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Author: Williams, Margaret Title: The Vespers music of JD Heinichen (1683-1729)

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Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. THE VESPERS MUSIC OF J. D. HEINICHEN (1683-1729)

Volume 4: Hymns, Jubilus and MaTianAntiphons

Margaret Williams

A dissertation submitted to the University of Bristol in accordancewith the requirements of the degreeof PhD in the Faculty of Arts, School of Arts.

Departmentof Music, June 2007 ALL MISSING

PAGES ARE

BLANK

ORIGINAL iii

TABLE OF CONTENTS

Introduction V ......

J.D. Heinichen ......

The Dresden A court ......

Vespers at court ...... vi

The hymns ...... vii

The Marian antiphons...... viii

Performance ...... x

Texts Translations xii and ......

The Liturgical Hymns I ......

Ave maris stella ......

Crudelis Herodes I ......

Decora lux 21 ......

Iste Confessor 29 ......

JesuRedemptor 37 omnium ......

lingua 47 Pange ......

Te Joseph 61 celebrent ......

Veni Creator Spiritus 69 ......

Haec dies 79 ...... iv

The Marian Antiphons ...... 87

Alma RedemptorisMater in E6 ...... 89

Alma RedemptorisMater in F ...... 105

Ave Regina ...... 117

Regina in D caeli ...... 133

Regina in G caeli ...... 157

Critical Report ...... 185

Sources ...... 187

Editorial Methods ...... 192

Critical Notes 196 ...... V

INTRODUCTION

J. D. Heinichen

Johann David Heinichen (1683-1729) is rememberedtoday chiefly as the author of two treatisesof composition: the 1711 Neu erfundeneundgriindlicheAnweisung... zu 1 vollkommener Erlernung des General-basses, and the lengthier Der General-bassin der Composition of 1728.2But in his day, he occupied what was probably one of the most prestigious musical posts in all Europe, that of Kapellmeister to the Royal and Electoral court in Dresden.

Heinichen was the son of a Lutheran pastor, and as a boy attendedthe Thomasschulein 3 Leipzig. He then studied law at Leipzig University, and after his graduation in 1706, began legal practice in Weissenfels.However his legal careercame to an early end when, in 1709, he was appointed opera composerfor the Leipzig opera house,and later court composerto Duke Moritz Wilhelm at Zeitz, and opera composerat Naumburg.

These appointmentswere also somewhat short-lived. In 1710, as so many other German musicians before him, Heinichen travelled to Italy, spendingover six years there, mostly in Venice. In 1716 in Venice, he came to the notice of the Crown Prince of Saxony (who would become Elector Friedrich August II of Saxony and King August III of Poland in 1733). The Crown Prince engagedHeinichen as Kapellmeister, and Heinichen arrived in Dresden some time in 1717. He was to remain there in the service of the Royal and Electoral court for the rest of his life.

'Johann David Heinichen, Neu Gründliche Anweisung Erlernung des erfundene und ..zu vollkommener General-Basses (Hamburg, 1711, facs. repr. Kassel, 2000 with introduction by Wolfgang Horn).

2 Johann David Heinichen, Der General-bassin der Composition, (Dresden, 1728, facs repr. Hildesheirn, 1994 as Der Generalbaß in der Komposition).

3 Kurfiirstl. The first scholarly study of Heinichen's life and works is the 1913 Das Leben des K6nig/ und Sdchs.Hojkapellmeisters Johann David Heinichen (Leipzig, 1913) by Gustav Adolph Seibel. For a relatively comprehensivebiography in English, seeGeorge J. Buelow, Thorough-BassAccompaniment According to Johann David Heinichen (Lincoln, 1966, repr. 1986 ). vi

The Dresden court

The Royal and Electoral court in Dresdenwas seatof the Elector Friedrich August I (known as August der Starke) of Saxony. Friedrich August also held the crown of Poland, ruling there as King August II. A condition of assumingthe Polish crown was that the Elector-King was obliged to becomea Catholic. So the unusual situation arosethat in Saxony,the birthplace of Luther, and the very cradle of the Reformation, the ruling court was Catholic. A Catholic court church was establishedwhich, during Heinichen's time as Kapellmeister, was situatedin a building once occupied by a court theatre, the Theater am Taschenburg.This church was run by a mission of Jesuit priests, who encourageda rich repertory of church music. Rather than the Lutheran cantatas,chorales, and German languageliturgical settingsprevalent elsewherein Saxony, the Dresdencourt required settingsof the Mass, Vespers,and other items of Catholic liturgy.

As Kapellmeister to the court, it was one of Heinichen's duties to supply the vast quantities of church music needed. He was helped in this task by his deputy, the Bohemian bom Jan Dismas Zelenka (1679-1745). For important church feasts,new settingswere composed, but the court musicians also made use of numerousworks by other composersof the era. Most notable in this respectare the sacredvocal works of Antonio Vivaldi; to this day, the Dresdenlibrary holds the largest collection of Vivaldi's music outside Italy.

Vespers at court

The office of Vesperswas secondonly to the Mass in importance in the life of the court church. It was celebratedtwice for any given feast day; once on the evening before the feast, and once on the evening of the feast day itself. The principal componentsof the office were five psalms (the first always Dixit Dominus, the others varied), a liturgical hymn, the Magniflicat and a Marian antiphon. On feast days, these items were set to figural music, whereas other components of the office, such as the antiphons before and after the psalms, were probably sung to plainchant. (Unfortunately it is unclear exactly what the vii

practice was in Dresdenat this time. ) In Dresden,Vespers was sung beginning at various times between two and four in the afternoon.4

Unlike the unchanging componentsof the ordinary of the Mass, the requirementsfor the office of Vespersvaried from day to day. Therefore, when composersof the court wrote music for Vespers,they tended not to composea complete set of items for the whole

4 office. Rather, they composedindividual items or groups of items which could then be used as required (presumably in conjunction with already existing items) for any particular service. Heinichen's colleagueZelenka assembledhis Vesperscompositions into collections or 'cycles', covering the liturgical requirementsfor a whole year, from which appropriate componentscould be selected.Heinichen's Vesperssettings have not been organisedin this way. However, from the datesof his compositions, it can be seenthat he often set a number of items together for a particular occasion.

Becauseof lossesdue to war and water damage,it is not possible to say exactly the full tally of Heinichen's Vespers music. The settings still preservedin Dresdentoday are: 8 Magnificats (one in two versions), 29 psalms, 8 hymns (one in two versions), 5 Marian antiphons and I Jubilus (the replacementfor the liturgical hymn, used at Easter).There are also a few items to be found in Prague(see dissertation, chapter2), but their authenticity has yet to be verified.

The hymns

Heinichen's hymn settings are all in stile antico, in consciousimitation of Palestrinan polyphony, and have strictly collaparte instrumental accompaniment.In contrastto this, the one Jubilus (the Jubilus being the liturgical alternative to the hymn for EasterSunday) is a stile moderno setting. Heinichen does not set all versesof the hymn texts; those that he omits are shown in squarebrackets in the Texts and Translations section of this volume. It is not known for certain whether these missing text portions were sung using the existing music of the setting, whether they were sung to plainchant, or indeed, omitted altogether.

4 The singing of Vespers is noted mafiy times in the diary kept by the Jesuits,and reproducedin part by Wolfgang Reich and Siegfried Seifert in Gattermann(ed. ) Zelenka Studien H (Sankt Augustin, 1997) 315- 75. viii

An interesting caseis the setting of the hymn for the feast of Corpus Christi, the Pange lingua. For this hymn, Heinichen specifically directs that text verse 4 should be sung to the music of verse 2, and that text verse 5 should use the music of verse 3. This particular hymn, according to Jesuit sources,was used to accompanythe Corpus Christi procession, as it travelled to eachof the four side altars of the church, with a verse of the hymn sung at eachaltar.

Under the direction of PopeUrban VIII (1623-44), the texts of many hymns were revised, in order to make them more classically 'correct'. In many cases,these revisions have since been revoked, restoring the hymns to their original form. However, it is the Urbanian revisions that Heinichen uses,resulting in texts that in some cases(in particular, the hymn Jesu, Redemptoromnium) differ considerably from their current versions.

The Marian antiphons

Strictly speaking,the four Marian antiphons are part of the office of Compline rather than that of Vespers.However, in non-monastic situations such as the Dresdencourt church, it was usual for the Marian antiphon to be sung as part of the office of Vespers. The four Marian antiphon texts are usedat different times of year as follows:

Antiphon When used

AlmaRedemptofis Mater Fromthe first Sundayin Adventuntil 2nd February

Ave Regina From2nd February until Wednesday of Holy Week

Reginacaeli FromEaster until Pentecost

SalveRegina FromTrinity Sunday until Advent

In Dresden, there are two extant settingsby Heinichen of the Regina caeli and of the Alma RedemplorisMater, and one of the Ave Regina. In Prague,there are copies of a setting of the Salve Regina also presumedto be by Heinichen. Although this setting would fill an ix

obvious gap in Heinichen's output, stylistically it raisesa few questions(see dissertation), and so for the time being its authorship cannot be verified for certain.

Heinichen's Marian Antiphons

Antiphon Date Shelfmark AlmaRedemptoris Mater in Undated(November 1723)5 D-DIbMus. 2398 E-1 E6

AlmaRedemptoris Mater in F December1726 D-DlbMus. 2398 E-2

AveRegina in E6 March1727 D-DlbMus. 2398 E-6

Reginacaeli in G March1727 D-DlbMus. 2398 E-3

Reginacaeli in D Undated(1722) D-DIbMus. 2398 E-4

It would appearthat a number of Heinichen's Marian antiphons are now missing. The title on the score of the Alma Redemploris Mater in F has been altered to include the words '4tum', implying that there are (at least) two further settings of this antiphon now lost. Another piece of evidence implying a missing work is that a set of partbooks of Heinichen's Vespers settings contained a Regina caeli that is now no longer extant in Dresden. Sadly, the partbooks themselvesare also now missing, but they are describedin Seibel's study of Heinichen and his works. 6

In general, Heinichen's Marian antiphons are fairly virtuosic in style, and they tend to make greater demandson the soloists than his Psalm settings. One antiphon (the Alma RedemptorisMater in F) is for solo alto only, and another (the Ave Regina) is for alto and soprano soloists only. There is reasonto believe that on some occasionsat least, the intended alto soloist was the Bohemian musician Franz Benda. Benda's autobiography statesthat 'At that time [ 1723], however, the late Kapellmeister Heinichen hadj ust finished composing a new Regina Coeli which I was supposedto sing in front of the royal

5 For further Although some sourcesare undated, proposed dates of composition are given in parentheses. information, seedissertation, chapter 2.

6 Seibel, Das Leben, 63. x

party'. ' This setting cannot have been the Regina caeli in G, since this is dated 1727, but it might have been the (undated) setting in D, which has a separatepart for 'Alto Concertante'in the first andlast movements.

Performance

The musical establishmentat the Dresdencourt was made up of many different ensembles. The most prestigious of thesewas the 'Royal Musicians', the namesof whom are listed in court documents.8 If all the musicians listed took part in performances,then the orchestral sound would have been very rich indeed, with for example at least four oboes and three bassoons,as well as flutes and horns, in the ensemble.

Another important group for the performanceof liturgical music were the Kapellknaben, an institute of boys and young men, trained and housedby the Jesuits,whose responsibilities included serving at the altar at Mass, and performing in the court church as singers and instrumentalists.The number of Kapellknaben varied, but during Heinichen's lifetime was usually around 10-13. The Jesuit diaries seemto suggestthat on occasionsthe Royal Musicians and the Kapellknaben performed together; a reasonableassumption seemsto be that on these occasionsthe Royal Musicians supplied the solo singers and players, and the Kapellknaben the ripieno singers,and perhapsthe rank and file string players. At other times, it seemsthat either the Kapellknaben or the Royal Musicians performed alone.

Since the number and identity of the musicians seemsto have varied, it is not possible to give a definitive size of performing ensemble.However, sets of extant parts suggesta string ensembleof approximately 2-6 first violins, 2-6 secondviolins, 1-4 violas and 2-6 cellos. There would have been two oboists per part, (but with certain passagesmarked as solos), and one flute player per part.

7 Trans in Nettl, Forgotten Musicians, 207. Benda's departurefrom Dresdenis confirmed by an entry in the diary kept by the Jesuits,reproduced by Reich and Seiffert Diarium, 337.

8 See Stockigt, Jan Dismas Zelenka (1679-1745): A Bohemian MuslCian at the Court ofDresden (Oxford, 2000), 237-9. xi

The vocal ensembleseems to have had between 4 and 12 singers,with soloists generally also singing during the tutti choruses(although a few settings occasionally specify a concertantesoloist, separatefrom the ripienists).

The continuo group would have comprised organ, violoncello, theorbo, bassoonand a 9 string bassinstrument. There would have been at least two eachof violoncellos, bassoons and basses.For performance, the continuo group was divided into two; the concertante group of organ, theorbo and violoncello, and the ripieno group of bassoons,basses and (probably) further violoncellos. Dresdenpractice was that the ripieno group fell silent during vocal solos, unless specifically instructed otherwise. For the performanceof those movementswhere the continuo part is in the form of a bassoseguente (generally the liturgical hymns and fugues with collaparte instrumental lines), slightly different rules apply. Where the seguentepart is notated in the soprano,alto or tenor clef, only the organ plays (tasto solo if two lines are notated, or with chordal realisation ifjust one line is notated). The rest of the continuo group (theorbo, violoncellos, bassoonsand double basses)only plays where the line is notated in the bass clef. This schemediffers somewhat from that proposedby Wolfgang Hom in his edition of Heinichen's Magnificat in A of 1729;10 however it is confirmed by the existing set of parts for Heinichen's abbreviated Magnificat no. Ia in F. 11

Particular Dresdenpractice also governedthe use of the oboes.These would, like the ripieno continuo group, fall silent during vocal solos, and also during passageswhere in the score the strings were notated unisono in the bassclef. 12

bass Seedissertation, chapter 6, for more detail, particularly in the matter of the identity of the stringed instrument.

Publishedby Carus-Verlag 1986. In Gloria Parfri, 27-40. C)) particular, see6h movement,

The autographscore of the Magni(icat is D-Dlb Mus. 2398-D-22a, and the parts are D-Dlb Mus. 2398-E- 510.

12 Seethe Editorial Methods for more detail on Dresden oboe parts. xii

TEXTS AND TRANSLATIONS

[Hynin versesnot specifically set by Heinichen are shown in brackets.]

Ave maris stella I. Ave maris stella, Dei Mater alma, Atque semper Virgo, Felix caeli porta.

2. SumensilludAve Gabrielis ore, Funda nos in pace, Mutans Hevae nomen.

[3. Solve vincla reis, Profer lumen caecis: Mala nostra pelle, Bona cunctaposce. ]

4. Monstra te essematrem: Sumatper te preces, Quipro nobis natus, Tulit essetuus.

5. Virgo singularis, Inter omnesmilis, Nos culpis solutos, Mitesfac et castos.

[6. Vitampraesta puram, Iter para tutum: Ut videntesJesum, Sempercollaetemur. ]

7. Sit laus Deo Patri, SummoChristo decus, Spiritui Sancto, Tribus honor unus. Amen.

1. Hail, 0 Star of the ocean, God's own Mother blest, ever sinless Virgin, gate of heav'nly rest.

2. Taking that sweet Ave, which from Gabriel came, peaceconfirm within us, changing Eve's name. xiii

3. Break the sinners' fetters, make our blindness day, Chaseall evils from us, for all blessingspray.

4. Show thyself a Mother, may the Word divine born for us thine Infant hear our prayers through thine.

5. Virgin all excelling, mildest of the mild, free from guilt preserve us meek and undefiled.

6. Keep our life all spotless, make our way secure till we find in Jesus, joy for evermore.

7. Praiseto God the Father, honorto the Son, in the Holy Spirit, be the glory one. Amen. Crudelis Herodes 1. Crudelis Herodes, Deum Regemvenire quid times? Non eripit mortalia, Qui regna dat caelestia.

2. Ibant Magi, quam viderant, Stellam sequentespraeviam: Lumen requirunt lumine: Deumfatentur munere.

3. Lavacra puri gurgitis CaelestisAgnus attigit Peccata, quae non detulit, Nos abluendo sustulit.

[4. Novum genuspotentiae: Aquae rubescunt hydriae: Vinumquejussafundere, Mutavit unda originem.]

5. Jesu, tibi sit Gloria, Qui apparuisti gentibus, Cumpatre et almo Spiritu, xiv

In sempiternasaecula. Amen.

