ComposerAleotti, RaphaelaAnerio, Felice Animuccia, GiovanniAnonBaccusi, IppolitoAnon (Chant)Jachet (Iachet) de BerchemBrumel, Antoine Byrd, William Campra, AndreCavalli, Francesco Anon (Fr.)Clemens non Papa, JacobusCorelli, ArcangeloCornysh, William Croce, Giovanni Daser, LudwigDe Kerle, JacobusDe la Rue, Pierre De Monte, Philippe Donato, BaldassareDufay, Guillaume Dulichius, PhilippDunstable, John (?)Ferrabosco, Alfonso (I)Finck, HeinrichGabrieli, Andrea Gabrieli, Giovanni Gibbons, OrlandoGombert, NicolasGuerrero, FranciscoHandl, Jakob (Gallus)Isaac, HeinrichJosquin des Pres Lambe, WalterLassus, Roland de (Orlandus Lassus, Orlando di Lasso)Lobo DMarenzio, Luca Merulo, Claudio Monteverdi, Claudio Morales, Cristobal deMouton, Jean Muffat, GeorgOckeghem, Jehan (Jean)Palestrina, Giovanni Pierluigi daParsons, RobertPhilips, PeterPower, Leonel (?)Purcell, HenryRichafort, Jean Rivafrecha, Martin de (Rivaflecha)Schein, Johann Hermann Schütz, Heinrich Senfl, Ludwig Sheppard, John Tallis, Thomas Taverner, John Victoria, Tomas Luis deWalter, Johann Weelkes, Thomas Wert, Giaches de Whyte or White, RobertWillaert, AdrianAnon (English)De Lafage, JeanDe Vento, IvoObrecht, JacobProcter, Michael Anon (attrib. Josquin)Hassler, Hans LeoMendelssohn Bartholdy, Felix Scarlatti, AlessandroForestier, MathurinGastoldi, Gian GiacomoGlinka, Mikhail IvanovitchGuami, Giuseppe (Gioseffo)Crüger, Johannesde Rore, CiprianoArcadelt. Jacques Frye, WalterLackner, DanielRegnart, JacobRuffo, VincenzoMassaino, TiburzioHoyoul, BalduinJacopo da BolognaJacob (Jacques) SenlechesMartinez, Odaline de la (Caridad)Waclaw z SzamotulPraetorius, MichaelCrequillon, ThomasCosset, Francoisde Bournonville, JeanDagneaux, PierreVerdelot, Philippe Esperança, Pedro daIngegneri, Marco Antonio (Marc'Antonio)Wylkynson (Wilkinson), RobertTurges (Sturges), EdmundDavy, RichardHandel, George FridericStanford, Sir Charles (C.V.)VariousElgar, Sir EdwardWood, CharlesMasera, AgostinLechner, LeonhardVaccai, NicolaPearsall, Robert LucasHenry VIII, King of EnglandPederson, MogensGuggomoos, GallusAichinger, Gregor Scoring 3 voices 4 voices 5 voices 6 voices 8 voices other 2 voices 7 voices 9 voices 10 voices 12 voices n/aSABaAATBAATTBBBBATBATBBATTBATTBBchantSATHigh voicesLow voicesMMTBSAABSAABaSAATBSAATBaBSAATBBSAATTBSAATTBBSABaTBSATSAT SATBSATBSATB SBSATB orgSATB SATBSATB SATB bcSATB SAATBSATB SATSATB SATTBSATBaSATBaBSATBaBaSATBaBaBSATBBSATTBSATTBaBSATTBaBB bcSATTBBSATTTBSMAATBSMAB SATBSMABa SATBSMAT SABaBSMATBSMATBaBSMATBaBaBBSMATTBSMTBaSMTTBaBSSAASSAA TTBBSSAATBSSAATBBSSAATTBSSAATTBBSSAATTBB orgSSAB ATBBSSAB ATTBSSAB SATBSSAT ATBBSSAT SATBSSATBSSATB orgSSATB SATB SATB bcSSATBBSSATTBSSATTB SSATBBSSATTBBSSSATTB bcSSSSSSTBSSTBa ATBaBSSTTBSTBStrings 5 partsSTTBTrAABTrATBTrMTTBTrTrATTBTTBBvariousSST/SATStrings 7 parts, bcSSATTB/SATTTBSTTSMATBa SABaBaBSAABa ATTBvarious: see separate entriesSSSAAATTTBBBStr. parts/StimmenSSSAA/TBSATB SATB SATBunisonSATB,bcSMATBaBBMTTBaBSSMATTBSSSTBa ATTBaBSATBaB SATBaBSS or TT and bcss,SATB, bcTrSMABa TrSATBSSTTBBSSMATrSMA ATTBSMABa ATTBSATTBBBSATTTBBSATTB SATTBSSAATTBFTrSMT ATTBTrSMT TBaBFTrSMABa SATTBTTBaBaBFFSSAT ATTBSMAT SATBTrSMAT ATBaBFTrSMAT TrSMAT ATTBaFSSMABa ATTBaBSATB ATBaB SATBSMAT ATTBTrSMT MATB ATBaFTrTrSMA TBBBFTrSMAT SATB ATTBaFTrSMT MATB ATBaF SATFSMAT SATB ATBBSATTTB SATTTBSSAATBBFSATB ATBaB SATBTrSSMT ATTBaBSMATBaB SABaBBBTrSATB TrSATBSSAT ATTB TSSATTB voices and violsSATB and STTBsatb, SSATB, organssaatb, SSATB, organtb, SSATB, organatb, SSATB, organssaatb, SATB div, organssaatb, SSAATTBB, organsab, SATB, organSSABSSATTBBSSMATBaF5SSMAATBBSAATMATBSSATB SATTBTrMTTBa SATTBTBaBSbSAT ATBaBTTBSMATB SATTBSMATTBBSATB ATTBSATTBaBB2 equal voices5 voices SSATB/SATTBS solo,SATTB instr. and SSATTB chorusSATB plus instrumentsFour choirs13 tenorsTrMABa TrMABaSATB MATBSATB ATBaBSMABaSATB AATBSSATBB SATBSSMAABa TrMABaSSB MATBSMATMMTTB MATB TBaBF5MATB MATBTrMABa SAABaSATTTB MATBATB SATBTrMABa MAABaSATB MTTBTrMABa SMABaTo be establishedMATBa MATBaTrMMAABaSSMAABaTrTrMAABaTrMMAATTrAABa MAABavariousTrMABa SMATSATB MATBaTrTrSA AATBaSSAT TTBaBTrMAABaTrTrMABaSATB MATBTrMMABaSSATB (+SATB) bcSMATTB (+SATB) bcSMATTB (+SATB) bcSSB (+MATB) bcSATTB (+SATB) bcMATTTB (+MATB) bcATB (+SATB) bcMABa (+TrMABa) bcSAT (+SATB) bcSATTBB (+SATB) bcSSSATTTBAAATTrTrMATTrMA.TrMBaTrMA.TrMABaSSSTBTrTrTrABaSSSABSoloists, chorus and orchestraSSAMATTBaBSABSATB SMABa SATBMTTTBStrings 5 parts, optional oboe and basson.SATTB STTBaBSATTB,bcSATB ATTB bcatb, SSA(A)T(T)B(B), organSSTTB, bcvoice, pno5 equal voices10 voices, SSSAATTBBBSSATATBaBAlternating ATBaB and AATBAlternating SATB and SSATATTB SATB TrSMTSSAATTBSAATB SAATBa 14: see descriptiona 16: see descriptiona 12: see descriptiona 10: see descriptiona 13: see descriptiona 18: see descriptiona 15: see descriptionSSAATBaBSAATTBB (bc)TrSMAT ATBaBB Liturgical occasion Commons Propers of Saints empty General use Votive masses Liturgia defunctorum Temporale - Proper of the time Secular Penitential UnidentifiedChristmasEpiphanyAdventEastern/aVotive Mass BVMPenitentialGeneral UseEucharistNativity BVM (September 8)Corpus ChristiSummerSt Edmund Campion (December 6)Sunday and FeastsAscensionAll Saints (November 1)Purification BVM, Candlemas, Presentation of Christ (February 2)Marian FeastsAnnunciation (March 25)Holy TrinitySt Thomas à Becket (December 29)SecularSt Lawrence (August 10)Assumption BVM (August 15)Holy Family (Sunday in the Octave of the Nativity or December 30)SS Peter and Paul (June 29)Pentecost (Whitsun)Invention of Holy Cross (May 3)Feasts of ApostlesSecond Sunday after EasterRequiemAdvent and Christmastide (until Purification)EastertideHoly Trinity to the Saturday before AdventNon-liturgicalSt Cecilia (November 22)PassiontideOffice of the DeadHoly Saturday (Easter Eve)(Karsamstag)Circumcision of Our Lord (Jan. 1) and ChristmastideExaltation of the Holy Cross (September 14)Dedication of a ChurchSt. Michael Archangel (September 29)St. Peter in Chains (S. Petri ad Vincula)(August 1)St. Hedwig (October 15)Feasts of ApostlesSeven Sorrows of Mary (Maria perdolens), (September 15)Conception of BVM (December 8)Good Friday (Karfreitag)Vigils of MartyrsFeasts of Martyrs in EastertideFeasts of VirginsFeasts of Confessors and Doctors of the ChurchSunday after PentecostLentHoly Innocents (December 28)In Cena Domini (Maundy Thursday, Gründonnerstag)Feasts of MartyrsLaetare Sunday (4th Sunday in Lent)Invocabit Sunday (1st Sunday in Lent)Christmas Octave1st Sunday in NovemberSt John Baptist (June 24)Christ the King (last Sunday in October)Mary, Mother of God (January 1)2nd Sunday after PentecostAsh WednesdaySunday within the Octave of Corpus ChristiSt James (July 25)St Francis (of Assisi) (October 4)Transfiguration of the Lord (August 6)Feasts (interchangeable names)Holy Name of Jesus (Sunday between Jan. 1 and Epiphany)Vigil of Epiphany28th Sunday in Ordinary Time29th Sunday in Ordinary TimeTriduum sacrum (Holy Week)Passion Sunday (5th Sunday in Lent)15th Sunday in Ordinary Time Liturgical function The mass The office Matins/Night office Lauds Vespers Compline Other/Anglican General empty IntroitusOffertoriumGradualeRespondAntiphonPsalmAlleluiaHymnn/aCommunionMarian AntiphonVesper CanticleMary SequenceMass PropersMass OrdinaryMotet generalNon-liturgicalVesper PsalmCompline respondVesper HymnMagnificat AntiphonPsalm-MotetComplinePrayerSequenceOccasional pieceTenebrae ResponsoriesGospel (Evangelium)Lesson (Lesung)VersicleCompline PsalmCanticleCompline AntiphonAnthemVespers RespondCompline HymnVotive Antiphon (Jesus)Votive Antiphon (Mary)Votive AntiphonVespers PrayerBenedictus Antiphon (Lauds)Choral-MotetPsalm at LaudsEvening use'Grace' at mealtimeProcessionIntroit PsalmVersicle and ResponsePassion (as Gospel) BeauchampProcterAcqua AltaCroce Quatercentenary Edition Keith BennettPaul FuglerJohn MilneMichael ProcterOtfried von SteuberBob MitchellMartin MorellBäuerleReiner Schneider-WaterbergRoderick Swanston and Michael ProcterEdzard Burchards and Michael Procter Manuscript editionSibeliusFinaleOtherChant notation (St. Meinrad)hard coversubscription A1A10A11A12A2A3A4A5A6A7B1B2B3B4B5B7P1P10P11P2P3P4P7P8P9P5Not available separatelyP6NP0P12P99P40CQEHCQEVHP00P13P14P15P16P17 A simple but effective alternatim setting.Berchem was a protege of Willaert, who included this piece in one of his own published collections.The archetypal Mary Mass, providing most of the familiar segments re-used in many of the other Propers. Its atypical ad aequales scoring (TrMATBa) means it can be transposed to suit: I offer it at two standard ranges, either a tone or a fourth lower than the original (equivalent to SATBaB for mixed or male voices).One of the best-known and favourite pieces from the great Gradualia. The quasi-homophony found in so many highly expressive Renaissance pieces gives it an extraordinary intensity.One of two settings by Walter, both of which were also found with the German text 'Verleih uns Frieden'. Oddly cleffed for TrMTB, the piece could well be transposed down by as much as a 4th, and is available transposed on request.This beautiful miniature (lasting about a minute) is found in the first book of Byrd's Gradualia. It is one of the tricky items, being used twice, and although Byrd printed it as the opening section of the long Gradual-Tract group for the Annunciation (in Lent), it may well have been composed initially as the Offertory for the Purification. Byrd failed to provide the piece with a final close, so I give it with an optional cadence.Transposed down a tone from the original high pitch. Also available a 4th lower as indicated by the high clefs of the original.This motet from the Cantiones Sacrae of 1575 sets part of the text from Job set as a reading at Matins for the Dead, and it is significant that the setting is followed in the print by 'Peccantem me quotidie', the Respond to the reading. Joseph Kerman describes the piece as 'antiquated' and it is certainly an earlier work, although it must then be one of the first to experiment with double counterpoint. The original scoring is SAATB and this manuscript edition offers the piece a third higher. It will shortly appear be typeset and thus available at the original pitch and in other transpositions.A beautiful and powerful piece, its text derived from the penitential Advent Prose 'Rorate coeli desuper'. Its unremitting sombre mood and passionate intensity make it a starkly challenging piece for those who think Christmas carols and 'Jingle bells' appropriate for Advent...Byrd quotes briefly the less familiar Mode I chant, and sets verses 2,4 and 5 (Tantum ergo), and provides a final Amen.The simple setting from the Gradualia.Text by St. Henry Walpole on the death of Campion. Byrd's setting circulated widely in manuscript as a Consort Song (e.g. in the Dow partbooks) but was printed in Psalms, Sonets and Songs (1588) in a vocal version.A suite arranged by Michael Procter.A splendid verse anthem for New Year's Day, ideally for viols and voices but suitable for other instruments (please contact me for parts in suitable clefs.) It has two verses, the second closing with a short Amen.Parts for use with the Dover scoreParts for use with the Dover scoreOne of my earliest transcriptions, made as a student in the 1970s, now finally typeset. A splendid piece appropriate for the Ascension but presumably originally written for the annual Lepanto celebration at S. Giustina, for which the phrase 'exultate Deo adjutori nostro' would have been very apposite. One of my earliest transcriptions, made as a student in the 1970s, now finally typeset. A splendid piece making full use of the instrumental references in the text - tympanis, citharis, cymbalis... This performing edition is offered a 4th lower than the high-clef original.Remarkably little of Donato's sacred music is available. This is a lovely little piece.The famous setting which includes prayers for Dufay himselfThe only edition to show the dual texts intended by the composer - The Antiphon text parallel to the Mass ordinary.Ferrabosco's reworking of the verse from Lassus' first Penitential Psalm.Now typeset (without Credo) and transposedAn extremely beautiful motet, set in the garden early on Easter morning.The model for Monteverdi's magnificent Mass of 1610A splendid piece with tricky rhythms, rather typical of Handl. The opening phrase 'Christ rising into heaven' covers a ninth in steps of a third, in each voice. A high-clef piece, usually offered down a minor third but of course available as required. Now available in Sibelius format.The same music as Conceptio Mariae Virginis, with a different text - a contrafactum, in fact.Choralis Constantinus: Introit, Alleluia, CommunionChoralis Constantinus: Introit, Alleluia, CommunionMagnificent 6-part Introit, probably from the Imperial Hofkapelle of Maximilian, and most likely intended for Nativity BVM.Choralis Constantinus: Introit, Alleluia, CommunionThe famous 'Kaisermotette' for the Reichstag in Konstanz, 1507. Michael Procter considers this to be a contrafactum of a lost original setting of the liturgical text, which is the Magnificat Antiphon for the Assumption. The Missa Virgo Prudentissima, thought to have been performed in Innsbruck in 1503, was then a parody on the lost original. The Kaisermotette itself was retexted again in 1558 in honour of Maximilian's grandson Karl V, with the text 'Christus Filius Dei': this version is also available on request. Instrumental parts for the typical 'Maximilian scoring' with cornetti and trombones are also available.Josquin's original 4-part setting is so perfect that it seems sacrilegious to add further voices. Yet the composer of the additional soprano and tenor - now thought to have been Daser - creates a wonderful rich texture which seems to add further colour to Josquin's masterpiece.This version is transposed down a third for male voices.A sublimely beautiful piece, originally a Sequence for Mary Feasts. My edition follows Senfl's in the Liber Selectarum Cantionum of 1520, with its unusual changes of 'key signature'.Josquin's Mary Mass is a complex piece, for 4 and 5 voices, with canons in the Credo, Sanctus and Agnus. Only the Credo is in normal clefs; the other movements are in high clefs and need transposition. Our edition, completely revised in 2006, is available in two versions, high and low voices. This is the version for low voices.Attributed to Josquin. A lament on the death of Kaiser Maximilian I. (1519) copied into the Chansonnier of his daughter, Marguerite of Austria.Another Marian piece retexted by the Protestants!Composed for the Council of TrentOne of Lassus' most sublime pieces. Also the Offertory for Feasts of Martyrs. Here a fourth lower than the original.A single verse from 'Domine ne in furore' (The first Penitential Psalm) together with Ferrabosco's reworking of the piece.The final and greatest work of Orlandus Lassus, now recorded by Hofkapelle: a cycle of 21 movements - 20 sacred madrigals with Italian texts by Luigi Tansillo, and a final Latin motet, thought to be by Lassus himself. This practical edition is based on the edition by Therstappen (1935), corrected and where necessary transposed.This magnificent piece - for one 12-part choir, not three choirs - was probably composed for the special truncated form of Vespers on Easter Eve.A charming setting using Sermisy's chanson as a model.Lassus created almost 100 parody Magnificat settings, a genre all his own. His model here is a chanson by Gombert, which is included in the edition.The most famous of Josquin's pieces, a masterpiece of imitative and canonic writing. The original version celebrates a series of Marian Feasts, from the Conception to the Assumption. The Protestant version (Ave Maria...benedicta tu) replaces these with Biblical texts. Available at low and high pitch for male and mixed voices.This version is transposed down a third for male voices.Newly typeset edition of one of Mouton's best-known shorter pieces. It includes a canon in which the Altus sings the Bass line upside-down.For use with the score in DTöFor use with the score in DTöAn exquisite and simple setting of the antiphon.A splendid double-choir setting, printed as the final work in Palestrina's great Third Book of motets, which I have suggested he intended as a retrospective for his 50th birthday. The Psalm is set for Lauds of Feasts, including Christmas. A high-clef setting usually offered down a fourth.A lovely and unusual piece for three 'equal' voices (cleffed for AAT).It was printed in the very first motet collection, in 1501, and served Josquin as a model for his parody mass.A magnificent double-choir parody mass, suitable for use on Feasts.Our version of the justly celebrated work offers it in an appropriate and correct transposition, down a fourth - and corrects an error in the original Kyrie.This version is at our preferred performing pitch, a fourth lower than the original.One of Palestrina's best-known pieces, but one of the many which are actually in high clefs and need transposing. The piece is therefore offered transposed down a fourth for SSATBaB.This piece is a remarkable testament to the faith of the composer. Composed on the death of his beloved wife, it breathes nothing but confidence in everlasting life.Tallis sets only the Antiphon of the Introit. In my edition the Verse and Gloria chant sections have been reconstructed.This is a version transposed a tone higher.The model for the Sanctus of Byrd's Mass for 4 voices.My reconstruction of Taverner's wonderful sonorous mass based on the antiphon 'O Willelme pastor bone'. The mass was previously known as 'Small devotion' through a misreading of the annotation 'S. Will Devocio' in the manuscript. Credo not yet included.One of Taverner's most splendid compositions.A reconstruction of the piece as it was probably originally intended. It survives incomplete, lacking the Tenor, in Christ Church and Peterhouse mss, in one with the title Christe Jesu, in the other as O Christe Jesu, and incorporating a prayer in the one case for Henry VIII and in the other for Elizabeth I. It seems to have started life as a setting of the Antiphon to St William (of York) sung each evening at Cardinal College (later Christ Church), Oxford and incporporating a prayer for Cardinal Wolsey, Founder of the College. It provided the model for the Missa O Willelme, also known as the 'Small Devotion' Mass.The text appears chiefly in connection with Corpus Christi, but the work is generally sung as a Communion motet.Now in Sibelius version available at different pitches: the original is G-Dorian, i.e. high clefs. A magnificent and very powerful piece.Josquin's original 4-part setting is so perfect that it seems sacrilegious to add further voices. Yet the composer of the additional soprano and tenor - now thought to have been Daser - creates a wonderful rich texture which seems to add further colour to Josquin's masterpiece.This is the original-pitch version.The more familiar 'chorale' version, here with an original version of the text.This powerful and moving piece is transmitted anonymously in Georg Rhau's Wittenberg anthology 'Symphoniae iucundae' of 1538. I have been able to establish a concordance for the piece and identify the composer as Jean de la Fage. He was probably trained before the beginning of the 16th century, and thus may have been born about 1475. One of his motets is attributed to Mouton, so that his style was recognised as assured and accomplished.The well-known 'Mass for four voices' is a high-clef piece and is available at various pitches (here a semitone lower than the original). The Editor considers the piece should be sung down a fourth or a fifth by ATTB/ATBaB.This very beautiful piece by Giovanni Croce is a setting of one of the Antiphons sung on the first Sunday in Lent (AM 342) - but also part of the prayer spoken by the Priest during the Offertory of the Mass. The text is thus of a penitential character: With humble spirits and contrite hearts may we be accepted by Thee, O Lord: and may our sacrifice be such that it be acceptable to Thee this day, and be pleasing to Thee, O Lord God. The piece was printed in a collection published by Grandi, Motetti a cinque voci (sic) in 1620.Seven sonnet-form Italian translations of the Penitential Psalms, beautifully set by Croce. The pieces were also 'Englished' (see 'Musica Sacra') and were even translated into Latin ('Septem psalmi poenitentiales'). Available separately