Nb. Because this catalog encompasses the sources for all of Weerbeke’s works, the sigla used here are frequently different from the ones used in the individual Weerbeke CMM volumes.
Masses and mass movements
Missa Ave regina celorum
pp. 235-41; incomplete: tenor partbook only, Osanna missing, Agnus 1 labelled “Osanna”; text “Ave regina celorum…”; anonymous
fols. 160’-176; text in all voices; T: “Ave regina celorum…”; Gaspar
[no. 1]; [Missa] “Ave regina celorum…”; text in all voices; Gaspar
[no. 1]; [Missa] “Ave regina coelorum”; with text; Gaspar (only S partbook)
fol. 44’; incomplete: only Agnus III
fols. 15-28; “Missa Papalis” (index); text in all voices; anonymous
pp. 114-115; “Octavi.”; incomplete: only Agnus III; no text; Gaspar
pp. 162-163; “Exemplum Octavi Toni”; incomplete: only Agnus III; no text; Gaspar
fols. 182’-198; no title; text in all voices but only S is complete in the Sanctus and Agnus; anonymous
[no. 4]; [Missa] “Octavi toni”; text in all voices; Gaspar
fols. 23–29; [Missa] “O venuspandt”; incomplete: Et iterum venturus, Osanna II, Agnus I and III missing; with tenor-resolutions; text: only incipits of the sections; anonymous
fols. 145’–148; no title; incomplete: only sections for three voices from the Credo (Et incarnatus est) and the Sanctus of the mass (Pleni sunt Benedictus); without text; anonymous
fols. 131’–136’ (pp. 262–72) and fols. 211’–212 (pp. 422–3); [Missa] “Venus”; incomplete: Kyrie, Gloria, Osanna II, Agnus I and III are missing; Agnus II transmitted as contrafactum under the title “O lumen” separated from the rest of the mass; text mainly in S and A, sometimes also in T; anonymous
fols. 165’–166; “Respice virgo pura” (= Et incarnatus est); anonymous
no. XVII; T: [Missa] “O Venus bant”; text in all voices but complete text in S only; Guaspar uuarbec
[no. 2]; [Missa] “O venus banth”; text in all voices; Gaspar
[no. 2]; [Missa] “O venus banth”; with text; Gaspar (only S partbook)
fols. 132’–145; T: “O venus bant o venus brant”; text in all voices; Gaspar
fols. 97’-119; no title; incomplete: without Et incarnatus est; text in all voices; anonymous
fols. 63’–66; T, A: [Missa] “O Venus bant”; incomplete: only Kyrie and incipit of the Gloria (S A until m. 66; T and B missing); text in all voices; anonymous
fols. 120–122’, 123’–127, 128’–130; “Officium Venus panth”; incomplete: Osanna II and Agnus missing; text in all voices but complete text in S only; anonymous
Missa Princesse d’amourettes
fols. 204-212; “Officium papale”; Pleni sunt celi on fol. 209, after Et incarnatus est; Agnus III is missing; text not always in all voices and in all movements (principally in S and A); anonymous
[no. 5]; [Missa] “Se mieulx ne vient”; text in all voices; Gaspar
[no. 5]; [Missa] “Semieulx vient.”; with text; Gaspar (only S partbook)
fols. 137-148; “Se mieulx ne vient”; text in all voices; Gaspar (attribution in lighter, more tenuous ink; strong ink corrosion)
Credo
fols. 6-7; “Gaspar cardinale”; full text in S, textual cues in other voices
Motet Cycles
The Cycle Ave mundi domina
is the only source which contains all eight motets and presents them in sequence.
I.1. Ave mundi domina
fols. 126’-127; text in all voices; Gaspar (index)
I.2. Ave mater gloriosa
fols. 127’-128; text in all voices; Gaspar (index)
I.3. Salve virgo virginum
fols. 128’-129; text in all voices; Gaspar (index)
I.4. Anima mea liquefacta est
fols. 130’-131; text in all voices; anonymous
fols. 47’-48; text in all voices; anonymous; second version
(I.4a.)
(I.4a.)
fols. 161’-162; no text; anonymous
fols. 72’-73; only incipit in S; Gaspar
fols. 129’-130; text in all voices; Gaspar (index)
no. 102; “Hypodorius”, text in all voices; anonymous;
T and B are missing; second version (I.4a.)
T and B are missing; second version (I.4a.)
fols. 10’-11; text in all voices; anonymous, in series with
I.6. Quem terra, pontus, aethera; place of T and B is changed
I.6. Quem terra, pontus, aethera; place of T and B is changed
fols. 86’-87; only incipit in all voices: “Anima mea” (A, T, B), “Anima mea dominum” (S); anonymous, A and B are missing up to m. 47
I.5. Ave regina celorum, ave
I.8. Fit porta Christi pervia
fols. 133’-134; text in all voices; Gaspar (index)
The Cycle Quam pulchra es
is the only source which contains all motets and presents them in sequence.
contains motets 1, 5, and 6 of the cycle, grouped with the 5th and 6th motets of the cycle Ave mundi domina.
contains motets 1, 7, and 4 of the cycle, presented in sequence.
II.2. Alma redemptoris mater
fols. 135’-136; text in all voices; Gaspar (index)
II.3. Salve virgo salutata
fols. 136’-137; text in all voices; Gaspar (index)
II.8. Tota pulchra es
fols. 141’-143; text in all voices; Gaspar (index)
The Cycle In honorem sancti spiritus
presents the first four motets of the cycle.
transmits two of the motets, but not in sequence.
contains all six motets, presented in sequence. It is titled “Gaspar in honorem sancti spiritus” in the Superius partbook.
