Historical Anthology of Music: Volume II Historical Anthology of Music, Volume II: Baroque, Rococo, and Pre-Classical Music [Reprint 2014 ed.] 9780674335448, 9780674335431

Citation preview

HISTORICAL ANTHOLOGY OF MUSIC

BAROQUE, ROCOCO, AND PRE-CLASSICAL

MUSIC

LONDON : GEOFFREY

CUMBERLEGE

OXFORD UNIVERSITY

PRESS

Historical Anthology

MUSIC

bV ARCHIBALD Τ DAVISON and WIILIAPEL

B A R O Q U E , R O C O C O , AND PRE-CLASSICAL M U S I C

HARVARD

CAMB-RIDQE,

/950

UNIVERSITY

PRESS

MASSACHUSETTS

COPYRIGHT,

1950

B Y T H E P R E S I D E N T AND F E L L O W S OF H A R V A R D C O L L E G E

P R I N T E D I N T H E U N I T E D S T A T E S OF A M E R I C A

PREFACE

T

I H E first volume of the Historical Anthology of Music—Oriental, Medieval, and Renaissance Music—contained material illustrating the history of music from antiquity to the end of the sixteenth century. The present and final volume continues the Anthology to about 1780. The only composers of first rank whose music has been omitted from the collection are Bach and Handel; their works are universally available, and the editors have preferred to select characteristic works of important composers whose music does not come so readily to hand. Choosing the material has been more difficult than was the case with the previous volume. The period closing with 1600 produced mainly works of relatively small dimension; but the years which this new volume covers abound in large-scale compositions such as operas, oratorios, concertos, and cantatas. So while it is possible to select a single madrigal which embodies a good many of the features of Thomas Morley's writing, the problem of choosing one, two, or even three examples of the varied style of Monteverdi or Gluck cost the editors a deal of thought. They cannot pretend to have dealt inclusively with the music of an era in which drastic changes of style took place within the lifetime of a single composer. Long consideration was accorded every piece, and although opinion is bound to differ regarding the wisdom which dictated the final choice, the editors hope that, in the main, the contents of this volume will be held to be reasonably characteristic of the period it represents. The problem of selection was not the only taxing issue which confronted the editors. In a work such as this compromises are an obvious necessity. N o single air from an opera, for example, may form the basis of a proper stylistic study if removed from the musical context in the scene to which it belongs; no one section of an anthem or motet may be fully understood unless its particular significance in the entire composition is recognized. Although not all the shorter forms cast in sections are subject to this consideration, it would appear, nonetheless, that as the art advances the integration of one movement of a work with all the other movements becomes more and more a matter of importance; and in the period dealt with in this volume it cannot be ignored. Yet compromises must be made if the size of the volume is to be kept within bounds. In some cases, therefore, although the editors realized that it would be ideal to include all the sections of an anthem, let us say, limitations of space forced them to do otherwise. Another necessary type of compromise must be adopted when a composer makes certain slight changes in the repetition of a musical section. It would be ideal, of course, to reproduce exactly the repeated section with, say, its three or four very minor rhythmic changes; but to do so would add little to one's knowledge of the music and would needlessly increase the size of the volume. It has been the editors' purpose, however, that no salient discrepancy between the source and the present version shall be ignored, and to this end these discrepancies are accounted for in the Commentary. Still another space-saving method is invoked when the vocal bass and the figured bass frequently coincide. In this case a single staff has been used for both, the notes of the vocal bass being indicated by upward stemming, the continuo by downward stemming, and where the same note belongs to both by double stemming. As in the earlier volume, repetitions of passages of text with which, by the time they are encountered, the reader is presumably familiar, have been omitted; they are indicated by a few dots after the first word or two of the passage. Again as in the first volume, the translations are for the greater part literal, and aim as far as is feasible to follow the word-by-word progress of the original. Only in the case of passages drawn from the Scriptures have literary questions been given weight. The realizations of the thorough-bass aim at a spontaneous and quasi-improvisatory keyboard style rather than a pseudo-contrapuntal style based on observations of the rules of strict counterpoint. Realizations have been omitted where they would merely be a duplication of the vocal or instrumental parts. In a few elementary cases no realization has been offered in order to afford the student an opportunity for practice. With the exception of Numbers 224, 269, and 271, which are the work of Mr. Erwin Bodky of Cambridge, all the credit for the arduous and important labor of realizing the figured basses should go to Dr. Apel. In the preparation of the musical material the earliest obtainable source for each selection has been consulted. Where modern editions were available they, too, have been cited in the Commentary as being of prac-

