Masses by Giovanni Francesco Capello, Bentivoglio Lev, and Ercole

Seventeenth-Centur,y Italian Sacred Music

In Twenty-Five Volumes

General Editor ANNE SCHNOEBELEN Riee University This page intentionally left blank VOLUME 2

Masses by Giovanni Francesco Capello Amadio Freddi Ercole Porta Ignazio Donati

Edited with an Introduction by ANNE SCHNOEBELEN First published by Garland Publishing, Ine.

This edition published 2013 by Routledge

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Library of Congress Cataloging-in-Publication Data

Masses / by Giovanni Francesco Capello ... [et al.]; edited with an introduction by Anne Schnoebelen. 1 score. - (Seventeenth-century Italian sacred music ; v. 2) For 3 (1st work), 5 (2nd-3rd works), and 5 or 6 (4th work) voices with instrumental ensemble (1st 3 works) or continuo (4th work). Latin words. Inc1udes bibliographical references. Contents: Missa ad votum: from Motetti et dialoghi a cinque, sei, sette, et otto, con sinfonie, ritomelli et una messa nel fine, il tutto variamente concertato, con voci, & istromenti-opera settima / Giovanni Francesco Capello -Messa a cinque voci : From Messa vespro et compieta a cinque voci col suo basso continuo aggiuntovi un violino, & cometo per le sinfonie, & per li ripieni / Amadio Freddi - Missa secundi toni : from Sacro convito musi• cale omato di varie, et diverse vivande spirituali auna, due, tre, quattro, cinque, & sei voci / Ercole Port~ - Messa a5 & a6 in concerto : From Messa a quattro, cinque, et sei voci parte da capella, e da concerto, con il basso per l'organo / Ignazio Donati. ISBN: 0-8153-2167-8 (v. 2) 1. Masses-Scores. I. Capello, Giovanni Francesco, fl. 1610- 1619. II. Schnoebelen, Anne. m. Series. M2010.M39 1995 95-32691 Contents

General Introduction vü Editorial Methods 1X Introduction to this Volume Xl

1. Giovanni Francesco Ca.pello, "Missa ad votum" from Motetti et dialoghi acinque, sei, sette, et otto, con sinfonie, ritornelli et una messa nel fine. 11 tutto variamente concertato, con voci, & istromenti . .. .Opera Settima (Venice: Giacomo Vincenti, 1615) 1

2. Amadio Freddi, "Messa a cinque voci" from Messa vespro et compieta acinque voci colsuo basso continuo aggiuntovi un violino, & corneto per le sinfonie, & per li ripieni (Venice: Ricciardo Amadino, 1616) 37

3. Ercole Porta, "Missa secundi toni" from Sacro convito musicale ornato di varie, et diverse vivande spirituali auna, due, tre, quattro, cinque, & sei voci (Venice: Alessandro Vincenti, 1620) 103

4. Ignazio Donati, "Messa a 5. & a 6 in concerto" from Messe aquattro, cinque, et sei voci parte da capella, e da concerto. Con il basso per l'organo (Venice: Alessandro Vincenti, 1622; reprint of 1626) 203

v This page intentionally left blank General Introduction

Sacred music constitutes the largest gap in our present progressing to works for three and four choirs. The vol• understanding of seventeenth-century Italian music. umes of motets present individual works from the most Scholarly interest has focused largely on secular music• significant collections printed in the first half of the cen• opera and monody-where remarkable stylistic innova• tury, arranged according to composer, with special em• tions appeared that would form the foundation of mod• phasis on the motets of Alessandro Grandi. ern music. With the exceptions of Laurence K. J. Feininger's publications of Roman polychoral music Included in this series are other weIl-known composers: (Monumenta and Documenta Liturgiae Polychoris, 1947- Banchieri, Viadana, Grandi, Rigatti, Rovetta, Legrenzi, 1975), and various editions ofMonteverdi's sacred music, Cavalli, Cazzati, Bassani, and Graziani. Also represented Italian sacred music has yet to appear in significant are lesser-known figures, many considered major com• modem editions. Nevertheless, it was in church music posers by their contemporaries, whose names have been that many of the most important innovations in musical obscured by time and the unavailability of seventeenth• style were widely adapted and disseminated. Church century sacred music in modem publications. composers throughout ltaly embraced the features that define seventeenth-century music: concertato style, reci• The wide geographical distribution of the composers tative and monody, basso continuo, the emphasis on solo represented is often visible from title pages or dedica• voices, virtuoso omamentation, and coloristic combina• tions. They come not only from major churches and tions of voices and instruments. cathedrals but also from small parish churches, monas• teries, convents, and oratorios, most but by no means all This series presents a large selection of ltalian sacred in northem and central Italy. While opera and cantata music scored from printed part-books, works whichhave were directed to relatively small aristocratic and wealthy not been published in modem editions. Its twenty-five audiences, church music touched the lives of all Italians. volumes are divided as follows: It was through the normal activities of worship-liturgy, 1-10: Music for the Ordinary of the Mass, 1600- devotional exercises, processions, public ceremonies• 1700, edited by Anne Schnoebelen. that the new styles and techniques were spread through• 11-20: Music for Vespers and Compline (psalms, out ltaly. But printed music also reflects the older stile canticles, hymns, and antiphons), 1600-1700, edited by antico, modified to suit contemporary taste, which held a Jeffrey Kurtzman. significant place in churchmusic through the century and 21-25: Motets, 1600-1650, edited by Jerome is represented in this series as weIl. Roche and Elizabeth Roche. Generally speaking, the motet was the first genre in Each series is organized to display its genre best. Mass which the church composer experimented with the new settings are presented in chronological order (with ad• styles. Motet texts, though Often drawn from liturgical justments for volume lengths). The volumes of Vesper sources, were not fixed elements in the liturgy. Thus they and Compline music are arranged according to the num• offered more scope to the composer's imagination, espe• ber of principal voices, chronologically within each vol• cially in the new, more intimate solo, duet, and trio ume, beginning with works for one and two voices, textures, which were particularly weIl suited to expres-

vii sive words. However, modem compositional techniques large, many-voiced ceremonial works with instruments, also appeared in Vesper psalms and Magnificats, espe• the repertory presented here reveals the great variety of cially those published in what were principally motet forms, styles, timbres, and textures that Italians heard on books. The mass remained the most conservative of the Sundays and major feasts. With these volumes we can three genres, though by the decade 1610 to 1620 it too begin to understand the importantrole of sacred music in began to show modem tendencies: use of instruments, the development and dissemination of Italian Baroque few-voiced textures, and solo-tutti contrasts. musical style.

The works presented in this series can only hint at the A final word: we note here with sorrow the untimely immense quantity of sacred music published in the years death of our esteemed colleague Jerome Roche (1942- 1600 to 1700. Though masses and motets were the tradi• 1994) of the University of Durham, whose pioneering tional core of sacred music, it is the repertory of Vesper work on ltalian sacred music from the first half of the psalms, already developing by mid-sixteenth century, seventeenth century, and onmotets in particular, is semi• that forms the largest number of publications. Prints nal to this project. His passing is an inestimable loss to containing Vesper psalms and Magnificats would sur• seventeenth-century music scholarship. Fortunately his pass the numberofpublications formasses andmotets by research and his contribution to this series are being the first decade of the seventeenth century. About this carried on by Elizabeth Roche, his wife and collaborator time it became common for mass and Vespers to appear of many years. in a single print, sometimes including motets as weIl, intended for liturgical events to be performed on a single festive occasion. Masses were also published in generic Anne Schnoebelen collections of works by a single composer, or in combina• tion with motets, psalms, and concerti ecclesiastici. Occa• General Editor sionally instrumental canzonas or sonatas were included in prints containing masses or Vesper music, undoubt• edly intended to be inserted into the liturgy. In addition to appearing in mass and Vesper publications, motets were printed in collections by a single composer or in anthologies of many composers' works. Single-com• poser motet collections not infrequently include a litany or mass at the end of the volume.

