# **DENKMÄLER DER TONKUNST IN ÖSTERREICH** BAND 163.3

# **NEW SENFL EDITION 3**

# LUDWIG SENFL **MOTETS FOR FIVE VOICES**

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

## DTÖ 163.3

**DTÖ 163.3**

DENKMÄLER DER TONKUNST

IN ÖSTERREICH

# DENKMÄLER DER TONKUNST IN ÖSTERREICH

begründet von **GUIDO ADLER**

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

**BAND 163** NEW SENFL EDITION

**DENKMÄLER DER TONKUNST IN ÖSTERREICH** BAND 163.3

# **NEW SENFL EDITION 3**

# LUDWIG SENFL **MOTETTEN FÜR FÜNF STIMMEN**

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

**DENKMÄLER DER TONKUNST IN ÖSTERREICH** VOLUME 163.3

**DENKMÄLER DER TONKUNST**

**IN ÖSTERREICH**

BAND 163.3

**NEW SENFL EDITION 3**

LUDWIG SENFL

**MOTETTEN FÜR FÜNF STIMMEN**

Herausgegeben von

**SCOTT LEE EDWARDS**

**STEFAN GASCH**

**SONJA TRÖSTER**

# **NEW SENFL EDITION 3**

# LUDWIG SENFL **MOTETS FOR FIVE VOICES**

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 Aufführungen der in diesem Band veröffentlichten Werke sind die Denkmäler der Tonkunst in Österreich als Quelle auf Programmen, in Ansagen usw. zu nennen.

> Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 792-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 979-0-50270-023-2 ISBN 978-3-99012-945-6 ISSN 2616-8987

### TABLE OF CONTENTS



#### CRITICAL APPARATUS


### GENER A L INTRODUCTION AND ACKNOWLEDGEMENTS

Ludwig Senfl (*c.*1490–1543) can be regarded as a leading figure in the world of German-speaking composers between Heinrich Isaac and Orlando di Lasso as well as a European composer of the first 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, Senfl built the Munich *Hofkapelle* into a professional ensemble modelled, in regard to repertoire and organisation, on the imperial chapel.

Senfl's significance was already recognised in the nineteenth century, yet two efforts to publish his works in a modern edition were prematurely discontinued. These editions therefore provide only a fraction of Senfl'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 Senfl Edition seeks to fulfil.

Critical preliminary work for a complete edition of Senfl'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. This publication (herein referred to as the Senfl Catalogue or SC) provides an essential foundation for the documentation of works and sources in the New Senfl Edition.

The 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 final 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

**\*\*\***

The 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 financial assistance (P 27469), the work of the edition would not have been possible. The 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 Senfl'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, Bischöfliche Zentralbibliothek, Proskesche Musikabteilung (Raymond Dittrich)

Stuttgart, Württembergische Landesbibliothek (Arietta Ruß)

Wien, Österreichische Nationalbibliothek (Thomas Leibnitz)

Wien, Fachbereichsbibliothek Musikwissenschaft, Universitätsbibliothek Wien (Benedikt Lodes)

Zwickau, Ratsschulbibliothek (Gregor Hermann)

As heads of publications for the Denkmäler der Tonkunst in Österreich, Martin Eybl and Birgit Lodes have placed their trust in our work. They 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 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 Senfl 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.

The Editors Vienna, March 2022

### INTRODUCTION

### EXPANDING THE TEXTURE, MASTERING THE SOUND: LUDW IG SENFL'S MOTETS FOR FI V E VOICES

The repertoire of five-voice motets by Ludwig Senfl, fully edited in the present volume for the first time, casts new light on the composer by expanding our view of his multifaceted body of work in the genre. Once again, text, music, and cantus firmus are closely related components, whose layers of immanent meaning converge with one another in a variety of ways. On the surface, Senfl's numerous canonic and quasi-canonic works demonstrate his interest in challenging compositional techniques, while his polytextual compositions harness the interpenetration of diverse musical material to emphasise a message or meaning. Works alluding to Josquin highlight Senfl's ongoing engagement with his role model, often expressed through the expansion of self-imposed compositional problems, the pursuit of independent solutions, or even his mastery over their means of expression. The motets presented here reveal Senfl not just as a musician at the forefront of text-based sonic effects, compositional innovations and their rhythmic realisation, but moreover as one who understood the application of these techniques in the spirit of a musical pastor, adroitly harnessing the poetic structure of psalms, exegesis, or intertextual relationships in the design of a work.

Senfl turned his attention with increased intensity from four-voice to five-voice motet writing beginning in the 1520s and mobilised a range of compositional techniques to achieve this textural expansion: free imitative settings, cantus firmi framed by paired imitative voices, canon or quasi-canon in two or three voices, the broader application of simultaneous cantus firmi, the use of ostinato structures, or the climactic textural amplification from four to five voices. He deployed these techniques to enhance and diversify the sonorous impact of his motets or deepen their meanings through associative juxtaposition, and in doing so he became a standard-bearer for other composers in Central Europe. As in his four-voice œuvre, the majority of his fivevoice motets are antiphon settings, but we also find among them settings of hymns, psalms, Marian prayers, other biblical and liturgical texts, a humanist poem by the Lutheran theologian Veit Dietrich, sacred lieder, and one of several compositions based on the tenor of the Italian song *Fortuna desperata* attributed to the composer.1 The range of his fivevoice motets mirrors the diverse liturgical, para-liturgical, and non-liturgical circumstances2 in which these motets were performed, whether in courtly or civic ceremony, for private devotion, in scholastic settings, as instrumental arrangements, or for worship ranging across the sixteenth-century confessional spectrum.

#### **From Court to Public Sphere: The Sources of Senfl's Five-Voice Motets**

Senfl's five-voice motets survive in 78 manuscripts and 18 prints, in addition to 14 manuscript and printed tablatures for lute and keyboard. The geographical topography of the manuscripts provides important evidence for how these motets circulated. A high density of sources originated in the vicinity of Senfl's employment (20 manuscripts from the ducal court in Munich and the free imperial cities of Augsburg and Regensburg) and in Saxony (21 manuscripts from the cities of Glashütte, Leipzig, Meißen, Pirna, Torgau, Wittenberg, Zwickau). Here, in Central Germany, an especially high number of works can be found in sources from scholastic institutions, such as the Fürstenschule St. Afra in Meißen or the Thomasschule in Leipzig. This scholastic background is shared by other manuscripts compiled for the Gymnasium Poeticum in the south German city of Regensburg and the Poetenschule in Salzburg. Senfl's motets, however, also survive in sources from the Württemberg court in Stuttgart (four manuscripts) and the city of Breslau (today Wrocław, six manuscripts), as well as in sources dispersed across the neighbouring kingdoms of Denmark, Poland, Bohemia, and Upper Hungary.

The international distribution of the five-voice motets speaks both to the quality of the works and to the high esteem in which Senfl was held across the Central European map. His pre-eminence arose from various circumstances, including his personal correspondence with Martin Luther or the central place accorded his music in early printed motet anthologies, and widespread appreciation for his works is manifest through his connections to other representatives of the early Reformation period, as demonstrated by the group of 'Walter-Handschriften' and his correspondence with Albrecht of Prussia, partially carried out on Senfl's behalf by his colleague Lucas Wagenrieder (see Plate 24).

In regard to the dating of sources, a chronological difference distinguishes the sources for five-voice motets from those transmitting his four-voice motets. With the excep-

<sup>1</sup> Although the attribution of \**O crux, ave / Fortuna* (SC \*M 71 attr.) to Senfl by Martin Staehelin remains a subject of debate, Senfl's authorship of seven other *Fortuna* settings (SC S 106, 108–13) is secure. See Staehelin 1973: 86 as well as the Critical Report in NSE 3.17.

<sup>2</sup> A striking absence in this volume is the genre of 'Staatsmotette' as defined by Albert Dunning, which, in fact, appears rarely in Senfl's œuvre. Dunning 1969.

tion of two early manuscripts, all other sources date primarily from the second and third quarters of the sixteenth century: from the period around 1520, the manuscripts V-CVbav Cod. Vat. lat. 11953 and the 'Pernner Codex' (D-Rp C 120) include only two five-voice motets (*Salva nos, Domine, vigilantes*, SC M 94; NSE 3.24 along with the questionably attributed \**O crux, ave, spes unica* / *Fortuna*, SC \*M 71; NSE 3.17), while the Zwickau source D-Z 81/2, which dates from the second quarter of the sixteenth century and shares several concordances with the 'Pernner Codex', transmits none. On this basis, it is reasonable to assume that Senfl amplified his focus on five-voice motet composition around 1520,3 an assessment which is also evident in the greater variety of musical textures found in the fivevoice motets.

Among the sources transmitting this body of work, the Munich choirbooks again provide invaluable direct testimony to musical performance at the ducal court in Munich during Senfl's tenure there. The two choirbooks D-Mbs Mus.ms. 10 and 12 are closely related manuscripts: Martin Bente has already drawn attention to the similar editorial approach in these two choirbooks,4 which transmit motets by Josquin and Senfl exclusively. The motets were compiled in fascicles and may have been used as such in the court chapel before they were bound together in the mid-1530s.5 The 'Motettorum Liber Primus' (Mus.ms. 12)6 contains a primarily Marian repertoire, arranged according to the number of voices, while the 'Motettorum Liber Secundus' (Mus.ms. 10) is almost entirely devoted to music in honour of Christ (including the *Quinque Salutationes Domini Nostri Jesu Christi*, SC M 8; NSE 1.3). The compilation of the two volumes thus provide a concrete repertoire of works for the veneration of Mary and Christ at the court of Duke Wilhelm IV.

A specific program evident in the two choirbooks clarifies the order of the motets as part of a larger overall concept: Mus.ms. 12, the 'Marian choirbook', opens with a three-part *Verbum caro factum est*, the final response for Matins on Christmas Day, which addresses the motherhood of Mary and the incarnation of Christ. This dual perspective continues in Josquin's *Pater noster*/*Ave Maria*, which is followed by Senfl's six-voice adaptation of Josquin's *Ave, Maria … Virgo serena* (SC M 9; NSE 4.1), *Mater digna Dei*/*Ave, sanctissima Maria* (SC M 56; NSE 3.10), and *Ave, Rosa sine spinis* (SC M 10; NSE 3.1). Those four motets not only translate the traditional prayers into music, but in each case also conclude with a clear supplication, reflecting how intrinsic such petitions were to sixteenth-century piety, a preoccupation abundantly manifest in both music and the visual arts. Moreover, the *Pater noster* and *Ave Maria* are precisely those texts endowed in 1490 as a *Salve* devotion by Wilhelm's father in honour of late members of the Wittelsbach family.7 According to the ducal endowment, the largest bell was to be rung first, followed by recitation of a *Pater noster* and an *Ave Maria* in memory of the deceased ancestors of the duke, then the *Salve* 'in mensuris', and finally a *Miserere* intoned by the clergy, schoolmaster and cantor in honour of Emperor Ludwig IV of Bavaria (1282/6–1347), the latter of which appears in a polyphonic setting by Senfl in the 'Christian choirbook' D-Mbs Mus.ms. 10 (SC M 58; NSE 3.12). Wilhelm IV maintained the tradition of Marian devotion championed by his father and expanded it on a large scale, especially around the mid-1520s. Traces of a growing need for paraliturgical polyphonic music can be found in the choirbook D-Mbs Mus.ms. 34, which contains only *Salve* settings,8 as well as in Senfl's Magnificat cycle (NSE 5), which may have originated at this time.9 With this music, the singers would thus have sung not only for the salvation of living and deceased members of the Wittelsbach family, but also for themselves.

Other manuscript sources attesting to the high regard for Senfl's five-voice motets beyond the ducal court include the 'Eisenacher Kantorenbuch' (D-EIa s.s.); a set of partbooks from the Thomasschule in Leipzig (D-LEu Thomaskirche 49/50); the so-called 'Walter-Handschriften' (D-GOl Chart. A 98, D-Ngm 83795 [T], D-Ngm 83795 [B], D-WRhk MS B, PL-Kj Mus. ms. 40013, PL-Kj Mus. ms. 40043), all of which originated in Torgau; and the manuscripts of the Fürstenschule St. Afra in Meißen (Saxony).10 These partbook sets from Leipzig and Meißen affirm that in Protestant areas, Senfl's music occupied an especially important place in schools, whether used for musical instruction or for worship. In southern German-speaking lands, other manuscripts transmitting Senfl's five-voice motets from the Gymnasium Poeticum in Regensburg and the Poetenschule in Salzburg were prepared for similar purposes.

Among printed sources transmitting five-voice motets, only a third were issued during the composer's lifetime.11 The most important city for the printing of Senfl's motets is Nuremberg. Before and after his death, 66 anthologies including compositions by Senfl were published in this important printing centre, primarily by the printshops of

<sup>3</sup> The only exception for a motet with larger scoring before 1520 is the six-voice *Sancte pater, divumque decus*/ *Sancte Gregori, confessor Domini* (SC M 103; NSE 4.11). It was possibly composed in 1516 and appeared just once in print in the *Liber selectarum cantionum* (Augsburg: Sigmund Grimm and Marx Wirsung, 1520; RISM 15204).

<sup>4</sup> Bente 1968: 63–70.

<sup>5</sup> A clue is provided in D-Mbs Mus.ms. 10 by *Qui prophetice prompsisti*, whose three parts were not completed before 1537 but are nevertheless included in Mus.ms. 10. SC 2: 72–3.

<sup>6</sup> This original title, once found on the outside cover of the choirbook, is now pasted on the inside cover.

<sup>7</sup> The endowment had existed since 1486 but was renewed in 1490. *Monumenta Boica* 1811, no. 378: 696–8; see also Söhner 1934: 7–8. The tentative programme of the two choirbooks was first observed in Gasch 2016.

<sup>8</sup> The choirbook was prepared in the workshop of Petrus Alamire. Kellman 1999: 118.

<sup>9</sup> Gasch 2017.

<sup>10</sup> Moritz von Sachsen founded the Fürsten- und Landesschulen St. Afra in Meißen, Schulpforta (Naumburg), and St. Augustin in Grimma in 1543 to prepare boys for university. Heidrich 2002: 97–9; Menzel 2017.

<sup>11</sup> Among them is Brown 1533₁, which provides an intabulation for lute of Senfl's *Nisi Dominus*.

Hieronymus Formschneider, Johannes Petreius, and Johann vom Berg and Ulrich Neuber.12 Outside Nuremberg, only two other printers issued five-voice works by Senfl in motet anthologies: Georg Rhau in Wittenberg (RISM 153914) and Philipp Ulhart in Augsburg (RISM 15452).

In contrast to manuscript sources, which exhibit depth and variety in the transmission of Senfl's five-voice motets, printed sources are relatively circumscribed in terms of the numbers of five-voice motets they transmit. This reduction in numbers is partially due to differences between sixteenth-century and modern definitions of the term 'motet'. The first printed motet anthology in German-speaking lands, the *Liber selectarum cantionum* (Augsburg: Sigmund Grimm and Marx Wirsung, 1520) (RISM 15204), a print in which Senfl seems to have played a direct role in assembling, includes six settings by Senfl and is therefore an important early source for Senfl's motets. This print includes one five-voice setting by the composer, *Gaude Maria Virgo*  (SC P 102). Although the table of contents for this source describes all of its settings as 'mutetae', *Gaude Maria Virgo*  is structured as a responsory for the Feast of the Purification of the Virgin and will therefore be published in a future volume of mass proper settings. A similar situation holds for Senfl's five-voice *Grates nunc omnes* (P 5c), a sequence for the Nativity of Christ that Georg Forster edited in his *Selectissimarum mutetarum partim quinque partim quatuor vocum tomus primus* (Nuremberg: Johannes Petreius, 1540) (RISM 15406). Although most of the 18 prints transmitting Senfl's five-voice motets provide only one such setting, many of these sources include other motets by the composer for differing numbers of voices or, especially in the case of tablatures, Senfl's lieder, which circulated in profusion through at least twelve known prints between the years 1520 and 1537.

Of fundamental importance for the circulation of the composer's five-voice motets is the first volume of Hans Ott's *Novum et insigne opus musicum* (RISM 15371). It is only the second motet anthology published in the German-speaking lands, after the early *Liber selectarum*, and includes five motets for five voices among its thirteen compositions attributed to Senfl. Ott included an additional five-voice motet in the second volume of this anthology, *Secundus tomus novi operis musici* (RISM 15383), alongside four other motets ascribed to the composer (one of which, Costanzo Festa's *Quis dabit oculis nostris*, no. 32, Ott misattributes to Senfl). The contents of these volumes were highly influential on manuscript anthologies, in which much of this repertoire was copied. In the second volume of the revised and expanded new edition of Ott's anthology published in 1559 (RISM 15591), issued by Johann vom Berg and Ulrich Neuber more than ten years after Ott's decease, only the two five-voice motets *Ave, Rosa sine spinis* and *Qui prophetice prompsisti* are included from the earlier edition, but augmented by a motet that Johannes Petreius had first printed in Forster's *Selectissimarum mutetarum* referenced above (RISM 15406), *O admirabile commercium* (SC M 69; NSE 3.16).

Like Hans Ott, Georg Forster was an advocate of Senfl's music, even if he was not always accurate in his attributions. In addition to five settings in RISM 15406, Forster included four settings attributed to Senfl, among them *Ne reminiscaris, Domine* (SC M 63; NSE 3.14) from the present volume and the three- to six-voice canon *Laudate Dominum omnes gentes* (SC M 52; NSE 4.21), in his three-volume series *Psalmorum selectorum* (RISM 15386, 15399, and 15426), also printed by Petreius. One of these motets, *Deus in adiutorium*, first printed in the *Liber selectarum*, is, however, more likely the work of Nicolas Champion, while the four-voice *In Domino confido* attributed by Forster in the index to Senfl is instead by Jacquet of Mantua.

After publication of the final volume of the *Psalmorum selectorum* in 1542, the next known appearance of a fivevoice motet by Senfl in print is *Quomodo fiet istud* (SC M 91; NSE 3.23) in the anthology *Concentus octo, sex, quinque & quatuor vocum* (Augsburg: Philipp Ulhart, 1545) (RISM 15452), edited by Sigmund Salminger. *Quomodo fiet istud* appeared subsequently twice more in print: in Hermann Finck's *Practica musica* (Wittenberg: Georg Rhau's heirs, 1556), where it is used to illustrate canon in both *tempus perfectum* and *tempus imperfectum*, and then again twelve years later in the *Cantiones triginta* (Nuremberg: Ulrich Neuber, 1568) (RISM 15687) edited by Clemens Stephani, another later champion of Senfl's music. But in terms of popularity and longevity, it is Senfl's *Qui prophetice prompsisti* that circulated most widely of all in print, primarily through books of tablatures. Following its first printed appearance in Ott's *Novum et insigne opus musicum* in 1537, Hans Newsidler provided an intabulated version in the third volume of his *Lautenbüchlein* (Brown 15443). This was followed by three more intabulations for lute between 1547 and 1558, one of which, Simon Gintzler's *Intabolatura de lauto* (Brown 15473), printed in Venice by Antonio Gardano, represents the first of only two sixteenth-century sources issued in Venice to include compositions by Senfl (the second being Ludovico Zacconi's *Prattica di musica* of 1592). After the reissue of *Qui prophetice prompsisti* in the revised version of Ott's anthology in 1559, intabulations of the motet were reprinted at least three more times: in 1574 for lute by Melchior Newsiedler, and twice in 1583 for organ by Jacob Paix (Brown 15834) and Johannes Rühling von Born (Brown 15836). In each instance, the order of the motet's three parts follows the order first published by Ott in 1537 and repeated by Berg and Neuber in 1559, which places the third part of the motet first (see the discussion at the end of this introduction), a testament to the lasting impact of these

<sup>12</sup> Other printers of Senfl's motets are Hans Guldenmundt (Brown 1540₁), Hans Günther (Brown 1544₁–₂), Christoph Gutknecht (Brown 1547₄), Julius Paulus Schmidt (Brown 1549₆), and Theodor and Katharina Gerlach (RISM 15671, RISM 15691, Brown 1583₂). Theoretical writings published in Nuremberg with examples by Senfl include two books by Sebald Heyden (*Musicae id est artis canendi* and *De arte canendi* (Johannes Petreius, 1537 and 1540, respectively)), Ambrosius Wilphlingseder's *Erotemata musices* (Christoph Heussler, 1563), Johannes Rivius's *Institutionum grammaticarum* (Ulrich Neuber/Theodor Gerlach, 1566), and Andreas Raselius's *Hexachordum* (Katharina Gerlach, 1589). See SC 2: 380–3.

motet anthologies in disseminating and popularising Senfl's music.13

#### **Preaching the Psalter: Senfl's Psalm Motets**

Defined as polyphonic elaborations of complete or integral portions of psalm texts, psalm motets marked a path-breaking innovation in sixteenth-century composition, in which Senfl, following the model of Josquin, played an essential role.14 The genre, which grew in stature after the turn of the century, capitalised on the liturgical independence15 and flexibility of the psalter's expressive poetic texts as well as its personal narrative style, which contributed to the advancement of the genre as an innovative 'art of expression' ('Ausdruckskunst').16 New interest in the textual and contextual meaning of the psalter made the psalm motet, in turn, an ideal instrument for the vivid elaboration of biblical texts and a vehicle for memorising religious teaching, a development that was by no means limited to adherents of reformed faiths.

Freedom from cantus-firmus construction gave the composer licence to employ a range of contrapuntal techniques and to craft exegetical settings, which, in view of the impending threats from the Ottoman Empire and Reformations, became a mirror for individual experience in the face of contemporary political and religious upheavals. The musical heightening of textual content was grounded in the two-part structure of the psalm verse and—as manifest in the combination of psalmody with polyphony—realised in a syllabic text setting that often features the conspicuous juxtaposition of paired duos or compositional forms based on ostinati or refrains, precisely those compositional principles found in *Ecce quam bonum* (SC M 38; NSE 1.20), *Miserere mei, Deus* (SC M 58; NSE 3.12), or *Omnes gentes, plaudite manibus* (SC M 79; NSE 3.21).

New and intensive study of the psalter in the sixteenth century—a phenomenon reflected in the numerous publications of psalm exegeses—was thus complemented by the production of printed anthologies of psalm motets in the 1530s for Catholic and reformed worship alike.17 As valuable elaborations of sacred texts for personal use in the practical world, psalm settings were versatile compositions that could be performed in a variety of contexts, and, as the source transmission of Senfl's body of work in this genre confirms, were enthusiastically received across the Catholic-Reformation divide.

Eleven of Senfl's psalm motets survive today, along with *Laudate Dominum, omnes gentes* (SC M 52; NSE 4.21), a three-voice canon which expands to a six-voice setting of the complete Psalm 116.18 Senfl's intensive engagement with the genre of psalm motet, as well as his indebtedness to the innovations of Josquin in this subgenre, is evident in two sources bringing together compositions by both composers: the 1520 *Liber selectarum* and the Munich choirbook D-Mbs Mus.ms. 10. Senfl includes two of his own four-voice psalm settings in the *Liber selectarum*, his earliest known forays into the genre, *Usquequo Domine* (SC M 118; NSE 2.53), and *Beati omnes* (i) (SC M 12; NSE 1.5), and positions them as the penultimate and final motets in the volume, as if to signal the novel compositional step forward for the composer they represent. Two other psalm motet settings in the *Liber selectarum* are ascribed to Josquin: the five-voice *Miserere mei, Deus*, and a four-voice *De profundis clamavi*, whose attribution to Josquin is no longer accepted.19 Josquin's *Miserere mei, Deus* is likewise found in D-Mbs Mus.ms. 10, along with four additional psalm motets by Senfl: the fourvoice *Deus, in adiutorium* (SC M 32; NSE 1.14) and *Ecce quam bonum*, and two five-voice settings edited in the present volume: *Miserere mei, Deus* and *De profundis clamavi* (ii) (SC M 29; NSE 3.6).

Senfl's internalisation and refinement of Josquin's composing procedures is apparent, above all, in *Miserere mei, Deus*, a reworking of Josquin's original setting of the same text.20 Both works divide the psalm into three *partes* and feature an ostinato on the opening words 'miserere mei, Deus' sung by a tenor voice in either an ascending or descending stepwise pattern of pitches in each *pars* and once, in the *secunda pars*, in diminution. This ostinato derives from the opening point of imitation in both settings where the phrase is first sung. While Josquin's ostinato is based on a relatively static psalm tone recitation, Senfl opts for a more artfully conceived melody, possibly based on psalm tone 4 (see this volume, Critical Report no. 12) but reworked to begin with a striking upward leap of a third. Other refer-

<sup>13</sup> Paix subsequently included an intabulation of *O sacrum convivium* (ii) (NSE 3.20), a setting transmitted without attribution in RISM 15371, in his *Thesaurus motetarum* of 1589 (Brown 1589₆), the only sixteenth-century source to attribute this setting to Senfl (see Plate 21). It is possible that this attribution results from his interpretation of the table of contents in Ott's anthology, where Senfl's name is listed in conjunction with *Ave, Rosa sine spinis* (no. 22 in Ott's anthology), and the titles of compositions numbered 23–6 (*O sacrum convivium* (ii) appears as no. 24) are given no attributions. See this volume, Critical Report no. 20.

<sup>14</sup> On the history and development of the psalm motet in the German-speaking lands, see Dehnhard 1971; for an overall overview of the repertoire, see Nowacki 1979; for a discussion on the aesthetics of the psalter as the reason for the new interest in the genre, see Finscher 1995; see also Steele 1993.

<sup>15</sup> There is still no clear picture of the liturgical performance of motets. Jürgen Heidrich (1998: 134 n. 2) is critical of the thesis implied by Nowacki 1979: 179–80 in Table IV and followed by Ludwig Finscher, that motets which include the Doxology were used in the liturgy. Still today this thesis remains in question.

<sup>16</sup> Heidrich 1998: 113; Finscher 1995.

<sup>17</sup> Especially noteworthy here are the three motet anthologies printed in Nuremberg between 1538 and 1542 by Johannes Petreius (RISM 15386, 15399, 15426) which contain 113 psalm settings, including works by Senfl; see Teramoto 1983 and Teramoto/Brinzing 1993. For Philip Melanchthon's theological understanding of psalms in the 1530s, see Groote 2013: 235–7; for the use of psalms in private Catholic settings (including Senfl's *Nisi Dominus* compositions), see Lodes 2012 and Lodes 2018.

<sup>18</sup> Compositions setting only a section of a psalm, such as *De profundis* (i) (SC M 28; NSE 1.12), are not included in this total.

<sup>19</sup> The setting is currently believed to be the work of Nicolas Champion. NJE 15.11, CC.

<sup>20</sup> A comparison of these two settings can be found in Fuhrmann 2012: 332–5.

ences to Josquin include the three-voice setting incorporating a canon for the verse 'ecce enim: veritatem dilexisti; incerta et occulta sapientiae tuae manifestasti mihi' ('for behold: thou hast loved truth; the uncertain and hidden things of thy wisdom thou hast made manifest to me') to evoke the Trinitarian mystery, or the psalm-tone-like recitation of the first point of imitation in the *tertia pars* of both settings. Senfl's overall design, however, is at once more subtle and textually associative: in Josquin's setting, the surrounding voices interrupt the psalm text to join the tenor 1 in singing the ostinato, transforming it into a refrain, whereas in Senfl's setting, the tenor 1 alone sings the ostinato in longer note values as the other voices continue uninterrupted with the psalm text. By embedding the repeated plea for mercy within the unfolding psalm text, Senfl deftly underscores the very act of psalm recitation itself as insurance of the gift of deliverance.

In this manner, Senfl also eschews the block-like compositional structure of Josquin's setting with its clearly demarcated symmetries, vocal groupings, and caesuras in favour of a flowing structure that blurs these markers through larger, more texturally varied musical units. Nevertheless, many of the essential characteristics of psalm settings as defined by Josquin remain in Senfl's approach: syllabic declamation; a sparing but telling use of rhetorical devices such as mimetic textual illustration; and a varied palette of contrapuntal textures that favours imitative vocal entries, makes frequent use of paired imitation, and turns to homophonic declamation to articulate the structure and give emphasis to phrases of special relevance.

These characteristics are also evident in the second fivevoice psalm setting by Senfl in D-Mbs Mus.ms. 10, *De profundis clamavi* (ii), whose five voices, which include two voices in the discantus range, contribute in equal measure to the overall texture. Besides *Miserere mei, Deus*, this is the only other penitential psalm for which Senfl is known to have provided a setting. It was probably composed not long before July 1535, when he sent this work, along with a copy of his four-voice *Deus, in adiutorium* and a now lost sixvoice setting of the antiphon *Quid retribuam, Domine*, to Albrecht, Duke of Prussia.21 Senfl had already edited a fourvoice *De profundis clamavi* for the *Liber selectarum*, where it is attributed to Josquin. Although now considered the work of Nicolas Champion, the setting was widely associated with Josquin's name in the sixteenth century, and, as Wolfgang Fuhrmann argues, the attribution in the *Liber selectarum* suggests that Senfl likely assumed Josquin's authorship as well.22 In contrast to the affinities shared by Josquin's and Senfl's versions of *Miserere mei, Deus*, Senfl's setting of *De profundis clamavi* departs substantially from the one included in the *Liber selectarum*: not only is it scored for the richer sonority of five voices instead of four, but it also strikes an exceptionally different tone from the beginning, with an opening point of imitation that rises stepwise from the depths of *f* to cry out to the Lord at the octave above in three of its voices (see Plates 7–8), in contrast to the Josquin/

Champion setting that sinks downward by leaps to a low *D* 

in the bassus to paint that very depth. In his sunnier reading of the motet, Senfl seems less concerned with portraying the sinner's pathos than he is in emphasising the confidence that comes with trust in the Lord.23 Senfl also opts not to include the lesser doxology that concludes the four-voice version by Josquin/Champion, which further distances his setting from association with the liturgy.24 Its high musical quality and broader applicability likely contributed to its wide transmission: it can be found in nineteen surviving manuscripts, one printed source, and two keyboard intabulations, making it the second most widely transmitted motet in Senfl's œuvre, after *Qui prophetice prompsisti* (SC M 88; NSE 3.22). This stands in stark contrast to Senfl's setting of *Miserere mei, Deus*, which is found uniquely in D-Mbs Mus.ms. 10, a suggestion that this latter psalm motet may have been conceived as elite *musica reservata* for the Munich court.

*De profundis clamavi* (ii) later became the subject of a five-voice parody mass, transmitted in three sources of (probable) Saxon origins, by the medical doctor Andreas Gründler.25 Gründler was following a precedent set by Senfl, not just by writing a parody mass based on Senfl's motet, but even by the choice of a psalm motet as the basis for a cyclic mass setting: when Senfl composed his first and only parody mass on his own four-voice *Nisi Dominus* (SC M 65; NSE 2.29) in the 1520s, he seems to have been one of the first composers ever to compose a cyclic mass on a psalm motet.26 In doing so, he thus staked out new compositional territory that would be further explored by successors such as Jacobus Clemens non Papa, Pierre de Manchicourt, Orlando di Lasso, Giovanni Pierluigi da Palestrina, and Hans Leo Hassler.27 Senfl composed the parody mass, and probably also the psalm setting, for the Fugger family, perhaps on the occasion of the wedding of Anton Fugger and Anna Rehlinger in 1527, making them the first known musical compositions dedicated to this prominent family.28 The first appearance of *Nisi Dominus* in print is in the form of a lute tablature in an anthology assembled by the Nuremberg lutenist Hans Gerle and printed by Hieronymus Form-

28 Lodes 2012: 386. On the possibility that the motet and mass were composed for the 1527 wedding, see Lodes 2018.

<sup>21</sup> Gasch 2012.

<sup>22</sup> Fuhrmann 2012: 336.

<sup>23</sup> Fuhrmann also argues that Senfl's reading of the psalm text is influenced by Lutheran ideas. Ibid.: 339.

<sup>24</sup> The lesser doxology concludes Senfl's setting of *Ecce quam bonum* as well as the two settings of *In exitu Israel* (SC M 47 and SC \*M 48 attr.; NSE 1.25 and 26) attributed to him.

<sup>25</sup> This parody mass can be found in D-Dl Mus. Pi Cod. VIII, the source that identifies his name in the index ('N. Grüntlerus Trojanus'), D-LEu Thomaskirche 49/50, and H-Bn Bártfa Ms. Mus. 24 III. In D-LEu Thomaskirche 49/50, the mass is copied directly after the altus of Senfl's motet. An edition is available in Youens 1984: 133–75. For more on Gründler, see this volume, Critical Report no. 6, 'Remarks'.

