis zum 20. Jahrhundert. Kirchenmusikalische
Studien 3. Sinzig: Studio, Verlag Schewe, 1997. ISBN 3-89564-037-9.
ML410.P 15A84.1997.
Papers fron the inte rnational symposium held July 1-2, 1994, at the
Musikwissenschaftliches Institut, Johannes—Gutenberg–Universitàt,
Mainz. A collection of nine essays dealing with issues of performance and
with editorial and transc ription practice in Palestrina's music ranging
chronologically from his lifetime to the present. Individually indexed.
314 Giovanni Pierluigi da Palestrina
E0329 RISM. Répertoire Internationale des Sources Musicales. Recueils Imprimés,
XVI–XVII Siècles. 1. Liste Chronologique, ed. François Lesure. Munich: G.
Henle, 1960.
Chronological list of published collections of music by more than one
composer ranging from 1501 to 1700. Citations include composers repre-
sented but do not list works by title.

E0330 RISM. Répertoire Inte rnationale des Sources Musicales. Series A/L Einzel-
drucke vor 1800. Kassel: Bürenreiter, 1975.
Volume 6 pp. 396-404 list publications dedicated entirely to works by
Palestrina but do not list the individual works within each by title.

E0331 Ritter, Gottfried August von. "Die Ricercari sopra li toni von G.P. Palestrina
(?)" Monatshriftefair Musikgeschichte 6 (1874): 134-138.
An early description of each of the eight presumably instrumental ricer-
cari attributed to Palestrina,presumably unknown to or overlooked by Baini.
Palestrina's authorship is not confirmed here, but it is concluded that the
pieces are in fact of excellent workmanship and can readily be related to the
style of writing for the genre as it existed in the late sixteenth century.

E0332 Robertson, Alec. "A Practical Edition of Palestrina." The Chesterian 25,
no.163 (1950): 106-108.
Nominally a review of an edition of the Missa Brevis, this item also con-
tains a few interesting comments on sixteenth-century scoring practices in
manuscript and early printed music, including some notes on the Lateran 59
Palestrina autograph.

E0333 Roche, Jerome. Palestrina. Oxford Studies of Composers 7. London:

Oxford University Press, 1971. ISBN 0193141175. ML410 P15R6.
A study that conceives Palestrina's oeuvre in terms of an actual develop-
ment over the course of a creative career. Works are examined both by genre
and through their division into three style periods, encompassing successive
phases that indicate connections with a late Netherlandish style, with a par-
ticular concern for textual clarity, and one when more "progressive" tenden-
cies—interest in large-scale writing, sonorous colors, and more ve rtical
sonorities—became increasingly evident.

E0334 Roche, Jerome. "Prefigurazioni del barocco nelle ultime

opere del Palestrina
[Prefigurings of the Baroque in the Late Works of Palestrina]." In L'arte di
Giovanni Pierluigi da Palestrina. Atti e documentazione. VI Convegno
europeo sul canto corale. Promosso e organizzato dalla Corale Goriziana
"C.A. Seghizzi." Gorizia: Grafica Goriziana, 1975. In English, with outline
of contents in Italian. pp. 89-95.
Asserts that Palestrina's later works differ significantly from his earlier
ones and have forward-looking characteristics associated with the Baroque:
respect for the text, remarkable attention to ve rtical sonority, harmonic color,
groupings, and textural contrasts. Notes that the late Missa Assumpta est
Maria features these qualities. Suggests such works may be judiciously
embellished by the singers and accompanied by the org an.
Bibliography of Secondary Literature 315

E0335 Rogers, Rachel Ratliff. "Palestrina's Use of Triple Meter in Four-Voice

Counterpoint." Ph.D. disse rt ation, Louisiana State University and Agricul-
tural an d Mechanical College, 1979. DDJ79-27544.
Computer-assisted analysis of all four-voice passages in t ri ple meter.
Compiles typical "rules" or procedures for such passages, apparently as a
guide for student replication of the style, dealing with imitation, intervallic
and part movement, treatment of passing tones, and suspensions. Of limited
usefulness: the statistics have neither a historical nor a chronological style
context, there is no citation of other contemporary composers or theorists,
and the bibliography is anemic.

E0336 Rostirolla, Giancarlo. "Les éditions de Palestrina du XVI siècle à nos jours."
In L'interprétation de Palestrina. Journées d' étude. Royaumont: Société
Palestrina, 1990. pp. 1-11.
Palestrina prints (excluding mode rn editions and those authored by the
composer himself) are found in sources of various types, such as anthologies
and instrumental reductions, to which are added the examples printed in
counterpoint treatises and theoretical works of the eighteenth century. For an
optimal modern edition, the editor should collate sources close to the author
with those not reviewed by the author, as well as later prints, in order to
assess variants and corrections.

E0337 Roth, Joachim. "Zum Litaneischaffen G.P. Palestrinas and O. di Lassos."

Kirchenmusikalisches Jahrbuch 44 (1960): 44-49.
A comparative study of Palestrina's and Lasso's litanies. Examines the
peculiarities of litany texts an d the compositional methods to which they
lend themselves. While Lasso's lit anies are mostly falsobordoni, liturgical
Gebrauchsmusik that play a small role in his overall output, Palestrina's are
much more carefully through-composed, with modeling and shaping of sec-
tions leading to an integrated and somewhat differentiated work. The Laure-
tan lit anies of both composers for eight-voice double choir are compared.
Lasso uses two sonically dissimilar choirs, texturally and metrically consis-
tent, in which the forces of both unite only near the conclusion; Palest rina
uses two similar high-voiced choirs organized by a ri torn ello-type st ru cture,
often changing textures and combinations of voices. Suggests on the one
hand that for Lasso these are minor compositions which, however, do not
harm his reputation; for Palest ri na they may reflect a greater interest and
even confidence in handling a particular kind of liturgical text.

E0338 Roth, Joachim. Die mehrstimmigen lateinischen Litaneikompositionen des

16. Jahrhunderts. KSlner Beitràge zur Musikwissenschaft 14. Regensburg:
Bosse, 1959. ML3093.R68.
A study of the litany as a genre in the sixteenth century, with an examina-
tion of the text and its potential for musical setting and a survey of the extant
repertory an d its composers, Palestrina among them.

E0339 Samson, Joseph. "Le symbolisme dans les messes palestiniennes." Revue
Musicale 20 (1939): 18-28.
316 Giovanni Pierluigi da Palestrina
Extract from author's book (see item E0149). Argues that Palest rina
attempts to establish a kind of ideal relationship between particular mass
material and the model (including its text gestures) on which it is based.
When musical materials are removed from their earlier context and enter the
mass, themes per se acquire a larger, more totally musical significance and
give each work its unique character. Music is no longer merely text ornament
but has a being of its own which participates in the liturgical celebration.

E0340 Schering, Arnold. "Takt und Sinngliederung in der Musik des 16. Jahrhun-
derts." Archiv für Musikwissenschaft 2 (1920): 465-498.
Study of the interpretation of the tactus in sixteenth-century music, with
extensive references to Palestrina's compositions.

E0341 Schmidt-051-g, Joseph. "Vier Messen and dem XVI. Jahrhundert über die
Motette Panis quem ego dabo des Lupus Hellinck." Kirchenmusikalisches
Jahrbuch 25 (1930): 77-93.
After an introductory analysis of Hellinck's motet Panis quem ego dabo
(pub. 1532 by Moderne), the author discusses imitation masses by Lupus,
Bartholomeo le Roy, Clemens non Papa, and Palestrina modeled on the
motet. From analysis of cadence structures and uses of melodic and imita-
tive material, it is concluded that Lupus and Palest rina imitate the model
fairly closely (though not necessarily literally, and in Palestrina's case with a
distinctive tonal color and freer counterpoint), while le Roy's and Clemens's
masses are more freely composed and imitate the model only selectively.
Each mass has its own personal style manner.

E0342 Schnürl, Karl. "Die Variationstechnik in den Choral- Cantus-Firmus-Werken

Palestrinas." Disse rtation, University of Vienna, 1949. 187pp.

E0343 Schnürl, Karl. "Die Variationstechnik in den Choral-Cantus-Firmus-Werken

Palestrinas." Studien zur Musikwissenschaft 23 (1956): 11-66.

E0344 Schubert, Peter N. "The Fourteen-Mode System of Iluminato Aiguino."

Journal of Music Theory 35 (1991): 175-210.
Exposition of Aiguino's system which, unlike Glarean's 12—mode order-
ing, was designed to explain all modal phenomena in terms of the eight
church modes. Includes discussion of mode in Palestrina's offertories of
1593, especially Jubilate Deo.

E0345 Schubert, Peter N. "Mode and Counterpoint." In Music Theory and the
Exporation of the Past, ed. Christopher Hatch, and David W. Bernstein.
Chicago and London: University of Chicago Press, 1993. ISBN
0226319016. MT6.M96205.1993. pp. 103-136.
Palestrina's 4—voice motet Dies sanctificatus is used to illustrate a
method of analysis which relates contrapuntal technique to mode, cadence
structure, and text phrases, based on the principles offered in two treatises by
Illuminato Aiguino: La illuminata di tutti i tuoni di canto fermo (Venice
1562) and Il tesoro illuminato di tutti i tuoni di canto figurato (Venice 1581).
Bibliography of Secondary Literature 317
E0346 Schuler, M an fred. "Werke Palestrinas in Orgeltabulaturen des 16. Jahrhun-
derts." In Aufführungs- und Bearbeitungspraxis der Werke Palestrinas vom
16. bis zum 20. Jahrhundert, ed. Fri edri ch Wilhelm Riedel. Kirchen-
musikalische Studien 3. Sinzig: Studio, Verlag Schewe, 1997, pp. 13-23.
Discussion of particulars of tr an sposition, voice leading, and ornamenta-
tion used in intabulations of Palestrina motets as found in a number of later
sixteenth-century sources, notably publications issued by Jacob Paix in 1583
an d 1589, as well as in a number of manuscript sources from Breslau and
elsewhere. Notes that intabulations of Palestrina's music were already disap-
pearing in favor of those of younger composers by the end of the sixteenth
century.

E0347 Schwart z, Rudolf. "Zu den Texten der weltlichen Madrigale Palestrinas."
Jahrbuch der Musikbibliothek Peters 13 (1906): 95-97.
Early, preliminary attempt to identify some of the authors of the texts of
Palestrina's secular madrigals. Discusses poets associated with items in vol
28 of the Haberl edition: Nicolo Amanio, Pietro Bembo, Giacopo San-
nazaro, Francesco Coppetta, Giovambattista Strozzi, and Ippolito Capilupi.

E0348 Sibley, David J. "The Sixteenth-Century Parody Mass." Ph.D. disse rt ation,
University of Nottingham, 1990.
Comparative analysis of 33 masses, compiled by common titles into
eight groups. Analysis performed 1) of different composers using the same
model, and 2) by comparing one group with another. Each of the eight
groups contains a mass by Palestrina. Argues that the characters of the par-
ody masses selected for discussion are in large pa rt determined by the purely
musical content of their models. Palestrina masses studied include O rex glo-
riae; Irrtute magna; Panis quem ego dabo; Quern dicunt homines; Bene-
dicta es; Io son ferito; Quando lieta sperai; Je suis
desheritée.

E0349 Sivec, Joseph. "Lamentatibnes Ieremiae prophetae Jakoba Gallusa." In Gal-

lus Carniolus in Europska renesansa. Gallus Carniolusund die europdische
Renaissance. Inte rn ationale Tagung Ljublj an a, October 21-24, 1991. Vol 2,
ed. Dragotin Cvetko an d Danila Pokorn. Ljubljana: Slovenska Akademija
Znanosti in Umetnosti, 1992. ISBN 86-7131-068—X.
ML410.H315G33.1991.v.2. pp. 80-99.
An examination of the similarities and differences between the Lamenta-
tions of Gallus and those of Palestrina and others of the Roman school. Gal-
lus not only chose a different breviary text for his Lamentations (from the
1517 Prague Breviary), he set the text for two four-voiced choirs, a texture
very seldom used in his work. The polyphony of the letter-intonations
( "Aleph," etc.) is less intense, shorter, and simpler thematically than Palest-
rina's. But like Palestrina's, Gallus's setting is close to homophonic in tex-
ture. [Based on summary in following German a rt icle.]

E0350 Snow, Robert J. An Unknown Missa pro defunctis by Palestrina." In De

musica hispana et aliis: Misceldnea en honor al Prof Dr.José L6pez -Calo,
S.J., en su 65 cumpleanos, vol 1. Santiago da Compostela: Universidad de
318 Giovanni Pierluigi da Palestrina
Santiago da Compostela, 1990.2 vols. pp. 387-430.
Examines a Requiem a 4 preserved in two Spanish sources: Barcelona,
Biblioteca Orfe6 Catalå, MS 10 (dated late-seventeenth to early-eighteenth
century, in which the work is ascribed to Palestrina) an d Alquézar, Colegiåta
(Huesca) MS1 (where it is anonymous). Internal style analysis suggests that
the material—introit, Kyrie, offertory, and communion in the case of the
Barcelona MS, the Sanctus and Agnus Dei in the Alquézar source—may
derive from Palestrina. Further stylistic comparison with the Requiem in the
Missarum liber primus (2nd edition) reveals strong similarities and suppo s rt
the attribution of the previously unknown work to the Rom an master.

E0351 Stefani, Gino. "Gli Offertori di Palestrina. Aspetti musicali e liturgici."

Musica Sacra 90 (1966): 82-89 [German version "Die Offertorien Palestri-
nas. Musikalische und liturgische Aspekte." Musik und Altar 1 (1967):
7-23].
A study of the offertories with respect to their liturgical context, melodic
treatment, and modal arrangement. Note that the compositions are arranged
according to classical mode series rather than according to their position in
the church year.

E0352 Stevenson, Robe rt. "Sixteenth and Seventeenth Century Resources in Mex-
ico." Fontes artis musicae 1 (1954): 69-77; 2 (1955): 10-14.
Includes discussion of the "Valdés Codex," bearing watermarks datable
to Spain from 1561 to 1571, which contains five masses attributed to Palest-
rina. In addition to the masses Aeterna Christi munera, Ave regina coelorum,
Quern dicunt hommes, and Già fu chi m' ebbe cara, one, Missa Christus
resurgens (modeled on a Richafort motet), has not been found in any Euro-
pean manuscript. Stevenson lists arguments for its authenticity.

E0353 Straus, Joseph. "The Motivic Structure of Palestrina's Music." In Theory

Only 7.4 (Nov.1983): 3-23.
Argues that Schenkerian perceptions can be applied to pretonal music.
Describes four possible sources of motivic and thematic unity in a composi-
tion: repetition, thematic varying, thematic transformation, and hidden repe-
tition; argues that the last two are common in Palestrina's music and have an
important influence on middleground and cadential structures. Analyzes
motet Sicut cervus, Kyrie from the Missa Papae Marcelli, Pleni from Missa
Gabriel archangelus, and the motets Dies sanctificatus and Veni sponsa
Christi. Notes that for the composer, plainchant and melody provided
motivic germs, which might not only be transformed in subtle ways but sug-
gest middleground and background shapes as well.

E0354 Strunk, Oliver. "Guglielmo Gonzaga and Palestrina's Missa Dominicalis"

Musical Quarterly 33 (1947): 228-239.
Examines Palestrina's working relationship with Duke Guglielmo
through their correspondence, a large pa rt of which is translated into English
here. Strunk argues that a disputed Missa Dominicalis was in fact written by
Palestrina for Mantua probably in 1578 to 1579, citing particularly the pecu-
liar version of the plainchant on which it is based.
Bibliography of Secondary Literature 319

E0355 Strunk, Oliver. "Guglielmo Gonzaga and Palestrina's Missa Dominicalis."

In Strunk's Essays on Music in the Weste rn World. New York: No rt on, 1974.
ISBN 0-393-02178-5. ML60.S862.E8. pp. 94-107.
Rep ri nt of item E0354, above, but see also pages xvii—xx in the Preface,
which contain a follow-up with historical notes about Duke Guglielmo and
describing Knud Jeppensen's discovery of Palestrina's Mantuan masses in
Mil an . Notes that the Missa Dominicalis was not among them, but Strunk
continued to claim its authenticity, which is now in fact generally presumed.

E0356 Tacaille, Alice. "L'emp ru nt au corpus grégo ri en dans les motets de Palest-
rina. Une approche quantitative." Ostinato Rigore: Revue Internationale
d'Études Musicales 4 (1994): 185-191.
Examination of 251 liturgical motets an d 66 of the 79 hymns of Palest-
rina, concluding that these works have a continuity with the Gregorian tradi-
tion.

E0357 Tiersot, Julien. "Un oeuvre contestée de Palestrina" Le Ménéstrel 63 (1896):

113-123.
See below, item E0359.

E0358 Tiersot, Julien. "Les 27 Répons de Palestrina." Le Ménéstrel 64 (1897).

Another pa rt of the Tiersot-Brenet exchange; see item E0359.

E0359 Tiersot, Julien. "Pour le Centenaire de Palest rina. Les Répons de la

Semaine-Sainte." Rivista Musicale Italian 32 (1925): 381-411.
Elaborately argued, stubborn, but rationally shaky (and at times uncon-
sciously funny) attack on the declaration that the 27 responsories printed in
Haberl's collected edition as an opus dubium were not by Palest ri na, but
rather by Marc' Antonio Ingegneri. Tiersot was shocked an d appalled at this
conclusion, and not only decried Haberl's judgment of the sources (or lack
of them for Palestrina's authorship), but, confronted with the recovered
Ingegne ri print of 1588 containing these works, assumed that they could
only have been the result of something like plagiarism on Ingegneri's pa rt .
Tiersot had been arguing his position for years in the face of much evidence:
he had had a series of exchanges with Michel Brenet in French reviews in
1896-1897 on this issue an d remained unconvinced; Casimiri would publish
an article in Note d'Archivio in 1926 in response to the present item; see
E0199.

E0360 Tovey, Donald Francis. Essays in Musical Analysis. Volume 5: Vocal Music.
London: Oxford University Press, 1937. MT90.T7.6.
Pp. 12-19 contain examinations of the motets Paucitas dierum meorum,
Exaltabo te, an d Dum complerentur dies pentecostes. Sensitive general
analyses intended for intelligent amateurs and conce rt audiences not neces-
sarily familiar with the style.

E0361 Ultan, Lloyd. Music Theory: Problems and Practices in the Middle Ages and
Renaissance. Minneapolis: University of Minnesota Press, 1977. 267pp.
320 Giovanni Pierluigi da Palestrina
ISBN 0-8166-0802-4. ML174.U47.
A textbook designed to assist students in developing analytical and com-
positional techniques by studying works in historical sequence. Palestrina's
style is treated in two chapters, pp. 208-227. Chapter 16 ("Palest ri na: Part
One") deals with general aesthetic considerations, linear contour, intervallic
use, rhythmic characteristics, text treatment, and other obse rv ations on the
materials of the composer's style. Chapter 17 ("Palest rina: Pa rt Two")
addresses the practices of counterpoint an d dissonance treatment in two,
three, or more voices.

E0362 Vale, Giacomo. "La Cappella musicale del Duomo di Udine dal sec. XIII al
XIX." Note d'Archivio 7 (1930): 87-175.
Registers receipts and purchases of sixteenth- an d seventeenth-century
prints of Palestrina's music in the cathedral at Udine.

E0363 Virgili, Lavinio. "La Cappella musicale della Chiesa metropolitana di Fermo
dalle origini al 1670" Note d'Archivio 7 (1930): 1-86.
Registers sixteenth-century prints of Palestrina's music mentioned in lists
of library holdings in Fermo.

E0364 Vriees, Adriaan Bruce de. "Cadential Procedures in the Four-Pa rt Masses of
Palestrina." Ph.D. dissert ation, McGill University, Montréal, 1976.
Offers a detailed method of analysis for cadence st ru ctures in late
Renaissance music generally and in Palestrina in particular, based on the
analytical method and terminology of Bernhard Meier. Analyses 509
cadences from all of Palestrina's four-part masses, finding in the late publi-
cations a tendency toward the sound of the full chord even at the expense of
a clausula vera. Considers this evidence for a growing tendency toward ver-
tical thinking in the composer's later music, a finding which may contribute
to the attempt to date the posthumous works by stylistic means.

E0365 Wagner, Peter. Geschichte der Messe. I. Teil: Bis 1600. Leipzig: Breitkopf
und Hhrtel, 1913. Only 1 vol published [facs. repr. Hildesheim: Georg Olms,
1972. ISBN 3-487-04249-5. ML3088.W2.1972].
This volume concludes with a general style survey of Palestrina an d his
contemporaries.

E0366 Wagner, Peter. "Palest ri na als weltlicher Komponist." Disse rt ation, Strass-
burg, 1890.63pp.
In this, perhaps the earliest modern study dedicated to Palestrina's secu-
lar madrigals, the great historian of Gregorian chant conveyed a high regard
for these works. He described them as demonstrating a fine bal an ce between
organic compositional technique and form an d an immersion in the expres-
sive particulars of the text. See also item E0367.

E0367 Wagner, Peter. "Das Mad ri gal und Palestrina." Vierteljahrsschrift für Musik-
wissenschaft 8 (1892): 423-498.
To some extent a reworking of his doctoral disse rt ation. Presents a rough
Bibliography of Secondary Literature 321
chronology of the madrigals based on their methods of composition. While
admiring their technique and craft, he also concludes that Palestrina was not
an innovator in the development of the mad rigal, and that in terms of every-
thing that is stylistically characteristic of the genre, other composers
achieved more. Prints a series of madrigals by older contemporaries of, and
influences upon, Palestrina, including works by Willaert, Verdelot, Barré,
Gero, Festa, and Rore.

E0368 Weinmann, Karl. "Zur Geschichte von Palestrinas Missa Papae Marcelli."
Jahrbuch der Musikbibliothek Peters 23 (1916): 23-42.
Notes that Baini perpetuated erroneous ideas about the origin of the
mass. Weinmann suggests that the "new a rt" described by Palest rina in the
preface to the Missarum liber secundus may have been mentioned not so
much because of a radically new style, but to distance himself from his ear-
lier "worldly" madrigal publication where he names himself as a papal
singer. Notes that there is no evidence of what works of "intelligible music"
were tried out for the Commission of Cardinals of 1564 and 1565, and that
they were interested more in text clarity than in a particular musical style.
There is also manuscript evidence that the mass existed before 1563.
Although it is clear that Pope Marcellus II was generally reform-minded,
and that he did admonish the papal singers to observe decorum in the per-
formance of liturgical music, it is most improbable that he ever heard this
mass during his brief pontificate.

E0369 Weinmann, Karl. "Palestrinas Missa Papae Marcelli und ihre Ausgaben."
Musica Sacra 44 (1911): 227-231.
Describes the various editions and arrangements of the mass from the
sixteenth and seventeenth centu es.
ri

E0370 Weinmann, Karl. "Eine zwdlfstimmige Missa Papae Marcelli von Stefano
Nasimbeni." Kirchenmusikalisches Jahrbuch 21 (1908): 159-160.
Gives a history of early printed arr angements of this mass. Examines a
12—part arrangement in a manuscript located at Santa Ma ria in Vallicella,
and notes its close resemblance to a printed mass dated 1610 published
under the name of Stefano Nascimbeni [spelled here Nasimbeni].

E0371 Westergaard, Peter. "Linear Operations Necessary to Generate a Palest rina

Foreground." In International Musicological Society. Report of the Eleventh
Congress, Copenhagen 1972, ed. Henrik Glahn, Søren Sørensen and Peter
Ryom. Copenhagen: Wilhelm Hansen, 1974. ISBN 87-7455-026-8.
ML36.I6.1972. pp. 103-107.
Westergaard states (p.104): "For any Palest rina piece there is a middle-
ground structure consisting of lines in breves or semibreves from which
these operations [i.e. segmentation, rearticulation, embellishment by neigh-
bors, borrowing, step motion, delay, and anticipation] will generate the
actual foreground. However, there is no deeper structure from which these
rules will generate that middleground structure. On the contrary, we would
need an essentially different set of rules to generate such a middleground
322 Giovanni Pierluigi da Palestrina
structure. Such a set of rules would, I believe, closely resemble the set of
rules we would need to generate most pre-polyphonic Western music."

E0372 Widmann, Wilhelm. "Motette und MesseDies sanctificatus von Palestrina."

Kirchenmusikalisches Jahrbuch 21 (1908): 72-90.
Phrase-by-phrase study of thematic and imitative elaboration in the motet
Dies sanctificatus, with a shorter section on the adaptation of this material in
the mass of the same name.

E0373 Widmann, Wilhelm. "Die sechstimmige Messen Palestrinas. Ein Beitrag zur
Stilkritik." Kirchenmusikalisches Jahrbuch 25 (1930): 94-106; 26 (1931):
59-72; 27 (1932): 110-119; 28 (1933): 10-34.
An older but meticulous analysis of melodic and textural treatment in a
number of six-pa rt masses (in greatest detail with reference to their Kyrie
sections, although most other sections are examined as well), with compari-
son with their motet models when applicable. Masses examined include
Missa Papae Marcelli; Missa Ecce ego Joannes; Missa Alma Redemptor;
Missa Assumpta est Maria; Missa Illumina oculos mens.

E0374 Wolff, Hellmuth Christian. "Die Variationstechnik in den fruhen Messen

Palestrinas." Acta Musicologica 27 (1955): 59-70.
Asserts that Palestrina shows a close affinity with the Netherlanders in
the techniques used in his early masses. Two masses from his first book
(pub. 1554), Ecce sacerdos magnus and O regem coeli, are studied. Ecce
sacerdos magnus uses a cyclic-variation technique, in which collected the-
matic material based on the cantus firmus is presented in the Ky rie, and suc-
cessive movements then take this Kyrie material and provide a working-out
of one or more of its voices. O regem coeli demonstrates a "free motivic
variation" technique, where motivic material is drawn from the cantus fir-
mus and associated with imitation in all the voices.

Zacconi, Lodovico. See item E0459; see also Haar, item E0420.

E0375 Ziino, Agostino. "Testi laudistici musicati da Palestrina" In Atti del Con-
vegno di Studi Palestriniani. 28 settembre-2 ottobre 1975, ed. Francesco
Luisi. Palestrina: Fondazione Giovanni Pierluigi da Palestrina, 1977. ML
410.P15C77.1975. pp. 383-408.
Examines two cycles of spi ritual madrigals based on laude, Spirito santo
amor and O Jesu dolce, from the Primo libro de madrigali a croque voci
(1581). Although primarily madrigalistic in treatment, they exhibit structural
and tonal characteristics suggesting the influence of the lauda tradition: har-
monic and contrapuntal simplification, homorhythmic writing, limited word
or phrase reiteration, and repriselike cadence repetition.

E0376 Ziino, Agostino. "La tradizione musicale dello Stabat Mater fino a Palest-
rina." In Atti del II Convegno internzationale di Studi Palestriniani. Anno
Europeo della Musica. 3-5 maggio 1986, ed. Lino Bianchi and Giancarlo
Rostirolla. Palestrina: Fondazione Giovanni Pierluigi da Palestrina/Centro di
Bibliography of Secondary Literature 323
Studi Palestriniani, 1991. ML410.P15C77.1986. pp. 29-61.
Argues that historically the place of the Stabat Mater in the liturgy was
ambiguous. (Palestrina's own setting was apparently used as an offertory
substitute.) Although usually described as a sequence, the Stabat Mater in
fact had a largely autonomous development heavily influenced by the lauda
tradition, hymnody, and Flemish motet polyphony. Palestrina's composi-
tional approach to it was different from that observable in his settings of
other older medieval sequences. He used a double choir to differentiate sin-
gle verses and to heighten poetic sense, rhythmic symmetries, and inherent
drama.

IV. Reception History

I. From the Sixteenth Century to 1750

E0377 Ackermann, Peter. "Zur Fruhgeschichte der Palestrinarezeption: die zwdlfs-

timmige Missa Cantantibus organis und die Compagnia dei Musici di
Roma." Kirchenmusikalisches Jahrbuch 78 (1994): 7-25.
Based on the Palestrina motet Cantantibus organis (pub. 1575), this mass
was a collaboration by seven musicians: Annibale Stabile, Giovanni Andrea
Dragoni, Francesco Soriano, Ruggero Giovanelli, Curzio Mancini, Prospero
Santini, and Palestrina himself. Article explores the different ways each
composer adapted material from the motet, uniting Palestrina's practices
with individual compositional solutions to create a progressive compendium
of possibilities. Also contains detailed information about the Palestrina
man-
uscript tradition within the Sistine Chapel before around 1600.

E0378 Ackermann, Peter. "Palestrina-Bearbeitungen der Cappella Sistina im 18.

Jahrhundert." In Auff ihrungs- and Bearbeitungspraxis der Werke Palestri-
nas vom 16. bis zum 20. Jahrhundert, ed. Friedrich Wilhelm Riedel.
Kirchenmusikalische Studien 3. Sinzig: Studio, Verlag Schewe, 1997. pp.
43-53.
A particular group of Palest rina works was established repertory of the
Sistine by the mid-seventeenth century. Copies of these works continued to
be renewed for the next century even though new items were not added. In
the mid-eighteenth century, more than a dozen of the "standard" motets were
assigned contrafacta, which gave them new applications in the liturgical
repertory. Also beginning in the mid-seventeenth century, adaptation of
some of Palestrina's music was practiced, which was apparently meant to
give the material a wider performing base: motets were adapted as mass
movements, the polyphonic scoring of some motets was rearranged to create
double-choir effects, and rhythmic rewriting which suggested accelerated
tempi was done.

E0379 Ackermann, Peter. "Palestrina unddie Idee der absoluten Musik" In Palest-
rina: Zwischen Démontage und Rettung, ed. Heinz-Klaus Metzger and
Rainer Riehn. Munich: Text + K ritik, 1994. pp. 28-42.
Argues that Palestrina reception history up to the early nineteenth century
flowed in two streams—the model of contrapuntal perfection, and the "leg-
324 Giovanni Pierluigi da Palestrina
end." They united in the writings of E. T. A. Hoffmann, who found in Palest-
rina's vocal art the same transcendent romantic spi rit as was manifested in
absolute symphonic music. Ackermann analyzes in detail the formal
processes used in the offertory motet Illumina oculos meos to suggest some
rationale for the aesthetic appeal of the Palestrina style to the Romantics.

E0380 Ackermann, Peter. "Tradition und Fortschritt. Zur rtimischen Wirkungs-

geschichte Palestrinas im 16. und 17. Jahrhundert." In Musica Divina.
Ausstellung zum 400. Todesjahr von Giovanni Pierluigi da Palestrina und
Orlando di Lasso und zum 200. Geburtsjahr von Carl Proske.Bischtifliches
Zentralarchiv und Bischdfliche Zentralbibliothek Regensburg Kataloge und
Schriften 11. ed. Paul Mai. Regensburg: Schnell & Steiner, 1995. pp.
109-116.
Notes that Palestrina reception in the seventeenth century was two-
branched: on the one hand was a tradition of counterpoint and theory mani-
fested in a particular style practice; on the other was a transfigured image of
the liturgical composer and "the legend." Argues that Agazzari saw Palest-
ri na as the initiator of a renewal in church practice rather than as an antico.
Notes that ce rt ain of Palestrina's pupils and disciples, in compiling the
Missa Cantantibus organis an d other works, were indicating some of the
modern directions in which composition in Palestrina's manner could go.
Also argues that in the seventeenth century there developed an almost
canonical repertory of Palestrina's works as performed in the Sistine, as evi-
denced in dated manuscript evidence, the late parodies of his music found in
such items as dal Pane's masses of 1687, and Adami da Bolsena's Osser-
vazioni (item E0381).

E0381 Adami da Bolsena, Andrea. Osservazioni per ben regolare il coro dei can-
tori dellaCappella Pontificia. Rome: Antonio De' Rossi, 1711 [facs. rep. ed.
Giancarlo Rostirolla. Musurgia I. Lucca: Libreria Musicale Italiana, 1988.
ISBN 8870960005. ML290.8.V28A43.171la].
A manual for liturgical ceremonial in the Sistine Chapel in the early eigh-
teenth century. Testifies to frequency and occasions for established perform-
ance of numerous Palestrina works. Includes iconography and biography of
Palestrina (pp.169-174) as well as other musicians of the Rom an school,
much material of which is derived from Liberati.

E0382 Agazzari, Agostino. Del sonare sopra `I basso con tutti li stromenti e dell'uso
Toro nel conserto.... Siena: Domenico Falcini, 1607 [repr. Milano: Bol-
letino bibiografico musicale, 1933].
Included here as probably the earliest published source (p.11) for the leg-
end that Palest rina "rescued" polyphony from being banned in the church by
producing the Missa Papae Marcelli.

E0383 Amann, Julius. Allegris Miserere und die Aufiihrungspraxis der Capella
Sixtina nach Reiseberichten und Musikhandschriften. Freiburger Studien zur
Musikwissenschaft, Reihe 2, Heft 4. Regensburg: Pustet, 1935.
Principally a history of performance and ornamental practices associated
Bibliography of Secondary Literature 325
with the Allegri work dating from the 1640s through the early nineteenth
century, this book deals by extension with a cluster of other compositions by
Palestrina also traditionally performed in the chapel during Holy Week,
including the Improperia, the Stabat Mater, and the motet Fratres ego enim
accepi.

E0384 Asola, Giovanni Matteo, ed. Sacra omnium solemnitatum Psalmodia ves-
pertina cum Cantico B. Virginis a diversis in arte musica praestantissimis
viris notulis musicis exornata. Venice: Ricciardo Amadino, 1592.
Thirteeen colleagues and students of the sexagenerian Palestrina com-
piled this work, introduced with an adulatory Latin dedication indicating the
high esteem in which he was held. In response, Palestrina would publish the
motet Vos amici mei estis in the Conforti psalm collection of 1592.

E0385 Banchieri, Adriano. Conclusioni nel Buono dell'organo novellamente

tradotte et dilucidate in scrittori et organisti cellebri. Bologna: heirs of Gio.
Rossi, 1609 [facs. ed. in Monuments of music and music literature in fac-
simile. Second series, 101 New York: Broude Bros., 1975. ISBN
0845023012. MT180.B3.19751.
Another important early source for the Marcellus mass story (p.19),
closely related to Agazzari's comments on the subject.

E0386 Banchieri, Adrian o. Lettere armoniche.... Bologna: Girolamo Mascheroni,

1628 [facs. repr. Bologna: Forni, 1968).
In a letter to Giovanni Maria Artusi written around 1600, Banchieri
exempted "modern imitators of the good Roman school" from being
"destroyers of the good rules," and he cites Palest rina as a preeminent practi-
tioner of church music (p.94), enumerating salient features of his style man-
ner.

E0387 Basso, Alberto. "Bach e Palestrina." In Atti del II Convegno Internazionale

di Studi Palestriniani. Anno Europeo della Musica. 3-5 maggio 1986, ed.
Lino Bianchi and Giancarlo Rostirolla. Palestrina: Fondazione Giovanni
Pierluigi da Palestrina/Centro Studi Palestriniani, 1991.
ML410.P15C77.1986. pp. 407-419.
Describes the general interest of eighteenth-century German composers
in the older style, the uses it had in seventeenth- and eighteenth-century
(Protestant) countries, and the antico repertories available to J. S. Bach and
his predecessors through anthologies and florilegia. Discusses Bach's virtu-
ally emblematic use of the older style (with colla parte instrumental accom-
paniments) in a number of his works, as well as his adaptation of certain
older works, including Palestrina's Missa Sine nomine a 6. Suggests this was
not simply as a matter of using old music in a new context, but done in terms
of his own rethinking and exploration of the style.

E0388 Berardi, Angelo. Ragionamenti musicali. Bologna: Giacomo Monti, 1681.

Palestrina and Palestrina style pp.77-78 et passim. Berardi, a pupil of
Marco Scacchi and the best-known posthumous representative of Scacchi's
326 Giovanni Pierluigi da Palestrina

ideas, was perhaps the most distinguished of the later seventeenth-century

Italian theorists of the techniques of the Roman school, admiring it while not
giving it an exclusive ideological commitment of the Liberati-Pitoni type.

E0389 Bianconi, Lorenzo. Il Seicento. Turin: Edizioni di Torino, 1982. Music in the
Seventeenth Century, trans. David B ryant. Cambridge, UK: Cambridge Uni-
versity Press, 1987. ISBN 0-521-26290-9. ML290.2.B513.
Excellent style history with narrative approach based on an interplay of
sociocultural and stylistic insights, leaning to a somewhat diluted Marxist
viewpoint. In the B ryant translation, Section III, "Sacred Vocal Music,"
pp.105-109, especially discuss the place of Palestrina's music and image on
the seventeenth-century scene. Notes that the composer is venerated more
by the theorists as the ultimate musicoliturgical ideal than as the author of a
rigid stylistic code, and that the stile alla Palestrina by no means accounts
for the totality of Italian sacred music or solves all its various post-Triden-
tine problems and conflicts, even from the perspective of the period itself.
Good source for review of general tendencies in church music in the seven-
teenth century.

E0390 Bonini, Severo. Discorsi e regole sopra la musica, ed. Leila Galleni Luisi.
Instituta et monumenta: Serie 2, Instituta 5. Cremona: Fondazione Claudio
Monteverdi, 1975. ML194.B64.
An Italian edition of a seventeenth-century treatise containing interesting
observations on the relationship of compositional styles. See item E0391 for
further information.

E0391 Bonini, Severo. Discorsi e regole, trans. Mary Ann Bonino. Provo, UT:
Brigham Young University Press, 1979.
Treatise (Firenze, Biblioteca Riccardiana 2218, dated ca.1650) which
advocates a special place for the Palestrina
style while seeking to reconcile it
with the conflicting claims of monody. Attempts to integrate both into a
typology for modern composition of the period. Palestrina is cited as being
one of those who removed error from composition and restored the honor it
once possessed, a "sublime genius" and a high authority for da cappella
composition. Mary Ann Bonino's edition is bilingual, with Italian and Eng-
lish parallel texts and an extensive introduction about Bonini and his manu-
script.

E0392 Celani, Enrico. "I cantori della Cappella Pontifician nei secoli XVI—XVII."
Rivista Musicale Italiana 14 (1907): 83-104, 752-790; 16 (1909): 55-112.
A narrative history of the Sistine Chapel ranging from the reigns of Leo
X to Benedict XIV, drawn from the manuscript compiled by Matteo Fornari
in 1749 (Biblioteca Corsiniana, MS F.6).

Cerone, Pedro. El Melopeo y el Maestro. Tractado de Musica Theorica y

Pratica. Naples: J. B. Gargoni and L. Nucci, 1613 [facs. repr. Bologna:
Forni, 1969]. MT6.C35.1971.
See item E0204.
Bibliography of Secondary Literature 327
E0393 Ciliberti, Galliano. "Organizzazione musicale e orientamenti stilistici nello
Stato Pontificio post-Tridentino." Rivista Internazionale di Musica Sacra
11.4 (1990): 343-355.
Describes the changing professional role of the Rom an maestro di cap-
pella in the first half of the seventeenth century. The mythologizing of
Palestrina which grew during that period served in pa rt to o ri ent musical
style an d practice toward papal Rome as a Catholic cultural epicenter.

E0394 Ciliberti, Galliano, and F. Rambotti. "La produzione musicale e gli scritti
teorici di Antimo Liberati, cantore della cappella pontificia (Foligno
1617—Roma 1692)." In Annali della Facoltà di Lettere e Filosofia. Univer-
sità degli Studi di Perugia. 2 Studi storico-antropologici 25, new ser. 9
(1987-1988): 85-131.
An overview of the work of Liberati, best known as the historian and the-
orist who championed the style of Palestrina and the Roman school as the
epitome of true church music in his critical writings. Includes a catalog of
compositions (with known but lost items), the texts of his 16 extant cantatas,
as well as transc riptions of the Ragguaglio dello stato del coro de'cantori
nella Cappella Sistina (ca. 1662-1663) and the correspondence dealing with
the "Corelli fifths" controversy (1685).

E0395 Cresolles, Louis de [Ludovicus Cresolles Armorici]. Mystagogus de sacro-

rum hominum disciplina. Pari s: Cramoisy, 1629.
Book III, section 4, page 627, is an impo rt ant early retelling of the Mar-
cellus mass story. Cresolles adds that Palestrina himself related the tale to a
member of the Jesuit order, from whom the author heard it.

E0396 Day, Thomas Charles. "Echoes of Palestrina's Missa ad fugam in the 18th
century." Journal of the American Musicological Society 24 (1971): 462-469.
Notes some canonic masses by Fux an d Scarlatti influenced by Palest-
rina's Missa ad fugam.

E0397 Day, Thomas. "Palestrina in History: a Preliminary Study of Palestrina's

Reputation an d Influence Since His Death." Ph.D. disse rt ation, Columbia
University, 1970.201pp.
Traces commentary on Palestrina from the sixteenth through nineteenth
centu ri es.

E0398 Day, Thomas. "A Renaissance Revival in the Eighteenth Century." Musical
Quarterly 57 (1971): 575-592.
Describes the continued cultivation of sixteenth-century polyphony in
England from 1650 to 1780, both that of native masters and that of ce rt ain
Italians such as Palest ri na. Discusses Henry Aldrich's copying and emenda-
tion of Palest ri na compositions in the later seventeenth century; the work of
various historians; activities of the Academy of Ancient Music an d the
Mad ri gal Society.

E0399 Dixon, Graham "The Origins of the Roman `Colossal Baroque.."' Proceed-
328 Giovanni Pierluigi da Palestrina
ings of the Royal Musical Association 106 (1979-1980): 115-128.
An examination of large-scale vocal music in Rome from 1600 to 1650,
which is situated in pa as rt an extension of stylistic tendencies already pres-
ent in the later music of Palestrina.

E0400 Dixon, Graham. "Progressive Tendencies in the Roman Motet in the Early
Seventeenth Century." Acta Musicologica 53 (1981): 105-119.
Examines how some of the more progressive tendencies in Palestrina's
music—notably treatment of textures and use of polychoral technique—
developed in the works of his successors, notably Agazzari, Nanino, Anerio,
and Cifra. Small-scale sacred works by these composers are also discussed.

E0401 Della Valle, Pietro. Della musica dell'età nostra, the non è punto inferiore,
anzi è migliore di quella dell'età passata. Al Sig. Lelio Guidiccioni. Dis
corso di Pietro della Valle [1640]. Essay printed in vol 2, pp.249-264, of-corsdiPetro
Giovanni Battista Doni, Lyra Barberina Amphichordos.... ed. Antonio
Francesco Gori. Florence: Imperial Printer, 1763 [facs. repr. of Lyra Barbe
rina Bologna: Forvi, 1974]; Della Valle essay ed. in Angelo Solerti, Le orig--rina,
ini del melodramma (Turin: Fratelli Bocca, 1903, pp.148-179); pa rtial Eng-
lish translation by Margaret Murata in Source Readings in Music History,
Volume 4: The Baroque Era, ed. Oliver Strunk; rev. ed. Leo Treitler (New
York: No rton, 1998, pp. 36-43).
A multifaceted traveler, linguist, and aristocratic connoisseur, della
Valle's comments on the contemporary musical scene in Rome betray a
modernist aesthetic sensibility and a keen awareness of style issues. He
admired Palestrina's craft and taste, but he also decried contrapuntal a rtifice
as "inexpressive" and could not justify admiration of older music for old-
ness's sake. He praised Vestiva i colli but thought the Missa Papae Marcelli
should be relegated to a museum along with other "beautiful curiosities."

E0402 Dixon, Graham. "Tradition and Progress in Roman Mass Settings after
Palestrina." In Atti del II Convegno internzationale di Studi Palestriniani.
Anno Europeo della Musica. 3-5 maggio 1986, ed. Lino Bianchi and Gian-
carlo Rostirolla. Palestrina: Fondazione Giovanni Pierluigi da
Palestrina/Centro di Studi Palestriniani, 1991. In English, with Italian trans-
lation. ML410.P15C77.1986. pp. 311-324.
Explores prima prattica mass composition during the period 1608 to
1635. As a musical genre the m ass was ceasing to occupy the primary com-
position in Roman compositional production, as it was being overtaken by
vesper settings and small-scale motets. However, this generation acknowl-
egded Palestrina's preeminence, and his true followers continued to explore
the polychoral writing, increasing textural verticalization, and more "tonal"
approach of Palestrina's late work.

E0403 Deniseau, Gérard. "Palestrina, Vignole et le Concile de Trente." Ostinato

Rigore: Revue Inte rnationale d'Études Musicales 4 (1994): 193-197.
Studies the effects of the mandates of the Council of Trent upon creative
artists through parallel study of two exactly contemporaneous works (1567
Bibliography of Secondary Literature 329
and 1568): the Missa Papae Marcelli of Palestrina, and the Chiesa di SS.
Nome di Gesù ("Il Gesù") in Rome, built by the architect Giacomo da Vig-
nola (Giacomo Barozzi).

E0404 Feil, Arnold. "Zum Gradus ad Parnassum von J. J. Fux." Archiv für Musik-
wissenschaft 14 (1957): 184-192.
Scrutinizes this famous manual of counterpoint long looked upon as a
homage to the Palest rina style. Notes that it is neither a generalbass treatise
(as would be typical of its time), nor really a manual for vocal polyphony or
the church style, and that it is fundamentally different from the manuals of
Berardi or others descended from the sixteenth-century type. It isolates
aspects of technique in exercises and does not teach the making of a compo-
sition in any style, and to say that Gradus teaches the Palestrina style almost
demeans the style. What is new about the text is that it is a kind of technical
finishing school for those who have already learned composition, whether
through generalbass or polyphonic writing.

E0405 Fellerer, Karl Gustay. "Allgemeine geistliche Grundlagen des Palestrinastil."

Monatshrifte für katholische Kirchenmusik 10 (1928): 1-7.
See Palestrina- Studien, 1982, item E0228.

E0406 Fellerer, Karl Gustay. "Instrumentale Begleitung der Werke Palestrinas im

18. Jahrhundert." Musica Sacra 55 (1925).
See item E0228, Fellerer, Palestrina-Studien, pp.355 et seq. Describes
bassus ad organum, basso continuo, and colla parte practices in the seven-
teenth and eighteenth centu ries, used both for the instrumental accompani-
ment of contemporaneous compositions in the older style and for the per-
formance of the music of Palestrina himself. Notes that in the nineteenth
century, under the romantic a cappella ideal, the practice of accompanying
and embellishing such music was greatly reduced.

E0407 Fellerer, Karl Gustay. "J. S. Bachs Bearbeitung der Missa Sine nomine von
Palestrina." Bach- Jahrbuch 24 (1927): 123-132.
See item E0228, Fellerer, Palestrina-Studien, p. 361 et seq. Describes
Bach's adaptation of the Palestrina Missa sine nomine a 6 for Lutheran per-
formance: he excerpted the Lutheran Missa [Kyrie and Gloria only] and
added colla parte and basso continuo instruments to the vocal parts [two
cornetti, four trombones, violone, cembalo, and organ]. Bach's transc ription
indicates the difference in understanding of his own time in matters of the
beat and measure, text declamation, and tonal harmony.

E0408 Fellerer, Karl Gustay. "Zur Kirchenmusik Roms in 17. Jahrhundert." In

Logos Musicae. Festschrift für Albert Palm, ed. Rüdiger Gdrner. Wiesbaden:
Franz Steiner, 1982. pp. 71-82.
Discussion of papal mandates for church music and the activity of church
musicians, particularly Palestrina's successors and those working in the
Roman alla Palestrina style. The writings of Liberati are used as an impor-
tant source.
330 Giovanni Pierluigi da Palestrina
E0409 Fellerer, Karl Gustay. "Palestrina in 17. and 18. Jahrhundert." Musica Sacra
55 (1925).
See item E0228, Fellerer, Palestrina-Studien, p. 315 et seq. Describes the
increasingly st rict conceptual division of church music styles from theatrical
and chamber music that occurred during the seventeenth century, and the
manner in which the strict or observant church manner underwent subtle
changes in harmonic and metrical technique Examines the work of a num-
ber of practitioners. Indicates ways in which the imitators of the Palest rina
style, though emphasizing that theirs was an unbroken tradition, nonetheless
tended to depart from the literal features of Palestrina's manner in their own
actual work.

E0410 Fellerer, Karl Gustay. Der Palestrinastil und seine Bedeutung in der vokalen
Kirchenmusik des achtzehnten Jahrhunderts. Ein Beitrag zur Geschichte der
Kirchenmusik in Italien und Deutschland. Augsburg: Dr. Benno Filser, 1929
[repr. Walluf bei Wiesbaden: Sndig, 1972]. 365pp.
See also item E0228, Fellerer, Palestrina-Studien. Study of material fea-
tures of the Palestrinian style and the transformations which came over the
late sixteenth-century manner in the course of the seventeenth and especially
eighteenth centu ries. Systematically surveys both theoretical and didactic
writings and the strict-style music of a large number of Neapolitan, Rom an,
Bolognese, German, and Austrian composers. Concludes with a summary of
the shifts in rhythmic, harmonic and melodic treatment, declamatory man-
ner, and use of instrumental accompaniment which had taken place in stile
antico emulations of late Renaiss ance style.

E0411 Fellerer, Karl Gustay. "Zur Palestrina-Nachahmung im 18. Jahrhundert."

Gregoriusblatt 52 (1982): 8-13, 17-21.
See Palestrina-Studien, item E0228.

E0412 Fellerer, Karl Gustay. "Der stile antico in der katholischen Kirchenmusik
des 18. Jahrhundert." Musica Divina: Monatschrift flu Kirchenmusik 15
(1927), repr. Kongressbericht Wien. Beethoven-Zentenarfeier Wien. Interna-
tionaler Musikhistorischer Kongress (Wien, 28. bis 31. Marz 1927). Vienna:
Universal 1927, pp. 244-246.
See Palestrina-Studien, item E0228.

E0413 Fellerer, Karl Gustay. "Zur Übertragung und Aufführung von Werken altk-
lassischer Polyphonie." Gregoriusblatt 53 (1929).
See Palestrina-Studien, item E0228.

E0414 Fellerer, Karl Gustay. "Die vokalen Kirchenmusik des 17./18. Jahrhunderts
und der altklassischen Polyphonie." Zeitschrift für Musikwissenschaft 11
(1929): 354-364.
See Palestrina-Studien, item E0228.

E0415 Fischer, Klaus. "Zur Palestrinarezeption in der italienischen Musiktheorie des

16. und 17. Jahrhunderts." Kirchenmusikalisches Jahrbuch 78 (1994): 27-39.
Bibliography of Secondary Literature 331

Valuable examination of Palestrina's reputation as found in printed theo-

retical sources dating from about 1570 to 1685. Provides perspective on the
shifting coloration of his image—from authoritative master of his craft and
excellent source for instruction to "p rince of music."

E0416 Fux, Johann Joseph. Gradus ad Parnassum sive manuductio ad composi-

tionem musicae regularem.... Vienna: Johann Peter van Ghelen, 1725; 2nd
ed, 1742. [Partial Eng. trans. by Alfred Mann, Steps to Parnassus: the Study
of Counterpoint (New York: Norton, 1943; 2nd rev. ed. 1965 as The Study of
Counterpoint), MT55.F9. Facsimile of 1725 edition in Samtliche Werke,
Serie VII: Theoretische und piidagogische Werke, ed. Johann-Joseph-Fux-
Gesellschaft, Graz. Kassel: Bdrenreiter, 1959. M3.F97].
The famous manual of instruction in species counterpoint in which Fux
pays homage to the Palest rina style, as the early eighteenth century under-
stood it, on several levels. Constructed in a traditional dialogue format, the
treatise personifies Palest rina as the master Aloysius, who instructs the stu-
dent Josephus, that is, Fux.

E0417 Gaillard, Pierre. "Histoire de la légende palestrinienne." Revue de Musicolo-

gie 57 (1971): 11-22.
Traces the historiography of the Palestrina "legend" from the seventeenth
through the nineteenth centu ries. Suggests that it evolved in shifting phases
(in turn ecclesiastical, nationalistic, poetic, and artistic) which were colored
by the various interests and biases of generations of writers. The legend
gained impetus from Agazzari and Banchieri; Baini made Palest rina a vir-
tual national hero; the Romantics used him to evoke the past; orato rios and
operas had him as a principal character.

E0418 Giustiniani, Vincenzo. Discourse on Modern Music [Discorso sopra la

musica de'suoi tempi. 1628], trans. and ed. Carol McClintock. Musicologi-
cal Studies and Documents 9. American Institute of Musicology, 1962. pp.
65-80.
Writing around 1628, Giustiniani comments on why the music of Palest-
rina continued to appeal to his contemporaries, and on the aesthetic and style
techniques on which such music was based: namely, the union of a beautiful,
uncomplicated flow of ideas with sound compositional principles (see espe-
cially pp.68-72 of McClintock's translation).

E0419 Gmeinwieser, Siegfried. "Girolamo Chiti (1679-1759) maestro di cappella

in S. Giovanni in Laterano." Nuova Rivista Musicale Italiana 4 (1974):
665-677.
Assessment of the life and activities of Chiti. Musician and composer, he
was also a theorist of the Roman church music style and a significant
eighteenth-century collector of Palestrina's music, on which subject he also
carried on an extensive correspondence with Padre Ma rtini. Reviews Chiti's
assessment of Palestrina's style and historical impo rtance, and the influ-
ences on his thinking and its development.
332 Giovanni Pierluigi da Palestrina
E0420 Haar, James. `A Sixteenth-Century Attempt at Music C ri ticism." Journal of
the American Musicological Socie ty 36 (1983): 191-209.
Discussion of terminology in a passage from Lodovico Zacconi's Prat-
tica di musica reporting remarks of Zarlino's which describe criteria by
which the quality of a composition can be assessed, and noting the particu-
lars of style in which ce rt ain composers excelled. Haar discusses what
Zarlino and Zacconi meant when they indicated that Palest ri na was
esteemed for "a rt e, contrapunto, ottima disposition," and a flowing "modu-
latione."

E0421 Haberl, Franz Xaver. "Das traditionelle Musikprogramm der Sixtinischen

Kapelle nach den Aufzeichnungen von Adami Adami da Bolsena." Kirchen-
musikalisches Jahrbuch 21 (1897): 36-58.
Relates travel repo rt s on appearance and perform an ce practice in the Sis-
tine Chapel during Holy Week by several eighteenth- and nineteeth-century
German visitors, particularly Goethe, Christoph Kayser, and Ludwig Spohr.
Then reverts for the main pa rt of the a rt icle to earlier desc ri ptions of the
chapel and its liturgical ceremonial for the church year cycle as performed
around 1700, based on Adami's then generally unavailable Osservazioni per
ben regolare il coro dei cantori della Cappella Pontificia.

E0422 Heinemann, Michael. " ` ... alla Palestrina.' Zur Etablierung eines satztech-
nischen Ideals im 17. Jahrhundert." In Palestrina:Zwischen Démontage und
Rettung, ed. Heinz-Klaus Metzger and Rainer Riehn. Munich: Text + K ritik,
1994. pp. 9-27.
Establishes that Palestrina managed his personal an d professional lives
astutely, and holds that his fame related in pa rt to a new independence of
Roman musical institutions after their long domination by Netherlanders.
Traces the crisis in counterpoint around 1600 an d how some of the subse-
quent controversies over contrapuntal and generic theory were argued from
the point of view of an "authoritative" Roman school. Repeats seventeenth-
century rules for composing church music in the st rict Rom an manner as
developed in the writings of Marco Scacchi and Angelo Berardi.

E0423 Horn, Wolfgang. "Der `antique Kirchen-Stylus' und die Musik Palestrinas.
Bemerkungen zur Palest ri na -Pflege und zur Komposition im `gebundenen
Allabreve -Stil' am Dresdner Hof zur Zeit Heinichens und Zelenkas." In Auf-
führungs- und Bearbeitungspraxis der Werke Palestrinas vom 16. bis zum
20. Jahrhundert, ed. Fried ri ch Wilhelm Riedel. Kirchenmusikalische Stu-
dien 3. Sinzig: Studio, Verlag Schewe, 1997. pp. 55-79.
Discusses the relevance of Palestrina's music, as well as the "stile antico"
or the "alla- breve" style, to two of the best-known composers associated
with the eighteenth-century Dresden cou rt chapel. Jan Dismas Zelenka,
more conservative, studied and apparently admired Palestrina's music, and
he may have reworked some of it for performance, adding basso continuo
and colla parte instrumental accompaniment. Johann David Heinichen,
however, seemed less inclined to give the Palestrina style a dominant aes-
thetic role, and his own treatment of "alla breve" music suggests at least par-
Bibliography of Secondary Literature 333
tial accommodation to late baroque style, including issues of tempi and met-
ric accentuation. Zelenka an d Heinichen had different relationships to the
older tradition; neither, however, really attempted a practical close imitation
of Palestrina's style.

E0424 Hucke, Helmut. "Palest ri na als Authoritât and Vorbild im 17. Jahrhundert."
In Congresso Internazionale sul temo Claudio Monteverdi e it suo tempo.
Relazioni e communicazioni, ed. Raffaele Monterosso. Verona: Stamperia
Valdonega, 1969. pp. 253-261.
Notes that by the mid-seventeenth century two divergent views of Palest-
ri na as master composer had already developed. One, which Hucke associ-
ates particularly with Italy, held that Palestrina's music embodied an ideal of
audible expression of the text; the other, especially prevalent in Germany but
also found in Italy, posits the composer as a model of technical perfection in
the practice of advanced counterpoint.

E0425 João IV [John IV, king of Po rtugal]. Defensa de la musica moderna contra
la errada opinion del Obispo Cyrillo Franco. Al senor Juan Lorefo Rabelo,
Portugues de nacion, Fidalgo de la Casa del Serenissimo Rey. D. Juan el
Quarto de Po rtugal.... Lisbon, 1649.
See item E0426.

E0426 Joao IV [John IV, king of Po rtugal]. Difesa della musica moderna contro la
falsa opinion del vescovo Cirillo Franco, tradotta di spagnuolo in italiano.
Venice: A. Laurenzi, 1666.
Contemporary Italian tr anslation of item E0425.
King John refutes the position of Bishop Fr an co, who in 1549 attacked
what he considered to be the unintelligibility, abuses, and indecorum of con-
temporary church music, invoking humanistic principles an d the music of
the ancients. John responded that music can either express the mood of a text
or expound words with musical coloration, an d that music's effectiveness in
part depends on addressing the changing situations of humans over time. He
noted that Palest ri na in particular with his polyphony demonstrated that con-
trapuntal means could meet the need for an intelligible text, and that judi-
cious mode rn composers like him had produced effects on their listeners as
great as the ancient Greeks did on theirs.

E0427 João IV [John IV, king of Po rt ugal]. Respuestas a lasdudas que se puzieron
å la Missa "Panis quem ego dabo" del Palestrina, impressa en el Libro
Quinto de sus missas. Lisbon, 1654.
Reproduced in fascimile; see item E0429.

E0428 Joao IV [John IV, king of Po rt ugal]. Risposte alli dubii proposti sopra la
Messa "Panis quem ego dabo" del Palestrina, stampata nel Quinto Libro
delle sue Messe. Tradotte di spagnuolo in italiano. Rome: Mauritio Bal
monti, 1655.
Contemporary Italian tr an slation of E0427. Reproduced in facsimile; see
item E0429.
334 Giovanni Pierluigi da Palestrina
E0429 João IV [John IV, king of Portugal]. Respuestas a las dudas que se puzieron
a la Missa "Panis quem ego dabo" del Palestrina, impressa en el Libro
Quinto de sus missas, ed. Mario de Sampayo Ribeiro. Rei Musicae Portu-
galiae Monumenta 1. Lisbon: Ramos, Afonso & Moita, 1957. ML410.P15J6
[in Portuguese and Italian].
In a dialogue format, King John raises questions regarding the mode and
structure of the Palestrina Missa Panis quem ego dabo (from Book V of
1590) and how well it corresponds to the Lupus motet on which it is based.
He reasons that the mass belongs to a mixed Mode II, as the finals are disso-
nant with the beginnings and antecedent cadences. But while in the king's
view the movements may not articulate the mode optimally, he considers
that they behave in conformity with the structure of the model, and Palest-
rina's fault was not one of skill but in choice of the model. Even if the finals
are not concordant with the openings, at least the mode is stated at the begin-
ning. He says it is not his intention to condemn Palestrina, however, and that
the composer is in fact very learned. A revealing document with respect to
the changing and more rigid qualifications for establishing mode evolving
by the mid-seventeenth century.
This book has some handsome presswork but its pagination can be con-
fusing. It runs thus: a plate with an engraving of John IV; preface
(pp.vii—viii); introduction (pp.xi—xxvii), including 4 unnumbered tipped-in
plates; a facsimile reproduction of Repuestas a las dudas of 1654 (pp.ii +
19); a facsimile reproduction of the Italian translation, Dubii quali furono
proposti ... of 1655 (pp.1-32); "preliminary notes" (pp.3-11); notes to the
Portuguese edition (pp.13-32, in Portuguese); indices (pp.33-43). The two
fascimile editions use their own respective internal pagination.

E0430 Kircher, Athanasius. Musurgia universalis sive ars magna consoni et dissoni
in X libros digesta.... vol 1 Rome: Heirs of Francsco Corbelleti, 1650; vol 2
Rome: Ludovico Grignani, 1650. [repr. Hildesheim: Georg Olms, 1970].
Refers several times in vol 1 to Palestrina as marvelously accom-
plished both in harmony and in affective representation of words. Quoted
examples include the Crucifixus from the Missa Papae Marcelli and the
motet Introduxit me rex. See print anthology for location of printed exam-
ples.

E0431 Kolaczkowski, Jerzy. "Il culto di Palest rina in Polonia:' In L'arte di Gio-
vanni Pierluigi da Palestrina. Atti e Documentazione. VI Convegno Europeo
sul Canto Corale. Promosso e Organizzato dalla Corale Goriziana "C.A.
Seghizzi." Gorizia: Grafica Goriziana, 1975. pp. 33-40.
Traces Palestrina's music and influence in Poland from his death to the
present day. An unusually large number of pre-1600 prints in archives indi-
cate early seventeenth-century diffusion of Palestrina's music, which was
also aided by the presence of a number of his immediate disciplines among
the Italian musicians living in Warsaw and Krakow. His style and authority
also affected indigenous composers of the period. The nineteenth-century
Palestrina renaissance flourished in Poland, and its effects persisted well
into the twentieth century.
Bibliography of Secondary Literature 335
E0432 Liberati, Antimo. Lettera scritta in risposta ad una del Sig. Ovidio Per-
sapegi, the gli fa istanza di voler vedere, ed'esaminare i componimenti di
musica fatti dalli cinque concorrenti nel concorso per il posto di maestro di
cappella della Metropolitana di Milano, fatto sotto il di 18. agosto 1684.. .
e voler dare il suo parere, quale de'cinque concorrenti sia il migliore.
Rome: Mascardi, 1685.63 pp.
After describing the evolution of church music to his own day and pro-
viding a carefully detailed list of the criteria which are to be observed for
composing in the Roman style, which was "founded on Palestri na," Liberati
c ri tiques a group of compositions written for a competition held in 1684 for
the post of maestro di cappella at the Milan cathedral. This text has been
best known for its biographical sketch of Palestrina, who was pivotal to
Liberati's musical historiography, as well as those of numerous other
sixteenth- and seventeenth-century Roman musicians.

E0433 Lionnet, Je an . "Palestrina e la cappella pontificia." In Atti del II Convegno

Internazionale di Studi Palestriniani. Anno Europeo della Musica. 3-5 mag-
gio 1986, ed. Lino Bianchi and Giancarlo Rostirolla. Palestrina: Fondazione
Giov an ni Pierluigi da Palestrina/Centro di Studi Palestriniani, 1991.
ML410.P15.C77.1986. pp. 125-137.
Documents use of Palestrina's music in Cappella Sistina liturgies for the
period from 1590 to 1665. How often it was used depended in pa rt on the
personal wishes and tastes of the reigning pope and how seriously the Tri-
dentine mandates were being implemented. While his music was respected
throughout this period, evidence of its being cited as an ideal model for emu-
lation is not readily available from Sistine sources until the 1660s.

E0434 Lionnet, Jean. "Performance Practice in the Papal Chapel During the Seven-
teenth Century." Early Music 15 (1987): 4-15.
Lucid account of the nature and purposes of Sistine chapel diaries, from
which is derived an account of the duties of the maestro, the internal chapel
administration, and the singers. Notes that the major restriction upon singers
was that they performed without instruments; reviews evidence indicating
that they frequently sang with one person per pa rt , an d that use of ripieno
singers emerges only near the end of the seventeenth century. Evidence also
indicates that Palestrina's work was important for mass music. An appendix
of music for papal ceremonies in the year 1616 is provided, which indicates
that Palestrina's music had an impo rt ant place in the repertory (pp.13-15).

E0435 Lopez -Calo, José. "Palestrina e la Controrifroma musicale in Spagna." In

Atti del II Convegno Internazionale di Studi Palestriniani. Anno Europeo
della Musica. 3-5 maggio 1986, ed. Lino Bianchi an d Giancarlo Rostirolla.
Palestrina: Fondazione Giovanni Pierluigi da Palestrina/Centro di Studi
Palestriniani, 1991. ML410.P15C77.1986. pp. 241-250.
Describes the powerful and distinctive national tradition of Spanish reli-
gious music in the sixteenth century, one with a pronounced mystical strain
heightened but not fundamentally altered by the mandates of Trent. Palest-
ri na was virtually the only Italian composer whose music was continuously
336 Giovanni Pierluigi da Palestrina
found in important Spanish churches; it was used from the late sixteenth
century well into the eighteenth. The publisher Casiano Lopez Navarro
printed several volumes of Palestrina's music as late as 1728 to 1730.

E0436 Marvin, Clara. "Two Practices, Three Styles: The Evolution of Typologies of
Compositional Genre in Sixteenth- and Seventeenth-Century Italian Writ-
ings on Music."Ph.D. dissertation, University of Toronto, 1998.
Chapter 4 deals with Palestrina's reputation during his lifetime and in the
century after his death, as well as the evolution of the compositional style
associated with his name. A feature of the discussion is the pairing of
Antimo Liberati's 1685 treatise on the Palest rina style with the group of
compositions the treatise was designed to c ritique, together with analysis of
Liberati's critical method.

E0437 Montanos, Francisco de. Arte de musica theorica y pratica.... Valladolid:

Fernandez de Cordova y Obiedo, 1592.
Probably the first Spanish writer on music to indicate a deep appreciation
of Palestrina's music. His work was another major source for Cerone, who
seems to have not only followed his text but borrowed a number of his musi-
cal examples.

E0438 Morelli, Arnaldo. "Antimo Liberati, Matteo Simonelli e la tradizione

palestriniana a Roma nella seconda metà del Seicento." In Atti del II Con-
vegno Internazionale di Studi Palestriniani. Anno Europeo della Musica.
3-5 maggio 1986, ed. Lino Bianchi and Giancarlo Rostirolla. Palest rina:
Fondazione Giovanni Pierluigi da Palestrina/Centro di Studi Palestriniani,
1991. ML410.P 15C77.1986. pp. 297-307.
Argues that it was primarily in the second half of the seventeenth century
that the myth of Palest nari and an authoritative Roman school founded in his
idiom gained strength. Liberati and Simonelli, working in the wake of a
series of papal decretals, were perfect models of reversion to the "buoni
maestri antichi." Liberati represented the ideological theorizing of a Roman
school; Simonelli was the practical composer who had obse rvant-style com-
positions inserted into the pontifical ceremonials of the time.

E0439 Natale, Pompeo. Libro secondo de 'solfeggiamenti a due, a tre voci, per
cantare, suonare con diversi stromenti.... Nel fine si è posto il modo per
intendere il tempo della Messa de l'homme armé del Palestrina. IlRincontro
delle Chiavi. La valuta delle Legature per intendere li libri antichi si del
Palestina [sic], come d'altri.... Rome: Mascardi, 1681.
A volume of didactic exercises meant to instruct in the elements of prac-
tical music, but also to instruct the student in how to deal with notational and
proportional issues in older printed music. Uses Palestrina's L'homme armé
mass (already famous in the literature for its challenges in this area) as a case
study.

E0440 Palisca, Claude V. "Marco Scacchi's Defense of Modern Music (1649)." In

Words and Music: The Scholar's View. Festschrift A. Tillman Merritt, ed.
Bibliography of Secondary Literature 337

Laurence Berman. Camb ridge, MA: Harvard, 1972. pp. 88-145 [repr. in
Claude V. Palisca, Studies in the History of Italian Music and Music Theory.
Oxford: Clarendon, 1994. ISBN 0-198-16167-0. ML290.i.P35.1994].
Contains a bilingual text (Italian and English) of Scacchi's sho treatise,
rt
in which he was primarily concerned with defending modern music against
those who considered it devoid of sound principles. His comments testify to
the increasing separation of st rict and free composition, and they also
respond to the increasing attitude held by some that the style represented by
Palestrina and his music was the only true church music style.

E0441 Pisa, Agostino. Breve dichiaratione della battuta musicale.... Rome: Bar-
tolomeo Zanetti, 1611.
Contains (pp.86, 124 in particular) early praise of Palest rina as "most
wise, most famous, and never sufficiently to be praised." He was the "p rince
of musicians" because due to him, the church did not ab andon [polyphonic]
music owing to abuses in the practice of other composers.

E0442 Pitoni, Giuseppe Ottavio. Notitia de'contrappuntisti e de'compositori di

musica, ed. Cesarino Ruini. Studi e testi per la storia della Musica 6.
Florence: Olschki, 1988. L + 389pp. ISBN 88-222-3557-6.
ML105.P586.1988.
This edition of the biographical notes made by the staggeringly industri-
ous Pitoni, maestro of the Cappella Giulia, is based on his two-volume man-
uscript of around 1725 (Biblioteca Apostolica Vaticana, Cappella Giulia, MS
1/1,2). His material on Palestrina derives to some extent from Liberati but
also from other Vatican sources, and was cited in its turn by Baini and others.
He considered the works of Palestrina an d Benevoli to be "perfect" exam-
ples of the true Roman style, and virtually everything else to be imperfect,
merely tolerable, or out-and-out "corrupt" (confused or mixed stylistically).

E0443 Riedel, Friedrich Wilhelm. "Johann Joseph Fux und die rdmische Palestrina-
Tradition." Die Musikforschung 14 (1961): 14-22.
In examining the formation of Fux's ideas on the strict style, studies evi-
dence from various manuscript traditions. They indicate that there were sig-
nificant associations between mid- and late-seventeenth-century Italian
advocates of the stile alla Palestrina, notably Bernardo Pasquini
(1637-1710), who was for a time connected with the Viennese imperial
court, and Johann Joseph Fux and members of his school.

E0444 Roche, Jerome. " `The Praise of It Endureth For Ever': the Posthumous Pub-
lication of Palestrina's Music." Early Music 22 (1994): 631-639.
Examines publication of Palestrina's music from 1594 to 1644 in all gen-
res, including madrigal contrafacta and works in anthologies. Treats ferns in
Rome (Alessandro Gardano), Venice (Amadino, Angelo Gardano, Vincenti),
Milan (Coppini), and various locations outside Italy, including Antwerp
(Phalèse) and several German centers.

E0445 Rostirolla, Giancarlo. "Giovanni Pierluigi da Palestrina, compositore della

338 Giovanni Pierluigi da Palestrina
Cappella Pontificia e principe della musica: la sua produzione basilicalee
palatina per un calendario/repertorio per celebrativo del quarto centenario."
Recercare 5 (1993): 33-85.
Focuses on the distinctive organizational and musical features of the Sis-
tine Chapel, aiming to define the role of singer-composers at that institution.
These are examined in relation to Palestrina's duties in the Cappella Giulia
as well as the more private papal activities involving music. On pp.56-84,
Rostirolla provides a detailed calendar/repertory of Palestrina's music per-
formed on liturgical occasions throughout the year during the composer's
lifetime and in the years shortly after his death (through 1616 or 1617).
Included in the calendar is the feast day/occasion, the item of repertory and
its liturgical function, whether this information was established from the
diary of tenor Carlo Vanni, where the referenced work is found in early pub-
lished or manuscript sources, as well as its location in the modern compre-
hensive editions ("Haberl," "Casimiri") and in Alain Chambure's 1989
catalog.

E0446 Rostirolla, Giancarlo. "Palestrina `ridotto' per quartetto d' archi. Una inedita
testimonianza musicale per la storia della ricezione palestriniana nel Sette-
cento." In Atti del II Convegno Internazionale di Studi Palestriniani. Anno
Eumpeo della Musica. 3-5 maggio 1986, ed. Lino Bianchi and Giancarlo
Rostirolla. Palestrina: Fondazione Giovanni Pierluigi da Palestrina/Centro di
Studi Palestriniani, 1991. ML410.P15C77.1986. pp. 361-405.
For much of the eighteenth century, manuscript copies of music in the
older style, including arrangements and transcriptions, were circulating in
Rome and Bologna, suggesting serious interest in such music. This a rticle
studies an MS transcription containing 45 Palestrinahymns plus movements
and sections from several masses, arranged for st ring quartet. The transcrip-
tion is generally faithful to sources but also brings music somewhat more
into line with eighteenth-century st ring literature styles and aesthetic sensi-
bilities. Contains inventory of MS, transcription of examples, and MS fac-
simile reproductions (pp.381-405).

E0447 Rubio, Samuel. "Palestrinae la Spagna." In L'arte di Giovanni Pierluigi da

Palestrina. Atti e Documentazione. VI Convegno Europeo sul Canto Corale.
Promosso e Organizzato dalla Corale Goriziana "C.A. Seghizzi." Gorizia:
Grafica Goriziana, 1975. pp. 97-106.
Describes Palestrina's interaction with music of Morales, Gab riel
Galvez, and Victoria. Discusses Palestrina's representation in the writings of
Spanish theorists from 1592 to 1800 and in prints and manuscripts of his
music located in Spanish libraries, religious houses, and archives.

E0448 Rubsamen, Walter. "The International `Catholic' Repertoire of a Lutheran

Church in Nurnberg, 1574-1597." Annales musicologiques 5 (1957):
229-327.
Discusses collection of 17 codices assembled by F riedrich Lindner, can-
tor of St. Aegidien, Nuremberg, from 1574 to 1597, who copied chiefly from
printed polyphonic sets of contemporary late Netherlandish and Italian
Bibliography of Secondary Literature 339
provenance. Through examining liturgical, sociocultural, and musical fac-
tors, this item indicates how such ostensibly "Catholic" music (Palestrina's
among it) was disseminated in Lutheran Germany in this period despite the
tense religious climate.

E0449 Ruhnke, Martin. "Francesco Gasparinis Kanonmesse und der Palestrinastil."

In Musicae Scientiae Collectanea: Festschrift Karl Gustav Fellerer zum 70.
Geburtstag am 7. Juli 1972, ed. Heinrich Hiischen. Cologne: Arno Volk,
1973. ML55.F35M8.1972. pp. 494-516.
A detailed statistical analysis of disson ance treatment in the a cappella
Missa canonica (1705) of Gasparini an d theMissa ad fugam (1718) of Fux,
the Missa ad fugam and the Missa Virtute magna of Palestrina, and the
Missa Virtute magna of Clemens non Papa, to examine how the stile alla
Palestrina was used by two baroque composers as compared with the stylis-
tic manner of the later sixteenth century.

