This motet is uniquely transmitted in Librone 1, ff. 174v–175r, where it was copied by Scribe A.
Except for one small copying mistake (Scribe A forgot the letter l in the word splendor in B), there are only spelling variants to be indicated: ‘Criste’ instead of Christe and ‘perhemnis’ instead of perennis, both typical for medieval Latin.
The topic of this fourth motet in Compère’s cycle Hodie nobis de virgine is again the Nativity. The first section is dedicated to Mary, who, as has been said in a previous commentary, clearly plays a major role in the Nativity and is thus prominently celebrated in the Christmas liturgy. Two different texts are melded together here: the words ‘Genuit puerpera regem’ are drawn from an antiphon for Lauds at Christmas (Cantus ID 002938), while the expression ‘quem laudant angeli throni et dominationes’ is found in only one other source, namely a Mass preface included in a collection of ‘older’ prefaces (antiquae praefationes) attributed to Grimald, abbot of Sankt- Gallen (800–872).^[1] Although the phrase ‘angeli throni et dominationes’ is common in the enumeration of the angels’ choirs, it is usually accompanied by the mention of a further category, namely ‘angeli, archangeli, throni et dominationes’ (see, for instance, an antiphon for Lauds for the liturgy of All Saints, Cantus ID 001398). Interestingly, Compère’s text exactly matches the Mass preface attributed to Grimald, in which the word ‘archangeli’ disappears and the phrase ‘quem laudant’ is included.
The following sections of Compère’s motet text then switch the focus to Christ and comprise stanzas 1–2 of the ancient Christmas hymn Christe redemptor omnium.
As the loco rubric states, this fourth motet of the cycle was sung to or instead of the Offertory, which traditionally at Christmas reads: ‘Tui sunt caeli, et tua est terra. Orbem terrarum, et plenitudinem eius tu fundasti, iustitia et iudicium praeparatio sedis tuae’ (Cantus ID g00557). In contrast, thus, to some other pieces by Compère, in which the text of the motet seems to interact with the text of the liturgical item to which it was sung,^[2] in this case there are almost no analogies between the text of the motet and its liturgical counterpart.

^[1]  Josef Fleckenstein, ‘Grimald’, in Neue Deutsche Biographie 7 (1966), 75, online version: https://www.deutsche-biographie.de/pnd102473927.html#ndbcontent.

^[2] See Eva Ferro, ‘“Old Texts for New Music”? Textual and Philological Observations on the Cycles “Salve Mater Salvatoris” and “Ave Domine Iesu Christe” from Librone 1’, in Motet Cycles between Devotion and Liturgy, ed. Daniele V. Filippi and Agnese Pavanello, Schola Cantorum Basiliensis Scripta, 7 (Basel: Schwabe, 2019), 189–218.