Jean-Baptiste Boësset. Motets for mixed voices Volume 1

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1 ean-baptiste Boësset ( ) Motets for mixed voies olume 1 Edited y Paul Gameson in assoiation ith

2 ean-baptiste Boësset ( ) Motets for mixed voies, olume 1 Edited y Paul Gameson Introdution Performane information Editorial Proedure Editorial ommentary Translations ii ii iv iv v 1. Ave vere sanguis (SSATB-) 1 2. Domine salvum fa regem (SSATB-) 4 2. In manus tuas Domine (SATTB-) 7 3. Regina oeli (SSATB-) 9 4. Salve Regina (SATB-) eni sponsa mea (SATTB-) identes hriste SATB 25 York Early Musi Press In assoiation ith Department of Musi, niversity of York, Heslington Foundation and York Early Musi Foundation. at Department of Musi, niversity of York York YO10 5DD K info@yorkearlymusipress.om.yorkearlymusipress.om Phone: +44 (0) Otoer 2002

3 ii Introdution ean-baptiste Boësset ( ) served Anne of Austria (King Louis XI s mother and regent during Louis minority) from 1643 to 1662, and Marie-Thérèse (Louis queen) from 1660 to He ontriuted to several allets de our during the 1640s 60s, hih inluded ollaorations ith Lully, ut remained on the periphery of musial reorganization of the hapelle Royale during the 1660s. ust eight sared orks are attriuted to Boësset, and all are found in a large manusript anthology of sared musi held in the Biliothèque Nationale, Paris, shelfmark Rés MS ma 571. These inlude three masses 2, a faux-ourdon psalm setting, and four motets. It is likely that Boësset s motets for mixed voies ere intended for the private orship of Anne of Austria and Marie-Thérèse. Both queens oasted modest-sized musial households of aout tenty singers, hih ere omined ith the hapelle Royale for speial oasions. The manusript soure, part of Séastien de Brossard s olletion donated to the Biliothèque du Roi in 1726, as opied toards the end of the seventeenth entury and reflets progressive musi in Frane in the early part of that entury, inluding the hurh musiian Guillaume Bouzigna ( ), hose onertatostyle orks ere never pulished ut nevertheless ell-knon in Paris, and motets from puliations featuring the earliest use of independent ontinuo line, Du Mont s antia sara (1652) and Moulinié s Meslanges (1658). On grounds of musial style it is proale that many of the anonymous orks in the manusript are also y Boësset. Only one piee in this olletion, Salve Regina, is attriuted to Boësset, though Domine salvum fa regem is an arrangement of a four-part motet for unroken voies y the omposer. 3 The voal style of orks in the manusript and printed olletions exudes melodi simpliity over virtuoso display and might almost e seen as a reation against the flamoyane of Italian musi, rought to Frane y the large numer of itinerant Italian musiians from the 1640s. Performane Liturgial ontext The Marian antiphons Salve Regina and Regina oeli and the ompline respond In manus tuas Domine are the only motets setting Proper texts. In ommon ith pratie in the rest the of Europe, there as a trend to sustitute Propers ith para-liturigial texts. eni sponsa mea, ith a text from the Song of Songs, might e used for Marian or other virgin feasts (the opening text is used for the Antiphon for the Feast of the ommon of virgins). Alloanes ere made elsehere in the liturgy for the inlusion of other musi. The short motets Ave vere sanguis and identes hriste ere proaly intended for use in Mass during the Elevation of the Host, eteen the Beneditus and Agnus Dei. It is likely that if an Elevation motet as sung, it replaed the Beneditus, and Boësset omits this movement in his three mass settings. The text Domine salvum fa regem (Psalm 19, v.10, Save, Lord: let the king hear us hen e all ) as introdued during the reign of Louis XIII to onlude mass, and it upholds the santity of kingship. 1 For further reading, see Norert Dufourq, ean-baptiste de Boësset: un musiien, offiier du roi et gentilhomme ampagnard ( ) (Paris, 1962); Yolande de Brossard, La olletion Séastien de Brossard : atalogue (Paris, 1994); Denise Launay, La musique religieuse en Frane du onile de Trente à 1804 (Paris, 1993); and Paul Gameson, The Development of the Frenh Fe-voied ontinuo Motet (PhD dissertation, niversity of York, 2002). 2 See ean-baptiste Boësset: Messe du trosième mode transposé; Messe du quatrième mode; Messe du Tiers; ed. Paul Gameson (York, York Early Musi Press, 2002). 3 See ean-baptiste Boësset: Motets for high voies, ol. 1; ed. Paul Gameson (York, York Early Musi Press, 2002).

