## **DENKMÄLER DER TONKUNST IN ÖSTERREICH** BAND 163.4

## **NEW SENFL EDITION 4**

# LUDWIG SENFL **MOTETS FOR SI X A ND EIGHT VOICES, CANONS**

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

### DTÖ 163.4

**DTÖ 163.4**

DENKMÄLER DER TONKUNST

IN ÖSTERREICH

## DENKMÄLER DER TONKUNST IN ÖSTERREICH

DTÖ 163.4

begründet von **GUIDO ADLER**

unter Leitung von **BIRGIT LODES**

**BAND 163** NEW SENFL EDITION

**DENKMÄLER DER TONKUNST IN ÖSTERREICH** BAND 163.4

## **NEW SENFL EDITION 4**

# LUDWIG SENFL **MOTETTEN FÜR SECHS U ND ACHT STIMMEN, KANONS**

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

**DENKMÄLER DER TONKUNST IN ÖSTERREICH** VOLUME 163.4

**DENKMÄLER DER TONKUNST**

**IN ÖSTERREICH**

BAND 163.4

**NEW SENFL EDITION 4**

LUDWIG SENFL

**MOTETTEN FÜR SECHS U ND** 

**ACHT STIMMEN, KANONS**

Herausgegeben von

**SCOTT LEE EDWARDS**

**STEFAN GASCH**

**SONJA TRÖSTER**

## **NEW SENFL EDITION 4**

## LUDWIG SENFL **MOTETS FOR SI X A ND EIGHT VOICES, CANONS**

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

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 989-G (Forschungsergebnisse des FWF-Projektes P 31504) 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

© 2023 by HOLLITZER Verlag, Wien

ISMN 979-0-50270-025-6 ISBN 978-3-99094-050-1 ISSN 2616-8987

### TABLE OF CONTENTS

**DTÖ 163.4**


GENERAL INTRODUCTION

AND ACKNOWLEDGEMENTS .................................. IX


### 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, is presented in four volumes, in which the compositions are organised according to scoring and in 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 31504), the work of the edition would not have been possible. The Department of Musicology and Performance Studies at the University of Music and Performing Arts Vienna cordially hosted the project within its 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)

München, Bayerische Staatsbibliothek (Veronika Giglberger, Bernhard Lutz)

Regensburg, Bischöfliche Zentralbibliothek, Proskesche Musikabteilung (Raymond Dittrich)

Stuttgart, Württembergische Landesbibliothek (Arietta Ruß)

Weimar, Hochschularchiv – Thüringisches Landesmusikarchiv (Jan Hoffmann)

Wien, Österreichische Nationalbibliothek

Wien, Kunsthistorisches Museum

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 J. Blackburn, David J. 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 immense help on a more individual level. Bonnie J. Blackburn and Leofranc Holford-Strevens provided invaluable help in linguistic and formal corrections of the volumes, and we enjoyed collegial exchanges with experienced editors, including Joshua Rifkin and Thomas Schmidt. Without the technical and creative inclinations of Imke Oldewurtel, the edition would not be enhanced by clefs modelled on sixteenth-century sources.

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, June 2023

#### BEYOND THE NORM: SENFL'S MOTETS W ITH L A RGE SCOR ING AND HIS FOR AYS INTO RIDDLE CULTURE

The fourth volume of the New Senfl Edition completes the edition of Ludwig Senfl's extant motets. It brings together a variety of compositions: in addition to six- and eight-voice motets, it also includes canons composed for two to six voices. Around 1500, works for four voices had become a standard in sacred as well as secular genres. Larger scorings in the first two decades of the sixteenth century often responded to the circumstances for which the music was composed, such as to mark a special occasion, but roughly from the second quarter of the sixteenth century onwards, writing for six and occasionally eight voices had become increasingly popular. In terms of numbers, the eighteen surviving motets for six and eight voices by Senfl do not occupy as much space as his four- and five-part compositions. Yet their number corresponds to that of the six- and eight-voice motets in the œuvre of Jacobus Clemens non Papa, who was almost 20 years younger (17 motets), and is larger than the number of similarly scored motets by Senfl's contemporaries Thomas Crecquillon, Costanzo Festa, Cristóbal de Morales, or Philippe Verdelot, each with nine motets for six to eight voices ascribed with some degree of certainty.1 At the same time, Senfl's œuvre of motets for more than five voices is less than the output of Nicolas Gombert (25 compositions), Johannes Heugel (30 motets), or Adrian Willaert (32 compositions). Senfl's three eight-part motets may admittedly be exceptional in the first half of the century: few eightvoice motets are known to have survived from this period. They are often transmitted as contrafacta or survive as works with contradictory attributions (as is the case for Gombert, Verdelot, Crecquillon, or Morales).2 Senfl's approach to composing motets with increased polyphonic textures clearly extends beyond the mere alternation of vocal choruses. In some cases, this extraordinary scoring may be related to the special circumstances for which these motets were composed, but, for the time being, the precise nature of these occasions remains unclear.

In the selection of texts for the thirteen motets published in the present volume, Senfl demonstrates a clear preference for antiphons associated with high feasts, saints' feasts, or Marian feasts, while some works underline the observations already made in NSE 1–3 in regard to his interest in setting votive prayers (*Ave, Maria … Virgo serena*) or humanist texts (*Sancte pater divumque* / *Sancte Gregori, confessor Domini*; \**Martia terque quater*).3

Once again, Senfl explores a variety of approaches in structuring his motets, whether by expanding on such traditions as the plainchant motet (*Sancte pater divumque* / *Sancte Gregori, confessor Domini*); adapting a model composition while incorporating ostinato techniques, as in his arrangement of Josquin's *Ave, Maria … Virgo serena*; implementing a constructivist approach to the musical text (\**Martia terque quater*); or by developing novel principles of construction in the juxtaposition of smaller- and larger-voiced textures, as in *Haec est dies quam fecit Dominus*. Above all, however, canonic compositional techniques remain a hallmark of his approach. These techniques pervade his entire motet œuvre, but the deployment of quasi-canons and strict canons is especially frequent in Senfl's six- and eight-part works.

#### **Sources**

The diversity of Senfl's compositions is also reflected in the source transmission: as for his five-voice motets, motets for six to eight voices are predominantly transmitted in manuscripts. Alongside these manuscripts, a few music prints proved especially influential in disseminating these works, such as the first volume of Hans Ott's *Novum et insigne opus musicum* (RISM 15371). Senfl's canons, on the other hand, have survived—with only one exception—exclusively in print, whether in music prints or as examples in theoretical texts and treatises.

The dates of origin of the forty manuscripts that transmit the pieces in this volume range from the first quarter of the sixteenth century to the seventeenth century. The earliest sources are the two repertorially related manuscripts V-CVbav Cod. Vat. lat. 11953 and D-Rp C 120 ('Pernner Codex'), whose origins stem from the second decade of the sixteenth century in the milieu of the imperial court chapel of Maximilian I. Their connection is documented in one of the motets included in the present edition, \**Spiritus Sanctus* 

<sup>1</sup> Three six-voice psalm motets by Thomas Stoltzer have survived: *Erzürne dich nicht*; *Herr, neige deine Ohren*; *Hilf, Herr, die Heiligen haben abgenommen*. All three are edited in *Thomas Stoltzer: Ausgewählte Werke*, i, ed. H. Albrecht, EdM, xxii (1942/*R*); ii–iii, ed. L. Hoffmann-Erbrecht, EdM, lxvi (1969), and xcix (1983). Additionally, a six-voice hymn by Heinrich Finck has survived, as well as the cycle *O Domine Jesu Christe* for four to six voices.

<sup>2</sup> For example, Adrian Willaert in *Di Adriano et di Jachet: I salmi … a uno et a duoi chori …* (Venice: Antonio Gardano, 1550; RISM 15501); or Thomas Crecquillon in *Opus sacrarum cantionum*, 4–6, 8vv (Leuven / Antwerp: Pierre Phalèse & Jean Bellère, 1576; RISM A/I C 4410).

<sup>3</sup> \**En quam honesta* is a polyphonic interpretation of Zwingli's paraphrase of Psalm 132. On the setting's problematic attribution, see the Critical Report on NSE 4.5 in this volume.

*in te descendet* (SC \*M 108; NSE 4.13), which survives in both sources.

The repertoire of the four partbooks D-Mu 8° Cod. ms. 322–325 was copied around 1527 by Martin Besard, a student of the music theorist Heinrich Glarean. Glarean himself wrote a preface in the tenor partbook and added attributions as well as annotations in the glosses. He probably also added the canon trilogy *Crux fidelis inter omnes* – *Ecce lignum crucis* – *O crux, ave, spes unica* (SC M 23; NSE 4.20) as an addendum to the manuscript,4 its only appearance in manuscript form. This is the only canon in this edition that survives in manuscript form, and it is not surprising that this exception emanates from the intimate circle of a music theorist who had a special interest in this genre.

As in the case of the five-voice motets, it is striking that Senfl's larger compositions for six and eight voices survive above all in sources from the middle of the century, with dates of origin beginning around 1530. Among these manuscripts, three stand out in particular for transmitting not just one or two motets in this volume, but four each. The first of these sources is D-Mu 4° Art. 401, a set of four of an original five partbooks, whose extensive manuscript section was probably copied in Augsburg around 1536–40.5 The scribal hand in these partbooks is also frequently found in a group of sources from the Bayerische Staatsbibliothek in Munich that once formed part of the collection of the Augsburg patrician Johann Heinrich Herwart (1520–28 July 1583), for which reason Joshua Rifkin designated the siglum 'H' for the unknown scribe.6 D-Mu 4° Art. 401 is among the most important sources for Senfl's motets and represents the only source for four of them.7 The resemblance of its version of *Ave, Maria … Virgo serena* (NSE 4.4; SC M 9) to the Munich choirbook Mus.ms. 12 attests to the scribe's close contacts with the Munich court and reliable models for copying.

From a geographical perspective, the place of origin of the partbooks DK-Kk MS Gamle Kongelige Samling 1872, 4° in Copenhagen is considerably farther away from Senfl's place of employment in Munich. The repertoire of compositions by Senfl in this manuscript possibly stems from the compositions sent by the composer and Wagenrieder to Duke Albrecht of Prussia in the 1530s. The partbooks were compiled around 1548 by the trumpeter Jørgen Heyde (Georg Hayd), who was first employed in Albrecht's chapel in Königsberg, then from 1542 as 'oberster Trompeter' (head of the trumpeters) in the court chapel of Christian III in Copenhagen.8 At least a portion of the older repertoire in these books may have been brought north by Hans Kugelmann, who—also as a trumpeter—is documented in the imperial court chapel of Maximilian in 1518. He was later in the service of the Fuggers in Augsburg before Albrecht of Prussia brought him to Königsberg in 1524.9 Since the partbooks—like the somewhat later source DK-Kk MS Gamle Kongelige Samling 1873, 4°, which forms part of the same tradition—were primarily intended for use by an instrumental ensemble,10 the notation is frequently accompanied only by text incipits, and for those of Senfl's compositions with other concordances, the Copenhagen source often transmits characteristic deviations. For example, Heyde (or the compiler of a non-extant source that served as model) favoured longer note values over the repetition of shorter notes on the same pitch, and he adapted the use of ligatures.11 For this reason, the editors of this volume have made minor alterations to the notation of motets using DK-Kk MS Gamle Kongelige Samling 1872, 4° as the principal source in order to underlay their full texts.12

Manuscripts from the second half of the sixteenth century are strongly represented and their geographic origins are widely dispersed. Central Germany forms one important centre, with sources that today are found in libraries in Dresden, Leipzig, and Zwickau. Other manuscripts come from Bad Reichenhall and Regensburg in southern Germany to Lüneburg and Stralsund in the north.

An important source for Senfl's four-voice (six pieces) and five-voice motets (seven pieces) is the Leipzig manuscript D-LEu Thomaskirche 49/50. It was written around 1558 under the supervision of the cantor Melchior Heger for use at the Thomaskirche. Numerous scribes were involved in the creation of the five partbooks, and in many cases they notated only individual parts of a composition, such that individual motets were often copied by several hands.13 This complex division of labour occasionally led to issues in coordination: individual voices are occasionally missing while some entries contain frequent scribal mistakes.14 In the case of two motets from this manuscript in the present volume, *Alleluia, mane nobiscum* (SC M 2; NSE 4.1) and *Da pacem, Domine* (iii) (SC M 27; NSE 3.5 and NSE 4.16), it is unclear whether the scribes forgot to include missing voices or whether adaptations with fewer voices were intentionally included in the collection.15

Among sources from the later sixteenth century, D-Mbs Mus.ms. 1536 stands out, since it preserves in its extensive contents several motets by Senfl: one for eight voices and three for six voices. Of the original eight partbooks, com-


<sup>4</sup> Gottwald 1968: 70 and Horz 2017: 226–7.

<sup>5</sup> Gottwald 1968: 101–11 and Rifkin 2005: 133–7.

<sup>6</sup> Rifkin 2005: 133, *passim*.

<sup>7</sup> Since the source is incomplete—the fifth partbook has not survived—and the entries often contain minor, uncorrected scribal mistakes, the editions of unica in particular often require editorial intervention. See *Si enim credimus* (SC M 105; NSE 3.26), *O sacrum convivium* (i) (SC M 75; NSE 3.19), and *Veni, Sancte Spiritus, reple* (i) (SC M 119; NSE 4.15).

<sup>8</sup> Glahn 1978: 21–4; on dating, see Glahn 1992.

<sup>9</sup> Leitmeir 2009; Glahn 1992: 24.

<sup>10</sup> Glahn 1986: 10, 13–14.

<sup>11</sup> Cf. the critical reports for *Alma Redemptoris Mater* (SC M 3; NSE 4.2), *Anima mea liquefacta est* (ii) (SC M 6; NSE 4.3), and *Philippe, qui videt me* (SC M 84; NSE 4.9).

<sup>12</sup> See, for example, *Alma Redemptoris Mater* and \**En quam honesta* (SC \*M 40; NSE 4.5).

<sup>13</sup> Youens 1978: 283–317.

piled under the provost Wolfgang Neuhauser in the Augustinerchorherrenstift St. Zeno near Reichenhall (today: Bad Reichenhall, not far from Salzburg), five are still extant today, the quinta and septima voces being lost.16 The entire repertoire of the partbooks seems to have been copied mainly from music prints of the second half of the century,17 which is also true of Senfl's motets: the six-voice *Ave, Maria … Virgo serena* and *Philippe, qui videt me* were copied from the new edition of the *Novum et insigne opus musicum* (RISM 15584), the eight-voice *Veni, Sancte Spiritus, reple* (ii) (SC M 120; NSE 4.18) from the first volume of the *Thesaurus Musicus* (RISM 15641) printed by Johann vom Berg and Ulrich Neuber in Nuremberg, and the six-voice *Spiritus Sanctus in te descendet* from the third volume of the same collection (RISM 15643). The monastery of St. Zeno seems to have been in a precarious situation at the time of Neuhauser's provostship from 1562 to 1592, since religious customs, which had already been raised as a cause of concern during visitations conducted before Neuhauser took office, do not seem to have improved, and monastic life at this time was additionally weakened by a plague and economic losses.18 It seems all the more astonishing that such an extensive manuscript collection of music, which exclusively transmits music for larger ensembles, was created under these circumstances.19 In addition to the international repertoire copied from prints, some pieces seem to have been composed within the monastery itself, one of which is dated 1582.20 In this context, Senfl's motets represent an older repertorial layer that continued to be cultivated alongside contemporary compositions.

Among the manuscript sources in this volume, there are also two organ tablatures, both of which were compiled before the middle of the century. The somewhat earlier manuscript PL-Kp MS 1716 is the most extensive collection of tablature music of the sixteenth century, notated in the manner of older German organ tablature. It was compiled by Johannes of Lublin, a canon regular of Kraśnik (in the district of Lublin, Poland) in the years 1537–48. In total, the tablature transmits five compositions by Senfl, three of which are dated either 1540 or 1541.21 The motet *Philippe, qui videt me*, edited in the present volume, appears in this source as an intabulation by Nicolaus Cracoviensis, whose monogram 'N.C.' accompanies several intabulations in this source as well as in PL-Wn rkp. 564.22 In comparison to the vocal version of this motet known from other sources, the intabulation represents a marked adaptation: it is shortened in duration by a third, the six voices are reduced to five, and the composition is transposed a fifth lower, with numerous embellishments interpolated throughout.23

Although the second tablature is also certainly aimed for a professional performer, the approach of the intabulator of the so-called 'Klagenfurter Orgeltabulatur' (A-Kla MS GV 4/3) differs fundamentally from that of the Lublin tablature. The pieces in this source are already written in the notational style of newer German organ tablature and all voices of the transcribed vocal compositions are rendered in tablature virtually unchanged. As Birgit Lodes has recently ascertained, this tablature originates from the court of Duke Ottheinrich of the Palatinate, where it was prepared by Gregor Peschin prior to the Augsburg Diet of 1548.24 A six-voice composition by Senfl titled 'Preambulum' (SC M 86; NSE 4.10) opens the tablature. Judging by the structure of the composition, it appears to be an intabulation of a vocal work, most likely a motet, although no model has yet been identified. Thanks to the layout of the tablature and Peschin's fidelity to his sources, however, a reconstruction of the vocal model of the composition can be realised without difficulty.25

An overview of the sources for Senfl's six- and eightvoice motets reveals the absence of a manuscript complex of great significance for the transmission of the four- and fivevoice motets: 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). The majority of the compositions in these music sources, which were all compiled under the supervision of Johann Walter in Torgau, are composed for four or five voices. Since sixvoice works by Josquin, Isaac, and others, and even some seven-part compositions (by Walter) are present in these manuscripts, the absence of Senfl's motets for more than five voices cannot be ruled out based solely on the criterion of scoring.26 It thus seems reasonable to assume that Senfl's larger-scale motets were either not available in Torgau or that there was a less urgent need for six- and eight-voice motets for the manuscripts' intended milieu.

In addition to manuscripts, Senfl's large-scale motets were also disseminated in printed sources, but the number of such sources for the six- and eight-voice motets (seven) is significantly less than that of manuscripts.27 The high influence that these music prints nevertheless had on the dissemination of the motets is clear from the fact that all motets that have survived in more than three sources also appear in a music print. In none of these cases can the manuscript

<sup>16</sup> The discantus, sexta vox, and octava vox partbooks retain their original bindings, which are embossed with the monogram 'W.N.D.G.P.M.D.Z. | 1583' (Wolfgang Neuhauser Dei Gratia Praepositus Monasterii Domini Zenonis, KBM 5/2: 101).

<sup>17</sup> SC 2: 93.

<sup>18</sup> Lang 2015: 149.

<sup>19</sup> The manuscript is laid out in three sections with pieces for eight, seven, and six voices. See KBM 5/2: 101–21.

<sup>20</sup> D-Mbs Mus.ms. 1536/3, no. 157: Georg Pfingstl, *Eximius Dei praesul*, year 1582 in the sexta vox, fol. 320<sup>v</sup> .

<sup>21</sup> See SC 2: 141. The intabulations in this source are joined by *Sancta Maria Virgo, intercede* (i) (SC M 101; NSE 2.49) on fol. 99r–v, which bears the date '1540'.

<sup>22</sup> See Jeż 2004.

<sup>23</sup> Wilfing-Albrecht 2013: 83–90.

<sup>24</sup> Lodes 2019.

<sup>25</sup> See NSE 4.10.

<sup>26</sup> Gerhardt 1949: 116–20

<sup>27</sup> It is striking that none of Senfl's six- and eight-voice motets appears in a printed tablature, although collections for lute, such as the one compiled by Sebastian Ochsenkhun (Brown 1558₅), include six-voice compositions, and organ tablatures, such as the volume edited by Jacob Paix (Brown 1583₄), even transcribe motets for up to twelve voices.

tradition be traced back exclusively to the print, but the transcriptions in some manuscripts are closely related to the printed version of the corresponding motets, such as *Ave, Maria … Virgo serena* (transmission in D-Mbs Mus.ms. 1536 and D-Sl Mus. I fol. 25 related to RISM 15371 and RISM 15641), *Haec est dies* (D-Rp A.R. 887–890, D-Z 34/35, and D-Z 94/1 seem to have been copied from RISM 15371), and *Philippe, qui videt me* (D-Dl Mus. Pi Cod. VIII, D-EIa s.s., possibly copied from RISM 15371; D-Mbs Mus.ms. 1536 copied from RISM 15643). The first motet print north of the Alps, the *Liber selectarum cantionum* (RISM 15204) printed in Augsburg, also contains a six-voice motet by Senfl, *Sancte pater divumque* / *Sancte Gregori, confessor Domini* (SC M 103; NSE 4.11), which is otherwise documented only in Lodovico Zacconi's *Prattica di musica* (Venice: Girolamo Polo, 1592; 2nd edition Venice: Bartolomeo Carampella, 1596).28 In the music theory treatise, the piece serves as an example of *tempus perfectum* and only the beginnings of the voices—with faulty readings and clear deviations from the *Liber selectarum cantionum*—are reproduced. Zacconi is the only music theorist to have included a six-voice motet by Senfl in one of his theoretical works. All other music-theoretical works utilised for the present edition, on the other hand, transmit canons by Senfl.

