Gombert Nicolas, *before 1500 probably La Gorgue (southern Flanders, district of l’Alleu), †between 1556 and 1561 probably Tournai, Flemish composer.
Little is known about Gombert’s life. According to the testimony of H. Finck (Practica musica, 1556), he studied under Josquin des Prez. Between 1526 and 1537 he was a member of the musical ensemble at the court of Emperor Charles V, initially as a singer and, from 1529 onward, also as instructor of the choirboys. This information derives from a list of benefices drawn up in Granada on 2 October 1526 and signed by Charles V, as well as from entries in the financial accounts, which include the last mention of Gombert as a member of the imperial chapel (dated 13 November 1537), reporting that he had brought to Spain new musicians recruited over the previous two years in Flanders. He probably also served unofficially as court composer, as suggested by the type of compositions he wrote and by works thematically connected with life at the imperial court. Gombert presumably traveled throughout Europe with the imperial court, visiting numerous Spanish, Netherlandish, and Italian cities; he was also probably in Austria and Germany. In court records from 1531 he was described as a cleric from Tournai; from 1534 he was a canon at the Cathedral of Notre Dame in that city, and from 1536 (or earlier) until 1538 at the Church of Notre Dame in Kortrijk. He received ecclesiastical benefices in Metz (from 1532), at the Abbey of St. Martin near Metz (from June 1533), and in Béthune and Lens (at unspecified dates). According to accounts by Gerolamo Cardano (De utilitate, 1561, and De tranquillitate, 1563), between 1537 and 1540 Gombert committed a crime (the rape of a boy in imperial service) and was condemned to the galleys. With time, however, his compositions earned him the emperor’s pardon, and he probably settled in Tournai. From there, on 3 June 1547, Gombert sent an autograph letter to the Viceroy of Sicily, Ferrante Gonzaga. H. Finck mentioned Gombert in 1556 as still living, whereas Cardano in 1561 and later L. Guicciardini in Descrittione de tutti di paesi bassi (1566) referred to him as already deceased.
Gombert’s works enjoyed great esteem among his contemporaries and continued to be highly regarded long after the composer’s death. This is attested both by statements of other musicians (chiefly music theorists such as H. Finck, S. Ganassi, and J. Bermudo) and by the frequent use of his compositions as models for parody masses. Masses based on Gombert’s works were composed by C. Morales (motet Aspice Domine), Clemens non Papa (chanson En espoir), Orlando di Lasso (chansons Le bergier et la bergière, Sur tous regretz, Triste départ), C. Porta (motet Audi filia), and even C. Monteverdi (motet In illo tempore loquente Jesu). Many of Gombert’s compositions belonged to the widely known repertory and were repeatedly arranged for various instruments; consequently, they survive in numerous guitar, lute, and keyboard tablatures throughout Europe, from Spain, where they were especially widespread, as far as Poland (including the Bakfark tablature published in Krakow).
Gombert composed both sacred works – masses, magnificats, and motets – and secular works – motets and chansons (the single surviving madrigal and single canción played no major role in his output). These compositions were published by sixteenth-century editors mostly in separate prints, as well as in numerous anthologies and collections. A characteristic feature of Gombert’s oeuvre is its remarkable stylistic and technical uniformity. Most of his works, regardless of their text or function, are marked by the consistent use of imitative technique in its purest and most logically developed form. The range of compositional devices and the manner in which they are employed indicate that Gombert’s technique represented the culmination and summation of the achievements of several generations of composers, from Dufay to Josquin des Prez. Its distinctiveness and originality, emphasized by contemporaries, did not consist in the invention of a new style; rather, it constituted a synthesis of earlier achievements in Netherlandish polyphony. For this reason, Gombert is sometimes regarded as a classic representative of Renaissance polyphony.
The texture of Gombert’s works, primarily in five voices, but also in four and six voices, and occasionally in eight, ten, or twelve voices, is dense and cohesive, permeated by imitation. A characteristic feature is the equal status of the voices within the overall structure, their vocal character, and their linear treatment. Only sporadically does the bass assume a harmonic function or the highest voice take on a melodic and ornamental role. Gombert showed a particular preference for low vocal registers (for example in Haec dies, Judica me Deus, and Vae, vae Babylon), which contributes to the distinctive sonority and atmosphere of his compositions. A frequent device is the gradual increase in the number of voices within cyclic works (for example, the six-voice mass Tempore paschali, in which the Benedictus is in four voices, Pleni sunt caeli in five voices, the Credo in eight voices, and the second Agnus in twelve voices). In works for larger vocal forces Gombert did not employ polychoral writing or the cori spezzati technique; instead, he created dense combinations of mutually imitating vocal groups. Variation technique also plays a significant role in his music.
The fundamental principle governing Gombert’s compositional style is pervading imitative technique, employed with exemplary mastery in his motets. His works are characterized by the absence of rests and clearly defined caesuras in the musical flow, as well as by a relatively limited use of homophony. Pervasive imitation, however, is handled with exceptional craftsmanship and results in a close integration of voice-leading, melodic shaping, and text setting. For individual textual phrases the composer provides thematic material that passes through all the voices; consequently, the text itself becomes the principal organizing factor of the form. In the subsequent course of a composition, the theme is treated in two ways: either it develops into a freer contrapuntal line, or it is repeated in the same or a slightly altered form. Typically, the opening theme is cast in long note values and forms a broad melodic phrase, whereas the concluding theme is livelier, with an ascending melodic line before the final cadence. The thematic expositions conclude with a cadence in one of the voices, from which Gombert derives the next theme. In his thematic treatments the composer employs various types of answers, variation techniques applied to the theme, and at times contrasting or subsidiary themes (for example in the Sanctus sections of the masses). Ostinato passages also occur (mainly in the bass, e.g., the mass Tempore paschali and the motet Inter natos mulierum), as do sequential passages (e.g., the masses Quam pulchra es and Tempore paschali), homorhythmic sections (e.g., the mass Da pacem and the motet Ave Maria), and remnants of paired imitation between voices (e.g., the masses Da pacem and Tempore paschali). Gombert also employed canonical technique; in some instances, an exact repetition of phrases is accompanied by diminution of rhythmic values by half (e.g., the Agnus from the mass Quam pulchra es). Two-voice canons appear most frequently (e.g., the second Agnus from the masses Quam pulchra es and Da pacem). More complex canonical structures occur only exceptionally: a double canon (the eight-voice “fuga in subdiapente” in the chanson Qui ne l’aymeroit) or a triple canon (e.g., the chanson En l’ombre).
Alongside the modern technique of pervasive imitation, Gombert occasionally employed the older cantus firmus technique in various forms. He even continued to use polytextuality (for example in the mass Da pacem and the motets Felix Austriae domus, Musae Jovis, and others). Most often he used fragments of chant in their original form, though sometimes transformed (e.g., the diminished chant melody in the motet Musae Jovis), as well as melodies drawn from polyphonic models in the case of parody masses (missae parodiae). Among the particularly interesting works is the motet Diversi diversa orant (“Different people pray differently”), in which the composer constructs a complex design from the melodies of six Marian antiphons together with a Marian sequence used as a cantus firmus in the tenor. He also preserves the original texts of these prayers (hence the title of the motet). The cantus firmus technique plays an especially important role in the masses; consequently, compared with the rest of Gombert’s output, they form a group of relatively more conservative character than, for example, the chansons or motets. The mass Tempore paschali is an example of a polyphonic chant setting of the ordinarium missae; the mass Da pacem is based on an antiphon melody and is composed entirely in cantus firmus technique, as is the mass Forseulement. Other masses frequently contain extensive sections based on cantus firmus (usually in the final Agnus, more rarely in other sections of the mass). In the masses, the cantus firmus generally appears in the highest voice, recalling the discant style; not infrequently, the entire melody of the model is presented in long note values at the conclusion of the mass (e.g., the masses Je suis desheritée, Sancta Maria, and Quam pulchra es).
The rhythm of Gombert’s works is simple, fluid, and calm, becoming somewhat more animated only in certain chansons. Syncopation occurs frequently. Duple meter decidedly predominates, while passages in triple meter are used more sparingly (for example in the conclusions of the Gloria and Credo, as well as the Hosanna sections of many masses, especially Da pacem). Gombert’s melodic style is likewise calm and flowing. Particularly striking is the predominance of syllabic text setting over melismatic writing and the preference for small intervallic steps. Short melismas generally appear only in cadences (e.g., the four-voice motet Ave sanctissima Maria), while more extensive melismatic writing occurs mainly in mass sections (e.g., the masses Philomena praevia and Beati omnes). Larger intervallic leaps are usually smoothed out and filled in with passing tones. Melodic shaping is often achieved through the subdivision of principal notes into smaller rhythmic values, for example in themes contrasting with the opening melodic line of a work.