4 Transpostion and soring iii In ontemporary Italian and German musi, the use of high lef ominations inluding G2 and F3 knon as hiavette implied that the piee as to e transposed don, usually y a fourth, though there is little evidene that suh pratie ourred in Frane. When onsidering Parisian pith perhaps as lo as a =396 Hz (suh as Mersenne s Ton de hapelle ), a typial transposition ould plae the musi don a fifth for modern performers at a = 440 Hz. 4 The poliy of this edition has een to hoose pithes here the voies ranges remain omfortale for modern performers: all ut one of the motets have een left at the original pith; Salve Regina, using the higher lefs G2-2-3-F3, has een transposed don a minor third. There are no indiations in the manusript of solo or full indiations, ut printed soures often inluded diretions to exploit the soring ontrasts if fores availale permitted (antiipating the formal struture of grand and petit hoeur in the ersailles grand motet). This ontrast might e used to good effet, for instane, in the refrain (horus) and verses (solo) of eni sponsa mea. Metre and tempo ust to metres, oth duple, are used in these motets. The duple metres are defined y the predominant unit of melodi movement and rate of harmoni hange rather than the relationship eteen the note values, so a minim pulse in oth signatures is the same, possily.60. This is evident in Regina oeli, hih appears elsehere in the manusript arranged for four voies: the first time hange ours in ar 8 of the five-part version, and ar 9 of the four-part version. Ornamentation Several typial ornamental figures of the air de our are ritten out in the musi, the most ommon eing the avant son (antiipation, either in a single voie or at a harmoni level), port de voix (a rising one-note grae no ith anapaesti underlay, sometimes ith delayed resolution), and the aent (a grae-note involving a hange of diretion from main note to neighour). The asene of other notated ornaments does not prelude their inlusion, though this ould e impratial for more than one singer to a part. A tremlement, or trill, an e used on the thirds of hords at adenes and should egin on the main note (upper or loer). The simple melodi lines of the solo passages ould e emellished ith the ornaments mentioned aove, and more Italian ornaments (mentioned in Frenh voal manuals). The tempo should reflet the fat that notated figures are ornamental not melodi, and e sung as if they ere improvised, lightly and free; for instane, the avant son and port de voix ould e over-dotted. The usually unritten onvention of inégale is the most harateristi Frenh rhythmi emellishment; it features the slight alteration to the length of ertain note pairs, usually the fastest notes in the tempo (quavers in ) and moving in stepise motion. 4 Mihael Lindley, Temperament in Stanley Sadie, ed., The Ne Grove Ditionary of Musi and Musiians, 2nd edition (London, 2001): 25, Mersenne (Harmonie niverselle (Paris, 1636)) ontrasts the Ton de la hapelle ith the Ton de la hamre (at a = 464Hz). omplaints that there is no uniform pith are made y to riters: Mersenne and André Maugars (Response faite à un urieux, sur le sentiment de la musique d Italie (Paris, 1639)).

