Abstract
O F Pierre de la Rue's 31 extant Masses, over a third are now available in modem editions.' The researches of men such as A. Tirabassi,2 W. H. Rubsamen,3 and J. Robyns4 have revealed La Rue as a Mass composer of the first rank, at times surpassing even Josquin. The motets, however, have in the past received scant attention. Few have appeared in modern editions, and the authenticity of many of those printed by R. van Maldeghem in his Trisor musical is questionable. Another factor, tending to devalue the motets as a whole, has been the inclusion in their midst (even in Die Musik in Geschichte und Gegenwart) of a number of short and intrinsically slight pieces. These are collectively known as and tricinia, being composed for two or three voices, and are not motets at all. Before discussing the true motets, the bicinia and tricinia will be examined more closely.
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