Tomás Luis de Victoria ( )

Transcription

1 Tomás Luis de Victoria ( ) Three Psalms (SATB; SATB) from Mis, Magnificat, motecta, psalmi alia quam pluria (1600) Laudate pueri Domum Laudate Domum omnes gentes Ecce nunc benedicite Edited by Per Seymour association with

2 Tomás Luis de Victoria ( ) Three Psalms from Mis, Magnificat, motecta, psalmi alia quam pluria (1600) Edited by Per Seymour Introduction Perfornce fortion Editorial Procedure Editorial Commentary Translations ii iii iv iv v 1. Laudate pueri SATB; SATB 1 2. Laudate Domum omnes gentes SATB; SATB Ecce nunc benedicite SATB; SATB 34 York Early Music Press In association with Department of Music, University of York, Heslgton Foundation and York Early Music Foundation. at Department of Music, University of York York YO10 5DD UK Eil: fo@yorkearlymusicpress.com Phone: +44 (0) November 2002

3 ii Introduction Tomás Luis de Victoria was born Avila, Spa 1548 and died Madrid His early musical education was Avila until his voice broke (by 1563/5) when he was sent to the Jesuit Collegio Gernico Rome to contue his education. His first publication, Motecta (Venice, 1572) cluded mots for 4 6 and 8 voices, and around this time he y have studied with Palestra, estro di cappella at the nearby Serio Rono. In 1587 Victoria left Italy for Spa where, until 1603, he was Chapla to the Dowager Empress Maria; he was also estro de cappilla there until In 1598 he engaged Julio Junti de Modesti of Madrid to produce 200 copies of a collection which eventually appeared 1600 as Mis, Magnificat, motecta, psalmi alia quam plurmia The present edition is based on the 1600 publication, one which enjoyed considerable distribution, reachg even Mexico and South America. One of his earliest, probably the first, of his psalm compositions was the double choir stg of Super flu Babylonis, specially composed 1573 for the Collegio Gernico around the time of his appotment there as estro di cappella. Super flu Babylonis was eventually published Venice 1576 his Liber Primus a collection which also cluded Nisi Domus. Subsequent psalm publications cluded Dixit Domus, Laudate Domum, Laudate pueri (Rome, 1581) and Laatus sum (Rome, 1581). Ecce nunc benedicite, the only stg not for Vespers but rather for Comple, appeared the 1600 publication. All the earlier stgs were reworked and republished the 1600 collection le with Victoria s practice of constantly revisg his works. The 1600 Madrid publication cludes revisions of 19 pieces which also expected a revised perfornce style. One of the differences the 1600 publication from the earlier versions is that Victoria supplies more accidentals the later version especially the organ score. The choir at Maria s chapel comprised 12 Priests (3 per part) and 4 boys. Doublg struments were added for Easter, Corpus Christi and its octave. After 1601 a dulcian (bassoon) was added for all services and the number of boy sgers was creased to 6. There is further contemporary evidence (not least from Victoria himself but also from Kg João IV of Portugal 1 ) that strumental doublg was widely practised his works circulatg Spa; the 1600 publication added an organ part (essentially a reduction of the Choir I terial) open score which Victoria dicated could replace (or, presubly, double) Choir I. Victoria further suggests that an organ or other struments might replace Choir II triple choir compositions such as his stg of Laatus sum, which, when it first appeared 1581, had been the first triple choir work to be published Rome. A 1601 lter from Victoria 2 claimed this practice of replacg a whole choir with an organ to be novative; it is worth notg that if an organ complely replaces a choir then some of the text would be omitted. At the very least we can note that Victoria presumed an organo seguente part; although this and other doublg practices y have been new Spa they were common elsewhere Europe and Victoria himself would presubly have already worked this way Rome. It would be fair to describe his polyphonic psalm stgs as essentially throughcomposed largescale psalmmots and probably havg no liturgical context the prevailg liturgical practice such cases was to alternate chant and polyphony. Indeed, he left one further psalm composition, Miserere mei Deus, a penitential psalm for Lauds Holy Week which is chordal style rather the nner of an Anglican chant stg and is perhaps more representative of the prevailg liturgical style. A common feature of the polyphonic stgs is that the Gloria always begs triple time and is ly homophonic nature. Elsewhere there is generally little textual repition except the 1 In his Defensa de la música moderna of 1649 João IV (who had a close acquatance with Victoria s compositional output) dicates that it was standard practice for struments to double or replace vocal les, particularly the 2 nd choir a triple choir composition. 2 The lter from Victoria, dated 10 February 1601, was addressed to Jaén cathedral authorities and claims the precedence for provision of a prted organ score (see S. Rubio, Dos teressantes cartas autógrafas de T.L. de Victoria Revista de musicologia, iv (1981), ).

