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 |
Accipite ergo animis - Quod cadit in spinas
|
|
Kessler, Wendelin
fl.1572–1580
|
5 |
Selectae aliquot et omnibus fere musi... (RISM K492)
Selectae aliquot et omnibus fere musicalium instrumentorum generibus accommodatissimae cantiones super evangelia, quae diebus dominicis et praecipuis sanctorum festis, ab adventu resurrectionem usque Christi, solent tractari
Wittenberg: Lehmann, Zacharias, 1582
(Partbook, Print)
RISM
#21
|
|
Attrib: Wwendelino Kesslero Cantharo |
|
|
Accipite et concedite
|
|
Molinaro, Simone
c.1570–after 1633
|
5 |
|
Accipite iucunditatem
|
|
Chamaterò, Ippolito
c.1535–after 1592
|
4 |
|
Accipite iucunditatem
|
|
Erbach, Christian
c.1568–1635
|
5 |
(D-As Tonk.Sch. 22)
Dreer, Johannes, 1614
(Choirbook, MS)
#50
|
|
Attrib: Erbachii |
introit; pentecost tuesday |
|
Accipite iucunditatem gloriae vestrae
|
|
Lambardi, Girolamo
fl.1586–1623
|
4 |
Contrapunta in introitus missarum qua... (RISM L373)
Contrapunta in introitus missarum quae maioribus sanctorum solemnitatibus toto anni tempore in Ecclesia celebrantur, iuxta morem Sanctae Romanae Ecclesiae ... Quatuor vocibus decantanda
Venice: Magni, Bartolomeo, 1617
(Partbook, Print)
RISM
#18
|
|
Attrib: D. Hieronymi Lambardi |
|
|
Accipite iucunditatem gloriae vestrae
|
|
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
#67
|
|
Attrib: F. Blasio Amon Tyrolensi |
|
|
Accipite iucunditatem gloriae vestrae
|
|
Senfl, Ludwig
c.1486–1542/1543
|
4 |
|
Accipite iucunditatem gloriae vestrae
|
|
Porta, Costanzo
c.1528–1601
|
5 |
Quinque vocum musica in introitus mis... (RISM P5174)
Quinque vocum musica in introitus missarum, quae in diebus dominicis toto anno celebrantur, iuxta morem Sancte Romanae Ecclesiae; Nunc ab auctore diligentissime emendata
Venice: Bufalini, Fausto and Merulo, Claudio, 1566
(Partbook, Print)
RISM
#30
|
|
Attrib: Constantii Portae |
|
Quinque vocum musica in introitus mis... (RISM P5175)
Quinque vocum musica in introitus missarum, quae in diebus dominicis toto anno celebrantur, iuxta morem Sancte Romanae Ecclesiae; Nunc ab auctore diligentissime emendata
Venice: Gardano, Angelo, 1588
(Partbook, Print)
RISM
#30
|
|
Attrib: Constantii Portae |
|
|
Accipite iucunditatem gloriae vestrae
|
|
Asola, Giovanni Matteo
c.1532–1609
|
4 |
Introitus missarum omnium maiorum sol... (RISM A2546)
Introitus missarum omnium maiorum solemnitatum totius anni, & alleluia, ac musica super canto plano ... Quattuor Vocum
Brescia: Bozzola, Tomaso, 1583
(Partbook, Print)
RISM
#19
|
|
Attrib: Ioannem Matthaeum Asulam |
|
In omnibus totius anni solemnitatibus... (RISM A2600)
In omnibus totius anni solemnitatibus, Introitus et Alleluia, ad missalis Romani formam ordinati. Musica super cantu plano restituto. Quatuor vocibus.
Venice: Amadino, Ricciardo, 1598
(Partbook, Print)
RISM
#22
|
|
Attrib: Io: Matthaeo Asula Veronensi |
|
|
Accipite scutum fidei
|
|
Paminger, Leonhard
1495–1567
|
4 |
Tertius tomus ecclesiasticarum cantio... (RISM P830)
Tertius tomus ecclesiasticarum cantionum, quatuor, quinque, sex, et plurium vocum, a prima dominica post festum S. Trrinitatis, usque ad primam Dominicam Adventus Domini et Salvatoris nostri Jesu Christi. His commune de Sanctis Ecclesiae Dei, et quaedam Fragmenta ex canticis Canticorum salomonis, accesserunt.
