# **DENKMÄLER DER TONKUNST IN ÖSTERREICH** BAND 163.2

# **NEW SENFL EDITION 2**

# LUDWIG SENFL **MOTETS FOR FOUR VOICES (N–V)**

Edited by **SCOT T L EE EDWA R DS STEFAN GASCH SONJA TRÖSTER**

# DTÖ 163.2

DENKMÄLER DER TONKUNST

IN ÖSTERREICH

# DENKMÄLER DER TONKUNST IN ÖSTERREICH

DTÖ 163.2

begründet von **GUIDO ADLER**

unter Leitung von **MARTIN EYBL** und **BIRGIT LODES**

**BAND 163** NEW SENFL EDITION

**DENKMÄLER DER TONKUNST IN ÖSTERREICH** BAND 163.2

# **NEW SENFL EDITION 2**

# LUDWIG SENFL **MOTETTEN FÜR VIER STIMMEN (N–V)**

Herausgegeben von **SCOTT LEE EDWARDS STEFAN GASCH SONJA TRÖSTER**

**DENKMÄLER DER TONKUNST IN ÖSTERREICH** VOLUME 163.2

**DENKMÄLER DER TONKUNST**

**IN ÖSTERREICH**

BAND 163.2

**NEW SENFL EDITION 2**

LUDWIG SENFL

**MOTETTEN FÜR VIER STIMMEN**

**(N–V)**

Herausgegeben von

**SCOTT LEE EDWARDS**

**STEFAN GASCH**

**SONJA TRÖSTER**

# **NEW SENFL EDITION 2**

# LUDWIG SENFL **MOTETS FOR FOUR VOICES (N–V)**

Edited by **SCOTT LEE EDWARDS STEFAN GASCH SONJA TRÖSTER**

Dieser Band wird an die beitragenden Mitglieder der Gesellschaft zur Herausgabe von Denkmälern der Tonkunst in Österreich (Subskribenten) zu wesentlich ermäßigtem Preis abgegeben. Bei Auführungen der in diesem Band veröfentlichten Werke sind die Denkmäler der Tonkunst in Österreich als Quelle auf Programmen, in Ansagen usw. zu nennen.

> Veröfentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 714-G (Forschungsergebnisse des FWF-Projektes P 27469) Leitung: Stefan Gasch

Open Access: Wo nicht anders festgehalten, ist diese Publikation lizenziert unter der Creative-Commons-Lizenz Namensnennung 4.0; siehe http://creativecommons.org/licenses/by/4.0/

Satz: Gabriel Fischer Notensatz: Scott Lee Edwards, Stefan Gasch, Sonja Tröster Hergestellt in der EU

© 2022 by HOLLITZER Verlag, Wien

ISMN 979-0-50270-020-1 ISBN 978-3-99012-803-9 ISSN 2616-8987

# TABLE OF CONTENTS



### CRITICAL APPARATUS


**VII**

# GENER A L INTRODUCTION AND ACKNOWLEDGEMENTS

Ludwig Senf (*c.*1490–1543) can be regarded as a leading fgure in the world of German-speaking composers between Heinrich Isaac and Orlando di Lasso as well as a European composer of the frst rank, standing alongside such renowned contemporaries as Costanzo Festa, Philippe Verdelot, Nicolas Gombert, and Adrian Willaert. His extensive œuvre encompasses a broad range of vocal genres of the time and was composed in the course of his employment at two of the most important courts of the early sixteenth century: at the court of Emperor Maximilian I he launched his career as a singer and composer, and from 1523 on he worked as court composer for Duke Wilhelm IV of Bavaria. At Wilhelm's request, Senf built the Munich *Hofkapelle* into a professional ensemble modelled, in regard to repertoire and organisation, on the imperial chapel.

Senf's signifcance was already recognised in the nineteenth century, yet two eforts to publish his works in a modern edition were prematurely discontinued. Tese editions therefore provide only a fraction of Senf's overall compositional production and have resulted in the scholarly neglect of his œuvre, especially his motets. A new and complete edition of his works has been a desideratum for many years, a gap that the New Senf Edition seeks to fulfl.

Critical preliminary work for a complete edition of Senf's compositions involved the compilation of a catalogue raisonné, an undertaking realised through the generous funding of the Austrian Science Fund (FWF) between 2008 and 2014 under the direction of Birgit Lodes. Tis publication (herein referred to as the Senf Catalogue or SC) provides an essential foundation for the documentation of works and sources in the New Senf Edition.

Te edition of the motets, which forms the beginning of the collected works, will be presented in four volumes, in which the compositions are organised according to scoring and alphabetical order. Six pieces conceived as pure canons conclude the fnal volume of motets.

Vol. 1: 26 motets à 4 (A–I) Vol. 2: 29 motets à 4 (N–V) + 1 Fragment Vol. 3: 31 motets à 5 Vol. 4: 15 motets à 6; 3 motets à 8; 6 canons

**\*\*\***

Te editors of the edition owe thanks to many colleagues and institutions for their help and support. Without the Austrian Science Fund (FWF), which provided generous fnancial assistance (P 27469), the work of the edition would not have been possible. Te Department of Musicology at the University of Vienna (Birgit Lodes) and the Department of Musicology and Performance Studies at the University of Music and Performing Arts Vienna (Nikolaus Urbanek) cordially hosted the project within their premises.

We also would like to express our thanks to the many libraries and archives that provided reproductions of sources for Senf's music. Especially important to mention are the following institutions, whose personnel greatly facilitated the work of the edition through their kind and ready responses to our inquiries:

Dresden, Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden, SLUB (Christine Sawatzki, Andrea Hammes)

Hradec Králové, Muzeum východních Čech v Hradci Králové (Jaroslava Pospíšilová)

Klosterneuburg, Augustiner-Chorherrenstift, Bibliothek (Martin Haltrich)

Melk, Benediktinerstift, Stiftsbibliothek und Musikarchiv (Bernadette Kalteis)

München, Bayerische Staatsbibliothek (Veronika Giglberger, Bernhard Lutz)

Regensburg, Bischöfiche Zentralbibliothek, Proskesche Musikabteilung (Raymond Dittrich)

Stuttgart, Württembergische Landesbibliothek (Arietta Ruß)

Wien, Österreichische Nationalbibliothek (Tomas Leibnitz)

Wien, Fachbereichsbibliothek Musikwissenschaft, Universitätsbibliothek Wien (Benedikt Lodes)

Zwickau, Ratsschulbibliothek (Gregor Hermann)

in Österreich, Martin Eybl and Birgit Lodes have placed their trust in our work. Tey accompanied the creation of the edition from its initial stages, and most graciously accepted the volumes for publication in the DTÖ series.

We have repeatedly received constructive feedback on our work through various academic exchanges that have proven invaluable for the advancement and development of the edition. Intensive discussions on editorial approaches, issues, and guidelines were held with our advisory board, in which Bonnie Blackburn, David Burn, Bernhold Schmid alongside Andrea Lindmayr-Brandl and Birgit Lodes as representatives of the editorial board of the DTÖ participated and generously gave their time. We thank them for always lending an open ear to our questions.

We were also aforded opportunities to examine the work of the edition more closely through two workshops: Jan Bilwachs, Marc Busnel, Martin Eybl, Oliver Korte, Friedrich Neubarth, and Annerose Tartler took the trouble to reconstruct fragmentary motets; Grantley McDonald, Irene Holzer, Bernhold Schmid, and Tomas Schmidt provided new insights as they addressed questions of text setting and text underlay in sources transmitting Senf's motets.

**DTÖ 163.2 DTÖ 163.2**As heads of publications for the Denkmäler der Tonkunst We also received generous help on a more individual level. Lenka Hlávková, Ton Oliveira, and Mateusz Zimny assisted us in gaining access to sources in the Czech Republic and Poland. Bonnie Blackburn and Leofranc Holford-Strevens provided invaluable help in linguistic and formal corrections of the volumes, and Joshua Rifkin provided critical editorial feedback in the early stages of the edition. Sabine Ladislav was always willing to assist in organising workshops and meetings, and without the technical and creative inclinations of Imke Oldewurtel, the edition would not be enhanced by clefs modelled on sixteenth-century sources.

Just as importantly, the enthusiastic members of the New Senf Choir and the ensemble Stimmwerck critically evaluated and tested our editions through numerous rehearsals and performances.

To the countless colleagues and institutions not already mentioned we also extend thanks, and last but not least to the Hollitzer Wissenschaftsverlag: Felix Loy kindly took care of the proof-reading and copy editing; Gabriel Fischer provided an elegant layout and patiently included all our corrections; Michael Hüttler and Sigrun Müller supported the printing of the volumes with great enthusiasm and readily agreed to the funding strategy of the FWF by publishing both in traditional printed and future-oriented open access formats.

Te Editors Vienna, June 2021

# 27. Nativitas tua, Dei Genitrix Virgo

SC M 61

DTÖ 163.2

28. Nesciens Mater Virgo virum

SC M 64

cae

# 29. Nisi Dominus aedificaverit domum

2.p. Cum dederit dilectis suis somnum

SC M 65

i nu po - ten ta fi - li rum, i ex - cus - so

# 30. Non moriar sed vivam

SC M 66

**DTÖ 163.2 DTÖ 163.2**

 - Bet sed vi vi - - vam, vam, vam,

31. Nunc, Deus, ad requiem

SC M 67


clis,


vin ----


ris ex - u - - tum

vin --

**DTÖ 163.2 DTÖ 163.2**

# 32. Nunc dimittis servum tuum

2.p. Lumen ad revelationem

SC M 68

Nunc di - mit tis- ser - - vum tu -

DTÖ 163.2

e rat

33. O bone Jesu! Duo in me cognosco

2.p. Per me ivi in peccatum

SC M 70

de Me pam

 ... non 

D 6 apl ci O so san -------guil ----ne tu 0 9 p

pre tu - - 0

30

DTÖ 163.2

de sti. re

sti.

# 34. O magnae admirationis gratia!

2.p. Quis unquam ista audivit

SC M 73

es ut - vir - - - - go ma

36

man -

35. O mundi Domina

SC M 74

DTÖ 163.2

36. Pange, lingua, gloriosi (i)

SC M 80

\* ===========================================================================================================================================================================

37. Pange, lingua, gloriosi (ii)

SC M 81



*\* = +* § › (half-blackened note head) ™ ›

¢

?

‹ um.

**DTÖ 163.2 DTÖ 163.2**

SC M 82

DTÖ 163.2

fru - pre

 <sup>21</sup> 

bus, se dat su is- ma ni- bus.- Ver -

39. Patris sapientia, veritas divina

SC M 83

# 40. Quare fremuerunt gentes

2.p. Et nunc, reges, intelligite

SC M 87

T

po

ta - ti sunt


5.

A


sti - te-runt re-ges

ni

me

ni - a?

in

a?

sti - te-runt re-ges ter

ter - rae,

0

rae,>

a

P

ter

# #

di

di - ta

ni - a?


rae,

rae,

rae, et

C

et

ni -

in - a

me -

A -

ter

F


ta - ti sunt

0:

et

in - a

<re - ges rae,

p

#

tes

tes

di - ta - ti sunt

me

o

di

in

A

et

DTÖ 163.2

60

22

0

of the

(5

age

29

C 57

8

me

a,

sunt

a,

in-a

re-gestter - - grae,

DTÖ 163.2

Di - - Prum - pag - Amus - Smus - vin - - - Cocu - la De - la Me - o - -

Qui lis ha - bi - tat in cae --

62

**DTÖ 163.2 DTÖ 163.2**

qui --

# 41. Quid vitam sine te

# 2.p. Parce tuis lacrimis

SC M 90 Naenia, maritus defunctam uxorem alloquitur D T 中 Quid vi tam si ne p Ct =========================================================================================================================================================================== Quid vi tam si ne te, si ne ============================================================================================================================================================================== T 00 Quid vi tam, quid vi tam si ne ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------9:00 B 0 Quid vi tam, quid vi tam si ne 16 I 0 te, con iunx ca ca stis ma, si ser P 6 8 iunx con stis - si - si - ma, ser ca 0 a ● te, con iunx ca si - ma, ser te, con iunx ca stis si - ma, ser 14 opp ============================================================================================================================================================================== mi - hi lux vo, cum si - ne te gra of the mi - hi - lux \_ vo, cum si ta nec es 8 vo,

DTÖ 163.2

vo,


... quae vul

dul ci- a- mem bra- do mus,- dul ci- a- mem bra- do mus?-

tor O-lym - - pi:

74

per = = fru-or ae = = = the-re = is


rum: O -

Cae si u mor.

# 42. Regina caeli, laetare / Conscendit iubilans

2.p. Quia quem meruisti portare / Gloria, laus et honor 3.p. Resurrexit sicut dixit / Grates nunc omnes reddamus 4.p. Ora pro nobis / Te ergo quaesumus 5.p. Alle-, Domine nate matris / Dies est laetitiae

SC M 92

SC M 93


**DTÖ 163.2 DTÖ 163.2**

# 44. Salve, Regina / Stella maris a trimatu

SC M 95

 ma e .

et in men tes tes, tes

Ad go, de

ta

SC \*M 96 attr.

DTÖ 163.2

fru ctum \_ ven tris tu -

SC M 97

sal ve,

108

ve.

**DTÖ 163.2 DTÖ 163.2**

47. Sancta et immaculata Virginitas (i)

SC M 99

SC M 100

DTÖ 163.2

DTÖ 163.2

SC M 101

de. ter ce

DTÖ 163.2

Re or -

50. Sum tuus in vita (i)

SC M 109

iu

ves.

ves,

51. Suscepimus, Deus, misericordiam tuam

SC M 111

iu

Su sce

in am tu O

# 52. Tristia fata boni

SC M 116

# 53. Usquequo, Domine

2.p. Exultabit cor meum

SC M 118

Quam di po

me ------------ a

*\* = +* § › <sup>w</sup>™(half-blackened note head)

cu - los - - me - - - - - - - - - - - os,

 - - vi. a

DTÖ 163.2

# 54. Virga Jesse floruit

2.p. Iam patet in Virgine

SC M 121

DTÖ 163.2

DTÖ 163.2

DTÖ 163.2

in Vir - gi - ne si - ne vi - ri - ri - se con

146

co sur sur li CO

55. Virgo prudentissima, quo progrederis

SC M 122

**DTÖ 163.2 DTÖ 163.2**

SC M 42

# CRITICAL APPAR ATUS

#### **EDITORIAL CONVENTIONS**

Te goal of the editors is to present the compositions of Ludwig Senf in a practical critical edition. All sources transmitting Senf's works have been taken into account, and principal sources have been designated for each composition based on an evaluation of several factors, including completeness, accuracy, and dating. Te readings found in these sources form the basis for this edition. Variations in the sources that depart from the edition are catalogued in the critical reports.

Te editorial benchmarks set by the New Josquin Edition (NJE) have served as an important starting point for this edition, which is designed to be used in conjunction with Stefan Gasch and Sonja Tröster, *Ludwig Senf (c.1490– 1543): A Catalogue Raisonné of the Works and Sources*, 2 vols., Épitome musical (Turnhout, 2019; henceforth: SC, for Senf Catalogue). In order not to constrain the picture of Senf's compositional output or the sixteenth-century reception of his music, works that survive only in fragmentary form have also been edited, as well as compositions of doubtful or conficting attribution. Te titles of works considered doubtful by the authors of the SC are marked with an asterisk. Te label 'conficting ascriptions' means that a composition is ascribed in contemporaneous sources not only to Senf, whereas compositions later attributed to Senf by scholars are labelled as 'attributed'. Works considered misattributed are described in the SC but not included in the edition. Te four volumes of motets of the New Senf Edition (NSE) are organised according to scoring and structured alphabetically.

#### **On the Edition**

Te editors strive to present a modern edition that preserves some visual aspects of the original sixteenth-century notation. Voices are designated D (discantus), Ct (contratenor), T (tenor), and B (bassus); additional voices are named according to the principal source and therefore not standardised. When sources assign alternative names, these names are indicated in the critical reports. A prefatory staf indicates the original clefs and key signatures in the principal source. At the beginning of each section or *pars* of an edited composition, the range of each voice is provided.

Obvious mistakes apart, note values given in the principal source are transcribed without alteration in the edition, as are the original mensuration or proportion signs. With the exception of *breves*, *longae*, *maximae*, and chant notation, modern note shapes are used. Perfect breves and longs are notated with a dot. In *tempus perfectum*, dotted longs are thus not distinguishable optically from perfect longs. Imperfect longs (not dotted in the edition) can equal the value of either two (imperfect) breves or a dotted breve plus breve. Since the latter case defes the limitations of modern notation, the exact value is indicated in a footnote. Final notes of compositions or sections are always rendered as *longae* and imply indeterminate duration.

