Renaissance Masses, 1440-1520

Da gaudiorum premia
	John Dunstable: Kyrie* Gloria* Credo Sanctus Edition: John Dunstable, Complete Works, 2nd edn., ed. Manfred Bukofzer et al., Musica Britannica, 8 (London: Stainer and Bell, 1970), 41-46 and 169-72. Too fragmentary to be recorded here. For the Gloria, see Edward Kovarik, “A Newly-Discovered Dunstable Fragment,” Journal of the American Musicological Society*, 21 (1968): 21-33.

Da pacem
	Josquin des Prez / Jean Mouton / Noel Bauldeweyn: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Josquin des Prez, Werken, ed. Albert Smijers, (Amsterdam: Vereniging voor Nederlandse Muziekgeschiedenis, 1927-69), I. iv. 29-59 (Aflevering 34, Missen 19).
	Giovanni Spataro (lost): Mentioned in correspondence between Giovanni del Lago, Giovanni Spataro, and Pietro Aaron, in late 1532. See Bonnie J. Blackburn, Edward E. Lowinsky, and Clement A. Miller, eds., A Correspondence of Renaissance Musicians (Oxford: Clarendon Press, 1991), 503-5, 510-11, 524, 529-30, 534, 540, 542.

De Assumptione BVM
	Anonymous: Kyrie Gloria Credo Sanctus Agnus Dei Source: MontsM 766, fols. 112v-134r. I am most grateful to Zoe Saunders for allowing me to use her transcription of this Mass.

De beata Virgine
	Johannes Ockeghem (lost): Credo (excerpt) Excerpt from the Credo of Missa della Madona by Johannes Ockeghem. Cited in Ludovico Zacconi, Prattica di musica utile (Venice: Bartolomeo Carampello, 1596), fol. 191r.
	Johannes Stockem: Gloria Source: 1505¹. Edition: Nors S. Josephson, ed., Early Sixteenth-Century Sacred Music from the Papal Chapel, 2 vols., Corpus Mensurabilis Musicae, 95 (Neuhausen-Stuttgart: Hänssler-Verlag, 1982), 2: 000-000.

De carneval
	Franchinus Gaffurius: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Franchinus Gaffurius, Collected Musical Works, ed. Ludwig Finscher, 2 vols., Corpus Mensurabilis Musicae, 10 (Rome: American Institute of Musicology, 1955-60), 1: 1-16.

De la pera
	Giovanni Spataro (lost): Mentioned in correspondence between Giovanni del Lago and Giovanni Spataro, 1529. See Bonnie J. Blackburn, Edward E. Lowinsky, and Clement A. Miller, eds., A Correspondence of Renaissance Musicians (Oxford: Clarendon Press, 1991), 336, 345, 353, 355, 358-62, 806, 808.

De la tradictora
	Giovanni Spataro (lost): Mentioned in correspondence between Giovanni del Lago and Giovanni Spataro, 1520. See Bonnie J. Blackburn, Edward E. Lowinsky, and Clement A. Miller, eds., A Correspondence of Renaissance Musicians (Oxford: Clarendon Press, 1991), 217-20, 222-31.

De les armes
	Johannes Ghiselin-Verbonnet: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Johannes Ghiselin-Verbonnet, Opera omnia, ed. Clytus Gottwald, 4 vols., Corpus Mensurabilis Musicae, 23 (American Institute of Musicology, 1961-68), 2: 38-73.

De panno aureo
	Anonymous (lost): Mentioned by John Hothby, Dialogus in arte musica: “Quemadmodum ab Arnulpho Gilardi in insignibus tauxetis Cosmi factum esse didicimus, cuius praeceptor missam confecit quam pannum aureum inscripsit cum vellet duci Belgarum callide persuadere ut quod aliquod tempus intermittatur in honorem divae Virginis quo tacitis mittere non negligeret.”

De Passione
	Josquin des Prez: Sanctus Source: 1505¹. Edition: Josquin des Prez, Werken, ed. Albert Smijers, (Amsterdam: Vereniging voor Nederlandse Muziekgeschiedenis, 1927-69), I. iv. 142-44 (Aflevering 50).

De Sancta Maria Magdalena
	Giovanni Spataro (lost): Mentioned in correspondence between Pietro Aaron and Giovanni Spataro, 1523 and 1528. See Bonnie J. Blackburn, Edward E. Lowinsky, and Clement A. Miller, eds., A Correspondence of Renaissance Musicians (Oxford: Clarendon Press, 1991), 266-67, 269, 330, and 333.

De Sancto Antonio
	Pierre de La Rue: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Nigel St. John Davison, J. Evan Kreider, and T. Herman Keaney, eds., Pierre de La Rue: Opera Omnia, 9 vols., Corpus mensurabilis musicae, 97 (American Institute of Musicology, 1989- ), 3: 58-96.