<sup>26</sup> Lodes 2012: 353; for a discussion of the transmission of Senfl's mass and motet and their significance in connection with Martin Luther's psalm exegesis, see Lodes 2020.

<sup>27</sup> In contrast to psalm motets, the genre of masses modelled on psalm motets has not yet been a topic of broader research.

Figure 1. *Hortulus animae* (Strasbourg: Johann Knobloch the Elder, 1516) [VD16 H 5064], fol. 39<sup>v</sup> (urn:nbn:de:bvb:12-bsb00009051-9).

schneider in 1533 (Brown 15331). Four additional tablature arrangements circulated in manuscripts of south German origins, one of which, D-B Mus. ms. 40632, bears the joint coats-of-arms of Wilhelm IV and Maria Jacobäa of Baden. The psalm motet was widely transmitted in mensural notation in south and central German as well as Bohemian sources. Instrumental to its widespread circulation was the inclusion of a five-voice version of the motet in Hans Ott's *Novum et insigne opus musicum* (RISM 15371), a source that also brings together *De profundis* (ii) along with three of Senfl's four-voice psalm motets (*Beati omnes qui timent Dominus* (ii) (SC M 13; NSE 1.6), *Deus, in adiutorium meum intende*, and *Ecce quam bonum*). Peculiarities of musical style in this added quintus, which occupies a range between tenor and bassus and functions as a *si placet* voice, suggests the hand of a composer other than Senfl.29 Since the fourvoice version represents the design of the motet as originally conceived by Senfl, both the four-voice and five-voice versions have been edited in the NSE. An alternative quintus voice transmitted in the surviving discantus and quintus partbooks of CZ-HKm MS II A 26, a source once in the possession of the literary brotherhood in the Bohemian royal town of Hradec Králové, is edited separately in the Critical Report for this motet in the present volume.

Although it seems never to have appeared in print, the last of Senfl's psalm motets in this volume, *Omnes gentes, plaudite manibus*, also enjoyed considerable popularity: it formed part of the repertoire of the Munich court chapel; the court chapels of Ludwig, Duke of Württemberg, and Philip I, Landgrave of Hesse; the Poetenschule in Salzburg; and it survives in four Saxon sources in addition to two in Regensburg. In designing this motet, Senfl returns to structural conceits found in *Miserere mei, Deus* and in his fourvoice *Ecce quam bonum*, composed for the Augsburg Reichstag of 1530. *Omnes gentes, plaudite manibus* sets the

<sup>29</sup> See this volume, Critical Report no. 15.

celebratory text of Psalm 46 by using the first half of the second verse (the first verse of the psalm functions as a superscription), 'Omnes gentes, plaudite manibus!', as a refrain between subsequent verses, a design similar to the one used for *Ecce quam bonum*, with a repetition of the complete verse at the motet's conclusion. As in his setting of *Miserere mei, Deus*, Senfl composes the tenor 1 as a periodic ostinato, here with alternating entries on *g* and *c*1, but by having all voices participate in singing the text of the ostinato as a refrain in imitation, Senfl underscores the noisy, festive occasion the psalm portrays. The clear declamatory settings of *Nisi Dominus* and *Omnes gentes, plaudite manibus*, their general orderliness and extroverted sonic projection (both with finals on *g*), are in keeping with the civicoriented nature of these psalm texts, whose respective references to urban safekeeping and communal celebration mark a striking contrast to the first-person devotional world conjured by his refined, inward settings of *Miserere mei, Deus* and *De profundis clamavi* (ii).

#### **Musical Prayers to the Virgin**

Alongside this new interest in psalm texts and settings, veneration of the Virgin Mary continued to flourish as both regional and social phenomena, but also as a popular form of personal devotion. The six Marian motets in the current volume document this sustained interest in Marian worship under Wilhelm IV. *Missus est Angelus Gabriel* (SC M 60; NSE 3.13), *Quomodo fiet istud* (SC M 91; NSE 3.23), and *Genuit puerpera Regem* (SC M 44; NSE 3.7) set liturgical texts from the Feast of the Annunciation (25 March), the fourth Sunday of Advent, and Lauds on Christmas day. At 60 measures, 78 measures, and 82 measures in duration, all three motets are relatively brief and share a similar distribution of voices, with four voices expanded by an additional voice in the discantus range. As in numerous other motets by Senfl, these three compositions are built on a strict canonic framework: in all three motets, the cantus firmus is placed in the tenor with the upper canonic voice (in discantus range) proceeding at the fifth above. Senfl's approaches to canonic construction are, however, diverse: in the one-part motet *Missus est Angelus Gabriel* the discantus, contratenor, and bassus begin by imitating the opening motif of the cantus firmus before the plainchant melody is introduced as a canon between the tenor and discantus 2 in long note values. In the two-part *Quomodo fiet istud*, both *partes* are conceived canonically: in the *prima pars*, the plainchant is realised in long note values in *tempus perfectum* but, beginning in measure 13, paraphrased with greater freedom. Despite the still strict canon for tenor and discantus 2, such a cantus firmus treatment now leads to the development of a closely interlocking phrasal structure. The *secunda pars* of the motet restores the cantus firmus treatment in long note values in the tenor. The one-part Christmas antiphon *Genuit puerpera Regem*, in turn, is a mixture of the two aforementioned types of canonic plainchant treatment, with a melody that is only lightly decorated (mm. 42–8) and slightly rhythmicised, such that the underlying framework of the setting remains clearly audible.

**XVII**

The other three Marian motets in this volume, *Ave, Rosa sine spinis*, *Mater digna Dei/Ave, sanctissima Maria*, and *Tota pulchra es*, advocate personal veneration of the Virgin Mary as *mediatrix*; all three works are either transmitted in the Munich choirbooks D-Mbs Mus.ms. 10 or D-Mbs Mus. ms. 12; and all three were probably composed for Senfl's employer, Duke Wilhelm IV, and thus provide eloquent testimony to the veneration of the Virgin at the Munich court.

The six-stanza *Ave, Rosa sine spinis* (SC M 10; NSE 3.1) is one of numerous tropes on the greeting *Ave, Maria, gratia plena* delivered by the Archangel Gabriel to Mary. The text was known as the *oratio aurea* during the second half of the fifteenth and first half of the sixteenth centuries (see Figure 1) and is read in the discantus, contratenor, tenor 2, and bassus as an acrostic enlarged by each subsequent stanza: the first words of stanzas 1 and 2, the first two words of stanzas 3 and 4, and the entire first lines of stanzas 5 and 6 form the prayer *Ave Maria* (see the Critical Report).

For the melody of the tenor 1, which extracts individual lines from the trope into a condensed text, Senfl chooses a secular cantus firmus: the rondeau *Comme femme desconfortée* ('As a woman in distress'), ascribed to Gilles Binchois in the 'Mellon Chansonnier' (US-Nhub 91, fol. 32v ). As one of the most popular secular tenors in sacred music since the second half of the fifteenth century, the tenor melody of this chanson was well known to Senfl. It was used by Senfl's teacher, Heinrich Isaac, in his six-voice motet *Angeli, Archangeli* and by Josquin Desprez in his *Stabat mater*.30 Senfl included Josquin's motet in the *Liber selectarum cantionum* and in D-Mbs Mus.ms. 12, the choirbook in which *Ave, Rosa sine spinis* is notated. The placement of the secular chanson melody in Josquin's motet is clearly identified in the *Liber selectarum* by the text incipit 'Comme femme',31 whereas in the Munich choirbook this reference cannot be found, probably due to the prohibition against references to secular material in (para-)liturgical music at the Munich court.32 In his motet, Senfl combines concepts from both composers: like Isaac and Josquin, he introduces the chanson tenor as the only pre-existent melody in the polyphonic texture, and like Josquin he transposes the melody up a fourth and utilises the same rhythmic form. Although the plaintive French text is not sung, its reference to courtly love from a female perspective offers an allegorical reinterpretation of Mary. In this way, Senfl creates a dramatic dialogue between the heavenly message-bearer, the Archangel Gabriel, and a young woman experiencing unforeseen hardships in light of the divine resolution just delivered. Senfl's combination of these two spheres not only becomes a poly-

<sup>30</sup> On *Comme femme desconfortée* as a cantus firmus in Marian compositions, see Rothenberg 2004.

<sup>31</sup> Despite the inclusion of this incipit, the tenor is nevertheless given the text underlay 'Stabat mater', which suggests that Senfl knew the original text but expected the tenor to sing the same text as the other voice parts.

<sup>32</sup> When Senfl arrived in Munich 1523, he also eliminated all traces of secular music in Heinrich Isaac's mass proper settings before they were bound together in the choirbooks D-Mbs Mus.mss. 35–38. See Gasch 2013a: 182–4 for a list of further literature.

phonic adornment for a para-liturgical celebration, but through the involvement of the two protagonists—a deeply felt meditation on the scene of the Annunciation. The cantus firmus and its associated contents become the sounding representatives of the hitherto secular Mary, as yet unaware of her exceptional status but newly informed of the reasons for the divine choice. In this understanding the motet reveals itself as emblematic of the type of pious ministration cultivated at the court of Wilhelm IV.

*Mater digna Dei/Ave, sanctissima Maria* is related in many ways to *Ave, Rosa sine spinis*. Both motets are almost equal in length; both include a cantus firmus without rests in the tenor voice (rendered homorhythmically in *Mater digna Dei*) whose text is independent from the one sung by the other voices; and both pieces feature in their outer voices a dense structure of short, declamatory phrases, whose cadences and sectional divisions tend less to align with the cantus firmus so much as to obscure it by elision. The concept of a continuous cantus firmus without rests is thereby transferred to the other voices through a texture that flows without interruption. Moreover, *Mater digna Dei/Ave, sanctissima Maria* sets two well-known prayers to the Virgin Mary found in books of devotion of the fifteenth and sixteenth centuries.33 Like the *Quinque Salutationes Domini Nostri Jesu Christi* (SC M 8; NSE 1.3) in D-Mbs Mus.ms. 10, *Mater digna Dei/Ave, sanctissima Maria* in D-Mbs Mus.ms. 12 is also preceded by a title page stating that this motet, an *Oratio ad incomparabilem Virginem Mariam*, was composed by Senfl at the behest of the Bavarian duke (see Plates 12– 14), yet another indication of the close relationship between these 'Marian' and 'Christian' choirbooks. And like the texts of the *Quinque Salutationes*, the two Marian prayers are also found in the *Tesauro spirituale*34 of the Franciscan theologian Bernardino Busti (*c*.1450–1513),35 where one follows the other (sig. [m6]r–v; see Plates 9–10). The choice of texts in early sixteenth-century prayer books, which did not form part of the liturgy in services of the Diocese of Freising,36 again points to their para-liturgical use. The fact that ducal devotion to the Virgin was realised in texts found in Busti's book suggests that the Bavarian duke took inspiration from monks in the adjacent Franciscan monastery of St Anthony of Padua, which was sponsored by the ducal house.

The texts of *Ave, Rosa sine spinis* and *Mater digna Dei/ Ave, sanctissima Maria* emphasise the intermediary potency of Mary in her human capacity as the Mother of God, the mystical access to Mary enjoyed by the faithful, and the achievement of spiritual salvation. The final Marian motet, *Tota pulchra es* (SC M 115; NSE 3.30), meanwhile, picks up on a tradition, begun in the twelfth century by mystics such as Rupert of Deutz (d. *c*.1135) and Bernard of Clairvaux (*c*.1090–*c*.1153), that encouraged devotion to the Virgin Mary across all social classes:37 the motet celebrates the beauty of Mary through an allegorical reinterpretation of extracts from the Song of Songs.

*Tota pulchra es* is also in the form of a plainchant-based polyphonic composition, but Senfl integrates the antiphon with varying degrees of strictness. After a paraphrase of the plainchant imitated in all voices, it appears in the *prima pars* as a more or less undecorated quasi-canon (T/Ct1), a procedure similar to the one found in *Quomodo fiet istud*. In the *secunda pars*, the plainchant melody is divided into sections and permeates all the voices, such that the texture assumes the form of a dense, homogeneously polyphonic fabric. In the *tertia pars*, in contrast, the plainchant is placed in long note values in the tenor, while the counterpoint in the other voices transforms from imitation in breves and semibreves (mm. 136–49) to canonic structures vs. declamatory syllabic motifs (mm. 150–60), canon vs. motivic imitation (mm. 160–70), canonic vs. free voices (mm. 170–186), and finally a canon in longs and breves (D/Ct) vs. sequences (mm. 195– 214).38 This range of ways of dealing with the plainchant conveys a sense of detachment from the rigidity of cantus firmus-bound liturgical music in favour of an emotionally charged musical-pictorial language that attempts to realise the text of the motet, which appeals to all five senses.

#### **The Art of Combining Texts**

The combination of two or more simultaneously sounding texts is a component of motet composition that reaches back to the very emergence of the genre in sources from the early thirteenth century. This tradition was still widely practised during Senfl's time, but the relationship of the combined texts had shifted from often associative juxtaposition to a fusion of more closely related texts that mutually interpret, profit from, and comment on one another, as in the examples of *Mater digna Dei/Ave, sanctissima Maria* and *Ave, Rosa sine spinis* discussed above. Even more remarkable with regard to textual interplay are compositions in which Senfl not only combines different simultaneous texts, but also brings together more than one cantus firmus. Two motets of this kind appear in the edition of Senfl's four-voice motets: *Regina caeli, laetare/Conscendit iubilans* (SC M 92; NSE 2.42) and *Salve, Regina* / *Stella maris a trimatu* (SC M 95; NSE 2.44). The first one enriches the Marian antiphon *Regina caeli, laetare* (including an Alleluia trope) with five excerpts from various genres for each of its five *partes*: the first verse 'Queen of Heaven, rejoice' is supplemented by a stanza from the hymn *Festum nunc celebre*, rejoicing in Christ's ascension, which in turn is addressed in the third verse of the antiphon ('He has risen again as He

<sup>33</sup> *Ave, sanctissima Maria* was especially popular as it guaranteed its reciters an indulgence of 11,000 years (see Plate 11). For another setting of this antiphon, possibly by Senfl, see NSE 1.4.

<sup>34</sup> Milan: Ulrich Scinzenzeler, 3.12.1494 [GW 05812].

<sup>35</sup> Bernardino Busti, member of a patrician family from Milan, was an Italian theologian who had studied in Pavia where he also earned his doctorate. In 1475/76 he entered the order of the Frati Minori Osservanti in Legnano. He is the author of several Marian devotional books (Manselli 1980).

<sup>36</sup> The liturgy of the Duchy of Bavaria followed the diocese of Freising.

<sup>37</sup> Burstyn 1972: 22–5.

<sup>38</sup> Thomas Schmidt speaks of the 'didactic interplay of possibilities for an ambitious plainchant treatment' ('Lehrstück der Möglichkeiten anspruchsvoller Choralbarbeitung'). Schmidt-Beste 2012: 297–8.

said'); the fourth verse of *Regina caeli*, 'Pray for us to God', is flanked by a supplication from the *Te Deum laudamus* ('We therefore ask thee to help thy servants'), and finally the trope of the fifth part ('Lord, born of thy mother …') intertwines with the Christmas cantio *Dies est laetitiae*.39 This results in a transformation of the Marian antiphon into a motet that celebrates her motherhood of Christ, albeit intriguingly in reverse order from his ascension to his nativity, a reminder of the cyclical nature of the liturgical year marked by these occasions. In *Salve, Regina* / *Stella maris a trimatu*, the combination of texts draws the focus of the antiphon *Salve, Regina* even closer to Mary as a protectress of mankind: in this setting it is combined with a Magnificat antiphon recollecting significant stations in Mary's life. This antiphon, *Stella maris a trimatu*, is otherwise known only from sources specific to the diocese of Freising. Although these sources lack notation, it can be assumed that *Stella maris a trimatu* was associated with the chant melody that Senfl artfully interlaces with *Salve, Regina*, the one exchanged with the other in the discantus and tenor for each verse of the composition.40 Thus, as in the five-voice motets *Ave, Rosa sine spinis* and *Mater digna Dei/Ave, sanctissima Maria*, adoration of the Virgin Mary is amplified and embellished by the juxtaposition of closely related texts and melodies.

Motets in the present volume also provide evidence of Senfl's interest in combining texts for purposes other than the veneration of Mary and in incorporating vernacular traditions. While in the four-voice motets Senfl limits himself to Latin texts, in *Media vita in morte sumus*/*Inmitten unsers Lebens Zeit* (SC M 56; NSE 3.11) and *Christus resurgens*/ *Christ ist erstanden* (SC M 16; NSE 3.2), he merges songs in Latin and German. In both cases, these texts are closely related: the German lyrics each paraphrase the respective antiphons. In pre-Reformation German-speaking lands, vernacular songs did not form part of the liturgy, which was restricted to singing in Latin. We have evidence, however, that it was common practice to repeat a chant during the service, the repetition being sung with a German text,41 and the German version might then be associated with a different melody, as in the case of *Inmitten unsers Lebens Zeit*.42

There are few pre-sixteenth-century models for combining Latin and German sacred songs in different voices of a polyphonic setting,43 but the manuscript D-TRs 322/1994, a composite of two originally separate books with a collection of sermons, provides one early model that demonstrates a similar conceptual design. The second book in this manuscript (from fol. 108 onwards) includes an appendix of sacred music (fols. 207r –215<sup>r</sup> ) comprised of motets, polyphonic *cantiones*, and Latin and German monophonic songs. The portion of this manuscript with musical notation was written in the second half of the fifteenth century in the Augustinian monastery of Eberhardsklausen, but its musical repertoire is Bohemian in origin.44 Among the motets are two polytextual compositions (fols. 207r –208<sup>r</sup> ), each combining Latin songs with one in German: *Cum rex glorie*/ *Salve festa dies*/*Crucifixum Ihesum Cristum*/ *Surgens mortis victor fortis*/*Also heylich ist der dag* and *Cristus surrexit, vinctos de carcere vexit*/*Chorus nove Iherusalem*/*Crist ist entstanden*.45 The latter motet is also transmitted in the 'Franus Cantionale' (CZ-HKm II A 6, fols. 334v–335r ), an early sixteenth-century source compiled for the literary brotherhood of Hradec Králové in Bohemia. In this codex, however, all three voices sing a Latin text: the voice that sings *Crist ist entstanden* in the Trier manuscript is provided here with a Latin translation of the lied, the cantio *Christus surrexit mala nostra texit*.

Another source with compositions that combine Latin and German models is the codex I-TRbc 1378 (*olim* 91), the last of the Trent codices, which was prepared in Trent *c*.1472–7 by multiple scribes, including Johannes Wiser.46 On fol. 154<sup>r</sup> is a short three-voice composition, whose upper voice is annotated 'Crist ist erstanden' and features the corresponding melody, while the lower voices are marked with the incipit '[Christ]us surrexit'. A concordance to this composition can likewise be found in a source from the Bohemian Crown Lands: the Żagań partbooks (PL-Kj Mus.ms. 40098) transmit the same composition, although in this source all voices are accompanied by the otherwise unknown Latin text 'Christus surrexit q[ui] p[er] nobis passus passione cuius liberat sumus, ky[rie]leyson'.47 A later example of a polytextual motet combining 'Christ ist erstanden' with a Latin song is Sixt Dietrich's *Vita sanctorum*/*Christ ist erstanden*, published in his single-composer print *Novum opus musicum* (Wittenberg: Georg Rhau, 1544/45).48

It is striking that all these compositions are associated with Easter, which—alongside Christmas—was celebrated with great solemnity and festivity as one of the most important feasts in the Christian calendar. To enhance the celebrations, (passion) plays were staged, and emotion-filled calls of response to liturgical rites provided forums for lay people of all social classes to participate actively in the proceedings. Prior to the Reformation period, Easter and

<sup>39</sup> See the Critical Report for NSE 2.42.

<sup>40</sup> See NSE 2.44, Critical Report.

<sup>41</sup> Janota 1968: 232–3.

<sup>42</sup> See Lipphardt 1963; Lipphardt 1966; and Lipphardt 1983: 70–5.

<sup>43</sup> A current investigation of this repertoire is still pending. For a general study of polytextual motets in the fifteenth and sixteenth centuries see Kolb 2013. On traditions of the polytextual motet in fifteenth-century Central Europe see Gancarczyk 2020.

<sup>44</sup> Ewerhart 1955.

<sup>45</sup> The different voices in the manuscript are scored in succession, and in the case of *Cum rex glorie*, etc., it is not clear if these voices were together meant to form one composition. Ewerhart called this a 'Motettenkomplex' and proposed several voice combinations (Ewerhart 1955: 21–31). Černý interprets the notation as a five-voice setting, in which two voices were added to an original three (*Cum rex glorie*, *Salve festa dies*, *Also heylig*); see Černý 1972: 74. Two three-voice compositions, as proposed by Ewerhart, and *Cristus surrexit*/*Chorus nove*/*Crist ist entstanden* are edited in DKL ii (Notenband), nos. 81, 83, and 84.

<sup>46</sup> Wright 1995. A detailed dating of gatherings can be found on p. 504 (Table V).

<sup>47</sup> PL-Kj Mus.ms. 40098, sig. F6<sup>v</sup> (D), sig. F11v (T), sig. g1v (Ct). The transcription here is derived from the tenor.

<sup>48</sup> See vdm 1504 and vdm 1162. The motet is edited in EdM 23, no. 32.

Christmas were thus the liturgical times of year when sparing inclusion of the vernacular was permitted in the course of a service.

Both of Senfl's Latin and German polytextual settings also relate to Easter. The first motet of this type in the present volume combines the antiphon *Christus resurgens ex mortuis* with the well-known Easter leise *Christ ist erstanden*. *Christ ist erstanden*, one of the oldest sacred lieder, may have been written in the twelfth century as a trope to the sequence *Victimae paschali laudes* in the context of a liturgical Easter celebration, the *visitatio sepulchri*.49 Senfl places the lied, which corresponds melodically to his other settings of it,50 in the tenor, while the discantus is given the melody of the antiphon.51 The five voices proceed largely independently of one another, and since cadences are generally elided, the composition unfolds fluidly with few sectional divisions. The antiphon is performed one time in the discantus, whereas the shorter lied melody in the tenor is once repeated. At the end of the second iteration of the melody in measure 57, the tenor continues with an Alleluia, in celebration of the occasion of Easter, accompanied by calls of 'Alleluia' in the other voices, and the piece concludes with 'Kyrieleis' or 'Alleluia' in all voices, culminating in a bright cadence on *g*.

In this composition, Senfl allocates neither more space nor weight to either of the two cantus firmi, so as to place the equivalency of their pairing at the compositional centre. It is therefore interesting that two different versions of the beginning of this motet are transmitted: the contratenor and vagans differ from the majority of this motet's sources in the two manuscripts PL-Kj Mus. ms. 40013 and D-WRhk MS B. While both voices imitate the Latin cantus firmus *Christus resurgens* in most sources, they imitate the beginning of the lied melody in the two sources mentioned here (see this volume, Critical Report no. 2) and thus shift the prevailing balance between the two models in favour of the sacred lied. PL-Kj Mus. ms. 40013 and D-WRhk MS B belong to the group of 'Walter-Handschriften' as do the partbooks D-Ngm 83795 [T] and D-Ngm 83795 [B], which likewise transmit the motet *Christus resurgens*/*Christ ist erstanden*. Since neither contratenor nor vagans for these two latter sources survive, it is unknown whether they also contained the variant featuring pre-imitation of *Christ ist erstanden*. Concordant readings of the tenor and bassus in these four 'Walter-Handschriften' and the close relationship of these sources suggest, however, that the transmission of the motet discussed here is likely reflected in all of them, which lends evidence for a distinct tradition of this motet as performed in Torgau.52

The second Latin- and German-texted setting, *Media vita in morte sumus*/*Inmitten unsers Lebens Zeit*, is liturgically rooted in the preparation for Easter festivities during the Lenten season. The earliest evidence for a German-lan-

52 See Gerhardt 1949.

guage paraphrase of the antiphon *Media vita in morte sumus* dates from the middle of the fifteenth century.53 Early sources for this antiphon are concentrated in the south German regions of Austria and Bavaria, and there are some indications that the German-language version, transmitted with an adapted version of the plainchant melody, originated in Salzburg.54 The melody used by Senfl largely corresponds to the plainchant version found in a breviary from the Benedictine monastery of Ebersberg (D-Mbs Clm 6034; second half of the fifteenth century), which, beginning on fol. 83, is supplemented with vernacular lieder, some of which are recorded in Hufnagel notation, and some in mensural notation.55 On fols. 89<sup>r</sup> –90<sup>r</sup> is a two-voice composition whose upper voice corresponds, with some deviations, to the cantus firmus Senfl places in the tenor of his motet. The Latin antiphon *Media vita* is found in the discantus 1 of Senfl's composition and largely matches the plainchant in the Nuremberg *Responsoria nouiter* (1509), fol. 124<sup>r</sup> .

Senfl divides the motet into two parts of approximately the same length, the second of which begins with the invocations, 'Sancte Deus sancte fortis …' and 'Heiliger Herre Gott, heiliger starker Gott …'. The rhymed German text closely follows the antiphon but formally comprises two lines more than *Media vita*. Nevertheless, the two models are incorporated into the composition in such a way that the Latin song and its German-language paraphrase are performed in parallel in terms of semantic content. Both proceed side by side undisturbed, and the ends of their verses coincide only at the very end of the composition.56

It is unknown whether *Media vita* /*Inmitten unsers Lebens Zeit* ever appeared in print, but the composition circulated in different milieus. For example, the transcription in D-Rp B 211–215 indicates that the piece was known to Johannes Stomius in Salzburg,57 and also circulated in the Saxon cities of Leipzig (D-LEu Thomaskirche 49/50) and Meißen (D-Dl Mus. Grimma 56 and 57) in the second half of the sixteenth century. Further evidence for the popularity of this composition is its inclusion in a play by Joachim Greff printed in 1545 in Wittenberg: *Lazarus Vom Tode durch Christum am vierden tage erwecket*.58 Senfl also composed a six-voice setting of the antiphon *Media vita* (SC M 57; NSE 4.8), whose cantus firmus, though based on a similar version of the plainchant, differs from the polytextual five-voice setting in its rhythmic arrangement. Minor deviations are in part due to the compositional layout of the six-voice motet,


<sup>49</sup> Lipphardt 1960.

<sup>50</sup> Vgl. SC S 38–40.

<sup>51</sup> CAO: iii, no. 1796. A contemporary reference can be found in *Responsoria nouiter* (1509), fol. 40r–v.

<sup>53</sup> A detailed list of sources for the pre-Lutheran translation (eight manuscripts and three prints) is available in Hausmann 2005: 107–8.

<sup>54</sup> Lipphardt 1966. The distant dependence of the lied on the antiphon is comparatively illustrated in Lipphardt 1963: 110–13.

<sup>55</sup> See KBM 5/1: 18.

<sup>58</sup> VD16 ZV 23007. The following annotation is found on sig. T2<sup>r</sup> : '… sol der Chor wider singe/ Media vita/ der sind nu auch sehr viel. Ludowicus Senffel hat wol schir das lieblichste gemacht/ meinem gehör nach/ Ist nemlich dieses/ da der Deutsche text drein gehen/ Mitten wir im leben sind etc. und ist funffstimmicht'. See also Scheitler 2013: 245 (no. 339).

in which the cantus firmus is arranged as a canon between tenor and contratenor across both of its two *partes*.

A third motet in this volume combining songs in more than one language is \**O crux, ave, spes unica / Fortuna* (SC \*M 71; NSE 3.17). One component of this composition is the sixth stanza of the hymn *Vexilla regis*, which appears in liturgical contexts primarily in relation to Christ's Passion or on the Feast of the Exaltation of the Cross (14 September). The subject of this hymn concerns the cross of Christ, and a bridge to the second component integrated into this motet, the Tuscan song *Fortuna desperata*, is formed by the image conjured up in the song of a distinguished, yet ill-fated woman. While her misfortune in the song derives from Fortuna's failure to provide comfort, in the context of the hymn this image recalls Mary, the desperate mother lamenting her son's crucifixion.

Senfl makes use of the song *Fortuna desperata* in several compositions (SC S 106, 108–13), and since the version of the melody found in the tenor of \**O crux, ave, spes unica* / *Fortuna* differs from the one found consistently in his other settings, the attribution made by Martin Staehelin on the basis of its source transmission remains questionable.59 Honey Meconi has pointed out that the tenor voice in \**O crux, ave, spes unica* / *Fortuna* instead corresponds to the version used by Heinrich Isaac in his *Fortuna* settings.60 The sources that transmit this piece—the repertorially related manuscripts D-Rp C 120 and V-CVbav Cod. Vat. lat. 11953, both of which originate from the sphere of the imperial court chapel—do not preclude an attribution to Isaac, since the piece appears anonymously in both. Senfl's authorship is supported by the five-voice texture of the composition with a vagans in the tenor range and the placement of the *Fortuna* cantus firmus alone in the tenor voice, the arrangement used in other *Fortuna* settings securely attributed to him; the placement of the sacred cantus firmus in the discantus also corresponds to some of Senfl's other polytextual *Fortuna* compositions (SC S 109–10, 113). The melodic version of *O crux, ave, spes unica* does not, however, match the one Senfl uses in the third of his three cross canons, *Crux fidelis inter omnes* (SC M 23; NSE 4.20), which largely corresponds to the version found in the *Graduale Pataviense* (1511). The most significant deviation appears at the words 'tempore, auge piis iustitiam' (the transition from the second to the third line of the stanza): in \**O crux, ave, spes unica* / *Fortuna*, the melismatic line on 'tempore' is extended by a few notes, and although its version of 'iustitiam' matches the version in the *Graduale pataviense* (1511) (see this volume, Critical Report no. 17), the cantus firmus of the cross canon rather accords in this place with a version recorded in the Augsburg antiphoner DK-Kk 3449, 8°, v, fol. 43<sup>v</sup> . Despite these differences in the models used, Senfl's authorship of \**O crux, ave, spes unica* / *Fortuna* still cannot be definitively ruled out.61

#### **Music for Peace, Praise, and the Passion**

Senfl composed three motets that set the antiphon *Da pacem, Domine* (SC M 25–7; NSE 1.11, NSE 3.4–5). Central to this antiphon text is a request for peace, which, at the time Senfl's settings were composed, had special relevance beyond its liturgical context. In the first half of the sixteenth century, peace in the Holy Roman Empire was threatened on multiple fronts: in addition to armed disputes within the empire (such as the Peasants' Revolt of 1525–6), conflicts with neighbouring lands (especially with its long-term rival France), and military activities in support of allies (as in the case of clashes in northern Italy, such as the battles of Marignano and Pavia), fear was inflamed by the thought of a possible invasion by the Ottoman army under Suleiman I ('the Magnificent'). Yet peace was also under threat within the empire through ideological conflicts between the Reformation movements on the one hand, and the Roman-Catholic faith on the other, especially in its imperial manifestation. In these unusually precarious times, it is understandable that Senfl would turn his attention more than once to the creation of musical expressions in search of peace. His three settings of *Da pacem, Domine* are—as in the case of his three settings of *Pange, lingua, gloriosi*—all based on the same plainchant model.62 Even more starkly than in the *Pange, lingua* settings (SC M 80–2; NSE 2.36–8),63 the compositional design of his three settings of *Da pacem, Domine* depart substantially from one another: Senfl sets them in duple and triple mensurations (*Da pacem* (i) and (ii) in *tempus imperfectum diminutum*; *Da pacem* (iii) in *tempus perfectum*); he treats the cantus firmus differently in each setting; and while all three *Pange, lingua* settings are scored for four voices in a single *pars*, Senfl varies both the scoring of his *Da pacem* settings and their division into one or two *partes*. The onepart *Da pacem* (i) is set for four voices, while the two-part *Da pacem* (ii) and *Da pacem* (iii) are scored for five voices, with the latter possibly expanded into an eight-voice setting as well (NSE 4.16).64 The range of scorings for which Senfl composed settings of *Da pacem, Domine* speaks to the importance of this antiphon in a variety of festal occasions.

In the two five-voice settings of *Da pacem, Domine* included in this volume, which feature a fifth voice in the range of a low tenor or high bassus, the complete cantus firmus appears predominantly in two or three voices.65 *Da pacem* (ii) is the shorter of the two settings, and Senfl stresses only a single phrase by repeating it in the cantus firmus-carrying voices (T, V, B) at the conclusion of the *prima pars*: 'in diebus nostris' ('in our days'). The same phrase is

<sup>59</sup> Staehelin 1973: 86.

<sup>60</sup> Meconi 2001: 173–4 (see this volume, Critical Report no. 19).

