The motet cycles known as motetti missales are among the most intriguing repertoires of late-fifteenth-century polyphony. This series features a new critical edition of the six cycles by Loyset Compère, Gaspar van Weerbeke, and Franchinus Gaffurius included in the Milanese Libroni and of the two anonymous cycles transmitted in the Leopold Codex (Munich MS 3154). For the first time this corpus is presented with uniform editorial criteria, facilitating the comparison of mensural choices and other compositional strategies. Furthermore, the introduction of each volume thematizes the peculiar characteristics of each cycle, in terms of textual choices, use of preexisting material, and musical design, allowing for a new assessment of the motetti missales that goes beyond the homogenizing stereotypes of earlier literature and accounts for the individual contributions of the various composers. The editors’ insight in this repertoire is the result of two interdisciplinary research projects financed by the Swiss National Fund and carried out at the Schola Cantorum Basiliensis in 2014–21. The cycle Hodie nobis de virgine by Loyset Compère (ca. 1450–1518) consists of eight four-voice motets on assorted Christmas texts, making it the only of Compère’s motet cycles to center clearly on a specific occasion of the liturgical year. All eight motets are preserved uniquely in Librone 1 of the Milanese Libroni (Gaffurius Codices) and bear loco rubrics indicating their placement in the mass liturgy.

List of publications, v. 1-132, in v. 132.

The motet cycles known as motetti missales are among the most intriguing repertoires of late-fifteenth-century polyphony. This series features a new critical edition of the six cycles by Loyset Compère, Gaspar van Weerbeke, and Franchinus Gaffurius included in the Milanese Libroni and of the two anonymous cycles transmitted in the Leopold Codex (Munich MS 3154). For the first time this corpus is presented with uniform editorial criteria, facilitating the comparison of mensural choices and other compositional strategies. Furthermore, the introduction of each volume thematizes the peculiar characteristics of each cycle, in terms of textual choices, use of preexisting material, and musical design, allowing for a new assessment of the motetti missales that goes beyond the homogenizing stereotypes of earlier literature and accounts for the individual contributions of the various composers. The editors’ insight in this repertoire is the result of two interdisciplinary research projects financed by the Swiss National Fund and carried out at the Schola Cantorum Basiliensis in 2014–21. The anonymous motet cycle Ave, Domine Iesu Christe, transmitted uniquely in Librone 1 of the Milanese Libroni, consists of eight motets for four and five voices on Christological texts; the first four, each of which begins with the words “Ave, Domine Iesu Christe,” take their text from a prayer to Christ popular in contemporary prayer books. Despite the anonymous transmission, several notable stylistic features of the cycle—including use of the technique of “split tenors”—suggest a possible attribution to Loyset Compère (ca. 1450–1518). All eight motets bear loco rubrics indicating their placement in the mass liturgy.

Antonio Gardano's publications are among the most important sources of 16th-century music. The second volume describes the output of this leading Italian music press in its cultural, bibliographical, and musical context. The first part of the book consists of an overview of Gardano's repertory from the fifties and the cultural and musical milieu in which he worked. It includes discussions of the continuing popularity of his earlier repertory, the music of the younger generation introduced in the fifties, the music of the composers around San Marco, and genres such as the multi-movement madrigal, the canzoni villanesche, instrumental works, and new anthologies. Also discussed are the dating of some undated editions, unconfirmed and doubtful prints, and ordering within the editions. A chapter on binder's copies describes groups of editions bound together by their early owners and serves as a valuable index to the tastes of the collectors. The catalog section covers all Gardano's known publications of the fifties, and provides full titles, bibliographical information, contents with concordant sources for each piece, and locations of individual copies with notes on their bindings, owners' marks, annotations, and other significant characteristics. The catalog is indexed by composer, first line, and short title, and includes a list of primary and secondary sources consulted.

List of members in each volume.