Seventeenth-CenturySeventeenth-Centu~ Italian SacredSacred MusicMusic In Twenty-Five Volumes Volumes

GeneralGeneral EditorEditor ANNANNEE SCHNOEBELENSCHNOEBELEN Rice UniversityUniversity This page intentionally left blank VOLUMVOLUME4E 4 Masses by Alessandro GrandiGrandi Giovanni Battista ChinelliChinelli Tarquinio MerulaMenila Giovanni Antonio RigattiRigatti

EditedEdited withwith anan IntroductionIntroduction byby ANNEANNE SCHNOEBELENSCHNOEBELEN

Routledge I~ ~~o~;~;n~~~upTaylor & Francis Group NewNew YorkYork LondonLondon First published by Garland Publishing, Inc.

This edition published 2013 by Routledge Routledge Routledge Taylor & Francis Group Taylor & Francis Group 711 Third Avenue 2 Park Square, Milton Park New York, NY 10017 Abingdon, Oxon OX14 4RN

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Copyright © 1995 by Anne Schnoebelen All rights reserved

Library of Congress Cataloging-in-Publication Data

Masses / by Alessandro Grandi, Giovani Battista Chinelli, Tarquinio Merula, Giovanni Antonio Rigatti; edited with an introduction by Anne Schnoebelen— (Seventeenth-century Italian sacred music ; v. 4

ISBN: 0-8153-2363-8

Musical scores are "out of scope" at the Library of Congress' Cataloging-in-Publication program. ContentsContents

GeneraGenerall IntroductionIntroduction Vllvii EditorialEditorial MethodsMethods ixix IntroductionIntroduction ttoo thisthis VolumeVolume Xlxi

1.1. AlessandrAlessandroo Grandi,Grandi, "Messa"Messa concertata"concertata" fromfrom Raccolta terza terza di di Leonardo Leonardo Simonetti ...... de messamessa et et salmi salmi del del Sig. Sig. Alessandro Alessandro Grandi Grandi et Gio. et Gio.Croce Croce Chiozotto a a 2.3.4 2.3.4 con con basso basso continuo, continuo, aggiontovi aggiuntovi Ii ripieni li ripieni abeneplacito a beneplacito (Venice:(Venice: StampaStampa deldel Gardano,Gardano, appressoappresso BartolomeoBartolomeo Magni,Magni, 1630)1630) 1

2.2. GiovanniGiovanni BattistaBattista Chinelli,Chinelli, "Messa"Messa concertataconcertata aà 6 vocvocii & 6 instromenti"instromenti" frofromm Messa aàquattro, quattro, cinque, cinque, e ottoe otto voci, voci, parte parte da capella da capella & parte & parteda concerto da concerto con ilil bassobasso continuo continuo per per l'organo, l'organo, con conuna unaposta posta nel fine, nel fine,concertata concertata a6 voci, à 6 voci, & 6 instromentiinstromenti...... OperaOpera Terza Terza (Venice: (Venice Bartholomeo: Bartholome oMagni, Magni 1634), 1634 ) 838 3

3.3. TarquiniTarquinioo MerulaMerula,, "Messa"Messa concertataconcertata aà 3 soprasopra l'l'AriAria a dedell GraGrann DucaDuca [sic]"[sic]" fromfrom Arpa Davidica con con artificiosa artificiosa inventione inventione composta composta la quale la quale da tre da e tre e quattro vocivoci contraputinzata contraputinzata obIigata obligata ...... salmi salmi et messa et messa concertati concertati con alcuni con alcuni canonicanoni...... Opera DecimaDecima Sesta Sesta (Venice: (Venice Alessandro: Alessandr Vincenti,o Vincenti 1640), 1640 ) 21521 5

44.. GiovanniGiovanni AntonioAntonio Rigatti,Rigatti, "Messa"Messa [a[à trtree vocvocii concertati]"concertati]" fromfrom Messa ee salmi ariosiariosi a àtre tre voci voci concertati, concertati, & parte& parte con conIi ripieni li ripieni abeneplacito. à beneplacito. 2nd2nd editionedition (Venice:(Venice: BartholomeoBartholomeo Magni,Magni, 1643)1643) 242455

vV This page intentionally left blank GeneralGeneral IntroductionIntroduction

SacredSacred musicmusic constitutesconstitutes thethe largestlargest gapgap inin ourour presentpresent progressingprogressing toto worksworks forfor threethree andand fourfour choirs.choirs. TheThe vol•vol- understandingunderstanding ofof seventeenth-centuryseventeenth-century ItalianItalian music.music. umesumes ofof motetsmotets presentpresent individualindividual worksworks fromfrom thethe mostmost ScholarlyScholarly interestinterest hashas focusedfocused largelylargely onon secularsecular music•music— significantsignificant collectionscollections printedprinted inin thethe firstfirst halfhalf ofof ththee cen•cen- operaopera andand monody-wheremonody—where remarkableremarkable stylisticstylistic innova•innova- tury,tury, arrangedarranged accordingaccording toto composer,composer, withwith specialspecial em•em- tionstions appearedappeared thatthat wouldwould formform thethe foundationfoundation ofof mod•mod- phasisphasis onon thethe motetsmotets ofof AlessandroAlessandro Grandi.Grandi. ernern music.music. WithWith thethe exceptionsexceptions ofof LaurencLaurencee K.K. J.J. Feininger'sFeininger's publicationspublications ofof RomanRoman polychoralpolychoral musicmusic IncludedIncluded inin thisthis seriesseries areare otherother well-knownwell-known composers:composers: (Monumenta andand Documenta Liturgiae Polychoris, 1947-1947- Banchieri,Banchieri, Viadana,Viadana, Grandi,Grandi, Rigatti,Rigatti, Rovetta,Rovetta, Legrenzi,Legrenzi, 1975),1975), andand variousvarious editionseditions ofof Monteverdi'sMonteverdi's sacredsacred music,music, Cavalli,Cavalli, Cazzati,Cazzati, Bassani,Bassani, andand Graziani.Graziarti. AlsoAlso representedrepresented ItalianItalian sacredsacred musicmusic hashas yetyet toto appearappear inin significantsignificant areare lesser-knownlesser-known figures,figures, manymany consideredconsidered majormajor com•com- modemmodern editions.editions. Nevertheless,Nevertheless, itit waswas inin churchchurch musicmusic posersposers byby theirtheir contemporaries,contemporaries, whosewhose namesnames havehave beenbeen thatthat manymany ofof thethe mostmost importantimportant innovationsinnovations inin musicalmusical obscuredobscured byby timetime andand thethe unavailabilityunavailability ofof seventeenth•seventeenth- stylestyle werewere widelywidely adaptedadapted andand disseminated.disseminated. ChurchChurch centurycentury sacredsacred musicmusic inin modemmodern publications.publications. composerscomposers throughoutthroughout ItalyItaly embracedembraced thethe featuresfeatures thatthat definedefine seventeenth-centuryseventeenth-century music:music: concertatoconcertato style,style, reci•reci- TheThe widewide geographicalgeographical distributiondistribution ofof thethe composerscomposers tativetative andand monody,monody, bassobasso continuo,continuo, thethe emphasisemphasis onon solosolo representedrepresented isis oftenoften visiblevisible fromfrom titletitle pagespages oror dedica•dedica- voicesvoices,, virtuosovirtuoso ornamentation,ornamentation, andand coloristiccoloristic combina•combina- tions.tions. TheyThey comecome nonott onlyonly fromfrom majormajor churcheschurches andand tionstions ofof voicesvoices andand instruments.instruments. cathedralscathedrals butbut alsoalso fromfrom smallsmall parishparish churches,churches, monas•monas- teries,teries, convents,convents, andand oratorios,oratorios, mostmost butbut byby nono meansmeans allall ThisThis seriesseries presentspresents a largelarge selectionselection ofof ItalianItalian sacredsacred inin northernnorthern andand centralcentral Italy.Italy. WhilWhilee operaopera andand cantatacantata musicmusic scoredscored fromfrom printedprinted part-books,part-books, worksworks whichwhich havehave werewere directeddirected toto relativelyrelatively smallsmall aristocraticaristocratic andand wealthywealthy notnot beenbeen publishedpublished inin modemmodern editions.editions. ItsIts twenty-fivetwenty-five audiences,audiences, churchchurch musicmusic touchedtouched thethe liveslives ofof allall Italians.Italians. volumevolumess areare divideddivided asas follows:follows: ItIt waswas througthroughh ththee normanormall activitiesactivities ofof worship-liturgy,worship—liturgy, 1-10:1-10: MusicMusic forfor thethe OrdinaryOrdinary ofof thethe Mass,Mass, 1600-1600- devotionaldevotional exercises,exercises, processions,processions, publicpublic ceremonies•ceremonies— 1700,1700, editededited byby AnneAnne Schnoebelen.Schnoebelen. thatthat thethe newnew stylesstyles andand techniquestechniques werewere spreadspread through•through- 11-20:11-20: MusicMusic forfor VespersVespers andand ComplineCompline (psalms,(psalms, outout Italy.Italy. BuButt printedprinted musicmusic alsoalso reflectsreflects thethe olderolder stile canticles,canticles, hymns,hymns, andand antiphons),antiphons), 1600-1700,1600-1700, editededited byby antico, modifiedmodified toto suitsuit contemporarycontemporary taste,taste, whichwhich heldheld a JeffreyJeffrey Kurtzman.Kurtzman. significantsignificant placeplace inin churchchurch musicmusic throughthrough thethe centurycentury andand 21-25:21-25: Motets,Motets, 1600-1650,1600-1650, editededited byby JeromeJerome isis representedrepresented inin thisthis seriesseries asas well.well. RocheRoche andand ElizabethElizabeth Roche.Roche. GenerallyGenerally speaking,speaking, thethe motetmotet waswas thethe firstfirst genregenre inin EachEach seriesseries isis organizedorganized toto displaydisplay itsits genregenre best.best. MassMass whichwhich thethe churchchurch composercomposer experimentedexperimented withwith thethe newnew settingssettings areare presentedpresented inin chronologicalchronological orderorder (with(with ad•ad- styles.styles. MotetMotet texts,texts, thoughthough oftenoften drawndrawn fromfrom liturgicalliturgical justmentjustmentss forfor volumevolume lengths).lengths). TheThe volumesvolumes ofof VesperVesper sources,sources, werewere notnot fixedfixed elementselements inin thethe liturgy.liturgy. ThusThus theythey andand ComplineCompline musicmusic areare arrangedarranged accordingaccording toto thethe num•num- offeredoffered moremore scopescope toto thethe composer'scomposer's imagination,imagination, espe•espe- berber ofof principalprincipal voices,voices, chronologicallychronologically withinwithin eacheach vol•vol- ciallycially inin thethe new,new, moremore intimateintimate solo,solo, duet,duet, andand triotrio ume,ume, beginningbeginning withwith worksworks forfor oneone andand twotwo voices,voices, textures,textures, whichwhich werewere particularlyparticularly wellwell suitedsuited toto expres-expres-

viian sivesive words.words. However,However, modemmodern compositionalcompositional techniquestechniques large,large, many-voicedmany-voiced ceremonialceremonial worksworks withwith instruments,instruments, alsoalso appearedappeared inin VesperVesper psalmpsalmss andand Magnificats,Magnificats, espe•espe- thethe repertoryrepertory presentedpresented herehere revealsreveals thethe greatgreat varietvarietyy ooff ciallycially thosethose publishepublishedd inin whatwhat werewere principallyprincipally motetmotet forms,forms, styles,styles, timbres,timbres, andand texturestextures thatthat ItaliansItalians heardheard onon booksbooks.. TheThe massmass remainedremained thethe mostmost conservativeconservative ofof thethe SundaysSundays andand majormajor feasts.feasts. WithWith thesethese volumesvolumes wewe cancan threethree genres,genres, thoughthough bbyy thethe decadedecade 16101610 toto 16201620 itit tootoo begibeginn ttoo understandunderstand thethe importantimportant rolerole ofof sacredsacred musicmusic inin begabegann toto showshow modemmodern tendencies:tendencies: ususee ofof instruments,instruments, thethe developmentdevelopment andand disseminationdissemination ofof ItalianItalian BaroqueBaroque few-voicedfew-voiced textures,textures, andand solo-tuttisolo-tutti contrasts.contrasts. musicalmusical style.style.

TheThe worksworks presentepresentedd inin thisthis seriesseries cancan onlyonly hinthint atat thethe A finalfinal word:word: wewe notenote herehere withwith sorrowsorrow thethe untimelyuntimely immenseimmense quantityquantity ofof sacredsacred musicmusic publishedpublished inin thethe yearsyears deathdeath ofof ourour esteemedesteemed colleaguecolleague JeromeJerome RocheRoche (1942-(1942- 16001600 toto 1700.1700. ThoughThough massesmasses andand motetsmotets werewere thethe tradi•tradi- 1994)1994) ofof thethe UniversityUniversity ofof Durham,Durham, whosewhose pioneeringpioneering tionaltional corecore ofof sacredsacred music,music, itit isis thethe repertoryrepertory ofof VesperVesper workwork onon ItalianItalian sacredsacred musicmusic fromfrom thethe firstfirst halfhalf ofof thethe psalmspsalms,, alreadyalready developingdeveloping byby mid-sixteenthmid-sixteenth century,century, seventeenthseventeenth century,century, andand onon motetsmotets inin particular,particular, isis semi•semi- thatthat formsforms thethe largestlargest numbernumber ofof publications.publications. PrintsPrints nanall toto thisthis project.project. HisHis passingpassing isis anan inestimableinestimable lossloss toto containingcontaining VesperVesper psalmspsalms andand MagnificatsMagnificats wouldwould sur•sur- seventeenth-centuryseventeenth-century musicmusic scholarship.scholarship. FortunatelyFortunately hishis paspasss thethe numbernumber ofof publicationspublications forfor massesmasses andand motetsmotets byby researchresearch andand hishis contributioncontribution toto thisthis seriesseries areare beingbeing thethe firstfirst decadedecade ofof thethe seventeenthseventeenth century.century. AboutAbout thisthis carriedcarried onon bbyy ElizabethElizabeth Roche,Roche, hishis wifewife andand collaboratorcollaborator timetime itit becambecamee commoncommon forfor massmass andand VespersVespers toto appearappear ofof manymany years.years. inin a singlesingle print,print, sometimessometimes includingincluding motetsmotets asas well,well, intendedintended forfor liturgicalliturgical eventsevents toto bbee performeperformedd onon a singlesingle festivefestive occasion.occasion. MassesMasses werewere alsoalso publishedpublished inin genericgeneric AnneAnne SchnoebelenSchnoebelen collectionscollections ofof worksworks byby a singlesingle composer,composer, oror inin combina•combina- tiontion withwith motets,motets, psalms,psalms, andand concerti ecclesiastici. Occa•Occa- GeneralGeneral EditorEditor sionallysionally instrumentalinstrumental canzonascanzonas oror sonatassonatas werewere includedincluded inin printprintss containingcontaining massesmasses oror VesperVesper music,music, undoubt•undoubt- edlyedly intendedintended toto bbee insertedinserted intointo thethe liturgy.liturgy. InIn additionaddition toto appearingappearing inin massmass andand VesperVesper publications,publications, motetsmotets werewere printedprinted inin collectionscollections bbyy a singlesingle composercomposer oror inin anthologiesanthologies ofof manymany composers'composers' works.works. Single-com•Single-com- poseposerr motetmotet collectionscollections notnot infrequentlyinfrequently includeinclude a litanylitany oror massmass atat thethe endend ofof thethe volume.volume.

AsAs thethe wealthwealth ofof vocalvocal andand instrumentalinstrumental resourcesresources in•in- creased,creased, composerscomposers andand publisherpublisherss strovestrove toto presentpresent flexible performancperformancee possibilitiepossibilitiess inin orderorder toto attractattract asas manymany buyersbuyers asas possiblepossible:: forfor example,example, voicesvoices labeledlabeled "Canto"Canto 0o Tenore";Tenore"; instructionsinstructions onon howhow toto useuse voicesvoices andand instrumentsinstruments inin variousvarious combinations.combinations. SeparateSeparate instru•instru- mentalmental partsparts werewere oftenoften markedmarked "si"si placet."placet." OptionalOptional vocalvocal andand instrumentalinstrumental ripienosripienos werewere offeredoffered thatthat couldcould increaseincrease thethe sizesize ofof a work,work, forfor instance,instance, fromfrom threethree toto sevenseven partpartss ifif locallocal resourcesresources allowed,allowed, butbut wouldwould stillstill bebe musicallymusically intactintact withwith fewerfewer voices.voices. EvenEven optionaloptional instru•instru- mentalmental sinfoniassinfonias appeared,appeared, whichwhich couldcould bebe omittedomitted iiff instrumentsinstruments werweree notnot available.available. However,However, optionaloptional in•in- strumentsstruments seemseem toto havehave decreaseddecreased somewhatsomewhat afterafter mid•mid- century,century, duedue toto thethe increasinglyincreasingly essentialessential rolerole ofof thethe instrumentalinstrumental groupgroup inin thethe structurestructure ofof thethe work.work.

InIn itsits widewide rangerange ofof performinperformingg resources,resources, thisthis seriesseries encompassesencompasses thethe numerousnumerous combinationscombinations ofof voicesvoices andand instrumentsinstruments thatthat characterizecharacterize sacredsacred musicmusic ofof thithiss period.period. FromFrom thethe few-voicedfew-voiced motets,motets, psalmspsalms,, andand massesmasses toto thethe

viiivttt EditoriaEditoriall MethodsMethods

TheThe purposepurpose ofof thisthis seriesseries isis toto provideprovide a largelarge repertoryrepertory letterletter namesnames (A toto G)G) andand theirtheir solmizationsolmization syllablessyllables (ut(ut ooff seventeenth-centuryseventeenth-century ItalianItalian sacredsacred musicmusic inin cleaclearr mod•mod- rere mimi fafa solla).sol la). A pitcpitchh waswas determinedeterminedd notnot simplysimply bbyy itsits emern editionseditions thatthat areare botbothh practicalpractical andand faithfulfaithful toto thethe locationlocation onon thethe staffstaff bubutt alsoalso bbyy itsits functionfunction inin thethe originaloriginal sources.sources. OriginalOriginal pitchpitch andand "key"key signatures"signatures" areare hexachordhexachord system,system, shownshown byby thethe solmizationsolmization syllablesyllable

retained;retained; "time"time signaturesII " alsoalso appearappear asas inin thethe original,original, (see(see ExampleExample I).1). TheThe notenote thatthat wewe readread asas B,B, forfor example,example, unlesunlesss notednoted inin thethe Introduction.Introduction. EditorialEditorial commentscomments cancan bbee sungsung asas eithereither B-naturalB-natural oror B-flatB-flat dependingdepending onon concerningconcerning sourcessources andand originaloriginal clefs,clefs, asas wellwell asas correctedcorrected whetherwhether itit isis solmizedsolmized asas mimi oror fa;fa; thethe decisiondecision ofof howhow toto errorserrors inin pitchpitch,, rests,rests, andand rhythm,rhythm, areare foundfound inin thethe Intro•Intro- solmizesolmize itit dependsdepends onon thethe musicalmusical context.context. TheThe followingfollowing duction.duction. ColorationColoration (black(black notationnotation inin tripletriple meter)meter) isis isis a briefbrief accountaccount ofof thethe principleprincipless ofof musieamusica fictafieta thatthat useusedd forfor muchmuch ofof thethe century;century; itsits presencepresence isis alsoalso indi•indi- guidedguided performerperformerss inin choosingchoosing thethe correctcorrect solmizationsolmization catedcated inin thethe editorialeditorial comments.comments. Ligatures,Ligatures, whichwhich appearappear syllable,syllable, or,or, asas wewe thinkthink ofof itit today,today, inin supplyingsupplying sharpssharps infrequently,infrequently, areare notnot indicatedindicated inin thethe scorescore nornor inin thethe andand flats thatthat areare missingmissing fromfrom thethe sources.sources. ItIt shouldshould bebe editorialeditorial comments.comments. FermatasFermatas overover finalfinal notesnotes areare notnot noted,noted, however,however, thatthat therethere willwill bbee occasionsoccasions whenwhen thesethese indicated;indicated; finallongasfinal longas ofof indeterminateindeterminate lengthlength areare recon•recon- guidelinesguidelines comecome intointo directdirect conflictconflict withwith oneone another.another. ciledciled inin allall voicesvoices toto wholewhole notes,notes, asas necessary.necessary. TheThe namesnames ofof thethe voicevoice parts,parts, asas givengiven inin thethe originaloriginal source,source, appearappear OneOne shouldshould generally"generally "adadd d a flat"flat" (i.e.,(i.e., singsing thethe notenote asas fa)fa) atat thethe beginninbeginningg ofof eacheach work.work. PerformancePerformance rubrics,rubrics, suchsuch inin thethe followingfollowing situations:situations: asas soli/tuttisoli/tutti indications,indications, appearappear inin thethe score.score. TextText under•under- laylay generallygenerally followsfollows thethe originaloriginal source,source, exceptexcept wherewhere 1.1. ToTo maintainmaintain intervalsintervals ofof thethe perfectperfect fourth,fourth, fifth,fifth, andand therethere areare uncertaintieuncertaintiess oror errors:errors: thesethese areare silentlysilently cor•cor- octaveoctave betweenbetween voicesvoices (Le.,(i.e., toto avoidavoid verticalvertical tritones,tritones, rected.rected. OriginalOriginal spellingspelling andand orthographyorthography areare retainedretained diminisheddiminished fifths,fifths, andand octavesoctaves thatthat createcreate "mi"mi contracontra bubutt standardizedstandardized toto followfollow thethe majoritymajority ofof partbooks.partbooks. fa").fa"). AnyAny substantialsubstantial textualtextual differencesdifferences amongamong thethe voicesvoices areare kept.kept. AllAll editorialeditorial additionsadditions toto thethe texttext (including(including pas•pas- 2.2. ToTo keepkeep melodicmelodic intervalsintervals ofof a fourthfourth oror a fifthfifth perfectperfect sagessages designateddesignated ii oror ij) areare suppliedsupplied withoutwithout indication.indication. (Le.,(i.e., toto avoidavoid melodicmelodic tritonestritones andand diminisheddiminished fifths).fifths). TheThe interchangeableinterchangeable lettersletters u andand v, i and ;j areare differenti•differenti- atedated inin accordanceaccordance withwith modemmodern practice.practice. 3.3. WhenWhen a melodymelody risesrises a singlesingle stepstep beyondbeyond thethe upperupper rangerange ofof a hexachordhexachord andand thenthen returnsreturns toto thatthat FlatsFlats andand sharpssharps appearappear asas inin thethe originaloriginal source,source, exceptexcept hexachord,hexachord, thethe notenote aboveabove thethe hexachordhexachord shouldshould bebe a forfor obviousobvious printingprinting errorserrors whichwhich areare correctedcorrected andand semitonesemitone (i.e.,(i.e., sungsung asas fa).fa). ThisThis isis thethe so-calledso-called "una"una notednoted inin thethe editorialeditorial comments.comments. SharpSharp signssigns appliedapplied toto B notanota supersuper lala sempersemper estest canendumcanendum fa"fa" rule.rule. SomeSome andand E,E, andand flat signssigns appliedapplied toto F andand C,C, areare modernizedmodernized theoriststheorists implyimply thatthat therethere areare situationssituations whenwhen thisthis asas naturals.naturals. AlthoughAlthough manymany accidentalaccidental flats andand sharpssharps conventionconvention shouldshould notnot bbee usedused (particularly(particularly whenwhen thethe areare providedprovided inin thethe originaloriginal sources,sources, thethe performeperformerr willwill melodymelody soonsoon thereafterthereafter continuescontinues itsits upwardupward riserise andand frequentlyfrequently havehave toto recreaterecreate thethe procesprocesss ofof addingadding musica doesdoes notnot involveinvolve a realreal oror impliedimplied melodicmelodic tritone).tritone). ficta,fieta, especiallyespecially inin musicmusic fromfrom thethe firstfirst halfhalf ofof thethe seven•seven- MostMost ofof thethe time,time, however,however, thethe principleprinciple cancan bebe in•in- teenthteenth century.century. PerformersPerformers knewknew notesnotes bbyy bothboth theirtheir voked.voked.

ix OneOne shouldshould generallgenerallyy "add"add a sharp":sharp": ings,ings, seesee LewisLewis Lockwood,Lockwood, "Musica"Musica fictaficta,, §2,"§2," The NewNew Grove Dictionary Dictionary of of Music Music and and Musicians, Musicians, ed. ed Stanley. Stanle Sadiey Sadi e 4.4. AtAt cadences,cadences, wherewhere a sixthsixth movesmoves outwardoutward toto anan (London:(London: Macmillan,Macmillan, 1980),1980), XII,XII, 806-08;806-08; NicholasNicholas octaveoctave oror a thirdthird movesmoves inwardinward toto a unisonunison (see(see Routley,Routley, "A"A practicalpractical guideguide toto musicamusica £icta,"ficta," Early Music Music ExampleExample 2).2). 1313 (1985),(1985), 59-71;59-71; KarolKarol Berger,Berger, Musica ficta:ficta: TheoriesTheories of of Accidental Inflections Inflections in inVocal Vocal Polyphony Polyphony from from Marchetto Marchetto da da 5.5. ToTo thethe thirdthird ofof a finalfinal chord,chord, wherewhere necessary,necessary, toto Padova to to Gioseffo Gioseffo Zarlino Zarlino (Cambridge, (Cambridge New, Ne York:w York Cam•: Cam- createcreate a majormajor triad.triad. bridgbridgee UniversityUniversity Press,Press, 1987);1987); RobertRobert Toft,Toft, Aural ImagesImages of Lost Traditions:Traditions: Sharps Sharps and and Flats Flats in the in Sixteenththe Sixteenth Century Century WhileWhile nono majormajor sourcessources dealdeal withwith musicamusica £ictaficta inin thethe (Toronto:(Toronto: UniversityUniversity ofof TorontoToronto Press,Press, 1992);1992); andand SarahSarah Baroque,Baroque, principlesprinciples fromfrom thethe sixteenthsixteenth centurycentury stillstill ap•ap- Meade,Meade, "Renaissance"Renaissance Theory,"Theory," pp.pp. 300-306,300-306, inin A pliedplied.. WhenWhen composerscomposers wishedwished toto contravenecontravene suchsuch prinprin•- Performer's Guide Guide to toRenaissance Renaissance Music, Music, ed. Jefferey ed. Jeffere T. yKite• T. Kite- ciplesciples theythey usuallyusually wrotewrote accidentals.accidentals. ForFor furtherfurther read-read- PowellPowell (New(New York:York: SchirmerSchirmer Books,Books, 1994)1994)..