<sup>61</sup> In the cross canon, the cantus firmus had to meet special compositional requirements (as it had to be combined with its retrograde) that would have encouraged Senfl to adapt the melodic line.

<sup>62</sup> Although there are also three settings of *Salve, Regina* (or *Salve, Rex*) in the SC (SC M 95–7; NSE 2.44–6), the plainchant models of these compositions differ from one another, and the attribution of at least one of these motets is uncertain.

<sup>63</sup> See the Introduction in NSE 1.

<sup>64</sup> See this volume, Critical Report no. 5.

<sup>65</sup> *Da pacem* settings from the beginning of the sixteenth century were often composed with canons, such as Antoine Brumel's four-voice *Da pacem* with two canons (the lower and upper voices), Johannes Prioris's six-voice motet with a triple canon, or Jean Mouton's *Da pacem*, in which six voices are derived from five notated ones. See also Odoj 2014.

repeated in *Da pacem* (iii), emphatically expressing the desire for peace here and now, in the collective present. The way Senfl integrates the cantus firmus in *Da pacem* (iii) leaves the voices in general more space to explore the melodic contours of the chant. In the *secunda pars*, excerpts appear in different voices, and it becomes difficult to discern a cantus firmus. The vivid embellishment of the texture sustains forward momentum at 'non est alius qui pugnet pro nobis' ('for there is no other who fights for us'), until a passage highlighted in triple metre reaffirms the guiding role of the cantus firmus voices on the words 'nisi tu, Domine' ('except you, our God'), sounding aloud the need for divine aid. The motet comes to an end with repeated iterations of this demonstration of faith and trust in the Lord to restore peace in the world.

One of the most familiar chants in the sixteenth century was probably the *Te Deum laudamus*, a hymn in fervent praise of god, as it was sung in a very broad range of contexts. Liturgically, it concludes Matins on Sundays and feast days (except for Advent and Lent), or was heard in services celebrating the Trinity.66 Liturgical dramas, especially the *visitatio sepulchri* in Easter celebrations, likewise often ended with a *Te Deum*,67 and it was also sung for many centuries as an acclamation for royal entries (e.g. at Imperial Diets), victory celebrations, gatherings of princely rulers, or coronations.68 Sources document the singing of a *Te Deum*  to celebrate births as well, or as an act of confirmation at weddings and elections,69 but seldom indicate whether the *Te Deum* was sung polyphonically on such occasions or which compositions were performed.70

While hardly any polyphonic settings of the *Te Deum*  are known from the period up to the end of the fifteenth century, more and more such settings are documented after the turn of the century, especially in sources from the German-speaking lands. Senfl's *Te Deum laudamus* (SC M 114; NSE 3.29), published in this volume for the first time in modern notation, takes part in the (non-linear) expansion of this genre from monophonic song or improvised polyphony to polyphonic composition.71 In most cases, polyphonic *Te Deum* settings are arranged for *alternatim* performance: often only the even-numbered verses are set polyphonically and were performed by one group of musicians, while an organist or another ensemble executed the odd-numbered verses.72 Senfl's *Te Deum* modifies this concept by setting the first two and last two verses polyphonically in addition to all even-numbered intermediary verses. For this edition, the plainchant version in the *Exemplar in modum accentuandi* (1513), fols. 68v–69r , has been transcribed for the unset odd-numbered verses.

The setting included in this volume is conceived primarily for four voices, but expands to five voices for the twenty-fourth verse (*Salvum fac populum*) and the concluding *In te, Domine, speravi*. To differentiate individual verses, Senfl employs a range of compositional techniques for integrating the cantus firmus, moves between homophonic and polyphonic textures, and sets two verses—*Sanctus* (v. 6) and *Dignare Domine* (v. 28)—in ternary mensuration. The sixth verse, which sets the second of three consecutive statements of *Sanctus*, is especially distinctive, in that the sonic impact of the cantus firmus in the tenor is enhanced by parallel octaves in the bassus, concealed in the latter voice by means of the stereotypical figuration of a leap of a third written as a *ligatura cum opposita proprietate* followed by a semibreve a second above. In the two verses set for five voices, the added vagans performs the cantus firmus in quasi-canon with the tenor. In doing so, Senfl highlights the collective call for salvation in the twenty-fourth verse, 'Salvum fac populum tuum, Domine, et benedic haereditati tuae' ('O Lord, save thy people and bless thine heritage'), and it is obvious that he aimed at a climactic sonic experience for the last verse, 'In te, Domine, speravi: non confundar in aeternum' ('O Lord, in thee have I trusted; let me never be confounded'). This final verse is an intimate expression of devotion, and it must have been especially dear to Senfl as he composed two further stand-alone settings of the very same verse (see this volume, nos. 8 and 9).73

Comparable to the *Te Deum* in its pursuit of *variatio* as a primary compositional principle are Senfl's mass proper cycles and his *Da Jesus an dem Kreuze hing* (SC S 41), a sacred lied composed in nine *partes*. The latter similarly expands the four-part texture to five voices in its final part, which sets the concluding stanza. In the only source of the sacred lied, the already mentioned Munich choirbook Mus. ms. 10, *Da Jesus an dem Kreuze hing* is preceeded by a lengthy description.74 It meticulously describes the varying approaches to cantus firmus treatment in the setting: for example, 'Prima pars In Tenore. Vocibus solutis.' ('First part, [the cantus firmus is] in the tenor. With unbound

<sup>66</sup> Kirsch 1966: 70–2.

<sup>67</sup> See, for example, A-Gu Cod. 756, fol. 90<sup>v</sup> (Liber ordinarius from the Chorherrenstift Seckau (1345)): 'Sequit[ur] Te deu[m] laudam[us] Populo interi[m] acclama[n]te Christ ist erstanden. Es giengen drei vrauwen.' Also, the rubric at the end of the *visitatio sepulchri* in the *Antiphonarius* (1519), fol. 56<sup>r</sup> : 'Postea Te Deum lau. etc.' See also Lipphardt 1960: 110–1.

<sup>68</sup> E.g. entrances at Imperial Diets in Augsburg, see Kelber 2018: 189–201, at 200–1. On the presence of the *Te Deum* at festivities surrounding the coronation of Charles V in Bologna, see Ferer 2012: 179–86, at 179.

<sup>69</sup> E.g. when Charles V received news of the birth of a grandson; see Pietzsch 1963: 169. A selection of further documents relating to performances of the *Te Deum* is cited in Kirsch 1966: 71–2.

<sup>70</sup> At the marriage of Frederick II, Elector Palatine, and Dorothea of Denmark (1535), it is believed that the twelve-voice setting by Johannes Heugel was performed. See Pietzsch 1963: 70.

<sup>71</sup> The fauxbourdon or falsobordone settings by Gilles Binchois and Costanzo Festa are examples of compositions derived from improvised polyphony. See Kirsch 1966: 287 (no. 621), 325–6 (no. 777).

<sup>72</sup> Some contemporary reports also mention the participation of instrumental ensembles; for references and further details, see Kirsch 1966: 75–82.

<sup>73</sup> Two manuscripts from Zwickau (D-Z 81/2 and D-Z 175) even indicate that *In te, Domine*, *speravi* (ii) could be sung as an alternative for the last verse of the *Te Deum*; see this volume, Critical Report no. 9.

<sup>74</sup> D-Mbs Mus.ms. 10, fol. 81<sup>r</sup> . For an analysis of this piece, see Tröster 2019: 230–41.

voices'; which means that the cantus firmus is present in the tenor, whereas the remaining voices are freely composed) or 'Secunda pars In Tenore et Discanto. In Dyapason.' ('In the second part, [the cantus firmus is found] in the tenor and discantus [as a quasi-canon] at the octave.'). The unknown scribe of those lines, recognising *variatio* as a speciality of this setting, verbalises the concept in his own words and, in so doing, offers a means of navigating the lied's spectrum of plainchant treatment for its performers that might further enrich their appreciation of it. Had the same scribe also encountered Senfl's *Te Deum*, which is not present in any of the surviving Munich choirbooks, one wonders in what words he would have described this setting.

In Senfl's overall body of motets, *Qui prophetice prompsisti* stands out in the end for a variety of reasons. It is, by a substantial margin, the most widely transmitted motet based on the number of surviving sources *tout court*: seventeen sources in mensural notation (including two prints), eleven lute tablatures (of which five are prints), and six keyboard tablatures (of which two are prints) also make it the most often intabulated and most frequently printed motet in Senfl's œuvre. Its source transmission persisted almost to the end of the sixteenth century and covered a geographic range encompassing not just the south German and Saxon centres, but also Bohemia, Poland, Silesia, Upper Hungary, and Upper Lusatia. Uniquely among Senfl's motets, it appeared in a Venetian print of lute tablatures edited by Simon Gintzler and printed by Antonio Gardano (Brown 15473). This latter source, along with eight of the motet's other sources, transmits the *tertia pars* of the motet alone, while twenty-one other sources transmit the three *partes* of this motet in a different order from the one given in this edition (3.p. – 1.p. – 2.p.), a circumstance best explained by the fact that Senfl composed this part first, and it was already in circulation before he completed the *prima*  and *secunda partes*. The (liturgically) correct order, documented in only three of the motet's sources, which include choirbooks prepared for the court chapels of Wilhelm IV and Ulrich, Duke of Württemberg, and Senfl's completion of the third *pars* before the first two, are disclosed in a 1537 letter by Lucas Wagenrieder to Albrecht, Duke of Prussia (see this volume, Critical Report no. 22; see also Plate 24).

The remarkably widespread circulation of this motet highlights the importance many communities attached to adorning the celebration of Holy Week with polyphonic music. The text of *Qui prophetice* brings together three verses traditionally sung at the end of Lauds during the *Triduum sacrum*, the last three days of Holy Week, after the Benedictus antiphon. These verses, which form part of the *kyries tenebrarum*, function as tropes to the litany that would have brought Christ's Passion vividly to life as the litany unfolded. In the *Antiphonarius* (1519), the observance of Tenebrae is an explicitly dramatised event, with rubrics that call on individual choirboys and soloists from the choir to take turns singing short acclamations, longer verses, and choral responds, gradually adding acclamations of 'Kyrieleison' and 'Christeleyson' as the verses accumulate (see Plate 25). Senfl sets the plainchant melodies for these three verses as a canon in long note values for contratenor 2 and tenor, thus drawing a clear link between the motet and the solemnity of the liturgical occasion that inspired it. Tenebrae observances could and did range widely in practice across Europe, which accounts for the numerous variations scholars have documented in *kyries tenebrarum* from region to region.75 Regional variance helps account for the appearance of additional *quarta* and *quinta partes* for this motet in two sources: as a keyboard tablature in D-B Sammlung Bohn Ms. Mus. 119 and in mensural notation in the partbook set D-Z 81/2. These additions, which are most likely the work of a composer other than Senfl but have also been included in this edition, supplement Senfl's verse settings with five-voice polyphonic settings of plainchant melodies from portions of the litany itself ('Christus Dominus factus est obediens usque ad mortem' and 'Domine, miserere'). Expansions to the motet allowed musicians to adapt Senfl's three-part setting in accordance with local Holy Week practices, much like the reordering of the motet's *partes* or transmission of the third *pars* alone suited well the needs of other local traditions of *kyries tenebrarum*, whether Catholic or not.

This flexibility in transmission enabled *Qui prophetice prompsisti* to become an enduring part of many Central European repertoires, to which eloquent testimony is provided in a handwritten dedication accompanying the transcription of this motet in D-Dl Mus. Löbau 8 /Löbau 70. Written in 1593 by Christoph Nostwitz (d. 1607), rector at the evangelical school in Löbau, in honour of his father Hieronymus Nostwitz and the city councilman Thomas Amandus, Nostwitz documents the request for submissions circulated by the Löbau city council to a memorial set of partbooks of 'delightful' *cantiones* which they did not have in print, yet brought enjoyment to the local community. Nostwitz describes his wish to record Clemens non Papa's six-voice *Iustorum animae in manu Dei sunt* and Senfl's *Vita in ligno moritur* (the opening phrase of the motet's *tertia pars* according to the present edition), two songs 'most grave and most full of comfort', in memory of these two men, since they 'enjoyed [them] to such an extent, that they heard nothing more pleasing or delightful'. In his dedication, Nostwitz extolls *Qui prophetice prompsisti* as one of the 'sweetest hymns possible', a window into the face-to-face encounter with the divine, which, like so many of Senfl's motets, exceeded narrowly circumscribed liturgical applications to become a timeless, perennially suitable bearer of peace and benevolence.

<sup>75</sup> On differing *kyries tenebrarum* traditions, for example, in Spain and Portugal see, respectively, Hardie 1988 and Alvarenga 2019.

PLATES

Plate 3. L. Senfl, *Christus, resurgens ex mortuis*/*Christ ist erstanden* (SC M 16), RISM 153914 (D-Mbs), altus, sig. [hh4]<sup>v</sup> (urn:nbn:de:bvb:12-bsb00074413-1).

Plate 4. L. Senfl, *Christus, resurgens ex mortuis*/*Christ ist erstanden* (SC M 16), RISM 153914 (D-Mbs), vagans, sig. ij[1]r (urn:nbn:de:bvb:12-bsb00074413-1).

Plates 5–6. L. Senfl, *Christus, resurgens ex mortuis*/*Christ ist erstanden* (SC M 16), D-WRhk MS B, fols. 18v–19r (with kind permission).

Plates 7–8. L. Senfl, *De profundis clamavi* (ii) (SC M 29), A-Wn Mus.Hs. 15500, fols. 237v–238r (http://data.onb.ac.at/rep/1003A6C8; with kind permission).

Plates 9–10. Bernardino Busti, *Tesauro spirituale* (Milan: Ulrich Scinzenzeler, 3.12.1494), sig. m[6]r–v (D-Mbs Inc.c.a. 199; urn:nbn:de:bvb:12-bsb00066120-0).

Plate 11. Broadsheet promising an indulgence for reciting the prayer *Ave, sanctissima Maria* (Speyer: Conrad Hist, 1495) (D-Tu Ke XVIII 4.2 (Nr. 3); with kind permission).

Plate 12. Title page for L. Senfl's *Mater digna Dei*/*Ave, sanctissima Maria*, D-Mbs Mus.ms. 12, fol. 55<sup>r</sup> (urn:nbn:de:bvb:12-bsb00079112-2).

Plates 13–14. L. Senfl, *Mater digna Dei* /*Ave, sanctissima Maria* (SC M 55), D-Mbs Mus.ms. 12, fols. 55v–56r (urn:nbn:de:bvb:12-bsb00079112-2).

Plates 17–18. L. Senfl, *Nisi Dominus aedificaverit domum* (SC M 65), A-Wn SA.78.F.21, front leaves of discantus and altus (http://data.onb.ac.at/rep/10019654; with kind permission).

Plates 19–20. L. Senfl, *Nisi Dominus aedificaverit domum* (SC M 65), A-Wn SA.78.F.21, front leaves of tenor and bassus (http://data.onb.ac.at/rep/10019654; with kind permission).

Plate 21. Jacob Paix, *Thesaurus motetarum* (Strasbourg: Bernhart Jobin, 1589; Brown 1589₆), index (D-Mbs 2 Mus.pr. 65#Beibd.1; urn:nbn:de:bvb:12-bsb00031714-7).


Plate 24. Letter by Lucas Wagenrieder to Albrecht of Prussia [date: May 1537] Berlin, Geheimes Staatsarchiv Preußischer Kulturbesitz, XX. HA HBA A4, Kasten 197 O. Z. 3.36.2 (with kind permission).

Plate 25. *Antiph*[*onarius*] [commonly known as the 'Antiphonale Pataviense'] (Vienna: Johannes Winterburger, 1519; VD16 A 2946, vdm 4), fol. 45<sup>r</sup> (D-Mbs Res/2 Liturg. 11 e; urn:nbn:de:bvb:12-bsb00080050-0).

Plates 27–8. *Exemplar in modum accentuandi* (Vienna: Johannes Winterburger, 1513; VD16 M 5746, vdm 636), fols. 68v–69r (A-Wn MS47310-4°; http://data.onb.ac.at/rep/10B8600D; with kind permission).

**XLI**

### 1. Ave, Rosa sine spinis

SC M 10

l

™ ™ ™ ™

™ ™ ™ ™

**4 5**

™ ™ ™ ™


### 2. Christus, resurgens ex mortuis / Christ ist erstanden

SC M 16

14

### 3. Conditor alme siderum

SC M 19

ex - - au - - - di pre - - ces sup - - pli cum.-

### 4. Da pacem, Domine (ii)

SC M 26

### 5. Da pacem, Domine (iii)

2.p. Quia non est alius

SC M 27

24

\*터 = ¤· + ¤
\*

DTÖ 163.3

pro -

### 6. De profundis clamavi (ii)

2.p. A custodia matutina (conflicting ascriptions)

SC M 29 confl.

ti cem vo ae.

ne, quis su sti - ne bit?

us - que aad spe ret -

## 7. Genuit puerpera Regem

SC M 44


<sup>-</sup> i no - men, cu cu a - Paris Ano - mente - mente - Pae Ma -

SC M 49

DTÖ 163.3

DTÖ 163.3

### 10. Oratio ad incomparabilem Virginem Mariam

Mater digna Dei / Ave, sanctissima Maria 2.p. Nixa Deum, defende / Tu es singularis Virgo 3.p. Deus propitius esto / Ora pro nobis

SC M 55

#### DTÖ 163.3

DTÖ 163.3

રેણ

રેક

### 11. Media vita in morte sumus / Inmitten unsers Lebens Zeit

SC M 56


66

DTÖ 163.3

### 12. Miserere mei, Deus

2.p. Asperges me, Domine / Miserere mei, Deus 3.p. Domine, labia mea aperies / Miserere mei, Deus

SC M 58

DTÖ 163.3

la

DTÖ 163.3

트 = ¤· + ¤
피

84

fi - ci - um, de - dis - - -

= ロ + ∞ · (half-blackened note head)

## 13. Missus est Angelus Gabriel

SC M 60


**92 93**

sa

DTÖ 163.3

14. Ne reminiscaris, Domine

SC M 63

DTÖ 163.3

DTÖ 163.3

### 15. Nisi Dominus aedificaverit domum

2.p. Cum dederit dilectis suis somnum

SC M 65

**DTÖ 163.3 DTÖ 163.3**

tis, i fi - li ta rum, ex - cus - so

\* Quintus as transmitted in Rok, fol. 39" (6=Q)

16. O admirabile commercium

SC M 69

™ ™ ™ ™

™ ™ ™ ™

SC \*M 71 attr.

114

DTÖ 163.3

## 18. O gloriosum lumen

2.p. Qui in terra positus 3.p. Illuc supplices tuos

SC M 72

DTÖ 163.3

tis mum,

Pau san

= = + o . (half-blackened note head)

DTÖ 163.3

DTÖ 163.3

\*터=브·+브

### 19. O sacrum convivium (i)

2.p. Mens impletur gratia

SC M 75

DTÖ 163.3

DTÖ 163.3

DTÖ 163.3

## 21. Omnes gentes, plaudite manibus

SC M 79

™ ™ ™ ™


Quo

### 22. Qui prophetice prompsisti

2.p. Qui expansis in cruce manibus 3.p. Vita in ligno moritur [4.p. Christus Dominus factus est obediens] [5.p. Domine, miserere]

SC M 88

DTÖ 163.3

The quarta and quinta partes are transmitted uniquely in the three partbooks Zwi² and the keyboard tablature Ber". They possibly represent later additions not by Senfl (see the Critical Report). In the quarta pars, the discantus, tenor, and vagans are transcribed from Zwi', while the contratenor and bassus are derived from Ber".

The discantus voices in these two sources diverge at m. 185, whereafter the version in Ber' is provided in an ossia staff.

\* Discantus as transmitted in Ber", fols. 105°–107'

All voices of the quinta pars have been transcribed from the keyboard tablature Ber", its unique source (see the Critical Report),

w w ˙ ˙ ˙ ˙ w™ ˙ › › ›

¢

### 23. Quomodo fiet istud

SC M 91

15

176

## 25. Saulus autem, adhuc spirans / Petrus Apostolus

2.p. 'Saule, Saule, quid me persequeris' / Petrus Apostolus

SC M 104

### 26. Si enim credimus

2.p. Et sicut in Adam 3.p. Requiem aeternam

SC M 105

\* Vagans reconstructed following the tenor (see Critical Report).

\*부=부·+보
\*

192

DTÖ 163.3

### 27. Sum tuus in vita (ii)

2.p. Cur rigido latuit

SC M 110

DTÖ 163.3

### 28. Tanto tempore vobiscum / Philippe, qui videt me

2.p. Non turbetur cor vestrum / Philippe, qui videt me

SC M 112

\* ロ・= ロ・・ ロ・・ ロ・・ ロ・
・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・ ・

206

부=부=부+법·+보

209

Pa tris man - - si-o - nes mes mul

SC M 114

214

p

C P


rum

lau

san - cta con - fi - te - te - tur Ec - cle - si -

Ec . cle cle - - Ec a: a,

DTÖ 163.3

sin - gum -

#### DTÖ 163.3

## 30. Tota pulchra es

2.p. Iam enim hiems transiit 3.p. Et vox turturis

#### SC M 115

DTÖ 163.3

DTÖ 163.3

™ ™ ™ ™

™ ™ ™ ™

## 31. Vivo ego, dicit Dominus

2.p. Quis scit si convertatur

SC M 123

be

248

be - ne

Quis

et

us

gno  scat

�

scat

De

us

De

us

90

8

re - line - line - -

et

P

us

quat post se

0

et \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

et

be

re - lin

et

ne di- cti- o- nem,- <be ne- di- cti- o- nem.>-

### CRITICAL APPAR ATUS

#### **EDITORIAL CONVENTIONS**

The goal of the editors is to present the compositions of Ludwig Senfl in a practical critical edition. All sources transmitting Senfl'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. The 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.

The 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 Senfl (c.1490– 1543): A Catalogue Raisonné of the Works and Sources*, 2 vols., Épitome musical (Turnhout, 2019; henceforth: SC, for Senfl Catalogue). In order not to constrain the picture of Senfl'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 conflicting attribution. The titles of works considered doubtful by the authors of the SC are marked with an asterisk. The label 'conflicting ascriptions' means that a composition is ascribed in contemporaneous sources not only to Senfl, whereas compositions later attributed to Senfl by scholars are labelled as 'attributed'. Works considered misattributed are described in the SC but not included in the edition. The four volumes of motets of the New Senfl Edition (NSE) are organised according to scoring and structured alphabetically.

#### **On the Edition**

The 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 staff 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 defies 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. The dotted barline appears whenever the note value exceeds the length of the measure. The music sometimes implies the need to bar one or more voices differently; 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 fifteenth- or sixteenth-century sources has been provided for the unset portions.

#### Text

The 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. The original German orthographies as found in the sources are included in the critical reports.

Although differences in texts for individual voices may occur in the principal source, such as a differing 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.

Senfl'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 Gioseffo Zarlino and Gaspar Stoquerus. Prescriptions outlined by these theorists, though useful to the editors, are often contradicted by the sources transmitting Senfl's music. One occasionally finds, for example, syllables assigned to proscribed semiminims, final 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. Their 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 Senfl would personally have known, despite any theoretical advocacy to the contrary.

Thus, 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. These 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 offer 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 Senfl'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 ficta*

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 ficta*, are always placed above the relevant notes and apply only to these.

The use of *musica ficta*—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 (first compiled by Edward Lowinsky in 1964):


The purpose of the first 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. The last rule is applied to avoid melodic tritones.

*Musica ficta* 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 ficta* often arise in passages where the rules conflict with one another. In general, the editors weigh considerations of melodic principles, note values, and simultaneously sounding intervals in applying *musica ficta*, thereby avoiding excessively stark dissonances without smoothing out all acoustic delicacies. In cases where the use of *ficta* is more arguable, the editorial accidentals appear in brackets. *Musica ficta* 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 Senfl's compositions is provided in the SC. This 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:


The 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. The numbering in the sigla is based on the sources used in a particular volume and thus differs 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. 258–68). 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 difference between partbook label and internal voice designation is clarified (i.e. 'A2 in V'). The 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). This source includes neither foliation nor pagination. The surviving partbooks are labelled discantus, tenor, and bassus. The contratenor partbook is missing. In the tenor partbook, the composition is attributed to 'LS'. The 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 identified by the library's RISM siglum.


The section titled 'Variant Readings' offers 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 Staff 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 first notational sign in measure 28 of the discantus in the edition is subdivided into a semibreve followed by a minim in the manuscript **Reg4**.

The 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 differences in text underlay would yield an unwieldy amount of data beyond the practical scope of documentation. Therefore, only variations in phrase underlay considered significant 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*

The first element in the row defines 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








B. Prints


## **Siglum Title RISM siglum Motet no. vdm no. (consulted copy) Fo2** NOVVM ET INSIGNE OPVS | MVSICVM, SEX, QVINQVE, RISM 15371 1, 6, 15, ET QVATVOR VOCVM, | CVIVS IN GERMANIA HACTENVS vdm 35 20, 22 NIHIL SIMILE | VSQVAM EST EDITVM. (D-Mbs) (Nuremberg: Hieronymus Formschneider, 1537)


(Heidelberg: Johann Kohl [Khol], 1558)


#### C. Theoretical Writings


#### D. Chant sources


#### **BIBLIOGRAPHY**









#### **CRITICAL REPORTS**

#### **1.** *Ave, Rosa sine spinis* **(SC M 10)**

#### **Text**

The text in the discantus, contratenor, tenor 2, and bassus is one of many tropes of the Archangel Gabriel's greeting to Maria *Ave, Maria, gratia plena* (Luke 1:28 and 1:42; see AH 30, nos. 84–186). During the second half of the fifteenth and first half of the sixteenth centuries, *Ave, Rosa sine spinis* was widely known as the *oratio aurea de BMV* (see Sebastian Brant/Jakob Wimpfeling, *Hortulus animae* (Strasbourg: Johann Wähinger, 1503; VD16 H 5042), sig. l3<sup>r</sup> ; *Hortulus animae* (Strasbourg: Johann Knobloch the Elder, 1516; VD16 H 5064), fol. 39<sup>v</sup> (see Figure 1 in the Introduction to this volume); as well as AH 30, no. 126). The six stanzas of *Ave, Rosa* are designed as an acrostic: the first words of stanzas 1 and 2, the first two words of stanzas 3 and 4, and the entire first lines of stanzas 5 and 6 form the prayer *Ave Maria* (highlighted below in small capitals).

The tenor 1 sings an abbreviated version of the trope.


1.p. Ave, Rosa sine spinis, te quam Pater in divinis maiestate sublimavit et ab omni vae servavit. Maria, stella dicta maris, tu a nato illustraris luce clara deitatis qua praefulges cunctis datis. Gratia plena te perfecit Spiritus Sanctus dum te fecit vas divinae bonitatis et totius pietatis.

#### 2.p.

Dominus tecum miro pacto verbo in te carne facto opere trini conditoris: o quam dulce vas amoris. Benedicta tu in mulieribus hoc testatur omnis tribus; caeli dicunt te beatam et super omnes exaltatam. Et benedictus fructus ventris tui, quo nos semper dona frui, per praegustum hic aeternum et post mortem in aeternum. Amen.

#### 1.p.

Hail, rose without thorns, whom the Father elevated to divine majesty and preserved from all suffering. Mary, called the star of the sea, thou who, illustrious of birth, dost shine forth with the bright light of the deity which falls on all creation. Full of Grace the Holy Spirit rendered thee perfect when he transformed thee

### Text in T1 1.P.

Ave, Rosa sine spinis, maiestate sublimavit, Maria stella, luce clara deitatis, Gratia plena, vas totius pietatis.

2.p.

Benedicta tu in mulieribus et benedictus fructus ventris tui, per praegustum hic aeternum et post mortem in aeternum. Amen.

1.p. Hail, rose without thorns, elevated to divine majesty, Mary, star, bright light of the deity, Full of grace, vessel of boundless piety. into a vessel of divine goodness and of boundless piety.

2.p.

The Lord be with thee: in thee through a wondrous pact the Word became flesh by the action of the Creator who is three in one. O, how sweet is the vessel of love. Blessed are thou among women: all peoples bear witness to this. The heavens call thee blessed and above all others creatures exalted. And blessed is the fruit of thy womb through which we ever benefit as a foretaste here on earth and after death for all eternity. Amen.

2.p.

Blessed are thou among women And blessed is the fruit of thy womb as a foretaste here on earth and after death for all eternity. Amen.

#### **Cantus firmus**

Although a cantus-firmus motet, the composition is not based on a liturgical cantus firmus. Instead, Senfl places in the tenor 1 the cantus firmus of Josquin's *Stabat mater*, a motet also found in **Mun2**, the principal source for the edition of this piece. Josquin in turn took the melody from the tenor of *Comme femme desconfortée*, a chanson attributed to Gilles Binchois in the 'Mellon Chansonnier' (US-Nhub 91, fol. 32v ; for other compositions using the tenor of Binchois's three-part rondeau, see Rothenberg 2004: 528–9). Senfl clearly modelled his cantus firmus on the tenor from Josquin's earlier motet: it is presented continuously for the duration of the motet, it has the same mensuration and range, and the melodic pattern is similar to Josquin's motet (including Josquin's deviation from the original melody in mm. 21–2). Like Josquin, Senfl transposes the original melodic line up a fourth and augments Binchois's melody fourfold (see also NJE 25, CC: 125–9).

#### **Principal Source**

**Mun2** D-Mbs Mus.ms. 12, [no. 5], fols. 70v–85r (D, Ct, T1, T2, B), *LUD: S.*, text in all voices

#### **Other Sources**


#### **Intabulation**

#### **Source Evaluation**

All sources transmitting this motet provide similar readings. The manuscripts **Dre3** and **Stu2** are incomplete: in **Dre3** only the bassus is extant; in **Stu2** a large portion of the music is missing due to torn-out folios.

**Mun2**, a choirbook from the court chapel of Duke Wilhelm IV of Bavaria, is the earliest source for this motet (see Plates 1–2). Because of its temporal and geographical proximity to Senfl, and because it transmits the music without identifiable errors, it serves as principal source for this motet.

**Fo2** follows **Mun2** quite closely, but there are some minor deviations (the coloration in T2: 63–4, the ligature in B: 24–5) that can also be found in **Dre3** and **Stu2**, which suggests that these two manuscript sources were derived from the print.

**Be1** is a heavily revised, expanded, and updated edition of **Fo2**. Printed by Johann vom Berg and Ulrich Neuber, who purchased the music typefaces from Johann Petreius (Gustavson 1998: i: 31), this print generally follows **Fo2** but occasionally splits note values at line breaks (Ct: 1022; B: 572 and 1562), a characteristic that cannot be found in any of the other sources transmitting this motet.


**Kra3** PL-Kp MS 1716, fols. 147v–151r , anon., oGk-tabl., 5vv



#### **Remarks**


#### **2.** *Christus, resurgens ex mortuis* **/** *Christ ist erstanden* **(SC M 16)**

#### **Text**

This motet combines a Latin antiphon with a sacred lied. The discantus sings the Latin text, the tenor the German text, and the other voices combine elements of both. The antiphon is an adaptation of Romans 6:9–10.

Christus, resurgens ex mortuis, iam non moritur; mors illi ultra non dominabitur. Quod enim vivit, vivit Deo. Alleluia.

Christ, rising again from the dead, dieth now no more; death shall no more have dominion over him. For in that he liveth, he liveth unto God. Alleluia. (adapted from *RDC*)

The German text is a loose paraphrase of the Latin. The text underlay in the edition, standardised in regard to capitalisation and orthography, is based on the version found in the tenor voice of **Dre11**, which reads as follows:


#### **Cantus firmus**

The antiphon *Christus, resurgens* is sung on Easter Sunday. The Latin cantus firmus in Senfl's composition (cited completely in the discantus) closely resembles the chant as printed in the *Antiphonarius* (1519), fol. 57<sup>v</sup> . Before 'Quod enim' begins, the *Antiphonarius* provides the annotation 'Ibi fit pausa' ('there is a pause').