1. Why, impious Herod, vainly fear that Christ the Savior cometh here? He takes no earthly realms away Who gives the crown that lasts for aye.

2. To greet His birth the Wise Men went, led by the star before them sent; called on by light, towards Light they pressed, and by their gifts their God confessed.

3. In holy Jordan'spurest wave the heavenly Lamb vouchsafedto lave; That He, to whom was sin unknown, might cleanseHis people from their own.

4. New miracle of power divine! The water reddensinto wine: He spakethe word: and poured the wave in other streamsthan nature gave.

5. All glory, Lord, to Thee we pay for Thine Epiphany today; all glory as is ever meet, to Father and to Paraclete. Amen. Decora lux

1. Decora lux aeternitatis auream Diem beatis irrigavit ignibus, Apostolorum quae coronat Principes, Reisquein astra libreampandit viam.

[2. Mundi Magister, atque caelijanitor, Romaeparentes, arbitrique gentium, Per ensis ille, hic per crucis victor necem, Vitae senatumlaureatipossident. ]

3.0 Romaftlix, quae duorum Principum Es consecrataglorioso sanguine: Horum cruore purpurata ceteras Excellis orbis unapulchritudines.

4. Sit Trinitati sempiternagloria, Honor, potestas, atquejubilatio, In unitate quae gubernat omnia, Per universa aeternitatis saecula. Amen. xv

1. The beauteouslight of God's eternal Majesty Streamsdown in golden rays to grace this holy day Which crowned the princes of the Apostles' glorious choir, And unto guilty mortals showedthe heavenwardway.

2. The teacherof the world and keeper of heaven's gate, Rome's founders twain and rulers too of every land, Triumphant over death by sword and shameful cross, With laurel crowned are gatheredto the eternal band.

3.0 happy Rome! Who in thy martyr princes' blood, A twofold stream,art washedand doubly sanctified. All earthly beauty thou alone outshinest far, Empurpled by their ourpoured life-blood's glorious tide.

4. All honour, power, and everlastingjubilee To Him who all things made and governs here below, To God is essenceOne, and yet in personsThree, Both now and ever, while unending agesflow. Amen. Iste Confessor 1. Iste ConfessorDomini, colentes Quempie laudantpopuli per orbem, Haec die laelus meruit supremos Laudis honores.

2. Quipius, prudens,humilis, pudicus, Sobriamduxit sine labe vitam, Donechumanos animavit aurae Spiritus artus.

[3. Cujus ob praestans meritumfrequenter, Aegra quaepassimjacuere membra, Viribus morbid domitis, saluti Restituuntur.

4. Noster hinc illi chorus obsequentem concinit laudem celebresquepalmas, utpiis ejusprecibusjuvemur Omneper aevum.]

5. Sit laus illi, decus atque virtus, Qui super caeli solio coruscans, Totius mundi seriem gubernat, Trinus et unus. Amen.

1. This the Confessor of the Lord, whose triumPh Now all the faidifid celebrate,with gladness xvi

Erst on this feat-day merited to enter Into his glory.

2. Saintly and prudent, modest in behaviour, Peaceful and sober, chastewas he, and lowly, While that life's vigour, coursing through his members, Quickened his being.

3. Sick onesof old time, to his tomb resorting, Sorely by ailments manifold afflicted, Oft-times have welcomed health and strength returning, At his petition.

4. Whence we in chorus gladly do him honour, Chanting his praiseswith devout affection, That in his merits we may have a portion, Now and forever.

5. Glory and virtue, honour and salvation, Be unto him that, sitting in the highest, Governethall things, Lord and God Almighty, Trinity blessed. Amen. Jesu Redemptor omnium 1. Jesu Redemptor omnium, Quem lucis ante originem, Parem paternae gloriae, Pater supremus edidit.

[2. Tu lumen et splendor patris, Tu spesperennis omnium: Intende quasfunduntpreces Tui per orbem servuli.]

3. Memento, rerum Conditor, Nostri quod olim corporis, Sacrata ab alvo Virginis Nascendo,formam sumpseris.

4. Testatur hoc praesens dies, Currens per anni circulum, Quod solus e sinu Patris Mundi salus adveneris.

[5. Hunc astra, tellus, aequora, hunc omne quod caelo subest, Salutis auctorem novae Novo salutat cantico.

6 El nos, beata quos sacri xvii

Rigavit unda sanguinis, Natalis ob them tui, Hymni tributum solvimus.]

7 Jesu, tibi sit gloria, Qui natus es de Virgine, Cum Patre et almo Spiritu, In sempiterna saecula. Amen.

1. Jesu,the Father'sonly Son, whose death for all redemption won, before the worlds, of God most high, begotten all ineffably.

2. The Father's Light and Splendor Thou their endlessHope to Thee that bow: accept the prayers and praise today that through the world Thy servantspay.

3. SalvatioWsauthor, call to mind how, taking the form of humankind, bom of a Virgin undefiled, Thou in man'sflesh becamesta Child.

4. Thus testifies the present day Through every year in long array, that Thou, salvation's sourcealone proceedestfrom the Father's Throne.

5. Whence sky, and stars, and sea!s abyss, and earth, and all that therein is, shall still, with laud and carol meet, the Author of thine Advent greet.

6. And we who, by Thy precious Blood from sin redeemed,are marked for God, on this, the day that saw Thy Birth, sing the new song of ransomedearth.

7. All honor, laud, and glory be, 0 Jesu,Virgin-born, to Thee; whom with the Father we adore, and Holy Ghost forevermore. Amen. Pange lingua 1. Pange lingua gloriosi Corporis mysterium, Sanguinisquepretiosi, Quem in nzundipretium xviii

Fructus ventris generosi ,Rex effudit gentium.

2. Nobis datus, nobis natus Ex intacla Virgine, Et in mundo conversatus, Sparso verbo semine, Sui moras incolatus Miro clausit ordine.

3. In supremaenocte coenae Recumbenscumfratribus, Observatalege plene Cibis in legalibus, Cibum turbae duodenae Se dat suis manibus.

[4. Verbumcaro, panem verum Verbo carbem efficit.- Fitque SanguisChristi merum, Et si sensusdeficit, Adfirmandum cor sincerum Solafides sufficit.

5. TANTUMERGOSACTRAMENTUM Veneremurcernui: Et antiquum documentum Novo cedat ritui: Praestetfides supplementum SensuumdefectuL]

6 Genitori, Genitoque Laus etiubilation, Salus, honor, virtus quoque Sit et benedictio: Procedenti ab utroque Compar sit laudatio. Amen.

1. Sing, my tongue, the Savior's glory, of His flesh the mystery sing; of the Blood, all price exceeding, shedby our immortal King, destined,for the world's redemption, from a noble womb to spring.

2. Of a pure and spotlessVirgin bom for us on earth below, He, as Man, with man conversing, stayed,the seedsof truth to sow; then He closed in solemn order wondrously His life of woe. xix

3. On the night of that Last Supper, seatedwith His chosenband, He the Pascalvictim eating, first fulfills the Laws command; then as Food to His Apostles gives Himself with His own hand.

4. Word-made-Flesh,the bread of nature by His word to Flesh He turns; wine into His Blood He changes;- what though senseno changediscerns? Only be the heart in earnest, faith her lesson quickly learns.

5. Down in adoration falling, Lo! the sacredHost we hail; Lo! o'er ancient forms departing, newer rites of grace prevail; faith for all defects supplying, where the feeble sensefail.

6. To the everlasting Father, and the Son who reigns on high, with the Holy Ghost proceeding forth from Each eternally, be salvation, honor, blessing, might and endlessmajesty. Amen. Te Joseph celebrent 1. Te Joseph celebrant agmina caelitum: Te cuncti resonent christiadum chori, Quiclarus meritisjunctus es inclytae Castofoedere Virgini.

2 Almo cum tumidam germine conjugem Admirams, dubio tangeris anxius, Afflatu superi Flaminis Angelus Conceptumpuerum docet.

[3. Tu natum Dominum stringis, ad exteras A egypti profugum tu sequerisplagas: Amisum Solymis quaeris, et invenis, Miscens gaudiafletibus.

4. Post mortem reliquos sorspia consecrat, palmamque emeritos gloria suscipit: Tu vivens, Superispar, frueris Deo, Mira sorte beatior-I xx

5. Nobis, summa Trias, parce praecantibus: Do Joseph meritis sidera scandere, Ut tandem liceat nos tibiperpetim Gratumpromere canticum. Amen.

1. Joseph!to thee by hosts on high and choirs of Christians, laud be paid! saintly of life, -by purest tie joined unto her, the glorious Maid.

2. When thou didst doubt thy wife's repute, and mark her great with motherhood, the angel taught thee that her fruit came from the Holy Ghost of God.

3. To clasp the Son, the Lord, was thine, to shareHis flight to Egypt's shore, with tears,to seek in Salem'sshrine Him lost, -with joy, to find once more.

4. Death brings to other Saintstheir rest; through toil they win the victor's place; thou happier, like the Angels blest, alive, hast seenGod face to face.

5. Spareus, 0 Trinity most High! grant that, with Joseph,we may gain Thy starry realm, and ceaselessly there raise to Thee our thankful strain. Amen. Veni Creator Spiritus 1. Veni Creator Spiritus, Mentes tuorum visita: Imple superna gratia Quae tu creastipectora.

[2. Qui diceris Paraclitus, Altissimi donum Dei, Fons vivus, ignis, caritas, Et spiritalis unctio.]

3. Tu septiformis munere, Digituspaternae dexterae, Ti rite promissum Patris, Sermoneditans guttura.

4. Accende lumen sensibus, Infunde amorem cordibus, Infirma nostri corporis xxi

Virtutefirmansperpeti.

[5. Hostem repellas longius, Pacemquedonesprotinus: Ductore sic te praevio, Vitemusomne noxium.

6. Per te sciamusda Patrem, Noscamusatque Filium, Tequeutriusque Spiritum Credamusomni tempore.1

7 Deo Patri sit gloria, Et Filio, qui a mortuis Surrexit, ac Paraclito, In saeculorum saecula. Amen.

1. Come, Holy Spirit, Creator blest, and in our souls take up Thy rest; come with Thy grace and heavenly aid to fill the hearts which Thou hast made.

2.0 comforter, to Thee we cry, 0 heavenly gift of God Most High, 0 fount of life and fire of love, and sweet anointing from above.

3. Tbou in Thy sevenfold gifts are known; Thou, finger of God's hand we own; Thou, promise of the Father, Thou Who dost the tongue with power imbue.

4. Kindle our sensefrom above, and make our hearts o'erflow with love; with patience firm and virtue high the weaknessof our flesh supply.

5. Far from us drive the foe we dread, and grant us Thy peaceinstead; so shall we not, with Thee for guide, turn from the path of life aside.

6. Oh, may Thy grace on us bestow the Father and the Son to know; and Thee, through endlesstimes confessed, of both the eternal Spirit blest.

7. Now to the Father and the Son, Who rose from death, be glory given, with Thou, 0 Holy Comforter, xxii

henceforth by all in earth and heaven. Amen.

Haec dies

Haec dies, quamfecit Dominus: exsultemus,et laetemur in eia.

This is the day the Lord hath made: Let us rejoice and be glad in it.

Alma ReclemptorisMater Alma RedemptorisMater, quaepervia caeli Porta manes, Et stella maris, succurre cadenti Surgere qui curatpopulo: Tu quae genuisti, Natura mirante, tuum sanctum Genitorem: Virgo prius ac posterius, Gabrielis ab ore Sumensillud Ave, peccatorum miserere.

Loving Mother of the world's Redeemer, Star of the sea,and heaven's open door; Answer the cry of all your sinful children, Help us who fall, yet strive to rise once more. Truly Mother of your own Creator, wonder of nature, Virgin you remained, We who are sinnersplead with you for pity, Who by the angel Full of Grace was named. Ave Regina

Ave Regina caelorum, Ave Domina Angelorum: Salve radixý salveporta, Ex qua mundo lux est orta: Gaude Virgo gloriosa, Super omnesspeciosa: Vale o valde decora, Etpro nobis Christum exora.

Hail, Queen of Heav'n, beyond compare, To whom the angels homagepay, Hail, Root of Jesse,Gate of light That opened for the world's new Day. Rejoice, 0 Virgin unsurpassed, In whom our ransom was begun, For all your loving children pray To Christ our Saviour, and your Son. xxiii

Regina caeli Regina caeli laetare, alleluia: Quia quem meruisti portare, alleluia: Resurrexit, sicut dbcit,alleluia: Ora pro nobis Deum, alleluia.

Queenof heaven,rejoice, alleluia, For he whom you were chosento bear, alleluia, Hath risen as he said, alleluia, Pray for us to God, alleluia. THE LITURGICAL HYMNS Ave maris stella 5

Ave maris stella

Soprano Violin I

Alto Violin 2

Tenor Viola

(Bass]

[Orgar4violoncel theorbo,bassoorý doublebass]

De B. [tast

Bc.

II LLULUJ

S .

At Fe ma, - que sera- per, sem - per Vir 901

,k dA i i p i CP lai oý ;9 &I - - e d . -- " a Mý, t Vir Fe que mn ter - 8% sem - per vir 90, T .

sem per Vir 90, Fe lix, fe 6A P p- B . i Fj F1 ell

ter al At per vir 90, r2 - que sem 11 B i" F' 0 .. c. I . . i [-Yc.tý db. bnl Rutfil

23 e-A S.

lix - cac - li por ta. 2.Su - mens il - lud A. ýiII EE 4. f-, 1 . 92 t& Su - A. -lix cae por mens

T. F' .0 lix- cae me por t& IF EEO B.

Fe [tasto lix cae por ta. solo] Bc. 6

ve oa bri e lis 0 ii A. ýor aiAm

il - lud A ve aa - bri -e lit T. e ý-i- F- r , IH i ýd

il Su - mein - lud A B. EE

Su - mein il - lud A ve

Bc ii Fi i II r [tuttil 40 A sA Eý v

Bc.

Aý

Bc.

(16] [tuW]

57 0, tl S. Mu tans He vae no

Mu tans He vac no men6 mu 111 -A # F'

He vat no mcr4 mu tans He vae

ps CC. pa cc. Mu tans He vae no

Bc.

[-vc, ti, db,bn] [tutti) 7

t ý.j T.-

Bc.

Ak MA 15, H S I A-

Ae- vae no men. A.

A- e vae no - men. Mon stra to es - se T.

men. no 4.Mon te trem. men.- stra es - so ma - B.

men- [tuto solo] Mon - Bc. F Ituttil

82 W, A S. F F

Mon stra te es - se ma - trem: Su - mat per te pre - ces, A

u- mat w te pre cepý Qui Pro f T.

ces, nia trem: Su - mat per te pre f2 f F B.

stra te es - se ma - trern: Su mat per te pre ces, Bc.

Iz S ý09 40 lit A Qui pro no - bis na tus, Tu - es - se, es -11-- ::::::::: A. I--- P : ::: lit A no ts na TU tu - es - se T. v Qui pro no - bis na WS. Tu - lit es - se tu - B.

bis tus. Tu lit J Qui pro no - na - - Bc.

[5] Itutti) 8

98 e 11 1 S

se tu US. Vir - go sin - gu - A

us Vir sin gu Is ns. sm 190 - T.

us S.Vir go sin gu Is - ris, sin gu Is - ris. In - ter- B

[tasto es - se tu - us. solo] op op io-- .-- Bc - 98 ff

106

ve-AA, S k-

ris, In - ter orn nm in ter orn nes mi ME i , A. Im v av

In ter A a- ris. - om nes, om nes- nu T. II- ,I r - -1 1-- - ý91 I-E om nes, in - ter OM - nes mi 6:2 t9' . m 1- i B. ý 5F , -- #: p ---

Vir go sin - gu ris, In - ter orn - nes oli

Rc. - 5p I! i .- IF I--i--I--I-- -- Ittittil

Nos cul pis so lu tcal M- tes

A l . 1 0- - - dF- 0of -. No Nos cul te3 f4c A pis so tos, et ca . swe. T.

fac tis, Nos cul pis so lu tos, tes gt FP B.

tis. (tastosolo] Nos cul pis so lu to&. 91 ! - - ip Bc. iH- .I.. -V-- (tutti]

122 .0, A S. fin

et ca gtos. 7.Sit laus De k

fac 7.Sit laus De nu - tes et ca stoß,- T. 11 7.Sit laus De ca - zwa. et ca stoß.- : =Z: B.

N6 - tes fac et ca 7.Sit laus De Bc. 9

Bc.

140

curh surn mo- Chri sto de m'

CUS. ß= - rno Chri - sta-- Clui Sto de

II Chri Swn - mo Chri - sto de cus, sum - mo - sto B.

