“From Chapel Choirbook to Print Partbook and Back Again.” In Cappelle musicali fra corte, stato...

JULIE E. CUMMING

McGill University, Montreal

FROM CHAPEL CHOIRBOOK TO PRINT PARTBOOK

AND BACK AGAIN

When asked to contribute to the Camaiore convegno on the Italian cap-pella musicale I looked for a way to combine this topic with my ongoing re-search on the motet in the late fifteenth century, in which I focus on the mo-tets found in Petrucci’s first five motet prints.1 This search led me to inquireto what extent the music in these prints could be associated with the Italianchapels in the decades around 1500. Comparing manuscript and print sourcesfor these pieces led me first of all to think about issue of genre, format, andfunction; and second to consider issues of contents, concordances, and reper-toire in these sources.

I. GENRE, FORMAT, AND FUNCTION

The first printed book of motets was Petrucci’s Motetti A of 1502; it wasfollowed by a series of four more books (see Table 1).2 When I first started

1 I would like to thank the Comune di Camaiore and Professor Franco Piperno, as well as allthe other organizers, for inviting me to the convegno and for publishing the paper in these proceed-ings. The research for the paper was supported in part by the Social Sciences and Research Councilof Canada: first of all through a Standard Research Grant with Peter Schubert entitled «The Originsof Imitation in the Josquin Era»; and more recently through a Major Collaborative Research Initia-tive headed by Paul Yachnin, entitled «Making Publics: Media, Markets, and Association in EarlyModern Europe, 1500-1700». I would also like to thank the participants of the Camaiore convegno,especially Frank D’Accone and Pierluigi Petrobelli, and Joshua Rifkin for comments that stimulatedmy thinking on this project.

2 After the conference, just as I was finishing this paper, Boorman’s long awaited and magiste-rial study of Petrucci was released: STANLEY BOORMAN, Ottaviano Petrucci: Catalogue Raisonne, Ox-ford -New York, Oxford University Press, 2006. I have done my best to use and respond to hisfindings here, but I plead time constraints to excuse any oversights and omissions. For the information

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work on this great collection of motets I thought of it mostly as a convenientplace to study the late fifteenth-century motet, because of the genre identifi-cation in the titles of the books, the secure dating, and the breadth (bothchronological and geographic) of the repertoire.3 In other words, I thought

JULIE E. CUMMING

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in Table 1, see S. BOORMAN, Catalogue, passim. The exact sizes of the Petrucci prints vary from copyto copy, due to trimming and binding; I have given an approximate figure rounded down to theclosest centimetre to indicate their normal size (ID., Catalogue, pp. 110-111, 149, 180, n. 2).Likewise, manuscript sizes are rounded to the closest centimetre in Table 3. «Boorman numbers»are the numbers Boorman associates with each edition in his catalogue (see «Checklist of Petrucci’sEditions», Catalogue, pp. 411-413; the date for Motetti A given on p. 411 is incorrect, but it is cor-rect in the actual catalogue entry, p. 473). For the actual entries for each book see the followingpages in Boorman’s Catalogue: No. 3, Motetti A, pp. 473-477; No. 19, Motetti A, 2nd ed., pp. 576-579;No. 7, Motetti B, pp. 496-503; No. 15, Motetti C, pp. 549-564; No. 21, Motetti libro quarto, pp. 584-591; and No. 46, Motetti a cinque, pp. 696-707. The second edition of Motetti A was discovered byROBERT ARPOD MURANYI; see his Zwei unbekannte Druckschriften aus dem 16. Jahrhundert, «Studiamusicologica», XXVII, 1985, pp. 291-294. The copy is not listed in RISM; the date is in «new style»(n.s.); see S. BOORMAN, Catalogue, p. 153. The month and day given for Motetti a cinque are notshown in the colophon, but deduced by Boorman.

While it is clear that the first four prints belong in a series (the switch to «libro quarto» afterMotetti C results from the fact that Petrucci only had woodblock initials for A, B, and C; S. BOOR-

MAN, Catalogue, 131), there is some question as to whether the fifth book, Motetti a cinque libro pri-mo, belongs with the others. The book is different from the earlier prints in many ways: it comesafter a gap of three years; it includes a somewhat more retrospective repertoire; it uses an unusualcombination of formats, where two voices are found in one partbook; and it advertises itself asthe first book in a new series with the words «libro primo». Nevertheless, the fact that «cinque» fol-lows «quarto» and that Petrucci’s next motet collection, the Motetti de la Corona, would not appearfor six more years, suggests that this book is best seen in conjunction with the first four, as part of anattempt to compile a representative collection of late fifteenth-century music. «My catalogue nos.»are the numbers I have assigned to the pieces in my database. They will be used in subsequent Ta-bles, and allow one to tell at a glance which book a piece comes from (100s are in Motetti A, etc.).For full names of sources, see Appendix V.

3 For comments on breadth of repertoire see HOWARD M. BROWN, The mirror of men’s salva-

TABLE 1 – Ottaviano Petrucci’s first five motet prints, Venice, 1502-1508. 174 pieces, 355partes. Oblong quarto format, c. 16623 cm.

RISM NO.(BOORMAN NO.)

TITLE. DATE. EDITION.MY CATALOGUE

NOS.

15021 (B 3)[15057] (B 19)

Motetti A numero trentatre. 9 May 15022nd edition, 13 February 1505 (n.s.) (not in RISM)

101-135

15031 (B 7) Motetti De passione De cruce De sacramento De beata vir-gine et huiusmodi B. 10 May 1503

201-234

15041 (B 15) Motetti C (partbooks). 15 September 1504 301-342

15052 (B 21) Motetti libro quarto (partbooks). 4 June 1505 401-445

15081 (B 46) Motteti a cinque Libro primo (partbooks). [28 November1508]

501-518

of the books as essentially just another set of manuscripts. But then I began toask myself, ‘‘what difference does it make that the collection is printed?’’ and‘‘what difference does it make how it is printed?’’. I came to realize that Ot-taviano Petrucci introduced three major innovations when he published thisseries of motet books.(1) He printed and published music for sale to a public as yet unknown,tearing it loose from its institutional and social contexts, and sending it outinto the world in search of new uses and users. (This is of course true forall his prints; but the nature of the public for printed sacred music may havebeen less clearly defined than that for secular music.)(2) He created the motet anthology. Motetti A was the first motet collec-tion exclusively devoted to the motet. All earlier sources for the motet inthe Renaissance included other genres. The motet anthology (print and manu-script) would go on to become the dominant type of sacred music collectionfor the rest of the sixteenth century.(3) He chose to print the motets in a small oblong quarto format. MotettiA was the first sacred music collection in oblong (or ‘landscape’) format.The approximate dimensions are given in Table 1: 16623 cm. Motetti Aand B were in choirbook format; the rest were in partbooks. Almost all earliercollections of sacred music were in upright format, and normally significantlylarger, as we shall see below.

I will explore the implications of the second and third of these innova-tions, by contrasting the Petrucci motet prints with a central group of manu-script sources: the Italian chapel choirbooks with which the Petrucci printsshare four or more concordances (listed in Table 2).

The motet anthology. In fifteenth-century manuscripts motets are alwaysfound with other genres: in mixed sacred-music collections like Berlin40021 or Munich 3154; in distinct sections in Vespers and Mass manuscripts;and the occasional motet in chansonniers.4 (For a list of earlier manuscriptsconcordant with Petrucci, sorted by type of contents, see Table 3).5 Manu-

tion: music in devotional life about 1500, «Renaissance Quarterly», XLIII, 1990, pp. 744-773: 746-747; and BONNIE J. BLACKBURN, Lorenzo de’ Medici, a Lost Isaac Manuscript, and the VenetianAmbassador, in Musica Franca: Essays in Honor of Frank D’Accone, eds. I. Alm, A. McLamore andC. Reardon, Stuyvesant (NY), Pendragon, 1995, pp. 19-44: 38-39.

4 See JULIE E. CUMMING, The Motet in the Age of Du Fay, Cambridge, Cambridge UniversityPress, 1999, pp. 54-60.

5 Information on dates, provenance, and contents in Table 3 derived from the Census-Catalo-gue of Manuscript Sources of Polyphonic Music: 1400-1550, compiled by the University of Illinois Mu-sicological Archives for Renaissance Manuscript Studies, 5 vols., ed. C. Hamm and H. Kellman («Re-

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FROM CHAPEL CHOIRBOOK TO PRINT PARTBOOK AND BACK AGAIN

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JULIE E. CUMMING

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TABLE 2 – Concordant Italian choirbooks containing 4 or more concordances with the first fivePetrucci motet prints

NO. OF

CONC. DATES PROVENANCE SIGLUM SOURCE NAMECM: VERT.6HOR. TYPE OF MS

a) Earlier choirbooks

4 1484-90 Milan Milan 1 Milan, Archivio della Vener-anda Fabbrica del Duomo,Sezione Musicale, Librone 1(olim 2269)

64645 Vespers

5 1492-1500 Milan Milan 3 Milan, Archivio della Vene-randa Fabbrica del Duomo,Sezione Musicale, Librone 3(olim 2267)

48634 Mixedsacred

13 1495-97 Rome CS 15 Rome, Vatican City, Bibliote-ca Apostolica Vaticana, MSCappella Sistina 15

55641 Vespers

9 1500 Verona Verona758

Verona, Biblioteca Capito-lare, MS DCCLVIII (758)

45634 Vespers

b) Later Choirbooks

13 1503-12 Rome CS 42 Rome, Vatican City, Bibliote-ca Apostolica Vaticana, MSCappella Sistina 42. Motetsin calendrical order.

