Lassus [Lasso].

1. Early years.

Lassus was born at Mons in Hainaut, a Franco-Flemish province notable for the number of distinguished musicians born and trained there during the Renaissance. Nothing definite is known of his parents, nor is there any solid proof that he was a choirboy at the church of St Nicholas – much less for the legend that he was three times abducted because of the beauty of his voice. The first known fact about him, attested to by his contemporary and earliest biographer, Samuel Quickelberg, is that at about the age of 12 he entered the service of Ferrante Gonzaga, a cadet of the Mantuan ducal house and a general in the service of Charles V. Gonzaga was in the Low Countries in summer 1544; when he headed south the boy Lassus presumably accompanied him. After a stop near Paris (Fontainebleau) Gonzaga returned to Italy at the beginning of 1545; he stayed in Mantua until mid-September, before proceeding to Sicily. Thus Lassus’s first experience of Italy was at the Mantuan court. From Palermo, Gonzaga went as imperial governor to Milan, where Lassus apparently spent the years 1546–9. It is likely that at this time he met other musicians in the service of the Gonzagas, particularly Hoste da Reggio, a madrigalist who headed whatever musical establishment Ferrante Gonzaga maintained.

According to Quickelberg, Lassus next went to Naples (early in 1549), where he entered, informally, the service of Constantino Castrioto and lived in the household of G.B. d’Azzia della Terza, a man of letters. It is thought that Lassus began to compose while in Naples (though there may be a few pieces from the Milanese period), and that the villanescas printed in Antwerp in 1555 may have been written at this time. From Naples he went, at the end of 1551, to Rome; after a period in the household of Antonio Altoviti, Archbishop of Florence but then resident in Rome, he became maestro di cappella at S Giovanni in Laterano in spring 1553. Although young and as yet not well known as a composer – at least in print – Lassus must by this time have acquired a certain reputation as a musician in order to get a post such as this.

A little over a year later Lassus left Rome, for a visit to his parents who were ill, but they were already dead by the time he arrived. His whereabouts for a short period after this are unknown, and it has been claimed (Quickelberg; see Cardamone, 1994), though not proved (he himself never spoke of it), that he visited France and England in the company of the singer-diplomat-adventurer G.C. Brancaccio. Early in 1555 (possibly by autumn, 1554) Lassus was in Antwerp. Although he is not known to have held any official post, he seems to have made friends quickly there, with prominent figures such as Antoine Perrenot de Granvelle and with helpful people such as the printers Tylman Susato and Jean de Laet; he may have worked as a corrector in Susato’s shop. In 1555 Susato printed what has been called Lassus’s ‘op.1’, a collection of ‘madrigali, vilanesche, canzoni francesi e motetti’ for four voices; meanwhile Antonio Gardane in Venice had issued Lassus’s first book of five-part madrigals. In 1556 the first book of five- and six-part motets appeared in Antwerp; it seems that Lassus had waited to publish his music until he had accumulated a substantial number of pieces. How much other music he had written up to this time we do not know; but it is probable that some of the madrigals appearing in Antonio Barrè’s Roman anthologies of the late 1550s date from Lassus’s stay in Rome, that at least one mass, the Missa ‘Domine secundum actum meum’, was written before 1556, and that the Sacrae lectiones novem ex propheta Iob, though not printed until 1565, belong to this period. The Prophetiae Sibyllarum, a collection of highly chromatic settings of humanistic Latin texts that was not published until after Lassus’s death although it had periods of notoriety during his lifetime – including the amazed response of Charles IX of France in 1571 – may also belong to Lassus’s Italian years (it survives in a manuscript containing a portrait of the composer at the age of 28).

2. Munich.

In 1556 Lassus received and accepted an invitation to join the court of Duke Albrecht V of Bavaria in Munich. The circumstances of this appointment are not clear, but it is evident that Johann Jakob Fugger and Granvelle were involved, and that Dr Seld, the imperial vice-chancellor at Brussels, played a part in the negotiations (having first recommended Philippe de Monte for the post). Lassus was engaged as a tenor in a chapel headed by Ludwig Daser; a half-dozen other newly engaged Flemish singers also arrived in Munich in 1556–7, the result of a deliberate plan to ‘netherlandize’ a chapel which had perhaps come to seem too provincially German in character (Albrecht V’s ambitions to revitalize his chapel may have been spurred by news of the dissolution of Charles V’s chapel in 1555).

Lassus may not have been altogether happy during his first years in Munich; he may indeed have cast about for another position, as some correspondence with Granvelle indicates (see Bossuyt, 1993). His salary began to rise, but as late as 1568 he was still referred to in the chapel records as ‘cantor’ and ‘tenor 2us’. On the other hand the title-pages of prints such as the Libro quarto de madrigali for five voices of 1567 referred to him as maestro di cappella of the Bavarian court. Whether for musical reasons or political and religious ones (Daser was a Protestant and Albrecht V, who had for some time tolerated and even encouraged reformers in Bavaria, had turned back to Catholicism, sending a representative to the Council of Trent in 1563), Lassus, who appears to have remained Catholic though he was no Counter-Reformation zealot, took over the leadership of the chapel when Daser was pensioned in 1563, a position he was to hold for 30 years (see Munich, fig.1). During this period the make-up of the chapel changed as more and more Italians were recruited. There was much fluctuation in numbers of singers and instrumentalists, the highpoint being reached in 1568 at the time of the young Duke Wilhelm’s marriage, the low occurring after the latter’s accession to the throne in 1579. But Lassus’s position ended only with his death, and so firm was his hold on it that it could be inherited by his two sons in turn; in 1629 a grandson still represented the family in the chapel.

Lassus’s duties included a morning service, for which polyphonic masses, elaborate or simple as the occasion required, were prepared. Judging from his enormous output of Magnificat settings, Vespers must have been celebrated solemnly a good deal of the time. It is less clear for what services much of the repertory of motets was created, though many could have fitted into celebrations of the Mass and Offices. Music for special occasions was provided by the ducal chapel; this included state visits, banquets for which ‘Tafelmusik’ was customary and hunting parties. Indeed Albrecht’s love of musical display and his munificence towards musicians was much criticized in some court quarters. In addition Lassus supervised the musical education of the choirboys; he saw to the copying of manuscripts and perhaps to the collection of printed music for the ducal library. He also became a friend and companion to the duke and especially to his heir, the future Wilhelm V.

In 1558 Lassus married Regina Wäckinger, the daughter of a Bavarian court official. Among their children two sons, (2) Ferdinand (b c1560) and (3) Rudolph (b c1563), were to become musicians. He settled into what seems to have been a stable and comfortable existence, apparently one that he never seriously considered changing. This was varied by journeys undertaken at ducal behest. Thus in 1560 he went to Flanders to recruit singers; in 1562 he was in Prague for the coronation of the Archduke Maximilian as king of Bohemia, and in Frankfurt for the latter’s enthronement as ‘king of the Romans’. Andrea Gabrieli joined Lassus’s chapel for this visit, and may have remained in Munich for a year or two thereafter. In 1567 Lassus was in northern Italy, visiting Ferrara and Venice – and reminding Italians that, as he said in the dedication to his fourth book of five-part madrigals, good Italian music could be written even in far-off ‘Germania’.

Lassus’s fame was steadily growing, at home and abroad. He began, perhaps at the duke’s request, to collect and put in order his own compositions, particularly the motets. The Venetian and Flemish printers who published his first works continued to issue madrigals, chansons and sacred music; in the 1560s Berg in Munich, Montanus and Neuber in Nuremberg (now Nürnberg), and Le Roy & Ballard in Paris began to print individual works, then series of volumes devoted to the music of the man becoming known as ‘princeps musicorum’ and the ‘divin Orlande’.

In 1568 Lassus played an important part in the festivities for the wedding of Wilhelm V with Renée of Lorraine; in addition to composing music and supervising performances he is said to have performed the role of a ‘magnifico’ in an Italian comedia dell’arte. He was becoming something of a genuine ‘magnifico’: in 1570 Maximilian II conferred upon him a patent of nobility; in 1571 and again in 1573 and 1574 he visited the French court at the invitation of Charles IX; in 1574 he was made a Knight of the Golden Spur by Pope Gregory XIII. Such honours were rarely bestowed on musicians. Still, Lassus was content to remain in Munich; there seems to be no proof that in 1574 he seriously thought of moving to France, and turned back only on hearing of the death of Charles IX.

In 1573 Lassus was in Venice and Vienna for brief periods; in 1574 he visited Trent, Mantua, Bologna, Rome and Naples. His motet Domine Jesu Christe was awarded first prize at Evreux in 1575; he won again in 1583 with the Cecilian motet Cantantibus organis. He may have had as a pupil Giovanni Gabrieli, who was in Munich during the 1570s. From these years a charming correspondence between the composer and Duke Wilhelm, Albrecht’s son and heir, survives; these letters, and some correspondence between Wilhelm and his father, are proof of the high regard felt by both men for Lassus. Before his death, Albrecht V made provisions that the composer was to receive his salary for the rest of his life. The five magisterial volumes of sacred works called Patrocinium musices (fig.2) appeared during these years, and numerous reprints of his earlier music testify to Lassus’s continuing popularity all over Europe.

On the accession of Wilhelm V in 1579 the ducal chapel was much reduced in size. Whatever Lassus may have felt about this, he did not consider leaving. Refusing an invitation (1580) to succeed Antonio Scandello in Dresden, he wrote to the Duke of Saxony that he did not want to leave his house, garden and other good things in Munich, and that he was now beginning to feel old. His activity as a composer did not diminish, however; the years 1581–5 are marked by a number of new publications, of masses, Magnificat settings, motets, psalms and German lieder. He made a brief visit to Verona in 1582. In 1584 Ferdinand Lassus took over some of his father’s duties, and the next year Lassus made a pilgrimage to Loreto. On this journey he visited Ferrara, where he heard new Italian music of an advanced style. The conservatism of his own later music was the result of deliberate choice, viewed by the composer himself with some wryness, and not because of ignorance of what was happening in Italy.

Although Lassus’s final years were marked by some poor health and by a ‘melancholia hypocondriaca’ for which he sought the help of a physician, Thomas Mermann, he continued to write music, if only intermittently. Shortly before his death he dedicated to Pope Clement VIII his last cycle of compositions, the Lagrime di S Pietro, adding to it a seven-voice motet, Vide homo quae pro te patior.

3. Letters.

A series of letters from Lassus to Duke Wilhelm, son and heir of Albrecht V, survives. The letters, dated between 1572 and 1579 and for the most part written from Munich to the duke’s establishment at Landshut, are celebrated for their mixture of languages, passing back and forth from a playful, half-macaronic Latin to Italian, French and German. A few are partly in doggerel verse, strengthening the supposition that Lassus wrote some of his own texts for occasional and humorous pieces. The tone of these letters and their amusing signatures (‘Orlando Lasso col cor non basso’; ‘Orlandissimo lassissimo, amorevolissimo’; ‘secretaire publique, Orlando magnifique’) show Lassus to have been on terms of easy familiarity with Wilhelm. There are occasional references to music, as in a letter of 22 March 1576, when he wrote: ‘I send a copy of Io son ferito; if it seems good to you, I will hope to hear my work at Landshut or elsewhere’ (this must refer to Lassus’s mass written on Palestrina’s well-known madrigal and published in 1589). Wilhelm apparently knew a good deal about music and liked to talk about it; thus Lassus could send him a letter (11 March 1578; fig.3) entirely made up of musical puns and jokes, mentioning other composers such as Rore, Clemens non Papa and Arcadelt, and referring jokingly to musical terms, as in the description of ‘una baligia senza pause, coperta di passagi di molte cadenze fatte in falso bordone a misura di macaroni’ (‘a valise without rests, covered with passage-work of many cadences made from falsobordoni the size of macaroni’). These letters suggest that Lassus had read Italian epistolary writers such as Pietro Aretino and Antonfrancesco Doni; they confirm his reputation as – when the occasion required and perhaps when the mood was on him – an amusing friend and boon companion.

4. Masses.

The earliest surviving printed volume devoted entirely to masses by Lassus, issued by Claudio Merulo in Venice in 1570 (1570e), is a ‘volume two’; an earlier first volume must have existed. Some of Lassus’s masses belong to the first years of his residence in Munich in the late 1550s; the latest, a five-voice mass based on Gombert’s Triste départ, was written as a kind of valedictory gesture near the end of his life. The 60 or so masses known to be authentic (there are a number of doubtful works in this genre) make up a not inconsiderable part of his oeuvre. Since their publication in the new Lassus edition, the traditional view that Lassus’s masses are of peripheral importance in his work, and indeed of largely perfunctory character, has been modified. Certainly they were not considered of negligible value during the late 16th and early 17th centuries. Although no single mass attained the popularity of some of the more celebrated motets, many were reprinted during and after his lifetime; several groups were included in the Patrocinium musices; and Le Roy & Ballard’s resplendent Missae variis concentibus ornatae of 1577–8 (1577b) suggests that the Parisian publishers planned (although they did not carry out) a complete edition of his masses.

Most of Lassus’s settings are parody masses, based on motets (chiefly his own), French chansons (by Gombert, Willaert, Monte and members of the Parisian school), or Italian madrigals (by Sebastiano Festa, Arcadelt, Rore and Palestrina). They provide a highly instructive anthology of the techniques of parody. His rearrangement and recomposition of his own music, as in the Missa ‘Locutus sum’, show Lassus’s technical prowess; his striking transformation of a rather simple model, such as Daser’s motet for the Missa ‘Ecce nunc benedicite’, illustrates his ability to raise the level of music of his lesser contemporaries. More remarkable still is the sensitivity he displayed in adapting secular models as diverse as Arcadelt’s Quand’io pens’al martire, the densely polyphonic texture of Gombert’s chansons, and the supple and subtle flow of Rore’s madrigals. The masses based on these pieces are reminiscent of their models in style yet show no musical incongruity or technical strain. A work like the Missa ‘Qual donna attende’, based on Rore’s distinguished madrigal, must have provided a rich treat for connoisseurs of this genre.

At the other extreme in Lassus’s masses are the short, syllabic missae breves. Some of these are parodies of works, like Sermisy’s La, la, maistre Pierre, themselves in concise syllabic style. The shortest of all these works is the ‘Jäger’ Mass or Missa venatorum, a work designed for a brief service on days the court spent hunting. Some of the masses based on plainchant are of this succinct type; an exception is the impressive five-voice Missa pro defunctis with its curious bass intonations. Whether or not because they fit post-Tridentine ideas about music for the Mass (Lassus is known to have been stubborn about changing things at Munich to conform to new ideas coming from Rome), some of the shortest and simplest of Lassus’s masses were among his most popular works in the genre. It should be stressed, however, that these works do not represent him fully or entirely characteristically as a composer of masses.

5. Passions.

Lassus’s four Passions are responsorial and of the kind cultivated by north Italian composers throughout most of the 16th century. In two of them (the St Matthew and St John) the words of the turbae and of the various individuals are set polyphonically, the first group for five-part chorus and the second for solo duos and trios; the words of Christ and the evangelists’ narrative are to be chanted. The Passions according to St Mark and St Luke are shorter works in which chordal polyphony is provided only for the turbae. In the St Matthew Passion, first published in 1575, a clear stylistic distinction is made between the music of the turbae – chordal successions with ponderously decorated cadences – and the supple imitative style of the duos and trios used for the words of Peter, Judas and other characters. This work enjoyed great and lasting popularity. Various later Passions borrowed from it, and a manuscript dated 1743, complete with added thoroughbass part, shows that it was still performed 150 years after its composition. The other three Passions survive only in manuscript, with convincing though not absolutely definitive attributions to Lassus.

6. Magnificat settings and other liturgical works.

Lassus’s more than 100 settings of the Magnificat, all but ten of them collected in a posthumous edition (1619) by his son Rudolph, far outnumber those of any other 16th-century composer (Palestrina, for example, wrote 35). Their wide circulation in print and manuscript is testimony to their lasting popularity; only those of Morales had anything like this success. All but a few are alternatim settings of the even verses, leaving the odd verses to be chanted, as was customary, or perhaps played on the organ.

In 1567 Lassus published three cycles each containing a six-verse setting for all eight tones (1567b). He went on to write at least two more such cycles; all are based on the appropriate chant tones of the Magnificat, with widely varied use of cantus-firmus technique. Some 60 settings use the psalmodic tones; a number of others have monophonic tunes used as cantus firmi. He respected the Magnificat tones in his choice of mode, and tended not to embellish the cantus firmus when using it intact; but no brief description could do justice to the flexible virtuosity with which the time-honoured device of the cantus firmus is used in these works. There is of course much integration of cantus firmus with other voices through melodic paraphrase and contrapuntal imitation.

A Magnificat parodying Rore’s celebrated madrigal Ancor che col partire was published in the collection of 1576. Some 40 of the Magnificat settings appearing in subsequent years are parody works; Lassus was the first to make consistent use of parody technique in this genre, and he seems to have liked using the procedure almost as much as he did in the masses. His own motets (and an occasional chanson) were favoured sources, but he ranged widely through 16th-century literature, from Josquin (whose Praeter rerum seriem served as model for a magnificently elaborate six-voice work) to Striggio and Vecchi, from motets to madrigals. As in the masses, parody technique is used here in an almost bewilderingly varied fashion, and with a sure instinct for blending the style of the model with that of the ‘copy’.

Lassus’s settings of the Magnificat vary greatly in length and complexity, from concise settings resembling falsobordoni to resplendently contrapuntal works over 200 bars long. His tendency to write more compact, harmonically conceived works in his later years may be seen in these pieces, but not in any easily predictable way. The opening and closing verses are generally closer to their melodic or contrapuntal models, the middle verses correspondingly freer. All voices respect to some degree the bipartite structure of the psalm verses.

There are a large number of liturgical and quasiliturgical works in other genres. Some were printed in the composer’s lifetime: the mass propers for Christmas, Easter and Pentecost in the third volume of the Patrocinium musices (1574); the Christmas Lessons of volume iv (1575) in that series; the Lamentations of Jeremiah, some of which were printed in 1585; the Lessons from Job (two sets, printed in 1565 and 1582); and the seven Psalmi Davidis poenitentiales (printed in 1584 but composed much earlier). Posthumously published works include 12 litanies (1596; four others survive in manuscript copies). None of these works was included in the Magnum opus musicum (1604) and therefore none appear in Haberl’s edition. All have now been published in the new collected edition.

An important category of Office polyphony in Lassus’s works is the Nunc dimittis. 13 settings survive, none of them ever printed: five, based on chant, date from about 1565, and eight (not all confirmed as genuine), parody works based on motets and madrigals, from the last period of his life. Still other groups of liturgical pieces survive only in manuscript and were apparently never printed (they were perhaps considered in a way the private property of the Bavarian court chapel): these include a group of falsobordoni, an important hymn cycle written after local adoption of the Roman hymn sequence in 1581, and a group of responsories (from the 1580s). These are now published in the new Lassus edition and have been studied by Bergquist.

(iv) Classical and classicistic texts.

7. Motets.

Difficult to assess simply by reason of their enormous number, the motets of Lassus as they appear in Haberl’s edition pose an additional problem: they are printed in the order assigned to them by Ferdinand and Rudolph Lassus in the Magnum opus musicum of 1604, and thus arranged by number of voices rather than in chronological order of publication (the new Lassus edition and that of Bergquist are fortunately proceeding on quite different principles). Studies of Lassus’s music based on chronology have been made (Boetticher), but much remains to be done. It is not easy to be sure about relative composition dates for much of this music; the publication date is of course not an infallible guide, sometimes not even a useful one. Details of stylistic growth and change can probably be seen and analysed, but the criteria for such a study have yet to be fully developed.

In motet composition, as in the writing of madrigals, Lassus began by assimilating the styles fashionable in Italy in his youth. Rore and the Roman school around Barrè seem the two most important of these influences, as seen in the carefully conceived declamatory rhythms in all voice parts. The bold yet tonally controlled chromaticism of motets such as Alma nemes, and the use of distinctive, finely chiselled thematic material in Audi dulcis [filia] amica mea (both printed in 1555), certainly show that Lassus knew Rore’s work. The motets of the Roman and Antwerp years, as well as those of the first decade in Munich, are dazzlingly virtuoso in invention and the handling of vocal textures. Videntes stellam, a two-section motet for five voices printed in 1562, is a good example of Lassus’s brilliant early style. The melodic material, distantly derived from a Magnificat antiphon for Epiphany week, transforms gentle hints in the chant into dramatically descriptive motifs that rocket through the texture, a texture that is constantly varied but always clear, and always well grounded harmonically. It is no wonder that the composer of pieces such as this rapidly won for himself first place at the Bavarian court and an international reputation soon to surpass that of all his contemporaries.

Imitation plays a large role in the contrapuntal technique of Lassus’s early work, as does voice pairing; he did not of course observe these techniques as strictly as did Josquin’s generation, but neither did he favour the thick texture and close-set imitation cultivated by Gombert. Everywhere there is harmonic clarity and solidity, equally apparent in pieces such as the Prophetiae Sibyllarum, which use the chromatic vocabulary fashionable in the 1550s, as in completely diatonic works.

It has been said that Lassus made little use of canon or other constructivist elements. This is true in a statistical sense, but when he chose he could show off Netherlandish skills; for example, the seven-part In omnibus requiem quaesivi (published 1565) has a three-part canon, with one of the voices in contrary motion. Cantus-firmus writing is rarer in Lassus than in Palestrina, but on occasion Lassus could revert to the kind of cantus-firmus procedure used by Josquin and Obrecht; Homo cum in honore esset (six voices; published 1566) has a soggetto cavato as cantus firmus on the text ‘Nosce te ipsum’, heard successively in breves, semibreves and minims. In this eclectic revival of earlier techniques, and in many individual passages where archaisms such as fauxbourdon or use of outmoded long notes can be seen, Lassus may have been using elements of an older Netherlandish style for expressive reasons, making a musical allusion to support the meaning of a phrase of text.

Like all Lassus’s music, the motets are immensely varied in musical invention and expressive detail. Nonetheless a recognizable stylistic ‘set’ may be observed in all the motets of the period c1555–70: thematic originality is blended with a contrapuntal fluidity that, in less distinguished pieces, approaches formula; there is plenty of chordal declamation, always marked by strength and clarity of harmony; expressive word-painting abounds but does not dominate or upset the equilibrium of a piece; and a certain succinctness – the economy of utterance that was to become increasingly evident in Lassus’s later works – is noticeable (the famous six-part Timor et tremor, published 1564, is as surprising for brevity as it is celebrated for expressive power). Lassus’s capacity for obtaining iridescent changes of colour in the plainest of diatonic palettes through skilful vocal scoring, a trait very marked in his later works, is present in his early motets; it is indeed one of the most characteristic of his stylistic traits (see ex.1, the opening of O Domine salvum me fac, published 1562).

In his motets of the 1570s and 1580s, as in other works of this period, Lassus made much use of chordal declamation on short note values, varied by quickly alternating points of imitation of rather neutral melodic character. This ‘villanella’ style (see Boetticher), perhaps better termed ‘canzonetta style’, may indicate a desire for a more up-to-date vocabulary on Lassus’s part. If so, that is about as far as he went; the works of the last decade are less markedly declamatory, more complex in texture and marked by a certain denseness and concentration of style that is not so much progressive as it is highly individual, a final style seen to good advantage in the six-part Musica Dei donum optimi (published 1594), a moving tribute to the composer’s art (this text was also set by other 16th-century composers).

Although they cannot be categorized in any very neat way, Lassus’s motets can be divided roughly under a few general headings.

(i) Didactic works.

(ii) Ceremonial motets.

(iii) Humorous motets.

(v) Religious works.

(i) Didactic works.

The 24 duos of 1577 (1577d) and many of the pieces for three voices must have been intended for students. In this the duos are particularly interesting. When compared with other famous 16th-century collections of duos such as those of Gero or of Lupacchino – both of them sets that were reprinted so often as to leave no doubt about their pedagogical usefulness – Lassus’s psalm settings and textless bicinia are surprising in their individuality of style: they are not generic counterpoint but rather illustrations of his own contrapuntal practice. They were popular enough to be reprinted and even to be ‘modernized’ (in a Parisian reprint of 1601 with an added third voice), but they did not rival Gero’s in longevity of use; they have about them too much of the finished and idiosyncratic composition, too little of the contrapuntal exercise. For Lassus’s own pupils they must have been of great value since the writing of duos was probably the most important part of a 16th-century composer’s training. It may be noted that the two-part pieces illustrate the D, E, F and G modes but not those of A and C; this supports the remark of Lechner, Lassus’s pupil, that his teacher used only the traditional eight modes.

(ii) Ceremonial motets.