Suin - mo Chri - sto de cus Bc. _V, 9 98

148 o' A11 S

Spi - ri - tu - i- San cto, A aa7: ý 451A &, Spi spi ri tu i- San cto, - ri T. iv de - cus, Spi - ri - tu - B.

cus, [tastosolo) Bc. I1 101

157

Bc.

L. --j 10

163 e-A S.

bus hq -nr, nor u nus. tri but- A

ho ho A nor u nor u f IIiJ T. ; ýiI-i j 1 i0i , ? ; .. jLj u nus, tri bus ho nor u- nus, ho -

i- ' 0. i P* ri r ppi"1. i- IF p I cto Tri - bus o-n nor- u nus. Bc F sp iF

173 0, h f-- F: Pj A s

ho nor, ho noru nus. A do

tri bus ho nor. ho nor u Inus. T. Ff Fd

nor u nus. tfi bus ho nor u nus. B.

t bus ho nor u- nus- ho nor u DUS. Bc. F- Ii, IEM It-ttil Crudelis Herodes 13

Crudelis Herodes

Soprano Violin I

Alto Violm 2

Tenor Viola

(Bass]

(C)zgar4violoncello, theorbo,bassoon, doublebass)

S. w dm A.

Dc.

De um re gemve ni - re quid A. 10 11i

re quid ti mes, De um re - T. i 0i i0, "119P, F I- F- Wi De Re gem ve r1i re quid ti mm

De ti um Re gem ve ni - re qWd

Bc. 0 Ir F- i Itutto I

-1- -i Fz- 0 Fý s 4; .1 iri-i

Non mes? e ri - pit mor ta a.

A 420 SO

m quid ti mes? Non e ri it mor T. VI Non e um re gemve - ra - re quid ti mes? B. F

De ti um re geln ve ni - re quid mes? Bc. J-db, K LUIUIJ vc. ti] 14

Bc. 151

Ituttil 45

Bc.

52 AI S dat la - sti lt. qui re gna- cae .

lk de4 dat la ew reg - na re gna cao sti a. - T. F'

dat cae la a ä. cae la B. dat la fl qw re -- pa cao - Bc. lutil 15

Bc.

S. Pr F=

ma lam gL, quam vi de - rant, Stel se - clen A. VT ;e- i- bant Ma 94- quam vi rýý Stel lam

F' F'

ma st. 1 Jý, quarn vi - de - raný - ýPpl Fd B. i

I- bant ma - Eý quam vi - de - rant,

Bc. Ao. Ituttil

Akj S. iMiif -+

tes prae - vi am: Lu men re qui - runt, re qui A k RV Lu re quen tes, se quen - tes- prae - vi am: men T.

lam se quen tesý se quen - tes- prae vi - am:

B. F

Ste] lam se tesý tes prae vi am: quen - se quen - - - (tasto sc to] fýcý- 6= :ý II 9,, 6ý 0 i Bc. - F. i 0 i

83 v 11 1111 S. -4-

lu mi ne, lu - zliml- re cjW - nmt lu - mi - ne re qui - F;=F-; A. - , vL - -6ý -- 'u- - qui - rwilý re nint. re qui t lu ne, lu T.

Lu lu men re qui - runt re qw runt mi ne. B.

Lu men re qui nmt, qui ja 13C. 4ýýE i fp ii yr IJ Iftittil 16

De fa - nint lu - nu - ne: - Urn -

De fa - rm - ne, - wn ten tur mu - ne - T.

tur, fe De wn fa ten - B.

runt lu nu ne: [tastosolo] Do um fa ten Bc. r Tr Tr Ituttil

fa ten - tur mu ne re, ten tur- mu no m LA A *ý, ii i Aý II ' Ii - II 3.L& ri. mu ne A ten - tur mu ne re.- va I

t1r. fa ten tur- fnu no re. 1 4- B. v S? F. ,- =zp E4 .. i IFF tur, fa ten - tar mu no re. [tadosolo] Bc.

Bc.

pi I--,

113 i le-A I S. 40- J. 1 .5- -. io I --- 0 cae leg - tis A- gnus at ti lpt. C&C tis A -et gur tis. Cae Ics tis A gnus t tl sit, T.

gi til, CAO B.

I gur gi t1s, (tasto 3010 - - 1 Bc. FIF f7 11 171 17

123

A- gnus at ti git, Pec ta. de ca - quae non

cae stis gnus at ti git Poc

el ,Ii ýl i F- do

les - tis A gnus at ti gik A- gnus- at ti git B.

[tasto tis plus, A at ti gitý p - - Bc. it-ail 131

Bc.

Ll li LEUMJ 139

Bc.

147

Bc. 18

134

ab lu - en - do Su - Stu - lit- A

Su Stu lit nos ab lu en - do Su Stu lit. 6 T -

ab lu en do, ab lu en do Su Stu lit. B. pi ab - lu - en - do su Stu - hL

Bc.

162

51C SX4 je SU. ti bi sit Slo ri A. Qui sp- Aý

ti 5.Je 3U, bi glo n

T 21. "bi 5.1e tip [sit glo ri aj "'.. f'- B 9p I- "§- "

bi 5.je SX4 ti - sit glo - ri 16 usto solo

Ip r Ff p3-- Bc I i i-L4 - .;, m. ------

170

Bc.

178 6 S.

qui Ap pa ru sti- gen ti buk Cum. Pa - tre A

ti bus, qui ap pa ru stý ap pa - ru - Pip"- T

ti bus, qui ap pa fu I stj,-

B. bus. pa - ru -i-- sti gen --- ti - qui sp-

Bc. r 11 (-Vc tý Itunil db.Q 19

186

ýf lz F IN 1 so 'Ifff 1 tv S. -II 11 Ii al nio. al MO- spi Ti U4 In

A dP i (w bus, -i- sti gen - ti - curn Pa - tre- et al - Mo Spi - ri - tu.

T. 5 5p

ap P" ru sti gen - ti bus, Cum Pa - tre- et al - Mo 11-N ' Aý E! rF11 fq 19 1 11 B. p- i i iS , -9 . .

pa - ru I Sti- bus, Cum Pa tre et al Mo Bc.

N Ituttil

Bc.

208

Bc.

M 20

213 0, fi 111 do

in sem pi ter

pi - ter na sac CU

11 ' f , 01 1 1 IF I.

la, in sem - pi ter in

na sae -ter (3 . Bc p

219 eA

na sae cu

IP -. 1 Ia. sae cu

I W 1 'f Is. sem - Pi - t er na aso cu

iF F

cu Bc. Decora lux 23

Decora lux

[SOP-01 ViolinI OboeI&2

[Alto) Violin 2

[Tenor] Viola

[Bass]

[Organ,violoncello, theorbo.bassoon. doublebass]

S. I. -

Bc.

S. 0

Bc.

L'I --

10 -Vit i gni - bus, A po sto A.

ga vit i- gni - busý A po sto 10 rum quae- co ro T.

bus, A po sto 10 rum

B. Fd W i- bus, (tasto 10 ga - vit gni solo] A PO - sto rum Bc. Tr It-ttil 24

29 e61 S.

ro na t Prin ci pesý 0- r= quae co - - - Ra- Is -IIa- stm- A ý r: quae co TO - nat Prin ci - pes, Re is que in I T

Re quae co - TO nat Pnn ci - PCs, is - qua UL- a ars- 4L r- 'o. - : it op B.

is in quac co ro net- Prin ci PCs, Re - - quo a sull To' - 92 fa 0 Bc. -

be - ram pan dit vi am A

stra h ram a dit vi a T.

b be ram_ pan dit vi am. 3.0 a 3.0 Ro nu be - ram pan - dit vi AM.-

b 0 : Bc.

S log fe lix, du 3.0 Ro - ma quao -0

A Eb E:b lix. du 3.0 Ro - raa fe quaa 0 rum T. ý

lix, fe lix, du. Ro - ma c- 0 Ro - ma quae -e> B.

fe L LXI quao du -0- rwn -, Bc.

[-vc, tý db, bn) [tuttl] 54

ý F" FI pi ý' P, i I" S. 16 ii -I Prin Es t-a4 so A rum ci - purn con I cIrl 91ý0. ri o- A

0 cl - purn bEs ow - Be 0 ri o so San T

0 rum Pnn - cl - ptun Es con so - cra ta 810 n0 so

Prin ci - purn Es con Be cra slo no so

Bc. 25

62 e-6 i S '01F

sm gul ne: Ho rum cru AL 'o gai ne: Ho rum cru re pur pu

111 1- T p- F--

san - gul ne: Ho rum cru 0 re pur pu ra -

B. i F: Fd 1

San - gui rie: Ho nim cru 0 re, cru

Bc. I17 [tastosolo] it-ttil

.f. ý-. i 99 1, P- ý S. .- I I F1 14.

0 Pý ti Ex - re - pur -p ce - te - ras - A.

ra ta ce te ras Ex cel ocil - 1. m F' F, -"i

liý-ý ta, pur - PU - ra - ta oe te ras Ex - eel - - - h. - 01 a B. -

lis- 0 pur - pu ra - Ta ce te ras Ex cel Bc. F'

lis di ý cel or - bis u- na- p- chri - tu - nes.- A- ýf :i3t 61 '-9- --- ,- lis bis di . ()r -- u- na pul - chri - tu -- - nes.- T. v bis di 4. or -- u- na- pul - ehri - tu -- - nes. - B.

bis di or -- u- na- pul - ehri - tu - nes.-

Bc.

S 48-

4.Sit Tr i in - ta ti sem - pi ter na glo x

4.Sit Tri t sem pi ter na glo m l a T. 0 F. gs

4.Sit Tzi ni ta ti- sern pi ter na B. F

4.Sit Tri rý ta ti sem - pi ter na

Bc. Pii 26

94 eAII IIII s V Ho te n-a. - nor.- po A. v-- - "-- rt "L - n-a, Ho nor, po:wt :&1te .0ý, -- .41 T.

glo ri a. Ho nor. po - te B.

glo n a, Ho noL tasto solo Bc

stas. at quc ju bi ti 0, A.

bi la u-0. in A-I. sta-% at - que- ju - i lp ---... T.

stasý at que- ju - bi ]a ti 0. in ru B. ff r- ý#" -6i-M, II 1 12 19 f- r1 F- 1 po - te sta.% at - qua ju - bi la - ti [taw solo] r- 1P Ol il- dp so -aA- Bc. E* r- .p t" 91 i -- -iJf! r-1 1-- [tutti] 110 r

Bc.

118

om m Per- u ver $a_

k W3 do' I do om ni Per- u ni ver ýEOFE T.

ni 8, Per- u ni ver sm . cu

EIt-0FFr ýýý -- -mii ruII - a, Per_ u ni ver $a - - 10- - :r- is - =====F=- i. i .-- i --- iIX ff r II. Mýl 27

A-

Bc.

121

i 3ff 10 ýl op 11 0 F" S. Km

n,i ver sae cu lo - Au 30' A. E0 W

A ni ver sa sae cu 4 F' ' T. I II .F ', e,, - sa- sae - cu lo

ver sa sae cu Bc. so

125 A ..op 91 - rum sae cu Ia. i A. E3 i- et Ii 6 ýo do -- ...... 10 rum sae cu Ia.

T. F

rum sae cu Ia. B.

Io rum sae cu Ia. Bc. i-41 Iste Confessor

UNIVF-RSITY) OF SRISTOI 1 31

Iste Confessor

Soprano Violin I OboeI&2 Ste con fes sor Do nu ný Alto Violin 2 i Ste. Ste con fes - sor Do ml Tenor Viola

Ste con fes sor Do nu n4 [Bass]

I Ste con fes Sor Do mi - ný (Organ,violoncello. theorbo,bassoon, doublebass] 98 56 8

S. A

ru, T.

Bc.

A-

Bc.

L-J

Bc.

L'i [tastosolo] 32

Bc [WWI 40

pre MOB Lau dis- ho no res. 2.Qui Pi A

pre mos Lau dis ho no res. A T.

it su pre mos- Lau dis ho no res.

it su pre mos Lau dis ho no res. Bc. juLsto soloj

S. &%P 61 li

dens, hu lis, qui- pi pru dens. qui pru dem hu Ini - A pru - mi - A 77 1; us. pi us, pru - dens, Pi us,- pru q,? Pi T. iP

Qui pi Us. pra - dem bu nu- B.

PI - us. V -ý i. 4-,.. Bc. p so I. I-

S. 0) lis, di so bji am du xit li - De A pu - CUS. . - - A hu lis. di So bri un pru - dens - mi pu cus, -

T. Fl I ------I pu di pu di - CUS. i B. i i F-- -t- -- pru - dens, hu - mi lis, pu di cus, Bc,

[Usto 8010) 33

S. 'or 6 =1 sp =j OP

a be- vi tarn, Do nec hu A -i t si ne la be vi tatri,

T. do

So - bri - am du - xit- si - - ne la - be- vi -

So - bn - am du - xit si - ne la - be vi - AI k al lp Ii Bc. !!?ýg 11 ýl -9 I! . -_ . k4l, -11-iIi11 r ff 12= ýl -i, Itlittil 71

Dc.

Ruttil [tastosolo] Aý I A ýz F; - - .0 1, I1 I 19 -i 1 S. 11... ýi oFIN o

-vi. a[ul rae pi ri - tus ar A.

- ni - ma - - vit au - rae Spi - ri - ts ar

HE T. . i Aý ff II Pd II MR - vit- au rae Spi -n- tus ar

ma - nos a- ni - ma - vit au - rae Spi ri - ts ar 11 op Bc. i I. -+-ý-- iiL HH1

F, ve-A 1 EEHd S. p 1 '.

5.Sit lus il tus, A tus. sa - 1ý de - cus, at - que- vir A

5.Sit lus ii A de CUS, at que vir rl I F= T. H =ý::

tus. 5.Sit lus ii sa - de - cus, at que vir H .. ff 0 fl. fl;;; B. e -- --

to. 5.Sit lus tus, sa - IL de - cusý at - que vir Bc. 34

Bc.

(VAU)

Bc.

Bc lttdfil

likkk 35

Bc. Jesu Redemptor omnium 39

JesuRedemptor omnium

Soprano Violm I [Oboe1] Alto Violin 2 [Oboe2]

Tenor Viola

[Bass]

[Orgar4viol( theorbo,bam doublebass]

S. NE-i lu um, Quem - cis an te 0 ri gi - nern, 0 ri gi - nern, A.

un*4 Quem lu cis an te o ri 91 0 T.

uni. Quem lu cis an - te B.

nt. Quem lu cis t. . 101 - Bc.

151 [tuttil is S.

Be.

22 ý0

n ae. pa rem pa ter nae glo ri - Vý ------t- -4A,- ter A pa nac E0, ri ae, pa rem pa - i d6

Pa rem pa ter nae- glo ri ae,

F ; ps rem pa - ýu -- nac glo ri -

-40ý Ituttil Bc.

43 64 40

S. Pa ae, quem pa - rem pa - ter nae slo ri

ter nae- glo - ri Ae, pa - rerm- pa ter nae- glo - ri rF- 4- ý i T. - .E Fl ff- 0p9

pa rem pa ter nu ps . ter - aw v P f2 . -. -

pa rem pa ter nae to 101

Bc.

151 Ituttil

Bc.

LLuLuJ

Be. 41

B.. [5

60ý

di dit

A Eý4

di dit. 3.Me to, Con di tor, me - men re nim - 1 11 -1 T. ii-- 1 5p Con di di di Me men - to, re rwn

di cht- [tastosolo] Bc. Ir t-"

mc mcn - to, re rum Con di tor, No stri quod 0

men - to, No - stri quod 0 lim cor po ns,

i i IP lfý: T. f, F' 1V ý 4- f I I. . . -I - lim tor re rum Con di tor, No - stri quod o cor - po

Con di tcr, No- me men - to, To - rum Con di tor, re rum-

i EEEI i Fl P * Bc I10 - 01 [tuttil 42

pim cor po ris, Sa ta - - - - cra - - ab al vo. ab A

Sa - cra - ta- ab al vo. ab ai T loý f Sa era ta- -ns, - - ab al vo Vir - ip - nig Na - ff - 9p B. b24 ' F' 1gpPd Z T stn quod 0- lim cor po ris, Sa - - - cra - ta- ab al - vo-

Bc.

