Missa Berzerette savoyene Antoine Brumel (c.1460–1512/3) Petrucci, Missae Antonii Brumel [Venice, 1503] (RISM B4643) Dresden, Sächsische Landesbibliothek, MS Mus. 1/D/506 [Wittenberg, c.1520] 1. Kyrie eleison . & % / ! , & # SUPERIUS $$ ' & && && && - ! % $ ! $ " ! ALTUS $ & && && && +, $ ! % $ ' 8 ! $ # " ! ! TENOR $ +, ! % $ ' & && && ! 8 Ky ! " ! ! ! * ( ( ( # # " " " ( + BASSUS " , ! ) $$ ' 0 Ky ri e e lei 5 / $ % $ && && && && && $ % $ && && ! ( ( ( # # 8 Ky ri e e lei $ ( ( # # " # % $ ( " " " ( ( # # " " # # 8 ri e e lei son, Ky ri e e ) ("# # " # " #2 ""# # # # # # $$ " " " ( 1 # 0 son, e lei son, Ky ri e e lei 10 / $ " % $ ! 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Chri ste ( " " ( # # " " ( ) $$ ' 1 1 1 ( " " 0 Chri ste e lei Brumel Missa Berzerette savoyene 3 41 / $ ! % $ && ! ! * Chri ste e $ " " # ( && % $ # # # " " # # ( # #2 " ( " " # # 8 lei son, Chri ste e lei son, " $ ( ( ( ( " " # ( % $ ( 1 # " " # # " " ( # " " 8 e lei son, Chri ste e lei ( " " ) $$ ( ( & ! # #2 " " " ! # 0 son, Chri ste e lei 47 " / $ ! * ! ! % $ && lei son, $ & ( ( % $ ( 1 # # #2 " " " # ( # ( 1 # " " " " 8 Chri ste e lei son, Chri $ #2 # # # " " # # ( % $ # " " " ( # " " " " # ( 1 #2 " " " 8 son, Chri ste e lei son, Chri ste ) # # ( #2 ( $$ ( * " " " # ! ! 0 son, Chri ste e lei son, 53 / $ % $ && && && $ ( # # # " " ( ( " ( # % $ # " ( 1 # " " ( " " 1 8 ste e lei son, Chri ste, Chri $ #2 ( #2 " # ( # % $ #2 " # # # ( # " # # # # # # 8 e lei son, e lei son, e lei son, ) ( # ( #2 " # # " " ( $$ 1 #2 " # # " " 1 #2 " # " " 1 0 Chri ste, Chri ste, Chri ste, 59 / $ *2 ( * % $ ! ( ( * Chri ste e lei ( $ " " ( " " 1 ( " # # ( # " " # # % $ # # " " # # # " 8 ste, Chri ste, Chri ste e lei $ ( % $ ( #2 " # # * ( # # # " " ( 1 #2 " # 8 Chri ste e lei son, e lei son, Chri ) ( ( " ( " $$ 1 #2 " # # " " * ! 1 # " " 0 Chri ste, Chri ste, Chri 4 Missa Berzerette savoyene Brumel 65 " / $ 4 % $ * ! 8 son. $ # # ( ! ( " " # ( # # % $ * 1 #2 " " " 8 son, Chri ste e #$" $ (2 % $ # " " ( ( 1 # " "$# ( ( 1 # " " ( " " " " 8 ste e lei son, Chri ste " ( ( 2 " # # " ( ( " ) $$ ( & # ( # # # " # " 0 ste e lei son, Chri ste e lei 71 / $ 2 % $ & ( ! ( Ky ri " $ " " # " " ( # 34 # # ( % $ #2 " * (2 # 8 lei son. Ky $ # 4 ! ! % $ # # # # # ( 6 ( ( 8 e lei son. Ky ri ) # # 34 ( # # $$ # #2 " # ( ! ( ( 0 son. Ky ri 77 / $ % $ ! * ( ( * 9 & ( e e lei son, Ky " " $ # " " ( ( (2 " " " # #2 " " " ( # % $ ( " " # #2 1 8 ri e e lei son, e lei son, Ky " " $ ( " " " " # #2 " " " ( ( % $ ! 1 # ( ( ( 8 e e lei son, Ky ri e, * ( ( * ( * ( ) $$ ( ( 0 e e lei son, Ky 83 / $ 2 % $ ! ( ! * ( ( * ri e e lei son, " " $ ( ( ( #2 " " " # #2 " " " ( # % $ # " " #2 " ( 1 1 8 ri e e lei son, Ky " " $ " " " ( # # " " ( ( # # ( # % $ 1 #2 1 1 " " #2 " # 8 Ky ri e, Ky ri e e lei son, Ky * ( ( * ( ( * ( ( ) $$ 0 ri e e lei Brumel Missa Berzerette savoyene 5 89 / $ && ( % $ ' 2 # # # ( # " " ( # " " ( Ky ri $ # ( # # ( % $ "#" ( # # # (2 " " ( 8 ri e, Ky ri e " " $ # " ( ! (2 # % $ " # # ( * 8 ri e, Ky ri * ( ! ) $$ ( # # # # ! 0 son, Ky ri 94 ⌜ ⌝ / $ && % $ ! #2 " ( # # # # e e lei $ ( " ( # ( % $ 1 " ( # # # ( 8 e lei son, Ky $ & (2 % $ ! ( # # # ( 8 e e lei son, ( (2 # # # 2 ) $$ ( ( ( # 0 e e lei son, Ky 98 / 4 $$ ( ( ( 3 % ( ( # # # son, Ky ri# e(!e lei son. $ # # # # 2 # # " " ( 34 % $ ( " " ( 1 8 ri e e lei son. $ (2 # ( " " 4 % $ # # ( 1 # # ( 3 8 Ky ri e e lei son. ) 4 $$ # # ( ( ( ! ! 5 0 ri e e lei son. Antoine Brumel was a leading French composer of the Franco-Flemish High Renaissance. He held positions in Geneva and Laon, and was in charge of the education of the choirboys at Notre Dame de Paris, before being appointed choirmaster to the Duke of Ferrara in 1506, a post previously held by Josquin des Prez and Jacob Obrecht. This parody mass is based on Josquin sfour-partsettingofapopularFrenchchanson. Editorial Notes: This edition is set one tone lower than the original. Editorial accidentals are indicated above the note. Consistent with16th-centuryconvention,the' mensuration sign and its modern-equivalent ( time signature signify a semibreve tactus. Original note values are retained, with the exception of the Superius sections in ) time, in which note values are doubled for ease of reading in the context of the other three parts and the rest of the Superiusline. Bar lines are added only to aid reading and direction: ‘strong’ and ‘weak’ beats implied by their position should never take precedence over phrasing or word stress. Ligatures and coloration in the source are acknowledged with overarching square brackets and open bracketsrespectively.Wordunderlay reflects editorial judgment and has been freely applied, given the ambiguity of the sources. Engraved on 28 Feb 2019 using LilyPond 2.18.2 (http://lilypond.org/).