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 |
Yield unto God the Lord on high
|
|
Johnson, Robert (ii)
c.1583–1633
|
4 |
The tears or lamentacions of a sorrow... (RISM 1614/7)
The tears or lamentacions of a sorrowfull soul: composed with musicall ayres and songs, both for voyces and divers instruments
London: Stansby, William, 1614
(Tablebook, Print)
RISM
#11
|
|
Attrib: Rob. Johnson |
|
|
Yo me soy la morenica
|
|
Anon
|
4 |
|
You and I and amyas
|
|
Cornysh, William
d.c.1523
|
3 |
|
You black bright stars
|
|
Morley, Thomas
1557/1558–1602
|
5 |
|
You little Starres - And thou O love
|
|
Peerson, Martin
1571-1573–1651
|
5 |
Mottects or grave Chamber Musique Con... (RISM P1136)
Mottects or grave Chamber Musique Containing Songs of five parts of severall sorts, some ful, and some Verse and Chorus. But all fit for Voyces and Viols, with an Organ Part; which for want of Organs, may be performed on Virginals, Bass-Lute, Bandora, or Irish Harpe.
London: Stansby, William, 1630
(Partbook, Print)
RISM
#3
|
|
Attrib: Martin Peerson |
|
|
You meaner beauties of the night
|
|
East, Michael
c.1580–1648
|
5 |
|
You're counterfeiting with double dealing
|
|
Newark, William
|
3 |
|
Your shining eyes and golden hair
|
|
East, Michael
c.1580–1648
|
4 |
The Fourth Set of Bookes, Wherein are... (RISM E7)
The Fourth Set of Bookes, Wherein are Anthemes for Versus and Chorus, Madrigals, and Songs of other kindes, to 4, 5, and 6 Parts: apt for Viols and Voyces
London: Snodham, Thomas, 1624
(Partbook, Print)
RISM
#6
|
|
Attrib: Michaell East |
|
|
Your shining eyes and golden hair
|
|
East, Michael
c.1580–1648
|
6 |
The Fourth Set of Bookes, Wherein are... (RISM E7)
The Fourth Set of Bookes, Wherein are Anthemes for Versus and Chorus, Madrigals, and Songs of other kindes, to 4, 5, and 6 Parts: apt for Viols and Voyces
London: Snodham, Thomas, 1624
(Partbook, Print)
RISM
#20
|
|
Attrib: Michaell East |
|
|
Zachaeae festinans descende
|
|
Febure, Jan Le
fl.1596–1612
|
8 |
Fasciculus sacrarum cantionum pro pra... (RISM L1347)
Fasciculus sacrarum cantionum pro praecepuis totius anni festivitatibus, sex, septem, octo, et duodecim vocibus summo studio concinnatus, & hunc prima vice divulgatus
Frankfurt: Richter, Wolfgang, 1607
(Partbook, Print)
RISM
#25
|
|
Attrib: Ioanne Le Febvure |
|
|
Zachaee festinans descende
|
|
Anon
|
8 |
|
Zachaee festinans descende
|
|
Lassus, Orlande de
c.1532–1594
|
5 |
Sacrae cantiones (vulgo motecta appel... (RISM L794)
Sacrae cantiones (vulgo motecta appellatae) quinque, et sex vocum. Tum viva voce tum omnis generis instrumentis cantatu commodissimae. Liber secundus
Venice: Gardano, Antonio, 1566
(Partbook, Print)
RISM
#2
|
|
Attrib: Orlandi Lassi |
|
Cantiones quas vulgo motetas vocant, ... (RISM L816)
Cantiones quas vulgo motetas vocant, patrim omnino novae, partim nusquam in Germania excusae, quinque et quatuor vocibus compositae per excellentissimum musicum