or as a set. See separate entries for details.Sheppard's third setting of the Respond is for 3 voices, here at original pitch.The model for de Monte's massSheppard's third setting of the Respond is for 3 voices, here a tone higher than the original.A wonderful setting of the text familiar from Byrd's setting, also suitable for general penitential use. Our standard version is a third lower than the original high cleffing.A wonderful piece, setting the familiar Prodigal Son text. Model for the parody mass.The Feast of Mary, Mother of God, is celebrated on January 1st, replacing the Circumcision. The Feast was of course unknown in Byrd's Day but the Proper is all in the Gradualia and has been assembled here by Michael Procter, just as Byrd intended should be done for other Marian feasts.The most famous of Josquin's pieces, a masterpiece of imitative and canonic writing. The original version celebrates a series of Marian Feasts, from the Conception to the Assumption. The Protestant version (Ave Maria...benedicta tu) replaces these with Biblical texts. Available at low and high pitch for male and mixed voices.This is the original (high-pitch) version.A motet from Sacrae Cantiones, 1578: originally for Corpus Christi, very suitable for Communion: it has a wonderfully open texture with long melismatic lines, and a beautiful final Alleluia. A high clef piece usually offered down a fourth but available at various pitches.The text of this lovely piece is a variant of a Hymn (Chevalier II, 174, no. 12634) for the Feast of Holy Trinity. It shares with 'Ego sum panis' from the same collection (Sacrae Cantiones, 1578) an openness of texture and a melismatic style, here combined with telling use of late Renaissance semi-homophony. A high clef piece usually offered down a fourth but available at various pitches.A splendid double-choir settingA beautiful, extended setting of a popular Counter-Reformation text.The original version of the mass, including the Gloria Tropes 'Spiritus et alme...' This version is at the original high pitch.The three readings for the first Nocturn at Tenebrae (Matins) of Maundy Thursday from Palestrina's third set of Lamentations. I Incipit Aleph (SSATB), II Vau Et egressus (SATTB), III Jod Manum suum (SSATTB)II Heth (SAATB), II Aleph (SATTB), III Oratio (SSATTB)The original version of the mass, including the Gloria Tropes 'Spiritus et alme...' This version is transposed down a 4th.Purcell's well-known 'Hear my prayer, O Lord' is recognised to be the first section of an otherwise unwritten work, presumably with texts drawn from a Psalm or Psalms. The fragment survives in a single manuscript, in the Fitzwilliam Museum, Cambridge, in the composer's own hand, and the following pages are ruled in preparation for the work which was never pursued.One of the truly great pieces of Tallis, scored for high and low boys' voices plus men ATTB. An alternatim setting of a Sarum Respond, which appears slightly abbreviated in long notes in the Tenor (Baritone) part.Presumed to have been composed to celebrate the lifting of the national excommunication of England upon the accession of Catholic Queen Mary, and to have been sung by the combined Chapels Royal of England and Spain, this is an eloquent, sombre and moving piece.Homo quidam is one of only 9 responds, or responsories, by Tallis which have survived. Its elaborate scoring, including a treble part could suggest it was intended for the Chapel Royal.One of the best-known pieces by Tallis, originally in 'highest clefs' with a French violin clef (G1) for the top voice, here offered a fourth lower. Unusually, the chant is in the top voice.A magnificent mass based on Victoria's own superb setting of the antiphon. Revised edition with original note values restored.Victoria wrote no secular music. His 'love music', which in another composer would have been given expression in madrigals, is all in the Marian music to which he devoted so much care. Victoria left no less than four settings of the Salve Regina, of which this is the largest-scale. Revised edition with original note values restored.A simple yet very beautiful piece.Aus tieffen Not; Erbarm dich meinAs far as we know this is the only modern edition of the piece, a parody on part of Josquin's Vultum tuum.On the death of Maximilian - a revision of Festa's piece on the death of Anne de BretagneSo far available: Domine ne in furore; Domine exaudi orationem meam; Laudes DominiPalestrina apparently contributed only this section of the Gloria to a mass written by several Roman composers.This splendid piece, some eight and a half minutes in length, is attributed to Josquin in the only printed source - Cantiones septem, sex et quinque vocum... Augsburg, M. Kriesstein, 1545 (RISM 1545/3 reprint 1546/5)- but the attribution has been rejected on stylistic grounds. It is nonetheless a fine piece and well worth singing. A new transcription of the antiphon as given in the Hartker ms (St. Gall 390-391). It differs considerably from the official Vatican Edition (Antiphonale Monasticum) which claims to be based on the same source.A magnificent mass, a parody on Croce's own motet. Our standard version (EMP0869) is a tone lower than the high-clef original (as here) but omits the 'Partidura' included in this version. The piece is available at other pitches, with or without the two-part 'Partidura', the original continuo or director's part. A splendid double-choir piece, with the text 'Saul slew his thousands but David his ten thousands.' Model for the grand parody mass. This standard version is a tone lower than the high-clef original.A magnificent double-choir setting of the familiar Ascensiontide text.Very beautiful setting of a text derived from the Song of Songs. This performing editio9n is a third lower than the original.Simple faburden/'Anglican chant' settingFrom Croce's 'first book' of four-part motets, clearly designed for lass ambitious choirs. This anthology includes O sacrum convivium, Exaudi Deus, and O gloriosa Domina, all of which are also available separately.A lovely parody mass on Lassus' Easter motet (qv.)Missa O Venus bant, also known as Missa In Summis, composed for the wedding of Ulrich von Württemberg and Sabine von BayernThe sixth Penitential Psalm (Ps. 129)The fifth Penitential Psalm (Ps. 101)A splendid occasional piece. Martin Morell provides the following note: The "sorella e moglie" of the "gran Tuonante" is of course Juno/Hera, and it seems that she is attempting to launch a pre-emptive strike, as it were, on an unnamed rival who is journeying on the high seas. To this end she enlists the aid of Aeolus, who unleashes Circius, the north-west wind. The scheme is foiled, however, by Nereus, and Juno is obliged to "cede the palm." Although Juno certainly had a reputation for being nasty when her jealousy was aroused, the story recounted in the sonnet has no parallel in classical mythology that I am aware of. This makes me suspect that the madrigal is an "occasional" piece, commemorating the arrival in Venice of some illustrious (and, no doubt, still queasy) female personage after a not-so-uneventful voyage. ("How about a cup of tea and a nice madrigal or two to calm your nerves, dear?")The first Penitential Psalm (Ps. 6)An almost understated setting from the Cantiones Sacrae of 1565.The fourth Penitential Psalm (Ps. 50). This version is a fourth lower than the high-clef original.Very chromatic!It is fascinating to compare this with the well-known Gabrieli setting.A revised edition of this magnificent double-choir setting.A splendid motet. Model for the Missa Congratulamini mihiA very fine mass built on Lassus' own Eastertide motet.An enormous and impressive motet, the model for the Missa In principio (in preparation).How does Lassus keep it up? A simply wonderful piece.A magnificent piece requiring instruments (Tr. means Treble Clef, so at least 2 cornetti or violins, preferably with other doubling). A setting of the familiar Petrarch text.The model for the Missa Surrexit pastor bonus of Ivo De Vento.Recently identified as a cycle, and recorded for Christophorus by the Ensemble Hofkapelle. A remarkable set of 13 acerbic, pointed, witty, wry and somewhat melancholy observations on the pointlessness of human life and the need for Grace. These virtuoso pieces, vocal chamber music, are also available separately.One of the three (English-texted) Anglican pieces composed by Mendelssohn about the time of his sister's death - Magnificat, Nunc Dimittis and Jubilate. Newly edited from the manuscript now in Krakow, which makes it clear that Mendelssohn's original conception included a part for organ, Nonetheless available as chorus score (as here) or with organ.Based on the madrigal by Wert.Setting of part of Guarini's 'Il pastor fido' from the Fifth book of madrigals, 1605. Original of Scopini's 'Qui pependit in cruce.'A comparatively early work. Its model is the Ascensiontide hymn Festum nunc celebre, in a version of the melody not found in Italian sources - which is perhaps the reason for its remaining unidentified in the first edition.This mass, together with the Missa BMV, forms the 6-part section of Palestrina's Third Book of masses for 4, 5 and 6 voices (1570). There exists a manuscript in the library of the Sistine Chapel, giving the date as 1563, so we may suppose the mass to date from Palestrina's return, after his difficult years at S. John Lateran, to S. Maria Maggiore. As well as being unusually scored - for SSAATB - it is his only Hexachord Mass, and displays his considerable gifts: the second Superius sings only the cantus firmus, ascending and descending, either in the natural or the hard hexachord, but in an enormously varied and varying series of rhythms. In the final Agnus a third Alto sings in canon a fifth below the second Superius. The edition has now been revised and includes the Credo. Here a 4th lower than the high-clef original.One of Palestrina's magnificent responsories.In te speravi (Holy Family) and Posuisti (St. Thomas a Becket, Dec. 29)We once described this as a 'Catholic Bach Motet' - double choir, complex polyphony, a real discovery for the competent chamber choir.Senfl's setting of Psalm 50 (51) belongs perhaps alongside his De profundis as all that remains of a complete set of the Penitential Psalms. This piece, at some 17 minutes, is longer than the other, and will inevitably be compared to Josquin's, with which it shares a number of features. This version is at the original pitch, cleffed SATTB.Choralis Constantinus: Introit, Alleluia, CommunionChoralis Constantinus: Introit, Alleluia, CommunionA very beautiful alternatim Mass, here in the composer's revision for 6 voices, with the chant sections reconstructed from the Graduale Pataviense (Passau Gradual). The piece has been recorded by Hofkapelle with organ improvisations for the chant sections, together with the original 4-voice version sung with chant.One of the magnificent 6-voice introits preserved in manuscript in Munich.This setting of the penitential psalm has become well-known in the attribution to Josquin which is now widely rejected. No reason to stop singing the piece!The retexted 'protestantised' version of the familiar Marian motet.One verse of the long motet 'Vultum tuum': this section was the basis for the mass by Willaert (qv.)The famous Requiem which is scored in abysmally low clefs (including Gamma-3). It is here offered at the correct transposition, which works out at SATB pitch, but is also available at the original pitch.The piece was printed in Novum et insigne opus musicum...Nürnberg, 1537 (RISM 1537/1), where it was attributed to Josquin, and many ms sources are simply copied from this widely distributed print. The attribution is credible, for the piece is in the typical Josquin style - the so-called sequence-chain form, with music repeated for the pairs of text lines (as in the chant) - and with a pair of canons: the Discantus and Tenor sing the paraphrased chant, while Quintus and Bassus have related but independent material. The remaining two voices, Contratenor and Sextus, are freely composed.A splendid piece, usually heard in Easter week but also set for the Octave of the Nativity (January 1)A lengthy setting of the first 2 verses of Ps. 142.One of Byrd's most popular, but by no means easier madrigals. Offered a fourth lower than the original.One of the most extreme of Byrd's 'Jerusalem' motets.Another of Byrd's 'Jerusalem' motets.A further 'Jerusalem' motet, this one printed in the Gradualia, and incorporating a daring diatribe against the King.Unusual setting of a text from the book Ecclesiasticus (Jesus Sirach), which forms the whole of the third reading at the Little Office of the BVM.Now identified as a Respond (or Responsory) for Feasts of Virgins and Non-Virgins. The 'Ad aequales' scoring can be tranposed to suit different groups of voices. Our example is SSMA but TTBaB is equally valid.An unsual and very grand setting for seven voices, thought to have been composed for the Wedding of Ulrich von Württemberg and Sabine von Bayern in 1511, the occasion for which the great Wedding mass was also composed.A setting which combines the hymn text Veni creator with a Pentecost Antiphon.The famous piece is here presented at the original pitch, clearly for men's voices - it is also available tranposed if required.The celebrated madrigal is given here at the correct transposed pitch.The celebrated piece with a range of 4 octaves!A setting of one of the 'Great O' Antiphons (Dec. 17)A truly 'occasional' piece, with a pseudo-Classical Latin text, culminating in a triumphant chorus of praise to Duke Albrecht and Bavaria!The Responsories for the second and third Nocturns of Tenebrae (Matins) on Holy Saturday. I Recessit pastor noster, II O vos omnes, III Ecce quomodo moritur, IV Astiterunt reges terrae, V Aestimatus sum, VI Sepulto DominoA striking and unusual piece in which the two main groups sing a typical romantic madrigal, while the burlesque extra Tenor adds ribald comments!The celebrated piece, essentially a 6-part Viol Fantasy with vocal interjections (steet cries, watchman, beggars...). The price is for a score: parts each EUR 1.00.Our version of the familiar piece, correctly transposed for male voices but also available at other pitches.Nun bitten wir den Heiligen Geist; Da pacem Domine/Verleih uns Frieden (dual texts)Duo ubera tua (SSATB) and Quam pulchra es (SAATB). A pair of motets from the wonderfully sensuous cycle: further selections in preparation.See: Song of SongsFirst of a series of Russian church pieces. This work requires some basses with bottom C.An alternatim Mass, the chant to be improvised at the organ or sung choraliter - here again reconstructed from the Graduale Pataviense (Passau Gradual). Only in the Agnus is the second voice really a Tenor. The edition has been revised in 2006.A splendid Easter piece, typically combining a deep sense of the text and a madrigalistic approach to the words.A quite wonderful madrigal, unusually for 6 voices, from the Fifth Book of Madrigals, 1588.A lovely parody mass, whose madrigal model has not yet been identified. Baccusi was maestro di cappella at Santo Stefano in Venice, possibly for two periods, at the end of the 16th century. This version is a 4th lower than the original.Rejoice in the Lord alway, and again I say rejoice!The opening of Vox clamantis is an antiphon sung in Advent. Wert's setting is of a longer version of the text from Isaiah Chapter 40, which will be familiar from Handel's The Messiah: Every valley shall be exalted... The extraordinary ranges, deriving obviously from the text, make this splendid piece a challenge for any group.A verse from the hymn Vexilla regis, in honour of Holy Cross.A magnificent piece, scored for seven voices. It includes a triple canon as if to outdo Josquin's famous setting.Psalm Antiphon: Alleluia, alleluia and Magnificat Antiphon: Surrexit enim. Believed to be the first moden edition of any of Senfl's great collection of Vesper music.A piece celebrated for its extremely chromatic style. It sets the first part of each of several verses of Psalm 76 and seems appropriate for Tenebrae of Maundy Thursday (Gründonnerstag) or general penitential use.A version of 'Ave Maria...Virgo serena' revised by the Lutherans, with the familiar Marian texts replaced with Biblical texts from the Annunciation. Edited from one of the Torgau mss edited and mostly written by Johann Walter, Luther's closest collaborator.Scored for SATB soli and SSATB chorus, this piece includes an unusually high proportion of solo writing. The text is a paraphrase from Psalm 143, one of the Penitential psalms.A splendid piece. It is scored for 5-part chorus SSATB with verses. The text is a paraphrase of Psalm 104, 33-35.One of the best-known of Purcell's Anthems. It is scored for 5-part chorus with extended solo passages for Tenor and for Bass. The text is a paraphrase of Psalm 3.Scored for SSATB chorus, with solos for ATB. The text is a paraphrase from Psalm 79.This splendid piece is scored for 4-part chorus, which divides for the final Hallelujah (source of the hymn tune 'Westminster Abbey.' There are solo verses for SSA(or T) and ATB. The text is a paraphrase from Psalm 63.A very fine piece scored for 8-part chorus with solo verses for SSATB. The text is a paraphrase from Psalm 80.A very effective piece scored for 4-part chorus with solo verses for SAB. The text is a para-phrase from Psalm 130, one of the Penitential Psalms.This very familiar piece is scored throughout for 5-part chorus. The text is taken from the Litany, and remained unchanged in all English prayer-books from 1549 to 1662.Well-known in Cathedral choirs, this piece is scored for 5-part chorus SSATB with verses for SSA and ATB. The text seems not previously to have been identified, but is a paraphrase of Psalm 54.A very effective and deceptively simple piece, which provided the model for the Missa Dies sanctificatus.Well-known Christmas pieceLess well-known Christmas piece with demanding ranges for SSA (or T with top Bflat)Delightful but little-known Christmas piece from the Cantiones Aliquot of 1569.A muscular Christmas piece from Munich MS Mus 48Well-known in Germany, a setting of Paul Gerhard's choral with two violins and bass, here with alternative florid violin parts by Michael Procter.A splendid piece, some 7 minutes long. Available in versions for mixed and for male voices.A magnificent setting based on Josquin's motet (A Mary Sequence) The work was composed for Duke Ercole II of Ferrara, and in the only surviving source (Munich Mus MS 46) one voice sings throughout the mass the text 'Hercules Secundus Dux Ferrariae Quartus vivit et vivet.' In this version prepared for liturgical performance in San Marco, Venice, alternative texts were supplied, either setting sections of the Ordinary or using a new text in honour of Holy Trinity. Various versions are available. The work as offered here is without Credo, but a full version with the Credo will be available shortly.A setting of a text derived from the Testament of St. Francis of Assisi (1226), suitable for Eastertide or for feasts of Holy Cross. The use of intermediate clefs (here Mezzosoprano) is typical for Merulo's second book of motets.A splendid declamatory and rhythmically complex piece - also suitable for the season following Pentecost. The piece is in high clefs and is usually offered transposed down a fourth, as here, or down a tone.A beautiful setting of the familiar Marian piece, originally cleffed TrSMAABa. It is usually offered transposed down a tone or down a fourth.A setting of verses from the Benedicite originally cleffed TrTrMAABa. It is usually offered transposed down a tone or down a fourth.A powerful setting of the familiar text from Ps. 95. An unusual but typically Venetian scoring, combining vocal clefs with a very low instrumental bass line, originally probably a dulcian. Our edition is available at original pitch or a tone higher, bringing the lowest part almost into the Bass vocal range!One of several pieces for seven voices in Merulo's Second Book of Motets. The text is a Vesper Antiphon on Christmas Day and its Octave, also for the Purification and in the Office of BVM. It refers to John Baptist seeing Christ and exclaiming: Behold the Lamb of God, who taketh away the sins of the world. It ends with a splendid triple-time Alleluia.One of several pieces for