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 |
Veu les tourmens
|
|
Anon
|
4 |
Tiers livre, ou sont contenues plusie... (RISM 1555/17)
Tiers livre, ou sont contenues plusieurs chansons tirées du recueil: des meileures tant anciennes que modernes, composées de divers excellents musiciens: desquelles avons changé la verbe lubrique en lettre spirituelle et chrestienne. Le tout à quatre parties & en quatre livres.
[Geneva]: Du Bosc, Simon and Guéroult, Guillaume, 1555
(Partbook, Print)
RISM
#7
|
|
Attrib: Anon |
|
|
Veullant aymer on me peult parvenir
|
|
Anon
|
4 |
|
Veu que du tout
|
|
Goudimel, Claude
1514-1520–1572
|
4 |
|
Veu que du tout en Dieu
|
|
Bourgeois, Louis
c.1510-1515–1559
|
4 |
|
Veux tu ton mal - Le voulez vous
|
|
Lassus, Orlande de
c.1532–1594
|
5 |
Tiers livre des chansons a quatre cin... (RISM L764)
Tiers livre des chansons a quatre cincq et six parties novellement composez par Orlando di Lassus. Convenables tant aux instrumentez comme à la Voix
Leuven: Phalèse the Elder, Pierre, 1560
(Partbook, Print)
RISM
#14
|
|
Attrib: Orlando di Lassus |
|
Mellange d'Orlande de Lassus, contena... (RISM L834)
Mellange d'Orlande de Lassus, contenant plusieurs chansons, tant en vers latins qu'en ryme francoyses. A quatre, cinc, six, huit, dix, parties
Paris: Ballard, Robert (i) and Le Roy, Adrian, 1570
(Partbook, Print)
RISM
#55
|
|
Attrib: Orlande |
|
Bourdenay codex (F-Pn 851)
Paris, c.1570-c.1599
(Score, MS)
#384
|
|
Attrib: Anon |
|
|
Ve ve Babylon civitas magna - Ve ve civitas illa magna
|
|
Gombert, Nicolas
c.1495–c.1560
|
4 |
|
Vexilla regis prodeunt
|
|
Ortiz, Diego
c.1510–c.1570
|
4 |
|
Vexilla regis prodeunt
|
|
Kerle, Jacobus de
1531/1532–1591
|
5 |
|
Vexilla regis prodeunt
|
|
Paminger, Leonhard
1495–1567
|
6 |
Secundus tomus ecclesiasticarum canti... (RISM P829)
Secundus tomus ecclesiasticarum cantionum, quatuor, quinque, sex, et plurium vocum, a passionem Domini et salvatoris nostri Jesu Christiu usque ad primam Dominicam post Festum S. Trinitatis
Nuremberg: Gerlach, Dietrich, 1573
(Partbook, Print)
RISM
#32
|
|
Attrib: Leonartum Pamingerum |
Canon Eum qui venit ad me non eiiciam foras |
|
Vexilla regis prodeunt
|
|
Mantua, Jacquet de
1483–1559
|
4 |
Himni vesperorum totius anni secundum... (RISM J22)
Himni vesperorum totius anni secundum Romanam curiam
Venice: Scotto, Girolamo, 1566
(Partbook, Print)
RISM
#5
|
|
Attrib: Iachet svavissimi olim musici reverendissimi cardin. Mantvae |
Te summa Deus: Canon in diapente superius. Cum quinque vocibus. |
|
Vexilla regis prodeunt
|
|
Stivori, Francesco
c.1550–1605
|
8 |
(SI-Lnr 343)
Ljubljana: Kuglmann, Georg, c.1600
(Choirbook, MS)
RISM
#62
|
|
Attrib: Franciscus Stivorio |
|
|
Vexilla regis prodeunt
|
|
Anon
|
4 |
|
Vexilla regis prodeunt
|
|
Ubeda, Gaspar
|
4 |
Himnario para los Santos de Sevilla (E-Sc 16)
(Choirbook, MS)
#13
|
|
Attrib: Anon |
a la Exaltacion de la Cruz |
|
Vexilla regis prodeunt
|
|
Anerio, Giovanni Francesco
c.1567–1630
|
4 |
(I-Rn 144)
Rome, c.1600-c.1610
(Choirbook, MS)
RISM
#1
|
|
Attrib: Joannis Francisci Anerii |
|
|
Vexilla regis prodeunt
|
|
Anon
|
4 |
(GB-Lbl Royal-8-G-vii)
London: Alamire, Petrus, c.1513-c.1525
(Choirbook, MS)
#8
|
|
Attrib: Anon |
de la Rue. Passio Domini text in Contratenor |
(B-Br 228)
Brussels, 1516-1523
(Choirbook, MS)
#27
|
|
Attrib: Anon |
|
|
Vexilla regis prodeunt
|
|
Carpentras (Genet, Elzéar)
c.1470–1548
|
5 |
|
Vexilla regis prodeunt
|
|
Magri, Paolo
c.1530–c.1597
|
8 |
Lamentationes Ieremiae Prophetae ... ... (RISM M148)
Lamentationes Ieremiae Prophetae ... Quae quinis concinuntur vocibus duo tamen adijciuntur Psalmi Benedictus, & Miserere cum Hymno ad crucem septem, octo, novem, decem, ac tredecim etiam vocibus concinendi nunc primus in lucem editae
Venice: Amadino, Ricciardo, 1607
(Partbook, Print)
RISM
#20
|
|
Attrib: Pavli Macri Bononiensis |
|
|
Vexilla regis prodeunt
|
|
Ceballos, Rodrigo de
c.1525–c.1581
|
4 |
(P-VV 2)
(Choirbook, MS)
#21
|
|
Attrib: Cevallos |
O crux ave a6, canon in suo diapason |
|
Vexilla regis prodeunt
|
|
Anon
|
5 |
(D-Sl 24)
Stuttgart: Peuschel, Nikolaus and Chamerhueber, Johann, 1557
(Choirbook, MS)
#15
|
|
Attrib: Anon |
|
|
Vexilla regis prodeunt
|
|
Lassus, Orlande de
c.1532–1594
|
4 |
(D-Mbs 55)
Munich, 1580-1581
(Choirbook, MS)
RISM
#16
|
|
Attrib: Orland ille de Lasso |
|
|
Vexilla regis prodeunt
|
|
Febure, Jan Le
fl.1596–1612
|
4 |
|
Vexilla regis prodeunt
Nancho Alvarez
|
|
Guerrero, Francisco
1528–1599
|
4 |
Liber vesperarum (RISM G4873)
Rome: Basa, Domenico, 1584
(Choirbook, Print)
RISM
#12
|
|
Attrib: Francisco Gverrero |
Dominica de Passione |
|
Vexilla regis prodeunt
|
|
Anon
|
5 |
(Mex-Pc 1)
Puebla, c.1606-1629
(Choirbook, MS)
#24
|
|
Attrib: Anon |
Te summa: Fuga in subdiapason; 4vv and 5vv options for Beata cuius verse |
|
Vexilla regis prodeunt
|
|
Anon
|
4 |
(Mex-Pc 2)
Puebla, c.1600-c.1650
(Choirbook, MS)
#5
|
|
Attrib: Anon |
|
|
Vexilla regis prodeunt
|
|
Anon
|
5 |
(Mex-Pc 2)
Puebla, c.1600-c.1650
(Choirbook, MS)
#10
|
|
Attrib: Anon |
3 folios only. |
|