Magnificat (Orlando di Lasso): Difference between revisions
Jump to navigation
Jump to search
m (Text replacement - " " to " ") |
m (Text replacement - " " to " ") |
||
Line 29: | Line 29: | ||
* {{NoCo|Patrocinium musices: Beatisimæ deiparæque Virginis Mariæ|''Patrocinium musices: Beatisimæ deiparæque Virginis Mariæ canticum Magnificat, ad imitationem cantilenarum quarundam'', 4–6vv (Munich, 1587c)}} | * {{NoCo|Patrocinium musices: Beatisimæ deiparæque Virginis Mariæ|''Patrocinium musices: Beatisimæ deiparæque Virginis Mariæ canticum Magnificat, ad imitationem cantilenarum quarundam'', 4–6vv (Munich, 1587c)}} | ||
*''[[Iubilus beatæ virginis hoc est centum Magnificat (Orlando di Lasso)|Iubilus beatæ virginis, hoc est centum Magnificat]]'', 4–8vv, 10vv (Munich, 1619a) nos. 50-65 | *''[[Iubilus beatæ virginis hoc est centum Magnificat (Orlando di Lasso)|Iubilus beatæ virginis, hoc est centum Magnificat]]'', 4–8vv, 10vv (Munich, 1619a) nos. 50-65 | ||
*''Liber primus cantiones sacræ Magnificat vocant'', 5, 6vv (Paris, 1602<sup>1</sup>) | *''Liber primus cantiones sacræ Magnificat vocant'', 5, 6vv (Paris, 1602<sup>1</sup>) | ||
*{{NoCo|Liber primus cantiones sacrae Magnificat vocant, 5, 6vv|''Liber primus cantiones sacræ Magnificat vocant'', 5, 6vv (Paris, 1602<sup>1</sup>)}} | *{{NoCo|Liber primus cantiones sacrae Magnificat vocant, 5, 6vv|''Liber primus cantiones sacræ Magnificat vocant'', 5, 6vv (Paris, 1602<sup>1</sup>)}} | ||
Line 178: | Line 178: | ||
|34||44||41 | |34||44||41 | ||
|{{NoCo|Magnificat Ancor che col partire|Ancor che col partire}} (after [[Ancor che col partire (Cipriano de Rore)|Rore's madrigal)]] H xiv, 82 ||iv ||5 | |{{NoCo|Magnificat Ancor che col partire|Ancor che col partire}} (after [[Ancor che col partire (Cipriano de Rore)|Rore's madrigal)]] H xiv, 82 ||iv ||5 | ||
| | | | ||
|- | |- | ||
|35||67||95 | |35||67||95 | ||
Line 243: | Line 243: | ||
| | | | ||
|- | |- | ||
|51||19||31 | |51||19||31 | ||
|Secundi toni, 5vv, H xv, 10 ||ii ||5 | |Secundi toni, 5vv, H xv, 10 ||ii ||5 | ||
| | | | ||
Line 251: | Line 251: | ||
| | | | ||
|- | |- | ||
|53||59||45 | |53||59||45 | ||
|Sexti toni (i), 5vv, H xv, 24 || vi ||5 | |Sexti toni (i), 5vv, H xv, 24 || vi ||5 | ||
| | | | ||
|- | |- | ||
|54||61||47 | |54||61||47 | ||
|Sexti toni (ii), 5vv, H xv, 30 ||vi ||5 | |Sexti toni (ii), 5vv, H xv, 30 ||vi ||5 | ||
| | | |
Revision as of 12:34, 20 November 2020
Lassus' Magnificats number about 100 and indeed were printed posthumously as Iubilus beatæ virginis, hoc est centum Magnificat (Munich 1619). Almost all (the exceptions are the through-composed No's 35, 64, 65 & 102) are alternatim settings of the even verses.
The sortable list below is ordered after the SWnR, with Bötticher's 195? catalogue numbers and the numbering of the 1619 print.
SWnR
The Sämtlicher Werke neue Reihe (SWnR) includes 110 attributed works according to the following plan:
- Volume 13 (Magnificats, Band 1, nos. 1–24), edited by Wolfgang Boetticher: 3 Magnificat cycles in the 8 modes (Nuremberg, 1567)
- Volume 14 (Magnificats, Band 2, nos. 25–49), edited by James Erb: Works printed in Paris 1587 as well as Munich 1576 & 1587
- Volume 15 (Magnificats, Band 3, nos. 50–70), edited by James Erb: works from the period 1576-1583 in Munich mss.
