Antonio Mortaro: Missa à 12 super Erano e capei d’oro by Edition·S

Antonio Mortaro

Missa à 12 super Erano e capei d’oro Monuments of Danish Musical History The Herlufsholm Collection Vol. 2 The Mortaro Collection, Part 1 Edited by Ole Kongsted Peter Hauge Harold Thalange Christian Tobiassen Copenhagen 2023

Monuments | Edition · S

Edited by Ole Kongsted, Peter Hauge, Harold Thalange Hosted by Musica Ficta Copenhagen and Bo Holten Project Administrator: Christian Tobiassen Cover design by Tobias Røder Printed by Edition·S Published with Support from Augustinus Fonden and Aage og Johanne Louis-Hansens Fond Copyright © 2023 by Edition·S, Copenhagen ISBN: 978-87-93750-96-8

Contents

iv v

General Introduction Biography

1 17 33

Kyrie eleison Gloria in excelsis Deo Credo in unum Deum

General Introduction

oused in the University Library of Odense (Syddansk Universitetsbibliotek) is an old collection that originally belonged to the famous Herlufsholm school, founded in 1565. A small part of the collection consists of a number of early music prints and, in particular, some very interesting manuscript partbooks dating from the period around 1580 – 1620.

enabling researchers to gain a better understanding of the aspects of cultural transfer – the exchange of cultural goods between countries and the connection between Denmark and the rest of Europe.

But other questions are also important to consider, such as how did Herlufsholm obtain the music? Where did they buy (or borrow) it from? And who Among the items are vocal works by were the copyists – were they students, Orlando di Lasso (1532 – 1594), Marc’An- teachers or professional musicians? One tonio Ingenieri (c. 1535 – 1592), Giaches theory is that part of the collection may de Wert (1535 – 1596), William Byrd have been copied from music prints (1543– 1623), Orazio Vecchi (1550 – 1605) or manuscripts acquired on travels and Giovanni Gabrieli (c. 1554 – 1612), and through Europe initiated and paid for of neglected composers we have Melchior by the court. On several occasions, Schramm (1553 – 1619), François Gallet (c. musicians were sent from the court to 1555 – 1585), Pietro Lappi (c. 1575 – 1630), Italy to buy music, instruments, even Antonio Mortaro (fl. 1570 – 1619), and instrumentalists, as well as to receive Curtio Valcampi (fl. 1602). The music further training in Venice. But it is also ranges from sacred motets to secular mad- plausible that at least some of the materigals for a four-part choir and to large, rial was copied from printed anthologies complex polychoral works such as those that were popular and widely available performed for example in Venice around throughout Europe at the time or could that time. have been purchased from the Copenhagen booksellers importing books and The Herlufsholm music collection is of music from abroad, or even have been great importance, as it is the only subbought through agents at the book fairs stantial collection of music in Denmark in Frankfurt or Leipzig. from around 1600, and it reveals a rich musical life that no other archive or library The aim of this ongoing research project can match. Despite its significance, it has is not only to catalogue and describe only received little scholarly attention, the collection, but also to contextualise probably because the manuscript material and interpret it, providing insights into is largely incomplete, somewhat disorgan- issues of performance practice, musiised and, not least, because a large number cal life and education at Herlufsholm of the works are anonymous. A close study around 1600. One important part of the of the material, however, sheds new light project is to make the vocal repertoire on the musical repertoire around 1600, available in modern, easily accessible performance and notational practices, performance editions oﬀering ensemand music education. Most crucially, it bles a repertoire of music that is rarely raises new questions about how and why performed today. The project is hosted such a rich and extensive body of mateby the vocal ensemble Music Ficta, rial was acquired by a school far from the allowing a close collaboration between capital of Copenhagen and the influential music performance, history and theory. royal court. The vocal repertoire of the Herlufsholm school presents a wide array The research undertaken in this project of music from almost all over Europe, is gratefully inspired by the work of iv

prof. Dr. John Bergsagel, and his own research into the musical life of Denmark in the Renaissance, in particular his theorised connection between the musical travels of Pedersøn to Italy and Trehou to Denmark, amongst others, with the Herlufsholm collection. These editions are modernised, including modern clefs, bar lines and accidentals. A short biography of the composer(s) and a description of the source used for the edition are also included.

Antonio Mortaro c. 1570 – c. 1619

he available biographical information on Antonio Mortaro’s life is scarce and partly contradictory, and the information in the major music encyclopaedias is insuﬃcient. Hitherto, the most extensive biography of his life is that of Marina Toﬀetti in the Dizionario Biografico degli Italiani (Biographical Dictionary of Italians), vol. 77 (2012). Mortaro was probably born in the 1570s in Brescia (northern Italy). The earliest biographical evidence of his life dates from 1595 when he entered the Franciscan monastery in Brescia as a novice, and his earliest printed compositions date from 1587. These compositions, which are three Latin Psalms of David for five voices, are included in a revised reprint of a 1573 collection by Giovanni Matteo Faà di Bruno (also known as Orazio di Faà, fl. 1570), published in Venice in 1587. Mortaro was recognised as a skilled organist and was a prolific composer, publishing at least four collections of secular works and around a dozen sacred works – collections that in many cases were reprinted several times. Most of his works were published by the well-known music printer Ricciardo Amadino in Venice. Sometime between February 1596 and June 1598, he went to Milan where he took up the post of organist at the Franciscan church of San Francesco, where he remained until January 1599. From 1 June 1601 1 to 26 April 1602, Mortaro was organist at the Cathedral of San Gaudenzio in Novara, after which we have no information about his activities until 1606, when he returned to Brescia. The title page of the 1608 print of the collection Messa, salmi, motetti et Magnificat a tre chori indicates that he was at La Santa Casa di Loreto. How long he was employed there is unknown. A few years later, however, he was back in Brescia, where he probably remained until he died in 1619. During his active years,

he was also for a short time organist at the Cathedral in “Ossaro” (possibly Osor in Croatia; it is uncertain when this period should be placed in his biography).

a model for the ‘fantasia da osservarsi nell’organo’. A later collection of canzoni was published posthumously in Venice in 1623.

In the early 1590s he published four collections of Fiammelle amorose (Flames of love) for three voices, with dedications to the local aristocracy. These canzonettas were popular at the time and all the collections were reprinted several times. Mortaro’s sacred works began to appear in print in 1595, when he was admitted to the Franciscan Order; the ‘liber secundus’ on the title page suggests that a lost ‘liber primus’ must have preceded it. The collection consists of eight- and twelve-part works, dedicated to the provincial superior of the Franciscan Order of the Milanese. This is followed by a series of liturgical works, with dedications to various members of his order: Sacrae cantiones for three voices (1598) – a collection of fifteen motets of which thirteen are for three voices and two for six; and Messa, salmi, motetti et Magnificat a tre chori (1599) which apparently was employed by the copyists at Herlufsholm. The latter collection was reprinted in a new edition by Ricciardo Amadino (Venice 1608).