5 iv Editorial proedure Prefatory staves sho original lefs, keys and time signatures, folloed y editorial nomenlature. The loer voal line and ontinuo share the same stave. In the soure, vertial lines learly indiate hen the voie should e silent. Original time signatures are generally used, though here modern signatures and hange of note value are preferred, the original is inluded aove the stave. Barring has een regularized. Original doule ars have een retained. In final ars, if there is a fermata in one part, it is inluded in the other parts and noted in the ommentary. In the soure, typially quavers are eamed together for melismas and separately for single syllales: in the sore they have een eamed aording to modern use. Preautionary aidentals in the soure are inluded in the sore. Extra aidentals in the soure that are redundant in modern musial onvention are not aknoledged. Aidentals aove the note are editorial indiating unnotated aidentals required y the rules of musia fita. Areviated ords, puntuation and spelling have een realised taitly. nlear underlay and ords omitted in the soure appear in italis. Throughout the soure a vertial tik is used to indiate hen the ass sings or hen the text is repeated; neither are inluded in the sore. It is also used in the manner of a modern omma to suggest that voies finish the note early, usually hen the solo voie has a shorter note; these are indiated in the sore. Soure Paris, Biliothèque Nationale, Rés MS ma 571. Editorial ommentary Numers refer to ar and supersript numers to the eat ithin the ar Areviations: r reve s semireve m minim r rothet q quaver 1. Ave vere sanguis f. 163v ar lengths halved 2. Domine salvum fa regem 175r-175v 29 3 repeat ar: m - m r (see D in.12) 3. In manus tuas, Domine 162v-163r 4. Regina oeli 149v-150v 5. Salve Regina 54v-55r ars are sriled out, ith another ending at f. 56v y a different hand, ho heads the setion Suitte [au] faute du Salve preedand de Mr Boesset ; hoever, oth versions are idential underlay pia 82 3 T G sharp (no aidental)

6 v 6. eni sponsa mea 131r-132v Repeats are not ritten out ut learly indiated in the manusript. No repeat is suggested at.111, though one might e added if the refrain is treated as a horus. 7. identes hriste 164r-164v Texts and Translations 1. Ave vere sanguis Ave vere sanguis pretiosi orporis Domini nostri esu hris qui pro nois in lingo rues effusus fuisti redemptio mundi. Hail most preious lood of the ody of our Lord esus hrist hih for us poured forth from the ood of the ross as a redemption for the orld. 2. Domine salvum fa regem Domine salvum fa regem; et exaudi nos in die qua invoaverimus te. Save, Lord: let the king hear us hen e all. (Psalm 19/20, v.10) 3. In manus tuas, Domine In manus tuas Domine, ommendo spiritum meum. Redemisti nos Domine, Deus veritatis. Into your hands o Lord, I ommend my spirit. Save us, O Lord, true God. (Psalm 30/1, v.6; Respond, ompline) 4. Regina oeli Regina oeli laetare, alleluia: Quia quem merusiti portare, alleluia: Resurrexit, siut dixit, alleluia: Ora pro nois Deum, alleluia Queen of heaven, reoie, alleluia: for he hom thou ast orthy to ear, alleluia: has risen as he said, alleluia: Pray for us to God, alleluia. (Marian antiphon) 5. Salve Regina Salve Regina, mater miseriordiae: vita duledo, et spes nostra, salve. Ad te lamamus, exsules, filii Eavae. Ad te suspiramus, gementes et flentes in ha larimarum valle. Eia ergo, Advoata nostra, illos tuos miseriordes oulos ad nos onverte. Et esum, eneditum frutum ventris tui, nois post ho exsilium ostende. O lemens: O pia: O dulis irgo Maria. All hail o queen, mother of mery. Life, seetness, and our hope, all hail. We, exiled sons of Eve, do ry unto thee. To thee e sigh, groaning and eeping in this vale of tears. Therefore o thou our Advoa turn those thy meriful eyes unto us. And she unto us after this exile lessed esus, the fruit of thy om. O lement, o pitiful, o seet virgin Mary. (Marian antiphon)

7 vi 6. eni sponsa mea eni sponsa mea, veni de Liano, eni, oronaeris. Tota pulhra es, amia mea, et maula non est in te. eni sponsa mea Ouli tui olumarum, siut vita oinea laia tua, Et eloquium tuum dule, aput tuum ut armelus, asque ea quod intrinseus latet. eni sponsa mea Anima mea liquefata est ut diletus loutus est, fulite me florius, stipate me malis, quia amore langueo. ome my ride, ome ith me from Leanon, ome ith me and you shall e roned. Thou art fair, my love, and there is no spot ith thee. ome my ride Your eyes are like a dove's, your lips are like a sarlet thread, and your mouth is seet, and your head is like armel ehind your veil. ome my ride My soul failed me hen my eloved spake, stay me up ith floers, omfort me ith apples, for I languish ith love. (Song of Songs, 4: 8, 3; 2: 5) 7. identes hriste identes hris in patiulo rues vulneratum, uxta ruem, lahrimantes lamamus. O hris audi nos. Seeing you, O hrist, ounded on the giet of the ross,e all to you, full of tears: O hrist, hear us.