E0450 Schnoebelen, Anne. "The Growth of Padre Martini's Library as Revealed in

His Correspondence" Music and Letters 57 (1976): 379-397.
Notes that Martini's gradual acquisition of a rich collection of Palest rina
primary materials was a frequent topic of his correspondence with Girolamo
Chiti and others. Palest rina references are discussed in some detail. Mar-
tini's painstakingly gathered library of manuscripts, prints, and theoretical
treatises is now the nucleus of the Civico Museo Bibliografico Musicale,
Bologna, one of the world's outstanding musical collections.

E04S1 Schnoebelen, Anne. Padre Martini's Collection of Letters in the Civico

Museo Bibliografico Musicale in Bologna. An Annotated Index. Annotated
reference tools in music 2. New York: Pendragon, 1979. ISBN
0-918728-11-8. ML134.M438S3.
Presents individual summaries of letters in Martini's vast correspon-
dence, several hundred of which refer to his search for Palest rina materials
and make comments on the composer and his work. See item E0450, Sch-
noebelen's observations on this material.

E0452 Shay, Robert. "`Naturalizing' Palestrina an dCarissimi in Late Seventeenth-

Century Oxford: Hen ry Aldrich and His Recompositions" Music and Let-
ters 77 (1996): 368-400.
Discusses the manuscript and print collections associated with Hen ry
Ald rich (d.1710), composer as well as c anon and dean of Christ Church,
Oxford, and probably the primary transmitter of Palestrina's music and repu-
tation in England before Charles Burney. Contains a highly interesting study
of Aldrich's "translating" or "naturalizing" Italian music, that is, not only
assigning English text to such works but recomposing their music to create a
more updated and "English" idiom. Among works studied are the Palestrina
-Aldrich motets "We Have Heard withEars"/Doctor
Our bonus and "Hold
Not Thy Tongue"/Nativitas tua.

E0453 Stefani, Gino. "Miti barocchi: Palestrina princeps musicae." Nuova Rivista
340 Giovanni Pierluigi da Palestrina
Musicale Italiana 8 (1974): 347-355.
Examines the growth of the Palestrina mythology in the seventeenth cen-
tury. The story of the composer as the rescuer of church music acquired an
added layer of meaning with Rome's assertion of itself in this period as
caput orbis in all things and Palestrina as the pivotal composer of the Roman
school.

E0454 Stefani, Gino. Musica e religione nell' Italia barocca, ed. Antonino Buttitta.
Uomo e cultura—Testi 14. Palermo: S.F. Flaccovio, 1975. 261 pp.
ML3033.S73.
Insightful and richly documented examination of the cultural position of
the Roman church, church-secular relations, the ecclesiastical style and the
place of music per se in post-Tridentine church reform, the sociological
position of the composer, the place of instruments, and extraliturgical devo-
tional genres. Highly recommended for the study of Palestrina reception in
seventeenth-century Italy.

E0455 Steinschulte, Gabriel M. "Palestrina und Deutschland." In Atti del II Con-

vegno Internazionale di Studi Palestriniani. Anno Europeo della Musica.
3-5 maggio 1986, ed. Lino Bianchi and Giancarlo Rostirolla. Palestrina:
Fondazione Giovanni Pierluigi da Palestrina/Centro di Studi Palestriniani,
1991. ML410.P15C77.1986. pp. 613-630.
An overview of historical and social factors which favored reception of
Palestrina's music in Germany (both Catholic and Protest ant areas) in the
seventeenth through twentieth centu ries. Discusses the dissemination of his
style as a basis for theoretical and practical musical education, especially
through Fux and a series of connections among other eighteenth-century
theorists and composers. Reviews the important role of Germans in the col-
lection, editing, and publication of Palestrina's music, especially in the nine-
teenth century.

E0456 Ursprung, Otto. "Palestrina und Palestrina-Renaissance." Zeitschrift für

Musikwissenschaft 7 (1925): 513-529.
Reviews Palestrina's accomplishments in the context of the Council of
Trent, the liturgical reforms taking place in the 1560s, and the interest in tex-
tual clarity evinced by members of the Commission of Cardinals. Continues
as a short history of Palestrina reception, touching on new tendencies in
church music in the early seventeenth century and the consequent narrowing
of style focus within the so-called Palestrina style; seventeenth- and
eighteenth-century st rict-style cultivation that looked to Palestrina as an
authority; and tendencies in the nineteenth-century revival (early Romantics,
Baini, and Cecilians), with some final comments on research in his own
time.

E0457 Wolff, Christoph. "Bach and the Tradition of the Palestrina Style." In Bach:
Essays on His Life and Music. Cambridge, MA: Harvard University Press,
1991. ISBN 0-674-05925-5. ML410..B1.W79.1991. pp. 84-104.
Argues that movements from Bach's B-minor mass, Clavier-Übung III,
Bibliography of Secondary Literature 341
and Well-Tempered Clavier exhibit his strongest connections to the Palest-
rina style. Finds considerable evidence for Bach's awareness of the style by
way of his access to treatises and music dating from the sixteenth through
eighteenth centuries. Some of Palestrina's work exists in Bach's autograph.
Describes qualities of this stylistic texture and traces it in Bach's own music,
concluding that its presence was an expression of genre consciousness.
Bach's generic references served goals of didacticism, architectonic design,
and the expression of majestas and gravitas in liturgical contexts.

E0458 Wolff, Christoph Johannes Der stile antico in der Musik J.S. Bachs. Studien
zu Bachs Spdtwerk. Beihefte zum Archiv für Musikwissenschaft 6. Wies-
baden: Franz Steiner, 1968.
An insightful examination of stile antico, the strict observant style as it
was cultivated in early-eighteenth-century Germany, and its significance and
practice in the late music of Johann Sebastian Bach. Bach owned a copy of
Palestrina's Missa Sine nomine a 6 (Nasce la gioia mia) which he tran-
scribed, adding colla parte instruments and basso continuo. Text contains
comments and a style analysis (p.20, table after p.160, pp.166-172), as well
as a printed example, from the Kyrie I of the mass.

E0459 Zacconi, Lodovico. Prattica di mvsica vtile et necessaria si al compositore

per comporre i canti suoi regolatamente, si anco al cantore per assicurarsi
in tutte le cose cantabili. Divisa in qvattro libri. Ne i qvali si tratta delle can-
tilene ordinarie, de tempi de prolationi, de proportioni, de tuoni, et della
conuenienza de tutti gli istrumenti musicali. S'insegna a cantar tette le com-
posizioni antiche, si dichiara tutta la Messa del Palestina titolo Lomè Armè,
con altre cose d'importanza & diletteuole.... Venice: G. Polo, 1592;
Venice: B. Carampello, 1596. Prattica di musica seconda parte.... Venice,
1622. MT40.A2.Z34.
Vol 1, Book II, ch.xxxviii, ff.115-122, and passim contains an extensive
and historically important discussion of questions of mensuration as pre-
sented by the notation of Palestrina's Missa L'homme armé. As he featured a
discussion of the mass in the title of his book, Zacconi clearly considered it a
significant matter.

E0460 Zanolini, B runo. "Il `cantus firmus' nell' opera di Palestrina, Buxtehude e
Froberger." In Atti del II Convegno Internazionale di Studi Palestriniani.
Anno Europeo della Musica. 3-5 maggio 1986, ed. Lino Bianchi and Gian-
carlo Rostirolla. Palestrina: Fondazione Giovanni Pierluigi da
Palestrina/Centro di Studi Palestriniani, 1991. ML410.P15C77.1986. pp.
421-437.
Comparison of the techniques with which two Gregorian hymns, A solis
ortus cardine and Creator alme siderum, were polyphonically elaborated by
Palestrina, Froberger, and J. S. Bach respectively. (Notwithstanding the title,
Buxtehude's music is not discussed; the a rticle is labeled more accurately in
the book's index.) While Palestrina's settings were vocal and characterized
by subtle manipulations of particular modal features, Froberger created an
rumental cap riccio in four sections based on a single varied subject and inst
342 Giovanni Pierluigi da Palestrina
full of instrumental figurations, while Bach created a chorale prelude char-
acterized by a continuum of melodic and rhythmic figures, linear disso-
nance, and transposition of the modality of the o ri ginal tune.

2. From 1750 to 1914

E0461 Ackermann, Peter. "Asthetische und kompositionstechnische Aspekte der

Palestrina -Rezeption bei Franz Liszt." In Palestrina unddie Idee der klassis-
chen Vokalpolyphonie im 19. Jahrhundert. Zur Geschichte eines kirchen-
musikalischen Stilideals, vol 1. ed. Winfried Kirsch. Regensburg: Gustav
Bosse, 1989. pp. 243-256.
Argues that while Liszt admired the accomplishments of the Cecilians,
he did not think they would be able to evolve a truly progressive church
style. In his own sacred music, notably the orato ri o Christus but in much
else as well, Liszt inserted reworked quotations of structural material origi-
nally by Palestrina, combining gestures of the older style with a modern
expressive idiom in synthesis. He seems to have sought a subjectively
expressive church style dependent on connecting a heterogenous variety of
influences and techniques, ultimately deriving from his Franciscan-influ-
enced aesthetic of letting things speak for themselves.

E0462 Ackermann, Peter. "Klassische Vokalpolyphonie im Werke Michael

Hallers." In Palestrina und die Klassische Vokalpolyphonie als Vorbild
kirchenmusikalischer Kompositionen im 19. Jahrhundert, ed. Winfried
Kirsch. Palestrina und die Kirchenmusik im 19. Jahrhundert 3. Kassel: Gus-
tav Bosse Verlag, 1995. pp. 143-157.
Examines how Palestrina's style and ce rt ain compositions influenced the
compositions of this Cecilian. Includes a number of comparative examples
by both composers.

E0463 Arcais, E d'. "Le onoranze a Palestrina." Nuova antologia di scienze, lettere
ed arti 51, nr.3 [series II, vol 21], 15 giugno 1880, 762-769.
Reflections prompted by a Palestrina celebration held by the Società
Musicale Romana. Calls for a new biography of the composer and pleads for
the opening of papal and basilica archives to facilitate research. Says that his
own age witnesses a church music situation similar to that out of which
Palestrina refounded sacred music—"a bad imitation of theatrical music"—
and advocates a restoration to music of that quality of religious purity asso-
ciated with the composer. Views Palestrina as the first to make counterpoint
se rv e the expression of sentiments and affections and, in this sense, as the
founder of all modern music which has this goal.

E0464 Baecker, Carlernst. "Zum Palest rina-Bild in den deutschspràchigen

Musikgeschichten um 1800" In Palestrina und die Idee der klassischen
Vokalpolyphonie im 19. Jahrhundert. Zur Geschichte eines kirchen-
musikalischen Stilideals, ed. Winfried Kirsch. Palest ri na und die Kirchen-
musik im 19. Jahrhundert 1. Regensburg: Gustav Bosse, 1989. pp. 55-63.
Notes that by around 1800 Palestrina's reception history in German-
Bibliography of Secondary Literature 343

speaking countries was already divided into two streams. One, represented
by writers such as Busby (in translation), Reicha, Rochlitz, an d others, was
historically and style-critically oriented, and was appreciative but slightly
distant. The other stream, including writers such as Reichardt, Orloff,
Lewald, and Krause, was oriented in a more aesthetic, philosophical, or liter-
ary direction. They hailed the composer as a cen tr al figure an d "rescuer" of
music and tended to a more specifically aesthetic feeling for the past.

E0465 Baini, Giuseppe. "Analysis 14. Giuseppe Baini (1775-1844): Memorie sto-
rio-critiche della vita e delle opere di Giovanni Pierluigi da Palestrina
(1828)" ["The Ten Styles of Palestrina "]. In Music Analysis in the Nine-
teenth Century. Volume I: Fugue, Form and Style, ed. Ian Bent. Camb ri dge,
UK: Camb ri dge, 1994. ISBN 052125969X . MT90.M88.1994 v.1. pp.
263-280.
Bent offers an insightful and carefully contextualized in troduction
(pp.263-268) to Baini's biography, using a critical approach attempting to
set the composer into the context of music history. Suggests that Baini's
division of Palestrina's creative practices into ten "styles" has a similarity to
methodology of Vasari's Lives. Pp.269-280 are a tr anslation by Jonath an
vol IIII, pp.420-434, of Baini's book, which deals with the "ten Shifo
Shiff of vol
styles" of Palestrina.

E0466 Bauer, Hans-Joachim. "Franz Liszts Reformen zur Kirchenmusik." Kirchen-

musikalisches Jahrbuch 73 (1990): 63-70.
Describes Liszt's wish to "rescue" church music of his own time. He
envisioned a blending of the Palest ri na style with contemporaneous means
of expression.

E0467 Bdumker, Wilhelm. Palestrina. Ein Beitrag zur Geschichte der kirchen-
musikalischen Reform des 16. Jahrhunderts. Sammlung historischer Bild-
nisse. Vierte Serie, I. Freiburg im Breisgau: Herder' sche Verlagshandlung,
1877. 76 pp.
An interesting little book with biographical information derived largely
from Baini, Kandler, an d Winterfeld. Most interesting for insights it offers
the reader into the mind-set and forces then shaping the Cecilian movement.
Traces the history of church music up to and through T ri dentine events and
Palestrina's place in them. Notes with disapproval the subsequent use of
instruments, theatricality, and subjectivity of eighteenth- and early nine-
teenth-century church repertory. Implicit in the text is the suggestion that the
best generally known Palestrina repertory was the Missa Papae Marcelli and
what was heard during Holy Week at the Sistine Chapel. Describes the
Palestrina revival in German singing societies, cou rt , an d churches, and cites
the work of Proske and his successors to revive the da cappella ideal and to
inspire others to create music in the "spi rit" of the composer.

E0468 Bduerle, Hermann. Palestrina muss populcirer werden. Einladung an streb-

same Dirigenten und eifrige Anhiinger einer heiliger Musik. Regensburg:
Pustet, 1903.
344 Giovanni Pierluigi da Palestrina
A Cecilian-influenced advocacy of the Palestrina style in a current litur-
gical context.

E0469 Beer, Axel. "Der Stellenwert der Kirchenmusik in ausgewdhlten theologis-

chen Periodika." In Palestrina and die Idee der klassischen Vokalpolyphonie
im 19. Jahrhundert. Zur Geschichte eines kirchenmusikalischen Stilideals,
vol 1. ed. Winfried Kirsch. Regensburg: Gustav Bosse, 1989. pp. 171-179.
Evaluation of the place of church music as found in selected Catholic
theological periodicals of the earlier nineteenth century. Containing a strong
component of polemic and advocacy, the writings commonly stress that
church music (polyphony, chant, an d religious song, as simplified and
improved and even with "folkish" qualities) needed to revert to its o ri ginal
m an date as one of the greatest liturgical ancillaries of the Roman rite.

E0470 Bellermann, Heinrich. Der Kontrapunkt, oder Anleitung zur Stimmf ihrung
in der musikalischen Composition. Berlin: J. Springer, 1862. MT55.B44.
Probably the st an dard textbook on classical polyphony alla Palestrina
between its publication date and the appearance of Jeppesen's counterpoint
book in 1927. Went through two more editions before Bellermann's death in
1903.

E0471 Bellermann, Heinrich. "Die Schliissel im ersten Buch der vierstimmigen

Motetten von Palest ri na." Leipziger Allgemeine Musikalische Zeitung 5
(1870): 388-390, 395-397.
A discussion of clefs used in sixteenth-century music, their function,
advantages, and how to read them, without much overt reference to material
within the motet book referenced in the title. (This seems to refer not to vol 5
in the "Haberl" edition edited by Espagne, but to Bellermann's edition of
1869-1870 in the apparently abandoned Denkmc ler series.) Although some-
what peripheral here, it is interesting to note that when this volume of Palest-
rina's music was printed with the original clefs, there was apparently such a
general sense of discomfort on the part of prospective users that a p ri mer
was considered necessary.

E0472 Biba, Otto. "Der Chcilianismus." Bruckner-Symposium. Linz: Anton Bruck-

ner Institut, 1988. pp. 123-128.
Assesses the influence of the Cecilian movement on the sacred music of
Anton Bruckner. Argues that the movement was not strong in Austria, and
that although there is some evidence of an influence from the Palestrinian
style in his work, Bruckner was basically opposed to Cecilianism.

E0473 Bonghi, Ruggero. Pochi parole di esordio al Concerto del 2 febbraio 1895 in
onore di Giovanni Pierluigi da Palestrina. Rome: Tipografia della Pace di F.
Cuggiani, 1895 [repr. in Annuario dellaR. Accademia di S. Cecilia 1895/96.
Rome: Tipografia della Pace di E. Cuggiani, 1897, pp. 31-34].

E0474 Boursy, Richard. "The Mystique of the Sistine Chapel Choir in the Roman-
tic Era." Journal of Musicology 11 (1993): 277-329.
Bibliography of Secondary Literature 345

Features excerpts from travelers' diaries and memoirs from around 1800
to 1850 which contain reflections on contemporaneous performance prac-
tice, religious an d aesthetic image, an d sociological phenomena of the Sis-
tine Chapel. Focuses on repo rt s about Holy Week liturgies and repertory,
especially Palestrina's Improperia and Allegri's Miserere.

E0475 Burney, Charles. A General History of Music from the Earliest Ages to the
Present Period, to Which Is Prefixed a Dissertation on the Music of the
Ancients. 4 vols. London: Printed for the Author, 1776-1789 [Repr. ed.
Frank Mercer. New York: Dover, 1935. repr. 1957]. ML159.B9.
Based on 1935 reprint of Burney's 1789 text. Palestrina's cont ri bution is
discussed in vol 2, chapter 2, "Of the State of Music in Italy during the Six-
teenth Century .... (pp.128-200). Burney also demonstrates some reliance
on Liberati and Adami da Bolsena, an d discusses in particular the question
of Palestrina's teachers and antecedents. [Reprinted musical examples cited
in chapter 2, pa rt IV, Prints in Books under citation in "Burney."]

E0476 Carli Ballola, Giov an ni "Il mito di Palest rina nell' Ottocento." Chigiana:
Rassegna annuale di studi musicologici 29/30, n.s. 9/10 (1975): 115-119.
ML38.S4C4.
Even while many of the leading composers of the mid-to-later nineteenth
century continued to write in a gr an d modern idiom, the Palestinian style
was held in increasingly special regard. Causes for this include the early-
nineteenth-century aesthetic and antiquarian o ri entation of Romanticism, a
growing sense of musical history, and the retrospective an d nostalgic attitude
of musicians within the Catholic Church orbit. With the issue of Moto pro-
prio, a new interest in church music in a modest conservative idiom
increased.

E0477 Celler, Ludovic ["L. Leclercq"], ed. La Semaine sainte au Vatican: étude musi-
cale et pittoresque: texte etmusique.Pari s: Hachette et Cie., 1867. xii + 120pp.
This text is divided into two parts. The verbal pa rt describes events dur-
ing Holy Week, including notes on performance practice of the Palestrina
Lamentations an d the history of the Sistine Chapel. The musical section con-
tains works by Palestrina, Victoria, Allegri , and others. For a full listing of
musical contents, see Chapter 5, "Mode rn Editions," under "Celler."

E0478 Choron, Alexandre. Principes de Composition des Ecoles d'Italie. Adoptés

par le Gouvernement Français pour servir à l'instruction des Élèves des
Maîtrises de Cathedrales. 3 vols. Pari s: Le Duc, 1808.
A massive treatise on composition by the person who perhaps con-
tributed most to the revival of practical knowledge of Palestrina's music in
France in the early nineteenth century, and who was responsible for adding
study of the style an d perform an ce of early music to the curriculum of the
Pari s conservatory. Book 6 represents a compendium of examples in church,
chamber, and theatrical styles, in which both church and chamber music are
represented by works by Palestrina. For a full listing of contents, see Chapter
5, "Mode rn Editions," under "Choron."
346 Giovanni Pierluigi da Palestrina

E0479 Coltellacci, Francesco. Album ricordo del monumenti prenestini pubblicato

in occasione del terzo Centenario del Principe della Musica Giovanni Pier-
luigi da Palestrina per Francesco Coltellacci, segretario del commune di
Palestrina (Roma). Rome: Stabilimento Tipografico Italiano, 1895.

E0480 Darbellay, Étienne. "L'Esemplare du Padre Ma rt ini: Une exégese musi-

cologique mode rn e du stile osservato?" In Padre Martini: Musica e cultura
nel Settecento europeo. Atti del Convegno di Studi (Bologna, 15-18 settem-
bre 1985). Florence: Olschki, 1987. pp. 137-171.
Examines Padre Martini's remarkable Esemplare o sia saggio fondamen-
tale pratico di contrappunto copra it canto fermo (1774), a treatise on com-
position in which he sought to adapt principles of sixteenth-century counter-
point an d the actual creation of compositions to the musical language of his
own time. Ma rt ini presented heavily annotated examples from Palest ri na,
Morales, and a number of other composers of that period, meant to se rv e as
teaching models from which students could learn the a rt of composition
themselves. (The larger volume from which this article comes is also recom-
mended as a source for studying Martini's multifarious activities related to
earlier music.)

E0481 Dehn, Siegfri ed. Lehre von Contrapunkt, dem Canon und der Fugue. Nebst
Analysen von Duetten, Terzetten, Fugen, etc. von Orlando di Lasso, Mar-
cello, Palestrina u.a. Neu bearbeitet von Bernhard Scholz. Berlin: W. Weber,
1882. 192pp. MT55.D31.1882 [o ri ginal edition 1859].
Manual of species counterpoint, double counterpoint, and canon, includ-
ing a review of theorists of counterpoint from Zarlino to Kirnberger an d
Marpurg (pp.70-74) on aspects of double counterpoint. Contains a series of
examples meant to be studied in conjunction with the text; for an enumera-
tion, see Chapter 5, "Modern Editions," series section, under "Dehn."

E0482 Eximeno y Pujader, Antonio. Delle origini e della regole della musica... .
Rome: Michel'Angelo Barbiellini, 1774 [facs. ed. Hildesheim: Georg Olms,
1983. ISBN 3-487-07137-1. ML159.E9.1983].
Discusses Palestrina and the stile alla Palestrina in Book 3, Chapter 8,
"Verificazione della teorica" (pp.253-257) et passim. Cites Palestrina's
music as an authority verifying his own statements on dissonance treatment,
melodic shaping, and so forth, but this text is also of interest because of the
way in which Eximeno's judgment of the style is suffused with eighteenth-
century aesthetic language: Palestrina is "most worthy to study and imitate
to acquire the simplicity, naturalness and elegance of the stile a cappella,"
and so forth.
Plate 9, intended to be studied with this section of the text, contains the
Missa Papae Marcelli (Kyrie and beginning of the Gloria, both with added
basso continuo).

E0483 Féderoff, Yvette and Wallon, Simone. "Choron et ses Essais de Réforme
Musicale a l'Église de la Sorbonne. Un point d'histoire de la musique
religieuse en France sous la Restauration." In Logos musicae. Festschrift fiir
Bibliography of Secondary Literature 347
Albert Palm, ed. Rüdiger Gbrner. Wiesbaden: Franz Steiner, 1982. pp.
63-70.
Description of Alexandre-Etienne Choron's revisions in the cur riculum
of musical education at his "Royal Institute of Religious Music." Among
these were early nineteenth-century performance revivals of music by
Palestrina, as well as by composers who worked in the stile alla Palestrina,
and of sacred music of seventeenth- and eighteenth-century Italy and Ger-
many.

E0484 Fellerer, Karl Gustay. "Zum Bild der altklassischen Polyphonie im XVIII.
Jahrhundert." In Festschrift fiir E. H. Meyer zum sechzigsten Geburtstag, ed.
G. Knepler. Leipzig: Deutsche Verlag für Musik, 1973. pp. 243-252. [repr.
in Palestrina Studien, pp.341 et seq.].
Discusses the attitudes of some eighteenth-century writers on music
toward older polyphony. Useful in particular for its listing of the composi-
tions which would have been available in publications in that period, not
only for Palestrina but also for a significant number of other fifteenth- and
sixteenth-century composers.

Fétis, François-Joseph. "Palestrina." In Biographie universelle des musi-

ciens et bibliographie générale de la musique. Brussels, 1835-1844.
See item E0118.

E0485 Gerber, Ernst Ludwig. "Palest rina." In Historisch-Biographisches Lexicon

der Tonkünstler. Leipzig: J. G. J. Breitkopf, 1790-1792. 2 vols. Second edi-
tion as Neues historisch-biographisches Lexicon. Lepizig: A. Kühnel,
1812-1814.4 vols [facs. repr. of both editions together in one 4-volume set,
Graz: Akademische Druck, 1966-1969]. ML105.G475.1966.
In the first edition (1790-1792), pa rt 3, cols. 644-646, Palestrina is
assigned a sketchy biographical entry of about a qua rter of a column; most
of the entry gives a list of works, derived mainly from Burney, and a list of
critical writings (theoretical or historical texts) where examples of Palest-
rina's music can be found.
In the second edition (1812-1814), part 3, cols. 65-69, the biographical
entry has greatly expanded to three full columns, and adds a sho rt list of
works, followed by a list of seven works currently for sale by Breitkopf
under Palestrina's name. The masses seem mostly to be arranged as
Lutheran missae (i.e. Kyrie and Gloria only).

E0486 Gerbert, Martin. De cantu et musica sacra a prima ecclesiae aetate usque ad
praesens tempus. 2 vols. St. Blasien: Typis San-Blasianus, 1774. 2 vols
[facs. repr. ed. Othmar Wessely. Graz: Akademische Druck, 1968.
ML3002A2 G3].
This great eighteenth-century research scholar had little conceptual use
for any polyphony in church music, but suggested that insofar as such music
was tolerated in fact, the polyphonic manner of Palestrina, with its careful
atttention to language, was probably the most suitable.
348 Giovanni Pierluigi da Palestrina

E0487 Gerhards, Albe rt . "Der liturgische Hintergrund der Palestrina- Renaiss ance
im 19. Jahrhunderts." In Palestrina und die Idee der klassischen Vokalpoly-
phonie im 19. Jahrhundert. Zur Geschichte eines kirchenmusikalischen
Stilideals. vol 1. ed. Winfried Kirsch. Regensburg: Gustav Bosse, 1989.
pp.181-194.
Discussion of questions of church music as an ornamental se rv ant of
liturgy; the impulses behind the nineteenth-century Palestrina renaiss an ce
and the Cecilian movement; how the concept of a "Palestrina style" was
understood in a liturgical context; and conclusions on the relationship
between church music and liturgical elements—how music functions both
as ancillary and to engage the emotion of the liturgical pa rticipant.

E0488 Gmeinwieser, Siegfri ed. "Die Missa L'homme armé als Beispiel einer
Palestri na -Bearbeitung aus dem 19. Jahrhundert." In Palestrina und die Idee
der klassischen Vokalpolyphonie im 19. Jahrhundert. Zur Geschichte eines
kirchenmusikalischen Stilideals, vol 1, ed. Winfried Kirsch. Regensburg:
Gustav Bosse, 1989. pp. 223-225.
A study of how a Palestrina mass was edited in the 1830s: it was notice-
ably shortened, its longer melismas were removed, and textures were altered
to clarify ve rt ical sonorities.

E0489 Gmeinwieser, Siegf ri ed. "Zum Palestrina-Stil in Munchen." In Palestrina

und die Idee der klassischen Vokalpolyphonie im 19. Jahrhundert. Zur
Geschichte eines kirchenmusikalischen Stilideals, vol 1, ed. Winfried
Kirsch. Regensburg: Gustav Bosse, 1989. pp. 215-222.
Munich had a virtually unbroken tradition of cultivating sixteenth-
century polyphony from the days of Lasso to the nineteenth-century church
music restoration. The a rticle chronicles the activities of a series of
nineteenth-century musicians who advocated or implemented either a modi-
fied symphonic church style or a form of the "Palestrina style" in various
Munich churches, notably Caspar Ett, Johann Kaspar Aiblinger, and Joseph
Rheinberger.

E0490 Haar, James. "Music of the Renaissance as Viewed by the Romantics." In

Music and Context: Essays for John M. Ward, ed. Anne Dhu Shapiro an d
Phyllis Benjamin. Camb ri dge, MA: Ha rv ard University Press, 1985. ISBN
0-674-58888-6. ML3735.M77.1985. pp. 126-144.
Intriguing study of the relationship of the misapprehensions of Romantic
historiography to the perception of significant Renaissance musical figures
and their music, as well as the effect of such images on nineteenth-century
musical an d literary creations. Consideration of Palestrina among others.
Argues that it is due in pa rt to highly subjective early-nineteenth-century
conceptions of the composer as symbol of a lost golden age of pure and sim-
ple religious sensibility that a truly balanced picture of Palestrina's undoubt-
edly great but hardly unique stature has taken so long to emerge.

E0491 Haberl, Franz Xaver. "Zum 50. Todesjahre von Joseph Baini. Eine
biographische Skizze." Kirchenmusikalisches Jahrbuch 9 (1894): 77-85.
Bibliography of Secondary Literature 349
Notes the great stimulus Baini provided to Palest ri na research an d the
many sources reliant upon his work. Even while Haberl points out the seri-
ous problems and lacunae which fifty subsequent years have exposed in
Baini's work, he nonetheless credits him with great accomplishments given
the circumstances in which he worked. Continues with anecdotes an d
renewed appreciation of Baini's life and activities.

E0492 Haberl, Franz Xaver. "Die Gesammtausgabe der Werke Palestrinas."

Cdcilienkalendar 5 (1880): 66-74.
Presents a repo rt on the plan for the comprehensive Palestrina edition:
includes the publisher's prospectus and lists of subscribers, as well as a letter
from Pope Leo XIII on the "instauration of ecclesiastical music" and
Haberl's own statement of the belief that this edition would contribute to the
restoration of church music.

E0493 Hancock, Virginia. "Brahms's Performances of Early Choral Music."

Nineteenth-Century Music 8 (1984): 125-141.
Examines performance materials in the library of the Gesellschaft der
Musikfreunde, many of which have personal annotations an d performance
a rt iculations in Brahms's hand. These materials, including works by Palest-
rina as well as numerous other composers of the period from 1550 to 1750,
document his activities as a director of Renaissance and Baroque choral
music, and directly or indirectly indicate his views on its nature and manner
of performance.

E0494 Hawkins, Sir John. A General History of the Science and Practice of Music,
5 vols. London, 1776 [repr. as A General History of the Science and Practice
of Music, by Sir John Hawkins. A New Edition, with the Author's Posthu-
mous Notes. London: J. Alfred Novello, 1853]. ML159.H3.
Annotation based on 1853 reprint. Palestrina is discussed in vol 1, pp.
420-429; Hawkins's primary sources were Antimo Liberati an d Andrea
Adami da Bolsena, whose comments are analyzed an d several of whose mis-
takes are corrected.

E0495 Hoffmann, Ernst Theodor Amadeus. "Alte und neue Kirchenmusik" Allge-
meine musikalische Zeitung 16 (1814), cols. 577-584, 593-603, 611-619.
repr. in Schriften zur Musik. Aufscitze und Rezensionen. Munich: Winkler,
1977, 2nd edition, ed. F ri edri ch Schnapp, 1980. ISBN 3-538-05277-8.
ML60.H728.S3.1977t. pp. 209-235.
The notable essay in which Hoffmann argued for a restoration of church
music predicated on the purity and genius of the transcendant Palestrina style.

E0496 Hoffmann, Wolfgang. "Zur Aufführungs- und Bearbeitungspraxis der Werke

Palestrinas in Tri er im 19. Jahrhundert." In Auff ihrungs- und Bearbeitung-
spraxis der Werke Palestrinas vom 16. bis zum 20. Jahrhundert, ed.
Friedrich Wilhelm Riedel. Kirchenmusikalische Studien 3. Sinzig: Studio,
Verlag Schewe, 1997. pp. 129-142.
Focuses on the Sammlung ausgezeichneter Compositionen für die Kirche
350 Giovanni Pierluigi da Palestrina
edited by Stephan Luck (pub. 1859 in two volumes), of which a much-
expanded revised edition appeared in 1884-1885 (four volumes). Discusses
the impo rt ant differences between the two editions and how they reflect
changed perceptions of the Palestrina style and how it was to be performed.

E0497 Hohlfeld, Christoph. Schule musikalischen Denkens: der Cantus firmus--

Satz bei Palestrina. Wilhelmshaven: F. Noetzel, "Heinrichshofen Bucher,"

1994. Text 406pp; supplement, 94pp. ISBN 3-7959-0649-0 [for solutions to
examples, ISBN 3-7959-0650-4]. ML410.P15H64.1994X.
Text by Christoph Hohlfeld; section of musical examples by Reinhard
Bahr. A modern examination of methods for teaching counterpoint in the
sixteenth-century and "Palest ri na" style, with particular reference to
eighteenth- and nineteenth-century sources.

E0498 Hohn, Wilhelm. Der Kontrapunkt Palestrinas und seiner Zeitgenossen. Eine
Kontrapunktlehre mit praktischen Aufgaben. Sammlung "Kirchenmusik"
17, ed. Karl Weinmann. Regensburg: F riedrich Pustet, 1918. 24pp.
MT55.H74.
A chapbook-type manual of counterpoint, with a separate notebook of
musical examples, which in some ways resembles a catechism. Pa rt I con-
tains instruction in the elements of species counterpoint; Part II deals with
imitative counterpoint. Noted here also for the Cecilian tone and for the
prefatory admonition to heed Pius X's Moto proprio in attitude and approach
to church music composition.

E0499 Hucke, Helmut. "Palestrina als Klassiker." In Gattungen der Musik und ihre
Klassiker, ed. Hermann Danuser. Publikationender Hochschule für Musik
und Theater Hannover 1. Laaber: Laaber, 1988. ML55.G215.1988, pp.
19-34.
Describes how a specific style for church music developed during the
sixteenth century. Discusses the Council of Trent and notes that Palestrina's
music was accepted as suitable for use by the papal choir. Notes also some
of the recurrent eras of Palestrina's popularity in the eighteenth an d nine-
teenth centu ri es.

E0500 Janitzek, Martina, and Winfried Kirsch, eds. Palestrina und die klassische
Vokalpolyphonie als Vorbild kirchenmusikalischer Komposition im 19.
Jahrhundert. Palestrina und die Kirchenmusik im 19. Jahrhundert 3. Kassel:
Gustav Bosse, 1995. 196ff. ISBN 3-7649-2377-6. ML2906.P34.1995.
Collection of papers from a symposium held from May 30 to June 6,
1991, in Frankfurt am Main. Papers by Janz, Konrad, Luttig, and Krombach
are individually indexed, as they contain direct comparisons of style,
describe quotations of Palestrina's music, or deal with actual tr aditions of
Palestrina performance. Some of the unindexed but interesting papers in this
collection belong more specifically to scholarship on the Cecilian movement
an d on compositions based on emulation or reworkings of classical
polyphony than to Palestrina studies per se, but are worth examination.
Bibliography of Secondary Literature 351
E0501 Janitzek, Martina. "Palest rina Editionen im 19. Jahrhundert dargestellt an
- —

ausgew hlten Beispielen." In Aufführungs- und Bearbeitungspraxis der

Werke Palestrinas vom 16. bis zum 20. Jahrhundert, ed. Fri ed ri ch Wilhelm
Riedel. Kirchenmusikalische Studien 3. Sinzig: Studio, Verlag Schewe,
1997. pp. 115-128.
Studies some transc ri ptions and reworkings of Palest ri na works in the
nineteenth century together with contemporary notices of how these editions
were received. Contains printed musical examples from arrangements of the
Stabat Mater; organ arr an gements of movements from Missa Brevis an d
Missa Iste Confessor; Michael Haller's edition of the Missa Brevis; and
Ignaz Mitterer's version of the Missa Papae Marcelli.

E0502 Janz, Bernhard. "Das editorische Werk Carl Proskes und die Anfannge der
kirchenmusikalischen Reformbewegung." In Palestrina und die Idee der
klassischen Vokalpolyphonie im 19. Jahrhundert. Zur Geschichte eines
kirchenmusikalischen Stilideals, vol 1, ed. Winfried Kirsch. Regensburg:
Gustav Bosse, 1989. pp. 149-169.
Discussion of activities of canon Dr. Carl Proske (1794-1861), compiler
and editor of the influential Musica divina and Selectus novus missarum.
Proske's ultimate goals involved liturgical revival, restoration of older
polyphony, and the formation of quality church musicians. Yet he also
availed himself of contemporary research an d editorial techniques, so his
publications function as scientifically produced editions with unaltered, pre-
cise, and authentic musical texts. Inventory of Palestrina's music in Musica
divina and Selectus novus missarum included.

E0503 Janz, Bernhard. "Legende und Wirklichkeit—Die Kompositionen Giuseppe

Bainis und die Tradition des Palest rina -Stils in der Ppstliche Kapelle." In
Palestrina und die Klassische Vokalpolyphonie als Vorbild kirchenmusikalis-
cher Kompositionen im 19. Jahrhundert, ed. Winfried Kirsch. Palestrina und
die Kirchenmusik im 19. Jahrhundert 3. Kassel: Gustav Bosse Verlag, 1995.
pp. 13-32.
Examines Baini's perception of the style as revealed in his own composi-
tions for the papal choir. Includes four musical examples from Baini's com-
positions.

E0504 Kandler, Franz Sales. Über das Leben und die Werke des G. Pierluigi da
Palestrina genannt der Fürst derMusik, Sangers, dann Tonsetzers der pap-
stlichen Kapelle auch Kapellmeisters an den drei Hauptkirchen Roms. Nach
dem Memorie storico-critiche des Abbate Giuseppe Baini, Stingers und
Direktors der papstlichen Kapelle, verfasst und mit historisch-Kritischen
Zusiitzen begleitet von Franz Sales Kandler, Mitgleid mehrerer gelehrten
Gesellschaften und Kunstakademien Deutschlands und Italiens. Nachge-
lassenes Werk, herausgegeben mit einem Vorworte und mit gelegentlichen
Anmerkungen von R.G. Kiesewetter. Leipzig: Breitkopf undHdrtel, 1834.
Abbreviated and annotated translation of Baini's recently published biog-
raphy, highly influential in German-speaking countries.
352 Giovanni Pierluigi da Palestrina
E0505 Kirsch, Winfried. "Aspekte der Palestrina-Rezeption." In Palestrina und die
Idee der klassischen Vokalpolyphonie im 19. Jahrhundert. Zur Geschichte
eines kirchenmusikalischen Stilideals, vol 1, ed. Winfried Kirsch. Palestrina
und die Kirchenmusik im 19. Jahrhundert. Regensburg: Gustav Bosse, 1989.
pp. 17-34.
The church music restoration movement was closely related to the
renewal of Roman Catholicism and the collective historical situation of
early-nineteenth-century Germany. Emphasizes continuity of ideas of Cecil-
ians with artistic, aesthetic, literary, and philosophical ideas of early Roman-
tics. Palestrina reception was pa rt of a renaiss an ce of older music (and one
component of a complex of church reform tendencies) where the renewal of
church music was to be done by examining the spirit of old music rather than
church institutions per se.

E0506 Kirsch, Winfried. " `Non clamor, sed amor clangit in aure Dei'—Palest-
rina—Lasso—Proske in Geschichte und Gegenwart." In Musica Divina.
Ausstellung zum 400. Todesjahr von Giovanni Pierluigi da Palestrina und
Orlando di Lasso und zum 200. Geburtsjahr von Carl Proske. Bischofliches
Zentralarchiv und Bischôfliche Zentralbibliothek Regensburg Kataloge und
Schriften 11. ed. Paul Mai. Regensburg: Schnell & Steiner, 1995. ISBN
3-7954-1067-3. ML 141.R43P34.1994. pp. 53-63.
Examination of the comparative reception histo ri es of the church music
of Palestrina and Lasso. Describes the differing ideological attitudes and lev-
els of intensity with which they were regarded, and notes that Proske's
approach was typical: he held that Palestrina's role as church musician was
the "ideal," whereas Lasso was a "great composer" and "genius." In 1894,
these attitudes were still held, but by 1994 there had been a ch an ge in per-
spective, and the "ecclesiastical" aspect of the music of the two composers
was no longer as impo rt ant to an assessment of their cont ribution.

E0507 Kirsch, Winfried, ed. Palestrina und die Idee der klassischen Vokalpoly-
phonie im 19. Jahrhundert. Zur Geschichte eines kirchenmusikalischen
Stilideals. Palestrina und die Kirchenmusik im 19. Jahrhundert 1. Regens-
burg: Gustav Bosse, 1989. ISBN 3-7649-2375–X. ML2906.P34.1989.
Compilation prepared in conjunction with an interdisciplinary sympo-
sium "Church Music" of the Gesellschaft für Musikforschung, held at the
Johann-Wolfgang- Goethe University in Frankfurt am Main on January 16
and 17, 1987. Focus is the aesthetic, musicological, an d technical/composi-
tional aspects of Palestri na reception from 1750 to 1900 an d their implica-
tions for the literature, a rt , and philosophy of that period; the theological and
church-historical assumptions of Palestrina reception; and repertory docu-
mentation of the compositional reflections of Palestrina's style during this
time. A rticles individually indexed.
The preface announced a series of three titles. Vol 3, a collection of arti-
cles examining the Palestrina style as a model for nineteenth-century church
composition, was published in 1995. Vol 2, projected as a bibliography of
primary literature from the nineteenth century with commentary on writings
from 1750 to 1900, has not appeared as of date of writing.
Bibliography of Secondary Literature 353
E0508 [Kirsch, Winfried, ed]. "Schlussdiskussion. Zur Palestrina -Rezeption in
Frankreich. Zur Auffuhrungspraxis alter Musik im 19. Jahrhundert. Zum
Bekanntheitsgrad Palestrinas in 19. Jahrhundert." In Palestrina und die Idee
der klassischen Vokalpolyphonie im 19. Jahrhundert. Zur Geschichte eines
kirchenmusikalischen Stilideals. Palestrina und die Kirchenmusik im 19.
Jahrhundert 1. Regensburg: Gustav Bosse, 1989. pp. 257-260.
A series of concluding roundtable discussions on Palestrina reception in
the nineteenth century by participants in the symposium held in Frankfurt in
1987.

E0509 Kirsch, Winfried. "Zur Vortragsweise der Werke Palestrinas im 19. Jahrhun-
derts" In Aufführungs- und Bearbeitungspraxis der Werke Palestrinas vom
16. Bis zum 20. Jahrhundert, ed. Fri edri ch Wilhelm Riedel. Kirchen-
musikalische Studien 3. Sinzig: Studio, Verlag Schewe, 1997, pp. 89-114.
Examines a wide selection of excerpts from nineteenth-century writings
which discuss various aspects of the perform an ce of Palestrina's music: fun-
damental approaches, parameters such as dynamics, phrasing and text decla-
mation, tempo, and rhythm.

E0510 Konrad, Ulrich. "Klassische Vokalpolyphonie in den Oratorien Carl

Loewes" In Palestrina und die klassische Vokalpolyphonie als Vorbild
kirchenmusikalischer Komposition im 19. Jahrhundert. Palestrina und die
Kirchenmusik im 19. Jahrhundert 3. Kassel: Gustav Bosse, 1995. pp. 81-99.
Examines the use of the stile da cappella, stile alla Palestrina, an d st ri ct
canonical types in the historically oriented orato ri os of Carl Loewe
(1796-1869). Contains comments on his orato ri o Palestrina (ca. 1841), not-
ing that it dramatizes the legend of Palestrina's rescue of polyphonic church
music and that it quotes a number of passages from the Missa Papae Mar-
celli an d an Ave Maria. Article concludes with several musical examples of
Loewe's writing in the "older" style.

E0511 Konrad, Ulrich. "Otto Nicolai and die Palestrina-Renaissance." In Palestrina

and die Idee der klassischen Vokalpolyphonie im 19. Jahrhundert. Zur
Geschichte eines kirchenmusikalischen Stilideals, vol 1, ed. Winfried
Kirsch. Regensburg: Gustav Bosse, 1989. pp. 117-142.
Discusses Nicolai's involvement with older polyphony: his activities in
Rome, where he was captivated aesthetically by the Sistine choir repertory
even while critiquing its musicianship; his theoretical reading an d studies in
the older style with Baini; an analysis of Nicolai's antiphon Assumpta est
Maria; his collection of older music. Appendix contains selective inventory
of Nicolai's collection.

E0512 Krombach, Gabriela. "Auffuhrungen von Werken Palestrina am Wiener Hof

in der zweiten Hulfte des 19. Jahrhunderts." In Palestrina und die Idee der
klassischen Vokalpolyphonie im 19. Jahrhundert. Zur Geschichte eines
kirchenmusikalischen Stilideals, vol 1, ed. Winfried Kirsch. Regensburg:
Gustav Bosse, 1989. pp. 199-213.
Notes some revival of classical vocal polyphony took place at the Vien-
354 Giovanni Pierluigi da Palestrina
nese imperial chapel after the mid-nineteenth century. Its main impulse
seems to have been less due to the Palestrina renaissance per se than to an
drawot aiglatson fo tnemelean older liturgical tradition when musical instru-
ments were disallowed in seasons of fasting and penitence. A table of per-
formances of works by Palestrina and his school in the court liturgies
between 1858 and 1900 is appended.

E0513 Krombach, Gabriela. "Die Kirchenmusikwerke von Peter Piel und der
Palestrina-Stil." In Palestrina und die klassische Vokalpolyphonie als Vor-
bild kirchenmusikalischer Komposition im 19. Jahrhundert. Palestrina und
die Kirchenmusik im 19. Jahrhundert 3. Kassel: Gustav Bosse, 1995. pp.
113-125.
Chiefly an analytical comparison of the Missa in honorem B.M.V. conso-
latrix afflictorum by Peter Piel (1835-1904), a composer who had close rela-
tionships with Cecilians and their activities. Its style features relate to Palest-
rina's Missa Brevis and (to a lesser extent) Missa Lauda Sion and other
works. Rhythmic and melodic treatment, tonality/modality, harmony, disso-
nance treatment and textures are compared. Concludes that while Piel's
compositional style was very competent, it had little in common with Palest-
rina; Piel's style more closely resembles a blend of a cappella mass tech-
niques of the late-eighteenth and early-nineteenth centu ries.

E0514 Kromolicki, Joseph. "Palestrina undBach in der evangelischen und katholis-

chen Kirchenmusik." In Festschrift Peter Wagner zum 60. Geburtstag, ed.
Karl Weinmann. Leipzig: Breitkopf und Hartel, 1926. ML55.F47. pp.
124-127.
Argues that the music of Palestrina, the greatest Roman Catholic com-
poser, adapts well to the Lutheran liturgy with a German translation of the
text, but that the music of Bach, the greatest Lutheran composer, may have
only limited application to the Rom an liturgy. Bach's Latin compositions
(Missae, Magnificat) might adapt well, but the cantatas less so, because of
their texts and the preeminence of the Lutheran chorale in them. There is
also reduced room in the Roman liturgy for the kind of organ music pro-
duced by Bach, which can also be of considerable technical difficulty; but
chorale preludes with melodies common to both confessions might be used
in liturgical contexts.

E0515 LaFage, Adrien de [Juste- Adrien-Lenoir de]. "Avertissement." In Vingt

motets tirées du répetoire de la chapelle sixtine à Rome composés par Jean
Pierluigi de Palestrina. Edition revue et corrigée avec le plus grand soin.
Paris: Mme. Ve. Launer, n.d. [1842], 2 unnumbered pages [repr. as "Avis sur
l'exécution de la musique palestrinienne" in Miscellanées musicales. Paris:
Compoir des Imprimateurs Unis, 1844. pp. 499-504.
Discussion of tempi, musica ficta, and particulars of notation and dura-
tions, and provides nine general admonitions to assist in the correct and styl-
ish performance of this repertory.

E0516 La Fage, Adrien de [Juste-Adrien-Lenoir de]. Essais de diphthérographie

Bibliography of Secondary Literature 355
musicale, ou notices, descriptions, analyses, extraits et reproductions de
manuscrits relatifs à la pratique, à la théorie, et à l'histoire de la musique.
Paris, 1864 [facs. repr. Amsterdam: Frits A.M. Knuf, 1964].
ML55.L2.1864a.
In addition to the long biographical notice about Baini (see item E0520),
La Fage cites Baini in numerous other places in this work. Item 100
(pp.499-535) is a long catalog and résumé of Baini's surviving correspon-
dence, which had been bequeathed to a friend.
This book also prints a series of musical examples in a separately num-
bered appendix at the back of the book. Included are no.5, Rex virtutum a 3
(p.15); no.6, Jesu rex admirabilis a 3 (pp.15-16); and no.7, Giesu sommo
conforto a 3 [labeled "Lauda"] (p.16).

E0517 La Fage, Adrien de [Juste-Adrien-Lenoir de]. Miscellanées musicales. Paris:

Comptoir des Imprimateurs Unis,1844.
Contains three items relevant to Palestrina, individually indexed.

E0518 La Fage, Adrien de [Juste-Adrien-Lenoir de]. "Précis sur la vie et les

ouvrages de G. Pierluigi da Palestrina." In Cinq messes tirées du répetoire
de la chapelle sixtine à Rome. Paris: Mme. Ve. Launer, n.d. [1842]. pp. 3-8.
[repr. in La Fage, Miscellanées musicales, item E0517. pp. 479-498.
Clearly written biographical outline of the composer's life, following
Baini in presentation of documented material, and also possessing a ce ain rt
high romantic sentiment.

E0519 La Fage, Adrien de [Juste- Adrien-Lenoir de]. "III. Notice sur Joseph Baini."
In Miscellanées musicales. Paris: Comptoir des Imprimateurs Unis, 1844,
pp. 505-523.
A commemoration of Joseph Baini (1775-1844), who had died shortly
before this publication was issued. Describes his early gifts as a singer; his
initial acquaintance with Palestrina's music around 1804; the unsuccessful
attempts by Emperor Napoleon to employ Baini in Paris in 1810; his work
on the Palestrina biography; his own compositions for the pontifical chapel
and his teaching; his personality and his abstemious lifestyle, and his final
illness.

E0520 La Fage, Adrien de [Juste- Adrien-Lenoir de]. "Notice sur la vie et les
ouvrages de Joseph Baini." In Essais de diphthérographie musicale, ou
notices, descriptions, analyses, extraitset reproductions de manuscrits relat-
ifs à la pratique, à la théorie, et à l'histoire de la musique. Paris, 1864 [facs.
repr. Amsterdam: Frits A.M. Knuf, 1964]. ML55.L2.1864a. pp. 17-66.
This is an amplified version of the biographical article in Miscellanées
musicales, both as to content and its appendices, which include a transcrip-
tion of Baini's lengthy will, a list of his writings and musical compositions,
and a listing of notices, obituaries, and eulogies about him.

E0521 Lang, Paul Henry. "Palestrina across the Centuries."In Festschrift Karl Gus-
tav Fellerer zum sechzigsten Geburtstag, ed. Heinrich Hiischen. Regens-
356 Giovanni Pierluigi da Palestrina
burg: Bosse, 1962 [repr. in Musicology and Performance. Paul Henry Lang,
ed. Alfred Mann and George J. Buelow. New Haven: Yale, 1997. pp. 57-65.
ISBN 0-300-06805. ML60.L2362.1997.
Begins an d ends with appreciation of Fellerer's Palestrina, noting
Fellerer's work as a refreshingly objective and informative study of Palest-
rina's style. Compares this approach (directly an d indirectly) with the ideal-
ized and noncritical veneration afforded him by a number of nineteenth-cen-
tury composers and scholars, for several of which Lang offers details.

E0522 Lüttig, Peter. "Das Palestrina -Bild bei Hawkins und Burney." In Palestrina
und die Idee der klassischen Vokalpolyphonie im 19. Jahrhundert. Zur
Geschichte eines kirchenmusikalischen Stilideals, vol 1, ed. Winfried
Kirsch. Palestrina und die Kirchenmusik im 19. Jahrhundert. Regensburg:
Gustav Bosse, 1989. pp. 65-76.
Examines the different ways in which Bu rn ey and Hawkins evaluated
Palestrina in terms of late-eighteenth-century counterpoint an d composition.
For the present-oriented Burney, Palestrina evolved a personal composi-
tional speech and was a genius of progressiveness in music-text relation
issues. For the antiquarian and rationalist Hawkins, Palestrina was the epit-
ome and father figure of a specific church style.

E0523 Lüttig, Peter. Der Palestrina-Stil als Satzideal in der Musiktheorie zwischen
1750 und 1900. Frankfurter Beitrdge zur Musikwissenschaft 23. Tützing:
Flans Schneider, 1994. ISBN 3-7952-0804-1. ML446.L88.1994.
Examination of how the Palest ri na style as a pedagogical ideal became
identified with species counterpoint, as found in treatises of the eighteenth
and nineteenth centu ri es, especially in the works of Fux, Heinrich Beller-
mann, Michael Haller, and others. Study of the influence of Palestrina's
authority on Cecilianism and Cecilians. Contains lengthy analyses by Luttig
of Palestrina's Lamentationes Feria V, in coena Domini, an d Michael
Haller's nineteenth-century an alyses of the Palest rina masses O admirabile
commercium and Iste confessor.

E0524 Luttig, Peter. "Wesen and Bedeutung der Kirchenmusik in Sulzers Allge-
meine Theorie der Schïinen Kiinste." In Palestrina and die Idee der klassis-
chen Vokalpolyphonie im 19. Jahrhundert. Zur Geschichte eines kirchen-
musikalischen Stilideals, ed. Winfried Kirsch. Palest ri na and die
Kirchenmusik im 19. Jahrhundert 1. Regensburg: Gustav Bosse, 1989. pp.
87-103.
Investigates Sulzer's writings on "church music" (1774) for their
antecedents an d parallels to the vocabulary of the nascent Palest ri na renais-
sance of the early nineteenth century. Sulzer anticipated later attitudes in his
views of the necessary aesthetic qualities of church music and its specific
social functions. He also paralleled later writers in his critical attitude
toward the church music of his own time, which he considered too mixed
stylistically, too theatrical, and lacking in appropriate emotional qualities.
He longed for a past ideal and wished to retrieve older music.
Bibliography of Secondary Literature 357
E0525 Liittig, Peter. "Zwischen Theorie und Praxis: Die Motette Wie der Hirsch
schreiet von Heinrich Bellermann." In Palestrina und die klassische
Vokalpolyphonie als Vorbild kirchenmusikalischer Komposition im 19.
Jahrhundert. Palestrina und die Kirchenmusik im 19. Jahrhundert 3. Kassel:
Gustav Bosse, 1995. pp. 101-112.
In the first edition of his landmark 1862 text on classical polyphony,
Bellermann included several works by Palestrina, as well as a motet of his
own composition, Wie der Hirsch schreiet ("As the Hart Pants"), in emula-
tion of the style. This article compares salient features of the Palestrina com-
positions with those in Wie der Hirsch schreiet, concluding that Bellermann
sought not so much a philologically exact replication of Palestrina's style
and technique as its "spirit." Rep rints Bellermann's motet (pp.109-112).

E0526 Mai, Paul, ed. Musica Divina. Ausstellung zum 400. Todesjahr von Giovanni
Pierluigi da Palestrina undOrlando di Lasso und zum 200. Geburtsjahr von
Carl Proske. Bischdfliches Zentralarchiv und Bischdfliche Zentralbiblio-
thek Regensburg Kataloge und Schriften 11. ed. Paul Mai. Regensburg:
Schnell & Steiner, 1995.
A collection of articles dealing with the understanding of the Palestrina
image and also with Carl Proske's work as a Palestrina editor. Individually
indexed.

Martini, Giovanni Battista. Esemplare o sia saggiofondamentale pratico di

contrappunto sopra il canto fermo.... Parte prima. Bologna: Lelio della
Volpe Impressore dell'Instituto delle Scienze, 1774.

Martini, Giovanni Battista. Esemplare o sia saggio fondamentale pratico di

contrappunto fugato.... Parte seconda. Bologna: Lelio della Volpe Impres-
sore dell'Instituto delle Scienze, 1774.
See items A0244 and A0245 for main entries.

E0527 Mayr, Johann Simon. "Osservazioni di un vecchio suonatore di viola intomo

ad un articolo del signor De Sevelignes, e Sulla vita ed opere di Pier Luigi da
Palestrina," Gazzetta di Milano 1835; reprinted in the Gazzetta di Milano I
(1842), no. 42, pp. 182-184; nos. 43-44, pp. 186-188; no. 45, pp. 193-194.
Observations on Palestrina and current state of music for the church in
early nineteenth-century Italy. Mayr (1763-1845), an Italianized Germ an, is
best known to posterity for his operas, but he was also maestro di cappella at
Santa Maria Maggiore in Bergamo from 1803 to his death and produced
more than 600 sacred compositions. This text was republished in Bergamo
in 1853 in conjunction with the inauguration of a monument to Mayr's
memory.

E0528 Meloncelli, Raoul. "Palestrina eMendelssohn." In Atti del 11 Convegno

Internazionale di Studi Palestriniani. Anno Europeo della Musica. 3-5 mag-
gio 1986, ed. Lino Bianchi and Giancarlo Rostirolla. Palestrina: Fondazione
Giovanni Pierluigi da Palestrina/Centro di Studi Palestriniani, 1991.
ML410.P15C77.1986. pp. 439-460.
358 Giovanni Pierluigi da Palestrina

Examines the influence of the Palestrinian style on Mendelssohn's early

development and in a number of unpublished youthful compositions. Dis-
cusses his early studies in polyphonic technique in the st ri ct style with Zel-
ter; his early travels to Rome and church music compositional activity there;
and his fusion of the Italian manner of the late sixteenth century into his
overall manner and into an idealized version of the style adaptable for
Protestant musical contexts.

E0529 Müller-Blattau, Joseph. "Palestrina—ein Meister der abendlandischen

Musik." Universitas: Zeitschrift fiir Wissenschaft und Kultur 16 (1961):
989-996.
Sho rt general biography and reception history which treats in particular
German music historians and writers of the eighteenth and nineteenth cen-
turies. Concludes with some notes on image of the creative artist in
Pfitzner's Palestrina.

E0530 Nicolai, Otto. "Über die sixtinische Kapelle." Neue Zeitschrift für Musik 6
(1837): no.11, pp.43-45; no.12, pp.47-48; no.13, pp.51-53; no.14,
pp.55-56. Excerpts reprinted in Palestrina: Zwischen Démontage und Ret -
tung, ed. Heinz-Klaus Metzger and Rainer Riehn. München: Edition Text +
Kritik, 1994, pp. 6-8.
Desc ription of the Sistine Chapel as it existed in the early nineteenth cen-
tury: number and physical disposition of the singers, as well as features of
performance practice such as improvisation to a cantus firmus, falsobor-
done, discant, and special ornamentation.

E0531 Paolucci, Giuseppe. Arte prattica di Contrappunto dimostrata con esempi di

varj autori e con osservazioni di F. Giuseppe Paolucci minor Conventuale.
Venice: Antonio de Castro, 1765-1772.3 vols. xv + 269pp., 315pp., vii +
247pp.
For list of musical examples, see chapter 2, "Prints in Books, Theoretical
Treatises," "Paolucci."

E0532 Petrini, Pierantonio. Memorie prenestine disposte in forma di annali... .

Rome: Pagliarini, 1795 [facs. repr. ed. Paolo Fancelli. Palestri na: ITL,
1990].
Contains biographical passage of interest for Palestrina's reception his-
tory in the later nineteenth century. English translation in Dixon, "Editorial,"
item E0114.

E0533 Pfitzner, Hans. "Palestrina." In Hans Pfitzner. Reden, Schriften, Briefe,

Unverdffentliches und bisher Verstreutes, ed. Walter Abendroth. Berlin-
Frbhnau: Luchterhand, 1955.
Pfitzner discusses his interest in and use of archaizing elements in his
music and the use of motivic material from Palestrina's masses, especially
the Missa Papae Marcelli, in his own "musical legend," the opera Palestrina.

E0534 Pozzi, Raffaele. "L'immagine ottocentesca del Palestrina nel rappo rt o tra
Franz Liszt e il movimento ceciliano." In Atti del II Convegno Inter-
Bibliography of Secondary Literature 359

nazionale di Studi Palestriniani. Anno Europeo della Musica. 3-5 maggio

1986, ed. Lino Bianchi and Giancarlo Rostirolla. Palestrina: Fondazione
Giovanni Pierluigi da Palestrina/Centro di Studi Palestriniani, 1991.
ML410.P15C77.1986. pp. 461-478.
Examination of Liszt's later sacred compositions in light of his relations
with the Cecilian movement and ce rt ain of its members. Argues that the
Liszt-Cecilian relationship was essentially one of misunderstanding. While
Liszt lent his suppo rt to the Cecilians, Witt and Haberl were closer in style to
the actual compositional goals of Cecilian reform than he was; Liszt sought
a closer rapport between music "inside the temple" and "outside" it in his
own harmonic language and style

E0535 Rectanus, Hans. "Ich kenne dich, Josquin, du Herrlicher....' Bemerkungen

zu thematischen Verwandtschaften zwischen Josquin, Palestrina und
Pfitzner." In Renaissance-Studien. Helmuth Osthoff zum 80. Geburtstag, ed.
Ludwig Finscher. Tutzing: Hans Schneider, 1979. ISBN 3-7952-0256-6.
ML55.08R4.- pp. 211-222.
Studies some relationships, particular aural similarities, and similar the-
matic contours among the Josquin motet Benedicta es, Palestrina's mass on
that motet, and other musical materials associated with Josquin, Palestrina,
and Pfitzner. Ultimately makes a case for some resonance and resemblance
among aspects of the creative process between Palestrina and Pfitzner.

E0536 Regia Accademia di S. Cecilia. Festa musicale in comme,norazione del

fondatore G. Pierluigi da Palestrina, organizzata dalla Regia Accademia di
S. Cecilia il 2 febbraio 1895, direttore m° cay. Raffaele Terziani, coadiuvato
da m°cav Remigio Renzi. Rome: Tipografia della Pace di F. Cuggiani, 1895.

E0537 Riedel, Fri edri ch Wilhelm. "Hat Palestrina in der kirchenmusikalischen

Praxis des 19. Jahrhunderts eine Rolle gespielt?" In Palestrina und die Idee
der klassischen Vokalpolyphonie im 19. Jahrhundert. Zur Geschichte eines
kirchenmusikalischen Stilideals, vol 1, ed. Winfried Kirsch. Regensburg:
Gustav Bosse, 1989. pp. 195-198.
Focusing on Austrian institutions, suggests that practical performances of
Palestrina's works before the mid-nineteenth century were largely confined
to elite circles and special historical conce rt s. In the course of the century,
church music establishments were also more likely to perform arrangements
of seventeenth- and eighteenth-century works, while Palestrina's music
played a very minor role.

E0538 Riedel, Fri ed ri ch W. "Maximilian Stadlers Bearbeitung der Hohelied-Motet-

ten von Palestrina." In Auffiihrungs- und Bearbeitungspraxis der Werke
Palestrinas vom 16. bis zum 20. Jahrhundert, ed. F ri ed ri ch Wilhelm Riedel.
Kirchenmusikalische Studien 3. Sinzig: Studio, Verlag Schewe, 1997. ISBN
3-89564-037--9. ML410.P15A84.1997. pp. 81-87.
Located at GSttweig is a manuscript reworking by Maximilian Stadler of
the motets from Palestrina's Canticum canticorum, in an arrangement con-
sisting of a figured bass pa rt an d an upper vocal pa rt virtually identical to the
top voice in early prints of the motets. The result is somewhat reminiscent of
360 Giovanni Pierluigi da Palestrina
Viadana's ecclesiastical concerti or of sixteenth-century intabulation practice.
The existence of this version (dated around 1815 to 1833), perhaps meant to
serve as devotional house music, has interesting implications for nineteenth-
century Palestrinareception that diverge from Romantic a cappella ideology.

E0539 Riethmüller, Albrecht. "Zu den Bemtihungen im 19. Jahrhundert um

Palestrinas Platz in der Geschichte." In Palestrina und die Idee der klassis-
chen Vokalpolyphonie im 19. Jahrhundert. Zur Geschichte eines kirchen-
musikalischen Stilideals, ed. Winfried Kirsch. Palestrina und die Kirchen-
musik im 19. Jahrhundert 1. Regensburg: Gustav Bosse, 1989. pp. 43-54.
In the early nineteenth century, ce rtain German Protestant writers on
music initially expressed an unenthusiastic view of Palestrina, perhaps col-
ored by national and religious biases brought to the debate on the question:
Who is the greater composer of religious music— Palestrina or Bach?
Remarks in the writings of Moritz Hauptmann, Franz Bendel, and Georg
Gervinus are traced. The initial somewhat negative attitude to Palestrina
softened as early as the 1830s and by late in the century became notable
praise. But the "Bach or Palestrina" debate raises historiographical ques-
tions: where the "beginning" of music history is placed, what facts are
deemed important, and how value judgments are made. Notes that it is
important to differentiate and question both critiques and apologias, whether
comment is from literature, from editorial work, or from composers, and
whether the writer has immediate knowledge of Palestrina's music or of the
"spirit" of Palestrina.

E0540 Rochlitz, Friedrich, ed. Sammlung vorzüglicher Gesangstücke der

anerkannt-grlissten Geschichte der Tovkunst.... Mainz: B. Schotts Sdhnen,
1835.3 vols.
This is an early and thoughtful history of music by a distinguished music
critic and journalist, presented through representative examples. Title pages
and preface in German and French on opposing pages (3ff.); introduction in
German and French on opposing pages (4ff). This is followed by an "Ideen
zu einer Geschichte der Kirchen- und hShern Kammer-Musik in Deutsch-
land und Italien," tracing music history through a series of great personages.
The three volumes are organized chronologically overall, and each has an
extensive preface dealing with its respective material. Palestrina
is treated in
the "Zweite Periode" at the beginning of the second pa rt of the first volume
(pp.4/5-6/7 out of pp.2-24). Sho rt annotations regarding liturgical use are
often given as footnotes. In this edition, o riginal rhythmic values are
respected, and the music is presented a cappella (that is, without an arranged
accompaniment). For full enumeration of examples, see chapter 5, "Modern
Editions," entry under "Rochlitz."

E0541 Rohan-Csermak, Hen ri de. "La canonisation de Palestrina et la mutation de

la musique sacrée en France au XIX siècle." Ostinato Rigore: Revue Inter-
nationale d'Études Musicales 4 (1994): 198-214.
Argues that in France Palestrina was "rediscovered" during the 1830s
and made a symbol of the return to an aesthetic ideal of musical purity. Later
Bibliography of Secondary Literature 361

he became the center of debate on the nature and mission of church music,
which was as much about the people carrying on the debate and the times in
which they lived as about church music as such.

E0542 Rostirolla, Giancarlo. "Busti ottocenteschi di Giovanni Pierluigi da Palest-

rina nel "templi" Romani dell'art e e della musica." In Musica senza aggetivi.
Studi per Fedele d'Amico, ed. Agostino Ziino. Quaderni della Rivista Ital-
iana di Musicologia 25. Florence: Olschki, 1991. 2 vols. ML55.D22. pp.
423-461.
Documentation of some of the effo rt s of early-nineteenth-century enthu-
siasts and musical organizations to honor Palestrina, centered around the
creation and display of two busts of the composer. Contains interesting
insights into the personalities and the interrelationships of musical organiza-
tions in Rome and elsewhere at that time.

E0543 Schlecht, Raymund. Geschichte der Kirchenmusik. Zugleich Grundlage zur

vorurtheilslosen Beantwortung der Frage: Was ist echte Kirchenmusik?
Regensburg: Coppenrath, 1871. ML3000.S38.
A history of music extending from the period of the early Christians to
around 1600, with some attention to instrumental an d vocal forms from
1600 to 1800, and then refocusing on the early Cecilians an d the church
music "restoration" of the nineteenth century. Historiography obviously
contains a strong Cecilian influence. Palest ri na discussed pp.98-101. Also
contains a series of musical examples: no.52, Jesu rex admirabilis a 3
(p.351); no.53, an intabulation for "das Cimbal" of the preceding item;
no.54, Adjuro vos, filiae Hierusalem a 5 (p.353-360); no.63, 0 beata et
benedicta a 5 in Jacob Paix's intabulation, in score with a keyboard pa rt and
lines of the motet (pp.396-403).

E0544 Schoberlein, Ludwig, and Fried ri ch Riegel, ed. Schatz des liturgischen
Chor- und Gemeindegesangs nebst dem Altarweisen in der deutschen evan-
gelischen Kirchen aus den Quellen vornehmlich des 16. und 17. Jahrhun-
derts geschopft mit den nothigen geschichtlichen und praktischen
Erlduterungen versehen und unter der musikalischen Redaktion on
Friedrich Riegel fur den Gebrauch in Stadt- und Landkirchen.... Gottingen,
1865-1872.3 vols.
This formidable work is a compilation of service music for the Lutheran
liturgical year, for Sunday communion se rv ices (ordinary and proper mate-
rial), vespers, feast days, an d special occasions, drawn primarily from
sixteenth- and seventeenth-century Lutheran composers but also containing
a significant number of examples by Palestrina, Anerio, and other members
of the Roman school. Testifies to the interest in Palestrina and his colleagues
in nineteenth-century Lutheran circles. For a full list of contents, see item
D0107.

E0545 Schuhmacher, Gerhard. "Zur Rezeption altklassischer Vokalpolyphonie in

der evangelischen Kirchenmusik des 19. Jahrhunderts " In Palestrina und
die Idee der klassischen Vokalpolyphonie im 19. Jahrhundert. Zur
362 Giovanni Pierluigi da Palestrina
Geschichte eines kirchenmusikalischen Stilideals, vol 1, ed. Winfried
Kirsch. Regensburg: Gustav Bosse, 1989. pp. 143-148.
Describes the movement by a few historically and aesthetically oriented
Lutherans to introduce some Renaiss ance vocal polyphony, particularly
Palestrina's, into choral collections intended for the use and improvement of
Lutheran liturgical choirs.

E0546 Schuler, Manfred. "Zur Palestrina-Pflege im Kloster Einsiedeln."In Palest-

rina und die Idee der klassischen Vokalpolyphonie im 19. Jahrhundert. Zur
Geschichte eines kirchenmusikalischen Stilideals, vol 1, ed. Winfried
Kirsch. Regensburg: Gustav Bosse, 1989. pp. 227-230.
Notes that the performance of Palestrina's music becomes evident at this
cloister in the 1850s. Its two apparent stimuli were the effo rts of Cecilians,
and the inheritance of a number of musical tr anscriptions made by Robert
Pearsall (1791-1856), an Englishman resident in eastern Switzerland who
intensely studied and wrote at length on aspects of the Palestrina style.

E0547 Seidel, Elmar. "Zur Kontrapunktlehre von Heinrich Bellermann." In Palest-

rina und die Idee der klassischen Vokalpolyphonie im 19. Jahrhundert. Zur
Geschichte eines kirchenmusikalischen Stilideals, vol 1, ed. Winfried
Kirsch. Regensburg: Gustav Bosse, 1989. pp. 231-241.
Examination of history, influences on, and layout of Bellermann's text on
strict counterpoint in the Palestrinian style, the most influential one between
Fux's Gradus ad Parnassumof 1725 (on which it is modeled in some impor-
tant ways) and Jeppesen's text, which appeared in German translation in
1935. Notes how the conception of counterpoint and polyphony betrays a
sense of tension between voice-leading and harmonic considerations.

E0548 Stenzl, Jurg. "Palestrina als Komponist in der deutschen Musikgeschichte

des 19. Jahrhunderts." In Palestrina und die Idee der klassischen Vokalpoly-
phonie im 19. Jahrhundert. Zur Geschichte eines kirchenmusikalischen
Stilideals, vol 1, ed. Winfried Kirsch. Palestrina und die Kirchenmusik im
19. Jahrhundert. Regensburg: Gustav Bosse, 1989, pp. 35-42.
Examines various aspects of Palestrina's image as a contrapuntist in the
nineteenth century: as the composer who opened up a new era of higher a rt;
as one who created contained, serious music; and as one who created liturgi-
cally functional music, considered at a time when such music was not cen-
tral to contemporary composition; and looks at the need for Palestrina myths
or mythologies.

E0549 Tafelmayer, Wolfgang. "Das Palestrina -Bild im ausgewahlten Musiklexika

des 18. und 19. Jahrhunderts." In Palestrina und die Idee der klassischen
Vokalpolyphonie im 19. Jahrhundert. Zur Geschichte eines kirchen-
musikalischen Stilideals, vol 1, ed. Winfried Kirsch. Palestrina und die
Kirchenmusik im 19. Jahrhundert. Regensburg: Gustav Bosse, 1989. pp.
77-86.
Systematic overview of Palestrina reception as represented by 28
selected musical lexicons of the eighteenth and nineteenth centu ries. Evalua-
Bibliography of Secondary Literature 363

tions of the composer and use of his name as a metaphor for excellence in
church music. Entries studied include "a cappella," "alla Palestrina,"
"Palestrina style."

E0550 Tebaldini, Giovanni. "Memorie: Giovanni Pierluigi da Palestrina" Rivista

Musicale Italian 1 (1894): 213-239.
A general style appreciation published for the third centenary of the com-
poser's death, interesting principally for its tone and perspective. Author
views Palestrina as a last great representative of the Ch ristian art of the Mid-
dle Ages, before music was overwhelmed by paganistic melodrama. Uses
language (both original and paraphrased from others) suggesting the aes-
thetic of sublimity found in writings from earlier in the century, both with
regard to fragments of the composer's biography and to aspects of his
melodic technique. In defending the merits of the da cappella style, the text
also implicitly criticizes both the hegemony of (Italian) opera and that of
(German) music generally.

E0551 Unverricht, Hubert. "Ablehnende Bewertung der orchesterbegleiteten

Kirchenmusik der Klassik. Voraussetzungen und
Parallelitaten der Palestrina
Renaissance um 1800?" In Palestrina und die Idee der klassischen
Vokalpolyphonie im 19. Jahrhundert. Zur Geschichte eines kirchen-
musikalischen Stilideals, vol 1,' ed. Winfried Kirsch. Palestrina und die
Kirchenmusik im 19. Jahrhundert. Regensburg: Gustav Bosse, 1989. pp.
105-115.
Traces German-language writings from 1750 to 1820, suggesting a
moralistic and aesthetic reaction against features of ce rtain mass settings—
instrumental accompaniments, concertizing performances, inappropriate
sentiments. These writings sought improvement in church music, not a prop-
agation of the older style per se. But the aesthetic shift they represent pre-
pared the ground for early Romantics, who envisioned a cappella polyphony
as a "true" and "ennobled" church style, ideal for promoting liturgical devo-
tion.

E0552 Unverricht, Hubert, ed. Der Citcilianismus: Anfànge—Grundlagen-

Wirkungen. Internationales Symposium zur Kirchenmusik des 19. Jahrhun-
derts. Eichstatter Abhandlungen zur Musikwissenschaft 5. Tutzing: Schnei-
der, 1988.
A collection of essays which assess the principles, activities, chief per-
sonalities, dissemination and impact of Cecilianism, the nineteenth-century
Roman Catholic reform music (chiefly associated with Germany) that advo-
cated church music reform based on renewal of Gregorian chant and a poly-
phonic vocal style based on Palestrina.