ExampleExample 11

Hexachord on C

I' II 0 II I~ .. 0 0 ut re mi fa sol la Hexachord on G 0 II 0 II I~ 0 Ij II ut re mi fa sol la Hexachord on F I, ~o II 0 I~ I. 0 II ut re mi fa sol la

ExampleExample 2 I W- I-W J 0 II I' r -& u I' ~- I 9r ~ 0 II

xX IntroductioIntroductionn ttoo thithiss VolumeVolume

TheseThese tenten volumesvolumes ofof musicmusic forfor thethe OrdinaryOrdinary ofof thethe Mass,Mass, VolumeVolume 3,3, 1622-1630,1622-1630, presentspresents anan entireentire prograprogramm ooff writtenwritten byby ItalianItalian churchchurch composerscomposers inin thethe seventeenthseventeenth music,music, bothboth liturgicalliturgical andand extra-liturgical,extra-liturgical, forfor thethe mass:mass: century,century, illustrateillustrate anan extraordinaryextraordinary varietyvariety inin style,style, form,form, Ordinary,Ordinary, vocal"concerti"vocal "concerti" andand instrumentalinstrumental canzonas.canzonas. andand setting.setting. ArrangeArrangedd chronologicallychronologically (with(with a fewfew ad•ad- OtherOther massesmasses inin VolumeVolume 3 illustrateillustrate ththee growinggrowing flexibil•flexibil- justmentjustmentss forfor volumevolume size),size), theythey includeinclude massesmasses rangingranging ityity ofof performancperformancee possibilities,possibilities, andand thethe trendtrend towardtoward fromfrom conservativeconservative worksworks inin sixteenth-centurysixteenth-century stylestyle toto few-voicedfew-voiced settingssettings ofof thethe mass.mass. worksworks inin contemporarycontemporary BaroqueBaroque stylestyle forfor soloists,soloists, choirs,choirs, andand instruments.instruments. InIn VolumeVolume 4,4, 1630-1643,1630-1643, themesthemes alreadyalready establishedestablished inin previousprevious volumesvolumes areare furtherfurther pursued:pursued: virtuosityvirtuosity inin vo•vo- ThroughThrough muchmuch ofof thethe centurycentury composerscomposers cultivatedcultivated bothboth calcal parts;parts; flexibilityflexibility inin performanceperformance options;options; settingssettings forfor oldold andand newnew styles.styles. WorksWorks inin ththee olderolder stylestyle includeinclude fefeww voicesvoices asas welwelll asas largelarge ceremonialceremonial settingssettings thatthat in•in- parodparodyy masses,masses, hexachordhexachord masses,masses, andand massesmasses basedbased onon cludeclude bothboth vocalvocal andand instrumentalinstrumental groups.groups. InIn addition,addition, oneone ofof thethe churchchurch modesmodes (e.g.,(e.g., Missa primi toni) forfor oneone toto massesmasses fromfrom thisthis perioperiodd indicatindicatee ththee growinggrowing influencinfluencee ooff fourfour choirs.choirs. TheThe newnew stylestyle isis foundfound inin thethe messa concertata,concertata, instrumentalinstrumental formsforms andand idiomsidioms onon musicmusic intendedintended forfor usuallyusually setset forfor threethree toto fivefive voices.voices. Messa concertata isis a voices.voices. WorksWorks includeinclude a ceremonialceremonial massmass bbyy AlessandroAlessandro termterm firstfirst usedused ttoo signifysignify thathatt certaincertain sectionssections areare toto bebe GrandiGrandi,, publishedpublished posthumouslyposthumously butbut certainlycertainly writtenwritten sungsung byby soloists,soloists, asas opposedopposed toto thethe messa dada cappella cappella where where duringduring hishis BergamoBergamo years;years; a messa concertataconcertata from from NovaraNovara fullfull choirchoir isis calledcalled forfor throughoutthroughout thethe mass.mass. However,However, itit forfor sixsix voicesvoices andand sixsix instrumentsinstruments bbyy GiovanniGiovanni BattistaBattista soonsoon camecame toto meanmean clearlyclearly markedmarked contrastscontrasts betweenbetween soli Chinelli;Chinelli; a massmass fromfrom BergamoBergamo basedbased onon a populapopularr instru•instru- andand tutti, bothboth texturaltextural andand stylistic.stylistic. mentalmental groundground bassbass patternpattern bbyy TarquinioTarquinio Merula;Menila; andand a massmass forfor threethree solosolo voicesvoices anandd vocalvocal ripienoripieno byby ononee ooff thethe newnew generationgeneration ofof VenetianVenetian composers,composers, GiovanniGiovanni Anto•Anto- AllAll ofof thethe massesmasses includeinclude organ,organ, eithereither asas basso seguente seguente in in nionio Rigatti.Kigatti. thethe olderolder stylestyle oror asas truetrue basso continuocontinuo inin modemmodern works.works. OtherOther instrumentsinstruments whichwhich soonsoon appearedappeared inin massmass set•set- tings,tings, suchsuch asas trombones,trombones, violins,violins, andand cornetti,cornetti, enrichedenriched andand enlivenedenlivened thethe massmass asas anan artart form.form. ALESSANDRALESSANDROO GRANDI,GRANDI, MESSMESSAA CONCERTATA,CONCERTATA, 16316300 VolumeVolume 1 illustratesillustrates thethe varietyvariety ofof oldold andand newnew stylesstyles inin AlessandroAlessandro Grandi'sGrandi's earlyearly yearsyears werewere spentspent inin FerraraFerrara massesmasses fromfrom 1610-1619,1610-1619, includingincluding somesome virtuosicvirtuosic vocalvocal (see(see VolumeVolume 1 forfor hihiss masmasss frofromm 1610).1610). InIn 16171617 hehe waswas techniquestechniques newnew toto thethe mass.mass. VolumeVolume 2 demonstratesdemonstrates thethe appointedappointed singersinger inin thethe VenetianVenetian basilicabasilica ofof SanSan Marco;Marco; introductionintroduction ofof instrumentsinstruments intointo thethe mass,mass, 1615-1620,1615-1620, asas hehe becambecamee vice maestro di cappella inin 1620,1620 ,serving serving underunder wellwell asas thethe progressivprogressivee stylestyle ofof massmass compositioncomposition with•with- vice maestro di cappella Monteverdi until 1627. During this time he published no outout instrumentsinstruments inin thethe earlyearly 1620s.1620s. Monteverdi until 1627. During this time he published no

xtxi newnew masses,masses, thoughthough thethe 16101610 publicationpublication ofof massmass andand initialinitial descendingdescending moti"emotive ofof thethe KyrieKyrie isis inverted,inverted, risingrising motetsmotets waswas reprintedreprinted severalseveral times.times. InIn 16271627 hehe becamebecame ornamentallyornamentally fromfrom tonictonic toto fifth.fifth. AfterAfter a chordalchordal phrase,phrase, maestro di cappella atat SantaSanta MariaMaria MaggioreMaggiore inin Bergamo,Bergamo, repeatedrepeated atat differentdifferent tonaltonal levels,levels, KyrieKyrie IIII opensopens withwith responsibilitiesresponsibilities forfor providingproviding newnew musicmusic asas wellwell asas chordally,chordally, soonsoon recallingrecalling thethe briefbrief syllabicsyllabic motivemotive andand a directingdirecting itsits performanceperformance.. AmongAmong hihiss numerounumerouss publica•publica- variantvariant ofof thethe ornamentalornamental passagepassage ofof KKyriyrie e I.I. A tightlytightly tionstions fromfrom thesethese yearsyears areare twotwo masses:masses: a few-voicefew-voice massmass constructedconstructed movementmovement inin F major,major, thethe KyrieKyrie illustratesillustrates publishedpublished inin 16301630 (see(see VolumeVolume 3)3) andand a grandgrand ceremonialceremonial Grandi'sGrandi's concernconcern forfor formalformal design,design, evidentevident throughoutthroughout massmass publishedpublished posthumously,posthumously, sometimesometime afterafter Grandi'sGrandi's thethe mass.mass. deathdeath fromfrom thethe plagueplague thatthat spreadspread throughoutthroughout northernnorthern ItalyItaly thatthat year.year. BetweenBetween KyrieKyrie andand GloriaGloria GrandiGrandi interjectsinterjects twotwo extra•extra- liturgicalliturgical piecespieces thatthat bringbring thethe festivefestive charactercharacter ofof thethe Grandi'sGrandi's ceremonialceremonial massmass appearedappeared inin a collectioncollection as•as- massmass toto thethe fore:fore: a speciallyspecially composedcomposed instrumentalinstrumental sembledsembled byby hishis VenetianVenetian friend,friend, LeonardoLeonardo Simonetti,Simonetti, sonata,sonata, andand a sinfoniasinfonia inin whichwhich thethe instrumentalinstrumental groupgroup whichwhich containscontains musicmusic byby GrandiGrandi andand GiovanniGiovanni CroceCroce playsplays antiphonallyantiphonally withwith voicesvoices singingsinging thethe wordswords ofof thethe (Chiozzotto).(Chiozzotto). IntendedIntended forfor a solemnsolemn occasionoccasion atat SantaSanta celebrant'scelebrant's intonation.intonation. ToTo hearhear bothboth thesethese piecespieces inin suc•suc- MariaMaria Maggiore,Maggiore, itit maymay wellwell havehave beenbeen writtenwritten forfor thethe cessioncession wouldwould havehave beenbeen somethingsomething quitequite newnew toto thethe feastfeast ofof thethe Assumption,Assumption, thethe principalprincipal feastfeast ofof thethe basilica.basilica. BergamasqueBergamasque congregation,congregation, eveneven inin a festivefestive work.work. TheThe PayrollPayroll documentsdocuments indicateindicate thatthat inin bothboth 16271627 andand 16281628 "Sonata"Sonata avantiavanti ilil Gloria"Gloria" isis scoredscored forfor violin/violin/cornetto cornetto,, sufficientsufficient musicalmusical forcesforces werweree employedemployed ttoo perforperformm thisthis andand twotwo trombones.trombones. However,However, thertheree isis nono partpart inin thethe work.work. ToTo thethe basicbasic choirchoir ofof fourteenfourteen voicesvoices werewere addedadded middlemiddle range;range; nono thirdthird ofof a chordchord appears.appears. ItIt waswas prob•prob- outsideoutside musiciansmusicians twicetwice thatthat numbernumber inin 1627:1627: twenty•twenty- ablyably intendedintended forfor threethree trombonestrombones (which(which areare requiredrequired inin eighteight singers,singers, twotwo cornetti,cornetti, oneone violin,violin, twtwoo violonivioloni,, twotwo ththee Credo)Credo) bubutt nono altoalto trombonetrombone partpart waswas printed.printed. ItsIts bassoons,bassoons, twotwo trombones,trombones, andand twotwo additionaladditional organs.organs. fourteenfourteen measures,measures, beginningbeginning andand endingending inin G,G, consistconsist ooff EvenEven largerlarger numbersnumbers werewere addedadded forfor thethe 16281628 feast,feast, twotwo briefbrief setssets ofof chords,chords, eacheach followedfollowed byby canzona-likecanzona-like includingincluding twtwoo virtuosovirtuoso singerssingers broughbroughtt inin fromfrom thethe courtcourt patternspatterns ofof eightheighth notes.notes. 1 atat Mantua.1

ImmediatelyImmediately followingfollowing thithiss briefbrief sonata,sonata, thethe sinfoniasinfonia Simonetti,Simonetti, however,however, hadhad difficultydifficulty inin understandingunderstanding thethe introducingintroducing thethe texttext "Gloria"Gloria inin excelsisexcelsis Deo"Deo" begins.begins. preciseprecise scoringscoring ofof thisthis complexcomplex work.work. ItsIts partsparts areare scat•scat- ViolinViolin oror cornettocornetto andand oneone trombonetrombone playplay ninenine measuresmeasures tereteredd throughouthroughoutt ththee twelvtwelvee partbookspartbooks withouwithoutt logicallogical ofof chords,chords, inin thethe harmonicharmonic patternpattern d-Bd-B flat-g-e-a.flat-g-e-a. TheThe order;order; indeed,indeed, atat leastleast oneone partpart forfor thethe instrumentalinstrumental wordword "Gloria""Gloria" isis intonedintoned byby thethe twotwo sopranossopranos inin tripletriple sonatasonata precedingpreceding thethe GloriaGloria waswas nevernever printed.printed. TheThe scorescore meter,meter, a risingrising andand fallingfalling motivemotive sungsung inin alternation.alternation. TheThe isis arrangedarranged herehere toto reflectreflect thethe vocalvocal andand instrumentalinstrumental instrumentsinstruments interruptinterrupt withwith a similarsimilar setset ofof chordschords asas groupsgroups whichwhich functionfunction together,together, anan arrangementarrangement thatthat before,before, afterafter whichwhich thethe twotwo sopranossopranos singsing thethe completecomplete differsdiffers inin eacheach ofof thethe threethree movements:movements: KKyrieyrie, , Gloria,Gloria, andand texttext ofof thethe intonationintonation inin a triple-metertriple-meter duet,duet, endingending inin d Credo.2 GrandiGrandi providedprovided nono SanctusSanctus oror AgnusAgnus Dei,Dei, per•per- minor.minor. GrandiGrandi indicatesindicates thatthat thethe sinfoniasinfonia isis optionaloptional (si hapshaps soso asas notnot toto lengthenlengthen thethe ceremonyceremony undulyunduly afterafter thethe placet); indeedindeed thethe vocalvocal partsparts couldcould bebe sungsung withoutwithout thethe sumptuoussumptuous GloriaGloria andand Credo.Credo. interveningintervening instrumentalinstrumental chords,chords, butbut withwith muchmuch less•less- enedened effect.effect. ThoughThough thethe KyrieKyrie isis a wellwell writtenwritten movement,movement, itit givesgives littlelittle indicationindication ofof thethe musicalmusical splendorsplendor thatthat isis toto comecome inin BotBothh GloriaGloria andand CredoCredo areare composedcomposed onon a muchmuch largerlarger succeedingsucceeding movements.movements. SetSet forfor twotwo sopranossopranos (or(or tenors),tenors), scalescale thanthan thethe Kyrie.Kyrie. EachEach largelarge movementmovement hashas twotwo alto,alto, andand basso,basso, thethe movementmovement isis organizedorganized overover a distinctdistinct solosolo groupsgroups andand a ripienoripieno group,group, thoughthough thethe chaconne-likechaconne-like basbasss pattern,pattern, elementselements ofof whichwhich areare evi•evi- groupsgroups areare arrangedarranged differentlydifferently inin each.each. InIn thethe Gloria,Gloria, dentdent throughoutthroughout thethe movementmovement thoughthough theythey areare some•some- afterafter thethe openingopening sinfonia/sinfonia/intonation intonation,, thethe twotwo solosolo timestimes thinlythinly disguised.disguised. OverOver thethe bassbass patternpattern GrandiGrandi groups,groups, probablyprobably spatiallyspatially separated,separated, consistconsist ofof twotwo so•so- placesplaces anan ornamentalornamental melody,melody, evokingevoking thosethose ofof pranospranos versusversus altoalto andand threethree trombones.trombones. TextText isis providedprovided Monteverdi,Monteverdi, whichwhich descendsdescends fromfrom fifthfifth toto tonic.tonic. AfterAfter inin thethe TromboneTrombone I partpart asas anan alternatealternate performanceperformance imitationimitation byby allall fourfour voices,voices, a newnew syllabicsyllabic motivemotive ap•ap- optionoption forfor tenortenor oror alto,alto, (the(the partpart isis markedmarked voce sisi placet.) pears,pears, scatteredscattered imitativelyimitatively inin allall voices.voices. A chordalchordal clos•clos- However,However, performanceperformance byby trombonetrombone wouldwould linklink itsits in•in- inging phrasephrase leadsleads intointo thethe triple-metertriple-meter Christe.Christe. HereHere thethe strumentationstrumentation toto thethe CredoCredo andand probablyprobably thethe SonataSonata

xii whichwhich callscalls forfor threethree trombones.trombones. A ripienoripieno choir,choir, calledcalled a tempo/moodtempo/mood marking,marking, adasio [sic].[sic]. InIn thesethese superbsuperb cappella inin thethe partbooks,partbooks, consistsconsists ofof ATIB,ATTB ,augmented augmented twenty-threetwenty-three barsbars GrandiGrandi presentspresents thethe firstfirst self-con•self-con- byby violiviolinn andand cornettocornetto parts-inparts—in effect,effect, a six-partsix-part ripienoripieno tainedtained monodymonody inin a masmasss setting,setting, hihiss masterymastery ofof thethe choir.choir. TheThe trombonestrombones whichwhich supportsupport thethe altoalto solosolo voicevoice monodicmonodie stylestyle havinhavingg beebeenn perfecteperfectedd inin hishis solosolo motets.4 areare calledcalled "Coro"Coro Basso";Basso"; thethe violinviolin andand cornettocornetto whichwhich areare partpart ofof thethe ripienoripieno groupgroup areare labelledlabelled "Coro"Coro Alto."Alto." TheThe "Crucifixus""Crucifixus" isis surroundedsurrounded byby passagespassages forfor solosolo groupsgroups inin imitativeimitative oror duetduet style.style. ThoughThough thethe bassbassoo solosolo AtAt "Et"Et inin terra"terra" GrandiGrandi unleashesunleashes thethe fullfull sonoritysonority ofof hishis voicevoice isis groupedgrouped withwith thethe twotwo sopranossopranos inin thisthis move•move- threthreee groups.groups. InIn suchsuch tuttitutti passages,passages, thethe texturetexture isis mentment,, itit isis thethe sopranossopranos whichwhich areare favored.favored. OnlyOnly atat thethe "Et"Et chordal,chordal, andand ththee movementmovement isis stately.stately. ContrastContrast isis pro•pro- resurrexit"resurrexit" andand thethe phrasephrase "et"et expecto"expecto" isis thethe bassbassoo solosolo videdvided bbyy thethe imitativeimitative texturetexture andand sometimessometimes ornamen•ornamen- givengiven almostalmost equalequal footingfooting withwith thethe twotwo higherhigher voices.voices. taltal passagespassages ofof thethe twotwo solosolo groups.groups. TheThe bassobasso continuocontinuo partpart isis markemarkedd pian andand forte, indicatingindicating wherwheree thethe solo•solo- istsists oror entireentire ensembleensemble areare toto perform.perform. TheThe alto/trom•alto /trom- AsAs inin thethe Gloria,Gloria, GrandiGrandi setssets thethe Credo'sCredo's finalfinal section,section, "E t bonebone solosolo groupgroup firstfirst appearsappears atat m.m. 53,53, "propter"propter magnammagnam vitavitamm venturiventuri saeculisaeculi amen,"amen," inin livelylively chordalchordal tripletriple . .. .. ,"," alternatingalternating withwith thethe twotwo sopranos,sopranos, punctuatedpunctuated meter,meter, closingclosing withwith a briebrieff duple-meterduple-meter cadentialcadential exten•exten- chordallychordally byby ththee fullfull ensemble.ensemble. AmidAmid texturatexturall andand metri•metri- sionsion inin A major.major. calcal contrasts,contrasts, formalformal unifyingunifying elementselements appearappear inin thethe sectionsection beginningbeginning "Domine"Domine Fili,"Fili," wherwheree textuatextuall parallelsparallels Grandi,Grandi, whosewhose VenetiaVenetiann serviceservice undeunderr MonteverdMonteverdii diddid provideprovide a logicallogical placplacee forfor musicalmusical repetition.repetition. AtAt m.m. 9292,, notnot includeinclude thethe opportunityopportunity toto composecompose ceremonialceremonial "qui"qui tollis,"tollis," thethe PhrygiaPhrygiann cadencecadence D-BD-B flat-Aflat-A servesserves asas masses,masses, offersoffers anan excellentexcellent exampleexample ofof thethe genregenre fromfrom hishis referencereference poinpointt forfor thethe entireentire middlemiddle section,section, appearingappearing BergamoBergamo yearyearss inin thithiss posthumousposthumous publication.publication. WitWithh hishis again at the second "qui tollis" (this time a fourth below), again at the second"qui tollis" (this time a fourth below), inventiveinventive groupingsgroupings ofof sonoritiessonorities andand thethe inclusioninclusion ooff and at the "Qui sedes." Jerome Roche has pointed out the and at the "Qui sedes." Jerome Roche has pointed out the truetrue monodymonody inin thethe mass,mass, hehe broughtbrought thethe progressiveprogressive remarkable similarity of this section to that in remarkable similarity of this section to that in VenetiaVenetiann stylestyle toto hishis congregationcongregation atat SantaSanta MariaMaria Monteverdi's "Gloria" in the Selva morale?3 The move- Monteverdi's "Gloria" in the Selva morale. The move• Maggiore.Maggiore. menmentt continuescontinues witwithh a substantialsubstantial sectionsection inin tripltriplee meter,meter, divideddivided amongamong thethe twotwo solosolo groupsgroups andand thethe fullfull en•en- semble.semble. TheThe finalfinal measuresmeasures inin dupleduple metemeterr bringbring thethe movementmovement toto a statelystately cadentialcadential closeclose inin thethe basibasicc tonaltonal GIOVANNIGIOVANNI BATTISTBATTISTAA CHINELLI,CHINELLI, centercenter ofof diD.d/D. MESSMESSAA CONCERTATACONCERTATA A 6 VOCIVOCI & 66INSTROMENTI INSTROMENTI,, 16341634 InIn thethe Credo,Credo, GrandiGrandi arrangesarranges a differentdifferent groupinggrouping ooff soloists:soloists: twtwoo sopranossopranos andand basso,basso, versuversuss altoalto andand threethree TheThe terribleterrible plagueplague thathatt tootookk AlessandroAlessandro Grandi'sGrandi's lifelife inin trombones.trombones. HHee omitsomits thethe violinviolin andand cornettocornetto fromfrom thethe 16301630 spreadspread throughoutthroughout northernnorthern Italy.Italy. AmongAmong itsits otherother CATBCATB ripienoripieno (cappella){cappella) group, group ,carefully carefully notingnoting thethe op• op- devastatingdevastating effectseffects itit virtuallyvirtually shutshut downdown thethe publishingpublishing tionaltional charactercharacter ofof ththee vocavocall ripienoripieno bbyy ththee wordswords se piace. ofof sacredsacred musicmusic inin VeniceVenice forfor almostalmost threethree yearsyears.. Grandi'sGrandi's TheThe tenortenor solosolo voice,voice, previouslypreviously offeredoffered onlyonly asas anan optionoption twotwo massemassess fromfrom 16301630 werewere amongamong ththee lastlast publicationspublications toto thethe sopranosoprano inin thethe GloriaGloria andand muchmuch ofof thethe CredoCredo (the(the containingcontaining massesmasses toto appear.appear. InIn 16331633 thethe pressespresses ooff partsparts areare inin sopranosoprano clef),clef), nonoww appearsappears withwith a significantsignificant BartolomeoBartolomeo MagniMagni andand AlessandroAlessandro VincentiVincenti werewere ableable toto solosolo atat ththee "Crucifixus,""Crucifixus," specificallyspecifically markedmarked "voce"voce sola"sola" issueissue threthreee printsprints containingcontaining massesmasses (works(works byby OrindioOrindio inin tenortenor clef.clef. InIn thethe keykey ofof a minorminor inin whichwhich thethe movementmovement BartoliniBartolini,, AntonioAntonio Croci,Croci, andand IgnazioIgnazio Donati.)Donati.) ByBy 16341634,, isis centered,centered, thisthis passagepassage formsforms thethe heartheart ofof thethe Credo--anCredo—an thatthat numbernumber waswas increasedincreased toto seven,seven, includingincluding thethe workwork exquisiteexquisite settingsetting ofof thethe poignantpoignant wordswords.. BeginningBeginning al•al- byby ChinelliChinelli inin thithiss volume.volume. ButBut ththee yearsyears followingfollowing thethe mostmost inin a recitativerecitative whichwhich expandsexpands intointo melody,melody, thethe plagueplague nevernever sawsaw thethe samesame numbersnumbers ofof sacredsacred musicmusic passagpassagee isis effectivelyeffectively repeated,repeated, slightlyslightly shortenedshortened andand atat printsprints asas beforebefore 1630.1630. a lowerlower pitch.pitch. AtAt "passus,""passus," syncopationssyncopations inin a sequentiallysequentially risinrisingg motivemotive illuminateilluminate thethe affectaffect ofof thethe word.word. TheThe GiovanniGiovanni BattistBattistaa ChinelliChinelli wawass borbornn inin 16101610 inin Moletolo,Moletolo, passagpassagee isis repeatedrepeated atat a secondsecond lower,lower, andand extendedextended byby nearnear ParmaParma.. ThoughThough hehe spentspent mucmuchh ofof hihiss musicalmusical lifelife inin anan impassionedimpassioned monodicmonodie outburstoutburst endingending inin a ii-iii—i ca•ca- Parma,Parma, itit waswas inin NovarNovaraa thatthat hehe composedcomposed andand publishedpublished dence.dence. ItsIts emotionalemotional impactimpact isis enhancedenhanced byby a rarerare useuse ooff ththee massemassess containedcontained inin thethe 16341634 collection.collection. Novara,Novara, a citycity

