MMDB

Johannes Ciconia

Other names: Ciconia, Johannes (Grove, MGG), Jo Ciconie (BL), O.M. Ciconie (Kras), Magister Johannes Ciconia de Leodio (O), Jo Cichonia (BU), J. Cyconia (Par), Chiwagne, Chiwogne, Choigne, Chuwgagne, Chywogne, Ciwagne, Ciwogne, Schuwagnel, Cicogna

Liègois composer and theorist who spent much of his life in northern Italy. He held various canonries, including Padua Cathedral. The numerous references to him have not yet been fitted into a satisfactory whole.

Works (49)

  1. Albane misse celitus; Albane doctor maxime motet
  2. Aler m'en veus en strangne partie virelai
  3. Amor per ti sempre ballata
  4. Ben che da vui ballata
  5. Caçando un giorno vidi una cervetta madrigal
  6. Chi nel servir anticho me conduce ballata
  7. Chi vole amar, ame con vera fede ballata
  8. Con lagreme bagnandome ballata
  9. Credo
  10. Credo
  11. Credo
  12. Credo
  13. Deduto sey a quel che may ballata
  14. [Deduto sey a quel che may] intabulation
  15. Doctorum principem super ethera; Melodia suavissima cantemus; Vir mitis motet
  16. Doctorum principem super ethera; Melodia suavissima cantemus; Vir mitis motet
  17. Dolce fortuna ballata
  18. Gli atti col dançar Francesch' inançi passa ballata
  19. Gloria
  20. Gloria
  21. Gloria
  22. Gloria
  23. Gloria, spiritus et alme
  24. Gloria, spiritus et alme
  25. Gloria, suscipe Trinitas
  26. I cani sono fuora per le mosse madrigal
  27. Io crido amor ballata
  28. La fiamma del to amor che già me strinçe ballata
  29. L[e] ray au soleyl qui dret som karmeyne canon
  30. Ligiadra donna ballata
  31. Merce o morte ballata
  32. Non credo, donna, che la dolçe fiamma ballata
  33. O beatum incendium motet
  34. O felix templum jubila motet
  35. O Padua sidus preclarum motet
  36. O Petre Christi discipule motet
  37. O proles Hispanie motet
  38. O rosa bella ballata
  39. O virum omnimoda; O lux et decus; O beate Nicholae motet
  40. Padua ex... serenans; [Tenor pastor bonus] motet
  41. Per quella strada lactea del cielo madrigal
  42. Petrum Marcello Venetum; O Petre antistes inclite motet
  43. Poy che morir mi convien per to amore ballata
  44. Quod jactatur canon
  45. Regina gloriosa motet
  46. Sus un' fontayne en remirant virelai
  47. Una panthera in conpagnia de Marte madrigal
  48. Ut per te omnes celitus; Ingens alumnus Padue motet
  49. Venecie mundi splendor; Michael qui Stena domus motet

Literature

Johannes Ciconia

LIFE

  1. BESSELER, Heinrich. 'Ciconia, Johannes', Die Musik in Geschichte und Gegenwart, II (1952): 1423-1434 .
  2. BESSELER, Heinrich. 'Bologna, Kodex BL', Die Musik in Geschichte und Gegenwart, II (1952) .
  3. HOPPIN, Richard H. Review of Suzanne Clercx: Johannes Ciconia, Musical Quarterly, XLVII (1961): 416-420 .
  4. FINSCHER, Ludwig. 'Motette. I. Von den Anfängen bis Ciconia', Die Musik in Geschichte und Gegenwart, IX (1961): 637-646.
  5. CLERCX-LEJEUNE, Suzanne. 'Ciconia, Johannes', The New Grove, IV (1980): 391-394 .
  6. STROHM, Reinhard. The rise of European music, 1380-1400, Cambridge: Cambridge University Press, 1993 .