De Sancto Donatiano
	Jacob Obrecht: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Jacob Obrecht, New Obrecht Edition, gen.ed. C. J. Maas, 18 vols. (Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1983-1999), 3: 1-32.

De Sancto Job

Pierre de La Rue:
Kyrie Gloria Credo Sanctus Agnus Dei
Edition: Nigel St. John Davison, J. Evan Kreider, and T. Herman Keaney, eds., Pierre de La Rue: Opera Omnia, 9 vols., Corpus mensurabilis musicae, 97 (American Institute of Musicology, 1989- ), 3: 97-136.
More on this Mass, and its connection to Pipelare’s Missa De Sancto Livino, in M. Jennifer Bloxam, “In Praise of Spurious Saints: The Missae Floruit egregiis by Pipelare and La Rue,” Journal of the American Musicological Society, 44 (1991): 163-220.

De Sancto Johanne Baptista
	Jacob Obrecht: Kyrie* Gloria Credo Sanctus Agnus Dei Source: VatS 160, fols. 49r-63r. Edition: Nors S. Josephson, ed., Early Sixteenth-Century Sacred Music from the Papal Chapel, 2 vols., Corpus Mensurabilis Musicae, 95 (Neuhausen-Stuttgart: Hänssler-Verlag, 1982), 2: 000-000. * Kyrie I is fragmentary; the remaining voices have been mixed to the left channel, and the reconstructed tenor to the right channel.
	Anonymous: Sanctus Iste puer magnus Source: MunBS 3154, fols. 131v-132r (c.1476). Edition: Thomas L. Noblitt, ed., Der Kodex des Magister Nicolaus Leopold: Staatsbibliothek München Mus. ms. 3154, 4 vols., Das Erbe deutscher Musik, 80-83 (Kassel and New York: Bärenreiter, 1987- ), 2: 148-57.

De Sancto Livino
	Matthaeus Pipelare: Kyrie Gloria Credo Sanctus Agnus Dei Source: VienNB 11883, fols. 306r-315r. Edition: Matthaeus Pipelare, Opera Omnia, ed. Ronald Cross, 3 vols., Corpus Mensurabilis Musicae, 34 (American Institute of Musicology, 1966-67), 2: 54-81.

De Sancto Martino
	Jacob Obrecht: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Jacob Obrecht, New Obrecht Edition, gen.ed. C. J. Maas, 18 vols. (Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1983-1999), 3: 35-72.

De septem doloribus dulcissime Marie virginis
	Anonymous: Kyrie Gloria Credo Sanctus Agnus Dei Source: BrusBR 215-16, fols. 20v-33r. Edition: Nigel St. John Davison, J. Evan Kreider, and T. Herman Keaney, eds., Pierre de La Rue: Opera Omnia, 9 vols., Corpus mensurabilis musicae, 97 (American Institute of Musicology, 1989- ), 7: 1-25.
	Pierre de La Rue: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Nigel St. John Davison, J. Evan Kreider, and T. Herman Keaney, eds., Pierre de La Rue: Opera Omnia, 9 vols., Corpus mensurabilis musicae, 97 (American Institute of Musicology, 1989- ), 3: 137-96.

De tous biens plaine
	Anonymous (?Pipelare): Kyrie Gloria Credo Sanctus Agnus Dei Source: MunBS 3154, fols. 215r-224r (c.1488-92). Edition: Thomas L. Noblitt, ed., Der Kodex des Magister Nicolaus Leopold: Staatsbibliothek München Mus. ms. 3154, 4 vols., Das Erbe deutscher Musik, 80-83 (Kassel and New York: Bärenreiter, 1987- ), 2: 291-322.
	Anonymous (SienBC K.I.2): Kyrie Gloria Credo Sanctus Agnus Dei Source: SienBC K.I.2, fols. 168v-182r (1490s). Edition: Timothy J. Dickey, “Reading the Siena Choirbook: A Re-appraisal of the Dating, Musical Repertories, And Marian Performance Context of the Manuscript Siena, Biblioteca Comunale degli Intronati, MS. K.1.2” (Ph.D. diss., Duke University, 2003), 405-27.
	Franchinus Gaffurius: Kyrie* Gloria Credo Sanctus Agnus Dei Edition: Franchinus Gaffurius, Collected Musical Works, ed. Ludwig Finscher, 2 vols., Corpus Mensurabilis Musicae, 10 (Rome: American Institute of Musicology, 1955-60), 2: 59-86. This may well be one of Gaffurius’s earliest Masses, dating probably from the late 1480s or early 90s. Its dissonance treatment is highly unconventional, not to say unorthodox, but this must reflect Gaffurius’s peculiar ear for dissonant friction, since in most cases it would have taken only a minor contrapuntal alteration to reduce the dissonance level, or to make the dissonance go away altogether. In this respect the Mass strongly recalls Josquin’s Missa Une mousse de Biscaye; in fact it shares with the latter setting a number of peculiar contrapuntal infelicities—if that is what they are—that I haven’t seen anywhere else. Like the author of the latter work, Gaffurius emerges as a highly original figure, happy to accept the risks of giving free rein to his contrapuntal imagination, and writing music, consequently, that has flashes of both the oddly bizarre and the breathtakingly brilliant. How strange that Gaffurius was virtually unknown as a composer outside of Milan, but how fortunate that so much of his music survives in the Gaffurius Codices. * Only two voices of the first Kyrie are extant; these have been mixed to the left channel only.
	Jacob Obrecht: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Jacob Obrecht, New Obrecht Edition, gen.ed. C. J. Maas, 18 vols. (Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1983-1999), 4: 1-24.