There are a surprising number of pieces written for special occasions or to honour rulers and dignitaries; these are mostly grouped together in the Magnum opus musicum, near the beginning or end of the divisions by number of voices. Some of them provide clues to the composer’s life; thus the five-part Te spectant Reginalde Poli (published 1556) may indicate that Lassus knew the English Cardinal Pole in Rome in the 1550s. Many occasional pieces honouring the Habsburgs and various secular and religious potentates throughout Germany were doubtless commissioned by the Bavarian court. By far the largest number of these are addressed to Albrecht V, to his eldest son and to other members of the ducal family (one of these, Unde revertimini, started its existence under a slightly different name as a work in praise of Henri d’Anjou, the future Henri III of France). They vary in length and scoring (from three to ten voices) but as a matter of course are uniformly bright and festive in nature. Some, like the nine-section Princeps Marte potens, Guilelmus, are little more than a series of acclamations (in this instance addressed to Wilhelm V, his bride, and members of the imperial and ducal families); others are in full polyphonic style. A distinguishing feature of Lassus’s ceremonial pieces honouring the Wittelsbachs is their personal tone, evident proof of the composer’s close relationship with his employers. This is seen in Multarum hic resonat, addressed to Wilhelm on his name day in 1571, and in Haec quae ter triplici, the dedicatory piece of a collection of motets for three voices (1575) honouring Albrecht’s three sons, on a text ending ‘Lassus mente animoque dicat’ (‘Lassus’ set to the composer’s musical signature of la–sol). Most appealingly personal of all is Sponsa quid agis, for five voices, thought to have been composed for Lassus’s marriage in 1558; here the colouristic harmony on the words ‘Non me lasciviae veneris’, in an otherwise diatonic framework, is a charming bit of musical allusion.

(iii) Humorous motets.

Pieces with texts ranging from playfulness to burlesque are to be found among the works with Latin texts. Their music is appropriate and often witty in itself, but almost never broadly farcical; Lassus, rather like Mozart, tended to clothe his verbal jokes in exquisite musical dress. One exception is the travesty of ‘super flumina Babylonis’, beginning ‘SU-su-PER-per’ and proceeding haltingly and confusedly through both text and music, perhaps mocking the efforts of inexpert singers. Of a similar nature is Ut queant laxis, for five voices, in which the tenor sings the isolated notes of the hexachord between snatches of four-voice polyphony. In many apparently serious motets the tone-painting of individual words is so literal that one suspects a half-humorous intent, and occasionally one is sure of it: the concertato performance of motets is parodied in Laudent Deum cythara, in which five instrumental families are named, to music characteristic for each, in the space of a dozen bars (the total length of the piece).

There are drinking-songs in Latin in his output, as there are in German and French. These may be elaborate, as in the eight-part double chorus Vinum bonum. Perhaps the most amusing is the macaronic Lucescit jam o socii, whose independently rhymed series of alternating Latin and French lines sounds so much like some of the composer’s letters to Duke Wilhelm that Lassus must surely be author of both text and music.

(iv) Classical and classicistic texts.

The ceremonial motets are full of classical phrases. Other pieces setting either classical texts (Virgil, Horace) or humanistic 16th-century verse are to be found; there is a whole group of these near the end of the five-part section of the Magnum opus musicum. Lassus made his contribution to the list of Renaissance composers who set Dido’s lament Dulces exuviae; his version is in correctly quantitative declamatory chords with little ornament, a style not far from that used for classical choruses (as in Andrea Gabrieli’s music for Edippo tiranno, 1588). Most of these pieces are less academic in character, closer to the composer’s normal motet style. There are, however, examples of almost completely literal quantitative settings; the five-voice setting of Tragico tecti syrmate coelites looks very much like the settings of Horatian odes used in German schools, a genre with which Lassus was evidently familiar. Related to this genre are the Prophetiae Sibyllarum, famous for their chordal chromaticism but also showing careful declamatory exactness in setting the curious half-Christian, half-pagan humanistic verse.

(v) Religious works.

There are hints of ordering within the liturgical calendar in sections of the Magnum opus musicum (examples are the four-part offertories, roughly nos.124–68 in Haberl’s edition, and the section in the five-part motets beginning with the Christmas antiphon Angelus ad pastores, no.192; the six-part motets also show traces of liturgical sequence). The collection also has groupings by category such as hymns, Marian antiphons, Gospel or Epistle motets etc, which are convenient for study but of little help in determining liturgical usage. As Lassus’s sons included in their huge anthology a good many pieces which are motets only by virtue of being contrafacta of secular works, their methods of assemblage and editing appear too arbitrary to serve as the basis for study of the religious function of their father’s motets.

A large proportion of the motets must of course have been used in performance of the Mass and Offices in the court chapel. The number of settings of Marian antiphons, some of which are very elaborate, suggest that portions of the Office were sung with great solemnity. This is also true of settings of the Pater noster, the Ave Maria, and hymns included in the Magnum opus musicum; the six-part settings of Veni Creator Spiritus and Veni Sancte Spiritus are particularly resplendent. When one recalls that many of Lassus’s motet prints carried the rubric ‘apt for voices and instruments’ it is easy to imagine concerted performances of motets using some of the forces depicted in Hans Mielich’s miniature, which shows the court chapel as assembled for chamber performance (fig.4). Among the motets appearing in tablatures, chiefly of German origin, are a group in Johannes Rühling’s keyboard book (1583) which are arranged in liturgical order for Sundays and great feast days throughout the year, and thus are clearly intended for use in the liturgy.

Whether motets on religious texts were used as liturgical works, for private devotional purposes or in concert is hard to determine. Marian antiphons, for example, could certainly have been used as devotional pieces. Style may offer some clue; the Gospel motets (six voices, nos.549–58) are severely conservative and thus ‘sound’ liturgical whereas the Epistle motets adjacent to them are highly expressive (Cum essem parvulus, nos.570–71, with its touching delineation of the cardinal virtues and especially of charity, is one of the composer’s most moving works in any genre) and thus appear devotional in character. The many psalm settings, some of them free compilations from various psalms (the celebrated Timor et tremor is among them), are difficult to judge in this regard. A thorough study of the liturgical practices at Munich might help to place many works whose function is now not clear.

The motets of Lassus were admired in their own day not only for their beauty and technical perfection but also for their rhetorical power – their ability to move the affections through the use of rhetorical devices transferred into musical idioms. Joachim Burmeister’s celebrated rhetorical analysis of In me transierunt (published 1562) in his Musica poetica (1606; an expanded version of the Musica autoschediastikē, 1601) compares the motet to a classically ordered speech. 40 years earlier Quickelberg had praised Lassus’s ability to ‘describe an object almost as if it were before one’s eyes’. One has only to think of the many striking, sharply individualized openings of motets – the exordia of classical rhetoric – in Lassus’s work to see that both expressiveness and the rhetorician’s trick of catching attention can hardly be missed in this music. Whether the composer proceeded as deliberately, even pedantically, as Burmeister would have it may be doubted. However, if one recalls Lassus’s carefully precise declamation of classical texts it becomes clear that he knew something of the German didactic tradition linking music with the study of classical metres; it is not a large step from this to assume that he also knew how classical rhetoric was studied in the schools. The ‘speaking’ quality of much of this music cannot be a fortuitous property; it is not only expressive in a general sense but affective in a precise way, clearly perceptible to the composer’s contemporaries.

8. Madrigals.

In the mixed print issued in Antwerp by Susato in 1555 and often referred to as Lassus’s ‘op.1’, there are seven madrigals for four voices showing the composer’s grasp of the genre as a result of his Italian, particularly his Roman, years. His poetic tastes – a quatrain and a canzone stanza of Petrarch, an ottava by Ariosto, a Sannazaro poem and a pastoral in sestina (a form he particularly liked) – are typical of the period. Del freddo Rheno, a complete sestina rather in the style of the cyclic madrigals of Arcadelt and Berchem, opens the group on a note of simple tunefulness (this piece was popular with intabulators); in other madrigals the style varies from Willaert-like seriousness (Occhi piangete), through supple contrapuntal writing resembling Rore (Per pianto la mia carne), to the chordal declamation typical of the Roman madrigale arioso (Queste non son più lagrime). A certain clarity and succinctness of utterance are Lassus’s personal stamp; in other respects this collection is highly eclectic. These madrigals, together with a few others including the chanson-like Appariran per me le stell’in cielo, reappeared in Lassus’s first book of four-part madrigals, published by Dorico in Rome and then by Gardane in Venice, both in 1560. The strong resemblance of Lassus’s early madrigals to those of his contemporaries may be illustrated by the fact that one piece in this volume, Non vi vieto, credited to Lassus and included in Sandberger’s edition, is actually the work of Hoste da Reggio (if not a student work, written under the latter’s direction), part of a cycle in Hoste’s second book for four voices (1554). Lassus’s volume was a popular one, reprinted a dozen times over the next 30 years and supplying favourite materials for lutenists’ intabulations. Other early four-part madrigals appeared in Barrè’s Roman anthologies of madrigali ariosi.

Also highly successful, to judge by the frequency with which they were reprinted, were the first book for five voices, first issued by Gardane in Venice in 1555, and the second, printed by Barrè in Rome in 1557 after having long been held in private hands (so says the dedicatory letter of G.B. Bruno, who is known to have been in Rome in 1554). These madrigals and, in all probability, most of those in the third book for five voices (brought out by Barrè in Rome in 1563 after, says the publisher, a diligent search for works by Orlande) must have been written before Lassus’s departure from Rome in 1555. Petrarch dominates the first volume and is well represented in the others, with a six-section canzone cycle (Standomi un giorno) in a ‘narrative’, vibrantly declamatory style opening the second book.

The Petrarchan sonnets receive on the whole the most serious treatment, with sharply expressive thematic material in the tradition of Rore (see ex.2, the opening of Sol’e pensoso). Other forms such as the sestina, cyclic or in individual stanzas, are given lighter polyphonic dress; and the chordal declamation of the arioso madrigal may be seen (Bernardo Tasso’s Vostro fui vostro son). Some works, particularly a group near the end of the second book, are clearly in an easy, ‘popular’ style. Even the most ambitious Petrarchan settings, however, are marked by Lassus’s ever-present clarity of tonal palette and attractiveness of melody. These madrigals are distinguished by free use of material (there is little exact imitative writing) and by much variety of speed and character in declamation, despite the fact that the misura cromatica (C) is used in only a few pieces. They do not perhaps equal the work of Rore in intensity but they do rival the older master in variety of mood and seamless technical perfection – no mean achievement for a man in his twenties. The frequent choice of texts in which the word ‘lasso’ appears (in six pieces scattered through the three volumes), and the invariable la–sol setting it receives, suggest a youthful desire to ‘sign’ his works; Lassus as a young Roman clearly wanted the world to know who he was.

From the first decade in Munich come the contents of the fourth book for five voices, written to show, in the composer’s words, that the Muses were cherished and could flourish in ‘Germania’ as well as in Italy. Lassus visited Venice in May 1567; while there (when he was described in a letter as ‘lively and a good companion’) he saw to the printing of this fourth book, which he dedicated to Duke Alfonso II d’Este and then took to Ferrara to present to him. Lassus’s inclination towards the cyclic madrigal is again seen here; there is a complete sestina by Petrarch at the beginning, sonnets in two parts, and another sestina (Qual nemica fortuna oltra quest’ Alpe, on a text by Federico Asinari) that seems to combine local Ferrarese reference (the Po river) with a laboured geography-of-love image.

Lassus’s madrigal output slowed down after this, though he contributed to the anthologies of Bavarian court madrigals assembled by Troiano (RISM 1569¹⁹) and Bottegari (1575). Whether a true ‘middle period’ in stylistic terms can be seen in these and other individual pieces appearing in various anthologies of the 1570s remains to be demonstrated.

In 1585 Lassus was again in Italy; the dedication of his volume of five-part madrigals printed in Nuremberg in that year (1585c, reissued in Venice in 1587 as the Libro quinto) is to the great Veronese patron Mario Bevilacqua, whose ridotto the composer may have visited in 1582. Here serious Petrarchan texts alternate with religious sonnets by Gabriel Fiamma. In style these madrigals, separated from the fourth book by nearly 20 years, show definite awareness of the newer Italian madrigal: not that of the chromaticists but rather that of Marenzio, with brief contrast motifs, declamation on short note values and counterpoint that is chiefly figured chordal progressions (Io che l’età più verde is an example). Lassus’s older style is not completely absorbed by these novelties, and in a few pieces his earlier madrigals are recalled (the sestina Quando il giorno). How well he could write in a newer style is demonstrated by the amusing La non vol esser più mia (published 1584), a work in fully-fledged canzonetta idiom.

The madrigals for four, five and six voices dedicated to Lassus’s friend the physician Thomas Mermann (Nuremberg, 1587) show some of the traits seen in the volume of 1585 but are more varied in style, often suggesting the compression and individuality of his late motet style. In this volume a five-section religious cycle to text by Beccuti (‘il Copetta’), Signor le colpe mie, has been shown (by Boetticher) to be missing its first stanza, Di terrena armonia, a piece for some reason printed separately in Continuation du mellange issued by Le Roy & Ballard in 1584.

At the very end of his life Lassus set the 21 ottava stanzas of Tansillo’s Lagrime di S Pietro. This cycle of seven-voice spiritual madrigals is one of the most remarkable artistic testaments in the history of music. Deliberately restrained in mood and character, planned as a magnificent tonal arch covering the whole range of 16th-century sound, the work is at once musically unified and expressively varied. Lassus’s lifelong habits of concision and balance, subordinating vivid declamation and rhetorical power to inexorable musical clarity, are here given their definitive statement. The transcendentally synthetic quality of this music, blending styles as diverse as the Prophetiae Sibyllarum and the late madrigals, stands in the sharpest possible contrast to what was in other hands already becoming the drily academic stile antico.

Among Lassus’s most popular Italian-texted works are the six four-voice villanescas in the ‘op.1’ of 1555 (these pieces are often found in anthologies of lute intabulations) and the contents of the Libro de villanelle, moresche, et altre canzoni for four, five, six and eight voices (Paris, 1581), a volume said by the composer to have been written in his old age when he should have known better. The famous Matona mia cara may serve as an example of pieces to be found in this volume, although some of the other pieces are equally amusing. All are reworkings of older material, following the time-honoured principle of using pre-existing melodies in this genre; the most outrageous texts receive elegant if simple musical setting, in its own way a final statement about this sub-species of the madrigal.

9. Chansons.

Fewer in number than his madrigals, Lassus’s chansons, about 150 in all, are nonetheless considerable in bulk and, more importantly, highly characteristic of the composer, who never entirely left off being a Frenchman. He wrote a number of chansons in his youth and did not by any means stop when he moved to Munich; French was in common use at the court, and chansons of various types were evidently in demand from his patrons as well as from his publishers.

To judge by their dates of publication, Lassus wrote chansons from the 1550s into the 1580s; a greater proportion than of most other categories are early works. Just as the madrigals were brought out for the most part by Roman and Venetian printers, so the chansons were published chiefly in the Netherlands (Phalèse, Susato, Laet) and in Paris (Le Roy & Ballard, Du Chemin). Their wide popularity can be seen from the frequent reprints and from their appearance in print in Lyons, La Rochelle, Strasbourg and London (Vautrollier, 1570). Some of the later reprints bear the proud description of the composer as ‘Prince des musiciens de nostre temps’. The chansons were much in favour with keyboard, cittern and especially lute intabulators; the Theatrum musicum of Phalèse and Bellère (1568²³, 1571¹⁶) is particularly rich in Lassus’s works. The English translation of Le Roy’s lute tutor (London, 1574) contains 11 chansons by Lassus. A very large number of chansons, including some of the bawdiest, were ‘spiritualized’ in French and German religious collections (Pasquier, 1576; Berg, 1582). The bulk of Lassus’s chanson output was collected in two volumes of ‘meslanges’ issued by Le Roy & Ballard (1576b, 1584a). Of the chansons not included in these volumes or in the important Livre de chansons nouvelles issued by Le Roy & Ballard in Paris and Phalèse in Leuven in 1571 (1571g), some have not survived complete; among these are a set of religious chansons on texts by Guy du Faur de Pibrac, published in 1581. Fortunately two of these pieces, illustrating the sobriety of Lassus’s late chanson style, have been reassembled through the discovery (by Bernstein) of a set of manuscript parts in Edward Paston’s library (in GB-Cfm).

Lassus turned to some of the most famous of 16th-century French poets for texts: Marot, Ronsard, Du Bellay and Baïf. The fact that he often set texts already known in musical settings is reflected in his occasional choice of Mellin de Saint-Gelais, a favourite poet among composers of the preceding generation, and also in his fondness for light verse from popular anthologies such as La fleur de poesie francoyse (1542). Occasional choice of much earlier poetry (Chartier, Villon) can also be seen. The subject matter ranges from dignified nature-poetry (Du Bellay) and Petrarchesque lyrics (Ronsard), through sententious and moralizing texts, to the familiar drinking-songs, some macaronic texts, and Rabelaisian amorous and bawdy narratives; no one wrote more amusing chansons of this last type (En un chasteau and Il esteoit une religieuse are excellent examples). There are also biblical and religious texts (the famous Susanne un jour, for example) – these apart from the contrafacta imposed by other hands on nearly all the secular chansons. There are a few real love-lyrics, some occasional pieces, and isolated soundings of familiar chanson-like themes such as ‘faulte d’argent’ (in Je suis quasi prest d’enrager).

In musical style the chansons are more varied than the usual blanket description given them – as either ‘Parisian’ patter chansons or motet-like serious pieces – would suggest. Lassus could and often did write chansons, usually light narratives or dialogues, in the classically clear and succinct style made popular in Attaingnant’s anthologies. How directly and economically he went about this can be seen in a work such as Un advocat dit à sa femme (ex.3). These pieces are usually for four voices, but Lassus, who in all genres preferred five-part texture, could manage ‘Parisian’ style just as easily in five voices (La terre les eaux, for example). He could even write a piece that resembles, paradoxically, an instrumental canzona alla francese transcribed for voices (Si pour moy avez du souci). The light chansons are not always written in ‘Parisian’ fashion; the Italian patter style infecting so much of Lassus’s work in his middle years may also be seen here (there is one outright ‘villanelle’, to Baïf’s Une puce j’ay dedans l’oreill’).

Many chansons begin, as do so many of the lieder, with a contrapuntal exordium, sharply delineating the character of the piece through distinctive melodic shapes; then follow patter chords or lightweight texture in which short motifs are constantly thrown back and forth among the voices. Sometimes the music changes character with every flicker of meaning in the text, as in the setting of Marot’s Qui dort icy. The declamation in all the lively chansons is good; in some it is extraordinarily vivid – Marot’s Bon jour et puis quelles nouvelles is given a setting of such conversational immediacy that on hearing it all barriers separating us from the 16th century seem to drop away.

The more serious chansons resemble the reflective, affective madrigals of Rore and his successors more than they do motets. Chansons such as Le temps passé (with its ‘soupir’ figures), Mon coeur ravi d’amour and Comme la tourterelle (with its madrigalian chromaticism) are madrigals in all but their very Gallic declamatory diction. Use of madrigalian style is sometimes but not always influenced by the text; thus Ronsard’s J’espère et crains, with its laboured Petrarchan oxymorons, is given a quite restrained setting, while Vray dieu disoit une fillette, a very French text, is given such Italian touches as a long final pedal point. In a category by themselves are pieces such as La nuict froide et sombre (Du Bellay), set as an expansive, colouristic tone poem in style even though characteristically brief in actual duration.

German schoolmasters would not have picked chansons by Lassus as examples of rhetorical organization and affective power; the genre was not sufficiently grand. Many of the chansons would nevertheless make good examples of the musician as rhetorician; Marot’s Fleur de quinze ans, for instance, is in Lassus’s hands a seduction speech of extraordinarily tight organization and persuasive musical diction.

In the preface to the third book of five-part lieder (1576), Lassus contrasted the Italian and German styles, emphasizing (and defending) the roughness of the latter. He evidently tried to cultivate a specifically German style. The results were good, certainly; but his position in the history of the lied has been described (by Osthoff, 1938) as that of an innovator who discarded German tradition, that of the Tenorlied, in favour of a style mixing elements of the madrigal, the villanella and the chanson. This is true primarily of the secular lieder; the sacred works use traditional melodies in, on the whole, as strict an adherence to cantus-firmus writing as Lassus showed in any genre.

10. German lieder.

For Lassus, French by birth and Italian by musical training, composition in a German vein must have posed problems. He published no lieder until 1567; by that time he was surely fluent in setting German texts, enough for him to have written for private use, at the court, pieces Duke Albrecht liked too well to allow to circulate in print (preface to the 1567 collection). But the native tradition was very strong in Munich, where Senfl had worked until his death (1542–3); the song collections of Ott, Forster and others remained popular, and the need for new works was correspondingly less great during Lassus’s early years at the Bavarian court.

The lieder are few in number only by the standards of Lassus’s prolific output in other genres; if one counts the German psalms for three voices (1588) there are over 90 compositions, including several multipartite six-part sacred compositions larger in scale than most of the motets. Many of the secular pieces were famous in the composer’s time and are among his best-known works today (Audite nova, for example). The proportion of sacred pieces among the lieder is high, even without counting the volume of psalms; this suggests that the German collections were intended for a somewhat different audience from that of the madrigals and the chansons.

In some respects Lassus was conservative as a composer of lieder. He chose texts for the most part already known in sacred and secular songbooks (one exception is the setting of Hans Sachs’s Ein Körbelmacher in ein Dorff), and inclined towards folk-like ones. His German settings are rhythmically lively and correct in declamation, but not exaggeratedly so; nor are there experiments in chromaticism in the lieder. His preference for five-part texture (which he felt he had to justify as a novelty in the preface to the 1567 collection) was merely carrying over into the lieder a general preference typical of his generation.

The sacred lieder use texts and melodies common to Lutheran and Catholic songbooks with Luther’s Vater unser im Himmelreich opening the first collection (the Ulenberg psalm translations are, however, Catholic and even anti-Protestant in intent). The psalm settings range from the rather simple tricinia of the 1588 collection (where they alternate with similar settings by his son Rudolph) to the great six-part psalm-motets such as Ich ruff zu dir, using paraphrased and cantus-firmus versions of the borrowed melodies, in the French–German volume of 1590.

Among the secular texts chosen by Lassus are drinking-songs and lieder in which the bad effects of liquor are lamented (Mein Fraw hilgert); possibly the constantly expressed preference for wine over beer was a personal one. Comic rustic narrative encounters (Baur, was tregst im Sacke?) are among the most famous of the lieder. There are also melancholy and satirical pieces (Die zeit, so jetz vorhanden ist), some love-songs of narrative character, and a few songs of nature-love. The traditional vein of elegiac introspection seen in the lied from Hofhaimer to Senfl was on the whole avoided by Lassus.