- Volume 16 (Magnificats, Band 4, nos. 71–92), edited by James Erb: works from the period 1583-1585 in Munich mss.
- Volume 17 (Magnificats, Band 5, nos. 93–110), edited by James Erb: Posthoumously transmitted works & dubia; appendix with parody models not by Lassus
Sources
- Magnificat octo tonorum, 4–6vv (Nuremberg, 1567) (1–8. 6vv, ; 9–16. 5vv, ; 17–24. 4vv, )
- Patrocinium musices: Beatisimæ deiparæque Virginis Mariæ canticum Magnificat, ad imitationem cantilenarum quarundam, 4–6vv (Munich, 1587c)
- Iubilus beatæ virginis, hoc est centum Magnificat, 4–8vv, 10vv (Munich, 1619a) nos. 50-65
- Liber primus cantiones sacræ Magnificat vocant, 5, 6vv (Paris, 16021)
- Liber primus cantiones sacræ Magnificat vocant, 5, 6vv (Paris, 16021)
Sortable table
SWnR | Bot | 1619 | model | mode | vv | publ. |
---|---|---|---|---|---|---|
1 | 10 | 61 | Primi toni | i | 6 | Nürnberg 1567 |
2 | 22 | 65 | Secundi toni | ii | 6 | Nürnberg 1567 |
3 | 37 | 74 | Tertii toni | iii | 6 | Nürnberg 1567 |
4 | 45 | 75 | Quarti toni | iv | 6 | Nürnberg 1567 |
5 | 53 | 78 | Quinti toni | v | 6 | Nürnberg 1567 |
5 | 63 | 80 | Sexti toni | vi | 6 | Nürnberg 1567 |
7 | 78 | 84 | Septimi toni | vii | 6 | Nürnberg 1567 |
8 | 95 | 90 | Octavi toni | viii | 6 | Nürnberg 1567 |
9 | 6 | 26 | Primi toni | i | 5 | Nürnberg 1567 |
10 | 18 | 30 | Secundi toni | ii | 5 | Nürnberg 1567 |
11 | 34 | 34 | Tertii toni | iii | 5 | Nürnberg 1567 |
12 | 40 | 37 | Quarti toni | iv | 5 | Nürnberg 1567 |
13 | 50 | 42 | Quinti toni | v | 5 | Nürnberg 1567 |
14 | 58 | 44 | Sexti toni | vi | 5 | Nürnberg 1567 |
15 | 72 | 49 | Septimi toni | vii | 5 | Nürnberg 1567 |
16 | 89 | 55 | Octavi toni | viii | 5(6) | Nürnberg 1567 |
17 | 2 | 2 | Primi toni | i | 4 | Nürnberg 1567 |
18 | 15 | 6 | Secundi toni | ii | 4 | Nürnberg 1567 |
19 | 32 | 10 | Tertii toni | iii | 4 | Nürnberg 1567 |
20 | 39 | 13 | Quarti toni | iv | 4 | Nürnberg 1567 |
21 | 49 | 15 | Quintii toni | v | 4 | Nürnberg 1567 |
22 | 56 | 17 | Sexti toni | vi | 4 | Nürnberg 1567 |
23 | 69 | 20 | Septimi toni | vii | 4 | Nürnberg 1567 |
24 | 88 | 24 | Octavi toni | viii | 4 | Nürnberg 1567 |
25 | 1 | 1 | Primi toni | i | 4 | Patrocinium musices 1576 |
26 | 14 | 5 | Secundi toni | ii | 4 | Patrocinium musices 1576 |
27 | 31 | 9 | Tertii toni | iii | 4 | Patrocinium musices 1576 |
28 | 38 | 12 | Quarti toni | iv | 4 | Patrocinium musices 1576 |
29 | 48 | 14 | Quinti toni | v | 4 | Patrocinium musices 1576 |
30 | 55 | 16 | Sexti toni | vi | 4(5) | Patrocinium musices 1576 |
31 | 68 | 19 | Septimi toni | vii | 4 | Patrocinium musices 1576 |
32 | 87 | 23 | Octavi toni | viii | 4 | Patrocinium musices 1576 |