seven voices in Merulo's Second Book of Motets. The text clearly relates to Savonarola's famous commentary on the Miserere (Ps. 51)One of several pieces for seven voices in Merulo's Second Book of Motets. The text from Rom. 11 occurs liturgically as a reading on the Feast of the Holy Trinity. Merulo's setting includes a wonderfully syncopated treatment of the word 'investigabiles' (inscrutable!).One of the few pieces by a female composer of the period. She was prioress of the musically renowned Augustinian convent of S Vito, Ferrara, from 1636 to 1639.A simple attractive setting, clearly influenced by Palestrina's but none the less worth exploring.One of the best of the four-part pieces of Anerio, and a very effective setting of the text. Besides the settings by Deering and Mouton there is also a splendid double-choir setting by Croce, recently added to our catalogue.This is one of only 24 Latin sacred motets by Arcadelt, who is better known for his over 120 chansons and 200 madrigals. But his output also includes three masses, Lamentations and Magnificat settings. Most of the motets are settings of liturgical texts: Haec dies is of course the Gradual on Easter Day. It is one of three motets printed in Moderne's anthology Motetti del fiore in 1532.One of the loveliest of the short pieces in Byrd's great Gradualia. The text is part of the Beatitudes from the Sermon on the Mount. This version, a fourth lower than the original, has the catalogue number EMP0526.A magnificent piece, one of the few for 6 voices in the Gradualia associated with the feasts of St Peter. The text is both Magnificat Antiphon at Vespers and Alleluia verse in the Mass. Byrd's print omits almost all the text for obvious political reasons; it has been reconstructed here.Frye's piece, a setting of an unusual variant text, survives in many mss in Eastern Europe, with three different Tenor parts. My edition takes the version of the so-called Codex Specialnik, Hradec Kralove, Krasjke muzeum, Knihova II A 7.Few Full Anthems of Gibbons survive. This is a magnificent piece suitable for Advent and general use. This version is set a third higher than the original.Few Full Anthems of Gibbons survive. This setting of part of Psalm 6, one of the Penitential Psalms, is suitable for Advent, Lent and general use.The piece is given in Handl's Opus Musicum as a Responsory for Epiphany. In certain rites, however, including that of St Mark's in Venice, the same text is set as the 8th Antiphon at Matins on the Feast of the Transfiguration of Our Lord (August 6).One of the most celebrated of Josquin's pieces, imitated by many composers. The Tenor sings throughout the piece the single phrase 'Miserere mei Deus,' rising one step for 'De-'. This is repeated 21 times, on each step of the scale down and up and down again, after each verse of the psalm. The piece lasts about 14 minutes and is not to be undertaken lightly!This piece is variously attributed to Josquin and to Verdelot, and is probably by neither. It sets sections of verses from Psalms 118 and 114.A setting of the familiar text, which was often attributed to Isaac.A minor master of early Protestant music, Lackner was among the first recognised composers born in Styria. His music seems redolent of the Venetian influence as digested by Jakob Handl, with complex rhythmical counterpoint, contrary motion and quasi-homophony.A setting of part of Psalm 46/47. especially associated with the Ascension.An extended setting of the Antiphon.An awesome piece: in my ensemble Hofkapelle we refer to this is 'Obrecht's Ninth'. The piece is on a huge scale and lasts a good 12 minutes including the chant verses. I offer it in two versions, one for mixed and one for male voices.A fine piece for Advent, not, however, a setting of the first Respond at Matins on the 4th Sunday in Advent. But it is in the familiar two-part form ABCB with a splendid Alleluia.A magnificent double-choir setting which makes a fascinating contrast to the 5-part version. It comes from the same collection as Fratres ego, Constantino's anthology 'Selectae cantiones' of 1614.A magnificent double-choir setting which was the model for the Missa Fratres ego.A magnificent double-choir mass based on Palestrina's own motet. It is of course not only suitable for Corpus Christi, although that is the Feast for which the motet was composed.A splendid piece whose scale indicates something of the esteem in which Hedwig - Patrona Silesiae - was held. She was born daughter of Count Berthold III of Andechs in 1174, married Henry I (The Bearded) and thus became Duchess of Silesia and Poland. She founded with her husband the Cistercian nunners of Trebniz, near Wroclaw (Breslau) to which she retired on the death of her husband and son in 1238. She died there in 1243 and was buried near her husband in the Abbey church where they both still lie.One of the most attractive motets of the prolific Jacob Regnart, a setting of the familiar text (Take my yoke upon you) from St. Matthew, best known from its setting in Handel's Messiah.This beautiful motet by Vincenzo Ruffo is from the first book of 5-voice motets, 1542, which was his first publication.A two-part piece from the Cantiones Sacrae of 1625. The text is from the Song of Songs and receives here a wonderfully light Italian treatment in contrast to other pieces from the same collection.A three-part piece from the Cantiones Sacrae of 1625. The text, like many in the collection, was derived by Andreas Musculus from the Meditationes of Pseudo-Augustinus. This piece is rooted in the 17th century pietistic literature which in spirit stood beneath the Cross and proclaimed its own guilt. A challenging piece to understand or perform.A remarkable piece, setting the whole of the Beatitudes from the Sermon on the Mount. No liturgical use has been identified for such a piece, but part of the text is set as the Communion for All Saints.Beatus vir is not one of the usual Psalm texts but is verse 12 of the first chapter of the Epistle of St James.Not the more usual Psalm 116 but Psalm 150, set for Lauds on Feasts and for the Dead, but more likely intended for a splendid Venetian celebration on Holy Saturday. The lower choir is conventionally scored, but the higher choir includes what must originally have been a cornetto, lying too high for male soprano, and thus in all probability included other instruments.The text is especially associated with Corpus Christi, but the piece will nowadays be sung as a Communion motet.A piece insecurely attributed to Josquin.The earlier (1556) of two settings of the familiar Vespers/Evensong Verse Give peace in our time, O Lord...A stark setting of the opening passage of Savonarola's meditation on Psalm 50 (51) Miserere mei Deus. This text, which was already translated into many languages in the 16th century, was set by many composers. Lassus' setting, scored originally for mezzo, alto, alto, tenor, bass and subbass (ideal for male voices) is here offered a tone higher. Set in the Phrygian mode, which offers little scope for relief, it nonetheless moves from despair to confidence.A magnificent madrigal. The top part is clearly intended for cornetto so that other instrumental participation is to be encouraged. Parts are available in various clefs.A reconstruction of a movement from a Requiem which survives only in an organ score.The chanson model for Lassus' parody Magnificat.Insecurely attributed to Palestrina, this is nonetheless a fine piece.The famous double-choir setting, here offered a fourth lower than the high clef original - other transpositions are of course possible. This version has the same 'octave Treble' clef for Alto and Tenor parts; EMP1091 has Treble clef for Soprano and Alto.A beautiful piece with obvious similarities to Andrea Gabrieli's setting. The familiar text is here set in its form as Magnificat Antiphon at 2nd Vespers of Corpus Christi, but the motet is appropriate for Communion. Available separately or in 'Three motets for four voices'.A lovely little piece, which has become a favourite. The text (from Psalm 54) was frequently sung as part of the Introit or at the Communion: Give ear to my prayer, O God; and hide not thyself from my supplication. Attend unto me, and hear me. Available separately or in 'Three motets for four voices'.A beautiful and effective setting, scored for SMAT, so although it fits SATB well it could be transposed to suit many different groups. The overall range is only a 17th (2 octaves plus a minor third). Available separately or in 'Three motets for four voices'.A setting of the whole of Psalm 126. A most effective work, in Senfl's Josquinesque style. The piece appears in the Complete Works with an extra Tenor voice which is not found in my source and which is obviously not original.Rorate coeli (SSATBB), a stirring piece, and O Sapientia (SATTB),very calm. Also available separately.One of the splendid pieces from Gastoldi's Fourth Book of madrigals, with a text from Guarini's Il Pastor Fido.Obviously a politically motivated piece - the text is non-liturgical, and the translation in part reads 'deliver us from the hand of Pharaoh...and from bondage under the Egyptians.'Rightly one of Byrd's best-known pieces, almost homophonic and most effective. Transposed down a 4th from the high-clefs original. Also available at a higher pitch.One of the most extreme of Byrd's 'Jerusalem' motets.Vide Domine is a non-liturgical text also set by other composers - including Clemens, and Jean Lafage (also published in Edition Michael Procter).Unusually scored, with SATT and F5 clefs, certainly feasible for unaccompanied voices but benefiting from a curtal (Dulcian) on the lowest part.A parody on Palestrina's charming Christmas motet, also available in our Edition. Michael Procter has questioned the attribution to Palestrina, for although the piece was included in the last collection of masses to be published in his lifetime, it scarcely seems up to his usual impeccable standards. It has nonetheless achieved recognition in recent scholarship, and is a worthy addition to the simpler 4-part masses suitable for Christmas use.This is one of a series of 5-voice motets for Christmastide which Lassus published at different times and which were gathered together by his sons in the great posthumous Magnum Opus Musicum of 1604, the first ever attempt at a 'Complete Edition'. Resonet in laudibus is surely one of the most popular, although at the same time one of the most rhythmically challenging of Lassus' motets. Its depiction of uncontrolled rejoicing requires a great deal of control with word rhythms always taking precedence over 'strong beats'.Our catalogue includes many pieces by Andrea Gabrieli, whom we consider the greatest 'unknown' composer of the Renaissance. There is as yet no complete edition, and our catalogue will gradually include more of his music. Beata es Maria is a beautiful piece and a good introduction to the emotional side of his style.Although the original cleffing clearly indicates transposition, we also offer the work here at original pitch. Some movements are in normal (SATB) clefs, while others use the rare Gamma-3 clef taking the lowest Bass voice down to bottom Bflat.The Introit is the notorious example of low scoring, with Tenor, Bartone, Bass and an extremely low bass set a fifth below the usual Bass clef.Both versions of the hymn, each at two pitches: the lower original (SATTB) and up a third (SAATB).Published by arrangement with Acqua Alta Editions (New York) this is the first modern edition of Gastoldi's 4th book of 5-part madrigals ('and one for nine voices') drawn mainly from Guarini's Il Pastor Fido. The settings are either SSATB or SATTB; the high clef pieces are included at original pitch: an Appendix is available, offering these pieces at transposed pitch (a fourth lower).Individual pieces may also be ordered, either at original or transposed pitch: these will gradually be listed in the catalogue (marked *).From Sacrae Cantiones 1572Includes four pieces at transposed pitch (a fourth lower):Deh, bella e cara (SSATB), *Come in vago giardin (SSATB), Ciechi mortali (SSATB), *Vaghe ninfe amorosette (SSAT ATTB T).Published by arrangement with Acqua Alta Editions (New York) this is the first modern edition of Massaino's 4th book of 5-part madrigals, and one of the first modern editions of any of his music. The collection is especially notable for the fine setting of Petrarch's sestina 'La ver l'aurora'. The settings are either SSATB or SATTB; the high clef pieces are included at original pitch: an Appendix is available, offering these pieces at transposed pitch (a fourth lower).Individual pieces may also be ordered, either at original or transposed pitch: these will gradually be listed in the catalogue (marked *).Includes 5 single madrigals and the sestina 'La ver l'aurora'. All the settings but one are SSATB. The Appendix also includes Massaino's earlier settings of the first and last stanzas of the sestina from his Primo libro di madrigali (1571), the Basso parts reconstructed by the Editor. Individual pieces may also be ordered, either at original or transposed pitch: these will gradually be listed in the catalogue (marked *).An impressive work in an unusual 7-voice scoring. The text is actually that of the Capitulum (Reading) at Terce for the Vigil of the Feast of Holy Trinity, but the text was often composed in Venetian usage, perhaps as a substitute motet.A setting of the Vesper Hymn for the feast of the Holy Trinity (also set for Saturday Vespers from the Saturday after the Octave of Epiphany until Quadragesima and from the Octave of Pentecost until Advent). Our standard version is a 3rd lower than the high-clef original.Hoyoul was a pupil of Lassus who became Kapellmeister in Stuttgart. His Sacrae Cantiones are his best-known work (recorded by Hofkapelle). This is one of his German motets built on a chorale cantus firmus.An unusually early piece for our catalogue, this is a 'madrigal' for three voices (I suggest TTB but SSA is equally valid.)One of the best-known pieces from the late 14th century repertoire. It has two high voices in canon (with extremely difficult rhythms) and a bass. In this edition I have texted the third voice, but this could equally well be played.This lovely madrigal, confusingly attributed to Morales in later sources, was the model for parody masses by Andrea Gabrieli and Palestrina. The Palestrina is in our catalogue, the Gabrieli is published by York Early Music Press.One of several masses based on Rore's madrigal (also in our catalogue), Palestrina's was included in the Liber XI Missarum of 1600, one of several collections rushed through the press (and clearly poorly proofread) after his death. This edition was made from the copy of the original print in Vienna.A lovely setting of 'God so loved the world.' This version is a third lower than the high clef original.A suitably joyful setting for the one Sunday in Lent where violet vestments are set aside.A splendid double-choir setting of Psalm 99 (100) from the Concerti... of 1587. Possibly composed for one of the feast days of St Mark kept in Venice with special splendour, but proper to many Feasts, and of course suitable for Anglican Matins.A selection from the many variants provided by Isaac in the Choralis Constantinus.The original 4-voice version of Isaac's Mary Mass, with the chant sections reconstructed from the Graduale Pataviense (Passau Gradual).One of the loveliest of the short pieces in Byrd's great Gradualia. The text is part of the Beatitudes from the Sermon on the Mount.This high pitch version, a tone lower than the original, has catalogue number EMP0609.An unusual text deriving from a pre-Tridentine Rite and found as far as we can establish only in this setting from Handl's Opus Musicum.An unusual text deriving from a pre-Tridentine Rite and found as far as we can establish only in this setting.The mass is here transposed down a third, to a pitch suitable for mixed voices.The mass is here transposed down a fourthA charming and simple setting of a text from the liturgy of Virgins. As well as a Magnificat Antiphon the piece is suitable as Alleluia at the Mass or as an 'anthem'or motet.An early work by 'Chachi' Martinez, with ostinato and changing rhythms but well within reach of most choirs.One of the few Renaissance pieces with a Polish text which have found their way into the repertoire. A simple but effective setting of a prayer for protection during the nightTwo Latin pieces intended for use before (Das Benedicite vor dem Essen) and after meals (Das Deo Gratias nach dem Essen). Each consists of Psalm verses, the Pater noster (the same both times) and a prayer.The first piece in the Cantiones Sacrae. A sombre and intense piece, reminiscent not only in its text of Gabrieli (who was Schütz' teacher.) It is also suitable for Feasts and Votive masses of the Holy Cross, the Holy Name and the Precious Blood, and in Holy Week.One of the few pieces in the Cantiones Sacrae which have achieved popularity! A rhythmical challenge to any choir.One of the most old-fashioned, motet-style pieces in the Cantiones Sacrae, reminiscent of Andrea Gabrieli.This piece, combining two Laudate Psalms (148 and 150) was composed to complete the set of seven Penitential Psalms, occupying Mode VIII. It is in complete, and obviously deliberate contrast to the other Psalms, a joyful song of praise.This, surely the most penitential of the motets in Schütz' Cantiones Sacrae, is in many ways striking. Its text, alone of the collection, is derived from the Catholic liturgy, where it is closely related to a Respond at Matins for the Dead. The piece takes its place in the series taking their inspiration from Savonarola's famous meditation 'Infelix ego,' on Psalm 51 (Miserere mei Deus), which includes settings by Andrea Gabrieli, Lassus and Merulo. This version is at the original pitch (a minor).A splendid piece from Hassler's 1601 collection of Sacri concentus.A charming and gentle interpretation of the text set as an Antiphon at Lauds, repeated at Sext, on Christmas Day.A lovely and lively setting. The text is that of an Antiphon for Christmas Day, and the opening of a Responsory for the Christmas season.An extended work in four partes, setting the Gospel reading for the Purification which is also used on the Saturday before Advent Sunday. The sixth voice (Soprano 2) only sings in the short final section.A magnificent piece in two 5-part choirs, very suitable for instrumental participation.A simple but effective piece which exists in two versions, with Latin and German texts. Both versions are given here.One of Lassus' strange musical jokes. The Tenor sings the syllables Ut - Re - Mi - Fa etc., separated by pauses in which the other voices complete the text of the hymn.I propose to issue a series of Crequillon's motets which have undeservedly remained undiscovered. This is a splendid piece, its first half built on rising and falling scale passages.Daser was the choirmaster in Munich when Lassus joined the Bavarian Court Chapel as a tenor, putting Daser rather in the position of Salieri in Venice: a good composer unlucky enough to find himself coupled with one of world stature. Daser was offered an honourable compromise, taking the director's position in Stuttgart with a lifelong pension from the Bavarian ducal house. His music is being rediscovered, and this mass on Josquin's famous Marian piece is a very fine one.The first modern edition of Croce's only - and lovely - 6-voice mass, which survives complete in only one copy in the cathedral archive in Brescia. In that print it follows reprints of Croce's three 5-voice masses and is entitled simply 'Missa Quarta' (fourth mass). I have given it the working title Missa 6 vocum (mass for 6 voices). It is thought to be a parody mass whose model has not so far been identified.A fine double-choir piece whose text has not yet been identified, but is a rhymed version of the Introit for the Ascension. Possibly a Sequence.The seventh Penitential Psalm, in this performing version down a third from the high clef original.One of the final verses of St. Thomas Aquinas' Sequence Lauda Sion for Corpus Christi. On its own the text is often used as a hymn at BenedictionA fine setting of the highly descriptive text.A rather unusual setting including the Verse Cum intuerentur. Most settings provide only the 'antiphon' part of the