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[[Orlando di Lasso|Lassus]]' [[Magnificat]]s number about 100 and indeed were printed posthumously as | [[Orlando di Lasso|Lassus]]' [[Magnificat]]s number about 100 and indeed were printed posthumously as ''[[Iubilus beatæ virginis hoc est centum Magnificat (Orlando di Lasso)|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 ''Sämtlicher Werke | The sortable list below is ordered after the SWnR, with Bötticher's 195? catalogue numbers and the numbering of the 1619 print. | ||
*Volume 13 (Magnificats, Band 1, nos. 1–24), edited by Wolfgang Boetticher: 3 Magnificat cycles in the 8 modes | |||
==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 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 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 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<!-- | |||
*Volume 17 (Magnificats, Band 5, nos. 93–110)<!-- | |||
|93. {{NoCo|Magnificat Vola vola pensier|Vola vola pensier}} (Aeria a la italiana) [octavi toni], 5vv, H xvii, 3 | |93. {{NoCo|Magnificat Vola vola pensier|Vola vola pensier}} (Aeria a la italiana) [octavi toni], 5vv, H xvii, 3 | ||
|94. Quinti toni, 6vv, H xvii, 14 | |94. Quinti toni, 6vv, H xvii, 14 | ||
Line 26: | Line 22: | ||
|103–110. 8 Magnificat settings, doubtful, H xvii, 182 | |103–110. 8 Magnificat settings, doubtful, H xvii, 182 | ||
…--> | …--> | ||
==Sources== | |||
* ''Magnificat octo tonorum'', 4–6vv (Nuremberg, 1567) (1–8. 6vv, <!--Primi toni, H xiii, 3, Secundi toni, H xiii, 15, Tertii toni, H xiii, 34, Quarti toni, H xiii, 50, Quinti toni, H xiii, 68, Sexti toni, H xiii, 88, Septimi toni, H xiii, 106, Octavi toni, H xiii, 122…-->; 9–16. 5vv, <!--Primi toni, H xiii, 143, Secundi toni, H xiii, 155, Tertii toni, H xiii, 166, Quarti toni, H xiii, 181, Quinti toni, H xiii, 193, Sexti toni, H xiii, 200, Septimi toni, H xiii, 213, Octavi toni, H xiii, 227 | |||
…-->; 17–24. 4vv, <!--Primi toni, H xiii, 245, Secundi toni, H xiii, 251, Tertii toni, H xiii, 256, Quarti toni, H xiii, 261, Quinti toni, H xiii, 267, Sexti toni, H xiii, 272, Septimi toni, H xiii, 278, Octavi toni, H xiii, 283 | |||
…-->) | |||
* {{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 | |||
*''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>)}} | |||
==Sortable table== | ==Sortable table== | ||
{| class="wikitable sortable" | {| class="wikitable sortable" | ||
|- | |- | ||
! | !SWnR | ||
!Bot | !Bot | ||
!1619 | !1619 | ||
Line 106: | Line 112: | ||
|Nürnberg 1567 | |Nürnberg 1567 | ||
|- | |- | ||
|18|| | |18||15||6 | ||
|{{NoCo|Magnificat secundi toni|Secundi toni}} ||ii ||4 | |{{NoCo|Magnificat secundi toni|Secundi toni}} ||ii ||4 | ||
|Nürnberg 1567 | |Nürnberg 1567 | ||
