Gaffurius: Salve, mater Salvatoris
Salve, mater Salvatoris
A Motetti Missales Cycle from the Milanese Libroni
Edited by Cristina Cassia
R183 Gaffurius: Salve, mater Salvatoris
978-1-9872-0869-6 Full Score (2023) 8.5x11, xxi + 41 pp.
The motet cycles known as motetti missales are among the most intriguing repertoires of late-fifteenth-century polyphony. This series features a new critical edition of the six cycles by Loyset Compère, Gaspar van Weerbeke, and Franchinus Gaffurius included in the Milanese Libroni and of the two anonymous cycles transmitted in the Leopold Codex (Munich MS 3154). For the first time this corpus is presented with uniform editorial criteria, facilitating the comparison of mensural choices and other compositional strategies. Furthermore, the introduction of each volume thematizes the peculiar characteristics of each cycle, in terms of textual choices, use of preexisting material, and musical design, allowing for a new assessment of the motetti missales that goes beyond the homogenizing stereotypes of earlier literature and accounts for the individual contributions of the various composers. The editors’ insight in this repertoire is the result of two interdisciplinary research projects financed by the Swiss National Fund and carried out at the Schola Cantorum Basiliensis in 2014–21.
Of the six motetti missales cycles in the Milanese Libroni, which were copied under the supervision of Franchinus Gaffurius (1451–1522), only the cycle Salve, mater Salvatoris was composed by Gaffurius himself. Unlike the other five motetti missales cycles in the Libroni, Salve, mater Salvatoris consists not of eight motets but only four, each with two to three internal subsections. Also distinct among the motetti missales cycles is Gaffurius’s choice of texts, which, though still on Marian themes, are not centones but adaptations of two twelfth-century sequences with interpolations from the Litany of Loreto.
Salve, mater Salvatoris
1. Salve, mater Salvatoris
2. Salve, decus virginum
3. Tu thronus es Salomonis
4. Imperatrix gloriosa
Cristina Cassia graduated in classical literature and in musicology from the universities of Milan and Cremona; she also holds degrees in piano and organ from the conservatories of Mantua and Venice. After joining the musicological team “Ricercar” at the Centre d’Études Supérieures de la Renaissance (CESR) in Tours (2010-13), she earned a Ph.D. in Musicology co-sponsored by the CESR and the Université Libre de Bruxelles (ULB—FNRS). Since 2017 she has been an associated researcher at the CESR, and from 2018 to 2020 she was part of the research team “Polifonia Sforzesca” at the Schola Cantorum Basiliensis in Basel. She was a Marie Sk?odowska-Curie Fellow for the project “Pietro Bembo’s Soundscape: A Musical Tour in the Early Modern Italian Peninsula” at the University of Padua (2021–23).