[Compère, Loyset (?)]

Displaying 1 - 8 of 8 related items.

Cycle details

Reference source: 
GB-Lcm 1070, ff. 117v-121r
Cycle rubric: 
-
Identified as a cycle based on: 
SCHMIDT 2017, 30-31
Number of voices: 
4
Signature: 
-
Clefs: 
c2c4c4f4
Final: 
C/D/C/D/D
Devotional / liturgical association: 
Good Friday
Veneration of the cross
Modern editions: 
URKEVICH 1997, 347-360
Further notes: 

SCHMIDT 2017, 31 underlines that the three concordances of this cycle transmit it following Compère's cycle C44 In nomine Iesu / Officium de cruce, also linked to the Holy Week. According to him, the two cycles are stylistically similar and Compère's authorship of the cycle Popule meus has to be considered seriously.

Content (motets): 
M276 M277 M278 M279 M280

Cycle details

Reference source: 
I-Mfd 2, ff. 35v-37r
Cycle rubric: 
-
Identified as a cycle based on: 
WARD 1986, 506 (see Further notes)
Number of voices: 
4
Signature: 
b
Clefs: 
g2c2c3c4
g2c3c3c4
Final: 
G
Devotional / liturgical association: 
BVM
Modern editions: 
AMMM 6, 12-19; AMMM 13, 145-147 (motet only); CMM 15.4, 30-31 (motet only)
Further notes: 

Only the motet Ave virgo gloriosa Maria mater gratiae is clearly attributed to Compère in a concordant source (I-Rvat CS 46). For the attribution of the Sanctus see M281.

According to WARD 1986, 506, Sanctus and Ave virgo gloriosa Maria mater gratiae are parts of a five-pieces cycle, whose components are dispersed in the four Libroni. In WARD’s hypothetical cycle, however, the motet O genitrix gloriosa M292 is placed between the Sanctus and Ave virgo gloriosa Maria mater gratiae.

Motet details

Reference source: 
GB-Lcm 1070, ff. 117v-118r
Mensuration: 
Number of voices: 
4
Length: 
30
Signature: 
-
Clefs: 
c2c4c4f4
Final: 
C
Music incipit: 
cdefeded
.gabcbab
...cdeef
..cdeedc
Modern editions: 
URKEVICH 1997, 347-348

Motet details

Reference source: 
GB-Lcm 1070, ff. 117v-118r
Mensuration: 
Number of voices: 
4
Length: 
37
Signature: 
-
Clefs: 
c2c4c4f4
Final: 
D
Music incipit: 
.....aag
ccdbabcd
.....aag
..cdeedc
Modern editions: 
URKEVICH 1997, 349-351

Motet details

Reference source: 
GB-Lcm 1070, ff. 118v-119r
Mensuration: 
Number of voices: 
4
Length: 
37
Signature: 
-
Clefs: 
c2c4c4f4
Final: 
C
Music incipit: 
ccccbagb
cccagcbc
.cccfgfa
.fffcdcf
Modern editions: 
URKEVICH 1997, 351-353

Motet details

Reference source: 
GB-Lcm 1070, ff. 119v-120r
Mensuration: 
Number of voices: 
4
Length: 
46
Signature: 
-
Clefs: 
c2c4c4f4
Final: 
D
Music incipit: 
aaagffef
dcafgcbc
.accafgf
dfecdc.d
Modern editions: 
URKEVICH 1997, 353-356

Motet details

Reference source: 
GB-Lcm 1070, ff. 120v-121r
Mensuration: 
Number of voices: 
4
Length: 
63
Signature: 
-
Clefs: 
c2c4c4f4
Final: 
D
Music incipit: 
...ffgg.
.acdd..c
..fgaacc
acdd..dd
Modern editions: 
URKEVICH 1997, 356-360

Motet details

Reference source: 
I-Mfd 2, ff. 35v-36r
Mensuration: 
Number of voices: 
4
Length: 
96
Signature: 
b
Clefs: 
g2c2c3c4
Final: 
D/D
Music incipit: 
gabcbbab
deffgfge
gbcdedbc
gfedcgfg
Modern editions: 
AMMM 6, 12-16
Further notes: 

The first part (Sanctus) has also been copied In I-Mfd [4], ff. 66v-67r, where a G has been added at the end of each voice, except in the Altus. Consequently, the final in I-Mfd [4] (G) differs from the final in I-Mfd 2 (D).

For the attribution of this piece to Compère and its possible belonging to a cycle, see WARD 1986, 499, 506, and 508-515. The attribution was proposed by STAEHELIN 1973, 82, based on the probable identification of this Sanctus with the isolated one attributed to “Loyset” in I-Mfd [4] according to BERWIN-HIRSCHFELD 1892, 91. Ludwig Finscher (s.v. “Compère, Loyset”, in MGG Online) strongly questioned the attribution on stylistic grounds. See also C29. Due to the complex issues of authorship and rewriting and the web of partial and reworked concordances regarding the entire cycle as proposed by WARD 1986, the problem awaits further investigation.