Music

Music by
by Pedro
Pedro de
de Cristo
Cristo
(c. 1550-1618)
1550-1618)
An
An edition
edition of
of
the motets from
the from Coimbra
Biblioteca Geral da Universidade
Universidade
M M 33
MM33

Edited by
Owen
Owen Rees

gl Routledge
i~ Taylor & Francis Group
New York London
Copyright 1998 OPA (Overseas Publishers Association) N.V. Published by license under the Harwood
Academic Publishers imprint, part of The Gordon and Breach Publishing Group.

All rights reserved.

No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, includ
ing photocopying and recording, or by any information storage or retrieval system, without permission in writing
from the publisher.

First published by Harwood Academic Publishers

This edition published 2012 by Routledge

Routledge Routledge
Taylor & Francis Group Taylor & Francis Group
711 Third Avenue 2 Park Square, Milton Park
New York, NY 10017 Abingdon, Oxon OX 14 4RN

British Library Cataloguing in Publication Data

Music by Pedro de Cristo (c. 1550-1618): an edition of the motets

from Coimbra, Biblioteca Geral da Universidade, MM 33
- (Music archive publications. Series C; v. 1)
1. Motets 2. Motet - Portugal - History and criticism
I. Rees, Owen
782.26 09031
ISBN 90-5755-010-5

Cover: Altus initial on folio 2 o f Coimbra, Biblioteca Geral da Universidade, MM 33. The words beneath the picture are
D. PETRVS AVT[OR]\ It is likely that this initial was drawn by Pedro de Cristo himself.
 Contents

Introduction to the Series vV

Introduction vii
vu
Coimbra
Sources from the Monastery of Santa Cruz in Coimbra vii
vu
The Composer vii
The Music vii
vu
Issues of Authorship xX
Motet Texts xi
Xl
Performance
Performance xii
The Edition xii
xu

List of Works by Pedro de Cristo xv

XV

M M 33
Motets from Coimbra, Biblioteca Geral da Universidade, MM 1
Dum complerentur
1 Dum complerentur dies
dies Pentecostes
Pentecostes 2
2 Postquam consumati sunt 6
Stella ista
3 Stella 10
Stabat
4 Stab mater
at mater 14
Angelus Domini
5 Angelus Domini 19
Hodie completi
6 Hodie completi sunt 23
7 O0 sacrum convivium 28
est
8 Panis iste verus est 32
9 0O prrec1ara
prclara stella maris 36
10 0O sacrum convivium 40
11 Magnum
11 Magnum hereditatis
hereditatis mysterium 44
12 0 beati viri Benedicti
Benedicti 47
13 Virgo prudentissima 51
14 Iste est JJoannes
oannes 56
Hie est beatissimus evangelista
15 Hic 60
Hodie nata est
16 Hodie 63
qu erat in civitate
17 Mulier qure 66
apostolos
18 Solus inter apostolos 70
19 0O beatum
beatum virum Martinum 74
20 0O sacramentum
sacramentum pietatis 77
21 Miserere mei Domine 80
22 Non in terrestri 84
23 0 crux venerabilis 88
24 Iste sanctus pro lege Dei 92
omnes fideles
25 Gaudeamus orones 94
26 Lachrimans sitivit anima mea 98
27 Fuit homo missus a Deo 104
28 Virgo prudentissima 107
29 Levita Laurentius 112
30 Ego sum panis vivus 116
31 Consurgit Christus tumulo 120
32 Princeps gloriosissime
gloriosissime 123
33 O0 quam gloriosum
gloriosum est regnum 127
34 Elegit te Dominus 131
iii
111
iv
IV CONTENTS
CONTENTS

35 Princeps gloriosissime
gloriosissime 135
36 Valde honorandus
honorandus est 139
37 Tua est
est potentia 144
38 Dum transisset
transisset Sabbatum 150
39 Inter
Inter natos mulierum
mulierum 157
40 Audi
Audi Israel 162
41 Magi
Magi viderunt stellam
stellam 167
42 Beata Dei
Dei genitrix
genitrix 172
43 Quae
Qure est
est ista 181
44 Osanna Filio David
David 189
45 Dum transisset
transisset Sabbatum 194

Critical
Critical Commentary 201
 Introduction to
Introduction to the
the Series
Series

The international series Music Archive Publications chronological and geo-

Publications is intended to cover a very broad chronological
graphical range, making available music either previously unpublished or not easily accessible, in editions of high
quality, according to modem musicological principles. Where necessary a sonic realization of the music, using the
computer technology, will accompany the edition.
latest computer

vv
This page intentionally left blank
 Introduction

Sources from the Monastery of Santa Cruz in Coimbra

In the Biblioteca Geral of Coimbra University is preserved the largest single collection of early sources of
polyphony to be found in Portugal. The bulk of these sources originated at the Monastery of Santa Cruz (a house
of Augustinian Canons) in the same city, an institution which was famous throughout the country as a centre of
scholarship and culture. l Among the manuscripts are four choirbooks- with the call-numbers MM 8, MM 18,
MM 33, and MM 36-the contents of which were copied wholly or in part by Pedro de Cristo, a canon at the
monastery and its mestre de capela for several periods in the late sixteenth and early seventeenth centuries. 2
Study of the script reveals that two of the choirbooks-MM 33 and MM 36-were copied (in the main) relatively
early in the composer's career, probably in the 1570s and 1580s, while work began on MM 8 and MM 18 towards
the end of his life. The present volume is an edition of the motets which make up the bulk of one of the earlier
books, MM 33. These works give us a clear view of what may have been the first period of the composer's
technical development.

The Composer
Pedro de Cristo's birth date is unknown. One source states that his father-Ant6nio Nunes-was a foreigner (i.e.
presumably Spanish), while another tells us that both parents were natives of Coimbra; his baptismal name was
Domingos. On 4 September 1571 he took his vows at the Monastery of Santa Cruz, and he subsequently rose to
the position of mestre de capela at both Santa Cruz and its principal sister-house, Sao Vicente de Fora in Lisbon.
Although the details of his movements between the two houses are obscure, we do know that the General Chapter
ordered him to move from Sao Vicente to Santa Cruz in 1605, and that in 1615 a request from Dom Pedro that he
be allowed to return to Sao Vicente was granted. A manuscript obituary states that, in addition to being a
productive composer (lauded especially for his skill at canronetas and other exuberant music), he played
keyboard instruments, harp, flute, and dulcian.

The Music
The obscurity in which Pedro de Cristo and his music have lain are symptomatic of our lack of understanding of
Portuguese musical culture in the so-called 'golden age'. While those of his near-contemporaries (such as
Cardoso, Lobo, and Magalhaes) who were fortunate enough to have their music published during their lifetimes
have attracted some attention through the issuing of modern editions based on those seventeenth-century
publications, Pedro de Cristo's music survives only in manuscript, and has (until recently) been ignored almost
entirely by editors. The isolated exceptions already in print are listed below, in chronological order.