Introit, this one includes the Verse as set in the liturgy of St. Mark's in Venice as well as in the Use of Sarum.Simple double-choir setting from Croce's Compieta (Compline) collection of 1591From Croce's Vespertina collection of 1597Croce provided settings of all five 'Cinque Laudate' psalms in his Vespertina collection. This setting of the 'other' Laudate psalm (which is also sung at the Office of the Dead) is from the Motetti 8 voci of 1594.A simple but effective setting of verses from Ps. 95, from Croce's 4-part motets of 1597. The collection was obviously intended for 'normal' church choirs, such as the parish choir at S. Maria Formosa, where Croce was a priest. The scorings are mostly 'ad aequales', i.e. in 'close-together' clefs allowing for transposition up or down according to the singers available.A penitential piece: Look down O Lord from thy holy seat and think on us...This lovely five-part setting is from the Cantiones Sacrae, here presented a tone lower than the original high-clef setting. The text is in the form set as Magnificat Antiphon for the Feast of Corpus Christi, but is also suitable for Communion at any time.Let not your heart be troubled...Hear the voice and prayer...And I shall pray the Father, and he will send you a new Comforter......A charming little echo piece. Martin Morell points out that the original print had all four voices of the echo choir in one partbook, suggesting that this was a solo quartet.For the two feasts of St Peter, this and St Peter's Chains, Byrd provided the only 6-voice Propers in his great Gradualia - an obvious homage to the Roman Catholic Church, to which he remained loyal despite the very real dangers for Catholics in England at the time. The music is grand, as befits its intention.One of the best-known masses of Palestrina (although the ascription to him cannot be regarded as certain). The model is of course his own magnificent setting of the Responsory Tu es Petrus. Appropriate especially for the two feasts of St Peter, (SS Peter and Paul and St Peter's Chains). At present only the Kyrie, Sanctus and Agnus Dei are available, the complete edition will be finished as quickly as possible.The second of three short masses for five voices published in 1596, which were reprinted together with a fourth, for 6 voices, in 1599. This is our standard version, a 4th below the original pitchAnother in the authoritative series of Italian madrigal publications which we distribute in cooperation with Acqua Alta Edition of New York. The Decimo libro is dedicated by Wert to Donna Agnese Argotti del Carretto, Marchesa di Grana, ("Dona Ines"), by birth a Spaniard, who became the mistress of Vincenzo Gonzaga of Mantua, and was installed by him in the Palazzo Te, discreetly located on the edge of town. The Marchesa gathered around her a little "anti-court" of noble folk who presumably had enough time on their hands to indulge in madrigal singing (and who may have had a hand in the Pastor Fido productions of 1598). Since Wert praises the artistic accomplishments of the Marchesa, and since much of the poetry is anonymous and not set by other madrigalists, it seems not unreasonable to assume that the author was the Marchesa herself in at least some instances. Individual pieces from the collection are also available separately and are identified in the catalogue by the code (LibroX)A high clef piece usually offered down a 4th but available at other pitchesA high clef piece usually offered down a 4th but available at other pitchesA high clef piece usually offered down a 4th but available at other pitchesA stunning piece with long drawn-out discordant word-painting. A high clef piece usually offered down a 4th.One of three French masses added to our catalogue in summer 2006. Cosset worked mainly at Reims. His masses are counted among the best of the period. This setting, on an unknown model, is in a transitional style hinting at the baroque.One of three French masses added to our catalogue in summer 2006. De Bournonville worked mainly in Amiens, but near the end of his life was appointed to the Sainte Chapelle, an appointment reflecting the high regrad in which he was held. His masses are counted among the best of the period. This setting, a paraphrase mass on the Marian Vesper hymn, is lovely. At present the Credo is not included, due to limited time with the source, but it will be added as soon as possible.One of three French masses added to our catalogue in summer 2006. No other music by Dagneaux is known, and the only information on him is provided by the preface to the original print of this mass in 1666. He was director of music at the church of St. Magloire at Pontorson, Brittany.This setting, based on an unidentified motet, is obviously of the early baroque. It is written almost entirely in quavers and semiquavers and with experimental chromaticisms.An anthology of pieces intended for male voices. It includes several of the 'Jerusalem' or political motets. The works represented are: Emendemus in melius (1575), Ne irascaris Domine, Vide Domine, Tribulationes civitatum and Domine tu jurasti (1589), Domine exaudi orationem meam and Haec dicit Dominus (1591) and Unam petii (1605). Most of these are not available in modern performing editions (except in our catalogue).Both settings - for SATB and SAATB - in one booklet.The mass is here transposed down a fifth, the pitch at which our editor considers it rightly belongs. This version has the top voice in Treble (Violin) cleff, two octave-Treble ('Tenor') clefs and Bass clef.This magnificent motet was first printed in 15213 and frequently anthologised, surviving in several widely scattered manuscripts, including the Medici Codex.A powerful motet with two simultaneous texts, which survives in very differing and probably corrupt forms. My edition is based on the Psalmorum selectarum...1553-4, whereas the version in the Complete Works (CMM28) is drawn from a Roman manuscript in which the voice carrying the second text is transmitted erroneously. The principal text is of course Verses of Psalm 30; the secondary text 'Divitias et paupertates' is part of the respond Verbum iniquum. This text is presented in different prolations in the two halves of the piece, and is thus 'isorhythmic,' by the time of composition an antiquated device.This beautiful piece, which became famous through its use in the German film Vaya con Dios, is an oddity among Josquin's works. Its first Pars is the Elevation motet which replaces the Benedictus in his Missa D'ung aultre amer.This short but beautiful piece by Brumel is a setting of a text from the Song of Songs: As the lily among thorns, so is my love among the daughters. The piece exists in several variant versions. The present edition is taken from the Medici Codex, a splendid choirbook produced under the supervision of Jean Mouton.Presumed to have been composed to celebrate the lifting of the national excommunication of England upon the accession of Catholic Queen Mary, and to have been sung by the combined Chapels Royal of England and Spain, this is an eloquent, sombre and moving piece. Here it is transposed up a third to be more accessible to mixed choirs.The third of the short masses for five voices published in 1596, which were reprinted together with a fourth, for 6 voices, in 1599.A charming two-voice setting of the familiar chant, discovered by Dr Mary Berry in a small processional used by nuns in the 15th century, now in the Bibliotheque Nationale in Paris.The second of three short masses for five voices published in 1596, which were reprinted together with a fourth, for 6 voices, in 1599.Another in the authoritative series of Italian madrigal publications which we distribute in cooperation with Acqua Alta Edition of New York. Book 8 includes several settings from Tasso's Gerusalemme liberata.Individual pieces from the collection are also available separately and are identified in the catalogue by the code (LibroVIII)(Gerusalemme liberata)(Gerusalemme liberata)(Gerusalemme liberata) A high-clef piece usually offered down a 4th.It is with this splendid collection of Christmastide music that Byrd's second book of Gradualia opens. It includes the complete Propers for the principal (third) mass of Christmas Day, which are used throughout the Octave, together with settings of Hodie Christus natus est (Magnificat Antiphon), O magnum misterium/Beata Virgo (Matins Respond) and O admirabile commercium (Magnificat Antiphon for the Circumcision (Jan. 1)). The Mass propers and the Office pieces are available separatelyA splendid 10-voice madrigal - in the source described as a 'Bacchanale'. The first two verses dutifully praise Bacchus, Hymen and Venus, but in the third verse the chorus reveal their intention of doing something about them - especially the venereal rites!One of the Christmas Responsories by Esperanca in a manuscript at Coimbra, in which the verse (here 'Ave Maria') is sung by a single voice accompanied by instrumental ensemble. Effective with instruments also doubling the chorus.A splendid 6-voice settingOne of a small number of sacred madrigals from CroceJosquin's Mary Mass is a complex piece, for 4 and 5 voices, with canons in the Credo, Sanctus and Agnus. Only the Credo is in normal clefs; the other movements are in high clefs and need transposition. Our edition, completely revised in 2006, is available in two versions, high and low voices. This is the high-voice version.It is with this collection of pieces that Byrd's first book of Gradualia opens. These are the Propers for the Mass of the Purification: Suscepimus (versions for Introit and Gradual, with the Antiphon reused), Alleluia: Senex puerum and Tract: Nunc Dimittis (for when the Feast falls after Septuagesima), Offertory: Diffusa est gratia and Communion: Responsum accepit Simeon. Diffusa est gratia is reused from its position as Gradual verse for the Feasts of the Annunciation and Assumption, but Byrd omits to set the final phrase or to provide a perfect cadence, which the editor has provided.This attractive piece from Croce's Cantiones Sacrae is also preserved in a manuscript in the library of the Basilica di San Marco in Venice, now kept at the Fondazione Levi. It is a setting of the opening of Psalm 17, in the version in the Gallican Psalter (cf Andrea Gabrieli Psalmi Poenitentiali). The liturgical use is somewhat obscure; it is, however, noteworthy that Giovanni Gabrieli also set the same text in his 1597 collection.This delightful piece for the feast of Holy Trinity, from the Cantiones Sacrae, was also collected by Schadeus in the third volume of his Promptuarii Musici in 1613. It shares with other pieces in the collection a felicitous melodic gift and elegant imitation.One of two splendid pieces by Ingegneri edited for the 2007 Venice Academy. This is for the feast of Holy Trinity. Ingegneri's setting gives it a solemnity and gravitas befitting the great occasion.One of two splendid pieces by Ingegneri edited for the 2007 Venice Academy. Duo Seraphim was frequently sung extra-liturgically for Holy Trinity, for which its text is appropriate.One of the three double-choir masses of Croce published in 1596 and presumably composed in the first instance for St Mark's. This simple but effective setting is a parody on Croce's own motet of 1594. Here printed without the 'Partidura' continuo/director's short score which is included in the Quatercentenary Edition Volume II. A version including the Partidura is also available.Croce's motet of 1594, which provided the model for his mass.A lovely Song of Songs setting in the unusual scoring for 7 voices, offered at the original pitch.I have been unable to find either a liturgical place or any other setting of this text which is obviously for the Assumption. I suppose it to have been composed for a celebration at one of the Scuole Grande in Venice, for which Croce was for many years in charge of the music. The motet provides for other feasts by giving an alternative text 'in honore beati N' etc.An extraordinary piece: an 'echo motet' in which a feature familiar from madrigal writing is put to sacred, if not liturgical use. The second choir echoes the final syllables of each phrase sung in choir I, producing a text of its own.This is a setting of Ps 68, 17-19, which does not appear to have a specific liturgical function. However, the first part of the text, in the variant Exaudi nos Domine...respice nos Domine is the Antiphon for the blessing of ashes before Mass on Ash Wednesday. .Croce provided settings of all four standard Marian Antiphons in his 1591 collection of music for Compline. They are all comparatively simple and very effective.A lovely setting of a beautiful text also set by Lambe and Mouton.A beautiful setting of a Song of Songs text.A setting of a text from Isaiah 55.A striking Counter-Reformation text which does not have a place in the liturgy.A setting not found in the original print but included in a manuscript copy of Croce's Vespers music in the Staats- und Stadtbibliothek Augsburg. Here in a performing edition transposed down a fourth.Two settings of poems by Emily Dickinson - I'm Nobody and I held a jewel in my finger. The second is conventionally written, with a solo Soprano and ATB choir; the first uses the composer's typical ostinato technique, sprechgesang and woodblocks. Commissioned for the Cork International Choral and Folk Dance Festival 1978, the Two American Madrigals have also been performed by the BBC Singers.A splendid mass setting based on the motet by Guerrero (EMP744)One of Guerrero's loveliest motets, the model for Duarte Lobo's mass (EMP743)One of the three masses for double choir. Like the Missa Percussit Saul mille, this setting was probably composed to be sung on the anniversary of a military victory. It is of course a parody on Janequin's famous piece. In this version the mass is presented without the 'Partidura' organ part.A wonderful setting of the text familiar from Byrd's setting, also suitable for general pentitential use. This version is a fourth lower than the original high cleffing.This beautiful motet by Vincenzo Ruffo is from the first book of 5-voice motets, 1542, which was his first publication. Transposed edition, down a fourth.A powerful motet with two simultaneous texts, which survives in very differing and probably corrupt forms. My edition is based on the Psalmorum selectarum...1553-4, whereas the version in the Complete Works (CMM28) is drawn from a Roman manuscript in which the voice carrying the second text is transmitted erroneously. The principal text is of course Verses of Psalm 30; the secondary text 'Divitias et paupertates' is part of the respond Verbum iniquum. This text is presented in different prolations in the two halves of the piece, and is thus 'isorhythmic,' by the time of composition an antiquated device. Transposed version, down a fourth.Rejoice in the Lord alway, and again I say rejoice! A version transposed down a semitone from the high-clef original.The well-known 'Mass for four voices' is a high-clef piece and is available at various pitches. The Editor considers the piece should be sung down a fourth or a fifth by ATTB/ATBaB. This version is at the original high pitch.This only four-choir mass by Croce was apparently written at the request of Archduke Ferdinand, later Emperor Ferdinand II, who met Croce while in Venice in 1598. A parody, whose source has not yet been identified, it is a magnificent piece whose ideal scoring would seem to be (I) a vocal choir SATB, (II) solo Alto/Tenor and three trombones, (III) solo Baritone and three higher instruments, the top one probably a cornett, (IV) solo Alto and three low instruments such as curtal/dulcian. However, all but the highest and lowest parts are capable of being sung, and our edition provides underlay for all parts. Performing material available includes full score, chorus scores and single voice/instrument parts: please ask for details. The price quoted is for the full scoreA contrafactum or, arguably, the original version, of Isaac's Angeli Archangeli. The use of the Comme femme descomfortee theme as cantus firmus has led to the suggestion that this piece is indeed the original. A magnificent piece, some 6 minutes in length.Newly typeset edition of pieces from Choralis Constantinus, including the Introit which poses a considerable puzzle as it offers dual texts, one of which is from the Office and has nothing to do with the Mass.Choralis Constantinus: Introit, Alleluia, Communion.This unusual piece is one of two added by Robert Wylkynson in his own hand to the Eton Choirbook, after the index had already been written (the other is his magnificent 9-voice Salve Regina). Its text comprises two elements: the opening of the Magnificat Antiphon on the 3rd Sunday in Lent, and the Apostles’ Creed. Wylkynson, following a traditional scheme, allocates individual phrases of the Creed to each Apostle. The piece is in the form of a canon for 13 equal voices, given in the Tenor (C4) clef with frequent changes between this and the Alto (C3) clef to allow for the extension of the range to the high A. This version presents only a single sheert of music, as in the original.This unusual piece is one of two added by Robert Wylkynson in his own hand to the Eton Choirbook, after the index had already been written (the other is his magnificent 9-voice Salve Regina). Its text comprises two elements: the opening of the Magnificat Antiphon on the 3rd Sunday in Lent, and the Apostles’ Creed. Wylkynson, following a traditional scheme, allocates individual phrases of the Creed to each Apostle. The piece is in the form of a canon for 13 equal voices, given in the Tenor (C4) clef with frequent changes between this and the Alto (C3) clef to allow for the extension of the range to the high A. This version presents a possible realisation, fully written out for 13 voices.Chorus score Chorus IChorus score Chorus IIChorus score Chorus IIIChorus score Chorus IVSet of parts for all 16 voices including alternative clefs (25 parts)This is the version for male voices.One of the 15 settings of Salve Regina in the Eton Choirbook. In Eton use, this text was required for the final Marian Antiphon each day during Lent (sic) but could also be sung at any time.The archetypal Mary Mass, providing most of the familiar segments re-used in many of the other Propers. Its atypical ad aequales scoring (TrMATBa) means it can be transposed to suit: I offer it at two standard ranges, either a tone or a fourth lower than the original (equivalent to SATBaB for mixed or male voices).This lovely piece is one of the few with which Byrd made mistakes in his immense Gradualia: the piece is provided in the short form required when it is sung in the Gradual music for the Annunciation and the Assumption, and lacks the end of the text when it is the Offertory. I have provided a final cadence and an alternative end with the complete text.This, surely the most penitential of the motets in Schütz' Cantiones Sacrae, is in many ways striking. Its text, alone of the collection, is derived from the Catholic liturgy, where it is closely related to a Respond at Matins for the Dead. The piece takes its place in the series taking their inspiration from Savonarola's famous meditation 'Infelix ego,' on Psalm 51 (Miserere mei Deus), which includes settings by Andrea Gabrieli, Lassus and Merulo. This version is offered a tone higher than the original.One of the loveliest (and least complicated) of the pieces in the Eton Choirbook. Here revised and typeset and replacing the manuscript edition previously in our catalogue.A magnificent and beautiful piece, one of no less than 12 settings in the Eton Choirbook, including two by Turges. The text is a meditation on the Seven Joyful Mysteries of the Virgin Mary. This setting, with three boys’ voices, was possibly composed for New College, Oxford.Alternative version at higher pitch.A wonderful setting of the text familiar from Byrd's setting, also suitable for general penitential use. This version is a tone lower than the original high clefs.Alternative version, a third higher than the original.Alternative version, a third higher than the original.A further motet from Gabrieli’s Sacrae Cantiones. This version is a tone below the high clef original.This alternative version, also transposed a tone down from the original, gives the Altus in the treble clef.Now identified