[-vc,tý db. bnll [tutu]

84 i lid pr Vir 81 vo IP - nis- Na scan do, for mam $Ulm pse ns A

vo Vir gi Na do, for nis - scan mam- sum pse - n& ý i i i T. 4ýF, ---II -

do, for do, for scan - - marn, na scan - marn p- - (rit B. F

Vir I gi nis Na scan do. for mam sum pse- frit]

Be. F

S. 4t

Bc. 43

100 e6 6 , i 19 S. . OF t5p Op L- i-I di Cur lum, Quod prac sens rens- per an ni cir cu - A

scris di es, Cur rens per an -m cir cu - luni, I T. IFI dp

di es. Cur lum, prac - sens - rens- per an ni cir cu OR P Ap -Z-" B -

lurn, di es, Cur - rens per an - - ni cir -- cu - [tasto solo] f3 Bc. F...

108

13.

Bc.

db, bnj 115 AIIII A; ý !! 11 S. ;dI -F,-j -- a' ;j

ps I - Mun di lus tds sa ad - ve ne ris.- A.

Mun tns - sa lus ad ve ne ns.- I T.

tiris Mun di sa lus ad ve ne ns.

19 F

- nu Pa - tris Mun - di sa - lus ad - ve - ne - ris. i & 12 5 ;2 i 0 'b, 1 ..

123 . 0,6 S. je SU. ti bL ti bi sit 0 ri a, Qui lk

7.Je - Sul ti bi sit slo ri 8,

T. P, 1 F' F' .-. I ýj 'Sit 71e ti bi, ti glo - -na.

7. je su, ti bi sit glo -n8, [tasto - so 01 6w. Bc. 44

131

139

147 -A a

pa cum tre- et- al - mo Spi - ri - tu, mm 1- 1 A 0%ý! 1iF F-

. ino Spi - ri - tu, curn pa tre- et- T. Spi tre- et- al mo- f2ri - B. FF j- Pa tre- et- al mo Spi ri 3010)

Bc.

7 64 154 A S. KII

Spi in PT - tre, cum pa tre et al - mo- . ri - tu, Sam - pi - A.

Spi Spi tu, a] - mo- . ri - tu, cum Pa - tre- et al - mo- - ri - r T. r- F. 0w

cum Pa t re et- al mo et a] rw

cum Pa tre- ct- &I mo SPI .

Bc.

151 Ituttil 45

162 rfik

Bc.

169

la, sem pt ter - na sae cu - A.

la, in cu . sem --- pi - ter - na cu .

T. V-

ter na, pi ter na sae la, in ___sem cu 61. B.

pi ter na sae cu la,

Bc.

180

------ter na sae cu Ia. A- 1 0 sae cu - Ia. T. sem Pi ter na sac cu Ia. B.

ter na sae cu Ia. Bc. Pange lingua

UNIVERSrTY OF BPUSTOLIYI 49

Pange lingua

Soprano, Violm I Oboe 1 &2

Alto Violin 2

Tenor Viola

[Bass]

(Organ, violor theorbo, bassc double bass]

Ituttil 16

A-

Bý

Bc.

Cor - po nry ste um. San - 6 I- -n - -n- A.

ti pre 0 si San - gui ni - sque pre - ti 0 Sý pre - ti-

T. i4 j 1- , EIf , p: -- --1 == F- i San gui ni sque- pre - ti 0 B.

San ti [t, ýsw solý] gw n- sque- Pre -0 ý4- r# =4-ý= $2 ýt A'- 9Eý Bc. VEqýýýInEs .,. I I-

Ituttil 50

32 e6 - 1-1\ - 42 S.

gul ni - sque- pre - ti 0 SL A -iI. i A.

0 si, san gui ni - sque- pre - ti 0

San gul m- sque- pre - ti 0- Sý pre - ti - 0. EEEE4' 1 -1 -0- ,! F- ?oý1i B Ia1 -- -

an gLu ni sque- pre - ti

Bc. 10

[-vc, tL db,bn] [tutti) 40

Bc.

7 [-vc, tý db.

S. VI fru ctus von tris- ge no - ro In

1 A. 10ý0 fzu no - ro goo si, ge UU T.

Sý fru ctus von - tris p- no to B.

no ro 84 fru ctus von Be. (-vc. tL db, bn] [tuttij

Nib, 51

63 VeA S. 4ý Iiiýi -i 1 91 -- Rex fu dit fil dit A ef - Sen ti uni, rex- ef - A. Ras -ap Alý VT ne ro si Rex ef fu dit gen ti urm ef I -P1-, ------T. 'ne ro si Rex ef fu - dit 21 1v. I'' 'Fl iii--i- B. f, 99

fu ge - ne ro - si Rex ef - dit [-vc, tý db, bn] .-iif, Bc. 1 ". piF,

Bc. Ltuttll

79 . 0, A S

rex- ef fu dit, rex- ef fu A.

fu ditý fu ef - - ef - gen --t. urn. rex- T.

fu dit' (6t gen ti - UM r-ex- ef - - gen -

fu dltý rex- ef fu di4 rex- of fu - cht Ell Bc. F;Z- ý f, g =:F-- 0- PI .

87 V. 2 et 4. . 0,6 1 S. dit, fu dit- No ef - - gen ti - um.- - A fu dit e zý ef - gen ti - uni- T. ,'1 50

ti MY4 ti - gen - - urn. - B.

[tastosolo] gen ti - um.- Bc. -cr -cr 52

Bc.

103 e f) S ZZ -- a ZNa Vir vir ex in - ta - cta- gi ne, lp - ne. A. in tus. no - bis na - tus ex - i .f lz T. w- 11

bis da tus, bis Vir - gl - ne, no - - no - na tus. B.

ne. no - bis da tu, no - bis na - tus, - ! 1 1 9 Bc. 19,1p -0

111 s

B-

Bc.

119

in mun - do con ver sa tus, con ver u A ------mun do con ver sa T.

Et In mun do con ver BA tus, con ver -

B. i9 F'

do, et in mun do con - ver sa

F' Ec. p 53

127 e-A Ak S. 0 =h

tus. Spar - so ver - bi se nii ne, vcr bi- se A.

tus, Spar bi, - so vcr spar so ver - bi se 0 1 T. i Fý Spar sa tus, - so ver bi, spar - so ver se - B. fir F-

Spar bi - so ver - se - Im - ne, Spar so ver - bi se i Bc. I, 40 F Fiii- --- i -- iii

Bc.

I.-I 143

151 .., A S.

ro- clau sit or di ne, nu ro- A.

di di ne, mi ro- clau sit or - T. f

clau sit or di - ne, mi ro clau dit or B. [-vc, tiý db. bnl Mi - ro- clau sit Be. op l F'

6 tutti]' 54

159 e-A AhFF S.

c au sllý rm clau sit or di -

AL H

ne, rm - ro- clau sit or di - T.

di ne, ml ro clau it di - B. Iro ne, rni clau sit or di - F - I 42. Bc. IFii

I ei S.

Bc.

I, "

174 äll,A S. Fd

Re bens- Coe nae cum - cum fra tri - bus, A

Re N bem cum bens cum tri - bus, re cum T.

pre Mae noc - te, in su pre Mae no - On Coe B.

In SU - pre Mae no - Cte Coe nae Re cum

Bc. F lf, Ituttil

182 A S.

in su - pre mae no Cte coo nae M A L4- 4 bens- bens- re cwn cum fra - tri bus, re cum - cum T.

nae Re cum bens, re cum bens cum fra - tri - 'p P. Ow p Op B. 4

bens, in su pre mae no - Cte Coe XL Bc.

[-vc, ti, db, bn] [tuttil 55

ben. bem fra cum % m cum c= - tfi bus, Ob ser - ii 1 A. iI ev fra tri - bu% Ob - ser - va - ta le - A T.

bus, re cum - bens, re cum - bens cum fra - tn - B.

nae re cum bens cum fra tri - bus,

Bc.

198 AIII S. i F' so I -

va - ta le ge ple ne ci bis in le A

AI ob - ser - va - - ta e- gq PI ne i =P: 1 !v s o 4= T. or I - bus, Ob ser - va ta le - ge ple 9ý1 B. r ' 0HF [-vr, tý db, bnj Ob - ser - va - ta le - ge ple - ne Bc.

41 [tunil

206 A S.

-P li - bus, ci bum tur - bac du 0- A.

ci bis ci bum AI - in le - ga - li - - 6- 51 Fý T. ev v- ie li ne ci - bis in - ga -- - M. ! B z.

ci bis in le ga li bus, [-vc, tý db, bn) )E1ii Bc.

214 .', A,, I S. ýae ýu de bum A nae, ci ra - -0- AL

bac, tur bae- du bae- du ur - - -0- de -- nae, bz - - 0- A T.

bu% le li bus, bae, bae- du ga - ci bum txr - tar -

ci bum bac du Se dat ter - -0 de nae - Bc. [hafil 56

Aý

Bc [-vc, ti, db, bn] Ituttil

238

S. ýf ki

dat il lis bus, AAt A Be - ma ni Be . A. il hs de nae Be - dat il - lis ma . ni - Be - - T.

bus, tur bae- du o de nac $a dat il lis ma ni Be

61 . B.

bus, dat a- lis Be dat il lis ma ni Be

Bc.

246

Bc 57

254 V6 &-i-L . 11 i1 A lz 420 oj S. al 1 1 I - III- I .uI.

Go ni to - n- ge ni to iz -A A.

Go ni - to n. se ni to T. F1

Ge rý to ri, ge ni to 111. B. - i EN. rf ii

Ge ni to r4 ge - ni to i 71 r Be. .

262 ve-A S.

Laus ju bi la ti 5 que et - - A.

Laus et ju - bi - la -- ti - 0, et ju - bi - T. 11 - que Laus et B.

tasto solo lau$ et ju - bi - la - =oi zvi r- F Bc. II[ Nattil

270 .0,4 S.

laus ju bi la ti 0, ju bi A 0. et - - - - A.

la ti 04, Sa lus, ho - nor- vir tus T.

la ju - bi - ti - 0, B. [tasto ] -- ti - 0, et-- ju - bi - la -- ti - 0, sol? Bc.

278

S. zo;t i S)l la ti bi Sa lus, - - ol ju - la - ti - 0, A v lus, quo que. sa ho nor, ho nor, vir Ws quo

Sa lus, ho nor- vir tus quo que,

B. Sa lus, ho - norý- vir tus quo

Bc. (51 Ituttil 58

286 e 1) 1-11-1 kPFF115"- - ff i- S. ý* -F

vir tus, vir tus SiL- 0- nor. - - !II ýý - iI-1 - 1 -- I,. Iii ... 3 ep - ,I - l - lus, ho lus, ho ho que. sa - nor,- sa - - nor.- - not. vir ý- fi. .-- T. Zý ."-.. - III ri . io io 6, 1 -- - lus, ho lus, ho S& nor.- sa - - nor, vir B.

lus, ho que, a - nor.- vir tus qw

[-vc, tý db, bn) Ituttil 294

S W at be ne di - cti 0: Pro cc dcn 111 A. FpIi Fd*

tus quo que Sit at be ne di cti 0:

it be di Pro -qua at ne cti 0:

qua- Sit at be ne di cti 0:

Bc. L-"- ý A bn) 302

Bc.

310 .., AI.. II S.

den ti- ab- u tro que Com par A den ti -- que, ab u- tro - que, pro ce -

T. den tro pro - ce - - ti ab u- tro . ab- u. - B

que. pro den ti- ab u- tro que, JEL ce - Bc. Pvc,tý Ituttil dR),bnj 59

318

S. op 1A

lau da lau da sit - ti - 0. oom par sit - ti - 0, A. 00 dO .06X Com lau da lau da AaIu- tro - que - par sit - - ti -0, - T.

que Com par sit lau da ti B.

ab u tro que [-vc, tiý db, bn] f2 Bc. . -

326 01-A S.

0 com - par sit lau - da - ti - 0, lau A.

A ti 0, com par sit, I T. p. Iii! 11 lau 0. com - par sit - da ti - 0, lau - da - ti - J 'I - 92- IR = - m 'o B. 99 Fd

lau da lau da 0= - par sit - -- ti - 0. - - ti - 0, 42- Bc. S.

A3 11 S.

ti 0. com par sit A lau da A com - sit - -- ti - 0, com - T. 1 1 i

0. coin par sitý com par a R9 lau com par sitý com par sit

Bc. i - - .F

340

lau da ti 0. A.

par sit lau da t' T. ------.t lalau da ut - - -- ti - 0, lau - da - ti - 0»- B. da ti - 0.- Bc. Te Joseph celebrent 63

Te Josephcelebrent

[SOP-01 Violin I Oboel&2

[Alto] Violm 2

[Tenor) Viola

(Bass]

[Organ,violoncello, theorbo.bassoon. doublebass]

! T-na cae li tum: Te cun - cti A. :Wt e. cae li tam: Te cun - cti re so- T.

grm-na cae li tum: Te r- vrrp WPF F' ý IK 1 9- B. =t:! 1

gmi -na cae li tum: Te cun - cti re so -

,- P ,ipf, Bc. - -PF

S. Ii iF V

re - so - nent chri sti -a- dum cho rý Qui cla - rus me -n- A.

" nent chri sti -- a- dum cho ri. Qui rr op F2 'i- -# T. F- F -

CMI r cuncun _ cfi'fi re so nent chri sti - a-dum cho ri,

.I.. F'

nent chri sti -a- dtim cho i0oJ' F' p i Bc. ýý' 0ii 1 Fl tastosolo

23 9 S. F F' Fd

tisý tK jun A cla rus rne - ri - Ctus- A.

cla - nn me . ri us, clui cla ru me ri - T.

Qui tis, ela - rus me ri qui cla -

Qui cla - rus me - ri - A 11ig. P- 9ii Bc. -pe ri ----4 F' 11R 1VT-1 31 (tutti] 64

31 A-11i ve OP P- 99 FI .- 11 9 i. I -9 F- Fl S. -.9 sil -1 F i4 in CA foe de vir 0- es - cly - tat sto. ca 9to - - re - A

tis, jun - ctus es m- cly- tac CA sto. CA Ito foe de- re

rus me - ri tis. jun - ctus CA in - cly-tac: CA - mo foe - de - re Vir ý ), p1 r- F i - ff B H. F P111 -- --1-I- F- 11 i FOR F r- ip o in CA foe de Vir ,., j. - ctus- es - cly - tae sto - - re - iF Bc -F

Bc.

[4 :3 LLUUJ 55 IIII S.

ris, tan ge-ns an xi us, cum du - bi 0 tan V-6% tan A du bi ad nu rans cm ju -gem] - o tan T. du bi con ju - gem Ad mi - rans. ad mi ran&. 0 tan go - ris F2 B. t FF ju du bi ger mi - no con - - gem Ad mi rans, 0 tan go - rig an

Bc. F' F 65

T. 2

Bc.

L--- --'-J L-'-J 70

S. F FFpp

tu su - pe ri Fla mi - rýs An ge lus Con ce - ptum A w1

PC ri Fla nu - nis ge - lus Con - T

tu su - pe - ri Fla mi - nis An ge lus F31m B.

lus tu su pe ri Fla mi - nis An ge ý 1- -e,- 1 Bc. - 16ý 0,p , i--

[tasto solo]

Put C- rum do cet, pu e-nun do _ A

cc - ptum pu c- rwn. con ce ptum pu -e nim I f, 1 0 , 19ý T P P F- 0i 1FP

Con - cc - ptwn pu - e- nim do celý

Con ce ptum pu e rum do ce1ý - . F1 Bc. , -,c . .. I-- ... I .Iý; itm Ei Ituttil

i S.

cet 5.No bisý sum ma Tri as, par ee_ A.

do ceL 5.No bis, sum Ma Tri as, par ce-

T. ýri do CeL 5.No bis, sum ma as, par

do cet 5.No bis. sum ma Tri as, par

Bc. 66

pre can ti bus: Da Jý - seph

0) . .0. -w-- pre can ti bus: Da Jo - seph me ri - T.

cc pre can ti bus: Da

B. 0

bus: Do Jo cc pre - can ti - seph me ri - tis

F, 0i 10 p- p;. Bc F- F' -I

103

S. P..F' -Z=Z-h- - . me tis si do - ra scan do re, Ut tan - dern b cc - A

ut tis si do - ra scan do re, A p T

JO - seph me ri - tis si - do-ra scan -de-re, 10, --' 0 10 B. do do si - do - ra scan - do re, si - - ra scan - re, tto 8010 F- Dc. .-II. I-Iý 0"II16,

III S.

119

S. I

bi per PC tim Ora tum. Bra tum A. Gra nos bi per PC tim T. Gra dem ce at nos ti bi per PC tLm

B. F

at nos_ ti bi per PC tim Ora tum

Bc. 67

Bc Veni Creator Spiritus 71

Veni Creator Spiritus

Soprano Violin I

Alto Violin 2

Tenor Viola

(Bass]

[Organ. violoncello, theorbo, bassoon. double bass]

tus,

Bc.