The lied *Christ ist erstanden* (complete melody in the tenor) is a German sacred song based on the Easter sequence *Victimae paschali laudes*. D-Mbs Cgm 716, a manuscript from the Benedictine monastery of Tegernsee dating back to the last third of the fifteenth century, preserves on fol. 29<sup>v</sup> a version of the melody for one stanza of text that concludes with an Alleluia. The cantus firmus in Senfl's motet comprises two stanzas (of contrasting rhythmic arrangement), followed by an Alleluia section, and finishes with a varied repetition of the second part of the first stanza. Melodic variants appear on the first word of verse 3 (*b* instead of *g* on 'des'; probably a scribal error in D-Mbs Cgm 716, as the custos points to *g*), in the concluding 'Kyrieleis' of the first stanza (texted as 'alleluia' in D-Mbs Cgm 716), and at the beginning and ending of the Alleluia section. This lied was sung in German-speaking lands during Easter services from the twelfth century onwards (see Lipphardt 1960). The melody is given here with the original text in D-Mbs Cgm 716, which differs slightly from the text of the motet.

#### **Principal Source**

**Dre11** D-Dl Mus. Pi Cod. VIII, fols. 107v–112r ([D, Ct, T, B], V), *L:S*, text in all voices

#### **Other Sources**



#### **Source Evaluation**

All sources transmitting this motet originated in Saxony, but even so, different strands of transmission are discernible. The most conspicuous variant dividing the sources into two groups appears at the beginning in the contratenor and vagans: in **Bud2**, **Rh**, and **Dre11** these two voices enter with the melody and text of 'Christus, resurgens', whereas in **Kra1** and **Wei2** they begin with 'Christ ist erstanden' (see Remarks below; see also Plates 5–6). After the initial statement in the opening five measures, the two versions of the contratenor and vagans coincide. (In the remaining sources, the contratenor and vagans are not preserved.) It cannot be determined with certainty which of the two variants was Senfl's choice. The version beginning 'Christus, resurgens', however, seems more plausible to the editors, since both voices imitate the chant precisely. In the variant beginning 'Christ ist erstanden', only the contratenor participates in the imitation and it is rhythmically distorted.

From the two sources preserving all voices and transmitting the variant beginning 'Christus, resurgens', **Rh** is by far the earlier one (see Plates 3–4). Nevertheless, the version in this print deviates in the use of coloration and ligatures substantially from the remaining sources. In addition, there are errors in pitch (T: 542) and texting (T: 561–571). The late source **Dre11**, in contrast, transmits a reliable version and was therefore chosen as principal source.

**Kra1**, **Nur1**, **Nur2**, and **Wei2** belong to the so-called 'Walter-Handschriften', a manuscript complex in which the variant beginning 'Christ ist erstanden' seems to be characteristic for the motet's transmission. **Kra1**, **Nur1**, and **Nur2** transmit a fairly consistent version—in a few cases also corresponding with **Bud2** and **Rh** in ligature placement and note values—whereas **Wei2** features additional variants in pitch (e.g. Ct: 321–2 and 432–3).




#### **Remarks**

	- 'Kyrioleis' instead of 'Kyrieleis' (**Bud2**, **Rh**, **Kra1**, **Nur1**, **Wei2**)
	- 'nit' instead of 'nicht' (**Bud2**, **Kra1**, **Nur1**, **Nur2**, **Rh**, **Wei2**)
	- 'vergangen' instead of 'zergangen' (**Bud2**, **Rh**)
	- 'sollen/solln' instead of 'soll' (**Dre11** (V only), **Rh**)

2. *Christus resurgens ex mortuis* / *Christ ist erstanden*

#### **3.** *Conditor alme siderum* **(SC M 19)**

#### **Text** ° *7*

The text is an Advent hymn sung traditionally at Vespers whose origins date back to the seventh century. It is composed in Ambrosian stanzas of four verses in iambic dimeters. The two sources transmitting this short setting underlay only the first of the hymn's six stanzas, all of which have been provided below according to Lossius 1553: 5. The version found in Lossius 1553 replaces a word that commonly begins the third stanza, 'Vergente' ('inclining'), with 'Urgente' ('bearing down'). &b & ‹ b

aeterna lux credentium, eternal light of believers, Christe, redemptor omnium, Christ, Redeemer of all, & ‹ b & b

*mortis perire saeculum, should be destroyed by death, salvasti mundum languidum, did save it in its illness, donans reis remedium. providing a cure for sinners.* ¢ ‹ ?b

*Virginis matris clausula. womb of the virgin mother.*

*genu curvantur omnia; every celestial and caelestia, terrestria terrestrial knee is bent,* 

*venture iudex saeculi, as judge of the world, conserva nos in tempore to save us now*

*Sancto simul Paraclito and Holy Spirit, in sempiterna saecula. forever. Amen. Amen.*

1. Conditor alme siderum, 1. Bountiful creator of the stars, exaudi preces supplicum. hear the prayers of your supplicants.

2. *Qui condolens interitum* 2. *You, sorrowing that the world*

3. *Urgente mundi vespere,* 3. *With night bearing down upon the world, uti sponsus de thalamo, like a groom from the bridal chamber, egressus honestissima you emerged from the undefiled*

4. *Cuius forti potentiae* 4. *At whose great power Fatentur nutu subdita. all confessing with bowed head.*

5. *Te deprecamur, hagie* 5. *We pray you, who will come hostis a telo perfidi. from the sword of our treacherous enemy.*

6. *Laus, honor, virtus, gloria,* 6. *Praise, honour, power, glory Deo patri cum filio, be to God the Father and Son* (adapted from Blachly 1997)

#### **Cantus firmus**

Senfl uses a transposed version on *A* of the cantus firmus and places it most prominently in the quintus and contratenor voices. The cantus firmus transcribed below from Lossius 1553: 5 features two-note melismas not found in Senfl's version of the plainchant and a modified form of the melody for the third line of the hymn.

#### **Principal Source**

#### **Other Source**

**Reg4** D-Rp A.R. 930–939, [no. 13] (A=T, B, Q=V), *L. Senfel.* (B), D and Ct missing, text in extant voices

#### **Source Evaluation**

**Cop1**, the only complete source for this hymn, serves as the principal source. Deviations in the later source **Reg4** include a different mensuration (Jin place of O), in addition to the adjustment of ligatures and division of note values to accommodate a differing text underlay. Since only the bassus of **Cop1** includes full text underlay, the text for the tenor and vagans was derived largely from **Reg4**, though differences in notation required some adaptation as documented in the Variant Readings below.


**Cop1** DK-Kk MS Den Gamle Kongelige Samling 1872, 4o, [no. 51], fol. 36v /40<sup>v</sup> (D), fol. 35<sup>v</sup> /39<sup>v</sup> (A), fol. 31<sup>r</sup> /33<sup>r</sup> (T), fol. 35<sup>v</sup> /41v (B), fol. 36<sup>r</sup> /39r (V), *Ludo: Senphl:*, text in B, text incipit only in D, Ct, T, and V


#### **Remarks**

**Cantus firmus**

?

?

**Principal Source**

**Other Source**

**Source Evaluation**

Readings below.

**Variant Readings**

Coloration

Ligatures

Mensuration and proportion signs

Directions and/or non-verbal signs

Variants in pitch and rhythm

(T), fol. 35<sup>v</sup>

/41v

1–18 T, B, V **Reg4** J

17 V **Cop1** U 18 D, Ct, T, B **Cop1** U

22–31 B **Reg4** dotted Sb B **Reg4** Sb Mi 41–2 T **Reg4** dotted Br B **Reg4** Sb Mi B **Reg4** Sb Mi T **Reg4** 2 Sb

113 B **Reg4** dotted Sb Mi 113–121 T **Reg4** Mi Sb Mi 124–5 T **Reg4** Sb 17 V **Cop1** Mx 18 D, Ct, T **Cop1** Mx

111–122 B **Reg4** no coloration

111–3 B **Reg4** no lig. 143–4 T **Reg4** lig. 172–3 T **Reg4** no lig.

Senfl uses a transposed version on *A* of the cantus firmus and places it most prominently in the quintus and contratenor voices. The cantus firmus transcribed below from Lossius 1553: 5 features two-note melismas not found in Senfl's version of

Con di - - tor al me - si de - - rum, ae ter - - na lux cre - den - ti um,

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

Chri ste - red - em - ptor o mni - - um, ex au - - di pre - ces sup pli - cum.

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

/40<sup>v</sup>

(V), *Ludo: Senphl:*, text in B, text incipit only in D, Ct, T, and V

(D), fol. 35<sup>v</sup>

/39<sup>v</sup>

(A), fol. 31<sup>r</sup>


°

°


/33<sup>r</sup>

the plainchant and a modified form of the melody for the third line of the hymn.

**Cop1** DK-Kk MS Den Gamle Kongelige Samling 1872, 4o, [no. 51], fol. 36v

/39r

**Reg4** D-Rp A.R. 930–939, [no. 13] (A=T, B, Q=V), *L. Senfel.* (B), D and Ct missing, text in extant voices

**Cop1**, the only complete source for this hymn, serves as the principal source. Deviations in the later source **Reg4** include a different mensuration (Jin place of O), in addition to the adjustment of ligatures and division of note values to accommodate a differing text underlay. Since only the bassus of **Cop1** includes full text underlay, the text for the tenor and vagans was derived largely from **Reg4**, though differences in notation required some adaptation as documented in the Variant

(B), fol. 36<sup>r</sup>

Annotations in the three surviving partbooks of **Reg4** seem to refer to the date of copying: '20 Maij 1578' is found after the final barline in the altus, '20 Maij die Martis post Pentecosten 1578' at the end of the bassus, and 'die Martis post Pentecosten 1578 20. Maÿ' at the end of the quintus.

#### **4.** *Da pacem, Domine* **(ii) (SC M 26)**

#### **Text**

The text of this antiphon is related to Ecclesiasticus 50:25 and 2 Ezra 4:20.


#### **Cantus firmus**

In the *Antiphonarius* (1519), fol. 138<sup>v</sup> , the antiphon *Da pacem, Domine* is assigned to the Feast of the Maccabees (*De Historia Machabeorum*), but it also served more broadly as a prayer for peace and, especially in the sixteenth century, a plea for unity within the church (Burn 2012: 151). The cantus firmus appears as a quasi-canon in long note values in the bassus, tenor, and vagans.

#### **Principal Source**

**Mun3** D-Mbs Mus.ms. 19, [no. 9], fols. 72v–77r (D, Ct, T, B, V), *Quinq*[*ue*] *vocu*[*m*]*. L. S.*, on fol. 64<sup>r</sup> the annotation *Media vita:* | *quinq*[*ue*] *vocu*[*m*]*.* | *Da pace*[*m*] *d*[*omi*]*ne:* | *Lud: Sennfl.* (possibly by a later hand), text in all voices

#### **Other Source**

**Lei** D-LEu Thomaskirche 49/50, [no. 37], fols. 65v–66r (D), fol. 65r–v (A), fol. 58v (T), fol. 69<sup>v</sup> (B), fol. 61v (Q=V), *Lud. Sen. 5. vocum*, text in all voices

#### **Intabulation**

**War** PL-Wn rkp. 564, pp. 272–4, *Ludovici Sveycer*, oGk-tab., 5vv

#### **Source Evaluation**

**Mun3**, a choirbook from the court chapel of Wilhelm IV of Bavaria, transmits a viable version of Senfl's motet and therefore serves as principal source for the edition. **Lei** follows **Mun3** quite closely but there are two scribal errors (V: 231 and Ct: 434–5) and one instance each of the splitting or combination of note values in the contratenor to accommodate slight differences in text underlay.


#### **Remarks**

• In **Mun3**, the scribe uses the indicative form of the verb 'pugnare' ('pugnat') in place of its subjunctive form ('pugnet').

• The scribe of **Lei** does not include barlines in any of the voices at the end of the *prima* or *secunda pars*.

#### **5.** *Da pacem, Domine* **(iii) (SC M 27)**

The surviving sources present evidence that this motet was transmitted in two scorings for five or eight voices (see below, Source Evaluation). The edition in this volume follows the five-voice setting in **Lei**; the extant voices of the eight-voice setting are edited in NSE 4.16.

#### **Text**

See above, no. 4 (SC M 26).

#### **Cantus firmus**

See above, no. 4. In the *prima pars*, the cantus firmus is presented in quasi-canon in the tenor (transposed to *g*) and contratenor. In the *secunda pars*, sections of the antiphon melody appear in all voices, albeit mainly in the discantus and tenor.

#### **Principal Source**

**Lei** D-LEu Thomaskirche 49/50, [no. 28], fols. 53v–54r (D), fols. 53v–54r (A), fol. 50<sup>r</sup> (T), fol. 57r–v (B), fols. 48v–49r (Q), *L S*, text in all voices

#### **Other Source**

**Dre6** D-Dl Mus. Grimma 55, [no. 17], pp. 116–19 (D), fols. 46v–47v (T), fols. 53v–54v (B), Q (not present in **Lei**) and [7] (=Q in **Lei**) without foliation, anon., Ct of **Lei** missing, text in extant voices

#### **Source Evaluation**

Senfl's *Da pacem, Domine* (iii) is transmitted in two sources with differing sets of voices. **Lei** transmits the setting for five voices (D, A, T, B, and Q) and includes no evidence of missing partbooks or voices. The fragmentary source **Dre6**, however, transmits Senfl's motet in partbooks labelled discantus, tenor, bassus, quinta vox, and an unnamed partbook which appears to be a septima vox. The source is in poor condition: one partbook of **Dre6** is missing; in the contratenor, folios are missing, and therefore *Da pacem* as well, while the piece before *Da pacem*, Wilhelm Breitengraser's *Ego sum resurrectio* (5vv), is incomplete. Whether the same is true for the sexta vox is unclear as only microfilm images of the source are presently available. The voice in the septima vox of **Dre6** is equivalent to the quintus in **Lei**, whereas the voice in the quintus partbook of **Dre6** presents a voice absent from **Lei** in the contratenor range. Rather than this being a substitute part, it appears more likely that **Dre6** originally transmitted a version of the motet with three additional voices. An eight-voice *Da pacem*, *Domine* ascribed to Senfl is listed in D-HEu Cod. Pal. germ. 318, fol. 81v , and it is indeed possible to combine the additional altus voice in **Dre6** with the five parts in **Lei**. Moreover, **Dre6** comprises several eight-voice motets, including *O sacrum convivium* by Dominique Phinot, which follows Senfl's motet in this source. As the quintus of **Dre6** (absent from **Lei**) opens with the same melodic phrase as the bassus and takes up material from the cantus firmus in the *secunda pars* (e.g. mm. 45–8, 59–73), it seems probable that Senfl conceived the version for eight voices, and that the number of voices was reduced when it was copied into **Lei**. Although this does not seem to be a general characteristic of **Lei**, Senfl's *Alleluia, mane nobiscum Domine* (SC M 2) also appears with a reduced number of voices in **Lei** (see NSE 4.1).

#### **Variant Readings**



#### **Remarks**


#### **6.** *De profundis clamavi* **(ii) (SC M 29 confl.)**

#### **Text**

This motet sets all eight verses of Ps. 129 (the first half of the first verse functions as a superscription and is not set to music), whereas Senfl's *De profundis clamavi* (i) (see NSE 1.12) sets only the first verse. Senfl divides the setting into two *partes*: verses 1–5 comprise the *prima pars* and verses 6–8 the *secunda pars*.

#### 1.p.

De profundis clamavi ad te, Domine. Domine, exaudi vocem meam. Fiant aures tuae intendentes in vocem deprecationis meae. Si iniquitates observaveris, Domine, Domine, quis sustinebit? Quia apud te propitiatio est, et propter legem tuam sustinui te, Domine. Sustinuit anima mea in verbo eius; speravit anima mea in Domino.

#### 2.p.

A custodia matutina usque ad noctem speret Israel in Domino quia apud Dominum misericordia et copiosa apud eum redemptio, et ipse redimet Israel ex omnibus iniquitatibus eius.

#### 1.p.

Out of the depths I have cried to thee, O Lord. Lord, hear my voice. Let thy ears be attentive to the voice of my supplication. If thou, O Lord, wilt mark iniquities, Lord, who shall stand it? For with thee there is merciful forgiveness, and by reason of thy law I have waited for thee, O Lord. My soul hath relied on his word; my soul hath hoped in the Lord.

#### 2.p.

From the morning watch even until night let Israel hope in the Lord, because with the Lord there is mercy and with him plentiful redemption, and he shall redeem Israel from all his iniquities. (*RDC*)

Unlike *De profundis clamavi* (i), this psalm motet is composed without a cantus firmus.

#### **Principal Source**

**Mun1** D-Mbs Mus.ms. 10, [no. 5], fols. 67v–80r (D1, D2, Ct, T, B), *Lud: Sennfl*, title on fol. 67<sup>r</sup> by a later hand *Psal*[*mus*] *CXXIX De profundis. 5 Voc*[*um*]*. Ludovico Sennfl Authore*, text in all voices

#### **Other Sources**


**Dre3** D-Dl Mus. 1/D/6, [no. 22], fols. 29r –30<sup>r</sup> (B), *Quinq*[*ue*] *Vocum Ludouicus Senf:*, B only, text in extant voice **Eis** D-EIa s.s., fols. 326v–329r (D1, D2, A, T, B), *Ludouicus Senflius*, text in all voices


$$\textbf{Vie}^{1} \qquad \text{ } \text{ } \text{-} \text{Wn Mass.}\\\text{Hs. } 15\textbf{5}00, \text{ [no. } 2\textbf{8}], \text{ fols. } 2\textbf{5}7^{\circ} \text{–} 2\textbf{4}\textbf{5}^{\circ} \text{ ([D1, D2, Cr, T, B]), anon. text in all volces}$$

#### **Intabulations**

**Be3** Brown 15836 (D-W), no. 81, fols. 128v–130r , *DOMINICA XXII. POST TRINITATIS* | *De profundis* | *Clamaui.* | *Ludouicus* | *Senffel.* | *Quinq*[*ue*] *vocum.*, nGk-tab., 5vv, transposed from *f* to *c* **Kla** A-Kla MS GV 4/3, fols. 14<sup>r</sup> –16<sup>r</sup> , *De profundis .5. vocu*[*m*] *Ludo. Senfl*[*ius*]*.*, nGk-tab., 5vv

#### **Source Evaluation**

Senfl's *De profundis clamavi* (ii) survives in 22 sources. Many of those sources originated in a Lutheran milieu, especially in the second half of the sixteenth century. This motet is one of the rare cases for which it is possible to name a *terminus ante quem* for its composition: in July 1535, Senfl sent this motet along with a letter to Albrecht of Prussia (Gasch 2012: 412–13). Only two years later, the motet was printed in **Fo2**. One of the earliest manuscript sources is a choirbook from the Munich court chapel, **Mun1** (dated *c.*1520–30 in KBM 5/1, but probably bound together around 1537 (SC 2: 72)). The readings in **Mun1** transmit the motet without any errors (only a passage in the discantus 2 is missing text underlay). On account of Senfl's employment in the Bavarian court chapel, **Mun1** has been chosen as principal source for the edition.

An error in the discantus 2 of **Fo2** serves as a conjunctive error that tracks one strand of transmission of this motet: the ending line of the *prima pars* (between 1054–1061) in **Fo2** has an extra semibreve *a*1 absent from **Mun1**. This extra note causes a dissonance between the discantus 2 and contratenor on the first beat in the penultimate measure (*g*1 against *a*1). Many sources, including **Bas**, **Cop2**, **Dre2**, **Erl2**, **Reg3**, share this error and are therefore most likely descendants of **Fo2**. Apart from the extra semibreve, other features of this strand of transmission relate to the discantus 2, including a change of clef (around mm. 56–80) and variants in text underlay at mm. 252–311 ('fiant' moved from the ending of one phrase to the beginning of the next, although the motivic fragment of a descending fourth (D2: *c*2–*g*1) corresponds with 'fiant' in all other voices) and mm. 792–811 ('sustinui te, Domine' instead of 'et propter legem tuam'; **Mun1** lacks text underlay for this passage). The last variant requires a splitting of notes to accommodate all the syllables of 'sustinui te, Domine'. Although **Vie1** shares this textual variant, it maintains the note values found in **Mun1** without adapting them to the excess number of syllables. Since **Vie1**, like **Fo2**, features the erroneous extra semibreve at the end of the *prima pars*, Royston Gustavson suspects that **Vie1** could reflect a step of transmission somewhere between **Mun1** and **Fo2** (Gustavson 1998, i: 222, 264; for a reproduction of the beginning of the motet in **Vie**, see Plates 7–8). A few other sources lacking the discantus 2 voice—**Dre3**, **Reg7**, and **Str**—are probably also dependent on **Fo2**, as they share with the print an awkward textual variant in the bassus (1292–1313: an ill-fitting 'misericordia' instead of 'quia apud Dominum', despite the repetition of the melodic motif). **Dre2**, **Erl2**, and **Vie1**, in contrast, do not share this variant in text underlay.

A second strand of transmission involves the so-called 'Walter-Handschriften'. They follow **Mun1** in the above-mentioned instances but deviate from its readings in other passages: **Eis**, **Got**, and **Kra1** share a variant in the discantus 2 in mm. 1511–1533, including a different pitch (at 1521) and deviating text underlay. **Nur1** and **Nur2** also belong to the 'Walter-Handschriften', but filiation can only be established for the bassus partbook (**Nur2**): the bassus voices transmitted in the 'Walter-Handschriften' differs from the other sources by the splitting of some notes into smaller values (1024; 1045; 1233). It is similarly difficult to allocate **Lei** a place in the transmission of the motet, as only the contratenor of *De profundis* (ii) is transmitted in this manuscript (most probably due to scribal oversight). But **Lei** shares a variant in pitch with **Got** and **Kra1** (Ct: 1692) that results in a dissonant sonority and a modification of the beginning of the motif on 'iniquitatibus' to reflect its earlier appearance in the contratenor on the same word (Ct: 1662–1674 and 1692–1704). Additional matters of text underlay (Ct: 223–264 and at 1473–1491 'apud Deum' instead of 'apud eum') point towards a connection between **Lei** and the 'Walter-Handschriften'.

The version of the motet found in **Kas**, a set of four partbooks (Q missing) copied by Johannes Heugel at the court of Count Philip of Hesse in Kassel, is quite close to the one found in **Mun1**. The first part of this source (nos. 1–96), which includes Senfl's *De profundis* (ii), was copied *c.*1538–43 (Gottwald 1997: 527). Minor variants from **Mun1** include the application of coloration, ligatures, and text underlay, but the only remarkable deviation from **Mun1** is a variant shared by members of both strands of transmission. This variant pertains to m. 1324 of the contratenor: in **Dre2**, **Erl2**, **Got**, **Kas**, and **Mun10**, the beginning of the motif 'misericordia' is modified from *f* 1 to *g*1, while in **Lei** the *f* 1 is modified to *e*1. This variant seems to be the result of independent scribal emendations: in **Mun1**, the contratenor reaches this motif by means of an upward leap of a seventh (*g*-*f* 1). This unusual interval was adapted to an octave (or a sixth) in the aforementioned manuscripts, but in doing so, the motif that follows this leap, which also appears in the discantus 1 (starting in 1311 and again in 1343) and discantus 2 (starting in 1314 and 1334), takes on a different shape in the contratenor. Due to their fragmentary states of preservation, strands of transmission for **Mun10** (a contratenor partbook) and **Mun11** (a tenor partbook transmitting only mm. 1–622) cannot be determined.







#### **Remarks**

• Royston Gustavson proposed a stemma for this motet (Gustavson 1998, i: 22 (Fig. 4.1)) and provided a corresponding critical commentary in Gustavson 1998, ii: 871–91. This stemma does not, however, include the manuscript **Str** and assumes that the partbooks **Nur1** and **Nur2** belong to the same set.

• Senfl's *De profundis* (ii) is ascribed to Josquin in the discantus 1 and discantus 2 of **Dre2** and to Senfl in the tenor and bassus. For a discussion of the incorrect ascription to Josquin, see Macey 2009.


#### **7.** *Genuit puerpera Regem* **(SC M 44)**

#### **Text**

The text is an antiphon traditionally sung at Lauds during the season of Christmas.

Genuit puerpera Regem, cui nomen aeternum, et gaudium matris habens cum virginitatis pudore: nec primam similem visa est, nec habere sequentem. Alleluia.

The Mother brought forth the King, whose name is eternal. The joy of a mother was hers, remaining a virgin unsullied. Neither before nor henceforth hath there been or shall there be such another. Alleluia.

#### **Cantus firmus**

The cantus firmus in Senfl's setting is featured as a canon at the fifth for tenor and vagans. Resemblances between Senfl's chant model and the version of the chant found in the *Antiphonarius* (1519), fol. 14<sup>r</sup> , are strong. The chant in Senfl's setting features some additional melodic embellishments, and minor adjustments in stepwise motion are found at the words 'pudore' and 'habens'. The most significant departure occurs at 'sequentem. Alleluia': in Senfl's setting the descent to *A* (as found in the vagans) is grafted onto the end of 'sequentem' and followed by an upward leap of a third on the first syllable of 'Alleluia'.

#### **Principal Source**

**Be2** RISM 15644 (D-Mbs), no. 50 (D, A, T, B, V), *Ludo. Senflius*. (index T), text in all voices

#### **Other Sources**


#### **Source Evaluation**

All four of the sources transmitting this motet most likely date from the second half or end of the sixteenth century. Complete and with full text underlay, both **Be2** and **Reg1** are strong candidates for the principal source. It seems that there is no error in the notation of **Be2**. The missing dot accompanying the minim in the bassus at m. 461 is faintly visible in both the D-Mbs and D-ROu exemplars of this print, suggesting that this is rather an issue of damaged type or uneven typesetting. There is, however, one mistake in **Reg1**: a ligature in the bassus at mm. 71–2 has been transcribed with an incorrect stem. The transcription found in **Ber5** seems to have been derived from **Be2**; the three motets that immediately precede the transcription of *Genuit puerpera* in **Ber5** (Georg Prenner's *Genuit puerpera Regem* and *Quem vidistis pastores*, and Thomas Stoltzer's *O admirabile commercium*) and the one that follows (Vincenzo Ruffo's *Hodie Christus natus est*) are also found in **Be2** (nos. 37, 35, 49, and 57, respectively). It is striking that there are in total four concordances between **Be2** and **Reg1**, and that all four concordances are among the six concordances shared by **Be2** and **Ber5**. Indeed, there is a remarkable consistency of ligatures and coloration in these three sources that suggests a close filiation, possibly stemming from **Be2**. **Bud3**, which consists solely of a bassus partbook, includes two (erroneous?) variants in pitch and rhythm and a differing text underlay that sets it apart from the other sources. For these reasons and given its role in the wider diffusion of this motet as a printed source, **Be2** serves as the principal source.

#### **Variant Readings**



#### **Remarks**


#### **8.** *In te, Domine, speravi* **(i) (SC M 49)**

#### **Text**

This motet sets Ps. 70:1, apart from its first half, which functions as a superscription and is not set to music. The same text appears in the first half of Ps. 30:2 and as the final verse of the *Te Deum laudamus*.

In te, Domine, speravi; non confundar in aeternum. In thee, O Lord, have I hoped; let me never be confounded. (*RDC*)

In te, Do - mi - ne, spe ra - - - - - vi; non con fun - - dar

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

in ae ter - - - - - num.

& ‹

& ‹

#### **Cantus firmus**

Senfl uses the same cantus firmus in both of his known settings of this text (see *In te, Domine, speravi* (ii), no. 9), as well as in his *Te Deum laudamus* (this volume, no. 29), but an exact match to his cantus firmus has yet to be located among chant sources. The plainchant provided below forms the last part of the *Te Deum laudamus* in the *Exemplar in modum accentuandi* (1513), fol. 69<sup>r</sup> . Senfl's cantus firmus, as found in the present setting in the tenor 2 and transposed up a fifth in the tenor 1, differs at the beginning (the first two notes are *e* instead of *f* as in the *Modus accentuandi*) and varies in the closing melisma on the syllable '-num' (notes 3–4 are left out; notes 5–6 are in reversed order; note 9 (*d* ) is repeated; and note 13 is *d* instead of *e*).

#### **Unique Source**

802–3 Ct **Ber5** passage crossed out between these notes due to scribal error?

71–2 B **Reg1** incorrect upward stem to the left of the first note of the ligature

• In **Reg1**, a scribe has in two instances (T: 63–6; V: 65–8) written the numeral '2' above each pitch within these ligatures

• The text underlay for the two canonic voices depart in one instance: at mm. 42–8, the tenor sings the word 'habens' twice, whereas the vagans sings 'habens' only once. All three sources transmitting these two voices transmit this text underlay, and therefore this edition does so as well. This difference in text underlay may be due to the fact that the tenor

This motet sets Ps. 70:1, apart from its first half, which functions as a superscription and is not set to music. The same text

In te, Domine, speravi; non confundar in aeternum. In thee, O Lord, have I hoped; let me never be confounded.

Senfl uses the same cantus firmus in both of his known settings of this text (see *In te, Domine, speravi* (ii), no. 9), as well as in his *Te Deum laudamus* (this volume, no. 29), but an exact match to his cantus firmus has yet to be located among chant sources. The plainchant provided below forms the last part of the *Te Deum laudamus* in the *Exemplar in modum accentuandi*

differs at the beginning (the first two notes are *e* instead of *f* as in the *Modus accentuandi*) and varies in the closing melisma on the syllable '-num' (notes 3–4 are left out; notes 5–6 are in reversed order; note 9 (*d* ) is repeated; and note 13 is *d* instead

(*RDC*)

. Senfl's cantus firmus, as found in the present setting in the tenor 2 and transposed up a fifth in the tenor 1,

and bassus form a clear cadence on *d* at the conclusion of the first statement of 'habens' in the tenor voice.

(Sb-*e*1 Fu-*f* 1 Fu-*g*1)

472 Ct **Ber5** erroneous *c*1

313–331 Ct **Ber5** *in aeternum* 413–44 B **Bud3** *habere* [sic] 422–443 Ct **Reg1** *matris habens* 442–461 T **Ber5** *ha-* (*-bens* missing)

461–473 B **Bud3** no text

692–731 B **Bud3** no text 701–723 Ct **Ber5** *sequen* [sic]

to indicate their equivalences in semibreves.

**8.** *In te, Domine, speravi* **(i) (SC M 49)**

71–2 B **Reg1** 2 Sb (see Ligatures)

281–2 T **Ber5** *recta* in place of *obliqua*

531–561 D **Ber5** *pudore* + sign of repetition 563–58 B **Ber5** *nec primam similem* 633–682 B **Bud3** *nec habere sequentem*

appears in the first half of Ps. 30:2 and as the final verse of the *Te Deum laudamus*.

53–101 D **Ber5** sign of repetition followed by *-erpera*

161–2 B **Bud3** Sb-rest inserted between these 2 notes 461 B **Be2** Mi (apparently due to damaged type)

82 D, Ct, B, V **Ber5** U

511 B **Bud3** *c*

643 B **Bud3** no *e* b

Variants in pitch and rhythm

Textual variants and text placement

Accidentals

Ligatures

**Remarks**

**Text**

**Cantus firmus**

(1513), fol. 69<sup>r</sup>

of *e*).

**Mun9** D-Mu 4o Art. 401, [no. 14], no. 25, fols. 21v–22r (D), fol. 20r–v (Ct), fol. 19v (T1, T2), fol. 20r–v (B), *L. Sennfl* (T1), text in all voices

#### **Critical Notes**

Staff signatures 471–553 D *b* b missing

Directions and/or non-verbal signs 29–442 B F3 clef corrected to F4

Accidentals 482 Ct cautionary *b* b

#### **9.** *In te, Domine, speravi* **(ii) (SC M 50)**

#### **Text**

See above, no. 8 (M 49).

#### **Cantus firmus**

Senfl sets the cantus firmus in long note values in the tenor. Its pitches exactly match the version of *In te, Domine, speravi* (i) (this volume, no. 8) as well as the one used in Senfl's *Te Deum laudamus* (this volume, no. 29).

#### **Principal Sources**

**Zwi2** D-Z 81/2, [no. 49] (D, T/V, B), *Aliud quinq*[*ue*] *L.S.*, Ct missing, text in extant voices

#### **For the contratenor**

**Mun9** D-Mu 4o Art. 401, [no. 43], no. 92, fol. 61r (D), fol. 63r–v (Ct), fol. 57v (T), fol. 60<sup>r</sup> (B), *Ludo: Sen: 5 vo:*, V missing, text in extant voices

#### **Other Source**

**Zwi3** D-Z 175, after no. 64, fol. 39r , anon., D only, text in extant voice

#### **Source Evaluation**

The motet is transmitted in **Zwi2**, a valuable source for Senfl's music written *c*.1530–50 in Zwickau, probably by the cantor Wolfgang Schleifer (Gasch 2013b). The scribe of the sole surviving partbook of **Zwi3**, Jodocus Schalreuter, was a citizen of Zwickau before he went into exile in 1547 (see Schlüter 2010), and **Zwi3** has been dated to the period following his exile *c*.1549–50 (Elders 1981). *In te, Domine, speravi* (ii) is presented in both manuscripts consecutively after the *Te Deum laudamus* (this volume, no. 29) as an alternative setting for the last verse of the *Te Deum*. In addition to the geographical connection between **Zwi2** and **Zwi3**, a correction in **Zwi2** (D: 204) suggests a related transmission: **Mun9** notates a plausible *a*1 in the discantus at 204, whereas **Zwi3** follows the corrected version of **Zwi2** with a *b* b1.