As the wealth of vocal and instrumental resources in• creased, composers and publishers strove to present flexible performance possibilities in order to attract as many buyers as possible: for example, voices labeled "Canto 0 Tenore"; instructions on how to use voices and instruments in various combinations. Separate instru• mental parts were often marked "si placet." Optional vocal and instrumental ripienos were offered that could increase the size of a work, for instance, from three to seven parts if local resources allowed, but would still be musically intact with fewer voices. Even optional instru• mental sinfonias appeared, which could be omitted if instruments were not available. However, optional in• struments seem to have decreased somewhat after mid• century, due to the increasingly essential role of the instrumental group in the structure of the work.

In its wide range of performing resources, this series encompasses the numerous combinations of voices and instruments that characterize sacred music ofthis period. From the few-voiced motets, psalms, and masses to the

viii Editorial Methods

The purpose of this series is to provide a large repertory letter names (A to G) and their solmization syllables (ut of seventeenth-century Italian sacredmusic in dearmod• re mi fa solla). A pitch was determined not simply by its ern editions that are both practical and faithful to the location on the staff but also by its function in the original sources. Original pitch and "key signatures" are hexachord system, shown by the solmization syllable retained; "time signatures" also appear as in the original, (see Example 1). The note that we read as B, for example, unless noted in the Introduction. Editorial comments can be sung as either B-natural or B-flat depending on concerning sources and original defs, as weIl as corrected whether it is solmized as mi or fa; the decision of how to errors in pitch, rests, and rhythm, are found in the Intro• solmize it depends on the musical context. The following duction. Coloration (black notation in tripIe meter) is is abrief account of the principles of musica ficta that used for much of the century; its presence is also indi• guided performers in choosing the correct solmization cated in the editorial comments. Ligatures, which appear syllable, or, as we think of it today, in supplying sharps infrequently, are not indicated in the score nor in the and flats that are missing from the sources. It should be editorial comments. Fermatas over final notes are not noted, however, that there will be occasions when these indicated; finallongas of indeterminate length are recon• guidelines come into direct conflict with one another. ciled in all voices to whole notes, as necessary. The names of the voice parts, as given in the original source, appear One should generally "add a flat" (i.e., sing the note as fa) at the beginning of each work. Performance rubrics, such in the following situations: as soli/tutti indieations, appear in the score. Text under• lay generally follows the original source, except where 1. To maintain intervals of the perfect fourth, fifth, and there are uncertainties or errors: these are silently cor• octave between voices (i.e., to avoid vertical tritones, rected. Original spelling and orthography are retained diminished fifths, and octaves that create "mi contra but standardized to follow the majority of partbooks. fa"). Any substantial textual differences among the voices are kept. All editorial additions to the text (including pas• 2. To keep melodie intervals of a fourth or a fifth perfect sages designated ii or i]) are supplied without indication. (i.e., to avoid melodie tritones and diminished fifths). The interchangeable letters u and v, i and j are differenti• ated in aeeordanee with modern praetice. 3. When a melody rises a single step beyond the upper range of a hexachord and then returns to that Flats and sharps appear as in the original source, except hexachord, the note above the hexachord should be a for obvious printing errors which are corrected and semitone (Le., sung as fa). This is the so-called "una noted in the editorial comments. Sharp signs applied to B nota super la semper est canendum fa" rule. Some and E, and flat signs applied to F and C, are modernized theorists imply that there are situations when this as naturals. Although many accidental flats and sharps convention shouldnot be used (particu1arlywhen the are provided in the original sources, the performer will melody soon thereafter continues its upward rise and frequently have to recreate the process of adding musica does not involve areal or implied melodic tritone). ficta, especially in musie from the first half of the seven• Most of the time, however, the principle can be in• teenth century. Performers knew notes by both their voked.

ix One should generally "add a sharp": ings, see Lewis Lockwood, "Musica ficta, §2," The New Grove Dictionary oj Music and Musicians, ed. Stanley Sadie 4. At cadences, where a sixth moves outward to an (London: Macmillan, 1980), XII, 806-08; Nicholas octave or a third moves inward to a unison (see Routley, "A practical guide to musica ficta," Early Music ExampIe2). 13 (1985),59-71; Karol Berger, Musica ficta: Theories oj Accidental Inflections in Vocal Polyphony from Marchetto da 5. To the third of a final chord, where necessary, to Padova to Gioseffo Zarlino (Cambridge, New York: Cam• create a major triad. bridge University Press, 1987); Robert Toft, Aural Images oj Lost Traditions: Sharps and Flats in the Sixteenth Century While no major sources deal with musica ficta in the (Toronto: University of Toronto Press, 1992); and Sarah Baroque, principles from the sixteenth century still ap• Meade, "Renaissance Theory," pp. 300-306, in A plied. When composers wished to contravene such prin• Performer' s Guide to Renaissance Music, ed. Jeffrey T. Kite• ciples they usually wrote accidentals. For further read- Powell (New York: Schirmer Books, 1994).

Example 1

Hexachord on C

ut re mi fa sol la Hexachord on G

ut re mi fa sol la Hexachord on F

ut re mi fa sol la

Example2

x Introduction to this Volume

The ten volumes in this series presenting music for the Capello's votive mass from 1615, a unique parody mass Ordinary of the Mass illustrate an extraordinary variety based on an instrumental canzona; a mass by Amadio in style, form, and setting. Arranged chronologically Freddi of 1616, which includes instrumental sinfonias (with a few adjustments for volume size), they include and ripienos as integral parts of the structure; and the masses ranging from conservative works in sixteenth• first known orchestral mass, written by Ercole Porta in century style to works in contemporary Baroque style for 1620. The fourth work, from 1622 (reprint of 1626), for six soloists, choirs, and instruments. voices "in concerto" with organ basso continuo, illustrates the mainstream of mass composition in the 1620s by a Through much of the century composers cultivated both consistently inventive church composer, Ignazio Donati. old and new styles. Works in the older style include parody masses, hexachord masses, and masses based on Before discussing each of these works, a brief note about one of the church modes (e.g., Missa primi toni), for one to the early use of instruments in the mass is in order.1 four choirs. The new style is found in the messa concertata, Combining voices and instruments in the mass may weIl usually set for three to five voices. Messa concertata is a have been done first by Giovanni Gabrieli. In his posthu• term first used to signify that certain sections are to be mously published Symphoniae sacrae, book 2, (1615) some sung by soloists, as opposed to the messa da cappella where of the individual mass movements may weIl have incor• full choir is called for throughout the mass. However, it porated instruments-violins and cometti-to reinforce soon came to mean clearly marked contrasts between soli the choirs, though none is actually specified. Adriano and tutti, both textural and stylistic. Banchieri, in 1609, described a mass by one Bassiano (the workno longer exists) in which instruments were used to All of the masses include organ, either as basso seguente in replace same voices in the four-choir work. 2 the older style or as true basso continuo in modem works. Other instruments which soon appeared in mass set• The role of instruments soon progressed beyond rein• tings, such as trombones, violins, and cometti, enriched forcement or replacement of voices. In 1613 appeared an and enlivened the mass as an art form. intriguing collection of masses, sinfonias, canzonas, motets, and litanies written by Amante Franzoni.3 Here During the early decades of the seventeenth century, the instrumental pieces are used as additions to the perfor• mass was infused with new compositional ideas, both mance of the mass: an entrata and ritornellos at the vocal and instrumental. While Volume 1 illustrates the Introit, a canzona francese at the Epistle, a sinfonia at the variety in vocal settings of masses in the years 1610-1619, Sanctus, another at the Agnus Dei, and one to conclude including some virtuosic techniques new to the mass, the mass. These pieces are meant to be performed before Volume 2 demonstrates the other element which revolu• or after the designated sung portions. (A similar coIlec• tionized the mass-the introduction of obbligato instru• tion by Carlo Milanuzzi is presented in Volume 3 of this ments. Three of the works represent the earliest printed series.) Instrumental sonatas on occasion were even used masses to include instruments as integral parts of the to substitute for parts of the Proper. In a letter to the mass, each in a different way: Giovanni Francesco reader prefacing his collection of Introit settings of 1611,