Jose Eduardo da Silva Matos included editions of several works from MM 33 in Musica sacra:
Benedicamus Domino, 4vv, in vol. 16 (April, 1928), pp. 3-4;
Benedicamus Domino, 5vv, in vol. 1 (January, 1927), p. 9, and vol. 14 (February, 1928), pp. 8-9;
Magnificat (Quarti toni), in vol. 9 (September, 1927), pp. 8-10 ('Anima mea', 'Quia respexit', 'Et
misericordia'), vol. 10 (October, 1927), p. 11 ('Deposuit'), and vol. 11 (November, 1927), pp. 10-11
('Suscepit Israel' and 'Gloria');

For a general account of the cultivation of music at Santa Cruz, see Emesto Gon~alves de Pinho, Santa Cruz de Coimbra:
centro de actividade musical nos seculos XVI e XVII (Lisbon, 1981). The manuscript sources of polyphony from Santa
Cruz up to c. 1620, and the repertories they contain, are described in Owen Rees, Polyphony in Portugal. c. 1530-c.
1620: Sources from the Monastery of Santa Cruz, Coimbra (New York & London, 1995).
2 That Pedro de Cristo was involved in the copying of music in these four books can be established through comparison
with three surviving signatures of the composer, as explained in Owen Rees, 'Newly Identified Holograph Manuscripts
from Late-Renaissance Portugal', Early Music 22 (1994), pp. 261-77.

vii
 INTRODUCTION

Miserere mei Deus, in vol. 2 (February, 1927), pp. 9-10;

Salve regina, in vol. 4 (April, 1927), pp. 9-10.

2 Three pieces from MM 33, edited once again by Jose Eduardo da Silva Matos, appeared in A polifonia
clcissica portuguesa (Lisbon, 1937), a volume compiled by Julio Eduardo dos Santos: Non in terrestri,
Princeps gloriosissime (the setting at fols 45 v & 48 of MM 33, no. 32 in the present edition), and the
Magnificat (Quarti toni) which had previously appeared in Musica sacra.

3 The only collection dedicated solely to the composer is Mario de Sampayo Ribeiro's D. Pedro de Cristo
(1545?-1618): 6 trechos selectos, Cadernos de repert6rio coral, Polyphonia, Sene Azul, 3 (Lisbon, 1956);
this contains an edition of the Kyrie from the only surviving complete Mass Ordinary setting by the
composer-a Missa Salve regina-and the following other works: Beata viscera, Ego sum panis vivus, 0
magnum misterium (the setting at fols 24 v-5 of MM 36), Panis quem ego dabo (the setting at fols 33 v-4 of
MM 36), and Queramus cum pastoribus.

4 Ernesto Gon~alves de Pinho gave a transcription of the six-voice can~oneta, Pastorsico porque no vienes at
pp. 212-14 of the original edition (of which only sixty copies were produced) of his Santa Cruz de Coimbra:
centro de actividade musical nos seculos XVI e XVII (Coimbra, 1970); the piece was excluded from the 1981
edition of the book, published in Lisbon.

5 Robert Stevenson included Es nascido in Autores varios: vilancicos portugueses, Portugalire musica, Serie A,
29 (Lisbon, 1976), pp. 29-34. The introduction to this edition (pp. liv-Ix) incorporates the first published
attempt to list the composer's works.

6 The most recent publication is Bruno Turner's 1978 edition of Queramus cum pastoribus (which had already
appeared in Sampayo Ribeiro's anthology, no. 3 above), Mapa Mundi, Series A, 20 (London, 1978).

A complete edition of the composer's works by Emesto Gon~alves de Pinho, to appear in the series Portugalire
musica, was announced in 1981, and is still awaited. The paucity of existing editions is particularly surprising
given that the composer's importance has long been recognised. In 1939 Mario de Sampayo Ribeiro described
Pedro de Cristo as 'compositor de tomo e de raro engenho' ('a composer of importance and uncommon ability'),3
and Manuel Joaquim declared him to be '0 maior compositor de Santa Cruz' ('the greatest composer from Santa
Cruz'). 4 Certainly, his output is important in size alone: the number of surviving works which can be attributed to
him (see the list of works below) is the largest of any Portuguese composer of the period. The precise extent of
this output has, however, been difficult to fix, since many pieces survive in holograph copies (as mentioned
above) but without a specific attribution to the composer. Luckily, Pedro de Cristo's style is distinctive in a
number of ways, aiding identification of these 'anonymous' works; some of the distinguishing features are
described below.
Most distinctive of all is the liking for unusually 'bunched' types of clef combination, and correspondingly
narrow overall ranges. The most typical combination among the ostensibly earlier pieces in MM 33 is G2, Cl,
C2, 0, and over half of the motets in the manuscript use G2 clef for the topmost voice(s). However, these pieces
do not employ the standard chiavette clef-combination of the period (i.e. one using C4 (or 8) as the clef of the
lowest voice), with just two exceptions: Quce est ista, no. 43 in the edition (which is clearly a more mature work
than most in MM 33, and stands apart from them in other respects, such as its use of canon), and Dum transisset
Sabbatum (no. 45), which, as explained below, may not be by Pedro de Cristo. Rather, C3 is Pedro de Cristo's
preferred clef for the lowest voice, both in pieces with G2 as the topmost clef and in those employing Cl clef in
this position. (No fewer than 27 works edited here have C3 as the lowest clef.) The infrequent recourse to F clefs
is particularly striking: just seven out of the forty-five motets' are copied with an F clef for the lowest voice, and
the authorship of one of these seven-Beata Dei genitrix, no. 42-is doubtful (as explained below).
The overall vocal range of the motets in MM 33 is, on average, only sixteen notes, this narrow range
appearing even in two-thirds of the five-voice pieces. The most common range is just fifteen notes, while four
works have a range of thirteen notes and one (0 beatum virum Martinum, no. 19) a mere twelve.
It seems likely that these curious clef-combinations and narrow ranges reflect the influence of the man who
probably taught music to Pedro de Cristo at Santa Cruz, namely his predecessor as mestre de cape/a, Dom
Francisco de Santa Maria. The average overall range of the four-voice works specifically attributed to Dom
Francisco is sixteen notes, the same figure as that just noted for the motets in MM 33. Further, although Dom
Francisco tends to use clef-combinations which are rather less 'bunched' than the typical patterns described above

3 'A mUsica em Coimbra', Biblos (Revista da Faculdade de Letras da Universidade de Coimbra) 15 (1939), pp. 439-66.
4 This comment occurs in the tnanuscript file cards (Fichas verdes) used by Joaquim to catalogue a number of the Santa
Cruz manuscripts, and now in the Servi~o de Musica of the Calouste Gulbenkian Foundation in Lisbon.

