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Salva nos Domine
Heinrich Isaac:
Kyrie   Gloria   Credo   Sanctus   Agnus Dei
Edition:  Heinrich Isaac, Opera omnia, ed. Edward R. Lerner, 8 vols. to date, Corpus mensurabilis musicae, 65 ([s.l.:] American Institute of Musicology, 1974- ), 8: 52-91.

Salve diva parens

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), 11: 1-50.

Salve sancta parens
Anonymous:
Four-part version:     Gloria   Credo   Sanctus   Agnus Dei 
Three-part version:*  Gloria   Credo   Sanctus   Agnus Dei
Edition:  Margaret Bent, ed., Fifteenth-Century Liturgical Music: II. Four Anonymous Masses, Early English Church Music, 22 (London: Stainer and Bell for The British Academy, 1979), 78-109.
* In her edition of Missa Salve sancta parens, Margaret Bent notes (p. 181): “With the [cantus firmus] as the lowest voice of four . . . the texture is abnormal. Voice III [contra secundus] is in fact entirely inessential to the musical sense, and thickens the texture at the expense of creating insoluble musica ficta conflicts, as well as containing two infractions of the similis ante similem rule. The Mass emerges as a cleaner-textured, more competent work without it: hence my cautious suggestion that it may legitimately be omitted.” I have followed this suggestion here by recording the Mass both with and without contra secundus.

Nicolas Carlir:
Kyrie   Gloria   Credo   Sanctus   Agnus Dei 
Source:  VienNB 11883, fols. 176r-187r.
Unicum in VienNB 11883, where the front page of the gathering bears the inscription “Nicolaus Carlir sangmeyster zu Anthorff” (fol. 176r). Nicole Carlir held that position in 1519-22 (he died in 1523), though this Mass, his only known composition, could easily be fifteen or twenty years older: by the late 1510s it was no longer fashionable to write parallel tenths, motivic sequences, and parallel sixth chords, or to make prominent use of tempus perfectum. The cantus firmus is stated in the top voice, usually freely elaborated, though it is presented in long note values in the Credo. The latter movement is in six parts, and incorporates the plainchant Credo I. Was there a tradition at Antwerp of singing Lady Masses with expanded choral forces? Other examples would be Barbireau’s Missa Virgo parens Christi and perhaps Obrecht’s Missa Sub tuum presidium. Noteworthy is the utter metric irregularity of the Benedictus, and Carlir’s “hyper-correct” habit of spelling out the full fraction 3/2 in the mensuration sign O3. The Agnus Dei appears to be incomplete.
Interestingly, a newly-composed Missa Salve sancta parens circulated in the Low Countries in the late 1490s: in 1496/97 Petrus Alamire copied a “nuwe misse van Salve sancta parens” for ’s-Hertogenbosch, and in 1499 the Church of St Donatian, Bruges, paid for the binding of a “liber discantus missarum de Salve sancta parens et aliis.” However, these payments more probably refer to Pierre de La Rue’s Missa De beata Virgine, which is titled “Salve sancta parens” in VienBN 1783.

Salve regina
Anonymous:
Gloria*   Credo   Sanctus* 
Source:  MunBS 3154, fols. 390r-395v (c.1506-7).
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- ), 1: xl (Plate 28) and 4: 75-94.
* Parts of the Gloria and Sanctus are fragmentary.

Anonymous:
Kyrie   Gloria   Credo   Sanctus   Agnus Dei 
Source: VienNB 4810, fols. 102v-122r (c.1521-25).
I am most grateful to Zoe Saunders for allowing me to use her transcription of this Mass.


Sancta Maria Virgo intercede
Anonymous:
Gloria*   Credo*   Sanctus*  
Source:  LucAS 238, fols. 27r-30v (c.1467-69?).
* The three movements are fragmentary. Sections and passages for which all parts survive are recorded in stereo (Credo 0:00-3:09 and Sanctus 2:26-6:06); in the fragmentary passages the surviving voices have been mixed to the left channel only. There is a separate sound file featuring only the intact sections and passages.

