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[[Orlando di Lasso|Lassus]]' [[Magnificat]]s number about 100 and indeed were printed posthumously as {{NoCo|Iubilus beatæ virginis, hoc est centum Magnificat, 4–8vv, 10vv|''Iubilus beatæ virginis, hoc est centum Magnificat''}} (Munich 1619). The sortable list below is ordered after the NGA, with Boetticher's earlier catalogue numbers.
[[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.
==NGA==
 
The ''Sämtlicher Werke Neue Reihe'' (NGA) includes 110 attributed works according to the following plan:
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
 
** ''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
==SWnR==
…-->; 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
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
** {{NoCo|Patrocinium musices: Beatisimæ deiparæque Virginis Mariæ|''Patrocinium musices: Beatisimæ deiparæque Virginis Mariæ canticum Magnificat, ad imitationem cantilenarum quarundam'', 4–6vv (Munich, 1587c)}}
*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.
**{{NoCo|Iubilus beatæ virginis, hoc est centum Magnificat, 4–8vv, 10vv|''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>)
*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.
**{{NoCo|Liber primus cantiones sacrae Magnificat vocant, 5, 6vv|''Liber primus cantiones sacræ Magnificat vocant'', 5, 6vv (Paris, 1602<sup>1</sup>)}}
*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), edited by James Erb: Posthoumously transmitted works & dubia<!--
|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"
|-
|-
!NGA
!SWnR
!Bot
!Bot
!1619
!1619
Line 106: Line 112:
|Nürnberg 1567
|Nürnberg 1567
|-
|-
|18||32||10
|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 je vous|own chanson, 1570b}}), H xiv, 126 ||i ||4
|{{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 (Didier Lui)|Didier Lupi’s chanson]]), H xiv 174 ||i ||6
|{{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||85||76
|46||46||76
|{{NoCo|Magnificat Quando lieta sperai|Quando lieta sperai}} ([[Quando lieta sperai (Anonymous)|anon. madrigal]], 1548), H xiv, 243 ||iv ||6
|{{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)]], H xv, 74 ||vi ||6
|{{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), H xv, 95 ||vii ||5
|{{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|S’io esca vivo|own madrigal}}, 1579), H xv, 108 ||vii ||6
|{{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], MS ca.1582, H xv, 201 ||vi ||5
|[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|Benedicta es, cælorum regina}} ([[Benedicta es, caelorum regina (Josquin des Prez)|Josquin’s motet]], 1520), H xv, 228 ||vii ||6
|{{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 ||5
|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, ||iv ||5
|Quarti toni, ||iv ||5
|
|-
|-
|75||51||43
|75||51||43
|Quinti toni, H xvi, 46 ||v ||5
|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 ||5
|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}} H xvi, 241 ||vii ||4/6
|{{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
|93||93||59
|{{NoCo|Magnificat Vola vola pensier|Vola vola pensier}} (Aeria a la italiana), 5vv, H xvii, 3 ||viii ||5
|{{NoCo|Magnificat Vola vola pensier|Vola vola pensier}} (Aeria a la italiana), 5vv, H xvii, 3 ||viii ||5
|
|-
|-
|94||52||77
|94||52||77
|Quinti toni, 6vv, H xvii, 14 ||v ||6
|Quinti toni, H xvii, 14 ||v ||6/8
|
|-
|-
|95||98||98
|95||98||98
|Octavi toni (i), 8vv, H xvii, 31 ||viii ||8
|Octavi toni (i), 8vv, H xvii, 31 ||viii ||8
|
|-
|-
|96||43||40
|96||43||40
|Octavi toni (ii), 8vv, H xvii, 48 ||vii ||8
|Octavi toni (ii), 8vv, H xvii, 48 ||vii ||8
|
|-
|-
|97||76||53
|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
|{{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
|98||23||66
|Secundi toni, 6vv, H xvii, 76 ||ii ||6
|{{NoCo|Magnificat secondi toni, JBV 66|Secundi toni}}, H xvii, 76 ||ii ||6
|
|-
|-
|99||66||83
|99||66||83
|{{NoCo|Magnificat Si vous estes m’amie|Si vous estes m’amie}} [sexti toni] ({{NoCo|Si vous estes m’amie|own chanson}}, 1584a), 6vv, H xvii, 94 ||vi ||6
|{{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
|100||24||67
|{{NoCo|Magnificat Memor esto|Memor esto}} [secundi toni] ({{NoCo|Memor esto|own motet}}, 1585a), 6vv, H xvii, 107 ||ii ||6
|{{NoCo|Magnificat Memor esto|Memor esto}} ({{NoCo|Memor esto verbi tui|own motet}}, 1585a), 6vv, H xvii, 107 ||ii ||6
|
|-
|-
|101||100||100
|101||100||100
|{{NoCo|Magnificat Aurora lucis rutilat|Aurora lucis rutilat}} [octavi toni] (NoCo|Aurora lucis rutilat|own motet}}, 1604), 10vv, H xvii, 124 ||viii ||10
|{{NoCo|Magnificat Aurora lucis rutilat|Aurora lucis rutilat}} ({{NoCo|Aurora lucis rutilat|own motet}}, 1604), 10vv, H xvii, 124 ||viii ||10
|
|-
|-
|102||-||-
|102||-||-
|Septimi toni, 10vv, MS, H xvii, 150 ||vii ||10
|{{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


==External links==
==External links==
Line 395: Line 454:


[[Category:Disambiguation of works]]
[[Category:Disambiguation of works]]
[[Category:Music catalogues]]
[[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

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