The manuscript **Mun9**, which most likely originated in Augsburg, transmits both settings by Senfl of *In te, Domine, speravi*, albeit in different places. The present setting was copied with a few scribal errors (e.g. missing dots at D: 532 and Ct: 372). Therefore, the discantus, tenor, bassus, and vagans are edited according to **Zwi2**, and **Mun9** serves as principal source for the contratenor only.

#### **Variant Readings**




#### **10.** *Mater digna Dei* **/** *Ave, sanctissima Maria* **(SC M 55)**

#### **Text**

The text presented in the discantus, contratenor, tenor 2, and bassus, *Mater digna Dei*, is a devotional prayer to the Virgin Mary that circulated widely in fifteenth-century books of hours and breviaries with some variation (Drake 1972: i: 78 and 285–6). The version used by Senfl in this motet closely follows the *Tesauro spirituale* (Milan: Ulrich Scinzenzeler, 3.12.1494), sig. [m6]r–v (see also Blackburn 1999), compiled by Bernardino Busti, a member of the Franciscan order and ardent advocate of the Virgin Mary (see Plates 9–10). In Munich, the Franciscans had maintained close connections to the Wittelsbach family since the thirteenth century: the monastery of St Anthony of Padua was located in the immediate vicinity of the ducal residency and enjoyed support from the dukes. Duke Wilhelm IV, who commissioned the motet, might have become acquainted with this prayer book through the Franciscans.

Close contact between the ducal palace and Franciscan monastery may also have resulted in Senfl's composition of the *Quinque Salutationes Domini Nostri Jesu Christi* (NSE 1.3), which was also commissioned by Wilhelm IV and whose text also appears in Busti's anthology (Lodes 2014).

In the third line of the first stanza, the metrical construction of the prayer requires 'lux alma Diei', as it is printed in the *Tesauro spirituale*, instead of 'lux alma Dei' as found in the sources for this motet. Senfl's setting is nevertheless clearly designed for the two-syllable 'Dei', and therefore this edition maintains the metrically shortened version.

The text in the tenor 1, *Ave, sanctissima Maria*, is a Marian antiphon that might have been composed by Pope Sixtus IV (see Bäumker ii: no. 11; Blackburn 1999). Because recitation of the prayer granted an indulgence of 11,000 years, this text, too, was popular and widespread (see, for example, the broadsheet printed by Conrad Hist in 1495 in the introduction to this volume (Plate 11) and NSE 1.4 for a four-voice setting attributed to Senfl).

#### Text in D, Ct, T2, and B Text in T1

Mater digna Dei, veniae via luxque diei, Ave, sanctissima Maria, sis tutela rei duxque comesque mei. Mater Dei, Sponsa Dei, miserere mei; lux alma Dei, Regina caeli, digna coli, Regina poli, me linquere noli. Porta paradisi,

#### 2.p. 2.p.

Nixa Deum, defende reum, mihi dando trophaeum. Tu es singularis Virgo pura. Me tibi Virgo pia, Genitrix commendo Maria. Tu concepisti Jesum sine peccato. Jesu Christe, Fili Dei vivi, miserere mei. Tu peperisti Creatorem et Salvatorem mundi, Christus Rex venit in pace: Deus homo factus est. in quo ego non dubito.

#### 3.p. 3.p.

Deus propitius esto mihi peccatori, Ora pro nobis Jesum, tuum dilectum Filium, et custos animae meae, nunc et semper et ubique. et libera nos ab omnibus malis. Amen.

#### 1.p. 1.p.

O worthy mother of God, path of forgiveness and light of the day, Hail most holy Mary, offer protection to the guilty and be thou my leader and companion. Mother of God, Bride of God, have pity in me; noble light of God, Queen of heaven, worthy of adoration, Queen of heaven, do not relinquish me. Gate of paradise,

#### 2.p. 2.p.

Mother of God, protect me from evil, giving me the trophy. You are the only pure Virgin. In thee, Mary, pious Virgin and Mother, I place my trust. You conceived Jesus without sin. You bore the Creator and Saviour of the world, in whom I do not doubt. Jesus Christ, son of the living God, have mercy on me. Christ the King comes in peace: God has become Man.

#### 3.p. 3.p.

& ‹ b

& ‹ b

& ‹ b

& ‹ b

& ‹ b mun °

O Lord, be gracious to me, a sinner, Pray for us to Jesus, your beloved Son, and be the custodian of my soul, now and for ever and everywhere. and deliver us from all evils. Amen.

#### **Cantus firmus**

No cantus firmus melody for *Mater digna Dei* is known nor is one present in the setting. Instead, Senfl relies solely on *Ave, sanctissima Maria* for the cantus firmus, which he places in the tenor 1 (see Plates 13–14). Senfl's melody follows the plainchant version transcribed below from the *Responsoria noviter* (1509), fol. 122r–v. The most significant deviation can be found at 'in quo ego' (mm. 115–21), where Senfl transposes the melody to *c*. The cantus firmus of the current composition is also closely related to the one used by Isaac in his motet on the same antiphon, which was printed in RISM 15204, and the anonymously transmitted *\*Ave, sanctissima Maria* (SC \*M 11 attr.; see NSE 1.4). For a discussion of other settings of this chant, see Blackburn 1999.

1.p. 1.p. Domina mundi.

Mistress of the world.

du - bi - to. O - - ra

°

<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> 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> œ œ

pro no - - bis Je - - - sum, tu um - di le - -ctum Fi - li - um, et li be - - ra

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

si ne - pec ca - - to. Tu pe pe - - ri - sti Cre- a - to - - rem et Sal- va - to - - rem


nos ab o - - - - mni - bus ma - - - lis.

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

Tu es sin gu - - la - ris Vir - go pu - - ra. Tu con ce - - pi - sti Je - sum

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

Re - gi - na cae li, - Por - - ta pa ra - - di - - si, Do


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

°


#### **Principal Source**

**Mun2** D-Mbs Mus.ms. 12, [no. 4], fols. 55v–69r (D, Ct, T1, T2, B), *Lud: S.*, text in all voices

#### **Other Source**

**Bud3** H-Bn Ms. mus. Bártfa 23, [no. 2045], no. 179 (B), with different text: *Aue sanctissime Iesu* – 2.p. *Tu es singularis fili*[*us*] – 3.p. *Ora pro nobis*, *Quinq*[*ue*] *L S*, B only, text in extant voice

#### **Source Evaluation**

The manuscript **Mun2** is a choirbook from the court chapel of Duke Wilhelm IV of Bavaria. Fol. 55<sup>r</sup> serves as a title page for the current motet and includes the following dedicatory text (see also Plate 12):

*Oratio ad incomparabilem Virginem* | *Mariam com*[*m*]*endatitia, ex singulari* | *deuotione et mandato, Serenissimi* | *utriusq*[*ue*] *Boiariæ Principis Guilielmi etc.* | *a Ludouico Senflio serenitatis* | *ipsius intonatore Musico. q*[*uam*] *exactissima diligentia,* | *animoq*[*ue*] *prorsus ad iussa* | *et uota clementissimi* | *Principis sui ob= | sequentissimo* | *emusicata* | *dicataq*[*ue*]*.*

'Prayer to the incomparable Virgin Mary, commanded solely from devotion and given of his own free will and obedience to the Serene Highness, Wilhelm, Duke of both Bavarias etc. by his *musicus intonator* Ludwig Senfl, composed and inspired with the most precise diligence and dictated according to the most benevolent command of his Duke.'

The dedication thus confirms that Senfl's employer, Duke Wilhelm IV of Bavaria, commissioned the motet. The only other motet known to have been commissioned personally by Wilhelm is the motet cycle *Quinque Salutationes* (NSE 1.3) in D-Mbs Mus.ms. 10, whose text can also be found in Busti's *Tesauro spirituale*. Both choirbooks and both compositions are thus related and may have been arranged for devotional services at the ducal court (on the context of the books, see Gasch 2016).

The only other source that transmits this composition is **Bud3**, which consists solely of a bassus book. Although the music corresponds with **Mun2**, the text of the bassus in **Bud3** is replaced with a Christological adaptation of *Ave, sanctissima Maria*, the text of the tenor 1 in **Mun2**:

1.p. 1.p. Porta paradisi, Gate of paradise, Domine mundi. Lord of the world.

2.p. 2.p.

Ave, sanctissime Jesu, Hail, most holy Jesus, Fili Dei vivi, Son of the living God,

Tu es singularis Filius Patris, You are the only Son of the Father. Tu conceptus es sine peccato. You were conceived without sin.

& ‹ b

& ‹ b

A ° Tu solus Creator et Salvator mundi, You alone are the Creator and Saviour of the world, in quo ego non dubito. in whom I do not doubt.

3.p. 3.p. Ora pro nobis Deum, Pray for us to God, tuum dilectum patrem, your beloved Father et libera nos ab omni malo. and deliver us from all evils.

#### **Variant Readings**


**Remarks** 

• In **Mun2**, the text of the tenor 1 (the antiphon) is notated in red ink.

• The blackened upper note head in the discantus of **Mun2** (*g*1 above *e*1) at m. 56 is an optional addition to the concluding sonority of the *prima pars*.

#### **11.** *Media vita in morte sumus* **/***Inmitten unsers Lebens Zeit* **(SC M 56)**

#### **Text**

The Latin text in this motet is an antiphon for Compline on the first Sunday of Lent, but it was also used in other contexts, such as processions, funerals, and sacred dramas (see Lipphardt 1987). The earliest German prose translations of the antiphon date from the first half of the fifteenth century. One of the earliest known sources of the lied with musical notation is A-Ssp Cod. b IX 28, fol. 128<sup>v</sup> (mid-fifteenth century; see Lipphardt 1966).

#### 1.p.

Media vita in morte sumus. Quem quaerimus adiutorem, nisi te, Domine, qui pro peccatis nostris iuste irasceris?

2.p. Sancte Deus, sancte fortis, sancte et misericors Salvator: amarae morti ne tradas nos.

1.p.

In the midst of life we are in death. From whom may we seek assistance, if not from you, Lord, who for our sins are justly enraged?

2.p. Holy God, holy mighty, holy and merciful Saviour: deliver us not to bitter death.

The German lied paraphrases the Latin antiphon. The text underlay in the edition, standardised in regard to capitalisation and orthography, is based on the version found in the tenor voice of **Mun3**, which reads accordingly:

### 1.p.

Jn mitten vnsers lebens Zeit sein wir mit dem todt vmfangen wen suechen wir der vns hilffe geit [= gibt] von dem wir gnad erlangen dann dich Herr allaine der du vmb vnser missetat rechtlich zurnen thuest:

2.p. Heiliger herre Got heiliger starcker Got heiliger Barmhertziger hailand ewiger got laß vns nit verderben in des bitters todtes not.

#### **Cantus firmus**

Senfl's cantus firmus in the discantus 1 of this motet adheres closely to the plainchant melody for the Latin antiphon in the *Responsoria noviter* (1509), fol. 124<sup>r</sup> . The only places where Senfl's version deviates are the return to the upper note of the melisma at 'vita', a variant line at 'Domine', and interpolated cadential formulas in the *secunda pars*. In order to fit the range of a discantus, the melodic line is transposed upwards, displacing the starting note from *d* to *g*1.

The second, German-texted cantus firmus of this motet is placed in the tenor. Extant sources of the lied *Inmitten unsers Lebens Zeit* point to its provenance from the region of today's Austria and Bavaria, probably Salzburg (Lipphardt 1966). One of the fifteenth-century sources transmitting the melody is D-Mbs Clm 6034, a breviary from the Benedictine monastery of Ebersberg (Bavaria) with an addendum of lieder from fol. 83 onwards (KBM 5/1: 18). Some lieder are also transcribed with either Hufnagel or mensural notation. On fols. 89<sup>r</sup> –90<sup>r</sup> we find a two-voice setting in mensural notation with the text *Enmitten in des lebens zeyt*. Relative to the upper voice of this setting, Senfl's melodic line is transposed a fifth downwards (from *a* to *d* ) and there are several variants. The most obvious is a leap of a fifth upwards at the beginning of Senfl's model, which is documented neither in any of the pre-Reformation sources (see DKL ii/2, nos. 197–8), nor in Luther's adaptation of the lied, which circulated from 1524 onwards (see EdK 1.2: Ec1).

The upper voice in the two-voice setting in D-Mbs Clm 6034, fols. 89<sup>r</sup> –90<sup>r</sup> :

#### **Principal Source**

The German lied paraphrases the Latin antiphon. The text underlay in the edition, standardised in regard to capitalisation

Senfl's cantus firmus in the discantus 1 of this motet adheres closely to the plainchant melody for the Latin antiphon in the

melisma at 'vita', a variant line at 'Domine', and interpolated cadential formulas in the *secunda pars*. In order to fit the range

The second, German-texted cantus firmus of this motet is placed in the tenor. Extant sources of the lied *Inmitten unsers Lebens Zeit* point to its provenance from the region of today's Austria and Bavaria, probably Salzburg (Lipphardt 1966). One of the fifteenth-century sources transmitting the melody is D-Mbs Clm 6034, a breviary from the Benedictine monastery of Ebersberg (Bavaria) with an addendum of lieder from fol. 83 onwards (KBM 5/1: 18). Some lieder are also transcribed

*Enmitten in des lebens zeyt*. Relative to the upper voice of this setting, Senfl's melodic line is transposed a fifth downwards (from *a* to *d* ) and there are several variants. The most obvious is a leap of a fifth upwards at the beginning of Senfl's model, which is documented neither in any of the pre-Reformation sources (see DKL ii/2, nos. 197–8), nor in Luther's adaptation

–90<sup>r</sup>

. The only places where Senfl's version deviates are the return to the upper note of the

we find a two-voice setting in mensural notation with the text

and orthography, is based on the version found in the tenor voice of **Mun3**, which reads accordingly:

of a discantus, the melodic line is transposed upwards, displacing the starting note from *d* to *g*1.

Me - di - a vi ta - in mor te - su - - - mus.Quem quae ri - - mus

ad iu - - to - rem, ni si - te, Do - mi - ne, qui pro

<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> 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> <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> <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> <sup>œ</sup> <sup>œ</sup>

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

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

for - - tis, san cte - et mi se - - ri - cors Sal - va - tor: a ma - - rae

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

pec ca - - tis no stris - iu - ste i ra - - - sce - - ris?

San - cte De - - us, san cte -

**Cantus firmus**

& ‹

& ‹

& ‹

& ‹

& ‹

& ‹

*Responsoria noviter* (1509), fol. 124<sup>r</sup>

with either Hufnagel or mensural notation. On fols. 89<sup>r</sup>

of the lied, which circulated from 1524 onwards (see EdK 1.2: Ec1).

mor ti - ne tra - - das nos.

<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> <sup>œ</sup> œ œ <sup>œ</sup>

**Mun3** D-Mbs Mus.ms. 19, [no. 8], fols. 64v–72r (D1, D2, Ct, T, B), *Lud: Sennfl.*, text in all voices, on fol. 64<sup>r</sup> the heading *Media vita:* | *quinq*[*ue*] *vocu*[*m*]*.* | *Da pace*[*m*] *d*[*omi*]*ne:* | *Lud: Sennfl.*

#### **Other Sources**

**Dre7** D-Dl Mus. Grimma 56, no. 66/[no. 65], pp. 402–5 (D), pp. 419–23 (Ct), pp. 348–52 (B), pp. 339–44 (V=D2), anon., T and mm. 1–432 in Ct missing, text in extant voices **Dre8** D-Dl Mus. Grimma 57, [no. 35], fols. 150v–151v (D), fols. 134<sup>r</sup> –135r (T), fols. 141<sup>r</sup> –142<sup>r</sup> (B), fols. 82v–85r (Q=D2), anon., Ct missing, mm. 332–90 missing in B due to the loss of one folio, text in extant voices **Lei** D-LEu Thomaskirche 49/50, [no. 39], fols. 67v–68r (D), fols. 67r–v (A), fol. 59v (T), fols. 70v–71r (B), fols. 62v–63r (Q=D2), *L S*; 2.p. in D2 missing, text in all voices **Reg5** D-Rp B 211–215, [no. 73], fols. 143<sup>r</sup> –144<sup>v</sup> (D2 in D), fols. 152<sup>r</sup> –153<sup>v</sup> (A), fols. 129v–130v (T), fols. 137<sup>r</sup> –138<sup>r</sup> (B), fols. 75r–v (D1 in V), *LS 5 vocum*, text in all voices

#### **Source Evaluation**

Two strands of transmission are discernible for this motet, both of which coincide with the geographic and chronological distribution of the sources: **Mun3** (Munich court) and **Reg5** (Poetenschule Salzburg) form the south German strand from the first half of the century, whereas **Dre7**, **Dre8**, and **Lei** originated in Saxony in the second half of the century. The variants between those two strands pertain mainly to different versions of the German text (e.g. T: 212–30, which necessitates the splitting of notes) and the use of ligatures. A variant in **Dre7** and **Dre8** in mm. 841–873 of the discantus 2 and contratenor is noteworthy. In **Dre8**, this variant is provided as an alternative (D2 only, at the bottom margin of fol. 85<sup>v</sup> ), whereas in **Dre7** the variant is already embedded in the motet. The variant simplifies the two voices by avoiding a change of mensuration: the voices continue in JO with note values adapted to match this mensuration. As **Dre7** and **Dre8** were copied for use at the Fürstenschule St. Afra in Meißen, the intention of the variant could have been a pedagogical one. The **Dre7** partbooks can no longer be accessed because of the poor state of preservation of the source. The microfilm of the contratenor—and most likely also the partbook—lacks the folio with the beginning of Senfl's motet (mm. 1–43).

The two south German manuscripts **Mun3** and **Reg5** transmit nearly identical versions. **Mun3** has been chosen as principal source, as it originated at the Munich court during the time of Senfl's employment in that institution (see Plates 15–16).




Textual variants and text placement


#### **Remarks**


#### **12.** *Miserere mei, Deus* **(SC M 58)**

#### **Text**

Ps. 50:3–21.

In this motet, the discantus, contratenor, tenor 2, and bassus sing the entire Psalm 50, with the exception of the first two verses, which function as a superscription to the psalm ('In finem. Psalmus David cum venit ad eum Nathan propheta quanto intravit ad Bethsabee'). Vv. 3–8 are set in the *prima pars*, vv. 9–16 in the *secunda pars*, and vv. 17–21 in the *tertia pars*. The tenor 1 sings the initial phrase of the opening psalm verse ('Miserere mei, Deus') as an ostinato.

#### 1.p.

Miserere mei, Deus, secundum magnam misericordiam tuam, et secundum multitudinem miserationum tuarum dele iniquitatem meam. Amplius lava me ab iniquitate mea, et a peccato meo munda me, quoniam iniquitatem meam ego cognosco et peccatum meum contra me est semper. Tibi soli peccavi et malum coram te feci ut iustificeris in sermonibus tuis et vincas cum iudicaris, ecce enim: in iniquitatibus conceptus sum, et in peccatis meis concepit me mater mea, ecce enim: veritatem dilexisti; incerta et occulta sapientiae tuae manifestasti mihi.

#### 2.p.

Asperges me, Domine, hysopo, et mundabor; lavabis me, et super nivem dealbabor. Auditui meo dabis gaudium et laetitiam, et exultabunt ossa humiliata. Averte faciem tuam a peccatis meis, et omnes iniquitates meas dele. Cor mundum crea in me, Deus, et spiritum rectum innova in visceribus meis. Ne proicias me a facie tua, et spiritum sanctum tuum ne auferas a me. Redde mihi laetitiam salutaris tui, et spiritu principali confirma me. Docebo iniquos vias tuas, et impii ad te convertentur. Libera me de sanguinibus, Deus, Deus salutis meae, et exultabit lingua mea iustitiam tuam.

#### 3.p.

Domine, labia mea aperies, et os meum annuntiabit laudem tuam, quoniam si voluisses sacrificium, dedissem utique; holocaustis non delectaberis. Sacrificium Deo spiritus contribulatus; cor contritum et humiliatum, Deus, non despicies. Benigne fac, Domine, in bona voluntate tua Sion, ut aedificentur muri Jerusalem. Tunc acceptabis sacrificium iustitiae, oblationes et holocausta; tunc imponent super altare tuum vitulos. Miserere mei, Deus.

#### 1.p.

Have mercy on me, O God, according to thy great mercy, and according to the multitude of thy tender mercies blot out my iniquity. Wash me yet more from my iniquity, and cleanse me from my sin, for I know my iniquity and my sin is always before me. To thee only have I sinned and have done evil before thee that thou mayst be justified in thy words and mayst overcome when thou art judged, for behold: I was conceived in iniquities, and in sins did my mother conceive me, for behold: thou hast loved truth; the uncertain and hidden things of thy wisdom thou hast made manifest to me.

#### 2.p.

O Lord, Thou shalt sprinkle me with hyssop, and I shall be cleansed; thou shalt wash me, and I shall be made whiter than snow. To my hearing thou shalt give joy and gladness, and the bones that have been humbled shall rejoice. Turn away thy face from my sins, and blot our all my iniquities. Create a clean heart in me, O God, and renew a right spirit within my bowels. Cast me not away from thy face, and take not thy holy spirit from me. Restore unto me the joy of thy salvation, and strengthen me with a perfect spirit. I will teach the unjust thy ways, and the wicked shall be converted to thee. Deliver me from blood, O God, thou God of my salvation, and my tongue shall extol thy justice.

#### 3.p.

O Lord, thou wilt open my lips, and my mouth shall declare thy praise, for if thou hadst desired sacrifice, I would indeed have given it; with burnt offerings thou wilt not be delighted. A sacrifice to God is an afflicted spirit; a contrite and humbled heart, O God, thou wilt not despise. Deal favourably, O Lord, in thy good will with Zion that the walls of Jerusalem may be built up. Then shalt thou accept the sacrifice of justice, oblations and whole burnt offerings; then shall they lay calves upon thy altar. Have mercy on me, O God.

(adapted from *RDC*)

#### **Cantus firmus**

There is no cantus firmus as such in this psalm motet. The tenor 1, however, reiterates the beginning of the psalm text ('Miserere mei, Deus') as an ostinato, and its melody seems to allude to psalm tone 4 ('qui timent Dominum'), as given, for example, in the *Compendiaria* (1516), sig. B[1]v (see Macey 1985: 160–1).

This ostinato passes stepwise through the pentachord *e–b*. It ascends through the pentachord in the *prima* and *secunda partes* (in diminution in the *secunda pars*, as in Josquin's setting) and descends from *b* to *e* in the *tertia pars*.

#### **Unique Source**

**Mun1** D-Mbs Mus.ms. 10, [no. 2], fols. 21v–42r (D, Ct, T1, T2, B), *LUDOVICUS SENNFL*, title on fol. 21<sup>r</sup> by a later hand: *Psal. L. Miserere mei Deus. 5. vocum. Ludovico Sennfl Auctore.*, text in all voices

#### **Critical Notes**

Directions and/or non-verbal signs


Variants in pitch and rhythm


#### **Remarks**


#### **13.** *Missus est Angelus Gabriel* **(SC M 60)**

#### **Text**

The text of the motet, an antiphon for the Feast of the Annunciation (25 March), paraphrases Luke 1:26–7.

Missus est Angelus Gabriel ad Mariam Virginem The Angel Gabriel was sent to the Virgin Mary, desponsatam Joseph. espoused to Joseph.

#### **Cantus firmus**

Senfl presents the cantus firmus as a canon at the upper fifth in the tenor and quintus. The plainchant version from the Augsburg cathedral, transmitted in DK-Kk 3449, 8o, iii, fol. 195r–v and transcribed below, is melodically similar to Senfl's cantus firmus. As in most liturgical sources with music notation, the Augsburg antiphoner uses the differing word order 'Gabriel Angelus'. Apart from this, the only deviations from the version in Senfl's motet concern the melodic line at 'Virginem' and the absence of the *g-f* ligature on the syllable '-spon-' in 'desponsatam'.

#### **Principal Source**

**Pe1** RISM 15406 (D-HAu), no. 10 (D, Ct=Q, T, B, Q=Ct), *LVDOV. SENFEL.*, text in all voices Concerning voice designations, see Remarks.

#### **Other Sources**


#### **Source Evaluation**

*Missus est Angelus Gabriel* is transmitted both in the print **Pe1** and in the manuscript source **Hal**, the latter of which is also bound to a copy of **Pe1**. The page layout of **Hal**, with five printed staff lines per page, is similar to **Pe1**, and line breaks in the two sources are often positioned in the same or similar places. The versions of the motet found in these sources differ, however, in detail. The main distinctions are the use of a G3 clef for the notation of the discantus, a passage in the bassus notated with a ligature and coloration instead of a dotted note (B: 393–402), a semibreve instead of two minims (B: 451), and a rhythmic variation in the ending of the discantus line (D, 571–2: Mi Sb instead of Sb Mi). **Dre5** shares these deviations—apart from the differing clef in the discantus—with **Hal**, but adds another rhythmic variation in the discantus at mm. 433–441 (Mi Sb instead of Sb Mi). In addition, **Dre5** transmits a few scribal errors (B: F3 instead of F4 clef; missing note in 292) and is in places barely readable due to ink corrosion. The entry of the quinta vox in the vagans partbook **Dre9**  provides hardly any information concerning filiation, but, like **Dre5**, the source comes from the Fürstenschule St. Afra in Meißen. The only source that was probably copied from the print is **Reg2**.

As the variants in transmission are minor and **Pe1** is the only source with complete text underlay, **Pe1** was chosen as principal source.



#### **Remarks**


#### **14.** *Ne reminiscaris, Domine* **(SC M 63)**

#### **Text**

This antiphon, whose text is a paraphrase from the Book of Tobit 3:3, is traditionally sung before and after the seven Penitential Psalms during the ceremony of the ashes on Ash Wednesday (see Schiltz 2008: 186).

meorum, neque vindictam sumas de peccatis meis. nor take vengeance on account of my sins.

Ne reminiscaris, Domine, delicta mea vel parentum Do not remember, Lord, my sins or those of my parents,

#### **Cantus firmus**

The antiphon appears in the *Antiphonarium Augustense* (1495), fol. 45<sup>v</sup> , as part of an evangelical *historia* ('Historia Ewangel.') and in the *Antiphonarius* (1519), fol. 137<sup>r</sup> , as part of a *historia* from the Book of Tobit ('Historia Thobie'). Although the melodies found in both antiphoners resemble the melody found in Senfl's setting as a canon for tenor 1 and tenor 2, the transcription below from the *Antiphonarius* (1519) is marginally closer, with a melody that matches Senfl's setting at the word 'vindictam'.

#### **Principal Source**

**Pe2** RISM 15426 (A-Wn), no. 35 (D, A, T[1], B), T2 derives from T1, *Ludouic*[*us*] *Senffl.*, text in all voices

#### **Other Sources**


#### **Source Evaluation**

The principal source for this motet, **Pe2**, is an anthology of psalm settings published in Nuremberg (Georg Forster's dedication is dated 10 March 1542) and transmits no identifiable errors. **Ne**, published 26 years later, is not error-free: a mensuration sign is missing in the bassus, and there are two obvious mistakes in the contratenor at m. 2 and m. 491. In both **Pe2** and **Ne**, the tenor 2 voice is derived from a canonic inscription in their respective tenor partbooks. The only manuscript source for this motet, **Bud3**, consists solely of a bassus partbook. The reading of the bassus voice found in **Bud3** is consistent with **Pe2**.


#### **Remarks**

The handwritten adjustment of a breve to a semibreve in the tenor 1 of **Pe2** appears in the A-Wn, D-Ju, and GB-Lbl exemplars of this print, which indicates that this must be an in-house correction.

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

Senfl's setting of this psalm text exists in two versions: one for four voices and one for five voices. While the five-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 Senfl's own parody mass are based on the four-voice version. For a source evaluation and variant readings of those sources transmitting the four-voice version as well as an edition of that version, see NSE 2.29.

#### **Text**

This motet sets all five verses of Ps. 126 with the exception of the first half of psalm verse 1, which functions as a superscription to the psalm. V. 1 and the first half of v. 2 are set in the *prima pars*, the second half of v. 2 and vv. 3–5 in the *secunda pars*.

#### 1.p.

Nisi Dominus aedificaverit domum in vanum laboraverunt qui aedificant 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 filii, mercis fructus ventris. Sicut sagittae in manu potentis, ita filii 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 filled the desire with them; he shall not be confounded when he shall speak to his enemies in the gate. (*RDC*)

#### **Principal Source**

**Fo2** RISM 15371 (D-Mbs), no. 21 (D, Ct, T, B, Q), *Lud. S.* (index T), text in all voices

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


### **Sources for 5vv**


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

extant voice


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


#### **Source Evaluation**

*Nisi Dominus* is transmitted in both four-voice and five-voice versions, the latter of which essentially reproduces the fourvoice version with what can be regarded as a *si placet* voice in the tenor range. The four-voice version is found in the so-called 'Walter-Handschriften' (**Got**, **Kra1**, and **Nur2**), as well as in all five intabulations of the motet, and it forms the basis of Senfl's *Missa super Nisi Dominus*. The five-voice version was widely familiar thanks to **Fo2**, which likely served as the source for the motet's manuscript transmission in **Dre2**, **Erl1**, **Rok**, and probably others: the fact that the partbooks **Hra2**, **Kas**, **Mun10**, and **Nur1** are incomplete prevents a secure assessment of filiation, although the inclusion of what appears to be a *signum congruentiae* at m. 613 in the tenor partbook **Nur1**, which would seem to indicate the entrance of the quintus, suggests the possibility that this 'Walter-Handschrift' may reflect the five-voice version. **Vie2**, a set of five partbooks once owned by the Fugger family in which Johann Walter's *Geystliche Gsangbüchlin* (Wittenberg: Peter Schöffer, 1525) is bound with manuscript additions preceding and following four of its five bound partbooks, seems to be the earliest source, although the manuscript additions are not accompanied by any dates (see Lodes 2012: 351 and Plates 17–20). The inclusion of this motet in a book once owned by the Fuggers supports the argument put forth by Birgit Lodes that the motet and Senfl's parody mass were most likely composed for the wedding of Anton Fugger in 1527 (Lodes 2018). In **Vie2**, 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 five-line staves, rendering it difficult to confirm with certainty whether a fifth voice would have been entered had the scribe completed the transcription. A detailed discussion of the source situation can also be found in Lodes 2020.

Collation of the variants among the motet's sources does not disclose a clear conjunctive or separative error that might distinguish sources transmitting the four-voice version from those transmitting the five-voice version, nor does it clarify whether the four-voice version represents an earlier stage of the motet. A deviation from **Fo2** at mm. 144–151 in the contratenor of both **Got** and **Kra1**, two sources transmitting the four-voice version, is shared by neither the ostensibly earlier source **Vie2** nor any other source for which the contratenor survives. All other variants in pitch and rhythm catalogued in this critical report are unique to their sources, an indication of the consistency with which the voices are notated across both the four- and five-voice versions, but also attributable to the incomplete state of preservation of eight of the motet's thirteen sources in mensural notation. Since the two versions were relatively widespread, and it is likely that the four-voice version represents the composition's original design, the editors have opted to edit the motet in its four-voice version with **Got** (the 'Gotha Choirbook') as the principal source (see NSE 2.29), and in its five-voice version with **Fo2** as principal source.