15 S.

Bc.

LLULUJ L--, -- db, bnj

:, 7rA__Wý F, F' P if I= "f, -1. S, "'K I r- S. 19 fI F :Vttzmýý IIi0 ta. Iin e su . per na gra ti -a A.

rum, ta 0- rum vi - sl ta: Im pie su per na T.

tes tu o rum vi si ta. im pie su per B. Im men tes tu o rum Vi - si ta: - pie Bc. Itutfil 72

Bc-

13 38

Ituttil 43

A I ! ý 0 "F Bc. A% NO ý

LIJ

A S.

& cto

tu cre

sti

quac

ItutLil

MLý 73

59 e-A S

3.Tu A pe cto - ra. k

cto m 3.Tu Sep ti for

pe cto ra. 3.Tu Sep ti for mis, B.

cto ra. [tastosolo] I-E0 Ono 151 Bc. .-06 - kp -i -- ;- rd

67 gootj I S.

se mi's ne re, Di - gi tus pa ter 60 1 # 11i ::::: .- -. a - .1 mis, se pti for - nus ne re, Di gi tus -i 11

se pti for - mis mu - ne - re, Di - gi - pp e21 .0 F, , -F i f, lop a i 3.Tu sep - ti for mis mu ne re, gig Bc, t-I I., db, bn] 75 A S.

nae dex - te rae, TU ri te pro mis - sum- pa A

TU ter nae, pa ter - nae- dex - te rac. ri

tus pa ter - nae dex te rae, pa ter - nae- dex - te rae,

B. 9 1 1F,

Di gi pa ter nae deX te rae,

Bc. 09 ft,,Wl I [tastosolo] 83 ., A S. ru--T-

Bc.

- Ij L-J 74

Seir nm ne

tris, Scr mo ne di tm VA tu - '1 , 0ý 11 - ji do, NO ij 6 i-- al FE .-. I- Ft r ý IE3. . - i 'Bit Ser - mo - ne di WA- di tam tu - X. 'i 5 op B Z. i E-x ; . ri trL% Ser mo na &- tam- [tasw solo] - - P B c. ! 1 FFf f

s F F'

tu 4. Ac di - tan% di tans gut rL A. 4-i . It - di tans, di tans But tu rL 4. Ac cen

Tal ser mo - ne- di - tans- gut te m i [I E, 9 i .. ý F- a T- D. 1 I di twL% ser mo - no gut tu ra.- justo$0101 Bc F

107 611, i S.

do lu bus. A cen - men- son - si - A jo ýc lu meN lu men son si - bus, a Ocen- do lu men

T. 91

4.Ac - cen do- lu -- rmn- sea . B.

cen do lu aws i*fl I11. : -- Bc. 14ý 1* 1-Iý- 11 15 i i VS -i -- .011 --- Ituttil

Bc. 75

123 6 S

bus, a Mo - rem- cor - di bus, In fir Ma- no A

di In A MO rem cor bus, T iIIIF, 1-

fim - dc a MO rcrr4 a MO - rem cor - di - bus,

B. 60 i 6.1 10 IiII. II1 En fun de a- mo rem cor di bus, [tasto solo - - - - I iI ii0! iI Bc F' 19 [tuttil

Bc.

Ll li

139

Bc.

147

Bc. 76

Bc.

Dc.

172

Aý

Bc.

180 n111 S. F P ii

Fi li tu Pa 6 - - 0, qui- a mor - - 13 sur -I-I` Ac_ - A. 4) fi et o qui a mor tu is iftIr - re 1 i T. 1I F' F;l 1 40 I -5 .

sur - re - xit, et fl - li -0 qui- a mor - tu -

a mor is sur re xiý et Fi - ho qui- Bc.

db, bn] Ituttil 77

188 I- - S.

ra cli to, in sae cu lo A.

A ac PT cI to, in T. 90 F,

is Sur re xitý ac Pa ra cli to, p f2 B.

a mor tu is Sir re xit. ac Pa ra cli to. pPII 9 Bc. a ý i pi0 no " I !! FiI --- FL. .- -11 -I (tasto 196 solo]

Bc.

151 Ituttil

Itastosolo] 210

Bc. k

Bc. Haec dies 81

Hacc dies Allegro

[Violin I Oboe11

[Violin 2 Oboe2]

(Viola]

[Sopranol

wto]

[Tenor]

[Bass)

[Organ,violc theobo,bass( doublebass]

PO04

AL AL AL AL - -AL- -- -dL - -- -- vh I

9 im 0- M p-- #0 on fe MM VIM2

Vla.

ä2 tutti

S. v: r F ed - F, i , -- .F F - Haec di - es, quarn fe - cit- Do - nu- nus, haeo di - es, quam fe - cit Do - nü Ituttil

A-

fe (ä 2] Haec di - es, quam - cit Do - mi Ituttil sRN1 T. A-e fe Haeo ; quam - cit- Do - mi- nug haeodi - es,quam fe - cit Do - mi ftutti B.

Haeo di e& quamfe - cit Do mi [-db,bnl [+db, bn] - -

Bc. II -w L, =M;o 82

vim I

VIrL 2 G .0 6-. J

4-, Vla . 12 tutti 12 p 1E ff Im e F lat te lac nus:ex - sul - te - mus, et lae- te - mur, et - mur, et laa- te - mur, et [tuttil Ci 2] ji

do ao no lae nus.- ex - sul - te - musý et lae - te - mur. et lae-le- mur, et solo 4NkhNN kýN kk tutti FR T OR . nus:ex - sul - te - musý et Me- te - mur, et lae- mur, et lae-le- mur, Itutti B.

nus.- ex - sul - te - MUsý et Me- te - mur, et lae-te- mur,

Bc.

[-db, bnj [+db. bn] [-db, bnl

10 Vht 1 0.

Vla 2

Vla.

A 0.

[+db,bn] 83

VhL I a

VIrL 2

Via.

A- IL

13.

Bc.

POOd

16 -A VhL I F

Vln. 2

VI& 6 je tutti ä2

Ei lll+-- 1- S. i. 0r , 0,0, -- n - !yw-d- r 11r -- Do haecdi lae fe - eit- - mi - nu% - es quamfecit Do - mi - nus;ex - jul - le - mus, er-sul-te- Mus; et - te - Ituttil [ä 2 A r=Zzc hNh4 i i iä AL ecý 5! 1! p ý11 - - --1 .. - -1 1.. - -- fe- cit-Do - nü- nuz haecdi-esquamfe-cit Do - mi- nuz ex-sul-te- mu& ex - sul - te - mus, et lae - te - tti h6h. k T.

cdi-esquamfe-cit Do-mi-nu, %ex-sul-te-mus, ex-sul-te- Mus, a 191 1ý B. _ F. « - : ý25 i 9 haec di - es quamfecit Do - mi - nug ex - sul - te - mus, ex - sul - te - Mus. [-db,bn] MM Bc.

[+db,bril 84

Via I

Vhi. 2

Vla. V

Bc.

I+db,bnj

;ood ýo

VhL I a

VhL 2

Vla.

Bc.

[-db,bn] 85

VIM I

VhL 2

Vi.

Bc.

[-db,bn] [+db,bnl

POOOd

29 vim I 0

Vlm 2

VI&

Bc.

[+db, bn] 86

virl. I

Vln. 2

Vla.

Dc.

f-db.bn) (+db,bnj

Vhl. I

Vhi. 2

VI& LP

Bc. THE MARIAN ANTIPHONS Alma Reclemptoris Mater in E6 91

Alma RedemptorisMater Larghefto

Oboe I

Oboe 2

Violin I

Violin 2

Viola

Soprano

Alto

Tenor

Bass

Bassoon

OrgwkMOI theorbo, doublebass

45 92

Ob 1

Ob 2

vim I

Vln. 2

Vla.

BsYL

Bc.

[-db] 93

Ob. 1

Ob. 2

VIM I

VbL 2

VIL

BsrL

Br- 94

Ob. 1 4

Ob. 2

Via 1

Vln. 2

Vla.

BsrL

Bc.

[+db]

hk 95

15 Ob. 1

Ob. 2

Vln. I

VIIL 2

VI&

BstL

BC.

g; 96

Ob. 1 4

Ob. 2

virL 1

Vlm 2

Vla.

BSIL

Bcý

a6664 97

Ob. 1

Ob. 2

VhL I

Vlm 2

VI&

BSIL

BC.

[-db] 98

Ob. 1 0

Ob. 2

vin 1

Vlm 2

Vla.

BsrL

Bc.

46 77 5ý5 99

Ob. 1

Ob. 2

vim I

Vim 2

VI&

BsrL

Bc. [+dbl 100

Ob. 1 t

Ob. 2

virL 1

Vlm 2 0.

Vla. 19-

BsrL

Bc. 101

Ob. 1

Ob. 2

VhL I

VlrL 2

VI&

Bsm

BC.

b4 377 67 7765 102

Ob. 1 t

Ob. 2

VIIL 1

Vht 2

BsrL

Bc.

436 19 [-dbl 103

Ob. 1

Ob. 2

vim I

VhL 2

VI& Ipf assai

tu -$ K - .0 mo , 110' 11F

re, mi - se re

Ituttil b-i

re, mi se - re

-M mi se - re

tu - L- 6o B.

re, mi se re

6op Bsn.

DC.

f[+db] 104

Ob. 1 t

Ob.2

virL 1

VIrL 2

VI.. r+

BsrL

Bc. Alma ReclemptorisMater in F 107

1. Alma Redemptoris Mater

Flute I Recorder I

Flute 2 Recorder 2

Violin I

Violin 2

Viola

Alto Solo

Organ, viol( theorbo [semprep]

Fl. I

Fl. 2

VhL I

Vh 2

VI&

A. S.

B4-- 108

[Atempol J? oe Fl. 1

Fl. 2

vim I

Vh 2

Vla.

A. S.

Be.

Fl. I 0.

Fl. 2

vIlL I oc,

Vln. 2 a)

VI&

A-S.

Be.

VhL 1

VhL 2

VI&

A. S.

Be. 109

Fl. I

Fl. 2 Ot

VIIL I

VIrL 2

VI&

A.S. c Be. 6

Fl. I

Fl. 2 "o, vim I c

Vim 2

Via.

A. S.

Be.

Fl. I

Fl. 2

Vh, I

VIrL2

VI&

A. S.

Bc. 110

Vln I

VIrL 2

Via. E

A. S. t

Fl. I a

Fl. 2 'a

Vln. 1

VIrL 2

A. S

Be.

Fl. I t

Fl. 2

VhL I

Vln. 2

E Via.

A. S. t

ýJ Be. III

Fl. I

Fl. 2

Vh-LI vim 2

Bc. 4ý

112

2. Tu quae genuisti Adagio

Violm I

Violm 2

(Viola]

[Alto Solo]

(Organ, violoncello, theorbo, bassoon, doublebass)

Vln. I

VhL 2

Vla.

A. S.

Bc.

8 f-db,bn] 0, A- VIIL 1 _q9Z=rýý t7---lvä4 IV [i2ägý4

vIrL 2

Vla

A. S

Be.

VIM 1

VITL 2

Vla

A. S.

Be.

I 113

3. Gabrielis ab ore Larghetto Flute I RecorderI

Flute 2 Recorder 2

Violin I

Violin 2 1 p

Viola 1!; ). "I" 1 p Alto Solo Ga - bri Larghette [Organ,violoncello, theorbo,bassoon, doublebass) [-db, bn]

Vin. I A6

'- i Vln. 2 -RE

Vla. PF p F 6-J I

P-9 A. S. 41 OE ve, A

Bc.

Fl. I

Fl. 2

VIM I

VIM 2

Vla.

A. S.

Bc. [+db, bn] 114

Fl. I

Fl. 2

VIM I 0.

Vla 2

Vla.

A. S. it

Pý Be.

(-db,bn] [+db,bnj

Fl. I

Fl. 2

Via I

Vln 2

vi..

A. S

Bc.

Iýul Ulij

Via I

Vla 2

VI&

A. S.

Bc. 115

FL 2

VIZL 2

Be.

1-too.onj [-db. bn)

VIM 1

Vhi. 2

Vt.

ks 6. 6

Fl. I

Fl. 2

VIM I

Vla 2

VI&

A, S

Be.

V-QDlDRJ Ave Regina 119

1. Ave Regina

Flute I

Flute 2

Oboe I

Oboe 2

Viohn I

Violin 2

(Viola]

Alto Solo

[Organ, viol( theorbo, bas! double bass]

odPo

3 01

Fl. 2

Ob. 1X

Ob. 2x

Vh 1

Vh 2

Vla.

A. s.

Bc.

[-db,bnl [+db. bn] [-db,bn] 120

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Vln. 1

Vln. 2

Vla.

A s.

Bc.

[+db,bnl

Fl. 1 9.

Fl. 2ý

Ob. 1 t

Ob. 2ý

Vln. I

Vlm 2

via.

A. S.

Bc. 61 [+db.bnj [-cU).bnl 121

Fl. 1

Fl. 2

Ob. 1

Ob. 2

VIIL 1

Vla 2

Vla.

A. s.

Bc. [-db,bn]

POOd

Fl. I

Fl. 2

vim I

Vlm 2

via.

A. S.

Bc. 122

23 .eA, t Fl. i f Fl. 2

Ob. 1

Ob.2 -_P ----

vhL i f Vln, 2

Vl&

A. s.

ta:

Bc.

[+db,bn] 123

2. GaudeVirgo gloriosa Allegro -1; OboeI

Oboe2

Violin I

Violm 2

Viola

Soprano [solo]

forgan,viol( theorbo,bas., doublebass]

4 tlitt; 00 Ob. 1ý

Ob. 2ý

vin- 1

Vln 2

Vla.

Bc.

[4 Ob. 1 ,l

Ob. 2

Via I

Vla 2

VI&

S.S.

Bc.

f-db,bnl 124

Vln. 1 t

VItL 2

S.s.

16 Soli Ob. 1 0.

Ob. 2ý

virL 1 t ý Vh2

VI& LA S.S. cm-nes spe-ci-o Sal

Bc [A [+db,bn]

20 tutLi Ob. 1 09 $-= li rPii"ii f tut 11 ,6--, 'I*-- - Ob. 2ý1 , loI 6ý f -- A. vim i rrllvtt=sýýl61 1-k r, I-FOF itp

Vlm 2

Vla.

S.S.

Dc.

vi [-db,bn] 125

vim I

Vlm2

via.

S.S.

Be. C,,]

VIM I

Vla 2

Vla.

S.S.

32 via 1

Vill

Vla.

S. S. 0. 126

36 Soli Ob. 1

Ob. 2

VIIL 1

Vln 2

Via.

S.s.

Bc.

[+db,bnl

40 r-; l

Ob. 1 it

Ob. 2ý

virL 1

VIIL 2

Vla.

Bc. VI 127

3. Vale Adagio

Flute I

Flute2

OboeI

Oboe2

Violin I

Violin 2

Viola

Soprano solo

Alto Solo

[Organ, violoncello. theorbo, bassoom doublebass] semprep 6 0,6 1 Fl. II bfsjý'

FL 2

Ob. 1

Ob. 2

via 1

Vln. 2

A. S.

Bc. P

[-db, bnl :0 46 12 0 rý S.S.

A. S.

Bc. 128

Fl. 1

Fl. 2

Vül. 1 gt

VIrL 2j t

Vla

S.s.

AS.

Bc.

C+db.bn] [-db,bn]

Fl. 2

S.S.

A. S.

Bc.

[+db,bnl 129

FL 1

FL2

Ob. 1 t

Ob. 2j

virL 1

2 Vln vi,.

S.s. 0.

[-db,bnl

POld o

Vln. I

Vla 2

Vla.

S.S.

AS. 130

Fl. 2

Ob. 1 t

Ob. 2ý

vin 1

VkL 2 gL

Vla.

W S.s. e ý AS.

[+db, bn]

POod

Fl. 1

Fl. 2

Ob. 1

Ob. 2

via 1

Vln. 2

vi.. S.s.

A. S.

Bc.

[-db, bn] 131

Fl. I

Fl. 2

via I

Vla 2 t

Vla.

S.S.

ks.

Bc.

66 55

;old po

Fl. 2

VhL I

Vln. 2

VI& L

S.S.

A. S.

Bc. [+db.bn] [-db, bn] 132

Fl. I

Fl. 2

Ob. I 0

Ob. 2

vir, I

VIrL 2 It

Vla.

S.S.

A. S.

Bc.