These treatises, written by Johannes Stomius, Heinrich Glarean, Heinrich Faber, Hermann Finck, Ambrosius Wilphlingseder, and Nicolaus Roggius, were all published between 1537 and 1566. The most frequently printed canons by Senfl in surviving sources are the three-part *Crux fidelis inter omnes* (SC M 23; NSE 4.20), *Omne trinum perfectum* (SC M 78; NSE 4.23), and *Laudate Dominum omnes gentes* (SC M 52; NSE 4.21). Clear patterns in the transmission of these pieces among music theory treatises are only in rare cases discernible: Finck seems to have relied on Faber's publication from 1550 when selecting canons for publication in his own treatise of 1556 and, accordingly, to have taken the first part of Senfl's *Crux fidelis inter omnes* and *Omne trinum perfectum* from this source.29 The latter three-voice canon often appears in conjunction with the Agnus II from Josquin's *Missa L'homme armé super voces musicales* (NJE 6.3), since both serve as examples of a proportional canon in which three voices are realised from one notated voice. Glarean published both examples in his *ΔΩΔΕΚΑΧΟΡΔΟΝ* (1547), and in the collection of canons assembled by Jacob Paix under the title *Selectae, artificiosae et elegantes fugae* (RISM 159030 and RISM 15943) these two pieces appear consecutively.

One source utilised for the present volume cannot be classified as either a manuscript or a print, since its notation and text underlay are embroidered with silk (see this volume, Plates 7–10). The ground fabric of the four partbooks, each comprising five folios, is linen, and their covers (also linen) are elaborately decorated with gold, silver, and silk embroidery and set with pearls. The cover design indicates that these partbooks were made for Emperor Charles V: his crowned coat-of-arms adorns the cover of the canonic voice of the composition, while the imperial insignia are depicted on the other partbooks: the imperial orb on the contratenor secundus, the sword on the bassus and the sceptre on the vagans partbook (see the plates in Lodes 2013 and Lodes 2022). This extraordinary source transmits a single motet, the three-part *Martia terque quater*, which survives here as an unicum. The source provides no composer attribution, but Birgit Lodes has credibly argued that the motet was composed by Ludwig Senfl and was commissioned in the form in which it is preserved today by Wilhelm IV as a gift for Charles V.30 Like the embroidered images on the covers of the partbooks—the imperial insignia symbolise the legitimacy of Charles's claim to power and were ceremoniously presented to him at his coronation in Bologna in 153031—the text of the motet also praises the newly crowned emperor.

#### **Senfl's Compositional Examination of a Well-Known Paragon**

Few works by Senfl have been the subject of as much scholarly fascination as *Ave, Maria … Virgo serena* (SC M 9; NSE 4.4), a six-voice expansion of Josquin's landmark four-voice setting of the same text.32 As Miranda Stanyon has pointed out, motet-to-motet imitation was a novel concept in the early sixteenth century, which makes Senfl's choice to rework and update this decades-old motet according to contemporary tastes a singularly innovative one. Senfl retains much of his model's material but more than doubles the length as he successively works through each phrase of Josquin's setting, stating and amplifying each motif while increasing the number of repetitions. This expansion results in a two-part motet, which Senfl unifies by transforming Josquin's opening motif into an ostinato cantus firmus carried by the tenor primus, who presents it in varying rhythmic applications and at varied spacings for the duration of the piece. The application of cantus-firmus technique in rhythmic augmentation or diminution might seem outwardly old-fashioned, but Senfl does not adhere rigidly to isorhythmic proportions, instead adapting the tenor to the contrapuntal excursus of the other voices.33 He also opts for a less classicist application of symmetry, one of the characteristics of Josquin's setting that has made it a perennial staple of music history textbooks, by reducing the number of caesuras and blurring Josquin's block-like declamation in favour of thickened, more continuous textures. Senfl's increased texture and more densely woven counterpoint have been celebrated for their 'fuller, more grandiose sonorities' and 'virtuosic ornamentation',34 the overall conception as 'immensely variable, sonorous, and strikingly imaginative

<sup>28</sup> Fol. 88<sup>r</sup> .

<sup>29</sup> Grassl 2013: 592; see also 593–603.

<sup>30</sup> Lodes 2013 and Lodes 2022. Walter Salmen initially suspected a composer from the circle of Ferdinand I, in particular Arnold of Bruck (Salmen 1992: 79). Kelber 2018: 181–9 also names the city of Augsburg as a possible commissioner of the motet.

<sup>31</sup> Cummings 1992: 128–39, at 134–5.

<sup>32</sup> These include Stanyon 2009, Taruskin 2010, Fuhrmann 2012, Schmidt-Beste 2012, Meyer 2016, and above all Rifkin 2003 and Fallows 2008.

<sup>33</sup> Schmidt-Beste 2012: 278.

<sup>34</sup> Stanyon 2009: 169.

in its contrapuntal and motivic detail',35 and an opulent demonstration that Senfl 'not only admires Josquin's legacy, but claims it' for his own.36 Senfl does not disguise his model, but rather seeks to enhance its sonorous impact, and thus his setting should be read as part of early sixteenth-century efforts at canonising Josquin.37

It is striking that Josquin's four-voice setting *Ave, Maria … Virgo serena* was only printed once in Central Europe, whereas its extraordinary popularity is reflected in the more than twenty manuscripts from the late fifteenth and early sixteenth centuries that preserve the setting.38 Nevertheless, musical tastes in Central Europe had changed by the time of Senfl. Hermann Finck famously characterised the music of Josquin as having too many pauses and hence sounding rather bare,39 issues that Senfl 'improved' in his reworking. The updated setting did not include adjustments to the text, which would have aroused fewer objections in a German music market shaped by the needs of reformed worship. Senfl retained Josquin's original text, which combines two lines from the sequence *Ave, Maria … Virgo serena* with five stanzas on the 'joys' of Mary and a personal prayer addressed to the Virgin. Singers and scribes in reformed circles who still wished to sing Senfl's music resolved the issue through various modifications to the text. Senfl's setting appeared twice in print: with its original text in RISM 15371, then later in a heavily revised and expanded version in the *Novum et insigne opus musicum* (RISM 15584), where the final prayer to Mary is modified to 'O Fili Dei, memento mei'. Three surviving exemplars of Ott's 1537 anthology transmit handwritten revisions to the text also redirecting the supplication to Christ,40 firm evidence that despite any problems with the text, the music found outlets for performance in reformed contexts. Among the four manuscripts transmitting Senfl's setting, the choirbook D-Sl Mus. I fol. 25, copied by Nikolaus Peuschel for the court chapels of Ulrich, Duke of Württemberg, and his successor Christoph, features a heavily modified new text that retains only some wording from the original: all voices open with the greeting 'Ave, Servator' or 'Ave, Salvator', including the tenor primus, who sings an extended litany of christological divine titles across repetitions of the ostinato.41 D-Mbs Mus.ms. 1536, a set of partbooks dated 1583 on their covers, maintains the christological concluding prayer found in the 1558 edition of the *Novum et insigne opus musicum*, the source from which it was most likely copied. The only two sources transmitting what must have been the original text matching Josquin's setting both had Catholic owners: the Munich choirbook D-Mbs Mus.ms. 12, copied under Senfl's supervision, and D-Mu 4° Art. 401, a closely related set of four

partbooks that bind together books 1–4 of Andrea Antico's *Motetti* prints, issued in Venice in 1520 and 1521, and a manuscript addition that opens with Josquin's *Pater noster* / *Ave Maria* followed by Senfl's *Ave, Maria* … *Virgo serena*.42 The sixteenth-century reception of Senfl's reworking of Josquin thus could be said to equal that of Josquin's model, which likewise survives in several Central European sources as a contrafactum.43

#### *Cum pluribus vocibus:* **Praising the Lord and his Earthly Representatives**

The vast majority of the 111 motets by Senfl edited in the first four volumes of the NSE are based on sacred texts. The few exceptions are the funerary motet on the death of an Augsburg patrician *Quid vitam sine te* (SC M 90; NSE 2.41); *Tristia fata boni* (SC M 116; NSE 2.52), which ruminates on hope and fate; and \**Martia terque quater* (SC \*M 54; NSE 4.7).44 The poetry of all three motets is composed in neo-Latin, and each setting pays heed to the texts' quantitative metrical verses. The text of the exceptional *Martia terque quater*, Senfl's only surviving tribute motet, is arranged in three elegiac distichs and alludes to both the Roman Emperor Augustus and Charlemagne through ancient images and textual references.45 The motet was most likely composed for Charles during his stay in Innsbruck in May 1530 and was tailored to the occasion, as is already evident in the first distich, which calls on Germania to applaud upon the emperor's arrival from Italy:

Martia terque quater Germania plaude triumphans, Caesar ab Italia, Carolus, ecce venit!

Applaud three times in triumph, martial Germany, four times applaud, the Emperor comes from Italy, Charles, behold, he comes!

<sup>35</sup> Schmidt-Beste 2012: 278.

<sup>36</sup> Taruskin 2010: 572.

<sup>37</sup> Stanyon 2009: 170.

<sup>38</sup> It is the opening piece in Ottaviano Petrucci's *Motetti A* (RISM 15021). The motet also appears as an example of the Hypoionian mode in Glarean's *ΔΩΔΕΚΑΧΟΡΔΟΝ* (Basel: Heinrich Petri, 1547; RISM 15471). Concerning its manuscript transmission, see NJE 23.6, CC.

<sup>39</sup> Finck, *Practica musica*, sig. Aij<sup>r</sup> .

<sup>40</sup> These are the exemplars in D-B, D-HB, D-Z (a total of nine complete and eighteen incomplete sets of the print survive). See Gustavson 1998: 184–5, 334. The modified text of the D-B exemplar is transcribed in the Critical Report.

<sup>41</sup> This text is transcribed as well in the Critical Report.

<sup>42</sup> The first ten compositions transcribed in the manuscript sections are by Josquin and Senfl. The heading 'fuga in subdiapenthe. Ludo: Senfl. Anno dominj MD.XXX' appears later on fol. 55v of the manuscript section in the tenor partbook in conjunction with Senfl's *O sacrum convivium* (i) (SC M 75; NSE 3.19), which suggests either the date of composition or copying. See Rifkin 2005: 133–4.

<sup>43</sup> For example, D-B Mus. ms. 40021, D-GOl Chart. A 98 ('Gotha Choirbook'), D-Ngm 83795, and PL-Kj Mus. ms. 40013. See NJE 23, CC: 54–6, 91–4.

<sup>44</sup> The two canons, *Manet alta mente repositum* (SC M 53; NSE 4.22) and *Omne trinum perfectum* (SC M 78; NSE 4.23), are not included in this tally, since the titles are derived from the canonic instructions and these pieces were probably composed without text. It is not possible to clarify the question of the types of text on which the *Preambulum* (SC M 86; NSE 4.10, only preserved in tablature) and the motet fragment (SC M 42; NSE 2.56) are based.

<sup>45</sup> See NSE 4.7 for the text, a translation, and further information.

Charles had been crowned emperor a few months earlier in Bologna by Pope Clement VII and thus could now be legitimately addressed by that title, and Innsbruck represented an important first stop in German-speaking territory on the way to Augsburg. That these words clearly refer to Charles is confirmed once again by the concluding exclamation 'Charles, here he comes!', heard at the end of each of the three distichs. References to Italia and Germania also resonate with the idea of the *translatio imperii*, which places Charles V in the line of succession stretching back to Charlemagne.46

In the second distich, the unknown poet uses an allusion to Vergil's *Aeneid* 6:792–5 to praise Augustus as the inaugurator and ruler of a golden age who will extend the empire beyond its borders:47

Augustus Caesar, divi genus, aurea condet saecula qui rursus Latio regnata per arva Saturno quondam, super et Garamantas et Indos proferet imperium

Augustus Caesar, son of the Deified, who will make a Golden Age again in the fields where Saturn once reigned, and extend the empire beyond the Libyans and the Indians.48

These words conjure up an image that Charles also claimed for himself, since he ruled over an empire of vast dimensions, the boundlessness of which was also expressed in his motto 'plus oultre'. At the same time, the reference to Augustus recalls the period of peace initiated by the earlier ruler, known as the *pax Augusta*—a vision transferred to Charles: on the one hand, the text acclaims the peace concluded with the pope in Bologna and, on the other hand, it places great hopes in Charles' ability to mediate urgent religious matters in the empire in the light of the upcoming Diet of Augsburg. The music is also interspersed with symbols that allude to Charles:49 for example, the mensuration sign C2, prescribed in the first two *partes* of the motet, which has the same meaning as the *tempus imperfectum diminutum* of the *tertia pars*, could represent *Carolus Caesar* (Charles the Emperor) as 'twice C'. Additionally striking is the apparent significance of the number '3' depicted through the structural canon, in which three voices are derived from one notated voice. In a sacred context, the number three symbolises the unity of the Father, the Son, and the Holy Spirit; in terms of the fate of the empire, the legitimation of the ruling Habsburg family was equated by analogy with the dynastic succession of Frederick III, Maximilian I, and Charles V. Another constellation of three in the House of Habsburg was also represented visually at this time on medals, namely the succession of Maximilian I, Charles V, and Ferdinand I.50 The disposition of intervals in the 3-in-1 canon of *Martia terque quater*, separated by a fifth in each case relative to the start of the preceding voice, could once again refer to Charles, who as emperor in the Holy Roman Empire was the fifth bearer of that name.

A particular feature in the composition of the motet is the influence that the metrical text exerts above all on the musical line of the canonic voice: as in the four-voice odes, Senfl sets long syllables to long note values and short syllables to note values of exactly one half the duration. In contrast to the odes, however, Senfl uses two different levels of declamation in the motet: breve–semibreve and semibreve– minim; in addition, the voices do not declaim the text homorhythmically but in canonic combination.51 The free voices reproduce the verse quantities in a similar way, especially at the beginning and end of each *pars*, but the principle is not applied with the same consistency here, so that the composition avoids being ponderous or monotonous. It is precisely this metrical declamation that suggests the composer of the motet being Senfl. This technique of composition seems to have been employed rarely by composers,52 whereas Senfl featured it consistently in motets whose texts deploy quantitative metres, such as *Quid vitam sine te* (SC M 90; NSE 2.41), *Sum tuus in vita* (i) (SC M 109; NSE 2.50), and *Tristia fata boni* (SC M 116; NSE 2.52).

*Martia terque quater* praises a human sovereign, one whom Senfl probably also met in person, while *Haec est dies quam fecit Dominus*, an antiphon associated with the Feast of the Annunciation transformed by Senfl into a six-voice motet, praises the divine ruler. The central image of the antiphon is the incarnation of Christ, through which, in the Christian faith, the fall of man was overcome and humanity given the prospect of eternal life. The question of the incarnation of Christ in human form caused numerous controversies in the early history of Christianity and could only be formulated as dogma in the first Council of Constantinople in 381. In the antiphon, it is proclaimed with the words 'Hodie Deus homo factus', which Senfl emphasises in his motet by means of a novel construction: this line is repeated twice between lines of text and thus the words resound three times altogether, as the *secunda*, *quarta*, and *sexta partes*. This is not, however, simply a twofold repetition of the same phrase. Rather, the words are set to new music each time with increasing drama. The first setting of 'Hodie Deus homo factus' appears in a four-part texture with the plainchant melody in the tenor and discantus. The opening 'Hodie' is heard in two successive bicinia pairs, each of which concludes with a cadenza—bass and tenor, followed by contratenor and discantus. This emphasis on the first word is expanded in subsequent settings of the same line (*quarta* and *sexta partes*) with an even clearer caesura, extended by the presence of a fermata in each of the voices

<sup>46</sup> Panagl 2004: 96.

<sup>47</sup> Ibid. 96–7.

<sup>48</sup> Transl. Anthony S. Kline (2002) <https://www.poetryintranslation.com/PITBR/Latin/VirgilAeneidVI.php>.

<sup>49</sup> The following comments are summarised from Lodes 2013: 199– 206; Lodes 2022: 169–73; and Lodes 2023.

<sup>50</sup> A medallion with portraits of Maximilian I, Charles V, and Ferdinand I is attributed to Veit Kels, Augsburg *c.*1536 (Kunsthistorisches Museum Wien, shelfmark: KK\_4242).

<sup>51</sup> Lodes 2013: 202–5; Lodes 2022: 170–1.

<sup>52</sup> Ibid. 202–10.

(mm. 176–7 and 219–25). In addition to this moment of rest in each repetition of the text, Senfl also systematically expands the scoring, so that the drama of the statement becomes even more pronounced: the *quarta pars* is set for five voices, and in the *sexta pars* the motet achieves its climax by means of an expansion to six voices. The remaining *partes* of the motet are set to music for four voices, and only in the concluding 'Gloria tibi, Domine' (*8.p.*) does Senfl increase the number of voices once more in order to enhance praise to God by means of a five-voice texture.

Senfl's three eight-part works are exceptional in terms of their large scoring. Although the background for such works has yet to be researched, their origins could be sought in connection with extraordinary events, such as imperial diets or the visit of Emperor Charles V to Munich in spring 1530, a time when Senfl and the Munich court chapel were very busy.

*Sancta Maria Virgo, intercede* (ii) (SC M 102; NSE 4.17), a one-part setting of the antiphon for the Feast of the Nativity of Mary on 8 September, showcases Senfl's use of cantus firmus technique in its expansive duration of more than 120 measures. Instead of antiphonal choral divisions, Senfl opts for a dense, five-voice imitative texture in which he embeds the plainchant melody as a three-part quasi-canon for contratenor 2, tenor 1, and tenor 2. He applies a similar yet more rigid principle in his second setting of *Veni, Sancte Spiritus, reple* (SC M 120; NSE 4.18). The cantus firmus of this motet is identical to his six-voice setting of the same text (SC M 119; NSE 4.15) as is his treatment of the cantus firmus: Senfl structures both settings around an almost identical three-in-one canon: the discantus 2 of M 119 is equivalent to the discantus 3 in M 120; the tenor in M 119 corresponds to the tenor 1 in M 120; and the melodic line of the bassus 1 in M 119 is identical with the tenor 2 in M 120, albeit one octave higher lower. The dense polyphonic texture of the composition thus proceeds from the cantus firmus, whose threefold statement possibly refers to the Trinitarian subject of the liturgical model.

#### **Canonic Techniques and Musical Riddle Culture**

Taking stock of Senfl's motet production as a whole, it is immediately apparent that canonic techniques counted among his most reliable compositional resources. Although canons in the strict sense can be found in the motets, Senfl seemed never to feel constrained by canonic rules when fashioning a *cantus prius factus* into some kind of canonic form, since he so often freely jettisons those rules in favour of the flow of the overall contrapuntal texture, of enhancement of the sonorous impact he wished to achieve, or to craft a novel dramatic or climactic structure. His individual approach to incorporating canonic techniques is a defining feature of his style, so it is little wonder that Senfl also left behind a body of 'pure' canons, also edited in the present volume. Although these six canons represent a seemingly limited number of works in this genre, they are exceptionally diverse and thus once again showcase Senfl's versatility. They include a riddle canon, a set of three double retrograde canons, a canon at the unison *post duo tempora*, a 3-in-1 mensuration canon, a 3-in-1 canon expanded with free voices one by one into a composition of six sections, and a 4-in-1 canon. All of them are accompanied by some kind of text, whether descriptive or as text underlay, that imparts an added layer of meaning reflected, in turn, by the canonic technique in question.

In contrast to the motets, the canons are mainly transmitted in printed music-theoretical and pedagogical writings, due to their fundamental importance for learning the arts of singing, composition, and improvisation. The theoretical books, most of which are geared towards practical music instruction (setting aside the greater ambitions of Heinrich Glarean), are Johannes Stomius's *Prima ad musicen instructio* (Augsburg: Philipp Ulhart the Elder, 1537), Glarean's *ΔΩΔΕΚΑΧΟΡΔΟΝ* (Basel: Heinrich Petri, 1547), Heinrich Faber's *Ad musicam practicam introductio* (Nuremberg: Johann vom Berg and Ulrich Neuber, 1550),53 Hermann Finck's *Practica musica* (Wittenberg: Georg Rhau's heirs, 1556), Ambrosius Wilphlingseder's *Erotemata musices practicae* (Nuremberg: Christoph Heußler, 1563), and Nicolaus Roggius's *Musicae practicae* (Nuremberg: Ulrich Neuberg and Dietrich Gerlach, 1566).54 These canons also appeared in pedagogically-oriented collections of *bicinia* (RISM 15456), canons (RISM 15671, 15687, 15688, 159030, and 15943), and, in the case of the four-voice section of *Laudate Dominum, omnes gentes* (SC M 52; NSE 4.21), extracted and placed within a volume of Horatian odes (RISM 155117), eight of which are attributed to Senfl. Some of these sources are certainly related: Markus Grassl has proposed that Faber served as Finck's source for both *Crux fidelis inter omnes* (SC M 23; NSE 4.20) and *Omne trinum perfectum* (SC M 78; NSE 4.23), given Finck's reliance on the Wittenberg circle of music theorists for theoretical material, while Clyde Allen Young has pointed out the reliance of Jacob Paix (editor of RISM 159030 and 15943) on Glarean for his examples.55

The earliest securely dated canon, *Salve, sancta parens* (SC M 98; NSE 4.24), was not printed in a pedagogical work, however, but in the *Liber selectarum cantionum*, where it occupies pride of place as a full-page woodcut at the conclusion of the folio choirbook. This riddle canon is printed in the form of a magic square consisting of a grid of thirty-six bars, six across and six down, in each of which appear between two to four breves and one two-syllable word. The inscription 'Notate verba, et signate mysteria' (Note the words, and observe the mysteries) is provided as a clue for unravelling the puzzle, while the date 'MDXX' (1520) and the coats of arms of the publishers are embedded at the bottom in the decorative frame that surrounds the notation. This date and the text underlay of the canon, which is in part a compilation of excerpts from motets within the

<sup>53</sup> Four subsequent editions appeared in 1558 (Leipzig), 1563 (Weissenfels), 1568 (Mühlhausen), and 1571 (Mühlhausen).

