[Evangelia dominicorum et festorum dierum musicis numeris pulcherrime comprehensa & ornata]. Tomo primo... secundo... tertio... tertio... quarto... quinto... sexto]. [Discant parts].
[Evangelia dominicorum et festorum dierum musicis numeris pulcherrime comprehensa & ornata]. Tomo primo... secundo... tertio... tertio... quarto... quinto... sexto]. [Discant parts].
[Evangelia dominicorum et festorum dierum musicis numeris pulcherrime comprehensa & ornata]. Tomo primo... secundo... tertio... tertio... quarto... quinto... sexto]. [Discant parts].
[Evangelia dominicorum et festorum dierum musicis numeris pulcherrime comprehensa & ornata]. Tomo primo... secundo... tertio... tertio... quarto... quinto... sexto]. [Discant parts].
[Evangelia dominicorum et festorum dierum musicis numeris pulcherrime comprehensa & ornata]. Tomo primo... secundo... tertio... tertio... quarto... quinto... sexto]. [Discant parts].
[Evangelia dominicorum et festorum dierum musicis numeris pulcherrime comprehensa & ornata]. Tomo primo... secundo... tertio... tertio... quarto... quinto... sexto]. [Discant parts].
[Evangelia dominicorum et festorum dierum musicis numeris pulcherrime comprehensa & ornata]. Tomo primo... secundo... tertio... tertio... quarto... quinto... sexto]. [Discant parts].
[Evangelia dominicorum et festorum dierum musicis numeris pulcherrime comprehensa & ornata]. Tomo primo... secundo... tertio... tertio... quarto... quinto... sexto]. [Discant parts].

[Evangelia dominicorum et festorum dierum musicis numeris pulcherrime comprehensa & ornata]. Tomo primo... secundo... tertio... tertio... quarto... quinto... sexto]. [Discant parts].

[Nürnberg]: [Johannes Montanus & Ulrich Neuber], [1554, 1555,1556]. Six volumes. Thick oblong quarto. Contemporary blindstamped pigskin boards, outer panel with fine Biblical figures, inner with triple-ruled lozenge with floral elements, "Discant" stamped in black to upper, spine with raised bands in blind-ruled compartments.

Part titles within ornate oblong woodcut border with floral motif. Decorative woodcut initials in various sizes and diamond-head woodcut musical notation throughout. Text in Latin. With prefaces in Roman type and text in italic. Unfoliated. Collective title to tenor part only.

A total of 267 works set for from 4 to 8 voices, as follows:

Tomo primo: 1f. (recto title, verso blank), 1f. (index), 52ff. (final page blank) = 54ff.
RISM Recueils Imprimés 1554/10. 41 works by composers including J. Alard, Clemens non Papa (7), J. Conseil, T. Crequillon, N. Fouchier, J. Gallus, M. Gascongne, J. Gero, N. Gombert (2), L. Hellinck, S. Hollander, H. Isaac, Jacquet, G. Jonckers, Josquin (2), J. Larchier, Lasson, F. Lupino, C. Morales (2), J. Mouton (4), L. Péton, J. Pionnier (2), J. Richafort, V. Soir, P. Verdelot (3), and A. Willaert

Secundo tomo: 1f. (recto title, verso blank), 1f. (index), 50ff. (final page blank) = 52ff.
RISM Recueils Imprimés 1555/10. 40 works by composers including J. Arcadelt, A. von Bruck, J. Berchem (2), Brumen, A. Caussin (2), Clemens non Papa (4), T. Crecquillon, Dambert, A. Févin, Ville Font, A. Gardane, N. Gombert, D. Phinot (7), J. Pionnier (2), J. Richafort (21), C. da Rore, A. Tubal, P. Verdelot (2), and anonymous (1)
Lacking 2 leaves (MM1 and MM2), a portion of Lasson's Virtute Magna

Tertio tomo: 1f. (recto title, verso blank), 1f. (index), 65ff. (final page blank) = 67ff + 1f. (blank)
RISM Recueils Imprimés 1555/11. 49 works by composers including J. Arcadelt, J. Berchem (2), J. Bultel, S. Boyleau, J. Buus, C. Canis, Clemens non Papa (4), B. Comes (3), T. Crecquillon (2), A. Févin, M. Gascongne, N. Gombert (2), L. Hellinck, Hesdin, C. Hollander, P. Jordan, G. Jonckers, P. de La Rue, Lupi, F. Lupino (3), P. de Manchicourt (2), Martin Peu d'Argent, P. Massenus, D. Phinot (3), J. de Ponte, C. da Rore, C. Souliaert, J. Vaet, Yvo de Vento, A. Willaert, N. Wismes, G. Zarlino (2), and anonymous (3)