56642 Motets

6 1502-5 Siena SienaK.1.2

Siena, Biblioteca comunaledegli Intronati, MS K.1.2.

44629 Vespers

5 1505 Milan Milan 4 Milan, Archivio della Vene-randa Fabbrica del Duomo,Sezione Musicale, Librone 4(olim 2266; partly destroyed).

ca. 40630 Mixedsacred

4 1508-27 Rome CS 46 Rome, Vatican City, Bibliote-ca Apostolica Vaticana, MSCappella Sistina 46

55642 Motets

16 1515 Florence FlorenceII.I.232

Florence, Biblioteca Nazio-nale Centrale, MS II.I.232(olim Magliabechi XIX.58)

43630 Motets

4 1522 Padua PaduaA17

Padua, Biblioteca capitolare,MS A 17.

55642 Motets

6 1535-1545 Cividale Cividale59

Cividale del Friuli, Museo Ar-cheologico Nazionale, MS 59.

42628 Mixedsacred

Later oblong quarto MS with mixed contents

15 1505-1512 Mantua orFerrara

Florence27

Florence, Biblioteca Nazio-nale Centrale, MS Panciatichi27

15621 Mixed(motets,chansons,frottole,laude)

scripts (unlike prints) were copied with specific uses and users in mind, sothey tell us something about how and where the motet was performed. Itwas sung at Mass and Vespers (see Table 3, Masses and Vespers mss); itwas sung in a variety of devotional and liturgical contexts (Table 3, Mixedsacred); and it was sometimes played or sung as part of domestic or courtlymusic making (Table 3, Secular mss.: textless mss., chansonniers, Italianmss. including frottole and laude). Each of these source types suggests a par-ticular function for the motet. While the motets are more numerous in thesacred music collections, they are present in a substantial number of secularcollections, and this continues to be true after 1501.

There were of course precedents for the motet anthology. There weremanuscript anthologies for other genres – Mass manuscripts and chanson-niers (see Table 3). There were distinct motet sections in manuscripts ofsacred music.6 Particularly important precedents were the substantial motetsections found in Italian Vespers music manuscripts such as Milan 1, CS 15and Verona 758.7 The motet sections in these manuscripts, like the Petruccimotet prints, contain a wide variety of pieces, whose ties to any particular lit-urgy are often difficult to discern. Naturally enough, Petrucci prints share rep-ertoire with these manuscripts, and we will come back to that shortly. Never-theless, a motet section in a Vespers music manuscript is quite a differentthing from a motet anthology that proclaims itself as Motetti A. No longerare the printed motets in such a collection linked to any kind of liturgical, de-votional, or institutional context. From 1502 on, you could point to the Pe-trucci volumes if you wanted to know what a motet was, without referringto when or where it was performed, or who composed or performed it.

By creating the motet anthology – and by labeling the volumes in the se-ries by genre (Motetti A, etc.) – Petrucci detached the motet from its sacred

naissance Manuscript Studies», I), Neuhausen-Stuttgart, American Institut of Musicology - Hanssler-Verlag, 1979-1988, except in the case of the layer of Siena K.1.2 containing the motets; here dates aretaken from TIMOTHY J. DICKEY, Rethinking the Siena Choirbook: A New Date and Implications for itsMusical Contents, «Early music history», 24, 2005, pp. 1-52: 3, 17-18.

6 For example the Mass mss. Lucca 238, Milan Librone 3, Chigi, and Verona 755.7 For mid-century Vespers mss. such as Mod X.1.11 and Florence 112bis see J.E. CUMMING,

The Motet in the Age of Du Fay, cit., p. 59, and TIMOTHY J. DICKEY, Reading the Siena Choirbook:A Re-Appraisal of the Dating, Musical Repertoires, and Marian Performance Context of the ManuscriptSiena, Biblioteca Comunale degli intronati, MS. K.1.2., Ph.D. dissertation, Duke University, 2003,Chapter IV: Si’s Vespers Music and the Liturgical Function of its Marian Motet Repertory, pp. 181-228, and the abstract of his unpublished paper, A Specific Liturgical Function for Marian Motets:The Evidence of the «Siena Choirbook», in «Program and Abstracts of Papers Read at the AmericanMusicological Society, Seventieth Annual Meeting, November 11-14, 2004, Seattle, Washington»,pp. 120-121.


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JULIE E. CUMMING

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TABLE 3 – Mss. copied before 1501 containing pieces from the first five Petrucci motet prints(28 sources out of a total of 136 concordant sources; 43 motets out of a total of 174)

CONCORDANT

SOURCES

NO. OF

PIECESPROVENANCE TYPE OF SOURCE

CS 41 1 Rome Masses

CS 63 1 Rome Masses

Milan 2 1 Milan Masses and motets

Chigi 4 Netherlands, Ghent/Bruges Masses and motets

CS 35 3 Rome Masses and motets

Milan 3 5 Milan Masses and motets, 4Magnificats

Segovia 4 Spain, Toledo Mixed

Glog 1 Germany, Glogau Mixed (partbooks)

Amiens 162 1 France Mixed + missal

Spec 6 Czech, Prague Mixed sacred

Warsaw 2016 5 Czech, Silesia, Bohemia Mixed sacred

Munich 3154 3 Germany, Innsbruck Mixed sacred

Leipzig 1494 (Apel) 3 Germany, Leipzig Mixed sacred

Berlin 40021 6 Germany, Leipzig? Mixed sacred

Bologna Q17 1 Florence Secular (oblong, textless)

Verona 757 1 Verona Secular (oblong, textless)

Cappella Giulia 1 Florence Secular chansons

Florence 229 1 Florence Secular chansons

Florence 2794 1 France Secular chansons

Uppsala 76a 1 France Secular chansons

Paris 1597 3 France, Paris Secular chansons

Mellon 1 Naples Secular chansons

Wolffheim 1 Italy, Florence? Secular Italian

Bologna 2573 1 Bologna Theory treatises, motets

Milan 1 4 Milan Vespers

CS 15 12 Rome Vespers

Verona 758 9 Verona Vespers

SP B80 1 Rome Vespers and Masses

and devotional contexts, and provided a generic identity for the motet thatwas independent of any particular function.

Oblong quarto format. Why did Petrucci choose the oblong quarto formatfor his motet prints? Is there any significance to this choice? In many ways hischoice of format seems counterintuitive. Cathedral and chapel choirs normallysang off large choirbooks, from three to seven times as big as the Petrucci vol-umes (dimensions for some of these manuscripts are shown on Table 2). Theoblong quarto choirbook was not appropriate for use by a cathedral or chapelchoir – it was too small, perhaps even too small for one on a part, especiallyfor four-voice music.8

Petrucci initially chose the oblong quarto format for his first printed book,the Odhecaton, a secular collection of textless chansons. Although the Odhe-caton, as the first of the Petrucci prints, is usually touted as the revolutionaryvolume, I would suggest that it was an entirely conventional north Italianchansonnier, except for the fact that it was printed. Quite a few oblong Italianchansonniers survive c. 1500 (Bologna Q17, Verona 757, Florence 178, Mo-dena a. F.9.9, Bologna Q18, and Florence 2439); Bologna Q18, Verona 757, andFlorence 27 (another oblong manuscript we will discuss below) all share withthe Odhecaton the «Northern Italian» repertoire and readings Allan Atlasidentified in his study of the Cappella Giulia chansonnier.9 In choosing to be-gin with the Odhecaton, Petrucci and his team may have looked around themand identified the most common type of music manuscript owned by indi-viduals – the textless chansonnier – and decided to print more music booksthat looked like that.10

Once Petrucci had figured out how to print in the oblong format, hedecided to retain it for his later prints. So we could say that the oblong formatresults from Petrucci’s laziness (or to put it more positively, his decision tostick with what worked). Nevertheless, printing the motets in oblong formatdid have implications for potential markets for these books, and for how the

8 See STANLEY BOORMAN, Did Petrucci’s concern for Accuracy include any Concern with Perfor-mance Issues?, «Basler Jahrbuch fur historische Musikpraxis», XXV, 2001, pp. 23-37: 30-31; andCatalogue, p. 250; DAVID FALLOWS, Petrucci’s Canti Volumes: Scope and Repertory, «Basler Jahrbuchfur historische Musikpraxis», XXV, 2001, pp. 39-52: 42; H.M. BROWN, The Mirror of Men’s Salva-tion, cit., p. 745.