viii
 INTRODUCTION

(with F3 or C4 clefs for the lowest voice, rather than Pedro de Cristo's preferred C3), it is nevertheless true that
not one of his surviving works employs an F4 clef for the lowest voice. The fact that Dom Francisco's influence
in this regard is so clear within Pedro de Cristo's works in MM 33 suggests once again that many of them are
early pieces.
With regard to performance, those pieces with G2 as the topmost clef seem to require downward
transposition, but the small overall ranges make it difficult to know by how much they were transposed or for
what combination of voice-types Pedro de Cristo was writing~ as already noted, we are not in most cases dealing
with standard chiavette combinations. The solution here has been, in almost all cases, to employ transposition by
a fourth, so that a work with the clef-combination G2, Cl, C3, C4, for example, is performable by S, A, T, and
T/Bar. However, there is clearly scope for choice, as indeed is true also of the pieces with Cl clef at the top and
narrow range, which have here been left untransposed in most cases, and thus mainly suitable for S on the highest
part and T on the lowest. An exception is Iste est Joannes, no. 14, which is scored for two pairs of equal voices,
with clefs Cl, Cl, C2, C2, and is presented here, untransposed, for a high-voice combination of S, S, A, A. Pedro
de Cristo's choice of clefs in this case may reflect the example of Dom Francisco de Santa Maria's setting of the
same text, which is for seven voices of which the topmost four have the clefs just mentioned. 5 Of the other pieces
with C 1 clef at the top and narrow overall range, Consurgit Christus tumulo (no. 31) might be transposed down,
although the use of unusually high notes in all four voices may be a deliberate reflection of the text's theme: it is
worth noting that, rather than the voice-ranges simply being higher than in the other pieces employing these clefs,
the range of each voice is wider than usual (a tenth or eleventh), and that therefore the composer has apparently
extended them upwards for specific effect.
There is a telling contrast (in terms of style as well as scoring) between this large group of motets in MM 33
which employ a narrow overall range and a few pieces which tend in every respect to be more assured and which
have a wider range: nineteen notes in the case of 0 crux venerabilis (no. 23), and twenty notes in Miserere mei
Domine (no. 21), Lachrimans sitivit anima mea (no. 26), QUCE est ista (no. 43), and Osanna Filio David (no. 44).
These works use either F4 as the lowest clef or-in one case-a standard chiavette combination with 02 clef at
the top and C4 at the bottom (QUCE est isla). The first three of the motets just listed are here presented
untransposed, for performance by S, A, T, B~ Quce est ista has been transposed down a tone, for S, S, A, T, B~
Osanna Filio David has been left untransposed, and hence for S, A, T, Bar, B. Other symptoms of the greater
maturity of such works (among which should be included Fuit homo missus a Deo, no. 27, despite its relatively
narrow overall range) are their greater melodic expansiveness (seen in the upper parts at bars 18-21 of
Lachrimans sitivit anima mea and-rare examples of word-painting-in the protracted settings of 'prolongatur
nimis' and 'in reternurn' at bars 34-47 and 87-97 of the same work), rhythmic variety (e.g. the syncopated line
approaching a cadence in bars 47-8 of Miserere mei Domine), cadential variety, and imaginative varying of
texture (e.g. the homophonic ending to Fuit homo missus a Deo). In addition, the shaping of each section of a
piece is more assured, a fine instance being the opening imitative paragraph of Miserere mei Deus, where-in the
first five bars-the time-interval between entries is progressively shortened, and at bar 13 the high E flat in the
topmost voice, supported by the rising crotchet scale in the voice below, provides an effective climax to the
whole section.
The relative lack of maturity apparent within a significant number of the motets in MM 33, with their
somewhat pedestrian, repetitive, shapeless, and unimaginative style, occasionally manifests itself as a lack of
modal clarity, seen (for example) in Elegit Ie Dominus (no. 34), which is in the Aeolian mode (with D final) for
most of its length but veers strangely to the Dorian mode (with G final) in the last eight breves. However, in one
of the more mature works just mentioned-Lnchrimans sitivit anima mea (no. 26)-we can see such a tension
between two modes (perhaps better described here as tonal areas) being used constructively to reflect the meaning
of the text. '[he text of this piece- the most expressive of all Pedro de Cristo's surviving works- is as follows:

Lachrimans sitivit anima mea videre te fontem vivum teque fmi. Heu me exulem, quia incolatus meus prolongatur
nimis. Audivit lamentationes et gemitus extenninii tui. Convertere, convertere 0 Sunamitis, revertere, revertere, ut
intuearis et mei fruaris in retemum.

(Weeping, my soul has thirsted to see thee, the living source, and to have joy in thee. Alas for me, an exile, for my
banishment lasts too long. lIe has heard the lamentation and groaning of thy exile. Return, return, 0 Shulamite,
return, return, so that you may look upon me and have joy in me for ever.)

This text draws upon at least two sources:

5 There is further evidence that Pedro de Cristo was here influenced by Dom Francisco's motet: the latter chose to end his
setting with a varied repeat of the last paragraph~ Pedro de Cristo's work concludes with a much looser version of this
device (exceptional within his output), most easily seen in the pairs of upper-voice entries in bars 50-51 and 56-7.

