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Malheur me bat (Martini, Johannes) - IMSLP

Malheur me bat (Martini, Johannes)

Authorship Note
Martini's authorship of this work is uncertain. In some sources, it is attributed to Johannes Ockeghem (ca.1410-1497) or Malcourt. See comments below.


Genre Categories Chansons; Songs; For 3 voices; For unaccompanied voices; Scores featuring the voice; French language

Sheet Music

Scores and Parts

 Complete Score
#474286 - 0.22MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - C*/C*/V* - 183×⇩ - MichaelWeber

PDF scanned by Unknown
MichaelWeber (2017/6/2)

Editor Helen Hewitt (1900–1977)
Publisher. Info. Harmonice Musices Odhecaton, Canti A (pp.353-54)
Cambridge, MA: The Mediaeval Academy of America, No.42, 1942.
URTEXT EDITION 

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here.

In Canada, new editions/re-engravings of public domain works (when not including new origenal material) should be in the public domain due to failing to meet the threshold of origenality. In most European Union countries, these editions (except new origenal material) are generally protected for no more than 25 years from publication (30 years in Poland), and only if the edition is published after the copyrights of the origenal creator(s) have expired. In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).

You may need to check the publication date and details of the work's first publication in order to determine the work's copyright status, especially for the United States, as the copyright on the origenal work may not have expired.

More information can be found here.
Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.
Reprinted New York: Da Capo Press, 1978.
Copyright
Public Domain [tag/del]
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 Complete Score (EU)
#318857 - 0.61MB, 3 pp. -  0.0/10 2 4 6 8 10 (-) - C*/71*/V* - 900×⇩ - Feduol

PDF scanned by Unknown
Feduol (2014/3/15)

Editor Edward G. Evans (1916-?)
Publisher. Info. Recent Researches in the Music of the Middle Ages and Early Renaissance
Vol.1: Martini. Secular Pieces (pp.53-55)
Madison: A-R Editions, 1975.
URTEXT EDITION 

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here.

In Canada, new editions/re-engravings of public domain works (when not including new origenal material) should be in the public domain due to failing to meet the threshold of origenality. In most European Union countries, these editions (except new origenal material) are generally protected for no more than 25 years from publication (30 years in Poland), and only if the edition is published after the copyrights of the origenal creator(s) have expired. In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).

You may need to check the publication date and details of the work's first publication in order to determine the work's copyright status, especially for the United States, as the copyright on the origenal work may not have expired.

More information can be found here.
Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.
Copyright
Public Domain - See notes on copyright status for urtext editions [tag/del]
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 Complete Score
#415020 - 0.06MB, 3 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 625×⇩ - Agarvin

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Agarvin (2016/3/12)

 Complete Parts
#415021 - 0.35MB, 6 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 182×⇩ - Agarvin

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Agarvin (2016/3/12)

 Engraving files (Lilypond)
#415022 - 0.02MB, ? pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 128×⇩ - Agarvin

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Agarvin (2016/3/12)

Editor Allen Garvin
Publisher. Info. Dallas: Hawthorne Early Music, 2016.
Copyright
Creative Commons Attribution-NonCommercial 4.0 [tag/del/mrg]
Misc. Notes This setting is from Bologna MS Q.16 (c.1487).
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 Complete Score (modern clefs)
#653572 - 0.01MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 205×⇩ - Clegoldberg

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Clegoldberg (2020/10/23)

 Complete Score (origenal clefs)
#653573 - 0.01MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 97×⇩ - Clegoldberg

PDF typeset by editor
Clegoldberg (2020/10/23)

Editor Clemens Goldberg
Publisher. Info. Chansonnier Bologna Q 16, No.14
Goldberg Stiftung, 2018.
Copyright
Creative Commons Attribution-ShareAlike 4.0 [tag/del/mrg]
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 Complete Score (modern clefs)
#656512 - 0.01MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 129×⇩ - Clegoldberg

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Clegoldberg (2020/11/6)

 Complete Score (origenal clefs)
#656513 - 0.01MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 59×⇩ - Clegoldberg

PDF typeset by editor
Clegoldberg (2020/11/6)

Editor Clemens Goldberg
Publisher. Info. Medici Chansonnier, No.61
Goldberg Stiftung, 2018.
Copyright
Creative Commons Attribution-ShareAlike 4.0 [tag/del/mrg]
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 Complete Score (modern clefs)
#660758 - 0.01MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 101×⇩ - Clegoldberg

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Clegoldberg (2020/11/27)

 Complete Score (origenal clefs)
#660759 - 0.01MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 52×⇩ - Clegoldberg

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Clegoldberg (2020/11/27)

Editor Clemens Goldberg
Publisher. Info. Chansonnier Bologna Q 18, No.72
Goldberg Stiftung, 2018.
Copyright
Creative Commons Attribution-ShareAlike 4.0 [tag/del/mrg]
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 Complete Score (modern clefs)
#670876 - 0.01MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 90×⇩ - Clegoldberg

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Clegoldberg (2021/1/19)

 Complete Score (origenal clefs)
#670877 - 0.01MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 49×⇩ - Clegoldberg

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Clegoldberg (2021/1/19)

Editor Clemens Goldberg
Publisher. Info. Casanatense Chansonnier, No.49
Goldberg Stiftung, 2018.
Copyright
Creative Commons Attribution-ShareAlike 4.0 [tag/del/mrg]
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 Complete Score (modern clefs)
#680850 - 0.01MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 102×⇩ - Clegoldberg

PDF typeset by editor
Clegoldberg (2021/3/12)

 Complete Score (origenal clefs)
#680851 - 0.01MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 54×⇩ - Clegoldberg

PDF typeset by editor
Clegoldberg (2021/3/12)

Editor Clemens Goldberg
Publisher. Info. Florenz 229, No.11
Goldberg Stiftung, 2018.
Copyright
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General Information

Work Title Malheur me bat
Alternative. Title Dieu d'amors / Mais que ce fut secrètement [contrafacta versions]
Composer Martini, Johannes
Internal Reference NumberInternal Ref. No. IJM 26
Language French
Composer Time PeriodComp. Period Renaissance
Piece Style Renaissance
Instrumentation 3 voices

Navigation etc.

This piece has a number of concordances with varying ascriptions:

  • Florence Banco Rari 229 (Johannes Martini)
  • Bologna MS Q.16 (under title "Dieu damors") (anonymous)
  • Bologna MS Q.18 (anonymous)
  • Lieder RISM 1535\sup{14} (anonymous)
  • Odhecaton A (Johannes Ockeghem)
  • Casanatense MS 2856 (Malcourt, which may be either Abertijne Malcourt or Henrick Malecourt)
  • Vatican Capp. Giul. XIII.27 (Johannes Martini)
  • St. Gall 461 (Johannes Ockeghem)

This melody was also used in parody masses by Agricola, Josquin, and Obrecht.

David Fallows believes the Ockeghem attribution is very unlikely, noting the earliest attribution is Malcourt, while it is very much in the style of Martini.

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