A combination of normal and dotted barlines is used in the edition. Te dotted barline appears whenever the note value exceeds the length of the measure. Te music sometimes implies the need to bar one or more voices diferently; in those cases, all voices are numbered by measure together according to the smallest measure unit, rather than numbered individually.

Ligatures in the principal source are indicated by solid brackets (┏━┓) above those notes that are grouped together in the ligature.

Coloration (the blackening of notes), including socalled *minor color*, is indicated with corner brackets (┏ ┓).

For compositions arranged as *alternatim* settings, plainchant from late ffteenth- or sixteenth-century sources has been provided for the unset portions.

# Text

Te text of each motet is based on the version of the text given in the principal source. It has been standardised according to Neo-Latin orthography and modern liturgical sources. Proper names and *nomina sacra* are capitalised. If no source transmitting the composition includes a text, the edition follows, when available, a standard version of the text based on the incipit or title. Textual repetitions indicated in the source by signs of repetition (*ij*) are written out and placed in angle brackets; missing text is supplied in italics as needed.

For motets combining Latin and German texts, a standardised version of the German text based on the principal source is used in the edition. Te original German orthographies as found in the sources are included in the critical reports.

Although diferences in texts for individual voices may occur in the principal source, such as a difering word, verb tense, or orthography, the text in this edition is rendered the same for all voices. In cases where individual phrases are not included in a certain voice for apparent compositional reasons, ellipses are used to represent the missing text. Textual discrepancies (apart from alternative spellings) are catalogued in the critical reports.

Senf's tenure at the Munich court chapel coincides with the publication of the *Scintille di musica* (Brescia: Lodovico Britannico, 1533) by Giovanni Maria Lanfranco, whose discussion of singing text with music formed the basis for later sixteenth-century expansions on this topic by Giosefo Zarlino and Gaspar Stoquerus. Prescriptions outlined by these theorists, though useful to the editors, are often contradicted by the sources transmitting Senf's music. One occasionally fnds, for example, syllables assigned to proscribed semiminims, fnal syllables assigned to medial notes of phrases, repeated notes sung to the same syllable, or various text underlay possibilities across a large intervallic leap. Among the most persuasive testimonies to the disparities that can occur between theoretical prescription and performance practice are the Munich choirbooks used in the preparation of this edition. Teir careful alignment of text and notes provides a valuable window on how texts were sung by the Munich court chapel, and thus points to the kind of performance practices Senf would personally have known, despite any theoretical advocacy to the contrary.

Tus, wherever available, text underlay is transcribed as it appears in the designated principal source. In those cases where sources do not provide consistent underlay or do not align text and notation in a manner familiar to the modern reader, the editors have adhered to a few basic principles in deciding how to underlay the text. Tese principles are based on rules described by sixteenth-century music theorists, patterns of text underlay in other contemporaneous musical sources, and recent musicological study. Among the most fundamental are:


When sources and theorists do not ofer clear guidance, the editors take into account the accentual aspects of the language. In his colloquy on Latin and Greek pronunciation, Erasmus stresses the importance of teaching correct pronunciation to the youngest of students, so they might unlearn the bad habits of vernacular languages and gain an understanding of Latin syllabic quantities. Such concerns would have been a pedagogical preoccupation at the Latin schools where Senf's music was sung. In making decisions about text underlay, the editors have found singing the music especially instructive. We hope that paying attention to the sounding qualities of the text will help us shed the donkey's ears Erasmus laments among so many scholars deaf to the nightingale's song.

#### Literature consulted:


#### Accidentals and *musica fcta*

Accidentals that appear in the principal source are placed in front of the notes. Cautionary accidentals are not included in the edition but are documented in the critical reports. Editorial accidentals, applied according to the rules of *musica fcta*, are always placed above the relevant notes and apply only to these.

Te use of *musica fcta*—in the sense of accidentals not notated in the source but supplied by the performer—is roughly guided by three basic rules transmitted in contemporary theoretical writings (frst compiled by Edward Lowinsky in 1964):


Te purpose of the frst rule is to avoid false perfect intervals (diminished, augmented) in the harmonic sense. In the NSE, the second rule involves raising the leading note in cadential formulae. Te last rule is applied to avoid melodic tritones.

*Musica fcta* is always dependent on context, and more than one choice may be possible. Apart from the question of how closely the above-mentioned rules were followed, problems with *musica fcta* often arise in passages where the rules confict with one another. In general, the editors weigh considerations of melodic principles, note values, and simultaneously sounding intervals in applying *musica fcta*, thereby avoiding excessively stark dissonances without smoothing out all acoustic delicacies. In cases where the use of *fcta* is more arguable, the editorial accidentals appear in brackets. *Musica fcta* is also provided in motets with missing voices, albeit more sparingly, since it is often less certain where it should be supplied.

Literature consulted:


#### **On the Critical Reports**

Detailed information on the individual pieces and sources that transmit Senf's compositions is provided in the SC. Tis information includes descriptions of all the sources with remarks on their physical make-up, dating, and provenance, along with citations of secondary literature relevant to each source.

In regard to individual works, the following information is provided in the SC and therefore not reproduced here:


Te critical reports document the transmission of each composition and provide the following information:


• a list of all extant sources, including intabulations. Each source is designated by an editorially-assigned siglum based on the location of the manuscript, the name of the printer or, for music treatises, the author. Te numbering in the sigla is based on the sources used in a particular volume and thus difers from volume to volume. Original numberings of compositions in the sources as well as foliation or pagination, if applicable, are indicated. Numberings given in square brackets are taken from the secondary literature listed in the general list of sources (pp. 160–6). Voices are designated according to the source and abbreviated. Voice designations that deviate from the principal source are described according to their relationship to the edition (for example, 'D2=V', where 'D2' would be the voice designation in the source and 'V' would be the voice designation in the edition). If the voices are not named within a source that comprises partbooks, the voices are designated according to the labels of the partbooks. In cases where voice designations deviate from the labels in their partbooks, the diference between partbook label and internal voice designation is clarifed (i.e. 'A2 in V'). Te composer ascription found in the source is provided in italic text; the abbreviation 'anon.' indicates that no attribution is present. When the source is a set of partbooks, the attribution is derived from the tenor (unless stated otherwise).

For example, the entry:

**Zwi2** D-Z 81/2, [no. 46], no. 45 (D, T, B), *LS*, Ct missing, text in T and B, text incipit in D

indicates that a composition in Zwickau, Ratsschulbibliothek MS 81/2 (abbreviated in the relevant volume as **Zwi2**), a manuscript set of partbooks, is numbered in the source as 45, but assigned number 46 in Gasch 2013b (as would be indicated in the general list of sources of that volume). Tis source includes neither foliation nor pagination. Te surviving partbooks are labelled discantus, tenor, and bassus. Te contratenor partbook is missing. In the tenor partbook, the composition is attributed to 'LS'. Te tenor and bassus partbooks provide full text underlay for the composition, whereas the discantus transmits only a text incipit.

In most cases, one complete extant copy of a print has been consulted for the edition and is identifed by the library's RISM siglum.


Te section titled 'Variant Readings' ofers a detailed comparison of all sources of a composition with the exception of intabulations. As an intabulation is an arrangement of a composition that often has too many deviations to document, variants in these sources are not included. In the case of compositions transmitted in only one source, the label 'Critical Notes' is used in place of 'Variant Readings'. Any deviations from the edition are listed in this section, which is subdivided into the following categories:

Voice designations Clefs Staf signatures Mensuration and proportion signs Canonic devices, directions, and/or non-verbal signs Variants in pitch and rhythm Accidentals Coloration Ligatures Textual variants and text placement

All musical variants are documented in the following format:


For example, the entry:

$$\begin{array}{ccc} \text{28}\_1 & & \text{D} & \text{Reg}^4 & \text{Sb Mi} \\ \end{array}$$

would mean, that the frst notational sign in measure 28 of the discantus in the edition is subdivided into a semibreve followed by a minim in the manuscript **Reg4**.

Te entry:

$$\begin{array}{ccccc} \text{47}\_2 & & \text{B} & & \text{Gr} & & \text{Sb-e} \\ \end{array}$$

indicates, that contrary to the edition, the second sign of the bassus in measure 47 reads as a semibreve on *e* in the print **Gr**. (Pitches are given according to the scheme that designates middle C as *c*1, the octave lower as *c*, and the octave higher as *c*2.)

An attempt to catalogue all diferences in text underlay would yield an unwieldy amount of data beyond the practical scope of documentation. Terefore, only variations in phrase underlay considered signifcant are recorded. Texts are transcribed according to the spelling used in the edition.

A typical entry might appear as follows:

32₃–38₂ T **Lei1** *quia manducabis, manducabis*

Te frst element in the row defnes the outer boundaries of the phrase, which, in this case, lasts from the third notational sign of measure 32 up to and including the second sign of measure 38. In this passage, the text underlay in the tenor partbook of the manuscript **Lei1**, contrary to the edition, is 'quia manducabis, manducabis'.

Any further information regarding either the composition, its transmission, and/or the sources is recorded in the section 'Remarks'.

#### **GENERAL ABBREVIATIONS**


#### **BIBLIOGRAPHICAL ABBREVIATIONS**


#### **RISM SIGLA OF LIBRARIES**




# **SOURCES** (Library sigla are cited according to RISM)

## A. Manuscripts





**164**

B. Prints



# C. Chant sources



#### **BIBLIOGRAPHY**






#### **CRITICAL REPORTS**

## **27.** *Nativitas tua, Dei Genitrix Virgo* **(SC M 61)**

#### **Text**

Te text is a Magnifcat antiphon sung at second Vespers on the Feast of the Nativity of Mary (8 September).

Nativitas tua, Dei Genitrix Virgo, gaudium annuntiavit universo mundo; ex te enim ortus est Sol iustitiae: Christus, Deus noster, qui solvens maledictionem dedit benedictionem, et confundens mortem donavit nobis vitam sempiternam.

Ty Nativity, O Virgin Mother of God, proclaimed joy to the whole world. For from thee was born the Sun of justice, Christ our Lord, who by releasing the curse hath bestowed blessing, and by confounding death hath given us life everlasting.

#### **Cantus firmus**

Te cantus frmus that served as Senf's model resembles the version found in the *Antiphonarius* (1519), fol. 210<sup>r</sup> (see below). Senf features the cantus frmus in long note values frst in the discantus. At the phrase 'ex te enim ortus est', the tenor takes over the cantus frmus from the discantus until the phrase 'dedit benedictionem', at which the discantus resumes the cantus frmus until the end of the motet.

# **Principal Source**

**Zwi3** D-Z 81/2, [no. 63], no. 60 (D, T, B), *Ludo: Senf* (D), *LS* (T), Ct missing, text in extant voices

#### **For the contratenor**


#### **Source Evaluation**

**Dre5**, copied under the direction of Wolfgang Figulus, has been ruled out as the principal source: the discantus partbook is missing, the extant books have been severely damaged by ink corrosion, and only a low-quality microflm copy is available for study, preventing a thorough examination of the source. Still, it is clear that its musical notation and text underlay closely match those of **Ei**, a printed anthology of motets and sacred lieder celebrating the Nativity of Christ also overseen by Figulus. Since it seems unlikely that Figulus copied the music from a print that he himself published, **Dre5** is probably a precursor to **Ei** (Steude 1974: 85–7). A comparison of these two sources supports this assumption: it seems that the typesetter of **Ei** missed the change of clef in the tenor in mm. 106–18 as found in **Dre5** and thus the passage is notated a third too high. All four partbooks of **Ei** survive complete, but despite pride of place given to this motet as the frst piece in the collection, the reading of the motet in this source transmits numerous errors (a list of errata at the end of the bassus partbook corrects only two of them). In contrast, the version found in **Zwi3** seems to be notated without error. Te most obvious departure separating **Dre5** and **Ei** from **Zwi3** is the transformation in the two former sources of the Marian antiphon into a Christological text:

Nativitas tua, Dei *Fili Christe*, gaudium annuntiavit universo mundo; *nobis* enim ortus est Sol iustitiae: Christus, Deus noster, qui solvens maledictionem dedit *nobis* benedictionem, et confundens mortem donavit nobis vitam sempiternam.

Although the contratenor partbook is missing, **Zwi3** transmits a more accurate musical reading as well as the text for which Senf's composition must originally have been conceived. It has therefore been designated principal source. Due to the high number of errors in **Ei**, the contratenor provided in this edition is based on a collated reading of **Dre5** and **Ei**.

#### **Variant Readings**




#### **28.** *Nesciens Mater Virgo virum* **(SC M 64)**

#### **Text**

Te text is an antiphon sung on Marian feasts during the Christmas season.

Nesciens Mater Virgo virum peperit sine dolore Salvatorem saeculorum ipsum Regem Angelorum. Sola Virgo lactabat, ubere de caelo pleno.

Knowing no man, the Virgin Mother brought forth without pain the Saviour of generations, the King of Angels himself, whom the Virgin alone suckled with breast[s] full from heaven.

#### **Cantus firmus**

Senf's setting of this antiphon is based on a cantus frmus close to this one from the *Antiphonarius* (1519), fol. 19<sup>r</sup> . It difers only at 'sine dolore' where Senf's model (on *c*) ascends one note at 'sine' (instead of a third) and descends stepwise a fourth at 'dolore'.

#### **Principal Source**

**Reg2** D-Rp B 211–215, [no. 68], fols. 136v–137r (D), fol. 145r–v (A), fol. 124r–v (T), fol. 131r–v (B), *LS .4.*, text in all voices

#### **Other Sources**


#### **Source Evaluation**

Te earliest source transmitting this motet is **Reg³**, a manuscript that was prepared during Senf's lifetime and in his proximity. Tere are three scribal mistakes in this source (B: 58₂; D: 65₃; Ct: 80₃) not found in the other manuscripts. **Reg³** could thus not have been the model for any of those sources. **Reg2** is the closest copy to the version in **Reg³**, including the positioning of rests and ligatures but without the aforementioned mistakes and with a more acceptable text underlay. For this reason, **Reg2** was designated principal source for the edition of this piece.

A rhythmical deviation in the sources divides the transmission of the motet into two groups: while the tenors in **Dre4**, **Eis**, **Kra²**, **Reg³**, and **Zwi3** are rhythmically identical to **Reg2** at mm. 45₂–46₃ (Sb Sb Mi Sb), a diferent rhythmic pattern is found in the other sources (**Dre6**, **Kra¹**, **Nur¹**, **Wei**: Mi Sb Mi dotted Sb). A minor variant confrms this distinction in m. 73₁–₃: again, the tenor in **Dre4**, **Reg2**, and **Reg³** has the same rhythm (Mi Sm Sm), whereas **Dre6**, **Kra¹**, **Kra²**, **Nur¹**, **Wei** difer from **Reg2** in transmitting a dotted minim followed by a semiminim.

Unsurprisingly, the manuscripts from Torgau, copied by or under the direction of Johann Walter (**Nur¹**, **Nur²**, **Kra¹**, **Wei**), form one group of transmission, together with **Dre6**. Te latter source has many scribal errors, including, for example, a missing passage at the end of the contratenor and incorrect text underlay in the discantus and tenor, where 'nescimus' appears in place of 'nesciens'. Tat **Dre6**, however, belongs to this group is underlined by several concordant variants with **Wei**, and **Kra¹** (Ct, m. 10: Br instead of Sb Sb; D and Ct, mm. 21–2: dotted Br instead of Br Sb; Ct, mm. 31–2, D, mm. 36–7, and T, mm. 40–1: dotted Mi Sm Sb instead of a ligature with two Sb).

**Kra²** transmits the entire composition transposed down a ffth, ending on the fnal *F.* Te reason for such an extraordinary transposition is the use of the manuscript in the Rorantist's Chapel of Wawel Cathedral in Kraków (Głuszlcz-Zwolińska 1972: 11–26). Although the tenor of **Kra²** transmits the same joined notes in m. 73₁–₃ as **Dre6**, **Kra¹**, **Nur¹**, and **Wei**, the manuscript follows **Reg2** in mm. 45₂–46₃ and therefore does not stem from the Saxon group of sources. **Kra²**, moreover, transmits several errors. Te longa in the discantus (m. 38) results in an additional measure. An attempt to correct this error was made in the omission of the second Sb in m. 42₂, but the entire music is still shifted forward one Sb. In order to match the discantus, an additional note and a Sb-rest have been inserted respectively into the contratenor and tenor in m. 44. Te bassus, too, has two uncorrected errors (mm. 37₁ and 42₂). Tese rhythmic errors as well as many other deviations with regard to pitch and rhythm cannot be found in any of the other sources, suggesting that **Kra²** is not dependent on any of the other sources.