[+db,bn]

Fl. 1

Fl. 2

Ob. 1 0

Ob. 2ý ý, 1

Vln. 2

Vla.

Bc. Regina caeli in D 135

1. Regina caeli

[Oboe11

[Oboe2]

[Violm 1]

[Violin 21

[Viola]

Isopranol

Alto Concertato

Alto Ripieno,

[Tenorl

[Bass]

[Organ,violoi theorbo,bass( doublebass)

P0od

Ob. 1

Ob. 2

via 1

Vla 2

Vl&

Bc. 136

Ob.

Ob. 2

Vln. I

VIYL 2

Vla.

AS.

Bc.

Via I

Vlm 2

Vla.

A. S.

Bc. 137

Ob. 1

Ob. 2

vim 1

Vlm 2

Vl&

AS.

Bo. vi 138

Ob. 1

Ob. 2

VIIL 1W

Vln 2 41

Vla.

A.S.

Be.

;Old ýo

via I lk

Vln. 2

Vla. Lp

AS.

Bc. 139

Ob. 1

Ob. 2 vim 1

Vlm 2

Vla.

A. S.

Bc. 140

Ob. 1 e

Ob. 2

vin. 1

Vln. 2

Vla.

A-S.

Bc. P

32 0, Ob. 1

Ob. 2

vin. I

Vln. 2

Vla.

A. S.

Bc. VI 141

Ob. 1 vin1 VkL 2

vi.

AS. 0.

Bc.

0 39

Ob. 1 e.

Ob. 2

Vht 1

Vla 2

vi.

A. ge

Be. 142

42 0, Ob. 1 4

Ob.2

Vln. 1

VIrL 2

Via,

Be. 143

2. Quiaquem meruisti

Soprano violin I OboeI&2

Alto Violin 2

Tenor Viola

Bass

[Organ, violonoello, tmft, bawoce-4 double bass)

5 tasto solo ei-I 11. t- S. ,

Bc.

98 [-vc, tý db, bn] 98 Itutfil

ip p F1 iI le lu ia. le luia. le lu - al- - al - 146 MI I P--; kmi i ffi x

le lu- &I le lu ia, m aquem me - ru I su por Oýýýqui

T. --IIiIFIVvi t==? tzEt==3,0 Me ru por ta -& qLICM - -I Stl - re,por - ta re, a] le - lu - ia, al-

ta re, al le - lu-

Bc.

76 144

20 10111 -4-# R FT iii i S. to - op :jM. =I'm

qui aquem me - ru I stipor-ta re, a] le - lu A E=M

ta re, por ta re. al le lu ia, lu ia, - - - &I-le - - Aj ý --I -; 1v rý lF1Prr*5 f, F R 0VF. rprP, 1 0, T. -aIIIIIII-.. 1 go e I .III. 1F IIIl oe, lu - ia, &I le lu - ia,

B. F1 6-d ia, le lu is, le lu- - al al - Bc. 6PUR F. F' I-

S. I

Bc.

[-vc, t4 db, bn]

30 eAIk S. A 410 =1 =1' F =J 1 ýj lin =1 F

i- le- qui - aquemme - ru sti por - re, al - le - lu -i al - Ai N0 ! ii i A- ;jiIi- v - .- . "- - - 90 01 - - .- - ta re, al - le lu ia, al le ia, a] Ic A Ab i - I- - T. PF lu ia, le - qui -a quem me - ru sti par-ta i 'o. 'o. -- il a B. -4

qui -a qluemme - ru i- stipor-ta re, al

Bc.

Ituttil 76

35 Ik me-A-* i i :j -4 ij S. FR11i4i1p1 f- .aFIFF-,

lu - la, qui -a quernme - ru i- stipor-ta re, al - It lu ai- A. It ia al lu - lk a] It lu - it al It - krI T.

re. por-ta re, It lu ia, al It luia. It ik B. 6. W b-W lu ia, ia, al It - lu qui - aquem me ru -

Bc. p

98 145

40 ., Am 1

Tlu- le ia. le lu i&

A le lu ia, lu - ia, al -

B. lu ia. sti por-ta re, al - le

Bc. 146

3. Resurrexit sicut dixit Vivace

[Oboe I& 2)

(Violin I& 2]

[Viola]

Tenor Solo

[Organ,violoncello, theorbo,bassoon, doublebass]

Ob.

VIM

Vla

T. S.

Bc.

[-db,bnl 10 vim

Vla.

T. S.

Bc. P2

T. S.

Bc.

Ob.

virL

Vl&

T. S.

Bc.

[+db,bn] [-db,bn] 147

Ob.

vkL

via.

T S.

Bc. t+ao, onj

Obý

VhL

Vla.

T S.

Bc. [-db, bn]

Ob. e vin.

pp Vla.

T. S.

Bc. [+db,bnl (-db, bnj

Ob.

VIIL

T. S,

BC. [+db. bnj 148

Ob. 2@

virL

Vla.

T. S.

Be.

L-- --J

Ob. 2@

Vhi.

Vla.

T. S.

Bc.

[+db,bn] f-db,bnj

Vh,

T. S

Bc.

Ob. Z?

VU t

T. S.

Be.

[+db,bn] 149

Ob. via

Vla.

Bc. 150

4. Ora pro nobis Adagio staccato (Violin I ýf 91 00 op FFi OboeI] [staccato] A [Violin 2 p 0p op FF FF Oboe 21 e op op op or i i 11 11FFFF [staccato]

(Vi l 1 1 FFp0 o a] I I. I. - 1;dp 01 . FF 0P

go- 10 I s opranol xf iFF 0) 0- bis ra prono - bis De - tan. o- ra,pro no-bis De - wn, pro no - (Alto] A a 0- raprono-bis De - U"& 0- rapro no-bis De - umprono - bis 9 1 1 .Ik [Tenor]

0- bis raprono-bis Do - Unt 0- rapro no-bis Do umprono - I - ak kN.! =:; q Bass ýPft!, , 1ý m1 ; ý--. 4, ý, ,, R ..., p %I Adagio bis 0- ra.pro nobis De - U"& 0- raprorn no-bis De - unLprono - [Organ, violoncello, bassoon theorbo 0 double, bass], 57 4

POOod

5 ol Vln. I

Vlm 2

Vla.

S. 4

A. 4

Bc. 151

5. Alleluia Allegro 01A, * np [Ob- 1)

[Oboe2] ýx

[Violin 1]

[Violin 21 ::V-

[viola]

Alto Concen=

Alto Ripieno

[B-1

[Cqai%violonocUo. Oxxxbo,bassoc% &uble bass]

Ob. I

Ob. 2

vin. 1

Vlm 2

VLL

A. s.

Bc.

66 4 12 ool VhL I

Vh, 2

A. S. 4u al-le -b Bc. 152

VhL I a

Vln. 2 a

Vla-

A. S.

Bc.

Vln. I

Vln. 2

via.

A. S.

Bc.

Ob. 1 4

Ob. 2

Vhl. 1

Vln 2

Vl&

A s.

Bc. zi 153

VhL I

VlrL 2

VI&

A S.

Bc.

Ob. 1 t

Ob. 2ý

via

Vlm 2

Vl&

Bc. 154

Ob. 1 t

Ob. 2

virL 1

Vlii. 2

Vla.

A. S.

Bc. vi iss

30 Ob. 1

Ob. 2

VhL I

VhL 2

VI&

A. S.

Bc. 156

Ob. 1 Z

Ob. 2

Vln. 1

Vln 2

Vla.

Bc. 15

0 VI

Ob. 1 a

Ob. 2j

Vln. 1

Vln. 2

Vla.

Be. Regina caeli in G 159

1. Re&a caeli Allegro

Flute 1

Flute 2

[Oboe l]

[Oboe 21

[Violin 11

[Violin 2)

[Viola]

[SOP-]

wtol

[Tenor]

[Bass]

[Organ,violo theorbo,bass doublebass]

Fl. 1

Fl. 2

Ob. 1

Ob. 2 va 1

Va 2

Vla.

Bc. 160

Fl. 1

FI 2

Ob. 1

Ob. 2

Vn 1

vrL 2

V)a.

Bc.

PO04

10 Fl. 1

Fl. 2

Ob. 1ý t

Ob. 2

VrL 2

Vla.

Bc. 161

FL I

Fl. 2

VEL I

ViL 2

Vla.

Bc.

Pood

vn. 1 a

Vm2

Vla.

A-

Bc. 162

Fl. 1

Fl. 2

Ob. 1ý 0

Ob. 21ý

Vn. 1

Vn. 2

Via.

Bc.

[+db,bn) 163

Fl. I

Fl. 2

Ob. 1

Ob. 2

VIL I

Vn. 2

VI&

BC. [-db, bnj [+db, bn] 164

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Vn. 1

VrL 2

Vl&

L A.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Vn. 1

Vn. 2

vi.

Bc. 165

Vn. I a

Vn. 2 a

Vla.

A-

Be.

POOd

Vn. I

VrL 2

VI&

Bc. 166

Fl. 1

Fl. 2

Ob. 1 0.

Ob. 2j

vrL 1

Vn. 2

Vl&

Bc. 167

FL I

FL 2

Ob. 1

Ob. 2

Vn I

VrL 2

Vla.

A-

Be. 168

Fl. 1

Fl. 2

Ob. 1 0.

Ob. 2

vn. 1

VIL 2

Vla.

Bc. 169

38 #. 4.

Fl. IN

Fl. 2

Ob. 1

Ob- 2

vn. 1

Vm 2

Vla.

Bc,

PO04

Fl. 1

Fl. 2

Ob. 1 0.

Ob. 2ý

Vn. 1

VIL 2

Bc. 170

2. Quiaquem meruisti Andante consord OboeI

idt, consor I'" Oboe2

consord Oboe3

consord Bassoon

Violin 1&2

Tenor [Solo]

[Organ, violoncello, tbeorbo]

3 oe Ob. 1j

Ob. 2

Ob. 3

VrL

T. S.

Bc. Upi

10 vrL

T. S.

Bc. 86 171

14 &

Ob. 1

Ob. 2ý

Ob. 3

vn.

T. S.

Bc.

Ob. 1

Ob. 2 4.

Ob. 3

BSIL

Vn.

T. S.

Be.

Ob. 1

Ob. 2

Ob. 3

Bsm

Bc. 172

Ob. 1 e

Ob. 2

Ob. 3ý

BsrL

V..

T S.

Bc.

VrL a

T. S.

Bc.

Ob. 1

Ob. 2

Ob. 3

Bsm

VIL

T. S.

Bc. 173

Ob. 1

Ob. 2

Ob. 3

Bsm

T. S.

Bc.

Ob. 1

Ob. 2j 41

Ob. 3

T. S.

Ob. 1

Ob. 2

Ob. 3

Dsn.

Bc. 174

I Ora pro nobis Andante

Flute I

Flute 2

Violin I&2

Viola

Isopranol Solo

[Alto] Solo

[Organ,violoncello, theort>o]

Fl. 1

FL I

Vn.

Va.

Bc.

Fl. I

VrL

Bc. 175

10 FL 1

FL 1

-ý0,

Bc.

FL 1

Fl. 1

VIL

FL 1

Fl. 1

VIL

V& 19.

BC. 176

Vn.

Va.

Bc.

Fl. I IL

Fl.

VrL

V. L

Bc.

Fl. I

Va.

Bc. 177

28 V.

Bc.

31 V.

Bc.

FL I

Fl. I

Bc. 178

Fl. I

VrL a

Va.

Be.

Fl.

Vn.

Va.

Be. 179

4. Alleluia Allegro

[Oboe11

[Oboe21

[Violin 1]

[Violin 21

[Viola]

[SOP-]

(Alto]

A ii- IT-or)

[Bass)

tast [Organ,violoncello, 9 theorba,bassoon. doubleDa--4j

POod

5 Of Ob. I 0) 6mj 6-"

Ob. 2iG IV__

VIL I

Va 2

Va.

S. iaý_ A.

le lu - ia.

B. 180

le Ob. 1

Ob. 24

vrL 1

VtL 2

Va.

Bc.

6 o> 12 r- Ob. 11#f. ,

Ob. 24 ii, 1=

Vn 1 .9, mF

leü al le

B. [al le

IBC. 181

Ob. 1 4

Ob. 2ý vn. 1

VrL 2

s. ok

Bc. le gL

POoe 20

Ob. 1 a

Ob. 2

VELL, 1

Vn. 2

BC. 182

24 01 Ob. 1

Ob. 2

Vn. 1

Vn. 2

Va.

Be.

Ob. 1 a

Ob. 2ý

vrL 1

Va. 2

Va.

P-

Bc. 183

30 0, A- io- e et et AA 4& . -- 0-- ap i- )4L 0.0. oý w. O>ýýýV- rr PI-4w-4v Ob. 11 -P

Ob. 2

VrL I

Vn. 2

Bo. gýf

I- 33 * Ob. 1

Ob. 2

Vn. 1 IP vm 2

It Va.

ia, al le lu ia, al le lu ýk. le lu J lu ------&I - - is. -k - - I&

ia, a, le lu ia. le lu ig. le lu - - - &I - - - &I- -wA- le - lu - UL

1* le tu ja, - -- al - 1, tu ja. al-le tu ul. al-te- tu gL ------m

al - le tu ja, le tu - la, al le tu la. al - le - tu - UL.

Bc. CRITICAL REPORT 187

Sources

Ave maris stella The solesource for this settingis the autographscore in the SdchsischeLandcsbibliothek - Staats-und Universitdtsbibliothek,Dresden, D-DIb Mus. 2398-E-8.The scoreis in quarto landscapeformat, 308 x 264 mm, and is boundbetween marbled boards in I gatheringof 3 bifolia (12 pages).The first pagecontains the title text: Ifyinnus: Ave Afaris SIcIIaa4 VOC. di Gov. Heinichen.There is crossedout text aboveand to the right of the title. The library shelfnumber (Mus. 2398-E-8)is at the bottom left of the page.The pagesare numbered andruled with 12 staves.The settingis in a single movementon pp. 1-10. Tlie words Finis, a timing (3 M) and Mens.9br 1723appear at the right of p, 10.

Crudelis Herodes for is The solesource this setting the autographscore i, n the SAchsischeLandcsbibliotlick - Staats-und Universitatsbibliothek,Dresden, D-Dlb Mus. 2398-E-10.The scoreis in quarto landscapeformat, 312 x 227 mm, and is boundbetween marbled boards in I gatheringof 3 bifolia (12 pages).The first pagecontains the title text: Ilyninuspro FestoEpiphaniae di Giov.Heinichen. Inserted between the title and the composer'sname is the text Fach 37 Lage3, with the figure 3 on a pieceof paperpasted onto the score.Tlie I ibrary she]f number(Mus. 2398-E-10)is at the bottom left of the page.1"he pages arc numberedand ruled with 10 staves.The settingis in a singlemovement on pp. 1-11. A bar count is at the endof p. 11.

Decora lux for is The sole source this setting the autograph score in the SachsischeLandesbibliotlick - Staats-und Universitlitsbibliothek, Dresden, D-DIb Mus. 2398-E-9. The sourcc has been unavailable for inspection during the course of this study, but from the microfilm copy, it appearsto be in quarto landscapeformat, and is bound between marbled boards in I gathering of 2 bifolia (8 pages). The first page contains the title text: Ifyinnus injestis Apostolorum Petri et PaulL (et in commun.Apostolorum) di Giol%Heinichen. Additionally, No. 22. appearsto the left of the title, and the library shelf number (Mus. 2398-E-9) is at the bottom left of the page. The pages are numberedand ruled with 10 staves.The setting is in a single movement on pp. 1-7, and the word Finis is at the end of p. 7. 188

Iste Confessor The sole sourcefor this setting is the autographscore in the SachsischeLandesbibliothek - Staats-und Universitatsbibliothek, Dresden,D-Dlb Mus. 2398-D-27. The score is in quarto landscapefori-nat, 315 x 235 mm, and is bound betweenmarbled boards in 4 gatheringsof 2 bifolia (32 pages).It contains two settings: the Magni/icat in E6 on pp. 1-22, and the Iste Confessoron pp. 23-8. The first page of the hymn setting (p. 23) contains the title text: Hymnuspro Festo S. Franc. Xavier et alios. Sanctos.1) 4 Voc. Mes. 9br 1724. The text No. 18 appearsto the I eft of the title. The pagesare numbered and ruled with 10 staves.The word Finis appearsat the bottom right of p 28.

