Missa Pour quoy = Missa Pour quelque paine

This is a revision of my edition in An Editorial Transnotation of the Manuscript Capella Sistina 51, Biblioteca Apostolica Vaticana, Città del Vaticano, Liber Missarum, The Institute of Mediaeval Music, Ottawa, Canada, 1999, vol. 1, pp. 113-191.

Editorial Note: I have taken the opportunity to examine a broader application of musica ficta in the below edition, this not been found in what might be termed the standard editions of this mass.

Concerning textual transmission, some particularly interesting questions become evident not only in the Vatican source itself but also in context of the other readings: Brussels, BR5557 (ff. 99v-109r) and the Lucca, LucAS 238 fragments (ff. 46 bisr-47v). A discussion on these matters will be added in the commentary below in due course.

Source: VatS 51, ff. 18v-27r

Voices: 4- discantus, contratenor, tenor, contratenor, bassus.

Kyrie (Kyrie [I], Christe, Kyrie [II] (11 pages) (04:57)

Gloria in excelsis deo (Et in terra, Qui tollis) (20 pages) (08:55)

Credo in unum deum (Patrem, Et resurrexit) (21 pages) (09:06)

Sanctus (Sanctus, Pleni sunt- discantus/contratenor [altus]/contratenor [bassus] trio, Osanna [I], Benedictus- discantus/contratenor [altus] duo, Osanna [II]) (19 pages) (09:52)

Agnus dei (Agnus [I], Agnus [II]- discantus/contratenor [altus]/contratenor [bassus] trio, Agnus [III]) (12 pages) (05:37)

Also available on Renaissance Masses 1450-1520

Brief Commentary:

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