**Reg³** is the only source that underlays the complete text, since the others either omit the passage 'Salvatorem saeculorum' (**Kra²**: D) or 'saeculorum' (**Dre4**: D, Ct, B; **Reg2**, **Kra²**: Ct; **Zwi3**: D; **Dre6**: all voices; **Nur¹**, **Nur²**, **Kra¹**, **Wei**: all voices), or transmit an alternative word order: 'Sola Virgo lactabat, de caelo ubere pleno' (**Eis**, **Dre4**). Additionally, **Dre6**, **Kra¹**, and **Wei** consistently omit 'de caelo' from the phrase 'Sola Virgo lactabat, ubere de caelo pleno'.






#### **29.** *Nisi Dominus aedificaverit domum* **(SC M 65)**

Senf's setting of this psalm text exists in two versions: one for four voices and one for fve voices. While the fve-voice setting became popular after it was issued in print (RISM 15371), the four-voice version in all likelihood represents the original scoring: all surviving intabulations as well as Senf's own parody mass are based on the four-voice version. For this reason, a transcription of the four-voice version has been included in the edition. For a source evaluation and variant readings of those sources transmitting the fve-voice version as well as an edition of that version, see NSE 3.15.

#### **Text**

Te motet sets all fve verses of Ps. 126.

#### 1.p.

Nisi Dominus aedifcaverit domum in vanum laboraverunt qui aedifcant eam. Nisi Dominus custodierit civitatem frustra vigilat qui custodit eam. Vanum est vobis ante lucem surgere; surgite postquam sederitis, qui manducatis panem doloris.

#### 2.p.

Cum dederit dilectis suis somnum, ecce hereditas Domini flii, mercis fructus ventris. Sicut sagittae in manu potentis, ita flii excussorum. Beatus vir qui implevit desiderium suum ex ipsis; non confundetur cum loquetur inimicis suis in porta.

#### 1.p.

Unless the Lord build the house, they labour in vain that build it. Unless the Lord keep the city he watcheth in vain that keepeth it. It is vain for you to rise before light; rise ye after you have sitten, you that eat the bread of sorrow.

#### 2.p.

When he shall give sleep to his beloved, behold the inheritance of the Lord are children, the reward the fruit of the womb. As arrows in the hand of the mighty, so the children of them that have been shaken. Blessed is the man that hath flled the desire with them; he shall not be confounded when he shall speak to his enemies in the gate. (*RDC*)

#### **Principal Source**

**Got** D-GOl Chart. A 98, [no. 120], fols. 106v–110r (D, A, T, B), *Psalmus cxxvij Ludo: Senf*, text in all voices

#### **Sources for 4vv**

**Kra¹** PL-Kj Mus. ms. 40013, [no. 120], fols. 193v–197r (D, A, T, B), *Psalmus CXXVII Ludo: Senf*, text in all voices **Nur²** D-Ngm 83795 [B], [no. 120], fols. 137v–139v , *Psal: CXXVII Lüdo: Senf: Qüatüor vocüm:*, B only, text in extant voice

#### **Sources for 5vv**


#### **Sources of Uncertain Scoring**


#### **Intabulations (all based on the 4-voice scoring)**



#### **Source Evaluation**

*Nisi Dominus* is a unique case among Senf's motets, since it is transmitted in both four-voice and fve-voice versions. Moreover, the fve-voice version essentially reproduces the four-voice version with what can be regarded as a *si placet* voice in the tenor range. Te four-voice version is found in the so-called 'Walter-Handschriften' (**Got**, **Kra¹**, and **Nur²**), in all fve intabulations of the motet, and it forms the basis of Senf's *Missa super Nisi Dominus*. Te fve-voice version was widely familiar thanks to **Fo¹**, which probably served as the source for the motet's manuscript transmission in **Dre²**, **Erl²**, **Rok**, and probably others (the fact that the partbooks **Hra²**, **Kas**, **Mun5**, and **Nur¹** are incomplete prevents a secure assessment of fliation). **Vie**, a set of fve partbooks once owned by the Fuggers in which Johann Walter's *Geystliche Gsangbüchlin* (Wittenberg: Peter Schöfer, 1525) is bound with manuscript additions preceding and following four of its fve bound partbooks, seems to be the earliest source, although the manuscript additions are not accompanied by any dates (see Lodes 2012: 351). In **Vie**, the transcription of *Nisi Dominus* is incomplete: the notation of both the discantus and contratenor ends in the middle of the transcriptions, and in the quintus partbook, only one page in the manuscript addition is ruled with four empty fve-line staves, rendering it difcult to confrm with certainty whether a ffth voice would have been entered had the scribe completed the transcription.

From a musical perspective, the quintus functions as a decorative interpolation more than it does as a structural voice, and thus it seems likely that this voice was added later to update the setting from four to fve voices, quite possibly by a musician other than Senf. At the same time, **Fo¹** was published in Nuremberg by Hans Ott during Senf's lifetime and, therefore, one might assume with the composer's knowledge or consent (although there is no documentary evidence that Senf and Ott had contact; see Gustavson 2011: 224–5, *passim*). Since both versions were relatively widespread, the editors have opted to edit the motet in its four-voice version with **Got** (the 'Gotha Choirbook') as the principal source, and in its fve-voice version with **Fo¹** as principal source (see NSE 3.15).

Tis motet is also transmitted in fve intabulations, all of which present diferent readings of the four-voice version of the motet. Te one printed source among them, **Fo3**, is probably the earliest of the group, having been assembled by the Nuremberg lutenist Hans Gerle and printed by Formschneider in 1533, four years before Formschneider printed **Fo¹**. Although the date '1528' is stamped on the cover of **Ber²**, along with the joint coat-of-arms of Wilhelm IV and Maria Jacobäa of Baden, its contents were more likely copied after 1543 (*c*.1550–60s) given the later style or date of several of the preceding and subsequent intabulations (including chansons by Crecquillon, Clemens non Papa, and Gombert, see Dorfmüller 1967: 26–7; Meyer 1986: 114 and 119). Te keyboard tablature **Kla** was compiled sometime between 1539 and 1547 by Gregor Peschin, court organist to Duke Ottheinrich of Palatinate-Neuburg (Lodes 2019). Te contents of **Mun3**, an Italian lute tablature from the Herwart collection was compiled between 1536 and 1539 (Lodes 2020: 46); the German lute tablature **Mun4** was copied between 1549 and 1560 (Lodes 2020: 49).

Te four-voice motet *Nisi Dominus* and Senf's own parody mass were most likely composed for the wedding of Anton Fugger in 1527 (Lodes 2020; Lodes 2018). Tis might explain why the tablatures refect a tradition of instrumental performance of the four-voice version originating in Bavaria (Lodes 2020, with commented list of sources: 45–51). Both the fourvoice and fve-voice versions of the motet, however, also circulated in non-Catholic contexts. Te 'Walter-Handschriften' (**Got**, **Kra¹**, **Nur¹**, and **Nur²**) were prepared for reformed services in Torgau, while **Hra²** formed part of the collection of the Utraquist brotherhood in the Bohemian city of Hradec Králové. **Dre²**, which transmits two other psalm motets by Senf, originated in Wittenberg *c*.1547–51 (Steude 1974: 20) with *Nisi Dominus* being copied before or in 1547 (Lodes 2020: 48). **Erl²** was compiled by Johannes Härtung in 1545 for use at the Cistercian monastery at Heilsbronn, the seat, at that time, of a Protestant school, while **Kas** was prepared by Johannes Heugel for the court of Philip I, Landgrave of Hesse, an open champion of Protestant doctrine. Te repertoire of **Mun5**, compiled by Narcissus Zänckl of Murnau *c*.1541–3, draws seventeen of its motets from RISM 15388 (Georg Rhau's *Symphoniae jucundae* with a preface by Martin Luther) and includes *Nisi Dominus* after two passion settings by Johann Walter. **Got** and **Kra¹** are the only two complete sources for the four-voice version of the motet and deviate little from each other in terms of musical notation. For this edition, **Got**, dated July 1545 on its title page and copied under the direction of Johann Walter for the Schlosskirche in Torgau, serves as principal source on the basis of its more complete text underlay.

#### **Variant Readings**




#### **Remarks**


#### **30.** *Non moriar sed vivam* **(SC M 66)**

#### **Text**

Ps. 117:17. According to Kongsted 2001: xi, the antiphon can be sung as an Ofertory on the third Sunday after Epiphany; Tuesday in the third week of Lent; Maundy Tursday; or for either the Invention or the Exaltation of the Holy Cross. In a Lutheran context it is sung at Vespers (Steinhilber 2011: 260).

Non moriar sed vivam et narrabo opera Domini. I shall not die but live and shall declare the works of the Lord. (*RDC*)

#### **Cantus firmus**

Te cantus frmus of this setting, based on tone sequences of Psalm Tone VIII (see Liliencron 1890: 125–6, 131), is very close to the melodic line that Martin Luther selected for his setting of the same text (edited in Leaver 2007: 60). According to one narrative, Luther wrote the text and music of this psalm verse on the wall of his room at the Veste Coburg in 1530. At the time of the imperial diet in Augsburg, Luther stayed in Coburg for six months in order to be as close to Augsburg as possible while maintaining his personal safety. Tis psalm served him as a consolation (see also Remarks). A second-hand report of 1559 claims to reproduce the text and music as Luther wrote it in Coburg (Andreas Poach, *Vom Christlichen Abschied aus diesem sterblichen Leben des lieben thewren Mannes Matthei Ratzenbergers der Artzney* (Jena: Tomas Rebart, 1559) (D-HAu), sig. D2v ):

In the present setting the cantus frmus wanders through all voices from top to bottom. After an initial point of imitation, it is frst stated in the discantus (mm. 9–23), then in the contratenor (mm. 26–41). When it moves to the tenor (mm. 45–69), the discantus quotes sections of the plainchant simultaneously interspersed with free melodic material. From m. 68 onwards, the cantus frmus appears in the bassus. Tis concluding statement is again accompanied by a paraphrased imitation in the discantus.

# **Principal Source**


# **Zwi3** D-Z 81/2, no. 37 (D, T, B), *LS*, Ct missing, text in extant voices

# **Source Evaluation**

Te three manuscripts transmitting this motet all date from the second quarter of the sixteenth century: **Reg5** and **Zwi3** probably date from the 1530s, while **Ber¹** (see NSE 1, Plates 19–20) contains dates ranging between 1537 and 1544. Tere are few variants among the readings and no signs that could establish fliation. Terefore **Reg5**, the only complete source, has been chosen as principal source. Apart from a scribal mistake in the bassus (37–8) that can easily be corrected, this manuscript ofers a plausible reading and text underlay. Although it is unknown for which (Saxon?) institution this choirbook was compiled, various markings indicate that the motet formed a working part of its repertory (see Remarks). Both sets of partbooks, **Ber¹** and **Zwi3**, are missing the contratenor. In the case of **Ber¹** all partbooks except the bassus are lost, but microflm reproductions of the discantus, tenor, and vagans are preserved in D-Bim.

# **Variant Readings**



#### **Remarks**

• On either the frst or fourth of October 1530, Luther wrote a letter to Senf requesting a polyphonic setting of the antiphon *In pace in idipsum* (Luther WA Briefwechsel v: 635–40, no. 1727; English translation of the letter in Leaver 2007: 52; see also Horz 2013). According to David Köler, *Zehen Psalmen Davids* (Leipzig: Günther Wolf, 1554), who provides a German translation of Luther's letter in the preface (see NSE 1, Plates 15–18), Senf composed *Non moriar sed vivam* instead as a consolation for the reformer. Only subsequently did he send him a setting of *In pace in idipsum* (SC \*P 85). Te motet *Non moriar sed vivam* is also mentioned in Johannes Mathesius, *Historien/ Von des Ehrwirdigen in Gott Seligen thewren Manns Gottes/ Doctoris Martini Luthers/ anfang/ lehr/ leben vnd sterben* (Nuremberg: Ulrich Neuber, 1566), fol. 106<sup>v</sup> :

Mein gut freund Senfi/ der mir durch den Pfarrner [*sic*] zu Bruck vil lieblicher Psalm zugeschicket/ wilfaret mit freuden Doctor Luthern/ vnnd schickt jm die schöne muteten/ das *Non Moriar*, vnnd Respons/ *in pace in idipsum*, daran/ vnd an seinem künstlichen/ *Ecce quàm bonum*, welchs er dem Reichstag/ als der Keyser ankam/ zur vermanung ließ außgehen/ hat mich vnnd meine mitsinger/ neben seinem *Nunc dimittis*, oftmals von hertzen erfrewet.

'My good friend Senf, who sent me many lovely psalms through the pastor of Bruck, complied with joy to Luther's request and sent him the beautiful motet *Non moriar* and the responsory *In pace in idipsum*. Tese motets and his artful *Ecce quam bonum*, which he had performed at the entry of the emperor at the Reichstag as an admonition, have often delighted me and my fellow singers wholeheartedly, alongside his *Nunc dimittis*.'


#### **31.** *Nunc, Deus, ad requiem* **(SC M 67)**

#### **Text**

Te text of this setting refers to the *Canticum Simeonis* (Luke 2:29–32), the *Nunc dimittis* of which Senf also composed a polyphonic setting (no. 32 of this volume).

Nunc, Deus, ad requiem, servum fnemque laborum corporis exutum vinclis dimitte benigne promissum, quia viderunt mea lumina Christum caelitus auxilio missum mortalibus aegris.

Now, God, benevolently deliver thy servant, freed from bodily chains, to rest and the end of toils as you promised. For my eyes have seen Christ, sent as heavenly help for weary mortals.

At the same time, this text also paraphrases an extract from Vida's *Christias* (Marco Girolamo Vida, *Christiad*, trans. James Gardner (Cambridge, MA, 2009)), book iii: 166, vv. 711–14:


Tis epic poem in the style and language of Vergil was written between 1518 and 1532 (but not published before 1535 in Cremona) and dedicated to Clement VII (1478–1534). In six books Marco Girolamo Vida (1485–1566) describes the life of Christ from Conception to Ascension retrospectively, starting with the Passion.

How and when Senf came across this text is unknown. An edition that might have been available to him was printed in 1537 (Basel: Tomas Platter the Elder and Balthasar Lasius) [VD16 V 992]. Te phrase written next to the incipit on fol. 183<sup>r</sup> of **Stu²** suggests the possibility that Vergil's *Dulces exuviae* was also sung to this setting. Te musical setting, however, is unusual for a humanist motet by Senf, as it does not consistently follow the metre of the humanistic text. Tis, for example, can be observed at 'corporis' (bassus at mm. 17 and 20), or even more prominently at 'vinclis' (mm. 29–30), which is emphasised by a homophonic texture and long note values. Instead of composing the text as the fnal word of the phrase 'corporis exutum vinclis', it is made into the frst word of a new phrase. It is therefore possible that the motet is in fact a contrafactum.

#### **Unique Source**

**Stu²** D-Sl Mus. I fol. 36, [no. 13], fols. 183v–189r , *Ludouicus Senfius.*, text in all voices

# **Critical Notes**





# **Remarks**

• On fol. 183<sup>r</sup> the following index for the subsequent motets (nos. [13–17] of the choirbook) is given: *Mut*[*etae*] *.4. Nunc deus ad req*[*ui*]*em* | *Clama ne cesses* | *Surge illuminare* | *Sub tuu*[*m*] *praesidiu*[*m*] | *Ingemuit Susanna*; here, written in a diferent hand next to the text incipit *Nunc deus ad req*[*ui*]*em* is the phrase *Ist Senf: dulc*[*is*] [sic] *exuv*[*iae*].

• Gottwald 1964: 65 transcribes this same phrase as '*Ist Senf*‹l› *dulcis* (!) *exivi*‹t›'.

# **32.** *Nunc dimittis servum tuum* **(SC M 68)**

## **Text**

Te text of this motet is taken from Luke 2:29–32 (also known as the *Canticum Simeonis*) and concludes with the Lesser Doxology.

1.p.

Nunc dimittis servum tuum, Domine, secundum verbum tuum in pace, quia viderunt oculi mei salutare tuum quod parasti ante faciem omnium populorum:

2.p.

Lumen ad revelationem Gentium et gloriam plebis tuae Israel.

Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper et in saecula saeculorum. Amen.

1.p.