E0553 Unverricht, Hubert. "Carl von Winterfelds Einschtzung des Palestrina-

Stils." In Festschrift für Winfried Kirsch zum 65. Geburtstag, ed. Peter Ack-
erman., Ulrike Kienzle, and Adolf Nowak. Tutzing: Hans Schneider, 1996.
pp. 228-237.
Evaluation of Winterfeld's remarkable studies of Palest rina and his corn-
364 Giovanni Pierluigi da Palestrina

mentary on the then-recent publication of Baini's biography. Having himself

visited Italy, observed the music at St. Peter's in Rome, scored a number of
then-unavailable Palest ri na works, and held conversations with Baini per-
sonally in the 1810s, Winterfeld would decry th e fact that Baini did not sup-
ply musical examples in his book, an d criticized Baini's division of Palest-
rina's works into ten style phases. Winterfeld, though in fact
better-acquainted with Palestrina's music than most of his German contem-
poraries and an admirer of his style, did not take an overwhelmingly adula-
tory tone on the composer and was not closely involved with the church
music reform movement in Germany advocating Palestrina's music as a
model.

E0554 Unverricht, Hube rt . "Die Choralreformbemtihungen unter den Cücilienern."

In Die Ccicilianismus: Anfdnge—Grundlagen—Wirkungen. Tutzing: Schnei-
der, 1968, pp. 109-123.
Study of effo rt s to revive Gregorian ch an t, inside and outside of Cecilian-
ism. Useful as background when considering the sudden group of publica-
tions from 1895 to 1900 dealing with Palestrina's association with the Editio
Medicaea.

E0555 Ursprung, Otto. "Palest ri na and Deutschland. Beilage: Zwei Briefe zur
Vorgeschichte der Gesamtausgabe der Werke Palestrinas." In Festschrift
Peter Wagner zum 60. Geburtstag, ed. Karl Weinmann. Leipzig: Breitkopf
and Hartel, 1926. ML55.F47. pp. 190-221.
Considering its length and format, a thorough history of Palestrina's
reception in German-speaking countries. Contains manuscript and print sur-
vey of pre-1620 sources in numerous cities and libraries; traces dissemina-
tion of some print material through examination of book catalogs and school
manuals of the sixteenth and seventeenth centu ries; outlines the extent of
knowledge an d cultivation of stile alla Palestrina through the eighteenth
century; provides overview of the nineteenth-century Cecilian movement;
discusses early-nineteenth-century perform an ces of Palestrina's music. Also
describes effo rt s to publish a collected edition of the composer's works tak-
ing place before the commencement of the "Haberl" edition, together with
an appendix of correspondence relevant to this last matter.

E0556 Ursprung, Otto. Restauration und Palestrina- Renaissance in der katholis-

chen Kirchenmusik der letzten zwei Jahrhunderte. Vergangenheitsfragen und
Gegenwartsaufgaben. Augsburg: Dr. Benno Filser, 1924. 80pp.
ML3029.U7.1924a.
Offers a detailed, perceptive outline of activity associated with Palestrin-
ian reception history from 1780 to 1914. Describes rethinking of church
music style in the late classical period an d among early Romantics (Catholic
and Protestant); surveys conception and practice of stile alla Palestrina in
that period; describes in its scholarly an d practical as pects the Cecilian
movement for church music "restoration." Notes both Cecilians who per-
ceived the Palestrina style as th e single correct lineage for new polyphonic
composition, and modernist late Romantics who strove to reconcile the
Bibliography of Secondary Literature 365
Palestrinian aesthetic with a contemporary musical idiom. Argues that the
complex crosscurrents and tendencies associated with the Palest ri na restora-
tion offer a future for church music in author's own time. (This text was
written after World War I and the subsidence of the Cecilian movement, in
part to reenergize German Rom an Catholic lay interest in church
polyphony.) A remarkable work in which the roots of much late twentieth-
century scholarship on nineteenth-century Palest rina reception are visible.

E0557 Waldersee, Paul Graf von. "Giovanni Pierluigi da Palestrina und die
Gesammtausgabe seiner Werke." In vol 5, no.52 of Sammlung musikalischer
Vortrage. Leipzig: Breitkopf und Hürtel, 1883-1899. 5 vols [repr. Nendeln:
Kraus, 1976]. ML55.W16.1976t.no .49-63.
A narrative history, with the biographical information still heavily reliant
on Baini, integrated with the publication history of Palestrina's masses an d
motets as they had appeared in the "Haberl" edition up to that time. Interest-
ing as a period effo rt , with much quotation from the prefatory materials an d
some attempts to deal with style. Comments on Baini's division of Palest-
rina's music into ten style manners, and notes (without further citation)
Mori tz Hauptmann's countersuggestion of three styles, namely, a manner
showing Netherlandish influence; one where both melody and harmony are
subordinate to text declamation; an d one where the elements of the second
manner are united an d in balance.

E0558 Weinmann, Karl. "Die proskesche Musikbibliothek in Regensburg."

Kirchenmusikalisches Jahrbuch 24 (1911): 107-131.
A narrative of the life and activities of the highly gifted Proske and an
appreciation of his outstanding library, a rich source of Palestrina-related
materials, now housed in the Episcopal Central Library, Regensburg. Proske
assembled his collection of about 20,000 volumes, including both theoreti-
cal and practical music and much other material, partly through acquisition
an d partly by scoring much otherwise inaccessible or distantly housed
music. Describes the posthumous organization, cataloguing, care, and settle-
ment of the collection, and includes (pp.120-131) a listing of names of the
composers represented in it.

E0559 Widmann, Wilhelm. "Die Gesamtausgabe der Werke Palestrinas." Kirchen-

musikalisches Jahrbuch 21 (1908): 149-155.
A history of the then-just-completed first comprehensive edition of
Palestrina's music, describing its assembly and subscriber suppo rt , as well
as noting some of the major editorial questions that confronted Franz Xaver
Haberl an d others in its compilation.

E0560 Winterfeld, Carl von. Johannes Pierluigi von Palestrina, seine Werke und
deren Bedeutung ftir die Geschichte der Tonkunst, mit Bezug auf Bainis
Forschungen. Breslau: Georg Philipp Aderholz, 1832. ML410.P15W4.1832.
Winterfeld encountered Baini's biography on Palestrina while research-
ing his own great work on Giovanni Gabrieli. He responded by publishing a
work which was partly an abbreviated translation, partly a c ritique, in which
366 Giovanni Pierluigi da Palestrina
he took Baini to task for not supplying. musical examples and for aspects of
Baini's grasp of Palestrina's style development. A powerful stimulus to seri-
ous interest in Palestrina in nineteenth-century Germany, an important
source for later German-speaking authors, and more objective regarding
Palestrina's significance than some contemporary literary authors.

E0561 Witzenmann, Wolfgang. "Echi palestriniani nei mottetti di Anton Bruckner."

In Atti del II Convegno Internazionale di Studi Palestriniani. Anno Europeo
della Musica. 3 5 maggio 1986, ed. Lino Bianchi and Giancarlo Rostirolla.
-

Palestrina: Fondazione Giovanni Pierluigi da Palestrina/Centro di Studi

Palestriniani, 1991. ML410.P15C77.1986. pp. 513-525.
Notes that while Bruckner apparently had little use for Cecilians, he
nonetheless esteemed Palestrina's music itself; studies the influence of
Palestrina works on certain of Bruckner's smaller-scale church music.
Examines in particular Bruckner's Ave Maria, which in the 1880s was criti-
cally evaluated in comparison with Palestrina's music; it was then noted that
Bruckner responded to the influence of Palestrina in an original way and was
not another empty epigone.

E0562 Zanetti, Emilia. "Victor Hugo palestriniano `en grandeur."' In Atti del II
Convegno Internazionale di Studi Palestriniani. Anno Europeo della
Musica. 3 5 maggio 1986, ed. Lino Bianchi and Giancarlo Rostirolla.
-

Palestrina: Fondazione Giovanni Pierluigi da Palestrina/Centro di Studi

Palestriniani, 1991. ML410.P15C77.1986. pp. 479-512.
Study of Hugo's attitudes toward older music and the formative influ-
ences from which they sprang. Reprints his poem "Que la musique date du
seizième siècle" (pp.488-494), which hails Palestrina as the "father of har-
mony." Extensive appendix (pp.495-512) with repo s rt of Choron's concerts
of early music in the 1820s and 1830s, lists of their repertory, and comments
on Palestrina by Fétis and others.

3. From 1914 to the Present

E0563 Albrecht, Hans. "Ein kritischer Neudruck von Haberls Palestrina Ausgabe?"
-

Zeitschrift für Musikgeschichte 16 (1934): 41 42.

-

Responds to Casimiri's 1933 Note d'Archivio article and the problematic

issues posed by the Haberl collected edition, especially text underlay and the
manner in which uncovered errata should be presented. An interesting exam-
ple of critical bias informed by the nationalist perspective of 1930s Germany
and, indirectly, Italy as well.

E0564 Anonymous. "Informazioni: Il Centro Internazionale di Studi Palestriniani."

11 Palestrina 1 (1961): 12 16.
-

Contains the statutes of the Accademia Internazionale "G.P. da Palest-

rina" which constitute it as a center for Palestrina studies based in Rome and
Palestrina.

E0565 L'arte di Giovanni Pierluigi da Palestrina. Atti e documentazione. VI Con-

Bibliography of Secondary Literature 367

vegno europeo sul canto corale. Promosso e organizzato dalla Corale

Goriziana "C.A. Seghizzi." Gorizia: Grafica Goriziana, 1975.
Proceedings of a conference, dealing chiefly with issues of performance
practice and reception in the music of Palestrina. Individually indexed.

E0566 Aristirov, Cristo. "Alcuni aspetti dell' opera di Palestrina" In L'arte di Gio-
vanni Pierluigi da Palestrina. Atti e documentazione. VI Convegno europeo
sul canto corale. Promosso e organizzato dalla Corale Goriziana "C.A.
Seghizzi." Gorizia: Grafica Goriziana, 1975. pp. 119-120.
General remarks to the effect that, notwithstanding its religious and mys-
tical vein, Palestrina's music is penetrated by a profoundly humane vitality.

E0567 Bartolucci, Domenico. "La pratica esecutiva palestriniana nella Cappella

Sistina. (schema dellarelazione)." In L'arte di Giovanni Pierluigi da Palest-
rina. Atti e documentazione. VI Convegno europeo sul canto corale. Pro-
mosso e organizzato dalla Corale Goriziana "C.A. Seghizzi." Gorizia:
Grafica Goriziana, 1975. pp. 121-122.
Outline of a talk given by the longtime director of the Sistine Chapel.
Describes differences between Renaissance polyphony and present-day
choirs with respect to types, qualities, and ranges of voices. Advises against
excessive warmth, coolness, or contrasts of tempo in performance.

E0568 Bianchi, Lino, and Giancarlo Rostirolla, eds. Atti del II Convegno Inter-
nazionale di Studi Palestriniani. Anno Europeo della Musica. 3-5 maggio
1986. Palestrina: Fondazione Giovanni Pierluigi da Palestrina/Centro di
Studi Palestriniani, 1991. ML410.P15C77.1986.
Proceedings of a conference on the composer held in 1986. Papers are
individually indexed.

E0569 Bianchi, Lino. "Relazioni introduttiva." In Atti del Convegno di Studi

Palestriniani. 28 settembre-2 ottobre 1975, ed. Francesco Luisi. Palestrina:
Fondazione Giovanni Pierluigi da Palestrina, 1977. ML410.P15C77.1975.
pp. 23-32.
Description of the mission and planned projects of the Palestrina Founda-
tion, with an overview of the state of research in Palestrina studies as of
1975. Indicates directions for further needed research and examines recent
attitudes toward the composer.

E0570 Birtner, Herbe rt. "Renaissance und Kl as sik in der Musik." In Theodor
Kroyer—Festschrift zum 60. Geburtstag. Regensburg: Bosse, 1933.
ML55.K76Z4. pp. 40-53.
Discusses the historiography and distinguishing characteristics of
"Renaissance" and the identification of "classically" Renaissance com-
posers. Names Josquin as a culminating figure in Renaissance music, while
in Palestrina Birtner detects a quality akin to a "mannerist" spirituality.
Palestrina is understood to be not a culmination, but an initiator of a certain
fundamental distancing from the world-centered Renaiss ance ideology, a
composer in the service of a new "churchliness."
368 Giovanni Pierluigi da Palestrina
E0571 Blumenstihl, Paolo. "Parole pronunciate dal vice presidente ... per lo sco-
primento della lapide a Giovanni Pierluigi da Palestrina, il 3 gennaio 1926."
Annuario della R. Accademia di S. Cecilia 1925/1926. Rome: Manuzio, n.d.,
pp. 129 130.
-

E0572 Boyd, Malcolm. Palestrina's Style. A Practical Introduction. London:

Oxford, 1973. ISBN 0-19-315224-X. ML410 P15 B685 [Italian trans. Lo
stile di Palestrina: Introduzione pratica, trans. A.M. Morazzoni. Milan:
Ricordi, 1981].
Rejects species method and uses Palestrina's sacred music as foundation
for progressive discussion by topic of technical features of sixteenth-century
style and musical culture. Presents teaching exercises of increasing com-
plexity which approximate sixteenth-century methods: students are
instructed to add new music to melodic lines and to pa rts extracted from six-
teenth-century masterworks.

E0573 Cametti, Alberto. "Bibliografia palestriniana." Bolletino Bibliografico Musi-

cale 1 (1926): 3-14.
Expansion of the bibliography in the 1925 Palestrina, item E0093.

E0574 Cametti, Alberto. "Parole ... pronunciate quale introduzione al conce rto da
lui diretto nella Sala Accademica il 20 febbraio 1925, in commemorazione
del quarto centenario di Giov anni Pierluigi da Palestrina." Annuario della R.
Accademia di S. Cecilia 1924/1925. Rome: Manuzio, n.d., pp. 122 128. -

E0575 Cavallini, Ivano. "Non solum princeps sed principis memoria. Vent' anni di
studi su Giovanni Pierluigi da Palestrina."Acta Musicologica 67 (1995):
1-19.
A judicious overview of research on Palestrina between about 1975 and
1995, with discussion of a number of publications.

E0576 Cobasnian, Boris. Afcuni problemi d' interpretazione dell' opera palestrini-
ana." In L'arte di Giovanni Pierluigi da Palestrina. Atti e documentazione.
VI Convegno europeo sul canto corale. Promosso e organizzato dalla Corale
Goriziana "C.A. Seghizzi." Gorizia: Grafica Goriziana, 1975. pp. 115-118.
Holds that there can be significant diversity in the interpretation of
Palestrina's music. Stylistic obse rvations suggest the interpreter needs not to
aim at originality for its own sake, but to make evident the profundity of the
internal creative process in the compositions to be performed.

E0577 Cohen, Dalia. "Birdcalls and the Rules of Palestrina Counterpoint: Towards
the Discovery of Universal Qualities in Vocal Expression." Israel Studies in
Musicology 3 (1983): 96-123.
Claims that there are basic and universal features of vocal expression
common to speech and music, and finds a resemblance between some funda-
mental rules controling states of tension and relaxation in the theory of
"Palestrina counterpoint" and those governing ce rtain aspects of the vocal-
ization of birdcalls.
Bibliography of Secondary Literature 369
E0578 Cohen, Dalia. "Palest rina Counterpoint: a Musical Expression of Unexcited
Speech." Journal of Music Theory 15 (1971): 84-111.
Examines relationship between the Palestinian contrapuntal style and
the musical aspects of speech. Describes five speech qualities which produce
"tension" (including various acoustical properties as well as a sense of
uncertainty or a departure from expectations) and concludes that virtually all
of these are lacking in Palestinian counterpoint, as they would introduce too
great an excitement into the music. Principles of such counterpoint are like
"unexcited" speech; thus some of its rules are based on factors other than
musical convention or academic organization.

E0579 Comes, Liviu. "L'attualità dello studio palestriniano per i musicisti contem-
poranei," trans. Traian Sofonea and Pie tro Derossi. In Atti del Convegno di
Studi Palestriniani. 28 settembre-2 ottobre 1975, ed. Francesco Luisi.
Palestrina: Fondazione Giovanni Pierluigi da Palestrina, 1977. In Italian,
translated from Roumanian. ML 410.P15C77.1975. pp. 427-431.
Argues that while the Palestrina style unites to the highest degree the sty-
listic attributes of its own epoch, its polyphonic linearity (not based on func-
tional tonality), rhythmic flexibility, and local structural asymmetries offer
contemporary composers options for the reinvigoration of more recent musi-
cal language. Asserts compatibility of the idiom and its pedagogy with seri-
alism and linear polyphonic conceptions.

E0580 Comes, Liviu. Palestrina et son héritage après 400 ans. Bucharest: Uniunea
Compozitorilor si Muzicologilor, 1994. 87pp. [Italian translation "Palestrina
e la sua eredità dopo 400 anni. I," trans. Marco Boschini. La cartolina:
Musica corali e didattica 19, no.99 (1995): 36-45; 20, no.101 (1996):
35-44].
A commemorative review published in conjunction with the four hun-
dredth anniversary of Palestrina's death.

E0581 Costa, Othmar. "Palestrina und seine Zeit." Singende Kirche 41.4 (1994):
162-168.
Discusses contemporary realization in performance of the Palestrina
style, noting that since the composer's melodic style is derived from Grego-
rian chant, each part in the texture plays an essential role and has its own
profile and personality.

E0582 Day, Thomas. "Palestrina Redivivus." American Choral Review 14.3 (1972):
23-29.
Practical admonitions useful for revitalizing the perform ance of Palest-
rina's works, cast in a humorous dialogue format.

E0583 De Rensis [Raffaelo]. "L'edizione italiana delle Opere Complete di Palest-

rina." Rivista Musicale Italiana 42 (1938): 600-604.
Relates events leading to the publication of the "Casimiri" edition.

E0584 Donato, Giuseppe. "Palestrina negli scritti di Alberto Favara." In Atti del II
370 Giovanni Pierluigi da Palestrina
Convegno Internazionale di Studi Palestriniani. Anno Europeo della
Musica. 3-5 maggio 1986, ed. Lino Bianchi and Giancarlo Rostirolla.
Palestrina: Fondazione Giovanni Pierluigi da Palestrina/Centro di Studi
Palestriniani, 1991. MIA10.P15C77.1986. pp. 569-585.
Favara published a series of articles and other items between 1901 and
1912 on Renaissance music and on Palestrina in particular. Favara's interest
in a "return to the old" was associated with a burgeoning movement amongst
the Italian intelligentsia for a rediscovery of an Italian na tional identity. He
believed that the music of Palestrina embodied the "distinctive qualities of
the race," and the study of his works would help to enable the "redemption"
of Italian music. This stance was in pa rt a nationalist counterpose against the
perceived hegemony of German music, especially instrumental music, in
this period.

E0585 Donella, Valentino. "Palestrina e la musica al Concilio di Trento (con un

insegnamento per l'oggi)." Rivista Internazionale di musica sacra 15.3-4
(1994): 254-270.
Assesses the contribu tions made by Palestrina through the Missa Papae
Marcelli to anunderstanding of reformed liturgical style in the wake of the
Council of Trent. Traces the myth in some of the historical literature, and
suggests the relevance of the T ridentine mandate for creation of liturgical
music in a late-twentieth-century context: keep a spi rit of equilibrium, and
keep it functional.

E0586 Dupont, Jacques. "Notes musicologiques.En marge d'une édition complète,

critique des oeuvres de Palestrina." Revue musicale 20 (1939): 224-228.
Asked to comment generally upon Palestrina's style by Casimiri in antic-
ipation of the forthcoming new comprehensive edition, the author finds a
sensitivity to the nuances of text setting in Palestrina similar to that of a com-
poser like Claude Debussy. Notes however that Palestrina's compositions
are characterized by an aesthetic objectivity driven by liturgical require-
ments and by an essentially architectural concept which circumscribes their
liberty of text interpretation. This is true whether the compositions are of a
lyrical and relatively formally free type on the one hand, or based on tech-
niques such as cantus firmus and canon on the other.

E0587 Fano, Fabio. "Intorno al Palest rina." Musica d'oggi (n.s.) 1(1958): 300-301.
Voices concern over a perceived contemporary tendency to objectify and
even devalue Palestrina's music because it is not considered "progressive" or
"revolutionary." Calls for reversion to the high regard in which the composer
was held historically.

E0588 Fano, Fabio. "Problemi e orientamenti di critica Palestriniana." Nuova Riv-

ista Musicale Italiana 29 (1995): 92-133.
Republication of an article which originally appeared in Vichiana in 1968
(pp.251-296). The first pa rt profiles some of the reception history and criti-
cal approaches to Palestrina, as well as how his works inspired both subse-
quent composers and literary personalities. The second part is a far-ranging
Bibliography of Secondary Literature 371
and perceptive style appreciation, relating Palestrina's personal manner and
choices to requirements of the genres and forms in which they were used.
Numerous works are examined, and penetrating comparative comment on
works by Victoria, Gabrieli, Monteverdi, and others are made.

E0589 Fano, Fabio. "Richezze spirituale e stilistica dell'a

rte palestriniana." In
L'arte di Giovanni Pierluigi da Palestrina. Atti e documentazione. VI Con-
vegno europeo sul canto corale. Promosso e organizzato dalla Corale
Goriziana "CA. Seghizzi." Gorizia: Grafica Goriziana, 1975. pp. 7-15.
Notes how in recent years writers have somewhat demythologized
Palestrina, virtually suggesting that the image was tiresome and monotonous
in its very perfection. Argues instead that even while Palestrina maintained a
superior stylistic coherence, he was richer and more intense in his dramatic
sense and affective use of dissonance than is generally acknowledged, par-
ticularly in his madrigals but also in much of his church music as well.

E0590 Federhofer, Hellmut. "Ist Palest rina ein Manie ri st?" In Convivium Musico-
rum. Festschrift Wolfgang Boetticher zum sechzigsten Geburtstag am 19
August 1974, ed. Heinrich Huschen and Dieter-Rudiger Moser. Berlin:
Merseburger, 1974. pp. 44-51.
Evaluates some definitions of "mannerism" in sixteenth-century music in
the secondary German literature from 1930 to 1970 in light of the question
whether Palest rina might be considered a mannerist because of his particular
association with a Counter-Reformation sensibility. Mannnerism is associ-
ated here with traits such as the free handling of expressive dissonance or
harmonic change, diminution practices, chromaticism, or radical textural
change. Notes that while in ce rtain works Palestrina does seem to strive for a
kind of intensified expression through the use of disson ance and sudden har-
monic shifts, these traits are characteristic generic and conventional lan-
guage for certain types of works, and they are much less characteristic of
Palestrina generally than of a composer like Lasso.

E0591 Ferracci, Emilio "Il Palestrina—Il Concilio Ecumenico Vaticano II e il Con-

cilio di Trento." Il Palestrina. Bolletino trimestrale del Centro Inter-
nazionale di Studi Palestriniani 3 (1963): 1-8.
Tandem narratives relating the activities, concerns, and deliberations on
music in the liturgy at the Second Vatican Council in 1962 and the Council
of Trent respectively. Includes a reprinted item from L'Osservatore Romano
describing performances of Palestrina's music for various celebrations dur-
ing the first session of Vatican II.

E0592 Fischer, Klaus. "Historische Bedeutung und kritische Wurdigung der

Gesamtausgaben im Hinblick auf Palestrinas erstes Messenbuch und andere
modern e Transkriptionen seiner Werke." In Aufihrungs- und Bearbeitung-
spraxis der Werke Palestrinas vom 16. bis zum 20. Jahrhundert, ed.
Friedrich Wilhelm Riedel. Kirchenmusikalische Studien 3. Sinzig: Studio,
Verlag Schewe, 1997. pp. 143-166.
A critical comparison of the Haberl and Casimiri editions of Palestrina's
372 Giovanni Pierluigi da Palestrina

collected works, focusing on their respective editions of the First Book of

Masses. Contrasts Haberl's and Casimiri's working and scholarly methods
and evaluates both the virtues and problems in each edition.

E0593 Franklin, Peter. "Palestrina and the Dangerous Futurists." Musical Quar-
terly 70 (1984): 499-514.
A study of how the image of the composer in Pfitzner's opera is used as a
vehicle on which to project early-twentieth-century debates on futurism ver-
sus conservatism, on political progressiveness versus reactionarism, and on
the nature of the creative a rtist. Notes that while the opera is ostensibly built
around the myth of the Marcellus mass, its actual drama revolves around the
aging artist, who seems to have lost his creative power and sense of belong-
ing to the world. Against the odds and through reawakened veneration for
the ancient masters of the musical tradition, Palest rina here becomes a vessel
of divine inspiration. While the Marcellus mass "saves" the tradition, he
himself greets his personal twilight with a "mystical acceptance" as he keeps
a necessary distance from the world. Item included here as indicating the
logical extension of the image of Palestrina as solitary spi ritual genius
reverting back to Baini and beyond.

E0594 von Gersdorff, Dagmar. "Der Komponist Palestrina im Bewusstsein E. T. A.

Hoffmanns, Thomas Manns und Pfitzners." Mitteilungen der Hans Pfctzner-
Gesellschaft n.f. 42 (1981): 50-63.
Examines ideas about Palestrina embedded in writings by Hoffmann,
Mann, and Pfitzner. For Hoffmann, Palestrina took symbolic form as the
musician of spiritual simplicity and power, the renewer of church music and
its rescuer from the decline into which it had fallen. For Mann's characters,
Palestrina could be perceived both as the model of "polyphonic objectivity"
and as a participant in its incipient decadence, effeminacy, and disintegra-
tion, which could serve to deliver humanity into Satan's hands. For Pfitzner,
Palestrina was the symbol who wrestled with the existential issues facing
humanity: mortality versus immortality, good versus evil, humanity's pur-
pose, inspiration, creativity.

E0595 Ghiglione, Natale. [Editorial]. "Giovanni Pierluigi da Palest rina (1525-

1594)." Rivista Internazionale di musica sacra 15.3-4 (1994): 3-12.
Describes how the pronouncements of the Rom an church on music in
liturgy have always emphasized the primacy of text, and how Palestrina, the
prolific musician's musician and great exemplar of this teaching, has main-
tained a historical centrality and continuously influenced the greatest West-
ern composers from his own time right through the twentieth century. Fol-
lowed (pp. 9-12) by publication of a letter of benediction from Pope John
Paul II to Domenico Bartolucci, life director of the Sistine Chapel, on the
fourth centenary of Palestrina's death.

E0596 Ghislanzoni, Alberto. "Considerazioni e nuovi principi valutativi dell'arte

palestriniana." In L'arte di Giovanni Pierluigi da Palestrina. Atti e documen-
tazione. VI Convegno europeo sul canto corale. Promosso e organizzato
Bibliography of Secondary Literature 373

dalla Corale Goriziana "C.A. Seghizzi." Go ri zia: Grafica Goriziana, 1975.

pp. 17-22.
Describes a view of Palest ri na which likens him to other creative person-
alities in the Western tradition whose work appears dominated by a sense of
its "perfect equilibrium of values."

E0597 Kapp, Reinhard. "Von der Sprache der Seele" 0sterreichisches

Musikzeitschrift 42 (1987): 292-300.
Traces what is discerned as an emotive expressive component in the
musical evolution of the West, arguing that the "language of the soul"
emerged with Palestrina an d had its full flowering in the period from Haydn
to Webern.

E0598 Krenek, Ernst. "Giov an ni Pierluigi da Palestrina." Enciclopedia della

Musica, ed. Claudio Sartori. Milano: Ricordi, 1964. vol 3. ML100 E45. pp.
362-363.
The distinguished composer characterizes Palestrina's style as one of
perfect equilibrium, based on rigorous control an d maintained through deli-
cate and invari able alternation of forces, an d manifested in a complex inter-
mingling of disciplined movement. Alludes to changing perception of
Palestrina's style in the mid-twentieth century and offers a view of his place
among the major composers of his time. Final reflections deal with Palest-
rina's usefulness for the study of counterpoint.

E0599 Luisi, Francesco, ed. Atti del Convegno di Studi Palestriniani. 28 settem-
bre-2 ottobre 1975. Palestrina: Fondazione Giovanni Pierluigi da Palestrina,
1977.
Proceedings of a conference marking the 450th anniversary of Palest-
rina's birth. Papers are individually indexed.

E0600 Morri s, Reginald Owen. Contrapuntal Technique in the Sixteenth Century.

Oxford: Clarendon, 1922.74 + 49pp. ML446.M8.
A manual of counterpoint that rejects the species method an d seeks to
teach the subject as it was done in the sixteenth century, namely through
examination of the modal system, rhythm, melody, harmonic structures,
canon and fugue, design, an d the imitation of good models. Palest ri na is still
regarded as an outstanding model, and the text is suffused with examples
from his works. Text includes analyses of motets Veni sponsa Christi a 4
(pp.53-57) an d O bone Jesu a 4 (p.52). See D0076 for enumeration of exam-
ples.

E0601 Osthoff, Wolfgang. "Palestrina e la leggenda musicale di Pfitzner." In Atti

del II Convegno Internazionale di Studi Palestriniani. Anno Europeo della
Musica. 3-5 maggio 1986, ed. Lino Bianchi an d Giancarlo Rostirolla.
Palestrina: Fondazione Giovanni Pierluigi da Palestrina/Centro di Studi
Palestriniani, 1991. ML410.P15C77.1986. pp. 527-568.
Investigation of why Pfitzner chose Palestrina as a vehicle for his own
meditations on the nature of artistic genius; how Pfitzner responded to the
374 Giovanni Pierluigi da Palestrina
music and figure of the earlier composer; and the types of nineteenth-cen-
tury philosphical and aesthetic coloration with which Palestrina was associ-
ated in this case. Article includes reprint of pp. 228-253 of the Schott edition
of Pfitzner's score.

E0602 Paccagnella, Ermengildo. "La problematica degli Studi Palestriniani e it pro-

gramma del Centro." Il Palestrina: Bolletino trimestrale del Centro Inter-
nazionale di Studi Palestriniani 1 (1961): 2 6.
-

Proclaims the need for a new initiative in Palest rina studies, and that the
composer and his works deserve a major reevaluation. Declares that the cor-
pus needs a new technical analysis and historical contextualization; that its
relative conservative and progressive aspects need reassessment; that the
musical language needs new aesthetic appreciation; and that the problems of
authentic performance of the works should be addressed. (This call has been
heeded, considering the major rethinking and expansion of studies in Palest-
rina and Palest rina reception in the last third of the twentieth century.)

E0603 Paccagnella, Ermengildo. "Ritrovare it vero Palestrina." Il Palestrina: Bol-

letino trimestrale del Centro Internazionale di Studi Palestriniani2 (1962):
9-15.
Elaboration of ideas regarding potential areas for renewal in Palest rina
studies [see item E0602]. Asserts that understanding of the o riginal style of
the composer, not his modernizing successors and editors, has to be
regained. Although only one autograph is extant, it is possible to rely on
early editions as well as modem text-critical and analytical methods to
establish authentic and historically accurate stylistic insights.

E0604 Pass, Walter. "Su un' estetica della sonorità vocale nelle composizioni di G.
P. da Palestrina:' In L'arte di Giovanni Pierluigi da Palestrina. Atti e docu-
mentazione. VI Convegno europeo sul canto corale. Promosso e organizzato
dalla Corale Goriziana "C.A. Seghizzi." Gorizia: Grafica Goriziana, 1975.
In German, with outline of contents in Italian. pp. 55-64.
Proclaims need for new systematic research into Palestrina's style. Offers
overview of the composer's reception history, emphasizing misunderstand-
ings and misuses of the style in the nineteenth century. Indicates that within
certain parameters Palestrina's music demonstrates much foreground asym-
metry and inconsistency. Asserts that it is the relation between style and
sonority, more than that of melody, harmony, or rhythm, which needs fresh
scrutiny, the result of which will improve insight into the evolution in West-
ern music toward the major-minor tonal system.

E0605 Phillips, Peter. " 'Furst der Musik aller Zeiten'. (On the 400th Anniversary
of Palestrina's Death, Peter Phillips Goes in Search of the Real Composer
Behind the Myth.)" Musical Times 150 (1994): 74-79.
Review and reappraisal of the Palestrina image, reaffirming that his
music possesses great variety of mood, compositional method, and scoring.

E0606 Poos, Heinrich. "Saggio sul vero metodo di analisi della musica palestrini-
Bibliography of Secondary Literature 375

ana [Versuch über die wahre A rt , Palestrina zu analysieren]" In L'arte di

Giovanni Pierluigi da Palestrina. Atti e documentazione. VI Convegno
europeo sul canto corale. Promosso e organizzato dalla Corale Goriziana
"C.A. Seghizzi." Gorizia: Grafica Goriziana, 1975. In German. pp. 65-77.
Admonishes the deficient aesthetic perception of Palestrina as stylisti-
cally undifferentiated, which Poos ascribes to the nineteenth-century empha-
sis on instrumental music. Acknowledges that those works which seriously
analyze Palestrina are statistical in method and without context. Using the
Kyrie I of the Missa Quem dicunt homines as an example, he proposes an
analytical procedure which addresses the subtle and intricate affinities of
pa rt s as well as the overall contrapuntal conception. He asserts this will
improve insight into individual style formation in sixteenth-century music
generally.

E0607 Ricci, Corrado. "Il Palest ri na." Musica d'oggi 7 (1925): 281-284, 313-316.
Text of an address delivered to the Accademia di S. Cecilia; reprinted as
item E0608, below.

E0608 Ricci, Corrado. Il Palestrina: discorso tenuto da Corrado Ricci alla R.

Accademia di S. Cecilia, it 6 febbraio 1925. Rome: G. Glingler, 1925.26 pp.
ML410 P15R53.
An address by the noted historian and sometime Italian director-general
of fine a rt s, nationalist-flavored, arguing that, like Raphael's Santa Cecilia,
Palest ri na disdained instruments and used voices alone for they had a greater
and purer expressive power. He freed vocal music from the cold intricacies
of the Netherlanders and, with an intense religious sense, shaped and tai-
lored it to ornamenting the liturgy.

E0609 Ronga, Luigi. "Nota sulla vocalità Palestriniana." In Atti del congresso inter-
nazionale di musica sacra organizato dal Pontificio Istituto di musica sacra
e dalla Commissione di Musica Sacra per l'Anno Santo (Roma, 25-30 mag-
gio 1950), ed. Higini Anges. Tou rn ai: Desclée, 1952. ML35.R7P5. pp.
327-329.
After describing the music of Palestrina as a rare balance of religious
intensity an d superbly normative technique, the author suggests that its
expressive power in performance is not only a matter of variety in timbre
and register but also of variety in the most subtle and intimate a rt iculations
of the voices, without any straining or striving for special effect.

E0610 Rostirolla, Giancarlo. Bibliografia degli scritti su Giovanni Pierluigi da

Palestrina (1568-1996). Assisted by Luciano Luciani and Elena Zomparelli.
I Quaderni della Biblioteca Pierluigi 3. Palestrina: Fondazione Giovanni
Pierluigi da Palestrina, 1997.
A listing of nearly 1,400 items (not annotated) arranged chronologically
by year of publication since 1568, including book, pamphlet, and journal
items, works in course of publication, and sound recording liner notes, plus
extensive indexes. Introduction, pp.5-8. Particularly useful to the special-
ized researcher as it includes publications in certain dailies and other diffi-
376 Giovanni Pierluigi da Palestrina
cult-to-locate items of interest (such as Italian commemorative programs)
that for various reasons are outside the parameters of the present work and
not included here. Item E0069 contains an early version of this bibliography.

E0611 Schlôtterer, Reinhold. "Lehrmethoden des Palestrinas-Kontrapunkts." In

Gesellschaft für Musikforschung. Bericht über den internationalen musik-
wissenschaftlichen Kongress Basel 1962, ed. Georg Reichert and Martin
Just. Kassel: Barenreiter, 1963. ML36.I64.1962. pp. 361-362.
Argues that at least three methods of teaching counterpoint in the style of
Palestrina in use in the mid-twentieth century were unsatisfactory in terms of
giving practitioners a true feeling for musical structure in the style.

E0612 Nel VII [settimo] cinquantenario della morte do Giovanni Pierluigi da

Palestrina 1594-1944. Turin: A & C, 1944.
Not reviewed, but listed in Rostirolla's bibliography as a collection of
essays on sacred music with an appendix of compositions by Palestrina an d
others. Title indicates it is a commemorative volume. Authors of essays rep-
resented include "P. G. B." [D.G.B.?], Pompeo Borghezio, D. G. Boyer,
Arnaldo Furlotti, and M. Carignano. [G. Rostirolla].

E0613 Sherman, Bernard D. Inside Early Music: Conversations with Performers.

New York: Oxford, 1997. ISBN 0-19-509708-4. ML457.S52.
Chapter 6, "Other Kinds of Beauty: Peter Phillips on the Tallis Scholars
and Palestrina" (pp.117-132) is a conversation between Sherm an and
Phillips on considerations of performing Renaissance liturgical music and
Palestrina in particular, featuring questions of tempo and choral sound qual-
ity. Notes the forward-looking tendencies in Palestrina's style and suggests
that two or three style phases are audible over the r ange of his work.
Includes a discussion of some recordings dating from the early 1990s.

E0614 Szab6, Tibor. "L'influenza dell' arte palestriniana nulle opere corali
ungheresi nel secolo XX." In L'arte di Giovanni Pierluigi da Palestrina. Atti
e documentazione. VI Convegno europeo sul canto corale. Promosso e orga-
nizzato dalla Corale Goriziana "C.A. Seghizzi." Gorizia: Grafica Goriziana,
1975. pp. 107-113.
Suggests the Palestrinian idiom affected Franz Liszt's later religious style
with respect to the use of vertical sonorities and progressions affected by
modal structures. Liszt's choices became part of the heritage of twentieth-
century Hungarian sacred music and a re evident in the choral works of such
composers as Zoltan Kodályand Ferenc Farkas, some of which are exam-
ined here.

E0615 Venuti, Massimo. "Inedito Palestrina nel qua rto centenario della morte."
Rassegna Musicale Curci 47.2 (1994): 10-13.
Notes that Palestrina had a much stronger and economically astute per-
sonality than is often popularly imagined Suggests that Palestrina's artistic
mandate was not so much the comprehensibility of text per se as the evolu-
tion of a personal modus operandi, where the listener would not primarily
Bibliography of Secondary Literature 377

contemplate the complexities of technique and structure, but rather develop

a personal rapport with text and music.

E0616 Wolff, Hellmuth Christian. "Palestrina und Schonberg—zwei Extreme der

europ ischen Musik." In Bericht fiber den inte rnationalen musikwis-
senschaftlichen Kongress Wien, Mozartjahr 1956 (Wien, 3-9 juni 1956), ed.
Erich Schenk. Graz/Cologne: Bohlau, 1958. pp. 749-753.
In an approach informed by nineteenth- and early twentieth-century
philosophical attitudes, Wolff considers Palest rina and Schonberg as types
supporting the historiographical thesis that, if European music history is per-
ceived as a great unity, then one can find the overall consistency in the series
of polar opposites in style and approach which have characterized it. The
contrast, for instance, of "formal beauty" and expressive restraint (Palest-
rina) with extreme expression and affective "truth" (Schonberg) has been a
long-range historical constant. Oppositions such as form/expression,
static/dynamic, introverted/extroverted have been features of the tradition
since Palestrina's time.

Addendum: Forthcoming Publications

The present author is indebted to Giancarlo Rostirolla's Bibliografia degli scritti su

Giovanni Pierlugi da Palestrina (1568-1996) (Palestrina, 1997) for much of the follow-
ing list (particularly for ascertaining the items in Atti del III more Convegno). The enu-
meration is supplemented by additional items and cross-reference information.

[E0617] Atti del III Convegno di Studi Palestriniani. Palestrina e l' Europa in occa-
sione del Quarto Centenario della morte di Palestrina. Palestrina, 6-9 otto-
bre 1994, ed. Giancarlo Rostirolla and Stefania Soldati.
A major item, not yet issued. A complete list of the papers announced for
this publication, slightly different from the o riginal series of presentations
made at the 1994 conference, is given below as items E0618-E0673. It will
be noted that some of these items (presumably the same or similar, with
matching authors and titles) have already been published in other media,
some in languages other than Italian, in which case a cross-reference is pro-
vided. The internal organization of the forthcoming book is not known to the
present author.

[E0618] Acciai, Giovanni "Aderenza all'elemento prosodico e retorico nelle opere

mottetistiche del Palestrina."

[E0619] Ackermann, Peter. " `Genre' e `stile'. Alcuni note sulle Lamentazioni del
Palestrina."

[E0620] Annibaldi, Claudio. "Girolamo Frescobaldi e il Palestrina: un autografo mis

conosciuto un filo riannodato."

. Barbieri, Patrizio. "Su di basso continuo attribuito al Palestrina

(ca.1580-1590)" Apparently an Italian version of E0179.
378 Giovanni Pierluigi da Palestrina
[E0621] Bernstein, Jane A. "The Publishing of Palestrina's Music in Sixteenth-Cen-
tury Rome and Venice."

[E0622] Besutti, Paola. "Giovanni Pierluigi da Palestrinae la liturgia mantovana

(II)." See E0183, of which the present item is apparently a second pa . rt

[E0623] Bianchi, Lino. "Perduti il Palestrina di Johann Melchoir Ernst Sachs

(1843-1927) e di Johann Gottfried Loewe?"

E0624] Bianchi, Lino. "Raffaello de Rensis e l'Edizione Nazionale delle opere di G.

Pierluigi da Palestrina."

[E06251 Bongiovanni, Carmela. "La polifonia sacra e profana intavolata: due

tradizioni a confronto."

1E06261 Boschini, Marco. "La `terza riempita' in Palestrina e Lasso. Alcuni aspetti di
statica e dinamica contrappuntistica."

1E0627] Bressan, Gino. "A proposito di alcune esecuzioni integrali del `Cantico dei
Cantici.'"

[E0628] Bryant, David and Michele Pozzobon. "Alcuni contrafacta di Mottetti del
Palestrina nel' archivo del Duomo di Treviso."

[E0629] Chambure, Alain de. "Problemi di prassi esecutiva palestriniana "

[E0630] Ciliberti, Galliano. "Il Palestrina e il mondo musicale controriformistaico

nello Stato pontificio."

[E0631] Cornaz, Marie. "La redécouverte de Palestrina en Belgique à partir de

1830."

[E0632] Cumino, Renata. "Il trattamento del cantus firmus negli Inni del Palestrina."

[E0633] D'Ambrosio, Wilma. "Le Messe di Domenico Dal Pane su Mottetti del
Palestrina (1687); un capitolo emblematico della ricezione palestriniana nel
tardo Seicento."

[E0634] De Salvo, Salvatore. "Il repertorio palestriniano eseguito nella Cappella

Papale nel secolo XX."

[E0635] Dubrawskaja, Tat'jiana. "Melody: the Mirror of the Palestrina's Style [sic]."

[E0636] Franke, Veronica Mary. "Borrowing and Transformation Techniques in

Palestrina's Parody Masses."

[E0637] Freis, Wolfgang. "Palestrina's `Harmonic Institutions.'"

Bibliography of Secondary Literature 379
[E0638] Fromsen, Michèle. "Palestrina and the Musical Canon: His Influence on
Motet Composition in Northern Italy during the Post-T ridentine Era."

[E0639] Gargiulo, Piero. "Palestrina e Monte nelle antologie madrigalistiche: il caso

di 'Perch' al viso d' amor portava insegna.""

[E0640] Giuliani, Roberto. "La recezione del Palestrina nel Novecento: edizioni e
fonti sonore."

[E0641] Guletsky, Irina. "The Types of Composition Propo rt ions in Palestrina's

Masses"

[E0642] Iesuè, Alberto. "Progretto per una discografia palestriniana."

Janitzek, Martina. "La recezione del Palestrina nell'editoria musicale dell'

Ottocento." Apparently an Italian version of E0501.

1E0643] Janz, Bernhard "Reflessioni sull'attribuzione della Messa `Nativitas tua Dei
genetrix' nel Cod.70 del fondo Cappella Sistina." See item E0261, of which
this item is either a version or a supplement.

[E0644] Keil, Klaus. "RISM Handschriftendokumentation: ein klein Beitrag zu

einem Werkverzeichnis."

[E0645] Krause, Ralph. "La recezione dell stile `alla Palestrina' nella scuola napole-
tana del Settecento."

[E0646] Kurtzman, Jeffrey. "Palestrina's Magnificats."

[E0647] Lamla, Michael. "Osservazioni sulle Messe canoniche di J. Desprez, del

Palest ri na e del Francesco Suriano."

[E0648] Lindell, Robe rt . "The Search for the Imperial Chapelmaster (1567-1568).
Why Palestrina Was Not the First Choice."

[E0649] Luciani, Luciano. "Palestrina nella biblioteca e nelle miscellanee di G. B.

Martini."

[E0650] Meloncelli, Raoul. "La tradizione palestriniana nella scula polifonica

romana dell' ultimo Ottocento."

[E0651] Miller, Stephen. "Palestrina and the Seventeenth-Century Mass at Rome:

Re-Use, Reference and Synthesis."

[E0652] Mischiati, Oscar. "Testimonianze palestriniane nel `Mystagogus' del Cresol-

lio "

[E0653] Monson, Craig. `Another Look at Musical Reform at the Council of Trent."
380 Giovanni Pierluigi da Palestrina
[E0654] Nugent, George. "Jaquet, Palestrina an d Strategies of Patronage: Some
Reflections."

[E0655] O'Regan, Noel. "Palestrina's Polychoral Works: A Forgotten Repertory."

Owens, Jessie Ann. "Palest rina as Reader: Motets from the Song of Songs."
See item E0304.

[E0656] Pachowsky, Angela. "La prassi esecutiva dei mottetti del Palestrina nel peri-
odo ottocentesco della Cappella Pontificia: testimonianze dai Diari sistini."

1E0657] Pozzi, Egidio. "Il problema della grande forma nelle Messe-parodia del
Palestrina (primi due libri)."

[E0658] Pugliese, Annunziato. "Dizionario dei musicisti attivi nella coite di Ippolito
II d' Este."

[E0659) Rice, John A. "Palestrina's St. Cecilia Motets and the Missa 'Cantantibus
Organs."'

[E0660] Rosato, Paolo. "Un contribuito semiotico allo studio delle relazioni tra testo
e musica in Palestrina. Analisi del Mottetto 'Beatus Laurentius' (1563) e del
Madrigale `La cruda mia nemica' (1586)."

[E0661] Rostirolla, Giancarlo. "Note in margine al Codice 59 autografo del Palestrina."

[E0662] Sawkins, Lionel. "Some Eighteenth-Century Perspectives of Palestrina."

[E0663] Schloetterer, Reinhold. "Contemporaneità: il Palestrina e O. di Lasso."

. Sherr, Richard. "Competence an d Incompetence in the Papal Chapel in the

Age of Palestrina." See item E0054.

[E0664] Simi Bonini, Eleonora. "Il Mottetto `Dum complerentur' studiato da Giro-
lamo Chiti."

F0665] Skulj, Edo. "Presenza di Palestrina in Slovenia all' inizio del Seicento."

[E0666] Soldati, Stefania. " 'Nessun vissi giammai': Palestrina, Lasso. Marenzio."

[E0667] Summers, William John. "Music Confraternal Life in Rome, 1584-1680:

Some Observations on the Careers of Palestrina an d the Roman School as
Members of the Compagnia dei Musici di Roma."

[E0668] Talamo Emilia, Anna. "Le immagini nei codici della Cappella Sistina conte
Palestrina."
nenti musiche del

[E0669] Toffetti, Mari na. "Alcune considerazioni sulla ricezione palestriniana a

Milano fra `500 e `600"
Bibliography of Secondary Literature 381

[E0670] Uvietta, Marco. " D as Hohelied Salomonis' di L. Lechner e il 'Cantico dei

Cantici' del Palestrina: un confronto sul pianto della retorica musicale."

1E06711 Vanhulst, Henri. "La diffusion de la musique de Palestrina dans les anciens
Pays-Bas au XVIIe siècle."
F0672] Wyn Jones, David. "The `a cappella' Masses of the Viennese Classic School:
Palestrina Honoured and Transformed."

[E0673] Zakrzewska-Nikiporczyk, Barbara. "Performances and Editions of Palest-

rina's Music in Poznan and Great Duchy of Poznan in the Years
1870-1918."

[E0674] La fortuna di Palestrina in Europa fino al XIX secolo. Società Italiana di

Musicologia, ed. Rodobaldo Tibaldi. A collection of eleven papers, listed as
items E0675-E0683 and cross-listed materials.

1E06751 Fabris, Dinko. "Il primo trascrittore di Palestrina in Francia nell' Ottocento:
André Eler (1764-ca.1821)."

1E06761 Ferrandis, Antonio Andrés. "Presencia y pervivencia de la obra de Palestrina

en una iglesia de cultos reformados: La Capilla del real Colegio-Seminario
de Corpus Christi de Valencia (Espana)."

[E0677] Gargiulo, Piero. "Da Banchieri a Berardi: la ricezione di Palestrina nei trat-
tati di scuola bolognese (1609-1693)."

[E0678] Giacomelli, Gabriele. "Palestrina nel repertorio musicale della

cattedrale di
Firenze (1638-1677)."

[E06791 Gmeinwieser, Siegfried. "Palestrina und Palestrinastil in Bayern."

. Haar, James. "Palest rina 'historiens': le due messe 'L'homme armé. "'
Apparently an Italian version of E0239.

. Miller, Stephen R. "Palestrina and the Seventeenth-Century Mass at Rome:

Re-Use, Reference and Synthesis." See item E0651.

[E0680] O'Regan, Noel. "The Transmission of Palestrina's T riple-Choir Music:

Michael Haller's Nineteenth-Century Reconstruction in the Light of Some
Recently Re-Discovered Originals."

[E06811 Tibaldi, Rodobaldo. "`Alla Palestrina': una Messa di Giacomo Gozzini auto-
grafa di Giovanni Simone Mayr."

[E06821 Vacchelli Monterosso, Anna Maria. "Palestrina nei trattori teorici del primo
Seicento."

[E0683] Z6rawska-Witkowska, Mina. "Il Palestrina e la Polonia."

382 Giovanni Pierluigi da Palestrina
Rostirolla has also announced an eight-volume project to be entitled Sto-
ria della Cappella Musicale Pontificia, to be produced by the Fondazione
Giovanni Pierluigi da Palestrina with the support of the Banca di Credito
Cooperativo di Palestrina. Volumes of note are to include the following.

1E06841 Sherr, Richard. Il Ginquecento: da Giulio II a Sisto V.

[E0685] Lionnet, Jean. Il Seicento.

VE0686] Luisi, Francesco with Ma ria Adelaide Morabito Iannucci, Federico Pirani,
and Giancarlo Rostirolla. Il Settecento.

1E06871 Kantner, Leopold M. and Angela Pachovsky. L'Ottocento.

[E0688] De Salvo, Salvatore. Il Novecento.

[E0689] Nielsen, Kirin. "The Spiritual Madrigals of Giovanni Pierluigi da Palest-

rina." Ph.D. dissertation, University of Illinois, Champaign-Urbana, 1998.

1E0688] Owens, Jessie Ann. "Palestrina at Work" In Papal Music and Musicians in
Late Medieval and Renaissance Rome. ed. Richard Sherr. Oxford: Claren-
don, 1998. 339pp. ISBN 0-19-816417-3. ML3033.8.R763.P2. pp. 270-300.
 Chapter 7
Discography

Literature and Sources Consulted

Clough, Fran cis F., and G.J. Cuming, eds. The World's Encyclopedia of Recorded
Music. London: Sidgwick & Jackson Ltd, 1952.
First Supplement April 1950—May-June 1951. London: Sidgwick & Jackson Ltd,
1952.
Second Supplement 1951-1952. London: Sidgwick & Jackson Ltd, 1953.
Third Supplement 1953-1955. London: Sidgwick & Jackson Ltd, 1957.
A major guide to recordings through 1955.

Coover, James. Medieval and Renaissance Music on Long-Playing Records. Detroit:

Information Se rv ice, 1964. 122pp. ML156.2.C67.
A guide to recordings from the early LP era.

Croucher, Trevor. Early Music Discography. From Plainsong to the Sons of Bach. Vol.1:
Record Index. Vol. 2: Composer, Plainsong, Anonymous Work and Performer
Index. London: Library Associated Publishing, 1981. ML156.2.C76.

Darrell, R. D., with Lawrence Gilman. The Gramophone Shop Encyclopedia of

Recorded Music. New York: The Gramophone Shop, Inc., 1936. Revisions: 2nd
ed., New York: Simon and Schuster, 1942; 3rd ed. revised and enlarged, New
York: Crown Publishers, 1948.
Major source for identification of 78 rpm LPs.

Gautier, Jean- François. Palestrina, ou l'esthétique de l'âme du monde. Actes Sud, 1994.
Discography. pp. 111-119. Recent sho rt discography which annotates most of the
items listed and offers a few review-style comments on various recordings.

Modugno, Maurizio. "Discografia di Giovanni Pierluigi da Palestrina." Atti del II con-

vegno internationale di studi palestriniani, ed. Lino Bianchi and Giancarlo Ros-
tirolla. Palestrina: Fondazione Giovanni Pierluigi da Palestrina/Centro di Studi
Palestriniani, 1991. pp. 589-607.
Offers useful overview of the history of recording Palestrina's music in this century.
Notes the difficulty in dating many of these recordings, the more regrettable given
the peculiar performance practice history of Palestrina's oeuvre. Does not indi-
cate o ri ginal recording technology (acoustic, electrical) or recorded medium.

Roche, Elizabeth. "Early Music on Records in the Last Twenty-Five Years." Musical
Times 120 (1979): 34-36, 215-217.
Discusses improved presence of music before 1800 on recordings.
384 Giovanni Pierluigi da Palestrina

Numerous monthly or annual issues of the Schwann, Gramophone, and Bielefelder

recording catalogs were also consulted, as well as various library catalogs. Discs
were personally examined whenever possible.

Citation Format Used in this Discography

Recording company and number. Medium. Title of recording where indicated ["/I" if
title is equivalent to the name of the recorded work(s) or is otherwise not evident or
ascertained]. Performer(s). Director or conductor. Date of recording [place]. Note
regarding program notes, translations of texts, special information or comments. [Reis-
sue or alternative issue information when available.]
Works by Palestrina on recording [timings when available].

Tracing the history of a recording through reissues over time, through subsidiaries,
in various countries is a very difficult and time-consuming task. The citation in bold
refers to the issue that has been verified, to which the author had access, or which
would be the most immediately accessible to a user of this discography. Alternative
citations for a performance (which can be reissues of a recording at a different time, in
different countries, through different companies, or in different formats) are indicated
when they can be established. These have been transcribed as they occur on the record-
ing or in catalogs, without attempting to organize them chronologically or otherwise
regularize them.
In the case of anthologies, only selections by Palest rina are listed. A rationale for the
few exceptions to this procedure will be evident. Usually it is because the recording con-
tains a model for an imitation mass if the composer of the model was other than Palest-
rina, or uses relev ant plainchant material. To assist teachers and students of style, I have
noted such items.
Works that were unavailable to me for examination and that have only limited refer-
ences in catalogs and other sources, are listed in an appendix, beginning page 435. It is
understood that such citations are incomplete and contain unverified and possibly inac-
curate information, or are recordings which are indicated as containing Palestrina's
music but the titles of the works included are not known.

F0001 Abbey APR 306. LP. The Choirs of Bradford Cathedral. Choirs of Bradford
Cathedral. Early 1970s.
Contains motet Haec dies quam fecit Dominus a 6.

F0002 Abbey CACA542. Cassette. Music for Worship. A Year at Southwark Cathedral.
Southwark Cathedral Choir. John Scott, H. Bramma. ca. 1985.
Contains motet Dum complerentur a 6.

F0003 Abbey LPB 663. LP. Liverpool Cathedral Choir. Liverpool Cathedral Choir.
1970.
Contains offertory motet Recordare mei a 5.

F0004 Abbey LPB 686. LP. In Quires and Places, 2. Leeds Parish Choir. Donald Hunt.
1970. Notes by Donald Hunt; Latin texts with English translations.
Contains motet Tu es Petrus a 6.
Discography 385

F0005 Abbey LPB 750. LP. In Quires and Places, 15. Choir of the Priory Church of St.
Bartholomew the Great, Smithfield, London. Andrew Mor ri s. 1975. Notes by
Andrew Morri s and N. E. Wallbank.
Contains motet O beata et gloriosa Trinitas a 5.

F0006 Abbey LPB 772. LP. Three Cathedral Choirs. Cathedral Choirs of Gloucester,
Hereford and Worcester. Roy Massey. 1978.
Contains motet Exultate Deo a 5.

F0007 Abbey LPB 783. LP. Gloucester Cathedral Choir. Gloucester Cathedral Choir.
1977.
Contains motet Dum complerentur dies Pentecostes a 6.

F0008 Abbey LPB 789. LP. Paisley Abbey Choir. Paisley Abbey Choir. George McPhee.
1978.
Contains motet Dum complerentur dies Pentecostes a 6.

F0009 Abbey LPB 804. LP. Music for Holy Week and Easter. Choir of the London Ora-
tory. John Hoban. 1979. Program notes by Pat ri ck Russell.
Contains motets Sicut cervus a 4; Haec dies quam fecit Dominus a 6.

F0010 Acanta DC 21303. LP. Gallus. Mass and Motets of the Masters. Vienna Boy's
Choir, Chorus Viennensis. Hans Gillesberger. ca . 1971. Program notes by Ger-
hard Schuhmacher in German and English [reissued as Acanta DC 41303 on CD
in 1988; also listed as RCA RL 30379, on LP in 1979, and BASF BB 21302/3 on
LP ca. 1972].
Contains motet Hodie Christus natus est a 8.

F0011 Acanta DC 21 841. LP. Coro della Cappella Sistina/The Choir of the Sistine
Chapel. Sistine Chapel Choir. Domenico Bartolucci. 1979 [also listed as RCA 40
21 841 AW, and on cassette DF 31 841].
Contains motets Cantabo Domino a 6; Vox dilecti mei a 5; Improperium exspectavit a
5; Paucitas dierum a 5; Vulnerasti cor meum a 5.

F0012 Accent ACC 8861. CD. Music of the Italian Pifari. North Italian Music for Cor-
netts and Trombones. Conce rt o Palatino. 1989 (rec. April 1989, Beginjnhofkerk,
Sing-Truiden, Belgium). Program notes in English, French, German.
Contains motets Tota pulchra es arnica mea [arr. Bassano]; Benedicta sit [arr. Bas-
sano].

F0013 Accent ACC 9173. CD. "Quai lascivissimo cornetto..."/Virtuoso solo music for
cornetto. B ru ce Dickey [cornett], Tragicomedia. 1991 (rec. Jan and Apr 1991).
Case contains booklet (20pp) with notes by B ru ce Dickey in English, French,
German; also list of primary sources for works performed.
Contains motet Pulchra es amica mea [diminutions by Francesco Rognoni Taeggio]
[4:27]; mad ri gal lo son ferito [diminutions by Giovanni Bovicelli] [6:13].

F0014 Accent ACC 96115D. CD. Works for Organ. Giovanni de Macque. Giovanni
386 Giovanni Pierluigi da Palestrina
Pierluigi da Palestrina. Liuwe Tamminga [organ]. 1996 (rec. San Petronio,
Bologna, May 1996).
Contains Ricercari primi toni—ottavi toni (nos.l through 8, complete).

F0015 Ace of Diamonds ADD 196 [SDD 196]. LP. Choral Tapestry, volume 2.
Ambrosian Singers. John E. McCarthy. ca . 1968-1969 [also listed as Av an t Garde
AVS 129].
Contains motet Verbum taro.

F0016 Accord ACC 140031. LP. Canticum canticorum. Motets à Cinque Voix. Società
Cameristica di Lugano. Edwin Loehrer. 1980.
Contains motets from Canticum canticorum (selections); Adoramus te Christe a 4;
hymn Vexilla regis. Additional music [by Marc'Antonio Ingegneri, formerly
ascribed to Palestrina]: Quinque salutationes in Passione Domini.

F0017 Accord ACD 201562. CD. Thirteenth and Sixteenth Century Music. Lugano
Chamber Society Instrumental Ensemble, Lug an o Chamber Society Choir
(soloists L. Ticinelli-Fattori [sop], M. Minetto [mezzo], L. Malaguti [bar], J.
Loomis [bass]). Edwin Lohrer. 1980.
Contains motets Adoramus te a 4; Stabat Mater a 8;hymns Vexilla regis prodeunt a
4;Vexilla regis a 5;Vexilla regis (paschali).

F0018 Accord 202162. CD. Musiques pour Saint Michel. Ensemble Sagittarius, Ensem-
ble La Fenice. Michel Laplénie. 1992. Program notes (5pp) by Alain de Cham -
bure.
Contains mass Missa secunda (1582); motet Venit Michael archangelus a 5; Venite
exultemus a 5; hymn Tibi Christe splendor Patris; magnificat Magnificat primi
toni.

F0019 Accord 202462. CD. Musiques pour Saint Laurent. Ensemble Sagittarius.
Michel Laplénie. 1993 (rec. June an d Sept. 1992, Abbaye de Saint-Michel in
Thiérache). Program notes (6pp) by Main de Chambure, ca. 1993.
Contains mass Missa Beatus Laurentius a 5; motets Beatus Laurentius a 5; Confessio
et pulchritudo a 5; hymn Deus tuorum militum; magnificats Magnificat octavi
toni a 4; Magnificata 4.

F0020 Accord 203572. CD. Palestrina. Musique pour la Vierge Marie. Music for the
Virgin Ma ry. Ensemble Sagittarius, Ensemble La Fenice. Michel Laplénie. 1995
(rec. June and Sept. 1992, Abbaye de Saint Michel in Thiérache).
Contains mass Missa Salve Regina a 5; motets Assumpta est Maria a 6; Salve Regina
a 5; litany Litaniae de BVM a 4; hymn Ave maris stella a 4; magnificat Magnificat
primi toni a 4.

F0021 Accord 203662. CD. Musiques pour Saint Jean. Ensemble Sagittarius, Maîtri se
de Pa ri s. Michel Laplénie. 1994 (rec. June and Sept. 1992, Abbaye de Saint
Michel in Thiérache).
Contains mass Missa Ecce ego Johannes a 5; motets Hic est discipulus ille a 5; Valde
honorandus est a 5; Justus ut palma a 5; Haec dies a 6; hymn Exsultet coelum
laudibus; magnificat Magnificat [unspec]; ricercar Ricercare sexti toni [organ].
Discography 387
F0022 Alba NCD 8. CD. Mary in the Land of Snow and Light. Lumen Valo. Titta Lam-
pela. 1996.
Contains motet Stabat Mater a 8.

F0023 Allegro AL 70. 10-inch LP (2). Missa Ascendo ad Patrem. Missa Brevis. Welch
Chorale. James B. Welch. ca. 1950-1951. Program notes on sleeve [reissued on
12-inch LP as Allegro Elite 3097].
Contains masses Missa Ascendo ad pat rem a 5;Missa Brevis a 4.

F0024 Allegro ALG 3016. LP. Masses "Iste Confessor" and "Sine Nomine." Welch
Chorale. James B. Welch. 1952 [also issued as Allegro ALX 3016].
Contains masses Missa Iste confessor a 4; Missa Sine nomine [ "Je suis désheritée"].

F0025 Allegro ALG 3029. LP. Italian MadrigalArs Nova and XVIth Century. Vassar
Madrigal Singers. Geer. ca. 1951-1952.
Contains madrigals Da tosi dotta man a 3; Ahi the quest'occhi miei a 3.

F0026 Allegro ALG PCD 863. CD Missa Papae Marcelli. Stabat Mater. Pro Cantione
Antigua. Mark Brown. 1987 (rec. January 31 to February 1, 1987, St. Alban's
Church, Brooke Street, London). Program notes in English in container [also
listed as PCD 863 IMP/Allegro, PK 515 IMP/Allegro].
Contains mass Missa Papae Marcelli a 6; motet Stabat mater a 8.

F0027 Alleg ro ALG PCD 952. CD. Masses "L'Homme Armé"and "Assumpta est
Maria." Pro Cantione Antigua of London. Mark Brown. 1990.
Contains masses Missa Assumpta est Maria a 6; Missa L'homme armé a 5; motets
for Epiphany and the Assumption.

F0028 Allegro ALG PCD 973. CD. Lamentations of Jeremiah the Prophet. Pro Can-
tione Antigua of London. B runo Turner. ca. 1992.
Contains Lamentations Feria V in coena Domini; Feria VI in Parasceve; Sabbato
Sancto.

F0029 Allegro ALG PCD 1076. CD. Missa Brevis. Missa "LaudaSion." Motets. Pro
Cantione Antigua. Mark Brown. 1994.
Contains masses Missa Brevis a 4 [27:00]; Missa Lauda Sion a 4 [28:00]; motets
Super flumina Babylonis a 4 [3:52]; Sicut cervus a 4 [secunda pars Sitivit anima
mea] [5:52].

F0030 Allegro IMP PCD 1111. CD. Missa Aeterna Christi munera. Missa L'homme
armé. Pro Cantione Antigua. Mark Brown. 1992 (November 1-3), St. Jude's
Church, Hampstead Garden Suburb.
Contains masses Missa Aeterna Christi munera a 4; Missa L'homme armé. Addi-
tional music, plainchant hymn Aeterna Christi munera.

F0031 Alpha APS 347. LP. Music from Gibraltar. Choir of the Cathedral of St. Mary the
Crowned. Michael Davis, Steven Landrell. n.d.
Contains motet 0 bone Jesu a 4.
388 Giovanni Pierluigi da Palestrina

F0032 Alpha APS 349. LP. The Choir of the Metropolitan Cathedral of St. David,
Cardiff. Metropolitan Cathedral Choir, Cardiff. David Neville. 1983.
Contains mass Missa Aeterna Christi munera a 4 [Kyrie and Agnus Dei only].

F0033 Alpha DB 252. LP. Motetti. Collegium Vocale, Ghent. Phillippe Herreweghe.
1979. Program notes by Jerome Lejeune.
Contains motet Sicut cervus a 4.

F0034 Alpha DB 254. LP. Luxembourg Madrigal Choir. Luxembourg Mad ri gal Choir
(Ton Koopman [organ]). Daniel Schertzer. Before 1981.
Contains mad ri gal Ogni beltà, madonna a 4.

F0035 Alpha LPA 0028. LP. New College Choir. New College Choir. 1963 [also issued
as Alpha avme 008, 7-inch LP, withdrawn before 1965].
Contains motet Confitemini Domino a 4.

F0036 American Recording Artists ARA 2001. 12-inch 78 rpm. Vatican Choir. Sistine
Chapel Choir. Lorenzo Perosi. Date not listed [also issued in ARA set AA 1].
Motet: Confitebor tibi Domine a 8 [II, 1572]; Super flumina Babylonis a 4 [V, 1581 ]

F0037 Analekta FL 23013. CD. Italian Instrumental Music from the Renaissance. De
Serres [dulm], Michaud [rec], Soly [org], Trudel [sackb]. 1990s.
Contains mad ri gal Vestiva i colli a 5 [with diminutions by Bart olomeo da Selma].

F0038 Analekta FL 23120. CD. Palestrina: Missa Ut re mi fa sol la and other sacred
works. Le Choeur de Studio de Musique Ancienne de Montréal. Christopher
Jackson. 1997 (rec. June 1997, Chappelle du Grand Séminaire, Mon tréal). Book-
let (14pp) contains program notes by Marcel de Hêtre and François Filiatrault and
Latin texts with English an d French translations.
Contains mass Missa Ut re me fa sol la (Kyrie [4:17]; Gloria [3:49]; Credo [6:46];
Sanctus [5:01]; Benedictus [3:31]; Agnus Dei I [3:27]; Agnus Dei II [3:06]);
motets Omnes pulchritudo a 8 (attributed to Victo ria on this recording) [5:25];
Ecce, nunc benedicite Dominum a 12 [2:40].

F0039 Angel 36013. LP. Echoes from a Sixteenth-Century Cathedral. Roger Wagner
Chorale. Roger Wagner. 1967 [orig. issue ca. 1960] [also issued as Capitol
SP8460].
Contains mass Missa Brevis a 4 [Agnus Dei ]; motet Alma redemptoris Mater a 8.

F0040 Angel S-36022. LP. Palestrina: Pope Marcellus Mass. Victoria: Three Motets.
Roger Wagner Chorale. Roger Wagner. 1969. [Reissued on CD as Pope Marcellus
Mass with Fauré Requiem.] Anonymous program notes included.
Contains mass Missa Papae Marcelli a 6.

F0041 Angel S-37512. LP. Palestrina. Missa Hodie Christus natus est & six motets.
Choir of King's College, Camb ri dge. Philip Ledger. 1978. Sleeve notes by Iain
Fenlon; English translations of texts in liner [also listed as EMI ASD 3559; EMI
2C 069-03272; EMI 1C 065-03272].
Discography 389
Contains mass Missa Hodie Christus natus est a 8 [27:11]; motets Hodie Christus
natus est [2:42]; Canite tuba [6:10]; Ave Maria [4:16]; Tui Bunt caeli [2:37]; Jubi-
late Deo [3:35]; 0 magnum mysterium [6:25].

F0042 L'Anthologie Sonore AS 47. 12-inch 78 rpm. L'Anthologie Sonore. "Motet an d

Mad ri gal" Group. Heinrich Opienski. ca . 1937 [this disc is
vol. 5 in series issue,
dated ca.1935; reissued on LP as Haydn Society AS 9 (vol. 2, set AS-B), ca.
1953-1955].
Contains motet Vulnerasti cor meum a 5; hymn Vexilla regis ... o crux ave; madri-
gals Alla riva del Tebro a 4;La cruda mia nemica a 4.

F0043 Archiv ARC 3074. LP. IV. Research Period: The High Renaissance (16th Cen-
tury). Series F: Palestrina and His School. Giovanni Pierluigi da Palestrina:
Missa Papae Marcelli. Stabat Mater. Improperia. Aachener Domsingknaben,
Aachener Domchor. Theodor B. Rehmann. 1955-1956. Contains two leaflets
with historical notes, notes on sleeve by Karl Gustav Fellerer, recording informa-
tion, and Latin texts with English translations [also issued as Archiv AP 13032;
APM 14526].
Contains mass Missa Papae Marcelli a 6 [27:23]; motet Stabat Mater a 8 [7:30];
Improperia Ecce lignum crucis [2:45]; Popule meus [2:45]; Quid ultra debui
[2:56]; Ego te exaltavi [1:06]; Crucem tuam [2:00]; 0 crux ave [1:10] [12:42
total].

F0044 Archiv ARC 3182. LP. IV. Research Period: The High Renaissance (16th Cen-
tury). Series F: Palestrina and His School. Giovanni Pierluigi da Palestrina:
Missa Papae Marcelli. Eight Motets. Regensburger Domspatzenchor. Theobald
Schrems. 1961. Contains liner notes by Karl Gustav Fellerer, as well as Latin
texts with English translations [also issued as ARC 73182; ARC 198 182, DG 410
596-1].
Contains mass Missa Papae Marcelli a 6 [3:24; 4:38; 7:33; 3:19; 2:53; 4:48] [26:35
total]; motets Laudate Dominum a 5 [2:42]; Terra tremuit a 5 [2:13]; Ascendit
Deus a 5 [2:03]; Illumina oculos meos a 5 [2:57]; Ego sum panis vivus a S [3:02];
Pueri Hebraeorum a 4 [1:44]; Jubilate Deo a 5 [3:54]; lamentation Incipit orato-
rio Jeremiae [7:45].

F0045 Archiv ARC 3241. LP. IV. Research Period: The High Renaissance (16th Cen-
tury). Series F: Palestrina and His School. Giovanni Pierluigi da Palestrina:
Missa Tu es Petrus. Missa Assumpta est Maria. Regensburger Domchor. Hans
Schrems. 1965 (rec. July 3-8, 1965, St. Emmeran's, Regensburg. Contains pro-
gram notes by Karl Gustav Fellerer; Latin texts with English tr an slations inserted
into sleeve [also issued as ARC 73241; ARC 198 341].
Contains masses Missa Tu es Petrus a 6 [25:00]; Missa Assumpta est Maria a 6
[24:20].

F0046 Archiv ARC 3243. LP. IV. Research Period: The High Renaissance (16th Cen-
tury). Series F: Palestrina and His School. Giovanni Pierluigi da Palestrina.
Missa Hodie Christus natus est. Improperia. Regensburger Domchor. Hans
Schrems. 1964. Liner notes provide texts with English tr an slation, recording
390 Giovanni Pierluigi da Palestrina
information. Notes indicate that primary sources for the Improperia were the
MSS I-Rvat CS 205 an d 206, probably composed ca. 1555 to 1560 [reissued as
Archiv 198 343].
Contains mass Missa Hodie Christusnatus est a 8 [3:21; 4:57; 7:29; 4:10 (Sanctus);
2:20 (Benedictus); 5:12]; improperia Ecce lignum crucis etc. a 8 [23:45,
Hab.xxxi.175-80].

F0047 Archiv 3283. LP. IV. Research Period: The High Renaissance (16 the Century).
Series F: Palestrina and His School. Giovanni Pierluigi da Palestrina. Missa
Dum Complerentur. Motets. Regensburger Domspatzenchor. Hans Schrems. 1966
(rec. July 2-7, 1966, St. Emmeran's, Regensburg) [also issued as ARC 73283;
ARC 198 383].
Contains mass Missa Dum complerentur a 6; motets Tu es Petrus a 6; Assumpta est
Maria a 6; Ave Regina coelorum a 8; Hodie Christus natus est a 8; Dum corn-
plerentur a 6.

F0048 Archiv 198 434. LP. IV. Research Period: The High Renaissance (16th Century).
Series F: Palestrina and His School. Madrigali e ricercari. Regensburger
Domspatzenchor. Hans Schrems; Musica Antigua. Rene Clemencic. 1967. Based
on Haberl edition, vol. 28.
Contains madrigals [in vocal versions] Il tempo vola a 5; Se fra quest'erb'e flore;
Ahi
che quest'occhi miei a 3; Vestiva i colli a 5;Il dolce sonno a 5; Da cosi dotta man
sei a 3; Io son ferito a 5; also madrigals [in instrumental arrangements] Da cosi
dotta man; Vestiva i colli; Ahi che quest'occhi miei; Io son ferito; Il dolce sonno;
Se fra quest'erb'e flore; ri cercari Ricercare quarti toni; Ricercare sexti toni;
Ricercare octavi toni.

F0049 Archiv 2533 322. LP. Missa Aeterna Christi munera. Pro Cantione Antigua Lon-
don. B ru no Turner. 1976 (rec. July 8-9, 1974, All Saints, Petersham). Program
notes in German, English, French, Italian by M. H. Schmid [also issued as cas-
sette 3310 322. Motets and Lamentation material reissued as Archiv 2723 070;
also on ARC 437072-2 on LP and in Collectio Argentea on CD; also on CD as
ARC 445 667-2, Geistliche Musik der Renaissance].
Contains mass Missa Aeterna Christi munera a 4; motets O bone Jesu a 4; Sicut
cervus a 4; Super flumina Babylonis a 4; lamentation Incipit oratio Jeremiae.

F0050 Archiv 415 517-1. LP. Missa Papae Marcelli. Tu es Petrus. Choir of Westminster
Abbey. Simon Preston. 1985 (rec. Feb 1985, All Saint's Church, Tooting, Lon-
don). Program notes by Jean-Pierre Ouvrard in French, English, German, and
Italian; Latin texts with translations in English, French, German [reissued on CD
as ARC 415 517-2].
Contains mass Missa Papae Marcelli a 6 [32:00]; motet Tu es Petrus a 6 [6:34].

