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Journal of Seventeenth-Century Music

Journal of Seventeenth-Century Music

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Volume 21 (2015) No. 1

Published 2017

Toward a New Grammar of Mid-Seventeenth-Century Harmonic Language: Hearing Expressive Harmonies in Motets from the Habsburg Court of Ferdinand III (1637–57)

Andrew H. Weaver

Appendix. Surviving motets from the Habsburg court of Ferdinand III

Antonio Bertali (1605–69) (3)

Final

Cantus

Expressive Harmonies

Source

Edition

Exultate et cantate

g

mollis

durus–mollis contrast, mm. 48–50

Rolla

Weaver 5

Lamento della regina d’Inghilterra

g

duplex mollis

durus–mollis contrast, mm. 76–79, 83–86, 108–11, 131–35, 235–38;

hexachordal shifts, mm. 47–60, 85–86, 102–11, 210–11;

signature (and system) changes, mm. 61–69, 118–22, 154–57, 183–88

Düben, 47:21

Weaver 1

Venite gentes (attributed to Valentini in one source)

C

naturalis

durus–mollis contrast, mm. 33–39, 90–93

CZ-KRa

II.15 and II.232

Wolfgang Ebner (1612–65) (1)

Final

Cantus

Expressive Harmonies

Source

Edition

Delectare in Domino

d

naturalis

durus–mollis contrast, mm. 35–38;

hexachordal shift, mm. 64–69

D-Kl

53m

Weaver 5

Ferdinand III (1608–57) (14)

Final

Cantus

Expressive Harmonies

Source

Edition

Ave maris stella

G;

g

durus;

duplex mollis

signature (and system) changes, mm. 166–81, 219–end

D-Lr

K.N. 28

Weaver 5

Crudelis Herodis

d

naturalis

wide-ranging harmonies throughout;

durus–mollis contrast, mm. 11–60, 71–77, 83–94, 151–60;

hexachordal shift, mm. 185–94

D-Lr

K.N. 28

Weaver 5

Deus misereatur nostri

G / a

naturalis

durus–mollis contrast, mm. 34–36

D-Lr

K.N. 206

Weaver 5

Deus, tuorum militum

d

naturalis

D-Lr

K.N. 28

Weaver 5

Egregie doctor Paule

G

durus

D-Lr

K.N. 28

Weaver 5

Humanae salutis sator

G / a;

C / d

naturalis;

mollis

durus–mollis contrast, mm. 62–72, 85–92;

system change, mm. 42–131

D-Lr

K.N. 28

Weaver 5

Iste confessor

C

naturalis

D-Lr

K.N. 28

Weaver 5

Jesu corona virginum

g

duplex mollis

D-Lr

K.N. 28

Weaver 5

Jesu redemptor omnium

C / a;

F / d

naturalis;

mollis

wide-ranging harmonies throughout;

system change, mm. 118–82

D-Lr

K.N. 28

Weaver 5

Miserere

g / a

mollis;

naturalis

durus–mollis contrast, mm. 119–24, 185–87;

hexachordal shifts, mm. 46–52, 122–24;

signature (and system) changes, mm. 58–67, 149–60;

system change, mm. 296–300

A-Wn

Cod. 11,774

  Weaver 5
Pange lingua

c;
 

d

triplex mollis;

mollis

system change, mm. 51–87

D-Lr

K.N. 28

Weaver 5

Peccavimus

g

duplex mollis

hexachordal shift, mm. 7–8

D-Bsa

Weaver 6

Popule meus

c

duplex mollis

durus–mollis contrast, mm. 53–75, 76–98, 151–67, 168–88

D-Lr

K.N. 28

Weaver 5

Veni creator Spiritus

C / a

naturalis

ends on E

D-Lr

K.N. 28

Weaver 5

Johann Jacob Froberger (1616–67) (2)

Final

Cantus

Expressive Harmonies

Source

Edition

Alleluia, assumpta est mors

a

naturalis

Düben,

23:12, 83:49

Ruggeri

Apparuerunt apostolis

G

naturalis

Düben,

23:13, 83:50

Ruggeri

Georg Pichelmair (d. 1638) (1)

Final

Cantus

Expressive Harmonies

Source

Edition

Canite tuba in Sion

G

naturalis

D-Lr

K.N. 206

Weaver 5

Giovanni Felice Sances (ca. 1600–79) (101)