xi the Brescian composer Valerio Bona mentions certain remaining movements: Ottavo, Cl; Settimo, C3; Sesto, abuses-that Introits are frequently omitted, and sonatas C4i and Quinto, F4. A separate part for "Chitarroni, for organ or other instruments are played instead.' Leutti, etc." follows the organ "partidura" intermittentlYi Clearly, the indusion of instrumental music in the mass both parts remain in normal bass def throughout. (The liturgy was inevitable as composers brought this conser• designation" Alto" on the chitarroni part is a printer's vative genre into a more contemporary idiom. The next errori the part is in bass def without text.) step, as the following three works show, was to make instrumental music an integral part of the structure of the Each of the two large movements, Kyrie and Gloria (the mass. mass is without Credo), is based on a different canzona, named in the printed partidura: Kyrie "Sopra la Bertozza GIOVANNI FRANCESCO CAPELLO deI Mortaro"i Gloria "Sopra la Morona deI Mortaro." While some motives of the vocal parts may be distantly MISSA AD VOTUM A 8, 1615 related to the canzona, it is the instruments which play exact quotations from the canzona as integral parts of the This unique work appears in the collection Motetti et movement, e.g., mm. 14-38, separating the Kyrie and dialoghi acinque, sei, sette, et otto con sinfonie, ritornelli et una Christe. A shorter,less exact quotation from the canzona messa nel fine. 11 tutto variamente concertato, con voci, & appears inmm. 49-59 set forchitarroni and organ, dosely istromenti . .. Opera Settima, (Venice: G. Vincenti, 1615).5 related to nun. 52-62 of the canzona, following the brief Capello was one ofthe most imaginative composers ofhis Christe. Kyrie n continues with motives borrowed from time, about whose life we know nothing except the infor• the preceding instrumental section, interrupted by a mation derived from title pages and dedications of his literal quotation of the canzona. At m. 75 of the Kyrie, the printed music. A Venetian by birth, he flourished in the voices enter for their final statements over the canzona years 1610-1619, and was a member of a religious order, which continues to its end, as vocal and instrumental the Congregatione Fiesolana. From 1613 to 1619 he was sonorities combine to condude the movement. The organist at the church of Santa Maria delle Grazie in canzona is the dominating factor in the structurei voices Brescia. His works indude innovative chromatic experi• either double the instruments or fill out harmonies. ments in both secular and sacred monody, as well as some of the first published sacred works with separate parts for The structure of the Gloria is more complex.7 "Et in terra instrumental ensemble. -glorificamus" presents each voice separately, the basso in declamatory style, the soprano and tenor in arioso Capello's votive mass (a type usually intended for a style with organ. At "Gratias-gloriam tuam," instru• special occasion) plays an important role in the history of ments double voices in full chordal texture, followed by the mass. Not only is it the first printed mass to call for a lengthy quotation from the canzona. At "Domine Deus obbligato instruments (the term is used here in its original -filius Patri" voices return to arioso or declamatory sense as a part not to be omitted, in contrast to the term ad styles, supported by organ and occasionally chitarroni. A libitum or si placet), but it makes unprecedented use of quotation from the canzona, mostly in tripie meter, pre• another composer's instrumental canzonas as the basis cedes the "Qui tollis peccatamundi"i the canzona contin• for a parody mass. The works in question are two ues, its motives also appearing in the basso, while so• canzonas by Antonio Mortaro, from his Primo libro de prano and tenor sing independent lines in mixed chordal canzoni da sonare a quattro voci (Venice, 1600).6 Capello and polyphonic textures. Preceding the "Miserere nobis" indicates the extraordinary nature of the work in his is a quotation of only the bass line of the canzona, set for notice to the musicians, suggesting that singers and play• organ and chitarroni. At "miserere" the tenor sings a ers rehearse suitably before performing these works in rising chromatic line, the only such chromaticism in the public. work. The second "Qui tollis peccata mundi" is an exact repetition of the first, followed by a polyphonic setting of Only three voices, Soprano, Tenore, and Basso, form the "suscipe-altissimus" accompanied by organ and occa• vocal ensemble, all preceded by the normal vocal defs sionally chitarroni. At "Jesu Christe" the full ensemble (G2, C4, and F4). Four unspecified instrumental parts, concludes the passage chordally. The final section, "Cum designated only by number (Ottavo, Settimo, Sesto, and Sancto Spiritu" is preceded by a quotation from the Quinto), play Mortaro's canzona music on which the canzona, enlivened with eighth notes. To dose the move• mass is based. Original clefs in the Kyrie are as follows: ment, motives in the voices double the canzona motives, Ottavo, G2; Settimo, C2; Sesto, C3; Quinto, F3; in the as the canzona is played to its end.

xii Sanctus and Agnus Dei are unusually brief. The same cometto and violin serve not only for the sinfonias and to music is used for both sections, designated "Sanctus et give some respite to the voices so they do not have to sing Agnus Breves more Veneto." Only twelve measures continuously, but are also useful as ripieni, as compan• long, the music is simple and chordal, unrelated to the ions to the voices ... " Thus the instruments serve two canzona. The "Venetian manner" alluded to in the rubric functions: as sinfonias that are integral elements in the indicates the Venetian preference for short, simple set• structure, though without CapeIlo's unique parody tech• tings of the last two movements, so as to make room for nique; and as ripienos that do not merely double the additional instrumental music at the Elevation and Com• voices but play motivically related melodies to enhance munion, according to Ignazio Donati. 8 the vocalline. Both composers embody what bad been extra-liturgical music into the essential form of the mass. CapeIlo, a very progressive composer, may weIl be the Furthermore, Freddi introduces an instrumental "trio" first to apply obbligato instruments to the mass. In doing texture into the mass: the two melody instruments play so he introduces an important element to the festive mass short solo passages, followed by duets in thirds and liturgy, which brings both expansion and structural ca• sixths, supported by the organ continuo--a favored com• herence to the form. bination for instrumental music in the mass for several decades to come. AMADIO FREDDI The five-part vocal ensemble consists of Canto, Quinto MESSA A CINQUE VOCI, 1616 (hoth in soprano range), Alto, Tenore, and Basso, to whom Freddi directs another important performance In the year following CapeIlo's mass, Amadio Freddi rubric in bis note to readers. Regarding the places where brought out his first publication of sacred music, Messa all the voices come together, while the expert singers will vespro et compieta ii cinque voci col suo basso continuo easily be aware of such places, he promises to warn the aggiuntovi un violino, & corneto per le sinfonie, & per li other singers with the word "Tutti." Indeed, the parts in ripieni. (Venice: Ricciardo Amadino, 1616). Freddi was the Gloria and Credo are dearly marked regarding en• Paduan by birth, a singer at the basilica of Sant'Antonio trances of solo voices and the entire ensemble. there, and in 1615 was maestro di cappella at the cathedral in Treviso, where he served until1626. He held similar The mass begins with an instrumental sinfonia, the fore• positions at the cathedral in Vicenza and the basilica in runner of many orchestral introductions to masses. It Paduauntilatleast1634,thelastnoticewehaveofbislife. presents each of the treble instruments in a simple melody, then both playabrief, lively imitative passage A provincial composer in the Venetian orbit, Freddi, like that moves typically into parallel thirds before its CapeIlo, mixes instruments and voices in the mass and cadential formula. A similarly modest duet between psalm settings of this collection (which indudes both Canto and Quinto initiates the Kyrie, followed by abrief Vespers and Compline), though with more modest in• Alta-Tenor duet at Christe. A bass solo, supported strumental resources. In fact, his combination of five motivically and harmonically by the instruments, opens voices, violin, cometto, and organ will become the norm Kyrie n, followed by a brief passage of imitation for all in the 1630s for festive church music on a small scale. five voices. The instruments playabrief duet based on a canzona-like motive on three repeated pitches, which The violin had already made its first appearance in a provides motives for voices and instruments in various printed mass the previous year in a work by Antonio combinations, in both solos and duets and in full chords. Burlini, Messa, salmi et motetti concertati ii otto voci in due Similar VOCal duets in several combinations open the chori col basso continuo per I' organo, et una parte per un Gloria. At "Gratias agimus" Freddi provides his first violino per chi n'ha la commoditii (Venice: G. Vincenti, 1615). "Tutti" marking for a passage that contrasts tripIe and Although the violin is specified in the title, the part is duple meter, polyphonie and chordal textures. After a designated only as "istromento acuto" (high-pitched brief arioso duet at "Domine Deus ... Jesu Christe" the instrument). Written in soprano def, it has a small range "Gratias" is unexpectedly repeated (with the voices and provides a slow contrapuntalline against the more slightly rearranged). Though there is some textual re• active vocal parts. dundancy in the Gloria text (e.g., "Qui tollis peccata mundi") which invites musical repetition, the phrase Freddi, on the other band, adds both violin and cometto "Gratias ... gloriam tuam" does not appear twice. Freddi, to the vocal ensemble specifically "for the sinfonias and however, chooses to repeat both music and text, which the ripienos." In a note to readers, he writes that "the hints at a formal design dictated by musical, rather than