9 See D. FALLOWS, Petrucci’s Canti Volumes, cit., pp. 41-42, and S. BOORMAN, Catalogue, cit.,p. 249. For the «Northern Italian» group of sources see ALAN ATLAS, The Cappella Giulia Chansonnier(Rome, Biblioteca Apostolica Vaticana, C.G. XIII.27), I, New York, Institute for Medieval Music,1975 («Musicological Studies», 27), part 1, p. 258.

10 Boorman makes a similar point in his Catalogue, p. 250.


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music contained in them was perceived – implications that Petrucci may haverealized and embraced. The oblong format brings the motet books closer tothe world of the chansonnier – it secularizes the motets, and makes themmore available to lay people, amateurs, and court musicians (both singersand instrumentalists). The fact that Petrucci gave the motet books Italian ti-tles, rather than the Latin used for the titles of his Masses, Lamentations, andHymns,11 also suggests that he was thinking of a secular market, as does theinclusion of a substantial number of pieces without text and a few instrumen-tal works, such as Ghiselin’s La spagna or Josquin’s canonic arrangement ofDe tous biens (see Table 4, nos. 115 and 135).12 The fact that some of the text-less and partially texted pieces were intabulated (see Table 4; intabulatedpieces are marked with an asterisk) supports the idea of instrumental perfor-mance of this repertoire. Petrucci also retained the oblong quarto choirbookformat for his later collections of Italian-texted music, the frottole and laude.

The real future of music printing lay in the domestic amateur market. Pro-fessional performers of sacred music continued to live in a predominantlymanuscript culture, even after printing became widespread. But amateurswere not necessarily equipped to make their own accurate copies of music(see, for example the notoriously sloppy Schedel Liederbuch), nor did theyhave time to do so. They were musically curious, on the other hand, andon the lookout for new repertoire, which Petrucci’s motet volumes provided.It seems likely to me that after an initial success with Odhecaton, perhaps dueto its novelty value, Petrucci decided that more was to be gained by printingcollections of Italian-texted music such as frottole, and collections of musiconly available previously to professional musicians: motets and Masses.

Petrucci introduced partbooks (rather than choirbook format) for his firstbook of Josquin Masses in September 1502, and adopted them for the motetbeginning with Motetti C, in September 1504. Partbooks simplify layout,especially for pieces that take up more than one opening, since there is noneed to work out how much of the page each voice will take up, or to coor-dinate the parts for the page turn. Partbooks also solve the legibility problem,

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JULIE E. CUMMING

11 This is pointed out in DAVID M. GEHRENBECK, Motetti de la Corona: a Study of OttavianoPetrucci’s Four Last-Known Motet Prints (Fossombrone, 1414-19): with 44 Transcriptions, 4 vols.,S.M.D. dissertation, Union Theological Seminary, 1970, I, p. 148.

12 The fact that the Petrucci motet collections include some pieces that are not motets maycome as a surprise given my emphasis on these volumes as the first motet anthologies devoted tothe motet. However, just as many chansonniers include one or two motets, we sometimes findone or two instrumental works or untexted canons in the motet books; the motets are still overwhelm-ingly dominant, unlike earlier sources for the motet that included substantial numbers of pieces inother genres.

TABLE 4 – Textless and partially texted pieces in Petrucci’s first five motet prints (26 of 174 total)

NO. COMPOSER TEXT/TITLE (NO. OF CONCORDANT SOURCES)

101 Anon. canon, retrograde (0)

109 Agricola O quam glorifica (3 vv.) (2)

*111 Josquin D’ung aultre/Victimae (only T texted) (4)

*115 Ghiselin O florens rosa (3 vv.) (3)

*116 Craen Ecce video (3 vv.) (14, none of which have text beyond incipit)

119 Ghiselin La Spagna (2; none have text)

128 Anon. Da pacem (only S texted; A is si placet part; better with 3 vv.?) (3)

130 Tinctoris Virgo dei trono (3vv.) (7)

135 Josquin De tous biens (3vv.; lower 2 voices in canon) (0)

201 Crispinusvan Stappen

Non lotis manibus (S only texted) (3)

*212 Obrecht Parce Domine (with si placet; found in many chansonniers) (15)

226 Agricola Ave pulcherrima regina (3 vv.) (0)

234 Moulu] Sic unda impellitur (canon; 3vv.) (4)

310 Anon. Concede nobis Domine (no text in secunda pars) (1)

311 Obrecht] Requiem [Mille quingentis] (2)

315 Ockeghem] Ut heremita solus (1)

318 Isaac] Alma redemptoris (A & B not texted) (3)

320 Anon. Ave Regina celorum/O decus innocentie (only S texted) (0)

323 Anon. O admirabile (only S texted) (0)

327 Anon. Trinitas deitas (only S texted) (1)

331 Anon. Si bona suscepimus (texted in its other source, CS 42)

*334 Isaac] Rogamus te [La mi la sol] (8; texted here, but untexted in most othernon-Mass sources)]

426 Agricola Pater meus agricola est (3 vv.) (1, no text)

505 Josquin Homo quidam (4)

506 Isaac O decus ecclesie (2)

508 Josquin Requiem [Nymphes des bois] (2)

513 Obrecht O preciosissime (text gives out in middle of prima pars) (0)

* also intabulated; square bracket after a composer’s name (]) means that the attribution is notfound in Petrucci.

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making it possible for 4, or even 8, people to see the music easily. There weretherefore obvious advantages to this format. We do not know what the otherassociations for partbook format were, since very few survive before Petrucci;David Fallows suggests that they might have been associated with instrumen-tal performance, as in the Glogauer Liederbuch.13 Did the adoption of part-books for Masses, and then motets, indicate that Petrucci was now aiming fora new market, consisting of ecclesiastical institutions, court and cathedral chap-els? Possibly. I suggest that he hoped that partbook format would expandhis potential market to include ecclesiastical institutions, while he continuedto focus on individual owners. Bonnie Blackburn has suggested that Petruc-ci’s resolutions of canons in the Masses implies that he intended these booksfor non-professionals, and textless pieces are still found in the editions pub-lished in partbooks, Motetti C, 4, and a 5 (see Table 4).14

Petrucci’s three innovations – (1) the printing and publication of musicfor sale to a public as yet unknown; (2) the creation of the motet anthologyand (3) the choice of the oblong quarto format and then partbooks for themotets – worked hand in hand for similar results. They divorced the motetfrom its sacred context and secularized a sacred repertoire. Petrucci may havedone this, at least in part, in order to develop a market among musical amateurs,both singers and players, in search of new repertoire. We will return to thisissue below, after looking at the concordances between the Petrucci printsand the chapel choirbooks.

II. CONTENTS AND CONCORDANCES

Where did Petrucci and his music editor, Petrus Castellanus, get their rep-ertoire?15 And how did it circulate after publication? A glance at Table 3,

JULIE E. CUMMING

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13 See DAVID FALLOWS, The Early History of the Tenorlied and its Ensembles, in Le Concert desvoix et des instruments a la Renaissance: Actes du XXXIVe colloque international d’etudes humanistes,Tours, Centre d’etudes superieures de la Renaissance, 1-11 juillet 1991, ed. J.-M. Vaccaro, Paris, CNRS,1995, pp. 199-211: 203: «I would suggest that the initial need for partbooks was broadly associatedwith the needs of instrumentalists. [...] partbooks were considerably more common in the fifteenthcentury than the surviving record shows. These are, after all, the quintessential disposable material».

14 «A study of the compositions containing canons has led me to the conclusion that his inten-ded buyers in the first place must have been non-professional singers, because the music has beenedited to fit their needs». BONNIE BLACKBURN, Canonic Conundrums: The Singer’s Petrucci, «BaslerJahrbuch fur historische Musikpraxis», XXV, 2001, pp. 53-69: 53, 58. Boorman tends to disagreewith this hypothesis: see his Did Petrucci’s concern for accuracy, cit., p. 23: «I believe that Petruccishows not the slightest interest in how his music would be performed, and that he, as producerof the editions, made no efforts to assist the performer».

15 On Castellanus see BONNIE BLACKBURN, Petrucci’s Venetian Editor: Petrus Castellanus and his

listing all the sources with Petrucci concordances copied before 1501, revealsthat almost all the manuscripts with more than one concordance are eitherItalian chapel choirbooks or the Germanic manuscripts containing mixedsacred repertory. I will focus here on the Italian sources with four or moreconcordances (listed in Table 2, and shown in a larger font in Table 3). Thereare 43 different Petrucci motets found in the earlier manuscripts listed in Ta-ble 3; of those, 20, or almost half, come from four Italian choirbooks: CS 15,Milan Libroni 1 & 3, and Verona 758. A list of the Petrucci motets found inthese four sources can be found in Appendix Ia (p. 390).

