©2019 Norm Te Slaa

A MODERN EDITION AND GUIDE TO MOTET O MYSTERIUM VENERABILE AND MOTET SACRIS SOLEMNIIS BY HENRY DU MONT (1610-1684)

NORMAN G. TE SLAA

DISSERTATION

Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2019

Urbana, Illinois

Doctoral Committee:

Professor Andrew Megill, Chair Teaching Assistant Professor Andrea Solya, Director of Research Associate Professor Christina Bashford Professor Emeritus Nicholas Temperley

ABSTRACT

This dissertation consists of a study and transcription of two motets, O mysterium venerabile and Sacris solemniis, by Henry Du Mont (1610-84), taken from a collection of twenty of his motets published in Paris by Ballard in 1686. Henry Du Mont served as a sous-maître

(deputy music director) in Louis XIV’s Chapelle Royale from 1663 to 1683. The first part of this study addresses the political, economic, religious, educational and musical scene of mid- seventeenth century France, along with aspects of the Chapelle Royale and its music during

Louis’ reign. Background information on Du Mont’s early life and education is also given, together with modern transcriptions of the two motets. Each motet calls for a five-part string ensemble, a five or six-part solo choir, and five-part large chorus and basso continuo, which has been realized for organ. Both motets are well within the musical capabilities of most college choirs, and of good church and community choirs. It is intended that these editions will be made available to the public through a domestic publisher.

ACKNOWLEDGEMENTS

First and foremost, my deepest thanks and gratitude go to my wife, Cathy. She has been my loyal supporter in the cause of returning to complete the Doctor of Musical Arts in Choral

Conducting since having to put aside this dream years ago. Always an encourager, she always understood the need to complete incomplete goals and dreams. She was and is always ready to help me work toward life regrets that could be remedied. Without Cathy’s support, loyalty, intelligence, hard work and tolerance, my work on these lovely motets might still be in the boxes in our storage room.

Dr. Andrea Solya graciously accepted the task of shepherding me through this final process of achieving my D.M.A. She has been patient, understanding and creative throughout these last eighteen months. I feel very blessed for having the good fortune of her being the director of research of my doctoral dissertation committee, a consummate human being and a talented musician.

Speaking of consummate humans, thanks also flow to Dr. Solya’s colleagues. Three of them consented to be on my dissertation committee. After a thirty-seven year absence from my previous dissertation committee in 1980, Dr. Nicholas Temperley once again agreed to serve on my committee. I was thrilled that a man of such academic stature was willing and available to serve in that role again. This process has also introduced me to two other colleagues whom I’ve grown to admire and respect. Dr. Christina Bashford was my upper level professor when I returned to campus in the spring of 2018. Her insight and knowledge of the dissertation writing process is awesome. Dr. Andrew Megill’s reputation as head of Choral Activities at the

University of Illinois preceded my first meeting with him and subsequently, allowing me to rehearse and perform with the University of Illinois Chamber Singers during my tenure on

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campus. It turned out to be a wonderful conduit and a poignant reminder of the depth of

academic and artistic talent in the music faculty at the University of Illinois. That closed the

circle for me that began with the attraction to Professor Harold Decker, Chairman of the Choral

Department at the University when I began this quest some forty-two years ago. I count his mentoring and friendship over the years as one of the rare and beautiful gifts people can receive from others in their lifetimes. I miss him very much!

But there is more. I was so very fortunate to find extremely capable people to help with the many regular tasks to get to graduation. In this age of technology, I was graced to receive the gift of their skills. Stephen Valleriano is a whiz kid with Sibelius, the software program that puts musical notation on a page. There are literally thousands of choices to be made in inputting the information gleaned from a seventeenth-century manuscript and converting it into the good- looking conducting scores we see in the appendices. Zeeshan Reshamwala was my Zotero guru.

Zeeshan guided me through the many narrow streets of Zotero with his thorough knowledge of this computer citation management program. Both are young intellectual champions of their craft.

Dr. Kerry Heimann is a gifted organist with a rare ability to transcribe a figured basso continuo part into modern music making. His skill and knowledge of Baroque figurations and their organ applications is so very unusual and extraordinary. These continuo realizations would be something less than perfect without the contribution of his gifts.

John Wagstaff agreed to edit the final document. Even though we were separated by a large ocean and several time zones, I knew he was fighting tiredness after a day of work as the

Christ’s College Librarian in Cambridge, England, to help me keep to my University deadlines.

His love and mastery of the English language was evident as he turned my flowery adjectives

and adverbs into something a reader could understand. What a master of syntax, synonyms and synthesis!

Oh, the good fortune of making the acquaintance of Dr. Victor Castellani, head of Denver

University Classics Department, who provided the Latin translations. He was inspirational with his knowledge of liturgical Latin of the seventeenth century. I cannot imagine a more knowledgeable and inspirational professor to be in front of a class excitedly talking about an un- resuscitated subject of old Latin. Thanks also to Elizabeth Blount, a friend and professional translator who revealed to me, through her translations of old and new French texts, the meanings of the French scholarship sources.

Few people do this without the love and encouragement of family and friends. Many friends and family have continued to follow me through this process and have added their encouraging support along the way. There are others too who are too numerous to mention that have always given a positive spin to this fulfillment of a dream. To them and all the aforementioned, my eternal gratitude for completing a regret remedied.

To Mr. Harold Decker

TABLE OF CONTENTS

PROLOGUE: INTRODUCTION…………………………………………………………………1 CHAPTER 1: FRANCE IN THE SEVENTEENTH CENTURY.………………………….….….5 1.1 The Political, Economic, Religious and Educational Environment and its Impact on the De Thier family………………………………………………………………….……...…5 1.2 The Musical Scene in Mid-Seventeenth Century France, and the Chapelle Royale of Louis XIV…………………………………………………………………………..…….12

CHAPTER 2: HENRY (DE THIER) DU MONT (1610–1684)……..………………………...... 17 2.1 Borgloon (Looz) To Paris……………………………………………………….….17 2.2 Du Mont’s Works, Including His Grands Motets……………….……………...…….25

CHAPTER 3: THE TEXTS OF O MYSTERIUM VENERABILE AND SACRIS SOLEMNIIS….30 3.1 O mysterium venerabile: Poetry and Translation…………………………………...... 30 3.2 Sacris solemniis: Poetry and Translation……………………………….……….…....32 3.3 The Texts of O mysterium venerabile and Sacris solemniis……………………….….…34

CHAPTER 4: MUSICAL SETTINGS AND COMPONENT PARTS…………………….…….41 4.1 Musical Settings of the Poetry………………………...……………………….…...... 41 4.2 Henry Du Mont’s Sensitivity to the Order of Worship……………………..….…….65

CHAPTER 5: MUSICAL ASPECTS AND ISSUES……….………………………...….……....70 5.1 Musical Elements of O mysterium venerabile and Sacris solemniis………………….70 5.2 Historical French Musical Performing Practices……………………………………..88 5.3 Performing Forces for O mysterium venerabile and Sacris solemniis ………………..91

CHAPTER 6: CONCLUSION.…………………………………………………………………116

BIBLIOGRAPHY………………………………………………………………………………118

APPENDIX A: EDITORIAL NOTES ON THE TRANSCRIPTIONS……………...………….121

APPENDIX B: FRONTISPIECE, ROYAL LIBRARY STAMP, SAMPLE OF PART-BOOK, WOODCUTS ………………………………………………………..…………………………124

APPENDIX C: TRANSCRIPTION AND MODERN EDITION OF O MYSTERIUM VENERABILE……………………………………………………………………………………………..128

APPENDIX D: TRANSCRIPTION AND MODERN EDITION OF SACRIS SOLEMNIIS……163

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PROLOGUE: INTRODUCTION

Henry Du Mont wrote significant, wonderful music which today remains underexposed to musicians and to the public. The availability of choral scores for the performance of French Baroque choral music has been very limited. Musicological studies of

French Baroque choral music in general, and of Henry Du Mont (1610-84) in particular, have far outpaced the progress made in public performance and recordings. This is in part due to the lack of available modern performing editions and performance information. Conductors also seem to be less familiar with mid-seventeenth-century French choral music than with other western European music of the period. Several recordings and publications of various

French Baroque musical works are available, and they suggest that there is an appetite to know more about this French grand siècle.

The research objectives of this dissertation are twofold. Firstly, to create a performing edition of two Du Mont grands motets that can be easily accessed by interested musicians.

This will be done by creating and publishing a modern edition of each motet. These editions and their supporting material will help choral conductors to understand the context of this music and how apply best performance practices. Secondly, it is important to understand the role that their environment played in the lives of the common people and those of a more elevated status, so the early chapters of this dissertation will look at this aspect of Du Mont’s life and career. During his life he experienced the Thirty Years War (1618-1648), made personal sacrifices to achieve his educational and employment goals, lived through other wars, witnessed palace intrigues, observed the exercise of power and prestige, responded to the demands of his benefactor and catered to the needs and tastes of his employer. For all his success in France, he maintained his strong faith and connection to his roots in his native

Belgium throughout his life.

Du Mont began his service in Louis XVI’s Royal Chapel in 1663 as one of four sous- maîtres [deputy music directors], each of whom occupied the position annually for a quarter of the year. He subsequently spent the next twenty years in Louis’ service. During his tenure with the Royal Chapel he was overshadowed by Jean-Baptiste Lully (1632-87), who was a better-known, and favoured, Italian composer in the French court at the time. After Du

Mont’s retirement in 1683, attention shifted to his successor, Michel-Richard de Lalande

(1657-1726), who added his own compositional stamp to the Royal Chapel and to the grand motet. Thus, attention moved away from the compositional accomplishments of Du Mont.

Recent scholarship incorrectly places Du Mont in the shadow of Lalande and Lully.

The two motets under consideration are Motet XVII (O mysterium venerabile) and

Motet XX (Sacris solemniis). Even though the authorship of the vocal texts is unknown, it is fair to say that both are exquisite and expressive poems. These two motets are part of a collection of twenty grands motets entitled Motets pour la chapelle du Roy, mis en musique par Monsieur Du Mont, of which a copy is housed in Paris at the French Bibliothèque

Nationale, at shelfmark Département de la Musique Vm1 977. The collection was published by Christophe Ballard in Paris in 1686. There are several published scholarly editions of grands motets by Du Mont. They are in six volumes, published by Éditions du Centre de

Musique Baroque de Versailles (CMBV) between 1995 and 2006. The chart below (see page

3) lists the motets in the 1686 Ballard collection, and indicates which of them have thus far been published in scholarly editions.

Appears in Vol. Appears in 1686 Publication Titles Unpublished I-VI this Study

I. Benedic anima mea Domino X II. Benedictus Dominus Deus Israel X III. Cantemus Domino gloriose X IV. Confitebimur tibi Deus X V. Congratulamini mihi fideles X VI. Domine in virtute tua laetabitur rex X VII. Domine quid multiplicati sunt… X VIII. Super flumina Babylonis, illic sedimus... X IX. Ecce iste venit saliens in montibus X X. Exaltabo te Deus meus rex X XI. Exultat animus prae laetitia X XII. Exaudi Deus deprecationem meam X XIII. Magnificat anima mea Dominum X XIV. Memorare, o pÿssima Virgo Maria X XV. O Aeterne misericors Deus X XVI. O dulcissima et in aeternum benedicta X XVII. O mysterium venerabile X XVIII. Pulsate, pulsate tympana X XIX. Quemadmodum desiderat servus… X XX. Sacris solemniis juncta sint gaudia X

Chart 1: Motets in the 1686 Ballard collection

The subjects of this study, O mysterium venerabile and Sacris solemnis, are not among the published scholarly editions. Their absence from any known scholarly publication was the incentive to transcribe these two motets into a performing edition.

Since it is very important to understand the historical background of these motets, a chapter of this dissertation has been dedicated to the subject, to help readers better understand the circumstances of these compositions. Although this information was specifically created for these two motets, it is obvious that it can be applied more generally to Du Mont’s grands motets.

Before the 1990s, the main source of information was Henry Quittard’s flagship study entitled Un musicien en France au 17e siècle: Henry Du Mont, (1610-1684). Quittard’s study

3 was an extremely valuable resource, and in many ways remains so today. More recently, an impressive group of scholars began discovering Du Mont’s work. Leading current scholarship is Laurence Decobert, with her book Henry Du Mont (1610-1684):Maistre et compositeur de la Musique de la Chapelle du Roy et de la Reyne. Decobert published her book in 2011, and today is recognized as among the leading scholars of French Baroque music. James R. Anthony has been another scholar who has continued to bring to light the music of Du Mont and the Baroque Era, and there are a host of others including Philippe

Vendrix, Nathalie Berton, Jean Duron, Thierry Favier, Jean Lionnet, Jérôme Lejeune, Denise

Launay, Jean-Paul C. Montagnier, John E. Morby, Lionel Sawkins, John Hajdu Heyer,

Robert M. Isherwood, Alexandre Maral, and of course, our own University of Illinois scholar,

John W. Hill.

CHAPTER 1: FRANCE IN THE SEVENTEENTH CENTURY

1.1 The Political, Economic, Religious and Educational Environment and its Impact on the De Their Family

The start of the Reformation in 1517 was a turning point in Western society. Prior to this date, social systems were chiefly controlled by a secular aristocracy and by the Roman

Catholic Church, the church having exercised power and influence over sacred matters for several centuries, in France and elsewhere. Consequently, each system – secular and sacred – exerted its own respective influence on the everyday, and spiritual, lives of the French people. By the time the Reformation began, monarchs and landed aristocracy acted as a secular counter-balance to the power and influence of the Roman Catholic Church.

The Reformation changed this previously-existing power dynamic and set the prevailing social order in turmoil, beginning a process of dividing European societies along religious lines. The Reformation unleashed a torrent of ideas that began to change existing power structures, but also established new power groups of their own. The Reformation inspired groups to side with reformist ideas, opposing others who adamantly opposed those ideas, the counter-reformationists. The resulting power struggles caused massive fissures between the various segments of western European society.1

Life was difficult for many in mid-seventeenth-century France, particularly for the lower (often peasant) classes, whose work and income were mainly tied up with agrarian enterprises. War, both on land and sea, seems to have been everywhere, and constant. All of society, but especially the peasant and bourgeois (commercial/middle) classes, was

1 David Schulenberg, Music of the Baroque, 3rd ed. (New York: Oxford University Press, 2001), 5.

5 profoundly affected by the political, economic, religious and educational environment.

Escaping from, or, more likely, coping with this daily reality was an existential struggle.2

The sixteenth and seventeenth centuries were a time of territorial acquisition and centralization of power for monarchs, and a period of divisions of power among religious groups. Critical to controlling territory was the power to impose taxes. As both sacred and secular powers gained or lost territory, they also gained or lost their power to raise money. It had always been within the power of these secular and sacred power centers to determine, to a greater or lesser extent, the social and religious lives of the subjects under their jurisdiction.

Those secular power centers also chose sacred sides which in turn dictated the religious behavior of their subjects. Their subjects often sided with or opposed the choices made for them by their secular or sacred protectors depending upon who best expressed their own sympathies and beliefs, or they simply acquiesced to them.3

Monarchies in France, Spain, Germany and England were each vying for strength and power during the early to mid-seventeenth century. This group of monarchs consisted of

Phillip IV of Spain, the Valois and Bourbon families of France, the Habsburg dynasties of

Germany and Austria, and the Stuart kings and queens in England. Leading this monarchical power surge was the monarchy in France.4 However, with the rise of power of the monarchs came the decline of power for the minor aristocrats.

It is possible to identify three centers of power in European society up to and including the early seventeenth century. The power of the French court was a prime example of one monarchial power in ascendancy. How does that fit into other power centers during this period?

2 Schulenberg, 1–6. 3 Schulenberg, 1–6. 4 Schulenberg, 1–6.

We can identify these European power centers with a moniker I will call ‘rails’.5 The

Roman Catholic Church and its Reformation opponents may be defined as the ‘first-rail’, with monarchies and aristocracy the ‘second-rail’. These two ‘rails’ accounted for something less than twenty percent of French population. An appropriate designation for the remaining eighty percent of the population would be the ‘third-rail’.6 While rails one and two were jockeying for power and prestige, the third-rail, the general population, neither maintained, increased, lost or found its power because it had, for the most part, no land or power. These were the peasants, merchants and lower-class artisans who typically had no land, no power, no status, and no titles or privilege to protect or acquire. They lived under the control of their friendly or unfriendly aristocracy or monarch, and under a benevolent or oppressive church.

Each of the ‘rails’ can then be further defined as ‘sacred’ or ‘secular’. Both the secular aristocratic society and the sacred church would from time to time become aggressors and defenders of the territories inhabited by this third-rail of the population. The third-rail often split their loyalties between the first or second rail; consequently, some third-rail populations sided with reformist ideas, while others adamantly opposed them.

Expressed simply (and somewhat simplistically), it can be said that society began to split into two large factions; (i) those supporting the ideals of the Reformation, the reformists; and (ii) those opposing the ideals of the Reformation, the counter-reformists. Religious questions became fundamental in shaping the social order of western European society. It is thus worthwhile to examine these emerging, powerful forces.

5 Will and Ariel Durant, The Age of Louis XIV, A History of European Civilization in the Period of Pascal, Molière, Cromwell, Milton, Peter the Great, Newton, and Spinoza: 1648-1715, vol. VIII (New York: Simon and Schuster, 1963), 21. 6 The above information is from Durant. He refers to these social stratum as ‘estates.’ This term is somewhat misleading in that the ‘third rail’ population had no ‘estate’ in our contemporary understanding of the word.

Power does not exist in a vacuum. The European monarchies were continuously either maintaining, increasing, losing or gaining ground, power and prestige. Fortunes were rising and falling. They typically thrived and withered based on their religious allegiances, the power of their military, and their personal relationships. They married other power-players, cajoled and enticed other contenders and subordinates, and used self-aggrandizement to further their goals, affecting the lives of thousands of others in the process. Such was life under the European monarchies in the early and mid-seventeenth century.

The sixteenth and seventeenth centuries saw years of war unleashed among these sacred and secular factions of society. One identifiable result of this warring and fragmentation of Western European society was the Thirty Years War (1618-1648).7 The existing powers chose sides mainly predicated upon their sacred or secular interests and their membership in one of the two rails, and they in turn determined the lives of the third-rail.

To assist in achieving their territorial ambitions, it was customary for armies to fend for themselves while in the field. One result was that these armies were billeted with the local population in the area of the battlefield.8 This practice had a profound effect on the local populations of countries such as France and Belgium. The Spanish and Dutch waged war over a long period, and the resulting looting and devastation were due in part to the billeting of the soldiers with the local populace. The practice endangered local families and tended to drain the population of their resources.

But this billeting practice also illustrates a symbiotic relationship between the Roman

Catholic Church and the monarchies. For example, on April 11, 1681 the French minister of war proposed that any converts to Catholicism be exempt from such billeting of troops for

7 Schulenberg, 5. 8 Durant, 71.

8 two years.9 An interpretation of this proposal suggests that the French monarchy was keen to favor the counter-reformists against the reformist leanings of the Dutch. The growing military and economic power and wealth of the largely Protestant Netherlands provided a formidable foe for the occupying Catholic Spanish monarchy. We already know that the practice of billeting placed an immense burden on the local populace. Hardly surprisingly, it provided sufficient motivation for members of the third rail to leave their homes and seek safety elsewhere. So it was for the family of Henry de Thier (the name of de Thier was changed to Du Mont when Henry was a choirboy in the service of the Collegiate Church of

Notre Dame in Maastricht). The decision to migrate in this way was one that impacted this third-rail de Thier family, and especially Henry, for the rest of his life.

Another example of how these conflicts affected all “rails” of society was the Fronde

(a series of civil wars that occurred in France from 1648 to 1653).10 This conflict played a pivotal role in the lives of the young Louis XIV (1638-1715) and the already mature Henry

Du Mont (1610-1684). Essentially, the Fronde was a second-rail power struggle between the

French monarchy and the landed aristocracy. With the centralization of French monarchial power came a loss of power for that landed aristocracy.11 The aristocracy was in the process of losing its greatest power, namely, the power to tax, to the central government, and with that came the loss of the aristocrats’ power to protect their population. Since the power to tax was closely associated with the power to protect, sympathies among the third-rail populace often were with those powers that would provide it with the best protection. The power of the

French monarchy to tax increased, and the Catholic Church’s ability to tax remained quite constant through the payment of indulgences, so both the monarchy and the Roman Catholic

Church maintained their ability to protect, and thus to exert power over, their respective

9 Durant, 71. 10 Durant, 5–10. 11 Schulenberg, 1–6.

9 populations. The Roman Catholic Church had the advantage over their temporal competitors, however, since they could collect indulgences as a form of taxation but with the added promise of eternal life. As the power of the aristocracy to tax their subjects waned, so did their power to protect their populations and to wage war. The power of the second-rail began to give way to the monarchies and the Roman Church.

A counter-weight to the power of the Church and the Catholic Spanish crown was the

Huguenots and their pro-Reformation allies. This sacred group of French Protestants lived on the northern border of France under the control of the Spanish crown, and, along with many others, opposed many tenets and practices of the Catholic Church. Largely third-rail subjects, they comprised mostly peasants, laborers, merchants and artisans, but from the early sixteenth century into the mid-seventeenth century they gained considerable power, mainly through trade. The presence of the Spanish crown in this area led to rebellion by the

Huguenots and Dutch and years of warring between these factions of society. What followed from that was the fragmentation of Western European society and eventually the social and religious cataclysm of the Thirty Years War.

Because of the competing influences in this area by the Spanish crown, the

Habsburgs, the French monarchy, the Catholic Church and the regional hegemony of noblemen, geography offered little protection from these invading hordes. It was unsafe, and the practice of billeting of troops prompted a search for safety not only by the Du Mont family, but by many third-rail people in the region. Such was the environment around

Borgloon, the birthplace of Henry de Thier, northwest of the town of Liège, which had become one of the epicenters where the drama of a disintegrating society was being played out. The map in Figure 1.1 below shows this part of Europe in the 1600s.

Figure 1.1: Map of Europe around 1600 https://www.euratlas.net/history/europe/1600/index.html

There was however one place of relative safety for the family of Henry de Thier in the principality of Borgloon, and this was the Dutch administration in Maastricht. This area was itself situated among powerful competing economic and political forces, but thanks to the

Bishop of Liège, who was the major power-player in the area around Maastricht, the area managed to maintain a quasi-independent status, and because of this the churches, the courts and individuals of the area were able to live in relative security. The churches and courts in this enclave attracted talented musicians, particularly from Italy. Most likely it was these forward-thinking Flemish courts, stable churches and inspirational teachers that caught the

11 attention of the de Thier family, and persuaded them that it was a place of safety that offered an opportunity to have their children educated under the protection of the Bishop.12

Why is this historical information important? Because the de Thier family, like most of the third-rail families, felt their safety, their livelihoods and educational opportunities to be severely threatened in these war-torn areas. There was little choice but for them to search elsewhere for a better future for their families.

1.2 The Musical Scene in Mid-Seventeenth Century France, and the Chapelle Royale of

Louis XIV

Surviving written music in mid-seventeenth-century France was still mainly intended for the first and second rails of society. Much music was written for the royal court, with regional aristocrats following the lead of their king. The Catholic Church too was a commissioner and consumer of music and the arts, but in the sacred realm. Both rails still wielded immense authority to define tastes and preferences through their ability to procure the best artistic talents in France and beyond. Patronage of the arts began to shift away from the sacred institutions, and secular courts began to assume an increasingly important role.

With the waning influence of the church, both Protestant and Catholic, composers began to explore non-sacred genres.13

The first rail of French society was well-aware of the presence of non-French music makers; and the second rail did not totally ignore the Italian penchant for admiring individual singers and overlooking some of their associated aberrations.14 The French could both admire

12 Laurence Decobert, Henry Du Mont (1610-1684) Maistre et Compositeur de La Musique de La Chapelle Du Roy et de La Reyne (Wavre: Éditions Mardaga, 2011), 17–18. 13 Schulenberg, 7. 14 Robert M. Isherwood, Music in the Service of the King: France in the Seventeenth Century (Ithaca [N.Y.]: Cornell University Press, 1973), 131–32.

12 and disdain the strength and uniqueness of castrati voices.15 They could admire an Italian singer’s vocal beauty and prowess in rendering vocal flourishes in opera, but they found no sympathy for those practices in the music of their public religious observances. Still, composers did include some of those ideas in their music for the mass and in private music making.16

Up until the last quarter of the seventeenth century there was very little female participation in music for the mass, due to religious restrictions on women’s participation. At the same time, women were very much involved in private music-making, as evidenced by

Du Mont’s sacred and secular works for small groups of musicians. Female music-making seemed to flourish in nunneries and in private residences, and for that purpose Du Mont composed music for two and three parts, as evidenced by his Cantica Sacra of 1652 and his

Motets à deux voix of 1668.17

By the mid-seventeenth century in France, talented Italian women were heard in

Italian operas at the French court.18 It was only toward the end of the seventeenth century, some years after Du Mont’s death, that French women became regular participants in public music-making. There are reports of the daughter of Michel-Richard de Lalande (1657-1726) having a wide following during the last quarter of the century, but there is no evidence that

Du Mont employed women in the performance of his grands motets.19

15 Isherwood, 117–18. 16 James R. Anthony, French Baroque Music from Beaujoyeulx to Rameau, Revised edition (New York: Norton and Norton, 1978), 168–71. 17 Schulenberg, 10. 18 Schulenberg, 10. 19 Anne Harrington Heider, “Choral Music in France and England,” in A Performer’s Guide to Seventeenth- Century Music, by Jeffery Kite-Powell, ed. Stewart Carter, 2nd ed. (Bloomington, Indiana: Indiana University Press, 2012), 46, http://www.jstor.org/stable/j.ctt16gzcwn.10.

What endured in French music-making into the mid-seventeenth century was the practice of using the contrasting vocal sonorities of different choirs, something that harked back to the earlier practices of the Venetian school of composers, especially the Gabrielis.

What was different was the addition of instruments. That, along with a changing taste for contrasting vocal sonorities of large and small groups of singers, singing in contrast and in tutti with each other, and with interspersed instrumental symphonies, partly defined the aesthetic taste of the period.

Basso continuo had been a regular feature of the European musical scene since the early seventeenth century, especially in Italy. But in mid-seventeenth-century France it was still a novelty; a novelty of such public appeal that Henry Du Mont made some claims to be the first composer in France who had published a work in such a manner.20 That claim proved to be not correct, since a publication (Pathodia Sacra et Profana by Constantijn Huygens,

1647) using the basso continuo had appeared in France prior to his.21 Still, it indicated the interest and ‘sales power’ of such a claim, and indicated that the French were aware of it and would employ such.

The Reformers went in a different direction. From their point of view, straightforward psalm singing best expressed their religious and musical aesthetic. The psalm settings of the complete Huguenot Psalter made by Claude Le Jeune (d. 1600) remained popular in a number of countries, including France, Switzerland, the Netherlands, and England, for nearly

20 Jack Ashworth and Paul O’Dette, “Basso Continuo,”in A Performer’s Guide to Seventeenth-Century Music, by Jeffery Kite-Powell. Publications of the Early Music Institute. 2nd ed., edited by Stewart Carter (Bloomington, IN: Indiana University Press, 2012), 24. 21 Ashworth and O’Dette, 344.

200 years.22 The popularity of these simple psalm-singing practices was emblematic of part of French society’s conservative aesthetic in the mid-seventeenth century.

The Chapelle Royale displayed a different aspect of that same conservative bent, but among the ‘first-rail’ citizens. Established early in the sixteenth century, it had grown into a complex organization encompassing numerous composers and performers who provided music for services attended by the king, whether at his palace in Versailles or elsewhere.23

Like the music performed at the Paris opera, that of the royal chapel was meant to reflect and glorify the official royal image of magnificence and power.24 Wealth and power attract.

Fitting the purposes of the mid-seventeenth century French monarchy, the Chapelle Royale demonstrated its ability to attract the very best talent from throughout the Western world.

Under Louis XIV, the Chapelle Royale became the envy of other monarchical chapels of the time.

At the time of Louis XIII’s death in 1643, Louis XIV was five years old, and until

1661 the French monarchy was administered by the queen mother, Anne of Austria.25 During this time of Louis XIV’s minority, the queen mother, aided by her chief minister, Cardinal

Jules Mazarin, was able to engage famous architects, painters and landscapers with the intended purpose of adding glory to the monarchy.26 So the die was cast for the elevation of the French monarchy in the eyes of the world many years prior to the ascendency of Louis

XIV to real power in his own right.

22 David Tunley, “France, iii: 1600-1640,” in European Music, 1520-1640, ed. James Haar, (Boydell & Brewer, 2006), 182–92, http://www.jstor.org/stable/10.7722/j.ctt9qdk9x.15. 23 James Anthony, French Baroque Music from Beaujoyeulx to Rameau, ed. Reinhard Pauly, New Edition (Portland, Oregon: Amadeus Press, 1997), 19. 24 Schulenberg, Music of the Baroque, 15. 25 Durant, 33. 26 Durant, 33.

In 1661 Louis assumed the reins of power, ending the regency of his mother Queen

Anne, and he accelerated the process of monarchical aggrandizement.27 Throughout Anne’s regency, Louis had been coached on how to exert power and to accumulate wealth, which then illuminated his path to becoming Le Roi Soleil, the ‘Sun King’. Now, like his predecessors, he was able to identify and attract the talents of many in all fields of endeavor.

Will Durant echoes a commonly-held view when he writes that “Louis XIV became the greatest patron of art that history has known.” 28

Louis had chapels at St.-Germain, Fontainebleau, Compiègne, and Paris.29 By

1684, he had built his magnificent palace at Versailles, and moved most of the activities of the Chapelle Royale to it. Up until 1684, the Chapelle Royale was organized by semester, with two sous-maîtres each sharing one-half of the year. Du

Mont had been one of these, but had retired from the post a year earlier. The administration of the Chapelle Royale also changed in 1684; a grand competition had been held the year before to fill these posts but henceforth with quarterly assignments for four different sous-maîtres. Louis XIV invited the bishops of France to send their cathedral maîtres de musique to Versailles to perform a motet of their own composition, with Louis himself a judge of this contest. It was during this time that, in

David Tunley’s words, Louis brought French Baroque music “to full maturity.”30

27 Durant, 87. 28 Durant, 88. 29 James Edward Richards, “The ‘Grand Motet’ of the Late Baroque in France as Exemplified by Michel- Richard De Lalande and a Selected Group of His Contemporaries” (Ph.D., University of Southern California, 1950), 81, http://search.proquest.com/docview/1644539285/citation/F0A219075FCD418APQ/2. 30 Tunley, 192.

CHAPTER 2: HENRY (DE THIER) DU MONT (1610-1684)

2.1 Borgloon (Looz) To Paris

Henry Du Mont was born in the Flemish region of Borgloon (sometimes Borchloen; in French, Looz), northwest of Liège.31 His parents had earlier moved from Villers L’Évêque, at a time when King Philip IV of Spain, through Habsburg connections, controlled much of present-day Netherlands and Belgium. The French monarchy controlled territory to the west and south. The presence of the Spanish military forces was never welcomed, and there had been numerous military efforts to oust them from the region. These were largely instigated by the Dutch, who were growing in military, political and economic power. Interspersed among these power centers were quasi-independent states under the control of a variety of landed and privileged noblemen. In addition, the Catholic Church controlled large sections of land acquired over time through agreements with powerful secular centers and with the Holy

Roman Empire. The Catholic Church was for the most part a working partner with these monarchical families, and together with them formed a powerful hegemony in the area around Borgloon and Villers L’Evêque. Both were situated near the epicenter of disputes between competing political and military interests. Billeting, looting and living off the population was often the soldiers’ only means of survival.32

The area had thus become unsafe for the de Thier family. They had to leave, perhaps for the second time in the elder de Thier's life, and seek safety elsewhere. They were also seeking educational opportunities for their two boys, Henry and Lambert. They found that safety and educational opportunity in Maastricht, a city two days’ ride northeast of Villers

31 Laurence Decobert, Henry Du Mont (1610-1684), 11. On Borchloen see Anton Friedrich Büsching, Géographie universelle (Strasbourg, 1773), vol. 7, p. 384. Available online at http://tinyurl.com/Borchloen- 1773. 32 Schulenberg, 1–6.

L’Évêque. They moved there around 1621, when Henry would have been 10 or 11 years old.

He and his brother Lambert began their education at Maastricht’s Collegiate Church of Notre

Dame.33

Figure 2.1: Map of Borgloon and Environs, ca 1700

33 Henry Quittard, Un musicien en France au 17e siècle: Henry Du Mont, 1610-1684 (Paris: Société Du Mercure de France, 1906), 10.

The town of Borgloon (shown in figure 2 as “Borchloen”) lies approximately forty kilometers southwest of Maastricht and thirty-six kilometers northwest of the city of Liège.

During Du Mont’s lifetime it was part of the Liège principality, a state of the Holy Roman

Empire and the seat of the powerful Bishop of Liège. Maastricht and Liège are both situated on the banks of the Meuse River.

Maastricht is located in the county of Brabant. The region around Maastricht is known as Wallonia. The Wallonia name derives from that part of eastern and southern Belgium and parts of northern France that speak a particular French dialect known as Walloon. The

Flemish, who occupied an area known as Flanders, spoke Dutch and lived primarily in the north and west of France. Henry’s father was from the Wallonia region, and his mother from the Flanders region.34

The city of Maastricht was at that time co-governed by representatives of the Duke of

Brabant and the Bishop of Liège, with two parishes belonging to the Duke of Brabant and two to the Bishop.35 The Bishop of Liège was so powerful that he was able to insist that the

Spanish King did not allow his soldiers to use the grounds of Saint-Servais Cathedral for their encampment.36 In this strong, relatively peaceful and quasi-independent state, the churches, the courts and individuals were able to co-exist in relative security. The churches and courts were able to attract talented musicians, particularly from Italy. Maastricht thus became the place of safety and educational opportunity for the de Thier family.

As already noted, from around 1621 the de Thier family were residents of Maastricht, and Lambert and his brother Henry were soon matriculated as choirboys in the Collegiate

Church of Notre Dame. It was in Maastricht that Henry de Thier became Henry Du Mont.

34Decobert, Henry Du Mont (1610-1684), 11-13. 35Decobert, Henry Du Mont (1610-1684), 11–13. 36Quittard, 9.

This is because boys with mothers from the Brabant became property of the Duke of Parma, a local powerful nobleman, while subjects with Liègeon mothers came under the control of the

Bishop of Liège.37 So here this ‘blended’ family got caught between the competing claims of loyalty and ownership. The Walloon environment referred to the family as de Thier. The

Flemish environment in Liège eventually referred to the two de Thier boys in the care of the

Bishop as ‘Monte’ or ‘Mont’.

The name of Henry de Thier first appears in the choir roster of the church of Notre

Dame (in Dutch, Onze Lieve Vrouw) in Maastricht in 1623. In 1624, the name of de Thier is dropped and instead the name Du Mont appears on the roster of choirboys.38 The education of a choirboy in early seventeenth-century Flanders centered around singing and organ playing. It was at Notre Dame that Du Mont became acquainted with both the Flemish and the Italian compositional styles. He studied instruments and learned the art of basso continuo, counterpoint and composition.39

In 1626, now aged sixteen, Du Mont was appointed a canon at Saint-Servais in

Maastricht, with duties as organist. In 1630, he is listed as one of several paid organists at

Saint-Servais.40 Du Mont thus now had some degree of control in choosing the music for the liturgy. He was young and talented. He was learning to strike a balance between the styles of the old school, the stile antico, and that of those external progressive Italian models identified as the stile moderno. The limitations imposed by the older Flemish compositional style were to be heard in the music of the cathedral, while contemporary Italian influences were being practiced at the courts of Flanders. James Anthony writes:

Du Mont was surely acquainted with the motets for two, three and four voices, continuo and occasionally independent violin parts by Alessandro Grandi, Antonio Cifra, Felice and Giovanni Francesco Anerio and other Venetian and Roman

37 Quittard, 9. 38 Quittard, 10. 39 Decobert, Henry Du Mont (1610-1684), 11–13. 40 Quittard, 79.

composers which formed part of the repertory of the Flemish churches. He may also have known the Italian prototype for the petit motet, the Concerti Ecclesiastici (1602) of Viadana or the dramatic dialogues found in Vecchi’s Dialoghi of 1608.41

Du Mont was eventually awarded a stipend by the Dutch administration for his organist’s work at Saint-Servais; thus some of his financial well-being was tied to a secular institution as well as a sacred institution. It was through these associations, their financial backing and demonstrations of support, that Du Mont began and maintained a life-long connection to his family, friends and institutions in the area of his birth and education. From there it is not a long leap to surmise that not only did he maintain those ties with his native region, but he held close those values and training even as he served, later, in the Chapelle

Royale of the world’s most powerful monarch, Louis XIV.42

As a skilled organist at Saint-Servais, Du Mont was one of the most talented musicians in the city and was gaining attention in both church and civic circles in Maastricht.

In 1629, he and his contemporary Lambert Pietkin (1613-96) were studying in Liège with a local luminary, Léonard de Hodemont (c. 1575-1636). It was from him that Du Mont learned the art of writing polyphony in the style of Lassus and other masters.43

In 1630, some major changes occurred in Du Mont’s life. He was given a paid leave of absence in the form of a canonical appointment to study in Liège, a city with a reputation for musical excellence.44 Being the capital of the Prince-Bishopric of Liège, the city offered numerous opportunities to study with musicians of considerable repute. Liège was well known for its musicians and the style of music they produced, namely music that deployed

41 Anthony, 1978, 170. 42 Decobert, Henry Du Mont (1610-1684), 20–21. 43 Laurence Decobert, “Du Mont [de Thier], Henry,” in Grove Music Online (Oxford Music Online, 2001), http://www.oxfordmusiconline.com.proxy2.library.illinois.edu/view/10.1093/gmo/9781561592630.001.0001/o mo-9781561592630-e-0000008315 (accessed June 21, 2018). 44 Quittard, 12.

21 both instruments and voices. Liège was also famous for its maître de chapelle at the cathedral, Léonard de Hodemont; de Hodemont was well known for his progressive motets.45

Even though Pietkin and Du Mont were contemporaries, Pietkin also seems to have exerted a strong influence on Du Mont.46

Another influence on Du Mont, though one that may be less obvious, was the Dutch administration of Maastricht. As was the custom at that time, secular administrations were responsible for supporting the activities of their cathedrals.47 Such was the case of the

Cathedral at Saint-Servais in Maastricht. In 1632 the Dutch administration cut Du Mont’s salary, and instead of opting to join one of the priestly orders (as his brother Lambert did), Du

Mont chose to reduce his ties to the cathedral, leaving him more reliant on other sources for his livelihood.

Even though his stipend from Saint-Servais changed, it is likely that between 1632 and 1635 Du Mont maintained his musical post at Notre Dame in Maastricht. During that time, the political environment was anything but static. Louis XIII, the King of France, declared war on the King of Spain in 1632. The French armies occupied much of the area along the Meuse, which precipitated a considerable flow of information between Paris and

Flanders. The emissaries of Louis XIII were looked upon favorably in Belgium, and commoners of the “third rail” were ready to be relieved from the oppressive Spanish monarch, Philip IV.48

45 Decobert, Henry Du Mont (1610-1684), 25–26. 46 Quittard, 15. 47 Albert Dunning, Jan L. Broeckx, Jos Wouters, Leo Samama, Corneel Mertens, Henri Vanhulst, Paul Ulveling, and Wim Bosmans, Low Countries, in Grove Music Online, http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000040073 (accessed July 14, 2018). 48 Quittard, 16-17.

There may be many reasons why Du Mont looked to Paris for his next career change.49 Perhaps it was the regular reports from French troops about life in the seat of power in Paris that floated up and down the Meuse. Perhaps it was the attraction of greater ecclesiastical or musical freedom afforded by the Bourbon Chapel. Perhaps it was his awareness that even as early as the time of Louis XII (reigned 1498-1515) the French royal chapel had favored singers from his region, even though there were Italian dancers and instrumentalists in the court retinue. Perhaps it was knowing that he had something to offer

Paris about the stile moderno and was aware of some French antipathy toward things

Italian.50

Whatever it was, Du Mont left Maastricht for Paris in 1638. There is then no surviving written record of his life until 1643, when he was employed as organist at St. Paul-

St. Louis church in Paris. In 1652 he was appointed organist and harpsichordist to the Duke of Anjou, Louis XIV’s brother, and it was due to this appointment that his talents came to

Louis’ attention. This appointment put Du Mont another step closer to the crowning achievement of his career. It was for the Duke of Anjou’s court that Du Mont responded to the wants and needs of a smaller court by composing a set of petits motets, the Cantica Sacra.

They were published by Robert Ballard, the king’s printer, in 1652.51

Du Mont’s position at St. Paul’s would have been difficult to assume at the time either without considerable grooming, or without winning a contest. Another possibility is that Du

Mont’s reputation as an organist preceded him to this post as organist at St. Paul’s.52 It was a prestigious appointment and was held in high regard throughout Paris. It was at this time that

49 Quittard, 8. 50 Chester L. Alwes, A History of Western Choral Music, vol. I, (New York: Oxford University Press, 2015), 223. 51 Decobert, “Du Mont [de Thier], Henry.” 52 Quittard, 25.

23 talent and fate intersected for Henry Du Mont. St. Paul’s was also the place of worship of the

King of France while he was in residence in the city.