EDITIONS

  1. WOLF, Johannes. 'Der niederländische Einfluss in der mehrstimmigen gemessenen Musik bis zum Jahre 1480', Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, VI (1899): 197-217, VII (1904): 154-156 and supplement 1-8 .
  2. Geschichte der Musik in Beispielen, edited by Arnold Schering, Leipzig: Breitkopf & Härtel, 1931.
  3. KORTE, W. 'Contributi alla storia della musica in Italia, I: La musica nelle città dell'Italia settentrionale dal 1400 al 1425', Rivista musicale italiana, XXXIX (1932): 513ff.
  4. BUKOFZER, Manfred. 'Two mensural canons', Musica Disciplina, II (1948): 165-171 .
  5. FANO, Fabio. Le origini e il primo maestro di cappella: Matteo da Perugia. Part 1 of La cappella musicale del duomo di Milano (with G. Cesari), Milan: Ricordi, 1956. Instituzioni e monumenti dell'arte musicale italiana, nuov. ser. 1..
  6. BROWN, S. E. Jr. The Motets of Ciconia, Dunstable and Dufay, Ph.D. dissertation, Indiana University: 1962.
  7. PLAMENAC, D. 'Faventina', Liber Amicorum Charles van den Borren, edited by Albert Vander Linden, Antwerp: Lloyd Anversois, 1964, pp. 145-164 .
  8. GÜNTHER, Ursula. 'Quelques remarques sur des feuillets récemment découverts à Grottaferrata', L'Ars nova italiana del Trecento III: Certaldo 1969, 1970, pp. 315-397.
  9. STAM, E. 'Die richtige Lösung des Rätselkanons "Quad jactatur" von Johannes Ciconia', Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, XXI (1970): 147-166.
  10. Keyboard Music of the Late Middle Ages in the Codex Faenza 117, edited by D. Plamenac, [n.p.]: American Institute of Musicology, 1972. Corpus Mensurabilis Musicae 57.
  11. Sources of Polyphony up to c.1500: Editions, edited by Miroslaw Perz, Warsaw: PWN-Polish Scientific Publishers, Graz: Akademische Druck- und Verlagsanstalt, 1976. Antiquitates Musicae in Polonia 14.
  12. Venetian Ceremonial Motets, edited by Denis Stevens, Borough Green: 1977 .
  13. NEMETH, George L. The Secular Music of Johannes Ciconia, Ph.D. dissertation, Stanford University: 1977 .
  14. Anthology of Medieval Music, edited by Richard H. Hoppin, New York: W. W. Norton, 1978 .
  15. The Works of Johannes Ciconia, edited by Margaret Bent and Anne Hallmark, Monaco: Editions de L'Oiseau-Lyre, 1985. Polyphonic Music of the Fourteenth Century XXIV .
  16. The Lucca Codex. Codice Mancini. Introductory Study and Facsimile Edition, edited by John Nádas and Agostino Ziino, Lucca: Libreria musicale italiana editrice, 1990.