xiii southwestsouthwest ofof MilanMilan withinwithin thethe Spanish-ruledSpanish-ruled DuchyDuchy ooff movingmoving inin descendingdescending modulationsmodulations downdown thethe circlecircle ooff Milan,Milan, fosteredfostered a livelylively musicalmusical lifelife inin spitespite ofof roughrough fifths:fifths: A-D-G-C.A-D-G-C. treatmenttreatment atat thethe handshands ofof thethe Spaniards.Spaniards. MusicMusic atat thethe cathedralcathedral waswas directeddirected byby a numbernumber ofof interestinginteresting com•com- posers,posers, amongamong whomwhom werewere IgnazioIgnazio DonatiDonati (1623-1629),(1623-1629), ContinuingContinuing inin C major,major, inin contrastingcontrasting dupleduple meter,meter, ChinelliOrnielli (1631-1634)(1631-1634) andand GasparoGasparo CasatiCasati (1635-1641).(1635-1641). "Christe"Christe eleison"eleison" isis spunspun outout inin a seriesseries ofof duetsduets forfor solosolo NovaraNovara waswas alsoalso a centercenter forfor thethe compositioncomposition ofof solosolo voices,voices, accompaniedaccompanied byby twotwo violinsviolins oror trombonetrombone andand motetsmotets inin thethe seventeenthseventeenth century.5century.5 Chinelli'sChinelli's solosolo violinviolin 3/cornetto.3/cornetto. TheseThese ornate,ornate, fluidfluid duetsduets areare punctu•punctu- motets,motets, publishedpublished inin 1637,1637, markmark himhim asas a progressiveprogressive atedated byby tuttitutti exclamations.exclamations. AfterAfter a strongstrong cadencecadence inin G,G, composercomposer ofof churchchurch music.music. HeHe incorporatesincorporates ornateornate vocalvocal KyrieKyrie IIII appearsappears suddenlysuddenly inin E major,major, reiteratingreiterating itsits lines,lines, rapidrapid dynamicdynamic changes,changes, sighsigh effects,effects, andand occasionaloccasional previousprevious dotteddotted rhythmsrhythms butbut nownow inin dupleduple meter.meter. NewNew solossolos forfor continuo.continuo. HisHis musicmusic forfor Compline,Compline, publishedpublished inin duetduet musicmusic follows,follows, moremore sharplysharply profiledprofiled thanthan thethe ear•ear- 1639,1639, includesincludes partsparts forfor violinsviolins (sometimes(sometimes optional).optional). lierlier solosolo passages.passages. TheThe finalfinal tuttitutti isis energizedenergized byby chordalchordal TheseThese up-to-dateup-to-date characteristicscharacteristics areare evidentevident alreadyalready inin dotteddotted rhythmsrhythms andand shortershorter notenote values.values. ItsIts tonaltonal centerscenters hishis "Messa"Messa concertata"concertata" forfor sixsix voicesvoices andand sixsix instruments,instruments, shiftshift rapidly,rapidly, endingending solidlysolidly inin thethe basicbasic keykey ofof G.G. fromfrom hishis firstfirst publicationpublication ofof sacredsacred musicmusic inin 1634.1634. ThoughThough thethe longerlonger movementsmovements beginbegin andand endend inin G,G, withwith TheThe massmass isis scoredscored forfor threethree violinsviolins (Violins(Violins 1 andand 3 maymay frequentfrequent strongstrong cadencescadences dividingdividing sections,sections, internalinternal har•har- bebe substitutedsubstituted byby cornetti),cornetti), andand threethree trombonestrombones (or(or moniesmonies shiftshift frequentlyfrequently inin tonicizationstonicizations moremore typicaltypical ooff bassoonbassoon inin placeplace ofof thethe bassobasso trombone);trombone); twotwo sopranos,sopranos, earlierearlier decades.decades. ChordsChords veerveer offoff frequentlyfrequently intointo flatflat keyskeys alto,alto, tenor,tenor, quintoquinto (in(in tenortenor range),range), bassobasso andand organorgan andand remoteremote sharpsharp keyskeys asas wellwell asas areasareas moremore closelyclosely continuo.continuo. TheThe organorgan partpart clearlyclearly indicatesindicates thethe entrancesentrances associatedassociated withwith G.G. ofof solosolo voicesvoices oror thethe entireentire ensemble,ensemble, occasionallyoccasionally byby pian forfor solosolo parts.parts. EschewingEschewing a chordalchordal beginningbeginning forfor thethe Gloria,Gloria, ChinelliChinelli setssets "Et"Et inin terra"terra" toto a livelylively syllabicsyllabic eighth-noteeighth-note motivemotive forfor InstrumentalInstrumental musicmusic formsforms a significantsignificant elementelement ofof thisthis solosolo voices.voices. TheThe duetduet forfor twotwo sopranos,sopranos, accompaniedaccompanied work.work. SinfonieSinfonie introduceintroduce oror dividedivide thethe longerlonger move•move- onlyonly byby organ,organ, isis quicklyquickly imitatedimitated byby alto,alto, tenor,tenor, andand ments.ments. VocalVocal passagespassages ofof sixteenthsixteenth notesnotes occasionallyoccasionally quinto,quinto, supportedsupported byby trombones;trombones; a passagepassage forfor bassobasso andand imitateimitate instrumentalinstrumental idiomsidioms inin patternspatterns whichwhich seemseem twotwo sopranossopranos isis accompaniedaccompanied byby threethree violins.violins. TheseThese moremore suitablesuitable toto tactiletactile fingerfinger placementplacement thanthan thethe voice.voice. combinationscombinations ofof solosolo voicesvoices andand instrumentsinstruments appearappear KyrieKyrie lowesI owes itsits structurestructure toto instrumental/vocalinstrumental/vocal consistentlyconsistently inin bothboth GloriaGloria andand Credo.Credo. A brief,brief, livelylively ritornelli,ritornelli, placedplaced atat differentdifferent tonaltonal levels-alevels—a formalformal ele•ele- sinfoniasinfonia precedesprecedes thethe "Laudamus"Laudamus tete...... glorificamusglorificamus te,"te," mentment thatthat willwill soonsoon bebe claimedclaimed byby thethe instrumentalinstrumental setset forfor fullfull ensembleensemble inin briskbrisk tripletriple meter.meter. TheThe solosolo tenortenor concerto.concerto. singssings "Gratias"Gratias agimus"agimus" onon a declamatorydeclamatory motive,motive, soonsoon imitatedimitated byby altoalto andand quintoquinto withwith trombones.trombones. TheThe bassobasso solosolo atat "Domine"Domine DeusDeus Rex"Rex" isis accompaniedaccompanied byby threethree BeginningBeginning inin thethe prevailingprevailing G majormajor tonality,tonality, thethe instru•instru- violinsviolins whichwhich fleshflesh outout bothboth melodymelody andand harmonyharmony aboveabove mentalmental sinfonia,sinfonia, inin tripletriple meter,meter, introducesintroduces ththee dactylicdactylic ththee basso'sbasso's foundation-likefoundation-like melody.melody. AtAt "Domine"Domine fill"fili" thethe dotteddotted rhythmrhythm toto bebe usedused inin thethe chordalchordal KKyrieyrie, , asas wellwell asas fullfull ensembleensemble singssings inin declamatorydeclamatory chordschords whichwhich slowslow thethe fluidfluid sequentialsequential descendingdescending quarterquarter notesnotes ofof itsits solosolo dramaticallydramatically atat thethe wordswords "Iesu"Iesu Christe,"Christe," endingending inin E portions.portions. FollowingFollowing thethe eleveneleven measuresmeasures ofof thethe sinfonia,sinfonia, major.major. AnotherAnother livelylively motivemotive forfor solosolo voicesvoices appearsappears atat thethe fullfull instrumentalinstrumental groupgroup accompaniesaccompanies thethe briefbrief homo•homo- "Domine"Domine DeusDeus AgnuAgnuss Dei,"Dei," whichwhich becomesbecomes everever moremore phonicphonic "K"Kyriyrie e eleison,"eleison," stronglystrongly establishingestablishing thethe tonalitytonality ornateornate onon thethe wordword "patris""patris" asas thethe sectionsection progresses.progresses. withwith I-JV-V-II-IV-V-I chords.chords. SoloSolo voicesvoices beginbegin theitheirr imitativeimitative combinations,combinations, accompaniedaccompanied byby trombones.trombones. TheThe homo•homo- phonicphonic KyrieKyrie isis heardheard again,again, repeatedrepeated nownow inin C major,major, A secondsecond briefbrief instrumentalinstrumental sinfoniasinfonia precedesprecedes thethe "Qui"Qui followedfollowed byby thethe samesame solosolo motivesmotives enteringentering atat quickerquicker tollis"tollis" section.section. ChinelliChinelli treatstreats bothboth "Qui"Qui tollis"tollis" phrasesphrases inin intervalsintervals andand modulatingmodulating fromfrom C toto a.a. TheThe choral/choral/instru instru•- similarsimilar chordalchordal declamation.declamation. HeHe assignsassigns thethe phrasephrase mentalmental ritornelloritornello appearsappears a thirdthird time,time, inin A major,major, thenthen "miserere"miserere nobis"nobis" toto sopranosoprano solo;solo; "suscipe""suscipe" isis treatedtreated assumesassumes thethe sequentialsequential motivesmotives sungsung earlierearlier byby soloists,soloists, chordallychordally butbut withwith a shiftshift toto tripletriple metemeterr andand quicklyquickly changingchanging harmonies.harmonies. "Qui"Qui sedessedes...... miserere"miserere" isis givengiven toto

xiv twotwo pairspairs ofof soloists:soloists: twotwo sopranos,sopranos, andand altoalto/quint1 quinto o withwith texture.texture. AfterAfter a sequentialsequential passagepassage onon risingrising pitchespitches thethe trombones.trombones. TheThe chordalchordal "Quoniam,""Quoniam," whichwhich surroundssurrounds aa movementmovement closescloses inin dupleduple metermeter onon a plagalpiagai cadence.cadence. briefbrief bassobasso solo,solo, bringsbrings backback thethe tripletriple metermeter briefly,briefly, returningreturning toto dupleduple metermeter toto setset offoff thethe texttext "Iesu"Iesu Christe."Christe." TheThe finalfinal section,section, "Cum"Cum SandoSancto Spiritu"Spiritu" beginsbegins withwith aa SeveralSeveral characteristicscharacteristics ofof thisthis massmass pointpoint towardtoward thethe mid•mid- livelylively imitativeimitative movementmovement forfor soloistssoloists basedbased onon threethree BaroqueBaroque style:style: strongstrong basicbasic tonalitytonality inin allall movements;movements; sharplysharply distinctdistinct motives.motives. TheThe entireentire ensembleensemble continuescontinues instrumentalinstrumental characteristicscharacteristics ofof somesome vocalvocal passages;passages; andand inin rapidrapid chordalchordal declamation,declamation, endingending withwith a strongstrong ca•ca- longlong fugalfugai entriesentries insteadinstead ofof closeclose imitation.imitation. ThoughThough hehe isis dencedence inin G major.major. moremore modemmodern inin hishis subsequentsubsequent publications,publications, ChinelliChinelli revealsreveals himselfhimself inin hishis firstfirst printedprinted collectioncollection asas a success•success- fulful progressiveprogressive composercomposer ofof sacredsacred music.music. LikeLike thethe openingopening ofof thethe Gloria,Gloria, CredoCredo beginsbegins withwith a solosolo passagepassage inin 3/23/2 meter,meter, andand continuescontinues withwith similarsimilar pas•pas- sagessages ofof contrastingcontrasting texturestextures andand meters.meters. TheThe "Crucifixus,""Crucifixus," setset forfor CCATBCCATB andand continuo,continuo, beginsbegins withwith TARQUINIOTARQUINIO MERULA,MERULA, MESSAMESSA longlong notenote valuesvalues whichwhich graduallygradually shortenshorten toto slowlyslowly de•de- CONCERTATACONCERTATA A 3,3,164 16400 scendingscending patternspatterns ofof eighthseighths andand twotwo sixteenthssixteenths onon "nobis.""nobis." TheThe motivemotive isis firstfirst presentedpresented byby CantoCanto 1;1; thenthen BornBorn inin Cremona,Cremona, 15941594 oror 1595,1595, Merula'sMerula's musicalmusical lifelife Alto,Alto, CantoCanto 2,2, TenorTenor andand BassoBasso enterenter soso thatthat onlyonly twotwo centeredcentered inin churcheschurches ofof thatthat city,city, withwith briefbrief sojournssojourns inin voicesvoices areare heardheard atat anyany time.time. GraduallyGradually thethe texturetexture thick•thick- otherother places.places. InIn 16241624 hehe waswas organistorganist atat thethe courtcourt ofof ens,ens, leadingleading toto "passus"passus etet sepultussepultus est"est" wherewhere thethe prevail•prevail- SigismundSigismund IIIIII inin Warsaw;Warsaw; inin 16301630 hehe waswas mademade successorsuccessor inging G majormajor isis darkeneddarkened byby a tumturn toto c minor.minor. SuspensionsSuspensions toto AlessandroAlessandro GrandiGrandi atat SantaSanta MariaMaria MaggioreMaggiore inin riserise throughthrough allall voicesvoices asas harmoniesharmonies shiftshift toto E major,major, b Bergamo.Bergamo. However,However, hehe waswas dismisseddismissed inin 1632,1632, accusedaccused ofof minor,minor, andand subsidesubside backback toto G.G. scandalousscandalous behavior.behavior. Indignant,Indignant, hehe suedsued thethe basilicabasilica chapterchapter forfor hishis salary,salary, butbut thethe lawsuitlawsuit collapsed.collapsed. HeHe returnedreturned toto BergamoBergamo inin 1638,1638, thisthis timetime asas maestro di AfterAfter thisthis dramaticdramatic setting,setting, anan instrumentalinstrumental sinfoniasinfonia par•par- cappella at at the the cathedral, cathedral, directly directly adjacentadjacent toto Santa Santa Maria Maria tiallytially recallsrecalls thethe motivemotive andand metermeter ofof thethe openingopening Maggiore,Maggiore, fromfrom wherewhere hehe publishedpublished thethe massmass repro•repro- "Patrem.""Patrem." "Et"Et resurrexit,"resurrexit," forfor twotwo sopranossopranos andand quinto,quinto, ducedduced here.here. InIn 16461646 hehe returnedreturned toto thethe CremonaCremona cathedralcathedral isis a variantvariant ofof thisthis motive,motive, setset forthforth inin livelylively quarterquarter notes.notes. wherewhere hehe remainedremained untiluntil hishis deathdeath inin 1665.1665. EachEach newnew appearanceappearance beginsbegins onon a successivelysuccessively higherhigher pitch,pitch, invertinginverting thethe previousprevious orderorder ofof voices,voices, inin a tightlytightly wovenwoven passagpassagee forfor soloists.soloists. AlsoAlso notablenotable isis a briefbrief duetduet forfor Merula'Merula'ss sacredsacred musicmusic wawass conditionedconditioned byby thethe instru•instru- sopranossopranos wherewhere ththee phrasphrase"e "eet t vivivivificantem"f icantem" iiss enliveneenlivenedd mentalmental musicmusic forfor whicwhichh hhee isis bestbest knownknown.. HiHiss ensembleensemble byby a virtuosicvirtuosic passagepassage onon thethe worword"d "et.et." " TheThe finalfinal section,section, canzonascanzonas werewere importantimportant stepssteps towardtoward ththee sonatasonata dada "Et"Et vitamvitam ...... amen,"amen," hahass a motivicmotivic connectionconnection withwith thethe chiesachiesa iinn theirtheir designdesign andand idiomaticidiomatic writingwriting foforr ththee violin.violin. descendingdescending patternpattern ofof ththee "Crucifixus,""Crucifixus," invertedinverted intointo HisHis firstfirst publicationpublication inin 16151615 waswas a collectioncollection ofof instru•instru- ascendinascendingg melodymelody.. BeguBegunn bbyy soloistssoloists iinn widelwidelyy spacedspaced mentamentall musimusicc whicwhichh containedcontained formformss thathatt hhee latelaterr useusedd inin fugalfugai entrieentriess (rathe(ratherr thathann closclosee imitation)imitation),, ththee intervalsintervals vocavocall musicmusic,, suchsuch asas ththee chaconne.chaconne. HHee wawass particularlyparticularly becombecomee shorteshorterr asas texturtexturee thickenthickenss andand ththee entireentire en•en- fonfondd ofof ththee traditionatraditionall basbasss patternpatternss whicwhichh stillstill persistedpersisted semblesemble joinjoinss in,in, shiftingshifting tonatonall centercenterss rapidlrapidlyy untiuntill thethe iinn ththee seventeenthseventeenth century.century. A settinsettingg ooff ththee psalmpsalm finafinall G majomajorr cadence.cadence. "Beatu"Beatuss virvir"" iinn Pegaso musicale,musicale, 1640, 1640, uses uses thethe Romanesca Romanesca patternpattern.. ThThee masmasss discussediscussedd belobeloww iiss basebasedd oonn thethe RuggierRuggieroo patterpatternn (no(nott ththee AriAriaa dedell GraGrann DucDucaa mentionedmentioned ChinellChinellii adoptadoptss ththee samsamee texturatexturall contrastcontrastss anandd combina•combina- iinn ththee title.)title.) tiontionss ooff solsoloo voicevoicess anandd instrumentinstrumentss foforr ththee shorteshorterr move•move- mentsments.. ThThee SanctusSanctus doedoess nonott includincludee ththee BenedictuslBenedictus/ OsannOsannaa texttext.. IInn ththee AgnuAgnuss DeDeii alalll threthreee invocationinvocationss areare ThesThesee basbasss patternpatternss traditionalltraditionallyy formeformedd ththee basibasiss forfor setset.. ThThee firsfirstt twtwoo araree nearlnearlyy alikealike:: chordachordall openingsopenings instrumentainstrumentall improvisationimprovisationss oveoverr theitheirr repeaterepeatedd formu•formu- followefollowedd bbyy solsoloo passagespassages,, beginninbeginningg oonn G anandd A respecrespec•- laslas.. ComposerComposerss searchinsearchingg foforr meanmeanss ooff organizinorganizingg longlong tiveltivelyy (recallin(recallingg ththee successivelsuccessivelyy highehigherr entrieentriess ooff ththee "Et"Et vocavocall workworkss sometimesometimess turneturnedd ttoo thethemm anandd theitheirr accom•accom- resurrexit")resurrexit").. ThThee thirdthird,, "Agnu"Agnuss DeDeii . . . dondonaa nobisnobis panyinpanyingg melodiemelodiess (a(ass dididd MonteverdMonteverdii iinn hihiss settinsettingg ooff thethe pacempacem"" iinn tripltriplee metermeter,, iiss relaterelatedd onlonlyy bbyy ititss fulfulll chordalchordal madrigamadrigall "Ohimè"Ohime,, dov'dov'eè iill mimioo benben"" oonn ththee RomanescaRomanesca

xv ariaaria andand bass.bass.)) MerulaMerula,, however,however, waswas thethe onlyonly composercomposer sectionsection "Crucifixus"Crucifixus...... passus,"passus," oftenoften anan opportunityopportunity forfor toto publishpublish anan entireentire massmass writtenwritten overover a repeatedrepeated bassbass a shiftshift toto thethe minorminor modemode oror unusualunusual harmonies,harmonies, isis passedpassed pattern.pattern. overover withoutwithout specialspecial treatmenttreatment inin thisthis bass-orientedbass-oriented mass.mass. However,However, "Et"Et resurrexit"resurrexit" isis givengiven anan ornateornate TenorTenor solo.solo. TheThe remainder,remainder, exceptexcept asas notednoted above,above, isis similarsimilar toto TheThe formform ofof eacheach movementmovement isis dictateddictated byby thethe RuggieroRuggiero thethe Gloria:Gloria: syllabicsyllabic settingssettings ofof thethe texttext inin briebrieff imitativeimitative bass.bass. TheThe bassobasso continuocontinuo partpart consistsconsists ofof thethe basibasicc patternpattern texture.texture. AllAll threethree voicesvoices participateparticipate moremore oror lessless equallyequally statedstated fivefive timestimes withwith a briebrieff extensionextension atat thethe close.close. ItIt inin thethe motivicmotivic interplay;interplay; onlyonly occasionallyoccasionally doesdoes thethe BassoBasso carriescarries thethe instructionalinstructional rubricrubric "Si"Si replicareplica questoquesto BassoBasso singsing a cadentialcadential formulaformula asas harmonicharmonic supportsupport (as(as inin m.m. SopraSopra ilil Kyrie,Kyrie, Gloria,Gloria, Credo,Credo, Sanctus,Sanctus, & Agnus."Agnus." ItItss 77.) thirty-ninthirty-ninee measuresmeasures determinedetermine thethe lengthlength ofof eacheach move•move- mentment exceptexcept thethe Credo,Credo, wherewhere thethe lengthylengthy texttext requiresrequires thethe continuocontinuo parpartt toto bebe repeatedrepeated threethree times.times. ClearClear divi•divi- Sanctus,Sanctus, inin muchmuch thethe samesame style,style, hashas nono settingsetting ofof thethe sionssions inin thethe vocalvocal partpartss indicateindicate thethe threethree sections.sections. Benedictus/OsannaBenedictus/Osanna text.text. AgnusAgnus DeiDei isis givengiven a moder•moder- atelyately ornateornate motivemotive atat itsits beginning.beginning. TheThe twotwo invocationsinvocations (Agnus(Agnus DeiDei...... misereremiserere nobis;nobis; AgnusAgnus DeiDei...... donadona nobisnobis MerulaMerula preferrepreferredd small-scalesmall-scale settingssettings ofof churchchurch music.music. pacem)pacem) areare basebasedd onon similarsimilar music,music, slightlyslightly changedchanged byby OnlOnlyy hishis OpOp.. 1515 containscontains worksworks forfor eigheightt andand twelvetwelve differentdifferent orderorder ofof voicevoice entriesentries andand variantsvariants inin rhythm.rhythm. voices;voices; allall othersothers areare setset forfor twotwo toto fivefive voices.voices. TheThe threethree voices-Canto,voices—Canto, Tenore,Tenore, andand Basso-calledBasso—called forfor inin thisthis massmass areare writtenwritten inin thethe progressiveprogressive stylestyle ofof few-voicefew-voice Merula,Merula, a talentedtalented composercomposer ofof instrumentalinstrumental music,music, worksworks ofof thethe 1630s1630s andand 1640s.1640s. InIn thethe Kyrie,Kyrie, CantoCanto andand madrigals,madrigals, andand monodies,monodies, imbuesimbues hishis sacredsacred musicmusic withwith TenoreTenore oftenoften singsing duetduet passages,passages, beginninbeginningg imitativelyimitatively theirtheir formsforms andand idioms.idioms. HisHis economiceconomic useuse ofof thematicthematic andand joininjoiningg atat thethe close.close. TheThe BassoBasso isis occasionallyoccasionally givengiven a material,material, penchanpenchantt forfor groundground bassbass formulas,formulas, andand lively,lively, solo,solo, bubutt moremore oftenoften participateparticipatess inin triotrio textures.textures. ItIt eithereither instrumentallyinstrumentally conceivedconceived stylestyle areare wellwell illustratedillustrated inin thisthis imitatesimitates motivesmotives presentepresentedd byby thethe otherother voicesvoices oror func•func- brief,brief, uniqueunique mass.mass. tionstions asas a (sometimes(sometimes decorated)decorated) vocalvocal bassbassoo continuo,continuo, givinggiving harmoniharmonicc foundatiofoundationn ttoo thethe uppeupperr voicesvoices.. ThThee syllabicsyllabic settingsetting ofof thethe texttext isis enlivenedenlivened byby interestinginteresting melodicmelodic profilesprofiles andand occasionaloccasional passaggi onon a singlesingle syl•syl- GIOVANNIGIOVANNI ANTONIOANTONIO RIGATTIRIGATTl, , lable.lable. ThoughThough thethe harmoniesharmonies areare dictateddictated byby thethe implica•implica- MESSAMESSA [A[A TRETRE VOCIVOCI CONCERTATI],CONCERTATI], tionstions ofof thethe repeatedrepeated basbasss patternpattern,, Merula'sMerula's melodicmelodic andand 16431643 rhythmicrhythmic inventioninvention inin thethe vocalvocal partsparts keepskeeps thethe workwork alivealive andand interesting.interesting. GloriaGloria beginsbegins withwith a BassoBasso solosolo onon A VenetianVenetian bornborn inin 1615,1615, GiovanniGiovanni AntonioAntonio RigattiRigatti waswas "Et"Et inin terra,"terra," extendingextending fromfrom itsits openingopening g downwarddownward toto ordainedordained a priestpriest atat anan earlyearly age.age. InIn 16351635 hehe assumedassumed hishis D;D; itsits lowlow notesnotes typicallytypically illustrateillustrate thethe lowlinesslowliness ooff firstfirst musicalmusical postpost asas maestro di cappella at at the the cathedral cathedral in in "terra.""terra." TheThe movementmovement isis unusuallyunusually brief,brief, tailoredtailored toto fitfit Udine,Udine, northeastnortheast ofof Venice.Venice. AlthoughAlthough hehe waswas highlyhighly thethe thirty-ninethirty-nine measuresmeasures ofof thethe bassobasso continuocontinuo part.part. OnlyOnly esteemedesteemed therethere,, hehe returnedreturned toto VeniceVenice inin 16371637 asas singersinger inin thethe wordswords "Iesu"Iesu Christe"Christe" inin m.m. 3434 receivereceive anan ornateornate thethe choirchoir atat SanSan MarcoMarco andand teacherteacher ofof singingsinging atat ththee treatment;treatment; thethe restrest isis largelylargely syllabicsyllabic withwith hardlyhardly anyany ConservatorioConservatorio deglidegli Incurabili.Incurabili. OneOne ofof thethe mostmost promis•promis- wordword repetitionrepetition exceptexcept whatwhat isis requiredrequired toto accommodateaccommodate inging composerscomposers ofof thethe post-Monteverdipost-Monteverdi generationgeneration,, hehe thethe imitativeimitative texture.texture. dieddied inin 16491649 atat thethe earlyearly ageage ofof thirty-fourthirty-four years.years.

