This edition is based on Librone 1, which transmits this motet at ff. 133v–134r.

Very few erroneous readings can be observed in the source: instead of hora the manuscript reports ‘in hora’ in Cantus, Altus and Tenor. The verb es (‘you are’) is wrongly copied as a third person singular ‘est’ (‘he/she/it is’). As for phonetic variance one can observe here as well the indifference of medieval Latin copyists towards double consonants (‘procesit’ instead of processit in A).

The first three stanzas of the motet are drawn from Sedulius’s A solis ortus cardine, an abcederian hymn that celebrates the Virgin Mary and was used in the liturgy of different Marian feasts (AH 27, no. 28, pp. 117–18).^[1] The text of the fourth stanza of the motet is more devotional in nature and corresponds to the first stanza of the hymn for the Little Office of the BVM (AH 12, no. 72, p. 48, stanza 1, with ‘plena gratiae’ instead of ‘mater gratiae’). The last strophe consists of a standard doxology of several Marian hymns. Even if the text of this motet looks like a cento from different prayers, it corresponds to a version of the hymn found in books of hours compiled in Flanders.^[2]

^[1] See Cantus Database.

^[2] See Agnese Pavanello, ‘Praying to Mary: Another Look at Gaspar van Weerbeke’s Marian Motetti Missales’, in Motet Cycles between Devotion and Liturgy, ed. Daniele V. Filippi and Agnese Pavanello, Schola Cantorum Basiliensis Scripta 7 (Basel: Schwabe, 2019), 339–80, at 353.