33 | 3 | 3 | Primi toni H xiv, 75 | i | 4 | |
34 | 44 | 41 | Ancor che col partire (after Rore's madrigal) H xiv, 82 | iv | 5 | |
35 | 67 | 95 | Sexti toni, H xiv, 94 | vi | 8 | one of 4 through-composed settings |
36 | 85 | 96 | Septimi toni H xiv, 112 | vii | 8 | |
37 | 4 | 4 | Si par souhait (own chanson, 1570b), H xiv, 126 | i | 4 | |
38 | 17 | 8 | Il est jour (Claudin de Sermisy’s chanson),H xiv, 133 | ii | 4 | |
39 | 28 | 71 | Quanti in mille anni il ciel ([?Pierre] Nollet’s madrigal) H xiv, 141 | ii | 6 | |
40 | 11 | 62 | Dessus le marché d’Arras (own chanson, 1584a), H xiv, 158 | i | 6 | 1587 |
41 | 12 | 63 | Susanne un jour (own chanson), H xiv 174 | i | 6 | 1587 |
42 | 83 | 89 | Deus in adjutorium [septimi (?) toni] (own motet, 1582e), H xiv, 189 | Peregrini toni | 6 | 1587 |
43 | 29 | 72 | Ecco ch’io lasso il core (?Striggio’s madrigal), H xiv, 201 | ii | 6 | 1587 |
44 | 13 | 64 | Omnis enim homo (own motet, 1585b), H xiv, 216 | i | 6 | |
45 | 81 | 87 | Amor ecco colei H xiv, 231 | vii | 6 | 1587 |
46 | 46 | 76 | Quando lieta sperai (anon. madrigal, 1548), H xiv, 243 | iv | 6 | 1587 |
47 | 94 | 60 | Aria di un sonetto (Ortiz’s Aria di Ruggiero), H xiv, 256 | viii | 5 | 1587 |
48 | 36 | 36 | Mort et fortune (Nicolas Gombert’s chanson), H xiv, 263 | iii (viii) | 5 | 1587 |
49 | 30 | 73 | Mais qui pourroit (own chanson, 1584a), H xiv, 275 | ii | 6 | 1587 |
50 | 16 | 7 | O s’io potessi (Berchem’s madrigal), 4vv, H xv, 3 | ii | 4 | |
51 | 19 | 31 | Secundi toni, 5vv, H xv, 10 | ii | 5 | |
52 | 42 | 39 | Quarti toni (i), 5vv, H xv, 16 | iv | 5 | |
53 | 59 | 45 | Sexti toni (i), 5vv, H xv, 24 | vi | 5 | |
54 | 61 | 47 | Sexti toni (ii), 5vv, H xv, 30 | vi | 5 | |
55 | 74 | 51 | Septimi toni (i), 5vv, H xv, 35 | vii | 5 | |
56 | 90 | 56 | Octavi toni (i), 5vv, H xv, 40 | viii | 5 | |
57 | 21 | 33 | Las je n’iray plus (own chanson, 1576a), H xv, 46 | ii | 5 | |
58 | 26 | 69 | Ultimi miei sospiri Verdelot’s madrigal), H xv, 58 | ii | 6 | |
59 | 65 | 82 | Tant vous allez doux (Ebran’s chanson), H xv, 74 | vi | 6 | |
60 | 77 | 54 | Hélas j’ai sans merci (own chanson, 1584a), H xv, 95 | vii | 5 | |
61 | 82 | 88 | S’io esca vivo (own madrigal, 1579), H xv, 108 | vii | 6 | |
62 | 96 | 91 | Octavi toni, 6vv, H xv, 126 | vii | 6 | |
63 | 47 | 94 | Quarti toni, 8vv, H xv, 138 | iv | 8 | |
64 | 86 | 97 | Septimi toni, 8vv, H xv, 152 | vii | 8 | one of 4 through-composed settings |
65 | 99 | 99 | Octavi toni (i), 8vv, H xv, 166 | viii | 8 | one of 4 through-composed settings |
66 | 54 | 79 | Omnis homo primum bonum vinum ponit (de Wert’s motet), H xv, 181 | vi | 6 | |
