Masses by Maurizio Cazzati Giovanni Antonio Grossi Giovanni Legrenzi

Seventeenth-Century Italian SacredMusic In Twenty-FiveVolumes

GeneralEditor ANNE SCHNOEBELEN Rice University This page intentionally left blank: VOLUME 7

Editedwith anintroduction by ANNE SCHNOEBELEN Rice University

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Library of CongressCataloging-in-Publication Data

Massesby Maurizio Cazzati,Giovanni Antonio Grossi,Giovanni Legrenzi; edited with an introductionby Anne Schnoebelen(Seventeenth-century Italian sacredmusic; v. 7) ISBN: 0-8153-2413-8

Musical scoresare "out of scope"of the Library of Congress'sCataloging-in-Publication program. Contents

GeneralIntroduction Vll Editorial Methods IX Introductionto This Volume xiii

1. Maurizio Cazzati,IIMissa brevisdetta L' Austriaca," from Messebrevi a otto voci, con una concertataa 4. e suoi ripieni abeneplacito, & una aotto da capella . .. opera vigesimaottava (Bologna:Antonio Pisarri,1662) 1

2. GiovanniAntonio Grossi,liMes sa concertata a 5 voci con 2 violini, e violone," from Celestetesoro. Composto in musicadi messeconcertate a cinque, & otto voci, con sinfonia, & senza,& motetti, Te Deum, & letanie della SantissimaVergine Maria . .. opera quinta (Milan: Giovanni Francesco& Fratelli Camagni,[1664]) 83

3. GiovanniLegrenzi, IIMessa a duechori con strumenti,"from Sacri e festivi concentimessa e salmi adue chori con stromentia beneplacito... opera nona (Venice: FrancescoMagni Gardano,1667) 185

v This page intentionally left blank: General Introduction

Sacredmusic constitutesthe largestgap in our present andCompline music are arranged according to thenum- understandingof seventeenth-centuryItalian music. berof principalvoices, chronologically within eachvol- Scholarlyinterest has focused largely on secular music- ume,beginning with worksfor oneand two voices,pro- operaand monody-whereremarkable stylistic inno- gressingto worksfor threeand four choirs.The volumes vations appearedthat would form the foundation of of motetspresent individual works from the most sig- modemmusic. With the exceptionof LaurenceK. J. nificant collectionsprinted in the first half of the cen- Feininger'spublications of Romanpolychoral music tury, arrangedaccording to composer,with specialem- (Monumentaand DocumentaLiturgiae Polychoris, 1947- phasison the motetsof AlessandroGrandi. 1975), andvarious editions of Monteverdi'ssacred music, Italian sacredmusic has yet to appearin Significant Includedin this seriesare other well-known composers: modemeditions. Nevertheless, it was in churchmusic Banchieri,Viadana, Grandi, Rigatti, Rovetta,Legrenzi, thatmany of themost important innovations in musical Cavalli, Cazzati,Bassani, and Graziani. Also represented style were widely adaptedand disseminated.Church are lesser-knownfigures, manyconsidered major com- composersthroughout Italy embracedthe featuresthat posersby their contemporaries,whose names have been define seventeenth-centurymusic: concertatostyle, obscuredby time andthe unavailability of seventeenth- recitativeand monody, basso continuo, the emphasis on centurysacred music in modempublications. solo voices,virtuoso ornamentation, and coloristic combinationsof voicesand instruments. The wide geographicaldistribution of the composers representedis often visible from title pagesor dedica- This seriespresents a large selectionof Italian sacred tions. They comenot only from major churchesand ca- musicscored from printedpart-books, works which have thedralsbut alsofrom smallparish churches, monaster- not beenpublished in modemeditions. Its twenty-five ies, convents,and oratorios, mostly but by no meansall volumesare divided asfollows: in northernand centralItaly. While operaand cantata weredirected to relativelysmall aristocratic and wealthy 1-10:Music for theOrdinary of the Mass,1600-1700, audiences,church music touched the lives of all Italians. editedby Anne Schnoebelen. It wasthrough the normal activities of worship-liturgy, 11-20: Music for Vespersand Compline (psalms, devotionalexercies, processions, public ceremonies- canticles,hymns, and antiphons), 1600-1700, edited by thatthe new styles and techniques were spread through- Jeffrey Kurtzman. out Italy. But printed music also reflects the older stile 21-25: Motets, 1600-1650,edited by JeromeRoche antico, modified to suit contemporarytaste, which held andElizabeth Roche. a significantplace in churchmusic through the century andis representedin this seriesas well. Eachseries is organizedto displayits genrebest. Mass settingsare presentedin chronologicalorder (with ad- Generallyspeaking, the motet was the first genrein justmentsfor volume lengths).The volumesof Vesper whichthe church composer experimented with thenew

vii styles. Motet texts, though often drawn from liturgical buyersas possible: for example,voices labeled "Canto 0 sources,were not fixed elementsin the liturgy. Thusthey Tenore," or instructionson how to use voices and in- offeredmore scope to thecomposer's imagination, espe- strumentsin variouscombinations. Separate instrumen- cially in the new, more intimatesolo, duet,and trio tex- tal partswere often marked"si placet."Optional vocal tures,which were particularlywell suitedto expressive and instrumentalripienos were offered that could in- words.However, modem compositional techniques also creasethe size of a work, for instance,from threeto seven appearedin Vesperpsalms and Magnificats,especially partsif local resourcesallowed, but would still bemusi- thosepublished in what were principally motet books. cally intactwith fewervoices. Even optional instrumen- The massremained the most conservativeof the three tal sinfoniasappeared, which could be omitted if instru- genres,though by the decade1610 to 1620it too beganto mentswere not available. However, optional instruments showmodem tendencies: use of instruments,few-voiced seemto havedecreased somewhat after mid-century, due textures,and solo-tutti contrasts. to the increasinglyessential role of the instrumental groupin the structureof the work. The works presentedin this seriescan only hint at the immensequantity of sacredmusic published in theyears In its wide rangeof performingresources, this seriesen- 1600to 1700.Though masses and motets were the tradi- compassesthe numerous combinations of voicesand in- tional coreof sacredmusic, it is the repertoryof Vesper strumentsthat characterize sacred music of this period. psalms,already developing by mid-sixteenthcentury, From the few-voicedmotets, psalms, and masses to the that forms the largestnumber of publications.Prints large,many-voiced ceremonial works with instruments, containingVesper psalms and Magnificatswould sur- the repertorypresented here reveals the great variety of passthe numberof publicationsfor massesand motets forms, styles, timbres, and texturesthat Italians heard by thefirst decadeof theseventeenth century. About this on Sundaysand major feasts.With thesevolumes we time it becamecommon for massand Vespers to appear can begin to understandthe important role of sacred in a single print, sometimesincluding motetsas well, musicin the developmentand dissemination of Italian intendedfor liturgical eventsto beperformed on a single Baroquemusical style. festive occasion.Masses were also published in generic collectionsof works by a singlecomposer, or in combi- A final word: wenote here with sorrowthe untimely death nationwith motets,psalms, and concerti ecclesiastici. Oc- of our esteemedcolleague Jerome Roche (1942-1994) of casionally, instrumentalcanzonas or sonataswere in- theUniversity of Durham,whose pioneering work onItal- cludedin printscontaining masses or Vespermusic, un- ian sacredmusic from thefirst half of theseventeenth cen- doubtedlyintended to be insertedinto the liturgy. In tury, andon motets in particular,is seminalto this project. additionto appearingin massand Vesper publications, His passingis aninestimable loss to seventeenth-century motetswere printed in collectionsby a singlecomposer musicscholarship. Fortunately his researchand his con- or in anthologiesof many composers'works. Single- tribution to this seriesare being carried on by Elizabeth composermotet collectionsnot infrequently include a Roche,his wife andcollaborator of manyyears. litany or massat the endof the volume.

As the wealth of vocal and instrumentalresources in- Anne Schnoebelen creased,composers and publishers strove to presentflex- ible performancepossibilities in orderto attractas many GeneralEditor

viii Editorial Methods

This seriesattempts to provide a large repertoryof sev- is possible.In suchcases I havegiven a figure in square enteenth-centuryItalian Office music in clear, modem bracketsindicating the possibility of eitherthe unfigured transcriptionsthat are both practicaland faithful to the root-positionchord or the chordinversion (in a few in- original sources.Original pitch, note values and stancesthe choice is betweenfirst andsecond inversion accidentalsare retained. Flat signsdenoting the natural- triads);the performermay make the choiceas to which izationof sharpsare notated with themodem natural sign. heor sheprefers, just asa seventeenth-centurycontinuo "Key signatures,"mensuration signs and "time signa- playerwould have. tures"are also given in their orignalform. Fermatasover internalnotes are indicated in thescore, but fermatas over Similarly, thereare internalcadential chords which, ac- final notesare a common(and meaningless) convention cording to theoristsfrom the early sixteenthcentury andare not normally replicated in thescore. Finallongas onward,should be major and would requirea figured of indeterminatelength are reconciledin all voices to sharpwhere the third is missingfrom thenotated parts. whole notes,as necessary.Original continuofigures are However,in someof thesepieces there are notated thirds retained,but since these are generally sparse and sporadic, in cadentialchords that are clearly intended to beminor figureshave been editorially addedand annotated in the andcadential chords without thirdswhose contexts sug- critical report.It shouldbe noted that the bassocontinuo gestthat they could andperhaps should remain minor. figures servetwo separate,but often overlapping,func- In theseand other ambiguouscases, I havenotated a tions. In someinstances they are prescriptive,indicating sharpor flat in squarebrackets below the continuo part. the notesto be playedabove the bass.But in othercases OccasionallyI havenotated a bracketedsharp, flat, or theyare descriptive of theupper parts or parts,apprising naturalin anupper part as well to indicatean ambigu- the continuoplayer of their movementbut not necessar- ity to be resolvedby the performer. ily dictating the continuoharmony. Thus a figured 4-3 suspensionor a 3-4-3 cadentialfiguration may well be Bassocontinuo playing did not requirechanging chord accompaniedby a single sustainedchord or dyad, the with eachchange of note in the bass.In mostcomposi- continuoplayer deliberately avoiding the dissonanceand tions, or sectionsof a compositionin a single style, a possiblyother notes as well, soas not to doublethe move- basicharmonic rhythm canbe discernedthat governs mentof anupper part. thenormal pace of chordchanges. Intervening bass notes are often merely passingdissonances, not the founda- Wherethe bass is unfiguredin compositionsor sections tion for chord changes.However, no absoluterule can of piecesfor oneor few principalvoices, the harmony is be given, and there are times when a more frequent sometimesambiguous as to whethera root positionor changeof chordmay be appropriate or wherea bassnote first inversion(or occasionallyeven a second-inversion) thatfalls within therhythmn of harmonicchange is more triadis suitable.Sometimes the composer's intention can sensiblytreated as a passingnote (or othertype of dis- be surmisedfrom parallel passageselsewhere in the sonance)rather than as thebass of a newchord. In such piece,but in numerousinstances either of two options cases,I haveleft the bassnote unfigured.

ix Editorial commentsconcerning sources, original clefs, ing from thesources. It shouldbe noted, however, that correctionsin pitch, restsand rhythm are containedin therewill beoccasions when these guidelines come into the Critical Notes.Coloration (black notationin triple direct conflict with one another. meter) is usedfor much of the century;its presenceis not indicatedin thescore but is citedin theCritical Notes. Oneshould generally "add a flat" (i.e., singthe note Ligatures,which appearinfrequently, are not indicated asfa) in the following situations: in the scorenor in the Critical Notes. 1. To maintainintervals of theperfect fourth, fifth, Thenames of voiceparts, as given in the original source, andoctave between voices (i.e., to avoidvertical tritones, appearat the beginningof eachwork. Performanceru- diminshedfifths, andoctaves that create "mi contrafa "). brics, suchas solo/tutti indications,appear in the score. 2. To keep melodic intervals of a fourth or fifth Text underlaygenerally follows the original source,ex- perfect (i.e., to avoid melodic tritones and diminished cept where there are uncertaintiesor errors: theseare fifths). silently corrected.Original orthographyand capitaliza- 3. When a melody rises a single stepbeyond the tion are normally retainedbut standardizedto follow upper rangeof a hexachordand then returns to that the majority of partbooks.Commas and periodshave hexachord,the note above the hexachordshould be a beensilently insertedat times to clarify text repetitions semitone(i.e., sungas fa). This is the so-calleduna nota and conclusionsof verses.Any substantialtextual dif- super la semperest canendumfa rule. Sometheorists im- ferencesamong the voices are retained.All editiorial ply thatthere are situations when this conventionshould additions (including passagesdesignated ii or ij) and not be used(particularly whenthe melodysoon there- minorcorrections to thetext aremade without comment. after continuesits upwardrise and doesnot involve a The interchangeableletters u andv, or i andj arediffer- real or implied melodictritone). Most of the time, how- entiatedin accordancewith modempractice. The letter ever,the principle canbe invoked. i, whichis oftengiven as j in modemsources, is retained. Oneshould generally "add a sharp": Flats and sharpsappear as in the original source,including repetitions that would not be necessaryin 4. At cadences,where a sixth movesoutward to modemnotation, except for obvious printing errors an octaveor a third movesinward to a unison(see Ex- whichare corrected and annotated in theCritical Notes. ample2). Sharpsigns applied to B, E andA, and flat signs ap- 5. To the third of a final chordof bothinternal and plied to F, C and G, are modernizedas naturals.Al- final cadences,where necessary, to createa major triad. thoughmany accidental flats, sharpsand naturals are provided in the original sources,the performerwill While no major sourcesdeal with musicaficta in the sometimeshave to recreatethe process of addingmusica Baroque,principles from thesixteenth century were still ficta, especiallyin music from the first half of the sev- often applied.When composerswished to contravene enteenthcentury. Performers knew notesby boththeir suchprinciples, they usually wrote accidentals,as is of- letternames (A to G) andthe solmizationsyllables (ut, ten the casein the presentseries. For further readings, re, mi, fa, sol, la). A pitch was determinednot merely seeLewis Lockwood, "Musica ficta, *2," The New Grove by its location on the staff, but also by its function in Dictionary ofMusic and Musicians,ed. Stanley Sadie (Lon- the hexachordsystem, shown by the solmizationsyl- don, 1980), XII, 806-08; Nicholas Routley, "A practical lable (seeExample 1). The note that we readas B, for guide to musica£icta," Early Music, 13 (1985), 59-71; example,can be sung as either B-natural (hard B) or as Karol Berger,Musica ficta: Theoriesof Accidental Inflections B-flat (soft B), dependingon whetherit is solmizedas in Vocal Polyphonyfrom Marchetto da Padova to Gioseffo mi or fa; the decisionhow to solmizeit dependson the Zarlino (Cambridge,1987); RobertToft, Aural Imagesof musicalcontext. The following is a brief accountof the Lost Traditions: Sharps and Flats in the 16th Century principles of musicaficta that guided performersin (Toronto,1992); and Sarah Meade, "Renaissance Theory," choosingthe correct solmization syllable, or, aswe think in A Performer'SGuide to RenaissanceMusic, ed.Jeffery T. of it today,in supplyingsharps and flats that aremiss- Kite-Powell (New York: SchirmerBooks, 1994), 300-6.

x Example 1

Hexachord on C

ut re mi fa sol la

Hexachord on G

ut re mi fa sol la

Hexachord on F

ut re mi fa sol la

Example2

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Theseten volumes of musicfor theOrdinary of theMass, illustrate the growing flexibility of performancepossi- written by Italian churchcomposers in the seventeenth bilities, andthe trendtoward few-voiced settings of the century,illustrate an extraordinary variety in style,form, mass.Volume 4, 1630-1643,continues themes presented and setting.Arranged chronologically (with a few ad- in earliervolumes: vocal virtuosity, flexibility in perfor- justmentsfor volume size), they include massesrang- manceoptions, few-voiced settings,and large ceremo- ing from conservativeworks in sixteenth-centurystyle nial settings.It alsodemonstrates the growing influence to works in contemporaryBaroque style for soloists, of instrumentalforms andidioms on the mass.Volume choirs,and instruments. 5,1639-1650,illustrates the effect of the rise of operaon the mass,as well as the continuing importanceof in- Throughmuch of thecentury composers cultivated both strumentalmusic. In Volume 6, spanningthe years 1652 old and new styles. Works in the older style include to 1663, the matureBaroque mass at mid-centuryis ex- parodymasses, hexachord masses, and masses based on hibited in its favored settingfor three to eight voices, oneof thechurch modes (e.g., Missa primi tOnt) for oneto two violins andcontinuo. It includesa.rare setting of a four choirs.The new style is foundin themessa concertata, sequencein a printedmass Ordinary. usuallyset for threeto five voices.Messa concertata is a term first usedto signify that certainsections are to be sungby soloists,as opposedto the messada cappella, COMMENTARY ON THIS VOLUME wherefull choir is calledfor throughoutthe mass. How- ever,it sooncame to meanclearly markedcontrasts be- Originatingin Bologna,Novara, and the Veneto respec- tweensoli andtutti, bothtextural and stylistic. tively, the massesin Volume 7 spanthe years1653 to 1667. They representthree different types of massset- All of the massesinclude organ, either as bassoseguente ting: the messabreve (short mass) set for two choirs,within the older style or as true bassocontinuo in modern outsoloists, and optional instruments for everydayuse; works. Otherinstruments that soonappeared in mass the festive messaconcertata with soloistsand the essen- settings,such as trombones,violins, and cornetti, en- tial participationof instruments;and the Venetianan- richedand enlivened the massas an art form. tiphonalsetting translated to the matureBaroque style, with two choirsand large (optional) instrumental body. Volume 1 illustratesthe variety of old andnew styles in massesfrom 1610-1619,including some virtuosic vocal techniquesnew to themass. Volume 2,1615-1620,dem- Maurizio Cazzati onstratesthe introductionof instrumentsinto the mass Missa brevis detta L'Austriaca, 1653 aswell asthe progressive style of masscomposition with- outinstruments in theearly 1620's. Volume 3, 1622-1630, presentsan entire program of music,both liturgical and Born in 1616 in Luzzara (or Lucera), Cazzatiwas or- extra-liturgical,for the massOrdinary, vocal"concerti" daineda priestand served as maestro di cappella andor- and instrumentalcanzonas. Other masses in Volume 3 ganist at the churchof Sant'Andrea in Mantua,at the