III.5. Loquebantur variis linguis
fols. 30/61-61’/93’-94/125’; text in all voices
III.6. Factus est repente
fols. 30’/61’/94/126; text in all voices
Other motets
Adonay sanctissime Domine Deus
Anima Christi sanctifica me
Ave domina sancta Maria
Ave regina celorum
fols. 201’-204, text in all voices; Gaspar (index, later hand)
Ave stella matutina
Ave verum corpus
fols. 42’-44; text in all voices; Gaspar
Christi mater ave
Dulcis amica Dei
Ibo mihi ad montem Mirrhe
Mater digna Dei
fols. 107’-108 (n. 67); text in S, only incipit in A, T, B; anonymous
fols. 39’-40; text only in S, incipit in A; anonymous
fols. 115’-116; text in all voices; Gaspar
fols. 156’-157; text in all voices; anonymous
fols. 54’-55; text in all voices; Gaspar (in index)
fols. 19’-20; text in all voices; anonymous
O beate Sebastiane
O pulcherrima mulierum
Panis angelicus
fols. 41’-42; text in all voices; Gaspar
Salve sancta parens
[no. 5], text in all voices; Gaspar
Stabat mater
fols. 245’-249; text in all voices; Jaspar
Tenebre facte sunt
Verbum caro factum est
fols. 19’-21; text in all voices; Gaspar
Vidi speciosam sicut columbam
fols. 42′-43; text in all voices; Gaspar
Songs and instrumental works
Bon temps je ne te puis laissier / Bon temps ne viendra tu jamaiz / Adieu mes amours
no. 49; incomplete: B partbook missing; text in all voices; “Gaspart”
La stangetta
no. 54; incomplete: S and T partbooks only; incipit “La stangetta” only; anonymous
fols. 34’-35; title “La stangetta”; no text; anonymous
no. 44; incipit “La stangetta” in T; anonymous
no. 29; incomplete: B partbook only; incipit “La stangetta”; anonymous
no. 6/fols. C1’-C3; “La stangeta”; lute intabulation; anonymous/Neusidler
fols. 54’-[55]; incomplete: only S and T survive in this edition; incipit “La stangetta”; “Uuerbech”
fols. 54’-55; incipit “La stangetta”; anonymous; second edition of Pe1
fols. 54’-55; incipit “La stangetta”; anonymous; third edition of Pe1
no. 28/fols. 37’-38’; “La stanghetta”; lute intabulation; anonymous/Francesco Spinacino
fol. 172; incipit “Ortus de celo flos est” in all voices; “Ysaac”
no. 18; incomplete: B missing (stolen), only a scan survives; no text; “Obrecht”
O Venus bant
fols. 9’-11; score format, no text; labelled “Quarta”, fourth in a series of five “Opere di studio à tre. Josquini.”
fol. 53’; incipit “O venus pant” in T, “O venus pannt” in Ct; anonymous
fols. [84’-85]; these folios do not survive from the first edition
fols. 84’-85; incipit “O venus bant” in all voices; Josquin; second edition of Pe1
fols. 84’-85; incipit “O venus bant” in all voices; Josquin; third edition of Pe1
no. 14/fols. 27-27’; “O venus banth”; lute intabulation; anonymous/Francesco Spinacino
fol. 18’/no. 48; incomplete: S only; incipit “O venus band”; “Ludou Iosquin(us) Pratensis”, where “Ludou” is presumably the beginning of “Ludovicus Senfli”, as at no. 47 at the top of the same folio
fols. 135’-136; incipit “O venus bant” in S only; Gaspar
Que fait le cocu au bois
no. 50; incomplete: B partbook missing; text in all voices; “Gaspart”
Sans regretz veul entretenir / Allez regretz
fols. 79’-80; most complete text in T, incipit “Sans regretz veul entretenir” in S and “Sans regretz” in B; “Jaspar”
Vray dieu que payne m’esse
fols. 71’-72; incipit “[V]ray dieu” in S, “Vray dieu” in Ct, T, B; anonymous
no. 35; incomplete: B partbook missing; full text in S and Ct, incipit “Vray dieu” in T; anonymous
fols. 38’-39; incipit “[V]ray diu” in S; anonymous
no. 48; incomplete: B partbook missing; text in all voices; “Gaspart”
fol. 130; incipit “E vray dieu que payne” in S, “E vray dieu” in Ct, T, B; Compère
fol. 67; “Matheus pipalare Vray dien quel 2a pars recordami[ni]”; organ tablature
fols. 87’-88 (94’-95); incipit “Quam diu che pena messe” in S; anonymous
Doubtful or related works
[no. 59]; text in S, only incipits of each of the three parts in A T B; anonymous
[no. 9], fol. 8v; complete text only in S; incipit in A T B; anonymous
J’ay pris amours/De tous biens plaine (doubtful work)
fol. 7’; “Auxilium praesta nam”; anonymous
fols. 207’-208 (pp. 414-15); “Salus eterna atque indeficiens mundi” in S only; anonymous
fols. 8’-9; incipits “Jay pris amours” in S and T, “De tous biens” in A and B; anonymous
fols. 8’-9; incipits “Jay pris amours” in S and T, “De tous biens” in A and B; anonymous; second edition of Pe1
fols. 8’-9; incipits “Jay pris amours” in S and T, “De tous biens” in A and B; anonymous; third edition of Pe1
fols. 91’-92; incipit “Jay pris a mours”; Jaspart
Missa Une mousse de Biscaye (doubtful work)
cf. NJE 5
Missa [sine nomine] (doubtful work)
fols. 101’-114; no title; text in all voices; anonymous
[no. 56], fol. 51; complete text only in S, incipits in A T and B; anonymous
Plaine d’ennuy / Anima mea (Compère, related to Anima mea liquefacta est)
cf. Finscher, MSD 12