Dufay Motets
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vinteuil
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Dufay Motets
Are there any good editions (or typesets) of Dufay isorhythmic motets, esp. Nuper rosarum flores (of course)?
Formerly known as "perlnerd666"
Re: Dufay Motets
Cool! I've gotta say, Philip, I'm impressed with your typesetting skills. I wish others were as diligent and anal about the finer points of typesetting that you exhibit.
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pml
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Re: Dufay Motets
Thanks guys. CPDL naturally has a variety of re-typesets of Dufay, though as no one contributor is responsible it’s a mixture of styles, quality, and reliability. Besseler’s collection of Dufay’s motets published by the American Institute of Musicology in series 1, volume 1 of the Corpus Mensurabilis Musicæ is unfortunately copyrighted 1966 in the US – IMSLP·EU would be able to host it if Besseler (†1969) is deemed not to have provided original editorial matter in the edition.
As for my edition, the space-saving measures are something of a conceit, and in rehearsal choristers singing the upper parts did find it unusual to follow the repeats backwards to end up singing a different stave in the same system. I would have liked to present all four versions of the Triplum and Motetus simultaneously against the Tenors, but this resulted in the quickest mensuration being incredibly spaced out and the slowest one being overly compressed. That score uses almost every trick in the book to combine multiple key and time signatures, though I should perhaps have provided preparatory staves as indication of the original (C) clefs and tessitura, as well as documentation of my sources, which naturally, were facsimiles of originals: principally the version in the Trent Codices, as well as Modena, Biblioteca Estense MS a. X.1. 11, 67v–69r.
PML
As for my edition, the space-saving measures are something of a conceit, and in rehearsal choristers singing the upper parts did find it unusual to follow the repeats backwards to end up singing a different stave in the same system. I would have liked to present all four versions of the Triplum and Motetus simultaneously against the Tenors, but this resulted in the quickest mensuration being incredibly spaced out and the slowest one being overly compressed. That score uses almost every trick in the book to combine multiple key and time signatures, though I should perhaps have provided preparatory staves as indication of the original (C) clefs and tessitura, as well as documentation of my sources, which naturally, were facsimiles of originals: principally the version in the Trent Codices, as well as Modena, Biblioteca Estense MS a. X.1. 11, 67v–69r.
PML