Even with Du Mont’s close proximity to wealth and power of the French court, he maintained a connection to his teacher Constantijn Huygens throughout his lifetime and native Flemish roots with multiple other appointments throughout his lifetime.53 Du Mont maintained this organist position at St. Paul’s until his death in 1684.54 As previously noted, it was this position that had launched Du Mont on to the French capital’s musical scene, leading eventually to the sous-maître (Deputy Master of Music) position at the Chapelle

Royale. With this appointment we begin to see a synthesis of his style, and the formation of his legacy by way of the grand motet. Du Mont laid the foundations for this genre's development, and his work was a model for successive sous-maîtres of the royal chapel.55

During Du Mont’s time at the Chapelle Royale, the powerful state administrator and

Italian native, Cardinal Mazarin, was bringing many singers and instrumentalists from Italy to

France, often to appear in operatic enterprises.56 Du Mont would have been aware of their presence, and had his own ideas regarding what their music was bringing to French musical aesthetics and culture. His admiration for that culture led to his becoming a French citizen in

1647. Even while fully engaged in Parisian artistic life, however, he retained connections with his Maastricht roots, and in 1653 he returned briefly to Maastricht to marry a local woman. They returned to Paris and resided in Du Mont’s home near St. Paul’s.57 In 1660 he was appointed organist to the queen, one step closer to the secular royal court. After the death

53 Decobert, “Du Mont [de Thier], Henry.” 54 Gordon A Anderson., Thomas B. Payne, Daniel Heartz, Richard Freedman, James R. Anthony, John Eby, Elisabeth Cook, et al, Paris (Oxford University Press, 2001), in Grove Music Online, http://www.oxfordmusiconline. com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040089 (accessed July 24, 2018). 55 Decobert, “Du Mont [de Thier], Henry.” 56 Anthony, 1997, 68–69. 57 Quittard, 35.

24 in 1663 of Jean Veillot, former sous-maître of the royal chapel, Du Mont and Pierre Robert were each appointed sous-maîtres of the Chapelle Royale. A short time later, Gabriel Expilly and Thomas Gobert were also appointed sous-maîtres, the four men each serving the

Chapelle for a quarter of the year. Finally, in 1668 Du Mont was appointed compositeur de la musique de la chapelle royale, a position he maintained until his retirement in 1683.58

In summary, we note that Du Mont enjoyed great success in Paris while maintaining a life-long attachment to his Flemish and Walloon roots around Maastricht. His dedication of his first publication, the Cantica Sacra of 1652, is signed “Henricus Du Mont Leodiensis,” a reference to Liège roots (“Leodensis” means “of Liège”). His gravestone also attests to that attachment, bearing the inscription: “Cy gist Mre Henry Du Mont, du diocèse de Liège” (Here lies Mr. Henry Du Mont, of the diocese of Liège)”.59

This section has shown the development of his talents, the sacrifices of his family, the effects and consequences of political and economic power and position on him, and the continuous attachment to his native Flanders and Walloon. As we move to a consideration of his music, we shall see that all this training and attachments to his youth had a profound impact on his life and legacy as a preserver and an innovator.

2.2 Du Mont’s Works, Including His Grands Motets

Long before Du Mont achieved fame and position as a composer of grand motets, he was busy as a Parisian organist and composer.60 He was aware of a growing preference, and demand, for smaller, more intimate works for performance in homes and secular venues. For that reason and perhaps others, his first publication of choral music, published in 1652, was the small-scale Cantica Sacra. Although well regarded as an organist, all that survives of his

58 Decobert, “Du Mont [de Thier], Henry.” 59 Decobert, Henry Du Mont (1610-1684), 11. 60 Decobert, “Du Mont [de Thier], Henry.”

25 output for the organ is some allemandes, also published by Ballard, and some further pieces that are extant only in manuscript. The bulk of his output is sacred music for voices that reveals his expertise in petit and grand motet genres.61 His grands motets were, as their name suggests, lengthy works for voice and instruments, in multiple sections largely dictated by the layout of the text being set. These sections alternate between music soloist(s), full and reduced ensembles, and orchestra. The petits motets were, as is clear from the name, smaller works written for two to four voices and continuo. One hundred and fourteen of his petits motets were published, in five different volumes, between 1652 and 1681, along with several psalm paraphrases, twenty-one songs in a collection, the Meslanges à II, III, IV et V parties, avec la basse continue, in 1657, the Dialogus de anima, and Cinq messes en plain-chant. In addition, Du Mont composed some seventy grands motets, of which twenty were published.62

It is from this publication of twenty works that two motets have been selected for this study.

Of related importance is information contained in the Cantica sacra of 1652. These are dedicated to the dames religieuses, and allow for multiple variations and combinations of voices and instruments. In number 39, the Litanies de la Vierge, Du Mont claims to be the first in France to include a figured basso continuo as a separate part. We now know that he was not, in fact, the first in France to do so, but his publication had followed closely on the heels of the actual first publication of this sort, Constantijn Huygens’ Pathodia sacra et

Profana, which appeared in France in 1647.63 However, accounts of performances from the

1610s onwards using lutes and theorbos suggest that the practice was not unknown in France in the early part of the century.64 It matters not a great deal if Du Mont was the first in France

61 Schulenberg, 151. 62 Decobert, “Du Mont [de Thier], Henry.” 63 Jack Ashworth and Paul O’Dette, “Basso Continuo,” in A Performer’s Guide to Seventeenth-Century Music, by Jeffery Kite-Powell, ed. Stewart Carter, 2nd ed. (Indiana University Press, 2012), 344, http://www.jstor.org/stable/j.ctt16gzcwn.24. 64 Ashworth and O’Dette, 344.

26 to employ a basso continuo, or not; what matters is that it shows he was a composer attuned to French musical trends and currents, and was willing to cater to them.

While French society was showing a preference for smaller musical forms, the

Chapelle Royale continued to amass staff capable of producing major musical works. As early as 1645, the Chapelle had a maître, two sous-maîtres, two cornettists, twenty-six singers, eight chaplains, four clerks, and two grammar instructors for the children. In 1683, the year of Du Mont’s retirement, the new chapel at Versailles was ready for occupancy, and the Chapelle Royale’s retinue increased again. By 1708, the roster listed ninety singers.65

Music in the Chapelle had several purposes, one of which was the glorification not only of God, but also of France and especially the monarchy. Still, the music written and performed in the chapel had to reflect the religious piety that pervaded the Chapelle Royale during Du Mont’s tenure.

Whatever composers of the Chapelle Royale composed for the chapel, the most impressive manifestation of their achievement lay in the grand motet. As already noted, these works typically fall into distinct movements, with sections or movements for the full group alternating with others for soloists or reduced ensembles.66 What made the practice and performance of the grand motet unique in French music-making was the size of forces required. Few besides the royal family could possibly have regularly mounted performances on such a grand scale, so the grands motets kept Louis XIV in society’s spotlight.67

The subjects of this study are two motets (O mysterium venerabile and Sacris solemniis) from a collection of twenty Du Mont grands motets now in the French

65 Kite-Powell, Jeffery T., A Performer’s Guide to Seventeenth-Century Music, ed. Stewart Carter, 2nd ed., Publications of the Early Music Institute. (Bloomington: Indiana University Press, 2012), 44. 66 Schulenberg, 15. 67 Anthony, 1997, 24–26.

Bibliothèque Nationale in Paris (shelfmark Vm1 977 R.19.417). They are numbered XVII and XX respectively. The following is a translation of the front-matter from the dessus

(soprano) part in the motet collection:

Motets for the Royal Chapel

Set to music by Monsieur Dumont, Abbé of Silly,

and

Master of Music for the said Chapel.

Paris

By Christophe Ballard, sole music printer to the King,

Rue S.

Jean de Beauvais, Montparnasse 1686.

Printed by His Majesty’s express

Command

Three main groups of performers are required in these two motets: the orchestra and the basso continuo, the grand choeur (large choir), and the petit choeur (small choir). From this point, references to these three groups will be orchestra, large choir and solo choir. Each instrumental and vocal part is printed in its own part-book. There are six instrumental part books. They are as follows: Premier dessus de violon, Second dessus de violon, Taille de violon, Haute-contre de violon, Basse de violon and Basse-continue. This instrumentation is used in both motets. The five vocal assignments for the large choir in each motet remain the same: Dessus, Haute-contre, Haute-taille, Basse-taille and Basse. However, there is a slight variation in the make-up of the solo choirs. Both have the five voices of the large choir, but O mysterium venerabile has an added upper range voice called the Bas-dessus (literally, a “low- high” voice, perhaps equating to a 2nd soprano), giving the solo choir six voices. O

28 mysterium venerabile is one-hundred and fifty-two measures in length, while Sacris solemniis totals three-hundred and sixty measures.

The next chapter will address the specifics of these two motets, namely their poetry and their musical settings, and will conclude by addressing some issues that may be helpful to a conductor considering performing either or both of these works.

CHAPTER 3: THE TEXTS OF O MYSTERIUM VENERABILE

AND SACRIS SOLEMNIIS

3.1 O mysterium venerabile: Poetry and Translation

The table below has three columns. The first column presents the Latin poetry, preserving the punctuation and capitalization of the part-books. The second column an alphabetical and numerical designation to each line, with a new letter to indicate a new rhyming couplet. The third column is an English translation, reflecting as far as possible the line structure of the Latin of the part-books.

O mysterium venerabile! A1 O awesome mystery! Altum profundum, impenetrabile! A2 O exalted, profound, unfathomable! In quo trina colitur unitas, B1 In which a threefold, Et una Trinitas. B2 And a unitary Trinity is worshipped. Ubi coevum aeternus parit, C1 Where the Eternal One begets One who is equal in age, Ubi nulli compar aequali reperit. C2 to no equal he finds one. Mensus et immensus, D1 Measurable and immeasurable, Idem et diversus, D2 same and different, Et ab utroque spiratur halitus, E1 and from each of the two is breathed a breath, Utrique similis et compar spiritus. E2 to each of the two a like and equal Spirit. Festa laeti celebrate, F1 Joyously celebrate their feast! O populi! Jubilate: F2 O nations, rejoice! Et uni simul et trino, G1 To the One and at the same time Threefold, Confitemini Domino. G2 profess your faith in the Lord. Sed quis error? Quid cantatis? H1 What is your mistake? What are you singing? Tantae laudes Trinitatis? H2 Praises of such a great Trinity? Ponite Lyras et Psalteria. I1 Put down your harps and lyres. Silete. silete, J1 Be silent, Be silent, Et adorate J2 And adore Sacro-sancta Mysteria. I2 this sacrosanct mystery. Inscrutabile quid scrutamini? K1 Why look into what cannot be found out? Ineffabile quid effamini? K2 Why express what cannot be expressed? Procumbite, veneramini. K3 Prostrate yourselves in veneration.

Table 3.1 Motet XVII: Poetry and Translation

All of the final syllables of the Latin couplets A through H rhyme, meaning the final syllable in each couplet rhymes: thus in the A1 and A2 strophe, the ‘--abile’ of ‘venerabile’ rhymes with the same in ‘impenetrabile’. The opening word of each couplet line is capitalized, just as the words in the part-books are capitalized. Also, the opening lines of couplets B1 to G1are paradoxes. For example, D1 ‘Measurable and immeasurable’, and D2

’Same and different’.

In H1 to K3, we see three different poetic structures, and an abrupt change in the intention of the poetry. Up until now, the poetry has grappled with explaining the Trinity.

Beginning with the ‘H’ couplet, the poet shows increasing frustration with his attempted explanations. The ‘H’ is still a duple couplet.

The I and J couplets are two uniquely combined couplets. Here, the I couplet surrounds the J couplet, creating an interior and an exterior rhyme where ‘Psalteria’ rhymes with mysteria, and adorate rhymes with silete. The duple I lines are part of a quatrain forming a frame around the two interior duple rhyming lines. This is the poet’s way of noting the importance of these four lines. As we shall see later, Du Mont was very aware of this structure and he wrote the music in such a way as to highlight their significance.

Lines K1 and K2 are again paradoxes. But now something very unique occurs. The ending syllables of K1 scrutamini, K2 effamini and K3 veneramini are triple rhymed, and we have a duple paradox within a triple rhyme.

Inscrutabile quid scrutamini? K1 Why look into what cannot be found out? Ineffabile quid effamini? K2 Why express what cannot be expressed? Procumbite, veneramini K3 Prostrate yourselves in veneration. Table 3.2 Motet XVII Lines K1, K2, K3

Why end with a triple rhyme? The three lines point to the Trinity, the subject of this motet. A double rhyme would be insufficient to speak of the Trinity, so the poet creates a triple rhyme and a wonderful, fitting close.

In all this complex theology and colorful poetry, the question is asked, what does Du

Mont do or not do compositionally, that may echo or ignore the sentiments of the poet and the structure of the poem? We will address these issues in Chapter 4.

3.2 Sacris Solemniis: Poetry and Translation

As with O mysterium venerabile, a clearer understanding of the poetry may be discovered by laying out the text according to the capitalization and punctuation of the original. In doing so, a structure of seven verses, each with seven lines, emerges. The rhyme scheme is consistent throughout all seven verses. In the part books, this motet is labeled as a hymn. Sacris solemniis’s text has a specific liturgical function, that is to celebrate the service of Holy Communion, whereas O mysterium venerabile is an exploration and explanation of the Holy Trinity.

Sacris solemniis A1 To sacred solemnities juncta sint gaudia, B1 let there be joined rejoicing, Et ex praecordiis A2 and from your hearts sonent praeconia: B2 let proclamations sound forth: Recedant vetera, C1 Let the old things go away, nova sint omnia, B3 let all be new, Corda, voces, et opera. C2 hearts, voices and deeds. Verse Two Noctis recolitur A1 Now is renewed coena novissima, B1 the Last Supper of the night, qua Christus creditur A2 on which Christ is believed agnum et Azyma B2 to have given the Lamb Dedisse fratribus, C1 and unleavened bread to his brothers, juxta legitima B3 alongside the things Priscis indulta patribus. C2 granted by law to the fathers. Verse Three Post agnum typicum, A1 When the meal was finished after the Lamb, expletis epulis, B1 as a model of the new sacrifice,

Table 3.3 Motet XX: Poetry and Translation

Corpus Dominicum A2 the body of the Lord datum discipulis, B2 was given to his disciples, Sic totum omnibus C1 in such a way entire for all quod totum singulis, B3 what was entire for each, Ejus fatemur manibus. C2 that given by his hands, this we profess. Verse Four Dedit fragilibus A1 He also gave to the weak corporis ferculum, B1 a plate of his body, Dedit et tristibus A2 and to the sad sanguinis poculum, B2 He gave a cup of his blood, Dicens: Accipite C1 Saying: Receive quod trado vasculum, B3 this vessel that I give to you, Omnes, ex eo bibite. C2 and all of you drink from it. Verse Five Sic sacrificium A1 Thus, He established istud instituit, B1 the sacrifice for you, Cujus officium A2 the performance of which he wanted to be committi voluit B2 entrusted to the priests alone Solis Presbyteris, C1 for whom it is thus fitting, qui bus sic congruit B3 that they should take Ut sumant et dent caeteris. C2 and give to all the others. Verse Six Panis Angelicus A1 Let the bread of angels sit panis hominum; B1 become the bread of humankind; Dat Panis Coelicus A2 the heavenly bread gives figuris terminum: B2 an end to metaphors: O res mirabilis! C1 O wonderful fact! Manducat Dominum, B3 there eats the Lord, Pauper servus, et humilis. C2 poor man, slave and person of low estate. Verse Seven Te trina Deitas A1 Thee, Threefold deity and Unitary unaque possimus, B1 we would ask you, Sic nos tu visita, A2 come to us now, sicut te colimus, B2 as we worship you, Per tuas semitas C1 and through your paths guide us duc nos quo tendimus, B3 where we intend to go, Ad lucem quam inhabitas. C2 to the light in which you dwell.

Table 3.3 Motet XX Continued

Using Verse One as an example (see Table 3.4), we note the pairing of the A and C duple couplets in red, and the interconnectedness and triple rhyme of the B lines in blue. The duplex lines are now separated by a contrasting line of a triple rhyme. So A is separated by B

33 and B is then separated by A, with C separated by another B. Consequently, B creates a triple rhyme within the context of the surrounding A and C duplex lines.

Table 3.4 Motet XX: Poetic structure of a Septuplet

Verses one, two and seven stand apart from the other verses of the text. Verses one and two act like a preamble to the communion service. It is a call to all confirmands to gather with rejoicing, and a reminder that the old things have passed and the new is here. Verse seven is a ‘summation’ verse, asking for the Trinity’s presence through celebration of the

Last Supper. The intervening verses describe the acts celebrated through the holy communion service; the consecration and distribution of the bread and wine.

3.3 The Texts of O mysterium venerabile and Sacris solemniis

The texts of Motets O mysterium venerabile and Sacris solemniis are somewhat different than what might be expected from a typical French grand motet of the period. More typical texts for grand motet settings would be biblical sources such as psalms, hymns and canticles using texts from the Old and New Testaments.68 Another popular text source at the time was psalm paraphrases. What sets these texts in Du Mont’s motets apart is that both are sacred poems. Each poem has its own structure and rhyme scheme, but no mention is made in the part-books of the authorship of these texts. On the second page of each part-book of

68 Beverly Wilcox, Motet à Grand Choeur, in Grove Music Online, http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-3000000129 (accessed June 11, 2018).

Sacris solemniis, the designation ‘hymn’ is written. O mysterium venerabile has no such designation, but it is poetry, nonetheless. These texts are particularly well crafted and may have been composed by the likes of Isaac de Benserade (1613-1691), Philippe Quinault

(1635-1688), or Pierre Perrin (1620-1675), who were literary contemporaries of Du Mont at the royal court. They and others in the literary retinue of the royal court were very capable of writing high-quality poetry.69 Whether their talents took them away from opera libretti to devote some of their time to sacred subjects is not known. We do know that the texts of many of Du Mont’s motets and other motets by other composers were regularly published without the music, attesting to the high regard for the poetry. The practical reason for publishing such texts may, of course, have been to provide devotional material for the piously inclined of the period to meditate upon.70

For the most part, Du Mont does not shy away from complex theological beliefs. But neither does he over-exert himself in setting these complex theologies to complex music, although there are places in the music that can be interpreted as such. Du Mont strives to remain true to the intent of the poetry; it might even be said that he goes beyond simple text- setting and instead uses the poetry and music to teach and serve the needs of the Mass. He musically explores the primary and secondary meanings found in the words and phrases within the poetry.

One notable aspect of Du Mont’s treatment of text is his sensitivity to the natural syllable and word-stresses of the poetry. That sensitivity manifests itself in using changes of meter to best fit the text rhythms, and being aware of where word syllables and stresses should fall within the measure. O mysterium venerabile is entirely in common time, but

Sacris solemniis mixes sections in common and triple meter.

69 Isherwood, 134. 70 Laurence Decobert, “Du Mont [de Thier], Henry”

Both motets contain double and triple rhymes. The double rhymes occur throughout most of the poetry of O mysterium venerabile. Most poetic lines in Sacris solemniis have six syllables per line, something conducive to a triple meter. Sacris solemniis has seven verses of seven lines each, with a combination of double and triple rhymes.

Both of these motets have one main purpose; to worship Almighty God. Both motet texts have their own subject matter and are birthed as poetry. Both are service workhorses for use in the Mass. The translations provided in this chapter are not literal; rather, an attempt has been made to explicate the meaning of the words and then see how they are treated, in order to gain a better understanding of Du Mont’s musical setting.

The only textual connection between the two motets occurs in Verse 7 of Sacris solemniis. That verse is a plea for guidance from the Trinity, that is, the Father, the Son and the Holy Ghost, whereas the entire subject matter of O mysterium venerabile is the Trinity and is a theological examination of it. O mysterium venerabile was most likely used in the mass for one of the seasonal Feasts of the Trinity. However, the subject of trinitarianism could fit into any one of several weekly observances in the liturgical year. Most appropriately, this motet fits best into the celebration of the mass on Trinity Sunday.

As already noted, the language of O mysterium venerabile attempts to explain the mysteries of the Trinity, and the poetry is theologically complex. The text explores and explains the formation of and the relationship between the components of the Trinity and thrives on repeated paradoxes. The rhyme-scheme of O mysterium venerabile is straightforward for most of the poem.

Sacris solemniis is an explanation and celebration of the Last Supper, and the text celebrates the joy inherent in observing communion. It could fit well into any high communion mass. The text in Du Mont’s skillful musical setting is replete with repetitions at

36 appropriate places, with orchestral moments of reflection, appropriate musical spacings for the words of institution and distribution of the elements, and time and space for recollection and corporate thanks.

The poetry of Sacris solemniis is less theologically complex than that of O mysterium venerabile. Sacris solemniis contains only one paradox, and is in the form of a hymn with seven verses. The place of Sacris solemniis in the celebration of the mass might be between the homily and the offertory.

Contained in the poetry of both these motets are theological paradoxes, particularly true of O mysterium venerabile. Later, we shall examine if Du Mont was able to or even interested in expressing these complex theological paradoxes in his music.

It is confusing to try to understand the text by looking at the part books individually.

The confusion emanates from the seemingly arbitrary punctuation and capitalization in the individual part book texts. When all of the part books affirm the same punctuation and capitalization, we know it was intentional. The rationale for this randomness becomes evident when the words and phrases are laid out according to their punctuation and capitalization.

Now capitalized words find their place at the beginning of verses and various punctuations identify the middle and closing phrases of the text. Now the many intricacies, distractions, and relationships of the voices and instruments are gone, and only the text remains to reveal highly sophisticated poetry.

I found it useful for understanding and clarifying the text to extract the punctuation and capitalization as written in the part-books. Granted, not all part-books reproduced the punctuation and capitalization exactly alike. When a discrepancy did occur, a check with other part books confirmed how the others had written it and a decision was made on which

37 interpretation to accept. However, punctuation and capitalization remained mostly consistent between all the part-books.

By laying out the texts of the part-books using this method, the poetry and their rhyme schemes easily emerged. The method also revealed patterns, anomalies and additional meanings in the poetry; it furthermore helped in identifying sentence beginnings and proper nouns, and in understanding the connections between seemingly unrelated words that were punctuated with periods, commas, question marks and colons.

Du Mont may himself have chosen the poetry for his musical settings, or have had no choice in the matter. Either way, the probability exists that any poetry set to music could have been multi-purpose in nature, appropriate both to the worship of Almighty God and the almighty monarch. It is appropriate to be watchful for any ambiguous textual correlations between the Almighty God and the almighty king. Monarchs at this period still ruled on the premise of ‘divine right of kings’ and Louis XIV was infamous for attempting to attach himself to a likeness of the gods.71 (See also Isherwood’s comments.)72 So there is a natural inclination, when examining these works, to look for texts and poetic meanings that might compare Louis XIV, the Sun God, with the almighty.73 Is there any evidence that Du Mont attempted to equate the Sun King to Almighty God? Possibly. Here is such a text:

Festa laeti celebrate, F1 Joyously celebrate their feast! O populi! Jubilate: F2 O nations, rejoice! Table 3.5 Motet XVII Lines F1 and F2

71 Howard Mayer Brown, Ellen Rosand, Reinhard Strohm, Michel Noiray, Roger Parker, Arnold Whittall, Roger Savage, and Barry Millington, Opera (i), in Grove Music Online, http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000040726 (accessed November 9, 2018). 72 Isherwood, 136–37. 73 Isherwood, 126–27.

The Latin text “O populi, jubilate” translates as ‘O people, rejoice’, but the word populi can also suggest a political, organizational meaning that would have application to the realm of Louis XIV. This convenient analogy to the ‘oneness’ of the trinity was similar to the

‘oneness’ Louis XIV had in mind.74

It is worth mentioning that, at the time of composition of these motets, Louis was having considerable success in conquering new territories. He was also expending much effort in gathering the many competing interests of his realm into one national voice, trying to achieve unity within the diversity of his expanding nation of peoples.75 It seems reasonable to apply the notions and understandings of a diverse Trinity also to Louis XIV’s attempts to unify his realm under one absolutist monarchy.

Later in the text of O mysterium venerabile we meet the phrase “Procumbite, veneramini” (Prostrate yourselves in veneration). There are valid and logical reasons to declare such rejoicing when speaking of the Holy Trinity. This section of the text uses considerable musical space to explain the workings of the Trinity. We may surmise that

Louis XIV would have liked an extension of this phrase applied to his likeness as the “Sun

King”.

Another section of text that could be a dual reference to Louis XIV and the Holy

Trinity is the phrase (Festa laeti celebrate, O populi! Jubilate). These six celebratory words occupy twenty measures (76-95) in the middle of the motet that become the center of attention in praise of the Holy Trinity. Du Mont spends more time on this section with word and praise repetitions than any other word set in this motet. All the instruments and voices are participating at this point in the motet. It is the musical apex of the motet. From that, the listener might easily forge an analogy to their King. This text section is immediately followed

74 Isherwood, 166. 75 Isherwood, 290–91.

39 by a mild exhortation to be silent, meaning no singing, no harp or lute playing. Just be quiet and ponder this mystery. It reads:

This seems like an appropriate behavior when contemplating the workings of the

Trinity. This is like an apophatic prayer, a prayer that takes one’s breath away just by its power of contemplation. In much the same way, Louis XIV strove to take the breath of his visitors away as they gazed in awe and wonder at the grandeur and spectacle of his palace.

CHAPTER 4: MUSICAL SETTINGS AND COMPONENT PARTS

4.1 Musical Settings of the Poetry

Du Mont treats the texts of these two motets in three broad categories, discussed below. The treatment often differs, depending upon its content and potential purpose within the mass. Issues which Du Mont may have had to confront would be the time allowed for the motet during the mass, a hierarchy of importance of the theology, and, surely, the likes and dislikes of the king. Du Mont had no control over some of those considerations. However, what he could control is how he set the texts to meet the various requirements of the daily mass, and how he overcame those constraints through his music.

As noted earlier, an important aspect of Du Mont’s treatment of texts is his sensitivity to the natural syllable and word stresses of the poetry. That sensitivity manifests itself in changing meters to best fit the text rhythms, and a keen awareness of where syllables fall within the measure. He seems not to hesitate to change meters to better accommodate the word stresses and bring out their meaning. O mysterium venerabile is entirely in common time, and by counting the syllables in each line of the couplets, we note that all lines are eight syllables in length, leading naturally to a poetic setting in a common meter. Conversely, most lines in Sacris solemniis have six syllables, conducive to the use of triple meter.

The first of my text-setting categories may be labelled ‘The Word Mill’. When Du

Mont wants to get through a high volume of text quickly, he most often has a soloist or solo group carry that text. This poetic ‘word mill’ often has less theological heft. Du Mont uses this style when he strives to carry the narrative forward and quickly move through the text. In

Example 4.1 the entirety of verse two is set to twelve measures of a bass solo.

Example 4.1 Motet XX mm. 104-114: ‘Word Mill’ text setting

My second category of text settings express theologically complex ideas, often also manifested in the provision of complex music; that is, they may be in a polyphonic style.

Even so, Du Mont keeps the polyphony rather transparent and simple in such cases (as seen in Example 4.2). It is not Du Mont’s style to render the musical presentation of the text in a way that reflects its theological difficulties. For example, when he attempts to explain the workings of the Trinity, the resultant musical product looks like this:

Example 4.2 Motet XVII mm. 48-52: Polyphonic text settings

The third category of Du Mont’s text setting is the ‘grand’ category. The ‘grandeur’ of Du Mont’s grands motets is evident whenever the entire vocal and instrumental ensemble is engaged. We often witness this at verse conclusions, at places in the text that carry more theological weight, and of course, at the close of the motets.

Example 4.3 Motet XX mm. 335-340: ‘Grand’ text setting

Beyond these broad categories we can now examine Du Mont’s text-setting procedures in more detail.

4.1.1 Paradoxes in the Poetry

Some of Du Mont’s text-setting techniques were well known and well-used in the mid-seventeenth century. The setting of paradoxes was one such technique. How well paradoxes were set during this period is in need of a broader study, but in Du Mont’s case there seem to be a variety of approaches. An examination of how Du Mont set them is thus of interest, to help answer questions such as, did he set any with melismas? Does the musical texture change with a change of text?

The reason for mentioning such questions here is to study if Du Mont was able to express, or even interested in expressing, these complex theologies in his music. We know the poet seems to have struggled to find a language to describe the many paradoxes of the

Trinity. Did Du Mont work equally hard to put those struggles into his music?

Theological paradoxes abound in the poetry of O mysterium venerabile; in fact, all except three of the paradoxes in these two motets occurs in this one, O mysterium venerabile.

Here are the Latin texts of both motets and their paradoxical translations:

O mysterium venerabile

In quo trina colitur unitas, B1 In which a threefold, Et una Trinitas: B2 And a unitary Trinity is worshipped. Ubi coevum aeternus parit, C1 Where the Eternal One begets One who is equal in age Ubi nulli compar aequali reperit. C2 to no equal he finds one. Mensus et immensus, D1 Measurable and immeasurable, Idem et diversus, D2 same and different, Et ab utroque spiratur halitus, E1 and from each of the two is breathed a breath, Utrique similis et compar spiritus. E2 to each of the two a like and equal Spirit. Et uni simul et trino G1 To the One and at the same time Threefold, Inscrutabile quid scrutamini? K1 Why look into what cannot be found out? Ineffabile quid effamini? K2 Why express what cannot be expressed?

Table 4.1 Motets XVII and XX Paradoxes

Sacris solemniis

Sic totum omnibus C1 in such a way entire for all quod totum singulis, B3 what was entire for each, Te trina Deitas A1 Thee, Threefold deity and Unitary

Table 4.1 Continued

Let us examine how Du Mont addresses these very difficult theological paradoxes.

As seen in Table 4.1, the first paradox of O mysterium venerabile occurs on lines B1 and B2.

In Example 4.4, we see this text treated in a light polyphonic manner. Only the solo choir is engaged. What is somewhat unique is the fourth measure of the example. Three of the four soloists are speaking homophonically as one voice on the text ‘Et una Trinitas,’ a theological statement of the Trinity. There is no accompaniment other than the basso continuo. The soloists are subsequently joined by the large choir and orchestra, none of which use any of the melodic material introduced by the solo choir.

Example 4.4 Motet XVII mm. 49-50: Homophony and theology

The next six paradoxes are in strophes C1 to E2 of O mysterium venerabile (See

Table 4.1). Du Mont plays down these theologically difficult texts by delivering a syllabic rendering of the text by a solo alto. There is no complex polyphony here, and mystery seems

45 nowhere in evidence. So here, Du Mont shows no inclination to dwell on these complexities, but treats them like any other ordinary text. Not even the melodic lines hold much interest, and there is no complex rhythmic or melodic material to elucidate the worshiper.

Du Mont does repeat the critical paradoxical words of ‘aeternus parit’ (Where the

Eternal One begets one who is equal in age) in line C1:

Example 4.5 Motet XVII mm. 56-60: Repetition of important words

Later, in Line E1 ‘spiratur halitus’ (and from each of the two is breathed a breath), the text is set to a repetitious, breathless, angular melodic line in E1:

Example 4.6 Motet XVII mm. 65-68: Treatment of paradoxes

For Line E2, Du Mont follows Line E1 with this equally repetitious motif on ‘et compar spiritus’ (a like and equal spirit):

Example 4.7 Motet XVII mm. 71-76: Phrase repetitions to acknowledge a textual paradox

In these seemingly small ways, Du Mont demonstrates his awareness of these important textual ideas. Neither C1 nor E1 lines share any motivic material between them, and both phrases are through-composed. What these lines also illustrate, once again, is Du

Mont’s sensitivity to natural syllabic stresses. He does so here by using rests and bar lines to coincide well with the word stresses.

How else does Du Mont treats theologically complex poetry? In Example 4.8 we see the lines of E1 and E2 as part of the six lines of paradoxes (C1 to E2) that Du Mont dispatches in twenty measures of solo writing that comprise nearly a third of the entire text of the motet. The only accompaniment is the basso continuo. Clearly, these particularly difficult theological paradoxes hold little musical interest for Du Mont.

Example 4.8 Motet XVII mm. 56-75: A string of paradoxes

These six paradoxes are followed by twenty measures of jubilation in praise of the

Trinity (or the French King, if one is so inclined to interpret them as such). These twenty measures on the couplet F1 and F2 ‘Festa laeti celebrate, O Populi! Jubilate’ (Joyously celebrate their feast, O nations, rejoice) engage all the members of the ensemble in a highly rhythmic and boisterous celebration.

The G1 line ‘Et uni simul et trino’ (To the One and at the same time Threefold) is a paradox but not related to G2 line, ‘Confitemini Domino’ (profess your faith in the Lord), which is not a paradox. The text of G1 is tied musically to the G2 line, which is a call for the profession of faith. Musically, little separates these two texts except that ‘Confitemini

Domino’ (profess your faith in the Lord) is an important profession of faith and is largely homophonic, presumably so that it may clearly be heard.

Example 4.9 Motet XVII mm. 96-99: Homophonic catechism statement

The final paradoxes of O mysterium venerabile are lines K1 and K2. Here Du Mont does something quite interesting. Example 4.10 demonstrates his superimposition of the text

‘Inscrutabile quid scrutamini?’ (Why look into what cannot be found out?) with ‘Ineffabile quid effamini?’ (Why express what cannot be expressed?). What makes this so unusual in terms of Du Mont’s compositional style is that he rarely has two different texts sounding simultaneously. This is Du Mont’s purely intentional way of hiding the text - what an ingenious way to express this paradox by overlapping and thus obscuring the texts. This is only one of a few examples in these motets where Du Mont sets different texts simultaneously.

Example 4.10 Motet XVII mm. 133-136: Simultaneous paradoxical texts

The first of two paradoxes in Sacris solemniis are treated in a polyphonic manner. The

‘sic totum omnibus quod totum singulis’ (in such a way entire for all what was entire for each) is polyphonic, with all the voices and instruments participating, mirroring the complexity of the text. There is voice doubling between the solo and large choirs, but nothing to suggest a motivic connection between the voices and instruments.

Example 4.11 Motet XX mm. 132-137: Voice doubling solo and large choirs

The final paradox in Sacris solemniis comes in the A1 line of the seventh and final verse, ‘Te trina Dietas’ (Thee, Threefold diety and Unitary). It is akin to a Greek chorus,

49 with all the forces engaged at this climactic point. It affirms the point of the preceding six verses, imploring the Holy Spirit to be present. An important doctrinal statement is here expressed in rigid homophony, stressing a unified Christian belief.

Example 4.12 Motet XX mm 335-340: Doctrinal moment #1

A similar doctrinal moment occurs in, O sacris solemniis, verse five lines A1- B3, which Du Mont sets in a very similar manner. The text ‘Sic sacrificium istud instituit cujus

…’ (Thus, He established the sacrifice for you…) is again set using large homophonic blocks

51 of sound, emphasizing the theological importance of this moment and using all the assembled performing resources of the grand motet.

Verse Five Sic sacrificium A1 Thus, He established istud instituit, B1 the sacrifice for you, Cujus officium A2 the performance of which he wanted to be committi voluit B2 entrusted to the priests alone Solis Presbyteris, C1 for whom it is thus fitting, qui bus sic congruit B3 that they should take

Table 4.2 Motet XX Theology and homophony

Example 4.13 Motet XX mm. 239-243: Doctrinal moment #2

4.1.2 Musical Rhetoric

A paradox is one of the forms of rhetoric. Du Mont’s application of rhetoric in his musical setting is particularly sensitive to words and phrase meanings. That sensitivity is very much in keeping with the spirit of the times; it manifests itself in changing meters to fit the text rhythms, and an attention to where word syllables fall within the measure. The importance of musical rhetoric to Du Mont is well expressed by David Schulenberg, who writes:

Perhaps the most important single element in vocal music of the late Renaissance and the Baroque is the composer’s approach to the setting of texts. By the end of the sixteenth century, writers on music had articulated the principle of musical rhetoric. By itself, the word rhetoric refers to the effective presentation of ideas through the spoken or written word. Rhetoric in this sense has been a fundamental element of European education since ancient times, and Renaissance and Baroque writers, emulating those of ancient Greece and Rome, used numerous special devices or figures of rhetoric, such a metaphors and similes, to render their arguments more compelling or their poems more beautiful.76

Du Mont unabashedly finds rhetorical meanings in many parts of his texts. Some are easily identified, while others are more subtle. Individual words and phrases ripe for word- play find easy employment in his work. The use of rhetorical devices of all kinds was admired at the time when Du Mont was composing his grands motets, and was part of his compositional toolkit. Gibson states:

More surprising is that even French rhetoric treatises of that era frequently omit discussions of figures (traditionally part of the rhetorical elocutio) and the dispositio—not because their authors were unaware of them, but because they were often consciously reacting against these models. Despite an assertion in the 1992 Dictionnaire de la musique en France aux XVIIe et XVIIIe siècles that rhetoric ‘designates, during the seventeenth and eighteenth centuries, the collection of rules that render a discourse eloquent, that is to say, capable of touching the heart, or better still, of persuading his auditor by adhering to good taste and decorum,’, numerous French rhetoricians (and likely the majority after around 1670) sought above all to disavow the conception of rhetoric as a

76 Schulenberg, 15.

mere “collection of rules.”77

There are many examples of musical rhetoric in these motets, with one excellent example to be seen and heard in O mysterium venerabile. From the beginning of the poem, the poet and Du Mont have concentrated on attempting to explain the many interpretations of the Trinity through singing and playing of instruments. Finally, in the strophes found in H1 and H2 (see Table 4.3), the exasperated, frustrated poet realizes the futility of verbal and non- verbal explanations, and poses three questions:

Sed quis error? Quid cantatis? H1 What is your mistake? What are you singing? Tantae laudes Trinitatis? H2 Praises of such a great Trinity?

Table 4.3 Motet XVII, lines H1 and H2

The orchestra and basso continuo freeze (m. 104) with long sustained notes. All attention is on the poet, who questions meagre attempts at explaining and comprehending the mysteries of the Trinity. All three questions are followed by a quarter-note rest, as if awaiting a response (see Example 4.14).

77 Jonathan Gibson, “'A Kind of Eloquence even in Music': embracing different rhetorics in late seventeenth- century France,” The Journal of Musicology 25, no. 4 (October 1, 2008): 397, https://doi.org/10.1525/jm.2008.25.4.394.

Example 4.14 Motet XVII mm. 104-107: Dramatic musical rhetoric

With a commanding, angular descending motive, ‘Ponite Lyras et Psalteria’ (Put down your harps and lyres), the soloist orders them to put down their instruments.

Example 4.15 Motet XVII mm. 107-111: Dramatic musical rhetoric

The orchestra reacts in confusion with sixteenth notes and dotted rhythms, while the narrator repeats his command, awaiting their answer for a long three beats. The soloist then repeats his ultimatum ‘Ponite Lyras et Psalteria’ but this time a major second higher and with

57 an octave drop in his melodic line. The narrator waits again for what feels like an eternal three-beat rest, while the orchestra continues to react in a flurry of consternation. Finally, the

‘harps and lyres’ get the message, stop playing and put down their instruments, suddenly falling quiet.

In Example 4.16 it is interesting to note the basso continuo response to what is happening. The basso continuo has been mirroring the activity of the orchestra by playing a rather lively part, but suddenly when there is no orchestra, the forward motion is stopped, and the basso continuo responds with a static whole note (m. 112), continuing to fulfill the basso continuo role of providing a tonal framework, but with no drama.

Example 4.16 Motet XVII mm. 111-115: Effective use of silence

The narrator now commands ‘Silete’, silete’ (Silence, silence) on a falling perfect fifth, and repeats it a major second lower. The basso continuo is still providing a harmonic framework, but hesitatingly. Before the second command is completed, however, the already

59 silenced instruments and narrator now compel the basso continuo itself to cease playing, and for a full measure (measure 114) it is silent while the narrator finishes his final command with two beats of total silence. The musical universe of this motet is stilled for a two-beat eternity. Breathtakingly, everything is suspended. Scholars may search long for comparable effective examples of mid-seventeenth-century French musical rhetoric.

Immediately, as shown in Example 4.17, Du Mont follows with another rhetorical idea. He drops the melody a minor sixth, suggesting the worshippers dropping to their knees, and the musical line then rises by a fifth to suggest a worshipful gaze up to heaven.

Example 4.17 Motet XVII mm. 115-120: Rhetorical response to drama

Another example of textual sensitivity can be witnessed in Sacris solemniis (see

Example 4.18). The text here is part of the communion distribution of the bread. The A1 and

B1 text in verse six reads ‘Panis Angelicus sit panis hominum’ (Let the bread of angels become the bread of humankind).

Here we see a thankful human response to this communion gift by a gently rising scale tracing a fifth, while at the same time two overlapping, descending solo lines shower the believer with heavenly manna, gently floating down on solo voices to waiting humans.

Only the basso continuo is playing, making these musical illustrations easily understood by the communicants.

Example 4.18 Motet XX mm. 266-272: Further rhetorical expression

Other rhetorical gestures are very simple, and fleetingly observed. In Example 4.19

Du Mont sets a simple text imitatively but with only two statements. The opening motive of

O mysterium venerabile, with its rising third and falling fifth intervals, is in itself a rhetorical device that may be intended to illustrate Christ coming from on high and taking up residence on the earth.

Example 4.19 Motet XVII mm. 13-17: Short rhetorical expressions

Du Mont also uses melismas as part of his musical rhetorical vocabulary. In the example below we see a melismatic and rhetorical motif rising a major fifth on the text

‘Altum’ (exalted), which then is immediately followed by a falling line on the word

‘profundum’ (profound) and by the closing of the text segment on a rather static line on

‘impenetrabile’ (unfathomable). This example also illustrates Du Mont’s penchant for writing short melismas on texts with rhetorical meaning.

Example 4.20 Motet XVII mm. 36-40: Solo choir rhetoric

4.1.3 Texts and Melismas

Another rhetorical device employed by Du Mont can be found in Sacris solemniis.

Here the composer selects a word fit for a light-hearted response to a previous text. In

Example 4.21, that text (C1, B3 and C2) reads ‘Recedant vetera, nova sint omnia’ (Let the old things go away, let all be new). Du Mont follows up with a light-hearted ‘corda’ (heart).

Example 4.21 does double duty. First, it illustrates the sound of a joyful voice through consecutive dotted rhythms, and secondly is also an example of Du Mont’s rather limited use of melismas.