Line 172: | 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 | ||
|{{NoCo|Magnificat sexti toni a 8 |Sexti toni}}, H xiv, 94 ||vi ||8 | |{{NoCo|Magnificat sexti toni a 8 |Sexti toni}}, H xiv, 94 ||vi ||8 ||one of 4 through-composed settings | ||
|- | |- | ||
|36||85||96 | |36||85||96 | ||
|Septimi toni H xiv, 112 ||vii ||8 | |Septimi toni H xiv, 112 ||vii ||8 | ||
| | |||
|- | |- | ||
|37||4||4 | |37||4||4 | ||
|{{NoCo|Magnificat Si par souhait|Si par souhait}} ({{NoCo|Si par souhait | |{{NoCo|Magnificat Si par souhait|Si par souhait}} ({{NoCo|Si par souhait|own chanson, 1570b}}), H xiv, 126 ||i ||4 | ||
| | |||
|- | |- | ||
|38||17||8 | |38||17||8 | ||
|{{NoCo|Magnificat Il est jour|Il est jour}} ([[Il est jour (Claudin de Sermisy)|Claudin de Sermisy’s chanson]]),H xiv, 133 ||ii ||4 | |{{NoCo|Magnificat Il est jour|Il est jour}} ([[Il est jour (Claudin de Sermisy)|Claudin de Sermisy’s chanson]]),H xiv, 133 ||ii ||4 | ||
| | |||
|- | |- | ||
|39||28||71 | |39||28||71 | ||
|{{NoCo|Magnificat Quanti in mille anni il ciel|Quanti in mille anni il ciel}} ([[Quanti in mille anni il ciel (Pierre Nollet)|[?Pierre] Nollet’s madrigal]]) H xiv, 141 ||ii ||6 | |{{NoCo|Magnificat Quanti in mille anni il ciel|Quanti in mille anni il ciel}} ([[Quanti in mille anni il ciel (Pierre Nollet)|[?Pierre] Nollet’s madrigal]]) H xiv, 141 ||ii ||6 | ||
| | |||
|- | |- | ||
|40||11||62 | |40||11||62 | ||
Line 194: | Line 204: | ||
|- | |- | ||
|41||12||63 | |41||12||63 | ||
|{{NoCo|Magnificat Susanne un jour|Susanne un jour}} ([[Susanne un jour ( | |{{NoCo|Magnificat Susanne un jour|Susanne un jour}} ([[Susanne un jour (Orlando di Lasso)|own chanson]]), H xiv 174 ||i ||6 | ||
|1587 | |1587 | ||
|- | |- | ||
|42||83||89 | |42||83||89 | ||
|{{NoCo|Magnificat Deus in adjutorium meum|Deus in adjutorium}} [septimi (?) toni] ({{NoCo|Deus in adjutorium|own motet}}, 1582e), H xiv, 189 ||Peregrini toni ||6 | |{{NoCo|Magnificat Deus in adjutorium meum|Deus in adjutorium}} [septimi (?) toni] ({{NoCo|Deus in adjutorium meum intende|own motet}}, 1582e), H xiv, 189 ||Peregrini toni ||6 | ||
|1587 | |1587 | ||
|- | |- | ||
Line 207: | Line 217: | ||
|44||13||64 | |44||13||64 | ||
|{{NoCo|Magnificat Omnis enim homo|Omnis enim homo}} ({{NoCo|Omnis enim homo|own motet}}, 1585b), H xiv, 216 ||i ||6 | |{{NoCo|Magnificat Omnis enim homo|Omnis enim homo}} ({{NoCo|Omnis enim homo|own motet}}, 1585b), H xiv, 216 ||i ||6 | ||
| | |||
|- | |- | ||
|45||81||87 | |45||81||87 | ||
Line 212: | Line 223: | ||
|1587 | |1587 | ||
|- | |- | ||
|46|| | |46||46||76 | ||
|{{NoCo|Magnificat Quando lieta sperai|Quando lieta sperai}} | |{{NoCo|Magnificat Quando lieta sperai|Quando lieta sperai}} ([[Quando lieta sperai (Anonymous)|anon. madrigal]], 1548), H xiv, 243 ||iv ||6 | ||