Many lieder begin with an imitative exordium followed by lively patter. Relationships to the villanella and lighter madrigal may of course be seen (Lassus knew the celebrated German villanella collections of Regnart), and the presence of chanson-like rhythms is frequent. The combination is a natural and convincing one; Lassus did not so much break with German tradition as simply set texts in his own style, a somewhat eclectic one in every genre. In any event the triumphantly German character of the best lieder is proof enough that he mastered the lied in his own way.

responsories and antiphons

WORKS

Editions: Orlando di Lasso: Sämtliche Werke, ed. F.X. Haberl and A. Sandberger (Leipzig, 1894–1926/R1974) [S]Orlando di Lasso: Sämtliche Werke: neue Reihe, ed. S. Hermelink and others (Kassel, 1956–) [H]Orlando di Lasso: Sämtliche Werke. Zweite, nach den Quellen revidierte Auflage der Ausgabe von F.X. Haberl und A. Sandberger, ed. H. Leuchtmann (Wiesbaden, 1968–) [L]Orlande de Lassus: Chansons, ed. J. Bernstein, SCC, xi–xiv (1987) [B]Orlando di Lasso: Complete Motets, ed. P. Bergquist, RRMR, cii– (1995–) [M i–]

for MSS see editions

motets

madrigals

other secular italian

chansons

German contrafacta

lieder

doubtful and misattributed works

masses

Liber missarum … liber primus, 4–6vv (Venice, 1566) (RISM 1566¹) [1566a]

Praestantissimorum divinae musices auctorum missae decem, 4–6vv (Leuven, 1570) (RISM 1570¹) [1570c]

Quinque missae suavissimis modulationibus refertae … liber secundus, 4, 5vv (Venice, 1570) (RISM 1570a) [1570e]

Patrocinium musices … missae aliquot, secunda pars, 5vv (Munich, 1574) (RISM 1574b) [1574a]

Missae variis concentibus ornatae … cum cantico beatae Mariae octo modis variato, 4–6, 8vv (Paris, 1577–8) (RISM 1577a) [1577b]

Liber missarum, 4, 5vv (Nuremberg, 1581) (RISM 1581a) [1581a]

Missa ad imitationem moduli Quand’io penso al martire, 4vv (Paris, 1582) (RISM 1582a) [1582c]

Missa ad imitationem moduli Beatus qui intelligit, 6vv (Paris, 1587) (RISM 1587a) [1587b]

Missa ad imitationem moduli Locutus sum, 6vv (Paris, 1587) (RISM 1587b) [1587c]

Missae … liber primus, 4, 5vv (Milan, 1588) (RISM 1588⁴) [1588a]

Patrocinium musices: missae aliquot, 5vv (Munich, 1589) (RISM 1589a) [1589]

Missa ad imitationem moduli Dixit Joseph, 6vv (Paris, 1607) (RISM 1607a) [1607a]

Missae posthumae, 6, 8vv (Munich, 1610) (RISM 1610a) [1610]

Alleluia, 5vv (frag., T only of Kyrie and Gloria), H xii, 155

Alleluia, 5vv (frag., B only of Kyrie and Gloria), H xii, 157

Amar donna [‘Chi passa per questa strada’], 5vv, 1589, H vi, 23

Amor ecco colei, 6vv, 1610; H viii, 93

Beatus qui intelligit, 6vv, 1587b (on own motet); H vii, 195

Bell’Amfitrit’altera, 8vv, 1610; H viii, 55

Benedicam Dominum, 5vv, MS c1570 (on own motet); H xi, 3

Cantorum, 4vv (inc.); H xii, 3

Certa fortiter, 6vv, 1610 (on own motet); H viii, 131

Confundantur superbi, 5vv, MS c1564 (on own motet); H ix, 3

Congratulamini mihi, 6vv, 1570c (on own motet); H vii, 137

Credidi propter, 5vv, 1577b (on own motet); H iii, 249

De feria, 4vv, 1577b; H iv, 87

De feria in Quadragesima, 4vv, MS 1566; H ix, 43

De feria in Septimana Sancta, 4vv, MS 1566; H ix, 51

Deus in adjutorium, 6vv, 1610 (on own motet); H viii, 211

Dittes maistresse, 5vv, 1589 (on Monte’s chanson); H vi, 3

Dixit Joseph, 6vv, 1607a (on own motet); H viii, 3

Domine Dominus noster, 6vv, MS 1577 (on own motet); H x, 41

Domine secundum actum meum, 5vv, 1570c (on Jacquet of Mantua’s motet); H vii, 49

Doulce memoire, 4vv, 1577b (on Sandrin’s chanson); H iv, 3

Eccce Maria, 5vv (inc.) (on own motet); H xii, 51

Ecce nunc benedicite, 6vv, 1610 (on L. Daser’s motet); H viii, 173

Entre vous filles, 5vv, 1581a (on Clemens’s chanson); H v, 159

Frère Thibault [Sine nomine], 4vv, 1570e (on Certon’s chanson); H iii, 75

Il me suffit [Beschaffens-Glück], 4vv, 1581a (on Sermisy’s chanson); H v, 139

In die tribulationis, 5vv, 1589 (on Jacquet of Mantua’s motet); H vi, 71

In me transierunt, 5vv (frag., T only of Kyrie and Gloria) (on own motet); H xii, 154

In principio, 6vv (inc.) (on own motet); H xii, 65

In te Domine speravi, 6vv, 1566a (on own motet); H v, 51

Io son ferito ahi lasso, 5vv, 1589 (on Palestrina’s madrigal); H vi, 105

Ite rime dolenti, 5vv, 1574a (on Rore’s madrigal); H iii, 133

Jäger [Venatorum], 4vv, 1577b; H iv, 73

Je ne mange poinct de porcq, 4vv, 1570e; H iii, 3

Je prens en gres, 4vv, MS 1572 (on Clemens’s chanson); H ix, 77

Je suis desheritée, 4vv, MS 1583 (on J. Lupi’s chanson); H x, 93

Jesus ist ein süsser Nam, 6vv, MS c1592; H x, 145

La, la, maistre Pierre [Ad placitum], 4vv, 1570e (on Sermisy’s chanson); H iii, 27

Laudate Dominum omnes gentes, 4vv, 1588a; H vii, 3

Le berger et la bergère, 5vv, 1570e (on Gombert’s chanson); H iii, 97

Locutus sum, 6vv, 1587c (on own motet); H vii, 89

On me l’a dict, 4vv, MS c1570 (on Certon’s chanson); H ix, 61

O passi sparsi, 4vv, 1577b (on S. Festa’s madrigal); H iv, 49

Osculetur me, 8vv, MS after 1582 (on own motet); H x, 187

Paschalis, 5vv, MS 1576; H ix, 131

Pilons pilons lorge [Quinti toni], 4vv, 1570e (on Sermisy’s chanson); H iii, 51

Pro defunctis, 4vv, 1577b; H iv, 95

Pro defunctis, 5vv, 1589; H vi, 135

Puisque i’ay perdu, 4vv, 1577b; H iv, 23

Qual donna attende à gloriosa fama, 5vv, 1589 (on Rore’s madrigal); H vi, 43

Quand’io pens’al martire, 4vv, 1582c (on Arcadelt’s madrigal); H vii, 25

Qui la dira, 5vv, MS 1576 (on Willaert’s madrigal); H x, 3

Requiem, 4vv (inc.); H xii, 326

Rompi de l’empio cor, 6vv, MS c1570 (on Willaert’s madrigal); H xi, 45

Scarco di doglia, 5vv, 1574a (on Rore’s madrigal); H iii, 175

Sesquialtera, 4vv, MS 1579; H x, 69

Sidus ex claro, 5vv, 1574a (on own motet); H iii, 217

Si rore aenio, 5vv, MS 1572; H ix, 101

Surge propera, 6vv, 1577b (on own motet); H iv, 157

Surrexit Pastor bonus, 5vv (inc.) (on own motet); H xii, 15

Susanne un jour, 5vv, 1577b (on own chanson); H iv, 121

Tempus est ut revertar, 6vv, frag. (B only of Kyrie and Gloria) (on own motet); H xii, 159

Tous les regretz, 6vv, 1577b (on Gombert’s chanson); H v, 3

Triste départ, 6vv, MS 1592 (on Gombert’s chanson); H x, 115

Veni in hortum meum, 5vv, 1581a (on own motet); H v, 185

Vinum [Verbum] bonum, 8vv, 1577b (on own motet); H v, 105

passions

Patrocinium musices … passio, idem lectiones Iob, et lectiones matutinae de nativitate Christi, 4–5vv, quarta pars (Munich, 1575) (RISM 1575a) [1575]

Passio Domini nostri Jesu Christi secundum Mattheum, 5vv, 1575; H ii, 3

Passio Domini nostri Jesu Christi secundum Marcum, 4vv, MS 1582; H ii, 27

Passio Domini nostri Jesu Christi secundum Lucam, 4vv, MS 1582; H ii, 37

Passio Domini nostri Jesu Christi secundum Johannem, 5vv, MS 1580; H ii, 47

canticles

Magnificat settings

(for chronology see Crook, 1994)

Magnificat octo tonorum, 4–6vv (Nuremberg, 1567) (RISM 1567b) [1567b]

Patrocinium musices … Magnificat aliquot, quinta pars, 4–6, 8vv (Munich, 1576) (RISM 1576c) [1576c]

Patrocinium musices: Beatissimae deiparaeque Virginis Mariae canticum Magnificat, ad imitationem cantilenarum quarundam, 4–6vv (Munich, 1587) (RISM 1587c) [1587d]

Liber primus cantiones sacrae Magnificat vocant, 5, 6vv (Paris, 1602¹) [1602]

Iubilus beatae virginis, hoc est centum Magnificat, 4–8, 10vv (Munich, 1619) (RISM 1619a) [1619]

Alma real se come fide stella (octavi toni), 5vv, 1619 (on Rore’s madrigal); H xvi, 163

Amor ecco colei (septimi toni), 6vv, 1587d; H xiv, 231

Ancor che col partire (quarti toni), 5vv, 1576c (on Rore’s madrigal); H xiv, 82

Aria di un sonetto (octavi toni), 5vv, 1587d (on D. Ortiz’s Aria di Ruggiero); H xiv, 256

Aurora lucis rutilat (octavi toni), 10vv, 1619 (on own motet); H xvii, 124

Beau le cristal (sexti toni), 4vv, 1619 (on own chanson); H xvi, 230

Benedicta es caelorum regina (octavi toni), 6vv, 1602 (on Josquin’s motet); H xv, 228

Dalle belle contrade (sexti toni), 5vv, 1619 (on Rore’s madrigal); H xvi, 120

Deus in adjutorium (septimi toni), 6vv, 1587d (on own motet); H xiv, 189

Dessus le marché d’Arras (primi toni), 6vv, 1587d (on own chanson); H xiv, 158

Dies est laetitia (sexti toni), 6vv, 1602; H xv, 212

D’ogni gratia e d’amor (septimi toni), 6vv, 1619 (on Striggio’s madrigal); H xvi, 188

Ecco ch’io lasso il core (secundi toni), 6vv, 1587d (? on Striggio’s madrigal); H xiv, 201

Erano capei d’oro (septimi toni), 5vv, 1619 (on G.M. Nanino’s madrigal); H xvii, 64

Hélas j’ai sans merci (septimi toni), 5vv, 1619 (on own chanson); H xv, 95

Il est jour (secundi toni), 4vv, 1587d (on Sermisy’s chanson); H xiv, 133

Las je n’iray plus (secundi toni), 5vv, 1619 (on own chanson); H xv, 46

Mais qui pourroit (secundi toni), 6vv, 1587d (on own chanson); H xiv, 275

Margot labouréz les vignes (septimi toni), 4vv, 1619 (on own chanson); H xvi, 154

Memor esto (secundi toni), 6vv, 1619 (on own motet); H xvii, 107

Mort et fortune (tertii toni), 5vv, 1587d (on Gombert’s chanson); H xiv, 263

O che vezzosa aurora (secundi toni), 6vv, 1619 (on Vecchi’s madrigal); H xvi, 175

Omnis enim homo (primi toni), 6vv, 1587d (on own motet); H xiv, 216

Omnis homo primum bonum vinum ponit (sexti toni), 6vv, 1602 (on Wert’s motet); H xv, 181

O s’io potessi (secundi toni), 4vv, 1619 (on Berchem’s madrigal); H xv, 3

Pange lingua gloriosa (septimi toni), 4vv, 1619; H xvi, 241

Praeter rerum seriem (secundi toni), 6vv, 1602 (on Josquin’s motet); H xv, 248

Quando lieta sperai (quarti toni), 6vv, 1587d (on a madrigal variously attrib. Rore and Morales); H xiv, 243

Quant’in mille anni il ciel (secundi toni), 6vv, 1587d (on Nollet’s madrigal); H xiv, 141

Recordare Jesu pie (septimi toni), 6vv, 1619 (on own motet); H xvi, 134

S’io credessi per morte (tertii toni), 4vv, 1619 (on A. de Reulx’s madrigal); H xvi, 221

S’io esca vivo (septimi toni), 6vv, 1619 (on own madrigal); H xv, 108

Si par souhait (primi toni), 4vv, 1587d (on own chanson); H xiv, 126

Si vous estes m’amie (sexti toni), 6vv, 1619 (on own chanson); H xvii, 94

Susanne un jour (primi toni), 6vv, 1587d (on Lupi’s chanson); H xiv, 174

Tant vous allez doux (sexti toni), 6vv, 1619 (on Ebran’s chanson); H xv, 74

Ultimi miei sospiri (secundi toni), 6vv, 1619 (on Verdelot’s madrigal); H xv, 58

Vergine bella (primi toni), 5vv, 1619 (on Rore’s madrigal); H xvi, 108

Vola vola pensier [Aeria a la italiana] (octavi toni), 5vv, 1602; H xvii, 3

Vous perdez temps (septimi toni), 5vv, 1619 (on Sermisy’s chanson); H xvi, 267

Primi toni, 4vv, 1576c, H xiv, 75; Primi toni (i), 5vv, 1619, H xvi, 92; Primi toni (ii), 5vv, 1619, H xvi, 108; Primi toni (iii), 5vv, 1619, H xvi, 259

Secundi toni, 5vv, 1619, H xv, 10; Secundi toni, 6vv, 1619, H xvii, 76

Quarti toni (i), 5vv, 1619, H xv, 16; Quarti toni (ii), 5vv, 1619, H xvii, 48; Quarti toni, 8vv, 1619, H xv, 138

Quinti toni, 6vv, 1619, H xvii, 14

Sexti toni (i), 5vv, 1619, H xv, 24; Sexti toni (ii), 5vv, 1619, H xv, 30; Sexti toni (iii), 5vv, 1619, H xvi, 57; [Sexti toni], 5vv, MS c1582, H xv, 201; Sexti toni, 8vv, 1576c, H xiv, 94

Septimi toni (i), 5vv, 1619, H xv, 35; Septimi toni (ii), 5vv, 1619, H xvi, 67; Septimi toni (‘perpulchrum’), 7vv, 1619, H xvi, 204; Septimi toni, 8vv, 1576c, H xiv, 112; Septimi toni, 8vv, 1619, H xv, 152; Septimi toni, 10vv, MS, H xvii, 150

Octavi toni (i), 5vv, 1619, H xv, 40; Octavi toni (ii), 5vv, 1619, H xvi, 80; Octavi toni, 6vv, 1619, H xv, 126; Octavi toni (i), 8vv, 1619, H xv, 166; Octavi toni (ii), 8vv, 1619, H xvii, 31

8 settings, octo tonorum (i), 4vv, 1567b, H xiii, 245; 8 settings, octo tonorum (ii), 4vv, 1587d, H xiv, 3

8 settings, octo tonorum (i), 5vv, 1567b, H xiii, 143; 8 settings, octo tonorum (ii), 5vv, 1619, H xvi, 3

8 settings, octo tonorum, 6vv, 1567b, H xiii, 3

Nunc Dimittis settings

Come havran fin, 4vv, H xxiv, 37; Heu mihi Domini, 5vv, H xxiv, 59; Il magnanimo Pietro, 7vv, H xxiv, 29; Io son si stanco, 5vv, H xxiv, 76; Oculi mei semper ad Dominum, 6vv, H xxiv, 83; S’el mio sempre per voi, 4vv, H xxiv, 46; Susanne un jour, 5vv, H xxiv, 94; Un dubbio verno, 5vv, H xxiv, 68; Quarti toni, 4vv, H xxiv, 3; Quarti toni, 5vv, H xxiv, 54; Quinti toni, 4vv, H xxiv, 24; Septimi toni, 4vv, H xxiv, 11; Octavi toni, 4vv, H xxiv, 17

3 Benedictus Dominus Israel, 9vv, H xxiv, 105, 127, 149

Miserere mei Deus, 9vv, MS 1850s, Mbs; H xxiv, 172

mass propers

Patrocinium musices … officia aliquot, de praecipuis festis anni … tertia pars, 5vv (Munich, 1574) (RISM 1574c) [1574b]

Asperges me (quarti toni), 5vv, 1574b, H xxiii, 14; Asperges me (septimi toni), 5vv, 1574b, H xxiii, 20; Officium Corporis Christi, 1574b, 5vv, H xxiii, 106; Officium Natalis Christi, 5vv, 1574b, H xxiii, 28; Officium Paschale, 5vv, 1574b, H xxiii, 53; Officium Pentecostes, 5vv, 1574b, H xxiii, 81; Vidi aquam, 5vv, 1574b, H xxiii, 3; Officium primum in Nativitate Domini, 6vv, H xxiii, 192; Epiphania Domini, 6vv, H xxiii, 203; Ascensio Domini, 6vv, H xxiii, 215; Corpus Christi, 6vv, H xxiii, 230; Resurrectio Domini, 6vv, H xxiii, 273; Feria 2a post Resurrectionem, 6vv, H xxiii, 298; Feria 3a post Resurrectionem, 6vv, H xxiii, 317; Quinquagesima, 6vv, H xxiii, 332; Officium Sancti Michaelis, 6vv, H xxiii, 346

lessons

Sacrae lectiones novem ex propheta Iob, in officiis defunctorum cantari solitae, 4vv (Venice, 1565) (RISM 1565e); Hxix, 3; RRMR, lv (1983)

Patrocinium musices … passio, 5vv idem lectiones Iob, et lectiones matutinae de nativitate Christi, 4vv, quarta pars (Munich, 1575) (RISM 1575a); H xix, 137

Lectiones sacrae novem, ex libris Hiob excerptea, 4vv (Munich, 1582) (RISM 1582f); H xix, 101; RRMR, lv (1983)

lamentations

Hieremiae prophetae lamentationes, et aliae pieae cantiones, 5vv (Munich, 1585) (RISM 1585d) [1585b]

9 Lamentationes Hieremiae, 4vv, MS c1588; H xxii, 112

9 Lamentationes Hieremiae, 5vv, 1585b; H xxii, 3

litanies

all printed works in 1596²

Litaniae Beatae Mariae Virginis (i), 4vv; H xxv, 3

Litaniae Beatae Mariae Virginis (ii), 4vv; H xxv, 5

Litaniae Beatae Mariae Virginis (i), 5vv; H xxv, 11

Litaniae Beatae Mariae Virginis (ii), 5vv; H xxv, 16

Litaniae Beatae Mariae Virginis (iii), 5vv; H xxv, 20

Litaniae Beatae Mariae Virginis (iv), 5vv; H xxv, 23

Litaniae Beatae Mariae Virginis (v), 5vv; H xxv, 28

Litaniae Beatae Mariae Virginis, 6vv; H xxv, 32

Litaniae Beatae Mariae Virginis, 8vv; H xxv, 37

Litaniae Beatae Mariae Virginis (i), 9vv; H xxv, 67

Litaniae Beatae Mariae Virginis (ii), 9vv, MS c1590; H xxv, 74

Litaniae Beatae Mariae Virginis, 10vv, MS c1580; H xxv, 98

Litaniae Deiparae Beatae Mariae Virginis, 4vv, MS; H xxv, 113

Litaniae omnium sanctorum, 4vv; H xxv, 121

Litaniae omnium sanctorum, 5vv; H xxv, 127

Litaniae omnium sanctorum, 7vv; H xxv, 134

falsobordoni

all ed. in H xxv

Dixit dominus: Primi toni (i), 4vv; Primi toni (ii), 4vv; Primi toni (i), 5vv; Primi toni (ii), 5vv; Primi toni (iii), 5vv; Secundi toni (i), 5vv; Secundi toni (ii), 5vv; Tertii toni (i), 4vv; Tertii toni (ii), 4vv; Quarti toni (i), 4vv; Quarti toni (ii), 4vv; Quinti toni, 4vv; Sexti toni, 5vv; Septimi toni (i), 4vv; Septimi toni (ii), 4vv; Septimi toni (iii), 4vv; Septimi toni, 5vv; Octavi toni (i), 5vv; Octavi toni (ii), 5vv

In exitu Israel: Toni peregrini, 4vv

Textless: Tertii toni, 4vv; Tertii toni, 5vv; Toni in Caesarea Capella consueti, 4vv

hymns

all in D-Mbs, c1580

Ad coenam agni providi, 4vv, H xviii, 57; Ad preces nostras, 4vv, H xviii, 45; Audi benigne conditor, 4vv, H xviii, 42; Aurea luce et decore, 4vv, H xviii, 86; Ave maris stella, 4vv, H xviii, 36; Christe redemptor omnium, Tu lumen, 5vv, H xviii, 18; Christe redemptor omnium, Beata quoque, 4vv, H xviii, 3; Conditor alme siderum, 5vv, H xviii, 14; Custodes hominum, 4vv, H xviii, 144; Deus tuorum militum (i), 4vv, H xviii, 111; Deus tuorum militum (ii), 4vv, H xviii, 122; Doctor egregie, 4vv, H xviii, 91; Exultet coelum laudibus, 4vv, H xviii, 117; Fit porta Christi pervia, 5vv, H xviii, 151; Fortem virili pectore, 4vv, H xviii, 147; Haec dies, quam fecit Dominus, 4vv, H xviii, 141; Hostis herodes impie, 5vv, H xviii, 26; In exitu Israel, 4vv, H xviii, 138; Iste confessor, 4vv, H xviii, 8; Jesu corona virginum, 4vv, H xviii, 10 [=Pater superni luminis, H xviii, 154]

Jesu nostra redemptio, 4vv, H xviii, 61; Lauda mater Ecclesia, 5vv, H xviii, 93 [=Pater superni luminis, H xviii, 171]; Lucis creator optime, 4vv, H xviii, 32; O lux beata Trinitas, 4vv, H xviii, 30; Pange lingua gloriosi, 5vv, H xviii, 71; Petrus beatus catenarum, 4vv, H xviii, 98; Quicumque Christum queritis, 4vv, H xviii, 100; Rex gloriose martirum, 4vv, H xviii, 114; Salvete flores martyrum, 4vv, H xviii, 24 [= Deus tuorum militum, H xviii, 158 = Exultet caelum laudibus, H xviii, 161]; Sanctorum meritis, 4vv, H xviii, 126; Te lucis ante terminum (i), 4vv, H xviii, 50; Te lucis ante terminum (ii), 4vv, H xviii, 166; Tibi Christe splendor patris, 4vv, H xviii, 104; Tristes erant apostoli, 4vv, H xviii, 108; Urbs beata Jerusalem, 4vv, H xviii, 132; Ut queant laxis, 4vv, H xviii, 82; Veni creator spiritus, 5vv, H xviii, 65; Vexilla regis prodeunt, 4vv, H xviii, 51

responsories and antiphons

all in D-Mbs

In nativitate Domini, 5vv, ?1580–85; H xxiv, 261

Pro Triduo sacro in nocturno II et III, 4vv, ?1580–85; H xxiv, 197

In die Sancto Paschae, 6vv; H xxiv, 251

In exequiis, 4vv; H xxiv, 274

Antiphonae septem ad Vesperas Corporis Christ, 6vv; H xxiv, 281

Antiphonae septem ad Vesperas Sancti Michaelis, 4vv; H xxiv, 313

motets

Il primo libro dove si contengono madrigali, vilanesche, canzoni francesi, e motetti, 4vv (Antwerp, 1555) (RISM 1555²⁹, same contents as 1555¹⁹) [1555b]

Il primo libro de mottetti, 5, 6vv (Antwerp, 1556, enlarged 2/1560 as Liber decimus quintus ecclesiasticarum cantionum) (RISM 1556a/1560a) [1556/1560b]

[25] Sacrae cantiones, 5vv (Nuremberg, 1562, enlarged 2/1570) (RISM 1562a/1570b) [1562/1570h]

Primus liber concentuum sacrorum, 5, 6vv (Paris, 1564) (RISM 1564b) [1564b]

Dixhuictieme livre de chansons, 4, 5vv (Paris, 1565) (RISM 1565f) [1565a]

Modulorum … modulatorum secundum volumen, 4–8, 10vv (Paris, 1565) (RISM 1565a) [1565b]

Perornatae sacrae cantiones … liber secundus, 5, 6vv (Venice, 1565) (RISM 1565c) [1565c]

Sacrae cantiones … liber secundus, 5, 6vv (Venice, 1566) (RISM 1566c) [1566b]

Sacrae cantiones … liber tertius, 5, 6vv (Venice, 1566) (RISM 1566d) [1566c]

Sacrae cantiones … liber quartus, 6, 8vv (Venice, 1566) (RISM 1566e) [1566d]

Selectissimae cantiones, 4–6vv (Nuremberg, 1568) (RISM 1568a) [1568a]

Selectissimae cantiones, 4, 5vv (Nuremberg, 1568) (RISM 1568b) [1568b]

Cantiones aliquot, 5vv (Munich, 1569) (RISM 1569a) [1569a]

Liber secundus sacrarum cantionum, 4vv (Leuven, 1569) (RISM 1569⁸) [1569b]

Disieme livre de chansons, 4vv (Paris, 1570) (RISM 1570⁹) [1570a]

Mellange d’Orlande de Lassus, contenant plusieurs chansons, tant en vers latins qu’en ryme francoyse, 4, 5vv (Paris, 1570) (RISM 1570d) [1570b]

Selectiorum aliquot cantionum sacrarum, fasciculus adiunctis in fine tribus dialogis, 6, 8vv (Munich, 1570) (RISM 1570c) [1570g]

Moduli nunquam hactenus editi, 5vv (Paris, 1571) (RISM 1571a) [1571b]

Moduli, 4, 8vv (Paris, 1572) (RISM 1572a) [1572b]

Moduli, 6, 7, 12vv (Paris, 1573) (RISM 1573b) [1573a]

Patrocinium musices … cantionum … prima pars, 4–6vv (Munich, 1573) (RISM 1573a) [1573b]

6 cantiones latinae, 4vv, adiuncto dialogo, 8vv: 6 teutsche Lieder, 4vv, sampt einem Dialogo, 8vv: 6 chansons françoises nouvelles, 4vv, avecq un dialogue, 8vv: 6 madrigali nuovi, 4vv, con un dialogo, 8vv (Munich, 1573) (RISM 1573d) [1573c]

Liber mottetarum, trium vocum, quae cum vivae voci, tum omnis generis instrumentis musicis commodissimé applicari possunt (Munich, 1575, enlarged 2/1577) (RISM 1575b/1577d) [1575/1577a]

Les meslanges … contenantz plusieurs chansons, tant en vers latins qu’en ryme francoyse, 4–6, 8, 10vv (Paris, 1576, earlier edn. 1570, lost; repr. with sacred contrafacta, London, 1570) (RISM 1576i) [1576b]

Moduli, 4–9vv (Paris, 1577) (RISM 1577e) [1577c]

Novae aliquot et ante hac non ita usitatae cantiones suavissimae, 2vv (Munich, 1577) [incl. 12 textless bicinia] (RISM 1577c) [1577d]

Altera pars selectissimarum cantionum, 4, 5vv (Nuremberg, 1579) (RISM 1579b) [1579]

Fasciculi aliquot sacrarum cantionum, 4–6, 8vv (Nuremberg, 1582) (RISM 1582c) [1582a]

Lectiones sacrae novem, ex libris Hiob excerptea, 4vv (Munich, 1582) (RISM 1582f) [1582b]

Mottetta typis nondum uspiam excusa, 6vv (Munich, 1582) (RISM 1582e) [1582d]

Sacrae cantiones, 5vv (Munich, 1582) [1582e]

Continuation du mellange, 3–6, 10vv (Paris, 1584) (RISM 1584f) [1584a]

Psalmi Davidis poenitentiales, modis musicis redditi ... his accessit psalmus Laudate Dominum de coelis, 5vv (Munich, 1584/R1970) (RISM 1584e) [1584b]