Example 4.21 Motet XX mm. 41-43: Rhetorical melisma

After a full ensemble response using a new text, the bass solo returns to this same word but with a different setting. What we see in the second iteration of the text has little to

62 do with the musical language of the first. The first is exuberant, while the second is lyrical and expressive:

Example 4.22 Motet XX 61-64: Modified and extended rhetorical melisma

Similar to Example 4.22 above, a long melisma seems to appear out of nowhere in

Example 4.23. The text is from Verse six, line C1. It reads ‘O res mirabilis!’ (O wonderful fact). Once again Du Mont waxes poetic with a long, extended duet-like melisma of wonder on a single vowel, ‘O’, an expression of awe and amazement.

Example 4.23 Motet XX mm. 297-301: Solo choir, longest melisma of Motet XX

4.1.4 Syllabic Settings and Word Stresses

The majority of the text-setting in both motets is syllabic, heard in lightly polyphonic sections but even more so in large homophonic blocks where all the musical forces speak as one voice. The example below from the large chorus in O mysterium venerabile shows a syllabic treatment in both the polyphonic and homophonic passages.

Example 4.24 Motet XVII mm. 136-140: Large choir, unified expression

Syllabic rendering of the text often occurs in these motets when the entire ensemble, including instruments, is engaged. As we have noted, these homophonic sections often occur at verse closings, or when Du Mont seeks to place an overwhelming emphasis on the text.

The instruments often exactly double the melodic and rhythmic utterances of the voices.

4.1.5 Introduction of New Texts

Du Mont seldom introduces new texts before an existing phrase has been completed.

New verses are usually preceded by a slowing of harmonic and melodic activity, while new texts are typically provided with new musical ideas and textures. This may be interpreted as

Du Mont’s own style, but more likely is also a recognition of the rules established by the

Councils of Trent in 1545 and 1563 that discouraged incomprehensible texts in polyphonic music.78 Either way, whenever Du Mont does superimpose texts as noted earlier in Example

4.10, there is a conscious reason why he does so. New textures and texts are often set with a contrasting vocal component, such as full ensemble to soloist, solo choir to full ensemble, or any vocal or instrumental combination followed by a change of meter.

78 Joseph Dyer, Roman Catholic Church Music, in Grove Music Online, http://www.oxfordmusiconline.com.proxy2.library.illinois.edu/grovemusic/view/10.1093/gmo/978156159263 0.001.0001/omo-9781561592630-e-0000046758#omo-9781561592630-e-0000046758-div2-0000046758.2.1 (accessed July 31, 2018).

4.2 Henry Du Mont’s Sensitivity to the Order of Worship

A fascinating observation can be made of how Du Mont treats his grands motets within the worship service. The orchestra plays a vital role in that process by performing instrumental interludes between relevant selections of text. In this section we will examine some ways in which Du Mont responds to the liturgical needs of the worship service.

Firstly, the composer uses the orchestra to prepare the worshiper for worship. Both motets open with a sinfonia, to establish an overall mood. The sinfonia of O mysterium venerabile is twelve measures in length, followed by entry of a solo voice, while the sinfonia of Sacris solemniis is twenty measures in length before – again – a solo voice enters. The nature of the musical material is closely allied with the purpose of the service. The preparation for worship in the opening sinfonia of Sacris solemniis is subdued and lyrical, while the opening sinfonia of O mysterium venerabile is very lively. Both set the ambiance for the text that follows.

Because Sacris solemniis is music for the communion service, there are numerous opportunities to reflect the activities of the communion, and provide points of reflection. The first such opportunity comes between the prologue-like verse 1 and the words of institution of verse 2. The choruses and orchestra have just concluded with the text ‘Recedant vetera, nova sint omnia, Corda, voces, et opera’ (Let the old things go away, let all be new, hearts, voices and deeds). A four-part orchestra and organ immediately now launch into a twenty-three measure interlude that features a lyrical duet between violin I and violin II; now is the time for the congregant to reflect and prepare for worship.

Example 4.25 Motet XX mm. 81-85: Lyrical violin duet – communion preparation

Du Mont also uses the orchestra to provide ‘space’ in the service. Immediately after this orchestral interlude in Example 4.25, the priest intones the first words of the communion liturgy (see Example 4.26). Even though this is not an independent orchestra section, we recognize that the words of the officiant are allowing for a moment’s pause in the service. We see a similar interplay between the two violins and the bass solo voice. The violins and the bass soloist maintain their independent musical thoughts in the form of a beautiful trio. The voice is intoning the text of the communion institution, while the violin I and violin II surround the vocal line with a melodic filigree of their own; not unlike what we would find in

Du Mont’s “Motets à deux voix”, published in 1668.

Example 4.26 Motet XX mm. 104-109: Petit motet-style fragment

Perhaps the best example of Du Mont’s sensitivity to the timing needs of the communion service comes in a simple but extended section of twenty-four measures, during

66 distribution of the bread and wine. Here, two priests are in dialogue, alternating between the distribution of the bread by one priest and of the wine by the other. The first priest intones the phrase ‘Dedit fragilibus corporis ferculum’ (He also gave to the weak a plate of his body), with only a basso continuo accompaniment

Example 4.27 Motet XX mm. 143-146: Priest #1 communion intonation

He is answered by a second priest singing ‘Dedit et tristibus sanguinis poculum’ (and to the sad He gave a cup of his blood) as he distributes the wine as part of a lyrical trio of solo voice and violins. The entire section is quiet, meditative, and worshipful. The liturgical texts are center stage.

Example 4.28 Motet XX mm. 147-150: Priest #2 communion intonation

When the time in the communion service arrives for the concurrent distribution of the wine to the congregation, we note similar dialogues between the priests preparing for the distribution. This conversational music, in my opinion, is akin to some of the writing of Du

Mont’s popular Motets à deux voix. Again the musical dialogue imitates what has gone before. Two priests in dialogue are doing their priestly tasks and reciting the text ‘Accipite quod trado vacsulum’ (Receive this vessel that I give to you). These repeated liturgical

67 statements are interspersed with short orchestral sections, creating beautiful moments of reflection after the communion.

Example 4.29 Motet XX mm. 170-175: Priests #1 and #2 invitation to communion

This is immediately followed by a four-measure orchestral interlude that allows time for the distribution of the wine. Then again, the two murmuring priestly voices give continuous, overlapping, static melodic invitations for all to drink the wine with the text

‘Omnes, ex eo bibite’ (and all of you drink of it). Again, only the basso continuo is supporting these events, making the words easily understood by the communicants.

Example 4.30 Motet XX mm. 180-185: Priests #1 and #2 serving communion

After the communion meal has been served, Du Mont provides again for an extended period of reflection with only a four-part lyrical orchestra and organ, similar to what we have experienced in Example 4.25 above. Appropriately, this twenty-four measure interlude is one

68 of the longest such interludes in either motet, and attests to Du Mont’s awareness and sensitivity to the timing, the needs, purposes and practices of the communion liturgy.

Example 4.31 Motet XX mm. 215-220: Congregational reflection after communion

I have examined some of the many variations of technique that Henry Du Mont used when setting a text to fit the needs of mass, and have noted he is equally at home setting appropriate instrumental music for the mass.

CHAPTER 5: MUSICAL ASPECTS AND ISSUES

5.1 Musical Elements of O mysterium venerabile and Sacris solemniis

5.1.1 Musical Style

This chapter will address more specifically the musical aspects of Du Mont’s style.

How did Du Mont use the musical building blocks of rhythm, melody, harmony, tonality, meter, texture, and sectionality, and how did he breathe life into these elements to create something we now know as a Du Mont grand motet?

Du Mont’s compositional style in these two motets can best be summarized as an amalgam of the stile antico and stile moderno. Du Mont was trained in the stile antico by

Flemish teachers well acquainted with composing music that gave a nod to venerable masters of the past.79 But he was at the same time a witness to contemporary musical currents in the world around him, and aware of the contemporary interest in music with an Italian flavor.

Even so, Du Mont’s life and livelihood were integrally tied to the confines of the church and chapel walls that venerated the past while being suspicious of modernity.80 So what elements of these somewhat competing styles can we find in these two Du Mont motets?

The stile antico is best exemplified here by his style of polyphonic writing. Imitation is present, but rarely extends beyond two or three measures. Thematic material, too, is limited to one or two measures before a new phrase of text is presented. It is Du Mont’s style to write melodies that are not extended musical thoughts but, rather, more like motifs. Something similar can be said for his rhythms, which thrive on contrast. The description ‘lightly polyphonic’ would be an apt way to refer to the stile antico aspects here.

79 Schulenberg, 38. 80 Anderson et al., Paris.

The presence of the newer style of writing is immediately evident in the solo and solo choir portions of the two motets. This style imitated the Italian manner of solo singing at the time, but with a French aesthetic perspective. Interest in the Italians and their musical style had waxed and waned throughout Du Mont’s tenure in the Chapelle Royale. Even though

Italian operas were being produced in France just steps away from the Royal Chapel, the

French had their own unique approach to and opinions about operas in France. Italian operas were the first operas to be produced in Paris, but they were modified to suit their French audience. Lully, along with Philippe Quinault, his librettist, incorporated rudiments of earlier genres with French expectations: “Lully succeeded in creating a distinctive national opera, following a similar but abortive attempt by Pierre Perrin and Robert Cambert, and drawing on his experience as a composer in other theatrical genres, especially comédies-and tragédies-ballets.”81 Even though the royal chapel and the royal court existed in two different worlds, the royal chapel, and its composers such as Du Mont, could not entirely escape the effects of the new Italian music.82

The presence of concerted multiple choirs in the music of the chapel, set to extensive lines of poetry, is symptomatic of the stile moderno, as is the application of the basso continuo to sacred music, of which Du Mont claimed to have been the first exponent.

An obvious point, but worth repetition here, is that performances of these epic musical giants, the grands motets, was within the reach of only a select few. For smaller venues and courts, finding sufficient qualified and talented musicians to perform these large and complicated works was difficult. That issue alone played right into the hands of those who could. It fit the purposes of the French monarchy perfectly; that is, it placed the

81 Howard Mayer Brown et al., Opera (i) (Oxford University Press, 2001), http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000040726 (accessed May 29, 2018). 82 Anthony, 1978, 47.

71 monarchy many strata above those who could not perform grands motets, and in so doing, fulfilled one of the monarch’s chief goals – that of self-aggrandizement.83

Thus some of the practices of both the stile antico and stile moderno are observable in these two motets. Du Mont keeps a balance between the two, never allowing one to predominate at the other’s expense. Even though he would have been acutely aware of Italian operatic ideas at court, he and his fellow composers at the Chapelle Royale focused on composing in a style that bridged the two styles. This amalgamation of styles is revealed in many places in the two motets.

What other hallmarks of Du Mont’s compositional style are observable here? Below we examine how he used the tools of rhythm, melody, harmony, meter and sectionality to achieve his particular style.

5.1.2 Rhythm

What is noticeable in regard to Du Mont’s use of rhythm is his rhythmic vitality; he keeps the rhythm forging forward. He frequently accomplishes this by the division of the quarter note into a dotted-eighth and a sixteenth. These rhythmic divisions can occur in any part of the measure, but the eighth-note is also on the beat (whether weak or strong). This rhythmic vitality is easy to spot when looking at the full score in applicable sections, and often propels the music forward into the following beat or into the following measure. The dotted-eighth then sixteenth-note figure can be applied to any word that has two or more syllables, but we often find it applied to a three-syllable one. The instrumental parts often add their own rhythmic drive in this manner.

The following example shows how this rhythmic propulsion can occur anywhere in the measure. It is true, however, since the poetry in these motets is constructed to fall into

83 Schulenberg, 7.

72 duple or triple patterns, that accented syllables or words often find their rhythmic goal in the first beat of measures. Du Mont achieves a lively, forward motion through the use of closely associated rhythms. In Example 5.1 below, the violin II is in part keeping the fundamental pulse of the meter with steady quarter and eighth-notes on the fourth beat. Meanwhile, the violin I part and the inner parts of the solo choir are thrusting the motion ahead by following that eighth-note with a quick sixteenth-note on the last quarter of the fourth beat. This interaction continues throughout, with different instruments acting both as a rhythmic pulse and as a rhythmic springboard. The effect is one of lively, driving, forward motion.

The conductor should be very aware of the constant forward motion in these sections.

Every effort should be made to have the instrumentalists and vocalists execute each rhythmic division with clarity and precision. Suggest to your performers to put a ‘space of quiet’ prior to the shortest note of the beat. That is not to suggest that these notes should be double dotted, but that the written rhythmic figures should be separated by flashes of quiet.

Example 5.1 Motet XVII mm. 51-55: Rhythmic intensity in instruments and solo choir

Rhythmic vitality is also well-expressed in other orchestral parts. Example 5.2 shows how, once again, sixteenth-notes on the last half of a beat drive the music forward. That, combined with the dotted rhythms on last quarter of beats, adds to the sharpness of the rhythm and forward motion. In this example, the instruments are supporting the solo bass voice; but now, instead of pushing the rhythm to the stressed beat (shown here in blue) they are propelling the rhythm forward while still driving the rhythm to the stressed beat (shown in red).

Example 5.2 Motet XVII mm. 107-111: Instrumental rhythmic propulsion

Naturally, this practice of driving the motion forward is reversed at major cadences and at section closes, where the music needs to slow to a stop, often before a new section of text. Both instrumental and vocal parts contribute to this slowing process. In such cases, Du

Mont calms the rhythmic and harmonic activity as he approaches significant cadences. He does this in part by moving from shorter to longer note-values, and making increasing use of the ties over the bar line. The conductor should ask the performers to change from a rhythmically-strong interpretation to an increasingly legato and sustained quality until the final note (such as in Example 5.3 below).

Example 5.3 Motet XX mm. 259-263: Approaching cadences and text changes

A further way in which Du Mont creates a lively, compelling and forward motion can be seen in Example 5.4 below. Here, the bass soloists propel the rhythm (which is already quite lively due to dotted-eighth note/sixteenth-note figures in the choral and instrumental parts) forward by their use of sixteenth-notes on the off-beat, creating a sort of ‘parenthetical’ effect.

Example 5.4 Motet XVII mm. 92-96: Rhythmic ’parenthetical’ effect

5.1.3 Melody

What is Du Mont’s approach to melody? Perhaps it is one of ‘non-melody,’ if by

‘melody’ we mean a medium or a long phrase. Using this definition, his melodic ideas are hardly melodies at all, but are more like motivic snippets of melody. Du Mont does not compose long melodic lines such as became so much a characteristic of – for example – the

Viennese classical style. For him, melody is dictated by his concern for the primacy of the syllable, the word, or the phrase. That is not to say there are no ideas that might be interpreted as melodies in these motets, and he comes closest to a long melodic line in the solo lines of the solo choir. In Sacris solemniis, for example, the ‘melody’ in Example 5.5 goes on for twenty measures, although even here it is easy to break down into shorter component phrases.

There are no soaring ranges of repetitious melodic motifs, although in structure it is almost isorhythmic. Everything is based upon the text, perfunctory and declamatory.

Example 5.5 Motet XX mm. 21-25: A long melodic phrase

Any melodic motif that might develop into a longer melodic thought quickly responds to a motivic event started in another voice and subsequently moves on with a new idea. Du

Mont seems considerably more interested in an equal relationship between the voices than in constructing a melody in one voice, for example the soprano line, with harmonic support

78 from the other voices. Another way of understanding this might be to observe his compositional style starting with the text and then observe the parts vertically rather than the horizontally. But melismas can only be understood from a horizontal viewpoint.

Du Mont’s melismas seem not to be driven by a need to express a melodic idea but are instead motifs that help express the nature of the text. They are rhetorical devices first, and melodies second. Example 5.6 is such an example:

Example 5.6 Motet XX mm.41-48: Du Mont using melismas as rhetorical devices

As with rhythm, melody here takes a back seat to textual considerations. In places where flexible and artful melodies seem appropriate, such as in solo lines within the solo choir, it is difficult to follow any established vocal line, and the different melodic lines are indistinguishable. Perhaps what David Tunley has to say about French melodies does not pertain to the melodies of Du Mont, but it does say what a Du Mont melody is not. He writes that the French classical style "is characterized by suave and tender melodies that are seemingly unhampered by that regularity of harmonic rhythm and syntax that became the hallmark of Italian Baroque music." 84 In fact, and as noted earlier, Du Mont’s melodic lines can hardly even be construed as melodies. Instead, they confine themselves to rather narrow vocal ranges with limited connectedness to a phrase.

Conductors need to be well aware of Du Mont’s melodic construction. His melodies may come in snippets and lack over-arching phrases, but of course they still need to be

84 Tunley, 192.

79 directed towards a cadence or section ending. This sense of musical architecture should not be exaggerated, but conductors should use their technical expertise to maintain life and interest in the melodic phrase.

5.1.4 Harmony and Tonality

The harmonic structure of both motets is not complicated. They each maintain a relationship to one key signature throughout, with cadential points at the end of the verse or strophe. The texts guide the harmony to these significant cadential points. There is a proclivity throughout both motets to end the verses and strophes on unisons and octaves.

Suspensions are common, and typically indicate some sort of tension within the text, which is then resolved. In the original source, Sacris solemniis begins with no key signature, but the harmonic writing suggests it to be in d minor. In both motets, the tonality is largely diatonic with the occasional establishment of a dominant center (V/V). Any modulations that occur in

Sacris solemniis are temporary, and often move to the relative major key of F major or dominant key of A major. A common element of both motets is the use of major triads at cadential points. Most minor-key cadences end with a Picardian third, as in Example 5.7 below; but at the start of the next section, the music immediately reverts to d minor.

Example 5.7 Motet XX mm. 16-20: Cadential movement with Picardian third

Despite a key signature that indicates F major, O mysterium venerabile begins firmly in the key of g minor, and returns to it at all major cadential points throughout.

Example 5.8 Motet XVII: Showing opening key signature of original source

5.1.5 Meter-Texture-Sectionality

Combining these topics of meter, texture and sectionality into one subject may at first seem questionable, but from Du Mont’s point of view they are all connected via – again – the text. O mysterium venerabile uses a duple meter throughout, while Sacris solemniis has numerous meter shifts between duple and triple meter. Sectionality in O mysterium venerabile is present not only at significant changes in text or texture; and when there are section changes in Sacris solemniis, typically the meter and the texture are also changing.

Sectionality is not expressed by cesuras or fermatas in either motet within the original source.

Other than the slowing of the harmonic pace, the music moves smoothly from one section to another without any indicated tempo changes.

Using Sacris solemniis as an example, the chart below (Table 5.1) will help in understanding where and why sectionality occurs in this motet. The chart shows other things

81 too: note that the bulk of Sacris solemniis is in triple meter. Note also that six syllables per line is most often logically set in triple meter.

Poetic Texture/Sectional Measure Meter Text Change Feet Change 1 4/4 N/A N/A Sinfonia 8 3/4 No text N/A N/A 21 3/4 Sacris solemniis 6 Solo Baritone 49 3/4 Sacris solemniis 6 Full Ensemble 61 3/4 No change 8 Solo Baritone 69 3/4 Recedant vetera 6 Full Ensemble 81 3/4 N/A N/A Sinfonia 104 4/4 Noctis recolitur 6 Solo Baritone 120 4/4 Post agnum typicum 6 Full Ensemble 143 3/4 Dedit fragilibus 6 Solo Alto/Baritone 167 4/4 Dicens 2 Solo Alto/Baritone Accipite quod trado 170 3/4 vasculum 9 Solo Alto/Baritone 215 3/4 N/A N/A Sinfonia 239 3/4 Sic sacrificium 6 Full Ensemble 251 4/4 Ut sumant et dent caeteris 7 Full Ensemble 264 4/4 Panis Angelicus 6 Solo Choir 335 3/4 Te trina Deitas 6 Full Ensemble 347 4/4 Ad lucem quam inhabitas. 8 Solo Choir/Full Ensemble

Table 5.1: Motet XX Sectionality and meter

However, some lines have six poetic feet but are set in duple meter. Perhaps there is an anomaly in our theory, then, in that phrases that should have been set in triple are in fact set in a duple meter (measures 104-142). But when the exact words and phrases are repeated in search of the stressed syllable in the phrase, common sense again returns to Du Mont’s rationale for setting them in duple meter. For example, the stressed syllables in the text ‘Noc- tis re-co-li-tur coe-na no-vis-si-ma naturally falls on those underlined syllables. Likewise,

Post a-gnun ty-pi-cum, ex-ple-tis e-pu-lis. This does not work perfectly, but it does draw attention to the priority Du Mont places on text and natural syllable stresses.

An early example of the changing meters occurs very early in Sacris solemniis, as we see in Example 5.9. The sinfonia begins in duple meter, but switches to triple meter after

82 seven measures. The imminent change to triple meter is signaled by a whole note in all instruments, much like a sectional change would be signaled by whole notes at the end of the verse. There is no obvious reason for beginning this motet in duple meter, but then shifting to triple meter eight measures later. However, the text of the opening baritone solo fits into triple meter, so finding a rationale for a sinfonia opening in duple is attributed to the composer’s creativity.

Example 5.9 Motet XX mm. 6-10: Meter change

After Example 5.9, Sacris solemniis continues in triple meter for the next ninety-five measures, then changes to a duple meter at the new text of “Noctis recolitur” (Now is renewed). This meter switch defines the end of verse one and the beginning of verse two.

What is unusual in this transition between meters is that the whole notes are now placed into the new text, whereas the whole notes are normally placed prior to the change of meter, text or texture (m. 104). Preparation for this metrical change is not prefaced by any whole notes in the instruments; rather, the music moves directly into a new meter. The auditory effect of this changing meter is mitigated however when Du Mont adds a half-note rest prior to the new text being sung in a duple meter (Example 5.10).

Example 5.10 Motet XX mm. 101-105: Meter change in new verse

5.1.6 Tempo

There are no tempo markings anywhere in the manuscripts; nor are there any score indications that there should be changes in tempo at any time during the performance of these motets. The perceived slowing or quickening of the tempo is already built into the music.

When approaching cadences, Du Mont uses longer notes and ties to give an auditory impression of a slowing tempo. However, conductors should exercise their musical sense and approach the close of the section by a very modest ritardando. The sectional cadence should give the listener a sense that the poetic and musical section has come to an end, and that the next section of text is about to begin. A conductor should approach this in much the same manner one would approach the end of a paragraph, and before beginning a related subject.

The entire O mysterium venerabile motet is in common time. A suggested tempo should be in the range of 88 to 92 quarter notes per minute. Sacris solemniis is in both common time and triple time. The tempo in common time can be in the 88-92 quarter notes per minute and the triple meter tempo can be in the 116-120 quarter notes per minute. In selecting a tempo, conductors should of course take into consideration the skill level of the performing ensemble, and the acoustics of the space. Example 5.11 below would be a good starting point in determining a proper tempo for each ensemble. Vocalists and instrumentalists must be able to execute these fast-moving notes and their correlating rests with clarity and precision. Frederick Neumann, writing about the practices of seventeenth- and eighteenth-century performance practice, writes: “The performer has the privilege of choosing the tempo he considers fitting, provided it does not directly contradict the meter signature, is suitable for the piece, and brings out its values”.85

85 Frederick Neumann, Performance Practices of the Seventeenth and Eighteenth Centuries (New York: Schirmer Books, 1993), 47.

Example 5.11 Motet XVII mm. 81-84: Tempo test

A steady tempo should be adopted throughout these motets, and there should not be significant tempo changes throughout either motet – trust the composer to indicate speedings up and slowings down by his notation. The only exception to maintaining the same tempo

86 throughout would occur in O mysterium venerabile at mm. 104-118. For specifics of this suggested tempo change please refer to Examples 4.14 to 4.17 for this study. This section would also be an appropriate place for the tempo to slow to a stop, and return to full tempo by measure 121 via a slow accelerando. Furthermore, it can be surmised that not only does the tempo slow, but the volume moves from mezzo-piano to niente. Then in measure 115, the continuo slowly breathes new life into the music, which returns to full tempo as the narrator instructs the listener to quietly reflect on this sacrosanct mystery.

Ponite Lyras et Psalteria. I1 Put down your harps and lyres. Silete. silete, J1 Be silent, Be silent, Et adorate J2 And just adore Sacro-sancta Mysteria. I2 this sacrosanct mystery.

Table 5.2: Motet XVII mm. 108-118 Tempo slows to a stop then returns to A tempo

5.1.7 Ornaments and Embellishments

The French in the mid-seventeenth century did not adopt the fashionable embellishments of the Italians, least of all in their religious music. The same holds true for these motets. Since there is no evidence in favor of using embellishments, and these motets were used in the worship service of the French king, voices should apply Notes inégales and embellishments modestly, if at all, to their solo lines. The realization of the basso continuo line is different, for obvious reasons. The realized continuo line could and should imitate musical events going on with the voices and stringed instruments. Just as the voices and instruments play off and respond to other composed vocal and instrumental parts, so should the continuo respond to, or in concert with, musical events in their parts, perhaps going so far as to introduce supportive musical ideas into the texture.

5.2 Historical French Musical Performing Practices

The performance practices of religious institutions of France in the mid-seventeenth century were somewhat different than one might have observed in other European countries.

Issues that shaped that practice included a French world-view that reflected the enormous national pride of the French in the country, their language and their monarch.86 (Of course, these perspectives varied depending upon which ‘rail’ of society you claimed membership of.)

Along with the French people’s slanted view of the world outside of France came suspicions of the musical practices and aesthetics of these outliers. Granted, there were many French devotees of musical practices from beyond the country’s borders, particularly regarding the music of the Italians. But much of that devotion was directed towards the activities of secular, not religious, society. The fact that Latin was the language of church, the mass and the grand motet, removed the grand motet from arguments about how best the French safeguarded their language.87

The choral singing in vogue in mid-seventeenth-century France incorporated many different aspects. As time moved from the first third of the century into the second third, taste increasingly favored secular music, smaller musical works, the addition of instruments to new and existing choral pieces, a growing interest in poetry, and the comprehension of texts. In a different direction was the maintenance of the older styles of music but in new garb. This trend maintained the glorious sounds of multiple choirs, affirmed the status quo, prized polyphony, used bands of instruments and voices as curtains of sound, and continued the use of music as a tool of state.88

86 Jean-Paul C. Montagnier, “French Grands Motets and their Use at the Chapelle Royale from Louis XIV to Louis XVI,” The Musical Times 146, no. 1891 (2005): 47–57, https://doi.org/10.2307/30044089. 87 Durant, 1–10. 88 Anthony, 1978, 170–73.

Performance spaces in the French royal chapel continued to be rather intimate. The natural acoustics of the small halls, and the large assemblage of musicians, were enough to send the message to the participants that the King, sitting only feet away, put them within reach of divinity.

By the middle third of the century, music for domestic use was flourishing. Women were cut out of religious music in public, but the demand for music-making in private homes and nunneries was thriving.89 So was the adaptability of new music. Music now had the flexibility to be sung by one, two or five voices and accompanied by any number and type of instruments.

Poetry, both old and in new adaptations, stood at the core of this new aesthetic. New secular texts were composed on ranges of topics by the likes of very well qualified poets like

Jean-Jacques Rousseau, Pierre Perrin, Molière (Jean-Baptiste Poquelin) and Philippe

Quinault. Some of these poets took psalms and biblical passages and gave them contemporary settings, with musicians like Du Mont then setting these exquisite texts to well- written music.

The string band became the rage. The story of Lully transforming the Vingt-quatre violons du roi (King’s Twenty-Four Violins) from a rather average string band into one of the most internationally recognized of its time fit well with an emerging view of music as a carefully-choreographed life-dance.90 The French court led the world with their love of precision. They demonstrated this in their dance movements, the rhythms of their music, their preference for particular voice-types, the construction of their palaces, their décor and their dress, and their coiffure and manners.

89 Gordon A. Anderson et al., Paris. 90 Schulenberg, 103–10.

The final third of the seventeenth century saw the flowering of such mid-century trends, reflected in Du Mont’s final years at the Chapelle Royale under the strong and peaceful monarch, Louis XIV.

Conducting an ensemble depended somewhat on the size of the ensemble, but at this period it consisted of little more than beating time. For very large ensembles, there may have been one person designated for this purpose; but for smaller ensembles, a string player or keyboardist would suffice for leadership, as long as there was general agreement about style and tempo, and an understanding of how to transition from one section to another.91

Ornamentation was a standard practice in the Baroque era, but less so in French religious music. Ornaments and embellishments were allowed if the singer was skilled in producing the ornaments, and if the ornament did not distract from the text. This suggestion is only for solo singers and lines with only one singer. Where there are parts using multiple singers or instrumentalists, ornamentation or embellishment should not be considered, and is impractical.92

Dynamics in French religious music of the time relied upon ‘terracing’ and on texture.

Greater dynamic levels were achieved by adding or subtracting performing forces. Gradations of dynamics in the manner of crescendos and diminuendos did not find a home in Du Mont’s music, and he did not use dynamic markings in these two motets. The thickness or thinness of texture was sufficient for Du Mont to express ideas that could be achieved by dynamics.

91 Jeffery T. Kite-Powell, A Performer’s Guide to Seventeenth-Century Music, ed. Stewart Carter, Second edition, Publications of the Early Music Institute (Bloomington: Indiana University Press, 2012), 47, http://www.jstor.org.proxy2.library.illinois.edu/stable/j.ctt16gzcwn. 92 Bruce Dickey, “Ornamentation in Early Seventeenth-Century Italian Music,” in A Performer’s Guide to Seventeenth Century Music, ed. Stewart Carter (Indiana University Press, 2012), http://www.jstor.org/stable/j.ctt16gzcwn.

5.3 Performing Forces for O mysterium venerabile and Sacris solemniis

Here I will examine the various components of these motets. It should help the conductor to know these components and the multiple roles they play within each motet. It is helpful to know how they typically behave as a component of the ensemble, and what are some of their unusual behaviors. For example, voices serve as soloists, as members of the solo and large choir, as small ensemble members with the instruments, and as members of the full ensemble. Within these components are some unique applications of their roles, and this may provide additional understandings of how Du Mont was able to stitch these various roles together to create an artistic whole.

These two grands motets have much in common. Their forces are similar. Both have a six-piece instrumental component that consists of violin I, violin II, viola I, viola II, cello and basso continuo. The nomenclature of those instruments in the part-books is as follows:

Part Book Nomenclature Suggested Modern Forces Premier Dessus de Violon Violin I Second Dessus de Violon Violin II Haute-contre de Violon Viola I Taille de Violon Viola II Basse de Violon Cello Basse-continue pour Orgue Organ

Table 5.3 Instrument part-book nomenclature

Both motets use a solo chorus and large chorus. The solo chorus of O mysterium venerabile has an additional soprano or dessus part. Du Mont labels them as dessus and bas- dessus. The nomenclature of these voices in the part books is as follows:

Part Book Nomenclature Suggested Modern Forces Petit Choeur Solo Chorus Grand Choeur Large Chorus Dessus Soprano I Bas-dessus Soprano II Table 5.4 Vocal part-book nomenclature

Haute-contre High Tenor/Alto Haute-taille Tenor Basse-taille Baritone Basse Bass Table 5.4 Continued

Both motets can be divided into eight performing components:(i) the basso continuo,

(ii) the orchestra as an accompaniment, (iii) the orchestra as an independent ensemble, (iv) the solo voice(s), (v) the solo choir, (vi) the large choir, (vii) the combined choirs, and (viii) the full ensemble. Of course, there are many instances of these performing components within these motets. It is helpful to determine how much of each motet is allocated to each of these groups, so as to better understand Du Mont’s style and priorities.

The participation information in Table 5.5 shows these component parts and the comparative roles they play in each motet. It may help the conductor to understand how Du

Mont went about organizing these grands motets, showing the relationships between the various components and making performer assignments. A cautionary note: these numerical assignments to the sections are approximate because sections and components overlap, but charting them does give some idea as to the importance Du Mont gave to these components.

O mysterium venerabile Sacris Solemniis

Part # of Measures Part # of Measures Solo/Duet 20 Solo/Duet 130 Solo Choir Alone 52 Solo Choir Alone 72 Orchestra Alone 12 Orchestra Alone 70 Full Ensemble 68 Full Ensemble 88 Basso Continuo (all) 152 Basso Continuo (all) 360 Table 5.5 Component Participation

O mysterium venerabile is considerably shorter than Sacris solemniis. Also noted earlier was the complexity of the Sacris solemniis text, in which Du Mont dispensed with solo writing. In Sacris solemniis, the bulk of the effort goes to the combined choirs. That too

92 is understandable since the text dwells on many more theological affirmations, which are effectively rendered by the full ensemble. It is worth noting that the large choir never functions without the solo choir.

5.3.1 Basso Continuo

This examination of the individual components begins with the basso continuo. It is the only component that functions throughout, and never serves as a solo instrument. It is the glue that holds the motets together. There are no a cappella sections, nor any orchestra alone sections without the basso continuo. Everything is tied together by the basso continuo. There are two measures in the entirety of these motets where we hear only the basso continuo.

Those two beats are in O mysterium venerabile, measures 112-113 (See Example 4.16, p. 59).

Here the basso continuo does not function as a solo instrument but as a transition to a new text and texture.

The realization of the basso continuo line is different than the other instrumental lines, for obvious reasons. The realized continuo provides a harmonic framework and supports and imitates musical events in the voices and string instruments. Du Mont wrote all the individual notes for all the other voices and instruments. He left it to the basso continuo to be improvisatory and to complement the parts with the voices and instruments and fill in the harmonic spaces. Ideally, just as he designed the vocal and instrumental parts to complement and respond to one another, the improvised continuo should respond to musical events in these vocal and instrumental parts.

5.3.2 The Orchestra as an Independent Ensemble

The orchestra serves as an independent ensemble in the sinfonias and interludes of the two motets. Sinfonias appear at the beginning of each motet, while the orchestral interludes occur with frequency throughout them.

O mysterium venerabile has an opening sinfonia twelve measures long, while the opening sinfonia in Sacris solemniis is twenty measures. These opening sinfonias set the stage and character for what is to follow. The melodic and rhythmic material in them is not incorporated into any other part of the motet. Below is a comparison of the first four measures of each motet, through which one can easily tell the different character of each. O mysterium venerabile’s sinfonia is lively, with dotted rhythms and imitative polyphony appearing poised to take on the exulted expressions of the Holy Trinity (Example 5.12).

Example 5.12 Motet XVII mm. 1-4: Opening of sinfonia

In contrast, Sacris solemniis’s opening sinfonia is rather somber. It relies upon suspensions and dissonances to build intensity and gravitas, thus preparing the communicant for the observance of the rituals of the Last Supper:

Example 5.13 Motet XX mm. 1-5: Opening of sinfonia

Instrumental interludes often set the vocal text in ‘relief’. Du Mont uses the instrumental interlude to provide space and time for events in the mass to unfold according to the dictates of the liturgy. Additionally, interludes are at times used as bridges to new texts and textures. In these instances, the orchestra acts as an independent ensemble, and seems to function as a contrast or as a ‘relief’ mechanism between changes in text.

These instrumental interludes can be extensive - as in the twenty-four-measure interlude at mm. 215-238 of Sacris Solemniis - or brief, as the four-measure interlude between a dialogue of two soloists, as shown in Example 5.14.

Example 5.14 Motet XX mm. 175-180: Instrumental interlude

5.3.3 The Orchestra as Accompaniment

The primary function of the orchestra is to accompany the voices. There are many variations in its usage, but one particularly interesting one for this period concerns the use of the cello. In accompanied sections, the cello usually doubles the basso continuo and the basses of the large choir, but is more independent when supporting only the solo choir. The violin I often tracks the Soprano I when both choirs are singing.

When accompanying the voices of both choirs, Du Mont is seeking theological reinforcement through musical grandeur. Example 5.15 below shows the doubling of some vocal lines but the independence of others. The instruments assist the voices of both choirs.

Typically, the cello, the basso continuo and the basses of both choirs are in unison. The violin I doubles the Soprano I of both choirs. The interior instruments, the violin II, viola I and viola II, are related to the interior vocal lines of Soprano II, Alto, Tenor and Baritone but do not always double them exactly. Clearly, the fact that the string band is of five parts, and the choral voices are also divided into five parts, makes the idea of instrumental doubling of the various voice parts a natural one.

Example 5.15 Motet XVII mm. 31-35: Violin I and cello double the chorus parts

Another very interesting role for the violins is where they become part of a small ensemble within the ensemble. In Example 5.16, the violins briefly become a member of a petit motet within the larger motet. The violins accompany the solo voice, but also assume a stature equal to the that of the voice. Their lines are independent but pick up the musical

98 motifs of the voice part (Now is renewed the Last Supper of the night) .

Example 5.16 Motet XX mm. 104-108: Instruments and voices forming Petit ensemble

It is in the inner instrumental parts, as in Example 5.17, that many interesting features happen. The inner instrumental voices often function independently and are left to add interest, or to thicken or thin the texture. violin II, viola I and viola II often function quite independently from the other instruments or the choruses. It is in these inner instrumental parts that we see fascinating additions and subtractions to the color and texture. If subtracting from the texture, it is the viola II that usually drops out. When attention is drawn to one of these inner instrumental voices, it is often the viola I that is the focal point of that attention.

In Example 5.17, viola I exhibits an uncommon independence from the orchestra. When attention is drawn to these inner parts, the part takes on a life if its own, with only a casual

99 reference to the other orchestral or vocal parts. In this case, the viola I is responding to the rhetorical message of the text ‘profundum’ (profound), while adding color to the ensemble texture.

Example 5.17 Motet XVII mm. 36-45: Independent inner instrumental part

Finally, and rarely, one instrument may function as a descant for the voices, adding color, richness and texture. One clear example of this role in the two motets occurs in O mysterium venerabile when the independent violin II plays a brief descant above the lines of the solo choir. In so doing, it functions like a seventh vocal line. This is a stroke of creative writing not witnessed elsewhere in the two motets. Note in Example 5.18 below that this descant also works likes a rhetorical device. The voices are singing ‘O mysterium venerabile!

Altum profundum, impenetrabile!’ (O exalted, unfathomable, profound!). The violin II

100 evokes the image of a lyrical, heavenly messenger who acts as an observer to the rising human voices of ‘altum’ and the earthly concerns of the ‘profundum’.

Example 5.18 Motet XVII mm. 19-26: Instrumental descant

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Example 5.18 Continued

5.3.4 Instrumental Voice-crossings

Du Mont often treats the violin I and violin II parts as equals, using similar ranges and tessituras. What is notable about the two violin parts is that the violin II range can exceed the range of the violin I. Their lines frequently cross in the manner of a trio sonata, and form a string duet or become part of a three-part ensemble with a solo voice. Example 5.19 below provides a good example of the tessituras and voice crossings of violin I and violin II.

Another good example is at measures 81-86 of Sacris solemniis.

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Example 5.19 Motet XVII mm. 1-12: Instrumental voice-crossing

5.3.5 Vocal Components

There are differences between the voicings of the two motets. O mysterium venerabile has six vocal parts in the solo choir: Soprano I, Soprano II, Alto, Tenor, Baritone, and Bass.

Sacris solemniis has five vocal parts in the solo choir, these being Soprano, Alto, Tenor,

Baritone, and Bass. Both motets have five vocal parts in the large choir: Soprano, Alto,

Tenor, Baritone, and Bass.

Within each motet there are differences between the vocal ranges of the solo choir and those of the large choir, as seen in Example 5.20 below. Ranges for the solo choir can often extend a minor third beyond those of the large choir.

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Motet XVII Solo Choir Motet XVII Large Choir

Motet XX Solo Choir Motet XX Large Choir

Example 5.20 Vocal ranges of Motets XVII and XX

Example 5.20 shows the comparative vocal ranges in the large choirs as being somewhat similar. We also note that the baritone and tenor lines are within customary ranges. The bass line of O mysterium venerabile is beyond the lower range of what may be considered a ‘typical’ bass, descending to a low D. The large-choir soprano parts have the same ranges, well within the capability of a boy soprano. The bas-dessus solo choir voice in

O mysterium venerabile could be sung by a boy’s voice or a male falsettist. But defining who sang the haute-contre part in a religious setting is still a subject for debate. If we remove the use of castrati and women from the performance of sacred music in the church during this time, we are left with only limited choices as to who sang this particular voice part. Neal

Zaslaw states, “The haute-contre is the voice of a man, in the full sense of the word, to whom

104 nature has given a voice which is clear and which ascends easily into the high notes”.93 Peter

Bennett, writing about this issue, also sheds some light on this topic. He writes:

The five-part French motets of the late 17th and 18th centuries typically contained three tenor parts (haute-taille, Taille, and Basse-taille) between the soprano (Dessus) and the bass. With the development of French opera under Lully, however, the solo tenor voice was little valued. Nor did the French ever favour the castrato; they developed instead the Haute-contre, a very high tenor voice similar in range to the English Countertenor or the alto castrato.94

We know the performance of the haute-contre part was a demanding one. If we look at Table 5.6 on page 109, we note that the haute-contre voice sang a major portion of these motets. The haute-contre, along with the bass, was the solo voice of choice for Du Mont.

Before the haute-contre voice fell out of favor in the early eighteenth century, it was a male voice admired for its range, timbre and strength. Citing Neal Zaslaw’s “The Enigma of the

Haute-Contre,”95 Anne Harrington Heider states, “The French haute-contre was not a falsetto voice, but a high, light tenor and not a falsetto like the English alto.”96 Heider recommends that if there are tenors comfortable at this end of the range, have them sing haute-contre with the female altos, and the addition of this voice will add some ‘ping’ to the sound of the section.97 There are varying opinions on what defined the haute-contre voice. It eventually came to connote an unusual extension of the tenor range. Mary Cyr writes about performing eighteenth-century French opera haute-contre roles, and has a variety of commentary on this subject. Her references are to opera voicings and not to church music, but there is still some useful information here. She writes:

The word designated however a male voice accustomed to singing almost exclusively, and in the chest voice, the five highest notes (including B natural) in the range of the

93 Neal Zaslaw, “The Enigma of the Haute-Contre,” Musical Times 115, no. 1581 (November 1974): 940. 94 Peter Bennett, “Collaborations between the Musique de La Chambre and the Musique de La Chapelle at the Court of Louis XIII: Nicolas Formé’s ‘Missa Æternae Henrici Magni’ (1638) and the origins of the Grand Motet,” Early Music 38, no. 3 (2010): 372. 95 Zaslaw, “The Enigma of the Haute-Contre.” 96 Heider, 47. 97 Heider, 47.