Gombert’s music remains within the framework of the modal system. Church modes generally appear in transposed forms – hence the abundance of musica ficta. In imitative passages, real answers predominate over tonal ones, although in some cases (e.g., the motets O flos campi and Vias tuas) traces of modern tonal thinking may occasionally emerge. Particularly noteworthy is Gombert’s extremely frequent use of third-sixth and six-four sonorities, through which he achieves a remarkable fullness of sound. Chains of sixth chords even occur (e.g., the motet Dicite in magni), at times recalling the older fauxbourdon technique. The harmonic structure of the works, and especially the frequent occurrence of dissonances, is influenced in part by the character of Gombert’s melodic writing. Characteristic of Gombert is his treatment of dissonance within the total sonorous texture of the composition. Different voices may contain different types of dissonances, yet they are integrated into a unified texture, at times producing broadly extended dissonant passages (e.g., the Kyrie from the mass Je suis desheritée). In addition, Gombert employs other long-established devices, constructing dissonant sonorities simultaneously in all voices (often in cadences) through syncopation (e.g., the motet Gaudeamus), the use of passing tones, and related techniques. Among Gombert’s favored effects are second-interval sonorities, usually appearing in the upper voices (e.g., the Crucifixus from the mass Sancta Maria).
The core of Gombert’s oeuvre, both quantitatively and qualitatively, consists of his motets. They are written predominantly to sacred texts, most often drawn from Scripture, more rarely from graduals, antiphons, and responsories (relatively the largest group), and are generally composed using chant melodies. Particularly notable is the large number of Marian and psalm texts; especially frequent are paraphrases and free combinations of various psalm verses. Almost all motet texts are written in prose, with only nine surviving examples set to verse poetry. Motets with secular texts are thematically connected with events at court. Gombert composed Dicite in magni to celebrate the birthday of Prince Philip II of Spain (21 May 1527); Qui colis Ausoniam commemorates the military alliance concluded between Charles V, Ferdinand I, Pope Clement VII, and representatives of Florence and Venice (December 1531); Felix Austriae domus was composed for the coronation of Ferdinand I of Habsburg as King of the Romans in Aachen (11 January 1531), and so forth. Also known are the ode Ergo ne vitae to a text by Jan Everaerts and the lament on the death of Josquin des Prez, Musae Jovis, to a text by G. Avidius. Occasionally, Gombert employed parody technique in his motets and composed works based on models borrowed from other composers (for example, the five-voice motet Tribulatio et angustia, based on the four-voice composition by Josquin des Prez on the same text).
A separate group within Gombert’s output is formed by his cycle of magnificats arranged according to the eight church modes. Gombert set every second verse of the canticle polyphonically, usually in imitative style, which indicates a consistently applied alternatim technique. The musical progression is varied through changing vocal scorings (from three to eight voices), as well as through the use of canon and fugal writing in the conclusions of the works.
Gombert’s masses follow the standard five-part cyclic scheme and are distinguished by the unity of their melodic material combined with varying vocal scorings. In comparison with other mass settings of the period, Gombert’s Gloria and Credo are treated more concisely. The composer frequently provides two settings of the Agnus Dei, the second intended for a larger number of voices. In the mass Da pacem, exceptionally, three settings of the Agnus appear; in the mass Philomena praevia there is only one, while in the mass Forseulement the melody of the Kyrie is adapted for the Agnus.
Most of the masses employ parody technique. These works are based on motets by Gombert himself (Beati omnes, Media vita), as well as on motets and chansons by such composers as N. Baulduin (Quam pulchra es), Ph. Verdelot (Sancta Maria), J. Richafort (Philomena praevia and Sur tous regretz), J. Lupus (Je suis desheritée), or Josquin des Prez and Matthaeus Pipelare (Fors seulement). The relationship between Gombert’s masses and their models may be either very close or relatively free. In the former case, the themes and extensive sections of the model are repeated literally (e.g., the masses Beati omnes and Philomena praevia); at times entire segments of the model are even assembled in mosaic-like fashion (e.g., the mass Media vita). In the latter case, the openings and conclusions of the individual sections of the mass correspond to the principal theme and conclusion of the model, while within this framework the polyphonic texture develops freely (e.g., the masses Sancta Maria and Sur tous regretz).
In his chansons, Gombert employed predominantly texts on amorous subjects, drawn both from folk tradition and from the works of professional poets. These texts display considerable diversity in their verse structure, which in turn results in a wide variety of formal musical designs. The musical treatment of the chansons generally remains close to the style of Gombert’s motets. Pervasive imitation predominates (e.g., En aultre avoir), at times combined with variation treatment of themes and literal repetition of concluding passages (e.g., En attendant, Or suis-je prins). Cantus firmus settings also appear, and occasionally canon as well. Several chansons approach the type of the Parisian chanson cultivated by C. de Sermisy through their predominance of chordal texture, strict syllabic declamation, and clearly articulated formal divisions (e.g., Amours vous me faictes, Quand je suis). Only two songs, Le chant des oiseaux (Resveillez vous) and La chasse de lièvre (Or ecoutez), relate to the programmatic chanson style of C. Janequin, although illustrative devices, especially imitation of nature, also occur in other works. In some chansons, as in the motets, the composer reworks older models, for example by Josquin des Prez (e.g., the chansons En l’ombre and Mille regretz). Gombert’s oeuvre is marked by strong expressive power and inner intensity; at times one may also observe a characteristic Renaissance interest in the symbolism of numbers, sounds, and textual combinations (e.g., the motets Musae Jovis, Diversi diversa orant, and O gloriosa Dei genitrix).
Literature: O. Kade Ein unbekanntes Sammelwerk, “Monatshefte für Musikgeschichte” X, 1878; Z. Jachimecki Tabulatura organowa z Biblioteki klasztoru św. Ducha w Krakowie z r. 1548, Krakow 1913; D. Bartha Probleme der Chansons-Geschichte im 16. Jahrhundert. Nicolas Gombert – Benedictus Appenzeller, «Zeitschrift für Musikwissenschaft» XIII, 1930/31; J. Schmidt-Görg Die acht Magnifikat des Nicolas Gombert, «Spanische Forschungen der Görres-Gesellschaft» V, Münster 1934; J, Schmidt-Görg Zu einigen Motetten des 16. Jahrhunderts, «Zeitschrift für Musikwissenschaft» XVII, 1935; H. Eppstein Nicolas Gombert als Motettenkomponist, Würzburg 1935; J. Schmidt-Görg Nicolas Gombert, Kapellmeister Kaiser Karls V., Leben und Werk, Bonn 1938, repr. Tutzing 1971; J. Schmidt-Görg Die Acta capitularia der Notre-Dame-Kirche zu Kortrijk als musikgeschichtliche Quelle, “Vlaamsch Jaarboek voor Muziekgeschiedenis” I, 1939; Ch. van den Borren Quelques réflexions à propos du style imitatif syntaxique, “Revue Belge de Musicologie” I, 1946; J. Maier Studien zur Geschichte der Marienantiphon „Salve Regina”, Regensburg 1939; A. Chybiriski Wacław z Szamotuł, “Kwartalnik Muzyczny” 1948 nos. 21–22; H. Federhofer Etats de la chapelle musicale de Charles-Quint (1528) et de Maximilien (1554), “Revue Belge de Musicologie” IV, 1950; N. Bridgman Les échanges musicaux entre l’Espagne et les Pays-Bas au temps de Philippe le Beau et de Charles-Quint, in: La renaissance dans les provinces du nord. CNRS Entretiens d’Arras 1954, Paris 1954; H. C. Wolff Die Musik der alten Niederländer, Leipzig 1956; J. M. Chomiński Historia harmonii i kontrapunktu, vol. 2, Krakow 1962; R. Maniates The Sacred Music of Nicolas Gombert, “Canadian Music Journal” VI, 1962; W. Elders The Lerma Codex. A Newly Discovered Choirbook from Seventeenth-Century Spain, “Tijdskrift van de Vereniging voor Nederlandse Muziekgeschiedenis” 1967 no. 4; W. Elders Studien zur Symbolik in der Musik der alten Niederländer, Bilthoven 1968; Ch. W. Warren Music at Nonesuch, “The Musical Quarterly” LIV, 1968; C. A. Miller Jerome Cardan on Gombert, Phinot and Carpentras, “The Musical Quarterly” LVIII, 1972; The Writings of Jerome Cardan on Music, «Musicological Studies and Documents» XXXII, 1973; R. Stevenson The Toledo-Manuscript Polyphonic Choirbooks and Some Other. Lost or Little Known Flemish Sources, «Fontes Artis Musicae» XX, 1973; L. E. Cuyler The Imperial Motet. Barometer of Relations Between Church and State, in: The Pursuit of Holiness in Late Medieval and Renaissance Religion. Papers from the University of Michigan Conference, eds. Ch. Trinkaus, H. A. Oberman, Leiden 1974.