xiii textual considerations. After passages for solo voices on vativein 1616,fumishes amodelforinstrumentalmasses both statements of "Qui tollis... " (here liturgical text in the next few decades. repetition is emphasized by the use of similar motives), a sudden chordal"Suscipe" is effectively accentuated by a ERCOLE PORTA rest on the first beat in all voices. Mixed polyphonie and MISSA SECUNDI TONI, 1620 chordal textures contrast with duets and solo passages, with tripIe meter providing additional contrast, for the This mass comes from a eolorfully titled collection, Sacro remainder of the movement. convito musicale ornato di varie, et diverse vivande spirituali a una, due, tre, quattro, cinque, & sei voci (Venice: Generally, instruments in the Gloria playa less indepen• Alessandro Vineenti, 1620). Among the "diverse spiri• dent role than in the Kyrie, their presence normally tual victuals" provided at this "saered banquet" is the enhancing harmonies or doubling vocal melodies. The first true orchestral mass printed in the seventeenth Credo, however, restores the instruments to their more eentury. Such an important milestone has an improbable important position. In addition to harmonie support, provenance. Porta was maestro di cappella in the s~all they play an obbligato duet above the basso solo at provincial town of Persiceto, near Bologna. A native "Genitum non factum." Between "Et homo factus est" Bolognese, Porta may' have studied there under and "Crucifixus" theyplay anextended sinfoniareminis• Girolamo Giacobbi, the progressive maestro at the ba• cent ofMonteverdi which accentuates the emotional and siliea ofSanPetronio. Probablyintended for a majorfeast, theological climax of the Credo. Another sinfonia of a the "Missa secundi toni" is the first modem mass to similarnature, though shorter, precedes the final section, contain a full five-part orchestra: two violins and three "Et in Spiritum Sanctum." At the dose, instruments trombones accompanying a five-part choir, a scoring blend their motives with voices again in the final phrase, which will be fairly common for large ceremonial works. "Et vitam venturi saeculi, Amen." Porta teIls his readers that instrumental ripieni are pro• Like the Kyrie, the Sanctus begins with a sinfonia which vided for the greatest charm and fullness [of sound), b~t fumishes motives for the Canto-Quinto duet that fol• that the mass ean be sung on occasion without them; m lows. As other voices are added, the instruments embel• such ease the sinfonia in the Credo is omitted. He contin• lish the texture with fast, rising scales in imitation. Abrief ues with some advice for the organist, whom he eounsels sinfonia precedes the phrase "Pleni sunt eaeli," follo~ed to use his ear weIl because he has not indieated every by an "Osanna" in tripIe meter. After a short vocal trio at dissonanee. Also, the organist should play with restraint "Benedictus" the "Osanna" phrase is repeated and ex• when one ortwovoices sing, saving hishands and feetfor tended to dose the movement, supported by instru• the full ripieni, though without adding registers. ments. As Portahints in the note above, the instrumental writing Instruments do not participate in the brief Agnus Dei. is rather simple; there is some doubling of voices, ~d The voices sing in a polyphonie texture throughout, and frequent reinforcement of important melody notes m there is no indication for contrasts of soli and tutti. ornamental eadences. The only independent sinfonia in the mass occurs in the center of the Credo following the Freddi's harmonie scheme centers around G in both "et resurrexit." Otherwise the instruments simply pro• major and minor modes, with frequent tonicizations of vide harmonie reinforcement, with an occasional burst of other related notes. Voice-leading in the Gloria at m. 95 figuration in the violins. When doubling of voices occurs, results in an augmented sixth chord, which is not related the trombones double the three lowest voices, violin n to any particular affective expression of te~t. There ~ doubles eanto I, violin I doubles canto n but an octave frequent shifts to chords a third below Wlth re~ul~g higher. This arrangement expands the range of the en• false relations (e.g., D to B-flat), and some progressions m semble, places the violin above the vocal texture and eirdes of fifths, indieating the transition to functional gives it a prominent sonority. harmony that oecurs in these decades. Porta's mass illustrates a growing tendency to divide the As in CapeIlo's mass, the instrumental passages in this larger parts of the Ordinary into separate movements, work provide coherent structure and allo":,, for ton~ and indieated in the score by thin double lines. Gloria and formal expansion on a modest seale. Freddl s mass, mno-