Recent scholarship has pointed to the importance of Canzoni da sonare (1600) and Sacrae cantiones (1598), which was reprinted at least twice, as significant historical examples of the developing concertato style. The rhythmic inventiveness of the secular works is only occasionally found in the sacred music, apparently for acoustic reasons. A sensitivity to acoustics is apparent in Mortaro’s impressive use of echo eﬀects in the Latin sacred polychoral works, composed in the Venetian manner of the Gabrielis. The basis of the style is clearly the avoidance of parallel fifths and octaves, which is not maintained in the doxologies of the vesper psalms, for instance. Sometimes lasting several bars, two of the three bass parts in the twelve-part works, sing in unison, or parallel octaves, functionally reducing the twelve parts to eleven. Both cases reveal an undoubtedly deliberate personal stylistic intention to emphasise the bassline.

The scribes of the Herlufsholm collection were concerned with only pieces that A study of the surviving works by Mortaro could be used in a Danish liturgical reveals three discrete groups of musical context. Thus the Magnificats are omitted works belonging to three diﬀerent periods and only the first three parts of the of his life. Firstly, as a young man who, Mass Ordinary are used: Kyrie, Gloria from the middle of the 1580s to the middle and Credo (only up to and including “et of the 1590s, composed the Fiammelle homo factus est”). Mortaro’s mass is a which were very popular at the time. parody mass based on the madrigal Erano Secondly, and as a direct consequence of i capei d’oro by Giovanni Maria Nanino his entry into the Franciscan Order, from (1543/44 – 1607). As indicated in the around 1595 and for the rest of his life Source Description, the Herlufsholm he composed exclusively sacred music, copyists most likely employed the printed with the exception of a few instrumental edition of 1599 or the second edition of works. Thirdly, he edited a collection 1608, although it is also possible that of instrumental music, Primo libro de they used a now lost print or even an canzoni da sonare a quattro voci (Venice unknown manuscript source. The musical 1600), a genre which contributed to material of Herlufsholm is remarkable his further fame and which was praised as the most comprehensive transalpine by Adriano Banchieri (1568 – 1634) as collection of Mortaro’s works in Europe. v

John Bergsagel has suggested that the Mortaro material is an important key to the understanding of the history of part of the Herlufsholm collection. This begs the question: how and when did the works of Mortaro arrive in Denmark from Italy? The answer is: we do not know. One explanation could be that the music was bought in Italy by some of the many Danish musicians who visited Italy between 1599 and 1623, until 1612 mainly to study with the organist at San Marco in Venice, Giovanni Gabrieli (c. 1555–1612). The first Danish group of musicians visiting the city included Melchior Borchgrevink (c. 1572–1632), Mogens Pedersøn (c. 1583–1623) and Hans Nielsen (Giovanni Fonteio, c. 1580–c. 1626), who studied with Giovanni Gabrieli from 1599 to 1600; or perhaps by Pedersøn who went to Italy again 1605–09. It is worth mentioning that in his catalogues for 1616, 1618 and 1620, the Augsburg printer Kaspar Flurschütz advertises the collection including the mass, the motets, vesper psalms and magnificats for sale. A ‘harmonic’ peculiarity in the Sanctus of Pedersøn’s five-part mass (1620), which does not appear elsewhere in Pedersøn’s sacred music, seems to be inspired by an identical phrase in Mortaro’s Gloria. This suggests that Pedersøn may have known the Mass, and possibly even the Mortaro himself. The history of Venetian music printing has documented that composers often went to the city to observe and assist with the printing process and proofreading. We do not know if this did occur in Mortaro’s case, whose works of 1606 (Missarum atque sacrarum cantionum novem vocibus, liber tertius) and 1607 (Psalmi ad vesperas, triaque cantica Beatae Virginis, octo vocibus) were published in that city. If Mortaro did visit Venice, he would indeed have had the opportunity to meet Pedersøn in 1599, 1606, 1607 or 1608. vi