ix
 INTRODUCTION

1. the antiphon to the second psalm at Vespers in the Office of the Dead: 'heu me, quia incolatus meus
prolongatus est'; this is itself a reference to the fifth verse of the associated psalm, 119: 'heu mihi quia incolatus
meus prolongatus est';
2. Song of Songs 6.12: 'Revertere, revertere, Sulamitis! revertere, revertere, ut intueamur te.'
Both of these passages have been altered in the motet text: in the case of the first, the word 'exulem' ('an exile')
has been inserted, and 'nimis' ('to excess') added for emphasis, while in the second 'ut intueamur te' ('so that 1 may
look upon thee') has become 'ut intuearis et mei froaris in reternum' ('so that you may look upon me and have joy
in me for ever'). The psalm continues 'Habitavi cum habitantibus Cedar' ('I have dwelt among the inhabitants of
Kedar'), and as a whole is a complaint at having to live among foes. However, the most striking aspect of the
motet text as a whole is its messianic slant, with the fervent desire to see the return of 'the exile'.
The text may well have been intended to carry a political message for a contemporary Portuguese audience.
During the period of Spanish rule of Portugal (1580-1640) people's hopes of liberation were centred on the figure
of the young King Sebastiao, and there was a widespread belief that he had not died at the battle of Alcacer-
Quibir which ended his disastrous attempt to lead a crusade to northern Africa. The messianic 'Sebastianist'
message was certainly preached from the pulpits of some Portuguese churches. The opening words of
Lachrimans sitivit anima mea might be understood both as Sebastiao's longing to see his homeland and the
longing of the Portuguese for the restoration of their king; likewise the 'banishment' among foes could encompass
both the king's exile among the heathen and his people's suffering under the Spanish yoke.
The dramatic nature of the text, and perhaps the importance of its covert message, caused Pedro de Cristo to
handle tonality in a way that powerfully supports the text's progress. Although the tension between minor
tonalities on G and D is maintained throughout the piece, one notes the sophisticated way in which the depression
of the text's opening, where the appearance of E flat in the first motive places the music firmly 'in G', is later
disrupted through the use of C sharps from bar 72 onwards, as the text calls for the return of the exile (i.e.
Sebastiao), and it is these C sharps (confirming D tonality) which are finally victorious in the last seven breves of
the pieces, granting it a hopeful ending. This long-term manipulation of tonality, with a 'sharper key' representing
hope of salvation, is a telling rhetorical device.
In general, the motets in MM 33 show a solid preference for the Dorian mode, more than half being in this
mode, with twice as many employing a G final (cantus mol/is, with B flat signature) as D final. Of the remaining
works, most are in the Ionian mode, with just a few Mixolydian and Aeolian pieces. The Phrygian mode is not
represented.
Besides those idiosyncracies listed above, another feature of Pedro de Cristo's surviving motets sets them
somewhat apart from the norms of the period, namely their brevity. Only two of the forty-five works presented
here (nos. 26 and 27, Lachrimans sitivit anima mea and Fuit homo missus a Deo) have two partes, and the
average overall length of the works is a mere fifty-five breves. Fuit homo, in fact, provides an extreme example
of such concision, its length-forty-six breves-being quite exceptionally little for a motet with two partes.
Strikingly, many of the five-voice motets are as concise as those with four voices, which is surprising given the
need to accommodate more imitative entries. 6

Issues ojAuthorship
Only ten of the forty-five motets presented here carry a specific attribution to Pedro de Cristo in MM 33 or
elsewhere (although they are all in his hand in MM 33). We can, however, be confident, thanks to the
extraordinary consistency of style within this body of works (manifest in, for example, the concentration on
particular-unusual-clef-combinations, and the consistency in the length of pieces) that Pedro de Cristo
composed almost all the motets in MM 33. This consistency extends to the frequent appearance of a limited
number of motives used in imitation. The most common types are sequentially organised figures which alternate
falling fourths and rising thirds (e.g. bars 13-21 of Gaudeamus omnesfideles (no. 25), bars 42-45 of Lachrimans
sitivit anima mea (no. 26), and bars 25-30 of Virgo prudentissima (no. 28)), some of these being arranged so as to
create per arsin et thesin imitation (e.g. bars 38-41 of 0 beatum virum Martinum (no. 19) and bars 42-45 of
Princeps gloriosissime (no. 32)); a second type of sequential figure-favoured in the settings of 'Alleluia' which
are frequent in these motets-alternates falling thirds and rising tones/semitones, and is again associated with per
arsin et thesin entries (e.g. bars 46-55 of 0 crux venerabilis (no. 23) and bars 51-.54 of Princeps gloriosissime
(no. 32)).
Two other common features of Pedro de Cristo's contrapuntal technique are worthy of attention. The first of
these, which seems to have been learned from Francisco de Santa Maria-and which can produce acerbic
dissonances that are at odds with the typical suaveness of Pedro de Cristo's style-is the combination of a

6 A similar degree of brevity is found in the motets of Manuel Cardoso: the average length of the twenty-two motets in his
Livro de varios motetes (Lisbon, 1648) is just 49 breves, and only two of these works have two partes. As noted in the
case of Pedro de Cristo's works, the five-voice works are not, on average, longer than the four-voice motets.

x
 INTRODUCTION

cambiata figure in one voice with passing notes in another; this is seen most clearly at bars 8-10 of Audi Israel
(no. 40). The second trait is that when using suspensions the composer writes repeated notes at the preparation
and sounding of the suspended note (i.e. two minims, rather than the more usual semibreve)-examples being at
bars 31-39 of Gaudeamus omnesfideles (no. 25) and bars 19-24 of Audi Israel (no. 40).
Significant doubts about Pedro de Cristo's authorship remain regarding just two works: Beata Dei genitrix
(no. 42) and one of the settings of Dum transisset Sabbatum (no. 45).7 Even in these cases, the possibility of his
authorship cannot be dismissed (particularly since declamation in the rhythm dotted minim, crotchet, minim-a
feature of his writing-occurs in both); however, the widely spaced vocal scoring of the fonner (with an overall
range of twenty-two notes-larger than that found in any other work here-and a unique clef-combination within
the repertory under discussion) and the imitative freedom of the latter give rise to doubts. The length of Beata Dei
genitrix, eighty-two breves, is also extraordinary in the current context. The case of another work, Quce est ista
(no. 43), reveals the need for caution in coming to firm conclusions about authorship.8 A number of features of
the work are exceptional within the context of these motets, including its use of a standard chiavette clef-
combination (with G2 clef at the top and C4 at the bottom), its length (seventy-seven breves), and the presence of
canon (at the unison, between the two topmost voices). However, other features suggest that it may indeed be by
Pedro de Cristo (albeit an unusually fine work within MM 33): for example, the sudden and brief appearance of
homophony at bars 22-24 and the employment of three-note cambiata figures (as, for example, at bars 41 and
43). One wonders whether the unusual nature of the work may in part be due to its having been inspired by an
existing motet: although there is nothing here that deserves the label 'parody', there seem to be faint echoes of
perhaps the most famous motet of the entire Iberian Renaissance, Guerrero's Ave virgo sanctissima. Most
obviously, of course, both works generate two equal topmost parts by means of a unison canon at a distance of
two breves, in addition to which they both include text from the Song of Songs 9 and both are in the Dorian mode
with G final; besides this, at several points Quce est ista has melodic and harmonic gestures highly reminiscent of
specific passages in Ave virgo sanctissima (a good example of such parallels being the endings of the two works).
It has just been noted that the use of canon in Quce est ista is exceptional within the forty-five motets edited
here (although a brief canonic passage between the upper voices may be found at bars 26-30 of Iste est Joannes
(no. 14)). Indeed, there is little technical display of any other kind; for example, only one work employs ostinato
(Inter ootos mulierum, no. 39), and cantus-firmus writing appears likewise just once (in Iste sanctus pro lege Dei
(no. 24), where its appearance was clearly prompted, punningly, by the words 'fundatus enim erat supra firmam
petram'). More generally, the imitative technique never extends to the use of recto and inverted versions of a
motive within a particular point, or (more freely) to the use of subject and countersubject. The homogeneity of the
repertory is striking in textural terms also, with no largely homophonic motets (such as the composer was
certainly to write later: for example, De profundis, preserved in MM 36), and very little antiphony (bars 6-12 of
Solus inter apostolos, no. 18, being almost the only clear-cut instance). Rhythmically, the collection is markedly
restrained in comparison to Pedro de Cristo's later works; although the repeated-note figure dotted minim,
crotchet, minim is frequently used for the beginnings of imitative points to set three syllables, there is much less
use of repeated crotchets to carry separate syllables than is found even in many works in MM 36 (a manuscript
which was, like MM 33, copied largely in the early part of Pedro de Cristo's career, as noted above). Among the
few examples of this type of declamation in the MM 33 motets are at bars 47-8 of 0 prceclara stella maris (no.
9), bars 43-4 of 0 sacrum convivium (no. 10), and, most prominently, bars 27-30 of Fuit homo missus a Deo (no.
27), this last being-significantly-one of the stylistically more mature works within MM 33.