CredoCredo isis divideddivided intointo threethree equalequal partsparts:: "Patrem"Patrem ThreeThree ofof Rigatti'Rigatti'ss ninenine publicationpublicationss ofof churchchurch musicmusic omnipotentem";omnipotentem"; "Et"Et incamatus";incarnatus"; andand "Et"Et inin spiritum,"spiritum," containcontain masses.masses. AllAll threethree appearappear inin collectionscollections ofof psalms,psalms, eacheach thirty-ninethirty-nine measuresmeasures long.long. ThereThere isis somesome melodicmelodic inin thethe combinationcombination favoredfavored bbyy composerscomposers andand publisherspublishers similaritysimilarity toto thethe Gloria,Gloria, especiallyespecially inin thethe BassoBasso solosolo atat atat thisthis time.time. TheThe earliestearliest publicationpublication,, fromfrom 1640,1640, isis anan "Genitum"Genitum nonnon factum"factum" whichwhich resemblesresembles "Et"Et inin terra"terra" ooff impressiveimpressive compilationcompilation ofof musicmusic forfor voicesvoices andand instru•instru- thethe Gloria.Gloria. ThisThis maymay bebe duedue toto thethe limitinglimiting effecteffect ofof ththee ments:ments: a festivefestive messa concertata, large-large- andand small-scalesmall-scale basbasss patternpattern;; botbothh passagespassages adhereadhere toto itit closelyclosely (see(see alsoalso concertato settingssettings ofof psalmspsalms,, da cappella psalms,psalms, andand 6 "conglorificatur.")"conglorificatur.") MotivesMotives onon "descendit""descendit" areare instru•instru- MarianMarian antiphons.6 ThThee otherother twotwo prints,prints, fromfrom 16431643 andand mentalmental inin nature,nature, moremore suitablesuitable toto fingersfingers thanthan voice.voice. TheThe 16481648 respectively,respectively, areare onon a moremore modestmodest scale,scale, withoutwithout

xvi instruments,instruments, clearlyclearly intendedintended forfor smallsmall churcheschurches withwith metermeter solosolo forfor TenorTenor II inin flowingflowing bel cantocanto style, style, followedfollowed limitedlimited resources.resources. TheThe massmass reproducedreproduced inin thisthis volumevolume byby a similarsimilar passagepassage forfor fullfull ensembleensemble inin varyingvarying combi•combi- comescomes fromfrom a 16431643 reprint;reprint; thethe originaloriginal editionedition isis nono nationsnations ofof voices.voices. AfterAfter a chordalchordal "Et"Et inin terra"terra" inin dupleduple longerlonger extant.extant. meter,meter, a triotrio ofof soloistssoloists inin tripletriple metermeter singsing ornateornate solossolos oror duets,duets, builtbuilt onon sequentiallysequentially descendingdescending patternspatterns onon "Laudamus"Laudamus te."te." AfterAfter a fullfull close,close, markedmarked Presto, onon RigattiRigatti andand hishis contemporariescontemporaries werewere composingcomposing atat aa "glorificamus"glorificamus te,"te," TenorTenor IIII singssings inin a contrastingcontrasting syllabic,syllabic, crucialcrucial pointpoint ofof changechange inin sacredsacred music.music. MusicalMusical estab•estab- declamatorydeclamatory stylestyle inin dupleduple metermeter atat "Gratias"Gratias agimus,"agimus," lishmentslishments inin northernnorthern ItalyItaly hadhad lostlost significantsignificant numbersnumbers markedmarked Adasio [sic].[sic]. ThereThere followsfollows anan unusualunusual disruptiondisruption ofof personnelpersonnel duringduring thethe plague.plague. Cappelle musicali, musicali, which which ofof thethe text:text: "Gratias"Gratias agimusagimus...... gloriamgloriam tuam"tuam" isis repeatedrepeated onceonce ideallyideally consistedconsisted ofof finefine choirs,choirs, nownow soughtsought newnew beforebefore eacheach ofof thethe threethree followingfollowing phrasesphrases (i.e. "Dominus"Dominus recruitsrecruits amongamong excellentexcellent soloistssoloists fromfrom thethe operaopera houseshouses DeusDeus RexRex..." ..."; ; "Domine"Domine fillfili unigeniteunigenite..." ..."; ; andand "Domine"Domine whichwhich beganbegan toto proliferateproliferate aboutabout thisthis time.time. SacredSacred musicmusic DeusDeus AgnusAgnus Dei ...... "") ) asas thethe phrasephrase isis sungsung atat differentdifferent becamebecame penetratedpenetrated withwith operaticoperatic style,style, especiallyespecially inin tonaltonal levelslevels byby thethe threethree voicesvoices inin tum.turn. A sequentialsequential Venice,Venice, wherewhere thethe tastetaste forfor operaopera grewgrew rapidly.rapidly. WithWith patternedpatterned rouladeroulade isis givengiven toto thethe BassoBasso onon thethe wordword Rigatti'sRigatti's mass,mass, thisthis historicalhistorical surveysurvey movesmoves directlydirectly intointo "Dei.""Dei." "Qui"Qui tollis"tollis" isis sungsung byby fullfull ensemble,ensemble, profiledprofiled thethe mid-Baroquemid-Baroque style,style, clearlyclearly influencedinfluenced byby opera.opera. rhythmicallyrhythmically byby itsits entryentry onon thethe secondsecond beatbeat afterafter a quarterquarter restrest inin allall voices.voices. "Miserere"Miserere nobis,"nobis," sungsung byby thethe TheThe massmass isis scoredscored forfor threethree solosolo voicesvoices (two(two tenorstenors andand threethree solosolo voices,voices, makesmakes thethe samesame syncopatedsyncopated entry,entry, bass),bass), andand a ripienoripieno choirchoir ofof fourfour parts;parts; entrancesentrances ofof solisoli mademade moremore urgenturgent byby substitutingsubstituting anan eightheighth restrest atat itsits andand thethe optionaloptional ripieniripieni (a(à beneplacito) areare clearlyclearly indi•indi- secondsecond statement.statement. TheThe secondsecond "Qui"Qui tollis,"tollis," similarsimilar toto thethe cated.cated. TheThe workwork consistsconsists ofof Kyrie,Kyrie, Gloria,Gloria, andand Credo;Credo; first,first, isis followedfollowed byby a chordalchordal "Suscipe""Suscipe" inin triple-metertriple-meter dotted rhythms, repeated insistently. At "deprecationem neitherneither SanctusSanctus nornor AgnusAgnus DeiDei isis included.included. AllAll threethree dotted rhythms, repeated insistently. At"deprecationem nostram" the syncopated rhythm of "miserere" and its movementsmovements areare tonallytonally centeredcentered inin a minor/A major.major. nostram" the syncopated rhythm of "miserere" and its duple meter return, musically unifying these two AlthoughAlthough therethere areare nono obbligatoobbligato instrumentsinstruments thethe vocalvocal duple meter return, musically unifying these two phrases of text. However, further parallels implicit in this writingwriting isis oftenoften influencedinfluenced byby sequentialsequential instrumentalinstrumental phrases of text. However, further parallels implicit in this text at "Qui sedes... miserere" are not pursued; instead, patterns.patterns. ShortShort notenote values,values, especiallyespecially sixteenthsixteenth notes,notes, text at "Qui sedes ... miserere" are not pursued; instead, the two tenors sing new motives in duet fashion. areare noticeablynoticeably moremore numerousnumerous thanthan beforebefore inin dupleduple the two tenors sing new motives in duet fashion. "Quoniam tu solus sanctus ..." is given a patterned meter,meter, requiringrequiring a highhigh levellevel ofof vocalvocal skillskill inin solosolo parts.parts. "Quoniam tu solus sanctus ..." is given a patterned passage for soloists, punctuated by tutti declamatory Triple-meterTriple-meter sectionssections typicaltypical ofof bel cantocanto arias arias are are found found inin passage for soloists, punctuated by tutti declamatory chords. At the final section the preceding meter and largelarge proportion.proportion. DynamicDynamic markingsmarkings (forte, piano) andand chords. At the final section the preceding meter and texture extend through the initial phrase "Cum Sancto tempo/moodtempo/mood indicationsindications (adasio [sic],[sic], presto) appearappear texture extend through the initial phrase "Cum Sancto Spiritu," then shift to contrasting triple meter and solo moremore frequentlfrequentlyy thanthan inin previousprevious worksworks ofof thisthis series.series. Spiritu," then shift to contrasting triple meter and solo texturetexture foforr ththee remaininremainingg texttext,, "in"in gloriagloria DeiDei patrispatris amen.amen."" AfteAfterr a reiteratioreiterationn ooff ththee chordalchordal musicmusic,, a briefbrief OpeningOpening witwithh anan impressiveimpressive tenortenor solo,solo, ththee KyriKyrie e imme•imme- returreturnn toto duplduplee metermeter provideprovidess a harmoniharmonicc postlude,postlude, diateldiatelyy setsetss ththee operaticoperatic tontonee ooff ththee massmass.. ItIt almostalmost beginninbeginningg oonn ththee tonitonicc a minominorr anandd endinendingg oonn E major,major, asas immediatelimmediatelyy burstburstss intintoo a shorshortt ornamentaornamentall passagpassagee ooff dididd ththee KyrieKyrie,, aass a bridgbridgee ttoo ththee nexnextt movement.movement. sixteenthsixteenth anandd thirty-seconthirty-secondd notesnotes,, reachinreachingg uupp ttoo gl.gl. AfteAfterr a briebrieff chordachordall statemenstatementt foforr fulfulll ensembleensemble,, a mod•mod- erateleratelyy ornatornatee motivemotive,, mormoree instrumentainstrumentall thathann vocal,vocal, ThThee CredCredoo beginbeginss witwithh a brisbriskk rhythmirhythmicc settinsettingg ooff appearappearss iinn TenoTenorr II,, imitateimitatedd brieflbrieflyy bbyy ththee otheotherr solosolo "Patrem"Patrem omnipotentem"omnipotentem" forfor fullfull ensembleensemble,, iinn whicwhichh thethe voicesvoices,, followefollowedd bbyy a fulfulll cadentiacadentiall closclosee witwithh movingmoving onlonlyy decorativdecorativee phrasphrasee iiss givegivenn ttoo ththee TenoTenorr RipienoRipieno.. AtAt inneinnerr partsparts.. "Christ"Christee eleisoneleison"" iiss givegivenn a shorshortt syllabicsyllabic "E"Ett iinn unuunumm DominumDominum"" beginbeginss a serieseriess ooff syllabisyllabicc set•set- motivemotive,, brisklbrisklyy imitateimitatedd bbyy alalll solsoloo voicesvoices.. KyriKyriee IIII con•con- tingtingss assigneassignedd ttoo differendifferentt solsoloo voicevoicess whicwhichh consumconsumee thethe sistsistss ooff fulfulll chordchordss iinn a stereotypestereotypedd dottedottedd halhalf/f /quarter quarter // textextt rapidlyrapidly,, closinclosingg witwithh ornateornate,, sequentiallsequentiallyy patternedpatterned wholwholee notnotee motivmotivee whicwhichh emphasizeemphasizess ththee statelstatelyy rhythmrhythm duetduetss oonn "descendit."descendit."" "E"Ett incarnatuincarnatuss est,est,"" traditionallytraditionally ooff ththee wordswords.. ThThee movemenmovementt endendss iinn E majormajor,, aass domi•domi- givegivenn chordachordall treatmentreatmentt aass befitbefitss ththee solemnitsolemnityy ooff thethe nannantt ooff ththee basibasicc a minor.minor. wordswords,, iiss freshlfreshlyy varievariedd bbyy solsoloo passagepassagess foforr TenoTenorr 2 whicwhichh precedprecedee ththee chordachordall settingsettingss ooff ititss twtwoo phrasesphrases..

BeginninBeginningg witwithh ththee textextt usuallusuallyy sunsungg bbyy ththee celebrant,celebrant, "Glori"Gloriaa iinn excelsiexcelsiss Deo,Deo,"" ththee GloriGloriaa openopenss witwithh a tripletriple-- AAss furthefurtherr indicatioindicationn ooff operatioperaticc influenceinfluence,, ththee initiainitiall notenote ooff ththee "Crucifixus"Crucifixus"" dueduett iiss givegivenn a triltrilll markmark,, t., oveoverr ththee

xvii TenorTenor 1 part,part, aa rarerare indicationindication inin massesmasses ofof earlierearlier years.years. mm.mm. 24-25,24-25, CantusCantus 2:2: naturalsnaturals beforebefore b1bl missingmissing inin AtAt "passus"passus etet sepultussepultus est"est" a melodicmelodic descendingdescending dimin•dimin- source.source, ishedished fourthfourth givesgives poignanpoignantt expressionexpression toto ththee texttext.. InIn m.m. 43,43, Altus:Altus: superfluoussuperfluous metermeter indicationindication inin source.source, effectiveeffective contrast,contrast, thethe followingfollowing "Et"Et resurrexitresurrexit ...... etet m.m. 55,55, BassoBasso continuo:continuo: sharpsharp isis misplacedmisplaced inin source;source; refersrefers ascendit"ascendit" phrasephrase isis setset toto risingrising motivesmotives inin tripletriple meter.meter. toto secondsecond chord.chord, TheThe finalfinal section,section, "Et"Et iterumiterum ... "" alternatesalternates chordalchordal m.m. 62,62, CantusCantus 2:2: naturalnatural beforebefore b1bl missingmissing inin source.source, declamatorydeclamatory texturetexture withwith duetsduets andand solossolos forfor twotwo tenors.tenors. m.m. 64,64, CantusCantus 2:2: sharpsharp beforebefore firstfirst gl missingmissing inin source.source, AfterAfter a briefbrief triple-metertriple-meter section,section, thethe movementmovement closescloses m.m. 74,74, BassoBasso continuo:continuo: sharpsharp beforebefore F missingmissing inin source.source, withwith a plagalpiagai cadencecadence inin A major.major. m.m. 75,75, BassoBasso continuo:continuo: naturalnatural underunder G missingmissing inin source.source, m.m. 76,76, CantusCantus 1:1: naturalnatural beforebefore firstfirst b1bl missingmissing inin source.source, m.m. 81,81, Bassus:Bassus: flat beforebefore e missingmissing inin source.source, WithWith thisthis small-scalesmall-scale mass,mass, RigattiRigatti bringsbrings thethe newnew stylis•stylis- m.m. 91,91, Bassus:Bassus: naturalnatural beforebefore B missingmissing inin source.source, tictic idealsideals ofof thethe mid-Baroquemid-Baroque toto thethe liturgyliturgy ofof thethe smallsmall m.m. 93,93, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, provincialprovincial church.church. ItsIts fluidfluid melodiesmelodies andand patternedpatterned m.m. 158,158, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. passaggi werewere attractiveattractive enoughenough toto requirerequire aa thirdthird editionedition inin 1657,1657, sixsix yearsyears afterafter hishis prematurepremature death.death. ColorationColoration (source(source showsshows blackblack semibreve,semibreve, minimminim inin tripletriple meter):meter): mm.mm. 58-60,58-60, allall parts;parts; m.m. 61,61, allall parts;parts; mm.mm. 62-64,62-64, allall parts;parts; SOURCES FOR THIS VOLUME m.m. 65,65, allall parts;parts; mm.mm. 66-68,66-68, allall parts.parts. SOURCES FOR THIS VOLUME SonataSonata avantiavanti ilil Gloria:Gloria: ThereThere areare separateseparate partsparts forfor ViolinoViolino andand Cornetto,Cornetto, bothboth MassesMasses byby Grandi,Grandi, Chinelli,Chinelli, andand MerulaMenila areare transcribedtranscribed exactlyexactly thethe same.same. NoNo partpart existsexists forfor TromboneTrombone [I].[I]. Clefs:Clefs: fromfrom printsprints inin thethe CivicoCivico MuseoMuseo BibliograficoBibliografico Musicale,Musicale, ViolinoViolino/Cornetto / Cornetto,, G2;G2; TromboneTrombone [II],[II], C4;C4; TromboneTrombone [III],[III], Bologna;Bologna; thethe massmass byby RigattiRigatti isis transcribedtranscribed fromfrom a printprint inin F2.F2. thethe LibraryLibrary ofof thethe DeanDean andand Chapter,Chapter, WestminsterWestminster Ab•Ab- Gloria:Gloria: bey,bey, London.London. AllAll areare usedused withwith kindkind permission.permission. InstrumentalInstrumental clefs:clefs: TromboneTrombone [I],[I], C4;C4; TromboneTrombone [II],[II], F3F3;; TromboneTrombone [III],[III], F4.F4. mm.mm. 3-4,3-4, BassoBasso continuo:continuo: sharpssharps inin sourcesource beforebefore B EDITORIALEDITORIAL COMMENTSCOMMENTS pitchespitches areare errors;errors; sharpsharp missingmissing beforebefore F.F. AND CORRECTIONS m.m. 23,23, CantusCantus 1:1: sharpsharp beforebefore G1Gl missingmissing inin source;source; BassoBasso AND CORRECTIONS continuo:continuo: sharpsharp underunder e missingmissing inin source.source. m.m. 28,28, BassoBasso continuo:continuo: sharpsharp underunder secondsecond A missingmissing inin OriginalOriginal clefsclefs areare asas followsfollows unlessunless notednoted above:above: Canto,Canto, source.source. C1;CI; Alto,Alto, C3;C3; Tenore,Tenore, C4;C4; Basso,Basso, F4.F4. InstrumentalInstrumental clefsclefs areare m.m. 29,29, CantusCantus 2:2: sharpsharp beforebefore c2 missingmissing inin source;source; BassoBasso notednoted below,below, wherewhere theythey appear.appear. InIn voicevoice partsparts whichwhich continuo:continuo: sharpsharp underunder A missingmissing inin source.source. havehave beenbeen transcribedtranscribed anan octaveoctave higherhigher (e.g. tenor),tenor), m.m. 33,33, CantusCantus 2:2: firstfirst sharpsharp misplacedmisplaced inin source;source; refersrefers toto pitchespitches areare describeddescribed accordingaccording toto theirtheir originaloriginal positionposition firstfirst gl;gl; BassoBasso continuo:continuo: sharpsharp underunder thirdthird e mis•mis- onon thethe staffstaff withoutwithout regardregard toto transposition.transposition. EditorialEditorial placedplaced inin source.source. emendationsemendations mademade toto thethe figuredfigured bassbass toto reflectreflect harmo•harmo- m.m. 38,38, BassoBasso continuo,continuo, sharpsharp underunder e missingmissing inin source.source. niesnies indicatedindicated inin thethe partsparts areare includedincluded inin thethe listlist ooff e m.m. 47,47, Tenore/Alto/Trombone:Tenore/Alto/Trombone: sharpsharp beforebefore c1cl missingmissing correctedcorrected errors.errors. inin source.source. m.m. 48,48, BassoBasso continuo:continuo: flat underunder G,G, sharpsharp underunder AA AlessandrAlessandroo Grandi,Grandi, missingmissing inin source;source; CantoCanto Capella:Capella: flat beforebefore b1bl miss•miss- Messa concertata,concertata, 1630 163 0 inging inin source.source. m.m. 49,49, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. AAllH sectionssections inin tripletriple metermeter bearbear thethe metermeter indicationindication 33.. m.m. 51,51, CantusCantus 1:1: sharpsharp beforebefore secondsecond G1;GÌ; Cornetto:Cornetto: sharpsharp Kyrie:Kyrie: beforebefore secondg1;second gl; CantoCanto Capella:Capella: sharpsharp beforebefore secondsecond m.m. 15,15, CantusCantus 2:2: notenote valuesvalues semibreve,semibreve, twotwo minimsminims inin g;g) BassoBasso continuo:continuo: sharpsharp underunder e allall missingmissing inin source.source. sourcesource areare errors.errors. m.m. 52,52, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. m.m. 24,24, BassoBasso continuo:continuo: sharpsharp beforebefore G inin sourcesource isis mis•mis- m.m. 56,56, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. placed;placed; refersrefers toto thirdthird ofof chord.chord. m.m. 57, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. m.m. 61,61, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source.

