Jaime Balius y Vila (1750-1822) – Clara Aurora

Bellini – Norma Con Montserrat Caballé; Scala de Milán, 1977

Puritani 2015

BIOGRAFIA

OBRA:

Vocal secular:

Stage:
Adelson y Salvini (febbraio 1825, Teatrino del Conservatorio di San Sebastiano, Napoli – in 3 ATTI)
seconda versione: modificados a più riprese mano allestita solo il 23 settembre 1992 al Teatro Bellini di Catania (in 2 ATTI )
Bianca e Gernando (30 maggio 1826, Teatro San Carlo, Napoli)
seconda versione: Bianca e Fernando (7 aprile 1828, Teatro Carlo Felice, Genova)
Il pirata (27 Ottobre 1827, Teatro alla Scala, Milano)
La Straniero (14 febbraio 1829, Teatro alla Scala, Milano)
Zaira (16 maggio 1829, Teatro Ducale di Parma, Parma)
I Capuleti ei Montecchi (11 marzo 1830, Teatro La Fenice, Venezia)
La sonnambula (6 marzo 1831, Teatro Carcano, Milano)
Norma ( 26 dicembre 1831, Teatro alla Scala, Milano)
Beatrice di Tenda (16 marzo 1833, Teatro La Fenice, Venezia)
I puritani (24 gennaio 1835, Théâtre Italien, Parigi)

Other:
Ernani, Nov-Dec 1830 (Romani, after V. Hugo: Hernani), not completed, frags. CATM *

Other vocal:
Composed after 1825 for 1v, pf, unless otherwise stated
6 ariette da camera (Milan, 1829 [Ricordi]; Naples, nd [Clausetti]; Paris,? 1831 [Launer, no copy found]; Naples, nd [Girard]) [A]
Bellini para cámara: Raccolta completa delle sue ariette (Naples, nd) [the Girard EDN. of 6 ariette da camera, enlarged by 8 additional nos.] [B]
Brezze dell’Etna: 26 ispirazioni del cigno Catanese (Naples, nd) [all 26 nos. probably not pubd] [C]
Soirées musicales: Sammlung beliebter ariettes und Romanza (Vienna, 1839 [Mechetti]) [D]
3 ariette inedite (Milan, 1837-8 [Ricordi]) [E]
Composizioni da camera (Milan, 1935, 2/1948 [Ricordi]) [F]
Principal MS sources, some autograph: F-Pn, I-CATM, Fn, Mc, Nc, RSC, US-NYpm, Wc
A palpitar de affanno, romanza, no.270 in Aurora de Italia y di Germania (Vienna, nd), also in Prima ed ultima composizione di Bellini (Turín, nd)
El abbandono, romanza, B, C, D, F; as La última Veglia (Milan, 1836); as La mammoletta (Paris, nd)
El allegro Marinaro, ballata (Milan, 1844), B, C, F
Almen se non poss’io (Metastasio), Arietta, A, B, C, D, F
Bella Nice che de ‘amore, Arietta, A, B, C, D, F
Chi por quest’ombre (Giudiccione), free cañón, 4vv, UNACC., 15 Aug 1835, facs. in Gazette musicale de Paris, ii (Oct 1835), also in A. Pougin: Bellini: sa vie, ses oeuvres (Paris, 1868), following p.228
Dalla guancia scolorita, free cañón, 2vv, pf, 1835, in Strenna Letters artística musicale del Giornale ‘Il pirata’ (Bologna, 1872), also in La música popolare, ii (1883), following p.145
dolente Immagine di Fille mia, Arietta (Naples, c1824; Paris, nd), B, C , D, E, F, ORCH pts. I-Nc *
E Nello stringerti a questo core, aria, 1v, ORCH, before 1825, Nc *
La farfalletta, canzoncina,? 1813, F
Il fervido Desiderio, Arietta, B, C, E, F
Imene, wedding cantata, S , T, T, vv, ORCH,? 1824, frags. I-CATM *, US-NYpm *, trío [Ombre pacifiche] pubd (Florence and Rome, nd)
Malinconia, ninfa gentile (I. Pindemonte), Arietta, A, B, C, D, F
Ma rendi puro contento (Metastasio ), Arietta, A, B, C, D, F
No, traditor, non curo, aria, S, pf, before 1825, I-CATM [probably orig. with ORCH]
O souvenir: página de álbum, Arietta (Florence and Rome, nd)
Por pietà, bell’idol mio (Metastasio), Arietta, A, B, C, D, F
Quando incise sume quel Marmo, aria, S , ORCH, before 1825, Nc *, with pf acc. (Milan, 1836), also as no.269 in Aurora de Italia y di Germania (Vienna, nd), B, C, F [incl. Introductory RECIT]
Guarda che bianca luna, romanza,? Palermo, 1832
La ricordanza (C. Pepoli), 1834, US-Wc *
Si, por té, gran nume eterno, cavatina, S, ORCH, before 1825, I-Nc *
Sogno de infanzia, romanza (Milan, 1835), B, C, D, F
T’intendo, si, mio corazón (Metastasio), 4S, UNACC., c1824, US-NYpm *
Vuelve, Vezzosi Fillide, romanza, Y -Mc, F
Huelga luna che inargenti, Arietta, no.246 in Aurora de Italia y di Germania (Vienna, nd), B, C, e, F
Vanne, o rosa fortunata, Arietta, A, B, C, D , F

Lost:
Amore, Malinconia, La speranza (C. Pepoli), 3 sonnets, 1834-5;
Alla luna (Pepoli), 1834-5;
Numi, se Giusti siete (P. Metastasio), romanza, Announced donde title-page of C;
Scena ed aria di Cerere, erroneously said by Weinstock, 1971, to be in I-Nc;
Arietta, Milan, for Lady Christina Dudley-Stuart, 1828;
Cavatina, Milan, for album of Duchess Litta

spurious and Doubtful:
Ah, non pensar = section of Introduzione of Beatrice di Tenda;
Era felice undì = transcrito. with notable changes of a cavatina by Mercadante;
Se il mio nome (Berlin, nd), D = Rossini: Il barbiere di Siviglia;
Tu che al pianga, B, actually by F. florecimiento;
Le dernier soir, romanza (Paris, 1841) [authenticity very Doubtful]

Vocal religiosa:
all works Composed before 1825

Compline, lost;
Corazón mundum crea, F, 2 solo vv, org, in Pubblicazione periódica di música sacra sotto gli auspicio della SC di Propaganda Fide, ii / 2 (Rome, 1879), also in Cronache musicali, y (Rome, 1900), no. 28;
Credo, C, 4vv, ORCH;
Cum sanctis, I-Nc *;
De torrente, Nc *;
Dixit Dominus, solo vv, 4vv, ORCH, inc. Nc *, facs. of pt.iii, Tecum principium, in Vincenzo Bellini: Composizioni giovanili inedite (Rome, 1941);
Domine Deus, Nc *
Gallus cantábamos,? Autograph I-CATC;
Gratias agimus, C, solo S, ORCH;
Juraban, Nc *; Ky, Nc *;
Laudamus té, Nc *;
Litanie Pastoral in onore della BV, 2S, org;
Mago, 4vv, ORCH, frag. F-Pn *;
Mass, a-A, S, A, T, B, 4vv, ORCH, inc. I-CATM * (Milan, 1843);
Mass (Ky-Gl), D, SSTB, ORCH, dated 1818, Nc *;
Mass (Ky-Gl), G, SSTB, ORCH;
Mass, g, solo vv, vv, ORCH, frags. CATM *, Nc *
Pange lingua, 2vv, org, CATM *;
Quien sedas, Nc *;
Quien tollis, Nc *;
Quoniam, Nc *;
Quoniam, T, vv, ORCH, F-Pn *;
Quoniam and Cum sanctis, I-Nc *;
Salve regina, A, 4vv, ORCH, CATM *, facs. in Vincenzo Bellini: Composizioni giovanili inedite (Rome, 1941);
Salve regina, f-F, solo B, org (Milan, 1862);
4 Tantum ergo and Genitori: B, solo S, ORCH, E, solo S, ORCH, vs (Florence and Rome, nd), F, 2S [Genitori, 4vv], ORCH, G, 4vv, ORCH
5 Tantum ergo: F , solo S, ORCH, vs (Florence and Rome, nd), D, solo A, ORCH, I-Nc * dated 1823 (Milan, 1862), E, S, A, T, B, vv, ORCH, Nc * dated 1823 (Milan, 1862), F, solo A, T, ORCH, Nc * dated 1823 (Milan, 1862), G, solo S, ORCH, Nc * dated 1823 (Milan, 1862);
2 TED, C, E, 4vv, ORCH;
Versetti da cantarsi il venerdì Santo, 2T, ORCH, autograph in private collection Marusia Manzella, Rome, mentioned in F. Pasto: ‘Le tre ore di agonía’, Rivista del Comune di Catania (1953);
Virgam virtutis, Nc *

Instrumental:

Orchies (all Composed before 1825):
Capriccio, osea Sinfonía por studio, c;

6 sinfonie:
B, I-CATM *, c (Milan, 1941), dD (Milan, 1941), D, facs. in Vincenzo Bellini: Composizioni giovanili inedite (Rome, 1941) (Padua, 1959), E, facs. in Vincenzo Bellini: Composizioni giovanili inedite (Rome, 1941), E (Milan, 1941);

Ob Conc., Y, Nc *, facs. in Vincenzo Bellini: Composizioni giovanili inedite (Rome, 1941) (Milan, 1961)

—

kbd:
Allegretto, g, pf, I-Fn *;
Capriccio, G, pf 4 hands, Nc;
Pensiero musicale, pf, ed. FP Frontini (Florence and Rome, nd);
Polacca, pf 4 hands;
Org Sonata, G, US-NYpm *;
Tema, f, pf, c1834, F-Pn *

spurious:
Sonata, F, pf 4 hands, Nc * = transcrito. of Beethoven s Allegretto alla polacca op.8

José Martí y Cristiano ( Llinars del Vallès , 19 de agosto, 1884 – Barcelona , 6 de noviembre de 1918) fue un compositor y teórico catalán. A partir de 1894 recibió formación en solfeo y piano del compositor José Vallcorba. Más tarde, recibió formación de piano de Enrique Granados y de armonía y composición de Felip Pedrell en un tiempo en que también recibió formación de violín de Mathieu Crickboom . Paralelamente, recibió formación académica en dibujo, pintura y poesía. A partir de 1900 comenzó a componer y en 1911 fundó una academia de música en la que trabajó como profesor hasta el 1914. También fue autor de un tratado de armonía y otro de instrumentación. De entre su abundante producción musical, de estilo romántico, destacaron sus composiciones para piano, su  opereta Lady Flirt , música religiosa y música de cámara. También armonizar canciones tradicionales catalanas como Los tres tambores , La hija del rey de Francia o El maestro . En base a sus composiciones se dedujo que fue un hombre de profundas convicciones cristianas ya que compuso una Misa, tres Ave María, varias Canciones eclesiásticas y una Visión de San José de Calasanz en Montserrat. José Martí y Cristiano murió en Barcelona en noviembre de 1918.

BIOGRAFIA

OBRA:

Vocal secular:

Teatro:
Lady Flirt (opereta)
Visión de San José de Calasanz en Montserrat (1 acto)
La granja (visión lírica, cinco cuadros)
Serenata del amor (drama lírico en un acto y cuatro cuadros)
travesura de el amor (opereta)

Otros:
Serenata (para cuatro voces)
por la carretera (para cuatro voces)
Nota de otoño (para cuatro voces)
Saludo (para cuatro voces)
Himno a la natación (para voces de hombre)
Himno al regimiento de Pamplona (para voces de hombre)
¿Qué sonido más triste
Los pájaros
Los afiladores
Melancolía
Canción de estío
bordillear el bosque
La hija del rey de Francia
Los tres tambores
el maestro

Vocal religiosa:

Misa para voz y órgano
Varias canciones para cantar en el templo
Tres Aves Maria
Bell niño (para cuatro voces)
Canto a la Virgen
Ave Maria
Sanctus
Tarde (para cuatro voces)

Instrumental:

Cámara:
Navegando (poema para violín, violonchelo y piano)
Sonata (violín y piano)
Paseando por el lago en primavera (violín y piano)
Cuando las hojas amarillea (violín y piano)
Mar xa Txiganne (violín, violonchelo y piano)
Vals (Violín y piano)
Romanza (violín y piano)
Douce Reverie: pour danzas tres lentement (orquesta de cuerda)

Piano:
Variaciones sinfónicas
Concierto
Sonata
Siluetas
La palmera
Barrio Gitano
El convento
Danza de la muerte
la tortura enferma
Corren los trenes
El nemifar
Noche de luna
Barca que aleja
Baile de gitanas
El entierro
Pueblo pequeño
Ilusión
Inocencia
Consejo material
Soldados de plomo
Fábula
Danza española
Rondalla
Pamplona (jota)
Insomnio
Mariposas
Añoranza
Vals en otoño
Primavera
Barcarola
primavera de otro tiempo
en el patio
Minuet
Melodía
Fiesta (sardana)
Entre naranjos
Delicias de Venecia
Tres preludios
la mujer enamorada
Junto al mar contemplando las olas
en la fuente misteriosa
la chica triste
Recuerdos de la juventud
el corneta

Piano a cuatro manos:
Vals
Danza triste

Órgano:
Suite Patética
Preludio
Marcha solemne
Rieve
Tocatta
El convento
Coral
Invocación (piano y armonium)

Francois Couperin L’Art de Toucher le Clavecin,II Book of Harpsichord

L’art de toucher le clavecin 01 00:00:00 Allemande 02 00:01:00 Premier prélude 03 00:02:22 Seconde prélude 04 03:17 Troisième prélude 05 04:44 Quatrième prélude 06 07:14 Cinquième prélude 07 09:03 Sixième prélude 08 11:14 Septième prélude 09 12:30 Huitième prélude 14:07 Sicilienne 6e ordre (en si/B) 073 00:15:52 Les moissoneurs 074 00:18:18 Les langueurs-tendres 075 00:21:08 Le gazoüillement 076 00:23:19 La Bersan 077 00:25:46 Les baricades mistérieuses 078 00:28:28 Les bergeries, rondeau 079 00:32:22 La commére 080 00:34:29 Le moucheron 7e ordre (en sol/G) 081 00:36:36 La Ménetou 082 00:40:00 Les petits âges 083 00:42:08 La muse naissante 084 00:43:46 L’enfantine 085 00:45:50 L’adolescente 086 00:49:36 Les délices 087 00:52:04 La Basque 088 00:53:50 La Chazé 089 00:55:42 Les amusemens 8e ordre (en si/B) 090 00:59:31 La Raphaéle 091 01:04:50 Allemande L’Ausoniéne 092 01:07:28 Premiere courante 093 01:09:13 Seconde courante 094 01:11:40 Sarabande L’unique 095 01:14:08 Gavotte 096 01:15:32 Rondeau 097 01:17:17 Gigue 098 01:20:30 La Morinéte 099 01:22:10 Passacaille 9e ordre (en la/A) 100 01:28:45 Allemande à deux clavecins 101 01:33:00 La rafraîchissante 102 01:36:27 Les charmes 103 01:40:15 La Princesse de Sens 104 01:42:32 L’olimpique 105 01:44:54 L’insinüante 106 01:46:36 La séduisante 107 01:49:32 Le bavolet-flotant 108 01:51:40 Le petit-deüil, ou Les trois veuves 109 01:53:25 Menuet 10e ordre (en ré/D) 110 01:54:28 La triomphante a 01:54:28 Bruits de guerre; combat b 01:57:12 Allégresse des Vainqueurs (rondeau) c 02:00:29 Fanfare 111 02:02:32 La Mézangére 112 02:05:45 La Gabriéle 113 02:07:36 La Nointéle 114 02:10:28 La fringante 115 02:13:00 L’amazône 116 02:14:40 Les bagatelles 11e ordre (en do/C) 117 02:17:06 La castelane 118 02:20:26 L’etincelante, ou La bontems 119 02:22:15 Les graces-naturéles 120 02:25:08 La Zénobie 121 02:29:09 Les fastes de la grande et ancienne Mxnxstrxndxsx a 02:29:09 Les notables et jurés Mxnxstrxndxurs b 02:30:36 Les viéleux et les gueux c 02:32:39 Les jongleurs, sauteurs et saltimbanques, avec les ours et les singes d 02:33:52 Les invalides, ou gens sestropiés au service de la grande Mxnxstrxndxsx e 02:36:23 Désordre et déroute de tout la troupe, causés par les yvrognes, les singes et les ours 12 ordre (en mi/E) 122 02:38:34 Les juméles 123 02:43:00 L’intîme, mouvement de courante 124 02:45:49 La galante 125 02:47:30 La coribante 126 02:50:11 La Vauvré 127 02:51:56 La fileuse 128 02:54:50 La boulonoise 129 02:56:38 L’Atalante

BIOGRAFIA

OBRA:

Vocal secular:

Airs in Recueils d’airs sérieux et à boire (Paris, 1697–1712): Qu’on ne me dise, air sérieux, T, bc (697);
Doux liens de mon coeur, air sérieux, S, bc (1701);
Jean s’en alla, epitaphe d’un paresseux, air à boire, S, B, bc (1706);
Il faut aimer, La pastorelle, air sérieux, S, B, bc (1711);
Dans l’Isle de Cythère, Les solitaires, air sérieux, S, B, bc (1711);
A l’ombre d’un ormeau, musette, air sérieux, 2 S, bc (1711);
Zephire, modere en ces lieux, brunete, air sérieux, S, bc (1711);
Faisons du temps, vaudeville, air sérieux, 2 S, B, bc (1712);
Au temple de l’amour, Les pellerines, air sérieux, S, B, bc (1712): C xi, GM [V/i]
Intermèdes in Myrtil et Melicerte (Paris, 1698), doubtful
Trois vestales champetres et trois Poliçons, trio, 3 S, in Recueil de trio de differens auteurs, F-Pc; C xi, GM [V/i]
La femme entre deux draps, canon à 3, 3 S, in 1er recueil d’airs a boire en duô et triô, Pc; C xi, GM [V/i]
A moy! Tout est perdu!, canon à 3, 3 S, in 1er recueil d’airs a boire en duô et triô, Pc; C xi, GM [V/i]
Les agroteurs au désespoir, canon à 5, CSM 282
Ariane abandonée, cant., cited in Amsterdam catalogue, 1716, see Tessier (1926)
Cants., cited by Titon du Tillet, lost

Vocal religiosa:

MS sources: Elevat[ions] de Couperin (score), F-V 59
Motets a voix seule, 2 et 3 parties et Symphonies de Mr Couperin, Pn Rés.F1679 (score), Pn Rés.F1680 [a–e] (5 ptbks) [formerly GB-T 1432–7]
Scores copied by S. de Brossard, F-Pn Vm1 1630
Motets de Messieurs Lalande, Mathau, Marchand Laisné, Couprin et Dubuisson, copied by Philidor, 1697, V 18
4 versets (from Ps cxviii) d’un motet composé de l’ordre du roy … On y joint le verset ‘Qui dat nivem’ du psaume ‘Lauda Jerusalem’ (Paris, 1703): Tabescere me, 2 S; Ignitum eloquium tuum, 2 S, 2 vn, bc; Adolescentulus sum, S, 2 fl, vn; Justitia tua, 2 S, SS, bc; Qui dat nivem, S, 2 fl, vn; C xi, GM V/i
7 versets (from Ps lxxxiv) du motet composé de l’ordre du roy (Paris, 1704): Converte nos, B, fl, bc; Numquid in aeternum, T, Bar, bc; Ostende nobis, haute-contre, fl/vn, bc; Audiam quid loquatur, B, 2 vn, bc; Misericordia et veritas, 2 T, bc; Veritas de terra, S, vn, bc; Et enim Dominus, S, 2 ob, 2 fl; C xi, GM V/i
7 versets (from Ps lxxix) du motet composé de l’ordre du roy (Paris, 1705): Qui regis Israël, haute-contre, T, B, 2 vn, bc; Excita potentiam tuam, haute-contre, B, bc; Vineam de Aegypto, B, vn, bc; Dux itineris fuisti, B, 2 vn, 2 fl, 2 ob, bc; Operuit montes, S, vn, 2 fl, bc; Extendit palmites suos, S, vn, 2 fl, bc; Deus virtutum convertere, haute-contre, fl, ob, b viol, bc; C xi, GM V/i
Leçons de tenébres a 1 et a 2 voix … premier jour (Paris, between 1713 and 1717): premiere leçon, S, bc; seconde leçon, S, bc; troisième leçon, S, S, bc; C xii, GM V/ii, V
6 leçons de ténèbres, lost

Accedo ad te, Dialogus inter Deum et hominem, haute-contre, B, bc, F-Pn Rés.F1679–80, V 59; C xii, GM V/ii
Ad te levavi oculos meos, B, 2 vn, bc, Pn Rés.F1679–80; GM [suppl.], O
Audite omnes et expanescite, haute-contre, 2 vn, bc, V 59; C xii, GM V/ii
Domine salvum fac regem, S, B, bc, Pn Rés.F1679–80; GM [suppl.], O
Exultent superi, motet for Ste Suzanne, inc., S, A, B, ? 2 vn, bc, PnRés.F1679–80; GM [suppl.]
Festiva laetis, motet for Ste Anne, S, T, B, bc, Pn Rés.1679–80, V 59; C xii, GM V/ii
Jucunda vox ecclesiae, motet for St Augustin, 2 S, B, bc, Pn Rés.1679–80, V 59; C xii, GM V/ii
Laetentur coeli, motet for St Barthélemy, 2 S, bc, V 59; C xii, GM V/ii
Lauda Sion salvatorem, elevation, 2 S, bc, Pn Rés.F1679–80; GM [suppl.], O
Laudate pueri Dominum, 2 S, B, 2 vn, bc, Pn Rés.F1679–80, V 18; C xi, GM V/i
Magnificat, 2 S, bc, Pn Rés.F1679–80, V 59; C xii, GM V/ii
O amor, O gaudium, elevation, haute-contre/T, B, bc, Pn Rés.F1679–80, V 59; C xii, GM V/ii
O Domine quia refugiam, 3 B, bc, Pn Rés.F1679–80, V 59; C xii, GM V/ii
O Jesu amantissime, haute-contre, T, bc, Pn Rés.F1679–80, V 59; C xii, GM v/ii
O misterium ineffabile, elevation, S, B, bc, Pn Rés.F1679–80, V 59; C xii, GM V/ii
Ornate aras, inc., haute-contre, ? 2 vn, bc, Pn Rés.F1679–80; GM [suppl.]
Quid retribuam tibi Domine, haute-contre, bc, Pn Rés.F1679–80, V 59; C xii, GM V/ii
Regina coeli laetare, 2 S, bc, Pn Rés.F1679–80; GM [suppl.], O
Resonent organa, motet for Ste Cécile, inc., 2 S, B, ? 2 vn, bc, Pn Rés.F1679–80; GM [suppl.]
Respice in me, haute-contre, bc, Pn Rés.F1679–80; GM [suppl.], O
Salve regina, haute-contre, bc, Pn Rés.F1679–80; GM [suppl.], O
Salvum me fac Deus, B, 2 vn, 2 fl, b viol, bc, Pn Rés.F1679–80; GM [suppl.], O
Tantum ergo sacramentum, 2 S, B, bc, Pn Rés.F1679–80; GM [suppl.], O
Usquequo, Domine, haute-contre, bc, Pn Rés.F1679–80; GM [suppl.], O
Veni sponsa Christi, motet for Ste Suzanne, S, haute-contre, B, 2 vn, bc, Pn Vm1 1630, Rés.F1679–80; C xi, GM V/i
Venite exultemus Domine, 2 S, bc, Pn Rés.F1679–80, V 59; C xii, GM V/ii
Victoria: Christo resurgenti, motet for Easter Day, 2 S, bc, Pn Rés.F1679–80, V 59; C xii, GM V/ii
Other motets, incl. 12 à grand choeur, cited by Titon du Tillet, lost

Instrumental:

Concerts royaux, hpd/(vn, fl, ob, viol, bn), in Troisiéme livre de piéces de clavecin (Paris, 1722): 1e concert (G); 2e concert (D); 3e concert (A); 4e concert (e); C vii, GM IV/i
Nouveaux concerts, unspecified insts, in Les goûts-réünis, ou Nouveaux concerts (Paris, 1724): 5e concert (F); 6e concert (B ); 7e concert (g); 8e concert dans le goût théatral (G); 9e concert intitulé Ritratto dell’Amore (E); 10e concert (a); 11e concert (c); 12e concert à 2 violes ou autres instrumens à l’unisson (A); 13e concert, à 2 instrumens à l’unisson (G); 14e concert (d); C viii, GM [IV/ii]
Le Parnasse, ou L’apothéose de Corelli, grande sonade en trio, 2 vn, bc, in Les goûts-réünis (Paris, 1724); C x, GM [IV/iv]
Concert instrumental sous le titre d’Apothéose composé à la mémoire immortelle de l’incomparable Monsieur de Lully, 2 vn, 2 fl, other insts (unspecified), bc (Paris, 1725); C x, GM [IV/iv]
Les nations: sonades et suites de simphonies en trio, 2 vn, bc (Paris, 1726): La Françoise [La pucelle]; L’Espagnole [La visionnaire]; L’impériale; La Piemontoise [L’astrée]; C ix, GM IV/iii
Pieces de violes avec la basse chifrée, b viol, bc (Paris, 1728): 1ere suite (e); 2eme suite (a); C x, GM [IV/iv], Le pupitre, li (Paris, 1974)
La pucelle (c), 2 vn, bc, F-Pn Vm7 1156, LYm 129.949; C ix, GM IV/iii
La visionnaire (c), 2 vn, bc, Pn Vm7 1156, LYm129.949; C ix, GM IV/iii
L’astrée (g), 2 vn, bc, Pn Vm7 1156, LYm129.949; C ix, GM IV/iii
La Steinquerque (B ), 2 vn, bc, Pn Vm7 1156, LYm129.949; C x, GM IV/iii
La superbe (A), 2 vn, bc, LYm 129.949; C x, GM [IV/iv]
La sultane (d), 2 vn, b viol, bc, LYm 129.949; C x, GM [IV/iv]

Clavecin:
Pieces de clavecin … premier livre (Paris, 1713); C ii, GM II/i, G xxi
1e ordre, g/G: Allemande L’auguste; Premiere courante; Seconde courante; Sarabande La majestueuse; Gavotte; La Milordine, gigue; Menuet (with double); Les silvains; Les abeilles; La Nanète; Les sentimens, sarabande; La pastorelle; Les nonètes: i Les blondes, ii Les brunes; La bourbonnoise, gavotte; La Manon; L’enchanteresse; La fleurie, ou La tendre Nanette; Les plaisirs de St Germain en Laÿe
2e ordre, d/D: Allemande La laborieuse; Premiere courante; Seconde courante; Sarabande La prude; L’Antonine; Gavote; Menuet; Canaries (with double); Passe-pied; Rigaudon; La Charoloise; La Diane; Fanfare pour la suitte de la Diane; La Terpsicore; La Florentine; La Garnier; La Babet; Les idées heureuses; La Mimi; La diligente; La flateuse; La voluptueuse; Les papillons
3e ordre, c/C: La ténébreuse, allemande; Premiere courante; Seconde courante; La lugubre, sarabande; Gavotte; Menuet; Les pélerines; Les laurentines; L’Espagnolète; Les regrets; Les matelotes provençales; La favorite, chaconne; La lutine
4e ordre, F: La marche des gris-vêtus; Les baccanales; La pateline; Le réveil-matin
5e ordre, A/a: La logiviére, allemande; [Premier] courante; Seconde courante; La dangereuse, sarabande; Gigue; La tendre Fanchon; La badine; La bandoline; La Flore; L’Angélique; La Villers; Les vendangeuses; Les agrémens; Les ondes
L’art de toucher le clavecin (Paris, 1716, 2/1717/R); C i, GM [I]: Allemande, d; Premier prèlude, C; Second prèlude, d; Troisième prèlude, g; Quatrième prèlude, f; Cinquième prèlude, A; Sixième prèlude, b; Septième prèlude, B ; Huitième prèlude, e
Second livre de pieces de clavecin (Paris, 1716–17); C iii, GM II/ii, G xxii
6e ordre, B : Les moissoneurs; Les langueurs-tendres; Le gazoüillement; La Bersan; Les baricades mistérieuses; Les bergeries, rondeau; La commére; Le moucheron
7e ordre, G/g: La Ménetou; Les petits âges: La muse naissante, L’enfantine, L’adolescente, Les délices; La Basque; La Chazé; Les amusemens
8e ordre, b: La Raphaéle; Allemande L’Ausoniéne; [Premiere] courante; Seconde courante; Sarabande L’unique; Gavotte; Rondeau; Gigue; Passacaille; La Monéte
9e ordre, A/a: Allemande à deux clavecins; La rafraîchissante; Les charmes; La Princesse de Sens; L’olimpique; L’insinüante; La séduisante; Le bavolet-flotant; Le petit-deüil, ou Les trois veuves; Menuet
10e ordre, D/d: La triomphante; La Mézangére; La Gabriéle; La Nointéle; La fringante; L’amazône; Les bagatelles
11e ordre, c/C: La castelane; L’etincelante, ou La bontems; Les graces-naturéles; La Zénobie; Les fastes de la grande et anciénne Mxnxstrxndxsx [in 5 acts]
12e ordre, E/e: Les juméles; L’intîme, mouvement de courante; La galante; La coribante; La Vauvré; La fileuse; La boulonoise; L’Atalante
Troisiéme livre de piéces de clavecin (Paris, 1722); C iv, GM II/iii, G xxiii
13e ordre, b: Les lis naissans; Les rozeaux; L’engageante; Les folies françoises, ou Les dominos; L’âme-en peine
14e ordre, D/d: Le rossignol-en-amour; Double du rossignol; La linote-éfarouchée; Les fauvétes plaintives; Le rossignol-vainqueur; La Julliet; Le carillon de Cithére; Le petit-rien
15e ordre, a/A: La régente, ou La Minerve; Le dodo, ou L’amour au berçeau; L’evaporée; Muséte de Choisi; Muséte de Taverni; La douce et piquante; Les vergers fleüris; La Princesse de Chabeüil, ou La muse de Monaco
16e ordre, G/g: Les graces incomparables, ou La Conti; L’himenamour; Les vestales; L’aimable Thérése; Le drôle de corps; La distraite; La Létiville
17e ordre, e: La superbe, ou La Forqueray; Les petits moulins à vent; Les timbres; Courante; Les petites chrémiéres de Bagnolet
18e ordre, f/F: Allemande La Verneüil; La Verneüilléte; Soeur Monique; Le turbulent; L’atendrissante; Le tic-toc-choc, ou Les maillotins; Le gaillard-boiteux
19e ordre, d/D: Les Calotins et les Calotines, ou La piéce à tretous; Les Calotines; L’ingénuë; L’artiste; Les culbutes Ixcxbxnxs; La muse-Palantine; L’enjouée
Quatriéme livre de piéces de clavecin (Paris, 1730); C v, GM II/iv, G xxiv
20e ordre, G/g: La Princesse Marie; La boufonne; Les chérubins, ou L’aimable Lazure; La Croûilli, ou La Couperinéte; La fine Madelon; La douce Janneton; La Sezile; Les tambourins
21e ordre, e: La reine des coeurs; La bondissante; La Couperin; La harpée; La petite pince-sans rire
22e ordre, D/d: Le trophée; Le point du jour, allemande; L’anguille; Le croc-en-jambe; Menuets croisés; Les tours de passe-passe
23e ordre, F: L’audacieuse; Les tricoteuses; L’arlequine; Les gondoles de Délos; Les satires, chevre-pieds
24e ordre, a/A: Les vieux seigneurs, sarabande grave; Les jeunes seigneurs; Les dars-homicides; Les guirlandes; Les brinborions; La divine-Babiche, ou Les amours badins; La belle Javotte, autre fois l’infante; L’amphibie, mouvement de passacaille
25e ordre, E /C/c: La visionaire; La misterieuse; La Monflambert; La muse victorieuse; Les ombres errantes
26e ordre, f : La convalescente; Gavote; La Sophie; L’epineuse; La pantomime
27e ordre, b: L’exquise, allemande; Les pavots; Les chinois; Saillie
Sicilienne, G, F-Pthibault, A. Tessier’s private collection, ?Paris: C ii, GM II/i

Orgue:
Pieces d’orgue consistantes en deux messes: ‘à l’usage ordinaire des paroisses’; ‘propre pour les convents de religieux et religieuses’ (Paris, 1690); C vi, GM III

Literatura:

L’art de toucher le clavecin (Paris, 1716, 2/1717/R); ed. M. Halford with Eng. trans. (New York, 1974), GM [I]
Règle pour l’accompagnement (MS, F-Pn), C i, GM [I]

Pierre de La Rue «Missa pro fidelibus defunctis» (REQUIEM)

BIOGRAFIA
OBRA:

Vocal secular:

Autant en emporte le vent, 4vv, P; ed. in Cw iii (1929)
A vous non autre, 3vv, rondeau, P (rondeau cinquain; altered text in two sources, probably for Marguerite of Austria)
Ce n’est pas jeu, 4vv, rondeau, P (rondeau quatrain)
Cent mille regretz, 5vv, M; ed. A. Smijers, Werken van Josquin des Près: Wereldlijke werken, i, afl.8 (Amsterdam, 1925) (ascribed to Josquin in Trente sixiesme livre, Paris, 1550)
Dedans bouton, 4vv, M (?for a member of the Bouton family of courtiers)
De l’oeil de la fille du roy, 4vv, rondeau, P (rondeau cinquain; ?for Marguerite of Austria)
D’ung aultre aymer, 5vv, M; ed. R. Taruskin, D’ung aultre amer (Miami, 1983) (textless; T of Ockeghem’s rondeau in 2nd T)
En espoir vis, 4vv, M; ed. G. Dottin, Douze canons du XVIe siècle a 4 voix mixtes (Paris, 1971)
Fors seulement (i), 4vv, M; ed. F. J. Giesbert, Ein altes Spielbuch (Mainz, 1936); ed. M. Picker, Fors seulement (Madison, 1981) (textless; Sup of Ockeghem’s rondeau in A)
Fors seulement, 5vv, M; ed. M. Picker, Fors seulement (Madison, 1981) (textless; Sup of Ockeghem’s rondeau in Sup)
Il est bien heureux, 4vv, P (attrib. La Rue in P. Aaron: Toscanello in musica, 2/1529, ‘Aggiunta’)
Il viendra le jour désiré, 4vv, P (? response to Pourquoy tant; B shares material with Pourquoy tant and Sancta Maria virgo)
Incessament mon pauvre cueur lamente [Sic Deus dilexit], 5vv, M; ed. A. Smijers, Werken van Josquin des Près: Wereldlijke werken, i, afl.8 (Amsterdam, 1925) (? refrain only of rondeau cinquain; ascribed to Josquin in Trente sixiesme livre, Paris, 1550)
Ma bouche rit, 4vv, M (textless; T of Ockeghem’s virelai in T)
Mijn hert heeft altijt, 4vv, P (ascribed to Obrecht in CH-SGs 463; model for Mass by Gascongne, anon. setting in 15389 and elsewhere, setting by Cornelius Rigo de Bergis, anon. Salve regina in D-Mbs 34)
Plorer, gemir, crier/Requiem, 4vv, M (c.f. int from Requiem Mass; ? lament for Ockeghem)
Pour ce que je suis [Puisque je suis], 4vv, P
Pourquoy non, 4vv, P (model for Mass by Gascongne)
Pourquoy tant, 4vv, P (? paired with Il viendra; B shares material with Il viendra and Sancta Maria virgo)
Pour ung jamais [Fraw margretsen lied, Nos debemus gratias, Pour vous james], 3vv, P (setting of strophic poem by Marguerite of Austria; addl A in D-Rp C120)
Secretz regretz [Carmen in la], 4vv, P
Tous les regretz, 4vv, P (rondeau cinquain by Octavien de Saint-Gelais; ascribed to Josquin in D-Rp C120)
Tous nobles cueurs, 3vv, P (refrain only of rondeau cinquain by Octavien de Saint-Gelais)
Trop plus secret, 4vv, P

Vocal religiosa:

Missa ‘Alleluia’, 5vv, D i
Missa Almana [Missa ‘Pourquoy non’, sexti ut fa], 4vv, D i (not on La Rue’s chanson)
Missa ‘Assumpta est Maria’, 4vv, D i (c.f. ant for Assumption of BVM)
Missa ‘Ave Maria’ [Missa de annuntiatione Maria], 4–5vv, D i (c.f. ant for Annunciation)
Missa ‘Ave sanctissima Maria’ [Missa de Beata Virgine], 6vv, D i (on motet conjecturally attrib. La Rue; unknown melody O dulcis amica Dei in 2nd Ag; motet Te decet laus appended in I-Rvat C.S.36)
Missa ‘Conceptio tua’, 5vv, D ii (c.f. ant for Conception of BVM)
Missa ‘Cum iocunditate’ [Missa ‘Dirige’], 4–5vv, D ii (c.f. ant for Nativity of BVM; incorrectly ascribed to Josquin in I-Ma E 46 Inf.)
Missa de Beata Virgine [Missa super ‘Coronatum’, de domina, ‘Salve sancta parens’], 4vv, D ii (c.f.s Ky IX, Gl IX with trope ‘Spiritus et alme’, Cr IV, San IX, Ag XVII; Cr called ‘Patrem Cardinal’ in I-Bsp A.38)
Missa de feria, 5vv, D ii (c.f.s Gl XV, Cr I, Ag XV; ‘motet’ Ne temere quid loquaris in Grove6 is contrafactum of 2nd Ag; probably inspired Févin, Missa de feria; new sources of 2nd Ag, 1545, A-Wn 18832, D-Mbs 260)
Missa de Sancta Anna [Missa ‘Felix Anna’], 4vv, D ii (c.f. ?ant for St Anne in use of Paris; motet O salutaris hostia in place of 1st ‘Osanna’)
Missa de sancta cruce [Missa ‘Nos autem gloriari’], 5vv, D iii (c.f. int for Finding of the Holy Cross and Exaltation of the Holy Cross; ‘Pleni’ related to 2nd Ag of Josquin, Missa ‘L’ami baudichon’)
Missa de Sancto Antonio [Missa ‘O sacer Anthoni’, ‘Agnosce o Vincenti’], 4vv, D iii (c.f. ant for St Anthony, with altered text)
Missa de Sancto Job [Missa ‘Floruit egregius’], 4vv, D iii (c.f.s chants from rhymed office for St Livinus as used in Pipelare, Missa ‘Floruit egregius’)
Missa de septem doloribus [Missa de doloribus], 5vv, D iii (unidentified c.f. with texts of invitatory and seq for Seven Sorrows of Mary, also unidentified ‘Trenosa compassio’; 2nd ‘Osanna’ uses Sup of concluding phrase of Josquin, Ave Maria … virgo serena; new source of ‘Pleni’, A-Wn 18832)
Missa de virginibus [Missa ‘O quam pulchra’], 4vv, D iii
Missa ‘Incessament’, 5vv, D iv (on La Rue’s chanson)
Missa ‘Inviolata’, 4vv, D iv (c.f. seq for BVM)
Missa ‘Ista est speciosa’ [Missa de sanctissima virgine Maria], 5vv, D iv (c.f. ant for BVM)
Missa ‘Jesum liate’, 4vv, lost (known from 1602 inventory of Philip II’s library; see Vander StraetenMPB, viii, 379)
Missa ‘L’homme armé’ (i), 4vv, D iv (c.f. monophonic chanson; also uses monophonic chanson Tant que nostre argent dura in B of 3rd Ag)
Missa ‘Nuncqua fué pena maior’, 4vv, D iv (on Urrede’s villancico; ascription in index of D-Ju 22)
Missa ‘O gloriosa domina’ [Missa ‘O gloriosa Margaretha’], 4vv, D v (c.f. plainsong hymn)
Missa ‘O salutaris hostia’, 4vv, D v
Missa pascale [Missa ‘Resurrexi’], 5vv, D v (c.f.s 7 chants from Easter liturgy)
Missa pro fidelibus defunctis [Missa pro defunctis], 4–5vv, D v (c.f.s appropriate chants from Requiem Mass)
Missa ‘Puer natus est’ [Missa de nativitate Christi], 4vv, D v (c.f. int for 3rd Mass of Christmas)
Missa ‘Sancta dei genitrix’, 4vv, D vi; ‘Pleni’ ascribed to La Rue in 1545; ascribed to Petrus la ?Vic in only complete source, D-Ju 21 (on 7-note ostinato, as well as monophonic chanson L’homme armé in B of Cr)
Missa sine nomine (i), 4vv, D vi
Missa ‘Sub tuum praesidium’ [Missa quarti toni], 4vv , D vi (c.f. Marian ant; ascribed in 1539 to both La Rue and Josquin)
Missa ‘Tandernaken’, 4vv, D vi (c.f. monophonic Flemish song; ‘motet’ Frange esurienti in Grove6 is contrafactum of 2nd Ag)
Missa ‘Tous les regretz’, 4vv, D vi (on La Rue’s chanson; two distinct versions)

Mass movements:
Kyrie in festo pasche, 4vv, D vii (c.f. Ky I)
Credo, 4vv, D vii
Credo, 6vv, D vii
Credo ‘Angeli archangeli’, 8vv, D vii (on Isaac’s motet with c.f. T of Binchois’s chanson Comme femme)
Credo de villagiis, 4vv, D vii (c.f. Cr I; used as Cr of Obrecht, Missa ‘Sicut spina rosam’ in I-Rvat CS 160)
Credo ‘L’amour du moy’, 4vv, D vii (c.f. monophonic chanson)

Magnificat settings:
all settings of even verses only
Magnificat primi toni, 3–6vv, D viii
Magnificat secundi toni, 2–4vv, D viii
Magnificat tertii toni, lost (implied by entry ‘de ocho tonos de mañificas de musica, de Pedro De La Rua’ in 1612 inventory of Philip II’s library; see Vander StraetenMPB, viii, 367)
Magnificat quarti toni, 3–4vv, D viii
Magnificat quinti toni, 2–4vv, D viii
Magnificat sexti toni, 3–5vv, D viii
Magnificat septimi toni, 3–4vv, D viii
Magnificat octavi toni, 2–4v, D viii

Motets:
Ave regina caelorum [Ave apertor caelorum], 4vv, D ix (? chant c.f.)
Considera Israel, 4vv, D ix (probably written for Marguerite of Austria on death of Philip the fair; 4p. Doleo super te also exists independently)
Da pacem domine, 4vv , D ix (c.f. ant for peace)
Delicta iuventutis, 4vv, D ix (two versions of text, each drawing briefly on office for the dead; possibly written on death of Philip the Fair)
Gaude virgo, 4vv, D ix (?c.f. ps tone 7; text attributed to St Thomas Becket)
Lauda anima mea dominum (Ps cxlvi), 4vv, D ix (c.f. tonus peregrinus)
Laudate dominum (Ps cxvii), 4vv, D ix
O domine Jesu Christe, 4vv, D ix
O salutaris hostia, 4vv, D ii and D ix (substitutes for 1st ‘Osanna’ of Missa de Sancta Anna; also exists independently without ascription)
Pater de coelis deus, 6vv, D ix (text is a collection of responses associated with the Trinity)
Quis dabit pacem, 4vv, D ix (textless; a text by Seneca with this beginning was set by Isaac)
Regina celi, 4vv, D ix
Salve Jesu, 6vv, lost (known from 1602 inventory of Philip II’s library; see Vander StraetenMPB, viii, 370)
Salve mater salvatoris, 4vv, D ix (melodic similarities to seq with same opening; text is prayer for Assumption of the BVM, adapted with references to Marguerite of Austria as governor of the Low Countries)
Salve regina (i), 4vv, D ix (canon melody related to Marian ant)
Salve regina (ii), 4vv, D ix (c.f. Marian ant)
Salve regina (iii), 4vv, D ix (c.f. Marian ant)
Salve regina (iv), 4vv, D ix (alternatim setting; c.f.s Marian ant, Sup of Du Fay, Par le regard, and Sup of Binchois, Je ne vis oncques)
Salve regina (v), 4vv, D ix (alternatim setting; c.f. Marian ant)
Salve regina (vi), 4vv, D ix (c.f. Marian ant)
Sancta Maria virgo, 3vv, D ix (textless; B shares material with Il viendra and Pourquoy tant; 2p. is model for Craen, Ecce video; see Meconi, 1991, on genre)
Si dormiero [O mitis mater Christi], 3vv, D ix (see Meconi, 1991, on genre and related works; also ascribed to Isaac, Agricola and Finck)
Vexilla regis/Passio domini, 4vv, D ix (text and c.f. hymn for Passion Sunday; T uses text of two passages from Matthew, c.f. formulae from the Passion lessons)

—

Conjecturally attributed works:
Missa ‘Fortuna desperata’, 4vv (c.f. T of ?Busnoys’ chanson; ascribed to ‘Periquin’ in E-TZ 3; unlikely to be by Pierrequin de Therache; see Kreitner), authenticity uncertain
Missa ‘L’homme armé’ (ii), 4vv, D vii; anon. in only sources, 2 Habsburg-Burgundian MSS; attrib. La Rue in K.E. Roediger: Die geistlichen Musikhandschriften der Universitäts-Bibliothek Jena (Jena, 1935); accepted by Robijns (1954) and in MGG1, but questioned in Grove6 (c.f. monophonic chanson)
Missa sine nomine (ii), 4vv, D vii; anon. in D-Ju 12 from Habsburg-Burgundian court and only other source, F 2; attrib. La Rue in MGG1 and J.M. Llorens: Capellae Sixtinae codices (Vatican City, 1960), but questioned in Grove6
Kyrie pascale, 5vv, D vii; anon. in only sources, 2 Habsburg-Burgundian MSS; attrib. La Rue in Rubsamen (1937) (c.f. Ky I)
Absalon fili mi, 4vv, D ix; ascribed to Josquin in 15407 and two dependent sources; anon. in Habsburg-Burgundian court MS GB-Lbl Roy.8.G.VII; attrib. La Rue by van Benthem (1989), Rifkin, Meconi (1998); questioned by Milsom, Davison (1996) (probably written for Maximilian on death of Philip the Fair)
Ave sanctissima Maria, 6vv, D ix; ascribed to Verdelot/Claudin in 15345, anon. in Habsburg-Burgundian court MS B-Br 228; attrib. La Rue in VMR xviii and generally accepted as his (model for La Rue’s mass) (3 2-voice canons)
Maria mater gratie/Fors seulement, 5vv, P; anon. in only sources, A-Wn 18746 and B-Br 228; attrib. La Rue in VMR xix, Picker (1965) (c.f. T of Ockeghem’s chanson in B2)
Te decet laus, 5vv, D i and D ix; anon. in only source, I-Rvat C.S.36, where it follows Missa ‘Ave sanctissima Maria’, headed ‘loco Deo gracias’; attrib. La Rue by L. Feininger in Documenta polyphoniae liturgicae sanctae ecclesiae romanae, ser.1B, i (Rome, 1950)
Adieu comment, 5vv; anon. in A-Wn 18746; attrib. La Rue in Bernstein
Aprez regretz, 4vv, P; anon. in B-Br 228; attrib. La Rue in VMP xxii, Picker (1965), Milsom (rondeau cinquain)
Ce m’est tout ung, 4vv, P; anon. in Br 228; attrib. La Rue in VMP xxi, Picker (1965), Milsom
C’est ma fortune, 4vv, P; anon. in Br 228; attrib. La Rue in VMP xxii, Picker (1965), Milsom (rondeau cinquain)
Changier ne veulx, 4vv, P; anon. in Br 228; attrib. La Rue in Picker (1965), Milsom (rondeau quatrain)
Cueurs desolez/Dies illa, 5vv, P; ed. in Cw iii (1929); anon. in Br 228; attrib. La Rue in VMP xxii, Picker (1965), Milsom (rondeau cinquain; c.f. 3rd verse of resp Libera me from Requiem Mass; poem on death of Jean de Luxembourg, Seigneur de Ville, in 1508 by ?Jean Lemaire)
Dueil et ennuy, 5vv, P; anon. in A-Wn 18746 and B-Br 228; attrib. La Rue in VMP xxi, Picker (1965), Bernstein, Milsom
Dulces exuvie, 4vv, P; anon. in Br 228; attrib. La Rue in VMP xviii, Milsom (text from Aeneid)
Helas, fault il, 4vv, P; anon. in Br 228; attrib. La Rue in VMP xxii, Picker (1965)
Il me fait mal, 3vv, P; anon. in Br 228; attrib. La Rue in VMP xxii, Picker (1965) (? response to Me fauldra il; ? poem by La Rue)
J’ay mis mon cueur, 3vv, P; anon. in Br 228; attrib. La Rue in Picker (1965) (refrain of monophonic virelai)
Je n’ay regretz, 5vv; anon. in A-Wn 18746; attrib. La Rue in Bernstein
Je ne dis mot, 6vv, P; anon. in B-Br 228; attrib. La Rue in Picker (1965), Milsom (3 2-voice canons)
Je ne scay plus, 3vv, P; anon. in Br 228; attrib. La Rue in Picker (1965), Milsom
Las, helas, las, seray-je repris?, 4vv, P; anon. in Br 228; attrib. La Rue in Picker (1965), Milsom (rondeau cinquain)
Me fauldra il, 4vv, P; anon. in Br 228; attrib. La Rue in VMP xxii, Picker (1965) (? poem by Marguerite of Austria; ? paired with Il me fait mal)
Plusieurs regretz, 4vv, P; anon. in Br 228; attrib. La Rue in Picker (1965), Milsom
Quant il advient, 5vv, P; anon. in Br 228; attrib. La Rue in VMP xxii, Milsom
Quant il survient, 4vv, P; ed. in Cw iii (1929); anon. in Br 228; attrib. La Rue in VMP xxi, Picker (1965), Milsom (rondeau quatrain)
Sailliés avant, 5vv; anon. in A-Wn 18746; attrib. La Rue in Bernstein; attrib. Josquin in J. van Benthem, TVNM, xxii (1971–2), 21–9
Se je souspire/Ecce iterum, 3vv, P; anon. in B-Br 228; attrib. La Rue in Milsom (on death of Philip the Fair; ? French poem and Latin text of 1p. by Marguerite of Austria; c.f. of 2p. from Lamentations, tone for 3rd lesson of Tenebrae)
Soubz ce tumbel, 4vv, P; anon. in Br 228; attrib. La Rue in VMP xxii, Milsom; attrib. Josquin in Picker (1965) and others (setting of J. Lemaire, ‘L’epitaphe de l’amant vert’)

Doubtful and misattributed works:
Missa ‘Coronata’, 4–5vv, ed. A. Smijers, Werken van Josquin des Près: Missen, iii, afl.30–31 (Amsterdam, 1952); ascribed to La Rue in Weimar, Bibliothek der Evangelisch-Lutherischen Kirchengemeinde, MS B, but by Josquin (his Missa de Beata Virgine)
Missa de septem doloribus, 4vv; anon. in only source, B-Br 215–16 (from Habsburg-Burgundian court); possibility of La Rue’s authorship first examined in Robijns, 1954
Missa ‘Iste confessor domini’, 4vv, D vii; ascribed to La Rue in P-Cug 2, but by Févin (his Missa O quam glorifica)
Magnificat quarti toni, 4vv, ed. A. Smijers and A. Antonowycz, Werken van Josquin des Près: Motetten, v, afl.47 (Amsterdam, 1958); ascribed to La Rue in I-MOd III, elsewhere to Josquin, Agricola and Brumel; probably by Josquin
Lamentationes Hieremiae, 2–6vv, D viii; ascribed to La Rue in 15491, portions ascribed elsewhere to Stephan Mahu, Antoine de Févin and Forster; one section by Févin, the rest probably by Mahu
Anima mea liquefacta est, 4vv, P; attrib. La Rue in VMR xviii, but actually by Weerbeke
Domini est terra, 4vv, inc., D ix; ascribed to La Rue in lost T book originally belonging to D-Bga 7
Passio domini nostri, 4vv, ed. in RhauM, x (1990); New Obrecht Edition, xviii (1999); ascribed to La Rue in D-Dl 505, elsewhere to Obrecht, Longueval and Jo. a la Venture; by Longueval
Proch dolor/Pie Jhesu, 7vv, P; anon. in B-Br 228; attrib. La Rue in VMR xix, but written for death of Maximilian (1519) and hence not by La Rue; attrib. Josquin in Picker (1965)
Salva nos domine, 4vv, ed. in RhauM, iii (1959); ascribed to La Rue in 15388, but contrafactum of 3rd Agnus Dei of Isaac’s Missa Salva nos
Sancta Maria succurre miseris/O werder mondt, 4vv, P; anon. in Br 228; attrib. La Rue in VMR xix, but by Franciscus Strus
Stabat mater/Comme femme, 5vv, ed. A. Smijers, Werken van Josquin des Près: Motetten, ii, afl.21 (Amsterdam, 1942); attrib. La Rue in SchmidlD and elsewhere, but by Josquin
Virga tua, 2vv, D ix; ascribed to La Rue in D-Rp 220–22, but probably by Pipelare (setting of grad text from Requiem Mass; c.f. chant Si ambulem)
Ach hülff mich leid, 4vv, M; ed. in SMd, v (1967); ascribed to La Rue in CH-Bu F.X.1–4; elsewhere to Josquin, Bauldeweyn and Hans Buchner; probably by Buchner
Adieu Florens la jolie [Carmen in sol], 4vv, M; ed. in MRM, vii (1983); ascribed to La Rue in A-Wn 18810, but by Pietrequin Bonnel
Au feu d’amour, 4vv, M; ed. H. Riemann, Musikgeschichte in Beispielen (Leipzig, 1911–12, 2/1921); ed. in Meconi (1997); ascription to ‘La Rue’ in 15416 and elsewhere refers to Robert de la Rue
Buccucia dolce chiu che canamielle, 4vv, ed. in RRMR, xxx (1978); ascription to ‘Piersson’ in 1548, thought by Ambros to be La Rue, actually refers to Perissone Cambio
Car dieu voulut, 4vv, P; attrib. La Rue in VMP xxi, but actually by Agricola (2p. of Je n’ay deuil que de vous)
Dicte moy bergère, 4vv, M; 2 2-voice canons; ascribed to La Rue in I-Fc 2442; possibly by Josquin, to whom it is attributed in D-HRD 9820
D’ung desplaisir, 4vv, M; ed. M. Cauchie, Quinze chansons françaises du XVIe siècle (Paris, 1926); ascription to ‘De la Rue’ in 1538 and elsewhere refers to Robert de la Rue
Du tout plongiet/Fors seulement, 4vv, P; attrib. La Rue in VMP xxi, but by Brumel
Een vrolic wesen, 3vv, ed. in CMM vii/2 (1957); Sup (and presumably the rest) ascribed to La Rue in I-TRc 1947/4, but Barbireau is more likely
Een vrolic wesen, 4vv, M; ed. in CMM xxxiv/1 (1966); ascribed to La Rue in A-Wn 1881, but by Pipelare
Elle a bien ce ris, 4vv, M; ed. in CMM lii/3 (1974); ascription to ‘D. la rue’ in D-Mbs 1508 refers to Robert de la Rue; elsewhere ascribed to Claudin de Sermisy
En desirant ce que ne puis avoir, 3vv, ed. in G.M. Jones: The ‘First’ Chansonnier of the Biblioteca Riccardiana, Codex 2794 (diss., New York U., 1972), ii, 158; ascription to ‘Pietrequin’ in I-Fr 2794 refers to Pietrequin Bonnel
En l’amour d’une dame, 5vv, inc., M; ascribed to La Rue in GB-Lbl 19583; unlikely on stylistic grounds
Fama malum, 4vv, P; anon. in B-Br 228; attrib. La Rue in VMP xix; Picker (1965) suggests attrib. to De Orto (text from Aeneid)
Fors seulement (ii) [Exortum est in tenebris], 4vv, P; ed. in CMM xxxiv/1 (1966); ascribed to La Rue in 1502, but by Pipelare
Il fault morir, 6vv, M; textless; ascribed to La Rue in D-Rp C120; unlikely on stylistic grounds
In pace in idipsum/Que vous madame, 3vv, P; attrib. La Rue in VMR xix, but by Josquin
Je n’ay deuil que je ne suis morte, 4vv, P; attrib. La Rue in VMP xxi, but by Ockeghem
Je n’ay deuil que de vous, 4vv, P; attrib. La Rue in VMP xxi, but by Agricola
Je suys a moy, 4vv, M; ascription to ‘La Rue’ in 15365 refers to Robert de la Rue; ascribed to Mittantier in index
Jouyssance vous donneray [Iam sauche, Jani sauche], 4vv, M; ed. in CMM lii/3 (1974); ascribed to La Rue in A-Wn 18810, but by Claudin de Sermisy
Las que plains tu, 4vv, M; ascription to ‘La Rue’ in 1541 and elsewhere refers to Robert de la Rue
Leal schray tante [Carmen in re], 4vv, M; ascribed to La Rue in Wn 18810 and D-Rp C120; but by Josquin, to whom it is attributed in CH-Zz Z.XI.301
Le renvoye [Num stultum est mortem], 2vv, M; ed. in HM, xxvii (1950/R), lxxiv (1951); ed. in RRMR xvi–xvii (1974); ascribed to La Rue in 154916; unlikely on stylistic grounds (Sup of Compère’s chanson in Sup)
Ma mère hellas, 4vv, M; ed. H. Expert, Anthologie chorale des maîtres musiciens de la Renaissance française (Paris, 1938); ascription to ‘La Rue’ in 1536 refers to Robert de la Rue
Mes douleurs sont incomparables, 3vv, ed. in G.M. Jones: The ‘First’ Chansonnier of the Biblioteca Riccardiana, Codex 2794 (diss., New York U., 1972), ii, 165; ascription to ‘Pietrequin’ in I-Fr 2794 refers to Pietrequin Bonnel
Mais que ce fust secretement [Donzella no men culpeys], 3vv, ed. in CMM xv/5 (1972); ascriptions to ‘Pierquin’ etc. in Bc Q17 and elsewhere refer to Pietrequin Bonnel; elsewhere ascribed incorrectly to Compère
Qu’en dictez vous suis je en danger, 3vv, ed. in G.M. Jones: The ‘First’ Chansonnier of the Biblioteca Riccardiana, Codex 2794 (diss., New York U., 1972), ii, 294; ascription to ‘Pietrequin’ in Fr 2794 refers to Pietrequin Bonnel
Sans y penser a l’aventure, 3vv, ed. in G.M. Jones: The ‘First’ Chansonnier of the Biblioteca Riccardiana, Codex 2794 (diss., New York U., 1972), ii, 160; ascription to ‘Pietrequin’ in Fr 2794 refers to Pietrequin Bonnel
Si dedero, 3vv, P; attrib. La Rue in VMR xix, but by Agricola
Si le changer, 4vv, M; ascription to ‘De la Rue’ in 1554 refers to Robert de la Rue
Si sumpsero, 3vv, P; attrib. La Rue in VMR xix, but by Obrecht
Tant que nostre argent durra [Amours fait molt tant/Il est de bonne heure né/Tant que nostre argent dure], 4vv, M; ed. in MRM, vii (1983); ascribed to La Rue in CH-Bu F.X.1–4, elsewhere to Japart and Busnoys; probably by Japart