There are two errors of scribes in an unique source of this piece. Moreover there are no signum which indicates where is the final notes of the 1st part of this rondeau. I set the signum tentatively in bar 12, but possibly one can set it in bar 17. Special thanks to Magister Maukamedo for an helpful advices.
Sanctus -- "Fuga pausarum ascendendo per sextam",
Pleni sunt -- "Fuga post unum tempus descendendo per septimam",
Hosanna -- "Perfectum in c sol fa ut",
Benedictus -- Canon in fourth.
More than the fact that he had been active 1447-65 in Brugge, there is no certain records of Cornelius Heyns. This Mass setting is his unique work that we can appreciate. His contrapunctal ability is so high that we can safely assume that he composed more works that regrettably could not survive. Cantus firmus is that of Chanson
Chanson (Rondeau) "Pour quelque paine" of an anonymous composer.
Perhaps world premiere recording ?
I made this MIDI directly from a facsimile of
MS. 9126 of Brussel Koninklijke Bibliotheek(pub. Alamire).
but it contains some failures of notes and rests,
which are enough to make this piece unperformable.
(The hardest is after 1'45'' of this MIDI.)
A Vatican manuscript, which contains this piece,
is not available for me.
The second Agnus is a Canon, but there is only vague instruction "Duo. Sequere me." (Duo. Follow me.) I interpret it as an Canon of same tune with the interval of a semibrevis. The Third Agnus include the Canon between two Tenors. ("Tenores ad longum. Fuga in subdiapenthe")
Petrucci's ODHECATON attribute this piece to Ockeghem, but it seems not to be his work. Josquin, Obrecht, Agricola made Masses using this piece (Please refer to my MIDIs of Agricola's Missa Maleur me bat above). This piece seems to be Rondeau, although I gave up repeats of this form.
This chanson may be the original chanson whose melody is used in the Mouton's Missa Lo serai je dire. But it is possible that they uses the melody of an independent chanson.
The famous singer Melchior Parontrotti performed as it is written in score. I added some ornamentations, but fundamentally the same as he sang. The range is between d' and D. Karaokeis here.
Famous composer and singer Jacobo Peri sang this aria. The score is written not always the same as he sang, as Caccini says, and I added many ornamentations where it seems to be necessary.
Famous composer and singer Jacobo Peri sang this aria. The score is written not always the same as he sang, as Caccini says, and I added many ornamentations where it seems to be necessary. I added the introduction of Josquins' Ave Maria ... virgo serena to the basso continuo.
This one is contained in "Le nuove musiche e la nuova maniera di scriverle" (1614). It is not so famous as Amarilli mia bella and seems to be almost neglected by now, but I think this is one of the most beautiful songs of Caccini. The virtuous passages of this piece accorded perfectly with the words and melody , and I attended not to disturb this accordance as I realised the basso continuo.
