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 |
How vain the toils
David Fraser (A + TrTrTTB viols)
Clare Wilkinson & The Rose Consort of Viols
|
|
Byrd, William
c.1540–1623
|
6 |
Psalmes, Songs, and Sonnets: some sol... (RISM B5221)
Psalmes, Songs, and Sonnets: some solemne, others joyfull, framed to the life of the Words: Fit for Voyces or Viols of 3. 4. 5. and 6. Parts
London: Barley, William and Snodham, Thomas, 1611
(Partbook, Print)
RISM
#30
|
|
Attrib: William Byrd |
|
|
Hoyda hoyda jolly Rutterkin
|
|
Cornysh, William
d.c.1523
|
3 |
|
Hoy se manda apregonar
|
|
Cristo, Pedro de
c.1545–1618
|
4 |
(P-Cug 53)
c.1585-1600
(Choirbook, MS)
#88
|
|
Attrib: D. Pedro |
|
|
Huc ades ô Erneste - Sic Erneste Ducum
Pothárn Imre (Down a fourth)
Pothárn Imre (Down a minor third)
Pothárn Imre
|
|
Lassus, Orlande de
c.1532–1594
|
6 |
Cantica sacra, recens numeris et modu... (RISM L956)
Cantica sacra, recens numeris et modulis musicis ornata, nec ullibi antea typis evulgata sex et octo vocibus
Munich: Berg, Adam, 1585
(Partbook, Print)
RISM
#13
|
|
Attrib: Orlando Lasso |
|
Magnum opus musicum ... Complectens o... (RISM L1019)
Magnum opus musicum ... Complectens omnes cantiones quas motetas vulgo vocant, tam antea editas quam hactenus nondum publicatas II. III. IV. V. VI. VII. IIX. IX. X. XII. vocum a Ferdinando serenissimi bavariae ducis maximiliani musicorum praefecto, & Rudolpho, eidem Principi ab Organis; Authoris filiis summo studio collectum, & impensis eorundem Typis mandatum
Munich: Heinrich, Nikolaus, 1604
(Partbook, Print)
RISM
#317
|
|
Attrib: Orlandi de Lasso |
|
|
Huc caeli ab altis sedibus
|
|
Robledo, Melchor
c.1510–1586
|
4 |
|
Huc me sidereo descendere iussit Olympo - Pungentem capiti Dominum gestare - De me solus amor potuit perferre
Pothárn Imre (SAATTB)
|
|
Willaert, Adrian
c.1490–1562
|
6 |
|
Huc me sidereo - Felle sitim magni regis
|
|
Vaet, Jacobus
c.1529–1567
|
6 |
|
Huc me sidereo - Felle sitim magni regis
|
|
Josquin Desprez
c.1450–1521
|
6 |
(V-CVbav Capp.Sist. 45)
Rome: Gellandi, Claudius and Orceau, Johannes, c.1511-c.1514
(Choirbook, MS)
RISM
#13
|
|
Attrib: Josquin |
|
(I-Bc R.142)
Bologna, 1515-1530
(Partbook, MS)
#44
|
|
Attrib: Josquin |
|
Motetti de la corona Libro tertio (RISM 1519/2)
Fossombrone: Petrucci, Ottaviano, 1519
(Partbook, Print)
RISM
#1
|
|
Attrib: Iosquin |
|
Secundus tomus novi operis musici, se... (RISM 1538/3)
Secundus tomus novi operis musici, sex, quinque et quatuor vocum, nunc recens in lucem editus
Nuremberg: Formschneider, Hieronymus, 1538
(Partbook, Print)
RISM
#1
|
|
Attrib: Iosquin |
|
Cantionum sex vocum (RISM 1558/4)
Nuremberg: Berg, Johann and Neuber, Ulrich, 1558
(Partbook, Print)
RISM
#6
|
|
Attrib: Iosquin de Pres |
|
|
Huc me sidereo - Felle sitim magni regis
|
|
Josquin Desprez
c.1450–1521
|
4 |
(B-Br 9126)
