Sine nomine “Tetradi plagis” (Basiron)
	Philippe Basiron (lost). Mentioned by Franchinus Gaffurius in Tractatus practicabilium proportionum (c.1482). See Clement A. Miller, “Early Gaffuriana: New Answers to Old Questions,” Musical Quarterly, 56 (1970): 367-88 at 382.

Sine nomine (Benet)
	John Benet: Gloria   Sanctus   Agnus Dei BolC Q15, fols. 24v-26r; TrentC 92, fols. 165v-167v. Edition: Gareth Curtis, ed., Fifteenth-Century Liturgical Music IV: Early Masses and Mass-Pairs, Early English Church Music, 42 (London: Stainer and Bell for The British Academy, 2001), 1-13.
	John Benet (or John Dunstable or Leonel Power): Kyrie*   Gloria   Credo   Sanctus   Agnus Dei AostaS D19, fols. 194v-195r, 207r-210r; CambraiBM 11, fols. 20v-22r; CambriE 300, fols. 1v-2r; TrentC 87, fols. 37v-39r, 103v-104r, 106r-107r; TrentC 90, fols. 118v-120r, 193v-195r, 254v-257v; TrentC 92, fol. 98r; TrentM 93, fols. 148v-150r, 263v-265r, 326v-329v. Edition: John Dunstable, Complete Works, 2nd edn., ed. Manfred Bukofzer et al., Musica Britannica, 8 (London: Stainer and Bell, 1970), 138-45 and 176-79. *The Kyrie is fragmentary.

Sine nomine (BolSP s.s.)
	Anonymous (gathering A): Credo (fragment beginning ‘Et conglorificatur’) For this and the next Mass, see: Charles Hamm, “Musiche del Quattrocento in S. Petronio,” Rivista italiana di musicologia, 3 (1968): 215-32. Hamm noted several unusual proportional signs in the Credo and Sanctus: 2/4, 6/2, 3/5, 2/3. Is this perhaps one of the lost Masses by Spataro?
	Anonymous (gathering C): Osanna (beginning) Judging from the beginning of this Osanna, as well as the tenor incipit of the Gloria, this could quite possibly be a Mass based on Si dedero.

Sine nomine (BrusBR 5557)
	Anonymous: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Source: BrusBR 5557, fols. 90v-99r.

Sine nomine (Domarto)

Petrus de Domarto: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Sources:  VatSP B80, fols. 143v-154r (entire Mass); TrentC 89, fols. 57v-58r (Sanctus); LucAS 238 (folios discovered in 2006). The Kyrie is ascribed in VatSP B80 to the otherwise unknown “Egidius Cervelli,” the other movements to “P. de Domarto.” Cervelli means “of the little deer,” and could have been a scribal Latinization of French de biche (deer, doe, hind), assuming that this is how the scribe misread de bīche in an original attribution to Egidius de Bi[n]che. A fanciful scenario, perhaps, but the style of the Kyrie would certainly be consistent with that of an English-influenced composer working in the 1440s such as Binchois. The movements by Domarto could scarcely postdate the 1440s either. There is a certain awkward quality about the counterpoint in those movements, and a sense that the composer is not always able to sustain musical interest. (Both here and in a live performance recorded at Oxford in 1991, for example, I cannot help feeling that the music of the Gloria is dying a slow death in 3:35-4:25.)

Sine nomine (EdinNL 5.1.15)
	Anonymous, with Kyrie trope Deus creator omnium: Kyrie*   Gloria   Credo   Sanctus*   Agnus Dei Source: EdinNL 5.1.15, fols.42v-51r. *The whole Kyrie, and a brief passage in the Sanctus [2:39-3:20], are fragmentary. This must be the latest known English Mass of the Caput “double cursus” type of cantus firmus layout; it could well date from the 1470s or 1480s.

Sine nomine (Fremiet)
	Fremiet (lost): Copied at Cambrai Cathedral in 1472; Jules Houdoy, Histoire artistique de la cathédrale de Cambrai, ancienne église métropolitaine Notre-Dame (Lille: Danel, 1880), 200.

Sine nomine (Ghiselin - Verbonnet)
	Johannes Ghiselin Verbonnet: 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), 1: 115-29.

Sine nomine (Josquin)
	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. iii. 167-91 (Aflevering 32, Missen 17).