While none of the Petrucci pieces appears to have been copied directlyfrom any of these earlier choirbooks, Marilee Mouser has found that Petrucci’sreadings are quite close to those in the Milanese Gaffurius codices.16 Whoeverprovided music to the chapel at SS. Giovanni e Paolo, where Castellanusworked, to Castellanus himself, or to Petrucci, would have turned to the distinctmotet sections found in cathedral and chapel choirbooks to locate material.

What can we learn from the list (Appendix Ia) of Petrucci motets concor-dant with these earlier choirbooks? There are 30 concordances between thesemanuscripts and the Petrucci prints, but only 20 different pieces (see Appen-dix III), since eight of the pieces are found in more than one manuscript, andone piece, Compere’s Ave Maria, is found in three of these manuscripts. Mostof the motets in Appendix Ia are well known pieces by famous composers– there is very little anonymous music, and lots of Compere and Gaspar. Thereis not much Josquin, on the other hand – only the early Alma/Ave and Illiba-ta. (Sancti dei omnes and O bone et dulcis, while attributed to Josquin in othersources, are not attributed to Josquin in Petrucci, and are probably not byJosquin.) There are some pieces in mid-fifteenth-century style, with two partesin 0 and c mensurations: the two early Josquin works and two five-voice tenormotets, Regis’s Clangat plebs and Gaspar’s Dulcis amica Dei. Most of the other

Musical Garden, «Musica Disciplina», 49, 1995, pp. 15-45; and EAD., The Sign of Petrucci’s Editor, inVenezia 1501: Petrucci e la stampa musicale. Venice 1501: Petrucci, Music, Print and Publishing. Attidel convegno internazionale di studi, Venezia, Palazzo Giustinian Lolin, 10-13 ottobre 2001, eds.G. Cattin and P. Dalla Vecchia, Venezia, Edizioni Fondazione Levi, 2005, pp. 415-429. Blackburnassociates Castellanus with most of Petrucci’s music books published in Venice, and especially withthe «alphabet series»: Canti A, B, C, Motetti A, B, C, 4, and a 5. See The sign, pp. 415-416 and 423.BOORMAN seems to support this hypothesis for these volumes; see Catalogue, pp. 268-269, 278-279,301, although he disagrees with Blackburn on Castellanus’s involvement with many of the other Ve-netian volumes; see his Petrucci in the Light of Recent Research, in Venezia 1501: Petrucci e la stampamusicale. Venice 1501: Petrucci, Music, Print and Publishing, cit., pp. 125-147: 135-138.

16 MARILEE MOUSER, Petrucci and his Shadow: A Study of the Filiation and Reception History ofthe Venetian Motet Anthologies, 1502-1508, Ph.D. dissertation, University of California, Santa Bar-bara, 2003, pp. 92 and 108.


— 383 —

pieces are in a more progressive style, with syllabic declamation, clear repeti-tion and imitation, and paired duos. Castellanus and Petrucci were drawingon a common Italian cathedral and chapel repertory that was dominated byCompere.

Petrucci’s motets also turn up in later chapel choirbooks (see Table 2b fora list of the sources, as well as Appendix Ib, where the pieces are sorted bymanuscript, and Appendix II, where the pieces are sorted by composer).The idea of the motet anthology seems to have caught on, even in chapelmanuscripts: CS 42 and 46, Florence 232, and Padua A17 are all motet an-thologies. CS 42 retains its strong link to the liturgy by ordering the motetsaccording to the liturgical calendar; but the motets in CS 42 or in any of thesemotet anthologies in choirbook format were not associated with any particularliturgy.

In some cases we can tell that the scribes of these later manuscripts copiedthe motets from Petrucci (these copies of pieces are marked with an asteriskin Appendices Ib and II). I am fortunate to be able to draw on the work ofmany scholars who have done filiation studies of this repertoire.17 Judging bythe limited numbers of copies from Petrucci in the Roman and Florentinesources, CS 42, CS 46, and Florence 232, these sources contain pieces thatcontinued to circulate primarily in manuscript, with little or no reference tothe Petrucci prints. Manuscripts remained an important route of transmis-sion, especially for professional musicians, even after printing. But severalother chapel manuscripts, especially the Siena choirbook, Padua A17, and Ci-vidale 59, contain motets that seem to have been copied directly from theprints back into the manuscripts.18 Additional evidence for this practice

JULIE E. CUMMING

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17 M. MOUSER, Petrucci and his Shadow, cit.; GEORGE W. DRAKE, The First Printed Books ofMotets. Petrucci’s Motetti A numero trentatre (Venice, 1502), and Motetti de Passione, de Cruce,de Sacramento, de Beata Virgine et huiusmodi B (Venice, 1503), Ph.D. diss., University of Illinois,1972; OTTAVIANO PETRUCCI, Motetti de Passione, de Cruce, de Sacramento, de Beata Virgine et huius-modi B: Venice, 1503, ed. G.W. Drake («Monuments of Renaissance Music», XI), Chicago, Univer-sity of Chicago Press, 2002; T. DICKEY, Reading the Siena Choirbook, cit., pp. 74-75 and 111-123;and his Rethinking the Siena Choirbook, cit., pp. 17-19, 40-43; on Florence 27, JON BANKS, The Mo-tet as a Formal Type in Northern Italy ca. 1500 («Outstanding dissertations in music from Britishuniversities»), I, New York-London, Garland, 1993, pp. 10-12, 73, and 83; Editors of the New Jos-quin edition, Utrecht, Vereniging voor Nederlandse Muziekgeschiedenis, 1987-: RICHARD SHERR,XIV, 2002, for Planxit autem; MARTIN JUST, XIX, 1998, for Homo quidam and Liber generationis;BONNIE BLACKBURN, XXII, 2003, for Qui velatus and Tu solus.

18 In Petrucci’s Venetian Editor, cit., p. 38, B. BLACKBURN has shown that the scribe of Padua A17, Giordano Passetto, was trained at SS. Giovanni e Paolo under Petrus Castellanus, and may havetaken his exemplars from there rather than from the Petrucci prints. The fact, however, that Passettocopied the music into his choirbook, rather than using a copy of the Petrucci prints (perhaps avail-able at a discount from Castellanus), confirms our idea that prints were not used in a chapel choir.

comes from the Heidelberg catalogue of the Neuberg collection of Otthein-rich’s court chapel, which lists Petrucci’s editions (of Masses and the Motettide la Corona) as well as manuscripts into which pieces were copied.19 ThusPetrucci’s motets, secularized through printing in oblong quarto format,could be re-sacralized by copying them back into the great chapel choirbooks.We can presume that the chapels bought the prints and used them as sourcesfrom which to copy motets for use in church services, even though the actualprints were probably not used for performance, at least not at Mass or Ves-pers before the high altar.

The repertoire found in these later manuscripts resembles the repertoirefound in the earlier ones (see Appendix II, sorted by piece). Earlier sourcesare shaded; comments in the second column indicate whether a piece is onlyfound in earlier sources (oe); found in early and late sources (e&l), and only inlater sources (no marking in column 2). 13 of the 20 pieces from the earlierchoirbooks recur in these later manuscripts; there are also 37 new pieces fromPetrucci not found in the earlier manuscripts (see Appendix III).The list ofcomposers, however, is very similar, with lots of Compere and Gaspar, andmultiple copies of Sancti Dei omnes, as well as of popular pieces by Compereand Ninot le Petit. But while Compere is still prominent, there is only onenew piece by him in the later sources (In nomine Jesu, the Officium de Cruce).Josquin, on the other hand, has emerged as a front runner. There are morepieces by Josquin in the first five Petrucci motet prints than by any other com-poser,20 and as many pieces by Josquin in these later concordant manuscriptsas by any other composer (Appendix II: Gaspar and Josquin are tied with 10pieces each). The first decade of the sixteenth century seems to have been themoment when Josquin moved into the spotlight; perhaps Petrucci was instru-mental in that emergence.21

19 Joshua Rifkin brought this to my attention. See JUTTA LAMBRECHT, Das «Heidelberger Kapell-inventar» von 1544 (Codex Pal. Germ. 318): Edition und Kommentar («Heidelberger Biblio-theksschriften», 26), Heidelberg, Universitatsbibliothek, 1986; SIEGFRIED HERMELINK, Ein Musika-lienverzeichnis der Heidelberger Hofkapelle aus dem Jahre 1544, in Ottheinrich: Gedenkschrift zurvierhundertjahrigen Wiederkehr seiner Kurfurstenzeit in der Pfalz (1556-1559), ed. G. Poensgen, Hei-delberg, Ruperto-Carola, 1956, pp. 247-260; and S. BOORMAN, Catalogue, cit., pp. 342-345 and 372,n. 15.

