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 |
Voi bramate ch'io moia
|
|
Marenzio, Luca
1553/1554–1599
|
5 |
|
Voi ch'ascoltate in rime - Ma ben veggio hor
|
|
Wert, Giaches de
1535–1596
|
5 |
|
Voi ch’ascoltate in rime sparse il suono
|
|
Monteverdi, Claudio
1567–1643
|
5 |
|
Voi ch'ascoltate in rime sparse - Ma ben veggi'hor
|
|
Gabrieli, Giovanni
c.1554–1612
|
4 |
|
Voi ch'ascoltate - Ma ben veggio hor
Pothárn Imre
|
|
Lassus, Orlande de
c.1532–1594
|
5 |
Libro quarto de madrigali a cinque voci (RISM L813)
Venice: Gardano, Antonio, 1567
(Partbook, Print)
RISM
#9
|
|
Attrib: Orlando Lasso |
|
|
Voi che ascoltate i dolorosi pianti
|
|
Cara, Marchetto
c.1465–1525
|
4 |
|
Voi che ascoltate i dolorosi pianti
|
|
Antiquis, Adam de
fl.c.1505–1510
|
4 |
|
Voi che prendete gioia
|
|
Arcadelt, Jacques
1507–1568
|
4 |
|
Voicy le bon temps que chascun s'apreste
|
|
Beaulieu, Eustorg de
c.1495–1552
|
4 |
|
Voicy le may le joly moys de may
|
|
Moulu, Pierre
?1484–c.1550
|
4 |
|
Voi la mia vita sete
|
|
Arcadelt, Jacques
1507–1568
|
4 |
|
Voi mi dite madonna
|
|
Contino, Giovanni
c.1513–1574
|
4 |
|
Voi mi ponest'in foco - Pero che da l'ardore - Che se tant'a voi piace - Et di voi non mi doglio
|
|
Palestrina, Giovanni Pierluigi da
c.1525–1594
|
4 |
|
Voi nemico crudele
|
|
Wert, Giaches de
1535–1596
|
5 |
|
Voi non m'amat'et io pur troppo v'amo
|
|
Arcadelt, Jacques
1507–1568
|
4 |
|
Voi pur da me partite
|
|
Monteverdi, Claudio
1567–1643
|
5 |
|
Voi sapete ch'io v'amo
|
|
Arcadelt, Jacques
1507–1568
|
4 |
|
Vois commant
|
|
Wilder, Philip van
c.1500–1553
|
5 |
|
Voi sete occhi
|
|
Monte, Philippe de
1521–1603
|
5 |
|
Voi ve n'andat'al cielo
|
|
Arcadelt, Jacques
1507–1568
|
4 |
|
Voi volete ch'io moia
|
|
Anon
|
5 |
|
Voi volete ch'io mora - Moro o non moro
|
|
Gesualdo, Carlo
1566–1613
|
5 |
|
Voi volete ch' io muoia
|
|
Ferrabosco, Alfonso (i)
1543–1588
|
6 |
Sambrook book (US-NYp Drexel 4302)
London: Tregian, Francis (ii), 1613-1619
(Score, MS)
RISM
#83
|
|
Attrib: Alfonso Ferabosco Sen |
|
|
Voi volete ch'io muoia
|
|
Wert, Giaches de
1535–1596
|
5 |
|
Vola il tempo e sa manchare
|
|
Escribano, Juan
c.1478–1557
|
4 |
|