STUDIES OF WORKS

  1. GHISI, Federico. 'Italian Ars nova music, the Perugia and Pistoia fragments of the Lucca Codex, and other unpublished early fifteenth century sources', Musica Disciplina, I/3 (1946): 173-191, and supplement with musical examples in I/4 (1947), p. 176.
  2. CLERCX, Suzanne. 'Johannes Ciconia de Leodio', Report of the International Musicological Society, Utrecht, 1952, pp. 107-126.
  3. PIRROTTA, Nino and Ettore LI GOTTI. 'Paolo Tenorista, fiorentino "extra moenia"', Estudios Dedicados a Menéndez Pidal III, Madrid: S. Aguirre, 1952, pp. 577-606, p. 585( Con lagreme bagnandome) .
  4. CLERCX, Suzanne. 'Propos sur l'Ars nova', Revue belge de musicologie, X (1956): 154-160 (p. 157)( O proles Hispanie).
  5. BROWN, S. E. Jr. 'A possible cantus firmus among Ciconia's isorhythmic motets', Journal of the American Musicological Society, XII (1959): 7-15.
  6. ELLINWOOD, Leonard. 'The Fourteenth Century in Italy', [chapter 2 of] The New Oxford History of Music. III. Ars Nova and the Renaissance, edited by Dom Anselm Hughes and Gerald Abraham, London: Oxford University Press, 1960 , pp. 71, 72( O felix templum jubila).
  7. HOPPIN, Richard H. Review of Suzanne Clercx: Johannes Ciconia, Musical Quarterly, XLVII (1961): 416-420 .
  8. FISCHER, Kurt von. 'Les compositions à trois voix chez les compositeurs du Trecento', L'Ars nova italiana del Trecento I: Certaldo 1959, 1962, pp. 18-31.
  9. PLAMENAC, D. 'Faventina', Liber Amicorum Charles van den Borren, edited by Albert Vander Linden, Antwerp: Lloyd Anversois, 1964, pp. 145-164 , pp. 146-148.
  10. GÜNTHER, Ursula. 'Die "anonymen" Kompositionen des Ms. Paris BN, fonds ital, 568 (Pit)', Archiv für Musikwissenschaft, XXIII (1966): 73-92, pp. 90-91( Con lagreme bagnandome) .
  11. PETROBELLI, Pierluigi. 'Some dates for Bartolino da Padova', Studies in Music History: Essays for Oliver Strunk, edited by Harold Powers, Princeton/New Jersey: Princeton University Press, 1968, pp. 85-112 (p. 105)( Per quella strada lactea del cielo).
  12. REANEY, Gilbert. 'The Italian contribution to the manuscript Oxford, Bodleian Library, Canonici Misc. 213', L'Ars nova italiana del Trecento III: Certaldo, 1969, 1970, pp. 443-464, p. 447( O felix templum jubila).
  13. THIBAULT, Geneviève. 'Emblèmes et devises des Visconti dans les oeuvres musicales du Trecento', L'Ars nova italiana del Trecento III: Certaldo 1969, 1970, pp. 131-60, pp. 142-144( L[e] ray au soleyl qui dret som karmeyne).
  14. SANDERS, Ernest. 'The mediaeval motet', Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, Erste Folge, Bern, Munich: 1971, pp. 497-573 ( Petrum Marcello Venetum; O Petre antistes inclite).
  15. PIRROTTA, Nino. 'New glimpses of an unwritten tradition', Words and Music: The Scholar's View, edited by Laurence Berman, Cambridge: Harvard University, 1972, pp. 271-292, p. 68( Poy che morir mi convien per to amore).
  16. NEWES, Virginia E. 'Imitation in the Ars nova and Ars subtilior', Revue belge de musicologie, XXXI (1977): 38-59( O felix templum jubila).
  17. HOPPIN, Richard H. Medieval Music, New York: W. W. Norton, 1978 , pp. 498-499( Per quella strada lactea del cielo).
  18. REANEY, Gilbert. 'Transposition and "key" signatures in late medieval music', Musica Disciplina, XXXIV (1979): 27-41, p. 34( Deduto sey a quel che).
  19. ZIINO, Agostino. 'Ripetizioni di sillabe e parole nella musica profana italiana del Trecento e del primo Quattrocento', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, Kassel: Bärenreiter, 1984, pp. 93-120( Merce o morte).
  20. GÜNTHER, Ursula. 'Sinnbezüge zwischen Text und Musik in Ars nova und Ars subtilior', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, edited by U. Günther and L. Finscher, Kassel: Bärenreiter, 1984, pp. 229-268 (p. 266)( Credo).
  21. BENT, Margaret. 'Text setting in sacred music of the early 15th century: evidence and implications', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, Kassel: Bärenreiter, 1984, pp. 291-326 (pp. 322, 325n)( Gloria).
  22. FALLOWS, David. 'Two equal voices: a French song repertory with music for two more works of Oswald von Wolkenstein', Early Music History, 7 (1987): 227-241 (p. 240)( Aler m'en veus en strangne partie).