Sigla
in the motets section:
I – Gomberti excellentissimi et inventione in hac arte facile principis chori Caroli Quinti Imperatoris Magistri Musica quatuor vocum (vulgo Motecta nuncupatur) Lyris maioribus ac Tibijs imparibus accomodata (…) Liber primus, Venice [1539] G. Scotto
Ia – reprint, abridged, Venice 1541 G. Scotto
Ib – reprint, exact, Venice 1541 A. Gardane
Ic – reprint, abridged, Venice 1551 A. Gardane
II – Nicolai Gomberti Musici Imperatori Motectorum liber secundus quatuor vocum…, Venice 1541 G. Scotto
IIa – reprint, exact, Venice 1542 A. Gardane
III – Musica excellentissimi Nicolai Gomberti vulgo motecta quinque vocum (…) Liber primus, Venice 1539 G. Scotto
IIIa – reprint, altered title: Nicolai Gomberti musici excellentissimi Pentaphtongos harmonia que quinque vocum Motetta vulgo nominantur (…) Liber primus…, Venice 1541 G. Scotto
IIIb – reprint, altered edition of 1541, Venice 1550 G. Scotto
IIIc – reprint, altered edition of 1541, Venice 1552 A. Gardane
IV – Nicolai Gomberti musici solertissimi motectorum quinque vocum (…) Liber secundus…, Venice 1541 G. Scotto
IVa – exact reprint, Venice 1550 G. Scotto
IVb – altered reprint, Venice 1552 A. Gardane
153211*– 4 voices, book 2, Lyon 1532 J. Moderne
15384 – Mottetti del frutto, 5 voices, book 1, Venice 1538 A. Gardano
15393 – Mottetti del frutto, 6 voices, book 1, Venice 1539 A. Gardano, titled Excellentiss. autorum diverse modulationes que sub titulo Fructus vagantur per orbem…, Venice 1549 A. Gardano
15398 – Cantiones quinque vocum selectissimae…, Strasbourg 1539 P. Schöffer
15493 – Il primo libro de motetti a sei voce…, Venice 1549 G. Scotto
15542 – Liber secundus cantionum sacrarum…, Leuven 1554 and 1555 P. Phalèse
155411 – Tomus quartus Psalmorum selectorum…, Nuremberg 1554 J. Montanus, U. Neuber
15568 – Quintus tomus Evangeliorum, et piarum sententiarum…, Nuremberg 1556 J. Montanus, U. Neuber
15584 – Novum et insigne opus musicum (…) tum Josquini, tum aliorum clarissimorum symphonistarum…, Nuremberg 1558 J. von Berg, U. Neuber
15591 – Secunda pars magni operis musici, continens clarissimorum symphonistarum (…) praecipue vero Clementis non Papae, carmina ellegantissima…, Nuremberg 1559 J. von Berg, U. Neuber
Cambrai 125–128 – manuscript, Cambrai Bibliothèque Municipale Ms. 125–128
Sigla
In the chansons section:
154412* – Le quatriesme livre des chansons…, Antwerp 1544 T. Susato
154413 – Le cinquiesme livre contenant trente et deux chansons (…) composées par maistre Nicolas Gombert et aultres excellens autheurs…, Antwerp 1544 T. Susato
155013 – Le douziesme livre contenant trente chansons amoureuses…, Antwerp 1550 and 1558 T. Susato
Cambrai 125–128 – MS. Cambrai, Bibliothèque Municipale Ms. 125–128
London 49–54 – later manuscript copy, London, British Library Royal Appendix 49–54
Munich 1508 – MS., Munich Bayerische Staatsbibliothek Mus. Ms. 1508
*A year followed by a superscript numeral corresponds to the numbering of the item in the Répertoire International des Sources Musicales (RISM)
Compositions:
masses, mass sections, magnificats:
Missa Beati omnes, for 4 voices, manuscript: Leiden, Gemeentearchief Chb. A; new edition: CMM VI/1
Missa Da pacem, for 4 voices, first ed. Septimus liber tres missas habet… Paris 1532 P. Attaingnant; new ed. CMM VI/1
Missa Dulcis arnica, for 4 voices, first ed. Missarum musicalium (…) liber tertius…, Paris 1556
Missa Forseulement, for 5 voices, MS. Rostock, Universitätsbibliothek Ms. Mus. Saec. XVI 49, 1–6; new ed. CMM VI/2
Missa Je suis desheritée, for 4 voices, first ed. Missa (…) ad imitationem cantionis Je suis desheritée condita à Domino Nicolas Gombert, Paris 1557, 2nd ed. 1568 N. du Chemin; new ed. CMM VI/1
Missa Media vita, for 5 voices, first ed. Sex missae (…) quarum tres sunt (…) Jacheti, reliquae (…) Gomberti, Venice 1542 G. Scotto, titled Sex missae dulcissime (…) Quarum prima (…) Jacheti est, tres sequentes Gomberti sunt, due tamen Jacheti Berchem…, Venice 1547 A. Gardane; new ed. CMM VI/2
Missa Philomena praevia, for 5 voices, first ed. Sex missae (…) quarum tres sunt (…) Jacheti, reliquae (…) Gomberti, Venice 1542 G. Scotto, title Sex missae dulcissime (…) Quarum prima (…) Jacheti est, tres sequentes Gomberti sunt, due tamen Jacheti Berchem…, Venice 1547 A. Gardane; new ed. CMM VI/2
Missa Quam pulchra es, for 6 voices, MS. Toledo, Archivio de la Catedral Cod. 33; first ed. Sextus liber duas missas habet…, Paris 1532 P. Attaingnant; new ed. CMM VI/3
Missa Sancta Maria succurre miseris, for 4 voices, MS. Leiden, Gemeentearchief Chb. F 139; first ed. Excellentissimi musici Moralis hispani, Gomberti ac Jacheti (…) missae (…) Liber primus, Venice 1540 G. Scotto; new ed. CMM VI/1
Missa Si bone suscepimus, for 6 voices, MS. Treviso, Biblioteca Capitolare shelfmark I (lost)
Missa Sur tous regretz (A la Incoronation), for 5 voices, first ed. Sex missae (…) quarum tres sunt (…) Jacheti, reliquae (…) Gomberti…, Venice 1542 G. Scotto, title Sex missae dulcissime (…) Quarum prima (…) Jacheti
est, tres sequentes Gomberti sunt, due tamen Jacheti Berchem…, Venice 1547 A. Gardane; new ed. CMM VI/2
Missa Tempore paschali, for 6 voices, MS. Brussels, Conservatoire Royal de Musique ms 27087 v. 1; new ed. CMM VI/3
Patrem, for 8 voices, first ed. Thesaurus musicus…, vol. 1, Nuremberg 1564 J. Montanus, U. Neuber; new ed. CMM VI/3
8 magnificats, for 4 voices, MS. Canticum Beatae Mariae Virginis Dei parae iuxta octa tonos modulatum (…) per D. Nicolas Gombert (…) 1552 Leodij Robertus Quercentius Cameracensi scribebat, Madrid, Biblioteca Nacional M 2433
motets:
Ad te levavi, pt. 2 Miserere nostri, for 4 voices, first ed. Tomus secundus psalmorum selectorum…, Nuremberg 1539 J. Petreius; new ed. CMM VI/10
Ad te levavi, for 5 voices, MS. Toledo, Archivio de la Catedral Cod. 10; first ed. IV, IVa, IVb, Tomus tertius psalmorum selectorum…, Nuremberg 1553 J. Montanus, U. Neuber; new ed. CMM VI/8
Adonai Domine Jesu Christe, for 5 voices, first ed. III, IIIc; new ed. CMM VI/7
Adversum me susurrabant, pt. 2 In hoc cognovit, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Alleluia. Spiritus Domini, pt. 2 Laudes Deo, for 5 voices, first ed. III, Motetti de la Simia. Liber primus…, Ferrara 1539 J. de Buglhat, H. de Campis, A. Hucher; new ed. CMM VI/7
Angelus Domini ad pastores, pt. 2 Et invenientis, for 4 voices, first ed. XII. Motetz musicaulx…, Paris 1529 P. Attaingnant, Evangelia dominicorum et festorum dierum…, vol. 1, Nuremberg 1554 J. Montanus, U. Neuber; new ed. CMM VI/10
Anima mea liquefacta est, pt. 2 Filiae Jerusalem, for 5 voices, first ed. III, IIIc; new ed. CMM VI/7
Anima nostra sicut passer, for 5 voices, first ed. III, IIIc, 15591; new ed. CMM VI/7
Apparens Christus (survives only in the form of an intabulation in: Libro de musica de vihuela intitulado Silva de sirenas (…) compuesto por Enriquez Valderravano, Valladolid 1547, «Monumentos de la música española» XXII, Barcelona 1965), for 5 voices
Aspice Domine in testamentum, for 5 voices, first ed. 15384
Aspice Domine quia facta est, pt. 2 Muro tuo inexpugnabili (survives also in the form of an intabulation: Intabulatura Valentini Bacfarc…, Lyon 1552 [1553], titled Premier livre de tabelature (…) par Vallentin bacfarc, Paris 1564), for 4 voices, first ed. I, Ib, Ic, Primus liber (…) Motteti del fiore, Lyon 1532 J. Moderne, Liber secundus: quatuor et viginti musicales quatuor vocum motetos habet…, Paris 1534 P. Attaingnant; new ed. CMM VI/5
Audi filia et vide, pt. 2 Specie tua, for 5 voices, MS. Erlangen, Universitätsbibiliothek Ms. 473/3; first ed. III, IIIa, IIIb, IIIc, 15398, Quintus liber mottetorum…, Lyon 1542 J. Moderne; new ed. CMM VI/7