Motet Texts
The composer's favourite source of texts for the motets in MM 33 was the Office, and-in particular-the
responsories of Matins and antiphons to Magnificat at Vespers. to Some motets reflect particular devotional
emphases at the Monastery of Santa Cruz. An obvious example, given the monastery's dedication, is 0 crux
venerabilis (no. 23). Less obvious is the likely reason for the presence of works concerned with St John the
Baptist: the particular veneration for this saint at Santa Cruz (manifest in, among other things, the presence of a
confraternity dedicated to St John) was connected with the association between the Baptist and King Joao III of
Portugal. 11 Among the motets copied into MM 33, Fuit homo missus a Deo (no. 27) and Inter natos mulierum

7 The former was apparently a late addition to MM 33, and was left largely untexted.
8 like Beata Dei genitrix, this work was a late addition to the manuscript, and is partially texted.
9 Although one suspects - given the difficulty of fitting text to music- that Quce est ista originally had a different text.
10 Details of the texts are provided in the Critical Commentary. It is interesting to note that, from 1572, the texts of new
motets composed at Santa Cruz were subject to scrutiny by the Prior or a theologian before they could be performed; see
Pinho, Santa Cruz de Coimbra, p. 43.
11 See Rees, Polyphony in Portugal, p. 46 note 46 and p. 235.

xi
 INTRODUCTION

(no. 39) have texts drawn from the Office for the Nativity of St John the Baptist. 12 8t Martin of Tours (no. 19, 0
beatum virum Martinum) was venerated in Portugal as a whole, as was (and is) St Isabel (no. 22, Non in
terrestri), although the latter's cult is particularly associated with Coimbra. 13 Besides these works, one notices the
significant number of motets designated (in copies in the manuscript MM 53) for use at Corpus Christi (the two
settings of 0 sacrum convivium (nos 7 and 10), Panis iste verus est (no. 8), and Ego sum panis vivus (no. 30)),
together with which one should mention 0 sacramentum pietatis (no. 20), whose text in celebration of the
Eucharist is suitable for the same feast.

Performance
Vocal polyphony at Santa Cruz was performed by the capela, made up of canons whose voices were
characterised 14 as belonging to one of the four types (in descending order) tipre, contra alta, tenor, and contra
baxa (although some canons are described as having been able to sing in two or more of these ranges). The
highest of these types was an adult high falsetto (and is thus occasionally described in contemporary documents
as 'tipre mudado' (literally 'changed treble'). As for the vocal qualities admired at the time, the obituary of a
-certain Dom Tome who died in 1559 may be instructive: 'Teve a melhor contra baxa que homem humano em esta
vida cantou, porque era muito grande, suave, fa~el em garganta, como se fora urn tiple, ou contra alta muito
delgada' ('He had the finest bass voice of any man, for it was very powerful, sweet, and fluent in articulation [lit.
'in the throat'], as if it were a treble voice or a very delicate contralto'). 15
Other issues of performance practice at Santa Cruz and Sao Vicente in Lisbon await further research; for
example, we know nothing about the typical size of the capela of either institution, nor of how common it was for
instruments to participate when motets were sung, although it is clear that both keyboard and other instruments
were frequently used in the performance of the liturgy. Those interested in Portuguese pronunciation of Latin at
this period are referred to Harold Copeman's Singing in Latin (Oxford, 1990).

The Edition
The editions presented here are based on the readings in MM 33. A large number of the works are found also in
MM 53, a small manuscript copied (apparently as a private anthology) in choirbook format, and mainly by a
single scribe. This scribe reproduced his exemplars with extreme fastidiousness (reproducing even the smallest
notational details and-indeed-errors), which facilitates the identification of those exemplars. The book of
which he made the most extensive use was MM 33, and it is apparent that he had access to it reasonably soon
after the copying of the main layer of that source (and therefore probably in the 1580s or 1590s), since he
reproduces the original readings in those cases where Pedro de Cristo later made alterations or corrections (see
Rees, Polyphony in Portugal, pp. 292-3). Despite this, the readings in the two manuscripts are always close, and
the variants between them usually trivial, as may be seen from the Critical Commentary.
The editorial conventions applied in the present edition may be summarised as follows:

Original note-values have been retained. As stated above, most pieces employing a G2 clef for the highest
voice(s) have been transcribed at a pitch a fourth lower than the 'pitch' of the original; the exceptions are 0
quam gloriosum est regnum (no. 33) and Beata Dei genitrix (no. 42), which have both been left untransposed,
and QUfR est ista (no. 43), which has been transposed down a tone. Other works have been presented at the
'pitch' of the source, except for Valde honorandus est (no. 36), which has been transposed down a tone.

2 Accidentals placed before a note are present in the source; accidentals before a note and in parentheses are
not themselves present in the source, but are employed in cases where a previous source accidental is
considered to be still in force; cautionary accidentals are likewise in parentheses and placed before the note;
'redundant' accidentals in the source, including those rendered unnecessary by the modem convention that
accidentals continue in force throughout a bar, have been suppressed without comment; accidentals above the
stave are editorial suggestions, and apply only to the note above which they stand. Pedro de Cristo was

12 Although no similar association is known to have existed between the King and St John apostle and evangelist, the
number of motets in MM 33 dedicated to this St John (Iste est Joannes (no. 14), Hic est beatissimus evangelista (no. 15),
Solus inter apostolos (no. 18), and Va/de honorandus est (no. 36)) seems to require explanation.
13 Although she was not canonised until 1626, the local celebration of her feast received papal authorisation in 1516.
14 Such infonnation is frequently given in a manuscript necrology of the canons compiled by a certain Dom Gabriel de
Santa Maria, edited by Pedro de Azevedo as 'Rol dos C6negos Regrantes de Santo Agostinho por D. Gabriel de Santa
Maria', Boletim de segunda classe da Acadenlia de Ciencias de Lisboa 11 (Coimbra, 1918), pp. 104-77.
15 See Azevedo, 'RoI', p. 118.

xii
 INTRODUCTION

unsystematic in his provision of notated accidentals in the holograph sources, as is revealed for example by
the degree of inconsistency between multiple copies of the same piece.