Cantica sacra, recens numeris et modulis musicis ornata, 6, 8vv (Munich, 1585) (RISM 1585b) [1585a]

Hieremiae prophetae lamentationes, et aliae pieae cantiones, 5vv (Munich, 1585) (RISM 1585d) [1585b]

Sacrae cantiones … recens singulari industria compositae, 4vv (Munich, 1585) (RISM 1585a) [1585d]

Tertium opus musicum, continens lectiones Hiob et motectas seu cantiones sacras, 4–6vv (Nuremberg, 1588) (RISM 1588⁸) [1588b]

Moduli quator et octo vocum (Paris, 1588) (RISM 1588c) [1588d]

Moduli quinque vocum (Paris, 1588) (RISM 1588d) [1588e]

Cantiones sacrae, 6vv (Graz, 1594) (RISM 1594a) [1594]

Lagrime di S Pietro … con un mottetto nel fine, 7vv (Munich, 1595) (RISM 1595a) [1595]

Cantiones ab Orlando di Lasso et huius filio Ferdinando di Lasso compositae, 5vv (Munich, 1597) (RISM 1597³) [1597]

Prophetiae Sibyllarum … chromatico more singulari confectae, 4vv (Munich, 1600) (RISM 1600a) [1600]

Liber primus cantiones sacrae Magnificat vocant, 5, 6vv (Paris, 1602) (RISM 1602¹) [1602]

Magnum opus musicum … complectens omnes cantiones, 2–10, 12vv (Munich, 1604) (RISM 1604a) [1604]

1563³, 1564¹, 1564², 1564³, 1564⁴, 1564⁵, 1566¹⁷, 1567³, 1567¹³, 1568², 1568⁴, 1583², 1586⁴, 1590⁵, 1601³

Accipe daque (2p. of Anna mihi dilecta veni)

Accipe qua recrees (2p. Quo fers), 6vv, 1604; S xi, 101, M xxi

Accipite Spiritum (2p. of Jam non dicam vos)

Ad Dominum cum tribularer (2p. Heu mihi), 6vv, 1594; S xvii, 49, M xvi

Adoramus te Christe (i), 3vv, 1586; S i, 57, M xix

Adoramus te Christe (ii), 3vv, 1586; S i, 57, M xix

Adoramus te, Christe (iii), 3vv, 1604; M xxi

Adoramus te Christe (i), 4vv, 1586; M xix

Adoramus te Christe (ii), 4vv, 1604: S i, 112, M xxi

Adoramus te Christe, 5vv, 1604; S v, 63, M xxi

Adorna thalamum, 4vv, 1585d: S i, 91, M xiv

Ad primum morsum, 6vv, 1594; S xix, 74, M xvi

Ad te Domine levavi (2p. Vias tuas), 5vv, 1556; S ix, 150, M i

Ad te igitur (3p. of Infelix ego)

Ad te levavi animam meam, 6vv 1582d; S xvii, 121, M xiii

Ad te levavi oculos meos (2p. Miserere nostri), 6vv, 1570g; S xvii, 125, M vii

Ad te perenne gaudium, 3vv, 1604; S i, 60, M xxi

Adversum me loquebantur, 5vv, 1562; S ix, 40, M ii

Aegra currit (2p. of Lauda mater ecclesia)

Agimus tibi gratias, 3vv, 1604; S i, 59, M xxi

Agimus tibi gratias, 4vv, 1604; S i, 131, M xxi

Agimus tibi gratias (i), 5vv, 1576b; S v, 98, M xviii

Agimus tibi gratias (ii), 5vv, 1579; S v, 100, M xviii

Agimus tibi gratias, 6vv, 1573b; S xiii, 103, M ix

Alia est enim (2p. of Quicumque vult salvus esse)

Alleluia (2p. of Alleluia Surrexit Dominus)

Alleluia laus et gloria, 4vv, 1604; S i, 68, M xxi

Alleluia Surrexit Dominus (2p. Allueluja; 3p. Dum transisset; 4p. Maria Magdalena; 5p. Ut venientes; 6p. Et valde mane; 7p. Gloria Patri), 6vv, 1592; Mbs

Alleluia, vox laeta personat (2p. Alleluia, praegaudio resultant), 5vv, 1568b, M vi

Alma nemes quae sola [Alme Deus qui cuncta tenes], 4vv, 1555b; S iii, 93, M xvli

Alma parens dilecta Deo (2p. Qua sina coelestis; 3p. Nos pia turba; 4p. Tu modo diva; 5p. Aspicent invictos), 5vv, 1604; S v, 128, M xxi

Alma Redemptoris mater, 5vv, 1597; S v, 102, M xx

Alma Redemptoris mater (i), 6vv, 1582d; S xiii, 105, M xiii

Alma Redemptoris mater (ii), 6vv, 1604; S xiii, 108, M xix

Alma Redemptoris mater, 8vv, 1604; S xxi, 14, M xxi

Alma Venus [Christe Patris verbum] (2p. Nunc elegos divae [Tu poteris]), 5vv, 1560a; S v, 37, M xvii

Amen dico vobis, 4vv, 1564⁵; S i, 119, M iii

Andreas Christi famulus, 6vv, 1585a; S xv, 1, M xv

Angelus ad pastores ait, 5vv, 1562; S iii, 139, M ii

Angelus Domini descendit (2p. Nolite timere), 6vv, 1585a; S xiii, 1, M xv

Angelus Domini locutus est, 5vv, 1571b; S v, 51, M viii

Anima mea liquefacta est, 5vv, 1582e; S ix, 42, M xii

Animam meam dilectam tradidi (2p. Congregamini), 5vv, 1565b; S v, 29, M iv

Anna mihi dilecta veni [Christe Dei soboles] (2p. Accipe daque), 4vv, 1579; S iii, 95, M xviii

Anni nostri sicut aranea, 6vv, 1566d; S xv, 53, M v

Ante me non est formatus Deus, 6vv, 1573b; S xi, 131, M ix

Aspicent invictos (5p. of Alma parens dilecta Deo)

At illi (2p. of Cum natus esset)

Audi benigne conditor (2p. Multum quidem), 5vv, 1568²; S vii, 86, M xvii

Audi dulcis [filia] amica mea, 4vv, 1555b; S i, 99, M xvii

Audi tellus (2p. Ubi Plato; 3p. Ubi David), 6vv, 1566d; S xv, 44, M v

Auris bona est, 5vv, 1582e; S vii, 56, M xii

Aurora lucis rutilat, 10vv, 1604; S xxi, 119, M xxii

Ave color vini clari [Ave decus coeli; Ave Christe] (2p. O quam flagrans), 5vv, 1568b; S xi, 11, M vi

Ave Jesu Christe [Maria] alta stirps, 4vv, 1579; S i, 102, M xviii

Ave Maria gratia plena, 5vv, 1604; S v, 118, M xix

Ave mater matris Dei, 4vv, 1604; S i, 132, M xxi

Ave regina coelorum, 3vv, 1575; S i, 25, M xi

Ave regina coelorum, 4vv, 1604; S i, 79, M xix

Ave regina coelorum, 5vv, 1604; S v, 104, M xxii

Ave regina coelorum (i), 6vv, 1582d; S xiii, 111, M xix

Ave regina coelorum (ii), 6vv, 1604; S xiii, 114, M xiii

Averte Domine (2p. of Domine Jesu Christe qui cognoscis)

Ave verum corpus, 6vv, 1582d; S xiii, 66, M xiii

Beata cuius (3p. of Vexilla regis prodeunt)

Beati omnes qui timent (2p. Ecce sit benedicetur), 3vv, 1575; S i, 49, M xi

Beati omnes qui timent (2p. Ecce sit benedicetur), 5vv, 1565b; S vii, 136, M iv

Beati pacifici (2p. of Beati pauperes)

Beati pauperes spiritu (2p. Beati pacifici), 4vv, 1572b; H i, 11, M xviii

Beatus homo (2p. of Quam magnificata sunt)

Beatus homo cui donatum est, 6vv, 1594; S xvii, 99, M xvi

Beatus homo qui invenit sapientiam, 2vv, 1577d; S i, 1, M xi

Beatus ille qui procul negotiis (2p. Ergo aut adulta; 3p. Libet jacere), 5vv, 1569a; S xi, 22, M vii

Beatus Nicolaus, 8vv, 1604; S xxi, 23, M xviii

Beatus qui intelligit (2p. Dominus opem), 6vv, 1565b; S xvii, 105, M iv

Beatus vir qui in sapientia morabitur, 2vv, 1577d; S i, 1, M xi

Beatus vir qui inventus est, 5vv, 1582e; S ix, 117, M xii

Beatus vir qui non abiit, 6vv, 1568a; S xv, 159, M vi

Beatus vir qui timet, 4vv, 1565b; S iii, 50, M iv

Benedicam Dominum, 4vv, 1585d; S iii, 73, M xiv

Benedicam Dominum (2p. In Domino laudabitur), 5vv, 1562; S ix, 174, M ii

Benedic anima mea, 4vv, 1585d; S i, 152, M xiv

Benedic anima mea Domino (2p. Qui replet; 3p. Non secundum; 4p. Recordatus; 5p. Benedicite Domino), 6vv, 1570g; S xv, 169, M vii

Benedic Domine domum istam, 8vv, 1588d; S xix, 160, M xix

Benedicite Domino (5p. of Benedic anima mea Domino)

Benedicite gentes, 4vv, 1585d; S i, 157, M xiv

Benedicite ignis (2p. of Benedicite omnia opera)

Benedicite montes (3p. of Benedicite omnia opera)

Benedicite omnia opera (2p. Benedicite ignis; 3p. Benedicite montes; 4p. Benedicite sacerdotes), 5, 6vv, 1565b; S ix, 93, M iv

Benedicite sacerdotes (4p. of Benedicite omnia opera)

Benedictio et claritas, 6vv, 1582d; S xi, 139, M xiii

Benedictus es Domine (i), 4vv, 1585d; S iii, 49, M xiv

Benedictus es Domine (ii), 4vv, 1585d; S iii, 65, M xiv

Benedixisti Domine, 5vv, 1582e; S ix, 179, M xii

Bestia curvafia pulices [Bestia stultus homo], 5vv, 1576b; S xi, 44; H i, 67, M xviii

Bone Jesu verbum patris, 8vv, 1604; S xix, 154, M xxi

Bonitatem fecisti, 5vv, 1565b; S ix, 15, M iv

Bonum est confidere (2p. of Dominus mihi adjutor)

Caligaverunt oculi mei, 5vv, 1562; S ix, 182, M ii

Cantabant canticum Moysi (2p. Quis non timet), 6vv, 1594; S xvii, 131, M xvi

Cantantibus organis (2p. Fiat Domine), 5vv, 1582e; S v, 164, M xii

Cantate Domino canticum novum (2p. Cantate … et benedicite), 3vv, 1575; S i, 42, M xi

Cantate Domino canticum novum (2p. Viderunt omnes), 5vv, 1565c; S vii, 142, M v

Cantate Dominum canticum novum, 6vv, 1582d, S xix, 14, M xiii

Cantate … et benedicite (2p. of Cantate Domino canticum novum)

Cantate ei (2p. of Exurgat Deus)

Cernere virtutes, 5vv, 1568b, S iii, 114, M vi

Cerno Dei (11p. of Prophetiae Sibyllarum)

Certa fortiter, 6vv, 1582d; S xv, 82, M xiii

Christi, Patris verbum (2p. Tu poteris nostri maculas), 5vv, 1568b; M vi

Christus resurgens ex mortuis, 3vv, 1575; S i, 23, M xi

Christus resurgens ex mortuis, 5vv, 1582e; S v, 54, M xii

Circumdederunt me dolores mortis, 6vv, 1601³; S xv, 106, M xx

Clamaverunt ad Dominum, 6vv, 1570g; S xvii, 29, M vii

Clare sanctorum senatus (2p. Thoma), 5vv, 1562; S v, 144, M ii

Cognoscimus Domine (2p. Vita nostra), 5vv, 1564⁴; S vii, 147, M iii

Cognovi Domine (2p. Veniant mihi), 4vv, 1565b; S i, 147, M iv

Concupiscendo concupiscit (2p. Exaltabo te), 6vv, 1565c; S xvii, 145, M v

Confirma hoc Deus, 6vv, 1583²; S xvii, 96, M xix

Confisus Domino (2p. Inde tuo si quis), 5vv, 1564⁴; S vii, 92, M iii

Confitebor tibi Domine, 4vv, 1585d; S iii, 16, M xiv

Contitebor tibi Domine, 6vv, 1594; S xix, 20, M xvi

Confitebor tibi Domine, 8vv, 1564¹; S xxi, 56, M iii

Confitemini Domino (2p. Narrate omnia), 5vv, 1562; S vii, 131, M ii

Confitemini Domino (2p. Ipse castigavit), 6vv, 1573b; S xvii, 79, M ix

Confortamini et jam nolite, 4vv, 1585d; S iii, 89, M xiv

Confundantur superbi (2p. Fiat cor meum), 5vv, 1562; S ix, 155, M ii

Congratulamini mihi (2p. Tulerunt), 6vv, 1566d; S xiii, 10, M v

Congregamini (2p. of Animam meam dilectam)

Congregati sunt inimici nostri, 5vv, 1597; S ix, 186, M xviii

Conserva me Domine (2p. Sancti qui sunt), 6vv, 1594; S xvii, 101, M xvi

Contristatus sum (2p. of Exaudi Deus orationem)

Conveniens homini est famam, 6vv, 1585a; S xv, 92, M xv

Convertere anima (2p. of Tribulationem et dolorem)

Convertere Domine (2p. of Ego dixi Domine)

Convertere Domine (2p. of In convertendo Dominus)

Coram illo (2p. of Descendit sicut pluvia)

Creator omnium Deus, 6vv, 1556; S xiii, 68, M i

Credidi propter (2p. Vota mea), 5vv, 1569a; S ix, 21, M vii

Cum dederit (2p. of Nisi Dominus)

Cum essem parvulus (2p. Nunc cognosco), 6vv, 1582d; S xv, 72, M xiii

Cum hominibus (2p. of Domine clamavi)

Cum invocarem exaudibit me (2p. Sacrificate; 3p. Signum est), 6vv, 1570g; S xvii, 43, M vii

Cum natus esset Jesus (2p. At illi; 3p. Et ecce stella), 6vv, 1566d; S xi, 141, M v

Cum rides mihi (2p. Data est), 5vv, 1577c; H i, 23, M xviii

Custodi me Domine, 4vv, 1585d; S iii, 88, M xiv

Da gaudiorum (2p. of Tibi laus tibi gloria)

Da mihi intellectum (2p. of Legem pone mihi)

Da pacem Domine, 5vv, 1588e; H i, 62, M xix

Da pacem Domine (i), 6vv, 1582d; S xiii, 72, M xiii

Da pacem Domine (ii), 6vv, 1556; S xiii, 74, M i

Da pater antique, 5vv, 1569a; S v, 84, M vii

Data est (2p. of Cum rides mihi)

Date siceram (2p. of Noli regibus)

Decantabat populus Israel, 7vv, 1564²; S xix, 91, M iii

Declinate (2p. of Iniquos odio habui)

Deficiat in dolore vita mea, 6vv, 1594; S xvii, 22, M xvi

Delitiae Phoebi, 5vv, 1556; S xi, 81, M i

De me solus (2p. of Huc me sidero)

De ore prudentis, 5vv, 1565c; S vii, 38, M v

De profundis (6p. of Psalmi Davidis poenitentiales)

Descendit sicut pluvia (2p. Coram illo), 5vv, 1571b; S v, 3, M viii

Deus canticum novum (2p. Quia delectasti), 5vv, 1565c; S vii, 164, M v

Deus in adjutorium meum intende, 6vv, 1582d; S xvii, 160, M xiii

Deus iniqui insurrexerunt, 6vv, 1594; S xvii, 113, M xvi

Deus in loco (3p. of Exurgat Deus)

Deus in nomine tuo (2p. Ecce enim Deus), 4vv, 1565b; S iii, 44, M iv

Deus judex justus (2p. Et in eo paravit), 5vv, 1571b; S ix, 61, M viii

Deus meus in simplicitate, 6vv, 1582d; S xvii, 156, M xiii

Deus misereatur nostri, 8vv, 1566d; S xxi, 35, M v

Deus noster refugium, 5vv, 1565b; S ix, 131, M iv

Deus qui bonum vinum [Deus qui non vis mortem], 4vv, 1565a; S iii, 97, M xvii

Deus qui sedes super thronum, 5vv, 1562; S ix, 12, M ii

Deus tu conversus, 5vv, 1582e; S ix, 46, M xii

Deus tu scis insipientiam meam, 3vv, 1575; S i, 40, M xi

Dextera Domini, 4vv, 1585d; S i, 158, M xiv

Dic mihi quem portas, 8vv, 1570g; S xix, 133, M xviii

Dies enim (2p. of Lauda Sion salvatorem)

Diligam te Domine, 3vv, 1577a; S i, 48, M xi

Diligam te Domine fortitudo, 6vv, 1594; S xvii, 67, M xvi

Dilige solitudinem, 5vv, 1583²; S vii, 35, M xix

Diliges proximum tuum (2p. Quoniam qui talia; 3p. Fructus autem), 4vv, 1582b; S i, 113, M xix

Dissipata sit (3p. of Domine clamavi)

Diverte a malo (2p. of Venite filii audite me)

Divites eguerunt (2p. of Gustate et videte)

Dixi custodiam vias meas, 8vv, 1577c; S xxi, 48, M xviii

Dixi ergo in corde meo (2p. Possedi servos; 3p. Et omnia), 5vv, 1585b; S vii, 107, M xix

Dixit autem (3p. of Missus est angelus)

Dixit autem (4p. of Missus est angelus)

Dixit Dominus, 8vv, 1570g; S xxi, 27, M vii

Dixit Joseph undecim fratribus suis (2p. Nunciaverunt), 6vv, 1564³; S xv, 76, M iii

Dixit Martha, 9vv, 1577c; S xxi, 98, M xviii

Dixit mater (2p. of Nuptiae factae sunt)

Dominator Domine, 5vv, 1571b; S v, 96, M viii

Domine ad adjuvandum me, 4vv, 1585d; S iii, 32, M xiv

Domine clamavi (2p. Cum hominibus; 3p. Dissipata sit), 5vv, 1573b; S ix, 140, M ix

Domine convertere, 4vv, 1585d; S iii, 17, M xiv

Domine da nobis auxilium, 6vv, 1585a; S xvii, 19, M xv

Domine deduc me (2p. Sepulchrum patens), 6vv, 1566d; S xvii, 24, M v

Domine Deus fortissime, 5vv, 1585b; S vii, 83, M xix

Domine Deus meus, 3vv, 1577a; S i, 34, M xi

Domine Deus salutis meae, 4vv, 1585d; S iii, 91, M xiv

Domine Dominus noster, 6vv, 1577c; S xvii, 39, M xviii

Domine eduxisti (2p. of Exaltabo te Domine)

Domine exaudi … auribus percipe (7p. of Psalmi Davidis poenitentiales)

Domine exaudi … non avertas (5p. of Psalmi Davidis poenitentiales)

Domine exaudi orationem meam, 4v, 1585d; S iii, 33, M xiv

Domine fac mecum, 4vv, 1585d; S iii, 63, M xiv

Domine in auxilium, 4vv, 1585d; S iii, 92, M xiv

Domine Jesu Christe pastor bone, 5vv, 1585b; S v, 167, M xix

Domine Jesu Christe qui cognoscis (2p. Averte Domine), 5vv, 1577c; S v, 91, M xviii

Domine labia mea, 4vv, 1585d; S iii, 66, M xiv

Domine ne in furore tuo … miserere (2p. of Psalmi Davidis poenitentiales)

Domine ne in furore tuo … quoniam (3p. of Psalmi Davidis poenitentiales)

Domine non est exaltatum (2p. Sicut ablactatus), 3vv, 1575; S i, 30, M xi

Domine non est exaltatum (2p. Sicut ablactatus), 5vv, 1556; S vii, 152, M i

Domine non est exaltatum (2p. Sicut ablactatus), 6vv, 1585a; S xvii, 117, M xv

Domine probasti me (2p. Ecce Domine), 5vv, 1556; S ix, 34, M i

Domine quando veneris, 4vv, 1555b; S iii, 107, M xvii

Domine quando veneris, 5vv, 1568⁴; H i (nachtrag), 1, M xvii

Domine quid multiplicati sunt, 6vv, 1582d; S xvii, 110, M xiii

Domine quid multiplicati sunt (2p. Ego dormivi), 12vv, 1604; S xxi, 135, M xxi

Domine secundum actum meum, 4vv, 1573c; S iii, 13, M x

Domine vivifica me, 4vv, 1582b; S iii, 81, M xix

Dominus mihi adjutor (2p. Bonum est confidere), 6vv, 1566d; S xvii, 58, M v

Dominus opem (2p. of Beatus qui intelligit)

Dominus scit cogitationes, 5vv, 1556; S ix, 128, M i

Dulce lignum (2p. of O crux splendidior)

Dulces exuviae (2p. Urbem praeclaram), 5vv, 1570b; S xi, 57, M xvii

Dulci sub umbra, 5vv, 1597; S xi, 49, M xx

Dum meditor (7p. of Prophetiae Sibyllarum)

Dum nos Ererbi (4p. of Tibi progenies, 5vv; 3p. of Tibi progenies, 6vv)

Dum transisset (3p. of Alleluia Surrexit Dominus)

Ecce Agnus Dei (2p. of Ecce Maria genuit)

Ecce dies nigras (5p. of Porphetiae Sibyllarum)

Ecce dies venient (2p. of Prophetiae Sibyllarum)

Ecce Domine (2p. of Domine probasti me)

Ecce enim Deus (2p. of Deus in nomine tuo)

Ecce Maria genuit nobis (2p. Ecce Agnus Dei), 5vv, 1568b; S v, 15, M vi

Ecce nunc benedicite, 7vv, 1604; S xix, 114, M xxi

Ecce panis (4p. of Lauda Sion salvatorem)

Ecce quam bonum, 8vv, 1604; S xxi, 52, M xxi

Ecce sit benedicetur (2p. of Beati omnes qui timent)

Edite Caesareo Boiorum (2p. Obscura sub nocte), 8vv, 1568a; S xix, 146, M vi

Ego cognovi, 6vv, 1594; S xv, 41, M xvi

Ego dixi Domine miserere mei (2p. Convertere Domine), 3vv, 1575; S i, 55, M xi

Ego dormivi (2p. of Domine quid multiplicati sunt)

Ego dormivi (2p. of Ego sum qui sum)

Ego sum panis vivus, 5vv, 1582e; S v, 71, M xii

Ego sum pauper (2p. Laudabo nomen), 3vv, 1575; S i, 44, M xi

Ego sum pauper, 5vv, 1582e; S ix, 159, M xii

Ego sum qui sum (2p. Ego dormivi), 6vv, 1570g; S xiii, 4, M vii

Ego sum resurrectio, 3vv, 1575; S i, 22, M xi

Emendemus in melius, 5vv, 1571b; S vii, 32, M viii

Emittit verbum (3p. of Lauda Jerusalem Dominum)

Ergo aut adulta (2p. of Beatus ille qui procul)

Ergo rex vivat, 8vv, 1604; S xix, 129, M xxi

Eripe me de inimicis meis, 4vv, 1573c; S i, 150, M x

Eripe me de inimicis meis, 4vv, 1585d; S iii, 60, M xiv

Estote ergo misericordes, 7vv, 1564²; S xix, 87, M iii

Et apertis (2p. of Videntes stellam magi)

Et dicit ei Jesu (3p. of Nuptiae factae sunt)

Et ecce stella (3p. of Cum natus esset)

Et immisit os (2p. of Expectans expectavi)

Et in eo paravit (2p. of Deus judex justus)

Et Jesum benedictum (2p. of Salve regina mater)

Et Jesum benedictum (2p. of Salve regina misericordiae)

Et omnia (3p. of Dixi ergo in corde meo)

Et plus quam ecclesiam (5p. of Fertur [vertur] in conviviis vinus)

Et tamen (3p. of Quicumque vult salvus esse)

Et valde mane (6p. of Alleluia Surrexit Dominus)

Evehor invidia pressus (2p. Rumpere livor), 5vv, 1582e; S xi, 53, M xii

Exaltabo te (2p. of Concupiscendo concupiscit)

Exaltabo te Domine, 4vv, 1582b; S iii, 59, M xix

Exaltabo te Domine (2p. Domine eduxisti), 6vv, 1594; S xvii, 136, M xvi

Exaudi Deus (2p. of Timor et tremor)

Exaudi Deus orationem meam (2p. Contristatus sum), 3vv, 1575; S i, 52, M xi

Exaudi Deus orationem meam, 4vv, 1585d; S iii, 20, M xiv

Exaudi Domine preces, 5vv, 1573b; S ix, 56, M ix

Exaudi Domine vocem meam (2p. Ne avertas), 5vv, 1562; S vii, 158, M ii

Exaudi me Domine, 3vv, 1575; S i, 46, M xi

Expectans expectavi Dominum, 4vv, 1585d; S iii, 72, M xiv

Expectatio justorum, 2vv, 1577d; S i, 3, M xi

Exultate justi, 4vv, 1568b; S iii, 2

Exultet coelum mare, 5vv, 1571b; S iii, 144, M viii

Exurgat Deus, 4vv, 1588d; S iii, 1, M xix

Exurgat Deus (2p. Cantate ei; 3p. Deus in loco), 5vv, 1573b; S ix, 105, M ix

Fac mecum signum (2p. of Locutus sum in lingua mea)