8 1. Ave vere sanguis Hail, most preious lood of the ody of our Lord esus hrist, hih for us poured forth from the ood of the ross as a redemption for the orld. B B B. Soprano I Soprano II Alto Tenor Bass A - ve A - ve - ve ve - re re san - san - Basso ontinuo.. S.II A guis guis pre - pre - ti - o - ti - o - si or si. or - po - n po - ris ris Do - S.I 13. S.II A T. Do - mi - - mi - ni ni nos - nos - tri tri e - e - su su A hris - hris - ve a - B A - ve A - ve opyright 2002 y York Early Musi Press Ave vere sanguis - 1

9 2 19 ve re san -. guis pre - ti - o - si ve a - ve - re ve ve - re san - san - guis guis. pre - pre - ti - ti - o - o - si ve -. ve rė re san - san - guis guis. pre - pre - ti -. n n ti - o - o - si 25 n or si or si or n po - or - po -. po - or - po -.. po - ris ris ris ris Do - ris Do - mi -. Do - mi - mi - ni ni nos - ni nos -. Do - mi -. e - nos - tri tri tri ni nos - 31 n - su e - su e - e - tri e - hris - su hris - su hris - hris - - su hris - qui pro no - qui pro is in no - Ave vere sanguis - 2

10 3 38 lig - is in no ru lig - no n n ru - is ef - is ef -. fu - ef - fu - sus fu - fu - sus sus fu - is - fu - is - is - ef - ef - fu fu - sus fu - sus fu - is - is n. ti re -. ti re - ti demp - ti -. demp - ti -. n o mun o mun - - di, re - di, re - demp - ti -. demp - ti - re - o o mun -. demp - ti - ti re - demp - ti - o mun - di,. re - demp- ti - o ti. n re - demp - ti -. o mun - 52 mun o mun - mun - di, - - di, re - di, re - di, re -. di, re - re -. demp demp - ti - demp - demp - demp - ti - o ti - ti - o o Ave vere sanguis - 3 ti - o mun o mun mun - mun - mun - W di. W di. W di. W di. W di. W u

11 4 2. Domine salvum fa regem Save, Lord: let the king hear us hen e all. Soprano I. Soprano II Do - mi - ne sal-vum fa re - gem, Do - mi - ne sal - vum fa. B B. Alto Tenor Do - mi - ne sal - vum fa re - sal - Bass Basso ontinuo sal - 3. re - gem, Do - mi-ne, Do - mi - ne sal-vum, sal - vum fa re - gem, Do - mi - gem, fa re - gem,... vum fa re - gem, Do - mi - ne, Do - mi - ne sal-vum, sal-vum, sal - vum fa re - gem,. Do - mi-ne,. vum fa re - gem,. Do - mi -. Domine salvum fa regem - 1

12 5 8 n ne sal - vum,. n. Do - mi - ne sal - Do - mi - ne sal - Do - mi-ne. ne, Do - mi -... sal - vum fa vum, sal - vum fa re vum fa re - sal - vum fa ne sal - vum fa re - re - gem, fa re - re - gem, fa re - gem: gem: gem: et ex - gem: gem: 12.. et ex -. n au - di nos in di -. - e, et ex -. au - di nos. in.. et ex - au - di nos in. au - di nos in di e, in di - e,... in... et ex - au - di. nos in di - et ex - au - di nos in e, et ex - di - e, in. au - di nos. n in n 16. di - e, in di - e qua in - vo - a -. ve - ri -mus, in - vo - a - ve - ri - mus. di - e, in di - e qua in - vo - a - di - e, in. di - e di - di - e, in e, in di - di - e e Domine salvum fa regem - 2