20 Counting attributions in all sources, the first five Petrucci motet prints contain 24 pieces byJosquin, 18 by Gaspar, 10 by Obrecht, 9 by Brumel, 8 each by Compere and Ghiselin, and 6 byIsaac.

21 See HONEY MECONI, Josquin and Musical Reputation, in Essays on Music and Culture in Hon-or of Herbert Kellman, ed. B. Haggh (Collection «Epitome musical»), Paris-Tours, Minerve-Cesr,2001, pp. 280-297. In this article Meconi surveys the «pre-print distribution» of Josquin, Agricola,Compere, Isaac, and Obrecht, and finds that Josquin has the second lowest appearances in the


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The copies from Petrucci found in these later choirbooks, and the com-mon repertoire among this complex of sources, suggest that, when performedat Mass and Vespers in the major Italian chapels, motets were performedfrom big choirbooks, not small prints. Boorman’s study of known institutionalowners of the Petrucci prints seems to bear this out: while many institutionsowned several of the Mass books, ownership of the motet books is much lesscommon (and the motet books that can be associated with these institutionsare largely the Motetti de la Corona series, not the first five motet prints).22

Were the Petrucci motet prints ever used for performance in church? In alandmark article on the first four Petrucci motet prints published in 1990,Howard Brown suggested that the primary use for the motet c. 1500 wasin votive services in side chapels. He based his argument in part on the subjectmatter of the motets in the first four Petrucci motet prints, in combinationwith the subtitle of Motetti B (see Table 1): «Motets of the passion, the cross,the sacrament, the blessed Virgin, and so forth, B».23 Unlike the other Petruc-ci volumes, Motetti B is loosely organized according to the subject matterlisted in the title.

While Brown’s suggestion is very attractive, and very possibly true, sub-stantial amounts of archival work in Italian archives since 1990 has failed toturn up payment records for votive services including motets in side chapels.Research into the use of music by Italian confraternities, however, has yieldedrich returns. Blake Wilson, in his work on the Florentine laudesi companies,and Jonathan Glixon, in his work on the Venetian scuole, have both shownthat confraternities in these cities began hiring professional musicians – oftenhighly skilled church musicians from leading ecclesiastical institutions – in thelate fifteenth and early sixteenth centuries.24 These musicians were capable ofperforming complex written polyphony, as well as the simpler lauda reper-tory. Florentine professional laudesi performed especially at lauda vigils insidechurches;25 professional musicians hired by the Venetian scuole were used

JULIE E. CUMMING

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sources (93 appearances, while Obrecht has only 78; Agricola, in contrast, has 204); see p. 282, Table 1,and pp. 287-289.

22 S. BOORMAN, Catalogue, cit., pp. 342-345. In contrast, Boorman provides a longer list of in-dividual owners, many of whom had one of the motet books, although the time frame extends intothe eighteenth century; see Catalogue, pp. 345-349.

23 H.M. BROWN, The mirror of men’s salvation, cit., p. 756.24 BLAKE WILSON, Music and Merchants: The Laudesi Companies of Republican Florence, Ox-

ford, Clarendon Press, 1992, pp. 176-182; JONATHAN GLIXON, Honoring God and the City: Musicat the Venetian Confraternities, 1260-1807, Oxford - New York, Oxford University Press, 2003,pp. 89-125.

25 B. WILSON, Music and Merchants, cit., pp. 47-70.

especially in the public processions. They sang while stopped before churcheson the processional route, and possibly while walking as well.26 The practicesWilson and Glixon have documented so ably in these two cities were re-peated, with variations, all over the Italian peninsula.27

Brown noted the absence of texts in the Petrucci prints concerningChristmas and Easter; these feasts were not celebrated by the Venetian con-fraternities, but in the parish churches.28 Working backward through the listof subjects contained in the title of Motetti B (passion, cross, sacrament, Vir-gin) we find striking correspondences with the feasts celebrated by the con-fraternities, especially in Venice. The Virgin was the special province of theFlorentine laudesi companies, and her feasts were also celebrated with majorprocessions in Venice. Corpus Christi (the sacrament) was the occasion for amajor Venetian civic procession involving the scuole. The Scuola San Giovan-ni Evangelista owned a relic of the true cross, and had three important annualevents associated with this relic. The passion was the main feature of Lentenvigil services in Florence; in Venice it could be associated with both the crossand Corpus Christi, as well as for Lenten processions in Venice.29

Unfortunately there is little record of what musical repertoire was sung,although both Wilson and Glixon find it likely that motets could have beenincluded.30 Glixon suggests that the hired singers were responsible for bring-ing their own music; he even suggests (in the case of a source from late six-teenth-century Treviso) that partbooks were the preferred format for proces-sional singing by groups of professional lauda singers.31

It seems to me very likely that the Petrucci motet prints were used by thesingers who worked for the confraternities. Petrucci himself may have be-longed to a Venetian scuola; he would have been very aware of the potentialmarket among the scuole and their singers for his prints – not only the lauda

26 J. GLIXON, Honoring God, cit., pp. 107-108.27 For a general study of confraternities see CHRISTOPHER F. BLACK, Italian Confraternities in

the Sixteenth Century, Cambridge - New York, Cambridge University Press, 1989.28 J. GLIXON, Honoring God, cit., pp. 44-45; in Florence the laudesi did celebrate Christmas

and Easter, B. WILSON, Music and Merchants, cit., p. 48.29 For Florence see B. WILSON, Music and Merchants, cit.: on the Virgin, pp. 31 and 48; on the

passion during Lent, pp. 66-70. For Venice see J. GLIXON, Honoring God, cit.: on feasts of the Vir-gin, p. 66, on Corpus Christi, p. 54, on San Giovanni Evangelista and the cross, p. 64; and on Lent,58-60.

30 B. WILSON, Music and Merchants, cit., pp. 135-136, 161, 176-182; J. GLIXON, Honoring God,cit., p. 108.

31 Ibid.; and JONATHAN GLIXON, review of DAVID BRYANT – MICHELE POZZOBON, Musica devo-zione citta: La Scuola di Santa Maria dei Battuti (e un suo manoscritto musicale) nella Treviso del Ri-nascimento, «Early music history», 26, 1997, 310-317: 315.


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collections, but also more complex motets.32 The surviving collections oflaude demonstrate a varied style, including contrafacta from several genres,including motets.33 Twenty-one motets from Motetti A and B are found inmanuscripts containing laude (Florence 27, Cape Town 3.b.12, and Petrucci’ssecond lauda collection, RISM 15083: see Appendix IV) – some reworked andretexted, others copied right out of Petrucci.34 The choirbook format used inMotetti A and B is also used in Petrucci’s two lauda volumes, while the firsttwo motet books include many relatively short homorhythmic pieces.35 Onepossibility is that the shorter ‘lauda-style’ pieces found in Motetti A and Bmay have been performed from memory. Longer, more complex works foundin Motetti C, 4, and possibly even a 5 could have been performed a libro fromthe partbooks by singers employed by the confraternities.

The confraternities, combining as they do sacred and secular, lay and cler-ical, amateur and professional, inhabit a space in society very similar to thatof the motet in the musical genre hierarchy: sitting between secular musicand the Mass, the motet can refer to and incorporate generic features fromboth ends of the spectrum.36 The range of styles in all five motet books – fromthe simple ‘lauda-style’ pieces found in the lauda sources, to the large-scalecantus firmus motets found in the big chapel choirbooks – can be attributedto Petrucci’s desire to attract as many different kinds of buyers as possible.