Factus est Dominus, 4vv, 1585d; S iii, 85, M xiv

Fallax gratia, 4vv, 1573c; S i, 143, M x

Feci judicium, 5vv, 1582e; S ix, 120, M xii

Felices (2p. of Salva festa dies)

Fertur [vertur] in conviviis vinus [Tristis ut Euridicen Orphaeus ab orco] (2p. Volo inter omnia; 3p. Potatores incliti; 4p. Meum est propositum; 5p. Et plus quam ecclesiam), 4vv, 1564c; S iii, 99, M xvii

Fiat cor meum (2p. of Confundantur superbi)

Fiat Domine (2p. of Cantantibus organis)

Fili quid fecisti nobis sic, 5vv, 1564⁴; S vii, 14, M iii

Fili recordare (2p. of Pater Abraham miserere)

Flemus extremus (2p. Regiam Christi), 6vv, 1604; S xix, 40, M xxi

Forte soporifera, 5vv, 1566¹⁷; S xi, 98, M xvii

Fratres gaudete in Domino (2p. Petitiones vestrae), 6vv, 1585a; S xv, 97, M xv

Fratres nescitis, 6vv, 1594; S xv, 95, M xvi

Fratres qui gloriatur, 6vv, 1604; S xv, 126, M xxi

Fratres sobrii, 4vv, 1569b; S i, 129, M xvii

Fremuit spiritus Jesus (2p. Videns Dominus), 6vv, 1556; S xv, 23, M i

Fructus autem (3p. of Diliges proximum)

Fuit homo missus (2p. of In principio erat verbum)

Fulgebunt justi, 2vv, 1577d; S i, 6, M xi

Futurum est (2p. of Quid prodest homini)

Gaudet exultetque (2p. of Quid trepides)

Gaude a laetare (2p. of Jerusalem plantavis)

Gaudent in coelis, 4vv, 1573b; S i, 133, M ix

Genuit puerpera regem, 6vv, 1594; S xi, 164, M xvi

Gloriamur in tribulationibus, 6vv, 1604; S xv, 144, M xxi

Gloria Patri (7p. of Alleluia Surrexit Dominus)

Gloria Patri et Spiritui Sancto, 6vv, 1566c; H i, 71, M v

Gloria pontificum Ernestus (2p. of Princeps Marte potens)

Gratia sola Dei (2p. Legitimo ergo; 3p. Res mira), 5, 1569a; S iii, 117, M vii

Gressus meos dirige, 4vv, 1585b; S iii, 70, M xiv

Gustate et videte (2p. Divites eguerunt), 5vv, 1556; S v, 73, M i

Guttur tuam (2p. of Quam pulchra es)

Haec est fides (4p. of Quicumque vult salvus esse)

Haec est vera fraternitas, 6vv, 1585a; S xiii, 167, M xv

Haec quae ter triplici, 3vv, 1575; S i, 20, M xi

Heroum soboles, 6vv, 1556; S xi, 122, M i

Heu mihi (2p. of Ad Dominum cum tribularer)

Heu mihi Domine quia peccavi, 5vv, 1556; S ix, 6, M i

Heu quantus dolor, 5vv, 1562; S xi, 51, M ii

Heu quis armorum furor (2p. Jam satio longo), 6vv, 1594; S xix, 44, M xvi

Heu quos dabimus miseranda (2p. Mens male), 6vv, 1601³; S xix, 48, M xx

Heu quos dabimus miseranda (2p. Mens male), 7vv, 1604; S xix, 116, M xxi

Hic belligeras (2p. of Tragico tecti syrmate coelites)

Hic sunt quos habuimus (2p. of Stabunt justi)

Hispanum ad coenam (2p. Mox importuno), 5vv, 1569a; S xi, 90, M vii

Hodie apparuit (2p. of Resonet in laudibus)

Hodie completi sunt (2p. Misit eos), 6vv, 1582d; S xiii, 32, M xiii

Homo cum in honore esset, 6vv, 1566d; S xv, 90, M v

Honorabile est, 4vv, 1573c; S i, 123, M x

Hostem repellas (3p. of Veni Creator Spiritus)

Huc ades, o Erneste, 6vv, 1585a; S xi, 105, M xv

Huc me sidereo (2p. Pungentem capiti; 3p. De me solus amor), 6vv, 1568a; S xi, 180, M vi

IL-il-LIC-lic (2p. of SU-su-PER-per)

Illumina oculos meos, 4vv, 1604; S i, 107, M xix

Illustra faciem tuam (2p. Quam multa multitudo), 5vv, 1562; S ix, 77, M ii

Immittet Angelus Domini, 4vv, 1582b; S iii, 69, M xix

Impleta sunt (2p. of Vexilla regis prodeunt)

Improperium expectavit, 4vv, 1585d; S iii, 21, M xiv

Impulsus eversus sum (2p. Vox exultationis), 5vv, 1582e; S ix, 114, M xii

Inclina Domine, 4vv, 1555b; S iii, 26, M xvii

Inclina Domine, 9vv, 1604; S xxi, 106, M xxi

In convertendo Dominus (2p. Convertere Domine), 8vv, 1565b; S xxi, 63, M iv

In dedicatione templi, 6vv, 1594; S xv, 121, M xvi

In Deo salutarem meum (2p. Sperate in eo), 6vv, 1573b; S xvii, 140, M ix

Inde tuo si quis (2p. of Confisus Domino)

In Domino laudabitur (2p. of Benedicam Dominum)

In exitu Israel, 6vv, c1581, Mbs; H xxv, 157

Infelix ego (2p. Solus igitur; 3p. Ad te igitur), 6vv, 1566d; S xiii, 95, M v

Inferni claustra (2p. of Jesu nostra redemptio)

In hora ultima, 6vv, 1604; S xv, 151, M xxi

In illo tempore, 6vv, 1577c; S xv, 20, M xviii

Iniquos odio habui (2p. Declinate), 4vv, 1565b; S iii, 5, M iv

In me transierunt, 5vv, 1562; S ix, 49, M ii

In monte Oliveti, 6vv, 1568a; S xi, 187, M vi

In omnibus requiem quaesivi, 7vv, 1565b; S xix, 101, M iv

In pace in idipsum, 3vv, 1604; S i, 59, M xxi

In principio erat verbum (2p. Fuit homo missus; 3p. In propria venit), 6vv, 1566d; S xv, 8, M v

In propria venit (3p. of In principio erat verbum)

In quoscumque locos, 5vv, 1597; S xi, 17, M xx

In religione homo vivit, 6vv, 1585a; S xv, 66, M xv

In te Domine speravi (2p. Quonium fortitudo mea), 6vv, 1564³; S xvii, 87, M iii

Intende voci, 4vv, 1585d; S iii, 19, M xiv

In teneris (4p. of Prophetiae Sibyllarum)

Inter animalia (2p. of Jubilemus singuli)

Inter natos mulierum, 5vv, 1571b; S v, 150, M viii

In te speravi Domine, 4vv, 1582b; S iii, 82, M xix

Inveterata sunt (2p. of Prolongati sunt dies mei)

Ipsa Deum (8p. of Prophetiae Sibyllarum)

Ipsa te cogat (3p. of Jesu nostra redemptio)

Ipse castigavit (2p. of Confitemini Domino)

Iste flos Alemannorum (2p. Languor nunc; 3p. Papa viduatam), 4vv, 1604; S i, 141, Mxxi

Jam lucis orto sidere (2p. Qui ponit aquam), 8vv, 1564¹; S xxi, 84, M iii

Jam mea (6p. of Prophetiae Sibyllarum)

Jam non dicam vos (2p. Accipite Spiritum), 6vv, 1573a; S xiii, 38, M xviii

Jam quod quaesivi (2p. of Quocumque loco fuero)

Jam satio longo (2p. of Heu quis armorum furor)

Jerusalem (2p. of Laetatus sum)

Jerusalem plantabis vineam (2p. Gaude et laetare), 5vv, 1562; S iii, 134, M ii

Jesu corona virginum (2p. Quocumque pergis; 3p. Te deprecamur; 4p. Laus honor), 6vv, 1565c; S xiii, 174, M v

Jesu nostra redemptio (2p. Inferni claustra; 3p. Ipsa te cogat; 4p. Tu esto nostrum gaudium), 6vv, 1567³; S xiii, 18, M xvii

Johannes est nomen eius, 4vv, 1604; S i, 136, M xxi

Jubilate Deo omnis terra, 4vv, 1585d; S iii, 62, M xiv

Jubilate Deo omnis terra (2p. Populus eius), 6vv, 1565b; S xvii, 149, M iv

Jubilemus singuli (2p. Inter animalia), 6vv, 1570g; S xi, 151, M vii

Junior fui, 6vv, 1566d; S xv, 101, M v

Justi tulerunt spolia impiorum, 2vv, 1577d; S i, 4, M xi

Justorum animae, 5vv, 1582e; S v, 139, M xii

Justus cor suum tradet, 2vv, 1577d; S i, 2, M xi

Justus Dominus (2p. of Oculi omnium)

Justus es Domine, 3vv, 1577a; S i, 35, M xi

Juvenes et virgines (3p. of Laudate Dominum de coelis)

Laetatus sum (2p. Jerusalem; 3p. Quia illic; 4p. Propter fratres), 3vv, 1575; S i, 36, M xi

Laetentur coeli (2p. Tunc exultabunt), 4vv, 1569b; S iii, 76, M xvii

Lauda anima mea Dominum, 4vv, 1573b; S iii, 75, M ix

Lauda anima mea Dominum, 6vv, 1594; S xvii, 34, M xvi

Laudabit usque ad mortem, 8vv, 1604; S xxi, 41, M xxi

Laudabo nomen (2p. of Ergo sum pauper)

Lauda Jerusalem Dominum (2p. Qui emittit; 3p. Emittit verbum; 4p. Non fecit taliter), 6vv, 1565c; S xiii, 70, M v

Lauda mater ecclesia, 5vv, 1597; S v, 171, M xx

Lauda mater ecclesia (2p. Aegra currit; 3p. Surgentem cum victoria), 6vv, 1582d; S xv, 3, M xiii

Lauda Sion salvatorum (2p. Dies enim; 3p. Quod non capis; 4p. Ecce panis), 6vv, 1577c; H i, 75, M xviii

Laudate Dominum de coelis (2p. Laudate Dominum de terra; 3p. Juvenes et virgines; 4p. Laudate eum), 5vv, 1565b; S ix, 161, M iv

Laudate Dominum omnes gentes, 6vv, 1604; S xv, 156, M xxi

Laudate Dominum omnes gentes, 12vv, 1573a; S xxi, 152, M xviii

Laudate Dominum quoniam bonus est (2p. Magnus Dominus; 3p. Praecinite; 4p. Non in fortitudine), 7vv, 1568a; S xix, 106, M vi

Laudate eum (4p. of Laudate Dominum de coelis)

Laudate pueri Dominum, 7vv, 1568a; S xix, 94, M vi

Laudavi igitur laetitiam, 6vv, 1604; S xv, 154, M xxi

Laudent Deum cythara, 4vv, 1604; S iii, 58, M xxi

Laus honor (4p. of Jesu corona virginum)

Legem pone mihi (2p. Da mihi intellectum), 5vv, 1562; S ix, 73, M ii

Legitimo ergo (2p. of Gratia soli Dei pie)

Levabo oculos meos, 4vv, 1582b; S iii, 29, M xix

Levavi oculos meos, 8vv, 1566d; S xxi, 71, M v

Libera me Domine, 6vv, 1568a; S xv, 109, M vi

Libet jacere (3p. of Beatus ille qui procul)

Locutus sum in lingua mea (2p. Fac mecum signum), 6vv, 1568a; S xiii, 62, M vi

Lucescit jam o socii (see ‘Chansons’)

Luna velut (6p. of Princeps Marte potens)

Luxuriosa res vinum, 6vv, 1594; S xv, 85, M xvi

Magnanimus princeps (3p. of Princeps Marte potens)

Magnus Dominus (2p. of Laudate Dominum quoniam bonum est)

Manum nomen Domini (3p. of Resonet in laudibus)

Maria Magdalena (4p. of Alleluia Surrexit Dominus)

Martini festum celebremus (2p. Plebs igitur), 5vv, 1573b; S v, 153, M ix

Matronarum decus (4p. of Princeps Marte potens)

Media vita in morte sumus (2p. Sancte Deus), 6vv, 1573b; S xiii, 90, M ix

Meditabor in mandatis, 4vv, 1582b; S iii, 83, M xix

Memento peccati tui, 5vv, 1597; S vii, 58, M xx

Me miserum (2p. of Quis mihi quia te rapuit)

Memor esto, 6vv, 1585a; S xvii, 32, M xv

Mens male (2p. of Heu quos dabimus miseranda)

Meum est propositum (4p. of Fertur [vertur] in conviviis vinus)

Mirabile mysterium, 5vv, 1556; S v, 18, M i

Mira loquor sed digna fide, 10vv, 1604; S xxi, 126, M xviii

Miserere mei Deus (4p. of Psalmi Davidis poentitentiales)

Miserere mei Domine, 4vv, 1585d; S iii, 31, M xiv

Miserere nostri (2p. of Ad te levavi oculos)

Misericordias Domini, 5vv, 1573b; S ix, 9, M ix

Misit eos (2p. of Hodie completi sunt)

Missus est angelus (2p. Ne timeas Maria; 3p. Dixit autem; 4p. Dixit autem), 5, 6vv, 1565c; S vii, 16, M v

Momenta quaevis temporis, 6vv, 1601³; S xix, 58, M xx

Mors tua mors Christi (2p. Quisquid erit), 5vv, 1585b; S vii, 43, M xix

Mortalium jucunditas, 5vv, 1597; S xi, 20, M xx

Mox importuno (2p. of Hispanum ad coenam)

Multe tribulationes, 6vv, 1577c; S xv, 65

Multarum hic resonat, 5vv, 1571b; S iii, 112, M viii

Multifariam multisque modis, 6vv, 1594; S xi, 161, M xvi

Multum quidem (2p. of Audi benigne conditor)

Musica Dei donum optimi, 6vv, 1594; S xix, 63, M xvi

Narrate omnia (2p. of Confitemini Domino)

Ne avertas (2p. of Exaudi Dominum vocem meam)

Nec minus effulget Salome (7p. of Princeps Marte potens)

Nectar et ambrosiam, 6vv, 1594; S xi, 109, M xvi

Ne derelinquas amicus, 6vv, 1604; S xv, 134, M xxi

Ne reminiscaris, 4vv, 1577c; S i, 109, M xviii

Ne reminiscaris, 7vv, 1577c; S xix, 78, M xviii

Ne timeas Maria (2p. of Missus est angelus)

Nisi Dominus (2p. Cum dederit), 5vv, 1562; S ix, 66, M ii

Nisi ego abiero (2p. of Tempus est ut revertar)

Noli regibus o Lamuel (2p. Date siceram), 5vv, 1571b; S vii, 47, M viii

Nolite timere (2p. of Angelus Domini descendit)

Non des mulieri potestatem, 6vv, 1604; S xv, 139, M xxi

Non fecit taliter (4p. of Lauda Jerusalem Dominum)

Non in fortitudine (4p. of Laudate Dominum quoniam bonum est)

Non me lasciviae (2p. of Quid tamen)

Non moriar (2p. of O Domine salvum me fac)

Non secundum (3p. of Benedic anima mea Domino)

Non tarde (3p. of Prophetiae Sibyllarum)

Non vos me elegistis, 5vv, 1562; S v, 141, M ii

Nos pia turba (3p. of Alma parens)

Nos qui sumus in hoc mundo, 4vv, 1573b; S i, 139, M ix

Numquid redditur (2p. of Popule meus)

Nunc cognosco (2p. of Cum essem parvulus)

Nunc elegos divae (2p. of Alma Venus)

Nunc gaudere licet [Or sus, esgaions nous], 6vv, 1568a; S xix, 66, M vi

Nunciaverunt (2p. of Dixit Joseph undecim fratribus suis)

Nunc juvat immensi (3p. of Quis mihi quia te rapuit)

Nuntium vobis fero (2p. Thus, Deo), 5vv, 1571b; S v, 9, M viii

Nuptiae factae sunt (2p. Dixit mater; 3p. Et dicit ei Jesu; 4p. Omnis homo), 6vv, 1566d; S xv, 30, M v

Nuptias clares (2p. Viribus magni), 5vv, 1597; S xi, 7, M xx

O altitudo divitiarum (2p. Quis enim cognovit), 6vv, 1582d; S xi, 133, M xiii

O beatum hominem (2p. of Quam benignus es)

O bone Jesu o piissime Jesu (2p. O bone Jesu si merui; 3p. O misericordissime), 4vv, 1582b; S i, 69, M xix

O bone Jesu si merui (2p. of O bone Jesu, o piissime Jesu)

Obscura sub nocte (2p. of Edite Caesareo Boiorum)

O crux ave (4p. of Vexilla regis prodeunt)

O crux splendidior (2p. Dulce lignum), 6vv, 1568a; S xi, 167, M vi

Oculi mei semper, 6vv, 1585a; S xvii, 15, M xv

Oculi omnium (2p. Justus Dominus), 5vv, 1573b; S vii, 122, M ix

Oculus non vidit, 2vv, 1577d; S i, 2, M xi

O decus celsi genus, 6vv, 1582d; S xi, 156, M xiii

O Domine salvum me fac (2p. Non moriar), 5vv, 1562; S ix, 26, M ii

O gloriosa domina (2p. Tu regis), 6vv, 1577c; S xiii, 139, M xviii

O gloriosa domina, 6vv, 1573b; S xiii, 145, M ix

O Maria clausus hortus, 3vv, 1575; S i, 29, M xi

O Meliboee (2p. of Tityre tu patule)

O misericordissime (3p. of O bone Jesu o piissime Jesu)

Omnes de Saba venient, 8vv, 1590⁵; S xxi, 1, M xix

Omnia quae feasti, 5vv, 1562; S vii, 127, M ii

Omnia tempus habent (2p. Tempus amplexandi), 8vv, 1585a; S xxi, 77, M xv

Omnis enim homo, 6vv, 1585a; S xv, 58, M xv

Omnis homo (4p. of Nuptiae factae sunt)

Omnium deliciarum, 6vv, 1604; S xv, 132, M xxi

O mors bonum est (2p. of O mors quam amara)

O mors quam amara (2p. O mors bonum), 6vv, 1564b; S xv, 67, M iv

O peccator, 6vv, 1604; S xiii, 163, M xxi

O quam flagrans (2p. of Ave color vini clari)

O quam suavis, 6vv, 1568a; S xiii, 61, M vi

O sacrum convivium, 5vv, 1582e; S v, 68, M xii

O salutaris hostia, 5vv, 1582e; S v, 79, M xii

Osculetur me osculo, 8vv, 1582a; S xxi, 9, M xix

Pacis amans (2p. Te nunc laetetur), 6vv, 1570b; S xi, 125, M xviii

Panem nostrum (2p. of Pater noster)

Pater Abraham miserere (2p. Fili recordare), 5vv, 1571b; S vii, 1, M viii

Pater noster, 4vv, 1573b; S i, 104, M ix

Pater noster (2p. Panem nostrum), 6vv, 1585a; S xiii, 77, M xv

Pater noster, 6vv, 1565b; S xiii, 81, M iv

Pater peccavi (2p. Quanti mercenarii), 5vv, 1564c; S vii, 24, M xvii

Pauper sum ego, 4vv, 1573b; S iii, 79, M ix

Peccantem me quotidie, 4vv, 1555b; S i, 159, M xvii

Peccata mea Domine, 5vv, 1582e; S ix, 3, M xii

Peccavi quid faciam, 5vv, 1556; S vii, 100, M i

Peccavit David, 6vv, 1604; S xv, 129, M xxi

Perfice gressus meos, 4vv, 1585d; S iii, 86, M xiv

Petitiones vestrae (2p. of Fratres gaudete in Domino)

Plebs igitur (2p. of Martini festum celebremus)

Popule meus (2p. Numquid redditur), 5vv, 1582e; S v, 34, M xii

Populum humilem, 4vv, 1585d; S iii, 67, M xiv

Populus eius (2p. of Jubilate Deo omnis terra)

Possedi servos (2p. of Dixi ergo in corde meo)

Potatores incliti (3p. of Fertur in conviviis vinus)

Praecinite (3p. of Laudate Dominum quoniam bonum est)

Praesidium Sara, 4vv, 1570a; H i, 7, M xviii

Precatus est Moyses, 4vv, 1585d; S iii, 23, M xiv

Princeps egregius (8p. of Princeps Marte potens)

Princeps Marte potens, Guilelmus (2p. Gloria pontificum Ernestus; 3p. Magnanimus princeps; 4p. Matronarum decus; 5p. Virginitatis honos; 6p. Luna velut rutilat; 7p. Nec minus effulget Salome; 8p. Princeps egregius; 9p. Vive Pater patriae), 4, 8vv, 1604; S i, 61, M xxi

Proba me Deus, 4vv, 1579; S iii, 35, M xviii

Prolongati sunt dies mei (2p. Inveterata sunt; 3p. Si ergo fas), 6vv, 1594; S xvii, 1, M xvi

Pronuba Juno tibi [Gratia summi; Qui regit astra], 4vv, 1570a; H i, 3, M xviii

Prophetiae Sibyllarum (1p. Virgine matre; 2p. Ecce dies venient; 3p. Non tarde; 4p. In teneris; 5p. Ecce dies nigras; 6p. Jam mea; 7p. Dum meditor; 8p. Ipsa Deum; 9p. Virginis aeternum; 10p. Verax ipse; 11p. Cerno Dei; 12p. Summus erit), 4vv, 1600; ed. in Cw, xlviii (1937/R)

Propterea Deus (2p. of Quid gloriaris)

Propter fratres (4p. of Laetatus sum)

Providebam Dominum, 7vv, 1604; S xix, 98, M xxi

Psalmi Davidis poenitentiales (1p. Domine ne in furore tuo … miserere; 2p. Beati quorum remissae sunt; 3p. Domine ne in furore tuo … quoniam; 4p. Miserere mei Deus; 5p. Domine exaud … non avertas; 6p. De profundis; 7p. Domine exaudi … auribus percipe), 5vv, 1584b/R1970; ed. in RRMR, lxxxvi–lxxxvii (1990)

Pulvis et umbra sumus, 4vv, 1573b; S i, 127, M ix

Quam benignus es (2p. O beatum hominem), 4vv, 1562; S ix, 30, M ii

Quam bonus Israel Deus (2p. Quia non est respectus), 6vv, 1594; S xix, 1, M xvi

Quam magnificata sunt (2p. Beatus homo), 6vv, 1564³; S xvii, 7, M iii

Quam multa multitudo (2p. of Illustra faciem)

Quam pulchra es (2p. Guttur tuam), 6vv, 1585a; S xiii, 149, M xv

Quanti mercenari (2p. of Pater peccavi)

Quare tristis es anima mea?, 4vv, 1573c; S i, 154, M x

Quare tristis es anima mea?, 6vv, 1564b; S xvii, 12, M iv

Quasi cedrus, 4vv, 1564⁵; S i, 93, M iii

Qua sina coelestis (2p. of Alma parens)

Quemadmodum desiderat cervus, 6vv, 1569a; S xix, 18, M vii

Quem dicunt homines (2p. Tu es Christus), 5vv, 1567³; S vii, 6, M xvii

Quem vidistis pastores?, 5vv, 1569a; S v, 1, M vii

Quia delectasti (2p. of Deus canticum novum)

Quia illic (3p. of Laetatus sum)

Quia non est respectus (2p. of Quam bonus Israel Deus)

Quia vidisti me, 4vv, 1563³; S i, 137, M xvii

Quicumque vult salvus esse (2p. Alia est enim; 3p. Et tamen; 4p. Haec est fides), 5vv, 1577c; H i, 32, M xviii

Qui cupit, 4vv, 1564⁵; S i, 125, M iii

Quid estis pusillanimes, 4vv, 1573c; S i, 121, M x

Quid facies, 4vv, 1582b; S iii, 100, M xix

Quid gloriaris (2p. Propterea Deus), 5vv, 1566c; S ix, 81, M v

Quid prodest homini (2p. Futurum est), 5vv, 1571b; S vii, 70, M viii

Quid prodest stulto, 5vv, 1564c; S vii, 41, M xvii

Quid tamen [sponsa quid agis] (2p. Non me lascivia), 5vv, 1571b; S xi, 64, M viii

Quid trepidas (2p. Gaudeat exultetque), 6vv, 1570g; S xi, 111, M vii

Quid vulgo memorant, 8vv, 1604; S xix, 122, M xxi

Qui emittit (2p. of Lauda Jerusalem Dominum)

Qui maris terrae (2p. of Sidus ex claro veniet)

Qui moderatur sermones suos, 6vv, 1604; S xv, 142, M xxi

Qui novus aethereo, 5vv, 1569a; S v, 80, M vii

Qui patiens est, 6vv, 1604; S xv, 137, M xxi

Qui ponit aquam (2p. of Jam lucis orto)

Qui replet (2p. of Benedic anima mea Domino)

Quis enim cognovit (2p. of O altitudo divitiarum)