13 6 21 qua in - vo - a - ve - ri -.. ve - ri - mus, in - vo - a -. mus, in - vo - a - ve -. ve - ri - mus ri - mus qua in - vo - a -. qua in - vo - a - in-vo-a-ve -. ve - ri - mus, in - vo - qua in - vo - a ve - ri - mus - ri - mus.. in - vo - a - ve - in - vo - a -. ri - mus ve - ri - mus Fine.... a - ve - ri - ve - ri - mus qua in - vo - a - mus, in -. in - vo - a-ve -.. ve - ri - mus, in - vo - a - ve - ri - mus.. vo - a - ve - ri - mus ri - mus et ex - u... Domine salvum fa regem - 3

14 7 3. In manus tuas Domine In to thy hands O Lord I ommend my spirit. For thou hast redeemed us O Lord, O God of truth. I ommend my spirit. Soprano B Alto. B Tenor I In ma - nus tu - as Do - mi - B Tenor II In ma - nus tu - as Bass Basso ontinuo S. 6 om-men do spi - ri - tum A. ne, om-men do spi - T.I. Do - mi - ne, om - men - do spi - T.II om - men - do spi - ri - tum me - um, spi - B.. om - men - do spi - - ri - tum. In manus tuas Domine - 1

15 8 12. me ri - tum me - um. um. Re - de - Re - de -. mis - ti mis - ti nos Do - nos Do - mi - ne, mi - ne, - ri - ri - tum me tum me - me - um. um. um N De - us De - us ve - ri - ve - ri - ta - ta - tis. om - tis. om - men men - do, om - om - men - do, om - men - om - 26 do, om - men - om - do. men - do spi -. spi - ri - tum ri - tum me - me - W um. W um. W men do, om - men do men - do do spi - spi - spi - ri - ri - tum ri - tum tum me - me - me - um. W um. W um. W u In manus tuas Domine - 2

16 9 4. Regina oeli Queen of heaven, reoie, alleluia: for he hom thou ast orthy to ear, alleluia: for he ho has risen as he said, alleluia: Pray for us to God, alleluia. Soprano I B Soprano II Re - gi - na oe - li B B. Alto Tenor Re - Bass. Basso ontinuo Re - gi - na. oe - li 6.. lae -. ta - re, lae - ta - re,. gi - na oe - li lae - ta - re,.. lae - ta - - re, lae - ta - re, ia, Regina oeli - 1

17 ia: Qui - a quem me - ru - is - - ti por -.. ia: ia: Qui - a quem me - ru - is ia: Qui - a quem me-ru - is - ia:.. 17 ta - re, qui a. ti por - ti por - ta Qui - ta a quem me-ru - re, re,. quem is me - ru - quem me - ru - is - is - ti por -. ti. ti por - ta - por - 23 quem me - ru - is - ti por - ta -. re,.. ta re, por - ta - - re, re, por -. ta ta - re, por - re, por - ta - - ta - - re, re,.. Regina oeli - 2

18 ia: ia,. ia: ia:.. ia: ia: 33 Re -. sur - re -. xit, si - ut di - xit, Re - sur - re - si - xit, si -. ut di - ut di - xit,. xit, si - ut di - n xit, Re - sur - Re - sur - re - re - xit, xit, si - ut di - xit, si - ut di -. si - ut di -. xit, xit, 38 ia: ia,. n ia: ia:. ia:. ia, ia: Regina oeli - 3

19 12 43 O - O - ra. ra pro pro no no - is is De - O ra pro no - is De - um, 49. n De um, um,... ia, al - le - ia, lu - ia, 54. n W ia,.. ia, al - le - lu - ia. W ia. W ia. W ia, ia, al - le - lu - ia. W ia,. ia. W u Regina oeli - 4

20 13 5. Salve Regina All hail o queen, mother of mery. Life, seetness, and our hope, all hail. We, exiled sons of Eve, do ry unto thee. To thee e sigh, groaning and eeping in this vale of tears. Therefore o thou our Advoa turn those hy meriful eyes unto us. And she unto us after this exile lessed esus, the fruit of thy om. O lement, o pitiful, o seet virgin Mary. B B Soprano Alto Tenor Bass Basso ontinuo Sal - ve Re - Sal - ve Re - Sal - ve Re - Sal - ve Re - gi - na, gi - na, gi - na, gi - na, ma - ter mi - se - ma - ter mi -. ma - ter mi - ma - ter mi - ri - or - di -. se - ri - or - di - se - ri - or - di -. se - ri-or - di ae: vi - ae: vi - ta dul - e - ta dul - e - do, et spes do, et spes nos - N nos - tra, sal - ve. tra, sal - ve. Ad Ad ae: vi - ae: vi - ta dul - e - ta dul - e - do, et spes do, et spes nos - tra, sal - nos - tra, sal - ve. ve. Ad Ad 10 te la - ma - te la - ma - mus ex - mus ex - su - su - les, fi - les, fi -. li - i E -. li - i E - vae. vae. te la - ma - n mus ex - su - les, fi - li - i E - vae. Ad te la - ma - n mus ex - su - les, fi - li - i E - vae. Salve Regina - 1