as a Respond (or Responsory) for Feasts of Virgins and Non-Virgins. The 'Ad aequales' scoring can be tranposed to suit different groups of voices. This version is SSTB.One of the most difficult pieces in the Eton Choirbook, this is the only known setting of the text. According to a remark in the Choirbook, Davy composed it in a single day during his period as Informator Choristarum at Magdalen College, Oxford.A further lovely mass from Gabrieli’s Primus Liber. Its model is a madrigal by Willaert (printed in the edition but also available separately from Edition Michael Procter), with which it shares the unusual scoring. In the Agnus a canon requires a third Alto. This version is transposed down a third from the original.Revised edition 2008.A lovely gentle Marian piece, available either a 4th (as here) or a tone lower than the original.A lovely extended madrigal which provided the model for one of Andrea Gabrieli's magnificent 6-voice masses, available from us (EMP0777). The original is in high clefs with the unusual scoring TrMMAAT; the piece is usually offered a third lower as here but can be provided at other pitches as required.A splendid piece from Palestrina's greatly underrated Offertoria totius anni... 1593.A magnificent piece in two substantial parts, from Palestrina's first publication of sacred music. This is a newly printed version which replaces EMP0214. Usually offered, as here, a minor third lower than the original high clefs.A magnificent piece in two substantial parts, from Palestrina's first publication of sacred music. This is a newly printed version which replaces EMP0214. Here offered at the original high clef pitch.A revised edition of Josquin's famous piece, which provided the model for many parodies. Josquin probably took the idea from an anonymous English 3-voice setting (in my catalogue) which was based on the chant Sequence: this was in turn a contrafactum of a very early sequence for Holy Trinity, which probably derived from the even earlier jubilus of the Alleluia.A lovely piece, the second part of which has been recorded by Chanticleer. It sets an early variant of the standard text, whose second half begins Gaude gloriosa. Here offered at the original high clef pitch.A lovely piece, the second part of which has been recorded by Chanticleer. It sets an early variant of the standard text, whose second half begins Gaude gloriosa. Here offered a 4th lower than the original high clef pitch.A lovely piece, the second part of which has been recorded by Chanticleer. It sets an early variant of the standard text, whose second half begins Gaude gloriosa. Here offered a 3rd lower than the original high clef pitch.A magnificent mass, a parody on Josquin's celebrated setting of the Marian Sequence (also in EMP) in a new edition (replacing EMP 299 which lacked the Credo and has been withdrawn). Usually offered a tone higher than the original, but please ask for sample pages. The Tenor divides in the Benedictus, which is scored SAATT.An unusual piece, setting the first 6 verses of Psalm 54, which seems to be set only as the Introit of the Wednesday in the 4th week of Lent. The piece bears comparison with Gabrieli's wonderful Penitential Psalms, with which it shares some remarkable word-painting and the only Latin setting I know of 'O for the wings of a dove.'This version is a 4th lower than the original.This version is at original pitch.This is the San Marco setting of the Requiem whose manuscript bears the date 1598.This is the second, very simple setting of the Requiem. A text found in no other setting, its belligerent - indeed pugnacious - character makes it apparent that it was written either for the annual Lepanto commemoration, or to celebrate the Habsburg victory at Sisak in 1593. The source collection, Croce's first book of double-choir motets of 1594, was dedicated to Raimondo Della Torre, the Ambassador to Venice of the Holy Roman Empire.This performing edition is a third lower than the original pitch.One of the shorter pieces in the 1610 collection. It has - naturally - a duo for 'Duo Seraphim' and a trio for 'Tres sunt', and only two tutti passages with the Ripieno, the second with a concluding 'Alleluia'.A piece, probably composed for a celebration at one of the Venetian Scuole Grande, 'in honore Beati N.' so that the name of the Saint being celebrated may be inserted. 'Gaudeamus omnes' suggests the opening of several Introits, but the piece may be sung as required.A splendid piece, which seems to be a unique setting of the text. It is one of the larger-scale pieces in the 1610 collection, with the solo group itself divided into two triosA splendid piece, which seems to be a unique setting of the text, probably composed for a celebration at one of the Venetian Scuole Grande. It has a refrain which is sung three times, suggesting the manner of performance specified in the Sacre Cantilene Concertate of 1610, with a Ripieno doubling the two choirs at these points.This splendid piece opens the 1610 collection. Like all the pieces in the collection it is scored for a group of soloists, and a 4-voice Ripieno which can be doubled or tripled in different parts of the church.This lovely five-part setting is from the Cantiones Sacrae, here presented at the original high pitch. The text is in the form set as Magnificat Antiphon for the Feast of Corpus Christi, but is also suitable for Communion at any time.This is one of the pieces assumed to have been composed for performance at one of the Venetian Scuole Grande, where Croce was in charge of the musicians during his position as Vice-Maestro at San Marco. It has a text which can be adapted to suit any Saint, male or female (the published text refers to 'beatus N/beata N' for example), and includes a prayxer for 'fraternitatem istam', i.e. this Confraternity. The piece is available in adapatations to any Saint, this version has the original text.One of the many Responsories hidden among Croce's output, possibly composed for extra-liturgical use at one of the Scuole Grande of Venice. This happens to be a Tenebrae Responsory, one of four anthologised by Argilliano in 1612, although the piece was originally published in the 1594 double-choir motets. Argilliano provided a 4-voice setting of the (Roman) verse which is missing in all Croce's Responsories.This is one of the larger-scale pieces from the 1610 collection, with sections for different groups of soloists and no less than five tuttis with the Ripieno.This is one of the smaller-scale pieces from the 1610 collection. The text has been derived from Ecclesiasticus 50, 6-7 and ‘Marianised’ in particular by references from the Song of Songs.Another Marian piece from the 1610 collection, which has solos for each of the tenor soloists, a trio SAB and the grand tutti with the Ripieno.A composite text drawing on references in several psalms.A delightful Christmas piece, setting a familiar mediaeval text (also found under the title In hoc anni circulo). Typical of the Sacre Cantilene Concertate, it has three solo voices and a 4-voice Ripieno (which can be multiplied in different parts of the church, with or without instruments) which joins in the tutti refrain.A delightful setting, with Croce's typical flowing scale passages effectively illustrating the garlands of 'flores rosarum et lilia convalium' of the text.This delightful miniature is from Croce’s book of four-voice motets of 1597. It is a setting of Psalm 76 (77), verse 1, for which I can find no liturgical application, although the Psalm is sung at Tenebrae of Maundy Thursday, where it is the third Psalm.A magnificent mass, a parody on Croce's own motet. Our standard version (this one) is a tone lower than the high-clef original and omits the 'Partidura'. The piece is available at other pitches, with or without the two-part 'Partidura', the original continuo or director's part.One of the three masses for double choir. Like the Missa Percussit Saul mille, this setting was probably composed to be sung on the anniversary of a military victory. It is of course a parody on Janequin's famous piece. This version includes the 'Partidura' organ part.One of the three double-choir masses of Croce published in 1596 and presumably composed in the first instance for St Mark's. This simple but effective setting is a parody on Croce's own motet of 1594. Here printed with the 'Partidura' continuo/director's short score which is included in the Quatercentenary Edition Volume II. A version without the Partidura is also available.The English version of the Sette Sonetti, published in London in 1601. Available separately or as a set. See separate entries for details.Simple chant formulae in 8 TonesThe Latin version of the Sette Sonetti, published in Nürnberg in 1599. Available separately or as a set. See separate entries for details.The complete opening rite of Compline including the lesson Fratres sobrii estotes; Adjutorium nostri/Qui fecit coelum; Converte nos/Et averte iram tuam; Deus in adiutorium/Domine ad adiuvandum; Gloria Patri…/Sicut erat; Laus tibi Domine/Alleluia.This setting is of Psalm 146, found only in the Vespers 'delle cinque Laudate' as sung on many Feasts in the special liturgy of St Mark's.A stark and affective setting from Croce's oddly titled 'Salmi che si cantano a terza'. This setting was clearly intended for Lauds in the Triduum Sacrum, the last three days of Holy Week immediately before Easter.An odd survival in a manuscript in Chioggia, this work can only dubiously be ascribed to Croce. It is not yet available.A magnificent mass, a parody on Croce's own motet. Our standard version is a tone lower than the high-clef original and omits the 'Partidura'. This version is a 4th lower than the original high pitch, best suited for performance with cornetts and sackbuts, without the Partidura. The piece is available at other pitches, with or without the two-part 'Partidura', the original continuo or director's part.The English version of Sonnet I from 'Musica Sacra'.The English version of Sonnet II from 'Musica Sacra'.The English version of Sonnet III from 'Musica Sacra'.The English version of Sonnet IV from 'Musica Sacra'.The English version of Sonnet V from 'Musica Sacra'.The English version of Sonnet VI from 'Musica Sacra'.The English version of Sonnet VII from 'Musica Sacra'.The Latin version of Sonnet I from 'Septem psalmi poenitentiales'.The Latin version of Sonnet II from 'Septem psalmi poenitentiales'.The Latin version of Sonnet III from 'Septem psalmi poenitentiales'.The Latin version of Sonnet IV from 'Septem psalmi poenitentiales'.The Latin version of Sonnet V from 'Septem psalmi poenitentiales'.The Latin version of Sonnet VI from 'Septem psalmi poenitentiales'.The Latin version of Sonnet VII from 'Septem psalmi poenitentiales'.A marianised version of the familiar liturgical text, including: Tres sunt qui testimonium hodie de Virgine virginum dant in caelo etc. Very possibly intended, like much of Croce's extra-liturgical music, for a celebration at one of the Venetian Scuole Grande, for which he provided much music over a period of some 20 years.A magnificent mass, a parody on Croce's own motet. Our standard version (EMP0869) is a tone lower than the high-clef original and omits the 'Partidura'. This version is a 4th lower than the original high pitch, best suited for performance with cornetts and sackbuts, and includes the Partidura. The piece is available at other pitches, with or without the two-part 'Partidura', the original continuo or director's part.A magnificent mass, a parody on Croce's own motet. Our standard version (EMP0869) is a tone lower than the high-clef original and omits the 'Partidura'. This version is at the original high pitch, with the Partidura. The piece is available at other pitches, with or without the two-part 'Partidura', the original continuo or director's part.A lovely extended madrigal which provided the model for one of Andrea Gabrieli's magnificent 6-voice masses, available from us (EMP0777). The original is in high clefs with the unusual scoring TrMMAAT; the piece is usually offered a third lower but can be provided at other pitches as required. This version is a tone lower than the originalA further lovely mass from Gabrieli’s Primus Liber. Its model is a madrigal by Willaert (printed in the edition but also available separately from Edition Michael Procter), with which it shares the unusual scoring. In the Agnus a canon requires a third Alto. This version is transposed down a tone from the original.A lovely parody mass, whose madrigal model has not yet been identified. Baccusi was maestro di cappella at Santo Stefano in Venice, possibly for two periods, at the end of the 16th century. This version is a tone lower than the original.One of the masses composed for the chapel of the Gonzagas in Mantua between 1568 and 1579. Unlike the other settings, this Mass is through-composed, and it is the only one for 'equal voices'. This version is for high voices SSSA.One of the masses composed for the chapel of the Gonzagas in Mantua between 1568 and 1579. Unlike the other settings, this Mass is through-composed, and it is the only one for 'equal voices'. This version is at the original pitch for male voices AAAT.One of the masses composed for the chapel of the Gonzagas in Mantua between 1568 and 1579. Unlike the other settings, this Mass is through-composed, and it is the only one for 'equal voices'. This version is transposed down a fourth for male voices TTTB.A simple three-voice arrangement of the plainsong sung either at the Offertory or during the washing of feet at the Mass of the Last Supper.A transposed version a fourth higher than the original, ideal for modern mixed choirs.This version is given a third higher than the original.A version of the piece with the text adjusted to suit Feasts of St Francis (Franciscus).A version of the piece with the text adjusted to suit the Feast of St James (Jacobus).Transposed version: the original is in high clefs, this version (in E flat) is a tone lower. Other transpositions are available on request.The set of three Lectiones from the Lamentations for Maundy Thursday, from Croce's first set of Lamentations 1603.The set of three Lectiones from the Lamentations for Good Friday, from Croce's first set of Lamentations 1603.The set of three Lectiones from the Lamentations for Holy Saturday, from Croce's first set of Lamentations 1603.A version set a third higher than the original, for SATB.A version set a third higher than the original, for SATB.A version set a third higher than the original, for SATB.A version set a third higher than the original, for SATB.A version set a third higher than the original, for SATB.A version set a third higher than the original, for SATB.This version is at the original high clef pitch.One of my earliest transcriptions, made as a student in the 1970s, now finally typeset. A splendid piece making full use of the instrumental references in the text - tympanis, citharis, cymbalis... This version is at the original high pitch.The seventh Penitential Psalm, in this version at the pitch of the high clef original.A new performing edition of Handel's great setting of Dryden's Ode for St Cecilia, first performed in 1736. We shall make the performing material available as it is finished. The set of orchestral parts is already available. The price quoted here is for a set of one per instrument, including 2 copies each of Fl I/II, Hn I/II, Bsn I/II: additional string parts are priced at €12.50.Senfl's setting of Psalm 50 (51) belongs perhaps alongside his De profundis as all that remains of a complete set of the Penitential Psalms. This piece, at some 17 minutes, is longer than the other, and will inevitably be compared to Josquin's, with which it shares a number of features. This version is a third higher than the original pitch, cleffed SATTB. The work is also available a semitone lower than here.The fourth Penitential Psalm (Ps. 50). This version is only a tone lower than the high-clef original and thus better suited to mixed voices.Senfl's setting of Psalm 50 (51) belongs perhaps alongside his De profundis as all that remains of a complete set of the Penitential Psalms. This piece, at some 17 minutes, is longer than the other, and will inevitably be compared to Josquin's, with which it shares a number of features. This version is a tone higher than the original pitch.This version is a fourth lower than the original pitch.This version is a third lower than the original pitch.Very beautiful setting of a text derived from the Song of Songs. This version is at the original high pitch.This setting is included in a manuscript copy of Croce's Vespers music in the Staats- und Stadtbibliothek Augsburg. This version is at the original high pitch.This version is at the original pitch.This dual-texted piece is a 6-voice madrigal from the first book of madrigals for 6 voices, which was reprinted as a contrafactum in RISM 1609/15. It is offered here a fourth lower than the high-clef original.This dual-texted piece is a 6-voice madrigal from the first book of madrigals for 6 voices, which was reprinted as a contrafactum in RISM 1609/15. It is offered here a fourth lower than the high-clef original.This version is a fourth lower than the high-clef original, ideal for performance with cornetts and sackbuts.A magnificent mass, a parody on Croce's own motet. Our standard version is a tone lower than the high-clef original and omits the 'Partidura'. This version is at the original high pitch and omits the Partidura. The piece is available at other pitches, with or without the two-part 'Partidura', the original continuo or director's part.A splendid double-choir piece, with the text 'Saul slew his thousands but David his ten thousands.' Model for the grand parody mass. This version is at the high-clef original pitch.This is a reprint of the first edition (1905) of the famous pieces - Justorum animae, Coelos ascendit hodie, Beati quorum via integra est - which have won such firm places in the repertoire of English church choirs. Harold Copeman established that the pieces were all written to be sung before dinner at Trinity College, Cambridge and were influenced by Prof. HAJ Munro, who was promoting a new school Latin - so that an (English) school Latin pronunciation should ideally be used. The pieces are also available separately: see separate entries for scorings.I have listed the piece as the Offertory for All Saints, which is the official liturgical place for the text. However, it is often sung as an Anthem at evensong and is appropriate not only for All Saints but for Feasts of Martyrs outside Lent.I have listed the piece for the Ascension, for which alone it is appropriate. However, the piece has achieved wide currency as a concert piece and can be sung at any time.I have listed the piece for Feasts of Martyrs according to the liturgical use of Psalm 119, of which this is the opening. However, the piece has achieved wide currency as an Anthem to be sung at any time.The well-known 'Mass for three voices' is an ad aequales piece (with 'close-together' clefs, in this case MAT) and is available at various pitches. This version is at the original pitch, suitable for male voices.The well-known 'Mass for three voices' is an ad aequales piece (with 'close-together' clefs, in this case MAT) and is available at various pitches. This version is a third higher than the original pitch.The well-known 'Mass for three voices' is an ad aequales piece (with 'close-together' clefs, in this case MAT) and is available at various pitches. This version is a fifth higher than the original pitch, suitable for female or boys' voices.The well-known 'Mass for three voices' is an ad aequales piece (with 'close-together' clefs, in this case MAT) and is available at various pitches. This version is a fifth lower than the original pitch, suitable for male voices.A splendid piece appropriate for the Ascension but presumably originally written for the annual Lepanto celebration at S. Giustina, for which the phrase 'exultate Deo adjutori nostro' would have been very apposite. Here offered as a set of parts (each choir consisting of cornett, 2 sackbuts and bass sackbut or curtal/dulcian) to be played with the voices. A splendid piece making full use of the instrumental references in the text - tympanis, citharis, cymbalis... This performing edition is offered a 4th