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Gaspar van Weerbeke, Collected Works
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The Gaspar van Weerbeke Edition makes accessible the complete music composed by or transmitted under the name of Gaspar van Weerbeke, and who worked for the chapel in Milan and other major institutions at the end of the fifteenth century. Weerbeke's name is especially connected with a peculiar Milanese motet style whose origin has been discussed for decades and has been challenged recently by new insights connected with research on his colleague Josquin Des Prez. This edition offers new material for comparisons with the music of others contemporary composers that will help answer questions of personal and local style and about the history of specific genres.
Helping to broaden our understanding of the development and the richness of these kinds of compositions, the edition offers a new overview on the print and manuscript transmission of Weerbeke's motets and provides the basis for further analytical studies and a new hypothesis about his music. Performers now have access to new music that is especially representative of the variety of motet styles available at the end of the fifteenth century.
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GASPAR VAN WEERBEKE, Collected Works, edited by Gerhard Croll, Eric F. Fiedler, Andrea Lindmayr-Brandl, Agnese Pavanello, and Paul Kolb.
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Contents and sample pages (PDF) |
CMM 106, Vol. 1, Masses, Part 1.
Edited by Agnese Pavanello.
1st. ed.
2016
36 cm
xcviii+156 pp.
CMM 106–1
978-1-59551-515-5
$159.00
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Abstract
Gaspar van Weerbeke, born around 1450 in the Flemish city of Oudenaarde, was one of the most acclaimed composers of the Josquin generation. Active primarily in Milan and Rome, he is known today as one of the few composers—along wiht Josquin, Compère, and Gaffurius—of motet cycles. This volume is the first containing his mass cylces, which represent a major portion of Weerbeke's surviving commpositional activity, for the first time available in a critical edition. The repertory bears witness to stylistic changes and preferences in mass composition occuring in the last quarter of the fifteenth century.
Contents
General Preface ix
Editorial Principles ix
On This Volume x
Acknowledgements xi
List of Abbreviations xii
Bibliographical References xiii
Introduction xxi
Table of Sources xxxi
Manuscripts xxxi
Print xxxvii
Critical Commentary xxxix
Plates xcix
MASSES
1. Missa Ave regina celorum 3
2. Missa O Venus bant 43
3. Missa Princesse d’amourettes 82
4. Missa Se mieulx ne vient 121
Gaspar van Weerbeke, born around 1450 in the Flemish city of Oudenaarde, was one of the most acclaimed composers of the Josquin generation. Active primarily in Milan and Rome, he is known today as one of the few composers—along with Josquin, Compère, and Gaffurius—of motet cycles. With this volume, his substantial output of conventional mass cycles is for the first time completely available in an edition. The repertory includes freely composed masses and missae breves, bearing witness to new trends in mass composition occuring in the last quarter of the fifteenth century.
Contents
General Preface ix
Editorial Principles ix
On This Volume x
Acknowledgements xi
List of Abbreviations xii
Bibliographical References xiii
Introduction xxi
Table of Sources xxix
Manuscripts xxix
Print xxxi
Musical Treatises xxxi
Critical Commentary xxxiii
Plates xcv
MASSES
1. Missa brevis 3
2. Missa Et trop penser 27
3. Missa N’as tu pas 62
4. Missa octavi toni 88
CREDOS
Credo 121
Credo cardinale 130
APPENDIX-OPUS DUBIUM
Missa [sine nomine] 143
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Contents and sample pages (PDF) |
CMM 106, Vol. 3, The Motet
Cycles.
Edited by Andrea Lindmayr-Brandl.
1st. ed.
1998
c+57 pp.
Bound copy temporarily out of stock.
Unbound 8.5x11(A4) offprint available.
CMM 106–3–POD
$36.00
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Abstract
Gaspar van Weerbeke, born around 1450 in the Flemish city of Oudenaarde, was one of the most acclaimed composers of the Josquin generation. Active primarily in Milan and Rome, he is known today as one of the few composers—along with Josquin, Compère, and Gaffurius—of motet cycles. This volume contains Weerbeke's contributions to this particular repertory, including the Marian cycles also known as “motetti missales,” meant to be performed during the mass. These motet cycles are relevant for understanding more about the use and performance context of motets as well as their combination into larger musical units intended to enrich liturgical and devotional services.
Contents
CMM 106-03, no. 1 Ave mundi domina 1
CMM 106-03, no. 2 Ave mater gloriosa 3
CMM 106-03, no. 3 Salve virgo virginum 5
CMM 106-03, no. 4 Anima mea liquefacta est 7
CMM 106-03, no. 5 Ave regina caelorum, ave 10
CMM 106-03, no. 6 Quem terra, pontus, aethera 12
CMM 106-03, no. 7 O virginum praeclara 14
CMM 106-03, no. 8 Fit porta Christi pervia 17
CMM 106-03, no. 1 Quam pulchra es 20
CMM 106-03, no. 2 Alma redemptoris mater 22
CMM 106-03, no. 3 Salve, virgo salutata 24
CMM 106-03, no. 4 O pulcherrima mulierum 25
CMM 106-03, no. 5 Ave regina caelorum, mater 28
CMM 106-03, no. 6 O Maria, clausus hortus 31
CMM 106-03, no. 7 Mater patris fiia 33
CMM 106-03, no. 8 Tota pulchra es 35
CMM 106-03, no. 1 Spiritus domini 38
CMM 106-03, no. 2 Veni sancte spiritus 41
CMM 106-03, no. 3 Beata gens 43
CMM 106-03, no. 4 Confirma hoc, deus 46
CMM 106-03, no. 5 Loquebantur variis linguis 48
CMM 106-03, no. 6 Factus est repente 51
CMM 106-03, no. I.4a Anima mea liquefacta est (2nd version) 54
CMM 106-03, no. (III.5.) Sancti spiritus adsit nobis 56
Abstract
Gaspar van Weerbeke, born around 1450 in the Flemish city of Oudenaarde, was one of the most acclaimed composers of the Josquin generation. Active primarily in Milan and Rome, he is known today as one of the few composers—along with Josquin, Compère, and Gaffurius—of motet cycles. This volume contains all known motets by the composer that are not transmitted in longer motet cycles. The repertory covers different styles (with or without ‘cantus prius factus’) and various types of sacred texts, some of which are related to specific liturgical functions. Here the composer reveals his mastery in exploring the possibilities of shaping short sacred works.