F0051Archiv 437 833-2 AH. CD. Missa Hodie Christus natusest. Gabrieli Consort and
Players. Paul McCreesh. 1993 (rec. Santa Ma ri a Maggiore, Rome, Dec. 1992, an d
All Saints' Church, Tooting, London, Feb. 1993). Notes indicate that this record-
ing is a liturgical re-creation of the third mass for Ch ri stmas Day as it might have
been celebrated at Santa Ma ri a Maggiore around 1620, including appropriate
Discography 391
Roman plainchant to link the polyphonic items. Program notes by Graham Dixon
and Paul McCreesh. Contains list of sources and texs with English translations.
Contains mass Missa Hodie Christus natus est a 8 (Kyrie [2:41]; Gloria [3:57];
Credo [6:05]; Sanctus [5:22]; Agnus Dei [3:021); motet Hodie Christus natus est
a 8 [1:47].

F0052 Archie 439 961-2. LP (2). Palestrina. Masses and Motets. Regensburger Dom-
chor, Hans Schrems; Theobald Schrems; Pro Cantione Antigua, Bruno Tu rn er;
Westminster Abbey Choir, Simon Preston. Notes by Jessie Ann Owens [reissued
on 2 CDs in 1994 as Archiv 439962-2, 439963-2].
Contains masses Missa Dum complerentur a 6; Missa Tu es Petrus
a 6; Missa Papae
Marcelli a 6; motets Dum complerentur a 6; Tu es Petrus a 6; Illumina oculos
meos a 5;Jubilate Deo a 5;Laudate Dominum omnes gentes a 8; Pueri Hebraeo-
rum a 4; lamentations Incipit oratio Jeremiae prophetiae.

F0053 Archiv 445 667-2 (445 668-2-445 674-2). CD (7). Geistliche Musik der Renais
-sance/The Flowering of Renaissance Choral Music.Pro Cantione Antigua of
London, Hamburger Blüserkreis für alte Musik, London Cornett and Sackbut
Ensemble, Early Music Conso rt of London. Bruno Turner. 1995. Program notes
by Ludwig Finscher in German, English, and French [reissue of recordings on
various Archiv discs 1973 to 1978. Palestrina selections on CD 6 (ARC 445 673
2)].
Contains motets Sicut cervus a 4; Super flumina Babylonis a 4; 0 bone Jesu a 6;
lamentation Incipit oratio Jeremiae [a 4-8].

F0054 Argo CD 410 005-2ZH. CD. Allegri: Miserere. Victoria, Palestrina, Monteverdi.
Choir of Westminster Cathedral. Stephen Cleobury. 1983. Notes by John When-
ham; contains Latin texts with English translations [also issued on LP as Decca
410 005-2 ZK; as Argo XRDL 1013; also on cassette KZDC 1013 or ZRDL 1013
AZ].
Contains motets Exsultate Deo a 5;Peccantem me quotidie a 5;Tu es Petrus a 6.

F0055 Argo MCPS 410149-2. CD. Palestrina: Mass & Motet "Tu es Petrus." Victoria.
Mass & Motet "0 Quam Gloriosum." Choir of King's College, Cambridge.
Stephen Cleobury. 1984 (rec. March 1983). Booklet (7pp) contains notes by John
Whenham in English, French, Germ an ; Latin texts with English translations
[originally issued on LP as Argo 410 149-1ZH in 1984; also on cassette Argo 410
149-4ZH; also issued on CD as London 433 914-2 ].
Contains mass Missa Tu es Petrus a 6 [4:36 (Kyrie); 5:05 (Gloria); 8:34 (Credo);
2:38 (Sanctus); 3:08 (Benedictus); 2:37 (Agnus Dei 1); 2:41 (Agnus Dei 17); motet
Tu es Petrus a 6 [3:50]

F0056 Argo RG 186. LP. Missa Aeterna Christi Munera. The Renaissance Singers.
Michael Howard. 1959 (rec. 1959, Church of St. Philip Neri, Arundel). Recording
contains hymn Aeterna Christi munera (Amen to Plainsong II), antiphon Vos qui
reliquistis with Benedictus sung to Plainsong II, with organ versets by Jean
Titelouze [also listed as ZRG 5186].
Contains mass Missa Aeterna Christi munera a 4.
392 Giovanni Pierluigi da Palestrina

F0057 Argo ZK 4. LP. Palestrina. Stabat Mater. [Additional motets] Choir of King's
College, Camb ri dge. David Willcocks. 1964. Liner notes by Robin Golding [also
issued as Argo ZRG 5398].
Contains motets Senex puerum portabat a 5; Hodie beata virgo a 5; Stabat Mater a
8; magnificat Magnificat primi toni a 8; litany Litaniae de Beata Virgine Maria a
8 [first of two 8-pa rt settings for double choir].

F0058 Argo ZK 69. LP. Palestrina/Veni Sponsa Christi. Choir of St. John's College,
Camb ridge. George Guest. 1968 [also issued as Argo ZRG 578].
Contains mass Missa Veni sponsa Christi a 4 [24.00]; motets Veni sponsa Christi a 4
[3.05]; Exsultate Deo a 5 [2.25]; hymns In adventu Domini [Conditor aime
siderum] [6.45]; Jesu rex admirabilis [1.45]; magnificat Magnificat sexti toni
[ 12.10]. Additional contents: plainchant antiphon Veni sponsa Christi [0.45].

F0059 Argo ZRG 690. LP. Missa Assumpta estMaria. Choir of St. John's College,
Camb ridge. George Guest. 1972. Notes by Alec Robe rt son.
Contains masses Missa Assumpta est Maria a 6; Missa Brevis a 4. Additional con-
tents: plainchant antiphon Assumpta est Maria.

F0060 Ariola XA 28 152 K. LP. Jubilate Deo. Regensburger Domspatzen. Theobald

Schrems. ca . 1959. Notes include Latin text with German tran slation; RCA Victor
LM 2855 has texts with English translations on sleeve [also listed as Eurodisc 70
172 KK and S 70 173 KK in 1963; RCA Victor LM 2855 in 1965; Cetra KK 70
172 an d SKK 70 173].
Contains motets Dum complerentur a 6; Tu es Petrus a 6; lamentation Feria VI in
Parasceve.

F0061Arion ARN 30 B 142. LP. Messes des Paroisses avant Vatican II. Ensemble Poly-
phonique de Montparnasse. Gaston Litaize. 1970s.
Contains mass Missa Ad fugam [Kyrie and Gloria only].

F0062 Arion ARN 68 274. CD. Impropères du vendredi saint. Quatre Motets. Concinité
de Louvain Choir. Karel Aerts. 1994. Program notes (23pp) by Joel-Marie Fou-
quet an d Karel A rt s, English translation by Ma ry Pardoe. French an d English
texts and summaries included [previously listed as Arion 38423, LP issued 1978].
Contains motets Ave regina coelorum [6:21]; Adoramus te Christe [2:20]; Pueri
Hebraeorum [3:16]; Jesu Rex admirabilis [3:14]; lamentation Impropères du ven-
dredi saint [Improperia for Good Friday] [26:26].

F0063 Ars Musici AM 0946-2. CD. Musik am Prager Hof Kaiser Rudolfs II. Dialogo
Musicale. Leo Meilink. 1992.
Contains mad ri gal Vestiva i colli a 5 [3.55]. Additional contents: Philipp de Monte,
mass Missa sex vocum supra "Vestiva i colli" [24.30].

F0064 Ars Nova VST 6003. LP. // Solisti del Gruppo Strumentale "V.L. Campi" di Pia-
cenza. Giuseppe Zanaboni. Before 1981.
Contains ricercar Ricercar del primo tuono a 4.

F0065 Ars Nova VST 6007. LP. 8 Ricercari copra li toni a quattro. Complesso
Discography 393
Veneziano Strumenti Antichi. Pietro Verando. ca . 1968 [also listed VPC 1507].
Ricercar Ricercari 1-8.

F0066 Ars Nova VST 6043. LP. // I Madrigalisti di Genova. Leopoldo Gamberini.
Before 1981.
Contains madrigal Chiare, fresche e dolci acque a 4.

F0067 Ars Nova VST 6095. LP. // I Madrigalisti di Genova. Leopoldo Gamberini.
Before 1981.
Contains motets Popule meus; Sicut cervus a 4.

F0068Ars Nova VST 6121. LP. // Budapest Madrigal Singers. Ferenc Szekeres. Before
1981.
Contains motet Jesu rex admirabilis a 3.

F0069 Ars Vivendi 2100203. CD. La bella ninfa. Madrigale. Hallenser Madrigalisten.
1990.
Contains madrigal Vaghi fiori a 4 [2:02].

F0070 ASV Quicksilva QS 6086. CD. Missa Papae Marcelli; Stabat Mater; 3 Motets.
Palestrina. Pro Cantione Antigua. Bruno Turner. 1992. Program notes by Bruno
Turner [orig. recorded 1978; previously issued on LPs from Nonesuch 71407
(1982); Musical Heritage Society 4608 (1980); also issued on Enigma K53560;
Hispavox S90 109; ASV 2009].
Contains mass Missa Papae Marcelli [30:53]; motets Peccantem me quotidie [4:32];
Dominus Jesus in qua nocte [4:44]; Alma Redemptoris Mater [2:29]; Stabat
Mater [9:27].

F0071 Bach Guild [Vanguard] BG 623. LP. Italian Music of the Renaissance/Sacred
and Secular. Choir and Soloists of Polifonica Ambrosiana. Mons. Giuseppe
Biella. 1962. Liner notes in Italian with English translation by E. Relia.
Contains mass Missa Aeterna Christi munera a 4 [Sanctus, Benedictus only].

F0072 Bach Guild [Vanguard] BG 5059. LP. Song of Songs. Prague Madrigal Choir.
Miroslav Venhoda. 1963 (rec. Baumgartner Hall, Vienna). Based on perform ance
edition prepared by Venhoda from Haberl ed. vol. 4 [reissued as HM-9 SD
ca.1972].
Contains motets from Book IV (1583) [21 of the 29 motets] [51:30 total].

F0073 BBC Artium CD 572. CD. The Pontifical High Mass of St. Sylvester. William
Byrd Choir. Gavin Turner. 1985 (rec. December 31, 1984, Sistine Chapel, Rome).
"A reconstruction of the Mass as it might have been conducted in the Sistine
Chapel, Rome, in 1613." Plainchant from the T ridentine rite with Soriano's
arrangement for double choir of Palestrina's Missa Papae Marcelli. "This per-
formance was broadcast on BBC Radio 3 on 31 December 1984 as pa rt of the
series `The Octave of the Nativity.' " Program notes (16pp) by Hugh Keyte,
Jerome Roche, and Nick Sandon. Texts with English translations.
Contains mass Missa Papae Marcelli a 8 [arranged by Soriano].
394 Giovanni Pierluigi da Palestrina
F0074 Bongiovanni GB 5544-2/5545-2. CD (2). Giovanni Pierluigi da Palestrina.
Messe mantovane vol. I. Solisti della Cappella Musicale di San Petronio, Nova
Schola Gregoriana. Sergio Vartolo. 1995. Liner notes (14pp) by Paola Besutti.
Contains masses Missa in festis Apostolorum I a 5; Missa in festis Apostolorum II a
5; Missa in semiduplicibus majoribus I a 5;Missa in semiduplicibus majoribus II
a 5; Missa Sine nomine a 5.

F0075 Bongiovanni GB 5556 57 2. CD. Giovanni Pierluigi da Palestrina. Messe man-

- -

tovane vol. II. Cappella Musicale di S. Petronio (soloists Renzo Bez [alto], Vin-
cenzo di Donato [tenor], Furio Zanasi [tenor], Sergio Foresti [bass], Alessandro
Carmignani [sgr], Michel van Goethem [sgr], Liuwe Tamminga [organ]). Sergio
Vartolo. 1995, Verona Cathedral.
Contains masses Missa De beata Virgine I; Missa De beata Virgine II; Missa De
beata Virgine III.

F0076 Bongiovanni GB 5558. CD. Giovanni Pierluigi da Palestrina. Messe mantovane

vol. III. Cappella Musicale di S. Petronio (soloists, Liuwe Tamminga [organ]).
Sergio Vartolo. 1996.
Contains masses Missa In duplicibus minoribus I; Missa In duplicibus minoribus II.

F0077 Brunswick 50125. 12-inch 78 rpm // Società Polifonica Romana/Roman Poly-

phonic Choir (Vatican Choirs). Raffaele Casimiri. ca.1928 [Laudate Dominum a
probable reissue of Parlophone R20001; see item F0333].
Contains offertory motets Exaltabo te, Domine; Laudate Dominum.

F0078 Brunswick 50126. 12-inch 78 rpm // Società Polifonica Rom an a/Roman Poly-
phonic Choir (Vatican Choirs). Raffaele Casimiri. ca . 1928 [also listed as
Brunswick A 5047].
Contains motet Alleluia! Tulerunt Dominum a 5.

F0079 Brunswick 50127. 12-inch 78 rpm // Società Polifonica Romana

Romana/Roman Polyphonic Choir (Vatican Choirs). Raffaele Casimiri. ca. 1928.
Contains offertory motet Improperium exspectavit a 5.

F0080 Brunswick 50128. 12-inch 78 rpm // Società Polifonica Romana/Roman Poly-

phonic Choir (Vatican Choirs). Raffaele Casimiri. ca.1928 [also listed as
Brunswick A 5046].
Contains mass Missa Papae Marcelli a 6 [Credo only].

F0081 Brunswick Album X. 12-inch 78 rpm. Selected Musical Gems by the Roman
Polyphonic Socie ty . Società Polifonica Rom ana/Roman Polyphonic Choir (Vati-
can Choirs). Raffaele Casimiri. ca. 1928 [collected version of Brunswick
50125-50128].

F0082 Cambridge CRC 101. 10 inch LP. Palestrina. Supplicationes. Vi ctoria. Lassus.
-

Byrd. Harvard Glee Club. G. Wallace Woodworth. 1952 (rec. Ap ri l 29, 1952 at
Busch-Reisinger Musuem, Harvard University). Latin texts with English transla-
tion on record sleeve [also listed as TV 18377/8].
Discography 395
Contains motets Confitemini Domino; Adoramus te, Christe [attribution to Palestrina
doubtful; probably by Anerio]; litany Supplicationes ad Beatae Mariae Virginis
[Hab. XXVI, ii. No.1].

F0083 Cambridge CRS 202. LP. Chansons and Motets. Harvard Glee Club, Radcliffe
Choral Society; Daniel Pinkham [organ]. G. Wallace Woodworth. ca . 1953-1955.
Contains mass Missa O admirabile commercium Wenedictus only].

F0084 Cambridge CRS 405. LP. Sacred Polyphony. Harvard Glee Club, Radcliffe
Choral Society. G. Wallace Woodworth. 1958. Texts with English translation
included.
Contans Litaniae [unspecified].

F0085 Camerata LPM 30 038. LP. // Hannover Solistenvereinigung. Garbers. Before

1981.
Contains Missa Papae Marcelli a 6 [Kyrie only].

F0086 Camerata LPM 30 055. LP. Italienische Chormusik. Alsfelder Vokalensemble.

Wolfgang Helbich. Before 1984.
Contains motet Salve regina; magnificat Magnificat septimi toni.

F0087 Capitol P 8126. LP. Missa Papae Marcelli. Roger Wagner Chorale. Roger Wag-
ner. ca. 1950-1951 [also listed as Decca CTL 7010].
Contains mass Missa Papae Marcelli a 6.

F0088 Capitol P 8365. LP. Roger Wagner Chorale. Roger Wagner Chorale. Roger Wag-
ner. 1957.
Contains motet Tu es Petrus a 6 [arr. Roger Wagner].

F0089 Carisch BCA 7012. LP. Antologia Sonora della Musica Italiana. Volume 4: Poli
.otnemicsaniR len arCoro
caSPolifonico
ainof- Romano Gastone Tosato. ca.
1950. Liner notes in Italian and English by Luigi Colacicchi; sleeve lists primary
musical sources for recorded works.
Contains mass Missa Dies sanctificatus a 4 [Benedictus only]; motets Dies sanctifi-
catus a 4; Regina coeli a 4; 0 bone Jesu a6; improperia Popule meus [for 1573].

F0090 Carisch BCA 7013. LP. Antologia Sonora della Musica Italian. Volume 5: Polifo-
nia Profana nel Rinascimento. I Madrigalisti Milanesi. Renato Fait. ca. 1952. Liner
notes in Italian and English by Riccardo Allorto. Italian texts of selections provided.
Contains mad ri gal 1 vaghi fiori e l'amorose fronde a 4.

F0091 Carus CAR 53118. LP. Palestrina. Bruckner: Motetten. Limburger Domsingkn-
aben. Mathias Breitschaft. ca . 1977 [also listed as FSM 53118].
Contains motets Ad te levavi a 5; Dextera Domini a 5; Dum complerentur a 6; Hodie
Christus natus est a 8; Laudate Dominum; Tu es Petrus a 6; Terra tremuit a 5;
lamentation Lamentatio [for Holy Saturday].

F0092 Carus CAR 63107. LP. Limburger Domsingknaben singen zur Weihnacht. Lim-
396 Giovanni Pierluigi da Palestrina
burger Domsingknaben. Mathias Breitschaft. Before 1984 [also listed as FSM
63107].
Contains motet Ad te levavi a 5.

F0093 CBC MVCD [Musica Viva] 1067. CD. The Glory of Palestrina. Elmer Iseler
Singers. Elmer Iseler. 1994 (rec. Church of the Transfiguration, Markham,
Ontario). On this recording, plainchant propers for the Feast of the Ascension
(introit, offertory, communion) are interpolated into the performance of the poly-
phonic mass. Booklet (23pp) contains program notes by Lino Bianchi in English
and French; texts provided with translations into English and French.
Contains mass MissaAscendo ad Patrem (Kyrie [3:21]; Gloria [4:52]; Credo [7:42];
Sanctus [4:37]; Agnus Dei I and II [2:221); motets Ascendo ad Patrem [3:32];
Quern vidistis, pastores [3:38]; Surge illuminare Jerusalem [2:59]; Assumpta est
Maria [2:37]; Stabat Mater [8:22]; magnificat Magnificat Primi toni [8:22].

F0094 CBC MVCD [Musica Viva] 1121. CD. Heavenly Spheres. Le Studio de
Musique Ancienne de Montréal. Christopher Jackson. 1998 [rec. February 11-13,
1997, Chapelle du Grand Seminaire, Montreal]. Program notes (16pp) in English
and French.
Contains motets Salve Regina [5:06]; Beatus Laurentius [3:38]; litany Litaniae de
Beata Virgin Maria a 6 [6:02].

F0095 CBC Transcriptions SM 86. LP. Missa Brevis. Tudor Singers of Montreal.
Wayne Riddell. 1969.
Contains mass Missa Brevis a 4 [24:07].

F0096 Centaur CRC 2303. CD. Music for the Christmas Season. Chicago A Cappella.
Jonathan Miller. 1996 (rec. March 2-3, 1996 at St. Giles Episcopal Church,
Northbrook, Illinois).
Contains mass Missa O magnum mysterium a 6; motets O magnum mysterium a 6;
Jubilate Deo universa terra a 5; hymns A solis ortus cardine; Christe redemptor
omnium; Hostes Herodes impie.

F0097 Chandos 0617. CD. Palestrina: Music for Maundy Thursday. Musica Contexta.
1998 (rec. October 23-25, 1997, All Hallows Church, Gospel Oak, London). Rel-
evant plainchant and antiphons also interpolated on this recording.
Contains lamentations Lamentation 1 [8:11]; Responsory I [2:47]; Lamentation II
[10:37]; Responsory II [2:57]; Lamentation III [8:39]; Responsory III [5:18];
Benedictus for Holy Week [8:07]; Miserere mei [10:59] [Total timing 59:33].

F0098 Chanticleer CR 8801. CD. Anniversary Album 1978-1988. Chanticleer. Joseph

Jennings. 1988.
Contains motet Ave Regina coelorum [3:42].

F0099 Christophorus 4005. CD. Motetten der italienischen Renaissance. Isaak Ensem-
ble Heidelberg (Eva Lebherz-Valentin [sop], Arno Paduch [cometto], Petra
Manz-Bauer [viol], Andreas Grossmann {positive org an], Eva Schildkniecht
[harpsichord]). 1999 [rec. June 1992; orig. released 1993; reissued 1999].
Contains motet Introduxit me rex [diminutions by Bassano].
Discography 397

F0100 Christophorus SCGLX 73 839. LP. // Kammerchor Leonhard Lechner. Willi

Seebacher. 1960s.
Contains mad ri gal Quando dal terzo cielo a 6.

F0101 Christophorus SCGLX 73 910. LP. O Freude fiber Freud. Festliche Weih-
nachtsmusik des 16. und 17. Jahrhunderts. Musica Antigua Wien, Wiener Motet-
tenchor. Be rn hard Klebel. ca. 1962.
Contains motets Ave Maria; Hodie Christus natus est.

F0102 Christophorus SCGLX 73 945. LP. Musica Papale. Musica Antigua Wien,
Wiener Motettenchor. Bernhard Klebel. ca. 1981.
Contains mass Missa Papae Marcelli a 6 [Credoonly].

F0103 Christophorus SCGLX 73 952. LP. Missa Papae Marcelli. Canticum cantico-
rum. Wiener Motettenchor. Bernhard Klebel. 1980 [also released as CD 74512;
Mass also released on Christschall 74512].
Contains mass Missa Papae Marcelli [26:28]; motets [from Canticum canticorum]
Osculetur me a 5; Nigra sum a 5; Vineam meam a 5; Si ignoras te a 5; Tota pul-
chra es a 5; Vulnerasti cor meum a 5; Dilectus meus a 5; Pulchra es a 5; Veni veni
dilecti mi a 5 [22:46 total].

F0104 Christschall 115. 10-inch 78 rpm // Staatliche Vokalkappelle an der Allerheili-

gen-Hofkirche, München. Alfons Singer. ca. 1930.
Contains motet Jubilate Deo a 8.

F0105 Christschall 325B. 12-inch 78 rpm [2 sides]. // Lassus Vocal Qua rtet, Speyer. No
director listed. ca. 1951-1952.
Contains magnificat, unspecified.

F0106 Classics for Pleasure [EMI] CDM 64045. CD. Missa Hodie Christus natus est.
Six Motets. Choir of King's College, Camb ri dge. Philip Ledger. 1970s.
Contains mass Missa Hodie Christus natus est a 8; motets Canite tuba a 5; Ave
Maria a 5; Tui Bunt coeli a 5; Jubilate Deo a 5; 0 magnum mysterium a 6.

F0107 Classics for Pleasure [EMI] CFP 2180. CD. Allegri. Lassus. Palestrina. Choir
of St. John's College, Camb ridge. George Guest. 1991 (rec. July 1990, St. John's
College Chapel, Camb ri dge) [also listed as EMI Eminence CDM 7 64115 2; CD-
EMX 2180].
Contains mass Veni sponsa Christi a 4; motet Veni sponsa Christi a 4.

F0108 Claves D8206. LP. Musiche Veneziane. Teresa Berganza, instrumental ensemble.
1982.
Contains mad ri gal Vestiva i colli a 5 [arranged].

F0109 Collegium COL CD 116. CD. Ave gracia plena. Music in Honour of the Virgin
Mary. The Cambri dge Singers. John Rutter. 1992. Program notes by John Rutter;
texts with English tr anslations in booklet.
Contains motet Stabat Mater a 8.
398 Giovanni Pierluigi da Palestrina

F0110 Collegium COLCD 122. CD. The Song of Songs. Motecta ex Cantico Cantico-
rum. Cambridge Singers. John Rutter. 1994 (rec. November 1993, Lyndhurst
Hall, London). Contains liner booklet (15pp) with notes by John Rutter; Latin
texts with English translations. Contains motets Canticum canticorum, complete
(29 motets) [total 69:02].

F0111 Collegium COLCD 124. CD. Images of Christ. Camb ridge Singers. John Rutter.
1995 [also listed as cassette COLC 124].
Contains motet Ascendo ad Patrem a 5; Improperia.

F0112 Collins Classics 15092. CD. Renaissance Masterpieces, vol. 11/2 Rome. Choir of
New College, Oxford. Edward Higginbottom. 1997 (rec. July 21-23, 1997, New
College Chapel, Oxford).
Contains Victimae paschali laudes [4:02]; Magnificat [5:29]; Ninc dimittis [3:54];
Dum complerentur [6:02]; Ad Dominum cum tribularer [5:01]; Stabat Mater
[9:19]; Alma Redemptoris Mater [2:44]; Recordare [9:41]; Ad te levavi oculos
meos [6:31]; Veni Sancte Spiritus [3:41]

F0113 Collins Classics 50092. CD. Palestrina. Missa Papae Marcelli. Stabat Mater.
Allegri Miserere. Lotti Crucifixus. The Sixteen. Harry Christophers. 1990 (rec.
November 1989, St. Jude's Church, London). Notes in inse rt by Ivan Moody.
Contains mass Missa Papae Marcelli [3:56 (Kyrie); 5:47 (Gloria); 8:30 (Credo);
6:06 (Sanctus-Benedictus); 3:15 (Agnus Dei 1); 3:35 (Agnus Dei II) [31:09 total];
motet Stabat mater[9:19].

F0114 Collins Classisc 70212. CD. A Renaissance Anthology. The Sixteen. Harry
Christophers. 1990 [pa rt ial reissue of Collins 50092].
Contains mass Missa Papae Marcelli a 6.

F0115 Columbia 33CX1567. 12-inch LP. Church Music. Netherlands Chamber Choir.
Felix de Nobel. 1958. Program notes (8pp) by Jeremy Noble; Latin an d Italian texts
with English tr an slations on sleeve inse rt [some items also issued in 7-inch 45 rpm
format as 8216 SEG but withdrawn by 1965; also issued as Angel S-35667, Motets].
Contains motets Sicut cervus a 4; 0 beata et gloriosa Trinitas a 5; Adoramus te
Christe a 4; Stabat Mater a 8; madrigal Soave fia il morir a 5.

F0116 Columbia 4970. 10-inch 78 rpm // London Catholic Choir. No director listed.
Before 1936.
Contains hymn Veni creator spiritus.

F0117 Columbia 5711. 10-inch 78 rpm (1/2 side). Columbia History of Music. Volume
I. Westminster Choir. Sir Richard Terry. Before 1930. Series editor: Dr. Percy
Scholes [also issued as pa rt of Columbia set M 231].
Contains motet Nunc dimittis a 4 [with free falsobordone].

F0118 Columbia 5712. 10-inch 78 rpm. Westminster Choir. Sir Richard Terry. March
1927. Series editor: Dr. Percy Scholes [also issued as pa rt of Columbia set M 231,
Columbia History of Music. Volume 1].
Contains mass Missa Papae Marcelli a 6 [Sanctusonly].
Discography 399

F0119 Columbia D 11053. 12-inch 78 rpm l/ Antwerp "Caecilia" Choir. de Vocht.

Before 1936.
Contains mass Missa Papae Marcelli a 6 [Sanctus only].

F0120 Columbia D 17146. 10-inch 78 rpm // Westminster Abbey Choir [men]. Dr.
Ernest Bullock. Before 1936 [withdrawn mid-1940s] [also issued as Columbia
DB 1836].
Contains offertory motet Super flumina Babylonis a 5.

F0121 Columbia D 17193. 12-inch 78 rpm // Amsterdam "Bel Canto" Choir. Alphons
Vranken. Before 1936.
Contains motet Sicut cervus a 4.

F0122 Columbia D 17194. 12-inch 78 rpm // Amsterdam `Bel Canto" Choir. Alphons
Vranken. Before 1936.
Contains motets Veni veni dilecte mi a 5; Vox dilecti mei a 5.

F0123 Columbia D 17195. 12-inch 78 rpm I/ Amsterdam "Bel Canto" Choir. Alphons
Vranken. Before 1936.
Contains mass Missa Jesu nostra redemptio [Benedictus and Hosanna only]; motet
Hodie Christus natus est a 8.

F0124 Columbia D 696863/5D. 12-inch 78 rpm // Mad rigal Singers. Lehman Engel. ca.
1940 [issued as set M299, 6 sides].
Contains Missa Brevis a 4.

F0125 Columbia D 72351D. 12-inch 78 rpm // De Pauer Infantry Chorus. De Pauer.

Before 1936 [recording included in set MM 709].
Contains motets O bone Jesu; Adoramus to Christe a 4 [attribution doubtful].

F0126 Columbia DFX 180 [Columbia-France]. 12-inch 78 rpm // Lyons Cathedral

Choir. L. Vietti. Before 1936.
Contains mass Missa Papae Marcelli [Benedictus only].

F0127 Columbia LCX 21. 12-inch 78 rpm // Dayton Westminster Choir. John Finlay
Williamson. Before 1936.
Contains offertory motet Exaltabo te Domine a 5.

F0128 Columbia ML 4144. LP. // De Pauer Infantry Chorus. De Pauer. ca. 1950-1951
[recording included in set CM-709, before 1948; also includes reissue of Colum-
bia D 72351D].
Contains motets Adoramus to [attribution doubtful; prob. by F. Rosselli]; O bone
Jesu.

F0129 Columbia RFX 56 [Columbia-France]. 12-inch 78 rpm // Strasbourg Cathedral

Choir. Alphonse Hoch. Pre-1930/ca. 1938 [indications that this is an electric rere-
cording of an existing acoustic disc. This issue dated ca. 1938].
Contains motet 0 bone Jesu.
400 Giovanni Pierluigi da Palestrina
F0130 Columbia RG 16171 [Columbia-Spain]. 12-inch 78 rpm // Comillas Schola
Cantorum. No director listed. ca. 1950-1951.
Contains motet Exsultate Deo a 5.

F0131 Columbia RG 16173 [Columbia-Spain]. 12-inch 78 rpm [2 sides]. // Comillas

Schola Cantorum. No director listed. ca. 1950-1951.
Contains motet from Lamentations, Matribus suis dixerunt.

F0132 Columbia RS 577 [Columbia-Spain]. 12-inch 78 rpm // Orfeôn Domosstiarra.

S. Estraola. Before 1936 [also issued as American Columbia 3779X].
Contains motet Exsultate Deo a 5.

F0133 Columbia Special Products CSP P6 16401. LP (6). Music. A Listener's Intro-
duction. Various performers, compilation made 1983. Designed to accompany
Kenneth Levy's textbook of the same name [individual discs labeled
16402-16407. Palestrina selection is on 16402, derived from EMI recording of
1972, reproduced by permission]. Choir of King's College Chapel, Camb ridge.
David Willcocks.
Contains mass Missa Papae Marcelli [Kyrie only] [3:54].

F0134 Columbia University 103/104. 10-inch 78 rpm (2). Early Liturgical Music.
Columbia University Choir. Lowell P. Beve ridge. ca. 1940.
Contains motet Exaltabo te Domine a 5.

F0135 Concert Hall Society CHC 44. LP. f/ Dessoff Choir. Paul Boepple. 1952. Pro-
gram notes and texts on sleeve [also listed as Nixa CLP 4].
Contains motet Assumpta est Maria a 6.

F0136 Concert Hall Society CHS 1100. LP. // Trapp Family Singers. Franz Wasner. ca.
1938-1939.
Contains motet O bone Jesu a 4.

F0137 Conce rt Hall Society CHS 1231. LP. Sacred Music. Dessoff Choir. Paul Boep-
ple. 1956. Program notes by Paul Boepple; Latin texts with English translations
on sleeve.
Contains mass Missa Assumpta est Maria a 6; motet Stabat Mater a 8; magnificat
Magnificat primi toni.

F0138 Counterpoint [Esoteric] CPT 546. LP. The Renaissance Chorus. Fifteenth and
Sixteenth Century Motets. The Renaissance Chorus. Harold Brown. 1956. Sleeve
notes by Franzi Ascher [also issued as CPT 5546].
Contains motet Exultate Deo a 5.

F0139 Counterpoint [Esoteric] CPT 5602. LP. Music of Palestrina. Dessoff Choirs.
Paul Boepple. 1964.
Contains motets Exultate Deo a 5; Exaltabo te a 5; Surge illuminare Jerusalem a 8:
Sicut cervus a 4; Veni sponsa Christi a 4; hymns Ave maris stella [2 verses]; Sal-
vete flos martyrum; lamentations Lamentations, Book I: Lamed. Matribus suis;
magnificat Magnificat quarti toni.
Discography 401

F0140 Crossroads 22 16 0186. LP. The Song of Songs. Slovak Philharmonic Chorus.
Jan Maria Dobrodinskÿ. 1968. Program notes by Phyllis Mason [a Supraphon
series].
Motets [all from Book IV, all a 5] Osculetur me; Trahe me; Nigra sum; Si ignoras te;
Pulchrae cunt genuae tuae; Fasciculus myrrhae; Vulnerasticor meum; Sicut lil-
ium; Introduxit me rex; Laeva ejus; Vox dilecti mei; Surge arnica mea; Dilectus
meus mihi; Surgam et circuibo; Dilectus meus descendit; Pulchra es arnica mea;
Quae est ista; Duo ubera tua; Quam pulchra es; Veni veni dilecti mi.

F0141 Da Camera Magna SM 94054. LP. Palestrina. Missa Sine Nomine. Motette. Ave
Maria. Quattuor Antiphonae. Schola Cantorum St. Foillan. Wilhelm Eschweiler.
1977. Anonymous notes in German and English on sleeve. The four Marian
antiphons are a voci pari.
Contains mass Missa Sine nomine a 4 [Mantuan, no Credo] [15:01]; motets Alma
Redemptoris Mater [6:10]; Ave Regina coelorum [6:22]; Regina coeli laetare
[6:25]; Salve Regina [7:24]; Ave Ma ria a 4 [3:47].

F0142 Danica DCD 8163. CD. Missa Papae Marcelli. Copenhagen Boys' Choir. Ebbe
Munk. 1995 [rec. February 1995].
Contains mass Missa Papae Marcelli a 6; motets "for the major festivals of the
church year" [unspecified in source].

F0143 Decca LXT 2945. LP. Choral Music of the 13th to the 16th Centuries. Quartetto
Polifonico Italiano. No director listed. 1954. Notes by Alec Robe rt son [also
issued as London LL 995 and as LL 5359].
Contains motets Hodie Christus natus est [arranged Casimiri for single 4-pa rt choir];
magnificat Magnificat quarti toni [arranged Casimiri]; Improperia Popule meus
[arranged Tern i]; hymn Pange lingua gloriosi [arranged Tern i]; litany Litaniae de
BVM ... Ave de coelis.

F0144 Decca 433 678-2. LP. Missa Assumpta est Maria. Choir of St. John's College,
Camb ri dge. George Guest. 1968 and 1972. [The present item may be a pa rtial
reissue of Argo ZK69, with the Missa Assumpta est Maria rec. and added in 1972
for this recording. Missa Veni sponsa Christi reissued on CD as EMI Eminence
CD-EMX 2180 in 1991.]
Contains masses Missa Veni sponsa Christi a 4; Missa Assumpta est Maria a 6; motet
Veni sponsa Christi a 4; magnificat Magnificat VI toni.

F0145 Decca 94 054. LP. Palestrina. Werke für Mtinnerchor. Schola Cantorum St.
Folian, Aachen. Wilhelm Eschweiler. ca . 1978.
Contains mass Missa Sine nomine (Missa Mantovana); motets Alma redemptoris
mater a 4; Ave Maria a 4; Ave regina coelorum a 4 [a voci pari]; Regina coeli
laetare a 4; Salve regina a 4.

F0146 Delos DE 3138. CD. Ave Maria. Ascension Music Cho ru s [Voices of Ascension].
Dennis Keene. 1993 [also issued on casse tt e CS3138].
Contains motet Alma redemptoris mater a 4.

F0147 Delos DE 3165. CD. Beyond Chant: Mysteries of the Renaissance. Voices of
402 Giovanni Pierluigi da Palestrina
Ascension. Dennis Keene. 1994. Program notes by Dennis Keene.
Contains motets Sicut cervus a 4; Jesu rex admirabilis a 3; Exsultate Deo a 5;
Exaltabo te a 5.

F0148 Delos DE 3174. CD. Voices of Ascension. From Chant to Renaissance. Voices of
Ascension. Dennis Keene. 1995. Program notes by Dennis Keene.
Contains motets Surge illuminare a 8; Sitivit anima mea a 4; Hodie Christus natus
est a 8; Ascendo ad Patrem a 5.

F0149 Delos DE 3210. CD. Prince of Music. The Greatest Choral Music of Palestrina.
Voices of Ascension. Dennis Keene. 1997.
Contains mass: Missa Papae Marcelli a 6; motets Tu es Petrus a 6; Dum compleren-
tur a 6; 0 Domine Jesu Christe a 4; Super flumina Babylonis a 4; Canite tuba a
5; Peccantem me quotidie a 5; Alma Redemptoris Mater; Sicut cervus a 4
[secunda pars Sitivit anima mea]; Secundum multitudinem a 6; Rorate coeli a 5
[secunda pars Canite tuba].

F0150 Delos DE 3227. CD. Visions of Heaven. Voices of Ascension. Dennis Keene. 1996.
Contains motet Jesu rex admirabilis a 3.

F0151 Delos DE 3511. CD. Horizons -A Musical Journey. Voices of Ascension. Dennis
Keene. 1995.
Contains motet Sicut cervus a 4.

F0152 Delyse ECB 3147. LP. Choral Recital. RHOS Male Choir. G. Williams. 1958.
Containts motet Adoramus te Christe [ed. G. Williams].

F0153 Discourses ABM 20. LP. Missa "Tu es Petrus." Choir of the London Oratory.
John Hoban. 1975. Notes by Geoffrey Sharp.
Contains mass Missa Tu es Petrus a 6; motet Tu es Petrus a 6.

F0154 Durium SA 113. 12-inch 78 rpm. II [title]. Madrigalisti Milanesi. Renato Fait.
ca. 1950 [reissued on Colosseum CLPS 1027, LP ca. 1952].
Contains motet Tristis est anima mea a 4.

F0155 ECM 1653. CD. In Paradisum: Music of Victoria and Palestrina. Hilliard
Ensemble. Paul Hillier. 2000. Program notes by Ivan Moody.
Contains motets Heu mihi Domine a 4; Domine quando veneris a 4; Libera me
Domine a 5; Ad Dominum cum tribularer a 4.

F0156 Eco [Mixtur] MXT Eco 576. LP. Le Cappelle Musicali alla Rassegna Inter-
nazionale di Loreto. Various performers: for the Palestrina selection, Aachener
Domchor. Numerous directors listed. Before 1979.
Contains motet Haec dies quam fecit Dominus a 6.

F0157 Eco [Mixtur] MXT Eco 592. LP. Corali del mondo a Loreto 1975. Corale Città
di Parma. Various directors. 1975.
Contains motet Dum aurorafinem daret a 4.
Discography 403
F0158 Educo ECM 4003. LP. Plainchant and Polyphony. Choir of the Abbey and Sem-
inary of Mount Angel, Father David Nicholson; Po rtland Symphonic Choir, C.
Robert Zimmerman. 1956.
Contains magnificat Magnificat octavi toni.

F0159 Electrola STE 60602. 10-inch LP. Missa Papae Marcelli. Chor der St.-Hedwigs-
Kathedrale Berlin. Karl Forster. 1964 [also issued on 12-inch LP as HMV ASD
569; and ALP 2019].
Contains mass Missa Papae Marcelli a 6.

F0160 EMI 063 02113. LP. Palestrina. Choir of King's College, Cambridge. David
Willcocks. 1960s [also issued as EMI CSD 1237; Seraphim S-60187; reissue on
EMI 137 154 555-3 (2)].
Contains masses Missa brevis a 4; Missa Papae Marcelli a 6.

F0161 EMI 065 03272. LP. Missa Hodie Christus Natus Est. Six Motets. Choir of
King's College, Cambridge. Philip Ledger. 1970s [also issued as EMI ASD 3559
and on CD as CDM 7 64045 2].
Contains mass Missa Hodie Christus natus est a 8; motets Hodie Christus natus est;
Canite tuba in Sion; Ave Maria; Tu sunt coeli; Jubilate Deo; O magnum mys-
terium.

F0162 EMI 065 99 685. LP. Palestrina. Missa Tu es Petrus. Tblzer Knabenchor. Ger-
hard Schmidt- Gaden. 1970s.
Contains mass Missa Tu es Petrus a 8; motets Ave Maria; Quam pulchri sunt a 4; Tu
es Petrus a 6.

F0163 EMI 067 43 029. LP. Palestrina. Missa Ave Maria. Choir of King's College,
Cambridge. Philip Ledger. 1982.
Contains mass Missa Ave Maria a 6.

F0164 EMI 137 154 555-3. LP (2). Palestrina: Messen und Motetten. Choir of King's
College, Cambridge. Philip Ledger (*), David Willcocks (#). Before 1984 [a com-
bined reissue of previous releases].
Contains masses Missa brevis# Missa Hodie Christus natus est *; Missa Papae Mar-
cell# motets Ave Maria *; Canite tuba*: Hodie Christus natus est*; Jubilate
Deo *; O magnum mysterium ; Tui sunt coeli

F0165 EMI ASD 3955. LP. Palestrina. Missa Ave Maria in Six Parts. Choir of King's
College, Cambridge. Philip Ledger. 1982. Liner notes by Ma ry Berry and Iain
Fenlon. Latin texts with English translations provided. In this perform ance, post-
Tridentine plainchant Mass propers (Introit, Gradual, Tract, Communion) are
interpolated as appropriate. The offertory is Palestrina's (polyphonic) Ave Maria
a 5 found in vol. IX, 13, of the Haberl edition.
Contains mass Missa Ave Maria a 6; motet Ave Maria a 5 [IX, 13].

F0166 EMI CDC 7 47528 2. CD. Palestrina. Missa Papae Marcelli. Motetten: Tu es
Petrus, Laudate Dominum u.a. Regensburger Domspatzen. Georg Ratzinger.
404 Giovanni Pierluigi da Palestrina

1986 (rec. Pfarrkirche S. Albertus Magnus). Contains booklet (12 pp) with notes
by Karin Andrae in German, English, French. Latin texts provided.
Contains mass MissaPapae Marcelli a 6 [4:00 (Kyrie); 5:47 (Gloria); 8:58 (Credo);
3:42 (Sanctus) ; 2:54 (Agnus Dei 1); 2:30 (Agnus Dei II)]; motets Rorate coelia 5
[3.35]; Hodie Christus natus est a 8 [2.27]; Pueri Hebraeoruma 4 [2.00]; Terra
tremuit a 5 [2.20]; Ascendit Deus a 5 [2.08]; Dum complerentura 6 [3.06]; Dum
ergo essent a 6 [2.30]; Ego sum panis vivus a 4 [3.04]; Tu es Petrus a 6 [7.10];
Laudate Dominuma 8 [2.58].

F0167 EMI CDC 7 49619 2. CD. Procession with Carols on Advent Sunday. Choir of
King's College, Camb ridge. Philip Ledger. 1981 (rec. December 20-21, 1979,
King's College, Camb ridge). Notes by Michael Till with texts of the se rv ice.
Contains "I Look From Afar" [adaptation of Palest ri na] [2:49].

F0168 EMI Classics CDC 7 54455. CD. Palestrina/Bach. Missa Sine nomine. Concert o
Palatino. Bruce Dickey. 1991 (rec. June 1991 at Doopgezinde Gemeente Kerk,
Haarlem). The mass is performed in the arrangement made by Johann Sebastian
Bach, with instrumental doublings and added continuo pa rt s. Program notes by
Bruce Dickey in English, French, Germ an ; texts with translations into English,
French, German.
Contains m as s Missa Sine nomine a 6 [arr. J. S. Bach] [26:00].

F0169 EMI Classics CDK 65339. CD. Baroque. Palestrina. Monteverdi. [Vol.71. Choir
of King's College, Cambridge. David Willcocks, Philip Ledger, et al. 1970,
Chapel of King's College, Camb ridge.
Contains mass Missa Papae Marcelli a 6.

F0170 EMI Classics CDZ 69703. CD. Assumpta est Maria. Clare College Choir, Cam-
bridge. Timothy Brown. 1996 (rec. January 1996, Lady Chapel, Ely Cathedral).
Contains mass Missa Assumpta est Maria a 6 [29:40]; motets Assumpta est Maria
[7:19]; Ave Maria [3:33]; Beata es [2:56]; Virgo Maria [2:56]; Hodie gloriosa
semper Virgo Maria [4:39]; Regina coeli [6:22]; magnificat Magnificat septimi
toni [12:53].

F0171 EMI Reflexe CDC 7 47699 2. CD. Musica della Cappella Sistina/Music of the
Sistine Chapel. Taverner Conso rt . Andrew Parrott. 1987 (rec. January 1986).
Some works performed with embellishments. Program notes by Hugh Keyte in
English, French, German. Texts provided, with tr an slations in English, French,
German [also issued as Virgin Veritas 61309 (CD); HMV 27 0565 1 (LP); Stabat
Mater also reissued on Virgin Classics 45272 2].
Contains motets Stabat matera 8 [11.04]; 0 beata et benedicta et gloriosa Trinitasa
5 [7.21]; Jubilate Deo a 8 [4.11]; Dum complerentur dies Pentecostes [5.49].
Additional content includes Gregorio Allegri, Miserere a 9 [13.20]; Cristóbal de
Morales, Lamentabatur Jacob a 5 [10.30]; Josquin Desprez, Pater noster/Ave
Maria [8.35].

F0172 EMI Reflexe CDC 7 49010 2. CD (2). Palestrina. Motettorum liber quartus
quinque vocibus ex canticis canticorum. Madrigali spirituali. Hilliard Ensemble.
Discography 405
Paul Hillier. 1986 (rec. November 18-23, 1984, London). Booklet (27pp) con-
tains program notes by Bruno Turner in English, Germ an , French; texts provided,
with translations into English, German, French [also issued as Virgin ZDMB
61164 an d Virgin Ventas 61168].
Contains motets, all a 5, Osculetur me [2.51]; Trahe me post te [2.32]; Nigra sum,
sed formosa [3.10]; Vineam meam non custodivi [2.09]; Si ignoras te [2.43]; Pul-
chrae sunt genae tuae [2.51]; Fasciculus myrrhae [2.20]; Ecce tu pulcher es
[2.30]; Tota pulchra es [2.13]; Vulnerasti cor meum [2.50]; Sicut lilium inter
spinas [2.56]; Introduxit me rex [2.21]; Laeva eius [2.33]; Vox dilecti mei [2.05];
Surge, propera amica mea [2.16]; Surge, arnica mea [2.33]; Dilectus meus mihi
[2.31]; Surgam et circuibo civitatem [1.57]; Adiuro vos, filiae Jerusalem [3.25];
Caput eius [2.52]; Dilectus meus descendit [2.29]; Pulchra es, amica mea [2.37];
Quae est ista [2.24]; Descendit in hortum meum [2.45]; Quam pulchri sunt [2.40];
Duo ubera tua [3.40]; Quam pulchra es [3.00]; Guttur sum [2.44]; Veni, veni
dilecte mi [2.54] [76:00 total]. Spiritual madrigals Vergine bella [3.34]; Vergine
saggia [3.19]; Vergine pura [3.31]; Vergine santa [3.54]; Vergine sol'al mondo
[4.17]; Vergine chiara [3.19]; Vergine, quante lagrim'ho già sparte [3.38];
Vergine, tal è terra [4.03] [31:00 total].

F0173 EMI SLS 5047(3). LP. // Choir of King's College, Camb ridge. David Willcocks.
1960s.
Contains mass Missa Brevis a 4; motet Haec dies a 6.

F0174 Epic LC 3045. LP. Choral Music from the Lowlands. Fifteenth and Sixteenth
Centuries. Netherlands Chamber Choir. Felix de Nobel. ca. 1955. Program notes
by Klaus George Roy on sleeve.
Contains mass Missa Papae Marcelli a 6.

F0175 Epic LC 3359. LP. Missa Brevis. Missa ad fugam. Netherlands Chamber Choir.
Felix de Nobel. 1957. Program notes by Allen C. Lannon on sleeve.
Contains masses Missa Brevis a 4; Missa ad fugam a 4.

F0176 Erasmus WHV 013. CD. Palestrina. Stabat Mater. Koorproject Rotterdam.
Maarten Michielsen. 1990.
Contains mass Missa Sine nomine a 6; motet Stabat Mater a 8.

F0177 Erasmus WVH 042. CD. Requiem. Cappella "Palestrina." Maarten Michielsen.
ca. 1990.
Contains mass Missa pro defunctis.

F0178 Erasmus WVH 121. CD. Missa Lauda Sion for Four Voices. Cappella "Palest-
rina." Maarten Michielsen. 1993 (rec. Rotterdam, August 1993).
Contains mass Missa Lauda Sion a 4.

F0179 Erato 9070-3. LP (4) [Four-volume multicomposer anthology]. Ensemble

Philippe Caillard. Philippe Caillard. 1972.
Includes a rerelease of Erato 9502, item F0180.
406 Giovanni Pierluigi da Palestrina
F0180 Erato 9502. LP. Palestrina. Missa Aeterna Christi Munera. Motets. Ensemble
Philippe Caillard. Philippe Caillard. 1969 [also listed as Erato EPR 15516].
Contains mass Missa Aeterna Christi munera a 4; motets Tu es Petrus a 6; Hodie
Christus natus est a 8; Tribulations a 5; Peccavimus a 5; Sicut cervus a 5; Exul-
tate Deo a 5; magni fi cat Magnificat sexti toni.

F0181 Erato LDE 1001. 7 inch LP 33 1/3 rpm. Polyphonic Motets of the XVIth Cen-
- -

tury. Petits Chanteurs de la Renaissance. Pagot, Noyre. ca. 1953-1955 [also as LP

Erato EJA 11; also in Haydn Society HS 9007].
Contains motet Ego sum panis vivus [cond. Noyre].

F0182 Everest SDBR 3174/3. LP. Plainsong to Polyphony. Choir of the Carmelite Pri-
ory. John McCarthy. 1967. Texts with English translations enclosed.
Contains masses Missa Aeterna Christi munera a 4 [Kyrie only]; Missa Ecce sacer-
dos magnus [Kyrie only]; Missa Lauda Sion a 4 [Benedictus only]; Magnificat
octavi toni.

F0183 Everest SDBR 3193. LP. The Sistine Choir in Concert at the Vatican. Sistine
Choir. Domenico Bartolucci. 1967.
Contains mass movement (unspecified Benedictus).

F0184 Festival 70 202. 10 inch LP. Pre Baroque Sacred Music. Ha rv ard University
- - -

Chorus, Radcliffe Choral Society. Russell. ca . 1950-1951.

Contains magnificat Magnificat quarti toni.

F0185 FGLP 1028 FG [distributed by AudioSource]. LP. The Candomino Choir. Can-
domino Choir. Tauno Satomaa. 1983 (rec. November 13-15, 1982, Espoo, Fin-
land). Program notes (12pp) by Juha Hovinen, in Finnish with English and Ger-
man translation; Latin texts with English, German, Finnish translations inserted
into sleeve.
Contains mass Missa brevis a 4.

F0186 Fonè 90 F 20/1-90F 20/2. CD (2). Motetti. Madrigali spirituali. Coro Polifonico
Turritano. Antonio Sanna. 1996. Program notes by Antonio Ligios ca. 1990.
Contains masses Missa "de Feria"; Missa Ut re mi fa sol la; Missa Brevis; motets
Ave Maria; Adoramus te Christe; Pueri Hebraeorum; Domine quando pavesco;
Hodie Christus natus est; Jubilate Deo; Quam pulchri sunt; Duo ubera tua;
Quam pulchra es; Exsultate Deo; Stabat Mater; In festo unius martyris; magnifi-
cat Magnificat octavi toni; spiritual madrigals Figlio immortal d'immortal Padre;
E se ma voi di qua gift son grate; Hor tu sol che di vivi almi splendori; Dammi
scala del ciel e del ciel porta; E se fur già de le mie mani immonde; Vello di
Gedeon, cui Dio si largo; Novella aurora che nascend'allegri.

F0187 Fonit LPU 008. LP. Missa Assumpta est Ma ria. Dessoff Choirs. Paul Boepple.
Early 1960s. Texts with English translations included [also issued as Rarities Col-
lection 008].
Contains mass Missa Assumpta est Maria a 6; motet Stabat Mater a 8; magnificat
Magnificat primi toni.
Discography 407
F0188 Fonit LPZ 2021. LP. Coro Franco Maria Saraceni degli Universitari di Roma.
Coro Franco Maria Saraceni degli Universitari di Roma. Fausto Alberto Razzi.
1962.
Contains madrigal La cruda mia nemica a 4.

F0189 Fono FGLS 25-4326. 10-inch LP. Musica nel Sanctuario-Basilica Madonna del
Sasso. Coro Palestrina di Locarno. Walter Rüsch. 1966.
Missa Qual è il più grande amor [Sanctus only].

F0190 Fono FSM 33 207 [Edition Brockhoff]. LP. Alte Musik im Dom zu Münster.
Posaunenchor, Domchor und Schola Münster (Heinrich Stockhorst [organ]).
Hubert Leiwering. Before 1984.
Contains motets Ecce veniet; Fratres ego enim accepi.

F0191 Forlane 16771. CD. II Maîtrise des Hauts -de-Seine. 1997 (rec. Feb., Ap ri l, Oct.
1997, Église Saint-Louis à Garches).
Contains motet Sicut cervus a 4 [secunda pars Sitivit anima mea].

F0192 Fabbri SdM-008. 7-inch LP. La Scuola Romana: Palestrina. Performers not
identified. 1964.
Contains masses Missa Papae Marcelli a 6 [Gloriaonly]; Missa Assumpta est Maria
a 6 [Benedictus only]; motets Super (lumina Babylonis; Tota pulchra es.

F0193 Fabbri SdM-150. 7-inch LP. Il Madrigale. Choral Ensemble. Renato Fait [for
work named below]. 1964.
Contains madrigal I vaghi fiori a 5.

F0194 Gimell CDGIM 001. CD. Palestrina Masses. Missa Benedicta es. The Tallis
Scholars. Peter Phillips. 1986 (orig. rec. 1981, Chapel of Merton College,
Oxford). Liner notes by Peter Philips [originally issued on LP as GIM 1585-01]
[the Josquin motet is the model on which the Palestrina mass is based].
Contains mass Missa Benedicta es [41:15]. Additional material includes plainchant,
Benedicta es [2:24]; Josquin des Pres, motet, Benedicta es [6:55].

F0195 Gimell CDGIM 003. CD. Palestrina Masses. Missa Nigra Sum. The Tallis
Scholars. Peter Phillips. 1986. Liner notes (2pp) by Peter Phillips [originally
issued as LP 1585-03 in 1983].
Contains mass Missa Nigra sum a 5 [35.06] [not based on Palestrina's own motet].
Additional content includes plainchant Nigra sum [1.19]; Jean Lhéritier, motet
Nigra sum [5.05]; Tomas Luis da Victoria, motet Nigra sum [3.59]; De Silva,
motet Nigra sum [ 1.46].

F0196 Gimell CDGIM 008. CD. Palestrina Masses. Missa brevis. Missa Nasce la gioja
mia. The Tallis Scholars. Peter Phillips. 1986 (rec. Merton College Chapel). Pro-
gram notes by Peter Phillips in English, French, Germ an, Italian; the Italian text
of the madrigal is provided with translations into English, French, and German.
Contains masses Missa Brevis [22:00]; Missa Nasce la gioja mia [25:00]. Additional
content includes Primavera, madrigal Nasce la gioja mia [2:30].
408 Giovanni Pierluigi da Palestrina
F0197 Gimell CDGIM 020. CD. Palestrina. Missa Assumpta est Maria. Missa Sicut
Lilium. The Tallis Scholars. Peter Phillips. 1989 (rec. Church of St. Peter an d St.
Paul, Norfolk). Booklet (23pp) contains program notes by Peter Phillips in Eng-
lish, French, Italian, German; texts provided with tr an slations into English,
French, Italian, German [previously issued as 1585T-20].
Contains masses Missa Assumpta est Maria a 6; Missa Sicut lilium a 5; motets
Assumpta est Maria a 6; Sicut lilium inter spinas a 5.

F0198 Gimell CDGIM 339. CD. Miserere. The Tallis Scholars. Peter Phillips. 1985
(rec. 1980, Chapel of Merton College, Oxford). Program notes by Peter Phillips
[issued as Angel RL 32122 in 1980, also as Classics for Pleasure 40339].
Contains mass Missa Papae Marcelli a 6 [36:43].

F0199 Gimell CDGIM 994. CD. The Tallis Scholars Live in Rome. The Tallis Scholars.
Peter Phillips. 1994 (rec. February 2-4, 1994, Basilica of S. Ma ri a Maggiore,
Rome). Recording of a conce rt marking the quatercentenary of Palestrina's death.
Contains program notes in English, French, German; Italian; provides texts with
English, French, and Italian translations.
Contains mass Missa Papae Marcelli a 6 [32:22]; motets Stabat Mater [9:39]; Surge,
illuminare [3:03]; Alma redemptoris mater [3:06]; Nunc dimittis [4:34]; magnifi-
cat Magnificat primi toni (2) [6:27].

F0200 Gimell CDGIMB 400. CD (4). The Palestrina 400 Collection. The Tallis Schol-
ars. Peter Phillips. 1993 (discs orig. issued 1983-1989) [a compilation of issues
GIM 001, GIM 003, GIM 008, GIM 020, items F0194, F0195, F0196, an d F01971.

F0201 Giulia GS 201010. CD. Il vero modo di diminuir. Virtuoso Music from 16th Cen-
tury Italy for Cornetto, Organ and Harpsichord. Doron David Sherwin [cornetto],
Andrea Marcon [organ, harpsichord]. 1991. Program notes (20pp) by Doron
Sherwin in English with German, French, Italian tr an slations.
Contains motets Fuit homo missus a Deo [divisions by D. Sherwin] [4:37]; Introduxit
me Rex [divisions by G. Bassano] [3:52].

F0202 Gramophone [HMV] AB 559 [HMV-Spain]. 12-inch 78 rpm // Barcelona

"Orféo Català" Choir. Luis Millet. ca. 1930.
Contains mass Missa Papae Marcelli a 6 [Credoonly].

F0203 Gramophone [HMV] AF 523 [HMV-Spain]. 12-inch 78 rpm // Capilla de

Mûsica de Montserrat. David Pujol. 1943.
Contains motet Ego sum panic vivus a 4 [Hab.V].

F0204 Gramophone [HMV] C 1473/6. 12-inch 78 rpm (4 discs) [electrical]. // West-

minster Cathedral Choir. Sir Richard Terry (rec. 17 March 1927) [also issued as
EH 163/6; Victor 35941/4].
Contains mass Missa Papae Marcelli a 6 [omits Agnus Dei 1].

F0205 Gramophone C 3914. 12-inch 78 rpm // Westminster Cathedral Choir. George

Malcolm. Before 1936.
Contains hymn Pange lingua gloriosi.
Discography 409
F0206 Gramophone [HMV] D 336 and D 338, 12-inch 80 [sic] rpm [acoustic]. //
Westminster Cathedral Choir. Sir Richard Terry (rec. May 1909, London; with-
drawn by 1936) [HMV reissue of single-sided discs 04781, 04783, 04784].
Contains mass Missa Aeterna Christi munera a 4 [Kyrie, Gloria, Sanctus, Agnus
Dei].

F0207 Gramophone [HMV] D 826. 12-inch 78 rpm [acoustic]. // Sistine Chapel Choir.
Baron Rudolf Kanzler. ca . 1904 [withdrawn before 1936].
Contains motets Ave Ma ria a 4; Sicut cervus a 4.

F0208 Gramophone [HMV] D 1647. 12-inch 78 rpm l/ Dayton Westminster Choir.

John Finlay Williamson. Before 1936 [also issued as Gramophone EJ 430].
Contains motet Exsultate Deo a 5.

F0209 Gramophone [HMV] DB 1570. 12-inch 78 rpm //Cappella Sistina Choir. Anto-
nio Rella. Before 1935 [pa rt of series DB 1569/72, set GM-139, Polyphonic
Church Music].
Contains motet Sicut cervus a 4.

F0210 Gramophone [HMV] DB 1571. 12-inch 78 rpm. Polyphonic Church Music.

Cappella Sistina Choir. Antonio Rella. Before 1935 [o ri ginal recording made ca.
1924] [pa rt of set DB 1569/72; set GM-139; also issued as Victor 7813].
Contains motet Super flumina Babylon is; Improperia Popule meus.

F0211 Gramophone [HMV] DB 4896/7. 12-inch 78 rpm. Polyphonic Church Music.

Choeur de la Cathédrale de Dijon. Joseph Samson. Before 1936 [pa rt of series DB
4893/7, set GM-189; issued also as Victor 11680/81, from series 11677/81, set
M212].
Mass: Missa Assumpta est Maria [Kyrie, Sanctus, Benedictus, Hosanna, Agnus Dei].

F0212 Gramophone [HMV] DB 21050. 12-inch 78 rpm // Cappella Sistina Choir.

Domenico Bartolucci. 1950. Note indicates that this recording was made at the
ceremony of the opening of the Holy Door at St. Peter's Basilica for the Jubilee
Year of 1950.
Containts motets Jubilate Deo a 8; 0 bone Jesu [version unspecified].

F0213 Gramophone [HMV] DB 21140/2. 12-inch 78 rpm (3). // Cappella Sistina

Choir [Domenico Bartolucci?]. ca. 1950-1951.
Contains mass Missa O admirabile commercium a 5 [Gloria, Sanctus, Benedictus
only].

F0214 Gramophone [HMV] E 336. 10-inch 78 rpm [acoustic]. // Alessandro Moreschi,

Sistine Choir members. Baron Rudof Kanzler. 1904 [issue of Black & T an 54788,
matrix 2202b; see Opal 823, item F0323].
Contains mad ri gal La cruda mia nemica a 4 [2:33].

F0215 Gramophone [HMV] EG 3431 [Electrola/HMV-Germany]. 10-inch 78 rpm //

Regensburger Domchor. Theobald Schrems. Before 1936.
Contains mass Missa Lauda Sion a 4 [Benedictus only].
410 Giovanni Pierluigi da Palestrina
F0216 Gramophone [HMV] EG 6812[Electrola/ HMV-Germany]. 10-inch 78 rpm //
Regensburger Domchor. Theobald Schrems. ca. 1942-1948.
Contains mass Missa Papae Marcelli a 6 [Sanctus only].

F0217 Gramophone [HMV] EJ 129[HMV/Germany]. 12-inch 78 rpm // Berlin Staats-

und Domchor. Rudel. Before 1936 [also issued as Victor 9250. This recording was
also issued as Parlophone R 1021; Brunswick 30727; Odeon 0-4305; and Ameri-
can Decca 20161, on 10-inch 78 rpm disc, as pa rt of the Two Thousand Years of
Music series, ed. Curt Sachs, Parlophone 1016/27; Brunswick 30722/33; Odeon
0-4300/11; American Decca 20156/67, set P11, also as LP set DX 106].
Contains mass Missa Papae Marcelli a 6 [Sanctus only].

F0218 Gramophone [HMV] EJ 130 [ElectrolalHMV-Germany]. 12-inch 78 rpm //

Berlin Staats- und Domchor. Rudel. Before 1936.
Contains mass Missa Papae Marcelli a 6 [Benedictus only].

F0219 Gramophone [HMV] GSC 56. 12-inch 78 rpm. Choral Music of the Renais-
sance. Danish Radio Mad ri gal Choir. Mogens Wbldike. ca. 1950 [pa rt of series
GSC 53/8, set GSC 9, Gramophone Shop Celebrities].
Contains motet Super flumina Babylonis.

F0220 Gramophone [HMV] GSC 57. 12-inch 78 rpm. Choral Music of the Renais-
sance. Danish Radio Mad ri gal Choir. Mogens Wbldike. ca. 1950 [pa rt of series
GSC 53/8, set GSC 9, Gramophone Shop Celebrities].
Contains motet Dies sanctificatus a 4.

F0221 Gramophone [HMV] GSC 58. 12-inch 78 rpm Choral Music of the Renais-
sance. Danish Radio Mad ri gal Choir. Mogens WSldike. ca . 1950 [part of series
GSC 53/8, set GSC 9, Gramophone Shop Celebrities].
Contains m as s Missa Aeterna Christi munera a 4 [Agnus Dei I and II only].

F0222 Gramophone GY 212 [HMV-Spain]. 10-inch 78 rpm // Montserrat Monastery

Choir. David Pujol. 1940s.
Contains motet Exsultate Deo a 5.

F0223 Gramophone [HMV] HMS 35. 12-inch 78 rpm. History of Music in Sound. IV.
The Age of Humanism. Brompton Oratory Choir. Hen ry Washington. 1953. Text
(64pp booklet) by Gerald Abraham and Jack Westrup [pub. New York: Oxford
University Press, 1953; Palestrina references pp.27-29. Includes numerous musi-
cal examples, Latin texts and English translations. Originally side 8 in a set of 13
discs; the present material reissued on LP as HMV HLP8; RCA Victor LM 6029,
in series 6028-6029. Musical examples on Side 2, band la and lb].
Contains mass Missa Brevis [Agnus Dei II a 5 only]; Missa Aeterna Christi munera
[Sanctus only].

F0224 Gramophone K 7378 [HMV-France]. 10-inch 78 rpm /I La Manécante ri e des

Petits Chanteurs à la Croix de Bois. No director listed. France, before 1936 [also
issued as Japanese Victor JA 688].
Contains motet Alma redemptoris mater a 4 [Hab. V].
Discography 411

F0225 Gramophone K 7558 [HMV-France]. 10-inch 78 rpm // La Manécanterie des

Petits Chanteurs à la Croix de Bois. No director listed. Fr ance, before 1936.
Contains motet Sicut cervus a 4.

F0226 Gramophone Z 187 [HMV-Scandinavia]. 12-inch 78 rpm // Palestrina Choir.

Mogens WSldike. Before 1936.
Contains motet Sicut cervus a 4.

F0227 Gregorian Institute of America GIOA CA-1. LP. Cathedral Choirs of Amer-
ica: The Choir of Sacred Heart Cathedral, Newark, New Jersey. Sacred Heart
Cathedral Choir. John M. Oates. 1950s.
Contains motets Adoramus te Christe a 4; 0 Domine Jesu Christe a 4.

F0228 Gregorian Institute of America GIOA EL-17-19. LP (3). Thirteen Centuries of

Christian Choral Art. Peloquin Chorale. Alex an der Peloquin. 1959.
Contains mass Missa Brevis a 4 [Sanctus only].

F0229 Gregorian Institute of America GIOA EL-30. LP. Choir of the Pontifical North
American College, Rome. Pontifical No rth American College. Antonio Martorell.
1950s.
Contains motet Ave Maria a 4.

F0230 Gregorian Institute of America GIOA set PM 1. 12-inch 78 rpm. Polyphonic

Masters of the XVIth Century. Gregorian Institute Choir. Vitry. 1948 [reissued on
LP as GIOA PM-LP 1 ca. 1953-1955].
Contains offertory motet Laudate Dominum a 5; lamentations responsory O vos
omnes.

F0231 Harmonia Mundi 25162. 10-inch LP. Gloria in excelsis Deo. Advent und Weih-
nacht in Dom zu Münster. Instrumental ensemble, Domchor Münster. Hube rt Lei-
wering. 1963.
Contains motet Ecce veniez dies illa a 8.

F0232 Harmonia Mundi 30510. LP. Masses and Motets. Les Chanteurs de St.-
Eustache. Père Émile Mart in. 1967. Program notes by Chris Nelson on Odyssey
reissue [reissued on Odyssey 32 16 0122].
Contains masses Missa Ascendo ad patrem a 5; Missa In festis apostolorum I a 5;
motets Surge arnica mea a 5; Cantantibus organis a 5.

F0233 Harmonia Mundi BMG 0542 77317-2. CD. Missa in duplicibus minoribus.
Lamentazioni. Motettes. Maîtrise de Garçons de Colmar, Ensemble Gilles Bin-
chois; Cantus Figuratus, Schola Cantorum Basliensis. Dominique Vellard. 1994.
Liner notes by Horst Leuchtmann.
Contains mass Missa in duplicibus minoribus II a 5; motets Ave regina coelorum;
Gloriosi principes terrae; lamentations Lamentations of Jeremiah I— III.

F0234 Harmonia Mundi HMC 901388. CD. Missa trri Galilaei. Motet Vin Galilaei.
Magnificat prini toni. Ensemble Vocale Européen de la Chapelle Royale, Ensem-
ble Organum. Philippe Herreweghe, Marcel Pérès. 1992 (rec. June 5-7, 1991,
412 Giovanni Pierluigi da Palestrina
L'abbaye aux Dames, Saintes). Program notes in French with English and Ger-
man translations; Latin texts with English, French, German translations.
Contains mass Missa Viri Galilei [40:40]; motet Viri Galilei [4:42]; magnificat Mag-
nificat primi toni [ 11:56].

F0235 Harmonia Mundi HMF 221. LP. Monteverdi: Messe a 4. Deller Consort,
Clemencic Consort (Robert Elliott [organ]). Al fred Deller, Rene Clemencic. 1978
[also issued as Ars Nova VST 6081].
Contains motet Ave verum corpus.

F0236 Harmonia Mundi 1C 065-99 601. LP. Ave Maria Kaiserin. Musik im Dom zu
Aachen. Aachen Cathedral Choir. Gunther Pohl. 1972. Program notes by "A. B."
in German, English, and French; Latin texts included.
Contains motet Terra tremuit a 5.

F0237 Harmonia Mundi 1C 0655-99 685. LP. Missa Tu es Petrus & Motetten. Tôlzer
Knabenchor. Gerhard Schmidt- Gaden. 1974 (rec. Pfarrkirche, Langgreis).
Anonymous liner notes in German and English. Latin texts for motets provided
[also listed as Harmonia Mundi HMI 73-078; BASF HM 25 22061 3].
Contains mass Missa Tu es Petrus a 6; motet Ave Maria; Quam pulchri cunt a 5; Tu
es Petrus a 6.

F0238 Harmonia Mundi 1C 165-99 895/1C 165-99 896. LP (2). Virtuoso

Verziehungskunst um 1600. Schola Cantorum Basiliensis. 1980 (re. Kirche
Rothenfluh, Basel, Switzerland). Texts of vocal works provided in the original
languages (Italian, Latin)
Contains motet Pulchra es arnicamea [arr. Rognoni-Taeggio]; madrigal Io son ferito
[arr. Bassano].

F0239 Haydn Society HSL 2072. LP. Masterpieces of Music Before 1750. Various: for
Palestrina selections, Copenhagen Men and Boy's Choir. Moller. ca. 1953-1955
[part of set HSL 2071/3 (HSL-B); also issued on Erato LDE 3018/9, Histoire de
la musique vocale].
Contains mass Missa Veni sponsa Christi [Agnus Dei I only].

F0240 Herald 173. CD. Ave virgo gloriosa. Cardiff Metropolitan Cathedral Choir.
David Neville. 1995.
Contains motets Dum complerentur dies Pentecostes a 6; Sicut cervus a 4.

F0241 HMV/His Masters Voice ASD 568. LP. Carols. Royal Choral Society. Malcolm
Sargent. 1963 [also issued as ALP 2018].
Contains motet Adoramus te Christe a 4.

F0242 HMV/His Masters Voice ASD 641. LP. Music of Byrd and His Contemporaries.
Choir of King's College, Cambridge. David Willcocks. 1965 [also issued on Elec-
trola SME 914 69; and as ALP 2094; also issued also on LP Classics for Pleasure
CFP 4144881 (cassette TC-CFP4481, CD as CFP 4481)].
Contains motets Tu es Petrus a 6; Haec dies quam fecit Dominus a 6.
Discography 413

F0243 Homochord 4-2941. 12-inch 78 rpm l/ Munich Cathedral Choir. Berberich. Ger-
man, before 1936.
Contains motet Dum complerentur a 6.

F0244 Hungaroton SLPX 11328. LP. Missa Sine nomine (plissa Mantovana). Gybr
Girls' Choir. Imre Kalman, Miklos Szabo. 1970s. Program notes by Istvån Barna
[also listed as Qualiton SLPX 11328].
Contains mass Missa sine nomine ("Missa Mantovana"); motets Confitemini
Domino; Adoramus te Christe; Gloriosi principes terrae; Alma redemptoris
mater; Ave regina caelorum; Salve regina; Ave Ma ria; Sub tuum praesidium;
Pueri Hebraeorum; Surrexit pastor bonus; Haec dies.

F0245 Hungaroton SLPX 11491/3. LP (3). Musical Life in Old Hungary from the 13th
to the 18th Centuries. From the Early Era of Statehood to the Flowering of Tran-
sylvania. Various soloists, Musica Antiqua Wien. Bernhard Klebel [1970s].
Contains motet Laetus Hyperboream a 5.

F0246 Hungaroton SLPX 11669/70. LP (2). The Collection of Bar0a-16th-17th Cen-

tury Hungarian Music. Primavera Quintet (E ri ka Sziklai [sop], Livia Budai [alt]),
Camerata Hungarica. Laszlo Czidra. 1970s. Program notes by Z. Falvy in Hun-
garian with English, Germ an , Russian tr an slations.
Contains mad ri gal Vestiva i colli a 5.

F0247 Hungaroton SLPX 11937. LP. Magnificat. Gyor Girls' Choir. Miklos Szabo.
1978. Texts included.
Contains magnificat Magnificat quarti toni [9:40].

F0248 Hungaroton LPX 11979 and SPLX 11979. LP. Giovanni Pierluigi da Palest-
rina. Missa "De Beata Virgine." Choeur des Jeunesses Musicales de Hongrie.
Gåbor Ugrin. 1979. Booklet (19pp) with notes by Istvån Homolya in English,
Germ an , and French [reissued on CD as HCD 12921, with Claudio Monteverdi,
Sacrae Cantiunculael.
Contains mass Missa de Beata Virgine a 6 [2:18 (Kyrie); 5:36 (Gloria); 8:56 (Credo);
4:05 (Sanctus); 3:03 (Benedictus); 5:55 (Agnus Dei I and 11)]; motets [on LP ver-
sion] Sicut cervus a 4; Dum aurora finem daret a 4.

F0249 Hungaroton SLPX 12184. LP. Baroque Chamber Music. Various instrumental-
ists. 1984.
Contains mad ri gal Vestiva i colli [4:52].

F0250 Hyperion CDA 66266. CD. Palestrina. Missa Papae Marcelli. Missa Brevis.
Choir of Westminster Cathedral. David Hill. 1988 (rec. June 4-6, 1987, Westmin-
ster Cathedral). Program notes by Ivan Moody [also issued on Hyperion cassette
KA 66266].
Contains masses Missa Papae Marcelli [Kyrie 4:28; Gloria 6:23; Credo 9:43; Sanc-
tus 3:50; Benedictus 4:07; Agnus Dei 1 4:59; Agnus Dei II 5:01]; Missa Brevis
[Kyrie 3:09; Gloria 3:27; Credo 6:23; Sanctus 3:06; Benedictus 3:06; Agnus Dei I
4:00; Agnus Dei 11 5:20].
414 Giovanni Pierluigi da Palestrina

F0251 Hyperion CDA 66316. CD. Palestrina. Missa O Rex Gloriae. Missa Viri Galilei.
Westminster Cathedral Choir. James O'Donnell. 1989 (rec. June 22-24, 1988,
Westminster Cathedral, London). Program notes by Iv an Moody; texts provided
with English tr an slations [also issued on Hyperion cassette KA 66316].
Contains masses Missa O Rex Gloriae [24:00]; Missa Viti Galilaei [34:00]; motets O
rex gloriae [3:33]; Viii Galilaei [2:58; secunda pars Ascendit Deus 3:04].