4 iii shorter psalm stgs (Ecce nunc benedicite and Laudate Domum) but there is always an idiosyncratic variy of choral texture and frequent alternation of sgle choir verses with polychoral terial. Perfornce fortion Transposition Many of the mots were published high clefs and have been transposed here accordance with our current understandg with regard to how these combations should be performed. 3 Pitch In the latter part of the sixteenth century various pitches were regular use. Many organs were tuned a semitone sharp of modern concert pitch (ie a =464 Hz) and this high pitch, referred to as mezzo punto, was the most common one for wd struments such as cornt. However, it was not uncommon for organists to transpose down a tone when performg only with sgers (or perhaps with strg struments which would be tuned down as necessary); this lower pitch, a semitone below modern concert pitch was called tuono corista. This edition presents the music at the origal prted pitch or transposed down a 4 th and so avoids remote key signatures. Zarlo, his Dimostrationi harmoniche (Venice, 1571), dicates the popularity of quarter and sixthcom meantone temperament and these certaly work well Victoria s stgs. Scorg The psalms are all scored for two or three 4voice choirs. The tessiturae of the dividual les might suggest some adjustment to our modern layout with altos and tenors sharg some of the ner parts; the top le often lies an alto or mezzo soprano register. Victoria s own rubric and the authoritative writgs of João IV (see above) would certaly suggest an organo seguente throughout, with the option of replacg or substitutg all or some of the parts with an organ le or another strument such as cornt, sackbut or dulcian. Pronunciation It would be reasonable to expect that that part of Victoria's music which he composed and published Italy would have been sung with an Italianate pronunciation as opposed to the Spanish pronunciation one presumes he anticipated for works composed Spa (such as his Officium defunctorum published Madrid, 1605). The psalms the 1600 Madrid publication, with the exception of Ecce nunc benedicite, had appeared Italian publications before Victoria rurned to Spa. It is unlikely that, whilst Rome, he was composg for other than the requirements of his current employment and publication rk. An Italianate pronunciation would therefore seem appropriate. 3 For a fuller discussion see P. Barbieri, Chiavte The New Grove Dictionary of Music and Musicians, 2 nd edition, ed. S. Sadie and J.Tyrell (London, 2001), v,

5 iv Editorial Procedure Variant readgs and any problems of clarity the prted source are cluded the Commentary. Clefs are modernised where necessary but origal designations are dicated the prefatory fortion. Origal time signatures, note values and origal key signatures are dicated the prefatory fortion or above the stave. Accidentals have been modernised; redundant accidentals have been omitted. Editorial suggestions for accidentals based on rules of musica ficta appear above the stave. Precautionary accidentals appear round bracks. Origal bar les at the end of sections have been raed; otherwise, bar les are editorial. Rhythmic notation has been standardised and presented with modern beamg. Spellg and punctuation have been modernised without comment. Ligatures are dicated by a square brack above the stave. Black notation is dicated by a broken brack above the stave. Source British Library, London (K.2.g.14): Missæ Magnificat, motecta psalmi, & alia quam pluri. Quæ partim Octonis alia Nonis, alia Duodenis vocibus concuntur (Matriti. Ex Typographia Regia. 1600, Madrid) Editorial Commentary Laudate pueri Domum C1 has one misplaced flat key signature (1 st le only) bar 128 B has C c m

