Concerti Ecclesiastici

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156 64 69 75 - nis, et et di - vi - -vit bo - - - bo - - - - Su - sce - pit I - sra - el, su - sce - pit I - sra-el - di - ae di - vi-tes di - tes di - nis, nis: se - ri - cor - di - se - ri- cor - di - mi - sit i - mi - - - sit sce - pit I - sra - el pu - e-rum el pu - e-rum I - sra - el pu - e-rum cor - di-ae su - - - - - - su - - - su - - - - - - pu - e-rum su - - - - su - um, su - ae su - ae su - - - ae ae. ae. ae. na - - - - i-na - - - Su - nes. um, me-mor mi - um, me - um, me - Sicutlocutusestad Sicutlocutusestad Sicutlocutusestad Sicutlocutusestad me - nes. Su - sce - pit I - sra - Su - sce - pit ri - cor - mor mi - mor mi - mor mi - se - ri - Pa - tres no - Pa - tres no - Pa - tres no - Pa - tres no - © 2004 Andrea Friggi Urtext Non-commercial copying welcome
80 85 90 - stros - stros - stros - stros. et Fi - li - o, et et Fi - li - o, et et Fi - li - o, et et Fi - li - o, et per, et in per, et in per, et in et in Abraham,etseminieiususque Abraham,etseminieiususque Abraham,etseminieiususque Abraham,etseminieiususque Spi - ri - tu - i San - Spi - ri - tu - i San - Spi - ri - tu - i San - Spi - ri - tu - i San - sae - cu - la sae - cu - la sae - cu - la sae - cu - la in ae - in ae - in ae - in ae - ter - - - num. ter - num ter - - - num. ter - - - num. cto. Si - cut e - cto. Si - cut e - - cto. Si - cut e - - cto, sae - cu - lo - rum A - sae - cu - lo - rum. A - sae - cu - lo - rum. A - sae - cu - lo - rum. A - rat in prin - ci - pi - o, rat in prin - ci - pi - o, rat in prin - ci - pi - men. men. A - - - - - men. sae - cu - men. A - - - - - Glo - ri - a Pa - tri, Glo - ri - a Pa - tri, Glo - ri - a Pa - tri, Glo - ri - a Pa - tri, et nunc, et sem - et nunc, et sem - o, et nunc, et sem - men. lo - rum. A - men. men. © 2004 Andrea Friggi Urtext Non-commercial copying welcome 157
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GIOVANNI PAOLO CIMA Concerti Eccles
Page 3 and 4:
Prefazione Quando Ludovico Viadana
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col passato, mostrando in più punt
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Lo scopo di queste due tipologie 19
Page 9 and 10:
Preface When Ludovico Viadana print
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The motets are the most innovative
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The aim of these two notations 41 w
Page 17:
TO THE MOST EMINENT SIR AND MY HONO
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2 21 26 30 qui - [ ]
Page 22 and 23:
4 4 Canto 8 a du
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6 4 Canto 8 12 16
Page 26 and 27:
8 4 Canto 8 12
Page 28 and 29:
10 4 8 Alto ve -
Page 30 and 31:
12 4 8 12 Alto
Page 32 and 33:
14 Canto 5 Alto 10 oom-nis
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16 30 35 me - ae 39
Page 36 and 37:
18 12 immacu-la - ta me
Page 38 and 39:
20 Canto Tenore 4 7
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22 23 27 31 34
Page 42 and 43:
24 12 16 20 23
Page 44 and 45:
26 Canto Canto II over Tenore 4
Page 46 and 47:
28 32 37 41 45
Page 48 and 49:
30 12 16 20 25
Page 50 and 51:
32 Basso I Basso II 4 8
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34 27 31 34 38
Page 54 and 55:
36 17 21 26 31
Page 56 and 57:
38 Canto Basso 5 10
Page 58 and 59:
40 Canto Basso 5 vi - am, O
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42 Canto Basso 4 8 12
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44 Canto Basso 4 8
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Page 66 and 67:
48 33 i et de-lec -