Final

Cantus

Expressive Harmonies

Source

Edition

Alma redemptoris Mater

G

naturalis

Sances 3

Alma redemptoris Mater (a3)

d

naturalis

wide-ranging harmonies throughout; general large-scale move from durus to mollis;

durus–mollis contrast, mm. 83–93

Sances 4

Weaver 2

Alma redemptoris Mater (a5)

d

mollis

Sances 4

Weaver 2

Alma redemptoris prima

C

naturalis

Sances 6

Alma redemptoris seconda

a

naturalis

Sances 6

Alma redemptoris terza

g

mollis

Sances 6

Alma redemptoris quarta

F

mollis

Sances 6

Alma redemptoris quinta

g

mollis

Sances 6

Ardet cor meum

d

naturalis;

mollis

durus–mollis contrast, mm. 1–48;

system change, mm. 102–end

Sances 1

Saunders 1

Audi Domine

d

mollis;

naturalis

system change, mm. 60–end

Sances 4

Weaver 2

Audite me, divini fructus

d

naturalis

Sances 1

Saunders 1

Audite me, divini fructus

C

naturalis

durus–mollis contrast, mm. 38–52

Sances 2

Schnoebelen

Ave maris stella

d

naturalis

Sances 1

Saunders 1

Ave Regina caelorum

C

naturalis

Sances 1

Saunders 1

Ave Regina caelorum

F

duplex mollis

Sances 3

Ave Regina caelorum prima

d

naturalis

Sances 6

Ave Regina caelorum seconda

G

durus

Sances 6

Ave Regina caelorum terza

B-flat

duplex mollis

Sances 6

Ave Regina caelorum quarta

F

mollis

Sances 6

Ave Regina caelorum quinta

G

naturalis

Sances 6

Benedicta et venerabilis

G

durus

Sances 4

Weaver 2

Benedicam Dominum

F

mollis

Sances 2

Schnoebelen

Bonum est confiteri Domino

C

naturalis

Sances 2

Schnoebelen

Caro mea

G

naturalis

durus–mollis contrast, mm. 11–15

Sances 4

Weaver 2

Conditor caeli

d

naturalis

Sances 1

Saunders 1

Deus in adjutorium

G

naturalis

Sances 1

Saunders 1

Deus propitius esto

G

naturalis

Sances 4

Weaver 2

Domine Deus meus

G

naturalis

durus–mollis contrast, mm. 38–41, 72–78

Sances 2

Schnoebelen

Domine ne in furore tuo

C

naturalis

Sances 4

Weaver 2

Domine, ne memineris

G

naturalis

Sances 1

Saunders 1

Domine quid multiplicati sunt

C

naturalis

Sances 2

Schnoebelen

Dominus possedit me

G

durus

Sances 2

Schnoebelen

Dulcis amor Jesu

G

naturalis

durus–mollis contrast, mm. 49–54

Sances 1

Saunders 1

Excita furorem, et memento belli

C

naturalis

durus–mollis contrast, mm. 29–40

Rolla

Weaver 5

Gaude Virgo

g

duplex mollis

durus–mollis contrast, mm. 45–49

Sances 4

Weaver 2

Honestum fecit

D

durus

Sances 4

Weaver 2

Iste confessor

d

mollis

Sances 1

Saunders 1

Iste sanctus

G

naturalis

durus–mollis contrast, mm. 34–38, 83–87

Sances 4

Weaver 2

Jesu dulcis memoria

g

mollis

Sances 2

Schnoebelen

Jubilent in caelis

d

mollis

durus–mollis contrast, mm. 35–46

Sances 1

Saunders 1

Judica me, Deus

G

naturalis

durus–mollis contrast, mm. 33–45

Sances 1

Saunders 1

Laetamini in Domino

d

mollis

Sances 1

Saunders 1

Laetamini omnes

C

naturalis

Sances 2

Schnoebelen

Lauda Sion

F

mollis

Sances 4

Weaver 2

Laudemus viros gloriosos

G

naturalis

Sances 1

Saunders 1

Magnificemus in cantico

G

durus

Sances 1

Saunders 1

Miserere servorum tuorum

G

naturalis

durus–mollis contrast, mm. 20–28

Rolla

Weaver 5

Mulierem fortem

G

naturalis

durus–mollis contrast, mm. 101–8

Sances 4

Weaver 2

O beata Maria

G

naturalis

Sances 4

Weaver 2

O bone Jesu

g

duplex mollis

durus–mollis contrast, mm. 48–58

Sances 2

Schnoebelen

O bone Jesu

C

naturalis

hexachordal shift, mm. 53–54

Sances 4

Weaver 2

O crux benedicta

C