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first tenor. The pitch was, as is generally believed, lower by a step than the present pitch.98

These voice parts can today be performed by altos taking the haute-contre parts of both motet large choirs and the haute-contre of O mysterium venerabile, large choir, with a mezzo-soprano singing the haute-contre part in the solo choir of Sacris solemniis. The alto parts would benefit from the addition of a high tenor to any or all of these lines to add additional crispness and brilliance.

Previous scholarship has suggested that the haute-contre’s high range and tessitura be sung by the comparative modern-day countertenor. More recent scholarship seems to suggest that the French seventeenth-century haute-contre part was only rarely sung in a male falsetto voice, distinguishing it from today’s countertenor voice. Cyr goes on to explain that haute- contre was more than a description of range, but also a quality of voice. Haute-contre refers to the register we now call alto – see Table 5.4, page 92.

We do know there was a revered singer by the name of Antoine Boutelou who was a haute-contre in the court of Louis XIV, and whose voice went up to a Bb199. Such a voice would thus have fit into the range of A to g1. Du Mont may well have had access to such talented singers, which perhaps explains why he gave that voice part such a prominent place in Sacris Solemniis.

The tessitura of the bas-dessus solo choir line of O mysterium venerabile lies a perfect fourth or fifth lower than the dessus part. One interpretation could be that this part was written for what today would be referred to as a changing voice, or cambiata. Since females did not perform this part, the assignment of these lines may have been left to a

98 Mary Cyr, “On Performing 18th-Century Haute-Contre Roles,” in Essays on the Performance of Baroque Music. Opera and Chamber Music in France and England (Ashgate, 2008), 291–94. 99 Cyr, 291–94.

106 cambiata voice, although there is no evidence to prove this. Likely, the haute-contre part was written for what today would be referred to as a falsettist, or a counter-tenor. However, range is only one test of a voice line. The other is tessitura.

Of the individual voice parts, three of them present no problems: tenor, first bass (or baritone), and second bass. Their usage corresponds exactly with that of contemporary choral range and style. Although the voices of women were not unknown to the sanctuary of the church in even the early seventeenth century, the general practice of using boy sopranos, male falsettos, or castrati for soprano parts prevailed until the time of Louis XIV who expressed a strong preference for the feminine soprano voice.100

The above references relate to the time of de Lalande, who began his service as sous- maître in the Chapelle Royale around 1683.101 That year also marked the turning point in the aesthetic fate of the grand motet. During this time, Louis XIV increasingly turned away from contemporary theatre and opera entertainment in favor of more spiritual musical genres. To accomplish this, he used his new sous-maître to set appropriate psalms, the dramatic content of which would borrow from the style of the musical tragedies of the time.102

5.3.6 The Solo Voice(s)

All solo singers are drawn from the solo choir. In solo sections the accompaniment becomes sparse. In the case of Sacris solemniis, the opening vocal music is for baritone solo, accompanied only by the basso continuo (see Example 5.21), as is common in the solo sections. A solo voice often carries the weight of long textual sections that might consume all or a good part of a particular verse. For example, in O mysterium venerabile, verse two is

100 James Edward Richards, “The ‘Grand Motet’ of the Late Baroque in France as Exemplified by Michel- Richard De Lalande and a Selected Group of His Contemporaries” (Ph.D., University of Southern California, 1950), 111, http://search.proquest.com/docview/1644539285/citation/F0A219075FCD418APQ/2. 101 Schulenberg, Music of the Baroque, 151. 102 Jean-Paul C. Montagnier, “Chanter Dieu en la Chapelle Royale: Le grand motet et ses supports littéraires,” Revue de Musicologie 86, no. 2 (2000): 235.

107 entirely presented by the alto voice at mm. 57-77. In this instance, as in others within these motets, the solo voice is accompanied only by the basso continuo:

Example 5.21 Motet XX mm.21-25: Baritone Solo accompanied only by basso continuo

But Du Mont also uses other styles of soloist accompaniment. Such an example is found in Example 4.26 page 66, where the baritone solo and violins form a trio. Does Du

Mont favor one solo voice over another? Yes. A count of the solo measures of both motets shows that he first prefers the haute-contre voice, followed by the bass voice and lastly, the baritone voice. Interestingly, in both of the motets Du Mont gives no extended solo parts to

108 either soprano or tenor of the solo choir. The likely explanation for this preference is that Du

Mont had to rely upon a boy’s unchanged voice for the soprano line, and perhaps also could not find qualified singers for the tenor solo lines.

O mysterium venerabile # Measures* Sacris solemniis # Measures* Sop I (Dessus) Sop I (Dessus) Sop II (Bas-Dessus) (No Sop II) Alto (Haute-Contre) 20 Alto (Haute-Contre) 72 Tenor (Haute-Taille) Tenor (Haute-Taille) Baritone (Basse-Taille) Baritone (Basse-Taille) 32 Bass (Basse) 14 Bass (Basse) 71 *These numbers are approximate. Some numbers are based upon incomplete measures.

Table 5.6 Weight given to particular soloist voice types in the two motets

5.3.7 The Solo Choir The solo choir is intended to be performed by one voice per part. Just as individual soloists move the text along, that too becomes part of the function of the solo choir. The solo choir parts are more difficult, and contain some small differences in range, compared to those of the large choir. The solo choir does introduce, and modestly develop, new musical motifs and text repetitions without the assistance of the orchestra. In several places the solo choir is accompanied only by the basso continuo, which allows for more freedom. This is conducive to Du Mont providing more complex contrapuntal music for the solo choir but changing to homophony when the soloists are joined by the large chorus.

As noted earlier, O mysterium venerabile has a sixth part in the solo choir. Du Mont is fond of shifting vocal pairings around to achieve a variety of textures, and there seems to be a proclivity towards pairing the voices in the six-part solo choir. Soprano I and II are loosely associated, while the alto and tenor lines also share a relationship, and the bass and baritone lines complete the pairings. The following example illustrates these voice pairings:

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Example 5.22 Motet XVII mm. 31-35: Voice pairings in the solo choir

With the exception of the doubling of the soprano line when the orchestra is supporting the solo choir, the solo choir in general exhibits considerably more melodic and rhythmic freedom when compared to the orchestral support given to the large choir.

In Example 5.23 below, the solo choir performs with significant independence, often with only basso continuo accompaniment and at other times with an instrumental part acting as an additional voice. It provides additional freedom for Du Mont to write polyphonically and to exploit various rhetorical devices. The solo choir is accompanied only by the basso continuo when one, two or three voices are singing. Whenever the full solo choir is engaged, a part or the whole of the orchestra is engaged. The solo chorus does explore more difficult motivic development than the soloists or large choir, but upon entry of the large choir, the texture moves immediately to homophony.

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Example 5.23 Motet XVII mm. 26-30: Independence of the solo choir

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5.3.8 The Combined Choirs

When the choirs combine, much of the musical performance difficulty is removed, through the provision of technically-easier music. In these sections of both motets, the

Soprano I of both choirs is supported by doubling by the violin I. The basses of both choirs are doubled for the most part by the cello. But the inner voices of the orchestra (vln. 2, vla. I, vla. II) remain largely independent of the voices. The inner voices of the solo and large choirs, on the other hand, largely duplicate the rhythmic and melodic lines of the orchestra and the solo choir.

5.3.9 The Large Choir

The Large Choir is intended for multiple singers per part. Because of this, the part- writing is necessarily simpler than the writing for the soloists or solo choir, and is typically expressed in large blocks of homophony. The Large Choir is always doubled by members of the orchestra or the Solo Choir. The Large Choir never sings as an independent ensemble, but always as members of the full ensemble. In most full ensemble sections, the Large Choir parts are closely aligned with the rhythmic and melodic lines of the orchestra and the solo choir. In neither of the two motets does the Large Choir sing without the support of the solo choir or instruments (see Example 5.24 below). The primary reason for having the large choir in the grand motet is as reinforcement, to express the grandness of the glory of God, and perhaps in so doing, to also magnify the glory of the king. In this respect Du Mont’s grands motets succeed exceedingly well.

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Example 5.24 Motet XVII mm. 81-84: Solo and Large Choir splendor and ‘grandness’

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5.3.10 The Role of the Full Ensemble

The orchestra is employed in two ways when playing with the full ensemble. First, it functions as a support for some of the voices, manifested most often by the doubling of the soprano and bass lines of both choirs. The inner voices of the orchestra and choruses are no longer free to initiate new material, and the music is one unified statement. Here, as seen in our final Example 5.25 below, Du Mont is expressing his stalwart theological belief in the greatness and majesty of the Almighty God and/or King.

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Example 5.25 Motet XX mm. 49-54: Role of full ensemble

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CHAPTER 6: CONCLUSION

The parts played in history by all humanity, and their relationship to their environment, are always complicated and fascinating. Such was the case for Henry (de Thier)

Du Mont and his family in mid-seventeenth-century France. Yet, in so many ways, he was one of the fortunate ones. He, through his parents and by his personal ambition and talent, was able to escape the vicissitudes that plagued many of his fellow humans at the time. He was able to chart a path from an early outstanding musical education under the auspices of the Catholic Church through to the portals of the world’s most powerful monarch.

Even so, the powerful forces around him played an integral part in this life. Long before the advent of social media, instant news and twenty-four-hour access to musical performances, Du Mont was able to collect the best of what the political, economic, educational and social environment had to offer and synthesize this knowledge and experience to create musical products that fit the wants and needs of his fellow countrymen.

There seems to be little firm evidence that these motets are primarily an homage to

Louis XIV, the Sun King. Perhaps that connection was made quietly by some of the Louis’ admirers, but Du Mont’s primary intention seems to have been to render sincerely the theological pillars of these two service motets to God the Creator.

The meaning and character of the texts is of primary importance for Du Mont. He is sensitive to the subtleties in the texts, and seems ready to exploit the potential for musical rhetoric based on their meanings. His settings of the ‘paradoxes’ in the poetry (examined at length in this dissertation) seem underutilized, while the musical rhetorical devices abound.

Perhaps the reason for this was that, for Du Mont at least, poetic paradoxes were more difficult to explain and understand than rhetorical poetic devices, the same being true of their

116 musical translations. The composer appears to have priorities other than enlightening the listener on subjects of theological complexity.

Stylistically, Du Mont is a composer of contrasts. It cannot be overlooked that he and the other sous-maîtres of the Chapelle Royale had access to some of the best resources in the world, so putting that power to work for the French kingdom and the King himself was expected. What more powerful tools could there have been for a composer than the resources of the Chapelle Royale, the Court, the Écurie, the Académie and Opera of the French courts, all focused on grandeur and spirituality?

So how is the political, religious and educational climate of early seventeenth-century

France relevant to this study of Du Mont’s grands motets? Why spend so much time writing about power, influence, taxation and the like? The answer is simple: the power to tax ultimately lay behind environments like Versailles and the Royal Chapel, which were then able to attract the best talent from all over the world. Du Mont was one of those so attracted, and benefited from all those forces. We too are caught up in those issues to some degree, and they likewise shape who we are, and who we are becoming. Henry Du Mont was no different in his own day. Through the lens of this French composer we can catch a glimpse of the life of one individual who escaped severe hardship to become a person the musical world still speaks about nearly three-hundred fifty years later. His life shaped the lives of many others during his time on this earth. And so it is with every member of the human ‘race’ who makes this ‘run for life’ so exciting and unpredictable.

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BIBLIOGRAPHY

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APPENDIX A: EDITORIAL NOTES ON THE TRANSCRIPTIONS

1. These two Du Mont motets are found in a collection of twenty such works of which a copy housed in the French Bibliothèque Nationale in Paris, Département de la Musique. The call number for the collection is Vm1 977, and the part book numbers range from R.19.417 to

R.19.432.

2. Presentation of the texts in the transcriptions follow the punctuation and capitalization used in the part-books. By laying out the texts in such a way, the poetry and their rhyme schemes easily emerge.

3. The part-books have been transcribed here into a full score format.

4. No key changes have been made from the original.

5. Key signatures, clefs and rests have been changed to their modern equivalents.

6. The basso continuo part has been realized for the organ.

7. Precautionary accidentals have been added to aid the performer where necessary.

8. Measure numbers and rehearsal letters, not present in the original publication, have been added to aid efficiency in rehearsal.

9. Errors in the original have been corrected, and are enumerated in errata below.

10. No accidentals that are present in the part-books have been added or deleted.

11.There are no indications in the Ballard print of added embellishments, and none have been added in this modern edition.

12.Tempo markings are absent from the original print, but have been added as suggestions to the modern conductor. Suggested tempos are based upon performing the dense textures with

121 clarity and precision, while preserving continuity and balance between the lyrical and solo sections.

13. No expressive markings exist in the 1686 print and no suggestions have been added to the modern score.

14. Ties and slurs have occasionally been added. Du Mont does include slurs and ties in his part-books, and these have been retained.

15. Text cues have been added to the orchestra and organ parts, some of which were already present.

16. Woodcuts at the beginnings of each motet in the 1686 print have not been reproduced.

17. There are multiple places in the print where the basso continuo figurations were not readable, so figures have been added where deemed appropriate.

18. It was conventional for minor key signatures to use one accidental less than would be expected in modern notation, thus d minor did not show the B flat and g minor showed only the B flat.

19. Errata

O mysterium venerabile

1. m. 57 beats 3 and 4, Haute-conte Solo Choir (two quarter notes should be half note)

2. m. 101 beat 3, Taille de violon (note should be whole note)

3. m. 130 beat 1, Haute-conte Large Choir (syllable ‘ta’ should be ‘ra’)

4. m. 140 soprano line missing a b natural sign

5. m. 148 beat 1, Basse de violon (extra fermata added)

122

Sacris solemniis

1. m. 240 Basso continuo (an unexplained ‘K’ below the line)

2. m. 263 Basso continuo missing # in figured bass

3. m. 272 Basso continuo missing # in figured bass

4. m. 314-315 Haute-conte Solo Choir (missing syllable ‘res’ in two measures)

5. m. 327 Basso continuo (multiple undiscernable figures )

6. The microfilm copy of the Ballard print used for this study lacks the final page of the

Dessus of the grand choeur to Motet XX; but the music here is the same as that for the petit choeur.

123

APPENDIX B: FRONTISPIECE, ROYAL LIBRARY STAMP, SAMPLE OF PART-BOOK, WOODCUTS

Figure B.1: Frontispiece

124

Figure B.2: Royal Library Stamp

125

Figure B.3: Sample of Part Book

126

Figure B.4: Woodcut Illumination for Motet XVII, O mysterium venerabile

Figure B.5: Woodcut Illumination for Motet XX Sacris solemniis

127

APPENDIX C: TRANSCRIPTION AND MODERN EDITION OF

O MYSTERIUM VENERABILE

128

Motet XVII O MYSTERIUM VENERABILE

Henry Du Mont q= 88-92 1610-1684 Sinfonia 2 3 4 ed. Norm Te Slaa Violin I j œ œ #œ™ œ #œ œ™ nœ œ™ bœ (Premier dessus de violon) &b c Œ œ™ #œ œ™ œ œ™ œ œ™ œ œ œ ˙ ‰ J J Sinfonia Violin II j (Second dessus de violon) &b c Œ œ™ œ œ œ ˙™ œ œ œ œ™ nœ˙ œ bœ œ™ œ˙

Sinfonia œ Viola I œ œ œ™ œ œ œ ˙ (Hautes-contre de violon) Bb c ∑ Ó Œ J Sinfonia Viola II ˙ ˙ (Taille de violon) Bb c ∑ ∑ w Sinfonia Bass œ œœ™ œ (Basse de violon) ?b c #œ ™ œ ™ b˙ œ œ œ™ œ ˙ œ œ œ w œ™ œ œ

Soprano I (Dessus) Solo Choir &b c ∑ ∑ ∑ ∑

Soprano II (Bas-Dessus) Solo Choir &b c ∑ ∑ ∑ ∑

Alto (Haute-contre) Solo Choir {&b c ∑ ∑ ∑ ∑ Tenor (Haute-taille) Solo Choir &b c ∑ ∑ ∑ ∑ ‹

Baritone (Basse-taille) ? Solo Choir b c ∑ ∑ ∑ ∑

Bass (Basse) ? Solo Choir b c ∑ ∑ ∑ ∑

Soprano (Dessus) Large Choir &b c ∑ ∑ ∑ ∑

Alto (Haute-contre) Large Choir &b c ∑ ∑ ∑ ∑

Tenor (Haute-taille) Large Choir &b c ∑ ∑ ∑ ∑ ‹ Baritone (Basse-taille) ? Large Choir b c ∑ ∑ ∑ ∑

Bass (Basse) {? Large Choir b c ∑ ∑ ∑ ∑

q= 88-92 2 3 4 &b c ‰™ r œ™ œ ˙ Œ œ œ œ œœ œ w œœ™ œœ œ œ #œ™ #œÓ nœ™ Sinfoniaw œ œ™ Organ Continuo œœ (Pour L' Orgue) ? c #œ œ™ ™ œœ™ b˙ œ œœ ˙ œ œ b w œ™ œ ™ ™ œ œ 7 - 6 # #4 œ !3 { 129 5 6 7 8 œ Vln. I b œ™ œ œ nœ œ œ bœ™ œ œ œ œ œ œ œ œ™ œ bœ œ ˙ & J œ™ œ ™ J J

Vln. II œ œ™ œ œ &b œ ˙ #œ œ™ œ œ™ œ œ œ œ œ œ œ œ™ œ œ ˙ œ

œ œ œ œ œ œ œ œ œ œ Vla.I ™ œ ™ ™ ™ œ œ™ œ œ œ œ œ™ œ ˙ Bb J J ‰ J

Vla.II Bb œ œ ˙ œ™ œ ‰ œ œ bœ œ ˙ œ œ œ ˙ ˙ J

Vc. ? ‰ j œ bœ œ™ bœ œ b ˙ ˙ w ˙ œ J œ

Sop. I(Solo) &b ∑ ∑ ∑ ∑

Sop. II(Solo) &b ∑ ∑ ∑ ∑ Alto(Solo) {&b ∑ ∑ ∑ ∑ A. Solo &b ∑ ∑ ∑ ∑ ‹

Bar.(Solo) ?b ∑ ∑ ∑ ∑

Bass(Solo) ?b ∑ ∑ ∑ ∑

Sop.(Full) &b ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑

5 6 7 8 j b Œ œ œ™ œ œ & ˙œ ˙ #œ ˙ œ œ ˙ œ™ œ œ œ Organ ˙ ˙ ˙ ˙ œ œ™ œ œ

? ‰ j œ bœ œ™ bœ œ b ˙ ˙ w ˙ œ J œ 4 { 130 9 10 11 12 œ Vln. I œ œ œ ™ œbœ œ &b œ ™ œ™ œ œ œ™ œ ˙ ˙ w

œ œ œ ˙ ˙ Vln. II œ œ bœ™ œ bœ œ™ œ œ #˙ &b œ œ œ œ œ™ œ #œ

Vla.I ˙ œ™ œ w œ ˙ w Bb J Œ

Vla.II bœ Bb w ˙ ˙ w œ ˙

œ œ Vc. œ œ œ œ ?b ˙ n˙ w œ œbœ œ œ œ œ

Sop. I(Solo) &b ∑ ∑ ∑ ∑

Sop. II(Solo) &b ∑ ∑ ∑ ∑ Alto(Solo) {&b ∑ ∑ ∑ ∑ Tenor(Solo) &b ∑ ∑ ∑ ∑ ‹

Bar.(Solo) ?b ∑ ∑ ∑ ∑

Bass(Solo) ?b ∑ ∑ ∑ ∑

Sop.(Full) &b ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑

9 10 11 12 b ˙ j & ˙ ˙ bœ™ œ ˙ #œÓ œ œ œ œ bœ #˙ Organ œ œ ˙ œ œ œ œ œ œ ?b ˙ n˙ w œ œbœ œ œ œ b # 4 # œ { 131 A

13 14 15 16 17 O mysterium Vln. I &b w ∑ ∑ ∑ ∑

O mysterium w Vln. II &b ∑ ∑ ∑ ∑

O mysterium w Vla.I Bb ∑ ∑ ∑ ∑

O mysterium Vla.II Bb w ∑ ∑ ∑ ∑

O mysterium Vc. ? ∑ ∑ ∑ ∑ b w A

Sop. I(Solo) &b ∑ ∑ ∑ ∑ ∑

Sop. II(Solo) &b ∑ ∑ ∑ ∑ ∑ Alto(Solo) {&b ∑ ∑ ∑ ∑ ∑ Tenor(Solo) œ j j &b ∑ ∑ Œ ˙ œ™ œ œ œ™ œ œ™ œ ˙ ‹ O my - ste - ri - um ve - ne - ra - bi - le!

œ œ Bar.(Solo) ? œ b ∑ ∑ ∑ ∑ Ó ‰ J Al

˙ œ Bass(Solo) ? œ œ œ œ #œ œ œ ˙ b Œ ™ J ™ J ∑ ∑ O my - ste - ri - um ve - ne - ra - bi - le! A

Sop.(Full) &b ∑ ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑ ∑ A 13 14 15 16 17 b & w w w w Organ w w w w w O mysterium ? b w w w #w w { 132 18 19 20 21 22

Vln. I &b ∑ ∑ ∑ ∑ ∑

Vln. II œ bœ œ™ œ &b ∑ Ó Œ œ œ œ œ ˙ Œ œ œ œ J

Vla.I Bb ∑ ∑ ∑ ∑ ∑

Vla.II Bb ∑ ∑ ∑ ∑ ∑

Vc. ?b ∑ ∑ ∑ ∑ ∑

j Sop. I(Solo) b ∑ ∑ œ œ œ nœ œ œ œ & Ó Œ œ™ œ œ ™ J O my - ste - ri - um ve - ne - ra - bi -

Sop. II(Solo) b ∑ ∑ Ó Œ j j & œ œ œ #œ™ œ #œ œ œ bœ™ œ O my - ste - ri - um ve - ne - ra - bi -

Alto(Solo) &b ∑ Ó Œ œ j Ó Œ œ bœ œ œ™ œ w { O my - ste - ri - um, O Tenor(Solo) j j j b ‰ œ œ œ œ Œ Ó ‰ œ œ œ œ œ & œ œ b˙ ˙ œ œ œ™ œ ‹ Al tum pro - fun - dum, Al tum, O my - ste - ri - œ œ œ œ œ œ œ œ œ œ Bar.(Solo) œ ˙ œ œ œ œ œ™ œ œ œ ™ ?b ‰ J ™ J ™ Œ J tum pro-fun - dum, A tum, O my - te - ri-um, O my ste - ri -

Bass(Solo) ? œ j œ œ œ œ j b Ó Œ b˙ ˙ ‰ œ bœ Ó Œ œ œ œ™ œ pro - fun - dum, Al tum, O - - my ste - ri -

Sop.(Full) &b ∑ ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑ ∑

18 19 20 21 22 b ‰ & ˙™ œ ˙ b˙ bœ ˙ j œ nœ #˙ #œ œ b˙ Organ ˙™ œ ˙ œ ˙ œ nœ ˙ œ œ œ ? œ b˙ bœ œ ˙ œ œ œ œ b ˙™ ˙ œ œ œ ˙ { 133 23 24 25 26

Vln. I &b ∑ ∑ ∑ ∑

w Vln. II ˙ œ œ œ j &b Œ ˙ œ ‰ J œ™ œ ˙

Vla.I Bb ∑ ∑ ∑ ∑

Vla.II Bb ∑ ∑ ∑ ∑

Vc. ?b ∑ ∑ ∑ ∑

Sop. I(Solo) b˙ œ &b œ œ™ œ ˙ œ œ œ œ™ œ ˙ œ œ œ œ œ œ œ le! O my - ste - ri-um ve ne - ra - bi-le! Al tum pro -

Sop. II(Solo) &b ˙ j j ‰ j œ œ ˙ bœ œ œ™ œ bœ œ œ œ™ œ ˙ œ le! O my - ste - ri - um ve - ne - ra - bi - le! Al

Alto(Solo) b j & œ bœ™ œ ˙ œ œ œ œ™ œ œ œ œ œ ˙ œ œ œ œ { my - ste - ri - um ve - ne - ra - bi - le! Al tum pro - fun - dum, Tenor(Solo) j j j &b w Œ œ œ œ™ œ #œ œ™ œ œ œ œ œ ‰ œ œ œ ‹ um. ve - ne - ra - bi - le! Al tum, Al œ œ œ œ œ œ Bar.(Solo) œ ™ ?b ∑ ∑ Ó Œ um ve - ne - ra - bi - le! Al -

j Bass(Solo) ? œ œ ˙ ‰ œ œ #œ ˙ ˙ b w nœ œ ™ J um ve - ne - ra - bi - le! Al - - - - tum

Sop.(Full) &b ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑

23 24 25 26 b & bw ˙ b˙ ˙ ˙ w Organ ˙ ˙ #œ œ #˙ w w ?b w n˙ ˙ ˙ œ œ œ #œ #4 { 134 27 28 29 30

Vln. I &b ∑ ∑ ∑ ∑

Vln. II &b ∑ ∑ ∑ ∑

Vla.I Bb ∑ ∑ ∑ ∑

Vla.II Bb ∑ ∑ ∑ Ó Œ œ

Vc. ?b ∑ ∑ ∑ ∑

œ Sop. I(Solo) b Ó Ó ‰ œ œ œ bœ œ œ œ œ ‰ œ œ œ™ œ & œ œ J J J fun - dum, Al tum pro - fun - dum, im - pe - ne - tra - bi -

Sop. II(Solo) b œ œ œ & œ œ œ œ œ œ œ ˙ œ œ œ œ ˙™ œ tum pro - fun - dum, Al tum pro - fun - - dum, im - pe - ne - tra - - - bi -

Alto(Solo) j j &b Ó ‰ j œ œ Œ ‰ œ ‰ j œ œ œ bœ œ œ œ œ œ œ bœ œ™ œ { Al tum pro - fun - dum, pro - fun - dum im - pe - ne - tra - bi - Tenor(Solo) j b œ œ Œ ‰ œ œ ‰ œ œ œ œ™ œ œ œ œ œ œ œ œ & J œ œ J œ ™ ‹ tum pro - fun - dum, Al tum pro - fun - dum, im - pe - ne - tra bi - œ™ œ Bar.(Solo) ? œ œ œ œ œ b œ œ ˙ ∑ ‰ J ™ ∑ tum pro - fun - dum, im - pe - ne - tra - bi - le!

Bass(Solo) ? œ b˙ bœ ˙ œ™ j b Œ œ ˙ œ ˙ œ œ œ pro - fun - - dum, pro - fun - - dum im - pe - ne - tra bi -

Sop.(Full) &b ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ Ó Œ œ O

Tenor(Full) &b ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑

27 28 29 30 Œ b ˙ ˙ œ œ œ œ ˙ & œ œ œ ˙ œ œ œ ˙ b˙ œ™ œ ˙ b˙ œ Organ w ˙ ˙ œ™ J ˙ œ j œ ?b œ™ œ ˙ b˙ ˙ œ™ bœ ˙ œ J 4 - 3 ˙ { 135 B 31 O mysterium 32 33 34 35 Vln. I œ œ œ œ œ ˙ œ œ™ œ œ œ œ™ œ ˙ &b Ó Œ Œ J œ J

O mysterium œ œ œ œ œ #œ œ œ œ ˙ Vln. II b ˙ œ œ œ œ ™ œ ™ œ œ œ & Œ ™ J J J

O mysterium ˙ œ œ™ œ ˙ ˙ œ œ™ œ œ œ™ œ ˙ nœ œ œ Vla.I Bb Œ J Œ J ‰ J

O mysterium Vla.II œ œ œ j j j Bb œ œ™ œ ˙ Œ ˙ œ œ™ œ œ œ œ nœ™ œ œ œ œ œ

O mysterium Vc. ? Œ œ œ™ œ ˙ Œ œ™ œ œ #œ œ œ™ œ ˙ b ˙ J ˙ œ J J B

Sop. I(Solo) ˙ œ œ œ œ œ œ ˙ œ œ™ œ œ œ œ™ œ ˙ &b Œ ™ Œ J œ J le! O my - ste - ri-um, O my - ste - ri - um ve - ne ra - bi - le!

Sop. II(Solo) j j j &b Œ j œ œ œ œ œ ˙ w ˙ œ œ™ œ œ™ #œ™ œ œ ™ le! O my - ste - ri - um, my - ste - ri - um ve - ne - ra - bi - le!

Alto(Solo) &b j Œ j j œ ˙ œ œ™ œ ˙ ˙ œ œ™ œ œ œ œ œ™ œ œ nœ œ œ { le! O my - ste - ri- um, O my - ste - ri - um ve - ne - ra - bi - le! Al Tenor(Solo) j j j &b œ ˙ œ œ™ œ ˙ Œ ˙ œ œ™ œ œ œ œ nœ™ œ œ œ œ œ ‹ le! O my - ste - ri- um, O my - ste - ri - um ve - ne - ra - bi - le! Al œ Bar.(Solo) œ œ™ œ œ œ œ œ™ œ œ œ nœ™ œ œ œ œ œ ?b ∑ Œ ˙ J J J O my - ste - ri - um ve - ne - ra - bi - le, ve - ne - ra - bi - le! Al

œ œ œ œ Bass(Solo) ? ˙ œ ™ œ œ™ œ ˙ b w Œ J J ∑ le! O my - ste - ri - um ve - ne - ra - bi - le! B

Sop.(Full) œ œ œ œ œ œ ˙ œ œ™ œ œ œ œ™ œ ˙ &b Ó Œ ™ Œ J œ J O my - te - ri-um, O my - ste - ri - um ve - ne - ra - bi - le!

Alto(Full) j j j &b Œ œ œ œ œ ˙ œ œ œ™ œ ˙ œ œ œ œ™ #˙ œ ™ my - ste - ri - um, O my - ste - ri - um ve - ne - ra - bi - le!

Tenor(Full) b ˙ œ œ œ ˙ ˙ œ œ™ œ œ œ œ œ™ œ œ nœ œ œ & Œ ™ J Œ J J ‹ O my - ste - ri- um, O my - ste - ri - um ve - ne - ra - bi - le! Al ˙ œ œ™ œ ˙ œ œ™ œ œ œ œ nœ™ œ œ œ œ œ Bar.(Full) ?b Œ J Œ ˙ J J O my - ste - ri- um, O my - ste - ri - um ve - ne - ra - bi - le! Al

Bass(Full) ? œ™ œ ˙ #œ œ œ™ œ ˙ { b Œ ˙ œ J Œ ˙ œ œ™ œ œ J J O my - ste - ri- um, O my - ste - ri - um ve - ne - ra - bi - le! B 31 32 33 34 35 j œ™ œ ˙ &b ˙™ œ ˙™ œ œ ˙ œ œ #˙™ œ n˙ ˙ Organ ˙™ œ ˙™ œ œ œ ™ œ ˙ ˙ O mysterium ? ˙™ œ œ #œ ˙ b ˙™ œ ˙ œ ˙™ ˙ 6 # # { 136 36 37 38 39 40 œ œ Vln. I b œ™ œ bœ œ ˙ œ œ œ™ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ & J J J ™ œ

œ œ ˙ œ Vln. II bœ™ œ ˙ œ ™ bœ œ œ œ œ™ œ ˙ &b J Œ J Œ J

bœ™ œ ˙ œ™ œ œ œ œ bœ™ œ bœ™ œ œ œ Vla.I ™ œ œ œ œ œ œ œ œ œ œ ˙ Bb J ‰ J J J

j Vla.II B ˙ Œ œ œ œ ˙ j œ œ œ b œ œ œ œ œ œ™ œ ˙ œ œ™ œ

Vc. ? j œ ˙ ˙ œ œ b Ó ‰ œ bœ Œ b˙ ˙ Œ ˙ œ œ

œ œ Sop. I(Solo) b œ™ œ bœ œ ˙ œ œ œ ‰ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ & J J J œ Al tum pro - fun - dum im - pe - ne - tra - bi - le! pro - fun - dum, Al tumpro -

Sop. II(Solo) b ‰ j Ó Ó Œ Ó Œ j & œ bœ œ ˙ ˙ œ bœ œ œ œ™ bœ Al tum pro - fun - dum, pro - fun -

Alto(Solo) b j ‰ j j & bw j bœ™ œ bœ™ œ j œ™ œ œ œ œ œ œ œ œ œ œ™ œ œ { tum pro-fun - dum im - pe - ne - tra - bi - le! pro- fun - dum, pro - fun j Tenor(Solo) b ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ ˙ œ™ œ œ œ œ œ ‹ tum, Al tum pro- fun - dum, pro - fun - dum, pro - fun - dum, ˙ œ œ œ œ œ œ Bar.(Solo) œ œ œ œ œ ˙ œ œ ?b ™ J œ œ œ œ œ tum, Al tum pro - fun - dum, pro- fun - dum, pro - fun - dum,

Bass(Solo) ? œ œ b ∑ ∑ Œ b˙ ˙ Œ ˙ œ œ pro - fun - dum, pro - fun - dum, pro -

œ œ Sop.(Full) b œ™ œ bœ œ ˙ œ œ œ ‰ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ & J J J œ Al tum pro - fun - dum im - pe - ne - tra - bi - le! pro-fun - dum, Al tumpro -

Alto(Full) &b ‰ j ˙ ˙ ‰ j Œ œ Ó Œ j œ bœ œ œ œ bœ œ œ œ™ bœ Al tum pro- fun - dum,˙ pro - fun - dum, pro - fun j Tenor(Full) b bw œ™ œ œ ‰ œ œ bœ™ œ bœ œ œ œ œ œ œ œ & J œ œ J ™ J ‹ tum pro-fun - dum im - pe - ne - tra - bi - le! pro - fun - dum, pro - fun ˙ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ Bar.(Full) ?b ™ J œ œ œ œ œ tum, Al tum pro- fun - dum, pro-fun - dum, pro - fun - dum,

Bass(Full) ? j œ ˙ ˙ œ œ { b Ó ‰ œ bœ Œ b˙ ˙ Œ ˙ œ œ Al tum pro - fun - dum, pro - fun - dum, pro -

36 37 38 39 40 b ˙ Ó ˙ ˙ ˙ j ˙ & b˙ ˙ ˙ ˙ b˙Ó œ™ œ ˙ Organ ˙ ˙ ˙ ˙

? ˙ œ b˙ œ™ bœ ˙ b w ˙ œ J ˙ J ˙ b ™ 6 { 137 41 42 43 44 45 œ œ œ Vln. I b ˙ Œ œ œ Œ œ™ œ w & œ™ œ œ ˙ œ J

œ œ œ œ œ Vln. II ˙ œ ™ œ™ œ ˙ œ œ #w &b Œ J J œ

œ œ œ™ œ œ™ œ œ Vla.I œ œ œ™ œ œ œ œ™ œ ˙ w Bb Œ œ œ œ ‰ J J

˙ j Vla.II B ˙ œ œ œ œ œ #œ ˙ œ w b œ œ™ œ œ™ J

œ œ ˙ Vc. ? j ‰ œ œ œ œ™ œ œ œ œ w b œ™ œ ˙ ˙ J J œ™ J

œ œ œ œ Sop. I(Solo) b ˙ Œ œ œ Œ œ™ œ w & œ™ œ œ ˙ œ J fun dum, pro - fun - dum im - pe - ne - tra - bi - le!

Sop. II(Solo) j j &b j œ œ j œ ˙ ‰ j œ œ œ œ™ œ œ™ œ œ œ œ œ œ™ œ œ œ œ™ #œ #˙ - dum im - pe - ne - tra - bi - le, im-pen-ne - tra - bi - le, im - pe - ne - tra - bi - le! In quo

Alto(Solo) b ‰ j & j œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ ˙ œ œ œ œ œ™ œ œ œ ™ #œ œ œ™ { dum, pro - fun - dum im-pe - ne - tra - bi-le, im - pe - ne - tra - bi le, im - pe - ne - tra bi le! In quo tri - na j j Tenor(Solo) b Œ ‰ j œ™ œ œ œ Ó & œ œ œ ˙ œ œ œ œ œ œ™ œ ˙ ‹ pro - fun dum, im - pe - ne - tra - bi - le, im - pe - ne - tra - bi - le!

œ œ œ œ Bar.(Solo) ? œ ˙ œ œ œ ™ œ œ™ œ w b Œ œ œ ‰ J J œ J pro - fun dum, im - pe - ne - tra - bi - le, im - pe - ne - tra - bi le!

œ œ ˙ œ œ Bass(Solo) ? j ‰ œ œ œ œ™ œ œ œ œ ˙ b œ™ œ ˙ ˙ J J œ™ J fun dum, im - pe - ne - tra - bi - le, im - pe - ne - tra - - - bi - le! In quo

œ œ œ œ Sop.(Full) b ˙ Œ œ œ Œ œ™ œ w & œ™ œ œ ˙ œ J fun dum, pro - fun - dum im - pe - ne - tra - bi - le!

Alto(Full) j j &b j œ œ j œ ˙ ‰ j œ œ™ œ œ™ œ œ œ œ œ œ™ œ œ œ œ™ #œ #w dum im - pe - ne - tra - bi - le, im - pe - ne - tra - bi - le, im - pe - ne - tra - bi - le!

Tenor(Full) œ œ j œ œ œ™ œ #œ œ œ œ œ œ œ w &b œ œ ˙ œ œ œ™ œ œ ‰ œ J ™ ‹ dum, pro - fun - dumim - pe - ne - tra - bi-le, im - pe - ne - tra - bi - le, im - pe - ne - tra - bi - le! œ œ œ œ Bar.(Full) ? œ ˙ œ œ œ ™ œ œ™ œ w b Œ œ œ ‰ J J œ J pro - fun dum, im - pe - ne - tra - bi - le, im - pe - ne - tra - bi - le! œ ˙ Bass(Full) ? j ‰ œ œ œ œ™ œ œ œ œ œ w { b œ™ œ ˙ J J œ™ ˙ J fun dum, im - pe - ne - tra - bi - le, im - pe - ne - tra - - - bi - le!

41 42 43 44 45 j &b ˙ ˙ ˙ ˙ ˙ œ™ œ œ œ œ ˙ #w Organ ˙ ˙ ˙ ˙ ˙ #œ œ œ œ w ? j b œ™ œ ˙ w œ œ ˙ w w # { 138 C 46 47 48 49 50 œ œ Vln. I &b ∑ ∑ ∑ Ó œ œ œ™ œ œ

Vln. II b ∑ ∑ œ j œ & Ó œ œ œ œ™ œ œ™ J œ™ œ œ

œ œ œ œ œ™ œ Vla.I Bb ∑ ∑ ∑ Ó Œ J

Vla.II œ œ j Bb ∑ ∑ ∑ nœ œ œ™ œ œ œ™ œ

Vc. œ œ ?b ∑ ∑ ∑ Ó œ œ œ™ œ œ C

Sop. I(Solo) b œ œ œ œ œ œ œ nœ œ œ œ œ œ œ™ œ ˙ ∑ & ™ ™ ‰ J J Ó In quo tri - na co - li-tur u - ni- tas, Et u - na Tri - ni tas.

j Sop. II(Solo) b œ™ Ó ∑ & œ œ œ™ œ œ œ #œ™ œ œ œ œ nœ œ ˙ tri - na co - li - tur u ni - tas, Et u - na Tri - ni - tas. j Alto(Solo) &b œ œ œ j œ œ ˙ Ó ∑ ™ œ™ œ œ œ™ œ œ œ œ œ ™ { co - li- tur, co - li- tur u - ni - tas, Et u - na Tri - ni - tas. Tenor(Solo) &b ∑ ∑ ∑ ∑ ∑ ‹

Bar.(Solo) œ œ œ œ œ ?b ∑ ∑ ∑ Ó Œ In - quo tri - na

nœ œ œ™ œ œ œ œ œ œ Bass(Solo) ? ™ œ œ œ™ œ ˙ Ó ∑ b J J tri - na co - li - tur u - ni - tas, Et u - na Tri - ni - tas, C œ œ Sop.(Full) &b ∑ ∑ ∑ Ó œ œ œ™ œ œ In quo tri - na co - li- tur

Alto(Full) b ∑ ∑ Ó & œ œ #œ œ œ™ œ œ œ œ nœ™ œ œ In quo tri - na co - li - tur, tri - na co - li-tur

Tenor(Full) œ œ j &b ∑ ∑ ∑ nœ œ œ™ œ œ œ™ œ ‹ In quo tri - na co - li- tur u - ni - œ œ œ œ œ Bar.(Full) ?b ∑ ∑ ∑ Ó Œ In quo tri - na œ œ Bass(Full) {?b ∑ ∑ ∑ Ó œ œ œ™ œ œ In quo tri - na co - li- tur C 46 47 48 49 50 œ b˙ n˙ ˙ &b ˙ ˙ œ #œ œ œ nœ œ #˙ ˙ ˙ Organ ˙ ˙ nœ œ ˙ ˙ ˙ ˙ n˙ ˙ ˙ œ œ œ bœ ˙ ˙ ?b ˙ ˙ ˙ 7 - 6 § 6 # § 6 { 139 51 52 53 54 55 œ Vln. I œ™ œ œ œ œ™ bœ™ œ œ ˙ œ œ j &b J J J œ œ™ œ w

Vln. II œ œ œ œ j œ œ œ œ™ œ &b œ œ Œ œ ‰ œ œ œ J nw

œ œ œ œ œ œ nœ œ™ œ œ ™ œ™ bœ œ™ œœ œ œ œ œ œ™ nœ nw Vla.I Bb J

Vla.II j Bb ˙ œ œ œ œ œ œ œ #œ œ œ™ œ #œ ˙ œ w

Vc. ? j bœ j b œ™ œ œ œ œ œ œ™ œ œ™ œ œ ˙ œ w J J œ™

œ Sop. I(Solo) œ œ™ bœ œ œ ˙ j &b Ó Œ J ™ J œ œ œ œ™ œ w Et u - na Tri - ni - tas, Et u - - na Tri - ni - tas

Sop. II(Solo) &b Ó Œ Ó Œ œ œ œ œ œ bœ ˙™ œ w Et u - na, Et u - na Tri - - ni tas.