F0252 Hyperion CDA 66364. CD. Palestrina. Missae de Beata Virgine & Ave Maria.
Westminster Cathedral Choir. James O' Donnell. 1989 (rec. March 6-9, 1989).
Program notes by Iv an Moody; texts provided with English translations [also
issued on Hyperion cassette KA 66364].
Contains masses De beata Virginea 6 (pub. 1570)140.10]; Ave Mariaa 4 [33.20].

F0253 Hyperion CDA 66490. CD. Palestrina. Missa Aeterna Christi munera. Westmin-
ster Cathedral Choir. James O'Donnell. 1991 (rec. February 12-15,1991, Westmin-
ster Cathedral, London). Program notes by B ru no Turner in English, French, Ger-
man; texts provided with English translations [also issued on cassette KA 66490].
Contains mass Missa Aeterna Christi munera a 4; motets Sicut cervus a 4; Super flu-
mina Babylonis a 4; Vidi turbam magnum a 6; Quae est ista a 5; Duo ubera tua a 5;
Nigra sum, sed fonnosa a 5; Surge, arnica mea a 5; magnificat Magnificat primi toni.

F0254 Hyperion CDA 66733. CD. Palestrina. Canticum Canticorum Salomonis. The
Song of Songs. Pro Cantione Antigua. B ru no Turner. 1994 (rec. January 4-5,
1994). Program notes (19pp) in English, French, German by B ru no Turner; Latin
texts with English tr an slations.
Contains motets Canticum canticorum, complete (29 motets a 5).

F0255 Hyperion CDA 66850. CD. Exultate Deo. Masterpieces of Sacred Polyphony.
Westminster Cathedral Choir, Joseph Cullen [organ]. James O' Donnell. 1995.
Contains motets Sicut cervus a 4; Exultate Deo a 5; Ave verum corpus a 5.

F0256 Hyperion CDA 66867. CD. Holy Week at the Chapel of the Dukes of Braganza.
A Capella Portuguesa. Be rn adette Nelson, Owen Rees. ca. 1996.
Contains motet Fratres ego enim accepi Domino a 8.

F0257 Hyperion CDA 66994. CD. Advent at St. Paul's. St. Paul's Cathedral Choir.
John Scott. 1997 (rec. June 23-26, 1997, St. Paul's Cathedral, London).
Contains motet Mattins responsory ("after Palestrina ") [3:13].

F0258 Hyperion CDA 67099. CD. Missa Ecce ego Johannes. Choir of Westminster
Cathedral. James O'Donnell. 1997.
Contains mass Missa Ecce ego Johannes; motets Tribulationes civitatum; Tu es
Petrus; Peccantem me quotidie; Laudate pueri; Cantantibus organis;magnificat
Magnificat quarti toni.

F0259 Hyperion CDD 22028. CD (2). Second Vespers for the Feast of Santa Barbara.
The Sixteen. Harry Christophers. 1988 (rec. March 28-30, 1988, St. Jude's on the
Hill, Hampstead, London). Reconst ru ction by Graham Dixon of the Monteverdi
Discography 415
Vespers of 1610 as Second Vespers for the Feast of St. Barbara. Contains two
sonatas from manuscript compiled in 1613 by Giovanni Amigone, and a Palest-
rina motet. Program notes (15pp) with texts and English translations [previously
released as CDA 66311/2, also issued as cassettes KA 66311/2].
Contains motet Gaude Barbara a 5.

F0260 Istituto Internazionale del Disco IM 1001/IDIMS 6001. LP. Missa Ut re mi fa

sol la. Serie Cappella Sistina 1. Coro della Cappella Sistina. Domenico Bar-
tolucci. 1960s. Notes by Guido Pannain.
Contains masses Missa Tu es Petrus a 6; Missa Ut re mi fa sol la a 6; motets Ad te
levavi; Confitebor tibi Domine; Tu es Petrus a 6.

F0261 Istituto Internazionale del Disco IM 1004/IDIMS 6004. LP. Improperium.

Missa Nigra sum. Serie Cappella Sistina 2. Coro della Cappella Sistina [Collegio
dei cappellani canton]. Domenico Bartolucci. 1960s. Notes by L. Guadagnino.
Contains mass Missa Nigra sum a 5; offertory motet Improperium expectavit a 5.

F0262 Istituto Internazionale del Disco IM 1007. LP. Offertori. Coro della Cappella
Sistina. Domenico Bartolucci. 1960s. Notes by L. Guadagnino.
Contains offertory motets [all a 5]: Ad te levavi; Dextera Domini; Bonum est confi-
teri; Meditabor; Laudate Dominum; Confitebor; Terra tremuit; Angelus Domini;
Precatus est Moyses; De profundis; Domine Deus; Exaltabo te.

F0263 Istituto Internazionale del Disco IM 1010. LP. Missa Papae Marcelli. Coro
della Cappella Sistina. Domenico Bartolucci. 1960s.
Contains mass Missa Papae Marcelli a 6.

F0264 JADC 114. CD (2). Officium tenebrarum. Cori Spezzati Vocal Ensemble (Harvé
Lamy [tenor]). Olivier Opdebeeck. 1994 (rec. 1993, Collègiale Saint-Ma rtin de
Champeaux, France). Program notes in French, English, German, Spanish; Latin
texts with French, English, Spanish translations. Lessons not set polyphonically
by Palestrina are sung as plainchant [also listed as Champeaux CSM 0004].
Contains motet Stabat Mater a 8; lamentation Lamentationes Hieremiae Prophetiae
[Lamentations, Book III, for Matins on Thursday, Friday and Saturday of Holy
Week].

F0265 Jade JADC 28337-2. CD. Canticum canticorum. William Byrd Ensemble.
William O'Reilly. 1995.
Contains motets Canticum canticorum (complete, 29 motets a 5).

F0266 Janus JAS 19004. LP. Missa Brevis. Le Quatuor Double. Yves Courville. 1965
(rec. Montreal February 20-21, 28, 1965). Program notes by Gilles Potvin [also
listed as Pirouette JAS 19004].
Contains mass Missa Brevis a 4.

F0267 Kiwi LD-5. LP. Sacred Polyphony of the XVI Century. Choir of St. Mary of the
Angels, Wellington. Maxwell Fernie. 1960s.
416 Giovanni Pierluigi da Palestrina

Contains masses Missa Aetema Christi munera a 4; Missa Brevis a 4; motet Diffusa
est gratia a 5.

F0268 Koch 7351. CD. A Cappella from St. Thomas. Choir of St. Thomas Church, New
York. Gene Hancock. 1980s.
Contains motets Sicut cervus a 4; Exsultate Deo a 5.

F0269 Linn Records CKD 052. CD. The Golden Age, Volume 1: Europe. Magnificat
Ensemble. Philip Cave. 1995 (rec. November 1995, St. Jude's on the Hill, Hamp-
stead).
Contains motet Stabat Mater [9:26].

F0270 London (Jubilee) 421 147-2. LP. Allegri Miserere/Palestrina Stabat Mater.
Choir of King's College, Camb ri dge. Sir David Willcocks. 1963 (rec. August
1963, King's College Chapel) [also issued as Decca 421147-2 on LP, and on CD
in 1988].
Contains motets Stabat mater a 8 [12.49]; Hodie beata Virgo a 5 [4.21]; Senex
puerum portabat a 5 [4.59]; Magnificat primi toni a 8 [6.12]; litany Litaniae de
BVMa 8 [15.46].

F0271 London OS 25118. LP. Music for the Feast of Christmas. Choristers of Ely
Cathedral, Renaissance Singers. Michael Howard. 1960s.
Contains mass Missa Dies sanctificatus a 4.

F0272 Lumen 324 002. 12-inch 78 rpm // Paraphonistes de St. Jean-de- Matines. G.
DeVan. Before 1942 [older numbering 32054].
Contains lamentation Incipit oratio Jeremiae.

F0273 Lyrichord LL 35. LP. Motets for Christmas and Other Festivities. Welch
Chorale. James B. Welch. 1950. Program notes and texts on sleeve.
Contains motets Hodie Christus natus est a 8; Rorate coeli desuper a 5; Dies sancti-
ficatus a 4.

F0274 Lyrichord LL 49. LP. Giovanni Pierluigi Palestrina. Missa "Iste Confessor"
Missa sine nomine (super modulum "Je suis désheritée"). Welch Chorale. James
B. Welch. 1952. Text and English translation on sleeve [also released as
Brunswick AXL 3016].
Contains masses Missa Iste Confessor a 4; Missa Sine nomine a 4.

F0275 Lyrichord LL 52. LP. Motets of the Fifteenth and Sixteenth Centuries with
Easter Themes. Welch Chorale. James B. Welch. ca. 1954. Contains notes and
English translations of texts.
Contains motets Super flumina Babylonis a 4; Tu es Petrus a 6; Sicut cervus a 4;
Haec dies quam fecit Dominus a 6.

F0276 Lyrichord LLST 7247. LP. Missa "Alleluya." Wellesley Choir Singers. Peter
Sipple (rec. 1976). Sleeve notes by Owen Jander.
Contains mass Missa Gig fu chi m'ebbe cara a 4; mad ri gal Gig fu chi m'ebbe cara a 4.
Discography 417
F0277 Lyrichord LLST 7249. LP. Sing Joyfully. St. Luke's Chapel of Men and Boys.
Clifford Clark. ca. 1975. Compiled from tapes of live performances. Texts printed
on sleeve.
Contains motet Rorate coeli desuper a 5.

F0278 Melodiya SM 020323/4. LP. // Tallinn Chamber Choir. ca. 1954.

Contains mass Aeterna Christi munera a 4.

F0279 Melodiya SM 02889/90. LP. // Chamber Choir `Ave Sol." ca. 1956.
Contains mad rigal I vaghi flor a 4.

F0280 Mercury MG 10063. LP. Sacred Music of the Renaissance. Roman Vatican Choir.
Msgr. Licinio Refice. 1947 [Lamentations are reissue of selection in SEVA 19;
Regina coeli is from SEVA 18, which may be directed either by Refice or by Boezi].
Contains motets Regina coeli laetare a 8; Super flumina Babylonis; lamentations
Incipit oratio Jeremiae [Recordare; Aegyptae de dimus manum; Servi dominati
cunt; Jerusalem].

F0281 Meridian E4577069. LP. Palestrina and His Successors. Choir of St. John's Col-
lege, Cambridge (Adrian Lucas [organ]). George Guest. 1982 (St. John's College,
Cambridge). Program notes by Graham Dixon; texts provided with English trans-
lations.
Contains motet Exsultate Deo [2:33]; hymn Pange lingua [8:30].

F0282 Music Library Records ML 5001. LP. II Stanford University Choir. Stanford
University Choir. No director listed. ca. 1950-1951.
Contains motet Sicut cervus a 4.

F0283 Music Library Records ML 7022. LP. Madrigals and Motets. Stanford Univer-
sity Chorus. Schmidt. ca . 1950-1955.
Contains motet Super flumina Babylonis.

F0284 Music Library Records MLR 7085. LP. Motets and Carols. Catawba Choir.
Robert Weaver. 1950s.
Contains motet Ad te levavi oculos meos a 4.

F0285 Musical Heritage Society MHS 3291. LP. Lamentations of Jeremiah. Harvard
Glee Club. F. John Adams. 1976 (rec. March/May 1974, St. Paul's Church, Cam-
bridge, MA).
Contains lamentations Lamentations of Jeremiah [Lamed; Matribus suis].

F0286 Musical Heritage Society MHS 4850Z. LP. Masters of the High Renaissance.
Pro Cantione Antigua. Mark Brown. 1983. Contains anonymous notes; Latin texts
with English translations.
Contains motet Dies sanctificatus a 4.

F0287 Musical Heritage Society MHS 6345. LP. A Cappella Motets. Philippe Caillard
Vocal Ensemble. Philippe Caillard. 1966. Program notes by Bernard Vincent,
418 Giovanni Pierluigi da Palestrina
with English translation by Herman Adler on sleeve; Latin texts with English
translations inserted [reissue of Erato LDE 3188].
Contains motet Ego sum panis vivus a 4.

F0288 Musique au Vatican 1116. 12-inch 78 rpm li Cappella Giulia Choir. Ernesto
Boezi. Before 1948 [also listed as Odeon EMS 8].
Contains Improperia Papule meus a 8 [2 sides].

F0289 Musique au Vatican 1162. 12-inch 78 rpm // Cappella Giulia. Ernesto Boezi.
Before 1948 [from series MV 1159-1162; this disc also numbered Odeon EMS
3].
Contains motet O quantus luctus hominum.

F0290 Musique au Vatican 1186. 12-inch 78 rpm // Cappella Giulia. Monsignor

Antonelli. Before 1948.
Contains motet Pueri Hebraeorum a 4.

F0291 Musique au Vatican 1187. 12-inch 78 rpm // Cappella Giulia. Ernesto Boezi.
Before 1948.
Contains motet Tota pulchra es a 5 [with Goudimel Videntes stellam; see SEMS 41,
item F03851.

F0292 Musique au Vatican 1189. 12-inch 78 rpm // Cappella Giulia. Ernesto Boezi
[also listed as Odeon EMS 38; on this release, Introduxit me rex is paired with
Victoria's O Domine Jesu].
Contains motets Improperium exspectavit a 5; Introduxit me rex in cellam a 5.

Musique au Vatican — see also SEMS.

F0293 Muza N 0374. 7 inch 45 rpm Crucifixus. Chor Chlopiecy I Muski Panstwowej
-

Filharmonii Poznaniu [Boys' and Men's Choir of the Philharmonia of Poznan].

Stefan Stuligrosz. 1960s.
Contains mass Missa Papae Marcelli a 6 [Kyrie].

F0294 Muza SXL 0969. LP. Renesansowe madrigaly I chansons. Cantores Minores
Wratislavienses. Edmund Kajdasz. 1970s.
Contains madrigals I vaghi flor a 4; 0 the splendor a 4.

F0295 Muza SXL 1146. LP. Missa Papae Marcelli. Stabat Mater. Cantores Minores
Wratislavienses. Edmund Kajdasz. 1970s.
Contains mass Missa Papae Marcelli a 6;motet Stabat Mater a 8.

F0296 Muza SXL 1389. LP. Missa Tu es Petrus. Cantores Minores Wratislavienses.
Edmund Kajdasz. 1970s.
Contains mass Missa Tu es Petrus a 6.

F0297 Muza XL 0164. LP. Poznan Nightingales are Singing. Boys' and Men's Choir of
the Philharmonia of Poznan. Stefan Stuligrosz. 1960s.
Contains mass Missa Papae Marcelli a 6 [Sanctus].
Discography 419
F0298 National Catholic Recordings NCR 1050. 12-inch 78 rpm II St. Francis de
Sales Church Choir. No director listed [later 1930s].
Contains motet O bone Jesu.

F0299 Naxos 8.550572. CD. Lesson I for Maundy Thursday. Oxford Camerata. Jeremy
Summerly. 1992.
Contains lamentations Lesson I for Maundy Thursday; Lesson III for Maundy Thurs-
day.

F0300 Naxos 8.550573. CD. Palestrina: Missa Papae Marcelli; Missa Aeterna Christi
Munera. Oxford Camerata. Jeremy Summerly. 1992 (rec. September 24-25,
1991; Dorchester Abbey, Oxfordshire). Liner notes (2pp.) by Jeremy Summerly.
Contains masses Missa Papae Marcelli [4:31; 5:30; 8:28; 8:49; 7:49]; Missa Aeterna
Christi munera [2:07; 2:51; 5:05; 5:01; 4:53].

F0301 Naxos 8.550836. CD. Early Music: Palestrina and Lassus. Schola Cantorum of
Oxford. Jeremy Summerly. 1993. Liner notes by Jeremy Summerly [also issued
on cassette].
Contains mass Missa Hodie Christusnatus est a 8; motet Stabat mater a 8.

F0302 Naxos 8.553238. CD. Palestrina/Allegri: Choral Works. Oxford Camerata (1),
Schola Cantorum of Oxford (2). Jeremy Summerly. 1991 (1); 1993 (March
14-16) (2); Chapel of He rt ford College, Oxford (2). Anonymous liner notes
rep ri nt those of Naxos 8.550573 (see item F0296) plus additional material on Sta-
bat mater and Allegri's Miserere, which is also included here.
(1) Missa Papae Marcelli and Missa Aeterna Christi munera are apparently a reissue
of Naxos 8.550573 (item F0300). (2) Stabat mater [9:14] is apparently a reissue
of Naxos 8.550836 (item F0301) [cassette].

F0303 Naxos 8.553313. CD. Palestrina. Missa de Beata Virgine. Soloists of Cappella
Musicale di S. Petronio di Bologna, Liuew Tamminga, organ. Sergio Vartolo.
1995.
Contains mass Missa de Beata Virgine.

F0304 Naxos 8353314. CD. Missa sine nomine, Missa L'homme armé, Three Motets.
Soloists of the Cappella Musicale di S. Petronio di Bologna; Liuwe Tamminga,
organ. Sergio Vartolo. 1995 (rec. October 1995, Chiesa di S. Zeno a Cavalo,
Verona).
Contains masses Missa sine nomine a 4 (Not the mass a 6 as the cover indicates);
Missa L'homme armé a 4; motets Sicut cervus; Super flumina Babylonis; Peccan-
tem me quotidie.

F0305 Newport Classic NPD 85603. CD. Musica Dei: God's Music. Amor Artis
Chamber Choir (Cynthia Richard Wallace [sop], Megan Friar [mezzo], Thom
Baker [tenor], Richard Holmes [bass-bar]). Johannes Somary. 1994, St. Jean Bap-
tiste Church, New York City.
Contains mass Missa Regina coeli; motets Sicut cervus; Alma redemptoris mater;
Surge, illuminare; Unus ex discipulis.
420 Giovanni Pierluigi da Palestrina

F0306 Nimbus NI 1758. CD (5). European Choral Music 1525-1751. Chri st Church
Cathedral Choir, Oxford. Stephen Darlington.
An anthology compiled from individual Nimbus releases. See NI 5100, item F0307,
and NI 5394, item F0308.

F0307 Nimbus NI 5100. CD. Palestrina. Mass for Pentecost and Motets. Chri st Church
Cathedral Choir, Oxford. Stephen Darlington. 1987 (rec. November 16-17, 1987,
Dorchester Abbey, Oxfordshire). Program notes (14pp) notes by John Milsom,
including Latin texts with English translations [also issued in NI 1758 (disc 2 of
5-disc set). On both releases, the Missa Dum complerentur is listed as the "Mass
for Pentecost"].
Contains mass Missa Dum complerentur [33.40 total: 5:08; 6:50; 9:23; 4:06; 2:35; 2:41;
2:57]; motets Super (lumina Babylonis [4.32]; E.zsultate Deo [4.32]; Sicut cervus
[3.23]; 0 bone Jesu, exaudi me [3.43]; Dum complerentur dies Pentecostes [6.41]

F0308 NI 5394. CD. Palestrina. Missa O sacrum convivium. Chri st Church Cathedral
Choir, Oxford. Stephen Darlington. 1993 (May 10-11). Liner notes by Andrew
Carwood [also issued in NI 1758 (disc 3 of 5-disc set)].
Contains mass Missa O sacrum convivium [30:50 total: 3:41; 6:15; 8:08; 4:25; 3:20;
5:01]; motets O sacrum convivium [5:00]; Coenantibus illis [5:41]; magnificat
Magnificat sexti toni a 6 [11:48]. Additional contents include Morales, motet O
sacrum convivium [4:40] (the model on which the Palestrina mass is based).

Nixa-see Period

F0309 Nonesuch 71407. LP. Pope Marcellus Mass/Palestrina. Pro Cantione Antigua.
Bruno Turner. 1978. Liner notes by D an iel Schillaci [recording made 1978 by
P.C. A.; issued by Nonesuch 1982].
Contains mass Missa Papae Marcelli a 6 [30:46]; motets Dominus Jesus in qua nocte
[4:16]; Alma redemptoris mater [2:27]; Peccantem me quotidie [14:26]; Stabat
Mater [9:25].

F0310 Nonesuch HC 3014 and HC-73014 A-F. LP (3). Music at the Courts: Italy,
Sweden, France. 16th to 18th Centuries. Camerata Lutetiensis, Le Rondeau de
Pari s. 1967. Works performed by Camerata Lutetiensis on side 1 of set in arrange-
ments for a set of viols. Detailed liner notes in English by Robert Erich Wolf.
Contains ri cerca ri 1. Dorian [2:54]; 2. Hypodorian [2:36]; 3. Phrygian [3:31]; 4.
Hypophrygian [2:59]; 5. Lydian [2:22]; 6. Hypolydian [3:39]; 7. Mixolydian
[3:00]; 8. Hypomixolydian [3:21].

F0311 Novello NVLCD 102. CD. Lamentations of Jeremiah. Pro Cantione Antigua.
Bruno Turner. 1989 (rec. January 15-17, 1988, St. Alban's Church, Tooting, Lon-
don.) Program notes by Bruno Turner. This disc is a recording based on manu-
script in I-Rvat Cod. Ottobon. 3387. Latin texts with English translations
included.
Contains Lamentations (complete).

F0312 Nuova Era 7257. CD. Beata es Virgo Maria. Devozione mariana nel Rinasci-
mento. Corale Universitaria di Torino. Dario Tabbia. 1996 (rec. Ap ri l to Novem-
Discography 421

ber, 1993, Chiesa della Misericordia, Turin). Latin texts with English, French,
Italian trans. in container.
Contains magnificat Magnificat quinti toni no.2.

F0313 Odeon 80993. 10-inch 78 rpm // Sistine Choir. Raffaele Casimiri. Date not
known; possibly a French or Italian issue associated with Casimiri Parlophone
series of 1920s.
Contains motet Sicut cervus a 4.

F0314 Odeon EMS 1. 12-inch 78 rpm // Cappella Giulia Choir. Ernesto Boezi. ca.
1935.
Contains motet Super flumina Babylonis a 4.

F0315 Oiseau -Lyre CD 414 277-2OH. CD. // Amsterdam Loeki Stardust Qua rtet.
1991.
Contains ricercar Ricercar del secondo tuono [secundi toni, arranged].

F0316 Oiseau -Lyre CD 430 246-2. CD. Italian Recorder Music. Amsterdam Loeki
Stardust Quartet. 1991. Notes by Clifford Bartlett.
Contains lamentation Lamentationes Hieremiae [arranged] [4:46].

F0317 Oiseau -Lyre OLS 153. LP. // Ambrosian Singers. John McCarthy. 1968.
Contains motets Ad te levavi; Ave Maria.

F0318 Oiseau Lyre OL 269. LP. Mass. Sine nomine. Mass. Ecce ego Joannes.
-

Carmelite Priory of London Choir. John McCarthy. 1964. Program notes by John
Buttrey on sleeve.
Contains masses Missa Ecce ego Joannes; Missa sine nomine (Je suisdésheritée).

F0319 Oiseau -Lyre OL 283 and SOL 283. LP. Masters of the Renaissance. Victoria
and Palestrina. Choir of the Carmelite Priory of London (Henry Washington,
organ). John McCarthy. 1965. Contains liner notes by John Buttrey.
Contains motets Surge illuminare Jerusalem; Ave Regina a 4; hymn Veni Sancte
Spiritus a 8; magnificat Magnificat primi toni.

F0320 Oiseau -Lyre R 145. LP. Music for Holy Week. Ambrosian Singers. John
McCarthy. 1968 (Also listed as Delyse DS3200).
Contains motets Pueri Hebraeorum a 4; Improperia.

F0321 Oiseau -Lyre SOL 293. LP. // Choir of the Carmelite Priory of London. John
McCarthy. Mid-1960s.
Contains hymn Veni sancte Spiritus.

F0322 Oiseau Lyre SOL 338 339. LP (2). The Garden of Love. Palestrina: The Song of
- -

Songs. Cantores in Ecclesia. Michael Howard. 1974. Liner notes by Michael

Howard in English, French, Germ an; texts of motets and translations into English,
French, German provided.
Contains motets Canticum canticorum, complete (29 motets a 5).
422 Giovanni Pierluigi da Palestrina

F0323 Opal 823. LP. Alessandro Moreschi. The Last Castrato. Complete Vatican
Recordings. Alessandro Moreschi, various soloists, Cappella Sistina Choir, oth-
ers. Baron Kanzler and others. 1984. Collection of recordings made in 1902 and
1904 for the Red G & T and Black G & T labels (Victor production). Liner notes
by John Wolfson and a historical article by Elsa Scammell. An issue of this
recording was circulating in the 1920s and early 1930s but was apparently with-
drawn before 1936 [see item F0214]. Moreschi sings the canto line, while three
other singers (identities unknown but very likely from the Sistine Chapel) per-
form the other pa rts [also issued on CD as Opal 9823].
Contains madrigal La cruda mia nemica a 4.

F0324 Open University OUA 201. LP. Renaissance Music. The Linden Singers (Ursula
Connors [sop], Elizabeth Har rison [sop], Jean Temperley [alt], Wynford Evans
[ten], Ian Humphris [bar], John Huw Davies [bass]). Dinah Barsham. 1972.
Recording which accompanied correspondence course material in Open Univer-
sity Arts Second Level course, Renaissance and Reformation, units 17-19,
Renaissance Music.
Contains mass Missa Aeterna Christi munera [Kyrie, Gloria, Sanctus, Benedictus,
Hosanna only].

F0325 Opus Musicum OM 101/03. LP. Die Messe/The Mass. Pro Musica Köln.
Johannes Hômberg. 1978. Palestrina selection is on disc OM 102, side 1, band 1.
Historical notes in German on the mass (14pp) by Johannes Hdmberg, with Eng-
lish translation by A. C. Howie [stereo version OM 201/03].
Contains mass Missa Assumpta est Maria a 6 [Kyrie only] [4:50].

F0326 Orfeo Records 1003. 12-inch 78 rpm /l Trapp Chorus. No director listed [Franz
Wasner?]. ca. 1951-1952.
Contains mass Missa brevis a 4 [Introit, Kyrie, Agnus Dei only].

F0327 Oryx EXP 36. LP. Sixteenth Century Music. Les Petits Chanteurs de Mont-
Royal. Leandre Brault. 1970 [also listed as Peerless EXP 36].
Contains mass Missa Lauda Sion a 4 [Sanctus only]; motet Praecatus est Moyses a S.

F0328 Overtone LP 4 5. LP. Yale Universi ty Volumes I and II. Yale University Music
-

School Chorus. Paul Hindemith. 1953-1955.

Contains [Volume II] mass Missa Sine nomine [Credo only].

F0329 Paraclete/Gloria Dei Cantores GD CD 002. CD. Gloriae Dei Cantores: Easter
Day Mass. Gloriae Dei Cantores (James E. Jordan [organ]). Elizabeth C. Patter-
son. 1996.
Contains mass Missa Aeterna Christi munera a 4.

F0330 Paraclete/Gloria Dei Cantores GDCD 013. Prince of Music. Gloriae Dei Can-
tores. Elizabeth Patterson [also issued on cassette GDC 013]. 1997.
Contains masses Missa de beata Virgine II [Mantuan]; Missa Descendit angelus
Domini; motets Super flumina Babylonis; Ad te levavi; Misereri nostri, Domine;
Sicut cervus; Sitivit anima mea; Jubilate Deo.
Discography 423

F0331 Parlophone E3185. 10-inch 78 rpm (1/2 side). I/ Westminster Cathedral Choir
[Sir Richard Terry?]. Before 1936.
Contains motet O salutaris hostia.

F0332 Parlophone E10804. 12-inch 78 rpm // Chorus of La Scala, Milan. Vittorio

Veneziani. Before 1936 [also listed as Odeon 123677].
Contains motet Tenebrae factae sunt.

F0333 Parlophone R20001. 12-inch 78 rpm [acoustic] // Sistine Chapel Choir. Raffaele
Casimiri. 1920s [Laudate Dominum also issued Brunswick 50125, see item F0077].
Contains motets Exultate Deo; Laudate Dominum.

F0334 Parlophone R20002. 12-inch 78 rpm [acoustic]. // Sistine Chapel Choir. Raf-
faele Casimiri. 1920s.
Contains motets Confitebor tibi Domine; Bonum est [1 side each].

F0335 Parlophone R20004. 12-inch 78 rpm [acoustic]. // Sistine Chapel Choir. Raf-
faele Casimiri. 1920s.
Contains motet Tribulationes civitatum [secunda pars Peccavimus].

F0336 Parlophone R20006. 12-inch 78 rpm [acoustic]. // Sistine Chapel Choir. Raf-
faele Casimiri. 1920s.
Contains motet Introduxit me rex.

F0337 Parlophone RD 108. 10-inch 78 rpm // Turin Seminary Choir. Pistone. Date not
known, before 1950 [Italian Cetra issue].
Contains motet Hodie Christus natus est a 8 [III].

F0338 Parlophone RD 562. 12-inch 78 rpm Choir of the Accademia Santa Cecilia.
Bonaventura Somma. ca. 1948 [older numbering PE 117].
Contains madrigal: Ahi, the quest'occhi miei a 3.

F0339 Pathé PA 2059.10-inch 78 rpm // Vienna Boy's Choir. Ferdinand Grossman. ca.
1950.
Contains motet Salvator mundi a 4.

F0340 Pathé PAT 63. 12-inch 78 rpm Three Centuries of Organ Music. André Marchal,
Charles Hens et al. [organ]. Late 1930s [in series PAT 62/73].
Contains unspecified ricercar [perf. André Marchai].

F0341 Pathé PDT 95/9.12-inch 78 rpm // Les Chanteurs de St.- Eustache. Père Émile
Martin. ca. 1942-1948 [set also associated with a spoken introduction, "Prestige
de la messe" by Fr. Joseph Samson, on PDT 94. 10 sides in toto; reissued on LP as
Pathé QTX 213; American Vox PTL 6790 ca. 1950-1951].
Contains mass Missa Papae Marcelli a 6.

F0342 Pathé PDT 220. 12-inch 78 rpm // Les Chanteurs de St.-Eustache. Père Émile
Martin. ca. 1950.
Contains motet Assumpta est Maria a 6.
424 Giovanni Pierluigi da Palestrina

F0343 Pathé PDT 273. 12-inch 78 rpm // International Boys' Choir. Maillet. 1951. Note
indicates this recording was made during mass at St. Peter's, Rome, on Ap ril 1,
1951; choir composed of about 3000 voices.
Containts motet Sicut cervus a 4.

F0344 Pathé X 93051. 12-inch 78 rpm (1/2 side). // Schola St. Léon IX de Nancy. Abbé
Gaudard. Before 1936.
Contains motet O bone Jesu a 6.

F0345 Pathé X 93055. 12-inch 78 rpm // Schola St. Léon IX de Nancy. Abbé Gaudard.
Before 1936.
Contains motet Alma redemptoris mater.

F0346 Pathé X 93085. 10-inch 78 rpm // Pa ris Teachers' Chorus. R. Ducasse. Before
1936.
Contains unspecified mad rigal, sung in French.

F0347 Pavane ADW 7343. CD. Russki Partes Choral Ensemble. Russki Partes. Pekalit-
ski. 1996.
Contains mass Missa L'homme armé a 5; madrigal Alla riva del Tebro.

F0348 Period/Nixa SPLP 513. LP. A Concert of a Capella Music for Treble Voices.
Period Choral Society. Robe rt Strassburg. ca. 1953-1955. Some of these items
are arranged for female voices only. Program notes, Latin texts with English
translations on sleeve [also issued as Classic CLC 6138; Concerteum CPR 318].
Contains masses Missa Descendit angelus Domini [Benedictus only]; Missa O rex
gloriae [Crucifixus only]; Missa Sacerdotes Domini a 6 [Pleni sunt coeli only];
motets Confitemini Domino; Hodie Christus natus est; Salve Regina a 5; Adore-
mus te Christe; Confitemini Domino; Jesu rex admirabilis a 3; Tua Jesu dilectio a
3; magnificat Magnificat quarti toni.

F0349 Period/Nixa PLP 586. LP. Old Italian Masters. Flor Peeters [organ] [also issued
as Contrepoint MC 20048; possibly reissued on Vanguard (1950s)].
Contains ricercar Ricercare primi toni.

F0350 Period PRST 2856. LP. // Coro della Cappella del Duomo di Treviso. Giovanni
d' Alessi. 1950s.
Contains mass Missa Sine nomine [ "Je suis deshéritée"].

F0351 Period SPL 597. LP. Renaissance Music. New York Primavera Singers. Noah
Greenberg. 1954. Texts with English translations on sleeve; Dover reissue contains
booklet with notes by Edward Lerner, as well as Latin texts and English tran
slations
[also issued as Contrepoint MC 20077; also as Dover HCR 5248 in 1965].
Contains motet Assumpta est Maria [4:25].

F0352 Period SPL 706. LP. Tomas Louis de Victoria [sic]. Sistine Chapel Choir.
Domenico Bartolucci. 1954. Program notes by Bernard Lebow; Latin texts with
English translations.
Contains motet Sicut cervus a 4; offertory Improperium expectavit.
Discography 425

F0353 Period SPL 744. LP. Exaltabo te and Other Works. Sistine Chapel Choir.
Domenico Bartolucci. 1950s. Program notes by Bernard Lebow. Texts and Eng-
lish translations on sleeve.
Contains offertory motets (all a 5) Exaltabo te; Bonum est confiteri; Laudate
Dominum; Super flumina Babylonis; Pueri Hebraeorum; motets Dies sanctifica-
tus; Popule meus [Haberl XXXI 171 172]; Tota pulchra es; Vox dilecti mei;
-

Hodie Christus natus est; Tribulationes civitatum; Exsultate Deo.

F0354 Philips A 00105L. LP. Missa Papae Marcelli. Netherlands Chamber Choir. Felix
de Nobel. ca. 1951-1952 [reissued on Epic LC 3045 (ca. 1953-1955) as part of
anthology].
Contains mass Missa Papae Marcelli a 6.

F0355 Philips A 00272L. LP. Missa brevis. Missa ad fugam. Netherlands Chamber
Choir. Felix de Nobel. Early 1950s [reissued on Epic LC 3359].
Contains masses Missa Ad fugam a 4; Missa Brevis a 4.

F0356 Philips E 10003. 10 inch 78 rpm // Breda Choir. Before 1942.

-

Contains motet Alleluia! Tulerunt Dominum.

F0357 Philips NBL 5033. LP. Palestrina Masses. Netherlands Chamber Choir. Felix de
Nobel. 1956 [see EPIC LC 3045 and EPIC LC 3359].
Contains masses Missa Ad fugam a 4; Missa Brevis a 4; Missa Papae Marcelli a 6.

F0358 Philips RGD 462862. CD (2). The Best of the Renaissance. Tallis Scholars. The
Tallis Scholars. Peter Philips. 1999.
Contains mass Missa Papae Marcelli a 6.

F0359 Pierre Verany PVY 794041. CD. Motets and Madrigals. Akademia—Regional
Vocal Ensemble de Champagne- Ardenne. Françoise Lasserre. 1994 (Convent of the
Annunciation Dominican Church, Pa ris). Program notes (5pp) by Noel O'Regan.
Contains motets Ave Maria; Salve Regina; Ave mundi spes; Ave regina coelorum;
Alma redemptoris mater; Regina coeli laetare; Salve regina; spiritual madrigals
Vergine bella; Vergine saggia; Vergine pura; Vergine santa; Vergine sola; Vergine
chiara; Vergine, quante lagrime; Vergine, tale è terra; magnificat Magnificat
primi toni.

F0360 Pierre Verany PVY 795092. CD. Giovanni Pierluigi da Palestrina. Canticum
canticorum. Akademia—Ensemble Vocal Regional de Champagne- Ardenne.
Françoise Lasserre. 1995. Program notes (4pp) by Alain de Chambure.
Contains motets Canticum canticorum [complete, 29 motets a 5]

F0361 Pilz 44 2070 2. CD. Famous a Capella Choruses. Berlin Radio Choir. Diet rich
Knothe. 1990s.
Contains mass Missa Tu es Petrus a 6 [24:09].

F0362 Pleaides P 247 252. LP (12). Historical Anthology of Music in Performance.

-

Various performers. 1969-1976 [recording of the Historical Anthology of Music,

ed. Willi Apel].
426 Giovanni Pierluigi da Palestrina
Volume 6 (P251) contains mass Missa Papae Marcelli [Agnus Dei I only]; motet
Sicut cervus a 4; mad ri gal Alla riva del Tebro a 4.

F0363 Polskie Nagrania PNCD 086. CD. // Cantores Minores Wratislavienses.

Edmund Kajdasz. 1974 and 1976, Polish Radio Studio, Wroclaw [this version is
apparently a reissue of performances on at least two LPs].
Contains masses Missa Papae Marcelli a 6; Missa Tu es Petrus a 6; motet Tu es
Petrus a 6.

F0364 Polydor 22528. 10-inch 78 rpm // Paderbo rn Cathedral Choir. Gustav Schauerte.
Before 1936.
Contains motet O admirabile commercium a 5.

F0365 Polydor 249182. LP. Advent mit dem Regensburger Domspatzen. Regensburger
Domspatzen. Hans Schrems. 1970s.
Contains mass Missa Lauda Sion a 4 [Benedictus only].

F0366 [PRIVATE ISSUE] Benedictines of St. Benoit du Lac. Set III. 12-inch 78 rpm
LP. [rereleased on LP MG1205?]. "Messe du Sacre Coeur." Probably released ca.
1950.
Contains motet Jesu, rex admirabilis; lamentation Pars mea.

F0367 [PRIVATE ISSUE] University of the South. LP. University of the South. Univer-
sity of the South Chorus. McConnell. ca . 1951-1952.
Contains hymn Veni Creator Spritus a 4.

F0368 RAI CT 7013-7014. LP [blank cover]. Coro di Roma della RAI, dir. Nino
Antonellini [mass]; Coro di Torino della RAI, dir. Ruggero Maghini. 1970.
Recording issued in conjunction with publication of the Bianchi/Fellerer biogra-
phy Palestrina of 1971.
Contains mass Missa Hodie Christus natus est a 8 [22:15]; motets [from Canticum
canticorum, all a 5]: Nigra sum; Vox dilecti mei; Dilectus meus mihi; Introduxit
me rex; Vulnerasti cor meum; Surge arnica mea [18:10 total].

F0369 RCA RL 30 780 AS. LP. Ein festliches Weihnachtkonzert aus dem Petersdom
Rom. Kammerorchester Rom, Chor der Cappella Sistina (Ingeborg Hallstein
[sop], Flavio Benedetti Michelangeli [organ]). Quinzio Petrocchi, Domenico Bar-
tolucci. Before 1984 [also issued on cassette RK 30 780 CT].
Contains motet Hodie Christus natus est a 8.

F0370 Regent REGFCM 103/4/5. CD (3). Palestrina: Complete Four-Part Madrigals.

Conso rt Ars Music. Rafaello Monterosso. 1997.
Contains the complete production of four-part madrigals [including Book I (1555),
Book II (1586), and the madrigals found in an thologies].

F0371 Renaissance X 55. LP. The Choir of the Sistine Chapel. Sistine Chapel Choir.
Domenico Bartolucci. ca . 1950 [also issued on LP as Contrepoint MC 20066 ca.
1953-1955].
Discography 427

Contains motets Dies sanctificatus; Exsultate Deo; Hodie Christus natus est; Pueri
Hebraeorum; Super flumina Babylonis; Tribulationes; Peccavimus [secunda pars
of Tribulationes]; Tota pulchra es; Vox dilecti mea; Bonum est confiteri; Exultabo
te Domine; Laudate Dominum; Improperia Popule meus.

F0372 Ricercar RIC 8029. CD. Missa Assumpta est Maria. Motets. La Chapelle
Royale de Pa ri s. Phillippe Herreweghe. 1980 (rec. July 14-16, 1980, Temple des
Billettes, Pa ri s). Liner notes by Philippe Beaussant and Jérome Lejeune [also
listed as RIC 008, or as 241162].
Contains mass Missa Assumpta est Maria [24:00]; motets O bone Jesu [2:15]; Pecca-
ntem me quotidie [3:10]; Ave Maria [3:05]; Sicut cervus [2:16; secunda pars
Sitivit anima mea 2:27]; 0 beata et gloriosa Trinitas [3:12; secunda pars O vera
summa 2:55].

F0373 Ricercar RIC 152663. CD. Motetti, Madrigali e Canzoni Francesi. François
Fauche [bass], Ensemble La Fenice (Jean Tubery [cornett/vornet muet/recorder],
Christina Pluhar [t ri ple harp], Matthias Spaeter [archlute], Jean-Marc Aymes
[organ/harpsichord]). n.d. [Also numbered RIC 245132].
Contains madrigals Io son ferito, ahi lasso; Vestiva i colli; Io son ferito; Vestiva i
colli [arranged]; ricercar Ricercare; motet Pulchra es amica mea; Pulchra es
amica mea [arranged].

F0374 St. Olaf 3. LP. St. Olaf Choir. St. Olaf Choir. O.C. Christiansen. ca . 1950-1951.
Contains motet Hodie Christusnatus est.

F0375 Sarx SX 010-2. CD. Giovanni Pierluigi da Palestrina. Missa Pro Defunctis.
Motetti. Ars Cantica. Marco Berrini. 1995.
Contains motets Domine, quando veneris; Commissa mea pavesco; Heu mihi
Domine; Anima mea turbata est; Super flumina Babylonis; Ecce nuncbenedicite;
Ad te levavi oculos meos; Miserere nostri Domine; Ad Dominum cum tribularer;
Sagittae potentis acutae; Fundamenta eius; Numquid Sion; Quia vidisti me,
Thoma; Ego sum panis vivus; Sicut cervus [secunda pars Sitivit anima mea];mass
Pro defunctis [Antiphona ad introitum; Ky ri e; Gratualia; Tractus De profundis
clamavi; Offe rt ori um Domine Jesu Christe; Sanctus; Benedictus; Agnus Dei I, II,
III].

F0376 Sarx SX026-2. CD. Giovanni Pierluigi da Palestrina.Motecta Festorum Totius

Anni [1]. Collegium Vocale "Nova Ars Cantandi." Giovanni Acciai. Late 1990s.
Contains motets (all a 4) Dies sanctificatus [3:02]; Lapidabant Stephanum [3:56];
Valde honorandum est [3:19]; Magnum haereditatis mysterium [3:27]; Tribus
miraculis [3:56]; Hodie beata virgo [3:19]; Jesus iunxit se [3:56]; 0 rex gloriae
[3:30]; Loquebantur [4:01]; Benedicta sit [3:51]; Fuit homo [3:19]; Tu es pastor
ovium [3:15]; Magnus Sanctus Paulus [3:42]; Surge propera [3:28]; Beatus Lau-
rentius [3:45]; Quae est ista[3:35].

F0377 Schwann SCH 317962. CD. [title]. Montserrat Capella, Montserrat Esolania.
Ireneu Segarra. 1990s.
Contains mass Missa De Beata Virgine a 6.
428 Giovanni Pierluigi da Palestrina
F0378 Seraphim S-60187. LP. Missa Papae Marcelli. Missa Brevis. Choir of King's Col-
lege, Cambridge. David Willcocks. 1972. Notes by Alec Robe rtson; texts provided
with English translations [also issued as EMI CSD
1237; EMI 1C 063-02113].
Contains masses Missa Papae Marcelli [32:39]; Missa Brevis [25:00].

F0379 SEVA set 18. 10-inch 78 rpm // Vatican Singers. Ernesto Boezi. Date? [1948
source says Roman Vatican Choir—Refice].
Contains motet Regina coeli a 8.

F0380 SEVA set 19. 10-inch 78 rpm // Roman Vatican Singers. Licino Refice. Before
1948.
Contains lamentations Incipit oratio Jeremiae.

F0381 SEMS/Musique au Vatican 1. 12-inch 78 rpm // Cappella Giulia. Ernesto

Boezi. ca. 1935.
Contains offertory motet Super flumina Babylonis [with Victoria Tenebrae, directed
by Antonelli].

F0382 SEMS/Musique au Vatican 2. 12-inch 78 rpm // Cappella Giulia. Ernesto

Boezi. ca. 1936-1942 [also listed as Odeon EMS 2].
Contains motet Laudate pueri Dominum a 8.

F0383 SEMS/Musique au Vatican 8. 12-inch 78 rpm // Cappella Giulia Choir. Ernesto

Boezi. ca. 1936-1942.
Contains motet Improperium exspectavit [with Victoria O vos omnes].

F0384 SEMS 11/Musique au Vatican 1155. 12-inch 78 rpm // Cappella Giulia. Ernesto
Boezi. ca. 1935 [also listed as Odeon EMS 11].
Contains motet Tribulationes civitatum [with secunda pars Peccavimus].

F0385 SEMS 13. 12-inch 78 rpm // Cappella Giulia Choir. Ernesto Boezi. Before 1942
[also listed as Odeon EMS 13].
Contains offertory motet Bonum est confiteri a 5.

F0386 SEMS/Musique au Vatican 16. 12-inch 78 rpm // Cappella Giulia Choir.

Ernesto Boezi. Before 1942 [also listed as Odeon EMS 16].
Contains motet Adoremus to Christe [doubtful work].

F0387 SEMS 26/30. 12-inch 78 rpm [ 10 sides]. // Cappella Giulia Choir. Ernesto Boezi.
ca. 1936-1942 [also listed as Odeon EMS 26/30].
Contains mass Missa Papae Marcelli a 6.

F0388 SEMS/Musique au Vatican 31. 12-inch 78 rpm // Cappella Giulia Choir.

Ernesto Boezi. Before 1942 [also listed as Odeon EMS 31].
Contains motets Alleluia. Tulerunt Dominum a 5; Laudate Dominum.

F0389 SEMS/Musique au Vatican 35. 12-inch 78 rpm // Cappella Giulia Choir.

Ernesto Boezi. Before 1942 [also listed as Odeon EMS 35].
Contains motet Paucitas dierum a 5 [secunda pars Manus tuae].
Discography 429
F0390 SEMS 38. 12-inch 78 rpm // Cappella Giulia Choir. Ernesto Boezi. Before 1942.
Contains motet Introduxit me rex [with Victo ri a O Domine Jesu].

F0391 SEMS 41/Musique au Vatican 1187. 12-inch 78 rpm // Cappella Giulia. Ernesto
Boezi. Before 1942 [also listed as Odeon EMS 41. NB: When Tota pulchra es was
released as Odeon EMS 41, it was paired with Exsultate Deo; on the MV 1187
release, Tota pulchra es was paired with Goudimel's Videntes stellam].
Contains motets Exsultate Deo a 5; Tota pulchra es a 5.

F0392 SEMS 43. 12-inch 78 rpm // Cappella Giulia Choir. Ernesto Boezi. Before 1942.
Contains hymn O felix anima a 3.

F0393 SEMS/Musique au Vatican 44. 10-inch 78 rpm // Cappella Giulia. Ernesto

Boezi. Before 1942 [also listed as Odeon EMS 44].
Contains motet Vox dilecti mei a 5.

F0394 SEMS 54. 10-inch 78 rpm // Cappella Giulia Choir. Ernesto Boezi. Before 1942
[also listed as Odeon EMS 54].
Contains offertory motet Exaltabo te, Domine.

F0395 SEMS/Musique au Vatican 1119. 12-inch 78 rpm // Mad ri gal Choir of the
Schola Cantorum Pontificale. Mons. Antonelli. Before 1948.
Contains mad ri gal I vaghi fiori e l'amorose fronde a 4.

F0396 SEMS/Musique au Vatican 1146. 12-inch 78 rpm // Cappella Giulia. Mons.

Antonelli [motet]; Ernesto Boezi [hymn]. Issued ca. 1942-1948; probably
recorded by early 1930s.
Contains motet Dies sanctificatus a 4; hymn Pange lingua gloriosi a 4.

F0397 SEMS/Musique au Vatican 1156. 12-inch 78 rpm // Cappella Giulia Choir.

Monsignor Antonelli. ca. 1935-1939.
Contains motet Super(lumina Babylonis a 4 [with Victo ri a Tenebrae].

F0398 SEMS/Musique au Vatican 1157. 12-inch 78 rpm // Cappella Giulia Choir.

Monsignor Antonelli. ca . 1935.
Contains offertory motet Laudate Dominum [with Victo ri a Caligaverunt].

F0399 Sony Special Products A 324940. CD (3). The Norton Recordings. Shorter Ver-
sion. Tallis Scholars. Peter Phillips. 1980 [selection under consideration derived
from Gimell CDGIM 339, previously issued as Angel RL 32122].
Contains mass Missa Papae Marcelli [Gloria only] [CD1, track 13-14; also on cas-
sette 1, A/6 section]

F0400 Sony Special Products A 720384. CD (3rd edition: 12 discs, 2 vols of 6 each). A
History of Western Music and the Norton Anthology of Western Music. Vol. 1.
Sound CDs to accompany the text of Donald Grout's and Claude V. Palisca's A
History of Western Music, 5th edition (1996).
Contains mass Missa Papae Marcelli [Credoand Agnus Dei 1 only].
430 Giovanni Pierluigi da Palestrina

F0401 Stradivarius STR 33375. CD. Giovanni Pierluigi da Palestrina. Ave maris
Stella. Camerata Nova. Luigi Taglioni. 1996 (rec. September 19-22, 1996, Cripta
della Casa Provincializia delle Suore "Ancelle della Carità," Rome). Notes (2pp)
by Lino Bianchi, ca. 1986, and Matelda Viola (2pp) ca. 1996.
Contains motets Ave Maria a 4 [3:19]; Alma redemptoris mater [secunda pars: Tu
quae genuisti] [4:24]; Veni sponsa Christi a 4 [2:57]; Surge propera [3:19]; Quae
est ista a 4[8:58]; Hodie beata Virgo [3:23]; Ave regina coelorum [secunda pars:
Gaude ergo gloriosa] [5:48]; Ave Maria a 5; magnificats Magnificat quarti toni
[from Lateran codex 59] [9:51]; Magnificat septimi toni [from Magnificats, book
III] [ 11:34]; hymn Ave maris stella a 4 [6:50].

F0402 Stradivarius STR 33423. CD. Palestrina: Missae ex Cipriano de Rore. Delitiae
Musicae. Marco Longhini. 1997 (rec. September 12-14, 1995, Church of S. Bric-
cio di Lavagna, Verona). Program notes (5pp) by Marco Longhini.
Contains masses Missa Quando lieta sperai; Missa Qual'è il più grande amore.
Additional contents include Rore madrigals Quando lieta sperai and Qual'è il più
grande amore.

F0403 Stradivarius STR 33477. CD. Palestrina: Missae ex Jacquet de Mantua. Deli-
tiae Musicae. Marco Longhini. 1997 (rec. August 27-29, 1997, Church of S. Bric
-cio di Lavagna, Verona).
Contains masses Missa Salvum me fac, Domine; Missa Aspice Domine. Additional
contents include Jacquet of Mantua motets Salvum me fac, Domine and Aspice
Domine.

F0404 Stradivarius STR SIP 35. CD. Sacred Polyphony of the Sixteenth Century. Syn-
tagma. Franco Monego.
Contains mass Missa Brevis a 4.

F0405 Studio SM 33-01. LP. Monaco Cathedral Choir. Monaco Cathedral Choir. H.
Carol. ca. 1950-1951 [reissue of SM 61/4, 12-inch 78 rpm, 8 sides].
Contains motet Improperium exspectavit.

F0406 Studio SM 37-41.12-inch 78 rpm. Polyphonic Church Music. Choeur de la

Cathédrale de Dijon. Joseph Samson. ca. 1950-1951 [pa rt of set SM 37/41, 10
sides]; Palestrina on disk 39.] [Note: see F0445. F0406 may be an issue or reissue
of F0445.]
Contains motet Sicut cervus a 4

F0407 Supraphon ARMU 005-2. CD. Cantate Domino. Chorus Kantilena, Brno State
Philharmonic Orchestra Choir. Ivan Sedlacek. 1990s.
Contains motets Ave regina coelorum a 4; Alma redemptoris mater [number of pa rts
not indicated].

F0408 Supraphon 31-0528-2. CD. Ave Verum Corpus. Bambini di Praga. Blanka
Kulinsky, Bohumil Kulïnsky. 2000 [rec. October 2000 in Prague].
Contains motet Pueri Hebraeorum a 4 [ 1:32].
Discography 431

F0409 Supraphon SUAST 50578. LP. Missa Papae Marcelli. Oratio Jeremiae. Pauci-
tas dierum. Alleluia, Tulerunt Dominum. Czech Philharmonic Chorus. Prague
Madrigal Singers. Miroslav Venhoda. 1963 (rec. 1963, Church of the Virgin Mary,
Prague) [also listed as Ariola XH28 841K (5); Parliament PLP 612].
Contains mass Missa Papae Marcelli a 6; motets Alleluia! Tulerunt Dominum;
Paucitas dierum; lamentation Oratio Jeremiae Prophetae.

F0410 Supraphon SUAST 50775. LP. The Song of Songs. Slovak Philharmonic Cho-
rus. Jan Maria Dobrodinskÿ. 1968 [Crossroads 22160186, item F0140, presents a
partial reissue of this recording, with 20 of the 29 motets plus notes in English].
Contains motets from Canticum canticorum.

F0411 Supraphon SUAST 50776. LP. Missa Cantantibus organis, Caecilia. Prague
Madrigal Singers. Miroslav Venhoda. 1967. This is a recording of the complete
mass, with each composer and his contribution designated.
Contains mass Missa Cantantibus organis [Palestrina's cont ribution is the Et in terra
pax].

F0412 Supraphon SUP 11 0620-2 211. CD [reissue of an LP]. [title]. Czech Philhar-
monic Chorus. M. Bruni. 1975. Notes by Jaroslav Holocek.
Contains motet Stabat mater a 8.

F0413 Supraphon SUP 11 2137-2. CD. Missa Papae Marcelli. Missa Hodie Christus
natus est. Stabat mater. Czech Philharmonic Chorus. Josef Veselka, [reissue of LP
Supraphon 112.1807, rec. 1971, also listed as LP Ariola XH 28841 K(S)].
Contains mass Hodie Christus natus est a 8 [36:00]; motet Stabat Mater [10:50];
improperia Popule meus [3:35].

F0414 Supraphon SUP 412 2141/42. LP (2). Canticum Canticorum. The Song of
Songs. Czech Philharmonic Chorus. Josef Veselka Late 1970s.
Contains motets of the Canticum canticorum (complete, 29 motets a 5).

F0415 Supraphon SUP 1412 2931/2932. LP (2). Madrigals. Czech Philharmonic Cho-
rus. Josef Veselka. 1981 (rec. 1979). Texts on sleeve.
Contains madrigals I vaghi fiori e l'amorose fronde a 4; Vestiva i colli a 5.

F0416 Syrena 9473/74. 10-inch 78 rpm (4 sides). II Poznan Cathedral Choir. W.

Gieburoskiego. Before 1936.
Contains motet Stabat mater a 8 [ 1948 source says these are 12-inch discs].

F0417 Tactus TC 520001. CD. Sacred Music Connected with St. Philip Neri. Progetto
Musica Vocal Ensemble, Progetto Musica Instrumental Ensemble. Giulio
Monaco. 1995 (rec. March 1995, Santuario di Graglia).
Contains mass Missa in minoribus duplicibus.

F0418 Tactus TC 521601. CD. Il primo libro di madrigali a quattro voci. Concerto Ital-
iano (G. Banditelli [sgr], C. Cavina [alto], S. Naglia [alto], G. Maletto [tenor], D.
Carnovich [bass], A. Damiani [lute]). Rinaldo Alessandrini. 1992 (rec. December
432 Giovanni Pierluigi da Palestrina
4-7, 1992. Sala Bolognini del Convento di S an Domenico, Bologna). Recording
based on the 1596 edition of the madrigals, originally published in 1555. Program
notes an d texts in Italian, English, German, and French.
Contains madrigals [Book I, complete (30 works)]: Deh hor foss'io col vago della
luna;
S'il disci mai, ch'io veng'in odio a quella; Queste saranno ben lagrime, e questi;Che
no fia che giamai dal cor si sgombri; Rime, da i sospir miei nati e dal pianto; Lontan
dalla mia diva; Nessun visse giamai più di me lieto; La ver l'aurora che si dolce
l'aura; Chiara, si chiaro è de'vostr'occhi il sole; Chi stinguera il mio foco; Donna
vostra mercede; Gig fu chi m'ebbe cara e volentieri; Che debbo far, che mi consigli
amore; Over de sensi è priva; Amor, fortuna e la mia mente schiva; Ne spero i dolci
di tornin'in dietro; Gitene liete rime ov'or si siede; Mentr'a le dolci e le purpuree
labbra; Amor che meco in quest'ombre ti stavi; Ecc'ove gionse prima e poi s'assise;
Vaghi pensier che cosi passo passo; Mentre ch'al mar descenderanno i fiumi; Quai
rime fur si chiare; Sestina: Ecc 'oscurati i chiari raggi al sole; Rara beltà nonmai piu
vista in terra; Questo doglioso stil colmo di pianto; Mai fu piu crudo piu spietata
morte; Privo di fed'oltra l'usato corso; Ma voi fioriti e honorati colli.

F0419 Tactus TC 550201. CD. Motetti madrigali et canzoni Francese di diversi eccel-
lentissimi auto ri. Musica Figurata. 1998 [rec. Pieve di S. Giov an ni Battista, Satur-
nano- Pistoia].
Contains diminutions of motets Introduxit me rex [3:29]; Pulchra es [3:53]; Tota pul-
chra es [3:35]; Fuit homo missus est [5:45]; Benedicta sit sancta Trinitas [6:33];
Ave Maria [5:30].

F0420 Tactus TC 561901. CD. Missa Loquebantur. Vespertina Psalmodia. Stagione

Armonica. Sergio Balestracci. 1998. Program notes in Italian by Sergio
Balestracci (12pp) with English, French, German trans. in container.
Contains motet Loquebantur in variis linguis.

F0421 Tallis Choir TCD-03. CD. The Music of Palestrina and Victoria. The Tallis
Choir [Toronto]. Peter Walker, Juergen Petrenko. 1991 (rec. May 1991, Grace
Church-on-the-Hill, Toronto). Program notes in English; Latin text with English
translations provided in box.
Contains motets Assumpta est Maria [5:57]; Lauda Sion Salvatorem [3:08]; Stabat
mater [10:31]; Haec dies [1:46]; Tu es Petrus a 6 [6:14]; O magnum mysterium
[5:53].

F0422 Telarc TELA CD 80257. CD. Royal Brass Empire Brass Quintet [also issued as
cassette CS 30257]. 1990.
Contains ricercar Ricercar del primo tuono [arr. Empire Brass Quintet].

F0423 Teldec 4509-94561-2. CD. Palestrina. Missa pro defunctis. Motets. Chanticleer.
Joseph Jennings. 1995 (rec. 1994, S an Rafael, CA). Program notes by Stephen R.
Miller (5pp) in English, French, and Germ an ; texts provided, with tr anslations
into English, French, German.
Contains mass Missa pro defunctis [21.14]; motets Gaude gloriosa [2.10]; Salve
regina a 5 [5.54]; Pange lingua a 4 [7.31]; 0 bone Jesua 6 [3.02]; Trahe me a 5
[2.34]; Nigra sum, sed formosa [3.13]; Surge, propera [2.20]; Surge, arnica mea
[2.33]; Quam pulchra es [2.47]; Veni, dilecte mi [2.34]; Gaude, Barbara [9.15].
Discography 433

F0424 Telefunken AS6 41036. LP. Die Kleinorgel. Albert de Klerk [chamber organ].
1967 [also issued as SAWT 9409].
Contains ricercar Ricercare primi toni [arr. organ].

F0425 Telefunken AW6 42033. LP. Recorder Music of Renaissance Italy. Vienna
Recorder Ensemble. 1977.
Contains two unspecified ri cerca
ri.

F0426 Turnabout 34309S. LP. Palestrina. Missa de Beata lergine. 3 Motets. Sp an dauer
Kantorei. Martin Behrmann. 1970. Liner notes by Egon Kenton [also listed as
FSM 34 309. NB: O magnum mysterium also issued on Vox Cameo Classics 8839
in 1997].
Contains mass Missa de Beata lergine a 6 [31:44]; motets Tu es Petrus a 6 [8:34];
Lauda Sion salvatorem a 4 [3:54]; 0 magnum mysterium a 6 [7:31].

F0427 Ultraphon AP 276. 10-inch 78 rpm // Choir of St. Nicolas Church, Freiburg.
Bovet. Before 1935.
Contains mass Missa Papae Marcelli a 6 [Kyrie only]; motet Viri Galilaei [arr.
Bovet].

F0428 Unicorn UN LP 1013. LP. Missa Veni sponsa Christi. Vienna Kammerchor.
Hans Gillesberger. 1955. Program notes by Klaus George Roy; Latin texts with
English translations, on sleeve.
Contains mass Missa Veni sponsa Christi a 4; motet Veni sponsa Christi a 4.

F0429 United Artists UAL 7001. LP. Leopold Stokowski Conducting the Symphony of
the Air. Symphony of the Air. Leopold Stokowski. Later 1950s.
Contains motet Adoramus te Christe [arrangement].

F0430 Urania US 57168. LP. Madrigals and Motets. Thirteenth to Seventeenth Century.
Coro de Madrigalistas de Mexico. Luis S andi. 1960s.
Contains motet O quantus luctus.

F0431 Veriton SXV 775. LP. Cantores Minores Wratislavienses. Edmund Kajdasz.
1970s.
Contains improperias Cantica majoris hebdomadae: In monte Oliveti; Unus ex dis
;tnus eatcaf earbeneT ;iem icima senmO ;siem siluEcce
pic- quomodo moritur;
Popule meus; Crux fidelis; Vexilla regis; Adoramus te; O vos omnes; lamentation
Lamentatio (Sabbato Sancto).

F0432 Victor 6442. 12-inch 78 rpm [acoustic]. // Sistine Chapel Choir. Antonio Rella.
1908.
Contains motet Laudate Dominum quia benignus est.

F0433 Victor 7812. 12-inch 78 rpm // Sistine Chapel Choir. Antonio Rella. ca. 1910
[also in set GM-139 and VM-182].
Contains motet Sicut cervus a 4.
434 Giovanni Pierluigi da Palestrina
F0434 Victor 7813. 12-inch 78 rpm // Sistine Chapel Choir. Antonio Rella. ca. 1910
[also issued in VM-182 and as Gramophone/HMV DB1571 in set GM-139].
Contains improperia Popule meus; [reverse side] motet Super flumina Babylonis.

F0435 Victor 9159. 12-inch 78 rpm // Maestri Canton di Firenze. Sandro Benelli.
Before 1936.
Contains motets O bone Jesu a 4; Adoramus te Christe [attribution to Palestrina
doubtful].

F0436 Victor 13560. 12-inch 78 rpm Medieval and Renaissance Choral Music. Choir
of the Pius X School of Liturgical Music. Mother G. Stevens. ca . 1940 [issued in
5—disc set M 739].
Contains motet Pueri Hebraeorum a 4.

F0437 Victor 15731. 12-inch 78 rpm // Pennsylvania University Choir. Harl McDonald.
Before 1936 [withdrawn 1940s] [also issued as Gramophone EB 295].
Contains motet O bone Jesu.

F0438 Victor 17633. 12-inch 78 rpm // Augustana Choir. Hen ry Veld. ca. 1940.
Contains motet Ecce quomodo moritur justus a 4 [actually by Ingegneri].

F0439 Victor 20410. 10-inch 78 rpm // Dayton Westminster Choir. John Finlay
Williamson. Before 1936 [also issued as Gramophone EW 65].
Contain motet Hodie Christus flatus est a 8.

F0440 Victor 20897. 10-inch 78 rpm (1/2 side). // Palestrina Choir. Nicola A. Montani.
Before 1936.
Contains magnificat Magnificat tertii toni [Gloria patrionly].

F0441 Victor 20898. 10-inch 78 rpm // Palestrina Choir. Nicola A. Montani. Before
1936.
Contains motet Sicut cervus a 4; improperia Popule meus.

F0442 Victor 21622. 10-inch 78 rpm // Palestrina Choir. Nicola A. Montani. Before
1936.
Contains motet Adoramus te Christe [attribution to Palestrina doubtful].

F0443 Victor 26782. 10-inch 78 rpm Madrigals, Motets and Chansons. Lee Jones
Madrigal Singers. Lee Jones. ca. 1940 [issued in 4—disc set G 26].
Contains motet Pater noster.

F0444 Victor set E 101. LP. // Vocal Octet. No director listed. ca . 1950 [also issued as
set WE 101, 45 rpm].
Contains motet O bone Jesu.

F0445 Victor set VM-212. Five 12-inch 78 rpm discs. Dijon Cathedral Album. Dijon
Cathedral Choir. Joseph Samson. Before 1938. [May be identified with F0406]
q.v.
Discography 435
F0446 Voce del Padrone/Odeon QBLP 5048. 10-inch LP. Coro della Cappella Sistina.
Choir of the Sistine Chapel. Lorenzo Perosi. 1957.
Contains Improperia; motets Sicut cervus a 4; Super flumina Babylonis.

F0447 Vivarte 60660. CD. Sing Choirs of Angels. Malle Babbe Choir. Leny v an Schaik
1999 (rec. in Doopsgezinde Kerke, Haarlem).
Contains motet Salve Regina [2:111

F0448 Vox PL 9740. LP. Le Vergini. Stabat Mater. Super flumina Babylonis. Choir of
the Choral Academy, Lecco. Guido Camillucci. 1957.
Contains motets Super flumina Babylonis [3:00]; Stabat mater a 8 [7:40]; spi ritual
madrigals Vergine bella; Vergina saggia; Vergine pura; Vergina santa; Vergine
sola; Vergine chiara; Vergine, quante lagrime; Vergine, tale è terra [31:13 total].

F0449 Vox PL 10020. LP. Missa Papae Marcelli. Missa Assumpta est Maria. Pro
Musica Choir, Vienna. Ferdinand Grossmann. 1956. Notes by Charles Stanley on
sleeve.
Contains masses Missa Papae Marcelli [26:20]; Missa Assumpta est Maria [24:34].

F0450 Wealden WS 122. LP. 1/ Choir of St. Mary's Parish Church, Woodford. Robe rt
Munns. Before 1981.
Contains motet Loquebantur varus linguis.

F0451 Westminster W 9605. LP. Missa Papae Marcelli. Gunther Theurig. Vienna
Akademie Kammerchor. 1963. Text with English translation on sleeve.
Contains mass Missa Papae Marcelli a 6 [38:33].

F0452 Westminster XWN 18632. LP. Palestrina: Three Motets. Gallus. Ten Motets.
Vienna Akademie Kammerchor. Gunther Theurig. Mid to late 1950s.
Contains motets Stabat Mater; Pater noster; Super flumina Babylonis.

F0453 Westminster XWN 18693. LP. Missa Aeterna Christi munera. Chanteurs de St.-
Eustache. Père Émile Mart in. 1959. Texts with English tr an slation on sleeve.
Contains masses Missa Aeterna Christi munera a 4; Missa Lauda Sion a 4.

F0454 Westminster XWN 18836. LP. Mass Pange Lingua. [Missa Assumpta est
Maria]. Chanteurs de St.- Eustache. Père Emile Martin. 1959 [probably a reissue
of recording of earlier (unknown) date; described on sleeve as `An Erato record-
ing"]. Program notes by Philippe Caillard and J.F. Paillard, translated into English
from o ri ginal French; Latin texts with English tr an slation on sleeve.
Contains mass Missa Assumpta est Maria a 6.

Appendix

This section contains recordings for which citations or contents, including main
recording titles, could not be verified. It is understood that these citations may be incom-
plete or inaccurate, or that the titles either of the full recording or of the works reported
to be by Palestri na are not accurately known.
436 Giovanni Pierluigi da Palestrina
Abbey LPB 816. LP. In Quires and Places. Choir of the Metropolitan Cathedral of
Liverpool.
Palestrina work(s).

Alpha APR 306. [no further information.]

Motet Haec dies quam fecit Dominus

Argo R 1002. LP. Wesley Chapel Choir. Cleall.

Motet Adoramus te Christe a 4.

Capitol MC 20066. LP. Cappella Sistina Choir. Domenico Bartolucci. [This perform-
ance was probably issued on several other discs in the 1950s].
Motet Tota pulchra es a 5.

Hungaroton SLPX 12546. LP. Pecs Chamber Choir. Tillei.

Madrigal I vaghi fiori e l'amorose fronde a 4.

Melodiya D 027283/4. LP. Vocal Ensemble "Renaissance." ca. 1970.

Litany Kyrie [unspecified]; magnificat [unspecified].

Remington 199-167. Helsinki University Choir. Turunen.

Mass Aeterna Ch risti munera a 4.

Urania AP 276. Fribourg Choir.