6 v Translations Laudate pueri Domum (Psalm 112) Praise, O servants of the Lord: praise the name of the Lord. Blessed be the name of the Lord, from this time forth and for evermore! From the risg of the sun to its stg, the name of the Lord is to be praised. (Ch.1) The Lord is high above all nations, and his glory above the heavens. (Ch.2) Who is like the Lord our God, who is seated on high, who looks down upon the heavens and the earth? (Tutti) He raises the poor from the dust, and lifts the needy from the ash heap. To ke them sit with prces, with the prces of his people. He gives the barren won a home, kg her the joyous mother of children. Glory be to the Father and to the Son, and to the Holy Ghost. As it was the begng is now and ever shall be: world without end. Amen. Laudate Domum omnes gentes (Psalm 116) O praise the Lord, all ye nations. Praise him all ye people, for his mercy is confirmed upon us and the truth of the Lord reh for ever. Glory be to the Father and to the Son, and to the Holy Ghost. As it was the begng is now and ever shall be: world without end. Amen. Ecce nunc benedicite (Psalm 133) Behold now bless the Lord, all you servants of the Lord, who stand by night the house of the Lord! Lift up your hands to the holy place, and bless the Lord! May the Lord bless you from Zion, he who de heaven and earth! Glory be to the Father and to the Son and to the Holy Ghost. As it was the begng, is now and ever shall be, world without end. Amen.

7 Laudate pueri Domum Praise, O servants of the Lord: praise the name of the Lord. Blessed be the name of the Lord, from this time forth and for evermore! From the risg of the sun to its stg, the name of the Lord is to be praised. (Ch.1) The Lord is high above all nations, and his glory above the heavens. (Ch.2) Who is like the Lord our God, who is seated on high, who looks down upon the heavens and the earth? (Tutti) He raises the poor from the dust, and lifts the needy from the ash heap. To ke them sit with prces, with the prces of his people. He gives the barren won a home, kg her the joyous mother of children. Glory be to the Father and to the Son, and to the Holy Ghost. As it was the begng is now and ever shall be: world without end. Amen. Cantus primus Soprano 1 CHOIR I Lau da te pu e ri Do Tomás Luis de Victoria ( ) mi Cantus secundus Soprano 2 Lau da te pu e ri Do mi Altus primus Tenor 1 Tenor primus Bass 1 Cantus tertius Soprano 3/Alto CHOIR II Altus secundus Tenor 2 Tenor secundus Tenor 3 Bassus Bass 2 [Organo seguente] Copyright 2002 by York Early Music Press Victoria, Laudate pueri Domum 1

8 2 S. 1 5 num: lau da te no men Do mi ni. S. 2 num: lau da te no men Do mi ni. T. 1 Lau da te no men Do mi ni. B. 1 Lau da te no men Do mi ni. S. 1 Sit no T. 1/A. Sit no men Domi ni be T. 2 Sit nomen Do mi be B. 1 Sit nomen Do mi be Org. Victoria, Laudate pueri Domum 2

9 3 11 men Do mi ni be ne dic tum: ex hoc nunc, ne dic tum: ex hoc nunc, us que ne dic tum: ex hoc nunc, us ne dic tum: ex hoc nunc, us que Victoria, Laudate pueri Domum 3

10 4 17 A so lis or tu us que A so lis or tu A so lis or tu us us que cu lum. cu lum, cu lum. que cu lum. cu lum, cu lum. Victoria, Laudate pueri Domum 4

11 5 24 ad oc ca sum, us que ad oc ca sum, lau da bi oc us quead ca sum, us que ad oc ca sum, lau da bi que ad oc ca sum, ad oc ca sum, lau da bi us que ad oc ca sum, lau da bi lau da bi le, lau da bi le, lau da bi le, lau da bi le, Victoria, Laudate pueri Domum 5

12 6 31 le no men, lau da bi le no men Do mi ni. le, le, le, lau da bi le, lau da bi le lau lau da bi le, lau lau da bi le no lau da bi le no da bi le no no da bi le no men Do men Do men Do men Do men Do mi ni. mi ni. mi ni. mi ni. mi ni. lau da bi le lau da bi le no no men Do men Do mi ni. mi ni. 37 CHOIR I Ex cel sus su per om nes gen tes Do mi nus, su per Ex Ex cel sus su per om nes gen per cel sus su om nes gen tes Do tes Do mi nus, mi nus, su per su per Victoria, Laudate pueri Domum 6