<sup>54</sup> Three subsequent editions appeared in 1586 (Wittenberg), 1589 (Hamburg), and 1596 (Hamburg).

<sup>55</sup> Apparently needing to sell more copies of RISM 159030, Paix simply swapped its opening gathering for another one, leading to the creation of RISM 15943. See Grassl 2013: 592, Young 2001, and the Critical Report for *Omne trinum perfectum*.

*Liber*,56 suggest that *Salve, sancta parens* was composed specifically for inclusion in the anthology. In addition to the canonic inscription, clues for reading the canon are provided by the two clefs and the presence of blackened breves that form two diagonal lines stretching from each of the grid's corners. Several solutions have been proposed for the riddle canon,57 the two most plausible of which have been edited in the present volume.58 The visual novelty of *Salve, sancta parens* later found an imitator in Ghiselin Danckerts, who composed another riddle canon, *Ave, maris stella*, also in the form of a magic square in alternating black and white squares that lend it the appearance of a chessboard.59

Perhaps more influential, however, was the visual presentation of *Crux fidelis inter omnes*, whose cruciform design directly influenced compositions by Leonhard Paminger and Adam Gumpelzhaimer and established a tradition of cruciform canons continued by Danckerts, Pieter Maessens, Lodovico Zacconi, Thomas Morley, and Pietro Cerone.60 The three parts of *Crux fidelis* first appeared in print as three separate, yet visually corresponding, broadsheets, of which only two survive. The extant broadsheets, both probably printed by Petreius in 1538, present their double retrograde canons in the form of a cross, were printed with the same text and music typefaces, and are both enhanced by the same woodcut crucifix beside the cruciform notation.61 Of the eight sources for *Crux fidelis*, only one of them, D-Mu 8° Cod. ms. 322–325, a set of four partbooks copied by Martin Besard under the direction of his teacher, Heinrich Glarean, presents all three canons as a triptych; the rest transmit either the first or the third of the canons only (following their order as given in D-Mu 8° Cod. ms. 322–325), a sign of their conceptual independence. The texts of the three canons link with their cruciform design, since they are all connected with paschal celebrations: *Crux fidelis*, the eighth stanza of the hymn *Pange lingua*, and *Ecce lignum crucis*, an antiphon to Ps. 119, were both used as antiphons for the Adoration of the Cross on Good Friday, while *O crux, ave, spes unica*, the sixth stanza of the hymn *Vexilla Regis*, was sung at the blessing of palms on Palm Sunday. All eight sources also reference as canonic inscription the Latin text of Ps. 84:11, an apt analogy for a double retrograde canon with its twofold meeting of two virtues: 'Misericordia et veritas obviaverunt sibi; iustitia et pax osculatæ sunt' (Mercy and truth have met each other; justice and peace have kissed).62 As Katelijne Schiltz has pointed out, Psalm 84 was also interpreted as an allegory of the Passion, since the hope for deliverance expressed in the psalm was realised by Christ's death on the cross, and thus further enhanced the canons' shared paschal theme.63

Senfl turned to the Book of Psalms once more with *Laudate Dominum, omnes gentes*, a setting of the complete two-verse Ps. 116, and crafted an entirely new concept for its realisation: a work in six sections, each of which is derived from the same 3-in-1 canon. The first three sections are scored for discantus, tenor, and bassus and feature an alternating order of entries for the three voice parts, while the subsequent sections present the previous three canons with an expansion of one, two, and finally three additional voices. The cumulative effect of the expanding texture brings to life the psalm's text, as all nations and peoples are implored to praise the Lord. Again, this path-breaking example by Senfl seems to have been a source of inspiration for other composers, such as Sixt Dietrich, who also composed sectional canons with exchanging voice parts based on Ps. 116.64 Similar to *Crux fidelis*, only the earliest source transmitting *Laudate Dominum*, the *Tomus secundus psalmorum selectorum* (Nuremberg: Johannes Petreius, 1539; RISM 15399), includes all six parts, whereas the rest transmit only one of the six sections. In this case, however, this has more to do with the nature of the anthologies in which these sections were reprinted: RISM 15456 (NSE 21.1 only) is a volume of *bicinia*; RISM 155117 (NSE 21.4 only) is a volume primarily of four-voice odes; RISM 15671 (NSE 21.4 only) is an anthology of four-, five-, and eight-voice canons derived from two voices; and RISM 15687 (NSE 21.6 only) is a set of four partbooks containing motets with canons for five to eight voices.

In contrast to *Crux fidelis* and *Laudate Dominum*, which are both conceived in multiple parts and defined structurally and poetically by their texts, *Manet alta mente repositum* and *Omne trinum perfectum* are relatively compact works that circulated, with one exception, with canonic instructions rather than text underlay. Senfl's stand-alone 3-in-1 mensuration canon is accompanied by the instruction 'Omne trinum perfectum', a medieval maxim of uncertain origin often used in reference to the perfection of the trinity, but also in music theory as a means to distinguish *tempus perfectum* and *imperfectum*.65 In Senfl's setting, each of the

<sup>56</sup> Haberl 2004: 30–4.

<sup>57</sup> These include Tucher 1829, Zahn 1882, Moser 1920, Haberl 2004, and Lindmayr-Brandl 2010a/b.

<sup>58</sup> The solutions are found in Zahn 1882 and Lindmayr-Brandl 2010a/b. See the Critical Report.

<sup>59</sup> According to Danckerts, this canon was published in 1535. This version has been lost, but the canon survives in the broadsheet RISM D 888 and in Pietro Cerone's *El Melopeo y Maestro* (Naples: Iuan Bautista Gargano and Lucrecio Nucci, 1613), 1129. Hans Westgeest suggests that Danckerts was probably also inspired by the tradition of chessboard poems practised in the Low Countries. See Westgeest 1986.

<sup>60</sup> Schiltz 2015: 306–25.

<sup>61</sup> The only known exemplar of the broadsheet transmitting the second canon once formed part of the collection of the Royal Library in Dresden until 1945 (today, the Sächsische Landesbibliothek – Staats- und Universitätsbibliothek). See Gustavson 2013: 286–8.

<sup>62</sup> The verse was used as a canonic inscription for the opening textless work in *Motetti A* (RISM 15021) and for compositions by Gumpelzhaimer and Philippe de Monte. See Schiltz 2015: 172. Three of the sources for NSE 4.20—Faber, Finck, and RISM 15671—provide an additional rubric: 'Qui cum illis canit, cancrizat, uel canit more Hebræorum' (as printed in Finck), meaning 'He who sings with them goes backward, or sings in the Hebrew manner'. See ibid. 430.

<sup>63</sup> Ibid. 306.

<sup>64</sup> See Röder 2007: 239–42 and Gasch 2015.

<sup>65</sup> See the Critical Report.

three voices is assigned a different mensuration sign in *tempus perfectum*, and thus the maxim describes both the mensural perfection as well as the perfection in the alignment of three parts derived from one. Both *Omne trinum perfectum* and *Manet alta mente repositum* are included in Hermann Finck's *Practica musica*, almost a quarter of which is dedicated to the topic of canons, where they both appear with-

out text underlay. *Manet alta mente repositum* is transmitted in one other earlier source, Johannes Stomius's *Prima ad musicen instructio*; in both Stomius and Finck, the composition is identified by the canonic instruction 'Manet alta mente repostum', but only Stomius provides this text as underlay. The text derives from Vergil's *Aeneid* 1.26, which, as Bonnie J. Blackburn and Leofranc Holford-Strevens have pointed out, lists the four grievances that compel Juno to attack the Trojans and thus provides a clue to the canon's four-voice design.66 By fashioning a canonic instruction into text underlay, Stomius modifies the three-syllable 'repostum' in Vergil with the four-syllable variant 'repositum', thus interfering with the dactylic hexameter, and his underlay yields moments of awkward declamation and excessive repetition.67

A different problem occurs in the case of \**Converte nos, Deus salutaris noster* (SC \*M 20; NSE 4.19): is this a composition by Ludwig Senfl or by Lorenz Lemlin? The sole source of this two-voice canon at the unison, Georg Rhau's 1545 *Bicinia gallica, latina, germanica* … *tomus primus* (RISM 15456), provides contradictory attributions: the indexes of both partbooks name Senfl as composer, but the canon's heading in the cantus partbook attributes it to Lorenz Lemlin, which is all the more remarkable as this source otherwise transmits no other piece ascribed to Lemlin.68 With no other surviving stand-alone two-voice canon with which to compare, this matter may never be satisfactorily resolved, but a glance at the other two-voice compositions ascribed in this source to Senfl is again instructive for his treatment of canonic techniques. This second work, a contrafactum of the tenth verse of his *Magnificat primi toni*, begins in strict canon, but as it unfolds, the rules are relaxed in favour of a quasi-canon, another testament to the greater importance Senfl placed on sonorous qualities over the application of pre-established rules. The text of *Converte nos* derives from two verses of Ps. 84 (vv. 5 and 8). Although *Converte nos* lacks the elaborate construction of the set of double retrograde canons, it represents a model exercise for beginning students of music, pointing the way to the greater surprises that await those of Senfl's disciples who wish to explore his music further.

#### **Lost Motets**

Although the present volume completes the edition of Ludwig Senfl's motets, his creative output in that genre must, of course, have been far greater, since numerous musical sources of the time have been lost. At least fourteen additional motets by Senfl are known today only by title. Twelve motets that are now lost are recorded in the so-called Neuburg chapel inventory (D-HEu Cod. Pal. germ. 318).69 This inventory was compiled in Neuburg an der Donau in 1544 and records the music holdings of the court chapel of Count Palatine Ottheinrich, who was forced to go into exile in Heidelberg for financial reasons. Portions of the inventoried music library seem to have accompanied him on this journey to Heidelberg and later on to Weinheim.70 This inventory lists the musical repertoire systematically and with detailed information. Thus, as a rule, all compositions within a source are inventoried by title, number of voices, and often also with composer attributions. The following titles, which are all attributed to Senfl in this inventory, cannot be correlated with any extant setting and are therefore considered lost:

*Anima mea liquefacta est* (i), 5vv (SC M 5) – in three *partes Cantabo domino*, 6vv (SC M 14) *Cor mundum crea in me*, 5vv (SC M 21) *Cosmas et Damianus*, 5vv (SC M 22) *Descendi in hortum nucum* (ii), 5vv (SC M 31) *Laudate Dominum*, 4vv (SC M 51) *Miserere mei, quoniam infirmus sum*, 5vv (SC M 59) *Natus est nobis*, 6vv (SC M 62) *O virgo virginum*, 6vv (SC M 77) *Praeparate corda vestra*, 4vv (SC M 85) *Sit bonus et faustus*, 4vv (SC M 107) *Tantum ergo*, 5vv (SC M 113)

Most of the text incipits seem to indicate polyphonic settings of antiphons; only in the cases of *Laudate Dominum* and *Miserere mei, quoniam infirmus sum* does the text appear to be based on a psalm excerpt or a complete psalm. In the first case, it is not entirely clear in what relationship the inventoried setting might stand with regard to the three- to six-voice canon *Laudate Dominum* (SC M 52), but it seems to indicate an independent four-voice setting.71 Questions are also raised by the entry *Miserere mei, quoniam infirmus sum*. Did a scribal error (albeit repeated) result in the omission of 'Domine' after 'Miserere mei' as found in the Vulgate version of Psalm 6:3?72 Moreover, the motet is inventoried together with *Cor mundum crea in me* (Ps. 50:12), which is also lost, in a section describing a manuscript set of partbooks which, apart from the entries of these two motets, apparently lists only settings of complete psalms.73 In later

.

<sup>66</sup> Moreover, the adjective 'alta' hints that each voice enters at a successively lower interval. See the Critical report, Blackburn/ Holford-Strevens 2002:159, and Schiltz 2015: 155–6.

<sup>67</sup> This opinion, first expressed in Blackburn/Holford-Strevens 2002: 160, is repeated in Grassl 2013: 591–2, and McDonald 2020: 78.

<sup>68</sup> This source transmits two other works by Senfl: a two-voice contrafactum of the tenth verse from Senfl's *Magnificat primi toni* (no. 44), ascribed to Senfl, and the four-voice section of *Laudate Dominum* (no. 85), which is presented without ascription.

<sup>69</sup> For a transcription and commentary, see Lambrecht 1987.

<sup>70</sup> The fate of the inventory is summarised ibid., i: 21–4.

<sup>71</sup> SC 1: 341.

<sup>72</sup> D-HEu Cod. Pal. germ. 318, fol. 99<sup>r</sup> and fol. 108<sup>r</sup>

<sup>73</sup> D-HEu Cod. Pal. germ. 318, fol. 99<sup>r</sup> .

inventories of the same sources, V-CVbav Cod. Pal. lat. 1938, fol. 39<sup>r</sup> , and V-CVbav Cod. Pal. lat. 1939, fol. 43<sup>r</sup> (both 1581), these partbooks are also recorded as 'Decem Psalmi à Ludouico Senflio compositi. 5 partes. eingehefft'. Since this designation was probably only assigned later by the scribes of the 1581 inventories, at a time when the completeness of a psalm text as the basis of a motet did not have categorical distinction, it remains uncertain whether these were indeed 'psalm motets' according to the present definition of the term.

Beyond the Neuburg chapel inventory, only two additional lost motets can be identified. A motet titled *Angelorum esca*, possibly a setting of the antiphon *Angelorum esca nutrivisti populum*, is mentioned by Lodovico Zacconi in his *Prattica di musica* (1596), where he provides its *soggetto* as an exemplum.74 Another reference to a now-lost motet is found in a letter from Senfl to Duke Albrecht of Prussia dated 20 July 1535.75 A few months earlier, Senfl had received from the duke a golden goblet and 50 guilders as payment for the preparation of partbooks. In return, Senfl sent Albrecht a letter accompanied by additional compositions: besides the extant motets *Deus in adiutorium meum intende* (SC M 32; NSE 1.14) and *De profundis clamavi* (ii) (SC M 29; NSE 3.6), he mentions a six-voice *Quid retribuam Domino*. Senfl writes that he sends a 'klaine dannkh sagung. vmb E f g. furstliche vereerung. mit Sex stimen gesetz. vnd Intituliert also, Quid retribua[m] D[omi]no pro om[n]ibus que retribuit mihi: Calicem salutaris accipia[m]; & nome[n] D[omi]ni inuocabo.'76 ('What shall I render to the Lord, for all the things he hath rendered unto me? I will take the chalice of salvation; and I will call upon the name of the Lord.' Ps 115:12–13). This motet recalls a composition by Senfl's teacher Isaac, who composed a three-voice *Quid retribuam tibi* for Pope Leo X as thanks for granting him a pension.77 Above all, however, the setting of these psalm verses alludes directly to the golden goblet, which is equated with the cup of salvation and signals with these words that Senfl wishes to continue to serve the duke in gratitude. The composition itself has not survived, but on the basis of the large number of voices for which it was set, it must have been an impressive gift.

What is striking about the list of lost motets is the predominance of five- and six-voice motets, which does not reflect the proportions of voices among extant motets, in which the fifty-five surviving four-voice motets represent more than half of the total number of 110.78

76 Gasch 2012: 412–18, 431. See also SC M 89.

#### **Senfl's Motets at the Munich Court: A Preliminary Assessment**

In conclusion, if we take once more a look at Ludwig Senfl's complete motet œuvre, it is intriguing how few motets survive at his primary place of employment, the Munich court. There are several reasons for this. On the one hand, this reflects the fact that Senfl was focused at that time on expanding the court chapel's repertoire of polyphony for liturgical services, i.e. proper settings and mass ordinaries. This served not only to enhance the duke's political self-esteem as a ruler as well as a nephew of the late Emperor Maximilian I, but also, in an age of religious upheaval, to set himself apart from the new faith and raise his musical profile in the Catholic camp. It was not until the middle of the century, years after Senfl's death and with the accession of Albrecht V, that an increase in the chapel's motet repertoire can be observed.

On the other hand, the small number of sources at the Munich court that transmit motets by Senfl as well as other composers from the first half of the sixteenth century testifies to the fact that numerous sources from the former Munich court chapel are no longer extant.79 For example, from the repertoire of the *Liber selectarum cantionum*, co-edited by Senfl, only two of a total of twenty-five works have survived in Munich sources.80 It is equally striking that Senfl's Magnificat settings, probably composed around 1523 for the Munich court, have not been preserved in any Munich source of the time,81 a fact which seems all the more remarkable since Wilhelm IV deliberately expanded the repertoire for the Liturgy of the Hours at the time of Senfl's appointment. This is reflected both in the acquisition of the choirbook D-Mbs Mus.ms. 34 from the scribal workshop of Petrus Alamire,82 which contains only *Salve Regina* settings, and in the settings for the propers for the office preserved in D-Mbs Mus.ms. 52, a manuscript copied by the principal scribes of the Munich workshop.83

The few surviving choirbooks with motets from the period up to 1550 can be divided into two larger groups: the first group comprises manuscripts that were either acquired or presented to the court. These include the magnificent choirbook D-W Cod. Guelf. A Aug. 2°,84 as well as the Alamire manuscripts Mus.ms. 6, Mus.ms. 7, Mus.ms. 34, and Mus.ms. F. Only Mus.ms. 34 needs to be considered here, as all the other manuscripts contain polyphonic mass settings.85 The second group of choirbooks was produced at the Munich court and comprises the motet collections Mus. ms. 12 (original title: *Motettorum liber primus*) and Mus.ms. 10 (original title: *Motettorum liber secundus*), as well as Mus.


<sup>74</sup> Zacconi, *Prattica di musica*, vol. i, Lib. iii, Cap. LXXVIII, fol. 190<sup>r</sup> . See SC M 4.

<sup>75</sup> The letter is edited in Bente 1968: 329–30.

<sup>77</sup> Staehelin 2001.

<sup>78</sup> In addition to the four-voice motets, 31 five-voice, 15 six-voice, and 3 eight-voice motets by Senfl are still extant. Not included here are the six canons (NSE 4.19–24) and the fragment NSE 2.56; *Da pacem, Domine* (iii) (SC M 27), which is transmitted in both a six- and an eight-voice versions, is counted twice (see NSE 3.5 and NSE 4.16).

<sup>79</sup> On this question see in more detail Gasch 2017a.

ms. 19 and Mus.ms. 25.86 These four choirbooks are supplemented with at least three further choirbooks from the middle of the century: Mus.ms. 13, Mus.ms. 16, and Mus.ms. 41. They were all copied around 155087 and show new directions in terms of content: in all choirbooks the pieces are arranged according to their numbers of voices (ascending or descending) and clearly reveal an interest in current, supra-regional compositions on the one hand, and a juxtaposition of older and newer repertoire on the other.88

The choirbook D-Mbs Mus.ms. 69 from the second quarter of the sixteenth century represents a special case: the three compositions it contains—a *Missa super Dominicale minus* by Gregor Peschin, a *Missa Carolus Imperator Romanorum* by 'Lupus', probably Lupus Hellinck (built over a *soggetto cavato*89), and Senfl's anonymously transmitted motet *Saulus autem, adhuc spirans* / *Petrus Apostolus*—were each copied by a different scribe and are documented only once elsewhere: they can be found (albeit in different places) in the Inventory of Count Palatine Ottheinrich.90

Thus, until the middle of the sixteenth century, the repertoire of the Munich court chapel consisted at minimum of those motets listed in Table 1.91


With twenty-five motets by Senfl, including two doubtful and two anonymous works that have survived in Munich, the composer is undisputedly the most represented composer. The number of his motets preserved in sources of the Munich chapel, however, remains comparatively small in view of the total of 110 motets by the composer that survive today. It should not be overlooked that Senfl's models, Josquin Desprez and Heinrich Isaac, are surprisingly underrepresented with, respectively, nine and no works at all.