In contrast to its probable origin in Catholic southern Germany (which might be reflected in an instrumental source like **Ber1**; for a discussion of the tablature sources in general see NSE 2: 182), both the four- and five-voice versions of the motet circulated above all in non-Catholic contexts (see Lodes 2020: 45–51 for a chronological list of all the sources, including lost ones, with comments on their confessional orientation). This seems to be connected with Martin Luther's theological and hermeneutical predilection for Psalm 126, fostered by his confidant Veit Dietrich and the Wittenberg printer and cantor Georg Rhau. Senfl's *Nisi Dominus* settings reached Wittenberg probably via Nuremberg (the home of Hans Gerle, Hieronymus Formschneider, and Hans Ott), transmitted through the Lutheran Hieronymus Baumgärtner (Lodes 2020: 55–75). The compilation of **Fo2** was informed by Ott's desire to appeal to the Protestant market with a collection of motet texts suited to reformed worship. The 'Walter-Handschriften' (**Got**, **Kra1**, **Nur1**, and **Nur2**) were prepared for reformed services in Torgau, while **Dre2** originated in Wittenberg *c.*1547–51 (see Steude 1974: 20; the motet (no. 14) was probably copied into the manuscript in 1547 as no. 19 is inscribed with the date 22.5.1547 and some of the following pieces show chronological dates up to 1551). **Erl1** was compiled by Johannes Härtung in 1545 for use at the Cistercian monastery at Heilsbronn, the seat, at that time, of a Protestant school, and **Kas** was prepared by Johannes Heugel for the court of Philip I, Landgrave of Hesse, an open champion of Reformation doctrine. The repertoire of **Mun10**, compiled by Narcissus Zänckl of Murnau *c.*1541–43, draws seventeen of its motets from RISM 15388 (Rhau's *Symphoniae jucundae* with a preface by Luther) and includes *Nisi Dominus* after two passion settings by Johann Walter.

**Hra1**, **Hra2**, and **Rok**, three sources from the collections of Utraquist brotherhoods in the Bohemian towns of Hradec Králové and Rokycany, depart most substantially from the other sources. In **Fo2** the quintus drops out for the duration of seven breves at mm. 127–34, whereas in **Rok** the scribe has provided a new part for this passage, which has been transcribed in this edition in small-scale notation above the staff of the quintus voice. **Hra1** is an especially interesting source for this motet: the two surviving partbooks transmit a unique quintus part along with substantial modifications to the discantus. Deviations between the discantus voices of **Hra1** and **Fo2** render it too complex to catalogue **Hra1** in the Variant Readings: the insertion of a semibreve rest as the first notational mark in the discantus of this source displaces every notational sign in the *prima pars*. For this reason, the two surviving voices of **Hra1** have been edited separately as an appendix to this Critical Report.

Peculiarities of musical style in the quintus, which functions as a decorative interpolation more than as a structural voice, invite the question as to whether Senfl himself composed this voice (parallel motion with the discantus in mm. 1–6, the Sm-rest at m. 114, the octave leap followed by non-contrary motion in mm. 38–9, or the somewhat mechanical melismatic flourish at the conclusion in mm. 158–60, for example, are musical elements not characteristic of Senfl's œuvre). As Royston Gustavson has shown, the compilation of **Fo2** involved both the revision of some texts and the production of new contrafacta commissioned by the editor Ott and/or the printer Formschneider. Given the editorial interventions to the motet texts in **Fo2**, one might guess that this editorial work also included the composition or commissioning of a fifth voice as a means of updating Senfl's four-voice setting. Gustavson notes, however, no instance of Ott attempting to provide new voices, nor, as he points out, does Ott's editorial intervention seem to extend beyond the texts to the musical notation of those motets that were adapted (see the summary in Gustavson 1998: i: 266).

### **Variant Readings** Clefs 1–159 B **Hra2** F4 clef


159 B **Got**, **Vie2** U 160 D **Kas**, **Rok** U 160 Ct **Mun10** U Variants in pitch and rhythm 73 D **Rok** *g*1 144–151 Ct **Got**, **Kra1** Mi-*g*1 Sb-*d* 1 Mi-rest 151 Q **Rok** *g* 182–3 Q **Rok** Sb 222 B **Hra2** 2 Mi 262 B **Hra2** Sb Mi-rest 292 D **Rok** 2 Mi 392–4 B **Vie2** erroneously Mi-*a* Mi-*g* Mi-*f* 423 T **Erl1** 2 Mi (at page turn)

493 A **Mun10** *f* 1 553 Ct **Erl1** Sb Mi (at page turn)

562–3 Ct **Erl1** Sb




#### **Remarks**

*16*

&b

& ‹ b

runt> qui

™ ™ ™ ™

&b Ú Ú Ú


b Ú Ú

an

sur ge - - re, *an*

™ ™ ™ ™

™ ™ ™ ™


™ ™ ™ ™

*num est vo* - *bis,* va-num est vo - bis an


*24*

*32*

&b

& ‹ b

& ‹ b

*40*

&b

& ‹

*47*

&b

& ‹ b


™ ™ ™ ™

<sup>w</sup> <sup>Ó</sup> <sup>w</sup> ˙ ˙ ˙ ˙ <sup>w</sup> <sup>œ</sup> <sup>œ</sup> <sup>w</sup> ˙ <sup>w</sup> <sup>w</sup> <sup>w</sup> ˙ w <sup>œ</sup> <sup>œ</sup> ˙ ˙ <sup>w</sup> <sup>∑</sup>


˙™ <sup>œ</sup> ˙ ˙ ˙ ˙ ˙ ˙ ˙ <sup>w</sup> ˙ <sup>w</sup> ˙™ <sup>œ</sup> <sup>w</sup> <sup>∑</sup> ˙™ <sup>œ</sup> ˙ ˙ ˙ ˙ ˙ ˙™ <sup>œ</sup> <sup>œ</sup> <sup>œ</sup> ˙™ <sup>œ</sup>

™ ™ ™ ™ ™


™ ™ ™ ™

™ ™ ™ ™


™ ™ ™ ™



... fru stra - vi gi - - *lat, fru stra* - *vi gi* - - lat qui cu sto -


<sup>Ó</sup> ˙ ˙ ˙ <sup>w</sup> ˙ w ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙


™ ™ ™ ™


fru stra - vi gi - - lat

™ ™ ™ ™

> ™ ™ ™ ™

™ ™ ™ ™

™ ™ ™ ™

™ ™ ™ ™

™ ™ ™ ™ - te lu cem -



™ ™ ™ ™ -

qui

D and Q as transmitted in **Hra1** D and Q as transmitted in **Hra1**

Ú Ú

˙ <sup>w</sup> ˙ <sup>w</sup> ˙ ˙ <sup>w</sup> <sup>w</sup> <sup>w</sup>™ ˙ ˙ ˙ › <sup>Ó</sup> ˙

cu sto - - dit e - - - am. Vanum est vo - - - bis, *va* - *num est vo*-*bis,*

˙ ˙ <sup>w</sup> <sup>w</sup> ∑ Ó ˙ ˙ ˙ <sup>w</sup> ˙ w ˙ ˙ ˙ ˙ ˙ › <sup>∑</sup>

∑ Ó <sup>w</sup> ˙ ˙ ˙ ˙ ˙ w w™ ˙ › w w w <sup>w</sup>

˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ <sup>w</sup> <sup>∑</sup> <sup>w</sup>™ ˙ ˙ w ˙ ˙ <sup>w</sup> <sup>œ</sup> <sup>œ</sup> ˙ ˙

˙ ˙ <sup>w</sup> ˙ ˙ ˙ ˙ <sup>w</sup> <sup>w</sup> <sup>Ó</sup> ˙ ˙ ˙b <sup>w</sup> <sup>w</sup> <sup>w</sup> ˙ ˙ ∑ Ó ˙ ˙ ˙ ˙ ˙

<sup>E</sup> <sup>œ</sup> <sup>œ</sup> <sup>w</sup> ˙ ˙™ œ w ˙ <sup>w</sup> Ó ˙ ˙ ˙ <sup>w</sup> <sup>w</sup> ∑ Ó ˙ ˙ ˙ <sup>w</sup> <sup>w</sup> <sup>Ó</sup> ˙

va-num est vo - bis an


ae di - - � - cant e am. - - Ni

#### Critical Notes

In the process of editing Hra', some adjustments were made to that this uniquely surviving voice might better work with the discantus from the same set. At m. 552-3 (numbering the edited version of Hra'), the source transmits the sequence Mi-f Mi-e. In this edition, these were shortened to two semiminims, they would otherwise offset all subsequent notes by a full minim. In the passage at mm. 98-107 in the secunda pars, two adjustments were made. First, it was necessary to insert an additional minim's worth of material to avoid continuous harmonic conflict between the two voices. Several possibilities presented themselves, but a comparison with Fo2 suggested the best solution would be to lengthen the semibreve that appears in the quintus of Hra4 at m. 100g to a dotted semibreve. A second problem was the simultaneous sounding of g in the quintus against f + in the discantus at m. 107, Again, the discantus otherwise matches its transmission in other sources. Therefore, the quintus was lowered from a g as it appears in Hra" to an fin this edition.

Directions and/or non-verbal signs


Variants in pitch and rhythm


Textual variants and text placement D 103—1041 merces 1041-1051 Q merces

#### **16.** *O admirabile commercium* **(SC M 69)**

#### **Text**

The motet sets an antiphon sung at Vespers on the Feast of the Circumcision (1 January). In sources transmitting the beginning of the tenor of Senfl's motet, the word 'quam' is added before 'admirabile'. All of those sources are dependent on the print **Pe1** (see below). The only texted source that is independent from **Pe1** is **Stu3**, which, however, lacks this section due to the loss of a folio. Nevertheless, there seems to be no necessity for the extra 'quam' in the tenor, as the musical line in this voice is an exact imitation of the discantus, which is texted according to the antiphon. The added 'quam' in the tenor could thus be the erroneous addition of a typesetter (or scribe) who had the beginning of the antiphon *O quam admirabile est nomen tuum* (CAO 4058) in mind.

O admirabile commercium: creator generis humani animatum corpus sumens, de Virgine nasci dignatus est; et procedens homo sine semine, largitus est nobis suam Deitatem. O wondrous exchange: the creator of the human race, taking a living body, has deigned to be born of a Virgin; and coming forth a man (begotten) without seed, has bestowed on us his godhead.

(adapted from Holford-Strevens's translation in NJE 21, CC: 103)

#### **Cantus firmus**

Senfl places the entire plainchant melody *O admirabile commercium* in the tenor; from the second verse onwards, it proceeds in quasi-canon with the contratenor. The cantus firmus follows the version in the *Antiphonarium Augustense* (1495), which is given below, apart from some variants: the melisma on 'o' has no tonal repetitions; at 'commercium', the upward step is increased to a third (*g-b*); and the downward move in 'generis' is extended (*g-f-e-g*). Those variants appear dispersed in other liturgical books of the time (e.g. 'commercium' and 'generis' in the *Antiphonarium* (1537), fol. 51v ). In contrast to the version below, the melismas at 'animatum' and 'dignatus' employed by Senfl are embellished.

#### **Principal Sources**

**Stu3** D-Sl Mus. I fol. 42, [no. 13], fols. 129<sup>r</sup> –133<sup>r</sup> ([D], [Ct]=Q, T1=Ct, T2=T, B), anon., beginning incomplete due to the loss of fols. 125–128 (D starts at 203, Ct and T at 211), text in all voices

#### **For D, Ct, and T in mm. 1–20 only**

**Pe1** RISM 15406 (D-HAu), no. 5 (D, A, T, B, Q), *LVDOV. SENFEL*., text in all voices

#### **Other Sources**


#### **Keyboard tablature**

**Ber2** D-B Sammlung Bohn Ms. mus. 6, [no. 90], fols. 97v–98r , *LudoVici* [sic] *Senfel:*, nGk-tab., 5vv

#### **Source Evaluation**

The earliest sources for Senfl's motet are **Stu3**, a choirbook from the court chapel of Ulrich, Duke of Württemberg, and **Pe1**, a motet anthology edited by Georg Forster in Nuremberg. **Pe1** was printed in 1540 and **Stu3** has been dated to *c*.1540. A few mistakes are apparent in both sources: in **Pe1** at m. 682–3, the bassus continues up to *g* then leaps down to *G*, both times clashing with the discantus and, on the second note, sounding an unsupported fourth with the tenor; and in m. 804, the quintus leaps back to *c* and clashes with the simultaneously sounding *d* 1 in the contratenor. In **Stu3**, a dotted long appears in m. 38 in place of a maxima. The two sources from the second half of the sixteenth century, **Reg1** and **Be1**, both follow **Pe1** closely, copying the errors in mm. 682–3 and 804 as well as another variant from **Stu3** in the quintus (m. 825). Only a few differently set ligatures separate **Be1** and **Pe1** (B: 111–2; T: 121–2, 391–2). **Reg1** follows **Be1** in these places and is therefore closer to (probably even copied from) the later print. Only the contratenor partbook of **Mun10** survives, and a comparison of this voice with **Be1**, **Pe1**, and **Reg1** reveals no deviations. The only independent source from this branch of transmission is **Stu3**. In this source, the bassus in m. 682–3 (leap *f-F*) and the quintus in m. 804 (leap to *d* ) avoid contrapuntal errors. In addition, the variant of the quintus in m. 825 avoids leaping to a dissonance, and its text underlay is convincing. Unfortunately, due to a loss of folios, the first 20 measures of the discantus, contratenor, and tenor are lost. **Stu3** has nevertheless been chosen as principal source due to the high quality of the version it transmits. The missing parts of the beginning in **Stu3** are transcribed from **Pe1**, and the voice designations follow **Pe1**.

**Ber2** presents a fairly faithful intabulation of the vocal setting; at m. 682–3 the intabulator followed the incorrect reading in the sources connected with **Pe1**, whereas in m. 804 the quintus part is notated with the correct *d*.



#### **Remarks**


#### **17. \****O crux, ave, spes unica* **/** *Fortuna* **(SC \*M 71 attr.)**

#### **Text**

The text incipits in the motet's surviving sources suggest a combination of two different texts. *O crux, ave, spes unica* is the sixth stanza from the sixth-century hymn *Vexilla Regis* by Venantius Fortunatus (*c*.530/40–*c*.600). This hymn stanza is combined with the Tuscan poem *Fortuna desperata* assigned only to the tenor voice. Of the numerous variants of *Fortuna desperata* that circulated in the fifteenth and sixteenth centuries, this edition follows Meconi 2001: 158 (see pp. xvi–xix for a detailed discussion of textual versions and text underlay).


The Italian text associated with the tenor melody (for two additional stanzas of the song, which appear rarely in musical sources, see Meconi 2001: 158):

Fortuna desperata, Hopeless fortune, iniqua e maledecta, unjust and cursed, che, de tal dona electa, who have defamed the reputation la fama ai denegrata. of so distinguished a lady.

#### **Cantus firmus**

In the *Graduale Pataviense* (1511), *O crux, ave, spes unica* is to be sung at the blessing of palms ('In benedictione palmarum') on Palm Sunday (fol. 60<sup>v</sup> ). This chant is found in the discantus of Senfl's motet with some minor deviations: extra notes are inserted at the ends of lines ('unica', 'tempore', and 'veniam'), and a differing alignment of text and notation occurs at 'piis iustitia' ('piis' stretches out to *c* and 'iustitia' begins on *f* with an extra note before the ligature).

(Meconi 2001: 158)

The tenor of this motet is derived from the tenor of the Italian song *Fortuna desperata* (see Meconi 2001: ix–xxvi with further information). A large group of compositions based on this model (Meconi documents 36 settings) was composed in the late fifteenth and early sixteenth centuries. The earliest known source for *Fortuna desperata* is F-Pn NAF 4379 (*c.*1470–85); the tenor of this setting is transcribed below (text underlay follows Meconi 2001: 3–4).

Apart from \**O crux, ave, spes unica* / *Fortuna*, Senfl composed seven or eight *Fortuna* settings (SC S 106–13; the attribution of \*S 107 is uncertain), in each of which he borrows the model's tenor. His model is close to the one transcribed above, deviating only in note values (m. 71–2: Br; 21–221: dotted Br; 241–3 and 291–3: dotted Sb Sm Sm; 30: Mi-*e*1 Sb-*f* 1 Mi-*e*1; 481–3: Mi-*d* 1 Mi-*c*1 Mi-*b* Mi-*a*) and ligatures (21–4: lig.; 261–27: no lig.; 36–8: two note lig. 37–8; 39–40: no lig.; 49–52: lig.; 531–2: lig.). Senfl's cantus firmus remains consistent across his group of *Fortuna* compositions, with the exception of \**O crux, ave, spes unica* / *Fortuna*: the cadential formula in mm. 30–1 reads Sb-*e*1 Sb-*e*1 Br-*f* 1 in his other settings, whereas it is embellished in the present setting; and m. 48 consists of a dotted Mi-*d* 1 Sm-*c*1 Mi-*b* Mi-*a*, whereas the passage proceeds in four minims here. Meconi therefore questions Staehelin's attribution (Staehelin 1973: 86) of the present setting to Senfl and points out that the variant in m. 30 is also found in Heinrich Isaac's three-voice setting (transmitted in V-CVbav MS Capp. Giulia XIII.27 and I-Fn MS Magl. XIX.121) (Meconi 2001: 174).

#### **Principal Source**

**Reg6** D-Rp C 120, [no. 37], pp. 162–3 ([D], A T, B, [V]), anon., text incipits in all voices

#### **Other Source**

**Vat** V-CVbav Cod. Vat. lat. 11953, [no. 27], fols. 23v–24v (B), anon., B only, text incipit in the extant voice

#### **Source Evaluation**

Like *Salva nos, Domine, vigilantes* (see this volume, no. 24), this motet is found only in the two early manuscript sources **Reg6**, the so-called 'Pernner Codex', and the bassus partbook **Vat** that was once part of the Palatine electoral library in Heidelberg. In both sources, the motet is recorded with text incipits only. Birkendorf points out the close relationship between **Reg6** and **Vat**: he counts fourteen concordances between them and identifies one shared scribal hand. He states that the chanson concordances deviate significantly between the two sources, whereas the compositions by Senfl are essentially identical in both, without providing further detail on the nature of these deviations and similarities. Birkendorf concludes that the earlier of the two sources is **Vat** (*c*.1516–17), and that this source likely served in a practical capacity for the imperial chapel (Birkendorf 1994: i: 101–4). There are no significant variants in the transmission of the bassus. All five voices of the composition survive in **Reg6**, which has been chosen as principal source.


#### **18.** *O gloriosum lumen* **(SC M 72)**

#### **Text**

The text is an antiphon for the Feast of the Conversion of Paul (25 January).

#### 1.p.

O gloriosum lumen omnium ecclesiarum, sole splendidius; o vere apostolicum sidus altissimum, sancte Paule, qui aeterni solis splendorem tenebris gentium infudisti.

#### 1.p.

O glorious light of all churches, more splendid than the sun; o highest, truly apostolic star, Saint Paul, who poured the splendour of the eternal sun into the darkness of nations.

#### 2.p.

Qui in terra positus caelorum secreta petisti, et quae non licet homini loqui, praevidisti.

3.p.

Illuc supplices tuos post huius carnis terminum perducere dignare, quos fecisti veritatis lumen agnoscere.

#### 2.p.

Who, placed on earth, reached towards the secrets of the heavens and foresaw that which it is not granted man to utter.

3.p.

Deign to guide there beyond the boundary of this mortal flesh your supplicants, whom you caused to discern the light of truth.

#### Cantus firmus

The chant melody for this antiphon as found in the Antiphonarius (1519), fol. 98°, is quoted throughout Senfl's setting of the motet, both in paraphrase by all voices and, in the secunda pars, as a canon at the unison (transposed to a) for tenor 1 and tenor 2. The text of the chant in the Antiphonarius (1519) differs slightly from the text underlay given in this motet's unique source: Mun2 replaces the words 'regis' with 'solis' and 'pervidisti' with 'praevidisti.'

O glo ri - - o - - sum lu men - o mni - - um ec cle - -

<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> <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>

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

ve - a po- sto- re li- cum- si dus- al - - si- - - - tis

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

mum, san cte- Pau le,- qui ae ter- ni- re gis- splen do- - te ne- bris- rem

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

gen - - um- in fu- ti di- sti.- Qui in ter ra- po - - si tus-

cae lo- rum- se - ta- pe ti- cre - - - et quae non li cet- ho - sti,

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

mi - - - ni lo qui,- per vi- di- sti.- Il luc- sup pli- ces-

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

tu os- post hu ius- car nis- ter - - - - - - mi num-

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

si - - a rum,- so - - le splen di- di- us;- o

#### **Unique Source**

**Mun2** D-Mbs Mus.ms. 12, [no. 9], fols. 123v–137v (D, Ct, T1, T2, B), *Lud: S.*, text in all voices

#### **Critical Notes**  Clefs 2081–211 B F4 clef



#### **19.** *O sacrum convivium* **(i) (SC M 75)**

#### **Text**

This prayer, ascribed to Thomas Aquinas (*c.*1225–74), is a Magnificat antiphon sung at Second Vespers on the feast of Corpus Christi.

#### 1.p. 1.p.

O sacrum convivium, in quo Christus sumitur: O sacred banquet, in which Christ is received: recolitur memoria passionis eius. the memory of his passion is renewed.

#### 2.p. 2.p.

datur. Alleluia. is given to us. Alleluia.

Mens impletur gratia, et futurae gloriae nobis pignus The mind is filled with grace, and a pledge of future glory

### **Cantus firmus**

The chant melody is featured in Senfl's motet most prominently as a canon for the discantus 2 and tenor but is also paraphrased in the other voices. In both the *prima* and *secunda pars*, an introductory trio for the non-canonic voices precedes the entry of the discantus 2 and tenor, and the canonic melody shifts after a few measures from long note values to phrases that approximate the rhythmic motion of the other voices. Senfl's cantus firmus closely follows the version of the chant found in the *Antiphonarius* (1519), fol. 129<sup>v</sup> , at first, but then charts a more independent path beginning at 'recolitur'. In the *secunda pars*, resemblances to the chant melody in the *Antiphonarius* (1519), edited below, or to the melody found in the *Responsoria noviter* (1509), fol. 52r–v, diminish further.

‹

& ‹

& ‹

& ‹

& ‹

& ‹

& ‹

& ‹

#### Unique Source

Mun®

D-Mu 4º Art. 401, [no. 40], fols. 57º–59º (D1), fols. 60º–61º (Ct), fols. 55º–56' (D2, T), fols. 57º–58º (B), D2 derives from T in 1.p.; T derives from D2 in 2.p., Ludo: Senfl. Anno domini MD.XXX, text in all voices

#### Critical Notes


Canonic devices, directions, and/or non-verbal signs


Variants in pitch and rhythm


Textual variants and text placement 21-42 DI sacrum convivium

#### **Remarks**

The unique source for this motet, **Mun9**, is unfortunately not without errors: it seems that the equivalent of two to three semibreves of notation are missing from more than one place in the first 13 measures of the discantus 1. This problem was also noticed by James Griesheimer, who offers a solution in his dissertation that includes modifications to the discantus 1 (Griesheimer 1990: iii: 199–207). His adjustments, however, still yield dissonances on the tactus. Therefore, another solution is provided in this edition. These editorial interventions are documented above in the Variants in pitch and rhythm.

#### **20.** *O sacrum convivium* **(ii) (SC M 76)**

#### **Text**

See above, no. 19 (SC M 75). In contrast to *O sacrum convivium* (i), this setting presents the text without dividing it into two *partes*.

#### **Cantus firmus**

In this setting, the plainchant melody appears not as a cantus firmus, but only in the head motifs of the opening phrases. Comparison to the chant melody found in the *Antiphonarius* (1519) (see above, no. 19) shows that this setting omits the opening two-note descent on 'O', compressing the first two words of the antiphon into the melody of the *Antiphonarius* for 'sacrum' (the opening phrase of *O sacrum convivium* (i), in contrast, quotes the same melody as found in the *Antiphonarius* in full). The head motif at 'in quo' in the plainchant can also be recognised in this setting, but thereafter, the melismatic chant of the *Antiphonarius* is abandoned in favour of a syllabic and what appears to be independent musical setting.

#### **Principal Source**

**Fo2** RISM 15371 (D-Mbs), no. 24 (D, Ct, T, B, Q), anon., text in all voices

#### **Other Source**

**Hra2** CZ-HKm MS II A 29, pp. 553–5 (B), anon., B only, text in extant voice

#### **Intabulation**

**Jo2** Brown 15896 (D-Mbs), no. 7, *Lud. Senfl* (index), nGk-tab., 5vv

#### **Source Evaluation**

The ascription of this motet to Senfl appears only in **Jo2**, a keyboard tablature edited in 1589 by the organist and composer Jacob Paix. It is possible that Paix, who provides this piece as an example of the Lydian mode, was acquainted with the motet through **Fo2** and ascribed the motet to Senfl on the basis of the table of contents found in the tenor partbook of **Fo2**: in this table, Senfl is identified as the composer of the 22nd motet, *Ave rosa sine spinis*, and the next four motets (nos. 23–6, in which the present motet appears as no. 24) are neither accompanied by composer attribution nor explicitly marked as anonymous. Paix's familiarity with this print is hinted at by the fact that he includes an additional intabulation in **Jo2** of another motet that also appeared in the earlier **Fo2**: Philippe Verdelot's five-voice *Si bona suscepimus* (Josquin's *Benedicta es caelorum*, which also appears in **Fo2**, is intabulated in **Jo2** on the basis of a twelve-voice reworking by Jean Guyot de Châtelet, and whereas **Fo2** transmits Heinrich Isaac's four-voice *Virgo prudentissima*, **Jo2** includes an intabulation of Isaac's sixvoice setting; see Plates 21–3).

Because **Hra2** consists solely of a bassus partbook, **Fo2** serves as principal source. The tenor partbook of the D-Mbs exemplar of **Fo2** transmits what appears to be the misprint of a dotted semibreve rather than a semibreve at m. 273 in the tenor partbook, whereas the D-HAu and D-Mu exemplars read unmistakably a semibreve. This may be the result of a stoppress correction. **Jo2** provides a fairly faithful transcription of the version of this motet found in **Fo2**, with the exception of a missing semibreve of material in the second half of m. 10.

#### **Variant Readings**


#### **Text**

This motet sets all verses of Ps. 46, with the first half of the second verse acting as a refrain between subsequent verses and the complete second verse returning at the conclusion. The psalm's first verse, which is not set to music, functions as a superscription. The Vulgate text of Ps. 46:5 reads 'Elegit nobis hereditatem suam, speciem Jacob quam dilexit.' The text underlay in every source for the motet, however, replaces the word 'quam' (referring to 'speciem') with 'quem' (referring to 'Jacob'). This edition follows the version transmitted in the motet's sources.

#### 1.p.

Omnes gentes, plaudite manibus! Iubilate Deo in voce exultationis. Omnes gentes, plaudite manibus! Quoniam Dominus excelsus, terribilis, rex magnus super omnem terram. Omnes gentes, plaudite manibus! Subiecit populos nobis et gentes sub pedibus nostris. Omnes gentes, plaudite manibus! Elegit nobis hereditatem suam, speciem Jacob quem dilexit. Omnes gentes, plaudite manibus!

#### 2.p.

Ascendit Deus in iubilo, et Dominus in voce tubae. Omnes gentes, plaudite manibus! Psallite Deo nostro! Psallite! Psallite regi nostro! Psallite! Omnes gentes, plaudite manibus! Quoniam rex omnis terrae Deus. Psallite sapienter. Omnes gentes, plaudite manibus! Regnabit Deus super gentes; Deus sedet super sedem sanctam suam. Omnes gentes, plaudite manibus! Principes populorum congregati sunt cum Deo Abraham, quoniam dii fortes terrae vehementer elevati sunt. Omnes gentes, plaudite manibus! Iubilate Deo in voce exultationis.

#### 1.p.

O clap your hands, all ye nations! Shout unto God with the voice of joy. O clap your hands, all ye nations! For the Lord is high, terrible, a great king over all the earth. O clap your hands, all ye nations! He hath subdued the people under us and the nations under our feet. O clap your hands, all ye nations! He hath chosen for us his inheritance, the beauty of Jacob whom he hath loved. O clap your hands, all ye nations!

#### 2.p.

God is ascended with jubilee, and the Lord with the sound of trumpet. O clap your hands, all ye nations! Sing praises to our God! Sing ye! Sing praises to our king! Sing ye! O clap your hands, all ye nations! For God is the king of all the earth. Sing ye wisely. O clap your hands, all ye nations! God shall reign over the nations; God sitteth on his holy throne. O clap your hands, all ye nations! The princes of the people are gathered together with the God of Abraham, for the strong gods of the earth are exceedingly exalted. O clap your hands, all ye nations! Shout unto God with the voice of joy.

(adapted from *RDC*)

#### **Cantus firmus**

The tenor 1 consists of a periodic ostinato that sings the refrain 'Omnes gentes, plaudite manibus' with alternating entries on *g* and *c*1 until the conclusion (mm. 269–83), where it joins the other voices for the final phrase, 'Iubilate Deo in voce exultationis'. A similar use of refrain appears in another of Senfl's psalm motets, his four-voice *Ecce quam bonum* (NSE 1.20), while the use of ostinato can be found in his five-voice *Miserere mei, Deus* (see no. 12 in this volume) and six-voice *Ave, Maria … Virgo serena* (NSE 4.16), the latter two of which were modelled on settings by Josquin.

#### **Principal Source**


#### **Other Sources**


#### **Source Evaluation**

This motet survives in ten manuscript sources, the majority of which originated in either southern German courts or Protestant Saxon milieux. The primary source for this motet, **Mun4**, is a choirbook assembled sometime in the second quarter of the sixteenth century for use by the Bavarian court chapel. The clean transcription of the notation, without identifiable errors, and careful alignment of text underlay make this an ideal source for the edition. Of the remaining nine sources, four—**Dre2**, **Lei**, **Reg5**, and **Stu1**—transmit a complete version of all five voices of this motet. The Saxon sources **Dre2**, possibly copied in Wittenberg *c*.1550–60, and **Lei**, assembled in Leipzig *c*.1558, transmit more variants in pitch and rhythm from the principal source than the other two complete sources. The notation of **Reg5**, a source prepared for the Poetenschule in Salzburg *c*.1538–43, is more similar to **Mun4** than any other source, with only one minor variant at m. 1222 in the bassus. The large number of deviations from **Mun4** documented in **Stu1**, a choirbook compiled by Johann Chamerhueber for the court chapel of Ludwig, Duke of Württemberg, can be partially accounted for by the late date of its compilation in the second half of the sixteenth century (Chamerhueber indicates its date of completion as 1579 on fol. 191<sup>r</sup> ). The variants found in each of these sources are too unique to ascribe filiation with any certainty. These four sources do, however, share two adjustments to ligatures (in the Ct at m. 241–2 and in the T1 at mm. 2692–2701) not found in the principal source. These differences can be attributed to the necessity of adjusting ligatures in **Mun4** to coordinate page turns in choirbook layout.

Of the remaining fragmentary sources, **Dre6** is only available for consultation through a poor microfilm copy, due to this source's fragile state of preservation. Ink corrosion makes a comprehensive comparison of this source impossible, along with the loss of mm. 1–1021 and 1203–571 of the contratenor and mm. 753–1273 of the tenor 1 due to missing leaves. **Kas** and **Mun9** are both missing only the tenor 1. In contrast to **Mun4**, both **Kas** and **Mun9** transmit at least one notational error each in addition to other seemingly minor pitch and rhythmic variants not found in any other source as catalogued below. The remaining fragmentary sources, **Reg7** and **Zwi3**, the latter of which was copied by Jodocus Schalreuter, are both associated with Zwickau (see Gasch 2013b). These two sources share only their extant discantus parts, yet, despite their geographical proximity, the few deviations that can be documented by collating these sources (see Variants in pitch and rhythm, D, m. 381–3, for example) suggest differing branches of filiation. More revealing is a variant shared uniquely by **Reg7** and **Kas** at m. 212 in the bassus: an erroneous *G* found just in these two sources was subsequently corrected to *A* only in **Reg7**.

#### **Variant Readings**











#### **Remarks**


#### **22.** *Qui prophetice prompsisti* **(SC M 88)**

#### **Text**

The text of this motet brings together three verses from the *kyries tenebrarum* traditionally sung during the *Triduum sacrum* after the Benedictus antiphon at the end of Lauds.

1.p. 1.p.

2.p. 2.p.

ad te saecula. stretched forth on the cross.

Qui prophetice prompsisti: Who by the prophet didst proclaim: ero mors tua, o mors! 'I will be thy death, O death!'