xvtnxviii m.m. 63,63, BassoBasso continuo:continuo: sharpsharp undeunderr e missingmissing inin source.source, m.m. 158,158, Cometto:Cornetto: sharpsharp beforebefore fl; TromboneTrombone [II]:[II]: sharpsharp m.m. 66,66, TromboneTrombone [III]:[III]: sharpsharp beforebefore g missingmissing inin source.source, before/beforef; ; BassoBasso continuo:continuo: sharpsharp undeunderr d allall missingmissing inin m.m. 72,72, Tenore/Alto/Trombone:Tenore/Alto/Trombone: sharpsharp beforbeforee c1;cl; BassoBasso source.source. continuo:continuo: sharpsharp underunder A botbothh missingmissing inin source.source, m.m. 162,162, Canto:Canto: finalfinal notenote isis e1el inin source.source. m.m. 74,74, CantoCanto Capella:Capella: sharpsharp beforbeforee F1;Fl; BassoBasso continuo:continuo: ColorationColoration (sourc(sourcee showsshows blackblack semibreve,semibreve, brevebreve inin sharp under both missing in source. sharp under d both missing in source, tripletriple meter)meter) m.m. 76,76, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 84,84, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 23,23, CantusCantus 1,1, BassoBasso continuo;continuo; m.m. 29,29, CantusCantus 1;1; m.m. 111,Ill, m.m. 90,90, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, CantusCantus 2,2, BassoBasso continuo;continuo; m.m. 116,116, Alto/Tenore,Alto/Tenore, m.m. 92,92, CantoCanto Capella:Capella: sharpsharp beforebefore/I f1;; BassoBasso continuo:continuo: TromboneTrombone [II],[II], TromboneTrombone [III],[III], BassoBasso continuo;continuo; m.m. sharpsharp underunder d bothboth missingmissing inin source.source, 133,133, Alto/TenoreAlto/Tenore,, TromboneTrombone [II],[II], TromboneTrombone [III],[III], m.m. 93,93, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, BassoBasso continuo;continuo; mm.. 153,153, Alto/Tenore.Alto/Tenore. m.m. 94,94, CantusCantus 1:1: naturalnatural beforbeforee c2;c2; Tenor/Tenor/Altus/Trom Altus/Trom•- Credo:Credo: bone:bone: naturalnatural beforbeforee c1;ci; Violino:Violino: naturalnatural beforebefore c2c2;; InstrumentalInstrumental clefs;clefs; TromboneTrombone [I],[I], C4;C4; TromboneTrombone [II],[II] , F3;F3 ; TenoreTenore Capella:Capella: naturalnatural beforebefore c1cl allall missingmissing inin TromboneTrombone [III],[III], F4.F4. AmpersandsAmpersands areare usedused forfor "et";"et"; "cum"cum source.source, glorificatur"glorificatur" appearsappears insteadinstead ofof thethe usualusual m.m. 97,97, BassoBasso continuo:continuo: sharpsharp undeunderr e missingmissing inin source.source, "conglorificatur.""conglorificatur." TheThe "Crucifixus,""Crucifixus," forfor CantoCanto 1 andand m.m. 101,101, TenorTenor Capella:Capella: sharpsharp beforbeforee c1;cl; BassoBasso continuo:continuo: BassoBasso continuo,continuo, isis givengiven inin partiturpartituraa inin thethe BassoBasso continuocontinuo sharpsharp undeunderr A botbothh missingmissing inin source.source, partpart.. m.m. 103,103, Cometto:Cornetto: naturalnaturalbeforegl before gl;; BassoBasso continuo:continuo: sharpsharp m.m. 4,4, BassoBasso continuo:continuo: sharpsharp beforebefore A inin sourcesource isis anan error.error, underunder E bothboth missingmissing inin source.source, m.m. 5,5, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 104,104, Cometto:Cornetto: sharpsharp beforebefore/l f1;; BassoBasso continuo:continuo: sharpsharp m.m. 7,7, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, underunder d bothboth missingmissing inin source.source, m.m. 8,8, CantoCanto Capella:Capella: sharpsharp beforebefore gl; BassoBasso continuo:continuo: m.m. 107,107, CantusCantus 2:2: sharpssharps beforebefore f1/I andand gl missingmissing inin sharpsharp underunder e bothboth missingmissing inin source.source, source;source; BassoBasso continuo:continuo: secondsecond notenote d isis anan error.error, m.m. 9,9, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 111,Ill, CantusCantus 2:2: sourcesource misspellsmisspells syllablesyllable "nem""nem" asas m.m. 11,11, BassBassoo continuo:continuo: sharpsharp underunder d missingmissing inin source.source, "rum";"rum"; BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin m.m. 16,16, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, source.source, m.m. 17,17, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 115,115, TromboneTrombone [II]:[II]: flatflat beforbeforee b missingmissing inin source.source, m.m. 26,26, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 117,117, CantoCanto Capella:Capella: sharpsharp before/lbefore f1;; BassoBasso continuo:continuo: m.m. 36,36, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, sharpsharp underunder d bothboth missingmissing inin source.source, m.m. 38,38, TromboneTrombone [III]:[III]: sharpsharp beforbeforee c missingmissing inin source.source, m.m. 118,118, BassoBasso continuo:continuo: figurefigure 6 missingmissing inin source.source, m.m. 45,45, BassoBasso continuo:continuo: sharpsharp undeunderr e missingmissing inin source.source, m.m. 119,119, CantusCantus 1:1: naturalnatural beforebefore c2;cl; Tenor/Tenor/Altus/Trom Altus/Trom•- m.m. 46,46, BassoBasso continuo:continuo: figurefigure 6,6, sharpsharp undeunderr e missingmissing inin bone:bone: naturalnatural beforebefore c1;cl; Violino:Violino: naturalnatural beforbeforee c2;cl; source.source, TenorTenor Capella:Capella: naturalnatural beforebefore c1cl allall missingmissing inin source.source, m.m. 47,47, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, mm.mm. 121-122,121-122, CantusCantus 2:2: glg2 andand g sharp2sharp! areare slurredslurred m.m. 50,50, AltoAlto Capella:Capella: minimminim g inin sourcesource isis anan error;error; BassoBasso togethertogether inin source.source, continuo:continuo: sharpssharps undeunderr A andand d missingmissing inin source.source, m.m. 122,122, BassoBasso continuo:continuo: sharpsharp undeunderr e missingmissing inin source.source, m.m. 59,59, BassoBasso continuo:continuo: sharp,sharp, figurefigure 4 underunder A missingmissing inin m.m. 129,129, BassBassoo continuo:continuo: sharpsharp undeunderr d missingmissing inin source.source, source.source, m.m. 130,130, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 60,60, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 136,136, BassoBasso continuo:continuo: firstfirst sharpsharp misplaced,misplaced, refersrefers toto m.m. 65,65, BassoBasso continuo:continuo: sharp,sharp, figurefigure 4 undeunderr A missingmissing inin firstfirst e. source.source, m.m. 138,138, Alto/Tenore:Alto/Tenore: sharpsharp beforebefore f1;/I; BassoBasso continuo:continuo: m.m. 66,66, BassoBasso continuo:continuo: sharpsharp undeunderr A missingmissing inin source.source, sharpsharp underunder d bothboth missingmissing inin source.source, m.m. 67,67, BassoBasso continuo:continuo: sharpsharp undeunderr d missingmissing inin source.source, m.m. 139,139, Alto:Alto: firstfirst notenote isis e1el inin source.source, m.m. 70,70, BassoBasso continuo:continuo: sharpsharp undeunderr e missingmissing inin source.source, m.m. 144,144, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 74,74, BassBassoo continuo:continuo: sharpsharp undeunderr e missingmissing inin source.source, m.m. 148,148, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 77,11, AltoAlto Capella:Capella: sharpsharp beforbeforee c2;c2; BassoBasso continuo:continuo: m.149,m. 149, CantusCantus 2:2: sharpsharp beforebefore secondfl;second/1; BassoBasso continuo:continuo: sharpsharp underunder A bothboth missingmissing inin source.source, sharpsharp underunder d bothboth missingmissing inin source.source, m.m. 78,78, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 153,153, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 83,83, BassoBasso continuo:continuo: sharpsharp 3,3, 4 undeunderr e missingmissing inin m.m. 155,155, TromboneTrombone [II]:[II]: flatflat beforbeforee b missingmissing inin source.source, source.source, m.m. 156,156, TromboneTrombone [III]:[III]: sharpsharp beforebefore F;F; BassoBasso continuo:continuo: m.m. 84,84, BassoBasso continuo:continuo: sharpsharp undeunderr e missingmissing inin source.source. sharpsharp beforbeforee F,F, figurefigure 6 allall missingmissing inin source.source.

xix m.m. 109,109, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 226,226, TromboneTrombone [II]:[II] :sharp sharp before before gin g in source source is is an an error; error ; m.m. 112,112, BassoBasso continuo:continuo: sharpsharp underunder ee missingmissing inin source.source, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 114,114, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 233,233, TromboneTrombone [II]:[II]: sharpsharp beforebefore aa inin sourcesource isis an an error.error, m.m. 116,116, CantoCanto 2:2: sharpsharp beforebefore gl missingmissing inin source.source, m.m. 238,238, TenorTenor Capella:Capella: sharpsharp beforebefore g; BassoBasso continuo:continuo: m.m. 117,117, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, sharpsharp underunder e bothboth missingmissing inin source.source, m.m. 121,121, CantoCanto 22:: sharpsharp beforebefore/ fl.l missingmissing inin source.source, m.m. 239,239, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 123,123, CantoCanto 2:2: sharpsharp beforebefore gl missinmissingg inin source.source, mm.. 240,240, BassoBasso continuo:continuo: sharpsharp undeunderr A missinmissingg inin source.source. m.m. 124,124, CantoCanto 2:2: sharpsharp beforebefore gl missingmissing inin source.source, m.m. 125,125, BassoBasso continuo:continuo: sharpsharp beforebefore g missingmissing inin source.source, Giovanni Battista Chinelli, m.m. 126,126, BassoBasso continuo:continuo: sharpsharp underunder a missingmissing inin source.source, Giovanni Battista Chinelli, Messa aa 66 m.m. 129,129, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, voci && 66 Instromenti,Instromenti, 1634 1634 m.m. 136,136, BassoBasso continuo:continuo: sharpsharp underunder ee missingmissing inin source.source, mm.. 141,141, TromboneTrombone [I]:[I]: sharpsharp beforebefore c1;ci; AltoAlto Capella:Capella: sharpsharp InstrumentalInstrumental clefs:clefs: ViolinViolin 1,1, G2;G2; ViolinViolin 2,2, G2;G2; ViolinViolin 3,3, C1;Cl; beforebefore c1;cl; BassoBasso continuo:continuo: sharpsharp underunder A allall missingmissing AltAltoo Trombone,Trombone, C3;C3; TenoreTenore Trombone,Trombone, C4;C4; BassoBasso Trom•Trom- inin source.source, bone/Fagotto,bone/Fagotto, F4F4.. m.m. 148,148, CantoCanto 2:2: sharpsharp beforebefore gl; TromboneTrombone [II]:[II]: sharpsharp AlAlll sectionssections inin tripletriple metermeter bearbear thethe signaturesignature 33.. beforebefore g; BassoBasso continuo:continuo: sharpsharp underunder e allall missingmissing inin Kyrie:Kyrie: source.source, m.m. 22,, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 149:149: CantoCanto 2:2: sharpsharp beforebefore gl;gl; TromboneTrombone [II]:[II]: sharpsharp m.m. 4,4, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, beforebefore g;g) BassoBasso continuo:continuo: sharpsharp underunder e allall missingmissing inin m.m. 10,10, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, source.source, m.m. 14,14, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 151:151 : Tenor Tenor Capella: Capella: sharp sharp before before last last note note g; g; Trombone Trombone m.m. 18,18, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, [II]:[II]: sharpsharp beforebefore lastlast notenote g; BassoBasso continuo:continuo: sharpsharp m.m. 19,19, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, urtderunder e allall missingmissing inin source.source, m.m. 29,29, Tenor:Tenor: SoloSolo indicationindication missingmissing inin source.source, m.m. 152,152, BassoBasso continuo:continuo: sharpsharp underunder firstfirst A,A, naturalnatural underunder m.m. 31,31, Basso:Basso: sharpsharp beforebefore c; BassoBasso continuo:continuo: sharpsharp 6 finalfinal A missingmissing inin source.source, underunder e bothboth missingmissing inin source.source, m.m. 160,160, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 34,34, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 168,168, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 35,35, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 171,171, CantoCanto 1:1: flatflat beforebefore thirdthird dld2 inin sourcesource isis anan error.error, m.m. 39,39, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 173,173, CantoCanto 2:2: sharpsharp beforebefore gl; CantoCanto Capella:Capella: sharpsharp m.m. 40,40, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, beforebefore gl; BassoBasso continuo:continuo: sharpsharp underunder e allall missingmissing inin m.m. 44,44, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, source.source, m.m. 46,46, BassoBasso continuo:continuo: sharpsharp 6 underunder A missingmissing inin source.source, m.m. 174,174, TromboneTrombone [II]:[II]: sharpsharp beforebefore secondsecond g missingmissing inin mm.mm. 50-56,50-56, ViolinoViolino 1:1: brevebreve restrest missingmissing inin source.source, source.source, mm.. 52,52, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 176,176, TromboneTrombone [II]:[II]: sharpsharp beforebefore gg missingmissing inin source.source, m.m. 54,54, Quinto:Quinto: SoloSolo indicationindication missingmissing inin source.source, m.m. 179,179, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 55,55, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source;source; m.m. 180,180, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 56,56, AltoAlto:: naturalnatural beforebefore thirdthird/2 fl.;; BassoBasso continuo:continuo: sharpsharp m.m. 185,185, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, underunder d bothboth missingmissing inin source.source, mm.mm. 185-186,185-186, CantoCanto 2:2: fusafusa a1al andand dotteddotted semiminimsemiminim a1al m.m. 57, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, areare tied;tied; fusafusa g sharp 1 isis slurredslurred toto semibrevesemibreve at.al. m.m. 58,58, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 193,193, BassoBasso continuo:continuo: sharpsharp 3,4,33,4,3 missingmissing inin source.source, m.m. 59,59, AltoAlto Trombone:Trombone: flatflat beforebefore b; CantusCantus 2:2 : flatflat beforebefore m.m. 195,195, CantoCanto 2:2: sharpsharp beforebefore firstfirst gl; TromboneTrombone [II][II]:: bl bothboth missingmissing inin source.source, sharpsharp beforebefore g bothboth missingmissing inin source.source, m.m. 62,62, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 213,213, CantoCanto Capella:Capella: sharpsharp beforebefore/I fl.;; BassoBasso continuo:continuo: m.m. 63,63, BassoBasso continuo:continuo: sharpsharp underunder d missinmissingg inin source.source, sharpsharp underunder d bothboth missinmissingg inin source.source, m.m. 65, BassoBasso continuo:continuo: sharpsharp underunder A missinmissingg inin source.source, m.m. 214:214: BassoBasso continuo:continuo: figurefigure 6 inin sourcesource isis anan error;error; m.m. 66,66, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, sharpsharp underunder d missingmissing inin source.source, m.m. 67,67, BassoBasso continuo:continuo: sharpssharps underunder AA,, d missingmissing inin m.m. 219219,, TromboneTrombone [II]:[II]: sharpsharp beforebefore g; BassoBasso continuo:continuo: source.source, sharpsharp 6 underunder B bothboth missingmissing inin source.source, m.m. 68,68, BassoBasso continuo:continuo: sharpsharp underunder finalfinal d missingmissing inin m.m. 220,220, TromboneTrombone [II]:[II]: sharpsharp beforebefore aain in source source isis an an error. error, source.source, m.m. 224,224, CantoCanto 2:2: sharpsharp beforebefore gl; BassoBasso continuo:continuo: sharpsharp m.m. 74,74, CantusCantus 1:1: SoloSolo indicationindication missingmissing inin source;source; BassoBasso underunder e bothboth missingmissing inin source.source, continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 225,225, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source.

xx m.m. 79,79, BassoBasso continuo:continuo: sharpsharp underunder fusafusa d missingmissing inin m.m. 70,70, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, source.source, m.m. 71,71, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 80,80, BassoBasso continuo:continuo: sharpssharps underunder fusaefusae e, AA missingmissing inin m.m. 75, BassoBasso continuo:continuo: sharpssharps underunder e, A missingmissing inin source.source, source.source, m.m. 82,82, Tenor:Tenor: firstfirst twotwo notesnotes areare c1c\ inin source.source, m.m. 76,76, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 84,84, BassoBasso continuo:continuo: sharpssharps underunder e, A missingmissing inin m.m. 78,78, BassoBasso continuo:continuo: sharpsharp underunder a missingmissing inin source.source, source.source, m.m. 82,82, BassoBasso continuo:continuo: sharpsharp underunder a missingmissing inin source.source, m.m. 88,88, BassoBasso continuo:continuo: sharpsharp 3,4,33,4,3 missingmissing inin source.source, m.m. 83,83, ViolinoViolino 1:1: sharpsharp beforebefore /2;fl; Tenor:Tenor: sharpsharp beforebefore f1/I m.m. 89,89, BassoBasso Trombone:Trombone: E£ isis a pitchpitch errorerror inin source.source. bothboth missingmissing inin source.source, ColorationColoration (source(source showsshows blackblack minim,minim, semibrevesemibreve inin m.m. 84,84, BassoBasso continuo:continuo: sharpssharps underunder e, A missingmissing inin tripletriple meter):meter): source.source, m.m. 86,86, CantusCantus 2:2: SoloSolo indicationindication missingmissing inin source.source, m.m. 10:10: ViolinoViolino 3,3, AltoAlto Trombone,Trombone, TenorTenor Trombone,Trombone, BassoBasso m.m. 91,91, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, Trombone,Trombone, Organo;Organo; m.m. 35:35: AltoAlto Trombone,Trombone, BassoBasso m.m. 103,103, CantusCantus 1:1: SoloSolo indicationindication missingmissing inin source.source, Trombone,Trombone, Organo;Organo; m.m. 44:44: ViolinoViolino 2,2, Tenor.Tenor. m.m. 105,105, BassoBasso continuo:continuo: sharpsharp underunder aa missingmissing inin source.source, Gloria:Gloria: m.m. 106,106, CantusCantus 2:2: sharpsharp beforebefore semiminimsemiminim/f1 1 missingmissing inin m.m. 4,4, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, source.source, m.m. 8,8, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 109,109, BassoBasso continuo:continuo: sharpsharp underunder dd missingmissing inin source.source, m.m. 9,9, BassoBasso continuo:continuo: flatflat underunder G missingmissing inin source.source, m.m. 114,114, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 22,22, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 116,116, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 24,24, BassoBasso continuo:continuo: sharpsharp underunder a missingmissing inin source.source, m.m. 123,123, ViolinoViolino 3:3: custoscustos atat endend ofof previousprevious lineline indicatesindicates m.m. 26,26, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, pitchpitch a thirdthird tootoo high;high; correctioncorrection writtenwritten inin contem•contem- m.m. 29,29, BassoBasso continuo:continuo: sharpsharp underunder a missingmissing inin source.source, poraryporary handhand andand pastedpasted overover printedprinted measuremeasure inin thisthis m.m. 30,30, CantusCantus 1;1; Quinto:Quinto: notesnotes inin thisthis measuremeasure slurredslurred inin exemplar.exemplar, pairspairs inin source.source, m.m. 125,125, BassoBasso continuo:continuo: figurefigure 6 underunder F sharp missingmissing inin m.m. 31,31, CantusCantus 1;1; Alto:Alto: notesnotes inin thisthis measuremeasure slurredslurred inin source.source, pairspairs inin source.source, m.m. 126,126, Bassus:Bassus: sharpsharp beforebefore c inin sourcesource isis anan error;error; BassoBasso m.m. 32,32, BassoBasso continuo:continuo: figurefigure 6 underunder f/ sharp missingmissing inin continuo:continuo: figurefigure 6 underunder B missingmissing inin source.source, source.source, m.m. 127,127, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 34,34, ViolinoViolino 2:2: firstfirst notenote isis d2dl inin source;source; Tenor:Tenor: firstfirst notenote m.m. 129,129, CantusCantus 2:2: semiminimsemiminim restrest missingmissing inin source.source, isis d1dl inin source;source; BassoBasso continuo:continuo: sharpsharp underunder a missingmissing m.m. 137,137, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, inin source.source, m.m. 138,138, BassoBasso continuo:continuo: sharpsharp underunder dd missingmissing inin source.source, m.m. 35,35, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 141,141, Tenor:Tenor: sharpsharp beforebefore firstfmissingfirst /missing inin source.source, m.m. 39,39, BassoBasso continuo:continuo: sharpsharp beforebefore c missingmissing inin source.source, m.m. 142,142, ViolinoViolino 2:2: finalfinal isis /2fl inin source;source; AltoAlto Trombone:Trombone: m.m. 42,42, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, SharpSharp beforebefore fusafusa/i f inn source;source; Basso:Basso: sharpsharp beforebefore c; m.m. 47,47, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, BassoBasso Trombone:Trombone: sharpsharp beforebefore c; BassoBasso continuo:continuo: m.m. 49,49, BassoBasso continuo:continuo: flatflat underunder G,G, sharpsharp underunder AA sharpsharp beforebefore c, figurefigure 6 underunder c sharp, sharpsharp underunder a missingmissing inin source.source, allall missingmissing inin source.source, m.m. 51,51, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 143,143, BassoBasso continuo:continuo: sharpssharps underunder e, A, d missingmissing inin m.m. 55, ViolinoViolino 1:1: naturalnatural beforebefore/2/2; ; Alto:Alto: naturalnatural beforebefore/f1 1 source.source, bothboth missingmissing inin source.source, m.m. 145,145, BassoBasso Trombone:Trombone: sharpsharp beforebefore A inin sourcesource isis anan m.m. 57, BassoBasso continuo:continuo: figurefigure 6 missingmissing inin source.source, error.error, m.m. 58,58, BassoBasso continuo:continuo: sharpsharp beforebefore secondsecond G missingmissing inin m.m. 146,146, BassoBasso continuo:continuo: figurefigure 6 underunder f/ sharp, sharpsharp source.source, underunder d missingmissing inin source.source, mm.mm. 61--62,61-62, BassoBasso continuo:continuo: figuresfigures 3,4,3,4, sharpsharp 3 missingmissing inin m.m. 148,148, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. source.source, m.m. 63,63, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, ColorationColoration (source(source showsshows blackblack minim,minim, semibrevesemibreve inin m.m. 64,64, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, tripletriple meter):meter): m.m. 67,67, BassoBasso continuo:continuo: sharpsharp underunder a missingmissing inin source.source, m.m. 88:88: CantusCantus 1.1. m.m. 68,68, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, Credo:Credo: m.m. 69,69, BassoBasso continuo:continuo: sharpssharps underunder d, e, A missingmissing inin "Resurrectionem""Resurrectionem" consistentlyconsistently misspelledmisspelled asas source.source. "ressurectionem""ressurectionem" throughout.throughout.

xxi m.m. 11,11, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. m.m. 135,135, BassoBasso continuo:continuo: figurefigure 6 missingmissing inin source.source. m.m. 13,13, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source. m.m. 138,138, BassoBasso continuo:continuo: sharpsharp inin thirdthird spacespace inin sourcesource isis m.m. 14,14, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. misplaced;misplaced; refersrefers toto c; sharpsharp 66 missingmissing inin source.source, m.m. 17,17, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source. mm.mm. 139-140,139-140, BassoBasso continuo:continuo: sharpsharp 3,3,4 4,, sharpsharp 3 missingmissing m.m. 2424,, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. inin source.source, m.m. 26,26, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source. m.m. 144,144, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 38,38, BassoBasso Trombone:Trombone: firstfirst notenote F writtenwritten inin contempo•contempo- m.m. 147,147, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, raryrary handhand andand pastedpasted overover notenote inin printprint asas a correc•correc- m.m. 150,150, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, tion.tion. m.m. 152,152, CantusCantus 1:1: semiminimssemiminims areare slurredslurred inin pairspairs inin m.m. 39,39, BassoBasso continuo:continuo: sharpsharp 6 underunder A missingmissing inin source.source. source.source, m.m. 4141,, BassoBasso continuo:continuo: sharpsharp 6 underunder e missingmissing inin source.source. m.m. 153,153, CantusCantus 22:: semiminimssemiminims areare slurredslurred inin pairspairs inin m.m. 42,42, CantusCantus 2:2: allall threethree notesnotes slurredslurred togethertogether inin source.source. source.source, m.m. 4747,, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 154,154, Quinto:Quinto: semiminimssemiminims areare slurredslurred inin pairspairs inin m.m. 49,49, Basso:Basso: flat beforebefore b missingmissing inin source.source. source.source, m.m. 50,50, BassoBasso continuo:continuo: sharpssharps underunder a, d missingmissing inin m.m. 156,156, Quinto:Quinto: semiminimssemiminims areare slurredslurred inin pairspairs inin source.source. source.source, m.m. 53,53, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 157,157, CantusCantus 22:: semiminimssemiminims areare slurredslurred inin pairspairs inin m.m. 54,54, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. source.source, m.m. 56,56, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source. m.m. 158,158, CantusCantus 1:1: semiminimssemiminims areare slurredslurred inin pairspairs inin m.m. 65,65, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. source.source, m.m. 66,66, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 160,160, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 69,69, BassoBasso continuo:continuo: figurefigure 6 underunder/ fshar sharpp missingmissing inin m.m. 161,161, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, source.source. m.m. 162,162, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 70,70, BassoBasso Trombone,Trombone, BassoBasso continuo:continuo: sharpsharp beforebefore F m.m. 163,163, Quinto:Quinto: semiminimssemiminims areare slurredslurred inin pairspairs inin missingmissing inin source.source. source.source, mm.mm. 71-72,71-72, BassoBasso continuo:continuo: figuresfigures 7,7, sharpsharp 6,6,5 5,, sharpsharp 6 m.m. 164,164, CantusCantus 2:2: semiminimssemiminims areare slurredslurred inin pairspairs inin missingmissing inin source.source. source.source, m.m. 72,72, TenorTenor Trombone:Trombone: sharpsharp beforebefore c1;cl; CantusCantus 1:1: sharpsharp m.m. 165,165, CantusCantus 1:1: semiminimssemiminims areare slurredslurred inin pairspairs inin beforebefore c2c2 bothboth missingmissing inin source.source. source.source, m.m. 73,73, AltoAlto Trombone:Trombone: firstfirst note,note, minimminim a1al missingmissing inin m.m. 173,173, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, source.source. m.m. 174,174, BassoBasso continuo:continuo: figurefigure 6 missingmissing inin source.source, m.m. 74,74, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source. m.m. 176,176, BassoBasso continuo:continuo: sharpsharp underunder dd missingmissing inin source.source, m.m. 77, BassoBasso continuo:continuo: sharpsharp beforebefore F missingmissing inin source.source. m.m. 180,180, BassoBasso continuo:continuo: sharpsharp belowbelow secondsecond e inin sourcesource isis m.m. 78, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source. misplaced;misplaced; refersrefers toto firstfirst e. m.m. 83,83, BassoBasso continuo:continuo: sharpsharp underunder AA missingmissing inin source.source. m.m. 183,183, ViolinoViolino 1,1, ViolinoViolino 2:2: sharpsharp beforebefore finalfinal g2;gl; Alto:Alto: m.m. 84,84, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. sharpsharp beforebefore finalfinal gl;g\; Tenor:Tenor: sharpsharp beforebefore finalfinal g allall m.m. 91,91, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. missingmissing inin source.source, m.m. 94,94, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source. m.m. 183,183, BassoBasso continuo:continuo: sharpssharps underunder d, e missingmissing inin m.m. 97,97, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. source.source, m.m. 100,100, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 184,184, ViolinoViolino 3:3: firstfirst notenote isis a fusafusa inin source;source; BassoBasso m.m. 103,103, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source. continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 104,104, Basso:Basso: sharpsharp beforebefore firstfirst/missin f missingg inin source.source. m.m. 185,185, BassoBasso continuo:continuo: sharpssharps underunder A, d missingmissing inin m.m. 107,107, BassoBasso continuo:continuo: sharpssharps underunder e, A missingmissing inin source.source, source.source. m.m. 187,187, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, mm.. 108,108, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 188,188, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 114,114, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 207,207, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, mm.. 116,116, BassoBasso continuo:continuo: sharpsharp underunder d missinmissingg inin source.source. mm.. 208208,, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 122,122, BassoBasso continuo:continuo: sharpsharp underunder dd missingmissing inin source.source. m.m. 210,210, CantusCantus 1:1: solosolo indicationindication missingmissing inin source.source, mm.. 126,126, BassoBasso continuo:continuo: figurefigure 5/35/3 isis anan error;error; flatflat beforebefore m.m. 217,217, BassoBasso continuo:continuo: sharpsharp undeunderr finalfinal A missinmissingg inin figurefigure 6 missingmissing inin source.source. source.source, m.m. 129,129, BassoBasso continuo:continuo: figurefigure 6 missingmissing inin source.source. m.m. 218,218, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 130,130, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. m.m. 229,229, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 133,133, BassoBasso continuo:continuo: figurefigure 5 isis anan error.error. m.m. 230,230, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source.