At the same time, it is striking that only eight of the motets published in print during Senfl's lifetime also survive in sources of the Munich court chapel—all of them in the choirbooks Mus.ms. 10 and Mus.ms. 12.92 Conversely, the low survival rate of Senfl's motets in Munich highlights the importance of Central German sources for the transmission of his motets. This puts into perspective the misleading image of a composer with only a regional sphere of influence. It reveals how far Senfl's motets spread beyond Munich and underlines Sebald Heyden's dictum that Senfl was 'in Musica totius Germaniæ nunc principem'.93

The complete edition of Senfl's motets, which this volume now finally fulfils, thus presents us with the most comprehensive perspective on Senfl as a motet composer since the sixteenth century, a side of his output that has long been overshadowed by his lied production and one that until now we have struggled to assess. With the broad spectrum of Senfl's motets at last available for study and performance, this edition will hopefully facilitate discussions about his development in style, the areas of his influence, his modifications to the traditions of genre, and the chronology of his works. At the same time, this complete edition calls for a paradigm shift: Senfl acted as one of the central early protagonists in the spectacular rise of the motet throughout the German-speaking lands, a soundscape that he to a large extent helped shape and whose sonic topography in all its manifestations, whether 'national' or 'international', as well as its charms and allurements have yet to be fully discovered.

<sup>86</sup> Mus.ms. 19 as well as Mus.ms. 25 are probably 'in-house copies' of repertoire that was to be preserved from loss. The multiple copying of works, which is reflected in choirbooks with the same content, is found in different forms at the Munich court. The three choirbooks Mus.mss. 39, 26, and 33, for example, are almost identical in content and contain proper settings and mass ordinaries by Heinrich Isaac for the Sundays in the summer half of the church year. In other cases, masses were copied from lavishly decorated choirbooks in order to be able to perform them during daily services.

<sup>92</sup> All eight motets appear in the *Novum et insigne opus musicum* compiled by Hans Ott. Seven of them appear in the first volume: *Ave, Maria … Virgo serena* (SC M 9; NSE 4.4), *Haec est dies* (SC M 45; NSE 4.6), *Qui prophetice prompsisti* (SC M 88; NSE 3.22), *Ave, Rosa sine spinis* (SC M 10; NSE 3.1), *De profundis* (ii) (SC M 29; NSE 3.6), *Virga Jesse floruit* (SC M 121; NSE 2.54), *Deus in adiutorium* (SC M 32; NSE 1.14). The eighth motet, *Tota pulchra es* (SC M 115; NSE 3.30), was published in the second volume of this motet anthology in 1538 (RISM 15383).

<sup>93</sup> *De arte canendi* (Nuremberg: Johannes Petreius, 1540) [VD16 H 3381], sig. [A 6]r .


#### **Table 1. Extant Motet Repertoire of the Munich Court Chapel until around 1550**94

 Since the numbers Mus.ms. 12.1, Mus.ms. 12.10, Mus.ms. 19.1, Mus.ms. 19.10–17 and the numbers Mus.ms. 25.5–42 count as Proper settings for the Mass or the Office, they have not been included in the list of motets. Likewise, the sacred song Mus.ms. 10.6 and the Passion setting in D-Mbs Mus.ms. 13.1 have not been included in the list.

a Model: cantus of the Flemish song *O werde mont*.

b Model: cantus of Johannes Ghiselin's *Ghy syt die wertste boven al*.

c Model: cantus of Johannes Ockeghem's Rondeau *Je nay deul*.

d Model: cantus of Guillaume Dufay's Rondeau *Par le regard*.

e Model: cantus of Pierre de la Rue's song *Mijn hert heeft altijt verlanghen*.


f Model: cantus of the Flemish song *O werde mont*.

g Model: tenor of the Flemish song *Mijns liefkens bruun ooghen*.


h Inserted later.

i In the choirbook the motet is attributed to Josquin. Although the motet was not written by Josquin, the composition was nevertheless perceived as his work. See NJE 18, CC: 143–6.

j An anonymous six-voice arrangement of Josquin's motet can be found in Mus.ms. 41.17; the six-voice arrangement by Senfl can be found in Mus.ms. 12.3.

k This is *pars* v of Josquin's cycle *Vultum tuum deprecabuntur*.

l Fragment, end of Ct and T. The beginning of the text of the composition is unknown. Bente 1968: 163; KBM 5/1: 101.


**XXV**

m A six-voice arrangement of this motet can be found in Mus.ms. 41.12.

n Although the motet is also ascribed to Josquin and to Jean Mouton, it was probably composed by Jean Richafort. See Stewart 1991, NJE 14, CC: 73–4, and Fallows 2008: 438–9.

o Devotional motet in distichs for an 'Arzilla'.


p Motet in hexameters with reference to the House of Este in Ferrara.

q Inserted later.

r Arrangement of the six-voice motet by Jean Mouton (Mus.ms. 16.9).

s Arrangement of the four-voice motet by Josquin Desprez (not preserved in D-Mbs).

t Arrangement of the four-voice motet by Mathieu Gascongne (not preserved in D-Mbs).

u Arrangement of the four-voice motet by Jean Mouton (not preserved in D-Mbs).

w Arrangement of the four-voice motet by Josquin Desprez in Mus.ms. 19.4.

v Arrangement of the four-voice motet by Jean Mouton (not preserved in D-Mbs).

PLATES

Plates 1–2. L. Senfl, *Alma Redemptoris Mater* (SC M 3), fols. 1<sup>r</sup> and 9<sup>r</sup> (V-CVbav Cod. Pal. lat 1347; https://digi.vatlib.it/view/MSS\_Pal.lat.1347/0001; with kind permission).

Plates 3–6. L. Senfl, *Haec est dies quam fecit Dominus* (SC M 45), beginning of tenor in RISM 15371 (D-ROu; http://purl.uni-rostock.de/rosdok/ppn819630063; with kind permission).

Plates 7–8. L. Senfl, \**Martia terque quater* (SC M 54), beginning of the *tertia pars* in discantus / contratenor / tenor / (A-Ia KK 5370; with kind permission) and contratenor 2 (A-Ia KK 5371; with kind permission).

Plates 9–10. L. Senfl, \**Martia terque quater* (SC M 54), beginning of the *tertia pars* in vagans (A-Ia KK 5372; with kind permission) and bassus (A-Ia KK 5373; with kind permission).

Plate 11. Bag made from silk, once containing the embroidered partbooks A-Ia KK 5370–5374 (A-Ia KK 5369; with kind permission).


Plate 12. L. Senfl, *Preambulum*, beginning (A-Kla MS GV 4/3, fol. 1<sup>r</sup> ; with kind permission).

Plates 13–14. L. Senfl, *Sancte pater divumque / Sancte Gregori, confessor Domini* (SC M 103), beginning of *prima pars* in RISM 15204 (D-Sl Ra 16 Lib 1; http://digital.wlb-stuttgart.de/purl/bsz370164814).

Plates 15–16. L. Senfl, *Sancta Maria Virgo, intercede* (ii), beginning in D-Mbs Mus.ms. 25, fols. 23v–25r (urn:nbn:de:bvb:12-bsb00079117-0).

Plate 17. L. Senfl, *Crux fidelis inter omnes* (SC M 23.1) ([Nuremberg: Johannes Petreius, *c*.1538?]) (D-Mbs 2 Mus.pr. 156-1/8#4; urn:nbn:de:bvb:12-bsb00061775-8).

Plate 18. L. Senfl, *O crux, ave, spes unica* (SC M 23.3) ([Nuremberg: Johannes Petreius, *c*.1538?]) (A-Wn SA.87.D.8; http://data.onb.ac.at/rep/10265E85).

Plates 19–20. L. Senfl, *Laudate Dominum, omnes gentes*, beginning of discantus in RISM 15399 (D-Ju Bibliotheca Electoralis 4 Mus.4a; https://collections.thulb.uni-jena.de/rsc/viewer/HisBest\_derivate\_00006047/BE\_1495\_0376.tif).

Plate 21. L. Senfl, *Omne trinum perfectum* in Henricus Loriti Glarean, *ΔΩΔΕΚΑΧΟΡΔΟΝ*, p. 444 (D-Mbs 2 L.impr.c.n.mss. 73; urn:nbn:de:bvb:12-bsb00084107-6).

**DTÖ 163.4DTÖ 163.4**Plate 22. L. Senfl, *Salve, sancta parens* in RISM 15204 (D-Sl Ra 16 Lib 1; http://digital.wlb-stuttgart.de/purl/bsz370164814).

### 1. Alleluia, mane nobiscum

1

### 2. Alma Redemptoris Mater

2.p. Tu quae genuisti 3.p. Virgo prius

#### **DTÖ 163.4 DTÖ 163.4**

#### **DTÖ 163.4 DTÖ 163.4**

\*ロ = ロ + o • (half-blackened note head)

**DTÖ 163.4 DTÖ 163.4**

### 3. Anima mea liquefacta est (ii)

2.p. Invenerunt me custodes 3.p. Filiae Jerusalem

25

## 4. Ave, Maria ... Virgo serena

2.p. Ave, vera humilitas

**DTÖ 163.4 DTÖ 163.4**

#### **DTÖ 163.4 DTÖ 163.4**

#### **DTÖ 163.4 DTÖ 163.4**

\* = = = = = + o · (half-blackened note head)

\*ロ = ロ・・ロ

રેક

gi

pu -... cu - ius

DTÖ 163.4

### 5. \*En quam honesta (attributed)

SC \*M 40 attr.

#### **DTÖ 163.4 DTÖ 163.4**

#### **DTÖ 163.4 DTÖ 163.4**

### 6. Haec est dies quam fecit Dominus

2.p. Hodie Deus homo factus – 3.p. Id quod fuit permansit 4.p. Hodie Deus homo factus – 5.p. Et quod non erat assumpsit 6.p. Hodie Deus homo factus – 7.p. Ergo exordium nostrae redemptionis 8.p. Gloria tibi, Domine

af - fli - ctil - o po -

DTÖ 163.4

### 7. \*Martia terque quater

SC \*M 54 attr.

### 8. Media vita in morte sumus

2.p. Sancte Deus, sancte fortis

#### **DTÖ 163.4 DTÖ 163.4**

DTÖ 163.4

se

9. Philippe, qui videt me

10. Preambulum

\* Proposal from Novak 2009.

### 1 1. Sancte pater divumque / Sancte Gregori, confessor Domini

SC M 103

\*ロ = ロ・+ ロ
『

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

men,

DTÖ 163.4

DTÖ 163.4

DTÖ 163.4

DTÖ 163.4

### 12. Sic Deus dilexit mundum

SC M 106

### 13. \*Spiritus Sanctus in te descendet (conflicting ascriptions)

SC \*M 108 confl.

152

**154 155**

### 14. \*Tu autem cum oraveris (conflicting ascriptions)

D

SC \*M 117 confl.

15. Veni, Sancte Spiritus, reple (i)

SC M 119

DTÖ 163.4

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

2.p. Quia non est alius

SC M 27

¢

?b

*\* = +* § ›™ ›

#### DTÖ 163.4

 bis no -

**DTÖ 163.4 DTÖ 163.4**

**DTÖ 163.4 DTÖ 163.4**

DTÖ 163.4

DTÖ 163.4

gem or - bis,

ge

gem or - bis, ge - nu - ii -

00

Re - gem or - bis,

o "


bis, Re - gem or - bis,

Re

o ロ

all bis,

0 6

જીવન્યુ

1:0

or

P

Re '

p

Re -

P

Re - gem or - bis,

nu - i i

0 0

gem oor - bis.

T

Re - gem

P

11

0

gem,

Re


Re - gem or - bis,

18. Veni, Sancte Spiritus, reple (ii)

### 19. \*Converte nos, Deus salutaris noster (conflicting ascriptions)

SC \*M 20 confl.

\* It is possible to end the setting at this point.

### 20.1 Crux �delis inter omnes 20.3 O crux, ave, spes unica 20.2 Ecce lignum crucis 20.1 Crux �delis inter omnes 20.3 O crux, ave, spes unica 20.2 Ecce lignum crucis

#### SC M 23 SC M 23

<sup>\*</sup> Since the *Resolutio* voices have been derived from the D1 and T1 voices in the *prima* (and *tertia*) pars, ligature markings have not been provided. \* Since the *Resolutio* voices have been derived from the D1 and T1 voices in the *prima* (and *tertia*) pars, ligature markings have not been provided.

\* is ligature grouping differs in retrograde in the principal source (T2: mm. 108–10). \* is ligature grouping differs in retrograde in the principal source (T2: mm. 108–10).

**DTÖ 163.4 DTÖ 163.4**

\* Colorated note values are not reversed in retrograde in Mun7 (cf. D1: m. 8112).

\*\* Since the Resolutio voices have been derived from the D1 and T1 voices in the tertia pars, ligature markings have not been provided.

do -- - - na ve - - ni - - - am. \_

### 21. Laudate Dominum, omnes gentes

21.1–3 Psalmus CXVI trium vocum ter variatus


21.6 Resolutio prioris sex vocibus

DTÖ 163.4

DTÖ 163.4

#### **DTÖ 163.4 DTÖ 163.4**

#### **DTÖ 163.4 DTÖ 163.4**

### 22. Manet alta mente repositum

SC M 53

23. Omne trinum perfectum

### 24a. Salve, sancta parens

Resolution following J. Zahn (1882) / D. Haberl (2004)

### 24b. Salve, sancta parens

Resolution following A. Lindmayr-Brandl (2010)

### 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:

$$\mathbf{47}\_2 \qquad \qquad \qquad \mathbf{B} \qquad \qquad \mathbf{G} \mathbf{r} \qquad \quad \mathbf{S} \mathbf{b} \cdot \mathbf{e}$$

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




C. Theoretical Writings


#### D. Other source


#### E. Chant sources


#### **BIBLIOGRAPHY**








#### **CRITICAL REPORTS**

#### **1.** *Alleluia, mane nobiscum, Domine* **(SC M 2)**

#### **Text**

The motet sets a Magnificat antiphon sung on Easter Monday.

Alleluia, mane nobiscum, Domine, alleluia. Quoniam advesperascit, alleluia, alleluia.

Alleluia, abide with us, Lord, alleluia. For evening is approaching, alleluia, alleluia.

#### **Cantus firmus**

In Senfl's motet, the cantus firmus, which appears as a quasi-canon between tenor and vagans, is treated with increasing freedom as the motet unfolds in terms of intervallic distance between the voices, duration between entries, and melodic elaboration. Senfl's melody is similar to the one found in Lossius 1553: 116, with the exception of the final 'alleluia', which, in the vagans starting at m. 60₂, begins on *a* and features a four-note melisma on the second syllable.

#### **Principal Source**

**Kr** RISM 15407 (A-Wn), no. 4 (D[1], D2 in V, Ct, T, B, V), *LVDOVICVS SENFLIVS*., text in all voices

#### **Other Sources**


#### **Source Evaluation**

The only source for this motet in which all six voices survive, **Kr**, has to serve as the principal source for this edition. It is unclear to what extent the later manuscript sources **Dre4** and **Str** follow **Kr**, since these sources do not deviate substantially from the principal source nor do their repertoires suggest they were copied directly from the print. **Mun6**, which was apparently copied in the 1530s and represents the earliest manuscript, appears (like **Kr**) to have originated in Augsburg (cf. Rifkin 2005) and thus not far from Senfl's immediate orbit. Some deviations from **Kr** found in **Mun6** also appear in **Lei** (B: 9₄–18; D1: 56–7; Ct: 65₂; and B: 68₁–₂), suggesting that these sources might form a separate strand of transmission from **Kr**.

In **Kr**, the discantus 2 is accompanied by the header 'ad beneplacitum', indicating that this voice serves as an optional enhancement to the composition. The discantus 2 in fact begins the motet, followed by the contratenor after a rest of one breve in duration. Although the discantus 2 is not transmitted in any other source beyond **Kr**, all the surviving partbooks of three of the motet's four other sources—**Dre4**, **Mun6**, and **Str**—include this additional breve rest in the first measure, which would enable inclusion of the discantus 2 voice and suggest that these sources transmit the six-voice version. Only in **Lei** is this opening breve rest omitted from its four surviving voices, which implies that in **Lei** the motet was performed without this apparently optional voice. Another unusual feature of **Lei** is the fact that the tenor partbook transmits the vagans rather than the tenor voice (in the quasi-canon between vagans and tenor on which this motet is constructed, the vagans serves as the leading voice). Although the quintus partbook of **Lei** survives, this partbook does not include either of the 'missing' voices. The section in this partbook where *Alleluia, mane nobiscum* might have appeared (scribal hand no. V in Series IX as catalogued in Youens 1978) opens with two blank leaves (fols. 84–5), then proceeds at the top of fol. 86<sup>r</sup> with Lorenz Lemlin's *Memento mei, Domine* (scribal hand no. VI), the piece otherwise found immediately after *Alleluia, mane nobiscum* in the other four partbooks (Lemlin's five-voice motet is also transmitted in **Kr**). Given the frequently jumbled ordering of pieces in the five partbooks of **Lei** and the fact that several pieces were not copied completely, it cannot be determined whether this motet was performed with four or five voices, and therefore it has not been edited separately in this edition.

#### **Variant Readings**


63₁–₂ B, V **Str** *recta* in place of *obliqua* 68₁–₂ B **Lei**, **Mun6** *obliqua* in place of *recta*




#### **Remarks**

The edition departs in two instances from the notation found in the principal source **Kr**: two pairs of notes of the same pitch at mm. 15₁ and 46₂ have been merged (cf. Variants in pitch and rhythm). Both instances occur within a melisma in the discantus 1 and are likewise merged in the two other sources whose discantus 1 parts survive, **Lei** and **Mun6**.

#### **2.** *Alma Redemptoris Mater* **(SC M 3)**

#### **Text**

*Alma Redemptoris Mater* is one of the four 'great' Marian antiphons sung in the time from Advent until the Feast of the Purification (2 February). Senfl's setting of this text in hexameters uses—like the liturgical models—the participle 'manens' instead of the finite verb 'manes'.

#### 1.p.

Alma Redemptoris Mater, quae pervia caeli porta manens, et stella maris, succurre cadenti, surgere qui curat, populo.

#### 2.p.

Tu quae genuisti, natura mirante, tuum sanctum Genitorem.

3.p.

& ‹

& ‹

& ‹

b

b

b

Virgo prius ac posterius, Gabrielis ab ore sumens illud Ave, peccatorum miserere.

1.p.

Gracious Mother of the Redeemer, who remainest the open gate of heaven, and the star of the sea, aid the fallen people who strive to rise again.

2.p. Thou who gavest birth, to the wonderment of nature, to thy holy Father.

3.p. Virgin before and after, accepting from Gabriel's lips that Ave, have mercy on sinners.

#### **Cantus firmus**

In this motet, Senfl introduces the cantus firmus as a continuously sounding thread: starting on *c*, it appears in the tenor in long note values without any rests, just as in *Ave, Rosa sine spinis* (NSE 3.1), *Conditor alme siderum* (NSE 3.3), or *Mater digna Dei* / *Ave, sanctissima Maria* (NSE 3.10).

Senfl's model for this well-known antiphon is similar to the version given below from the *Antiphonarius* (1519), fols. 272v– 273<sup>r</sup> , but does not include—especially in the first part of the composition—many of the lower neighbour notes at phrase endings (cf. 'alma', 'mater', 'pervia', 'maris', 'cadenti', 'populo', 'mirante', 'Genitorem'), or the initial descending formula at 'Tu' (2.p.) and 'Virgo' (3.p.).

Vir - - - - go pri - - - - - us ac po ste - - ri - us,

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

Ga - bri - e - lis ab o - - - - - re su mens - il lud -

A - - - ve, pec ca - - to - rum mi se - - re - re.

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

Al - - - - - - - ma Red-em-pto- ris Ma - - ter,

<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> <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> <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>

quae per vi - - a cae li - por - - ta ma - - - nens, et stel - - la

b ì

<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> 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>

ma - - ris, suc cur - - re ca den - - ti, sur ge - -re qui cu rat - po pu - - lo.

<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>

mi ran - - - te, tu um - san ctum - Ge - ni - to - rem.

<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>

#### **Principal Sources**

#### **Music**

& ‹

& ‹

& ‹

& ‹

& ‹

b

b

b

b

**Cop1** DK-Kk MS Den Gamle Kongelige Samling 1872, 4o, [no. 82], fols. [69a]v–70r / 72v–74r (D), fols. [69a]v– [70]r / 73v–75r (Ct), fols. 68v–70r / 62v–64r (T), fols. [69a]v–[70]r / 74v–76r (B), fols. 69v–[70b]r / 72v–74r (V), fols. [68b]v–[70]r / 18v–20r (6), *L. Senffl* (B), text incipits in all voices

**Text**

**Vat1** V-CVbav Cod. Pal. lat. 1347, fols. 1<sup>r</sup> –3<sup>v</sup> (D=S), fols. 9r –11v (T=V), anon., V and 6 only, text in extant voices

#### **Source Evaluation**

Of the two sources transmitting this motet, only **Cop1** is complete. This manuscript, a set of partbooks from the Danish court in Copenhagen, has therefore been designated principal source for the edition. **Cop1**, however, provides only text incipits, whereas the two parchment partbooks of **Vat1**, which are the remains of a source from the court of Elector Palatine Ottheinrich, provide text underlay for the sexta vox and vagans (see this volume, Plates 1–2). For this reason, **Vat1** has been designated principal source for the text underlay of these two voice parts. The scribe of **Vat1** has split ligatures and divided longer note values, probably to accommodate the text underlay. The editors, thus, chose also to follow **Vat1** at several points with regard to musical notation, which has resulted in the division of note values at m. 108₁–₂ (V), m. 165₃ (6), m. 171₃ (6), m. 213₃–₄ (6), and at m. 225₂ (6); and reasons of text underlay made it also necessary to split the breve in the discantus of **Cop1** at m. 219₁–₂.