Missa à 12 super Erano e capei d'oro

Kyrie eleison Antonio Mortaro

CHORUS 1

CANTUS 1

CANTUS 2

TENOR

BASSUS

CHORUS 2

CANTUS

ALTUS

TENOR

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w son,

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œ œ œ ˙

Chri- ste e - lei - son, Chri- ste - e -

&b ∑ ‹

∑

&b ∑ ‹

∑

?b ∑

∑

Œ œ

#œ œ

Œ œ œ œ

e - lei -

œ œ œ œ ˙

Chri- ste e - lei - son, Chri- ste

e - lei -

œ œ œ œ ˙

Chri- ste e - lei - son, Chri- ste

∑

lei - son,

œ nœ œ œ ˙

Chri- ste e - lei - son, Chri- ste

Œ œ œ œ

e - lei -

∑

son,

∑

son,

w son,

œœ -

œ œ œœœœ

Chri - ste e - lei

∑

° œ œ ˙ C1 & b 41

- lei

<#>œ &b ‹ -

∑

son,

#œ ˙ son,

œ bœ ˙ -

lei -

son,

&b œ œ ˙

n˙

˙ son,

° b Ó & ‹

Œ œ œ œ ˙

&b Ó ‹

Œ œ nœ œ ˙

&b Ó ‹

Œ œ œ œ ˙

? Ó ¢ b

Œ œ œ

Chri- ste e - lei - son, Chri - ste

˙

Chri- ste e - lei - son, Chri - ste

œ ˙

° &b

son,

œ œ ˙

son,

lei

#œ ˙ -

e - lei

∑

son,

œ bœ ˙

∑

#œ w -

lei

œ œ œ œ œ œ

Chri- ste e - lei - son, Chri - ste

œ œ ˙

e - lei

∑

w -

son,

œ ˙

Chri - ste e -

&b ‹

? ¢ b

∑

nœ lei -

œ œ ˙

Chri - ste e - lei -

∑

n˙

œ œ ˙

Chri - ste e - lei -

∑

œ œ ˙

Chri - ste

e - lei -

° Ó C1 & b

œ œ ˙

Œ ˙

Chri - ste e

Chri - ste e - lei - son,

&b Ó

œ œ ˙

Chri - ste e

˙ œ ˙ œ w &b Ó ‹ Chri - ste e - lei- son,

? Ó B1 ¢ b

œ œ ˙

Œ ˙

° b ∑ & ‹

∑

œ ˙ #œ ˙

œ #œ ˙

∑

&b ∑ ‹

∑

? ∑ ¢ b

∑

œ œ ˙

° &b w

w &b ‹ - son,

&b w ‹ - son,

? ¢ b w

- son,

œ œ œ œ ˙

Chri - ste

- son,

e - le

i - son,

œ™ œ œ œ ˙ J

Chri - ste

e - lei

œ™ œ œ œ œ œ œ ˙ Chri

∑

e - lei - son,

œ œ œ œ œ œ #œ ˙

Œ œ

Œ œ Chri -

Chri - ste e - lei - son,

Œ œ

Chri -

Chri - ste e - lei - son,

Œ œ

Chri -

Chri - ste e - lei - son,

Chri -

son,

lei - son,

Chri - ste e - lei- son,

&b ∑ ‹

œ œ œ

lei - son,

Chri - ste e

Chri - ste e - lei

Chri - ste e - lei - son,

œ œ ™ œj ˙

Œ ˙

Chri - ste e - lei - son,

œ œ œ

ste

son,

e - lei - son,

° C1 & b ∑

∑

Œ œ œ œ Chri- ste e -

&b ∑

Œ œ œ œ

∑

Chri- ste e -

&b ∑ ‹

? ¢ b ∑

Œ œ œ œ

∑

Chri- ste e -

Œ œ œ œ

∑

Chri- ste e -

° b œ œ bœ œ & ‹ - ste e &b œ œ œ œ ‹ - ste e -

lei

w -

œ ˙

#œ w son,

& b œ œ œ ™ œj # œ œ ˙ ‹ - ste e - lei -

? œ œ œ ¢ b œ ° &b ∑

lei

son,

œ ˙

&b ∑ ‹

?b ∑

son,

œ œ œ œ ™ œj ˙

Chri - ste e - lei - son, Chri- ste

son,

- ste e

œ ˙

œ œ ˙

e- lei -

œ ˙

œ œ ˙

œ ˙

œ ˙™

œ œ œœ˙

son, Chri - ste

e - le

œ œ œ œ œ œ

œ œ œœ˙

œ ˙

e - lei - son, Chri - ste

™ œœ œ œ œ œ J

œ ˙

Chri - ste

Chri - ste e - lei - son,

son, Chri - ste

w lei

Chri - ste e - lei - son, Chri - ste

œ ˙ -

Chri - ste e - lei - son, Chri - ste_e - lei -

œ œ œ

˙ -

w -

lei

° œ ˙ #œ ˙ C1 & b ˙ 52

- lei - son, Chri - ste e - le

&b ˙ œ ˙

œ ˙

- lei - son, Chri - ste e

?b ˙ œ ˙

œ b˙

Œ œ œ œ ˙

i - son,

Œ œ œ œ ˙

˙ -

i - son,

˙ -

Œ œ œ œ ˙

i - son,

∑

œ œ œ ˙

Chri - ste e - lei -

son,

&b ‹

? ¢ b

∑

œ œ ˙

° &b ˙ Ó

∑

- son,

˙ Ó &b ‹ - son,

∑

&b ˙ Ó ‹ - son,

∑

? Ó ¢ b ˙

∑

- son,

˙ nœ œ ˙

Chri - ste e - lei -

son,

œ œ ˙

Chri - ste e - lei -

son,

œ œ ˙

Chri - ste e - lei -

son,

Chri - ste e - lei -

son,

œ œ œ

son,

Chri -

˙ -

lei

Chri - ste e - lei - son,

˙ -

Chri - ste e - lei

son,

Œ œ œ œ ˙

Chri -

œ œ œ ˙

˙ -

Chri -

˙ son,

Chri - ste e - lei

n˙

son,

Chri - ste e - lei -

Œœ œ œ ˙

Œ œ œ œ œ ™ œœ œ Ó œ

Chri - ste e - lei - son,

Chri - ste e

Chri - ste e - lei

Chri - ste e - lei - son,

∑

son,

#œ ˙

Œ œ œ bœ ˙

Chri - ste e - lei - son,

∑

œ œ ˙

son,

Chri - ste e - lei -

son,

Chri - ste e - lei - son,

&b ‹

Œ œ œ œ

Chri - ste e - lei -

œ œ ˙

Chri - ste e - lei -

son,

Chri - ste e - lei -

Œ œ œ œ

Chri - ste e - lei -

lei - son,

- lei - son, Chri - ste e - le

° C2 & b ‹

œ<#>œ œ # ˙

˙ œ ˙ œ &b ˙ ˙ ‹ - lei - son, Chri - ste e - le

˙ n˙

˙ Chri -

son,

Chri -

Œ œ n˙

Chri - ste e - lei -

son,

Chri- ste

e -

œ œ œ b˙

œ ™ œJ ˙

Chri - ste e - lei

son,

Chri- ste

e -

Œ œ ˙

son,

Chri- ste

e -

Chri - ste e - lei - son,

Chri - ste e - lei -

Œ œ ˙

Œ œ œ œ œ œ ˙ Œ œ œ œ ˙

Œ œ

° C1 & b Ó 56

w Chri

&b ˙ - ste

° b ˙ & ‹ - ste

e -

lei

œ ˙™ -

`] ˙™ -

ste

° &b ˙™

œ œ œ œ

˙™ lei

? ¢ b w

lei

œ ˙

lei

ste

son, Chri - ste

lei

œ œ œ ˙

ste

˙ Chri

son, Chri - ste e - lei

#w -

w -

›

› ›

›

son.

w -

›

son.

lei

›

son.

w -

w lei

son.

›

son.

›

œ œ

lei

e - lei

ste

œ œ œ œ

son.

œ œ œ œ

son,

œ œ ˙

›

son.

œ w -

#˙

Chri

son, Chri

˙™ -

son,

˙™

lei

e - lei

lei

w -

son.

œ œ n œ# œ œ œ œ

e - lei

œ œ œ ˙ -

›

son.

son, Chri - ste

œ œ œ œ œ

lei - son, Chri- ste

lei

- ste

˙ -

e - lei

œ w

Chri - ste

œ œ w™ -

˙™

- lei

Kyrie ultimum: ut supra

? ¢ b w

&b ˙ ‹ -

Chri

&b w ‹ - ste

&b ‹

ste

Ó <n>˙

&b w™ ‹ - ste

- lei

w &b ‹ - son,

? B1 ¢ b Ó

˙™

son.