Mass Missa Papae Marcelli a 6 [Kyrie only].
Index of Titles and First Lines of Musical Works

A solis ortus cardine [hymn a 4, verses 130230, D0083

Ad usque terrae limitem a 4 Ad te levavi oculos meos [offertory motet a 5]
Castae parentis a 4 A0095, B0063, B0178, D0009 (v.6), D0023 (v.1),
Enixa est puerpera a 3 F0262
Gaudet chorus coelestium a 5] Adiuro [Adjuro] vos filiae Hierusalem [motet a 5,
A0085, A0086, 130046, 130200, B0234, B0355, IV/19], A0063, D0005 (v.2), D0023 (v.2), D0059,
B0356, D0111 (Castae parentis), E0460, F0096 D0104, D0155, D0318, D0323, E0543
Accepit Jesus calicem [motet a 6], A0059, B0159, Adoramus te Christe [motet a 4, attribution ques-
B0226 tioned in source: by Anerio? Rosselli?], F0082,
Ad beneplacitum [mass a 6], A0027 F0125, F0128, F0386, F0435, F0442
Ad coenam agni providi [hymn a 4, verses Adoramus te Christe [motet a 4], A0080, B0186,
Et stolis albis candidi a 4 D0014 (v.6), D0028 (v.12), D0031, D0061,
Protecti paschae a 4 D0079 (v.1), D0091, D0093, D0107 ("Preis und
O vere digna hostia a 4 Ehr"), D0115, D0136, D0194, D0390, D0444,
Quaesumus auctor omnium a 5] D0445 (transposed), E0359, F0016, F0017,
A0086, B0038, B0046, B0200, B0234, B0356, F0062, F0115, F0152, F0186, F0227, F0241,
B0361 ("Ad regias agni"), B0365 F0244, F0348, F0429 (arr.Stokowski)
Ad coenam agni providi [mass a 5], A0001, A0004, Advenit ignis [contrafactum a 6, = Responsum
B0159, B0185; p.10 accepit Simeon, q.v.], B0332
Ad Dominum cum tribularer [motet a 4, sec. pars Aegypte noli flere [Egipte noli flere][motet a 5],
Sagittae potentis], A0080, B0058, D0055, F0112, A0075, E0255
F0155, F0375 Aetema Christi munera [mass a 4], A0016, B0062,
Ad fugam [mass a 4], A0006, B0185, B0348, B0359, 130066, B0109, B0162, B0164, B0165, B0308
D0002, D0006 ("Canonica"), D0026, D0066 (lacks Agnus Dei 11), B0310 (Credo only),
("Canonica"), D0079 (v.9, "Messe Canonique"), B0356, D0006, D0007 (Sanctus only), D0009
D0109 (Kyrie, Pleni, Hosanna, Benedictus, (v.1), D0017 (Sanctus, Benedictus, Agnus Dei I
Agnus Dei I), DO111 (Kyrie, Sanctus, Hosanna, and II), D0066, D0070 (ed.2 v.1), D0074 (Kyrie,
Benedictus, Agnus Dei II), D0443, E0396, untexted), D0076 (Agnus Deifragment), D0079
E0449, E0647, F0061 (Kyrie and Gloria only), (v.1), D0080 (Kyrie, Gloria, Credo, Sanctus,
F0175, F0355, F0357 Agnus), D0091, D0093, D0099, D0102 (lacks
Ad preces nostras [hymn a 4, verses Credo), D0119, D0120 (Credo), D0185, D0253,
Deitatis aures a 4 D0296 (Sanctus, arr.), D0368, D0411, D0422
Crimina laxa pietate a 4 (Sanctus, arr. as "Holy, holy"), D0432 (Ky rie, arr.
Christe lux vera a 4 "O Lord bow down"), D0442, D0454, E0352,
Tu nobis dona fontem a 3 F0030, F0031 (Ky rie and Agnus Dei only),
Gloria Deo sit aetemo a 5] F0049, F0056, F0071 (Sanctus and Benedictus
A0086,130038, B0046,130200, B0234, B0356, only), F0180, F0182 (Kyrie), F0206 (lacks
B0365, D0102 (Christe lux, 2 items), D0109 (Tu Credo), F0221 (Agnus Dei I and II), F0223
nobis, Gloria Deo) (Sanctus), F0253, F0267, F0278, F0300, F0302,
Ad te levavi [motet, number of voices unspecified], F0324 (Kyrie, Gloria, Sanctus only), F0329,
F0112, F0260, F0317 F0449, F0453
Ad te levavi animam meam [motet a 5], A0132, Afferentur Regi virgines [offertory motet a 5],
A0145,130174, B0251, F0091, F0092 A0098, B0251
Ad te levavi oculos meos [motet a 4, sec.pars Mis- Agnus Dei [mass movements, unspecified GPP
erere nostri], A0080, 130058, D0014 (v.6), D0028 source], D0028 (v.6; v.15), D0079 (v.7), E0257
(v.15), D0050, D0051 (prima pars), D0326 ("O Ahi the quest'occhi miel [canzonetta a 3], A0196,
have mercy"/Miserere nostri), D0374, F0284, A0211, A0214, A0215, D0105, D0206 ("Ah, look
F0330, F0375 upon these eyes"), F0025, F0048, F0338; instru-
Ad te levavi oculos mens [motet a 12], B0194, mental arrangement, F0048; lute intabulation,
438 Index of Titles and First Lines
A0232; lute/keyboard intabulation, A0229 Anzi se foco e foco [spiritual mad rigal a 5], A0113
Ahi! letizia fugace [madrigal a 5, Rodolfo Pierluigi], Apparuit caro suo Joanni [motet a 5], A0075
A0177, A0182, A0190, C0004 (v.9) Apparuit gratis Dei [motet a 8], B0221 (anonymous
Al fin, madre di Dio [spi ritual mad rigal a 5]. A0113 in source), C0004 (v.34)
Alla riva del Tebro [mad rigal a 4], A0112, A0245, Ardens est cor meum [motet a 5], A0075
D0025, D0034, D0079 (v.1), D0098, D0105. Ardo lungi et da presso [madrigal a 4], A0112
D0204 ("On the banks of the Tebro"), D0340 Ascendens Christus [motet a 4], B0139 (Santini scor-
("On the bank of the Tiber"), F0042, F0347, ing), D0005 (v.7)
F0362 Ascendit Deus [motet a 4, Santini scoring], B0045
Alleluia! tulerunt Dominum [motet a 5], A0049, Ascendit Deus [offertory motet a 5]
A0125, A0142, B0014 (2 items), B0018, 130032, A0095, B0014, B0251, F0044, F0166
B0059, D0023 (v.2). DO109, D0352 ("They have Ascendo ad Patrem [mass a 5]. A0034, B0253,
taken"), D0459, F0078. F0356, F0388, F0409; D0009 (v.3), D0014 (v.1), D0058, D0081, D0091,
intabulation, B0048; organ tablature, B0087 D0093, D0121, F0023, F0093, F0232
Alma redemptoris mater [mass a 6], A0033, B0291 Ascendo ad Patrem [motet a 5, sec. pars Ego rogabo
(lacks Christe, Credo, Benedictus, Agnus Dei II), patrem], A0056, A0128, A0142, B0001, 110014,
E0373 B0048, B0189 (sec.pars), B0191, B0254, B0277
Alma redemptoris mater [motet a 4, sec.pars Tu quae (as `Virtute magna reddebant'), B0340 ( as "Vir-
genuisti], A0080, D0006 (ed.Alfieri), D0014 tute magna"), D0058, D0081, F0093, F0111,
(v.2), D0032, D0036, D0037, D0070 (ed.1 v.2; F0148; organ tablature, B0086
ed.2 v.4), D0091, D0093, D0103, D0105, D0211, Asperges me [motet a 4, att bution
ri doubtful],
D0327 ("Loving mother"), D0377, D0400. B0162, B0186, D0369
D0437 ("Seek ye the Lord"), D0460 ("Bow down "Aspersiorium per annum" [motet a 4, attribution
thine ear"), F0141, F0145, F0146, F0224, F0401 doubtful], B0164
Alma redemptoris mater [motet a 8] Aspice Domine [mass a 5], A0006, B0077, B0247,
B0187, B0221 (anon. in source). B0230, B0346, D0109 (Pleni), F0403
C0004 (v.34), D0005 (v.6), F0039 Aspice Domine [motet, Jacquet of Mantua], F0403
Alma redemptoris mater [motet, number of voices Assumpta est Maria [mass a 6], B0197, B0239,
unspecified in source], F0112, F0149, F0199, B0240, B0243, B0262, B0278, B0285 (lacks
F0244, F0305, F0309, F0345, F0359, F0407 Agnus Dei II), B0371, C0001 (v.23), C0004
"Almighty and everliving God" a 4 (ed. Rimbault), (v.25), D0092, D0093, D0106 (Kyrie), D0184,
D0095 D0254, D0257, D0365, D0394, E0334, E0373,
"ls Piramus kam" [= canzonetta a 3 Da cost dotta F0026, F0045, F0059, F0137, F0144, F0170,
man sei stato], A0215 F0187, F0192 (Benedictus), F0197, F0211 (lacks
Amicus meus [responsory a 4, Marc'Antonio Ingeg- Gloria and Credo), F0325 (Kyrie), F0372, F0454
neri], B0344 Assumpta est Maria [motet a 6, sec. pars Quae est
Amor, ben puoi tu ormai [madrigal a 4], A0112, ista],130190, B0195, B0346,130371, D0005 (v.7),
A0193, D0189 ("False love") D0014 (v.4), D0182, D0241, D0258, F0020,
Amor, che meco in quest' ombre [madrigal a 4, sec. F0047, F0135, F0170, F0342
parte Ecc'ove gionse prima], A0101 Assumpta est Maria [motet, number of voices
Amor. Fortuna, e la mia mente [madrigal a 4, unspecified], F0351, F0421
sec.parte Nè spero i dolci], A0101, E0191 Assumpta est Maria [offertory motet a 5], A0098
Amor quando fioriva mia speme [madrigal a 4], A0112, Audi benigne [hymn a 4] [Hab.XXXI.119, verses
A0193 ("Sweet love"), D0032 ("Sweet love") Nostras preces a 4
Amor se pur sei Dio [canzonetta a 3], A0191 (incom- Multum quidem peccavimus a 4
plete) Praesta beata Trinitas a 5]
Amor, senza il tuo dono [spiritual madrigal a 5], A0110 B0200, B0234, B0344,130351, B0361, B0365
Angelus ad pastores [lute intabulation], A0235 Aurea luce et decore [hymn a 4, verses
Angelus Dominus descendit[motet a 5, sec. pars Et Et decore a 4
introeuntes], A0059, A0128, A0142, B0038, O felix Roma a 5]
B0260, B0363 ("Angelus Domini"); intabulation, A0085, A0086, A0244 (O felix), B0200, B0225,
B0048 (prima pars); organ intabulation, A0221 B0234, B0356, B0361, B0365, D0025
Angelus Dominus descendit[motet a 8], B0318 Ave Maria a 4 [diminutions], A0230, F0419
Angelus Dominus descendit [offertory motet a 5] Ave Maria [mass a 4], A0025, A0027, DO111 (Pleni),
A0095, B0251, F0262 F0252
Anima, dove sei che pensi [madrigal a 5], A0179 Ave Ma ria [mass a 6], A0024, F0163, F0165
(incomplete) Ave Maria [motet a 4, pub.1564], A0040, B0159,
Anima nostra [offertory motet a 5]. A0095. B0178, B0210, D0009 (v.4), D0014 (v.4), D0044, D0087,
D0009 (v.6) D0051, E0210, F0401
Index of Titles and First Lines 439

Ave Maria [motet a 4, pub.1587], A0080, D0014 Beata es [motet a 8, sec.pars Ave Maria], B0193,
(v.6), D0409, F0141, F0144, F0207, F0229 B0230 (attrib. Giovanelli), C0004 (v.34)
Ave Maria [motet a 5], A0059, B0364, F0401; organ Beatae Mariae Magdalenae [motet a 5], A0049,
tablature, B0087 B0014, B0059, B0364; intabulated score, B0013;
Ave Maria [motet a 8], A0152, B02201, B0230, organ tablature, B0087
B0237, D0009 (v.5) Beatae Marie Virginis. See De beats Virgine [Mantuan]
Ave Maria [motet, voices unspecified], E05I0, Beati omnes qui Liment [motet a 12], B0194, B0230,
F0041, F0101. F0161, F0162, F0164, F0170, D0083
F0186, F0237, F0244, F0317, F0359, F0372 Beatus Dei famulus [motet a 5, sec. pars Gaude
Ave Maria [offertory motet a 5], A0095, A0132, tarvisina civitas], B0217 (Treviso)
B0063. B0178, D0009 (v.6), F0106, F0165 Beatus Laurentius [mass a 5], 130256, B0262, B0288
Ave maris stella [hymn a 4, verses (lacks Agnus Dei II), B0349, C0001 (v.23),
Dei mater alma a 4 C0004 (v.24), D0009 (v.3), F0019
Solve vinclara a 4 Beatus Laurentius [motet a 4], A0040, B0159,
Virgo singularis a 3 B0249, B0265, E0660, F0376
Sit laus Deo patri a 5] Beatus Laurentius [motet a 5], A0059, A0244,
A0085, A0086, A0244 (Sit laus Deo), B0038 B0059, B0364, D0005 (v.2), D0025, D0067,
(Virgo. Sit laus), B0200, B0234, B0356, B0361, F0019; organ tablature, B0086, B0087
B0365, B0370, D0025 (Sit laws Deo only), D0079 Beatus vir qui suffert [motet a 4], A0040, B0058,
(v.7, Dei mater alma), D0080 (Dei mater alma), B0159
D0105, DOl 1 1 (Virgo singularis), F0020, F0139 "Behold now praise the Lord" [motet a 5, Palestrina-
(2 verses), F0401 Aldrich, source uncertain], B0158
Ave mundi spec [motet a 8], B0221, B0230, C0004 "Behold the Lamb of God" a 5 (ed. Rimbault),
(v.34), D0259, F0359 D0095
Ave Regina coelorum [mass a 4], A0030, B0109, Beltà, se corn' in ment' io [madrigal a 4], A0112
B0347, B0352, B0362. D0009 (v.2), D0081, Benedicam Dominum [offertory motet a 5]. A0095.
D0111 (Crucifixus), D0415 (Ky rie, arr. "Behold B025I
and see"), D0418 (Sanctus, arr. "God is a Spirit"), Benedicite gentes [offertory motet a 5]. A0095,
D0421 (Agnus Dei I, arr. "Hear Thou in heaven") B0191, B0251
Ave Regina coelorum [motet a 4, attribution ques- Benedicta es [plainchant], F0194
tioned]. B0134 (Santini scoring, Münster MS) Benedicta es [motet, Josquin des Pres], E0173,
Ave Regina coelorum [motet a 4, sec.pars Gaude glo- E0535, F0194
riosa], A0080, D0037, D0050, F0141, F0145, Benedicta es ("sine titulo") [mass a 6), B0123 (by
F0319, F0401, F0407, F0423 (sec.pars only) "Gianetto"), 130244, 130352, C0001 (v.24), C0004
Ave Regina coelorum [motet a 4, Vienna MS, attrib. (v.28), E0173, E0348, E0535, F0194; p.4
doubtful], 130365 Benedicta sit sancta Trinitas [motet a 4], A0040,
Ave Regina coelorum [motet a 5, sec. pars Gaude B0159, B0210, B0211, B0335, D0009 (v.4),
gloriosa], A0075 D0044, D0051, D0087, F0376; diminutions,
Ave Regina coelorum [motet a 8], A0059, B0036, A0230, D0048 (arr.Bassano), E0278, F0012
B0128, B0187, B0190, B0195, B0221, B0230, (arr.Bassano), F0419
D0005 (v.6) F0047 Benedicta sit [offertory motet a 5], A0095
Ave Regina coelorum [motet, voices unspecified], Benedictus [mass movements, unspecified sources],
F0062, F0098, F0233, F0244 D0028 (v.6), F0183
Ave Trinitatis sacrarium [motet a 5 =sec.pars of Benedictus Dominus Deus Israel [motet a 4], A0090,
Domine secundum actum, q.v.], D0005 (v.2), D0049, D0091, D0093, F0097
D0067 Benedictus Dominus [motets a 4, in Lateran 59 auto-
Ave verum corpus [motet a 5, contrafactum of madri- graph and RISM 1587], A0126, 80200, B0358
gal Io son ferito ahi lasso] , B0344, B0346, Benedictus Dominus [motet a 8, Cas.XXXIV]
F0235, F0255, F0373; diminutions A0236, C0004 (v.34)
D0114 (arr. Bovicelli), F0373 Benedictus Dominus [also known as Benedictus es]
[offertory motet a 5], A0095, B0063, B0178,
Beata Barbara [motet a 6, sec. pars Gloriosam B0366
mortem], A0056 Benedixisti Domine [offertory motet a 5], A0095,
Beata Dei genetrix (Sine nomine) [mass a 6]. See 130063, B0178, D0009 (v.6)
Sine nomine (Beata Dei genetrix) Benignissime Jesu [motet a 3, att ribution questioned],
Beata es virgo Maria [motet, voices unspecified], A0154
F0170 "Be thou exalted" [attributed GPP by John Gostling,
Beata es [motet a 6, Hab.XXXII, 1] source uncertain], B0051, B0154
B0352 Bone Pastor [motet a 4), D0105
440 Index of Titles and First Lines
Bonum est confiteri (offertory motet a 5], A0095, Stadler), E0627, E0670, F0110, F0172, F0254,
B0063, B0178, B0251, D0023 (v.2), D0461 ("It is F0265, F0322, F0360, F0414; selections, F0016,
a good thing"), F0262, F0334, F0353, F0371, F0072 (21 motets), F0103 (9 motets), F0122 (2
F0385 motets), F0140 (20 motets), F0410 (20 motets).
"Break forth into joy" a 4 (ed. Rimbault), D0095 See also individual titles in cycle. Note: record-
Brevis [mass a 4], A0010, A0019, B0054, B0058, ings of individual motets are listed under their
B0062, B0065, B0159, B0162, B0164, B0308 titles only when they appear singly (that is, not
(lacks Agnus Dei II), B0343 (Baini scoring), part of the cycle set) on a recording.
B0347, B0359, D0006, D0007 (Benedictus), Caput eius [motet a 5, IV/20], A0063, D0005 (v.2),
D0009 (v.1), D0014 (v.1), D0076 (Agnus Dei D0156, D0319
fragment), D0091, D0093, D0109 (Benedictus), Caro mea vere est cibus [motet a 5], A0059, 80034
D0110, D0112 (Kyrie II, arr. organ), D0122, (listed as 4 vv), B0038, B0026, B0346 (listed as
D0168, D0235, D0255, D0289 (Benedictus and 4vv), D0005 (v.2), D0067; organ tablature, B0087
Agnus Dei I shortened), D0325 ("Father Caro mea vere est cibus [motet a 8, sec. pars Hic est
almighty"/Credo), D0360, D0361, D0395, D0430 panis], A0147, A0150, B0187 (Hic est panis
(Gloria, arr. "Lord thou hast been"), D0435 only), B0221, B0345, C0001 (v.5), C0004 (v.34),
(Credo, arr. Smith, "O sing unto the Lord"), D0005 (v.6)
D0455, E0169, E0332, E0501 (arrangements), Castae parentis [hymn a 4], A0085
E0513, F0023, F0029, F0039 (Agnus Dei), Cedro gentil, da gli amorosi vermi [spiritual madrigal
F0059, F0095, F0124, F0160, F0164, F0173, a 5], A0113, E0540
F0175, F0185, F0186, F0196, F0223, F0228, Che debbo far, che mi consigli [madrigal a 4], A0101,
F0250, F0266, F0267, F0326 (Ky rie, Agnus Dei), D0041 ("Was soil ich nun"), D0086
F0355, F0357, F0378, F0404 Che dunque fia, se voi donna [madrigal a 4], A0112
Brevis. See Nasce la gioia mia (Sine nomine a 6) (arr. Che estinguerà il mio foco [madrigal a 4], A0101
J.S.Bach) Che non sia che giammai dal cor [madrigal a 4],
A0101
Caligaverunt [motet, Victoria], F0398 Chiara, si chiar' è de' vostr'occhi [mad rigal a 4].
Canite tuba in Sion [motet a 5, sec. pars Rorate coeli], A0101
A0056, A0128, A0142, B0016, B0319, B0363, Chiare, fresche e dolci asque [canzona in 5 parts:
B0369, D0005 (v.2), D0057, D0067, D0079 (v.7), Chiare, fresche e dolci acque; S'egli è pur il mio
D0227, D0228, D0378, F0041, F0106, F0149, destin; Tempo verrà ancor forse; Da'be'rami
F0161, F0164, F0166 (sec.pars only), F0273 scendea; Quante volte diss'io], complete: A0159,
(sec.pars only), F0277 (sec.pars only); organ tab- A0161, A0162, D0105 (part 1), F0066
lature, B0086 (incomplete) Christe qui lux es et dies [hymn a 4, verses
"Canonica" [mass a 4]. See Ad fugam Noctis tenebras a 4
Cantabant sancti [motet a 4], B0138 (Santini scoring, Ne gravis somnus a 4
Münster MS) Defensor nosier a 4
"Cantabimus canticum novum" [canon a 4, attributed Deo patri sit gloriaa 5]
to GPP, but probably by Gregorio Allegri], B0305 A0085, A0086, B0356
(in score), E0198 Christe redemptor omnium [hymn a 4], D0286,
Cantabo Domino [motet a 6, sec. p ars Deficiant pec- D0410
catores], A0056,130027, D0005 (v.6), F0011; Christe redemptor omnium [hymn a 4, Hab.VIII.6,
organ intabulation, B0027 verses
Cantantibus organis Caecilia [mass a 12, by various Ex patre patris unice a 4
composers; Et in terra pax by GPP], complete: Memento salutis auctor a 4
B0203, C0004 (v.32), D0022, E0197, E0377, Huns coelum terra a 4
E0380, E0659, F0411 Gloria tibi Domine a 6]
Cantantibus organis Caecilia [motet a 5, sec. pars A0085, A0086, B0046, B0200, B0360 ("Jesu
Biduanis et triduanis], A0059, B0038, B0264, redemptor omnium"), B0365, D0230, D0055,
B0364, D0005 (v.7), D0022, E0197, E0259, F0096
E0377, E0659, F0232, F0258; organ intabulation Christe redemptor omnium [hymn a 4, Hab.VIII.93,
(Paix) A0221, B0087, D0065 verses
Cantico dei Cantici. See Canticum canticorum Conserva tuos famulos a 4
Vates aetemi judicis a 3
Canticum canticorum [cycle of 29 motets a 5, Book Chori sanctarum virginum a 4
IV, pub. 1583/84 ("Cantico dei Cantici," "Das Gloria patri in genito a 5]
Hohe Lied Salomons," "Song of Songs," "Song A0085, A0086, A0244 (Chori sanctarum), B0200,
of Solomon"), complete:] A0063, D0059, D0323, B0234, B0365, D0021, D0025
E0144, E0166, E0207, E0304, E0538 (arr. Christus factus est [motet a 4, attributed to GPP, more
Index of Titles and First Lines 441
likely by Anerio], B0134 (Santini scoring), Confitebuntur coeli [offertory motet a 5], A0098,
D0028 (v.12), D0049, D0105, D0391 ("Jesus B0191
Christ our Lord") Confitemini Domino [motet a 4], A0080, D0061,
Christus resurgens [mass, GPP attribution uncertain, D0102 (2 items), D0166, F0035, F0082, F0244,
also attributed to Pierre Colin], B0109, E0352 F0348 (2 items)
Christus resurgens [motet a 5], B0133 (Santini scor- Congratulamini mihi [motet a 4], A0040, B0007,
ing) B0038, B0159, B0210, B0211, B0266, D0014
C-Ionian [mass, further identity unspecified], B0029 (v.4), D0042, D0091, D0093
Circuire possum [motet a 5, Angelo Pierluigi, sec. Congratulamini mihi [motet a 6, St. Cecilia MS
pars In hac cruce te inveni], A0056, B0217; organ unicuml, B0189, F0295
tablature, B0087 Congratulamini mihi [motet a 8], B0221 (anon. in
Città di Dio [spiritual madrigal a 5], A0113, D0355 source), C0004 (v.34)
("City of God") Congrega Domine [motet a 5, sec. pars Afflige oppri-
Clavier-Übung 111 [J.S. Bach], E0457 mentes nos], A0059; organ tablature, B0087
Coeli Deus sanctissime [hymn a 4, Hab. XXXI.90, Constituos eos principes [offertory motet a 5],
verses 1,3,5 A0098, B0228 (with basso continuo)
Coeli Deus sanctissime a 4 Corona aurea [motet a 5, sec. pars Domine
Ut noctibus vel lumini a 4 praevenisti eum], A0056, A0142, B0016, B0041,
Praesta Pater piissime a 4] B0191, B0217, B0251 (prima pars), B0272,
B0234,130242, B0344 (Baini scoring), B0351 B0323, B0333 ("Coronas aureas"), B0340
Coenantibus illis [motet a 5], A0056, B0038, B0191, ("Coronas aureas"), B0364; intabulated score,
B0226, B0364, D0005 (v.2), D0014 (v.2), D0067, B0013
D0324, F0308; organ tablature, B0087 Cosi la fama scriva [mad rigal a 4], A0112
Column es immobilis [motet a 6], A0059, B0217, Creator aime siderum [hymn a 4, Hab. XXXI.123,
B0363, B0365, D0005 (v.6) verses
Com' in più negre tenebre [mad rigal a 5], A0165, Aetema lux credentium a 4]
A0172 (attrib. Cartolaio), A0180 (attrib. Carto- 130055, D0212, D0278 ("Creator blest"), E0200,
laio), BOl 11 E0460
"Come, Thou holy Spi rit, come" [hymn], D0117 Crucem sanctam subiit [motet a 5], A0049, A0131,
Conditor aime siderum [hymn a 3 and 4, B0059, B0190, B0195, B0363, B0365, D0005
Hab.XXXI.123] , B0200, D0021, D0278 ("Cre- (v.2), D0067, D0213, D0214; organ tablature,
ator blest") B0087
Conditor aime siderum [hymn a 4/5/6, verses Crucifixus [mass section, mass cycle source unspeci-
Aetema lux credentium a 4 fied], D0028 (v.12)
Vergente mundi vesperae a 4 Crudelis Herodes [contrafactum motet a 4, = Hostes
Te deprecamur hagie a 5 Herodes impie, q.v.]
Laus honor virtus a 5/6] Crux fidelis [hymn, voices unspecified], F0431
A0085, A0086, B0046, B0200, B0234, B0356, Cui comparabo te [motet a 4], D0055
B0361 ("Creator aime"), B0365 ("Creator aime"), Cum autem esset Stephanus [motet a 6, sec. pars
D0079 (v.12, Laus honor), F0058 Positis autem], B0245, B0320, B0346, B0369,
Con dolce, altiero ed amoroso [madrigal a 4], A0157; D0005 (v.7)
p.2 Cum descendisset [motet a 4, Hab.XXXI.1, doubtful
Confessio et pulchritudo [offertory motet a 5], attribution], B0264
A0098, B0228, B0261, F0019 Cum invocarem [motet a 6], B0134 (Santini scoring)
Confirma hoc Deus [offertory motet a 5], A0095, Cum pervenisset beatus Andreas [sec.pars of Unus
B0191, B0251, D0260 ex duobus a 5, q.v.], B0059, B0290
Confitebor tibi Domine [mass a 8], A0035. A0114, Cum mortuus fuerit. See Cum ortus fuerit
B0221, B0292, C0001 (v.22), C0004 (v.30), Cum ortus fuerit sol [motet a 6], A0059,130038,
D0009 (v.7) D0005 (v.6)
Confitebor tibi Domine [motet a 5, Rodolfo Pier- Custodi me Domine [motet a 5, attributed GPP],
luigi], A0056; organ tablature, B0087 B0063
Confitebor tibi Domine [motet a 8, sec. pars Notas
facite], A0056, B0018, B0221, B0373, D0244, Da cosi dotta man sei stato [canzonetta a 3], A0196,
F0036; organ tablature, B0087 A0211, A0214, A0215, D0210 ("Tell me"),
Confitebor tibi Domine [motet, voices unspecified], F0025, F0048; arr. instrumental, F0048; lute
F0260 intabulation, A0232; lute and keyboard intabula-
Confitebor tibi Domine [offertory motet a 5], A0095, tion, A0229
B0063, B0178, B0228, B0262, D0023 (v.5), Da fuoco cosi bel ]canzona a 4 in 14 stanze: Da fuoco
F0334 cosi bel; Rapace'ingord'e venenosa fera; Amo'e
442 Index of Titles and First Lines

non nacque; Da l'empia gelosia; Si mi vince Deus Deus meus[offertory motet a 5], A0095, B0251
tal'hor l'aspro martire; O effetto rio; Amor non Deus enim firmavit [offertory motet a 5], A0095,
volev'io; Non mi sferr'il crude; Poi che la vista B0178, D0009 (v.6), D0111
del mio caro sole; Io non ho lingua; L'alta cagion Deus qui animae famuli Gregorii [motet a 4], B0138
del mio fermo pensiero; Misero stato de gl'a- (Santini scoring), D0005 (v.7)
manti; Fuggir devriassi; Satio di tormentarm' Deus qui dedisti legem [motet a 5], A0049, B0330
amore stassi], complete: A0158, E0238 (and Pace ("Mirificat Dominus"), B0340 ("Mirifrcavit
non trovo) Dominus"); organ tablature, B0087
Dammi Scala del ciel [spiritual mad rigal a 5]. A0113, Deus qui ecclesiam tuam [motet a 6], A0059, B0317
F0186 ("Plangant eum"), D0005 (v.6); organ tablature,
Dammi vermiglia rosa[spiritual madrigal a 5], A0113 B0130 (with sec. pas "Tribue nobis")
Da pacem Domine [motet a 4]. B0222, E0283 Deus tu convertens [offertory motet a 5], A0095,
Da poi ch'io vidi [mad rigal a 4], A0166 130063.130178, D0009 (v.6)
De beats Marie (Virginis I) (De beats Virgine I) Deus tuorum militum [hymn a 4, Hab.VIII.105,
[Mantuan mass a 5], B0114, C0004 (v.18), F0075 verses
De beata Marie (Virginis II) (De beata Virgine II) Sors et corona a 4
[Mantuan mass a 5), B0114, C0004 (v.18), Poenas cucurrit a 3
F0075, F0330 Laus et perennis gloria a 5]
De beata Marie (Virginis III) (De beats Virgine III) A0244 (Laus et perennis), B0200, B0234, B0356,
[Mantuan mass a 5], BO112, B0114, C0004 B0361, B0365, D0025
(v.18), F0075 Deus tuorum militum [hymn a 4, Hab.VIII.110,
De beata Virgine [mass a 4], A0006, B0185, B0348, verses
B0356, D0009 (v.2), D0109 (Pleni), D0417 Sors et corona a 4
(Sanctus, arr. as "Come unto Him"), D0419 Poenas cucurrit a 3
(Agnus Dei I, arr. as "God shall wipe away") Gloria tibi Domini a 4]
De beata Virgine [mass a 6], A0009, A0010, B0352. A0085, A0086, B0234, B0356, B0365
C0004 (v.4, variant Gloria), D0002, F0248, Deus tuorum militum [hymn a 4, Hab. XXX.129],
F0253, F0377, F0426 B0223, B0234, B0351, 80355, B0361
De beats Virgine [mass, voices unspecified), B0089 Deus tuorum militum [hymn, unspecified], F0019
(Credo only), F0303 Dextera Domini [offertory motet a 5], A0095, B0178,
Decus morum dux minorum [hymn a 4, verses B0228,130251, D0014 (v.4), D0023 (v.3), F0091,
Franciscus tenens a 4 F0262
Demptum solo a 4 Dexteram meam [motet a 5, Hab.XXXI.39], B0264
Hunc sequantur a 3 Dido che giace entro quesfurna [mad rigal a 5],
Est dux fidus a 5] A0187, A0188
A0085, A0086, B0356, B0361, B0365 Dies sanctificatus [mass a 4], A0023, A0024, B0366
De feria [mass a 4], A0010, B0060 (2 items), B0159, (Kyrie, Sanctus-Benedictus, Agnus only), D0006,
B0347, D0006, D0009 (v.2), D0076 (Kyrie II D0009 (v.1), D0087, D0091, D0093, D0109
fragment), D0109 (Ky rie), F0186 (Kyrie), D0261, D0287 (arr. SSAAT + SATB),
Defunctorum [mass for the dead]. See Pro defunctis; E0372, F0089 (Benedictus only), F0271
Requiem Dies sanctificatus [motet a 4], A0040, B0007, B0210,
Deh hor foss'io col vago [mad rigal a 4), A0101 B0211, B0335, D0007, D0009 (v.4), D0014 (v.6),
Da pacem Domine [motet a 6], B0132 D0036, D0051, D0070 (ed.2 v.3), D0074, 00079
De profundis [motet a 4], B0346, F0375 (v.10), 00091, D0093, D0105, D0109, D0167,
De profundis [offertory motet a 5], A0098. B0251, D0199, D0262, D0274, D0329, E0345, E0353,
D0215, F0262 E0372, F0089, F0220, F0273, F0286, F0353,
Decus morum [hymn a 4], A0086 F0371, F0376, F0396
Deh foss' hor qui madonna [madrigal a 4], A0112, Dies sanctificatus [motet a 8], B0221, C0004 (v.34)
D0203 Diffusa est gratis [offertory motet a 5], A0098,
Derelinquat impius [motet a 5], A0056, B0261, D0091, D0093, F0267
B0304, B0316, B0368, D0005 (v.2), D0067; Dilectus meusmihi [motet a 5, IV/17], A0063,
organ tablature, B0087 D0005 (v.2), D0023 (v.3), D0059, D0153, D0316,
Derelinquat impius [motet a 6], B0190, B0195 D0323, F0103, F0140, F0368
Descendit angelus Domini [mass a 4], A0033, F0330, Dilectus meus descendit [motet a 5, IV/21], A0063,
F0348 (Benedictus) B0105, 00005 (v.2), 00059, D0157, D0320,
Descendit in hortum meum [motet a 5, IV/24], D0323, F0140
A0063, D0005 (v.2), D0059, D0160, D0323 Dilexi quoniam [mass a 5], A0023, A0024, B0262,
Descendit lux magna [contrafactum = motet a 8 Lau- B0281, B0311 (lacks Credo, Benedictus, Agnus
date pueri Dominum, q.v.], B0331, B0340 Dei II and III), D0009 (v.3)
Index of Titles and First Lines 443

Disciplinam et sapientiam [motet a 8], B0221, Donna, vostra mercede [madrigal a 4], A0101, D0041
B0230, C0004 (v.34) CO Mutter volt Erbarmen"), D0086
Dixit Dominus [motet a 4], B0354 Dum aurora finem daret [motet a 4], A0040,130036,
Doctor bonus [motet a 4], A0040, B0036, B0159, B0159, B0210, B0211, D0009 (v.4), D0014 (v.6),
B0210, B0211, D0009 (v.4) F0157, F0248
Doctor egregie Paule [hymn a 4, verses Dum complerentur [mass a 6], A0028, B0166,
Mores instrue a 4] B0247, D0092, D0093, F0047, F0052, F0307
A0085, B0038, B0200, B0234, B0356, B0361 ("Mass for Pentecost")
("Egregie doctor"), B0365 Dum complerentur [motet a 4, Hab. XXXI, doubtful
Dolce affetti [madrigal collection, 1582], A0181, E0047 attribution], C0001 (v.31)
Dolce fiai mortir. See Soave fia il morir Dum complerentur [motet a 6, sec. p ars Dum ergo
Dolor non fu, ne sia [madrigal a 5], A0165, A0172, essent in ununs], A0049. A0125, B0004, B0014,
A0175, A0180, BOl 11, C0004 (v.2) B0027, B0057, B0059, B0094, B0248, B0270,
Domine convertere [offertory motet a 5], A0095, B0318. B0321 (" Ne timeas M aria"), B0346 ("Ne
B0251 timeas Maria"), B0364, B0368 ("Ne timeas
Domine Deus in simplicitate [offertory motet a 5]. Maria"), B0369, B0377, B0380, D0005 (v.6),
A0098, F0262 D0217, D0218, D0348, D0379 (prima p ars "Now
Domine Deus qui conteris [motet a 5, sec. pars Tu when the day"), D0380 (sec. pars "When all dis-
Domine cui humilium], A0059, B0364 ciples"), E0360, E0664, F0002, F0007, F0008,
Domine exaudi orationem meam [motet a 4, attrib- F0047, F0052, F0060, F0091, F0112, F0149,
uted GPP], B0063, B0064 ("Miércoles santo") F0166, F0171, F0240, F0243, F0307; intabulated
Domine in auxilium [offertory motet a 5], A0098, score, B0012, B0020; lute tablature, B0146;
B0251 organ intabulation, A0221, B0027, B0087
Domine in virtute tua [motet contrafactum = mad rigal Dum esset summus Pontifex [mass a 4], A0028,
a 5 Io felice sarei], A0212; organ tablature, B0160 B0105, B0166, D0009 (v.2)
Domine in virtute tua [motet a 8, sec. pars Magna est Dum fames terras [hymn a 4], A0086
gloria eius], A0056, B0190 (sec.pars only), Dunque, divin spiracolo [spiritual mad rigal a 5],
B0195 (sec.pars only), B0221, B0331 ("Psallite A0110
Deo nostro"), B0333 (sec.pars only as "Exultate Dunque perfido Amante [madrigal a 5], A0195,
Deo adjutori nostro"), B0340 (sec.pars only as D0088
"Exultate Deo adjutori nostro"); organ tablature, Duo ubera tua [motet a 5, IV/26], A0063, D0005
130087 (v.2), D0059. D0162, D0323, F0140, F0186,
Domine Jesus in qua nocte [motet a 5], A0056, F0253
B0089, B0226, F0070 ("Dominus Jesus"), F0309
("Dominus Jesus"); organ tablatu re, B0087 E quella certa speme [spiritual madrigal a 5], A0113
Domine Pater [motet a 5, Silla Pierluigi], A0056, E questo spirto, de la propria fede [spiritual mad rigal
B0191; organ tablature, B0087 a5],A0113
Domine quando veneris [motet a 4, sec. pars Corn- E se fur già le mie man i [spiritual madrigal a 5],
misso mea pavesco], A0080, B0058, B0226 (with A0113, F0186
basso continuo), B0238, D0009 (v.4), D0014 E se' 1 pensier de la futura morte [spiritual madrigal a
(v.6), D0216, F0155, F0186, F0375 5], A0113
Domine quando veneris [motet a 4, attributed to E se mai voci di qua [spiritual madrigal a 5], A0113,
GPP], B0183 (Piceni materials), E0171 F0186
Domine quis habitabit [motet a 12], B0230 E se nel foco di lascivie [spi ritual madrigal a 5],
Domine secundum actum [motet a 4], B0138 (Santini A0113
scoring, Münster MS), D0005 (v.7) E tu, anima mia, fatta di Dio [spiritual mad rigal a 5],
Domine secundum actum [motet a 5, sec. pars Ave A0110
mundum sanctuarium, also known as Ave Trinitas E tu, Signor, tu la tua gratia [spiritual madrigal a 5],
sanctuarium], A0075, D0005 (v.2), D0067 A0113
Dominicalis [mass a 5], A0117, D0085, E0269, E tua mercè, da cosi cieca [spiritual madrigal a 5],
E0354, E0355 A0113
Dominicalis [masses by We rt, Rovigo, Gastoldi, Ecce ego Joannes [mass a 6], B0246, C0001 (v.24,
Striggio, Palestrina family], D0085 C0004 (v.29), D0263, D0413 (Glo ria, arr. a 4 as
Donna bell'e gentil [madrigal a 5], A0163, A0164, "Arise, shine"), E0373, F0021, F0258, F0318
A0173, C0004 (v.2) Ecce merces sanctorum [motet a 5], A0075
Donna gentil, quando talor degnate [mad rigal a 4], Ecce nunc benedicite [motet, voices unspecified],
A0112 F0375
Donna presso al cui vino [mad rigal a 5], A0207, Ecce nunc benedicite Dominum [motet a 4], A0080,
A0210 B0138, D0009 (v.4)
444 Index of Titles and First Lines
Ecce nunc benedicite [psalm a 4 and 5, Ingegneri], B0344 (2 items)
Hab.XXXI.156], B0200 Eripe me de inimicis meis (Missa P rima a 5, Book
Ecce nunc benedicite [motet a 6], B0134 (Santini IV) [mass a 5], A0013, B0075, D0030
scoring, Münster MS), B0134 "Escoutes tous gentilz a 8" [mass a 8, attribution to
Ecce nunc benedicite [motet a 12], B0190, B0195, GPP doubtful], B0124
C0004 (v.32), D0038, F0038 Estote fortes in Bello [motet a 6, Hab.XXXI.78],
Ecc' oscurati i raggi al sole [madrigal/sestina a 4], B0249
[seconda parte, Rara beltà nonmai più vista; terza Esurientes [Magnificat verse], D0079 (v.7)
parte, Questo doglioso stil; quarta parte, Mai fu Et arda ogn'hor sopr'l lapide altare [spi ritual madri-
più cruda; quinta parte, Privo di fede oltra l' gal a 5], A0113
usato; ultima parte, Ma voi, fioriti ed onorati ], Et incarnatus est [section of mass Credo, unspecified
A0101 GPP source], D0009 (unnumbered vol., 19 items),
Ecc'ove giunse prima [madrigal a 4], F0365 D0082 ("Quintetto," ed. Novello)
Ecce quomodo moritur [responsory a 4, Marc'Anto- Exaltabo te [offertory motet a 5], A0098, B0251,
nio Ingegneri], F0438 D0023 (v.3), D0095 ("I will magnify Thee"),
Ecce sacerdos magnus [mass a 4], A0001, A0004. D0109, D0191, D0219, D0220, D0367 ("I will
B0034 (with organ part), 130036, B0158, B0356, magnify Thee"), D0462 ("Thee will I extol"),
B0359, E0225 (Credo), E0374, F0182 (Ky rie) E0360, F0077, F0127, F0134, F0139, F0147,
Ecce sacerdos magnus [motet a 6, Hab.XXXI.70, F0262, F0353. F0371, F0394
doubtful; sec.pars Ideo iure iurando]. B0293, Exaudi Domine [motet a 4], A0040, B0058 (2 items),
B0346 B0159, D0009 (v.4), D0014 (v.6), D0091, D0093,
Ecce tu pulcher es [motet a 5, IV/8], A0063, D0005 D0111
(v.2), D0059, DO144, D0307, D0323 Exaudi Domine [motet a 5], B0344 (Baini scoring),
Ecce veniet dies illa [motet a 8, sec.pars of Fili te non B0346
frangant, q.v.) Exi cita in plateas [motet a 5], A0056, BO174, D0005
Ecce vidimus [responsory a 4, Marc'Antonio Ingeg- (v.2), D0067; intabulated score 130013
neri], B0344, D0282 ("Now do we behold him") Expurgate velus fermentum [motet a 8], B0221,
E con i raggi tuoi [spiritual madrigal a 5], A0113 B0230, C0004 (v.34)
Editio Medicaea (Medicean Edition), E0243 Exspectans exspectavi [offertory motet a 5], A0098,
E dal letto di mille e mille colpe [spiritual madrigal a B0251
5], A0113 Exsultate Deo [motet a 5, also spl. Exultate Deo],
Ego rogabo patrem [motet a 5]. See Ascendo ad A0075, B0174, D0005 (v.2), D0014 (v.2), D0023
patrem [sec.pars] (v.1),D0055, D0067, D0070 (ed.2 v.3), D0453
Ego sum panis vivus [motet a 4], A0080, B0038, (arr.a 4), D0463 ("Sing and praise"), F0006,
B0058, D0009 (v.4), D0014 v.6), D0436 ("Praise F0054, F0058, F0130, F0132, F0138, F0139,
ye the Lord"), F0166, F0181, F0203, F0287, F0147, F0180, F0186, F0208, F0222, F0255,
F0375 F0268, F0281, F0307, F0333, F0353, F0371,
Ego sum panis vivus [motet a 5, sec.pars Panis quem F0391
ego dabo], A0049,130059, B0226, B0254, F0044; Exultate Deo adjutori nostro [contrafactum motet a 8,
organ tablature, B0087 = Magna est gloria, q.v.], B0333
Elegerunt Apostoli [offertory motet a 5], A0095, Exultet coelis [hymn a 4 et 5], B0223, B0234, B0351
A0132, B0178, D0009 (v.6) Exultet coelum laudibus [hymn a 4, Hab.VIII.98,
Eletta Mirra, che suave [spiritual madrigal a 5], verses
A0113 Resultet terra gaudiis a 4
Emendemus in melius [mass a 4], A0025, A0027, Qui coelum verbo a 4
B0062, B0066, B0119 (listed a 5, with organ/vio- Ut quum judex advenerit a 5]
lone part), B0162, B0164, B0175, D0009 (v.1), A0085, A0086, B0200, B0234, B0356, B0361
D0359; p.77 (Benedictus) ("Exultet orbis"), F0021
En gratulemur hodie [hymn a 4, verses "Eye of the Lord, The" [Palestrina-Aldrich, based on
Christo regi jocundius a 4 Jesus junxit se a 41,130092, B0102, B0153 (2 ver-
Longe lateque a 4 sions), B0158
Sub tanto duci militans a 3
Praestet hoc nati genitor a 5] Fà che con l'acque [spi ritual madrigal a 5], A0113
A0085, A0086, A0244 (Praestet), B0356, B0365 "False Love, now shoot" [ =Amor ben puoi, q.v.]
("Congraulemur hodie"), D0025 (Praestat), Fasciculus mirrae [motet a 5, IV/7], A0063, D0005
D0045 (Praestet ) (v.2),D0059, D0143, D0306, D0323, F0140
Enixa est puerpera [hymn a 4], A0085 Febre, ond'or per le vene [madrigal a 5], A0183
Erano le vostre lagrime [mad rigal a 5], A0187, A0200 Festis apostolor(um) [Mantuan masses a 5]. See In
Erat quasi agnus [responsory a 4, Marc'Antonio festis apostolorum
Index of Titles and First Lines 445
Festiva dies agitur [motet a 5, sec.pars Solemnitas Gioie, Le [madrigal collection, 1589], A0195, E0047
haec, contracfactum of mad rigal Vestiva i Gitene liete rime [madrigal a 4], A0101
colli/Cosl le chiome mie a 5], A0140, B0125 Gloria [mass movement, GPP source unspecified],
Figlio immortal d'immortal padre [spiritual madrigal E0540
a 5], A0113, F0186 Gloria laus [hymn a 4], B0139, B0204
Fili te non frangant [motet a 8, sec.pars Ecce veniet], Gloria Taus [hymn a 4, Hab.XXX, questioned attribu-
B0345, F0190 (sec.pars only), F0231 (sec.pars tion], B0229,130232, B0342 (Baini scoring)
only) Gloria Patti [lesser doxology, various liturgical con-
Filiae Jerusalem [motet a 5, sec.pars Quoniam con- texts], D0079 (v.7), D0393 (from Magnificat tertii
fortavit], B0217 (Treviso) toni, as "Come Holy Ghost"P'The strife is o'er")
Fortem virili pectore [hymn a 4], B0134 (= Lauda Gloria tibi Domine [hymn a 4], A0085 (verse incipit
mater ecclesia, Santini scoring, Münster MS), in 4 hymns)
B0361 (= Jesu corona virginum) Gloriosi principes [motet a 4], A0080, F0233, F0244
Fratres ego enim accepi [mass a 8], A0035, B0221, "God so loved the world" [motet a 4], D0420
C0001 (v.22), C0004 (v.30), D0006, D0009 (v.7), "Gott, der Herr, der Gott Israel, sei gelobt" a 4,
E0383 D0107
Fratres ego enim accepi [motet a 8], A0147, A0149, Graduale Romanum Officiale. See Editio Medicaea
B0187, B0221, B0226 (2 items), B0230, B0274, (Medicean Edition)
B0302, B0328, B0345, B0368, C0001 (v.6), Guttur tuum [motet a 5, IV/28], A0063, D0005 (v.2),
C0004 (v.34), D0001, D0005 (v.7), D0018, D0059, D0164, D0323
D0079 (v.1), F0190, F0256
Fratres sobrii estote [motet a 8, contrafactum of motet Haec dies quam fecit Dominus [motet, number of
a 8 Fratres ego enim accepi], A0150 voices unspecified], F0244, F0421
Fuit homo missus a Deo [motet a 4], A0040, B0007, Haec dies quam fecit Domimus [motet a 4], A0080,
B0014, B0159, B0260, B0321, B0364, D0009 D0051, D0091, D0093, D0186 ("This is the day")
(v.4), F0376; diminutions, A0230, F0201 (by Haec dies quam fecit Dominus [motet a 6], A0059,
D.Sherwin), F0419 A0124, B0014,130018, B0038, B0059, B0171,
Fuit homo missus a Deo [motet a 5, sec.pars Erat B0327, B0363, D0005 (v.6), D0028 (v.15),
Joannes in deserto], A0059, A0124, B0038, D0055, D0070 (ed. 1 v.2; ed.2 v.3), D0245, D0364
B0217, B0369; intabulated score, B0013; organ ("This glad day"), D0387 ("This is the day"),
intabulation, B0129 (2 items; second item trans- F0001, F0009, F0021, F0156, F0173, F0242,
posed one tone higher than first) F0275; intabulation, B0048; organ intabulation,
Fundamenta ejus [motet a 4, sec.pars Numquid Sion A0221; organ tablature, B0129
dicet], A0080, F0375 Haec dies quam fecit Dominus [motet a 8], B0138
(Santini scoring), B0187, C0004 (v.34), D0009
Gabriel archangelus [mass a 4], A0001, A0004, (v.5)
130054, 130069, B0159, B0306, B0360, (lacks Haec est dies praeclara [motet a 8], B0221
Benedictus, Agnus Dei II and III), D0074 (Pleni), Haec est vera fratemitas [motet a 5, sec.pars Ecce
D0109 (Hosanna), E0353 (Pleni) quam bonus], B0217 (Treviso)
Gaude Barbara [motet a 4], B0138 (Santini scoring), "Heiliger Geist du Truster mein" [motet a 8 = motet a
D0007 (v.7), D0471 CO sing joyfully") 8 Laudate Dominum omnes gentes, q.v.]
Gaude Barbara [motet a 5, sec. p ars Gaude quia Heu mihi Domine [motet a 4, sec.pars Anima mea
meruisti], A0056,B0364, F0259, F0423; organ turbata est], A0080, B0058, B0238, D0009 (v.4),
tablature, B0087 D0028 (v.15), D0074 (sec.pars), DOl l l
Gaudent chorus coelestium [hymn a 4], A0085 (sec.pars), D0440 (sec.pars, "Why a rt thou cast
Gaudent in coelis [motet a 4], A0040, A0244,130038, down"), F0155, F0375
B0058, B0159, B0186, D0009 (v.4), D0025 Hic est beatissimus Evangelista [motet a 6, sec.pars
Germinavit radix Iesse [contrafactum motet a 5, _ Hic est discipulus], B0245, B0320, B0346,
Senex puerum portabat, q.v.], B0331, B0340 B0363 (sec.pars), B0369, D0005 (v.7)
Già fu chi m'ebbe cara [mad rigal a 4], A0101, Hic est dies praeclarus [motet a 8], C0004 (v.34)
D0105, F0276 Hic est discipulus ille [motet a 5], A0049, B0176,
Già fu chi m'ebbe cara [mass a 4], A0032, B0105, F0021; organ tablature, 80087
B0109, B0175, B0192, B0348, E0352, F0276 Hic est panis [motet a 8].See Caro mea [sec.pars Hic
Giammai non resti [spi ritual mad rigal a 5], A0110 est pans]
"Giesu sommo conforto" [lauda a 3], E0516 Hic est vere martyr [motet a4], A0040, B0038,
Gioia m'abond' al cor [madrigal a 4], A0112, A0193 B0159, B0326, F0186
("Joy so delights"), D0033 ("Joy so delights"), Hierusalem, quae moerore [motet a 4, contrafactum
D0190 ("Love so doth fill"), D0207 ("Joy in my of madrigal a 4 Privo de fede, quinte parte
of
heart") Ecc'oscuranti], A0152
446 Index of Titles and First Lines

Hierusalem. See also entries beginning "Jerusalem" Hymnus canons a 4

Hodie beata virgo Maria [motet a 4], A0040, A0131, Electus hic apostolus a 4]
B0159, B0210, B0211, B0228, D0349 ("On this A0086, B0356, B0365
day"), F0057, F0270, F0376, F0401; diminutions,
A0230, C0001 (v.33) "I look from afar" [adaptation of GPP], F0167, F0257
Hodie Christus natus est [mass a 8], A0035, B0221, (`Mattins responsory')
C0001 (v.22), C0004 (v.30), D0465, E0078, I vaghi fiori e l' amorose fronde [madrigal a 4],
F0041, F0046, F0051, F0106, F0161, F0164, A0112, A0209, D0086, D0105, D0178 ("When
F0301, F0368, F0413 flow'ry meadows"), F0069, F0090, F0193,
Hodie Christus natus est [motet a 4, Hab. XXXI.135], F0279, F0294, F0395, F0415
B0200, D0023 (v.5), D0055, D0079 9v.7), D0299 "I will magnify Thee" a 5 [= Exaltabo te, q.v.],
(arr.Htibsch), F0143 (arr.Casimiri) 00095
Hodie Christus natus est [motet a 8], A0059, B0016, lam Christus ad astra ascenderat [mass a 4], A0016,
B0018, B0022, B0023, B0025, B0026 (basso B0165, B0356, D0009 (v.2), 00109 (Crucifixus a
continuo part), B0128, B0171, B0172, B0221, 3)
B0376, D0101, D0234, D0246, D0264, E0078, Ideus secundus. See Videns secundus
F0010, F0041, F0047, F0051, F0091, F0101, lesu, Ieeus. See entries beginning "Jesu", "Jesus"
F0123, F0148, F0161, F0164, F0166, F0180, "If thou shalt confess" a 4 (ed.Rimbault), D0095
F0186, F0273, F0337, F0348, F0353, F0369, 11 caro è mono e pur lasso [madrigal a 5, sec.parte
F0371, F0374; intabulated score, B0015, B0020, Hor che la nobil lingua fredda], A0170
B0021, F0439; organ intabulation, A0221, D0065 11 dolce sonno in cui sepolto giace [madrigal a 5],
Hodie gloriosa [motet a 8, sec.pars Regina mundi], A0165, A0172, A0175, A0180, C0004 (v.2),
B0245, C0004 (v.33), F0170 F0048; instrumental arrangement, F0048; lute
Hodie Maria virgo coelos [motet a 4], A0148, D0384, intabulation, A0224
E0307 11 gran splendor [mad rigal a 5, attribution to GPP
Hodie nata est beata virgo [motet a 5], A0049, uncertain; sec.parte Io fui in poter], BOl 11
B0059, B0266, B0364: organ tablature, B0087 Il tempo vola [madrigal a 5, sec.parte Ivi vedrai la
Hohe Lied Salomonis, das. See Canticum canticorum gloria], A0169, A0171,130032, B0111, C0004
"Hold not thy tongue" [Palestrina-Aldrich, based on (v.9), D0097, F0048
Nativitas tua a 4], B0091,130102, B0153 (2 ver- Illumina oculos meos [mass a 61, A0032, B0244,
sions), B0156, B0158, E0452 E0373
"Holy, holy, holy" a 5 (ed. Rimbault), D0095 illumina oculos meos [offertory motet a 5]
Homo quidam fecit cenam [motet a 5], A0131, A0095, B0251, B0344 (Baini scoring), E0379,
A0149, B0189; intabulated score, 130013; organ F0044, F0052
tablature, B0086 Immense coeli conditor [hymn a 4, Hab.XXXI. 85,
Hor tu sol, che di vivi [spiritual madrigal a 5], A0113, verses 1,3,5
F0186 Immense coeli conditor a 4
Horto, che sei sl chiuso [spi ritual madrigal a 5], Intende nunc piissime a 3
A0113 Praesta pater piissime a 4]
Hosanna [mass movement, GPP source unspecified], B0234, B0242, B0341, B0344 (Baini scoring),
D0107 B0351
Hostes Herodes impie [hymn a 4, verses Immittet Angelus Domini [offertory motet a 5],
Christum venire a 4 A0098, B0251
Lavacra purl gurgitis a 3 Improperia [a 8], 130200, B0338/B0339, B0342
Gloria tibi Domine a 6] (Baini scoring), D0001, D0004 ("Ad Missam"),
A0085, A0086, B0046, B0200, B0234, B0304 D0018 (Popule meus), D0023 (v.3, "Incipit
(=`Crudelis Herodes'), B0356, B0361 ("Crudelis Hieremiae a 6/8"), D0028 (v.5, "Improperien"),
Herodes"), B0365, D0091, 00093, D0111 D0079 (v.7), D0091, D0093, D0107 rWas hab
(Lavacra), F0096 ich dir gethan/Popule meus"), D0171 ("Popule
"How beautiful upon the mountain" a 4 (ed. Rim- meus"), D0224 (Popule meus), D0237 (Popule
bault), 00095 meus), D0424 (Popule meus arr. as "Is it nothing
Huius obtentu [hymn a 4] [Hab.VIII.131, verses Deus to you"), E0383, E0474, E0540, F0043 (Ecce
aime nostris a 4] lignum etc.), F0046 (Ecce lignum etc.,
A0085, A0086,130200, B0234, B0356, B0365 Hab.XXXI.175), F0062, F0067 (Popule meus),
Hunc coelum terra [hymn a 4], A0085 F0111, F0143 (Popule meus, arr.Terni), F0210
Hvmni talus anni [complete collections], A0085- (Popule meus), F0288 (Popule meus), F0320
A0089, C0001 (v.8), C0004 (v.14), D0005 (v.3), ("Improperia"), F0353 (Popule meus,
E0144, E0181 Hab.XXXI.171-172), F0371 (Popule meus),
Hymnus canoris personet [hymn a 4, verses F0413 (Popule meus), F0431 (Popule meus),
Index of Titles and First Lines 447
F0434 (Popule meus), F0441 (Popule meus), Inveni David [offertory motet a 5], A0095, B0178,
F0446 ("Improperia") B0228 (with basso continuo), E0255
Improperium exspectavit [offertory motet a 51, Inviolata [m ass a 4], A0006, B0348, B0356, D0109
A0095, B0063, B0178, B0228, D0023 (v.1), (Crucifixus a 3)
D0109, D0438 ( "Thy rebuke "), F0011, F0079, Io dovea ben pensarmi [mad rigal a 4], A0112
F0261, F0292, F0383, F0405 Io Felice sarei [mad rigal a 51, A0177, A0182, A0190,
In diebus illis mulier [motet a 4], A0040, B0036, B0159, C0004 (v.9)
B0159, D0020, D0074, D0087 Io mi son giovinetta (Primi toni) [mass a 4], B0159,
In dominicis diebus [Mantuan mass a 4], B0112 B0347, B0356, B0359
In Domino laetabitur [spiritual canzonetta a 4], Io mi son giovinetta (Sine titulo) [mass a 6], B0352
A0227 Io sento qui d' intomo [madrigal a 4], A0112
In dubio di mio stato [madrigal, attribution to GPP Io son ferito ahi lasso [madrigal a 5], A0140 ("Succu-
uncertain; sec.parte Or fiagiammai], B0111 rite ahi lasso"), A0165, A0172, A0175, A0176,
In duplicibus minoribus I [Mantuan mass a 5], A0180, A0190, A0192, A0204 (modified setting),
B0112, B0114. C0004 (v.18), F0076 A0206, B0032, B0041, BO111, B0125 ("Succu-
In duplicibus minoribus II [Mantuan mass a 5], rite ahi lasso"), B0159, B0379, C0004 (v.2),
B0114. C0004 (v.18), F0076, F0233 F0048; diminutions, A0230, A0236, A0242,
In festis apostolorum I [Mantuan mass a 5], B0112, B0068, D0042 (Bassano, Bovicelli, Rognoni,
B0115, C0004 (v.19), F0074, F0232 Bassani), D0114 (Bovicelli), E0278 (Bovicelli),
In festis apostolorum II [Mantuan mass a 5], B0115, F0013 (Bovicelli), F0238 (Bassano); instrumental
C0004 (v.19), D0124, F0074 arrangement, F0048; lute intabulation, A0218,
In illo tempore [mass a 4], A0032, B0105, B0175 A0224; intabulation in Galilei's Fronimo, p.6
In illo tempore egressus Jesus [motet a 5], A0056; Iate confessor [hymn a 4, verses
intabulated score, B0013 Domini sacratus a 4
In majoribus duplicibus [mass a 4], B0242, B0341, Ad sacrum cujus a 4
C0001 (v.23), C0004 (v.23) Sit salus illi a 5]
In manus tuas [responsory a 4 1 , B0344 (Baini scoring) A0085, A0086, B0200,130234, B0356, B0361,
In medio ecclesiae [motet a 5, sec.pars Jucunditatem], B0365
B0217 (Treviso) Isle confessor [mass a 4], A0016, A0119, A0120,
In minoribus duplicibus [mass a 4], B0242, B0341, A0121, A0122, B0058, B0062, B0065, B0073,
C0001 (v.23), C0004 (v.23), F0417 B0131, B0142, B0162, B0164, B0165,130309
In monte oliveti [responsory a 4, Marc'Antonio (lacks Agnus Dei II), B0310 (Credo only), B0341
Ingegneri ], B0344 (2 items), D0079 (v.7), D0392 (cantus only), B0356, D0009 (v.1), D0070 (ed.2
( "Upon the Mount of Olives ") v.2), D0091, D0093, D0102 (Ky rie, Gloria, Sanc-
In omnem terram [offertory motet a 5], A0098 tus, Benedictus, Agnus Dei I), D0112 (Sanctus,
In semiduplicibus majoribus I [Mantuan mass a 5], arr. organ), D0125, D0265, D0346, D0450 (with
B0112, B0115, C0004 (v.19), F0074 organ), D0474, E0249, E0501, E0523, F0024,
In semiduplicibus majoribus II [Mantuan mass a 5], F0274
B0115, C0004 (v.19), F0074 Iste est qui ante Deum [motet a 4], A0040, B0058,
In te Domine speravi [mass a 4], A0023, A0024 B0159, B0326
In te Domine speravi [mass a 6], A0030 Isti cunt vin Sancti [motet a 4], A0040, B0106,
In te speravi [offertory motet a 5), A0098, B0251 B0159, D0050, D0091, D0093, D0102
Inclytae sanctae virg. Catherinae [motet a 5], A0059, lubilate. See entries beginning "Jubilate"
B0038, B0217, B0364; organ tablature, B0087 Iudica. See entries beginning "Judica"
In festo unius martyris. See Hic est vere martyr Iustitiae. See entries beginning "Justitiae"
Ingrediente Domino [motet a 4, Hab.XXXI.137, lustorum. See entries beginning "Justorum"
doubtful], B0204 (unique attribution to GPP), Iustus. See entries beginning "Justus"
B0342 (Baini scoring) Jam Christus astra ascenderat [mass a 4]. See lam
Innocentes pro Christe [motet a 4], B0138 (Santini Christus ad astra ascenderat
scoring), D0005 (v.7), D0014 (v.6) Je suis desheritée (Sine nomine a 4, Book VI) [mass a
Inter vestibulum [motet a 4], B0139 (Santini scoring) 4], A0023, A0024, B0356, D0363 (Kyrie),
Introduxit me rex [motet a 5, IV/12], A0063, B0041, D0399, D0431 (Kyrie, arr. "O sacred head"),
B0159 (incomplete), D0005 (v.2), D0023 (v.3), B0105, E0348, F0024, F0274, F0318, F0350
D0059, D0148, D0311, D0323, D0464 ( "To the Jerusalem cito veniet salus tua [motet a 6, sec.pars
cellar of wine "), E0430, F0140, F0292, F0336, Ego enim sum Dominus], A0056, A0128, 80016,
F0368, F0390; diminutions (by Bassano) A0230, B0245, B0319, B0369, D0005 (v.6)
F0099, F0201, F0419 Jesu corona virginum [hymn a 4] [Hab.VIII.123,
Inveni David [motet a 5, contrafactum of Exi cito in verses
plateas, q.v.], B0277 Quem mater illa concipit a 4
448 Index of Titles and First Lines
Quocunque pergis a 4 Justus ut palma [offertory motet a 5], A0098
Laus honor virtus glo ria a 5]
A0085, A0086, B0200, B0234, B0361 ( "Fortern Kyrie eleison [mass movement attributed to Palest-
vinli"), B0361, B0365 rina in source, specific mass cycle unspecified],
Jesu corona virginum [hymn a 4] [Hab.VII1.127, D0028 (v.6), D0107
verses
Quem mater illa concipit a 4 La cruda mia nemica [mad rigal a 4]
Quocunque pergis a 4 A0112, D0086, D0105, E0660, F0042, F0188,
Gloria tibi Domine a 5] F0214, F0323; p.xiv
A0085, A0086, B0234, B0356, B0361 ("Fortem La ver l' aurora, the si dolce [madrigal a 4], A0101,
virili"), B0361, B0365 D0079 (v.5), E0308
Jesu flos matris [spiritual canzonetta a 4], A0227, Laetamini in Domino [offertory motet a 5], A0098
D0291; keyboard intabulation, A0227 Laetus hyperboream [motet a 5, sec.pars O patruo],
Jesu nostra redemptio [hymn a 4, verses A0063, F0245
Amor et desiderium a 4 Laeva eius [Leva eius][motet a 5, IV/13], A0063,
Inferni claustra a 4 D0005 (v.2), D0059, D0149, D0312, D0323,
Tu esto nostrum gaudium a 6] F0140
A0086, B0038,130046, B0200, B0234, B0356, Lamentabur Jacob [motet a 5, Cristobal de Morales],
B0361 ("Salutis humanae sator"), B0365 F0171
Jesu nostra redemptio (Missa Tertia a 4, Book IV) Lamentations [complete collections, 4-8 voices],
[mass a 4], A0013, B0257, B0347, B0356, A0090-A0091, C0001 (v.25, with fragments in
B0359, D0009 (v.1), D0030, DOl 1 l (Benedictus), v.31), C0004 (v.13); p.10
F0123 (Benedictus and Hosanna only) Lamentationes I, nos. 1-9 [lection a 4]
Jesu rex admirabilis [hymn a 3], A0227, D0015, A0090, D0005 (v.4)
D0061, D0102, D0105, D0397 ("Jesu! o King Lamentationes II, no.1-9 [lection a 4]
most wonderful"), E0516, E0543, F0058, F0068, 130235, D0005 (v.4)
F0147, F0150, F0348, F0366; keyboard/lute Lamentationes III, nos. 1-9 [lection a S]
intabulation, A0233, E0543 D0005 (v.4), F0264
Jesus junxit se [motet a 4], A0040, A0131, 130058, Lamentationes IV, nos. 1-9 [lection a 51
80159, 130210, 130211, D0035, F0376 B0241, F0311
Jesus junxit se [motet a 8, sec.pars Et increpavit eos], Lamentations [lections for Holy Week, selections,
B0187, B0245, B0267, B0318, B0368, C0004 excerpts or fragments], B0006 (Aleph. Quomodo;
(v.33), D0005 (v.7) Heth. Cogitavit; Heth. Misericordiae), B0199 (4-6
"Joy so delights my heart" [madrigal a 4 = Gioia voices, attributed to Soriano but recte by Palestrina
m'abond'al cor], A0193, D0003, D0033 [Jeppesen]), B0200 (various, in GPP autograph),
Jubilate Deo omnis terra [motet a 5, sec.pars Laudate 130202 (attributed to Dragoni), B0208 (partly =
nomen emus], A0059 B0202), B0299 (Feria VI. lectio II a 4; Aleph.
Jubilate Deo omnis terra [motet a 8], A0059, B0128, Quomodo; Heth. Cogitavit a 5); B0339 (Feria
B0172, B0302, D0009 (v.5), F0104, F0171, VI.); B0342 (4 voices, Baini scoring), B0345
F0212; p.7 (Baini scoring), B0351, D0005 (v.4) (Feria VI.
Jubilate Deo omnis terra [motet a 12, sec. p ars Lau- Parasceve, Lectio I "as used in papal chapel in
date nomen emus], B0230 1587"), C0001 (v.31); C0004 (v.13, pp.243 et
Jubilate Deo omnis terra [offertory motet a 5], seq.); D0028 (v.6; v.12), D0091 (v.4), D0093,
A0095, B0178, B0251, E0344, F0044, F0052, D0105 (Pars mea, Recordata), DOl 11 (Feria VI.
F0106 Lect. II; Fe ria VI. Lect.III), D0196 (Pars mea,
Jubilate Deo universa terra [offertory motet a 5], Bonus est Dominus), D0221 (Good Friday matins,
A0095, B0178, B0251, F0096 Cas.XIII), E0523 (Fe ria V), F0028 (a cycle of 9
Jubilate Deo [motet, further iden tification unspeci- lections), D0060 (3 lections), F0044 ( "Incipit ora-
fied], D0005 (v.6), F0041, F0161, F0164, F0186, tio"), F0049 ( "Incipit oratio"), F0052 ( "Incipit
F0330 oratio"), F0053 ( "Incipit oratio a 4-8"), F0060
Judas mercator [responsory a 4, Marc'Antonio Ingeg- ("Feria VI. in Parasceve"), F0091 ("for Holy Sat-
neri], B0344 (2 items) urday" [Feria VI.]), F0097 ("for Maundy Thurs-
Judica me Deus [motet a 6], A0059 day"), F0131 (Matribus suis), F0139 (Matribus
Justitiae Domini [offertory motet a 5], A0095 (2 suis), F0233 ("I-III"), F0272 ( "Incipit oratio"),
items), B0063, B0178, B0251 F0280 ("Incipit oratio": Recordare, Aegyptae,
Justorum animae [offertory motet a 5], A0098, Servi, Jerusalem), F0285 (Matribus suis), F0299
A0132, A0145, B0167, B0171, B0174, B0251 ("Lessons I and III for Maundy Thursday", F0316
Justus ut palma [offertory motet a 5], A0095, A0135, (unspecified arr.recorders), F0366 (Pars mea),
B0178, B0228 (with basso continuo), F0021 F0380 ("Incipit oratio"), F0409 ("Oratio Jere-
Index of Titles and First Lines 449
miae"), F0431 ("Sabbato Sancto") Laudate pueri Dominum [motet a 8, sec.pars Quis
Lamentations [mentioned in text], E0349, E0477, sicut Dominus Deus], A0056, B0221, B0331
E0619 ("Descendit lux magna"), B0340 ( "Descendit lux
Lapidabant Stephanum [motet a 4], A0040, B0007, magna"), D0005 (v.6) F0258, F0382; organ tabla-
B0159, B0210, B0211, B0363, D0009 (v.4), ture, 130087
D0020, D0087, F0376 Laudibus summis [hymn a 4, verses
Lapidabant Stephanum [motet a 5], A0049, D0005 Celebremus omnes a 4
(v.2), D0067; organ intabulation, A0221 (Paix), Ex suo te nunc a 4
B0086 (incomplete), B0087, D0065 (Paix) Dive coelestisque a 5]
Lauda anima mea [offertory motet a 5], A0095, A0085, A0086, B0356, B0365
B0251, D0079 (v.7), E0540 Laus honor virtus gloria [hymn a 4], A0085
Lauda mater ecclesia [hymn a 4, MS], B0040, B0052, Lavacra puri gurgitas [hymn verse a 4], A0085
E0208 Le selv' avea [madrigal a 5, sec.parte Quando fe' loro
Lauda mater ecclesia [hymn a 4] [Hab.VIII.62, verses impallidir], A0177, A0182, A0190, C0004 (v.9),
Lauda Christi clementiam a 4 D0105; p.6
Post fluxa carvis a 4 Leva eius [motet a 5]. See Laeva eius
Surgentem cum victo ria a 4] L' homme armé [monophonic melody], D0002,
A0085, A0086, B0200, B0234, B0356, B0361 E0235, E0236
("Pater supemi"), B0365, D0025 (Post fluxa) L'homme armé (Missa Quarta) [mass a 4], A0013,
Lauda Sion salvatorem [hymn a 5], B0329 (strophes B0347, B0359, D0002, D0009 (v.2), D0030,
1, 2, 23) D0100 (S anctus, Benedictus), D0111 (Benedic-
Lauda Sion (Missa Prima, Book IV) [mass a 4], tus), D0398, E0239, E0240, F0304
A0013, B0006, B0252, B0298 (lacks Agnus Dei L' homme armé [mass a 5], A0010, B0037, B0121,
II), B0347, B0359, D0009 (v.1), D0030, D0061 80159, D0081, D0109, D0111, D0239, E0175,
(Benedictus), D0104 (Benedictus), D0240, E0176, E0177, E0194, E0195, E0204, E0236,
D0266, E0513, F0029, F0178, F0182 (Benedic- E0239, E0240, E0293, E0294, E0439, E0459,
tus), F0215 (Benedictus), F0327 (Sanctus), F0365 E0488, F0027, F0030, F0347; pp. I0, 77
(Benedictus), F0453 Libers me [responsory a 4, Hab.XXXI.140], B0200,
Lauda Sion salvatorem (variant spl. Lauda Syon) B0303, B0315
[motet a 4], A0040, 130036,130159,130175, Libera me [responsory a 5, Hab.XXXII], B0233,
B0178, B0179, B0210, B0211, B0268, B0364, F0155
D0009 (v.4), D0102, D0267, D0447 ("Bone Pas- Litaniae. See also Litanies [collections]
tor"P'Very Bread"), F0421, F0426 Litaniae BMV [unspecified], D0091, D0093
Lauda Sion salvatorem [motet a 6], B0133 (Santini Litaniae Beatae Mariae Virginis [litany a 5,
scoring) Hab.XXVI.67], B0346, D0109
Lauda Sion salvatorem [motet a 8], A0059, A0144, Litaniae Beatae Mariae Virginis [litany a 6,
B0012, B0016, B0083, B0128, B0187, B0221, Hab.XXVI.71], B0230, F0094
B0228, C0004 (v.34); intabulated score, B0012 Litaniae Beatae Mariae Virginis [litany a 8,
Laudate coeli [motet a 5, Hab.XXXI.41, doubtful Hab.XXVI.78], B0221, B0230, F0057
attribution], B0346 (2 items) Litaniae Beatae Mariae Virginis [della beats Virgine]
Laudate Dominum [motet, further identification [litany a 8, Hab.XXVI.95], A0156, B0221,
unspecified], F0091, F0371 B0230, B0237, F0270
Laudate Dominum de coelis [motet a 8], B0230, Litaniae Deiparae Virginis [litany a 4, Hab.XXVI.1 ],
C0004 (v.34) A0092, A0155, F0020 ("de B V M a 4"), F0143;
Laudate Dominum in sanctis eius [motet a 8, attribu- p.77 (incomplete)
tion to GPP questioned], B0028, B0168 Litaniae liber secundus [Litaniae Deiparae Virginis]
Laudate Dominum in tympanis [motet a 12], B0190, [litany a 4, Hab.XXVI.33], A0092, A0155,
B0195, C0004 (v.32), D0134 DOl 11, D0469 (arr. excerpts, "Supplicationes"),
Laudate Dominum omnes gentes [mass a 8], A0035, F0082 ("Supplications"), F0084 (arr. excerpts)
B0221, B0294B0295 (lacks Agnus Dei II), Litaniae Domini [litany a 4 et 8, Hab. XXVI.102],
C0001 (v.22), C0004 (v.30) B0230
Laudate Dominum omnes gentes [motet a 8], A0056, Litaniae Domini [litany a 8, Hab.XXVI.113], B0230
B0190, B0194, B0195, 80221.130230, D0005 Litaniae Domini [litany a 8, Hab.XXVI.119], B0221,
(v.6), D0028 (v.15), D0280 ("O praise the Lord"), B0230
F0052, F0166; organ tablature, B0087 Litaniae sacrosanctae Eucharisticae [litany a 8,
Laudate Dominum quia benignus [offertory motet a Hab.XXVI.125], B0221, B0230
5], A0095, B0063, B0178, D0023 (v.1), D0109, Litaniae sacrosanctae Eucharisticae [litany a 8,
F0044, F0077, F0230, F0262, F0333, F0353, Hab.XXVI.133], B0230
F0388, F0398, F0432 Litanies [collections], C0001 (v.26), C0004 (v.20)
450 Index of Titles and First Lines
Lontan dalla mia diva [madrigal a 4], A0101 F0019, F0021, F0105, F0112
Loquebantur in vanis linguis [motet a 4], A0040, Magnificat 1 [odd verses, primi toni a 4], A0093,
B0058, B0159, B0210, B0211, B0290, B0335, B0213, B0236, B0358, B0366, D0005 (v.7)
D0009 (v.4), D0014 (v.4), D0051, D0070 (ed.l Magnificat 2 [odd verses, secundi toni a 4], A0093,
v.2; ed.2 v.3), D0077, D0087, D0091, D0093, B0213, B0236, D0005 (v.7)
D0187 ("With other tongues"), D0200, D0429 Magnificat 3 [odd verses, tertii toni a 4], A0093,
("Lift up your heads"), D0457 ("In divers B0213, B0236, D0005 (v.7)
tongues"), F0376, F0420, F0450 Magnificat 4 [odd verses, quarti toni a 4], A0093,
Lucis creator optime [hymn a 4], verses B0192, B0236, B0213, D0005 (v.7)
Lucem dierum proferens a 4 Magnificat 5 [odd verses, quinti toni a 4], A0093,
Ne mens gravata a 3 B0213, B0236, D0005 (v.7)
Praesta pater piissime a 5] Magnificat 6 [odd verses, sexti toni a 4], A0093,
A0085, A0086, B0038, B0046, B0200, B0234, B0192, B0213, B0236, D0005 (v.7)
B0356, B0361, B0365 Magnificat 7 [odd verses, septimi toni a 4], A0093,
Lumen [Santini scoring], 130045 B0213, B0236, D0005 (v.7)
Lumen ad revelationem [antiphon a 4 and 5. Hab. Magnificat 8 [odd verses, octavi toni a 4], A0093,
XXXII], B0184, B0258, B0346 B0213, B0236, D0005 (v.7)
Magnificat 9 [even verses, primi toni a 4], A0093,
Ma so ben, signor mio [spiritual madrigal a 5], A0110 B0003, B0213, D0005 (v.7)
Madrigals, complete four-part [secular madrigals a 4, Magnificat 10 [even verses, secundi toni a 4], A0093,
books 1 and 2; together with 4-pa rt madrigals B0003, B0213, D0005 (v.7)
located in anthologies], F0370 Magnificat 11 [even verses, tertii toni a 4], A0093,
Madrigals (secular) [complete collections], Primo 130003, B0213, D0005 (v.7)
libro di madrigali [madrigals a 4, book 1], A0101- Magnificat 12 [even verses, quarti toni a 4], A0093,
A0109, C0001 (v.28), C0004 (v.2), C0006 (ser.1 B0003, B0213, D0005 (v.7)
v.2), F0370, F0418, and p.3; Secondo libro di Magnificat 13 [even verses, quinti toni a 4], A0093,
madrigali a 4 [madrigals a 4, book 2], A0112, 130003, B0213, D0005 (v.7)
C0001 (v.28), C0004 (v.31), F0370 Magnificat 14 [even verses, sexti toni a 4], A0093,
Madrigals (spiritual) [complete collections], Primo B0003. B0213, D0005 (v.7)
libro di madrigali [spiritual madrigals a 5, book Magnificat 15 [even verses, septimi toni a 4], A0093,
1], A0110-A0111, C0001 (v.29), C0004 (v.9), B0003, B0213, D0005 (v.7)
E0689; Madrigali spirituali ... libro secondo Magnificat 16 [even verses, octavi toni a 4], A0093,
[spiritual madrigals a 5, book 2], A0113, B0151 B0003, B0213, D0005 (v.7)
(in score), C0001 (v.29), C0004 (v.22), E0689, Magnificat 17 [primi toni a 4]
and p.10 Magnificat 18 [secundi toni a 4]
Madrigals, spiritual. See Madrigali spirituali Magnificat 19 [tertii toni a 4]
Magna est gloria [motet a 8]. See Domine in virtute Magnificat 20 [quarti toni a 4]
tua a 8 [sec.pars], B0333 ("Exultate Deo adjutori Magnificat 21 [quinti toni a 4]
nontro"), B0340 ("Exultate Deo adjutori nontro") D0109, F0312
Magnae Deus potentiae [hymn a 4, Hab.XXX.93] Magnificat 22 [sexti toni a 4]
[verses 1,3,5 Magnificat 23 [septimi toni a 4]
Magnae deus potentiae a 4 Magnificat 24 [octavi toni a 4]
Largire cunctis servulis a 3 Magnificat 25 [primi toni a 5], A0244 (Et exultavit),
Praesta Pater piissime a 4] B0236, D0005 (v.7), D0025 (Et exultavit)
B0234, B0242, B0344 (Baini scoring), B0351 Magnificat 26 [secundi toni a 5], A0244 (Deposuit,
Magne pater Augustine [hymn a 4, verses Sicut locutus), B0236, D0005 (v.7), D0025 (Sicut
Preces nostras a 4 locutus)
Quae obscura a 4 Magnificat 27 [tertii toni a 5], A0244 (Sicut locutus),
Regi regum salus a 5] B0236, D0005 (v.7)
A0085, A0086, B0356, B0365 Magnificat 28 [quarti toni a 5], A0244 (Sicut erat),
Magnificat [complete collections], A0093-A0094, B0236, D0025 (Sicut erat)
C0001 (v.25), C0004 (v.16) Magnificat 29 [quinti toni a 5], A0244 (Esurientes),
Magnificats [general, works without clear identifica- B0236, D0025 (Esurientes)
tion in source, or isolated verses], B0044 (4 Magnificat 30 [sexti toni a 5], B0236
works: odd verses, tones 1-4); B0079 (primi toni, Magnificat 31 [septimi toni a 5, Hab.XXVII. 214],
odd and even verses), D0095 (a 4),D0105 (3 A0244 (Sicut erat), B0234, D0025 (Sicut erat),
items, each a 3), D0109 (7 items, each a 3), F0401
D0111 (IV. toni, Fecit potentiam; V. toni, Et exul- Magnificat 32 [octavi toni a 5], B0236, D0005 (v.7)
tavit; II.toni, Sicut erat), D0183 (IV.toni), E0260, Magnificat 33 [quarti toni a 5, even verses,
Index of Titles and First Lines 451
Hab.XXVII.244],130200, F0401 11],A0033, C0001 (v.20), C0004 (v.28); Mis
Magnificat 34 [sexti toni a 4 et 5, Hab.XXVII. 251], sarum
...liber duodecimus [Masses a 4, 5, 6, book
-sarum
B0222, B0353 12],A0034, C0001 (v.21), C0004 (v.29); Mis
Magnificat 35 [primi toni a 8], B0186, B0231, quatuor octonis vocibus [Four masses a-sarum 8],
sarum
B0245, C0004 (v.16), D0005 (v.7), D0343, A0035, C0001 (v.22), C0004 (v.22)
F0057, F0270, F0319 Meditabor in mandatis [offertory motet a 5], A0095,
Magnificat primi toni [verses or number of voices B0063, B0178, F0262
unspecified], F0018, F0020 (a 4), F0137, F0187, Memento salutis auctor [hymn a 4], A0085
F0199, F0234, F0253, F0359 Memor esto [mass a 5], A0028, B0107, B0166,
Magnificat octavi toni [verses or number of voices B0252, B0279
unspecified], A0244 (Quia fecit), D0025 (Quia Memor esto verbi tui [motet a 5], A0056, B0325;
fecit), D0091, D0093, F0019 (a 4). F0158. F0182, organ tablature, B0087
F0186 Mensis augusti [hymn a 4], verses
Magnificat octavi toni a 8, D0070 (ed.1 v.2; ed.2 v.4) Redeunt honores a 4
Magnificat quarti toni [a 4 voci pari, Hab. Candido velans a 4
XXVII.244], B0200, C0004 (v.16), F0139, F0143 Vicit altricem a 4]
(arr.Casimiri), F0184, F0247, F0258, F0348 A0085, A0086, B0356
Magnificat septimi toni [verses or number of voices Mentre a le dolci [madrigal a 4], A0101
unspecified), F0086, F0170 Mentre ch'al mar [madrigal a 4], A0101, A0197
Magnificat sexti toni [verses or number of voices (described as a 5)
unspecified], F0058, F0144, F0180, F0308 (6 "Miércoles Santo" [motet a 4, = Domine exaudi ora-
voices) tionem, q.v.]
Magnificat sexti toni [attribution doubtful], B0215, Mihi autem nimis [offertory motet a 5], A0098
E0322 Mirate altrove, vita mia [mad rigal a 4], A0112
Magnum haereditatis mysterium [motet a 4], A0040, Mirificat Dominus [contrafactum motet a 5, = Deus
B0159, B0210, B0211, F0376 qui dedisti legem, q.v.], B0330, B0340
Magnus sanctus Paulus [motet a 4], A0040, B0058, "Misa cum 6 vocibus" [CCATTB, Esco rial MS5],
B0159. B0186, B0210, B0211 (`Magne sancte B0060
Paule'), D0009 (v.4), F0376 Miserere [motet, Tommaso Bai], D0001
Magnus sanctus Paulus [motet a 8, sec.pars Sancte Miserere mei Deus [falsobordone motet. Gregorio
Pauli], B0221, C0004 (v.34) Allegri], D0001, E0383, E0474, F0171
Manifesto vobis [motet a 5, sec.pars Pax vobis noli Miserere mei [motet, number of voices unspecified],
timere], A0059, B0038 (Pax vobis only) F0097
Maria ergo coelos ascendit [motet a 7, sec. pars of Miserere mei Deus [falsibordone motet a 4], A0126,
Virgo prudentissima, q.v.)] D0014 (v.6), D0091, D0093
Mass in b-minor [J.S. Bach], E0457 Miserere mei Deus [falsibordone motet a 5], A0126
Masses, books of [complete collections], Missarum Miserere mei Deus [motet a 5], B0036, B0120,
liber p ri mus [Masses a 4, 5, 6, book 1], A0001- B0127
A0005, C0001 (v.10), C0004 (v.1), C0006 Miserere mei Deus [motet a 9], B0300/B0301, C0004
(ser.1.v.1) and p.2; Missarum ...liber secundus (v.33) D0175
[Masses a 4, 5, 6, book 2], A0006-A0009, C0001 Miserere mei Deus [motet a 12], B0187, C0004
(v.11),C0004 (v.4); Missarum liber tertius (v.32)
[Masses a 4, 5, 6, book 3], A0010-A0012, C0001 Misit me vivens Pater [motet a 5], A0142, B0191
(v.12),C0004 (v.6), and p.6; Missarum liberguar- Misit rex incredulus [motet a 4], B0264
tus [Masses a 4 and 5, book 4], A0013-A0015, Missa, missae, missarum. See Masses, books [com-
C0001 (v.13), C0004 (v.10); Missarum liber quin- plete collections]
tus [Masses a 4, 5, 6, book 5], A0016-A0018, "Missa Pilastrina" [doubtful att ribution ], B0116
C0001 (v.14), C0004 (v.15); Missae ...liber sex- Misso Herodes spiculatore [motet a 4], A0040,
tus [Masses a 4, 5, 6, book 61, A0023-A0024, B0159, B0210, B0211, D0091, D0093
C0001 (v.15), C0004 (v.21), and p.10; Missae Monstra te esse [hymn a 4], B0223 (Hab.XXX; =Ave
...liber septimus [Masses a 4, 5, 6, book 7], maris stella, Costanzo Festa, si placet part by
A0025-A0027, C0001 (v.16), C0004 (v.21); Mis GPP). See also Si placet parts
sarum...liber octavus [Masses a 4, 5, 6, book 8], -sarum Mori quasi il mio core [madrigal a 4], A0112, A0198,
A0028-A0029, C0001 (v.17), C0004 (v.24); Mis A0204, D0086, D0208 ("My heart with grief')
sarum ...liber noms [Masses a 4, 5, 6, book 9], -sarum "Motet for the festival of our Lord's nativity", D0129
A0030-A0031, C0001 (v.18), C0004 (v.25); Mis Motets, books of [complete collections], Motecta fes-
sarum...liber decimus [Masses a 4, 5, 6, book -sarum torum totius anni [Motets for the feasts of the
10], A0032, C0001 (v.19), C0004 (v.27); Mis- entire year a 4, book 1], A0036-A0046, B0155,
sarum ...liber undecimus [Masses a 4, 5, 6, book C0001 (v.5), C0004 (v.3), D0011, E0471 and p.4;
452 Index of Titles and First Lines
Liber secundum motectorum [Motets a 4, book B0159, B0186, B0210, B0211, D0028 (v.3; v.5,
2], A0080-A0084, C0001 (v.4), C0004 (v.11), "Lasst uns mit Jesu"), D0051
Liber primus...motettorum [Motets, a 5, 6, 7, Novella aurora [spiritual madrigal a 5], A0113, F0186
book 1], A0047-A0051, C0001 (v.2), C0004 (v.5), Nunc dimittis [motet a 4], B0136 (Santini scoring),
E0144; Motettorum...liber secundus [Motets a 5, B0344 (Baini scoring)
6, 7, book 2], A0052-A0057, C0001 (v.2), C0004 Nunc dimittis [motet a 4 et 5, Hab.XXXI.158],
(v.7), E0258; Motettorum ...liber tertius [Motets B0259, F0117
a 5, 6, 7, book 3], A0058-A0062, C0001 (v.3), Nunc dimittis [motet a 6, Sills Pierluigi], A0056,
C0004 (v.8), E0258, and p.7; Motettorum...liber A0128,130016, B0027, B0134; intabulated score,
quartus [Motets a 5, book 4], A0063-A0074, B0015; organ intabulation, 130027
C0001 (v.4), C0004 (v.11), E0144, and p.9, and Nunc dimittis [motet a 8], 130221, B0230, C0004
see also Canticum canticorum; Motettorum (v.34)
...liber quintus [Motets a 5, book 5], A0075- Nunc dimittis [motet a 12], B0190, B0195, C0004
A0079. B0152 (Husbands scoring), C0001 (v.4), (v.32), D0038
C0004 (v.12); Offertoria totius anni [Motets a 5, Nunc dimittis [motet, number of voices or other
parts 1 and 2], A0095-A0100, C0001 (v.9), information unspecified], D0095 (a 4), D0103,
C0004 (v.17) F0112, F0199
"My heart is fixt" [Palestrina-Aldrich, based on Nos Nunc juvat celsi [hymn a 4, verses
autem gloriari], 130092, B0102, B0153, B0158, Properare ad alta mente a 4
B0326, D0009 (v.4) Dum fames terrasa 4
Claudes et pubes a 4]
Nasce la gioia mia (Sine nomine)[mass a 6], A0016, A0085, A0086, B0356
130058, 130142, B0165; arr. J.S. Bach (also called
Missa Brevis-Kyrie and Glo ria only), D0293, O admirabile commercium [mass a 5], A0028,
E0387, E0407, E0458, F0168, F0196 B0166, B0239, B0252, B0282, D0009 (v.3),
Nasce la gioia mia [mad rigal, Primavera], F0196 D0288, D0396, D0426 (Agnus Dei arr. a 4 "Lamb
Nativitas tua Dei genetrix [mass a 5, anonymous in of God"), D0428 (Gloria arr. a 4 "Let the peo-
source, attributed to GPP by Be rnhard Janz], ple"), D0466 (Benedictus), D0467 (Sanctus,
B0258, E0261, E0643 Osanna), E0248, E0523, F0083 (Benedictus
Nativitas tua Dei genetrix [motet a 4], A0040. A0123, only), F0213 (Gloria, Sanctus, Benedictus only)
A0127, B0036, B0058 (2 items), B0159, B0210, O admirabile commercium [motet a 5], A0049,
B0211, D0009 (v.4), E0261 A0125, A0142, B0016, B0027, B0056, B0057,
Ne mens gravata crimine [hymn verse a 4], A0085 B0106, B0169, B0170, B0171, B0181, B0190,
Ne recorderis peccata mea[motet a 4], D0005 (v.7), B0195, B0380, D0005 (v.2), D0014 (v.4), D0067,
D0014 (v.6) D0170, D0402, F0364; intabulated score, B0015;
Ne reminiscaris [motet a 5, Hab.XXXI.44, doubtful organ tablature, B0027
attribution], B0344 (Baini scoring), B0346 O admirabile commercium [motet a 8], B0190,
Ne timeas Maria [contrafactum motet a 6 = Dum B0195, C0004 (v.33)
complerentur a 6, q.v.; sec.pars Et dabit illi Domi- O angelorum principes [motet a 6, attributed to GPP],
nus], B0321, B0346, B0368 B0228
Nessun visse giammai più [madrigal a 4], A0107, O Antoni eremita [motet a 5], A0049, B0264; organ
D0116 ("Amors Pfeil"), E0666 intabulation, B0087
Nigra sum [mass a 5], A0016, B0165, B0275, B0281, O be ats et benedicta [motet a 5, sec.pars O vera
B0311 (lacks Benedictus and Agnus Dei III), summa], A0049, B0014, B0059 (sec.pars only),
F0195, F0261 B0150, B0254, B0269, B0319 CO beata et glo-
Nigra sum [motet, Je an L'Hé ritier]. F0195 riosa"), B0346, B0364, B0369 ("O beata et glo-
Nigra sum [motet, Tomas Luis da Victoria], F0195 riosa"), D0005 (v.2), D0067, D0277, ( "O beata et
Nigra sum [motet, da Silva], F0195 gloriosa"), D0284 ( "O holy and glorious "),
Nigra sum sed formosa [motet a 5, IV/3], A0063, D0381 ( "O beata Trinitas"), F0005 ( "O be ats et
D0005 (v.2), D0023 (v.3), D0059, D0105. D0139, gloriosa"), F0115 ( "O beata et gloriosa"), F0171,
D0302, D0323, F0103, F0140, F0253, F0368, F0372; intabulated score, B0013; intabulation for
F0423 organ A0221, B0087, E0543
Non basta ch'una volta [spiritual madrigal a 5], O beats et gloriosa Trinitas. See O beata et benedicta
A0110 O beatum pontificem [motet a 5], A0049, B0364,
Non fu già suon di trombe [madrigal a 5], A0207 organ tablature, B0087
(incomplete) O beatum virum [motet a 5, sec.pars O beatum],
Non son le vostri mani [mad rigal a 5], A0198, A0202, A0049, B0059; organ tablature, B0087
D0041 ("Wie kannst du nur") O bella Ninfa mia [madrigal a 5], A0181, A0184,
Nos autem gloriari [motet a 4], A0040, B0036, A0192, A0203, B0159, D0086; keyboard intabu-
Index of Titles and First Lines 453
lation, A0239; lute intabulation, A0238 [mass a 5], A0013, A0245 (Pleni), B0074,130216
O bone Jesu [motet, number of voices unspecified], (Kyrie and Benedictus only), B0255, D0015
F0129, F0212, F0298, F0372, F0437, F0444 (excerpts), D0030, D0080 (Pleni), D0081, F0096
O bone Jesu exaudi me [motet a 6], A0059, B0190 (2 O magnum mysterium [motet a 6, sec.pars Quem
items), B0194, B0195 (2 items), B0220, B0363, vidistis pastores], A0049, A0125, B0057, B0170,
D0192, D0341, F0053, F0089, F0307, F0344, B0175, B0181, B0248,130316, B0346, B0368
F0423 (listed a 5), D0005 (v.6), D0016, D0081, D0176,
O bone Jesu exaudi me [motet a 8], B0230, D0135 D0268, D0373 (sec.pars "Shepherds, whom
("O blessed Jesus") beheld ye"), E0210 (sec.pars only), E0233
O bone Jesu miserere [motet a 4], B0204, D0070 (sec.pars only), F0041, F0093 (sec.pars only),
(ed.1 v.2; ed.2 v.4), D0074, D0076, D0079 (v.7), F0096, F0106, F0161, F0164, F0421, F0426;
D0080, D0102, D0103, D0243, D0279 ("O intabulated score, B0015; organ tablature, B0086
blessed Jesu"), D0283 ("O blessed Jesus"), O manna saporito [spiritual madrigal a 5]. A0110
D0353, D0401 (arr.), E0540, E0600, F0031, O pastor dove vai [madrigal a 6], A0205, E0206,
F0049, F0125, F0128, F0136, F0435 E0223
O bone Jesu o piissime [motet a 4, Santini scoring], O pretiosum et admirabile convivium [motet a 8],
130045 B0190, B0195, C0004 (v.33)
O the splendor de' luminosi rai [mad rigal a 4], O quam metuendus est [motet a 5], A0059, B0038
A0112, A0209, D0041 CO welch ein Glanz"), ("O quoniam metuendus"), B0364, B0217
D0209 CO radiant glory"), F0294 O quam suavis est Dominus [motet a 4], A0123,
O cibo di dolcezza [spi ritual madrigal a 5], A0110 A0127, E0169
O doctor optime [motet a 4, Hab.XXXL37], B0264 O quam suavis est Dominus [motet a 8], B0221,
O Domine Jesu Christe [motet, Victo a],ri F0390 B0230, C0004 (v.34)
O Domine Jesu Christe [motet a 4, att ribution to GPP O quantus bonus (O quam bonus) [motet a 12,
questioned], B0186, D0007, D0105, D0195, Hab.XXVI.197], B0230
D0385, D0389, F0149, F0227 O quantus luctus hominum [motet a 4], A0040,
O Domine Jesu Christe [motet a 6], A0049,130016, B0038, B0159, B0210, B0211 (`Quantum lue-
B0018, B0024, B0027, B0033, B0059, B0194, turn'), B0264, D0009 (v.4), D0023 (v.1). D0091,
B0374, B0375, F0375; intabulated score, B0020; D0093, F0289, F0430
organ intabulation, 130027, B0087, B0088 O redemptor [motet a 4](Hab.XXXI.146], B0204,
O Domine Jesu Christe [motet a 8], B0190, B0195, B0229, B0232, D0102
B0230, D0247 O refrigerio acceso [spi ritual madrigal a 5], A0110
O felice hore [madrigal a 5, sec.parte Per mostrar O regem coeli [mass a 4], A0001, A0004, B0159,
gioia], A0189 B0356, B0360, D0006, D0014 (v.1), D0066,
O felix anima [hymn a 3], F0392 E0374
"O God the King of Glory" [Palestrina-Aldrich, O rex gloriae [mass a 4], A0034, DOl 11 (Benedictus),
based on O rex gloriae a 41, B0092, B0095, B0348, E0348, F0251, F0348 (Crucifixus)
B0102, B0153, B0155, B0157 O rex gloriae [motet a 4], A0040, B0159, B0210,
"O God thou art my God" a 4 [ = Sicut cervus, q.v.] B0211, B0260, B0335, D0009 (v.4), D0014 (v.6),
(ed. Rimbault), D0095 D0051, D0087, F0251, F0376
O gloriosa Domina [O gloriosa virginum][hymn a O sacrum convivium [mass a 5], B0246, C0001
12], BOl 87, B0230, C0004 (v.32), D0005 (v.7), (v.23), C0004 (v.24), D0009 (v.3), D0423 (Agnus
D0248 Dei I, an-. a 4 as "I will arise"), F0308
"O Jerusalem" a 4 (ed. Rimbault), D0095 O sacrum convivium [motet a 4], D0007
O Jesu dolce, o infinito amore [spiritual madrigal a O sacrum convivium [motet a 5], B0226, D0005
5], A0110, D0356 ("O kindly Jesus"). E0375 (v.2), D0028 (v.15), D0067; organ tablature,
"O Lord God of our salvation" a 5 [Palest rina-Aldrich A0228 (Paix), B0087
attribution, source uncertain], B0096, B0154, O sacrum convivium [motet a 5, Morales (model for
B0158 (`my' for `our' in title), D0095 the Palestrina mass)], F0308
"O Lord my God" a 5 (ed. Rimbault), D0095 O salutaris hostia [motet a 41, B0139 (Santini scor-
O lux beats Trinitas [hymn a 4, verses ing), D0070 (ed.1 v.2; ed.2 v.3), F0331
Et principalis unitar a 4 O sancte praesul Nicolae [motet a 5, sec.pars Gaude
Deo patri sit glori a a 4] praesul optime], A0059, B0217, B0363
A0086, B0038,130046,130234, B0356, B0361 (_ O sapientia [motet a 5], B0191
"Jam sol recedit"), B0365 O sol, incoronato [spiritual madrigal a 5], A0110
O lux et decus Hispaniae [motet a 5, sec.pars O sin- O virgo simul et mater [mass a 5], A0032, B0252,
gulare praesidum], A0059, B0014, B0038, B0273, B0349
B0059, B0212, B0217, B0364 O virgo simul et mater [motet a 5], A0056, B0217;
O magnum mysterium (Missa Tertia a 5, Book IV) organ tablature, B0087
454 Index of Titles and First Lines