3 Ligatures in the source are indicated by a horizontal bracket placed over the relevant notes. Coloration is
indicated by a broken horizonal bracket.

4 Music or text placed in square brackets has been provided by the editor.

5 Text printed in italics is represented by a ditto mark in the source. The copies in MM 33 provide in the main
very full texting, but Pedro de Cristo took only limited care with regard to the alignment of syllables and
notes, so that details of the distribution of text are often of necessity editorial.

6 Spelling and punctuation have been made consistent between voices, and the punctuation and capitalisation
'modernised'. Although spelling also has to some extent been modified in accordance with modern usage,
such interference has been kept to a reasonable minimum, since the original spelling may provide evidence
regarding pronunciation; thus, for example, in Stabat mater (no. 4) the source reading of 'iusta' (rather than
'iuxta') has been retained.

xiii
This page intentionally left blank
 List of Works by Pedro de Cristo

Only works specifically attributed to the composer, or which bear his clear stylistic hallmarks, are included in this
first list. Given the relative paucity of specific attributions, and the possibility that other sources may be
identified, these lists must be regarded as provisional~ other unattributed works in MM 8, 18, and 53 may well be
by Pedro de Cristo. All sources are in Coimbra, Biblioteca Geral da Universidade, except 'L.C. 57', which is
Lisbon, Biblioteca Nacional, L.C. 57, and 'OpBP 40', which is Oporto, Biblioteca PUblica Municipal, MS Musical
40~ for further details of sources-and in particular of the folio numberings employed in this table-see Rees,
Polyphony in Portugal.

Incipitrritle; no. of voices Source(s)

Ad Dominum cum tribularer, 4vv MM 53, 65v -6
Alleluia, 3vv MM 44, 197v ~ MM 53, 78 v -9
Alleluia,4vv MM36,44v -5
Alleluia, 4vv MM 36, 61 v -2
Alleluia, 4vv MM 44, 155v -7
Alleluia, 4vv MM 53, 16v -7
Alleluia. Tu es Petrus, 4vv MM36,44v-5
Alma redemptoris mater, 4vv MM36,42 v -4
Amicus meus, 4vv MM8,95v -6
Angelus Domini, 4vv MM 33, 7 v-8~ MM 53,21 v-2
Animam meam dilectam, 4vv MM8,102 v-4
Animam meam dilectam, 4vv L.C. 57, 62v --4
Asperges me, 4vv MM 18, Iv-3~ MM 33, 2-3 (incomplete); MM 44, 133 v-6
Asperges me, 5vv MM 18, 5v -7; MM33, 112[A]V-114
Audi Israel, 5vv MM 33, 105v -6
Ave Maria, 8vv MM 18, 95v -7
Ave mans stella,4vv MM36,50v -4
A ve regina crelonun, 4vv MM 36, 30v-l
Ay mi Dios, 3vv, instnunental bass MM36,67v -8
Baptista contremuit, 4vv MM53,2 v -3
Beata Dei genitrix, 4vv MM36,25v -6
Beata viscera Marire, 4vv MM 36, 64v -5
Beate martir prospera, 4vv MM 36, 60v -l
Beati orones, 4vv MM 18, 12v -4
Beatus vir (psalm), 4vv MM 8, 69v -71
Beatus vir (psalm), 4vv MM 18, l09v-ll

xv
 LIST OF WORKS BY PEDRO DE CRISTO

Incipitffitle; no. of voices Source(s)

Beatus vir (psalm), 4vv MM 33, 63 v-5; MM 53, 51 v-3
Beatus vir (psalm), 4vv MM36,SV-7
Beatus vir (tract), 4vv MM 53, l06v-8
Benedicamus Domino, 4vv MM 33, 123 v-4; MM 44, 121 v-2
Benedicamus Domino, 4vv MM 33, 124v-5; MM 53, 73 v-4
Benedicamus Domino, 4vv MM 33, 126V -[127]; MM 53, 71 v-2
Benedicamus Domino, 4vv MM36,12v-3
Benedicamus Domino, 4vv MM36,12 v-3
Benedicamus Domino, 5vv MM 33, 124v-5; MM 53, 73 v-4
Benedicamus Domino, 5vv MM33, 125v-6; MM 53, 72 v-3
Benedicamus
Benedicamus Domino,
Domino, 5vv
5vv MM 33, 126v-[127]; MM 53, 71 v-2
Caligaverunt oculi mei, 4vv L.C. 57, 66v-7
Christus natus est nobis, 5vv MM 36, 69v -70
Confitebor tibi Domine in consilio, 4vv MM 8, 67v-70; MM 18, 9 v-l1; MM36,3 v-5
Confitebor tibi Domine in consilio, 4vv MM 18, l06v-9
Confitebor tibi Domine in consilio, 4vv MM 33, 61 v-3~ MM 53, 49 v-51
Confitebor tibi Domine quoniam, 4vv MM 18, 128v-30
Consurgit Christus tumulo, 4vv MM 33, 44v-5; MM 53, 18 v-9
Credidi,4vv MM 18, Il v -3
Cum invocarem, 4vv MM8,75v-8
Cum invocarem, 4vv MM 18, 77v -80
Cum sublevasset <>culos, 4vv L.C.57,46v -7
De profundis, 4vv (motet) MM36,19v-20
De profundis, 4vv (psalm setting) MM 33, 29v-30
Dilexi,4vv MM 18, 125v-7
Dixit Dominus, 4vv MM 8, 66v-8~ MM 18, 7 v -9; MM33, 59 v -61; MM 53, 74 v-6
Dixit Dominus, 4vv MM 33, 49v-51; MM 53, 47 v-8
Dixit Dominus, 4vv MM 33, 57v-9~ MM 36, 56 v-7; MM 53, 55 v-6
Dixit Dominus, 4vv MM36,lv-3
Dixit Dominus, 7vv MM 18, 93 v-5
Domine clamavi ad te, 4vv MM 53, 68v -71
Domine probasti me, 4vv MM 53, 61 v-5
Ductus est Jesus, 4vv L.C.57,43 v-4
Dulce lignum, 5vv MM33,112 V -112[A]
Dum complerentur, 4vv MM 33, 3 v-4; MM 53, 19 v-20
Dum transisset Sabbatum, 4vv MM53,56v-7
Dum transisset Sabbatum, 5vv MM33,103 v-4

xvi
 LIST OF WORKS BY PEDRO DE CRISTO

Incipitffitle; no. of voices Source(s)