Alto(Solo) &b Ó Œ j j œ œ ˙ œ™ œ œ™ œ œ œ œ œ œ œ™ nœ nw { Et u - na Tri - ni - tas, Et u - na Tri ni - tas. j Tenor(Solo) b Ó Œ œ œ ˙ & œ™ œ #œ œ œ™ œ #œ™ œœ œ œ™ œ w ‹ Et u - na Tri - ni - tas, Et u - na - Tri - ni - tas, Tri - ni - tas. œ œ œ Bar.(Solo) œ™ œ nœ ™ b˙ œ™ œ œ œ œ œ œ w ?b œ œ #œ œ ™ J #œ™ œ œ™ co - li - tur u - ni-tas, Et u - na Tri - ni - tas, Et u - na Tri - ni - tas, Tri - ni - tas.

j Bass(Solo) ? Ó Œ œ œ œ œ œ™ œ bœ œ ˙™ œ w b œ ™ J Et u - na Tri - ni - tas, Et u - na Tri - - ni - tas.

œ Sop.(Full) œ™ œ œ œ œ™ bœ™ œ œ ˙ œ œ j &b J J J œ œ™ œ w u - ni- tas, Et u - na Tri - ni - tas, Et - u - - na Tri - ni - tas.

Alto(Full) j &b Ó Œ œ™ œ œ œ œ œ œ œ bœ ˙™ œ w u - ni- tas, Et u - na, Et u - na Tri - - ni - tas. j Tenor(Full) b œ œ™ œ œ™ œ œ œ œ œ œ nœ nw & œ œ œ œ J ™ œ œ ™ J ‹ tas, Et u - - na, u - na Tri - ni - tas, Et u - na Tri ni - tas. œ™ œ nœ œ™ œ œ b˙ œ™ œ œ œ œ œ œ w Bar.(Full) ?b œ œ #œ œ ™ J #œ™ œ œ™ co - li - tur u - ni- tas, Et u - na Tri - ni - tas, Et u - na Tri -ni- tas, Tri - ni - tas.

Bass(Full) ? j bœ { b œ™ œ œ œ œ œ œ™ œ œ™ œ œ ˙™ œ œ w J J u - ni- tas, Et u - na Tri - ni - tas, Et u - na Tri - - - ni - tas.

51 52 53 54 55 b œ b˙ b˙ ˙ œ œ & ˙ œ œ ˙ ˙ #˙ œ bœ #œ œœ ˙œ #œ w Organ œ nœ œ œ w nw ? bœ b ˙ œ œ ˙ ˙ ˙ œ ˙ w 6 b # #4 ˙ # { 140 56 D 57 58 59 60

Vln. I &b ∑ ∑ ∑ ∑ ∑

Vln. II &b ∑ ∑ ∑ ∑ ∑

Vla.I Bb ∑ ∑ ∑ ∑ ∑

Vla.II Bb ∑ ∑ ∑ ∑ ∑

Vc. ?b ∑ ∑ ∑ ∑ ∑

Sop. I(Solo) &b ∑ ∑ ∑ ∑ ∑

Sop. II(Solo) &b ∑ ∑ ∑ ∑ ∑

Alto(Solo) j &b Ó ‰ œ œ ‰ j Œ bœ œ œ b˙ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ { U - bi coe - vum ae - ter-nus pa - rit, ae - ter-nus pa - rit, u - bi nul - li com - par ae - Tenor(Solo) &b ∑ ∑ ∑ ∑ ∑ ‹

Bar.(Solo) ?b ∑ ∑ ∑ ∑ ∑

Bass(Solo) ?b ∑ ∑ ∑ ∑ ∑

Sop.(Full) &b ∑ ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑ ∑ D 56 57 58 59 60 &b Ó Ó bw w ˙ w Organ w œ œ bw ˙ w ? bœ œ w b bw ˙ w w { 141 61 62 63 64

Vln. I &b ∑ ∑ ∑ ∑

Vln. II &b ∑ ∑ ∑ ∑

Vla.I Bb ∑ ∑ Ó ∑

Vla.II Bb ∑ ∑ ∑ ∑

Vc. ?b ∑ ∑ ∑ ∑

Sop. I(Solo) &b ∑ ∑ ∑ ∑

Sop. II(Solo) &b ∑ ∑ ∑ ∑

Alto(Solo) &b œ j œ œ œ Œ œ œ bœ œ œ™ œ ˙ œ œ œ œ bœ œ œ œ { qua - li re - pe - rit. Men - sus et im - men - sus, I - dem et di - ver - - Tenor(Solo) &b ∑ ∑ ∑ ∑ ‹

Bar.(Solo) ?b ∑ ∑ ∑ ∑

Bass(Solo) ?b ∑ ∑ ∑ ∑

Sop.(Full) &b ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑

61 62 63 64 b ˙ & b˙ ˙ w ˙ ˙ bœÓ œ œ˙ œ Organ ˙ ˙ w

?b w w œ œ b˙ b˙ ˙ ! 7 - 6 { 142 65 66 67 68 69

Vln. I &b ∑ ∑ ∑ ∑ ∑

Vln. II &b ∑ ∑ ∑ ∑ ∑

Vla.I Bb ∑ ∑ ∑ ∑ ∑

Vla.II Bb ∑ ∑ ∑ ∑ ∑

Vc. ?b ∑ ∑ ∑ ∑ ∑

Sop. I(Solo) &b ∑ ∑ ∑ ∑ ∑

Sop. II(Solo) &b ∑ ∑ ∑ ∑ ∑

Alto(Solo) ‰ j j ‰ j &b œ œ œ œ bœ œ œ ˙ œ œ œ nœ œ™ œ œ œ œ™ œ œ™ œ œ œ™ œ ˙ œ œ™ œ œ { -sus, Et ab u - tro - que spi- ra - tur,™ spi - ra - tur ha - li- tus, spi - ra - tur ha - li- tus, U - tri-que si - mi-lis et Tenor(Solo) &b ∑ ∑ ∑ ∑ ∑ ‹

Bar.(Solo) ?b ∑ ∑ ∑ ∑ ∑

Bass(Solo) ?b ∑ ∑ ∑ ∑ ∑

Sop.(Full) &b ∑ ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑ ∑

65 66 67 68 69 b j & #˙ ˙ w œ œ ˙ œ œ b˙ bœ™ œ ˙ Organ ˙ ˙ nw œ œ œ œ œ ˙ ? œ œ bœ j b ˙ w œ œ œ œ ™ œ œ™ œ b˙ # #6˙ # J { 143 70 71 72 73 74 75

Vln. I &b ∑ ∑ ∑ ∑ ∑ ∑

Vln. II &b ∑ ∑ ∑ ∑ ∑ ∑

Vla.I Bb ∑ ∑ ∑ ∑ ∑ ∑

Vla.II Bb ∑ ∑ ∑ ∑ ∑ ∑

Vc. ?b ∑ ∑ ∑ ∑ ∑ ∑

Sop. I(Solo) &b ∑ ∑ ∑ ∑ ∑ ∑

Sop. II(Solo) &b ∑ ∑ ∑ ∑ ∑ ∑

Alto(Solo) j j &b j ‰ œ j Œ œ œ™ nœ œ œ™ œ ˙ œ œ œ œ™ œ˙ œ œ œ™ œ ˙ œ œ #œ { com - par spi - ri - tus, U - tri-que si -mi- lis et com - par spi - ri - tus, et com - par spi - ri - Tenor(Solo) &b ∑ ∑ ∑ ∑ ∑ ∑ ‹

Bar.(Solo) ?b ∑ ∑ ∑ ∑ ∑ ∑

Bass(Solo) ?b ∑ ∑ ∑ ∑ ∑ ∑

Sop.(Full) &b ∑ ∑ ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑ ∑ ∑

70 71 72 73 74 75 b bœ ˙ & œ œ œ˙ ˙ ˙ ˙ œ œ ˙œ œ ˙ ˙ œ œ ˙ Organ nœ œ ˙ ˙ œ œ ˙ œ œ ˙œ #œ ? j bœ œ b œ œ ˙ œ œ œ ˙ œ™ œ ˙ ˙ ˙ ˙ œ # ! #4 œ 6 7 - 6 ˙ # 4 œ # 3 - 4 { 144 E 76 Festa 77 78 79 œ œ œ œ œ œ œ œ œ Vln. I b Œ œ œ œ œ œ bœ œ œ œ œ bœ™ ™ œ œ œ œ & œ œ œ œ œ œ J J

Festa œ œ œ œ œ Vln. II œ œ œ œ œ™ bœ œ œ œ œ ™ œ œ™ œ œ œ &b ‰ J œ™ œ œ œ œ™ œ œ ‰ J ‰ œ œ

Festa œ œ œ œ™ œ œ œ ™ œ œ œ œ™ œ œ™ œ Vla.I Bb Œ œ ˙ Œ ‰ J Œ ‰ J J J

Festa Vla.II B œ œ œ œ œ œ œ œ œ™ œ œ™ œ bœ ‰ œ b Œ ™ ™ J œ œ J œ œ œ œ œ œ™ œ œ

Festa Vc. ? ∑ ∑ ‰ œ bœ œ œ œ j b œ œ œ œ œ œ œ œ œ™ œ E

Sop. I(Solo) &b ∑ ∑ ∑ ∑

Sop. II(Solo) &b ∑ ∑ ∑ ∑

Alto(Solo) &b ˙ Ó ∑ ∑ ∑ { tus. Tenor(Solo) &b ∑ ∑ ∑ ∑ ‹ œ bœ œ™ œ œ œ œ™ œ œ œ œ œ œ Bar.(Solo) ?b ∑ Ó Œ™ J Œ Œ ‰ J O po - pu - li! O po - pu - li! ju-bi - la - te: O

œ œ œ œ œ œ œ œ Bass(Solo) ? œ œ œ™ œ bœ œ œ™ œ œ™ œ œ œ œ œ b Œ œ œ œ œ ‰ J ‰ J œ™ œ œ Fes - ta lae - ti ce - le - bra - te, Fes - ta lae - ti ce - le - bra - te, O po - pu - li! ju - bi - la - te: O po - pu- li! O E

Sop.(Full) &b ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑ E 76 77 78 79 b œ œ œ œ œ œ ˙ œ™ j ‰ j & œ œ nœ œ œ œ œ ˙ œ™ bœ œ œ œ œ œ Organ œ œ œ œ œ œ œ œ Festa œ œ ? œ œ œ bœ œ bœ œ œ œ œ œ b œ œ ˙ ™ ‰ J œ™ œ œ 6 6 6 6 { 145 80 81Jubilate 82 83 œ Vln. I b˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &b Ó ‰ J œ ‰ œ ‰ œ œ ‰ ‰ J

Jubilate œ œ œ œ œ œ™ œ œ Vln. II ™ œ bœ œ œ™ œ œ œ œ#œ œ nœ œ œ œ œ œ œ œ œ œ &b J ‰ ‰ ‰ ‰ ‰ J

Jubilate ˙ œ œ œ œ œ œ œ™ œ œ™ œ œ œ œ œ œ œ œ œ œ œ Vla.I Bb Ó Œ ‰ ‰ J ‰ ‰ ‰ J

Jubilate j Vla.II B j œ ‰ ‰ œ œ ‰ œ œ œ œ ‰ ‰ b œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ Jubilate Vc. œ œ œ™ œ œ j ?b bœ œ œ™ œ œ œ œ ‰ œ œ ‰ œ œ œ ‰ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ

œ Sop. I(Solo) œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ &b ∑ Œ ‰ ‰ ‰ œ œ ‰ ‰ J ju-bi-la - te: ju-bi - la - te: ju - bi-la - te: ju-bi - la - te: ju-bi-la - te: O

Sop. II(Solo) b ∑ Œ ‰ ‰ ‰ ‰ ‰ j & œ œ#œ œ œ œ œ œ nœ™ œ œ œ œ œ œ œ œ œ œ œ œ ju-bi-la - te: ju-bi - la - te: ju - bi-la - te: ju-bi - la - te: ju-bi-la - te: O

Alto(Solo) &b ∑ ‰ œ œ Œ ‰ Œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ { ju-bi-la - te: ju-bi - la - te: ju-bi-la - te: ju-bi-la - te: po - pu-li! O j Tenor(Solo) &b ∑ Œ ‰ œ œ œ œ ‰ œ œ œ œ œ™ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ ‹ ju-bi-la - te: ju-bi - la - te: ju - bi-la - te: ju-bi - la - te: ju-bi-la - te: O œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Bar.(Solo) œ™ œ œ œ œ™ bœ œ œ œ œ œ ™ œ ™ ™ ?b ‰ Œ ‰ po - pu- li! ju-bi - la - te: ju - bi - la - te: ju-bi-la - te: po - pu - li! O po - pu-li! ju-bi - la - te: ju-bi-la - te:

œ œ œ Bass(Solo) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ™ j œ œ ?b ™ ™ #œ Œ ‰ ‰ J œ œ™ œ œ ‰ œ œ po - pu- li! ju-bi - la - te: ju - bi - la - te: ju-bi-la - te: O po - pu-li! O po - pu-li! Ju-bi-la - te:

œ Sop.(Full) œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ &b ∑ Œ ‰ ‰ ‰ œ œ ‰ ‰ J ju-bi-la - te: ju-bi - la - te: ju - bi-la - te: ju-bi - la - te: ju-bi-la - te: O

Alto(Full) j &b ∑ Œ ‰ œ œ ‰ œ ‰ ‰ ‰ #œ œ œ œ œ nœ™ œ œ œ œ œ œ œ œ œ œ œ œ ju-bi-la - te: ju-bi - la - te: ju - bi-la - te: ju-bi - la - te: ju-bi-la - te: O

Tenor(Full) œ œ œ œ œ œ œ œ œ œ œ œ &b ∑ Œ ‰ œ œ œ œ ‰ œ œ œ™ J ‰ œ œ ‰ J ‹ ju-bi-la - te: ju-bi - la - te: ju - bi-la - te: ju-bi - la - te: ju-bi-la - te: O œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ Bar.(Full) ?b ∑ Œ ‰ ‰ ‰ J œ œ ‰ J ju-bi-la - te: ju-bi - la - te: ju - bi-la - te: ju-bi - la - te: ju-bi-la - te: O œ œ Bass(Full) ? œ œ œ™ œ œ œ j j { b ∑ Œ ‰ œ œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ ju-bi-la - te: ju-bi - la - te: ju - bi-la - te: ju-bi - la - te: ju-bi-la - te: O

80 81 82 83 j j j œ œ b j œ œ œ œ œ œ™ œ œ™ œ™ œ & Óœ™ œ bœ œ #œ œ™ œ #œ™ œ œ nœ œ œ™ œ œ™ œ œ™ J Organ œ œ œ œ J ™ Jubilate™ ™ œ ? bœ j œ œ œ ™ j œ™ j j b ™ œ œ œ œ œ œ™ œ œ œ™ œ J 4 - # ™ # J 6 œ { 146 84 85 86 87

Vln. I bœ œ œ œ œ œ œ &b ™ œ™ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ Œ Ó ∑

Vln. II œ™ œ œ œ œ œ œ œ™ œ bœ œ œ œ œ œ #œ œ &b œ ‰ ‰ œ Œ Ó ∑

œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vla.I Bb Œ ‰ ‰ ‰ Œ Ó ∑

Vla.II bœ œ œ Bb œ™ œ œ œ œ œ œ œ™ nœ œ œ ‰ œ ‰ bœ œ œ œ Œ Ó ∑

Vc. ? bœ œ œ ‰ œ œ ‰ œ œ Œ Ó ∑ b ™ œ œ œ œ œ™ œ œ œ œ œ œ œ

Sop. I(Solo) bœ œ œ œ œ œ œ &b ™ œ™ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ Œ Ó ∑ po - pu - li! ju-bi-la - te: ju - bi - la - te: ju-bi-la - te: ju-bi - la - te:

Sop. II(Solo) &b œ™ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ ∑ ∑ po - pu - li! ju-bi-la - te: ju - bi - la - te: ju - bi - la - te:

Alto(Solo) j &b œ œ Œ œ œ ‰ bœ™ œ œ œ œ œ œ œ™ œ bœ œ œ™ œ œ œ œ #œ™ œ œ œ œ œ™ œnœ œ œ { po - pu- li! ju-bi-la - te: po - pu - li! O po - pu-li! ju-bi-la - te: po - pu- li! Fes - ta lae - ti ce - le - bra - te, O j Tenor(Solo) œ œ &b œ™ œ œ œ œ œ œ œ™ nœ œ œ ‰ œ œbœ œ ‰ œ œ œ œ nœ œ œ™ œ œ œ ‰ œ œ™ œ œ œ œ ‹ po - pu- li! ju-bi-la - te: ju - bi - la - te: ju-bi-la - te: ju-bi - la - te: Fes - ta lae - ti ce - le - bra - te, O po - pu- li! ju - bi-

œ™ œ œ œ œ œ œ œ™ nœ œ œ œ œ œ œ bœ™ œ œ œ Bar.(Solo) ?b ‰ Œ Ó ∑ po - pu- li! ju-bi-la - te: ju - bi - la - te: ju-bi-la - te: ju - bi - la - te:

œ Bass(Solo) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ?b ™ œ ™ œ ™ œ œ Œ Ó ∑ po - pu- li! ju-bi-la - te: po - pu - li! ju-bi-la - te: po - pu-li! ju-bi - la - te:

bœ œ œ œ œ œ œ Sop.(Full) &b ™ œ™ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ Œ Ó ∑ po - pu- li! ju-bi-la - te: ju - bi - la - te: ju-bi-la - te: ju-bi - la - te:

Alto(Full) &b œ œ œ œ œ ‰ ‰ œ Œ Ó ∑ ™ bœ œ œ™ œ bœ œ œ œ œ œ œ #œ œ po - pu- li! ju-bi-la - te: ju - bi - la - te: ju-bi-la - te: ju-bi - la - te:

Tenor(Full) &b œ™ œ œ œ œ œ œ œ™ nœ œ œ ‰ œ œ œ œ ‰ bœ œ œ œ Œ Ó ∑ ‹ po - pu- li! ju-bi-la - te: ju - bi - la - te: ju-bi-la - te: ju-bi - la - te: œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Bar.(Full) ?b ™ ™ ™ ‰ ‰ Œ Ó ∑ po - pu- li! ju-bi-la - te: ju bi - la - te: ju-bi-la - te: ju-bi - la - te:

Bass(Full) ? bœ œ œ ‰ œ œ ‰ œ œ Œ Ó ∑ { b ™ œ œ œ œ œ™ œ œ œ œ œ œ œ po - pu- li! ju-bi-la - te: ju - bi - la - te: ju-bi-la - te: ju-bi - la - te:

84 85 86 87 bœ œ j j &b ™ œ œ nœ œ ‰ œ bœ™ œ ˙ œ œ j œ™ Jœ bœ œ bœ œ œ œ #˙ œ™ œ œ nœ Organ ™ nœ œ œ™ œ œ œ ? bœ j j œ™ j œ j œ b ™ œ œ œ œ™ œ œ ˙ œ œ™ œ 4 - # b # # # œ { 147 88 89 90 91 œ œ œ œ œ œ œ œ Vln. I &b ∑ Ó œ™ œ œ œ ‰ œ™ œ œ œ Œ Ó

Vln. II œ œ œ œ œ œ œ œ œ œ œ &b ∑ Œ ‰ œ ‰ J œ Œ Ó

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vla.I Bb ∑ Œ ‰ ‰ Œ Ó

œ œ œ œ Vla.II Bb ∑ Œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ Œ Ó

œ œ œ œ œ œ œ œ Vc. ?b ∑ Œ ‰ œ œ œ œ ‰ œ œ œ œ Œ Ó

œ œ œ œ œ œ œ Sop. I(Solo) &b ∑ Ó Œ ‰ œ™ ‰ œ œ œ œ Œ Ó ju - bi - la - te: ju - bi-la - te: ju-bi - la - te:

Sop. II(Solo) j j &b Ó Œ ‰ Œ ∑ œ œ™ œ œ œ œ™ œ ˙ O po - pu - li, O po - pu - li!

Alto(Solo) &b Œ Œ ‰ ‰ œ œ œ œ™ œ™ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ { po - pu-li! ju-bi-la - ta: ju - bi - la - te, Ju-bi - la - te, ju - bi-la - te, ju-bi - la - te.. Fes - ta - lae - ti ce - le - Tenor(Solo) œ™ œ œ œ œ œ™ œ &b œ œ ‰ œ œ œ œ œ™ œ œ œ Œ Œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ ‹ la - te: ju-bi-la - te: ju - bi - la - te, ju-bi - la - te, ju - bi-la - te, ju-bi - la - te. Fes - lae - ti ce - le -

œ œ œ œ œ™ œ œ œ œ œ œ œ œ™ œ œ œ Bar.(Solo) ?b ∑ Œ ‰ ‰ Œ Ó ju-bi-la - te, ju - bi - la - te, ju-bi-la - te, ju - bi - la - te!

œ œ œ œ œ œ œ œ Bass(Solo) ?b ∑ Ó Œ ‰ œ œ œ ‰ œ Œ Ó ju-bi - la - te, ju - bi - la - te, ju-bi - la - te!

œ œ œ œ œ œ œ œ Sop.(Full) &b ∑ Œ ‰ œ™ œ œ œ ‰ œ™ œ œ œ Œ Ó ju-bi-la - te, ju - bi - la - te, ju-bi-la - te, ju - bi - la - te!

Alto(Full) b ∑ Œ j j Œ Ó & œ œ™ œ œ œ œ™ œ œ O po - pu - li, O po - pu - li.

Tenor(Full) &b ∑ Œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ Œ Ó ‹ ju-bi-la - te, ju - bi - la - te, ju-bi-la - te, ju - bi - la - te! œ œ œ œ œ™ œ œ œ œ œ œ œ™ œ œ œ Bar.(Full) ?b ∑ Œ ‰ œ ‰ Œ Ó ju-bi-la - te, ju - bi - la - te, ju-bi-la - te, ju - bi - la - te! œ œ œ œ œ œ œ œ œ œ Bass(Full) {?b ∑ Œ ‰ œ œ œ ‰ œ œ œ Œ Ó ju-bi-la - te, ju - bi - la - te, ju-bi-la - te, ju - bi - la - te!

88 89 90 91 ta j œ œ b j œ œ œ œ œ œ œ œ œ œ™ j & œ™ œ œ œ œ œ œ œ œ ™ œ œ œ Organ ™ œ œ œ œ œ œ™ œ œ œ œ œ ? j bœ œ œ œ œ œ j b œ™ œ œ œ™ J œ œ œ œ œ 6 4 œ 6 œ™ œ { 148 92 93 94 95 œ œ Vln. I œ œ œ œ œ œ œ œ œ œ œ &b ∑ Ó Œ ‰ J ™ ™ œ ‰ œ œ ‰ œ œ

Vln. II œ #œ™ œ œ œ œ nœ œ &b ∑ Ó Œ ‰ J Œ ‰ œ œ ‰ œ œ œ œ ‰

#œ œ™ œ œ œ œ œ œ œ œ Vla.I Bb ∑ Ó Œ ‰ J Œ ‰ ‰ œ œ œ œ ‰

Vla.II j œ œ Bb ∑ Ó Œ ‰ œ œ™ œ œ œ nœ™ œ œ œ œ œ œ ‰ œ œbœ œ ‰

Vc. ? ∑ Ó Œ ‰ j œ™ œ œ œ œ™ œ œ ‰ ‰ b œ œ œ œ œ œ œ œ œ œ œ

Sop. I(Solo) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &b ∑ Ó Œ ‰ J ™ ™ ‰ ™ O po - pu-li! O po - pu-li! ju-bi-la - te: po - pu-li!

j Sop. II(Solo) b ∑ Ó Œ ‰ ‰ œ & œ œ™ œ œ œ œ™ œ œ œ œ œ œ™ œ œ O po - pu-li! O po - pu-li! ju-bi-la - te: po - pu-l!

Alto(Solo) j j &b ‰ œ œ œ ‰ œ œ œ ‰ œ œ ‰ œ œ #œ œ™ œ œ œ™ œ œ nœ œ œ œ™ #œ œ œ ™ nœ œ œ œ œ œ { bra - te, O po - pu-li, O po - pu-li! ju-bi-la - te: ju - bi - la - te: O po - pu-li! ju-bi-la - te: ju-bi-la - te: j j Tenor(Solo) œ œ œ œ œ œ œ œ &b #œ œ ‰ nœ™ œ œ nœ œ™ œ œ #œ ™ œ ‰ nœ™ œ œ ‰ œ œ œ œ bœ™ œ œ ‹ bra - te, O po - pu-li, O po - pu-li! ju-bi-la - te: ju - bi - la - te: O po - pu-li! ju-bi-la - te: po - pu- li!

#œ œ™ œ œ nœ œ œ œ œ œbœ œ œ œ Bar.(Solo) ?b ∑ Ó Œ ‰ J Œ ‰ ‰ ‰ O po - pu-li! ju-bi - la - te, ju-bi-la - te, ju-bi -

Bass(Solo) ? œ œ™ œ œ œ œ b ∑ Ó Œ ‰ J œ™ œ œ œ ‰ œ œ œ œ ‰ œ œ O po - pu-li, O po - pu-li ju-bi-la - te, ju-bi-la - te!

œ Sop.(Full) œ œ œ œ œ œ œ œ &b ∑ Ó Œ ‰ J ™ Œ ‰ œ ‰ œ œ ‰ œ œ O po - pu-li, ju-bi - la - te, ju-bi-la - te, ju-bi - j Alto(Full) b ∑ Ó Œ ‰ œ Œ ‰ ‰ ‰ & #œ™ œ œ œ œ œ œ nœ œ œ œ œ œ O po - pu-li, ju-bi - la - te, ju-bi-la - te, ju-bi -

Tenor(Full) b ∑ #œ œ™ œ œ nœ œ œ œ bœ œ œ œ & Ó Œ ‰ J Œ ‰ ‰ œ œ ‰ ‹ O po - pu-li, ju-bi - la - te, ju-bi-la - te, ju-bi - œ œ™ œ œ œ œ œ œ œ œ Bar.(Full) ?b ∑ Ó Œ ‰ J Œ ‰ ‰ œ œ œ œ ‰ O po - pu-li, ju-bi - la - te, ju-bi-la - te, ju-bi -

Bass(Full) ? j { b ∑ Ó Œ ‰ œ œ™ œ œ Œ ‰ œ œ œ œ ‰ œ œ ‰ œ œ œ œ O po - pu-li, ju-bi - la - te, ju-bi-la - te, ju-bi -

92 93 94 95 j nœ œ™ j b j j œ n˙ œ œ™ œ & œ œ œ nœ œ œ #œ™ œ ˙ œ œ nœ Organ #œ nœ™ nœ œ™ œ # œ #œ ? œ #œ œ™ œ nœ™ œ œ œ œ œ œ™ j j b œ œ J œ ™ œ œ œ™ œ # # # 6 J # 4 - 3 # J # œ { 149 96 97 98 99 Vln. I œ œ ˙ œ œ œ™ œ œ &b œ œ œ œ œ œ ˙ œ J nœ œ

œ œ œ œ œ œ #œ œ Vln. II b Œ Œ œ œ Œ œ œ nœ™ œ ˙ & J

Vla.I œ œ œ œ œ #œ œ œ œ œ™ œ œ œ œ Bb Œ Œ œ œ œ J

Vla.II B œ Œ Œ œ œ œ œ œ œ œ œ j œ œ b œ ˙ œ™ œ œ

Vc. ? œ œ œ #œ œ œ™ œ œ b Œ Œ œ œ #œ œ œ œ J œ œ

Sop. I(Solo) œ œ œ™ œ œ &b Ó Œ œ œ œ œ œ œ ˙ œ J nœ œ Et u - ni si - mul et tri - - no Con - ﬁ - te - mi - ni, Con - ﬁ -

Sop. II(Solo) &b Ó Œ j œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ Et u - ni si - mul et tri - no Con - ﬁ - te - mi - ni, Con - ﬁ -

Alto(Solo) &b Ó Œ j j œ œ™ œ œ œ œ œ œ œ œ nœ œ œ œ œ Et un - ni si - mul et tri - no Con - fi - te™ - mi - ni, Con - fi - j Tenor(Solo) b Œ œ j & œ œ œ œ œ™ œ #œ œ œ œ œ™ œ œ œ œ ‹ Et u - ni si - - mul et tri - no Con - fi - te - mi - ni, Con - fi -

œ œ œ œ™ œ œ œ œ œ œ œ œ nœ™ œ œ œ œ Bar.(Solo) ?b Œ Œ J J la - te! Et u - ni si - mul et tri - no Con - ﬁ - te - mi - ni, Con - ﬁ -

Bass(Solo) ? œ #œ œ œ œ œ œ œ b Ó Œ œ œ #œ œ œ œ œ ™ J Et u - ni si - mul et tri - no Con - ﬁ - te - mi - ni, Con - ﬁ -

Sop.(Full) œ œ œ œ œ™ œ œ &b Œ Œ œ œ œ œ œ œ ˙ œ J nœ œ la - te! Et u - ni si - mul et tri - - no Con - ﬁ - te - mi - ni, Con - ﬁ -

Alto(Full) &b Œ Œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ la - te! Et u - ni si - mul et tri - no Con - fi - te - mi - ni, Con - fi - j Tenor(Full) b œ œ Œ Œ œ œ™ œ œ œ œ œ œ œ œ nœ™ œ œ œ œ & J ‹ la - ! Et u - ni si - mul et tri - no Con - fi - te - mi - ni, Con - fi -

Bar.(Full) ? œ œ œ œ œ #œ œ œ œ œ œ œ œ œ b Œ Œ œ œ œ ™ J la - te! Et u - ni si - mul et tri - no Con - ﬁ - te - mi - ni, Con - ﬁ -

Bass(Full) ? œ œ œ #œ œ œ™ œ œ b Œ Œ œ œ #œ œ œ œ œ J œ œ la - te! Et u - ni si - mul et tri - no Con - ﬁ - te - mi - ni, Con - ﬁ -

96 97 98 99 ˙ n˙ &b ˙ Œ œ ˙ ˙ #˙ ˙ ˙ Organ œ ˙ ˙ n˙

? ˙™ œ #˙ ˙ b ˙ #˙ ˙ ˙ # 6 # 150 100 101 102 103 Vln. I b œ œ œ œ œ œ™ œ ˙ ˙™ œ w & ™ J J

Vln. II œ œ œ ˙ &b Œ œ œ bœ œ œ œ œ œ nw

œ ˙ ˙ œ Vla.I œ™ œ œ œ œ œ œ™ ™ w Bb J

Vla.II œ ˙ ˙ ˙ #œ œ ˙ Bb œ ˙ ™ J ˙

Vc. ? j b œ™ œ ˙™ œ ˙ ˙ ˙ w

Sop. I(Solo) b œ œ œ œ œ œ™ œ ˙ ˙™ œ w & ™ J J te - mi - ni, Con - ﬁ - te - mi - ni Do - - - mi - no.

Sop. II(Solo) b j ‰ j j & œ™ œ ˙ œ œ œ ˙ ˙ #œ™ œ w te - mi - ni Do mi - no.

Alto(Solo) &b Œ œ™ œ œ ˙ œ œ ˙ ˙ œ nw { te - mi - ni Do mi - no, Do - - mi - no. j Tenor(Solo) &b œ™ œ œ œ œ œ œ™ œ ˙ ˙™ œ w ‹ te - mi - ni, Con - ﬁ - te - mi - ni Do - - - mi - no œ œ œ Bar.(Solo) ™ œ œ ˙ ˙™ œ w ?b J œ œ œ ™ te - mi - ni, Con - ﬁ te - mi-ni Do - - - mi - no.

Bass(Solo) w ?b œ™ œ ˙™ w ˙ ˙ te - mi - ni Do ------mi - - no.

Sop.(Full) b œ œ œ œ œ œ™ œ ˙ ˙™ œ w & ™ J J te - mi - ni, Con - ﬁ - te - mi - ni Do - - - mi - no.

Alto(Full) b j ‰ j j & œ™ œ ˙ œ œ œ ˙ ˙ #œ™ œ w te - mi - ni Do mi - no.

Tenor(Full) &b œ™ œ œ ˙ œ œ ˙ Œ ˙ œ nw ‹ te - mi - ni Do - - - mi - no, Do - - mi - no. ˙ Bar.(Full) ? œ œ œ œ œ œ œ™ œ ˙™ œ w b ™ J te - mi - ni, Con - ﬁ - te - mi - ni Do - - - mi - no.

Bass(Full) ? j { b œ™ œ ˙ ˙™ œ ˙™ œ w te - me - ni Do mi - no.

100 101 102 103 j &b ˙ ˙ ˙ œ œ ˙ ˙ #œ œ w Organ ˙ œ ˙ w ™ nw ? b ˙ ˙ ˙™ œ ˙ 7 - 6 w 6 4 - 3˙ § { 151 F 104 Sed quis error 105 106 107 Vln. I &b w w w w

Sed quis error w ˙ œ œ œ Vln. II &b w w œ œ Sed quis error w w Vla.I Bb w w

Sed quis error Vla.II w w Bb ˙ ˙ ˙ Ó

Sed quis error Vc. ?b ∑ ∑ ∑ ∑ F

Sop. I(Solo) &b ∑ ∑ ∑ ∑

Sop. II(Solo) &b ∑ ∑ ∑ ∑ Alto(Solo) {&b ∑ ∑ ∑ ∑ Tenor(Solo) &b ∑ ∑ ∑ ∑ ‹

Bar.(Solo) ?b ∑ ∑ ∑ ∑

œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ Bass(Solo) ?b Œ Œ œ Œ Œ Sed quis er - ror? Quid can - ta - tis? Tan - tae lau - des Tri - ni - ta - tis? Po - ni-te F

Sop.(Full) &b ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑ F 104 105 106 107 b & w ˙™ œ Organ w w w ™ Sed quis error ? œ b w w w ˙™ { 152 108 109 110 111 œ œ œ œ œ œ œ œ œ Vln. I œ œ œ œ œ œ œ œ œ #œ œ œ™ œ nœ œ œ #œ™ œ œ &b œ ™ œ

Vln. II œ œ œ œ &b œ œ œ œ œ œ œ nœ™ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ #œ œ™ œ œ

œ œ œ œ œ œ œ œ œ™ œ œ ˙ œ œ œ œ œ ˙ Vla.I Bb ‰ J Ó Œ

œ œ™ œ ˙ œ œ œ œ œ™ œ ˙ Vla.II Bb Ó Œ œ œ œ œ Ó Œ œ

Vc. ? œ œ œ œ œ œ œ œ œ b Ó Œ œ œ œ œ™ œ œ Ó Œ œ œ œ™ œ œ

Sop. I(Solo) &b ∑ ∑ ∑ ∑

Sop. II(Solo) &b ∑ ∑ ∑ ∑ Alto(Solo) {&b ∑ ∑ ∑ ∑ Tenor(Solo) &b ∑ ∑ ∑ ∑ ‹

Bar.(Solo) ?b ∑ ∑ ∑ ∑

œ œ œ œ œ œ Bass(Solo) œ œ œ œ œ œ œ œ ?b œ™ œ œ Ó Œ œ ™ Ó Œ ‰ J Ly - ras et Psal - te - ri- a. Po - ni-te Ly - ras et Psal - te - ri - a. Si -

Sop.(Full) &b ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑

108 109 110 111 j b j j œ & œ œ œ™ œ œ œ œ #œ œ™ œ nœ œœ ˙ Organ œ œ œ nœ œ™ œ bœ œ œ #œ ™ œ œ™ ™ #˙ œ œ œ œ ? œ œ™ œ œ œ œ J œ œ™ j œ œ ˙ b J # ™ œ œ # 4# # { 153 112 113 114 115 116 ˙ Vln. I &b ∑ ∑ ∑ ∑ Ó

Vln. II &b ∑ ∑ ∑ Ó ˙ ˙ œ œ

Vla.I Bb ∑ ∑ ∑ ∑ ∑

Vla.II Bb ∑ ∑ ∑ ∑ ∑

Vc. ?b ∑ ∑ ∑ ∑ ∑

Sop. I(Solo) &b ∑ ∑ ∑ ∑ ∑

Sop. II(Solo) &b ∑ ∑ ∑ ∑ ∑ Alto(Solo) {&b ∑ ∑ ∑ ∑ ∑ Tenor(Solo) &b ∑ ∑ ∑ ∑ ∑ ‹

Bar.(Solo) ?b ∑ ∑ ∑ ∑ ∑

˙ Bass(Solo) ? #œ œ œ œ œ #œ œ œ œ b ™ œ œ Œ ‰ J œ œ™ œ œ Ó Œ œ œ le - te, si - le - te, Si - le - te, si - le - te, Et a - do - ra - te Sa - cro -

Sop.(Full) &b ∑ ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑ ∑

112 113 114 115 116 b Œ ∑ & ˙ œ ˙ œ Organ #w œ ˙ ™ #˙ ˙œ œ ?b Œ nœ ˙ ∑ w˙™ ˙ b˙ # # #w { 154 117 118 119 120 w Vln. I ˙ #œ™ œ ˙ œ™ nœ ˙ œ œ &b J œ

Vln. II &b ˙™ œ n˙ Ó ∑ Œ ˙ #œ™ œ

Vla.I Bb ∑ ∑ ∑ ∑

Vla.II Bb ∑ ∑ ∑ ∑

Vc. ?b ∑ ∑ ∑ ∑

Sop. I(Solo) &b ∑ ∑ ∑ ∑

Sop. II(Solo) &b ∑ ∑ ∑ ∑

Alto(Solo) &b ∑ Œ ˙ j nœ œ #œ œ œ œ œ œ œ œ™ œ { Et a - do - ra - te Sa - cro - sanc - ta My - te - ri - Tenor(Solo) &b ∑ ∑ ∑ ∑ ‹

Bar.(Solo) ?b ∑ ∑ ∑ ∑

œ œ Bass(Solo) ? œ œ™ œ ˙ b J Ó ∑ ∑ sanc - ta My - ste - ri - a.

Sop.(Full) &b ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑

117 118 119 120 b & œ bœ ˙ ˙ ˙ œ œ œ œ œ Organ œ œ œ ˙ n˙ ˙ #˙ ˙ w #œ ? ˙ ˙ œ œ b œ œ œ ˙ ˙ ˙ 6 7 - 6 # œ # 4 6 4 - # 4 2 { 155 121 122 123 124 125

Vln. I &b ∑ ∑ ∑ ∑ ∑

Vln. II w &b ∑ ∑ ∑ ∑

Vla.I Bb ∑ ∑ ∑ ∑ ∑

Vla.II Bb ∑ ∑ ∑ ∑ ∑

Vc. ?b ∑ ∑ ∑ ∑ ∑

Sop. I(Solo) œ œ œ ˙ ˙ &b ∑ Œ ˙ Œ œ w Et a - do - ra - te Sa - cro san - - -

Sop. II(Solo) b Œ œ œ œ Œ & ˙ ˙ œ œ œ ˙ œ œ œ œ ˙ Et a - do - ra - te, Et a - do - ra - te Sa cro san -

Alto(Solo) b & œ #œ œ œ w œ œ œ œ ˙ ˙ œ œ ˙ { a, Et a - do - ra - - - - te, Et a - do - ra - te Sa - cro san - Tenor(Solo) œ œ œ &b ∑ Œ w ˙ ˙ ∑ ‹ Et a - do - ra te,

Bar.(Solo) ?b ∑ ∑ ∑ ∑ ∑

œ œ œ n˙ ˙ œ œ bœ ˙ ˙ œ œ ˙ Bass(Solo) ?b Œ Œ Et a - do - ra - te, Et a - do - ra - te Sa - cro san

Sop.(Full) &b ∑ ∑ ∑ ∑ ∑

Alto(Full) &b ∑ ∑ ∑ ∑ ∑

Tenor(Full) &b ∑ ∑ ∑ ∑ ∑ ‹

Bar.(Full) ?b ∑ ∑ ∑ ∑ ∑

Bass(Full) {?b ∑ ∑ ∑ ∑ ∑

121 122 123 124 125

&b #˙ w w ˙ ˙ ˙ Organ ˙ ˙ w ˙ ˙ ˙ ˙ œ œ nw ˙™ bœ ˙ ˙ ˙ ?b #˙ ˙ # 6 6 { 156 126 127 128 129

Vln. I &b ∑ ∑ Œ œ œ œ ˙ ˙

˙ œ œ Vln. II &b ∑ ∑ Œ œ œ œ

œ œ œ Vla.I Bb ∑ ∑ ∑ Œ

Vla.II Bb ∑ ∑ Œ œ œ œ ˙ ˙

Vc. ?b ∑ ∑ Œ œ œ bœ ˙ ˙

œ œ Sop. I(Solo) b ˙ œ œ œ ™ œ œ œ w & ™ J œ œ cta My - ste ri - a, Et a - do - ra - - - - -

j Sop. II(Solo) &b ˙ ˙ ˙ œ™ œ w ∑ cta My - - ste ri - a,

Alto(Solo) j &b œ œ ˙ ˙ œ™ œ ˙ ˙ ˙™ œ { cta My - ste ri - a, Et a - - - do - Tenor(Solo) &b ∑ ∑ Œ œ œ œ ˙ ˙ ‹ Et a - do - ra - - te

œ œ œ Bar.(Solo) ?b ∑ ∑ Œ ˙ ˙ Et a - do - ra - - te

˙ Bass(Solo) ? œ œ ˙ œ™ œ œ œ œ bœ b J ˙ ˙ cta My - ste - - - - ri - a, Et a - do - ra - - te

Sop.(Full) &b ∑ ∑ Œ œ œÓ œ w Et a - do - ra - - - - -

Alto(Full) b ∑ ∑ ∑ Œ & œ œ œ Et a - do -

Tenor(Full) &b ∑ ∑ Œ œ Óœ œ ˙ ˙ ‹ Et a - do - ra - - te œ œ œ Bar.(Full) ?b ∑ ∑ ∑ Œ Et a - do -

Bass(Full) {?b ∑ ∑ Œ œ Óœ bœ ˙ ˙ Et a - do - ra - - te

126 127 128 129 Ó w w &b ˙ ˙ ˙ w w Organ ˙ ˙ ˙ ˙ ˙ w ?b ˙™ bœ w 4 6 6 2 { 157 130 131 132 133 Vln. I ˙ œ bœ™ œ œ œ w &b Œ ˙ œ œ J

Vln. II &b ˙ ˙ ˙ ˙ ˙™ œ w

w œ™ œ œ œ ˙ œ™ œ œ™ œ ˙ Vla.I Bb J J J

Vla.II j Bb w ˙ ˙ ˙ œ™ œ w

Vc. ? b bœ œ ˙ ˙ œ œ ˙™ œ w

Sop. I(Solo) œ b˙™ œ ˙ œ œ &b ˙ œ œ ˙ œ Œ te Sa - cro sanc - - ta My - ste - - - ri - a. In - scru -

Sop. II(Solo) b Ó Œ & œ œ ˙ œ œ b˙™ œ ˙ œ œ Sa - cro sanc - - ta My - ste - - - ri - a. In - ef -

Alto(Solo) &b œ œ ˙ ˙ ˙ ˙™ œ w { ra - te sanc - - ta My - - ste - - - ri - a. Tenor(Solo) j &b ˙ ˙ ˙ ˙ œ œ œ™ œ w ‹ Sa - - cro sanc - - ta My - ste - ri - a.

