<Ave regina caelorum> ave domina angelorum : O salutaris hostia

Source: 
Folio(s): 
051v-052r
Motet rubric: 
-
Attributed to: 
-

Cycle details

Reference source: 
I-Mfd 2, ff. 51v-53r
Cycle rubric: 
-
Identified as a cycle based on: 
(see Description)
Number of voices: 
4
Signature: 
b
Clefs: 
c1c3c4f4
Final: 
G
Devotional / liturgical association: 
BVM
Modern editions: 
AMMM 11, 28-34; CMM 106.3
Further notes: 

AMMM 11 and the facsimile edn. of I-Mfd 2 propose a five-motet cycle comprising M039, M043, M044, M035, and M036; the corresponding rubric reported in AMMM 11, iii as present in the manuscript index derives, on the contrary, from an editorial annotation in SARTORI 1957, 48.

See also information on this cycle as part of the Gaspar van Weerbeke Project.

Content (motets): 
M035 M036

Motet details

Reference source: 
I-Mfd 1, ff. 130v-131r
Mensuration: 
Pre-existing melodies (Cantus prius facti): 

The secular melody Begirlich in dem hertzen min is quoted in the T (passage "O salutaris hostia ... ostium"):

1--h--ij--h--g--l--k--j--h--h--j--h--g--k--j--h--g--4

"Begirlich in dem Hertzen min mit rechter lieb in stetigkeit" (DIERGARTEN 2017, 79-83)

Number of voices: 
4
Length: 
55
Signature: 
b
Clefs: 
c1c3c4f4
Final: 
G / G
Music incipit: 
.....gdd
gddgffgb
......gd
.gddgffg
Modern editions: 
CMM 106.3; AMMM 11, 28-31
Further notes: 

Elevation motet (2a pars).

The versions in I-Mfd 1 and I-Mfd 2 correspond, but for the text incipit (I-Mfd 2 skips the first line of the Marian antiphon and repeats “Ave domina angelorum” instead).

Additional concordance in a ms. that does not transmit motet cycles: B-Br MS IV.922 (“Occo Codex”), f. 4r (only the section O salutaris hostia). In B-Br MS IV.922 there are only four fermatas in C and T and three fermatas in S and B (http://depot.lias.be/delivery/DeliveryManagerServlet?dps_pid=IE7950914). According to DIERGARTEN 2017, 82-83, "it suggests that the presence or absence of fermatas in note-against-note settings is a question of notational preference, unstable in the transmission process, and not a question of style". At m. 55 (CMM 106.3, p. 11) the Contratenor is different in the three sources (I-Mfd 1, I-Mfd 2 and B-Br MS IV.922). See also CMME: http://www.cmme.org/database/pieces/110 (edition and commentary of the piece).

See also the Gaspar van Weerbeke Project.