Now thou dost dismiss thy servant, O Lord, according to thy word in peace, because my eyes have seen thy salvation which thou hast prepared before the face of all peoples:

2.p.

A light to the revelation of the Gentiles and the glory of thy people Israel.

Glory be to the Father and to the Son, and to the Holy Ghost. As it was in the beginning, is now and ever shall be. Amen. (*RDC*)

# **Cantus firmus**

Te canticle, sung for the service of Compline, has liturgical roots in the feast of the Purifcation of the Blessed Virgin (2 February). Te second part of the motet, 'Lumen ad revelationem', forms the antiphon for the canticle. In the *Agenda Pataviensis* (1514) the chant appears on fol. 34<sup>r</sup> for the benediction of candles on the Feast of the Purifcation. Te frst part of the motet is not based on the psalm tone, although there are passages characterised by recitation (e.g. mm. 17–24). At the beginning of the second part, however, most of the motifs are drawn from the corresponding antiphon.

# **Principal Source**

**Dre¹** D-Dl Mus. 1/D/2, nos. 6–7, fols. 6v–8r (pp. 12–14) (D), fols. 7r –8<sup>v</sup> (pp. 71–4) (A), fols. 5v–6v (pp. 130–2) (T), fols. 6v–7v (pp. 182–4) (B), anon., text in all voices

# **Other Sources**


# **Source Evaluation**

All surviving sources for this motet originated in Saxony. **Lei** bears the date 1558 on its cover and was probably used at the

Tomaskirche in Leipzig (Orf 1977: 34). **Dre5** and **Dre6** originated at the Fürstenschule St. Afra in Meißen under the cantorate of Wolfgang Figulus. Dated *c*.1560–75, **Dre6** is the earlier of the two manuscripts, whereas **Dre5** has been dated to around 1570–80. Very little is known about **Dre¹**, which Steude (1974: 19) suggests was copied in Wittenberg. It is one of the earliest sources for this motet (*c*.1550–60) and the only one transmitting it completely. **Zwi4** originated as well in Wittenberg, probably even a bit earlier, around 1549–50. Tis discantus partbook was copied by Jodocus Schalreuter and perhaps intended for Georg Rhau's workshop (Schlüter 2004: 123–46). Its readings closely follow **Dre¹**.

Te only noteworthy variants among the sources concern two mensural changes in the tenor (m. 106 and m. 121). **Dre5**, **Dre6**, and **Lei** depart from **Dre¹** in placing the change to *tempus perfectum* one measure later (m. 107) and then one measure earlier (m. 120). Tus, the mensural changes in those sources do not align in all voices as they do in **Dre¹**. It seems that those two passages were at some point also corrected in **Dre¹** (though no traces of the former readings are visible), which possibly points towards a faulty model. Not all solutions conceived to cope with the situation are convincing (a superfuous Sb-rest was inserted in **Lei** in m. 106—the same rest seems to have been erased in **Dre6**; in **Dre5** ink corrosion as well as the quality of the microflm make this source challenging to read). **Dre¹** transmits the best solution for these passages and has therefore been chosen as the principal source.

#### **Variant Readings**

Clefs



Directions and/or non-verbal signs





#### **Remarks**


#### **33.** *O bone Jesu! Duo in me cognosco* **(SC M 70)**

#### **Text**

Te text of the motet is an oration once ascribed to Bernard of Clairvaux (*c*.1090–1153). Among sixteenth-century textual sources is a manuscript from the Benedictine Abbey of Hirsau, dated 1512 (now D-KA Lichtenthal 58), which gathers texts for the Ofce of the Dead, prayers for the dead, and various other prayers. In this last section, *O bone Jesu* (with only the words 'in tua cruce' missing from the last line) is inscribed on fol. 78<sup>r</sup> as 'Oratio sancti bernhardi'.

#### 1.p.

O bone Jesu! Duo in me cognosco: naturam quam tu fecisti et peccatum quod ego adieci. Fateor, Domine, quia per culpam deformavi naturam. Memento quod sum spiritus vadens et non rediens.

#### 2.p.

Per me ivi in peccatum, per me redire non possum. Tu, bone Jesu, tolle a me quod ego adieci ut permaneat quod tu fecisti, ne pereat quod precioso sanguine tuo in cruce redemisti.

#### 1.p.

O good Jesus! I perceive two things in me: nature, which you made, and sin, which I added. I confess, Lord, that through guilt I have disfgured nature. Remember that I am a spirit that goes its way and does not come back.

#### 2.p.

By myself I entered sin, by myself I cannot return. Do you, good Jesus, remove from me what I added, so that what you created may endure, and what you redeemed through your precious blood on the cross may not perish.

#### **Cantus firmus**

Since it is a prayer, no melodic model for this text is known. Although the text incipit 'O bone Jesu' is shared by numerous motets, most of these settings transmit a text that difers from Senf's setting. Only Clemens non Papa is known to have set the same text in the form of a fve-voice motet. Te two settings do not, however, share any musical material.

#### **Principal Source**

**Rh¹** RISM 15381 (A-Wn), no. 14 (D, A, T, B), *LVDOVICVS SENFL.*, text in all voices

### **Other Sources**


#### **Source Evaluation**

Te earliest known sources for the motet are **Reg³** and **Vat**, which basically share the same readings in the bassus (the only extant voice of **Vat**). Te two other manuscripts, **Gre** and **Got**, post-date the only printed edition of the motet, **Rh¹**, which was published in 1538. At frst glance, **Gre** seems to be connected in some way to **Rh¹** as the two sources share some of the same repertoire, e.g. the motet following *O bone Jesu* is in both cases Matthias Eckel's *O admirabile precium*. Regarding the motet itself, however, few traces of direct copying from **Rh¹** can be found: although they share the same mensuration sign in m. 68, **Gre** follows **Rh¹** neither in the most probably erroneous pitch in the tenor in measure 48₂ nor the use of coloration. **Got** also shows no direct dependency on the print and has a diferent ending:

Te only sources transmitting all voices of the motet are **Got**, **Reg³**, and **Rh¹**. Of those, **Got** transmits a variant ending and **Reg³** has some scribal mistakes such as a missing rest (D: 72) and an erroneous pitch (B: 97₁); in addition, many of its passages remain without text underlay. **Rh¹** has therefore been chosen as the principal source. In regard to the division of the motet in two *partes*, the edition follows the earliest sources **Reg³** and **Vat** as well as **Got** (see Remarks).



#### **Remarks**

In **Rh¹** either single or double barlines separate the motet into four sections. **Reg³**, **Vat**, and also partly **Got** mark the same sections by fermatas, but separate *prima* and *secunda pars* with a double barline. (**Got** is the only source to include the designation 'secunda pars'). Te scribe of **Gre** marked the endings of all sections with fermatas only.

## **34.** *O magnae admirationis gratia!* **(SC M 73)**

#### **Text**

Te text is an extract from the *Homilia XVII: In vigilia nativitatis Domini*, widely attributed to Origen (Burn 2013: 534–6). See, for example, *Tertius et quartus tomi operum Origenis Adamantii, quorum tertius complectitur, post apologiam explicanda*  ([Paris]: Jean Petit and Josse Bade, [1512]), fol. 115<sup>v</sup> .

#### 1.p.

O magnae admirationis gratia! O inenarrabilis suavitas! O inefabile magnumque sacramentum! Ipsa Virgo Maria, Mater Domini, eius ancilla, plasmatio eius, quae genuit.

#### 1.p.

O grace of great admiration! O indescribable sweetness! O inefable and great sacrament! Te Virgin Mary herself, mother of God, his handmaiden, his creation, who gave birth.

# 2.p.

Quis unquam ista audivit? Quis vidit talia? Quis hoc excogitare potuit, ut virgo mater esset, intacta generaret, quae et virgo permansit et castitatis sigillum non perdidit?

2.p.

Who has ever heard such things? Who has seen such great things? Who was able to devise this: that a virgin should be mother and gave birth untouched, who both remained a virgin and did not lose the seal of chastity?

## **Unique Source**

**Zwi3** D-Z 81/2, [no. 58], no. 55 (D, T, B), *LS* / *Ludwic*[*us*] *Senftl*, Ct missing, text in extant voices

### **Source Evaluation**

Te only source for this motet, **Zwi3**, presents what seems to be a relatively reliable reading. A questionable passage, however, appears at the end of the *secunda pars*, where there is an exposed series of parallel twelfths between the discantus and bassus (187₂–189). Absent the missing contratenor partbook, a range of editorial adjustments is possible, and therefore the passage has been transcribed in this edition without alteration.

## **Critical Notes**


# **Remarks**

Te replacement of *et* with *ut* in the fnal phrase sung by both tenor and bassus may be linked to the fact that neither sings the complete phrase. Only the discantus sings the words *et castitatis sigillum*.

#### **35.** *O mundi Domina* **(SC M 74)**

#### **Text**

*O mundi Domina* belongs to the extended series of Great Antiphons, all beginning with 'O' (therefore also called the 'O Antiphons'). Tey accompany the Magnifcat at Vespers on the last days of Advent.

O mundi Domina, regio ex semine orta, ex tuo iam Christus processit alvo, tamquam sponsus de thalamo: hic iacet in praesepio, qui et sidera regit.

O Mistress of the world, sprung from royal seed: from your womb Christ has now come forth as a bridegroom from his chamber; here lying in a manger is he who rules even the stars.

### **Cantus firmus**

In the *Antiphonarius* (1519), the chant *O mundi Domina* closes the series of Great Antiphons on fol. 7r . Senf's composition incorporates a slightly diferent version (pertaining mainly to melismas) as cantus frmus. Passages from the cantus frmus appear in all extant voices, though predominantly in the discantus and tenor. Te melody is transposed to *g* (apart from mm. 26–33 in the tenor, which is one pitch lower than the chant) and interspersed with free melodic material.

# **Unique Source**

**Zwi3** D-Z 81/2, [no. 41], no. 40 (D, T, B), *LS*, Ct missing, text in extant voices

#### **Critical Notes**

**Unique Source**

**Critical Notes**

**Remarks**

**Text**

& ‹

& ‹

& ‹

**Cantus firmus**

Directions and/or non-verbal signs 91 T U

Textual variants and text placement

**35.** *O mundi Domina* **(SC M 74)**

in praesepio, qui et sidera regit.

161₃ B *ut* in place of *et* 163₁ T *ut* in place of *et*

**Source Evaluation**

has been transcribed in this edition without alteration.

145₂–146₁ B correction marks (passage notated a second too high)

the complete phrase. Only the discantus sings the words *et castitatis sigillum*.

O mundi Domina, regio ex semine orta, ex tuo iam Christus processit alvo, tamquam sponsus de thalamo: hic iacet

'O Antiphons'). Tey accompany the Magnifcat at Vespers on the last days of Advent.

In the *Antiphonarius* (1519), the chant *O mundi Domina* closes the series of Great Antiphons on fol. 7r

mm. 26–33 in the tenor, which is one pitch lower than the chant) and interspersed with free melodic material.

29₂–31 D *o in* (unfnished text, perhaps since the scribe realised there were

not enough notes for the complete phrase)

**Zwi3** D-Z 81/2, [no. 58], no. 55 (D, T, B), *LS* / *Ludwic*[*us*] *Senftl*, Ct missing, text in extant voices

Te only source for this motet, **Zwi3**, presents what seems to be a relatively reliable reading. A questionable passage, however, appears at the end of the *secunda pars*, where there is an exposed series of parallel twelfths between the discantus and bassus (187₂–189). Absent the missing contratenor partbook, a range of editorial adjustments is possible, and therefore the passage

Te replacement of *et* with *ut* in the fnal phrase sung by both tenor and bassus may be linked to the fact that neither sings

*O mundi Domina* belongs to the extended series of Great Antiphons, all beginning with 'O' (therefore also called the

incorporates a slightly diferent version (pertaining mainly to melismas) as cantus frmus. Passages from the cantus frmus appear in all extant voices, though predominantly in the discantus and tenor. Te melody is transposed to *g* (apart from

O mun di - Do - mi - na, re - gi - o ex se - - - mi - ne or ta, - ex

<sup>œ</sup> œ œ œ <sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ

<sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ œ <sup>œ</sup> œ œ œ <sup>œ</sup> <sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup>

tu o - iam Chri stus - pro - ces - sit al - vo, tam quam - spon sus - de tha -

la - - mo: hic ia cet - in prae se - - pi - o, qui et si de - - ra re - git.

<sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ œ œ œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ œ œ <sup>œ</sup> <sup>œ</sup>


52₂–54₁ B the scribe crossed out *de thalamo* and replaced it with *hic iacet in praesepio*, which has one surplus syllable for the available notes

#### **Remarks**

In mm. 45–51, the discantus cites a phrase from the cantus frmus in imitation with the tenor. Te tenor begins with two semibreves *d*¹ on the word 'tamquam', whereas the discantus in the unique source enters with only one dotted semibreve *d*2, since the *c* in the bassus at m. 45₃ prevents exact imitation. In order to accommodate the two syllables of 'tamquam', this dotted semibreve has been split into a semibreve and minim (D: 45₃–46₁).

#### **36.** *Pange, lingua, gloriosi* **(i) (SC M 80)**

#### **Text**

. Senf's composition

O Mistress of the world, sprung from royal seed: from your womb Christ has now come forth as a bridegroom from his chamber; here lying in a manger is he who rules even the stars.

Tis motet sets the frst stanza of the hymn for Corpus Christi by Tomas Aquinas (*c*.1225–74).

1. Pange, lingua, gloriosi corporis mysterium, sanguinisque pretiosi, quem in mundi pretium fructus ventris generosi Rex efudit gentium.

2. *Nobis natus, nobis datus ex intacta Virgine, et in mundo conversatus, sparso verbi semine, sui moras incolatus miro clausit ordine.*

3. *In supremae nocte coenae recumbens cum fratribus observata lege plene cibis in legalibus, cibum turbae duodenae se dat suis manibus.*

4. *Verbum caro, panem verum verbo carnem efcit: ftque sanguis Christi merum, et si sensus defcit, ad frmandum cor sincerum sola fdes sufcit.*

1. Sing, O tongue, the mystery of the glorious body and of the precious blood, which, to redeem the world, the fruit of a noble womb, the King of Nations poured forth.

2. *Born for us, given to us from the untouched Virgin, having dwelt in the world, and scattered the seed of the Word, He ended the span of his sojourn in a wondrous fashion.*

3. *On the night of the Last Supper, reclining with His brethren, after fully observing the Law with the prescribed foods, as food to the company of the Twelve He gives Himself with His hands.*

4. *Te word as Flesh makes true bread into fesh by the word, and the wine becomes the blood of Christ. And if sense fails to strengthen a sincere heart, faith alone sufces.*

5. *Tantum ergo sacramentum veneremur cernui et antiquum documentum novo cedat ritui, praestet fdes supplementum sensuum defectui.*

6. *Genitori genitoque laus et iubilatio, salus, honor, virtus quoque sit et benedictio, procedenti ab utroque compar sit laudatio. Amen.* 5. *Terefore, the great Sacrament let us adore, prostrate, and let the old Covenant yield to a new rite. Let faith prevail as a supplement for the defect of the senses.*

6. *To the Begetter and the Begotten be praise and jubilation, salutation, honour, strength as well and benediction. To the One who proceeds from Both be equal praise. Amen.*

#### **Cantus firmus**

Te cantus frmus that served as Senf's model resembles the version found in the *Psalterium Pataviense* (1512), fol. 105r (see below). Te plainchant melody is arranged in long note values in the tenor and only becomes livelier at the ends of phrase v. It is thus clearly distinguished from the other voice parts, which are not based on the monophonic chant.

## **Unique Source**

**Reg³** D-Rp C 120, [no. 41], pp. 178–9 ([D, Ct, T, B]), *L : Senfel*, text incipit in all voices; next to Senf's name is the annotation 'Es ist guet merkh auf' (possibly by a diferent hand)

# **Critical Notes**


Variants in pitch and rhythm


# **37.** *Pange, lingua, gloriosi* **(ii) (SC M 81)**

### **Text**

Tis motet sets the frst stanza of the hymn for Corpus Christi by Tomas Aquinas. For the text and translation, see above, no. 36.

# **Cantus firmus**

Te cantus frmus in this motet closely resembles the melody for the hymn found in the *Psalterium Pataviense* (1512), fol. 105r (see above, no. 36). Senf features it most prominently in long note values in the tenor, with some embellishments at cadences and at the end, as well as transposed down a ffth in the bassus at mm. 25–37₁.

