| Fernando de las Infantas, Plura modulationum genera quae vulgo contrapuncta appellantur super excelso gregoriano cantu omnibus musicam profitentibus utilissima (Heirs of Girolamo Scotto, Venice 1579) | RISM: I40 |
| Ten textless duos on a cantus firmus – the Gregorian chant «Laudate Dominum omnes gentes» – plus an enigmatic canon by inversion. |
| contents | ||||
| rubric | notes | concordances | modern editions | |
| 1. | 48. Duo. [upper line:] Secunda vice vt iacet / [lower line:] Secunda vice in diapason. | Double counterpoint at the octave: the rubrics suggest that the duo may be performed swapping the parts. | Bornstein, Infantas | |
| 2. | 49. Duo. | The upper line is based on the solmization obbligo La sol fa mi. | Bornstein, Infantas | |
| 3. | 50. Duo. | Bornstein, Infantas | ||
| 4. | 51. Duo. | Bornstein, Infantas | ||
| 5. | 52. Duo. | Bornstein, Infantas | ||
| 6. | 53. Duo. | Bornstein, Infantas | ||
| 7. | 54. Duo. | Bornstein, Infantas | ||
| 8. | 55. Duo. | Bornstein, Infantas | ||
| 9. | 56. Duo. | Bornstein, Infantas | ||
| 10. | 57. Duo. | Bornstein, Infantas | ||
| 11. | Duo. | Textless canon by inversion. The canon is placed at the very end of the opus and is not a setting of the Gregorian chant «Laudate Dominum omnes gentes». The original print gives the performers no hints about the nature of this canon the fact that it may be performed exchanging the order of the parts. The two versions end respectively in E in F. | Cerone (1613) | Bornstein, Infantas |
| literature | ||||
| Bornstein, Italian Duos, vol. I, p. 131-34, 153; vol. II, p. 327-29. | A study of the Italian duo throughout the Renaissance and the Baroque. | |||
| notes |
Infantas' work sets the Gregorian chant «Laudate Dominum omnes gentes» in between two and eight parts: the duos are only ten out of 101 pieces and are all textless.
| Gallery of images from this source | ||||||||||||||
| Title-page | Dedication | Musical Example (Duo 11) | ||||||||||||