xiii courtof ScipioneGonzaga, prince of Bozzolo,and at the presentwork, "L'Austriaca" (no. 3) is not known,but is Accademiadella Morte in Ferrara.In 1653 he went to probablya personof Austriandescent. thechurch of SantaMaria Maggiorein Bergamoas maestro di cappella,from wherehe publishedhis Op. 14 (see Cazzati'schoice of the term "missabrevis" is at first Volume 6), remainingthere until 1657. After a few glancebelied by his rather lengthy first movementof monthsin theAccademia dellaMorte in Ferrara,he ap- 125 measures,complete with instrumentalritomelli be- plied for thepost at San Petronioin Bolognain 1658.As fore eachof its threesections. However, for thosewho the result of an impressiveperformance of one of his want a true "shortmass" he offers anoption in a rubric massesin the Bolognesechurch of SanSalvatore, he was at the end of the movement:"Volendo cantareun solo electedto this prestigiousposition at San Petronio, where Kyrie si dice l'ultimo" (Thosewishing to sing only one his careerwas frequentlymarked by controversyuntil Kyrie shouldperform the last one), omitting Kyrie I and his dismissalin 1671. Returningto Mantua,he served Christe. Gloria is unusuallybrief, only 48 measures; theDuchess Anna IsabellaGonzaga as maestro di cappella Credo is twice as long becauseof its longer text (102 di camerauntil his deathin 1678. measures),and an extended" Amen." Sanctusomits the Benedictus/Osannasections;Agnus Dei omits the third Cazzatiis known for his contributionsto instrumental invocation,"dona nobis pacem." music,especially the ensemble sonata and the unique rep- ertory for trumpetand strings. In sacredmusic he com- Cazzaticalls for a largeinstrumental group: two choirs, posedVesper psalms, antiphons, hymns, and responses, eachconsisting of violin, [alto] viola, tenorviola, trom- masses,monodic lamentations, and motets for 1-8voices. bone,and organ. Undoubtedly he had in mind his well- He alsowrote secular vocal music: arias, cantatas, madri- establishedinstrumental ensemble and the two magnifi- galsand canzonette. His dramaticworks, operas and ora- centorgans in thebasilica of SanPetronio. However, this torios, are lost. Eleven of his 66 publicationscontain groupis usedindependently only in the threeritomelli masses,including a settingof theRequiem mass (Op. 31.) of the Kyrie movement;otherwise it servesonly to doublethe voices of eachchorus. Thus, the optional role While the massby Cazzatiin Volume 6 (1653) comes of instrumentsis preserved:ritomelli andinstrumental from a publicationof a singlefestive massand psalms, doublingcould be omitted for a da cappellaperformance thepresent work is takenfrom a collectionof four masses if desired.(In the first organpart, P. andS. indicatethe in various settings,Messe brevi a otto voci, con una entrancesof primo andsecondo coro.) concertataa 4, e suoi ripieni abeneplacito, & una aotto da capella . .. opera vigesimaottava (Bologna:Antonio Pisarri, A statelyritomello in threeshort phrases announces the 1662).The first work is a messaconceriata written for four central tonality, D major. The first choir enterswith a concertedvoices with a secondoptional choir. Its Gloria brisk settingof theK yrie text, its dottedrhythms match- maybe omitted("si puC> tralasciare"),a rubric probably ing the rhythm of the words,followed immediatelyby indicatinguse on ferial daysor during Lent, whenthat the echo of the secondchoir. Similar passagesin A, E, movementis traditionallynot sung. The second and third and D extendthe short sectionuntil its full closure.A massesare messebrevi for eight voices,without soloists, muchlivelier ritomello follows, anchoredby fast-mov- and optional instruments:two violins (no. 2), or eight ing basslines playedby trombonesand organs. Christe instruments(no. 3.) The collectioncloses with a fourth is set in contrastingtriple meter, with characteristic eight-voicemass da cappella, without vocal soloists or hemiolapatterns in alternatingchoral exchanges,end- instrumentsother than organ.In the fourth mass,in a ing in A major. Continuingin triple meter,the ensuing somewhatunusual procedure for mid-seventeenthcen- ritomello begins and endsin A, with 0 as contrasting tury masses,Cazzati harmonizes a psalmtone, marking key. Thelast K yrie openswith thetraditional stately, full the chantvoice Canto Fermo, at the "Et in SpiritumSanc- statementof thetext oftenused for Kyrie I, with its slow, tum" of theCredo. When Op. 28 wasreprinted in 1685/ dactylic rhythm evoking the words. (It is at this point 6 afterCazzati's death, the fourth masswas omitted and that performerswanting a true "missabrevis" would the first masswas printed without its Sanctusor Agnus begin.) A vigorous imitative passagefollows, by now Dei. All massesbut the first are givennames of persons also a traditional gesture,marked allegro in someparts in the mannerof instrumentalcanzonas. No.4, for in- andpresto in others.Its secondmotive, a descendingse- stance,is called "La Fachenetta",named after the dedi- ries of half notes,serves as counter-motive while thesec- cateeof this collection, the MarcheseInnocentio ondchorus continues the imitation. Thetexture becomes Fachenettiwho, amongother honors, was president of evermore denseuntil the final measures,which evoke the governingboard of SanPetronio. The honoree of the the homophonicopening of K yrie II.

xiv After the relative splendorof the Kyrie, Gloria consists for eight voices, the presentmessa concertata for five almostentirely of homorhythmicdeclamatory settings voices, two violins and violone, and a messabreve for of the text, setfor all eight voicesor in briefly alternat- eight voiceswithout soloistsor instrumentsother than ing choirs.Only in thefinal sectionis therea fugatopas- bassocontinuo. The latter is written in a moreconserva- sage,based on a declamatorymotive at "Cum Sancto tive stylethan the two messeconcertate, including a canon Spiritu" anda moreflorid counter-motiveon IIAmen." written in scorefor the "Crucifixus" of the Credo. Bothmotives are often stated Simultaneously, giving this brief movementan impressiveclose. Credo, much like Grossi,a prolific composerof sacredmusic, was skilled thepreceding movement, is setin brisk declamation,the in all the contemporarytechniques and styles, both mo- text efficiently dividedbetween choirs with anoccasional nodic andpolyphOnic. His Latin dialoguesshow great 16th-note figure to enliven certain words (e.g. versatilityin expressingthe text with striking harmonic "descendit").At "Et in Spiritum" the metershifts to 3/ effects.1 He usesa rich harmonicpalette in his polyphonic

2, and remainsthere until the final chord on IIAmen." works as well, enlargingthe ambit aroundthe central Sanctusreturns to the more varied style of the K yrie key beyondmany of his contemporaries(e.g., Cazzati) movement,its vocal lines somewhatmore fluid andits Of his ten publishedcollections, three containmasses; chordaltexture relieved by brief imitative openingsof an additionalprint of six masseswithout year or pub- severalphrases. Agnus Dei, in 3/2 meter, divides its lisherexists in theMilan cathedralarchive, as well as31 materialbetween the two choirs until its duple-meter massesin manuscriptand several individual mass move- full closeon the final"misererenobis." ments.2

With its quick renderingof the longertexts, restrained The presentmass for five voices(C1, C2, A, T, B) anda vocal style, and conservativeharmonic scheme, three-partinstrumental group (Violino I, Violino 2, Cazzati'smessa breve is clearlyintended as a functional Violone or Trombone)is a fine exampleof his rich and work for the ordinarySunday liturgy, but offering the variedsacred music. Centered in b minor (with thecus- option of a more festive performanceby adding the tomaryfinal chordsin B major),its harmoniesreach out instrumentalbody. to relatedkeys by sequencesin patternedvocal passages. Formulaiccadential patterns of themature Baroque style confirm the key areasat the close of phrasesand sec- GiovanniAntonio Grossi tions. Here the instrumentalgroup is not optionalbut essentialto structure,texture, and harmonicenhance- Messa[secondal Concertata a cinque con ment. Vocal lines are often long and flowing or set in duoi vi[ollini, e violone, 1664 vigorousdeclamation of the text. The Bassoprincipale is a truebasso continuo, providing strong, steady harmonic GiovanniAntonio Grossiwas born in 1615,probably in supportat a fast pace of harmonicchange, mostly in Lodi. He wasordained a priestand served in Cremaand quarternote values. (The readerwill notean unusually Piacenzaas maestrodi cappella beforemoving in 1648 to largenumber of sharpsin the score,even on successive a similar postat the cathedralin Novara,where he re- noteson the same pitch. I haveleft themas they appeared maineduntil 1666. After three years at the church of in the original print, andhave added some to reconcile Sant' Antonioin Milan, hewas elected maestro di cappella the partsas they appearin the score.All additionsare at the Milan cathedral,serving there from 1669until his notedin the Editorial Notes.) deathin 1684. Kyrie I beginswith its lively basic themein the Alto, In 1664, while he was at Novara,Grossi published his supportedonly by continuo, in a tightly constructed Op.5,Celeste Tesoro. Compos to in musicadi messeconcertate passageof eightmeasures with themotivic arrangement acinque, & otto voci, con sinjonia, & senza,& motetti, Te aabcbcc.This samepassage is takenup by theinstrumen- Deum, & letanie della SantissimaVergine Maria (Milan: tal group, leading to a duet on thesemotives for two GiovanniFrancesco & fratelli Camagni).Though the title sopranos,and a similar duetfor Tenorand Basso. Vari- pagecontains no date,the dedicationto the Bishop of ouscombinations of voicescontinue these motives, then Novara,D. Giulio Maria Odescalchi,is dated25 Octo- instrumentsare addedin a full-textured close.Christe, ber 1664. Two of the motetsand the Te Deum are indi- indicatedto be sungby four soloists,consists of a long vidually dedicatedto canonsand the arch-priestof the chain of decoratedsuspensions for different combina- cathedral.In this large collection of sacredmusic for tions of voices, all basedon the samedescending mo- manypurposes, there are three masses:a messaconcertata tive. Kyrie II, markeda otto, openswith theby now tra-

xv ditional full chordsin slow dottedrhythm, followed by After a settingof "misererenobis" thatis similar in style similar dottedpatterns in shorternote values. In theshort andstructure to Kyrie I motives,the "Qui toUis" mate- instrumentalpassage that follows, thematicmaterials of rial appearsagain in varied combinations,with an ex- Kyrie I return,giving the entiremovement anABA' form. tended,more florid ending."Suscipe" shifts to 6/4meter, Voices in different combinationsfrom K yrie I continue setin dottedrhythms to matchthe rhythm of thewords. thesematerials, with instrumentalinterjections between At m. 171 violins enter with rising dotted half notes phrases.In a fine contrapuntalgesture that unifies the abovethe livelier dotted rhythms in the voices below. movement,Grossi then adds the chainsof suspensions As they reachtheir pitch climax, the dottedhalf notes from Christeto themix, providingsimultaneous counter- shift down to Tenor and Basso(and Bassoprincipale), motives to the imitative texture. At the denseclimax, anchoringthe continuingactivity above."Qui sedes... enhancedby thehigher notes of the violins, theopening Patris"is given a newmotive, introducedby a shortin- passageof K yrie II returns,somewhat varied, to close strumentalpassage, then set in thelower three voicesin this carefully constructedmovement. homophonictexture. The final phraseof this section, "misererenobis," recallsa motive similar to its first ap- The festive settingof "Gloria in excelsisDeo," set in a pearance,but more short-winded. "Quoniam" interjects sonorousD major fanfare for two sopranos,is echoed the words "0 JesuChriste" frequently betweenits immediatelyby the instruments,repeated at the domi- phrasesof text. Duetsand trios on a lively settingof this nant A major level by alto and tenor, then qUickly ex- text, with instrumentalpunctuations, lead to a full panded to all voices. "Et in terra" is given a homorhythmicclose for all eightparts. The final section, homorhythmicchordal declamation, with dramaticef- "CumSancto Spiritu," is setin a splendidfugato. Its first feet addedby specific dynamicmarkings echoing ever statelysubject is sungby theAltos, its second,more brisk, moresoftly, rangingfrom forte to piu piano. Yet another follows immediatelyon "in gloria Dei Patris"by Canto statementof the "Gloria" fanfarefollows, this time in E 1. After an instrumentalpassage based on the two suc- major,beginning with Violino 1 andimitated at one-beat cessivemotives, the fugato unfolds, the secondmotive intervalsdown through the remainderof the ensemble. servingas counter-motiveto the first. A florid" Amen" "Et in terra" is repeatedin E major, with its dyna- motive in sequentialpatterns is occasionallyinjected as mic echoeffects, moving gradually back to thecentral b well. This latter motive takes precedencein the final minor. measures,where it is spunout in compactimitation by instruments,then extendedin a duet for Canto 2 and With a somewhatarchaic use of 3/1 meterfor sucha Alto undera contrastingdescent in long notes.Other modemcomposition, the next sectionof text unfolds voices continuethe working out of the two motivesin with some unusualvariations of the text. Insteadof fugato style. A majesticplagal cadenceconcludes this "Laudamus te, benedicimus te, adoramus te, fine movement. glorificamuste," Grossireverses the word orderof each invocation and interjectsthe nameof Jesus,Christ, or Exactly the same lengthas the Gloria movement,Credo Lord after eachphrase (e.g., "Te laudamus,0 Jesu").The exhibits the samerichness and variety. Instrumentsof- sectionis formedby variousduets and trios, bothvocal teninitiate well constructedthemes which arethen sung andinstrumental, in bel canto style. "Gratiasagimus ... at different harmoniclevels by the voices(e.g., mm. 18- Filius Patris"is treatedin a similar manner,with the in- 23 preceding"et ex Patre... "). Continuinghis relatively terjectionof theword" 0" beforenames of thedeity (e.g., free mannerof treatingthe liturgical text, Grossiinter- "0 Domine,0 Deus,0 caelestisrex") andchanges in the jects a long descendingmotive in dotted rhythms on traditional word order. After a stately dotted-rhythm "descendit"between the phrases"qui propter nos settingof "Gratias... tibi," thetext continueswith a fast, homines"and "et propernostram salutemi" he then com- compactmotive introduced by thestrings and alternated bines the three separatemotives into an impressive with thevoices. This sectionis usedas a refrainbetween fugato. "Et incarnatus"is given the traditional solemn the three invocationsto the deity, which are given to full declamation,beginning in the centralb minor and variouscombinations of solovoices, both with andwith- moving in colorful harmonicprogressions to D, f sharp outinstrumental accompaniment. A final extendedpas- minor, andA. A secondstatement begins in c sharpmi- sageof the "Gratias"material closes this section. nor, movesto E, G, F sharp,f sharp,A and back to b minor. Prolongeddescending sequential passages characterize the "Qui toUis peccatamundi" text, setin imitative duet "Crucifixus," traditionally the mostaffect-laden text in texturefor Alto andTenor, then repeated by instruments. the mass,is givento four soloists(omitting Canto1) and

xvi Bassoprincipale. The initial statementby Canto2 harks Santountil 1665. During the next severalyears he ap- back to an earlier monodicstyle with its long note on plied unsuccessfullyfor severalposts at churchesin thefirst syllableand a quick"cascata" or fall in sixteenths Modena,Bergamo, Vienna, Paris, Milan (the position on the second.Its continuationon "sub Pontio Pilato" won by G.A. Grossi),Parma, and Bologna (as successor recalls the initial motive of Kyrie I, extendedhere by a to Cazzati,a positiongiven to GiovanniPaolo Colonna.) florid, sequentiallydescending motive on "passus" bor- He was probablysettled in Venice by 1671, where he rowed from "Christe eleison," and a final rapidly de- eventuallywon the importantpost of maestrodi cappella scendingoctave on "et (sepultusest)." Combinationsof at the basilicaof SanMarco in 1685, a positionhe held thesemotives in variedimitative texturesprovide a well until his deathin 1690. crafted centerpieceto the Credo movement."Et resurrexit"and "et ascendit"are set in suitablylively 6 / Legrenzi was famed for his instrumentalsonatas, im- 4, their motivesexposed by Canto1 andechoed by the portantforward-looking works in late Baroquestyle that remainingvoices and instruments. "Et iterum" is a lively stronglyinfluenced successive composers such as Torelli, fugato with patternedsixteenth-note passages on the Vivaldi, and Bach. He also wrote solo cantatasduring word"gloria." An Alto/Tenorduet in 3/1 meterinitiates his early yearsin Venice; 19 operas,of which 7 arelost, "Et in SpiritumSanctum," answered at "Qui cumPatre" for stagesin Ferrara,Venice, Mantua, and Pratolino; and by a trio of the remainingvoices, eventually expanding 7 oratorios,of which only 3 havesurvived. His sacred to theallegro. full ensemble. Once againthe instrumentsstate music appearedin tenpublications; two of these,Op. 1 the motive for the following "Et unam sanctam and Op. 9 contain masses.Two other massesexist in catholicamecclesiam," which is given unusuallyflorid manuscripts,one of them a five-voice work from 1689 motives not inspired by the dogmatic text. in stile antico, but adaptedto the harmoniesof the late "Mortuorum",however, receives a solemnpiano setting Baroque,as well as a third Kyrie/Gloria/Credosetting in slow chords,first by instruments,then C1/C2/ A and for onevoice andinstruments. A/T /B, eachat a lowerpitch level. Themovement closes with a vigorousfugato on "Et vitam venturi ...Amen," The 1667collection from whichthe present masscomes, markedallegro. Sacri efestivi concentimessa e salmi a due chari con stromenti abenepladto ... opera nona (Venice: FrancescoMagni/ Sanctusand Agnus Dei are given very brief settings:20 Gardano),was written during the years in which and15 measuresrespectively. Sanctus opens with a short Legrenzi'swhereabouts are uncertain. The work is dedi- trio andduet, leading to a homophonicpassage in 3/2 catedto the Duke of Bavaria and PalatineElector, meteron "Pleni ... osannain excelsis."The Benedictus/ FerdinandoMaria, perhapsin the hopeof obtaininga Osannatext is not set.Agnus Dei offers only the invoca- positionat his court. The massis printedat the headof tion "Agnus Dei misererenobis" in 6/4 meter, begin- this large collection of festive vesperpsalms and ning imitatively and quickly changingto full chordal Magnificat,which also includes music for theBurial Ser- texture. vice andOffice of the Dead.3 After the table of contents, Legrenzigives special instructions for performance,in- In this impressivesetting of the mass,Grossi reveals his dicating his intention to write for two choirs that can considerableskill in adaptingmodem techniques to sa- sing eitheras oneor separately.The five-part ad libitum credmusic. Dramatic use of dynamics,colorful additions instrumentalbody, if used,either makes up thefull com- to the liturgical text, and rich harmoniesenhance the ponentof thirteenreal partsor simply doublesthe cho- expressionof the words.A modemsense of large-scale ruses.The work canbe performedsatisfactorily with- structureand form is achievedby his useof the instru- outany instruments at all, even"senza organo." He also mentalbody andby motivic reminiscencesof previous offers the possibility of performanceby only onevoice sectionsand movements. perchorus [part], butsays it is alwaysbetter to augment ratherthan reduce the parts.·

GiovanniLegrenzi Centeredin d minor, the threemovements of the mass Messaa due chori con strumenti,1667 (without Sanctusor Agnus Dei, in the Venetiantradi- tion) explorenearby keys in sequentialpatterns that of- Born in 1626 in Clusone,a small town in the Veneto, ten descendstepwise. Much of the massis setin Vene- Legrenziserved as organist at SantaMaria Maggiorein tian antiphonalchoral style, with the two choirs echo- Bergamobeginning in 1645. Moving to Ferrarain 1655, ing in homorhythmicstyle andcoming together at ends hewas maestro di cappella at theAccademia dello Spirito of phrases.There are no passagesfor solo voices indi-

xvii catedin the parts.Instruments often provideharmonic theBibliotheque Nationale, Paris. All areused with kind punctuationsor serveto enhancethe vocal harmonies permission. at a higherregister.