13 7 43 CHOIR I cae los glo ri a e jus, glo ri a e jus. cae los glo ri a e jus, glo ri a e jus. cae los glo ri a e jus, glo ri a e jus. 49 Quis CHOIR II Quis Quis Quis si cut Do mus De si cut Do mus De si cut Do mus De si cut Do mus De us nos us nos us nos ter, qui us nos 56 tat: CHOIR II tat: bi tat: # # bi tat: ter, qui ter, qui hu mi li a re hu hu hu ter, qui al al al tis ha tis ha tis ha al bi tis ha bi spi cit, hu mi li a re mi li a re mi li a re mi li a re spi spi spi spi Victoria, Laudate pueri Domum 7

14 8 61 CHOIR II cit cae lo ter ra? cit cae lo ter ra? cit cit cae cae lo ter lo ter ra? ra? 66 Su scitans a ter ra i no pem: de ster co re Su scitans a ter ra i no pem: de ster co re Su Su sci tans a scitans a ter ter ra i ra i no pem: no pem: Et de ster co re de de ster co re ster co re e rigens Et de ster co re e Et de ster co re e rigens de ster co re e rigens Victoria, Laudate pueri Domum 8

15 9 73 Ut col lo c e um cum pr ci pi bus: cum prci pi bus po Ut col lo c e um cum pr ci pi bus: cum prci pi bus po Ut col lo c e um cum pr ci pi bus: cum pr ci pi bus Ut col lo c e um cum pr ci pi bus: cum pr ci pi bus pau pe rem. ri genspau pe rem. pau pe rem. pau pe rem. Victoria, Laudate pueri Domum 9

16 10 80 pu li su i. pu li su i. po pu li su i. po pu li su i. Qui ha bi ta re fa cit ste ri lem do Qui ha bi ta re fa cit ste ri lem do Qui ha bi ta re fa cit ste ri lem do mo: Qui ha bi ta re fa cit ste ri lem do Victoria, Laudate pueri Domum 10

17 11 87 mo: trem fi li o rum lae mo: trem fi li o rum lae tan # trem fi li o rum lae tan tem, lae mo: trem fi li o rum lae tan Victoria, Laudate pueri Domum 11

18 12 93 trem fi li o rum lae tan tem. trem fi li o rum lae tan tem. trem fi li o rum lae tan tem. trem fi li o rum lae tan tem. tan tem, trem fi li o rum lae tan tem. tem, lae tan tem, trem fi li o rum lae tan tem. tan tem, trem fi li o rum lae tan tem. tem, lae tan tem, trem fi li o rum lae tan tem. Victoria, Laudate pueri Domum 12

19 13 99 Glo ri a Pa tri Fi li o, Spi ri tu i Glo ri a Pa tri Fi li o, Spi ri tu i Glo ri a Pa tri Fi li o, Spi ri tu i Glo ri a Pa tri Fi li o, Spi ri tu Glo ri a Pa tri Fi li o, Glo ri a Pa tri Fi li o, Glo ri a Pa tri Fi li o, Glo ri a Pa tri Fi li o, Victoria, Laudate pueri Domum 13

20 San cto, Spi ri tu i, Spi ritu i San San cto, Spi ri tu i, Spi ritu i San San cto, Spi ri tu i San i San cto, Spi ri tu i, Spi ritu i San Spi ri tu i San cto, Spi ri tu i San Spi ri tu i San cto, Spi ri tu i San Spi ri tu i San cto, Spi ri tu i San Spi ri tu i San cto, Spi ri tu i San Victoria, Laudate pueri Domum 14

21 cto: Si cut e rat cto: Si cut e rat cto: Si cut e rat cto: Si cut e rat cto: Si cut e rat pr ci pi o, nunc, sem cto: Si cut e rat pr ci pi o, nunc, cto: Si cut e rat pr ci pi o, nunc, sem cto: Si cut e rat pr ci pi o, nunc, Victoria, Laudate pueri Domum 15

22 cul a cu lo rum, cul a cu lo rum, cul a cu lo cul a cu lo per, cul a sem per, cul a per, cul a sem per, cul a Victoria, Laudate pueri Domum 16

23 A men, cu lo A men, cu lo rum, A men, cu lo rum, rum, A men, cu lo rum, cu lo rum, A men, cu cu lo rum, A men, cu cu lo rum, A men, cu cu lo rum, A men, cu Victoria, Laudate pueri Domum 17