lower than the high-clef original. Here offered as a set of parts (each choir consisting of cornett, 2 sackbuts and bass sackbut or curtal/dulcian) to be played with the voices.A magnificent double-choir setting of the familiar Ascensiontide text. Here offered as a set of parts (each choir consisting of cornett, 2 sackbuts and bass sackbut or curtal/dulcian) to be played with the voices.Croce provided settings of all five 'Cinque Laudate' psalms in his Vespertina collection. This setting of the 'other' Laudate psalm (which is also sung at the Office of the Dead) is from the Motetti 8 voci of 1594. Here offered as a set of parts (each choir consisting of cornett, 2 sackbuts and bass sackbut or curtal/dulcian) to be played with the voices.A text found in no other setting, its belligerent - indeed pugnacious - character makes it apparent that it was written either for the annual Lepanto commemoration, or - most likely - to celebrate the Habsburg victory at Sisak in 1593. The source collection, Croce's first book of double-choir motets of 1594, was dedicated to Raimondo Della Torre, the Ambassador to Venice of the Holy Roman Empire. Here offered as a set of parts (each choir consisting of cornett, 2 sackbuts and bass sackbut or curtal/dulcian) to be played with the voices.This version is a fourth lower than the high-clef original, ideal for performance with cornetts and sackbuts. A text found in no other setting, its belligerent - indeed pugnacious - character makes it apparent that it was written either for the annual Lepanto commemoration, or - most likely - to celebrate the Habsburg victory at Sisak in 1593. The source collection, Croce's first book of double-choir motets of 1594, was dedicated to Raimondo Della Torre, the Ambassador to Venice of the Holy Roman Empire. Here offered as a set of parts (each choir consisting of cornett, 2 sackbuts and bass sackbut or curtal/dulcian) to be played with the voices.A magnificent mass, a parody on Croce's own motet. The piece is available with or without the two-part 'Partidura', the original continuo or director's part. Our standard version is a tone lower than the high-clef original and omits the 'Partidura'. This version, the one best suited for performance with cornetts and sackbuts, is a 4th lower than the original high pitch, here without the Partidura. Here offered as a set of parts (each choir consisting of cornett, 2 sackbuts and bass sackbut or curtal/dulcian) to be played with the voices. Organ part available separately.Includes Tibi laus, tibi gloria and Duo Seraphim, which are also available separately. This setting of the penitential psalm has become well-known in the attribution to Josquin which is now widely rejected. No reason to stop singing the piece! This version is transposed up a 4th from the original pitch.Three masses by French composers.One of the three (English-texted) Anglican pieces composed by Mendelssohn about the time of his sister's death - Magnificat, Nunc Dimittis and Jubilate. Newly edited from the manuscript now in Krakow, which makes it clear that Mendelssohn's original conception included a part for organ, which is included in this version. The work is also available as a chorus score without organ.From Lassus' 6-voice Cantiones Sacrae, a piece written in honour of his employer: To thee, O prince renowned for your life of integrity, thy zeal for and love of peace bring nectar and ambrosia. Thou art beloved of thy people, the highest and lowest, made so by thy pure sincerity and integrity. Live happy, therefore, live to the years of Nestor (i.e. to great old age): this doth the sweet-sounding muse of Orlando wish thee. Here at the original high pitch.From Lassus' 6-voice Cantiones Sacrae, a piece written in honour of his employer. Here transposed down a 4th.The second of three short masses for five voices published in 1596, which were reprinted together with a fourth, for 6 voices, in 1599. Here a 3rd below the original pitchThe second of three short masses for five voices published in 1596, which were reprinted together with a fourth, for 6 voices, in 1599. Here at original pitchThe Introit for the Votive Mass of Our Lady in Advent, which gave its name to the 'Rorate' masses kept in Advent. Given here a 4th lower than the high-clef original.The final section of Lassus' monumental Lagrime di San Pietro, it is the only verse of the 21 with a Latin text, assumed to have been written by Lassus himself, which puts accusing words into the mouth of the Crucified. It may well have been the last piece of music Lassus wrote, for it is dated only weeks before his death in 1594. Here down a 4th from the original high pitch.The final section of Lassus' monumental Lagrime di San Pietro, it is the only verse of the 21 with a Latin text, assumed to have been written by Lassus himself, which puts accusing words into the mouth of the Crucified. It may well have been the last piece of music Lassus wrote, for it is dated only weeks before his death in 1594. Here at the original high pitch.The Introit for the Votive Mass of Our Lady in Advent, which gave its name to the 'Rorate' masses kept in Advent. Given here a tone lower than the high-clef original.This mass, together with the Missa BMV, forms the 6-part section of Palestrina's Third Book of masses for 4, 5 and 6 voices (1570). There exists a manuscript in the library of the Sistine Chapel, giving the date as 1563, so we may suppose the mass to date from Palestrina's return, after his difficult years at S. John Lateran, to S. Maria Maggiore. As well as being unusually scored - for SSAATB - it is his only Hexachord Mass, and displays his considerable gifts: the second Superius sings only the cantus firmus, ascending and descending, either in the natural or the hard hexachord, but in an enormously varied and varying series of rhythms. In the final Agnus a third Alto sings in canon a fifth below the second Superius. The edition has now been revised and includes the Credo. Given here a tone lower than the high-clef original.The Introit for the Votive Mass of Our Lady in Advent, which gave its name to the 'Rorate' masses kept in Advent. Given here at original high-clef pitch.This is one of the best-known pieces of English church music, but it has always been presented a third higher than the original. It is also available from us at that pitch, but this version is at the original pitch, suitable for AATTBaB etc.This is one of the best-known pieces of English church music. Our edition seems to be the only one which is available at the original pitch, suitable for male voices SSAATB, but we also provide it a third higher, as here.This little-known carol is a setting of the text by Ben Jonson, with added Alleluias. It dates from 1928, in the final phase of Elgar's life, which may be why the original print (Novello's Musical Times supplement December 1928) was not properly proof-read: it contains several wrong notes. This edition has been made afresh from Elgar's two manuscripts in the British Library.This is one of the best-known pieces of English church music, often sung as an Anthem. It would be grand to find a way of singing it on the feast of the Transfiguration.Another in a growing series of simple 3-part settings for liturgical use, originally composed for the Choralschola of St Michael, Weingarten. This is the Introit for the 29th Sunday of the year which takes its text from Psalm 17. (In German)Einfache 3-stimmige Vertonung des Eröffnungsverses. Für die Choralschola St Michael, Weingarten.The Greater Alleluia for the Mass of the Annunciation when this falls in Eastertide. Byrd printed it out of order in the Gradualia but in the form in which it there appears it belongs to the Annunciation. Here at original high-clef pitch.This simple setting is from a holograph manuscript at S. Giovanni Laterano. Its original cleffing (TrTrMA) is an 'ad aequales' combination allowing for transposition to suit the available forces. Other versions are available for different combinations of voices, this version is at the original pitch.This simple setting is from a holograph manuscript at S. Giovanni Laterano. Its original cleffing (TrTrMA) is an 'ad aequales' combination allowing for transposition to suit the available forces. Other versions are available for different combinations of voices, this version is an octave below the original pitch.This simple setting is from a holograph manuscript at S. Giovanni Laterano. Its original cleffing (TrTrMA) is an 'ad aequales' combination allowing for transposition to suit the available forces. Other versions are available for different combinations of voices, this version is a fifth below the original pitch.Well-known Christmas piece, here a tone higher than the original.Well-known Christmas piece, here a third higher than the original.A splendid declamatory and rhythmically complex piece - also suitable for the season following Pentecost. The piece is in high clefs and is usually offered transposed down a tone, as here, or down a fourth.Includes Iste sanctus for Martyrs, and Veni sponsa Christi for Virgins.An attractive and accessible setting.Most people know the piece (a) transposed up a third from the original pitch, and (b) in versions produced by collating all the remaining sources (or of course illegally copied from such editions). This version is based entirely on the set of manuscript partbooks in British Library Add. Mss 17786-17791, and reproduces the text as given there, which differs somewhat from the hybrid version. It is at the original pitch, suitable for AATTBaB etc.The madrigal “Godi, felice seno” is a welcome addition to the repertoire of large-scale secular pieces. It was published in Croce’s Quarto libro di madrigali a cinque e sei voci of 1607. Both the clearly made-to-measure text and the unusual scale of the work (12 parts disposed in three choirs a 4) suggest a lavish celebratory occasion. Mention of the Rhine and the Alpine regions in the text is evidently related to the alliance contracted in 1603 between Venice and the Swiss so-called Grisons (“Grey”) League. By the terms of the treaty, the Swiss would furnish 7000 troops to Venice in case of need. The piece was no doubt performed on the date of signing the treaty, September 24 1603, in the Ducal Palace, probably in the chamber of the Senato. A beautiful setting of a Song of Songs text. Here a semitone lower than the original.Version of EMP0725 adapted for use on the Feast of All Saints.A lovely gentle Marian piece, available either a 4th (EMP0785) or a tone lower than the original, as here.A sombre setting of a Respond from the Office for the Dead. The piece survives without one of the voices which has been reconstructed by the Editor.A suite arranged by Michael Procter. Ouverture (Gravement); Aire de Paysan; Rondeau; La Bohemienne; Air des Bisquayens; La Forlana (Contredanse). Revised and computer typeset edition November 2009 which has replaced EMPO054. Available for Strings only or with Oboe and Bassoon doubling (they have a small solo part in the Rondeau which works equally well as a 'Concerto grosso' with solo violin and 'cello). This version is a score and a single set of string parts plus continuo. Additional parts on request. Vln I/oboe €4.50; Vln II, Vln III/Vla I €4.50; Vlc/Bsn €4.50; Vlc tutti €4.50Score only of the suite arranged by Michael Procter. Includes oboe and basson.A suite arranged by Michael Procter. Ouverture (Gravement); Aire de Paysan; Rondeau; La Bohemienne; Air des Bisquayens; La Forlana (Contredanse). Revised and computer typeset edition November 2009 which has replaced EMP0054. Available for Strings only or with Oboe and Bassoon doubling (they have a small solo part in the Rondeau which works equally well as a 'Concerto grosso' with solo violin and 'cello). This version is a score and a single set of parts, including oboe, bassoon and continuo. Additional parts on request. Vln I/oboe €4.50; Vln II, Vln III/Vla I €4.50; Vlc/Bsn €4.50; Vlc tutti €4.50A version of the piece laid out to permit its liturgical use as a Responsory either on the First Sunday in Lent or, with an added Gloria Patri, during the Imposition of Ashes on Ash Wednesday. Transposed down a 4th from the high-clefs original. Available on request at a higher pitch.Version of EMP0826 adapted for use on the Feast of All Saints.Oratio Jeremiae, the third Lesson from the Lamentations on Holy Saturday and thus the last of the nine sections from the Lamentations which occur in the office of Tenebrae. This is our standard version, a 4th below the high-clef original.Oratio Jeremiae, the third Lesson from the Lamentations on Holy Saturday and thus the last of the nine sections from the Lamentations which occur in the office of Tenebrae. This is at the same pitch as our standard version, a 4th below the high-clef original, but with the Alto voice in Treble clef.Oratio Jeremiae, the third Lesson from the Lamentations on Holy Saturday and thus the last of the nine sections from the Lamentations which occur in the office of Tenebrae. This is at a higher pitch than our standard version, just a tone below the high-clef original, and with the Alto voice in Treble clef.The fourth setting of the text by White. The hymn was sung in Sarum Rite at Compline of the First and Third Sunday in Lent.One of four double-choir Psalms included in Victoria's collection of hymns, 1581. Here at original pitch (the original has 'normal' clefs, SATB SATB)One of four double-choir Psalms included in Victoria's collection of hymns, 1581. Here a third above original pitch, better suited to mixed choirs.Lechner's Passion setting exists only in a manuscript in the University Library in Kassel, where it has the title Historia der Passion und Leidens unsers einigen Erlösers und Seligmachers Jesu Christi nach dem alten lateinischen Kirchenchoral mit vier Stimmen componiert The text is in fact drawn from all four Gospels, and was possibly influenced by Osiander, who was Hofprediger at the court (Hof) of Moritz, Landgraf zu Hessen in Kassel. Lechner's is the only German Passion setting which uses the chant melody of traditional Passion recitation as a cantus firmus. The original is in high clefs and this performing edition is set a fourth lower, especially suitable for male voices. The original spelling of the text has been retained, rather than force a modern German wine into the old skin.Ockeghem's Missa Cuiusvis toni is so composed that it may be sung in 'any tone'; it is provided with four sets of clefs and signatures so that, by applying the rules of musica ficta, the piece really does work in four different 'keys'. I have realised the Kyrie in four versions for SATB. This newly revised and typeset version replaces the manuscript edition of 1997 which is now withdrawn.A setting of the remarkable mediaeval 'Visio Sancti Morandi', a dialogue between the Abbot Morandus and the ghost of St. Bernard of Clairvaux. Available at several different pitches: our catalogue version is a 4th below original pitch: the original requires two cornetti for the top voice in each choir. The piece is available at any required pitch; instrumental parts in any clefs at €2.00 each.One of several pieces from Donato's retrospective collection of 1599 which we are publishing for the International Academy of Sacred Music in Venice. This is a setting of the Respond with the Venetian verse 'Peccavimus cum patribus' sung on the first Sunday of Lent.One of several pieces from Donato's retrospective collection of 1599 which we are publishing for the International Academy of Sacred Music 2010 in Venice. This is a setting of a Respond sung on the Feast of the Ascension: Donato's setting has the repeat fully written out, with two parts swapping.A delightful piece, a setting of one of the psalms sung at Tuesday Vespers and on Feasts of Apostles. In line with its unusual scoring it falls into sections mainly for SS, TT, ST duos, the B sometimes singing alone, sometimes with one or more of the other voices, with occasional tuttis.A delightful song (but with a rather trivial text), confirming ones suspicion that the composer of the 'Metodo pratico' was capable of far more. Vaccai in fact left a great deal of music, operas, ballets, cantatas, instrumental and vocal. One of several new pieces by Merulo which we are publishing for the International Academy of Sacred Music 2010 in Venice. The text is a Respond in August, and thus occupies a somewhat obscure place in the liturgy. It could well be political in origin. 'For thy judgments, O Lord, are great, and thy words cannot be expressed: For thou didst magnify thy people, O Lord, and didst honour them.' Wisdom 17, 1; 19,20A completely new edition replacing the Beauchamp Press version which we took over in 2008. This magnificent setting was the principal work in Monteverdi's 1610 collection which also included the famous Vespers. Based on melodic material from Gombert's 'In illo tempore' the work originally bore the title 'Missa Sanctissimae Virgini'. One of the grandest and most luscious of Monteverdi's works, it deserves to be as well-known as Palestrina's Missa Papae Marcelli or the Byrd 4-voice Mass. Our edition is available at the original high pitch (only suitable for instruments) as here, down a fourth for male voices, or down a third (in 'A'). Set of instrumental parts at any pitch and in any clef €35.A completely new edition replacing the Beauchamp Press version which we took over in 2008. This magnificent setting was the principal work in Monteverdi's 1610 collection which also included the famous Vespers. Based on melodic material from Gombert's 'In illo tempore' the work originally bore the title 'Missa Sanctissimae Virgini'. One of the grandest and most luscious of Monteverdi's works, it deserves to be as well-known as Palestrina's Missa Papae Marcelli or the Byrd 4-voice Mass. Our edition is available down a fourth for male voices as here, down a third (in 'A'), or even at the original high pitch (only suitable for instruments). Set of instrumental parts at any pitch and in any clef €35.A completely new edition replacing the Beauchamp Press version which we took over in 2008. This magnificent setting was the principal work in Monteverdi's 1610 collection which also included the famous Vespers. Based on melodic material from Gombert's 'In illo tempore' the work originally bore the title 'Missa Sanctissimae Virgini'. One of the grandest and most luscious of Monteverdi's works, it deserves to be as well-known as Palestrina's Missa Papae Marcelli or the Byrd 4-voice Mass. Our edition is available down a third (in 'A') as here, down a fourth for male voices, or even at the original high pitch (only suitable for instruments). Set of instrumental parts at any pitch and in any clef €35.A setting of the remarkable mediaeval 'Visio Sancti Morandi', a dialogue between the Abbot Morandus and the ghost of St. Bernard of Clairvaux. Available at several different pitches: our preferred version is a 4th below original pitch: the original given here requires cornetti for the top voice in each choir. The piece is available at any required pitch; instrumental parts in any clefs at €2.00 each.A magnificent miniature setting of the familiar Eastertide text. Although short, it contains some of Lassus' most striking writing, including bold harmonic devices for the words 'mors, mortuis,' and joyful runs in black notes at 'vivit Deo.' Judging by the final 'Alleluia' Lassus had in mind the Alleluia of Mass on the 5th Sunday of Easter. A new edition, a 4th below the high-clef original, which replaces EMP 0137.A magnificent miniature setting of the familiar Eastertide text. Although short, it contains some of Lassus' most striking writing, including bold harmonic devices for the words 'mors, mortuis,' and joyful runs in black notes at 'vivit Deo.' Judging by the final 'Alleluia' Lassus had in mind the Alleluia of Mass on the 5th Sunday of Easter. A new edition which replaces EMP 0137. This version is a 3rd below the high-clef original, with the Altus in Treble clef.A splendid setting from Monteverdi's Selva Morale of 1641. The text 'Beatus vir qui timet Dominum' is used as a refrain between sections set variously for 2,3,4 or 5 voices.A further setting from Monteverdi's Selva Morale of 1641. Set for ATB soli with a ripieno which in places expands from SSATB to SSAATTBB.A splendid 4th-tone setting from Monteverdi's Selva