naturalis

Sances 1

Saunders 1

O crux benedicta

G

naturalis

hexachordal shift, mm. 36–53

Sances 4

Weaver 2

O Deus meus

g

mollis

durus–mollis contrast, mm. 24–28, 60–70, 123–35

Sances 2

Schnoebelen

O Domina gloriae

G

durus

Sances 6

Weaver 5

O Domine, guttae tui sanguinis

F

duplex mollis

Sances 1

Saunders 1

O Domine Jesu

G

durus

durus–mollis contrast, mm. 33–37

Sances 4

Weaver 2

O Domine Jesu Christe

g

mollis

Sances 2

Schnoebelen

O dulcis Virgo virginum

g

mollis

durus–mollis contrast, mm. 48–70

Sances 6

Weaver 4

O Jesu mi

F

mollis

Sances 1

Saunders 1

O Jesu mi dulcissime

g

duplex mollis

wide-ranging harmonies throughout

Sances 1

Saunders 1

O Maria Dei genitrix

d

naturalis

durus–mollis contrast, mm. 1–55

Sances 1

Saunders 1

O quam speciosa

F

mollis

Sances 1

Saunders 1

O vos omnes

a

naturalis

durus–mollis contrast, mm. 69–83

Sances 2

Schnoebelen

Pianto della Madonna

(Stabat Mater)

a

naturalis

Sances 2

Schnoebelen

Plagae tuae, Domine

C

naturalis

durus–mollis contrast, mm. 62–77

Sances 1

Saunders 1

Psallite Domino

g

mollis

Sances 1

Saunders 1

Puer qui natus est nobis

F

mollis

Sances 5

Quemadmodum

G

naturalis

Sances 1

Saunders 1

Querite Dominum

G

durus

durus–mollis contrast, mm. 68–86

Sances 2

Schnoebelen

Quid mihi est in caelo

G

naturalis

Sances 4

Weaver 2

Quot maris sunt guttae

G

naturalis*

Sances 4

Weaver 2

Regina caeli

a

durus

Sances 3

Regina caeli

C

naturalis

durus–mollis contrast, mm. 39–69

Sances 5

Regina caeli prima

F

mollis

Sances 6

Regina caeli seconda

e

durus

Sances 6

Regina caeli terza

G

durus

hexachordal shift, mm. 18–26

Sances 6

Regina caeli quarta

d

naturalis

durus–mollis contrast, mm. 54–66

Sances 6

Regina caeli quinta

C

naturalis

Sances 6

Salve Regina

G

durus

Sances 1

Saunders 1

Salve Regina

D

durus

Sances 3

Salve Regina (a2)

d

naturalis

durus–mollis contrast, mm. 39–47

Sances 4

Weaver 2

Salve Regina (a5)

d

naturalis

hexachordal shift, mm. 60–80

Sances 4

Weaver 2

Salve Regina prima

g

duplex mollis

Sances 6

Salve Regina seconda

d

naturalis

durus–mollis contrast, mm. 93–109; hexachordal shift, mm. 26–44

Sances 6

Salve Regina terza

G

durus

Sances 6

Salve Regina quarta

g

mollis

Sances 6

Salve Regina quinta

d

mollis

durus–mollis contrast, mm. 74–104;

hexachordal shift, mm. 47–73

Sances 6

Salvum me fac

g

mollis

Sances 1

Saunders 1

Si criminum

F

duplex mollis

Sances 4

Weaver 2

Solvatur lingua mea

G

naturalis

Sances 1

Saunders 1

Solvatur lingua mea

G

naturalis

durus–mollis contrast, mm. 19–40

Sances 2

Schnoebelen

Stabat Mater

g

duplex mollis

durus–mollis contrast, mm. 21–32, 95–101

Sances 3

Stabat Mater

g

duplex mollis

wide-ranging harmonies throughout; durus–mollis contrast, mm. 62–68;

hexachordal shift, mm. 114–18

Sances 5

Te Deum Patrem ingenitum

F

duplex mollis

Sances 4

Weaver 2

Tota pulchra es

F

duplex mollis

durus–mollis contrast, mm. 120–41

Sances 1

Saunders 1

Veni sancte Spiritus

g

duplex mollis

Sances 4

Weaver 2

Veni sponsa Christi

C

naturalis

durus–mollis contrast, mm. 36–39, 163–66;

hexachordal shift, mm. 81–84

Sances 4

Weaver 2

Venite ad me omnes

d

naturalis

Sances 2

Schnoebelen

Victimae paschali laudes

g

duplex mollis

durus–mollis contrast, mm. 65–79

Sances 5

Vulnerasti cor meum

F

mollis

Sances 1

Saunders 1

* Differs from the designation in Weaver 2, p. xvi.