Ave Maria, for 5 voices, first ed. III, IIIa, IIIb, IIIc; new ed. «Trésor musical» XX, CMM VI/7
Ave mater matris Dei, for 5 voices, first ed. IIIc; new ed. CMM VI/7
Ave regina coelorum ave domina angelorum, for 5 voices, first ed. IV, IVa, IVb; new ed. CMM VI/8
Ave regina coelorum mater regis angelorum, for 4 voices, first ed. I, Ia, Ib, Ic; new ed. CMM VI/5
Ave salus mundi, for 6 voices, first ed. 15393, 15493, Teritus tomus Evangeliorum…, Nuremberg 1555 J. Montanus, U. Neuber; new ed. CMM VI/9
Ave sanctissima Maria, pt. 2 Christe fili Dei, for 4 voices, MS. Cambrai 125–128, Leiden, Gementearchief Chb. D 48–51, Madrid, Biblioteca de la Casa Ducal de Medinaceli Ms. 13230; first ed. I, Ia, Ib, Ic, 153211, Secundus tomus novi operis musici…, Nuremberg 1538 H. Grapheus, Fior de mottetti tratti dalii mottetti delfiore…, Book 1, Venice 1539 A. Gardane,
Flos florum primus liber cum quatuor vocibus. Motteti del fior, Venice 1545 A. Gardane, Tertius liber modulorum…, [Geneva] 1555 S. Du Bose, G. Guerault, Primus liber modulorum…, [Geneva 1600] J. Arbillius; new ed. «Trésor musical» XX, CMM VI/5
Ave sanctissima Maria, for 5 voices, first ed. III; new ed. CMM VI/7
Averte oculos meos, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Beata mater et innupta virgo, pt. 2 In prole mater, pt. 3 Sub tuum praesidium, pt. 4 Sub tuam protecionem, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Beati omnes, pt. 2 Ecce sit benedicetur homo, for 5 voices, MS. Erlangenm Universitätsbibiliothek Ms. 473/3; first ed. IIIc, Secundus liber cum quinque vocibus, Lyon 1532 J. Moderne, Fior de mottetti tratti dalli Mottetti del fiore, for 5 voices, Book 2, Venice 1539 A. Gardane, Tomus teritus Psalmorum selectorum…, Nuremberg 1542 J. Petreius, 15542, Beati omnes. Psalmus CXXVIII. Davidis (…) artificibus (…) adornatus et modis septendecim concinnatus, hinc inde autem collectus, atque in unum volume redactus et in lucem editus, per C. Stephani Buchaviensem…, Nuremberg 1569 U. Neuber; new ed. CMM VI/7
Beatus vir qui non abiit, pt. 2 Non sic impii, for 6 voices, MS. Munich, Bayerische Staatsbibliothek 1536 (III); first ed. Quartus liber mottetorum…, Lyon 1539 J. Moderne, Thesauri musici tomus tertius…, Nuremberg 1564 J. Montanus, U. Neuber; new ed. CMM VI/9
Benedicta es coelorum regina, pt. 2 Per illud ave, for 6 voices, MS. Munich, Bayerische Staatsbibliothek 1536 (III); first ed. Thesauri musici tomus tertius…, Nuremberg 1564 J. Montanus, U. Neuber; new ed. CMM VI/9
Caeciliam cantate pii, pt. 2 Concordes igitur, for 5 voices, first ed. IV, IVa, Cantiones septem, sex et quinque vocum…, Augsburg 1545 M. Kriesstein; new ed. CMM VI/8
Cantemus virgini canticum novum, for 5 voices, first ed. IV, IVa, IVb; new ed. CMM VI/8
Cantibus organicis, pt. 2 Fundite cantores (also preserved in the form of an intabulation in: Valentini Greffi Bakfarci pannonii, harmoniarum musicarum in usum testudinis factarum tomus primus, Krakow 1567 Ł. Andrysowicz, repr. Antwerp 1569 Veuve J. Laet), for 4 voices, first ed. Liber quartus ecclesiasticarum cantionum…, Antwerp 1553 T. Susato; new ed. CMM VI/10
Conceptio tua Dei genitrix, for 5 voices, first ed. IV, IVa, IVb, Liber septimus XXIII (…) modulos (…) habet…, Paris 1534 P. Attaingnantm; new ed. CMM VI/8
Confitebimur tibi Deus, pt. 2 Quia neque, for 5 voices, first ed. IV, IVa, IVb, Tomus secundus Psalmorum selectorum…, Nuremberg 1553 J. Montanus, U. Neuber; new ed. CMM VI/8
Constitues eos, for 8 voices, MS. Copenhagen, Det Kongelige Bibliotek 1872
Cur quisquam corradat opes, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Da pacem Domine, pt. 2 Fiat pax, for 5 voices, first ed. IVb, 15398; new ed. CMM VI/8
Descendi in hortum meum, for 6 voices, first ed. 15393; new ed. CMM VI/9
Deus ultionum Dominus libere egit, pt. 2 Intelligite, for 4 voices, first ed. Tomus secundus psalmorum selectorum…, Nuremberg 1539 J. Petreius, Tomus secundus Psalmorum selectorum…, Nuremberg 1553 J. Montanus, U. Neuber; new ed. «Collectio operum musicorum batavorum saec. XV et XVI» VIII, CMM CI/10
Dicite in magni, pt. 2 Laeta dies terris, for 4 voices, first ed. I, Ib, Ic; new ed. CMM VI/5
Dignare me laudare te, pt. 2 O regina poli, for 4 voices, first ed. I, Ib, Ic, Primus liber (…) Motetti del fiore, Lyon 1532 J. Moderne; new ed. CMM VI/5
Diversi diversa orant (Salve regina, Ave regina, Inviolata integra, Alma redemptoris), for 4 voices, first ed. II, IIa; new ed. «Trésor musical» II, CMM VI/6
Domine Deus omnipotens pater, for 5 voices, first ed. III, IIIa, IIIb, IIIc, Moteti de la Simia, Liber primus…, Ferrara 1539 J. de Buglhat, H. de Campis, A. Hucher; new ed. CMM VI/7
Domine non secundum peccata nostra, pt. 2 Quare memento nostri, for 4 voices, first ed. II, IIa, Sextus tomus Evangeliorum, et piarum sententiarum…, Nuremberg 1556 J. Montanus, U. Neuber; new ed. CMM VI/6
Domine pater et Deus vitae meae, for 4 voices, first ed. I, Ia, Ib, Ic; new ed. CMM VI/5
Domine quis habitabit, pt. 2 Ad nihilum, for 5 voices, MS. Regensburg, Proskesche Musikbibliothek B 223; first ed. Sacrarum cantionum (…) Liber quintus, Antwerp [1556] H. Waelrant, J. Laet; new ed. CMM VI/10
Domine si tu es jube, pt. 2 Cumque vidisset ventum validum (also preserved in the form of an intabulation in: Valentini Greffi Bakfarci (…) tomus primus, op. cit.), for 4 voices, first ed. I, Ia, Ib, Ic, Liber cantus (vocum quatuor) triginta novem motetos habet…, Ferrara 1538 J. de Buglhat, H. de Campis, A. Hucher; new ed. CMM VI/5
Dulcis amica mea, for 4 voices, MS. Toledo, Archivio de la Catedral Cod. 10, 153211; new ed. CMM VI/10
Dum intraret (preserved only in the form of an intabulation in: Tabulaturbuch auff Orgeln und Instrument (…) mit sonderlichem Fleis auserlesen (…) und in Druck verfertiget durch J. Rühling von Born…, pt. 1, Leipzig 1583 J. Beyer)
Duo rogavi te Domine deneges mihi, for 4 voices, first ed. I, Ib, Ic; new ed. CMM VI/5
Duo rogavi te Domine, for 6 voices, first ed. 15393; new ed. CMM VI/9
Ecce nunc tempus acceptabile, for 4 voices, first ed. I, Ib, Ic, Tertus liber (…) Motteti del fiore, Lyon 1539 J. Moderne; new ed. CMM VI/5
Ecce quam bonum, for 4 voices, MS. Kassel, Murhardsche Bibliothek der Stadt und Landesbibliothek Mus. Ms. IV 24
Ego flos campi, pt. 2 Laeva ejus, for 5 voices, first ed. IIIa, IIIb, IIIc, Cantiones septem, sex et quinque vocum…, Augsburg 1545 M. Kriesstein, 15542; new ed. CMM VI/7
Ego sum qui sum, pt. 2 Tulerunt Dominum, for 6 voices, MS. Munich, Bayerische Staatsbibliothek Ms. 19 and Mus. Ms. 1536 (III); first ed. 15393, 15584; new ed. CMM VI/9
Egregie martyr Sebastiane, pt. 2 Socius enim, for 5 voices, first ed. Secundus liber cum quinque vocibus, Lyon 1532 J. Moderne; new ed. CMM VI/10
Emendemus in melius, pt. 2 Peccavimus, for 5 voices, MS. Toledo, Archivio de la Catedral Cod. 10, Zwickau, Ratsschulbibliothek Ms. 43; first ed. III, IIIa, IIIb, IIIc, 15398, 15568; new ed. CMM VI/7
Emendemus in melius, for 4 voices, MS. Treviso, Biblioteca Capitolare 7
Ergo ne vitae quod superest meae, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Expurgate vetus fermentum, pt. 2 Mortus est enim, for 5 voices, first ed. IV, IVa, IVb; new ed. CMM VI/8
Fac tibi mortales, pt. 2 O clemens genti, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Felix Austriae domus, for 5 voices, first ed. Novum et insigne opus musicum…, Nuremberg 1537 H. Grapheus; new ed. CMM VI/10
Felix namque, pt. 2 Ora pro populo, for 5 voices, first ed. Quartus liber mottetorum…, Lyon 1539 J. Moderne; new ed. CMM VI/10
Fidelium Deus omnium conditor, for 4 voices, first ed. I, Ib, Ic, 153211; new ed. CMM VI/5