# **Unique Source**

**Rh²** RISM 154212 (A-Wn), no. 66 (D, A, T, B), *Lu. Senfel*, text in all voices

# **Critical Notes** Clefs 63₂–67 T C5 clef

# **Remarks**

Te lack of identifable errors in the reading of this motet in **Rh²** can be attributed to the high printing standards of the Rhau printshop. Careful attention to typesetting is also apparent in the splitting of notes at the ends of systems so that each system begins on the tactus. Tree instances of such note pairs in **Rh²** have been merged for this edition: two Mi-Sm pairs (D: 5₄, and Ct: 54₅) and one pair of two minims (D: 26₅).

# **38.** *Pange, lingua, gloriosi* **(iii) (SC M 82)**

## **Text**

(see

°


**Cantus firmus**

&

&

**Unique Source**

**Critical Notes**

**Text**

no. 36.

fol. 105r

**Cantus firmus**

**Unique Source**

Directions and/or non-verbal signs

57 Ct, B U

39₁–₂ Ct 2 Sm 41₈–42₁ Ct 2 Sm

9₃ Ct erroneously *f*

**37.** *Pange, lingua, gloriosi* **(ii) (SC M 81)**

Variants in pitch and rhythm

Te cantus frmus that served as Senf's model resembles the version found in the *Psalterium Pataviense* (1512), fol. 105r

It is thus clearly distinguished from the other voice parts, which are not based on the monophonic chant.

the annotation 'Es ist guet merkh auf' (possibly by a diferent hand)

premature entry of the following ligature

16₅ B unidentifable erasure (erased stem?), possible correction of a

at cadences and at the end, as well as transposed down a ffth in the bassus at mm. 25–37₁.

**Rh²** RISM 154212 (A-Wn), no. 66 (D, A, T, B), *Lu. Senfel*, text in all voices

23–24₂ D note heads corrected from void to blackened?

50₆–₇ Ct superfuous Sm-*a* between the two notes

below). Te plainchant melody is arranged in long note values in the tenor and only becomes livelier at the ends of phrase v.

‹ Pan- ge, lin gua, - glo ri - - <sup>o</sup> - si cor - po - ris my - ste - ri- um, san gui - -nis-que pre - ti - <sup>o</sup> - si,

<sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ œ <sup>œ</sup> œ œ œ <sup>œ</sup> œ œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ

**Reg³** D-Rp C 120, [no. 41], pp. 178–9 ([D, Ct, T, B]), *L : Senfel*, text incipit in all voices; next to Senf's name is

‹ quem in mun di - pre - ti - um fru ctus - ven -tris ge ne - - ro - si Rex ef fu - - dit gen - ti um.

<sup>œ</sup> <sup>œ</sup> œ œ <sup>œ</sup> œ œ <sup>œ</sup> œ œ œ <sup>œ</sup> <sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ

Tis motet sets the frst stanza of the hymn for Corpus Christi by Tomas Aquinas. For the text and translation, see above,

Te cantus frmus in this motet closely resembles the melody for the hymn found in the *Psalterium Pataviense* (1512),

(see above, no. 36). Senf features it most prominently in long note values in the tenor, with some embellishments

Tis motet sets the frst four stanzas of the hymn *Pange, lingua* by Tomas Aquinas (for the text and translations, see above, no. 36). Whereas the more common word order in the frst line of the second stanza is 'nobis datus, nobis natus', the phrase order in all partbooks of the unique source for this setting is 'nobis natus, nobis datus' and has therefore been used for the edition. Te same word order is also found in the *Psalterium Pataviense* (1512), fol. 105r .

# **Cantus firmus**

Te chant melody used in this setting is the same as in Senf's two other motets on the same text. Te chant is repeated three times to accommodate the frst four stanzas of text. For each stanza, diferent voices take over the cantus frmus: the discantus in the frst stanza, the tenor in the second followed by an interlude (mm. 103–22), the discantus (with greater rhythmic variation) and tenor in the third stanza, and fnally the bassus in the fourth stanza. Sections of the cantus frmus also appear in the other voices, often as points of imitation.

# **Unique Source**

**Zwi3** D-Z 81/2, [no. 51], no. 49 (D, T, B), *Ludwic*[*us*] *Senftll*, Ct missing, text in T and B, in D frst stanza with text incipit only, remaining stanzas with text

# **Critical Notes**


Variants in pitch and rhythm

82₁ D erroneous *f* ¹

Textual variants and text placement


#### **Remarks**


# **39.** *Patris sapientia, veritas divina* **(SC M 83)**

#### **Text**

Te text of this hymn in commemoration of Christ's passion was traditionally sung during the liturgy of the hours on Good Friday. It is often attributed to either Pope John XXII (1244–34) or Aegidius Romanus (*c*.1243–1316), although no direct evidence confrms either attribution (AH 30: 32–5). Senf sets only the frst stanza.

# [Ad Matutinum]

1. Patris sapientia, veritas divina, Christus homo captus est hora matutina, a suis discipulis cito derelictus, Judaeis est traditus, venditus et afictus.

# *Ad Primam*

2. *Hora prima ductus est Jesus ad Pilatum falsis testimoniis multum accusatum, in collo percutiunt, manibus ligatum, vultum Dei conspuunt, lumen caeli gratum.*

# *Ad Tertiam*

3. *Crucifge clamitant hora tertiarum, illusus induitur veste purpurarum, caput eius pungitur corona spinarum crucem portat umeris ad locum poenarum.*

# *Ad Sextam*

4. *Hora sexta Jesus est cruci conclavatus et est cum latronibus pendens deputatus, prae tormentis sitiens felle saturatus, Agnus crimen diluit sic ludifcatus.*

# *Ad Nonam*

5. *Hora nona Dominus Jesus expiravit, Eli clamans animam Patri commendavit, latus eius lancea miles perforavit, terra tunc contremuit, et sol obscuravit.*

# *Ad Vesperas*

6. *De cruce deponitur hora vespertina, fortitudo latuit in mente divina, talem mortem subiit vitae medicina, heu, corona gloriae, iacuit supina.*

# [At Matins]

1. Wisdom of the Father, divine truth, Christ as man was captured in the morning hour, abandoned quickly by his disciples, surrendered by the Jews, sold and tormented.

# *At Prime*

2. *At the hour of Prime Jesus was led to Pilate, and accused by many with false testimonies, they beat him in his neck with his hands tied, and spit upon the face of God, the grateful light of heaven.*

# *At Terce*

3. *Tey cry crucify him at the third hour, to mock him he is clothed in a purple robe, his head is pricked with a crown of thorns, he carries the cross on his shoulders to the place of punishments.*

# *At Sext*

4. *At the sixth hour Jesus was nailed to the cross, and was consigned to hang among thieves, thirsting from torments, soaked with gall, the Lamb washed the sin while mocked.*

# *At Nones*

5. *At the ninth hour Lord Jesus expired, crying Eli, he commended his soul to his Father, his side was pierced from a lance by a soldier, the earth then trembled and the sun darkened.*

# *At Vespers*

6. *He was taken from the cross at the hour of Vespers, his strength was hidden in his divine soul. Such a death came to be the medicine of life, alas, the crown of glory lay supine on the ground.*

Ad Completorium At Compline 7. At the hour of Compline the tomb was given 7. Hora completorii datur sepulturae corpus Christi nobile, spes vitae futurae, the noble body of Christ, the hope of future life, conditur aromatae, complentur scripturae, embalmed, the scriptures were fulfilled, iugis sit memoriae mors haec mihi curae. may this death be ever in my mind. Conclusio Conclusion 8. These canonical hours with devotion 8. Has horas canonicas cum devotione tibi, Christe, recolo pia ratione, to you, O Christ, I renew in a pious manner,

Cantus firmus

ut qui, pro me passus es amoris ardore,

sis mihi solatium mortis in agone.

so that you, who has suffered on my behalf with ardent love, be a comfort to me in the agony of death.

The sixteenth-century transmission of this hymn appears rather stable (see, for example, the version below, which is transcribed from A-LIs Hs. 713, fol. 1", a source that appears to be the remains of an anonymous letter dated c.1500, possibly from Salzburg), with the main variation of the E final to A (for other sources transmitting the melody, see Strohm 2012: 166-7). Although the transmission of the melody is fairly consistent, textual variants are common, especially in the third and fourth lines (e.g. 'et notis' in place of 'cito', see AH 30: 32-5).

Senfl opts for the transposed version and deploys it prominently as a cantus firmus in the bassus (Rh², a collection of 134 hymns organised according to the liturgical year, includes another anonymous setting of Patris sapientia in which the melody is similarly featured as a cantus firmus with A final).

#### Principal Source

Rh2 RISM 154212 (D-Mbs), no. 36 (D, A, T, B), Lud. Senffel (index T), L. S., text in all voices

#### Other Source

Zwi3 D-Z 81/2, [no. 76] (D, T, B), .L S. (D), anon., Ct missing, text in D and T, text incipit only in B

#### Source Evaluation

Due to the fragmentary state of Zwi3, Rh2, a product of the Rhau printshop and the only complete source for this motet, serves as the principal source.

#### Variant Readings



#### **Remarks**

Rhau occasionally divides notes into two pitches that span the system break so that each line of music begins on the tactus. Tese note pairs (D: 8₄; T: 28₃; and Ct: 42₂) have been merged in this edition.

### **40.** *Quare fremuerunt gentes* **(SC M 87)**

# **Text**

Tis motet sets the four opening verses of Ps. 2 in the *prima pars* and the four closing verses of Ps. 2 in the *secunda pars* (Ps. 2:1–4, 10–13).

# 1.p.

Quare fremuerunt gentes et populi meditati sunt inania? Astiterunt reges terrae, et principes convenerunt in unum adversus Dominum et adversus Christum eius. Dirumpamus vincula eorum, et projiciamus a nobis iugum ipsorum. Qui habitat in caelis irridebit eos, et Dominus subsannabit eos.

# 2.p.

Et nunc, reges, intelligite. Erudimini, qui iudicatis terram. Servite Domino in timore, et exultate ei cum tremore. Apprehendite disciplinam nequando irascatur Dominus et pereatis de via iusta. Cum exarserit in brevi ira eius, beati omnes qui confdunt in eo.

# 1.p.

Why have the Gentiles raged and the people devised vain things? Te kings of the earth stood up, and the princes met together against the Lord and against his Christ. Let us break their bonds asunder, and let us cast away their yoke from us. He that dwelleth in heaven shall laugh at them, and the Lord shall deride them.

# 2.p.

And now, O ye kings, understand. Receive instruction, you that judge the earth. Serve ye the Lord with fear, and rejoice unto him with trembling. Embrace discipline lest at any time the Lord be angry and you perish from the just way. When his wrath shall be kindled in a short time, blessed are all they that trust in him. (*RDC*)

#### **Principal Source**

**Zwi1** D-Z 73, [no. I.21] = [no. 21], fols. 19v–20v (D), fols. 21v–23r (A), fols. 19r –20<sup>v</sup> (T), fols. 19r –20<sup>r</sup> (B), *Ludouicus Senfel* (B), text in all voices

#### **Other Sources**


#### **Source Evaluation**

Tree of the four sources transmitting this psalm motet are complete. Among these, **Lei** and **Zwi1** are relatively similar in terms of their notation, whereas **Stu1** transmits a substantial number of variants not found in the other three sources (see, for example, the 39 unique variants catalogued below in Variants in pitch and rhythm). **Lei** transmits two notational errors (an erroneous *a* in the contratenor at m. 34₄ and a missing note in the tenor at m. 83₃) as well as errors in text underlay (mm. 87₂–92₁ and 156₁–60₁ in the tenor) and missing text (B: 80₂–81₂ and 181₂–184₁). **Reg4**, an incomplete source of which only the discantus and bassus partbooks survive, likewise seems to transmit scribal errors (D: Lo-rest at m. 37, erroneous *a*¹ at m. 48₂) in addition to unique notational variants (D: 131₃, B: 186₂; and D: 190₁). **Zwi1**, which is the most complete and representative of the four surviving sources, has therefore been chosen as principal source.




#### **Remarks**

Te scribe of **Lei** omits all double barlines at the end of the *prima* and *secunda pars* with the exception of the end of the *secunda pars* in the tenor.

#### **41.** *Quid vitam sine te* **(SC M 90)**

#### **Text**

Te text of this mourning motet was written by Johann Koler (d. before 21 March 1538), canon of St. Moritz in Augsburg, who is named in the heading that accompanies the music in its unique source. Although Koler is not known to have written any other poetic texts, he corresponded with Erasmus (*c*.1466–1536) and was involved in the religious and humanist circles of early sixteenth-century Augsburg (Bietenholz/Deutscher 1986: 269–70). Te text, cast in elegiac distichs, is structured in the form of a dialogue between a husband and his deceased wife.

#### 1.p.

Quid vitam sine te, coniunx castissima, servo, cum mihi lux sine te grata nec esse queat? Liquisti misero lacrimas gemitusque perennes, liquistique octo pignora parva viro, quae matris vultus, matris quae colla requirunt, saepe vocant matrem, atre carere dolent. Me miserum! suntne haec thalami monumenta relicti? sic, uxor, servas dulcia membra domus? O sors, o pietas, vis o saevissima fati: in luctum per te gaudia nostra ruunt. Sed nil in terris stabile est expersque ruina et nos nil aliud quam levis aura sumus.

#### 2.p.

Parce tuis lacrimis, coniunx mitissime, nec te confcias: abii, o bone, non obii. Me tulit ad superos celsi regnator Olympi: perfruor aethereis nunc ego laeta choris. Nec te sollicitet liberum pia cura tuorum: ipse gerit curam Christus ubique tui. Nunc ego praecessi, tu pone sequeris et ambos una fdes, pietas iunget et unus amor. Caelitibus simul immixti vivemus et una nobiscum liberi praemia digna ferent: quare age ne tanto turbes mea gaudia luctu, sed laetus valeas et memor usque mei.

#### 1.p.


(adapted from David McGaw, with the assistance of Clifton N. 'Skip' West, III, and Terese-Marie Dougherty, SSND)

#### **Unique Source**

**Ul** RISM 15452 (D-Mbs), no. 26 (D, A, T, B), title: *Nænia, Maritus defunctam vxorem alloquitur. Responsio vxoris defunctæ* | *pro Christophoro Ehenn patric: Augustan: per vtriusq*[*ue*] *Iuris* | *Doctorem Ioannem Colerum atq*[*ue*] *Quatuor vocum* | *à Ludouico Senfio ædita.*, text in all voices

#### **Critical Notes**

Variants in pitch and rhythm 256₂–₃ D erroneously 2 Mi-*e*¹ (compare the same motif in other voices)

# Text

45₂–₃ Ct *parvo*

#### **Remarks**

Te heading for this motet in **Ul** informs us that it was commissioned by the Augsburg patrician Christoph Ehem on the death of his wife Anna († 1535), who was a daughter of the Protestant mayor Ulrich Rehlinger (see NSE 1, Plates 21–2). Te motet that follows *Quid vitam sine te* in this source (no. 27: *Tantum igitur potuit*) is a naenia for Christoph Ehem himself, who died in 1536 or 1537. Tis second motet was composed by Leonhard Zinsmaister, who was chapelmaster at the cathedral of Augsburg. Te motet preceding *Quid vitam sine te* (no. 25: *Carole cur defes*) is also a mourning motet, composed by Nicolas Payen on the occasion of the death of Isabella of Portugal, wife of Charles V, in 1539. All three motets are uniquely transmitted in **Ul** and share a common characteristic: in each motet, the deceased enters into dialogue with the living to provide consolation. Te motet and its context are discussed in detail in Fuhrmann 2018.

# **42.** *Regina caeli, laetare / Conscendit iubilans* **(SC M 92)**

# **Text**

In this motet, Senf combines the Marian antiphon *Regina caeli, laetare* with various chant melodies pertaining to Christ and usually allocated to Christmas and Easter (see NSE 1, Plate 23). Te antiphon is placed in the discantus throughout the composition, whereas the parallel cantus frmi are found in the contratenor (1.p. and 4.p.) or in the tenor (2., 3. and 5.p.). Te Alleluia trope (5.p.) for *Regina caeli, laetare* was widespread in German-speaking lands around 1500, with sources documenting both monophonic (e.g. A-MB Man. cart. 1, A-VOR MS 22) and other polyphonic versions (e.g. I-TRbc MS 1378 (*olim* 91), D-B Mus. ms. 40021, D-Mbs Mus.ms. 3154). For more on these sources, see Noblitt 1994: 43–5.


1.p.: second stanza of *Festum nunc celebre*; hymn for Holy Tursday by Hrabanus Maurus (*c*.780–856); see NSE 1.22.


