Structural variants and contrapuntal re-elaboration in the versions for two and three choirs of Luca Marenzio’s motet Jubilate Deo…cantate

The article aims to re-examine the two versions (respectively for two and three choirs) of Luca Marenzio’s motet Jubilate Deo…cantate, considering sources that were previously unknown, or in any case not taken into account for the purpose of publishing the complete works of the composer. With regards the version for three choirs, which also comprises the alto and bass part-books of the second choir conserved in the municipal library of Waldheim (once mistakenly believed to be part of the 2-choir version), of particular interest is a manuscript kept in the Sächsische Landesbibliothek in Dresden, consisting of a part-book, clearly intended for the use of an organist to accompany the vocal performance, whose title page bears the indicative date of 1623. Although not significant for the purposes of establishing the date of composition of this motet, the document is nevertheless interesting for the history of the reception of the composition and because it is the only source which contains a basso continuo part and, in addition, has markings informing the organist of the alternation between the three choirs. As far as the version for two choirs is concerned, another two manuscripts in separate parts prove to be of interest: the first kept in the library of the Milan Conservatory, but originally from Mantua, dating from between the end of the 16th century and the first three decades of the 17th century; the second, dating from 1631-1633, is conserved in Berlin, although originating from Breslau, and belonged to a cantor working in the church of St Christopher in Breslau. Both versions of this motet are linked to the composer’s Polish period (the 3-choir version appears in the printed anthology Melodiae Sacrae, compiled by Vincentius Lilius and published in Cracow in 1604, while both are included in the tablature manuscript kept in Pelplin and dating from 1620-40), which shows that this work was, if not composed, almost certainly performed (and perhaps also rescored) during his stay in Poland (1595-1597/98). Regarding the question of the order in which the two works were written, the results of a comparison have led to opposite conclusions to what was previously believed, suggesting that the 2-choir version is a later adaptation of the work for three choirs.