xiv Credo are divided into two movements each; Kyrie, The Sanetus movement, which sets the eomplete text, Christe, and Kyrie II are given separate movements. opens with elaborately omamented imitation in the voices, its melody outlined by the instruments. The tex• The vocal ensemble eonsists of two Canto parts (hoth ture remains full until the triple-meter "Gloria tua" and designated simply Canto), Tenor, Quinto (in tenor the "Benedictus" which are sung by different duet eom• range), and Basso. Unlike Freddi, Porta does not indicate binations supported by trombones. The final "Osanna in entranees of soli and tutti. However, such eontrasts may exeelsis" ends sonorously with full ensemble. be inferred by the presenee of instruments in what are probably tutti vocal passages. Ornamental passages, Agnus Dei is initiated with a motive particularly sensi• such as those in Kyrie ll, are clearly meant for soloists, tive to the rhythm of the words. Its first few notes are with final measures probably sung by all. exact1y the same as the opening motive of the Kyrie, suggestive of a formal design for the entire mass. As illustrated in the opening Kyrie, Porta demonstrates skillful use of word rhythms and sonorities. Beginning Though Portamakes only modestuse of a full instrumen• with a long note, the chief motive eontinues with syneo• tal body,bis orchestralmass sets.the stage formany large• pation and shorter values to enliven the many repetitions scale works to follow. With bis skillful use of sonorities of the text in the polyphonie texture. An attraetive sonor• and of idiomatie vocal writing faithful to word rhythms, ity is achieved in the Christe, set for two sopranos sup• he blends voices and instruments in an attraetive work, ported by a choir of three trombones under the voiees. initiating, a long line of festive eeremonial masses. Dotted rhythm in full chordal texture initiates Kyrie ll, again emphasizing the natural word rhythms, followed IGNAZIO DONATI soon by elaborate soloistie lines in the voices. MESSA A 5 & A 6 IN CONCERTO, Oceasional expressive effects oceur in the Gloria. After its 1622 (reprint of 1626) opening by the full ensemble, the basso picturesquely drops an octave at the words "in terra pax," reaching low Donati's eollection of masses, Messe aquattro, cinque, et sei D. Homophonie textures eontrast with soloistie imitative voci parte da capella, e da concerto con il basso per l'organo passages, some eontaining the same ornamental patterns (Veniee: Alessandro Vineenti, 1622), in which this work found in Kyrie ll. The word "miserere" is highlighted by appears, eontains masses in both old and new styles to harmonie fa1se relations between F major and A major satisfy every taste. Itwas a widely sungeollection, having chords. Oceasional Lombard rhythms used in monody gone into a third printing within four years and a fourth appear at "Qui sedes" in both voices and instruments. printing in 1645. Because all eopies of the original print• The instruments maintain their role of doubling and ing are ineomplete, and no eopies of the second are harmonie support. extant, we use here the third printing of 1626. The eollec• tion eontains three masses in a eonservative polyphonie In the Credo several partieular features stand out. The style designated "da eapella," with oceasional syllabic most florid vocal passage in the mass occurs at "Et in passages in the longer movements. The fourth mass, unum Dominum," a duet for Canto II and Tenor, eontin• "Messa a5 e a6 in eoneerto," is in a more advaneed style, ued by the Quinto at "Et ex Patre." Balaneing the Christe with more varied rhythms, textural eontrasts, modest set for sopranos and trombones, Porta writes a Basso solo embellishment of melodies in soloistie passages, and aeeompanied by the two violins at "Genitum," an equally some antiphonal effeets in the tutti sections. Donati effeetive passage. After a full setting of "Et homo faetus proves a master ofboth styles: superbly eontrolled eoun• est," the dark "Crueifixus" is sung by the three lower terpoint and sonority in the older idiom, and a skillful, voices, culminating in a slowly rising chromatie line at inventive blend of eounterpoint and eontrasting textures "passus" and a leap downward to low pitches on in thenew. "sepultus est." Immediately following, the two sopranos burst into motion at "Et resurrexit" in eontrasting high Born in Casalmaggiore near Parma ea. 1575, Donati register. After the eanzona-like sinfonia, twenty-eight served as maestro di cappella in various plaees in north• measures in length, the instruments revert to their previ• eastern Italy: Urbino, Pesaro, Fano, and Ferrara, return• ous role of supporting the voices. An elaborate plagal ing to Casalmaggiore, bis residenee from 1618 to 1623. eadenee closes the movement on "Amen." From there he progressed to similar positions in Novara, Lodi, and finally to the cathedral in Milano, where he polyphonic textures, tripie and duple meters, brings the served from 1631 until bis death in 1638. movement to a dose.

As the title indicates, the mass is set for five voices with Both Sanctus and Agnus Dei are very brief, in the Vene• a sixth voice designated "si placet," and organ basso tian style described above. Based on the samemusie, both continuo. The term "in concerto" implies contrasts be• movements are set simply in full chordal texture in duple tween soloists and the entire ensemble, though there are meter. no specific indications in the print. The voices are dis• posed as follows: Canto, Sesto (in soprano range), Alto, With its contrasting textures, styles, and flexibility of Tenor, Quinto (in tenor range), and Basso. The optional performance possibilities, this mass typifies many small• Sesto part, if omitted, would often reduce duets to solo scale works of the l620s. Donati, a talented melodist and passages and diminish the polyphonie sonority, but the fine contrapuntist, demonstrates a variety of skills in this work would still be effective. elegant work, which was still being sung more than twenty years after it was written. The contrast of textures and meters is the dominating principle in all movements. Kyrie I immediately engages Editorial Comments and Corrections all six voices in a polyphonie texture, ending the phrase in a contrasting homophonie passage. Solo passages Original defs are as follows: Canto, Cl; Alto, C3; Tenor, follow, interrupted occasionally by full chords. Motives C4; Basso, F4, Organo, F4. Exceptions and defs for other for the Christe are somewhat more ornamental than parts will be noted below. those of Kyrie I, but are treated with the same contrasting textures. Varying combinations of solo voiees within the In the following listofcorrections, voiee parts whichhave six parts add to the musical interest. Kyrie 11 adopts tripie been transcribed an octavehigher (e.g., tenor), pitches are meter as further contrast, and the movement doses described according to their position on the staff without chordally as it returns to duple meter. regard to transpostion (Cl =middle C). The texture of the Gloria is predominantly homophonic, relieved by duets in different voiee combinations. Nor• Giovanni Francesco Capello, mally there is little repetition of text phrases in such "Missa ad votum" syllabic movements, but Donati sets the "Laudamus te . . . Glorificamus te" phrase twiee in succession, with Kyrie: different music and texture each time. The only orna• m. 14, Tenor: dotted semiminim, fusa in source. mented line in the movement occurs at "Qui tollis ... m. 16, Partidura: original def is C3. miserere nobis." "Suscipe" and "Quoniam" are set in m. 63, Partidura: natural under g missing in source. tripie meter, interspersed with passages in duple meter. m. 64, Partidura: 4, natural 3 missing in source. A lively mixture of imitative and chordal textures effec• m. 65, Partidura: original def is C3. tively doses the movement. m. 77, Partidura: natural under g missing in source. m. 78, Partidura: original def is C3. Though similar to the Gloria in its smooth mixture of m. 80, Partidura: natural under g missing in source. textures and styles, the Credo has severalfeatures that set m. 82, Partidura: natural under g, sharp 6 under a, natural it apart. At "Et ex patre" two of the solo voices have trill under g missing in source. markings (t.) over certain notes, an unusual indication in m. 83, Partidura: original def is C3. early printed masses. Occasionally the division of the six mm. 87-99, Partidura: all notes missing in print, written voices into two groups of three voiees produces interest• in by seventeenth-century hand. ing antiphonal effects, such as the setting of "Qui m. 88: Partidura: natural under G missing in source. propter." The affective climax occurs at "Crucifixus," mm. 95-99, Chitarroni: last six notes missing in source. reserved to the four lower voiees, its harmonies carefully Gloria: building intensity to a somewhat startling augmented m. 14, Partidura: natural 3, flat 6, natural 3 missing in chord at "passus," then subsiding as the phrase ends. "Et source. resurrexit," in full chordal style, moves animatedly in m. 15, Partidura: natural under c missing in source. tripie meter, its text repeated in sequential harmonie m. 18, Quinto: original is G. patterns. A similar mixture of duets and full chordal or m. 21, Partidura: original def is C3. m. 33, Partidura: original def is C4.

