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Missa Brevis (Palestrina) New Edit

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Missa Brevis (Palestrina) New Edit Transposed: E-flat GIOVANNI PEIRLUIGI DA PALESTRINA (c. 1524 - 1594) Missa Brevis S.(S.)A.T.B. i FOREWORD Editorial notes Originally notated one tone higher in the following clefs: G2, C2, C3, F3. Cue-sized accidentals and cautionary accidentals are editorial. The present edition presents a complete transcription of this Mass in an alternative (lower) pitch and with a less-familiar approach to musica ficta. Leading-note cadences are considered from a linear perspective, and as such, are easily discernible from a single part; signed by return from above immediately before the final syllable of a musical and/or textual phrase. Therefore, a number of intermediate cadences familiar to modern ears have been avoided, but occasionally, where there is a strong feeling for a cadence, one finds a short tail in the melody after the note on which the final syllable falls. Performance style On the matter of interpretation, performers may wish to consider the writings of the sixteenth-century organist and theorist, Hermann Finck (1527 - 1558), who comments on choral sound and performance practice in his 1556 publication entitled Practica musica, exempla variorum signorum, proportionum, et canonum, judicium de tonis ac quaedam de arte suaviter et artificiose cantandi continens - “The treble should be sung with a delicate and sonorous tone, the bass, however, with a harder and heavier tone: the middle voices should move with uniformity and try to match themselves to the outer parts sweetly and harmoniously. Throughout the composition the dynamic level should remain constant … “so that there is no discrepancy in sound between the beginning and the end: the tone should not be too soft or too loud, but rather, like a properly built organ, the ensemble should remain unaltered and constant … The higher a voice rises, the quieter and more gentle should be the tone; the lower it goes, the richer should be the sound, just as in an organ … When there is a tasteful point of imitation at the beginning of a work this is to be rendered with a more definite and distinct tone than is employed elsewhere, and the following parts, if they start with the same point as the first, should perform it in the same way. This should be observed by all the parts whenever a new point occurs.” Of course, Finck’s comments may be interpreted in a number of ways, but other sixteenth-century writers have written similarly, and it is only in the late sixteenth-century, through the influence of the madrigal, that dynamic chiaroscuro becomes an integral part of choral performance. Performers should also consider eschewing the dissonant intervals of Equal Temperament in favour of Just Intonation's pure 3rds and 5ths; the ideal tuning system for unaccompanied choral music in the Renaissance. Simon Biazeck, Jan. 2015 CONTENTS ------------------------------------------------ Kyrie 1 Gloria 4 Credo 8 Sanctus 16 