vi

tica! aid to the student. A list of phonograph records as complete as the available sources will allow has also been included in the Commentary. As far as the editors are aware there has been selected no recording which provides an unauthentic or misleading performance, such as that of a harpsichord piece played on a pianoforte. Progress on a plan mentioned in the preface to the first volume may be reported here: negotiations toward the recording of a part at least of the contents of both volumes of the Anthology have been undertaken. During the progress of the work connected with the assembling of this volume some changes in the original plan had to be made. As a result of these changes certain references which occur in the Harvard Dictionary of Music will be found to be inaccurate. Any confusion, however, may be immediately resolved by reference to the index to the present volume. As supplementary reading the editors recommend Manfred F. Bukofzer, Music in the Baroque Era ( N e w Y o r k : W . W. Norton, 1947), and Donald J. Grout, A Short History of Opera ( N e w Y o r k : Columbia University Press, 1947) ; references to both these books will be found in the Commentary. T h e editors gratefully acknowledge their indebtedness to the following, who generously made available certain selections: Professor M. F . Bukofzer, of the University of California, for No. 308; Dr. Henry Clarke, of the University of California at Los Angeles, for No. 243 and the note in the Commentary which accompanies it; Mme Suzanne Clercx-Lejeune, of Brussels, for No. 298; Professor Alfred Einstein, of Smith College, for Nos. 186, 203, 220, and 302 (reproduced with the kind permission of the Music Department of Smith Collège); Dr. Hugo Leichtentritt, of Cambridge, for No. 267; Professor Henry Mishkin, of Amherst College, for Nos. 219, 259, and 263; and Mr. John M. Oldenburg, of New York, for No. 271. Also to Father Alex. J. Denomy, C.S.B., of the Pontifical Institute of Mediaeval Studies in Toronto; Professor Urban T . Holmes, Jr., of the University of North Carolina; and to Professor George B. Weston, of Cambridge, goes our appreciation for many of the translations. Sincere thanks are due as well to Miss Jean Macleod, of Pittsfield, for the preparation of a number of scores for the copyist, and to Mr. Elmer Olsson, Mr. Leonard Holvik, and Mr. W . C. Cummings, Jr., of Cambridge, for their reading of the music manuscript. Mr. Cummings, in particular, gave most generously of his time in making a final check of the material. This long and painstaking labor both merits and receives the heartfelt gratitude of the editors. A n earnest effort has been made to present a volume as free from errors as is humanly possible. The editors hope that readers will make known to them anything that stands in need of correction. For the editors, A. T. D. April 3, 1950

CONTENTS (Numbers

refer to item rather than to

page)

CHAPTER I EARLY

BAROQUE

MUSIC

(1600-1640) ITALY

Vocal: Peri, 182; Cavalieri, 183; Caccini, 184; Viadana, 185; Banchieri, 186; Monteverdi, 187-189 Instrumental:

Trabaci, 191; Frescobaldi, 192-194; Fontana, 198; Marini, 199

GERMANY

Instrumental: PORTUGAL

Instrumental:

Chorale Preludes, 190; Scheidemann, 195; Scheidt, 196; Schein, 197 Coelho, 200

CHAPTER II MIDDLE

BAROQUE

MUSIC

(1640-1680) ITALY

Vocal: Rossi, 203; Cavalli, 206; Carissimi, 207; Landi, 209; Cesti, 221; Provenzale, 222; Stradella, 241; Steffani, 244 Instrumental:

Landi, 208; Merula, 210; Cazzati, 219; Legrenzi, 220; G. Vitali, 245

GERMANY

Vocal: Schütz, 201-202; Albert, 205; Hammerschmidt, 213; Tunder, 214; Rosenmüller, 218; A. Krieger, 228; Buxtehude, 235 instrumental: Tunder, 215; Froberger, 216-217; Reusner, 233; Buxtehude, 234; Poglietti, 236; J. C. Bach, 237; Biber, 238; G. Muffat, 240 ENGLAND

Vocal: Lawes, 204; Humphrey, 242; Blow, 243 Instrumental: Locke, 230 FRANCE

Vocal: Lully, 225; Charpentier, 226 Instrumental: Gaultier, 211; Chambonnières, 212; Cambert, 223; Lully, 224; L. Couperin, 229; Le Bègue, 231; d'Anglebert, 232 SPAIN

Vocal: Cererols, 227 Instrumental: Cabanilles, 239

Vili

C H A P T E R III LATE BAROQUE

MUSIC

(1680-1750) ITALY Vocal: A. Scarlatti, 258; Bononcini, 262; Durante, 273 Instrumental: Torelli, 246; Corelli, 252-253; A. Scarlatti, 259-260; T . Vitali, 263; Abaco, 269; Vivaldi, 270; D. Scarlatti, 274; Tartini, 275 GERMANY Vocal: Erlebach, 254; Keiser, 267; Telemann, 272 Instrumental: Fischer, 247-248; J. Krieger, 249; Pachelbel, 250-251; Kuhnau, 261; Telemann, 2 7 1 ; T . Muffat, 280 ENGLAND Vocal: Purcell, 255; Pepusch, 264; Croft, 268; Greene, 279 instrumental:

Purcell, 256

FRANCE Vocal: Campra, 257; F . Couperin, 266; Rameau, 276 Instrumental:

F. Couperin, 265; Rameau, 277; Leclair, 278

C H A P T E R IV ROCOCO AND PRE-CLASSICAL

MUSIC

(1730-1780) ITALY Vocal: Galuppi, 285; Pergolesi, 286-287; Terradellas, 298; Jommelli, 299; Piccinni, 300 Instrumental:

Sammartini, 283; Piatti, 284; Rutini, 302; Boccherini, 307

GERMANY Vocal: Hasse, 281; Graun, 282; Gluck, 292-293; Hiller, 3 0 t ; Dittersdorf, 305 Instrumental: W . F. Bach, 288-289; Stamitz, 294; Monn, 295; K. P. E . Bach, 296297; J. C. Bach, 303; Edelmann, 304 ENGLAND Vocal: Arne, 290; Webbe, 309 FRANCE Vocal: Rousseau, 291; Grétry, 306 SPAIN Instrumental:

de Nebra, 308

AMERICA Vocal:

Hopkinson, 3 1 0 COMMENTARY AND

TRANSLATIONS

COMMENTARY, WITH NOTES ON THE SOURCES

279

TRANSLATIONS OF THE LITERARY TEXTS

295

BAROQUE, ROCOCO, AND P R E - C L A S S I C A L

MUSIC

I. Early Baroque Music (1600-1640)

182.. Jacopo Peri (1561-1633) Funeste piaggi

Recitative from

ι

Euridice

183.

E m i l i o de' C a v a l i e r i

( i 5 5 o ? - i 6 o ì )

From Rappresentazione

A questi suoni

¿

Corpo

ρ

ß m

Γ

A questi Suo-ni e can-

£

43

χ

|f

π

Ai,

f H > t | t f f

ma. me- ver mi sen-

,

,

I

Sta. for-

•

mm

te, e non

te-

l i 10

J'

i- o- si a-mofi r r

1.

sii

leggiadre,e

di-

ρ

t'6

7

let- to- sioi-do-

1

r

|

to

gg . _.