Sine nomine (LeipU 49/50)

Anonymous: Kyrie   Gloria   Credo   Sanctus & Agnus Dei Source: LeipU 49/50, fols. 230r-235v [D]; 246r-252r [A] (c.1558). Edition:   Laura Youens, Messzyklen der frühprotestantischen Kirche in Leipzig, Münchner Editionen zur Musikgeschichte, 5 (Tutzing: Hans Schneider, 1984), 199-218. This four-part Mass must have been absolutely ancient when it was entered in the Leipzig partbooks around the middle of the sixteenth century: the unidentified cantus firmus moves in comparatively long note-values, and the other voices sustain almost breathless musical momentum (the scoring is full throughout), frequently moving in parallel thirds and tenths, engaging in sequences (especially in the Sanctus), and maintaining a high-energy melodic style with frequent upwards runs and octave leaps. All this, and the mensural layout O-€ (or O-€-O), would suggest a date before 1500, probably 1490s. Oddly enough, the composer I am most reminded of is the Josquin of Missa Hercules Dux Ferrarie.

Sine nomine (LyonBM 6632)
	Anonymous: Kyrie   Gloria   Credo Sections and passages for which all parts survive are recorded in stereo; 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 passages (mostly snippets of up to about 35 seconds). Source: LyonBM 6632, fols. [1]v-[4]v. More on this fragmentary source in French Music in the Early Sixteenth Century: Studies in the Music Collection of a Copyist of Lyon; The Manuscript ‘Ny kgl. Samling 1848 2°’ in the Royal Library, Copenhagen, 3 vols., ed. Peter Woetmann Christoffersen (Copenhagen: Museum Tusculanum Press, 1994). I am most grateful to Professor Christoffersen for sharing a pdf file of the Lyon fragments. This is the only relatively complete Mass cycle in LyonBM 6632; the setting is so unusual in so many ways that it is hard to suggest a context for it: all movements are in tempus imperfectum (C); the Kyrie, Gloria, and Credo are through-composed; and the four voices are kept in very close range—as close as in the old isorhythmic motet: Discantus and Contratenor I share the C1 clef, and Tenor and Contratenor II the C3 clef. The telescoped setting of the Credo text, however, would seem to indicate English authorship. Another likely indication of this is the duos in the Sanctus (not recorded here), which are effectively gimels. The music is absolutely lovely: how very unfortunate that so little of it survives!
	Anonymous: Kyrie Sections and passages for which all parts survive are recorded in stereo; in the fragmentary passages the surviving voices have been mixed to the left channel only. Source: LyonBM 6632, fols. [5]v-[6]v. Fragmentary Kyrie of what was evidently a cantus firmus Mass, based apparently on a popular song, a tune that somewhat resembles O Venus bant. The Mass must be early, probably from the 1450s or even 1440s. Although composed in four parts, there is no low contratenor bassus of the Caput type: tenor and contratenor II share the same range, providing a glacial bottom layer of sound that very much recalls the old-style isorhythmic motet.

Sine nomine (MunBS 3154)
	Anonymous: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Source: MunBS 3154, fols. 273v-281r (c.1509-10). 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- ), 3: 128-48.

Sine nomine (Ockeghem)
	Johannes Ockeghem (a3): Kyrie   Gloria   Credo   Sanctus   Agnus Dei Edition: Johannes Ockeghem, Collected Works, ed. Dragan Plamenac, 3 vols. (Philadelphia, Pa.: American Musicological Society, 1947-1992), 1: 15-29.
	Johannes Ockeghem (a5): Kyrie   Gloria   Credo Edition: Johannes Ockeghem, Collected Works, ed. Dragan Plamenac, 3 vols. (Philadelphia, Pa.: American Musicological Society, 1947-1992), 2: 77-82. The Credo stands apart from the other two movements, and clearly does not constitute a cycle with them. In some ways its style seems more consistent with that of Pierre de La Rue than of Ockeghem. One wonders if the Credo was added as a “filler” by the compilers of VatC 234, which would have been anything but unusual for the scribes of the Alamire workshop.