xvi m. 47, Sesto: 2 extra semiminims, C, d, in source. m. 59, Organo: sharp under d missing in source. m. 59, Sesto: second minim,J, in source is an error. m. 82, Organo: original def is C4. m. 71, Soprano: four fusae in source. Gloria: m. 81, Soprano: 5 missing from "Patris" in source. m. 13 and all subsequent triple-meter sections: original m. 81, all parts: meter is 3/2 in source. mensuration sign is <1>3 unless otherwise indicated. mm. 82-83, Partidura: natural under g, 6/4 under a, m. 27, Violino: first fusa,/2 in source is an error. natural 3 under g missing in source. m. 51, Cornetto: first fusa, d2 in source is an error. m. 88, Partidura: sharp under a missing in source. m. 85, Organo: sharp above ginsource is an error. m. 91, Partidura: sharp under A missing in source. m. 91, Alto: original mensuration sign is 03. m. 93, Partidura: sharp under A missing in source. m. 103, Tenor: natural before b missing in source. m. 98, Sesto: extra semibreve ginsource; Partidura: sharp m. 104, Organo: original def is C4. under A missing in source. m. 109, Organo: natural under G missing in source. m. 99, Partidura: sharp under d missing in source. m. 115, Organo: flat under c missing in source. m. 100, Partidura: natural under g missing in source. m. 121, Organo: natural under G missing in source. m. 102, Sesto: semiminim in source. Coloration: m. 103, Partidura: sharp under a missing in source. m. 113, Tenor: 2 black mimims, breve. m. 105, Partidura: 4, sharp 3 under d, natural under G m. 116, Cornetto, Quinto, Basso, Organo: black missing in source. semibreve, breve. m. 119, Partidura: sharp under second d missing in Credo: source. Ampersand used throughout for "Et" in source. m. 120, Partidura: natural under g missing in source. m. 1, Organo: natural under G missing in source. m. 123, Partidura: sharp under a missing in source. m. 6, Organo: flat under c missing in source. m. 125, Partidura: natural under G missing in source. m. 7, Organo: sharp before1 missing in source. m. 129, Partidura: natural under G missing in source. m. 8, Organo: sharp under d, flat under c, sharp before 6 m. 150, Settimo: extra minim c2 in source. missing in source. m. 157, Partidura: flat under C missing in source. m. 9, Organo: natural 3, 4, natural 3 missing in source. m. 173, Partidura: flat under c missing in source. m. 42, Violino: sharp before 12 missing in source. Sanctus: m. 42, Organo: natural under g missing in source. m. 3, Partidura: sharp under A missing in source. m. 43, Organo: sharp 6 missing in source. m. 6, Partidura: 4, sharp 3 missing in source. m. 45, Organo: natural under first g missing in source. m. 7, Partidura: sharp under A missing in source. m. 53, Organo: natural under g missing in source. mm. 10-11, Partidura: sharp 3, 4, sharp 3 missing in m. 56, Organo: flat under c missing in source. source. m. 60, Organo: figures 4, 3 missing in source. m. 12, Partidura: sharp under d missing in source. m. 61, Organo: sharp under d missing in source. Agnus Dei: m. 63, Organo: sharp under d missing in source. m. 3, Partidura: sharp under A missing in source. m. 82, Organo: original def is C4. m. 6, Partidura: sharp under e missing in source. m. 99, Organo: original def is C4. m. 7, Partidura: sharp under A missing in source. m. 111, Quinto: sharp before/missing in source. mm. 10-11, Partidura: sharp 3, 4, sharp 3 missing in m. 111, Organo: sharp before1 missing in source. source. m. 128, Organo: natural under G missing in source. m. 12, Partidura: sharp under d missing in source. m. 132, Organo: flat under c missing in source. Coloration: (black notation in triple-meter passages) m. 134, Tenor: sharp before/missing in source. Gloria, m. 92, Settimo: black semibreve, breve. m. 152, Organo: original def is C4. m. 160, Basso, Organo: flat before fusa e missing in Amadio Freddi, "Messa Cl cinque voci" source. m. 161, Tenor: natural before b missing in source. Original defs: Violino, G2; Cornetto, G2; Quinto, Cl in m. 161, Organo: original def is Cf. Kyrie, Gloria, and Sanctus, C4 in Credo and Agnus m. 162, Organo: second note is d2 in source. Dei; Alto, C4 in Gloria. m. 165, Canto: sharp before cl missing in source. Kyrie: m. 172, Organo: sharp before 3 missing in source. m. 8, Violino: sharp before gl missing in source. m. 173, Violino: sharp before 12; Organo: sharp before 3 m. 10, Organo: flat under G missing in source. both missing in source.

xvii m. 174, Organo: flat before 4 missing in source. m. 25, Organo: natural under G missing in source. m. 175, Alto: natural before b; Organo: natural before 3 m. 26, Trombone 11: sharp before F missing in source. both missing in source. m. 31, Organo: natural under G missing in source. Sanctus: m. 33, Organo: natural under g missing in source. m. 9, Violino: sharp before c2 missing in source. m. 36, Organo: flat under c missing in source. m. 12, Organo: sharp under d missing in source. m. 39, Organo: sharp under d missing in source. m. 34, Basso: semibreve rest missing in source. m. 40, Organo: natural under G missing in source. m. 35, Organo: sharp under A missing in source. m. 42, Organo: sharp under d missing in source. m. 36, Organo: sharp under d missing in source. m. 45, Organo: sharp under d missing in source. m. 45, Violino: sharp misplaced before e2 in source. m. 50, Organo: natural under G missing in source. m. 51, Cornetto: sharp before gl missing in source. m. 52, Organo: figures 4, sharp 3 missing in source. m. 57, Canto: sharp before fusa gl missing in source. m. 53, Organo: sharp under D missing in source. m. 58, Organo: original def is C3. m. 55, Organo: sharp under d missing in source. m. 64, Organo: sharp 6 missing in source. m. 56, Organo: figures 4, sharp 3 misplaced in source. m. 65, Organo: original def is C3. m. 60, Organo: sharp under d missing in source. m. 79, Organo: last figure misplaced in source, refers tof m. 61, Organo: natural under G missing in source. m. 81, Organo: sharp before 6 missing in source. m. 65, Organo: sharp under d missing in source. Coloration (all black semibreve, breve combinations un- Gloria: less otherwise indicated): Mensuration sign for all triple-meter sections is 3. m. 61, Violino, Quinto; m. 64, Basso, Organo; m. m. 2, Organo: sharp under D missing in source. 74, Alto: 2 black minims, black breve; m. 78, mm. 3-4, Organo: sharp 3, 4, 3 missing in source. Cornetto, Canto; m. 80, Basso, Organo. m. 6, Organo: natural under g missing in source. AgnusDei: m. 10, Organo: sharp under d missing in source. m. 6, Quinto: sharp before cl missing in source. m. 11, Organo: natural under G missing in source. m. 7, Organo: sharp under d missing in source. m. 16, Organo: flat under c missing in source. m. 12, Organo: flat under c missing in source. m. 18, Organo: flat under c, sharp under d, natural under m. 15, Organo: flat under c missing in source. G missing in source. m. 24, Organo: sharp under a missing in source. m. 21, Organo: sharp under d missing in source. m. 28, Organo: flat under c missing in source. m. 22, Organo: natural under G missing in source. m. 30, Alto: sharp before f1 missing in source. m. 26, Organo: sharp under d missing in source. m. 30, Organo: figures 7, sharp 6 in source are errors. m. 31, Organo: sharp under d, natural under G missing in m. 31, Canto, Alto: sharp before f1 missing in source. source. m. 31, Tenor: sharp beforefmissing in source. m. 34, Organo: sharp under d missing in source. m. 33, Organo: natural under G missing in source. m. 35, Organo: natural under G, flat under c missing in source. Ercole Porta, "Missa Secundi Toni" m. 38, Canto 11: sharp before f1 missing in source. m. 38, Organo: sharp under d both missing in source. Original clefs for instruments: Violins, G2; Trombone I, m. 39, Organo: figures 4 3 missing in source. C4; Trombone 11, C4; Trombone ill, F2. m. 40, Organo: natural under G missing in source. Both violin partbooks marked "Violino" without further m. 43, Organo: natural under G, figures 4 3 missing in specification; both Canto partbooks marked "Canto" source. without further specification. All three trombone m. 45, Organo: sharp under A missing in source. partbooks marked "Trombone" without further m. 46, Organo: sharp under D missing in source. specification. m. 51, Organo: natural under c missing in source. Kyrie: m. 54, Tenor: extra semiminim in source. m. 8, Organo: sharp under A missing in source. m. 54, Organo: sharp under d missing in source. m. 9, Organo: sharp under D, natural under G missing in m. 55, Organo: 4, sharp 3 missing in source. source. m. 56, Organo: sharp 3 missing in source; second note A m. 12, Organo: sharp under d missing in source. missing from print but written in by seventeenth• m. 15, Organo: sharp under E missing in source. century hand in this exemplar. m. 19, Organo: natural under G missing in source. m. 57, Organo: sharp under d, natural under G missing in m. 20, Organo: final note G in source. source.