' a Anima,

y r Co- iwep ft pp r stot cangi pprepre-

r

t

f

di anima e di corpo

χ to. i

Ce- me la foglia, al venΑ

H

6,11

Ι

M ^ r

té: «

ûaesto è faiι > li

acque,

m

I

r i

So pia- ce ι? ·ι·»

re. «

prati

"J I* ri,

Tri- on-fie

P f fe-ite dal-

le-grezza,

fie

J J

t m m Grate

armo-me, h

f

V

ne,

Λ'-

L

V I J i n-H.

che

red-

j . j

à

le- traie

giù-

li-loe

I L kI I i-i.]· W J „

p

I

U

h

TÍO-ri-te

¿

i

·

vasti E sa.-

6

c¿:

6 Ί /f/1- tot gusto

I Il J J . J . J

8

J

I'M

io, nò

nò,

n

J

Ï /V)_ ^^

t

m

J JJ ι

i

¿Ojl-

ja-

vi-ii, pasti e

ri- ή?

ceet c

i

à

»

re,

pia.-ce-

"a- ta } Lai-ma., r ,

ße-

1 1 . tri yww

ota

Κ |' Π ·* A-

1.13

T

ite,

I

^

l

i

J

'

1

1

π

I

REPEAT FROM§· TO A J THEN SKIP το -Λr

r

"Φ" [Anima! [ i j M

γ r i r /?on vi cred

=ÉÉ ¿t

vostr in-gannì

Ili

to-

J

se

»

fll

fin

.

san tutte a- ma.-

_ ^

t_

re·

11·»

3¿-

"·*

io sò·

,

a-

ta.

11 6

184·

Tut-le

le vo-stre

co-

.

tal-

Γ

se. Che

J

met che ne

Γ" 'èli

1

pai-an.

di'- let·

L +

sa

man-ca.-

Γ 'β

^ Ί Γ

t

Giulio Caccini (15 50?-! 6 1 8 ) Aria

Sfogava con le stelle

iL·* » . b - l s i - U U U *J/tJ- ya- « con /e si el/e fr.bfr j

J

i

^ r ^ι

ι

v J > J > ^ A A • •1 P. i M 1 Y \ψ ¿Zn inft-r-

Γι 1 = φf ^ i 11 U09 Ho

j"

mor-e dotti

"1

r

-h »· J U

ψ ν \> " V " " p-otíu-T- nocitloil Suo do-lo-

Ι.Γ

r « r

3

7 6

1 J

f f 11 40 6

H2ù]

ε

π

13 4

β-

ri.

RITORNELLO '

I J-

ce-

f r

a

1J »1 re,

«o in £d-Cc^a. fi-

"2

M

1 f3=j Γ ' 11 130 14 li

1 6

=

185. Lodovico Grossi Viadana (1564-1617) Exaudí me, Domine

Concerto Ecclesiastico

0 —

- 0 —

au-

di me Do- την- ?iet

u

ffx-

ílí-

di me ]}p-

r.

O.

77lznef

Î tio- ni am

4

TS—

J

u-i

4

I

mfj

*r

^

1 J J 0—é

•ì—M— -4

^ —

i

be-

«

ftiy- na.

—í t

est

J a l

,

m

Τ—r Ψ

ρ a*?

M ¿a-loi

re-

lo-

c i - í e r

s

Γ ^ Ü

f

Γ

ex-Au- d i

ms.

ve-ïo-

186. Adriano Banchieri (1567?-! 63 4) Il zapaione musicale

Madrigal Comedy

6

187· Claudio Monteverdi (1567-1643) Ma che temi

Recitative from

7

Orfeo

9 - - Ν - - ...μ 1E'friμ μ -μ.V» «VV\* . . . .> » VW - ιVß ψ.,Ρ.' 1 VI^-P-ifc-^liL· I 1 S h S (I ts=i t B/Gnre^i mIiei P™ • 8l ^ ^ 9 1^ 'Φ. j r ι" : Fr i =J .