An error occurs at m. 117₁: the scribe of **Cop1** erroneously notated *d* 1 and *d* in the contratenor and tenor, resulting in a dissonant sonority with the discantus and bassus. The scribe of **Vat1** was correct in notating *e* in the extant vagans partbook. The editors therefore chose to follow **Vat1** in this instance, which—in consequence—made it necessary to emend the contratenor at m. 117₁ too.

#### **Variant Readings**



#### **Remarks**



#### **Text**

The text of this motet is a Marian antiphon based on the Song of Songs 5:6–8.


#### **Cantus firmus**

This antiphon is sung in the context of Marian feasts, often for the Assumption of Mary. Senfl's cantus firmus, which appears untransposed in the tenor of this motet, is similar to the chant in *Responsoria noviter* (1509), fols. 119v–120r . The most significant deviations appear at the beginnings of the *secunda* and *tertia partes*: in Senfl's tenor, the first ligature of 'Invenerunt' rises a whole step from *d* to *e*, whereas in *Responsoria noviter* (1509) it leaps a third to *f*, and the phrase 'Filiae Jerusalem' is transposed one pitch higher than the version in the chant book. This last variant is probably due to the fact that Senfl set the cantus firmus in the *tertia pars* as a threefold canon in the contratenor, tenor, and discantus 2.

#### **Principal Source**


**Fo2** RISM 15383 (D-Mbs), no. 8 (D[1], D2 in Q/S, Ct, T, V in Q/S, B), *Ludo. Senfl* (index T), text in all voices

#### **Source Evaluation**

The earliest source for this motet is **Fo2**, the second volume of Hans Ott's motet anthology printed in Nuremberg in 1538. It transmits a practicable version of Senfl's setting in regard to counterpoint and text underlay and was therefore chosen as principal source. It is possible that the version in the manuscript **Dre1** (Wittenberg, *c*.1550/60) was derived in some way from the print, but the information based on collation is too vague to establish any relation with certainty. Variants involve only minor deviations, but there are also mistakes, at least some of which have been introduced in a later revision apparent in several corrections (e.g. D1: 63₂; B: 25). More independent in its readings is **Cop1**, a manuscript from the court of Christian III in Copenhagen. It was copied after 1548 (Glahn 1992) and intended for instrumental use (wind players; Glahn 1978: 19–24), which explains why the entries only have text incipits. This purpose probably also accounts for the preference for longer note values over tonal repetitions in the readings from this set of partbooks (e.g. Ct: 103₃–₄, 106₂–₃, 109₂–₃; V: 83–4, 143₃–144₁). The use of ligatures in **Cop1** is also quite different from the other two sources. Due to the fragmentary state of preservation of **Wei** and the fact that the reading in this manuscript exhibits no substantive variants but only minor scribal errors, it is not possible to establish a clear dependency among **Wei** and the other sources.




**4.** *Ave, Maria … Virgo serena* **(SC M 9)**

#### **Text**

The motet is a reworking of Josquin's famous motet of the same title. The main body is a votive poem widely transmitted in French and German prayer books that seems to have originated in the fourteenth century (cf. Mone 1854: 5; Chevalier: nos. 1744, 1879). It consists of five four-line stanzas that refer to the five joys of Mary (conception, nativity, annunciation, purification, assumption). The stanzas are preceded by the opening two lines of the sequence *Ave, Maria* (AH 54: no. 216) and conclude with a petition that addresses the Virgin in her role as divine intercessor. In contrast to the surrounding voices, the tenor 1 sings an ostinato of the words 'Ave, Maria' together with its iconic musical motif as taken from Josquin.

**Stu**, a choirbook from the court chapel in Stuttgart, features a christological reworking of the text without any changes in the musical notation. Consequently, the ostinato in the tenor 1 in this choirbook is underlaid with various invocations to Jesus Christ.

A different christological text was entered by hand in the Berlin copy of **Fo1** (for an edition of the text see Gustavson 1998: ii, 720). In this exemplar, the text of the tenor 1 is simply replaced with the salutation 'Ave, Jesu Christe'.

#### 1.p.

Ave, Maria, gratia plena, Dominus tecum, Virgo serena. Ave, cuius conceptio solemni plena gaudio, caelestia, terrestria, nova replet laetitia. Ave, cuius nativitas nostra fuit solemnitas, ut lucifer lux oriens verum solem praeveniens.

#### 2.p.

Ave, vera humilitas, sine viro fecunditas, cuius annuntiatio nostra fuit redemptio. Ave, vera virginitas, immaculata castitas, cuius purificatio nostra fuit purgatio. Ave, praeclara omnibus Angelicis virtutibus, cuius assumptio nostra fuit glorificatio. O Mater Dei, memento mei. Amen.

#### 1.p.

Hail Mary, full of grace, the Lord is with you, gentle Virgin. Hail, whose conception, full of solemn joy, fills the heaven, the earth, with new rejoicing. Hail, whose birth was our festival, as the light-bringing rising light coming before the true sun.

#### 2.p.

Hail, true humility, fertility without a man, whose annunciation was our redemption. Hail, true virginity, unspotted chastity, whose purification was our cleansing. Hail, famous with all angelic virtues, whose assumption was our glorification. O Mother of God, remember me. Amen. (Paul Hillier / Peter James, according to NJE 23, CC: 91–2)

#### Christological adaptation in D-Sl (deviating text passages in italics)

Text in D1, D2, Ct, T2, B

#### 1.p.

Ave, *Servator* (Ct, B: *Salvator*), *ave, Redemptor nostrae, o Jesu, author salutis decusque nostrum, o mediator, o intercessor, o spes nostra.* Ave, cuius conceptio solemni plena gaudio, caelestia, terrestria, nova replet laetitia. Ave, cuius nativitas nostra fuit *renatio*, *tu* lucifer lux oriens *mortis iura* praeveniens.

#### Text in D1, D2, Ct, T2, B

#### 2.p.

Ave, vera humilitas, *sub qua latet divinitas*, cuius annuntiatio nostra fuit redemptio. Ave, *promissa* (D1, D2, B erroneously: *promissi veritas*) *seminis ipsa et fecunditas*, *cuius amara passio nostra fuit redemptio*. *Ave, tu vera caritas*,

Text in T1

1.p. *Ave, Servator, ave, Redemptor nostrae, o Jesu, author salutis decusque nostrum.*

Text in T1

#### 2.p.

*Ave, Servator, ave, Redemptor nostrae, o Jesu, author salutis decusque nostrum, exora Patrem. Ave, Salvator, ave Servator, ave, Redemptor. Amen.*

*o immensa dilectio, cuius amara passio nostra fuit redemptio*. *O* ave, *praeclare* omnibus Angelicis virtutibus, cuius *et resurrectio* nostra fuit *iustificatio*. O *Fili Dei*, memento mei. Amen.

Text in D1, D2, Ct, T2, B

#### 1.p.

Hail, Saviour (Ct, B: Redeemer), hail, our Redeemer, O Jesus, Creator of salvation and our Glory, O Mediator, O Intercessor, O our Hope. Hail, whose conception, full of solemn joy, fills heaven and earth with new happiness. Hail, whose birth was our rebirth. Thou art the light-bearing morning star that forestalls the laws of death.

Text in D1, D2, Ct, T2, B

#### 2.p.

Hail, true Humility, within whom divinity lies hidden, whose annunciation was our redemption. Hail, promised Truth and the fertility of the seed itself, whose bitter suffering was our redemption. Hail, thou that art true Charity, O tremendous Love, whose bitter suffering was our salvation. O hail, Glorious One, with all the angelic virtues, and whose resurrection was our justification. O Son of God, remember me. Amen.

#### **Cantus firmus**

In this unusual 'motet-to-motet imitation' (Stanyon 2009: 152), Senfl once more makes reference to Josquin, just as he does in some of his psalm motets (*De profundis* (ii), NSE 3.6; *Miserere mei, Deus*, NSE 3.12; *Omnes gentes plaudite*, NSE 3.21; see also the Introduction to NSE 3). Senfl uses Josquin's entire motet *Ave, Maria* … *Virgo serena* as the basis for this polyphonic setting and reworks Josquin's thematic material by transforming each successive phrase of the model into a new section of his own work. In doing so, he expands the scoring to six voices and introduces Josquin's initial 'Ave, Maria' motif as an ostinato (T1) with varying note values and interspersed with various lengths of rests.

Benoit-Castelli 1954 (see also NJE 23, CC: 89–90) has shown that despite the fact that Josquin composed his motet rather freely, the appropriate chant of the sequence is quoted at the beginning.

#### Text in T1

1.p. Hail, Saviour, hail, our Redeemer, O Jesus, Creator of salvation and our Glory.

#### Text in T1

2.p.

Hail, Saviour, hail, our Redeemer, O Jesus, Creator of salvation and our Glory, appease the Father. Hail, Saviour, hail, Redeemer, hail, Saviour. Amen.

#### **Principal Source**

**Mun2** D-Mbs Mus.ms. 12, [no. 3], fols. 32v–54r (D1, D2, Ct, T1, T2, B), *Lud: Sen*[*n*]*fl.*, text in all voices

#### **Other Sources**


#### **Source Evaluation**

**Mun2** is the principal source for the edition of this motet. The choirbook was copied under Senfl's supervision at the Bavarian court chapel and therefore represents a reliable source.

The other manuscript sources for this motet—**Mun5**, **Mun6**, and **Stu**—are incomplete. Both Munich partbook sets are missing partbooks (**Mun5**: D2 and Ct; **Mun6**: Q/6); and in **Stu** the last folio (fol. 97) with the conclusion of the contratenor, tenor 1, and bassus voices has been torn or cut out. Although several errors were corrected at some point in **Mun5**, the manuscript remains problematic in that the scribe erroneously notated passages twice (D1: repetition of mm. 264₁–265₂ after m. 265₃; T1: repetition of mm. 260–74 after m. 274).

The motet is also transmitted in two printed sources: **Fo1** and **Be1**, the latter being a new edition of the former. Variants in both prints clarify the transmission of the motet in **Mun5** and **Stu**, both of which stem directly or indirectly from these prints. All four sources share the mensuration sign Jin the first part of the motet instead of I, as found in **Mun2** and **Mun6**.

Two melodic variants connect **Be1**, **Fo1**, and **Stu**: all three sources share an error in note values and pitch in m. 219₁–₂ of the contratenor; and, most significantly, all three sources share the differing melodic line of the contratenor in mm. 290₁–292₁. These two passages are missing in **Mun5** due to the loss of this partbook and thus the relation of this manuscript to the two prints remains unclear. The variants of tenor 2 (m. 148₁: 2 Mi instead of Sb; and m. 192: Br dotted Sb instead of Lo) and discantus 1 (m. 306₃: Mi Sm instead of dotted Mi) only occur in **Be1** and **Mun5**, which might indicate that this manuscript was copied from the later print, although **Mun5** follows **Fo1** in mm. 192–194₂ (T2) in using coloration.

Several textual variants in **Be1**, **Fo1**, and **Mun5** also confirm the close relationship of these sources. Their text underlay at 'caelestia, terrestria' (mm. 90–104), for example, is consistent as all of these sources—in contrast to **Mun2** and **Mun6** underlay the words alternately instead of repeating them. **Be1**, **Fo1**, and **Mun5** also share the text underlay in mm. 218₂– 220₁ in discantus 1 ('humilitas' instead of 'virginitas') and mm. 250₁–258₁ in tenor 2 and bassus ('immaculata castitas, cuius purificatio' instead of 'cuius purificatio nostra fuit purgatio'). Finally, **Mun5** follows the christological substitutions ('cuius Filii assumptio' in place of 'cuius assumptio' and 'O Fili Dei' in place of 'O Mater Dei') found in **Be1** that distinguishes this source from the earlier **Fo1**. The appearance of several other concordant motets in **Be1** and **Mun5** provides further evidence that **Mun5** most likely stems from **Be1**.

**Mun6** was revised by a second scribe (Ct: 97₁; 164₂; 296₁; 308₁–₂; T: 244₁; 254₁) and was most likely copied from the same source as **Mun2**. This is not only clear from the contratenor which follows **Mun2** and not **Fo1** (mm. 290₁–292₁), but is also indicated in the text underlay of discantus 2 and tenor 1 which is almost identical with **Mun2**, especially in the above-mentioned passages of mm. 90–104 ('caelestia, terrestria') and mm. 192–8 (with the omission of the word 'nostra').






#### **Remarks**


#### **5. \****En quam honesta* **(SC \*M 40 attr.)**

#### **Text**

The incipit provided in the two surviving sources for this motet seems to refer to Ulrich Zwingli's paraphrase of Psalm 132 ('Ecce quam bonum'). Zwingli's paraphrase was set by Johannes Heugel in a five-voice version *ad aequales voces* printed in Sigmund Salminger's anthology, *Cantiones septem, sex et quinque vocum* (Augsburg: Melchior Kriegstein, 1545) (RISM 15453). It remains uncertain, however, whether the version of Zwingli's paraphrase used by Heugel or found in such prints as the *Enchiridion psalmorum, quos sanctae memoriae clarissimus vir Hulderichus Zvinglius* (Zurich: Christoph Froschauer, 1532) (VD16 B 3151), fol. 187<sup>v</sup> , served as the basis for this motet, given that neither of its sources includes more than a text incipit.

En quam honesta et iucunda res est, quum fratres unanimiter cohabitant. Perinde est ac dum pretiosum unguentum in caput et barbam Aaron funditur, ut ad oram vestimenti eius descendat; sicut ros Hermon, qui descendit in montes Zion. Isthic enim promisit Dominus abundantiam et vitam fore usque in sempiternum.

(adapted from *Enchiridion psalmorum* (1532), fol. 187v)

#### **Principal Source**

**Cop1** DK-Kk MS Den Gamle Kongelige Samling 1872, 4o, [no. 110], fols. 92v–93r / 97v–98r (D), fols. 92v–93r / 101v–102r (A), fols. 92v–93r / 84v–85r (T), fols. 92v–93r / 99v–100r (B), fols. 92v–93r / 99v–100r (V), fols. 92v–93r / 41v–42r (6), anon., text incipit in all voices

See how noble and pleasing it is when brothers live together harmoniously. It is like a precious ointment being poured over Aaron's head and beard, so that it runs down to the skirt of his garment; like the dew of Hermon that descends upon the mountains of Zion. For there the Lord has promised that there will be abundance and life for evermore.

#### **Other Source**

**Cop2** DK-Kk MS Den Gamle Kongelige Samling 1873, 4o, [no. 49], fol. 58r (D), fol. 25r (T), fol. 30<sup>v</sup> (B), fols. 63<sup>v</sup> –64<sup>r</sup> (Q=V), fols. 1v–2r (6), anon., Ct missing, text incipit in extant voices

#### **Source Evaluation**

**Cop1**, the only complete source for this motet, serves as the principal source. Two adjustments were made in this edition, however, that instead accord with the version found in **Cop2**: a *d* 1 in the sextus at m. 89₄ has been replaced with an *e*1, and a semibreve in the discantus at m. 92₂–₃ has been replaced with two minims as found in the head motif repeated in the other voices. These two adjustments are also made in acknowledgement of the compositional design of this motet, in which the notation of the passage at mm. 88–100 is repeated at mm. 100–12 (= ending of the motet).

#### **Variant Readings**



#### Variants in pitch and rhythm



#### Coloration


#### **Remarks**


#### **6.** *Haec est dies quam fecit Dominus* **(SC M 45)**

#### **Text**

The text of this motet is an antiphon for the Feast of the Annunciation (25 March). Senfl intensifies the central message of the words by repeating the line 'Hodie Deus homo factus' twice as an interjection. It therefore sounds three times: in the *secunda*, *quarta*, and *sexta pars* (see also this volume, Plates 3–6). In the last part, the texts in the contratenor and bassus differ from the other voices as the contratenor adds the phrase 'in excelsis Deo, gloria' after the opening statement of 'Gloria', while the opening 'Gloria' is followed in the bassus by 'in excelsis' only.



#### **Cantus firmus**

Senfl uses a version resembling *Haec est dies* in the *Antiphonarius* (1519), fols. 116v–117r , as cantus firmus for this motet. Variations relative to the plainchant range from deviating endings of lines, where the motet does not always follow the stereotypical ending from below; filled-in intervals, as at 'Id quod'; to a differing figure at 'permansit' (which instead matches this section of the chant as given in the *Antiphonarium Augustense* (1495), fol. 56r–v). The cantus firmus is not confined to one voice but permeates all voices, mainly the discantus and tenor. It is shaped into a great variety of note values, sections are repeated, and the cantus firmus appears interspersed with free material. For every repetition of 'Hodie Deus homo factus', Senfl increases the number of voices from four in the first statement of this passage (*secunda pars*) to six in the third (*sexta pars*).

#### **Principal Source**


**Reg2** is a set of six partbooks; in the four- and five-voice sections of this motet, the discantus 1 and tenor 1 are copied a second time in the quinta and sexta vox partbooks. These duplicating entries are named D1\* (quinta vox) and T1\* (sexta vox) in the Critical Commentary.

#### **Source Evaluation**

The motet is transmitted in six manuscripts and one print. Only the print **Fo1** and the choirbook **Mun1** are complete; all other sets are missing voices and/or sections. **Fo1** dates from 1537 and **Mun1** probably originated around this time. Although this Munich choirbook has been dated to *c*.1525–30 by Martin Bente (1968: 70), the Senfl repertoire in the manuscript suggests a later dating close to 1537 (see SC 2: 72–3). Despite their temporal proximity, the motet varies between the two sources. These variants include a superfluous Sb-rest in the tenor 1 of **Fo1** (m. 191), two-note ligatures instead of three-note ligatures in **Mun1** (T1: 174₁–175, T1: 264₂–265₂), deviating text underlay (more text repetitions in **Fo1** e.g. Ct: 21₂–25, 26₂–32₂ and 148₂–150₁); and 'id' instead of 'et' in **Fo1** at the beginning of the *quinta pars* (mm. 206–9). Because of the closeness in origin of **Mun1** to Senfl's place of activity, **Mun1** was chosen as principal source.

All remaining manuscripts were copied during the second half of the century. **Reg2**, **Zwi2**, and **Zwi5** seem to have been copied from **Fo1** or a source close to this print, as they share the above-mentioned use of ligatures (e.g. T1: 174₁–175) and text underlay with **Fo1** (only the Ct in **Reg2** is underlaid with 'et' at the beginning of the 5.p.). And as in the print, the tenor of the *tertia pars* is written out in those sources without a canonic inscription hinting at the character of this voice. None of these manuscripts includes the erroneous Sb-rest found in **Fo1**. The version in **Dre2** (D1 and Ct only) also probably derives from **Fo1**, but the extant partbooks still transmit further variants. Some may be scribal mistakes (like Ct: 237, where a Br is erroneously joined with the following ligature, which results in a sounding Lo), others could result from scribal intervention (e.g. Ct: 115₄–116₁, where the Ct in **Dre2** mirrors at 'fugavit' a figure in the bass, but which leads to a dissonance with T and B). The single bassus partbook **Mel**, a source of unknown provenance from the late 1580s, shares a ligature in mm. 95₃–94₁ with **Fo1**, but as it transmits only the first three *partes* of the motet, which vary only little in the sources, it remains uncertain if it was indeed also copied from the print (or a source close to the print).

#### **Variant Readings**





#### **Remarks**


#### **7. \****Martia terque quater* **(SC \*M 54 attr.)**

#### **Text**

The text of this motet is a panegyric to Emperor Charles V, composed in the metrical structure of three elegiac distichs by an unknown author. The three distichs form the three *partes* of the motet: the first distich addresses the *translatio imperii* ('Germania'/'Italia') and celebrates Charles V (who is acclaimed as 'Caesar') as the successor of Charlemagne; the second distich alludes to Vergil's *Aeneid* (7.792–4) by acclaiming Charles as the new Emperor Augustus who restores the golden ages; and the last distich alludes to the most pressing problem of the time—the Reformation schism—and Charles as the bearer of peace and protector of the empire. The second half of the pentameter in each distich ('Carolus, ecce venit.') celebrates the arrival of Charles V in the Holy Roman Empire (Panagl 2004: 95–7; Lodes 2013; Lodes 2022; Lodes 2023).

#### 1.p.

Martia terque quater Germania plaude triumphans, Caesar ab Italia, Carolus, ecce venit!