OTHER LITERATURE

  1. [?] Acta Sanctorum, Junii tomus primus, Paris and Rome: 1867 .
  2. Analecta hymnica medii aevi, edited by G. M. Dreves, C. Blume & H. Bannister, 55 vols, Leipzig: O. R. Reisland, 1886-1922.
  3. LISIO, G. Una stanza del Petrarca musicata da DuFay, Bologna: 1893 .
  4. SABBADINI, Remiglio. 'Frammenti di poesie volgari musicate', Giornale storico della letteratura italiana, XL (1902): 270-272.
  5. Some Love Songs of Petrarch, edited by Wm. Dudley Foulke, London: Oxford University Press, 1915 .
  6. AUDA, A. La musique et les musiciens de l'ancien pays de Liëge, Liëge: 1930.
  7. Polyphonia Sacra: A Continental Miscellany of the Fifteenth Century, edited by Charles van den Borren, Nashdom Abbey, Burnham, Buckinghamshire and London: Plainsong and Mediaeval Music Society, 1932 .
  8. KORTE, W. Studien zur Geschichte der Musik in Italien im ersten Viertel des 15. Jahrhunderts, Kassel: Bärenreiter, 1933. Münsterische Beiträge zur Musikwissenschaft VI.
  9. GHISI, Federico. 'Bruchstücke einer neuen Musikhandschrift der italienischen Ars Nova', Archiv für Musikwissenschaft, VII (1942): 17-39.
  10. LI GOTTI, Ettore. 'Una pretesa incoronazione di Francesco Landini', [in his] Restauri trecenteschi, Palermo: Palumbo, 1947, pp. 91-97.
  11. GENNRICH, Friedrich. Abriss der Mensuralnotation des XIV und der ersten Hälfte des XV Jahrhunderts, Nieder-Modau: 1948. Musikwissenschaftliche Studienbibliothek 3-4.
  12. BESSELER, Heinrich. 'Johannes Ciconia, Begründer der Chorpolyphonie', Primo Congresso Internazionale di Musica Sacra: Rome 1950, Rome .
  13. PIRROTTA, Nino and Ettore LI GOTTI. 'Il Codice di Lucca. III. Il repertorio musicale', Musica Disciplina, V (1951): 115-142.
  14. CLERCX, Suzanne. 'Johannes Ciconia de Leodio', Report of the International Musicological Society, Utrecht, 1952, pp. 107-126.
  15. PIRROTTA, Nino and Ettore LI GOTTI. 'Paolo Tenorista, fiorentino "extra moenia"', Estudios Dedicados a Menéndez Pidal III, Madrid: S. Aguirre, 1952, pp. 577-606.
  16. BOSSE, D. Untersuchung einstimmiger mittelalterlicher Melodien zum "Gloria in excelsis Deo", Regensburg: 1954 .
  17. CLERCX, Suzanne. 'Johannes Ciconia, théoricien', Annales musicologiques: moyen-âge et renaissance, III (1955): 39-75.
  18. Lochamer-Liederbuch und das Fundamentum Organisandi von Conrad Paumann, edited by K. Ameln, Kassel: 1955. Documenta Musicologica II/3 .
  19. FANO, Fabio. Le origini e il primo maestro di cappella: Matteo da Perugia. Part 1 of La cappella musicale del duomo di Milano (with G. Cesari), Milan: Ricordi, 1956. Instituzioni e monumenti dell'arte musicale italiana, nuov. ser. 1..
  20. Das Buxheimer Orgelbuch, edited by B. A. Wallner, Kassel: 1958. Das Erbe deutscher Musik 37-39 .
  21. BROWN, S. E. Jr. 'A possible cantus firmus among Ciconia's isorhythmic motets', Journal of the American Musicological Society, XII (1959): 7-15.
  22. SCHRADE, Leo. 'The chronology of the Ars nova in France', Les Colloques de Wégimont II, 1955, Paris: Société d'Edition "Les belles lettres", 1959, pp. 36-62.
  23. CLERCX, Suzanne. Johannes Ciconia: Un musicien liégois et son temps, 2 vols, Brussels: Palais des Académies, 1960 .
