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 |
Tulit ergo Dominus Deus hominem - Ex omni ligno Paradisi comede
|
|
Hoyoul, Balduin
1547/1548–1594
|
5 |
Sacrae Cantiones quinque, sex, septem... (RISM H7593)
Sacrae Cantiones quinque, sex, septem, octo, novem et decem vocum, quae cum vivae voci, tum omnis generis instrumentis musicis commodissime applicari possunt. Opus plane novum, nunquam aliis typis excusum
Nuremberg: Gerlach, Katharina, 1587
(Partbook, Print)
RISM
#9
|
|
Attrib: Balduinus Hoyoul |
|
|
Tulit ergo paralyticus
|
|
Homo, Sebastian
|
5 |
|
Tullit ergo paraclitus
|
|
Lambardi, Girolamo
fl.1586–1623
|
4 |
Antiphonae omnes iuxta ritum Romani b... (RISM L367b)
Antiphonae omnes iuxta ritum Romani breviarii pro totius anni dominicis diebus in primis, & secundis vesperis nunc primum ... Secunda pars
Venice: Caenobio Sancti Spiritus, 1600
(Choirbook, Print)
RISM
#73
|
|
Attrib: Hieronymo Lambardo |
|
|
Tu mandasti mandata tua
|
|
Isaac, Heinrich
c.1450–1517
|
4 |
Primus Tomus Coralis Constantini ut v... (RISM I89)
Primus Tomus Coralis Constantini ut vulgo vocant, opus insigne & præclarum, vereque coelestis harmoniæ
Nuremberg: Formschneider, Hieronymus, 1550
(Partbook, Print)
RISM
#61
|
|
Attrib: Henrico Isaac |
Communion for nineteenth Sunday after Pentecost |
|
Tu mentis delectatio
|
|
Orgas, Annibale
c.1585–1629
|
5 |
|
Tu mentis delectatio
|
|
Ratti, Lorenzo
1589/1590–1630
|
6 |
|
Tu mi farai morir
|
|
Donato, Baldassare
1529–1603
|
4 |
Gemma musicalis: Selectissimas varii ... (RISM 1588/21)
Gemma musicalis: Selectissimas varii stili cantiones (vulgo Italis madrigali et napolitane dicuntur) quatuor, quinque, sex et plurium vocum continens: quae ex diversis praetantissimorum musicorum libellis, in Italia excusis, decerptae, & in gratiam utriusque musicae studiosorum, uni quasi corpori insertae & in lucem editae sunt, studio & opera Friderici Linderi lignicensis. Liber primus
Nuremberg: Gerlach, Katharina and Lindner, Friedrich, 1588
(Partbook, Print)
RISM
#51
|
|
Attrib: Baldassaro Donato |
|
|
Tu mi piagasti a morte
|
|
Monte, Philippe de
1521–1603
|
5 |
|
Tu mi ponest'inanz' à gliocch' amore
|
|
Animuccia, Paolo
c.1500–1569
|
4 |
|
Tu moristi in quel seno
|
|
Bertani, Lelio
1553/1554–1612
|
6 |
Gemma musicalis: Selectissimas varii ... (RISM 1588/21)
Gemma musicalis: Selectissimas varii stili cantiones (vulgo Italis madrigali et napolitane dicuntur) quatuor, quinque, sex et plurium vocum continens: quae ex diversis praetantissimorum musicorum libellis, in Italia excusis, decerptae, & in gratiam utriusque musicae studiosorum, uni quasi corpori insertae & in lucem editae sunt, studio & opera Friderici Linderi lignicensis. Liber primus
Nuremberg: Gerlach, Katharina and Lindner, Friedrich, 1588
(Partbook, Print)
RISM
#20
|
|
Attrib: Lelio Bertani |
|
|
Tu m'uccidi o crudele
|
|
Gesualdo, Carlo
1566–1613
|
5 |
|
Tunc invocabis et Dominus
|
|
Lambardi, Girolamo
fl.1586–1623
|
4 |
|
Tunc signum Christi erit in caelo
|
|
Resinarius, Balthasar
c.1485–1544
|
4 |
Responsoriorum numero octoginta de te... (RISM R1196)
Responsoriorum numero octoginta de tempore et festis iuxta seriem totius anni, Libri duo, Primus de Christo, & reno eius, Doctrina, Vita, Passione, Resurretione & Ascensione. Alter, de sanctis, & illorum in Christum fide & Cruce
Wittenberg: Rhau, Georg, 1543
(Partbook, Print)
RISM
#55
|
|
Attrib: Baltasare Resinario |
|
|
Tunc surrexerunt
|
|
Paminger, Leonhard
1495–1567
|
4 |
Tertius tomus ecclesiasticarum cantio... (RISM P830)
Tertius tomus ecclesiasticarum cantionum, quatuor, quinque, sex, et plurium vocum, a prima dominica post festum S. Trrinitatis, usque ad primam Dominicam Adventus Domini et Salvatoris nostri Jesu Christi. His commune de Sanctis Ecclesiae Dei, et quaedam Fragmenta ex canticis Canticorum salomonis, accesserunt.
Nuremberg: Gerlach, Dietrich and Gerlach, Katharina, 1576
(Partbook, Print)
RISM
#233
|
|
Attrib: Leonarto Pamingero |
|
|
Tundite vos Musae lachrymas - Lugeat omnis homo
|
|
Villiers, Pierre de
fl.c.1532–1550
|
4 |
|
Tu ne cede malis
|
|
Handl, Jacob (Gallus)
1550–1591
|
5 |
|
Tu ne l’enten pas la la la
|
|
Jeune, Claude le
|
4 |
|
Tu ne quaesieris scire nefas quem mihi quem tibi
|
|
Tritonius, Petrus
|
4 |
|
Tu ne quaesieris scire nefas quem mihi quem tibi
|
|
Nigidius, Michael
|
4 |
|
Tu ninfa di belta
|
|
Pallavicino, Benedetto
c.1551–1601
|
5 |
Tertius Gemmae musicalis liber: Selec... (RISM 1590/20)
Tertius Gemmae musicalis liber: Selectissimas diversorum Autorum cantiones, Italis Madrigali & Napolitane dictas, Octo, Septem, Sex, Quinque & Quatuor vocum continens
Nuremberg: Gerlach, Katharina and Lindner, Friedrich, 1590
(Partbook, Print)
RISM
#24
|
|
Attrib: Benedetto Pallavicino |
|
|
Tu piangi e quella per chi fai tal pianto - Lei tutt'intent'al lume divo
Pothárn Imre
Pothárn Imre (ATTBarB)
|
|
Rore, Cipriano de
1515/1516–1565
|
5 |
|
Tu piangi ò Fille mia
|
|
Gesualdo, Carlo
1566–1613
|
5 |
|
Tu puer propheta
|
|
Isaac, Heinrich
c.1450–1517
|
4 |
|
Tu puer propheta
|
|
Anon
|
4 |
|
Tu quem virgineo
|
|
Anon
|
4 |
(I-Bc A-71)
Bologna, c.1515-c.1520
(Choirbook, MS)
#7
|
|
Attrib: Anon |
|
|