Alma redemptoris mater

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Alma Redemptoris Mater

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Jean L Héritier Alma redemptoris mater (Marian antiphon) S.S.A.T.B. ed. S. Biazeck

Sources: Cappella Sistina, MS 26, ff. 143v-147r, 1515 1521. EDITORIAL NOTES Secundus lier cum quinque vocius. Antonio Gardane, Venice, 1539. Originally notated in the folloing clefs: G2, G2, C2, C3, C4. Cue-sized accidentals ithin the staves are editorial musica ficta, and remain in force for the duration of one measure. Cautionary accidentals are editorial. Ligatures are exclusive to Capp. Sist. MS 26 hilst all sesquialtera notation is from Gardane s edition, hich has no ligatures. Musica ficta: Leading-note cadences, hether dissonant or not, are approached from a linear perspective, and as such, are easily discernile from a single part; signed y return from aove immediately efore the final syllale of a musical and/or textual phrase. Sometimes here there is a strong feeling for a cadence, one finds a tail in the melody after the note on hich the final syllale falls. No attempt has een made to correct harmonic tritones (typical of this period) y the application of editorial musica ficta. In nearly all cases requiring the application of a flat, the melodic (linear) content of a phrase (often chant-related) determines practice. In a fe others, the harmonic context clearly holds say. Interestingly, there is no theoretical evidence for avoiding a melodic tritone y raising the loer note, only y loering the upper, and in such cases, hexachord mutation as not a priority (c.f. Altus,. 42. 66). Jean L Héritier (c. 1480 - after 1551) as a native of the diocese of Thérouanne, in the Pas-de-Calais, France, ho spent most of his orking life in Italy (Rome, Mantua, Verona and possily Venice) as a leading exponent of the Franco-Flemish style of High Renaissance. Today he is knon for a handful of motets, foremost amongst hich are the five-voice Nigra sum (upon hich Palestrina rote a Mass) and Surrexit pastor onus. Of the 48 documented motets, not all are extant, hilst a numer have een attriuted to other composers Jean Mouton, Adrian Willaert and Philippe Verdelot. In style they are considered transitional, ranging from the mature counterpoint of Josquin Desprez (of hom he is said to e have een a pupil) to the smooth and evenly spaced imitative style exemplified y Palestrina in the late Renaissance. In addition, only one Mass survives, along ith four settings of the Magnificat and a couple of chansons. Hoever, his reputation as high enough to ensure the pulication of his motets throughout Europe in at least 66 manuscripts and 45 printed collections in countries as far afield as Spain, Austria, Bohemia, and Poland, as ell as France and Italy. Alma redemptoris mater is the Marian antiphon that since the 13 th century has een recited at Compline from the first Sunday in Advent until the Feast of the Purification (Fe. 2). Folloing revision of the Liturgy of the Hours, it may e used throughout the year. The text, composed y Herman Contractus (Herman the Cripple) (1013-1054), as assemled from phrases taken from the ritings of St. Fulgentius, St. Epiphanius, and St. Irenaeus. L Héritier s five-voice setting is in to parts and is modelled on the Mode 5 festive tone chant antiphon 1 ith occasional references to the simple tone. 2 The counterpoint is typical of the aforementioned transitional style: at times looking ack toards Josquin hilst anticipating the Roman School of the late 16 th century. L Héritier esches cantus firmus treatment in favour of free paraphrase, here at each ne point of imitation the melody is outlined in all parts. Translation: Nurturing Mother of the Redeemer, ho remain the open portal of heaven and the star of the sea, come to the aid of your fallen people, ho are anxious to rise again. You ho, to the astonishment of all creation, rought forth your holy Creator hile eing a virgin oth efore and afterards, claiming for yourself from Gariel s mouth that Hail, have mercy on us sinners. Simon Biazeck, June 8, 2015. 1 http://gregoase.selapa.net/chant.phpid=4694 2 http://gregoase.selapa.net/chant.phpid=1851

Edited y Simon Biazeck Superius ** C Al Alma redemptoris mater Jean L Héritier (c. 1480 - after 1551) - - - - - - - - ma, al - Quinta pars C Al - - - - - ma, Altus C Tenor C œ œ œ œ Al - - - - - - - - - ma, al - Bassus C 6 <> œ œ œ - - - ma, al - - - - - - - - - - al - - - - - - - - - ma, Al - - - - - - - - œ - - - - - - - - - - ma, al - Al - - ** Breve in Gardane print.