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50 15 19 23 27 no e
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Page 72 and 73:
54 34 38 43 san
Page 74 and 75:
56 13 19 23 vir qui
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58 5 9 Canto Tenore Basso
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60 26 30 35
Page 80 and 81:
62 Canto I Cantus II 4 Tenore
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64 22 25 29
Page 84 and 85:
66 10 14 fu - - - m
Page 86 and 87:
68 5 9 Canto Alto Basso
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70 25 29 34 gnan -
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72 12 16 dum as-sump-
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74 32 strum et gau-de
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76 15 o-cu-lo- rum t
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78 5 Canto Alto Tenore 10
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80 29 ius, ius:
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82 13 sti Cre - a - to
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84 37 le - lu -
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86 14 19 23 lau -
Page 106 and 107:
88 42 47 51
Page 108 and 109:
90 14 18 22
Page 110 and 111:
92 38 - - - a
Page 112 and 113:
94 5 Canto Alto Tenore Basso
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96 26 sit et sit sit
Page 116 and 117:
98 6 Canto Alto Tenore 12
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100 35 40 45 mun -
Page 120 and 121:
102 13 17 21 can
Page 122 and 123:
104 39 44 -le - lu-ia,
Page 124 and 125: 106 12 17 21
Page 126 and 127: 108 39 44 4
Page 128 and 129: 110 12 17 21
Page 130 and 131: 112 39 43 47
Page 132 and 133: 114 13 in to - to
Page 134 and 135: 116 40 44 48
Page 136 and 137: 118 13 17 te
Page 138 and 139: 120 40. Assumpta est Maria à 8, à
Page 140 and 141: 122 20 Coe - lum, 25
Page 142 and 143: 124 41 46
Page 144 and 145: 126 61 li. Al
Page 146 and 147: 128 6 Canto Alto Tenore Basso
Page 148 and 149: 130 11 - mus te, gra -
Page 150 and 151: 132 41 de - pre-ca - ti -
Page 152 and 153: 134 Pa - 7 13
Page 154 and 155: 136 36 41 46
Page 156 and 157: 138 68 73 - sus est,
Page 158 and 159: 140 97 103 tre fi - li -
Page 160 and 161: 142 6 San - - - - -
Page 162 and 163: 144 11 ni. ni - - - - -
Page 164 and 165: 146 5 10 Canto Alto Tenor
Page 166 and 167: 148 31 36 se - ri - cor -
Page 168 and 169: 150 64 69 75 sra -
Page 170 and 171: 152 5 10 Canto
Page 172 and 173: 154 30 36 41
Page 176 and 177: 158 4 Canto Quinto Alto Tenore Bass
Page 178 and 179: 160 19 ra - ti - o - -
Page 180 and 181: 162 43 47 5
Page 182 and 183: 164 11 - nis au - re -
Page 184 and 185: 166 5
Page 186 and 187: 168 43 48
Page 188 and 189: 170 18 22 26
Page 190 and 191: 172 51 55 58
Page 192 and 193: 174 18 21 26 30
Page 194 and 195: 176 56 60 67 73
Page 196 and 197: 178 13 19
Page 198 and 199: 180 44 5
Page 200 and 201: 182 12 16
Page 202 and 203: 184 34 42
Page 204 and 205: 186 71 76
Page 206 and 207: 188 12 16
Page 208 and 209: 190 34
Page 210 and 211: 192 .S.
Page 213 and 214: THE AUTHOR TO THE READERS Dear Sirs
Page 215 and 216: T A V O L A D E L L I C O N C E R T
Page 217 and 218: 1. Source: Critical Notes Concerti
Page 219 and 220: . 18, n. 1 P b : sharp before c and
Page 221 and 222: . 25, n. 5 ff. P c1 : a, g, f, e (d
Page 223 and 224: 20. Quam pulchrae sunt. Canto & Bas
Page 225 and 226:
30. Beata es Virgo Maria. Doi Sopra
Page 227 and 228:
. 70 P a : half, half, dotted half.
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Concerti Ecclesiastici

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