˙ œ ˙ œ œ ˙™ œ w Bar.(Solo) ?b Œ Sa - - cro sanc - - ta My - ste - - - ri - a.

œ œ Bass(Solo) ? b bœ œ ˙ ˙ œ œ ˙™ œ ˙ Œ Sa - cro sanc ta My - ste - - - ri - a. In - scru -

Sop.(Full) ˙ œ bœ™ œ œ œ w &b ˙ œ œ œ J te Sa - cro sanc - - ta My - ste ri - a.

Alto(Full) &b œ œ œ ˙ œ œ b˙™ œ w ra - teœ Sa - cro sanc - - ta My - ste - - - ri - a.

Tenor(Full) &b Œ ˙ œ ˙ œ œ ˙™ œ w ‹ Sa - - cro sanc - - ta My - ste - - - ri - a. œ œ œ œ ˙ ˙ œ œ œ™ œ w Bar.(Full) ?b ™ J J ra - te Sa - cro sanc - - ta My - ste - ri - a.

Bass(Full) ? { b bœ œ ˙ #˙ nœ œ ˙™ œ w Sa - cro sanc - - - - ta My - ste - - - ri - a.

130 131 132 133 ˙ ˙ w &b w ˙ ˙ b˙ ˙ w Organ ˙ ˙

?b bw ˙ ˙ w w 6 6 b 4 7 - 6 { 158 134 G 135 136 137 Vln. I b ∑ ∑ Œ œ œ bœ™ œ œ œ™ œ œ œ & J œ™ œ

Vln. II œ œ œ j &b ∑ ∑ Œ œ™ œ œ #œ œ™ œ

œ œ œ™ œ œ œ™ œ œ œ™ œ Vla.I Bb ∑ ∑ Œ J

Vla.II Bb ∑ ∑ Œ nœ œ œ™ œ œ œ ˙ œ

Vc. ? œ œ bœ œ b ∑ ∑ Œ œ œ œ™ œ œ ™ J G

Sop. I(Solo) œ™ œ ˙ œ™ œ œ œ œ &b J Œ J nœ Ó ∑ ta - bi - le; Quid scru - ta mi - ni?

Sop. II(Solo) b j j Ó ∑ & œ™ œ ˙ œ œ œ™ œ ˙ fa - bi - le; Quid ef - fa - mi - ni?

Alto(Solo) b Œ j Ó ∑ & œ œ œ™ œ œ œ bœ œ œ™ œ ˙ { In - ef - fa - bi - le; Quid ef - fa - mi - ni? Tenor(Solo) &b ∑ ∑ ∑ ∑ ‹ œ œ œ œ Bar.(Solo) œ œ œ œ œ ™ ™ ?b ∑ ∑ Œ ™ Œ J In - ef - fa - bi - le; Quid ef - fa - mi-

œ œ nœ œ œ™ Bass(Solo) ? ™ ˙ œ ˙ b J J Ó ∑ ta - bi - le; Quid scru - ta - mi - ni? G bœ œ œ Sop.(Full) &b ∑ ∑ Œ œ œ ™ œ œ œ œ™ œ In - ef - fa - bi- le; Quid ef - fa - mi-

Alto(Full) j &b ∑ ∑ Œ œ œ œ™ œ œ #œ œ œ™ œ In - ef - fa - bi- le; Quid ef - fa - mi -

Tenor(Full) œ™ œ œ œ &b ∑ ∑ Œ œ œ œ™ œ œ Œ J ™ ‹ In - ef - fa - bi - le; Quid ef - fa - mi- nœ œ œ™ œ œ Bar.(Full) ? œ œ œ œ b ∑ ∑ Œ ™ J In - ef - fa - bi - le; Quid ef - fa - mi -

Bass(Full) ? œ œ bœ œ { b ∑ ∑ Œ œ œ œ™ œ œ ™ J G In - ef - fa - bi- le; Quid ef - fa - mi - 134 135 136 137 ˙ ˙ ˙ œ ˙ ˙ &b ˙ ˙˙ bœ œ œ œ b˙ #˙ b˙ Organ ˙ nœ œ œ ? ˙ ˙ n˙ œ b˙ b œ œ ˙ ˙ 6 6 b # ! # 5 { 159 138 139 140 141 j Vln. I b œ œ œ œ ˙ œ œ nœ™ œ ˙ ˙™ œ & ™ J

œ œ ˙™ œ Vln. II &b ˙ Œ œ ˙ ˙ Œ ˙

w œ Vla.I Bb œ™ œ ˙ w ∑

Vla.II B w Œ j b œ œ œ œ™ œ ˙ w

Vc. ?b ˙ Œ œ j ∑ #œ™ œ œ œ œ œ™ œ ˙

Sop. I(Solo) j œ œ j j &b Œ œ œ™ œ ˙ Œ nœ™ œ œ ™ œ œ™ œ ˙ Pro - cum - bi - te, pro - cum - bi - te, ve - ne - ra - mi - ni.

Sop. II(Solo) &b ∑ œ j Ó œ œ œ œ™ œ œ œ œ œ œ Pro - cum - bi - te, pro - cum bi - te, ve - ne -

Alto(Solo) &b ∑ ∑ Œ Œ œ œ nœ™ œ œ œ™ œ œ { Pro - cum - bi- te, Pro - cum - bi- te, Tenor(Solo) œ j œ j &b Ó œ œ œ œ œ œ œ™ œ ˙ œ™ œ œ ‹ Pro - cum bi - te, ve - ne - ra - mi - ni. Pro - cum - bi - te, ˙ œ Bar.(Solo) ? œ œ œ œ œ œ œ œ ˙ b ™ J ∑ ni? Pro - cum bi - te, ve - ne - ra - mi - ni.

œ œ Bass(Solo) ? Œ #œ™ œ œ Œ œ™ œ ˙ Œ œ b J nœ™ œ œ œ œ Pro - cum - bi - te, Pro - cum - bi - te, Pro - cum - bi- te, ve - ne -

j Sop.(Full) b œ œ œ œ ˙ œ œ nœ™ œ ˙ ∑ & ™ J ni? Pro - cum - bi - te, ve - ne - ra - mi - ni.

Alto(Full) &b œ j ∑ #w œ™ œ œ œ œ œ™ œ ˙ ni? Pro - cum - bi - te, ve - ne - ra - mi - ni.

Tenor(Full) ˙ œ j &b œ œ œ œ œ œ œ™ œ ˙ ∑ ‹ ni? Pro - cum bi - te, ve - ne - ra - mi - ni. œ Bar.(Full) ? ™ œ œ™ œ ˙ œ œ œ™ œ ˙ Ó Œ œ b J J J ni? Pro - cum - bi - te, ve - ne - ra - mi - ni. Pro -

Bass(Full) ? ˙ Œ œ j ∑ { b #œ œ œ œ œ œ™ œ ˙ ™ ni? Pro - cum - bi - te, ve - ne - ra - mi - ni.

138 139 140 141 w w &b #w w nw w Organ w w w ? b w w nw # #w6 # 6 { 160 142 143 144 145 œ j œ œ Vln. I b œ™ œ ˙ œ œ œ œ œ œ œ ˙ Œ & J œ œ ™ ™ J

w œ œ œ œ œ œ œ Vln. II b œ œ ˙ œ & Œ ™ J Œ

œ œ œ Vla.I œ œ œ œ œ™ œ œ œ ˙ Bb Ó J ™ J Ó Œ

œ Vla.II Bb Œ œ œ œ œ ˙ w Ó Œ œ œ

Vc. ?b Ó Œ œ j Ó Œ œ™ œ œ œ œ œ™ œ ˙ œ œ

Sop. I(Solo) &b ∑ ∑ Œ œ œ™ œ œ œ œ ˙ Pro - cum - bi- te, ve - ne - ra

Sop. II(Solo) b j ∑ Ó Œ & œ™ œ ˙ œ œ™ œ œ œ œ ra - mi - ni. Pro - cum - bi- te, ve - ne -

Alto(Solo) &b œ j Ó Œ œ œ™ œ w œ œ™ œ œ œ œ { ve - ne ra - mi - ni. Pro - cum - bi- te, ve - ne - Tenor(Solo) b Œ j œ & ˙ œ œ™ œ œ œ™ œ œ œ œ ˙™ œ ‹ ve - - ne - ra - mi - ni. Pro - cum - bi- te, ve - ne - ra - - - mi - œ œ œ Bar.(Solo) ? œ œ œ œ œ œ œ™ œ ˙ b Ó J Ó Œ Pro - cum - bi - te, ve - ne - ra - mi - ni, ve - ne -

Bass(Solo) ? Ó Œ œ b ˙™ œ w œ™ œ œ œ œ ra - - - mi - ni. Pro - cum - bi- te, ve - ne -

œ j Sop.(Full) &b ∑ œ™ œ œ œ œ œ™ œ ˙ ∑ Pro - cum - bi-te, ve - ne - ra - mi - ni.

Alto(Full) b Œ Ó Œ & œ œ™ œ œ œ œ ˙ œ œ ˙ œ œ Pro - cum - bi- te, ve - ne - ra mi - ni, ve - ne -

Tenor(Full) b Ó œ j Ó Œ œ œ & œ œ œ œ œ œ œ™ œ ˙ ‹ Pro - cum - bi - te, ve - ne - ra - mi - ni, ve - ne -

Bar.(Full) ? œ œ b œ™ œ œ œ œ ˙™ œ w Ó Œ cum - bi- te, ve - ne - ra - - - mi - ni, ve - ne -

Bass(Full) {?b Ó Œ œ j Ó Œ œ™ œ œ œ œ œ™ œ ˙ œ œ Pro - cum - bi - te, ve - ne - ra - mi - ni, ve - ne -

142 143 144 145 b & w w ˙™ ˙™ œ Organ w ˙™ œ ˙™ œ ? œ b w ˙ 6w ˙™ 6 ™ œ { 161 146 147 148 149 150 151 œ U Vln. I b ™ œ ˙ Œ ˙ ˙ ˙ & J œ w w w

U Vln. II œ™ œ ˙ ˙ ˙™ œ w &b J ™ œ nw w

œ U œ™ œ œ œ™ œ œ œ œ™ œ œ œ œ ˙™ œ nw w Vla.I Bb J Œ

U Vla.II B j Œ œ b œ™ œ ˙ œ œ #˙ ˙ ˙ #˙ w w

U Vc. ? j b œ™ œ ˙ ˙™ œ w w w ˙™ œ

Sop. I(Solo) j U &b œ œ ˙ Ó ˙ ˙ ˙ ˙ œ™ œ w w mi - ni, ve ne - ra mi - ni.

U Sop. II(Solo) &b j j œ j œ™ œ œ œ œ œ bœ™ œ œ œ™ œœ œ œ œ™ œ w w ra - mi-ni, ve ne - ra - mi - ni, Pro - cum-bi-te, ve - ne - ra - mi - ni. U Alto(Solo) &b j Œ œ™ œ œ œ œ œ œ œ œ™ œ œ œ œ ˙™ œ nw w { ra - mi-ni. Pro - cum™ - bi - te, Pro - cum -bi- te, ve - ne - ra - - mi - ni. U Tenor(Solo) b Œ œ j & w œ™ œœ #œ œ ˙ ˙ #œ™ œ w w ‹ ni. Pro - cum-bi - te, ve - ne - ra mi - ni. œ œ U Bar.(Solo) œ™ œ œ œ œ œ œ™ œ œ œ œ ˙™ œ nw w ?b J ™ Œ ra - mi-ni, Pro - cum-bi - te, Pro - cum -bi- te, ve - ne - ra - - mi - ni.

U Bass(Solo) ? j w w b œ™ œ ˙ ˙™ œ w ˙™ œ ra - mi-ni, ve - - ne - ra mi ni.

œ j U Sop.(Full) &b Œ œ™ œœ Ó ˙ ˙ ˙ ˙ œ™ œ w w Pro - cum-bi-te, ve ne - ra mi ni. U Alto(Full) &b j œ™ œ œ œ œ œ bœ™ œ˙ ˙™ œ ˙™ œ w w ra - mi-ni, ve ne - ra -mi- ni, ve - - ne - ra - - mi - ni. U Tenor(Full) b œ™ œ œ œ Œ œ œ œ œ œ ˙ œ nw w & J œ™ œ œ ™ œ ™ ‹ ra - mi-ni, Pro - cu -bi - te, Pro - cum-bi - te ve - ne - ra - - mi - ni. œ U Bar.(Full) ? œ™ œ ˙ œ™ œœ #œ œ ˙ ˙ #œ™ œ w w b J Œ J ra - mi-ni, Pro - cum-bi-te ve - ne - ra mi - ni. U Bass(Full) ? j { b œ™ œ ˙ ˙™ œ w ˙™ w w œ ra - mi-ni, ve - - ne - ra mi - ni.

146 147 148 149 150 151 b & w bw w w w w Organ w ˙ ˙ w nw w ? #˙ ˙ ˙ #˙ w w b w w w w w b #4 4 4w # u { 162

APPENDIX D: TRANSCRIPTION AND MODERN EDITION OF

SACRIS SOLEMNIIS

163

Motet XX SACRIS SOLEMNIIS Henry Du Mont 1610-1684 q= 88-92 ed. Norm Te Slaa Sinfonia 2 3 4 5 Violin I œ™ œ™ œ œ œ œ ˙ œ œ œ œ™ œ ˙ (Premier dessus de violon) & c Œ J ™ J œb œ œ ˙ J J

Sinfonia Violin II œ™ œ œ œ ˙ œ œ ˙ œ œ j œ œ (Second dessus de violon) & c Œ J œ™ œ ˙ œ

Sinfonia ˙ œ œ œ œ œ Viola I œ œ œb œ ˙ ˙ (Haute-contre de violon) B c Œ Œ œ ˙

Sinfonia Viola II (Taille de violon) c œ ˙ B w ˙ œ œ œ œ œ œb ˙ ˙ Ó Sinfonia Bass (Basse de violon) ? c w ˙ ˙ ˙ ˙ ˙b ˙ ˙ ˙

Soprano (Dessus) & c ∑ ∑ ∑ ∑ ∑ Solo Choir

Alto (Haute-contre) c ∑ ∑ ∑ ∑ ∑ Solo Choir &

Tenor (Haute-taille) { c ∑ ∑ ∑ ∑ ∑ & Solo Choir ‹

Baritone (Basse-taille) ? c ∑ ∑ ∑ ∑ ∑ Solo Choir

Bass (Basse) ? c ∑ ∑ ∑ ∑ ∑ Solo Choir

Soprano (Dessus) & c ∑ ∑ ∑ ∑ ∑ Large Choir

Alto (Haute-contre) & c ∑ ∑ ∑ ∑ ∑ Large Choir

Tenor (Haute-taille) c ∑ ∑ ∑ ∑ ∑ Large Choir & ‹

Baritone { (Basse-taille) ? c ∑ ∑ ∑ ∑ ∑ Large Choir

Bass (Basse) ? c ∑ ∑ ∑ ∑ ∑ Large Choir

q= 88-92 2 3 4 5

& c œ œ ˙ ˙ w œ ˙ ˙ b˙œ œ œ œ œ œ œ œ Sinfonia œ œ œ œ œ ˙ ˙ ˙ Organ Continuo ? c w ˙ ˙ ˙ (Pour L'Orgue) ˙ ˙b ˙ ˙ ˙ 5 6 7 - 6 7 - 6 b 5 - 6 7 - 6 7 - 6 3 4 7 - 6 { 164 q= 108-112 6 7 8 9 10 ˙ œ# w Vln. 1 œ 3 œ œ œ & 4 œ# ∑ œ œ

œ œ œ œ Vln. 2 ˙ œ 3 œ œ & œ™ J w# 4 ∑

œ œ ˙ w œ œ œ ˙ œ ˙ œ Vla. I œ 3 B 4

Vla.II w w 3 œ B 4 œ œ ˙™ ˙™

œ Vc. ? œ œ 3 œ œ ˙# œ œ œ# œ œ w 4 ™

Sop(Solo) 3 & ∑ ∑ 4 ∑ ∑ ∑

Alto(Solo) 3 & ∑ ∑ 4 ∑ ∑ ∑

Tenor(Solo) 3 {& ∑ ∑ 4 ∑ ∑ ∑ ‹

Baritone(Solo) ? 3 ∑ ∑ 4 ∑ ∑ ∑

Bass(Solo) ? 3 ∑ ∑ 4 ∑ ∑ ∑

Sop(Full) 3 & ∑ ∑ 4 ∑ ∑ ∑

Alto(Full) 3 & ∑ ∑ 4 ∑ ∑ ∑

Tenor(Full) 3 & ∑ ∑ 4 ∑ ∑ ∑ {‹

Baritone(Full) ? 3 ∑ ∑ 4 ∑ ∑ ∑

Bass(Full) ? 3 ∑ ∑ 4 ∑ ∑ ∑

6 7 8 q= 108-112 9 10 3 & 4 œ œ œ ˙™ œ œ Óœ œ ˙ #w #œ œ œ œ ˙™ œ œ Org. œ œ# œ ? œ œ 3 œ œ ˙# œ œ œ# œ œ w 4 ™ { 4 - 3 # # 6 6 ! 6 { 165 11 12 13 14 15 œ œ œ Vln. 1 œ œ œ œ œ œ œ œ œ & œb œ œ œ™ J ˙ ™ J

œ Vln. 2 œ œ œ œ œ œ œ™ œb ˙ œn ˙ œ & J ˙ œ# ˙™ œ œ ˙ œ œ™ œ œ Vla. I B Œ J

Vla.II œ œ œ œ œ œ™ œ œ B ∑ ˙™ Œ J

Vc. ? œ œn œ œ ˙ œ œ œ œ œ œ œ œb œ

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

11 12 13 14 15 & œb œ œ œ œ œ œ œ œ œ #œ œ œ nœ ˙ œ ˙ œ ˙ œ Org. ˙ ? œ œn œ œ ˙ œ œ œ œ œ œ œ œb œ ! #6 6 6 6 6 { 166 16 17 18 19 20 œ œb Vln. 1 œ œ œ™ œ ˙ œ œ œ ˙ & J ˙™

Vln. 2 œ œ œ œ & œ œ œ# œ œ œ ˙# ˙™

œ ˙ œ œ œ Vla. I B ŒŒ ˙ œ œ ˙# ™

Vla.II ˙ œ B œ ˙b ˙™ œb ˙ ˙™

Vc. ? ˙b ˙ ˙ œ ˙ œ ™ ™ ˙™

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

16 17 18 19 20

& œ œ œ œ œ œ œ b˙™ œ #˙ œ bœ #˙ ˙™ Org. œ ˙ œ ˙ #˙™ ? ˙b 4 œ ˙™ ˙™ œ ˙ 3 ! 7 6 !# ˙# 7 - 6 # 4 ™ { 167 A 21 Sacris solemniis 22 23 24 25 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Sacris solemniis Vln. 2 & ∑ ∑ ∑ ∑ ∑

Sacris solemniis Vla. I B ∑ ∑ ∑ ∑ ∑

Sacris solemniis Vla.II B ∑ ∑ ∑ ∑ ∑

Sacris solemniis Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

œ œ™ œ œ œ œ œ# œ™ œ œ œ œ Baritone(Solo) ? œ œ J J œ

Sa- cris so- lem - ni - is juncta sint gau - di - a, Et ex prae -

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

A 21 22 23 24 25 & œ œ œ j ˙n ™ œ #œ œ œ bœ œ #œ ˙ œ œ™ œ œ Org. ˙ Sacris solemniis ? ˙ œ œ œ œ™ œ œ ™ œ# œ œb œ œ J 6 # ˙ 6 { 168 26 27 28 29 30 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

œ™ œ œ œ œ œ œb Baritone(Solo) ? œ œ™ œ œ œ œ œ œ™ œ œ J J J cor - di - is sonent prae- co - ni - a; Re- ce - dant ve - te - ra,

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

26 27 28 29 30 j j & œ œ œ ˙™ ˙ œ ˙ œ œ™ œ œ™ œ œ œ Org. ˙™ ˙ œ ? j ˙™ ˙ œb ˙ œ œ œ™ œ œ œb 6 œ œ™ œ J { 169 31 32 33 34 35 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

œ œ œ œ œ œ œ Baritone(Solo) ? œ œ œ œ™ œ œ œ# œ ™ J J nova sint om - ni - a, Cor da, voces, et o pe -

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

31 32 33 34 35 j & œ œ œ œ bœ nœ œ œ˙ œ œ œ™ œ œ œ ˙ Org. œ œ #˙ œ œ œ# œ ? œ œ œ œ™ œ œ œ œ œ œb œ œ J œ 6 6§œ 6 6 # 6 7 4 - # { 170 36 37 38 39 40 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

œ ˙™ œ# œ œ™ œ œ œ œ œ œ™ œ œ Baritone(Solo) ? J J

ra. Re- ce - dant ve - te - ra, nova sint om - ni - a,

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

36 37 38 39 40

& œ œ œ nœ ˙# ™ #œ œ œ ˙™ œ œ œ ˙œ œ œ Org. #˙™ ? ˙ œ œ œ œ ˙™ œ œ œ# ™ œ œ # # 6 # 4 - 3 { 171 41 42 43 44 45 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

œ œ œ œ œ œ œ œ œ œ™ œ œ# ˙ ˙ ˙ œ Baritone(Solo) ? ‰ J ™ ™ ™ ™ Œ

Cor da, Cor ----- da,

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

41 42 43 44 45 & ˙ œ œ j œ œ ˙ ˙ œœ# œ œœn œ #œ œ œ œ ˙ œ œ# œ ˙ Org. ™ ˙ ? œ j ˙ œ œ œb œ™ œ œ œ ˙# ! # # 6 6 # œ ˙ #6œ 6 { 172 B 46 47 48 49 Sacris solemniis 50 Vln. 1 œ œ œ œ™ œ œ & ∑ ∑ ∑ J

Sacris solemniis œ œ œ œ™ œ œ Vln. 2 & ∑ ∑ ∑ J

Sacris solemniis œ œ œ# œ™ œ œ Vla. I B ∑ ∑ ∑ J

Sacris solemniis Vla.II B ∑ ∑ ∑ œ œ# œ œ œ œ ™ J Sacris solemniis Vc. ? ∑ ∑ ∑ œ œ œ™ œ œ œ J B

Sop(Solo) œ œ œ œ™ œ œ & ∑ ∑ ∑ J Sa- cris so- lem - ni - is

Alto(Solo) ∑ ∑ ∑ j & œ œ œ œ™ œ œ Sa- cris so- lem - ni - is

j Tenor(Solo) {& ∑ ∑ ∑ œ œ œ# œ™ œ œ ‹ Sa- cris so- lem - ni - is

œb œ œ œ œ œ œ Baritone(Solo) ? œ œ œ œ™ œ ˙™ ™ J J voces, et o --- pe - ra. Sa- cris so- lem - ni - is

Bass(Solo) ? ∑ ∑ ∑ œ œ œ™ œ œ œ J Sa- cris so- lem - ni - is B

Sop(Full) œ œ œ œ™ œ œ & ∑ ∑ ∑ J Sa- cris so- lem - ni - is

Alto(Full) ∑ ∑ ∑ j & œ œ œ œ™ œ œ Sa- cris so- lem - ni - is

j Tenor(Full) & ∑ ∑ ∑ œ œ œ# œ™ œ œ {‹ Sa- cris so- lem - ni - is œ œ œ œ™ œ œ Baritone(Full) ? ∑ ∑ ∑ J

Sa- cris so- lem - ni - is

Bass(Full) ? ∑ ∑ ∑ œ œ œ™ œ œ œ J Sa- cris so- lem - ni - is B 46 47 48 49 50 œ œ# ˙ & ˙ œ œ ˙# nœ œ ˙ œ b˙ œ œ ˙œ œ# ˙™ œ Org. Sacris solemniis ? j œ œ ˙ œ œ™ œ œb ˙™ œ ! 6 5 ˙ # 4 # # ™ { 173 51 52 53 54 55

Vln. 1 œ œ™ œ œ œ & œ œ œ ˙™ œ œ J œ œ

œ œ œ™ œ œ œ Vln. 2 œ œ œ j & J œ™ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ# œ™ œ œ œ œ œ Vla. I B ™ J J

Vla.II j B œ œ œ œ™ œ œ œ# œ œ œ œ J œ œ ™ J œ™ œ

Vc. ? œb œ œ j œ œ œ œ™ œ œ# œ œ œ™ œ œ J œ

Sop(Solo) œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ & œ ™ J J juncta sint gau - di - a, Et ex prae- cor - di - is sonent prae -

Alto(Solo) j j & œ œ œ œ™ œ œ œ œ œ œ™ œ œ œ œ œ juncta sint gau - di - a, Et ex prae- cor - di - is sonent prae -

j j Tenor(Solo) {& œ œ œ œ œ œ œ œ œ# œ™ œ œ œ œ œ ™ ‹ juncta sint gau - di - a, Et ex prae- cor - di - is sonent prae -

œb Baritone(Solo) ? œ œ œ™ œ œ œ œ œ œ™ œ œ œ œ œ J J juncta sint gau - di - a, Et ex prae- cor - di - is sonent prae -

Bass(Solo) ? œb œ œ j œ œ œ œ™ œ œ# œ œ œ™ œ œ J œ juncta sint gau - di - a, Et ex prae- cor - di - is sonent prae -

Sop(Full) œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ & œ ™ J J juncta sint gau - di - a, Et ex prae- cor - di - is sonent prae -

Alto(Full) j j & œ œ œ œ™ œ œ œ œ œ œ™ œ œ œ œ œ juncta sint gau - di - a, Et ex prae- cor - di - is sonent prae -

j Tenor(Full) œ j œ œ œ & œ œ œ™ œ œ œ œ œ# ™ œ œ œ {‹ juncta sint gau - di - a, Et ex prae- cor - di - is sonent prae - œb Baritone(Full) ? œ œ œ™ œ œ œ œ œ œ™ œ œ œ œ œ J J juncta sint gau - di - a, Et ex prae- cor - di - is sonent prae -

Bass(Full) ? œb œ œ j œ œ œ œ™ œ œ# œ œ œ™ œ œ J œ juncta sint gau - di - a, Et ex prae- cor - di - is sonent prae -

51 52 53 54 55 œ ˙ ˙™ œ œ œ# ˙ œ œ œ œ œ & œ ˙œ œ ˙™ œ œ œ ˙ œ œ œ œ Org. ? œ œ œ ˙ œ œb œ ˙ œ# œ œ ™ 6 #6 œ 4 - 3 4 { 174 56 57 58 59 60 Vln. 1 œ™ œ# œ œ œ œ œ™ œ œ œ œ œ œ™ œ œ & J J J

œ Vln. 2 œ œ œ™ œ œ œ œ ˙ œ & œ œ# œ J œ

œ™ œ œ œ# œ œ œ™ œ œ œ œ œ œ™ œ œ Vla. I B J J J

Vla.II j j B œ Œ œ# œ œ œ œ œ œ œ œ œ ™ œ œ ™ œ ™ J

Vc. ? j œ œ œ™ œ œ œ œ™ j œ™ œ œ œ J œ œ œ œ

Sop(Solo) œ™ œ# œ œ œ œ œ™ œ œ œ œ œ œ™ œ œ & J J J co - ni - a: Re- ce - dant ve - te - ra, nova sint om - ni - a,

j Alto(Solo) & j œ œ œ œ œ j œ™ œ œ œ œ# ™ œ œ œ™ œ œ co - ni - a: Re- ce - dant ve - te - ra, nova sint om - ni - a,

j j œ j Tenor(Solo) {& œ™ œ œ œ# œ œ œ™ œ œ œ œ œ™ œ œ ‹ co - ni - a: Re- ce - dant ve - te - ra, nova sint om - ni - a,

œ œ œ œ Baritone(Solo) ? œ# œ œ œ œ œ ™ œ œ œ œ œ ™ J J ™ J co - ni - a: Re- ce - dant ve - te - ra, nova sint om - ni - a,

Bass(Solo) ? j œ œ œ™ œ œ œ œ™ j œ™ œ œ œ J œ œ œ œ co - ni - a: Re- ce - dant ve - te - ra, nova sint om - ni - a,

Sop(Full) œ™ œ# œ œ œ œ œ™ œ œ œ œ œ œ™ œ œ & J J J co - ni - a: Re- ce - dant ve - te - ra, nova sint om - ni - a,

j Alto(Full) & j œ œ œ œ œ j œ™ œ œ œ œ# ™ œ œ œ™ œ œ co - ni - a: Re- ce - dant ve - te - ra, nova sint om - ni - a,

j j œ j Tenor(Full) & œ™ œ œ œ# œ œ œ™ œ œ œ œ œ™ œ œ ‹ co - ni - a: Re- ce - dant ve - te - ra, nova sint om - ni - a,

{ œ œ œ œ Baritone(Full) ? œ# œ œ œ œ œ ™ œ œ œ œ œ ™ J J ™ J co - ni - a: Re- ce - dant ve - te - ra, nova sint om - ni - a,

Bass(Full) ? j œ œ œ™ œ œ œ œ™ j œ™ œ œ œ J œ œ œ œ co - ni - a: Re- ce - dant ve - te - ra, nova sint om - ni - a,

56 57 58 59 60 j &#˙ œ #˙ œ ˙ œ œ œ œ œ™ œ œ #œ ˙ #œ œ œ œ™ œ œ Org. ? œ œ œ œ œ ˙ œ ˙ œ œ œ #˙ # # # 6 { 175 61 62 63 64 65 œ œb œ œ œ Vln. 1 œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œb œ œ ˙ œ#

œ œb œ œ œb œ . Vln. 2 œ œ œ œ œ œ œ œ™ œ œ œ™ œ œ œ & ˙ œ œ œ# œ œ

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II œ œ B ∑ Œ œ™ œ œ ˙ ˙™ Œ ™ J J

œ œ œ œb œb œ œ œ œb œb Vc. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ J ™ J œ

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

œ œ œ œb œb œ œ œ œb Bass(Solo) ? œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ™ J œ Cor da, vo

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

61 62 63 64 65

& œ œ œ™ j ˙ Óœ œ œ œ œ™ œb œ œ œ œ œ œ œ b˙ œ œ# œ œ œ œ œ Org. œ œ ? œ œ œb œ œ œ œ œ œ œb œ œ œ œ œ ˙ œ œ œb œ œ œ ™ J œ ! ! # 6 { 176 C 66 67 68 69 Recedant 70 œ œ Vln. 1 œ œ œ™ œ œ# ˙™ œ œ œ œ™ œ œ & J J

Recedant œ œ™ œ œ œ œ œ œ Vln. 2 œ œ œ™ œ ˙™ ™ & J J Œ J Recedant œ# œ œ œ™ œ œ Vla. I B ∑ ∑ ∑ J

Recedant Vla.II œ œ œ j j B œ œ œ™ œ ˙™ œ# œ œ œ™ œ œ Recedant ˙ Vc. ? œ œ œ™ œ œ# œ ˙ œ œ J ˙™ C

Sop(Solo) œ œ œ œ™ œ œ & ∑ ∑ ∑ J Re- ce - dant ve - te ra,

Alto(Solo) j œ & ∑ ∑ ∑ œ œ œ# œ™ œ Re- ce - dant ve - te ra,

j Tenor(Solo) {& ∑ ∑ ∑ œ# œ œ œ™ œ œ ‹ Re- ce - dant ve - te ra,

œ œ œ œ œ œ Baritone(Solo) ? ∑ ∑ ∑ ™ J

Re- ce - dant ve - te ra,

œ œ Bass(Solo) ? ˙ œ# œ œ ˙™ œ œ™ œ œ œ™ J J ces, et o - pe - ra. Re- ce - dant ve - te ra, C

Sop(Full) œ œ œ œ™ œ œ & ∑ ∑ ∑ J Re- ce - dant ve - te ra,

Alto(Full) j & ∑ ∑ ∑ œ œ œ# œ™ œ œ Re- ce - dant ve - te ra,

j Tenor(Full) & ∑ ∑ ∑ œ# œ œ œ™ œ œ {‹ Re- ce - dant ve - te ra, œ œ œ œ œ œ Baritone(Full) ? ∑ ∑ ∑ ™ J

Re- ce - dant ve - te ra,

Bass(Full) ? œ œ œ œ œ ∑ ∑ ∑ œ ™ J Re- ce - dant ve - te ra,

66 67 68 69 C 70

& œ œ œ œ# ˙ œ ˙œ œ œ œ ˙œ œ# ˙˙# ™ #œ œ ˙ œ Org. Recedant œ ? œ œ ˙ œ ˙ œ# œ ˙ ˙™ œ 6 4 - 3 # # # { 177 71 72 73 74 75 œ œ Vln. 1 œ œ™ œ œ œ œ œ œ œ œb & œ œ J œ œ ˙ œ

œ œ Vln. 2 œ œ œ™ œ œ ˙ œ œ œ & œ J œ œ œ œ œ œ œ™ œ œ ˙ ˙ œ Vla. I B J ∑

Vla.II B œ œ œ œ œ œ ∑ Œ œ™ œ ˙ œ ™ J J

œ œ œ œb œb œ œ œ Vc. ? œ œ j œ œ œ œ œ œ œ œ œ œ ™ œ œ ™ J

œ œ Sop(Solo) œ œ™ œ œ œ œ œ œ œ œb & œ œ J œ œ ˙ œ nova sint om - ni - a, Cor da, vo ces,

œ Alto(Solo) & j œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ ˙ œ nova sint om - ni - a, Cor da, vo ces,

œ j œ ˙ Tenor(Solo) {& œ œ œ™ œ œ ∑ ˙ œ ‹ nova sint om - ni - a, Cor -- da, vo -- ces,

œ œ œ œ œb œ ˙ œ Baritone(Solo) ? œ œ œ œ œ ˙ ™ J Œ nova sint om - ni - a, Cor da, vo -- ces,

œ œ œ œb œb œ œ œ Bass(Solo) ? œ œ j œ œ œ œ œ œ œ œ œ œ ™ œ œ ™ J nova sint om - ni - a Cor

œ œ Sop(Full) œ œ™ œ œ œ œ œ œ œ œb & œ œ J œ œ ˙ œ nova sint om - ni - a, Cor da, vo ces,

Alto(Full) & œ j œ œ œ œb œ œ œ œ œ™ œ œ œ œ œ œ œ ˙ œ nova sint om - ni - a, Cor da, vo ces,

œ j œ ˙ Tenor(Full) & œ œ œ™ œ œ ∑ ˙ œ ‹ nova sint om - ni - a, cor -- da, vo -- ces,

{ œ œ œ œ œ ˙ œ œb Baritone(Full) ? œ œ œ œ œ ˙ ™ J Œ nova sint om - ni - a, Cor da, vo -- ces,

œ œ œ œb œb œ œ œ Bass(Full) ? œ œ j œ œ œ œ œ œ œ œ œ œ ™ œ œ ™ J nova sint om - ni - a, Cor

71 72 73 74 75 j j & œ œ œ œ™ œ œ œ œ œ œ bœ œ™ œb œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ ™ œ œ œ œ #œ Org. œ œ œ œ ? œ œ œ œb œ œ œ™ œ œ œ œb œ œ œ œ œ œ œ J 6 { 178 76 77 78 79 80 Vln. 1 œ œ œ œ™ œ ˙™ & œb œ œ ˙™ Œ J

œ Vln. 2 ˙ œ œ ˙ & ™ œ# œ ˙™ ˙™ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ# ™ œ ˙™ Vla. I B J

Vla.II œ B œ œ œ œ œ# ™ œ œ œ ˙ œ œ œ# ™ œ ˙™ J J

œ œb œ Vc. ? ˙ œ œ œ œ ˙ œ# œ œ ˙™ œ™ J

Sop(Solo) œ œ œ œ œ™ œ ˙™ & œb œ œ œ œ ˙™ Œ J vo ces, voces, et o - pe - ra.

Alto(Solo) œ œb œ œ œ j & œ œ œ œ œ œ# œ œ œ œ œ œ™ œ# ˙# ™ vo ces, et o - pe - ra.

œ œ œ œ œ œ œ Tenor(Solo) {& œ œ œ# œ œ œ œ œ# ™ œ ˙™ J ‹ vo ces, vo ces, et o - pe - ra.

Baritone(Solo) ? œ™ œ œ œ œ œ™ œ ˙™ ∑ Œ J œ J vo ces, et o pe - ra.

œ œb œ Bass(Solo) ? ˙ œ œ œ œ ˙ œ# œ œ ˙™ œ™ J da, vo - ces, et o - pe - ra.

Sop(Full) œ œ œ œ œ™ œ ˙™ & œb œ œ œ œ ˙™ Œ J vo ces, voces, et o - pe - ra.

Alto(Full) œ œb œ œ œ j & œ œ œ œ œ œ# œ œ œ œ œ œ™ œ# ˙# ™ vo ces, et o - pe - ra.

œ Tenor(Full) œ œ œ œ œ# œ œ œ œ œ œ œ œ# œ ˙™ & œ ™ J {‹ vo ces, vo ces, et o - pe - ra. Baritone(Full) ? œ™ œ œ œ œ œ™ œ ˙™ ∑ Œ J œ J vo ces, et o pe - ra.

œ œb œ Bass(Full) ? ˙ œ œ œ œ ˙ œ# œ œ ˙™ œ™ J da, vo ces, et o - pe - ra.