Qui sequitur me, 2vv, 1577d; S i, 3, M xi

Quis est homo, 5vv, 1567³; S ix, 53, M xvii

Quis mihi det lacrimis, 5vv, 1573b; S v, 44, M ix

Quis mihi quis tete rapuit [Quid tibi quidnam] (2p. Me miserum; 3p. Nunc juvat immensi), 5vv, 1565b; S xi, 30, M iv

Quis non timet (2p. of Cantabant canticum Moysi)

Quisquid erit (2p. of Mors tua mors Christi)

Qui sunt hi sermones (2p. Tu solus peregrinus), 5vv, 1582e; S vii, 9, M xii

Quis valet eloquio, 5vv, 1565b; S xi, 78, M iv

Qui timet Deum, 6vv, 1594; S xv, 56, M xvi

Qui tribulant me (2p. Unam petii), 4vv, 1582b; S i, 145, M xix

Qui viderit (2p. of Vicenti dabo edere)

Qui vult venire post me, 2vv, 1577d; S i, 5, M xi

Quocumque loco fuero (2p. Jam quod quae sivi), 5vv, 1585b; S v, 65, M xix

Quocumque pergis (2p. of Jesu corona virginum)

Quod licet id libeat, 5vv, 1604; S xi, 16, M xxi

Quod non capis (3p. of Lauda Sion salvatorem)

Quo fers (2p. of Accipe qua recrees)

Quoniam ad te (2p. of Verba mea auribus percipe)

Quoniam fortitudo mea (2p. of In te Domine speravi)

Quoniam qui talia (2p. of Diliges proximum)

Quo properas, facunde nepos Atlantis?, 10vv, 1565b; S xxi, 112, M iv

Rebus in adversis, 5vv, 1569a; S vii, 68, M vii

Recordare Jesu pie, 6vv, 1594; S xv, 112, M xvi

Recordatus (4p. of Benedic anima mea Domino)

Regiam Christi (2p. of Flemus extremos)

Regina coeli laetare (2p. Resurrexit sicut dixit), 4vv, 1604; S i, 81, M xxi

Regina coeli laetare, 5vv, 1604; S v, 106, M xxi

Regina coeli laetare (2p. Resurrexit sicut dixit) (i), 5vv, 1604; S v, 109, M xviii

Regina coeli laetare (2p. Resurrexit sicut dixit) (ii), 5vv, 1604; S v, 112, M xxi

Regina coeli laetare (2p. Resurrexit sicut dixit) (i), 6vv, 1585a; S xiii, 118, M xv

Regina coeli laetare (2p. Resurrexit sicut dixit) (ii), 6vv, 1604; S xiii, 122, M xix

Regina coeli laetare (2p. Resurrexit sicut dixit), 7vv, 1604; S xix, 84, M xix

Regnum mundi, 6vv, 1573b; S xiii, 170, M ix

Res mira (3p. of Gratia soli Dei pie)

Res neque ab internis, 5vv, 1569a; S xi, 69, M vii

Resonet in laudibus (2p. Hodie apparuit; 3p. Manum nomen Domini), 5vv, 1569a; S iii, 148, M vii

Respexit Elias, 5vv, 1582e; S v, 158, M xii

Respice me (2p. of Tu Domine benignus es)

Respicit Dominus vias hominis, 6vv, 1594; S xvii, 37, M xvi

Resurrexit sicut dixit (2p. of Regina coeli laetare)

Rumpere livor (2p. of Evehor invidia pressus)

Rumpitur invidia, 5vv, 1569a; S xi, 72, M vii

Rursum contemplatus (2p. of Vidi calumnias)

Sacrificate (2p. of Cum invocarem exaudibit me)

Salve festa dies (2p. Felices), 5vv, 1568b; S xi, 1, M vi

Salve regina mater (2p. Et Jesum benedictum), 5vv, 1597; S v, 115, M xx

Salve regina mater, 6vv, 1582d; S xiii, 125, M xiii

Salve regina mater, 6vv, 1604; S xiii, 128, M xix

Salve Regina, 6vv, 1604; M xix

Salve regina mater, 8vv, 1604; S xxi, 18, M xix

Salve regina misericordiae, 4vv, 1573b; S i, 83, M ix

Salve regina misericordiae (2p. Et Jesum benedictum), 4vv, 1586⁴; S i, 89, M xix

Sancta et immaculata, 3vv, 1575; S i, 27, M xi

Sancta Maria (i), 4vv, 1604; S iii, 110, M xxi

Sancta Maria (ii), 4vv, 1604; S iii, 110, M xxi

Sancta Maria (iii), 4vv, 1604; S iii, 111, M xxi

Sancta Maria, 5vv, 1585b; S v, 135, M xix

Sancte Deus (2p. of Media vita in morte sumus)

Sancti mei, 2vv, 1577d; S i, 4, M xi

Sancti qui sunt (2p. of Conserva me Domine)

Scapulis suis, 4vv, 1582b; S iii, 12, M xix

Scio enim quod Redemptor, 4vv, 1563³; S iii, 105, M xvii

Sepulchrum patens (2p. of Domine deduc me)

Serve bone et fidelis, 2vv, 1577d; S i, 6, M xi

Si ambulavero in medio, 5vv, 1556; S ix, 18, M i

Si bene perpendi, 5vv, 1579; S xi, 37, M xviii

Si bona suscepimus, 5vv, 1571b; S ix, 87, M viii

Si coelum et coeli coelorum, 6vv, 1594; S xv, 115, M xvi

Sic sua virtutum (2p. Tu maxime rerum), 5vv, 1604; S xi, 4, M xxi

Si cum transierint (2p. of Stet quicumque volet)

Sicut ablactatus (2p. of Domine non est exaltatum)

Sicut mater consolator, 5vv, 1562; S vii, 97, M ii

Sicut rosa inter spinas, 2vv, 1577d; S i, 7, M xi

Sidus ex claro veniet (2p. Qui maris terrae), 5vv, 1569a; S iii, 153, M vii

Si ergo fas (3p. of Prolongati sunt dies mei)

Signum est (3p. of Cum invocarem exaudibit me)

Si qua tibi obtulerint, 6vv, 1556; S xi, 118, M i

Si quid vota valent, 5vv, 1571b; S iii, 124, M viii

Solus igitur (2p. of Infelix ego)

Sperate in eo (2p. of In Deo salutaren meum)

Sperent in te omnes, 4vv, 1585d; S i, 155, M xiv

Sponsa quid agis: see Quid tamen

Stabat mater dolorosa, 8vv, 1585d; M xiv

Stabunt justi (2p. Hic sunt quos habuimus), 5vv, 1571b; S vii, 61, M viii

Stet quicumque volet potens (2p. Si cum transierint), 5vv, 1556; S xi, 44, M i

Summus erit (12p. of Prophetiae Sibyllarum)

Super flumina Babylonis, 4vv, 1585d; S iii, 25, M xiv

Surgens Jesus, 5vv, 1562; S v, 60, M ii

Surgentem cum victoria (3p. of Lauda mater ecclesia)

Surge propera amica mea et veni (2p. Surge … columba mea), 6vv, 1564b; S xiii, 158, M iv

Surge … speciosa (2p. of Surge propera amica mea et veni)

Surrexit Pastor bonus, 5vv, 1562; S v, 57, M ii

SU-su-PER-per (2p. IL-il-LIC-lic), 5vv, 1567¹³; S ix, 133, M xvii

Taedet animam, 5vv, 1562; S vii, 103, M ii

Te decet hymnus, 4vv, 1564⁵; S iii, 37, M iii

Te deprecamur (3p. of Jesu corona virginum)

Te Deum laudamus, 6vv, 1568a; S xix, 24, M vi

Te merito Daniel (2p. Subque tuo Daniel), 5vv, 1604; S v, 160, M xxi

Tempus amplexandi (2p. of Omnia tempus habent)

Tempus est ut revertar (2p. Nisi ego abiero), 6vv, 1566d; S xiii, 25, M v

Te nunc laetetur (2p. of Pacis amans)

Te spectant Reginalde Poli, 5vv, 1556; S iii, 127, M i

Thoma (2p. of Clare sanctorum senatus)

Thus, Deo (2p. of Nuntium vobis fero)

Tibi laus tibi gloria, 4vv, 1586⁴; S i, 67, M xiv

Tibi laus tibi gloria (2p. Da gaudiorum), 5vv, 1564⁴; S iii, 130, M iii

Tibi progenies unica patris (2p. Tu quae versat; 3p. Tu nostros Deus; 4p. Dum nos Erebi; 5p. Tu multa), 5vv, 1604; S xi, 40, M xxi

Tibi progenies (2p. Tu quae versat; 3p. Dum nos Erebi), 6vv, 1604; S xix, 35, M xxi

Timor Domini gloria, 6vv, 1604; S xv, 147, M xxi

Timor Domini principium, 6vv, 1594; S xv, 87, M xvi

Timor et tremor (2p. Exaudi Deus), 6vv, 1564³; S xix, 6, M iii

Tityre tu patulae (2p. O Meliboee), 6vv, 1560b; S xix, 68, M xvii

Tota pulchra es, 4vv, 1604; S i, 96, M xxi

Tragico tecti syrmate coelites, 5vv, 1597; S xi, 75, M xx

Tragico tecti syrmate coelites (2p. Hic belligeras), 6vv, 1604; S xix, 53, M xxi

Tribulationem et dolorem (2p. Convertere anima), 4vv, RISM 1569⁸; S iii, 8, M xvii

Tribus miraculis, 5vv, 1565c; S v, 25, M v

Tristis est anima mea, 5vv, 1565b; S v, 48, M iv

Tu Domine benignus es (2p. Respice me), 5vv, 1565b; S v, 87, M iv

Tu es Christus (2p. of Quem dicunt homines)

Tu esto nostrum gaudium (4p. of Jesu nostra redemptio)

Tui sunt coeli, 8vv, 1604; S xxi, 5, M xxi

Tulerunt (2p. of Congratulamini mihi)

Tu maxime rerum (2p. of Sic sua virtutum)

Tu modo diva (4. of Alma parens)

Tu multa (5p. of Tibi progenies, 5vv)

Tunc exultabunt (2p. of Laetentur coeli)

Tu nostros Deus (3p. of Tibi progenies, 5vv)

Tu quae versat (2p. of Tibi progenies, 5vv, 6vv)

Tu regis (2p. of O gloriosa domina)

Tu septiformis muner (2p. of Veni Creator Spiritus)

Tu solus peregrinus (2p. of Qui sunt his sermones)

Ubi David (3p. of Audi tellus)

Ubi est Abel, 5vv, 1567³; S vii, 80, M xvii

Ubi Plato (2p. of Audi tellus)

Unam petii (2p. of Qui tribulant me)

Unde revertimini, 8vv, 1573c; S xix, 138, M x

Unus Dominus una fides, 6vv, 1604; S xv, 124, M xxi

Urbem praeclaram (2p. of Dulces exuviae)

Ut queant laxis, 5vv, 1582e; S v, 152, M xii

Ut radios edit rutilo, 5vv, 1565b; S xi, 85, M iv

Ut venientes (5p. of Alleluia Surrexit Dominus)

Veniant mihi (2p. of Cognovi Domine)

Veni Creator Spiritus (2p. Tu septiformis muner; 3p. Hostem repellas), 6vv, 1568a; S xiii, 43, M vi

Veni dilecte mi (2p. Videamus si), 5vv, 1571b; S v, 124, M viii

Veni Domine et noli tardare, 5vv, 1583²; S ix, 1, M xix

Veni Domine et noli tardare, 6vv, 1570g; S xvii, 84, M vii

Veni in hortum meum, 5vv, 1562; S v, 120, M ii

Veni Sancte Spiritus, 6vv, 1582d; S xiii, 53, M xiii

Venite ad me omnes, 5vv, 1571b; S vii, 52, M viii

Venite filii audite me (2p. Diverte a malo), 5vv, 1604; S vii, 75, M xxi

Verax ipse (10p. of Prophetiae Sibyllarum)

Verba mea auribus percipe (2p. Quoniam ad te), 5vv, 1571b; S vii, 116, M viii

Verbum caro factum est, 6vv, 1564³; S xi, 158, M iii

Verbum caro panem verum, 3vv, 1604; S i, 58, M xxi

Verbum caro panem verum, 4vv, 1604; S i, 111, M xxi

Vere Dominus est in loco isto, 6vv, 1594; S xv, 118, M xvi

Vexilla regis prodeunt (2p. Impleta sunt; 3p. Beata cuius; 4p. O crux ave), 6vv, 1565c; S xi, 172, M v

Vias tuas (2p. of Ad to Domine levavi)

Videamus si (2p. of Veni dilecte mi)

Vide homo quae pro te patior, 7vv, 1595; S xix, 82

Videns Dominus (2p. of Fremuit spiritus Jesus)

Videntes stellam magi (2p. Et apertis), 5vv, 1562; S v, 22, M ii

Vidi calumnias (2p. Rursum contemplatus), 6vv, 1594; S xvii, 53, M xvi

Vidi impium, 5vv, 1569a; S ix, 125, M vii

Vincenti dabo edere (2p. Qui viderit), 6vv, 1594; S xiii, 56, M xvi

Vinum bonum et suave, 8vv, 1570g; S xxi, 91, M vii

Virgine matre (2p. of Prophetiae Sibyllarum)

Virginis aeternum (9p. of Prophetiae Sibyllarum)

Virginitatis honos (5p. of Princeps Marte potens)

Vita nostra (2p. of Cognoscimus Domine)

Vive pater patriae (9p. of Princeps Marte potens)

Voce mea ad Dominum clamavi, 6vv, 1604; S xix, 10, M xxi

Volo inter omnia (2p. of Fertur in conviviis vinus)

Vos quibus rector, 6vv, 1601³; S xii, 60, M xx

Vota mea (2p. of Credidi propter)

Vox exultationis (2p. of Impulsus eversus sum)

Vulnerasti cor meum, 6vv, 1582d; S xiii, 154, M xiii

Zachaee festinans descende, 5vv, 1566c; H i, 56, M v

12 textless bicinia, a 2, 1577d; S i, 13–24, M xi

madrigals

Il primo libro di madrigali, 5vv (Venice, 1555) (RISM 1555c) [1555a]

Il primo libro dove si contengono madrigali, vilanesche, canzoni francesi, e motetti, 4vv (Antwerp, 1555) (RISM 1555²⁹, same contents as 1555¹⁹) [1555b]

Secondo libro delle muse, madrigali … con una canzone del Petrarca, 5vv (Rome, 1557) (RISM 1557²²) [1557]

Il primo libro di madrigali, insieme alcuni madrigali d’altri autori, 4vv (Venice, 1560) (RISM 1560¹⁷) [1560d]

Il terzo libro di madrigali, 5vv (Rome, 1563) (RISM 1563¹¹) [1563]

Quatriesme livre des chansons, 4, 5vv (Leuven, 1564) (RISM 1564d) [1564c]

Libro quarto de madrigali, 5vv (Venice, 1567) (RISM 1567k) [1567a]

Second livre des chansons, 4, 5vv (Leuven, 1570) (RISM 1570⁶) [1570f]

Les meslanges … contenantz plusieurs chansons, tant en vers latins qu’en ryme francoyse, 4–6, 8, 10vv (Paris, 1576, earlier edn. 1570, lost, repr. with sacred contrafacta, London, 1570) (RISM 1576i) [1576b]

Continuation du mellange, 3–6, 10vv (Paris, 1584) (RISM 1584f) [1584a]

Cantica sacra, recens numeris et modulis musicis ornata, 6, 8vv (Munich, 1585) (RISM 1585b) [1585a]

Madrigali novamente composti, 5vv (Nuremberg, 1585) (RISM 1585e) [1585c]

Madrigali novamente composti, 4–6vv (Nuremberg, 1587) (RISM 1587k) [1587a]

Lagrime di S Pietro … con un mottetto nel fine, 7vv (Munich, 1595) (RISM 1595a) [1595]

Musica nuova dove si contengono madrigali, sonnetti, stanze, canzoni, villanelle et altri compositioni, 3vv (Munich, 1595), lost

1558¹³, 1561¹⁰, 1562⁷, 1566², 1567⁴, 1567¹⁶, 1569¹¹, 1569¹⁸, 1569¹⁹, 1570⁷, 1570¹⁵, 1575¹¹, 1576⁵, 1579², 1583¹⁵, 1584⁴, 1585¹⁷, 1594⁶

A che tenderm’amor, 4vv, 1570f; S viii, 59

Ahi che la forza (2p. of V’ son gl’ingegni)

Al dolce suon (Minturno), 5vv, 1569¹⁹; Hi (Nachtrag)

Al fin vidd’io (6p. of Standomi un giorno)

Al gran Guglielmo nostro, 5vv, 1584a; H i, 147

Al’hor lass (2p. of S’io tal’hor muovo gli occhi)

Al’hor mi desto (2p. of Veggio se al vero apre ragion)

Al’hor nel (4p. of Si come’al chiaro giorno)

All’ ultimo bisogno (5p. of Là ver’ e’aurora)

Alma cortese (2p. Ch’udirai), 5vv, 1555a; S ii, 12

Alma real dignissima d’impero, 4vv, 1564c; S viii, 44

Alma tu ch ’l furor (2p. of Il grave de l’età)

Almen nel suo fuggir (2p. of Io ho più tempo)

Altri non vedrà (6p. of Si come’ al chiaro giorno)

Amor che ved’ogni pensier (Petrarch), 5vv, 1563; S iv, 48

Amor mi strugge ’l cor (Petrarch) 5vv, 1563; S iv, 26

Appariran per me le stell’in cielo, 4vv, 1560d; S viii, 27

Ardo sì ma non t’amo (Tasso), 5vv, 1585¹⁷; S viii, 144, 147 (2 versions)

Arse la fiamma e consumò, 4vv, 1587a; S vi, 83

A voi Guglielmo invitto, 5vv, 1584a; H i, 143

Bella guerriera mia (Bembo) (2p. Ma se con l’opr’), 5vv, 1563; S iv, 38

Ben convenne madonna (G. Manrique) (2p. Solo n’andrò), 5vv, 1569¹⁹; H i (nachtrag), 17

Ben mi credea passar mio tempo (Petrarch), 5vv, 1555a; S ii, 67

Ben sono i premi tuoi (Fiamma) (2p. Poi che si grand’), 6vv, 1587a; S vi, 137

Ben veggio di lontan’il dolce lume (Petrarch), 4vv, 1562⁷; S viii, 37

Bianca neve è il bel collo (Ariosto), 4vv, 1573c; S viii, 78

Candid’albor del ciel, 5vv, 1557; S ii, 114

Cantai hor piango (Petrarch) (2p. Tengan dunque), 5vv, 1555a; S ii, 1

Canzon la doglia e ’l pianto, 4vv, 1587a; S vi, 90

Canzon se l’esser meco (Petrarch), 4vv, 1584a; H i, 131

Che fai alma (Petrarch), 7vv, 1569¹⁸; S x, 23

Che fai che pensi (Petrarch) (2p. Deh non rinovellar), 5vv, 1567a; S iv, 90

Che giova posseder (Bembo), 5vv, 1587a; S vi, 110

Che più d’un giorno (Petrarch), 5vv, 1576b; H i, 140

Che se la ver’ (2p. of Quel chiaro sol)

Chiara fontana (4p. of Standomi un giorno)

Chi è fermato di menar sua vita (Petrarch), 4vv, 1584a; S ii, 82

Chi’il credera (2p. of Del freddo Rheno)

Chi no’l sa di ch’io vivo (Petrarch), 5vv, 1576⁵; S viii, 123

Chi non sa come spira (2p. Ma quel ch’una), 5vv, 1587a; S vi, 113

Ch’udirai (2p. of Alma cortese)

Come la cera al foco (Fiamma), 6vv, 1585c; S vi, 66

Come la notte ogni fiamella (Ariosto), 5vv, 1584a; H i, 136

Come lume di notte (Petrarch), 4vv, 1584a; H i, 134

Come non conosch’io (3p. of La notte che segui l’horribil)

Come pianta (2p. Perchè qual peregrin), 4vv, 1587a; S vi, 87

Come sei stat’ o ciel (2p. of Ove sei vita mia)

Come va ’l mondo (Petrarch) (2p. Ma ’l cieco amor), 5vv, 1567a; S iv, 101

Con lei fuss’io (Petrarch), 5vv, 1555a; S ii, 63

Con le stell’e col sol (2p. of Del auro crin de la Tassinia bella)

Così aspettando (2p. of Mentre fiorv’amor)

Così cor mio vogliate (Ariosto), 4vv, 1587a; S vi, 80

Così quel che m’avanza (5p. of Per aspro mar di notte)

Crudel acerba inesorabil morte (Petrarch), 5vv, 1555a; S ii, 44

Dappoi che sott’il ciel (Petrarch), 5vv, 1584a; H i, 172

Deh che fuss’io (5p. of Non ha tante)

Deh hor foss’io co’l vago (Petrarch), 4vv, 1558¹³; S viii, 26

Deh lascia anima homai (Fiamma), 4vv, 1587a; S vi, 85

Deh non rinovellar (2p. of Che fai che pensi)

Deh perchè voglio anco (Ariosto) (2p. Dunque fia ver), 5vv, 1584a; H i, 183

Deh sol che sei si chiaro, 4vv, 1570f; S viii, 61

Del auro crin de la Tassinia bella (2p. Con le stell’e col sol), 5vv, 1570f; S viii, 112

De l’eterne tue sante (Fiamma) (2p. Per questa), 5vv, 1585c; S vi, 1

Del freddo Rheno (2p. Ch’il credera; 3p. Rotava ed è pur ver; 4p. Si fe cristallo; 5p. Et io qual; 6p. Hor su la nuda terra), 4vv, 1555b; S viii, 3

Dicesi che la morte (A. Marsi), 5vv, 1563; S iv, 22

Di pensier in pensier (Petrarch), 6vv, 1579²; S x, 3

Di persona era tanto ben formata (Ariosto), 4vv, 1573c; S viii, 72

Di qua di là (Ariosto), 5vv, 1584a; H i, 176

Ditemi vita mia, 7vv, 1584⁴; S x, 30

Di terrena armonia (Beccuti) (2p. Signor le colpe mia; 3p. Padre rivolgi; 4p. Stanco di lagrimar; 5p. Voi che di prave; 6p. Fugga), 5vv, 1584a [repr. without 1st stanza as Signor le colpe mie, 1587a]; H i, 179

Diviso m’ha (2p. of Poi che’l’iniquo e fero mio destino)

Dunque fia ver (2p. of Deh perchè voglio anco)

Ecco che pur vi lasso, 5vv, 1587a; S vi, 92

Ed a noi restare (2p. of Volgi cor mio la tua speranza)

E puro bene (2p. of Tanto e quel ben eterno amor)

Errai scorrendo (3p. of Per aspro mar di notte)

E sarebbe hora (2p. of O tempo o cielo)

Et in sembiante (2p. of Evro gentil)

Et io qual (5p. of Del freddo Rheno)

Et mentre (2p. of Quant’invidia vi port’aure)

Evro gentil se d’amoroso ardore (G.B. d’Azzia) (2p. Et in sembiante), 5vv, 1557; S ii, 121

Fiera stella s’el ciel ha forza (Petrarch) (2p. Ma tu prendi), 5vv, 1555a; S ii, 50

Fugga (6p. of Di terrena armonia)

Già mi fu co’l desir (Petrarch), 5vv, 1555a; S ii, 14

Già senz’affan’ (5p. of Si come’al chiaro giorno)

Guarda ‘l mio stat’a le vaghezze (Petrarch), 5vv, 1555a; S ii, 6

Hor a cantar (2p. of Più volte un bel desio)

Hora per far (2p. of Io son si stanco sotto il grave peso)

Hor ch’a l’albergo de monton (Fiamma), 6vv, 1587a; S vi, 105

Hor che la nuova e vaga primavera, 10vv, 1575¹¹; S x, 43

Hor come i rai (3p. of Quando il giorno da l’onde)

Hor qui son lasso e voglio esser (Petrarch), 5vv, 1555a; S ii, 22

Hor su la nuda terra (6p. of Del freddo Rheno)

Hor vi riconfortate (Petrarch), 5vv, 1585c; S vi, 26

Hor vi riconfortate (Petrarch), 6vv, 1584a; S x, 14

Huomini e Dei (4p. of Là ver’ e’aurora)

Il grave de l’età (Fiamma) (2p. Alma tu che ’l furor), 6vv, 1587a; S vi, 126

Il mondo muta (5p. of Quando il giorno da l’onde)

Il tempo passa e l’hore (Petrarch), 5vv, 1567a; S iv, 92

Indi gl’acuti strali (3p. of Viene dolc’hymeneo)

Indi per altro (2p. of Standomi un giorno)

In divina bellezza (2p. of In qual parte del ciel)

In dubbio di mio stato (Petrarch), 4vv, 1560c; S viii, 35

In dubbio di mio stato (Petrarch), 4vv, 1562⁷; S viii, 42

In qual parte del ciel (Petrarch) (2p. Per divina bellezza), 5vv, 1557; S ii, 134

In sonno eterno (2p. of Non ha tante)

In un boschetto (3p. of Standomi un giorno)

Io che l’età più verde (Fiamma) (2p. Ma conven), 5vv, 1585c; S vi, 6

Io ho più tempo (2p. Almen nel suo fuggir), 5vv, 1575¹¹; S viii, 117

Io non sapea di tal vista (Petrarch), 5vv, 1585c; S vi, 33

Io son si stanco sotto il fascio antico (Petrarch) (2p. Ma la sua voce), 5vv, 1585c; S vi, 45