Qui expansis in cruce manibus traxisti omnia Who hast drawn all generations to thee by hands



#### **Cantus firmus**

In the *Antiphonarius* (1519), fol. 45r (see Plate 25), the verses that form the texts of the first three *partes* of this motet are to be sung during Holy Week at Lauds after the Benedictus antiphon. According to this plainchant source, each verse, sung by two members of the choir ('duo cleri una p[ar]te chori'), is preceded by the singing of a kyrie by two choirboys and followed by the singing of 'Domine, miserere' by two singers in a separate part of the choir ('alij duo in altera parte') with a choral respond, 'Christus Dominus factus est obediens usque ad mortem'. In this context, the text of each verse functions as a trope for each of the three acclamations of the Kyrie, which are added one by one after each choral respond ('Kyrieleison'; 'Kyrieleison, Christeleyson'; and, finally, 'Kyrieleyson, Christeleyson, Kyrieleyson'). The melodies of the verses all begin with the same succession of seven pitches both in the *Antiphonarius* (1519) and in Senfl's motet, where the chant is featured as a canon between the contratenor 2 and tenor. Senfl's versions of the chant melodies include some adjustments to the ligatures as well as the shortening of some melismas (the first syllable of 'prompsisti', 'o', the second and third syllables of 'expansis', the first syllable of 'secula', and the third syllable of 'despoliatur').

The *quarta pars*, which is transmitted only in **Ber7** and **Zwi2**, features a cantus firmus that closely matches the plainchant for the choral respond, 'Christus Dominus factus est obediens usque ad mortem', also included as part of the *kyries tenebrarum* in the *Antiphonarius* (1519), fol. 45r . In the *quinta pars*, which survives uniquely in **Ber7**, this chant appears again in the canonic voices, but only after an opening melody whose first appearance in canon at the fourth between contratenor and discantus resembles the chant 'Domine, miserere', also found in the *Antiphonarius* (1519), fol. 45r .

4.p. and 5.p.

#### **Principal Source**

**Mun1** D-Mbs Mus.ms. 10, [no. 4], fols. 53v–63r (D, Ct1, Ct2, T, B), *Lud: S.*, text in all voices

#### **Other Sources**


#### **Lute Intabulations**


#### **Keyboard Intabulations**


#### **Related Source transmitting an additional** *quarta pars* **(see also the keyboard intabulation Ber7)**

**Zwi2** D-Z 81/2, [no. 119], no. 29 (D, T, V), anon., 4.p. only, Ct and B missing, text in extant voices

#### **Source Evaluation**

With seventeen sources in mensural notation, eleven lute intabulations, and six keyboard intabulations, *Qui prophetice prompsisti* is the most widely transmitted and most often intabulated motet in Senfl's œuvre. Its thirty-four sources include nine prints (two in mensural notation and seven tablatures), two manuscript choirbooks, thirteen manuscript sets of partbooks, and nine manuscript books of tablature. The transmission of this motet spans the majority of the sixteenth century: the earliest sources, including **Mun1** and **Fo2**, date from the 1530s, but the motet continued to appear in print and manuscript as late as the 1590s.

With the exception of the choirbooks **Mun1** and **Stu4** and the lute tablature **Ber1**, all other vocal and tablature sources transmit this motet either in a different order from that given here in the edition or include only the third part of the motet, *Vita in ligno*. The circulation of the third part as a stand-alone piece was a matter addressed already in 1537 by Lucas Wagenrieder, contratenor and copyist at the Munich court, in correspondence with Albrecht, Duke of Prussia. On 23 July 1536 Albrecht sent Wagenrieder an inventory of music in his collection, to which Wagenrieder replied the following year that *Vita in ligno*, which he found listed in the duke's inventory, is in fact the last part of a composition by Senfl and that Senfl had composed in the interim the first two parts. (Wagenrieder enclosed these two parts with his letter. See Eitner 1876: 28, Bente 1968: 334 and 338, and Gasch 2012: 411; see Plate 24).

Despite Wagenrieder's provision of the two additional parts for the Königsberg court, *Vita in ligno* continued to circulate widely on its own: ten sources transmit only the third part, including both manuscript sources from Meißen, **Dre7** and **Dre8**, in addition to the single surviving partbooks **Mun11** (see Plate 26) and **Sio**, the lute intabulations **Ga**, **Ko**, **Kra2**, **Mun8**, and the two Polish keyboard intabulations **Kra3** and **War**, the latter of which transmits three differing intabulations of *Vita in ligno*.

A modified order of the motet's three parts is found in twenty-one of the motet's sources. This reordering, which opens with *Vita in ligno* (3.p. – 1.p. – 2.p.), might be linked to the fact that the third part was already in circulation before the completion of the first two. *Vita in ligno* appears as the motet's first part already in its first printed edition of 1537, **Fo2**, the first volume of the two-volume *Novum et insigne opus musicum* printed by Hieronymus Formschneider, whose dedication by Hans Ott is dated 'in die Iacobi' [=25 July] 1537. This alternative ordering appears again in the other printed edition of this motet in mensural notation, **Be1**, the second volume of Johann vom Berg and Ulrich Neuber's new edition of the *Novum et insigne opus musicum* printed in 1559.

The lute intabulation **Ber1**, which bears the joint coats-of-arms of Bavaria and Baden and whose contents date *c.*1550s– 60s (despite the date 1528 stamped on the front cover), is an intriguing testament both to this reordering and to the independent circulation of the third part: *Vita in ligno* appears on fols. 13v–14r in the hand of one scribe, whereas *Qui prophetice* and *Qui expansis* appear later in the book on fols. 29v–31r in the hand of a second scribe, along with the instruction to return in the book to *Vita in ligno* for the conclusion ('III[am] partem. Vita in ligno s[equit]ur. quere supra', fol. 31<sup>r</sup> ). Besides **Mun1** and **Stu4**, this is the only source to explicitly acknowledge the ordering of the three parts as Senfl, according to Wagenrieder, ultimately intended. The ordering found in **Ber1**, **Mun1**, and **Stu4** also reflects the sequence of these chants in Maundy Thursday Tenebrae services as documented in the *Antiphonarium Augustense* (1495) (fol. 24r–v), the *Antiphonarius* (1519) (fol. 45r ), and the *Antiphonarium* (1537) (fol. 136<sup>r</sup> ), all of which place the verse *Vita in ligno* after *Qui prophetice* and *Qui expansis in cruce*. Since **Mun1** is a choirbook used by the Munich court where Senfl was employed (the related source **Stu4** was copied for use by the court chapel of Ulrich, Duke of Württemberg), its reading of the motet offers a reliable testament to how Senfl's chapel performed the motet, and its ordering of parts concurs with the information supplied by Wagenrieder, **Mun1** has been chosen as principal source.

It is clear that printed editions played a role in propagating the 'incorrect' order of the motet's three parts. **Fo2** and **Be1** both switch the canonic voice from the second contratenor in the first and second parts to the first contratenor in the third part. This exchange of voices is also found in every manuscript partbook source to include all three parts (**Ber3**, **Ber4**, **Bud1**, **Dre4**, **Dre10**, **Lüb**, **Lün2**, **Rok**, and **Wei1**). Especially instructive for determining filiation are the deviations that occur in the tenor voice at the conclusion of the *prima pars* (m. 53). In **Mun1** and **Stu4**, the tenor reaches its final Lo-*a* in conjunction with the Lo-*c*1 in the discantus. **Fo2** extends the tenor's conclusion with a second Lo-*a*, a deviation repeated in **Bud1** and **Dre10** (reflecting the ending of the canonic *dux* part as realised in the second contratenor). Examination of this passage in copies of the tenor partbook of **Fo2** kept in D-Mu, D-Mbs, D-HAu, D-Ju, and D-ROu reveals that a Lo-rest originally inserted between the two longs was scratched out, which seems most likely to be the result of an in-house correction. This additional Lo-rest can be found, however, in the tenor partbooks of **Be1**, **Ber3**, **Ber4**, and **Wei1**. Additional variants from the principal source in the first contratenor at mm. 116–122 and m. 423 in both of the printed sources **Be1** and **Fo2** are likewise found in **Ber3**, **Ber4**, **Bud1**, and **Dre10**. The remaining sources in mensural notation (**Dre4**, **Dre7**, **Dre8**, **Lüb**, **Lün2**, **Mun11**, **Rok**, and **Sio**) either lack the first contratenor or tenor partbooks or transmit only the *tertia pars*, so that filiation on these bases cannot be determined.

Nevertheless, there are other deviations and some instances of overlapping repertory that hint at strands of filiations among the remaining sources. A missing Mi-rest in the discantus of **Fo2** at m. 282 is resolved uniquely in **Dre4** by the adjustment of the Sb-*c*1 at m. 281 to a dotted semibreve, suggesting **Dre4** may likewise derive from **Fo2**. Ligatures removed in the second contratenor of **Be1** at mm. 70–3 and 74–6 are likewise not present in the contratenor partbook of **Lün2**, the only partbook from this source to have survived. Moreover, both **Lün2** and **Rok** have repertorial overlaps with **Be1**, suggesting that these three sources are related. A textual deviation in the bassus of **Fo2** and **Be1** at mm. 1352–137, in which 'infernus' is replaced by 'ex morsu', is shared by **Lüb** and **Sio**, another hint that they, too, might be derived from either of the printed sources. **Mun11**, tentatively dated *c*.1543 with a possible origin of Augsburg, transmits only the tenor voice of the third part, but it shares seven motets in common with **Fo2**. Finally, the close relation between **Dre7** and **Dre8** is based most obviously on the fact that they were both copied in the second half of the sixteenth century under the direction of Wolfgang Figulus for use at the Fürstenschule of St. Afra in Meißen. Both sources transmit only the third part. Deviations from the principal source in **Dre7** are concentrated primarily in the first contratenor (mm. 1462, 1452–1461, 1162–1201, and 1502–1531), but this voice is missing in **Dre8**. Nevertheless, the close relationship between these two sources is further suggested by the fact that this third part of the motet was copied in both in conjunction with Senfl's *Media vita in morte sumus*/*Inmitten unsers Lebens Zeit* (this volume, no. 11). Regarding ligatures, the scribes of **Bud1** and **Lüb** demonstrate a preference for downward *ligaturae rectae* in place of the *obliquae* found in other sources, suggesting there could be some filiation between these fragmentary sources.

**Ber7**, a book of chant notation and German keyboard tablatures of unknown provenance with the date 1558 on its binding, appends two additional parts to Senfl's motet (fols. 105v–107v ), both titled 'Domine miserere' and identified in the source as the motet's fourth and fifth parts ('finis Quarta pars Sequitur Quinta pars Domine miserere', fol. 106<sup>v</sup> ; and 'Laus deo finit Quinta pars Vitaimlin [*sic*] [an]no 1564', fol. 107<sup>v</sup> ). The additional fourth part in **Ber7** closely matches the penultimate composition in **Zwi2**, a set of partbooks probably copied *c.*1530–50 in either Wittenberg or Zwickau which identifies the setting as the fourth part of *Vita in ligno* ('Quarta pars uitæ in Ligno moritur' in the discantus). In **Zwi2**, however, a different text is underlaid ('Christus dominus factus est obediens usque ad mortem'), and the first three parts of the motet are not present (see Motnik 2013: 435–9). In the *Antiphonarius* (1519), both texts, 'Domine miserere' and 'Christus dominus factus est obediens usque ad mortem', are sung after each of the three verses that form the motet's three parts (see Cantus firmus above). Neither **Ber7** or **Zwi2** provides any composer attribution for these settings. Since these two additional parts are absent from all other sources transmitting Senfl's motet, it is likely that they were added subsequently by another composer.

This edition transcribes the fourth and fifth parts of the motet from the three surviving voices of **Zwi2** and the keyboard tablature **Ber7**. In the fourth part, the discantus, tenor, and vagans are transcribed from **Zwi2**, while the contratenor and bassus, which are not present in **Zwi2**, are derived from the tablature **Ber7** and rendered in smaller notation. The discantus voices in these two sources begin to depart substantially from one another in m. 185. Therefore, both versions of the discantus in mm. 185–230 have been transcribed, with the version in **Ber7** provided in an ossia staff above the melody in **Zwi2**. The fifth part of this motet survives uniquely in **Ber7**, and thus all voices for the fifth part are derived from this tablature source.

#### **Variant Readings**








#### **Remarks**


Cum constitutum sit ab inclyto huius Reipublicae Senatu, ut, qui suae in artem musicam propensionis testimonium edere vellet, is aliquam earum cantionum, quas nondum typis excusas haberemus, et qua maxime delectaretur, in hunc thesaurum sua manu inscriberet, vel aliis hoc negotium daret: Egoque cognoverim viros Chriss. et Prudentissimos Dn: Thomam Amandum Consulem et M. Hieronymum Nostwitium quondam patriae nostrae dulcissimae syndicum, patrem meum clarissimum hanc artem amasse amore quodam ardentissimo, eaque quasi μαλακτικώ miseriarum humanarum, sicut sapientissimus Plato artem Musicam appellat, saepe suaviter usos fuisse, non potui facere, quin in memoriam utriusque jucundissimam has duas gravissimas et solatii plenissimas cantilenas: Vita in ligno moritur: Et: Justorum animae etc. huic thesauro inscriberem: quorum hic: Justorum animae in manu Dei sunt: Ille: Vita in ligno moritur etc. adeo delectatus fuit; ut gratius et iucundius nihil audirent. Quia vero inter illum et parentem meum in hac re r[erum] humanarum teterrima caligine semper mutua fuit benevolentia, et in otio et negotio mutua animorum conjunctio, non dubium, quin vitae munere perfuncti et nunc in illa sempiterna luce collocati, cum illo bonis omnibus aeternaque pace circumfluente coelestium animorum caetu conjunctissime vivant, alter alteri egregie charus: Deumque de facie ad faciem videntes hymnis quam suavissime celebrant. Quod ut et nos accitu summi Dei, aeternum illud caeleste laetioris vitae domicilium petituri, in pace aliquando discedamus, quisque pro sua parte diligenter operam demus. Quarto Idus Novemb[ris] Anno Χρισ[τ] ογονιας 1593, quo die D. Martinus Lutherus, piae memoriae, natus est, Anno 1483 Islebiæ.

Since it was resolved by the celebrated senate of this republic, that anyone, who wished to put forth testimony of his inclination towards musical art, should inscribe into this anthology, by his own hand, any of those songs which we did not have printed in type and with which he were most delighted, or give this work to others, and since I knew that the most Christian and prudent men, consul Thomas Amandus and the former *syndicus* of our sweetest fatherland, Hieronymus Nostwitz, my most illustrious father, loved with a certain most burning affection this art, and often pleasantly used it as the emollient of human miseries, as wisest Plato called the art of music, I was unable to do otherwise than in the most delightful memory of both of them inscribe into this anthology these two little songs, most grave and most full of comfort: *Vita in ligno moritur* and *Justorum animae* etc.: of which the one enjoyed to such an extent *The souls of the just are in the hand of God*, and the other *Life dies on the wood* etc. that they heard nothing more pleasing or delightful. For truly, between that man and my father, in the most foul darkness of human events, there was always in this matter mutual benevolence, and in leisure and in work a mutual union of minds. There is no doubt but that, having discharged the duty of life and now placed together in that everlasting light, they live there together in that assembly of heavenly minds which abounds with all good things and everlasting peace, each exceptionally dear to the other, and seeing God face to face, they celebrate him with the sweetest hymns possible. And so that we, who at the summons of most high God shall journey towards that eternal heavenly residence of a happier life, may depart at last in peace, let us all, each for his part, diligently labour.

On the 10th day of November, in the year of Christ's birth, 1593, on which day Martin Luther, of pious memory, was born in the year 1483 in Eisleben.

#### **23.** *Quomodo fiet istud* **(SC M 91)**

#### **Text**

The text is a Vespers antiphon for the fourth Sunday of Advent.

#### 1.p.

Quomodo fiet istud, Angele Dei, quia virum in concipiendo non pertuli?

#### 2.p.

Audi, Maria Virgo: Spiritus Sanctus superveniet in te, et virtus Altissimi obumbrabit tibi.

1.p. How shall this happen, angel of God, since I have not known a man for conceiving?

2.p.

Hear, Virgin Mary, the Holy Spirit shall come upon you, and the power of the Most High shall overshadow you.

#### **Cantus firmus**

The cantus firmus in this motet is featured as a canon at the octave between the tenor and discantus 2. It shares characteristics of the melodies from both the *Antiphonarium Augustense* (1495) and the *Antiphonarius* (1519). The setting of the words 'in concipiendo' and 'in te' match the melody found in the *Antiphonarium Augustense* (1495), but Senfl's setting of the word 'Altissimi' aligns with the melismatic stepwise descent found in the *Antiphonarius* (1519). Both chant sources name Mary 'Virgo Christi', whereas Senfl's motet omits the word 'Christi'.

*Antiphonarium Augustense* (1495), fol. 3<sup>v</sup>

*Antiphonarius* (1519), fol. 7<sup>v</sup>

& ‹

& ‹

Vir - go Chri sti: - Spi - ri - tus San - ctus su per - - ve - - ni

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

rum in con ci - - pi - en - do non per tu - - li? Au - di, Ma - ri - a

Quo - mo - do � et - i stud, - An ge - - le De - - - i, qui a - vi -

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

#### **Principal Source**

& ‹

& ‹

**23.** *Quomodo fiet istud* **(SC M 91)**

The text is a Vespers antiphon for the fourth Sunday of Advent.

Quomodo fiet istud, Angele Dei, quia virum in concipiendo

Audi, Maria Virgo: Spiritus Sanctus superveniet in te, et

'Virgo Christi', whereas Senfl's motet omits the word 'Christi'.

*Antiphonarium Augustense* (1495), fol. 3<sup>v</sup>

‹ rum in con ci - - pi en

virtus Altissimi obumbrabit tibi.

*Antiphonarius* (1519), fol. 7<sup>v</sup>

The cantus firmus in this motet is featured as a canon at the octave between the tenor and discantus 2. It shares characteristics of the melodies from both the *Antiphonarium Augustense* (1495) and the *Antiphonarius* (1519). The setting of the words 'in concipiendo' and 'in te' match the melody found in the *Antiphonarium Augustense* (1495), but Senfl's setting of the word 'Altissimi' aligns with the melismatic stepwise descent found in the *Antiphonarius* (1519). Both chant sources name Mary

‹ Quo - mo - do � et - <sup>i</sup> - stud, An ge - - le De - - - i, qui a - vi -

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

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

‹ Vir - go Chri sti: - Spi - ri - tus San - ctus su per - - ve - ni - et

°

‹ in te, et vir tus - Al tis - - si - mi ob um - - bra - bit ti bi. -

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

1.p.

2.p.

known a man for conceiving?


How shall this happen, angel of God, since I have not

Hear, Virgin Mary, the Holy Spirit shall come upon you, and the power of the Most High shall overshadow you.

°

**Text**

1.p.

2.p.

&

&

&

&

non pertuli?

**Cantus firmus**

**Ul** RISM 15452 (D-Mbs), no. 12 (D[1], A, T, B), D2 derives from T, *Ludouicus Senflius*., text in all voices

#### **Other Sources**


#### **Source Evaluation**

This motet is transmitted complete and with text underlay in five sources: two printed sets of four partbooks (**Ne** and **Ul**), in both of which the discantus 2 is to be derived from the tenor; and three manuscripts (**Dre5**, **Lei**, and **Vie1**), all of which provide the discantus 2 as a written-out part separate from the tenor. **Hra3**, which consists solely of a discantus partbook, is the only incomplete source. Ink corrosion on the pages transmitting this motet in **Dre5** is severe, and the source is at present only accessible by means of a poor microfilm copy. Therefore, a thorough evaluation of the reading of the motet found in this source was impossible; the few notes made in the Variant Readings reflect only those few passages where the source was legible. **Finck** includes no text underlay and features several variants in pitch and rhythm that mark this source as distinct from the others. **Ne** seems to be the latest source of the group and was likely derived from the earlier printed source **Ul**. Among the manuscript sources, **Vie1**, with the date 1544 on fol. 1<sup>r</sup> and a provenance that remains uncertain (Kirsch 1961: 292–3 places the manuscript in a Catholic German-speaking context in the middle of the 1540s), appears to be the earliest. **Vie1** transmits only one notational error, but its version of the text, which replaces the word 'pertulit' with 'cognovi' is unique. Both **Lei** and **Ul** each transmit only one error in notation. The approach to text underlay in **Lei** is somewhat idiosyncratic, though its pattern of ligatures aligns it more closely with **Vie1** and **Finck** than **Ul**, which features a significantly greater number of *ligaturae rectae*. **Lei** also includes a notational variant not found in any other source, in which the final phrase of the discantus 1 in the *prima pars* on the text 'non pertuli' is consolidated by placing the Mi-rest before the Sb-*a*1 at m. 271–2 (see Variants in pitch and rhythm). Therefore, the more arguably influential print **Ul** has been designated principal source.

#### **Variant Readings**





Textual variants and text placement in **Vie1**, the word 'pertuli' replaces 'cognovi'.


#### **Remarks**


#### **24.** *Salva nos, Domine, vigilantes* **(SC M 94)**

#### **Text**

The text is an antiphon for the *Nunc dimittis* sung traditionally at Compline.

Salva nos, Domine, vigilantes, custodi nos dormientes, ut vigilemus cum Christo et requiescamus in pace.

Save us, Lord, keeping watch, guard us sleeping, so that we may keep watch with Christ and that we may rest in peace.

#### **Cantus firmus**

Lossius places this antiphon in the section for the first Sunday after Epiphany, but he writes that the antiphon functions as a plea for help and divine defence suitable for any place and time ('Petitio auxilii, et defensionis divinae in omni loco, et tempore', Lossius 1553: 40). Senfl sets the melody of this antiphon as a canon for tenor 1 and tenor 2, the latter of which follows the entry of the tenor 1 at the fifth below. In contrast to the chant as presented in Lossius 1553, Senfl's version features a three-note melisma on the first syllable and added decoration on the second syllable of 'Domine', as well as an adjustment to the melody at 'Christo' to yield a cadence one third lower. Otherwise, Senfl's model closely approximates that of Lossius.

#### **Principal Source**

**Reg6** D-Rp C 120, [no. 36], pp. 160–1 ([D, Ct, T1, B]), T2 derives from T1, *L. S.*, text in T1/T2 only

#### **Other Source**

**Vat** V-CVbav Cod. Vat. lat. 11953, [no. 14], fols. 12v–13r (B), anon.; [no. 32], fols. 31v–32r (B), anon., B only, text incipits in both B transcriptions

#### **Source Evaluation**

Like \**O crux, ave, spes unica / Fortuna* (SC \*M 71), this motet survives in the two early manuscript sources **Reg6** (the 'Pernner Codex'), which appears to transmit the complete notation of the setting, and **Vat**, of which only a bassus partbook remains (for the motet and more information on these sources, see this volume, no. 17). These sources both record the motet with text incipits only. In **Reg6**, the tenor 2 is derived from a *signum congruentiae* placed in the tenor 1 under the breve at m. 14, which indicates that this voice should follow the entry of the tenor 1 after the duration of three breves. No indication, however, is provided at which interval the tenor 2 is to enter (Birkendorf 1994: i: 225 indicates that the *comes* voice should follow at the fifth below). The sole surviving partbook of **Vat** curiously transmits two transcriptions of the bassus of this motet. The notation of these two transcriptions appears to be in the same hand, and it is striking that line breaks in these two transcriptions are for the most part in alignment. Two different scribes, however, appear to have provided the two text incipits. The reason for two transcriptions of this motet in the same partbook remains unclear.


#### **25.** *Saulus autem, adhuc spirans* **/** *Petrus Apostolus* **(SC M 104)**

#### **Text**

This motet combines texts from the Acts of the Apostles 9:1–6 and an antiphon for the Feast of Sts Peter and Paul. The Vulgate version of Acts 9:2 traditionally uses the plural form 'epistolas', whereas the singular 'epistolam' is found in both sources transmitting this motet. In liturgical sources, the antiphon sung here by the tenor and discantus 2 typically concludes with the phrase 'ipsi nos docuerunt legem tuam, Domine'. Senfl's motet features a modified form of this antiphon, in which 'tuam, Domine' is replaced with the word 'excelsis'.

Text in D1, Ct, and B

#### 1.p.

Saulus autem, adhuc spirans minarum et caedis in discipulos Domini, accessit ad principem sacerdotum et petiit ab eo epistolam in Damascum ad synagogas, ut si quos invenisset huius viae viros ac mulieres, vinctos duceret in Jerusalem. Et cum iter faceret, contigit ut appropinquaret Damasco, et subito circumfulsit eum lux de caelo. Et cadens in terram audivit vocem dicentem sibi:

#### 2.p.

'Saule, Saule, quid me persequeris?' Qui dixit, 'Quis es, Domine?' Et ille: 'Ego sum Jesus, quem tu persequeris. Durum est tibi contra stimulum recalcitrare.' Et tremens ac stupens dixit, 'Domine, quid me vis facere?' Et Dominus ad eum: 'Surge, et ingredere civitatem, et ibi dicetur tibi quid te oporteat facere.'

#### 1.p.

And Saul, yet breathing out threatenings and slaughter against the disciples of the Lord, went to the high priest and asked of him a letter to Damascus to the synagogues, that if he found any men and women of this way, he might bring them bound to Jerusalem. And as he went on his journey, it came to pass that he drew nigh to Damascus, and suddenly a light from heaven shined round about him. And falling on the ground he heard a voice saying to him:

#### 2.p.

'Saul, Saul, why persecutest thou me?' And he said, 'Who art thou, Lord?' And he: 'I am Jesus, whom thou persecutest. It is hard for thee to kick against the goad.' And he trembling and astonished said, 'Lord, what wilt thou have me to do?' And the Lord said to him, 'Arise, and go into the city, and there it shall be told thee what thou must do.' (adapted from *RDC*)

#### **Cantus firmus**

The cantus firmus is set as a canon between the tenor and discantus 2. It is stated in full in the *prima pars* of the motet, with the discantus 2 following the tenor at the fourth above after one breve, and then once more in the *secunda pars*, with the tenor transposed up a fourth from *g* to *c*1 and the discantus 2 following the tenor at the fifth above after the duration of two breves. Senfl's cantus firmus resembles the version transcribed below from the *Antiphonarius* (1519), fol. 60<sup>v</sup> . The leap of a minor third in the ligature on 'Pe(-trus)' as found in the *Antiphonarius* is filled in with a *b* in the motet, and Senfl features two additional ligatures on the phrase 'et Paulus doctor' not found in the antiphoner. The melody and text in the motet also depart from the liturgical book in the final phrase (see above Text).

Text in T and D2

#### 1.p.

Petrus Apostolus et Paulus Doctor gentium, ipsi nos docuerunt legem excelsis.

#### 2.p.

Petrus Apostolus et Paulus Doctor gentium, ipsi nos docuerunt legem excelsis.

#### 1.p.

Peter the Apostle and Paul the teacher of the Gentiles, these have taught us the law in the highest.

#### 2.p.

Peter the Apostle and Paul the teacher of the Gentiles, these have taught us the law in the highest.

#### **Principal Source**

**Reg5** D-Rp B 211–215, [no. 60], fols. 120<sup>r</sup> –122v (D=D1), fols. 127v–130r (A), fols. 113v–115v (B), fol. 62r–v (T in V), D2 derives from T, *LS*, on fol. 112<sup>r</sup> of T: *Saulus autem. Tenor in Vagante*, on fol. 62<sup>r</sup> of V: *Sequitur Tenor ad Saulus autem 5 vocum In discantus alter*, text in all voices

#### **Other Source**

**Mun5** D-Mbs Mus.ms. 69, [no. 3], fols. 80v–89r (D=D1, Ct, T, B), D2 derives from T, anon., text in all voices

#### **Source Evaluation**

The Census-Catalogue indicates that **Mun5**, a composite of three originally independent fascicles transmitting two mass settings and this motet, was possibly connected with the court of Ottheinrich, Elector Palatine, at Neuburg an der Donau. The basis for this ascription is the first of the three pieces in this choirbook, a *Missa dominicalis* by Gregor Peschin, who was employed as organist by Ottheinrich. Before this appointment, Peschin was from 1527 to 1539 a member of the court chapel of Matthäus Lang, Prince-Archbishop of Salzburg, and it is perhaps not coincidental that the one other source transmitting this motet, **Reg5**, also originated in Salzburg, where it was compiled by Johannes Stomius for the city's Poetenschule *c*.1538–43. The scribes of these two manuscripts have the same approach to ligatures and coloration in their transcriptions of this motet. There appears to be only one error in **Mun5** (an erroneous *d* 1 in the contratenor at m. 871). The more convincing text underlay and corrected copy of **Reg5** (i.e. the bassus at m. 344) were the primary reasons for designating it the principal source, with some emendations in this edition taken from **Mun5**.



#### **Remarks**


#### **26.** *Si enim credimus* **(SC M 105)**

#### **Text**

The Introit and Versus for the Office of the Dead form the text of this motet. This chant was also sung in funeral processions, especially in Lutheran practice (e.g. *Christliche Geseng lateinisch und deudsch zum Begrebnis* (Wittenberg: Josef Klug, 1543), sigs. D2r–v and [D6]v ). The text of the Introit (=1.p.) derives from 1 Thessalonians 4:14, the text of the first versus (=2.p.) from 1 Corinthians 15:22, and the second versus (=3.p.) is loosely based on the apocryphal 4 Ezra 2:34–5.


#### **Cantus firmus**

In the *Graduale Augustense* (1511), the chant appears on fols. 178v–179r in the section 'Pro fidelibus defunctis', the Requiem Mass. Senfl set the chant in the *prima pars* most probably as a canon at the fifth in the tenor and vagans (the vagans is lost, but the tenor is designated 'Tenor resolutus'; see Remarks), in the *secunda pars* in the tenor, and finally in the *tertia pars* as a quasi-canon at the octave between the tenor and bassus. The melodic line of Senfl's cantus firmus deviates from the chant in the *Graduale Augustense* in only a few places: the liquescences of the chant at '(credi-)mus' and at 'Et (sicut in Adam)' are transformed in the motet's tenor into a downward step of a semitone or tone, and the ending of the line 'eos qui dormierunt' moves down a semitone to *e*. All other deviations appear in conjunction with the word 'resurrexit': the melisma at '-sur-' ascends stepwise in Senfl's cantus firmus and when *c*1, the aim of the ascent, is first reached, this note is not repeated in the motet. Finally, the melisma on '-xit' of the cantus firmus reaches only *b*, whereas the *Graduale Augustense* moves again up to *c*1.

#### **Unique Source**

**Mun9** D-Mu 4o Art. 401, no. 93 [no. 44], fols. 61v–62v (D), fols. 63v–64v (Ct), fols. 57v–58r (T), fols. 60v–61r (B), *Lu: Sen. 5 vo*[*cum*]*:*, V missing, text in extant voices

#### **Critical Notes**


Variants in pitch and rhythm

1321 D Mi-rest missing

Textual variants and text placement



#### **Remarks**

**Cantus firmus**

up to *c*1.

&

&

&

&

&

&

‹ Et

°

**Unique Source**

**Critical Notes**

**Mun9** D-Mu 4o Art. 401, no. 93 [no. 44], fols. 61v–62v

Canonic devices, directions, and/or non-verbal signs 1–82 T *Tenor resolutus*

‹ o mnes - vi vi - - � - ca - bun - tur.

322 Ct *b* corrected to *c*1

1321 D Mi-rest missing

11–41 Ct *Si enim credimus* 113–132 Ct *si enim credimus*

Variants in pitch and rhythm

Textual variants and text placement

202 Ct erroneous stem crossed out

633 Ct erroneous stem crossed out 762 Ct erroneous *g* corrected to *f*

*Lu: Sen. 5 vo*[*cum*]*:*, V missing, text in extant voices

‹ Do - mi - ne, et lux per pe - - tu - <sup>a</sup> lu ce - - at e is. -

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

111 Ct custos corrected from *c* to *e* before this note

442 Ct erroneous Mi-*a* crossed out before this note

In the *Graduale Augustense* (1511), the chant appears on fols. 178v–179r

Mass. Senfl set the chant in the *prima pars* most probably as a canon at the fifth in the tenor and vagans (the vagans is lost, but the tenor is designated 'Tenor resolutus'; see Remarks), in the *secunda pars* in the tenor, and finally in the *tertia pars* as a quasi-canon at the octave between the tenor and bassus. The melodic line of Senfl's cantus firmus deviates from the chant in the *Graduale Augustense* in only a few places: the liquescences of the chant at '(credi-)mus' and at 'Et (sicut in Adam)' are transformed in the motet's tenor into a downward step of a semitone or tone, and the ending of the line 'eos qui dormierunt' moves down a semitone to *e*. All other deviations appear in conjunction with the word 'resurrexit': the melisma at '-sur-' ascends stepwise in Senfl's cantus firmus and when *c*1, the aim of the ascent, is first reached, this note is not repeated in the motet. Finally, the melisma on '-xit' of the cantus firmus reaches only *b*, whereas the *Graduale Augustense* moves again

‹ Si <sup>e</sup> - nim cre - di - - mus quod Je - sus mor tu - - us est et

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

°

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

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

‹ re - sur - re - xit, <sup>i</sup> - ta et De - us <sup>e</sup> - os

‹ qui dor mi - - <sup>e</sup> - - runt per Je - sum ad du - - cet cum e - - - - o.