|1587 | |1587 | ||
|- | |- | ||
Line 230: | Line 241: | ||
|50||16||7 | |50||16||7 | ||
|{{NoCo|Magnificat O s’io potessi|O s’io potessi}} ([[O s’io potessi (Jacquet de Berchem)|Berchem’s madrigal]]), 4vv, H xv, 3 ||ii ||4 | |{{NoCo|Magnificat O s’io potessi|O s’io potessi}} ([[O s’io potessi (Jacquet de Berchem)|Berchem’s madrigal]]), 4vv, H xv, 3 ||ii ||4 | ||
| | |||
|- | |- | ||
|51||19||31 | |51||19||31 | ||
|Secundi toni, 5vv, H xv, 10 ||ii ||5 | |Secundi toni, 5vv, H xv, 10 ||ii ||5 | ||
| | |||
|- | |- | ||
|52||42||39 | |52||42||39 | ||
|Quarti toni (i), 5vv, H xv, 16 ||iv ||5 | |Quarti toni (i), 5vv, H xv, 16 ||iv ||5 | ||
| | |||
|- | |- | ||
|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 | ||
| | |||
|- | |- | ||
|55 ||74||51 | |55 ||74||51 | ||
|Septimi toni (i), 5vv, H xv, 35 ||vii ||5 | |Septimi toni (i), 5vv, H xv, 35 ||vii ||5 | ||
| | |||
|- | |- | ||
|56 ||90||56 | |56 ||90||56 | ||
|Octavi toni (i), 5vv, H xv, 40 ||viii ||5 | |Octavi toni (i), 5vv, H xv, 40 ||viii ||5 | ||
| | |||
|- | |- | ||
|57||21||33 | |57||21||33 | ||
|{{NoCo|Magnificat Las je n’iray plus|Las je n’iray plus}} ({{NoCo|Las je n’iray plus|own chanson}}, 1576a), H xv, 46 ||ii ||5 | |{{NoCo|Magnificat Las je n’iray plus|Las je n’iray plus}} ({{NoCo|Las je n’iray plus|own chanson}}, 1576a), H xv, 46 ||ii ||5 | ||
| | |||
|- | |- | ||
|58||26||69 | |58||26||69 | ||
Line 256: | Line 275: | ||
|- | |- | ||
|59||65||82 | |59||65||82 | ||
|{{NoCo|Magnificat Tant vous allez doux|Tant vous allez doux}} [[Tant vous allez doux ()|(Ebran’s chanson)]], | |{{NoCo|Magnificat Tant vous allez doux|Tant vous allez doux}} [[Tant vous allez doux ()|(Ebran’s chanson)]], H xv, 74 ||vi ||6 | ||
| | |||
|- | |- | ||
|60||77||54 | |60||77||54 | ||
|{{NoCo|Magnificat Hélas j’ai sans merci|Hélas j’ai sans merci}} ({{NoCo|Hélas j’ai sans merci|own chanson}}, 1584a), | |{{NoCo|Magnificat Hélas j’ai sans merci|Hélas j’ai sans merci}} ({{NoCo|Hélas j’ai sans merci|own chanson}}, 1584a), H xv, 95 ||vii ||5 | ||
| | |||
|- | |- | ||
|61||82||88 | |61||82||88 | ||
|{{NoCo|Magnificat S’io esca vivo|S’io esca vivo}} ({{NoCo| | |{{NoCo|Magnificat S’io esca vivo|S’io esca vivo}} ({{NoCo|S'io esca vivo|own madrigal}}, 1579), H xv, 108 ||vii ||6 | ||
| | |||
|- | |- | ||
|62||96||91 | |62||96||91 | ||
|Octavi toni, 6vv, H xv, 126 ||vii ||6 | |Octavi toni, 6vv, H xv, 126 ||vii ||6 | ||
| | |||
|- | |- | ||
|63||47||94 | |63||47||94 | ||
|Quarti toni, 8vv, H xv, 138 ||iv ||8 | |Quarti toni, 8vv, H xv, 138 ||iv ||8 | ||
| | |||
|- | |- | ||
|64||86||97 | |64||86||97 | ||
|Septimi toni, 8vv, H xv, 152 ||vii ||8 | |Septimi toni, 8vv, H xv, 152 ||vii ||8 ||one of 4 through-composed settings | ||
|- | |- | ||
|65||99||99 | |65||99||99 | ||