Fuit homo missus a Deo, pt. 2 Hic praecursor et dilectus, for 4 voices, MS. Cambrai 125–128, first ed. I, Ib, 153211, Fior de mottetti tratti dalli mottetti del fiore…, Book 1, Venice 1539 A. Gardane, Flos florum primus liber cum quatuor vocibus. Motteti del fior, Venice 1545 A. Gardane; new ed. CMM VI/5
Gabriel nuntiavit Mariae, pt. 2 Pneumatis latet, for 5 voices, first ed. Tertius liber mottetorum…, Lyon 1538, repr. 1539 and 1542 J. Moderne; new ed. CMM VI/10
Gaude mater ecclesia, pt. 2 Gaude quia convertisti, for 4 voices, first ed. Secundus tomus novi operis musici…, Nuremberg 1538 H. Grapheus; new ed. CMM VI/10
Gaudeamus omnes et laetemur, for 5 voices, first ed. III; new ed. CMM VI/7
Germinavit radix Jesse, see O gloriosa Dei genitrix
Haec dies quam fecit Dominus, pt. 2 Confitemini Domino, for 5 voices, MS. / first ed. Toledo, Archivio de la Catedral Cod. 10 III, IIIc, Quartus liber mottetorum…, Lyon 1539 J. Moderne, new ed. CMM VI/7
Hic est discipulus, pt. 2 Et vox, for 5 voices, first ed. 15384, Quartus liber mottetorum…, Lyon 1539 J. Moderne, 15398, Excellentis. autorum diverse modulationes que sub titulo Fructus vagantur per orbem…, Book 1, Venice 1549 G. Scotto, Venice 1549 A. Gardane; new ed. CMM VI/10
Hodie beata virgo Maria, pt. 2 Responsum accepit, for 5 voices, first ed. III, IIIc; new ed. CMM VI/7
Hodie nata est virgo Maria, for 5 voices, first ed. IV, IVa, IVb; new ed. CMM VI/8
Hodie nobis caelorum Rex, pt. 2 Hodie illuxit nobis, for 5 voices, first ed. IV, IVa, IVb; new ed. CMM VI/8
Homo erat in Jerusalem, pt. 2 Et cum inducerent, for 4 voices, first ed. Liber octavus XX. musicales motetos (…) habet, Paris 1534 P. Attaingnant; new ed. CMM VI/10
Hortus conclusus es Dei genitrix, for 5 voices, first ed. IV, IVa, 15591; new ed. CMM VI/8
In illo tempore dicebat Jesus, pt. 2 Sed cum facis, for 6 voices, MS. Stuttgart, Württembergische Landesbibliothek Mus. Ms. 4; first ed. Sacrarum cantionum (…) Liber secundus, Antwerp 1555 H. Waelrant, J. Laet, Sacrarum cantionum (…) Liber quartus, Antwerp 1556 H. Waelrant, J. Laet, 15584; new ed. CMM VI/9
In illo tempore dixit Jesus (…) caro mea, pt. 2 Hic est panis, for 5 voices, first ed. Tertius liber mottetorum…, Lyon 1538, repr. 1539 and 1542 J. Moderne; new ed. CMM VI/10
In illo tempore intravit Jesus, pt. 2 Et respondens, for 5 voices, first ed. Cantiones septem, sex et quinque vocum…, Augsburg 1545 M. Kriesstein; new ed. CMM VI/10
In illo tempore loquente Jesu, for 6 voices, MS. Stuttgart, Württembergische Landesbibliothek Mus. Ms. 4, first ed. Secundus tomus novi operis musici…, Nuremberg 1538 H. Grapheus, 15393, 15584; new ed. CMM VI/9
In illo tempore pastores, for 4 voices, MS. Munich, Universitätsbibliothek Art. 401
In patientia vestra, for 4 voices, first ed. Selectissimae necnon familiarissimae cantiones…, Augsburg 1540 M. Kriesstein; new ed. CMM VI/10
In te Domine speravi, pt. 2 Educes me, for 6 voices, first ed. 15493, 155411; new ed. CMM VI/9
In tua patienia, for 5 voices, MS. Treviso, Biblioteca Capitolare 29 (lost)
Inclina Domine aurem tuam, pt. 2 Exaudi me, for 5 voices, MS. Stuttgart, Württembergische Landesbibliothek Mus. Ms. 34; first ed. IV, IVa, IVb, 155411; new ed. CMM VI/8
Inter natos mulierum, for 4 voices, first ed. I, Ia, Ib, 153211; new ed. CMM VI/5
Inviolata, integra et casta, pt. 2 O benigna, for 5 voices, first ed. III, IIIa, IIIb, IIIc, Moteti de la Simia. Liber primus…, Ferrara 1539 J. de Buglhat, H. de Campis, A. Hucher, 15398; new ed. CMM VI/7
Jubilate Deo omnis terra, pt. 2 no text, for 4 voices, MS. Munich, Bayerische Staatsbibliothek 274a; new ed. CMM VI10
Judica me Deus, pt. 2 Et introibo, for 5 voices, MS. Munich, Bayerische Staatsbibliothek 274a, first ed. III, IIIa, IIIc, 155411; new ed. CMM VI/7
Juravit Dominus, for 5 voices, MS. Treviso, Biblioteca Capitolare 29 (lost)
Laqueus contritus est, pt. 2 Tribulationes, for 4 voices, MS. Cambrai 125–128; first ed. 155411; new ed. CMM VI/10
Lauda Sion (preserved only in the form of an intabulation in: Libro de musica para vihuela, intitulado Orphenica lyra (…) Compuesti por Miguel de Fuenllana Seville 1554, ed. Ch. G. Jacobs, New York 1978), for 5 voices
Laus Deo, pax vivis, pt. 2 Et beata viscera, for 5 voices, MS. Erlangen, Universitätsbibliothek 473/4, first ed. III, IIIc, 15398; new ed. CMM VI/7
Levavi oculos meos, pt. 2 Dominus custodit te, for 4 voices, first ed. I, Ia, Ib; new ed. CMM VI/5
Maria Magdalene et altera Maria, pt. 2 Cito euntes, for 5 voices, first ed. Evangelia dominicorum et festorum dierum…, vol. 1, Nuremberg 1554 J. Montanus, U. Neuber, III; new ed. CMM VI/7
Media vita in morte sumus, for 6 voices, first ed. 15393, Sextus tomus Evangeliorum, et piarum sententiarum…, Nuremberg 1556 J. Montanus, U. Neuber; new ed. CMM VI/9
Miserere nostri Deus, pt. 2 Alleva ergo, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Miserere pie Jesu, pt. 2 Parce eis Domine, for 4 voices, first ed. I, Ia, Ib, Ic; new ed. CMM VI/5
Musae Jovis, for 6 voices, first ed. La septiesme livre contenant vingt et quatre chansons (…) composées par feu (…) Josquin Des Pres, avecq troix epitaphes dudict Josquin, composez par divers aucteurs…, Antwerp 1545 T. Susato; new ed. CMM VI/9
Ne reminiscaris Domine, for 5 voices, first ed. IV, IVa, IVb, 15568; new ed. CMM VI/8
O adorandum Sacramentum, pt. 2 Quod transiturus, for 5 voices, first ed. IV, IVa, IVb, Tertius tomus Evangeliorum…, Nuremberg 1555 J. Montanus, U. Neuber; new ed. CMM VI/8
O beata Maria, pt. 2 Assiste parata, for 5 voices, first ed. III, IIIc, Tertius liber motetorum…, Lyon 1538 repr. 1539 and 1542 J. Moderne, Fior de mottetti tratti dalli Mottetti del fiore, for 5 voices, Book 2, Venice 1539 A. Gardane; new ed. CMM VI/7
O crux splendidior, pt. 2 O crux gloriosa, for 6 voices, first ed. 15393, Quartus tomus Evangeliorum…, Nuremberg 1555 J. Montanus, U. Neuber; new ed. CMM VI/9
O domina mundi, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
O Domine Jesu, pt. 2 O Domine Jesu, for 6 voices, first ed. 15393, Sextus tomus Evangeliorum, et piarum sententiarum…, Nuremberg 1556 J. Montanus, U. Neuber; new ed. CMM VI/9
O felix Anna, pt. 2 O Anna purissima, for 5 voices, first ed. IV, IVa, IVb; new ed. CMM VI/8
O flos campi, pt. 2 Quam pulchrae sunt, for 5 voices, first ed. III, IIIa, IIIb, IIIc; new ed. CMM VI/7
O gloriosa Dei genitrix, pt. 2 Quae est ista quae ascendit (also with the text Germinavit radix Jesse), for 4 voices, MS. Munich, Bayerische Staatsbibliothek 19, Leuven, Katholieke Universiteit Ms. 163 (lost); first ed. I, Ia, Ib, Ic, Liber primus quinque et viginti musicales quatuor vocum motetos complectitur…, Paris 1534 P. Attaingnant; new ed. CMM VI/5
O gloriosa Domina Dei genitrix, for 4 voices, first ed. I, Ia, Ib, Ic; new ed. CMM VI/5
O Jesu Christe, see chanson Qui ne l’aymeroit
O magnum mysterium, pt. 2 Domine audivi, for 5 voices, MS. Regensburg, Proskesche Musikbibliothek A. R. 853; first ed. IV, IVa, IVb; new ed. CMM VI/8
O rex gloriae, pt. 2 Omnis pulchritudo, for 6 voices, first ed. 15393; new ed. CMM VI/9
Oculi omnium in te sperant, pt. 2 Qui edunt, for 6 voices, MS. Kassel, Murhardsche Bibliothek der Stadt und Landesbibliothek Mus. Ms. 4.91, first ed. 15393, 15542, 15584; new ed. CMM VI/9
Omnis pulchritudo Domini, pt. 2 A summo caelo, for 6 voices, MS. Regensburg, Proskesche Musikbibliothek A. R. 876; first ed. Secundus tomus Evangeliorum…, Nuremberg 1555 J. Montanus, U. Neuber; new ed. CMM VI/9
Parce Domine (preserved only in the form of an intabulation in: Libro de musica para viuela intitulado Orphenica lyra…, op. cit.)