Giovanni Valentini (ca. 1582/83–1649) (8)

Final

Cantus

Expressive Harmonies

Source

Edition

Cantate gentes

C

naturalis

Düben,

66:15

Weaver 3

Haec est Virgo

F

mollis

A-KR

L-14

Hodie Christus natus est

d

naturalis

A-KR

L-14

Iniquos odio habui

g

mollis

A-KR

L-14

In te Domine speravi

d

naturalis

D-Lr

K.N. 206

Weaver 5

In te Domine speravi

d

naturalis

D-Kl

51o

Saunders 2

Mensa sacra

g

duplex

mollis

A-KR

L-14

O felix Maria

g

mollis

D-Lr

K.N. 28

Weaver 5

Pietro Verdina (ca. 1600–43) (3)

Final

Cantus

Expressive Harmonies

Source

Edition

Ave Regina caelorum

C

mollis

D-Lr

K.N. 28

Laudate Dominum in sanctis ejus

C

naturalis

A-KR

L-14;

D-Lr

K.N. 28

Weaver 4

Venite et videte

B-flat

mollis

A-KR

L-14

Weaver 4

Bibliography

Sources

A-Kr Kremsmünster, Benediktinerstift
A-Wn Vienna, Österreichische Nationalbibliothek
CS-KRa Kromĕříž, Státni Zámek a Zahrady, Historiko-Umelecké, Hudebni Archiv
D-Bsa Berlin, Sing-Akademie zu Berlin, Notenarchiv, SA 4661 (7)
D-Kl Kassel, Gesamthochschulbibliothek Kassel, Landes und Murhardsche Bibliothek, 2o Ms. mus.
D-Lr Lüneburg, Ratsbücheri, Mus. ant. pract.
Düben Sweden, Uppsala University Library (S-Uu), Vokalmusik i handskrift.
Rolla Teatro musicale de concerti ecclesiastici a due, tre, e quattro voci di diversi celebri e nomati autori. Milan: G. Rolla, 1649.
Sances 1 Sances, Giovanni Felice. Motetti a una, due, tre, e quattro voci. Venice: B. Magni, 1638.
Sances 2 Sances, Giovanni Felice. Motetti a voce sola. Venice: B. Magni, 1638.
Sances 3 Sances, Giovanni Felice. Antifone e litanie della Beatissima Vergine a più voci. Venice: B. Magni, 1640. [No surviving continuo partbook]
Sances 4 Sances, Giovanni Felice. Motetti a 2. 3. 4. e cinque voci…con le letanie della B.V. a sei voci…opera quarta ecclesiastica. Venice: B. Magni, 1642.
Sances 5 Sances, Giovanni Felice. Salmi a 8 voci concertati, con la comodità de suoi ripieni per chi li desiderasse. Venice: B. Magni, 1643.
Sances 6 Sances, Giovanni Felice. Antiphonae sacrae B.M.V. per totum annum una voce decantandae. Venice: Gardano, 1648.

Editions

Ruggeri Froberger, Johann Jacob. Two Motets. Edited by Yves Ruggeri. Monaco: L’Oiseau-Lyre, 1990.
Saunders 1 Sances, Giovanni Felice. Motetti a una, due, tre, e quattro voci (1638). Edited by Steven Saunders. Recent Researches in the Music of the Baroque Era 126. Middleton, Wis.: A-R Editions, 2003.
Saunders 2 Saunders, Steven. “Giovanni Valentini’s ‘In te Domine speravi’ and the Demise of the Viola Bastarda.” Journal of the Viola da Gamba Society of America 28 (1991): 1–20.
Schnoebelen Schnoebelen, Anne, ed. Solo Motets from the Seventeenth Century: Facsimiles of Prints from the Italian Baroque. Vol. 8, Rome I. New York: Garland, 1988.
Weaver 1 Bertali, Antonio. Lamento della regina d’Inghilterra. Edited by Andrew H. Weaver. Web Library of Seventeenth-Century Music 11 (2008). http://www.sscm-wlscm.org/main-catalogue/browse-by-composer/43-wlscm-no-11h
Weaver 2 Sances, Giovanni Felice. Motetti a 2, 3, 4, e cinque voci (1642). Edited by Andrew H. Weaver. Recent Researches in the Music of the Baroque Era 148. Middleton, Wis.: A-R Editions, 2008.
Weaver 3 Valentini, Giovanni. Cantate gentes. Edited by Andrew H. Weaver. Web Library of Seventeenth-Century Music 9 (2007). http://www.sscm-wlscm.org/main-catalogue/browse-by-composer/41-wlscm-no-9h
Weaver 4 Verdina, Pietro. Two Concerted Motets. Edited by Andrew H. Weaver. Web Library of Seventeenth-Century Music 28 (2013). http://www.sscm-wlscm.org/main-catalogue/browse-by-composer/117-two-concerted-motets
Weaver 5 Weaver, Andrew H., ed. Motets by Emperor Ferdinand III and Other Musicians from the Habsburg Court, 1637–1657. Collegium Musicum: Yale University, second series, 18. Middleton, Wis.: A-R Editions, 2012.
Weaver 6 Weaver, Andrew H. “A Recently Rediscovered Motet by Holy Roman Emperor Ferdinand III.” Early Music 43, no. 2 (May 2015): 281–89.

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