2.p.

Aurea qui terris revehat regnata parente saecula Saturno, Carolus, ecce venit!

1.p.

Applaud three times, martial Germany, See here, Emperor Charles comes with triumph from Italy!

2.p.

He who may bring back to the countries the Golden Ages Reigned by Father Saturn, See here, Charles comes!

3.p. Vana superstitio procul i discordia demens, pacifer ac vindex, Carolus, ecce venit!

3.p.

Vain is superstition, and foolish persistent discord, The peace-bringer and vindicator, See here, Charles comes! (Translation from Salmen 1992: 80, adapted by Jeremy Llewellyn in Lodes 2022: 171)

#### **Unique Source**

**Amb** A-Ia Inventar no. KK 5370–5373 (D, Ct[1], Ct2, T, V, B), anon., text in all voices

#### **Source Evaluation**

The source for this motet represents an extraordinary testimony to the kinds of precious gifts exchanged in the sixteenth century (see this volume, Plates 7–10): the music is embroidered with silk in four linen partbooks richly decorated with pearls, gold, and silver threads and slightly differing in size (inv.-no KK 5370: 21 × 16 cm; inv.-no. KK 5371: 20.5 × 16.2 cm; inv.-no. KK 5372: 20.5 × 16.1 cm; inv.-no. KK 5373: 21 × 16.1 cm). The front cover of KK 5370 (D/Ct[1]/T) bears the imperial coat of arms (a black double-headed eagle in a golden shield with the Austro-Burgundian coat of arms) and the imperial crown (with Burgundian branding irons lit by flames in the upper corners); the front cover of KK 5371 (Ct2) presents the imperial orb studded with pearls; the front cover of KK 5372 (V) is decorated with the imperial sceptre; and the front cover of KK 5373 (B) is embroidered with the imperial sword set with pearls. Golden laces once facilitated the turning of the pages but are now partly torn (Salmen 1992: 75). The discantus, contratenor 1, and tenor sing in strict canon, and are therefore placed in one partbook. The three other voice parts are each stitched in separate partbooks.

**Amb**, as well as a companion set of embroidered partbooks (A-Ia inv. no. KK 5374–5377) stitched with Senfl's lied *Aus gutem Grund* (SC S 29) and labelled 'Discantus', 'Contratenor', 'Tenor', and 'Bassus', are held together in a belt bag made of green silk with a red silk lining and bound with golden laces (26.2 × 19.2 cm). Golden loops serve as fasteners (see this volume, Plate 11). All partbooks once formed part of the collection of Archduke Ferdinand II in Ambras Castle and are now kept in the Kunsthistorisches Museum Vienna.

The partbooks were possibly prepared in Augsburg around 1530 (Salmen 1992: 86 n. 3) and most likely served as a welcoming present for Emperor Charles V (A-Ia Inv. no. KK 5370–5373) and Anna of Bohemia and Hungary (A-Ia Inv. no. KK 5374–5377). On his way from Bologna (where he had been crowned Holy Roman Emperor by Pope Clement VII on 22 February 1530) to the Imperial Diet in Augsburg, Charles stayed with his brother Ferdinand I and his sister-in-law, Anna of Bohemia and Hungary, at Ambras Castle near Innsbruck from 4 May until 5 June 1530.

Walter Salmen (Salmen 1992; Salmen 1998) assumed that Ferdinand had commissioned the partbooks. Birgit Lodes (Lodes 2013; Lodes 2022; Lodes 2023) has argued that Wilhelm IV, Duke of Bavaria, is a more likely commissioner for such a gift: as one of the most prominent representatives of the 'old' faith, Wilhelm IV had travelled to Ambras Castle, too, where Charles wanted to have a confidential meeting in order to come to an agreement regarding, among other points of discussion, religious developments in the Holy Roman Empire (Lodes 2013: 197; Lodes 2022: 170; Lodes 2023). Moritz Kelber, on the other hand, has offered the hypothesis that the partbooks could have been a welcome present from the city of Augsburg, as the free imperial city had also sent a delegation to Innsbruck to welcome and officially invite the newly crowned Emperor (Kelber 2018: 187–9).

As the motet features a triple canon and resembles other motets by Senfl, especially his settings of humanist texts (cf. Remarks), Lodes assumes Senfl to be the motet's composer (Lodes 2013: 206–23; Lodes 2022: 171; Lodes 2023).

#### **Critical Notes**

Canonic devices and non-verbal signs


Variants in pitch and rhythm



#### **Remarks**


#### **8.** *Media vita in morte sumus* **(SC M 57)**

#### **Text**

The text of this motet is an antiphon for compline on the first Sunday of Lent, but was also used in other contexts, including processions, funerals, and sacred dramas (cf. Lipphardt 1987). For another setting of the same text by Senfl, see NSE 3.11 (SC M 56).

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 thee, Lord, who for our sins art justly enraged? 2.p. Holy God, holy, mighty, holy and merciful Saviour, deliver us not into bitter death.

#### **Cantus firmus**

& ‹

& ‹

Senfl's two settings of this text (SC M 56 and M 57) seem to be based on the same plainchant version. Therefore, the cantus firmus of the present motet, which is placed in the tenor 1 (starting on *g*) and in canon in the contratenor (on *d* 1), is also very close to the antiphon melody in *Responsoria noviter* (1509), fol. 124<sup>r</sup> . Nevertheless, the cantus firmus in this setting deviates from the chant at 'in morte', where the *d* at the beginning of the phrase is not repeated (this results in a different text underlay); at the end of 'qui pro peccatis', where Senfl repeats *g* instead of descending to *f*; and at 'irasceris', where the melisma on '-sce-' after a third upwards does not return to *e* but only to *f*, which is repeated for the following note (on '-ris'). At least the last two deviations seem to be due to the canonic structure of the motet. Melodic liberties in melismatic passages occur at 'sumus', 'Domine', and at the very end.

<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> <sup>œ</sup>

ti ne tra - - das nos.

<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>

Me-di - a vi ta - in mor te - su - - mus. Quem quae ri - -mus ad iu - - to - rem,

<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> <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> <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>

ni si - te, Do-mi - ne, qui pro pec ca - -tis no stris - iu ste - i ra - -

sce ris? - San-cte De - - us, san cte -

#### **Unique Source**

& ‹

& ‹

& ‹

**Reg3** D-Rp B 211–215, [no. 56], fols. 113<sup>r</sup> –114<sup>r</sup> (D1), fols. 119v–121r (T2 in A), fols. 106v–107r (T[1]), fols. 106<sup>r</sup> – 107<sup>r</sup> (B), fols. 61<sup>r</sup> –62<sup>r</sup> (D2 in V), *LS* (V); heading in A: 'Secundus Tenor 6. vocum'; heading in V: '6 vocum s[e]c[un]d[us] Discantus', text in all voices

#### **Critical Notes**



#### **Remarks**

The version of this motet transmitted in its unique source has a few unusual dissonances, which the editors deemed scribal mistakes and therefore emended in the edition (cf. Variants in pitch and rhythm). For example, in m. 49₂ the *c* found in the bassus of **Reg3** would sound against *d* 2 and *d* 1 in the discantus 2 and tenor 2 for the duration of a semibreve.

#### **9.** *Philippe, qui videt me* **(SC M 84)**

#### **Text**

The text for this motet is taken from John 14:9. It is used as the second antiphon of second Vespers for the Feast of the Apostles Philip and James (1 May).

Philippe, qui videt me, alleluia, videt et Patrem meum, alleluia. Philip, he who sees me, alleluia, also sees my Father, alleluia.

#### **Cantus firmus**

The version of Senfl's cantus firmus is very similar to the version below from DK-Kk 3449, 8o, vi, fol. 186r–v, an antiphoner from the Augsburg cathedral (*c*.1580). Senfl introduces the plainchant melody as a quasi-canon at the upper fifth between quinta vox and discantus 2.

#### **Principal Source**

#### **Fo1** RISM 15371 (D-ROu), no. 9 (D[1], Ct, T, B, Q, D2 in 6), *LVDO: .S.*, text in all voices

#### **Other Sources**


#### **Intabulation**

**Kra** PL-Kp MS 1716, fols. 173v–174v , anon., *Muteta philipe qui videt me. Resolutum p*[*er*] *N*[*icolaus*] *C*[*racoviensis*], oGk-tab., 5vv

#### **Source Evaluation**

Among the numerous sources transmitting this motet, two principal strands can be observed: the earliest source, **Fo1**, exhibits no obvious errors and was designated principal source for the current edition. This print probably served as a model for the copying of this motet into **Dre7** and **Eis**. **Fo1** also most likely served as model for **Be1**, an enlarged second edition of **Fo1** printed more than twenty years later. **Dre7** transmits only a few deviations due to line breaks or page turns as well as an obvious error in the contratenor (m. 90₂). **Eis** suffers from serious paper damage due to ink corrosion, but what is legible shows no deviations and has essentially the same text underlay as **Fo1**, adding only *signa congruentiae* to aid the singers.

Although the discantus 2 in **Mun5** does not survive and the transmission of this motet gives no concrete hints as to where the music was copied from, it can be assumed that this motet was copied from **Be1**, as was Senfl's *Ave, Maria, … Virgo serena* (SC M 9; cf. this volume, no. 4) in the same source. Similarly, **Str** might also have been copied from **Be1**, despite the error in the manuscript's contratenor (m. 72₄).

The entries of the motet in the manuscripts **Cop1** and **Cop2** form a second strand of transmission. Both share several deviations from **Fo1** in the discantus 1, contratenor, and tenor with regard to note values (cf. Variants in pitch and rhythm as well as Ligatures).

Concrete source relationships cannot be determined for the other incomplete sources (**Ber**, **Dre5**, **Dre6**, **Lei**, and **Lün**; all in manuscript). **Ber** has an independent text underlay, several errors, including two passages where the music was copied a third too low (Ct: 10₃–11₂ and 15₁–18 respectively), the omission of a semibreve (B: 66₂), and a superfluous breve (T: 70), but also parallels to **Cop2** (T: 83; 43₂–₃; no lig. in 75₁–₂). The surviving contratenor of **Lün**, too, seems to present an independent transmission including passing notes in m. 90₁. For **Dre5**, **Dre6**, and **Lei** only one or two voice parts survive (**Dre5**: D2, Q; **Dre6**: D2; **Lei**: D2), which show no deviations from the principal source. It is therefore conceivable that they, too, were copied from **Fo1**. It also remains unclear from which model **Mun6** was copied. This incomplete set of partbooks was revised by a second scribe and appears accurate in its transmission. The only deviation to be found is in the bassus (m. 13₂), and although the transmission of the motet follows **Fo1** quite closely, it seems likely that **Mun6** was copied from a source that is now lost (see the Critical Commentary for NSE 4.4).

**Kra**, an intabulation by the organist and composer Nicolaus Cracoviensis (fl. first half of the sixteenth century), presents an abbreviated version of Senfl's motet that is a third shorter in duration, is transposed down a fifth, and is reduced to a five-voice texture.


37 Q **Cop2** *g*1



#### **Remarks**


#### **10.** *Preambulum* **(SC M 86)**

#### **Unique Source**

**Kla** A-Kla MS GV 4/3, fols. 1<sup>r</sup> –2<sup>r</sup> ([D, Ct1, Ct2, T, B1, B2]), *Preambulum.6.vocum. Ludo: Senfel*., nGk-tab., no text

#### **Source Evaluation**

**Kla** is a handwritten organ tablature, primarily derived from motet settings but also mass ordinary excerpts and chansons, compiled in Neuburg or Heidelberg sometime between 1539 and 1547 from the music collection of Duke Ottheinrich of Palatinate-Neuburg. Gregor Peschin is the intabulator, but the manuscript is probably a fair copy by a professional copyist (see Lodes 2019). In this source, which represents the earliest known New German organ tablature transcribed from vocal models, the voice parts are intabulated in separate rows (see this volume, Plate 12). The first intabulation in this source is Senfl's *Preambulum*, one of two six-voice intabulations along with Josquin's two-part *Pater noster*, which immediately follows it*.* Despite its generic title, the *Preambulum* also seems to have been derived from a vocal model, most likely a motet, although the model remains unidentified.

Most of the variants in **Kla** documented below reflect notes written in a lower octave that contradict standard patterns of voice leading. These instances have been corrected in the edition. Other places where the vertical alignment of pitches would yield a held dissonance on the tactus (D: 19₁, Ct: 40₂–₃, T: 60₃, and B1: 58₃) have likewise been modified. In some instances, rhythmic signs for the pitches are missing (Ct2: 30₄–₅ and 64₄–₅, B1: 34₄–₅, and B2: 30₁, 32₄–₅) or the rhythms are inaccurately notated (D: 67₄, Ct1: 26₂ and 65₁, T: 44 and 71₂, B1: 36₂, and B2: 28₄ and 32₁). At m. 63₃ in the discantus, a surplus of notes in **Kla** that would yield dissonances with the other voices (Mi-*b* Mi-*g*) appears to have been lightly crossed out. It is clear that mm. 21–5 in the tenor were erroneously notated, but dissonances in this passage are easily worked out by moving the breve rest at m. 25 to m. 21. Another possibly questionable passage is at m. 62, where a four-note sequence of semiminims in the discantus is followed by a minim rest in five voices while the contratenor 2 alone sustains a *d* 1. Lacking a clear solution, this passage has been transcribed for the edition without any further editorial adjustments.

#### **Critical Notes**

Mensuration and proportion signs 1–73 D, Ct1, Ct2, no mensuration signs T, B1, B2

Directions and/or non-verbal signs


Variants in pitch and rhythm



#### **Remarks**

• Another critical edition of this source is available in Novak 2009. To address the exposed dissonances that occur between the discantus, contratenor 2, and bassus 2 in m. 65, Novak offers an alternative version of the discantus in mm. 64–5. His adjustment of the discantus is provided in the present edition above the version of these two measures of the discantus as transcribed from **Kla**.

• The notation does not distinguish between *B* and *b* (both are notated as a lower-case *h*)*.*

#### **11.** *Sancte pater divumque* **/** *Sancte Gregori, confessor Domini* **(SC M 103)**

#### **Text**

The text of this motet is a humanistic prayer to St Gregory in fourteen elegiac distichs. It was possibly composed by the Swiss humanist Joachim von Watt (Vadian) (1484–1551). Vadian apparently had close ties with the imperial chapel, and several musicians are documented as having corresponded with the *poeta laureatus* (among them Paul Hofhaimer, Ulrich Brätel, Hans Buchner, Heinrich Finck, and Paul Wüst; cf. Kroyer 1903: XXIV). On 17 February 1516, the imperial vice-chapelmaster Gregor Valentinian sent a somewhat cryptic letter to Vadian (Arbenz 1890: 148, no. 61), in which he urges the poet to send him what he had promised. It seems as if Valentinian was eagerly waiting for a text. Possibly he sent him the text in Latin and asked him to put it in verse:

*S*[*alutem*] *P*[*lurimam*] *D*[*icit*]*. Quod mihi nuper, Vadiane, diserte pollicitus es, si absque monitore effectum iri aliquando prope tamen diem cogitares, faceres rem, quę et honestatem tuam decet et me desyderio maximo expectationeque diuturna liberare potest. Natalis divi Gregorii imminet; musica confecta modo te expectat; quid velim, tenes. Ego me tuum tibi commendo. Vale, Vadiane amice; XIII Kalendas Martias, anno etc. MDXVI. Gregorius Valentinianus, cantor Cęsaris.*

I send you many greetings. What you not long ago explicitly promised, Vadian, if you thought it would without an admonisher nevertheless be executed at some time in the coming days, you would do the thing that both is due your honour and may liberate me from the greatest desire and long expectation. The birthday of St Gregory is approaching; the just-finished music awaits you; what I wish, you possess. I entrust myself to you as your servant. Farewell, dear Vadian; 17 February 1516. Gregor Valentinian, Cantor of the Emperor

The text of the motet dedicates the composition to St Gregory: the first five distichs emphasise the personal relationship between the text's speaker and the saint because of their shared name, then speaks in the name of the singers of the imperial chapel who benefit from Emperor Maximilian I's love of music. It is possible that Valentinian commissioned the motet for his patron saint. Kroyer (1903: XXIV) was the first to draw a connection between Valentinian's request and Senfl's motet, and Dunning 1970: 53–4 as well as Bente 1968: 285 followed this interpretation.

Nevertheless, it remains unclear what Valentinian meant when he wrote that the music had already been composed before Vadian's text. It may be that the entire text was underlaid only after the completion of the music, but it is also possible that an earlier version of the text had already been set to music, after which Valentinian requested alterations ('quid velim, tenes').

Text in D1, Ct, T2, B

#### 1.p.

Sancte pater divumque decus hominumque, Gregori, quem statuit caelis intemerata fides:

ipse tibi supplex modulatum dedico carmen, ad tua dulcisonum profero festa melos. Nam primaeva mihi tribuerunt fata Gregori

nomen et hoc puero sanxit uterque parens. Caesare plectra sonant mihi musica Maximiliano,

dulcia qui nostre carmina vocis amat. Aethere de celso parvum hoc dignabere munus

aspicere et nostrum nomen amare libens.

#### 2.p.

Tu siquidem primum peperisti carminis usum, munere et ecclesia est facta canora tuo: te duce iam suavis volitat super aethera cantus, te duce plus precibus numina celsa favent. Unde tibi meritam debent pia pectora laudem

et pergent nomen concelebrare tuum. Felix ille animus tuus est, qui corpore saeptus mortali potuit celsa sub astra vehi.

Diceris arcanos caeli novisse recessus, diceris aethereas mente adisse domos

pectore et ingenuo divinum hausisse furorem, unde haec doctrinae tot monumenta tuae:

littera enim quicquid comprehendit mystica, sacra pagina quicquid habet, Spiritus ille dedit.

Dive igitur, qui digna capis modo praemia factis, cui datur aeterna commoditate frui:

respice me precibusque fave et defende precantem, ut rebus praesint Fata secunda meis.

#### 1.p.

Holy father, glory of gods and men, Gregory, whom undefiled faith placed in the heavens; I humbly dedicate to you a poem set to music, I proffer a sweet-sounding melody for your feast. For ancient fate assigned me the name of Gregory,


You will deign from high heaven to look on this little gift, and gladly love our name.

Text in D2 and T1

1.p.

Sancte Gregori, confessor Domini pretiose … libens …

2.p.

… adesto nostris precibus, pius ac propitius.

Sancte Gregori, confessor Domini pretiose,

adesto nostris precibus, pius ac propitius.

[Respice me] precibusque fave [et defende] precantem, ut rebus praesint Fata secunda meis.

#### 1.p.

Saint Gregory, precious confessor of the Lord … gladly …

2.p.

For it was you who brought forth the first use of song, and the Church was made to sing by your gift;

under your leadership sweet song now flies over the heavens,

under your leadership the high deities are more favourable to prayers;


Therefore, O saint who now receive the rewards worthy of your deeds,

to whom it is given to enjoy eternal comfort,

look upon me and favour my prayers and defend me as I pray,

that a favourable Fate may attend on my affairs. (Leofranc Holford-Strevens)

#### **Cantus firmus**

The cantus firmus of this tenor motet is a common chant melody from the *Commune Sanctorum* for the feasts of confessors. In its praise of St Gregory, it supports the poetic text by Vadian. With the exception of the final 'libens' in the discantus 2 (64–8), which is not based on chant material, the plainchant melody is treated in long note values as a quasi-canon at the fifth between the discantus 2 and tenor 1, a technique also found in tenor motets by Heinrich Isaac (*Optime divino*, *Angeli Archangeli*, *O decus ecclesie*; cf. Gilbert 2012 and Schmidt-Beste 2012). The chant melody is stated twice: although this is not unusual, it is noteworthy that the second (diminished and paraphrased) statement does not coincide with the beginning of the longer *secunda pars*, but rather starts in the middle of it (m. 173). After the second statement of the plainchant, the two chant-bearing voice parts are integrated into the polyphonic texture with free material from m. 234 onwards.

Senfl's version closely follows the version in the *Antiphonarium Augustense* (1495), fol. 50<sup>v</sup> . The melody deviates at phrase endings ('Nicolae'/'Gregori', 'precibus'): the *Antiphonarium* concludes with *e* whereas Senfl's chant melody returns to the *finalis F*. At 'pius', Senfl employs a stepwise descent (*f-e-d-c*) in contrast to the leap of a second (*f-d-c*) in the *Antiphonarium*.

#### **Principal Source**

**Gr** RISM 15204 (D-Mbs), fols. 84v–102r , ([D1, D2, Ct, T1, T2, B]), *L. S.*, text in all voices

#### **Other Source**

**Zacconi** L. Zacconi, *Prattica di musica* (1592) (A-Wn), Vol. i, Lib. ii, Cap. IV, fol. 88<sup>r</sup> , […] *Motetto, Sancte Pater di Lodouico Senfelio* [*…*], beginnings of D1 (mm. 1–9₃), Ct (mm. 1–7), T1 (mm. 1–61), and B (mm. 1–12₆) only, no text

#### 2.p.

… succour our pleas, (and be) merciful and kindly. Saint Gregory, precious confessor of the Lord, succour our pleas, (and be) merciful and kindly. [Look upon me] and favour my prayers and defend me as I pray,

that a favourable Fate may attend on my affairs.

