Jane Hardie’s foreword provides a history of the Fisher Collection, draws attention to the plurality of Spanish liturgical traditions, and includes short descriptions of the four processionals and the contents of the book. DavidAndrés, in his preface and intro-

Abstract

line. When I discussed this, the one case that puzzled me was the post-communion of Du Fay’s Mass Sancti Iacobi, unique to Bologna Q15, which explicitly states that the missing voice is a fourth below the discantus but which again works musically far better if it is a third above the tenor, with a fifth at cadences. Planchart implicity accepts this: at least, he states (p. 573) that the post-communion, as he and Besseler reconstruct it, has far more jarring dissonances than anything else of Du Fay. But it was for me a relevation to read (pp. 571–2) that there is a plain textual problem with the Alleluia of that Mass, which demonstrably has the text all in the wrong places for that movement, also unique to Bologna Q15. That is to say that in some respects Bologna Q15 is rather less authoritative than we had once thought for the music of Du Fay; and I think we can perhaps trust our musical instincts rather more in suggesting that the written instructions for the post-communion may not be authentic. Briefly, there is plenty more to discuss about Du Fay and his music.