Brussels, c.1505
(Choirbook, MS)
#19
|
|
Attrib: Josquin |
4vv version |
|
Huc me sidereo - Felle sitim magni regis
|
|
Josquin Desprez
c.1450–1521
|
5 |
|
Huc me sidereo - Pungentem capiti - De me solus amor
Pothárn Imre
|
|
Lassus, Orlande de
c.1532–1594
|
6 |
Selectissimae cantiones, quas vulgo m... (RISM L815)
Selectissimae cantiones, quas vulgo motetas vocant, partim omnino novae, partim nusquam in Germania excusae, sex & pluribus vocibus compositae per excellentissimum Musicum
Nuremberg: Gerlach, Dietrich, 1568
(Partbook, Print)
RISM
#31
|
|
Attrib: Orlandum di Lassus |
|
Selectissimarum sacrarum cantionum (q... (RISM 1569/6)
Selectissimarum sacrarum cantionum (quas vulgo Moteta vocant) flores, trium vocum: ex optimis ac praestantissimis quibusque divinae Musices authoribus excerptarum. Iam primum summa cura ac diligentia collecti et impressi. Liber terius.
Leuven: Phalèse the Elder, Pierre, 1569
(Partbook, Print)
RISM
#4
|
|
Attrib: Orlando di Lassus |
Secunda pars only |
Selectissimae cantiones, quas vulgo m... (RISM L915)
Selectissimae cantiones, quas vulgo motetas vocant, partim omnino novae, partim nusquam in Germania excusa, sex & pluribus vocibus compositae
Nuremberg: Gerlach, Katharina and Berg, Johann, 1579
(Partbook, Print)
RISM
#37
|
|
Attrib: Orlandum di Lassus |
|
Magnum opus musicum ... Complectens o... (RISM L1019)
Magnum opus musicum ... Complectens omnes cantiones quas motetas vulgo vocant, tam antea editas quam hactenus nondum publicatas II. III. IV. V. VI. VII. IIX. IX. X. XII. vocum a Ferdinando serenissimi bavariae ducis maximiliani musicorum praefecto, & Rudolpho, eidem Principi ab Organis; Authoris filiis summo studio collectum, & impensis eorundem Typis mandatum
Munich: Heinrich, Nikolaus, 1604
(Partbook, Print)
RISM
#334
|
|
Attrib: Orlandi de Lasso |
|
|
Huc me sidereo - Pungentem capiti - De me solus amor
|
|
Lechner, Leonhard
c.1553–1606
|
5 |
Motectae sacrae, quatuor, quinque, et... (RISM L1286)
Motectae sacrae, quatuor, quinque, et sex vocum, ita compositae, ut non solum viva voce commodissime cantari, sed etiam ad omnis generis instrumenta optime adhiberi possint
Nuremberg: Gerlach, Katharina and Gerlach, Dietrich, 1575
(Partbook, Print)
RISM
#14
|
|
Attrib: Leonardo Lechnero Athesino |
|
Motectae sacrae, quatuor, quinque, et... (RISM L1287)
Motectae sacrae, quatuor, quinque, et sex vocum, ita compositae, ut non solum viva voce commodissime cantari, sed etiam ad omnis generis instrumenta optime adhiberi possint
Nuremberg: Gerlach, Katharina and Gerlach, Dietrich, 1576
(Choirbook, Print)
RISM
#14
|
|
Attrib: Leonardo Lechnero Athesino |
|
|
Huc oculos huc flecte
|
|
Poss, Georg
c.1570–after 1633
|
8 |
Orpheus mixtus vel, si mavis concentu... (RISM P5246)
