Choralis Constantinus vs Lyon Contrapunctus
  • Between these two famous collections of Renaissance polyphonic propers for the major feasts of the year, what are the strengths and weaknesses of each collection. Which is thought more highly of, more beautiful, more practical? Any thoughts to share for someone new to both books? Additional question is, are there any other noteworthy books of polyphonic or part music propers for major solemnities? Aside from Byrd's Gradualia.
  • I had a look at one of Feudol's (possibly illegal) uploads of the latter on IMSLP (and I say that because of what Feudol did to DIAMM a few years ago, which was appalling). It's quite odd: at first glance, it seems that the tenor voice is the plainchant melody, while Soprano, Alto and Bass are in polyphony. Is this in fact a collection of SAB polyphony. Could anyone shed further light on this?
  • CGM
    Posts: 489
    A helpful article, according to OUP:

    Lipphardt, Walter. Die Geschichte des mehrstimmigen Proprium Missae. Heidelberg, Germany: F. H. Kerle, 1950.

    A useful unique survey of the polyphonic Proper of the Mass. After a brief overview of plainchant Propers, the author surveys the Winchester Troper, the Magnus Liber Organi, the Trent Codices and Jena manuscripts, Isaac’s Choralis Constantinus, the Lyon “Contrapunctus,” the Proper collections of Georg Rhaw, and other works up to the 19th century. Indices of composers and individual movements.