Io son si stanco sotto il grave peso (Guidiccioni) (2p. Hora per far), 5vv, 1557; S ii, 139

Io vo fuggendo (4p. of Non ha tante)

I vo piangendo i miei passati tempi (Petrarch) (2p. Si che s’io vissi), 5vv, 1567a; S iv, 116

Lagrime di S Pietro (Tansillo), 7vv, 1595; H xx

L’alto signor, dinanzi a cui (Petrarch), 5vv, 1563; S iv, 3

L’altr’hier sul mezzo giorno, 5vv, 1555a; S ii, 79

La non vol esser più mia, 5vv, 1584a; H i, 152

La notte che segui l’horribil (Petrarch) (2p. Riconosci; 3p. Come non conosch’io), 5vv, 1561¹⁰; S viii, 88

Lasso che (2p. of Qual nemica fortuna)

Lasso che par (2p. of Tutto ’l dì piango)

Là ver’ e’aurora (Petrarch) (2p. Temprar potess’io; 3p. Quante lagrime; 4p. Huomini e Dei; 5p. All’ ultimo bisogno; 6p. Ridon hor), 5vv, 1567a; S vi, 65

La vita fugge (Petrarch), 5vv, 1563; S iv, 44

Le voglie e l’opre mie (Fiamma) (2p. Non tu colle), 5vv, 1585c; S vi, 17

Ma ben veggi’hor (2p. of Voi ch’ascoltate in rime)

Ma che morta (2p. of Spent’è d’amor)

Ma conven (2p. of Io de l’età più verde)

Madonna sa l’amor, 5vv, 1576b; H i, 156

Ma ’l cieco amor (2p. of Come va ’l mondo)

Malvaggio horrido gelo, 4vv, 1570f; S viii, 63

Ma quel ch’una (2p. of Chi non sa come spira)

Ma quel gran re (4p. of Per aspro mar di notte)

Ma sarò spento (6p of Non ha tante)

Ma se con l’opr’ (2p. of Bella guerriera mia)

Ma tu prendi (2p. of Fiera stella s’el ciel ha forza)

Mentre che ’l cor da gl’amorosi vermi (Petrarch) (2p. Quel fuoco), 5vv, 1555a; S ii, 27

Mentre fioriv’amor (2p. Così aspettando), 5vv, 1557; S ii, 111

Mia benigna fortun’e ’l viver lieto (Petrarch), 5vv, 1555a; S ii, 37

Miser qui speme in cose mortal pone (Petrarch), 5vv, 1567a; S iv, 90

Misera che farò, 5vv, 1576⁵; S viii, 129

Mostran le braccia sue (Ariosto), 4vv, 1573c; S viii, 81

Ne però (2p. of O invidia nemica de virtute)

Nessun visse giamai (Petrarch), 5vv, 1584a; S viii, 137

Non hanno tante (2p. of Per aspro mar di notte)

Non ha tante (2p. In sonno eterno; 3p. Secchi vedransi; 4p. Io vo fuggendo; 5p. Deh che fuss’io; 6p. Ma sarò spento), 3, 5, 6vv, 1563; S iv, 6

Non hebbe (2p. of Quando il giorno da l’onde)

Non s’incolpi ’l desire, 5vv, 1563; S iv, 53

O beltà rara, 5vv, 1567a; S iv, 82

Occhi piangete accompagnate il core (Petrarch), 4vv, 1555b; S viii, 19

O che lieve è (2p. of Quel rossignuol che si soave piagne)

O d’amarissime onde, 5vv, 1561¹⁰; S viii, 97

O dolci parolette (Cassola), 5vv, 1570⁷; S viii, 107

O fugace dolcezza (Petrarch), 5vv, 1584a; S vi, 127

O invidia nemica di virtute (Petrarch) (2p. Ne però), 5vv, 1555a; S ii, 39

Onde come colui (2p. of Quando ’l voler)

O noiosa mia vita (2p. of Ov’è condott’il mio amorose stile)

Ornando come suole, 6vv, 1587a; S vi, 154

O sempre vagh’ (2p. of Si come’al chiaro giorno)

O tempo o cielo (Petrarch) (2p. E sarebbe hora), 5vv, 1585c; S vi, 11

Ov’è condott’il mio amoroso stile (2p. O noiosa mia vita), 4vv, 1562⁷; S viii, 38

Ove d’altra montagn’ ombra tocchi, 4vv, 1567¹⁶; H i (Nachtrag), 36

Ove le luci giro, 5vv, 1576b; H i, 163

Ove sei vita mia (2p. Come sei stat’ o ciel), 5vv, 1561¹⁰; S viii, 102

O voi già stanchi (6p. of Per aspro mar di notte)

Padre rivolgi (3p. of Di terrena armonia)

Parmi che sempre sian’ (4p. of Quando il giorno da l’onde)

Passan vostri trionfi (Petrarch), 10vv, 1584a; S x, 53

Pensier dicea che ’l cor (i) (Ariosto), 5vv, 1569¹¹; H i (Nachtrag), 30

Pensier dicea che’l cor (ii) (Ariosto), 5vv, 1587a; S vi, 123

Per aspro mar di notte (Fiamma) (2p. Non hanno tante; 3p. Errai scorrendo; 4p. Ma quel gran re; 5p. Così quel che m’avanza; 6p. O voi già stanchi), 4vv, 1587a; S vi, 70

Perchè qual peregrin (2p. of Come pianta)

Perchè sempre nimica mia, 5vv, 1555a; S ii, 83

Perch’io veggio (Petrarch), 4vv, 1555b; S viii, 23

Per pianto la mia carne (Sannazaro), 4vv, 1555b; S viii, 13

Per questa (2p. of De l’eterne tue sante)

Pien d’un vago pensier (Petrarch), 5vv, 1555a; S ii, 75

Più volte un bel desio (Fiamma) (2p. Hor a cantar), 6vv, 1587a; S vi, 132

Poggi, valli (6p. of Quando il giorno da l’onde)

Poi che ‘l camin m’è chiuso (Petrarch), 5vv, 1555a; S ii, 25

Poi che ’l’iniquo e fero mio destino (2p. Diviso m’ha), 5vv, 1555a; S ii, 32

Poi che ’l mio largo pianto (Petrarch), 4vv, 1583¹⁵; S viii, 84

Poi che si grand’ (2p. of Ben sono i premi tuoi)

Pon fren’ al gran dolor (Petrarch), 5vv, 1555a; S ii, 46

Prendi l’aurata lira (Fiamma), 6vv, 1587a; S vi, 158

Qual nemica fortuna (Asinari) (2p. Lasso che; 3p. Sol’io quanto; 4p. Tal hor dico; 5p. Talhor parmi la luce; 6p. Re de gli altri), 5, 6vv, 1567a; S iv, 128

Quando fia mai quel giorno, 4vv, 1570f; S viii, 65

Quando il giorno da l’onde (Fiamma) (2p. Non hebbe; 3p. Hor come rai; 4p. Parmi che sempre sian’; 5p. Il mondo muta; 6p. Poggi, valli), 5vv, 1585c; S vi, 50

Quando io penso al fuggir (Fiamma) (2p. Vedi gli dico), 5vv, 1585c; S vi, 39

Quando la sera scaccia (Petrarch), 5vv, 1555a; S ii, 35

Quando ’l voler (Petrarch) (2p. Onde come colui), 5vv, 1555a; S ii, 17

Quante lagrime (3p. of Là ver’ e’aurora)

Quant’invidia (2p. of Quant’invidia ti porto avara terra)

Quanto il mio duol, 4vv, 1560d; S viii, 31

Quant’invidia ti porto avara terra (Petrarch) (2p. Quant’invidia), 5vv, 1563; S iv, 18

Quant’invidia vi port’aure (C. Besalio) (2p. Et mentre), 5vv, 1563; S iv, 32

Quel chiaro sol (2p. Che se la ver’), 5vv, 1557; S ii, 116

Quel fuoco (2p. of Mentre che ‘l cor da gl’amorosi vermi)

Quel rossignuol che si soave piagne (Petrarch) (2p. O che lieve è), 5vv, 1567a; S iv, 85

Que piangon (2p. of Soleasi nel mio cor)

Queste contrarie tempre (2p. of Signor se la tua grazia è fuoco)

Queste non son più lagrime (Ariosto), 4vv, 1555b; S viii, 15

Questi ch’inditio fan (Ariosto), 5vv, 1557; S ii, 132

Questi son lasso de la mia spem’, 5vv, 1563; S iv, 28

Questo e disceso (2p. of Tra verdi rami)

Re de gli altri (6p. of Qual nemica fortuna)

Riconosci (2p. of La notte che segui l’horribil)

Ridon hor (6p. of Là ver’ e’aurora)

Rotava ed è pur ver (3p. of Del freddo Rheno)

Scorgo tant’altro il lume (Tansillo), 5vv, 1563; S iv, 57

Se ben l’empia mia sorte, 4vv, 1555b; S viii, 17

Se ben non veggion gl’occhi, 4vv, 1570f; S viii, 67

Secchi vedransi (3p. of Non ha tante)

Seguì già le speranze (Petrarch), 5vv, 1584a; S viii, 141

Se si alto pon gir mie stanche rime (Petrarch), 5vv, 1563; S iv, 59

Si che s’io vissi (2p. of I vo piangendo)

Si ch’io mi credo (2p. of Sol’e pensoso i più deserti campi)

Si come’ al chiaro giorno (2p. O sempre vagh ’; 3p. Tal ch’io possa; 4p. Al’ hor nel; 5p. Già senz’affan’; 6p. Altri non vedrà), 4vv, 1566²; S viii, 46

Si com’ i fiori da l’ardente sole, 5vv, 1570¹⁵; H i, 168

Si fe cristallo (4p. of Del freddo Rheno)

Signor da l’alto trono, 5vv, 1584a; H i, 150

Signor le colpe mie (2p. of Di terrena armonia)

Signor se la tua grazia è fuoco (Tansillo) (2p. Queste contrarie tempre), 5vv, 1567a; S iv, 106

Silen di rose ha ’l volto (C. Camilli), 6vv, 1594⁶; S x, 18

S’io esca vivo (Petrarch), 6vv, 1579²; S x, 9

S’io tal’hor muovo gli occhi (F. Ronconi) (2p. Al’hor lasso), 5vv, 1555a; S ii, 58

Soleasi nel mio cor (Petrarch) (2p. Que piangon), 5vv, 1576b; S viii, 131

Sol’e pensoso i più deserti campi (Petrarch) (2p. Si ch’io mi credo), 5vv, 1555a; S ii, 71

Sol’io quanto (3p. of Qual nemica fortuna)

Solo n’andrò (2p. of Ben convenne madonna)

Sotto duo negri e sottilissimi archi (Ariosto), 4vv, 1573c; S viii, 74

Sotto quel sta (Ariosto), 4vv, 1573c; S viii, 76

Spent’è d’amor (Minturno) (2p. Ma che morta), 5vv, 1569¹⁹; H i (Nachtrag), 9

Spesso in poveri alberghi (Ariosto), 4vv, 1573c; S viii, 83

Stanco di lagrima (4p. of Di terrena armonia)

Standomi un giorno (Petrarch) (2p. Indi per altro; 3p. In un boschetto; 4p. Chiara fontana; 5p. Una strana fenice; 6p. Al fin vidd’io), 5vv, 1557; S ii, 89

S’una fede amorosa (Petrarch), 8vv, 1573c; S x, 36

Tal ch’io possa (3p. of Si come’al chiaro giorno)

Tal hor dico (4p. of Qual nemica fortuna)

Talhor parmi la luce (5p. of Qual nemica fortuna)

Tanto e quel ben eterno amor (Fiamma) (2p. E puro bene), 6vv, 1587a; S vi, 149

Temprar potess’io (2p. of Là ver’ e’aurora)

Tengan dunque (2p. of Cantai hor piango)

Tra verdi rami (2p. Questo e disceso), 6vv, 1587a; S vi, 160

Tutto ’l dì piango (Petrarch) (2p. Lasso che par), 5vv, 1567a; S iv, 122

Una strana fenice (5p. of Standomi un giorno)

Un dubbio verno (Petrarch), 5vv, 1585c; S vi, 23

Valle profonda, 10vv, 1584⁴; S x, 50

Vatene lieta homai coppia d’amici, 4vv, 1555b; S viii, 121

Vedi gli dico (2p. of Quando io penso al fuggir)

Vedi l’aurora (Petrarch), 5vv, 1584a; S vi, 120

Veggio se al vero apre ragion (Fiamma) (2p. Al’hor mi desto), 6vv, 1587a; S vi, 143

Vieni dolc’hymeneo (2p. Indi gl’acuti strali), 4vv, 1570f; S viii, 69

Vivo sol di speranza (Petrarch), 4vv, 1560d; S viii, 33

Voi ch’ascoltate in rime (Petrarch) (2p. Ma ben veggi’hor), 5vv, 1567a; S iv, 111

Voi che di prave (5p. of Di terrena armonia)

Volgi cor mio la tua speranza (F. Spira) (2p. Ed a noi restare), 5vv, 1557; S ii, 127

Vostro fui vostro son (B. Tasso), 5vv, 1557; S ii, 114

V’ son gl’ingegni (Fiamma) (2p. Ahi che la forza), 5vv, 1585c; S vi, 30

Fragments of 5 madrigals; H i (Nachtrag)

other secular italian

villanelle unless otherwise stated

Il primo libro dove si contengono madrigali, vilanesche, canzoni francesi, e motetti, 4vv (Antwerp, 1555) (RISM 1555²⁹, same contents as 1555¹⁹) [1555b]

Libro de villanelle, moresche, et altre canzoni, 4–6, 8vv (Paris, 1581) (RISM 1581g) [1581b]

Ad altre le voi dare, 4vv, 1581b; S x, 77

Allala la pia calia, 4vv, 1581b; S x, 104

Andar a valezza (2p. of Cathalina apra finestra)

Canta Giorgia canta (morescha), 5vv, 1581b; S x, 125

Cathalina apra finestra (2p. Andar a valezza) (morescha), 6vv, 1581b; S x, 112

Chi chilichi (morescha), 6vv, 1581b; S x, 120

Ecco la ninph'ebraica chiamata, 4vv, 1581b; S x, 76

Hai Lucia buona cosa (morescha), 4vv, 1581b; S x, 86

Io ti vorria contar, 4vv, 1581b; S x, 85

La cortesia voi donne predicate, 4vv, 1555b; S x, 66

Lucia celu hai biscamia (morescha), 4vv, 1581b; S x, 97

Madonna mia pietà, 4vv, 1555b; S x, 61

Matona mia cara, 4vv, 1581b; S x, 93

Mi me chiamere, 5vv, 1581b; S x, 108

No giorno t’haggio havere, 4vv, 1555b; S x, 65

O bella fusa, 4vv, 1581b; S x, 89

Ogni giorno m'han ditt'a chi favelli, 4vv, 1581b; S x, 91

O là o che bon eccho, 8vv, 1581b; S x, 140

O Lucia miau (morescha), 3vv, 1560¹⁴; S x, 70

O occhi manza mia, 4vv, 1581b; S x, 103 [previously pubd 1557²⁰, 3vv (inc.)]

Par ch’hai lasciato, 4vv, 1581b; S x, 82

Saccio ’na cosa, 4vv, 1581b; S x, 8

S’io fusse ciaul’ettu, 4vv, 1581b; S x, 92

S’io ti vedess’una sol volt’il giorno, 4vv, 1581b; S x, 102

S’io ve dico, 4vv, 1581b; S x, 75

Sto core mio se fosse di diamante, 4vv, 1555b; S x, 69

Tu sai madonna mia, 4vv, 1555b; S x, 63

Tu traditora, 4vv, 1555b; S x, 68 [also pubd 1555³⁰, 3vv (inc.)]

Tutto’l dì mi dici, 4vv, 1581b; S x, 79

Tutto’l dì mi dici, 8vv, 1581b; S x, 130

Zanni piasi patro, 8vv, 1581b; S x, 135

chansons

Il primo libro dove si contengono madrigali, vilanesche, canzoni francesi, e motetti, 4vv (Antwerp, 1555) (RISM 1555²⁹, same contents as 1555¹⁹) [1555b]

Le premier livre de chansons, auquel sont 27 chansons nouvelles, 4vv (Antwerp, 1564) (RISM 1564c) [1564a]

Quatriesme livre des chansons, 4, 5vv (Leuven, 1564) (RISM 1564d) [1564c]

Dixhuictieme livre des chansons, 4, 5vv (Paris, 1565) (RISM 1565f) [1565a]

Disieme livre de chansons, 4vv (Paris, 1570) (RISM 1570⁹) [1570a]

Mellange d'Orlande de Lassus, contenant plusieurs chansons, tant en vers latins qu'en ryme francoyse, 4, 5vv (Paris, 1570) (RISM 1570d) [1570b]

Second livre des chansons, 4, 5vv (Leuven, 1570) (RISM 1570⁶) [1570f]

Livre de chansons nouvelles, avec 2 dialogues, 5, 8vv (Leuven and Paris, 1571) (RISM 1571f and g) [1571a]

Thresor de musique … contenant … chansons, 4–6vv (Geneva, 1576) (RISM 1576⁴) [1576d]

Continuation du mellange, 3–6, 10vv (Paris, 1584) (RISM 1584f) [1584a]

1559¹², 1559¹³, 1561⁵, 1561⁷, 1564¹¹, 1565⁸, 1565⁹, 1567⁸, 1567¹¹, 1569¹⁹, 1583⁷, 1583⁸, 1587³

A ce matin [L’avare veut avoir], 4vv, 1564a; S xii, 28, B xi, 1

A l’eau jettes-toy (2p. of Au feu venez-moy)

Amour donne-moy pays (2p. Que doibs-je faire) (Ronsard), 5vv, 1571a; S xvi, 75, B xi, 5

Ardant amour souvent, 4vv, 1565⁹; S xii, 25, B xi, 15

Ardant amour souvent [Divin amour; La ferme foi], 5vv, 1565⁹; S xiv, 84, B xi, 20

A toy je crie, 5vv, 1584a; S xvi, 118, B xi, 27

Au feu venez-moy [au feu las] (2p. A l’eau jettes-toy [A l’eau de grace vistement]) (M. de Saint-Gelais), 5vv, 1564c; S xiv, 92, B xi, 32

Au temps jadis, 5vv, 1570b; S xiv, 100, B xi, 44

Avec le jour commence ta journée, 4vv, 1583⁷ [previously pubd 1581, now inc.]; B xi, 52

Avec vous [Dieu] mon amour finira, 4vv, 1555b; S xii, 37, B xi, 54

Beau le cristal, 4vv, 1576b; S xii, 94, B xi, 57

Bon jour et puis quelles nouvelles [Bon coeur amis] (2p. Mais si vous cueillez) (C. Marot), 5vv, 1571a; S xvi, 53, B xi, 60

Bon jour mon coeur (Ronsard) [Christ est mon Dieu], 4vv, 1564a; S xii, 100, B xi, 68

Ce faux amour [Satan], 4vv, 1564a; S xii, 103, B xi, 70

Célébrons sans cesse, 4vv, 1576d; S xvi, 102, B xiv, 164

Ce que tu peux maintenant (G. du Faur de Pybrac), 4vv, 1583⁷ [previously pubd 1581]; B xi, 74

C’estoit en ton jeune age, 5vv, 1584a; S xvi, 123, B xi, 76

Chanter je veux la gente [l’heur de l’ame], 5vv, 1569¹⁹; S xiv, 50, B xi, 80

Comme la tourterelle (2p. Où t’attend ta maistresse [De l’éternelle liesse]), 5vv, 1565a; S xiv, 120, B xi, 87

Comme un qui prend (Ronsard) [Que malheureuse est la troupe], 5vv, 1571a; S xvi, 3, B xi, 95

Croire leger & soudain, 4vv, 1583⁷ (inc.) [previously pubd 1581, now inc.]; B xiv, 170

D’amours me va (Marot) [Le monde va tout à rebours], 5vv, 1571a; S xvi, 58, B xi, 100

De plusieurs choses, 5vv, 1571a; S xvi, 72, B xi, 105

Dessus le marché d’Arras, 6vv, 1584a; S xvi, 152, B xi, 110

De tout mon coeur (G. Crétin), 5vv, 1564¹¹; S xiv, 33, B xi, 119

De vous servir, 4vv, 1570a; S xii, 69, B xi, 126

Dis-moy mon coeur, 8vv, 1576b; S xiv, 150, B xi, 128

Dix ennemies [Mes vains desirs] tous désarmés (2p. Et me prenant), 5vv, 1576b; S xiv, 59, B xi, 155

Du corps absent, 4vv, 1564a; S xii, 55, B xi, 164

Du fond de ma pensée (Marot), 4vv, 1564a; S xvi, 159, B xi, 167

Elle s’en va de moy [Elle périt ma chair] (Marot), 5vv, 1567⁸; S xiv, 105, B xi, 169

En espoir vis et crainte, 4vv, 1555b; S xii, 52, B xi, 174

En m’oyant chanter (Marot), 4vv, 1564a; S xii, 106, B xi, 177

En un chasteau, madame [L’homme mortel contemplant], 4vv, 1570b; S xii, 14, B xi, 180

En un lieu [En ce monde] (Saint-Gelais), 4vv, 1565a; S xii, 83, B xi, 183

Est-il possible à moy [Est-il possible en ce monde], 5vv, 1561⁵; S xiv, 112, B xi, 187

Et d’où venez vous [Que devenez-vous], 5vv, 1565⁸; S xiv, 68, B xii, 1

Femme qui demande (2p. of Parens sans amis)

Fleur de quinze ans (Marot), 4vv, 1564a; S xii, 43, B xii, 7

Fuyons tous d’amour [Fuyons de vices] le jeu, 4vv, 1564a; S xii, 80, B xii, 10

Gallans qui par terre (Villon), 4vv, 1584a; S xvi, 111, B xii, 12

Guérir ma douleur, 4vv, 1584a; S xvi, 106, B xii, 15

Hâtez-vous [Haste-toi de me faire], 4vv, 1567¹¹; S xii, 81, B xii, 17

Hélas j’ai sans merci, 5vv, 1584a; S xvi, 132, B xii, 19

Hélas mon Dieu, 5vv, 1571a; S xvi, 46, B xii, 28

Hélas mon Francin (3p. of Mais qui pourroit)

Hélas quel jour, 4vv, 1561⁵; S xii, 47, B xii, 36

Heureux qui met en Dieu (du Faur de Pybrac), 4vv, 1583⁷ [previously pubd 1581]; B xii, 39

Holà Caron (O. de Magny), 8vv, 1571a; S xvi, 81, B xii, 41

Il esteoit une religieuse [Si j’estoi où mon ame], 4vv, 1565a; S xii, 74, B xii, 60

J’aime la pierre précieuse, 5vv, 1584a; S xvi, 121, B xii, 63

J’attends le tems, 5vv, 1570b; S xiv, 48, B xii, 67

J’ay cherché la science [J’ay du ciel la science] (Saint-Gelais), 4vv, 1565⁹; S xii, 57, B xii, 72

J’ay de vou voir (Du Bellay), 4vv, 1584a; S xvi, 113, B xii, 75

Je l’ayme bien [J’aime mon Dieu et l’aimerai], 4vv, 1555b; S xii, 41, B xii, 77

J’endure un tourment (2p. Mais à quel propos [Mais de quoi me sert]), 5vv, 1565a; S xiv, 38, B xii, 80

Je ne veux plus que chanter, 5vv, 1570b; S xiv, 88, B xii, 90

Je ne veux rien qu’un baiser [que deux mots], 4vv, 1564¹¹; S xii, 98, B xii, 97

J’espère et crains (Ronsard) (2p. Plus que me pique), 5vv, 1571a; S xvi, 12, B xii, 101

Je vous donne en conscience (Marot), 5vv, 1571a; S xvi, 70, B xii, 111

Je suis quasi prest d’enrager [de mourir], 4vv, 1570b; S xii, 54, B xii, 115

La mort est [Les dez, c’est] jeu pire (Marot), 4vv, 1564a; S xii, 58, B xii, 117

La nuict froide et sombre (Du Bellay), 4vv, 1576b; S xii, 34, B xii, 119

La peine dure, 4vv, 1584a; S xvi, 104, B xii, 122

Las je n’iray plus, 5vv, 1584a; S xvi, 126, B xii, 125

Las me fault-il, 5vv, 1561⁵; S xiv, 76, B xii, 135

Las voulez-vous, 4vv, 1555b; S xii, 3, B xii, 142

La terre les eaux (Ronsard) [La terre son Dieu va louant], 5vv, 1565a; S xiv, 7, B xii, 146

Le comple de ton sçavoir (2p. of Ton nom que on vers)

Le départir [Partir d’ici, c’est un departement], 5vv, 1565⁹; S xiv, 116, B xii, 152

Le rossignol plaisant, 5vv, 1561⁷; S xiv, 107, B xii, 157

Le sage fils est du père, 4vv, 1583⁷ [previously pubd 1581, now inc.]; L xvi, 186, B xiv, 172

Le temps passé (B. d’Auriol) [Le tems perdu je souspire], 4vv, 1567¹¹; S xii, 49, B xii, 163

Le temps peut bien, 4vv, 1564a; S xii, 76, B xii, 165

Le vray amy (Saint-Gelais) [Le vertueux ne s’estonne de rien], 4vv, 1564a; S xii, 62, B xii, 168