Sanguis sanctorum
Firminus Caron:
Kyrie   Gloria   Credo   Sanctus
Edition:  James Thomson, ed., Les oeuvres complètes de Philippe (?) Caron, 2 vols. (Brooklyn, N.Y.: The Institute of Mediaeval Music, 1976), 2: 138-64.
Alternative recording of this Mass on the Caron Website.

Se mieulx ne vient
Gaspar van Weerbeke:
Kyrie   Gloria   Credo   Sanctus   Agnus Dei
Edition:  Rudolf Gerber, ed., Der Mensuralkodex des Nikolaus Apel (Ms. 1494 der Universitätsbibliothek Leipzig), Das Erbe deutscher Musik, 32-34 (Kassel: Bärenreiter-Verlag, 1956-75), 3: 285-306.

Se tu t’en marias
Anonymous:
Gloria   Credo   Sanctus   Agnus Dei
Source: TrentC 88, fols. 77v-84r (c.1456-62).
The uniquely surviving copy in TrentC 88 appears to be corrupt in many places, like that of the Missa Puisque m’amour found next to it in the same manuscript.

Sicut spina rosam
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), 11: 91-126.

Si dedero
Alessandro Coppini:
Gloria   Credo   Sanctus   Agnus Dei
Source:  MilD 3, fols. 82v-87r and 147v-154r.
One wonders if the motet Si dedero, on which these three Masses are based, and which is attributed to “Alexander” in a fair number of sources, was actually the work of Alessandro Coppini.
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), 12: 1-48.
Anthonius de Rycke [Divitis]:
Kyrie   Gloria   Credo   Sanctus   Agnus Dei
Edition:  Antonius Divitis, Collected Works, ed. B. A. Nugent, Recent Researches in the Music of the Renaissance, 94 (Madison, Wisc.: A-R Editions, 1993), 78-132.

Spiritus almus
Petrus de Domarto:
Kyrie   Gloria   Credo   Sanctus   Agnus Dei
Edition:  Petrus de Domarto, Complete Works, ed. David Kidger (Moretonhampstead: Antico Editions, 2006).

Spiritus ubi vult spirat
Anonymous:
Kyrie   Gloria   Credo   Sanctus   Agnus Dei
Edition:  Fritz Feldmann, ed., Missa Anonyma II aus dem Codex Breslau Mf. 2016, Das Chorwerk, 56 (Wolfenbüttel: Möseler Verlag, 1956).
As Fritz Feldmann already remarked in his edition (p. v), the Agnus Dei is unlikely to belong to the same cycle as the other four movements. It has different ranges and clefs, and is based on a different cantus firmus: a three-note motif, starting out as G-F-G, then ascending step by step in four subsequent iterations until it has become D-C-D, after which it descends in the same way back to its starting point. The rest of the Mass, by contrast, is based on a tune somewhat reminiscent of L’ami Baudichon, which is stated in the tenor, whereas the Agnus Dei presents the soggetto in the top voice. More important, the movements are worlds apart stylistically. The first four movements look far more interesting on paper than they are in sound. It is hard to describe the music as more than empty contrapuntal display—virtuoso, to be sure, and undoubtedly following the latest stylistic conventions at the time it was written (I would guess in the first or second decade of the sixteenth century), but the composer strings together fashionable musical ideas with so little sense of purpose or design that one ends up feeling indifferent towards the end result. With the Agnus Dei we seem to be entering a different sound world—the sound world of Jacob Obrecht in the 1490s: I am especially reminded of the latter’s Missa Malheur me bat. Obrecht’s distinctive voice seems to resound so clearly here that I am tempted to wonder if this could be a fragment from his lost Missa Hercules Dux Ferrarie, assuming that the G-F-G motif stands for the re-ut-re in “Hercules,” and that “dux Ferrarie” was treated in similar fashion in a subsequent Agnus Dei section, now lost.

Sub tuum presidium
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- ), 6: 45-73.
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), 12: 51-87.