Sine nomine (Pasquin)
	Pasquin: Gloria* Source:   Johannes Tinctoris, Opera theoretica, ed. Albert Seay, 2 vols., Corpus Scriptorum de Musica, 22 (American Institute of Musicology, 1975-78), 2a: 23 (1472-73). Two brief passages for discantus and tenor from the beginning and end of the Cum sancto.

Sine nomine (Pipelare)
	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), 3: 71-93. For Pipelare’s other ‘Sine nomine’ Mass (in VienNB 11883), see Pour entretenir mes amours.

Sine nomine (Puyllois)
	Jean Puyllois: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Edition: Emily Zazulia, “Johannes Puyllois (d.1478) and his Sacred Music: A Reassessment, With a Critical Edition of his Complete Works” (A.B. Thesis, Harvard University, 2006). I am most grateful to Emily Zazulia for allowing me to use her revised edition of Puyllois’s Mass for this website.

Sine nomine (Saxilby)

Anonymous: Christe   Credo (starting at ‘Et resurrexit’)* Edition of fragments:  Margaret Bent and Roger Bowers, “The Saxilby Fragment,” Early Music History, 1 (1981): 1–27, at 23-27; Charles Hamm, “Musiche del Quattrocento in S. Petronio,” Rivista italiana di musicologia, 3 (1968): 215-32. * Three short passages are fragmentary; in these passages the voices have been mixed to the left channel only.

Sine nomine (Rasse)
	Rasse de Lavenne (lost): Copied at Cambrai Cathedral in 1463; Jules Houdoy, Histoire artistique de la cathédrale de Cambrai, ancienne église métropolitaine Notre-Dame (Lille: Danel, 1880), 194.

Sine nomine (Tik)
	Henricus Tik: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Source used for this recording: TrentC 89, fols. 366v-374r (c.1460-63). The Sanctus survives also in TrentC 90, fols. 348v-349r (c.1454) and PragP 47; attribution to the otherwise unknown Henricus Tik in LucAS 238 (c.1467-69), which transmits nearly the entire Mass.

Sine nomine (TrentC 89)
	Anonymous: Gloria   Credo Source: TrentC 89, fols. 83v-89r (c.1465).
	Anonymous, “Ad voces pares,” with Kyrie trope Deus creator omnium: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Source:  TrentC 89, fols. 107v-116r (c.1460-62).

Sine nomine (TrentC 90)

Anonymous: Gloria   Credo Source: TrentC 90, fols. 318v-24r (1454). The unique copy of this work is riddled with errors, and the two movements are virtually unperformable without extensive editorial repair work. I have preferred to err on the side of conservatism here, so the counterpoint may well sound a little crude and unpolished in places. I doubt that these blemishes should necessarily be attributed to the composer. There are moments in the Credo which suggest the possibility of Ockeghem’s authorship (for example, 9:20-9:42 distinctly recall his Missa De plus en plus). Postscriptum (4 May 2008). After re-recording and rehearing these two movements I am actually less struck by the resemblance to Ockeghem than by the close stylistic affinity (at least to my ear) with Puyllois’s Flos de spina.

Sine nomine (TurinBN J.II.9)

Anonymous: Kyrie   Gloria   Credo   Sanctus Edition: Richard H. Hoppin, ed., Tbe Cypriot-French Repertory of the Manuscript Torino, Biblioteca Nazionale, J.II.9, 4 vols., Corpus Mensurabilis Musicae, 21 (Rome: American Instititute of Musicology, 1960-63), 1: 84-95. Parallel fifth and octaves, as well as atrocious dissonances, abound in this setting, but they can still be regarded as idiomatic for the time and place where it must have originated. The Mass is written mostly in tempus perfectum (circle) and tempus imperfectum with major prolation (C dot): in simultaneous combinations it is apparent that tempus perfectum calls for diminution, and is in effect an alternative way of writing C-dot. This alone would suggest an early date, probably 1420s or early 1430s. If the composer knew any music by Dunstable or Power, he certainly does not let us know about it here.

Sine nomine (VatS 14)
	Anonymous: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Sources:  VatS 14, fols. 65v-75r; LucAS 238, fol. 30bis r-v. Edition: Laurence Feininger, ed., Monumenta Polyphoniae Liturgicae Sanctae Ecclesiae Romanae (Rome: Societas Universalis Sanctae Ceciliae, 1948- ), Ser. 1, Vol. 2, No. 5 (1952).