›

Gloria in excelsis Deo & b œ œ œ œ œ nœ œ œ œ œ œ œ œ ‹ Glo - ri - a in ex - cel - sis De - o.

CHORUS 1

CANTUS 1

CANTUS 2

TENOR

BASSUS

CHORUS 2

CANTUS

ALTUS

TENOR

BASSUS

CHORUS 3

CANTUS

ALTUS

TENOR

BASSUS

° bc &

uo & b c

uo &‹ b c b iop¢? b c

o u

° b c ˙™ œ ˙ ˙ & ‹ Et in ter - ra

uu uu uip¢

&b c ˙™ œ ˙ ˙ ‹ Et in ter - ra

˙ ˙

˙ #˙

˙™

#˙

pax ho - mi - ni - bus bo - nae vo - lun - ta

˙ ˙

˙ <n>˙

˙ nw

pax ho - mi - ni - bus bo

?b c

˙™ œ ˙ ˙

pax ho - mi - ni - bus bo

˙ ˙ b˙

&b c ˙™ œ ˙ ˙ ‹ Et in ter - ra

in ter - ra

œ ˙

w -

˙ w

nae

vo - lun - ta

˙ b˙ w

nae

vo - lun - ta

nae

vo - lun - ta

uo &‹ b c

? c ¢ b

iop

˙ w

° bc &

° C1 & b ˙ 5

œ œ w

∑

Lau - da- mus te.

&b ˙

œ œ w

∑

Lau - da- mus te.

&b ˙ œ œ w ‹ Lau - da- mus te.

∑

?b ˙

∑

œ œ w

Lau - da- mus te.

° b w C2 & ‹ - tis.

&b w ‹ - tis.

? ¢ b w

° &b ˙

o - ra

mus

te.

o - ra - mus

te.

o - ra - mus

te.

o - ra - mus

œ œ ™ œ bœ w J

˙ œ œ w &b ‹ Lau - da- mus te.

∑

œ w &b ˙ œ ‹ Lau - da- mus te.

∑

?b ˙

∑

Lau - da- mus te.

œ œ bœ œ

œ œ œ œ

Glo - ri - ﬁ - ca - mus

œ œ œ #œ

Glo - ri - ﬁ - ca - mus

œ œ™ j œ w œ

∑

Glo - ri - ﬁ - ca - mus

j œ œ™ œ œ w

∑

te.

Be - ne - di - ci- mus te.

œ œ w

∑

Be - ne - di - ci- mus te.

∑

Ó #˙

œ œ™ œ œ w J

Lau - da- mus te.

#˙

Be - ne - di - ci- mus te.

- tis.

œ œ w

Be - ne - di - ci- mus te.

&b w ‹ - tis.

œ œ

Glo - ri - ﬁ - ca - mus

o - ra - mus

te.

o - ra - mus

te.

œ w

Œ œ Glo -

Ad - o - ra - mus te.

œ œ

Œ œ Glo -

o - ra - mus

w te.

Œ œ Glo -

° C1 & b Ó 9

Œ œ œ œ œ #œ ˙

Glo - ri - ﬁ - ca- mus te.

&b Ó

Œ œ œ œ œ œ ˙

Gra

Glo - ri - ﬁ - ca- mus te.

&b Ó ‹

Œ œ œ œ bœ œ ˙

? ¢ b Ó

Œ œ œ œ œ œ ˙

Glo - ri - ﬁ - ca- mus te.

ti - as

gi - mus

n˙

ti - as

gi - mus

ti - as

gi - mus

ti - as

gi - mus

œ œ ˙

Gra

ti - as

n˙

œ<n>œ ˙

Gra

ti - as

œ œ ˙

˙™

Gra

ti - as

œ œ ˙

Gra

ti - as

gi - mus

˙ -

∑

Glo - ri - ﬁ- ca- mus te.

&b ˙ ‹ te.

? ¢ b ˙

Œ œ œ œ œ œ w

∑

Glo - ri - ﬁ- ca- mus te.

∑

œ œ œ œ œ w

Glo - ri - ﬁ- ca- mus te.

Œ œ

° & b œ œ œ #œ ˙

œ œ œ œ

∑

Glo - ri - ﬁ- ca- mus te.

∑

Ó #˙

- ri - ﬁ - ca- mus te.

Gra

Œ œ œ œ #œ œ w

te.

Gra

n˙

˙ -

Gra

Glo - ri - ﬁ - ca- mus te.

° ˙ C2 & b ‹ te.

œ œ bœ œ ˙ &b ‹ - ri - ﬁ - ca- mus te.

&b œ œ œ œ ˙ ‹ - ri - ﬁ - ca- mus te.

? œ œ œ œ ¢ b ˙

∑

- ri - ﬁ - ca- mus te.

œ<#>œ ˙

ti - as

œ œ ˙

Gra

ti - as

gi - mus

ti - as

gi - mus

œ œ ˙

Gra

ti - as

w a

˙ -

gi - mus

œ gi -

Gra

ti -

Gra

w ti

° C1 & b 13

œ œ œ œœœ œ ˙ -

&b ‹

? ¢ b

pter

mus

w w

˙™ ti

w -

pter

œ ˙

pro - pter ma - gnam

pro

pter

b˙

˙ ˙

pro - pter

pter

pro - pter

b˙

pter

ma - gnam

pter

pro

w pro

gnam

glo

gnam

glo

gnam

glo

gnam

glo

gnam

glo

gnam

glo

ri - am

œ œ ˙

ri - am

˙™ -

ri - am

œ œ ˙

˙ glo -

œ<n>œ # œ œ tu

ri - am

œ ˙

ri - am

œ œ ˙

˙™

ri - am

gnam

glo

œ œ ˙ -

ri - am

ri- am,

œ œ ˙

glo

œ œ ˙

ri - am

gnam glo

œ œ ˙

ri - am

gnam glo

œ œ ˙

glo

˙ -

pro - pter

œœ

˙™

pter

pro

? ¢ b

&b ‹

pro

&b ˙ ‹ - mus

&b ‹

pro

° &b

- gi - mus

˙ b˙

pro

? ¢ b

° ˙ ˙ C2 & b ‹ - gi - mus &b ‹

w ti

#œ œ -

œœ -

w tu

° C1 & b 17

Œ œ œ œ ˙

∑

- am.

˙ -

n˙

am.

Do- mi- ne De - us,

Rex

cae - le

œ œ ˙

? ¢ b

° &b

&b ‹ &b ‹

? ¢ b

cae - le - stis,

w -

stis,

œ œ ˙

Rex

cae - le - stis,

∑

ri - am

am.