  24. FICKER, Rudolf von. 'The transition on the continent', [chapter 5 of] The New Oxford History of Music. III. Ars Nova and the Renaissance, edited by Dom Anselm Hughes and Gerald Abraham, London: Oxford University Press, 1960, pp. 154-155.
  25. REANEY, Gilbert. 'Ars nova in France', Pelican History of Music I, edited by A. Robertson and Denis Stevens, Hammondsworth: Penguin Books, 1960, pp. 261-308 .
  26. HOPPIN, Richard H. Review of Suzanne Clercx: Johannes Ciconia, Musical Quarterly, XLVII (1961): 416-420 .
  27. FINSCHER, Ludwig. 'Motette. I. Von den Anfängen bis Ciconia', Die Musik in Geschichte und Gegenwart, IX (1961): 637-646.
  28. BROWN, S. E. Jr. The Motets of Ciconia, Dunstable and Dufay, Ph.D. dissertation, Indiana University: 1962.
  29. SEAY, A. 'Remarks on the "Nova Musica" of Johannes Ciconia', Manuscripta, VI (1962): 42-44 .
  30. FANO, Fabio. 'Punti di vista su l'Ars nova', L'Ars nova italiana del Trecento I: Certaldo 1959, 1962, pp. 105-112.
  31. Keyboard Music of the Fourteenth and Fifteenth Centuries, edited by Willi Apel, [n.p.]: American Institute of Musicology, 1963. Corpus of Early Keyboard Music 1.
  32. PLAMENAC, D. 'Faventina', Liber Amicorum Charles van den Borren, edited by Albert Vander Linden, Antwerp: Lloyd Anversois, 1964, pp. 145-164 , pp. 146-148.
  33. HAMM, Charles. 'The Reson Mass', Journal of the American Musicological Society, XVIII (1965): 5-21.
  34. GÜNTHER, Ursula. 'Die "anonymen" Kompositionen des Ms. Paris BN, fonds ital, 568 (Pit)', Archiv für Musikwissenschaft, XXIII (1966): 73-92, pp. 90-91.
  35. GOSSETT, Philip. 'Techniques of unification in early cyclic masses and mass pairs', Journal of the American Musicological society, XIX (1966): 204-231.
  36. PETROBELLI, Pierluigi. 'Some dates for Bartolino da Padova', Studies in Music History: Essays for Oliver Strunk, edited by Harold Powers, Princeton/New Jersey: Princeton University Press, 1968, pp. 85-112.
  37. SIMIONI, A. Storia di Padova dalla origini all fine del secolo XVIII, Padua: 1968.
  38. REANEY, Gilbert. 'The Italian contribution to the manuscript Oxford, Bodleian Library, Canonici Misc. 213', L'Ars nova italiana del Trecento III: Certaldo, 1969, 1970, pp. 443-464, p. 447.
  39. THIBAULT, Geneviève. 'Emblèmes et devises des Visconti dans les oeuvres musicales du Trecento', L'Ars nova italiana del Trecento III: Certaldo 1969, 1970, pp. 131-60.
  40. GÜNTHER, Ursula. 'Das Manuskript Modena, Biblioteca estense, a M.5,24 (olim lat. 568 = Mod)', Musica Disciplina, XXIV (1970): 17-67.
  41. English Music of the 13th and Early 14th Centuries, edited by Ernest H. Sanders, Monaco: Editions de L'Oiseau-Lyre, 1971. Polyphonic Music of the Fourteenth Century XIV.
  42. Keyboard Music of the Late Middle Ages in the Codex Faenza 117, edited by D. Plamenac, [n.p.]: American Institute of Musicology, 1972. Corpus Mensurabilis Musicae 57.
  43. PIRROTTA, Nino. 'New glimpses of an unwritten tradition', Words and Music: The Scholar's View, edited by Laurence Berman, Cambridge: Harvard University, 1972, pp. 271-292.
  44. DALGLISH, William E. 'The use of variation in early polyphony', Musica Disciplina, XXVI (1972): 37-52.
  45. Die Motette, edited by Heinrich Hüschen, Cologne: Arno Volk Verlag, 1975. Das Musikwerk XLVII .