Sine nomine (VatS 49)
	Anonymous (?Obrecht): Kyrie   Gloria   Credo   Sanctus   Agnus Dei Source:  VatS 49, fols. 56v-68r.  I am grateful to Bonnie Blackburn for sharing a copy of Laurence Feininger’s transcriptions of this and the next Mass, on which the recordings here were based. The cantus firmus appears in virtually identical shape in every movement, and is treated in inversion in the Patrem.
	Anonymous (?Isaac): Kyrie   Gloria   Credo   Sanctus   Agnus Dei Source:  VatS 49, fols. Could any anonymous Mass sound more like Isaac than this one? Listening to this marvelous piece feels like recognizing an old friend across the street.

Sine nomine (VatSP B80)

Anonymous: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Source:  VatSP B80, fols. 129v-143r.  For this Mass, see the excellent discussion in Christopher A. Reynolds, Papal Patronage and the Music of St. Peter’s, 1380-1513 (Berkeley, Los Angeles, London: University of California Press, 1995), 181-86. This cycle seems to be a good deal later than the ones following it in VatSP B80: the presence of structural fourths (e.g. Gloria 0:56-1:00, or Credo 2:27-2:31), and the tendency to write in parallel tenths around the cantus firmus (as in Kyrie 1:38-1:48 and 2:11-2:23, and Gloria 1:39-1:51), would normally suggest a date not too long before the 1470s. Reynolds has pointed out the wholesale repetition of sections, a practice for which Faugues is well known: Kyrie II = Osanna; Cum sancto = Et expecto = Agnus Dei III. In addition, as Reynolds noted, Kyrie 1:44-1:57 = Credo 4:27-4:39, and Gloria 3:18-3:37 = Agnus Dei 1:49-2:12. But the overall musical sensibility of the Mass seems closest, at least to my ear, to the Dufay of Missa Ecce ancilla Domini. The cantus firmus is unidentified, but surely derives from a secular polyphonic context; its contour and rhythm can be approximately reconstructed from the ornamented versions presented in the course of the Mass.

Sine nomine (VienNB 11883)
	Anonymous: Kyrie   Gloria   Credo*   Sanctus   Agnus Dei Source:  VienNB 11883, fols. 20v-29r.  * Two passages in the Credo (5:02-6:06 and 11:53-12:28) are fragmentary. Composed probably no later than the mid 1480s. The unique copy in VienNB 11883 contains numerous errors and corruptions, including a long passage in Terzverschreibung in the top voice of “Et ascendit” (Credo 7:10-7:34), and the strangely careless omission to provide the final stretches of Tenor and Bass after the scribe had run out of space at the bottom of the page (Credo 5:02-6:06 and 11:53-12:28). Large stretches of the Gloria and Credo are taken up by alternating duets, somewhat in the manner of Obrecht’s Missa O lumen ecclesie, though without the extended imitations and restatements of cantus firmus material typical of that Mass. Noteworthy also is the shift to lower ranges in the Credo (a feature this Mass has in common with Ockeghem’s Missa Ecce ancilla Domini), and the use of gimel in the Benedictus. I have found no indication that this work might be based on pre-existent material.
	Anonymous: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Source:  VienNB 11883, fols. 76r-89r. This is an absolutely lovely Mass, a delight to listen to. One of its noteworthy features is the tendency to maintain the full four-voice texture throughout sections in which there is no tacet part. This is something that composers were less and less inclined to do from the 1480s (and even before that decade it was customary to have extended duets and trios in the course of major sections), but it does not, in this case, result in the kind of relentlessness one hears in some other settings from the period. The composer loves to play with motives and phrases that are repeated a number of times in all voices. In Gloria, 4:59-5:16, this is pushed to the point where one almost seems to be listening to a broken record. Contrapuntal play of this kind reminds me somewhat of Pipelare (otherwise well-represented in VienNB 11883), as does the Pleni, where there is similarly repetive counterpoint underneath a top voice in long note-values moving first ut iacet and then in retrograde. Yet is hard to say with confidence who could have written this. The Mass would appear to date from the 1480s or 1490s, an approximate date suggested both by the style and by the mensural layouts O-€ and O-€-O2, which fell out of use after the turn of the century.
	Anonymous: Agnus Dei Source:  VienNB 11883, fols. 204v-207r.