K yrie I beginsin briskhomophony in Choir 1, answered at one-measureecho by Choir 2. Brief exchangesand EDITORIAL COMMENTS confluencesof thechoirs form thestructure of this move- AND CORRECTIONS ment,enhanced by theinstrumental group. Christe shifts to 3/1 meter, maintainingthe sameantiphonal style. Original clefs areas follows: Canto,C1; Alto, C3; Tenore, K yrie II openswith a full chordalsyncopated statement C4; Basso,F4.lnstrumental clefs arenoted below where of "Kyrie" in duple meter,followed immediatelyby a theyappear. In voice partswhich have been transcribed presto sectionbased on two simultaneousmotives, one an octavehigher tenor), pirchesare describedac- descending(in C2/B2) andthe otherascending (inA2/ (e.g. T2). Both motivesfeature dotted rhythms that weavea cording to their original position on the staff without regardto transposition.Editorial emendationsmade to vigorousrhythmic fabric asthey are exchanged between the figured bassto reflect harmoniesindicated in the choirsat differenttonal levels, then brought to a full close partsare included in the list of correctederrors. Names in Dmajor. for the deity havebeen capitalized; otherwise the origi- Beginning with a lively settingof the "Gloria excelsis nal orthographyis preserved. Deo" text, the next movementcontinues in the same antiphonalstyle, shifting occasionallyfrom duple to triple meter.The text is efficiently presentedwith very Maurizio Cazzati, little word repetitionto extendit. In the "Qui tollis," the "Missa brevis detta L'Austriaca," 1662 brief motive on "miserere"returns in the "Qui sedes... misererenobis" sectionas a natural unifying element Instrumentalclefs: Violino 1, Violino 2: G2; Viola I, Viola takenfrom the text. Thehomorhythmic texture is main- II: C3; TenorViola I, TenorViola II: C4; TromboneI, Trom- taineduntil the "Amen", whereit is relievedby hints of bone II, Organo I, Organo II: F4. Allegro is spelled motivic imitation within eachchoir. "Alegro." Ampersandused for "Et."

The entireCredo, except for "Et incarnatus... et homo factusest", is setin triple meterwith frequenthemiola Kyrie patternsin the prevailing antiphonal,homorhythmic m. 1, Organo1, Organo2: sharpunder d added. style. As in the Gloria, the text is treatedwithout word m. 3, Organo1, Organo2: sharpunder d added. repetition(except between the antiphonalexchanges of m. 5, Organo2: sharpunder A added. the choirs.) Stringsprovide points of punctuation.The m. 6, Organo2: sharpunder a added. "Amen" is given a more extendedtreatment, with m. 8, Organo1, Organo2: sharpsunder d ande added. slightly moreflorid activity in someparts. m. 9, Organo2: sharpunder A added. m. 10, Organo2: sharpunder d, sharpbefore c added. Becauseof the vertical chordalstyle, generallycast in m. 13, Organo1, Organo2: sharpbefore 3 added. incisive, eventerse phrases, melodic interestis mini- m. 15, Organo1, Organo2: sharpunder d added. mal in this mass.Rather, its interestlies in the impres- m. 16, Organo1: sharpunder d added. sive sonoritiesof the alternatingchoirs and their con- m. 17, Organo1, Organo2: sharpsunder d anda added. junction, aided by the optional instrumentalbody. m. 18, Organo1, Organo2: all sharpsunder notes added. Legrenzi'smass demonstrates the continuingviability m. 19, Alto 1: two semifusaeslurred in source. of the traditionalVenetian antiphonal style in the late m. 21, Organo1: sharpsunder A, d added;Organo 2: seventeenthcentury. sharpunder d added. mm. 22-23,Organo 1: all sharpsunder notes added. m. 23, Organo2: sharpsunder d, b, added. SOURCESFOR TIllS VOLUME m. 24, Organo1, Organo2: sharpunder A added. m. 25, Canto1, Alto 1: last four fusaeslurred in pairsin Massesby Cazzatiand Legrenzi are transcribedfrom source. printsin theCivico MuseoBibliografico Musicale,Bolo- mm. 25-32,Organo I, Organo2: all sharpsunder notes gna. The massby Grossiis transcribedfrom a print in added.

xviii nun.26-27, Basso 2: lastnote of m. 26 andfirst two notes nun. 89-90,Organo 1, Organo2: all figures added. of m. 27 slurredin source. m. 93, Organo1: 7, sharp6 added;Organo 2: sharpbe- m. 27, Organo1: sharpbefore a in sourceis anerror, re- fore 6 added. fers to third of chord;Organo 2: sharpsbefore both a's nun. 94-99,Organo 1: all figures added. areerrors; refer to third of chord. nun. 94-104,Organo 2: all figures added. m. 33, Violino 1: sharpbefore g2 in sourceis probablyan m. 101, Organo1: 4, sharp3 added. error; Organo1, Organo2: sharpunder d added. nun. 103-104,Organo 1: all figures added. m. 34, Organo2: naturalunder e added. m. 105, Organo1, Organo2: sharpunder d added. m. 36, Organo1, Organo2: all figures added. m. 107, Organo1, Organo2: sharpunder d added. nun. 37-41,Organo 1, Organo2: all sharpsunder notes m. 108, Organo1, Organo2: sharpunder 6 added. added. m. 109, Organo1: alto c1efbefored1 in source. m. 42, Organo2: sharpunder second A added. nun. 109-112,Organo 1: all sharpsunder notes added. m. 43, Organo1, Organo2: sharpunder d added. m. 111, Organo2: figure 6 undera added. m. 44, Organo1, Organo2: sharpunder A added. m. 112, Organo2: sharpbefore a, sharpbefore 6 undere m. 45, Organo1: sharpunder d added. added. m. 47, Organo1, Organo2: sharpunder A added. nun.114-116, Organo 1, Organo2: all sharpsunder notes m. 48, Organo1, Organo2: sharpunder e added. added. m. 48, Organo1: sharpunder e added. m. 117,Organo 1: sharpunder d added;Organo 2: sharp m. 50, Organo1: sharpbefore 6 added. underd, naturalbefore 6 added. nun. 50-53,Organo 1: all sharpsunder notes added. nun.118--119, Organo 1, Organo2: all sharpsunder notes m. 54, Organo1: sharpunder e added. added. m. 55, Organo2: sharpunder A added. m. 120, Organo1: all sharpsadded; Organo 2: sharps m. 56, Organo1: sharpunder e added. underboth A's added. m. 57, Organo1: sharpunder a added. m. 121, Organo2: sharpunder d added. mm. 57-58, Alto 2, Tenore2, Basso2: first two notes nun. 121-125,Organo 1: all figures added. slurredin source. nun. 122-123,Tenore 2: semibreveon secondbeat of m. m. 58, Organo1: sharpunder e added. 122 slurredto next minimf sharpin source. m. 59, Organo1: sharpunder A added. nun. 123-125,Organo 1, Organo2: all figures added. mm. 60-61, Canto 1, Alto 1, Tenore 1: two black semibrevesslurred in source. Coloration(black notesin triple meter) nun. 60--65, Organo1: all sharpsunder notes added. m. 46, black minim, semibreve:Canto 2, Alto 2, Tenore m. 62, Organo2: sharpunder A added. 2, Basso2. m. 63, Organo2: sharpunder A added. nun. 47-48, first two notesare black semibreves:Canto nun. 63-64,Organo 1: all sharpsunder notes added. 2, Alto 2, Tenore2. m. 64, Organo2: sharpunder d added. m. 48, black minim, semibreve:Organo 1, Organo2. nun. 66-67,Organo 2: sharpsunder a, d added. m. 51, black minim, semibreve:Canto 1, Tenore1. m. 67,Organo1: sharpunder d added. nun. 52-53, first two notes are two black semibreves: nun. 69-72,Organo 1: all sharpsunder notes added. Canto1, Tenore1. m. 70, Basso2: semiminimsslurred in pairs in source; m. 53, black minim, semibreve:Alto 1, Organo1. Organo1: first notecorrected from e to d in 17th-cen- nun. 57-58: first two notesare black semibreves:Canto tury handin source. 2, Alto 2, Tenore2, Basso2; three black semibreves: nun. 70--71, Organo2: all sharpsunder notes added. Organo1, Organo2. m. 71, Basso1: semiminimsslurred in pairsin source. nun. 60--61, first two notes are two black semibreves: m. 74, Organo2: sharpunder A added. Canto1, Alto 1, Tenore1, Basso1, Organo1. nun. 74-78,Organo 1: all sharpsunder notes added. nun.65-66, third noteof m. 65 is blacksemibreve: Canto m. 76, Organo2: sharpunder e added. 2, Alto 2, Tenore2; threeblack semibreves:Organo 1, m. SO, Organo2: figure 4, sharp3 added. Organo2. nun. 80--81, Organo1: sharpsunder notes added. nun.68--69, black semibreve on third noteof m. 68: Canto m. 81, Organo2: sharpunder A added. 1, Alto 1, Tenore1, Basso1, Organo1. nun. 82-86,Organo 2, Organo2: all figures added. m. 85, black minim, semibreve:all parts. m. 85, TenoreViola: sharpbefore c1 notin source;Violino m. 95, black minim, semibreve:all parts. 2: sharpbefore c2 not in source. m. 97, black minim, semibreve:all parts. m. 87, Organo2: sharpunder d added. m. 101, black minim, semibreve:all parts. m. 103, blackminim, semibreve:all parts.

xix Gloria Credo m. 2,Organo1: sharpunder A added. Baptismaspelled ''babtisma'' in all parts. m. 3, Canto1: first two notesslurred in source;Organo m. 1, Organo1: sharpbefore d added. 1, Organo2: sharpbefore 3, sharpunder d added. m. 6, Organo2: figure 6 added. m. 4, Organo1: sharpunder first d, a added;Organo 2: m. 7, Organo1: sharpunder d added. sharpsunder both d's added. m. 8, Tenore1: two semifusaeb, c sharpslurred in source; m. 5, Organo 1, Organo 2: all sharpsunder notes Organo1: sharpunder a added. added. m. 9, Tenore1, Basso1: fusaeslurred in pairsin source; m. 6, Organo1: sharpsunder a, d added. Organo1: sharpbefore f added;Organo 1: all figures m. 7, Organo1: sharpbefore 3, sharpsunder A, d added; added. Organo2: all figures added. m. 10, Organo1: all sharpsadded; Organo 2: sharpsun- m. 9, Organo1, Organo2: figure 6 added. derd, e added. m. 10, Canto2, Alto 2, Tenore2: first two fusaeslurred m. 11, Organo1: sharpsunder A, e added. in source;Organo 1: sharpunder d added;Organo 2: m. 15, Organo1: sharpunder A added. figures6, 5 in sourceare in error,sharp before 6 added; m. 16, Basso1: two semifusaeslurred in source;Organo sharpunder d added. 1: sharpsunder a, d added;Organo 2: sharpunder d m. 12, Organo1: sharpbefore 3 added. added. m. 13, Organo1, Organo2: figure 6 added. m. 17, Organo1: sharpunder b added. m. 15, Organo1: sharpunder a, 6 underc sharpadded; m. 19, Tenore2: sharpbefore g not in source. Organo2: sharpunder a added. m. 21, Organo2: 4, sharp3 added. m. 17, Basso2: two minimsslurred in source;Organo 1, m. 22, Organo1, Organo2: sharpunder A added. Organo2: sharpbefore 3 added. m.23,Organo 1: sharpunder d added. m. 18, Organo1, Organo2: sharpunder d added. m. 25, Organo1: sharpunder a added. m. 21, Organo1: sharpbefore d, sharpbefore 3 added. mm. 27-33,Organo 1: all sharpsunder notes added. m. 23, Organo2: figure 6 added. m. 30, Organo2: sharpunder e added. m. 24, Organo1, Organo2: sharpunder d added. m. 31, Basso1: two semifusaeslurred in source. m. 25, Organo1, Organo2: sharpbefore 3 added. m. 32, Basso2: semifusaeslurred in pairs in source; m. 28, Organo1: sharpbefore 3 added. Organo2: sharpsunder A, d added. m. 29, Organo2: 6, sharp3 underA sharpadded. m. 34, Organo1, Organo2: figure 6 added. m. 30, Organo1, Organo2: all sharpsadded. m. 35, Organo1: sharpsunder e, A, e added. m. 32, Organo1: sharpbefore 6 added. mm. 36-37,Organo 1: all sharpsadded. m. 33, Canto1: minim restmissing in source;Organo 1, m. 39, Organo1, Organo2: sharpunder d added. Organo2: sharpunder d added. m. 41, Organo1, Organo2: sharpunder A added. mm. 32-33,Tenore 1: lastnote of m. 32 slurredto notein m. 44, Organo1: figure 5 underG sharpin sourceis an m. 33 in source. error. m. 35,Organo1, Organo2: sharpunder d added. m. 45, Organo2: figure 6 added. m. 37, Organo1, Organo2: sharpunder A added. mm. 46-47,Organo 2: all figures added. m. 38, Organo1: figure 6 added. m. 47, Organo1: sharpunder E added. m. 39, Organo1, Organo2: sharpunder d added. m. 52, Organo1: sharpunder e added. m. 41, Organo1: sharpunder a added;Organo 2: figure m. 55, Organo1: sharpunder d added;Organo 2: figure 6 added. 6, sharpunder d added. m. 42, Organo1: sharpbefore 6, sharpunder A added; m. 56, Organo1: sharpunder e added. Organo2: sharpbefore 6 added. m. 57, Organo1: figure 6 added. m. 43, Organo1: sharp6 added;Organo 2: sharpbefore mm. 58-59,Organo 1: all figures added. 6 added. m. 61, Organo1, Organo2: sharpunder d added. m. 44, Organo1, Organo2: sharpunder A added. mm. 65-71,Organo 1, Organo2: all figures added. m. 45, Organo1: sharpunder d added;Organo 2: figure m. 72, Organo1: sharpunder d added. 6, sharpunder d added. mm. 73-74,Organo 1: sharpsbefore 7, underA, d added. m. 46, Organo2: sharpunder A added. m. 74, Organo1: sharpbefore d added. m. 47, Organo1: sharpbefore 3 added;Organo 2: sharp m. 76, Tenore2: first two notesslurred in source;Organo underd, sharpbefore 3 added. 2: sharpbefore d added. m. 48, Organo1, Organo2: sharpunder d added. m. 78, Organo1: figure 6 added. m. SO, Alto 1: semibreveand minim slurredin source; Organo1: sharpsunder d, e added.