21 Ad Ad te te sus - sus - pi - pi - ra - ra - mus, ge - mus, ge - men - men - ad te sus - pi - ra - mus, ge - men -. N Ad te sus - pi - ra - mus, ge - men -. N 22 tes tes et et tes et flen tes et ṅ flen- tes, flen - et flen flen - tes tes tes tes in in in in ha ha ha ha la - la - ri - la - ri - la - ri - ri - ma - ma ma. - rum - rum ma rum val - val - le. le. E - ia, e - ia er - go, val - le, rum val - val - le. le. Salve Regina - 2

22 15 38 Ad - vo - a - ta Ad - vo - a - Ad - vo - a - ta Ad - vo - a - ta nos - tra, il - ta nos - tra, nos - tra, nos - tra, il - los tu - il - los tu - il - los tu - los tu - os mi - os mi - os mi - os mi - se-ri - or - n se - ri - or - se - ri - or - se - ri - or - des o - u - des o - u - des o - u - des o - u - 44 los ad los ad nos on - nos on - ver - on - ver - ver - te. te. Et Et e - e - los los ad ad nos on - ver nos on-ver te. te. Et Et e - e - 50 sum, sum, sum, e - sum, e - e - n ne - ne - di n e - n ne - di di ne - Salve Regina - 3 di - tum, tum, tum, fru - tum,

23 N fru fru - tum tum tum ven - ven - tris ven - tris n tu - tu - tris tu - i, no - i, is post no - is i, no - post fru - tum ven - tris tu - i, no - is post 63 ho ex -. ho ex - - is ho ex - i-li-um i - post i - li - li - os - ten -. ho ex - um os - um os - de, ex - i - li - i - li - ten ten - um os - um os -. ten - ten - de. de. de. de. 70. O. n le - O mens, le - O le - mens, O n O le - mens, Salve Regina - 4

24 O mens, le - O le - mens: mens: O. le mens: O O le - mens: 80 pi - O pi - O a, n pi a, O. pi O n pi n n a:. pi - a: O a: O a: O dul -. dul - dul - O dul - is ir -. n is is. is go Ma -. ir - ir - ir - go Ma - ri - go, ir - go ri - a,. a, Ma -. go Ma - Ma - Ma - ri - ri Salve Regina - 5 ri -. ri - W u a. W a. W u a. W a. W

25 18 6. eni sponsa mea ome my ride, ome ith me from Leanon, ome ith me and you shall e roned. Thou art fair, my love, and there is no spot ith thee. ome my ride Your eyes are like a dove's, your lips are like a sarlet thread, and your mouth is seet, and your head is like armel ehind your veil. ome my ride My soul failed me hen my eloved spake, stay me up ith floers, omfort me ith apples, for I languish ith love. Soprano B B Alto Tenor I ve - ni, ve - ni de Li - a - no, B Tenor II e - ni spon - a, Bass Basso ontinuo.. 6 e - ni spon - a, ve - ni,. ve - ni de Li -. e - ni spon - a, ve - ni de Li - ve - ni o-ro - na - e - ris. e - ni spon - e - ni spon - a, a, ve -.. ni de Li -. e - ni spon - a,.. eni sponsa mea - 1

