WARD 1986 listed the first two motets of this cycle (cited only by their foliation, ff. 64v-66r) among the “possibile motetti missales cycles in the Gafurius codices” (p. 523, footnote 56). GASSER 2001 was the first to propose a larger, three-motet cycle. As the same author admits, however, the third motet has a different tonal type (p. 347). While this “may seem to throw out the possibility of a unified, tri-partite cycle”, Gasser observes that all three motets “share the same hexachordal identity of cantus mollis” and feature “similar musical techniques and a consistent approach to composition, including some potential thematic connections” (ibid.).
listed under "Motetti missales consequentes" as "Salve mater salvatoris gaffori | cum tota missa" (I-Mfd 1, index)
Identified as a cycle based on:
index of I-Mfd 1 (see Cycle rubric); consensus in the "motetti missales" literature
Number of voices:
4
Signature:
-
Clefs:
c1c3c4c4
Final:
G
Devotional / liturgical association:
BVM
Modern editions:
AMMM 5, 75-104; MCE 4; MM 1 (see the records of the individual motets)
Further notes:
All the component motets are in more than one pars. Second/third partes are not listed in I-Mfd 1, index (except for the 3a pars of Imperatrix gloriosa), do not have separate attributions, and are linked with “verte folium” and/or “custodes”.
AMMM 5, 119-124 (without "Eia mater"); GASSER 2001, 543-545 (for "Eia mater"); MM 1 (see the records of the individual motets)
Further notes:
GASSER 2001 was the first to include Eia mater in this cycle. According to ROSSI 2019B, 391-393, and MM 1, xxx, this cycle does not include Eia mater, and starts with the motet Verbum sapientiae (I-Mfd 1, ff. 98v-99r).
GASSER 2001, 604-617; MM 1 (see the records of the individual motets)
Further notes:
C24 and C25 share the same three motets, but in C25 (from I-Mfd [4]) they surround a Mass and the order is M089-M090-M091, whereas C24 (from I-Mfd 3) is a “standalone” cycle, and the order is M090-M089-M091. There is no attribution in either book, nor in ANNALI 1885 (the Imperatrix gloriosa attributed to Gaffurius there at 169 is not M089 but M016). As for the catalogue BERWIN-HIRSCHFELD 1892, 91, it is unclear whether the Mass in included in the attribution to Gaffurius, or M089 only is intended. EITNER 1900-04, IV, 122 indicates, however, that the Mass is indeed a Missa [super] Imperatrix gloriosa; WARD 1986, 497 seems to accept the attribution and extends it to the other two motets, followed by Bonnie J. Blackburn, "Gaffurius, Franchinus," Grove Music Online. Oxford Music Online (Oxford University Press), http://www.oxfordmusiconline.com/subscriber/article/grove/music/10477.
C24 and C25 share the same three motets, but in C25 (from I-Mfd [4]) they surround a Mass and the order is M089-M090-M091, whereas C24 (from I-Mfd 3) is a “standalone” cycle, and the order is M090-M089-M091. There is no attribution in either book, nor in ANNALI 1885 (the Imperatrix gloriosa attributed to Gaffurius there at 169 is not M089 but M016). As for the catalogue BERWIN-HIRSCHFELD 1892, 91, it is unclear whether the Mass is included in the attribution to Gaffurius, or M089 only is intended. EITNER 1900-04, IV, 122 indicates, however, that the Mass is indeed a Missa [super] Imperatrix gloriosa; WARD 1986, 497 seems to accept the attribution and extends it to the other two motets, followed by Bonnie J. BLACKBURN, "Gaffurius, Franchinus," Grove Music Online. Oxford Music Online (Oxford University Press), http://www.oxfordmusiconline.com/subscriber/article/grove/music/10477.
AMMM 5, 13-14; 125-129 ("O Iesu dulcissime" missing)
Further notes:
WARD 1986, 506 proposes a “virtual” five-motet cycle including also M068 Accepta Christi munera. This hypothesis is accepted by ROSSI 2019A, 221-222, who, in MM 1, xxx, xxxii, further adds to this "virtual" cycle a sixth motet,Trophaeum crucis (Librone 1, ff. 31v-32r). See also the shorter cognate cycle C33a.
The passage "O quam suavis est, domine, spiritus tuus" possibly quotes pre-existing material, but it can not be linked to any Cantus prius factus with a corresponding text.
The passage "Te summa dei trinitas ... regens per saecula" possibly quotes pre-existing material, but it can not be linked to any Cantus prius factus with a corresponding text.
Although ANNALI 1885 list this motet after the other three motets of cycle C07 among Gaffurius' works, it is excluded from AMMM 05 and it is often considered anonymous in the literature.
GASSER 2001, 384, was the first to include this motet in cycle C07.
This motet possibly quotes pre-existing material, but it can not be linked to any Cantus prius factus with a corresponding text.
Number of voices:
4
Discography:
Recordings on YouTube.
Length:
34
Signature:
b
Clefs:
c1c3c3c4
Final:
G
Music incipit:
gbagafe.
dgfdffg.
bddbabc.
ggdgfdc.
Modern editions:
MM 1, 230-231
Further notes:
Elevation motet.
The previous motet in I-Mfd 1, Vox iocunda cum favore, is attributed to Gaffurio in ANNALI 1885, 169, and has "custodes" pointing to the present motet.
This motet possibly quotes pre-existing material (see GASSER 2001, 400), but it can not be linked to any Cantus prius factus with a corresponding text.
Number of voices:
4
Length:
82
Signature:
b
Clefs:
c1c3c4f4
Final:
G
Music incipit:
..ggagba
gfefdcde
gagbagfg
gdg.gdga
Modern editions:
GASSER 2001, 546-552; MM 1, 8-13
Further notes:
Attributed to Gaffurius by GASSER 2001, 296, on account of the strong textual and musical connections to M024 Promissa mundo gaudia, which is attributed to Gaffurius in I-Mfd 2.
The Mass [La Bassadanza] (which follows M092 and M093 in I-Mfd [4]) is attributed to Franchino Gaffurio in ANNALI 1885, 168; WARD 1986, 497 extends the attribution to M092 and M093.
The Mass [La Bassadanza] (which follows M092 and M093 in I-Mfd [4]) is attributed to Franchino Gaffurio in ANNALI 1885, 168; WARD 1986, 497 extends the attribution to M092 and M093.