xviii m. 62, Trombone m: sources shows last 4 notes a1l as m. 113, Organo: natural under G missing in source. fusae. m. 124, Organo: sharp under A missing in source. m. 64, Organo: sharp 3, 4, 3 missing in source. m. 125, Organo: sharp under d missing in source. m. 65, Organo: natural under G missing in source. m. 126, Organo: flat under c missing in source. m. 77, Organo: sharp under d missing in source. m. 129, Organo: sharp under d missing in source. m. 79, Basso: flat before e missing in source. m. 135, Organo: sharp 3, 4, 3 missing in source. m. 80, Organo: sharps under both d'S, flat under c missing m. 137, Organo: natural under g missing in source. insource. m. 145, Organo: natural under G missing in source. m. 83, Organo: sharp under d missing in source. m. 151, Organo: sharps under D, d missing in source. m. 84, Organo: natural under G missing in source. m. 160, Quinto: semibreve rest missing in source. Credo: m. 161, Organo: natural under G missing in source. Ampersand frequently used for "et." m. 162, Organo: sharp under A missing in source. m. 4, Organo: figures 4, sharp 3 missing in source. m. 164, Organo: flat under c, sharp under d missing in m. 7, Organo: sharp under A missing in source. source. m. 8, Organo: sharp 3, 4, 3 missing in source. m. 165, Organo: natrual under G missing in source. m. 9, Organo: natural under G missing in source. m. 166, Organo: flat under c, natural under G missing in m. 13, Organo: sharp under d missing in source. source. m. 15, Organo: sharp under d missing in source. m. 167, Trombone I: minim rest missing in source. m. 20, Organo: natural, 4, 3, missing in source. m. 167, Organo: first note, D, in source is an error. m. 23, Violino: c2 missing from print, written in by hand m. 169, Organo: flat under c missing in source. in this exemplar. m. 172, Organo: natural under G missing in source. m. 23, Organo: flat under c missing in source. m. 176, Organo: sharp under A missing in source. m. 24, Organo: sharp under d missing in source. m. 178, Organo: flat under c missing in source. m. 25, Organo: natural (sharp) is misplaced in source. m. 180, Violino 1: sharp before/2 missing in source. m. 33, Organo: sharp under d missing in source. m. 183, Organo: flat under c missing in source. m. 34, Organo: 4 sharp 3 missing in source. m. 184, Organo: natural under G missing in source. m. 35, Organo: natural under G missing in source. Sanctus: m. 37, Organo: sharp under E missing in source. m. 5, Violino I: dot after d 2 misplaced in sourcei refers to m. 40, Organo: sharp under second A missing in source. first note, c2. m. 49, Organo: sharp under d missing in source. m. 5, Organo: sharp under A missing in source. m. 51, Organo: flat under c, sharp under d missing in m. 6, Violino I: sharp before fusa c2 missing in source. source. m. 7, Organo: sharp under d missing in source. m. 52, Organo: natural under G missing in source. m. 8, Violino I: semibreve rest missing in source. m. 63, Organo: sharp under E missing in source. m. 8, Organo: sharp under D missing in source. m. 65, Organo: sharp under A missing in source. m. 14, Organo: sharp under d missing in source. m. 70, Organo: sharp under d missing in source. m. 17, Organo: natural under G missing in source. m. 74, Organo: sharp under A missing in source. m. 20,Organo: sharp under d, natural under G missing in m. 80, Organo: natural under G missing in source. source. m. 82, Organo: sharp under d missing in source. m. 21, Organo: sharp before 6 missing in source. m. 83, Organo: sharp under D missing in source. m. 24, Organo: sharp under A missing in source. m. 84, Organo: natural under G missing in source. m. 25, Organo: sharp under d missing in source. m. 85, Organo: rubric spelled "simphonia" in source. m. 26, Organo: sharp under d missing in source. m. 88, Organo: sharp under a missing in source. m. 27, Organo: sharp under d missing in source. m. 89, Organo: sharp under d missing in source. m. 28, Organo: natural under G missing in source. m. 90,Organo: flat under c, sharp under d missing in m. 31, Organo: flat under c, natural under G missing in source. source. m. 99, Organo: sharp under d missing in source. m. 33, Canto 11: sharp before second a2 is misplaced in m. 102, Organo: sharp under d missing in source. source. m. 103, Organo: natural under G missing in source. m. 33, Organo: sharp under A missing in source. m. 105, Organo: natural under G missing in source. m. 34, Organo: sharp under d missing in source. m. 110, Organo: sharp under A missing in source. m. 35, Organo: sharp under d missing in source. m. 111, Organo: sharp under d missing in source. m. 36, Organo: sharp under d missing in source. m. 112, Organo: sharp under d missing in source. m. 37, Organo: natural under G missing in source.

xix Coloration: mm. 146-49, Basso: 2 breve rests missing in source. mm. 11-12, Violin I, Canto I: half-blackened c.o.p.liga- m. 152, Organo: sharp under d in source is an error. ture, black semibreve on g2. m. 155, Quinto: second semibreve, b natural, in source is m. 27, Canto 11: black minim, semibreve. anerror. m. 22, Trombone 11: black minim, semibreve. m. 161, Tenor: def a third too low in source. AgnusDei: m. 167, Alto: sharp before f1 missing in source. m. 3, Organo: sharp under d in source is an error. m. 188, Tenor: sharp before d2 in source is an error. m. 19, Organo: natural under G missing in source. m. 212, Organo: natural under G missing in source. m. 22, Organo: flat under c missing in source. Organo: sharps to indicate raised third often misplaced m. 25, Organo: sharp under d missing in source. in source. m. 28, Organo: natural under G missing in source. Sanctus: m. 30, Organo: sharp under d missing in source. m. 14, Organo: flat under c missing in source. m. 31, Organo: sharp under A missing in source. AgnusDei: m. 32, Organo: sharp under d, figure 6 under B missing in m. 13, Organo: sharp under d missing in source. source. m. 15, Organo: sharp under d missing in source. m. 34, Organo: natural under G missing in source. m. 18, Organo: natural under G missing in source. Ignazio Donati, "Messa a5 e a6" NOTES Original defs: Sesto, Cl; Quinto, C4. Kyrie: 1. See Anne Schnoebelen, "The Role of the Violin in the Mensuration sign for triple-meter sections is 0 i . Resurgence of the Mass in the 17th Century," Early m. 42, Quinto: flat before e missing in source. Music XVIII, No. 4 (November 1990), pp. 537-44. m. 42, Organo: flat under c missing in source. 2. Adriano Banchieri, Conclusioni nel suono deli' organo m. 87, Organo: natural under G missing in source. (Bologna, 1609), p. 50. Gloria: 3. Amante Franzoni, Apparato musicale di messa, sinfonie, m. 9, Alto: sharp beforef1 missing in source. canzoni, motetti, e letanie della Beata Vergine, a otto voci m. 11, Organo: figures 7, 6/sharp 4 missing in source. . .. Op. 5, libro primo (Venice, 1613). m. 16, Organo: flat under c missing in source. 4. Valerio Bona, Li dilettevoli introiti della messa adoi chori m. 47, Organo: sharp under d, natural under G missing in brevi,facili, et ariosi . .. Opera XVIII (Venice, 1611). source. 5. See Jeffrey Kurtzman, "Giovanni Francesco Capello, m. 48, Organo: sharps under A, d missing in source. an Avant-gardist of the Early Seventeenth Century," m. 50, Canto: minim rest missing in source. Musica Disciplina XXXI (1977), 155-82, for a detailed m. 80, Organo: sharp misplaced in source before second discussion of Capello's music. I am indebted to Prof. d. Kurtzman for his analysis of this mass, and for the m. 87, Canto: natural before first b1 missing in source. score he kindly provided me. m. 89, Organo: sharps under a, d missing in source. 6. The reader may consult modem scores of these m. 90, Organo: flat under c missing in source. canzonas in the series Italian Instrumental Music of the m. 109, Organo: sharp under d missing in source. Sixteenth and Early Seventeenth Centuries, edited by Credo: Jarnes Ladewig, Vol.13,AntonioMortaro: PrimoLibro m. 1, Sesto: e2 in source. de canzoni da sonare a quattro voci (New York: Garland m. 35, Basso: minim rest missing in source. Publishing, 1988). m. 37, Organo: flat under c missing in source. 7. See Kurtzman, pp. 171-72 for diagram. m. 67, Sesto: flat missing before e2 in source. 8. See Donati's extended 11A vviso ailettori" in his collec• m. 68, Organo: figures 4, natural 3 missing in source. tion Salmi boscarecci, which indudes a mass (Venice, m. 99, Basso: sharp before f missing in source. 1623). m. 125, Sesto: minim rest missing in source. m. 128, Organo: figures 3, 4 in source are errors; should be 76. m. 129, Organo: figures 4, 3 missing in source. m. 137, Organo: flat under c missing in source. m. 145, Organo: sharp under A missing in source.