One of the manuscripts included on my list of later sources is not a bigchapel choirbook: Florence 27.37 This is an oblong quarto manuscript inchoirbook format, the same size and shape as the Petrucci prints, containing

JULIE E. CUMMING

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32 S. BOORMAN, Catalogue, cit., pp. 39-40.33 See JONATHAN GLIXON, The Polyphonic Laude of Innocentius Dammonis, «Journal of musi-

cology», VIII, 1990, pp. 19-35.34 For a discussion of how the motets were arranged as laude, see GEORGE W. DRAKE, Motetti

B and its Relation to the Lauda Repertory circa 1500, in Venezia 1501, cit., pp. 441-454.35 H.M. BROWN, The Mirror of Men’s Salvation, cit., p. 755, n. 39.36 See J.E. CUMMING, The Motet in the Age of Du Fay, cit., p. 43.37 For Florence 27 see J. BANKS, The Motet as a Formal Type, cit. A new edition of the ms. is

about to appear: Florence, BNC, Panciatichi MS 27: Text and Context, ed. G. Filocamo, 2 vols. («Mo-numenta Musica europea», II/1), Cremona, Fondazione Locatelli -Turnhout, Brepols, forthcoming.The following text appears on the publisher’s website (http://www.fondazionelocatelli.org/IT/Pub-blicazioni/Mon1.htm, accessed July 8, 2005): «The volume comprises a complete edition of the largemanuscript Panciatichi 27, compiled at the beginning of the sixteenth century: 184 compositions(parts of masses, motets, Magnificat sections, litanies, lamentations, dances, instrumental pieces, frot-tole, laude, chansons, etc.). Nearly one-third of the compositions have Italian texts. [...] Some com-positions are closely related to printed sources of the early sixteenth century: several pieces were cop-ied from publications by Petrucci and the Canzoni nove of Antico (1510), which helps in dating themanuscript. [...] It has been suggested that Panciatichi 27 was copied in northern Italy (Mantua orFerrara); further evidence – in particular a repertorial connection with Augsburg, Staats- und Stadt-bibliothek, MS 2º 142a – points to Mantua».

laude, frottole, textless (probably instrumental) music, and motets, copied di-rectly out of Motetti A. Here we can see that Petrucci’s secularization of themotet has caught on: in this manuscript the motets have entered the realm ofsecular music, to be sung or played by the people who were also performingthe other vernacular genres printed by Petrucci (such as frottole and laude).Here, as with the motet anthology, Petrucci’s printed books have becomemodels and sources for a new kind of manuscript.

Some later printers produced large folio choirbooks (usually of Masses)designed for performance by cathedral and chapel choirs. Antico’s Quindecimmissarum of 1516 is the first of a short but distinguished lineage of these bigbooks.38 But most sixteenth-century printers followed Petrucci’s lead: theypublished oblong quarto motet anthologies in partbooks, even after single-im-pression printing took over. The generic label «motet» found on the title page(and its various successors: cantiones sacrae, moduli, etc.) told the buyers whatthey were getting – relatively complex Latin-texted music. These prints servedas copy texts for chapel manuscripts throughout the sixteenth century, andthey were probably used in confraternities and possibly for votive services.Nevertheless, one of Petrucci’s most important achievements was his secular-ization of the motet. The printed motet had become an autonomous genre, aform of chamber music for amateur musicians.

38 See MITCHELL BRAUNER, abstract of his unpublished paper, On the Cusp of the Print and MSCultures: The ‘‘Liber Quindecim missarum’’ of 1516, «Program and Abstracts of Papers Read at theAmerican Musicological Society, Seventieth Annual Meeting, November 11-14, 2004, Seattle, Wash-ington», pp. 122-123. We know that Petrucci was capable of printing in upright folio format withwoodblocks, at least in Fossombrone, from his famous non-music print, the Paulina (1513; S. BOOR-

MAN, Catalogue, cit., no. 52, pp. 724-740; see also pp. 230-235). This book was c. 31621 cm.


— 389 —

APPENDIX I

Concordant Italian choirbooks: Pieces concordant with Petrucci,sorted by source

a) Earlier Choirbooks

MS DATES COMPOSER ATTR NO TITLE

Milan 1 1484-90 Compere 103 O genetrix gloriosa (Pars 2)

Gaspar 131 Christi mater ave

Gaspar 132 Ave stella matutina

Gaspar 134 Mater digna dei

Milan 3 1492-1500 Anon. 321 Virgo precellens deitatis

Compere 103 O genetrix gloriosa (Pars 1)

Compere 118 Ave Maria gratia plena

Josquin 401 Alma redemptoris/Ave RC

Mouton], Josquin] 324 Sancti dei omnes orate

CS 15 1495-97 Anon. 321 Virgo precellens deitatis

Anon. 422 Alma redemptoris mater

Basiron 429 Inviolata integra

Compere 106 Crux triumphans

Compere 107 Propter gravamen

Compere 117 Sile fragor ac verborum


Compere 129 Quis numerare queat

Gaspar 503 Dulcis amica Dei


Josquin 504 Illibata Dei virgo

Regis 501 Clangat plebs

Verona 758 1500 Anon. 435 Obsecro te virgo dulcissima

Brumel 113 Regina celi letare


Compere 117 Sile fragor ac verborum


Gaspar 134 Mater digna dei

Josquin] 316 O bone et dulcis domine Jesu


Ninot le Petit] 312 Psalite noe Judei credite

JULIE E. CUMMING

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b) Later Choirbooks * = probably copied from Petrucci*? = possibly copied from Petrucci


CS 42 1503-12 Anon. 331 Si bona suscepimus

Anon. 442 Regina celi letare

Brumel 113 Regina celi letare

Brumel 302 Ave celorum domina [Ave cuius]

Compere] 328 Profitentes unitatem *?

Josquin 102 Ave Maria gratia plena

Josquin 303 Liber generationis

Josquin 505 Homo quidam fecit (before Pet.)



Ninot le Petit] 313 Si oblitus fuero tui

Obrecht 502 Factor orbis

Obrecht 509 Laudemus nunc *?

Milan 4 1505 Anon. 337 Gaudeamus omnes in Domino

Compere 103 O genetrix gloriosa

Gaspar 441 Spiritus domine replevit

Josquin 102 Ave Maria gratia plena

Josquin 439 Vultum tuum deprecabantur

Siena K.1.2 1505 Compere 103 O genetrix gloriosa *


Gaspar 114 Virgo Maria non enim tibi *

Mouton], Josquin] 324 Sancti dei omnes orate (*added sec-tion from Petrucci)

Ninot le Petit] 312 Psalite noe Judei credite *

Ninot le Petit] 313 Si oblitus fuero tui *

CS 46 1508-27 Anon. 431 O claviger regni celorum *

Anon. 435 Obsecro te virgo dulcissima *

Compere 103 O genetrix gloriosa

Josquin 340 Mittit ad verginem

FlorenceII.I.232

1515 Anon. 331 Si bona suscepimus

Agricola] 309 Ergo sancti martires

27


— 391 —



Compere 221 In nomine Jesu (Officium de Cruce)*?

Isaac] 233 Quis dabit capiti meo aquam

Isaac] 318 Alma redemptoris mater

Josquin 102 Ave Maria gratia plena *?

Josquin 303 Liber generationis

Josquin 308 Missus est angelus Gabriel


Josquin] 316 O bone et dulcis domine Jesu

Josquin] 333 Planxit autem David *?


Ninot le Petit] 313 Si oblitus fuero tui

Obrecht 438 O beate Basili *?

Obrecht 502 Factor orbis

Padua A17 1522 Gaspar 134 Mater digna dei *

Gaspar 441 Spiritus domine replevit (partes 1&2) *

Josquin 203 Qui velatus facie fuisti (6a pars,Christum ducem) (Copy from Coro-na I)

Josquin 439 Vultum tuum deprecabantur(partes 1*, 2*, 3*, 5*, 7)

Cividale 59 1535-1545 Anon. 327 Trinitas deitas unitas eterna *

Anon. 330 Miserere mei Deus *

Compere] 328 Profitentes unitatem *

Gaspar 220 Anima Christi sanctifica me *

Isaac] 334 Rogamus te piisima virgo *

Mouton], Josquin] 324 Sancti dei omnes orate *

Later oblong quarto ms. with mixed contents

Florence 27 1505-1512 Anon. 125 Stella celi extirpavit *

Anon. 128 Da pacem domine *

Agricola 109 O quam glorifica luce *

Brumel 113 Regina celi letare *

JULIE E. CUMMING

— 392 —


Compere 107 Propter gravamen *

Gaspar 110 Adonay sanctissime *

Gaspar 114 Virgo Maria non enim tibi *

Gaspar 122 Ibo mihi ad montem mirre *

Gaspar 124 O pulcherima mulierum *

Gaspar 131 Christi mater ave *

Gaspar 132 Ave stella matutina *

Gaspar 134 Mater digna dei *

Ghiselin 119 La spagna *

Josquin 224 Tu solus qui facis mirabilia

Pinarol, Jo de 104 Surge propera amica mea *

Square bracket after a composer’s name (]) means that the attribution is not found in Petrucci.