|Octavi toni (i), 8vv, H xv, 166 ||viii ||8 | |Octavi toni (i), 8vv, H xv, 166 ||viii ||8 ||one of 4 through-composed settings | ||
|- | |- | ||
|66||54||79 | |66||54||79 | ||
|{{NoCo|Magnificat Omnis homo primum bonum vinum ponit|Omnis homo primum bonum vinum ponit}} [[Omnis homo primum bonum vinum ponit (Giaches de Wert)|de Wert’s motet]]), H xv, 181 ||vi ||6 | |{{NoCo|Magnificat Omnis homo primum bonum vinum ponit|Omnis homo primum bonum vinum ponit}} ([[Omnis homo primum bonum vinum ponit (Giaches de Wert)|de Wert’s motet]]), H xv, 181 ||vi ||6 | ||
| | |||
|- | |- | ||
|67||101||- | |67||101||- | ||
|[Sexti toni], | |[Sexti toni], MS ca.1582, H xv, 201 ||vi ||5 | ||
| | |||
|- | |- | ||
|68||64||81 | |68||64||81 | ||
|{{NoCo|Magnificat Dies est lætitia|Dies est lætitia}} H xv, 212 ||vi ||6 | |{{NoCo|Magnificat Dies est lætitia|Dies est lætitia}} H xv, 212 ||vi ||6 | ||
| | |||
|- | |- | ||
|69||97||92 | |69||97||92 | ||
|{{NoCo|Magnificat Benedicta es | |{{NoCo|Magnificat Benedicta es|Benedicta es, cælorum regina}} ([[Benedicta es, caelorum regina (Josquin des Prez)|Josquin’s motet]], 1520), H xv, 228 ||vii ||6 | ||
| | |||
|- | |- | ||
|70||25||68 | |70||25||68 | ||
|{{NoCo|Magnificat Praeter rerum seriem|Præter rerum seriem}} ([[Praeter rerum seriem (Josquin des Prez)|Josquin’s motet]]), H xv, 248 ||ii ||6 | |{{NoCo|Magnificat Praeter rerum seriem|Præter rerum seriem}} ([[Praeter rerum seriem (Josquin des Prez)|Josquin’s motet]]), H xv, 248 ||ii ||6 | ||
| | |||
|- | |- | ||
|71||7||27 | |71||7||27 | ||
|Primi toni, H xvi, 3 ||i | |Primi toni, H xvi, 3 ||i ||5 | ||
| | |||
|- | |- | ||
|72||20||32 | |72||20||32 | ||
|Secundi toni ||ii ||5 | |Secundi toni ||ii ||5 | ||
| | |||
|- | |- | ||
|73||35||35 | |73||35||35 | ||
|Tertii toni, H xvi, 25 ||iii ||5 | |Tertii toni, H xvi, 25 ||iii ||5 | ||
| | |||
|- | |- | ||
|74||41||38 | |74||41||38 | ||
|Quarti toni, | |Quarti toni, ||iv ||5 | ||
| | |||
|- | |- | ||
|75||51||43 | |75||51||43 | ||
|Quinti toni, H xvi, 46 ||v | |Quinti toni, H xvi, 46 ||v ||5 | ||
| | |||
|- | |- | ||
|76||60||46 | |76||60||46 | ||
|Sexti toni, 5vv, H xvi, 57 ||vi ||5 | |Sexti toni, 5vv, H xvi, 57 ||vi ||5 | ||
| | |||
|- | |- | ||
|77||73||50 | |77||73||50 | ||
|Septimi toni, 5vv, H xvi, 68 ||vii ||5 | |Septimi toni, 5vv, H xvi, 68 ||vii ||5 | ||
| | |||
|- | |- | ||
|78||91||57 | |78||91||57 | ||
|Octavi toni, 5vv, H xvi, 80 ||viii ||5 | |Octavi toni, 5vv, H xvi, 80 ||viii ||5 | ||
| | |||
|- | |- | ||
|79||5||25 | |79||5||25 | ||
|Primi toni, 5vv, H xvi, 92 ||i | |Primi toni, 5vv, H xvi, 92 ||i ||5 | ||
| | |||
|- | |- | ||
|80||9||29 | |80||9||29 | ||
