Kyrie Gloria Credo Sanctus Agnus Dei
Edition: Josquin des Prez, Werken, ed. Albert Smijers, (Amsterdam: Vereniging voor Nederlandse Muziekgeschiedenis, 1927-69), I. iv. 1-27 (Aflevering 33, Missen 18).
| Pange lingua | |
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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. iv. 1-27 (Aflevering 33, Missen 18). |
| Paschalis | |
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Alexander Agricola: Kyrie Gloria Sanctus Agnus Dei Edition: Alexander Agricola, Opera omnia, ed. Edward R. Lerner, 5 vols., Corpus mensurabilis musicae, 22 ([s.l.:] American Institute of Musicology, 1961-1970), 2: 1-22. Sanctus possibly by Johannes Ghiselin alias Verbonnet (ibid. ii). |
| Pax vobis ego sum | |
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Anonymous: Gloria Credo Source: TrentC 88, fols. 109v-113r (c.1456-62?). Edition: Laurence Feininger, ed., Monumenta Polyphoniae Liturgicae Sanctae Ecclesiae Romanae (Rome: Societas Universalis Sanctae Caeciliae, 1947- ), ser. I, tom. ii, 2 (1952). |
| Pera pera | |
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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), 350-51, 358-59, 364-65. |
| Per signum crucis | |
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Anonymous (lost). Copied at King’s College, Cambridge, in 1508/9. See: Frank Ll. Harrison, Music in Medieval Britain (London: Routledge & Kegan Paul, 1958), 164. |
| Petite camusette | |
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Anonymous: Kyrie Gloria Credo Sanctus Agnus Dei Sources: DresSL 1/D/506, pp. 426-29; HradKM 7, pp. 23-41; MunBS 3154, fols. 294v-301r; StuttL 47, fols. 141v-162v. 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: 177-209. |
| Petrus apostolus | |
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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), 8: 43-84. |
| Pfauenschwanz | |
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Johannes Martini: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Johannes Martini, Masses, ed. Elaine Moohan and Murray Steib, Recent Researches in the Music of the Middle Ages and Early Renaissance, 34-35, 2 vols. (Madison, Wisc.: A-R Editions, 1999), 2: 42-72. |
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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), 9: 1-46. |
| Philippi [“Hilf und gib rat”] | |
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Anonymous: Gloria Credo Sanctus Agnus Dei Motet Sources: PragP 47, fols. 105v-114r; TrentC 89, fols. 354v-356r (c.1460-63). Edition used here: Robert J. Snow, “The Manuscript Strahov D.G.IV.47” (Ph.D. diss., University of Illinois, 1968), 330-84. The Mass tenor carries the incipit philipi in PragP 47. The motet is underlaid with the texts Salve regina and (in a later hand) Gaude rosa in TrentC89, and O gloriosa mater in PragP 47, and its tenor carries the incipit hilf und gib rat in both sources. |
Plurimorum carminum, see: Carminum |
| Pour entretenir mes amours | |
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Matthaeus Pipelare: Kyrie Gloria Credo Sanctus Agnus Dei Source: VienNB 11883, fols. 315v-325v. Edition: Matthaeus Pipelare, Opera Omnia, ed. Ronald Cross, 3 vols., Corpus Mensurabilis Musicae, 34 (American Institute of Musicology, 1966-67), 3: 94-121. The model, a song by Busnoys, was identified by Adam Knight Gilbert. |
| Pour l’amour d’une | |
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Anonymous: Kyrie Gloria Credo Sanctus Agnus Dei Source: VatSP B80, fols. 154v-166r. Although copied in VatSP B80, in a layer datable c.1458-61, this delightful three-part Mass would not have sounded out of place, say, in Trent 93/90: it firmly belongs to the sound world of about 1450. There is much to suggest the possibility of English authorship, or at least strong English influence—for example, the imitations over sustained cantus firmus notes, and the kinds of motives that these involve (cf. Gloria 1:23-2:02), and the composer’s predilection for successive triads in root position, even at the risk of writing parallel fifths (as in Gloria 3:01-3:04; 7:10-7:14). Not that the Pour l’amour d’une master was incompetent, far from it. But his chief concern, as for other composers around this time, was with crafting exquisite vocal sonorities: a bare or awkward sonority, in counterpoint for three or more voices, would have been a much graver fault than the occasional parallel octave or fifth. It has sometimes been suggested that Missa Pour l’amour d’une makes use of parody. However, I have found no indication that the otherwise unknown model was anything other than a monophonic tune. So far as I can tell the Mass was based on a chanson rustique like Se tu t’en marias or Une mousse de Biscaye. |
| Pour quelque paine | |
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Cornelius Heyns: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Johannes Ockeghem, Collected Works, ed. Dragan Plamenac, 3 vols. (Philadelphia, Pa.: American Musicological Society, 1947-1992), 2: 98-116. |
| Pourtant se mon | |
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Philippus de Primis (lost). Mentioned in letter by Giovanni del Lago to Lorenzo Gazio, 16 Aug. 1534; see: Bonnie J. Blackburn, Edward E. Lowinsky, and Clement A. Miller, eds., A Correspondence of Renaissance Musicians (Oxford: Clarendon Press, 1991), 350-51, 361-62, 591, 600, 832, and 850. |
| Presulem ephebeatum | |
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Heinrich Isaac: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Heinrich Isaac, Missa Presulem ephebeatum (Prague: National Library of the Czech Republic, 2002). I am most grateful to Dr David Burn (St John’s College, Oxford) for pointing out this Mass and its recently discovered source, Prague, Národní knihovna, MS 59 R 5117. |
| Princesse d’amourettes | |
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Gaspar van Weerbeke: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Gaspar van Weerbeke, Missa Princesse d’amourettes, 4 vocum, ed. Willem Elders, Exempla Musica Neerlandica, 8 (Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1974). |
| Pro defunctis | |
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Guillaume Dufay (lost): Copied at Cambrai Cathedral in 1470: “una missa de requiem de novo compilata per magistrum G. du Fay”; Jules Houdoy, Histoire artistique de la cathédrale de Cambrai, ancienne église métropolitaine Notre-Dame (Lille: Danel, 1880), 198. |
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Pierre de La Rue: Introit Kyrie Tractus Offertory Sanctus Agnus Dei Communion 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- ), 5: 000-000. |
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Johannes Ockeghem: Introit Kyrie Gradual Tractus Offertory Edition: Johannes Ockeghem, Collected Works, ed. Dragan Plamenac, 3 vols. (Philadelphia, Pa.: American Musicological Society, 1947-1992), 2: 83-97. |
| Prolationum | |
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Johannes Ockeghem: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Johannes Ockeghem, Collected Works, ed. Dragan Plamenac, 3 vols. (Philadelphia, Pa.: American Musicological Society, 1947-1992), 2: 21-36. |
| Puisque m’amour | |
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Anonymous: Gloria Credo Sanctus Source: TrentC 88, fols. 85v-93r (c.1456-62). The musical text is in many places (especially the Crucifixus) corrupt beyond secure reconstruction. I have tidied up the counterpoint where absolutely necessary, but have left some infelicities of part-writing as transmitted, even though they may well reflect scribal error rather than authorial intent. Stylistically this could easily be a setting by Johannes Ockeghem. |