Nuremberg: Gerlach, Dietrich, 1568
(Choirbook, Print)
RISM
#10
|
|
Attrib: Orlandum di Lassus |
|
|
Zachaee festinans descende
|
|
Phinot, Dominique
c.1510–c.1556
|
5 |
|
Zachaee festinans descende - At ille festinans descendit
|
|
Reiner, Jacob
before 1560–1606
|
6 |
|
Zachaee festinans descende - Domine Deus omnipotens
|
|
Crecquillon, Thomas
c.1505–1557
|
4 |
Choirbook D (NL-Lml 1441)
Leiden: Blauwe, Anthonius de and Flamingus, Johannes, c.1550-c.1567
(Choirbook, MS)
#27
|
|
Attrib: Thomas Cricquillon |
|
Liber primus ecclesiasticarum cantion... (RISM 1553/8)
Liber primus ecclesiasticarum cantionum quatuor vocum
Antwerp: Susato, Tylman, 1553
(Partbook, Print)
RISM
#13
|
|
Attrib: Thomas Crecquillon |
|
Tertius tomus evangeliorum quatuor qu... (RISM 1555/11)
Tertius tomus evangeliorum quatuor quinque sex et plurium vocum continens historias et doctrinam, quae in ecclesia proponi solet: de Trinitate, de Dedicatione Templi, De coena Domini
Nuremberg: Berg, Johann and Neuber, Ulrich, 1555
(Partbook, Print)
RISM
#11
|
|
Attrib: Thomas Crequilon |
|
Liber septimus cantionum sacrarum vul... (RISM C4406)
Liber septimus cantionum sacrarum vulgo moteta vocant, quatuor vocum, nunc primum in lucem editus
Leuven: Phalèse the Elder, Pierre, 1559
(Partbook, Print)
RISM
#14
|
|
Attrib: Tho. Cricquillon |
|
Liber septimus cantionum sacrarum (vu... (RISM C4408)
Liber septimus cantionum sacrarum (vulgo moteta vocant), quatuor vocum, nunc denuo a multis quibus scatebat mendis: summa cura vigilantiaquae recognitus, atque castigatus
Leuven: Phalèse the Elder, Pierre, 1567
(Partbook, Print)
RISM
#14
|
|
Attrib: Tho. Cricquillon |
|
Opus sacrarum cantionum (quas vulgo m... (RISM C4410)
Opus sacrarum cantionum (quas vulgo moteta vocant)
Leuven: Phalèse the Elder, Pierre, 1576
(Partbook, Print)
RISM
#15
|
|
Attrib: Thomae Criquillon |
|
|
Zachaee festinans descende - Hodie huic domui
|
|
Buissons, Michael-Charles des
fl.1560–1570
|
6 |
|
Zefiro torna e 'l bel tempo rimena
|
|
Ferrabosco, Alfonso (i)
1543–1588
|
5 |
|
Zefiro torna e'l bel tempo rimena
|
|
Monteverdi, Claudio
1567–1643
|
5 |
Il sesto libro de madrigali a cinque ... (RISM M3490)
Il sesto libro de madrigali a cinque voci, con uno Dialogo a Sette, Con il suo Basso continuo per poterli concertare nel Clavacembalo, & altri Stromenti. ... Nuovamente composti, & dati in luce
Venice: Amadino, Ricciardo, 1614
(Partbook, Print)
RISM
#2
|
|
Attrib: Claudio Monteverde |
|
|
Zefiro torna e'l bel tempo rimena
|
|
Marenzio, Luca
1553/1554–1599
|
4 |
The first sett, of Italian Madrigalls... (RISM 1590/29)
The first sett, of Italian Madrigalls Englished
London: East, Thomas, 1590
(Partbook, Print)
RISM
#4
|
|
Attrib: Luca Marenzio |
as Zephyrus breathing now calls nymphs from out their bowers |
(US-NYp Drexel 4180-4185)
New York: Merro, John, 1600-1650
(Partbook, MS)
#25
|
|
Attrib: Luca marenzo |
as Zephyrus breathing now calls nymphs from out their bowers |
|