76 77 78 79 80 j & bœ™ œ œ œ œ œ œ œ ˙ #˙™ ˙ bœ #œ œ œ œ œ œ œ #˙ ˙™ Org. ? ˙ œ œ œb œ œ œ œ ˙ œ# œ ˙ ! # 6 6 # ˙ # ™ { 179 D 81 Symphonie 82 83 84 85 œ œ œ œ œ Vln. 1 œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ j & œ# œ™ œ œ œ

Symphonie Vln. 2 œ œ œ œ œ œ œ œ# œ œ œ™ œ œ# œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ ™

Symphonie Vla. I B ∑ ∑ ∑ ∑ ∑

Symphonie Vla.II ˙ ˙ B œ œ œ œ œ œ ŒŒŒ œ œ Symphonie

Vc. ? œ™ œ œ œ œ œ œ œ œ œ ˙b œ œ J ˙

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

D 81 82 83 84 85 j & œ œ œ œn œ œ ˙ œ ˙ bœ œ# œ™ œ ˙ Org. Symphonie ? œ™ œ œ œ œ œ œ ˙ œ ˙b œ œ J ˙ # 6 { 180 86 87 88 89 90 Vln. 1 œ œ œ œ œ œ œ œ œ™ œ œ œ œ™ œ œ œ œ & œ œ œ J J ™ J

œ œ œ œ Vln. 2 œ œ œ œ œ œ œ œ œ œ ˙ œ ™ œ œ™ œ & J J

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II j B Œ œ œ œ ˙ ˙ ˙™ ™ œb œ ™ ™

Vc. ? ˙ ˙ œ œ œ œ œ ™ œb œ œ œ œ œ œ œ œ œ œ

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

86 87 88 89 90 & ˙ ˙ œ œ œ œ ˙ œ œ œ œ œ™ œ œ œ ˙ œ œ œ œ œ œ œ Org. œ J œ œ ? œ œ ˙™ ˙b œ ˙ œ œ œ œ œ œ œ œ œ œ 5 6 6 4-3 œ 6 6 3 4 { 181 91 92 93 94 95 œ œ œ Vln. 1 œ œ™ œ œ# œ œ œ œ œ œn œ œ œ œ œ œ & J ™ J œ œ# œ

Vln. 2 œ œ™ œ œ j œ œ œ œ œ j œ & J ™ œ œ œ# ™ œn œ œ œ# œ œ œ œ™ œ œ

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ˙™ ∑ ∑ ∑ ∑

œ œ œb œ œ Vc. ? œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

91 92 93 94 95 j & œ œ œ œb ˙ œ œ œ œ# ™ œ œ œ œ œ Œœ œ œ #˙ œ œ œ œ œ œ œ œ œ Org. ™ ? œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œn œ œ œ œ # 6 # 6 œ œ { 182 96 97 98 99 œ œ œ Vln. 1 ™ œ# œ# œ™ œ œ œ™ œ ˙ & J J J

Vln. 2 ˙ œ œ œ œ œ™ œ œ# œ œ™ œ# & ™ J J J

Vla. I B ∑ ∑ ∑ ∑

Vla.II œ œ B Œ œ# ˙™ ˙ ˙™

Vc. ? œ j ˙ œ ˙ œ™ œ œ œ œ ˙

Sop(Solo) & ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑

96 97 98 99 j j & œn œ œ™ œ œ œ ˙ ˙ #œ #œ™ #œ œ œ #œ œ œ™ œ# Org. œ œ# ™ J J ? œ j œ œ™ œ œ œ ˙ #˙ 4 # # ˙ #œ 6 6 4 # 4 { 183 100 101 102 103 ˙ œ Vln. 1 ˙ œ ™ œ œ ˙ 4 & ™ Œ J 4

œ œ œ œb œ œ œ Vln. 2 œ™ œ ™ ™ œ œ œ œ œ œ# œ œ™ œ# 4 & ™ J J 4

Vla. I 4 B ∑ ∑ ∑ ∑ 4

Vla.II 4 B ˙ Œ ∑ ∑ ∑ 4

Vc. ? 4 œ 4 œ œ ˙ œ# œ œ œ œ ˙

Sop(Solo) 4 & ∑ ∑ ∑ ∑ 4

Alto(Solo) 4 & ∑ ∑ ∑ ∑ 4

Tenor(Solo) 4 {& ∑ ∑ ∑ ∑ 4 ‹

Baritone(Solo) ? 4 ∑ ∑ ∑ ∑ 4

Bass(Solo) ? 4 ∑ ∑ ∑ ∑ 4

Sop(Full) 4 & ∑ ∑ ∑ ∑ 4

Alto(Full) 4 & ∑ ∑ ∑ ∑ 4

Tenor(Full) 4 & ∑ ∑ ∑ ∑ 4 {‹ Baritone(Full) ? 4 ∑ ∑ ∑ ∑ 4

Bass(Full) ? 4 ∑ ∑ ∑ ∑ 4

100 101 102 103 4 & œ œ ˙ œ œ œ 4 œ œ œ œ œ œ# bœ ˙œ™ œ# Org. ˙ ˙ J ? œ 4 ˙ œ# œ œ œ ˙ 4 ! œ œ œ # 7 4 # b { 184 E q= 88-92 104 Noctis 105 106 107 œ œ™ œ Vln. 1 4 w j œ œ œ# œ œ œ œ œ & 4 Ó‰ œ ™ œ J

Noctis œ™ œ œ œ Vln. 2 4 w œ™ œ œ œ œ œ œ j & 4 œ# ™ œ œ ™ œ œb œ œ™ œ

Noctis Vla. I 4 B 4 ∑ ∑ ∑ ∑

Noctis Vla.II 4 B 4 ∑ ∑ ∑ ∑

Noctis Vc. ? 4 4 Ó ∑ ∑ ∑ ˙ E

Sop(Solo) 4 & 4 ∑ ∑ ∑ ∑

Alto(Solo) 4 & 4 ∑ ∑ ∑ ∑

Tenor(Solo) 4 {& 4 ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? 4 4 ∑ ∑ ∑ ∑

œ œ œ Bass(Solo) ? 4 Ó œ œ œ œ ™ œ# ™ œ œ œ œn ™ œ 4 ™ œ# ™ œ œ œb œ œ™ œ œ Noc- tis re- co - li - tur coena no- vis - si - ma, Noc- tis re- co - li - tur coena no

Sop(Full) 4 & 4 ∑ ∑ ∑ ∑

Alto(Full) 4 & 4 ∑ ∑ ∑ ∑

Tenor(Full) 4 & 4 ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? 4 4 ∑ ∑ ∑ ∑

Bass(Full) ? 4 4 ∑ ∑ ∑ ∑ E 104 q= 88-92 105 106 107 4 & 4 ˙ ˙ œ œ œ ˙ ˙ œ œ ˙# ˙ ˙ bœ œ Org. ˙ ˙ ˙ Noctis ? 4 ˙ ˙# œ œn ™ œ 4 ˙ ˙# œ œb œ ˙ ˙ # ! 6 { 185 108 109 110 111 œ j Vln. 1 œ œ œ œ œ œ œ ˙ œ œb œ œ œb œ & ™ œ ™ J ™ ‰ J ™ œ œ ™ œ™ J

œ œ œ œ ˙ œ œ Vln. 2 œb œ œ œ ™ œ œ™ œ œ™ œ ™ & œ œ œ™ J J J ‰ J

Vla. I B ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑

œ Bass(Solo) ? œ œ j œ œ œ œ œ œ™ œ œ Œ œ œ™ œ œ œ™ œ œ œ œ vi- si - ma, Qua Chri- stus cre - di - tur a- gnum et A- zy - ma De- dis - se, De -

Sop(Full) & ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑

108 109 110 111 j j & œ œ œ œ œ œ œb œ œ™ œ œ œ™ œ œ œ œ˙ œ œ œ œ œ™ œ œ Org. œ œ œ j ? œ œ œ œ œ œ ˙ œ œ œ œ œ™ j ™ J œ ™ œ œ 6 6 6 6 ! 6 5 4 { 186 112 113 114 115 œb œ œ œ ˙ Vln. 1 œ œ™ œ œ œ œ ˙ œ ™ ™ œ œ œ & œ™ ™ Ó Œ

œb œ™ œ œ œ œ Vln. 2 œ™ ™ œ œ œ œ œ œ œ œ™ œ œ œ ™ œ œ œ œ™ œ œ™ œ# œ™ œ & ™ œb œ ‰ J

Vla. I B ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑

œb œ œ œ œ œb œ Bass(Solo) ? j œ œ™ œ ™ œ œ œ ™ œb œ œ™ œ ˙ J dis- se fra - tri - bus, juxta le- gi - ti - ma Pris- cis in- dul - ta pa --tri

Sop(Full) & ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑

112 113 114 115

& œ ˙ ˙ œ ˙ ˙ b˙ œ œ ˙ Org. œ œ ˙ ˙ ˙b ˙ œ œ ˙b ? ˙b œ ˙ 6 ˙ ! 6 7-6 4 œ 4 { 187 116 117 118 119 œ œ œ œ œ œ Vln. 1 œ™ œ œ™ œ ™ œ œ™ œ œ œ œ œ™ œ & J J œ Œ J

œ Vln. 2 j œ œ œ œ œ ™ œ œ™ œ œ & ˙# Ó ‰ œ œ ™ J œ™ œ# ˙ œ

Vla. I B ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑

œ Sop(Solo) & ∑ ∑ ∑ Ó Œ Post

Alto(Solo) & ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑

˙ œ Bass(Solo) ? œ™ œ œ œ œ œ œ™ œ œ™ œ œ™ œ œ™ œ œ œ œ œ™ œ œ™ J bus, juxta le- gi - ti-ma priscis in- dul ta pa --tri

œ Sop(Full) & ∑ ∑ ∑ Ó Œ Post

Alto(Full) & ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑

116 117 118 119 & j œ œ #˙ ˙ ˙ ˙ œ™ œ œ™ #œ œ ˙œ œ Org. ˙ ˙ ˙ œ™ ? ˙ ˙ œ™ œ œ œ œ™ œ œ œ ˙ ˙ J ™ ˙ # { 188 F 120 Post agnum 121 122 123 œ œ Vln. 1 œ œ œ œ œ & œ ˙b ˙™ œ Ó

Post agnum œ Vln. 2 œ œn œ œ œ™ œ œ & œ œ ˙ Œ J œ Ó Post agnum œ œ œ œ# ™ œ œ œ œn œ œ™ œ Vla. I B ∑ J J œ Post agnum Vla.II B Œ œ œ œb œ œ œ œ# ™ œ œ œn œ ˙ œ J œ Post agnum œ œ œ Vc. ? Œ œ œ œ œ™ œ œ™ œ œ™ œ œ œ J J J œ F œ œ œ œ Sop(Solo) ™ œ œ œ ˙b œ œ & J ˙™ Ó a- gnum ty - pi - cum, post a -- gnum, post a- gnum

Alto(Solo) ∑ Œ j j & œ œ œ œ™ œ œ œ œ™ œ œ œ Post a- gnum ty - pi - cum, post a gnum

œ œ Tenor(Solo) {& ∑ Œ œ œ# ™ œ œ œ œn œ œ™ œ J J ‹ Post a- gnum ty - pi - cum, post a- gnum ty --pi

œ œ œb œ œ œ ˙ ˙ œ œ Baritone(Solo) ? Œ ™ Ó Ó

Post a- gnum ty- pi - cum, post a - gnum

œ œ œ Bass(Solo) ? œ œ œ œ œ™ œ œ™ œ œ™ œ œ œ J J J œ bus. Post a- gnum ty - pi - cum, ex- ple - tis e - pu - lis, post a- gnum

F œ œ œ œ Sop(Full) ™ œ œ œ ˙b œ œ & J ˙™ Ó a- gnum ty - pi - cum, post a -- gnum, post a- gnum

Alto(Full) ∑ Œ j j & œ œ œ œ™ œ œ œ œ™ œ œ œ Post a- gnum ty - pi - cum, post a gnum

œ œ j j Tenor(Full) & ∑ Œ œ œ# ™ œ œ œ œn œ œ™ œ ‹ Post a- gnum ty - pi - cum, post a- gnum ty - pi

{ œ œ œb œ œ œ ˙ ˙ œ œ Baritone(Full) ? Œ ™ Ó Ó

Post a- gnum ty- pi - cum, post a - gnum

œ œ œ Bass(Full) ? Œ œ œ œ œ™ œ œ™ œ œ™ œ œ œ J J J œ Post a- gnum ty - pi - cum, ex- ple - tis e - pu tis, Post a- gnum F 120 121 122 123 & ˙ ˙ b˙ ˙ ˙ œ nœ œ œ ˙ nœ œb œ œ œ œ #˙ ˙ œ œ œ œ Org. Post agnum ? ˙ ˙ ˙ œ œ œ ˙ ˙ ˙ œ 6 !5 6 6 # ! 6 ! 5 { 189 124 125 126 127 Vln. 1 Œ œ œ œ œ œ™ œ# w# j œ œ & ™ J œ œ J œ™ œ

œ œ œ Vln. 2 ˙ œ w ™ & Œ œ œ œ œ Œ J

œ œ œ œ œ œ œ œ™ œ ˙ œ œ œ Vla. I B J Ó Œ

Vla.II B ˙ ˙ œ# ˙ œ w Ó œ œ œ

œ Vc. ? œ™ œ œ™ œ œ œ™ j Ó œ œ œ J J œ w

Sop(Solo) œ œ œ œ œ™ œ# w# œ™ œ œ & ™ J œ œ J œ œ œ ty - pi- cum, ex- ple - tis e - pu - lis, Cor- pus Do- mi - ni - cum

Alto(Solo) j j & œ™ œ œ œ œ œ œ™ œ ˙ œ œ œ œ™ œ œ œ# œ œ ty - pi- cum, ex- ple - tis e - pu - lis, Cor- pus Do- mi - ni - cum, Cor- pus Do -

œ œ Tenor(Solo) {& œ œ œ œ œ œ™ œ ˙ Ó Ó œ œ œ J ‹ cum, ex- ple tis e - pu - lis, Cor- pus Do -

œ™ œ œ™ œ œ# œ œ œ™ œ ˙ œ œ œ œ™ œ œ œ œ œ Baritone(Solo) ? J J ty - pi - cum, ex- ple - tis e-- pu lis, Cor- pus Do- mi - ni - cum, Cor- pus Do -

œ Bass(Solo) ? œ™ œ œ™ œ œ œ™ j Ó œ œ œ J J œ w ty - pi- cum, ex- ple - tis e - pu - lis, Cor- pus Do -

Sop(Full) œ œ œ œ œ™ œ# w# œ™ œ œ & ™ J œ œ J œ œ œ ty - pi- cum, ex- ple - tis e - pu - lis, Cor- pus Do- mi - ni - cum

Alto(Full) j j & œ™ œ œ œ œ œ œ™ œ ˙ œ œ œ œ™ œ œ œ# œ œ ty - pi- cum, ex- ple - tis e - pu - lis, Cor- pus Do- mi - ni-cum, Cor- pus Do -

œ œ j Tenor(Full) & œ œ œ œ œ œ™ œ ˙ Ó Ó œ œ œ ‹ cum, ex- ple tis e - pu - lis, Cor- pus Do -

{ œ œ œ œ œ ™ œ™ œ œ# œ œ œ™ œ ˙ œ œ œ ™ œ œ œ Baritone(Full) ? J J ty - pi - cum, ex- ple - tis e-- pu lis, Cor- pus Do- mi - ni- cum, Cor- pus Do -

œ Bass(Full) ? œ™ œ œ™ œ œ œ™ j Ó œ œ œ J J œ w ty - pi- cum, ex- ple - tis e - pu - lis, Cor- pus Do -

124 125 126 127 & ˙ ˙ #œ œ œ œ w ˙ ˙ ˙ œ œ œ œ œ ˙ #w ˙ #˙ Org. ? œ™ ˙ œ œ œ w ˙ 6 6 J # ˙ 4-# ˙ ! # { 190 128 129 130 131 œ œ Vln. 1 œ ™ œ œ œ œ ˙ & J ™ J ∑ ∑

œ œ œ œ œ œ œ Vln. 2 œ œ œ œ ™ œ ˙ ∑ & ‰ J J œ™ œ œ œ œ œ œ™ œ ˙ Vla. I B J ∑ ∑

Vla.II B œ™ œ œ œ œ œ œ œ™ œ ˙ ∑ Ó Œ œ

Vc. ? œ™ œ œ œ œ œ ∑ ∑ œ œ™ œ ˙

œ Sop(Solo) œ œ œ œ œ œ™ œ ˙ & Œ J ∑ ∑ da -- tum dis- ci - pu - lis,

Alto(Solo) j & œ™ œ œ œ œ œ œ™ œ œ œ œ# œ œ œ™ œ œ œ œn œ œ™ œ mi- ni - cum datum dis- ci - pu - lis, Sic totum om - ni - bus quod totum sin-- gu

œ j Tenor(Solo) {& œ™ œ œ œ œ œ™ œ ˙ ∑ ∑ ‹ mi - ni - cum datum dis- ci - pu - lis,

œ œ œ œ œ œ œ œ œ œ œ œb œb œ™ œ Baritone(Solo) ? ™ œ ™ œ™ œ œ œ œ J mi- ni - cum datum dis ci pu - lis, Sic totum om - ni - bus quod totum sin-- gu

Bass(Solo) ? œ™ œ œ œ œ œ ∑ ∑ œ œ™ œ ˙ mi- ni - cum datum dis- ci pu - lis,

œ Sop(Full) œ œ œ œ œ œ™ œ ˙ & Œ J ∑ ∑ da -- tum dis- ci - pu - lis,

Alto(Full) j & œ™ œ œ œ œ œ œ™ œ ˙ ∑ ∑ mi- ni - cum datum dis- ci - pu - lis,

œ j Tenor(Full) & œ™ œ œ œ œ œ™ œ ˙ ∑ ∑ ‹ mi- ni - cum datum dis- ci - pu - lis,

{ œ œ œ œ ˙ œ œ œ œ œ Baritone(Full) ? ™ ™ ∑ ∑

mi- ni- cum datum dis- ci pu - lis,

Bass(Full) ? œ™ œ œ œ œ œ ∑ ∑ œ œ™ œ ˙ mi- ni- cum datum dis- ci pu - lis,

128 129 130 131 œ & ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ ˙ œ nœ œ ˙œ œ ˙ #œ bœ œ b˙ ˙ Org. ˙ ? œ™ œ œ œ œ j ˙ J œ œ œ™ œb œ œ œ ˙ 6 #6 4 œ ! ! # { 191 132 133 134 135

Vln. 1 œ œ ˙ & Ó Œ œ w ∑

œ œ œ Vln. 2 ™ œ œ œ œ ˙ œ œ œ œ & Œ œ ˙ Œ

œ œ œ# œ™ œ ˙ œ œ œ Vla. I B ∑ Œ J Œ

Vla.II œ œ œ B œ œ ˙ œ# ˙ ˙ Œ ˙ œ

Vc. ? œ œ œ œ™ œ ˙ j Œ J Œ œ œ œ œb ™ œ œ œ

œ œ œ j Sop(Solo) & Ó Œ œ ™ œ w ∑ Sic totum om - ni - bus

Alto(Solo) j & œ œ œ œ œ™ œ œ œ ˙ œ œ œ œ œ œ lis, Sic totum om- ni - bus quod to -- tum sin -- gu - lis, to -

j Tenor(Solo) {& ∑ Œ œ œ œ# œ™ œ ˙ Œ œ œ œ ‹ Sic totum om - ni - bus quod totum

œ# œ œ œ œ œ œ œ œ Baritone(Solo) ? ™ Ó Ó Œ œ œ œ

lis, Sic totum om - ni -bus, Sic totum om-- ni

Bass(Solo) ? œ œ œ œ™ œ ˙ j Œ J Œ œ œ œ œb ™ œ œ œ Sic totum om - ni - bus, Sic totum om - ni - bus quod

œ œ œ j Sop(Full) & Ó Œ œ ™ œ w ∑ Sic totum om - ni - bus

Alto(Full) j & Œ œ œ œ œ™ œ œ œ ˙ œ œ œ œ œ œ Sic totum om - ni - bus quod to -- tum sin -- gu - lis, to -

j Tenor(Full) & ∑ Œ œ œ œ# œ™ œ ˙ Œ œ œ œ ‹ Sic totum om - ni - bus quod totum

{ œ# œ œ œ œ œ œ œ Baritone(Full) ? Œ ™ Ó Ó Œ œ œ œ

Sic totum om- ni - bus, Sic totum om-- ni

Bass(Full) ? œ œ œ œ™ œ ˙ j Œ J Œ œ œ œ œb ™ œ œ œ Sic totum om - ni - bus, Sic totum om - ni - bus quod

132 133 134 135

& #œ œ œ #œ œ œ œ œ# œ œ œ œ ˙ œ œ Org. ˙ ˙ œ ˙ œ œ œ ˙ ? ˙ œ ˙ œ ˙ œ ˙ œ ˙b ˙ # 6 6 7-6 7 - #6 2 6 7-6 6 5 4 4 4 3 { 192 136 137 138 139 œ Vln. 1 Œ œ œ œ ™ œ ˙ œ œ œ™ œ œ & J Ó Œ J

Vln. 2 œ œ j œ & Œ œ œb œ œ œ™ œ œ œ œ œ ˙ Œ

œ ˙b œ œ Vla. I œ™ œ ˙ œ œ™ œ œ œ œ œ B Œ J

Vla.II B œ ˙b œ ˙ Œ œ œ œb œ ˙ œ ˙ œ

Vc. ? ˙ œ œ œ œ™ œ œ™ œ œ œ œ J ˙™ œ J

œ Sop(Solo) œ œ œ ™ œ ˙ œ œ ˙ œ & Œ J Ó Œ quod totum sin - gu - lis, E - jus fa -

Alto(Solo) œ Œ œ & œ œ œ™ œ œ ˙ œ œ ˙ œ™ œ œ œ œ - tum sin- gu - lis, quod totum sin gu- lis, E- jus fa -

Tenor(Solo) j {& œ ˙b œ œ ˙ Œ œ œ œ œ œ œ œ ™ ™ œ œ ‹ sin gu - lis, to -- tum sin - gu - lis, E- jus fa -

œb œ œ™ Baritone(Solo) ? œ™ œ œ œ ™ œ œ œ œ œ œ œ œ J J J œ bus quodto- tum sin - gu - lis, quod totum sin - gu - lis, E- jus fa -

Bass(Solo) ? ˙ œ œ œ œ™ œ œ™ œ œ œ œ J ˙™ œ J to -- tum, to -- tum sin - gu - lis, E- jus fate - mur

œ Sop(Full) œ œ œ ™ œ ˙ œ œ ˙ œ & Œ J Ó Œ quod totum sin - gu - lis, E - jus fa -

Alto(Full) œ Œ œ & œ œ œ™ œ œ ˙ œ œ ˙ œ™ œ œ œ œ - tum sin- gu- lis, quod totum sin gu - lis, E- jus fa -

Tenor(Full) j & œ ˙b œ™ œ ˙ Œ œ œ œ œ™ œ œ œ œ œ ‹ sin gu - lis, to -- tum sin - gu - lis, E- jus fa -

{ œ œb œ ™ Baritone(Full) ? œ™ œ œ œ ™ œ œ œ œ œ œ œ œ J J J œ bus quodto- tum sin - gu - lis, quod totum sin - gu - lis, E- jus fa -

Bass(Full) ? ˙ œ œ œ œ™ œ œ™ œ œ œ œ J ˙™ œ J to -- tum, to - tum sin - gu - lis, E- jus fate - mur

136 137 138 139 j & œ b˙ ˙ œ œ ˙ œ œ ˙ œ œb œ œ œ œ ˙ œÓ œ œ œ ™ œ ˙ Org. ˙ œ™ ? ˙ œ œ œ ˙ œ™ œ ˙ œ w J 7 - 6 ! 6 4 - 3 b 4 { 193 G q= 108-112 140 141 142 143 Dedit Vln. 1 œ ˙ 3 & œ œ# ˙ œ w 4 ∑

Dedit w Vln. 2 ˙ w# 3 & ˙ 4 ∑

Dedit w w w Vla. I 3 B 4 ∑

Dedit Vla.II B 3 ∑ ˙ ˙ œ œ œ œ w 4 Dedit j Vc. ? ˙ w 3 ∑ œ# ™ œ ˙™ œ 4

Sop(Solo) œ ˙ œ 3 & œ™ œ# ˙ œ™ œ w 4 ∑ te- mur ma- ni bus, ma ni - bus.

Alto(Solo) j j 3 & œ œ œ™ œ œ œ œ™ œ# w# 4 œ œ œ te- mur ma - ni - bus, ma - ni - bus. De- dit fra -

Tenor(Solo) 3 {& ˙ ˙ ˙ œ w 4 ∑ ™ ‹ te -- mur -- ma --- ni - bus.

Baritone(Solo) ? ˙ œ™ œ œ œ œ™ œ w 3 ∑ J J 4 te -- mur, fate - mur ma - ni bus.

j Bass(Solo) ? ˙ w 3 ∑ œ# ™ œ ˙™ œ 4 ma - ni - bus, ma --- ni - bus. G

Sop(Full) œ ˙ œ 3 & œ™ œ# ˙ œ™ œ w 4 ∑ te- mur ma- ni - bus, ma ni - bus.

Alto(Full) j j 3 ∑ & œ œ œ™ œ œ œ œ™ œ# w# 4 te- mur ma - ni - bus, ma - ni - bus.

Tenor(Full) 3 & ˙ ˙ ˙™ œ w 4 ∑ {‹ te -- mur ma --- ni - bus. Baritone(Full) ? ˙ œ™ œ œ œ œ™ œ w 3 ∑ J J 4 te -- mur, fate - mur ma - ni bus.

j Bass(Full) ? ˙ w 3 ∑ œ# ™ œ ˙™ œ 4 ma - ni - bus, ma --- ni - bus. G 140 141 142 143 q= 108-112 ˙ ˙ œ 3 & ˙ ˙ #œ œ ˙œ œ ww# 4 ˙˙n œ Org. w Dedit ? 3 ˙# ˙ w 4 ˙ œ 6 #w { 194 144 145 146 147 Vln. 1 & ∑ ∑ ∑ œ œ œ œ œ œ

Vln. 2 œ œ# & ∑ ∑ ∑ œ œ œ œ

Vla. I B ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑

˙ œ Vc. ? ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑

Alto(Solo) & j j j ∑ œ™ œ œ œ™ œ œ œ# ™ œ œ gi -- li - bus cor -- po - ris fer -- cu - lum,

Tenor(Solo) {& ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑

œ œ œ Bass(Solo) ? ∑ ∑ ∑

De- dit et

Sop(Full) & ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑

144 145 146 147 & ˙ ˙ œ ˙ bœ #˙™ n˙ œ Org. ? ˙ œ ˙ œ ˙b œ ˙™ 6 6 # ! { 195 148 149 150 151

Vln. 1 œ & œ œ œ œ œ œ œ œ œ ˙ œ ∑

œ œ œ œ™ œ# œ Vln. 2 & œ œ œ J ∑

Vla. I B ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑

Vc. ? ˙ ˙ œ œ ˙ œ ∑

Sop(Solo) & ∑ ∑ ∑ ∑

Alto(Solo) ∑ ∑ ∑ & œ œ œ De- dit fra -

Tenor(Solo) {& ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑

Bass(Solo) ? œ™ œ œ œ™ œ œ j J J œ ™ œ œ ∑ tri -- sti - bus san -- gui - nis po -- cu - lum,

Sop(Full) & ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑

148 149 150 151 & ˙ œ ˙ œ ˙ œ ˙ œ Org. œ ˙ œ œ# ˙ ? œ™ œ œ ˙ ˙ j J œ œ œ œ 6 4 # œ™ œ { 196 152 153 154 155 œ œ œ Vln. 1 & ∑ ∑ ∑

œ œ œ Vln. 2 & ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑

œ Vc. ? ∑ ∑ ∑ œ œ œ œ œ

Sop(Solo) & ∑ ∑ ∑ ∑

Alto(Solo) & j j j ∑ œ™ œ œ œ™ œ œ œ™ œ œ gi -- li - bus cor -- po - ris fer -- cu - lum,

Tenor(Solo) {& ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ œ œ œ

De- dit et

Sop(Full) & ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑

152 153 154 155 & œb œ œ ˙ ˙ œ œ bœ™ J ˙œ œ œ ˙ œ Org. ™ œ ? j œ™ œ œ œ ˙b œ œ™ œ œ œb ˙ œ J ! 4 - 3 { 197 156 157 158 159 160 œ™ œ œ œb ™ œ œ œ™ œ œ Vln. 1 & J J J ∑ ∑

œ Vln. 2 œ œ œ# œn œ œ œ œ & ™ J œ# ™ J œ# ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

œ™ œb œb œ Vc. ? œ œ œ œ ™ œ J ™ J J ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ j œ# œ œ œ™ œ œ De- dit fra- gi - li - bus

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

œ™ œb œb œ Bass(Solo) ? œ œ œ œ ™ œ J ™ J J ∑ ∑ tri - sti - bus san - gui - nis po - cu - lum,

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

156 157 158 159 160 & j ˙ œ™ œœ œœ# b˙ #œ ˙ #œ #˙ œ ˙™ Org. ˙™ ? œ™ œb œ ˙ œ ˙b œ J ˙ œ ˙™ 6 #6 ! # 7-6 # # { 198 161 162 163 164 165 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & j j j j œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ™ œ œ cor™ - po - ris fer - cu - lum, De- dit et tri™ - sti - bus san - gui - nis

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

161 162 163 164 165

& ˙™ ˙™ œ ˙ ˙™ Org. ˙™ œ ˙ ˙# ™ ˙™ ? œ ˙ ˙™ ˙™ ˙ ™ ˙™ 5-6 # { 199 q= 88-92 166 167 168 169

Vln. 1 4 3 & ∑ 4 w w w 4

œ œ Vln. 2 4 œ œ œ w 3 & ∑ 4 ˙# œ™ œ œ™ œ œ 4

Vla. I 4 3 B ∑ 4 ∑ ∑ ∑ 4

Vla.II 4 3 B ∑ 4 ∑ ∑ ∑ 4

Vc. ? 4 œ œ œ 3 ∑ 4 œ œ œ# ˙ w 4

Sop(Solo) 4 3 & ∑ 4 ∑ ∑ ∑ 4

Alto(Solo) 4 Ó ‰ 3 & j 4 j œ ˙ w 4 œ™ œ œ œ œ™ œ# œ po - cu - lum, Di cens:

Tenor(Solo) 4 3 {& ∑ 4 ∑ ∑ ∑ 4 ‹

Baritone(Solo) 4 3 ? ∑ 4 ∑ ∑ ∑ 4

Bass(Solo) ? 4 œ œ œ 3 ∑ 4 œ œ œ# ˙ w 4 Di cens:

Sop(Full) 4 3 & ∑ 4 ∑ ∑ ∑ 4

Alto(Full) 4 3 & ∑ 4 ∑ ∑ ∑ 4

Tenor(Full) 4 3 & ∑ 4 ∑ ∑ ∑ 4 {‹ Baritone(Full) ? 4 3 ∑ 4 ∑ ∑ ∑ 4

Bass(Full) ? 4 3 ∑ 4 ∑ ∑ ∑ 4

166 167 q= 88-92 168 169 4 3 & 4 ˙# œ œ œ œ œ œ #w 4 Org. ˙# œ œ œ œ œ ? 4 3 œ 4 œ œ œ w 4 ˙ # 6 œ œ œ# œ œ # # { 200 H

170 q= 108-112 171 172 173 174 Vln. 1 3 & 4 ∑ ∑ ∑ ∑ ∑

Vln. 2 3 & 4 ∑ ∑ ∑ ∑ ∑

Vla. I 3 B 4 ∑ ∑ ∑ ∑ ∑

Vla.II 3 B 4 ∑ ∑ ∑ ∑ ∑

Vc. ? 3 4 ∑ ∑ ∑ ∑ ∑

Sop(Solo) 3 & 4 ∑ ∑ ∑ ∑ ∑

Alto(Solo) 3 ŒŒ j j & 4 œ œ™ œ œ œ œ œ œ™ œ œ œ œ œ "Ac- ci - pi - te quod trado vas - cu - lum, quod trado

Tenor(Solo) 3 {& 4 ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? 3 4 ∑ ∑ ∑ ∑ ∑

œ œ™ œb œb œ Bass(Solo) ? 3 œ œ 4 ∑ ∑ ŒŒ J "Ac- ci - pi - te quod trado H

Sop(Full) 3 & 4 ∑ ∑ ∑ ∑ ∑

Alto(Full) 3 & 4 ∑ ∑ ∑ ∑ ∑

Tenor(Full) 3 & 4 ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? 3 4 ∑ ∑ ∑ ∑ ∑

Bass(Full) ? 3 4 ∑ ∑ ∑ ∑ ∑ H 170 q= 108-112 171 172 173 174 3 & 4 ˙ j #˙ œ œ ˙™ œ™ œb œ œ bœ œ Org. ˙ œ œ œ œ œ ˙ ? 3 œ œ ˙ ˙™ ˙ œ 4 œb œ œ œ # 6 7 # 6 6 5 { 201 175 176 177 178 179 œ Vln. 1 œ œ™ œ œ# œ™ œ œ œ œ™ œ œ œ œ œ œ & ŒŒ J J J

œ œ œ œb œ Vln. 2 œ™ œ œ œ œ œ œ œ œ™ œ œ œ œ & ŒŒ J J

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? j ŒŒ œ œ™ œb œb œ œ œ œ ˙ œ ˙

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) j ∑ ∑ ∑ ∑ & œ™ œ œ vas - cu - lum

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? œ œ œ ™ J ∑ ∑ ∑ ∑ vas - cu - lum,

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

175 176 177 178 179 & œ ˙ ˙œ œ œ œ œ #œ ˙ œ ˙ œ œ b˙ Org. ˙ œ ˙ œ ˙ ? œ j ˙ œ œ œ œ™ œb œ œb ˙ 4 - 3 6 œ # ˙ { 202 180 181 182 183 184 Vln. 1 œ# œ œ ∑ ∑ ∑ ∑ & ™ J

Vln. 2 œ œ œ & ™ J ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ˙™

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) Œ j Œ & œ œ ˙ œ œ œ œ œ™ œ# œ œ œ Om- nes, Om -- nes, ex e- o bi - bi - te, Om- nes,

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

˙b œ œb Bass(Solo) ? œ œ œ œ œ œ œ ∑ Œ ™ J Om- nes, Om -- nes, ex e- o bi - bi - te,

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

180 181 182 183 184

& ˙ ˙ œ ˙ œ #˙ œ ˙ œ b˙ œ bœ˙ œ ˙ œ Org. ™ Jœ# ? ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ # ! ! 4 # ! { 203 185 186 187 188 189 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & j j ˙ œ œ œ œ# œ œ œ# ™ œ œ œ œ œ œ# ™ œ œ Om -- nes, ex e o bi - bi - te, ex e- o bi - bi - te,

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

œb Bass(Solo) ? œ œ œ™ œ œ œ ˙ œ œ œ œ œ œ œ œ Œ J ™ J Om- nes, Om nes, ex e o bi - bi - te,

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

185 186 187 188 189

& ˙ œ ˙ bœ ˙# ™ ˙ bœ ˙# œ Org. ˙ œ ˙ ˙ ˙ œ ? ˙b œ ˙ œ ˙ ˙ œ ™ ˙6 6 #™ 6 # 4 { 204 190 191 192 193 194 œ œ œ œ Vln. 1 œ™ œ œ œ œ œ œ œ œ œ & ∑ ŒŒ J

œ œ œ Vln. 2 œ™ œ œ ˙ œ œ œ œ œ œ & ŒŒ J ™ ™ J

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? j ∑ ∑ ∑ ŒŒ œ œ™ œb œ

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & j ∑ ∑ ∑ œ œ# ™ œ ˙™ bi - bi - te".

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? œ œ™ œ ˙™ ∑ ∑ ∑ J bi - bi - te".

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

190 191 192 193 194 & œb ˙# ˙ œ ˙ œ ˙ œ ˙ œ Org. œ ˙ ˙ ˙ œ ˙ œ ˙ ? j œ ˙ œ ˙ œ# ˙ œ œ™ œb œ 7 # !˙ 4 6 5 2 { 205 195 196 197 198 199 Vln. 1 œ œ œ œ œ™ œ œ & œ J ∑ ∑ ∑

œ Vln. 2 œ œ œ œ ˙ œ & ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ œb œ œ œ ˙ œ

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ Ó j œ œ™ œb œ "Ac- ci - pi - te

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

195 196 197 198 199 j j œ j œ & ˙ œ œ™ œ ˙œ™ œ œ œ œ œ ˙œ™ œ œ Org. ˙™ œ ˙ ? ˙ œ ˙ œ# ˙b œ œ ˙ œ ˙ œ# 6 4-3 6 { 206 200 201 202 203 204 205 Vln. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑ ∑

Alto(Solo) & j j j œ œ œb œ œ™ œn œ œ œ™ œ œ œ œ œ œ™ œ œ œ quod tra- doœ vas cu- lum, quod trado vas- cu- lum, quod trado

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑ ∑

œ Bass(Solo) ? ∑ ŒŒ œ™ œ œ œ œ œ œ™ œ œ J J œ œb œ "Ac- ci - pi - te quod trado vas- cu- lum, quod trado

Sop(Full) & ∑ ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑ ∑

200 201 202 203 204 205

& œ ˙ ˙ œ ˙ ˙ œ bœ˙ #œ nœ ˙ œ œ œ œn œ œ bœ Org. œ ˙ ˙ œ ™ J ˙ ? œ œn œ œ œ™ œ œ ˙ œ ˙ J ˙ œ œ œb œ ! 6 #6 6 6 7-6 6 6 4 { 207 206 207 208 209 210 œ œ ˙ œ ˙™ ˙™ Vln. 1 & ∑ Œ

Vln. 2 & ∑ Œ œ œ ˙b œ Œ œ œ ˙ œ

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ Œ ˙™ œ œ ˙b œ ˙ œ

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & j Œ Œ œ œ# ™ œ œ œ œ ˙ œ œ ˙ œ vas - cu - lum, Om- nes, Om -- nes, Om- nes, Om -- nes,

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? j Œ Œ ˙ œ œ™ œ œ œ œ ˙b œ œ œ vas - cu - lum, Om- nes, Om -- nes, Om- nes, Om -- nes,

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

206 207 208 209 210

& Œ œ œ ˙b œ ˙™ #˙™ nœ ˙™ ˙ œ ˙™ Org. œ ? Œ ˙ ˙™ ˙b ™ ˙ œ ™ # œ œ ! { 208 211 212 213 214 ˙ œ œ Vln. 1 œ œ œ œ œ ˙# ™ & ™ J

Vln. 2 œ j & œ œ œ™ œ œ œb ˙ ˙™

Vla. I B ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑

Vc. ? œ# ˙ ˙ œ ˙ ™ ˙™

Sop(Solo) & ∑ ∑ ∑ ∑

Alto(Solo) & j j œ œ œ# œ œ œ# ™ œ œ œ œ# ™ œ ˙™ ex e o bi -- bi - te, bi -- bi - te."

Tenor(Solo) {& ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑

Bass(Solo) ? œ# œ œ j œ ˙™ œ™ œ œ œ œ™ J ex e - o bi -- bi - te, bi bi - te."