|{{NoCo|Magnificat Vergine bella|Vergine bella}} ([[Vergine bella (Cipriano de Rore)|Rore’s madrigal]]), H xvi, 108 ||i ||5 | |{{NoCo|Magnificat Vergine bella|Vergine bella}} ([[Vergine bella (Cipriano de Rore)|Rore’s madrigal]]), H xvi, 108 ||i ||5 | ||
| | |||
|- | |- | ||
|81||62||48 | |81||62||48 | ||
|{{NoCo|Magnificat Da le belle contrade|Dalle belle contrade}} ([[Da le belle contrade d'oriente (Cipriano de Rore)|Cipriano de Rore’s madrigal]]), H xvi, 120 ||vi ||5 | |{{NoCo|Magnificat Da le belle contrade|Dalle belle contrade}} ([[Da le belle contrade d'oriente (Cipriano de Rore)|Cipriano de Rore’s madrigal]]), H xvi, 120 ||vi ||5 | ||
| | |||
|- | |- | ||
|82||79||85 | |82||79||85 | ||
|{{NoCo|Magnificat Recordare Jesu pie|Recordare Jesu pie}} ({{NoCo|Recordare Jesu pie|own motet}}, 1594), 6vv, H xvi, 134 ||vii ||6 | |{{NoCo|Magnificat Recordare Jesu pie|Recordare Jesu pie}} ({{NoCo|Recordare Jesu pie|own motet}}, 1594), 6vv, H xvi, 134 ||vii ||6 | ||
| | |||
|- | |- | ||
|83||71||22 | |83||71||22 | ||
|{{NoCo|Magnificat Margot labourez les vignes|Margot labouréz les vignes}} ({{NoCo|Margot labourez les vignes|own chanson}}, 1564a), H xvi, 154 ||vii ||4 | |{{NoCo|Magnificat Margot labourez les vignes|Margot labouréz les vignes}} ({{NoCo|Margot labourez les vignes|own chanson}}, 1564a), H xvi, 154 ||vii ||4 | ||
| | |||
|- | |- | ||
|84||92||58 | |84||92||58 | ||
|{{NoCo|Magnificat Alma real|Alma real se come fide stella}} ([[Alma real se come fide stella (Cipriano de Rore)|Rore’s madrigal]]), H xvi, 163 ||viii ||5 | |{{NoCo|Magnificat Alma real|Alma real se come fide stella}} ([[Alma real se come fide stella (Cipriano de Rore)|Rore’s madrigal]]), H xvi, 163 ||viii ||5 | ||
| | |||
|- | |- | ||
|85||27||70 | |85||27||70 | ||
|{{NoCo|Magnificat O che vezzosa aurora|O che vezzosa aurora}} ([[O che vezzosa aurora (Orazio Vecchi)|Vecchi’s madrigal]]), H xvi, 175 ||ii ||6 | |{{NoCo|Magnificat O che vezzosa aurora|O che vezzosa aurora}} ([[O che vezzosa aurora (Orazio Vecchi)|Vecchi’s madrigal]]), H xvi, 175 ||ii ||6 | ||
| | |||
|- | |- | ||
|86||80||86 | |86||80||86 | ||
|{{NoCo|Magnificat D’ogni gratia e d’amor|D’ogni gratia e d’amor}} [[D’ogni gratia e d’amor (Alessandro Striggio)|(Striggio’s madrigal)]], H xvi, 188 ||vii ||6 | |{{NoCo|Magnificat D’ogni gratia e d’amor|D’ogni gratia e d’amor}} [[D’ogni gratia e d’amor (Alessandro Striggio)|(Striggio’s madrigal)]], H xvi, 188 ||vii ||6 | ||
| | |||
|- | |- | ||
|87||84||93 | |87||84||93 | ||
|{{NoCo|Magnificat Perpulchrum|Perpulchrum}} H xvi, 204 ||vii ||7 | |{{NoCo|Magnificat Perpulchrum|Perpulchrum}} H xvi, 204 ||vii ||7 | ||
| | |||
|- | |- | ||
|88||33||11 | |88||33||11 | ||
|{{NoCo|Magnificat S’io credessi per morte|S’io credessi per morte}} ([[S’io credessi per morte (Anselmo de Reulx)|A. de Reulx’s madrigal]]), H xvi, 221 ||iii ||4 | |{{NoCo|Magnificat S’io credessi per morte|S’io credessi per morte}} ([[S’io credessi per morte (Anselmo de Reulx)|A. de Reulx’s madrigal]]), H xvi, 221 ||iii ||4 | ||