Jesu Redemptor omnium The solesource for this settingis the autographscore in the StichsischeLandesbibliothek - Staats-und Universittitsbibliothek,Dresden, D-Dlb Mus. 2398-E-7.The scoreis in quarto landscapeformat, 315 x 230 mm, andis boundbetween marbled boards in I gatheringof 2 bifolia plus I bifolium (12 pages).The first pagecontains the title text: Hymnusin Nativitatedomini 6 4. Voc.di Gov. Heinichen.Additionally, N. 21. is to the left of the title, the library shelfnumber (Mus. 2398-E-7)is at the bottomleft of the page.The pages arenumbered and ruled with 10 staves.The settingis in a singlemovement on pp. 1-10, andthe wordsMes. Xbr. 1724are at the endof p. 10.

Pangelingua The solesource for this settingis the autographscore in the SdchsischeLandesbibliothek - Staats-und Universit!itsbibliothek, Dresden, D-DIb Mus. 2398-E-14,1.The scoreis in quartolandscape format, 313 x 268 mm, andhas been rebound between modem marbled boardsin 2 gatheringsof 2 bifolia (16 pages).The settingwas originally boundwith an Offertorium,now boundseparately as D-DIb Mus. 2398-E-14,2.The first pagecontains the title text: Hymnusprofesto CorporisChristi di Giov. Heinichen. The library shelf number (Mus. 2398-E-14,I) is at the bottomleft of the page.The pagesare numbered and ruled with 12 staves.The settingis in a singlemovement on pp. 1-15. The wordsMens. Junyll 724and a bar countare at the bottomof p. I S.

Te Joseph celebrent The solesource for this settingis the autographscore in the SdchsischeLandesbibliothek - Staats-und Universitqtsbibliothek,Dresden, D-DIb Mus. 2398-E-12.The scoreis in quarto landscapefonnat, 314 x 225 mm, andis boundbetween marbled boards in I gatheringof 2 189

bifolia (8 pages).The first page contains the title text: Hy"mus pro Festo S. JosephL di Giov. Heinichen. Additionally, a piece of paper with 5 has been added to the left of tile title, and the library shelf number (Mus. 2398-E-12) is at the bottom left of tile page. TIle pagesare numbered and ruled with 10 staves.The setting is in a single movcmcnt on pp. 1-7.

Veni Creator Spiritus The sole source for this setting is the autograph score in the SdchsischeLandesbibliothck - Staats-und UniversitAtsbibliothek, Dresden, D-DIb Mus. 2398-E- 11. The score is in quarto landscapeforinat, 314 x 230 min, and is bound between marbled boards in I gathering of 2 bifolia plus I bifolium. (12 pages). The first page contains the title text: 11),ninuspro Festo Pentecostesa4 Voc. di Goiv. Heinichen. The words NB 2dum Festo Epiphanlae have been addedlater (in Heinichen's hand), and a piece of paper with the figure 4 has also been added.The library shelf number (Mus. 2398-E-1 1) is at the bottom left of the page. The pagesare numbered and ruled with 10 staves.The setting is in a single movement on pp. 1-11. The words AmenlMens. May 1724 and a bar count appearat the end of p. 11.

Haec dies The solesource for this settingis the autographscore in the S5chsischeLandesbibliothek Staats-und Universitatsbibliothek,Dresden, D-DIb Mus. 2398-E-5.Tlle scoreis in quarto landscapeformat, 305 x,262 mm, and is boundbetween marbled boards in I gatheringof 2 bifolia (8 pages).The first pagecontains the title text: Haecdies quanifecit. The words Fach 37 Lage I areto the left of the title, with the figure I on a pieceof paperpasted onto the score.Additionally, Fach 37 Lage I also appearsto tile right of the page.The library shelfnumber (Mus. 2398-E-5)is at the bottom left of the page.Tile pagcsare numbered andruled with 13 staves.The settingis in a singlemovement on pp. 1-8. The word Finis appearsat the bottom of p 8.

Alma Redemptoris Mater in Eý The sole sourcefor this setting is the non-autograph score in the Saclisisclic Landesbibliothek - Staats-und Universit5tsbibliothek, Dresden,D-DIb Mus. 2398-E-1. The si:ore is in quarto landscapeformat, 315 x 220 mm, and is bound bct%%,cen marbled boards in I gathering of 3 bifolia (12 pages). The first page contains the titic text: Nina RedemptorisDi Giov: Heinichen. Additionally, No 9 appearsin the top lcft hand comer of the page and the library shelf number (Mus. 2398-E-1) is at the bottom left of the page. 190

The pagesare numbered and ruled with 12 staves.The setting is in a single movement on ppl-I 1. The word Fine appearsat the bottom right of p 11.

Alma Redemptoris Mater in F

The sole sourcefor this setting is the autographscore in the SdchsischeLandesbibliothek - Staats-und Universitdtsbibliothek, Dresden,D-DIb Mus. 2398-E-2. The score is in quarto landscapeformat, 316 x 225 mm, and is bound betweenmarbled boards in I gathering of 2 bifolia (8 pages).The first page contains the title text: Alma Redemptoris(4tum added beneath)a VoceSola con Strom Di Giov. Heinichen. Additionally, a piece of paper with 14 has been added after the title, N5 appearsto the left of the viola line and the library shelf number (Mus. 2398-E-2) is at the bottom left of the page. The pagesare numbered and ruled with 10 staves.The setting is in three movements: 'Alma Mater' (pp 1-4), 'Tu quae genuisti' (pp 5-6) and 'Gabrielis ab ore' (pp 6-8). The words MenslXbrll 726 appear at the bottom right of p 8.

Ave Regina The solesource for this settingis the autographscore in the SdchsischeLandesbibliothek - Staats-und Universitdtsbibliothek,Dresden, D-Dlb Mus. 2398-E-6.The scoreis in quarto landscapeformat, 3 10x 230 mm, andis boundbetween marbled boards in 2 gatheringsof 2 bifolia (16 pages).The first pagecontains the title text: Ave Reginaa 2. Vocicon Stromentidi Giov. Heinichen.Additionally, ý4 appearsat the top left of the page,followed a pieceof paperwith the number13, andthe library shelf number(Mus. 2398-E-6)is at the bottom left of the page.The pagesare numbered up to p 14 andruled with 10 staves.The settingis in threemovements: 'Ave Regina'(pp 1-3), 'Gaudevirgo' (pp 3-7) and 'Vale' (pp 7-13). A timing (7M, a bar count,and the wordsMens. Marty 1727appear at the bottomright of p 13.1

Regina caeli-in D The solesource for this settingis the autographscore in the SdchsischeLandesbibliothek - Staats-und Universitdtsbibliothek,Dresden, D-DIh Mus. 2398-E-4.The scoreis in quarto landscapeformat, 3 10 x 265 mm, andis boundbetween marbled boards in 3 gatheringsof 2 bifolia plus I of I bifolio (26 pages).The first pagecontains the title text: ReginaCaeli Laetare.Additionally, N=ýappears to the right of the title, F37 LI I hasbeen added in pencil below the title, followed by a pieceof paperwith 11, andthe library shelf number (Mus. 2398-E-4)is at the bottomleft of the page.The pagesare numbered and ruled with 191

13 staves.The setting is in five movements: 'Regina caeli' (pp 1-8), 'Quia quem meruisti' (pp 8-14), 'Resurrexit sicut dixit' (pp 15-17), 'Ora pro nobis' (pp 18-19) and 'Alleluia' (pp 19-26). The word Finis appearsat the bottom right of p 26

Regina caeli in G The solesource for this settingis the autographscore in the SgchsischeLandesbibliotlick - Staats-und Universitdtsbibliothek,Dresden, D-DIb Mus. 2398-E-3.The scoreis in quarto landscapeformat, 316 x 227 min, and is boundbetween marbled boards in 3 gatheringsof 2 bifolia (24 pages).The first pagecontains the title text: ReginaCaeli ii 4 Voc.con Strom. di Giov. Heinichen.Additionally, a pieceof pepr with 12 is to the left of the title, andthe library shelf number(Mus. 2398-E-3)is at the bottom left of the page.The pagesarc numberedand ruled with 10 staves.The settingis in four movements:'Regina cacl P (pp 1-9), 'Quia quernmeruisti' (pp 10-13), 'Ora pro nobis' (pp 14-16)and 'Alleluia' (pp 19- 22). A bar numbercount appearsat the endof eachmovement, and the words FinislMens.lMartyll 727 at the bottom right of p 22. 192

Editorial Methods

Titles and Order of Works

All settings are given titles as per the Liber Usualis. Works with the sametitle are differentiated by key and, in the caseof the Magnificats and Dixit Dominus settings, by number (e.g. Magnificat No. 6 in G). Individual movementsin multi-movement settings are given titles according to the text incipit, and are numberededitorially. Additional information in the titles of the original source(such as Magnijl'cgti 4 voc. con strom.) is recorded in the commentary.

Score Order and General Notational Issues

The scoreorder of the original sourcehas been preserved,except in the few caseswhere an instrumental line has clearly been a later addition inserted into any convenient empty stave. Instrument namesand abbreviationshave been modernisedand are given in English, and are in bracketswhen supplied editorially. The addition of instrument namesis somewhat haphazardin the sources;where these are present,they are noted in the critical commentary.

Source doublings of instrumental lines (e.g. soprano,violin I and oboe 1) have been preservedwhere convenient; otherwise, thesehave been expandedfor clarity. In all cases, the layout of the source s recordedin the critical commentary.

A particular notational issue is that of the oboe parts. Thesefall into three categories.The first presentsno problem, and is where the oboes are explicitly called for in the source, either in a completely written out part or by being mentioned in the voice designationsat the start of the movement. The secondcategory is where no mention is made of the oboes at the beginning of the movement, but later annotationsto the score (e.g. 'hautb. con i. violini') show that they would have been used. The third category is where there is no mention at all of the oboes at any point in the score. However, basedon the evidence of the few existing setsof parts still surviving in Dresden (in this casein particular, the parts for the abbreviatedversion of the Magnificat No. 1a in F), it is clear that even in this third case,oboes would have been expectedas part of the instrumental ensemble. 193

In the caseswhere there are no specific manuscript instructions, oboe parts are constructed editorially according to the following rules:

m Oboe I doubles violin I

m Oboe 2 doubles violin 2

0 The oboes fall silent during the vocal solos

0 The oboes fall silent when the string parts are notated in the bassclef

m Where the exact doubling of the violin parts would take the oboes out of their

range,adjustments are made editorially and shown in round brackets.

The third point (oboes fall silent during vocal solos) is not entirely straightfonvard, and requires a little further explanation. During vocal solos, Heinichen often inserts brief instrumental interjections between the vocal phrases.At times, it is clear (either from specific directions on the score, or from the existing parts) that the oboes should also play these interjections. At other times, it seemsthat they should not. Tlierefore, where oboe parts are constructed editorially, a certain degree of pragmatic judgement is required.

All the instruments of the continuo group (organ, violoncello, theorbo, double bass, bassoon)are representedon a single staff, as they appear in the source. Where some instruments of the continuo group drop in and out of the texture, this is indicated editorially in brackets.

Tempo and other written directives meant to apply to the entire score are placed above the top staff, and repeatedabove the continuo line. All final barlines are modernized to thin- thick barlines. The clefs of the source are modernized, and original clefs (where different) noted in prefatory stavesat the start of each setting.

Notes and Rests original note values are retained, with the exception that final breves are set as two ticd directions, in sernibreves.The. stem and rhythmic groupings of notes and rests the source are made to conform to modem conventions in the edition. However, the beamingofthe original is retained. The notation of grace notes and appoggiaturasis presmed; in gcneral, these are written without slurs. Shorthand methods of notation, including collaparle indications, are written out, and noted in the critical commentary. Any resultant notesout 194

of range are corrected,and placed in round brackets.Triplet numerals,all added editorially, are placed at the beam or stem side of notes

ExpressiveMarkings, Dynamics, and Fermatas

The spelling, orthography, and placement of expressiveand dynamic markings for individual parts (such as dolce, marcato, crescendo)are regularized. Fermatasare placed above staves.Any addedmarkings, dynamics, or fermatas are placed in squarebrackets; however, dynamics added as result of expanding collaparte notational shorthandare added without comment.

Ornaments,Articulations, Slurs, and Ties

Ornaments,articulations, slurs and ties are regularized with respectto placement; however, none of thesehas been added editorially. The practice of placing a dot after a barline to indicate a tied note is tacitly realized.

Transposing Instruments

The original keys of horns in the sourceare maintained but are statedin English ('in D', etc.).

Accidentals

Editorially added accidentalsto correct errors in the sourceare noted in the commentary. Added cautionary accidentalsare placed in parentheses;source cautionaries are retained. Accidentals of the sourcethat are redundantby modem standardsare retained. All other editorially added accidentalsare placed in squarebrackets. These include accidentals called for by the conventions of the sourcebut omitted from the source and those that are newly called for as a result of adopting modem conventions (as in requiring a natural sign to cancel an accidentalwithin a measure).Repeating accidentalsrequired after a bar line are added in brackets.

FigUred Bass

Figured bass symbols are placed below the bass staff. The sourceis often figured very sparsely,and figures are usually below the staff. Editorial figures and symbols are enclosed in brackets; theseare used to indicate the cessationof the tasto solo direction, and very 195

occasionally to correct gross errors. However, no attempt is made to complete the figuring. Inflectionsof intervalsare regularized to precedethe numeral,as in #16(rather than 6#).

Text Underlay

In the vocal parts, the spelling and orthography of the text underlay are regularized according to the Liber Usualis, except where the occasional idiosyncratic usageresults in text of a different number of syllables from the Liber Usualis, in which case it is retained, and noted in the commentary. Word divisions follow modem practices as set forth in the Chicago Manual ofStyle. Punctuation is added as called for by repeatedphrases. Text omitted as notational shorthand is given in italics. Other editorially added text is placed in squarebrackets. The text underlay of the source is at times fairly inexact; it is ncatcncd without comment. In no case is there any doubt as to the underlay required.

Reworkings

The sourcesometimes shows signs of reworking. This is usually the addition of instrumentallines to doublea vocal part, the addingof ornamentsor the adjustingof dynamic and tempo markings. In these cases,the added instrumental I incs are given in small sized notes, and other changes are included in the edition and noted in the I commentary. 196

Critical Notes G. Remarks Systemis divided betweenbars 77 and 78, and between 127 and 128. The layout of thesecritical notes is basedon that 2. Crudelis Herodes adoptedby the edition of the collected works of Josquin des Pres(ed. David Fallows, Utrecht, A. Layout 2 5-stave Vn. 1/S, Vn. 2/A, 2005). Whilst the type of information presentedis systemsper page: Vla. /T. B, Bc. Voice designations:Viol. i. not the sameas that of the Josquin edition (which col Soprano(senza Hautbois), Viol. 2. ContraAlto, records mainly variant sourcereadings), the idea col Violetta Tenore. of categorising and entabulating the information, col thus giving greater clarity, has been retained. B. Reworkings None. 1. Ave maris stella C. Corrections A. Layout 2 5-stave systemsper page: Vn. I /S, Vn. 2/A, Location Error Vla. fF. B, Bc. Voice designations:Senza Hautbois, Violino I col Soprano,Violin. 2. con 22 B notemissing ContraAlto, Violetta. con Tenore. B. Reworkings A Clef changes None. Location Clef C, Corrections None. 8-13Bc soprano

A Clef chanzes 14-15Bc tenor Location Clef 23Bc tenor 9-12Bc alto 342-71Bc soprano 19z--20Bc tenor 372-91Bc tenor 324 Bc soprano 442-91Bc soprano 45-9Bc soprano 492-521BC tenor 50-1Bc ttenor 63-7Bc tenor 61Bc tenor 74Bc tenor 78-80Bc alto 822-41Bc soprano 90-3Bc tenor 842-61Bc tenor 101-5Bc tenor 932-5Bc tenor 115-1171Bc alto 1052-81Bc soprano 136-9Bc soprano 1082--91Bc tenor 1504Bc soprano 1162-21Bc soprano 155-6Bc tenor 122-31Bc tenor 166Bc tenor 130-2Bc soprano E. Instructions to copyists None. 133-51Bc tenor F. Oboeparts None. 142241Bc soprano 197

G. Remarks Clef Location None. 169-174Bc soprano 4. Iste Confessor A. Layout 175-6Bc tenor 2 5-stave systemsper page: Ob. I /Ob. 2Nn. I /S, Vn. 2/A, VlajT, B, Bc. Voice designations: 184Bc tenor Viol. i. Hautb. ie2. col Soprano,Viol. 2. col ContraAlto, Violetta col Tenore. 1952-81Bc soprano A Reworkings 1982-2001Bc tenor None. C. Corrections 2052-101Bc soprano None. A Clef 2102-2131BC tenor changes Location Clef E Instructions to copyists None. 9-13Be soprano F. Oboeparts None. 14-16Bc tenor G. Remarks 28,--311 Bc soprano Systemsplit betweenbars 161and 162. 3. Decora lux 312-31Bc tenor A. Layout 46-51Bc soprano 2 5-stave systemsper page: Ob. I /Ob. 2/Vn. I /S, Vn. 2/A, Via. /T. B, Bc. Voice designations: VA. 5241BC tenor Hautb. I e.2, V. 2., Violetta. B. Rework-ings 60241Bc soprano None. C. Corrections 642-51Bc tenor None. 712-3Bc soprano D- Clef chanzes Location Clef 74-5Bc tenor

12-141Bc soprano 95-100Bc soprano

14-16113C tenor 101-3Bc tenor

232-51Bc alto 1142-171Bc soprano 92 482-9Bc tenor 117z--1 BC tenor

51Bc E histructions to Copyists 632 alto None. 98-1001BC soprano F. Oboeparls As notated. tenor 1002-21Bc G. Remarks None. 1092-11113C alto S. Jesu Redemptor omnium E. Instructions to copyists None. A. Layout 2 5-stave Ob. I Nn. I /S, Ob. systemsper page:Cý F. Oboeparts 2/Vn. 2/A, Vla. /T. B, Bc. Voice designations: As notated. Violin. i. col Soprano,Viol. 2. col ContraAlto. Violetta. col Tenore. 198

B. Reworkings None. Location Clef

C. Corrections 252-71Bc tenor None.

D. Clef changes 332-61Bc tenor Location Clef 482-9Bc tenor

72-121Bc soprano 57.-8 Bc tenor 122-131Bc tenor 68-72 Bc tenor

19z--21Bc soprano 94-6 Bc soprano 22 Bc tenor 97-8 Bc tenor 30-1 Bc soprano 103-4 Bc tenor 32 Bc tenor 1362-421Bc alto 402-31Bc soprano 151-4 Bc alto 432-41Bc tenor 169-72 Bc soprano 63-7 Bc alto 173Bc tenor 792401Bc tenor 183-4 Bc tenor

92-5 Bc soprano 198-20i Bc alto 1072--101Bc soprano 2122--141Bc tenor E. Instructions to copyists 2242-61Bc tenor None.

