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 |
Care lagrime mie
|
|
Marenzio, Luca
1553/1554–1599
|
5 |
|
Care marite vale - Cara vale soboles
|
|
Quinos, Bruno
fl.1575
|
5 |
Cantiones aliquot quinque vocum cum v... (RISM Q109)
Cantiones aliquot quinque vocum cum vivae voci, tum omnis generis instrumentis musicis commodissimae, quas omnes versa pagina ostendet, nunc primum in honorem illustrium et generosorum comitum Barbyensium &c. Dominorum clementiss : editae, $ tanta diligentia correctae, ut neque in collocatione notularum ac pausarum, neque in applicatione textus quicunque desiderari possit
Wittenburg: Schwenck, Lorenz, 1575
(Partbook, Print)
RISM
#1
|
|
Attrib: Brvnone Quinos |
|
|
Care mie selve a Dio - Cosi ch'il crederia
|
|
Marenzio, Luca
1553/1554–1599
|
5 |
|
Care pater summi
|
|
Anon
|
4 |
|
Cari scogli diletti - O solitarii colli
|
|
Monte, Philippe de
1521–1603
|
5 |
|
Caritas Dei diffusa est
|
|
India, Sigismondo d'
c.1582–1629
|
5 |
|
Carlo ch'en tenerella acerba etade - Tu in tanto nel celeste almo soggiorno
|
|
Monte, Philippe de
1521–1603
|
5 |
|
Carmina laudantur
|
|
Handl, Jacob (Gallus)
1550–1591
|
6 |
|
Carmina qui quondam studio florente peregi
|
|
Heugel, Johannes
1500-1510–1585
|
4 |
|
Carmina qui quondam studio florente peregi
|
|
Cuprarius, Christoph
|
4 |
|
Carnos
|
|
Anon
|
4 |
|
Caro Aminta pur vuoi lasciar - Non può Filli più il core
|
|
Marenzio, Luca
1553/1554–1599
|
6 |
|
Caro amoroso neo - Ma se tale ha costei
|
|
Gesualdo, Carlo
1566–1613
|
5 |
|
Caro diabolus mundus
|
|
Kruog, Johannes Simon
|
3 |
|
Caro dolce ben mio
|
|
Monte, Philippe de
1521–1603
|
5 |
|
Caro dolce ben mio perché fuggire
|
|
Gabrieli, Andrea
1532/1533–1585
|
5 |
|
Caro dolce mio ben
|
|
Mosto, Giovanni Battista
before 1550–1596
|
6 |
|
Caro dolce mio ben chi mi vi toglie
|
|
Marenzio, Luca
1553/1554–1599
|
5 |
|
Carole Caesareo Princeps - Carole cui caelebram
|
|
Court, Antoine de la
c.1530–1600
|
5 |
|
Carole cui nomen demissum
|
|
Cleve, Johannes de
1528–1582
|
5 |
Cantiones seu harmoniae sacrae (quas ... (RISM C3205)
Cantiones seu harmoniae sacrae (quas vulgo Moteta vocant) Quatuor, Quinque, Sex, Septem, Octo, & Decem vocum, iam primum in publicum emissae
Augsburg: Ulhart, Philipp, 1579
(Partbook, Print)
RISM
#22
|
|
Attrib: Ioanne de Cleve |
Epitaphum Illustrissimi & Excellentissimi Principis ac Domini. D. Caroli Friderici, Ducis Juliae Clivorum & Montis, Comitis Marchiae, & Ravenspurgi, Domini in Ravenstein, &c. |
|
Carole cur defles Isabellam
|
|
Payen, Nicolas
c.1512–1559
|
4 |
|
Carole magnus erat
|
|
Crecquillon, Thomas
c.1505–1557
|
5 |
|
Carole plena tui spe nominis
|
|
Prenner, Georg
d.1590
|
7 |
|
Carole qui lato
|
|
Brouck, Jacob de
fl.1568–1583
|
6 |
|
Carole qui veniens - En tibi gratantes
|
|
Cleve, Johannes de
1528–1582
|
5 |
|