4.p.: excerpt from the Te Deum laudamus; hymn of praise

Te ergo quaesumus, famulis tuis subveni, quos pretioso sanguine redemisti.

5.p .: Christmas cantio (see also NSE 1.15)

Dies est laetitiae in ortu regali, nam processit hodie de ventre virginali puer admirabilis, totus delectabilis in humanitate, qui inestimabilis est et ineffabilis in divinitate, alleluia.

We therefore ask thee to help thy servants, whom thou hast redeemed with thy precious blood.

This is the day of joy at the royal birth, for today has come forth from a virgin's womb a wonderful boy, wholly delightful in his human nature, who is inestimable and ineffable in his divine nature, alleluia.

#### Cantus firmus

In the Reporsoria (1509), fols. 41°-42', the Marian antiphon Regina caeli including the Alleluia trope is fittingly assigned to Easter. Senfl's main cantus firmus, placed in the discantus, follows this model closely albeit with some modifications: a few melismatic passages are simplified ('portare alleluia'); the middle note on 'Ora' (beginning of 4.p.) is missing, resulting in a leap of a fifth; and as the third line of the 5.p. reads 'Quoniam te decet laus honor ... ' without 'et' (as found in other chant sources such as PL-Wrk MS 58 ('Neumarkt Cantionale'), fols. 160'-161', and A-Gu Cod. 29, fol. 380''), there is correspondingly one of less in that passage. In the Reporsoria (1509) transmits the words 'collaudare te' instead of 'post te surgere'.

#### Parallel cantus firmi

1.p.: Hymn for the Feast of the Ascension; see NSE 1.22.

2.p.i Processional hymn for Palm Sunday; DK-Kk 3449, 8°, v, fols. 111°—112°. Senfl's cantus firmus is transposed to begin on d4 and has a few variants that contrast with this version (for example, a leap of a fifth at 'cui').

3.p.: Sequence for Christmas; Graduale Pataviense (1511), fol. 1955.

4.p. Hymn of praise, part of the Te Deum laudamus; Exemplar in modum accentuandi (1513), fol. 69°. In assigning this cantus firmus to the contratenor, Senfl transposed it up a fourth to begin on d4.

5.p.: Christmas cantio; see NSE 1.15.

#### Unique Source

D-Rp C 120, [no. 38], pp. 164–71 ([D, Ct, T, B]), L. S., text in D, 1.p. and 4.p. of Ct, 2.p. and 3.p. of T, Reg3 2.p. of B; no text in 5.p. of Ct; text incipits in all other partes

#### Critical Notes





# **Remarks**

In the *tertia pars* of the motet, the parallel cantus frmus *Grates nunc omnes* appears untransposed in the tenor. Following the chant's modality (mode 8), this voice is notated without a *b* b in the motet's only source, whereas the other voices all have a *b* b in the staf signature and maintain a modal *f*. Te edition proposes the application of *musica fcta* in the tenor to mitigate this modal confict.

# **43.** *Rubum quem viderat Moyses* **(SC M 93)**

#### **Text**

Te text of this antiphon for the Feast of the Circumcision of Christ (1 January) draws on the narrative of Moses and the burning bush found in Exodus 3:2–3.

Rubum quem viderat Moyses incombustum, conservatam agnovimus tuam laudabilem virginitatem. Dei Genitrix, intercede pro nobis.

We recognize in the bush that Moses saw unconsumed by fre, your glorious virginity preserved. Mother of God, intercede for us.

## **Cantus firmus**

In the *Antiphonarius* (1519), fol. 21v , this antiphon is assigned to the octave of the Feast of Christ's Nativity (1 January). Tis version is close to the one that served as a model for Senf's setting, difering only in the absence of a half-step decoration on the fnal syllable of 'agnovimus' and the inclusion of the passing tone *f* on the frst syllable of 'nobis'. Senf features the melody most prominently in the discantus and tenor but also includes quotations in the bassus.

### **Unique Source**

**Zwi3** D-Z 81/2, [no. 42], no. 41 (D, T, B), *LS*, Ct missing, text in extant voices

# **Critical Notes**

Directions and/or non-verbal signs 58₂–62₁ B vertical lines and the annotation *bis* used to indicate repetition of passage

Variants in pitch and rhythm 61₃ D *a*¹

Textual variants and text placement 55₁–58₁ D *flius* 55₁–₃, 57₂–58₁ B *flius*

#### **Remarks**

Te three surviving voices from **Zwi3**, the only source for this motet, seem to have few errors in musical notation. Te most obvious issue, an *a*¹ in the discantus at m. 61₃, was modifed to *g*¹ in this edition to accord better with the bassus. In both the discantus and bassus partbooks, the word 'genitrix' is replaced with 'flius', which probably attests to the use of these partbooks in reformed worship. Nevertheless, the tenor partbook still indicates the word 'genitrix' as found in the antiphon, perhaps since it carries the chant in this passage.

#### **Texts**

Te *Salve, Regina* came into existence before 1100, and Hermann of Reichenau (1013–54), Adhémar de Monteil (d. 1098), and Bernard of Clairvaux (*c*.1090–1153), among others, have been named as possible authors. None of these ascriptions, however, seems probable, and the origins of the antiphon remain unclear.


In this setting of the *Salve, Regina*, Senf incorporates a simultaneous second text, *Stella maris a trimatu*, which appears in either the discantus or tenor as a second cantus frmus (see below). Contemporary sources for this text include D-Mbs Clm 19283, a manuscript breviary for Freising dated 1487 (edited in AH 5: 64); and the *Breviarum Frisingense* (1516), fol. 302<sup>r</sup> , where it serves as a Magnifcat antiphon for the second Vespers of the Presentation of Mary (21 November) within a *historia* (versifed ofce). As this *historia* is only documented in breviaries for Freising, Senf seems to have been drawing on a local tradition by incorporating the text. Only in v. 3 do the words difer: in **Mun2** the verse opens with 'Stabat Mater' rather than 'Facta Mater' as documented in liturgical books, a deviation which seems to be a copying mistake and was therefore emended.


#### **Cantus firmus**

Senf incorporated two cantus frmi—both with their associated texts—in his composition. One is *Salve, Regina misericordiae*, a Marian antiphon sung in the Divine Ofce at the end of Compline as well as in other liturgical and paralitugical contexts. In the sixteenth century, the antiphon became even more popular, and it was customary to hold special *Salve* services. Te melody of the chant varied widely, but most of these variations cannot be attributed with fair certainty to specifc traditions. In the present composition, which sets all verses of the antiphon, the melody of the *Salve, Regina* for vv. 1–6 follows the chant as documented in two contemporary sources from the vicinity of Vienna (A-Wn Cod. 1915 and A-KN Cod. 62), whereas for vv. 7–9 the melody matches one identifed in two sources from Augsburg (*Antiphonarium speciale* (1511) and DK-Kk 3449, 8°, xv). A synopsis of selected chant melodies can be found in NSE 1, pp. XIX–XXII).

Te second cantus frmus is *Stella maris a trimatu*. As far as we know, a plainchant melody for this text is not documented, but one can be reconstructed based on Senf's setting (see below and also Kiel 2013: 388). Te two cantus frmi are both present at all times and are placed in either the discantus or the tenor: *Stella maris* appears in the tenor for vv. 1, 3, 4, 6, 7, and 9; and in the discantus for vv. 2, 5, and 8.

#### **Unique Source**

**Mun2** D-Mbs Mus.ms. 19, [no. 18], fols. 107v–120r (D, Ct, T, B), *Ludouic*[*us*]*: Sennf.*, heading on fol. 107r *Salve. L.S 4or vocum*, text in all voices

:

# **Critical Notes**

Clefs 3₁–7₁₀ Ct C3 clef

#### **Remarks**

In **Mun2** the text of *Stella maris a trimatu* is entered in red ink, whereas the *Salve, Regina* text appears in black (see NSE 1, Plates 24–5).

#### **45. \****Salve, Regina* **(SC \*M 96 attr.)**

# **Text**

Tis setting of the Marian antiphon is composed for *alternatim* performance and sets only the even-numbered verses polyphonically. For information on the antiphon, the text, and its translations, see above, no. 44.

### **Cantus firmus**

Te cantus frmus of the present setting is similar to the one used in no. 44 above, but difers from the following setting of *Salve, Rex aeternae* (see this volume, no. 46): in contrast to the latter, this version of the chant features the upper *subsemitonium* in the frst two main phrases ('Salve, Regina', and 'Vita dulcedo') and thus is similar to versions known to have been sung, for example, in Augsburg and Vienna (see the synopsis of the diferent chant versions discussed in the introduction to NSE 1, pp. XIX–XXII). Although the cantus frmus of this setting does not consistently follow the melody in either the *Antiphonarium speciale* (1511) or A-Wn Cod. 1915, multiple matches with these plainchant models suggest using one of these contemporary versions to supply the missing *alternatim* sections. Because the plainchant in the *Antiphonarium speciale* (1511) matches the cantus frmus of the polyphonic setting, the editors have chosen this version for the edition.

Te editors of KBM 5/1 assume that the identifcation of Senf on fol. 107r , an internal title page that precedes *Salve, Regina* / *Stella maris* (M 95; no. 44 in this volume), also identifes Senf as the composer of the current setting, which immediately follows *Salve, Regina* / *Stella maris*. Heinzel (1995 and 1998) identifes several stylistic similarities and accepts this assumption. Kiel 2013 observes a certain similarity between the musical textures of M 95 and M 96 and thus also attributes the setting to Senf. Although the attribution to Senf remains in question, the assumption is supported by the arrangement of the cantus frmus as a quasi-canon at the ffth between tenor and bassus. Senf frequently turned to this technique, which can also be found throughout the current setting.

# **Unique Source**

**Mun2** D-Mbs Mus.ms. 19, [no. 19], fols. 120v–127r ([D, Ct, T, B]), anon., text in all voices

# **Remarks**

In the manuscript, there are three instances of smaller, blackened note heads above the fnal *longae* in the contratenor (v. 2: m. 26; and v. 4: m. 66) and discantus (v. 6: m. 118) (as in the edition). Tese indicate optional additions to these concluding sonorities.

#### **46.** *Salve, Rex aeternae misericordiae* **(SC M 97)**

# **Text**

Tis Christological adaptation of the *Salve, Regina* closely resembles the version advocated in 1525 by the evangelical scholars Georg Forchheim, Johannes Frosch, Conrad Kling, and Johann Lange in Erfurt, where it was sung in place of the *Salve, Regina* at the church of St. Bartholomäus. As transcribed in 1758 by the Lutheran theologian Johann Mehlig, the Erfurt text difers from the text of this motet in v. 7, where the word *sanctum* appears in place of *Christe*, and in v. 10, which closes with *o proles Mariae* in place of *o dulcis Jesu Christe*. Although no sixteenth-century source confrms Mehlig's transcription, the obvious afnities shared by Mehlig's transcription and the text of Senf's motet suggest a close link between the two and attest to the popularity of *Salve, Regina* contrafacta beyond Erfurt. According to Mehlig, a tract printed by the Franciscan professor Augustine of Alveldt (*c*.1480–*c*.1535) titled *Assertio Alveldiana in canticum Salve Regina misericordiae* (Leipzig: Valentin Schumann, 1527) was issued in direct response to the Erfurt contrafactum. Augustine of Alveldt had hoped to restore the original Marian text. See Johann Michael Mehlig, *Historisches Kirchen- und Ketzer-Lexicon*. *Zweyter Band* (Chemnitz: Stößel, 1758) (VD18 90059298), p. 549.


# **Cantus firmus**

Te cantus frmus Senf uses for this motet bears strong similarities to other *Salve, Regina* melodies that circulated during this period. It is remarkable, however, that the melody in this motet substantially departs from those found in the two other four-voice *Salve, Regina* settings attributed to Senf and edited in the present volume (nos. 44 and 45). As the contratenor and a substantial portion of the bassus of *Salve, Rex aeternae* have not survived, only a partial reconstruction of the melody is possible (see the synopsis of the diferent chant versions discussed in the introduction to NSE 1, pp. XIX–XXII).

# **Principal Source**

**Zwi3** D-Z 81/2, [no. 78] (D, T, B), *LS.* (B), Ct missing, vv. 4–8 in B missing due to a loss of folios, text in extant voices

#### **Other Source**

**Bud** H-Bn Ms. mus. Bártfa 22, [no. 1673], no. 10, *LS*, T only, text in extant voice

#### **Source Evaluation**

Te two sources transmitting this motet are both incomplete: **Zwi3** is missing not just the contratenor but also half of the bassus due to the removal of folios from the partbook. Still, it is the more complete of the two sources and must therefore serve as the principal source. Comparison of the tenors from **Zwi3** and **Bud** suggests that they are not far removed from each other: the use of ligatures is an exact match and both feature in their tenor partbooks a *punctus divisionis* separating the opening ligature from the following semibreve. Te text underlay is also similar, though damage to the bottom portion of the folios in **Bud** has efaced some of the text.


#### **47.** *Sancta et immaculata Virginitas* **(i) (SC M 99)**

#### **Text**

Te text of *Sancta et immaculata Virginitas* appears in liturgical books as an antiphon or responsory for Marian feasts during the Christmas season.

In sixteenth-century liturgical sources, 'eferam' ('to exalt') is occasionally replaced by the word 'referam' ('to recall', 'to restore' or 'to bring back', as, for example, in the cantus frmus transcribed below). Although both options are viable, the editors have chosen 'eferam', since this text is found both in the *Antiphonarius* (1519) and in **Zwi3**, the source transmitting *Sancta et immaculata Virginitas* (ii).

Sancta et immaculata Virginitas, quibus te laudibus eferam nescio: quia quem caeli capere non poterant, tuo gremio contulisti.

Holy and immaculate Virginity, I do not know with what praises to exalt you: for you bore in your womb him whom the heavens could not contain.

San - cta et im ma - - cu - la - ta Vir - gi - ni - tas, qui bus -

œœ <sup>œ</sup> <sup>œ</sup> œœ œ œœ œ œ œ œ <sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup>

& ‹

& ‹

& ‹

te lau di - - bus re - fe - ram ne sci - - o: qui a - quem cae li - ca pe - - re

<sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ œ œ

non po te - - rant, tu o - gre - mi - o con tu - - li - sti.

<sup>œ</sup> œœ œ œœ <sup>œ</sup> <sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> œ œ <sup>œ</sup> œ œ <sup>œ</sup> <sup>œ</sup> œ œ

### **Cantus firmus**

Te chant associated with the antiphon *Sancta et immaculata Virginitas* is reproduced here according to DK-Kk 3449, 8°, i, fols. 214v–215r , a source copied around 1580 that preserves the chant repertory of the Augsburg cathedral. Te melody of the cantus frmus in Senf's composition, which appears as a quasi-canon at the ffth between tenor and bassus, follows the chant without melodic alteration.

# **Unique Source**

serve as the principal source. Comparison of the tenors from **Zwi3** and **Bud** suggests that they are not far removed from each other: the use of ligatures is an exact match and both feature in their tenor partbooks a *punctus divisionis* separating the opening ligature from the following semibreve. Te text underlay is also similar, though damage to the bottom portion of

the folios in **Bud** has efaced some of the text.

21 B **Zwi3** U

52 T **Zwi3** U 80 T, B **Zwi3** U 129 T **Zwi3** U 181 T **Bud** U

224 T **Zwi3** U 238 T **Zwi3** U 269 D **Zwi3** U

294 D **Zwi3** U

297 T, B **Zwi3** U

220₁ T **Bud** *e*b

**47.** *Sancta et immaculata Virginitas* **(i) (SC M 99)**

Sancta et immaculata Virginitas, quibus te laudibus eferam nescio: quia quem caeli capere non poterant, tuo gremio

53–224 D, T, B **Zwi3** mensuration signs missing 239–97 D, T, B **Zwi3** mensuration signs missing 271–97 T **Bud** mensuration sign missing

21–2 D **Zwi3** (double) barline missing

212₁ D **Zwi3** *b* b 1 corrected to *a*<sup>1</sup>

284 B **Zwi3** 2 Sb corrected to Br (?)

296₁ T **Zwi3** blackened note head corrected to void

11–21 T **Zwi3** *misericordiaediae* (at line break)

Te text of *Sancta et immaculata Virginitas* appears in liturgical books as an antiphon or responsory for Marian feasts during

Te chant associated with the antiphon *Sancta et immaculata Virginitas* is reproduced here according to DK-Kk 3449, 8°, i,

cantus frmus in Senf's composition, which appears as a quasi-canon at the ffth between tenor and bassus, follows the chant

, a source copied around 1580 that preserves the chant repertory of the Augsburg cathedral. Te melody of the

the heavens could not contain.