— 393 —

APPENDIX II

Pieces Found in Concordant Italian Choirbooks: Sorted by composer

oe = only earlier MSS;e&l = earlier & later MSS = earlier MS

COMPOSER ATTR NO. TITLE MS DATES

Anon. 125 Stella celi extirpavit * Florence 27 1505-1512

11 pieces128 Da pacem domine * Florence 27 1505-1512

oe 321 Virgo precellens deitatis Milan 3 1492-1500

Virgo precellens deitatis CS 15 1495-97

327 Trinitas deitas unitas eterna * Cividale 59 1535-1545

330 Miserere mei Deus * Cividale 59 1535-1545

331 Si bona suscepimus FlorenceII.I.232

1515

Si bona suscepimus CS 42 1503-12

337 Gaudeamus omnes in Domino Milan 4 1505

oe 422 Alma redemptoris mater CS 15 1495-97

431 O claviger regni celorum * CS 46 1508-27

e&l 435 Obsecro te virgo dulcissima Verona 758 1500

Obsecro te virgo dulcissima * CS 46 1508-27

442 Regina celi letare CS 42 1503-12

Agricola 109 O quam glorifica luce * Florence 27 1505-1512

Agricola] 309 Ergo sancti martires FlorenceII.I.232

1515

Basiron oe 429 Inviolata integra CS 15 1495-97

Brumel e&l 113 Regina celi letare Verona 758 1500

2 piecesRegina celi letare CS 42 1503-12

4 copiesRegina celi letare * Florence 27 1505-1512

302 Ave celorum domina [Avecuius]

CS 42 1503-12

Compere e&l 103 O genetrix gloriosa (Pars 2) Milan 1 1484-90

7 piecesO genetrix gloriosa (Pars 1) Milan 3 1492-1500

18 copiesO genetrix gloriosa Milan 4 1505

JULIE E. CUMMING

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Compere (cont.) O genetrix gloriosa * Siena K.1.2 1505

O genetrix gloriosa CS 46 1508-27

e&l 106 Crux triumphans CS 15 1495-97

Crux triumphans Verona 758 1500

Crux triumphans FlorenceII.I.232

1515

e&l 107 Propter gravamen CS 15 1495-97

Propter gravamen * Florence 27 1505-1512

oe 117 Sile fragor ac verborum Verona 758 1500

Sile fragor ac verborum CS 15 1495-97

e&l 118 Ave Maria gratia plena Milan 3 1492-1500

Ave Maria gratia plena CS 15 1495-97

Ave Maria gratia plena Verona 758 1500

Ave Maria gratia plena Siena K.1.2 1505

oe 129 Quis numerare queat CS 15 1495-97

221 In nomine Jesu (Officium deCruce) *?

FlorenceII.I.232

1515

Compere] 328 Profitentes unitatem *? CS 42 1503-12

Profitentes unitatem * Cividale 59 1535-1545

Gaspar 110 Adonay sanctissime * Florence 27 1505-151210 pieces

114 Virgo Maria non enim tibi * Siena K.1.2 150517 copies

Virgo Maria non enim tibi * Florence 27 1505-1512

122 Ibo mihi ad montem mirre * Florence 27 1505-1512

124 O pulcherima mulierum * Florence 27 1505-1512

e&l 131 Christi mater ave Milan 1 1484-90

Christi mater ave * Florence 27 1505-1512

e&l 132 Ave stella matutina Milan 1 1484-90

Ave stella matutina * Florence 27 1505-1512

e&l 134 Mater digna dei Milan 1 1484-90

Mater digna dei Verona 758 1500

Mater digna dei * Florence 27 1505-1512


— 395 —



Gaspar (cont.) Mater digna dei * Padua A17 1522

441 Spiritus domine replevit Milan 4 1505

Spiritus domine replevit(partes 1&2) *

Padua A17 1522

oe 503 Dulcis amica Dei CS 15 1495-97

220 Anima Christi sanctifica me * Cividale 59 1535-1545

Ghiselin 119 La spagna * Florence 27 1505-1512

Isaac] 233 Quis dabit capiti meo aquam FlorenceII.I.232

1515

318 Alma redemptoris mater FlorenceII.I.232

1515

334 Rogamus te piisima virgo * Cividale 59 1535-1545

Josquin 102 Ave Maria gratia plena CS 42 1503-12

10 piecesAve Maria gratia plena Milan 4 1505

16 copiesAve Maria gratia plena *? Florence

II.I.2321515

203 Qui velatus facie fuisti (6apars, Christum ducem, fromCorona)

Padua A17 1522

224 Tu solus qui facis mirabilia Florence 27 1505-1512

303 Liber generationis CS 42 1503-12

Liber generationis FlorenceII.I.232

1515

308 Missus est angelus Gabriel FlorenceII.I.232

1515

340 Mittit ad verginem CS 46 1508-27

e&l 401 Alma redemptoris/Ave RC Milan 3 1492-1500

Alma redemptoris/Ave RC CS 15 1495-97

Alma redemptoris/Ave RC FlorenceII.I.232

1515

439 Vultum tuum deprecabantur Milan 4 1505

Vultum tuum deprecabantur(partes 1,* 2,* 3,* 5,* 7)

Padua A17 1522

JULIE E. CUMMING

— 396 —



Josquin (cont.) oe 504 Illibata Dei virgo CS 15 1495-97

505 Homo quidam fecit CS 42 1503-12

Josquin] e&l 316 O bone et dulcis domine Jesu Verona 758 1500

O bone et dulcis domine Jesu FlorenceII.I.232

1515

333 Planxit autem David *? FlorenceII.I.232

1515

Mouton], Josquin] e&l 324 Sancti dei omnes orate Verona 758 1500

1 pieceSancti dei omnes orate Milan 3 1492-1500

5 copiesSancti dei omnes orate CS 42 1503-12

Sancti dei omnes orate(* added)

Siena K.1.2 1505

Sancti dei omnes orate * Cividale 59 1535-1545

Ninot le Petit] e&l 312 Psalite noe Judei credite Verona 758 1500

2 piecesPsalite noe Judei credite CS 42 1503-12

7 copiesPsalite noe Judei credite * Siena K.1.2 1505

Psalite noe Judei credite FlorenceII.I.232

1515

313 Si oblitus fuero tui CS 42 1503-12

Si oblitus fuero tui * Siena K.1.2 1505

Si oblitus fuero tui FlorenceII.I.232

1515

Obrecht 438 O beate Basili *? FlorenceII.I.232

15153 pieces

502 Factor orbis CS 42 1503-124 copies

Factor orbis FlorenceII.I.232

1515

509 Laudemus nunc *? CS 42 1503-12

Pinarol, Jo de 104 Surge propera amica mea * Florence 27 1505-1512

Regis oe 501 Clangat plebs CS 15 1495-97

* = probably copied from Petrucci.*?= possibly copied from Petrucci according to M. MOUSER.


— 397 —

APPENDIX III

Total Petrucci concordances in Italian choirbooks:99 copies, 58 pieces (see Appendix II)

Earlier choirbooks (see APPENDIX Ia and APPENDIX II):30 copies;20 pieces;8 pieces not found in the later MSS («oe» in APPENDIX II).

Later MSS (choirbooks + Florence 27; see APPENDIX Ib and APPENDIX II):69 copies;50 pieces;37 new pieces;13 old pieces (also found in the earlier choirbooks; «e&l» in APPENDIX II).

JULIE E. CUMMING

— 398 —

APPENDIX IV

Concordances with sources containing laude

PETRUCCI

NO.COMPOSER TITLE

CONCORDANT SOURCE

WITH LAUDE

104 Pinarol, Jo de Surge propera amica mea Florence 27

107 Compere Propter gravamen Florence 27

109 Agricola O quam glorifica luce Florence 27

110 Gaspar [van Weerbeke] Adonay sanctissime Florence 27

113 Brumel Regina celi letare Florence 27

114 Gaspar [van Weerbeke] Virgo Maria non enim tibi Florence 27

119 Ghiselin La spagna Florence 27

122 Gaspar [van Weerbeke] Ibo mihi ad montem mirre Florence 27

124 Gaspar [van Weerbeke] O pulcherima mulierum Florence 27

125 Anon. Stella celi extirpavit Florence 27

128 Anon. Da pacem domine Cape Town 3.b.12

Anon. Da pacem domine Florence 27

131 Gaspar [van Weerbeke] Christi mater ave Florence 27

132 Gaspar [van Weerbeke] Ave stella matutina Florence 27

134 Gaspar [van Weerbeke] Mater digna dei Cape Town 3.b.12

Gaspar [van Weerbeke] Mater digna dei Florence 27

205 Gaspar [van Weerbeke] Tenebre facte sunt Cape Town 3.b.12

207 Gaspar [van Weerbeke] Verbum caro factum est 1508/3

Gaspar [van Weerbeke] Verbum caro factum est 1508/3

217 Gaspar [van Weerbeke] Panis angelicus 1508/3

224 Josquin Tu solus qui facis mirabilia 1508/3

Josquin Tu solus qui facis mirabilia Florence 27

227 Anon. Sancta Maria quesumus 1508/3

231 Anon. Gaude virgo mater Christi 1508/3


— 399 —

APPENDIX V

Sources and Sigla

SIGLUM SOURCE

1508/3 Laude libro secondo, Venice, Petrucci, 1508 n.s.

