Concerti Ecclesiastici

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200 3. Abbreviations S = Soprano C = Canto C1 = Canto Primo C2 = Canto Secondo Q = Quinto A = Alto T = Tenore B = Basso B1 = Basso Primo B2 = Basso Secondo P = Partitura P c = Canto in Partitura P c1 = Canto primo in Partitura P a = Alto in Partitura P t = Tenore in Partitura P b = Basso/Continuo in Partitura P b1 = Basso primo in Partitura P b2 = Basso secondo in Partitura b. = bar(s) n. = note(s) 4. Notes 1. Adiuro vos. Canto over Tenore. (P= two staves, C and continuo) b. 3, n 3 ff. P c :e, c quarter notes; in C e, d, e, c crochet notes. b. 31, n.5-6 P c : # printed before b; nothing before c b. 34-35 P c : last note of b. 34 and first of b. 35 without # b. 44, n. 1 ff. P c : c, b, a, g quarter notes. 2. O dulcedo meliflua. Canto solo. (P= two staves, C and continuo) b. 31, n. 1 P c : first note of C is a crochet b. 26, n 5 C: missing tie b. 33, n. 6-9 C: only f quarter note; four 16 th notes in P b. 40, n. 4 P c : missing sharp b. 41, n. 6 P c : missing sharp 3. Nativitas tuas Dei genitrix. Canto solo. (P= two staves, C and continuo) b. 2, n. 1 P c and C: missing flat added according to solmisation’s rules.
. 18, n. 1 P b : sharp before c and not before b b. 22, n. 10-11 P c : crochet notes; dotted rhytm in C b. 24 P: signum congruentiae above rest in both staves; in C bar line before the rest. No repetition sign in P and C b. 39 repetition sign only in P before last note. Nothing in C 4. Confitemini Domino. Canto over Tenore. (P= two staves, C and continuo) b. 3, n. 9 ff. P c : only d, g half notes b. 7, n. 3 P c : c crochet note b. 9, n. 1 ff P c : c semiquaver, e half note 5. Veni sponsa Christi. Alto solo. (P= two staves, A and continuo) b. 2 P a : only e, c, b, g half notes. b. 10, n. 3 ff. P a : f, g, a (dotted quarter, crochet, half note) b. 11, n. 1 P a : d, e, f (dotted quarter, crochet, half note) b. 19, n. 2 P a : missing rest b. 18, n. 1 ff. P a : b, c (dotted quarter, crochet note) 6. Cantantibus organis. Alto solo (P= two staves, A and continuo) b. 4 P a : a, g (two whole notes) b. 15, n. 3 ff P a : f, e, d, c (dott. quarter, crochet, dott. quarter, crochet) b. 18, n. 3 ff P a : g, f, e, d (dott. quarter, crochet, dott. quarter, crochet) 7. Iubilate Deo. Canto & Alto. (P= three staves; C, A and continuo) b. 25, n. 1-2 P c : n. 1 half; note n. 2 missing b. 40, n. 4 P a : after f crochet, e f crochets, e b quarters, b half b. 42, n. 1 P b : d, corrected into c 8. Quam pulchra es. Canto & Alto. (P= three staves; C, A and continuo) b. 1-4 P b original: tenor clef; than bass clef b. 31 In P a there are some notes not present in A: they are clearly for continuo. For practical reasons, in this edition those notes have been moved in continuo staff. b. 41 P a : original c, corrected into d 201
Page 1 and 2:
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
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TO THE MOST EMINENT SIR AND MY HONO
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2 21 26 30 qui - [ ]
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4 4 Canto 8 a du
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6 4 Canto 8 12 16
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8 4 Canto 8 12
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10 4 8 Alto ve -
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12 4 8 12 Alto
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14 Canto 5 Alto 10 oom-nis
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16 30 35 me - ae 39
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18 12 immacu-la - ta me
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20 Canto Tenore 4 7
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22 23 27 31 34
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24 12 16 20 23
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26 Canto Canto II over Tenore 4
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28 32 37 41 45
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30 12 16 20 25
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32 Basso I Basso II 4 8
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34 27 31 34 38
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36 17 21 26 31
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38 Canto Basso 5 10
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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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54 34 38 43 san
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56 13 19 23 vir qui
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58 5 9 Canto Tenore Basso
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60 26 30 35
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62 Canto I Cantus II 4 Tenore
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64 22 25 29
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66 10 14 fu - - - m
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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 -
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88 42 47 51
Page 108 and 109:
90 14 18 22
Page 110 and 111:
92 38 - - - a
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94 5 Canto Alto Tenore Basso
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96 26 sit et sit sit
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98 6 Canto Alto Tenore 12
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100 35 40 45 mun -
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102 13 17 21 can
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104 39 44 -le - lu-ia,
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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
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118 13 17 te
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120 40. Assumpta est Maria à 8, à
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122 20 Coe - lum, 25
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124 41 46
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126 61 li. Al
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128 6 Canto Alto Tenore Basso
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130 11 - mus te, gra -
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132 41 de - pre-ca - ti -
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134 Pa - 7 13
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136 36 41 46
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138 68 73 - sus est,
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140 97 103 tre fi - li -
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142 6 San - - - - -
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144 11 ni. ni - - - - -
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146 5 10 Canto Alto Tenor
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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 174 and 175: 156 64 69 75
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: 1. Source: Critical Notes Concerti
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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