XX Giovanni Francesco Capello Missa ad votum This page intentionally left blank 1. KYRIE

Soprano Ky- Thnore Ky- ri- e le- le- i- Basso

Ottavo Instrumento

Settimo Instrumento

Sesto Instrumento

Quinto Instrumento

Alto, Chittaroni, Leutti, etc.

Partidura Sopra la Bertcrna dei Mortaro 5

ri- e e- le- t=- son Ky- n- e

son

I. Ky- n- e e- le- i- son

11. I. e- le- 1- son Ky- n- e

I. Ky- n- e e- l~- I:- son Ky-

Ky- ri- e e-

I I

e- Ie- i- son

ri- e e- Ie- i- son

'LI i- son MISSAADVOTUMA8 5 20

25 6 MISSA AD VOTUM A 8

Chri- MISSA AD VOTUM A 8 7

ste e- le- son

Chri- ste e-

Chri- ste e- Ie- i- son

Chri- ste e-

le- son Chri-

Chri- ste 8 MISSAAD VOTUM A 8

I le- i- son

ste e- le- i- son

ou e- Ie- i- son

55 MISSAADVOTUMA8 9

Ky- ri- e e- lei- s~>n Ky- ri-

I Ky- ri- e e- lei- son

Ky- ri-

e e- lei- son

Ky- ri- e ~- l~i- son e- Ie- t=- son

e L l!i- son Ky- ri- e e- Ie- i- son

65 10 MISSAADVOTUM A8 70

Ky- ri- MISSAADVOTUMA8 11

e ~ lei- son Ky- ri- e e- lei-

Ky- ri- e ~ l~i- son Ky- ri- e

Ky- ri-

s~n Ky- ri- le e- Ie- i- son

e- l!i- son Ky- ri- e Ky- ri- e

e e- lei- son Ky- ri- e e- le- i- son 12 MISSA AD VOTUM A 8

Ky- ri- e e- lei-

e- lei- son Ky- ri- e e- lei- son Ky- ri- e

Ky- ri- e e- lei-

s6n Ky- ri- e e- lei- son Ky- ri- e ~-

~- l~i- son Ky- ri- '"e Ky- ri- e

son .{y- n- e e- lei- son Ky- ri- MISSAADVOTUMA8 13

le- i- son e- Ie- 1- son Ky- ri-

'U' e e- lei- son

Ky- rie e- l~- i- son. e ~- le- i- son e- Ie- i- son.

CJ Ky- rie e- Ie- i- son. 2. GLORIA

Soprano

Tenore

Basso

Et in terra pax ho- mi- Ottavo Instrumento

Settimo Instrumento

Sesto Instrumento

Quinto Instrumento

Alto, Chittaroni, Leutti, etc.

Partidura

Sopra la Morona del Mortaro 5

Lau- da- mus

ni- bus bo- me vo- lun- ta- tis

14 MISSAAD VOTUMA 8 15

te G~ ri- fi- ca- mus te Gra-

Be- ne- di- ci- mus te Gra-

A- do- ra- mus te Gra-

ti- as a- gi- mus t bi propter I

I ti- as a- gi- mus ti- bi propter

v ti- as a- gi- mus ti- bi propter 16 MISSAAD VOTUM A 8

ma- gnam glo- ri- am tuam glo- n- am tuam

ma- gnam gio- n- am tuam glo- ri- am tuam

ma- gnam glo- ri- am tuam glo- ri- am tuam

25 MISSAADVOTUMA8 17

35 18 MISSAADVOTUMA8

45 MISSAADVOTUMA8 19

55 20 MISSA AD VOTUM A 8

Do- mi- oe De- us Rex ca::- le- stis

De- us MISSAADVOTUMA8 21

00- mi- ne fi- li u- ni- ge- ni-

Pa- ~r Offi- ni- po- tens

te Ie- su Chri- 22 MISSA AD VOTUM A 8

ste fi- li- us Pa-

Do- mi- ne De- us A- gnus De- i

tris

6 4 MISSA AD VOTUM A 8 23

90 24 MISSAAD VOTUM A 8

100

Qui tollis pec- ca- ta mun-

QUI tollis pec- ca- ta mun-

Qui tollis MISSAADVOTUMA8 25

105

di pec- ca- ta mun-

di pec- ca- ta mundi

pec- ca- ta mundi pec- ca- ta mun-

110

di 26 MISSAAD VOTUM A 8

115

mt- se- re- re no-

120

Qui tollis pec- ca- ta mundi

bis QUl tollis pec- da- ta mundi

Qui tollis pec- ca- ta MISSAADVOTUMA8 27

125 130

pec- ca- ta mundi Su- sci- pe

pec- ca- ta mundi Su- sci- pe de-

mundi pec- ca- ta mundi de- pre-

135

de- pre- ca- ti- 0- nem no- stram

pre- ca- ti- 0- nem no- stram

ca- ti- 0- nem Qui se- 28 MISSAAD VOTUM A 8

140

Quo- ni- am

Mi- ie- re- !-e nobis

des ad d~x- te- ram Pa- Iris

5 6 7 6 #

145

Tu so- l~s sanetus tu so- lus al- tis- si-mus Ie-

Tu so- lus Ie-

Tu so- lus Do- mi- nus Ie- MISSAAD VOTUMA 8 29

150 su Chri- ste su Chri- ste su Chri- ste

155 30 MISSA AD VOTUM A 8

160

165

De- i

Cum sancto spiri- tu in glo- ri- MISSAADVOTUMA8 31

170

Pa- ~ De- i Pa- Iris in glo- ri- a in glo- ri- 10.

De- i Pa- Iris De- i Pa-

a in glo- ri- a in glo- ri- a in glo- ri- a in glo- ri-

175

a m glo- n- a in glo- ri-

I Iris A- men De- i Pa- tris in

a m glo- n- a in glo- ri- a De- i Pa- 32 MISSAAD VOTUM A 8

a in glo- ri- a in glo- ri- a De- i Pa-

glo- ri- a De- i ~ Pa-

Iris De- i Pa- Iris De- i Pa- Iris

180

Iris A- men.

A- men. 3. SANCTUS

Soprano

San- ctus Do- mi- nus Tenore San- ctus San- ctus Do- mi- nus Basso

S:m- ctus Do- mi- nus Ottavo Instrumento

Settimo Instrumento

Sesto Instrumento

Quinto Instrumento

Alto, Chittaroni, Leutti, ete.

Partidura

Oe- us Sa- ba- oth Do-

Oe- us Sa- ~a- oth Do- mi- nus

be- us Sa- ba- oth do- mi- nus

33 34 MISSAAD VOTUM A 8

mi- nus De- us Sa- ba- oth.

De- us Sa- ba- oth.

4 4.AGNUS DEI

Soprano

A- gnus De- i qui Tenore A- gnus De- i qui Basso .L gnus De- i qui Ottavo Instrumento

Settimo Instrumento

Sesto Instrumento

Quinto Instrumento

Alto, Chittaroni, Leutti, etc.

Partidura

tollis pec- ca- ta mundi mi-

tollis pec- ca- ta mundi mi- se-

1 tollis pec- ca- ta mundi IDl- se-

35 36 MISSAAD VOTUM A 8

se- Ie- Ie nobis.

e- Ie nobis.

Ie- Ie nobis.