  46. FALLOWS, David. 'Ciconia padre e figlio', Rivista italiana di musicologia, XI (1976): 171-177.
  47. Venetian Ceremonial Motets, edited by Denis Stevens, Borough Green: 1977 .
  48. NEMETH, George L. The Secular Music of Johannes Ciconia, Ph.D. dissertation, Stanford University: 1977 .
  49. GALLO, F. Alberto. Il Medioevo, Vol. II, Turin: Edizioni di Torino, 1977. [English translation as Music of the Middle Ages, vol. II, Cambridge: Cambridge University Press, 1985], pp. 83, 85.
  50. CATTIN, Giulio. 'Ricerche sulla musica a S. Giustina di Padova all' inizio del Quattrocento: Il copista Rolando da Casale. Nuovi frammenti musicali nell'Archivio di Stato [di Padova]', Annales Musicologiques, VII (1977): 17-41.
  51. ELDERS, W. 'Humanism and early Renaissance music: a study of the ceremonial music by Ciconia and Dufay', Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, XXVII (1977): 65-101 .
  52. HOPPIN, Richard H. Medieval Music, New York: W. W. Norton, 1978 .
  53. BARR, Cyrilla. 'Lauda singing and the tradition of the disciplinati. Mandato: A reconstruction of two texts of the office of tenebrae', L'Ars nova italiana del Trecento IV: Certaldo 1975, 1978, pp. 21-44.
  54. REANEY, Gilbert. 'Transposition and "key" signatures in late medieval music', Musica Disciplina, XXXIV (1979): 27-41, p. 34.
  55. FISCHER, Kurt von. 'Ballata', The New Grove, II (1980): 86-88.
  56. BENT, Margaret. 'New sacred polyphonic fragments of the early Quattrocento', Studi musicali, IX (1980): 171-189.
  57. BENT, Margaret. 'Some criteria for establishing relationships between sources of late medieval polyphony', Music in Medieval and Early Modern Europe, edited by Iain Fenlon, Cambridge: 1981, pp. 295-317.
  58. LONG, Michael P. Musical Tastes in Fourteenth Century Italy: Notational Styles, Scholarly Traditions and Historical Circumstances, Ph.D. dissertation, Princeton University: 1981.
  59. HENRY, Derrick. The Listener's Guide to Medieval and Renaissance Music, New York: Facts on File, 1983 .
  60. NEWES, Virginia E. 'The relationship of text to imitative technique in 14th century polyphony', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, edited by U. Günther and L. Finscher, Kassel: Bärenreiter, 1984, pp. 121-154.
  61. BAUMANN, Dorothea. 'Silben- und Wortwiederholungen im italienischen Liedrepertoire des späten Trecento und frühen Quattrocento', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, Kassel: Bärenreiter, 1984, pp. 77-92, p. 87.
  62. Prosdocimo de' Beldomandi: Contrapunctus, a new critical text and translation by Jan Herlinger, Lincoln and London: University of Nebraska Press, 1984.
  63. PHILLIPS, Elizabeth V. and John-Paul Christopher JACKSON. Performing Medieval and Renaissance Music: an Introductory Guide, Schirmer Books:New York, 1986 .
  64. FALLOWS, David. 'Two equal voices: a French song repertory with music for two more works of Oswald von Wolkenstein', Early Music History, 7 (1987): 227-241 (p. 240).
  65. PESTELL, Richard. 'Medieval art and the performance of medieval music', Early Music, XV/Feb (1987): 57-68.
  66. STROHM, Reinhard. The rise of European music, 1380-1400, Cambridge: Cambridge University Press, 1993 .