67 | 101 | - | [Sexti toni], MS ca.1582, H xv, 201 | vi | 5 | |
68 | 64 | 81 | Dies est lætitia H xv, 212 | vi | 6 | |
69 | 97 | 92 | Benedicta es, cælorum regina (Josquin’s motet, 1520), H xv, 228 | vii | 6 | |
70 | 25 | 68 | Præter rerum seriem (Josquin’s motet), H xv, 248 | ii | 6 | |
71 | 7 | 27 | Primi toni, H xvi, 3 | i | 5 | |
72 | 20 | 32 | Secundi toni | ii | 5 | |
73 | 35 | 35 | Tertii toni, H xvi, 25 | iii | 5 | |
74 | 41 | 38 | Quarti toni, | iv | 5 | |
75 | 51 | 43 | Quinti toni, H xvi, 46 | v | 5 | |
76 | 60 | 46 | Sexti toni, 5vv, H xvi, 57 | vi | 5 | |
77 | 73 | 50 | Septimi toni, 5vv, H xvi, 68 | vii | 5 | |
78 | 91 | 57 | Octavi toni, 5vv, H xvi, 80 | viii | 5 | |
79 | 5 | 25 | Primi toni, 5vv, H xvi, 92 | i | 5 | |
80 | 9 | 29 | Vergine bella (Rore’s madrigal), H xvi, 108 | i | 5 | |
81 | 62 | 48 | Dalle belle contrade (Cipriano de Rore’s madrigal), H xvi, 120 | vi | 5 | |
82 | 79 | 85 | Recordare Jesu pie (own motet, 1594), 6vv, H xvi, 134 | vii | 6 | |
83 | 71 | 22 | Margot labouréz les vignes (own chanson, 1564a), H xvi, 154 | vii | 4 | |
84 | 92 | 58 | Alma real se come fide stella (Rore’s madrigal), H xvi, 163 | viii | 5 | |
85 | 27 | 70 | O che vezzosa aurora (Vecchi’s madrigal), H xvi, 175 | ii | 6 | |
86 | 80 | 86 | D’ogni gratia e d’amor (Striggio’s madrigal), H xvi, 188 | vii | 6 | |
87 | 84 | 93 | Perpulchrum H xvi, 204 | vii | 7 | |
88 | 33 | 11 | S’io credessi per morte (A. de Reulx’s madrigal), H xvi, 221 | iii | 4 | |
89 | 57 | 18 | Beau le cristal (own chanson, 1576d), H xvi, 230 | vi | 4 | |
90 | 70 | 21 | Pange lingua gloriosi H xvi, 241 | vii | 4/6 | |
91 | 8 | 28 | Primi toni, 5vv, H xvi, 259 | i | 5 | |
92 | 75 | 52 | Vous perdez temps (Sermisy’s chanson), H xvi, 267 | vii | 5 | |
93 | 93 | 59 | Vola vola pensier (Aeria a la italiana), 5vv, H xvii, 3 | viii | 5 | |
94 | 52 | 77 | Quinti toni, H xvii, 14 | v | 6/8 | |
95 | 98 | 98 | Octavi toni (i), 8vv, H xvii, 31 | viii | 8 | |
96 | 43 | 40 | Octavi toni (ii), 8vv, H xvii, 48 | vii | 8 | |
97 | 76 | 53 | Erano capei d’oro [septimi toni] (Nanino’s madrigal), 5vv, H xvii, 64 | vii | 5 | |
98 | 23 | 66 | Secundi toni, H xvii, 76 | ii | 6 | |
99 | 66 | 83 | Si vous estes m’amie (own chanson, 1584a), 6vv, H xvii, 94 | vi | 6 | |
100 | 24 | 67 | Memor esto (own motet, 1585a), 6vv, H xvii, 107 | ii | 6 | |
101 | 100 | 100 | Aurora lucis rutilat (own motet, 1604), 10vv, H xvii, 124 | viii | 10 | |
102 | - | - | Septimi toni, MS, H xvii, 150 | vii | 10 | one of 4 through-composed settings |
|103–110. 8 Magnificat settings, doubtful, H xvii, 182
External links
- Sämtliche Werke, neue Reihe at the Petrucci Music Library (IMSLP)