Magnificat (Orlando di Lasso)
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Lassus' Magnificats number about 100 and indeed were printed posthumously as Iubilus beatæ virginis, hoc est centum Magnificat (Munich 1619). Almost all (the exceptions are the through-composed No's 35, 64, 65 & 102) are alternatim settings of the even verses.
The sortable list below is ordered after the SWnR, with Bötticher's 195? catalogue numbers and the numbering of the 1619 print.
SWnR
The Sämtlicher Werke neue Reihe (SWnR) includes 110 attributed works according to the following plan:
- Volume 13 (Magnificats, Band 1, nos. 1–24), edited by Wolfgang Boetticher: 3 Magnificat cycles in the 8 modes (Nuremberg, 1567)
- Volume 14 (Magnificats, Band 2, nos. 25–49), edited by James Erb: Works printed in Paris 1587 as well as Munich 1576 & 1587
- Volume 15 (Magnificats, Band 3, nos. 50–70), edited by James Erb: works from the period 1576-1583 in Munich mss.
- Volume 16 (Magnificats, Band 4, nos. 71–92), edited by James Erb: works from the period 1583-1585 in Munich mss.
- Volume 17 (Magnificats, Band 5, nos. 93–110), edited by James Erb: Posthoumously transmitted works & dubia; appendix with parody models not by Lassus
Sources
- Magnificat octo tonorum, 4–6vv (Nuremberg, 1567) (1–8. 6vv, ; 9–16. 5vv, ; 17–24. 4vv, )
- Patrocinium musices: Beatisimæ deiparæque Virginis Mariæ canticum Magnificat, ad imitationem cantilenarum quarundam, 4–6vv (Munich, 1587c)
- Iubilus beatæ virginis, hoc est centum Magnificat, 4–8vv, 10vv (Munich, 1619a) nos. 50-65
- Liber primus cantiones sacræ Magnificat vocant, 5, 6vv (Paris, 16021)
Sortable table
SWnR | Bot | 1619 | model | mode | vv | publ. |
---|---|---|---|---|---|---|
1 | 10 | 61 | Primi toni | i | 6 | Nürnberg 1567 |
2 | 22 | 65 | Secundi toni | ii | 6 | Nürnberg 1567 |
3 | 37 | 74 | Tertii toni | iii | 6 | Nürnberg 1567 |
4 | 45 | 75 | Quarti toni | iv | 6 | Nürnberg 1567 |
5 | 53 | 78 | Quinti toni | v | 6 | Nürnberg 1567 |
5 | 63 | 80 | Sexti toni | vi | 6 | Nürnberg 1567 |
7 | 78 | 84 | Septimi toni | vii | 6 | Nürnberg 1567 |
8 | 95 | 90 | Octavi toni | viii | 6 | Nürnberg 1567 |
9 | 6 | 26 | Primi toni | i | 5 | Nürnberg 1567 |
10 | 18 | 30 | Secundi toni | ii | 5 | Nürnberg 1567 |
11 | 34 | 34 | Tertii toni | iii | 5 | Nürnberg 1567 |
12 | 40 | 37 | Quarti toni | iv | 5 | Nürnberg 1567 |
13 | 50 | 42 | Quinti toni | v | 5 | Nürnberg 1567 |
14 | 58 | 44 | Sexti toni | vi | 5 | Nürnberg 1567 |
15 | 72 | 49 | Septimi toni | vii | 5 | Nürnberg 1567 |
16 | 89 | 55 | Octavi toni | viii | 5(6) | Nürnberg 1567 |
17 | 2 | 2 | Primi toni | i | 4 | Nürnberg 1567 |
18 | 15 | 6 | Secundi toni | ii | 4 | Nürnberg 1567 |
19 | 32 | 10 | Tertii toni | iii | 4 | Nürnberg 1567 |
20 | 39 | 13 | Quarti toni | iv | 4 | Nürnberg 1567 |
21 | 49 | 15 | Quintii toni | v | 4 | Nürnberg 1567 |
22 | 56 | 17 | Sexti toni | vi | 4 | Nürnberg 1567 |
23 | 69 | 20 | Septimi toni | vii | 4 | Nürnberg 1567 |
24 | 88 | 24 | Octavi toni | viii | 4 | Nürnberg 1567 |
25 | 1 | 1 | Primi toni | i | 4 | Patrocinium musices 1576 |
26 | 14 | 5 | Secundi toni | ii | 4 | Patrocinium musices 1576 |