| | |||
|- | |- | ||
|89||57||18 | |89||57||18 | ||
|{{NoCo|Magnificat Beau le cristal|Beau le cristal}} ({{NoCo|Beau le cristal|own chanson}}, 1576d), H xvi, 230 ||vi ||4 | |{{NoCo|Magnificat Beau le cristal|Beau le cristal}} ({{NoCo|Beau le cristal|own chanson}}, 1576d), H xvi, 230 ||vi ||4 | ||
| | |||
|- | |- | ||
|90||70||21 | |90||70||21 | ||
|{{NoCo|Magnificat Pange lingua gloriosi|Pange lingua gloriosi}} | |{{NoCo|Magnificat Pange lingua gloriosi|Pange lingua gloriosi}} H xvi, 241 ||vii ||4/6 | ||
| | |||
|- | |- | ||
|91||8||28 | |91||8||28 | ||
|Primi toni, 5vv, H xvi, 259 ||i ||5 | |Primi toni, 5vv, H xvi, 259 ||i ||5 | ||
| | |||
|- | |- | ||
|92||75||52 | |92||75||52 | ||
|{{NoCo|Magnificat Vous perdez temps|Vous perdez temps}} ([[Vous perdez temps (Claudin de Sermisy)|Sermisy’s chanson]]), H xvi, 267 ||vii ||5 | |{{NoCo|Magnificat Vous perdez temps|Vous perdez temps}} ([[Vous perdez temps de me dire mal d'elle (Claudin de Sermisy)|Sermisy’s chanson]]), H xvi, 267 ||vii ||5 | ||
| | |||
|- | |||
|93||93||59 | |||
|{{NoCo|Magnificat Vola vola pensier|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 | |||
|{{NoCo|Magnificat Erano capei d’oro|Erano capei d’oro}} [septimi toni] ([[Erano capei d’oro (Giovanni Maria Nanino)|Nanino’s madrigal]]), 5vv, H xvii, 64 ||vii ||5 | |||
| | |||
|- | |||
|98||23||66 | |||
|{{NoCo|Magnificat secondi toni, JBV 66|Secundi toni}}, H xvii, 76 ||ii ||6 | |||
| | |||
|- | |||
|99||66||83 | |||
|{{NoCo|Magnificat Si vous estes m’amie|Si vous estes m’amie}} ({{NoCo|Si vous estes m’amie|own chanson}}, 1584a), 6vv, H xvii, 94 ||vi ||6 | |||
| | |||
|- | |||
|100||24||67 | |||
|{{NoCo|Magnificat Memor esto|Memor esto}} ({{NoCo|Memor esto verbi tui|own motet}}, 1585a), 6vv, H xvii, 107 ||ii ||6 | |||
| | |||
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|101||100||100 | |||
|{{NoCo|Magnificat Aurora lucis rutilat|Aurora lucis rutilat}} ({{NoCo|Aurora lucis rutilat|own motet}}, 1604), 10vv, H xvii, 124 ||viii ||10 | |||
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|- | |||
|102||-||- | |||
|{{NoCo|Magnificat septimi toni a 10|Septimi toni}}, MS, H xvii, 150 ||vii ||10 ||one of 4 through-composed settings | |||
|- | |- | ||
|} | |} | ||
|103–110. 8 Magnificat settings, doubtful, H xvii, 182 | |103–110. 8 Magnificat settings, doubtful, H xvii, 182 | ||
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[[Category:Disambiguation of works]] | [[Category:Disambiguation of works]] | ||
[[Category: | [[Category:Composer works lists]] | ||
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)