xx m.81, Organo1, Organo2: sharpunder A added. m. 8, Organo1, Organo2: sharpunder d added. m. 82, Organo1: sharpunder d added. m. 14, Alto 2, Tenore2: first two fusaeslurred in source; mm. 83-84,Organo 1, Organo2: all figures added. Organo1: sharpbefore 3 added;Organo 2: sharp3 added. m. 85, Alto 2: first two notesslurred in source;Organo 1, m. 17, Organo1, Organo2: 4, sharp3 added. Organo2: figure 6 added. mm. 18-19,Organo 1, Organo2: sharpson e's added. m. 86, Alto 2: first two notesslurred in source;Tenore 2: m. 20, Organo1, Organo2: sharpson A, d added. sharpbefore cl not in source. m. 21, Organo1, Organo2: sharpon d added. mm' 86--87,Alto 2: lastnote of m. 86 slurredto first note m. 23,Organo1, Organo2: sharpbefore 3 added. of m. 87 in source. m. 24, Organo1, Organo2: sharpon d added. m. 87, Organo1, Organo2: sharpunder A added. mm.88-89, Organo 1, Organo2: sharpsunder e, A added. AgnusDei mm.90-91, Organo 1, Organo2: sharpunder e, A added. m. 1, Organo1: sharpunder A added. m. 92, Organo1: sharpunder d added. m. 3, Organo1: figure 6 added. m. 93, Organo2: sharpunder A added. m. 4, Organo1: figure 6 added. m. 94, Organo1: sharpunder e added. m. 7, Organo1: sharpunder e added. mm' 95-99, Organo1, Organo2: all sharpsunder notes m. 8, Organo1, Organo2: sharpunder e added. added. m. 9, Organo1, Organo2: 6, sharpbefore 6 added. m. 97, Alto 1: sharpbefore el in sourceis anerror. mm. 10-11, Organo1: sharpsunder e figure 6 added; m. 102, Organo1, Organo2: sharpunder d added. Organo2: figure 6 added. mm. 13-14,Organo 1: all figures added. Coloration(black notesin triple meter) mm. 13-15,Organo 2: all figures added. m. 41, black minim, semibreve:all parts. m. 15, Organo1: sharpbefore e added. m. 43, black minim, semibreve:Organo 1, Canto2, Alto m. 16, Organo1: sharpsunder e, A added. 2, Tenore2, Basso2, Organo2. mm. 17-18,Organo 1: sharpsunder d, e added. mm' 45-46, threeblack semibreves:Organo 1, Canto2, mm. 18-19,Organo 2: sharpsunder e, a added. Alto 2, Tenore2, Basso2, Organo2. mm. 19-23,Organo 1: all sharpsunder notes added. m. 58, black minim, semibreve:Organo 1. mm. 20-23,Organo 2: all sharpsunder notes added. m. 65, black minim, semibreve:Organo 1, Canto2, Alto m. 27, Organo1, Organo2: sharpunder d added. 2, Tenore2, Basso2, Organo2. mm. 29-31,Organo 1, Organo2: all sharpsadded. m. 70, black minim, semibreve:Canto 1, Alto 1, Tenore 1, Basso1, Organo1. Coloration(black notesin triple meter) m. 72, black minim, semibreve:Organo 1. mm. 4-5, first two notesare black semibreves:Canto 1, m. 73, black minim, semibreve:Canto 1, Alto 1, Tenore Alto 1, Tenore1, Basso1. 1, Basso1, Organo1. m. 5, black minim, semibreve:Organo 1. mm' 75-76, black minim, semibrevein eachmeasure: m. 7, black minim, semibreve:Canto 1, Alto 1, Tenore1, Organo1, Organo2. Basso1, Organo1. m. 76, black minim, semibreve:Canto 2, Alto 2, Basso2. mm. 11-12,first two notesare black semibreves:Canto m. 82, black minim, semibreve:Organo 1. 2, Alto 2, Tenore2. m. 83, black minim, semibreve:Canto 1, Alto 1, Tenore m. 12, black minim, semibreve:Organo 1, Organo2. 1, Basso1, Organo1. m. 14, black minim, semibreve:Organo 1, Canto2, alto mm. 89-90, black minim, semibrevein eachmeasure: 2, Tenore2, Basso2, Organo2. Organo1, Organo2. mm. 18-19,third noteis black semibreve:Canto 1. m. 90, black minim, semibreve:Canto 2, Alto 2, Tenore m. 19, Tenore2: fusaeslurred in source. 2, Basso2. mm. 21-22, third noteis black semibreve:Canto 2. mm. 97-98, threeblack semibreves: Alto2. m. 98, black minim, semibreve:all parts. GiovanniAntonio Grossi, Sanctus (Sabaothspelled " sabahot.") "MessaConcertata 11 5 voci m. 2, Organo2: sharpunder A added. con 2 violini, e violone," 1664 m. 3, Organo2: sharpunder d added. m. 6, Organo1, Organo2: sharpunder d added. Instrumentalclefs: Violino 1, G2; Violino 2, G2; Violone m. 7, Alto 2: first two fusaeslurred in source;Organo 2: o Trombone,F4; Bassoprincipale, F4. Ampersandused sharpunder d added. for "Et."

xxi Kyrie m. 57, Bassoprincipale: sharp 6 undera added. The spelling "Chirie" for Kyrie is usedin the following m. 58, Basso:sharp before first g, naturalbefore second placesin the source:mm. 93-103,Canto 2; mm. 89-92, g not in source;Basso principale: sharp under a 95-103,Alto; mm. 87-95,Tenore; mm. 92-103,Basso. added. m. 59, Alto: sharp before/1 not in source; Basso m. 10, Bassoprincipale: sharp under a added. principale:sharp under d added. m. 11, Bassoprincipale: sharp under/sharp added. m. 60, Alto: sharpbefore first c1 not in source. m. 12, Bassoprincipale: sharp under a added. mm. 60--61,Tenore: last note of m. 60 slurredto first note m. 13, Bassoprincipale: sharp under final/sharp added. ofm.61. m. 15, Bassoprincipale: sharp 6 undera added. m. 61, Canto1, Alto: first four fusaeslurred in pairs in m. 16, Bassoprincipale: sharp 6 underA added. source;Tenore: secondand third fusae slurred in m. 18, Bassoprincipale: sharp 3 underB added. source;Basso principale: 4, sharp3 added. m. 20, Canto2: fusa/1 sharpslurred to semiminim.e1 in m. 63, Bassoprincipale: sharp before 3 added. source. m. 64, Bassoprincipale: sharp under d added. m. 21, Bassoprincipale: sharp under / sharpadded. m. 65, Violino 1: sharpbefore g2 not in source. m. 22, Bassoprincipale: sharp under B added. m. 67, Bassoprincipale: figure 6 added. m. 23, Bassoprincipale: sharp 6 undera added. m. 68, Alto: fusae slurred in source;Basso principale: m. 25, Basso: sharpbefore first / not in source;Basso sharpunder a added. principale:sharp under / sharpadded. m. 70, Violino 1: sharpbefore g2 not in source. m. 27, Bassoprincipale: sharp under / sharpadded. m. 73, Bassoprincipale: sharp under B added. m. 28, Bassoprincipale: sharp under / sharpadded. m. 77, Bassoprincipale: sharp under d added. m. 29, Bassoprincipale: sharp under / sharpadded. m. 79, Alto: fusaee1, d1 slurredin source;Tenore: natu- m. 32, Violino 1: sharpbefore /2 not in source;Basso ral beforesecond d1 not in source;Basso principale: 4, principale:sharps under e, B added. sharp3 added. m. 33, Alto: naturalbefore semiminim gl not in source. m. 80, Bassoprincipale: sharp under / sharpadded. m. 34, Bassoprincipale: sharp before 3 added. m. 82, Bassoprincipale: sharp under a added. m. 35, Bassoprincipale: sharp under B added. m. 83, Basso: sharpbefore first / not in source;Basso m. 36, Bassoprincipale: sharp under a added. principale:sharp before 6 added. m. 38, Bassoprincipale: sharp before 3 added. m. 84, Bassoprincipale: sharp before 3 added. m. 39, Bassoprincipale: sharp under a added. m. 85, Canto2: sharpbefore e2 in sourceis anerror; Basso m. 40, Canto1: sharpbefore first c2 not in source;Basso principale:sharp under d added. principale:sharp under a added. m. 86, Alto: sharpbefore first gl not in source;Basso m. 41, Alto: sharpbefore /1 not in source;Basso: sharp principale:sharp before 6 added. beforefirst/not in source. m. 87, Canto 2: sharpbefore first semifusad2 not in m. 42, Bassoprincipale: sharpbefore 3 added;Basso source;this note is a fusa in source,an error; e principale:sharp under e added. semim:inimmissing in source;third d2 (sharp)semifusa m. 45, Bassoprincipale: sharp 6 underB added. in sourceshould be a fusa; Bassoprincipale: sharp m. 46, Tenore:sharp before first a not in source;Basso: underA added. sharpsbefore semifusae/, g not in source;Basso m. 89, Violino 1: sharpbefore c3 not in source. principale:sharps under e, / sharpadded. m. 90, Bassoprincipale: sharps under A, d added. m. 47, Bassoprincipale: sharp under a added. m. 91, Bassoprincipale: sharp before 3 added. m. 48, Alto: sharpbefore /1 not in source. m. 92, Bassoprincipale: sharp before first d in sourceis m. 49, Alto: sharp before c1 not in source; Basso anerror; sharpunder e added. principale:sharps under e's added. m. 93, Bassoprincipale: 4, sharp3 added. m. 50, Bassoprincipale: sharp before 6 added. m. 94, Bassoprincipale: sharps under e, B, sharp6 under m. 51, Bassoprincipale: sharps under a, beforesecond 6 cadded. added. m. 95, Violino 1: sharpbefore g2 not in source;Basso m. 52, Basso:sharp before semifusa c not in source. principale:sharp under d added. m. 53, Bassoprincipale: sharp before second 6 added. m. 97, Bassoprincipale: sharp6 underg, sharpunder / m. 55, Canto1: sharpbefore first/1 not in source;Basso: sharpadded. sharpbefore semifusa c not in source. m. 99, Bassoprincipale: sharp 6 added. m. 56, Basso:sharp before semifusa c not in source;Basso m. 100, Alto: fusaeslurred in source;Basso principale: principale:sharp before 3 added. sharpunder d added.

xxii m. 102, Violone: sharpbefore f not in source;Canto 2: m. 42, Bassoprincipale: sharp under a added. sharpbefore c2 not in source;Basso principale: sharp m. 45, Bassoprincipale: figure 5 underg in sourceis an before3 added. error. m. 103, Violino 2: sharpbefore c2 not in source;Violone: mm. 46-49, Bassoprincipale: sharps under a1's added. sharpbefore F not in source;Basso principale: sharp m. 48, Bassoprincipale: sharp before a in sourceis mis- underB added. placed. m. 51, Bassoprincipale: sharp under d added. Gloria m. 52, Bassoprincipale: sharp under a added. mm. 3-4, Violino 2: sharpsbefore c3 not in source. m. 53, Canto1: sharpbefore d2 in sourceis anerror; Basso m. 4, Violino 1: sharpbefore third d3 in sourceprobably principale:figures 7/6 underg in sourceare errors. an error. m. 54, Bassoprincipale: sharp 5 underd in sourceis an mm. 5-6, Alto, Tenore:sharps before gl not in source. error. mm. 6-7, Basso:sharps before g's not in source. m. 55, Bassoprincipale: sharp under d added. mm. 7-8, Tenore:sharps before f1, gl not in source. m. 56, Bassoprincipale: sharp before 3 added. m. 9, Canto1: sharpbefore firstf2 not in source;Canto mm. 56-57, Tenore:last note of m. 56 slurredto note in 2: sharpsbefore f2, c2 not in source;Basso: sharp be- m. 57 in source. fore el not in source. m. 60, Violino 1: first two notesin sourceare b2, a2, an m. 10, Bassoprincipale: sharp under A added. error. m. 13, Violone: F. not in source;sharp before el not in m. 61, Bassoprincipale: sharp under d added. source. m. 62, Bassoprincipale: sharp before 3 added. mm. 13-14,Basso principale: sharps before 5's added. m. 66, Bassoprincipale: alto clef at beginningof mea- m. 14, Canto1: sharpbefore first f2 not in source;Tenore, sure,sharp under d1 added. Basso:sharp before c1 not in source. m. 67, Basso principale: sharpsunder 5, before 6 mm. 15-17, Bassoprincipale: sharps underf's added. added. m. 18, Tenore:sharp before el not in source. m. 69, Bassoprincipale: sharp before 3 added. m. 20, Canto1: sharpbefore f1 not in source;sharp be- m. 70, Bassoprincipale: sharp under a added. fore gl misplacedin source. m. 73, Bassoprincipale: sharp under a added. m. 21, Canto2: sharpbefore d2 not in source;Alto: sharp m. 74, Bassoprincipale: sharp under a added. before d1 not in source;Tenore: sharpsbefore el, d1 m. 75, Bassoprincipale: sharp under d added. not in source. m. 76, Alto, Tenore:sharp before f1 not in source. m. 22, Basso: sharp before g not in source; Basso m. 77, Tenore:sharp before e1 in sourceis anerror; Basso principale:sharp under A added. principale:sharp before f added. m. 23, Canto1: sharpbefore b1 in sourceis anerror. m. 78, Tenore: secondnote is d1 sharpin source,an er- m. 24, Basso:piano not in source;Basso principale: fig- ror; Basso:sharp before f not in source. uressharp 5, sharp3 added. m. 79, Bassoprincipale: sharp before 3 added. mm. 24-26,Tenore: piano, piu piano,forte not in source. m. 81, Alto: sharpbefore a1 not in source. m. 25, Bassoprincipale: sharp under first e added. m. 82, Canto 2: sharpbefore c2 not in source;Basso m. 26, Basso:forte not in source;Basso principale: natu- principale:sharp before 5 underf sharpadded. ral undere added. m. 83, Bassoprincipale: sharps before 5/3 added. m. 25, Violino 1: Only oneP. in source. m. 84, Violino 1: sharpbefore a2 not in source;Basso m. 26, Violino 1, Violino 2, Violone, Alto: F. not in principale:sharp under 3 added. source. mm. 86-88, Bassoprincipale: sharps under a's added. m. 29, Canto2: first two notesslurred in source;Basso m. 88, Bassoprincipale: sharp before 6 undere added. principale:sharp before 3, sharpunder A added. m. 89, Bassoprincipale: sharpbefore 3, sharpbefore f, m. 30, Canto1: naturalbefore semifusa d2 not in source; sharpbefore 5 added. Bassoprincipale: natural 3 underB added. m. 90, Bassoprincipale: natural under b misplacedin m. 31, Violino 2: sharpbefore c2 not in source;Tenore: source. the two notesare slurredin source;Basso principale: m. 91, Bassoprincipale: sharps under a, before6 undere natural3 underB added. added. m. 35, Bassoprincipale: sharp 5 undersecond B in source m. 92, Bassoprincipale: sharp before 3 added. is anerror; sharp6 added. m. 94, Violino 1: sharpbefore g2 not in source;Basso m. 37, Bassoprincipale: sharp 6 undersecond B added. principale:sharp under a added. m. 41, Violino 2: sharpbefore f2 not in source. m. 99, Bassoprincipale: sharp under d added.

xxiii m. 102, Canto 1: semifusaeslurred in source;Basso m. 140, Bassoprincipale: sharp before 3, sharp6 undere principale:sharp before 3 added. added. m. 103, Violino 2: sharpbefore /2 not in source. m. 142, Bassoprincipale: sharp under a added. m. 108, Violino 2: sharpbefore /2 not in source;Basso m. 144, Alto: sharp before c1 not in source;Basso principale:sharp under/added. principale:sharp under d added. m. 109, Bassoprincipale: sharp under d added. m. 145, Bassoprincipale: sharps under d, / sharpadded. m. 110, Bassoprincipale: sharp under d1, sharpbefore 6 m. 146, Bassoprincipale: sharp under a added. added. m. 148,Violino 2: sharpbefore first /1 not in source;Basso m. 111, Canto 2: sharpbefore c2 not in source;Basso principale:sharp under d added. principale:4, sharp3 added. m.149,Violino 1: sharpbefore/2 not in source. m. 112, Bassoprincipale: sharp 6, 4, sharp3 added. m. 152, Canto2: last two notesslurred in source. m. 118, Bassoprincipale: sharp 3 added. m. 153, Canto1: last two notesslurred in source;Basso m. 119, Bassoprincipale: sharp before gadded. principale:sharp under/sharp added. m. 121, Bassoprincipale: sharp before 3 added. m. 154, Bassoprincipale: sharp under a added. m. 125, Bassoprincipale: sharp under e added. m. 155, Canto1: last two notesslurred in source. m. 126,Alto: sharpbefore gl not in source;Tenore: sharp m. 156, Canto2: last two notesslurred in source. beforefirst d1 not in source;Basso principale: sharp mm. 156-157,Basso principale: sharps under b, E, added. undera added. m. 157, Bassoprincipale: figure 6 undere in sourceis an m. 127,Violone: sharpsbefore first f, g notin source;Basso error. principale:sharps under e, a added. m. 158, Violino 2: sharpbefore /2 not in source. m. 128, Canto2: sharpbefore e1 in sourceis an error; m. 159, Basso: last two notesslurred in source;Basso Bassoprincipale: sharp under e added. principale:sharps under d, e added. mm. 128-129,Canto 1: sharpsbefore c2's not in source. m. 161, Violino 1: sharpbefore /2 not in source;Basso m. 129, Violino 2: sharpbefore c1 not in source;Basso principale:sharp under a added. principale:sharp before 3 added. m. 163, Alto: sharpbefore first /1 not in source;Basso m. 130, Canto2: sharpbefore final d2 in sourceis aner- principale:sharps under a's added. ror; Bassoprincipale: sharp under a added. m. 164, Bassoprincipale: sharp before 3, sharpunder d m. 131, Canto 1: sharpbefore c2 not in source;Basso added. principale:sharp under a added. m. 165, Bassoprincipale: sharp under e1 added. m. 132, Bassoprincipale: alto clef before c1 sharpin m. 166, Canto1: sharpbefore c2 not in source;Canto 2: source,sharp under e added. sharpbefore /2 not in source. m. 133, Violino 1: sharpbefore first /2 not in source; m. 167, Bassoprincipale: sharps under e, a added. Violone: sharpbefore g not in source;Canto 1: sharp m. 169, Violino 1: sharpbefore g2 in sourceis an error; beforeg2 not in source;Alto: sharpbefore /1 not in Violino 2: naturalbefore second c2 not in source. source. m. 170, Canto1: last two notesslurred in source;Basso m. 134,Canto 2: sharpbefore first /2 not in source;Basso principale:sharp under e added. principale:4, sharp3 added. m. 171, Bassoprincipale: sharp under a added. m. 135, Violino 2: sharpbefore g2 not in source;Canto 1: m. 172, Alto: sharpbefore first f1 not in source;Basso sharpbefore c2 misplacedin source. principale:sharp before 5, sharpunder e added. m. 137, Violino 1: sharpbefore /2 not in source;Violino m. 173, Violino 1: sharpbefore g2 not in source. 2: sharpbefore /2 not in source;Violone: sharpbefore m. 175, Tenore:sharp before c1 not in source. g not in source;Canto 1: sharpbefore first c2 not in. m. 177, Canto2: sharpbefore /2 not in source. source;Basso: sharp before first g not in source;Basso m. 179, Violone: sharpbefore c1 not in source;Basso principale:sharps under e, a added. principale:sharps before 5's added. m. 138, Violino 1: sharpbefore first g2 not in source; mm. 179-180,Tenore: last noteof m. 179 slurredto first Violino 2: sharpbefore first /2 not in source;Violone: note of m. 180 in source. sharpbefore first c not in source;Canto 2: sharpbe- m. 180, Violino 2: sharpbefore a2 not in source;Canto 2, fore first f1 not in source;Alto: sharpbefore gl not in Basso: first two notes slurred in source; Basso source;Basso principale: sharpbefore 5 and natural principale:sharp before 3, sharpbefore 6 added. underb added. m. 181, all parts: meter signatureis 4/6 in source,an m. 139,Violino 2: sharpbefore firstf2 notin source;Canto error; Bassoprincipale: sharp under a added. 1, sharpbefore first c2 not in source;Basso principale: mm. 183-187, Bassoprincipale: all sharpsunder a, d 4, sharp3 added. added.