Nuremberg: Gerlach, Dietrich and Gerlach, Katharina, 1576
(Partbook, Print)
RISM
#54
|
|
Attrib: Leonarto Pamingero |
|
|
Accipite spiritum sanctum
|
|
Conte, Bartholomeus le
fl.1547–1565
|
5 |
|
Accompany the good
|
|
Whythorne, Thomas
1528–1596
|
2 |
|
Accordez moy que vostre soye
|
|
Baston, Josquin
fl.1542–1563
|
5 |
|
Accumbit Christus cum discipulis duodenis - Et pane accepto post multa precamina frangit
|
|
Kessler, Wendelin
fl.1572–1580
|
5 |
Selectae aliquot et omnibus fere musi... (RISM K492)
Selectae aliquot et omnibus fere musicalium instrumentorum generibus accommodatissimae cantiones super evangelia, quae diebus dominicis et praecipuis sanctorum festis, ab adventu resurrectionem usque Christi, solent tractari
Wittenberg: Lehmann, Zacharias, 1582
(Partbook, Print)
RISM
#31
|
|
Attrib: Wwendelino Kesslero Cantharo |
|
|
A ce bon ami
|
|
Clemens non Papa, Jacobus
c.1510–1555/1556
|
3 |
|
A ce joly moys de may
|
|
Janequin, Clément
c.1485–after 1558
|
4 |
|
A ce matin
Pothárn Imre (Down a fourth)
Pothárn Imre
|
|
Lassus, Orlande de
c.1532–1594
|
4 |
Nouvelles chansons a quatre parties, ... (RISM L798)
Nouvelles chansons a quatre parties, au quels sont vingt & sept chansons composées par M. Orlando di Lassus. Convenables tant a la voix comme aux instruments. Le premier livre
Antwerp: Laet, Jean de, 1566
(Partbook, Print)
RISM
#5
|
|
Attrib: Orlando di Lassus |
|
Premier livre des chansons a quatre e... (RISM 1570/5)
Premier livre des chansons a quatre et cincq parties, composées par Orlando di Lassus, Cyprian de Rore, Et de nouveau plus correctement que cy devant imprimées & emendées, Convenables tant aux Instruments comme à la voix
Leuven: Phalèse the Elder, Pierre, 1570
(Partbook, Print)
RISM
#1
|
|
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
#21
|
|
Attrib: Orlande |
|
|
A ce matin ce seroit bonne estreine
|
|
Nicolas, ?Guillaume
fl.1533–1578
|
5 |
|
A certain man who was named
|
|
Tye, Christopher
c.1505–1573
|
4 |
|
A che cercar
|
|
Anon
|
5 |
|
A che con nuovo laccio donna legarmi
Pothárn Imre
|
|
Rore, Cipriano de
1515/1516–1565
|
5 |
Musica di Cipriano Rore sopra le stan... (RISM 1548/10)
Musica di Cipriano Rore sopra le stanze del Petrarcha in laude della Madonna, Et altri Madrigali a cinque voci, Con cinque Madrigali di due parte l'uno del medesmo autore bellissimi non piu veduti, Insieme quatro Madrigali nuovi a Cinque di Messer Adriano. Libro terzo
Venice: Gardano, Antonio, 1548
(Partbook, Print)
RISM
#3
|
|
Attrib: Cipriano Rore |
|
Bourdenay codex (F-Pn 851)
Paris, c.1570-c.1599
(Score, MS)
#151
|
|
Attrib: Anon |
|
|
A che la dippartita
|
|
Ferrabosco, Domenico Maria
1513–1574
|
4 |
|
A che piu squarci il lacerato petto - Ahi che son tutto sangue e tutto foco
|
|
Monte, Philippe de
1521–1603
|
5 |
|
A che si dura - Ma quali siano i dei
|
|
Monte, Philippe de
1521–1603
|
5 |
|
A che tanto dolersi
|
|
Monte, Philippe de
1521–1603
|
5 |
|