Λ

V L

9 U O N "DEL OFUÎANO T» L E Ù N O

?

(¿ΑΛΠ-L

con

fii-ror

le fu.rie^inn&mo-r*.ie -pt-c rapirmiìL

mìo ¿en

ed io'l

consento!-

Ok

dolcissimi

lu-mi io

l

L±

Qu»

'n jet3 TS joar j

V—

¡

tri peq~ gìβ

ο

1

— ,ι ι" 1

io jjur

-· ·

UNO SfR i-T io

CANTA O R F E O AL S U O N D E L C L AVI C ΕΤΛΒ A N O , VIOLA ΌΑ BRACCIO, t

M i

EL C O R O

8

CAUTO

v o s -

en- ra. ?

JLott

hai

la.

leq~qet

e

se'

di

188. Claudio Monteverdi O h i m è , se tanto amate

Madrigal

9

da-L·-

το - soûhi- m è

sen- ti-

re

S'io

Sto r e - so oJnme

me

sen-

ii·

te

mo-

ηο

mo - TO

se c o r mio xro- le- te

un sol pc-

un sol

ire-te

γο-tre-te

Lzn-gni-do

/a«- gm-de

che vi tu hah -6I'A dà

do-lo-rc-

so

e

voi

te

ha.-

vre-

fe

ha- vre-te milVe

ohi-

rnil-le

dole ohi-me chi-me ohi- mè ohi-me ohi-

mè.

IO

το-

so oh ι voi £¿4

sen ha.-vre-

do-lo-

me

189. Claudio Monteverdi N o n schivar, non parar

From II combattimento di Tancredi e Clorinda

II

( h

I

^

H

^

S tonta- irriti

V

l

f

Η

1

r

J t «

—

u •i J

1 4I j - H - ^ ' J

1

Í3

J

e ώ vendetti pot e ¿a vendetta poi tonta

lo sdegno ilia vendef¿aj.lla. vertώ-t-Ü

n

n

1

tí- n o

r

i .

I

l

H

_j

π

i

« « J J

É

«


J>J>JJ»J>

sempreâlla fretta

.

stimolnovo s'ingiunge

' Ρ r r H l4v Ρ t t M T T T l

«

É

8 d'JioT in λογ-jtiù. siine- see

e j&ù-

ri- s¿r*t- ία sifk X

t

r i

=

Γ Ρ ο Ε ß ß Ρ ο ρ ρ ρ ^fett

Β Ca- ¿f semprejil ferir semprçjlferir

- va

li

Ρ r ρ ρ ir Za pu-gn&e *

Î

-

da^oprAr non -

m fòrte

12

•

e-mi-, 1-ja

r /Γ

I I

\jmtit m m

1

giovA^dinsí

con

mi

r .., . r τ I Q u i &i lascia arco β s i s t r a p p a n o le corde con duei d ì

e_yn.-fe-lû- ni-ti

190. Vater unser im Himmelreich Four Chorale Preludes a. Samuel Scheidt (1587-1654)

- fTff

rrr'^rJ

ff ^

F j

:

f f ^ -¿JJ

i rn

r>

l-ff+J

™rHr ^ J j i

fp J j-

V —

^

JÌI ι

J J r

1

r

rrff I ^ J ,μ

r r r 'ΓΓ Ip»» i JwJ J ] ip-f

^

13

rV' r | > *

b«s JJ3jJ|g

b. Dietrich Buxtehude (1637-1707) M

PEDAL ΛΝ

*r-f *

.—

f—r—¿££7

T»crrP -

i

[¿nielli

u

—

-

—

c. Johann Pachelbel (1653-1706)

_ __ v j J J ¿ . ^ J

J l

M

¿rr

J

r ^

J-

J

Um¡t Ψ m t

Γ

«'EIÜTJT p o s J E .π

J J

- — J

f—MJf

Γ - — Γ

Γ—

^fr^H

•r-figrf

ψ—

M

JJJ]

r

»te

' Π 'Γ

Íf

r er'

d. Johann Sebastian Bach (1685-1750)

Φ

?