xxiv mm. 188-190, Bassoprincipale: all sharpsunder e, A m. 234, Bassoprincipale: sharpbefore 3, under/ sharp added. added. m. 191, Bassoprincipale: sharp under e added. mm. 236-238,Basso principale: all sharpsin figuredbass m. 192, Bassoprincipale: sharp before f, sharpunder d, added. sharp6, sharpunder / sharpadded. m. 237, Violino I, Violino 2: sharp before a2 not in m. 193, Bassoprincipale: sharp under/sharp added. source. m. 194, Bassoprincipale: sharp under final B added. m. 239, Violino 2: sharpbefore c2 not in source;Tenore: m. 195, Bassoprincipale: sharp under b added. natural before dotted fusa dl not in source; Basso mm. 196-197,Basso principale: sharps under d's added. principale:sharps under A, d added. mm. 198-199,Basso principale: sharps under a, d added. m. 240, Bassoprincipale: all sharpsin figuredbass added. m. 200, Bassoprincipale: sharp under a added. m. 241, Basso principale: sharpsbefore 5/3 figures m. 201, Bassoprincipale: sharp 3 added. added. m. 202, Bassoprincipale: figures under both A's in source m. 244, Bassoprincipale: sharps under d, e added. arenaturals, an error; sharpunder e added. m. 246, Canto1: sharpbefore first c2 not in source;Basso m. 203, Violino 2: sharpbefore g2 not in source;Alto: principale:sharp before 3 added. last two notesslurred in source;Basso principale: fig- m. 247, Bassoprincipale: sharp before 5, sharpbefore 6 ure underB in sourceis 3, shouldbe sharp6; sharp added. before3 added. m. 248, Bassoprincipale: sharp before 6 undere added. mm. 205-206,Basso principale: figure 5 missingunder m. 251, Violino 1: sharpbefore /2 not in source;Basso bothB's in source,sharp before 5 under/sharp,sharp principale:sharp under a added. undere added. m. 252, Bassoprincipale: alto clef at beginningof mea- m. 207, Bassoprincipale: sharp 5, sharp3 under/sharp, surein source. sharpunder d added. m. 253, Bassoprincipale: sharp before 6 added. m. 208, Bassoprincipale: sharpbefore 6 undere, sharp m. 255, Bassoprincipale: flat before6 under/Iin source undera, sharp5/3 under/sharpadded. is anerror; sharpunder al added. m. 209, Bassoprincipale: sharpsbefore 5/3, sharpun- m. 256, Bassoprincipale: sharpsbefore 5, 6 under B derdadded. added. m. 210, Bassoprincipale: all sharpsin figuredbass added. mm. 257-258, Bassoprincipale: sharpsunder e, A, d m. 211, Bassoprincipale: sharp under d added. added. m. 214, Bassoprincipale: sharp before 6 undere added. m. 259, Bassoprincipale: sharp under e added. m. 216, Bassoprincipale: sharp before 6 undere added. m. 260, Tenore: first two notesslurred in source;Basso m. 217, Bassoprincipale: sharp under a added. principale:sharps under a, d added. m. 218, Bassoprincipale: sharpbefore 3, sharpunder a m. 261, Bassoprincipale: sharpsbefore 6, underfinal 5 added. added. mm. 218-221, Bassoprincipale: sharpsbefore 5/3 fig- m. 262, Bassoprincipale: sharp under a added. uresadded. m. 263, Bassoprincipale: sharpbefore 6 undere, sharp mm. 219-220,Basso principale: sharps under a's added. undera added. m. 222, Tenore:sharp before first/I misplacedin source; m. 264, Tenore:natural before c1 not in source. Bassoprincipale: sharps under dl, before6 added. m. 265, Bassoprincipale: sharp under a added. mm. 222-223,Basso principale: sharps before figures 5, m. 266, Canto1: first two notesslurred in source;Tenore: 3 added. lasttwo notesslurred in source;Basso principale: sharp m. 224, Bassoprincipale: sharp before 3 added. underd added. m. 225, Violino 2: sharpbefore d2 not in source. m. 267, Violone: sharpbefore first / not in source. m. 226, Tenore: sharp before/1 not in source;Basso mm. 268-269,Basso principale: all sharpsin figuredbass principale:sharp before 3, sharpunder dl added. added. m. 227, Bassoprincipale: sharps before 5/3 added. m. 270, Bassoprincipale: alto clef beforeal in source. m. 228, Bassoprincipale: all sharpsadded. m. 271, Alto: sharp before/1 not in source;Basso m. 229, Violino 2: sharpbefore /2 not in source;Basso principale:sharp under 6 added. principale:sharps before 5/3 added. m. 272, Canto 2: sharpbefore /2 not in source;Basso m. 230, Bassoprincipale: sharpbefore 5, sharpunder d principale:sharp under f1 sharpadded. added. m. 273, Bassoprincipale: sharp under a added. mm. 233-235,Basso principale: sharpsbefore 5/3, un- m. 275, Violino 2, Canto2: sharpbefore /2 not in source; dereadded. Bassoprincipale: sharps under a, d added.

xxv m. 276, Bassoprincipale: sharp under a added. m. 36, Canto 1: sharp beforef1 not in source;Basso m. 278, Bassoprincipale: sharpbefore 6 undere, sharp principale:sharp under a added. underd added. m. 37, Bassoprincipale: sharp 5, 6 added. mm. 279-280,Basso principale: all sharpsin figuredbass m. 38, Bassoprincipale: sharp under a added. added. m. 39, Bassoprincipale: figure 6/sharp (3) underd, sharp m. 281, Violino 1: sharpbefore /2 not in source. undere added. m. 282, Violino 2: sharpbefore d2 not in source. mm. 40-41, Bassoprincipale: all sharpsin figured bass added. Coloration(black notesin triple meter) m. 41, Bassoprincipale: figure 6 underB in sourceis an mm.55-56, three blackbreves: Canto 2, Bassoprincipale; . error. two blackbreves: Alto; secondnote is a blackbreve (3 m. 42, Bassoprincipale: sharp under d added. intended),Canto 1. / m. 43, Tenore: sharp before c1 not in source;Basso mm. 61-62,three blackbrees: Basso principale. principale:sharp before first 6 added;second 6 added. m. 78, oneblack breve tied to white breve:Alto. m. 44, Bassoprincipale: sharp under d added. mm. 78-79,three blackbreves: Violone. m. 45, Bassoprincipale: sharp 6 underfirst B, figure 6/ sharpunder A, sharpunder second B added. Credo m. 46, Alto: two fusaeslurred in source.;Basso, Basso m. 1, Alto: first two notesslurred in source. principale:sharp before gadded. m. 3, Basso:sharp before/not in source;Basso principale: mm. 47-49, Bassoprincipale: all sharpsadded. sharpbefore first 5 added. mm. 51-53, Bassoprincipale: all sharpsin figured bass m. 4, Bassoprincipale: sharp under A added. added. m. 5, Violone: naturalsbefore c's in sourceare errors. m. 52, Tenore:sharp before f1 not in source. m. 6, Basso:sharp before c not in source. m. 57, Bassoprincipale: sharp 5 added. mm. 6-8, Bassoprincipale: all sharpsin figured bass m. 58, Tenore:sharp before / not in source. added. m. 59, Alto: sharpbefore f1 not in source. m. 7, Tenore:sharp before g not in source. mm. 63-64, Canto 2: last two notes of eachmeasure m. 10, Violino 1: sharpbefore c2 not in source;Violino 2: slurredin source;Basso principale: all figures added. naturalsbefore e2 in sourceare errors;Alto: naturals m. 64, Alto: lasttwo notesslurred in source;Basso: sharp beforee1 in sourceare errors. beforefirst/not in source. m. 11, Bassoprincipale: sharp,natural undeifsharp mm. 67-68,Tenore: sharps before / not in source. added. m. 68, Canto 1: sharp beforef1 not in source;Basso m. 12, Bassoprincipale: sharp under e added. principale:sharp under A added. m. 13, Bassoprincipale: sharps under A, a added. m. 69, Violino 1: sharpbefore /2 not in source. m. 14, Bassoprincipale: natural 5 under/sharp in source m. 71, Basso: sharp before/ not in source; Basso is anerror. principale:sharp under e added. m. 15, Violino 1: last noteis a2 sharpin source,an er- m. 75, Tenore:sharp before first g not in source. ror. m. 77, Violino 1: sharpbefore g2 not in source. m. 16, Violino 1: sharpbefore c2 not in source;Canto 2: m. 79, Violino 1: sharpbefore b2 in sourceis anerror. first two notes slurred in source;Basso principale: m. 81, Canto 2: sharpbefore c2 not in source;Basso sharpsbefore 3's added. principale:sharp before/ added. mm. 19-23,Basso principale: all sharpsin figured bass m. 82, Bassoprincipale: sharp under e added. added. m. 86, Bassoprincipale: sharp under B added. m. 20, Violino 1: sharpbefore /2 not in source. m. 95, Canto2: sharpbefore f1 not in source. m. 21, Violino 2: sharpbefore b2 in sourcean error, sharp m. 98, Bassoprincipale: sharp under d2 added. befored2 not in source. m.. 102, Bassoprincipale: sharps under a, d added. m. 24, Bassoprincipale: all figures added. m. 104, Basso:sharp before c not in source. m. 25, Bassoprincipale: sharp under e added. mm. 104-105,Alto: last noteof m. 104, e1, slurredto d1 m. 27, Bassoprincipale: sharp under e added. sharpin source;Basso principale: sharp before3 added. m. 28, Bassoprincipale: sharp6, sharpunder / sharp m. 106, Bassoprincipale: sharpbefore / misplacedin added. source;sharp before final 6 added. m. 29, Bassoprincipale: sharps under a, e added. mm. 107-108,Basso principale: all sharpsin figuredbass m. 31, Bassoprincipale: sharp under e added. added. m. 33, Bassoprincipale: sharps under d, a added. m. 110, Basso:sharp before/ not in source.

xxvi rom. 110-111,Canto 2: naturalsbefore e1's in sourceare m. 147, Alto: sharp beforef1 not in source; Basso errors. principale:alto clef beforequarter rest in source. m. 111, Bassoprincipale: sharp before 3 added. m. 151, Violino 2: sharpbefore d2 not in source;Canto 1: m. 114, Bassoprincipale: sharp before 5 added. fusa d2 sharpslurred to dottedminim e2 in source. m. 115, Alto: sharp beforef1 not in source; Basso m. 154,Basso principale: alto clef beforefirst e1 in source, principale:sharps before 3's added. sharpunder a1 added. m. 116, Canto2: sharpbefore first c2 not in source. m. 155, Bassoprincipale: sharp before f1 added. m. 117, Canto2: sharpbefore /2 not in source. m. 156, Bassoprincipale: sharp under a added. m. 118, Alto, Basso:sharp before first f1 not in source; m. 157, Canto2: four fusaeslurred in source. Bassoprincipale: sharp before 3 added. m. 158, Canto 1: sharpbefore /2 not in source;Basso m. 119, Bassoprincipale: first 7 6 figures arein error. principale:sharp under A added. m. 120,Tenore: sharp before first c2 not in source;Basso m. 160, Violino 1: sharpbefore a2 not in source;Canto 1: principale:sharp before 6 added. sharpbefore /2 not in source;Basso principale: both m. 121, Basso:sharp before first c not in source;Basso sharpsin figured bassadded. principale:sharp under 7 added. m. 161, Bassoprincipale: figures 7, sharp6 added. m. 122, Basso:sharp before c not in source. m. 162, Canto1: last two notesslurred in source;Canto m. 123, Canto2, Alto: sharpbefore f1 not in source. 2: sharpbefore d1 in sourcean error; Bassoprincipale: rom. 123-124,Basso principale: all sharpsin figuredbass 4, sharp3 added. added. m. 163, all partsbut Basso:4/6 meterin source,an error. m. 125, Bassoprincipale: sharp under d2 added. rom. 164-167,Basso principale: all sharpsin figuredbass m. 128, Tenore: last two notesslurred in source;Basso added. principale:sharp before 3, sharpunder d added. m. 165, Alto: sharpbefore f1 not in source. m. 129, Bassoprincipale: sharp under d1 added. m. 170, Canto2: sharpbefore first gl not in source. m. 131, Canto1: first two notesslurred in source. m. 171, Tenore: sharp before/ not in source; Basso m. 132, Bassoprincipale: sharpbefore b1 in sourcean principale:sharp under d added. error. rom. 172-177,Basso principale: all figures added. rom. 132-133,Basso principale: both sharpsadded. m. 177, Violino 2: sharpbefore c1 misplacedin source. m. 134,Canto 2: third andfourth notesslurred in source. rom.178-179,Basso principale: figures 6, 5,6 added. m. 135,Tenore: fusae c1 sharp,c1 slurredn source;Basso rom. 180-182,Basso principale: all sharpsadded. principale:sharp 6, sharpbefore 3 added. m. 182, Violone, Basso:Piano not in source. m. 136, Alto: third andfourth notesslurred in source. m. 184, Bassoprincipale: sharp under/sharp added. rom. 136-137,Tenore: last note of m. 136 slurredto note m. 186, Bassoprincipale: sharp under/sharp added. in m. 137 in source. m. 188, Bassoprincipale: sharp under a added. m. 137, Bassoprincipale: alto clef beforesecond note in m. 189, Bassoprincipale: all sharpsin figuredbass added. source,sharp under d added. rom. 191-192,Basso principale: all sharpsin figuredbass m. 138, Bassoprincipale: sharp under e1, sharpbefore 3 added. added. m. 193, Bassoprincipale: sharp before 6 added. m. 139, Canto1: fourth andfifth notesslurred in source; m. 194, Bassoprincipale: sharps before 5/3 added. Bassoprincipale: sharp under e1 added. m. 196, Bassoprincipale: sharp 6 added. m. 140, Bassoprincipale: sharp before 3 added. rom. 197-202,Basso principale: all figures added. m. 141, Bassoprincipale: sharp before 3 added. rom. 199-200,Tenore: last noteof m. 199 slurredto first m. 143, Tenore: sharpbefore f1 not in source;Basso note of m. 200 in source. principale:all sharpsadded. rom. 202-203,Tenore: last note of m. 202 slurredto first rom. 143-144,Tenore: last noteof m. 143 slurredto first noteof m. 203 in source. note of m. 144 in source. m. 204, Bassoprincipale: sharp under/sharp added. m. 144, Violino 1: sharpbefore /2 not in source;Canto 2: rom. 207-210,Basso principale: all figures added. fourth and fifth notesslurred in source;Tenore: b, a m. 209, Violone: sharpbefore g notin source;Basso: sharp sharpslurred in source;Basso principale: sharpsbe- before/ not in source. fore e's added. m. 213, Bassoprincipale: sharps before 5/3 added. m. 145, Bassoprincipale: sharp before 3, sharp5, 6 added. m. 214, Alto: the two notesare slurredin source. m. 146, Bassoprincipale: sharp before 3 added. rom. 217-218,Basso principale: both sharps added. rom. 146-147,Tenore: last note of m. 146 slurredto first m. 219, Bassoprincipale: sharpunder d, sharpbefore 3 note of m. 147 in source. added.

xxvii mm. 220-222,Basso principale: all figures added. m. 259, Tenore:sharp before first c1 not in source;Basso m. 223, Bassoprincipale: tenore clef atbeginning of mea- principale:sharps under a, underd1 added. surein source,sharp before / added. m. 261, Bassoprincipale: all sharpsadded. m. 224, Violino 1: sharpsbefore c2,/2 not in source;Basso m. 264, Bassoprincipale: sharp under d added. principale:sharp under a added. m. 265, Bassoprincipale: sharp under e added. m. 225, Violino 2: sharpbefore c2 not in source;Violone: m. 266, Bassoprincipale: sharp before 3 added. sharpbefore first c1 not in source;Basso principale: m. 267,Canto 1: two semiminimsslurred in source;Alto, bassclef at beginningof measurein source. Basso:first two notesslurred in source. m. 226, Bassoprincipale: sharp under a added. m.allegro. 268, Bassoprincipale: sharp under a, sharp6 added. m. 228, Basso:sharp before e in sourceis misplaced;Basso m. 269, Bassoprincipale: sharp [3], 8 added. principale:sharp under a added. m. 270, Canto 2: sharpbefore c2 not in source;Basso, m.allegro. 229, Basso principale: sharp under d added. Bassoprincipale: sharp before c1 not in source;Basso m. 232, Bassoprincipale: sharp before c1 added. principale:sharp under d1 added. mm. 232-233,Tenore: sharpsbefore c1 not in source; mm. 271-273,Basso principale: all sharpsin figuredbass Bassoprincipale: sharps under d1, a's, d added. added. m. 234, Basso,Basso principale: sharpbefore g not in m. 272, Canto2, Alto: sharpbefore gl not in source. source;Basso principale: sharps under e, A added. mm. 272-273,Violino 1: last three notesof m. 272 are m. 235, Canto 2: sharpbefore f1 not in source;Basso: onewhole step too high in source;first noteof m. 273 sharpbefore g not in source;Basso principale: sharp is a major third too high in source. underA added. m. 274, Bassoprincipale: sharp under a added. m. 236, Bassoprincipale: sharp before e in sourcean er- m. 275, Canto 1: sharpbefore first c2 not in source; ror. Violone: sharpbefore first/not in source. mm. 236--237,Tenore: last note of m. 236 slurredto note m. 276, Alto: sharpbefore /1 not in source. in m. 237 in source. mm. 276--277,Basso principale: all sharpsin figuredbass mm. 236--238,Basso principale: all sharpsin figuredbass added. added. m. 277, Canto2: first two notesslurred in source;Tenore: m. 238, Canto1: sharpbefore /1 notin source;Alto: sharp sharpbefore first c1 not in source. beforefirst /1 not in source. m. 280, Canto1: sharpbefore a1 not in source;Canto 2; m. 239,Canto 1: sharpbefore first g2 not in source;Basso sharpbefore first a1 not in source;Alto: sharpbefore principale:flat beforeB is misplacedin source,refers gl not in source;Basso principale: both sharps in fig- to third of chord;sharp under e added. uredbass added. m. 242, Bassoprincipale: sharp before a, sharp6 added. m. 281, Bassoprincipale: figure 6 added. m. 243, Bassoprincipale: both sharpsin figured bass m. 282, Violino 2: sharpbefore /2 not in source;Canto 1: added. the two notesare slurredin source;Basso principale: m. 244, Canto 1: sharpbefore c2 not in source;Basso sharpbefore 3 added. principale:sharp under first/sharp added. m. 245, Violino 2: sharpbefore a1 not in source;Violone: Coloration(black notesin triple meter) sharpbefore e in sourcean error. mm. 207-208,three black breves:Basso principale. mm. 246--247,Basso principale: all sharpsin figuredbass added. Sanctus m. 247, BassoprinciPale: sharp before 5 added. m. 2, Bassoprincipale: sharp under b added. m. 248, Canto 1, Canto2: the two notesare slurredin m. 3, Tenore: sharpbefore / is misplacedbefore g in source. source. m. 249, Bassoprincipale: both sharps added. mm. 4-5, Bassoprincipale: both sharps added. m. 250,Alto, Tenore:the two notesare slurred in source. m. 7, Tenore: sharp before c1 not in source; Basso m. 251, Bassoprincipale: sharp before 5, sharpbefore 3 principale:sharps before a andunder/added. added. m. 9, Bassoprincipale: sharp under e added. m. 252, Bassoprincipale:alto clef at beginningof mea- mm. 9-10, Canto1: lastnote of m. 9 slurredto first note surein source. of m. 10 in source. m. 253, Bassoprincipale: sharp under d1 added. m. 10, Bassoprincipale: sharp before 3 added. m. 255, Bassoprincipale: sharp under d1 added. m. 11, all parts:meter signature 3 in all parts. m. 256, Alto: last two notesslurred in source;Basso mm. 11-12,Basso principale: both sharps added. principale:sharps under bothe's, under/ sharp added. m. 15, Bassoprincipale: sharp under e added.