F. Oboeparts 264-6 Bc soprano Extracted editorially from violin parts according to usual rules. 277-81Bc soprano G. Remarks None. 2782-801Bc tenor

6. Pange lingua 2862-91Bc tenor A. Layout 3012-2Bc 2 5-stavesystems per page: Ob. I /Ob. 2/Vn. I /S, tenor Vn. 2/A, Via. /T. B, Bc. Voice designations: 31OzA 1 Bc Violin. i. hautb. 1e2. col Soprano,Violin. 2. col tenor ContraAlto, Violetta col Tenore. 321-5 Bc tenor A Reworkings None. E Instructions to copyists C. Corrections None. None. F. Oboeparts A Clef changes As notated. Location Clef G. Remarks None. 11-13 Bc soprano 7. Te Joseph celebrent 24-51Bc I soprano A. Layout 199

2 5-stave Ob. I/Ob. 2/Vn. I/S, systemsper page: Clef Vn. 2/A, Vla. /T. B, Bc. Voice designations: Location Viol. i. Haut.i. 2., Viol. 2., Violetta. 34-7Bc soprano B. Reworkings None. 372-91Bc tenor C Corrections None. 44-9 Bc soprano D- Clef Changes 492-521Bc tenor Location Clef 63-7Bc soprano 202-5Bc soprano 74Bc tenor 26-8,Bc tenor 8224iBc soprano 42-7Bc soprano 842-61Bc tenor 48-50Bc tenor 932-61Bc tenor 67-91Bc tenor 1052-81Bc soprano 76,--91 BC soprano 1082-91Bc tenor 792-801Bc tenor 11162-211Bc soprano 1082-13BC soprano 122-31Bc tenor 114-16BC tenor 130-2Bc soprano E Instructions to copyists None. 133-51Bc tenor F. Oboeparts As notated. 1422-41Bc soprano G. Remarks 169-74Bc soprano Page6 has been crossedout, becausehalfway tenor through the page, the part was entered 175-6Bc tenor incorrectly a bar too late. 8. Veni Creator Spiritus 184Bc tenor A. Layout 1952-81BC 2 5-stave systemsper page: Vn. US, Vn. 2/A, soprano /T. B, Bc. Voice designations: Viol. i. Vla. con 1982-2001Bc tenor Soprano(senza Hautbois), Viol. 2. con ContraAlto, Violetta con Tenore. 2052-1101Bc soprano B. Reworkings None. 2102-131Bc tenor C_Corrections E Instructions None. to copylsts None. D. Clef changes F. Oboeparts Location Clef None. G. Remarks 8-13 Bc soprano Continuation after bar 62 on p. 3 crossedout, and I reworked on p. 4. 14-15 Bc tenor Becauseof a tear to the paper, the continuo part at I bb. 105-6 and b. 120 is inferred from the vocal 222--3Bc tenor parts. 200

9. Haec dies Location Instruction A. Layout I 8-stavesYstern per page: Ob. I Nn, 1, Ob. 2/Vn. 2, Via., S, A, T, B, Bc. No designations. voice 8 Bn Corg B. Reworkings None. 13Bn c org C Corrections 23Bn c org Location Error 30Bn 134 c or Vn IIF missing 48Bn c org 132 I; 6, Bc missing F. Oboe I parts 228S As notated. G. Remarks 32 BI notemissing None.

A Clef changes 11. Alma Redemptoris Mater in F None. 11.1. Alma Redemptoris Mater E Instructions to copyists A. Layout None. 2 5-stave systemsper page: Fl. I /Rec.I Nn. 1, Fl. F Oboe parts 2/Rec. 2/Vn. 2, Vla-, A Solo, Bc. Voice Extracted editorially form violin parts according designations:(Flauti i bec e Flaut. travers.)/Flauti to usual rules. con/i Violini sempre/piano,ContraAlto Solo, NB SenzaBassi G. Remarks ripieno None. B. Reworkbigs None. 10. Alma Reclemptoris Mater in Eý C Correctioits A. Layout Location Error III -stave system per page: Ob. 1, Ob. 1, Vn. 1, Vn. 2, Via., S, A, T, B, Bc., Bn. Voice designations:Oboý, VV"', Viola, Sopr:, Alto:, 23A text is 'maris' Ten:, Basso:,Fagotti. 271Ob I B. Reworkings missing Oboe bassoon later. Dynamics and parts added of A Clef Rhythm last bar chatiges viola part adjusted. of altered None. from Ornaments . to .... . (string parts). addedto vocal parts. The instruction 'solo A 4tro' addedto E. Instructions to copy sts beginning of vocal lines. I Location Instruction C Corrections 16 Vn Location I Error Violini

36 TI is -. 29 Vn Violini rhythm . . ý

197Ob IIc 11 33 Vn 2 Violini2

D. Clef F. Oboeparls changes both flutes None. Since and recordersare specified, oboes are assumedabsent. E Instructions to copy Is G. Remarks Location Instruction Bars 33-35: flute/recorder 2 notated separatelyon viola stave. 11.2. Tu quae genuistl 1 Bn COrg A. Layout 201

5-stave Vn. 1, Vn. 2, Vla., A F. Oboe 2 systemsper page:tý parts Solo, Be. Voice designations: Violini. None. B. Reworkings G. Rentarks None. Directives refer to 'soprano' soloist. However, clefs and range imply an alto soloist (as in the C- Corrections previous two movements). None. 12. Ave Regina A Clef changes 12.1. Ave Regina Location Clef A. Layout I 1-8 Vn1,2, \Aa bass 2 5-stave systemsper page: Fl. I /Ob. I Nn. 1, Fl. 2/0b. 2/Vn. 2, Vla., A solo, Bc. Voice I 11-13Vn 1,2Ma bass designations: Violini, Hautb. e Flaut. Traversieri, Alto Solo. E Instructions to copyists I B. Reworkings Location Instruction None. I C. Corrections 1 Vn 1,2\Aa colbasso Location Error I 1 Vn 1,2Ma colbasso 10-11 A text is 'exorta' F. Oboeparts None. 179A dottedsemiquaver

G. Remark's 184A dottedserniquaver None. 11.3. Gabrielis ab ore 18-19 A text is 'exorta' A. Layout 22-3 A 2 5-stavesystems per page:Fl. 1,2/Rec.1,2, Vn. 1,2,Vla., A. Solo,Bc. Voice designations: A Clef cliviges Flauti/abec e Travers.,Viol. unis. None. A Reworkings F Instructions to convists None. - Location Instruction C. Corrections None. 14Vn VV. D. Clef changes Viola in bassclef throughout. 15Vn tutb notated I Clef Location 16Vn Violinie Flaufi. I bass 22-51Vn 20Vn W. e Flauti.

v Týý, f Dirprtivev 23Vn tud Location Directive F. Ohoeparts 2 Vn ColSoprano [sic. ] As notated. G. Remarks 2 Ma Col BassoSempre None.

14 Vn Col Soprano 12.2. Gaude Virgo glorlosa A. Layout 27 Vn Col Soprano 2 5-stave Ob., Vn., Via., S solo, systemsper pagge : Bc. Voice designations:Hautbois/1.2., Viol: unis, 38 Vn Col Sbprano soprano Solo.

Con I Flaut B. Reworkbigs 67 Vn None. 202

C. Corrections G. Remarks None. None. A Clef changes 13. Regina caeli in D Clef Location 13.1.Regina caeli 27-30 Vn bass A. Layout I 9-stave systemper page: Ob. I Nn. 1, Ob. 2/Vn. 2, Via., S, A solo, A, T, B, Bc. Voice E. Instructions to copy sts I designations:A. Concertato, A. ripieno. Location Instruction B. Reworkings I None. 5 Ob con i VV. C Corrections I 41 Ob li VV. con Location Error F. Oboe parts 41 BI textis 'porta-luia' As notated. G. Remarks A Clef changes Tutti and soli markings in oboe parts suggest that None. more than two players would have been used. E. Instructions to copyists 12.3. Vale On most pages,the solo alto part is marked 'A Conc.' to prevent confusion with the ripieno part. A. Layout I' system:I 6-stave system: Fl., Ob.Nn., Via, S F. Oboeparts Solo, A Solo, Be. Remainder: I 8-stavesystem Extracted editorially from violin parts according per page: Fl. 1, Fl. 2, Ob. lNn. 1, Ob.2/Vn. 2, Via., to usual rules. S Solo, A Solo, Be. Voice designations:Flauti G. Rentarks Travers., Violini Hautb./Sempre Violetta, e piano, None. Soprano,ContraAlto- 13.2. Quia quem meruisti B. Reworkings None. A. Layout I 8-stave Ob. 1/2/Vn. 1, Vn. 2, C Corrections system per page: Vla., S, A, T, B, Bc. No voice designations. Location Error B. Reworkings None. 52A C, C. Corrections A Clef changes None. Location Clef A Clef changes Location Clef 30-40Vn, Via bass 1-8 Vn2 alto 44-58Vn, "a bass 113-133BC tenor E. Instructionsto copy ts Location Instruction 282--30Bc tenor

19Vn V.V. SenzaHautb. 382-7Bc tenor

28 Vn tutti E Instructiolls to copy Sts Location Instruction 31 Vn2, Via V.i. I Vn2 V.2. 45 Vn2, Vla V.i. 4 Vla Semprecol Tenore F. Ohoeparts Extracted for to editorially violin parts according 7 Vn2 ? 11ContraAlto usual rules. 203

F. Oboeparts Location I Instruction Extracted editorially from violin parts according to usual rules. 9Vn 1 I NBhautb: 2d: unis: col hauth.i. G. Remarks None. II Sempre 1OVn colSoprano 13.5. Alleluia F. Oboeparts A. Layout Both in unison with Vn I and S, as instruction in I 9-stavc system per page: Ob. I Nn. 1, Ob. 2/Vn. score. 2, Via, S, A solo, A, T, B, Bc. Voice designations: Alto Conc., Alto G. Remarks rip. None. B. Reworkbigs None. 13.3. Resurrexit sicut dixit C. Corrections A. Layout None. 3 4-stave systemsper pa,(,,, e: Ob. 1,2Nn. 1,2, Vla, T solo. Bc. Voice desig.,nations: Tenore/Solo. A Clef changes None. B. Reworkings None. E. Instructions to copy is C. Corrections Location Instruction Location Error 62 Vn Hautb.tacet

49Via firstnote a quaver F. Oboeparts Extracted from A Clef editorially violin parts according changes to None. usual rules. G. Remarks E Instructions to copy is None. Location Instruction 14. Regina caeli in G 1 Vn Unis. 14.1. Reginacaell A. Layout F. Oboeparts II O-stave Fl. 1, Fl. 2, Vn. I /Ob. Extracted editorially from violin part according to system per page: 1, Vn. 2/0b. 2, Via., S, A, T, B, Bc. Voice usual rules. designations: Fl./Trav. G. Remarks B. Reworkhtgs None. None. 13.4. Ora pro nobis C, Corrections A. Layout Location Error I 8-stavesystem per page: Ob. I Nn. 1, Ob. 2/Vn. 2, Via, S, A, T, B, Bc. Voice designations: Basso. 11 F12 The (vocal) Basso line is notated beneaththe crotchetrest missing continuo line. A Clef ch anzes B. Reworkings None. Location Clef

C Corrections 14 Vn,Via bass Location Error 11-12Vn bass 26ob 1, vn 1,A missing 23-49Vn, Va bass None. A Clef changes 27mBc tenor None.

F- Instructions to copyists 30-1Vn, Via bass None. 204

Tempoaltered from Moderatoto Andante. Location Clef Instructionfor violin doublingof vocal line added later. 493-52Vn bass C, Corrections 49,-512Vn 2 bass Location Error

532-41Bc tenor 21TI notemissing I 573-62Vn bass 43T notemissing

F lirctriiefinorc in ronvi. £t.iv A Clef changes Location Instruction None. E Instructions to copyists 6Vn 2 HJ. Ta capo' at beginning of final ritomello, Ob. 2,3, Bn. 12Fl I Ki. Fl.i. F. Oboeparts As notated. 12A2 H.2. FI.2. G. Rentarks 15Ff Ffsoli The text phrase'sicut dixit' is missing from the setting. Flaut. 23 FI Hautb.e 14.3. Ora pro nobis Layout 25Ff 2 colFIJ. A. 2 5-stavesystems per page. First system: Fl. 1/2, Vn./Vla., S solo, S solo, Bc. designations: 28A Hauth.e A. voice Flauti Trav., Violini e Violette semprepiano, SenzaBassi ripieni. Subsequentsystems: Fl. 1, Fl. 28 Ff2 FIJ. col 2, S solo, A solo, Vn./Vla. /Bc. B. Reworkings 31Fl Flautisoli None.

40 Vn Hauth.con Viol. C Correctlotis None. 49 R Hauth.e Flauti A Clef chatiges None. 51A H.e Ff. E. histructlom to VIVIS 52Ff 2 colFl. i. Location Instruction

59FI Flaubsoli 3 Vn SempreSequita

62 Ff Hauth.e Flaub 6 FI Fl.2. /Fl. l. (i.e. parts F. Oboeparts cross) Oboe from violin and flute parts parts created F. Oboe to directives. Assume oboestacet bars parts according None. 9-11. G. RemarA's G. Remarks Violins instructed to the same None. and violas are play notes (at 8va.) as the bassocontinuo line, but in 14.2. Quia quem meruist! quaversrather than crotchets. At bars 15-16 and 24-25 the violin and viola parts are notated A. Layout separately. 2 5-stavesystems per page: Ob. 1, Ob 2/3, Bn, T soloNn., Bc. Voice designations:3 14.4. Alleluia Hautb./con/sordini, Bassoni/con/Sordini,Tenore A. Layout Solo/ con I Viol inilall'ottava alta)sempre piano. I 8-stavesystem per page: Ob. I Nn. 1, Ob. 2/Vn. B. Reworkings 2, Via., S, A, T, B, Bc. No voice designations. 205

B. Reworkings None. C Corrections None. A Clef ch an Lyes Location Clef

1-3Bc soprano

4-5Bc tenor

92-10Bc tTenor

142-165 soprano

16&-7 tenor

196-21 soprano

221-2 tenor

F- instructions to comists Location Instruction

2VnI colSoprano

2 Vn2 colContraAlto

4 Vla colTenore

92-111Vn 2 Restsfor oboe

4 Vn1 colSoprano

F. Oboeparts from Extracted editorially violin parts accordingID to usual rules. G. Remarks None.