11 œ œ <> œ œ <n> 16 21 - - - - - ma, al - - ma a <n> œ œ œ œ al - - - - - - - ma, al - - - ma, al - - ma re - dem - pto - - - - - - - ma, al - - - ma re - dem - - - - - ma, al - - - - - ma re - re - dem - pto - - - - ris ma - - - - - re - dem - pto - ris ma - ter, re - dem - pto - ris ris ma - ter, re - dem - pto - - ris, re - pto dem - - - ris ma - - - ter, ma - - - ter, - pto - - ris ma - - - ter, re - dem - ter, re - dem - pto - - ris ma - - - ter, quae dem pto ma re # a œ œ œ œ œ œ œ - - - ter, quae per - - pto - ris, re - dem - pto - ris ma - - ter, - dem - pto - - - - - - - - ris ma - - ris ma - ter, ma - - - - - ter, ma <> œ œ œ œ œ œ <> œ œ œ <> œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ <n> œ œ œ 2

3 26 œ œ œ œ œ œ œ 31 per - vi - a cae - - - - - - - li, cae - - vi - a cae - - - li, quae per - quae per - vi - a cae - li, - ter, quae per - vi - quae per - vi - a cae - - - - - - œ œ œ œ 36 vi - - - li, quae per - vi - a cae - - - - - a cae - - - - - - - li quae per - vi - a cae - li por - ta a cae - li, quae per - vi - a cae - li por - ta, - - - li por - - - - ta ma - - - - -li por - - - - ta ma - - - - por ma por ** a a <n> œ œ œ œ a <> œ - ta ma - - - nes, - - - - - - nes, ma - - - - - - - a œ œ œ - ta ma - - - nes, por - - ta nes, por - ta ma - - - - ** See editorial notes œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

41 œ œ 46 51 - nes, por - ta ma - - nes, por - ta ma - - - nes, et stel - nes, por - ta ma - - - - - nes, et stel - la ma - nes, por - - ta ma - nes, et stel - la ma - - nes, por - ta ma - nes, et stel - la ma - ris, et stel - la ma - - - - - - - ris, la ma - ris, et stel - la ma - ris, et stel - - la ma - - - ris, ris, et stel - la ma - ris, et stel - la ma - - - - ma et stel - la ma - - ris, et et stel - la ma - ris, - - - ris, suc - - cur - et stel - la ma - ris, suc - cur - re ca - den - - - - - ris, suc - - stel œ <n> ** œ œ œ œ ** See editorial notes œ œ <> œ œ<> œ œ œ œ œ œ œ <> œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ - la ma - ris, suc - cur - re ca - den - œ œ œ œ œ œ œ œ œ œ œ œ 4

5 56 œ œ œ <n> 61 suc - - cur - re ca - den - ti, re ca - den - ti, suc - - - cur - cur # - - - - - - ti, ca - den - ti, suc - cur - re - re ca - den - ti, suc - cur - - re ca - ti, suc - cur - - re ca - suc - cur - re ca - den - ti, suc - cur - re ca - re ca - den - ti, sur - ge - re, sur - den - - - ti, suc - cur - re ca - den - ti, ca - ** œ 66 den a œ œ œ œ œ œ œ œ œ ca - den - ti, suc - cur - re ca - - den - - - - - ti, suc - cur - re ca - den - ti, suc - cur - - den - ti, sur - ge - re, sur - ge - re qui cu - rat po - - ge - re, sur - ge - re, - - - ti, sur - ge - re qui cu - - rat po - - den - ti, sur - ge - re qui cu - - -re ca - den - ti, sur - ge - re qui cu - rat po - ** Flat from Gardane. œ œ œ œ œ œ œ œ œ œ <n> œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ<> œ œ œ œ œ œ œ

