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 |
Jesu summa benignitas
|
|
Massaino, Tiburtio
before 1550–after 1608
|
3 |
|
Jesu summa benignitas
|
|
Ratti, Lorenzo
1589/1590–1630
|
2 |
|
Jesu summa benignitas
|
|
Ratti, Lorenzo
1589/1590–1630
|
5 |
|
Jesu summa benignitas
|
|
Dering, Richard
c.1580–1630
|
5 |
Cantiones sacrae quinque vocum, cum b... (RISM D1317)
Cantiones sacrae quinque vocum, cum basso continuo ad organum
Antwerp: Phalèse the Younger, Pierre, 1617
(Partbook, Print)
RISM
#6
|
|
Attrib: Richardo Diringo |
|
|
Je suy d'alemaygne/Joliettement m'en vay
|
|
Anon
|
5 |
|
Je suys a moy et a moy me tiendray
|
|
Rue, Robert de la
|
4 |
|
Je suys joyeulx et languis en tristesse
|
|
Sermisy, Claudin de
c.1490–1562
|
4 |
|
Je t'aimerai en toute obéissance - En lui seul git me fiance parfaite
|
|
Goudimel, Claude
1514-1520–1572
|
4 |
|
Je te t'aymeray en toute obeissance
|
|
Bourgeois, Louis
c.1510-1515–1559
|
4 |
|
Jetz hat volbracht unfal sein macht
|
|
Anon
|
4 |
|
Jetz schaidens wee ist worden kund
|
|
Anon
|
4 |
|
Je veux mon Dieu
|
|
Pevernage, Andreas
1542/1543–1591
|
5 |
|
Je vois plusieurs en acoutant
|
|
Larchier, Jean
fl.1543–1555
|
5 |
|
Je vouldroye bien mais que fusse contente
|
|
Doublet, Jean
|
4 |
|
Je voulu baiser ma rebelle
|
|
Jeune, Claude le
|
4 |
|
Je vous donne en conscience
|
|
Lassus, Orlande de
c.1532–1594
|
5 |
|
Je vous emprie
|
|
Agricola, Alexander
1445/1446–1506
|
3 |
|
Je vous requiers ma cherre dame
|
|
Anon
|
4 |
|
Je voy je viens
|
|
Gascongne, Matthieu
fl.1517–1518
|
3 |
(GB-Cmc 1760)
Cambridge, c.1500-c.1520
(Choirbook, MS)
#44
|
|
Attrib: M. gascongne |
|
|
Jhean de Lagny mon bel amy
|
|
Berchem, Jacquet de
c.1505–1567
|
4 |
|
Joannes Antiochenus
|
|
Dragoni, Giovanni Andrea
c.1540–1598
|
5 |
Motectorum ... Quae quinque vocibus c... (RISM D3499)
Motectorum ... Quae quinque vocibus concinuntur, super omnia fere Festa Sanctorum, tres in partes divisa, quarum quaelibre continet festa quatuor mensium, Liber Primus, Prima Pars
Rome: Mutii, Nicolo, 1600
(Partbook, Print)
RISM
#12
|
|
Attrib: Io. Andreae Draconis |
|
|
Joannes apostolus et evangelista
|
|
Mornable, Antoine de
fl.1530–1553
|
5 |
|
Joannes apostolus et evangelista - Ecclesiam tuam
|
St John |
Willaert, Adrian
c.1490–1562
|
4 |
Liber cantus (vocum quatuor) triginta... (RISM 1538/5)
Liber cantus (vocum quatuor) triginta novem motetos habet, ut in sequenti indice demonstratur
Ferrara: Buglhat, Johannes de, Campis, Henrici de, and Hucher, Antonio, 1538
(Partbook, Print)
RISM
#4
|
|
Attrib: Adrian vuillart |
|
Musica quatuor vocum, (quae vulgo mot... (RISM W1106)
Musica quatuor vocum, (quae vulgo motecta nuncupatur) Noviter omni studio, ac diligentia in lucem editu Liber Primus
Venice: Scotto, Girolamo, 1539
(Choirbook, MS)
RISM
#21
|
|
Attrib: Adrian Vvilaert |
|
Musici celeberrimi ac chori divi marc... (RISM W1107)
Musici celeberrimi ac chori divi marci illustrissimae reipublicae venetiarum magistri musica quatuor vocum. Liber Primus
Venice: Gardano, Antonio, 1545
(Partbook, Print)
#7
|
|
Attrib: Adriani Vvillaert |
|
(I-TVd 8)
Treviso, 1556-1569
(Choirbook, MS)
#30
|
|
Attrib: Adrian Vuillaret |
|
|