˙ De

∑

œ œ # œ ™ œj

us Pa - ter o- mni - po -

œ œ b˙ -

œ œ œ ™ œj

us Pa - ter o- mni - po -

œ œ ˙

˙ De

us Pa - ter o- mni - po -

œ œ ˙

˙ De

œ œ œ ™ œJ

us Pa - ter o- mni - po -

am.

w -

am.

w -

∑

am.

nw -

tu - am.

œ œ b˙ bœ œ œ ™ œ J

˙ De

#w -

w -

Do - mi- ne De - us,

œ œ ˙

° b › & ‹ - am.

œ œ ˙

&b ‹

˙™

Rex

Œ œ

œ œ ˙

cae - le - stis,

Do - mi- ne De - us,

&b w ‹ - am.

&b ‹

œ œ ˙

Do - mi - ne De - us, Rex

- am.

œ œ

am.

° C1 & b 21

w™ Ie

&b ‹

? ¢ b

° b w & ‹ - tens.

∑

&b w ‹ - tens.

∑

? ¢ b

∑

- tens.

° &b

œ œ ˙

Do - mi - ne Fi

&b ‹

œ œ #˙

Do - mi - ne Fi

œ œ ˙

Do - mi - ne Fi

n˙

œ œ ˙

Do - mi - ne Fi

œ ˙

ni - ge

ni - te

w™

ni - ge - ni - te

˙™

˙ -

˙™

˙ -

w u

˙™

˙ -

œ œ œ œ œ

˙ -

œ ˙ -

˙ -

œ ˙ -

˙ -

w -

b˙ -

›

ni - te

œ w -

w™ Ie

˙™ Ie

b˙

˙™ Ie

w™ Ie

& b nw ‹ - tens.

∑

w™ Ie

ni - te

w™ Ie

˙ -

° C1 & b w 25

Chri

w b & ‹ Chri

ste.

Do - mi - ne De

ste.

w -

ste.

˙™

œ ˙

Chri

ste.

&b w™ ‹ Chri

? ¢ b › ° &b Ó

ste.

˙™

œ ˙

Chri

ste.

w &b ‹ Chri &b Ó ‹

Ie - su

ste.

Chri

? › ¢ b Chri

w -

Do - mi - ne De

œ œ ˙

∑

us,

∑

œ œ ˙

Œ œ œ œ ˙

Do- mi- ne De - us,

∑

œ œ

Do - mi- ne

∑

œ œ ˙

Do - mi- ne De -

∑

œ œ ˙

∑

Do - mi- ne De - us,

∑

œ œ œ w Do- mi- ne De

˙ -

Do - mi- ne De -

∑

us,

∑

w -

Do - mi - ne De

° b ˙™ œ w & ‹ Chri -

&b Ó ‹

De - us,

˙ Œ œ œ œ œ ™ œJ

Chri

Œ œ œ œ w

w -

Do - mi - ne

?b w Chri

Œ œ œ œ

∑

ste.

&b w

∑

ste.

w -

us,

œ œ ˙

Do - mi- ne De

∑

ste.

œ œ ˙

Do - mi- ne De

∑

us,

w -

∑

us,

∑

° C1 & b 29

∑

&b ˙ œ ˙ œ ˙ w ‹ De - us, A - gnus De - i,

∑

? ¢ b ˙

˙™

∑

- us,

&b ‹

&b Ó ‹

° &b

li - us Pa

tris.

œ œ œ œ

li - us Pa - tris.

Fi - li- us Pa

° b & ˙ ‹ - us,

˙™ A

œ ˙

gnus De

#œ

A - gnus De

gnus De

&b ‹

w -

tris.

œ œ ˙

˙ -

li - us Pa

w -

tris.

œ ˙

œ™ œ œ ˙ J

n˙ Fi

œ œ ˙

Qui

tol - lis pec - ca - ta mun - di,

Qui

tol - lis pec - ca - ta

œ œ œ œ

œ œ ˙

œ œ #˙ ™

˙ <n>˙

Qui

tol - lis pec - ca - ta mun - di,

Qui

tol - lis pec - ca - ta mun - di,

œ œ

œ œ ˙

mi -

œ ˙

mun

œ œ #œ œ ˙

mi -

˙ mi -

° C1 & b 33

Œ ˙

œ w

sus - ci - pe

Œ ˙

œ w

sus - ci - pe

&b ‹

Œ ˙

œ w

sus - ci - pe

œ w

sus - ci - pe

° C2 & b ‹ &b ‹

&b ‹

? ¢ b

° &b ˙

&b ˙ ‹ -

?b ˙ -

∑

bis.

œ œ ˙

˙™ œ w

Qui

tol - lis pec- ca - ta mun - di, sus - ci - pe,

Qui

tol - lis pec- ca - ta mun - di, sus - ci - pe,

Qui

tol - lis pec- ca - ta mun - di, sus - ci - pe,

Qui

tol - lis pec- ca - ta mun - di, sus - ci - pe,

œ œ œ œ ˙

œ œ œ œ #˙

œ œ œ œ ˙ œ œ œ œ ˙

w -

˙™ œ w

∑

Œ ˙

∑

se - re - re

∑

Œ ˙

bis.

sus - ci -

w -

sus - ci -

#œ ˙ #œ w no

sus - ci -

re no - bis.

se - re - re

∑

˙ ˙ ˙ ˙ b & ‹ - di, mi - se - re

∑

- se - re

∑

bis.

∑

sus - ci -

° C1 & b ∑ 38

pre - ca

w™

pre - ca - ti

pre - ca

° b Œ ˙ œ ˙ & ‹ sus - ci - pe

b˙

˙™

<n>œ

pre - ca - ti

&b Œ ˙ œ ˙ ‹ sus - ci - pe

pre - ca - ti

&b Œ ˙ œ ˙ ‹ sus - ci - pe

pre - ca

? Œ ˙ ¢ b

sus - ci - pe

pre - ca

œ ˙

˙™

&b ∑

&b ∑ ‹

?b ∑

° &b w

œ ˙

-pe

œ œ œ w

˙™

w &b ‹ -pe

?b w

bœ œ ˙

pre - ca - ti - o

nem

pre - ca - ti

pre - ca

˙™

nem

œ œ œ œ w -

œ œ w

nem

˙ -

œœ˙ -

w no

˙ -

stram.

nem

œ œ w™

w -

˙ -

w -

œœw -

o - nem

œ œ

nem

b˙

œ œ œ œ

de - pre- ca - ti - o - nem

w &b ‹ -pe

-pe

#œ nœ -

nem

˙ nem

w no

° C1 & b 42

w - stram.