#### **Source Evaluation**

The only complete source for this tenor motet is the *Liber selectarum cantionum* (**Gr**), a choirbook printed in 1520 by Grimm and Wirsung in Augsburg (see this volume, Plates 13–14). Senfl seems to have played a direct role in assembling the motets of this print. He is mentioned in the anonymous dedication ('excultor') and in the epilogue of the book (cf. also Bente 1968: 302).

The beginning of the motet is also mentioned some eighty years later in **Zacconi**'s *Prattica di musica* (1592), where it was used as an example of *tempus perfectum* and its mensuration signs. **Zacconi**, however, only provides the beginnings of each voice part, and these incipits exhibit several deviations from **Gr**.


#### **Remarks**


#### **12.** *Sic Deus dilexit mundum* **(SC M 106)**

#### **Text**

The text for this motet is an antiphon to the Benedictus at Lauds on Pentecost Monday based on John 3:16.

Sic Deus dilexit mundum ut Filium suum unigenitum daret, ut omnis qui credit in ipsum non pereat sed habeat vitam aeternam. Alleluia.

God so loved the world, as to give his only begotten Son; that whosoever believeth in him, may not perish, but may have life everlasting. Alleluia. (*RDC*)

#### **Cantus firmus**

Although Senfl paraphrases the melody of this antiphon, it is apparent that he closely follows the version used at Augsburg cathedral (DK-Kk 3449, 8o, vii, fols. 27v–28v ; see below). The melody is embedded in the setting as a strict canon at the upper fifth between the tenor and sexta vox.

#### **Principal Source**

**Zwi4** D-Z 73, [no. III.7] = [no. 71], fol. 84r–v (D), fol. 86r–v (A), fol. 84v (T), fols. 83v–84r (B), fol. 49r–v (Q), fol. 3<sup>v</sup> (6), anon., text in all voices

#### **Other Source**

**Ros** D-ROu Mus. Saec. XVI-52, [no. 6] (D, A=6, T), *Ludouicus senflius sex vocum*, Ct, B, Q missing, text in extant voices

#### **Source Evaluation**

The two sources for this motet—the 'Manuscript of Jodocus Schalreuter' (**Zwi4**) and **Ros**, a set of partbooks copied for musicians in the service of Johann Albrecht I, Duke of Mecklenburg-Schwerin (see Kongsted 1997)—exhibit some deviations in their text underlay and notation. The scribal mistake in **Ros** (T: 82₁; S: 86₁) and the differing note values in mm. 40₂, (T), 42₁ (T), 46₁ (6), 62₃ (T), and 89–90 (D) seem to indicate that **Ros** was copied from a now-lost model rather than from **Zwi4**. As **Zwi4** presents a complete transcription of the motet without errors and a clear text underlay, this source was designated principal source for the present edition.


#### **13. \****Spiritus Sanctus in te descendet* **(SC \*M 108 confl.)**

#### **Text**

The text is a Benedictus antiphon for the first Sunday of Advent.

Spiritus Sanctus in te descendet, Maria: ne timeas, habebis in utero Filium Dei. Alleluia.

The Holy Spirit shall descend upon thee, Mary: fear not: thou shalt bear in thy womb the son of God. Alleluia.

#### **Cantus firmus**

The antiphon transcribed below is found on fol. 9<sup>v</sup> in A-Gu Cod. 1, an antiphoner that was once part of the library of Johann Siebenhirter (*c.*1469–1508), the first Grand Master of the Order of Saint George. Motifs from the antiphon melody are imitated by all the voices in Senfl's setting, with some differences: for example, Senfl's model does not include the two passing tones on *b* in the melisma on the first syllable of 'timeas'. In contrast to the version of the chant found in A-Gu Cod. 1, the version of this antiphon in the *Antiphonarium Augustense* (1495), fol. 55r , omits the concluding 'Alleluia', as does the text underlay found in the fragmentary source **Vat2**. Although the edition follows the text underlay as found in the later source **Be3**, it is possible that Senfl might also have conceived his setting without the final 'Alleluia'.


 (S=B2), *H. Isaac.*, Ct1 and Ct2 missing, text in extant voices

**Vat2** V-CVbav Cod. Vat. lat. 11953, [no. 30], fols. 27<sup>r</sup> –28<sup>r</sup> (B1 and B2), anon., B1 (mm. 42₁–70) and B2 (complete) only, text in extant voices

#### **Source Evaluation**

This motet is transmitted with conflicting attributions: **Be3** and **Mun5** attribute the motet to Heinrich Isaac, whereas **Reg4** attributes it to Senfl. With numerous concordances between them and several shared variants in the present setting, it is clear that **Mun5**, a set of partbooks apparently bound in 1583, is dependent on **Be3**, the third volume of Berg and Neuber's *Thesaurus musicus* published in 1564. Both sources are relatively late in comparison to **Reg4** (the 'Pernner Codex'), a choirbook dated *c.*1518–21 that represents a more direct witness to the music of Maximilian I's court chapel. Unaware of the concordance in **Reg4**, Just 1961, i: 55 and Picker 1991: 93 confirm the ascription of the motet to Heinrich Isaac, while Birkendorf 1994, i: 223, who notes the conflicting ascriptions to Isaac and Senfl, casts doubt on Senfl's authorship, since a plainchant melody cannot be found in the Passau liturgy as documented in the *Antiphonarius* (1519). Kempson 1998, i: 51, however, affirms the attribution to Senfl on the basis of the authority of **Reg4**.

In **Vat2**, which transmits the motet anonymously, only the latter portion of the bassus 1 and the complete bassus 2 survive. **Reg4**, the one source to ascribe the motet to Senfl and the earlier of the two complete sources for this motet, serves as principal source for the musical notation, which it appears to transmit without any (uncorrected) scribal errors. Since **Reg4** includes only text incipits, **Be3** serves as the principal source for text underlay. To accommodate this text, two notes in **Reg4** (B1: 8₂–₃; and D: 24₁–₂) have been split into smaller note values in accordance with the notation as found in **Be3**.

#### **Variant Readings**



#### **Remarks**


#### **14. \****Tu autem cum oraveris* **(SC \*M 117 confl.)**

#### **Text**

The text of this antiphon, sung with the Magnificat during Lent, derives from the Gospel of Matthew 6:6.


But thou when thou shalt pray, enter into thy chamber, and having shut the door, pray to thy Father. (*RDC*)

#### **Cantus firmus**

In this motet, the cantus firmus is featured as a canon at the fifth for tenor 1 and tenor 2. Beyond some adjustments to the melody at cadences, the chant model for this motet closely matches the melody found on fol. 50<sup>r</sup> of D-Mbs Clm 4306, an antiphoner from the Benedictine monastery of Sts. Ulrich and Afra in Augsburg. In this chant source, the opening melody rises to *e* on the first syllable of 'autem', whereas other chant sources, such as the fourteenth-century antiphoner A-Gu Cod. 29 from the Benedictine abbey of St. Lambrecht in Styria (fol. 98<sup>r</sup> ), maintain the threefold opening repetition of *d* as found in this motet.

#### **Principal Source**

**Reg3** D-Rp B 211–215, [no. 1], fol. 1r–v (D), fol. 1r–v (A), fol. 1r (T[1]), fol. 1r–v (B), fol. 1r–v (Q), T2 derived from T1, .*6. vocum Xystus Theoderici*, text in all voices

#### **Other Sources**


#### **Source Evaluation**

**Reg3**, the only complete source for this motet, serves as principal source. In this set of partbooks, copied principally by Johannes Stomius for the Poetenschule in Salzburg *c*.1538–43 (McDonald 2020; see also Kolb 2020: 129–49), the motet is ascribed to Sixt Dietrich, whereas the single surviving bassus partbook of **Bud**, possibly copied on or after 1550 in Wittenberg, a city where Dietrich was in residence in 1540 and 1544, ascribes this motet to Senfl. Both sources reliably transmit other motets by Senfl, and certain stylistic features, such as the falling thirds in the discantus and quintus at the final cadence, do not rule out the possible accuracy of the ascription to Senfl in **Bud**. Deviations from the principal source in **Bud** and **Zwi6**, in which the motet is anonymously transmitted, relate primarily to differing approaches in the application of ligatures and text underlay.

#### **Variant Readings**


#### **15.** *Veni, Sancte Spiritus, reple* **(i) (SC M 119)**

#### **Text**

The text serves as a Magnificat antiphon at Vespers on Pentecost Sunday.

Veni, Sancte Spiritus, reple tuorum corda fidelium, et tui amoris in eis ignem accende, qui per diversitatem linguarum cunctarum gentes in unitate fidei congregasti. Alleluia, alleluia.

Come Holy Spirit, fill the hearts of your faithful, and kindle the fire of your love in them. In the diversity of all languages you have gathered the nations in the unity of faith. Alleluia, alleluia.

#### **Cantus firmus**

The cantus firmus in this motet follows the version found in the Augsburg antiphoner DK-Kk 3449, 8o, vii, fol. 1r–v (see below), and is presented as a strict canon in the discantus 2, bassus 1, and tenor.

#### **Unique Source**

**Mun6** D-Mu 4o Art. 401, [no. 5], fol. 7r–v (D1), fols. 8r –9r (Ct), fol. 4<sup>v</sup> (T), fols. 7v–9r (B2), *L. S.*, one partbook missing, text in extant voices

#### **Source Evaluation**

Although the volume which presumably contained the discantus 2 and bassus 1 is missing from this partbook set, it is clear that Senfl's motet was originally composed for six voices. The surviving binder's volumes consist of the prints RISM 15201, 15202, 15213, and 15215, as well as manuscript additions ordered into three sections: compositions for 6vv, 5vv, and 4vv. *Veni, Sancte Spiritus* appears among the six-voice motets, together with Senfl's *Alleluia, mane nobiscum* (SC M 2; see this volume, no. 1), *Ave, Maria, … Virgo serena* (SC M 9; see this volume, no. 4), and *Philippe, qui videt me* (SC M 84; see this volume, no. 9).

#### **Critical Notes**


Textual variants and text placement 46₂–49₂ T1 *diversitate*

#### **Remarks**

The discantus 2, tenor, and bassus of M 119 are identical with the three canonic voices in Senfl's 8vv motet with the same text (SC M 120, see this volume, no. 18): the discantus 2 of M 119 is equivalent to the discantus 3 in M 120; the tenor in M 119 corresponds to the tenor 1 in M 120; and the melodic line of the bassus 1 in M 119 is identical with the tenor 2 in M 120, albeit transposed an octave lower. Although **Mun6** does not provide *signa congruentiae* indicating the entries of the canonic voices, it is possible to reconstruct the missing voices of the six-voice version based on the eight-voice version of this motet.

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

The surviving sources present evidence that this motet was transmitted in both five- as well as eight-voice scorings (see below, Source Evaluation). The fragmentary eight-voice version is edited in this volume and the five-voice version, with **Lei** as principal source, appears in NSE 3.5. Senfl also composed a four-voice setting of the same text; see NSE 1.11.

#### **Text**

The text of the 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 Holy 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: 150–1).

Based on the extant voices, the cantus firmus is presented in the *prima pars* as a canon at the fifth in the tenor 1 and contratenor. In the *secunda pars*, sections of the antiphon melody appear in all voices, albeit mainly in the discantus and tenor.

#### **Principal Sources**

**Dre3** D-Dl Mus. Grimma 55, [no. 17], pp. 116–19 (D[1]), fols. 46v–47v (T[1]), fols. 53v–54v (B), Q and [7] without foliation, anon., Ct and two voices of unknown range (labelled D2 and T2 in the edition) missing, text in extant voices

#### **For the contratenor only**

**Lei** D-LEu Thomaskirche 49/50, [no. 28], fols. 53v–54r (D[1]), fols. 53v–54r (A), fol. 50<sup>r</sup> (T[1]), fol. 57r–v (B), fols. 48v–49r (Q=7), *L S*, D2, Q, and T2 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 with five voices: discantus 1, contratenor, tenor 1, bassus, and septima vox, and there is no evidence of missing partbooks or voices. The fragmentary source **Dre3**, however, transmits Senfl's motet in partbooks labelled discantus, tenor, bassus, quinta vox, and an unnamed partbook which seems to be a septima vox. The source is in poor condition: one partbook of **Dre3** is missing; in the altus, folios are missing and therefore the piece before *Da pacem*, Wilhelm Breitengraser's *Ego sum resurrectio*, is also incomplete; and whether the same is true for the sexta vox is unclear as only microfilm images of the source can be inspected. The part in the septima vox of **Dre3** is equivalent to the quintus in **Lei**, whereas the voice in the quintus partbook of **Dre3** presents a voice in the contratenor range absent from **Lei**. Rather than this being a substitute part, it appears more likely that **Dre3** 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 quintus (in the contratenor range) of **Dre3** with the five-voice setting in **Lei**. Moreover, **Dre3** comprises several eight-voice motets, including *O sacrum convivium* by Dominique Phinot, which follows Senfl's motet. As the quintus in **Dre3** begins with the same 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 the motet was copied into **Lei**. (Although this does not seem to be a general characteristic of **Lei**, it is remarkable that also Senfl's *Alleluia mane nobiscum Domine* (SC M 2) appears with a reduced number of voices in **Lei**; cf. this volume, no. 1). The edition in this volume follows the five extant voices of **Dre3** and combines them with the contratenor of **Lei**.

#### **Variant Readings** Staff signatures 89₂–96 B **Dre3** no *b* b Directions and/or non-verbal signs 6₅–8₁ Q **Dre3** passage barely legible on microfilm 7₁ 7 **Lei** *f* corrected to *d* 34 T1, B **Lei** U 35 D1, Ct, 7 **Lei** U 46₁–51₁ B **Lei** F5 clef corrected to F4 80₃ 7 **Lei** '3' repeated after line break before the note 80₃–87₁ 7 **Lei** F4 clef corrected to F3 87₁ Q **Dre3** 2 Sb rests after the note erased 88₁ Q **Dre3** erroneously entered passage (probably 91₁–₅) after the note demarcated by vertical lines and crossed out 88₂–₃ 7 **Dre3** missing due to hole in leaf 95 D1, T1 **Lei** U 95 T1 **Dre3** note hardly visible in the fold 96 B **Lei** U Variants in pitch and rhythm 35₁–₂ 7 **Lei** Lo 35₂ 7 **Dre3** Br 83₁ D1 **Lei** Mi-rest Sb 84₃ 7 **Dre3** 2 Mi 96 7 **Dre3** Mx Accidentals 3₁ 7 **Lei** no *e* b 10₁ B **Lei** *e* b 39₁ B **Dre3** cautionary *b* b Coloration 89₃–90₁ B **Lei** no coloration Ligatures 3₁–₂ 7 **Lei** no lig. 89₂–₃ B **Lei** no lig. Textual variants and text placement 1₁–3₃ 7 **Lei** *Da pacem, Domine, Domine* 10₃–12₁ D1 **Dre3** *in die nostris* 11₁–15 B **Lei** *in diebus nostris* 17₁–21₂ 7 **Lei** sign of repetition: *in diebus nostris + in diebus nostris* 29₃–31₁ D1 **Lei** sign of repetition: *in diebus nostris* 31₃–35 D1 **Lei** *in diebus nostris* 42₁–45 D1 **Lei** sign of repetition: *quia non est* 48₃–51 T1 **Lei** no text 52₃ T1 **Lei** *qui-* crossed out 54₃ D1 **Lei** *qui-* erased 55₁–59 7 **Lei** *alius*


#### **Remarks**


#### **17.** *Sancta Maria Virgo, intercede* **(ii) (SC M 102)**

#### **Text**

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

Sancta Maria Virgo, intercede pro toto mundo, quia genuisti Regem orbis.

Holy Virgin Mary, intercede on behalf of all mankind, for you gave birth to the King of the world.

#### **Cantus firmus**

Senfl's version of the chant is almost an exact match to the plainchant version in SK-BRsa SNA 4, fol. 89r , a two-volume antiphoner from Bratislava, which dates from *c*.1487/8 (Šedivý 2007: 192–5). The upward leap of a third at 'mun-(do)' in Senfl's model is the only exception. Similar to his other setting of this text (cf. NSE 2.49), Senfl treats the cantus firmus as a quasi-canon (the rests of the canonic voices do not correspond) between contratenor 2, tenor 1, and tenor 2.

#### **Principal Source**

**Mun3** D-Mbs Mus.ms. 25, [no. 2], fols. 23v–35r (D1, D2, Ct1, Ct2, T1, T2, V, B), *Ludouicus Sennfl.*, text in all voices, on fol. 23<sup>r</sup> the heading*. L.S. | Sancta maria Oct*[*o*] *Vocu*[*m*]

#### **Other Source**

**Kas** D-Kl MS 4o Mus. 38, [no. 4], fols. 5v–6r (D1), fol. 5<sup>v</sup> (D2), fol. 5r–v (Ct[1]), fol. 6v (T1 and T2 in T), fols. 6v–7r (V in B), fols. 4v–5r (B and Ct2 in Secundus Bassus vel Vagans), *L. S.*, text in all voices

#### **Source Evaluation**

Both sources transmitting this motet present a reliable version of the music. During the copying of **Kas**, several notational errors were made, but they were subsequently corrected by the scribe. The two instances where **Kas** deviates from **Mun3** (D1: 45–46₁; Ct1: 99₂–₃) are not errors in the proper sense but might be the result of a misreading of the model. As the readings in **Kas** exhibit no substantive variants, it is not possible to establish a dependency for this source separate from **Mun3** (see this volume, Plates 15–16). The latter manuscript, however, a choirbook from the time of Senfl's employment at the Munich court, has a convincing text underlay and was therefore chosen principal source.


**Variant Readings**


#### **18.** *Veni***,** *Sancte Spiritus***,** *reple* **(ii) (SC M 120)**

#### **Text**

See above, no. 15 (SC M 119).

#### **Cantus firmus**

The cantus firmus in this motet is identical with the version Senfl chose for his six-voice setting of the same text (see above, no. 15). In both settings, Senfl sets the cantus firmus as a three-voice canon. Following this model, it is possible to reconstruct the missing contratenor and bassus 1 of Senfl's six-voice motet. The melodic line of the canonic voices (3-in-1) is identical in both settings in regard to note values and rests: the discantus 2 of M 119 is equivalent to the discantus 3 in M 120; the tenor in M 119 corresponds to the tenor 1 in M 120; and the melodic line of the bassus 1 in M 119 is identical with the tenor 2 in M 120, albeit transposed down an octave.

#### **Principal Source**

**Mun4** D-Mbs Mus.ms. 41, [no. 3], fols. 26v–36r (D1, D2, D3, Ct, T1, T2, V, B), anon., text in all voices

#### **Other Sources**


#### **Source Evaluation**

Only two sources transmit the motet in a complete state: **Mun4**, a choirbook from the Munich court chapel, which was chosen as a principal source and seems to be an in-house copy of older repertoire prepared around 1550; and the print **Be2**, produced more than twenty years after Senfl's death. All other sources lack at least one voice part (**Lei**: T1, T2; **Mun5**: D2, D3, Ct; **Reg1**: V; **Zwi1**: D3; **Zwi3**: T2). For **Dre3** only the discantus 3 is extant. In **Lei** the vagans was copied twice in the tenor partbook: both versions are nearly identical, but while vagans\*\* transmits a more reasonable text underlay and no errors, vagans\* has two errors (mm. 16₄ and 54₂).

**Mun4** and **Lei** pre-date the print **Be2** (1564). **Mun4** features several characteristics which are absent from **Be2** as well as the other sources: coloration (Ct: m. 16₃–₄; T: m. 20₁–₂), several variants (D2: mm. 34₂–35₁; B: 45₃–₄; D2: m. 46₃), and an error (T: m. 65₂). In all of these instances the other manuscript sources accord with **Be2**: **Reg1** and **Zwi1** closely follow **Be2** (Ct: 7₁–₂; D2: 34₂–35₁; B; 45₃–₄; D2: 46₃–47₁; Ct: 61₃–62₁, 83₂, 85₁–₂), which makes it reasonable to assume that the print served as the model for these sources. **Reg1** includes the same designation as found in **Be2** for the canonic voice parts and the canonic inscription 'Trinitas in unitate'; and although three voice parts are missing from **Mun5** (D2, D3, Ct), this set of partbooks also closely follows **Be2** in ambiguous cases (B: 45₃–₄; T1: 65–6; B: 71₃; V: 87₃) and therefore most likely also stems from the print.