ì

sic - ut in A dam - o mnes - mo - ri - un - tur, i - ta et in Chri sto -

(D), fols. 63v–64v

(Ct), fols. 57v–58r

Re - qui - em ae ter - - nam do na - e - is,

(T), fols. 60v–61r

(B),

ì

in the section 'Pro fidelibus defunctis', the Requiem


#### **27.** *Sum tuus in vita* **(ii) (SC M 110)**

#### **Text**

Veit Dietrich, a Nuremberg theologian and close associate of Martin Luther, is the author of this poem in elegiac distichs. For more information on the text, see also the edition of Senfl's four-voice setting (SC M 109; NSE 2.50).

The last line of the second stanza of the poem in the unique source of this five-voice setting differs from the version transmitted in Senfl's four-voice setting: in the four-voice version, the fourth line begins with a repetition of 'ergo' from the start of the third line, whereas the same line in the present setting begins with 'meque' in accordance with the version of this poem traditionally transmitted in Luther's *Tischreden* (see the 'Precatio M. Viti Theodori Nurinbergensi' ('prayer of Veit Dietrich from Nuremberg') in *Tischreden oder colloquia Doct. Mart. Luthers*, ed. Johannes Aurifaber (Eisleben: Urban Gaubisch, 1566) (VD16 L 6748), fol. 500<sup>r</sup> ).

#### 1.p.

Sum tuus in vita, tua sunt mea funera, Christe, da precor imperii sceptra videre tui. Cur etenim moriens tot vulnera saeva tulisti, si non sum regni portio parva tui?

#### 2.p.

Cur rigido latuit tua vita inclusa sepulcro, si non est mea mors, morte fugata tua? Ergo mihi certam praestes, o Christe, salutem,

meque tuo lotum sanguine, Christe, iuves.

#### 1.p.

I am yours in life, and yours are my funeral rites, Christ, allow me, I implore, to see the scepter of your supreme power. For why did you, dying, bear so many savage wounds, if I am not a small part of your kingdom?

#### 2.p.

Why did your life lie hidden, enclosed in a stiff grave, if my death was not put to flight by your death? Therefore, may you, O Christ, warrant me a sure salvation, and may you aid me, cleansed by your blood.

#### **Unique Source**

**Bud2** H-Bn Ms. mus. Bártfa 22, [no. 1764], no. 94 (T, Q), B derives from T in 1.p., *Quinq*[*ue*] *L. S.*, D, Ct, and 2.p. of B missing, text in extant voices

#### **Critical Notes**



#### **Remarks**

**362**

It is possible to reconstruct the bassus in the *prima pars*, as the annotation in the tenor indicates that it should follow in canon at the lower octave after two tempora. No canonic directions survive, however, for the *secunda pars*.

#### **28.** *Tanto tempore vobiscum* **/** *Philippe, qui videt me* **(SC M 112)**

#### **Text**

The text of the discantus, contratenor, bassus, and quintus is derived from the Gospel of John 14:9–10, 1–2, 27–8, and 30–1. The *prima pars* sets most of v. 9 and all of v. 10, augmented by three calls of 'Alleluia'. It is striking that the phrase 'a me ipso non loquor' from John 14:10 is absent from the setting, despite the fact that the sentence is incomplete without it. The *secunda pars* sets vv. 1–2, 27–28, and 30–31 without the calls of 'Alleluia' that punctuate the *prima pars*.

The text of the tenor is an antiphon for the Feast of Sts Philip and James (3 May).

Text in D, Ct, B, and V

1.p.

Tanto tempore vobiscum sum, et non cognovistis me? Philippe, qui videt me, videt et Patrem meum. Alleluia. Quomodo tu dicis: Ostende nobis Patrem? Non credis quia ego in Patre sum et Pater in me est? Alleluia. Verba quae ego loquor vobis <a me ipso non loquor>, Pater autem in me manens, ipse facit opera. Alleluia.

#### 2.p.

Non turbetur cor vestrum. Creditis in Deum; et in me creditis. In domo Patris mei mansiones multae sunt. Non turbetur cor vestrum, neque formidet. Audistis quia dixi vobis: Vado et venio ad vos. Iam non multa loquar vobiscum, venit enim princeps huius mundi, et in me non habet quicquam. Sed ut cognoscat mundus quia ego diligo Patrem, et sicut mandatum dedit mihi Pater, sic facio. Surgite; eamus hinc.

#### 1.p.

Have I been so long a time with you, and have you not known me? Philip, he that seeth me seeth my Father also. Hallelujah. How sayest thou, 'Shew us the Father'? Do you not believe that I am in the Father and the Father in me? Hallelujah. The words that I speak to you <I speak not of myself>, but the Father who abideth in me, he doth the works. Hallelujah.

#### 2.p.

Let not your heart be troubled. You believe in God; believe also in me. In my Father's house there are many mansions. Let not your heart be troubled, nor let it be afraid. You have heard that I said to you, 'I go away, and I come again to you.' I will not now speak many things with you, for the prince of this world cometh, and in me he hath not any thing. But that the world may know that I love the Father, and as the Father hath given me commandment, so do I. Arise; let us go hence. (adapted from *RDC*)

Text in T

1.p.

Philippe, qui videt me, alleluia, videt et Patrem meum. Alleluia, alleluia.

#### 2.p.

Philippe, qui videt me, alleluia, videt et Patrem meum. Alleluia, alleluia.

#### 1.p.

Philip, he that seeth me, hallelujah, seeth the Father also. Hallelujah, hallelujah.

#### 2.p.

Philip, he that seeth me, hallelujah, seeth the Father also. Hallelujah, hallelujah.

#### **Cantus firmus**

This motet features in the tenor a cantus firmus derived from an antiphon for the Feast of Sts Philip and James (3 May). Senfl's melody resembles the following version in the *Antiphonarius* (1519), fol. 74<sup>r</sup> . In this motet, however, the melody is transposed to *c* and is expanded with an additional statement of 'alleluia' at the end. Senfl repeats the cantus firmus in both of the motet's *partes*, with an additional, concluding *stretto* statement at the end of the *secunda pars*.

#### **Principal Source**

**Got** D-GOl Chart. A 98, [no. 109], fols. 48v–54r (D, A, T1=V, T2=T, B), anon., text in all voices

#### **Other Sources**


#### **Source Evaluation**

Among the eight manuscripts transmitting this motet, five of them (**Got**, **Kra1**, **Nur1**, **Nur2**, and **Wei2**) count among the six sources comprising the so-called 'Walter-Handschriften' (Gerhardt 1949). **Kra1** was copied *c*.1540 for use at the Pfarrkirche in Torgau, while **Got** was completed in July 1545 for the newly finished Schlosskirche. It is uncertain in which of these Torgau institutions the two partbooks **Nur1** and **Nur2** were used (the tenor partbook **Nur1** is dated 1535–6, whereas the bassus partbook **Nur2** is thought to have been copied some years later in 1542–5). **Wei2**, whose main scribe also wrote **Got** as well as most of **Kra1** (Gerhard 1949: 21), may have been used in the Wittenberg Schlosskirche (it was later taken from Wittenberg to Weimar by Johann Friedrich I, deposed Elector of Saxony, in 1548). Collating these sources reveals a close relationship among **Got**, **Kra1**, and **Nur2** (deviations among the tenor parts are few, making it difficult to assess filiation for **Nur1**). **Wei2**, in contrast, transmits several deviations in pitch and rhythm from these three sources as documented below in the Variant Readings.

Some of the deviations in **Wei2** are especially significant, since they also appear in the remaining sources transmitting this motet: **Zwi1** (the 'Manuscript of Jodocus Schalreuter') and the two mid-sixteenth-century sources from the collection of the Utraquist Church of the Holy Spirit in Hradec Králové, the bassus partbook **Hra2** and the discantus partbook **Hra3** (e.g. the variants in pitch and rhythm at B: 105–6, D: 166, and B: 561–2; and the absence of ligatures at D: 223–4, B: 563–571, and B: 1602–1611). **Zwi1**, **Hra2**, and **Hra3** form a distinct group in this motet's transmission; these three sources incorporate faster moving dotted rhythms, above all in the discantus at cadences and, in one noteworthy instance, to underscore the syncopated discantus melody at mm. 110–14. An additional deviation found only in **Hra2** and **Hra3** is the change of mensuration in the *prima pars* from Sto J(this change is apparent in **Hra3** despite the absent mensuration signs on the basis of the designation of rests in mm. 33–5). **Zwi1** transmits a large number of unique variants in pitch and rhythm in addition to many scribal mistakes (V: 173–4; D: 252; B: 511; B: 1482; T: 1582; and V: 1704–1711). Nevertheless, **Zwi1** is the only source in which the bassus passage in *tempus perfectus* at mm. 91–3 is notated correctly as a colorated breve followed by two breves (in **Got**, **Hra2**, **Kra1**, and **Wei2**, this passage is notated as a breve followed by two dotted breves in *tempus imperfectum* despite the conflicting signs of proportion).

Deviations among the choirbooks **Got**, **Kra1**, and **Wei2** occur primarily in small-scale reworkings of the contratenor, bassus, and vagans. The completeness of the text underlay in **Got**, in addition to its convincing approach to text setting (for example, D: 11–41; B: 31–72; V: 622–65; Ct and V: 126–31) and rhythmic variants to accommodate it (B: 574–5; Ct: 1072–1081; B: 1382–1471; Ct: 1611–1631), encouraged the selection of this choirbook as principal source.






#### **Remarks**


#### **29.** *Te Deum laudamus* **(SC M 114)**

#### **Text**

The earliest sources documenting the *Te Deum* trace back to the early sixth century, when it appears in descriptions of the Gallican Office by the bishops of Arles St Caesarius (*c*.470–542) and St Aurelian (523–51) as well as in the Rule of St Benedict (*c*.480–547) as part of the Divine Office. Legend attributes the text to St Ambrose (*c*.340–97) and St Augustine (354–430), but its authorship remains anonymous (Springer 2002). In the liturgy, the *Te Deum* is sung at the conclusion of Matins on Sundays and feast days (except for Advent and Lent). Aside from liturgical use, the singing of the *Te Deum* is documented among other festivities for processions, elections, military commemorations, and prestigious entries of rulers (Žak 1982; Steiner et al. 2001).

Senfl's setting follows alternatim practice: he sets the even verses polyphonically and highlights the beginning and conclusion of the *Te Deum* by setting the first and final verses polyphonically as well. Following this alternatim layout, the prose text has been organised into 31 verses. This differs from the traditional count of 29 verses, which combines the three *Sanctus* invocations (vv. 5–7) into one verse. The polyphonically set verses are given below in roman type.


(adapted from *The Book of Common Prayer* (London: His Maties Printers [assigns of John Bill and Christopher Barker], 1669), sigs. A3v–[A4]r )

#### **Cantus firmus**

The cantus firmus used in Senfl's motet follows, with some embellishments, the version given in the *Exemplar in modum accentuandi* (1513), fols. 68v–69r . Therefore, this source has been chosen to complement the verses set polyphonically with verses in plainchant. As Senfl transposed the plainchant from *e* to *a*, the plainchant verses in the edition are also transposed upward by a fourth. For the complete and untransposed *Te Deum* in *Exemplar in modum accentuandi* (1513), see Plates 27–8.

Senfl sets the cantus firmus in most verses as a quasi-canon of two voices; the tenor is always one of those voices, the other either the discantus (vv. 1, 2, 4, 26), contratenor (v. 12), bassus (vv. 10, 14, 22) or vagans (vv. 24, 31). In two verses the cantus firmus runs through all voices: in verse 16 it ascends from the bassus up to the discantus, and in verse 20 it appears in pairs, first between the contratenor and discantus and then followed by the bassus and tenor. The discantus takes over the cantus firmus in verses 6, 8, and 28, the tenor in verses 18 and 30. Apart from the homophonically set verses (e.g. v. 18, portions of vv. 22, 28, and 30), material from the cantus firmus is also allotted to the other voices.

In verse 31 Senfl's cantus firmus (in the vagans and interspersed with free material in the tenor) differs from the version in the *Exemplar in modum accentuandi* (1513) at the beginning—the vagans of the motet begins with a repeated *e* and moves up to *f* on the third note, while the plainchant starts with three notes on *f*—and at the ending with a different closing melisma. Senfl uses this same version as cantus firmus in his two settings of *In te, Domine, speravi* (this volume, nos. 8 and 9).

#### **Principal Sources**

**Lei** D-LEu Thomaskirche 49/50, [no. 163], fols. 205v–208r (D), fols. 216v–219v (Ct and V in A), fols. 188v–190v (T), fols. 203<sup>r</sup> –206<sup>r</sup> (B), *L . SENFL* (B), V for v. 24 missing, text in extant voices

#### **For the vagans, v. 24**

**Vie1** A-Wn Mus.Hs. 15500, fols. 311v–323r ([D, Ct, T, B, V]), anon., vv. 4, 10, 14, 20, 22, 28, 31 missing, blank pages with indications for the inscription of vv. 14, 22, 28, and 31, text in all voices

#### **Other Sources**


#### **Source Evaluation**

With the exception of **Vie1** whose place of origin is unknown, all sources for this motet originated in Saxony. Very little is known about the choirbook **Vie1**, which is a composite of separate fascicles and bears the date 1544 on fol. 1<sup>r</sup> (Kirsch 1961). It is probably one of the earliest sources for this motet together with **Zwi2**, which is dated *c*.1530–50 (Gasch 2013b). Both sources transmit the motet fragmentarily: **Zwi2** lacks the contratenor partbook, and in **Vie1** parts of the motet were not copied into the manuscript (the absence of four verses is apparent in the four blank openings in the places where they would otherwise have been transcribed, three of which include the incipit of the missing verse (vv. 14, 22, and 31; the blank opening where v. 28 would have been positioned is not annotated). **Zwi2** was probably copied in Zwickau, whereas **Dre1** and **Zwi3** seem to have originated in Wittenberg. **Zwi3**, a discantus book, was copied by Jodocus Schalreuter around 1549–50 and **Dre1** probably slightly later. **Dre1** has a unique and less convincing reading for the contratenor in mm. 38–9, which results in parallel octaves with the discantus. This source also bears several later corrections, including inserted notes or emended pitches (e.g. D: 853, 1313; Ct: 253, 312; T: 753, notes crossed out before 1754), and yet some errors nevertheless remain (e.g. D: 2295–2301; Ct: 1503). **Dre5**, copied *c*.1560–75 by Wolfgang Figulus for use at the Fürstenschule St. Afra, is also marred by signs of careless copying, for example missing rests and notes (D: 1511–1521; T: 1501; V: 247–8) and the omission of (necessary) mensural signs. The readings in these sources otherwise deviate only in minor instances that do not give any indications of filiation.

The source that transmits the most complete copy of the motet is **Lei** (only the vagans for v. 24 is missing), a set of partbooks prepared for the Thomaskirche in Leipzig *c*.1560. For this reason, it has been chosen as principal source despite some issues that are apparent in its version of Senfl's *Te Deum*. In cases where the reading in **Lei** seems problematic, modifications were made on the basis of a collation of the other sources. This includes, for example, the alteration in the discantus of an awkward *f* 2-*f* 1 jump (while *g*1 sounds in the Ct) to *g*2-*g*1 in m. 106, the emendation of copying mistakes (e.g. D: 72, 852; Ct: 3554–5; B: 2632–5), and some adaptations to the text underlay (e.g. D: 293–313; Ct: 763–801).

#### **Variant Readings**



Directions and/or non-verbal signs








#### **Remarks**


#### **30.** *Tota pulchra es* **(SC M 115)**

#### **Text**

The text of this Marian antiphon is comprised of several verses from the Song of Songs 2:10–13 and 4:7–11.


#### **Cantus firmus**

&

&

&

&

& ‹

&

‹ re - ces

The *Antiphonarium Augustense* (1495) (fols. 68v–69r , see below) assigns the plainchant to the Feast of the Assumption of Mary (15 August). Senfl's chant model follows the Augsburg version more than it does the version in the *Antiphonarius* (1519), notwithstanding a few exceptions: at 'favus distillans' and its repetition 'labia', there is only a two-note melisma (instead of three notes); at 'tua' and 'hiems', there is only a stepwise descent; at 'odor', the final *c* (transposed: *f* ) is missing; at 'in terra' (3.p.), the melody leaps a third upward rather than ascending stepwise; the final syllable of 'surge' lacks a melisma; and at the phrase 'veni de Libano', Senfl's version assigns one syllable per note. His model is thus a simpler version of the melody found in the *Antiphonarium Augustense*.

The cantus firmus is presented in the tenor: in long note values, in paraphrase, and with embellishments at cadences. The presentation of the cantus firmus intensifies in the last measures (mm. 196–214), when the discantus and contratenor take over the plainchant melody in canon at the fourth, bringing the setting to a climactic conclusion.

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

‹ <sup>a</sup> - ro - ma - ta. Iam e nim - hi ems

‹ o do - - rem de - de- runt. Et vox tur

°

°



° - trans °



°

°

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

ter ra - no stra. - Sur - - ge, pro - pe - ra, a - mi - ca me - a.

‹ Ve - ni de Li ba - - no, ve - ni, co - ro - na - be - ris.

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

°

°

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

ma cu - - la non est in te.

°

tu a, -



#### **Principal Source**

**Mun2** D-Mbs Mus.ms. 12, [no. 6], fols. 86v–101r (D, Ct[1], Ct2, T, B), *Lud: S.*, text in all voices

#### **Other Sources**


**Reg5** D-Rp B 211–215, [no. 23], fols. 45r –48<sup>r</sup> (D), fols. 52v–54v (A), fols. 29v–31v (T in V), fols. 44v–47r (B), fols. 36v–40r (V in T=Ct2), *LS .5.*, text in all voices

#### **Source Evaluation**

Three sources transmit this motet in a complete state: **Mun2**, **Fo3**, and **Reg5**. The contents of **Mun2**, a choirbook from the court chapel of Duke Wilhelm IV of Bavaria, were most likely arranged and copied under Senfl's supervision. It transmits no obvious errors in its version of the motet and therefore serves as the principal source for the edition. In contrast to **Mun2**, **Fo3**—the second volume of Ott's *Novum et insigne opus musicum* (RISM 15371)—favours *ligaturae rectae* and avoids *minor color*. With regard to pitch and rhythmic variants, the print deviates in two places from **Mun2**: the tenor of **Fo3** notates a breve in place of the Sb Sb-rest in **Mun2** at m. 981–2, and, more significantly, the bassus features a *ligatura cum opposita proprietate* (Sb-*g* Sb-*b* b) instead of a breve at m. 1392. Only single partbooks of **Dre9** and **Hra1** survive, which makes a determination of filiation challenging for these two sources. These sources transmit several scribal errors made during the copying process absent from the motet's other sources. Although **Dre9**, **Hra1**, and **Reg5** favour uncolorated notes as in **Fo3**, only **Reg5** follows **Fo3** in its use of ligatures. Moreover, none of these three manuscript sources shares the rhythmic deviations found in **Fo3**. Since their readings exhibit no substantive variants, it is not possible to establish clear dependencies among these sources or their relationship to **Fo3** or **Mun2**.

#### **Variant Readings**


&

&

‹ To - ta pul

°

‹ Fa - vus di - stil - lans la - bi - <sup>a</sup> tu



1662–1732 Ct2 **Reg5** *surge, surge*

1672–1691 D **Fo3**, **Hra1** *Surge, surge* 1693–1742 D **Fo3**, **Hra1** *surge, surge* 1782–1811 Ct2 **Dre9**, **Fo3**, **Hra1** *propera* 1854–1863 Ct2 **Fo3**, **Hra1** no text

**31.** *Vivo ego, dicit Dominus* **(SC M 123)**

serves as an antiphon for the Saturday after Ash Wednesday.

Vivo ego, dicit Dominus, nolo mortem peccatoris, sed ut

Quis scit si convertatur et ignoscat Deus et relinquat post se

**Remarks**

**Text**

1.p.

2.p.

&

&

&

‹ con - ver

°

‹ Quis scit si con

**Cantus firmus**

benedictionem.

magis convertatur, et vivat.

1662–1752 Ct2 **Dre9** *surge, -ge* (*sur-* missing)

2032–213 B **Fo3** *coronaberis* (3 times) 2092–212 T **Fo3** *cooronaberis* [sic] 2092–213 B **Reg5** *coronaberis, coronaberis*

in the *secunda pars* as a canon at the lower fifth between the vagans and tenor.

of a fifth) at 'peccatoris, sed', and a different melismatic contour at 'magis'.

‹ Vi - vo <sup>e</sup> - go, di cit - Do - mi - nus, no lo - mor



°

œ œ œ œ œ œ œ œ œ

°

The spelling 'ungentorum', used consistently in **Mun2**, has been standardised to the more common 'unguentorum'.

The texts of the two *partes* of this motet come from two different biblical books: Ezekiel 33:11 (1.p.) and Joel 2:14 (2.p.). They were put together to form a composition of repentance and conversion suitable for the seasons of Lent or Holy Week. While the text of the *prima pars* is an antiphon for Prime on ferial days from Lent to Passion Sunday, the text of the *secunda pars*

1.p.

2.p.

As I live, saith the Lord, I desire not the death of the wicked

Who knoweth but he will return and God will forgive and

but that the wicked turn from his way and live.

leave a blessing behind him. (adapted from *RDC*)

The two plainchant melodies used for the present setting are memorial chants for penitence. In DK-Kk 3449, 8o, iv, fol. 68r–v, a source copied around 1580 that preserves the chant repertory of the Augsburg cathedral, the two chants follow one another consecutively, albeit in reverse order, in a *suffragium pro paenitentiam*. In both *partes*, Senfl treats the respective plainchant melodies as a canon: in the *prima pars* as a canon at the lower octave between the discantus and contratenor, and

While the plainchant in the *secunda pars* of Senfl's setting closely follows the version in DK-Kk 3449 (except for the syllabic text underlay at 'benedictionem' and thus the omission of the initial *f* 1), no exact match could be found in any chant sources to the cantus firmus in the *prima pars*. Relative to DK-Kk 3449, Senfl's cantus firmus is transposed from *e* to *a*, features a stepwise descent at 'mortem', the leap of a third on the second syllable of 'peccatoris', the leap of a fourth (instead

°

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


i gno - -scat De- us et re - lin-quat post se be - ne - di - cti - o- nem.

°



#### **Remarks**

The spelling 'ungentorum', used consistently in **Mun2**, has been standardised to the more common 'unguentorum'.

#### **31.** *Vivo ego, dicit Dominus* **(SC M 123)**

#### **Text**

The texts of the two *partes* of this motet come from two different biblical books: Ezekiel 33:11 (1.p.) and Joel 2:14 (2.p.). They were put together to form a composition of repentance and conversion suitable for the seasons of Lent or Holy Week. While the text of the *prima pars* is an antiphon for Prime on ferial days from Lent to Passion Sunday, the text of the *secunda pars* serves as an antiphon for the Saturday after Ash Wednesday.


#### **Cantus firmus**

The two plainchant melodies used for the present setting are memorial chants for penitence. In DK-Kk 3449, 8o, iv, fol. 68r–v, a source copied around 1580 that preserves the chant repertory of the Augsburg cathedral, the two chants follow one another consecutively, albeit in reverse order, in a *suffragium pro paenitentiam*. In both *partes*, Senfl treats the respective plainchant melodies as a canon: in the *prima pars* as a canon at the lower octave between the discantus and contratenor, and in the *secunda pars* as a canon at the lower fifth between the vagans and tenor.

While the plainchant in the *secunda pars* of Senfl's setting closely follows the version in DK-Kk 3449 (except for the syllabic text underlay at 'benedictionem' and thus the omission of the initial *f* 1), no exact match could be found in any chant sources to the cantus firmus in the *prima pars*. Relative to DK-Kk 3449, Senfl's cantus firmus is transposed from *e* to *a*, features a stepwise descent at 'mortem', the leap of a third on the second syllable of 'peccatoris', the leap of a fourth (instead of a fifth) at 'peccatoris, sed', and a different melismatic contour at 'magis'.

#### **Unique Source**

**Cop1** DK-Kk MS Den Gamle Kongelige Samling 1872, 4o, [no. 50], fols. 35v–36r /39v–40r (D), fols. 34v–35r /38v– 39r (A), fols. 30v–31r /32v–33r (T), fols. 34v–35r /40v–41r (B), fols. 35v–36r /38v–39r (V), *Lud: Senfl:*, text in B only, text incipits in the other voices

#### **Critical Notes**

Clefs 28 V, T C4 clef

#### Directions and/or non-verbal signs

581–591 B erroneous *cogno-*(*scat*) corrected to *igno-*(*scat*) 74 V U


Variants in pitch and rhythm


### **Edition Critical Apparatus** A custodia matutina (see also De profundis clamavi (ii)) …………………………………………… 35 290 Aeterna fac (see also Te Deum laudamus) …………………………………………………………… 226 368 Ave, Rosa sine spinis ……………………………………………………………………………………… 1 277 Ave, sanctissima Maria (= Mater digna Dei/Ave, sanctissima Maria) …………………………… 52 302 Ascendit Deus in iubilo (see also Omnes gentes, plaudite manibus) ……………………………… 148 333 Asperges me, Domine/Miserere mei, Deus (see also Miserere mei, Deus) ……………………… 75 310 Audi, Maria Virgo (see also Quomodo fiet istud) …………………………………………………… 175 352 Christ ist erstanden (= Christus, resurgens ex mortuis/Christ ist erstanden) …………………… 12 280 Christus Dominus factus est obediens (see also Qui prophetice prompsisti) …………………… 165 340 Christus, resurgens ex mortuis/Christ ist erstanden………………………………………………… 12 280 Conditor alme siderum …………………………………………………………………………………… 17 285 Cum dederit dilectis suis somnum (see also Nisi Dominus aedificaverit domum)……………… 103 314 Cur rigido latuit (see also Sum tuus in vita (ii)) ……………………………………………………… 201 361 Da pacem, Domine (ii) …………………………………………………………………………………… 19 287– 8 Da pacem, Domine (iii) ………………………………………………………………………………… 23 287– 8 De profundis clamavi (ii) ………………………………………………………………………………… 29 290 Deus propitius esto (see also Mater digna Dei/Ave, sanctissima Maria) ………………………… 59 302 Dignare, Domine (see also Te Deum laudamus) …………………………………………………… 229 368 Domine, labia mea aperies/Miserere mei, Deus (see also Miserere mei, Deus) ………………… 84 310 Domine, miserere (see also Qui prophetice prompsisti) …………………………………………… 169 340 Dominus tecum/Benedicta tu (see also Ave, Rosa sine spinis) …………………………………… 6 277 Et laudamus nomen tuum (see also Te Deum laudamus)…………………………………………… 229 368 Et rege eos (see also Te Deum laudamus) ……………………………………………………………… 228 368 Et sicut in Adam (see also Si enim credimus) ………………………………………………………… 193 359 Et vox turturis (see also Tota pulchra es) ……………………………………………………………… 241 377 Fiat misericordia tua (see also Te Deum laudamus) ………………………………………………… 230 368 Fortuna desperata (see also \*O crux, ave, spes unica / Fortuna) …………………………………… 112 326 Genuit puerpera Regem ………………………………………………………………………………… 39 298 Heiliger Herre Gott (see also Media vita in morte sumus/Inmitten unsers Lebens Zeit) …… 65 305 Iam enim hiems transiit (see also Tota pulchra es)…………………………………………………… 237 377 Illuc supplices tuos (see also O gloriosum lumen) …………………………………………………… 122 328 Inmitten unsers Lebens Zeit (= Media vita in morte sumus/Inmitten unsers Lebens Zeit) … 62 305 In te, Domine, speravi (see also Te Deum laudamus) ……………………………………………… 231 368 In te, Domine, speravi (i) ………………………………………………………………………………… 44 300–1 In te, Domine, speravi (ii)………………………………………………………………………………… 48 300–1 Iudex crederis (see also Te Deum laudamus) ………………………………………………………… 225 368 Mater digna Dei/Ave, sanctissima Maria……………………………………………………………… 52 302 Media vita in morte sumus/Inmitten unsers Lebens Zeit ………………………………………… 62 305 Mens impletur gratia (see also O sacrum convivium (i)) …………………………………………… 130 330 Miserere mei, Deus………………………………………………………………………………………… 68 310 Miserere nostri, Domine (see also Te Deum laudamus) …………………………………………… 230 368 Missus est Angelus Gabriel ……………………………………………………………………………… 91 311

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



### DENK M Ä LER DER TONKU NST IN ÖSTERREICH

#### **BISHER ERSCHIENENE BÄNDE**

**DTÖ 163.3**

**1 (1894):** *Johann Josef Fux, Messen* (Johann Evangelist Habert, Gustav Adolf Glossner) **2 (1894):** *Georg Muffat, Florilegium Primum für Streichinstrumente* (Heinrich Rietsch) **3 (1895):** *Johann Josef Fux, Motetten I* (Johannes Evangelist Habert) **4 (1895):** *Georg Muffat, 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 Muffat, 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 Seiffert) **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 Muffat, 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

**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 Schlaffenberg)

**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):** *Steffano 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 giustificata* (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 Muffat, 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 artificiosa-ariosa diversimode accordata* (Paul Nettl, Friedrich Reidinger)

**93 (1958):** *Johann Heinrich Schmelzer, Sonatae unarum fidium 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 fidibus 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)* (Raffaello Monterosso)

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

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

**115 (1966):** *Suiten für Tasteninstrumente von und um Franz Mathias Techelmann* (Herwig Knaus)


*Ausgewählte Instrumentalwerke* (Erich Schenk) **125 (1973):** *Frühmeister des Stile Nuovo in Österreich.* 

*Bartolomeo Mutis conte di Cesena, Francesco Degli Atti, Giovanni Valentini* (Othmar Wessely)



HOLLITZER H

www.hollitzer.at

### **NEW SENFL EDITION 3**

### LUDWIG SENFL **MOTETTEN FÜR FÜNF STIMMEN Herausgegeben von Scott Lee Edwards, Stefan Gasch und Sonja Tröster**

Im vorliegenden Band der NSE werden erstmals sämtliche fünfstimmigen Motetten Ludwig Senfls publiziert. Er enthält Marienmotetten wie *Mater digna Dei / Ave, sanctissima Maria*, die die tiefe Marienverehrung am Hof Herzog Wilhelms IV. widerspiegeln, Psalmmotetten, in denen Senfl zum Teil auf unterschiedliche Art und Weise auf Josquin Desprez Bezug nimmt (z.B. *Miserere mei, Deus*), oder Werke wie *Qui prophetice prompsisti*, dessen Tertia pars *Vita in ligno moritur* im 16. Jahrhundert außerordentlich weit verbreitet war.

Darüber hinaus bietet der Band erstmals eine Edition von Senfls groß angelegtem *Te Deum laudamus* sowie verschiedene mehrtextige Motetten. Kompositionen wie *Christus resurgens ex mortuis / Christ ist erstanden* zeigen dabei die Berührungspunkte von geistlich-lateinischer und volkssprachlicher Sphäre auf, andere Werke – beispielsweise das *Tanto tempore vobiscum / Philippe qui videt me* – schließen an die Tradition der cantus firmus-Motette an, in die sich Senfl nachhaltig einschreibt.

#### **NEW SENFL EDITION 3**

### LUDWIG SENFL **MOTETS FOR FIVE VOICES Edited by Scott Lee Edwards, Stefan Gasch, and Sonja Tröster**

In the present volume of the NSE, all of Ludwig Senfl's five-part motets are published for the first time. It includes Marian motets such as *Mater digna Dei / Ave, sanctissima Maria* reflecting the Marian devotion at the court of Duke Wilhelm IV, psalm motets that refer to Josquin Desprez in various ways (e. g. *Miserere mei, Deus*), or works such as *Qui prophetice prompsisti*, whose tertia pars *Vita in ligno moritur* was widespread during the sixteenth century.

In addition, the volume offers the first edition of Senfl's large-scale *Te Deum laudamus* as well as several polytextual motets. Compositions such as *Christus resurgens ex mortuis / Christ ist erstanden* show the points of contact between the sacred Latin and the vernacular spheres, while other works—for example *Tanto tempore vobiscum / Philippe qui videt me*—take up the long tradition of the cantus firmus motet, into which Senfl inscribes himself with lasting effect.

ISBN 978-3-99012-945-6 ISMN 979-0-50270-023-2

**www.hollitzer.at**