^ r i î r r _—a

1

Fin ^ ^

oiT ν .

L

HH

• 1

^—il ^ ^ ü l ^ r - J ' f y r i f rTjtf [ Μ ' ί L t l ' L r - r t t l r t τ Ur O ^ r rrf r gl wJ[ ri Γ" 1 Γ

yd^-

'[ter —

r r •Ufr'LFf—Mh»— Pm

• —•———1J—«—¿—

l|J

15

191. Giovanni Maria Trabaci (fi. 1603-1616) Canzona francese

a

For Harpsichord or Organ

M

r ryf

Ü1 i i

¡j

C Γί

» , 4

pJ h M

s

'•M;:

S

16

>0.)

V '

r

192.· Girolamo Frescobaldi (1583-1643) Partite sopra l'aria della Romanesca TfelMA ΓΛΚΤε

ι

ι

1

.

Ik

Keyboard Variations

k

r JLf3

f 17

J

ftfl^l j í t

^

,| -f* /—\

I

I

-P-

-p-

ry — r e r *

ι

j^Hûj

m

üSTp

η» ^

α ^jtJ-J·)

ϊΤΓτίΠ

J Γι

w i1 r Γ '~

Q"

1

TTTTPr·' fTTJJ

J

ι 8

1

•

À" V

?.. ... .

-

A 11 yjlB« j ^

U AR.rA"D E C-IMA

¿ > j

' rr A1 1 j f l ι·

TTFTrψ-i* ^ j

r r t j r t $J .inj J J 'r ρ í

PARTE

C r

J

}

J

J

193. Girolamo Frescobaldi Toccata IX

For Organ

19

20

21

194· Girolamo Frescobaldi Canzona

For Harpsichord or Organ

22

195·

Heinrich Scheidemann

(1596?-!663)

a. P r a e l u d i u m

tj

ÄT*

T

Organ Prelude

Ov^

T

^

rJ

f 1 —4 r « r t r •g.

ι η j J [•Μα?]

Γ'

f

fl

1

frflf

r

r ri

j.

r j

j Τ

Γ '

ρ f

r j J

-Τ ^

i

Ρ Γ m Jam

Ίτ p f ü T i ^ j J· 1

r

CTftr j j ι

Y j fj j

' Γ ΓΤ t f 1 JïJJ J J j 1 _JLp Τ

ff

Γ Γ

b. P r a e l u d i u m

Juj 1

J

, v

-

-JjiJI J J

¿ If

XX

Organ Prelude and Fugue j

¿1

,J

r

r j

t*

Tc5i" r

P j.

j.

1

ρ r Γ Γ

23

J>JIJ

Τ J·

Γ -1

^ ψ Ρ

Γ

r J·

er r j j.

r j 1

„0

•u

rr*r

j j 1 j j | hj

J j]

J

^ j J - -J.T] J 1 gfl* 9 é-4—

«

196.

Samuel

Scheidt

u

-,

(1587-1654)

Wehe, Windgen, wehe

Keyboard Variations

r

r

Γ

r

γ

Γ

Γ

τ

1. Variati ο

l ¿ r j J J J H — n i i f l j J Jh r r r r pr < r y i J J J J

r

1

J

j

Γ ίρτ p

r j

L-

Γ J

" C r t f r — J — ^

2 . Vari ΚΠ ο

V i f » ^ r f l

r m

- l — i - ^

Γ

Γ

il J ·

I

r

24

r

r

Γ

Γ Γ

«Γ r

«3. V A « . I A T I O

^.VARIATI O

('»À

CCfïïr'ttï

— I T "

*

*

*

^ J . •

j

f f f

5. V A R I A T I O

IN

H

f

J

J_t r f r r

TENORI

11. V A R I A T I O

25

»

*

¡¡H—ri~i 1J j j T iP C£cr

ftrf-BT ^ T — A iJ •^JIJ J ν rjj- V crr

1¿

f r r

r

r

J·]

i¿3]

I

¿ 1

J JJ J|J-

I - J J]l i J j j l II HfM r W r r V n - r i Υ τ Γ ür r t f rrJ r W A jiJj j j j j It'1 J ^ i H— r¡'á

ι

.