24 rum, A men, A men. rum, A men, A men. A men, cu lo rum, A men. A men, A men, A men. lo rum, A men, A men. lo rum, A men, A men, A men. lo rum, A men, cu lo rum, A men. lo rum, A men, A men. Victoria, Laudate pueri Domum 18

25 Laudate Domum omnes gentes O praise the Lord, all ye nations. Praise him all ye people, for his mercy is confirmed upon us and the truth of the Lord reh for ever. Glory be to the Father and to the Son, and to the Holy Ghost. As it was the begng is now and ever shall be: world without end. Amen. 19 Cantus primus Soprano 1 Lau da te Do mi num Tomás Luis de Victoria ( ) om Altus primus Alto 1 Lau da te Do mi num om Tenor primus Tenor 1 Lau da te Do mi num om nes Bassus primus Bass 1 Lau da te Do mi num Cantus secundus Soprano 2 Altus secundus Alto 2 Tenor secundus Tenor 2 Bassus secundus Bass 2 [Organo seguente] Copyright 2002 by York Early Music Press Victoria, Laudate Domum 1

26 20 5 S. 1 nes gen tes, om nes A. 1 nes gen tes, om nes T. 1 gen tes, om nes B. 1 om nes gen tes, om nes S. 2 Om um nes gen tes, lau da te e om nes Om A. 2 nes gen tes, lau da te e um om nes po T. 2 Om nes gen tes, lauda te e um om nes po B. 2 Om nes gen tes, lauda te e um om nes Org. Victoria, Laudate Domum 2

27 21 12 po pu li. Quo ni am con fir ta est su po pu li. Quo ni am con fir ta est su po pu li. Quo ni am, quo ni am con fir ta est su po pu li. Quo ni am con fir ta est su po pu li. pu li. pu li. po pu li. Victoria, Laudate Domum 3

28 22 19 per nos mi se ri cor di a e per nos mi se ri cor di a e per nos mi se ri cor di a e per nos mi se ri cor di a e mi se ri cor di a e ius, mi se ri cor di a e ius, mi se ri cor di a e ius, mi se ri cor di a e ius, Victoria, Laudate Domum 4

29 23 26 ius, ve ri tas Domi ni ius, ve ritas Domi ni ius, ve ri tas Domi ni ius, ve ri tas Domi ni ve ri tas Do mi ni n ae ter num, ve ri tas Do mi ni n ae ter num, ve ri tas Do mi ni n ae ter num, ve ri tas Do mi ni n ae ter num, Victoria, Laudate Domum 5

30 24 33 n ae ter num, n ae ter num, n ae ter num, n ae ter num, ve ri tas Do mi ni n ae ter ve ri tas Do mi ni n ae ter ve ri tas Do mi ni n ae ter ve ri tas Do mi ni n ae ter Victoria, Laudate Domum 6

31 25 39 n ae ter num, n ae n ae ter num, n ae ter n ae ter num, n ae ter num, n ae ter num, n num, n ae ter num, n num, n ae ter num, n num, n ae ter num, n ae num, n ae ter num, n Victoria, Laudate Domum 7

32 26 45 ter num. Glo ri a Pa tri Fi li o, num, ae ter num. Glo ri a Pa tri Fi li o, n ae ter num. Glo ri a Pa tri Fi li o, ae ter num. Glo ri a Pa tri Fi li o, ae ter num. Glo ri a ae ter num. Glo ri a ter num. Glo ri a ae ter num. Glo ri a Victoria, Laudate Domum 8

33 27 53 Spi ri tu i San cto, Spi ri tu i San cto, Spi ri tu i San cto, Spi ri tu i San cto, Pa tri Fi li o, Spi ri Pa tri Fi li o, Spi ri Pa tri Fi li o, Spi ri Pa tri Fi li o, Spi ri Victoria, Laudate Domum 9

34 28 61 Spi ri tu i San cto, Spi ri tu i San cto, Spi ri tu i San cto, San cto, Spi ri tu i San cto, cto, tu i San cto, Spi ri tu i San Si tu i San cto, Spi ri tu i San cto, tu i San cto, Spi ri tu i cto, San tu i San cto, Spi ri tu i San cto, Victoria, Laudate Domum 10

35 29 69 Si cut e rat, Si cut e rat, Si cut e rat, Si cut e rat, cut e rat pr Si cut e rat pr ci pi Si cut e rat pr Si cut e rat pr Victoria, Laudate Domum 11