&b ‹

- stram.

° b & ‹

&b ‹

w -

˙ #w

? ¢ b

° &b

&b ‹

? ¢ b

se - re - re

ad dex - te- ram

tris,

se - re - re

œ œ™ œ œ J

œ ˙

tris,

se - re - re

œ œ™ œ œ J

Qui

se - des

Qui

se - des

ad dex - te - ram

œ œ ™ œJ œ

œ ™ œJ ˙

se - des

ad dex - te- ram

tris,

se - re - re

stram.

˙ #˙

stram.

w -

stram.

w -

stram.

w -

tris,

ad dex - te- ram Pa

stram.

w -

se - des

stram.

&b ‹

stram.

Qui

œ œ ™ œJ œ

° C1 & b œ œ w 46

&b ˙™ ‹ no

° b & ‹

∑

bis.

w -

∑

bis.

œœw

bis.

∑

#˙ Tu

&b ‹

? ¢ b

&b ‹

? bw ¢ b no

&b w

#˙

∑

˙ Tu

∑

˙ Tu

∑

˙ Tu

° &b

Quo

&b ‹

w Quo

˙™

ni - am

œ ˙

ni - am

tu so

lus

san

w -

ctus.

œ œ œ #œ œ ˙

lus

san

ctus.

œ<n>œ # œ œ

nœ ˙

ni - am

lus

san

Œ œ œœœ œœ

lus

san

nw Quo

w Quo

ni - am

tu so

#œ w -

ctus.

w -

ctus.

° C1 & b ∑ 50

&b ∑

&b ∑ ‹

?b ∑

so - lus Al - tis - si- mus, Ie

so - lus Al - tis - si- mus, Ie - su Chri

˙ Tu

° b œ œ œ œ #w C2 & ‹ so - lus Do- mi- nus. A2

œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

so - lus Al - tis - si- mus, Ie

œ œ ˙ -

su Chri - ste,

œ œ ˙ -

∑

su Chri - ste,

œ ˙

#œ w -

∑

ste,

œ œ ˙ -

∑

su Chri - ste,

∑

bœ œ w &b œ œ ‹ so - lus Do- mi- nus.

∑

&b œ œ œ œ w ‹ so - lus Do- mi- nus.

∑

? œ œ bœ œ w ¢ b

∑

so - lus Do - mi- nus.

° &b

&b ‹

? ¢ b

∑

Cum

San - cto Spi - ri-

˙ Cum

∑

œ œ™ œ J

n˙

Œ œ

œ œ™ œ J

San - cto Spi - ri-

j œ n œJ ˙

nœ

Cum San- cto Spi - ri -

∑

˙ Cum

œ œ™ œ J

San - cto Spi - ri-

° C1 & b ∑

Œ œ œ œ œj œ œ ˙ J

∑

in glo - ri - a

&b ∑

&b ∑ ‹

∑

?b ∑

∑

Œ œ

° b Ó & ‹ &b Ó ‹

˙ Cum

&b Ó ‹

Œ œ

?b Ó

° &b w

De - i Pa - tris,

Œ œ œ œJ œJ œ œ ˙

œ œ ™ œJ ˙

in glo - ri - a De - i Pa

j j œ œ ˙

œ ˙

in glo - ri - a De - i Pa

œ œ ™ œj ˙

Œ œ œ œj œj ˙

San - cto Spi - ri- tu,

j j Œ œ œ œ œ œ œ n˙ in glo - ri - a De - i

w &b ‹ - tu,

&b w ‹ - tu,

? ¢ b w

Œ œ

in glo - ri - a De - i

- tu,

Pa - tris,

Œ œ in

<n>œ Œ in

Pa - tris,

Œ œ œ œJ œJ œ œ ˙ in glo - ri - a De - i

Pa - tris,

Œ œ œ œœœ œ ˙ JJ in glo - ri - a De - i

Pa - tris,

œ œ œ#œ œ ˙ JJ

Pa -

j j œ œ œœ œ ˙ œ in glo - ri - a De - i Pa

œ œ

in glo - ri - a De - i

Œ œ œ œJ œJ œ œ ˙

San - cto Spi - ri- tu,

- tu,

Cum San- cto Spi - ri - tu,

Cum

San - cto Spi- ri - tu,

Cum

œ œ œ ˙

De - i Pa - tris,

œ œœ œ œ ˙ JJ

in glo - ri - a

Œ œ œ œJ œJ œ œ ˙ in glo - ri - a

De - i Pa - tris,

Œ œ œ œJ œJ n œ œ ˙

∑

in glo - ri - a

Œ œ in

° C1 & b Œ œ

j œ œ œJ œ œ

glo - ri - a De - i

&b Œ œ

œ œ œ œ œ J J

glo - ri - a De - i

&b Œ œ ‹ in

œ œ œ œ œ J J

glo - ri - a De - i

œ œ œ œ œ J J

glo - ri - a De - i

œ ? B1 ¢ b Œ in

˙ -

∑

tris,

° ˙ C2 & b ‹ - tris,

Œ œ

œ œj œj œ œ

œ ˙

glo - ri - a De - i

& b <n>˙ ‹ - tris,

Œ œ

œ œJ œJ œ b œ

œ ™ œJ œ œ œ œ œ œ ˙

glo - ri - a De - i

&b œ œ Œ œ ‹ - tris, in

j œ ˙

œ™

Œ œ

œ œ œ œ œ J J

- tris,

glo - ri - a De - i

œ œ œ œ œ J J &b ‹ glo - ri - a De - i

œ œ j &b J œ œ œ ‹ glo - ri - a De - i

? œ œJ œJ œ œ ¢ b

glo - ri - a De - i

tris.

glo - ri - a

Œ ˙

glo

ri -

œ œ

glo - ri - a

tris. A

men,

glo - ri - a

men,

glo - ri - a

tris.

˙ -

men,

œ œ

men,

glo - ri - a

tris,

˙ in

<n>˙

tris,

œ œ

˙ -

n˙

tris,

˙ -

glo - ri - a

#œ

˙ Pa

˙ -

tris. A

De - i

? ¢ b ˙

œ œ

Œ œ œ ˙

glo - ri - a

° & b n œ œJ œJ œ œ

œ œ

tris,

˙ -

∑

tris,

˙ -

tris,

˙ -

∑

œ œ œ œ

œ œ

glo - ri - a

° C1 & b ˙ ™ 60

œ ˙

˙™

De - i

&b ˙

w -

° b ˙ ˙ & ‹ De - i

tris.

˙ De

w™

˙™

Pa -

tris.

Pa -

tris.

›

œ ˙

tris.