Holy and immaculate Virginity, I do not know with what praises to exalt you: for you bore in your womb him whom

In sixteenth-century liturgical sources, 'eferam' ('to exalt') is occasionally replaced by the word 'referam' ('to recall', 'to restore' or 'to bring back', as, for example, in the cantus frmus transcribed below). Although both options are viable, the editors have chosen 'eferam', since this text is found both in the *Antiphonarius* (1519) and in **Zwi3**, the source transmitting

Mensuration and proportion signs

Directions and/or non-verbal signs

Textual variants and text placement

*Sancta et immaculata Virginitas* (ii).

**Variant Readings**

Accidentals

**Text**

the Christmas season.

**Cantus firmus**

contulisti.

fols. 214v–215r

without melodic alteration.

**Reg³** D-Rp C 120, [no. 49], pp. 200–1 ([D, Ct, T, B]), *L S*, text incipits only in all voices

## **Critical Notes**

Directions and/or non-verbal signs


Variants in pitch and rhythm


#### **Remarks**

**Reg³** transmits the motet with scribal errors, the most signifcant of which is a passage in the bassus where the scribe seems to have skipped several notes while copying. David J. Burn (Burn 2013) suggested the reconstruction presented in this edition (rendered in a smaller font). Tis reconstruction of the bassus is based on the cantus frmus and proceeds in imitation with the tenor line: six semibreves (mm. 22₂–25₁) have been inserted and the pitches of the following ligature (mm. 25₂– 26₁) have been lowered by one tone. Nevertheless, doubts still remain concerning other passages in the transmitted version, such as the dissonant seventh between discantus and tenor in m. 42.

#### **48.** *Sancta et immaculata Virginitas* **(ii) (SC M 100)**

#### **Text**

For information on the antiphon, the text, and its translations, see above, no. 47.

# **Unique Source**

**Zwi3** D-Z 81/2, [no. 61], no. 58 (D, T, B), *LS*, Ct missing, text in extant voices

#### **Cantus firmus**

In contrast to many other settings in **Zwi3**, the unaltered melody of the cantus frmus in Senf's current motet appears as a quasi-canon in long note values not between the two lower voice parts, but between the tenor and discantus.

#### **49.** *Sancta Maria Virgo, intercede* **(i) (SC M 101)**

#### **Text**

Te text is an antiphon assigned to the Feast of the Nativity of the Virgin Mary (8 September).

Sancta Maria Virgo, intercede pro toto mundo, quia genuisti Regem orbis. Holy Virgin Mary, intercede on behalf of all mankind, for you gave birth to the King of the world.

# **Cantus firmus**

Senf's version of the chant closely matches the plainchant found in SK-BRsa SNA 4, fol. 89<sup>r</sup> , a two-volume antiphoner from Bratislava, which dates from *c*.1487/8 (Šedivý 2007: 192–5). Te upward leap of a third at *mun*-(*do*) in Senf's model is the only exception in the melodic contour. Senf, however, transposes the plainchant to *c* and treats the cantus frmus as a quasi-canon at the octave between tenor and bassus.

#### **SC update**

In 2020 Zofa Dobrzańska-Fabiańska (Instytut Muzykologii, Uniwersytet Jagielloński, Kraków) identifed an intabulation of the motet in PL-Kp MS 1716 ('Keyboard tablature of Johannes of Lublin') (personal correspondence).

#### **Principal Sources**

**For the notation**

**Reg³** D-Rp C 120, [no. 6], pp. 16–17 ([D, Ct, T, B]), *L. Senf*, text in T only

#### **For the text**

**Zwi3** D-Z 81/2, [no. 62], no. 59 (D, T, B), *LS*, Ct missing, text in extant voices

#### **Intabulation**

**Kra3** PL-Kp MS 1716, fol. 99r–v, anon., annotation: *Sancta Maria 1540*, oGk-tab., 4vv

#### **Source Evaluation**

Te only complete source for this motet, **Reg³**, has been designated principal source for the musical notation. Since only the tenor has text underlay in the principal source, however, the underlay in the three surviving partbooks of **Zwi3** has been used for this edition.

Two minor rhythmic diferences distinguish the notation in **Zwi3** from **Reg³**. One of these is the division of a breve in m. 37 of the tenor into two semibreves in **Zwi3**. Tis detail departs from the cantus frmus as found in the bassus. Given that the tenor and bassus proceed in imitation, the breve as notated in **Reg³** has been retained.

#### **Variant Readings**


#### **50.** *Sum tuus in vita* **(i) (SC M 109)**

#### **Text**

Te author of this poem in elegiac distichs is Veit Dietrich (1506–1549), a Nuremberg theologian and close associate of Martin Luther. Senf, Noel Bauldeweyn, Leonhard Paminger, and Tomas Crecquillon are the earliest composers known to have set this text to music. Since Paminger was a friend of Dietrich, and Senf was in contact with various Nuremberg burghers and patricians (often via Hieronymus Baumgärtner), it seems likely that both composers became acquainted with the text through personal contacts in Nuremberg. Little is known about Noel Bauldeweyn's biography, however, so it is unclear how he came to compose his fve-voice version, which sets only the frst distich and is uniquely transmitted in RISM 15407 (no. 10). An anonymous setting for fve voices of Dietrich's text is also transmitted in a Bohemian source from the second half of the sixteenth century (US-NYu Sabbateni 3, no. 58).

Te poem itself was later published (without music) in Johannes Gigas, *De certitudine religionis christianae concio* (Frankfurt an der Oder: Johann Eichorn, 1551), sig. [C7]v , where it is ascribed to 'Vitus Teodorus' (latinisation of Veit Dietrich). Some years after that it was also issued as 'Precatio M. Viti Teodori Nurinbergensis' ('prayer of Magister Veit Dietrich from Nuremberg') in *Tischreden oder colloquia Doct. Mart. Luthers*, ed. Johannes Aurifaber (Eisleben: Urban Gaubisch, 1566), fol. 500<sup>r</sup> (ch. 49, 'Vom Tode'). Tis book was reprinted many times, and the poem seems to have become popular in Protestant circles in the later sixteenth and seventeenth centuries: it can be found as an inscription in an *album amicorum* (i.e. *Album Joannis Rotarii* (B-Gu MS 2465), *c*.1560–1620, fol. 49r ) as well as in the context of funeral ceremonies (e.g. Tobias Seilerus, *Trenologia. Christliche Leich vnd EhrenSermon* (Leipzig: Valentin am Ende and Tobias Beyer's heirs, 1605), sig. G3r–v (funeral sermon); and Franciscus Sweertius, *Monumenta sepulcralia et inscriptiones* [*…*] *Ducatus Brabantiae* (Antwerp: Gaspar Bellerus, 1613), pp. 335–6). Te text as printed in the *Tischreden* varies somewhat from the 1551 publication and the version transmitted in the aforementioned musical settings: 'tenere' replaces 'videre' in the second line, and 'meque' replaces 'ergo' in the eighth line.


#### **Principal Source**

**Reg2** D-Rp B 211–215, [no. 39], fols. 76<sup>r</sup> –77r (D), fols. 83v–85r (A), fols. 67r –68<sup>v</sup> (T), fols. 74<sup>r</sup> –75<sup>v</sup> (B), *LS*, text in all voices

# **Other Sources**


# **Source Evaluation**

Te sources transmitting the motet range in date from the late 1530s and early 40s (**Fo2**, **Reg2**, **Stu³**, **Zwi3**) to the 1550s and 60s (**Reg1**, **Zwi2**; see NSE 1, Plate 29 for the beginning of the discantus in **Reg1**). Philological considerations suggest a closer relationship between two of the sources: **Reg2** and **Zwi3** are both similar in their use of ligatures and coloration, and can thereby be diferentiated from the other sources. Apart from minor variants, the musical text in all sources except **Reg1** seems very stable. Terefore, **Reg2**—a manuscript copied by Johannes Stomius in Salzburg (McDonald 2020) without scribal errors and a convincing text underlay—has been chosen as principal source. Te print **Fo2** has a unique mistake in the contratenor in m. 71, and the other two sources are fragments (**Zwi3** is missing a partbook and **Stu³** the last page of the composition and hence the ending of the contratenor and bassus). Te source with the highest number of variants and mistakes is **Reg1**. One especially interesting instance occurs in the contratenor at mm. 71₄–76₂, where the whole passage is shifted forward by a semibreve to yield a homophonic three-voice texture.

# **Variant Readings**




#### **Remarks**


## **51.** *Suscepimus, Deus, misericordiam tuam* **(SC M 111)**

#### **Text**

Te text of this motet, from Ps. 47:10, serves as an antiphon for the second nocturn on the Feast of the Nativity of Christ.

Suscepimus, Deus, misericordiam tuam in medio templi tui.

We have received thy mercy, O God, in the midst of thy temple. (*RDC*)

## **Cantus firmus**

In the *Antiphonarius* (1519), fol. 11<sup>r</sup> , this antiphon is to be sung with the psalm from which the text is derived. Senf features the cantus frmus prominently as a quasi-canon between tenor and bassus. Te melody appears untransposed in the tenor voice, with the bassus imitating at a fourth below, and the only departure from the version given below is at the word 'tuam', which moves stepwise from *b* to *c*¹.

#### **Principal Source**

**Zwi3** D-Z 81/2, [no. 47], no. 46 (D, T, B), *LS*, Ct missing, text in extant voices

#### **For the contratenor**

**Reg³** D-Rp C 120, [no. 39], pp. 174–5 ([D, Ct, T, B]), *L : Senfel*, text incipits in all voices

#### **Source Evaluation**

Although **Reg³** is the only complete source for this motet, the extant voices of **Zwi3** provide a more convincing version of the motet as well as full text underlay, therefore making it a better principal source. Te contratenor part for this edition has been transcribed from **Reg³**.

#### **Variant Readings**



#### **Remarks**

In **Reg³**, the contratenor at m. 3₁–₂ consists solely of a breve. In keeping with the motif introduced by the discantus and the plainchant melody that follows between the tenor and bassus in canon, this breve has been divided into two semibreves for this edition. Despite the visible corrections to the contratenor part in **Reg³**, an unresolved problem in this part yields an unconvincing counterpoint in the fnal measures of the piece. To address this problem, the editors have reduced the duration of the semibreve on *c* that appears in **Reg³** at m. 30₃ to a minim.

#### **52.** *Tristia fata boni* **(SC M 116)**

#### **Text**

Te text is an epitaph dated 1532 by Wolfgang Seidl, a Benedictine monk from Tegernsee who was called by the Bavarian court to serve as preacher at the Augustinian monastery in Munich from 1532 to 1560. An autograph copy of the poem is transmitted in the manuscript anthology D-Mbs Clm 18688, fol. 9r–v, a manuscript anthology of Seidl's writings (see NSE 1, Plates 31–2).

Tristia fata boni solatur spes melioris.

Non meminisse iuvat dum reputasse nocet, Tempus enim rapida quamvis metat omnia falce, Non tamen aeterno lumine digna secat.

Te expectation of something better lightens the sad fate of a good man:

it is benefcial not to remember when it hurts to refect. For time, although it may reap everything with its swift sickle, cannot slay that which is worthy of the eternal light.

(adapted from the translation by Andrew Dunning found in James 2016: 201)

#### **Principal Source**

**Kr** RISM 15407 (A-Wn), no. 26 (D, Ct, T, B), *LVDOVICVS SENFLIVS*, text in all voices

#### **Intabulation**

**Ber²** D-B Mus. ms. 40632, fols. 50v–51r , *Lud. Senfi*[*us*], 4vv, Gl-tab.

#### **Source Evaluation**

**Kr**, an anthology printed by Melchior Kriesstein in Augsburg, is the only source in mensural notation transmitting this motet. Te musical notation appears to be free from errors, but its text difers in some respects from the autograph copy in D-Mbs Clm 18688. In this latter source, the word 'quamvis' is given in the third line of the poem, whereas **Kr** replaces this word with 'quis', an error probably resulting from a misreading of the word's abbreviation (James 2016). Te discantus of **Kr** replaces 'rapida' in the third line with 'valida', whereas D-Mbs Clm 18688 and the other three voices of **Kr** transmit 'rapida'. Finally, D-Mbs Clm 18688 concludes the fourth line of the poem with 'necat' in place of 'secat', the latter of which is found in all four partbooks of **Kr**. Either word is plausible, though 'secare' (to cut or sever) arguably better suits the word 'falx' (sickle) that concludes the third line.

**Ber²** is a lute book whose binding is stamped with the Bavarian and Baden joint coat-of-arms and the year 1528, although its contents were probably copied after 1543 (*c*.1550–60s; see Dorfmüller 1967: 26–7; and Meyer 1986, i: 114, 119). It provides a faithful transcription of all four voices of the motet in German tablature for a six-course lute tuned in *A*. As an indication of one way this motet was probably performed close to the time and place of its composition, this edition indicates *musica fcta* in those places where they are notated in **Ber²**.

#### **Critical Notes**

Variants in pitch and rhythm 12₄ D Mi Sm (at line break)


# **53.** *Usquequo, Domine* **(SC M 118)**

# **Text**

Te motet sets all verses of Ps. 12 in two *partes*. In the verses of the frst part, the speaker implores heavenly help and assures his loyalty to God. In the second part, the individual already imagines rejoicing after having experienced God's benevolence.

## 1.p.

Usquequo, Domine, oblivisceris me in fnem? Usquequo avertis faciem tuam a me? Quamdiu ponam consilia in anima mea, dolorem in corde meo per diem? Usquequo exaltabitur inimicus meus super me? Respice, et exaudi me, Domine, Deus meus. Illumina oculos meos, ne unquam obdormiam in morte nequando dicat inimicus meus, 'Praevalui adversus eum'. Qui tribulant me exultabunt si motus fuero, ego autem in misericordia tua speravi.

#### 2.p.

Exultabit cor meum in salutari tuo. Cantabo Domino, qui bona tribuit mihi, et psallam nomini Domini, Altissimi.

#### 1.p.

How long, O Lord, dost thou forget me unto the end? How long dost thou turn away thy face from me? How long shall I take counsels in my soul, sorrow in my heart all the day? How long shall my enemy be exalted over me? Consider, and hear me, O Lord, my God. Enlighten my eyes that I never sleep in death lest at any time my enemy say, 'I have prevailed against him'. Tey that trouble me will rejoice when I am moved, but I have trusted in thy mercy.

### 2.p.

My heart shall rejoice in thy salvation. I will sing to the Lord, who giveth me good things. Yea, I will sing to the name of the Lord, the Most High. (*RDC*)

### **Principal Source**

**Gr** RISM 15204 (D-Mbs), fols. 253v–263r ([D, Ct, T, B]), *L*. *S*., text in all voices

#### **Other Source**

**Reg³** D-Rp C 120, [no. 45], pp. 186–91 ([D, Ct, T, B]), *L : S*, text incipits only

#### **Source Evaluation**

**Gr** has been chosen as principal source for this psalm motet because of its temporal and geographical proximity to Senf. Scholars have long assumed that Senf was personally involved in editing **Gr**, but the extent of his participation continues to be a subject of speculation. Although both sources **Gr** and **Reg³** date from roughly the same time period and draw on repertory from the imperial chapel of Maximilian I, the readings of this motet in these two sources difer. Only in a few cases, however, can diferences in **Reg³** be interpreted as viable options, since most of the variants in **Reg³** are copying errors (as, for example, a passage of notes copied one step too high in the contratenor in m. 21).



# **Remarks**

In **Gr**, a second, blackened note head is found below the fnal longa in the contratenor (as in the edition). It indicates an optional addition to the fnal sonority.

#### **54.** *Virga Jesse floruit* **(SC M 121)**

#### **Text**

Various texts opening with the words *Virga Jesse foruit* were used as an antiphon or an Alleluia verse for Marian feasts. Senf's version of this text, however, difers from versions found in other contemporary sources, and no exact match to this version has been identifed. It appears to be an abridged version of the text found, for example, in PL-Wrk MS 58 ('Neumarkt Cantionale'), fols. 135v–136r .

1.p. Virga Jesse foruit, in qua fos apparuit Altissimi Filius. Quod lingua prophetica scripsit, complevit clementia,

1.p. Te staf of Jesse blossomed, in which a fower has appeared, the Son of the Most High. What the prophetic tongue wrote, Mercy fulflled,


# **Cantus firmus**

Regem Angelorum.