Given the fact that the vagans in **Lei** was copied twice in the tenor partbook, and the entry of the tenor 2 is indicated in the discantus 3 (m. 6) with a *signum congruentiae*, it seems plausible to assume that the scribe of **Lei** simply forgot to include another *signum* to indicate the entry of the tenor 1. **Lei**, which corresponds only in two instances with deviations from **Mun4** found in **Be2** (D2: 34₂–35₁; B: 71₃), rather more often follows **Mun4** (Ct: 4₁–₂, 7₁–₂; B: 45₃–₄). The scribe of **Lei**, however, omits coloration (Ct: 16₃–₄; V: 20₁–₂; D2: 46₃–47₁) and deviates from all other sources at the end of the composition (B: 86₃–87₂), suggesting that **Lei** and **Mun4** are not directly related. **Zwi3** seems to represent a separate strand of transmission: the manuscript is not only characterised by many scribal errors, but the three discantus voices also feature rhythmic deviations not present in any other source, the mensural change in the contratenor (m. 24₁–₅) is missing, and only in this source does the tenor 1 conclude with a final cadential formula (which is the end of D3).

Due to its fragmentary state of preservation and the survival of only the discantus 3, a strand of transmission for **Dre3** cannot be determined.

#### **Variant Readings**



24₁–₅ Ct **Zwi3** no change of mensuration (see Variants in pitch and rhythm)

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


22₂–24₁ **Reg1** B erroneous repetition of mm. 22₂–24₁ after this passage, subsequently crossed out

Variants in pitch and rhythm






#### **Remarks**


#### **19. \****Converte nos, Deus salutaris noster* **(SC \*M 20 confl.)**

#### **Text**

The canon is underlaid with the words of Ps. 84:5, 8.


Ostende nobis, Domine, misericordiam tuam, et salutare tuum da nobis.

Convert us, O God our saviour: and turn off thy anger from us. Shew us, O Lord, thy mercy: and grant us thy salvation. (*RDC*)

#### **Unique Source**

**Rh** RISM 15456 (D-B), no. 78 (C, T), *L. Senffel* (index), *LAV, LEMLIN*, text in given voice

#### **Remarks**

The question of the composer of this two-part canon remains unresolved, as **Rh** provides contradictory attributions: the indexes of both partbooks name Senfl as composer, but the motet's heading in the cantus attributes it to Lorenz Lemlin. This attribution is remarkable as the source transmits no other piece by Lemlin.

Neither partbook provides an explicit voice designation, but one partbook primarily calls its voice a cantus, whereas the other names it more often tenor. The single voice part of *Converte nos* is printed in the cantus book with a canonic inscription. In the tenor book there is only the comment: 'SEQVVNTVR ALIQVOT FVGAE/ QVAS IN DISCANTO REPER-IES …' ([Here] follow several fugues which you will find in the discantus [partbook]) (fol. M[6]v ).

#### **20.** *Crux fidelis inter omnes* **(SC M 23)**

#### **Text**

The first canon sets the eighth stanza from the hymn *Pange, lingua, gloriosi proelium* by Venantius Fortunatus (*c.*530/40–*c*.600); the second canon sets an antiphon traditionally sung in conjunction with Psalm 119; and the third canon sets the sixth stanza from the hymn *Vexilla Regis*, also by Fortunatus.

#### 20.1

Crux fidelis inter omnes, arbor una nobilis, nulla silva talem profert fronde, flore, germine, dulce lignum dulces clavos, dulce pondus sustinet. 20.1

Cross faithful among all, the one noble tree; no forest offers so much in foliage, flower, sprout; the sweet wood supports the sweet nails and the sweet burden.

20.2 Ecce lignum crucis, in quo salus mundi pependit. Venite, adoremus. 20.3 O crux, ave, spes unica, 20.2 Behold the wood of the cross on which the salvation of the world hung. Come, let us adore [it]. 20.3 O cross, hail, only hope,

**Cantus firmi**

hoc passionis tempore, auge piis iustitiam reisque dona veniam.

In the *Graduale Pataviense* (1511), the first two cantus firmi are included in the celebrations for *feria sexta* on Good Friday ('Parasceve') as part of the Adoration of the Cross: the antiphon *Ecce lignum crucis* frames a setting of its *versus* from Psalm 119:1, *Beati immaculati in via*, and is to be sung at the Revealing of the Cross ('ad revelandam crucem'). This is followed by the antiphon *Crux fidelis inter omnes*, which is sung responsorially with verses from the hymn *Pange, lingua, gloriosi proelium*. The hymn stanza *O crux, ave, spes unica* is to be sung at the Blessing of Palms ('In benedictione palmarum') on Palm Sunday.

in this time of suffering, increase justice for the pious and to the guilty grant grace.

20.1: *Graduale Pataviense* (1511), fol. 72<sup>r</sup>

<sup>20.3:</sup> *Graduale Pataviense* (1511), fol. 60<sup>v</sup>

#### **Principal Sources**


#### **Source Evaluation**

**Mun7** is the only source that transmits all three double retrograde canons, along with text underlay for two of the four voices and resolutions for the canons. The resolutions to the canons, however, are not exact matches in regard to both ligature groupings (for example, a ligature divided in two in mm. 53–6, a ligature displaced to a neighbouring note value in mm. 113–14, or a new ligature given in mm. 150–3) and note values (a breve in place of two semibreves in mm. 36–7, reversed note durations in mm. 50–1 and m. 141). For this reason, three principal sources have been designated for each of the three canons. **[Pe]1** and **[Pe]2**, the two earliest prints transmitting 20.1 and 20.3, have been designated principal sources for canons 1 and 3 respectively. These two broadsheets, probably printed by Johannes Petreius in Nuremberg in 1538 (see this volume, Plates 17–18), were conceived as a set with a third broadsheet transmitting the second canon, an exemplar of which one was in the collection of the Royal Library in Dresden until 1945 (today, the Sächsische Landesbibliothek – Staats- und Universitätsbibliothek). The two extant broadsheets both print the motet in the form of a cross, use the same text and music typefaces, share a similar layout, and are both enhanced with the same woodcut crucifix (Gustavson 2013: 286–88). **Mun7**, the only extant source that transmits the second canon, serves as principal source for this canon only. **Mun7** and **Wilphlingseder** are also the only sources that provide resolutions to the canons. The three later sixteenth-century sources transmitting 20.1 (**Ge**, **Finck**, and **Faber**) all switch the tenor 1 voice as given in **[Pe]1** and **Mun7** for its retrograde inversion and share several variant readings in common (including the division of breves into semibreves, a flat in m. 13, and several substitutions of *ligaturae rectae* for *ligaturae obliquae*), suggesting a common filiation. **Ge** and **Ne2** are also linked as the first and second volumes of a two-part anthology of canonic compositions edited by the Bohemian humanist Clemens Stephani (*c*.1530–92).

All eight sources cite the text of Ps. 84:11: 'Misericordia et veritas obviaverunt sibi; iustitia et pax osculatæ sunt' (Mercy and truth have met each other; justice and peace have kissed). The first known appearance of this verse as canonic inscription accompanies the opening textless work in Petrucci's *Motetti A* (RISM 15021), which is also in the form of a double retrograde canon. The verse later served as source of inspiration for compositions by Leonhard Paminger and Adam Gumpelzhaimer (Schiltz 2015: 306–8).

#### **Variant Readings**




Ligatures

Ligature markings have been provided only for the *resolutio* voices in 20.2, since the primary source for this part, **Mun7**, provides ligatures for all four voices. In 20.1 and 20.3, the *resolutio* voices have been derived from the two voices given in the prints **[Pe]1** and **[Pe]2**. Since the ligatures for these two voices are not consistently viable in retrograde, they have not been provided in the edition.



#### **Remarks**

• Text underlay for the tenor 2 in 20.1 mainly follows the version provided in **Ge**.

• Initials are missing for all voices in **Mun7**.

• The historiated woodblock initial of the *prima vox* in **Ne2** is printed upside down.

#### **Text**

The text for this canon is the complete Ps. 116.

Laudate Dominum, omnes gentes, laudate eum, omnes populi, quoniam confirmata est super nos misericordia eius, et veritas Domini manet in aeternum.

O praise the Lord all ye nations: praise him, all ye peoples. For his mercy is confirmed upon us: and the truth of the Lord endureth for ever. (adapted from *RDC*)


#### **Source Evaluation**

**Principal Source**

This composition comprises six sections which all derive from the same 3-in-1 canon. The first three sections (21.1–3) are scored for discantus, tenor, and bassus and feature an alternating order of entry of the three voice parts. The subsequent sections 21.4–6 present the previous three canons with an expansion of one, two, and three additional voice parts.

All sources transmit an accurate musical text with only minor variants. The most significant notational habit is found in **Rh**: this print favours coloration for notating dotted minim plus semiminim pairs. **Pe**, the earliest source and the only one that dates from Senfl's lifetime, has been designated principal source.

More importantly, **Pe** is the only source that explicitly provides all six sections of the composition, as indicated by its heading in the discantus partbook: *Psal. CXVI. triu*[*m*] *uocu*[*m*] *ter uariatus. Deinde 4.5.6. uocum* (see this volume, Plates 19–20)*.* Below this heading, Petreius provides both the canonic voice, with *signa congruentiae* but without any clefs, as well as the *resolutiones*, in which the clefs, pitches, and opening rests for all three voices in each permutation of the canon are specified. The five other sources transmitting this composition provide only one of the six possibilities for singing this canon. Among these, **Ne1** is the only one transmitting the six-voice version: the canon and its two resolutions are provided in the bassus partbook (see Canonic devices, directions, and/or non-verbal signs). The headings for this composition in **Rh** (*Fuga 3. vo*[*cum*] *Bassus post duo tempora in a. Tenor post 4. tempora in e.*) and **Roggius** (*PSALM. CXVII. TRIVM | uocum L. SENF.*) both indicate the first of the three three-voice resolutions presented in this edition, but offer no indication for 21.2 or 21.3. The two remaining sources, **Eg** and **Ge**, present the canon as a four-voice composition. **Eg**, which is foremost an anthology of Horatian ode settings, does not state that the composition is a canon. Instead, the four voice parts are printed in separate partbooks with a heading that indicates the use of this composition as an evening song (*cantio vespertina*). Consisting of only two volumes, **Ge** prints the canonic voice with its *resolutiones* in one partbook (surprisingly, the *ALTERA VOX* volume) and the additional altus voice in the other (*PRIMA VOX*). **Ge** and **Ne1** present different versions of this composition, but they were both edited by the Bohemian humanist Clemens Stephani (*c*.1530–92), which suggests that he may have been aware of all six possibilities presented in **Pe**. Beyond the biographical connection that links these latter two prints, a stemma that might connect the rest of the sources transmitting this composition cannot be definitively determined.

#### **Variant Readings**



#### **Remarks**

Senfl was not the only composer to set this psalm text as a canon. Willem Elders has suggested that the ninefold canon on *Laudate Dominum* composed by Philippe Verdelot (I-VEaf 218) refers to the nine angelic orders (Elders 1994: 228–33). Senfl may have inspired settings by other German composers, such as Sixt Dietrich (Nuremberg: Philipp Ulhard, 1547; RISM A/I D 3019), whose canons are likewise conceived sectionally with exchanging voice parts (Gasch 2015).

#### **22.** *Manet alta mente repositum* **(SC M 53)**

#### **Text**

The text is derived from Vergil's *Aeneid* 1.26. Bonnie J. Blackburn and Leofranc Holford-Strevens suggest that the narrative context of this excerpt, which lists the four grievances that compel Juno to attack the Trojans, provides a clue to the canon's four-voice design: 'manet alta mente repostum iudicium Paridis spretaeque iniuria formae et genus invisum et rapti Ganymedis honores' ('There remain, stored in the depths of her mind, the judgment of Paris and the insult of her beauty spurned, and her hatred of the [Trojan] race, and the honours bestowed [by Jupiter] on Ganymede [whom he had] carried off', *Aeneid* 1.26–8) (cf. Blackburn/Holford-Strevens 2002: 159). A second clue in the text for the canon's realisation is provided by the adjective 'alta', which suggests that each voice should enter at a successively lower interval (cf. Schiltz 2015: 155–6).

The principal source for this motet, **Stomius**, replaces the three-syllable 'repostum', as found in Vergil's *Aeneid*, with the four-syllable variant 'repositum'. Both words have the same meaning. Vergil must have opted for the shorter variant, as the three short syllables that begin 'repositum' would have rendered it unsuitable for hexameter verse.

Manet alta mente repositum. It remains deeply fixed in the mind.

#### **Principal Source**

**Stomius** J. Stomius, *Prima ad musicen instructio* (1537) (D-B), sigs. C2v–C3r ([D]), Ct, T, and B derive from D, *Mimesis IIII. uocum. Authore Ludouico Senflio.*, text in D

#### **Other Source**

**Finck** H. Finck, *Practica Musica* (1556) (D-B), sig. Gg1<sup>r</sup> ([D]), Ct, T, and B derive from D, *CANON QUATUOR VOCUM. Manet alta mente repostum*, anon., no text

#### **Source Evaluation**

This 4-from-1 canon survives in two sixteenth-century theoretical sources, both of which indicate that three voices are to be derived from the canonic voice provided with *signa congruentiae* designating the entries of these voices. Only the earlier of the two, **Stomius**, was published during Senfl's lifetime; the treatise cites Senfl as the composer of the canon (**Finck** provides no composer attribution), and includes text underlay. Moreover, **Stomius** indicates the voice type of each successive voice ('A', 'T', 'B') and accurately spaces these entries apart by the duration of two breves, whereas **Finck** erroneously places the entrance of the bassus at m. 7₃ of the *dux*. For these reasons, **Stomius** has been designated principal source. Rhythmic differences between **Stomius** and **Finck** are probably due to a textual difference: **Stomius** underlays 'repositum', whereas the title of the version found in **Finck** retains the three-syllable 'repostum' of Vergil's epic poem.


#### **23.** *Omne trinum perfectum* **(SC M 78)**

#### **Text**

The text derives from the medieval maxim 'Omne trinum est perfectum' of uncertain origin (cf. Walther 1965: no. 19880b and Tosi 2017: no. 1978). Although often used in reference to the perfection of the Trinity, the maxim also found application in music theory as a means to distinguish *tempus perfectum* and *imperfectum*. See, for example, Georg Rhau, *Enchiridion musicae mensuralis* (Wittenberg: Rhau, 1531), sig. [A8]r , in which the expanded two-part maxim 'Omne trinum perfectum & omne binum imperfectum' is credited to Boethius.

Omne trinum perfectum. Everything threefold is perfect.

#### **Principal Source**


#### **Other Sources**


#### **Source Evaluation**

**Glarean**, the earliest of these five prints, has been chosen as principal source for this untexted 3-in-1 mensuration canon (see this volume, Plate 21). Among the four other prints, **Faber** is the only one whose notation does not veer pitch-wise from **Glarean**. **Finck** prints an *e*1 in place of **Glarean**'s *d* 1 in m. 14; and **Re1** and **Re2**, the second and third editions of Jakob Paix's *Selectae artificiosae et elegantes fugae duarum* (no surviving exemplar of the first edition, Brown [1587]₇, is known), use coloration in m. 6 and a *g* in place of **Glarean**'s *a* as the penultimate pitch in the notated middle voice in m. 26. These pitch variants in **Finck**, **Re1**, and **Re2** need not be considered errors, however, since they do not produce dissonant intervals when the canon is resolved.

It seems that in the creation of **Re2**, Paix simply swapped the opening gathering of **Re1** for a new one. Subsequent gatherings in **Re2** exactly match **Re1** in the numbering of compositions, page layout, contents, typography, and error correction, whereas the first gathering of **Re2** contains new content and fewer compositions. This alteration has resulted in a discrepancy in the numbering of compositions across the first two gatherings of the third edition and helps explain why *Omne trinum perfectum*, which appears in the second gathering of both volumes, is an exact typographical match. Clyde William Young has already pointed out Paix's reliance on the *Dodekachordon* for his music examples (Young 2001). Markus Grassl has proposed that **Faber** served as **Finck**'s source for both *Crux fidelis inter omnes* (NSE 4.20) and *Omne trinum perfectum*, given **Finck**'s habitual reliance on the Wittenberg circle of music theorists for theoretical material (Grassl 2013: 592).

**Glarean** identifies the canon's mode as Hypoaeolian and indicates that its resolution involves the consonances of fifth, fourth, and octave ('Sed Ænigma non admodum difficile eruditus lector facile discutiet co[n]syderata diape[n]te Diatessaro[n] ac diapason consonantiaru[m] ratione.') One lacuna in **Glarean**'s reading is a *signum congruentiae* marking the conclusion of the lower line. This omission is likewise found in **Re1** and **Re2**, whereas **Finck** provides the *signum*. Although it is also not printed in **Faber**, a previous owner of the D-B exemplar wrote in the missing symbol by hand (this may, of course, also be the result of an in-house correction). Moreover, this owner (or editor) completed the fragmentary paratext accompanying the canon and, in doing so, has provided the most explicit instructions for the canon's resolution to be found in any of the five sources: 'Suprema augmentationem in epidiatessaron. Infima tempus integrum in hypodiapente' (The highest [voice] in augmentation at the fourth above; the lowest [voice] in integral mensuration at the fifth below).

#### **Variant Readings**


Variants in pitch and rhythm 14₃ Ct **Finck** *e*1 26₆ Ct **Re1**, **Re2** *g*

#### **Remarks**

For a discussion of classical allusions in **Glarean**'s preface to the canon, see Blackburn/Holford-Strevens 2002: 159–61.

#### **24.** *Salve, sancta parens* **(SC M 98)**

#### **Text**

The text for this canon is a compilation of various text excerpts: 'Salve, sancta parens' derives from the introit antiphon for Marian feasts with the same incipit (Cantus ID g01408); 'dulcis amor meus' appears at the beginning of the hymn *Jesu dulcis amor meus*, sung in honour of the Holy Shroud on the Friday after the second Sunday of Lent; and the remaining phrases derive from several motets within the *Liber selectarum cantionum* (**Gr**) (see Haberl 2004: 30–4). This leads to the conclusion that the canon was composed specifically for inclusion in the anthology, in which it appears as the conclusion (see also Remarks).

Salve, sancta parens, dulcis amor meus, Virgo pia, salus mundi, caeli porta.

Hail, holy Mother, sweet love of mine, merciful Virgin, salvation of the world, gate of heaven.

#### **Unique Source**

**Gr** RISM 15204 (D-Sl), fol. 272<sup>r</sup> (D, Ct, T, B derive from a magic square with musical notation), *Salue sancta parens*, *L. S.*, texted

#### **Critical Notes**

Clefs (according to no. 24a only)


Mensuration and proportion signs 1–12₂ all voices no mensuration sign

Canonic devices, directions, and/or non-verbal signs 1–12₂ all voices *CANON*‣ *Notate verba, et signate mysteria.*

#### **Remarks**



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


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

#### **BISHER ERSCHIENENE BÄNDE**

**1 (1894):** *Johann Josef Fux, Messen* (Johann Evangelist Habert, Gustav Adolf Glossner) **2 (1894):** *Georg 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

**DTÖ 163.4 DTÖ 163.4**

**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)


*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 4**

#### LUDWIG SENFL **MOTETTEN FÜR SECHS UND ACHT STIMMEN, KANONS Herausgegeben von Scott Lee Edwards, Stefan Gasch und Sonja Tröster**

Mit der Publikation sämtlicher sechs- und achtstimmigen Motetten sowie aller Kanons schließt der vierte Band der NSE die Neuausgabe der Motetten Ludwig Senfls ab. Darunter finden sich Senfls berühmte Überarbeitung des *Ave, Maria … Virgo serena* von Josquin Desprez und die drei für die Zeit außergewöhnlich groß besetzten und mutmaßlich für Staatsereignisse komponierten achtstimmigen Motetten. Der Band enthält darüber hinaus sämtliche als reine Kanons konzipierten Werke, etwa den dreiteiligen Doppelkrebskanon *Crux fidelis – Ecce lignum crucis – O crux, ave*, das mit 3–6 Stimmen zu singende *Laudate Dominum* oder den Rätselkanon *Salve, sancta parens*, der ein magisches Quadrat bildet.

Neben den wissenschaftlichen Editionen bietet der Band zahlreiche Abbildungen sowie umfassende Kritische Berichte zu jedem Werk, die über die Texte, Choralvorlagen und den werkgeschichtlichen Kontext informieren.

#### **NEW SENFL EDITION 4**

#### LUDWIG SENFL **MOTETS FOR SIX AND EIGHT VOICES, CANONS Edited by Scott Lee Edwards, Stefan Gasch, and Sonja Tröster**

With the publication of all six- and eight-part motets as well as all canons, the fourth volume of the NSE completes the new edition of Ludwig Senfl's motets. Among them are Senfl's famous re-working of Josquin Desprez' *Ave, Maria … Virgo serena*, the three eight-part motets with an unusually large scoring for the time (presumably composed for state occasions). The volume also contains all works conceived as pure canons, such as the three-part double canon *Crux fidelis – Ecce lignum crucis – O crux, ave*, the *Laudate Dominum* for 3–6 voices, and the riddle canon *Salve, sancta parens*, which forms a magic square.

In addition to the scholarly editions, the volume offers numerous illustrations as well as comprehensive critical reports on each work, including information on the texts, plainchant models, and the historical context of the works.

ISBN 978-3-99094-050-1 ISMN 979-0-50270-025-6

**www.hollitzer.at**