Morale of 1641.In our continuing series of pieces by this shamefully neglected composer, this is the Magnificat Antiphon at First Vespers of Corpus Christi: O sacrum convivium, which we are publishing simultaneously, is that for Second Vespers.In our continuing series of pieces by this shamefully neglected composer, this is the Magnificat Antiphon at Second Vespers of Corpus Christi: O quam suavis, which we are publishing simultaneously, is that for First Vespers.In our continuing series of pieces by this shamefully neglected composer, this is a lovely setting of the familiar text.One of several pieces from Donato's retrospective collection of 1599 which we are publishing for the International Academy of Sacred Music 2010 in Venice. This is a new edition of a piece we first published in 1993, and has become a firm favourite. The text is an unusual variant of the standard one, mainly found in Italian uses, whose liturgical function seems to have been following the Pater noster before the Office: it was also set by Merulo.The famous double-choir setting, here offered in a revised edition with original note-values retored, a fourth lower than the high clef original - other transpositions are of course possible.A revised edition of a marvellous piece from Gabrieli's 1597 collection, with original note-values restored. The 6-voice pieces in the collection represent a starting point for Gabrieli's exploration of a new style: here he pays tribute to Josquin, but makes it clear that he is moving on.A revised edition of a splendid mass, which is a parody on Morales' motet Jubilate Deo, composed to celebrate the peace treaty brokered in 1538 by Pope Paul III between Charles V and Francois I which was signed on June 18 of that year in Nice. The motet has the chant 'Gaudeamus omnes' as a constantly recurring cantus firmus, and it also plays a prominent role in the mass, which could equally well have been called 'Missa Jubilate Deo'.One of several pieces from Donato's retrospective collection of 1599 which we are publishing for the International Academy of Sacred Music 2010 in Venice. This is a settng of a short excerpt from the meditation on Psalm 51 (Miserere) by Savonarola.One of several new pieces by Merulo which we are publishing for the International Academy of Sacred Music 2010 in Venice. The text is an unusual variant of the standard one, mainly found in Italian uses, whose liturgical function seems to have been following the Pater noster before the Office: it was also set by Donato.Morales' motet was composed to celebrate the peace treaty brokered in 1538 by Pope Paul III between Charles V and Francois I which was signed on June 18 of that year in Nice. The motet has the chant 'Gaudeamus omnes' as a constantly recurring cantus firmus, so that Victoria's magnificent parody mass (which we have also published) has the title 'Missa Gaudeamus'.This booklet combines Victoria's mass with the motet by Morales on which it is based. Morales' motet was composed to celebrate the peace treaty brokered in 1538 by Pope Paul III between Charles V and Francois I which was signed on June 18 of that year in Nice. The motet has the chant 'Gaudeamus omnes' as a constantly recurring cantus firmus, so that Victoria's magnificent parody mass has the title 'Missa Gaudeamus'.This is a version a 4th lower than the high-clef original.One of the two smaller-scale masses by Monteverdi, this one taken from the 'Messa et salmi' of 1650. Its original ad aequales cleffing TrMAT suggests downwards transposition of a fourth, to SATB as here.In our series of small-scale pieces by this shamefully neglected composer, this is a setting of a prayer said after meals.In our series of small-scale pieces by this shamefully neglected composer, this is a setting of a prayer said after meals. This version is a tone higher than the original.One of a series of smaller-scale works by Ingegneri.A modern edition of a work published in 1856 and thus from the final year of Pearsall's life. He was received into the Roman Catholic church three days before his death, at the beginning of August 1856.Now identified as a Respond (or Responsory) for Feasts of Virgins and Non-Virgins. The piece is in an 'Ad aequales' scoring, i.e. it can be transposed to suit different groups of voices. This version is a fifth lower than the original and works well for SATB.A further piece from Cavalli's Musiche Sacre; the setting is through-composed and uses several different tempi to match the text.A new and revised edition which replaces our earlier one. Only five pieces by Rivafrecha are known to have survived, all in the same manuscript in Seville. The composer was rated alongside Penalosa during his lifetime, and this piece is stunning. It is an alternatim setting, and I am grateful to Bruno Turner for providing me with a source of the chant known to the composer, which is incorporated in the edition.The fourth Penitential Psalm (Ps. 50) from Gabrieli's magnificent collection of settings published in 1583. We have so far published numbers 1,4,5,6 and 7; the other two settings are in the pipeline. This version of Miserere mei Deus, the first with the original note values, replaces our earlier edition EMP0353. It is a fourth lower than the high-clef original, but is also available at other pitches. In this version the Altus, Tenor and Quintus are all printed in the octave-treble clef; EMP1115 presents the Altus in treble clef (which we think looks horrible...)The fourth Penitential Psalm (Ps. 50) from Gabrieli's magnificent collection of settings published in 1583. We have so far published numbers 1,4,5,6 and 7; the other two settings are in the pipeline. This version of Miserere mei Deus, the first to be reissued with the original note values, replaces our earlier edition EMP0353. It is a fourth lower than the high-clef original, but is also available at other pitches. In this version the Altus is in treble clef, for those who cannot read the octave clef.A wonderful piece, which deserves to be as famous as the Papae Marcelli or the Byrd 'Four Part' masses. It has marvellous sonorities and is imbued throughout with the pathos of íts model, Gabrieli's own motet on the Prodigal Son. The unusual scoring, SSATBB, which is shared by some of the Penitential Psalms, makes the mass very useful for choirs short of tenors. This completely revised edition, which restores original note values, has been checked against the only complete set of original part books in the Staats- und Stadtbibliothek at Augsburg. It replaces our earlier edition EMP 285.A ravishingly beautiful piece, in the rare 7-voice scoring, here revised in original note-values.One of Lassus' most sublime pieces. Also the Offertory for Feasts of Martyrs. Here offered a third lower than the high-clef original.A revised and enlarged edition of the Propers for Feasts of Apostles from the Choralis Constantinus. Introit: Mihi autem nimis; Alleluia: Non vos me elegistis; Sequence: Clare sanctorum senatus; Communion: Ego dico vobisOne of Lassus' last published pieces, and in fact originally planned as the final work in the final volume, the Sacrae Cantiones of 1594. John Milsom has shown (Early Music 33, 2005) that the piece is perfectly worked out; and it appears to include a final puzzle. But it is just as satisfying for the singer and has rightly become one of the composer's best-loved pieces. Original pitch.One of Lassus' last published pieces, and in fact originally planned as the final work in the final volume, the Sacrae Cantiones of 1594. John Milsom has shown (Early Music 33, 2005) that the piece is perfectly worked out; and it appears to include a final puzzle. But it is just as satisfying for the singer and has rightly become one of the composer's best-loved pieces. Here offered a tone above the original, which lies low for mixed voices.Typeset at last, and replacing our EMP232, this beautful and powerful setting of Psalm 129, one of the Penitential Psalms, was recorded by Hofkapelle on CHR77217.Known only from an 18th century manuscript in the British Library, this piece was originally a textless canon for 5 voices, in the bass clef. It has been adapted here to the single word 'Sanctus'.A ravishingly beautiful piece, in the rare 7-voice scoring, now revised in original note-values. This versions is a third higher than the original.An atmospheric setting of part of a poem by Federico Garcia Lorca. It uses slowly changing ostinato figures in pairs of voices to create an ominous, timeless soundscape.Another in a growing series of simple 3-part settings for liturgical use, originally composed for the Choralschola of St Michael, Weingarten. This is the Introit for the 28th Sunday of the year. (In German)One of Lassus' most sublime pieces. Also the Offertory for Feasts of Martyrs. Here a tone lower than the original.This is one of the pieces assumed to have been composed for performance at one of the Venetian Scuole Grande, where Croce was in charge of the musicians during his position as Vice-Maestro at San Marco. It has a text which can be adapted to suit any Saint, male or female (the published text refers to 'beatus N/beata N' for example), and includes a prayxer for 'fraternitatem istam', i.e. this Confraternity. The piece is available in adapatations to any Saint, this version is in honour of the Blessed Virgin Mary.A splendid piece, which seems to be a unique setting of the text. It is one of the larger-scale pieces in the 1610 collection, with the solo group itself divided into two trios. This version is a fourth below the high-pitch original.A composite text drawing on references in several psalms, and presumably compiled by Croce himself. This version is a fourth below the high-clef original.This posthumous collection is Croce's only venture into the modern music of his time, the 'seconda prattica.' The performance suggestions provided, presumably, by the publisher give a fascinating insight into the practice of the time: each piece is scored for 3, 5 or 6 soloists and continuo, plus an optional 4-voice Ripieno choir, which can be doubled or tripled (presumably in different parts of the church) 'perche fanno vagissimo e soavissimo Concerto.' This catalogue number refers to the complete score of the Ripieno choir for all 10 pieces.This posthumous collection is Croce's only venture into the modern music of his time, the 'seconda prattica.' The performance suggestions provided, presumably, by the publisher give a fascinating insight into the practice of the time: each piece is scored for 3, 5 or 6 soloists and continuo, plus an optional 4-voice Ripieno choir, which can be doubled or tripled (presumably in different parts of the church) 'perche fanno vagissimo e soavissimo Concerto.' This performing edition presents all 10 pieces (the high-clef pieces transposed down a 4th) in a sturdy ring-bound score. A complete score for the Ripieno is also available (EMP1139), as are ripieno scores and instrumental parts for each piece separately (please ask for prices).This is one of a series of 5-voice motets for Christmastide which Lassus published at different times and which were gathered together by his sons in the great posthumous Magnum Opus Musicum of 1604, the first ever attempt at a 'Complete Edition'. Resonet in laudibus is surely one of the most popular, although at the same time one of the most rhythmically challenging of Lassus' motets. Its depiction of uncontrolled rejoicing actually requires a great deal of control with word rhythms always taking precedence over 'strong beats'. This version is transposed a tone higher to G major, with the Alto voice in Treble clef.Another in a growing series of simple settings for liturgical use, originally composed for St Michael, Weingarten. This simple setting includes a congegational antiphon and two Psalm verses to be sung by the Cantor or Schola. (In German)No original setting by Sheppard of Te lucis ante terminum has survived. For this edition I have adapted his setting of Jesu salvator seculi, which has the same melody. The missing Tenor (Baritone) part has been composed by the editor.Transposed version, a fourth below the high-clef originalTransposed version, a fourth below the high-clef originalComplete edition of Palestrina's third set of Lamentations, including three readings or lessons each for Maundy Thursday, Good Friday and Holy Saturday. Generally each set is scored for SSATB or SATTB but with the final reading in each set being for 6 voices. PLEASE CHECK WITH US FOR TRANSPOSITIONS!This version is transposed a third higher.The piece which de Monte wrote for William Byrd, obviously in sympathy with the 'internal exile' of Catholics at the time. He set four verses of the Psalm; Byrd's response 'Quomodo cantabimus' is equally moving. This version is at the original pitch.This version is transposed a third higher.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.This is our standard version, transposed a fourth lower.One of the shorter and less difficult pieces in the Eton Choirbook, a setting of an otherwise unknown Marian text, presumably for use as an alternative Antiphon.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Mixed-voice version, transposed down a tone.Complete set, all 18 pieces transposed down a fourth.Complete set, all 18 pieces transposed down a tone.Set of 6 pieces for Thursday, transposed down a fourth.Set of 6 pieces for Thursday, transposed down a tone.Set of 6 pieces for Friday, transposed down a fourth.Set of 6 pieces for Friday, transposed down a tone.Set of 6 pieces for Saturday, transposed down a fourth.Set of 6 pieces for Saturday, transposed down a tone.With owt discorde and O my hart. Two songs reliably ascribed to Henry VIII, who was an accomplished musician.The three readings for the first Nocturn at Tenebrae. The scoring varies: Lesson I is SSAB, ending SSATB; Lesson II is SATB with an alternative ending for SSATB; Lesson III is SSATB, ending SSAATB.A fine setting based on Lassus' magnificent hymn setting (see EMP1223). Its unusual scoring SAATBB gives it a warm sonority and perhaps a penitential atmosphere, but the mass is not restricted to use at Passiontide.One of the handful of Latin motets by Pederson, who studied with Giovanni Gabrieli in Venice. The music has much in common with the Cantiones Sacrae of Heinrich Schütz, with whom Pederson may have overlapped in Venice.Lassus' magnificent hymn setting - some 8 minutes in length - was the model of Andrea Gabrieli's Mass (see EMP1221). Its unusual scoring SAATBB was also taken over by Gabrieli. One of the best-known of Victoria's small-scale motets. It does not function as a Responsory, although it is provided with a break before 'O Beata Virgo'; it concludes with a splendid Alleluia. One of the best-known of Victoria's small-scale motets, which provided the model for his Missa O quam gloriosum. Victoria's print gives the title 'In Passione Domini' in place of the more usual 'In Parasceve.' The three readings for the first Nocturn at Tenebrae. The scoring varies: Lesson I is SATB, ending SSATB; Lesson II is SSAT, ending SSATB; Lesson III is SAATB, ending SSAATB.The three readings for the first Nocturn at Tenebrae. The scoring varies: Lesson I is SATB, ending SSATTB; Lesson II is SSAT, ending SSATB; Lesson III is SSATTB, with an alternative ending for SATB SATB. Our standard version is a 4th below the original high pitch.The three readings for the first Nocturn at Tenebrae. The scoring varies: Lesson I is SATB, ending SSATTB; Lesson II is SSAT, ending SSATB; Lesson III is SSATTB, with an alternative ending for SATB SATB. This alternative version is just a tone below the original high pitch.The three readings for the first Nocturn at Tenebrae on each of the three days of the Triduum Sacrum. The scoring varies from SSAT and SATB, to SSAATB and SSATTB. The final lesson on Saturday has an alternative ending for SATB SATB.A long piece composed for the coronation of Francois I of France in 1515.A splendid double-choir setting of the familiar Advent text, not set as a Responsory but with a repeat of the opening section at the end.One of the handful of Latin motets by Pederson, who studied with Giovanni Gabrieli in Venice. The music has much in common with the Cantiones Sacrae of Heinrich Schütz, with whom Pederson may have overlapped in Venice.One of the handful of Latin motets by Pederson, who studied with Giovanni Gabrieli in Venice. The music has much in common with the Cantiones Sacrae of Heinrich Schütz, with whom Pederson may have overlapped in Venice.Another in a growing series of simple 3-part settings for liturgical use, originally composed for the Choralschola of St Michael, Weingarten. This is the Introit for Passion Sunday. (In German)A magnificent triple-choir setting of the first 4 verses of Psalm 95. Choir II is the vocal Capella, Choir I is probably intended for a solo Alto and three low instruments (sackbuts), Choir III can be scored in various ways, but was probably intended for a solo Tenor and three high instruments. The top voice in Choir III with frequent high Gs is for a cornett or violin.A lovely piece in the unusual 7-voice scoring.A stunningly powerful and moving piece, written to mark the occasion on October 15 1573 when the Italian students left the Collegio Germanico. The combined choirs, together with singers from the Papal Chapel, sang the piece by the light of flaming torches.One of the pieces from Guggomoos' only surviving print, the Mottecta of 1612. The composer was an organist at the Munich court, and one of the last pupils of Giovanni Gabrieli, where he was a contemporary of Schütz.One of the better-known the masses of Hassler. A high-clef piece usually offered, as here, a third lower than notated: other pitches on request.The text is from Apocalypse (Revelations) 14,3; a similar text is also sung on All Saints.A setting on the same scale as those of Andrea Gabrieli, through-composed with no chant sections and lasting about 15 minutes.One of Victoria's loveliest masses, based on his own setting of the Song of Songs text (also available from us.) This version is the standard 4th below the pitch of the high-clef original: other pitches available on request.One of the more than 100 'imitation' Magnificats by Lassus, this one is a parody on his own delightful chanson.Another in a growing series of simple 3-part settings for liturgical use, originally composed for the Choralschola of St Michael, Weingarten. (In German)One of the best-known of Gabrieli's large-scale pieces. It was probably composed for one of the annual 'Redentore' celebrations in Venice; its text derives in part from the liturgy for Holy Trinity. Its scoring is very specific: a group of 6 instruments (3 cornetti, viola and two trombones), four solo voices SATT and a 4-voice Capella or ripieno choir SATB. A chorus score is also available. This version has a realised organ part based on one published on the Internet, whose arranger I have been unable to contact. The alternative version presents the original (unfigured) organ part. Instrumental parts, including an organ part with a blank right hand, are available on request.One of the best-known of Gabrieli's large-scale pieces. Its text derives from Psalm 46, from which are drawn many of the proper texts for the Feast of the Ascension. Its cleffing TrSMT ATBaSb MATB SATSb requires a minimum of three instruments, a cornett for the top line and two low instruments (Bass trombone or curtal/dulcian) for the low bass parts. However, the third choir is marked Capella, suggesting that this is a 4-part vocal choir; the other groups are probably intended for (I) Solo Tenor and 3 cornetti; (II) Solo Alto and three trombones, (IV) Solo Soprano and three trombones or strings. Instrumental parts are available on request.The well-known 'Mass for three voices' is an ad aequales piece (with 'close-together' clefs, in this case MAT) and is available at various pitches. This version is a fourth lower than the original pitch, suitable for male voices.One of the least well-known of Gabrieli's large-scale pieces. It would have been most appropriate for a Marian Feast but can of course be sung at any time. It is cleffed TrSMAT MTBaBSb MATB and bc. The third choir is the Capella, in which all parts are sung (but can be doubled, for example by strings). Choir I is probably for a solo Tenor and four high instruments, Choir II for solo Soprano