Recordings

Recordings of works by Johannes Ciconia

  1. Ceremonial Music of the Renaissance: Telefunken SAWT 9524-B: O Padua sidus preclarum; Venecie mundi splendor; Michael qui Stena domus; .
  2. The Italian Trecento: Collegium Stereo JE 105: Doctorum principem super ethera; Melodia suavissima cantemus; Vir mitis; .
  3. Musik aus dem Trecento: Fono. Ges. Luzern S 30-4703: Dolce fortuna; .
  4. Musiques Héraldiques: Pathè CPTC 2035: Una panthera in conpagnia de Marte; .
  5. The Italian Madrigal: Ars Nova and the 16th Century: Allegro ALG 3029: Una panthera in conpagnia de Marte; .
  6. [Ciconia]: HMV HN 1870: Caçando un giorno vidi una cervetta; .
  7. The History of Music in Sound. Vol. III. Ars Nova and the Renaissance: HMV HMS 20-31, 21=(78rpm mx. 2EA 15609-1B) (1953): O rosa bella; .
  8. The Ars Nova: Vocal Music of 14-Century France and Italy: Expèriences Anonymes EA/EAS 83 (1966): I cani sono fuora per le mosse; .
  9. Geistliche Musik circa 1400: Telefunken AW6 41221 (SAWT 9505) (GER) (1967): O virum omnimoda; O lux et decus; O beate Nicholae; Doctorum principem super ethera; Melodia suavissima cantemus; Vir mitis; Ut per te omnes celitus; Ingens alumnus Padue; Gloria; .
  10. Festmusik der Renaissance - Ceremonial Music of the Renaissance: Telefunken AS6 41087 (GER) (1968): O Padua sidus preclarum; Venecie mundi splendor; Michael qui Stena domus; .
  11. Historical Anthology of Music in Performance. Vol. 1: Late Medieval Mu: Pleiades P 250 (1968): Gloria; .
  12. Johannes Ciconia (1335 - 1411): EMI-Reflexe 1C063-30-102 (GER) (1972): Aler m'en veus en strangne partie; Sus un' fontayne en remirant; Per quella strada lactea del cielo; Una panthera in conpagnia de Marte; Chi nel servir anticho me conduce; Ligiadra donna; O rosa bella; L[e] ray au soleyl qui dret som karmeyne; Albane misse celitus; Albane doctor maxime; Gloria; Credo; .
  13. Das Fest des Pierbaldo (Le Festin de Pierbaldo) nach dem Sonettenkranz: Musical Heritage Society MHS 3289 (1973): Caçando un giorno vidi una cervetta; O rosa bella; .
  14. The Wandering Musicians. Flemish Composers in Renaissance Italy: Turnabout TV 34512S (GB/USA) (1974): Ligiadra donna; O felix templum jubila; Ut per te omnes celitus; Ingens alumnus Padue; .
  15. Johannes Ciconia. Madrigaux et Ballades: Harmonia Mundi HM 10068 (1980): Caçando un giorno vidi una cervetta; I cani sono fuora per le mosse; Una panthera in conpagnia de Marte; Con lagreme bagnandome; Chi vole amar, ame con vera fede; Poy che morir mi convien per to amore; O Padua sidus preclarum; O beatum incendium; Regina gloriosa; Gloria; .
  16. Johannes Ciconia: Musique en Wallonie 80040-44 (set) (1980): Aler m'en veus en strangne partie; Sus un' fontayne en remirant; Caçando un giorno vidi una cervetta; I cani sono fuora per le mosse; Per quella strada lactea del cielo; Una panthera in conpagnia de Marte; Con lagreme bagnandome; Dolce fortuna; La fiamma del to amor che già me strinçe; Chi nel servir anticho me conduce; Ligiadra donna; O rosa bella; Chi vole amar, ame con vera fede; Merce o morte; Poy che morir mi convien per to amore; Deduto sey a quel che may; Quod jactatur; L[e] ray au soleyl qui dret som karmeyne; O felix templum jubila; O Padua sidus preclarum; Venecie mundi splendor; Michael qui Stena domus; O virum omnimoda; O lux et decus; O beate Nicholae; Albane misse celitus; Albane doctor maxime; Doctorum principem super ethera; Melodia suavissima cantemus; Vir mitis; Petrum Marcello Venetum; O Petre antistes inclite; Ut per te omnes celitus; Ingens alumnus Padue; O beatum incendium; O Petre Christi discipule; Regina gloriosa; Gloria; Credo; Gloria; Credo; Gloria, spiritus et alme; Gloria, spiritus et alme; Gloria; Gloria; Credo; Credo; .
  17. Il Solazzo: music for a medieval banquet: Harmonia Mundi 907038 (1990): Ligiadra donna; O rosa bella; .
  18. Codex Faenza. Italie XVe siècle: Harmonia Mundi HMC 901354 (1991): [Deduto sey a quel che may]; Deduto sey a quel che may; .