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Published online by Cambridge University Press: 01 January 1981
It used to be thought that Willaert invented double-choir music, drawing his inspiration from the famous organ galleries in San Marco. That his Salmi spezzati were not unique or even innovatory is now beyond dispute. His predecessors and contemporaries working in other important churches of the Veneto — Albertis in Santa Maria Maggiore, Bergamo, Ruffino and Passetto in Padua Cathedral and the Basilica del Santo, Santacroce in Treviso Cathedral — contributed to a significant regional repertory of double-choir psalms, many of which are more adventurous in their use of the medium than those of Willaert. Ruffino extended the use of double-choir to the ordinary of the mass.
1 See Giovanni d'Alessi, ‘Precursors of Adriano Willaert in the Practice of Coro Spezzato’, Journal of the American Musicological Society, v (1952), 187.CrossRefGoogle Scholar
2 In his Missa Verbum bonum, Verona, Accademia Filarmonica, MS 218, Discantus f.45r. For a transcription see Anthony F. Carver, The Development of Sacred Polychoral Music to 1580 (diss., University of Birmingham, 1980), ii, 187.Google Scholar
3 For example Hans Redlich in The New Oxford History of Music, iv (London, 1968), 267; Helmuth Osthoff, Die Niederlander and das deutsche Lied (1400–1640) (Tutzing, 1967), 212.Google Scholar
4 Massimo Troiano, Discorsi (Munich, 1568), 182. The work is doubtless that in Vienna, Österreichische Nationalbibliothek, MS 16702, f.240v. Kyrie, Credo and Agnus Dei transcribed in Carver, Development, ii, 288.Google Scholar
5 Debes, L. H., Die musikalischen Werke von Claudia Merulo (diss., Würzburg, 1964).Google Scholar
6 Anthony F. Carver, ‘The Psalms of Willaert and His North Italian Contemporaries’, Acta musicologica, xlvii (1975), 270; Development, i, 33–82 and passim.CrossRefGoogle Scholar
7 Claudin de Sermisy, Opera omnia (= Corpus mensurabilis musicae, lii), ii, ed. Gaston Allaire (Rome, 1972), 39.Google Scholar
8 A possible offshoot of the salmo spezzato was Festa's Litany: Costanzo Festa, Litaniae Deiparae Virginis ex sacra scriptura collectae (Munich, 1583), RISM F 643. Transcription in Carver, Development, ii, 160; discussion ibid, i, 83–5. The piece applies a mixture of anti-phonal and responsorial techniques.Google Scholar
9 David A. Nutter, The Italian Polyphonic Dialogue of the Sixteenth Century (diss., University of Nottingham, 1977).Google Scholar
10 For example Phinot's ‘Vivons, m'amye’, “Qu'est-ce qu'amour' and ‘Par un trait d'or’ in Dominique Phinot, Optra amnio (= CMM, lix), iii, ed. Roger Jacob (Neuhausen-Stuttgart, 1979), respectively Pars 1, 92; Pars 2, 4, 83. Phinot also wrote a double-choir madrigal, ‘Simili a questi smisurati monti’, given in ibid, Pars 2, 109.Google Scholar
11 A necessity recognized by Don Harran in ‘Towards a Definition of the Early Secular Dialogue’, Music and Letters, li (1970), 37.CrossRefGoogle Scholar
12 (Nuremberg, 1564), RISM 15641, Tomus Primus no.57. Transcription in Carver, Development, ii, 243.Google Scholar
13 No. 58. Transcription in Carver, Development, ii, 252.Google Scholar
14 Charles van den Borren, ‘La contribution italienne au Thesaurus musicus de 1564’, Journal of Renaissance and Baroque Music, i (1946), 36, 43–4.Google Scholar
15 Raffaele Casimiri, Musica e musicisti nella cattedrale di Padova nei sec. XIV, XV, XVI (Rome, 1942, 37–9).Google Scholar
16 In, respectively, Concerti di Andrea, et di Gio. Gabrieli organisti (Venice, 1587), RISM 158716, G58, G85, no.27 (modern edition: ed. B. Grusnick, Bärenreiter Chor-Archiv 2919); Agostino I Bendinello, Sacrae modulationes actonis pocibus … liber primus (Verona, 1585), RISM B 1907, no. 14; Corollarium cantionum sacrarum (Nuremberg, 1590), RISM 15905, no. 1.Google Scholar
17 (Prague, 1598), RISM S 399.Google Scholar
18 Respectively Orlando di Lasso, Sämtliche Werke, ed. F. X. Haberl and A. Sandberger, xxi (Leipzig, 1926), 98; Giaches de Wert, Opera amnia (= CMM, xxiv), xvi, ed. M. Bernstein (Rome, 1973), 88.Google Scholar
19 Smither, H. E., ‘The Latin Dramatic Dialogue and the Nascent Oratorio’, Journal of the American Musicological Society, xx (1967), 403.Google Scholar
20 Carver, ‘Psalms’, 274.Google Scholar
21 Theodor Kroyer, ‘Dialog und Echo in der alten Chormusik’, Jahrbuch der Musikbibliothek Peters (1909), 14; Erich Hertzmann, ‘Zur Frage der Mehrchörigkeit in der ersten Hälfte da 16. Jahrhunderts’, Zeitschrift für Musikwissenschaft, xii (1929–30), 139–40.Google Scholar
22 (Venice, 1558), Part 3, Chapter 66.Google Scholar