36 30 76 nunc sem nunc sem per, nunc sem per, nunc sem ci pi o, nunc sem per, o, nunc sem per, ci pi o, nunc sem per, per, ci pi o, nunc sem Victoria, Laudate Domum 12

37 31 82 per, cu la cu la cu la per, cu la cu la cu lo rum, A men, cu la cu lo rum, A men, cu la cu lo rum, A men, cu la cu lo rum, A men, Victoria, Laudate Domum 13

38 32 88 cu lo rum, A men, cu lo rum, A men, A cu lo rum, A men, A cu lo rum, A men, cu cu lo cu lo rum, cu lo rum, A cu lo Victoria, Laudate Domum 14

39 33 93 cu lo rum, A men, A men. men, cu lo rum, A men. men, cu lo rum, A men. lo rum, A men. rum, A men. A men, cu lo rum, A men. men, cu lo rum, A men, A men. rum, A men, cu lo rum, A men. Victoria, Laudate Domum 15

40 34 Ecce nunc benedicite Domum Ad Complorium Behold now bless the Lord, all you servants of the Lord, who stand by night the house of the Lord! Lift up your hands to the holy place, and bless the Lord! May the Lord bless you from Zion, he who de heaven and earth! Glory be to the Father and to the Son and to the Holy Ghost. As it was the begng, is now and ever shall be, world without end. Amen. Tomás Luis de Victoria ( ) Cantus primus Soprano 1 Ec ce nunc be nedi ci te Do mi num, Altus primus Alto 1 Ec ce nunc be nedi ci te Do mi num, Tenor primus Tenor 1 Ec ce nunc be nedi ci te Do mi num, Bassus primus Bass 1 Ec ce nunc be nedi ci te Do mi num, Cantus secundus Soprano 2 Ec ce Altus secundus Alto 2 Ec ce Tenor secundus Tenor 2 Ec ce Bassus secundus Bass 2 Ec ce [Organo seguente] Copyright 2002 by York Early Music Press Victoria, Ecce nunc benedicite 1

41 35 5 S. 1 om nesser vi Do mi ni, Qui A. 1 om nesser vi Do mi ni, Qui T. 1 vi om nesser Do mi ni, Qui B. 1 vi mi om nesser Do ni, Qui nunc be S. 2 nedi ci te Do mi num, om vi nesser Do mi ni, A. 2 nunc be nedi ci te Do mi num, om nesser vi Do mi ni, T. 2 nunc be nedi ci te Do mi num, om nes ser vi Do mi ni, nunc be B. 2 nedi ci te Do mi num, om nesser vi Do mi ni, Org. Victoria, Ecce nunc benedicite 2

42 36 11 sta tis do mo Do mi ni a tri is do mus De i no stri. sta tis do mo Do mi ni a tri is do mus De i no stri. sta tis do mo Do mi ni a tri is do mus De i no stri. sta tis do mo Do mi ni a tri is do mus De i no stri. Qui sta tis do mo Do mi ni. In no cti Qui sta tis do mo Do mi ni. In no cti Qui sta tis do mo Do mi ni. In no cti Qui sta tis do mo Do mi ni. In no cti Victoria, Ecce nunc benedicite 3

43 37 17 In no cti bus ex tol li te nusve stras san In no cti bus ex tol li te nus ve stras san In no cti bus ex tol li te nus ve stras san In no cti bus ex tol li te nus ve stras san bus ex tol li te nus ve stras san bus ex tol li te nus ve stras san cta, bus ex tol li te nus ve stras san cta, san bus ex tol li te nus ve stras san cta, Victoria, Ecce nunc benedicite 4

44 38 24 cta. Be ne di cat ti bi, cta. Be ne di cat ti bi, cta. Be ne di cat ti bi, cta. Be ne di cat ti bi, cta, be ne di ci te Do mi num. Be ne di cat ti be ne di ci te Do mi num. Be ne di cat ti cta, be ne di ci te Do mi num. Be ne di cat ti be ne di ci te Do mi num. Be ne di cat ti Victoria, Ecce nunc benedicite 5

