Sacræ Cantiones seu motectæ quatuor vocum (Attaingnant, Paris, 1533)
This volume, now lost, is mentioned by Fétis (1839) and Becker (1855). Based on size comparisons with other collections of motets from the same period, the number of motets presumed to have been in Sacræ Cantiones has been arbitrarily fixed at twelve.
LMN 255 Speranti Domine (hypothesized)
An Attaingnant print attributed to Janequin entitled “Speranti modulationes” is listed in Fernando Colons Abecedarium, a collection which may have been purchased by Colon in 1535. There is a possibility that “Speranti” was the title of the initial entry in Sacræ Cantiones.
LMN 256 Gabriel angelus apparuit (fragment)
The motet “Gabriel angelus”, number 33, f. 56v-57r in music manuscript M.5 in the Biblioteca Capitolare, Treviso (compiled 1559-1570), may have originally appeared in Sacræ Cantiones. Manuscript ms. 5 was severely damaged by fire in 1944, and is at present unreadable. Existence of this title is known from catalogues by Veretoni (1595), Campion (1845) and Alessi (1931) who noted the first four tones in each of the upper three voices.
Congregati sunt appears, attributed to Janequin, in Liber Cantus Vocum Quatuor (Bulghat, Ferrara,1538-5) and there is a strong possibility that it was originally printed in Sacræ Cantiones (1533.) Liber Cantus is preserved in DMbs; IBc; IRvat; GBbl. Sacræ Cantiones, Speranti modulationes, Gabriel angelus apparuit and Congregati sunt are discussed in detail in Clément Janequin: French Composer at the Dawn of Music Publishing, Chapter 5, pp. 111-17. See also “Congregati sunt: notes on the transcriptions.”
LMN 258 presumed lost
LMN 259 presumed lost
LMN 260 presumed lost
LMN 261 presumed lost
LMN 262 presumed lost
LMN 263 presumed lost
LMN 264 presumed lost
LMN 265 presumed lost
LMN 266 presumed lost