Weerbeke: Quam pulchra es

Series: Renaissance  Publisher: A-R Editions
This edition is part of the collection Motetti Missales Edition
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Gaspar van Weerbeke
Quam pulchra es
A Motetti Missales Cycle from the Milanese Libroni

Edited by Cristina Cassia

R179 Weerbeke: Quam pulchra es
978-1-9872-0863-4 Full Score (2023) 8.5x11, xix + 43 pp.
In stock
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.
The cycle Quam pulchra es by Gaspar van Weerbeke (ca. 1452–1517) consists of eight four-voice motets on centonate Marian texts. Among the motetti missales cycles, it boasts not only the most concordances within the Milanese Libroni but is also the only one whose motets were copied in Librone [4], the latest of these codices. So far, none of the motets of this cycle has been found in other contemporaneous sources, suggesting a particular connection between this cycle and Milan.
1. Quam pulchra es
2. Alma redemptoris mater
3. Salve, virgo salutata
4. O pulcherrima mulierum
5. Ave, regina caelorum mater
6. O Maria, clausus hortus
7. Mater patris filia
8. Tota pulchra es
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).