› men.

› -

men,

<n>œ

œ œ ˙

n›

men.

#˙

›

men.

˙ -

›

men.

›

› A

men.

˙™

tris.

men.

›

˙ -

›

w™

men.

›

œ œ œ œ œ œ œ ˙ A

›

˙™

men.

tris.

› ˙

›

men.

›

œ ˙ -

men.

› A

n›

tris.

w -

Pa - tris.

tris.

&b ˙ ˙ ‹ De - i ? w ¢ b

›

˙™

tris.

w™

Pa - tris,

›

˙ ˙ &b ‹ De - i

tris.

œ œ w

? ¢ b w

&b ˙ ˙ ‹ De - i

° &b ˙

œ œ œ ˙

œ œ w

? w ¢ b

De - i

œ œ bœ œ ˙

˙™

&b ˙ ‹ -a

men.

Credo in unum Deum &b œ œ ‹ Cre - do

CHORUS 1

CANTUS 1

° bc & ˙

u - num De - um,

œ œ œ œ ˙

Pa - trem o- mni- po- ten - tem, fa - cto- rum cae - li et

ter

uuio & b c ˙ œ œ œ œ ˙

œ œ œ œ ˙

uuo

BASSUS

b uuo¢

ALTUS

TENOR

BASSUS

œ w rae,

œ œ œ œ ˙ #œ œ œ œ ˙ & b c n˙ œ œ œ œ ˙ ‹ Pa - trem o- mni- po- ten - tem, fa- cto- rum cae - li et ter -

œ œ

Pa - trem o- mni- po- ten - tem, fa - cto- rum cae - li et

ter

?b c ˙

ui ui &‹ b c u &‹ b c ? c ¢ u b

ter

rae,

° bc & ‹

CANTUS

œ œ #œ ˙

Pa - trem o- mni- po- ten - tem, fa - cto- rum cae - li et

TENOR

CHORUS 2

œ œ

o uui

CANTUS 2

œ œ œ

œ ˙

œ œ œ œ ˙ Ú

rae,

w rae,

˙™

∑

vi - si -

˙™

∑

vi - si -

∑

#˙ ™

vi - si -

˙™

∑

vi - si -

CHORUS 3

CANTUS

ALTUS

TENOR

BASSUS

° bc &

io u &‹ b c i &‹ b c ? c ¢ i b

° C1 & b

&b ‹

? ¢ b

° b œ œ œ ˙ œ œ œ œ œ œ œ ˙™ œ w & ‹ - bi - li- um o - mni- um et in - vi - si - bi - li - um.

∑

& b œ œ œ ˙ œ œ œ œ œ œ œ #œ ˙ #œ w ‹ - bi - li- um o - mni- um et in - vi - si - bi - li - um.

∑

j & b <#>œ œ œ ˙ œ œ<n>œ œ œ # œ œ œ œ œ ™ œ w ‹ - bi - li- um o - mni- um et in - vi - si - bi - li - um.

∑

œ œ œ œ œ bœ ˙ ™ œ

? œ œ œ ˙ ¢ b

- bi - li- um o - mni- um et

° &b

&b ‹

in - vi - si - bi

œ -

li - um.

˙™ œ œ œ œ œ ˙

˙™

in u- num Do - mi- num

˙™ œ œ œ œ œ ˙

˙™

in u- num Do - mi- num

n˙ ™ œ œ œ œ œ œ ˙

sum Chri -

œ -

sum Chri -

œ #œ ˙

#œ

in u- num Do - mi- num Ie - sum Chri

˙™ œ œ œ œœ œ œ œ œ œ™ œ œ

in u- num Do - mi- num Ie

sum Chri -

° C1 & b 8

j œ™ œ œ ˙

œ œ œ #œ ™ œ w J

Fi - li- um De - i

Ó # œ ™ œj œ ˙

&b ‹

œ™ œ œ ˙ J œ™ œ œ J

° C2 & b ‹ A2

&b ‹

° &b

u - ni - ge - ni - tum.

Œ #˙

∑

u - ni - ge - ni - tum.

œ œ œ œ™ œ J w

Fi - li- um De - i

u - ni - ge - ni - tum.

œ œ œ œ ™ œ #w J

Fi - li- um De - i

u - ni - ge - ni - tum.

j œ œ œ œ™ œ w

Fi - li- um De - i

œ <#>œ œ ˙ <n>œ œ œ b œ œ œ œ œ ™ œ w J J J

Pa- tre na - tum an - te o

Œ ˙

œ œ ˙

Pa- tre na - tum an - te o

Œ ˙

œ œ ˙

Pa- tre na - tum an - te o

Œ ˙

œ œ ˙

Pa- tre na - tum an - te o

mni- a sae - cu - la.

œ œ œ œ œ œ œ œ ™ œj n w J J mni- a sae - cu - la.

œ œ œ œ œj œj œ # œ ™ œj w mni- a sae - cu - la.

j j œ œ œ œ œ œ œ œ ™ œJ w

mni- a sae - cu - la.

∑

- stum,

De -

#w &b ‹ - stum,

∑

w &b ‹ - stum,

∑

? ¢ b

∑

Ó ˙

∑

Ó ˙ De -

∑

Ó n˙ De -

- stum,

∑

Ó ˙ De -

° C1 & b 12

Œ˙

œ ˙

œ œ œ

œ ˙

n˙

De - um ve - rum de De - o ve - ro.

œ ˙ # œ œ œj œj ˙

Œ˙

De - um ve - rum de De-o ve

&b ‹

Œ˙

œ ˙

œ nœ Œ

De - um ve - rum

œ ˙

œ œ

#œ ˙ -

ro.

œ nœ œ œ œ

de De - o ve - ro.

œ ˙

De - um ve - rum de De - o ve - ro.