27 | 31 | 9 | Tertii toni | iii | 4 | Patrocinium musices 1576 |
28 | 38 | 12 | Quarti toni | iv | 4 | Patrocinium musices 1576 |
29 | 48 | 14 | Quinti toni | v | 4 | Patrocinium musices 1576 |
30 | 55 | 16 | Sexti toni | vi | 4(5) | Patrocinium musices 1576 |
31 | 68 | 19 | Septimi toni | vii | 4 | Patrocinium musices 1576 |
32 | 87 | 23 | Octavi toni | viii | 4 | Patrocinium musices 1576 |
33 | 3 | 3 | Primi toni H xiv, 75 | i | 4 | |
34 | 44 | 41 | Ancor che col partire (after Rore's madrigal) H xiv, 82 | iv | 5 | |
35 | 67 | 95 | Sexti toni, H xiv, 94 | vi | 8 | one of 4 through-composed settings |
36 | 85 | 96 | Septimi toni H xiv, 112 | vii | 8 | |
37 | 4 | 4 | Si par souhait (own chanson, 1570b), H xiv, 126 | i | 4 | Patrocinium musices 1987 |
38 | 17 | 8 | Il est jour (Claudin de Sermisy’s chanson),H xiv, 133 | ii | 4 | Patrocinium musices 1987 |
39 | 28 | 71 | Quanti in mille anni il ciel ([?Pierre] Nollet’s madrigal) H xiv, 141 | ii | 6 | Patrocinium musices 1987 |
40 | 11 | 62 | Dessus le marché d’Arras (own chanson, 1584a), H xiv, 158 | i | 6 | Patrocinium musices 1987 |
41 | 12 | 63 | Susanne un jour (own chanson), H xiv 174 | i | 6 | Patrocinium musices 1987 |
42 | 83 | 89 | Deus in adjutorium [septimi (?) toni] (own motet, 1582e), H xiv, 189 | Peregrini toni | 6 | Patrocinium musices 1987 |
43 | 29 | 72 | Ecco ch’io lasso il core (?Striggio’s madrigal), H xiv, 201 | ii | 6 | Patrocinium musices 1987 |
44 | 13 | 64 | Omnis enim homo (own motet, 1585b), H xiv, 216 | i | 6 | Patrocinium musices 1987 |
45 | 81 | 87 | Amor ecco colei H xiv, 231 | vii | 6 | Patrocinium musices 1987 |
46 | 46 | 76 | Quando lieta sperai (anon. madrigal, 1548), H xiv, 243 | iv | 6 | Patrocinium musices 1987 |
47 | 94 | 60 | Aria di un sonetto (Ortiz’s Aria di Ruggiero), H xiv, 256 | viii | 5 | Patrocinium musices 1987 |
48 | 36 | 36 | Mort et fortune (Nicolas Gombert’s chanson), H xiv, 263 | iii (viii) | 5 | Patrocinium musices 1987 |
49 | 30 | 73 | Mais qui pourroit (own chanson, 1584a), H xiv, 275 | ii | 6 | Patrocinium musices 1987 |
50 | 16 | 7 | O s’io potessi (Berchem’s madrigal), 4vv, H xv, 3 | ii | 4 | Iubilus beatæ virginis 1619 |
51 | 19 | 31 | Secundi toni, 5vv, H xv, 10 | ii | 5 | |
52 | 42 | 39 | Quarti toni (i), 5vv, H xv, 16 | iv | 5 | |
53 | 59 | 45 | Sexti toni (i), 5vv, H xv, 24 | vi | 5 | |
54 | 61 | 47 | Sexti toni (ii), 5vv, H xv, 30 | vi | 5 | |
55 | 74 | 51 | Septimi toni (i), 5vv, H xv, 35 | vii | 5 | |
56 | 90 | 56 | Octavi toni (i), 5vv, H xv, 40 | viii | 5 | |
57 | 21 | 33 | Las je n’iray plus (own chanson, 1576a), H xv, 46 | ii | 5 | |
58 | 26 | 69 | Ultimi miei sospiri (Verdelot’s madrigal), H xv, 58 | ii | 6 | Iubilus beatæ virginis 1619 |
59 | 65 | 82 | Tant vous allez doux (Ebran’s chanson), H xv, 74 | vi | 6 | |
60 | 77 | 54 | Hélas j’ai sans merci (own chanson, 1584a), H xv, 95 | vii | 5 | |
61 | 82 | 88 | S’io esca vivo (own madrigal, 1579), H xv, 108 | vii | 6 | |
62 | 96 | 91 | Octavi toni, 6vv, H xv, 126 | vii | 6 | |
63 | 47 | 94 | Quarti toni, 8vv, H xv, 138 | iv | 8 | |
64 | 86 | 97 | Septimi toni, 8vv, H xv, 152 | vii | 8 | one of 4 through-composed settings |
