Liturgical (and Paraliturgical) Music in the Papal Chapel towards the End of the Fifteenth Century: A Repertory in Embryo

Abstract

Abstract With these words in the arenga of the first bull of privileges in favour of the college of the papal chapel, published in June 1473, Sixtus IV became the first pope in the fifteenth century to express his contentment with the musical services of the most consistent corporate group in his court chapel.1 Never before in an official document of the Holy See had a pope referred explicitly to the musical duties of his singers.2 This is not merely the rhetoric of some versatile papal secretary, but the pope himself who speaks to us, as the history of the papal chapel during the second half of the fifteenth century clearly testifies.

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