26 a - no, - a - no, ve - - a - no, ve - ve - ve - ni o - ro - ni o - ro - ni, ve - ni o - ve - ni o - ro - ni o - ro -. na - e - na - e -.. ro - na - e - na - e -. na - e -. ris. To - ris. ris. ris. ris. To -. ta pul - hra ta pul-hra 18. es, a - mi - a a - mi - a me - a, a - me - a, a - a - mi - a me - mi - a me -. mi - a me -.. a, et ma - u -. a, et ma - u - a, et.. la, et ma - u - la non est. ma - u - la es, a - mi - a me - a, a - a - mi - a me - a, et mi - a me - ma - u - la non a, et. est in ma - u - la. 23. la non est in in in non est in et ma - u -. et ma - u -. et ma - u -. la,. la, et ma - u -. la, et ma - u -. la non est la non est et in et in et in et ma - u -. la, et ma - u - la non est in et non est in et ma - u -. la, et eni sponsa mea - 2

27 ma - u - la. non est in te. ve - ni, ma - u - la. ma - u - la. non. non est est in in te. te. e - ni spon - a, ma - u - la non. ma - u - la non. est est in in te. te. 34 ve - ni de Li - a- no, e - ni spon -. e - ni spon - ve - ni o-ro - na - e - ris. e - ni spon -... e - ni spon - e - ni spon - 41 a, ve - ni, a, ve - a, a, ve - a,.. ve - ni de Li - ni de Li -. ni de Li -.. a - no, a - no, ve - a - no, ve - ve - eni sponsa mea - 3 ve - ni o-ro - ni o-ro - ni, ve - ni o - ve - ni o-ro - ni o - ro -. na - e - na - e -.. ro - na - e - na - e -. na - e -. ris. ris. ris. ris. ris.

28 O - u - li tu -. O - u - li tu - i, tu - i. i o - o - lum - a - lum - a - rum si - ut, rum si - ut, si - ut si - ut vit -. O - u - li tu -. i, tu - i o-lum-a - rum si - ut, si - ut vit vit - ta o - i - ne -. ta o - i - ne -. ta o - i - ne -... a, o - i - ne -. a, o - i - ne -. a, o - i - ne -.. a la - i - a tu -. a la - i - a tu -. a la - i - a tu - et e - a, et e - a, a, et e - m. lo - qui-um tu -. lo - qui -. lo - qui-um um dul - um tu - um dul - e a - put e a - put tu - um ut tu - um ut ar -. ar - me - me - lus, as- que lus, as - que e - a quod e - a quod in -. tu - um dul - e a - put tu - um ut a - me - lus, as - que e - a quod in-. eni sponsa mea - 4

29 in - trin - se - trin - se-us, in - us, in - trin - se -. trin - se - us la - us la - tet, la - tet. tet.. trin - se-us, in - trin - se - us la - tet. e - ni spon - 69 ve - ni, ve - ni de Li - a - no,. a, ve - ni o-ro - na - e - ris e - ni spon - e - ni spon - e - ni spon - e - ni spon - e - ni spon - a, ve - ni, a, ve - a, a, ve - a,.. ve - ni de Li - ni de Li -. ni de Li -.. eni sponsa mea - 5 a - no, a - no, ve - a - no, ve - ve - ve - ni o-ro - ni o-ro - ni, ve - ni o - ve - ni o-ro - ni o - ro -

30 na - e - na - e -. - ro - na - e -. na - e -. na - e -. ris. A - ris. A - ris. A - ris. A - ris. A - ni - ma me - ni - ma me - ni - ma me -. ni - ma me - ni - ma me - a li - que - fa -. a li - que - fa - a li - que - fa - a li - que - fa - a li - que - fa - ta est, li - ta est, ta est, li - ta est, ta est, que - fa - ta. li - que - fa - ta. est, li - que - est, li - que - fa - ta fa - ta est, est, - que - fa - ta est, li - que - fa - ta. est, li - que - fa - ta est, ut di - le - tus, di - li - que - fa - ta est, ut di - 91 ut di - le - tus lo -. u - tus est, ut ut di - le -. di - le - tus, tus lo - di - le - tus lo - u -. le - tus lo- u - tus le - tus lo -.. est, lo-u u - tus est,.. tus lo - u - tus. est, ut di - est,. le -. eni sponsa mea - 6