O vos omnes [responsory a 4, Marc'Antonio Ingeg- have mercy"), D0439 (Sanctus, arr. Smith, "We
neri], B0346, F0230 laud and praise"), E0501 (arr. Mitterer)
O vos omnes [responso ry, Victoria], F0383 Papae Marcelli [mass a 6], A0006, B0073,130074,
Octavi toni (Festum nunc celebre) [mass a 6], A0033, 130077, B0107, B0117, B0185, B0187 (Agnus II
B0252 (lacks Agnus Dei 1I) only), B0244, B0286 (lacks Agnus Dei II and III),
"Otto votum a VII. toni" [mass a 8, attribution B0289 (lacks Credo, Agnus DeiII and III), B0314
doubtful], B0124 (lacks Credo, Agnus Dei II and III), B0343 (Baini
Offertoria totiur anni [complete collection], D0005 scoring), B0352, D0006, D0014 (v.3), D0023
(vol.5), E0076, E0289, E0311, E0312 (v.2, Credo), D0028 (Ky rie, Sanctus, Agnus, with
Ogni beltà, madonna[madrigal a 4], A0112, D0041 Latin and German text), D0034 (Agnus Dei I),
("Blick'ich umber"), D0204 ( "All other beauty"), D0066, D0070 (ed.l v.1; ed.2 v.2), D0079 (v.1),
F0034; keyboard intabulation, A0234 D0081, D0084 (Credo, Agnus DeiI), D0090,
Ogni loco mi porge doglia [madrigal a 5, sec. parte D0091, D0093, D0096 (Sanctus, Benedictus),
Poscia che per miomal], A0160, C0004 (v.2) DO110, D0123, D0126, D0127 (Credo), D0242,
Omnes gentes plaudite [motet a 8]. B0221, B0230. D0281, D0290 (arr.), D0297 (Agnus Dei), D0354,
C0004 (v.34) D0366, D0388, D0407, D0448, E0029, E0063,
Omnipotens sempiteme Deus [motet a 5]. A0059, E0118, E0125, E0141, E0188 (esp. Gloria and
B0014,130217, B0364; intabulated score, B0013 Credo), E0235, E0236, E0264, E0268, E0272,
Omves pulchritudo Domine [motet a 8], B0193, E0284, E0292, E0353 (Ky rie), E0368, E0369,
D0071, F0038 E0373, E0382, E0385, E0395, E0401, E0403,
Opem nobis o Thoma [motet a 5] E0430 (Crucifixus), E0467, E0482 (Ky rie and
Oravi ad Dominum [offertory motet a 5], A0098, Gloria, with basso continuo), E0510, E0533,
B0251 E0585. E0593, F0026, F0040, F0043, F0044,
Orientur stella [motet a 5], A0075 F0050, F0052, F0070, F0080 (Credo), F0085
Osculetur me [motet a 5,1V/1], A0063, B0283, (Kyrie), F0087, F0102 (Credo), F0103, F0113,
D0005 (v.2), D0039, D0059, D0137, D0300, F0114, F0118 (Sanctus), F0119 (Sanctus), F0126
D0323, F0103, F0140 (Benedictus), F0133 (Kyrie), F0142, F0149,
Ovver de' sensi è priva [madrigal a 4], A0101 F0159, F0160, F0164, F0167, F0169, F0174,
F0192 (Gloria), F0197, F0199, F0202 (Credo),
F0204 (lacks Agnus DeiI), F0216 (Sanctus),
Pacem relinquo [motet, source and attribution uncer- F0217 (Sanctus), F0218 (Benedictus), F0250,
tain], B0148, B0149 F0263, F0293 (Kyrie), F0295, F0297 (Sanctus),
"Pace non trovo", E0238; See Da fuoco cos] bel F0300, F0302, F0309, F0341, F0354, F0357,
Panem nostrum [mass a 5], B0293 (lacks Agnus Dei F0358, F0362 (Agnus Dei), F0363, F0378,
II), C0001 (v.24), C0004 (v.27) F0387, F0399 (Gloria), F0400 (Credo and Agnus
Pange lingua [hymn a 4, Hab.XXX], B0201, B0229, Dei I), F0409, F0427 (Ky e), ri F0449, F0451; p.4
130232, E0256 Papae Marcelli [mass a 8, arr. Francesco Soriano],
Pange lingua corporis mysterium [hymn a 4], B0070 D0019, D0090, F0073
Pange lingua gloriosi [hymn a 4, verses Papae Marcelli [mass a 12, arr. Stefano Nascimbeni],
Corporis mysterium a 4 B0182, E0370
In supremati noctae a 4 Paraclito amoroso [spiritual madrigal a 5], A0110
Tantum ergo sacramentum a 5] Paradisus sacris [Peter Phillips, 1628], E0307
A0086, B0200, B0234, B0361, F0143 (arr.Terni), Parce mihi Domine [motet a 5, sec.pars Peccavi pee-
B0356,D0079 (v.7), D0102 (Tantum ergo), cavil, A0075, D0005 (v.2), D0067
D0173 (Tantum ergo), D0292, D0470 ("Sacra- Partomi Donna, e teco lascio [mad rigal a 4], A0112
ment of priceless worth"), F0205, F0281, F0396, Pater noster [mass a 4], B0257, B0247, C0001 (v.24),
F0423 C0004 (v.27), D0009 (v.2), D0269
Panis angelicus [motet a 4, Santini scoring], B0045, Pater noster [sec.pars Ave Ma ria] [Josquin des Pres],
D0345 F0171
Panis quem ego dabo [mass a 4], A0016, B0165, Pater noster [motet a 4, Willaert], B0045 (Santini
E0341, E0348, E0427, E0428, E0429 scoring)
Papae Marcelli [mass a 4, arrangement by Giovanni Pater noster [motet a 5, sec.pars Ave Ma ria], A0059,
Francesco Anerio], A0119, A0120, A0121, B0159, D0005 (v.2), D0067, D0236, F0443,
A0122, B0334, B0359, D0019, D0090 F0452; organ tablature, A0221 (prima pars),
Papae Marcelli [mass a 4, various arrangements], B0087
A0019 (anon. arr.ca.1590), B0008, B0341 (cantus Pater noster [motet a 8], B0221, B0230, C0004
only), D0108 (with keyboard), D0371 (arr.Mit- (v.34), D0009 (v.5)
terer), D0372, D0433 (Glo ria, arr. Smith, "O Pater supemi luminis [hymn a 4, contrafactum =
Lord God"), D0434 (Ky rie, arr. Smith, "O God Lauda mater ecclesia], B0234, B0361
Index of Titles and First Lines 455
Paucitas dierum [motet a 5, sec. pars Manus tuae "Praise be to Thee" [a 3], D0386
Domine], A0063, D0005 (v.2), D0023 (v.2), Preces speciales [Jacobus de Kerle], E0030, E0034,
D0055 (sec.pars), D0067, E0360, F0011, F0389, E0059
F0409 Prima [Book IV, mass a 4]. See Lauda Sion (Missa
Peccantem me quotidie [motet a 5], A0056, B0179, Prima a 4)
D0005 (v.2), D0014 (v.2), D0023 (v.6), D0067, Prima [Book IV, mass a 5]. See Eripe de inimicis
D0193, D0222, D0223 ("My sins are with me"), meis [mass a 5]
F0054, F0070, F0149, F0258, F0304, F0309, Prima lux surgens [hymn a 4, verses
F0372; organ tablature, B0087 Idibus peractis a 4
Perch'al viso d'amor [mad rigal a 4], A0166, E0639 Pallio visi a 4
Perchè s'annida amore nelle luci [madrigal a 4], Ac tuo nutu a 5]
A0112, A0193 ("What meaneth love"), D0003 A0085, A0086, B0356
("What meaneth love") Primi toni [Book III, mass a 4], A0010, D0357
Perfice gressus meos [offertory motet a 5], A0095, (Benedictus), D0358 (Domine fili unigenite)
B0063, B0178, B0251, D0427 (arr. a 4 as "Lead Princeps apostolorum [motet a 6, contrafactum =
thou") Solve jubente, q.v.], B0276, B0340
Per lignum [motet a 5; attributed to GPP in Princeps gloriosissime Michael [motet a 4], B0138
Hab.XXXI.44, but probably by Divitis], B0254 (Santini scoring), D0005 (v.7), D0091, D0093
Per questo, signor mio [spi ritual mad rigal a 5], A0110 Pro defunctis [masses a 4, attributed to GPP], BOOIO,
Petra sancta [Pietra santa] [mass a 5], A0032, B0107, 130065 (`a voci pari'), D0005 (v.7: "Absolutio in
B0257, B0313 (lacks Credo, Agnus Dei II and messa defunct. a 4: Libera me, Ky rie, etc."),
III), B0349, D0009 (v.3), D0076 (Ky rie I), D0109 E0202, E0350
(Kyrie) Pro defunctis [mass a 5], A0004, B0233, B0303,
Petre amas me [motet, unicum, attributed to GPP], 130315, D0006 ("Per i defonti"), D0009 (v.3),
B0215, E0322 D0066 ("Per i deffonti"), D0079 (v.9, "Messe de
Petrus apostolus [motet a 4], B0222, E0283 Requiem"), D0275 ( "Messefür die Verstorbe-
Petrus beatus [hymn a 4, verse nen"), F0177, F0375, F0423
Catenarum laqueos a 4] Proles de coelo prodiit [hymn a 4, verses
A0085, A0086, B0200, B0234, B0356, B0365 Novis utens prodigiis a 4
Piovammi amare lacrime [madrigal a 5, sec.parte Ma Assumptus cum apostolic a 4
gli spiriti miei, attribution to GPP uncertain], Legi prophetae a 4
B0111 Domum portam a 5]
Placare Christe [hymn a 4 = Christe redemptor A0085, A0086, A0244 (Legi prophetae), B0356,
omnium a 4], B0225, B0356, B0361 B0361, B0365, D0025 (Legi prophetae)
Placide l'acque [madrigal a 5], A0178, A0194, C0004 Psallite Deo nostro [contrafactum motet a 8, =
(v.9), D0086, D0105 Domine in virtute tua, q.v.], B0331, B0340
Plangant eum [contrafactum motet a 6, = Deus qui ("Psallite Domino nostro")
ecclesiam tuam, q.v.], B0317 Psallite Domino nostro [motet a 8]. See Psallite Deo
Plasmator hominis [hymn a 4, Hab.XXXI.96, verses nostro
Plasmator hominis a 4 Puer qui natus est[motet a 5], A0049, A0125, A0142,
Repelle a servis tuis a 4 B0059; intabulated score BOOl3
Praesta Pater piissime a 4] Puer qui natus est[motet a 5, Guglielmo Gonzaga],
B0234, B0242, B0351 E0148
Pleni suet coeli [mass section, source in GPP unspec- Pueri hebraeorum [motet a 4, Hab.XXX], B0229,
ified], D0079 (v.1), E0540 B0232, B0342 (Baini scoring)
Popule meus [motet a 8, 2 choirs of 4 voices], B0186, Pueri hebraeorum [motet a 4, `paribus vocibus'],
B0241, B02961B0297, B03001B0301, C0004 A0080, B0060, B0061, B0089, B0141, D0004,
(v.34), F0067, F0089. See also Improperia D0028 (v.12), D0091, D0093, D0103, D0181
Populem humilem [offertory motet a 5], A0095, ("Children of the Hebrews"), F0044, F0052,
B0251 F0062, F0166, F0186, F0244, F0290, F0320,
Pose un gran foco [canzonetta a 4], A0208, D0105; F0353, F0371, F0408, F0436
lute and keyboard intabulation, A0231 Pulchra es, amica mea [motet a 4], D0044
Posuisti Domine [offertory motet a 5], A0095, Pulchra es, amica mea [motet a 5, IV/22], A0063,
B0178, B0228 B0041, B0106, B0214, B0264, D0005 (v.2),
Praeceptor bonum [motet 5, sec.pars Non enim], D0059, D0158, D0321, D0323, F0103, F0140;
B0217 (Treviso) diminutions, A0230, A0242, D0043 (arr.Bassano,
Praesta pater piissime [hymn verse a 4], A0085 Rognoni), F0013 (arr.Rognoni), F0238
Praecatus est Moyses [Moises] [offertory motet a 5], (arr.Rognoni), F0419
A0098, B0251, F0262, F0327 Pulchra es, o virgo Ma ria [motet a 6], A0049; organ
456 Index of Titles and First Lines
tablature, B0087 Hic ille rex a 4
Pulchrae sunt genuae tuae [Pulchri sunt] [motet a 5, Gloria tibi Domine a 4]
IV/6], A0063, D0005 (v.2), D0059, D0142, A0085, A0086, A0244 (Hic ille), B0040 (strophes
D0305, D0323, F0140 2,4), B0200, B0234, B0355, B0356, B0361,
B0365, D0025 (Hic ille), D0109 (Oculos in altum)
Quae est ista quae processit [motet a 4], A0040, Quicumque Christum quaeritis [hymn a 4, MS],
B0036, B0159, B0210, B0211, D0009 (v.4), 130040, D0060
D0077, D0091, D0093, F0376, F0401 Quid habes Hester [motet a 5, sec.pars Vidi te,
Quae est ista [motet a 5, IV/23], A0063. B0106, Domine], A0059
D0005 (v.2), D0039, D0050, D0059, D0159, Qui manducat [motet a 5, Hab.XXXI.55, doubtful],
D0225, D0226, D0322, D0323, F0140, F0253 B0344 (Baini scoring), B0346
Qual è il più grand' amor [madrigal, Rore], F0402 Quinti toni [mass a 6], A0032
Qual è il più gr and' amor [mass a 5], A0034, F1089 Qui pacem [Santini scoring], B0045
(Sanctus), D0276, F0402 "Quo cunque di Palestrina" ["Wohin du wallest
Qual più crude] martire [madrigal a 4], A0166 Jungfrau"], D0028
Qual rime fur si chiare [madrigal a 4], A0101 Quo vulneratus insuger [hymn a 4]
Quam pulchra es [mass a 4), A0023 A0086
Quam pulchra es [motet a 5, IV/27], A0063, D0005 Quodcumque vinclis [hymn a 4, verses
(v.2), D0059, D0163, D0323, F0140, F0186, Super terram strinxeris a 4]
F0423 A0086, B0038, B0200, B0234, B0356, B0361
Quam pulchri stint [motet a 4], A0040, B0159, ("Quodcumque in orbe"), 130365
B0210, B0211, B0266, D0077, D0091, D0093,
F0162 Recordare me [offertory motet a 5], A0098, B0251,
Quam pulchri sunt [sec.pars of motet Sicut lil]m inter F0003, F0112
spinas a 5, q.v.] Regem cui omnia [motet a 5], B0036
Quam pulchri sunt [motet a 5, IV/25], A0063, B0059, Reges Tharsis [offertory motet a 5], A0095, B0178
B0364, D0005 (v.2), D0059, D0323, F0186, Regina coeli [mass a 4], A0034, B0348, D0009 (v.2),
F0237 D0128, D0425 (Agnus Dei, arr. "Jesu the very
Quando dal teczo cielo [madrigal a 6], D0089, thought"). D0441 (Gloria, arr. "The wildemess"),
D0130, D0179 ( "When from the realm") F0305
Quand' ecco donn'il vostro braccio [madrigal a 5, Regina coeli [mass a 5], A0033, D0009 (v.3), E0299
quinta stanza], A0174 (Credo)
Quando lieto sperai [madrigal, Rore], F0402 Regina coeli [motet a 4], B0194, B0365, D0251,
Quando lieto sperai [mass a 5], A0033, E0348, F0402 F0089, F0141, F0145
Quando del terzo ciel[madrigal a 6], A0199, A0213, Regina coeli [motet a 8, sec.pars Resurrexit], B0187,
A0216, A0217, F0100 B0221, B0230, B0346, C0004 (v.34), F0280,
Quanti mercenarii [motet a 5][contrafactum of madri- F0379
gal a 5 Io son ferito ahi lasso], A0134, A0137, Regina coeli [motet, number of voices unspecified],
A0143, B0159, E0307; diminutions, A0242; F0170, F0359
organ tablature, 130160 Regina de le vergini [spi ritual madrigal a 5], A0113
Quanto più t'offendo io [spiritual madrigal a 5], Repleatur os meum [mass a 5]
A0110 A0010, B0349, D0109 (Kyrie, part of Credo, Sanc-
Quarta (L'homme armé) [mass a 4]. See L'homme tus, Benedictus, Agnus DeiI and II), D0328
armé (Missa Quarta) (Benedictus)
Quern dicunt homines [mass a 4], A0028, B0109, Repleatur os meum laude tua [motet a 5, sec. p ars
B0166, B0343 (Baini scoring), E0309 (Ky rie I), Exsurge gloria], A0136
E0348, E0352, E0606 Repleti sunt omnes [mass a 4], B0312, B0348
Quem dicunt homines [motet a 5, Hab.XXXI. 52], Requiem. See Pro defunctis [mass]
B0264 Responsoria tridui Sancti [27 responsories a 4, attrib-
Queste saranno ben lagrime [madrigal a 4], A0101 uted to GPP, rede by Marc'Antonio Ingegneri],
Qui statis in domo Domini [motet a 4 et 5 in duplici B0344 (15 items), C0001 (v.32, complete),
chori], C0004 (v.33) E0190, E0199, E0357, E0358, E0359, D0014
Quia videront oculi mei [motet a 4 et 5 a duplici (v.2, 9 items; v.4, 3 items), D0107 (14 items),
chori], C0004 (v.33) D0282 ("Now do we behold him/Ecce vidimus"),
Quia vidisti me Thorns [motet a 4], A0080, B0058, F0016 ("Quinque salutations"), F0332 (Tenebrae
B0363, D0009 (v.4), D0028 (v.15), F0375 factae sunt), F0431 (6 items), F0437 (Ecce quo-
Quicumque Christum quaeritis [hymn a 4, [Hab. modo). See also under individual titles
VIII.86, verses Responsum accepit Simeon [motet a 6, sec. p ars Cum
Oculos in altum tollite a 4 inducerunt], B0245, B0316, B0332 ("Advent ignis"),
Index of Titles and First Lines 457
B0346, B0368, D0005 (v.6) (v.2), D0067, F0020, F0348, F0423
Rex gloriose martyrum [hymn a 4, Hab.VIII.117, Salve Regina [motet a 6, sec.pars Eia ergo], B0190,
verses B0195, B0364, D0005 (v.6)
Corona confitentium a 4 Salve Regina [motet a 8], B0221, B0230, B0346,
Tu vincis in martyribus a 4] D0197, D0229, D0230
A0085, A0086, B0200, B0234, B0356, B0361, Salve Regina [motet a 12], 130194, B0230, D0083
B0365 Salve Regina [motet, number of voices unspecified],
Rex Melchior [motet a 5], A0075, B0271 F0086, F0244, F0359 (2 items), F0447, F0448
Rex pacificus magnificatus est [motet a 6], A0059, Salve sancta facies [motet a 5, contrafactum of motet
B0038, D0056 Pulchra es arnica mea a 5], A0139
Rex virtutum [motet a 3], E0516 Salvete fl os martyrum [hymn a 4, verses
Ricercari [works a 4, tones 1-8], complete: B0188, Quos lucis ipso a 4
C0001 (v.32), D0046 (arr.instrumental and key- Gloria tibi Domine a 4]
board), D0071 (arr.organ), E0291, E0331, F0014 A0085, A0086, B0046, B0200, 80234, B0361
(arr.organ), F0065 (arr.instrumental), F0310 ("Exultet orbis"), D0472 (arr. as motet, "Descend
(arr.viols). Individual works: thou heav'nly dove"), F0139
primi toni, D0013 (arr.organ), F0064, F0349, Salvete fl os martyrum [hymn a 4],130040 ("Vox pri-
F0422 (arr.brass), F0424 (arr.organ); secundi toni, mae Christi"), D0060 ("Vos prima Christi")
D0053 (arr.organ), F0315; quarti toni, D0053 Salvum me fac [mass a 5], A0006, B0034 (with organ
(arr.organ), F0048; quinti toni, D0052 (arr.organ), part), F0403
D0053 (arr.organ); sexti toni, D0052 (arr.organ), Salvum me fac [motet a 5, Hab.XXXI.58, misattrib-
D0053 (arr. organ), F0021 (arr.organ), F0048; uted to GPP, work probably by Jaquet], B0260,
septimi toni, D0053 (an•.organ), D0073 (arr. 130274. F0403
organ); octavi toni, D0053 (arr.organ), F0048; Sancta Dei genetrix [motet a 4], B0222, E0283
unspecified, D0047, F0340, F0373, F0423 (2 Sancta et immaculata [motet a 6, sec.pars Benedicta
items, arr.recorder) tu], A0056, B0016, B0150, B0217, B0324,
Rime, dai sospir miei nati [madrigal a 4], A0101 B0364,130005 (v.6); intabulated score, B0013
Sancte Paule apostole [motet a 5], A0049,
Sacerdos et pontifex [mass a 5], A0025, A0027, B0016, B0322
B0196, B0253, D0009 (v.3) Sancte praesul Nicolae [motet a 5, sec.pars Gaude
Sacerdotes et pontifex [mass a 6], A0018 praesul], A0059, B0271, B0363, B0364; intabu-
Sacerdotes Domini [mass a 6], A0028, D0061 (Pleni fated score, B0013
sunt), B0166, B0239, D0076 (Sanctus), F0348 Sanctificavit Dominus [motet a 5], A0059, B0059,
(Pleni sunt) B0217, B0290, B0364
Sacerdotes Domini [offertory motet a 5], A0095, Sanctificavit Moyses [offertory motet a 5], A0098,
B0190, B0195, B0251 B0251, E0255
Saggio e santo pastore [madrigal a 5, sec. parte Onde Sanctorum mentis [hymn a 4, verses
seguendo; also listed as S anto saggio pastor], Inclyta gaudia a 4

_
A0177, A0182, A0190, C0004 (v.9) Hi pro te furias a 3
"Sagt einer viel" a 6 =madrigal a 6 Quando del terzo Quae vox quae potent a 4]
ciel, q.v.] A0085, A0086, A0244 (Quae vox), B0200,
Salutis humane sator [contrafactum hymn a 4, B0234, B0356, B0361 ("Custodes hominum"),
Jesu nostra redemptio], B0336 (verses 1,3,5), B0361 ("Sanctorum"), B0365, D0025 (Quae
B0361 vox), D0080 (Quae vox)
Salvator mundi [motet a 4], A0040, B0038, B0159, Sanctorum meritis [mass a 4], A0025, A0027, B0175,
B0210, B0211, B0261, B0335, D0009 (v.4), 130242, B0356, D0009 (v.2), D0109 (Agnus Dei I,
D0031, D0051, D0077, D0091, D0093, D0102, II)
D0201, F0339 Santo altare [spiritual madrigal a 5], A0113
Salvatorem exspectamus [motet a 6, Hab.XXXI.79, Scapulis suis [offertory motet a 5], A0095, B0063,
sec. pars Sobrie et justae], B0260, B0319, B0346, B0178
B0369 Se amarissimo fele [spi ritual madrigal a 5), A0113
Salve Regina [mass a 5], B0246, C0001 (v.24), Se ben non veggon gli'occhi [madrigal a 5], A0165,
C0004 (v.28), D0014 (v.5), F0020 A0172, A0175, A0180, C0004 (v.2); cittern intab-
Salve Regina [motet a 4, sec.pars Eia ergo], ulation, A0219; lute intabulation, A0218
A0080,B0365, D0037, D0102 (2 items), F0141, Se dai soav' accenti [madrigal a 4], A0159, A0161,
F0145 C0004 (v.2)
Salve Regina [motet a 4, sec.pars Et Jesum benedic- Se di pianti e di stridi [madrigal a 5], A0177, A0182,
turn] [Hab.XXXI.147], B0204 A0190, C0004 (v.9), D0180 ("If in lovers'
Salve Regina [motet a 5], A0075,130082, D0005 lamenting")
458 Index of Titles and First Lines
Se fra quest'erb e flore [madrigal a 5], A0165, D0009 (v.3), F0197
A0172, A0175, A0180, B0111, C0004 (v.2), Sicut lilium inter spinas [motet a 5, sec.pars Quam
F0048; arr. instrumental, F0048; lute intabulation pulchri sunt gressus], A0049, B0176; organ tabla-
A0218, A0224 ture, B0087
S'il dissi mai, ch'io venga [mad rigal a 4], A0101 Sicut lilium inter spinas [motet a 5, IV/11], A0063,
Se' 1 pensier che mi strugge [madrigal a 4], A0112 B0159, B0283, D0005 (v.2), D0059, D0147,
Se lamentar augelli [mad rigal a 5], A0165, A0172, D0310, D0323, F0140
A0175, A0180, C0004 (v.2) Significavit Dominus [unspecified], B0038
Se non fuss' il pensier [madrigal a 4], A0112 Signor, dammi scientia [spi ritual madrigal a 5],
S'un sguardo un fa beato [mad rigal a 4], A0112 A0110
Secunda [Book IV, mass a 4], A0013, B0347, B0359, Si ignoras te [motet a 5, IV/51, A0063, D0005 (v.2),
D0009 (v.2). D0030, D0111 (Benedictus) D0059, D0141, D0304, D0323, F0103, F0140
Secunda [Book IV, mass a 5], A0013, D0030 Silvester beatissimus [motet a 5], B0217 (Treviso)
Secunda (Veni sancte spi ri tus) [mass a 5], A0115, Sine nomine [mass a 4], A0006, A0019, A0116,
B0126 (Et incarnatus only; Hab.XXVIII.239) A0119, A0120, A0121, A0122, B0073,130076
Secunda [mass, no further identification], F0018 (with MS additional final Kyrie), B0078, 80211,
Semper laudabo salvatorem meum [sec.pars Sana B0359, D0007 (Kyrie only), D0009 (v.1: 2 items,
mea Domine] [questioned attribution], A0136 `x.toni' and `iv.toni'), D0014 (v.5), D0109 (Sanc-
Senex puerum portabat [motet a 5, sec.pars Hodie tus), D0363, E0213, F0304
beata virgo Maria], A0049, A0128, A0142, Sine nomine (Je suis déshé ritée) [mass a 4]. See Je
130005, B0016,130031 (as "Germinavit radix suis déshéritée
Jesse"), B0059 (sec.pars only), B0340 (as "Ger Sine nomine [Mantuan mass a 4], B0039, B0113,
-minavit radix Iesse"), B0363, F0057, F0270; C0004 (v.19), D0169, F0074 (not a 5), F0141
intabulated score, B0015; organ intabulation, (without Credo), F0145, F0244
A0221 (Paix), D0065 Sine nomine [masses a 4, without further identifica-
Seniores populi [responsory a 4, Marc'Antonio tion in sources], B0071, B0118 (doubtful attribu-
Ingegneri], B0344 (2 items) tion [Jeppesen]; without Glo ria or Credo, with
"Sexti toni" [mass a 4]. B0062, B0065, B0162 organ and violone parts added), B0224 (with
Si ambulavero [offertory motet a 5], A0098, B0251 basso continuo), B0252 (doubtful att ribution),
Si è debile il filo [madrigal a 4], A0112 B0307 (lacks Agnus Dei II and III], B0341 (can-
S'io non ti cognoscessi [spi ritual madrigal a 5], tus only), F0328 (Credo only)
A0110 "Sine nomine pulcherrima" [mass a 4], B0347
Si placet parts by GPP, B0222 (to two Morales Mag- Sine nomine [mass a 5], A0030, A0115, B0239,
nificats), B0223 (to Festa hymn), E0172 (to B0349
Morales Magnificats), E0283 (to Morales Magni- Sine nomine (Beata Dei Genetrix) [mass a 6], A0004,
ficats) A0016, B0002, B0165, B0287 (lacks Agnus Dei
Sic Deus dilexit mundum [motet a 5], A0075 I[)
Sicut cervus desiderat [motet a 4, sec.pars Sitivit Sine nomine (Nasce la gioia mia) [mass a 6]. See
anima mea], A0080, A0131, B0036, B0058, Nasce la gioia mia (Sine nomine)
B0226, B0229, B0232, B0335, B0367, D0009 Sine nomine [mass a 6, further identity unspecified],
(v.4), D0014 (v.6), D0023 (v.4), D0028 (v.5, "Wie F0176
der Hirsch schreit"), D0034, D0061, D0079 (v.12, Sine nomine [mass a 8, questionable att ribution],
2 versions), D0080, D0091, D0093, D0095 CO B0340
God thou a rt my God"), D0099, D0105, D0107 Sine nomine [mass a 16 in 4 choirs, att ribution `del
("Wie der Hirsch schreit"), D0131 (pa rt 1), Palestina' doubtful], B0161
D0132 (part 2), D0133, D0249, D0362 ("As the Soave fia il morir [madrigal a 5], A0178, A0194,
hart"), D0370, D0375 ("As the ha rt"), D0414 C0004 (v.9), D0041 ("O siisser Tod"), D0086,
("As the hart"), D0458 ("Like as the hart/My soul D0097, D0118 ("Death is but Sleep"), D0252 CO
is athirst"), E0353, F0009, F0029, F0033, F0049, gentle Death"), F0115; lute intabulation, A0220
F0053, F0067, F0115, F0121, F0139, F0147, Soligno e vagh'augello [mad rigal a 5, sec.parte Io
F0148 (sec.pars only), F0149, F0151, F0180, viss'in gioia], A0166 (incomplete), E0206
F0191, F0207, F0209, F0225, F0226, F0240, "Soil ich dean meiden dich" [= canzonetta a 3 Ahi
F0248, F0253, F0255, F0268, F0275, F0282, che quest'occhi miei], A0215
F0304, F0305, F0307, F0313, F0330, F0343, Solve jubente Deo [motet a 6, sec. pars Quodcumque
F0352, F0362, F0372, F0375, F0406, F0433, ligaveris], A0049, A0128, B0059, B0276 ( ='Prin-
F0441, F0446; pp.x, 77 (p rima pars) ceps apostolorum'),130322, B0340 ( "Princeps
Sicut in holocaustis [offertory motet a 5], A0095, apostolorum", 2 items), D0005 (v.6)
B0251 Song of Solomon OR Song of Songs. See Cant cum
Sicut lilium inter spinas [mass a 5], A0016, B0165, canticorum
Index of Titles and First Lines 459
"Sound out my voice" [madrigal a 5, =Vestiva i colli, D0323, F0140
q.v.], A0193, B0093 Surge arnica mea [motet a 5, IV/16], A0063, B0106,
Specchio, che fosti [spiritual madrigal a 5], A0113 D0005 (v.2), D0023 (v.5), D0059, D0152, D0315,
Spem in alium [mass a 4], A0010, B0159, B0348, D0323, F0140, F0232, F0253, F0368, F0423
B0356, B0360, D0109 (Crucifixus a 3) Surge illuminare Jerusalem [motet a 8, sec. pars Et
Sperent in te onuses [offertory motet a 5], A0095, ambulabunt], A0059, A0128, B0016, B0128,
B0251 B0172, B0173, B0190, B0195, B0221, B0245,
Spirito santo, amore [spiritual mad rigal a 5], A0110, B0316, B0368, C0004 (v.33, sec.pars), D0005
E0375 (v.6), D0198, D0231, D0383, F0093, F0139,
Spiritus Sanctus replevit [motet a 8], B0245, C0004 F0148, F0199, F0305, F0319; intabulated score,
(v.33), D0005 (v.7) B0015, B0020; organ tablature, B0130
Stabat mater [motet a 8, sec. pars Eia mater], B0036, Surge Petre [motet a 5], A0075, B0322, B0363
B0042, B0043, B0120 (incomplete), B0186, Surge propera arnica mea [motet a 4], A0040, A0129,
B0187, B0245, B0317, B0345, B0368, C0004 B0159, B0210, B0211, B0219, B0266, F0376,
(v.33), D0001, D0005 (v.6), D0009 (v.5), D0012, F0401
D0014 (v.4), D0018, D0023 (v.6), D0026, D0079 Surge propera arnica mea [motet a 5, IV/15], A0063,
(v.1), D0174, D0250, D0270, D0405, D0406, B0283, D0005 (v.2), D0040, D0059, D0151,
D0408, D0451, D0452, D0456, D0468, E0187, D0314, D0323, F0423
E0224, E0290, E0308, E0376, E0383, E0501 Surge propera arnica mea [motet a 5, sec. pars Veni
(arrangement), F0017, F0022, F0026, F0043, dilecti mi] [contrafactum of mad rigal a 5 Vestiva i
F0057, F0070, F0093, F0109, F0112, F0113, colli/Cosi le chiome mie], A0134, A0137, A0143
F0115, F0137, F0171, F0176, F0186, F0187, Surge sancte Dei[motet a 5, sec. pars Ambula sancte
F0199, F0264, F0269, F0270, F0295, F0301, Dei], A0075
F0302, F0309, F0412, F0413, F0416, F0421, Surrexit pastor bonus [motet a 4], A0080, D0055,
F0448, F0452 D0091, D0093, D0111, D0172, D0202, F0244
Stabat mater [motet a 12, ascribed to Anerio or Surrexit pastor bonus [motet a 8, sec.pars Et enim
Palestrina], B0190, B0195, D0005 (v.7), D0038, Paschal, B0245, B0267, B0368, C0004 (v.33)
D0238 Susanna ab improbis [motet a 6, sec.pars Postquam
Stella quam viderant Magi [motet a 5], A0049, autem], A0059, A0124, B0180, E0255; organ tab-
A0125, A0142, B0016, B0031, B0056, B0363, lature, B0129
D0350 ( "The star which the wise men "); intabu- Suscipe verbum Virgo Ma ari[motet a 5, sec. pars
lated score, B0015 Paries quidem], A0049, A0125, A0142, B0016,
Stetit Angelus [offertory motet a 5], A0098, B0228 B0059, B0260, B0363
Struggomi, e mi disfaccio [madrigal a 5], A0165, "Sweet Love when hope was flow'ring" madrigal a 4,
A0172, A0175, A0180, C0004 (v.2) =Amor quando fioriva, q.v.], A0193, D0033
Sub tuum praesidium [motet a 4], A0080, D0102 (2
items), D0446 Tanquam sponsum [contrafactum motet a 7, = Tu es
Sub tuum praesidium [motet a 8], A0147, A0150, Petrus a 7, q.v.], B0340
B0187, B0221, B0230, B0237, B0345, C0001 Tantum ergo [hymn a 4], B0139 (Santini scoring,
(v.6), C0004 (v.34) Munster MS), B0230, B0365 (Vienna MS),
Sub tuum praesidium [motet, number of voices D0014 (v.4; v.6, Hab.XXX), D0102
uncertain], F0244 Tantum ergo [hymn a 4] [unicum], B0225
Succurite ahi lasso vos sancti Dei [motet a 5] [con- Tantum ergo [hymn a 4, source unspecified], D0273
trafactum = madrigal Io son ferito a 5], A0140, Te deprecamur agie [hymn a 4]. See Conditor aime
B0125 siderum
Super flumina Babylonis [motet a 4], A0080, B0058, Te Deum laudamus [mass a 6], A0030, B0240,
D0009 (v.4), D0023 (v.3), D0028 (v.15), D0105, B0247
D0177 ( " By the waters of Babylon "), D0295, Te fons salutis [hymn a 4 = O crux ave from Vexilla
D0376, D0382, F0029, F0036, F0049, F0053, regis], B0365
F0149, F0253, F0275, F0314, F0397 Te lucis ante terminum [hymn a 4], B134 (Santini
Super flumina Babylonis [offertory motet a 5], scoring, Munster MS), B0344 (Baini scoring)
A0098, B0251, F0120, F0353, F0381 Tenebrae factae sunt [responsory a 4, Marc'Antonio
Super flumina Babylonis [motet, number of voices Ingegneri], F0332. See also Responsoria tridui
unspecified], D0416 ( " By the waters of Baby- sancti
lon"), F0192, F0210, F0219, F0280, F0283, Tenebrae factae sunt [responsory, Victo ria], F0381,
F0304, F0330, F0371, F0375, F0434, F0446, F0397
F0452 Terra tremuit [offertory motet a 5], A0095, B0178,
Surgam et circuibo [motet a 5, IV/18], A0063, F0044, F0166, F0236, F0262
B0189, D0005 (v.2), D0059, D0154, D0317, Tertia a 4 [mass a 4, Book IV]. See Jesu nostra
460 Index of Titles and First Lines
redemptio [Missa Tertia] B0239. B0263, B0284 (lacks Agnus Dei II)
"These are they that follow" a 4 (ed. Rimbault), Tu es pastor ovium [motet a 4], A0040,130007,
D0095 B0159. B0210,130211,130322, D0009 (v.4),
"These things have I written" a 4 (ed. Rimbault), F0376; lute intabulation, A0235
D0095 Tu es pastor ovium [motet a 5, sec. pars Quod-
"This shall be the Covenant" a 5 (ed. Rimbault), cumque], B0187, B0263, B0284, B0344 (Baini
D0095 scoring)
`Thomas unus' [motet a 4] [contrafactum?], B0175 Tu es Petrus [mass a 6], A0034, A0244 (Agnus Dei
Tibi Christe splendor Patris [hymn a 4, Hab.VIII.90, II), B0240, B0253, B0341, D0002, D0025
verses (Agnus Dei), D0091, D0093, D0271, F0045,
Vita virtus cordium a 4 F0052, F0055, F0153, F0162, F0237, F0260,
Quo custode procul pelle a 4] F0296, F0361, F0363
A0085. A0086, B0200, B0234, B0356, B0361 ( "Te Tu es Petrus [mass a 18], C0004 (v.26)
splendor et virtus"), B0365. F0018 Tu es Petrus[offertory motet a 5], A0098, B0191
Tibi Christe splendor Patris [hymn a 4], B0200, Tu es Petrus[motet a 6, sec. pars Quodcumque lig
D0021 -averis], A0056, A0128, B0014, B0017, B0018,
Tollite jugum meum [motet a 4], A0040, B0058, B0217, B0226 (2 items, both with basso con-
B0106, B0159, D0344 tinuo), B0254, B0262, B0322, B0323, B0364,
Tota pulchra es [motet a 5, IV/9], A0063, B0070, B0369, D0002, D0005 (v.6), D0063, D0070 (ed.l
D0005 (v.2), D0023 (v.3), D0059, D0145, D0308, v.2; ed.2 v.4), D0076 (fragment), D0188 ("Thou
D0323, F0103, F0192, F0291, F0353, F0371, art Peter", prima pars only), D0232, D0233,
F0373, F0391; diminutions, A0230, F0012 D0272, F0004, F0047, F0050, F0052, F0054,
(arr.Bassano), F0373, F0419 F0055, F0060, F0088 (arr. Roger Wagner),
Tradent enim vos in consiliis [motet a 5], A0059, F0091, F0149, F0153, F0162, F0166, F0180,
A0146, B0016, B0038, B0059,130217, B0251. F0237, F0242, F0258, F0260, F0275, F0363,
B0364; intabulated score, 130013 F0421, F0426; intabulated score, B0013
Tradent enim vos [motet a 6], B0245 Tu es Petrus[motet a 7], A0049, A0128,130340
Trahe me post te [motet a 5, IV/2], A0063, B0283, ("Tanquam sponsum"), D0005 (v.6); intabulated
D0005 (v.2), D0059, D0138, D0301. D0323, score, B0013
F0140, F0423 Tu es Petrus [mass a 18], B0227 (with basso con-
Tria sunt munera [motet a 8], 130187, 130345 (Baini tinuo)
scoring), C0004 (v.34) Tu sei suave flume [spiritual mad rigal a 5], A0110
Tribularer si nescirem [motet a 6, sec. pars Secundum Tua Jesu dilectio [spiritual canzonetta a 3], A0227,
multitudinem], A056, B0159, D0079 (v.7), F0149 F0348; keyboard intabulation, A0227, A0233;
(sec.pars); organ tablature, B0087 lute intabulation A0233
Tribulationes civitatum [motet a 5, sec. pars Peccav- Tui sunt caeli [coeli] [offertory motet a 5], A0095,
imus], A0075, B0072, B0226 (sec.pars only), B0178, B0228, D0009 (v.6), F0041, F0106,
D0005 (v.2), D0014 (v.6), D0023 (v.3), D0067, F0161. F0164
F0180, F0258, F0335, F0353, F0371, F0384
Tribus miraculis [motet a 4], A0040, B0159, B0210, Una hora [responsory a 4, Marc'Antonio Ingegneri],
B0211, D0051, E0210, F0376; organ intabula- B0344 (2 items), D0079 (v.7)
tion, A0221 `Undici esercizi sopra la scala' [Eleven exercises on
Tristes erant apostoli [hymn a 4, Hab. VIII.102, verses the scale] [doubtful attribution], complete C0001
De nece sui domini a 4 (v.31); selections, D0032
Illae dum pergunt concitae a 3 Unus ex discipulus [responsory a 4, Marc'Antonio
Quaesumus auctor omnium a 5] Ingegneri], B0344 (2 items), F0305
A0085, A0086,130234,130356,130361, B0365 Unus ex duobus [motet a 5, sec. pars Cum pervenisset
Tristes erant apostoli [hymn a 4, Hab.XXXI.152, beatus Andreas], A0049, B0016,130059 (sec.pars
verses 2,4,6 only), B0290 (sec.pars only); intabulated score,
Sermone blando angelus a 4 B0013, B0363
Quo agnito discipuli a 4 Urbs beata Jerusalem [hymn a 4, verses
Gloria tibi Dominea 4] Dicta pacis visio a 4
B0201, E0256 Portae nitent a 4
Tristis est anima mea [responsory a 4, Marc' Antonio Gloria et honor Deo a 5]
Ingegneri], D0079 (v.7), F0154. See also Respon- A0085, A0086, B0200, B0234, B0356, B0361
soria tridui sacri [Ingegneri] ("Coelestis urbs"), B0365
Tu di fortezza torre [spiritual mad rigal a 5], A0113, Ut queant ]axis [hymn a 4, verses
A0245, D0025 Resonare fibris a 4
Tu es pastor ovium [mass a 5], A0025, A0027, Ille promissi a 4
Index of Titles and First Lines 461
Gloria patri a 5] nal"), E0353, E0600, F0058, F0107, F0139,
A0085, A0086, B0200, B0234, B0356, B0361, F0144, F0401, F0428
B0365 Veni vent dilecti mei [motet a 5, IV/29], A0063,
Ut re mi fa sol la [mass a 6], A0010, B0077, B0116, B0106, B0219, D0005 (v.2), D0040, D0059,
B0142, B0143, B0175, B0250, B0343, B0352, D0165, D0323, F0103, F0122, F0140; diminu-
D0109, D0298 (Agnus Dei), F0038, F0186, tions, A0230
F0260 Venit Michael Archangelus [motet a 5], A0049,
B0014, B0059, D0351 ("Then came Michael"),
Vaghi pensler, che cost passo [mad rigal a 4], A0101, B0364, F0018; intabulated score, B0013
D0079 (v.5) Venite exsultemus Domino [motet a 5], B0344 (Baini
Valde honorandus est [motet a 4], A0040, B0007, scoring), D0005 (v.7), F0018
B0106, B0159, B0186, B0210, B0211, B0268, Ventre exultemus [motet a 8, att ribution to GPP
D0005 (v.7), D0087, D0091, D0093, D0102. uncertain], B0188
F0021, F0376; organ intabulation, A0221 Veramente in amore [madrigal a 4], A0112, A0198,
Vedrassi prima senza luce [canzonetta a 4], A0208, D0086
D0105; keyboard and lute intabulation, A0231 Verbum caro [motet a 4], D0102, F0015
Vello di Gedeon [spiritual madrigal a 5], A0113, Vergine, la canzone alla [8 spiritual madrigals], as
F0186 complete grouping, E0165, E0311, F0172,
Velum templi scissum est [responsory a 4, Marc'An- F0359, F0448. See also individual titles in series
tonio Ingegneri], D0028 (v.14) Vergine bella, che di sol vestita [spiritual madrigal a
"Veni Creator" [hymn a 3, further identification 5], A0110, B0144
unspecified], D0285 Vergine chiara e stabile in eterno [spi ritual madrigal a
Veni creator Spiritus [hymn a 4, verses 5], A0110, B0144, D0105
Mentes turoum visitaa 4 Vergine purs, d'ogni part'intera [spi ritual madrigal a
Tu septiformis munere a 4 5], A0110, B0144
Hostem repellas longius a 4 Vergine, quante lagrime ho già sparte [spiritual
Gloria patri Domino a 5] madrigal a 5], A0110, B0144
A0086, A0244 (Hostem),B0200, B0234, B0356, Vergine saggia et del bel numer'una [spiritual mad ri
B0361, B0365, D0025 (Hostem), D0091, D0093, -gal a 5], A0110, B0144
D0294), F0116, F0367 Vergine Santa, d'ogni gratia piena [spi ritual madrigal
Veni creator Spiritus [hymn a 4, Hab.XXX], B0201, a 5], A0110, B0144
B0225, B0229, B0232, E0256 Vergine sola al mondo senz'esempio [spi ritual madri
Veni creator Spi ritus [mass a 6], B0255, C0001 -gal a 5], A0110, B0144
(v.23), C0004 (v.25) Vergine, tale è terra [spi ritual madrigal a 5], A0110
Veni dilecti mi [motet a 5], F0423; organ intabulation Ventas mea [offertory motet a 5], A0098, B0228
(as canzona "La Camerina" [Banchieri)) A0237. (with basso continuo), B0251
See also Canticum canticorum Vestiva i colli [madrigal a 5, sec. parte Cosi le chiome
Veni Domine et noli tardare [motet a 6, sec. pars mie], A0140 (as "Festiva dies agitur"), A0168,
Excita Domine], A0056, A0128, B0016, B0175, A0185 ("Festivi colli"), A0186, A0192, A0193
B0248, B0320, B0363, B0369, D0005 (v.6) (as "Sound out my voice"), A0201, A0204,
Veni Sancte Spiritus [hymn a 4], B0108, F0321 B0032, B0041,130084, B0085, B0093 (as "Sound
Veni Sancte Spi ritus (Primi toni) [mass a 5], A0115 out my voice"), B0111, B0159, C0004 (v.9),
Veni Sancte Spiritus [motet a 4], B0186 D0105, E0169, E0189, E0234, E0296, E0303,
Veni Sancte Spiritus [motet a 8], A0059, A0128, E0311, E0401, F0048, F0063, F0246, F0249,
B0014,130036, B0128, B0138, B0173, B0187, F0373, F0415; diminutions, A0222, A0230,
B0349, C0004 (v.34), D0005 (v.6), F0319; intab- A0242, A0243, B0035, B0068 (sec.parte only),
ulated score, B0012 D0043 (arr.dalla Casa, Bassano, Rognoni, Terzi,
Veni Sancte Spiritus [motet, number of voices da Selma, Virgiliano), D0048 (arr.Bassano),
unspecified], F0112 D0342 (arr.Rognoni), F0037 (arr.da Selma),
Veni sponsa Christi [mass a 4], A0030, B0175, F0373; instrumental arrangement, D0449 (arr.
B0257, B0340, B0348, D0009 (v.1), D0076 dalla Casa, Bassano, Rognoni, da Selma), F0048,
(Sanctus fragment), D0081, D0092, D0093, F0108 (with voice); keyboard intabulations,
DOl l l (Pleni), D0112 (Ky rie), E0220, F0058, A0223, A0226, A0234, A0239; lute intabulations,
F0107, F0144, F0239 (Agnus Dei I), F0428 A0218, A0224, A0235, E0310; organ intabulation
Veni sponsa Christi [motet a 4], A0040, A0244, (as canzona "L'Alcenagina" [Banchieri]), A0237
B0058 (2 items), B0106, B0159, B0268, B0326, Vestiva i colli [mass a 5], A0030, B0239, B0262,
D0009 (v.4), D0014 (v.2), D0025, D0070 (ed.1 B0313 (lacks C redo, Benedictus, Agnus DeiII
v.2; ed.2 v.4), D0076, D0079 (v.12), D0081, and HI), B0349, D0109 (Ky rie, Gloria), E0296,
D0091, D0093, D0112, D0473 ("The crown eter- E0303
462 Index of Titles and First Lines
Vestiva i colli (Missa sex vocum super "Vestiva i Viri Galilaei quid statis [motet a 6, sec. pars Ascendit
colli") [mass a 6, Philip de Monte], F0063 Deus in iubilatione], A0049, A0125,13 0014,
Vexilla regis prodeunt [hymn a 4, Hab.VIII.35, verses B0027, B0057, B0059, B0248, B0254, B0270,
Fulget crucis a 4 B0318, B0363, B0369, B0377, B0380, D0005
Impleta sunt a 4 (v.6), F0234, F0251, F0427 (arr.Bovet); intabula-
Beata cuius brachiis a 3 tion,13 0048; intabulated score, B0020; organ
O crux ave spes unica a 4 intabulation, A0221, B0027,13 0087
Te summa Deus a 5] Virtute magna [mass a 4], A0001, A0004, B0159,
A0085, A0086, B0038, B0046, B0200, B0234, B0356, B0360, E0348, E0449; p.10
B0356, B0357, B0361, B0365, B0366, D0014 Virtute magna reddebant [motet a 5, contrafactum =
(v.6), D0091, D0093, D0105 ("O Kreuz/O crux"), Ascendo ad patrem/Ego rogabo, q.v.],13 0277,
D0404 (O crux ave), F0017 B0340
Vexilla Regis prodeunt [hymn a 4, Hab. VIII.70, Voi mi poneste in foco [canzone a 4 in 4 parts:
verses Voi mi poneste in foco; Perd che da l'ardore; Che se
Quo vulneratus insuper a 4 tant'a voi piace; E di voi non mi doglio] com-
Arbor decora a 3 plete: A0159, A0161, A0162, C0004 (v.2). See
O crux ave spes unica a 5] also entries for individual incipits.
B0200, B0234, B0356, B0365, D0028 (v.3; v.5, "0 Vos amici mei estis [motet a 8], A0130, A0133,
Jesu Christ") C0004 (v.34), D0027, E0384
Vexilla Regis prodeunt [hymn a 4, Hab.XXX], Vox dilecti mei [motet a 5, IV/14], A0063, D0005
130229, B0232 (v.2), D0023 (v.1), D0059, D0150, D0313,
Vexilla regis prodeunt (paschali) [hymn a 5], F0017 D0323, F0011, F0120, F0140, F0353, F0368,
Vexilla regis [hymn, no further identification], D0412 F0371, F0393
("The royal banners"), F0016, F0042, F0431 Vox primae Christi [Vos prima] [hymn a 4] = Salvete
Victimae paschali laudes [motet a 8], B0177, B0187, flos martyrum, strophe 2, 13 0040, D0060
B0221, C0004 (v.34), D0005 (v.6), F0112 Vulnerasti cor meum [motet a 5, IV /1 0], A0063,
Videns secundus Salvatorem [motet a 5], A0075 B0106, B0189, B0283, D0005 (v.2), D0059,
Videntes stellam Magi [motet, Goudimel], F0291 D0146, D0309, D0323, F0011, F0042, F0103,
Videntes stellam Magi [motet a 8], B0190, B0195, F0140, F0368
C0004 (v.33) D0403, E0192
Vidi aquam [motet a 4], B0137 (Santini scoring), "Wach auf mein Ehr" =madrigal a 6 Quando del terzo
B0139 (Santini scoring), B0162 ciel, q.v.
Vidi turbam magnam [motet a 6, sec.pars Et omnes "We have heard with our ears" [Palestrina-Aldrich,
angeli stabant], A0049, B0016, B0019, B0059, based on Doctor bonus a 4], B0091, 80092,
B0190 (attributed to Ruffo), B0195 (attributed to B0097, B0102, B0153, B0158, D0008, E0452
Ruffo), B0269, B0319, B0369, D0005 (v.6), "We have heard with our ears" [Palestrina-Crotch,
D0091, D0093, D0347 ("I beheld"), F0253; based on Deposuit potentes], D0029
intabulated score, 130012, B0087 Well-Tempered Clavier [Das wohl-temperierte
Vincitrice de l'empio [spi ritual madrigal a 5], A0113 Klavier] [J.S. Bach], E0457
Vinea mea electa [responsory a 4, Marc' Antonio "What meaneth Love to nest him" [mad rigal a 4 =
Ingegneri], D0079 (v.7) Perché s'annida Amore], A0193, D0003
Vineam meam [motet a 5, IV/4], A0063, D0005 (v.2), "Why a rtthou so vexed" [Palestrina-Aldrich, based
D0059, D0139, D0303,130323, F0103 on Ave Maria a 4], B0092, B0102, B0153, B0155,
Vir erat in terra Hus [offertory motet a 5], A0098, B0157, B0158
B0251 "Wohin du wallest Jungfrau" [motet a 4, _ "Quo
Virgo prudentissima [motet a 7, sec. pars Maria virgo cunque di Palestrina"], D0028
coelos], A0049,130059 (Ma ria virgo only), D0005
(v.6); organ tablature, B0087 (listed as 'a 6') XI Esercizi sopra la scala. See Undici esercizi sopra
Viri Galilaei [mass a 6], A0034,130247, B0280 (lacks la scala
Agnus Dei II), F0234, F0251
 Index of Names and Subjects

Abendroth, Walter, E0533 Angelis, Lepanto de, E0171

Abert, Hermann, E0225 Angles, Higinio, E0172, E0270
Abbiati, Franco, E0001 Anglieri, Giorgio (publisher), A0103
Abraham, Gerald, E0002, E0256, F0223 Angoff, Charles, E0067
Acciai, Giovanni, E0165, E0618, F0376 Animuccia, Giovanni, E0056, E0230; p.6
Ackermann, Peter, E0166, E0167, E0377, E0378, Animuccia, Paolo, E0056
E0379, E0380, E0461, E0462, E0553, E0619 Annibaldi, Claudio, E0620
Adami da Bolsena, Andrea Antolini, Bianca Maria, E0044, E0060
E0380, E0381, E0421, E0475. E0494; p.viii Antonelli (Cappella Giulia Choir), F0290, F0395.
Adams, E John, F0285 F0396, F0397, F0398
Adler, Guido, E0272 Antonelli, Cornelio, A0174
Adler, Herman, F0287 Antonellini, Nino, F0368
Adrian, Emanuel (Emanuelem Hadrianium), A0223, Antonowytsch, Miroslaw, E0173
A0240 Apel, Willi D0034, F0362
,

Aerts, Karel, F0062 Apfel, Ernst, E0174

Agazzari, Agostino, E0380, E0382, E0385, E0400, Appolloni, Pietro Paolo, p.9
E0417 Arcadelt, Jacob, E0191, E0221
Agee, Richard John, E0003, E0004 Arcais, Francesco d', E0463
Ahnjeld, Paul Floyd. E0168 Aristirov, Cristo, E0566
Aiblinger, Johann Kaspar, E0489 Arnold, Samuel, D0008
Aiguino, Illuminato, E0344, E0345 Artusi, Giovanni Ma ria, E0386
Albrecht, Hans, E0563 Ascanio, Joseph, E0321
Albrechtsberger, Johann Georg, E0257 Asola, Giovanni Matteo, D0027, E0384
Aldrich, Henry, E0398, E0452 Atkins, I., D0135
Alessandrini, Rinaldo, F0418 Atlas, Allan, E0006
Alessi, Giovanni d', F0350 Auda, Antoine, E0175, E0176, E0177, E0194,
Alfieri, Pietro, D0004, D0005, D0006 E0196, E0293, E0303
Allaire, Gaston Georges, E0169 Augsburg. Staats- und Stadtbibliothek
Allegri, Gregorio, D0001, D0004, D0018, E0198, B0001-B0004 inclusive
E0383, E0477, F0302
Allorto, Riccardo, F0090 Baals, A. (publisher), A0152
Alwes, Chester, E0170 Bach, Johann Sebastian, D0013, E0084, E0387,
Amanio, Nicolo (poet), E0347 E0407, E0457, E0458, E0460, E0514, E0539,
Amann, Julius, E0383 F0168
Ambros, August Wilhelm, E0005, E0065 Baecker, Carlemst, E0464
Amadino, Ricciardo (publisher), A0035, A0104, Bahr, Reinhard, E0497
A0105, A0191, A0195, A0202, A0235, A0237, Bai, Tommaso, D0001, D0018, E0477
E0444 Baini, Giuseppe, E0068, E0116, E0118, E0135,
Ambrose, Mary, D0097 E0242, E0331, E0368, E0417, E0456, E0465,
Amico, Fedele d', E0542 E0467, E0491, E0503, E0504, E0511, E0516,
Amigone, Giovanni, F0259 E0519, E0520, E0553, E0557, E0560, E0593;
Amore, Giulio d', E0066 p.viii
analysis, methods for GPP's music, E0309, E0360, Balbi, Ludovico, A0197
E0361, E0364, E0371 Balestracci, Sergio, F0420
Anderson, A rthur Olaf, D0007 Banchieri, Adri ano, A0237, E0385, E0386, E0417,
Andrae, Karin, F0166 E0677
Anerio, Felice, pp.8, 10, 11 Bandiera, Luigi, E0069, E0070, E0071
Anerio, Giovanni Francesco, A0119, A0120, A0122, Bank, J.A., D0136, D0137-D0165 inclusive,
D0019, D0049, D0090, E0400, E0544, F0082 D0166, D0167, D0168, D0169, D0170, D0171 .
464 Index of Names and'Subjects