Quarto tomo: 1f. (recto title, verso blank), 1f. (index), 36ff. (final page blank) = 38ff.
RISM Recueils Imprimés 1555/12. 28 works by composers including J. Berchem (4), S. Boyleau, C. Canis, Clemens non Papa (4), J. Cleve, B. Comes (2), N. Gombert, Gasse, J. Guyot, Maistre Jan, Lupi (2), C. Morales (2), A. Schwartz, J. Vaet, A. Willaert (3), and anonymous (2)

Quinto tomo: 1f. (recto title, verso blank), 1f. (index), 55ff. = 57ff. + 1f. (blank)
RISM Recueils Imprimés 1556/8. 55 works by composers including A. Caussin (3), Clemens non Papa (4), P. Colin, B. Comes, A. Feys, N. Gombert (8), P. Hailland, Jachet (4), J. Loys (3), Lupi, P. de Manchicourt (2), P. Massenus (2), D. Phinot, Pionnier (2), F. Portinaro (2), C. Potier, C. da Rore (2), H. Schaffen (3), T. Susato, J. Vaet, and A. Willaert

Sexto tomo: 1f. (recto title, verso blank), 1f. (index), 57ff. = 59ff. + 1f. (blank)
RISM Recueils Imprimés 1556/9. 54 works by composers including B. Appenzeller, S. Boyleau, J. Buus, C. Canis, Clemens non Papa (12), T. Crecquillon (2), J.P. De Lattre, B. Ducis, J. Gero (2), N. Gombert (4), Jachet, J. Lestainnier, G.G. Lucario, P. de Manchicourt (3), P. Massenus (2), C. Morales (2), N. Payen (3), D. Phinot (2), A. de Silva, and A. Willaert (3)

No copies in the U.S. of any parts; most recorded copies incomplete.
Eitner: Bibliographie der Musik-Sammelwerke des XVI. und XVII. Jahrhunderts, 1554e (pp. 132-133).

Bound with:
[Carmina vere divina, a praestantissimis artificibus ad singula anni festa quinwue vocibus sic composita, ut plane appareat impetum illum musicum sedibus aethereis venire excellentibus ingenijs]. Selectissimarum Cantionum de Praecipuis Sanctorum Dei domesticorum Festis, quinq vocibus Harmoniacis illustratarum. Discantus. Norembergae [Nürnberg]: [J. Montanus & U. Neuber], 1550. Discant part.

1f. (recto title, verso blank), 1f. (recto index, verso page 1 of music), 28ff.
RISM 1550/2 (5 holdings, apparently only 2 of which are complete). No copies in the U.S. of any parts. Eitner 1550 (p. 114). 17 works by composers including Arcadelt, Bastart, Cadeac, Claudin, Crecquillon (2), Gombert, Jachet (2), Layolle, Lupi, Maessens, Phinot, Pionier, Sermisy, and anonymous (2).

Provenance
Annotations to title of first volume: “Summus M[?Magistri] Johannis [?]Brigman 1599” in manuscript to head; “M Joannis Dietrich Summus [1]578... 8... Junij” in manuscript to lower margin, with additional annotation in lighter ink "C.G.G.... dess Mathias Mörgall 1608"; small oval 19th century Jesuit library handstamp. With extensive contemporary manuscript notes to outer blank margin of second leaf of first volume.

Early manuscript markings to most indices; occasional contemporary manuscript markings including two minor notational alterations in the 6th volume to motet number 15, Cerne meos.

Binding slightly worn; corners quite worn, rubbed, and bumped with minor loss; short splits to lower joint; slightly warped; remains of ties. Slightly worn and browned; occasional minor foxing, soiling, dampstaining, creasing, and thumb marks; minor loss to blank outer margin of title of 5th and 6th books of Evangelia dominicorum; final two leaves detached with blank inner margins creased.

Very good copies overall.

First Editions of both works.

Rare and important liturgical partbooks, containing an extensive collection of motets with works by all the major composers of the Franco-Flemish school including some of the most important and influential composers of the Renaissance.

"In the 16th century the motet achieved its classical synthesis in the context of the Franco-Flemish style of Josquin and his successors... By the time of Josquin's death in 1521, the motet as a genre appears to have been largely defined, and the musical language associated with it until at least the end of the 16th century was fully formed in all its essentials. The tendency, clearly discernible in Josquin's mature works, towards an ever fuller submission of compositional procedures to the meaning and requirements of the text was to have highly significant ramifications, not only for the motet but also for secular music. However, it is evident from the delineation of regional and personal styles that seems to have begun at about the same time, that Josquin's attention to musical rhetoric was not shared to an equal degree by all his immediate and younger contemporaries..." Ernest H. Sanders, Peter M. Lefferts, Leeman L. Perkins, Patrick Macey, Christoph Wolff, Jerome Roche, Graham Dixon, James R. Anthony and Malcolm Boyd in Grove Music Online

The motet continued to develop in France, the Netherlands, and Italy throughout the century, the present volume being highly representative of the vibrant trans-national musical culture of the period. Item #31141

Price: $17,500.00  other currencies

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