Benedictus 18 Agnus Dei 22 Missa Brevis (Opera omnia Ioannis Petraloysii Praenestini, Tomus XII, Franz Xaver Haberl, Leipzig, 1881) Edited by Simon Biazeck Giovanni Pierluigi da Palestrina Kyrie (c. 1524 - 1594) Cantus b &b bC › Ky - - Altus bbbC & › w w ˙ œ œ ˙ ˙ ˙ ˙ Ky - rie e - lei - -œ - - œ œ- w - son,˙ œ Ky - Tenor b &b bC Bassus ? › w w ˙ œ œ œ ˙ bbbC Ky - - - rie e - lei - - 6 b &b b w w ˙ œ œ œ ˙ ˙ œ œ w › rie e - lei - - - - - son, bbb & w ˙ ˙ œ œ œ ˙ ˙ œ w ˙ ˙ ri˙ - e e - lei - - - - œ w - son,w Ky - rie e - b › ˙ &b b w w œ œ œ ˙ ˙ œ œ w Ky - - rie e - lei - - - - - ? ˙ œ w › w w bbb œ › - - son, Ky - - rie e - 11 b w w w ˙ œ &b b w Ky - - rie e - lei - bbb ˙ ˙ Ó & œ œ œ œ œ w w w ˙ ˙ ˙ - - œ lei˙ - - - - - - - son, Ky - rie e - b ˙ &b b w ˙ œ œ œ œ ˙ œ œ w §˙ w son, e - lei - - - - - - son, ? ˙ œ œ ˙ ˙ w ˙ ˙ ˙ bbb œ œ œ w w ˙ lei - - - - - - - - - - son, Ky - rie e - 2 15 b œ w &b b œ œ œ w ˙ ˙ w ˙ ˙ w › - - - son, Ky - ri - e e - lei - - ˙ son. b &b b œ œ ˙ w ˙ w ˙ œ œ ˙ - leiw - son,˙ Ky - rie e - lei - - œ - w - son.› bb w ˙ ˙ ˙ œ œ œ ˙ ˙ œ & b œ w w w › Ky - rie e - lei - - - - - - - - - son. ? b œ œ ˙ w w w ˙ œ œ › b b œ œ œ w w - lei - son, e - lei - - - - - - son. 20 b &b bC w w w w w ˙ œ ˙ œ œ œ œ ˙ œ ˙ Chri - ste e - lei - - - - - - - b &b bC › ˙ œ œ w w œ œ ˙ Chri - stew ˙e - lei - - -œ œ -˙ son, ˙e - lei˙ œ- - b &b bC › w w Chri - - ste e - ? b C b b 25 b w &b b w w w w w w ˙ ˙ ˙ œ ˙ ˙ - - son, Chri - ste e - lei - - - - - bb & b œ œ w ˙ › w w w - - son, Chri - - ste b ˙ ˙ ˙ &b b w w ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ lei - - son, e - - lei - - - son, ? w œ ˙ ˙ ˙ ˙ bbb › w w ˙ Chri - - ste e - lei - - - - - 30 b &b b ˙ §˙ w w w w w w - son, Chri - - ste e - lei - bbb & w w ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ we - lei - - - - - - son,˙ Chri - - ste e - b ˙ ˙ ˙ &b b Ó ˙ ˙ ˙ b˙ ˙ œ ˙ ˙ ˙ ˙ w Chri - ste e - lei - - - - - - - - ? ˙ bbb ˙ ˙ ˙ w w son, e - lei - - - son, 3 34 b &b b w w w w › › son, Chri - ste e - lei - - - - son. bb & b ˙ ˙ œ ˙ › lei - - -˙ - ˙ - ˙ - w - - ˙ - -œ ˙ - - son. bb ˙ ˙ œ œ › & b ˙ œ ˙ w ˙ œ œ w - son, Chri - ste e - lei - - - - - son. ? b › › › b b w w Chri - - - ste e - lei - - - - son. 38 b &b bC w ˙ ˙ Ky - rie e - bb C & b w ˙ ˙ ˙ ˙ œ Ky - rie e - lei˙ - - b &b bC w ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ w ˙ ˙ Ky - rie e - lei - - - - - son, Ky - ? b w ˙ ˙ b bC ˙ ˙ ˙ œ ˙ ˙ w w Ky - rie e - lei - - - - - son, 43 b w ˙ œ &b b ˙ ˙ ˙ œ ˙ ˙ w w Ó ˙ ˙ ˙ œ ˙ ˙ lei - - - - - son, Ky - rie e - lei - - bb Ó & b ˙ ˙ ˙ ˙ ˙ w ˙ w ˙ ˙ ˙ œ ˙ - ˙ - - - son, Ky˙ - rie˙ e - lei - son, Ky - rie ˙e - bb ˙ w ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ œ ˙ ˙ & b ˙ ˙ ˙ ˙ - rie e - lei - - - - son, Ky - rie e - ? w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ bbb Ó Ky - rie e - lei - son, Ky - rie e - 48 b &b b ˙ w ˙ w ˙ ˙ w Ó ˙ ˙ ˙ ˙ œ œ ˙ w ˙ - - - - - son, Ky - rie e - lei - - - - b &b b ˙ w œ ˙ Ó ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ lei - ˙- ˙- - son,˙ Ky - riew e - lei - - œ- ˙ - b ˙ w w &b b ˙ w Ó ˙ ˙ ˙ w ˙ ˙ w Ó ˙ - lei - son, Ky - rie e - lei - - - - son, Ky - ? ˙ ˙ w ˙ ˙ ˙ ˙ w ˙ ˙ w bbb Ó ˙ Ó ˙ ˙ ˙ lei - son, Ky - rie e - lei - son, Ky - rie e - lei - son, 4 53 b &b b ˙ ˙ œ ˙ œ œ w ˙ ˙ › › › son, e - lei - - - - œ œ -w son. bbb Ó & ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ w son, e - lei - - son,w › Ky - rie˙ e - lei˙ ˙ - son.