xxviii mm. 16-18,Basso principale: all figures added. m. 35, Bassocontinuo: sharp under e added. mm. 19-20,Basso principale: both sharps in figuredbass mm. 35-36,Basso 1: sharpsbefore f sharpsnot in source. added. m. 40, Canto2, Alto 2: first andsecond notes slurred in source. AgnusDei m. 41, Bassocontinuo: sharp under A added. m. 1, Tenore:sharp before f1 not in source. m. 42, Alto Viola: Alto clef not in source. m. 3, Alto: sharpbefore third gl not in source;Basso m. 45, Tenore1: last two notesslurred in source. prin.cipale:both sharps added. m. 46, Bassocontinuo: flat undergadded. m. 4, Violino 2: sharpbefore c2, sharpunder d not in m. 50, Tenore2: flat beforee1 not in source. source;Tenore: sharpbefore c1 not in source;Basso m. 51, Bassocontinuo: flat underg, sharpunder A added. principale:sharp before f added. m. 52, Violino 2: sharpbefore c2 not in source;Basso m. 5, Alto: notes3 and4 slurredin source. continuo:sharp before 3 added. mm. 5--6, Bassoprincipale: all sharpsin figured bass m. 53, Bassocontinuo: sharp under d added. added. m. 6, Canto 1, Alto: notes 1 and 2, 4, and 5 slurred Coloration(black notesin triple meter) in source;Canto 2: notes3 and4 slurredin source. m. 19, blacksemibreve, breve: Basso continuo. m. 7, Canto2: lasttwo notesslurred in source;Alto: first two notesslurred in source. Gloria mm. 7-8, Bassoprincipale: both sharpsin figured bass m. 3, Bassocontinuo: sharp under e added. added. m. 4, Alto 1: third and fourth notesslurred in source; m. 8, Canto2: notes4 and5 slurredin source. Bassocontinuo: both sharps added. m. 9, Canto1, Canto2: first two notesslurred in source. m. 13, Bassocontinuo: sharp under e added. m. 10, Canto1: c2 sharpslurred to d2 in source;Basso m. 23, Bassocontinuo: sharp before 3 added. principale:both sharps added. m. 29, Bassocontinuo: sharp before 6 added. m. 11, Canto 1, Canto 2, Alto: notes 1 and 2, 4 and 5 m. 30, Bassocontinuo: sharp before 3 added. slurred in source;Basso principale: sharpbefore 6 m. 31, Tenore1: last two notesslurred in source;Basso added. continuo:sharp before 6 added. m. 12, Canto1, Canto2: notes1 and2 slurredin source; m. 33, Bassocontinuo: sharp before 6 added. Bassoprincipale: sharp before 3 added. m. 34, Bassocontinuo: sharp under e added. mm. 12-13, Canto2: last note of m. 12 slurredto first m. 35, Bassocontinuo: sharpbefore 6, sharpunder A noteof m. 13 in source. added. m. 19, Canto2: last two notesslurred in source.;Tenore: m. 39, Alto 1: first andsecond notes slurred in source. first two notesslurred in source. m. 44, Canto 1: flat before b1 not in source;Basso continuo:flat under6 added. m. 53, Canto1, Alto 1, Basso1: third and fourth notes GiovanniLegrenzi, slurredin source. "Messaa due chori con strumenti,"1667 m. 54, Tenore1: thetwo notesare slurred in source;sharp before3 added. Instrumentalclefs: Violino 1, G2; Violino 2, G2;Alto Viola, m. 65, Bassocontinuo: sharp under d added. C3; TenoreViola, C4; BassoViola dabrazzo, F4; Basso m. 68, Bassocontinuo: flat under6/5 figure added. continuo,F4. Ampersandused for "Et." m. 69, Bassocontinuo: sharp under a added. m. 70, Tenore2: last two notesslurred in source;Basso Kyrie continuo:sharp Ullder d added. mm. 3-4, Bassocontinuo: sharps under A, d added. m. 71, Tenore1: last two notesslurred in source. m. 11, Bassocontinuo: sharps under a, d added. mm. 71-72, Bassocontinuo: sharp under d added. mm. 14-16,Basso continuo: all sharpsadded. m. 75, Bassocontinuo: sharp before 3 added. m. 17, all parts:meter signature is °~. m. 76, Bassocontinuo: flat underGadded. m. 18, Basso1: sharpbefore f not in source. m. 77, Bassocontinuo: sharp before 3 added. m. 20, Basso2: sharp beforef not in source;Basso m. 81, Bassocontinuo: flat under6/5 figure added. continuo:sharp under e added. mm. 81-82,Canto 1, Tenore1: final noteof m. 81 slurred m. 21, Bassocontinuo: sharp before 6 added. to first noteof m. 82 in source. m. 31,Canto 1, Basso2: first andsecond notes slurred in m. 82, Canto1, Tenore1: third andfourth notesslurred source. in source.

xxix m. 83, Canto2, Alto 2, Tenore2: first two notesslurred m. 51, TenoreViola: secondnote is c1 in source,prob- in source. ably anerror. mm. 83-84, Tenore2: last note of m. 83 slurredto first m. 55, Alto Viola: first note is e1 in source,probably an noteof m. 84 in source. error. m. 84, Basso2: third andfourth notesslurred in source. mm. 63-64, Bassocontinuo: both sharps added. mm. 84-85,Canto 1, Tenore1: lastnote of m. 84 slurred m. 68, Bassocontinuo: sharp before 3 added. to first noteof m. 85 in source. m. 74, Bassocontinuo: flat undergadded. m. 85, Alto 1: flat beforeb not in source;Tenore 1: third m. 77, Bassocontinuo: sharp before 3 added. andfourth notesslurred in source. m. 78, Bassocontinuo: sharp under d added. m. 86, Canto2, Alto 2, Tenore2: first two notesslurred m. 84, Bassocontinuo: sharp before 3 added. in source;Basso continuo: sharp before 3, flat underG mm. 85-86,Basso continuo: both sharps added. added. m. 88, Canto1, Tenore2: first andsecond notes slurred mm. 86-87,Canto 2, Alto 2, Tenore2: last note of m. 86 in source. slurredto first note of m. 87. mm. 88-90,Basso continuo: all sharpsadded. m. 87, Canto2: fourth andfifth notesslurred in source; m. 94, Bassocontinuo: 4, sharp3 added. Basso2: third andfourth notesslurred in source;Basso mm. 99-100,Basso 1, Tenore2: lastnote of m. 99 slurred continuo:sharp before 3 added. to first noteof m. 100 in source. mm. 87-88,Canto 1, Tenore1: lastnote of m. 87 slurred m. 100, Canto1, Alto 1, Tenore1: secondand third notes to first noteof m. 88 in source. slurredin source. mm. 88-89,Alto 2, Tenore2, Basso2: last note of m. 88 m. 105, Bassocontinuo: sharp under first e added. slurredto first noteof m. 89 in source. m. 107, Canto2: the two notesare slurred in source. m. 89, Canto1, Alto 1, Tenore1: first two notesslurred m. 111, Bassocontinuo: sharp under d added. in source. m. 115, Bassocontinuo: sharp under d added. mm. 89-90,Alto 2: lastnote of m. 89 slurredto first note m. 118, Alto Viola: flat beforeb1 not in source. of m. 90 in source. m. 119, Tenore2: last two notesslurred in source;Basso m. 90, Bassocontinuo: sharps before 3's added. continuo:sharp before 3 added. mm. 90-91, Canto 1: last note of m. 90 slurred to first m. 120, TenoreViola: flat beforeb not in source. noteof m. 91 in source. m. 123, Canto2: minims slurredin pairsin source. m. 91, Bassocontinuo: sharp under d added. m. 124, Bassocontinuo: sharp before 3 added. m. 141,Canto 1: secondand third notesslurred in source. Coloration(black notesin triple meter) mm. 141-142,Basso continuo: both sharps added. m. 14, blacksemibreve on secondbeat: Canto 2, Alto 2, m. 144, Bassocontinuo: figure 6 added. Tenore2, Basso2, Bassocontinuo. m. 146, Tenore2: the two notesare slurred in source. m. 16, blacksemibreve on secondbeat: Basso continuo. mm. 146-147,Basso continuo: both sharps in figuredbass added. Credo m. 148, Tenore2: the two notesare slurred in source. m. 1, all parts:meter signature is 0 i. m. 149, Tenore1: two semibrevesare slurred in source. m. 2, Bassocontinuo: figure 6 added. m. 152,Canto 2: secondand third notesslurred in source. m. 4, Bassocontinuo: sharp under A added. m. 153, Canto 2: secondand third notesslurred in m. 8, Bassocontinuo: sharp before 3 added. source. m. 17, Bassocontinuo: sharp under e added. mm. 153-154,Alto 2: last note of m. 153 slurredto m. m. 20, Bassocontinuo: sharp before 3 added. 154 in source. m. 29, Bassocontinuo: sharp under a added. m. 154,Alto 1: two semibrevesare slurred in source. m. 33, Tenore2: first two notesslurred in source;Basso mm. 154-155,Tenore 1: last note of m. 154 slurred to continuo:sharp before 3 added. first noteof m. 155 in source. m. 37, Canto1: first noteis b1 in source,probably an error. m. 155, Tenore 2: the two notesare slurredin source; m. 44, Basso continuo:sharp before 6 added. Bassocontinuo: flat undergadded. m. 46, Canto2: flat beforeb1 not in source. m. 157,Tenore 2: first two notesslurred in source;Basso m. 47, Canto2: sharpbefore f1 in sourcean error. continuo:sharp under A added. m. 48, Tenore2: last two notesslurred in source. m. 158,Tenore 1: secondand third notesslurred in source. mm. 48-49, Bassocontinuo: both sharps added. m. 159, Bassocontinuo: sharp under d added.

xxx Coloration(black notesin triple meter) m. 144, secondnote is black breve: Basso 2, Basso m. 3, black semibreve,breve: Tenore1, Basso1, Alto 2, continuo. Basso2; secondnote is black breve: Violino 2, Alto m. 145, secondnote is blackbreve: Violino 1, Violino 2, Viola, BassoViola, Tenore2, Bassocontinuo; second Alto Viola, TenorViola, BassoViola, Alto 1, Tenore1, noteis black semibreve:Canto 2. Basso1; blacksemibreve, breve: Canto 1. mm. 12-13, two black breves:Canto 2, Basso2; second mm. 147-148,black breve,semibreve: Violino 2. and third notes are black semibreves,tied: Alto 2, mm. 149-150,black breve,semibreve: Tenore Viola. Tenore2, Bassocontinuo. m. 151, first noteis black breve: TenoreViola. m. 13, secondnote is blackbreve: Bassocontinuo. mm. 151-152,three black breves:Violino 1, Violino 2, m. 16, black semibreve,breve: Canto1, Basso1, Basso Alto Viola, BassoViola, Canto1, Alto 1, Tenore1, Basso continuo. 1, Alto 2, Tenore2, Basso2, Bassocontinuo; two black m. 20, secondnote is blackbreve: Tenore 2. breves:Canto 2. m. 22, secondnote is blackbreve: Canto 2, Alto 2, Basso m. 153, secondnote is blackbreve: Alto 2. 2, Bassocontinuo. m. 154, black breve:Tenore 1. m. 32, blacksemibreve, breve: Canto 2, Alto 2, Tenore2, m. 155, blackbreve: Canto 2. Basso2. m. 156, black semibreve:Alto 1. m. 58, secondnote is blackbreve: Canto 2, Tenore2, Basso mm. 157-158,three black breves:Violino 1, Violino 2, 2; black semibreve,breve: Basso continuo. BassoViola, Alto 1, Basso1, Canto2, Alto 2, Basso2, m. 61, secondnote is blackbreve: Alto 1, Tenore1, Basso Bassocontinuo; two blackbreves: Tenor Viola, Tenore 1; blacksemibreve, breve: Basso continuo. 1; third andfourth notesre black breves:Tenore 2. m. 63, secondnote is black breve:Tenore Viola. m. 158, secondnote is blackbreve: Alto Viola. m. 72, secondnote is blackbreve: Bassocontinuo. m. 91, blacksemibreve, breve: Canto 2, Alto 2, Tenore2, Bassocontinuo.mm. 93-94, first note is black breve: Canto2, Alto 2, Tenore2. NOTES m. 92, black semibreve,breve: Canto1, Alto 1; second noteis black breve:Tenore 1, Basso1. 1. SeeFritz Noske,Saints and Sinners:The Latin Musical mm. 93-94, third note is black breve: Canto 1, Alto 1, Dialogue in the SeventeenthCentury (Oxford: Claren- Tenore1, Basso1. donPress, 1992). m. 99, first noteis black breve:Tenore 2. 2. For a surveyof Grossi'slife and works, seeNatale mm.99-100,two blackbreves: Alto Viola, Canto1, Alto Ghighlione,"Giovanni Antonio Grossi: Un fecondo 1, Tenore 1; three black breves:Violino 1, Violino 2, musicistadel Seicento,"La musicasacra in Lombardia Tenore Viola, BassoViola, Canto 2, Alto 2, Basso2, nella prima metadel Seicento(Como: Antiquae Musicae Bassocontinuo. Italicae Studiosi,1988), 259-268. m. 100, secondnote is blackbreve: Tenore 2. 3. For a discussionof the entire opus, seeJohn A. m. 106, black semibreve,breve: Alto 2, Basso2, Basso MacDonald,liThe SacredVocal Music of Giovanni continuo. Legrenzi"(Ph.D. diss., University of Michigan,1964). mm. 106-107,black semibreve,breve in eachmeasure: 4. "L'lntentione dell'Autore di quest'opera e statadi Canto2. farIa a duoi Chori, di poterseneservire, cosi uniti in m. 117,second note is blackbreve: Canto 2, Alto 2, Tenore un corpo, come separati,& anco senzaorgano. Ve 2. n'ha aggionto un'altro di cinque stromenti a m. 119, secondnote is black breve: Violino 1, Violino 2, beneplacito,nel quale, se non trovarai una stretta Alto Viola. obligatione, quandos'unisse a quelli de voci, m. 121, black semibreve,breve: Alto 1; secondnote is l'haveraiperc' quandoentra anch'esso a raggiondi black breve:Basso 1. Choro, non havendomantenuta la realta a 13 per m. 122, black semibreve,breve: Canto2, Alto 2, Tenore sfuggirequei movimenti,che non incontravanoi di 2, Basso2, Bassocontinuo. lui fini. m. 136,second note is blackbreve: Canto 2, Alto 2, Tenore Ha purehal v ]uto mira, di servireal comododi 2, Basso2, Bassocontinuo. tutti, onde potra essercantata in caso di necessita m. 141, blacksemibreve, breve: Alto I, Tenore1; second conuna sol voceper Choro. Sara sempre perc,meglio, note is blackbreve: Basso 1, Bassocontinuo. se in vecedi minorarsi moitiplicarannoIe parti."

xxxi This page intentionally left blank: Maurizio Cazzati Missabrevis dettaL' Austriaca This page intentionally left blank: 1. KYRIE

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11 11 11 Chri- ste Chri- ste Chri- ste

TI I Chri- ste Chri- ste Chri- ste

BI I I I Chri- ste Chri- ste Chri- ste

Org.I

# # # 5 8 # 5

CII

Chri- ste Chri- ste Chri- ste e- le- y- son

All

Chri- ste Chri- ste Chri- ste e- le- y- son

Til

Chri- ste Chri- ste Chri- ste e- le- y- son

BII

Chri- ste Chri- ste Chri- ste e- le- y- son

Org.I1 # # • 5 8 # # 18 MISSA BREVIS DETTA L'AUSTRIACA

70 CI

Chri- ste e- le- y- son Chri- ste Chri- ste

Org.I

CII

Chri- ste Chri- ste Chri- ste

All

Chri- ste Chri- ste e- Ie-

Til

Chri- ste Chri- ste Chri- ste

BII

Chri- ste Chri- ste Chri- ste

Org. II MISSA BREVIS DETTA L'AUSTRIACA 19

75 CI

Chri- ste Chri- ste e- le- y- son

Chri- ste Chri- ste e-

Chri- ste Chri- ste e- le- y- son

Org.I

CII

Chri- ste e- le- y- son Chri- ste

All

y- son e- Ie-

Til

Chri- ste e- le- y- son Chri- ste stee- le-ste y- son

BII

Chri- ste e- le- y- son Chri- ste

Org. II # • • 20 MISSA BREVIS DETTA L'AUSTRIACA

Chri- ste Chri- ste e- le- y- SOD.

le- y- SOD e- le- y- SOD.