31 u - tus est, lo - - tus est,. lo - u - tus u - tus, lo - u - tus lo - u - tus est, lo - u - tus. est. Ful-i -. est. Ful - est. Ful - te me flo - ri -. i - te me flo - ri -. i - te me flo - ri - us,. us, sti - pa - te me. us, sti - pa - sti - tus lo -. lo - u -. u - tus, lo - u - tus tus, lo - u - tus est. est. sti - pa - te me sti - pa - te me 101 ma - lis, pa - te me ma -. ma - lis, me ma ma - lis,.. me ma - lis, me ma - me ma - qui - a a -. lis, qui - lis, lis, lis,. mo - re, a -. a a-mo - re qui - a a - mo lan - gue - o, a - mo -. mo - re lan - gue re lan re, a - o, qui - a a - mo - re mo - re gue - o, a -. lan- gue - o, a -. lan - gue-o, qui - qui - a a -. N mo - re. N mo qui - a a -. a. a - mo - re mo - re. eni sponsa mea - 7. lan - gue -. re lan - gue -. mo - re lan - gue -. lan - gue -. lan - gue -. o. o. o. o. o. u

32 25 6. identes hriste Seeing you, O hrist, ounded on the giet of the ross,e all to you, full of tears: O hrist, hear us. Soprano i - den - tes hris - B B Alto Tenor i - den - tes hris - Bass i - den - tes hris - i - den - tes hris - 5 in pa - ti - in pa - ti - u - lo u - lo ru - ru - is vul - is vul - ne - ra - ne - ra - in pa - ti - u - lo ru - is vul - ne - ra - in pa - ti - u - lo ru - is vul - ne - ra - 11 tum, tum, ux - ux - ta ta ru - ru - em, ux - em, ta ru - ux - ta ru - tum, ux - ta ru - em, ux - ta ru - tum, ux - ta ru - em, ux - ta ru - identes hriste - 1

33 26 16 N em la - hri - man - tes la - ma - mus. O hris - au - em la - hri - man - tes la - ma - mus. O hris - au - em la - hri - man - tes la - ma - mus. O hris - em la - hri - man - tes la - ma - mus. O hris di nos, O hris - au - di nos di. nos, O hris -. au - di. nos. au - di. nos, O hris - au - di. nos. au - di nos, O hris - au - di nos. identes hriste - 2

34 York Early Musi Press atalogue Editions availale no Editor A Garieli Missa Quando lieta sperai (SATTB) Peter Seymour from Primus lier missarum (1572) itoria Four psalms (doule hoir + org) Peter Seymour itoria Three psalms (doule hoir + org) Peter Seymour itoria Four Marian Antiphons (doule hoir + org) Peter Seymour Seelink Anthology of (4) motets (SA/TTTB + ) Peter Seymour Seelink Anthology of (4) hristmas motets (S/ATTTB + ) Peter Seymour Seelink Anthology of (4) Passiontide motets (SATTB + ) Peter Seymour Laes Psalms to omon Tunes (STTB-) Paul Gameson Boësset Motets for high voies, ol. 1 Paul Gameson Boësset Motets for mixed voies, ol. 1 Paul Gameson Boësset Mass du troisième mode (SSSA + ) Paul Gameson Boësset Mass du quatrième mode (SSA + ) Paul Gameson Gratiani Magnifiat (SATTB + ) Paul Gameson Helfer Missa Benediam Dominum (SATB) Paul Gameson Helfer Missa Laetatus sum (SATB) Paul Gameson Editions availale Marh 2003 Leondaritis 3 masses Miranda aldi Missa Laetatus sum (SATB; SATB) Missa Aller mi faut la verdure (SSATTB) Missa e prens en grez (SS/AATTB) Leondaritis (38) Motets (SATTB) Miranda aldi Du Mont 3 St eilian Motets (SSATBB + ) Paul Gameson Editions planned to e ompleted later 2003 Boësset Motets Paul Gameson Bouzigna Motets Paul Gameson harpentier Anthology of Psalms Paul Gameson Purell Songs dialogues Peter Seymour Blo Songs dialogues Peter Seymour effreys Anthems, motets Peter Aston Blo St eilia s Day Ode Peter Seymour Purell, D St eilia s Day Ode Peter Seymour Purell, D Oasional Odes Peter Seymour Blo String trios Peter Seymour Matteis, N String suites Simon ones

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