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 |
Domine exaudi orationem meam - In quacumque die
|
|
Waelrant, Hubert
c.1517–1595
|
5 |
|
Domine exaudi orationem meam - Memor fui dierum
|
|
Franck, Melchior
c.1579–1639
|
12 |
Melodiarum sacrarum quinis, senis, se... (RISM F1652)
Melodiarum sacrarum quinis, senis, septenis, octonis, novenis, 12. 11, 12. vocibus concinendarum
Coburg: Hauck, Justus, 1607
(Partbook, Print)
RISM
#22
|
|
Attrib: Melchioris Franci Silesii |
|
|
Domine exaudi orationem meam - Memor fui dierum
|
|
Aichinger, Gregor
1564–1628
|
4 |
Liber secundus sacrarum cantionum qua... (RISM A518)
Liber secundus sacrarum cantionum quas bulgo Motettas vocant tum festis praecipuis, tum cuivis tempori accommodate 6. 5. & 4. vocum.
Venice: Gardano, Angelo, 1595
(Partbook, Print)
RISM
#20
|
|
Attrib: Gregorio Aichinger |
|
Sacrae symphoniae diversorum excellen... (RISM 1598/2)
Sacrae symphoniae diversorum excellentissimorum authorum quaternis, v. vi. vii. viii. x. xii. & xvi vocibus
Nuremberg: Kauffmann, Paul, 1598
(Partbook, Print)
RISM
#4
|
|
Attrib: Gregorii Aichingeri |
|
Sacrae symphoniae diversorum excellen... (RISM 1601/2)
Sacrae symphoniae diversorum excellentissimorum authorum quaternis, v. vi. vii. viii. x. xii. & xvi vocibus
Nuremberg: Kauffmann, Paul, 1601
(Partbook, Print)
RISM
#4
|
|
Attrib: Gregorii Aichingeri |
|
|
Domine exaudi orationem meam - Memor fui dierum - Notam fac mihi viam
|
|
Gabrieli, Andrea
1532/1533–1585
|
6 |
|
Domine exaudi orationem meam - Memor fui dierum - Spiritus tuus bonus deducet me
|
|
Josquin Desprez
c.1450–1521
|
4 |
|
Domine exaudi orationem meam - Memor fui dierum - Velociter exaudi me - Eripe me de inimicis
|
|
Utendal, Alexander
c.1530-1540–1581
|
4 |
|
Domine exaudi orationem meam - Non avertas faciem tuam a me - Gloria patri
|
|
Lambertini, Giovanni Tomaso
fl.1545–1580
|
4 |
|
Domine exaudi orationem meam - Quia defecerunt - Similis factus sum - Dies mei sicut umbra - Quoniam placuerunt - Scribantur haec in generationem - Respondit ei - Initio tu Domine
|
|
Utendal, Alexander
c.1530-1540–1581
|
4 |
|
Domine exaudi orationem meam - Similis factus sum Pellicano - Tu autem Domine in aeternum - Scribantur haec in generatione - Initio tu Domine terram fundasti
|
|
Madelka, Simon Bar Jona
d.1597-1599
|
5 |
|
Domine exaudi orationem meam - Similis factus sum pellicano - Tu autem Domine in aeternum - Scribantur haec in generatione - Ne revoces me in dimidio
|
|
Gabrieli, Andrea
1532/1533–1585
|
6 |
|
Domine exaudi orationem meam - Velociter exaudi me Domine - Eripe me de inimicis meis
|
|
Madelka, Simon Bar Jona
d.1597-1599
|
5 |
|
Domine exaudi vocem meam
|
|
Bianchi, Giulio Cesare
1576/1577–after 1637
|
1 |
Libro primo de motetti in lodi d'Iddi... (RISM 1620/3)
Libro primo de motetti in lodi d'Iddio nostro Signore a una, due, tre, quattro, cinque e a otto voci di Giulio Cesare Bianchi. Con un altro a cinque, e tre a sei del sig. Claudio Monteverdi
Venice: Magni, Bartolomeo, 1620
(Partbook, Print)
RISM
#1
|
|
Attrib: Givlio Cesare Bianchi |
Canto, over Tenore |
|
Domine exercitum Deus Israel
|
|
Porta, Costanzo
c.1528–1601
|
6 |
|
Domine exercituum
|
|
Zacchino, Giulio
fl.1572–1584
|
4 |
|
Domine fac mecum
Pothárn Imre
|
|
Lassus, Orlande de
c.1532–1594
|
4 |
Sacrae cantiones antehac nunquam nec ... (RISM L955)
Sacrae cantiones antehac nunquam nec visae nec typis uspiam excusae quatuor vocum. Recens singulari industria compositae, & in lucem sine menda editae