xxii m.m. 233,233, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, AgnusAgnus Dei:Dei: m.m. 234,234, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, "Dona""Dona" consistentlyconsistently misspelledmisspelled asas "donna""donna" throughout.throughout, m.m. 239,239, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 1,1, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 241,241, BassoBasso continuo:continuo: figurefigure 6 underunder F, sharpsharp underunder AA m.m. 4,4, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, missingmissing inin source.source, m.m. 6,6, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 242,242, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 10,10, BassoBasso continuo:continuo: sharpssharps underunder e, A missingmissing inin m.m. 247,247, Basso:Basso: sharpsharp beforebefore a isis anan error.error, source.source, m.m. 249,249, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 14,14, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 251,251, BassoBasso continuo:continuo: figuresfigures 7,7, sharpsharp 6 missingmissing inin m.m. 17,17, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, source.source, m.m. 20,20, BassoBasso continuo:continuo: figurefigure 6 underunder e, d missingmissing inin m.m. 257,257, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, source.source, m.m. 261,261, BassoBasso continuo:continuo: flatflat underunder G,G, sharpsharp underunder AA m.m. 25,25, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. missingmissing inin source.source, m.m. 266,266, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 267,267, BassoBasso continuo:continuo: sharpsharp underunder secondsecond d missingmissing inin TarquinioTarquinio Merula,Merula, Messa concertataconcertata source.source, a 3, 3, 16401640 m.m. 274,274, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 275,275, CantusCantus 2:2: semibrevesemibreve restrest inin sourcesource isis anan error.error, AmpersandAmpersand usedused for"for "et. et."" "Cum"Cum substantialem"substantialem" appearsappears m.m. 281,281, BassoBasso continuo:continuo: figurefigure 66 missingmissing inin source.source, insteadinstead ofof thethe usualusual "consubstantialem.""consubstantialem." InIn BassoBasso con•con- m.m. 284,284, BassoBasso continuo:continuo: figurefigure 6 missingmissing inin source.source, tinuotinuo part,part, numbersnumbers belowbelow staffstaff indicateindicate repetitionsrepetitions ooff m.m. 286,286, CantusCantus 2:2: sharpsharp beforebefore firstfirst gl;g\; BassoBasso continuo:continuo: thethe bassbass pattern.pattern. sharpsharp underunder e bothboth missingmissing inin source.source, Kyrie:Kyrie: m.m. 287,287, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 1,1, Canto:Canto: firstfirst fourfour fusaefusae slurredslurred inin pairspairs inin source.source, m.m. 290,290, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 2,2, Tenore:Tenore: fourfour fusaefusae slurredslurred inin pairspairs inin source.source, m.m. 4,4, Canto:Canto: firstfirst fourfour fusaefusae slurredslurred inin pairspairs inin source.source, ColorationColoration (source(source showsshows blackblack minim,minim, semibrevesemibreve inin mm.. 7,7, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, tripletriple meter):meter): m.m. 21,21, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, m.m. 20:20: TenorTenor Trombone,Trombone, BassoBasso continuo;continuo; m.m. 147:147: ViolinoViolino m.m. 28,28, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, 1,1, ViolinoViolino 3,3, AltoAlto Trombone,Trombone, TenorTenor Trombone,Trombone, BassoBasso m.m. 35,35, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, Trombone,Trombone, BassoBasso continuo;continuo; m.m. 150:150: ViolinoViolino 1,1, ViolinoViolino m.m. 38,38, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source. 3,3, AltoAlto Trombone,Trombone, TenorTenor Trombone,Trombone, BassoBasso Trom•Trom- Gloria:Gloria: bone,bone, BassoBasso continuo;continuo; m.m. 229:229: BassoBasso Trombone,Trombone, BassoBasso m.m. 7,7, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, continuo;continuo; m.m. 237:237: ViolinoViolino 2,2, AltoAlto Trombone,Trombone, BassoBasso mm.11-12,mm. 11-12, Tenore:Tenore: finalefinal c sharp2sharp! ofm.11of m. 11 andd2ofm.12and dl of m. 12 Trombone,Trombone, Tenor,Tenor, Quinto,Quinto, Basso,Basso, BassoBasso continuo.continuo. areare slurredslurred togethertogether inin source.source, Sanctus:Sanctus: mm.mm. 17-18:17-18: Tenore:Tenore: finalfinal cc sharp1sharpl ofof m.m. 1717 and and d1dl ofof m.m. 1818 m.m. 3,3, ViolinoViolino 2:2: firstfirst notenote isis/ f22 inin source;source; BassoBasso continuo:continuo: areare slurredslurred togethertogether inin source.source, sharpsharp underunder d missingmissing inin source.source. m.m. 21,21, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, m.m. 4,4, ViolinoViolino 2:2: secondsecond notenote isis c1cl inin source.source. m.m. 28,28, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, m.m. 5,5, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. mm.mm. 34-36,34-36, Canto:Canto: thirdthird notenote ofof m.m. 34,34, d2,dl, isis a minimminim inin m.m. 6,6, BassoBasso continuo:continuo: sharpssharps underunder A,A, dd missingmissing inin source.source. source;source; sourcesource hashas anan incorrectincorrect semiminimsemiminim restrest afterafter m.m. 11,11, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. thisthis note;note; inin m.m. 3636 thethe minimminim restrest isis missingmissing inin source.source, m.m. 20,20, BassoBasso continuo:continuo: figurefigure 6 missingmissing inin source.source. m.m. 35,35, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, m.m. 21,21, CantusCantus 1:1: sharpsharp isis misplacedmisplaced inin source;source; refersrefers toto mm.mm. 35-36,35-36, Tenore:Tenore: finalfinal/ fshar sharpp ofof m.m. 3535 andand firstfirst g ofof m.m. firstfl·first/1. 3636 slurredslurred togethertogether inin source.source. m.m. 22,22, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. Credo:Credo: m.m. 2424,, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. "Cum"Cum substantialem"substantialem" appearsappears insteadinstead ofof usualusual m.m. 27,27, BassoBasso continuo:continuo: sharpssharps underunder A,A, d missingmissing inin "consubstantialem.""consubstantialem." "Filio"Filio quae"quae" appearsappears insteadinstead ooff source.source. "Filioque.""Filioque." m.m. 28,28, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 7,7, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, m.m. 31,31, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. m.m. 21,21, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, mm.mm. 33-34,33-34, BassoBasso continuo:continuo: figuresfigures sharpsharp 3,3, 4,4, sharpsharp 3 m.m. 24,24, Canto:Canto: lastlast fourfour fusaefusae slurredslurred inin pairspairs inin source.source, missingmissing inin source.source. m.m. 26,26, Canto:Canto: lastlast fourfour fusaefusae slurredslurred inin pairspairs inin source.source, m.m. 28,28, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source.

xxtttxxiii nun.mm. 31-32,31-32, Tenore:Tenore: ce sharp1sharpl inin m.m. 3131 andand d1di inin m.m. 3232 areare m.m. 23,23, BassoBasso continuo:continuo: sharpsharp undeunderr d missingmissing inin source.source, slurredslurred togethertogether inin source.source, m.m. 24,24, TenoreTenore 2:2: lastlast twotwo fusaefusae slurredslurred togethertogether inin source.source, m.m. 35,35, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, m.m. 33,33, BassoBasso continuo:continuo: sharpsharp underunder AA missingmissing inin source.source, m.m. 38,38, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, nun.mm. 34-37,34-37, CantoCanto Ripieno,Ripieno, AltoAlto Ripieno:Ripieno: longalonga restrest miss-miss- m.m. 43,43, Tenore:Tenore: sharpsharp beforebefore c1ci missingmissing inin source.source, inging inin source.source, m.m. 46,46, BassoBasso continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source, nun.mm. 44-45,44-45, CantoCanto Ripieno,Ripieno, AltoAlto Ripieno,Ripieno, TenoreTenore Ripieno,Ripieno, nun.mm. 58-59,58-59, Tenore:Tenore: lastlast notegnote g inin m.m. 5858 andand a ofof m.m. 5959 BassoBasso Ripieno:Ripieno: dotteddotted minim,minim, semiminimsemiminim areare errorserrors slurredslurred togethertogether inin source.source, inin source.source, m.m. 60,60, BassoBasso continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source, m.m. 45,45, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, m.m. 67,67, BassoBasso continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source, m.m. 54,54, BassoBasso continuo:continuo: sharpsharp undeunderr E missingmissing inin source.source. m.m. 74,74, BassoBasso continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source, Gloria:Gloria: m.m. 77, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, nun.mm. 1-14,1-14, TenoreTenore 2:2: sourcesource hashas oneone brevbrevee restrest tootoo many;many; m.m. 80,80, Tenore:Tenore: fusaefusae slurredslurred togethertogether inin pairspairs inin source.source, BassoBasso Ripieno:Ripieno: sourcesource hashas eighteight longalonga restsrests tootoo many.many, m.m. 85,85, Canto:Canto: fusaefusae slurredslurred inin pairspairs inin source;source; BassoBasso m.m. 5,5, TenoreTenore 1:1: minimsminims slurredslurred inin pairpairss inin source.source, continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source, m.m. 6,6, BassoBasso continuo:continuo: minimsminims slurredslurred togethertogether inin source.source, nun.mm. 97-98,97-98, Tenore:Tenore: c sharpsharp ofof m.m. 97 97 and and dd of of m.m. 98 98 slurred slurred m.m. 10,10, TenoreTenore 1:1: minimsminims slurredslurred inin pairpairss inin source.source, togethertogether inin source.source, m.m. 18,18, TenoreTenore 2:2: minimsminims slurredslurred inin pairspairs inin source.source, m.m. 99,99, BassoBasso continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source, m.m. 19,19, Basso,Basso, BassoBasso continuo:continuo: minimsminims slurredslurred inin pairpairss inin mm.mm. 99-100,99-100, Tenore:Tenore: / sharp ofof m.m. 9999 andand g ofof m.m. 100100 source.source, slurredslurred togethertogether inin source.source, m.m. 20,20, TenoreTenore 1,1, TenoreTenore 2:2: minimsminims slurredslurred inin pairspairs inin m.m. 106,106, BassoBasso continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source, source;source; Basso,Basso, AltoAlto Ripieno:Ripieno: longa,longa, brevebreve slurredslurred m.m. 113,113, BassoBasso continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source, togethertogether inin source.source, m.m. 116,116, BassoBasso continuo:continuo: figuresfigures sharpsharp 3,3,4 4,, sharpsharp 3 missingmissing m.m. 22,22, Basso,Basso, AltoAlto Ripieno:Ripieno: longa,longa, brevbrevee slurredslurred togethertogether inin source.source. inin source.source, Sanctus:Sanctus: m.m. 23,23, TenoreTenore 1,1, TenoreTenore 2,2, TenoreTenore Ripieno:Ripieno: minimsminims m.m. 7,7, BassoBasso continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source, slurredslurred inin pairspairs inin source.source, m.m. 21,21, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, m.m. 24,24, Basso:Basso: minimsminims slurredslurred inin pairspairs inin source.source, m.m. 28,28, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, m.m. 25,25, AltoAlto Ripieno:Ripieno: sharpsharp beforebefore/missin / missingg inin source.source, m.m. 35,35, BassoBasso continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source, m.m. 26,26, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, nun.mm. 38-39,38-39, Tenore:Tenore: lastlast note, // sharp ofof m.m. 3838 andand g ofof m.m. m.m. 32,32, TenoreTenore 1:1: blackblack semibrevesemibreve isis anan error.error, 3939 slurredslurred togethertogether inin source.source, m.m. 33,33, CantoCanto Ripieno:Ripieno: sharpsharp beforebefore d2dl missingmissing inin source;source; m.m. 38,38, BassoBasso continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source. AltoAlto Ripieno:Ripieno: sharpsharp beforbeforee d1dl missingmissing inin source.source, AgnusAgnus Dei:Dei: m.m. 35,35, BassoBasso continuo:continuo: sharpsharp 6 underunder A missingmissing inin source.source, m.m. 7,7, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, m.m. 52,52, TenoreTenore 1,1, TenoreTenore 2:2: minimsminims slurredslurred inin pairpairss inin m.m. 21,21, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, source.source, m.m. 28,28, BassoBasso continuo:continuo: sharpsharp beforebefore 3 missingmissing inin source.source, m.m. 56,56, BassoBasso continuo:continuo: figuresfigures 4,4, sharpsharp 3 missingmissing inin m.m. 35,35, BassoBasso continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source, source.source, m.m. 38,38, BassoBasso continuo:continuo: figuresfigures sharpsharp 3,3,4 4,, sharpsharp 3 missingmissing m.m. 65,65, BassoBasso continuo:continuo: sharpsharp 3 underunder d missingmissing inin source.source, inin source.source. m.m. 68,68, Tenore:Tenore: secondsecond notenote isis / sharp inin source;source; BassoBasso continuo:continuo: figurefigure 6 undeunderr B, c sharp missingmissing inin source.source, Giovanni Antonio Rigatti, Messa m.m. 69,69, TenoreTenore 2:2: sharpsharp before/missinbefore/missingg inin source.source, Giovanni Antonio Rigatti, Messa m.m. 71,71, BassoBasso continuo:continuo: figurefigure 6 underunder c, 66 sharpsharp 33 underunder d [a[à tretre vocivoci concertati],concertati], 16431643 missingmissing inin source.source, m.m. 73,73, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, Kyrie:Kyrie: m.m. 77, BassoBasso continuo:continuo: sharpsharp undeunderr e missingmissing inin source.source, m.m. 7,7, TenoreTenore 1:1: fusaefusae el,ci, b slurredslurred togethertogether inin source.source, m.m. 78,78, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 8,8, TenoreTenore 1:1: sharpsharp beforebefore fusagfusa g missingmissing inin source;source; fourfour m.m. 81,81, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, notesnotes slurredslurred togethertogether inin pairpairss inin source.source, m.m. 84,84, TenoreTenore 1:1: lastlast twotwo minimsminims slurredslurred togethertogether inin m.m. 18,18, BassoBasso continuo:continuo: sharpsharp beforbeforee 3 missingmissing inin source.source, source.source, m.m. 20,20, AltoAlto Ripieno:Ripieno: sharpsharp beforebefore f1fi missingmissing inin source;source; m.m. 85,85, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, TenoreTenore 1:1: notesnotes slurredslurred togethertogether inin pairspairs inin source.source, m.m. 86,86, BassoBasso continuo:continuo: sharpsharp undeunderr A missingmissing inin source.source, m.m. 21,21, BassoBasso continuo:continuo: sharpsharp 3 underunder e missingmissing inin source.source. m.m. 96,96, TenoreTenore 1:1: fusaefusae slurredslurred inin pairspairs inin source.source, m.m. 100,100, BassoBasso continuo:continuo: sharpsharp underunder dd missingmissing inin source.source.

xxiv m.m. 101,101, BassBassoo continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 33,33, TenoreTenore 2:2: flatflat beforbeforee semifusasemifusa b missingmissing inin source.source, m.m. 104,104, Basso:Basso: lastlast fourfour fusaefusae slurredslurred inin pairspairs inin source.source, m.m. 34,34, TenoreTenore 2:2: firstfirst twotwo notesnotes slurredslurred togethertogether inin source.source, m.m. 111,Ill, BassoBasso continuo:continuo: 4,4, sharpsharp 3 missingmissing inin source.source, m.m. 36,36, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 115,115, BassoBasso continuo:continuo: figurefigure 66 underunder cc sharpsharp missingmissing inin m.m. 38,38, TenoreTenore Ripieno:Ripieno: secondsecond a isis a semiminimsemiminim inin source.source, source.source, m.m. 43,43, TenoreTenore 1:1: lastlast twotwo semiminimssemiminims slurredslurred togethertogether inin m.m. 120,120, AltoAlto Ripieno:Ripieno: sharpsharp beforebefore/ f1l missingmissing inin source;source; source;source; BassoBasso continuo:continuo: sharpsharp underunder E missingmissing inin BassoBasso Ripieno:Ripieno: sharpsharp beforebefore/missin f missingg inin source.source, source.source, m.m. 122,122, AltoAlto Ripieno:Ripieno: sharpsharp beforebefore f1fi missingmissing inin source;source; m.m. 44,44, BassoBasso continuo:continuo: figurefigure 6 underunder f sharp missingmissing inin Basso:Basso: sharpsharp beforebefore g missingmissing inin source.source, source.source, m.m. 124,124, BassoBasso continuo:continuo: figurefigure 6,6, sharpsharp 3 underunder e missingmissing m.m. 46:46: AltoAlto Ripieno:Ripieno: notenote isis/ f11 inin source.source, inin source.source, m.m. 47,47, BassoBasso continuo:continuo: figurefigure 6 underunder c sharp missingmissing inin m.m. 125,125, AltoAlto Ripieno:Ripieno: minimsminims slurredslurred togethertogether inin source.source, source.source, m.m. 126,126, AltoAlto Ripieno:Ripieno: notenote isis d1d\ inin source.source, m.m. 48,48, BassoBasso continuo:continuo: figurefigure 4 underunder e missingmissing inin source.source, m.m. 130,130, TenoreTenore 1:1: fusaefusae slurredslurred inin pairspairs inin source.source, m.m. 49,49, BassoBasso continuo:continuo: sharpsharp 3 underunder secondsecond e missingmissing inin m.m. 131,131, TenoreTenore 1,1, TenoreTenore 2:2: fusaefusae slurredslurred inin pairspairs inin source.source, source.source, m.m. 50,50, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 134,134, AltoAlto Ripieno:Ripieno: minim,minim, firstfirst semiminimsemiminim slurredslurred m.m. 51,51, TenoreTenore 1,1, Basso:Basso: dotteddotted semiminim,semiminim, fusafusa slurredslurred togethertogether inin source.source, togethertogether inin source.source, m.m. 143,143, BassoBasso continuo:continuo: figurefigure 6 underunder c sharp, d missingmissing m.m. 58, TenoreTenore 1,1, Basso:Basso: dotteddotted semiminim,semiminim, fusafusa slurredslurred inin source.source, togethertogether inin source.source, m.m. 162,162, TenoreTenore 1:1: minimsminims slurredslurred inin pairspairs inin source.source, m.m. 61,61, TenoreTenore 1,1, Basso:Basso: firstfirst andand secondsecond semiminimssemiminims m.m. 178,178, BassoBasso continuo:continuo: figurefigure 6,6, sharpsharp 3 underunder d missingmissing slurredslurred togethertogether inin source;source; BassoBasso continuo:continuo: sharpsharp 6 inin source.source, underunder finalfinal A missingmissing inin source.source, m.m. 183,183, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 62,62, BassoBasso continuo:continuo: figurefigure 5 underunder A missingmissing inin source.source, m.m. 187,187, CantoCanto Ripieno,Ripieno, TenoreTenore Ripieno:Ripieno: minimsminims slurredslurred m.m. 64,64, TenoreTenore 1,1, Basso:Basso: lastlast twotwo notesnotes slurredslurred togethertogether inin togethertogether inin source;source; BassoBasso continuo:continuo: sharpsharp 6 underunder AA source.source, missingmissing inin source.source. m.m. 68, BassoBasso continuo:continuo: sharpsharp 6 missingmissing inin source.source, ColorationColoration (source(source showsshows blackblack semibreve,semibreve, brevebreve inin m.m. 70,70, TenoreTenore 1:1: minimsminims slurredslurred inin pairspairs inin source.source, tripletriple meter):meter): m.m. 85, Basso:Basso: minimsminims slurredslurred inin pairspairs inin source.source, m.m. 86,86, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 13:13: TenoreTenore 1,1, BassoBasso continuo;continuo; m.m. 39:39: TenoreTenore 1,1, TenoreTenore m.m. 89,89, TenoreTenore 1:1: minimsminims slurredslurred inin pairspairs inin source.source, 2,2, Basso,Basso, BassoBasso continuo;continuo; m.m. 45:45: Basso;Basso; m.m. 46:46: BassoBasso m.m. 90,90, TenoreTenore 2:2: minimsminims slurredslurred inin pairspairs inin source.source, continuo;continuo; m.m. 178:178: TenoreTenore 1;1; m.m. 180:180: TenoreTenore 1.1. m.m. 91,91, Basso:Basso: minimsminims slurredslurred inin pairspairs inin source.source, Credo:Credo: mID.mm. 93-94:93-94: semibrevessemibreves b andand c1c\ slurredslurred togethertogether inin "Resurrexit""Resurrexit" isis consistentlyconsistently misspelledmisspelled asas "ressurexit.""ressurexit." source.source, m.m. 1,1, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. m.m. 96,96, BassoBasso continuo:continuo: figuresfigures 6 5 inin sourcesource areare misplacedmisplaced m.m. 3,3, Basso:Basso: fusaefusae d andand e areare reversedreversed inin source.source. andand areare wrongwrong numbers;numbers; shouldshould referrefer toto 767 6 inin m.m. 97.97. m.m. 4,4, AltoAlto Ripieno,Ripieno, BassoBasso Ripieno:Ripieno: firstfirst twotwo semiminimssemiminims m.m. 98,98, BassoBasso continuo:continuo: figurefigure 6 missingmissing inin source.source, slurredslurred togethertogether inin source.source. m.m. 100,100, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 5,5, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 107,107, BassoBasso continuo:continuo: figuresfigures 4,4, sharpsharp 3 missingmissing inin m.m. 6,6, BassBassoo continuo:continuo: figurefigure 6 undeunderr B, sharpsharp underunder e source.source, missingmissing inin source.source. m.m. 115,115, TenoreTenore 2:2: sharpsharp beforebefore g;g) BassoBasso continuo:continuo: sharpsharp m.m. 7,7, TenoreTenore 2:2: sharpsharp beforebefore semifusasemifusa c1ci missingmissing inin underunder e bothboth missingmissing inin source.source, source.source. m.m. 117,117, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 9,9, TenoreTenore Ripieno:Ripieno: sharpsharp beforebefore g missingmissing inin source.source. m.m. 119,119, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 11,11, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source. m.m. 123,123, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source, m.m. 14,14, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 124,124, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source, m.m. 15,15, BassoBasso continuo:continuo: sharpssharps underunder e, E missingmissing inin m.m. 128,128, BassoBasso continuo:continuo: sharpsharp 3,3, 4,4, sharpsharp 3 missingmissing inin source.source. source.source, m.m. 18,18, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 129,129, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source, m.m. 19,19, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. m.m. 131,131, BassBassoo continuo:continuo: sharpsharp undeunderr d missingmissing inin source.source, m.m. 20,20, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. m.m. 132,132, BassoBasso continuo:continuo: figurefigure 6 missingmissing inin source.source, m.m. 21,21, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. m.m. 139,139, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source.

xxv m.m. 140,140, BassoBasso continuo:continuo: sharpsharp underunder dd missingmissing inin source.source. m.m. 190,190, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source. m.m. 143,143, BassoBasso continuo:continuo: sharpsharp underunder finalfinal e missingmissing inin ColorationColoration (source(source showsshows blackblack semibreve,semibreve, brevebreve inin source.source. tripletriple meter):meter): m.m. 146,146, TenoreTenore 2:2: fusafusa g sharp, semibrevesemibreve a slurredslurred to•to- gethergether inin source;source; BassoBasso continuo:continuo: sharpsharp underunder e miss•miss- m.m. 71:71: BassoBasso continuo;continuo; m.m. 73,73, BassoBasso continuo;continuo; m.m. 74,74, BassoBasso inging inin source.source. continuo;continuo; m.m. 79:79: BassoBasso continuo;continuo; m.m. 95:95: TenoreTenore 2,2, m.m. 151,151, BassoBasso continuo:continuo: sharpsharp underunder e missingmissing inin source.source. Basso,Basso, BassoBasso continuo;continuo; m.m. 97:97: TenoreTenore l;m.l02,1; m. 102, Tenore Tenore m.m. 153,153, TenoreTenore 2:2: semiminimsemiminim b,b, minim minim clc\ slurredslurred togethertogether 2,2, BassoBasso continuo;continuo; m.m. 104,104, TenoreTenore 1;1; m.m. 173,173, TenoreTenore 1,1, inin source.source. Basso,Basso, CantoCanto Ripieno,Ripieno, AltoAlto Ripieno,Ripieno, BassBassoo Ripieno,Ripieno, m.m. 155,155, TenoreTenore 2:2: semiminimsemiminim /f sharp, minimminim g slurredslurred BassoBasso continuo.continuo. togethertogether inin source;source; BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. NotesNotes m.m. 160:160: BassoBasso continuo:continuo: superfluoussuperfluous flatflat inin source;source; figurefigure 6 missingmissing inin source.source. 1.1. JeromeJerome Roche,Roche, "Music"Music atat S.S. MariaMaria MaggioreMaggiore,, Ber•Ber- m.m. 161,161, TenoreTenore 2,2, CantoCanto Ripieno:Ripieno: twotwo minimsminims slurredslurred gamo,gamo, 1614-1643,"1614-1643," Music and Letters, Vol.Vol. 4747 (1966),(1966), togethertogether inin source.source. pp.pp. 306-307.306-307. m.m. 163,163, BassBassoo continuo:continuo: sharpsharp undeunderr A missingmissing inin source.source. 2.2. TheThe scoringscoring arrangementarrangement andand analysisanalysis areare basebasedd onon m.m. 164,164, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. discussiondiscussion ofof thisthis workwork byby JeromeJerome RocheRoche inin NorthNorth m.m. 167,167, BassoBasso continuo:continuo: sharpsharp beforebefore 6 missingmissing inin source.source. Italian Church Music in the Age of Monteverdi (Oxford:(Oxford: m.m. 168,168, BassoBasso continuo:continuo: sharpsharp underunder d missingmissing inin source.source. ClarendonClarendon Press,Press, 1984),1984), pp.pp. 142-145.142-145. m.I71,m. 171, BassoBasso continuo:continuo: sharpsharp 6 underunder e missingmissing inin source.source. 3.3. Ibid.,Ibid., p.p. 145145.. m.m. 173,173, TenoreTenore 2:2: lastlast twotwo semibrevessemibreves slurredslurred togethertogether inin 4.4. SeeSee examplesexamples inin Solo Motets from thethe SeventeenthSeventeenth Cen•Cen- source.source. tury, VolVol.. 1,1, ed.ed. AnneAnne SchnoebelenSchnoebelen (New(New YorkYork:: Gar•Gar- m.m. 177,177, BassoBasso continuo:continuo: sharpsharp underunder dd missingmissing inin source.source. landland Publishing,Publishing, 1987).1987). m.m. 181,181, BassoBasso continuo:continuo: sharpsharp 6 underunder e missingmissing inin source.source. 5.5. SeeSee Solo Motets,Motets, vols.vols. 44 andand 5,5, forfor worksworks byby CasatiCasati andand m.m. 183,183, BassBassoo continuo:continuo: figurefigure 4,4, sharpsharp 3 missingmissing inin SuorSuor IsabellaIsabella Leonarda.Leonarda. source.source. 6.6. ThisThis workwork isis discusseddiscussed byby JeromeJerome RocheRoche inin "Giovanni"Giovanni m.m. 184,184, BassoBasso continuo:continuo: sharpsharp underunder A missingmissing inin source.source. AntonioAntonio RigattiRigatti andand thethe DevelopmentDevelopment ofof VenetianVenetian m.m. 187,187, BassoBasso continuo:continuo: sharpsharp 6 underunder e missingmissing inin source.source. ChurchChurch MusicMusic inin thethe 1640s,"1640s," Music and Letters, Vol.Vol. 57,57, m.m. 188,188, BassoBasso continuo:continuo: sharpsharp 6 underunder csharp missingmissing inin No.3No. 3 (July,(July, 1976),1976), pp.pp. 259259 ff.ff. source.source.