1

.

IM itati o V i on BT ICA

26

Η

¡^

I JJ

J|

f-f'TT rrrrr^

1 i-J)JJ ¿ j |r

j

^Γ'ΡΓ 'r r r r

ν·

I

r r

197- Johann Hermann Schein (1586-1630) Intrada

For Ensemble

Z I N C K

CCORNLTT)

-ρa

0 .

-« Ρ P' t * ζ [ P 4-;

• J j. « -

"

•

4J

*

y j j

J J

J

*

"

—e—

•Ht—

-Θ

·

ρ ΓΓ l3h

k-

«t-

« -4 -=P

-— f f¿-I—1—' t r r > . r—if

ft -ΓΓΓ,Π J J.j

é

· Jt

*

p r n* 0 U—

3 p- F β Γ J Γ ΡΓΓ υ

3j

j

— 3 — -3 r-3-r J- JT gl—Π— 0 j. 0 J

27

r 4=4=

-a-

=H

—

-Θ-

^

—

ι

j rjj

—

-Θ-

jj

I i

r

1- η r

r

m

0

•—ρ— Γ '

ß •èri

·

fr

Φ

η

fi

L

t

_ "

—

·

»

f

M

•

3 [p. Ρ

m „

3

?

m

3

m F

J) n J

-•Ugt

m

Φ

m

ΤΊ*^

t

1

L = ± J =

0

J

-ι1

f f ^ —Γ—]—Π

G

íC\ J

^ ϊ: Λ):

^

198. Giovanni Battista Fontana (d. 1630) For Violin and Continuo

Sonata Orrg. 3 φ J . J à

[Andante]

Hr

3

«

J

> J.

»= J-

f

1

ö

J

f—

1

4

t)

9

•

^

1

1

Γ

y

ι

F

β

„..,,11

r

fS

1

^ e *—

F

•

,

Γ

Ρ

„ 1 1 »

¿ —Ρ

F! f ;

1 cf f fcH

28

1

f—

na

f

'M'

ta.

-'

,1

F rΡ

O

τ»

M J. J>J

rH—h Γ

r

3

-u Γ

Orig. φ § ο· J O

^ r r r i t r r r [Allegro Modei 1 j ®

''

r

r

Π ί

11

^r-F—F—

j •F

r -·-

29

Prig φ g o. J o [Adagio] _«n

—

-J-— ^

Œ

_

V

^

J j j

μ,

i—™

,— '

.

f r

I IJJ^JJ-J

ρ-

«

1» U

r

À i—

s

1J j J r

è

1J

J 1j ., ι H—r ρ —

-Q.· "

r Il I ^ '

*· * ·.

[Largo] η—I—I—r ifr Α ί J• ? • f ΐ—Γ—

j,' i ' I . . tfJ j j J j 1 1 rrJ 1 t/r 1 ' r Γ—Γ

-I η » ίΛΙ m If r t- j JJ ¡ * • m—r—rJ-

11

r

f

6 i3

199.