Patefactae sunt januae caeli, pt. 2 Mortem enim, for 5 voices, first ed. IV, IVa; new ed. CMM VI/8
Pater noster, for 5 voices, first ed. III, IIIa, IIIb, IIIc, 15542, Sextus liber modulorum…, [Geneva] 1556 S. Du Bosc; new ed. «Trésor musical» XII, CMM VI/7
Peccata mea sicut sagittae, pt. 2 Quoniam iniquitatem, for 6 voices, MS. Brussels, Conservatoire Royal de Musique Ms. 27088, London, British Library 29388–29392, Warsaw, Warsaw University Library 7.41.5.14 (only quinta vox and bassus), first ed. 15493, 155411, Septimus liber modulorum…, [Geneva] 1556 S. Du Bosc; new ed. CMM VI/9
Peto Domine ut de vinculo, pt. 2 Ne reminiscaris, for 5 voices, first ed. IV, IVa, IVb, Quintus liber mottetorum…, Lyon 1542 J. Moderne, 15568; new ed. CMM VI/8
Philippe qui videt me, for 5 voices, MS. Regensburg, Proskesche Musikbibliothek A. R. 876
Quae est ista quae processit, pt. 2 Et sicut dies verni, for 4 voices, first ed. I, Ib, Ic; new ed. CMM VI/5
Quam pulchra es et quam decora, for 4 voices, first ed. I, Ia, Ib, 153211, Selectissimarum mutetarum (…) tomus primus. D. Georgio Forstero selectore, Nuremberg 1540 J. Petreius, Musica quatuor vocum…, Venice 1549 A. Gardane, Venice 1549 G. Scotto; new ed. CMM VI/5
Quem dicunt homines, pt. 2 Petre diligis me, for 6 voices, MS. Dresden, Sächsische Landesbibliothek Ms. 1270, Regensburg, Proskesche Musikbibliothek Ms. B 223; first ed. Sacrarum cantionum (…) Liber secundus, Antwerp 1555 H. Waelrant, J. Laet, Sacrarum cantionum (…) Liber quartus, Antwerp 1556 H. Waelrant, J. Laet, 15584; new ed. CMM VI/9
Qui colis Ausoniam, pt. 2 Perpetuum clemens, for 6 voices, first ed. 15493; new ed. CMM VI/9
Qui seminant in lacrimis, pt. 2 Qui parce seminant, for 4 voices, first ed. Primus liber cum quatuor vocibus. Mottetti del frutto a quatro, Venice 1539 A. Gardane, Motetti del frutto a quatro voci. Libro primo. Novamente coretti e stampati, Venice 1562 G. Scotto; new ed. CMM VI/10
Quidquid appositum est, pt. 2 Gratias agimus, pt. 3 Largire filiis tuis, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Regina caeli, for 4 voices, first ed. Musica quatuor vocum…, Venice 1549 A. Gardane, Venice 1549 G. Scotto; new ed. CMM VI/10
Regina caeli, for 10 voices, MS. Verona, Società Accademia Filarmonica 218
Regina caeli, for 12 voices, first ed. Liber duodecimus XVII. musicales ad virginem Christiparam salutationes habet…, Paris 1535 P. Attaingnant; new ed. CMM VI/10
Reminiscere miserationnum tuarum, for 4 voices, first ed. II, IIa, Sextus tomus Evangeliorum, et piarum sententiarum…, Nuremberg 1556 J. Montanus, U. Neuber; new ed. CMM VI/6
Respice Domine, pt. 2 Respice Domine, for 5 voices, first ed. 15384, Excellentis. autorum diverse modulationes que sub titulo Fructus vagantur per orbem…, Book 1, Venice 1549 G. Scotto, Venice 1549 A. Gardane, 15568; new ed. CMM VI/10
Saluto te sancta Virgo Maria, pt. 2 Subvenias mihi tam in corpore, for 4 voices, first ed. I, Ia, Ib, Ic; new ed. CMM VI/5
Salvator mundi salva nos, pt. 2 Eia ergo advocemus, for 6 voices, first ed. Liber decimustertius XVIII. musicales habet modulos…, Paris 1535 P. Attaingnant; new ed. CMM VI/9
Salve regina, pt. 2 Eia ergo, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Salvum me fac Domine, pt. 2 Propter miseriam inopum, for 4 voices, first ed. I, Ia, Ib, Ic, Liber cantus (vocum quatuor) triginta novem motetos habet…, Ferrara 1538 J. de Buglhat, H. de Campis, A. Huchcer, Tomus tertius psalmorum selectorum…, Nuremberg 1542 J. Petreius, Psalmorum selectorum (…) tomus primus…, Nuremberg 1553 J. Montanus, U. Neuber; new ed. CMM VI/5
Sancta et immaculata, pt. 2 Quae est ista, for 5 voices, first ed. 15384, Excellentis. autorum diverse modulationes que sub titulo Fructus vagantur per orbum…, Book 1, Venice 1549 G. Scotto, Venice 1549 A. Gardane; new ed. CMM VI/10
Sancta et immaculata, for 4 voices, MS. Rome, Biblioteca Apostolica Vaticana C. G. XII
Sancta Maria mater Dei, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Sancta Maria succurre miseris, for 6 voices, first ed. 15393, 15493; new ed. CMM VI/9
Sancte Alphonse, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Sancte Gregori, for 5 voices, MS. Treviso, Biblioteca Capitolare 29 (lost)
Sancte Johannes apostole, for 4 voices, first ed. Tertius liber (…) Motteti del fiore, Lyon 1539 J. Moderne; new ed. CMM VI/10
Si bona suscepimus, for 6 voices, first ed. 15393; new ed. CMM VI/9
Si ignoras te o pulchra, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Sit Trinitati sempiterna gloria, for 5 voices, first ed. IVb, Moteti de la Simia. Liber primus…, Ferrara 1539 J. de Buglhat, H. de Campis, A, Hucher; new ed. CMM VI/8
Speciosa facta es, for 4 voices, MS. Leiden, Lakenhal Museum Ms. 1006 D; new ed. CMM VI/10
Stabat autem Petrus, pt. 2 Nescio quid dicis, for 5 voices, first ed. Liber duodecimus ecclesiasticarum cantionum…, Antwerp 1557 T. Susato; new ed. CMM VI/10
Super flumina Babylonis, for 4 voices, first ed. I, Ib, Ic, Primus liber (…) Motteti del fiore, Lyon 1532 J. Moderne, Tomus tertius psalmorum selectorum…, Nuremberg 1542 J. Petreius; new ed. CMM VI/5
Surge Petre, pt. 2 Angelus domini astitit (also preserved in the form of an intabulation in an organ tablature manuscript from the Monastery of the Holy Spirit in Kraków, ca. 1548; original lost, preserved in a microfilm copy), for 4 voices, MS. Stuttgart, Württembergische Landesbibliothek Mus. Ms. 34; first ed. II, IIa, Moduli undecim festorum solemnium totius anni…, Paris 1554 N. Du Chemin; new ed. CMM VI/8
Surge Petre, pt. 2 Angelus Domini, for 5 voices, first ed. IV, IVa, IVb, Selectissimae cantiones de praecipuis sanctorum Dei domesticorum festis…, Nuremberg 1550 J. Montanus, U. Neuber, 15591; new ed. CMM VI/8
Suscipe verbum virgo Maria, pt. 2 Paries quidem filium, for 5 voices, MS. Regensburg, Proskesche Musikbibliothek A. R. 860; first ed. Secundus liber cum quinque vocibus, Lyon 1532 J. Moderne, Secundus tomus novi operis musici…, Nuremberg 1538 H. Grapheus, Fior de mottetti tratti dalli Mottetti del fiore, for 5 voices, Book 2, Venice 1539 A. Gardane, 15591; new ed. CMM VI/10
Sustinuimus pacem (also with the text of Tulerunt Dominum meum), for 8 voices, MS. Verona, Società Accademia Filarmonica 218, London, British Library Royal Appendix 49–54; first ed. Evangelia dominicorum et festorum dierum…, vol. 1, Nuremberg 1554 J. Montanus, U. Neuber; new ed. Chw XXIII (incorrectly attributed to Josquin des Prés), CMM VI/11
Tota pulchra es, for 5 voices, first ed. III, IVb, Quartus liber mottetorum…, Lyon 1539 J. Moderne; new ed. CMM VI/7
Tota pulchra es, pt. 2 Veni sponsa Christi, for 6 voices, MS. Regensburg, Proskesche Musikbibliothek B 223
Tribulatio cordis mei, for 5 voices, first ed. 15384, Excellentis. autorum diverse modulationes que sub titulo Fructus vagantur per orbem…, Book 1, Venice 1549 G. Scotto, Venice 1549 A. Gardane, 15568; new ed. CMM VI/10
Tribulatio et angustia, pt. 2 Tribulationes cordis mei, for 5 voices, first ed. III, IIIc, 15568; new ed. CMM VI/7
Tu Deus noster, pt. 2 Tribue ergo, for 5 voices, MS. Leuven, Katholieke Universiteit Ms. 163 (lost); first ed. III, IIIc, 15398, 15568; new ed. CMM VI/7
Tulerunt Dominum meum, see Sustinuimus pacem
