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.
EMP0765Byrd, WilliamDiffusa est gratia
SSATBOffertorium, Marian Feasts£2.50
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.
The seventh Penitential Psalm, in this version at the pitch of the high clef original.
EMP0350Gabrieli, AndreaDomine ne in furore (Ps. 6)
SMATBaBPsalm, Penitential£4.75
The first Penitential Psalm (Ps. 6) transposed down a fourth for male voices
EMP1675Gabrieli, AndreaDomine ne in furore (Ps. 6)
SMATBaBPsalm, Penitential£4.75
The first Penitential Psalm (Ps. 6) transposed down a tone for mixed voices.
EMP0576Byrd, WilliamDomine tu jurasti
SATBaBMotet general, Penitential£4.00
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.'
EMP0786Merulo, ClaudioDominus illuminatio mea
SMATBaBB, £3.00
EMP0179Palestrina, Giovanni Pierluigi daDum complerentur: Dum ergo essent
SSATTBMotet general, Pentecost (Whitsun)Manuscript edition£5.00
EMP0820Croce, GiovanniDuo Seraphim clamabant
SSATB (+SATB) bcHoly Trinity£4.00
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'.
EMP1628Croce, GiovanniDuo Seraphim clamabant
SSATB (+SATB) bcHoly Trinity£3.00
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'. This is the ripieno score.
EMP1642Croce, GiovanniDuo Seraphim clamabant
SSATB (+SATB) bcHoly Trinity£8.50
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'. This is the score and parts for the ripieno chorus and basso continuo.
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.
EMP1184Victoria, Tomas Luis deEcce quomodo moritur justus (Sabbato sancto Resp. VI)
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.
EMP1118Clemens non Papa, JacobusEgo flos campi
SSATTBBGeneral Use£4.00
A ravishingly beautiful piece, in the rare 7-voice scoring, here revised in original note-values.
EMP1129Clemens non Papa, JacobusEgo flos campi
SSATTBBGeneral Use£4.00
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.
EMP0289Merulo, ClaudioEgo sum panis
SATTBMotet general, Corpus Christi£3.00
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, here offered down a fourth.
Transposed down a tone from the original high pitch. Also available a 4th lower as indicated by the high clefs of the original.
EMP0577Byrd, WilliamEmendemus in melius
SATTBMotet general, Penitential£3.00
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.
EMP1049Byrd, WilliamEmendemus in melius
SATTBRespond, Ash Wednesday£4.00
A 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.
EMP0280Gabrieli, AndreaEmendemus in melius
SAATTBRespond, Invocabit Sunday (1st Sunday in Lent)£3.00
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.
EMP0746Gabrieli, AndreaEmendemus in melius
SAATTBRespond, Invocabit Sunday (1st Sunday in Lent)£3.00
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.
EMP0770Gabrieli, AndreaEmendemus in melius
SAATTBRespond, Invocabit Sunday (1st Sunday in Lent)£3.00
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.
EMP1173Victoria, Tomas Luis deEram quasi agnus (In Coena Domini Resp. VII)
ATBaBTenebrae Responsories, In Cena Domini (Maundy Thursday, Gründonnerstag)£2.50
This is our standard version, transposed a fourth lower.
EMP1196Victoria, Tomas Luis deEram quasi agnus (In Coena Domini Resp. VII)
SATBTenebrae Responsories, In Cena Domini (Maundy Thursday, Gründonnerstag)£2.50
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'.
EMP1275Gabrieli, GiovanniExaudi Deus à 12 (1615)
a 12: see descriptionRespond, Office of the Dead£6.00
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.
EMP1681Gabrieli, GiovanniExaudi Deus à 12 (1615)
a 12: see descriptionRespond, Office of the Dead£4.75
The vocal score omits the instrumental parts: Cantus, Altus and Octavus from Primus chorus and Quintus, Nonus and Bassus from Secundus chorus.
EMP1682Gabrieli, GiovanniExaudi Deus à 12 (1615)
a 12: see descriptionRespond, Office of the Dead£4.00
The Primus chorus with Basso pro organo
EMP1683Gabrieli, GiovanniExaudi Deus à 12 (1615)
a 12: see descriptionRespond, Office of the Dead£4.00