Biagio Marini

Romanesca

(1600-C.1660) Variations for Violin and Continuo

30

QimftTA

í

*)' σ

—

i

-

"

I

pkRTf.

r

r i

Γ

r

j 1

j,

Ψ9

i,*

r

Λ

f-p-f It • ·

31

9 ·

·

rf ·"

2.00. Manuel Rodrigues Coelho (c. 15 80-16x3?) V e r s o do primeiro t o m

Verset for Voice and Organ

^ΞΞ^ΞΕΞ

Et Κ y·

ex- ul- U-

rz-

ρ

j *

tus

me-

n j ì μ-, Jii 1 'tlur

-ffq

«

ty I f .

vit

d·— ì l r t J Ì J 0

•Θ—Θ

32

i . JJ

0

ρ

De-

in

lit

J

-^ttfCEfi• Ρ

« *

w

r

11

l· h β¿ i S j J P , -L'rr»r r ° —Ί

0

t f f l w * ^

J—è— L·-

-

•CQJTn

y

1

σ σ.

TT e-

TL

mir

^EEfdCfΓ *

—

SÍ

l i

7

W

Γ

- J t

ψ

υ

—hr—

jbjjj·

tfk--—

II Middle Baroque Music (1640-1680) 2.01. Heinrich Schütz (1585-1671) a. D a Jesus an d e m K r e u z e s t u n d i>a Je-

sus an

Jem

Xrm-

Chorus from Die sieben Worte ze

stund\

ll

dì Je-

I

tfundt

so

wandt wandt

Ψ^ Ρ

ι

f = f miV it-têrr M't-íérm ,

j o oaxmit Ifo garbit-

Ρ

Wundt so QdT so r

die Hort,

ÉáÉ

Sie-ben

rr

^te

gar so

λ ,τηι Z? èrìi-lerm

£

fe-

die

sieben I/o r i , die Je-

sus

Jits

Sprach, sprach,

5Uf sprùdij ée-trackt su spraeK

dei-

r rr

-ρîîVV- nem

Ρ

in. dei-

3br · È rffi l Γ Wort,

die

sus

le-

sus Sprach] be-fr,idi i tri

srr*^b«{r*àt b q trami

ter,

nem Mer-

q'ig

JÍT-

sus

fvürZ't .c/i d tfi e j e -

JJoTÌt

m

die J e -

sprach,

*

nem Her-

¿6-

ip. in

τώ», m i e t r a c í f i n dei-

dei-

betracht

in

dei-

ώ

i f o - TLemHer¿tei— Her

ne

ffer-

nem.

Her

Her-

s m τ 1 ^ Γ*ΕΓΓ jt j i J i rΓ gW g ί rapjr. dei- m

dex-nemjler-

dei-nem,nem m ietnem, Ver-

if

34

deinem Her

4

die-

w

zenf aie J;c' zen, dia

ze>

Î ri «^iP^n*:PtJf

be- iraxkt i . beγ trácht ber rrtícnr IM. ι»

oetraoîr ήα

sieoen

7j

sie-ben yif-óen

ψψφ$ # *

4

Len. Zen.

m

,

ai£

t

zen. Zen.

-ΘΘ-

ben

die

£

g

Len>

7' yie- Ïoen «àie

zi«, Λ ί -«Θ-

sprach,

sus

m

zen, i ¿^ï'e sie-

rT #

Je-

«¿¿e«

zen.,

2= h

Sthmefzeìi, \7nerzen-j

Her-

6

7e-

term

bit-

¿e-tradì t in

¿ f - ímjcht iti InyAi in deii e . treckt

zVao^i'n dei-

die

iàâ r=f=

Schmerzen,

S

é

Wed.

èìHerm

mit ¿i¿-term r t i f ê i i ï - f e r m¿ehm . er-

X, Γ Ύ ff I «ρ . «F « "Τ"

mit

•mît bitjar mit

ι m irι ¿»trrer? λγλλϊ er-

i

I É

Ψ

WïïftÊze«, So Schmerzen, So gar;

yjr

Aria from Die sieben

b. U n d u m die n e u n t e S t u n d e

wm w 2=ψ m m$ ttfW '¿Jr

É A!

Und.

um die

nevn- ie

und

um die

neun-ie

fep

Γ Τ Γj E

Stun-de

?

JcÄi^i^e- Λΐ^ Iz^t

E P E

r

schrei '