Contents
CMM 106-04, no. 1 Ave domina sancta Maria 3
CMM 106-04, no. 2 Ave mater omnium 7
CMM 106-04, no. 3 Ave regina celorum 10
CMM 106-04, no. 4 Salve sancta parens 18
CMM 106-04, no. 5 Virgo Maria, non est tibi similis 20
CMM 106-04, no. 6 Christi mater ave 22
CMM 106-04, no. 7 Mater digna Dei 25
CMM 106-04, no. 8 Ave stella matutina 29
CMM 106-04, no. 9 Ibo mihi ad montem Mirrhe 33
CMM 106-04, no. 10 O pulcherrima mulierum 35
CMM 106-04, no. 11 Vidi speciosam sicut columbam 38
CMM 106-04, no. 12 Adonay sanctissime Domine Deus 40
CMM 106-04, no. 13 O beate Sebastiane 43
CMM 106-04, no. 14 Anima Christi sanctifica me 51
CMM 106-04, no. 15 Ave verum corpus 54
CMM 106-04, no. 16 Panis angelicus 57
CMM 106-04, no. 17 Tenebre facte sunt 59
CMM 106-04, no. 18 Verbum caro factum est 62
CMM 106-04, no. 19 Dulcis amica Dei 69
CMM 106-04, no. 20 Stabat mater 83
CMM 106-04, no. A1 Ave, nostra salus 101 Anonymous
CMM 106-04, no. A2 Ave panis angelorum 104 Anonymous
CMM 106-04, no. A3 O inextimabilis dilectio 106 Anonymous
CMM 106-04, no. B1 Adonay sanctissime Domine Deus 108
CMM 106-04, no. B2 Virgo Maria, non est tibi similis 110
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Sample Pages |
CMM 106, Vol. 5, Settings of Liturgical Texts, Songs, and Instrumental Works.
Edited by Paul Kolb and Agnese Pavanello in collaboration with Andrea Lindmayr-Brandl.
1st. ed.
2020
36 cm
lxvi+96 pp.
CMM 106–5
978-1-59551-544-5
$135.00
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Abstract
Gaspar van Weerbeke, born around 1450 in the Flemish city of Oudenaarde, was one of the most acclaimed composers of the Josquin generation, active primarily in Milan and Rome. This volume contains the composer’s two main settings of liturgical texts, other than the masses, his Lamentatio Jeremie prophete and Magnificat octavi toni, as well as the six songs and instrumental wrks that bear an attributin to the composer. Conflicting and uncertain attributions raise questions about the authorship of these songs, and arguments in favor of an against Weerbeke are discussed in the introduction and individual work commentaries. The appendices contain the surviving tablature versons of these songs, a further opus dubium, and a related song.
Contents
General Preface ix
Editorial Principles ix
On This Volume x
Acknowledgements xi
List of Abbreviations xii
Bibliographical References xiii
Introduction xxiii
Settings of Liturgical Texts xxiii
Songs and Instrumental Works xxiii
Appendices xxvii
Table of Sources xxix
Manuscripts xxix
Prints xxxiii
Intabulations xxxiv
Critical Commentary xxxv
Settings of Liturgical Texts
CMM 106-05, no. 1. Lamentatio Ieremiae prophetae 3
CMM 106-05, no. 2. Magnificat octavi toni 39
Songs and Instrumental Works: Authorship Largely Uncontested
CMM 106-05, no. 3. Bon temps/Adieu mes amours 57
CMM 106-05, no. 4. Que fait le cocu au bois 59
CMM 106-05, no. 5. Sans regretz 62
Songs and Instrumental Works: Authorship Contested
CMM 106-05, no. 6. La stangetta 67
CMM 106-05, no. 7. O Venus bant 70
CMM 106-05, no. 8. Vray dieu quel payne m'esse 72
Appendix A: Intabulations
CMM 106-05, no. A1. La stangetta Spinacino 77
CMM 106-05, no. A2. La stangetta Neusidler 79
CMM 106-05, no. A3. O Venus bant Spinacino 81
CMM 106-05, no. A4. Vray dieu quel 83
Appendix B: Opus Dubium
CMM 106-05, no. B1. J'ay pris amours/De tous biens plaine 87
CMM 106-05, no. B2. J'ay pris amours (intabulation) 91
Appendix C: Related Work
CMM 106-05, no. C1. Ce n'est pas sans 95
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