Les biens du corps, 4vv, 1583⁷ [previously pubd 1581, now inc.]; L xvi, 189

L’heureux amour [plaisir qui esleve], 4vv, 1576b; S xii, 5, B xii, 171

L’homme se plaint, 4vv, 1583⁷, inc. [previously pubd 1581, now inc.]; L xvi, 189, B xiv, 172

Lucescit jam o socii, 4vv, 1587³; H i, 121

Mais à quel propos (2p. of J’endure un tourment)

Mais a vous voir (2p. of Un bien petit)

Mais qui pourroit, 3vv, 1584a; S xvi, 107, B xii, 175

Mais qui pourroit (2p. Si mon gentil; 3p. Hélas mon Francin), 6vv, 1584a; S xvi, 137, B xii, 177

Mais si vous cueillez (2p. of Bon jour et puis quelles nouvelles)

M’amie a bien le regard, 4vv, 1584a; S xvi, 102, B xiii, 1

Margot labouréz, 4vv, 1564a; S xii, 102, B xiii, 3

Mes pas semés [Mes pas Seigneur tant esgarez], 4vv, 1564a; S xii, 87, B xiii, 5

Mon coeur ravi d’amour, 5vv, 1565⁸; S xiv, 22, B xiii, 8

Mon coeur se recommande (Marot) [Mon coeur se rend à toi; Qui laboure champ ou vigne], 5vv, 1567⁸; S xiv, 15, B xiii, 15

Monsieur l’abbé (Marot) [Maistre Robbin], 4vv, 1564a; S xii, 16, B xiii, 20

Noblesse gist au coeur, 5vv, 1570b; S xiv, 3, B xiii, 24

O comme heureux, 4vv, 1564c; S xvi, 160, B xiv, 165

O doux parler (Ronsard) (2p. O Vermeillons), 8vv, 1571a; S xii, 89, B xiii, 32

O foible esprit (Du Bellay) (2p. O jeune archer), 5vv, 1571a; S xvi, 34, B xiii, 58

O jeune archer (2p. of O foible esprit)

O mère des amours Ciprine (2p. Tu sais o gentille; 3p. Or cesse doncques), 4vv, 1584a; S xvi, 109, B xiii, 63

On doit le fer battre, 4vv, 1583⁸; S xvi, 100, B xiii, 68

Or cesse doncques (3p. of O mère des amours Ciprine)

Ores que je suis dispos (Ronsard) (2p. Verse moy donc du vin nouveau), 5vv, 1571a; S xvi, 24, B xiii, 71

Orsus filles (R. Belleau) [Sus, je vous pri], 4vv, 1576b; S xii, 63, B xiii, 81

O temps divers [Maudit peché qui me deffens], 4vv, 1559¹²; S xii, 67, B xiii, 84

Où t’attend ta maistresse (2p. of Comme la tourterelle)

O vermeillons (2p. of O doux parler)

O vin en vigne [Bonté divine, vien et monstre], 4vv, 1570b; S xii, 36, B xiii, 87

Paisible domaine [Qu’ est-ce que Dieu donne], 5vv, 1571a; S xvi, 50, B xiii, 89

Parens sans amis (2p. Femme qui demande), 5vv, 1571a; S xvi, 40, B xiii, 93

Père qui habites les cieux, 5vv, 1584a; S xvi, 115, B xiii, 98

Petite folle [Troupe fidele, es-tu pas], 4vv, 1565⁹; S xii, 78, B xiii, 105

Plus que me pique (2p. of J’espère et crains)

Pour courir en poste (Marot) (2p. Pour mettre; 3p. Pour desbaucher; 4p. Pour faire), 5vv, 1571a; S xii, 61, B xiii, 109

Pour desbaucher (3p. of Pour courir en poste)

Pour faire (4p. of Pour courir en poste)

Pour mettre (2p. of Pour courir en poste)

Puisque fortune [Peché infame; Puis que peché à moi], 5vv, 1565⁹; S xiv, 125, B xiii, 125

Puisque vivre en servitude (Saint-Gelais), 4vv, 1584a; S xvi, 103, B xiii, 129

Quand me souvient (Sentant l’effort et la triste], 5vv, 1570b; S xiv, 128, B xiii, 132

Quand mon mary vient [Quand l’homme honneste], 4vv, 1564a; S xii, 23, B xiii, 136

Quand un cordier (Chartier), 4vv, 1576b; S xii, 108, B xiii, 139

Que dis-tu (Ronsard), 8vv, 1576b; S xiv, 142, B xiii, 142

Que doibs-je faire (2p. of Amour donne-moy pays)

Que gaignez vous [D’où vient cela], 5vv, 1570b; S xvi, 166, B xiii, 158

Qui bien se mire, 4vv, 1576b; S xii, 65, B xiii, 164

Qui dort icy [en nous] (Marot), 4vv, 1564a; S xii, 19, B xiii, 166

Qui veult d’amour (Bouchet) [Qui de peché veut savoir], 5vv, 1576b; S xiv, 133, B xiii, 169

Rends-moi mon coeur (Ronsard), 5vv, 1561⁵; S xiv, 18, B xiii, 174

Sais-tu dire l’Avé [Sais-tu dire bien], 4vv, 1576b; S xii, 66, B xiii, 181

Sauter danser faire les tours, 4vv, 1576b; S xii, 10, B xiii, 183

Secouré’s moy [Assiste moy Seigneur] (Marot), 5vv, 1564a; S xvi, 163, B xiii, 186

Si du malheur [De ce malheur], 4vv, 1576b; S xii, 50, B xiii, 192

Si froid et chault, 4vv, 1564a; S xii, 96, B xiv, 1

Si je suis brun (2p. Ne vous soit estrange), 4vv, 1576b; S xii, 30, B xiv, 4

Si le long temps (P. du Val), 4vv, 1559¹²; S xii, 7, B xiv, 10

Si le mal ennuyeux, 4vv, 1583⁷, inc. [previously pubd 1581, now inc.]; L xvi, 192, B xiv, 178

S’il y a compagnons [Il n’y a que douleur], 5vv, 1576b; S xiv, 65, B xiv, 12

Si mon gentil (2p. of Mais qui pourroit)

Si par souhait je vous [te] tenoit, 4vv, 1570b; S xii, 12, B xiv, 17

Si pour moy avez du souci (Marot) [Quand mon coeur a quelque souci], 4vv, 1576b; S xii, 85, B xiv, 20

Si vous estes m’amie, 6vv, 1584a; S xvi, 147, B xiv, 24

Si vous n’estes en bon point (Marot), 4vv, 1564a; S xii, 60, B xiv, 34

Soufflons d’autant amis (Cherchons ailleurs], 5vv, 1571a; S xvi, 30, B xiv, 36

Soyons joyeux, 4vv, 1565⁹; S xii, 20, B xiv, 43

Sur tous regretz, 5vv, 1567⁸; S xiv, 26, B xiv, 46

Susanne un jour (G. Guérault), 5vv, 1567⁸; S xiv, 29, B xiv, 52

Ton [Mon] feu s’esteint, 4vv, 1559¹³; S xii, 109, B xiv, 59

Ton nom que mon vers (2p. Le comple de ton sçavoir) (Ronsard), 5vv, 1571a; S xvi, 6, B xiv, 68

Toutes les nuitz (Marot), 5vv, 1563; S xiv, 130, B xiv, 73

Trop endurer sans avoir [de peché], 4vv, 1555b; S xii, 70, B xiv, 78

Tu sais o gentille (2p. of O mère des amours Ciprine)

Un advocat dit à sa femme [L’homme de bien dit à son ame], 4vv, 1570b; S xii, 8, B xiv, 81

Un bien petit (Marot) (2p. Mais a vous voir), 5vv, 1571a; S xvi, 18, B xiv, 90

Une puce j’ay dedans l’oreill’ (Baïf), 5vv, 1576b; S xiv, 114, B xiv, 95

Ung doulx nenny (Marot) [Ta voix, ô Dieu, avec ton doux], 4vv, 1564¹¹; S xii, 45, B xiv, 100

Un jeune moine [Quitte le monde], 4vv, 1576b; S xii, 89, B xiv, 104

Un jour concluz, 4vv, 1583⁷ [previously pubd 1581, now inc.]; L xvi, 190, B xiv, 180

Un jour l’amant, 8vv, 1570b; S xiv, 136, B xiv, 110

Un jour vis un foulon [On ne peut le fol amour], 4vv, 1570b; S xii, 39, B xiv, 122

Un mesnagier, 5vv, 1570b; S xiv, 54, B xiv, 125

Un [Mon] triste coeur rempli, 5vv, 1561⁵; S xiv, 80, B xiv, 132

Verse moy donc du vin nouveau (2p. of Ores que je suis dispos)

Veux-tu ton mal [Puis qu’en mon mal], 5vv, 1559¹²; S xiv, 71, B xiv, 138

Vignon vignon vignette, 6vv, 1584a; S xvi, 144, B xiv, 142

Vive sera et toujours perdurable, 5vv, 1570f; S xiv, 11, B xiv, 147

Voir est beaucoup, 4vv, 1559¹³; H i, 126, B xiv, 183

Vous qui aymez les dames, 5vv, 1565⁸; S xiv, 45, B xiv, 154

Vray dieu disoit une fillette [une ame sainte], 4vv, 1555b; S xii, 72, B xiv, 160

German contrafacta

Al mein Anfang ( = Le temps peut bien); Auss tiefer Not ( = Si le long temps); Bewar mich Herr (= Ton feu s’esteint); Das sawer Tranck (= La mort est jeu pire); Frölich und frey (= Quand mon mary vient); Gott ist mein Schütz (= A ce matin); Gross Angst und Not (= Trop endurer); Gunst geht für gspunst ( = Soyons joyeux); Herr Jesu Christ (= Le vray amy); Hilff uns, o Herr (= Si froid et chault); Ich rieff zu dir Herr Jesu Christ (= Au feu verez-moy); Ich rieff zu dir hilff mir (= Monsieur l’abbé); Id quid? fit, sit, Wie kann ich dirs abschlagen (= Je ne veux rien); Kein Lieb noch treu ist (= En un lieu)

Laetamini in Domino und singt in dulci jubilo ( = Je l’ayme bien); Mein aininger Trost (= Petite folle); Mein Hoffnung (= Fleur de quinze ans); Merck schönes (= Hé’las quel jour); O Herre Gott mein Not (= Bon mon coeur); O trewer Gott ( = Ung doulx nenny); Seit frisch (= Margot labouréz); Thue dich, o Herr (= Du corps absent); Von Morgens frü mit Gottes Lob ( = Avec le jour commence ta journée), S xx, 27; Vor Zeiten was ich lieb gehalten (= Hâtez-vous); Wenn wir recht thun betrachten (= Du fond de ma pensée); Wer singen wil (= En m’ovant chanter); Wer sucht der findt (= Qui dort icy); Wolauff gut Gsellen (= Un jeune moine); Zu aller Stund (= Ardant amour souvent)

lieder

Neue teütsche Liedlein, 5vv (Munich, 1567) (RISM 1567l) [1567c]

Der ander Theil teutscher Lieder, 5vv (Munich, 1572) (RISM 1572g) [1572a]

Der dritte Theil schöner, neuer, teutscher Lieder sampt einem zu End gesetzten frantzösischen frölichen Liedlein, 5vv (Munich, 1576) (RISM 1576r) [1576a]

Neue teutsche Lieder, geistlich und weltlich, 4vv (Munich, 1583) (RISM 1583a) [1583a]

Teutsche Psalmen: geistliche Psalmen, 3vv (Munich, 1588) (RISM 1588¹²) [1588c]

Neue teutsche, und etliche frantzösische Gesäng, 6vv (Munich, 1590) (RISM 1590b) [1590]

Allein Gott (3p. of Auss meiner sünden Tieffe)

Als Holophernes (6p. of Die Gnad kombt oben her)

Am Abent spat, heim khiellen Wein, 5vv, 1567c; S xviii, 33

Annelein, du singst fein, 4vv, 1573c; S xx, 46

Audite nova Der Bawr von Eselsskirchen, 4vv, 1573c; S xx, 51

Auff dich, mein heber Herr und Gott (Ulenberg), 3vv, 1588c; S xx, 63

Auff ihen wil ich vertrawen (3p. of Von Gott wil ich nit lassen)

Auss härtem Grundt, 4vv, 1573c; S xx, 47

Auss härtem Weh, 6vv, 1590; S xx, 99

Auss meiner sünden Tieffe (2p. Wann sich ein grimmer zoren; 3p. Allein Gott; 4p. Von Gott kein Mensch), 4vv, 1583a; S xx, 17

Bald ich von Gelt (6p. of Ich hab ein Mann)

Baur, was tregst im Sacke?, 4vv, 1583a; S xx, 29

Christ ist erstanden 4vv, 1583a; S xx, 3

Da das der Herr (2p. of Im Lant zu Wirtenberg)

Da lagens (3p. of Mit Lust thet ich aussreitten)

Daniel geworfen war (9p. of Die Gnad kombt oben her)

Daniels Knaben drey (8p. of Die Gnad kombt oben her)

Dann bey dem Herren (5p. og Ich ruff zu der mein Herr und Gott)

Dann eh er’s hat begert (3p. of Der König wirdt seyn Wolgemut)

Darauff hat Gott gesandt (7p. of Die Gnad kombt ober her)

Darumb, o frommer Gott (10p. of Die Gnad kombt ober her)

Das ein das Annelein (2p. of Mit Lust thet ich aussreitten)

Das Meidlein (2p. of Einmal ging ich spatzieren)

Das Volck von Israel (4p. of Die Gnad kombt oben her)

Der g’winnen will (3p. of Hort zu eins news Gedicht)

Derhalben dann nichts (2p. pf In viel Trübsal)

Der Herr, dir ist mit dir (2p. of Maria voll Genad)

Der Herr erhöre deine Klag (Ulenberg), 3vv, 1588c; S xx, 68

Der König wirdt seyn Wolgemut (Ulenberg) (2p. Du hast ihm geben; 3p. Dann eh er’s hat begert), 6vv, 1590; S xx, 128

Der Meye bringt uns der Blümlein vil (J. Klieber), 5vv, 1572a; S xviii, 75

Der richter lacht (3p. of Im Lant zu Wirtenberg)

Der starcke Gott im Himmelreich (Ulenberg), 3vv, 1588c; S xx, 80

Der Tag der ist so frewdenreich, 5vv, 1572a; S xviii, 71

Der Wein, der schmeckt mir also, 5vv, 1567c; S xviii, 11

Der Welte Pracht ist hoch geacht, 5vv, 1576a; S xviii, 147

Die Fassnacht ist ein schöne Zeit, 5vv, 1567c; S xviii, 6

Die Gnad kombt oben her (2p. Wer Gott vertrauen thut; 3p. Wir armes Volck; 4p. Das Volck von Israel; 5p. Joseph verkauffet; 6p. Als Holophernes; 7p. Darauff hat Gott gesandt; 8p. Daniels Knaben drey; 9p. Daniel geworfen war; 10p. Darumb, o frommer Gott; 11p. Wer diss Lied hat gemacht; 12p. Hierauf sey nun gepreiset), 4vv, 1583a; S xx, 4

Die Thoren sprechen wohl (Ulenberg), 3vv, 1588c; S xx, 66

Die Welt und all ir Reichethumb (Ulenberg), 3vv, 1588c; S xx, 70

Die Zeit, so jetz vorhanden ist, 5vv, 1567c; S xviii, 14

Do icht lang stilt (4p. of Mein Fraw hilgert)

Dort aber wirdt (2p. of O Mensch gedenck)

Du best gebenedeyd (3p. of Maria voll Genad)

Du hast ihm geben (2p. of Der König wirdt seyn Wolgemut)

Ein Esel und das Nüssbawmholtz, 4vv, 1573c; S xx, 45

Ein guten Raht wil gehen ich (2p. In Glück und Frewd), 6vv, 1590; S xx, 83

Ein guter Wein ist Lobens werd, 5vv, 1567c; S xviii, 44

Ein Körbelmacher in ein Dorff (H. Sachs), 6vv, 1590; S xx, 124

Einmal ging ich spatzieren (2p. Das Meidlein), 5vv, 1572a; S xviii, 98

Ein Meidlein zu dem Brunnen gieng (2p. Ich sprach o Fraw; 3p. Die Fraw gantz höflich; 4p. So danck ich Gott), 5vv, 1572a; S xviii, 82

Erzürn dich nicht o frommer Christ (L. Hätzer), 5vv, 1572a; S xviii, 65

Es Jagt ein Jeger vor dem Holtz, 5vv, 1572a; S xviii, 88

Es sind doch selig alle die (M. Greiter), 5vv, 1572a; S xviii, 77

Es thut sich als verkeren, 4vv, 1573c; S xx, 49

Es zeugen des gottlosen Wercke (Ulenberg), 3vv, 1588c; S xx, 75

Fraw ich bin euch von hertzen Hold, 5vv, 1567c; S xviii, 31

Frölich und frey on alle Rey, 5vv, 1576a; S xviii, 149

Frölich zu sein ist mein Manier, 5vv, 1567c; S xviii, 38

Gebenedeyt auch (4p. of Maria voll Genad)

Gelt, Welt, dir wird (2p. of Welt, Gelt, dir wird einmal)

Gott ist auf den wir immer hoffen (Ulenberg), 3vv, 1588c; S xx, 79

Gott nimbt und geit zu jeder Zeit, 5vv, 1576a; S xviii, 130

Gross ist der Herr im heilgen Thron (Ulenberg), 3vv, 1588c; S xx, 79

Halt mich o Herr in deiner Hut (Ulenberg), 3vv, 1588c; S xx, 66

Herr der du meine Stercke bist (Ulenberg), 3vv, 1588c; S xx, 67

Herr Gott mein Hort (Ulenberg), 3vv, 1588c; S xx, 72

Hierauf sey nun gepreiset (12p. of Die Gnad kombt oben her)

Hilff lieber Herr die heilig Frommen (Ulenberg), 3vv, 1588c; S xx, 65

Hort zu ein news Gedicht (2p. So fundt man; 3p. Der g’winnen will), 5vv, 1576a; S xviii, 151

Ich armer Mann was hab ich than, 5vv, 1576a; S xviii, 113

Ich armes Weib (5p. of Ich hab ein Mann)

Ich hab dich lieb das weist du wol (2p. Und wann du freundlich bist), 5vv, 1572a; S xviii, 93

Ich hab ein Mann (2p. Wann er auffsteht; 3p. Nach dem Frühmal; 4p. Umb fünffe hin; 5p. Ich armes Weib; 6p. Bald ich von Gelt; 7p. Wann ich dann sag; 8p. Nun wars umb mich), 4vv, 1583a; S xx, 31

Ich harr auf Gott (3p. of Ich ruff zu dir mein Herr und Gott)

Ich harre auff Gott (Ulenberg), 3vv, 1588c; S xx, 76

Ich ruff zu dir mein Herr und Gott (2p. Wann du Herr wolltest; 3p. Ich harr auf Gott; 4p. Mein Hoffnung steht; 5p. Dann bey dem Herren) (Ulenberg), 6vv, 1590; S xx, 88

Ich sprach wan ich nit leuge, 5vv, 1576a; S xviii, 159

Ich weiss ein Frawelein, 5vv, 1572a; S xviii, 91

Ich weiss nur ein hübsches Meidlein, 4vv, 1583a; S xx, 28

Ich will auss gantzem Hertzen mein (Ulenberg), 3vv, 1588c; S xx, 64

Ich will dich Herr gebürlich loben (Ulenberg), 3vv, 1588c; S xx, 73

Ich will Gott unaufhörlich preisen (Ulenberg), 3vv, 1588c; S xx, 74

Im Lant zu Wirtenberg (2p. Da das der Herr; 3p. Der richter lacht), 5vv, 1567c; S xviii, 19

Im Mayen hört man die Hanen krayen, 5vv, 1567c; S xviii, 24

In Glück und Frewd (2p. of Ein guten Raht wil geben ich)

In viel Trübsal (2p. Derhalben dann nichts), 6vv, 1590; S xx, 116

In wölches Hauss (3p. of Mein Mann, der ist in Krieg)

Ist doch Gott gar (2p. of Wach auff o Menschenkind)

Ist Keiner hie, der sprich zu mir, 5vv, 1567c; S xviii, 8

Joseph verkauffet (5p. of Die Gnad kombt oben her)

Kombt her zu mir spricht Gottes Son (G. Grünwald), 5vv, 1572a; S xviii, 73

Man sieht nun wol wie stet du bist, 5vv, 1572a; S xviii, 81

Maria voll Genad (2p. Der Herr, der ist mit dir; 3p. Du best gebenedeyd; 4p. Gebenedeyt auch), 6vv, 1590; S xx, 108

Mein Fraw hilgert (2p. Mein Fraw unmilt; 3p. Mein Fraw unrein; 4p. Do ich lang stilt; 5p. Sie raufft jr gnug), 5vv, 1576a; S xviii, 132

Mein Fraw unmilt (2p. of Mein Fraw hilgert)

Mein Fraw unrein (3p. of Mein Fraw hilgert)

Mein Gott, mein heber trewer Gott (Ulenberg), 3vv, 1588c; S xx, 69

Mein Hoffnung steht (4p. of ich ruff zu dir mein Herr und Gott)

Mein Mann, der ist in Krieg (2p. Was soll ich euch; 3p. In wölches Hauss; 4p. Wolstu mich), 5vv, 1572a; S, xviii, 51

Mit Lust thet ich aussreitten (2p. Das ein das Annelein; 3p. Da lagens), 5vv, 1576a; S xviii, 124

Nach dem Frühmal (3p. of Ich hab ein Mann)

Nun grüss dich Gott, 8vv, 1573c; S xx, 54

Nun wars umb mich (8p. of Ich hab ein Mann)

Nur närrisch seyn ist mein Monier, 5vv, 1572a; S xviii, 62

O Herr, ich klag, es dir (Ulenberg), 3vv, 1588c; S xx, 62

O Mensch gedenck (2p. Dort aber wirdt), 6vv, 1590; S xx, 102

O selig dein der trewe Gott (Ulenberg), 3vv, 1588c; S xx, 74

Schaff mir Herr nicht in Eiffermut (Ulenberg), 3vv, 1588c; S xx, 71

Selig ist der auff Gott sein Hoffnung, 4vv, 1583a; S xx, 22

Selig zu preisen ist der Mann (Ulenberg), 3vv, 1588c; S xx, 61

Sie raufft jr gnug (5p. of Mein Fraw hilgert)

So fundt man (2p. of Hort zu ein news Gedicht)

So trincken wir alle, 5vv, 1576a; S xviii, 145

Straff mich Herr nicht in Eiffermut (Ulenberg), 3vv, 1588c; S xx, 76

Susannen frumb, 5vv, 1576a; S xviii, 109

Tritt auf en Rigel von der Thür, 5vv, 1567c; S xviii, 35

Umb fünffe him (4p. of Ich hab ein Mann)

Und wann du freundlich bist (2p. of Ich hab dich lieb das weist du wol)

Vater unser im Himmelreich (Luther), 5vv, 1567c; S xviii, 1

Vernimb Herr meine Wort (Ulenberg), 3vv, 1588c; S xx, 62

Von Gott kein Mensch (4p. of Auss meiner sünden Tieffe)

Von Gott wil ich nit lassen (2p. Wann sich der Menschen Hulde; 3p. Auff ihn wil ich vertrawen), 6vv, 1590; S xx, 134

Vor Zeiten was ich Lieb und Werd, 5vv, 1567c; S xviii, 16

Wach auff o Menschenkind (2p. Ist doch Gott gar), 4vv, 1583a; S xx, 24

Wann du Herr wolltest (2p. of Ich ruff zu dir mein Herr und Gott)

Wann er auffsteht (2p. of Ich hab ein Mann)

Wann ich dann sag (7p. of Ich hab ein Mann)

Wann sich der Menschen Hulde (2p. of Von Gott wil ich nit lassen)

Wann sich ein grimmer zoren (2p. of Auss meiner sünden Tieffe)

Was heut soll sein, 4vv, 1583a; S xx, 23

Was kann uns kommen an für Not (A. Knöpken), 5vv, 1572a; S xviii, 68

Was soll ich euch (2p. of Mein Mann, der ist in Krieg)

Welt, Gelt, dir wird (3p. of Welt, Gelt, dir wird einmal)

Welt, Gelt, dir wird einmal (2p. Gelt, Welt, dir wird; 3p. Welt, Gelt, dir wird), 5vv, 1576a; S xviii, 117

Wem soll man jetzund trawen, 4vv, 1573c; S xx, 50

Wer diss Lied hat gemacht (11p. of Die Gnad kombt oben her)

Wer Gott vertrauen thut (2p. of Die Gnad kombt oben her)

Wie ein hirsch gierlich schreien thut (Ulenberg), 3vv, 1588c; S xx, 77

Wie lang, o Gott, in meiner Not, 5vv, 1567c; S xviii, 27

Willig und trew on alle Rew, 5vv, 1572a; S xviii, 80

Wir armes Volck (3p. of Die Gnad kombt oben her)

Wir haben Herr mit unsern Oren (Ulenberg), 3vv, 1588c; S xx, 78

Wohl kombt der May, 4vv, 1583a; S xx, 40

Wolstu mich (4p. of Mein Mann, der ist in Krieg)