" le- y- SOD Chri- ste e- le- y- SOD.

Chri- ste Chri- ste e- le- y- SOD.

Org.I

• • 8 .. ~ • cn

Chri- ste e- le- y- SOD Chri- ste e- le- y- SOD.

y- SOD Chri- ste e- le- y- SOD. Tn , Chri- ste Chri- ste e- le- y- SOD.

Chri- ste e- le- y- SOD Chri- ste e- le- y- SOD.

Org.n • • ste ste • MISSA BREVIS DETIA L'AUSTRIACA 21

RitomeUo 85 Violino I

[Alto] Viola I

TenoreViola I

TromboneI

OrganoI

# # .- #3 #

Violino II

[Alto] Viola II

[Tenore] Viola II

TromboneII

Organoll

ste ste 22 MISSA BREVIS DETTA L'AUSTRIACA

Vn.I

A.VIa. I

T. VIa. I

Trb. I

Org. I

# 7 #6 # •

Vn. II

A. VIa. II

T. VIa. II

Trb. II

Org. II

ste ste # MISSA BREVIS DE'ITA L'AUSTRIACA 23

Vo.I

P. F.

A.VIa. I

T. VIa. I

Trb. I

Org. I

7 #6

Vo. II

A. VIa. II

T. VIa. II

Trb. II

Org. II

ste ste 24 MISSA BREVIS DETTA L'AUSTRIACA

100

Vn.I P •

A.VIa. I

T. VIa. I

Trb. I

Org.I

# # .. ~ # .. ~ #

Vn.IT

A. VIa. IT

T. VIa. IT

Trb.IT

Org.IT

ste ste ste ste MISSA BREVIS DETIA L'AUSTRIACA 25

105 Cantoe Violino PrimoChoro Ky- ri- e e- le- y-

Alto e [Alto] Viola PrimoChoro Ky- ri- e e- le- y-

Tenoree TenoreViola PrimoChoro Ky- ri- e e- le- y-

Bassoe Trombone PrimoChoro Ky- ri- e e- le- y-

OrganoPrimo Choro • • 7 6

Cantoe Violino SecondoChoro Ky- ri- e e- le- y-

Alto e [Alto] Viola SecondoChoro Ky- ri- e e- le- y-

Tenoree [Tenore] Viola SecondoChoro Ky- ri- e e- le- y-

Bassoe Trombone SecondoChoro Ky- ri- e e- le- y-

OrganoSecondo Choro I 7 6 • 26 MISSA BREVIS DETTA L'AUSTRIACA

ste Presto CI

son Ky- rie e- le- y-son e- Ie- y-son Ky-

Presto AI

son Ky- rie e- le- y-son e- le- y- son

son

Presto BI

son

Org. I It* IJ* 5 6 6 # ste 116 6 • # •

CII

son

All

son Ky- rie e- le- y-son e-

TII

son

BII

son Ky- rie e- le- y-

Org.II

• ste 6 MISSA BREVIS DETIA L'AUS1RIACA 27

rie e- le- y- son

Ky- rie e- le- y-son e- le- y-son Ky- ri- e

Ky- rie e- le- y- son e- le- y-son Ky- ri- e e-

Ky- rie e- le- y- son e- le- y- son Ky- rie e-

Org. I

# 6 65 6 5 6 6 6 5 6 6 6 # ~6 5 #6 ~ ~

CIT

Ky- rie e- le- y-son e- le- y-son

All le- y- son Ky- rie e- le- y- son Ky- rie e- le- y-.'

TIT

Ky- rie e- le- y-son e-

BIT

son e- le- y-son Ky- rie e- le- y-son

Org.IT

6 5 6 6 65 6 6 6 66 28 MISSA BREVIS DETTA L'AUSTRIACA

115

CI r Ky- rie e- le- y-son e- le- y- son Ky- ri- e e- Ie-

e- le- y- son Ky- rie e- le- y- son e- le- y- son

le- y- son Ky- rie e- le- y-son e- le- y- son Ky- rie e-

Ie- y-son Ky- rie e- le- y-son e- le- y-

Org. I

5 6 5 # #6 5 6 5 6 # Ij6 # ~

CII

Ky- ri- e e- le- y- son Ky- rie e-

All

son e- le- y- son Ky- rie e-

Til

le- y-son Ky- ri- e e- le- y- son Ky-

BII

Ky- rie e- le- y- son e- le- y-son Ky- rie e- le- y-son e-

Org. II

5 6 55 5 6 5 6 5 • # MISSA BREVIS DETTA L'AUSTRIACA 29

120

y- son Ky- rie e- le- y-son e- le- y-son e- le- y-son e- le- y-

Ky- rie e- le- y- son e- le- y-son e- le- y- son e- le- y-son

5 5 y- son e- le- y-son e- Ie- y-son e- le- y- son e- le- y-son e- le- y-

son Ky- rie e- le- y- son e- le- y-son e- le- y-son e- le- y-son

Org.I

5 #8 5 6

Cll

le- y-son e- le- y-son e- le- y- son e- le- y-son e- le- y-

All ~ le- y- son Ky- rie e- le- y- son e- le- y-son e- le- y- Tll , rie e- le- y-son e- le- y- son Ky- rie e- le- y- son e- le- y-son

Bll

Ie- y-son Ky- rie e- le- y-son e- le- y- son e- le- y-son e- le- y-

Org.n

5 5 6 30 MISSA BREVIS DETTA L'AUSTRIACA

125

SOD Ky- ri- e e- le- y- SOD.

Ky- ri- e e- le- y- SOD.

SOD Ky- ri- e e- le- y- SOD.

Ky- ri- e e- le- y- SOD.

Org. I

• • • .. ~ • cn

SOD Ky- ri- e e- le- y- SOD.

Ky- ri- e e- le- y- SOD.

SOD Ky- ri- e e- le- y- SOD.

Org.n

5 5 # Volenclo cantarean solo Kyrie si dice I'ultimo. 2. GLORIA

Cantoe Violino PrimoChoro

Et in terra pax h~ mini- bus ~ ne V~ lun- ta- tis Lau-da- mus

Alto e [Alto] Viola Primo Choro

Et in terra pax h~ mini- bus ~ ne V~ lun-lun- ta- tis Lau- da- mus

Tenoree TenoreViola PrimoChoro

Et in terra pax h~ mini- bus ~ ne v~lun-lun- ta- tis Lau-da- mus

Bassoe Trombone PrimoChoro

Et in terra pax h~ mini- bus ~ ne v~ lun- ta- tis Lau-da-mus

Tutti

OrganoPrimo Choro # # 5 .. 13 •

Cantoe Violino SecondoChoro

Et in terra pax h~ mini- bus ~ ne v~ lun- ta- tis

Alto e [Alto] Viola SecondoChoro :;J. :;J.'" Et in terra pax h~ mini- bus ~ ne vo- lun- ta- tis

Tenoree [Tenore] Viola SecondoChoro " Et in terra pax h~ mini- bus ~ ne v~ lun- ta- tis

Bassoe Trombone SecondoChoro ".. Et in terra pax h~ mini- bus ~lun- ne v~lun- lun- ta- tis

OrganoSecondo Choro • # 5 lun-

31 32 MISSA BREVIS DETTA L'AUSTRIACA

te Be- ne- di- ci- MUS te A-do-ra-mus te glo- ri- fl- ca-

te Be- ne- di- ci- MUS te A-do-ra-mus te glo- ri- fl-

te Be- ne- di- ci- MUS te A-do-ra-mus te glo- ri- fi-

te Be- ne- di- ci- MUS te A-do-ra-mus te glo- ri- fl-

Org.I

CII

Lau-da- MUS te Be-ne- di- ci- MUS te A- do- ra- mus te glo- ri- fi-

All

l' l' l' l'

Lau-da- MUS te Be-Be-ne-ne- di- ci- MUSMUS tete A- do- ra- mus te glo- ri- fi-

Til

Lau-da- MUS te Be-ne- di- ci- MUS te A- do- ra- MUS te glo- ri- fl-

BII

If' If' d" " Lau-da- MUS te Be-ne- 1- CI- MUS te A- do- ra- mus te glo- ri- fl-

Org. II MISSA BREVIS DETTA L'AUSTRIACA 33

mus te Gra- ti- as a- gi- mus ti- hi

I' ca- mus te Ora- ti- as a- gi- mus ti- hi

ca- mus te Gra- ti- as a- gi- mus ti- hi

Org.I .& • • • 6

Cll

ca- mus te Gra- ti- as a- gi- mus ti- hi propter rna- gnam

All

ca- mus te Gra- ti- as a- gi- mus ti- hi propter ma- gnam

Tn " ca- mus te Gra- ti- as a- gi- mus ti- hi pr0- pter ma- gnam

Bll

ca- mus te Ora- ti- as a- gi- mus ti- hi pr0- pter rna- gnam

Org.n ca- ca- • • 6 34 MISSA BREVIS DETIA L'AUSTRIACA

Do- mi- ne De- us rex ca:- Ie- stis De- us pa- ter om- ni- po-

Do- mi- ne De- us rex ere- Ie- stis De- us pa- ter om- ni- po-

Org.I

# 5 6 .. ~

CII

glo- ri- arn tu- arn

All

glo- ri- arn tu- arn

Til

glo- ri- arn tu- arn

BII

glo- ri- arn tu- arn

Org. II

ca- ca- MISSA BREVIS DETTA L'AUSTRIACA 35

15 CI

tens Do- mi- ne De- us a- gnus

Org.I

~ 6 • 6 6

Cll

Do- mi- ne fil- Ii u- ni- ge- ni- te Ie- su Chri- ste

All

Do- mi- ne fil- Ii u- ni- ge- ni- te Ie- su Chri- ste

Tll

Do- mi- ne fil- Ii u- ni- ge- ni- te Ie- su Chri- ste

Bll

Do- mi- ne fil- Ii u- ni- ge- ni- te Ie- su Chri- ste

Org.ll

6 36 MISSA BREVIS DETTA L'AUSTRIACA

20 CI

De- i fi- li- us patris Qui tollis pec-ca- ta mun- di mi- se-

De- i fi- li- us patris Qui tol- lispec-ca- ta mun- di mi- se-

De- i fi- li- us patris Qui tollis pec-ca- ta mun- di mi- se-

Orgo I

5 # .t 113 5 8 # • • • ~

Cll

Fi- li- us patris

All

Fi- li- US patris

Tll

Fi- li- US fi- li- US patris

Bll

Fi- li- US patris

Orgo II • ca-ca- • MISSA BREVIS DETTA L'AUSTRIACA 37

re- re nobis

ca- re nobis

re- re nobis

Org.I

• 5 4 ca-~ • • 5 8 • • 5

CII

Qui tollis pec- ca- ta mun- di su- sci- pe de- pne-ca- ti- 0- nem no-

All

Qui tollis pee- ca- ta mun- di su- sci- pe de- pne-ca- ti- 0- nem

TIl

Qui tollis pee- ca- ta mun- di su- sci- pe de- pra:- ca- ti- 0- nem

BII

Qui tollis pee- ca- ta mun- di su- sci- pe de- pne-ca- ti-" 0- nem

Org.I1

5 8 5 38 MISSA BREVIS DETTA L'AUSTRIACA

Qui sedes ad dex- te- ram patris mi- se- re- re nobis

Org. I

4 ca-~ 6 ~ • 4 ~ ~

CII

stram Quo- ni-am tu

All

no- stram Quo- ni-am tu

Til

no- stram Quo- ru-am tu

BII

no- stram Quo- ni-am tu

Org.II

ca- ca- MISSA BREVIS DETIA L'AUSTRIACA 39

CI -.l Tu so- Ius al- tis- si- mus Ie- su Chri-

Tu SO- Ius al- tis- si- mus Ie- su Chri-

Tu so- Ius al- tis- si- mus Ie- su Chri- ste

Tu so- Ius al- tis- si- mus Ie- su Chri-

Org. I

# ~ • # -I #6 -I ca-~

CII

SO- Ius sanctus tu SO- Ius Do- mi- nus

All

so- Ius sanctus tu so- Ius Do- mi- nus

TII

so- Ius sanctus tu so- Ius Do- mi- nus

BII

so- Ius sanctus tu so- Ius Do- mi- nus

Org.II

6 5 # • 40 MISSA BREVIS DETTA L'AUSTRIACA

35 CI

ste A-

ste Cum san-cto spi- ri- tu in glo- ri- a De- i

ste Cum san- cto

Org. I • 5 6 •

Cll " Cumsan-cto spi- ri- tu in glo- ri- a De- i patris

All

Cumsan-cto spi- ri- tu in glo- ri- a De- i patris

Tll

Cumsan-cto spi- ri- tu in glo- ri- a De- i patris

Bll

Cumsan-cto spi- ri- tu in glo- ri-" "a De- i patris

Org.ll • ca- 8 • MISSA BREVIS DETTA L'AUSTRIACA 41

men

patris A-

Cum san- cto spi- ri- tu in glo- ri- a De- i patris

spi- ri-tu in glo- ri- aDe- i patris

Org. I

ca- ca- cn

Cum san-cto spi- ri- tu in

A-

Cum san-cto spi- ri- tu in glo-ri- a De- i

Org.n • 5 6 42 MISSA BREVIS DETIA L'AUSTRIACA

40 CI

Cum san- cto spi- ri-tu in glo- ri- a De- i patris

m~n Cum san- cto spi- ri- tu in

A-

Cum san-cto spi- ri-tu in glo- ri- a De- i patris A-

Org. I

# 5 6 # 6

Cll

A-

All

glo- ri- a De- i patris A- men

Tll

men Cum san- cto

Bll

patris

Org. II

5 6 6 MISSA BREVIS DETTA L'AUSTRIACA 43

Cum san- eto spi- ri- tu in glo-ri- a De- i

glo-ri- a De- i patris Cum san-eto

men A-

men Cum san- eto spi- ri- tu in

Org.I

#6 # #6 # 5 cn

men Cum san- eto spi- ri-tu in glo- ri- a De- i patris

Cum san-eto spi- ri- tu in glo- ri- aDe- i patris A- men

spi- ri- tu in glo- ri- a De- i patris Cum san- eto spi- ri- tu in

A-

Org.n • ca- 5 44 MISSA BREVIS DETIA L'AUSTRIACA

patris A- men.

spi- ri-tu in glo- ri-aDe- i patris A- men.

,..: men Cum san- cto spi- n-tumgo-n-aDe- i patris A- men.

glo- ri- a De- i patris de- i patris A- men.

Org.I 8 # # # 4 • •

Cll

A- men A- men.

All

in glo- ri-aDe- i patris De- i patris A- men.

Tll

glo- ri-aDe- i patris De- i patris A- men.

Bll

men A- men.

Org. II 8 • # ca-ca- # 3. CREDO

Cantoe Violino PrimoChoro Pa- !rem om-ni- po- ten- tem fa- cto-rem cz-

Alto e [Alto] Viola PrimoChoro

Pa- !rem om-ni- po- ten- tem fa- cto-rem cz-

Tenoree TenoreViola PrimoChoro Pa- trem om-ni- po- ten- tem fa- cto-rem cz-

Bassoe Trombone PrimoChoro

Pa- trem om-ni- po- ten- tem fa- cto-rem cz-

Tutti OrganoPrimo Choro

Cantoe Violino SecondoChoro

Pa- trem om-ni- po- ten- tem fa- cto-rem

Alto e [Alto] Viola SecondoChoro Pa- trem om-ni- po- ten- tem fa- cto-rem

Tenoree [Tenore] Viola Secondo Choro Pa- trem om- ni- po- ten- tem fa- cto-rem

Bassoe Trombone SecondoChoro

Pa- trem om- ni- po- ten- tem fa- cto-rem

OrganoSecondo Choro

45 46 MISSA BREVIS DETTA L'AUSTRIACA

Ii & terra: vi- si- bi- Ii- urn orn- ni- urn & in- vi- si- bi- Ii-urn

li & ter- ral vi- si- bi- li- urn orn- ni- urn & in- vi- si- bi- li-urn

Ii & terra: vi- si- :- Ir- urn orn- ni- urn & in- vi- si- bi- Ii-urn

li & terra: vi- si- bi- li- urn orn- ni- urn & in- vi- si- bi- li-urn

Org.I

~ 6 5 # #

CII

cz- li & terra:. vi- si- bi- Ir- urn orn- ni- urn & in- vi- si- bi- li-urn

All

CIe- li & terra: vi- si- bi- li- urn orn- ni- urn & In- vi- si- bi- Ii-urn

TIl

cz- li & ter- ral vi- si- bi- li- urn orn- ni- urn & in- vi- si- bi- li-urn

BII CIe- li & ter- ral vi- si- bi- li- urn" orn- ni- urn & in- vi- si- bi- li- urn Org. II 6 5 • • MISSA BREVIS DETIA L'AUSTRIACA 47

& in u- num Do-mi- num Ie- sum Chri-stum fi- Ii- um De- i u- ni- ge- ni-tum

& in u- num Do- mi- num Ie- sum Chri-stum fi- Ii- um De- i u- ni- ge- ni-tum

in u- num Do- mi- num Ie- sum Chri-stum fi- Ii- um De- i u- ni- ge- ni- tum

& in u- num Do- mi- num Ie- sum Ch'n-stum)- ;:- !De- i u- ni- ge- m- tum

Org. I

~ # 5 8 • .& ~ •

Cll

Et ex patre

All

Et ex patre

Tll

Et ex patre

Bll

Et ex patre

Org. II 48 MISSA BREVIS DETTA L'AUSTRIACA

De- urn de De- 0 lu- men de lu- mi-ne

TI ~ F' De- urn de De- 0 lu- men de lu- Dll- ne

De- urn de De- 0 lu- men de lu- mi-ne

Org. I

Cll

na- tum an- te om- ni- a sa:- cu- la De- urn

All

Da- tum an- te om- ni- a sa:- cu- la De- urn

Tll F' na- tum an- te om- ni- a sa:- cu- la De- urn

Bll

na- tum an- te om- 01- a sa:- cu- la De- um

Org.ll MISSA BREVIS DETIA L'AUSTRIACA 49

Ge- ni- tum'" non'" fa- ctum con- sub- stan- ti- a-'" lem'"

Ge- ni- tum non fa- ctum con- sub- stan- ti- a- lem

Ge- ni- tum non' fa- ctum con- sub- stan- ti- a- lem

Org.I

CII

ve- rum de De- 0 ve- ro

All

ve- rum de De- 0 ve- ro TII , ve- rum de De- 0 ve- ro

BII

ve- rum de De-'" 0 ve- ro

Org.II • 50 MISSA BREVIS DETTA L'AUSTRIACA

15 CI

pa- tri per quem om- ni- a fa- cta sunt & propter

pa- tri per quem om- ni-a fa- cta sunt & propter

pa- tri per quem om- ni- a fa- cta sunt & propter

Org.I

fa-

Cll

Qui pr0- pter nos ho- mi-nes

All

Qui propter nos ho- mi-nes

Qui propter nos ho- mi-Des

Bll

Qui propter nos ho- mi-Des

Org.ll

fa- • MISSA BREVIS DETTA L'AUSTRIACA 51

no- stram sa- lu- tem de- seen- ditdecz- lis Et in- car-na- tus est de

no- stram sa- lu- tem de- seen- dit de cz- lis Et in- car-na- tus est de

no- stram sa- 10- tem de- seen- dit decre- lis Et in- car-na- tus est de

no- stram sa- lu- telli de- scen- dit de Cle- lis Et in- car-na- tus est de

Org. I

Cll

de-scen- dit Et in- car-na- tus est de

All

de-scen- dit Et in- car-na- tus est de

Tll

de-seen- dit Et in- car-na- tus est de

Bll

de-seen- dit Et in- car-na- tus est de

Org. II • 52 MISSA BREVIS DETIA L'AUSTRIACA

20 CI

spi- ri- tu san-cto ex Ma- ri- a Vir- gi-ne & ho- mofa- etus est.

spi- ri- tu san-cto ex Ma- ri- a Vir- gi-ne & homo fa- ctus est.

spi- ri- tu san-cto ex Ma- ri- a Vir- gi-ne & ho- mofa- ctus est.

spi- ri- tu san-eto ex Ma- ri- a Vir- gi-ne & homo & homo fa- ctus est.