De virginibus
	Pierre de La Rue: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Nigel St. John Davison, J. Evan Kreider, and T. Herman Keaney, eds., Pierre de La Rue: Opera Omnia, 9 vols., Corpus mensurabilis musicae, 97 (American Institute of Musicology, 1989- ), 3: 197-236.

Dicit Dominus: Nihil tuleritis in via
	Matthaeus Pipelare: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Matthaeus Pipelare, Opera Omnia, ed. Ronald Cross, 3 vols., Corpus Mensurabilis Musicae, 34 (American Institute of Musicology, 1966-67), 2: 23-53.

Dio vi salvi Gotterello

Johannes Martini:
Kyrie Gloria Credo Sanctus Agnus Dei*
Edition: Johannes Martini, The Masses, ed. Murray Steib and Elaine Moohan, 2 vols., Recent Researches in the Music of the Middle Ages and Early Renaissance, 34-35 (Madison, Wisc.: A-R Editions, 1999), 1: 135-66.
Source used for this recording: SienBC K. I. 2, fols. 214v-221v.
* The Agnus Dei is fragmentary; the surviving voices have been mixed to the left channel only.

Dixerunt discipuli
	Eloy d’Amerval: Kyrie Gloria Credo Sanctus Agnus Dei My warmest thanks to Theodor Dumitrescu for allowing me to use his edition of this Mass. Published edition: Eloy d’Amerval, Missa Dixerunt discipuli, ed. Agostino Magro and Philippe Vendrix, Collection ricercar, 3 (Paris: Honoré Champion, 1997).

Domine non secundum peccata nostra
	Johannes Ockeghem (lost): Gloria (excerpt) Excerpt from the Gloria of Missa Domine non secundum peccata nostra by Johannes Ockeghem. Cited in Ludovico Zacconi, Prattica di musica utile (Venice: Bartolomeo Carampello, 1596), fol. 191r.

Du cuer je souspier
	Anonymous: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Denkmäler der *Tonkunst* in Österreich, 134 vols. to date (Vienna: Österreichischer-Bundesverlag, 1894- ), 120: 62-91. Source used for this recording: TrentC 89, fols. 282v-292r (c.1461-62).

Dueil angoisseux
	John Bedyngham: Kyrie Gloria Credo Sanctus Agnus Dei Benedicamus Domino Edition: Rebecca L. Gerber, ed., Sacred Music from the Cathedral at Trent: Trent, Museo provinciale d’arte, codex 1375 (olim 88), Monuments of Renaissance Music, 12 (Chicago: University of Chicago Press, 2007), 179-201.

D’ung aultre amer
	Anonymous (VatSP B80; VerBC 755; VatS 51): Kyrie Gloria Credo Sanctus Agnus Dei Edition: Rex Eakins, ed., An Editorial Transnotation of the Manuscript Capella Sistina 51, Biblioteca Apostolica Vaticana, Città del Vaticano: Liber Missarum, 3 vols. (Ottawa: The Institute of Mediaeval Music, 1999-2001), 3: 235-315. More on this setting in Rob C. Wegman, “The Anonymous Mass D’Ung aultre amer: A Late Fifteenth-Century Experiment,” The Musical Quarterly, 74 (1990): 566-94. Source used for this recording: VatSP B80, fols. 49v-61r.
	Anonymous (JenaU 31): Kyrie Gloria Credo Source: JenaU 31, fols. 212v-2161r. The Kyrie is the only complete movement of this Mass. The Gloria is from the Missa D’ung aultre amer by Josquin, and of the Credo only the first section survives, plus a few measures of the contratenor of what may have been its second section.
	Josquin des Prez: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Josquin des Prez, Werken, ed. Albert Smijers, (Amsterdam: Vereniging voor Nederlandse Muziekgeschiedenis, 1927-69), I. ii. 121-35 (Aflevering 23, Missen 11).