› b ˙ &b b w w w w › ˙ ˙ ˙ ˙ ˙ w › rie e - lei - - - - son, Ky - rie e - lei - son. ? b ˙ ˙ w ˙ › b b Ó ˙ ˙ ˙ › Ó ˙ ˙ ˙ ˙ w Ky - rie e - lei - - son. Ky - rie e - lei - son. Gloria b &b bC w ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ œ ˙ ˙ w ˙ ˙ Et in ter - ra pax ho - mi - ni - bus bo - nae vo - lun - ta - tis. Lau - bb C & b w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w Et in ter - ra pax ho - mi˙ - ni˙ - busw bo - nae vo - lun - ta - tis.˙ Lau˙ - b w ˙ ˙ ˙ ˙ ˙ ˙ w &b bC ˙ ˙ ˙ ˙ w ˙ ˙ ˙ Et in ter - ra pax ho - mi - ni - bus bo - nae vo - lun - ta - tis. ? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w bbbC w ˙ ˙ ˙ ˙ w Et in ter - ra pax ho - mi - ni - bus bo - nae vo - lun - ta - tis. 6 b &b b ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ da - mus te. Be - ne - di - ci-mus te. A - do - ra - mus te. Glo - ri - fi - ca - bb & b ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ da - mus te. Be - ne - di - ci-mus te. A - do - ra - mus te. Glo - ri - fi - ca ˙- b ˙ ˙ &b b w w w ˙ ˙ ˙ ˙ ˙ œ A - do - ra - mus te. Glo - ri - fi - ca - ? bbb w ˙ ˙ ˙ w w ˙ ˙ A - do - ra - mus te. Glo - ri - fi - 5 11 b &b b œ œ w › Ó w ˙ - - mus˙ te. Pro - pter b &b b Ó œ w w ˙ w ˙ ˙ œ- ˙ mus te.› Pro - pter ma - gnam glo - b ˙ § &b b ˙ œ œ ˙ ˙ w Ó ˙ œ œ ˙ ˙ ˙ w ˙ w ˙ œ - - mus te. Gra - ti - as a - gi - mus ti - bi pro - pter ? ˙ ˙ bbb ˙ ˙ w Ó ˙ œ ˙ ˙ ˙ ˙ œ w w ca - mus te. Gra - ti - as a - gi - mus ti - - - bi 16 b &b b ˙ ˙ ˙ ˙ ˙ §˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ w ˙ w ˙ ma-gnam glo - ri - am tu - am. Do - mi-ne De - us, Rex cae - le - stis, De - us b &b b ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ri - am tu - - am. Do - mi-ne De - us, Rex cae - le - stis, De - us Pa - bb w Ó ˙ œ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ & b ˙ ˙ ˙ ˙ ˙ ˙ ma-gnam glo - ri - am tu - am. Do - mi-ne De - us, Rex cae - le - stis, De - ? ˙ ˙ ˙ ˙ w bbb Ó ˙ œ œ ˙ w Do - mi-ne De - us Rex cae - le - stis, 21 b &b b w ˙ ˙ œ œ w ˙ › w Pa - ter om - ni - po - tens. Ie - b &b b ˙ ˙ w ˙ - ter om - ni -˙ pow - tens.› b ˙ ˙ &b b ˙ w ˙ ˙ ˙ ˙ w Ó ˙ ˙ ˙ œ ˙ ˙ ˙ ˙ - us Pa - ter om - ni - po - tens, Do - mi - ne Fi - li u - ni - ge - ni - ? b ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ b b Ó Do - mi - ne Fi - li u - ni - ge - ni - 26 b &b b ˙ œ œ w › › w Ó ˙ ˙ ˙ w - - su Chri - - ste. Do - mi - ne De - bb & b w ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ Ie - - œ - su Chri› - - ste. Do - mi - ne De - us, A - b § ˙ ˙ ˙ ˙ œ ˙ &b b › w ˙ ˙ ˙ œ œ w ˙ ˙ te Ie - su Chri - - ste. Do - mi - ne De - us, ? › bbb w w › › te Ie - su Chri - - ste. 6 31 bb w ˙ ˙ ˙ w › & b ˙ ˙ w w w us, A - gnus De - - i, Fi - li - us Pa - tris.
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