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Recent Researches in the Music of the Renaissance

Cantiones sacrae: Madrigalian Motets from Jacobean England
Edited by Ross W. Duffin
R142 ISBN 0-89579-574-4 (10-digit) (2006) xxiii + 128 pp. 85.00
ISBN 978-0-89579-574-8 (13-digit)

There was no obvious place for Latin sacred music in Jacobean England since the Anglican church did not use a latin liturgy and Catholic services were illegal. Yet, aside from the Gradualia of Byrd, a few Jacobean motets survive, sometimes in incomplete form, which may be why they are little known today. This edition presents eighteen of them by some of the most eminent madrigalists of the day, including Weelkes, Thomas Tomkins, and Wilbye, as well as lesser known composers like Alfonso Ferrabosco, Jr., Kirbye, Peerson, Ravenscroft, and Thomas Lupo. The Catholic patronage of certain composers suggests that some works may have been intended for clandestine Catholic services, but virtually all are found in secular partbooks and therefore undoubtedly found a place as part of the spectrum of private music-making for pious recreation. Six of the eighteen works are reconstructions and several others are published here for the first time.

Music Sample


    Historical Background
    Music of the Edition
    Notes on Performance
Texts and Translations

Cantiones sacrae
Five-Part Motets . .
1. Cantate Domino, Richard Nicolson
2. Ego dixi, Domine, Alfonso Ferrabosco, Jr.
3. Convertere, Domine, Alfonso Ferrabosco, Jr.
(Second part to “Ego dixi, Domine”)
4. Laboravi in gemitu meo, Martin Peerson
5. Miserere mei, Domine, Thomas Lupo
6. Ne laeteris, inimica mea, Thomas Ravenscroft
  7. O nomen Jesu, Alfonso Ferrabosco, Jr.
  8. O rex gloriae, Martin Peerson
Six-Part Motets
9. Celebrate Jehovam, Thomas Tomkins
10. Homo natus de muliere, John Wilbye
11. In monte Oliveti, Robert Ramsey
12. Judica me, Deus, John Mundy
13. Laudate Dominum, William Byrd
14. O vos omnes, Thomas Weelkes
15. Venite, exultemus, William Byrd
16. Vox in Rama, George Kirbye
.Seven-Part Motet
17. Cantate Domino, John Tomkins
Eight-Part Motet
18. Laudate Dominum, Anonymous

Critical Report .
    Sources .
    Editorial Method .
    Critical Notes