Org. I

# # # 6 6 # #

CII

spi- ri- tu san-eto ex Ma- ri- a Vir- gi- ne & homo fa- ctus est.

All

spi- ri- tu san-cto ex Ma- ri- a Vir- gi-ne & homo fa- ctus est.

Til

ca- ri- tu san-cto ex Ma- ri- a Vir- gi- ne & homo fa- ctus est.

BII ,. spi- ri- tu san-cto ex Ma- ri- a Vir- gi-ne & homo & homo fa- ctus est.

Org. II • # # 6 # ca-5 ca- ca- • MISSA BREVIS DETIA L'AUSTRIACA 53

25 CI

Cru- ci- 6- xus e- ti- am pro nobis sub Pon- f- 0 Pi- la- to passus & se- pul- tus

Cru- ci- 6- xus e- ti- am pro nobis sub Pon- ti- 0 Pi- la- to passus & se- pul- tus

Org.I

# # 7 # #

Cll

All

Tll

Bll

Org. II 54 MISSA BREVIS DETTA L'AUSTRIACA

est Re- sur- re- xit ter- ti- a di- ll: se- CUD- dum scri-ptu-

est Re- sur- re- xit ter- ti- a di- ll: se- CUD- dumscri- ptu-

est Re- sur- re- xit ter- ti- a di- ll: se- CUD- dumscri-ptu-

Org.I

~ 6 # # #

Cll

Et re-sur-re- xit re-sur- re- xit

All

Et re-sur-re- xit re- sur- re- xit

Tll

Et re-sur-re- xit re-sur- re- xit

Bll

Et re-sur-re- xit re-sur- re- xit

Org.ll

6 MISSA BREVIS DETIA L'AUSTRIACA 55

30 CI

ras Et i- te- rum ven-tu- rus est

ras Et i- te- rum ven-lU- rus

TI r ras Et i- te- rum ven-lU- rus

ras Et i- te- rum ven-tu- rus est

Org.I cn p Et a-scen-dit in ca:-lum se- det ad dex-te- ram patris Et i- te-rum

Et a-scen-dit in ell:- lum se- det ad dex-te- ram patris Et i- te-rum

Et a-scen-dit fn ca:-lum se- det : dex-te- ram patris Et i- te-rum

Et a-scen-dit in ell:- lum se- det ad dex-te- ram patris Et i- te-rum

Org.n 56 MISSA BREVIS DETTA L'AUSTRIACA

Iu- di- ca- re vi- vos & mor- tu-os

est Iu- di- ca- re vi- vos & mor- tu-os

Iu- di- ca- re vi- vos & mor- tu-os

Org.I • • • • 6 • Cll

ven- tu- rus est cum glo- ri- a Cu- ius re- gmnon~re- re- rit

All

ven- tu- rus est cum glo- ri- a Cu- ius re- gninon ~ rit

Tll

ven- tu- rus est cum glo- ri- a Cu- ius re- gm non ~ rit

Bll p'. ven- tu- rus est cum glo- ri- a Cu- ius re- gmnon ~ rit

Org.ll # • • 6 • MISSA BREVIS DETTA L'AUSTRIACA 57

35 CI

non e- rit non e- rit non e- rit fi- nis Et in

Org.I

Cll

fi- nis non e- rit non e- rit fi- nis Et in

All

fi- nis non e- rit non e- rit fi- nis Et in

Tll

fi- nis non e- rit non e- rit fi- nis Et in

Bll

fi- nis non e- rit non e- rit fi- nis Et in

Org.ll

# 58 MISSA BREVIS DETTA L'AUSTRIACA

spi- ri- tum san-ctum Do- mi-num & vi-vi- fi- can- tern

spi- ri- tum san-ctum Do- mi-num & vi- vi- fi- ean-. tern

spi- ri- tum san-ctum Do- mi-num & vi- vi- fi- can- tern

Org.I

CII

spi- ri- tum san-ctum Do- mi-num & vi- vi- fi- ean- tern Qui ex

All

spi- ri- tum san-ctum Do- mi-num & vi- vi- fi- can- tern Qui ex

Til

spi- ri- tum san-ctum Do- mi-num & vi- vi- fi- ean- tern Qui ex

BII

spi- ri- tum san-ctum Do- mi-num & vi-vi- fi- can- tern Qui ex

Org. II

8 MISSA BREVIS DETTA L'AUSTRIACA 59

Qui cum

Org.I

~ 6 6 6 #

1\ Cll tl l' patre fi- li- (r qua: pro- ce- dit

All

patre fi- li- (r qua: pro- ce- dit

Tll

patre fi- li- (r qua: pro- ce- dit

Bll

patre fi- li- (r qua: pro- ce- dit

Org.ll

6 re- 60 MISSA BREVIS DETIA L'AUSTRIACA

50 CI

patre & fi- Ii- 0 Qui 10- cu- tus

Org.I

# # # 6

Cll

Si- mul a- do- ra- tur & COD- glo- ri- fi- ca- tur

All

Si- mul a- do- ra- tur & COD- glo- ri- fi- ea- tur

Tll

Si- mul a- do- ra- tur & COD- glo- ri- fi- ca- tur

Bll

Si- mul a- d0- ra- tur & COD- glo- ri- fi- ea- tur

Org.ll MISSA BREVIS DEITA L'AUSTRIACA 61

55 CI

est per p~ phe- tas Et a- po- sto- Ii-cam

AI !14 1J9' est per ~ phe- tas Et a- po- sto- Ii-cam

est per p~ phe- tas Et a- po- sto- Ii-cam

Org, I

• 5 8 • • 5 8

CII

Et u- nam sanctam ca- tho-- Ii-cam

All IJ9 " Et u- nam sanctam ca- tho-- Ii-cam

Til

Et u- nam sanctam ca- tho-- li-cam

BII

Et u- nam sanctam ca- tho-- li-cam

Org, II

# 5 8 re- # # 62 MISSA BREVIS DETTA L'AUSTRIACA

60 CI

ec- cle- si- am Con- fi- te- or u- num ba- pti- sma

TI ~ ec- cle- si- am Con- fi- te- or u- num ba- pti- sma

ec- cle- si- am Con- fi- te- or u- num ba- pti- sma

Org. I # " ~ # #

CIT

Con- fi- te- or u- num ba- pti- sma

All '" '" '" Con- fi- te- or u- num ba- pti- sma

TIT

Con- fi- te- or u- num ba- pti- sma

BII

Con- fi- te- or u- num ba- pti- sma

Org.IT MISSA BREVIS DETIA L'AUSTRIACA 63

65 CI

Et ex- pe- cto

Et ex- pe- eto

Et ex- pe- cto

Org.I

118 # •

CII

in re- mis- si- 0- nempec- ca- to- rum Et ex-

All -e " in re- mis- si- 0- nempec- ca- to- rum Et ex-

Til

in re-mis- si- 0- nempec- ca- to- rum Et ex-

BIT

in re- mis- si- 0- nempec- ca- to- rum Et ex-

Org.II

re- 64 MISSA BREVIS DETTA L'AUSTRIACA

70 CI

re- sur- re- cti- 0- nemmor- tu- 0- rum & vitam ven-

re- sur- re- eti- 0- nemmor- tu- 0- rum & vitam ven-

Org. I • • 8 • • • 5 Cll

pe- eto Et vitam

All

pe- cto Et vitam

Tll

pe- cto Et vitam

Bll I I pe- cto Et vitam

Org.ll I • • MISSA BREVIS DETIA L'AUSTRIACA 65

75 CI

tu- ri sa:- cu- Ii A-

tu- ri SIe- cu- Ii A-

Org.I 117 • • 5 7

Cll

Et vitam ven- tu- ri SIe- cu- Ii

All " " Et vitam ven- tu- ri sa:- cu- Ii

Tll

Et vitam ven- tu- ri SIe- cu-Ii

Bll

Et vitam ven- tu- ri SIe- cu- Ii

Org.II • 5 • 66 MISSA BREVIS DETTA L'AUSTRIACA

80 CI

men & vitam ven-

TI ,; men & vitam ven-

men & vitam ven-

Org. I

6 ~ 5 # 7 # # # 5

Cll

Et vitam

All

Et vitam

Tll

Et vitam

Bll

Et vitam

Org. II MISSA BREVIS DETTA L'AUSTRIACA 67

85 CI

tu- ri sre- cu- Ii Et

TI ~ tu- ri sre- cu- Ii Et

tu- ri sre- cu- Ii Et

Org. I " #7 6 5 5 7 • • q • •

CII

A-

All

A- men

Til

A-

BII

A-

Org. II

6 5 7 68 MISSA BREVIS DETTA L'AUSTRIACA

vitam A- men

vitam A-

vitam & vitam ven-

vitam A-

Org. I

# # 5 7 # # #

Cll

men & vitam ven- tu- ri sre- cu- Ii

All " " vitam ven- tu- ri sre- cu- Ii

Tll

men vitam ven- tu- ri sre- cu- Ii &

Bll

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

Org. II

5 7 MISSA BREVIS DETTA L'AUSTRIACA 69

95 CI

& vitam ven- tu- ri sre- eu- Ii A-

men & VI- tam ven- tu- ri sre- cu-

tu- ri sre- eu- Ii ven- tu- ri sre- eu-

men A-

Org, I

I I I I I

Cll

A-

All

A- men

Tll

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

Bll

A- men A-

Org, II

I I 70 MISSA BREVIS DETIA L'AUSTRIACA

100 CI

men A- men A- men.

Ii A- men A- men.

TI ~ Ii A- men A- men.

men A- men A- men.

Org. I

# # # #

Cil

men A- men A- men.

All

A- men A- men.

Til " men" A- men A- men.

Bil

men A- men A- men.

Org. II

# 4. SANCTUS

Cantoe Violino PrimoChoro San- ctus sanctus

Alto e [Alto] Viola Primo Choro San- ctus sanctus

Tenoree TenoreViola PrimoChoro San- ctus sanctus

Bassoe Trombone PrimoChoro San- ctus sanctus

OrganoPrimo Choro

Cantoe Violino SecondoChoro San- ctus

Alto e [Alto] Viola SecondoChoro San- ctus

Tenoree [Tenore] Viola SecondoChoro San- ctus sanctus

Bassoe Trombone SecondoChoro San- ctus

OrganoSecondo Choro

71 72 MISSA BREVIS DETTA L'AUSTRIACA

sanctus Do- mi-nus De- us sa- ba- hot pIe- ni sunt CIe-

sanctus Do- mi- nus De- us sa- ba- hot

sanctus Do- mi-nus De-ussa- ba- hot pIe- ni sunt

sanctus Do- mi- nus De- us sa- ba- hot pIe-

Org. I

# # # .. ~ # .. ~

CII

sanctus Do- mi- nus De- us sa- ba-hot

All

sanctus Do- mi- nus De- us sa- ba- hot

Til

sanctus Do- mi- nus De- us sa- ba-hot

BII

sanctus Do- mi- nus De- us sa- ba-hot

Org. II

re- re- re- re- MISSA BREVIS DETTA L'AUSTRIACA 73

10 CI

Ii & terra

pie- ni sunt ca>- li & terra

ca>- li & terra

ni sunt cz.-. li & terra

Org. I

pie- ni sunt cz.-. li & ter-

pie- ni sunt ca>-

pie- ni sunt

pie- ni sunt ca>- li &

Org. II 74 MISSA BREVIS DETTA L'AUSTRIACA

15 CI

0- sa- na in ex- cel- sis

0- sa- na in ex-cel- sis

0- sa- na in ex- cel- sis

Org. I

• • • 5 8 .t ~ ~

CII

ra glo- ri- a tu- a 0- sa- na

All " " Ii & terra glo- ri- a tu- a 0- sa- na

TII

em- Ii & terra glo- ri- a tu- a 0- sa- na

BII

terra glo- ri- a tu- a 0- sa- na

Org.II I I • • re- MISSA BREVIS DETTA L'AUSTRIACA 75

20 CI

0- sa- na in ex- cel- sis 0- sa- na in ex-

0- sa- na in ex- ce~ sis 0- sa- na in ex-

Org. I 5 6 " ~ # # # # # # # # # #

Cll

in ex-cel- sis 0- sa- na in ex-cel- sis 0- sa- na

All

in ex-cel- sis 0- sa- na in ex- cel- sis 0- sa- na

Tll

in ex-cel- sis o-sa- na in ex- cel- sis 0- sa- na

Bll

in ex-cel- sis 0- sa- na in ex- cel- sis 0- sa- na

Org. II 5 6 re- re- # • • # # • # 76 MISSA BREVIS DETTA L'AUSTRIACA

cel- sis 0- sa- na in eX-<:eI- sis.

cel- sis 0- sa- na in ex- cel- sis.

TI " cel- sis 0- sa- na in ex- cel- sis.

cel- sis 0- sa- na in ex- cel- sis.

Org. I • • .. •

CII

in ex- cel- sis in ex- cel- sis.

All

in ex- cel- sis in ex- cel- sis.

TII

in ex- cel- sis in ex- cel- sis.

BII

in ex- cel- sis in ex- cel- sis.

Org. II • • re- re- • 5.AGNUSDEI

Cantoe Violino PrimoChoro A- gnus De- i qui tollis pee- ca- ta

Alto e [Alto] Viola PrimoChoro A- gnus De- i qui tollis pee- ca- ta

Tenoree TenoreViola PrimoChoro A- gnus De- i qui tollis pec- ca- ta

Bassoe Trombone PrimoChoro A- gnus De- i qui tollis pee-ca-

OrganoPrimo Choro # # # 6 • 6

Cantoe Violino Secondo Choro

Alto e [Alto] Viola SecondoChoro

Tenoree [Tenore] Viola SecondoChoro

Bassoe Trombone SecondoChoro

OrganoSecondo Choro

77 78 MISSA BREVIS DEITA L'AUSTRIACA

mun- di mi- se-re- re nobis

ta mun- di mi- se-re- re nobis

Org. I

# # # # # 6 #6

Cll

A- gnus De- i qui

All lJU A- gnus De- i qui

Tll

A- gnus De- i qui

Bll

A- gnus De- i qui

Org. II

re- re- MISSA BREVIS DETIA L'AUSTRIACA 79

A- gnus

Org.I

# # 8 # # 8 #

CII

tollis pee- ca- ta mun- di mi- se- re- re no-

All

tollis pec- ca- ta mun- di mi- se- re- re no-

Til

tollis pec- ca- ta mun- di mi- se- re- re no-

BII

tollis pee-ca- ta mun- di mi- so- re- re no-

Org.n • • 8 # # 8 80 MISSA BREVIS DETIA L'AUSTRIACA

15 20

De- i Qui tollis pee- ca- ta mun- di

A- gnus De- i Qui tollis pee- ca- ta mun- di

Org.

Cll

his A- gnus De- i Qui

All

his A- gnus De- i Qui

Tll

his A- gnus De- i Qui

Bll

his A- gnus De- i Qui

Org. II MISSA BREVIS DETTA L'AUSTRIACA 81

mi- ~ re- re

Org.I

CII

toI- lis pee- ca- ta mun- di mi- ~

All

toI- lis pee- ca- ta mun- di mi- ~ re-

TIl

toI- lis pee- ca- ta mun- di mi- ~

BII

toI- lis pee- ca- ta mun- di mi- ~

Org. II 82 MISSA BREVIS DETIA L'AUSTRIACA

30 CI

mi- se- re- re nobis mi- se- re- re nobis.

AI " mi- se- re- re nobis mi- se- re- re mi-se- re- re nobis.

mi- se- re- re nobis mi- se- re- re mi-se- re- re nobis.

Org. I

Cll

re- re mi- se- re- re nobis mi- se- re- re nobis.

All

re mi- se- re- re nobis mi- se- re- re nobis.

Tll " " .' re- re mi- se- re- re nobis mi- se- re- re nobis.

Bll

re- re mi- se- re- re nobis mi- se- re- re nobis.

Org.ll