Vae, vae Babylon, pt. 2 Vae, vae civitas, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
Veni dilecta mea, pt. 2 Nigra sum, for 5 voices, first ed. IVb; new ed. CMM VI/8
Veni electa mea, pt. 2 Difusa est gratia, for 5 voices, first ed. IVb, 15398; new ed. CMM VI/8
Venite ad me omnes, for 5 voices, MS. Stuttgart, Württembergische Landesbibliothek Mus. Ms. 36 IV; first ed. IVa, IVb, 15398, 15591; new ed. CMM VI/8
Venite filii audite me, pt. 2 Servite Domino in timore (also preserved in the form of an intabulation in: Valentini Greffi Bakfarci (…) tomus primus, op. cit.), for 4 voices, first ed. I, Ia, Ib, Ic; new ed. CMM VI/5
Vias tuas Domine, pt. 2 Trahe nos, for 5 voices, MS. Erlangen, Universitätsbibliothek Ms. 473/4, Leuven, Katholieke Universiteit Ms. 163 (lost); first ed. III, IIIc, Novum et insigne opus musicum…, Nuremberg 1537 J. Grapheus, Tertius liber mottetorum…, Lyon 1538, repr. 1539 and 1542 J. Moderne, Fior de mottetti tratti dalli Mottetti del fiore, for 5 voices, Book 2, Venice 1539 A. Gardane, 15542, Sextus liber modulorum…, [Geneva] 1556 S. Du Bosc, 15591; new ed. CMM VI/7
Virgo prudentissima, for 4 voices, first ed. I; new ed. CMM VI/5
Virgo sancta Katharina, for 4 voices, first ed. Liber quartus XXXIX. musicales quatuor vel quinque parium vocum modulos habet…, Paris 1534 P. Attaingnant; new ed. «Das Musikwerk» XXII, CMM VI/10
Vita dulcedo, pt. 2 Ad te suspiramus, pt. 3 Et Jesum, pt. 4 O clemens, for 4 voices, first ed. II, IIa; new ed. CMM VI/6
chansons:
A bien grand tort, for 4 voices, first ed. Le Parangon des chansons. Second livre…, Lyon 1538 J. Moderne; new ed. CMM VI/11
A quoy tien-il, for 4 voices, first ed. Vingt et huit chansons nouvelles…, Paris 1530 [1531] P. Attaingnant; new ed. CMM VI/11
A traveil suis, for 6 voices, first ed. 154413; new ed. CMM VI/11
Alleluia my fault chanter, for 4 voices, first ed. Six gaillardes et six pavanes avec treze chansons…, Paris [1528] P. Attaingnant; new ed. CMM VI/11
Amoureulx suis d’une plaisante brunette, for 5 voices, MS. Munich 1508
Amours, amours, for 4 voices, first ed. Vingt et sept chansons musicales…, Paris 1533 P. Attaingnant
Amours vous me faictes, for 4 voices, first ed. 154412; new ed. CMM VI/11
Amy souffrez, for 5 voices, first ed. 155013; new ed. CMM VI/11
Au joly bois, for 6 voices, MS. London 49–54; new ed. CMM VI/11
Aultre que vous ne voy, for 4 voices, first ed. Vingt et six chansons musicales…, Paris 1534 P. Attaingnant; new ed. CMM VI/11
Ayme qui vouldra, for 5 voices, MS. Munich 1598; first ed. 154413; new ed. CMM VI/11
Celluy a qui mon cueur fut desparty, for 4 voices, first ed. Del secondo libro delle canzoni franzese…, Venice [1535] O. Scotto, 154412; new ed. CMM VI/11
Celluy qui est long da samye, for 3 voices, first ed. Variarum linguarum tricinia…, vol. 2, Nuremberg 1560 J. von Berg, U. Neuber; new ed. CMM VI/11
C’est a grand tort, for 4 voices, first ed. Hundert und fünfftzehen guter newer Liedlein…, Nuremberg 1544 J. Ott; new ed. PGfM III, Berlin 1875, CMM VI/11
Changons propos, for 6 voices, MS. London 49–54; new ed. CMM VI/11
Crainte et espoir, for 4 voices, first ed. La fleur de chansons et second livre…, Antwerp [1552] T. Susato
D’en prendre deux, for 4 voices, first ed. Second livre de chansons nouvellement mises en musique…, Paris 1557 N. Du Chemin
D’estre amoureux, for 4 voices, first ed. La fleur de chansons et quatriesme livre…, Antwerp [1552] T. Susato
Dieu me fault il, for 5 voices, first ed. 155013; new ed. CMM VI/11
En attendant l’espoir, for 6 voices, MS. Munich 1508; first ed. Le sixiesme livre contenant trente et une chansons nouvelles…, Antwerp 1545 T. Susato; new ed. CMM VI/11
En aultre avoir, for 4 voices, first ed. Vingt et huyt chansons musicalles…, Paris 1534 P. Attaingnant; new ed. CMM VI/11
En douleur et tristesse, for 6 voices, first ed. Le treziesme livre contenant vingt et deux chansons nouvelles…, Antwerp 1550 T. Susato; new ed. CMM VI/11
En espoir d’avoir mieulx, for 4 voices, MS. Cambrai 125–128; first ed. Chansons musicales…, Paris 1533 P. Attaingnant; new ed. «Trésor musical» XIV, CMM VI/11
En l’ombre d’ung buissonet, for 6 voices, MS. Cambrai 125–128; first ed. Selectissimae necnon familiarissimae cantiones…, Augsburg 1540 M. Kriesstein; new ed. «Trésor musical» XI (title Sous l’ombre d’un maronnier), CMM VI/11
Forche sera, for 4 voices, MS. Cambrai 125–128; new ed. CMM VI/11
Gris et tanne me fault, for 4 voices, first ed. Trente et huyt chansons musciales…, Paris 1529 [1530] P. Attaingnant; new ed. «Trésor musical» XI (title Ghenuchelijke dinger), CMM VI/11
Hors envieulx retirez vous, for 4 voices, MS. Cambrai 125–128; first ed. Vingt et huit chansons nouvelles…, Paris 1530 [1531] P. Attaingnant, Secondo libro di canzon francese (…) del (…) Clement Janequin il secondo libro de canzon francese…, Venice 1560 A. Gardane, Premier recueil des recueilz de chansons…, Paris 1561 A. Le Roy, R. Ballard, title Premier recueil des recueils composé…, Paris 1567 and 1573 A. Le Roy, R. Ballard, Septiesme livre des chansons…, Leuven 1570 P. Phalèse, Livre septieme des chansons…, Antwerp 1589 and 1592 P. Phalèse, J. Bellère, Antwerp 1597 Vve J. Bellère, Antwerp 1605 P. Phalèse, title Livre septieme des chansons vulgaires…, Antwerp 1601 and 1609 P. Phalèse; new ed «Trésor musical» XVII (title Prévision), CMM VI/11
Jamais je n’euz tant de soulas, for 4 voices, first ed. Vingt et huyt chansons musicalles…, Paris 1534 P. Attaingnant, Premier livre des chansons…, Paris 1543 T. Susato; new ed. CMM VI/11
J’ay congé prins, for 4 voices, first ed. Trente et une chansons musicales…, Paris 1534 P. Attaingnant; new ed. CMM VI/11
J’aymeray que m’aymera, for 4 voices, first ed. Vingt et huit chansons nouvelles…, Paris 1530 [1531] P. Attaingnant, Chansons musicales…, Paris 1533 P. Attaingnant
Je ne scay pas comment, for 4 voices, first ed. 154413; new ed. CMM VI/11
Je prens congie, for 8 voices, MS. London 49–54; new ed. CMM VI/11
Je suis trop jeunette, for 3 voices, first ed. Variarum linguarum tricinia…, vol. 2, Nuremberg 1560 J. von Berg, U. Neuber, Recueil des fleurs produictes (…) par Clemens non Papa, Thomas Cricquillon, et aultres excellens musiciens, Book 3, Leuven 1569 P. Phalèse; new ed. CMM VI/11
Je suis trop jeunette, for 5 voices, first ed. 155013, Variarum linguarum tricinia…, vol. 2, Nuremberg 1560 J. von Berg, U. Neuber; new ed. CMM VI/11
Jouyssance vous donneray, for 6 voices, MS. London 49–54; new ed. CMM VI/11
Joyeulx vergier, for 4 voices, first ed. Le second livre des chansons a quatre parties…, Antwerp 1544 T. Susato; new ed. CMM VI/11
La chasse de lièvre, see Or escoutez
Le bergier et la bergière, for 5 voices, MS. Berlin, Deutsche Staatsbibliothek Ms. W 87; first ed. 154413, Variarum linguarum tricinia…, vol. 2, Nuremberg 1560 J. von Berg, U. Neuber, Mellange de chansons…, Paris 1572 A. Le Roy, R. Ballard; new ed. «Collectio operum musicorum batavorum saec. XV et XVI» XII, CMM VI/11
Le chant des oyseaux see Resveillez vous
Mille regretz, for 6 voices, first ed. Selectissimae necnon familiarissimae cantiones…, Augsburg 1540 M. Kriesstein; new ed. CMM VI/11
Mon cueur elist, for 4 voices, first ed. Le parangon des chansons…, Book 9, Lyon 1541 J. Moderne; new ed. CMM VI/11
