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 |
Agnus redemit oves
|
|
Lampadius, Henricus
|
6 |
|
Agone triumphali
|
Comm. Martyrs |
Isaac, Heinrich
c.1450–1517
|
4 |
(RISM I91)
1555
(Partbook, Print)
RISM
#30
|
|
Attrib: Henrici Isaac |
Sequence for common of Martyrs |
|
Agone triumphali militum
|
|
Anon
|
4 |
(D-Ju 33)
Jena, c.1500-c.1520
(Choirbook, MS)
#63
|
|
Attrib: Anon |
Sequence for Comm. Martyrs |
|
A gouverner femmes a fort afaire difficil
|
|
Anon
|
4 |
|
Ah ah my heart I know you well
|
|
Anon
|
2 |
|
Ah alas you salt sea gods - You gods that guide
|
|
Conflicting attributions
|
5 |
(GB-Ob Tenbury 389)
Oxford, c.1580-1610
(Partbook, MS)
#56
|
|
Attrib: mr B. |
= Abradate |
Dow partbooks (GB-Och 984-988)
Oxford: Baldwin, John and Dow, Robert, c.1581-c.1588
(Partbook, MS)
#101
|
|
Attrib: farrant |
Solo + 4 instruments |
McGhie MS (GB-DORmcghie)
Wimborne, c.1595-c.1613
(Partbook, MS)
#59
|
|
Attrib: Mr B |
|
(US-NYp Drexel 4180-4185)
New York: Merro, John, 1600-1650
(Partbook, MS)
#75
|
|
Attrib: Anon |
= Abradad |
|
Ah blessed Jesu
|
|
Davy, Richard
c.1465–1507
|
3 |
|
Ah! Cannot sighs nor tears
|
|
Wilbye, John
1574–1638
|
6 |
|
Ah! Cruel Amarillis
|
|
Wilbye, John
1574–1638
|
3 |
|
Ah dear heart why do you rise
|
|
Gibbons, Orlando
1583–1625
|
5 |
|
Ah dolente partita
|
|
Wert, Giaches de
1535–1596
|
5 |
|
Ah dolente partita
|
|
Monteverdi, Claudio
1567–1643
|
5 |
|
Ah dolente partita
|
|
Marenzio, Luca
1553/1554–1599
|
5 |
|
Ah gentle Jesu
|
|
Sheryngham
|
4 |
|
Ah golden hairs
|
|
Byrd, William
c.1540–1623
|
5 |
|
Ah, helpless wretch
|
(Verse anthem) |
Mundy, William
c.1529–1591
|
5 |
The first book of selected church mus... (RISM 1641/5)
The first book of selected church musick, consisting of services and anthems, such as are now used in the cathedrall, and collegiat churches of this kingdome. Never before printed. Whereby such bookes as were heretofore with much difficulty and charges, transcribed for the use of the quire, are now to the saving of much labour and expence, publisht for the generall good of all such as shall desire them either for publick or private exercise. Collected out of divers approved authors, by Iohn Barnard one of the minor cannons of the Cathedrall Church of Saint Paul, London.
London: Griffin, Edward and Barnard, John, 1641
(Partbook, Print)
RISM
#68
|
|
Attrib: Will. Mundy |
A Count[ertenor] a lone |
|
Ah horrida bella
|
|
Verrijt, Jan Baptist
c.1605–1650
|
3 |
|
Ahi caro mio thesoro
|
|
Gastoldi, Giovanni Giacomo
c.1554–1609
|
5 |
|
Ahi chi m'ancide l'alma
|
|
Monte, Philippe de
1521–1603
|
5 |
|
Ahi chi me porge
|
|
Passerini, Vincenzo
|
6 |
Sambrook book (US-NYp Drexel 4302)
London: Tregian, Francis (ii), 1613-1619
(Score, MS)
RISM
#217
|
|
Attrib: Vincenzo Passerini |
|
|
Ahi chi mi romp'il sonno - Di ch'ella mosso
|
|
Monte, Philippe de
1521–1603
|
5 |
Il Terzo Libro delli Madrigali, à Cin... (RISM M3350)
Il Terzo Libro delli Madrigali, à Cinque voci, Con uno à sette nel fine
Venice: Scotto, Girolamo, 1570
(Partbook, Print)
RISM
#3
|
|
Attrib: Filippo di Monte |
|
Il Terzo Libro delli Madrigali, a cin... (RISM M3354)
Il Terzo Libro delli Madrigali, a cinque voci. Con uno à sette nel fine. Novamente ristampati
Venice: Scotto, Girolamo (heir of), 1581
(Partbook, Print)
RISM
#3
|
|
Attrib: Filippo di Monte |
|
Musica divina di XIX. autori illustri... (RISM 1583/15)
Musica divina di XIX. autori illustri, a IIII. V. VI. et VII. voci, nuovamente raccolta...
Antwerp: Phalèse the Younger, Pierre, 1583
(Partbook, Print)
RISM
#22
|
|
Attrib: Filippe de Monte |
|
|
Ahi chi ti insidia - Vieni deh vieni a me
|
|
Marenzio, Luca
1553/1554–1599
|
5 |
|
Ahi come a un vago sol
|
|
Monteverdi, Claudio
1567–1643
|
6 |
Il quinto libro de madrigali a cinque... (RISM M3475)
Il quinto libro de madrigali a cinque voci. ... Col Basso continuo per il Clavicembano Chittarone od altro simile istromento, fatto perticolarmente per li sei ultimi, & per li altri a beneplacito. Novamente composti, & dati in luce
Venice: Amadino, Ricciardo, 1605
(Partbook, Print)
RISM
#8
|
|
Attrib: Claudio Monteverde |
|
|
Ahi come potrò mai
|
|
Anon
|
4 |
Primo libro de diversi eccellent.mi a... (RISM 1566/2)
Primo libro de diversi eccellent.mi auttori a quattro voci, intitulato Il Desiderio. Novamente posti in luce, per Giulio Bonagionta da S. Genesi, Musico dell'Illustriss. Sig. di Vineggia
Venice: Scotto, Girolamo and Bonagionta, Giulio, 1566
(Partbook, Print)
RISM
#12
|
|
Attrib: D'Incerto |
|
|
Ahi come soffrirò
|
|
Wert, Giaches de
1535–1596
|
5 |
|