23 A. Smijers and A. T. Merritt, Treize livres de motets parus chez Pierre Attaingnaut en 1534 et 1535 (Paris and Monaco, 1934–64), iii, no.6.Google Scholar
24 Adriano Willaert, Opera omnia (= CMM, iii), v, ed. W. Gerstenberg (Rome, 1957), 127.Google Scholar
25 Smijers and Merritt, op.cit., no. 19.Google Scholar
26 H. Colin Slim, The New Grove (London, 1980), xix, 632.Google Scholar
27 See Carver, Development, i, 94–7.Google Scholar
28 These pieces are analysed in ibid, i, 99–105.Google Scholar
29 Modern edition of the French version: Nicolas Gombert, Opera omnia, (= CMM, vi), ed. J. Schmidt-Görg, iii (Rome, 1963), 241.Google Scholar
30 Modern edition: Johannes Kugelmann, Concertus novi, 1540 (= Das Erbe Deutscher Musik, Sonderreihe, ii), ed. H. Engel (Kassel and Basel, 1955), 59.Google Scholar
31 Not attributed to Festa in the body of the manuscript, but it follows his ‘Te Deum’ and is accepted by Llorens as his work (J. Llorens, Capellae sixtinae codices musicis notis instructi sine manu scripti sive praelo excussi, (= Studi e testi, ccii) (Città del Vaticano, 1960), 43). If it is not by Festa perhaps it is the à 8 setting by Gombert cited by Zarlino; see above, 5.Google Scholar
32 Modern edition: Antonfrancesco Doni, Dialogo della Musica, ed. G. F. Malipiero and V. Fagotto (London, 1965), 266.Google Scholar
33 Opera omnia, iii, Pars 1, 82.Google Scholar
34 Opera omnia, ii, ed. Janez Höfler (Rome, 1974), 159.Google Scholar
35 Transcription in Carver, Development, ii, 238.Google Scholar
36 Willaert, Opera omnia, viii (Rome 1972), preface, x-xi.Google Scholar
37 See note 2.Google Scholar
38 Andrea Gabrieli, Drei Motetten zu 8 Stimmen, ed. Denis Arnold (= Das Chorwerk, xcvi) (Wolfenbüttel and Zurich, 1965), 9.Google Scholar
39 Josquin des Près, Drei Evangelien-Motetten, ed. Friedrich Blume (= Das Chorwerk, xxiii) (Wolfenbüttel, 1933), 4.Google Scholar
40 A. T. Davison and W. Apel, Historical Anthology of Music, i (London, 1949), 92.CrossRefGoogle Scholar
41 Op. cit., 139–40.Google Scholar
42 ‘Tulerunt Dominum’ is musically the same as Pars I of ‘Lugebat David’; it may be by Gombert — see Noble, Jeremy, ‘Josquin Desprez’, The New Grove, ix, 735. The former is given in Das Chorwerk, xxiii, 22.Google Scholar
43 Antoine Brumel, Opera omnia (= CMM, v), iii, ed. B. Hudson (Rome, 1970), 1.Google Scholar
44 Cited by Hertzmann, op. cit., 141. Modern edition: Smijers and Merritt, op. cit., xii, 43. This edition disguises the true nature of the piece by not separating the choirs.Google Scholar
45 Printed in Lyons; RISM P 2017.Google Scholar
46 Two of the ‘Salmi a versi con le sue risposte’ in 15501 are by Jachet and Phinot jointly, each supplying alternate verses.Google Scholar
47 For further analysis and examples, see Carver, Development, i, 126–45.Google Scholar
48 Concerning these psalms, including the probably erroneous attribution to Willaert, see Carver, ‘Psalms’, 281–2 and Development, i, 178–81. Transcriptions in Development, ii, 115.Google Scholar
49 See Kade, R., ‘Antonius Scandellus’, Sammelbande der Internationalen Musikgesellschaft, xv (1913–14), 535. For a transcription of the Magnificat, see Carver, Development, 262.Google Scholar
50 Wolfgang Boetticher, ‘Eine Frühfassung doppechörige Motetten Orlando di Lassos’, Archiv für Musikwissenschaft, xii (1955), 206. Boetticher's argument has been overturned by Noel O'Regan in an as yet unpublished paper read to the Conference of Music Research Students in December 1982. Mr O'Regan, to whom I am grateful for a copy of his paper, argues convincingly that the Roman versions of Lasso's psalms were made after publication and not by Lasso.CrossRefGoogle Scholar
51 Modern editions of ‘Confitebor’ and ‘Jam lucis’ in Lasso, Sāmtliche Werke, xxi, 56 and 84.Google Scholar
52 See below.Google Scholar
53 See note 4.Google Scholar
54 Zwickau, Ratsschulbibliothek, Mus. 109, 1. Modern edition by Hugh Keyte (London, 1980), who suggests that it may have been first performed in Florence in 1561.Google Scholar
55 See Carver, Development, i, 294–9.Google Scholar
56 (Venice. 1568); RISM 15682–6Google Scholar
57 Reprinted from O. di Lasso, Modulorum … secundum volumen (Paris, 1565), RISM L 784; modern edition: Sämtliche Werke, xxi, 63.Google Scholar
58 Modern edition: P. Giovanelli, Novus thesaurus musics Vol. V, ed. A. Dunning (= CMM, lxiv) (Rome, 1974), 154, where it is unaccountably not laid out in two choirs.Google Scholar
59 Complete transcription in Carver, Development, ii, 279.Google Scholar
60 Osthoff, Niederländer, 333–5.Google Scholar