D0172, D0173 Bernstein, Martin, E0324

Barbieri, Patrizio, E0178, E0179 Berrini, Marco, F0375
BarbIan, Guglielmo, A0242, E0180 Berry, Mary, F0165
Barcelona. Biblioteca Central, B0005-B0009 inclu- Berti, Carlo, E0321
sive Bertini, Argia, E0074
Barcelona. Biblioteca de l'Orfeo Català, B0010, B0011 Bertolotti, Antonio, E0075
Barclay Squire, William, D0174, D0175 Bertram, A. (publisher), A0149
Barra, Istvan, F0244 Besutti, Paola, E0183, E0622, F0074
Barn es, R., D0176 Bevan, Gwilym, D0181
Baroffio, Giacomo Bonifacio Beveridge, Lowell P., F0134
E0181 Bewerunge, Heinrich, E0184
Barre, Antonio (publisher), A0123, A0127, A0159, Bianchi, Lino, C0004 (v.20-34), C0005 (v.48-74),
A0166, E0367 C0006, E0005, E0065, E0069, E0076, E0077,
Barry, Ivo, E0238 E0078. E0079, E0080, E0081, E0082, E0165,
Barsham, Dinah, F0324 E0185, E0200, E0291, E0376, E0387, E0402,
Bartlett, Clifford, F0316 E0432, E0435, E0438, E0446, E0455, E0460,
Bartolucci, Domenico, E0567, E0595, F0011, F0183, E0528, E0534, E0561, E0562, E0568, E0569,
F0212, F0213, F0260, F0261,F0262, F0263, E0584, E0601, E0623, E0624, F0093, F0368,
F0352, F0353, F0369, F0371 F0401; p.xii
Baseo, Francesco Antonio, A0176 Bianconi, Lorenzo, E0078, E0389
Bassani, Francesco Ma ria, D0043 Biba, Otto, E0472
Bassano, Giovanni, A0230, D0043, D0048, E0278, Biella, Giuseppe, F0071
F0012, F0201 Bini, Annalisa, E0186
Basso, Alberto, E0387 Biondi da Cesena, E0296
Bauer, H an s-Joachim, E0466 Birtner, Herbert, E0570
Baumann, Dorothea, E0033 Blancicampianus, Fridericus (bishop), E0053
Büumker, Wilhelm, E0007, E0072, E0467 Blume, Friedrich, E0225
Bauerle, Hermann, D0009 (v.1-8), E0468 Blume, Jurgen, E0187
Baume, Antoine de la, E0076 Blumenstihl, Paolo, E0571
Beaussant, Philippe, F0372 Bobbitt, Richard, E0188
Becker, Albert E.A., D0028 (v.15) Boccapaduli, Antonio, p.9
Becker, Carl Ferdinand, D0010 Boepple, Paul, D0182, D0183, E0324, F0135, F0137,
Beebe, Ellen S., E0040 F0139, F0187
Beer, Axel, E0469 Boetticher, Wolfgang, E0084, E0590
Behrmann, Martin, F0426 Boezi, Ernesto, F0288, F0289, F0291, F0292, F0314,
Bellaigue, Camille, E0073 F0379, F0381, F0382, F0383, F0384, F0385,
Bellermann, Heinrich, D0011, D0054, E0470, E0471, F0386, F0387, F0388, F0389, F0390, F0391,
E0523, E0525, E0546 F0392, F0393, F0396
Belli, Antonio, E0182, E0296 Böhme, Franz Magnus, D0012
Bembo, Pietro (poet), E0347 Briker-Heil, Norbert, E0189
Bendel, Franz, E0539 Bologna. Archivio di San Petronio, B0034
Benedict XIV (pope), E0392 Bologna. Civico Museo Bibliografico Musicale,
Benelli, Sandro, F0435 B0035-B0046 inclusive
Benevoli, Orazio, E0442 Bologna. Archivio Musicale della Fabbriceria di San
Benjamin, Phyllis, E0490 Petronio, B0047
Bennett, G.J., D0177 Bonagionta, Giulio, A0168, A0170
Benson, L., D0178, D0179, D0180 Bonghi, Ruggero, E0473
Bent, Ian, E0465 Bongiovanni, Carmela, E0625
Berardi, Angelo, E0388, E0422, E0677 Bonini, Severo, E0390, E0391
Berberich (Munich Cathedral Choir), F0243 Bonino, Mary Ann, E0391
Berg, Adam, A0129, A0155 Bonnet, Joseph, D0013, D0072
Berganza, Teresa, F0108 Sorbon, Luigi (bishop), p.2
Berlin. Staatsbibliothek zu Berlin. Sammlung Bohn, Bordes, Charles, D0014 (v.1-6)
B0012-B0027 inclusive Borghezio, Pompeo, E0612
Berlin. Staatsbibliothek zu Berlin. Staatsbibliothek Borgia, Francesco, p.4
Preussischer Kulturbesitz, B0028-B0033 inclu- Borren, Charles van den, D0085
sive Borromeo, Carlo (cardinal, later canonized), E0036,
Berman, Laurence, E0440 E0037, E0063; pp.3-4
Bernstein, Jane, E0009, E0621 Boschini, M arco, E0580, E0626
Index of Names and Subjects 465
Boursy, Rich ard, E0474 Cambridge. King's College, B0050
Bovet (St. Nicolas Church, Freiburg), F0427 Cametti, Alberto, E0085, E0087, E0088, E0089,
Bovicelli, Giovanni Battista, A0236, D0043, D0114, E0090, E0092, E0093, E0094, E0095, E0096,
E0278, F0013 E0573, E0574
Boyd, Malcolm, E0572 Camillucci, Guido, F0448
Boyer, D.G., E0612 Campori, Giuseppe, E0097
Bozzola, Tomaso (publisher), A0003 Canal, Pietro, E0098, E0124
Brace, Geoffrey, D0015 Capello, Annibale, pp.5, 8
Brahms, Johannes, E0493 Capilupi, Ippolito (poet), E0347
Bramma, H., F0002 Cappella Sistina. See Sistine Chapel
Brandt, William Edward, D0016 Carignano, M., E0612
Brant, Cyr de (pseudonym of Vincent Higginson), Carli Ballola, Giovanni, E0476
D0185 Carol, H., F0405
Brault, Leandre, F0327 Carpi, Rodolfo Pio, p.4
Braune, O., D0184 Carver, Anthony F., E0192
Breitschaft, Mathias, F0091, F0092 Carwood, Andrew, F0308
Brenet, Michel (Marie Bobillier), E0085, E0141, Casa, Girolamo dalla, A0222, D0043
E0190, E0359 Cascioli, Giuseppe, E0099, E0100
Breslau. Former Stadtbibliothek, B0048 Casimiri, Raffaele, C0004 (v.1-15), C0005 (v.1-40),
See also Berlin. Staatsbibliothek zu Berlin. D0002, D0021, D0023 (v.1-6), D0081, D0084,
Sammlung Bohn; Wroclaw (Breslau) D0112, E0011, E0012, E0013, E0014, E0015,
Bressan, Gino, E0627 E0101, E0102, E0103, E0104, E0105, E0106,
Bridge, Frank, D0186, D0187, D0188 E0107, E0108, E0109, E0175, E0177, E0193,
Bridgman, Nanie, A0236 E0194, E0195, E0196, E0197, E0198, E0199,
Brook, Claire, E0324 E0205, E0285, E0293, E0303, E0359, E0586,
Brown, H arold, F0138 E0592, F0077, F0078, F0079, F0080, F0081,
Brown, Howard Mayer, E0010 F0143, F0313, F0333, F0334, F0335, F0336;
Brown, Mark, F0026, F0027, F0028, F0029, F0030, pp.ix, xi
F0286 Castelnovato, Lucio, A0136
Brown, Timothy, F0170 catalogues, library, E0281, E0282, E0329
Bruckner, Anton, E0561 Catholic Church
Brumana, Biancamaria, E0086 and Gradual, revisions of Rom an . See Giovanni
Bruni, M., F0412 Pierluigi da Palestrina: Career and profes-
Bryant, David, E0389, E0628 sional activities-Gradual, and GPP's revision
Budd, G.W., D0189, D0190 work
Buelow, George J., E0521 and history of music, E0016, E0023; and musical
Bujic, Bojan, E0191 organization, E0031, E0393; liturgy and
Bullock, Ernest, F0120 music, E0016, E0017, E0020, E0033, E0053,
Burkhart, Charles, D0017 E0062
Burney, Charles, D0001, D0018, E0452, E0475, Cattin, Giulio, E0066, E0200
E0485, E0522 Cavaglieri, Geronimo, A0136, A0139
Busby, E0464 Cavallini, Ivano, E0575
Busch, Hermann J., D0019 Cave, Philip, F0269
Buttrey, John, F0319 Cavicchi, Adrian, E0201, E0202
Button, H.E., D0191 Cecconi, Luigi, E0110
Buxtehude, Dietrich, E0460 Ceci, Marzio and Vincenzo, p.6
Buxton, Ralph W., D0192, D0193 Cecil, Leonard, D0203
Buyten, M. van (publisher), A0227 Cecilian movement, E0062, E0116, E0456, E0461,
Byrd, William, A0193, E0010, E0029, E0133 E0462, E0467, E0472, E0487, E0498, E0500,
E0505, E0513, E0523, E0534, E0543, E0546,
E0552, E0554, E0555, E0556, E0561; pp.ix, xiii
cadences Celani, Enrico, E0392
and structural definition, E0299, E0364 Celler, Ludovic ("L.Leclerq"), E0477
Caillard, Marie-Fr ance, D0194 Cerone, Pedro (Pietro), E0204, E0258, E0437
Caillard, Philippe, D0195, D0196, D0197, D0198, Cervini, Marcello. See Marcellus II
F0179, F0180, F0287, F0454 Chambure, Alain de, E0205, E0445, E0629, F0018,
Cain, Noble, D0199, D0200, D0201, D0202 F0019, F0360
Calahorra Martinez, Pedro, D0020 Chater, James, E0206
Cambridge. Fitzwilliam Museum, B0049, D0082 Cherubini, Luigi, E0118
466 Index of Names and Subjects
Chicago. Newberry Library, B0051 Cusick, Suzanne Gertrude, E0019
Chiti, Girolamo, E0419, E0450, E0664 Cusma'Piccione, Cono, 1)0030
Choron, Alexandre-Etienne, D0011, D0024, D0025, Czidra, Laszlo, F0246
D0026, E0118, E0478, E0483, E0562
Christ, William, D0016 Dakers, Lionel, D0031
Christiansen, O.C., F0374 D' Ambrosio, Wilma, E0633
Christophers, Harry, F0113, F0114, F0259 Damilano, Piero, E0020
Chrysander, Friedrich, E0207 Damrosch, Frank, D0234, D0235, D0236, D0237,
Cifra, Antonio, E0400 D0238
Ciliberti, Galliano, E0086, E0208, E0209, E0393, D'Annunzio, Gabriele, D0086
E0394, E0630 Danzig. See Gdansk
Cirillo, Bernardino, E0426 Darbellay, Étienne, E0480
Cisilino, Siro, D0027,130085 Darlington, Stephen, F0306, F0307, F0308
Città di Castello. Cattedrale di S an Florido,130052 Darvas, Gabor, 130239,130240
Civitanova M arche. Biblioteca Comunale, B0053 David, Hans Theodore, D0032, D0033
Clark, Clifford, F0277 Davis, Michael, F0031
Clemencic, René, F0048, F0235 Davison, Archibald Thompson, D0034, E0246
Clemens non Papa, Jacobus, E0341, E0449 Davison, Nigel, D0241
Clement VII (Giuliano de' Medici, pope), E0057 Day, Thomas Charles, E0396, E0397, E0398, E0582
Clement VIII (Ippolito Aldobrandini, pope), pp.10-11 De la Hèle, E0173
Cleobury, Stephen, F0054, F0055 De Napoli, Giuseppe, E0112, E0113
Clinkscale, Edward, E0324 De Pauer (De Pauer Infantry Chorus), F0125, F0128
Clough-Leighter, H., D0204, D0205 De Rensis, Raffaelo, E0583, E0624
Coates, Hen ry, D0206, D0207, 130208, D0209, De Salvo, Salvatore, E0634
D0210, E0002, E0111 De Van, G., F0272
Coattino, Francesco (publisher), A0016, A0023, Dean, Jeffrey, E0215
A0025, A0042, A0085, A0095, A0098, A0113, Debussy, Claude, E0586
A0130 Degen, Johannes, A0152
Cobasnian, Boris, E0576 Dehn, Siegfried, E0481
Cohen, Dalia, E0577, E0578 Deis, Carl, D0243
Coimbra. Biblioteca Geral da Universidade, B0054 Della Valle, Pietro, E0401
Colacicchi, Luigi, F0089 Deller, Alfred, F0235
Collins, H.E., D0211-D0233 inclusive Delone, Richard, 130016
Coltellacci, Francesco, E0479 Deniseau, Gérard, E0403
Comes, Liviu, E0211, E0212, E0579, E0580 Dent, Edward J., E0267
Commer, Franz, C0001-00003 (v.9), D0028 Derossi, Pietro, E0212, E0579
Conforti, Luca, A0130 Dickey, Bruce, F0013, F0168
Constantinus (Costantini), Fabius, A0147, A0150, diminutions, E0278, E0296
A0156 Dixon, Graham, D0035, E0114, E0216, E0302,
Coppetta, Francesco (poet), E0347 E0399, E0400, E0402, E0532, F0051, F0259,
Coppini (publisher), E0444 F0281
coni spezzati. See Palestrina, Giovanni Pierluigi da: Dixon, Jon, D0036, D0037,130038, D0039, D0040,
works: polychoral D0244-D0250 inclusive
Cornaz, Marie, E0631 Dobrodinsky, Jan Maria, F0140, F0410
Corra, Arthur, D0016 Dolinar, Anton, E0217
Costa, Othmar, E0581 Donato, Giuseppe, E0584
Council of Trent Donella, Valentino, E0585
and church music, E0007, E0008, E0022, E0030, Doni, Giovanni Battista, E0401
E0034, E0035, E0036, E0037, E0054, E0061, Dorico, Valerio and Aloysio (publishers), A0001,
E0063, E0125, E0403, and pp.1,4; See also A0002, A0010, A0047, A0101, C0006 (ser.1.1),
Catholic Church E0019; pp.2, 3, 5, 6
Courville, Yves, F0266 Dower, Cathe rine, D0251, E0218, E0219
Crawford, David, E0213 Dragoni, Giovanni Andrea, A0205, E0197, E0377
Cresolles, Louis de (Ludovicus Cresolles Dresden. Sàchsische Landesbibliothek, B0055-
Armorici)(Cresollio), E0395, E0652 B0057 inclusive
Crotch, William, D0029 Druffel, Peter, D0041,130252
Culley, Thomas D., E0018 Dubrawskaja, Tat'jiana, E0635
Cumin, Renata, E0632 Ducasse, R., F0346
Cummings, Anthony M., E0214 Dufourcet-Hakim, Marie-Bernadette, E0220
Index of Names and Subjects 467
Dunkley, Sally, D0253, D0254, D0255 Fischer, Klaus, E0230, E0592
Dupont, Jacques, E0586 Fischer, Kurt von, E0033
Ditwell, Klaus Ulrich, E0221 Fissinger, Edwin, D0277
Florence. Archivio del Duomo, B0069-B0073
East, Thomas, A0193 inclusive
editing, techniques, E0336 Florence. Biblioteca Nazionale Centrale,B0068
Einstein, Alfred, E0206, E0222, E0223 Fomari, Matteo, E0392
Eitner, Robert, E0115, E0224 Forster, Karl, F0159
Eler, André, E0675 Fouquet, Joel-Marie, F0062
Engel, Lehmann, D0042, F0124 Franco, Bernardino Cirillo, E0426
Erb, James, p.x Frangapane, Carlo, E0231
Erig. Richard, D0043 Franke, Veronica Mary, E0232, E0636; p.x
Eschweiler, Wilhelm, F0141, F0145 Franklin, Peter, E0593
Escorial. Real Monasterio de San Lorenzo del Escor- Freis, Wolfgang, E0637
ial, B0058-B0066 inclusive Frescobaldi, Girolamo, E0620
Espagne, Franz, C0001-00003 (v4-8), E0471 Frey, Hermann Walter, E0120
Este, Alfonso d', p.7 Froberger, Johann Jakob, E0460
Estraola. S., F0132 Fromsen, Michele, E0233, E0638
Ett, Caspar, E0489 Furlotti, Arnaldo, E0612
Eugenius IV (pope), E0057 Fux, Johann Joseph, E0396, E0404, E0416, £0443,
Ewerhart, Rudolf, D0096, D0256-D0272 inclusive E0449, E0523, E0547; p.viii
Eximeno y Pujader, Antonio, E0482
Expert, Hen ry, D0273 Gabrieli, Giovanni, E0064, E0221, E0560, E0588
Gagliardi, Annibale, p.9
FØ, Horatio, E0168 Gaillard, Pierre, E0417
Fabbri, Paolo, E0311 Galilei, Vincenzo, A0218, A0224, E0310; p.6
Facoli, Marco, A0226 Gallico, Claudio, E0121, E0234
Fabris, Dinko, E0675 Galloway, G., D0278, D0279, D0280
Fait, Renato, F0090, F0154, F0193 Gallus (Carniolus) (Handl, Jacobus), E0201, E0221,
Falvy, Zoltan, F0246 £0349
Fano, Fabio, £0587, E0588, £0589 Galvez, Gabriel, E0447
Farkas, Ferenc, E0614 Gamberini, Leopoldo, F0066, F0067
Famese, Alessandro (cardinal), p.6 Gambocci, Ippolito, E0120
Favara, Alberto, E0584 Garbers (Hannover Solistenverein), F0085
Federhofer, Hellmut, E0590 Gardano, A. (publisher), A0157, A0160, A0162,
Féderoff, Yvette, E0483 A0169, A0180, A0189, A0197
Fell, A rn old, E0404 Gardano, A. , son of (publisher), A0176, A0177
Felix, Gabrielle, E0116 Gardano, Alessandro (publisher), A0004, A0063,
Fellerer, Karl Gustav, D0044, D0045, D0046, D0056, A0075, A0090, A0094, E0444
D0073, D0274, E0021, E0022, E0023, E0078, Gardano, Angelo (publisher), A0005, A0007, A0011,
E0117, E0225, E0226, E0227, E0228, E0259, A0012, A0013, A0024, A0026, A0039, A0040,
E0405, E0406, E0407, E0408, E0409, E0410, A0045, A0048, A0050, A0057, A0062, A0064,
E0411, E0412, £0413, E0414, E0449, E0484, A0069, A0073 (and brothers), A0078, A0084,
E0521, F0043, F0044, F0045, F0368 A0086, A0092, A0093, A0096, A0097, A0099,
Fenlon, Iain, E0024, E0025, E0229, F0041, F0165 A0107, A0109, A0110, A0111, A0178, A0182,
Ferdinand I (emperor), E0053 A0183, A0194, A0199, A0201, A0211, A0222,
Femie, Maxwell, F0267 E0444
Ferracci, Emilio, E0591 Gardano, Antonio (publisher), A0036, A0037, A0038,
Ferrandis, Antonio Andrés, E0676 A0158, A0163, A0165, A0167, A0171, A0172,
Ferrara. Biblioteca Comunale Ariostea, B0067 A0173
Ferrenberg, J.G., D0275 Gargiulo, Piero, E0639, E0677
Festa, Costanzo, E0208, E0221, E0256, E0367 Gaspari, Gaetano, E0027
Fétis, François-Joseph, D0001, E0116, E0118, E0562 Gaudard, abbé, F0345
Fevin, Robert de ("Robert"), p.1 Gautier, Jean -Fran çois, E0122
Fink, Hans, D0276 Gastoldi, Giangiacomo, D0085
Finscher, Ludwig, E0535, F0053 Gdan sk (Danzig). Stadtbibliothek,13 0074, B0075
Firenze. See Florence Geer (Vassar Mad rigal Singers), F0025
Firman Georgiades, Thrasybulos, E0028
See Le Bel de Noyon, Firman Gerber, Ernst Ludwig, E0485
468 Index of Names and Subjects
Gerbert, Martin, E0486 Haar, James, E0237, E0238, £0239, E0420, E0490
Gerhards, Albert, E0487 Haas, Robert, D0048
Gerlach, Catharina (publisher), A0015, A0124, Haass, Walter, E0240
A0125, A0128, A0192 Haberl, Franz Xaver, C0001-00003 (v.10-33),
German College in Rome, E0018, E0038 D0033, D0049, D0287, D0288, E0539, E0124,
Gero, Than, E0238, E0367 E0125, E0126, E0127, E0195, E0205, E0241,
Gervinus, Georg, E0539 E0242, E0243, E0244, E0280, E0293, E0324,
Ghiglione, Natale, E0595 E0359, E0421, E0491, E0492, E0534, E0555,
Ghislanzoni, Alberto, E0596 E0557, E0559, E0563, E0592; p.xi
Giacomelli, Gabriele, E0678 Haestens, H.L. de (publisher), A0213
Gialdroni, Giuliana, C0006 (ser.1.2), D0088, E0047 Haigh, Andrew C., E0245, E0246
Giazotto, Remo, E0123 Hall, Alison, E0247
Gieburoskiego, W., F0416 Haller, Michael, D0289, E0248, E0249, E0250,
Gillesberger, Hans, F0010, F0428 E0462, E0501, E0523, E0680
Giovanelli, Ruggero, E0197, E0296, E0377; p.11 Hamburger, Povl, D0050, E0251
Giuliani, Roberto, E0640 Hancock, Gerre, F0268
Giustiniani, Vincenzo, E0418 Hancock, Virginia, E0493
Glahn, Henrik, E0189, E0234 Handl, Jacob
Glarean(us), Heinrich, E0169 See Gallus (Carniolus)
Gmeinwieser, Siegfried, E0419, E0488, E0489, Hanson, How ard, D0290
E0679 Hanson, John R., E0252, E0253, E0254
Godt, Irving, E0235 Harman, Alec, D0051
Goethe, Johann Wolfgang von, E0421 Harran, Don, E0255
Goldschmidt, Otto, D0281 Hasberry, Robert L., D0292
Gonzaga, Guglielmo (duke of Mantua), E0024, Hassler, Hans Leo, E0224
E0075, E0089, E0098, E0121, E0124, E0148, Hassler, Kaspar, A0132, A0145
E0152, E0162, E0229, E0266, E0269, E0271, Hatch, Christopher, E0297
E0354, E0355; pp.5-6, 8-10 Hauptmann. Moritz, E0539, E0557
Gonzaga, Scipio (c ardinal), p.5 Hawke, H. Williams, D0052
Gori, Antonio Francesco (editor), E0401 Hawkins, (sir) John, E0494, £0522
Gori, Francesco (father-in-law of GPP), E0126; p.1 Hayburn, Robert F., F0031
Gori, Sancta (mother-in-law of GPP), p.2 Haydon, Glen, E0256
Glimer, Rudiger, E0408, E0483 Heiberg, Harold, D0470, D0471, D0472, D0473
Gottwald, Clytus, E0236 Heinemann, Michael, E0128, E0422; pp.xii, 6
Gozzini, Giacomo, E0681 Heinichen, Johann David, E0423
Gradual (Graduale Romanum, "Medicean Edition", Helbich, Wolfgang, F0086
Editio Medicaea). See Giovanni Pierluigi da Hell, Helmut, E0257
Palestrina: Career and professional activities- Hellink, Lupus, E0341
Gradual, and and GPP's revision work Hellmann, Diethard, D0061, D0293, D0294
Gray, Robert, D0282, D0283 Hennefeld, Norman, D0053
Greenberg, Noah, F0351 Hens, Charles, F0340
Gregory XIII (Ugo Buoncompagni, pope), E0107, Henson, B.R., D0295
E0144, E0327; pp.7-9 Heredia, Lodovico, A0121
Gregory XIV (Niccola Sfondrato, pope), p.10 Hermeink., Siegfried, E0032
Gregory, Eleanor C., D0284, D0285 Hermesdorff, Michael, D0070
Grignani, Lodovico (publisher), A0121 Herreweghe, Phillippe, F0033, F0234, F0372
Grossmann, Ferdin and, F0339, F0449 Herrmann, William, D0296
Grote, Gottfried, D0286 Hertzberg, R. von, D0028 (v.14)
Grout, Donald Jay, E0029, F0400 Higginbottom, Edward, F0112
Guadagnino, L., F0261, F0262 Hill, David, F0250
Guadalupe. Real Monasterio de Santa Maria, 130076, Hillier, Paul, F0155, F0172
B0077 Hindemith, Paul, F0328
Guatemala City. Catedral. Archivio Capitular, Hoban, John, F0009, F0153
B0078-B0080 inclusive Hoch, Alphonse, F0129
Guerrero, Francisco, D0020 Hoffmann, C.J.A.H, D0028 (v.6)
Guest, George, F0058, F0059, F0107, F0144, F0281 Hoffmann, E.T.A. (Ernst Theodor Amadeus), E0379,
Guidetti (publisher), E0270 E0495, E0594; p.viii
Guilmant, Alexandre, D0047 Hoffmann, Wolfgang, E0496
Guletsky, Irina, E0641 Hiifler, Janez, E0258
Index of Names and Subjects 469
Hohlfeld, Christoph, E0497 Kantner, Leopold M., E0687
Hohn, Wilhelm, D0054, E0498 Kanzler, Rudolf, F0207, F0214, F0323
Hdmberg, Johannes, F0325 Kapp, Reinhard, E0597
Homolya, Istvån, F0248 Kaufmann, P. (publisher), A0132, A0135, A0145
Hopkins, Bernard, D0297, D0298 Kayser, Christoph, E0421
Horn, Wolfgang, E0423 Keene, Dennis, F0146, F0147, F0148, F0149, F0150,
Hovinen, Juha, F0185 F0151
Howard, Michael, F0056, F0271, F0322 Keil, Klaus, E0644
Howie, A.C., F0325 Kelley, K.G., D0325
Hübsch, Hanns, D0055, D0099, D0299, D0300- Kenton, Egon, F0426
D0322 Kerle, Jacobus de, E0030, E0034, E0059
Hucke, Helmut, E0033, E0424, E0499 Keyte, Hugh, F0073, F0171
Hunt, Donald, F0004 Kieffer, K. (publisher), A0144, A0146
Hüschen, Hans, D0056 Kienzle, Ulrike, E0166, E0553
Hüschen, Heinrich, E0240, E0259, E0449, E0521, Kiesewetter, Raphael Georg, E0504
E0590 Killing, Joseph, E0273
King, Ethel. E0129
Iesuè, Alberto, E0642 Kingsbury, John, D0326
Illing, Carl-Heinz, E0260 Kinsky, Georg, E0123, E0130
Imrie, Martyn, D0057, 130058 Kircher, Athanasius, E0430
Ingegneri, Marc' Antonio, E0199, E0359, F0016 Kimberger, Johann Philipp, E0481
Innocent IX (Antonio Facchinetti, pope), p.10 Kirsch, Winfried, E0461, E0462, E0464, E0469,
Insom, Giovanni, E0005, E0065 E0487, E0488, E0489, E0500, E0502, E0505,
Intabulation, E0346 E0506, E0507, E0508, E0509, E0511, E0512,
Ippolito II d'Este (cardinal) E0522, E0524, E0537, E0539, E0545, E0546,
See Giovanni Pierluigi da Palestrina, E0547, E0548, E0549, E0551, E0553
Career and professional activities, Klassen, Johannes, E0274, E0275, E0276, E0277
Ippolito II d'Este Klebel, Bernhard, F0101, F0102, F0103, F0245
Iseler, Elmer, F0093 Klein, Maynard, D0062, D0327
Klerk, Albertde, F0424
Jackson, Christopher, F0038, F0094 Knepler, G., E0484
Jacopone da Todi, D0405 Knothe, Diet rich, F0361
Jander, Owen, F0276 Kodály, Zoltan, E0614
Janitzek, Martina, E0500, E0501 Koeber, L. (B.Voigt), A0217
Janscovics, Antal, D0059, D0323 Kolaczowski, Jerzy, E0431
Janz, Bernhard, E0167, E0261, E0301, E0500, Konrad, Ulrich, E0500,E0510,E051I
E0502, E0503, E0643 Ktithe, Bernard, D0064
Jaquet (of Mantua), E0654 Kraft, Leo, D0328, D0329
Jarczyk, Michael, D0324 Krakow. Archiwum Panstwowym Miasta Krakowa,
Jennings, Joseph, F0098, F0423 B0081
Jeppesen, Knud, C0004 (v.18-19), D0060, E0262, Kraus, Eberhard, D0065
E0263, E0264, E0265, E0266, E0267, E0268, Kraus, Egon, D0340
E0269, E0270, E0271, E0272, E0355, E0470, Krause, Ralph, E0645
E0547; p.xii Kreckel, Philip G., D0341
Joao IV (John IV, king of Portugal), E0425, E0426, Krenek, Ernst, E0598
E0427, E0428, E0429 Krombach, Gabriela, E0500, E0512, E0513
Jobin, Bernhart (publisher), A0220, A0228 Kromolicki, Joseph, E0514
Jones, Lee, F0443 Kroyer, Theodor, E0570
Josquin des Pres, E0133, E0173, E0254, E0277, Kruger, Katrin, D0342
E0535, E0647 Kuhn, Max, E0278
Julius III (Giovanni Maria Ciocchi del Monte, pope), Kulinsky, Blanka, F0408
p.2 Kulinsky, Bohumil, F0408
Just, Martin, E0611 Kurtzman, Jeffrey G., E0279, E0646

Kajdasz, Edmund, F0294, F0295, F0296, F0363, La Fage, Adrien de (Juste-Adrien-Lenoir de La Fage),
F0431 D0067, E0515, E0516, E0517, E0518, E0519,
Kalman, Imre, F0244 E0520
Kalmus (publisher), C0005 (v.1-74), E0205 motets Lamb, Gordon, D0343
Kandler, Franz Sales, E0467, E0504 Lamla, Michael, E0647
470 Index of Names and Subjects

Lampela, Titta, F0022 litany, litanies, E0337, E0338

Landrell, Steven, F0031 GPP's compared with Lasso's, E0337
Landsberg, Ludwig, E0118 liturgy, E0381, E0454
Lang, Paul Henry, D0093, E0521 and music in Sistine Chapel, E0381
Lannon, Allen C., F0175 Ljubljana. Narodna in Univezitetna Knijznica, B0090
Laplénie, Michel, F0018, F0019, F0020, F0021 Llorens, Josephus (José) M., E0167, E0281, E0282,
Las Infantas, don Fe rnando de, E0034 E0283
Lasserre, Françoise, F0359, F0360 Lockwood. Lewis, D0354, E0035, E0036, E0037,
Lasso, Orlando di (Lassus), A0123, A0127, A0172 E0132, E0133, E0268, E0272, E0284; p.xii
(`Orlando'), A0175, E0002, E0010, E0029, Loehrer, Edwin, F0016, F0017
E0083, E0097, E0127, E0133, E0138, E0159, Loewe, Carl, E0510
E0160, E0161, E0221, E0224, E0230, E0237, Loewe, Johann Gottfried, E0623
E0296, E0337, E0380, E0481, E0489, E0506, Lomazzo, Filippo (publisher), A0242
E0526, E0663, E0666; p.x Lomazzo, Francesco (publisher), A0015
Laubenstein, Paul E, D0344 London. British Library, Reference Division, Depart-
lauda, E0375 ment of Manuscripts, B0091-B0102;
and spiritual madrigal, E0375; and Stabat mater, Music Library, B0103
E0376 London. Royal College of Music, B0104
Lauretano, Michele, E0038 Longhini, Marco, F0402, F0403
Le Bel de Noyon, Firmin,E0014, E0103; p.1 LOpez Calo, José, E0350, E0435
Le Castel, Sophie, E0140 Lopez Navarro, Casiano (publisher), E0435
Lebow, Bernard, F0352, F0353 Loreto. Biblioteca della Santa Casa, B0105-B0107
Lechner, Leonhard, A0124, E0670 inclusive
"Leclerq, L." See Celler, Ludovic Lozzi, Carlo, E0130
Ledger, Philip, F0041, F0106, F0161, F0163, F0164, Lucca. Biblioteca del Seminario Arcivescovile,
F0165, F0167, F0169 B0108
Lee, John. D0345 Luciani, Luciano, E0610, E0649
Legnica. See Liegnitz Luck, Stephan, D0070. E0496
Leicht, Hans, D0346 Ludwig, Peter, E0039
Leichtentritt, Hugo, E0034, E0280 Luisi, Francesco, E0066, E0201, E0202, E0211,
Leiwering, Hubert, F0190, F0231 E0286, E0292, E0375, E0569, E0579, E0599,
Lejeune, Jerome, F0033, F0372 E0686
Lenz, H an s Georg, E0251 Luisi, Leila Galleni, E0390
Leo X (pope), E0392 Lunelli, Renato, E0134
Leo XIII (pope), E0492 Lupo, A0114
Lerner, Edward R., D0068, F0351 Lutheran tradition, GPP and, E0387; p.ix
Lesueur, François, E0329 Luftig, Peter, E0500, E0522, E0523, E0524, E0525;
Leuchtmann, Horst, F0233 p.xii
Levy, Kenneth, F0133
Ley, H.G., D0347, D0348, D0349, D0350, D0351, Machaut, Guillaume de, E0262
D0352 Maghini, Ruggero, F0368
Lhéritier, Jean, F0195 Magni, Bartolomeo, A0243
Liberati, Antimo, E0381, E0388, E0394, E0408, Magni, Bartolomeo, heirs of (publishers), A0074
E0432, E0436, E0438, E0442, E0475, E0494; p.viii Mai, Paul, E0380, E0526
Liebergen, Patrick Michael, D0353 Maillet (International Boys' Choir), F0343
Liegnitz (Legnica). Former Kdnigliche Ritter- Major, Melchiorre, E0041; pp.l
Akademie. Bibliotheca Rudolfina, B0082- Malcolm, George, F0205
B0088 inclusive Malin, Don, D0355, D0356, D0357, D0358
Lightbourne, Ruth, E0038 Mallapert, Rubino, pp.1-2
Ligios, Antonio, F0186 Mancini, Curzio, E0197, E0377
Liliencron, Rochus Freiherr von, D0069 Mandt, Heinrich, D0359, D0360
Lindell, Robert, E0131, E0648 Maniates, Maria Rika, E0297
Lindner, Friedrich, A0115, A0125, A0127, A0192, Mann, Alfred, E0416, E0521
E0448 Mann, Thomas, E0594
Lionnet, Jean, E0433, E0434, E0685; p.ix Marcello, Benedetto, E0481
Lisbon. Palacio Ducal da Serenissima Casa de Bra- Marcellus II (Marcello Cervini, pope), E0368
gança de Vila Viçosa, B0089 Marchai, André, D0072, F0340
Liszt, Franz, E0461, E0466, E0534, E0614 Marenzio, Luca, A0245, E0107, E0666; p.9
Litaize, Gaston, F0061 Margittay, Sandor, D0073
Index of Names and Subjects 471
Marks, A.S., D0361 Milsom, John, F0307
Marlhom, A., D0362 Mischiati, Oscar, E0135, E0291, E0292, E0652
Marpurg, Friedrich Wilhelm, E0481 Mitterer, Ignaz, D0372, E0501
Marshall, Charles, D0363, D0364 Modena. Duomo, Biblioteca e Archivio Capitolare,
Marshall, Robert L., E0286, E0311 B0116, B0117
Martin, (père) Emile, F0232, F0341, F0342, F0453, Modena. Biblioteca Estense, B0118-B0121 inclu-
F0454 sive
Martin, George C., D0365, D0366, D0367, D0368 Moderne, Jacques (publisher), E0314, E0315
Martini, Giovanni Battista (`Padre Martini'), A0244, Molitor, Raphael, E0109, E0136
A0245, E0419. E0450, E0480, E0649; p.ix Moller (Copenhagen Men and Boys' Choir), F0239
Martorell, Antonio, F0229 Monaco, Giulio, F0417
Marvin, Clara, E0436 Mondaleschi, Monaldo, E0086
Mascardi (publisher), A0122 Monego, Franco, F0404
Maselli, Gianfranco, D0071 Monson, Craig, E0653
Mason. Phyllis, F0140 Montani, Nicola A., F0440, F0441, F0442
Masotti. P. (publisher), A0120 Montanos, Francisco de, E0437
Massarelli, Angelo, p.2 Monte, Philippe de, E0002, E0131, E0173, E0639,
Massey, Roy, F0006 F0063; p.5
Matelart, Jean, A0131 Monterosso, Raffaele, E0293, E0424, F0370
Mawby, Colin, D0369, D0370 Monterosso Vacchielli, Anna Maria, E0294, E0682
Maximilian II (emperor of Austria), pp.5-6 Monteverdi, Claudio, E0134, E0588, F0248, F0259
Mayr, Johann Simon, E0527, E0681 Montserrat. Biblioteca del Monestir, B0122
McCarthy, John E., F0015, F0182, F0317, F0318, Moody, Ivan, D0087 (v.1,2), F0113, F0155, F0250,
F0319, F0320, F0321 F0251, F0252
McClintock, Carol, E0418 Morabito (Iannucci), Maria Adelaide, E0066, E0686
McConnell (University of the South Chorus), F0367 Morales, Cristobal de, E0172, E0283, E0447, E0480
McCray. James E., E0287 Morazzoni, A.M., E0572
McCreesh, Paul, F0051 Morelli, Arnaldo, E0044, E0060, E0295, E0438; p.ix
McDonald, Harl, F0437 Moreschi, Alessandro, F0214, F0323; p.xiv
McPhee, George, F0008 Morel. Baltasaris (publisher), A0089
Medicaen Edition (Editio Medicaea). See Giovanni Morris, Andrew, F0005
Pierluigi da Palestrina: Career and professional Morris, Reginald Owen, D0076, E0600
activities-Gradual, and and GPP's revision work Mortari, Virgilio, D0071
Meier, Bernhard, E0040, E0288, E0289, E0364 Moser, Dieter-Riidiger, E0590
Meilink, Leo, F0063 Moser, Hans Joachim, D0069, E0296
Meloncelli, Raoul, E0528, E0650 Müller-Blattau, Joseph, E0529
Meltzer, A. (publisher), A0138 Munich. Bayerische Staatsbibliothek. Musiksamm-
Mendel, Arthur, D0460, D0463, D0464, E0311 lung, B0123-B0130 inclusive
Mendelssohn, Felix (Jacob Ludwig Felix Munich. Metropolitankirche zu Unserer Lieben Frau,
Mendelssohn -Bartholdy), E0527 B0131
Mercati, Angelo, E0041 Munk, Ebbe, F0142
Merlo, Giovanni Antonio, E0055 Munns, Ro bert, F0450
Merritt, Arthur Tillman, D0074, E0440 Münster. Bibliothek Fortunato Santini, B0132-
Merula, Tarquinio, E0123 B0139 inclusive
Merulo da Corregio, Claudio (composer and pub- Murata, Margaret, E0401
lisher), A0102, A0103 Mutii, Nicolo (publisher), A0008, A0009, A0018,
Metzger, Heinz-Klaus, E0236, E0379, E0422, E0530 A0131
Mexico City. Biblioteca Octaviano Valdés, B0109
Mexico City. Metropolitan Cathedral, B0110 Nanino, Giovanni Maria, E0109, E0296, E0400
Meyer, E.H., E0484 Nascimbeni [Nasimbeni], Stefano, E0370
Michielsen, Maarten, F0176, F0177, F0178 Nasco, Giovanni, A0160, A0175
Mies, Paul, E0290 Natale, Pompeo, E0439
Mikel, E., D0075 Naumann, Emil, E0137
Milan. Biblioteca del Conservatorio di Musica Neidhardt, A.H., D0028 (v.5,6,12)
Giuseppe Verdi, BO!!! Nelson, Bernadette, F0256
fondo Santa Barbara, B0112-B0115 inclusive Nenninger, M. (publisher), A0140
Miller, Jonathan, F0096 Neri, Philip (Filippo), E0074; pp.2, 6
Miller, Stephen, E0651, F0423 Neuner, Carl, E0257
Millet, Luis, F0202 Neville, David, F0032, F0240
472 Index of Names and Subjects
New Haven. Yale University, Music Library, B0140 E0247, E0251
New York. The Hispanic Society Library, B0141- biography in outline, pp.1-11
B0143 inclusive birthdate, E0072, E0102, E0106, E0163
New York. Public Library, Music Division, B0144 birthplace (Palestrina, near Rome), E0070,
Ney, Joseph Napoleon ("le Prince de la Moskowa"), E0114; history, pp.2-3, 10-11; local musical
D0079 life, E0105
Nicholson, David, F0158 career and professional activities
Nicolai, Otto, E0511, E0530 in Cappella Giulia, E0052, E0054, E0172,
Niedermeyer, Louis, D0080 E0215, E0445 and pp.2, 6, 7, 9-11; in Cap-
Nielsen, Kirin, E0689 pella Sistina, E0054, E0167, E0392, E0433,
Nison, Alessandro, E0295 E0445 and pp.2, 4, 6-11; confraternities,
Niven, Lewis, D0373 E0044, E0138, E0139, E0140 and pp.8-11;
Nobel, Felix de, F0115, F0174, F0175, F0354, fur business, E0094; Gradual (Graduale
F0355, F0357 Romanum) revision , E0011, E0136, E0150,
Noble, Jeremy, F0115 E0242, E0243, E0288, E0326, E0327; and
notation, E0293 Ippolito II d'Este, E0097, E0144, E0145 and
Novack, Saul, D0080, E0297 pp.4-6, 7; negotiations for professional posts,
Novello, Vincent, D0082 E0131; at San Agapito, E0126 and pp.1-2, 10-
Nowak, Adolf, E0166, E0553 11; San Giovanni in Laterano (St. John Lat-
Noyre (Petits Chanteurs de la Renaissance), F0181 eran), pp.1, 3; at S anta Ma ria Maggiore (St.
Nucius, E0296 Mary Major), E0103, pp.1-5; at Seminario
Nugent, George, E0654 Romano (Roman Seminary), E0013, p.4-5;
and Vertuosa Compagnia dei Musici di Roma,
Oates, John M., F0227 E0047, E0155, E0377, E0667and pp.9-10
Oberhoffer, Heinrich, D0070 death and burial, E0041
O'Donnell, James, F0251, F0252, F0253, F0255, location of grave, E0090, E0157
F0258 economic situation, E0115
011ikkala, Debra Margaret, E0298, E0299 education, E0014, E0103, E0155
Opdebeek, Olivier, F0264 family and relatives, See Pierluigi; Pierluigi family
Opienski, Heinrich, F0042 Germany, reception in, E0448, E0455
Oporto. Biblioteca Publica Municipale,B0145 hospitality, E0101
ornamentation technique, E0278 marriages, E0091
O'Regan, Noel, D0083, E0043, E0044, E0138, with Lucrezia Gori, E0126, p.1-2, 8; with Virginia
E0139, E0140, E0300, E0301, E0302, E0323, Dormoli, p.8-9; See also Pierluigi, Lucrezia Gori;
E0655, E0680, F0359; p.x Pierluigi, Virginia Dormoli
O'Reilly, William, F0265 personality, E0111, E0158, E0422
Ortigue, Joseph d', D0080 Poland, reception in, E0431
Osthoff, Helmuth, E0535 portraits and iconography, E0001, E0077, E0080,
Osthoff, Wolfgang, E0601 E0081, E0099, E0134, E0135
Ouvrard, Je an-Pierre, D0374, E0303, F0050 property and real estate, E0069, E0071, E0087,
Owens, Jessie Ann, E0132, E0133, E0304, E0690, E0088, E0112, E0119, E0143
F0052 publishers, See Dorico; Scotto
Oxford. Bodleian Library. Tenbury MSS, B0146- `rescue' legend, GPP and, E0382, E0385, E0395;
B0150 inclusive and Missa Papae Marcelli, E0125, E0141, E0264,
Oxford. Christ Church Library, B0151-B0158 E0268,E0272, E0284, E0368, E0382, E0385,
inclusive E0395, E0417, E0510, E0593
`savior of church music,' see `rescue' legend
Paccagnella, Ermengildo, E0305, E0602, E0603 Spain, reception in, E0435, E0438, E0447
Pachowsky, Angela, E0656, E0687 students, E0039, E0271, E0377, E0380, E0384
Pagot (Petits Chanteurs de la Renaiss
ance), F0181 style, aspects of, in GPP's music: E0122, E0170,
Paix, Jacob, A0221, A0228, D0065 (v.1,6), E0346, E0174, E0189, E0235, E0307, E0309, E0333,
E0543 E0361, E0364, E0371, E0386, E0389, E0390,
E0391, E0418, E0420
Palestrina, Giovan ni Pierluigi da (ca.1525-1594) accentuation, E0028
bibliographical cantus firmus technique, E0200, E0317,
bibliographies, E0244; catalogues, E0027, E0342, E0343
E0080, E0081, E0186, E0203, E0209, E0241, compositional process, E0121, E0149, E0271
E0273, E0281, E0282, E0329, E0300,E0362, counterpoint, E0021, E0252, E0253, E0254,
E0363, E0451; worklists, E0205, E0231, E0263, E0267, E0299, E0345, E0364,
Index of Names and Subjects 473
E0404, E0405, E0416, E0424, £0449 E0138, E0173, £0232, E0261, E0274,
declamation of text, E0021, E0226, E0227, E0275, E0276, E0277, E0296, E0314,
E0262, E0292, E0424, E0426 E0315, E0316, E0321, E0341, E0348,
harmony, harmonic language, E0021, E0188, E0352, E0377, E0427, E0428, E0429
E0224, E0245, E0246, E0297 motets, E0200, E0242, E0255, E0283, E0295,
imitation (parody) and modeling, E0191, E0318, E0356, E0372; Canticum cantico-
E0232, E0233, E0238, E0274, E0314, rum, E0166, E0207, E0304; const ru ction,
E0377 E0318, E0319, E0320, E0360; cycles,
intabulation of music, E0179, E0346 E0166, E0304; liturgical function of,
melody, E0211, E0212, E0305, E0317 E0214; recomposition or reworking of,
mode theory, E0032, E0217. E0246, E0313, E0452; GPP works related to general his-
E0345, E0346, E0364; and Canticum can- tory of, E0058, E0280
ticorum, E0166, E0304; and chiavette offertories, E0076, E0289, E0312, E0351
(clefs), E0178, E0279, E0311; and Grad- polychoral works, E0138, E0192, E0197,
ual revision, E0288; and offertory cycle, E0221, E0230, E0250, E0258, E0259,
E0289, E031 I, E0312, E0344, E0351; and E0300, E0301, E0306,E0322, E0323,
Vergine madrigal series, E0165, E0311; E0337, E0338, E0370,E0399
and Vestiva i colli, E0169, E0311 requiem, E0202, E0350
motivic technique, E0353 responsories-See Responsoria
musica ficta, F0285 ricercari, E0291, E0331
notation and mensuration issues, E0175, Stabat Mater, E0187, E0224, E0290, E0308,
E0176, E0194, E0195, E0196, E0204, E0376
E0236, E0239, E0293,E0294, E0439 See also entries under Pierluigi; Pierluigi family
paraphrase technique Palisca, Claude Victor, D0084, E0029, E0440, F0400
and Gregorian chant melody, E0200, Palm, Albert, E0408, E0483
E0317, E0356; in m asses based on Pane, Domenico dal, E0380, E0633
antiphons, E0298; in masses based on Pannain, Guido, F0260
hymns, E0249, E0286, E0314, E0348, Paolucci, Giuseppe, E0531
E0374 Pardoe, Mary, F0062
performance practices, E0201, E0217, E0278, Paribeni, G.C., D0105
E0296, E0302, E0303, E0307, E0328, Paris. Bibliothèque Nationale, B0159
E0378, E0382, E0383,E0406, E0407, Parkinson, John A., D0375
E0413, E0421, E0434 Parratt, Walter, D0376
progressive qualities of GPP's music, E0051, Parrott, Andrew, F0171
E0308, E0377, E0400, E0402 partitura. See scores, scoring
rhythm and meter, E0177, E0184, E0293, Pasquini, Bemardo, E0443
E0335, E0340, E0441 Pass, Walter, E0604
scores, scoring, E0152, E0310, E0332, £0446 Pastor, Ludwig von, E0045
text underlay, E0048 Patterson, Elizabeth C., F0329, F0330
works Paul IV (Giovanni Pietro Caraffa, pope), E0164;
and basso continuo parts, E0179 pp.2-3
falsibordoni, E0270 Pearsall, Robe rt, E0546
hymns, E0181, E0208, E0256, E0260, E0356 Pedrell, Felipe, E0141, E0142
lamentations, E0349 Peeters, Flor, F0349
litanies, E0337, E0338 Pekalitski (Russki Partes), F0347
madrigals, secular, E0168, E0180, E0182, Pellini, Giulio, D0085
E0191, E0206, E0223, E0237,E0238, Peloquin, Alexander, F0228
E0347, E0366, E0367 Pelplin. Biblioteka Semina ri um, B0160
madrigals, spiritual, E0166, E0375; Vergine Pentrella, R., E0069
series, E0165 Pérès, Marcel, F0234
magnificats, E0260, E0279, E0287, E0321, Perinello, Carlo, D0086
E0322, E0324, E0325; and si placet parts, Perkins, Leeman L., E0046
E0172 Perosi, Lorenzo, F0036, F0446
masses, E0173, E0213, E0220, E0225, Pertica, Domenico, E0143
E0240, E0248, E0249, E0257, E0298, Pesce, Dolores, E0304
E0299, E0332, E0334, E0339, E0364, Peters, Carl F. (publisher), D0001
E0365, E0373, £0449; Mantuan, E0183, Petrenko, Jurgen, F0421
E0229, E0265, E0266, E0269, E0354, Petrenz, Siegfried, D0342
E0355; parody (imitation) technique in, Petrini, Pierantonio, E0532
474 Index of Names and Subjects
Petrocchi, Quinzio, F0369 Pirani, Federico, E0686
Petti, Anthony G., D0377, D0378, D0379, D0380, Pirrotta, Nino, D0088, E0047
D0381, D0382, D0383 Pisa, Agostino, E0441
Pevernage, Andrea, A0184, A0203 Pisano, Richard, D0385, D0386
Pfitzner, Hans, E0529, E0533, E0535, E0593, E0594; Pistoia. Archivio Capitolare, B0161
p.xiii Pistone (Turin Seminary Choir), F0337
"P.G.B", E0612 Pitoni, Giuseppe Ottavio, E0388, E0442
Phalèse, Pierre (publisher), A0043, A0071, A0100. Pius IV (Giovanni Angelo Medici, pope), pp.3, 5
A0118, A0142, A0143, A0150, A0151, A0154 Pius V (Michele Ghislieri, pope), pp.5, 7
(heirs), A0206, A0209, A0210, A0214, A0223, Pizarro, David, D0387
A0240, E0444 Plasencia. Archivio del Cathedrale, B0162
Phalèse, Pierre and J. Bellère (publishers), A0184, Pohl, Gunther, F0236
A0185, A0198, A0203. A0234 polyphony, style of 16th-century, E0021
Philips, Peter (composer). A0148. A0151, A0154. Pontio (Ponzio), Pietro, E0261
A0198, E0307 Poos, Heinrich, E0309, E0606
Phillips, Peter (conductor, editor), D0087, E0306, Possiedi, Paolo, E0310
E0605, E0613, F0194, F0195, F0196, F0197, Pottier, Matthias, A0118
F0198, F0199, F0200, F0358, F0399 Potvin, Gilles, F0266
Phinot, Dominique, E0258 Powers, Harold S., E0289, E0311, E0312, E0313
Piel, Peter, E0513 Powley, Harrison, D0089
Pierluigi family (Family relationships listed indicate Pozzi, Egidio, E0657
relationship to GPP) Pozzi, Raffaele, E0534
Pierluigi, Agapito (d.1677), great-grandson, p.11 Pozzobon, Michele, E0628
Pierluigi, Angelo (1551-1575), son, E0091; pp.2- Praetorius, Michael, A0141
3, 5-7, 9 Preston, Simon, F0050, F0052
Pierluigi, Angelo (1576-1581), grandson, pp.7, 9 Prince de la Moskowa, le. See Ney, Joseph Napoleon
Pierluigi, Aurelia (1574-1581), granddaughter, Printing and publishing, music, E0003, E0004.
p.7, 9 E0019, E0336. E0444; and economics, E0009;
Pierluigi, Caterina, granddaughter, p.11 and editorial practices, E0009, E0019
Pierluigi, Doralice Uberti, daughter-in-law, wife Processions and music, E0038, E0043
of Angelo, p.7 Proctor, Michael, D0388
Pierluigi, Giovanni. See Palestrina, Giovanni Pier- Prod'homme, Jacques-Gabriel, E0144
luigi da (ca.1525-1594) progressive tendencies in style of GPP, E0308,
Pierluigi, Gregorio (1580-1581), grandson, pp.8-9 E0334, E0380
Pierluigi, Gregorio (b.after 1581), grandson, p.11 Proske, Karl, D0090, D0091, D0092, D0093, E0118,
Pierluigi, Iginio (1558-1610), son, E0091, E0136; E0380, E0502, E0506, E0526, E0558; p.xi
pp.3, 7-9, 11 Puebla (Mexico). Archivo de Musica Sacra de la Cat-
Pierluigi, Jacobella (d.1527), paternal grand- edral, B0163-B0166 inclusive
mother, E0092; pp.l Pugliese, Annunziato, E0145, E0658
Pierluigi, Lucrezia Gori (d.1580), first wife, Pujol, David, F0203, F0222
E0126, pp.1-2, 6, 8 Pyne, Ø Kendrick, E0146
Pierluigi, Margherita, granddaughter, p.11
Pierluigi, Maria Gismondi, father's second wife, Quadflieg, Jakob, E0048
p•1 Quereau, Quentin W., E0314, E0315, E0316
Pierluigi, Olimpia, granddaughter, p.11 Querol, Miguel, E0270
Pierluigi, Palma (d.1536), mother, pp.1
Pierluigi, Palma (d.1564, sister, wife of Giovanni Radole, Giuseppe, E0317
Bovis), pp.3-4 Rahe, Heinrich, E0318, E0319, E0320
Pierluigi, Rodolfo (1549-1572), son, E0091; pp.2- Raimondi (publisher), E0136; p.11
3, 5-7 Rambotti, F., E0394
Pierluigi, Santo (Sante) (d.1559), father, pp.1, 3 Ramella, Carlo, E0148
Pierluigi, Silla (d.1573), brother, pp.6-7 Rampazzetto, F. (publisher), A0123
Pierluigi, Tommaso (1578-1633), grandson, pp.8, Ratzinger, Georg, F0166
11 Raugel, Félix, E0147
Pierluigi, Virginia Dormoli (Guerrazzi) (d.1610), Raven , Alessandro (publisher), A0072
second wife, E0094; pp.8-11 Razzi, Fausto Alberto, F0188
Pierluigi, Virginia Guamacci (d.1608), daughter- Reardon, Colleen, E0321
in-law, wife of Iginio, pp.7-8, 11 Rectanus, Hans, E0535
Pike, Lionel, D0384, E0307, E0308 Rees, Owen, E0322, E0323, F0256
Index of Names and Subjects 475
Reese, Gustave, D0459, D0461, D0462, E0049, Emanuele 1I,130194, B0195
E0324, E0325 Rome. San Giovanni in Laterano. Archivio Musicale,
Refice, Licinio, F0280, F0380 B0196-130204 inclusive
Regensburg. Bischüfliche Zentralbibliothek, Rome. Vatican City. See Vatican City
B0167-B0181 inclusive Ronga, Luigi, E0609
Rehmann, Theodor B., D0099, F0043 Rore, Cipriano de, A0123, A0127, A0158, A0169,
Reicha, Anton, E0464 A0171, E0165, E0367
Reichardt, F ri edri ch, E0464 Rosand, Ellen, E0313
Reichert, Georg, E0611 Rosato, Paolo, E0660
Reichwein, Heinz, D0389 Rose, Bernard, DO100, D0398
Relia, Antonio, F0209, F0210, F0432, F0433, F0434 RSseling, Kaspar, D0099
Relia, E., F0071 Rostagno, J.H., D0399
Respighi, C arlo, monsignor, E0326. E0327 Rostirolla, Giancarlo, C0006 (ser.1.1; ser.2.1), E0052,
Responsoria Tridui Sancti [27 responsories by Mar- E0069, E0165, E0185, E0200, E0291, E0336,
c'Antonio Ingegneri, formerly attributed to GPP]. E0376, E0381, E0387, E0402, E0433, E0435,
E0190, E0199, E0357, E0358, E0359 E0438, E0445, E0446, E0455, E0460, E0528,
Reynolds, B arbara, D0098 E0534, E0542, E0561, E0562, E0568, E0584,
Reynolds, Christopher, E0025, E0050 E0601, E0610, E0612, E0617, E0661, E0686;
Reynolds, G., D0390 p.xii
Rheinberger, Joseph, E0489 Roth, Joachim, E0337, E0338
Ribeiro, Mario de Sampayo, E0429 Rovigo, Francesco, D0085
Ricci, Corrado, E0607, E0608 Rowlands, Léo, D0400
Rice, John A., E0659 Roy, Klaus George, F0428
ri cerca ri , E0291, E0331 Roy, S. de and J.G. de Rhenen (publishers), A0241
Richafort, Jean, E0352 Rosselli, Francesco, A0167, A0175, E0034
Rich ar dson, D0391, D0392 Rubio, Samuel, E0447
Richter, W. (publisher), A0215 Rubsamen, Walter, E0448
Riddell. Wayne, F0095 Rudel (Berlin Staats- und Domchor), F0217, F0218
Riedel, F ri ed ri ch Wilhelm, E0261, E0328, E0346, Ruffo, Vincenzo, E0034, E0035, E0037; p.4
E0378, E0423, E0443, E0496, E0501, E0509, Ruhnke, Martin, E0449
E0537, E0538, E0592 Ruimonte, Pedro, D0020
Riegel, F ri ed ri ch, D0107, E0544 Ruini, Cesarino, E0442
Riehn, Rainer, E0236, E0379, E0422, E0530 Rüsch, Walter, F0189
Riemann, Hugo, D0094 Russell (Harv ard University Chorus), F0184
Riethmüller, Albrecht, E0539 Russell, Patrick, F0009
Rimbault, Edward F., D0008, D0095 Rutter. John, D0101, F0109, F0110, F0111
Ritter, Gottfri ed August von, E0331 Ruuli (publisher), A0153
Robert s, J.V., D0393 Ryom, Peter, E0189, E0234
Robertson, Alec, E0332, F0143
Robinson, Ray, D0096 Saar, Louis Victor, D0401
Roche, Jerome, D0097, D0098, E0051, E0333, Sachs, Johann Melchior Ernst, E0623
E0334, E0444, F0073 Sadie, St an ley, E0132
Rochlitz, F ri ed ri ch, E0464, E0539, E0540 Saint-Réquier, Leon, D0102
Rockstro, William Smyth, D0394, D0395, D0396 Samson, Joseph, E0149, E0339, F0211, F0341,
Roff, J., D0397 F0406, F0445
Rogers, Rachel Ratliff, E0335 Sandi, Luis, F0430
Rognoni Taeggio, Francesco, A0242, D0043, F0013 Sandon, Nick, F0073
Rohan -Csermak, Hen ri de, E0541 Sanna, Antonio. F0186
Roi, Bartolomeo lo, A0114, E0341 Sannazaro, Giacopo (poet), E0347
Rome. Archivio della Congregarzione dell' Oratorio Santa Barb ara, church of (liturgical foundation, Man-
dei Padri Filippini, B0182 tua), E0024, E0124, E0183, E0229, E0266,
Rome. Archivio del Pio Sodalizio dei Piceni, B0183 E0269
Rome. Biblioteca Casanatense, B0184-B0187 Santini, Fortunato, E0118, E0273; p.xi
inclusive Santini, Prospero (Curzio), E0197, E0377
Rome. Biblioteca Corsiniana, B0188 Saragossa. Iglesia Metropolitana, B0205
Rome. Biblioteca Musicale Governativa del Conser- S argent, Malcolm, D0402, D0403, F0241
vatorio di Musica Santa Cecilia, B0189-B0193 Sartori, Claudio, E0598
inclusive Satomaa, Tauno, F0185
Rome. Biblioteca Nazionale Centrale Vittorio Sawkins, Lionel, E0662
476 Index of Names and Subjects

Scacchi, M arco, E0388, E0422, E0440 Sharp, Geoffrey Brinsley, E0153, F0153
Scammell, Elsa, F0323 Shaw, Watkins, D0411
Sc ar latti, Alessandro, E0396 Shay, Robe rt , E0452
Schabasser, Josef, D0404, D0405 Sherman. Bernard, E0613
Schadaeus, Abraham, A0144, A0146 Sherr, Rich ard, E0054, E0055, E0056, E0302, E0684
Schaefer, Edward, E0053 Sherwin, Doron David, F0201
Schaik, Leny v an , F0447 Sibley, David J., E0348
Schauerte, Gustav, D0103, F0364 Silva, Andrea da, F0195
Scheel, J., D0406 Simi Bonini, Eleanora, E0154, E0664
Scherff, B. (publisher), A0216 Simkins, C.F., D0412
Schering, A rn old, D0104, D0407, D0408, E0340 Simonelli, Matteo, E0438
Schertzer, Daniel, F0034 Singer, Alfons, F0104
Schillaci, Daniel. F0309 Sipple, Peter, F0276
Schinelli, Achille, D0105 (v.1-3) Sirleto, Guglielmo (c ar dinal), p.8
Schlecht, Raymund (Raimund), E0543 Sistine Chapel (Cappella Sistina), B0244-B0350
Schlôtterer, Reinhold, E0611, E0663 inclusive, D0004, F0012, E0066, E0120, E0164,
Schmid. M.H., F0049 E0167, E0218, E0219, E0381, E0392, E0393,
Schmid, Theodor, E0150 E0394; p.xiii; See also Palestrina, Giovanni Pier-
Schmidt (Stanford University Chorus), F0283 luigi da: Career an d professional activities-in
Schmidt- Gaden, Gerh ard, F0162, F0237 Cappella Sistina
Schmidt-Gorg, Joseph, D0106, E0341 Sivec, Joseph, E0349
Schmitz, Eugen, E0151 Sixtus V (Felice Peretti, pope), E0144; pp.9-10
Schnapp, Friedrich, E0495 Skulj, Edo, E0665
Schnoebelen, Anne, E0450, E0451 Smith, H.G., D0413-D0441 inclusive
Schniirl, K ar l, E0342, E0343 Snow, Robe rt J., E0350
Schtiberlein, Ludwig, D0107, E0544 Soderlund, Gustav Fredric, D0109
Scholes, Percy, F0118 Sofonea, Traiano, E0212, E0579
Scholz, Bernhard, E0481 Soldati, Stefania, E0617, E0666
Schonberg, Arnold, E0616 Soldi, Luca Antonio (publisher), A0046, A0088,
Schrems, Hans, D0099, F0045, F0046, F0047, A0119
F0048, F0052, F0365 Solerti, Angelo, E0401
Schrems, Theobald, F0044, F0052, F0060, F0215, Solini, Quinzio, E0123
F0216 Somary, Joh an nes, F0305
Schubert, Peter N., E0344, E0345 Somma, Bonaventura, D0110, D0442, F0338
Schuhmacher, Gerh ard, E0545, F0010 Sorensen, Soren, E0189, E0234
Schuler, M an fred, E0346, E0546 Soriano (Suriano), Francesco, D0019, D0090, E0197,
Schwartz, Rudolf, E0152, E0347 E0377, E0647, F0073; p.8, 9
Scott, Cyril K., D0409, D0410 Spohr, Ludwig (Louis), E0421
Scott, John, F0002, F0257 Spoleto. Archivio Capitolare, B0208
Scott, Samuel H., D0109 Stabile, Annibale, E0197, E0256, E0377
Scotto, Girolomo (publisher), A0053, A0123, A0161, Stadler, Maximilian, E0538
A0164, A0168, A0170, A0174, A0175, A0218, Stanley, Charles, F0449
A0224 Stefani, Gino, E0351, E0453, E0454
Scotto, Girolamo, heir(s) of (publisher) Stein, Louise K., E0010
A0017, A0027, A0028, A0029, A0030, A0031, Steinschulte, Gab ri el, E0455
A0032, A0033, A0034, A0044, A0049, A0051, Stenzl, Jürg, E0548
A0054, A0055, A0056, A0058, A0059, A0061, Stem, Hermann, D0443
A0068, A0070, A0076, A0077, A0079, A0081, Stevens, (Mother) G., F0436
A0082, A0083, A0087, A0091, A0108, A0112, Stevenson, Robe rt , E0352
A0179, A0181, A0186, A0219 Stewart, C. Hylton, D0444, D0445
Sedlacek, Ivan, F0407 Stewart, Robe rt , DOl 11
Seebacher, Willi, F0100 Stinger, Ch arles, E0057
Segarra, Ireneu, F0377 Stockholm. Kungliga Musikaliska Akademiens Bib-
Segovia. Archivo Capitular de la Catedral, B0206, lioteket, B0209
B0207 Stokowski, Leopold, F0429
Seidel, Elmar, E0547 Strainchamps, Edmond, E0297
Selma, Ba rt olomeo da, A0243, D0043, F0037 Strassburg, Robe rt , F0348
Seyler, J., D0028 (v.6) Straus, Joseph, E0353
Shapiro, Anne Dhu, E0490 Striggio, Alessandro, A0163, A0164, A0173, D0085
Index of Names and Subjects 477
Strozzi, Giovambattista (poet), E0347 Treviso. Biblioteca Capitolare del Duomo, B0217
Strunk, Oliver, E0058, E0269, E0354, E0355, E0401 Truchsess von Waldburg (c ar dinal), E0030
Stuligrosz, Stefan, F0293, F0297 Turin. Biblioteca Nazionale Universitaria, B0218
style, aspects of. See Palestrina, Giovanni Pierluigi Turner, Bruno, F0049, F0052, F0053, F0070, F0172,
da, Style, aspects of, in GPP's music F0253, F0254, F0309, F0311
style history (16th century, general), E0005, E0006, Turner, Gavin, F0073
E0010, E0025, E0026, E0029, E0046, E0049,
E0051 Ugrin, Gabor, F0248
Sulzer, Johann Georg, E0524 Ultan, Lloyd, E0361
Summerly, Jeremy, F0299, F0300, F0301, F0302 Unverricht, Hubert, E0551, E0552, E0553, E0554
Summers, William J., E0155, E0667 Urban VII (Giambattista Castagna, pope), p.10
Super, Antoine, E0156 Ursprung, Otto, E0059, E0456, E0555, E0556
Szabo, Miklos, F0244, F0247 Uvietta, Marco, E0670
Szabo, Tibor, E0614
Szekeres, Ferenc, F0068 Vale, Giacomo, E0362
Valencia. Colegio y Seminario del Corpus Christi del
Tabbia, Dario, F0312 Patriarca, Archivo, B0219
Tacaille, Alice, E0356 Vanhulst, Henri, E0671
tactus, E0293, E0303, E0340 Vanni, Carlo, E0445
Tafelmayer, Wolfgang, E0549 Vartolo, Sergio, F0074, F0075, F0076, F0303, F0304
Taglioni, Luigi, F0401 Vasari, Giorgio, E0465
Talamo Emilia, Anna, E0668 Vatican City. Biblioteca Apostolica Vaticana
Tamminga, Liuwe, F0014, F0074, F0075, F0076, fondo Barberini B0221; fondo Cappella Giulia
F0303, F0304 B0222-B0239 inclusive; fondo Ottoboniani
Tarazona. Archivo Capitular de la Catedral, B0210- B0240-B0243 inclusive; fondo Capella Sistina
B0215 inclusive B0244-B0350 inclusive; fondo Santa Maria
Taylor, Deems, D0446 Maggiore B0351-B0353 inclusive; fondo Vati-
Tebaldini, Giovanni, E0550 cani Latini B0354
Terni (arranger), F0143 Vecchi, Orfeo, A0127, A0134, A0137, A0212
Terry, Rich ard R., D0447, F0117, F0118, F0204, Vegelin (publisher), A0239
F0206, F0331 Veld, Henry, F0438
Terni, Giovanni Antonio, A0235, A0238, D0043, Vellard, Dominique, F0233
E0310 Veneziani, Vittorio, F0332
Theil, Carl, D0448 Venhoda, Miroslav, F0072, F0409, F0411
Theurig, Gunther, F0451, F0452 Venuti, Massimo, E0158, E0615
Thomas, Bernard, D0449 Verando, Pietro, F0065
Tibaldi, Rodobaldo, E0674, E0681 Verdelot, Philippe, E0367
Tiersot, Julien, E0190, E0199, E0357, E0358, E0359 Verovio, Simone (publisher), A0196, A0227 (com-
Till, Michael, F0167 piler), A0229, A0231, A0233
Tini, heirs of Simon (publishers), A0014, A0015, Vervliet, J. (publisher), A0148
A0020, A0041, A0060, A0065, A0067, A0080, Vervoitte, Charles Joseph, D0450
A0127, A0134, A0137, A0190, A0212 Veselka, Josef, F0413, F0414, F0415
Tini, M. (publisher), A0117 Viadana, Lodovico Grossi da, E0538
Toffetti, Marina, E0669 Vianini, Giovanni, D0105 (v.4)
tonality and Palestrina style, E0297 Victoria (Vittoria or Vitto rio), Tomas Luis da, D0004,
tonal types, E0313 E0010, E0015, E0029, E0133, E0142, E0221,
in Canticum canticorum, E0304; in magnificats, E0323, E0447, E0477, E0588, F0195
E0325 Victorini, Georgius, A0155
Torelli, Salvatore, E0095 Vienna. Osterreichische Nationalbibliothek. Musik-
Tomerius, Jacobus (Giacomo Tomieri) (publisher), sammlung, B0355-B0367 inclusive
A0004, A0085, A0126, C0006 (ser.1.3) Vietti, L., F0126
Torrigio, Francesco Maria, E0157 Vignola, Giacomo da (architect), E0403
Tosato, Gastone, F0089 Vincent, Bernard, F0287
Tovey, Donald Francis, E0360 Vincenti, Giacomo (publisher), A0019, A0021,
Tradate, A. (publisher), A0136, A0139 A0022, A0066, A0104, A0106, A0133, A0187
Treitler, Leo, E0401 (and R.Amadino), A0188 (and R.Amadino),
Trent, Council of. See Council of Trent; Catholic A0200, A0204, A0205, A0207, A0208, A0225
Church (and R.Amadino), A0230, A0232, A0236, A0238,
Trento. Collection L. Feininger, B0216 E0444
478 Index of Names and Subjects
Viola, Matelda, F0401 Widmann, Wilhelm, E0372, E0373, E0559
Virchi, Paolo, A0219 Willaert, Adrian, E0173, E0191, E0367
Virgili, Lavinio, C0004 (v.15-16), C0005 (v.41-47), Willcocks, David, F0057, F0133, F0160, F0164,
E0363 F0169, F0173, F0242, F0270, F0378
Virgiliano, Aurelio, B0035, D0043 Williams, G., F0152
Vita Spagnuolo, Vera, E0044, E0060 Williams, W., D0458
Vitelli, Vitellozzo (cardinal), E0030, E0063. E0208; Williamson, John Finlay, D0459, D0460, D0461,
p.4 D0462, D0463, D0464, F0127, F0208, F0439
Vitry (Gregorian Institute Choir), F0230 Winold, Allen, D0016
Voecht, de (Antwerp Cecilia Choir), F0119 Winterfeld, Carl von, E0064, E0467, E0553, E0560
Von Gersdorff, Dagmar, E0594 Witt. Franz Xaver, D0113, D0465, E0534
Vranken, Alphons, F0121, F0122, F0123 Witt, Theodor de, C0001-00003 (v.1-4)
Vriees, Adriaan Bruce de, E0364 Witzenmann, Wolfgang, E0561
WOldike, Mogens, F0219, F0220, F0221, F0226
Wagenmann, A. (publisher), A0141 Wolf, Robert Erich, F0310
Wagner, Peter, E0262, E0271, E0365, E0366. E0367, Wolff, Christoph Johannes, E0457, E0458
E0514, E0555 Wolff, Hellmuth Christian, D0114, E0374, E0616
Wagner, Richard, D0406, D0451, D0452 Wolfson, John, F0323
Wagner, Roger, F0039, F0040, F0087, F0088 Woodworth, G. Wallace, D0466, D0467, D0468,
Waldersee, Paul Graf von, E0557 D0469, F0082, F0083, F0084
Walker, Peter, F0421 Wroclaw (Breslau). Biblioteka Uniwersytecka.
Wallbank, N.E., F0005 Brieger Sammlung, B0373-B0376 inclusive
Wallon, Simone, E0483 Wyn Jones, David, E0672
Walter, Anton, E0159, E0160
Ward, John M., E0490 Yonge, Nicholas, A0193
Washington. Catholic University of America. Mullen
Library, B0368-B0371 inclusive Zacconi, Lodovico, E0204, E0420, E0459; p.10
Washington. Folger Shakespeare Library, B0372 Zakrzewska-Nikiporczyk, Barbara, E0673
Washington, Hen ry, D0453, D0454, D0455, D0456, Zanaboni, Giuseppe, F0064
F0223 Zanetti, Emilia, E0562
Wasner, Franz, F0136, F0326 Zannetti, B. (publisher), A0147, A0156
Weaver, Robert, F0284 Zanolini, Bruno, E0460
Weber, Edith, E0061 Zanon-Vené, D0470, D0471, D0472, D0473
Weidinger, Josef, E0161 Zarlino, Gioseffo, E0420, E0481
Weinmann, Karl, E0036, E0062, E0063, E0163, Zecca Laterza, Agostino, E0180
E0164, E0262, E0368, E0369, E0370, E0498, Zelenka, Jan Dismas, E0423
E0514, E0555, E0558 Zelter, Carl Friedrich, E0528
Weiss, Piero, E0162 Ziino, Agostino, E0375, E0376, E0542
Welch, James B., F0023, F0024, F0273, F0274, Zimmerman, Robert, F0158
F0275 Zipper, Herbert, D0474
Wennerstrom, Ma ry, D0112 Zoilo, Annibale, E0011, E0136; p.7
Wert, Giaches de, D0085, E0168 Zomparelli, Elena, E0610
West, J.E., D0457 Z6rawska-Witkowska, Mina, E0683
Westergaard, Peter, E0371 Zuccarini, Giovanni Battista, A0189
Westrup, Jack, F0223 Zwickau. Ratsschulbibliothek, B0377-B0381 inclu-
Whenham, John, F0054. F0055 sive