Munich: Berg, Adam, 1585
(Partbook, Print)
RISM
#8
|
|
Attrib: Orlandi Lassi |
|
Magnum opus musicum ... Complectens o... (RISM L1019)
Magnum opus musicum ... Complectens omnes cantiones quas motetas vulgo vocant, tam antea editas quam hactenus nondum publicatas II. III. IV. V. VI. VII. IIX. IX. X. XII. vocum a Ferdinando serenissimi bavariae ducis maximiliani musicorum praefecto, & Rudolpho, eidem Principi ab Organis; Authoris filiis summo studio collectum, & impensis eorundem Typis mandatum
Munich: Heinrich, Nikolaus, 1604
(Partbook, Print)
RISM
#118
|
|
Attrib: Orlandi de Lasso |
|
|
Domine fac mecum
|
|
Anon
|
4 |
|
Domine fac mecum
|
|
Morley, Thomas
1557/1558–1602
|
4 |
|
Domine hissopo et mundabor
|
|
Garugli, Bernardo
1535–after 1565
|
5 |
|
Domine in auxilium meum respice
Francis Bevan (SATB)
Pothárn Imre
|
|
Lassus, Orlande de
c.1532–1594
|
4 |
Sacrae cantiones antehac nunquam nec ... (RISM L955)
Sacrae cantiones antehac nunquam nec visae nec typis uspiam excusae quatuor vocum. Recens singulari industria compositae, & in lucem sine menda editae
Munich: Berg, Adam, 1585
(Partbook, Print)
RISM
#20
|
|
Attrib: Orlandi Lassi |
|
Magnum opus musicum ... Complectens o... (RISM L1019)
Magnum opus musicum ... Complectens omnes cantiones quas motetas vulgo vocant, tam antea editas quam hactenus nondum publicatas II. III. IV. V. VI. VII. IIX. IX. X. XII. vocum a Ferdinando serenissimi bavariae ducis maximiliani musicorum praefecto, & Rudolpho, eidem Principi ab Organis; Authoris filiis summo studio collectum, & impensis eorundem Typis mandatum
Munich: Heinrich, Nikolaus, 1604
(Partbook, Print)
RISM
#137
|
|
Attrib: Orlandi de Lasso |
|
|
Domine in auxilium meum respice
Francis Bevan (ATBarBarB)
|
|
Palestrina, Giovanni Pierluigi da
c.1525–1594
|
5 |
Offertoria totius anni, secundum Sanc... (RISM P749)
Offertoria totius anni, secundum Sanctae Romanae Ecclesiae consuetudinem, quinque vocibus concinenda... pars secunda
Rome: Coattino, Francesco, 1593
(Partbook, Print)
RISM
#6
|
|
Attrib: Ioan. Petro Aloysio Praenestino |
|
Offertoria totius anni secundum Sanct... (RISM P750)
Offertoria totius anni secundum Sanctae Romanae Ecclesiae consuetudinem quinque vocibus concinenda ... Pars Secunda
Venice: Gardano, Angelo, 1596
(Partbook, Print)
RISM
#6
|
|
Attrib: Ioan. Petro Aloysio Praenestino |
|
Offertoria ... et Cantica canticorum ... (I-Bc U.4)
Offertoria ... et Cantica canticorum eiusdem
Bologna, c.1600-c.1699
(Score, MS)
#46
|
|
Attrib: Io. Petri Aloisii Praenestini |
|
|
Domine in auxilium meum respice
|
|
Ratti, Lorenzo
1589/1590–1630
|
8 |
|
Domine in multitudine
|
|
Rubini, Nicolò
1584–1625
|
6 |
|
Domine inquirentes
|
|
Marenzio, Luca
1553/1554–1599
Molinaro, Simone
c.1570–after 1633
|
6 |
|
Domine in tua misericordia
|
|
Elsbeth, Thomas
d. after 1624
|
6 |
Selectissimae et novae cantiones sacr... (RISM E656)
Selectissimae et novae cantiones sacrae vulgo motecta appellatae, nec umquam antehac in lucem emissae sex vocum tum ad vivam, tum ad omnis generis
Frankfurt: Hartmann, Friedrich, 1600
(Partbook, Print)
RISM
#3
|
|
Attrib: Thomam Elsbethum |
|
|
Domine in tua misericordia
|
|
Amon, Blasius
c.1560–1590
|
4 |
Introitus dominicales per totum annum... (RISM A945)
Introitus dominicales per totum annum, secundum ritum ecclesiae catholicae, suavitate et brevitate quatuor vocibus exculti, tam utiles quam necessarii
Vienna: Formica, Leonhard, 1601
(Partbook, Print)
RISM
#38
|
|
Attrib: F. Blasio Amon Tyrolensi |
|
|