Despite Ciconia’s notable break from the fourteenth-century cantus firmus tradition, the question of borrowing from a liturgical source looms over the tenor of his isorhythmic motet Petrum Marcello venetum/O Petre antistes. Four of Ciconia’s ten surviving motets are isorhythmic and are particularly notable for their tenors. Instead of borrowing them from liturgical sources, Ciconia’s tenors are newly composed, making Ciconia one of the first to compose isorhythmic motets without liturgical cantus firmi. However, a comparison of cadential intervals above the finals shows Petrum Marcello venetum/O Petre antistes to be an exception to Ciconia’s usual compositional practice. Given that the motet tenor cadences on the third, a chant—possibly Oremus pro antistite—is a likely model for the tenor.

Works: Johannes Ciconia: Petrum Marcello venetum/O Petre antistes (12-15).

Sources: Gregorian Chant: Oremus pro antistite (14-15).

Index Classifications: 1300s

Contributed by: Elizabeth Stoner