Sop(Full) & ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑

211 212 213 214 & œ œ œ œ #˙ œ œb ˙˙# ™ Org. œ œ œ ˙ ˙™ ? œ œ œ# ˙™ œ ˙ # 6 ! ˙ 4 ™ { 209 I 215 Sinfonia 216 217 218 219 220 œ œ Vln. 1 œ œ œ œ œ œ œ œ# œ œ œ™ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ & œn œ œ œ œ œ ™ œ ™

Sinfonia œ œ œ œ œ Vln. 2 œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ j œ œ œ œ & œ# œ™ œ œ œ œ œ

Sinfonia Vla. I B ∑ ∑ ∑ ∑ ∑ ∑

Sinfonia Vla.II B œ œ œ ˙ ŒŒŒ ˙ œ œ œ œ œ ˙™

Sinfonia Vc. ? œ™ œ œ œ œ œ œ ˙ œ ˙b œ œ J ˙ ˙™

Sop(Solo) & ∑ ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑ ∑

I 215 216 217 218 219 220 j & œ œ œ ˙ œn œ œ ˙ œ ˙ bœ œ# œ™ œ ˙ ˙ œ Org. œ Sinfonia ? œ™ œ œ œ œ œ œ ˙ œ ˙b œ œ J ˙ ˙™ # { 210 221 222 223 224 225 œ œ œ œ Vln. 1 œ œ œ œ ˙ œ ™ œ œ™ œ œ œ™ œ & J J J

Vln. 2 œ œ œ œ œ™ œ œ œ œ™ œ œ œ œ œ œ œ & œ J J ™ J ™ J

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II j B Œ œ œ œ™ œb œ ˙™ ˙™ ˙™

œ Vc. ? œb œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

221 222 223 224 225 & ˙ œ œ œ œ œ œ œ œb œ œ œ œ™ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ Org. J œ œ ? œ œ œ œ ˙b œ ˙ œ œ œ œ œ œ œ œ œ œ 5 6 6 4-3 œ œ œ œ œ 3 4 { 211 226 227 228 229 230 j œ Vln. 1 œ™ œ œ œ# œ œ œ œ œn œ œ œ œ œ™ œ œ œ ˙ œ & œ# œ J

œ œ œ œ™ œ# œ Vln. 2 œ# œ œ œ œ œ œn œ œ œ œ œ œ & ™ J œ œ# œ J

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ Œ œ œ#

œ œb œ œ Vc. ? œ œ œ œ# œ œ œ œ œ œ œ œ œn œ œ œ œ œ ˙ œ

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

226 227 228 229 230 j & ˙ œ œ œ œ# ™ œ œ œ œ œ #˙ œ œ œ œ œ œ œ œ œ ˙ #œ Org. ™ œ œ# œb ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œn œ œ œ œ œ # 6 # œ ˙4 # { 212 231 232 233 234 235 œ™ œ œ™ œb œ œ œ Vln. 1 œ œ œ œ™ œ œ# œ œ™ œ# œ™ œ œ œ œ & ™ J J J œ ˙ Vln. 2 œ# œ™ œ œ œ™ œ ˙ & J J ˙™ Œ

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II œ B ˙™ ˙ ˙™ ˙ Œ ∑

Vc. ? œ j œ ˙ œ™ œ œ œ œ ˙ œ œ ˙ œ#

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ∑ ∑ ∑ ∑ ∑

Tenor(Solo) {& ∑ ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ∑ ∑ ∑ ∑ ∑

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

231 232 233 234 235 j j & œn œ œ™ œ œ œ ˙ œ œ ˙ œ #œ™ ‰ #œ œ œ #œ œ œ™ œ# œ œ œ Org. ™ J J ˙ ? œ j œ œ™ œ ˙ # ˙ œ œ#6 6œ 4 # œ œ ˙ œ# { 213 J 236 237 238 239 Sic sacriﬁcium 240 œ œ Vln. 1 œ œ œ# œ œ™ œ# ˙™ œ œ™ œ œ & ™ J J J

Sic sacriﬁcium œ œ œ œ Vln. 2 œ ™ œ œ ˙ ˙ œ™ œ œ & J ™ J

Sic sacriﬁcium œ œ œ# œ™ œ œ Vla. I B ∑ ∑ ∑ J

Sic sacriﬁcium Vla.II B ∑ ∑ ∑ œ œ# œ œ œ œ ™ J

Sic sacriﬁcium Vc. ? œ œ œ ˙ œ œ œ œ™ œ œ œ ˙™ J J

Sop(Solo) œ œ œ œ™ œ œ & ∑ ∑ ∑ J Sic sacri - ﬁ - ci - um

Alto(Solo) ∑ ∑ ∑ j & œ œ œ œ™ œ œ Sic sacri - ﬁ - ci - um

j Tenor(Solo) {& ∑ ∑ ∑ œ œ œ# œ™ œ œ ‹ Sic sacri - ﬁ - ci - um

œ œ œ œ™ œ œ Baritone(Solo) ? ∑ ∑ ∑ J

Sic sacri - ﬁ - ci - um

Bass(Solo) ? ∑ ∑ ∑ œ œ œ™ œ œ œ J Sic sacri - ﬁ - ci - um J

Sop(Full) œ œ œ œ™ œ œ & ∑ ∑ ∑ J Sic sacri - ﬁ - ci - um

Alto(Full) ∑ ∑ ∑ j & œ œ œ œ™ œ œ Sic sacri - ﬁ - ci - um

j Tenor(Full) & ∑ ∑ ∑ œ œ œ# œ™ œ œ {‹ Sic sacri - ﬁ - ci - um œ œ œ œ™ œ œ Baritone(Full) ? ∑ ∑ ∑ J

Sic sacri - ﬁ - ci - um

Bass(Full) ? ∑ ∑ ∑ œ œ œ™ œ œ œ J Sic sacri - ﬁ - ci - um

236 237 238 239 J 240 œ ˙ œ# ˙ & œ œ œ ˙œ ˙™ ˙ œ ˙ œ œ œ# bœ ˙ ™ Jœ# ˙™ Org. Sic sacriﬁcium ? ˙ ˙ œ œ œ œ ˙ # œ œ # 7-8 4 ˙™ # { 214 241 242 243 244 245

Vln. 1 œ œ™ œ œ œ & œ œ œ ˙™ œ œ J œ œ

œ œ œ™ œ œ œ Vln. 2 œ œ œ j & J œ™ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ# œ™ œ œ œ œ œ Vla. I B ™ J J

Vla.II j B œ œ œ œ™ œ œ œ# œ œ œ œ J œ œ ™ J œ™ œ

Vc. ? œb œ œ j œ œ œ œ™ œ œ# œ œ œ™ œ œ J œ

Sop(Solo) œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ & œ ™ J J i- stud in- sti - tu - it, Cu- jus of- ﬁ - ci - um com- mit - ti

Alto(Solo) j j & œ œ œ œ™ œ œ œ œ œ œ™ œ œ œ œ œ i- stud in- sti - tu - it, Cu- jus of- ﬁ - ci - um com- mit - ti

j j Tenor(Solo) {& œ œ œ œ œ œ œ œ œ# œ™ œ œ œ œ œ ™ ‹ i- stud in- sti - tu - it, Cu- jus of- ﬁ - ci - um com- mit - ti

œb Baritone(Solo) ? œ œ œ™ œ œ œ œ œ œ™ œ œ œ œ œ J J i- stud in- sti - tu - it, Cu- jus of- ﬁ - ci - um com- mit - ti

Bass(Solo) ? œb œ œ j œ œ œ œ™ œ œ# œ œ œ™ œ œ J œ i- stud in- sti - tu - it, Cu- jus of- ﬁ - ci - um com- mit - ti

Sop(Full) œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ & œ ™ J J i- stud in- sti - tu - it, Cu- jus of- ﬁ - ci - um com- mit - ti

Alto(Full) j j & œ œ œ œ™ œ œ œ œ œ œ™ œ œ œ œ œ i- stud in- sti - tu - it, Cu- jus of- ﬁ - ci - um com- mit - ti

j Tenor(Full) œ j œ œ œ & œ œ œ™ œ œ œ œ œ# ™ œ œ œ {‹ i- stud in- sti - tu - it, Cu- jus of- ﬁ - ci - um com- mit - ti œb Baritone(Full) ? œ œ œ™ œ œ œ œ œ œ™ œ œ œ œ œ J J i- stud in- sti - tu - it, Cu- jus of- ﬁ - ci - um com- mit - ti

Bass(Full) ? œb œ œ j œ œ œ œ™ œ œ# œ œ œ™ œ œ J œ i- stud in- sti - tu - it, Cu- jus of- ﬁ - ci - um com- mit - ti

241 242 243 244 245 œ & bœ ˙ ˙ œ œ œ ˙ œ œ œ œ œ œ ˙™ œ œ #œ ˙ œ œ œ œ Org. ? œ œ œb œ œ œ ˙ œ# ˙ œ 4 - 3 ˙™ 6 6 4 #6 { 215 246 247 248 249 250 Vln. 1 ˙ œ# œ œ œ ˙™ œ œ™ œ œ 4 & œ œ J 4

œ œ œ œ œ œ Vln. 2 œ œ ™ œ ™ œ œ 4 & œ œ# œ J œ J 4

œ™ œ œ œ# œ œ œ™ œ œ œ œ œ œ™ œ œ Vla. I J J 4 B J 4

Vla.II j j B œ Œ œ# œ œ œ œ œ œ œ œ œ œ 4 ™ œ œ ™ ™ J 4

Vc. ? j œ œ œ™ œ œ œ œ™ j 4 œ™ œ œ œ J œ œ œ œ 4

Sop(Solo) œ™ œ# œ œ œ œ œ™ œ œ œ œ™ œ œ 4 & J J œ œ J 4 vo - lu - it So- lis Pres- by - te - ris, qui- bus sic con- gru - it,

Alto(Solo) j 4 & j œ œ œ œ œ j 4 œ™ œ œ œ œ# ™ œ œ œ™ œ œ vo - lu - it So- lis Pres- by - te - ris, qui- bus sic con- gru - it,

j j Tenor(Solo) j œ œ œ œ œ 4 {& œ™ œ œ œ# œ ™ œ œ œ™ œ œ 4 ‹ vo - lu - it So- lis Pres- by - te - ris, qui- bus sic con- gru - it,

œ œ œ œ Baritone(Solo) ? œ# œ œ œ œ œ ™ œ œ œ œ œ 4 ™ J J ™ J 4 vo - lu - it So- lis Pres- by - te - ris, qui- bus sic con- gru - it,

Bass(Solo) ? j œ œ œ™ œ œ œ œ™ j 4 œ™ œ œ œ J œ œ œ œ 4 vo - lu - it So- lis Pres- by - te - ris, qui- bus sic con- gru - it,

Sop(Full) œ™ œ# œ œ œ œ œ™ œ œ œ œ™ œ œ 4 & J J œ œ J 4 vo - lu - it So- lis Pres- by - te - ris, qui- bus sic con- gru - it,

Alto(Full) j 4 & j œ œ œ œ œ j 4 œ™ œ œ œ œ# ™ œ œ œ™ œ œ vo - lu - it So- lis Pres- by - te - ris, qui- bus sic con- gru - it,

j j Tenor(Full) j œ œ œ œ œ 4 & œ™ œ œ œ# œ ™ œ œ œ™ œ œ 4 ‹ vo - lu - it So- lis Pres- by - te - ris, qui- bus sic con- gru - it,

{ œ œ œ œ Baritone(Full) ? œ# œ œ œ œ œ ™ œ œ œ œ œ 4 ™ J J ™ J 4 vo - lu - it So- lis Pres- by - te - ris, qui- bus sic con- gru - it,

Bass(Full) ? j œ œ œ™ œ œ œ œ™ j 4 œ™ œ œ œ J œ œ œ œ 4 vo - lu - it So- lis Pres- by - te - ris, qui- bus sic con - gru- it,

246 247 248 249 250 œ ˙ 4 & #˙ œ ˙# ˙ œ œ œ œ ˙ 4 #œ ˙ #œ œ œ œ œ ˙ œ Org. ? œ œ œ 4 œ ˙ œ ˙ œ ˙ œ 4 #˙ # # # 6 { 216 251 q= 88-92 252 253 254 255 œ œ œ œ™ œ Vln. 1 4 Œ œ™ œb œ œ œ œ œb ™ œ œ œ œ œ œ œ & 4 œ J J

œ œ œ œ œ œ™ Vln. 2 4 œ ˙ œ œ œ & 4 Œ J Œ ˙b w

œ œ œ Vla. I 4 B 4 ∑ ∑ ∑ ∑ Œ

Vla.II 4 B 4 ∑ ∑ ∑ ∑ Œ œ œ œ

Vc. ? 4 œ œ œ 4 ∑ ∑ ∑ ∑ Œ

Sop(Solo) 4 œ & 4 ∑ ∑ ∑ ∑ Œ œ œ Ut sumant

Alto(Solo) 4 Œ & 4 œ œ œ œ# œ œ œ™ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ Ut sumant et dent cae te - ris, Ut sumant et dent cae- te ris, Ut sumant

Tenor(Solo) 4 {& 4 ∑ ∑ ∑ ∑ Œ œ œ œ ‹ Ut sumant

œ œ œ œ œb œb œ œb Baritone(Solo) ? 4 œ™ œ œ™ œ œ œ™ œ œ œ œ œ 4 Œ J J J Ut sumant et dent cae- te - ris, Ut sumant et dent cae- te - ris, Ut sumant

Bass(Solo) ? 4 œ œ œ 4 ∑ ∑ ∑ ∑ Œ Ut sumant

Sop(Full) 4 œ & 4 ∑ ∑ ∑ ∑ Œ œ œ Ut sumant

Alto(Full) 4 ∑ ∑ ∑ ∑ Œ & 4 œ œ œ Ut sumant,

Tenor(Full) 4 & 4 ∑ ∑ ∑ ∑ Œ œ œ œ {‹ Ut sumant Baritone(Full) ? 4 œ œ œ 4 ∑ ∑ ∑ ∑ Œ Ut sumant

Bass(Full) ? 4 œ œ œ 4 ∑ ∑ ∑ ∑ Œ Ut sumant

251 q= 88-92 252 253 254 255 4 & 4 œ œ# œ œ œ ˙ œ œ œ œ ˙ œ œ ˙™ œ œÓ œ ˙ bœ œ œ nœ œ œ b˙ œ œ œ Org. ˙™ ™ J ˙ œ œ ? 4 œb ˙ œ œ œb œ œ œ ˙ ˙ œ œ 4 ˙™ ™ J 6 6 ! 6 6 #4 7 - #6 4 b7 - 6 3 { 217 256 257 258 259 260 œ Vln. 1 œ œ ˙ ˙ j ˙ œ œ™ œ œ œ™ œ & œ™ œ w Œ J

œ œ œ œ œ œ œ ˙b Vln. 2 œœ œ™ œ œ™ œ œ# ™ œ ˙ & ÓŒ J J J

œ œ# œ™ œ œ ˙ œ™ œ œ# œ ˙ œ ˙ œn œb ™ œ ˙ Vla. I B J J

Vla.II œ ˙ B œ œ# ˙ œ ˙# œ œ ˙b ˙ ŒŒ ˙

œ Vc. ? œ œ œ™ œ œ# œ œ™ œ ˙ J J œ ˙ œ# œ ˙™ œ

œ Sop(Solo) œ œ œ™ œ œ œ j œ ˙ œ œ œ œ œ & J œ™ œ w Œ ™ et dent cae- te - ris, dent cae- te - ris, Ut su - mant et dent cae- te

j Alto(Solo) & ÓŒ œ œ œ œ ˙ ˙ œ œ œ œ™ œ# œ ˙™ Ut sumant et dent cae- te - ris, Ut su - mant et dent

j œ ˙ œ j Tenor(Solo) {& œ œ# œ™ œ œ™ œ# œ ˙ œ ˙ œn œb ™ œ ˙ ‹ et dent cae- te - ris, dent cae- te - ris, Ut su - mant et dent cae- te - ris,

œ œ w w ˙b ˙ ˙ Baritone(Solo) ? œ œ™ œ ˙

et dent cae- te - ris, Ut su - mant et

œ Bass(Solo) ? œ œ œ™ œ œ# œ œ™ œ ˙ J J œ ˙ œ# œ ˙™ œ et dent cae- te - ris, dent cae- te - ris, Ut su - mant et dent cae -- te -

œ Sop(Full) œ œ œ™ œ œ œ j œ ˙ œ œ œ œ œ & J œ™ œ w Œ ™ et dent cae- te - ris, dent cae- te - ris, Ut su - mant et dent cae- te

j Alto(Full) & ÓŒ œ œ œ œ ˙ ˙ œ œ œ œ™ œ# œ ˙™ Ut sumant et dent cae- te - ris, Ut su - mant et dent

j œ ˙ œ j Tenor(Full) & œ œ# œ™ œ œ™ œ# œ ˙ œ ˙ œn œb ™ œ ˙ {‹ et dent cae- te - ris, dent cae- te - ris, Ut su - mant, et dent cae- te - ris, œ œ w w ˙b ˙ ˙ Baritone(Full) ? œ œ™ œ ˙

et dent cae- te - ris, Ut su - mant et

œ Bass(Full) ? œ œ œ™ œ œ# œ œ™ œ ˙ J J œ ˙ œ# œ ˙™ œ et dent cae- te - ris, dent cae- te - ris, Ut su - mant et dent cae -- te -

256 257 258 259 260 ˙ ˙ ˙ ˙# ˙ & œ œœ# ˙ ˙ ˙ #˙ ˙b ˙ ˙ ˙ œ ˙ ˙ ˙ b˙ ˙ Org. ? œ œ ˙ ˙ ˙ ˙# ˙ ˙ ˙# w 6 #6 6 # # ! 6 ! 4 9-8 { 218 K 261 262 263 264 265 Vln. 1 & ˙# ˙ ˙ ˙# w ∑ ∑

˙ ˙ Vln. 2 œ w# & ÓŒ ∑ ∑

˙ ˙ ˙ œ w Vla. I B ™ ∑ ∑

Vla.II B œ w ∑ ∑ ˙ ˙ ˙™

Vc. ? œ w ∑ ∑ ˙™ œ ˙ œ™ J K

Sop(Solo) ˙# ˙ ˙ œ# œ w & ™ J ∑ ∑ ris, dent cae - te - ris.

Alto(Solo) j Œ j ∑ ∑ & œ™ œ ˙ œ œ™ œ# w# ce- te - ris, dent cae- te - ris.

Tenor(Solo) {& ˙ ˙ ˙ œ w ∑ ∑ ™ ‹ et dent cae -- te - ris.

Baritone(Solo) ? ˙ ˙ ˙ œ™ œ w ∑ ∑ J dent cae te - ris.

Bass(Solo) ? œ w ∑ ∑ ˙™ œ ˙ œ™ J ris, dent- cae te - ris. K

Sop(Full) ˙# ˙ ˙ œ# œ w & ™ J ∑ ∑ ris, dent cae - te - ris.

Alto(Full) j Œ j ∑ ∑ & œ™ œ ˙ œ œ™ œ# w# cae- te - ris, dent cae- te - ris.

Tenor(Full) & ˙ ˙ ˙™ œ w ∑ ∑ {‹ et dent cae -- te - ris. Baritone(Full) ? ˙ ˙ ˙ œ™ œ w ∑ ∑ J dent cae te - ris.

Bass(Full) ? œ w ∑ ∑ ˙™ œ ˙ œ™ J ris, dent- cae te - ris. K

261 262 263 264 265 & ˙ j j #˙ ˙ w˙ ˙# ww# œ™ œ# œ œ œ™ œ œ œ Org. w ? w w w w# # 4-# w 6 7-6 # { 219 266 267 268 269 270 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) ∑ ∑ Ó j j & ˙ ˙ œ™ œ œ™ œ œ œ Pa --- nis An- ge - li - cus sit

j Tenor(Solo) {& Ó ˙ ˙ œ œb œ œ ˙ ∑ ∑ ™ ‹ Pa --- nis An- ge - li - cus,

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

˙ Bass(Solo) ? ˙ œ œ œ œ œ œ ˙ ˙ ˙™ œ ™ œ ™ J Pa - nis An- ge - li - cus sit pa - nis ho -- mi - num, sit

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ ‹ { œ™ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑ ‰Ó

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

266 267 268 269 270

& ˙ ˙ ˙™ œ ˙ ˙ ˙ ˙ ˙ ˙ bw ˙ #˙™ œ Org. w ˙ ™ œ ˙ ? w w w w ™ œ 7-6 b7-6 # { 220 271 272 273 274 275 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) j j & œ ˙ œ œ# œ™ œ w# ˙ œ œ œ™ œ œ œ œ panis ho- mi - num; Pa - nis An - ge - li - cus sit panis, Pa -

j j Tenor(Solo) { ˙# ˙ ˙ œ# œ & w ˙™ œ œ™ œ œ œ ™ ‹ Pa ---- nis An- ge - li - cus sit pa - nis ho --mi

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? œ j œ œ™ œ w ∑ ∑ ˙ œ œ panis ho- mi - num; Pa - nis An -

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

271 272 273 274 275 & ˙ œ ˙ ˙ œ œ# œ #˙™ œ w ˙ ˙ ˙ ˙# Org. œ œ œ œ ˙ w ˙# œ ? œ œ œ œ œ ˙™ w œ # 7-6 4-# { 221 276 277 278 279 280 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) j j & ˙ œ œ œ™ œ œ œ ˙ ˙ œ™ œ ˙ ˙ ˙ - nis An- ge - li - cus sit pa - nis ho- mi - num, pa

j Tenor(Solo) {& ˙ ˙ ˙ ˙ œ œ œ™ œ ˙# ˙ ˙ œ œ ‹ num; Pa nis An - ge - li - cus sit pa - nis, sit

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

j Bass(Solo) ? ˙ ˙ œ™ œ ˙ ˙ œ œ œ™ œ œ œ œ™ œ œ œ J J ge- li - cus sit pa - nis hominum; Pa - nis An- ge - li - cus sit

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

276 277 278 279 280 & ˙ ˙ ˙˙ ˙ ˙ ˙ w ˙ ˙ ˙ œ Org. ˙ ˙ ˙ #w ˙ œ ? ˙ w w w w ™ œ 7-6 9-8 7-6 # 7 - 6 7-6 { 222 281 282 283 284 285 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) j & j ÓŒ œ œ™ œ ˙ ˙ ˙ œ œ w œ œ nis ho ™ mi - num; Dat Pa- nis Coe-- li

j œ j œ œ Tenor(Solo) {& ˙# ˙ ˙ œ# œ ˙ Œ œ# œ œ™ œn œ œ ™ ‹ pa - nis ho - mi - num; Dat Pa- nis Coe- li - cus ﬁ- gu - ris

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ˙ ˙ ˙ œ j œ œ# œ œ™ œn œ œ ™ œ w Œ J pa - nis ho --- mi - num; Dat Pa- nis Coe- li - cus ﬁ -

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

281 282 283 284 285 & ˙ ˙ w w# #˙ ˙ ˙ ˙ Org. #˙ ˙ ˙# w ˙ ˙ ? ˙ ˙ ˙ ˙# œ™ œn ˙ w w J # # # { 223 286 287 288 289 290 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) j & ˙ Ó ∑ Ó™ œ œ# œ œ™ œn œ œ ˙ cus, Dat Pa- nis Coe- li - cus ﬁ- gu -

j j Tenor(Solo) {& œ# ™ œ œ œ œ œ œn ™ œ w ∑ ∑ ‹ ter- mi - num: Dat Pa- nis Coe- li - cus,

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

œ œ j œ œ œ œ™ œb œ Bass(Solo) ? œ™ œ ˙ Œ œ œ œ œ# œ œ J œ J ™ gu- ris ter- mi - num: ﬁ- gu - ris ter- mi - num: Dat Pa- nis Coe- li - cus ﬁ -

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

286 287 288 289 290

& œ œ #œ œ œ œ œ œ œ nœ œ œ ˙ ˙ ˙ œ œ œœn Org. #œ œ #˙ œ ? œ œ œ œ œ œ œ œ œ œ œ œ ˙# ˙ ˙ œ # # œ 6 # # 6 { 224 291 292 293 294 295 296 Vln. 1 & ∑ ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑ ∑

Alto(Solo) j j & œ j œ œ Œ œ œ ™ œ œ œ œ™ œ œ œ œ ™ œ ˙ ˙ œ w ris, ﬁ- gu ris ter- mi - num: ﬁ- gu - ris ter- mi - num, ter- mi - num:

j œ Tenor(Solo) {& ∑ Œ œ œ œ œ œ ˙ ˙# ˙™ œ w# ™ œ ‹ Dat Pa- nis Coe- li-cus ﬁ- gu - ris ter -- mi - num:

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑ ∑

˙b œ ˙b œ Bass(Solo) ? œ œ œ œ œ ˙™ œ ˙ ˙ ™ œ w ™ J J gu- ris, ﬁ- gu - ris ter- mi - num, ﬁ- gu - ris ter mi - num:

Sop(Full) & ∑ ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑ ∑

291 292 293 294 295 296 & ˙ ˙ ˙ w ˙ b˙ œ œ ˙ w b˙ #˙ ˙ #w Org. œ ˙ w œ ? ˙b ˙ œ ˙ w ˙ ˙ wb w ! 6 ! # 7-6 { 225 L 297 298 299 300 Vln. 1 & ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑

Alto(Solo) ‰ j & œ œ œ ˙ ˙ œ œ ˙ ˙ ˙ œ œ O

Tenor(Solo) {& ∑ ∑ ∑ ∑ ‹

Baritone(Solo) ? ∑ ∑ ∑ ∑

œb w ˙ œb wb Bass(Solo) ? ˙ œ œ œ œ

O L

Sop(Full) & ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑

L 297 298 299 300 ˙ ˙ & n˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ Org. w w ˙ ˙ œb œ wb ? w ˙ 6 7 7 - 6 4 { 226 301 302 303 304 305 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & j œ œ j ˙™ œ ˙b œ œ ˙ œ œ™ œ ˙ ˙ res mi- ra ---™ bi - lis!™ O res mi- ra - bi - lis! O

Tenor(Solo) {& ∑ ∑ Ó ˙ ˙ œb œ wb ‹ O

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

˙ œ Bass(Solo) ? ™ ˙™ œ w ˙ ˙# ˙ œ œn œ™ œ

res mi- ra -- bi - lis! O res mi- ra - bi

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

301 302 303 304 305

& ˙ ˙ ˙ w bw ˙ ˙ ˙ ˙ œb ˙b ˙ Org. w w œ ? w w w ˙ ˙# ˙ œ œn œ œ 7 - 6 ! 7 - 6 6 ! 7 - 6 { 227 306 307 308 309 310 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & j j Œ œ j œ œ œ™ œ# œ# œ œ œ œ™ œ ˙ œ œ œ™ œ ˙ res mi- ra - bi - lis! Man- du - cat Do- minum, Man- du - cat Do- minum,

j j Tenor(Solo) {& œ œ œ œ w Œ œ œ œ œ™ œ ˙ ˙ ˙ ™ ‹ res mi- ra - bi - lis! Man- du - cat Do- minum, Pau - per

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? j œ™ œ ˙ œ# œ œ™ œ w Œ œ œ œ J Œ ˙ œ lis, mi- ra - bi - lis! Man- du - cat Do- minum Pau - per

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

306 307 308 309 310 & ˙ ˙ w# w w w Org. ˙ ˙ w #w w ? ˙# ˙ w w w w # # { 228 311 312 313 314 315 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & j ˙ œ ˙ ˙ œ œ œ œ œ œ™ œ ˙ œ ˙ œ œ Pau - per ser vus, et hu- mi - lis. O res,

Tenor(Solo) {& Œ ˙ œ œ ˙ œ™ œ w ∑ ˙™ œb ‹ ser - vus, et hu mi - lis. O

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

j ˙™ œb œ Bass(Solo) ? ˙ œ œ ˙ œ œ ˙ œ™ œ w ser - vus, et hu mi - lis. O

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

311 312 313 314 315 & Ó ˙ ˙™ œ œ œ œœ œ ˙ ˙™ œ ˙œ œ œb Org. ˙™ ˙ ™ ˙™ ? ˙™ ˙ œb œ œ œ ˙ œ ˙ w 7 - 6 4 - 3 ! { 229 316 317 318 319 320 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) & ˙ ˙ ˙ ˙™ œ œ w ˙ ˙ ˙ O res, O res mi -

Tenor(Solo) {& œ œ œ œ ˙b ˙ œ œb œ w w ˙ œ ‹ res

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

Bass(Solo) ? ˙™ œ w w wb ˙™ œb res, O res mi -

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

316 317 318 319 320 & ˙™ œ œ ˙w ˙b ˙ ˙ ˙ ˙ ˙ ˙ Org. ˙™ ˙ ˙ ˙ ˙ ˙ ? ˙™ œ w w wb ˙ œb !7 - 6 7 - 6 7 - 6 7 ™ - 6 { 230 321 322 323 324 325 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) j Ó ∑ Œ & ˙ œ™ œ ˙ œ ˙ œ ˙ œ ra --- bi - lis! Man- du - cat Do - mi -

j j œj Tenor(Solo) {& Œ œ œ™ œ ˙ Œ œ œ œ œ™ œn ˙n Œ œ œ œ œ™ ‹ mi- ra - bi - lis! Man- du - cat Do- mi - num, Man- du - cat Do-- mi

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

œb œ œ œb Bass(Solo) ? œ ˙ œ œ™ œ ˙ œ œ œ ˙ œ™ J Œ J Œ ra --- bi - lis! Man- du - cat Do- mi - num, Man- du - cat Do-- mi

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

321 322 323 324 325

& œ œ œ œ ˙™ œ w ˙™ œ ˙ ˙ œ# ˙ œ œ œ œ œ Org. ˙ ˙ ˙™ ™ œ ? œ ˙b ˙ ˙™ œ œ ˙b w ˙ 4 - 3 ™ 7 - 6 § 6 6 { 231 326 327 328 329 330 Vln. 1 & ∑ ∑ ∑ ∑ ∑

Vln. 2 & ∑ ∑ ∑ ∑ ∑

Vla. I B ∑ ∑ ∑ ∑ ∑

Vla.II B ∑ ∑ ∑ ∑ ∑

Vc. ? ∑ ∑ ∑ ∑ ∑

Sop(Solo) & ∑ ∑ ∑ ∑ ∑

Alto(Solo) ˙ j Ó ∑ Œ & œ# œ œ œ œ œ™ œ ˙ ˙ œ num, Pau- per servus, et hu- mi - lis. Pau - per

œ œ Tenor(Solo) {& ˙# ˙ ˙ ∑ Œ ˙ œ ˙ ˙ ‹ num, Pau- per ser - vus, Pau - per ser - vus,

Baritone(Solo) ? ∑ ∑ ∑ ∑ ∑

˙ œn œb Bass(Solo) ? œ ˙ œ œ j œ™ œ# œ™ œ w œ™ œ# œ™ œ œ J num, Pau - per servus, et hu- mi - lis, Pau - per servus, et hu- mi - lis.

Sop(Full) & ∑ ∑ ∑ ∑ ∑

Alto(Full) & ∑ ∑ ∑ ∑ ∑

Tenor(Full) & ∑ ∑ ∑ ∑ ∑ {‹ Baritone(Full) ? ∑ ∑ ∑ ∑ ∑

Bass(Full) ? ∑ ∑ ∑ ∑ ∑

326 327 328 329 330

& ˙™ Ó #˙™ œ œ œ ˙ w b˙ ˙ n˙ Org. œ œ œ ˙ #w ˙ ? ˙™ œ œ j œ™ œ# œ w œ™ œ# œ ˙ œ J # 6 2 # ˙ ! 2 # { 232 331 332 333 334

Vln. 1 3 & ∑ ∑ ∑ ∑ 4

Vln. 2 3 & ∑ ∑ ∑ ∑ 4

Vla. I 3 B ∑ ∑ ∑ ∑ 4

Vla.II 3 B ∑ ∑ ∑ ∑ 4

Vc. 3 ? ∑ ∑ ∑ ∑ 4

Sop(Solo) 3 & ∑ ∑ ∑ ∑ 4

Alto(Solo) 3 & œ j j 4 œ œ œ ™ œ œ œ™ œ œ œ# œ œ œ™ œ w servus, et hu - mi - lis, Pau- per servus et hu mi - lis.

Tenor(Solo) 3 {& ˙™ œb ˙ œb œ ˙ œ w 4 ™ ‹ Pau --- per ser -- vus et hu --- mi - lis.

Baritone(Solo) 3 ? ∑ ∑ ∑ ∑ 4

œ ˙ Bass(Solo) ? Œ œ™ œ ˙ ˙ œ w 3 J œ™ J 4 et hu - mi - lis, et hu mi - lis.

Sop(Full) 3 & ∑ ∑ ∑ ∑ 4

Alto(Full) 3 & ∑ ∑ ∑ ∑ 4

Tenor(Full) 3 & ∑ ∑ ∑ ∑ 4 {‹ Baritone(Full) 3 ? ∑ ∑ ∑ ∑ 4

Bass(Full) ? 3 ∑ ∑ ∑ ∑ 4

331 332 333 334 ∑ 3 & ˙ ˙ œ œ 4 ˙ ˙ b˙ œ #œ œ ˙œ œ w Org. ˙ w# ? ˙ ˙ ˙ ˙ 3 ˙ ˙ w 4 6 7 - 6 w# { 233 M q= 108-112 335 Te trina Diatas 336 337 338 339 340 Vln. 1 3 œ œ œ œ™ œ œ œ œ ˙ œ œ œ œ™ œ œ & 4 J œ ™ J

Te trina Deitas œ œ œ œ œ œ™ œ œ œ Vln. 2 3 œ™ œ œ œ œ œ j & 4 J J œ™ œ œ

Te trina Deitas œ œ œ# œ™ œ œ œ œ œ œ œ œ œ œ œ# œ™ œ œ Vla. I 3 J ™ J B 4 J

Te trina Deitas Vla.II B 3 œ œ# œ œ œ œ œ œ œ™ œ œ œ# œ œ œ 4 œ ™ J J œ œ ™ J

Te trina Deitas Vc. ? 3 œ œ 4 œ œ ‰ œ œ œb œ œ j œ œ™ œ œ# œ œ J œ™ œ œ J M

Sop(Solo) 3 œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ™ œ œ & 4 J œ ™ J J Te trina De- i - tas u- na - que pos- si- mus, Sic nos tu vi- si - ta,

Alto(Solo) 3 j j j & 4 œ œ œ œ™ œ œ œ œ œ œ™ œ œ œ œ œ œ™ œ œ Te trina De- i - tas u- na - que pos- si- mus, Sic nos tu vi- si - ta,

j j Tenor(Solo) 3 œ œ œ œ œ j œ œ {& 4 œ œ# ™ œ œ œ œ œ œ œ œ# ™ œ ™ ‹ Te trina De- i - tas u- na - que pos- si- mus, Sic nos tu vi- si - ta,

œb Baritone(Solo) ? 3 œ œ œ œ™ œ œ œ œ œ™ œ œ œ œ œ œ™ œ œ 4 J J J Te trina De- i - tas u- na - que pos- si- mus, Sic nos tu vi- si - ta,

Bass(Solo) ? 3 œ œ 4 œ œ œ™ œ œ œb œ œ j œ œ™ œ œ# œ J œ™ œ œ J Te trina De- i - tas u- na - que pos- si- mus, Sic nos tu vi- si - ta, M

Sop(Full) 3 œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ™ œ œ & 4 J œ ™ J J Te trina De- i - tas u- na - que pos- si- mus, Sic nos tu vi- si - ta,

Alto(Full) 3 j j j & 4 œ œ œ œ™ œ œ œ œ œ œ™ œ œ œ œ œ œ™ œ œ Te trina De- i - tas u- na - que pos- si- mus, Sic nos tu vi- si - ta,

j j Tenor(Full) 3 œ œ œ œ œ j œ œ & 4 œ œ# ™ œ œ œ™ œ œ œ œ œ# ™ œ {‹ Te trina De- i - tas u- na - que pos- si- mus, Sic nos tu vi- si - ta, œb Baritone(Full) ? 3 œ œ œ œ™ œ œ œ œ œ™ œ œ œ œ œ œ™ œ œ 4 J J J Te trina De- i - tas u- na - que pos- si- mus, Sic nos tu vi- si - ta,

Bass(Full) ? 3 œ œ 4 œ œ œ™ œ œ œb œ œ j œ œ™ œ œ# œ J œ™ œ œ J Te trina De- i - tas u- na - que pos- si- mus, Sic nos tu vi- si - ta, M 335 q= 108-112 336 337 338 339 340 3 œ œ ˙ & 4 œ# œ œb œ œ ˙ œ œ œ œ nœ œ œ ˙ œ œ œ œ ˙™ œ #œ ˙ œ Org. ˙ œ ? 3 œ œ ˙ œ œ œ œ ˙ 4 œ œb œ ˙ œ# œ ™ 6 #6 6 4 - 3 4 { 234 341 342 343 344 345 346 Vln. 1 œ œ œ ˙ œ# œ œ œ ˙™ œ œ™ œ œ 4 & œ œ J 4

œ œ œ œ œ œ Vln. 2 œ œ ™ œ ™ œ œ 4 & œ œ œ œ œ# œ J œ J 4

œ œ œ œ™ œ œ œ# œ œ œ™ œ œ œ œ œ œ™ œ œ Vla. I J J 4 B J 4

Vla.II j j j B œ œ œ Œ œ# œ œ œ œ œ œ œ œ œ œ 4 œ™ ™ œ œ ™ ™ J 4

Vc. ? j œ œ œ™ œ œ œ œ™ j 4 œ œ œ œ™ œ œ œ J œ œ œ œ 4

Sop(Solo) œ œ œ œ™ œ# œ œ œ œ œ™ œ œ œ œ™ œ œ 4 & J J œ œ J 4 sicut te co- li- mus, Per tuas se- mi - tas duc nos quo ten- di- mus,

Alto(Solo) j 4 & j œ œ œ œ j 4 œ œ œ œ™ œ œ œ œ œ# ™ œ œ œ™ œ œ sicut te co- li- mus, Per tuas se- mi - tas duc nos quo ten- di- mus,

j j Tenor(Solo) œ j œ œ œ œ œ 4 {& œ œ œ™ œ œ œ# œ ™ œ œ œ™ œ œ 4 ‹ sicut te co- li- mus, Per tuas se- mi - tas duc nos quo ten- di- mus,

œ œ œ œ Baritone(Solo) ? œ œ œ œ# œ œ œ œ œ ™ œ œ œ œ œ 4 ™ J J ™ J 4 sicut te co- li- mus, Per tuas se- mi - tas duc nos quo ten- di- mus,

Bass(Solo) ? j œ œ œ™ œ œ œ œ™ j 4 œ œ œ œ™ œ œ œ J œ œ œ œ 4 sicut te co- li- mus, Per tuas se- mi - tas duc nos quo ten- di- mus,

Sop(Full) œ œ œ œ™ œ# œ œ œ œ œ™ œ œ œ œ™ œ œ 4 & J J œ œ J 4 sicut te co- li- mus, Per tuas se- mi - tas duc nos quo ten- di- mus,

Alto(Full) j 4 & j œ œ œ œ œ j 4 œ œ œ œ™ œ œ œ œ# ™ œ œ œ™ œ œ sicut te co- li- mus, Per tuas se- mi - tas duc nos quo ten- di- mus,

j j Tenor(Full) œ j œ œ œ œ œ 4 & œ œ œ™ œ œ œ# œ ™ œ œ œ™ œ œ 4 ‹ sicut te co- li- mus, Per tuas se- mi - tas duc nos quo ten- di- mus,

{ œ œ œ œ Baritone(Full) ? œ œ œ œ# œ œ œ œ œ ™ œ œ œ œ œ 4 ™ J J ™ J 4 sicut te co- li- mus, Per tuas se- mi - tas duc nos quo ten- di- mus,

Bass(Full) ? j œ œ œ™ œ œ œ œ™ j 4 œ œ œ œ™ œ œ œ J œ œ œ œ 4 sicut te co- li- mus, Per tuas se- mi - tas duc nos quo ten- di- mus,

341 342 343 344 345 346 œ œ œ œ ˙ #œ œ œ ˙ œ œ œ œ ˙ œ 4 & œ œ œ #˙ #œ œ #œ ˙ œ œ œ œ ˙ œ 4 Org. œ ? œ 4 œ œ ˙ ˙ œ œ ˙ 4 œ ˙ # # # œ œ œ { 235 q = 88-92 347 348 349 350 351 œ œ œ œ™ œ Vln. 1 4 Œ œ™ œb œ œ œ œ œb ™ œ œ œ œ œ œ œ & 4 œ J J

œ œ œ œ œ œ™ Vln. 2 4 œ ˙ œ œ œ & 4 Œ J Œ ˙b ∑

œ œ œ Vla. I 4 B 4 ∑ ∑ ∑ ∑ Œ

Vla.II 4 B 4 ∑ ∑ ∑ ∑ Œ œ œ œ

Vc. ? 4 œ œ œ 4 ∑ ∑ ∑ ∑ Œ

Sop(Solo) 4 œ & 4 ∑ ∑ ∑ ∑ Œ œ œ Ad lucem

Alto(Solo) 4 Œ & 4 œ œ œ œ# œ œ œ™ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ Ad lucem quam in- ha bi - tas, Ad lucem quam in ha bi - tas, Ad lucem,

Tenor(Solo) 4 {& 4 ∑ ∑ ∑ ∑ Œ œ œ œ ‹ Ad lucem

œ œ œ œ œb œb œ œb Baritone(Solo) ? 4 œ™ œ œ™ œ œ œ™ œ œ œ œ œ 4 Œ J J J Ad lucem quam in- ha - bi - tas, Ad lucem quam in ha- bi - tas, Ad lucem

Bass(Solo) ? 4 œ œ œ 4 ∑ ∑ ∑ ∑ Œ Ad lucem

Sop(Full) 4 œ & 4 ∑ ∑ ∑ ∑ Œ œ œ Ad lucem

Alto(Full) 4 ∑ ∑ ∑ ∑ Œ & 4 œ œÓ œ Ad lucem,

Tenor(Full) 4 & 4 ∑ ∑ ∑ ∑ Œ œ œ œ {‹ Ad lucem Baritone(Full) ? 4 œ œ œ 4 ∑ ∑ ∑ ∑ Œ Ad lucem

Bass(Full) ? 4 œ œ 4 ∑ ∑ ∑ ∑ Œ œ Ad lucem

347 q = 88-92 348 349 350 351 4 & 4 œ #œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙™ œ œ ˙ bœ œ œ nœ œ œ b˙ œ œ œ Org. ˙™ ™ J ˙ œ œ ? 4 œb ˙ œ œ œb œ œ œ ˙ ˙ œ œ 4 ˙™ ™ J 6 6 ! 6 6 #4 7 - #6 4 b7 - 6 3 { 236 352 353 354 355 Vln. 1 œ œ ˙ ˙ j ˙ œ & œ™ œ w Œ

œ œ œ œ œ œ œ Vln. 2 œ œ œ™ œ œ™ œ œ# ™ œ & Ó Œ J J J

œ œ# œ™ œ œ ˙ œ™ œ œ# œ ˙ œ ˙ œn Vla. I B J

Vla.II B œ œ# ˙ œ ˙ œ ˙# œ œ ˙b ˙

œ Vc. ? œ œ œ™ œ œ# œ œ™ œ ˙ J J œ ˙ œ# œ

Sop(Solo) œ œ œ™ œ œ œ j œ ˙ & J œ™ œ w Œ quam in- ha - bi - tas, in- ha - bi - tas, Ad lu --

j Alto(Solo) Ó Œ & œ œ œ œ œ œ™ œ œ# œ ˙ ˙ Ad lucem quam in- ha - bi - tas, Ad lu -- cem

j œ ˙ œ Tenor(Solo) {& œ œ# œ™ œ œ™ œ# œ ˙ œ ˙ œn ‹ quam in- ha - bi - tas, in -- ha - bi - tas, Ad lu -- cem quam in -

œ œ w w ˙b ˙ Baritone(Solo) ? œ œ™ œ

quam in ha- bi - tas, Ad lu -- cem

œ Bass(Solo) ? œ œ œ™ œ œ# œ œ™ œ ˙ J J œ ˙ œ# œ quam in- ha - bi - tas, in- ha - bi - tas, Ad lu -- cem quam in -

Sop(Full) œ œ œ™ œ œ œ j œ ˙ & J œ™ œ w Œ quam in- ha - bi - tas, in- ha - bi - tas, Ad lu --

j Alto(Full) Ó Œ & œ œ œ œ œ œ™ œ œ# œ ˙ ˙ Ad lucem quam in- ha - bi - tas, Ad lu -- cem

j œ ˙ œ Tenor(Full) & œ œ# œ™ œ œ™ œ# œ ˙ œ ˙ œn {‹ quam in- ha - bi - tas, in -- ha - bi - tas, Ad lu -- cem quam in - œ œ w w ˙b ˙ Baritone(Full) ? œ œ™ œ

quam in ha- bi - tas, Ad lu -- cem

œ Bass(Full) ? œ œ œ™ œ œ# œ œ™ œ ˙ J J œ ˙ œ# œ quam in- ha - bi - tas, in- ha - bi - tas, Ad lu -- cem quam in -

352 353 354 355 œ œ# ˙ ˙ ˙ ˙# ˙ ˙b & œ œ ˙ ˙ ˙ ˙ #˙ ˙ ˙ Org. ? œ œ ˙ ˙ ˙ ˙# ˙ ˙ ˙# 6 #6 6 # # ! 6 4 { 237 356 357 358 359 360 œ U Vln. 1 œ™ œ œ œ™ œ ˙# ˙ ˙ ˙# w w & J

˙b ˙ œ ˙ U Vln. 2 ˙ œ œ w# w & Ó‰ J

œb ™ œ ˙ w ˙ œ w Uw Vla. I B J ™

Vla.II U B ˙ œ w w ˙ ˙ ˙ ˙™ U Vc. ? œ w w ˙™ œ ˙™ œ ˙ œ™ J

œ U Sop(Solo) œ œ œ œ™ œ ˙# ˙ ˙ œ# œ w w & ™ J cem quam in ha- bi - tas, in ha - bi - tas.

U Alto(Solo) j & œ j Œ œ ˙™ œ™ œ ˙ œ™ œ# w# w quam in- ha - bi- tas, in- ha - bi - tas.

j U Tenor(Solo) {& œb ™ œ ˙ ˙ ˙ ˙ œ w w ™ ‹ ha- bi- tas, quam in -- ha -- bi - tas.

˙ U Baritone(Solo) ? ˙ ˙ ˙ ˙ œ w w œ™ J quam in -- ha bi - tas.

U Bass(Solo) ? œ w w ˙™ œ ˙™ œ ˙ œ™ J ha -- bi - tas, in- ha --- bi - tas.

œ U Sop(Full) œ œ œ œ™ œ ˙# ˙ ˙ œ# œ w w & ™ J cem quam in - ha- bi - tas, in ha - bi - tas.

U Alto(Full) j & œ j Œ œ ˙™ œ™ œ ˙ œ™ œ# w# w quam in- ha - bi- tas, in ha- bi - tas.

Tenor(Full) j U & œb ™ œ ˙ ˙ ˙ ˙™ œ w w {‹ ha- bi- tas, quam in -- ha -- bi - tas. ˙ U Baritone(Full) ? ˙ ˙ ˙ ˙ œ™ œ w w J quam in -- ha bi - tas.

U Bass(Full) ? œ w w ˙™ œ ˙™ œ ˙ œ™ J ha -- bi - tas, in- ha bi - tas.

356 357 358 359 360

& ˙ ˙ ˙ ˙ w# w b˙ ˙ #˙ ˙ w˙ ˙# w w Org. w w ? U w w w ! # 4-# w w 9-8 7-6 { 238