The Polyphony Database
polyphonydatabase@gmail.com
About the database❯
PolyphonyDatabase.com is a detailed catalogue of early music sources designed to help musicians perform, academics study, and enthusiasts explore a vast and glorious repertoire quickly and easily. It aims to combine the practicality of CPDL with the academic rigour and ambition of the RISM census, to make use of similar projects where possible, and to directly combat the frustrations performing musicians have with all existing resources.
Its three main goals are:
- To assist performers, directors, and editors by cataloguing the contents of primary sources, source concordances, and basic information about how each piece of music can be performed.
- To provide a reliable starting point for academic research by linking to library catalogues, other existing databases, and facsimile images of early music manuscripts and prints.
- To provide a repository for properly sourced critical editions, performing scores, and recordings of as much of this music as possible, each carefully vetted for typesetting quality and accuracy, and made available for free download, so that this music might be discovered and appreciated by a wider audience.
The database was founded by Francis Bevan in 2014 as an outlet for his editing hobby and is regularly updated by him and a small team of enthusiasts. If you would like to contribute some cataloguing time, recordings or editions, submit corrections, commission an edition or just donate some cash, please get in touch with Francis via email: polyphonydatabase@gmail.com. Read more about the project's history at the 2018 Crowdfunder page.
The best way to help fund the project is to commission performing editions. New editions can be made quickly for as little as £10.
Understanding the clef images
A red clef means the voice is missing from this source. Where there are no concordances to fill in the gaps, this means the piece will require reconstruction.
A green clef means the voice is incomplete in this source. This might denote a fragment of a larger work, or a e.g. canonic voice that isn't written out in full.
A faded clef means much of the piece can be performed without this voice. For example, an extra 6th voice in the Agnus Dei of an otherwise 5vv Mass setting, or a short gimel in a big votive antiphon. Filtering by number of voices will exclude these clefs, while filtering by a specific voice combination will include them.
A blue clef denotes a voice that uses more than one clef in this source - this is particularly prevalent in earlier printed sources. We've estimated the larger clef on the left to be the most used to give an idea of voice distribution at a glance.
An X clef is used as a placeholder for voices we know are necessary, but haven't yet worked out which! This can be because there are no extant sources for a missing voice and no reconstruction has yet been attempted (it will normally become obvious which voice is missing once editing starts), or because we have catalogued a source from an incomplete facsimile that we know to be complete elsewhere.
Title |
Function(s) |
Composer |
# |
Sources |
Tal guida fummi'l giovinil desio - Ma perch' ogn'hor m'attempo
|
|
Manara, Francesco
c.1520–?1591
|
4 |
Madrigali de la fama a quatro voci co... (RISM 1548/7)
Madrigali de la fama a quatro voci composti da l'infrascritti autori, novamente con diligentia stampati & corretti. Cypriano De Rore, Francesco Da la Viola, Francesco Manara
Venice: Gardano, Antonio, 1548
(Partbook, Print)
RISM
#35
|
|
Attrib: F. Manara |
|
|
Tal'hor m'assal' in mezz'a tristi pianti
|
|
Manara, Francesco
c.1520–?1591
|
4 |
Madrigali de la fama a quatro voci co... (RISM 1548/7)
Madrigali de la fama a quatro voci composti da l'infrascritti autori, novamente con diligentia stampati & corretti. Cypriano De Rore, Francesco Da la Viola, Francesco Manara
Venice: Gardano, Antonio, 1548
(Partbook, Print)
RISM
#28
|
|
Attrib: Francesco Manara |
|
|
Talis homo qualis floret rosa
|
|
Steurlein, Johann
1546–1613
|
5 |
|
Tall'hor sano desio
|
|
Gesualdo, Carlo
1566–1613
|
5 |
|
T'amo mia vita
|
|
Monteverdi, Claudio
1567–1643
|
6 |
Il quinto libro de madrigali a cinque... (RISM M3475)
Il quinto libro de madrigali a cinque voci. ... Col Basso continuo per il Clavicembano Chittarone od altro simile istromento, fatto perticolarmente per li sei ultimi, & per li altri a beneplacito. Novamente composti, & dati in luce
Venice: Amadino, Ricciardo, 1605
(Partbook, Print)
RISM
#11
|
|
Attrib: Claudio Monteverde |
|
|
T'amo mia vita
|
|
Gesualdo, Carlo
1566–1613
|
5 |
|
Tam peccatum
|
|
Taverner, John
c.1490–1545
|
3 |
|
Tamquam ad latronem
|
Good Friday |
Gratiani, Bonifatio
1604-1605–1664
|
4 |
|
Tamquam ad latronem
|
Good Friday |
Anerio, Giovanni Francesco
c.1567–1630
|
4 |
Responsoriae feriae quintae sextae, e... (I-Rn 152)
Responsoriae feriae quintae sextae, et Sabbathi in hebdomada sancta quatuor vocibus una cum duabus passionibus Matthej, et Joannis.