Ecce vidimus eum, 4vv MM8, 94v-5
Ecce vidimus eUID (incomplete) L.C.57,50v
Ego sum panis vivus, 4vv MM 33, 43 v-4; MM 53, 13 V-4
Elegit te Dominus, 4vv MM 33, 48 [A]V -48[B]; MM 53, 9 v-10
Eram quasi agnus, 4vv MM8,98v-9
Eram quasi agnus, 4vv L.C. 57, 54Y -5
Erant autem ibi, 4vv MM 53, 108v-9
Es nascido, 4vv MM36,6SV-7
Fatalis olim, 4vv MM 53, 128v-30
Fidelis servus, 4vv MM 53, 108V -9
Filire Jerusalem, 4vv MM 53, 98v -9
Fuit homo missus a Deo, 4vv MM33,40v-1
Gaudeamus omnes fideles, 4vv MM33,33 v-4
Gaudeamus omnes in Domino, 4vv MM 53, 104,v-6
Gloria in excelsis Deo, 5vv MM33, 114v-5+ 118
Gloria laus et honor, 4vv MM 18, 16v-9
Gloria patri, 5vv MM 36, 49v -50
Hei mihi Domine, 4vv MM8,89v-90
Hic est beatissimus evangelista, 4vv MM33,17v-8
Hodie completi sunt, 4vv MM 33, 8v-9; MM 53,22 v-3
Hodie nata est, 4vv MM33,18v-9
Hodie nobis crelorum rex, 5vv MM8,112v-3
Hodie nobis de crelo, 4vv MM36,23 v -4
Hodie nobis de crelo, 4vv MM36,62v-3
Hoy se manda a pregonar, 4vv MM 53, 127v-8
Incipit lamentatio, 4vv MM 53, 79v -85
Incipit Iamentatio, 4vv MM53,85v-9
In exitu Israel, 4vv MM 33, 67V-70; MM 44, 58 v-65
In exitu Israel, 4vv MM36,13 v -6
In ferventis oIei, 4vv MM36,16v -7
In ferventis olei, 4vv MM53,SV-6
In illo tempore, 4vv L.C.57,44v -5
In manus tuas,3vv MM 18,84v
In manus tuas, 4vv MM 18,85
In manus tuas, 5vv MM 36, 29v-30
In monte Oliveti oravit, 4vv MM 18,20v-2
In te Domine speravi, 4vv MM8,78v-9

xvii
 LIST OF WORKS BY PEDRO DE CRISTO

Incipitffitle; no. of voices Source(s)

Inter natos mulienun, 5vv MM33,104.Y-5
Inter vestibulum, 4vv LoCo 57, 42v -3
Iste est Joannes, 4vv MM33,16v -7
Iste sanctus pro lege Dei, 4vv MM 33, 32v -3
Jesu corona virginwn, 4vv MM 36, 58v --60
Jesum tradidit impius, 4vv MM 8, 104Y -5
Jesum tradidit impius, 4vv MM 36, 41 v-2
Jesum tradidit impius, 4vv LoC.57,6SV-6
Judas mercator pessimus, 4vv MM8,97V-8
Judas mercator pessimus, 4vv MM 26, [54] v -[56]
Judas mercator pessimus, 4vv MM 36, 37v-8; LoCo 57, 53 (incomplete)
Lachrimans sitivit anima mea, 4vv MM 33, 34v -6; MM 53, 7 v -9
Lretatus sum,4vv MM33,51 v -4
Lretatus sum,4vv MM36,10v -12
Lretatus sum,4vv MM53,67 v -9
Landa Jerusalem, 4vv MM 18, 14v-6
Lauda Jerusalem, 4vv MM33,54v -7
Laudate Dominum, 4vv MM8,73 v -4
Laudate Dominum, 4vv MM 18, 99v -l00
Laudate pueri, 4vv MM8,71 v -3
Laudate pueri, 4vv MM 18, 97v -9
Laudate pueri, 4vv MM33,50v -2
Laudate pueri, 4vv MM 33, 65v -7; MM 53, 53 v -5
Landate pueri, 4vv MM36,7v -9
Levavi oculos meos, 4vv MM 18, 126v-8
Levavi oculos meos, 4vv MM 53, 66v -7
Levita Laurentius, 4vv MM 33, 42v -3; MM 53, 17 v -8
LIDDen ad revelationem gentium, 4vv MM36,68v -9
Magi videnmt stellam, 5vv MM 33, l06v + 108
Magnificat,4vv MM 18, 123 v -5
Magnificat,4vv MM33,82v-7;MM44,108 v -14
Magnificat,4vv MM 33, 118v-23; MM 44, 114 v-20
Magnificat, 4vv MM 36, 21 v -3
Magnificat,4vv MM 36, 45v -9
Magnificat,4vv MM 44, 126v -32
Magnificat,4vv MM53,37 v-9
Magnificat, 8vv MM 18, 52v--8

xviii
 LIST OF WORKS BY PEDRO DE CRISTO

Incipitffitle; no. of voices Source(s)

Magnum hereditatis mysterium, 4vv MM 33, 13v-4; MM 53, 27 v-8
Mass,4vv (Kyrie, Sanctus, Agnus Dei) MM 36, 17V-20
Miserere mei Domine, 4vv MM33, 23v-4~ MM 53,11 v-2
Miserere mihi Domine, 5vv MM8, 83 v -4
Miserere mihi Domine, 8vv MM 18, 82v -3
Missa Salve regina, 4vv MM33,70v-81
Mulier qure erat in civitate, 4vv MM 33, 19v-20; MM 53, 28 v-9
Nisi Dominus, 4vv MM33,53 v-5
Non in terrestri, 4vv MM33,24v-5
o beati viri Benedicti, 4vv MM33,14v-5
o beatum virum Martinum, 4vv MM33,21 v-2
o crux venerabilis, 4vv MM33,31 v-2;MM53,12 v-3
o lux beata trinitas, 4vv MM 18, 115v-6~MM36, 16 v-7
o magnum mysterium, 4vv MM 36, 24v -5
o magnum mysterium, 4vv MM 36, 63 v -4
Omnes amici mei, 4vv MM8,100v-1
Omnes amici mei, 4vv L.C.57,57v-8
o prreclara stella maris, 4vv MM33,11 v-2
o quam gloriosum, 4vv MM 33, 48v-48[A]; MM 53, 6v-7
o sacramentum pietatis, 4vv MM 33, 22v-3; MM 36, 32 v-3; MM 53, 26 v -7
o sacrum convivium, 4vv MM 33, 9v-10; MM 36,31 v-2; MM 53, 23 v -4
o sacrum convivium, 4vv MM 33, I2v -3~ MM 53, 25 v-6
o sacrum convivium, 4vv MM 53, 3I v -2
Osanna filio David, 5vv MM33,109v-IO
Pange lingua, 4vv MM87 v-90
Panis iste verus est, 4vv MM33,10v-ll;MM53,24 v-5
Panis quem ego clabo, 4vv MM 36, 28v -9
Panis quem ego dabo, 4vv MM36,33 v-4
Parce mihi Domine, 4vv MM 8, 86v-8; MM 34,4 v-6
Parce mihi Domine, 8vv MM8,109v -Il
Passion (St John), 3vv MM53,121 v-4
Passion (St John), 3vv MM53,125v -7
Passion (St John), 4vv MM 53, 110v-5
Passion (St Luke), 3vv MM53,117 v-20
Passion (St Mark), 3vv MM 53, I15 v -7
Passion (St Mark), 4vv MM 18, 34v-8
Passion (St Matthew), 4vv MM I8,30v-4

xix
 LIST OF WORKS BY PEDRO DE CRISTO

Incipitffitle; no. of voices Source(s)