65 | 99 | 99 | Octavi toni (i), 8vv, H xv, 166 | viii | 8 | one of 4 through-composed settings |
66 | 54 | 79 | Omnis homo primum bonum vinum ponit (de Wert’s motet), H xv, 181 | vi | 6 | |
67 | 101 | - | [Sexti toni], MS ca.1582, H xv, 201 | vi | 5 | |
68 | 64 | 81 | Dies est lætitia H xv, 212 | vi | 6 | |
69 | 97 | 92 | Benedicta es, cælorum regina (Josquin’s motet, 1520), H xv, 228 | vii | 6 | Munich 1602 |
70 | 25 | 68 | Præter rerum seriem (Josquin’s motet), H xv, 248 | ii | 6 | Munich 1602 |
71 | 7 | 27 | Primi toni, H xvi, 3 | i | 5 | |
72 | 20 | 32 | Secundi toni | ii | 5 | |
73 | 35 | 35 | Tertii toni, H xvi, 25 | iii | 5 | |
74 | 41 | 38 | Quarti toni, | iv | 5 | |
75 | 51 | 43 | Quinti toni, H xvi, 46 | v | 5 | |
76 | 60 | 46 | Sexti toni, 5vv, H xvi, 57 | vi | 5 | |
77 | 73 | 50 | Septimi toni, 5vv, H xvi, 68 | vii | 5 | |
78 | 91 | 57 | Octavi toni, 5vv, H xvi, 80 | viii | 5 | |
79 | 5 | 25 | Primi toni, 5vv, H xvi, 92 | i | 5 | |
80 | 9 | 29 | Vergine bella (Rore’s madrigal), H xvi, 108 | i | 5 | |
81 | 62 | 48 | Dalle belle contrade (Cipriano de Rore’s madrigal), H xvi, 120 | vi | 5 | |
82 | 79 | 85 | Recordare Jesu pie (own motet, 1594), 6vv, H xvi, 134 | vii | 6 | |
83 | 71 | 22 | Margot labouréz les vignes (own chanson, 1564a), H xvi, 154 | vii | 4 | Iubilus beatæ virginis 1619 |
84 | 92 | 58 | Alma real se come fide stella (Rore’s madrigal), H xvi, 163 | viii | 5 | |
85 | 27 | 70 | O che vezzosa aurora (Vecchi’s madrigal), H xvi, 175 | ii | 6 | Iubilus beatæ virginis 1619 |
86 | 80 | 86 | D’ogni gratia e d’amor (Striggio’s madrigal), H xvi, 188 | vii | 6 | |
87 | 84 | 93 | Perpulchrum H xvi, 204 | vii | 7 | Iubilus beatæ virginis 1619 |
88 | 33 | 11 | S’io credessi per morte (A. de Reulx’s madrigal), H xvi, 221 | iii | 4 | Iubilus beatæ virginis 1619 |
89 | 57 | 18 | Beau le cristal (own chanson, 1576d), H xvi, 230 | vi | 4 | Iubilus beatæ virginis 1619 |
90 | 70 | 21 | Pange lingua gloriosi H xvi, 241 | vii | 4/6 | Iubilus beatæ virginis 1619 |
91 | 8 | 28 | Primi toni, 5vv, H xvi, 259 | i | 5 | |
92 | 75 | 52 | Vous perdez temps (Sermisy’s chanson), H xvi, 267 | vii | 5 | |
93 | 93 | 59 | Vola vola pensier (Aeria a la italiana), 5vv, H xvii, 3 | viii | 5 | |
94 | 52 | 77 | Quinti toni, H xvii, 14 | v | 6/8 | |
95 | 98 | 98 | Octavi toni (i), 8vv, H xvii, 31 | viii | 8 | |
96 | 43 | 40 | Octavi toni (ii), 8vv, H xvii, 48 | vii | 8 | |
97 | 76 | 53 | Erano capei d’oro [septimi toni] (Nanino’s madrigal), 5vv, H xvii, 64 | vii | 5 | |
98 | 23 | 66 | Secundi toni, H xvii, 76 | ii | 6 | Iubilus beatæ virginis 1619 |
99 | 66 | 83 | Si vous estes m’amie (own chanson, 1584a), 6vv, H xvii, 94 | vi | 6 | Iubilus beatæ virginis 1619 |
100 | 24 | 67 | Memor esto (own motet, 1585a), 6vv, H xvii, 107 | ii | 6 | |
101 | 100 | 100 | Aurora lucis rutilat (own motet, 1604), 10vv, H xvii, 124 | viii | 10 | |
102 | - | - | Septimi toni, MS, H xvii, 150 | vii | 10 | one of 4 through-composed settings |
|103–110. 8 Magnificat settings, doubtful, H xvii, 182
External links
- Sämtliche Werke, neue Reihe at the Petrucci Music Library (IMSLP)