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COROALTOCORO ALTO Se place. 1\ ViolinoViolino ~ I .... I

1\ CornettoCornetto ~ CAPELLACAPELLA II CantoCanto overoovero TenoreTenore ~ Et in ter- ra pax ho- mi- ni-bus AltoAlto , Et in ter- ra pax ho- mi- ni-bus

TenorTenor , I .... I Et in ter- ra pax ho- mi- ni-bus BassoBasso · - I ...... I Et in ter- ra pax ho- mi- ni-bus BassoBasso ContinuoContinuo · - I I I I # 1414 MESSAMESSA CONCERTATCONCERTATAA

35 1\ CICI t.> r I I tis bo- me vo- lun- ta- tis ba- nre va- lun- ta- tis 1\ CIIcII t.> I vo- lun- ta- tis bo- nre vo- lun- ta- tis NTA/T , bo- nre vo- lun- ta- tis

TINTrb.T/A/Trb r r I ~ I bo- nre va- lun- ta- tis

~ Trb.Trb. IIII ·

Trb.IIITrb. III · I

1\ VnVn.. tJ - I

1\ Cor.Cor. t.>

1\ CITC/T t.> bo- nre vo- lun- ta- tis

I A ~ bo- nre vo- lun- ta- tis

T V I bo- nre vo- lun- ta- tis

B . I bo- nre vo- lun- ta- tis

B.C.B.C. . I MESSAMESSA CONCERTATACONCERTATA 1155

40 1\ CICI @J Lau- da- mus te Be- ne- di- ci- mus te 1'\ CIIcII .> I Lau- da- mus te Be- ne- di- ci- mus te Be- ne- di- ci- mus

A/T ,; TINTrb.T/A/Trb. ,

Trb.Trb. IIII ·

Trb.Trb. IIIIII ·

1'\ VnVn.. @J

1'\ Cor.Cor. .>

1'\ CITC/T @J

A f

T f

B ·

B.C.B.C. · I I 1616 MESSMESSAA CONCERTATACONCERTATA

45

CICI " ~ Be- ne- di- ci-mus te A- do- ra- mus te 010-

I I CIIcII " ~ r r te Be- ne- di- ci-mus te A- do- ra- mus te Glo-

AffA/T ~ A- do- ra- mus te Glo- T/Affrb.T/A/Trb. , A- do- ra- mus te 010- . Trb.Trb. IIII

Trb.IIITrb. III . I

Vn.Vn. " ..> I

Cor.Cor. " ~

CITC/T "

~ A- do- ra- mus te 010-

A ~ A- do- ra- mus te 010- T , A- do- ra- mus te 010-

B . I A- do- ra- mus te Glo-

B.C.B.C. . I I forte MESSAMESSA CONCERTATACONCERTATA 1717

50

CICI " t.J I I I I ~ I I ri- fi- ca- mus te Gra- ti- as a- gi- mus ti- bi CIIcII " .., I ri- fi- ca- mus te Gra- ti- as a- gi- mus ti- bi NTA/T , ri- fi- ca- mus te Gra- ti- as a- gi- mus ti- bi

TINTrh.T/A/Trb. , I I I I r I I ~ r ri- fi- ca- mus te Gra- ti- as a- gi- mus ti- bi pro- pter

6. 11 Trb.Trb. IIII ·

Trh.Trb. IIIIII · I ...... e- ... -

VnVn.. " t.J

CorCor.. " .., l' crrC/T " .., I ri- fi- ca- mus te Gra- ti- as a- gi- mus ti- bi

A ~ . n- fi- ca- mus te Gra- ti- as a- gi- mus ti- bi

T ~ . I I I I r I I n- fi- ca- mus te Gra- ti- as a- gi- mus ti- bi

B · I I ri- fi- ca- mus te Gra- ti- as a- gi- mus ti- bi

B.CB.C.. · I - 1818 MESSAMESSA CONCERTATACONCERTATA

55 1\ CICI tJ I r a- gi- mus 11 CIIcII tJ a- gi- mus 1*" • A/NTT I V pro- pter ma- gnam glo- ri- am tu- am gra- ti- as a- gi- mus

TINTrb.T/A/Trb. , I I I r ma- gnam glo- ri- am tu- am a- gi- mus #- • Trb.Trb. IIII · -

TrbTrb.. IIIIII · - I

1\ Vn.Vn. tJ

1\ Cor.Cor. ~

1\ CITC/T tJ a- gi- mus

A ~ a- gi- mus

T \ I r a- gi- mus

B :

a- gi- mus

B.C.B.C. . I I MESSAMESSA CONCERTATACONCERTATA 1199

60 1'1 CICI tJ I I r r ti- bi pro- pter ma-gnam

CIIcII " tJ r r r ti- bi pro- pter ma- gnam glo- ri- am .,.. • A/AffT I f ti- bi pro- pter ma-gnam glo- ri- am tu- am

T/NTrb.T/A/Trb. , I I r r I r I ti- bi pro- pter ma- gnam glo- ri- am tu- am

JJ. 1#" ,. Trb.Trb. IIII · -

Trb.IIITrb. III · - - I

Vn.Vn. " tJ

I Cor.Cor. •

CITC/T " tJ ti- bi

A

f ti- bi

T I V ~_ bi

B ·

ti- bi

B.C.B.C. · I I - I I 2200 MESSAMESSA CONCERTATCONCERTATAA

65

CICI " ~ r I I I glo- ri- am'" tu- am Do- mi- ne De- us

CIIcII " ~ tu- am Do- mi-'" ne De- us

A/NTT ~ Do- mi- ne De- us

T/A/TrbT/NTrb.. ~ I I I Do- mi- ne De- us #-- . " " Trb.Trb. IIII

- Trb.Trb. IIIIII . I

Vn.Vn. "

~

I Cor.Cor.

~ crrC/T " ~

A ~ T ,

B .

B.C.B.C. . I I # # MESSMESSAA CONCERTATCONCERTATAA 2211

CICI " tJ

1\ CIIcII .;

, • • • • AffA/T

, rex ce- le- - stis De- us pa- ter om- ni- po-

T/Affrb.T/A/Trb. , I I I I I rex ce- le- stis De- us Pa- ter om- ni- po- ".,. • .,. .,. .,. fl- Trb.Trb. IIII ·

" 11 Trb.Trb. IIIIII · - -

Vn.Vn. " tJ

1\ Cor.Cor. .;

1\ CITC/T tJ

A f

T f

B ·

" 11 B.C.B.C. · - - 2222 MESSAMESSA CONCERTATACONCERTATA

70 1\ CICI t.! Do- mi- ne 1\ cIICII tJ ~ " Do- mi- ne

" .-. • A/AfTT ~ tens De- us pa- ter pa- ter om-ni- po- tens Do- mi- ne

T/A/TrbT/AfTrb.. i'" V tens De- us Pa-ter om- ni- po- tens Do- mi- ne h••• Trb.Trb. IIII ·

Trb.Trb. III · I I i'" I

1\ Vo.Vn. tJ

1\ CorCor.. tJ

CITC/T tJ l' Do- mi- ne A , Do- mi- ne

T V Do- mi- ne

B . I i'" I Do- mi- ne

B.CB.C.. . I I i'" I

forte MESSAMESSA CONCERTATACONCERTATA 2323

75 /""'"'! CICI " tJ I .... Fi- li u- ni- ge- ni- te Ie- su 1\ CIIcII tJ .... Fi- li u- ni- ge-- ni- te Ie- su Chri- ste • A/NTT

f Fi- li u- ni- ge- ni- te

T/A/TrTINTrb.b

~ I I Fi- li u- ni- ge-- ni- te

TrbTrb.. IIII · I

Trb.IIITrb. III ·

1\ Vn.Vn. tJ I

Cor.Cor. " tJ ......

I CITC/T tJ Fi- li u- ni- ge- ni- te • A

~ Fi- li u- ni- ge- ni- te

T I f Fi- li u- ni- ge- ni- te

B ·

Fi- li u- ni- ge- ni- te B.C.B.C. · I 2244 MESSAMESSA CONCERTATCONCERTATAA

80 II CICI ~ I I I I I Cbri-ste Ie- su Cbri- ste Ie- suCbri- ste Do- mi- ne De- us

CIIcII " ~ I Ie- su Chri- ste Ie- su'" Chri- ste Do- mi-'" ne De- us

A/NTT f Do-

TINTrb.T/A/Trb. , I Do-

Trb.Trb. IIII ·

Trb.Trb. IIIIII ·

II Vn.Vn. ~

11 Cor.Cor.

~

II CITC/T ~

A ~ , T ,

B .

B.C.B.C. . I MESSAMESSA CONCERTATACONCERTATA 2525

85 1\ CICI f}

1\ cCIIII f} .- NTA/T , mi- ne De- us A- gnus De- - i Fi-

T/A/TrbT/A/Trb.. , I I I I I mi- ne De- us A- gnus De- i Fi- ll- us .,.-.,. • .,.' 11; Trh.Trb. IIII ·

TrbTrh.III. III · - I

1\ Vn.Vn. t.!

1\ CorCor.. t.!

1\ CITC/T tJ A ,

I T ,

B ·

B.C.B.C. · - I 2626 MESSAMESSA CONCERTATACONCERTATA

90 1\ CCII .., qui toI- lis pec- 1\ cCIIII .., l' qui toI- lis pec- "' .. .. A/NTT ~ li- us Pa- tris qui toI- lis pec-

TIAlTrb.T/A/Trb. I ~ Pa- tris qui toI- lis pec-

TrbTrb.. IIII 0 I

TrbTrb.. IIIIII 0 I

1\ Vn.Vn. ..,

1\ I CorCor.. .., ou

1\ crrC/T .., l' qui toI- lis pec-

A ~ qui toI- lis pec-

T ~ qui toI- lis pec-

0 B 0 I qui toI- lis pec-

B.C.B.C. 0 I MESSAMESSA CONCERTATACONCERTATA 2277

95 100 1\ CICI tJ I I I ca- ta mUll- di mi- se- re- re llO- 1\ CIIcII tJ ca- ta mUll- di • AffA/T , ca- ta mUll- di

T/A/TT/A/Trb.r , I ca- ta mUll- di

Trb.Trb. IIII ·

Trb.Trb. IIIIII ·

1\ VnVn.. tJ I

Cor.Cor. tJ (J

1\ CITC/T tJ ca- ta mUll- di , • A , ca- ta mUll- di

J T , I ca- ta mUll- di

B ·

ca- ta mUll- di

B.C.B.C. · I I I I 2828 MESSMESSAA CONCERTATACONCERTATA

105

CICI " ~ bis qui tol- '. lls pec- ca- ta mUll- di

CIIcII " ~ I ~ qui tol- lls pec- ca- ta muo- di , e- flo AffA/T ~ qui tol- lls pec- ca- ta mUll- di

T/Afl'rb.T/A/Trb. f qui tol- lis pec- ca- ta mUll- di " Trb.Trb. IIII .

Trb.Trb. IIIIII . '-" .g I

Vn.Vn. " I ~

Cor.Cor. " ~ ~

CITC/T " .; ~ qui tol- lls pec- ca- ta mUll- di

A , I qui tol- lis pec- ca- ta muo- di

1 T f qui tol- lls pec- ca- ta muo- di

: B I qui tol- lis pec- ca- ta muo- di . B.C.B.C. '-" e I

forte MESSAMESSA CONCERTATACONCERTATA 2299

110

CICI "

~ I I Su- sci- pe de- pre- ca- ti- 0- cIICII "

~ I' Su- sci- pe de-- pre- ca- ti- 0-

I A/AffT , T/A/TrbT/Affrh.. ,

TrbTrh.. IIII ·

Trh.IIITrb. III ·

VnYn.. "

~

Cor.Cor. "

~

1\ CITC/T

~

A f

T f

B ·

B.C.B.C. · 3030 MESSMESSAA CONCERTATACONCERTATA

115

CICI " t.l nem no- stram

cIICII " t.l nem no- stram

1!nIi A/AITT \ I Su- sci- pe de- pre- ca- ti- 0-

T/AlTrb.T/A/Trb. ~ Su- sci- pe de- pre- ca- ti- 0- nem

61!n11 '" 60 Trb.Trb. IIII ·

TrbTrb.. IIIIII · "'-"

Vn.Vn. " t.l

Cor.Cor. " t.l

CITC/T " t.l

I A \

I T \

B ·

B.CB.C.. · ... -" MESSAMESSA CONCERTATCONCERTATAA 3311

120

CICI I " tJ I qui se-- des ad dex- te- ram Pa- CIIcu " tJ l' qui se- des ad dex- te- ram Pa-

a AtrA/T , nem no- stram qui se- des ad dex- te- ram Pa-

T/Atrrb.T/A/Trb. I ,; no- stram qui se- des ad dex- te- ram Pa-

n Trb.Trb. IIII · I

Trb.IIITrb. Ill · I I -

Yn.Vn. " ~ - I

Cor.Cor. " .., ~ v

CITC/T " tJ ~ qui se- des ad dex- te- ram Pa-

a A ,; qui se-- des ad dex- te ram Pa-

T ,; I qui se- des ad dex- te- ram Pa-

B · I r qui se- des ad dex- te- ram Pa-

B.C.B.C. · I I - 6 3322 MESSAMESSA CONCERTATACONCERTATA

125

CICI " ~ tris cCIIII " tJ I I tris mi- se- re- re 00-

NTA/T

~ tris

T/A/Trb.T/A/Trb.

~ tris

TrbTrb.. IIII ·

Trb.Trb. IIIIII ·

VnVn.. " ~

CorCor.. " ~

CITC/T " ~ tris

A

~ tris

T ~ tris

B ·

tris

B.C.B.C. · I I I I MESSAMESSA CONCERTATACONCERTATA 3333

130 f\ CICI tJ

CIIcII " tJ bis

...... Ilnil II ~. " A/AffT ~ quo- ni- am tu So- Ius San- ctus tu So- Ius 00- mi- nus tu

T/Afl'rb.T/A/Trb. ~ quo- ni- am tu So- Ius San- ctus tu So- Ius Do- mi- nus tu .... I...... " TrbTrb.. IIII ·

Trb.Trb. IIIIII ·

f\ Vn.Vn. t.!

Cor.Cor. " t.!

f\ CITc/T tJ A , T ,

B ·

B.CB.C.. · 3434 MESSAMESSA CONCERTATACONCERTATA

135

CICI " tJ eum San- eto

cIICII " tJ eum San- eto

0 e- fT 0 A/A!fT ~ So- Ius Al- tis- si- mus Ie- su Cbri- ste cum San- eto

T/A/TrT/AlTrb.t ~ So- Ius AI- tis- si- mus Ie- su Cbri- ste eum San- eto e- e- 19- 19- ~C'O TrbTrb.. IIII .

. Trb.Trb. IIIIII u (J (J

VnVn.. " t.J

CorCor.. " t.J

~ c/TCIT t.J eum San- eto

A ~ eum San- eto

T ~ cum San- eto

B .

cum San- eto

B.CB.c.. . IMI forte MESSAMESSA CONCERTATACONCERTATA 3535

140 CICI " t.J I Spi- ri- tu cum San- cto Spi- ri- tu in glo- ri- a in

fI I CIIcII t.J Spi- ri- tu cum San- cto Spi- ri- tu in glo- ri- a

n II n n II Iinli. A/AffT f Spi- ri- tu cum San- cto Spi- ri- tu in glo- ri- a

TINTcb.T/A/Trb. , I Spi- ri- tu cum San- cto Spi- ri- tu in glo- ri- a .D. 11 e- Iinli. Trb.Trb. IIII ·

Trb.Trb. IIIIII · I 'r~'

Vn.Vn. " t.! I

CorCor.. " t.J 'II

CITc/T " t.J l' l' l' Spi- ri- tu cum San- cto Spi- ri- tu in glo- ri- a , A , Spi- ri- tu cum San- cto Spi- ri- tu in glo- ri- a

T , I Spi- ri- tu cum San- cto Spi- ri- tu in glo- ri- a

B · I ,r~, Spi- ri- tu cum San- cto Spi- ri- tu in glo- ri- a

B.CB.C.. · I I "--,, 3636 MESSAMESSA CONCERTATACONCERTATA

145

CICI " tJ I I glo- ri- a De- i Pa- tris A- men

CIIcII " tJ I in glo- ri- a De- i Pa- tris A- men

NTA/T ~ in glo- ri- a De- i

TINTrb.T/A/Trb. ~ I I in glo- ri- a De- i . Trb.Trb. IIII I I

Trb.IIITrb. III .

Vo.Vn. " tJ

Cor.Cor. " @.)

CITC/T " tJ

A ~ T ,

B .

B.C.B.C. . ~ I MESSAMESSA CONCERTATACONCERTATA 3377

150

CCII "

~ I I I in glo- ri- a De- i Pa- tris A- men in glo- ri- a De- i .11 cIICII ~ l' hI glo- ri- a De- i Pa- tris

n ,~-" . 0 AffA/T , Pa- tris A- men in , T/AJ'Ii'b.T/A/Trb. ~ Pa- tris A- men in 6", Trb.Trb. IIII ·

Trb.Trb. IIIIII · u 11UI1'

Vn.Vn. " ~ I I

CorCor.. " tJ "-' "-' v v v v

CITC/T "

~ l' l' V in glo- ri- a De- i Pa- tris in A , in glo- ri- a De- i Pa- tris in T , in glo- ri- a De- i Pa- tris in

B · I I in glo- ri- a De- i Pa- tris in

B.C.B.C. · "-' "-' v v # forte 3838 MESSAMESSA CONCERTATACONCERTATA

11 CICI tJ I Pa- tris De- i Pa- tris A- men 11 CII tJ I in glo- ri- a De- i Pa- tris A- men

n n NTA/T -' V gIo- ri- a De- i Pa- tris A- men , TINTrb.T/A/Trb. \ glo- ri- a De- i Pa- tris A- men . 611£111 Trb.Trb. IIII

. TrbTrb.. IIIIII I

11 Vn.Vn. ~ I I

11 Cor.Cor. U' u tJ - ~ ~ ~ ~ ~- 11 crrC/T tJ v ~ l' glo- ri- a De- i Pa- tris A- men

A , I glo- ri- a De- i Pa- tris De- i Pa- tris A- men , T I ~ gIo- ri- a De- i Pa- tris De- i Pa- tris A- men 60 B . I glo- ri- a De- i Pa- tris De- i Pa- tris A- men

B.C.B.C...... v v MESSAMESSA CONCERTATACONCERTATA 3399

155

CICI " t.> I I De- i Pa- Iris A- men.

CIIcII " t.> l' l' De- i Pa- Iris A- men. A/AffT , De- i Pa- Iris A- men.

T/Affrb.T/A/Trb.

De- i Pa- Iris A- men. " 6n • Trb.Trb. IIII ·

Trb.Trb. IIIIII · lie;' e;'

Vn.Vn. " t.>

1\ Cor.Cor. t.> "'- .'" T'

CITC/T " t.> " " De- i Pa- Iris A- men.

A V De- i Pa- Iris A- men.

I I T f I I De- i Pa- Iris A- men.

B · f" v De- i Pa- Iris A- men.

B.C.B.C. · II v v # 44.. CREDOCREDO

Voce Sola CantusCantus autaut TenorTenor PrimusPrimus "

~ Pa- trem om- ni- po- ten- tern Fa- eto- rem ere Ii ere- Voce Sola. CantusCantus autaut TenorTenor SecundusSecundum " ~ I I I I I Pa- trem om- ni- po- ten- tern Fa- eto- rem ere- Ii Voce Sola. BassoBasso ·

Voce Sola con Tromboni. AltoAlto , , TromboneTrombone [I[I]] f

TromboneTrombone [II][II] ·

TromboneTrombone [III][III] ·

CAPELLACAPELLA SESE PlACEPIACE CantoCanto " t.J

AltoAlto , TenorTenor ,

BassoBasso ·

BassoBasso ContinuoContinuo ·

4040 MESSMESSACONCERTATAA CONCERTATA 4141

5 II. CICI t! I I Ii & ter- ra: Fa- cta- rem ca:- Ii & ter-

II CIIcII t! I I ca:- Ii & ter- ra: Fa- cto- rem ca:- Ii & ter-

B · I I I Pa- trem om- ni- po- ten- tem Fa- cto- rem ca:- Ii & ter- • • A , Pa- !rem om- ni- po- ten- tem Fa- cta- rem ca:- Ii & ter- Trb. I - f I - I

11- • Trb.Trb. IIII · -

Trb.IIITrb. IH · - I I

C " t! Pa- !rem om- ni- po- ten- tem Fa- cto- rem ca:- Ii & ter-

A f Pa- !rem om- ni- po- ten- tem Fa- cto- rem ca:- Ii & ter-

T f I I I Pa- !rem om- ni- po- ten- tem Fa- cto- rem ca:- Ii & ter-

\.. \.. B · I I Pa- !rem om- ni- p<>- ten- tem Fa- cto- rem ca:- Ii & ter-

B.C.B.C. · I I 4242 MESSAMESSA CONCERTATACONCERTATA

10

CICI " tJ I I" ra: Vi- si- bi- li- um orn- ni- um

CIIcII " tJ l' .. ..,. ra: Vi- si- bi- li- um orn- ni- urn & in- vi- si-

B ·

ra: A , ra: Trb.Trb. II ,

Trb.Trb. IIII ·

Trb.IIITrb. III ·

C " tJ ra:

A ~ ra:

T ~ ra:

B ·

ra:

B.c.B.C. · I I # MESSAMESSA CONCERTATACONCERTATA 4343

15 1\ CCII ~ I r & in- vi- si- - bi- li- urn & in- vi-

CIIcII " • .g. I r l' ~ .' bi- li- urn & in- vi- si- - bi- li- urn & in-

B ·

A ~

Trb. I ,

Trb.Trb. IIII ·

TrbTrb.. IIIIII ·

C "

~

A " T ~

B ·

B.CB.C.. · I # # «44 MESSACONCERTATAMESSA CONCERTATA

20 1\ CICI ~ I r si- bi- li- um

CIIcII , vi- si- bi- li- urn

B ·

• 1'" ~ • A I , & in u- nurn Do- mi- nurn Ie- sum Chri- sturn

I Trb.ITrb. I , I

.". .". .". .". .". Trb.Trb. IIII ·

Trb.IIITìrb. III · I ...... I

cC " ~

A , T ,

B ·

B.C.B.C. · I .., I MESSAMESSA CONCERTATACONCERTATA 4455

25 1\ CICI t!

CIIcII " tJ

B ·

.. • A ~ I Fi- ll- urn De- i Fi- ll- urn De- i u- ni- ge-- ni-'"

Trb. I f I I

(1-. A (l- #- TrbTrb.. IIII ·

Trb.IIITrb. III · v v I

C " tJ

A " , T " B ·

B.C.B.C. · u I 4466 MESSMESSAA CONCERTATACONCERTATA

30

CICI " ~ ,.. & ex Pa- tte na- tum an- te om- ni- a an- te

-~ CIIcII " ~ I I I ,.. ,.. & ex Pa- tte na- tum an- te om- ni- a an- te om- ni-

B · I ,.. & ex Pa- tte na- tum an- te om- ni- a an- te • n • . , • • ~' A -- \ tum & ex Pa- tte na- tum an- te om- ni- a an- te om- ni-

Trb.Trb. II ~

• f'T f'T • • Trb.Trb. IIII ·

Trb.Trb. IIIIII · I ,..