Orpheus mixtus vel, si mavis concentus musici, tam sacris, quam profanis usibus elaborati, tam simulatis instrumentorum, quam vivis hominum vocibus concinnati, quibus vox octava imitium, sextadecima finem scribit
Graz: Widmanstetter, Georg, 1607
(Partbook, Print)
RISM
#22
|
|
Attrib: Georgio Poss Francone |
|
|
Huc oculos supreme Deus
|
|
Gallet, François
c.1555–after 1585
|
8 |
|
Huc omnes pariter venite - Splendor quo regitur
|
|
Anon
|
4 |
|
Hugh Aston's Maske
|
|
Whytbroke, William
c.1501–1569
Aston, Hugh
c.1485–1558
|
3 |
|
Huius obtentu Deus
|
|
Ortiz, Diego
c.1510–c.1570
|
4 |
|
Huius obtentu Deus
|
|
Palestrina, Giovanni Pierluigi da
c.1525–1594
|
4 |
Hymni totius anni secundum sanctae Ro... (RISM P737)
Hymni totius anni secundum sanctae Romanae Ecclesiae consuetudinem, quattuor vocibus concinendi
Rome: Coattino, Francesco, Donangeli, Bernardino, and Tornieri, Giacomo, 1589
(Choirbook, Print)
RISM
#34
|
|
Attrib: Ioannis Petraloysii Praenestini |
|
|
Huius obtentu Deus
|
|
Asola, Giovanni Matteo
c.1532–1609
|
4 |
Secunda pars hymnorum vespertinis omn... (RISM A2562)
Secunda pars hymnorum vespertinis omnium solennitatum horis deservientium a festo sanctissimae Trinitatis usque ad Adventum. Accedunt etiam hi qui in Commune Sanctorum concinuntur. Quatuor vocibus
Venice: Amadino, Ricciardo and Vincenti, Giacomo, 1585
(Partbook, Print)
RISM
#18
|
|
Attrib: R. D. Io. Matthaeo Asula Veronensi |
|
|
Huius obtentu Deus
|
|
Gallet, François
c.1555–after 1585
|
5 |
Hymni communes sanctorum, iuxta usum ... (RISM G165)
Hymni communes sanctorum, iuxta usum romanum, quatueor, quinque, et sex vocum, tam instrumentorum cuius generi, quam vivae voci aptissimi
Douai: Bogard, Jean, 1586
(Partbook, Print)
RISM
#6
|
|
Attrib: Francesco Galletio Montensi |
|
|
Huius obtentu Deus
Nancho Alvarez
|
|
Victoria, Tomás Luis de
1548–1611
|
4 |
Hymni totius anni, secundum Sanctae R... (RISM V1428)
Hymni totius anni, secundum Sanctae Romanae Ecclesiae consuetudinem, qui quattuor concinuntur vocibus, una cum quattuor psalmis, pro praecipuis festivitatibus, qui octo vocibus modulantur
Rome: Basa, Domenico, 1581
(Choirbook, Print)
RISM
#30
|
|
Attrib: Thomae Lvdovici a Victoria |
|
Hymni totius anni Iuxta ritum Sanctae... (RISM V1429)
Hymni totius anni Iuxta ritum Sanctae Romanae Ecclesiae A Ludovico de Victoria Abulensi, & in Artem Musices celeberimo: Nuper in lucem editi cum quattuor vocibus
Venice: Vincenti, Giacomo, 1600
(Partbook, Print)
RISM
#30
|
|
Attrib: Lvdovico de Victoria |
|
|
Huius obtentu Deus
|
|
Stivori, Francesco
c.1550–1605
|
8 |
(SI-Lnr 343)
Ljubljana: Kuglmann, Georg, c.1600
(Choirbook, MS)
RISM
#85
|
|
Attrib: Franciscus Stivorio |
|
|
Huius obtentu Deus
|
|
Massaino, Tiburtio
before 1550–after 1608
|
4 |
|
Huius obtentu Deus
|
|
Febure, Jan Le
fl.1596–1612
|
4 |
|
Humble se tient soubz vostre haultesse
|
|
Appenzeller, Benedictus
c.1480-1488–after 1558
|
4 |
|