71 œ œ <n> 75 79 C - - - - pu - lo, sur - ge - re qui cu - - - C sur - - ge - re qui cu - rat po - - - - - - pu - lo, sur - rat po - - pu - lo, qui cu - rat po - - - - - - - - - pu - lo, qui cu - rat po - - - - - pu - lo: ge - - - pu - lo. - re qui cu - rat, po - - pu - - lo: - - pu - - lo: rat po - pu - - lo: Secunda pars Tu quae ge - nu - i - sti, na - - Tu quae ge - nu - i - sti, ge - nu - i - - - sti, Tu quae ge - nu - i - sti, tu quae ge - nu - i - C œ œ œ œ œ œ œ œ œ œ œ C œ C Tu quae ge - nu - - i - - sti, Tu quae ge - nu - i - sti, 6

7 85 œ œ œ œ œ œ œ œ tu na - - - - - ra mi - ran - œ œ - tu - - - - ra mi - ran - - - # sti, na - tu - ra mi - ran - - - te, mi - na œ œ œ œ<n> œ œ <n> œ œ na - tu - ra mi - ran - te, œ œ œ œ - tu - ra mi - - ran - - - te, 90 œ œ œ œ œ œ ran - - - - - - - - te, œ œ <> - - te, tu - um san - ctum Ge - ni - to - <n> - - - - - - - te, tu - um san - ** mi - ran - - - - - te, tu - um œ œ œ œ mi - ran - - - - te, mi - ran - te, œ 95 œ œ <> tu - um san - ctum Ge - ni - to - - - - œ œ œ œ - - - rem, tu - um san - ctum Ge - ni - to - - - - - - œ œ ctum Ge - ni - - to - - - - - - - - san - - ctum Ge - ni - to - - rem tu - ** Breve in Gardane print. tu -

8 100 105 110 - rem, Vir - go pri - - rem, ge - - ni - to - - - rem Vir - go pri - - rem, tu - um san - ctum Ge - ni - to - - - - - - um san - ctum Ge - - ni - to - - rem um san - ctum Ge - ni - to - rem Vir - go # - - - - us, pri - - - - us, Vir - - - - - us, pri - - - - - - us rem Vir - go pri - us, Vir - go pri - us, pri - pri Vir - go pri - - - - - - - - us, pri - - - - - - us, Vir - go pri - - go pri - - - - - - us ac po - ste - ri - œ œ œ œ œ <> œ œ œ œ œ <> <> œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ <> œ ac po - ste - œ - - - - - - us ac po - ste - ri - us, œ œ œ - us, vir - go pri - - us ac - us, pri - - - us ac

9 115 120 us, ac po - ste - - - - - - ri - 124 - ri - us, Ga - po po ac po - ste - - - ri - - us, - ste - - - - - - ri - us, ac po - ste - ri - - ste - - - - - - - - - - ri - us, Ga - ri - e - - lis a ri - e - - - - - - lis, Ga - ri - e - - Ga - ri - e - - - - - - lis a o - us, Ga - ri - e - - lis, us, Ga - ri - e - - - - lis, Ga - o - - - - - - - - re su - mens -lis a o - re su - - - - - mens ri - re su - mens il - - lud, su - mens il - lud A - Ga <> <n> œ œ œ œ œ œ - ri - e - - lis a o - re su - mens il - lud A - - e - lis a o - - - - re su - mens il - lud A - ve, <n> œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

129 il il - lud A - - - - ve, pec - ca - to - - - lud A - - - - - - - - ve, ve, su - mens il - lud A - ve, pec - - ve, su - mens il - - - lud A - ve, <> 134 138 su - mens il - lud A - - ve, pec - ca - rum mi - se - re - - - re, mi - pec to - - ca - to - rum mi - se - re - re, - ca - to - rum mi - se - re - re, mi - - se - œ œ œ œ œ œ œ pec - ca - to - - rum mi - se - re - - - re, mi - - - - se - re - - re. mi - - se - re - - re. - re - - - - - - - - - - - - re. rum mi - se - re - re. se - re - - re, mi - se - re - - re. ** Breve in Gardane print. ** <n> œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 10

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