and four trombones or similar. Instrumental parts are available on request.Another in a growing series of simple settings for liturgical use, originally composed for the Choralschola of St Michael, Weingarten. This is the Introit for the 15th Sunday in Ordinary Time, based on a motet by Lotti.. (In German)One of the best-known of Gabrieli's large-scale pieces. It was probably composed for one of the annual 'Redentore' celebrations in Venice; its text derives in part from the liturgy for Holy Trinity. Its scoring is very specific: a group of 6 instruments (3 cornetti, viola and two trombones), four solo voices SATT and a 4-voice Capella or ripieno choir SATB. A chorus score is also available. This version presents the original (unfigured) organ part. The alternative version has a realised organ part based on one published on the Internet, whose arranger I have been unable to contact. Instrumental parts, including an organ part with a blank right hand, are available on request.Version with Treble clefs for both alto voices.One of the best-known pieces of Giovanni Gabrieli, published in the 'Concerti di Andrea e Giovanni Gabrieli' of 1587. Its low second choir was probably performed with a solo falsettist and three sackbuts, but the piece is enirely in vocal clefs and a capella performance cannot be ruled out. Revised edition replacing our earlier one, and printing the alto voice in treble clef.The earlier setting (the better-known setting is in the 1615 collection). Denis Arnold considered this one of the finest motets in the Sacrae Symphoniae, and it represents, rarely in a double-choir piece, the extremely affective side of Gabrieli's great genius.Version a tone higher, with Treble clefs for both alto voices.Scored for three choirs: SATTB SMABa SATB and organ. The third choir is as usual the vocal Capella. The other two choirs can perfectly well be sung - they are both in vocal clefs - but Ch I could be a solo Soprano and four instruments, Ch II a solo baritone and three instruments. Most of the concerted pieces are comparatively short; in this case the final section of the piece is repeated, giving it a length of about 5 minutes.The least ambitious of the surviving Magnificat settings, this is nonetheless a fine piece, from the 1597 collection. The same collection includes a setting for twelve voices: the 1615 collection includes another 12-voice setting as well as one for 14 and one for 17 voices, while incomplete manuscript sources document one setting for 20 or 28 voices, and another for 33 voices.A further 'Jerusalem' motet, this one printed in the Gradualia, and incorporating a daring diatribe against the King. This revised version restores original note values.A contrafactum of Gabrieli's madrigal O che felice giorno. It appears that the composer retexted the piece himself, and it has become well-known in its own right.The sixth penitential psalm, Out of the deep. Available as here at original pitch or a tone higher (EMP1263).The sixth penitential psalm, Out of the deep. Available at original pitch (EMP1262) or a tone higher as here.One of the lovely small-scale motets by Victoria.For feasts of several martyrs.A simple alternatim setting (Chant and 4-part polyphony).The only mass identified simply by Tone, this is in fact a parody on Victoria's own motet for the Purification.Victoria's motet for the Purification was the model for his Missa Quarti Toni.This reduced score includes all vocal parts and organ, with an outline of the instrumental group.A remarkable piece of late Renaissance polychoral writing, with extraordinary use of the madrigalian 'sospiri' figure. Denis Arnold wrote of its 'polyphonic web full of rich dissonance and ending with a grand plagal cadence.' It is a setting of a variant of the 'Libera me', presumably composed for the death of a prominent person, perhaps Doge Grimani (+ 1605). Scored for four vocal choirs, SATB SATB ATTB ATTB but obviously instruments may double or substitute for voices.A setting of the first three verses of Psalm 54 (55). The opening of the Psalm is set as an Offertory during Lent; this large-scale setting was presumably for a non-liturgical performance. Scored for three choirs, SMAT TBaBSb SATB: the third choir is the vocal Capella, Choir I would normally be a solo Tenor with three high instruments, Choir II a solo Tenor with three low instruments.This setting from Gabrieli’s posthumous 1615 collection of Symphoniae Sacrae, is – like the piece in the 1613 print - a setting of a composite text which seems to relate to the Nuptial Mass: it is not a straightforward setting of Psalm 100 (the Anglican’s ‘Jubilate’ from Matins.) The print specifies only two voices, Mezzosoprano (high countertenor) and Tenor, with the following instruments: 2 cornetti and bassoon, 5 trombones, and organ. All except the highest cornetto part (even the lowest Bass which descends to low C) are marked 'e Voce si placet', so the piece may be performed with as many singers are available.The overall cleffing is: MT (solo voices); TrSATTTBSb, org. It opens with an (optional) instrumental Sinfonia for all 10 instruments.This is the piece of Hassler's which requires the largest forces. It is scored for four groups made up as follows: TrSMA-SATB-SATTB-ATBaBSb. The second group is the Capella, i.e. the vocal choir; the third group is also in vocal clefs and could well be sung. The fourth group (actually called Primus Chorus, because it sings first) is surely for a solo Alto and four instruments, probably including a curtal or dulcian; the highest group (first in my list) could well include a solo Soprano singing the second line, and three instruments: the Tr clef part is either for Cornett or for Violin. The text is a variant of a Responsory sung (A) at the Vigil of Holy Innocents, (B) on Easter Monday, (C) on the Friday after Easter. The prominent ‘Alleluia’ suggests Eastertide use. This magnificent piece, one of Gabrieli's finest, is scored for four groups made up as follows: TrSST ATBaSb MATB TrATSb and Organ. The third group is the Capella, i.e. the vocal choir; the highest group is probably originally for solo Tenor and three instruments: these could be cornetti or strings with an appropriate low instrument; the second group is surely for a solo Alto and three instruments, probably trombones with either a curtal (dulcian) or Bass trombone; the fourth group is hard to identify; either the Alto or the Tenor must be sung, the other voices are for instruments. The text is otherwise unknown but clearly refers to the Assumption.This splendid piece is scored for three groups made up as follows: TrSST ATTSb SATTB. The third group is the Capella, i.e. the vocal choir; the second group is surely for a solo Alto and three instruments, probably trombones with either a curtal (dulcian) or Bass trombone; the highest group is probably originally for solo Tenor and three instruments: these could be cornetti or strings. The text of Psalm 18 is often sung, but this large-scale festive setting, ending with the text 'et ipse tamquam sponsus procedens de thalamo suo' (as a bridegroom coming out of his chamber) was possibly intended for a wedding.This is the longest of Hassler's polychoral pieces, lasting about 5 minutes. It is scored for three groups made up as follows: TrTrSMT ATTBSb SMATB. The third group is the Capella, i.e. the vocal choir; the second group (actually called Primus Chorus, because it sings first) is surely for a solo Alto and four instruments, probably trombones with either a curtal (dulcian) or Bass trombone; the highest group, Secundus Chorus (the first in my list) is probably originally for solo Tenor and four instruments: these could be cornetti or strings. The text (Psalm 99 with variants) is often sung, but this spectacular setting is probably intended for Christmas use. This is the largest-scale mass by Hassler, and is interesting on a number of counts. (i) It is a reworking of his only 8-voice Mass; (ii) its scoring varies not only from one to three 4-voice choirs but the first Kyrie is for two 5-voice choirs (the Christe just for one of these); (iii) the Credo is for two 4-voice choirs (the Crucifixus for four voices). Most unusually, it is in vocal clefs throughout, and is thus one of the few pieces of this size which can legitimately be sung 'a capella', although instrumental doubling is entirely authentic practice. The piece is in high clefs and is normally offered a 4th lower: other transpositions available on request. The price quoted is for the full score (66 pages); chorus scores and instrumental parts are in preparation. O quam suavis is one of four 7-voice motets in Gabrieli’s 1597 collection Sacrae Symphoniae. The 6- and 7-voice motets which open the collection are often overlooked in favour of the large-scale pieces which follow, but in fact they represent some of the finest music which Gabrieli left us. This version has octave-Treble clefs for both Alto parts.O quam suavis is one of four 7-voice motets in Gabrieli’s 1597 collection Sacrae Symphoniae. The 6- and 7-voice motets which open the collection are often overlooked in favour of the large-scale pieces which follow, but in fact they represent some of the finest music which Gabrieli left us. This version has Treble clefs for the top 4 voices.One of the best-known pieces of Giovanni Gabrieli, published in the 'Concerti di Andrea e Giovanni Gabrieli' of 1587. Its low second choir was probably performed with a solo falsettist and three sackbuts, but the piece is enirely in vocal clefs and a capella performance cannot be ruled out. This version includes an editorial organ continuo (single line).Few Full Anthems of Gibbons survive. This is a magnificent piece suitable for Advent and general use. This version is set at the original pitch.This is one of several settings of Jubilate Deo by Hassler, for from 4 to 15 voices; this 5-voice setting was printed in his great collection Sacri Concentus of 1601. The 6- and 7-voice a capella motets of Gabrieli are among his loveliest, but are usually overshadowed by the large-scale pieces for voices and instruments. We are publishing all the small-scale pieces.The 6- and 7-voice a capella motets of Gabrieli are among his loveliest, but are usually overshadowed by the large-scale pieces for voices and instruments. We are publishing all the small-scale pieces.The piece was conceived for two groups, each with a solo voice and instruments. Thus, the high choir (Secundus Chorus) would probably have had a solo Tenor and four high instruments (strings or cornets); the low choir (called ‘Primus Chorus’ because it sings first) a solo Altus (countertenor) and four low instruments, probably trombones, with a bass trombone or curtal on the lowest part. The Basso per l’organo was not included in the original print, the source is a manuscript partbook in Augsburg written out in 1636, which includes the 1587 Concerti as well as the 1597 collection. It combines text from Isaiah 63 and Psalm 24, and was possibly composed for an extra-liturgical celebration in connection with the Feast of the Precious Blood (July 1).The mass is here transposed down a fifth, the pitch at which our editor considers it rightly belongs. This version has three voices in octave-Treble ('Tenor') clef and one in Bass clef.One of the two smaller-scale masses by Monteverdi, this one taken from the 'Messa et salmi' of 1650. Its original ad aequales cleffing TrMAT suggests downwards transposition of a fourth, see EMP 1100: this version is set only tone lower than the original.Die drei 'Lesungen' für Matutin (Tenebrae) vom Karfreitag: I Heth (SATTB), II Lamed (SATTB), III Aleph (SSATTB)Die erste 'Lesung' für Matutin (Tenebrae) vom Karfreitag.Die zweite 'Lesung' für Matutin (Tenebrae) vom Karfreitag.Die dritte 'Lesung' für Matutin (Tenebrae) vom Karfreitag.This is one of the 4-voice pieces from Hassler’s great collection Sacri concentus of 1601 (an enlarged second edition was published in 1612). The text is a variant of a Responsory in Ascensiontide but I have not been able to find an exact liturgical match, nor does Hassler’s setting show any signs of being a Responsory. The text derives from Mark 16, 15 and 16.This is the first of the 4-voice pieces from Hassler’s great collection Sacri concentus of 1601 (an enlarged second edition was published in 1612). The text is a variant of Psalm 53 (54) which is often sung, for example on Maundy Thursday and Easter Saturday, and the opening verses frequently form Versicles or Verses.This is one of the 5-voice pieces from Hassler’s Cantiones Sacrae, given here as found in the great collection Sacri concentus of 1601 (an enlarged second edition was published in 1612). The text is of course from Matthew 16.The 6- and 7-voice a capella motets of Gabrieli are among his loveliest, but are usually overshadowed by the large-scale pieces for voices and instruments. We are publishing all the small-scale pieces. This piece opens the 1597 collection: O sing unto the Lord a new song: look out, here is a new sort of music!The 6- and 7-voice a capella motets of Gabrieli are among his loveliest, but are usually overshadowed by the large-scale pieces for voices and instruments. We are publishing all the small-scale pieces. This piece sets the first verse of Sp 16 (17).The Quatercentenary Edition brings together in 14 volumes all the surviving sacred music of Giovanni Croce. Sought out by the future Kaiser Ferdinand II and by John Dowland, praised by musicians and patrons, Croce was a major figure in the Venetian music scene in the second half of the 16th century. His output includes a vast amount of double-choir music, including three masses, two books of motets and sets of music for Terce, Vespers and Compline. Besides this there are collections of 4-voice ad equales motets, 5-voice Cantiones Sacrae, two sets of Lamentations, masses for 5 and 6 voices (and one for four choirs), two Requiems and much more besides.This initial volume of the Croce Quatercentenary Edition includes a new extended biographical essay by Martin Morell which, incorporating all the latest research results, provides all the available information about Croce's life and work. With sections devoted to his nearly 40 years' service as singing boy, man, vice-maestro and maestro di cappella at San Marco; to his duties (chiefly neglected) as a priest at S. Maria Formosa; and to his list of distinguished patrons.This volume presents, for the first time, the three masses complete with the 'Partidura,' the continuo/conducting reduction printed contemporaneously with the partbooks.This slim volume (Croce's dedication - in Italian - refers to 'queste poche fatiche Musicali') includes the three Psalms - in fact sections of Ps. 119 (118) - which are sung at Terce, plus the Benedictus and Miserere (which strictly belong to Lauds) and the Te Deum.Croce provides, as he claims in his foreword, all the music needed for Vespers of all major feasts. The edition includes the 'Deus in adiutorium' etc. found only in the lavish manuscript copy of the Vesperae written out for the Abbot of the Monastery of St Ulrich and St Afra in Augsburg, whose source is not known.remarks [en]The Compline collection includes the four Marian Antiphons #####remarks [en]The composition of a set of Cantiones Sacrae, usually for 5 voices, seems almost to have been obligatory, and often contains some of a composer's finest work. This is certainly the case with Croce: the collection includes a number of very beautiful pieces, such as These accessible pieces seem to have been written for choirs with less ambitious vocal resources and can thus be compared with similar collections issued, for example, by Andrea Gabrieli and Claudio Merulo, both of them - like Croce - better known for large-scale and polychoral writing. The range of these pieces rarely exceeds two octaves, so that they can be transposed to suit the available forces. In particular they avoid what were the extremes of the vocal ranges at a time when male sopranos seem to have been in short supply. The edition also gives three pieces by Agostin Masera which were included in Croce's publication. Agostin seems to have been a colleague in the choir at St Mark's.remarks [en]remarks [en]This posthumous collection is Croce's only venture into the modern music of his time, the 'seconda prattica.' The performance suggestions provided, presumably, by the publisher give a fascinating insight into the practice of the time.The Sonetti were Croce's best-known work, settings of the Penitential Psalms in Italian Sonnet translations, which were translated both into English (as 'Musica Sacra') and even into Latin. All three versions are given here, together with the handful of sacred madrigals.Three main works make up the bulk of this substantial volume. The Missa super Jubilate Deo was apparently commissioned by Ferdinand II, who met Croce during his Venice visit, and was copied into a collection of 4-choir masses in Graz (now in the Austrian National Library). There are two settings of the Requiem Mass, the only surviving triple-choir Psalm from a collection which has since become lost, one of the loveliest double-choir motets, and a set of 4-voice pieces from a manuscript now in Moscow. Simple version, down a tone Simple version, down a fourth Responsory form Full score Chorus I Chorus II Chorus III Chorus IV Set of parts Down a tone Down a fourth A third lower than original pitch A fourth lower than original pitch A tone lower than original pitch A tone lower than original pitch A fourth lower than original pitch Original pitch A semitone lower than original pitch A minor third lower than original pitch A fourth lower than original pitch A fifth lower than original pitch A tone higher than the original pitch, and matching our standard edition of the Mass. A third higher than the original pitch A third lower than the original high pitch. A tone lower than the original pitch. Alto part in Treble clef Standard edition Original-pitch version Original pitch Down a 4th Standard edition, down a 3rd Original high pitch Down a fourth Down a third Standard version, down a third from the original high pitch. Original high pitch version. Standard version, without Partidura Alternative version including Partidura Standard version, down a fourth. A third below the original pitch. Original pitch version. Down a 4th Original high pitch SSSA AAAT TTTB Down a 4th Down a tone from original Down a 3rd Down a tone from original Down a 3rd Down a tone from original A tone higher Original pitch A tone higher For Marian Feasts especially Assumption For St Francis For St James For All Saints Original pitch version Version a fourth higher than the original Original pitch version Version a tone lower than the original Original pitch version Version a tone lower than the original Original pitch A third higher than original pitch Original pitch A third higher than original pitch Original pitch A third higher than original pitch Original pitch A third higher than original pitch Original pitch A third higher than original pitch Original pitch A third higher than original pitch Original pitch A fourth lower than original pitch Original pitch A third higher A tone higher A tone lower A fourth lower Original pitch A fourth lower A third lower Original pitch A third lower Original pitch A fourth lower Original pitch A third lower Original pitch A third lower Original pitch A fourth lower A tone lower A fourth lower Original pitch A tone lower with organ A tone lower without organ A fourth lower with organ A fourth lower without organ Original pitch with organ Original pitch without organ original-pitch A third higer A fifth higher A fifth lower Full score Set of parts Full score Set of parts Full score Set of parts Full score Set of parts Version a tone lower than the original Set of parts Score Set of parts A fourth lower without organ Set of parts Original pitch with organ Original pitch without organ With an optional final cadence With an editorial additional final section Original pitch A tone higher than the original. A third higher than the original. Original pitch A tone lower than the original. A 4th lower than the original. Original pitch A semitone lower than the original. Down a 4th. A tone lower than the original. Original version. For All Saints. Choral score. Score including Partidura. Strings only Ob., Bsn., Strs hard cover