Mon pensement ne gist, for 4 voices, first ed. Trente cincquiesme livre contenant XXIII chansons…, Paris 1549 P. Attaingnant, Premier recueil des recueilz de chansons…, Paris 1561 A. Le Roy, R. Ballard, title Premier recueil des recueils composé…, Paris 1567 and 1573 A. Le Roy, R. Ballard; new ed. CMM VI/11
Mon petit cueur, for 6 voices, MS. London 49–54; new ed. VI/11
Mon seul (no text), for 7 voices, MS. Utrecht, Bibliotheek der Rijkuniversiteit Cod. Lerma; new ed. CMM VI/11
Mort et fortune, for 4 voices, first ed. Le parangon des chansons…, [Book 1], Lyon [1538] J. Moderne, Premier livre contenant XXV chansons nouvelles…, Paris 1538 P. Attaingnant, H. Jullet, Paris 1546 P. Attaingnant; new ed. CMM VI/11
Nesse pas chose dure, for 5 voices, first ed. 154413; new ed. CMM VI/11
O doulx regretz, for 4 voices, first ed. Trente quatriesme livre contenant XX. chansons nouvelles…, Paris 1549 P. Attaingnant; new ed. CMM VI/11
O malheureuse journee, for 5 voices, MS. Munich, Bayerische Staatsbibliothek Mus. Ms. 1503a; first ed. 155013; new ed. CMM VI/11
Or escoutez gentils (title La chasse du lièvre), for 4 voices, first ed. Le dixieme livre contenant la Bataille a quatre de Clement Jannequin, avecq (…) deux Chasses de Lievre a quatre parties, et le Chant des oyseaux a troix…, Antwerp 1545 T. Susato; new ed. CMM VI/11
Or suis-je prins, for 4 voices, first ed. 154412; new ed. CMM VI/11
Paine et travéil, for 6 voices, MS. London 49–54; new ed. CMM VI/11
Par ung regard, for 3 voices, first ed. Recueil des fleurs produites (…) par Clemens non Papa, Thomas Cricquillon, et aultred excellens musiciens…, Book 3, Leuven 1569 P. Phalèse; new ed. CMM VI/11
Plaisir nay plus, for 5 voices, first ed. Vingt et six chansons musicales…, Antwerp [1543] T. Susato; new ed. CMM VI/11
Plaist a dieu, for 3 voices, first ed. Premier livre du recueil des fleurs produictes (…) par Clemens non Papa, Thomas Cricquillon, et aultred excellens musiciens…, Leuven 1560 P. Phalèse; new ed. CMM VI/11
Pleust a dieu quil fust, for 6 voices, first ed. 154413; new ed. CMM VI/11
Plus de Venus, for 4 voices, first ed. La fleur de chansons et quatreisme livre…, Antwerp [1552] T. Susato
Plus en sera garde, for 4 voices, MS. Cambrai 125–128; new ed. «Trésor musical» XIV (title Page du roi), CMM VI/11
Plus oultre, for 4 voices, MS. Cambrai 125–128; new ed. «Das Musikwerk» XXII
Pour parvenir bon pied, for 4 voices, first ed. Premier livre des chansons…, Antwerp 1543 T. Susato; new ed. CMM VI/11
Puisq’ainsi est, for 4 voices, first ed. 154412; new ed. CMM VI/11
Puisq’ainsi est, for 4 voices, first ed. 154412; new ed. CMM VI/11
Quant je suis au prez de mamye, for 5 voices, first ed. 154413; new ed. CMM VI/11
Qui ne l’aymeroit, for 8 voices, first ed. Selectissimae necnon familiarissimae cantiones…, Augsburg 1540 M. Kriesstein, Le treziesme livre contenant vingt et deux chansons nouvelles…, Antwerp 1550 T. Susato, with the text of O Jesu Christe in: Cantiones triginta selectissimae (…) collectae et in lucem editae, per Clementem Stephani…, Nuremberg 1568 U. Neuber; new ed. «Trésor musical» XI (title Qui ne donnerait), CMM VI/11
Qui porra dire ou croire, for 6 voices, MS. Munich 1508, London 49–54; new ed. CMM VI/11
Raison le veult, for 4 voices, first ed. Trente quatreisme livre contenant XX. chansons nouvelles…, Paris 1549 P. Attaingnant; new ed. CMM VI/11
Raison le veult, for 6 voices, MS. London 49–54; first ed. Trente quatriesme livre contenant XX. chanson nouvelles…, Paris 1549 P. Attaingnant; new ed. CMM VI/11
Raison me dict, for 4 voices, first ed. La fleur de chansons et second livre…, Antwerp [1552] T. Susato; new ed. CMM VI/11
Raison requirt amour, for 6 voices, first ed. Le treziesme livre contenant vingt et deux chansons nouvelles…, Antwerp 1550 T. Susato; new ed. CMM VI/11
Regret ennuy traveil, for 5 voices, first ed. 155013
Resveillez vous cueurs endormis (title Le chant des oyseaux), for 3 voices, MS. Berlin, Deutsche Staatsbibliothek Ms. W 87; first ed. Le dixiesme livre contenant la Bataille a quatre de Clement Jannequin, avecq (…) deux Chasses de Lievre a quatre parties, et le Chant des oyseaux a troix…, Antwerp 1545 T. Susato; new ed. «Collectio operum musicorum batavorum saec. XV et XVI», CMM VI/11
Se dire je losoye, for 5 voices, first ed. 154413; new ed. CMM VI/11
Secourez moy Madame, for 4 voices, first ed. Le second livre des chansons…, Antwerp 1544 T. Susato; new ed. CMM VI/11
Si je ne my plains, for 4 voices, MS. Cambrai 125–128; new ed. «Trésor musical» XIV
Si le partir m’est dueil, for 4 voices, first ed. 154412; new ed. CMM VI/11
Si le secours que de longtemps, for 4 voices, first ed. Le second livre des chansons…, Antwerp 1544 T. Susato; new ed. CMM VI/11
Si mon traveil vous peult, for 6 voices, MS. London 49–54; new ed. CMM VI/11
Souffrir me convient, for 5 voices, first ed. 154413; new ed. CMM VI/11
Tant de travail, for 4 voices, first ed. Le parangon des chansons. Neufviesme livre…, Lyon 1541 J. Moderne; new ed. CMM VI/11
Tousiours souffrir, for 5 voices, first ed. 155013; new ed. CMM VI/11
Tous les regretz, for 6 voices, first ed. 154413; new ed. CMM VI/11
Triste depart m’avoit, for 5 voices, first ed. 154413; new ed. CMM VI/11
Trop endurer, for 5 voices, first ed. 155013; new ed. CMM VI/11
Tu pers ton temps, for 4 voices, first ed. Vingt et six chansons musicales…, Paris 1534 P. Attaingnant; new ed. CMM VI/11
Ung jour viendra, for 5 voices, first ed. Vingt et six chansons…, Antwerp [1543] T. Susato; new ed. CMM VI/11
Vostre beaulté plaisante, for 4 voices, first ed. Vingt et sept chansons musicales…, Paris 1533, P. Attaingnant, Hundert und fünfftzehen gutter newer Liedlein…, Nuremberg 1544 J. Ott; new ed. PGfM III, Berlin 1875, CMM VI/11
Vous estes trop jeune, for 4 voices, first ed. La parangon des chansons…, [Book 1], Lyon [1538] J. Moderne; new ed. CMM VI/11
other secular works:
Dezilde al cavallero, for 5 voices, cancion, first ed. 154412, Villancicos de diversos autores…, Venice 1556 G. Scotto
S’io veggio totto, for 6 voices, madrigal, first ed. La piu divina, et piu bella musica (…) per (…) Verdelot, et altri musici…, Venice 1541 A. Gardane, Madrigali di Verdelot et de altri autori…, Venice 1546 A. Gardane, Madrigali di Verdelot a 6…, Venice 1560 A. Gardane
Moreover, Gombert’s compositions are found in 14 collected prints from the years 1546–1589 as well as in manuscripts: London, British Library Add. 31390; Coimbra, Biblioteca Geral da Universidade 48; Uppsala, Universitetsbiblioteket 87; Budapest, National Museum, Ms. Bártfa 23; and others
Editions
Nicolas Gombert. Opera omnia (CMM), «Corpus Mensurabilis Musicae» VI, 11 vols., ed. J. Schmidt-Görg, Rome 1951, 1954, 1963, 1957, 1961, 1964, 1968, 1970, 1974, 1975
«Collectio operum musicorum batavorum saec. XV et XVI» VIII, XII, ed. F. Commer, Berlin 1839, [1858]
«Trésor musical» II, XI, XII, XIV, XVII, XX, ed. R. I. van Maldeghem, Brussels 1866, 1875, 1876, 1878, 1881, 1884
«Publikationen der Gesellschaft für Musikforschung» III, Berlin 1875
Sustinuimus pacem, «Das Chorwerk» XXIII, Wolfenbüttel 1933, repr. 1950
Die Kunst der Niederländer, ed. R. Lenaerts, «Das Musikwerk» XXII, Cologne 1962