Pastorsico porque no vienes, 3vv MM36,20v-l
Pastorsico porque no vienes, 6vv MM36,20v-l
Pater peccavi, 4vv L.C. 57,45"-6
Postquam consummati sunt, 4vv MM 33, 4 v-5; MM 53,4 v-5
Princeps gloriosissime, 4vv MM 33, 45" + 48
Princeps gloriosissime, 4vv MM33,48[B]v-49
Qure est ista, 5vv MM 33, l08[A]V-I09
Qureramus cum pastoribus, 4vv MM 36, 55"-6
Quem vidistis pastores, 4vv MM53,60v-l
Qui l..azarum resuscitasti, 4vv MM8, 89v -90
Regem cui omnia vivunt, 5vv MM8,86v-7
Regina creli, 4vv MM33,81 v-2
Regina creli, 4vv MM36,9v-IO
Regina creli, 4vv MM 36, 57V -8, MM 53, 32v-3
Salva nos Domine, 8vv MM 18, 86v -7
Salve regina, 4vv MM33,90v + lOO--IOI;MM53,33 v-5
Sancta et immaculata, 4vv MM8,IISV-6
Sanctissimi quinque rnartires, 4vv MM36,54v-5
Sanctorum meritis, 8vv MM 18, 101 v-4
Seniores populi, 4vv L.C. 57, 56v-7
Similabo ewn, 4vv MM 53, l09v-10
Si puede el hombre a Deus comer, 4vv MM 53, 130v-l
Solus inter apostolos, 4vv MM33,20v-I
Stabat mater, 4vv MM 33, 6v-7; MM 53, lov-II
Stella ista, 4vv MM 33,5"-6; MM 53, 20 v-l
Tanquam ad latronem, 4vv MM8,lOlv-2
Tanquam ad latronem, 4vv L.C.57,60v -I
Te Deum, 4vv MM 53, 76v-9
Tenebrre factre sunt,4vv MM8,102v-3;MM36,40 v-l
Tenebrre factre sunt,4vv L.C. 57, 61 v-2
[textless: Jesu redemptor?], 3vv MM53,133 v
[textless],4vv MM36,1
Thesaurizate vobis, 4vv MM26,18v -9
Tradiderunt me, 4vv MM 8, l04Y-5
Tradiderunt me, 4vv L.C. 57, 64Y-5
Tristis est anima mea, 4vv MM36,36v-7
Tristis est anima mea, 8vv MM8, 92v-4

xx
 LIST OF WORKS BY PEDRO DE CRISTO

Incipitffitle; no. of voices Source(s)

Tristis est anima mea (incomplete) L.C. 57,50
Tua est potentia, 5vv MM33,102v-3
Dnus ex discipulis, 4vv MM8,96v-7
Dnus ex discipulis, 4vv L.C. 57, 53 v -4
Una hora, 4vv MM 8, 99v -100
Dna hora, 4vv MM26,58v-9
Una hora, 4vv MM 36, 38v-9; L.C. 57, 55 v --6
Ut queant laxis, 4vv MM 18, 116v-8
VaIde honorandus est, 4vv MM 53, l4v --6
Valde honorandus est, 5vv MM33,101 v-2
Velum templi, 4vv MM8,loov-1
Velum templi, 4vv MM 36, 39v--40
Velum templi, 4vv L.C. 57, 58v-9
Veni creator spiritus, 4vv MM 18, 113 v-5
Venite adoremus, 4vv MM 18,50v-1
Vidi aquam, 4vv MM 18,3v-5;MM33,38 v-4Q;MM44, 136 v-9
Vinea mea, 4vv MM 8, 10l v-2
Vinea mea, 4vv L.C. 57, 59v-6Q
Virgo prndentissima, 4vv MM 33, l5v--6; MM 53, 29 v-30
Virgo prndentissima, 4vv MM33,41 v-2
Virgo prndentissima, 4vv MM53,3 v-4

Additional unattributed works surviving in autograph copies

The following pieces are preserved in autograph copies, but cannot be attributed with confidence to Pedro de
Cristo. In many cases (such as the responses and settings of Miserere) the absence of the composer's normal
stylistic fingerprints is unsurprising given the brevity and/or simple texture of the pieces involved; however, a
few pieces (such as the first two listed below) have features which suggest that they may be the work of another
composer. The setting of Jesu redemptor was originally attributed to Pedro de Cristo in MM 53, but this
attribution was subsequently erased.

Incipitrritle; no. of voices Source(s)

Beata Dei genitrix, 5vv MM 33, 108v-108[A]
Dwn transisset Sabbatum, 5vv MM33, 110v + 112
Incipiunt lamentationes, 4vv MM36,26v-7
In monte Oliveti dixit, 4vv MM36,35v-6
Jesu redemptor, 4vv MM53,133 v
Libera me Domine, 4vv MM33,25v-8
Miserere mei Deus, 4vv MM36,7l v

xxi
 OF WORKS BY
LIST OF BY PEDRO DE CRISTO
CRISTO

Incipit/Title; no.
Incipitffitle;
IncipitffitIe; no. of voices
voices Source(s)
Miserere mei
Miserere mei Deus, 4vv MM36,71 v
M M 36,71v v

Miserere mei
Miserere mei Deus, 5vv
5vv M M 18,
MM 130vv -l
18,130 -1 v

responses, 4vv
responses,4vv M M 33,
MM 33,37 v-8;
-8; MM
37"-8;
37 v
M M 53,
53,1 -2
v-2
11v-2
v

responses, 4vv
responses,4vv MM33,66
MM33, 66vv -7
M M 33,66 -7
v

responses, 4vv
responses,4vv M M 36,
MM 36,27
MM36,27 v-8
-8
27"-8
v

responses, 6vv
6vv
responses,6vv
responses, M M 33,36
MM33,
MM33,36 v -7
-7
36V-7v

Te Iucis ante terminum,

lucis ante tenninum, 4vv M M 36,68vv-9
MM36,68 -9
v

Te lucis ante terminum,

Iucis ante 5vv
tenninum, 5vv MM1
MM 8 3vv-4
8 ,83
18,83
18, -4 v

xxii
xxii
 Motets from Coimbra
Biblioteca Geral da Universidade
MM33