C " ~ & ex Pa- tte na- tum an- te om- ni- a an- te om- ni-

A \ & ex Pa- tte na- tum an- te om- ni- a an- te

T ,.. ,.. ~ I I & ex Pa- tte na- tum an- te om- ni- a an- te om- ni-

B · I ,.. & ex Pa- tte na- tum an- te om- ni- a an- te B.C.B.C. · I forte MESSAMESSA CONCERTATACONCERTATA 4477

35

CICI " tJ om- ni- a Sle- cu- 1a ellcII tJ I I a Sle- cu- 1a

B 0

om- ni- a Sle- cu- 1a

n A , a Sle- cu- 1a De- um de De- 0 1u-

Trb. I \ I -

1*" 1*" p- o • TrbTrb.. IIII

...- TrbTrb.III. III 0 - •

1\ C tJ a Sle- cu- 1a

A ~ om- ni- a Sle- cu- 1a

T ~ I a Sle- cu- 1a

0 B

om- ni- a Sle- cu- 1a B.CB.C.. 0 - .. 4488 MESSAMESSA CONCERTATACONCERTATA

40

CICI " tJ

cIICII " tJ

B ·

• • i 0 lit .". . .". lit A , men de lu- mi- ne De- urn ve-- rum de De- 0 ve-- ro de De- 0 , Trb. I , - I

b. .. • fI- fI-.,. fI- h•• • Trb.Trb. IIII ·

Trb.Trb. IIIIII · - I I I I

C " tJ

A f

T f

B ·

B.C.B.C. · I I I I MESSAMESSA CONCERTATACONCERTATA 4949

45 A CICI ~ Ge- ni- tum non fa- ctum con- sub- stan- ti- a- lem pa-

CIIcII " ~ I I Ge- ni- tum non fa- ctum con- sub- stan- ti- a- lem

B · I ... I Ge- ni- tum non fa- ctum con- sub- stan- ti- a- lem

• I'J I'J • • • A ~ ve- ro Ge- ni- tum non fa- ctum con- sub- stan- ti- a- lem

Trb. I ~

• -r; -r; .". • .". Trb.Trb. IIII ·

Trb.IIITrb. III · I ... I

C " ~ - Ge- ni- tum non fa- ctum con- sub- stan- ti- a- lem A , Ge- ni- tum non fa- ctum con- sub- stan- ti- a- lem

, I I I I ~ I T , I I Ge- ni- tum non fa- ctum con- sub- stan- ti- a- lem

B · I ... I Ge- ni- tum non fa- ctum con- sub- stan- ti- a- lem

B.c.B.C. · I forte 5050 MESSMESSAA CONCERTATACONCERTATA

I CCII

,... ~ t I r tri per quem om- ni- a per quem om- ni- a per quem om- ni- a fa-

1\ ,..... cIICII tJ I l' I pa- tri per quem om- ni- a per quem om- ni- a

B · I r r pa- tri per quem om- ni- a per quem om- ni- a fT II,., • • A ~ pa- tri per quem om- ni- a per quem om- ni- a

Trb. I - ~ I000o...... I I

#- • n Trb.Trb. IIII · I

Trb.Trb. IIIIII · • • ..

1\ C ~ • • .- pa- tri per quem om- ni- a fa-

A

~ I I pa- tri per quem om- ni- a

I I I T ~ pa- tri per quem om- ni- a B · .. .. pa- tri per quem om- ni- a

B.C.B.C. · I ~ pian forte MESSAMESSA CONCERTATACONCERTATA 5511

50 1\ CICI

~ eta sunt

/\ I CIIcII ~ fa- cta sunt

B · I fa- cta sunt • • • • A , fa- eta sunt qui pro- pter nos ho- mi- nes & pro- pter no- stram sa-

I Trb. I -- - " ,. ,. ,. ,. . " 'frb.Trb. IIII ·

Trb.Trb. IIIIII · I I I I I I- 1 .J I

C " ~ ",r ,.... '" eta sunt A , fa- cta sunt

T , l' fa- cta sunt

B · I fa- cta sunt

B.C.B.C. · I I 1..J 5252 MESSAMESSA CONCERTATACONCERTATA

55 1\ CCII ~

1\ CIIcII ~

B ·

~.. .. A ~ lu- tern & pro- pter no- stram sa- lu- tern de- scen-

Trb.I Trb.I ...... , , I I ...... I I

• • • • fi-. .. TrbTrb.. IIII ·

Trb.IIITrb. III · - I I I

C t

A ",

T ,

B ·

B.C.B.C. · - MESSAMESSA CONCERTATACONCERTATA 5353

60 " CCII ..,

" CIIcII ..,

B ·

I A , I I I dit de Cle- lis de- scen- dit de

J Trb.'Irb.II ,

t*- Trb.Trb. IIII · I I

Trb.IIITrb. III · I I

" C ..,

A ~

T f

B ·

B.C.B.C. · I I # 5544 MESSMESSAA CONCERTATACONCERTATA

, 65 70 CICI I I I ~ & in- car- na- tus est

1\ CIIcII t.J & in- car- na- tus est de

B · I & in- car- na- tus est de , A , cre- lis & in- car- na- tus est

Trb.Trb. II ~ I I ~

Trb.Trb. IIII · I I

Trb.Trb. IIIIII ·

1\ C t.J & in- car- na- tus est

A ~ & in- car- na- tus est

T ~ I I & in- car- na- tus est de

B ·

& in- car- na- tus est de B.CB.C.. ·

forte MESSAMESSA CONCERTATACONCERTATA 5555

75 1\ CCII ~ - de Spi- ri- tu San- eto ex Ma- ri- a

1\ CIIcII ~ ". I I I I I Spi- ri- tu San- eto ex Ma- ri- a

B ·

Spi- ri- tu San- eto ex Ma- ri- a *0' *. *0 fT A , de Spi- ri- tu San- eto ex Ma- ri- a

Trb. I ~ - I I I I

#- • n Trb.Trb. IIII ·

TrbTrb.. IIIIII ·

C ~ Q de Spi- ri- tu San- eto ex Ma- ri- a

A ~ I I I I de Spi- ri- tu San- eto ex Ma- ri- a

T , ". I Spi- ri- tu San- eto ex Ma- ri- a

B ·

Spi- ri- tu San- eto ex Ma- ri- a

B.C.B.C. · I I 5656 MESSMESSAA CONCERTATACONCERTATA

80

CCII " tJ I Vir- gi- De & Ho- mo fa-

CIIcII " tJ I " I Vir- gi- De & Ho- mo fa- ctus &

B · I Vir- gi- De & Ho- mo & Ho-

0 e- n n A

~ Vi- gi- De & Ho- mo

I Trb. I ,

n 0 ~ TrbTrb.. IIII ·

Trb.Trb. IIIIII · I

A C tJ Vir- gi- De &

A

~ Vir- gi- De &

T

~ I Vir- gi- De &

B · I Vir- gi- De &

B.CB.C.. · I pian # forte MESSMESSAA CONCERTATACONCERTATA 5757

85

CCII "

~ I ctus & Ho- mo fa- ctus est. cIICII " I ~ I I I Ho- mo fa- ctus est.

B · '" I mo & Ho- mo fa- ctus est.

A \' fa- ctus est.

Trb. I \'

0 Ii ,1 TrbTrb.. IIII ·

Trb.Trb. IIIIII ·

A C ~ I I Ho- mo fa- ctus est. A , Ho- mo fa- ctus est.

T

f I Ho- mo fa- ctus est.

B ·

Ho- mo fa- ctus est.

B.CB.C.. ·

5 # " 5858 MESSAMESSA CONCERTATACONCERTATA

Voce Sola. TenoreTenore II

Cru- ci- fi- xus e- ti- am pro no- bis sub POll- ti- 0 Pi- la-

B.C.B.C.

90

to Cru- ci- fi- xus e- ti- am pro no- bis sub Pon- ti- 0 Pi- la- to

95

Pas- sus Pas- sus & se--

100

pul- tus est Pas- sus Pas- sus Pas- sus

105

Pas- sus & se- pul- tus est.

adasio MESSAMESSA CONCERTATACONCERTATA 5599

A3. 110 II CCII ~ I I I Et re- sur- re- xit ter- ti- a di- e

II cellII ~ I' I' Et re- sur- re- xit ter- ti- a di- e

B r r I' I' r Et re- sur- re- xit ter- ti- a

B.CB.C.. I #

II

~ r r I' I" I" I & re- sur- re- xit ter- ti- a di- e se- cun- dum Scri- ptu- II ...

~ I I I' I' & re- sur- re- xit ter- ti- a di- e se- cun- dum Scri- ptu-

di- e se- cun- dum Scri- ptu-

I I I # # 6 #

115 1'\

tJ I I I" ras se- cun- dum Scri- ptu- ras & a-

1'\ I I

tJ I" ras se- cun- dum Scri- ptu- ras

I' I" ras se- cun- dum Scri- ptu- ras Scri- ptu- ras

I 6060 MESSAMESSA CONCERTATACONCERTATA

120 ~

t..l I I scen- dit & a- scen- dit & a-

10.

t..l I r r & a-'" scen- dit & a- scen- - dit & a- &- a-'" scen- dit in Cle-

,

~ I I scen- dit in Cle- lum & a- scen- dit'" in Cle- lum II

~ " " scen- dit in Cle- lum & a-'" scen- dit in Cle- lum

'l

r

lum &'" a- scen- dit in Cle- lum se- det ad

01

I I # #

125 '" t..l se- det ad dex- te- ram Pa- tris

~

~ se- det ad dex- te- ram Pa- tris ,...... , .

dex- te- ram Pa- tris

" 'l MESSAMESSA CONCERTATACONCERTATA 6611

130 II tJ se- det ad

II

.., l' I se- det ad dex- te- ram Pa- tris se- det ad

se- det ad dex- te- ram Pa- tris

#

135 " tJ dex- te- ram Pa- tris se- det ad dex- te- ram Pa- " t.J I dex- te- ram Pa- tris ad dex- te- ram Pa-

I I se- det ad dex- te- ram Pa-

140 II

.., I tris ad dex- te- ram Pa- tris.

II I I

.., I tris ad dex- te- ram'" Pa- tris.

I tris ad dex- te- ram Pa- tris.

I II 5 6262 MESSAMESSA CONCERTATACONCERTATA

Tutti 145 CICI " tJ I Et i- te- rum & i- te- rum & i- te- rum

CIIcII " tJ I ,. I Et i- te- rum & i- te- rum & i- te- rum ven- tu- rus

B . I ,. I Et i- te- rum & i- te- rum & i- te- rum

, • .. • 0 A/NTT , Et i- te- rum & i- te- rum ven- tu- rus est & i- te- rum

Trb.Trb. II ~ I I

.. • n Trb.Trb. IIII ·

Trb.Trb. IIIIII · I ,. I

C " tJ Et i- te- rum & i- te- rum & i- te- rum , A , I Et i- te- rum & i- te- rum & i- te- rum

1 T ,. ~ I I I Et i- te- rum & i- te- rum & i- te- rum

B · I r I Et i- te- rum & i- te- rum & i- te- rum

~ I B.c.B.C. · I ,. I I forte pian MESSMESSAA CONCERTATCONCERTATAA 6363

150 1\ CICI .., I I I I I" I ven- tu- rus est cum glo- ri- a iu- di- ca- re vi- vos vi-

ellcII " .., I I I I I I" est cum glo- ri- a iu- di- ca- re vi- vos vi- vos &

B ·

cum glo- ri- a iu- di- ca- re vi- vos vi- vos &

• n n A/AITT f cum glo- ri- a iu- di- ca- re vi- vos &

Trb.Trb. II ~ I I I I

• ,I ,I 0 • .. • Trb.Trb. IIII ·

Trb.IIITrb. III · ..

1\ C tJ v cum glo- ri- a iu- di- ca- re vi- vos &

A ~ I I I I cum glo- ri- a iu- di- ca- re vi- vos vi-

T ~ I I I I I" cum glo- ri- a iu- di- ca- re vi- vos vi- vos &

B ·

cum glo- ri- a iu- di- ca- re vi- vos vi- vos &

B.c.B.C. · I forte 6464 MESSAMESSA CONCERTATACONCERTATA

155

CCII t.> I r vos & mor- tu- os

1\ CIIcII tJ mor- tu- os

B · I I mor- tu- os .. A/AffT , mor- tu- os cu- ius re- gni non e- rit fi- nis , Trb.Trb. II I I I I ~

" TrbTrb.. IIII · , ,

I I I L TrbTrb.. IIIIII · e- I

1\ C t.> mor- tu- os

A , I I r I vos & mor- tu- os T , mor- tu- os

B ·

mor- tu- os

L I B.C.B.C. · I MESSMESSAA CONCERTATCONCERTATAA 6655

160

CICI " t.J I I I non e- rit fi- nis non e- rit fi-

CIIcII " t.J I non e- rit fi-

B · I I non e- rit fi- nis non e- rit fi- • NTA/T , non e- rit fi- nis

Trh.Trb. II , I

Trh.Trb. IIII · I

Trh.Trb. IIIIII · I

C " t.J

A ~

T ~

B ·

I B.CB.C.. · - I I I I I I pian # 6666 MESSAMESSA CONCERTATACONCERTATA

165

CCII " tJ nis & in Spi- ri- tum San- ctum 00- mi- num & vi- vi- fi-can-

...... CIIcII " tJ I I I nis & in Spi- ri- tum San- ctum 00- mi- num & vi- vi- fi-"" can-

B · I nis & in Spi- ri- tum San- ctum 00- mi- num & vi- vi- fi-can-

• ~ n • 1J~ A/AffT .' tl & in Spi- ri- tum San- ctum 00- mi- num & vi- vi- fi-can- Trb.Trb. II , -

• .,..' ~ fT 'fj- • Trb.Trb. IIII ·

Trb.IIITrb. III · ., ., v ...

C " tJ & in Spi- ri- tum San- ctum 00- mi- num & vi- vi- fi-can- • A f I I I r I & in Spi- ri- tum San-- ctum 00- mi- num & vi- vi- fi-can-

I I ...... I T , I I & in Spi- ri- tum San- ctum 00- mi- Dum & vi'- vi- fi- can-

I.. B ·

& in Spi- ri- tum San- ctum 00- mi- num & vi- vi- fi-can-

B.CB.C.. · ., v ., ... forte MESSMESSAA CONCERTATACONCERTATA 6677

170

CICI " ~ I I tern qui cum Pa- ===

CIIc II " tJ I tern qui cum

B · I tern qui cum Pa- Ire &

• .. -"- -"- .. AffA/T f tern qui ex Pa- Ire Fi- li- 0- que pro- ce- dit

Trb.Trb. II f

~ 1, ...... Trb.Trb. IIII ·

Trb.IIITrb. III : I I

C " tJ tern A , tern

I T

f I tern

B ·

tern

B.C.B.C. · I I

pian 6868 MESSAMESSA CONCERTATACONCERTATA

175

CICI tJ r I I I I tre & Fi- li- 0 si- mul a- do- ra-

CIIcII " t! ,. I ,. I Pa- tre & Fi- li- 0 si- mul a- do- ra-

B · I I I I I

Fi- li- 0 si- mul a- do- ra-

d A/AffT , si- mul a- do- ra-

Trb.Trb. II ~ I I I I I

d _II. -'Ie Trb.Trb. IIII ·

Trb.Trb. IIIIII ·

C " t! si- mul a- do- ra- , A , si- mul a- do- ra-

T ~ I I I I I si- mul a- do- ra-

B · I I I I I si- mul a- do- ra-

B.c.B.C. · I I I

forte MESSAMESSA CONCERTATACONCERTATA 6699

180 1\ CCII ~ ...... tur & cum glo- ri- fi- ca- tur qui 10-

1\ cIICII ~ tur & cum glo- ri- fi- ca- tur

B · I tur & cum glo- ri- fi- ea- tur

I':J A/AITT ,., tur & cum glo- ri- fi- ca- tur

Trb.Trb. II f I

,1 -(J- TrbTrb.. IIII ·

TrbTrb.. IIIIII · I

1\ C

~ l' tur & cum glo- ri- fi- ca- tur

A ,., ..... tur & cum glo- ri- fi- ca- tur

T f tur & cum glo- ri- fi- ca- tur

B · I tur & cum glo- ri- fi- ca- tur

B.CB.C.. · I 7700 MESSMESSAA CONCERTATACONCERTATA

1\ CICI «J I I r eu- tus est qui 10- eu- tus est qui 10- eu- tus est per Pro- phe-

CIIcII " ~ r I I I I qui 10- eu- tus est qui 10- eu- tus est per Pro- pbe-

B ·

qui 10- eu- tus est per

A/NTT ~

TrbTrb.. II ~

Trb.Trb. IIII ·

Trb.IIITrb. III ·

1\ C «J

A ,.,

T ~

B ·

B.C.B.C. · J II" I pian 3 MESSAMESSA CONCERTATACONCERTATA 7711

185

CCII " t.J g;;IiII I tas ..-- CIIc II " t.J tas

B · I I Pro- phe- tas .. A/NTT ~ & u- nam San- ctam Ca- tho- li- cam

Trb.Trb. II ~ I

Trb.Trb. IIII · I

TrbTrb.. IIIIII · v .. .. I

C " t.J , A , T ,

B ·

B.C.B.C. · I v· .. I I 7272 MESSMESSAA CONCERTATACONCERTATA

190

CCI I ~ Con- " cCII II .., Con-

B ·

Con- .-. A/AffT ~ & A- po-- sto- ll- cam Ec- cle- si- am Con-

Trb.Trb. II ~ I

1,,, " Trb.Trb. IIII ·

Trb.Trb. IIIIII · I T

" C .., Con-

A ~ Con- T , Con-

B ·

Con-

I B.c.B.C. · I I 3 t/3 " forte MESSAMESSA CONCERTATACONCERTATA 7733

195 1'1 CIC I t! I I fi- te-'" or Con- fi- te- or

1'1 CIIc II t.J I I fi- te- or Con- fi- te-'" or U- num ba- pti- sma u- num ba- pti- sma

B · I fi- te- or Con- fi- te- or

• .. _. 10 A/AffT , fi- te- or Con- fi- te- or

Trb.Trb. II , I r I

'l ... .. • n Trb.Trb. IIII ·

Trb.IIITrb. III ·

1'1 C t.J fi- te- or Con- fi- te- or A , fi- te- or Con- fi- te- or

T

~ I I I fi- te-'" or Con- fi- te-'" or

B · I r I fi- te- or Con- fi- te- or

B.CB.C.. · I # # 7474 MESSAMESSA CONCERTATACONCERTATA

200 1\ CIC I tJ

11 • • ellc II tJ r I" I I" in re-mis-si- 0- nem pec-ca- to- rum in re-mis-si- 0- nem in re-mis-si-

B ·

AITA/T , , Trb.Trb. II ~

TrbTrb.. IIII ·

TrbTrb.. IIIIII ·

C t

A ~

T ~

B ·

I B.C.B.C. · .. MESSAMESSA CONCERTATACONCERTATA 7755

205 1\ CIC I tJ & ex- pe- eto re-

1\ CIIc II tJ r I 0- nem pec- ea- ta- rum

B · I & ex- pe- eto

NTA/T ,>

Trb.Trb. II ,

TrbTrb.. IIII ·

Trb.Trb. IIIIII ·

1\ C tJ

A f

T ~

B ·

B.CB.C.. · I I I 7676 MESSAMESSA CONCERTATACONCERTATA

210 II CIC I t.J sur- re-'" cti- 0- oem re- sur-'" re- cti- 0- oem mor- tu-

II CIIC II tJ

h. B ·

re- sur-'" re- cti- 0- oem re- sur- re- cti- 0- oem mor- tu- AITA/T ,

Trb.Trb. II ,.,

Trb.Trb. IIII ·

TrbTrb.. IIIIII ·

f\ C t.J

A ,

I T ,

B ·

h. B.CB.C.. · MESSAMESSA CONCERTATACONCERTATA 7777

215

CCI I " tJ I 0- rum & vi- tam ven- tu- ri SIe- cu- II & vi- tam cCII II " tJ l' ~ & vi- tam ven- tu- ri SIe- cu- II & vi- tam

B 0 I 0- rum & vi- tam ven- tu- ri SIe- cu- II & vi- tam

n n NTA/T f & vi- tam ven- tu- ri SIe- CU- II & vi- tam

TrbTrb.. II , I

n e- o Trb.Trb. IIII

TrbTrb.. IIIIII

C " tJ l' l' & vi- tam ven- tu- ri SIe- cu- Ii & vi- tam A , & vi- tam ven- tu- ri SIe- cu- II & vi- tam

T , I & vi- tam ven- tu- ri SIe- cu- II & vi- tam

B 0

& vi- tam ven- tu- ri SIe- cu- Ii & vi- tam

B.c.B.C. 0 I 7788 MESSAMESSA CONCERTATACONCERTATA

220 1\ CIC I tJ ven- tu- ri sre- cu- Ii ven- tu- ri

1\ ClIc II tJ ven- tu- ri sre- cu- Ii ven- tu- ri sre- cu- Ii

B · I ven- tu- ri sre- cu- Ii ven- tu- ri sre- cu- Ii

, n· n n A/AffT , ven- tu- ri sre- cu- Ii ven- tu- ri sre- cu- Ii

Trb.Trb. II ~

09-. 09- 09- no -f? 09- 'l Trb.Trb. IIII ·

Trb.Trb. IIIIII · I

1\ C tJ 'U 09- 'U ven- tu- ri sre- cu- Ii ven- tu- ri sre- cu- Ii

A ~ ven- tu- ri sre- cu- Ii ven- tu- ri sre- cu- Ii ven- tu- ri

T , l' ven- tu- ri sre- CU- Ii ven- tu- ri sre- CU- Ii

B · I ven- tu- ri sre- CU- Ii ven- tu- ri sre- CU- Ii

B.c.B.C. · I MESSMESSAA CONCERTATCONCERTAT A 7799

225 CIC I " .; sre- cu- II ven- tu- ri sre- cu- II A- men & vi- tam

CIIc II " .; I ven- tu- ri sre- ell- Ii A- men & vi- tam

B ·

ven- tu- ri sre- cu- Ii sre- cu- II A- men & vi- tam

, o· 0 n A/AffT , ven- tu- ri sre- cu- Ii sre- cu- Ii A- men & vi- tam , TrbTrb.. II ,

In -& n ,~ " Trb.Trb. IIII ·

Trb.Trb. IIIIII ·

C " ..., ... .; " ven- tu- ri sre- cu- Ii sre- cu- Ii A- men & vi- tam

A ~ sre- cu- Ii ven- tu- ri sre- cu- II A- men & vi- tam

T ~ I ven- tu- ri sre- cu- II A- men & vi- tam

B · ven- tu- ri sre- cu- li sre- cu- li A- men & vi- tam

B.CB.C.. · 8080 MESSMESSAA CONCERTATACONCERTATA

230

CIC I " .; I ven- tu- ri sre- cu- II & vi- tam ven- tu- ri cCII II " .; ven- tu- ri sre- cu- II & vi- tam ven- tu- ri

B ·

ven- tu- ri sre- cu- II & vi- tam ven- tu- ri

, no no AffA/T , ven- tu- ri sre- cu- II & vi- tam ven- tu- ri , Trb.Trb. II ~ I

n -9- -& -& 0 Trb.Trb. IIII ·

Trb.Trb. IIIIII · , C ..., t ven- tu- ri sre- cu- II & vi- tam ven- tu- ri

A t> ven- tu- ri sre- cu- Ii & vi- tam ven- tu- ri

T ~ I ven- tu- ri sre- cu- II & vi- tam ven- tu- ri

B ·

ven- tu- ri sre- cu- Ii & vi- tam ven- tu- ri

B.C.B.C. · -n MESSAMESSACONCERTAT CONCERTATAA 8811

235 Ji CICI tJ Sa!- cu- II Yen- tu- ri Sa!- cu- II

CICIII " tJ Sa!- cu- II Yen- tu- ri Sa!- cu- II

B · 1 Sa!- cu- II Yen- tu- ri Sa!- cu- II yen- tu- ri

o· ~ 0 A/NTT ~ Sa!- cu- II yen- tu- ri Sa!- cu- II Yen- tu- ri

TrbTrb.. I ~

-&. -& ? '"~, TrbTrb.. IIII ·

TrbTrb.. III · T

C " tJ -& u u Sa!- cu- II Yen- tu- ri Sa!- cu- Ii Yen- tu- ri

A ,> I Sa!- cu- Ii yen- tu- ri Sa!- cu- Ii Yen- tu- ri Sa!- cu- II

T

~ " Sa!- cu- Ii Yen- tu- ri Sa!- cu- Ii B · I Sa!- cu- Ii yen- tu- ri Sa!- cu- Ii Yen- tu- ri

B.C.B.C. · 8282 MESSAMESSACONCERTAT CONCERTATAA

240 II CICI tJ ven- tu- ri Sle- cu- II A- men.

II I CICIII

~ I ven- tu- ri Sle- cu- Ii A- men.

B · I I Sle- cu- Ii Sle- cu- Ii A- men.

.". n n A/AfTT f Sle- cu- Ii Sle- cu- II A- men. TrbTrb.. II ,

0 e' 0 ~ ~ Trb.Trb. IIII ·

TrbTrb.. IIIIII · I I

II C tJ Sle- cu- Ii Sle- cu- II A- men.

I A , ven- tu- ri Sle- cu- Ii A- men.

T ~ I ven- tu- li Sle- cu- Ii A- men.

B · I Sle- cu- II Sle- cu- Ii A- men.

B.C.B.C. · I