Although it seems at several passages that a cantus frmus was the basis for this motet, no close model could be found, given the wide variance in melodies and texts that characterise the transmission of *Virga Jesse foruit* (see, for example, PL-Wrk MS 58, fols. 135v–136r ; *Responsoria* (1509), fols. 118<sup>r</sup> –119r ; or *Graduale Pataviense* (1511), fol. 171<sup>r</sup> ).

the King of the Angels.

# **Principal Source**

**Mun1** D-Mbs Mus.ms. 10, [no. 3], fols. 43v–53r (D, Ct, T, B), *Ludouic*[*us*] *Sennf.*, text in all voices

# **Other Sources**


#### **Source evaluation**

**Mun1** is the earliest source for this motet and has been designated principal source because of its reliable error-free reading. **Fo¹** follows **Mun1** quite closely, as does **Erl¹**. Although both sources also correspond to **Fo¹** in the underlay of text, the scribe of **Erl¹** splits note values at line breaks and page turns and tends to favour coloration. Te scribe of **Dre³**, in turn, is more individual in the use of ligatures and accidentals.



#### **Remarks**

As an aid to performers, the frst notes or rests following a page turn are notated in **Erl¹** on the preceding page after the custos.

#### **55.** *Virgo prudentissima, quo progrederis* **(SC M 122)**

#### **Text**

Te text of this motet, a reference to Song of Songs 6:9, is a Magnifcat antiphon sung at frst Vespers on the Feast of the Assumption of Mary (15 August).

Virgo prudentissima, quo progrederis, quasi aurora valde rutilans? Filia Sion, tota formosa et suavis es: pulchra ut luna, electa ut sol.

Most prudent Virgin, where are you going, shining brightly as the dawn? Daughter of Zion, you are most beautiful and delightful: fair as the moon, choice as the sun.

## **Cantus firmus**

Te melody of the Magnifcat antiphon, transcribed here from the *Antiphonarius* (1519), fols. 192v–193r , is paraphrased in Senf's setting. Although it appears most prominently in the discantus, all four voices imitate motifs from the plainchant.

# **Unique Source**

**Mun¹** D-Mbs Mus.ms. 10, [no. 12], fols. 177v–180r ([D, Ct, T, B]), *Lud: Sennf.*, text in all voices

# **Critical Notes**

Clefs 56₁–60 Ct C4 clef

#### **56. Fragment from D-HRD Fü MS 9820 (SC M 42)**

#### **Text**

Te fragment is transmitted in its unique source without text underlay or identifying title.

#### **Cantus firmus**

Te presence in the discantus of what appears to be a cantus frmus, as yet unidentifed, suggests this excerpt may have been drawn from a four-voice motet. For this reason, it has been included as an appendix to the present volume.

## **Unique Source**

**Her** D-HRD Fü MS 9820, fols. 132v–133v ([D, Ct, T, B]), *fragmenta: Senf*, no text

#### **Source Evaluation**

Along with D-HRD Fü MS 9821, **Her** is one of the rare sixteenth-century sources notated in score and with barlines. One scribe compiled these two volumes of musical excerpts during the second quarter of the sixteenth century. Like many other excerpts that comprise **Her**, this fragment was extracted from the end of an unnamed composition, and it is notated in fourstave systems with barlines drawn at the imperfect breve across the length of each system. Te scribe did not provide mensuration for this excerpt. David Fallows has observed that the scribe divides note values that cross barlines into two separate notes of the same pitch to indicate tonal continuity (Fallows 2009: 218). Tis scribal habit is apparent, for example, in the repeated breves of the discantus.

### **Critical Notes**

Non-verbal signs 18 D, Ct, T, B U


#### **ALPHABETICAL INDEX OF TEXT INCIPITS**


# DENK M Ä LER DER TONKU NST IN ÖSTERREICH

# **BISHER ERSCHIENENE BÄNDE**

**1 (1894):** *Johann Josef Fux, Messen* (Johann Evangelist Habert, Gustav Adolf Glossner) **2 (1894):** *Georg Mufat, Florilegium Primum für Streichinstrumente* (Heinrich Rietsch) **3 (1895):** *Johann Josef Fux, Motetten I* (Johannes Evangelist Habert) **4 (1895):** *Georg Mufat, Florilegium Secundum für Streichinstrumente* (Heinrich Rietsch) **5 (1896):** *Johann Stadlmayr, Hymnen* (Johannes Evangelist Habert) **6 (1896):** *Marc'Antonio Cesti, Il Pomo d'oro (Prolog und 1. Akt)* (Guido Adler) **7 (1896):** *Gottlieb Mufat, Componimenti Musicali per il Cembalo* (Guido Adler) **8 (1897):** *Johann Jakob Froberger, Orgel- und Clavierwerke I* (Guido Adler) **9 (1897):** *Marc'Antonio Cesti, Il Pomo d'oro (2.*–*5. Akt)* **(**Guido Adler) **10 (1898):** *Heinrich Isaac, Choralis Constantinus I* (Emil Bezecný, Walter Rabl) **11 (1898):** *Heinrich Ignaz Franz Biber, Violinsonaten 1681* (Guido Adler) **12 (1899):** *Jacob Handl (Gallus), Opus musicum I* (Emil Becezný, Josef Mantuani) **13 (1899):** *Johann Jakob Froberger, Clavierwerke II* (Guido Adler) **14/15 (1900):** *Trienter Codices I* (Guido Adler, Oswald Koller) **16 (1901):** *Andreas Hammerschmidt, Dialogi oder Gespräche der gläubigen Seele mit Gott I* (Anton W. Schmidt) **17 (1901):** *Johann Pachelbel, 94 Kompositionen für Orgel oder Clavier* (Hugo Botstiber, Max Seifert) **18 (1902):** *Oswald von Wolkenstein, Geistliche und weltliche Lieder* (Josef Schatz, Oswald Koller) **19 (1902):** *Johann Josef Fux, Instrumentalwerke I* (Guido Adler) **20 (1903):** *Orazio Benevoli, Festmesse und Hymnus zur Einweihung des Domes in Salzburg 1628* (Guido Adler) **21 (1903):** *Johann Jakob Froberger, Orgel- und Clavierwerke III* (Guido Adler) **22 (1904):** *Trienter Kodices II* (Guido Adler, Oswald Koller) **23 (1904):** *Georg Mufat, Concerti grossi I* (Erwin Luntz) **24 (1905):** *Jacob Handl (Gallus), Opus musicum II* (Emil Bezeczný, Josef Mantuani) **25 (1905):** *Heinrich Franz Biber, Violinsonaten II [Rosenkranzsonaten]* (Erwin Luntz) Neuausgabe: s. Bd. 153

**DTÖ 163.2 DTÖ 163.2**

**26 (1906):** *Antonio Caldara, Kirchenwerke* (Eusebius Mandyczewski) **27 (1906):** *Wiener Klavier- und Orgelwerke aus der zweiten Hälfte des 17. Jahrhunderts. Alessandro Poglietti, Ferdinand Tobias Richter, Georg Reutter der Ältere* (Hugo Botstiber) **28 (1907):** *Heinrich Isaac, Weltliche Werke* (Johannes Wolf) **29 (1907):** *Michael Haydn, Instrumentalwerke I* (Lothar Herbert Perger) **30 (1908):** *Jacob Handl (Gallus): Opus musicum III* (Emil Bececzný, Josef Mantuani) **31 (1908):** *Wiener Instrumentalmusik vor und um 1750 I* (Karl Horwitz, Karl Riedel) **32 (1909):** *Heinrich Isaac, Choralis Constantinus II* (Anton von Webern) Mit einem Nachtrag zu den weltlichen Werken (Johannes Wolf) **33 (1909):** *Johann Georg Albrechtsberger: Instrumentalwerke* (Oskar Kapp) **34/35 (1910):** *Johann Josef Fux, Costanza e fortezza* (Egon Wellesz) **36 (1911):** *Ignaz Umlauf, Die Bergknappen* (Robert Haas) **37 (1911):** *Österreichische Lautenmusik im XVI. Jahrhundert* (Adolf Koczirz) **38 (1912):** *Trienter Codices III* (Guido Adler) **39 (1912):** *Wiener Instrumentalmusik vor und um 1750* (Wilhelm Fischer) **40 (1913):** *Jacob Handl (Gallus), Opus musicum IV* (Emil Bececzný, Josef Mantuani) **41 (1913):** *Gesänge von Frauenlob, Reinmar v. Zweter und Alexander* (Heinrich Rietsch) **42–44 (1914):** *Florian Leopold Gassmann, La Contessina* (Robert Haas) **44a (1914):** *Christoph Willibald Gluck, Orfeo ed Euridice* (Hermann Abert) **45 (1915):** *Johann Michael Haydn, Drei Messen. Missa Sti. Francisci, Missa in Dominica Palmarum, Missa in Tempore Quadragesimae* (Anton Maria Klafsky) **46 (1916):** *Antonio Draghi, Kirchenwerke* (Guido Adler) **47 (1916):** *Johann Josef Fux, Concentus musico-instrumentalis* (Heinrich Rietsch) **48 (1917):** *Jacob Handl (Gallus): Opus musicum V* (Emil Bececzný, Josef Mantuani) **49 (1918):** *Messen von Heinrich Biber, Heinrich Schmeltzer, Johann Caspar Kerll* (Guido Adler) **50 (1918):** *Österreichische Lautenmusik zwischen 1650 und 1720* (Adolf Koczirz) **51/52 (1919):** *Jacob Handl (Gallus): Opus musicum VI* (Emil Bececzný, Josef Mantuani) **53 (1920):** *Trienter Codices IV* (Rudolf Ficker, Alfred Orel)

**54 (1920):** *Das Wiener Lied von 1778 bis Mozarts Tod* (Margarete Ansion, Irene Schlafenberg)

**55 (1921):** *Johann Ernst Eberlin, Oratorium Der blutschwitzende Jesus* (Robert Haas)

**56 (1921):** *Wiener Tanzmusik in der zweiten Hälfte des siebzehnten Jahrhunderts. Johann Heinrich Schmeltzer, Johann Josef Hofer, Alexander Poglietti* (Paul Nettl)


**59 (1923):** *Drei Requiem für Soli, Chor, Orchester aus dem 17. Jahrhundert. Christoph Straus, Franz Heinrich Biber, Johann Caspar Kerll* (Guido Adler)

**60 (1923):** *Christoph Willibald Gluck, Don Juan* (Robert Haas)

**61 (1924):** *Trienter Codices V* (Rudolf Ficker)

**62 (1925):** *Michael Haydn, Kirchenwerke* (Anton Maria Klafsky)

**63 (1925):** *Johann Strauss Sohn, Drei Walzer. "Morgenblätter", "An der schönen blauen Donau", "Neu-Wien"* (Hans Gál)

**64 (1926):** *Deutsche Komödienarien 1754*–*1758 I* (Robert Haas)

**65 (1926):** *Josef Lanner, Ländler und Walzer* (Alfred Orel)

**66 (1927):** *Johann Schenk, Der Dorfbarbier* (Robert Haas)

**67 (1928):** *Emanuel Aloys Förster, Kammermusik* (Karl Weigl)

**68 (1928):** *Johann Strauss Vater, Acht Walzer* (Hans Gál)

**69 (1929):** *Stefano Bernardi, Kirchenwerke* (Karl August Rosenthal)

**70 (1929):** *Paul Peuerl – Isaac Posch, Instrumental- und Vokalwerke* (Karl Geiringer)

**71 (1930):** *Lieder von Neidhart (von Reuenthal)* (Wolfgang Schmieder, Edmund Wiessner)

**72 (1930):** *Das deutsche Gesellschaftslied in Österreich von 1480 bis 1550* (Leopold Nowak, Adolf Koczirz, Anton Pfalz)

**73 (1931):** *Blasius Amon, Kirchenwerke I* (Caecilianus Huigens)

**74 (1931):** *Josef Strauss, Drei Walzer* (Hugo Botstiber)

**75 (1932):** *Antonio Caldara, Kammermusik für Gesang* (Eusebius Mandyczewski)

**76 (1933):** *Trienter Codices VI* (Rudolf von Ficker)

**77 (1934):** *Italienische Musiker und das Kaiserhaus 1567*–*1625* (Alfred Einstein)

**78 (1935):** *Jacob Handl (Gallus), Sechs Messen* (Paul Amadeus Pisk)


**81 (1936):** *Carl Ditters von Dittersdorf, Instrumentalwerke* (Victor Luithlen)

**82 (1937):** *Christoph Willibald Gluck, L'innocenza giustifcata* (Alfred Einstein)

**83 (1938):** *Florian Leopold Gassmann, Kirchenwerke* (Franz Kosch)

**EdM 2/1 (1942):** *Das Erbe deutscher Musik, Zweite Reihe: Alpen- und Donau-Reichsgaue, Band 1 (1942). Wiener Lautenmusik im 18. Jahrhundert* (Adolf Koczirz)


**86 (1949):***Tiroler Instrumentalmusik im 18. Jahrhundert. Georg Paul Falk, Johann Elias de Sylva, Franz Sebastian Haindl, Nonnosus Madlseder, Stefan Paluselli* (Walter Senn)

**87 (1951):** *Nicolaus Zangius, Geistliche und weltliche Gesänge* (Hans Sachs, Anton Pfalz)

**88 (1952):** *Georg Reutter d.J., Kirchenwerke. Missa S. Caroli, Requiem in C-Moll, Salve Regina, Ecce quomodo moritur* (Norbert Hofer)

**89 (1953):** *Georg Mufat, Armonico tributo 1682. Sechs Concerti grossi 1701* (Erich Schenk)

**90 (1954):** *Niederländische und italienische Musiker der Grazer Hofkapelle Karls II. (1564*–*1590)* (Hellmut Federhofer, Rudolf John)

**91 (1955):** *Antonio Caldara, Dafne* (Constantin Schneider, Rudolf John)

**92 (1956):** *Heinrich Ignaz Franz Biber, Harmonia artifciosa-ariosa diversimode accordata* (Paul Nettl, Friedrich Reidinger)

**93 (1958):** *Johann Heinrich Schmelzer, Sonatae unarum fdium 1664. Violinsonaten handschriftlicher Überlieferung* (Erich Schenk)

**94/95 (1959):** *Jacobus Gallus, Fünf Messen zu acht und sieben Stimmen* (Paul Amadeus Pisk)

**96 (1960):** *Heinrich Ignaz Franz Biber, Mensa Sonora seu musica instrumentalis, sonatis aliquot liberius sonantibus ad mensam (1680)* (Erich Schenk)

**97 (1960):** *Heinrich Ignaz Franz Biber: Fidicinium Sacro-Profanum tam choro, quam foro pluribus fdibus concinnatum et concini aptum (1683)* (Erich Schenk)

**98 (1961):** *Jacobus Vaet, Sämtliche Werke I* (Milton Steinhardt)

**99 (1961):** *Arnold von Bruck, Sämtliche lateinische Motetten und andere unedierte Werke* (Othmar Wessely)

**100 (1962):** *Jacobus Vaet, Sämtliche Werke II* (Milton Steinhardt)

**101/102 (1962):** *Geistliche Solomotetten des 18. Jahrhunderts*  (Camillo Schoenbaum)

**103/104 (1963):** *Jacobus Vaet, Sämtliche Werke III* (Milton Steinhardt)

**105 (1963):** *Johann Heinrich Schmelzer, Duodena selectarum sonatarum (1659). Werke handschriftlicher Überlieferung*  (Erich Schenk)

**106/107 (1963):** *Heinrich Ignaz Franz Biber, Sonatae tam Aris quam Aulis Servientes (1676)* (Erich Schenk)

**108/109 (1964):** *Jacobus Vaet, Sämtliche Werke IV* (Milton Steinhardt)

**110 (1964):** *Tiburzio Massaino, Liber primus cantionum ecclesiasticarum (1592). Drei Instrumentalcanzonen (1608)* (Rafaello Monterosso)

**111/112 (1965):** *Johann Heinrich Schmelzer, Sacro-profanus Concentus musicus fdium aliorumque instrumentorum (1662)* (Erich Schenk)

**113/114 (1966):** *Jacobus Vaet, Sämtliche Werke V* (Milton Steinhardt)


*Ausgewählte Instrumentalwerke* (Erich Schenk) **125 (1973):** *Frühmeister des Stile Nuovo in Österreich. Bartolomeo Mutis conte di Cesena, Francesco Degli Atti,* 

*Giovanni Valentini* (Othmar Wessely) **126 (1976):** *Hieronymus Bildstein:* 

	- *Motetten für vier Stimmen (A–I)*
	- (Scott Lee Edwards, Stefan Gasch, Sonja Tröster)

**163.2 (2022):** *New Senf Edition 2 Ludwig Senf*


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