Amiens 162 Amiens, Bibliotheque Municipale, MS 162

Berlin 40021 Berlin, Staatsbibliothek – Preussischer Kulturbestiz, MS Mus. 40021

Bologna 2573 Bologna, Biblioteca Universitaria, MS 2573. Tinctoris treatises

Bologna Q17 Bologna, Civico Museo Bibliografico Musicale, MS Q17

Bologna Q18 Bologna, Civico Museo Bibliografico Musicale, MS Q18

Canti A Harmonice musices Odhecaton A, Venice, Petrucci, 1501

Canti B Canti B, numero trentatre, Venice, Petrucci, 1502

Canti C Canti C, numero cento cinquanta, Venice, Petrucci, 1503

Cape Town 3.b.12 Cape Town, South African Public Library, Grey 3.b.12

Cappella Giulia Rome, Vatican City, Biblioteca Apostolica Vaticana, Cappella GiuliaMS XIII.27 (Codex Medici)

Chigi Rome, Vatican City, Biblioteca Apostolica Vaticana, MS Chigi C VIII234 (Chigi Codex). Alamire

Cividale 59 Cividale del Friuli. Museo Archeologico Nazionale, MS 59

CS 15 Rome, Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Si-stina 15



CS 42 Rome, Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Si-stina 42. Motets in calendrical order.



Florence 112bis Florence, Biblioteca Nazionale Centrale, Magliabechiana XIX.112bis

Florence 178 Florence, Biblioteca Nazionale Centrale, Magliabechiana XIX.178

Florence 229 Florence, Biblioteca Nazionale Centrale, MS Banco Rari 229 (olimMagliabechi XIX.59)

JULIE E. CUMMING

— 400 —

SIGLUM SOURCE

Florence 2439 Florence, Biblioteca del Conservatorio di Musica «Luigi Cherubini»,MS Basevi 2439 (Basevi Codex)

Florence 27 Florence, Biblioteca Nazionale Centrale, MS Panciatichi 27

Florence 2794 Florence, Biblioteca Riccardiana, MS 2794

Florence II.I.232 Florence, Biblioteca Nazionale Centrale, MS II.I.232 (olim Magliabe-chi XIX.58)

Glog Berlin, Staatsbibliothek, MS 40098 (Glogauer Liederbuch.)

Leipzig 1494 (Apel) Leipzig, Universitatsbibliothek, MS 1494 (Nikolas Apel Codex)

Lucca 238 Lucca, Biblioteca-Archivio Storico Comunale, 238

Mellon New Haven, Yale University Library, Mellon Chansonnier.

Milan 1 Milan, Archivio della Veneranda Fabbrica del Duomo, Sezione Musi-cale, Librone 1 (olim 2269)



Milan 4 Milan, Archivio della Veneranda Fabbrica del Duomo, Sezione Musi-cale, Librone 4 (olim 2266; partly destroyed)

Mod X.1.11 Modena, Biblioteca Estense, a.X.1.11

Modena a.F.9.9 Modena, Biblioteca Estense, a.F.9.9

Motetti 4 Motetti libro quarto, Venice, Petrucci, 1505

Motetti 5 Motetti a cinque libro primo, Venice, Petrucci, 1508

Motetti A Motetti A numero trentatre A, Venice, Petrucci, 1502

Motetti B Motetti De passione, De cruce, De sacramento, De beata virgine et huiusmodi B, Venice, Petrucci, 1503

Motetti C Motetti C, Venice, Petrucci, 1504.

Munich 3154 Munich, Bayerischer Staatsbibliothek, Musiksammlung, Mus. MS3154 (Chorbuch des Nikolaus Leopold)

Padua A17 Padua, Biblioteca Capitolare, MS A 17

Paris 1597 Paris, Bibliotheque Nationale de France, Departement des Manu-scrits, f. fr. 1597 (Lorraine Chansonnier)

Schedel Munich, Bayerisches Staatsbiliothek, Cgm 810 (olim Mus. ms. 3232)

Segovia Segovia, Archivio Capitular de la Catedral, MS s.s.


— 401 —

SIGLUM SOURCE

Siena K.1.2 Siena, Biblioteca comunale degli Intronati, MS K.1.2

SP B80 Vatican City, San Pietro in Vaticano, Archivio Capitolare, MS B.80

Spec Hradec Kralove, Museum, Hudebni oddelini, MS II.A.7 (SpecialnıkCodex)

Quindecim missarum Liber quindecim missarum, Rome, Antico, 1516 [RISM 15161 ]

Uppsala 76a Uppsala, Universitetsbiblioteket, MS Vokalmusik I Handskrift 76a

Verona 755 Verona, Biblioteca Capitolare, MS DCCLV (755)

Verona 757 Verona, Biblioteca Capitolare, MS DCCLVII (757)

Verona 758 Verona, Biblioteca Capitolare, MS DCCLVIII (758)

Warsaw 2016 Warsaw, Biblioteka Uniwersytecha, MS Mf. 2016 (formerly Breslau/Wrocaw)

Wolffheim Washington, Library of Congress, MS M.2. 1 M 6 Case (WolffheimFragment)

RIASSUNTO – Ottaviano Petrucci introdusse tre fondamentali innovazioni nei suoiprimi cinque libri di mottetti: 1) si rivolse a un pubblico sino ad allora di difficileidentificazione, affrancando la musica dai suoi contesti istituzionali e sociali, alla ricer-ca di nuovi impieghi e nuovi utenti; 2) creo ‘l’antologia di mottetti’, ossia un libro dimusica dedicato al solo genere del mottetto e presentato come tale (tutte le fonti pre-cedenti del mottetto, durante il Rinascimento, includono anche altri generi di musi-ca): nel farlo, svincolo il mottetto dal suo contesto sacro o devozionale e gli conferıidentita autonoma da funzioni prestabilite; 3) scelse di stampare i mottetti in un for-mato di quarto oblungo, dapprima nella tipologia del corale e successivamente in libriparte. Il formato oblungo era diffuso per il chansonnier, e fu, quella, una scelta natu-rale per la sua prima stampa, l’Odhecaton; con tale preferenza (e nell’intitolare i vo-lumi di mottetti in lingua italiana anziche in latino, impiegato per le messe) Petruccisecolarizzo i volumi dei mottetti, presentandoli in un formato gia familiare ai musicistidi corte e ai dilettanti. Queste tre innovazioni svolsero la duplice funzione di scindereil mottetto dal suo contesto sacro e di laicizzare il repertorio.

Quasi la meta dei mottetti di Petrucci attestati dai manoscritti piu antichi e col-locata in quattro libri corali italiani: CS 15, Milano Libroni 1 & 3 e Verona 758. Lamaggior parte dei pezzi e nota e riconduce a compositori importanti; a fronte dipoca musica anonima spiccano brani di Compere e Gaspar (non vi e invece moltoJosquin). Benche si ritenga che nessuno dei brani pubblicati da Petrucci sia statocopiato da alcuno di questi manoscritti, e facile desumere che egli ricorse al reper-torio piu diffuso nelle cattedrali e nelle cappelle italiane, repertorio dominato daCompere.

JULIE E. CUMMING

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I mottetti di Petrucci fecero la loro comparsa anche in libri corali successivi. Al-cuni di essi contengono mottetti che sembrano essere stati copiati direttamente dalleversioni a stampa: dapprima secolarizzati grazie al formato in quarto oblungo, pote-vano quindi essere ‘risacralizzati’ dalla copiatura nei grandi libri corali delle cappelle.Il repertorio di questi manoscritti piu tardi e affine a quello che si riscontra nei do-cumenti piu antichi, ed e caratterizzato da brani di Compere e Gaspar e da copie mul-tiple di altri brani popolari. Vi e un solo nuovo brano di Compere nelle fonti piu tar-de; molti e nuovi quelli di Josquin. Petrucci effettuo forse una scelta ‘strategica’,eleggendo Josquin al rango di massimo compositore del primo decennio del sedice-simo secolo.

Sinora le testimonianze inducono a ritenere che, se eseguiti a Messa e durante iVespri, i mottetti venivano letti direttamente da grandi libri corali e non da stampe dipiccole dimensioni. Le stampe dei mottetti di Petrucci non furono dunque mai impie-gate per l’esecuzione chiesastica? Forse i mottetti votivi o devozionali, del tipo riscon-trato nei Motetti B, furono conservati in fonti di dimensioni piu piccole, non durevoli,per l’esecuzione da parte di un limitato numero di cantori in cappelle laterali senzaleggio, o in confraternite, come avveniva per le laude.

Alcuni stampatori producevano corali in folio (ad es. il Quindecim missarum di An-tico del 1516); ma nel sedicesimo secolo la maggior parte di loro seguı l’esempio di Pe-trucci, pubblicando antologie di mottetti in quarto oblungo. Queste stampe servivanoda fonti utili alla copiatura per i manoscritti delle cappelle e furono forse usate ancheper i servizi votivi. Una delle conquiste piu importanti in tema di mottetto fu pero lasecolarizzazione favorita da Petrucci; questo era divenuto, tra l’altro, un genere auto-nomo, una forma di ‘musica da camera’ destinata anche a musicisti dilettanti.


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