45 39 30 be ne di cat ti bi, qui fe cit cae lum ter be ne di cat ti bi, qui fe cit cae lum ter be ne di cat ti bi, qui fe cit cae lum ter be ne di cat ti bi, qui fe cit cae lum ter bi Do mi nus ex Si on, qui bi Do mi nus ex Si on, qui bi Do mi nus ex Si on, qui bi Do mi nus ex Si on, qui Victoria, Ecce nunc benedicite 6

46 40 36 ram, qui fe cit cae lum, qui fe cit cae lum ram, qui fe cit cae lum, qui fe cit cae lum ram, qui fe cit cae lum, qui fe cit cae lum ram, qui fe cit cae lum, qui fe cit cae lum fe cit cae lum ter ram, qui fe cit cae lum, qui fe cit fe cit cae lum ter ram, qui fe cit cae lum, qui fe cit fe cit cae lum ter ram, qui fe cit cae lum, qui fe cit fe cit cae lum ter ram, qui fe cit cae lum, qui fe cit Victoria, Ecce nunc benedicite 7

47 41 42 ter ram, ter ram. Glo ri a Pa tri ter ram. Glo ri a Pa tri ter ram, ter ram. Glo ri a Pa tri ter ram, ter ram. Glo ri a Pa tri cae lum ter ram. cae lum ter ram. cae lum ter ram. cae lum ter ram. Victoria, Ecce nunc benedicite 8

48 42 48 Fi li o, Si cut e rat Fi li o, Si cut e rat Fi li o, Si cut e rat Fi li o, Si cut e rat Et Spi ri tu i San cto. pr ci pi Et Spi ri tu i San cto. pr ci pi Et Spi ri tu i San cto. pr ci pi Et Spi ri tu i San cto. pr ci pi Victoria, Ecce nunc benedicite 9

49 43 55 cul a cul a cul a cul a o, nunc, sem per, cu lo o, nunc, sem per, cu lo o, nunc, sem per, cu lo o, nunc, sem per, cu lo Victoria, Ecce nunc benedicite 10

50 44 60 cu lo rum, A men. cu lo rum, A men. cu lo rum, A men. cu lo rum, A men. rum, A men, cu lo rum, A men. rum, A men. rum, A men, A men. rum, A men, A men. Victoria, Ecce nunc benedicite 11

51 York Early Music Press Catalogue Editions available now Editor A Gabrieli Missa Quando lia sperai (SATTB) Per Seymour from Primus liber missarum (1572) Victoria Four psalms (double choir + org) Per Seymour Victoria Three psalms (double choir + org) Per Seymour Victoria Four Marian Antiphons (double choir + org) Per Seymour Sweelck Anthology of (4) mots (SA/TTTB + bc) Per Seymour Sweelck Anthology of (4) Christs mots (S/ATTTB + bc) Per Seymour Sweelck Anthology of (4) Passiontide mots (SATTB + bc) Per Seymour Lawes Psalms to Comon Tunes (STTBbc) Paul Gameson Boëss Mots for high voices, Vol. 1 Paul Gameson Boëss Mots for mixed voices, Vol. 1 Paul Gameson Boëss Mass du troisième mode (SSSA + bc) Paul Gameson Boëss Mass du quatrième mode (SSA + bc) Paul Gameson Gratiani Magnificat (SATTB + bc) Paul Gameson Helfer Missa Benedicam Domum (SATB) Paul Gameson Helfer Missa Laatus sum (SATB) Paul Gameson Editions available March 2003 Leondaritis 3 sses Miranda Caldi Missa Laatus sum (SATB; SATB) Missa Aller mi faut la verdure (SSATTB) Missa Je prens en grez (SS/AATTB) Leondaritis (38) Mots (SATTB) Miranda Caldi Du Mont 3 St Cecilian Mots (SSATBB + bc) Paul Gameson Editions planned to be compled later 2003 Boëss Mots Paul Gameson Bouzignac Mots Paul Gameson Charpentier Anthology of Psalms Paul Gameson Purcell Songs & dialogues Per Seymour Blow Songs & dialogues Per Seymour Jeffreys Anthems, mots Per Aston Blow St Cecilia s Day Ode Per Seymour Purcell, D St Cecilia s Day Ode Per Seymour Purcell, D Occasional Odes Per Seymour Blow Strg trios Per Seymour Matteis, N Strg suites Simon Jones