Concerti Ecclesiastici

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54 34 38 43 san-ctum tu - um ne -fe-ras à ras à ia 48 al-le-lu-ia au - fe-ras à me. me. al - le - lu - ia al-le-lu-ia, le - lu - ia, al - le - lu - ia al - le-lu - ia al - le - lu - ia, et Spi - ritum Sanctum me, et Spi - ritum Sanctum al - le - lu - ia, al-le - lu - - - - ia, al - le - lu - - - - tu - um ne au - tu - um ne au - fe- Al - le - lu - ia. al - le - lu - ia ia. al- le-lu - al - le ia, al - le - al - le - lu - Al - ia al - le - lu - lu - - - ia. lu - - - ia. © 2004 Andrea Friggi Urtext Non-commercial copying welcome
Canto I over Tenore Canto II 5 9 Basso Gu - sta - - - - - Gu-sta - - - - - - Gu - - - - te, te, sta - te, et vi-de - - - - - - - - - et vi-de - - - - - - - - - et vi-de - - - - - - - - - - - mi-nus, quo - - - mi - nus, quo - Do - mi - nus, ni-am su - a - ni-am su - a - quo - ni-am su - 22. Gustate et videte à 3. Doi Canti e Basso. Al Molto Magn. Sig. Giulio Maleardo, gentilissimo Tenore alla Gloriosa Madonna di S. Celso gu - sta - - - - - gusta - - - - - - gu - - - - - te quo - ni-am te quo - ni-am te quo - ni - te, te, sta - te su - a - vis est Do - su - a - vis est Do - am su - a - vis est vis est Do - - - - mi - nus. Be - a - tus vis est Do - - - mi - a - vis est Do - mi - nus, nus © 2004 Andrea Friggi Urtext Non-commercial copying welcome 55
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
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
Page 24 and 25: 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
Page 34 and 35: 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
Page 40 and 41: 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
Page 52 and 53: 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
Page 60 and 61: 42 Canto Basso 4 8 12
Page 62 and 63: 44 Canto Basso 4 8
Page 66 and 67: 48 33 i et de-lec -
Page 68 and 69: 50 15 19 23 27 no e
Page 74 and 75: 56 13 19 23 vir qui
Page 76 and 77: 58 5 9 Canto Tenore Basso
Page 78 and 79: 60 26 30 35
Page 80 and 81: 62 Canto I Cantus II 4 Tenore
Page 82 and 83: 64 22 25 29
Page 84 and 85: 66 10 14 fu - - - m
Page 86 and 87: 68 5 9 Canto Alto Basso
Page 88 and 89: 70 25 29 34 gnan -
Page 90 and 91: 72 12 16 dum as-sump-
Page 92 and 93: 74 32 strum et gau-de
Page 94 and 95: 76 15 o-cu-lo- rum t
Page 96 and 97: 78 5 Canto Alto Tenore 10
Page 98 and 99: 80 29 ius, ius:
Page 100 and 101: 82 13 sti Cre - a - to
Page 102 and 103: 84 37 le - lu -
Page 104 and 105: 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
Page 114 and 115: 96 26 sit et sit sit
Page 116 and 117: 98 6 Canto Alto Tenore 12
Page 118 and 119: 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 -
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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 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.
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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
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1. Source: Critical Notes Concerti
Page 219 and 220:
. 18, n. 1 P b : sharp before c and
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. 25, n. 5 ff. P c1 : a, g, f, e (d
Page 223 and 224:
20. Quam pulchrae sunt. Canto & Bas
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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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