1596
(Choirbook, MS)
#13
|
|
Attrib: Joanne Francisco Anerio Romano |
Good Friday: Tenebrae Nocturn II, 1 |
|
Tamquam ad latronem
|
Good Friday |
Asola, Giovanni Matteo
c.1532–1609
|
4 |
Secunda pars continens officium Hebdo... (RISM A2553)
Secunda pars continens officium Hebdomadae Sanctae idest lamentationes, responsoria, et alia, quae officiis matutinalibus, ac in processione Feriae sextae concinuntur cum quatuor vocibus
Venice: Gardano, Angelo, 1584
(Choirbook, MS)
RISM
#18
|
|
Attrib: D. Io. Matthaeo Asula Veronensi |
Good Friday: Tenebrae Nocturn II, 1 |
|
Tamquam ad latronem
Nancho Alvarez
Stile Antico
|
Good Friday |
Victoria, Tomás Luis de
1548–1611
|
4 |
|
Tamquam ad latronem
|
Good Friday |
Anon
|
4 |
|
Tamquam ad latronem
|
Good Friday |
Anon
|
4 |
(I-Bc Q.132)
(Choirbook, MS)
#15
|
|
Attrib: Anon |
Good Friday: Tenebrae Nocturn II, 1 |
|
Tamquam ad latronem
Francis Bevan (SATB)
|
Good Friday |
Cantone, Serafino
fl.1580–1627
|
4 |
|
Tamquam ad latronem
Francis Bevan (SATB)
|
Good Friday |
Anerio, Felice
c.1560–1614
|
4 |
|
Tamquam ad latronem
|
Good Friday |
Pecci, Tomaso
1576–1604
|
4 |
|
Tamquam ad latronem
|
Good Friday |
Anon
|
4 |
(P-Cug 8)
c.1610-1620
(Choirbook, MS)
#36
|
|
Attrib: Anon |
Good Friday: Tenebrae Nocturn II, 1 |
|
Tamquam ad latronem
|
(Responsory), Good Friday |
Dentice, Fabrizio
?1539–1581
|
5 |
Lamentationi (RISM D1659)
Milan: Tini, Simone and Tini, Francesco, 1593
(Partbook, Print)
RISM
#16
|
|
Attrib: Fabricio Dentice |
[Good Friday, Nocturn II] Responsory 1; Fauxbordon |
|
Tamquam ad latronem
|
Good Friday |
Anon
|
4 |
(P-Cug 25)
(Choirbook, MS)
#13
|
|
Attrib: Anon |
Good Friday: Tenebrae Nocturn II, 1 |
|
Tamquam ad latronem
|
(Responsory), Good Friday |
Bartei, Girolamo
c.1565–after 1617
|
4 |
|
Tamquam ad latronem
Francis Bevan (SATBarB)
|
Good Friday |
Giacobetti, Pietro Amico
fl.1579–1616
|
5 |
Lamentationes cum omnibus responsorii... (RISM G1825)
Lamentationes cum omnibus responsoriis in Triduo Hebdomodae Sanctae nec non passiones in missis Dominica Palmarum & Parasceves quinis vocibus concinendae
Venice: Vincenti, Giacomo, 1601
(Partbook, Print)
RISM
#19
|
|
Attrib: Pietro Amico Iacobetto |
Good Friday: Tenebrae Nocturn II, 1 |
|
Tamquam ad latronem
|
Good Friday |
Corteccia, Francesco
1502–1571
|
4 |
|
Tamquam ad latronem
|
Good Friday |
Aretino, Paolo
1508–1584
|
4 |
|
Tamquam ad latronem
|
Good Friday |
Ferrarese, Paolo
fl.1565
|
4 |
Passiones, Lamentationes, Responsoria... (RISM P868)
Passiones, Lamentationes, Responsoria, Benedictus, Miserere, multaque alia devotissima cantica ad offitium hebdomadae Sanctae pertinentia
Venice: Scotto, Girolamo, 1565
(Partbook, Print)
RISM
#49
|
|
Attrib: D. Pauli Ferrariensis |
Good Friday: Tenebrae Nocturn II, 1 |
|
Tamquam ad latronem
|
Good Friday |
Falconio, Placido
fl.1549–1588
|
4 |
|