° b & ‹

∑

Œ œ Ge

&b ‹

? ¢ b

∑

Œ nœ Ge

° & b œ œ ˙ œ œ œ œ œ ™ œJ ˙

∑

Œ œ

œ œ œ -

ni- tum, non fa - ctum, con -

œ<n>œ œ -

œ ˙ œ œ

ni- tum, non fa - ctum, con -

œ œ œ

œ ˙ œ œ

ni- tum, non fa - ctum, con -

œ ˙ œ œ

ni- tum, non fa - ctum, con -

∑

œ œ ˙ œ œ œ œ œ™œ ˙ ∑ J &b ‹ - um de De - o, lu- men de lu-mi- ne,

œ œ œ <n>œ œ œ ™ œj ˙ ∑ & b œ #˙ ‹ - um de De - o, lu- men de lu-mi- ne,

?b œ œ ˙ œ œ œ œ œ ™ œ ˙ J ¢

- um de De - o, lu- men de lu- mi- ne,

∑

- um de De - o, lu- men de lu- mi- ne,

° C1 & b 16

∑

&b ‹

∑

per

quem

per

quem

per

quem

˙ per

° b œ œ œ œ ˙™ & ‹ - sub- stan- ti - a & b œ œ œ œ œ ‹ - sub- stan- ti - a

lem

tri:

œœ œ œ ˙

lem

w Pa

tri:

&b ‹

? ¢ b

w per

∑

per quem

mni - a

w™

per

quem

w™

per

quem

w™

per

quem

˙ -

cta

mni -

mni - a

w™

mni - a

per

quem

o - mni - a

w™

œ ˙

mni -

quem

cta

o - mni - a

œ w

˙™

˙™ -

cta

mni - a

cta

˙ -

mni - a

w™

per quem

quem

mni - a

per

lem Pa - tri:

? œ œ œ bœ ¢ b œ œ œœœœ ° &b

#œ w

tri:

œ ˙

œœœ œ

&b œ œ œ œ ˙™ ‹ - sub- stan- ti - a -

- sub- stan- ti - a

cta

˙ cta

fa - cta

mni - a

w sunt,

˙ -

cta

° ˙ C1 & b 20

sunt, per

&b ˙

sunt, per

bw &b ‹ sunt,

?b ˙

° b w & ‹ &b ˙ ‹ a -

quem

&b w ‹ -a

mni - a

œ œ ˙

quem

cta

sunt.

›

cta

sunt.

cta

sunt.

˙ cta

œ œ ˙

? ¢ b ˙

œ œ ˙

quem

mni - a

œ œ ˙ -

cta

sunt.

cta

sunt.

cta

sunt.

∑

mni - a

∑

Œ œ

∑

Œ œ et

˙ -

n˙

œ n œ œ ˙ œ ˙

cta

sunt. Qui

pro - pter nos ho - mi- nes,

œ œ œ <n>˙

cta

sunt. Qui

pro - pter nos ho - mi- nes,

n˙

Qui

pro - pter nos ho - mi- nes,

# œ œ œ <n>˙

fa - cta

sunt.

cta

œ et

<#>œ œ # ˙

˙ o

sunt, per

quem

per

sunt.

mni - a

cta

˙™

mni - a

&b Ó ‹

-a

bw &b ‹ sunt,

mni - a

? ¢ b w ° &b ˙

mni - a

w fa

sunt, per quem

sunt, per

sunt. Qui

œ œ ˙

œ ˙

œ ˙ œ ˙

pro - pter nos ho - mi- nes,

° C1 & b ∑ 24

œ œ ˙™

œ œ ˙

de - scen - dit de cae

Œ œ

Œ œ ˙

œ œ

œ œ œ œœ

de- scen - dit de cae

&b ∑ ‹

?b ∑

Œ œ

œ œ ˙

de - scen - dit de cae - lis,

de - scen

˙™

de - scen - dit de cae

° b œ œ ˙ œ œ #˙ w & ‹ pro- pter no - stram sa - lu - tem

lis, de cae -

lis.

#œ ˙

#œ -

lis.

œ bœ ˙

dit de cae -

lis.

œ ˙™

Œ œ

œœœ œ ˙

lis.

∑

w &b œ œ ˙ œ œ ˙ ‹ pro- pter no - stram sa - lu - tem

∑

&b œ œ ˙ œ œ ˙ w ‹ pro- pter no - stram sa - lu - tem

∑

? œ ˙ ¢ b #œ

∑

° &b

œ œ ˙

pro - pter no - stram sa - lu

œ œ ˙

tem

&b ‹

? ¢ b

° C1 & b 3 28

&b 3

∑

&b 3 ‹

∑

?b 3

∑

° b ˙ & 3 ‹ Et &b 3 ˙ ‹ Et

∑

in - car - na

˙ ˙

in - car - na

?b 3 ˙

&b 3 ˙ ‹ Et

w -

in - car - na

tus

est

tus

est

tus

est

tus

˙™

Spi

˙™

Spi

˙™

Spi

tus

est

tus

est

tus

est

tus

est

˙™

Spi

˙™

Spi

˙™

Spi

˙™

Spi

˙ de

est

]

tus

est

tus

in - car - na

` w

in - car - na

˙ &b 3 ‹ Et

?b 3 ˙

in - car - na

° &b 3 ˙

&b 3 ˙ ‹ Et

˙™

Spi

˙™

Spi

˙™

Spi

˙™

Spi

` œ ˙

ri - tu

San

` œ n˙

ri - tu

San

œ ˙`

ri - tu

San

` œ ˙

ri - tu

San

œ ˙` b w ] -

ri - tu

San

` œ ˙

ri - tu

San

w -

]

cto

` œ w

ri - tu

San

]

ri - tu

San

` œ ˙

ri - tu

San

ri - tu

San

œ ˙

ri - tu

San

œ ˙` -

ri - tu

w San

cto

]

cto

w -

cto

nw -

]

w -

cto

` œ ˙

]

œ ˙` b w ]

˙™ Spi

cto

° C1 & b 34

- cto

&b w ‹ - cto

w - cto

° b & ‹ &b ‹

&b ‹

? ¢ b ° &b

&b ‹

Ma - ri

w -

Vir - gi - ne:

ho - mo

˙™

œ ˙

Vir - gi - ne:

ho - mo

˙™

œ ˙

Vir - gi - ne:

ho - mo

˙™

œ ˙

Vir - gi - ne:

ho - mo

œ œ ˙

˙™ œ ˙

Vir - gi - ne:

˙™ œ ˙

Vir - gi - ne:

˙™ œ ˙

Ma - ri

Ma - ri - a

Ma - ri

Ma - ri - a

Ma - ri

˙™ œ ˙

Vir - gi - ne:

˙™ œ ˙ ˙™ œ ˙

Vir - gi - ne:

˙™ œ ˙

Ma - ri - a

w -

˙™ œ ˙

Vir - gi - ne:

ho - mo

˙ -

›

ctus

est.

#›

fa - ctus

est.

›

ctus

est.

›

ctus

est.

›

ctus

est.

›

fa - ctus

est.

˙ -

w fa

›

ctus

w ho

Ó #˙

Vir - gi - ne:

&b ‹

Ma - ri

Vir - gi - ne:

œ ˙

#˙ ™

Ma - ri

ctus

est.

›

ctus

est.

#›

ctus

est.

›

ctus

est.

˙ -

›

ctus

› est.