University of Southern California Dissertations and Theses

The life and Mantuan masses of Francesco Rovigo (1541/42-1597)

(USC Thesis Other)

The life and Mantuan masses of Francesco Rovigo (1541/42-1597)

PDF

Download

Open document

Flip pages

Download a page range

Download transcript

Copy asset link

Request this asset

Transcript (if available)

Content THE LIFE AND MANTUAN MASSES OF FRANCESCO ROVIGO (Ï541/42-1597) VOLUME 1 by Michael Armand Fink A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In P artial F u lfillm e n t of the Requirements for the Degree DOCTOR OF PHILOSOPHY (Mus i c) June 1977 Copyright Michael Armand Fink 1977 UMl Number; DP32407 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissoftâtion F\:bIisWng UMl DP32407 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 UNIVERSITY OF SOUTHERN CALIFORNIA T H E G RADUATE SCHO O L U N IV E R S IT Y PARK LOS AN G ELES. C A L IF O R N IA 9 0 0 0 7 T h is dissertation, w ritte n by ...................... Mjcj]ae_L.Armand FÎ nk............................ under the direction o f h.XP.... D issertation C om m ittee, and approved by a ll its members, has been presented to and accepted by T he G raduate School, in p a rtia l fu lfillm e n t o f requirem ents of the degree o f D O C T O R O F P H I L O S O P H Y f Dean D ate. D IS S E îf^ T ip lî COMMITTEE A y , } n. tk trman To my wi fe, JO ANN 1 1 PREFACE The rediscovery of Francesco Rovigo as a composer and organist began almost three fu ll centuries a fte r his death. Although around 1866 most of the musical collectio n of the Chapel of Santa Barbara had passed (by circuitous means) into the possession of the Library of the Milan Conservatory, the sacred music of Rovigo and other composers of the Chapel contained in the c o llectio n remained poorly catalogued and generally unknown u n til a fte r World War 11. In the late nineteenth century two h is to ric a l studies of musical l i f e in Mantua appeared, both based p rin c ip a lly upon documents found in the State Archives of that c ity . in each of these works, Pietro Canal, Del 1 a musica in Mantova (1881) and Antonio B e rto lo tti, Musici a lia corte dei Gonzaga ( 1890) , a few paragraphs of sketchy biographical data were devoted to Rovigo, the organist, with only cursory references to his compositions The picture of Rovigo's musical output was somewhat improved by Robert Eitner in his monumental Biographisch-biblioqraphisches Quellen-Lexicon (1898- I 904), which cited musical sources both in the Milan Conservatory and outside It a ly , but was by no means comprehen sive in its o u tline of the composer's l i f e and works. However, the column Eitner devoted to Rovigo contributed to a precedent for including both signed and unsigned a rtic le s on the composer in the following la te r lexicons: I I I Die Mus i k in Geschïchte und Geqenwart, 1949-67. (Denis A rn o ld ). Steirîsches Musikl ex icon, 1962-66 (Gernot Gruber). La Mus ic a , 1971. Enciclopedia Garzantl d élia mus i ca, 1974. Riemann-Lexicon, 12th é d ., 1975 supplement. Grove's D ictio n ary, 6th é d ., announced for 1978 (P ierre M. Tagmann and Michael Fink). Following the pioneering works of Canal and B e rto lo tti, Rovigo's Mantuan a c tiv itie s remained obscure u n til recent years. In the meantime, his career in the archducal court at Graz was touched on in connection with documents of the Bavarian court quoted in Bertha W allner's Musikallsche Denkmaler der Steinatzkunst des 16 . u . 17. Jahrhunderts nebst Beitragen zur Musikpflege dieser Z eit (1912). Some fu rth e r am plifications were made by A lfred Einstein in his monograph, " Ita lie n is c h e Musik und Musiker am Kaiserhof und an den Erzherzoglichen Hofen in Innsbruck und Graz” (1934), which accompanied his tran scrip tion of Rovigo's f i r s t madrigal setting of "Ardo s i, ma non t'am o,” in Denkmaler der Tonkunst in O sterre1ch, vol. 77. This e d itio n proved to be the f i r s t publication of Rovigo's music since his death. He11 mut Federhofer's years of research in the courtly music of Graz frequently touched on Rovigo's l i f e and music. In his editio n of the music of Graz composers, vol. $0 o f DTP, Federhofer included a transcriptio n of Rovigo's Missa Dom inicalIs. Federhofer's archival studies in Graz culminated in the publication of his Musikpflege und Musiker am Grazer Habsburgerhof der Erzherzoge Karl und Ferdinand von 1 V Innerbsterreîch, 1564-1619 (19^7). This valuable work offers the most complete Information on Rovigo's Graz period. Archival documents, e ith e r in transcription or by reference, along with a fine modern bibliography on the composer have been an immensely important tool in w ritin g the present study. Rovigo's two Parody Magnificat composi tions, stemming from this period, have been thoroughly explicated by Gernot Gruber in his d is s e rta tio n , ''Beitrage zur Geschichte und Kompos i t i ons techn i k des Pa rod i emagn i f i cat in der 2. Ha I f te des 16. Jahrhunderts” (1964). This w ritin g is being followed by Gruber's musical editions of the works discussed, including Rovigo's music, soon to appear as v o l. 128 of DTP. In the e a r lie s t postwar years Knud Jeppesen directed his a tte n tion to a corpus of Mantuan Masses by Palestrina which had ju s t come to lig h t in the Milan c o lle c tio n . Jeppesen' s subsequent studies appeared in Acta Musicologica: "The Recently Discovered Mantova Masses of Palestrina” (1950) and " P ie rlu ig i da P alestrin a, Herzog Guglielmo Gonzaga und die neugefundenen Mantovaner-Messen P alestrina's” (^953). Of huge h is to ric a l value in the f ie ld of Palestrina study, these w ritings also represented the e a rlie s t survey of the Mass reper to ire as a whole, including valuable data on the works and th e ir com posers, including Rovigo, as well as on the e n tire musical situation in the chapel during the life tim e of Duke Guglielmo. Jeppesen' s d is covery of the Mantuan Kyriale in the Chapel's archives not only made his subsequent publication of P alestrin a's Mantuan Masses (Opere complete, vols. 18 and 19) more fascinatin g, but also paved the way for further investigations of works from the Mantuan Mass re p erto ire , of which the present paper Is one of the f i r s t . Beyond the work of Jeppesen one a r t ic le has been especially revealing in matters of Rovigo's employment in the Mantuan Ducal Chapel. Pierre M. Tagmann' s "La cappella dei maestri cantori del 1 a Basilica Palatina di Santa Barbara a Mantova (1565-1630)" ( I 969) reconstructed, as fa r as possible, the salary records of the chapel up to the Sacco di Mantova. This a r t ic le has shed considerable lig h t on the mysteries of musical leadership in the chapel and has added a v a l uable archival dimension to our picture of courtly sacred music in Mantua and Rovigo's place in i t . Tagmann has continued his in it ia l investigations with more recent a r tic le s . His "Girolamo Cavazzoni— Girolamo Mantovano. Identitatsfrag en" (1972) is of Im p lic it importance to the study of Rovigo, since i t concerns organists connected w ith the chapel immediately before his tenure there. The completion of the cataloguing of the Santa Barbara c o l lectio n in the Milan Conservatory Library was reflected in the p u b li cation of its Cataloqo, . . . musiche del 1 a cappella di S. Barbara in Mantova (1972). For the f i r s t time a comprehensive and accurate view of the Santa Barbara repertoire and Rovigo's part in it was made gen e r a lly a v a ila b le . At the same time the Conservatory Library had com pleted the restoration of many damaged manuscripts, providing scholars new access to the co llectio n which had previously been ju s t if ia b ly 1imi ted. The present study has two basic purposes: ( l) to establish VI the biography of a late-Renaissance master whose s k ills in composition and organ playing were developed to the point of gaining publications and lu crative employment with three noblemen and a ttra c tin g the a tte n tion of a fourth; and (2) to examine a complete and somewhat u n ified portion of his musical output. In the biographical section documentary and circumstantial evidence has been coordinated wherever possible in an attempt to pro je c t cause-and-effect relationships in the l i f e of Rovigo in place of a mere parade of fa c ts . There are two ram ifications im p lic it in the study of Rovigo's Masses; wherever appropriate both routes have been followed. Of p r i mary importance is the analysis of Rovigo's own "Mantuan" style of sacred music, exemplified in the Masses. Features of Rovigo's per sonal style are explored with some references to the theory and gen eral practice of his times, usually offered for the sake of perspec tiv e . But Rovigo's Masses are also exemplars from an e n tire Mass repertoire which was u n ifie d in certain respects and ordained for usage w ithin a special litu r g y . Thus, at times Rovigo's work is best viewed in the context of our present knowledge of the Mantuan Mass repertoire. In this sense, several aspects of the present study are prototypical of future explorations of the Mass repertoire as a whole. Conclusions concerning matters such as chiavette, for example, may be considered hypotheses based on in cipient evidence. In other features, such as a 1ternatim patterns, Rovigo's works add several pieces to a previously-begun puzzle which awaits completion based on information VI I from the uncharted corners of the Mass re p e rto ire . Thus, a two-pronged attack on the subject may be often seen, esp ecially in Part II; Rovigo as a composer, and Rovigo as a representative of the Santa Barbara Mass repertoi r e . The author expresses his gratitude and appreciation to the individuals and in s titu tio n s who provided both material and s p iritu a l support during the progress of this study: To the following persons, archives, and lib ra rie s for th e ir generous cooperation in supplying information, m icrofilm s, photocopies, and transcribed documents: Don Giancarlo Manzoli, A rc h iv is t, A rchivio diocesano di Mantova; Archivio di Stato di Mantova; Biblioteca del Seminario, Lucca; Biblioteca Municipale di Reggio n e lP Emilia; Bayerisches Hauptstaatsarchiv, Munich; Univ e rs ita ts b ib lio th e k , Graz; S tifts b ib lio th e k , Kremsmiinster; Osterreichische Nationalbibl iothek, Vienna; Dr. Gernot Gruber, Univ. Dozent, Musikwissen- schaftliches In s titu t der Un Ivers i ta t Wien; Deutsches Musikgeschichtliches Archiv, Kassel; Narodna in uni - verzite tn a k n jizn ic a , Ljubljana; Biblioteca Judeteana Mures, TPrgu Mures; Krajska Kniznica V Ko^iciach, Kosice; The B ritis h Library, London; The Parry Room Library of the Royal College of Music, London; Werner Josten Library, Smith College, Northampton, Massa chusetts; Dr. Melvin Bernstein, U niversity of Maryland; Dr. Carol MacClintock, Indiana U niversity (Emeritus); Dr. Gerhard Singer, Claremont, C a lifo rn ia . To the following for graciously granting permission to p rin t the three plates in this paper; Prof. Agostina Zecca Laterza, Biblioteca del Conservatorio di Musica "Giuseppe V erd i," Milan; Dr. Eduard Widmoser, D irector, T ir o le r Landesarchiv, Innsbruck. To Dr. He11m u t Federhofer, Director of the Mus ikwissen- schaftliches In s tit u t, Johannes Gutenberg-Universitat, Mainz, fo r his encouragement and continued professional in terest in th is investigation. To my Dissertation Committee, Drs. Richard W ingell, Richard Toscan, and especially its chairman. Dr. Pierre M. Tagmann, who has been a continual source of V I I I scholarly information and in s p ira tio n , and has so w illin g ly given p atien t help and s p iritu a l bouyancy whenever needed. To my parents, Lee and L illia n Fink, who have en couraged and aided this endeavor with the same superb in tere s t and p a rtic ip a tio n they have con trib u ted to a ll my musical a c t iv it ie s . F in a lly , to my w ife , Jo Ann, and our children, Ian Michael and Leigh M ichelle, whose loving and sup portive a ttitu d e and actions have made this work a pleasure and a source of pride. IX TABLE OF CONTENTS VOLUME I PREFACE............................................................................................................................. Î Î Î PART I. BIOGRAPHY Chapter I. EARLY YEARS IN MANTUA (1541/42-1582) ........................................... 2 I I . THE GRAZ PERIOD ( 1 5 8 2 - 1 5 9 0 ) ............................................................. 19 111. LATE YEARS IN MANTUA (1 5 9 1 -1 5 9 7 )..................................................... 45 PART I I . THE MASSES IV. BACKGROUND........................................................................................................ 69 The Santa Barbara Repertoire ................................................... 69 S o u rc e s ...................................................................................................... 80 V. INDICATORS OF PERFORMANCE PRACTICE ................................................. 86 Aspects of A1ternatim Practice and Disposition of Voices ............................................................ 86 Clefs, Ranges, and Transposition .......................................... 97 V I. POLYPHONIC METAMORPHOSIS OF PLAINSONG ....................................... 112 Cantus Firmi ........................................................................................ 112 Treatment of Cantus Firmus and Contrapuntal Techniques ........................................................ 116 V I I . GENERAL STYLE CHARACTERISTICS ......................................................... 149 R h y t h m ...................................................................................................... 149 C a d e n c e s ................................................................................................. 155 Treatment of Dissonance ................................................................. 166 Constituents of F o r m ...................................................................... I8l CONCLUSION.................................................................................................................... 190 APPENDIX A ..................................................................................................................... 193 APPENDIX B ..................................................................................................................... 198 BIBLIOGRAPHY................................................................................................................ 208 VOLUME 1 I (MUSIC) MlSSA IN DUPLICIBUS MAI OR I B U S ...................................................................... 1 Ml SSA IN FESTIS APOSTOLORUM........................................................................... 48 Ml SSA [IN FERIIS PER ANNUM] DIE MERCURII................................................. 82 MUSICAL APPENDIX ....................................................................................................... 91 X I LIST OF TABLES 1. Recompense for Key Musicians of the Graz Court Chapel, 1572-1590 27 2. Timeline of Mass Composers of Santa Barbara: Periods of Connection with Mantua ...................................... Ih 3 . Polyphonic Mass Repertoire of the Ducal Chapel o f Santa Barbara Based Upon the Mantuan Kyr ial e ........................... 75 4. Manuscript Sources of the Mantuan Masses of R o v ig o ....................................................................................................... 81 5 . Rovigo's Polyphonic Gloria Settings .......................................... 91 6. Rovigo's Polyphonic Credo Settings .......................................... 92 7 . Rovigo's Polyphonic Settings of Sanctus and Agnus Dei ........................................................................................................... 95 8. Clefs and Ranges in Rovigo's Mantuan Masses ....................... 99 9 . Missa Apostolorum: Comparison of Cantus Firmus Pi tc h - N a m e s ........................................................................................ 106 10. Chant Sources for Four Masses of the Mantuan Kyr i a l e .................................................................................................. 114 11. Final Plagal Cadence Formations ................................................... 157 12. Final Cadences in Mi ssa Die Mercurii ..................................... 159 XI I LIST OF ILLUSTRATIONS Plate 1. Innsbruck, T ir o le r Landesarchiv, H ofregistratur Reihe B, Fasz. 103.................................................................................... 37 2. M ilan, Biblioteca del Conservatorio, Fondo di S. Barbara, no. 256 (S.B. 166) f . 1 v ................................... 62 3. M ilan, Biblioteca del Conservatorio, Fondo di S. Barbara, no. 92 (S.B. 180) f . 21 v ..................................... 85 XI I I PART I BIOGRAPHY CHAPTER I EARLY YEARS IN MANTUA (1541/42-1582) Although his fam ily probably stemmed o r ig in a lly from the l i t t l e town of Rovigo in the state of Veneto, i t is a c e rta in ty that Francesco Rovigo was born in the c ity of Mantua. Contemporary publications of his music consistently refer to him as mantovanpl and documentary references to him frequently connect him with that c ity . Lacking any baptismal record, i t is impossible to establish the exact data of Rovigo’ s b irth . However, the Mantuan necroloqia states that he died on 7 October 1597 a t the age of 55 (see Chapter 111). Thus, a range of dates for his b irth may be figured as between October 1541 and 1542. W e know l i t t l e of his fam ily. The only reference to members of it appeared In a le tte r w ritte n by Rovigo in 1590, in which he mentions a dowry for one of his sisters (implying that he had more than one) and the existence of some re la tiv e s (p a re n ti) liv in g in Mantua. At the time of w ritin g Rovigo was fo rty -e ig h t or fo rty -n in e . Since he makes no mention of his parents in the le t t e r , it seems u n lik e ly that they were s t i l l liv in g at the time. ^The catalogue entry for his Madrigali a 5 Libro I (now lost) of the music lib ra ry of King Joao IV id e n tifie s the p rin t as "Di Francesco Ruuigo Mantovano;" See Appendix B, Lost Works. Rovigo’ s madrigal, "Misera che faro poi che mi moro," was printed in the 1588 c o lle c tio n , L'Amorosa caccia di diversi eccellentissim i musici manto- vani n a tiv i (see Chapter II and Appendix B, no. 18), the t i t l e of which indicates that he was native to Mantua. W e can only speculate on his early education and musical tra in in g . It was customary in the sixteenth century for boys below the age of puberty to sing the highest parts in church choirs, and many who would u ltim a te ly make a profession of music began in this way. i f Rovigo's f i r s t experience in music was as a promising young singer, probably he received his in it ia l tra in in g under the preceptors of one of the large churches of Mantua, possibly Sant' Andrea, San Francesco, or even the cathedral of San P ietro . At the time Rovigo was a boy of eight or nine (1550) the cathedral choir was under the d irectio n of Jachet of Mantua, who also served as choir preceptor.2 I t could be that Rovigo's tra in in g on the organ began when his voice changed, probably around 1555. The most accomplished organist in Mantua a t the time was Messer Girolomo de Adaldis, who had been active in the cathedral for a great many years.^ In 1550 Guglielmo Gonzaga had become Duke of Mantua, ushering in a period of close atten tio n to matters of re lig io n . Guglielmo, only a few years older than Rovigo, was also deeply interested in music and made a life lo n g study of composition. Over the years he took a per sonal, p a rtic ip a tiv e in terest in the music of both court and church. The close connection many Mantuan musicians had with both of these domains during the rule of Guglielmo was not unusual at the time. ^Pierre M. Tagmann, Archivalische Studien zur Musikpflege am Dorn von Mantua ( l 500-1627), Publikationen der Schweizerischen Musik- forschenden Gesel1s c h a ft, Serie 11, v o l. l4 (Bern: Haupt, 1967)» pp. 30 and 31. ^ I b id ., pp. 39» 40 and 44. However, the s k ill with which Guglielmo marshalled the talen ts of his various musicians was extraordinary in view of the scope of his primary re s p o n s ib ilitie s .^ Being deeply pious, Guglielmo's own leanings were strongly in the d irection of fostering newly composed sacred music. Thus, during his reign came the highpoint in the history of sacred music in Mantua, characterized by a huge project in which Rovigo would p a rtic ip a te ; the amassing of the special musical rep erto ire of the Ducal Chapel of Santa Barbara. Around 156O Duke Guglielmo conceived the idea of constructing a ducal church. A fte r his marriage to Leonora of Austria in 1561 his plan was strengthened by the habit they had of attending the Canonical Hours together "per rag ion di musica cantata (alche non bastava la p iccio la Chiesa di Santa Croce)."5 Construction on the chapel began on 30 April 1562^ on a design by the Mantuan a rc h ite c t, Giovanni B attista Bertani. Besides its intended use as a burial chapel fo r the Gonzaga fam ily, the b asilica also functioned d a ily in service to the court. The church was named in honor of the patron saint of the Gonzagas, Santa Barbara. Work was nearly completed in 1565, by which ^For the relationship between cathedral musicians and the court, see ib id . , p. 66. ^ Ip p o lito Donesmondi, Del 1 ' is to ria ecclesiastica di Mantova. 2 parts (Mantua: Osanna, 16 l 2-1616), 2 (1616): 201. ^ Ib id . Maria Bel 1 onei, A Prince of Mantua, trans. Stuart Hood (London: Weidenfeld and Nicolson, 1956), p . 1 states that the b a s ilic a was b u ilt to f u l f i l l a vow made by Guglielmo upon the b irth of his son, Vincenzo. However, this must be m ythical, since Vincenzo’ s b irth did not take place u n til September. time a f u ll chapter of ministers and o f f ic ia ls had been established in the church's c o n stitu tio n . The total complement included s ix ty -fo u r persons (including an organist and singers) headed by an Abbot and six d ig n ita r ie s .7 The f i r s t Abbot, Monsignor Bartolomeo Cavazzi Mantovano, took his post on 15 February 1565,^ the same month in which Giaches de Wert was f i r s t mentioned as maestro di cappella of Santa Barbara.9 For many years Duke Guglielmo would have to supplement the income of the chapel— at f i r s t his contribution was as much as 6,000 scudi annual 1y^ 0— a fact which helps to explain the lack of musicians' pay ro ll records for the chapel during the f i r s t eighteen to twenty years of its existence. The duke simply had to use singers from his court musical establishment to serve also in the chapel. The completion of the new chapel included the in s ta lla tio n of a tw elve-reg ister organ completed about 3 July 1565.^ ^ The instrument was b u ilt by the famous north Ita lia n organ builders, Graziadio and Costanzo A n t e g n a t i^ under the supervision of Girolamo Cavazzoni ^Donesmondi, Del 1 ' is to ria e c c le s ia s tic a , 2:209. 8 |b id .. 2:210. ^Carol MacClintock, Giaches de Wert (1535-1596): L ife and Works, MusÎcological Studies and Documents, no. 17 (Rome: American In s titu te of Musicology, 1966), p. 30. 1^Donesmondi, Del 1 ' is to ria e c c le s ia s tic a , 2:210. ^^Mantua, A rchivio di Stato, Archivio Gonzaga, Davari Busta 15; quoted p a r tia lly in P ierre M. Tagmann, "Girolamo Cavazzoni--Girolamo Mantovano. I d e n t i t a t s f r a g e n i n Arnold Geering zum 70. Geburtstag, ed. Victor Ravizza (Bern: Haupt, 1972), p. 150. ^^The Santa Barbara organ is lis te d in Costanzo Antegnati, L 'a rte organica (Brescia: Tebaldino, 1608; new ed. with German trans. by R. Lunelli and Paul Smets, Mainz: Rheingold, 1958), p. 58. (d'Urbîno). The h is to ria n , Donesmondi, describes the position of the organ in the foremost chapel on the right: Sopra le capelle p iccio le vi sono c o rrid o ri, & camere per vedere in Chiesa, in uno de quaii s p a tij e s itu ato 1'organo. Between 1565 and 1573 the records of the chapel and of the court give no d e fin ite clue as to the id e n tity of an o f f ic ia l organist in Santa Barbara. It is possible that Rovigo, at the age of twenty- three or twenty-four (1565), could have become the chapel's f i r s t organist, but there is no proof of th is . Girolamo de Adaldis, who had been replaced as cathedral organist in 1564,^5 is the only other lik e ly candidate. However, since he had served in the cathedral since 1521,^^ he would have been a very old man by the mid-1560s. Giaches de Wert was maestro di cappella from the beginning of musical a c tiv itie s in the new chapel, having taken over the courtly sacred music duties of G iu lio Bruschi. Bruschi, who had been in the service of the court for a great many years, was then given a ^^The s im ila r ity between the names Girolamo Cavazzoni and Girolamo de Adaldis has given rise to considerable confusion con cerning the extent o f Cavazzoni's actual work in Mantua. The issue and existin g documentation are thoroughly discussed in Tagmann, "Girolamo Cavazzoni— Girolamo Mantovano. I dent i ta ts fra g e n ." Docu ments (19 June, 3 July, 21 July, 23 August, and 17 October 1565) reveal that Cavazzoni took part in the in s ta lla tio n of the organ and acted as intermediary between the duke and Graziadio Antegnati (see pp. 149-150). Neither "Girolamo" is mentioned in Mantuan docu ments a fte r 1565. ^^Donesmondi, D e ll'is t o r ia e c c le s ia s tic a , 2:212. ^5jagmann, Archivalische Studien, p. 44. '6 | b i d . canonate in 1 5 6 5 probably awarded as a consolation for losing his post as maestro di cappella that year. Bruschi remained in the cappel1 a u n tiI at least 1567, a fte r which time no record of him rema in s .O th er favored musicians of the duke active in the chapel during the e arly years included Agostino Bonvicino (known from 1560 u n til 1576),^^ and the famous Brescian composer-teacher, Giovanni Contino, who was active in Mantua from time to time from I 56I to 1574, the year of his d e a t h . A l s o to be mentioned is Guglielmo T e s to ri, who had been active a t the cathedral of Padua and served in Santa 21 Barbara from about 1565 u n til about 1571. A Bui 1ete di Tesoria probably dating from 1566^^ shows the monthly p a y lis t as i t appeared ^ ^Mantua, A rchivio di Stato, Archivio Gonzaga, Davari Busta 15. See also Francis X. Haberl, "Das Archiv der Gonzaga in Mantua mit besonderer Rucksicht auf Giov. P ierlu ig i da P a le s trin a ," Ki rchenmusik- alisches Jahrbuch 1 (1886):34; and Pietro Canal, Del 1 a musica in Man tova: n o tiz ie t r a t t e principalmente dal 1'a rc h iv io Gonzaga (Venice: Presso la Segretaria del Reale Is titu to , I 88I ) , pp. 67- 68. ^^Canal, Del 1 a mus 1ca in Mantova, p. 68. ^9|b id . , p. 48; Tagmann, Archivalische Studien, p. 87. ^^Tagmann, A rchivali sche Studien, pp. 30-31 ; idem, "La cappella del maestri cantori della Basilica Palatina di Santa Barbara a Mantova (1565-163O ) Civil ta Mantovana 4 (19 69 /1 97 0 :3 79 . 91 Knud Jeppesen, "P ie rlu ig i da P alestrin a, Herzog Guglielmo Gonzaga und die neuegefundenen Mantovaner-Messen P a le strin a s," Acta Musicologica 25 (1953):146; Canal, Del 1 a musica in Mantova, p. 77. Although Jeppesen states that Testori was active in Padua u n til 1567, Canal reports p o s itiv e ly th at the singer had been at the court of Mantua since 1565 and c ite s a document from 7 August 1566 which men tions him. ^^Printed without a date in Antonio B e rto lo tti, Musici alia corte dei Gonzaga dal secolo XV al XVII1 (Milan: R ic o rd i, I 89O; reprinted Bologna: Forni, 1969) , p. 40. MacClintock, W ert. p. 30 id e n tifie s the document with the year I 566. at that time. Wert, as maestro di cappella is paid nine ducats. There follows a lis tin g of nine musici (singers) assigned three ducats each. This group consists of L iv io M a rtin e l1i , Guglielmo T e s to ri, Guglielmo Fordosio, Tassino Gallo, Claudio Borgogne, Agostino Bonvicino, Garoja Spagnolo, Antonio Bressano, and Don Giulio Bruschi " i l quale non leva piu le sue paghe."^3 The size and q u ality of this in it ia l musical establishment compares quite favorably with the cappella in la te r years. A fte r the chapel had become self-supporting in the 1580s the number of paid singers seldom exceeded seven, and eight was the maxi - mum.Among the singers appearing on the Builete di Tesor ia of 1566 we can id e n tify three who were also composers contributing to the polyphonic repertoire of the chapel: T e s to ri, Bonvicino, and Bruschi. With the presence of these men alongside the illu s trio u s Wert and Contino, Rovigo could c e rta in ly have availed himself of an enviable education in the tra d itio n of the Prima P r a ttic a . For his new b a s ilic a Duke Guglielmo conceived of a special litu rg y d iffe rin g in many respects from the Roman, since its calendar was formed around the life of the protectress of the house of Gonzaga, Saint Barbara. The duke personally supervised the w ritin g of a new Missal and Breviary for use in the chapel, which he submitted to Rome ^3since Bruschi had been awarded a canonate the year before, he th e re a fte r ceased to be paid as a singer d ire c tly from the court's privy purse. ^^Tagmann, "La cappella," p. 390. 8 for approval în 1568.^5 in the wake of the Council of Trent, which had ended in 1563, gaining sanction for a p rivate litu rg y might have been an arduous task. Nonetheless, through Duke Guglielmo's intense persistence the Missal and Breviary would u ltim a te ly receive papal approval under Gregory XIII in 1583. The duke also f e l t that new music in both canto piano and canto fiq u ra to was a necessary adjunct to his unique litu rg y . There fore, e ith e r he or the chapel musicians under his supervision set about assembling a singular body of plainsong. The chants were e ith e r newly composed or revised versions of the tra d itio n a l Roman litu rg y . In all, th is redaction would u ltim a te ly occupy the twenty volumes of Masses, Graduals, hymns, and antiphons which provide cantus firm i for most of the polyphonic repertoire of the ducal chapel. The f i r s t , and possibly most important volume of plainsong is the Kyr ia le ad usum Ecclesie Sancte Barbare. It comprises ten Mass o rd in aries, arranged with respect to the Santa Barbara calendar.^7 Of the fo r ty -s ix known a lte rn a t im polyphonic paraphrase Masses constructed on the Mantuan K y ria le , most were composed by musicians who Jeppesen, " P ie rlu ig i da P a le s trin a ," p. 137. ^^Mantua, Archivio Storico Diocesano, Fondo Santa Barbara, Libro di Coro I . ^^Jeppesen, " P ie rlu ig i da P a le s trin a ," pp. 138-42 discusses the Kyr ia le in re la tio n to tra d itio n a l Gregorian Chant; the polyphonic Mass reperto ire based upon the Kyriale is outlined on pp. 142-47. More information may be found in Chapter IV of the present paper. For musical excerpts from the K yriale, see the Appendix to vol. 2. were employed at some time in Santa Barbara or another church In Mantua. Rovigo, for example, wrote four of these Masses; Wert wrote s ix. Duke Guglielmo, who wrote three Masses him self, also commissioned Masses from musicians outside Mantua whom he admired. Paolo Isnardi, maestro di cappella at the Cathedral of Ferrara, wrote o n e ; a n d P alestrina, whom the duke would la te r try to obtain as his maestro di cappel1 a , was the largest contributor with nine Masses based upon the K y ria le . In 1570 Duke Guglielmo wished to groom a talented organist to furth er grace his palace church. Consequently, around the f i r s t part of June of that year "Franceschino" Rovigo was sent, at the duke’ s expense, to study in Venice under Claudio Merulo and other o rg a n is ts .^9 Chief among the "other organists" who might help to perfect Rovigo's talents would be Andrea G a b r ie li. Both Merulo and G abrieli were em ployed by the cathedral of San Marco at the time, Merulo as f i r s t organist and G abrieli as second. Gioseffo Zarlino was maestro di cappel1 a there and had been since 1565. The tra in in g Rovigo received ^^Jeppesen, " P ie rlu ig i da P a le s trin a ," p. 145 points ques- tio n in g ly to a Mi ssa Angelorum of isnardi in re la tio n to the Mi ssa in Semiduplicibus mi nor i bus of the K y ria le . However, the in c ip its of the movements of Isnardi*s Mass do not correspond to any of the plainsongs in the K y ria le . Thus, Isn ard i's single contribution to the special rep erto ire is his Mi ssa in Duplicibus minori bus. ^^Documents of 2 / May and 3 June 1570, quoted in Canal, Del la musica in Mantova, p. 37. These are not only the e a r lie s t archival evidence of Rovigo, but also the f i r s t mention of his Mantuan nick name, "Franceschino." The name, possibly an indication that he had been at court from an e a rly age, evidently stayed with him throughout his life tim e , for Monteverdi remembered him thus (see Chapter III). 10 in Venice was therefore roughly equivalent to that obtained by Giovanni G a b rie li, nephew and student of Andrea.30 The single surviving remnant showing the influence of the organ tra in in g under Merulo is Rovigo's keyboard toccata, copied many years la te r by Rudolfo Lasso into his Libro di p a rtitu ra et in ta v o la tu ra .3^ Rovigo's educational exp eri ences in Venice were undoubtedly broader than only organ tra in in g . The fact that in la te r years (15B5— ca. 1590) Ludovico Zacconi would seek out Rovigo for study and retain some of that knowledge in his P rattica di Music a , Part I (1592) suggests that part of Rovigo's education was obtained under Z arlin o . Rovigo's e a r lie r train in g had probably been under Mantuan musicians such as Wert. Now, under the guidance of Merulo, Andrea G a b rie li, and perhaps even Z arlin o , that firm foundation would be adorned and brought to fr u itio n by his gaining the knowledge and s k ills associated with Europe's most s c in t illa t in g musical s ty le , the Venetian School. Rovigo went to Venice at the age of twenty-eight or twenty- nine. He spent about two and one-half years of study there. During his absence from Mantua it is possible that the Ferrarese composer- organist, Paolo V irc h i, substituted in Santa B a r b a r a . 32 |n March 1573 the records of the Mantuan ducal chapel indicate not only Rovigo's 3^Egon Kenton, L ife and Works of Giovanni G a b rie li, Musico- logical Studies and Documents no. 16 (Rome: American In s titu te of Musicology, 1967), p. 42. 31 See Chapter II and Appendix B, no. 19. ^^The archives re fle c t his coming to Mantua as e arly as 13 A pril 1570. See MacClintock, Wert, p. 35; and Canal, Del la mus ica in Mantova, p. 75. 11 return but also his o f f ic ia l position as organist of Santa Barbara: . . . si canto il Vespro in canto fig u ra to , Veni Creator S p iritus e t c a n to ri- - Î c h î e r i c î!--seguirono q u elli inni composti dal maestro Mess. Francesco Organista.33 Rovigo's setting of Veni Creator Spiritus and his other Vesper music in canto fig u rato used in this service have been lo s t. However, some evidence of his music for the Divine O ffice at Santa Barbara has been preserved in the form of his Ad Tertiam Psalmus, Secundi Toni a 4 , a setting of the th ir d , fou rth, and f i f t h sections of Psalm 118 asso ciated with the Hour of Terce. Other surviving works which Rovigo contributed to the Santa Barbara reperto ire consist of a Magnificat C T e rti i Toni ] a4; a Passio secundum Lucam a5; and the four Masses: In Duplicibus maioribus a 5 , In Festis Apostolorum a 5 , In Dominicis diebus a5, and f i n F e riis per annum] Die Mercurii a5.^^ In connection with Rovigo's duties as organist of the ducal chapel its Ceremoniarium of 1568 is most in stru ctive in the chapter, "De Organorum M agistro," quoted here: De Orqanista. Admoneatur Organista ut in his prae- sertim solemnitatibus semper advenientem Abbatem in Capellam, sive pro Missa, sive pro Vesperis, cum pulsa- tione re c ip ia t, et guando cum paramentis e Capella discendit cum C apitulo, s im ilite r cum pulsatione d im ita t. At caveat ne cantilenas, aut a liq u id huiusmodi admisceat tandiuque ante Vesperas pulset, quandiu o ra v e rit, ad sedem accesserit, ac paramenta acceperit. Si aliquo ^^Mantua, A rchivio Storico Diocesamo, Fondo Santa Barbara, D iario del 1572 al l602 et altrî (Marzo 1573); quoted in Tagmann, "La cap p ella," p. 400, n. 63. ^^For fu ll bibliographical information on a ll these works, see Appendix A, nos. 1-4, 6, and 9-10. 12 casu în sede parandus esset, aut ante închoatlonem Pater Noster proTertîîs [? ] , et alîquantulum in sede q u ie v e rit, nisi pubiica temporis, sive Ecclesîae M isteria prohibèrent, nunquam debet pulsare, pro intonatione primi versus cantlci M aqnificat: Ad Matutinum Te Deum iaudamus: Ad versiculurn Te ergo quesumus famulis tu is e tc .: in Missa Et incarnatus est de S p îritu sancto e tc .: Anîmadvertat ad O ffe r- torîum, ne sic abbreviet, vel producat sonum, ut Abbas accelerare, vel tardar cogatur. Hoc etîam I n t e l l î - gendum este de communione. D i l i genter inquirat a Cer emon ia rio in Missa Sabbath i Sancti, et Sabbath i ante festum Penthecostes, quando Organo pulsantur, et quando s ile re debeant. Haec omnia praemissa sunt, ut unusquisque quind acturus s ît b re v îte r, ac compendiosè videre possit . . . .^5 (Concerning the O rganist. Let the organist be p a rtic u la rly advised in these solemn r it u a ls — e ith e r Mass or Vespers— always to usher the approaching Abbot into the chapel by playing. And when he [th e Abbot3 takes leave of the chapel with the paraments together with the chapter, the organist should likewise send him o ff with music. But [ l e t the o rg an is t] take care not to add the playing of [improvised] preludes36 or any thing of that sort before Vespers and during prayer, during seating, and when the paraments are received. [The organist] ought never to play i f , on another occasion, [the Abbot] has already taken his seat, or before the beginning of the Pater Noster at Terce [ ? ] , or when [th e Abbot] remains In his chair, excepting [o f course] when general custom or the Mysteries of the Church take precedence. Neither [should he p lay] during the intonation of the f i r s t verse of the MaqnÎ - fic a t can ticle; at Matins, the Te Deum Laudamus; for 35Mantua, Archivio Storico Diocesano, Fondo Santa Barbara, Ceremoniarium, pp. 44 and 45; printed in Tagmann, "La cappella," p. 400, n . , 73. 3^The word "cantilenas" is problematical in this context, since i t refers to a form of organ playing. In Mantua, as in Venice, the organist was undoubtedly expected to be able to improvise supra 1ibrum and in the manner of a rîcercar^ See Francesco Cafft, Storia d ella mus i ca sacra riel 1 a gia cappella Ducale dî S. Marco in Venezia dal 1318 al 1797 (Venice, 1854-55), p. 28; and Tagmann, Arch I va 1i sche Stud i en, p . 71. 13 [ i t s ] vers ic ie Te ergo quaesumus famuli s t u i s , e tc .; [nor] in the Mass, Et incarnatus est de S p îritu sancto, e tc . Let him rather turn his atten tio n to the O ffe r tory, but le t him neither shorten nor prolong the music so that the Abbot is forced to hurry or slow down. This also should be understood regarding the Communion. [The organist] should d ilig e n tly consult the Cermonia- rium as to when the organ is played and when is ought to be s ile n t in the Mass for Holy Saturday and the Saturday before the Feast of Pentecost. A ll these things have been set forth so that anyone can see, b r ie fly or in a shortened version, what he should perform . . . .) The rigors of Rovigo's work in the chapel were also reflected la te r in a le tte r dated 27 August 1578 from Duke Guglielmo,^^ in which he mentions his organist "che sona d*i e notte frequentemente" and who is paid 100 scudi yearly, the same as the maestro di cappella. The duke complains of having to contribute the salaries of these two musicians as well as those of the eight singers in the cappella. Rovigo's name appears on the court salary roles from 1577 and 1578.^^ By this time his reputation had begun to spread abroad. In 1579 Otto Servatius R o rif, the son of Innsbruck court organist, was sent to Mantua to study with him. Expenses for the youth were paid by his patron. Archduke Ferdinand of Tyrol. Instruction lasted u n til 1582, the year Rovigo went to Graz. That year Otto Servatius returned ^^Mantua, Archivio di Stato, Archivio Gonzaga, Busta 2986; p a r t ia lly quoted in Jeppesen, "P ie rlu ig i da P a le s trin a ," p. l43, n. 15; see also Pierre M. Tagmann, "The Palace Church of Santa Barbara in Mantua, and Monteverdi's Relation to Its L itu rg y ," in Festival Essays for Pauline Alderman, ed. Burton L. Karson (Provo, Utah: Brigham Young U niversity Press, 1976), p. 56. 38Tagmann, "La cap p ella," p. 393. 14 to Innsbruck to continue his study under his fa th e r .39 in the mean time, Rovigo had become a musical intermediary between the fa th e r, Servatius R o rif, and Duke Guglielmo. A le tt e r from R orif to the duke dated 5 October 1581^^ reveals that the Innsbruck organist had sent a regal to the ducal organist but had not yet been paid for i t . The instrument, valued at t h ir t y scudi, was evidently intended for the duke, but somehow Guglielmo had overlooked paying fo r his new regal. Besides his reputation as a performer, Rovigo began to make a name for himself in the 1580s as a madrigal composer. Most p u b li cations of his work would appear a fte r leaving Mantua (1582). However, before seeking to b etter his employment, i t Is possible that he already had one publication. This would be the now-lost Madrigali a 5 v o c i, Libro I .^1 The la st document re fle c tin g Rovigo's presence in Mantua in his e a rly years comes from about 1581. It is a salary l i s t which shows what must have been approximately three months pay for Rovigo: Mess. Francesco Rovigo musico Due. 19-2-6.42 39v/alter Senn, Musik und Theater am Hof zu Innsbruck: Geschichte der Hofkapelle vom 15. Jahrhundert bis zu deren Auflosung im Jahre 1748 (Innsbruck: Osterreichische V e rla g a n s ta lt, 1954), p. 92; Ernst Schmid, Musik an den Schwabischen Zollernhofen der Renaissance (Kassel: B arenreiter, 1962), p. 371. ^^Printed in B e rto lo tti, Mus i c i , p. 66. ^IVenice: Gardano, 1581? See information in Appendix B, "Lost Works." ^^Mantua, Archivio di Stato, Archivio Gonzaga, Busta 3146 (H .11 1.1), f . 49v. Although the p ay lis t bears no date, Tagmann has shown that i t comes from 1581 or possibly 1580. 15 The exact circumstances under which Rovigo l e f t Mantua in e arly 1582 to spend time in Graz are not known. No document expressly granting the leave of absence has survived. W e learn of his re lo cation only from le tte rs w ritte n the following year (see below), in which an attempt would be made to persuade Rovigo to re p a tria te . The amicable relationship between the organist and the ducal fam ily at the time of his departure is shown by this attempt and its r e la tiv e ly cordial tone. While we cannot trace with any c e rta in ty e ith e r Rovigo's motives for requesting leave or the duke's for consenting, there were at the time two obvious sets of circumstances which may be examined for p o s s ib ilitie s : 1. Since the marriage of Vincenzo's s is te r, Margherita, to Duke Alfonso II d'Este of Ferrara in 1579, the prince had increased the frequency of his v is its to that court, often taking with him a group of Mantuan m u s i c i a n s . T h e inclusion of Rovigo's madrigal, "Liete le muse a l 'ombra" ^ in the Ferrarese-Mantuan c o lle c tio n , 11 lauro verde (1583),^^ indicates that he was well known in Ferrara, undoubtedly through these v is it s . He had to leave his duties in Santa Barbara in order to accompany the prince on these journeys, which sometimes lasted longer than Duke Guglielmo lik e d . This s itu a tio n , s'ymbolic of the growing r i f t between Guglielmo and V incenzo,^5 ^^MacClintock, W ert, p. 38. ^^See Chapter II and Appendix B, no. 14. ^^The discontent between father and son was increased by the unsuccessful marriage between Vincenzo and Margherita Farnese in 1581, 16 placed Rovigo in the impossible s itu a tio n of trying to please two masters. Rovigo's livelihood was earned in Santa Barbara as the duke's employee. Yet the pleasures and rewards to be gained in Ferrara were tempting. Rovigo could not ris k insulting Vicenzo, who he knew would someday become duke. Rovigo undoubtedly f e l t the squeeze more than Wert, who was caught in the same s itu a tio n . However, Wert's reputa tion was already well established; his services would always be in demand. Rovigo, on the other hand, was s t i l l searching for general recognition and could i l l afford to become a pawn in a growing fam ily dispute. 2. The duchess of Mantua, Leonora, was the s is te r of Archduke Karl of Inner A u stria, whose residence was at Graz. Through her Duke Guglielmo and Archduke Karl ostensibly enjoyed a relationship of mutual tru s t, one in which a servant might e a s ily be exchanged from time to time. However, Duke Guglielmo may not have known that in the second h a lf of 1581 the archduke's new HofkapelImei s te r . Simon Gatto, began conscientiously building a new cappel1 a fo r the court chapel, con s is tin g p rin c ip a lly of Venetian or Venetian-trained musicians. Gatto could e a s ily have known of Rovigo through his connections in Venice, where both of them had studied, or through the Innsbruck court organist, Servatius R o rif. I f Rovigo considered that the time was rig h t to move from Mantua, then Graz would be a favorable place to go. and by the complicated arrangements necessary to annul the marriage. For a fu ll n arrativ e of th is episode, see B ellonci's chapter, "M argherita," in A Prince of Mantua, pp. 34-70. 17 His background and talen ts would be welcomed there, and the fam ily connections between the Gonzagas and the Habsburgs would give Rovigo the entree he needed for a good s ta rt at the court of Graz. i f Rovigo's e arly years in Mantua leave the researcher with more lacunae than evidence, the next decade w ill set a more equitable balance. The richness of documentation from the period Rovigo spent at Graz and immediately th e re a fte r characterizes these years as the apex of his career as an organist and a composer. 18 CHAPTER il THE GRAZ PERIOD (1582-1590) When Rovigo arrived at Graz he found a musical establishment in the court chapel which had been active for eighteen years. In 1564, upon the death of Austrian Emperor Ferdinand I, Inner Austria was in h erited by his second son. Archduke Karl Francis (Karl I I ) . Making his residence at Graz, Karl founded his court and court chapel in the same year. At f i r s t the size of the chapel's musical force was small and consisted c h ie fly of northern musicians, some of whom had been drawn from the disbanded Viennese court chapel of Emperor Ferdinand 1.1 The e a rlie s t Graz organization was headed by Johannes de Cleve as Hof kapel Imeister and also included Jacob von Brouk, Jean de Chaynee, Johann Deslins, Lambert de Sayve, and three boys.2 The court's musical establishment quickly grew in size; the salary role of 1567 re fle c ts a Hofkapel1 meister (Johannes de Cleve), an organist (Abraham Strauss), 1 Helmut Federhofer, "Matthia Ferrabosco," Musica D isciplina 7 (1953):205. ^Wolfgang Suppan, ed., Steierisches Musiklexicon, s.v. "Graz"; Helmut Federhofer, Musikpflege und Musiker am Grazer Habsburgerhof der Erzherzoqe Karl und Ferdinand von Innerosterreich (1564-1619) (Mainz: Schott, 1967) , p. 24. 19 fifte e n paid singers, and ten boys X An Obri ster mus i eus of in stru mentalists (who f e ll under the ju ris d ic tio n of the stable) is lis ted separately: Annibale Padovano. Formerly f i r s t organist at San Marco in Venice, Padovano had been connected with Graz since 1565 as "Organist vnd Musi eus."4 In 1570 Annibale Padovano became chapelmaster and ushered in a period of twenty years in which the chapel would be populated with ever-increasing numbers of Venetian-trained Ita lia n singers, in stru m entalists, and composers, including Francesco Rovigo. Beginning with Padovano, undoubtedly the most renowned musical personage in the e n tire h isto ry of K arl's chapel, a ll chapelmasters at Graz would be It a lia n , a fa c t which re fle c ts the late Renaissance trend away from Netherlanders in favor of Ita lia n musicians. Under Padovano the number of chapel singers increased to twenty-two in 1572, but by 1574 the number had dwindled to ten, and one of the chaplains, Don Monbrianus Gal lus Venetus, was compensated a l i t t l e extra "von wegen der Orgl a l 5 a i n Zuepuess [ s ic ] ." ^ Padovano died in service on 15 March 1575, and the court chapel's state of ^Munich, Bayerisches Hauptstaatsarchiv, Abt. 1., Allgemeines StaatsarchiV, Ausw'artige Staaten, Osterreich L it . Nr. I, Bd. 5, f . 277 f f . ; printed in Federhofer, Musik p fle g e , pp. 251-52. 4pederhofer, Musik p f1ege, p. 110. ^Munich, Bayerisches Hauptstaatsarchiv, Abt. I l l , Geheimes Hausarchiv, Akt 1712; Vienna Haus-, Hof- und Staatsarchiv, Hofstaats- verwaltungen von M itgliedern des Kaiserhauses 1, Instructionen Erzherzog Karls, f . 176 f f . Both Hofstaaten 1572 and 1574 printed in Federhofer, Mus ik p f1ege, pp. 253-57* 20 decline at the time was re flected by the fa c t that a new Hofkapel1 - meister was not appointed for more than six years. in the intervening period the management of the small chapel group was taken over by Dionys Fabri, a singer who had worked in the chapel since at least 1565.^ On 1 August I 58I the permanent appointment of new chapelmaster went to Simon Gatto, trombonist since 15&5 and Obr is te r mus i eus (1577), who had been mentioned only once in the salary roles (1579) as a singer in the chapel.^ Gatto's tenure, lasting u n til the chapel was disbanded in 1590, was characterized by an intensive Ita lia n iz a tio n of the personnel and musical s ty le , p a rtic u la rly in the d irectio n of Venetian ta s te . The organist at the time of Gatto's appointment was Annibale P e rin i, possibly Padovano’ s nephew, who had been brought from Venice as a singer around 1575 and was made organist in 1579*^ With the appointment of Rovigo as f i r s t organist in 1582 a more gen uinely Venetian polychoral performance practice would be made possible. From a mere four paid singers in 1579^ Gatto increased the vocal forces to twelve in mid-1582.1*^ He brought fiv e singers to the chapel ^Federhofer, Musik p f1ege, pp. 73-74. 7 Ib id ., pp. 80 and 272. ^ Ibid.. pp. 116-117. 9 1 bid., pp. 274-275. I^Vienna, Haus-, Hof- und Staatsarchiv, Innerosterreichische Hofkammerakt 2; printed in Federhofer, "Matthia Ferrabosco," pp. 227- 228. 21 from Venice in 1584, but from 1587 to Archduke K arl's death in 1590 the number of paid singers seems to have remained at fo u rte e n .11 It must be remembered, however, that the highest musical parts were sung by boys, whose names, as usual, do not fig u re in the salary lis ts from these years. In 1567, when the paid singers had numbered f ifte e n , there were ten boys in addition (see above). I f this proportion remained e s s e n tia lly the same in la te r years, i t is lik e ly that the total singing force active during the years Rovigo spent at Graz numbered around tw en ty-three.1^ Although Graz had been a Protestant stronghold before 1564, Archduke Karl held fas t to Catholicism, and the music of his chapel emulated two of the most fashionable centers to Catholic Church music in the la te sixteenth century: San Marco in Venice and the court chapel of Bavaria in Munich. K a rl' s preference for the Venetian style stemmed not only from the geographical proximity of Graz to Venice but undoubtedly also from the influence of a tour he had made in 1569 from Madrid through Tuscany, northern It a ly , and f in a lly Venice, where he had been honored by a madrigal by Andrea G a b r i e l i , 13 The following year Karl had found an opportunity to foster the Venetian llv ie n n a, Haus-, Hof- und Staatsarchiv, Obersthofmeisteramt- sakten, Sondrreihe 183; Hofstaaten 1587 and 1590 are printed in Federhofer, Mus ik p f1ege, pp. 257-62. 1^The singing forces of the Innsbruck Hofkapel1e in 1585 con sisted of fifte e n paid singers and sixteen Kapel1knaben; see Senn, Musik und Theater, p. 362. 13pederhofer, Mus ik p f1ege, pp. 27-28. 22 s ty le at home by appointing Padovano as his chapelmaster. Connections with the Bavarian court chapel in Munich flourished d ire c tly through Archduchess Maria, w ife of Karl and s is te r of Duke Wilhelm V of Bavaria. The liv e ly w ritten correspondence between Maria and Wilhelm often touched upon music and the names of musicians from both chapels. Further stimulus from Bavaria was provided on specific occasions, such as Wilhelm’ s v i s i t in 1572, a re su lt of which was a group of monetary rewards granted by Wilhelm to several Graz musicians.1^ It followed, then, that the music of Orlando di Lasso, magister capel1ae a t the court of Bavaria, should become a d is tin c t influence at Graz. This tendency was evidenced esp ecially in the numerous Parody Masses and Magnificats w ritte n for use at Graz. Thus, the musical tastes in the Graz court chapel at the time Rovigo arrived and throughout the 1580s answered the s t y lis t i c preferences of both Archduke Karl and Archduchess Maria. I t is precisely the coordination and sometimes fusion of Venetian and Bavarian musical practices which provide the sacred music of this chapel, including the contributions of Rovigo, with its most s ig n ific a n t points of in t e r e s t .^5 Hellmut Federhofer, the chief musical researcher in Graz, also a ttrib u te s considerable and lasting s t y lis t ic influence to the music 14 Ib id . , p. 23, n. 6. ^Ssacred compositions by Rovigo assignable to his Graz period include: Missa super "Susanna un giour" al2; Magnificat super "Venus, du und dein K indt," Primi Toni a6; Magnificat super "Benedicta es coelorum reqina" a6; the two L itan ia e ; and the motet, Laudate Dominum in Sanctis eius a8. 23 of Mantua, as imparted through Rovigo: Neben Venedig gewannen vor allem die Hofe in München durch die engen Beziehungen der Erzherzogln Maria zu Orlando di Lasso und in Mantua durch Francesco Rovigo kunstlerischen E in fluss75, wie uberhaupt die Hofmusik Karls sich im wesentlichen rezeptiv v e r h ie lt J ^ 75Aus Mantua liess sich Maria ein Jahr nach Karls Ableben zwei Sanger, unter Ihnen einen A ltis te n , kommen; Hurter Bd 2, 350. The existence of Rovigo’ s influence upon court music in Graz is unde n iab le. However, the degree to which th is influence is a ctu ally Mantuan and the type of music i t applied to remains open to discussion Secular vocal music by Rovigo published during this period displays an e s s e n tia lly u n ified s ty le , regardless of its place of publication: Munich, Venice, or Ferrara. It partakes of the fashionable madrigal directions of Mantua and other north Ita lia n centers; to that degree i t is "Mantuan." On the other hand, Rovigo’ s sacred vocal music of the same period, while retaining a few style c h a racteristics of the rather conservative Santa Barbara re p erto ire , d iffe re d from it in numerous essen tials. Rovigo seems to have exerted in f in it e ly more e f f o r t to s ty le his works with Venetian and Bavarian touches than he did in attempting to retain aspects of his Mantuan sacred style while at Graz. The opportunity afforded Rovigo to f u lly u t i l i z e his progressive Venetian tra in in g must have been g ra tify in g when he settled in Graz in the e a rly months of 1582. ^^ Ib id . , p. 50. 24 Rovigo’ s o f f ic ia l entry into service at the Graz court took place on 1 May 1582, as may be seen from an order for his yearly issue of liv e ry and his in it ia l entry on the court payroll: Organist Franci scus Roui go is t von eingang des ersten May des zwayundachtzigsten Jahs, zu der F r l . D r l . Organ!sten, neben der ordinari Hofbesoldung, auch mit ainer ja h rlic h en HofClaidung inhalf o rd i- nanz, aufgenomen w ordenJ7 Although he was o f f i c i a l l y t i t l e d "der Fr. D rl. Organ!sten," Rovigo’ s name does not appear on o f f ic ia l chapel records during the f i r s t eight months of work at Graz. Chapel pay lis ts for the periods "vom ersten tag Mai bis den letzten August! . . ." and "vom ersten September bis zu Ennd des lesten Dezember a llé s des 82. Jahrs"^^ make no mention of Rovigo but do l i s t payments to Annibale Perini as organist. However, these are not o f f ic ia l lis ts of the e n tire H ofstaat, and the vastly incongruous amounts paid out (e .g ., Simon Gatto, Kapellmeister = 20 f l . ; Annibale P e rin i, Organist = 52 f 1. 6 K r.) point to the proba b i l i t y that these simply record the payment of arrears owed to the musicians from a time before Rovigo’ s entry into service. One furth er l i s t of "Ordinary Hofbesold: vnd Claidungen zu endt des p 5 ] 8 2 . Jahrs" appears to bring the court accounts up to date at the end of the year but makes no mention of e ith e r Perini or Rovigo among the payees. Then, on a p a rtia l l i s t of chapel personnel dated January 1583 ^7Qraz, LandesarchiV, Vormerkbuch 1577-1584, f . 34; printed in Federhofer, Mus ik p f1ege, p. 127. ^8\/ienna, Haus-, Hof- und Staatsarchiv, innerosterreichische Hofkammerakt 2; transcribed in Federhofer, "Matthia Ferrabosco," pp. 226-28. 25 f i f t y flo rin s are payed "Dem New aufgenomnen O r g a n i s t e n ^ When reckoned against two la te r salary r o lls , th is amounts to two months of Rovigo’ s pay. Surviving salary ro lls for Archduke K a rl’ s complete Hofstaat are found to be dated at infrequent in te rv a ls . Only two are from Rovigo’ s time at Graz, those of 1587 and 1590, but they both reveal the unusually high monthly salary and benefits commanded by the organ ist-composer: Francisco Rouigo, monatlich 25 f 1. Sein Speiss zu Hof vnnd Herberg fre i^ ^ The exact value which the Archduke placed upon Rovigo’ s presence can b etter be appreciated by comparing his salary and benefits with those of other important musicians of the chapel. Table 1 shows a compara tiv e history of recompense for these key musicians in th e ir respective pos i t ions. It may be observed that although Simon Gatto, chapelmaster, was also given 25 flo rin s monthly, fiv e of i t was intended for a servant who worked in an o f f ic ia l capacity. Annibale P e rin i, second organist a fte r the a rriv a l of Rovigo, had to be s a tis fie d w ith l i t t l e more than a w ell-p aid singer. By contrast, Rovigo was the highest- paid musician in the chapel during his own tenure at Graz, and only the ^^Vienna, Haus-, Hof- und Staatsarchiv, Innerosterreichische Hofkammerakt 2; both records printed in Federhofer, Musik p f1 age, pp. 275-77. 20vienna, Haus-, Hof- und Staatsarchiv, Obersthofmeisteramt- sakten, Sonderreihe, 183; printed in Federhofer, Mus 1kp f1ege, pp. 257- 62; and idem, "Matthia Ferrabosco," pp. 228-32. 26 in "O "O T3 4-> L L L « — 0 + j 0 4-1 0 1 4 - 0 c 0 C 0 (D JD 0 J CI 0 sn C > > (U - a L *o L _ T3 00 c 0 c 0 C 0 in 0 m 0 !_ < u E L E L E S I 0 0 0 0 0 +J 0 4 - 0 M - 0 0 L L L o 0 _ 0 _ 0 e n 0 14- 0 1 4 - 0 L T V L L L '— L l L A L l LA iL CN • UA UJ a . < 3 ; 0 1 — . a l (Ü s_ ZD o_ « 0 L 0 > - 0 p — m N _ c 0 < 4J • • • CA • • • • • • • • • • • • • • £ 3 C c 0 0 q - q - M - . 14- <+- y - L l- L|_ L|- LÎ- 14- 14- L I L|- C^ - L|_ <4- Z <4- ÜJ LT\ C N l LA C M 0 LA lO C M 0 LA \ 0 LA 0 l a l D -d - o r p — , — CA p — C M C M C M C M — C M C M — p — h - U - 0 tn 1 I 1 0 z u < 0 1 0 I I in « c in C c 0 0 to in 1 0 in 1 0 — •— 0 — 1 0 • — JD — (D > 3 > 3 0 cn c , — 0 cn c 0 cn c 0 CO E 0 0 1 0 1 + j in L» 1 4-» *— • — ■ L 3 fD - 0 L ■O — L» > L in L» > L 4 -1 > L L Z Z fD ■ L » 1 0 0 1 0 0 0 0 0 0 0 1 0 0 0 0 CL CO CL 0 to Q C CL 0 to cm CL to c m CL L l > - 1 1 I LU • « « • « # « « « « « « « • « < < 1 < Z I ( / ) L l < - 3 t o L l < 1 C O L l < Z c m 0 u . LU C O z LU L» -M Q . in in in in z L L L L L L 4-> 4J L L 4J 4J L 0 C 0 0 0 in 0 c c 0 0 in m 0 0 in in 0 0 0 ■ M cn ■ M L 0 0 cn 4J • — •— c n 4-4 cn LU •— in c in 0 m cn c n c in c c c m c c c C C L -tJ fD + J •— 0 D cn 0 L L # — 0 0 0 •— 0 0 0 •— «— E in CO E in c E 0 0 CO E c n cn to E c n cn CO in , — •— L L r — 5_ L 0 Q) c +J 0 c CO 0 1 — II— 1 ■ M 0 0 0 4-) 0 0 0 4-4 CL o_ 0 in CL 0 Q - + J T3 m Q . in Q . in 0 cn L 0 m w — 0 in c 0 4-» - 3 L 0 4-4 - 0 L _ c !_ J Z L w — S I — C M •— .C in c «— S I in c «— 0 0 LL 0 0 < 0 1 _ _ ti_ _ 1 L l 0 . — C M L l CD ' — C M L l L C M - T C M A*. 0 fD 00 00 cni 0 LA LA LA LA LA > - 2 7 famous Padovano had exceeded him in the e n tire histo ry of K arl's court chapel. I t is possible that Rovigo's rate of pay was not yet fixed permanently in 1582, the year of his authorized leave of absence from Mantua. However, in the course of that year a s itu a tio n arose which, although displeasing to both Karl and Maria, did g re atly enhance Rovigo's stature and value a t the court of Graz. At some time during a v is it to Graz in 1582 Duke Wilhelm of Bavaria must have entered into negotiations with Rovigo with the idea of obtaining the organist for his own court. Rovigo's la te r attempt ( 1591) to seek a position in Munich would indicate that he was at least a w illin g p a rtic ip a n t at this time, i f not the in s tig a to r. I t is even arguable that a position at the ducal court of Bavaria was Rovigo's actual objective when he l e f t Ita ly to travel north. In any case, neither Archduke Karl nor Wi1 h e lm '^ s is t e r , Maria, looked kindly upon the s itu a tio n , and Rovigo's com plicity in i t was viewed as an act of insolence. Duke Wilhelm f i n a l l y had to back down, but not without an exchange of correspondence with his s is te r discussing the problem. Two of Maria's le tte rs from la te in the year touch on the s itu a tio n . The e a r lie r one, dated 27 November, hints that Rovigo had already begun his personal service to the archducal fam ily, the musical instruction of the children: So v il den Franzisco b e d rie ft, hab ichs meinen gemachell a llé s wissen 1 assen; sein 1îeb lasst dich fre in d lic h griessen vnnd empudt (en tb îetet) d ie r, das sein 1îeb gar z irn Auf in duett, das er seiner 1ieb die handt dat Auf geben h a tt, er welle seiner 1ieb dîener sein, das in doch mein gemachell zuuor n it kenndt hab, er habs von 28 îhm selbs den, vnnd i t z t wolle er An A lle vrsachzweck; den die vrsachen die er f i r wenndt, da hab sein schon geschrieben; so gjebt er f i e r , er sey s te tts krannck; das is t auch n it war, den er nie krannk is t gewest, seider hie 1st; sein lie b we is noch n i t , wies mit im sten w irdt; er is t noch h ie . Aber sein lie b b it dich fr e in d tlic h , im f a ll er noch week w ierd t, du welst in von seiner lie b wegen n it auf nemen; w ei1 er Aus lauder s te tt (Trotz) von seiner lie b week w il l; ich b it dich, mein her brueder, hab mi r nix v ir v b e ll, das ich d ier geschrieben hab von seinndtwegen; den ich habs vonns besten wegen; den dan mein gemachell gar vnlustig vber den francisco ist.^^ In M aria’ s second l e t t e r , dated 16 December, the e n tire matter is brought to a close: . . . die 2 schreiben, die du mi r den has des francisco halber, hab ich meinen gemachel schon lessen lassen; ich hab d ir schon zuuor geschreiben vnnd mein gema- hell . . .22 Rovigo's year of leave from Mantua was over in e arly 1583. A fte r he had been overdue for some months pressure to return home was applied. In a le t t e r of 28 July 1583 Prince Vincenzo asks Muzio Gonzaga to s o lic it Rovigo's return to M antua.^3 The le t t e r communi cates th a t Vincenzo had some knowledge of Rovigo's f l i r t a t i o n with ^^Munich, Bayerisches Hauptstaatsarchiv Abt. I l l , Geheimes Hausarchiv, Korrespondenzakt 606/V; printed in Bertha Antonia Wallner, Musikalische Denkmaler der Steinatzkunst des 16. u. 17. Jahrhunderts nebst Beitraqen zur Musikpflege dieser Z e it (Munich: Lentnersche Hofbuchhandlung, 1912), pp. 98-99. A comparison of W allner's text with a photocopy from the Geheimes Hausarchiv discloses numerous e d i to r ia l additions mostly consisting of punctuation and words added for modern i n t e l l i g i b i l i t y . ^^Munich, Bayerisches Hauptstaatsarchiv Abt. I l l , Geheimes Hausarchiv, Korrespondenzakt 606/V; printed in Wallner, Mus i kali sche Denkmaler. p. 99. ^ 3 B e rto lo tti, Mus i c i . p. 57. 29 the Bavarian court the year before, and contains an express order to re p a tria te . Rovigo was soon informed of th is , for on 15 August he addressed his own reply to Vincenzo. In i t the organist p etitio ns the prince to obtain from Duke Guglielmo an extension to his leave of absence. Rovigo states that he wishes to await an opportunity to leave the Archduke's service peaceably and without appearing incon stant. By caviling Rovigo attempts to excuse himself for already overstaying his leave. He argues that he o rig in a lly had been given permi ss ion . . . di stare fuori di Mantova per qualche anno, e che non erano passati anni, ma solo alcuni mesi.^4 No fu rth e r attempt seems to have been made to bring Rovigo back to Mantua, freeing him to continue his long and lu crative stay at Graz.25 The year 1583 was also that of the e a rlie s t surviving pub lished composition by Rovigo. The madrigal, "Liete le muse a l 'ombra" a 6 v o c i, undoubtedly harvested from his p rio r years in Mantua, was printed in the celebrated c o lle c tio n , 11 1auro verde (Ferrara: Bald in i ) . The book, which would be reprinted repeated!y , featured the works of both Ferrarese and Mantuan composers. Rovigo’ s madrigal was to become probably his most successful secular creation, as it was la te r reprinted in the c o lle c tio n , Fiori del qiardino (Nuremberg: 24 Canal, La musica in Mantova, p. 72. Robert Eitner points only to a better salary as Rovigo's reason fo r remaining at Graz; see Q.uel len-Lexicon. 8:3^2. This has become the popular view; however, the constant a llu re of the Bavarian court must not be overlooked. 30 Kaufman, 1597), copied into MS s c o re ,26 and arranged for the lute in Johann Rude*s Flores musicae (Heidelberg: Voegelin, 16 0 0 ). A lfred Einstein has singled out th is madrigal fo r p a rtic u la r p r a is e . 27 B e rto lo tti assigns a date of 1583 also to the f i r s t e d itio n of the P a rtittu ra del le canzoni di suonare a quattro & a o tto in which Rovigo collaborated with Ruggier Trofeo.^^ In the following year appeared Lodovlco T o r ti's Secondo lib ro del le canzoni a tre voci (Venice: Vincenzi & Amadino compagni), a vocal collectio n containing one short work by a "G iovanni" Rovigo: "Tutta sarests bel la ." There is no other h is to ric a l evidence of a Giovanni Rovigo. The c o llec tio n also contains two pieces by Matthia Ferrabosco, who was with Rovigo at Graz at the time of publication. Circumstantial evidence therefore points to the p ro b a b ility that "Giovanni" was a p rin te r's erro r and that the l i t t l e canzona was a ctu ally the work of our Francesco. The single piece of archival evidence of Rovigo's presence in Graz during the year 1584 is a note granting him some wood from the palace supplies in order to heat his room: . . . Nachdem Ir F. D. deroselben Organisten Franciskhen Ruigo die n o ttu rft holz, auf einhaizung seines losament ^^New York Public Library, Orexel 4302 ("Sambrooke" MS, English p a rtitu ra of 1609-19). 27A1fred Einstein, "Ita lie n is c h e Musik und Musiker am Kaiser- hof und an den erzherzoglichen Hofen in Innsbruck und Graz," Studlen zur Musikwissenschaft, v o l. 21 (Vienna: Akademische Druck- und V erlagsan stalt, 193^), pp. 32-33. ^ ^ B e rto lo tti, M usici, p. 63. For fu rth e r information on Trofeo, see Chapter I I I . 31 Zimers g [n a d ig ]ist b e w îlîlg haben, dass derowegen . . , die Gammer . . . notwendige Verordnung thuen W e l l e . . . 12. Dezember 1584.29 That Rovigo maintained some contact with the court of Bavaria or its musicians during these years cannot be denied. The strongest evidence of this rests in musical sources. In his Libro di p a rtitu ra et intavolatura d ' instrumento (ca. I 6OO) Rudolfo di Lasso placed a keyboard toccata by Rovigo as the f i r s t work. Moreover, a prestigious book of madrigals published in Munich in 1585 included two of Rovigo's settin g s. This was the famous c o lle c tio n , Sdegnosi a rd o r i, published by Adam Berg, in which composers such as de Monte, Ascanio, Regnart, Ignegneri, Porta, Orlando di Lasso, and his sons, Rudolfo and Ferdando, a ll contributed settings of a single ly ric by G. B. Guarini, "Ardo s i, ma non t'am o." Besides Rovigo, the only composers represented by two settings are Orlando di Lasso and Gioseffo Ascanio. While the f i r s t of Rovigo's settings is not especially unusual, the second appears to be designedly progressive, displaying a declamatory style that presages the expressive means of the coming Seconda P r a ttlc a . The year 1585 brought to Graz an e cc le sia s tic a l musician who would in a few years become a well-known musical theorist: Ludovico Zacconi. Although Zacconi had studied in Mantua with Ippolito Baccusi^^ in 1583, he could not have made the acquaintance of Rovigo 29craz, Landesarchiv, Hofkammerakten 1584— X II- - 5 ; printed in Federhofer, Musikpflege, p. 127. ^^For Bacussi's a c t iv it ie s at the Mantuan cathedral, see Tagmann, Archivalische Studien, pp. 21-22 et passim. 32 before his a rriv a l in Graz which was in early July 1585. Between that year and 155)0 Zacconi served in the chapel as a Tenor and studied theology with the Jesuit fath ers. During this period he wished, above a l l , to be accepted again into the cappel1 a of Saint Mark's, but he knew that that would require additional musical tra in in g . Zacconi's zeal to learn as much about musical theory and practice as he could from the three best musicians at Graz is shown in his autobiography: . . . in esser io andato in capella per commissione del Z erlin o , egli ebbe a dire: "11 Padre Pesaro da S. Stefano puo andar ancora un paia d'anni ad imparar e , e poi tornando sara fa c il cosa c h 'e n tri in questa c a p e lla ." Cosa che essendomi r i f e r i t a , non la potevo in g h io ttire : e pero quivi dando p rin c ip io a ris o lv er la Messa del Palestrina t i t o io L'ome arme, et al t r i suoi canti mol to d i f f i c i l i a cantarsi per non saperne cos'i tu tte le regole, corn incia a p ra tic a r a lla domes- tic a con i primi che v'erano tanto compositori, quanto che sonatori. E di sonatori essendovi il s ig .r Franc. Rovigo da Mantova, et un ni pote d'Anibal Padovano, amendue eccellentissim i tanto nel sonare, quanto ch nel comporre, e buone Regole di Musica, senza che'l maestro di capella essendo anch'egli in cio persona mol to degna, i o feci quel fru tto e quel 1 'acquisto che si vede n ella mia prima P rattica di Musica.3^ Zacconi began w ritin g the f i r s t part of his P rattica di Musica (Venice: Carampello, 1592) while serving at G r a z . 32 Although he had previously studied in Pesaro, Ancona, Venice, and Mantua, Zacconi singles out the musicians of the Graz chapel as major contributors to the knowledge imparted by him in that tre a tis e . Rovigo Is cited ^^[Lodovico Zacconi,] "V ita con le cose avvenute al P. Bacc. Lodovlco Zacconi da Pessa[ro]," Pesaro, Biblioteca O liveriana, M S 5&3 typ escrip t copy by Claudio S a rto rî, p. 4g . 32pie Musik in Geschichte und Gegenwart, s.v. "Zacconi, Lodovlco," by Claude V. Pal I sea. 33 f i r s t , 33 then "a nephew of Anibal Padovano," who was probably Annibale Perini. Both are credited with excellence in playing and composing as well as their knowledge of the rules of music. Lastly, mention is made of the maestro di cappella, Simon Gatto. At least indirectly, then, Rovigo contributed to one of the most important documents of the late sixteenth century concerning music theory and performance prac tice. From the year of Zacconi’s arrival at Graz, 1585, comes the earliest information concerning what was to become a growing state of financial difficulty for Rovigo: Der HofPhennigmaister sol le Franciskh Rouigo an den furgelichnen 300 f l . heur nichts abziehen. Von der Fur. Dur. vnsers gnedigisten Herrn wegen deroselben Rhat vnd Hofpfennigmeistern Bernharden Reisacher hîemit anzuzaigen, es habe gleichwohl hieuor die mainung gehabt, dem Francesco Rouigo seine bewuste 300 f 1. entgegen weis[ung] an seiner hoffbesoldung abzihen. Weil aber Ir Fur. Dur. Ime auf sein vnderthenigist Suppliciren . . . ein lengere f r i s t e r t e i l t , also das Ime vngehindert v o r i- gen von dis 85 sein besoldung . . . ganz fre i . . . s te lle , So sey demnach Ihrer Fur. gnediger beuelch, das Er Hofpfennigmeister verstandner massen ohn e i n i - gen abzug mit Ime Rouigo von diesem zu endt 1auffenden 85. Jahrs also a b ra ite , die volgende Jar aber das 86 vnd ferners empfangnen beuelch nach beruerte 300 f 1 . von seiner besoldung . . . zu defalcirn . . . bedacht sein wolle . . . 19. Dezember 1585 33 In te re s t!n g ly , Rovigo is the only one of them mentioned by name, erroneously transcribed as "Francesco da "Ronigo" in Hermann Kretzschmar, "Lodovlco Zacconis Leben auf Grund seiner Autobiographie," in Jahrbuch der MusikbibIiothek Peters fur 1910 (Leipzig: Peters, 1911), p. 53. 3^Graz, Landesarchiv, Hofkammerakten 1585— X I I — 29; printed in Federhofer, Mus ik p fIe g e , p. 127. 34 Rovigo had been advanced 300 flo rin s from the ducal treasury, and his salary for that year (also 300 flo rin s ) had evidently been withheld as c o lla te ra l against the debt. Here, at year's end, the debt has not been paid, but the archduke has benevolently granted Rovigo "ein lengere f r i s t " to pay i t , reserving the rig h t to attach the organist's salary in 1586 and la te r , i f necessary to recover the amount. There is no record of Rovigo's a c tiv itie s in 1586, however la te r documents (discussed below) Indicate that he was in continuous service from 1 March 1587 u n til a fte r Archduke Karl's death in 1590. Relations with Mantuan musicians were not severed during these years. in 1588 the madrigal c o lle c tio n , L'Amorosa Caccia (Venice: A. Gardano) was brought out, including only the works of "Musici Mantovani n a t iv i." The publication was designed around the central theme of its t i t l e , and Rovigo's madrigal, "Misera che faro poi che mi moro," concludes the c y c le .35 in the same year a new organ student began work with Rovigo. This was Andreas R o rif, the youngest son of Archduke Ferdinand's court organist, Servatius R o rif. The eldest son had already successfully studied with Rovigo in Mantua. On 25 May 1588 Archduke Ferdinand sent two le tte rs from his residence at Innsbruck recommending Andreas for study at Graz. One of these was addressed to his brother. Archduke K arl, and the other went to R o v i g o . A n d r e a s learning objectives. 35pio Lodi, comp., Catalogo del le opere musicalj . . . is is - tente n elle biblioteche e negli archivi . . . d 'It a li a : c itta di Modena, R. Biblioteca Estense (Bologna: Forni, 1923), pp. 280-281. 36Both documents in Innsbruck, T iro le r Landesarchîv, Hofregis- tra tu r Reihe B, Fasz. 98; see also Senn, Musik und Theater, p. 131. 35 as outlined in the note to K arl, were "in angefengter Kunst des In stru ments und Orgelschlagens ainen rechten gueten legen und lie b lic h e A pplicatur und Coleratur e rle rn e n ." Within less than a y ear, however, Rovigo f e l t it necessary to return to Ita ly for a time, presumably because of his health. Since Innsbruck would be on the way, Rovigo wrote to Archduke Ferdinand (see Plate l) asking permission to bring Andreas back and for a commîss1 one to purchase whatever the boy might need fo r the journey and his f i r s t few days at home. Rovigo expresses his regret at having to suspend the instruction of a student who, he says, has made such fin e progress and shows so much promise. Between the lines of his manifold request to pay respects to Ferdinand i t is possible to read Rovigo's hope of some reward for his atten tio n to one of the archduke’ s chapel trainees: AI Ser[enissi]mo principe Ferdinando Arciduca d'A ustria e tc . mio s [i gno]r grat ios i ss[i]mo Ser[enissi]mo principe sig[nor] mio Gratiosissimo. Convenirmi p [ e r ] récupérare la sanita mia andare in It a l ia , dove potrei starvi qualche tempo, pero ho voluto di c i o humi1 mente ragugliare I'A lte zza V[ost]ra serjjenissQ ma I'o b lig o che ho de insegnare al p u t[t]o che piacque a V[p]stra serenita di racomandarmi, il quale e hora in ta l termine et buona speranza, che mi rincrescerebbe la s c ia rlo . Si placera dunque a V.A.S. ch[e] e g li venga mecco la supplico humiImente non solo a farmi avisato, m a anco dar comi ss ione che 1i s ij proveduto di quanto le bisogriera, si p [e r] il viaggio come anco del resto. Sarei venuto p[er3 la strada di costa p [e r] far humiImente revere[n]za a lia Altezza Vostra Ser[en iss i]ma, quando il tempo m'havesse servi to, il chfej con m iglio r occasione faro; raccomandandomi in questo ment re, et p[er] sempre 36 % . f f ^ , r y ' ié " \ ' /it M Â y d i Û ^ < r? i ^ ^ /V if / $ / z 4 y z C ô . f i T KdP'Tl^h ( a / ' / / c Cpl Û fÿ ^ ^ ^ ^ - ir n ^ u h /^ Pr J % $ , / X âViÿ^Ç^rPi'^; z r i4H> û7 hi^a >p iJz 7i^-'^ ^ W i4 ■ ' i f M . w / j , ' , 7 / / : A ; <ze Plate 1. Innsbruck, T iro le r Landesarchîv, H ofregistratur Relhe B, Fasz. 103. 37 humiImente nella buona gra[zia] della serenlssima Altezza V [o s t]ra . Di Gratz il 20. Febraro 1589- Di V.A.S. Humi 1 i ssQ^mo ser[vi to jre Franc esc[p]Rovigo.^^ Archduke Ferdinand's le tte r of assent was w ritten on 29 M a r c h .H o w e v e r , the journey was forestalled by a deplorable incident which involved Rovigo, Andreas R orif, and another student of Rovigo's, the son of Cesar Bendinelli, f i r s t trumpeter at the court of Bavaria.39 The young Bendinelli, something of a rascal, enlisted Andreas to help him rob Rovigo of a very large sum of money, probably around 800 flo rin s . Investigations revealed that the boys also intended to poison th e ir teacher's food, not so as to k i l l him, but merely as revenge for what they considered to be Rovigo's harsh treatment of them.^0 These investigations dragged on into the summer. F in a lly , on 12 June Archduke Karl wrote his brother, Ferdinand, informing him that Andreas Rorif would be allowed to return home.^^ 37Innsbruck, T iro le r Landesarchiv, Hofregistratur Reihe B, Fasz. 103; also Senn, Mus i k und Theater. pp. 131 and 134. 38Innsbruck, T iro le r Landesarchiv, Hofregistratur Reihe B, Fasz. 101. 39waliner, Musikalische Denkmaler. p. 103. ^^Senn, Musik und Theater, p. 131. Innsbruck, Tyroler Landesarchiv, Kunstsachen Nr. 710; see also Senn, Musik und Theater, p. 131. 38 About a month la te r a s im ilar le t t e r went to Duke Wilhelm of Bavaria: . . . Was anders Francesco Rouigo vnnser Organist, vmb genzliche erstattung, der Ihme durch seine Lehrknaben zuegefuegten bewussten entfrembdung an yezo Supplicando gehorsamist gelangt, vnd vmb genedigiste F u rs c h rifft an E. L . , damit er des ybererssts vnd dern desswegen genumbnen schaden ergotzt werden mbge, gebetten, das haben E. L. aus in ii gender seiner Supplicat ion mit mehrern Zuuernemben, vnnd so w ir dann mît Ime Organ- isten d it s f a lls ain genedigistes m itleiden tragen, Auch an Ime selbst ganz recht vnnd b i l l i g , das yed- wederen Zue dem seinigen sou il moglich geholffen werde, beuorab er Supplicant seiner threw vnnd v lle s s , so er gedachten Lherkhnaben auf Eur L. recommendation e rz a ig t. v i 1 mehrers zugewiessen, weder Zu entgelten. Demnach, wir nicht vmbgenn khonnen, Eur L. Vetter 1ichen dahin Zu ersuchen, 1res th a ils , sou il den durch Sy hleuor Ime Organisten anbeuolhnen knaben anlanngt, dahin zuuerfuegen, damit er dess e in i gen, wie b ill ic h , habhaft werde, vnnd sich diserunserer wolmaynenden Intercess1 on zu e rf reyen habe, Solches gegen E. L. dero w ir Jeder Z eit mit V e tte r- 1ichen hu1 den Zuegethon verbleiben, begern w ir hinwider- umb g u e ttw illig Zubeschulden. Geben in vnser Stath Gratz den Neunzehenden July a[nn]o Neun vnd Achzig. Carl von Gottesgnaden Ertzherzog Zue Ost e r r e ic h . Herzog Zw Burgund. Graue Zw Tyrol. Carolus^^ I t appears that the money was never recovered, and that in response to Rovigo's plea for redress Wilhelm and Karl had agreed to divide the burden of reimbursement. Karl had given Wilhelm a Fur- schri f t in return for his share, and therewith he l e f t the remaining o b lig a tio n , along with the handling of young B en d in elli's case, in Wilhelm's hands. In spite of th is agreement the actual reimbursement from Munich was somehow postponed u n til e arly the following year. In ^^Munich, Hauptstaatsarchiv A bt. I, Allgemeines Staatsarchiv, Furstensachen 431; exact transcription in Wallner, Musikalische Denkmaler, p . 104. 39 a le t t e r dated 9 January 1590 Wilhelm w rites his s is te r asking her to pay the 400 flo rin s for him, promising e arly repayment: . . . Vnnd dieweil ich enckherm Organ Isten dem Franzisco versProchen, Ich w ol1 te Im den t h a i l , so der Pueb des B ind inell, Im entfrembt, als nemlich 400 f 1 aus gnaden, vnd gar kainer g erech tig keit, bezalen, So b it t Ich dich, wenns sein kan, vnnd well Im dein gemahel selbs ain fu rs c h rift an mich geben, du w e lle s t Im solche 400 f 1 in Gratz lassen erlegen vnd ric h tig machen. Enndgegen w ill Ich d ir a l 1 hie heraussen, wan du etwas an mîch trimmest, solche Suma wider guet thun vnd fur dich bezahlen . . . .^3 The matter was resolved by 5 February, as disclosed in a le tte r of that date from Maria to Wilhelm showing the great esteem In which they held Rovigo: . . . was den Franzisco Organist belanngt, so bedannk ich mich An sein s ta tt ganz vnnderdennig vmb die grosse genadt; ich glaub er w ird t di rs selbs schreiben vnnd danken; es 1st ein grosse fre Idt vnd Auch p illic h ; ich w ills ims schon geben, vnd dernach wellen miers mit ein Ander schon Abreiten . . . i f Rovigo ever did w rite his own note of thanks, i t has not been preserved. Before his savings were completely restored Rovigo began again to pursue his year-old plan to return to It a ly . To this end he addressed a le t t e r to Archduke Karl, undated but probably w ritten in March 1590» in which we 1 earn that a portion of the organist's money was s t i l l being withheld from him because of legal complications. ^3Munich, Bayerisches Hauptstaatsarchiv Abt. I l l , Geheimes Hausarchiv, Korrespondenzakt 609 1/3; printed in Wallner, Mus ik a li sche Denkmaler, p . 105. ^^Munich, Bayerisches Hauptstaatsarchiv Abt. I l l , Geheimes Hausarchiv, Korrespondenzakt 597, IV ., f . 261ab; printed in Wallner, Musikalische Denkmaler, p . 105. 40 The le tte r discloses the f u ll extent of Rovigo's financial predicament Ser.mo Prencipe s ig .re mio gratiosiss imo Gia e passato 1'anno che io humiImente supplica i V.A.S. che mi uolesse far g ra tia , di concedermi licenza, ch' io potessi andare in I t a l i a , si pj^er] prouedere a lia sanita mia, come p[]er] accomodare le cose mie che erano (come sono ancora) tute in con- quasso, m a p [e r] che al hora successe il rubamento fato mi da quel 1i che da me non hebbero mai occasione di fa r 1o fui a s tre tto rimouermi di quel pensiero et cercare di rihauere il mio. Hor che lodato Iddio et merce del 1 a benignita di V.A.S. sono lib e ra te di quel 1o in tric o (a ben che sin hora non habbia ancora potuto auere quel puoco che mi resta, il gui dice di questa c it t a ) rito rn o humiImente a suppli carl a che mi uoglia gratiosamente concedere licenza pur di andare in It a lia a casa mia accio quel puoco che ancora mi ritro u o in essere non perisca; poi che di gia i miei parent! hanno uenduto una mia casa, et anco preso denari ad interesso p [e r] s a tis fa re la dotte d'una mia so rella e t a l t r i debit! ch' io doueuo andare a pagare quando suppli ca i gia I'A lte z z a Vostra Ser.m a di andarmene a casa p [e r] rimediare a questi bisogni. Adunque supplico dico la Vostra Serenita a concedermi detta licenza, e t par imente uoglia anco farmi g ra tia di un dono conforme a lla benig n ita sua, con cornettere che mi sia pagato quanto deuo hauere d a lla eccelsa sua Camara, ch' io offerendomi quanto prima di rito rn a re et s e ru irla co'quel la d i l i - genza che potrb, pregando anco nostro s ig .re che lunga- mente la co'serui fe lic e nella cui buona gra humiImente mi raccomando. Di V.A.S. humi1iss.mo ser.re Franc,o Rouigo^5 Archduke Karl was at this time a ilin g and in his last months of l i f e . With a ff a ir s at court nearly at a s ta n d s till because of th is , Rovigo’ s request for the payment of back salary went unattended. ^^Graz, Landesarchiv, Hofkammerakten 1590— X— 10; printed in Federhofer, Musikpflege, pp. 127-128, 41 Karl f in a lly died on 10 July 1590, but was not interred u n til 22 O c t o b e r , a fte r which time his a ffa ir s were f in a ll y put in o r d e r .^7 Attached to Rovigo's request, quoted below, is a fin al reckoning of monies owing between him and the court treasury w ritte n in October or November 1590. A fter a re ite ra tio n of the 300 flo r in debt of 1585 and Rovigo's wish to s e ttle i t there follows a statement of salary in arrears owed to the organist: "Dem Franncesco Rouigo iSt sein Hoffbesol1 dung von Eingang Martj [15]8 7 bis zu enndt Marti D 5 ]9 0 ausstenndig 37 Monat jedes 25 f l ."48 Rovigo had not been paid since 1 March 15871 This state of a ffa ir s must c e rta in ly have com pounded the furth er fin an cial dilemma in which he had been placed following the robbery incident. To the 9^5 flo rin s in back salary are added 32 flo rin s liv e ry allowance for 1587 and 1589, to ta llin g 957 ^^Zacconi, " V ita ;" typescript, p. 52. Zacconi goes on (type s c rip t, pp. 52- 53) to give a short account of a c t iv itie s in the chapel while the body lay in state: " . . . il secondo di dopo la sudetta morte fu fa tto il solennissimo suo funerale ne piu ne meno che se avesse avuto a 11 ora a sepelire: e riposto dentro ad una onorevol cassa tu tta ricoverta di piombo fu fermato nella capella di detta corte, fino al predetto tempo, assistendovi di e notte t a n t i cantori del 1 a capella e cap ellan i, d is trib u ito v i per classe: e cose, dove la m attina, fino a lia deputata ora del mezzo giorno di quando vi si dicea Messe, tu tto 1'a lt r o resto del tempo si salmeggib alternativam ente su missa voce, in un modo che rendea mest iz ia e devotione." ^7see, for example, an excerpt from the Hofstaat drawn up a fte r K arl's death, giving the names, earnings, and benefits of the e n tire court musical establishment in Federhofer, Musik p f1ege, pp. 260-62; also printed in idem, "Matthia Ferrabosco," pp. 230-32. ^8a 11 notations attached to Rovigo's le tte r are found in Graz, Landesarchiv, Hofkammerakten 1590— X— 10; printed in Federhofer, Musik p fle g e , p . 128. 42 flo rin s owed by the Hofkammer as of 31 March 1590. Following this are deducted two amounts previously advanced to Rovigo: Da ran er ausser der 300 fl . so im Herr Reisacher hieuor lenngst _ geben, von mir empf[angen] . . . . 427 f 1. 24 Kr. 3 Herr HoffCamer President I me zu M a n t u a .......................................... 300 f 1 . 727.24.3 Bernhard Reisacher had been the Hofpfennigmeister who communicated the Archduke's decision in 1585 to extend Rovigo's loan (see above). The signator of the present document, N. Tschandikh, states here that he had advanced Rovigo an additional (and rather uneven) amount: 427 f 1. 24 Kr. 3“ ^.^^ The balance a fte r deductions is 229 f 1 . 35 Kr. 1 ^ However, to th is is added further earnings of 200 f l . , or eight months pay, which serves to bring the record up to date as of the end of November 1590. Rovigo's fin a l payment, then, was to be 429 f 1. 35 Kr. 1^. Actual payment was not e a s ily obtained, though, and the organist f in a ll y had to appeal to the widow, Maria, to act in his behalf. His le t t e r to her is the last evidence of Rovigo at Graz: ^^The proximity of this figure to the 400 florins that Rovigo had been reimbursed from Duke Wilhelm of Bavaria raises some inter esting questions. Does the amount on this statement reflect the por tion of robbery reimbursement which was to come from Archduke Karl's treasury? If so, was the payment intended merely as a loan, to be deducted from later earnings? Or has the court chamberlain misunder stood the late archduke's wishes, (unwittingly?) taking back what was rightfully Rovigo's? The data needed to answer these questions are, unfortunately, not to be found. Although the unevenness of the amount cannot be accounted for, Rovigo's circumstances in his last years at Graz may simply have required an additional loan from the court treasury. 43 A lla Ser.ma Prencipessa Maria Archiduchessa d 'A u s tria . 1590 November 24 Ser.ma Prencipessa Signora Sîg.a clem entiss.a. Supplî ca i al Ser.mo Hernesto li giorni passat i che per la lunga seruitu mia, uiuendo il Ser.mo Carlo suo mari to f e lîc is s .a memoria, io sperauo di conseguîre una g ratia dalla sua in fin ita clemenza et da V.A.S. u n 'a ltra anchora p [e r] hauer io insegnato tant i anni al 1î Sereniss.mi suoi f i g l i o l i ; che di queste duoi g ra tïe piacesse a S.A.S. di ri dur le in una; ne hauendo s in hora potuto hauer alcuna rîsposta, uengo h u m iliss i- mamente a suppli cari a che hauta consid e r a tione a lla pronta, et assidua seruitu mia si n ella chiesa corne ancho n ella scola, la uogl i gratiosamente fare c h 'io s ij in quel la maniera che piu le placera espedito et a lla buona g ra tia sua humi1issîmamente m e le inchino. Di V.A.S. hum iliss.o ser.re Franc.o Rou i go50 In the year of K arl's death his son and h e ir, Ferdinand l i , was s t i l l a minor studying with the Jesuits at Ingolstadt. For the time being Archduke Ernst became governor of Inner A u stria. Maria dismissed most members of the household and disbanded the cappel1 a along with the trumpeters. She kept only a few musicians with her, one of whom was Simon Gatto. Annibale Per ini became organist at the Protestant S tifts k i rche for a few years, u n til the court musical establishment again began to flourish under young Archduke Ferdinand I I , at which time he returned to court s e r v i c e .51 With no immediate prospects in Munich, Vienna, or Innsbruck, and possibly in poor health, Rovigo returned to his b irth place, Mantua. SÛQraz, Landesarchiv, Hofkammerakten 1590— XX— 2; printed In Federhofer, Musik p f1ege, p. 128. 51 Federhofer, Musikpflege, pp. 37 and 117. 44 CHAPTER I I I LATE YEARS IN MANTUA (1591-1597) During the e a r lie s t years of Rovigo's absence from Mantua his post as organist in the Chapel of Santa Barbara had been f i l l e d on a temporary basis. There are no exact records of substitutes in these years, but the lik e lie s t candidates would have been Ruggiero Roversi, ^ Ruggier Trofeo, and Francesco Soriano.^ One of the e a rlie s t salary payments recorded in the 1ibri contabi1i of Santa Barbara was made to an anonymous organist: "Sponta del mese di a p rile 1583 del Sigor organista L 4 -0 -0 ." 3 Rovigo was due to return from his leave of absence about this time, but when i t became obvious that he would not return to service in the forseeable future, a permanent replace ment was sought. By June 1585 Ruggiero Roversi had been engaged as organist in Santa Barbara. He remained a t this post u n til at least August 1587. Roversi may have continued in Santa Barbara beyond this ^Roversi' s name had appeared on the 1581 p a y lis t (Mantua, A rchivio di Stato, Arch i vio Gonzaga, Busta 3146 [ H . l l l . l ] ) , discussed in chap. 1, n. 42 above. ^MacClintock, Wert, p. 43. 3Mantua, Archivio Storico Diocesano, Fondo S. Barbara, " F ilz i del 1i anni 1699-17OO" Qf. 53]; quoted in Tagmann, "La c a p e lla ," p. 400, n. 64. in his a r t ic le Tagmann explains that the e arly salary records for the chapel were found collated with the pages from the seventeenth and eighteenth centuries. Thus, the peculiar location of the source, " F ilz i del 1i anni 1699-1700." 4 5 time (which corresponds to the exact month of Duke Guglielmo's death), although there are no 1ib ri contabi11 for the chapel between August 1587 and December 1592.^ U ntil the discovery of the chapel pay records by Pierre M. Tagmann in 1967, the b e lie f had been held that Ruggier Trofeo (or, D e tro ffe is ) had been chapel organist in e arly 1587. This grew par t ia l ly out of confusion over the s im ila r ity between the organists' f i r s t names^ and p a r t ia lly out of documents surrounding the in v e s ti gation of a nearly fa ta l assault made upon Trofeo on 10 May 1587 by two of the ducal archers at the in stig atio n of Prince Vincenzo.^ Although he had been in Mantua for many years previously (probably a ll his l i f e ) , Trofeo's tenure as organist of Santa Barbara could not have begun u n til a fte r August 1587. Lacking any surviving court payroll for the years 1582-1588,^ i t is d i f f i c u l t to reconstruct Trofeo's position during those years. However, court records from 1589 show an apparent reference to Trofeo in an entry in the spesi del 1i denari for 18 December of that year: "a Ruggier organ Ista per una Canzone ^Tagmann, "La cap p ella," pp. 394-395. 5 c f . a s im ila r id e n tific a tio n problem involving Girolamo Cavazzoni and Girolamo de Ada!dis (Mantovano), mentioned in chap. 1. ^Described in G.B. In tra , "Una pagine del 1 a giovinezza del Principe Vincenzo Gonzaga," Archivio Storico It a lia n o , Ser. IV, 18 (1886): 228- 30. See also Maria Bel o n e i, A Prince of Mantua: The L ife and Times of Vincenzo Gonzaga, trans. Stuart Hood (New York: Har- court, Brace, 1956), pp. 105-8; and Giuseppe Coniglio, I Gonzaga (n.p.: d a ll'O g lio , 1967) , p. 355. 7pierre M. Tagmann, personal communication, 23 March 1976. 46 presentata a S.A. ducat i 18."8 Also, in the same year appeared Trofeo's Primo lib ro del le canzonette a 6 (Venice: Amadino), dedi cated to Duke Vincenzo.5 Sometime shortly a fte r Rovigo's return to Mantua Trofeo would tran sfer to Milan, becoming organist of San Marco, whose instrument was la te r renovated by Costanzo Antegnati under Trofeo's supervision.^^ Ruggier Trofeo's relationship to Francesco Rovigo was an important one. Probably Trofeo had been a student of the somewhat older Rovigo during the la t t e r 's f i r s t period in Mantua. Young Trofeo had even taken an occasional professional part in the sacred music of the cathedral of San P ietro when needed th e re . ^ ^ Together, Rovigo and Trofeo published a set of Canzonette a 4 (now lo st) and the P a rtitu ra del le canzoni da suonare a quattro & à o tto (1583?) for which only a single rep rin t from around 1613 has survived. ^^ Whether or not the o rig in a l publication these instrumental canzonas took place in Milan, Trofeo made i t his business to make Rovigo's instrumental works known 8Mantua, Archivio di Stato, Archivio Gonzaga, "Spes i del 1i d en ari," (continuation of 1588) D .X II.8 , f . 4?v; quoted in Tagmann, Archivalische Studien, p. 41, n. 28. This entry more lik e ly refers to Trofeo than Roversi, since there is no evidence of Roversi as a com poser. ^Die Mus ik in Geschichte und Gegenwart, s .v . "Trofeo," by Oscar M is c h ia ti. 1^Antegnati, L'Arte Organica, p. 86. ^ ^During the w inter of 1576/77 he replaced cathedral organist Annibale Coma, who had been called to serve Prince Vincenzo at court; see Tagmann, Archivalische Studien, pp. 4l and 45. ^^See Appendix B, nos. 21-27. The re p rin t edition was brought out by the Milan publisher. F illppo Lomazzo, undoubtedly trading on the reputation Trofeo had already made there. 47 in that c ity . Trofeo's felIow-composer in Milan, Francesco Rognoni Taegio, included Rovigo's canzona "La Biuma" a 4 in his own Canzoni francese of 1608.^3 Trofeo went on to become maestro di cappella at Santa Maria d ella Seal a and u ltim a te ly held that rank at the court of Savoy, where he remained u n til his death in 1614.^^ At the time Rovigo o rig in a lly l e f t Mantua in 1582 the court chapel had ju s t begun to become self-supporting. While a maestro di canto and a maestro di contrappunto had both been mentioned in the account books since 1 5 7 9 , the name of the f i r s t paid musician, the singer Giovanni Grosser "tedesco," Is mentioned In A pril 1582. A second singer was added in December of the following y ear. ^8 As men tioned above, payments to the organist had also begun in 1583. The records of the chapel up to 1592 are fragmentary,^ 7 but indications are that the court's subsidies of money and musicians s te ad ily decreased in the course of the 1580s. The e a rlie s t recorded payment to the chapel's maestro di cappel1 a (but with no name specified) came as late as 1 5 8 8 . The ^3see Appendix B, no. 20. ^4$. Cordero di Pamparato, "I mus ic i alia corte di Carlo Eman uel e I di Savoia," in Carlo Emanuele I Miscellanea, Biblioteca del 1 a Societa Storica Subalpina, no. 121 (Turin: Socîetà Storica Subalpina, 1930), pp. 71 and 100. l^Tagmann, "La cappella," p. 383. ’ ^ Ib id .. pp. 380 and 385. ’ 7 |b id .. p. 378. I8 |bid.. p. 380. 48 recipien t could have been e ith e r Giaches de Wert or Giovanni Giacomo G astoldi. Wert had continued as maestro di cappella at Santa Barbara into the 1580s. When he became i l l with m alarial fever in 1582 and again in 1585, a substitute had to be named. Gastoldi was chosen, having been a singer in the chapel since his youth (and probably trained by Wert) and having held the post of maestro di contrappunto there since 1 5 7 9 . After substituting for Wert a second time in 1585, Gastoldi was apparently kept in the position of assistant d ire c to r u n til 1592, when the f i r s t complete accounting of musicians of the chapel names him maestro di cappel l a . The development of musical repertoire in the ducal chapel had continued in the 1580s under the patronage of Duke Guglielmo, The focal points of the special Mantuan litu rg y , the Missal and Breviary, which had been submitted to Rome in 1586, were f in a lly approved by Pope Gregory X III in a bull of 10 November 1583 a fte r arduous per severance on the part of the duke.^1 In the same year the Venetian publisher, Angelo Gardano, brought out the Sacrae cantiones quingue vocum in fe s tis duplici bus maioribus ecclesiae Sancte Barbarae, pre sumably composed by Duke Guglielmo h i m s e l f . G i a c h e s de Wert ^9|b id . , pp. 380-83; MacClintock, Wert, pp. 42-43. 2*^MacCl intock, W ert, pp. 46-47; Tagmann, "La cappella," pp. 380 and 382. 21 Jeppesen, " P ie rlu ig i da P a le s trin a ," p. 137. ^^RlSM, Series A /1, s .v . "Gonzaga, Guglielmo"; see also Milan, Conservatorio di Musica "Giuseppe V e rd i," Catalogo del 1 a biblioteca d ir e tto da Guglielmo Barblan: Fondi speciali I, Musiche del 1 a Cap p e lla di S. Barbara in Mantova (Florence: Olschki, 1972), no. 58 (S.B. 6 ). 4 9 completed the Hymnario for Santa Barbara in 1586.^3 The earl iest dated polyphonic MS in the Santa Barbara c o lle c tio n , copied by Francesco Sforza, comes from the year 1587.^4 This codex bears fu rth e r h is to ric a l sig n ifican ce, since Its contents include, besides fiv e Masses by Palestrina and Passions by both Wert and Rovigo, a segment t i t l e d Inventato riu fm l mortuotuFml. This section of the MS contains a Missa Defunctorum ( p a r t ia lly by Wert) along with a Regem cui omnia v iv u n t, a Benedictus dominus deus Is ra e l, Secundi T o ni, and a M agnificat, Octavi T o n i, a ll anonymous. There is strong evidence, then, that this e n tire codex was intended as a musical tombeau f o l lowing the death of Duke Guglielmo on 14 August 1587. Guglielmo's funeral ceremonies lasted from 16 to 18 September On 19 September his body was sepulchered under the a lt a r steps of his beloved church, Santa Barbara: La mattina seguente p o i, che fu a l i i 19. a ll'h o ra di terza si comincio vna Messa solenne da mort I , essendosi la stessa mattina da t u t t i g lI Sacerdoti di guella Chiesa, & a l t r i , celebrate tu tte le Messe per guel1 * anima di gloriosa memoria; la guale f in i ta che fu: si leuo il corpo dal C ata lfa lc o , & fu portato a lia sepol- tura a ltr e v o lte d'ordine suo fa b ric a te , sotto la s a l i ta de' grad i del 1 a seal a , che camina n ella Cappella mag- g lore dou'e 1'A lta r grande, li guali sono di marmo, & f a t t i in forma del 1 ' impresa del monte Olimpo, guale 23MacClintock, W ert, p. 49. ^4^1 Ian, Cataloqo, no. 226 (S.B. 164). For information con cerning Francesco Sforza, an important c le r ic of Santa Barbara whose exg u isite codices are dated from 1587 to 1622, see Jeppesen, " P ie r lu ig i da P alestrina, Guglielmo Gonzaga . . . , " p. 165, n. 34; Carol MacClintock, "New Sources of Mantuan Music," JAMS 22 (1969):508-11 ; David Crawford, "The Francesco Sforza Manuscript a t Casale Mon- f e rra to ," JAMS 24 (1971):457-62; Guglielmo Barblan, "L'Amanuense Francesco Sforza," in M ilan, Cataloqo, pp. xxxi iI-x x x iv ; and Francesca 50 gîà portaua S - egl î e t u t t i gl i suoi antecessor! Gonzaghe . . . . Fu per fine sepolto nessa sodetta sepoltura, a lla quale si scande per vna fe rra ta , che trauersa la porta, quai si troua n ell'an d are, d alla Chiesa al la Sagrastia dal capo verso il Coro; Et si cantarono le Laudi intieramente da m o rti, mentre che si aperse la sepoltura, £- si serro, con forme a ll'v s o di quel la Chiesa, ta ie a ltr e vol te da lui per t u t t i i R elîgîosi di quel Clero nel s t a b îlir l ' v f f i c i o per Apostolica aut o r ita ordinato.^5 The coronation of Vincenzo took place a few days la te r; he became the Fourth Duke of Mantua and Second of Monferrato on 22 Sep tember 1587 at the time of his tw e n ty -fifth birthday. The f e s tiv it ie s included a Mass by Wert and a musical concert at the end of the ban quet . ^8 With the ascent of Vincenzo the lif e s t y le of the court of Mantua underwent extensive changes. I t is true th a t the new duke was unquestionably devout— he was charitable and magnanimous almost to a f a u lt . However, Vincenzo's reactions to the judgemental and monetary restrain ts placed upon him by his father in e a r lie r years set him on a road to spen d th riftin ess, hedonism, and unbridled ego s a tis fa c tio n . Guglielmo's personality had not been exactly dour or p u ritan ic al; he Campogal1ia n i," Guglielmo e Francesco Gonzaga: un principe e un sac* erdote n e lla stor i a musicale délia Chiesa di Santa Barbara in Man tova" (tesi di laurea. Universita di Padova, 1970), pp. 119-24. ^^Federico F o lîîno , Descri t ione del 1 ' in fîrm ita , morte, et fvn e ralî del sereniss. sig. il s i g. Guglielmo Gonzaga, III. Ouca di Mantova, e di Monferrato I. Con guel1e del le solenni Cerimonie. fa tte n ella coronatione del sereniss. sig. i 1 sig. Dvca Vincenzo svo f i g l i o e svcessore (Mantua: Osanna, 1587), pp. 10-11. ^ ^ B e rto lo tti, M usIci, p. 46; MacClintock, Wert, pp. 47-48. 51 had loved theatre and the g aity of a mascherada, and he had riv a lle d Ferrara by fostering the music of some of the most advanced madri gal ists of his day, notably Wert and Rovigo. However, under Vincenzo sophisticated pleasure-seeking and unchecked spending replaced temp erance and prudent fis c a l p o lic ie s; new musicians, poets, and actors more than c lerics were invited to the court; fashion often replaced function. Speaking of Vincenzo, Leo Schrade has pointed out that "his taste for magnificance and his real magnanimity might have made him a prince of princes had they been blended with wisdom and d is c ip lin e . But he lacked both wisdom and r e s t r a in t ."^7 Symbolic of the contrast between the a ttitu d es of the two dukes are the tempi es each erected. Guglielmo b u ilt a church; Vincenzo ( r e - ) b u ilt a theater. Guglielmo's legacy had included a f i r s t - r a t e musical estab lishment. Besides Wert and G astoldi, Vincenzo could boast the pre sence of Benedetto Palavicino and Alessandro S trig g io , the Elder (musi C O strao rd in ario senza spesa— a gentleman of the c o u r t ) . ^8 During his f i r s t years as duke, Vincenzo had conscientiously increased the size and q u a lity of his musical forces serving both in the chamber and in the ducal chapel. Records from these years re fle c t the names of numerous new musicians, notably Salamon de' Rossi ( 1 5 8 7 ) , Claudio ^^Leo Schrade, Monteverdi: Creator of Modern Music (New York: Norton, 1950), p. 154. 28 Canal, Del 1 a musica in Mantova. pp. 69 and 73. ^^Concerning the l i f e and music of the extraordinary Jewish violist-com poser, de' Rossi, see Joel Newman, "The Madrigals of Salamon de' Rossi" (Ph.D. d is s e rta tio n , Columbia U n iversity, 1962); 52 Monteverdi (around 1590),30 and the rep atriated Francesco Rovigo (1591). I t is easy to envision the cordial reception Rovigo must have received at court upon his return to Mantua in the e arly months of 1591.^^ Eight years e a r lie r he had had a frie n d ly enough relationship with Vincenzo that he could w rite from Graz asking the prince to smooth things over with Duke Guglielmo. Now, a fte r numerous p u b li cations of his secular music in the past decade, the in te rn a tio n a lly known composer-organist was again placing himself at the service of his home court. Vincenzo must have recognized that in Rovigo he was gaining not only a top -rate organist for Santa Barbara, but also a composer capable of taking part in some of the duke's most grandiose idem and F r itz Rikko, A Thematic Index to the Works of Salamon Rossi, Music Indexes and Bibliographies no. 6, George R. H i l l , gen. ed. (Hackensack, New Jersey: Boonin, 1972); Salamon de* Rossi, Hash 1 rim asher 1ish*lomo, 3 v o ls ., ed. F ritz Rikko (New York; Mercury, 1967- 1973)— see esp. v o l. 3 (essays); and Jeanne M. Winn, "The Instrumental Music of Salamone Rossi" (M.A. thesis. U niversity of C alifo rn ia at Los Angel es, 1972). 3ÛThe exact year of Monteverdi's entry into service at Mantua has been a matter of some dispute. Schrade, Monteverdi, p. 151 gives the usually accepted date of 1590. However MacClintock, Wert, p. 49, n . 128 marshals some very convincing evidence to show that his a rriv a l was as e a rly as 1589. Canal's statement (La musica in Mantova, p. 72) that Rovigo returned in 1587 seems to have been based upon the assumption that an undated salary l i s t (Mantua, Archivio di Stato, Archivio Gonzaga, Bus ta 3146 [H . 1 1 1 .0 ) came from that year. MacCl intock, Wert, p. 48, n. 126 gives its date as 1588. However, as shown above, Tagmann has convincingly proven that the document could come from no la te r than 1581. In add itio n , Rovigo’ s fin al salary reckoning at Graz (d is cussed above) c le a rly discloses that he was in continuous service there from March 1587 through November 1590. 53 and extravagant a r t i s t i c plans, the f i r s t of which would be prepar ations for a performance of Giovanni B attista G u arin i' s 11 pastor f ido. The inception of these elaborate preparations were to await the late autumn of 1591. In the meantime, Vincenzo made one of his frequent v is its to Innsbruck in the summer of that year. The duke was to spend some time at the baths located between Innsbruck and Munich as the guest of his uncle, Archduke Ferdinand. Included in Vincenzo's entourage was his organist, Rovigo. While in Innsbruck Rovigo seized the opportunity of renewing negotiations with Duke Wilhelm of Bavaria through the duke's emissary in that c ity , Anselm S to ckl. On 26 July Stbckl reported to Duke Wilhelm: Gnedigister Furst und Herr I Der Hertzog von Mantua hatt den f u r t r e f f 1ichisten OrganÎ sten Francisco Robigo mit sich hergebracht, we1 cher u nterthen igist u h rb ietig , sich bey E[urer] F [u rstlich en ] 0[urchlauch]t gehorsamist zuerzaigen, wan er nur w iste, wo er dieselbig antreffen Oder wohin er zu Dero khomben sol le . Desshalben E. F. Dt. Mus iCO Cesare Bond In e l1i dem S[i gn]or Cavagliero Hortensio in hienebe angefuegten Schreiben mehrers anzaigt, so er bey E. F. Dt. besagten Organisten halben anzubringen. Wan dan diser 3 oder 4 Wochen sich im Achenthall auffhalten wurde, umb auch a Ida E. F. Dt. gnedigisten Beschaidt zuerwarten, hatt er mich gebetten. E. F. Dt. unterthenigiste Andeutung zuthuen, ob Diesel- bige gnedigist geruhete, mi r seinethalben ehist als immer muglich Resolution zukhomben zulassen . . . .32 This communication must have been made with the knowledge of Vincenzo, for two days la te r , 28 July, Stockl wrote the following to Munich: 3^Munich, Bayerisches Hauptstaatsarchiv Abt. 11, Geheimes StaatsarchiV, Kasten schwarz 4060 (fruher 147/14/V); transcribed by Archive personnel. 54 . . . Unter anderm hab [ich] E. F. Dt. Hochermelten Hertzogs [von Mantua] alhie geyebte Mil te und Frey- gebigkheit in specie unterthenigist vermeldt und bene- ben angezaigt, dass der furtreff1ichiste Organist Fran cisco Robigo, welchen der von Mantua mît sich hie her gebracht und jetzo sich auch zu Achen befinde, E. F. Dt. gnedigisten Beschaidt erwarten, wohin er sich zu Dersel- ben verfuegen sol le, und bitt gehorsamist solichen ehist durch mich ihme khundtbar machen zulassen . . . .33 It is questionable whether Vincenzo's real intentions were actually as generous as Stockl would describe. On 5 August the Bavarian agent again wrote, saying that Vincenzo's party was about to leave Rotten- holz for the water at Rosenheim with the intention of proceeding from there to Munich; however, travel on the riv e r Inn may prove too treacherous, forcing the duke to travel by way of the Tegernsee.34 No mention of Rovigo is made in this last note, and it may be assumed that the organist obediently followed Duke Vincenzo home to Mantua without further negotiations with the Duke of Bavaria. In November 1591 Duke Vincenzo, an ardent devotee of dramatic pastorals, set into motion elaborate plans for a production of the most fashionable pastoral of its day, Guar i n i ' s 11 pastor f id o . Although the play had been published only the year before, portions of i t had been read in the exclusive lit e r a r y circ les Vincenzo took part in for about seven years. Since that time Vincenzo had nurtured a dream of producing the play in Mantua, and now that he was duke, it 33 Ibi d . 3 4 |b i d . 55 appeared nothing could stand in his way. He even had Guarini's pro mise to come to Mantua to d ire c t the production.35 About that time Pope Gregory X I II had died, and Cardinal Fachinetti of Bologna was elected (innocent IX ) . The new pope had been a friend of Vincenzo's of such long standing that the duke decided to make a t r ip to Rome on 19 November to pay his respects,36 During his absence he le f t in it ia l preparations for II pastor fido in the hands of Annibale Chieppio, his c o n s ig lie re . These duties Included not only arranging for G uarini's a rriv a l but also casting and preparations for b a lle t and music. On 26 November 1591 Chieppio reported to the duke: . . . Ho inearicato di nuovo a Isachino hebreo la cura del b a lle tto del 1 a Cieca, et f a t t i g l i haver giovanl per bisogno, et di consenso di suo padre si e richiamato da Ferrara il Campaqnolo, senza T1 quale, tenendo egli la parte di S i lv i o , mal am.te si potevano e s e rc ita r g li a l t r i . Restano ancora a fa r senti re le mus î che loro ordinate, l i SS.ri Giaches et Rovigo, i quali solecitaro secondo il bisogno. Del Prologo ed intermedij si t r a t - tarà et concludera quanto occore, di concerto col S.r G u a rin i, salvo pero il consenso di V. A....................37 Whatever music Rovigo might a c tu a lly have drafted fo r this production has not survived. For the b a lle tto del 1 a cieca (Act III, scene 2 ), perhaps the highpoint of the e n tire pastorale, there were to 35A1essandro D'Ancona, Origini del te a tro it a lia n a , 2nd e d ., 2 vols. (Turin: Loescher, I 89I ) , 2:541. 3^Donesmondi, Del 1 ' is to ria e c c le s ia s tic a , 2:292. 37Mantua, Archivio di Stato, Archivio Gonzaga, Busta 2654; printed in D'Ancona, O r ig in i, 2:542-43. Isachino Massarano was a w e ll-to -d o Jewish dancing master and gentleman musician of Mantua. The highly valued cantore di scena, Francesco Campagnolo, did in fact jo in the troupe, as Chieppio reported to the duke three days la te r (D'Ancona, O rig in i, 2:543). 56 be four madrigals interpolated into the speeches of A m a rilli, M i r t i l l o , and C o r s i c a , 38 MacClintock has put forward the thesis that three madrigals from Wert's Madrigali a5 Libro XI (1595) containing texts from this act were o r ig in a lly intended for this production. The fourth mentioned by Chieppio was e ith e r never finished or was composed by Rovigo or "another composer."39 |n add itio n , MacClintock points out another madrigal, "Cruda A m a r illi," printed in the same book, whose text also comes from II pastor fido (Act I, scene 2).40 The intermedi i for this production II pastor fido mentioned in Chieppio's le t t e r of 26 November were decided upon by 23 December and subsequently w ritte n by Guarini, th e ir subject being the harmony of the four elements.4^ Any musical settings which might have been w ritte n for these have not been preserved. 38Letter from Chieppio to the duke, 23 December 1591 ; printed in ib id ., 2:544-45. 38MacClintock, W ert, pp. 180-83. The three madrigals are "0 Primavera," "Ah dolente p a r t it a ," and "Udite lagrimosi s p i r i t i . " Was "another composer" Monteverdi? See n. 40 below. 40MacClintock's arguments on the basis of internal musical style and documentary evidence of musical performance practice in pastorals of the period are extremely compelling. However, it must be remembered that 11 pastor fid o was known and appreciated as poetic lit e r a t u r e , apart from its potential as a stage work. The vogue i t enjoyed was reflected by the numerous contemporary madrigal settings made from its choicest passages. As an example, ju s t one composer, Monteverdi, published settings of the following: "0 primavera" (Book III, 1592); "Ah dolente p a r tita " (Book IV, 1603); "Cruda A m a r illi," "Ecco S ilv io ," and "M'e piu dolce il penar per A m a rilli" (a ll three in Book V, 1605) . Concerning settings by others, see Arnold Hartmann, J r . , "B a ttis ta Guarini and II pastor f id o ," M Q . 39 (1953):415-25. 4 lL e tte r from Chieppio to the duke, 23 December 1591 ; printed in D'Ancona, O r ig in i, pp. 544-4?. 57 At this time the duke had been detained in Rome because of the untimely deaths of his r e la tiv e , Cardinal Giovanni Vincenzo Gonzaga (22 December) and of the pope himself (30 D e c e m b e r ) .42 This was only the f i r s t of several unfortunate circumstances that would u ltim a te ly lead to the play's in d e fin ite postponement. Part of the complications involved rebuilding the ducal th e a tre ,43 which had burned down in 1591. However, the biggest obstacle was the r iv a lr y between the women in Duke Vincenzo's l i f e . Producing 11 pastor fid o had been planned under the insp iratio n of the duke's mistress, Agnese d 'A rg o ttl, Marchioness of Grana. However, the duchess, Eleanora, would not stand for th is usurpation of her place in the cultu ral a ffa ir s of the duke. Everyone involved found himself in a d i f f i c u l t position, which lead to numerous postponements and ultim ate abandonment of the 1591-1592 p ro je c t.44 Plans for a production of 11 pastor fido were revived in 1589 and carried out on the occasion of the state v i s i t of Margherita of A u stria, on her way to marry King P h ilip I I I of Spain. By that time both Rovigo and Wert had died, and the music was entrusted to Gastoldi and o th ers.45 4^0«Ancona, Or i g i n i , 2:547; Donesmondi, Del 1 ' i stor ia eccle- s ia s tic a , 2:292-93. 43d'Ancona, Origini, 2:552-53. 44For d e ta ils of this episode, see Carol MacClintock, "The F ive-p art Madrigals of Giaches de Wert" (Ph.D. d is s e rta tio n , Indiana U n iversity, 1955), pp. 30-31, n. 89. 45p'Ancona, Origini, 2:565-75. In his Madrigali a 5 Libro IV ( 1602) Gastoldi included "11 Gioco de la cieca rapresentato alia 58 From December 1592 onward for several years the pay records of the Chapel of Santa Barbara are relatively c o m p l e t e . 46 Thus, we are provided with a clear picture of the musical personalities and the size of the singing force during Rovigo's last years. O n the salary role of December 1592 Gastoldi is lis te d as maestro di cap pella, a position he would hold until leaving Mantua In 1609.47 This left Wert to work exclusively as maestro di mus ica to the court u n til his death in 1596. The Santa Barbara pay records show Rovigo as organist from December 1592, continuing uninterrupted in th is position u n til ju s t before his death in 1597.48 The number of singers paid from chapel funds had grown in the years previous to Rovigo's return, so that by « the end of 1592 they number s ix . Between this time and the death of Rovigo the number would flu ctu ate only s lig h tly , the average being about seven s in g e rs .49 Regina di Spagna nel Pastor Fido," a setting of a ll but the la st nine lines of the scene. A modern tra n s c rIp tI on of this work Is found In Anthony A. Newcomb, "The MusIca Secreta of Ferrara in the I 58O's" (Ph.D. d is s e rta tio n , Princeton U niversity, 1970), pp. 453-56. The best contemporary account of the rappresentatlone and its IntermedIi is Giovanni B attista G r lllo , Breve t r a tta to di quanto successe a lia Maesta del 1 a Regina D. Margherita D'Austria . . . . (Naples: V ita le , 1604); portions reprinted In A c h ille N eri, "G lI 'in term ezzi' del 'Pastor f I d o ,'" Giornale Storico del 1 a Letteratura ita lia n a 11 (1888): 407-13. 46Tagmann, "La cap pella," p. 378 indicates that from this date u n til 1602 only the records from six months of 1594 are missing. 4 7 1b Id ., pp. 380 and 382; see also Die Mus ik in Geschichte und Gegenwart, s .v . "G astoldi, Giovanni Giacomo," by Denis Arnold. 48Tagmann, "La cappella," pp. 393-95. 4 8 Ib id ., pp. 386 and 390. 59 The year 1592 held events s ig n ific a n t to both the chapel and to Rovigo personally. It was in this year that Frate Julio Pel 1iniSO collected and published the Hissae dominicales quinis vocibus d iv is o - rum auctorum (Milan: T in i),^ ^ six Masses based upon the Missa in Dominicis diebus of the Mantuan Kyria 1e . Rovigo's Missa dominical is was included in this c o lle c tio n , becoming the only sacred work of his published during his own life tim e . Other composers represented in the publication were Contino, Gastoldi, S trig g io , Wert, and Pseudo- Pal estrina .52 For a ll the Masses in this p rin t except that a ttrib u te d to Palestrina there are also MS concordances in the Santa Barbara c o lle c tio n of the Milan Conservatory lib r a r y .53 5^At Santa Barbara a Christofolo Pel lino was active as maestro di canto fermo from about 1603 to 16l 0; see ibid., p. 384. RlSM, 1592^; see also Appendix A, no. 3. Oddly, no copy of th is p rin t is to be found in the Santa Barbara c o lle c tio n . 52Modern editio n of the last in P ie rlu ig i da P alestrin a's Werke, ed. F. X. Haberl (Leipzig: Breitkopf 6 - Hartel , 1907; reprint e d ., Farnborough, Hants, England: Gregg, 1968), 33:1-33. See also O liver Strunk, "Guglielmo Gonzaga and P alestrin a's Missa Dominica1 is ," M Q . 33 (1947): 228-39- The a u th e n tic ity of this Mass was at one time disputed on s t y lis t i c grounds by Jeppesen; see The Style of Palestrina and the Dissonance, 2nd ed (London: Oxford, 1946; rep rin t e d ., New York: Dover, 1970), p. 215, n. 1. However, a fte r ed itin g Pales tr in a 's Mantuan Masses for publication (vols. 18 and 19 of Le opere complete) Jeppesen became less sure of his origin al thesis. See idem, " P ie rlu ig i da P a le s trin a ," p. 178 and his introduction to Le opere complete di Giovanni P ie rlu ig i da P a le s trin a , v o l. 18: Le Messe di Mantova ( i) (Rome: 1sti tuto ita lla n o per la Stor ia del 1 a Musica, 1954) , p. x xiv. 53contino: Milan, Catalogo, no. 132 (S.B. 192); Gastoldi: ib id .; Rovigo: ib id . and no. 255 (S.B. 128); Striggio: nos. 261 (S.B. 133) and 262 (S.B. 134); Wert: no. 132 (S.B. 192). In support of Jeppesen' s e a r lie r contention that the Mass a ttrib u te d to Pales trin a in the 1592 p rin t is spurious, i t may be pointed out that there is no MS concordance for th is Mass, although i t was c le a rly based upon 6 0 The year 1592 also brought one of Francesco Sforza’ s most lovely codices,5^ containing Masses from the Santa Barbara repertoire by Rovigo (Hissa in Dupllcibus maioribus), Palestrina (two Missae in Festis Apostolorum; two Missae in Semiduplicibus maioribus) , and Gastoldl (Missa in Dominicis Diebus) . Rovigo’ s Mass appears at the beginning of the MS. The f i r s t page of the Mass, seen in Plate 2, contains a cartoon which might have been meant to resemble Rovigo. Because of the dearth of surviving documents and printed music i t is d i f f i c u l t to reconstruct Rovigo’ s a c tiv itie s during his last years, except for his position at Santa Barbara. Teaching, as always, undoubtedly occupied at least some of his time. Very lik e ly one of his students was the youth who would replace him b r ie fly a fte r his death (November 1597-February 1598), Massimiano Nuvoloni.55 Another possible student during these years was Salamon de’ Rossi, whose f i r s t book of madrigals appeared in 1600. A lfred Einstein opined that Rossi had been Rovigo’ s p upil, a conjecture probably based on his studies of three of Rovigo’ s madrigals: . . . In Mantua, the home of the Rossis, there would be a choice of a number of great musicians as teachers of our Salamone; Giaches Wert, court choir master at the Mantuan Kyr ia le . The anonymous fM issal In D[omi]n i d s Diebus inserted into Milan, Catalogo. no. 55 (S.B. 14), a MS a d d itio n a lly containing four Mantuan Masses by Palestrina, is not congruent with the Mass a ttrib u te d to Palestrina in the Pell ini p rin t of 1592. ^^MiIan, Catalogo, no. 256 (S.B. 166). 55Tagmann, "La cappella," p. 395. ^^See Appendix B, nos. 15, 17 and 18. 61 Kîr© m g ( ü 1 |@# m 9i^p.n^w2. jÿrgncifdllotiïg^' ? ^ ^ If l- ^ Icj'fon.q* p ~ —'1 I ^•t k I Hr|^ _ , .% i |4 i » 4 I , l 0 1 i j j I , , ± a W " W = J d .^ f » n j i . ^ r - ------ '----- h —:— : -------M r - 11 W F ic clcvfonw r r M - vv 1 -L . ----------L ü -i 1 ^ tv a_:v-----„ , 3 0 L > l> * ' icyfciii.] = M T n. - : 1 A ^ v v M 'iir ]'— f jr » F = N A # ) A S Plate 2. Milan, Biblioteca del Conservatorio, Fondo di S. Barbara, no. 256 (S.B. 166) f . 1v. 62 Santa Barbara; his successor Benedetto Pallavicîno; Giovanni Giacomo Gastoldi, and— Monteverdi himself. My choice is Francesco Rovigo, a rather important master, who lived in Mantua without any position, probably because he was a Jew or a baptized Jew. in any case his name hints at Jewish e x tra c tio n .57 Although Einstein's conception of Rovigo’ s background is untenable in view of his career as a chapel organist and composer, the p o s s ib ility of a pedagogical relationship between Rossi and Rovigo (or any of the composers Einstein names) is e n tire ly conceivable, since Rossi remained in service at Mantua continuously from 1587 u n til well into the 17th c e n t u r y .58 Monteverdi arrived at Mantua about the time of Rovigo's reappearance or shortly before. He became acquainted with Rovigo and was s u ffic ie n tly impressed with him to include his name favorably in le tte rs w ritten four and eleven years a fte r the organist's death. The f i r s t of these (also the e a rlie s t surviving le tte r of Monteverdi) comes from 28 November I 6OI and is addressed to Duke Vincenzo. On the occasion of the death of Benedetto Pallavicino, who had previously been selected maestro di musica at court instead of Monteverdi when Wert died in 1596, Monteverdi wrote; . . . Et fin a l mente il mondo havendomi visto nel ser- v it i o d e ll'A . V. S.m a con mio molto desiderio et con buona g ratia sua dopo la morte del famoso S ig .r S triggio perseverare, et dopo quel la del 1'e c c e l1 ente S ig .r Giaches, et ancora per terza dopo quel la d e ll'e c cel lente S ig .r Franceschino, et finalmente ancora dopo 57A1fred Einstein, "Salamone Rossi as a Composer of Madri g a ls ," Hebrew Union College Annual 23 (1950/51):387-88. 5 8 B e rto lo tti, Mus i c i , p. 68. 63 questa del s u ffitle n te Kes.r Benedetto Palavicino, et che io non ricercassi non per merito di v ir t u t e , m a per merito di fid e le et singolare devotione che ho sempre tenuto verso il s e rv itio di V. A. S.m a il loco hora vacante in questa parte d ella chiesa, et che in tu tto e per tu tto non dimandassi con grande instanza et humi1 mente il sudetto t it o lo , con raqione potrebbe mormorare d ella mi a negligenza . . . .59 Rovigo is referred to here by his Mantuan nickname, "Franceschino." It is interesting to note how Monteverdi chose to describe each of the composers. S trigg io was the famoso S i g . r , Wert and Rovigo were each called eccel1 ente S i g . r . but P allavicino was merely a s u ffic le n te Mes. r . It is d i f f i c u l t to know whether P allavicin o was being inten tio n a lly slighted or i f Monteverdi was merely applying a tinge of elegant modesty to h im self. reflected in the person whom he hopes to replace. The reference to the vacant post as parte della chiesa is somewhat c ry p tic , since the chapel pay records show Gastoldi in con tinuous service as maestro di cappella from the end of 1592 u n til e arly 1609. Since no mention whatever is made of P allavicino in the l ib r i contabi1i of Santa B a r b a r a ,M o n te v e r d i's mention of the church 59stefano Davari, "N o tizie biografiche del d is tin to Maestro di Musica Claudio Monteverdi," in A tti & memorie d ella R. Accademia V ir g il iana di Mantova (Mantua: Mondovi, 1882), pp. 82-83; English trans. in Denis Arnold and Nigel Fortune, eds., The Monteverdi Companion (New York: Norton, 1968), p. 23. ^^Neither Is there any mention of Monteverdi him self, who sought the post of maestro di cappella a fte r Gastoldi's departure in 1609. (This subject has been treated thoroughly in Tagmann, "The Palace Church of Santa Barbara in Mantua, and Monteverdi's Relation to Its L itu rg y .") That year the position was te n ta tiv e ly awarded to Antonio Tarone, then permanently to Stefano Nascimbeni, who served 1609-1612 (see idem, "La cappella," p. 382). Tagmann's demonstration that Monteverdi never held an o ff ic ia l position in the ducal chapel is strengthened by the past and present inventories of the music of 64 position must have reference to special or extraordinary duties carried out in the chapel by the court's maestro di musica. In Monteverdi's second letter mentioning Rovigo his surname is added. Being exhausted and in poor health after the death of his wife and his Intensive preparations for wedding fe s tiv itie s of Prince Francesco in I6O 8, Monteverdi had become obsessed with the poor pay and shabby treatment he was receiving. O n 2 December I6O 8 he addressed Chieppio, the ducal counsellor, from Cremona, reviewing his situation and asking for Chîeppio's help. At the point in the letter where Rovigo is mentioned, Monteverdi Is enumerating the earnings of several prominent musicians of the late sixteenth century in order to empha size the paltry amounts with which he has had to be content: . . . Haverla potuto affaticarsi assai in avanzare 500 scudi 1'anno d'entrata senza la provlgione ordînarta Oratio della Viola se altro non havesse havuto che 1i detti al mese; haver'ia parimente potuto affaticarsi bene Luca Marenzîo in avanzarsene altre tanti; pari- mente Filippo di Monte; il Palestrina che lascio a f ig lio li suoi per mille scudi et passa d'entrata; haver la potuto affaticarsi bene il Luzzasco et il Fîorinî ad avanzarsl per 300 scudi d'entrata per uno, poi lasciati a 'fig lio lt loro. Et finalm.te per non dir plu, haver i a potuto affaticarsi per avan zare Franceschîno Rovighi sette milia scudi corne ha fatto se altro non havesse havuto che 1i d etti, 1i quali apena bastano in far spese ad un patrone et ser vi tore et vestirlo; non so poi io ad havere duoî f î l - iolî agiunti come m i trovo . . . Santa Barbara, none of which l i s t a single work of his. See Guglîelmo Barblan, "Monteverdi nel1 *Archivlo di S. Barbara," in Milan, Catalogo, pp. xxxv-xxxvi. ^iQavari, "Monteverdi," p. 96; English trans. in Arnold and Fortune, eds., Monteverdi Companion, p. 28. 65 Such posthumous remembrances of Rovigo impart not only the large sum the organist had been able to save during his last period but also the high regard in which the great Monteverdi had held his fellow- composer. The fin a l archival references to Rovigo come from the year of his death, 1597* His last salary payment from the Chapel of Santa Barbara was for the month of September.^2 At this time he had entered into terminal illn e s s , whose fever and catarrh u ltim a te ly brought his death on 7 October in the Via d e ll'A q u ila . His age was 55.^5 O n the following day Rovigo's body was buried beside that of Wert in the Chapel of Santa Barbara,54 where he had served the dukes of Mantua, Guglielmo and Vincenzo Gonzaga, for at least sixteen years of his l i f e . Rovigo apparently never married, and there were no known children. H e was a man who devoted his lifetime to the perfection of his art and to the betterment of his own personal position in the socio-economic structure of the musical profession in his time. His 52jagmann, "La cappella," p. 395. 5 3 B e rto lo tti, Mus 1 c l , p. 57* One of B e rto lo tti's most s ig n ific a n t contributions is the inclusion of information from the Man tuan necrolo q îa , establishing death dates fo r many Mantuan musicians, including Rovigo. B erto lo tti gives 7 October 1597 for Rovigo's death, which is correct. However, he miscopled the age at death as 66 rather than 55, a mistake which has mislead scholars into believing Rovigo's birthdate to have been 1530/31. In 1973 Pierre M. Tagmann communicated that he had checked the death reg ister and found Rovigo's age given as 55. This discovery in e ffe c t re-established the composer's lifespan as 1541/42-1597. 54canal, Della musica in Mantova, p. 37. 66 adaptability to changing situations led him from the b rillian t court of Mantua to that of Graz and almost to a position he seemed to desire the most, as musician at the court of Bavaria. Except for the finan cial reverses in the 1580s, Rovigo's career developed in a positive manner, so that his final period in Mantua cannot be considered a regression, but rather the culminating step on the pathway of his musical lif e . He was to be remembered by such musicians as Monteverdi and memorialized during and after his lifetime in some of the beautiful manuscripts of Mantua's Chapel of Santa Barbara and those of the Graz court chapel. 67 PART I I TH E M ASSES 68 CHAPTER IV BACKGROUND The Santa Barbara Repertoire The polyphonic Mass repertoire of the Ducal Chapel of Santa Barbara forms a s ig n ific a n t portion of the collected music of the chapel as we know i t today. in order to gain a perspective of the Mass repertoire and Rovigo's place in i t , a b rie f survey of the music of the chapel w ill be h elp fu l. The chapel's polyphonic music consists of an extensive c o l lection of both published and manuscript music. The prints come from a v a rie ty of European publishers with a heavy concentration on the Venetians. The prints range in date from 1502 (Josquin, Masses a 4, Petrucci)^ to 1649 (A lb e rg h e tti, Masses a 8, A. V in c e n ti).^ Nearly a ll the music o rig in a lly belonging to the Chapel of Santa Barbara, both prints and manuscripts, now belong to the lib ra ry of the Conservatorio di Musica "Giuseppe Verdi" in Milan. Of the 280 entries in the catalogue of that collection^ 131 are manuscripts. These form the heart of the special repertoire of the chapel. An ^Milan, Cataloqo, no. 97 (S.B. 178/9). ^ Ib id ., no. 2 (S.B. 1/0 TV.2 ) . 51 b id ., pp. 1-353. 69 examination of the contents of these manuscripts reveals that 33 contain Psalms, 31 contain Masses, 17 contain Hymns, 12 contain Magnificats, 7 contain fragments of miscellaneous sacred music, 7 contain secular music, 4 contain motets, 4 contain Litanies and Improperia, and 2 contain Passions. Although this tabulation represents all litu rg ic a l genres found in the manuscripts, it gives only a rough picture of the proportions of each, since a manuscript may contain only one work or as many as seventy- nine.^ In addition, a single manuscript sometimes contains more than one genre. There are three codices from the Santa Barbara repertoire in locations other than the Milan Conservatory. One each are to be found at Casale (Magnificats, Te Deum), Mantua (motets, Masses, Psalm), and Udine (Masses, Te Deum). Most of the contents of these are con cordances of music in the Milan col le c tio n .5 Turning more s p e c ifica lly to the special Mass repertoire of Santa Barbara, it is possible to identify certain general features shared in common by all the Masses. Knud Jeppesen has pointed out^ ^ Ib id . , no. 272 (S.B. 167): Hymns a 4 & 5 by Wert. 5por full information on these MSS as well as concordances, see ib id ., pp. x x x -x x x iii. 5jeppesen, "Pierluigi da Palestrina," p. 145. Parenthetic observations are by the present author. 70 that they a l 1 (1) are Mass ordinaries composed for five voice choir (although some works are found with partbooks missing), (2) are composed In alternatim -style (most obvious in the G1oria and Credo sections), alternating between polyphony and either plainsong—with or without organ accompaniment— or organ playing, and (3) are based on cantus firmi found in the Kyriale ad usum Ecclesie Sancte Barbare. The Mantuan Kyriale has been mentioned b rie fly in Chapter I. It is constructed p rin c ip ally of movements from the Gregorian reper to ire of ordinaries, but adapted and arranged in various ways. Seemingly new-composed movements, p rincip ally Glorias and Credos, are also to be found. The Kyriale consists of ten Mass ordinaries, all but the last containing its own G1oria and Credo, with each Mass uni fied by mode. The order of the Masses follows the rubrics of the special liturgy of the Chapel of Santa Barbara: 1. In Duplicibus maioribus [Mode VI 1 1] 11. 1 n Dupllcibus minoribus [Mode i v ] I I I . In Festis Beatae Mariae Virginis [Mode VI 1] IV. 1 n Festis Apostolorum [Mode 1] V. 1 n Dominicis diebus [Mode I I ] V I . In Sem1 dup1icibus maioribus [Mode V 1] VI 1. 1 n Semiduplicibus minoribus [Mode V] VI 1 1 . In Simplicibus minoribus [Mode 1] IX. In Simplici bus mi noribus et Feriis Temporis Pascal is [Mode IV] X. 1 n Fer i i s per annum [Mode i l l ] 71 Composers who set Masses from the Kyr iale may a l 1 be traced to the reign of Duke Guglielmo Gonzaga. The duke placed every aspect of the chapel's litu rgy under his personal care, and its music was con sidered to be one of the most important aspects. From all indications he even composed three Masses,^ a Te Deum,^ and several motets^ for use in his own church. The polyphonic Mass repertoire is largely the work of court musicians who were active also in the Chapel of Santa Barbara. We may recognize such names as Agostino Bonvicino, Giulio Bruschi, Nicola Parma, Francesco Rovigo, Alessandro Striggio (the Elder), Guglielmo Testori, and Giaches de Wert. Giovanni Conti no, when in Mantua, was active at the Cathedral of San P i e t r o . 15 Giovanni Giacomo Gastoldi was a young c le ric during the heyday of the ducal chapel, becoming its maestro di contrappunto and later maestro di cappel1 a . 11 Some Masses were commissioned from noted musicians active in other centers, notably Giovanni Pierluigi da Palestrina (Rome) and Paolo Isnardi (Ferrara). It is also possible that Contino wrote some of his Masses for Santa Barbara during his periods in Brescia between 1564 and 1574. Nearly nothing is known d e fin ite ly about the remaining 7see Table 3 below; also Gaetano Cesari, "L'archivio musicale di S. Barbara in Mantova ed una messa di Guglielmo Gonzaga," in Fest- s c h rift Theodor Kroyer (Regensburg: Bosse, 1933), pp. 118-29. ^Milan, Catalogo, no. $2 (S.B. IBO); also in codices of Casale, Mantua, and Udine. 5 1bi d., nos. 57 (S.B. 8) and 58 (S.B. 6). ^5$ee Tagmann, Archivalische Studien, pp. 17-19 and 30. 11 See idem, "La cappella," pp. 380, 382 and 383. 72 Mass composers: Giacomo Castrati, Paulo Pezzani, and Vincenzo Suardi. Three of the Masses in the repertoire remain anonymous. Whatever is known of the periods during which the various Mass composers were connected with Mantua or its ducal chapel is shown in Table 2. This timeline focuses on the years between the completion of the ducal chapel (1565) and the death of Duke Guglielmo (1587). I t may be observed that a distinct group of composers begin their a c tiv i ties during the early years of the chapel (before 1570): Bruschi, Wert, Bonvicino, Testori, and perhaps Contino. Although Palestrina's series of correspondence with the duke dates back to 1568, Jeppesen has made a strong case to prove that his Masses based on the Mantuan Kyriale actual 1 y stem from the years 1578-1579.^^ This places Palestrina more firmly within a middle group of composers who include Rovigo and Gastoldi. Parma and Striggio come into the picture in the 1580s, with Striggio settling in Mantua only about a year before the duke's death. Wert’s work in Mantua lasted beyond the duke's lifetime as did that of Gastoldi, who gradually took over the duties in Santa Barbara of the ailing Wert from 1582 to 1592. Table 3 gives a detailed rendering of the complete Mass reper to ire based upon the Mantuan Kyriale as found In the Milan Conserva tory lib ra ry and Pel lino's 1592 publication, Missae dominicales . . . Source numbers in Table 3 correspond to the numbering in the Milan Catalogo together with the older catalogue reference in parenthesis. The word "partbooks" is abbreviated "pb." All footnotes to the table I^Jeppesen, "P ierluigi da Palestrina, pp. 147-65. 73 t / i o o a : LU Q - S â ce < s e CM LU m g ? z C 07 07 O ce — LU (— O ) O O LU Q . Z Z Z O O o o 07 07 < L j- O LU LU Z co Lf\ V O LA O O LA -C M O O O LA en \0 o LA -00 L A vD L A -CM O \D L A -a LU ■M 07 07 07 ■M m s_ C Û C Q œ Q - o E 0 3 4 - O ' O O o _c 0 3 (D 0 3 o o o 4 - o c r - O 0 3 — oj 4 -t G 3 0 3 JZ t — O Q . E 0 3 O _C O -M 0 3 O 0 3 tn fD U o T O 0 3 > 0 3 74 TABLE 3 POLYPHONIC MASS REPERTOIRE OF THE DUCAL CHAPEL OF SANTA BARBARA BASED UPON THE MANTUAN KYRIALE 75 < K ) X Q c û rg c û (/> 0 4 ( U 04 CO O > Ch ü Om C cf r-. cû VI,---- '— in m > Cû > . m a “ O CL d û cû C û cû û . • Q . < /) * c D- ' “O O f O o 0 4 m E O I LTV M3 -z t (A _ Q ' CL — CM — C h < D L A — CM — C h û) L A CM CM C A < h v D M? LA L A M ï 0 0 CM — I O c a CD c o C h • CM jO — CL CM co “O CTï<C co m Cû cû e n * — v O ' ‘D (D o C h 1- > CM co ‘ CM _Q ^ Û. en o _ û CD CL Cl. CT\ CO L A CÛ d û CÛ CM • OC ^ — Q , O • CM _0 a o co o o CL CM lA CM ce LU CO O 4-» CO co o o C J 76 “ O < u 3 C + J C 0 o 1 I m C c /i UJ c /i t/ï < a : LU L A o o. z: o o O o c CO • co u — CM ” ï \ 0 3 • - 4“ o CM CÛ 1 i - e n 1 m * > < L > > c/> CA z c /i CM Q 3 0) CM CM O 0 \ M - d 0 \ M - o 1 r r \ CM CA O CA M ) v Û * V û vO 1 m \ o > CO L A — > CM CL CM • L A O < A CL CÛ CO iCÛ f— — LA c /î m - Q C A l -------- U - LU L A C L ^ o “ O 3 • - j - • CÛ m O • • • _ Û O C c o M - CA CL C — CM . — CM — C h CM CM -d" L A 0 0 — C h (U L A C A <y\\D L A CM Q) LA Û_____ CM — Q - — _o • -d" * -d" CL CÛ v£» CA Cû 1 « 1 CM c h • > LA > C h CA CM L A -Û tn f A -d" • — CM 0 0 CL ------CM -d" • CM v O CÛ 1 CÛ xÛ • CÛ ( L A - * > L A 4 - * CM 4 - LA CM CO LA CM tA ' — W ' O 1 1 -------fMD — sO CM CA r A — — ,vD L A OU — \ 0 r A L A -Q L A CL — 4 - CM CL , rA \ o -d- 1 > — N kD lO s O — Ch -d" vo -d - 00 CM -d" — CÛ • VÛ LÛ ï CM vO \ CM lO I * Z ) • CM ^ > CM — > — > • CL CA Q . CM * • vO CA CL CÛ -d- 1 ------^ C D k O — CÛ co r —1 • r-~ PA (A — LA • *---- k — - u_ L A -Q L A Û - J - CM CM — • f A CQ OÛ CM « 1 C D » 1 ^ CÛ CA > < h CA > -d - 1 ' f A 0 0 CM VO cû cû V û • cû CM CM 4 - • CL CM 4 - LA LA CM LA CL — -d" L A * CM — .MD L A -Q 1 iL û -d” -Q CO _o L A CL — CL — CL > CÛ dû « CO * • JÛ - -Û LA 4 - LA CL LA CL vO \ Û -d - -d - _o L A LÛ r A L A CM CM — CM CM — — r-~ f O c Û J Q _ E O — £ V) • — ï— ^ l/l d) fO C O — CJi m fO C J > C — f D E M (ü CTi îM u N > s - 3 C f D Û_ 0) Q_ O oC (ü iC D .O L A L * — J L D > C A 77 T 3 O J 3 C 0 ( _ ) 1 I rA OÛ < L A L A o • O 0 3 en 0 0 U 0) CA 4J c C û i CÛ cO 0) > Q • 1 > CA CM z : CA > CA <u d) CM CM o 0 > 4 ^ Q ( h 4 - L A CA CÛ L A -d - ' v £ > _ Û CM CL vO CO • < ■U • CM > . GÛ cû CQ _ o m o CQ f— * C O LA CL LA O CL c LA 4 - « LA o c LA ^ — cû >. CM w » \ * w CM CA CM -d - — e n CM CM LA > 1_ e n vO r A VO r A c Q) LA CA m CM . ro (U LA CM CM — k - o Û_ M - L A — CL o_ \ D CM L A r A en * r - . CM • O CO Cû ^ « I LA LA > J “ - d " OO r A CM \ 0 J û PA • CM Cl — 4- CÛ * • -Û CA Û - \ 0 r A LA L O +J -d" - i - — o m n Cû A cû LA L A . < r L A — — . CM ^ ----- * < o in LJ < CQ i_ 03 cû 1 ----- 1 C LA O Ol <A J - — O CÛ > . ---- - \ . LJ CM L A > U r ^ - d - c m CM — 1 - o L A ' CL V O C £ L LU CA O Q. Z : o 0 ) o O i D i/i u > U - J 3 L. e n ■ D o < O C O CT u ( 0 C/ï O o < £ (D L J 3 Q) 1 - -d " L A \ 0 L A C jA h- 3 lD \ O \ 00 \0 78 indicate movements whose incipîts do not correspond to the Mantuan K yriale . Concerning the Pel lino collection see the discussion of sources below and Appendix A, no. 3d. A few observations may be noted from Table 3.^^ The heaviest concentration of settings centers on the f i r s t five Masses of the Kyriale, with the number of settings of Masses VI, V II, and V III considerably diminished. If any setting of Mass IX was ever w ritten , it has not survived. Palestrina is the only composer to have made more than one setting of any Mass in the K yriale , a procedure he followed on four d iffe re n t cantus f ir m ! . He was apparently the most p r o lif ic contributor to the Kyriale-based repertoire with his nine (or ten?) M a s s e s .H o w e v e r , he set only four d iffe re n t cantus firmi indisputably. Giaches de Wert, on the other hand, led the group tn terms of scope with his six settings, each on a d iffe re n t plainsong Mass. Contino, who was connected with Mantua only periodically over a ^ T h is table d iffe rs in some details from that given in Jeppesen, "P ierluigi da Palestrina, Herzog Guglielmo Gonzaga . . . ," pp. 144-45. The anonymous fragment of Mass I I I is not accounted for by Jeppesen, and incipits of a Missa Angelorum by Paolo Isnardi, which Jeppesen identifies questioningly with Mass V II, do not correspond to the pi a insongs of any Mass in the Kyrîale . The Missa Dominical is attributed to Palestrina in P e llin o ’ s collection of 1592 (see Chap. I l l , n. 52 above) has been included in Table 3 but not in Jeppesen's l i s t . Although that Mass has not been f u lly authenticated, it none theless figures in the Santa Barbara repertoire, since it clearly is based on Mass V of the Kyr ia le . For a modern edition of this work, see Palestrina, Werke, 33:1-33. I^The Missa sine nomine a 4 w ritten by Palestrina for Mantua, probably in 1568, is not based upon the Kyria 1e . Concerning this work see Jeppesen, ib id ., pp. 147-55; Milan, Catalogo, no. 225 (S.B. 109 [ i l l . 6]); and the modern edition in Palestrina, Opere complete, 19:168-93. 79 space of ten years, was surprisingly p r o lif ic with his five Masses based upon the f i r s t five ordinaries of the K y ria le . Rovigo was active in the Chapel of Santa Barbara from about 1573 until 1582 when he le ft Mantua, not to return until a fte r Duke Guglielmo’ s death. Rovigo shows a rate of Mass composition somewhat in proportion to that of Wert. In terms of total output, Rovigo's four Masses place him ju s t behind the three other composers ju s t mentioned. Thus, Rovigo's e ffo rts represent a significant portion of the entire Santa Barbara Mass repertoire. Sources The manuscript sources of Rovigo's four Masses for the Chapel of Santa Barbara come from only two copyists. One of these was Francesco Sforza, previously mentioned in Chapter I I I . His codices are always in choirbook format with a painstakingly drawn lozenge- shape notational style. The carefu11 y printed text underlay always includes large, extremely flo rid in it ia ls . Often flo ra l or human cartoons grace the margins of Sforza manuscripts or are included in the in it ia ls . The other copyist is anonymous. His manuscripts are written in a less elaborate, less decorative hand than those of Sforza. In the anonymous codices the notes are written with round note heads (except for ligatures) and less care has been taken with details (e .g ., regulation of the length of stems and size of note heads) than in the Sforza sources. The anonymous copyist always produced his work in partbooks of a re la tiv e ly undecorated, workaday appearance. The 80 text underlay is in longhand and seems to have been w ritten rather quickly. Although the text in itia ls are "monastic," they are con siderably less ornate than those in Sforza manuscripts. Table 4 indicates the disposition of manuscript sources of the Mantuan Masses by Rovigo in relation to the two copyists. TABLE 4 MANUSCRIPT SOURCES OF THE MANTUAN MASSES OF ROVIGO Mass Sforza Anonymous In Duplicibus maioribus In Festis Apostolorum In Dominicis diebus r In Feriis per annuml Die Mercuri i 256 (S.B. 166). 254 (S.B. 127) Mantua, Codice p o iÎ fonico— 1616. 132 (S.B. 192) 132 (S.B. 192) 92 (S.B. 180). 253 (S.B. 129) 255 (S.B. 128) Missa in Duplicibus maioribus a 5 . Judging from available information on the amount and range of dates of manuscript sources of Rovigo's Masses, one could conclude that his setting of Mass I of the Kyriale must have occupied a special place in the repertoire of the ducal chapel. Two of the sources are located in the Milan Conservatory. The informal five partbooks of no. 254 (S.B. 127) contain only the Rovigo Mass and run eight pages each. In no. 256 (S.B. 166), the Sforza copy dated 1592, Rovigo's Mass occupies f .lv - 2 2 . On the Mass's t i t l e page (see Plate 2 above) 81 a cartoon, possibly the likeness of the composer, appears inside the in it ia l of the Tenor voice of the Kyrie. The honored f i r s t position which Rovigo's work holds in the manuscript is further enhanced by the fact that the codex continues with four Masses by Palestrina (two In Festis Apostolorum and two In Semiduplicibus maioribus) and one by Gastoldi ( in Dominicis diebus). The long-lived popularity of Rovigo's Mass is illu strate d in a third manuscript source, located not in Milan but in the Archivio Storico Diocesano (Fondo capitolare della Cattedrale) in Mantua. This is another codex by Sforza, and i t is dated I 6I 6 . By that time the significance of the Mantuan Kyriale had evidently been forgotten and the alternatim performance practice had fallen into disuse. This state of a ffa irs is evidenced by (1) the Mass being t it le d simply Octavi t o n i, (2) the elimination of Rovigo's alternatim -style G1or 1 a and Credo, and (3) the substitution for these of new, through-composed movements by Antonio T a ro n e .15 The entire Mass occupies f . 79v-100 of the codex. Missa in Festis Apostolorum a 5 Both of the sources for Rovigo's settings of Mass IV of the Kyriale are found in the Milan Conservatory Library. No. 132 (S.B. 192), although undated and unsigned, is nonetheless clearly in ^^Tarone was active as maestro di cappella of the ducal chapel during brief periods in I 6O 9 and 1612. He also functioned as maestro di canto f ermo from I 6IO to I6 l2 . See Tagmann, "La cappella," pp. 382-84. 82 the hand of Francesco Sforza. The codex is divided into two segments; "Misse Très Dominicales" and "Très A llé Apostolorum." The three Masses comprising each segment are the work of Contino, Wert, and Rovigo (in that order). Rovigo's Missa Apostolorum appears on f. 102v-123. No. 253 (S.B. 129) contains only the Rovigo Mass. (Of its five part books the Cantus, Q.uintus, Tenor, and Bassus run seven pages; the Altus runs e ig h t.) Missa in Dominicis diebus a 5 (Missa Dominicalis) Within the same Sforza manuscript where the Missa Apostolorum is found— no. 132 (S.B. 192)— Rovigo's Missa Dominicales appears on f. 41v-63. Rovigo's Mass follows those of Contino and Wert, all of which are based upon Mass V of the K yriale . The anonymous manuscript copy, no. 255 (S.B. 128), contains only the Rovigo work, as with the two previously mentioned Masses by Rovigo. The five fascicles of this codex are each eight pages long. Besides the two manuscript sources of the Missa Dominicales a published version of this Mass appeared in 1592 in the Missae dominicales / quinis vocibus / diversorum auctorum / A. F. lu lio Pel lino Carmel. Mant. / collectae. / Mediolanî. / Ex Typographîa Michael is T in i. M.O.LXXXXll.'^ Rovigo's Mass appears on pp. 7-13 of the five partbooks of the p rin t. The contents also include Masses by Contino, Striggio, Wert, and Pseudo-Pal e s t ri na. ^^RISM I 592I . 83 A modern edition of Rovigo's Missa Domini cai i s by Hell mut Federhofer appears in his Niederlandische und Italienische Mus iker der Grazer Hofkapelle Karls I I ., 1564-1590» Denkmaler der Tonkunst in Osterreich, vol. 90 (Vienna: Osterreichischer Bundesver1ag, 1954), pp. 60- 76; c r itic a l notes appear on p. 104. This edition has been followed in the present study. Missa fin Feriis per annuml Die Mercurii a 5 Just one single manuscript copy of this Mass exists. It is Milan no. 92 (S.B. 180), the work of Francesco Sforza, dated 1613. The codex contains Masses for the six Ferial days, each by a d iffe re n t composer (see Table 3 above) with Duke Guglielmo's Te Deum in Dupli- cibus maioribus tantum a 4 and the unique, anonymous setting of Mass V III of the Kyriale (Kyrie, Sanctus, and Agnus Del only— limited to the same movements found in the Ferial Masses) interpolated between Wert's Die Mart is and Rovigo's Die M ercurii. Rovigo's Mass occupies f . 21v-26 of the codex, which also displays plainsong intonations from Mass X of the Kyriale (see Plate 3). 84 ^ 1 1 I I I I I — I I I "*— — * 1 j 4 % W on. .1). 'à i III 4 1 ''' M 1 » f j =: 'fe itfe clcifon. i p : 5nc c W on. r r - 7 n e d o lb n Ü * 3""^ c leifon. clcilbn. Plate 3. Milan, Biblioteca del Conservatorio, Fondo di S. Barbara, no. 92 (S.B. 180), f . 2lv. 85 CHAPTER V INDICATORS OF PERFORMANCE PRACTICE Aspects of A lte rn a tim Practice and Disposition of Voices Vocal alternation between polyphony and pi a insong survived into the high and late Renaissance chiefly in litu rg ic a l verse forms, the bulk of which consist of Psalm motets, hymns, and Magnificats. By the sixteenth century the alternation of pi a insong and polyphony in Mass composition had become rare, however, having given way to the great through-composed Masses of the Franco-Netherlandish (and la te r, Ita lia n ) masters. The sparseness of polyphonic alternatim Masses from this century^ was counterbalanced, on the other hand, by the devel opment of a new type of a1ternatim Mass. The new genre called for the alternation of plainsong choral passages with elaborate polyphonic segments for organ solo, based upon the appropriate Gregorian cantus f i rmus. The employment of solo organ segments became so widespread, in fact, that it called for special attention from the Council of ^ Outs i de Palestrina's Mantuan Masses, Reese, Music in the Renaissance mentions only one example: Heinrich Isaac's Missa paschalis a5 (p. 647). Jeppesen, "P ierluigi da Palestrina," p. 172 cites the Credo of V icto ria's Mlssa Dorn in icalis (Opera Omnia, v o l. 8) as a fragmentary example of both the polyphonic a 1ternat i m practice and a disposition of polyphonic sections which corresponds to the la te r Masses of Mantua (see below). 86 Trent, which attempted to lim it the organ's application.^ Musical publications of the time indicate the vogue, at least in Ita ly , enjoyed by the alternatim Organ Mass. Three Masses appear in Girolamo Cavazzoni's Intabu 1atura Df^lorgano (154?),^ three in Claudio Merulo's Messe d ' intavolatura d'orqano (1568),^ and la te r, five in Adriano Banchieri's L'organo suonarino (1605).^ The pattern of alternation is identical in each ordinary of all three sources. Assuming this pattern to be the general perfor mance rule for Organ Masses of the late sixteenth century, it is hardly surprising to note a resemblance in the pattern found in the Mantuan alternat im Masses. Jeppesen was the f i r s t to compare this feature,^ which is most striking in G1oria and Credo movements. How ever, in the same context he notes that the ra rity and importance of the Mantuan Mass repertoire lies in the application of vocal poly phony to the a 1ternat im scheme. The unique crux of this aspect, ^K. G. F ellerer, "Church Music and the Council of Trent," M^ 39 (1953):591. See also mention of the organ in the Council's Canon on Music to be Used in the Mass, trans. in Reese, Music in the Rena i ssance, p. 449• 3Howard Mayer Brown, Instrumental Music Printed Before 160Q: A Biblioqraphy (Cambridge, Mass.: Harvard University Press, 1965), 154?2. ^1 bid., 1568g. Music in both Cavazzoni and Merulo are settings of the Gregorian pi a insongs for Missae Apostolorum, Domi n i c a l is . and B.M.V. along with appropriate Credo settings. ^In addition to settings of the three cantus firm! mentioned in the previous footnote, Banchieri offers a Messa semplice and a Messa d eq l'A n q io li. 6jeppesen, "P ierluigi da Palestrina," pp. 169-172. 87 therefore, îs the placement, or disposition, of vocal polyphony^ in relation to alternate segments performed by a contrasting musical medium--be It organ solo or unison chant choir. Although the question of performance practice in the non- polyphonic segments (likewise based upon chants of the Kyriale) is not e n tire ly settled, there are certain strong indications of the charac ter of that practice. Jeppesen has eliminated his early assumption that an a cappe11a unison choir could have performed these portions.^ By pointing to the long hours and high pay connected with the post of organist at Santa Barbara,^ he ju s tif ie s his proposition that these segments were more lik e ly played on the organ than sung by a unison choir. Support for Jeppesen' s proposition can be given by recalling a detail of Rovigo's biography. The fact that Duke Guglielmo went to the expense of sending the young organist to study with Merulo in 1570, just two years a fte r the publication of the le tte r 's Organ Masses, implies the duke's tastes in organ performance. ^ ^ Proof that ^Not to be confused with "disposition of voices" within any one polyphonic segment, a textural matter to be taken up below. ^Held as an equally possible altern ative in his a r tic le , "The Recently Discovered Mantuan Masses of Palestrina: A Provisional Com munication," Acta Musi coloqica 22 (1950):36. 9jeppesen, "P ierluigi da Palestrina," p. 171- See also material on the subject in Chapter I above. IOorgan improvisation in an alternatim situation was part of the examination for organists at St. Mark's. See C affi, Storia del 1 a mus Ica . . . S. Marco, p. 28. 88 the Chapel's extravagant organ was in fact employed during the Mass Ordinary lies in the words of the Chapel's Ceremoniarium. There, a direct reference is made by specifically prohibiting organ playing during the Credo verse beginning Et incarnatusJ^ Since this verse is set polyphonically in a l 1 Mantuan Masses, consistent alternatim practice would require the organ to perform during the preceding and following "plainsong" verses. As in all the Mantuan Masses, Rovigo's four works present all three sections of the Kyrie movement only once, Nevertheless, an alternatim performance is s t i l l possible. Contrary to Jeppesen's conjectural design of the Kyrie, calling for no organ participation,^^ a substitution of polyphonic choir for organ in the Organ Mass pattern will yield the traditional three-fold form: Polyphonic Choir Organ 1. Kyrie 1 2 . Kyrie 1 3. Kyrie 1 4. Chr i ste 5. Christe 6. Chr i ste 7. Kyr ie 11 8 . Kyrie 11 9. Kyrie 11 Even though hard evidence for his pattern of performing the Kyrie is lacking, the same substitutions with respect to the standard ^^Mantua, Archîvio Storico Diocesano, Fondo Santa Barbara, Ceremoniarium, p. 45. See Chapter I for full Quotation. ^ ^Jeppesen, "Pierluigi da Palestrina," p. 170. 89 Organ Mass are made e x p lic it in the G1or ia and Credo movements. Verses tra d itio n a lly assigned to the organ (that is, the seconde p a r t i ^3 or even-numbered verses) are precisely those set polyphoni c a lly by a ll the composers of Santa Barbara. According to Jeppesen's observations,^^ the repertoire exhibits two d iffe re n t modes of response to the intonations of these movements. In "Type A" the f i r s t part of the verse (Et in terra pax hominibus and Patrem omnipotentem, respectively) is sounded on the organ followed by the completion of the verse sung by the choir. In "Type B" the choir responds d ire c tly to the celebrant by singing the entire verse. In Rovigo's music Type A is exemplified by Mi ssa in Duplicibus maioribus and Missa Apostolorum, while Type B by the Missa D o m in ic ali s . ^3 Tables 5 and 6 illu s tra te the disposition of voices in G1or ia and Credo movements of the three Masses by Rovigo that contain them. The point at which Rovigo has chosen to reduce the number of voices in Gloria movements diffe rs s lig h tly between Mi ssa In Dupli c i bus ^3with reference to this term, see Annibale Capello's letter to Duke Guglielmo of 18 October 1578 regarding a Mantuan Mass by Pal estrina in relation to performance practice at Saint Peter's in Rome around that time; printed in Jeppesen, "Pierluigi da Palestrina," pp. 158- 5 9. See also Strunk, "Guglielmo Gonzaga," p. 232 for English translation. l^Jeppesen, "Pierluigi da Palestrina," p. 172. ^5a missa Dorn in icalis found in Lodovico Viadana's Cento con- c erti ecclesi a s t i c i , Book II ( I 6O7) follows the pattern of Type B and is therefore likewise related to the Organ Mass of its time. Viadana, who was connected sporadical 1 y with the Cathedral of San Pietro in Mantua, used Roman, not Mantuan, cantus firmi in segments composed for voice and basso continuo. For discussion and transcription of the Mass, see Peter Wagner, Geschichte der Messe, 1. T eil: bis 1600 (Leipzig: Breitkopf & H a rte l, 1913), pp. 412-13 and 534-45. 9 0 L T V Ü J _ I C O < (/) o U J in a l O —I C O o o z n Q_ >- O Q _ CO O C D O a l C O I- l A ir\ LA LA LA LA (_ ) LA LA LA LA LA O 4 - > tn CL < Q. tn O C O LA LA O _Q CL O CL ■ M tn O s- +J “ O C O tn _c < u o to LLl C O CD 91 \0 UJ _ l C Q s CO o t- l— UJ CO o a ui Q £ o o Q - > - —I o Q . C O o C D O a l < o LA LA LA L A LA LA O C Q O ' L _ LA O LA LA LA LA LA LA O +J Q . < in LA LA LA LA LA LA O O +J +J +J Q_ L _ ■ M + J U . L _ S _ -M UJ + J U I UJ U J O ' Q _ O 9 2 ma î or î bus (Domine Deus, Rex) and Mîssa Apostolorum ( Domine Deus, Agnus) . In the Mi ssa Dorninicalis both segments are textural 1 y reduced. In Credo movements of all three Masses voices are reduced at the usual point. Et re su rrex it. The Missa Dominicalis pairs this with a reduction in voices for the following polyphonic segment, a pattern which corresponds to the Gloria of that Mass in number of voices but not in exact disposition. Missa in Duplicibus maioribus comes closer to an exact duplication in Its one reduced-voice segment of each movement (C,A,T,B and C,A,Q.,T). The disposition, or placement, of reduced forces in segments of these movements is not a rb itrary . In most polyphonic ordinaries of the fifte e n th and sixteenth centuries the extended length of these two movements usually required some points of division for both rest and proper formal a rtic u la tio n . Wagner's discussion of the dispo s itio n of the Mass^^ indicates the most frequent dividing points. For the G 1 or 1 a it is Qu i toi lis F. . . mi se re re ~ 1 , which in Mantuan Masses corresponds to the organ segment immediately following Domine Deus, Agnus. In two of Rovigo's Masses this is signalled by a reduc tion of voices. For the Credo one dividing point may be found at the Crucifixus, corresponding a point ju s t ahead of reduced voices in all three Rovigo Masses. A further dividing point in Credo movements of the period was sometimes found at Et in Spiritum, a point ju s t ahead of a reduction in voices in Missa Apostolorum and immediately following ^^Wagner, Geschichte der Messe, p. 85. 93 one in Missa Domin i c a l is . With its polyphonic setting of Amen in the Credo, the la tte r Mass is also the only one by Rovigo to break with s tr ic t alternatim practice in these movements.^7 An even less consistent employment of the alternatim prin ciple is seen in the Sanctus movements of Rovigo's Masses. Table 7 illu s tra te s the disposition of these along w ith:that of the Agnus Dei movements. In Missa Dominica1is a ll segments of the Sanctus are set polyphonically. In Missa Die Mercurîî segments in pairs are set: Sanctus I 1 and Sanctus Dominus, then Benedictus and Hosanna I I . Missa Apostolorum comes closest to bringing the Sanctus into a verse- oriented, alternatim -style movement by merely omitting polyphonic settings of Sanctus Dominus and Benedictus. A fter the intonation (Sanctus I ) any segment not set polyphonically is presumably intended for the organ. Nevertheless, the alternatim pattern here, unlike the Mass's G1oria and Credo, diffe rs from that of the common Organ Mass, which would ord in arily have settings of Sanctus I and Sanctus Dominus only. Missa in Duplicibus maioribus begins its Sanctus by following the Organ Mass form, but then goes on with polyphonic settings of the remainder of the movement. In Table 7 a predictable reduction of voices is noted in the Benedictus of two of the Masses. Missa Dominicalis, however, main tains a five-voice texture throughout the movement. In Missa ^^In the nine Mantuan Masses by Palestrina and the Missae Domi nicales by both Pseudo-Palestrina and Wert this Amen is con sisten tly set polyphonically. 94 LU Q Q g LU Q to C 3 < O z < to = ) i— o z < to to o I- ü co o o z Q - > - o Q - to Ô 03 O 0£ O ' LA LA O Q Û . LA LA LA LA LA O Q. I- D . O LA LA O Q . LA C Q CL LA LA LA CL Q LA to CL O + J + J O in + J 4 J + J ~ o o to ■ o tn en e n < to C Q to to 95 Apostolorum, where there is no polyphonic setting of the Benedictus, a reduction of voices (a3) takes place in the Pleni sunt, an analogous point ahead of the f i r s t Hosanna. In the Agnus Dei of three of Rovigo's Masses a return to the Mantuan adaptation of Organ Mass alternatim form clearly takes place. Only Agnus Dei II is set polyphonically, indicating the following pattern in performance: Organ Polyphonic Choir Agnus Dei I Agnus Dei 11 Agnus Dei dona nobis pacem In M i ssa Die Mercur i i , however, full-voiced settings appear in both Agnus Dei II and Agnus Dei . . . dona nobis pacem. This unusual pairing is explainable as merely the logical and balanced extension of the formal pattern already established in the Sanctus of that Mass. Alternation procedure and disposition of voices in the Masses of Rovigo may be summarized. An alternatim performance of all Kyrie movements is possible, though not sp ecifically indicated. The Mantuan adaptation of Organ Mass alternatim practice is followed str ic tly in G1oria and Credo movements with a 2:1 preference for the Mantuan responsorial variant (Type A). In all these movements fluctuations in vocal forces follow the Renaissance disposition of the Mass gen erally but by no means str ic tly . The Sanctus movements provide the most fe r tile ground for individual variance in both formal patterns and disposition of voices. In the Agnus Dei a return to Organ Mass form is again indicated in the three Masses having a polyphonic setting of Agnus Dei II only. 9 6 Relative to Organ Mass form, the Mantuan substitution of poly phonic vocal sections in place of organ, and organ in place of "plain song,” effects an apparent reversal of roles between vocal and organ music in the liturgy. It may be pointed out, however, that a special liturgy was, in fact, exercised in the Chapel was the unique spiritual project of Duke Guglielmo. Therefore, the exact reversal of roles shown in the Gloria, Credo, and Agnus Dei of three of Rovigo's Masses and strongly implied in the Kyrie of all of them should be viewed as a peculiarity of the special liturgy of Santa Barbara. Clefs, Ranges, and Transposition Besides the a 11-pervasive alternatim practice, other unifying factors may be found In the Santa Barbara Mass repertoire. One, which has already been mentioned and remains to be discussed further, is the use of chants from the Mantuan Kyr iale (see "Cantus Firmi” below). The notation of pitch in the Kyriale gains considerable importance when compared with the notated pitch of cantus firmus applications found in the polyphonic Masses. Other considerations bearing on this pitch relationship are essentially performance issues: (1) The Masses were all written for basically the same choir which must have retained a relatively consistent disposition of voices and range characteristics despite changes in personnel from time to time. The direct involvement of Duke Guglielmo in the musical matters of the Chapel must have ensured consistent performance prac tice in the music of his special liturgy. (2) The same organ was used in performances during the years 97 when the Mass repertoire was composed and heard. A fairly consistent pitch reference was therefore available within each service and from day to day. In an age which had no "absolute pitch" standard, these two features, typifying a relatively "closed system" of musical repertoire, must have provided such a pitch standard for the performance of litu r gical music within the Chapel. Therefore, in the Masses by Rovigo the variegation of clef combinations and corresponding voice ranges are an inviting problem, considering that in performance all music was most likely brought to a uniform pitch standard. These features, coupled with transposed polyphonic applications of cantus firmi from the Kyriale, demand that several transposition p o ssib ilities be Investi gated, including the application of the frequently raised chlavette i ssue.^8 Clefs and voice ranges in each of Rovigo's Masses are repre sented in Table 8. it may be noted that the range and clef of the Quintus is consistently paired with either Altus or Tenor, but never with Cantus. Ranges lie conservatively within the confines of the 18If transposition is not considered, and clefs and ranges in Rovigo's Masses (as well as the rest of the repertoire) are taken at face value, two discrepancies result. The notated tonal levels of chant and corresponding polyphonic segments of many Masses do not always correspond. In addition, the difference In voice ranges between the Masses (see Table 8 below) is extreme enough to suggest the impossible notion that one choir (low range) performed the Mass only on certain feasts, e .g .. Double Majors, while another (high range) participated only on other feasts, e .g .. Apostles, and Ferial Days. 98 TABLE 8 CLEFS AND RANG ES IN ROVIGO'S M A N TU A N M ASSES a . Dup. mai c. ^ b. Domin. jj...— r i g I c. Apost. ^ t d. D. Mere. Z A Al. z± ? iü k z z z z f é î 12. y f Z ± n ç z i m m s. A z ± i A z : T X r 1 f -# - clefs, with high leger lines employed regularly only in the Altus of Missa Apostolorum and just once in the Quintus of M i ssa Die Mercurii In the latter Mass it Is also noteworthy that in the Cantus only about two-thirds of the possible range is exploited. Nowhere in the Masses is a change of clef found. 99 The present discussion stems p rim arily from the v a rie ty of these c le f combinations with and without signature. The Missa in Duplicibus maioribus and Missa Dominicalis are cast in the chiavi n a t u r a li, or so-called "low c h ia v e tte ." In typical four-voice w ritin g of the late sixteenth century the low chiavette appear thus: Example 1. Chiavi n a tu ra l!. i ( r In the Mantuan Mass repertoire there is a very strong inference that notation in chiavi naturali symbolizes optimal voice ranges at the desired pitch standard. It may be assumed, then, that Rovigo's two Masses notated in th is fashion were not intended to be transposed. Congruence in the Missa in Duplicibus maioribus between chants of the Kyriale (pitches of in c ip its and overall mode) and th e ir application in Rovigo's setting is evidence that no transposition whatever is necessary in the performance of that Mass. However, in Rovigo's Mi ssa Domin i c a l i s . also notated in chiavi n a t u r a li. a signature of one f l a t gives the tra d itio n a l signal that modal transposition has taken place. This simple phenomenon is demon strated in contemporary theory. Girolamo Diruta gives examples of transposition in every mode as applied to p la in s o n g .1^ in these I^Girolamo D iruta, II T ransiIvano: dialogo sopra il vero modo d! sonar organ! et istromenti da penna, 2 parts (Venice: Vincent!, 1593-1622); facs. rep rin t e d ., Bologna: Forni, 1969, 2:Bk, 3, pp. 2-3. 100 examples each mode is shown in both its original position and trans posed up a perfect fourth with the addition of a one-flat signature. There are two important indications, besides the signature, that the Rovigo Mass has been transposed in this manner to G-Dorian. One is the employment of a concluding concentus^Q built on G at all final cadences. The other concerns the application of cantus firmus. The only segments treating cantus firmus unequivocally with entries beginning on a single pitch-name occur in the Gloria on Benedicimus te, Quoniam tu solus, and Tu solus altissim us. In each case the o ri ginal chant begins on the note D, while its polyphonic counterpart begins on G . The c le fs, signature, and musical context of the polyphonic score of Missa Domin icalis suggest the simple transposition of organ segments to G-Oorian in order to bring the performance to a uniform pitch level. Diruta's remarks on modal transposition relate to organ performance. Other theoretical writings^l also indicate that trans position of a fourth or fifth was a necessary skill for the sixteenth- century chapel organist. There is even evidence of transpositional devices, such as an additional, differently pitched keyboard having ^^The use of this contemporary term for analytical purposes is borrowed from Putnam A ld rich , "An Approach to the Analysis of Renais sance Music," Music Review 30{1969):7. ^iRemarks by Rocco Rodio and Michael Praetorius concerning transposition (see n. 44 below) are directed p rim arily to the organist See also Otto Kinkeldey, Orqel und Klavier in der Musik des 16. Jahrhunderts (Leipzig; Breitkopf & H artel, 1910), pp. 127-32. 101 been b u ilt into many keyboard instruments of the ti m e p o s s ib ly for the less experienced musician. Since Rovigo's polyphonic setting is already in transposition and in the ranges of the chiavi n a t u r a li, i t may be concluded that a uniform pitch level is to be achieved in the performance of Missa Dominical is by bringing the organ cantus firm i e ith e r up a fourth or down a f i f t h . Rovigo's n o tâ tiona1 procedures are found also in the Missa Dominicalis by Giaches de Wert.^3 This Mass bears the same clefs and signature, nearly identical cadence formations (leading to G), and a hand 1ing of cantus firmus analogous to Rovigo's Mass. Clefs and s ig natures in other examples of Missae Dominicales from the repertoire show a v a rie ty of treatments, a ll of which in some way support the present view of performance techniques in Rovigo's Mass. Both the Anonymous Mass^^ and that of Pseudo-Palestrina^^ are in chiavi n atu rali and appear to re fle c t Second Mode, as found in the original chant. Rovigo's Missa Apostolorum and Missa Die Mercurii u t i 1ize c le f arrangements known in contemporary theory as chiavi transportati and ^^Described and discussed in Arthur Mendel, "Devices for Transposing in the Organ before 1600," Acta Musicoloqica 21 (1949): 24-40. ^^Modern transcription in Melvin Bernstein, "The Sacred Music of Giaches de Wert," 2 vols. (Ph.D. d iss.. University of North Carolina, 1964), 2:119-63. ^^Milan, Cata logo, p. 395. ^^Palestrina, Werke, 33:1-33. 102 today as "high c h i a v e t t e In four-voice w ritin g of the time one of two s im ilar high chiavette forms appear: Example 2. Chiavi trasp o rtati i g The clefs of Missa Die Mercurii (corresponding to Ex. 2a) and Missa Apostolorum (corresponding to Ex. 2b) result in notated ranges lying approximately a perfect fourth higher than those of the other two Masses. Clefs and ranges, coupled with internal musical evidence, point the presence of chiavette practice in these two Masses. Modern scholarship is in nearly complete agreement regarding the in terp re tatio n of high c h i a v e t t e . ^ essence, there are ju s t two rules for decoding it: (1) When high chiavette appear with a signature of one f l a t , transpose down a perfect fourth and remove the f l a t . (2) When high chiavette appear without signature, transpose e ith e r down a perfect fourth, adding one sharp, or down a perfect f i f t h , adding one f la t .^ ^ ^^Arthur Mendel, "Pitch in the 16th and 17th Centuries," M Q . 34 (1948):336-57, 575-/8 successfully disproves older theories of Kies- ew etter, Bellermann, Ehrmann, Kroyer, and others. See also Hellmut Federhofer, "Zur C h i a v e t t e n f r a g e Anzeiger der p h il.- h is t . Klasse der Qsterreichischen Akademie der Wissenschaften, Jahrgang 1952, no. 10; and idem. "Hohe und t ie f e Schlüsselung im 16. Jahrhundert," in Fest- s c h r ift Friedrich Blume, ed. Anna Amalie Abert and Wilhelm Pfannkuch (Kassel: B arenreiter, 1963), pp. 104-11. ^7siegfried Hermelink's theories of modal transposition (espe c ia lly in the works of P alestrina) at intervals other than the fourth or f i f t h are expressed in his Dispositiones Modorum (Tutzing: Schneider, 1960) and "Zur Chiavettenfrage," Bericht liber den 103 Although o rig in al reasons for employing high chiavette notation have not a ll been explained s a tis fa c to r ily , the practice is nonetheless demonstrated in both theoretical and musical sources of the period. Theorists were divided between those who simply describe it,^ ^ those who protest against i t , a n d those who ignore or avoid i t . 30 In te rn a tio n a len Musikwissenschaftlichen Kongress Wien (Graz-Cologne, 1958) , pp. 264-71. Much of his work is severely taken to task in Federhofer's "Hohe und t ie f e Schlüsselung." Therefore, only the more generally accepted rules are adhered to in this paper. A point of information In support of the quartal in te rp re ta tion of high chiavette (and one not generally discussed d ire c tly ) is that singers in the sixteenth century organized lin e a r pitch re la tionships by using hexachords and hexachord mutation. The transposi tion by a fourth or f i f t h corresponds closely to simple mutation between two of the three hexachords. A case in point is P a le strin a 's Missa Papae Marcel Ti , notated in high chiavette with tenor c le f . Apart from modal considerations, much of the work is oriented towards the natural hexachord. If transposed down a fourth (in to chiavi n a t u r a li) emphasis is then merely transferred to the hard hexachord, which from the singers' point of view is a normal analogy. The asso c ia tio n of chiavette transposition with hexachord mutation is reflected in Praetorius' use of the term "ex duro in durum" in his explanation of tran sp o sitio n — see Mendel, " P itc h ," p. 348 and the following fo o t note. ^^Adam Gumpelzhaimer, Compendium Muslcae (Augsburg, 1595)— see Federhofer, "Hohe und t ie f e Schlüsselung," pp. 108-11; Rocco Rodio, Reqole di musica (Naples, I 6O 9) , p. 59— see Mendel, "P itc h ," pp. 575- 78; Michael Praetorius, Syntagma Musicum 111, pp. 347-48— see also Hans Lampl, "A Translation of Syntagma Musicum i l l by Michael P raeto rius," (D.M.A. d is s .. U niversity of Southern C a lifo rn ia , 1957), pp. 138- 4 5 . ^9jhomas Morley, A Plaine and Easie introduction to Practical 1 Musieke (London, 1597), pp. 165- 66— see Mendel, " P itc h ," pp. 344-46; Hermelink, Dispositiones Modorum, pp. 27-30; and Federhofer, "Hohe und t ie f e Schlüsselung," pp. 106-8. ^^Pietro Cerone, El Melopeo y Maestro (Naples, 1613), p. 494— see Mendel, "P itc h ," pp. 343-44. 104 Purely vocal music examples employing chiavette practice unequivocally are somewhat r a r e . 31 More usually the direct involve ment of a keyboard instrument3^ is either expressed or strongly implied. Thus, in a corpus of late sixteenth-century chapel music such as the Santa Barbara Mass repertoire it is not surprising to find the exigencies of vocal-organ practice reflected in examples of high ch iavette notation. in fact, with the knowledge that they are all based upon the same source of cantus firmi and were performed alternat im, very probably with the organ, the Masses of the Ducal Chapel become a new and important chapter in the entire chiavette Î ssue. Rovigo's Missa Apostolorum is notated in high chiavette with baritone clef. Chant from the Kyr iale for this Mass is clearly in First Mode (final: D, dominant: A). As in our investigation of the Missa Domin ic a lis , two internal musical features must be examined: (1) polyphonic cantus firmus incipits beginning unequivocally on one 31A case worthy of note is the madrigal c o lle c tio n , L'AMOROSA/ ERO/ RAPPRESENTATA DA'PIV/ CELEBRl MVSICI/ D 'ITA LIA ,/ CON L'ISTESSE PAROLE/ & nel medissimo tuono./ (device) IN BRESCIA,/ Appresso Vincenzo Sabbio. M.D.XXXVI 11 .(^Modern edition: Harry B. Lincoln, transe, and ed.. The Madrigal Collection " L'Amorosa Ero" (Brescia,1588) (Binghamton, N.Y.: State U niversity of New York Press, 1968).] This collection contains four madrigals (nos. 2, 4, 7, and 9) in high c h i avette with a signature of one f l a t , each of which is c le a rly in G- Dorian. The remaining fourteen works are a ll in chiavi n atu rali with no signature and a tonal level corresponding to D-Dorian. The facts that (1) the collectio n carries the c o lle c tiv e rubric "nel medissimo tuono" and (2) the madrigals are published together as a single s e t-- to be sung at random probably by a u nified group of performers— indicate that the e n tire collection was undoubtedly intended to be performed in the ranges of chiavi naturali with a modal fin a l corres ponding to a single pitch reference. 3^Reese, Music in the Renaissance, p. 532. 105 pitch-name and (2) the fundamental note of the concentus appearing at the ends of fin al cadences. Table 9 refers to segments of Rovigo's Mass which state the cantus firmus on ju s t one pitch-name. TABLE 9 MISSA APOSTOLORUM: COMPARISON OF CANTUS FIRMUS PITCH-NAMES Segment Cantus Firmus In c ip it Kyriale Rov i go Kyrie 11 D G Bonae voluntatis C F Et ex Patre B D Et incarnatus est D G PI en i sunt caeli D G Hosanna D G Agnus Dei II D G With the exception of Et ex Patre a ll cantus firm i statements in these segments appear at the equivalent of a perfect fourth above the o r i ginal chant. The one exception brings the rather unusual chant in c i- p it into line with the transposed modal dominant. The trend of concluding concentus in fin a l cadences of the Mass may be summarized without illu s tr a tio n . The fundamentum of each is invariably e ith e r G or D, fin a l and dominant, respectively of G- Dorian. Exactly twice as many cadences end on G (16) as those ending on D (8 ). 106 If the ch iavette p rin c ip le is applled to this Mass by lowering the pitch a perfect fourth and removing the f l a t , three phenomena w ill re s u lt, each indicative of the achievement of uniform performance pitch between organ cantus firm i and polyphonic composition: (1) Polyphonic statements of cantus fIrm i w ill generally correspond in pitch level to th e ir counterparts in the K y ria le . (2) Each fin a l cadence w ill conclude with a concentus b u ilt upon e ith e r the fin a l or dominant of the chant’ s untransposed mode. (3) The overall ranges of voice parts in the Mass w ill be brought into closer conformity with those notated in chiavi n a t u r a li. B rief examinations of other Missae Apostolorum in the reper to ire confirm th is conclusion concerning performance intentions by means of chiavette in Rovigo’ s Mass. Kyrie 1 of the Missa Apostolorum a ttrib u te d to Guglielmo Gonzaga33 is notated in chiavi transportati with tenor c le f and a signature of one f l a t . Vocal ranges, cantus fi rmus treatment, and cadences are oriented to the same G-Dorian character found in Rovigo’ s Mass. Missae Apostolorum by Contino, T e s to ri, and Wert34 are a ll notated with the same c le f arrangement and signature as the Rovigo Mass. Exceptions which emphatically prove the rule consist of the re p e rto ire ’ s two other Missae Apostolorum, both by P a le s trina.35 In each of these Masses the chiavi natu rali ^3por tra n s c rip tio n , see Cesari, "L ’Archivio musicale . ed una Messa di Guglielmo Gonzaga," pp. 126-29. 34Milan, Catalogo, pp. 417, 419, and 448. 3 5 p a le s trin a , Opere complete, 19*. 1-42, 43-86. 107 are employed with attendant "n atu ral" voice ranges. A to n a lity cor responding to D-Dorian prevails throughout both Masses, confirmed by fin a l cadences on e ith e r D or A.^^ In the cantus firmus settings of Mi ssa Die Mercuri i Rovigo avoids c le a rly defining his modal i n t e n t i o n s . 3 7 |n no section does he quote the chant on one unequivocal pitch-name. In it ia l points of im itation consistently contain statements beginning on A and others on e ith e r E or D (or, in Kyrie I, on both E and D ). The in terp re tatio n of high chiavette notation in this Mass is fu rth e r obscured by the fac t that the notated pitch relationship of polyphony to chant already stands in correct perspective. A somewhat cryp tic confirmation of this is found in the format of the choirbook containing Rovigo's Mass along with the fiv e other Missae in F eriis per Annum. On the pages of the Rovigo Mass several segments of chant from this Mass of the K yriale have been interspersed between poly phonic voice parts (see Plate 3 above). Purely litu rg ic a l convenience is a possible reason for th is . However, from a musical point of view these chants seem to suggest a kind of rubric intended to remind choristers and organist that polyphony and organ cantus firm i are to be performed in the tonal relation ship notated, rather than in some other which high chiavette might possibly suggest. ^ Each Mass contains only eight cadences on A. Missa Apos tolorum ( I ) also reveals an exceptional plagal cadence on E (or open cadence on A) at the end of Et incarnatus e s t . ^7$ee the discussion of modal-harmonic b ifo c a lity in Chapter VI!. 108 Clef usage and in c ip its in the other Ferial Masses^^ do not d if f e r e s s e n tia lly from the Rovigo. A ll are notated in high chiavette with no signature, the f i r s t two using baritone c le f and the three following Rovigo's work employing tenor c le f . As in the Rovigo Mass, in c ip its emphasize A and E, with some appearances of D. For the re a liz a tio n of Missa Die Mercuri i two p o s s ib ilitie s fo r transposition exist: e ith e r ( l) down a fourth with a signature of one sharp or (2) down a f i f t h with a one f l a t signature. Details of notation rule out transposition by a fourth, however, because of an insurmountable d if f ic u lt y in Renaissance performance. The note G-sharp found prominently at a ll cadences would have to be rendered as D-sharp, a note not a vailab le in the mean-tone temperament system in use during Rovigo's tim e .39 However, the a lte rn a tiv e in terp retatio n of high c h ia v e tte , that is, transposition down a perfect f i f t h with the addition of one f l a t , proves to be the proper solution to notational as well as per formance problems. The cadential G-sharp becomes C-sharp, C-sharp becomes F-sharp, the rare F-sharp becomes B -n atu ral, F-natural becomes B -fla t (provided for in the new signature), and B -fla t becomes E - f la t , a ll of which were e n tire ly possible in mean-tone temperament. The organ cantus firm i can also be transposed at that interval (equivalent 38Milan, Cataloqo, pp. 410-11. 39The only chromatic deviations from hexachordal notes were E - f la t , F-sharp, C-sharp, and G-sharp. The organ key which might have been used for D-sharp was normally tuned to E - f la t . 109 to a fourth upward, as demonstrated by D iru ta ), maintaining the tandem relationship with Rovigo's setting suggested by the rubrical notation of chant segments. At this interval of performance transposition, voice ranges in Missa Die Mercurii are also brought into close alignment with average ranges of Masses notated in chiavi n a t u r a li. Example 3 shows the somewhat conservative ranges resulting from transposition down a perfect f i f t h . Example 3. Transposed voice ranges for Missa Die Mercuri i . The Mantuan Masses by Rovigo indicate that the compositional and performance circumstances of the Santa Barbara Mass repertoire make i t a new and important "laboratory" for furth er investigations into late Renaissance practices of transposition in re la tio n to cantus prius f a c t i . The four Masses of Rovigo alone form an unusually rich compendium mus ices: (1) Missa in Duplicibus maioribus: low chi avette and no signature; polyphonic setting and organ cantus firm i performed at notated p itch . (2) Missa Domin ic a l is : low chiavette and signature of one f l a t ; polyphonic setting performed as notated, and organ cantus firm i transposed up a perfect fourth. (3) Missa Apostolorum: high ch iavette (with baritone c le f) 110 and signature of one f la t ; polyphonic setting to be transposed down a perfect fourth, and organ cantus f i rm i performed at notated p itch . (4) Hissa Die Hercuri i : high chiavette (with tenor c le f) and no signature; polyphonic setting and organ cantus firm i both to be transposed down a perfect f i f t h . I l l CHAPTER VI POLYPHONIC METAMORPHOSIS OF PLA INSONG Cantus Firmi Francesco Rovigo adheres s t r i c t l y to the K yriale ad usum Ecolesie Sancte Barbare as the sole source for cantus firm i in his four Mantuan Masses. As Jeppesen points out,^ two of the most s ig n ific a n tly sixteenth-century features of the chant in the Mantuan K yriale are that (1) each segment w ithin any Mass movement begins and ends on e ith e r "to n ic" or "dominant," and (2) each Mass cycle is u n i fie d by retaining a single mode throughout. The reference to "tonic" and "dominant" (terms of t o n a lit y ) , rather than fin a l and confinal (terms of m odality), is in te n tio n a l. In the Kyria 1e the confinai does in fac t lie a perfect f i f t h above the fin a l in a ll modes except Third and Fourth, where the fourth scale degree functions as confinai for both. The substitution of Fourth Mode' s fin a l-c o n fin a l re la tionship, E-A, In place of Third Mode's tra d itio n a l E-C is noteworthy This plagal u n ific a tio n may be viewed as a conscientious dissolution of older modal principles in favor of indications of an incip ient to n a lity functioning in agreement with la te sixteenth-century tastes. The newly organized Third Mode is seen only in the Missa in Feri is per Annum. ^ Jeppesen, " P ie rlu ig i da P a le s trin a ," pp. 140-41. 112 The u n ific a tio n of each Mass cycle by mode (or " to n a lity " ) is another late Renaissance feature of the K y ria le . PI a insong Masses in the Roman litu rg y show no such attempt at u n ific a tio n . Thus, in compiling the K yriale, individual movements from the Roman litu rg y , rather than whole Masses, have been selected for adaptation largely for th e ir correspondence to the mode governing each Mantuan Mass. In many cases transplanted movements come from a Roman Mass for a cor responding or s im ilar feast. (Some of these seem to establish the p revailing mode in the Kyriale Masses to which they have been assigned.) However, w ithin only the four Masses of the Kyriale under investigation here some surprisingly fa r-flu n g interpolations may be found. Table 10 indicates the known chant sources for the Masses of the K yria1e set by Rovigo. Vatican Mass sources are id e n tifie d by Roman numerals. Movements or segments of movements for which no Vatican model can be found are assumed to have been newly composed and are marked "Mantuan." No Gregorian models whatever can be found for the very b rie f chants of the Missa in P erils per Annum. The means of adapting Gregorian models for the Mantuan Kyriale are varied. In only a few places does s im p lific a tio n take place, usually by reducing neumatic groups to syllab ic style or narrowing the melodic compass. ^ More ty p ic a lly the tra d itio n a l chant has been elaborated to some degree by extending s yllab ic passages into neumatic o A few examples are printed in Jeppesen, "P ie rlu ig i da P a le s trin a ," pp. 139-42. 113 TABLE 10 CHANT SOURCES FOR FOUR MASSES OF THE MANTUAN KYRIALE Movement Source Missa in Duplicibus maîorîbus (Eighth Mode) Kyrie Mass V I/ Mantuan/ Mass V II Gloria Mantuan Credo Mantuan Sanctus Mass IV Agnus Dei Mass XIV/ Mantuan Missa in Festis Apostolorum (F irs t Mode) Kyrie Mass IV Glor ia Mass 1 1 Credo Credo IV Sanctus Mass 1 1 Agnus Dei Mass XI Missa in Dominicis diebus (Second Mode) Kyr i e Mass X I/ Mantuan G1oria Mass XI Credo Mantuan Sanctus Mass X I/ Mantuan Agnus Dei Mass X I 1 114 TABLE 10— Continued Movement Source Mi ssa i n F e rIi s per Annum (Third Mode) Kyrie Mantuan Sanctus Mantuan Agnus Dei Mantuan style or neumatic ones into melismatic s ty le . In the more extreme of these f lo r id a lte ra tio n s the o rig inal model is barely perceptible (as i n Kyr i e I I of Missa in Duplicibus m a io ri bus). Mantuan chant often alternates with Gregorian w ithin a single movement. Noteworthy examples are found in the Kyrie movements of the following two Masses, outlined here in comparative close-up: Missa in Dominicis Missa in Duplicibus maioribus Kyrie I: Mass VI (elaborated) C hristie: Mantuan Kyrie II: Mass V II (highly elaborated) d i ebus Kyrie I: Mass XI Christe: Mass XI and Mantuan Kyrie II: Mantuan A feature unique to the Mantuan K yriale is the inclusion in the order of the Mass of a specified Credo, e ith e r taken from the Roman litu rg y or newly composed. The only exception is the Ferial Mass, which, lik e its Roman counterpart, contains neither Gloria nor Credo. 115 Treatment of Cantus Firmus and Contrapuntal Techniques The Masses of the Chapel of Santa Barbara, including Rovigo's four exemplars, may r ig h tfu lly be described as "paraphrase" Masses. That is, they are polyphonic works sopra soqqetto in which cantus f i rmi from the Kyr ia 1e are given rhythmic character and then, in typical sixteenth-century fashion, are generally treated in textures based upon points of im itatio n . The repertoire d iffe rs from usual paraphrase Masses of the sixteenth century, however, in that the la t t e r rely upon a single cantus firm us, such as a hymn,3 continually reworking portions of the same melody throughout the Mass. In the Santa Barbara re p e rto ire , on the other hand, a lte rn a te verses of a con tin u ally changing cantus firm us, a Mass of the K yria1e , are set polyphonically. Instances of motivie correspondence are rare in the pi a insong models. The polyphonic Masses of Mantua are thus deprived of a p o te n tia l, ready-made source of u n ity . The degree and method of achieving internal coherence is l e f t e n tire ly to the individual com poser, and the sheer v ariety of possible contrapuntal treatments of the mutable model constantly threaten the maintenance of formal unity and congruent tra je c to ry . Normally the three methods of elaborating plainsong— para phrase, cantus firmus, and canon— are employed exclusive of each other 3 c f . Josquin Desprez, Missa Range Lingua. Concerning P a le strin a 's Masses of th is type, see Robert L. Marshall, "The Para phrase Technique of Palestrina in His Masses Based on Hymns," JAMS 16 (1963):347-72. 116 Only one w ill generally dominate a work. However, in Rovigo’ s Masses a ll three techniques are found w ithin a single work. Variety of technique here may well be the outgrowth of the re la tiv e disjunction of polyphonic passages caused by the alternatim practice. Both features, the disjunction of form and the amalgamation of contrapuntal techniques re fle c t the Mannerist tastes at the court of Mantua during the period, extending even into church music. In Rovigo's paraphrase style each phrase of each segment of chant (frequently set o ff by a pause, or lin e of d is tin c tio n , in the K y ria le ) is adapted to form a melody suitable for polyphonic im itation in a fugal phrase-complex, or "p o in t." Notes may be added to the chant model, e ith e r ornamentally or to fill in melodic skips. Like wise, the model may be pared down and made more concise in a manner consistent with P alestrina's Hymn adaptations.^ in Rovigo's work both tendencies may be seen in a reasonably balanced number of cases. The addition or deletion of more than one or two notes is not common, howeyer. Example 4a illu s tra te s ^ a r e la tiv e ly heavily embellished ^Marshall, "Paraphrase Techniques of P a le strin a ," p. 358. ^The symbol "x" above a note in the following examples s ig n i fies a corresponding note in the model. The symbol "/rrw s ig nifies the omission of one or more notes of the model. Examples drawn from Rovigo's Missa Dominical is are id e n tifie d according to the modern edition in DTO, vol. 90. There, new measure numbering is found in each separate segment. The method used in the other three Masses, transcribed in vol. 2 of this paper, is to con tinue measure numbers throughout an e n tire movement. In order to maintain a consistent musical appearance here, note values in Missa Dominical is examples have been reduced by h a lf, and minor e d ito ria l procedures (such as the position of e d ito ria l accidentals) has been made uniform with the present ed itio n . 117 phrase. Examples 4b and c show Rovigo's methods of making the model more concise in polyphonic ap p lica tio n . In Example 4b he has simply deleted the two-note in it io of a formation resembling a re c ita tio n formula, and has substituted one non-cantus firmus note in its place. A reasonably conservative, more lit e r a l approach to paraphrase technique is most often seen in Rovigo's work. In the opening of Missa Dominicalis this may be seen in the leading voice up to the point where it breaks away from the model in favor of fre e ly created melody.^ Example 5 illu s tra te s this as well as the remarkable sim i l a r it y between Rovigo's melody and the leading voice in Giaches de Wert's Mass composed on the same model. Motives developed in p o in t-o f-im ita tio n technique by Rovigo follow a pattern of entrances definable as fuqa. According to Z a rlin o ,7 the technique of fuqa allows entrances of the subject only on the unison, octave, fourth, or f i f t h (above or below) in re la tio n to the position of the leading voice, which we shall call "dux." Due to the divisio n of the octave in modal theory, frequent "tonal" answers are found in the so-called "comes," or following voice. There is as yet no conclusive explanation for certain pas sages in the Masses which appear to be completel y fre e ly composed. "G loria tua" (Sanctus, m. 31) of Missa in Duplici bus maioribus is an example. Others include "Et iterum" and "Q.ul cum Patre et F ilio " from the Credo of Missa Dominicali s . ( i t is possible that in the Kyriale these phrases were changed a fte r Rovigo's Masses were composed.) ^Gioseffo Z arlin o , Le is titu tio n i harmoniche (Venice, 1588) 4 parts; The A rt of Counterpoint: Part Three of Le is titu t io n i harmo niche, 1558, trans. by Guy A. Marco and Claude V. Palisea (New Haven: Yale U niversity Press, I 968) , 111:212 [pagination according to the o r i g i n a l ] . 118 Example 4. Paraphrase techniques. a. Mlssa Dom inicalis. Et re s u rre x it, mm. 9-12, Cantus 2<_ ~Xit te r - ti - C l d i b. Missa Dominical is , Qui toi lis . Tenor. suscipe, mm. 8-15, t = t qui bo I Ik pec CO. ' -bk W MJn - H b — — } _ _ ------------------------------------------- ----------- ^ — d a - . . ; ^ : .. A d l SCL P ^ / ■} c. Missa Apostolorum, Agnus D ei, mm. 17-20, Cantus. - ■ X Î 1 0 7 " : f I P - - .se ' re Example 5. Missa Dominical is , K yrie, a. K y ria le , p. 50. V 4 2 L W Û - biS V # . ^ K y - r i ' a a - ' ' 142 * t * £ûï\. 119 b, Rovigo, mm. 1-7, Cantus. a A h - Ky E /■L - ~ v ~ <Z e . - 2 J J - J ^ l f fi S c. Wert, mm. 1-7, Ténor. B Ifi! - sûn. entering a f i f t h above or a fourth below the dux. That is, the melo dic interval of a fourth in the dux is w ritten as a f i f t h In the comes; a f i f t h in the dux becomes a fourth in the comes. The time distance between dux and comes is extremely variable in Rovigo's Masses, ranging from close im itation at the distance of only a minim^ (Missa Apostolorum, Glor la , m. 24, for example) or semi breve (Missa in Duplicibus maioribus, K yrie, m. 33) to as long as perhaps two breves (Missa Dominical is. Domine Deus, Rex, mm. 1-3 and ^References to note values are made in terms of the MS o rig in a ls . 120 Domine Deus, Agnus, mm. 1-3 ). Zarlino^ considers close im itation to be an older practice and advocates using i t sparingly. In order to achieve v a rie ty , he suggests frequently separating dux and comes by a distance of three to fiv e minims and gives examples of separations of two semibreves and two breves. ^^ The v a rie ty of im ita tiv e distances in Rovigo's works is evidence of a sound education, probably in the sphere of Z a rlin o 's influence. Monothematic im itation is not employed exclusively in the Mass segments which emphasize paraphrase technique. Original counter subjects are introduced in various ways. Those that begin at the same moment as the subject generally proceed note against note (Ex. 6 ). However, Zarlino suggests^^ that the countersubject could begin a fte r a minim re st. Rovigo follows this advice at certain points, combining material which contrasts in some way with the soqqetto (Ex. 7 ). In instances of longer delay the countersubject may appear to be derived from the subject, sometimes giving a designedly fa ls e impression of d ire c t fugal im itation (Ex. 8 ). Occa s io n a lly the exposition of countersubject material takes on an impor tance equal to that of the subject, which in these circumstances is generally heard in canon (Ex. 9 ). ^Zarlino, Le is titu t io n i harmoniche, 111:213. 10|b id .. 111:214. 11 Ib id .. 111:202. 121 Example 6. Missa in Duplîcîbus maioribus, Agnus Dei , mm. 1-4. Example 7. Missa in Duplicibus maioribus, G lo ria , mm. 24-26. 4- t r r r r - t G s io -ri. Ï 1 Co. - wiüt i& , ; t (j\0' ri - -fÎ ' ô ilo - m £ § Clio - iri - f; " < X / n - 122 Example 8. Countersubjects related to subjects a. Mi ssa Apostolorum, Sanctus, mm. 19-22 n t ~g9r Wt -g: I Ÿ\e - n V cunt cae - ± ± 1/ 1*> p ie - ïü b. Missa Dominical is, Conf it e o r , mm. 1-4. ï M J - f - C o n - -fi- X X , g m 4e u - h 1 ba A Ca »!- Ü - m n J n % ba- pti Ê ? Con f Î - fe - or in view of his high degree of contrapuntal mastery, i t is interestin g to note that nowhere does Rovigo display the technique of in v e rtib le (double) counterpoint between subject and countersubject. An Im itative device which Rovigo does employ from time to time, how ever, is the exposition of a subject using contrary motion. An example of points of im itation per arsin et thesin may be found in the Sanctus Domlnus of Missa Dominical is. 123 Example 9. Missa Apostolorum, Kyrie, mm. 49-52. £ s : ê & Ky - r % « S '. K y j » g ^ _ IZ T I - r\ “ e e - ' l6i - BO‘ A, g I £ U K/ ri," Kv K y rl - e r r r r - ^ m i £ K y - In an in i t i a l point of im itation the plainsong model is seldom absorbed in its e n tire ty . However, given a context large enough, Rovigo frequently states the e n tire subject toward the end of the phrase. In th is position the paraphrased theme takes on additional formal importance by functioning as a conclusion or summary. Missa Die Mercuri i . which makes only restrained use of techniques other than simple paraphrase, employs this procedure with considerable finesse in each movement. The clearest example is in the Benedictus (a3) whose entrances In Altus and Cantus tre a t the theme fragm entari1 y in preparation for a fu ll statement in the Quintus to conclude the seg ment. A ll the Masses of Rovigo make some prominent use of this 124 technique. The following l i s t is a digest of summary statements similar to that described. Missa in Duplicibus maioribus K y rie , m. 40, Tenor Credo, m. 92, Cantus Missa Apostolorum Glor ia . m. 24, Cantus Credo, m. 175, Cantus Missa Dominicalis Kyrie I, m. 1, Tenor C h ris te , m. 7, Cantus Domine Deus, Rex, mm. 1 and 9, Tenor Qui toi lis, m. 8, Tenor Patrem, m. 8, Cantus Sanctus Dorninus, m. 6, Cantus PI en i sunt, m. 4, Cantus Hosanna, m. 26, Cantus Missa Die Mercuri i K y rie , m. 14, Cantus Sanctus, m. 15, Altus Agnus Dei , m. 5, Tenor; m. 35, Cantus Sometimes the summary statement overlaps the next point of im ita tio n , as in the double statement of Example 10a, or i t may con tinue as an e lis io n with the theme of the following point (Ex. 10b). In the la t t e r example an extraordinary combination of a ll three themes of the segment is created. 125 Example 10. "Summary'* statements. a. Missa în Duplîcîbus maîorîbus. Kyrie, mm. 68-71 X X X X X X X X a s -sort, g (} - r i ' e a - r i - ^ v - s r î i e K # - le l X K S,QT\i X - ri - e ( l i i lei s t. t t -Ifi - I - SC a Ky ■ K - £ vW' X wW p - r i r - 4 4 - f m : g - lel-sem. H y r i - £ Ê - 126 b. Missa Apostolorum, Kyrie, mm. 30-36. Ifil 'S Ô if\, 3 — I - SÛfl S û r\.L h ii'£ k . (T >)w -P g e P e - l e ( - ChiTt - P CKn - ske. e - le I » - lel . s o n . i 127 In Example 10b the re la tiv e ly unadorned and even rhythmic values in the summary statement imbue i t with a quas i - cantus planus q u a lity . In the Masses of Rovigo it is quite frequently d i f f i c u l t to make clear analytical d istin ctions between paraphrase style (mixed, fle x ib ly varied rhythms) and cantus planus style (longer, unorna mented, more even values) because of the often sudden and unexpected use of longer, even notes in a paraphrase context and the close observance of ligatures carried over from the original chant (Ex. 11; see also Ex. 5a and b above). A rare instance of the simultaneous presentation of paraphrase- and cantus planus-s ty le treatments of the same model is illu s tra te d in Example 12 (Cantus and Tenor). It may be noted that these two statements (labelled *’ I M . ’*) are combined with a previously-exposed phrase in the Altus (labelled "I.**)- Although many passages in the Masses of Rovigo border on true cantus firmus treatment, his use of the technique in a manner resem bling that of genuine Tenor Masses is found in the presence of two generally consistent circumstances: (1) The voice in which the cantus f i rmus appears is usually a prominent one, e ith e r Cantus or Tenor. (2) The cantus firmus is set o ff from the accompanying material in some distinguishing way. If material in the other voices d iffe rs from the cantus firm us, then the model may be set rhythmically simi lar to those surroundings, that is, in f a i r l y free and varied rhythm (paraphrase s ty le ). On the other hand, if accompanying material and cantus firmus are derived from the same model, the cantus firmus statement invariably appears in more even, often longer notes than its surroundings (cantus planus s ty le ). 128 Example 11. Missa Dom inicalIs, Domine Deus, Agnus a. K y ria le , p. 52. 'D o - iW t ' r\e b. Rovigo, m m 1-4, Tenor. D o - " nrn - Example 12. Missa in Duplicibus maioribus, K y rie . mm. 54-62. h S îb Œ U fL X X f f ' U - T É g a - sort.Orfi-ste. x T sotT - leî'Sôn.Chr'i' - 2 ■ C-.^ y> /-- CKn - sV e a X r... Ü lei " . Chf ! - -sOft,Chf7 - ste i e - leV-SDin J L cFŸ Tîü t u r y - y : t c h r i - s t e $ Î t Æ ■ /Y t t -Soh, CWi - ste 6 - te • - I 'Q D ï\ Chri - 129 (Example 12, continued) ^ * le'u o-de. e - o Chr'i - §te c . Examples of cantus firmus technique in both styles of presen ta tio n abound in a ll Rovigo’ s Masses except Mlssa Die Mercuri i . in three voice textures these often resemble a fragmentary re a liz a tio n of the sixth-chord progressions associated with ancient fauxbourdon. Such s ty liz e d , quasi-fauxbourdon passages are a hallmark of Rovigo’ s s ty le , but only in a few instances do they contain cantus fIrmus pre sentations. in Example 13a the paraphrase-style cantus firmus appears in the lowest voice, doubled at the th ird in the middle voice, while contrasting syncopated rhythm is heard in the highest voice. Example 13b illu s tr a te s cantus planus sty le in the highest voice with con tra s tin g material heard in the two lower voices. Following this 130 Example 13. Q.uas Î - fauxbourdon passages using a cantus firm us. a. Missa Apostolorum, Credo, mm. 31-33. £ C - - {A t : S -+ÜIÏ) an 6 , — v\r»\ - C tf = ^ = à )a., -■him, an - -te o t A Y u - O L - cu - la, b. Missa Dominical is. Tu solus altissim us, mm. 1-4. Ù. t m E eo !os a l A . (TT < 0 f e -4 g — "7 al ' I d s ai-4'is-si' 2 1 - w vt^5 p f=v A W - 131 passage the Qjjîntus and Bassus enter on the words "Jesu Christe,** while the Cantus continues to quote that phrase of the model in s t r ic t cantus planus s ty le . In Missa Die Mercurii there is a remarkable passage in the style of Example 13a. The cantus firmus is heard in the middle voice, doubled at the th ird below, and in canon with the highest voice (Ex. 14). Example 14. Missa Die Mercuri i , Agnus D e i, mm. 29-32. ^ c. ■ " ......................................... ' ^ " I w O — bis. ■pa - ce\fŸ\. A - y t t m do - no. no- A l Cem ^ do - nn no - b'i5 pft ~ — ceofi, do - Paraphrase-style cantus firmus usage is often d i f f i c u l t to distinguish from summary statements of the type discussed above. The context of the statement must be looked to fo r evidence of contrasting surroundings before adequate la b e llin g can be applied. One d is tin guishing feature of paraphrase-style cantus firmus technique may be the absence o f previous points of im itation on the soqqetto. A unique rhythm in the cantus firmus statement is often also a clue. Mi ssa Apostolorum contains the most frequent examples of paraphrase-style presentation. In the Credo movement single occurances may be observed in m. 22 (Quintus) and m. 146 (A ltu s ), the la t t e r func tioning somewhat as coda material on the words ** . . . qui locutus 132 est per Prophetas.** In the GIor ia two instances occur, the f i r s t a simple statement at m. 76 (Quintus). The second (Ex. 15), at m. 106 (Cantus), c alls for some commentary. Following the nature of the cantus firm us, a ll three voices of this tr a d it io n a lly 1 Ight-textured phrase ("Tu solus altissim us") move in an upward d ire c tio n . The Cantus s ta b iliz e s on or near its h ighpoînt in mm. 108-109. Melodic shape in the cantus firmus coupled with the high te s s itu ra and some what c e le s tia l tone q u a lity in a ll voices combine to produce the e ffe c t of a madrigal ism, or word-painting. For the settin g of the words "Jesu Christe** which follows immediately (mm. 110-117) the Cantus continues its presentation of the cantus firm us, but changing a t that point to cantus planus style in longer notes and supported by fragments of the model in lower voices. Later, two s lig h tly over lapping statements based on the same phrase and composed in para phrase style occur in the Credo at m. 17 (Quintus) and m. 20 (Cantus). Paraphrase-style cantus firmus statements are uncommon in the other Masses. Cantus firmus statements occurring in chordal passages fre quently occupy a rhythmic middleground lying between paraphrase and cantus planus styles. In Missa Apostolorum the setting of "Et incar- natus est" (Credo, m. 65) is a case in point, with its cantus firmus statement in the Quintus.After four measures the texture dissolves ^^Marshall, "The Paraphrase Technique of Palestrina," p. 357 points out that placing the cantus firmus in an inner part "as a back bone" is a practice recalling the old Tenor Mass style. The passage in question is not typical of Rovigo, who more frequently follows the late sixteenth-century practice of placing the cantus firmus in the highest voice. 133 Example 15. Hissa Apostolorum, G loria, mm. 106-109. into polyphony, which lasts for the next two phrases of te x t, only to return to a chordal sound on '*ET HOM O FACTÜS EST." For this text the cantus firmus is presented twice: in m. 81 (Quintus) and in m. 84 (Cantus), in Missa in Duplicibus maioribus the beginning of the same tex t (Credo, m. 60) is set in a fashion corresponding to Mi ssa Apostolorum, but with the cantus firmus in the Cantus. Again, polyphony supplants homophony a fte r four measures. However, when "ET HOM O FACTUS EST" is reached, a cantus firmus statement in the Bassus (m. 74) serves to introduce canonic im itation between Quintus and Cantus (mm. 76-77). This turn of events is perhaps intended to re fle c t a sim ilar procedure in the previous segment of the Mass, where on the words "consubstantlalem P a tri" a cantus planus-style presentation in the Cantus (m. 4 l) is joined en route by canonic im itation between Tenor and Quintus (m. 4g). S tru c tu ra lly strong examples of cantus planus-style presen tations usually employ a countersubject to set o ff the material of 134 the model In clear contrast. Examples of the style may be found in the Credo of Missa in Duplicibus maîorîbus. The opening of that move ment ( Factorem c a e li) features a three-voice exposition of a counter subject p itte d against two statements of the cantus firmus in Quintus (m. 3) and Tenor (m. 7 ). The e n tire segment, Et vitam venturi s a e c u li. Is b u ilt around a lengthy cantus firmus statement in the Cantus (mm. 189- 197) which has been prepared by a p o in t-o f-im ita tio n expo s itio n in shorter note values. The Sanctus of this Mass displays an unusual example of cantus planus-s ty le treatment of an o r i g în a l(? )^^ melody supported by paraphrase im ita tiv e treatment of the actual model. In mm. 31-38 two conjunct statements of an unprecedented cantus firmus takes place in the highest voice of a three-voice tex ture (Cantus, then A ltu s ). Below th is , in quas i - fauxbourdon fashion, the two lower voices present a paraphrased version of the cantus f i rmus proper to the te x t at that moment (" . . . g lo ria tua") in shorter note values. Although examples of cantus planus-s ty le presentation in Missa Apostolorum are not numerous, they are nonetheless more class ical than those of Missa in Duplicibus maioribus. In terms of even ness of rhythm and f i d e l i t y to the lig a tu re structure of the chant, two examples from Missa Apostolorum stand out. The opening segment of the GIoria (Bonae v o lu n ta tis ) is e n tire ly in cantus planus s ty le . The cantus firmus is f i r s t announced in long notes in the Cantus. See note 6 above. 135 Meanwhile, the Tenor lends support with a paraphrased version, and the Quintus presents a countersubject; both appear in shorter note values than the Cantus. In m. 5 the A1tus enters with the cantus firm us, accompanied by the countersubject in the Bassus. Then, in m. 9 the cantus firmus is heard in the Quintus up to the segment's fin a l cadence. in the Sanctus the same treatment is carried out f i r s t in the Pleni sunt, where the cantus firmus in the Cantus (m. 20) is heard against a countersubject in the Altus (see Ex. 8b above). Then, cantus planus style is applied at a somewhat unusual place, the Hosanna, where the cantus firmus is heard in the Quintus against a fre e ly developed countersubject in a ll other voices. The Agnus Dei begins as a cantus pianus-s ty le movement. Against a countersubject in the A ltus, the s t r ic t cantus firmus is heard in the Cantus (see Ex. 7b above); then, as the exposition of the countersubject con tinues, the cantus firmus is repeated in the Quintus (m. 6 ). In the second phrase ("qui toi lis peccata mundi") a new countersubject is introduced as a fo il for the actual cantus firm us, which is heard again in the Quintus (m. 11). The th ird phrase ("miserere nobis"), heard i n i t i a l l y in a pared-down cantus planus style (Cantus), la te r shows statements in d e fin ite paraphrase style (mm. 23 and 24, Cantus and Tenor), set against free material in other voices. in Missa Dominical is a rh e to ric a lly concise compositional style is undoubtedly necessitated by the Mass's additional length (see Tables 5, 6, and 7 above). This conciseness is frequently re flec te d in the way cantus planus style is used. For instance, in 136 the Gloria the f i r s t two segments (Et in terra and Benedicimus t e ) are each constructed around a single, through-composed statement of the appropriate cantus firm us, the former occurring in the Cantus and the la t t e r in the A ltus. Later, in the Quoniam, the same technique is applied with the cantus firmus in the Cantus supported by the imi ta tiv e treatment of a countersubject. Again, a pairing pattern is seen, since the following segment (Tu solus altissim u s) is also a clearcut example of through-composed application of cantus planus style in the Cantus, beginning in its f i r s t measure (see Ex. 13a above and discussion applicable to i t ) . Truncation for expressive purposes is an a ttrib u te of the last phrase of Et incarnatus e s t , where the Cantus begins a presentation in cantus planus style (m. 14), only to break o ff a fte r the word "HOMO" (m. 17). The e n tire cantus firmus is then immediately presented in paraphrase style in the Tenor. A countersubject exposition set against statements in cantus planus s ty le , such as those in Missa Apostolorum, is found in only one place in Missa Dorninicalis. The cantus firmus for Confiteor is f i r s t heard in the Cantus (m. 1) followed by a presentation in the Tenor (m. 5 ). This procedure lasts ju s t through the f i r s t phrase, however. A fte r that (mm. 9-18) the concluding phrase proceeds in p o in t-o f-im ita t ion s ty le , topped by a statement in the Cantus begin ning in cantus planus style (mm. 12-14), but concluding more as a sum mary statement in paraphrase style (Ex. 16). Example l6 represents a general a nalytic problem encountered in the Masses of Rovigo. The crux, touched on above, lies in 137 attempting to distinguish and label functions. Here the problem takes on the forms of (1) distinguishing between cantus planus and paraphrase styles and (2) distinguishing between actual cantus firmus treatment and the summary outgrowth of a point of im ita tio n . The problem takes a sim ila r form when attempting an alytical d istin ctio n s between s t r i c t classical canonic treatment and simple fugal im itation As a fre e r extension of canon, fugue may allow “ tonal** answers, rhythmic license, and such sim ila r features of paraphrase-style imi ta tio n . On one hand, i t seems pedantic to dissallow the label “ canon" for an extended two-voice im itation merely on the grounds Example 16. Missa Pom inicalis, C o n fiteo r, mm. 12-18 re . m re - \Y \ Si - r e 138 (Example 16, continued) t % X . C 0 3 h p t r - J a T -nem p e c - c i\- -4rO rJrA. U T ^ l i t> ; I I- = B + ± t 3 + ^ ^3t- - r\ew\ pec ~ r ~ C r\ nv»S'Si- D - -H9 Ï S 1TÜ YA . t 3ET nem pâù - czx - + o 0 /" UrA. f e % - ca ' + t ? - v-Urv) ? -CÙL ' 9 ~ i, f ..t Z A .^ J j f - K f V'DWi, - * o rt^rrt p e c - c A - - # ) rotA. that a fourth has been substituted for a f i f t h at some point or the rhythm o f th e comes is at s lig h t variance with the dux. On the other hand, in actual context the music of Rovigo seems conscientiously prone to avoid s t i f f academicism in favor of a r e la tiv e ly fle x ib le technique which is consistently sensitive to the a r t i s t i c exigencies of the moment. Thus, in examining Rovigo’ s canonic treatment of cantus firm i the analyst must keep in view the fact that although the composer was obviously a master contrapuntist, he strove considerably more to achieve a r t i s t i c and litu rg ic a l impact than to trouble himself w ith textbook s tric tu re s . I t is with this tempered outlook that the term canon is applied in the following discussion. 139 In the Masses of Rovigo canon functions p rim a rily as an exten sion of the p o in t-o f-im ita t ion complex. In the form of precursory extensions, examples of two-voice canons in fugal disposition ( i . e . , at the fourth or f i f t h ) may be found at the beginnings of segments. These are always between adjacent voices and generally last up to three breves before the entry of the th ird voice. Introductory canons of somewhat longer duration are illu s tra te d in Example 17. Canons functioning as internal extensions of p o in t-o f-im ita - tion techniques e x is t in numerous places. In Missa in Duplici bus maioribus two-voice canons in fugal disposition and at a close time distance are woven into the polyphonic fa b ric in m. 116 of the Credo (A1tus-Bassus) and in the Kyrie as a chain of three canonic pairs on the same subject: Quintus-Bassus (m. 18), Cantus-Altus (m. 20), and Q.Uintus-Bassus (m. 22). This concept of a chain of canonically paired voices appears again in the G1oria of Missa Apostolorum, where the p rin c ip le generates the basic structure of the Benedicimus te segment. The f i r s t canon (Cantus-Tenor, m. 15) leads to a second (A1tus-Cantus, m. 18) In a varian t rhythm. The second is then over lapped by a th ird canon (Bassus-Q.uintus, mm. 19-20) which begins as a version of the f i r s t p a ir, but in v e rtib le at the octave. However, the dux modulates into free material a fte r four notes, while the comes continues in s t r i c t form to the end (m. 23). Later in the Gloria one of the rare canons at the octave is heard. In m. 83 a truncated statement of the "suscipe" cantus firmus in the Bassus introduces a canon between Cantus and Quintus (mm. 85 and 8 7 ). The in it ia l note in 1 4 0 Example 17. Introductory canons. a. Missa In Duplici bus maior 1 bus, Gloria, mm. 34-39. T Do - M i - \n£ ■ D a - U S , "R ey. D o M 'l - Y \ g De. r D o T , = m C a e - I i - t î s . ’R a ïc fftfi - le 3 . ? # - + - u s , 'R e .x f a t - U b. Missa Dom inicalis, Et in te rr a , mm. 1-4. m Î t g 141 each of these entrances is G. Two canons at the interval of an octave may be observed in consecutive segments of Hissa Dominical i s . The words "judicare vivos et mortuos" are presented in canon between Quintus and Altus ( Et iterurn, m. 10). Subsequently, at the time distance of one measure Tenor and Cantus proceed canonically in Q .u i cum Patre (Ex. 18). The rhythmic character of melodies involved in a ll but the last-mentioned example c le a rly aligns these canons with the para phrase s ty le . Example 18 is something of a borderline case, however, since the canon’ s re la tiv e ly long opening notes so strongly suggest the cantus planus style; note values are la te r shortened. Other canonic portions of Rovigo’ s Masses are more e n tire ly in cantus planus s ty le . A b rie f example In fugal disposition occurs in Missa Domini c a n s between Cantus and Altus beginning in mm. 33-34. Canons in sim ila r rhythmic style may be found in Missa in DuplIcibus m a ior i bus and Missa Apostolorum as w e ll. in the former Mass the Pleni sunt segment opens with such a canon between Cantus and Tenor (Sanctus. m. 26). As a countersubject to the in it ia l entry the f i r s t four notes of the cantus firmus are heard in diminution in the Quintus. A ll entries begin on the note G (Ex. 19). A more genuine canon in diminution occurs in the Gloria of Missa Apostolorum in the passage which follows Example 15 above. The e n tire cantus firmus is presented in the Quintus, during which two statements of i t are heard in the Cantus, the f i r s t at the f i f t h above and the second at the octave (Ex. 20). The second Kyrie of th is Mass 1 4 2 Example 18. Ml ssa Domin ical i s . Q .u i cum Patre, mm. 18-24. mï 3L__A \0 - e s t I B E y — / — ^ ~ r lù - W - 4 v i pev^ T = î ? V ? q s » î lo - c u - ” K)S £ s4 p & r 0 - J - - F f - g z i u r : CWi lO - CA) ■W i e s t ]iglr \ f c a ê Î K r : f c r Î Izt g B E g p e v ' _ 1 r ’- - > g 1?"0 / c? p 6 r ^e. + a s . C .'T '? B E Î Î # # "tr»-pKe, I t i i ^ p e ir n V o - pVie j . A . a ; i ttuS. k;rT\3 + a s , c rr\3 ~ pk( F / / P E ~gy p h e - -i-R i, p e r *ÎVe7 ' p k e 5 +R.-S. C . 0 2 . t 'ph& - jus, p K » r Ÿyo - p K e 4 txs. 143 Example 19. Missa in Duplici bus maiori bus, Sanctus, mm. 26-29. i 'Pie I rti sunl- cae - li et 4 -etr- g ^ = f g ± (■7“ 'PlE - 1 ) r\\ cae 1 ', g g Ô Tie ^ I T M SUAt cae T - cae - lî t Jf fie A\ s iin r cae xs^ c x g Ê It % t fie n\ s J rtf c fl£ li et provides further material for canonic study. In i t canons at the octave appear in two successive phrases. The order of voice entries of the f i r s t (Cantus-Tenor, mm. 4 9 - 5 0 are reversed in the second (Tenor-Cantus, mm. 65 and 67) . Wide time distances of four and three semibreves separate the entries in these two s e m i-s tric t canons. Most of the segments of these Masses contain more than one phrase drawn from the model, d iffe re n tia te d them atically in Rovigo’ s s e ttin g . Two d is tin c t tendencies in the treatment of the model may be noted. Most frequently the same or s im ilar treatment of the model occurs in each consecutive "point'* or phrase of the segment. In the 144 Example 20. Missa Apostoïorum. Gloria, mm. 110-117. su C h r'i - 1 \J C h ri " su C h r Cbr -ste sTa, su 145 vast m ajority of multi-phrase segments the contrapuntal technique introduced in the i n it ia l phrase— fugal point of im itation , cantus fIrm us, or canon--wi11 be carried out in some manner in each suc cessive phrase. The consistent use of p o in t-o f-im i ta t ion technique is even carried through the e n tire Missa Die Mercuri i , with the exception of one canon in the Agnus Dei (see Ex. 14 above). The other Masses display the somewhat less frequent tendency of mixing techniques w ith in a single segment. Two techniques may occasionally be seen in the setting of a single phrase, but more often each phrase of a mixed-technique segment w ill be dominated by a single technique d iffe rin g from that dominating e ith e r the preceding or following phrase or both. One example from each of the three Masses w ill i l l u s tra te : Missa in Duplici bus maior 1 bus, Sanctus, mm. 26-57- "Pleni sunt . . . ": canon "g lo ria tua": double cantus firmus statement "Hosanna . . . ": point of im itation Missa Apostolorum, G1or ia , mm. 76-94. "Q.Ui to ll is - . . point of im itation with summary statement "suscipe . . . ": canon combined with less s t r ic t fugal entries Mi ssa Domin ical i s , Q .u i cum Patre (Credo), mm. 1-24. "Q,ui cum Patre": point of im itation "et F illo " : free polyphony "simul adoratur": point of im itation 146 "et conglorificatur": point of imitation "qui locutus est . . . canon combined with fragmentary fugal entries Rovigo's contrapuntal practices exhibit polar tendencies of conservatism and progressivism resembling other aspects of his work previously mentioned. These tendencies may best be summarized and grouped in historical perspective. Among the older qualities may be found the presentation of entire cantus firmi and canons in longer note values, termed cantus planus style. Whenever a cantus firmus appears in inner voices only, there is a tendency to reflect the practices of the ars perfecta. Likewise, a Mass segment employing only one of the three contrapuntal techniques exclusively leans toward classical usage. Tendencies opposing or differing from these display distinctly sixteenth-century and late Renaissance (if not actually pre-Baroque) style. The so-called "paraphrase style" of adapting a model for cantus firmus or canonic presentation is str ic tly an outgrowth of the a l 1-pervading fugal style of paraphrase brought into use no earlier than Josquin (Missa Range Lingua and Missa Ave Maris S te lla , for example as well as numerous motets based on plalnsong models). In Rovigo the purposeful blurring of rhythmic definition between actual cantus firmus statements and less impressive "summary statements," as well as between simple imitation and full-blown canonic technique, are likewise features of the late Renaissance progressive aesthetic. Cantus f i rm ! are free to appear in any voice (usually a high or very 147 prominent one) instead of the older practice of being relegated to the Tenor only. Finally, the combination of contrapuntal techniques within the microcosm of a single movement or even a segment of a movement is a characteristic which points the way toward the sudden and often irreconcilably inconsistent juxtaposition of textures and contrapuntal techniques which typify the polyphonic phase of the Seconda Pratt ica. The appearance of older, conservative practices side-by-side or even integrated with newer, more progressive features is an aspect of Rovigo's Mantuan sacred music seen here in capital form. This coalescent trend, perhaps the most intriguing in Rovigo's work, is seen clearly in the coordination of contrapuntal techniques and treat ment of cantus firmi. it is not a balanced blend, however. The scale is tipped rather heavily on the side of progressivism here, as in the elements of his Mass style remaining to be discussed. 148 CHAPTER Vil GENERAL STYLE CHARACTERISTICS Rhythm As shown above i t is the frequent practice of Rovigo to begin setting a cantus firmus model in long note values, la te r reverting to shorter ones. This is p e rfe c tly in keeping with balanced sixteenth- century polyphonic p ractice, fo r, as Zarlino states, . . . When a stone is dropped from a high place, the v e lo c ity doubtlessly is greater at the end of its f a ll than a t the s ta r t. So le t us im itate nature in this regard, and see that the parts of our compo s itio n s are not rapid at f ir s t .^ Beyond the opening of the dux, however, this p rin c ip le may become more f le x ib le , and with i t the rhythm of the comes. On this point Zarlino further imparts that "the second part sings the same note values or d iffe re n t ones . . . In the case of Rovigo's points of im itation this rhythmic f l e x i b i l i t y often produces agogic accent patterns which, in typical Renaissance fashion, may vary or even d is to rt the normal declamation rhythm of the te x t. In the Credo of Missa Apostolorum one passage 1Z a rlin o , Le is titu t io n i harmoniche, 111:202; trans. Marco and Palisca, p. 107. ^ Ib id ., 111:212; tra n s ., p. 126. 1 4 9 displays three d iffe re n t rhythmic interpretatio ns of the word "con- substantial em" (Ex. 21). In the entries of a point of im itation a progressively shortened f i r s t note is another means of achieving var ia tio n , as shown in the exposition of "Et ex Patre" from the same Mass (Ex. 22). In Missa in Dupli c i bus maioribus this sort of v a ria tio n is carried to an extreme on the words "cujus regni non e r i t f i n i s . " Example 23 shows the inordinate d is to rtio n of declamatory accent heard in the Tenor voice. On the other hand, a blatant disregard for declam atory accent is frequently juxtaposed with a remarkable s e n s itiv ity to i t . In the Agnus Dei I I I of Mi ssa D i e Mercur i i the leading voice (Tenor) outlines the tex t in a manner perceptive not only of in d i vidual word in fle c tio n s but of the sense of the e n tire clause as well (Ex. 24a). However, immediately follow ing this the remainder of the sentence is set with a melisma on one of its least accented s ylla b le s , and for no apparent reason other than the musical beauty of the lin e i t s e l f (Ex. 24b). Such inconsistencies in word settin g are more or less the rule in Rovigo's Masses. This feature is more a sign of his times, however, than an individual idiosyncrasy. During his time there was growing concern among both musicians and churchmen for the reform of text setting with an eye to the projection of inner textual meaning (u ltim a te ly to become the cornerstone of the Seconda P r a t t ic a ) . This movement is reflected in Z a rlin o 's famous ten rules for te x t underlay (esp ecially the f i r s t ) as well as the s p i r it and le tt e r of post- T r id e n tine reforms. On the other hand, the aesthetic of the 150 Example 21. MIssa Apostolorum. Credo, mm. 47-50. t g j r J & ÎS - c iu m . [O n - S vk-^A n 4-1- con - T r r con - 3vb • ,i+un-+i - ft. « 1 f r t r - f ¥ ~ ~ ¥ 3 m -V -û h im cDn - Si/b-shü\-+i - Q - le m % i - 4y î m ■i------------------ $ I 2: cOr% - st/b-S*ti)ih-+i -a -le w T îv - -hr'i. Example 22. Missa Apostolorum. Credo, mm. 24-28. i f = # Ê f ex % - 4 % . 32: b e z E + - