Clamabat autem mulier

Updated on 12/03/2022

Composer
Reference source: E-TZ 2/3, ff. 271v-272r
Musical parameters: Voices Mensuration Clefs Signature Final

4
e c1c3c3f3 D
F
Edition: Score Commentary
Editor
Notes: All editions after E-TZ Ms. 2/3 unless otherwise stated.
Other modern editions: Alexander, Peter Marquis, “The Motets of Pedro Escobar” (unpublished MA thesis, Indiana University, 1976), pp. 248-52

Elústiza, Juan B. de, and Gonzalo Castrillo Hernández, Antología musical: Polifonía vocal, siglos XV y XVI (Barcelona: Rafael Casulleras, 1933), pp. 33-36

Engel, Lehman, Three Centuries of Choral Music: Renaissance to Baroque (New York: Harold Flammer, 1956), v, pp. 32-39

Ferreira 2008, ii, pp. 64-67 (ed. S. S. Rodrigues after P-Cug MM 12) and pp. 136-38 (Baena's intabulation, ed. J. P. d'Alvarenga)
Ferreira, Manuel Pedro, ed, Antologia de música em Portugal na Idade Média e no Renascimento, 2 vol. (Lisboa: Arte das Musas, CESEM, 2008)

Freis, Wolfgang, “Cristóbal de Morales and the Spanish Motet in the First Half of the Sixteenth Century: An Analytic Study of Selected Motets by Morales and Competitive Settings in SEV-BC 1 and TARAZ-C 2-3” (unpublished Ph.D. dissertation, The University of Chicago, 1992), pp. 427-32

Imrie, Martyn, ed, Pedro de Escobar: Clamabat autem mulier, Mapa Mundi, series A, 3 (Lochs: Vanderbeek & Imrie, 1977)

Knighton, Tess, Gonçalo de Baena: Arte para tanger (Lisboa, 1540) (Lisboa: Edições Colibri, Centro de Estudos de Sociologia e Estética Musical, 2012), no. 46, pp. 305-08 (Baena's intabulation)

MME 7, no. 52, pp. 79-83 (Mudarra's reworking)
Pujol, Emilio, ed, Alonso Mudarra: Tres libros de música en cifra para vihuela (Sevilla, 1546), Monumentos de la Música Española, 7, reprint (Barcelona: Consejo Superior de Investigaciones Científicas, Instituto Español de Musicología, 1984)

Morais 2002, pp. 60-63
Morais, Manuel, ed, Antologia de Música para o Teatro de Gil Vicente: Vilancetes, cantigas, romances e danças (Lisboa: Estar, CHA-UE, 2002)

PA 9, no. 7, pp. 81-88
Calahorra Martínez, Pedro, Autores hispanos de los siglos XV-XVI de los Ms. 2 y 5 de la Catedral de Tarazona, Polifonía Aragonesa, 9 (Zaragoza: Institución Fernando el Católico, 1995)

Stevenson, Robert, “Pedro de Escobar among Spanish Musicologists”, Inter-American Music Review, 15/1 (1996), 53-145, at 99-103

Stevenson, Robert, “Pedro de Escobar: Earliest Portuguese Composer in New World Colonial Music”, Inter-American Music Review, 11/1 (1990), 3-24, at 17-19, and 19-21 (Mudarra's reworking; reproduction of MME 7, no. 52)
Bibliography: Calahorra Martínez, Pedro, and Luis Prensa Villegas, “¿Acaso se puede hablar de una colección de motetes escénicos de Pedro Escobar/ Pedro do Porto?”, Inter-American Music Review, 18 (2008), 115-46, with an edition of the piece at 123-28

Rees, Owen, Polyphony in Portugal c.1530-c.1620: Sources from the Monastery of Santa Cruz, Coimbra, Outstanding Dissertations in Music from British Universities (New York & London: Garland, 1995), at pp. 52, 59-60, 419, with an edition of the piece at pp. 61-66 (after P-Cug MM 12)

Ribeiro, Mário de Sampaio, “Sôbre o fecho do «Auto da Cananeia»”, Brotéria: Revista contemporânea de cultura, 27 (1938), 321-91

Rycke, Dawn de, “lnvoking Pedro de Escobar: The persistence of Cananea and the placing of Tradition”, Revista Portuguesa de Musicologia, 11 (2001), 7-45
Sources including this piece: Source Location in source Attribution and other inscriptions Notes

Baena 1540
ff. 50r-52r

Escobar.

—

E-Bbc M. 454
ff. 161v-162r

1532 .Scobar:-

The date is that when the ascription was entered, presumably later than the copying of the music

E-Sco 5-5-20
ff. 17v-18r

Escobar:-

—

E-Tc 21
ff. 56v-58r

Escobar

—

E-TZ 2/3
ff. 271v-272r

.escobar.

—

Mudarra 1546
ff. 59r-63v

III Motete dela Cananea.

This is not properly a concordance, but rather a reworking of Escobar's piece

P-Cug MM 012
ff. 193v-194r

—

—

P-Cug MM 032
ff. 22v-23r

—

—

US-BLl 08
ff. 18v-19r (copy 1), 56v-57r (copy 2)

Cananea

Copy 2 textless

US-BLl 09
ff. 5v-6r

—

Not available for consultation; —; The date is that when the ascription was entered, presumably later than the copying of the music; —; —; —; This is not properly a concordance, but rather a reworking of Escobar's piece; —; —; Copy 2 textless; Not available for consultation

Source	Location in source	Attribution and other inscriptions	Notes
Baena 1540	ff. 50r-52r	Escobar.	—
E-Bbc M. 454	ff. 161v-162r	1532 .Scobar:-	The date is that when the ascription was entered, presumably later than the copying of the music
E-Sco 5-5-20	ff. 17v-18r	Escobar:-	—
E-Tc 21	ff. 56v-58r	Escobar	—
E-TZ 2/3	ff. 271v-272r	.escobar.	—
Mudarra 1546	ff. 59r-63v	III Motete dela Cananea.	This is not properly a concordance, but rather a reworking of Escobar's piece
P-Cug MM 012	ff. 193v-194r	—	—
P-Cug MM 032	ff. 22v-23r	—	—
US-BLl 08	ff. 18v-19r (copy 1), 56v-57r (copy 2)	Cananea	Copy 2 textless
US-BLl 09	ff. 5v-6r	—	Not available for consultation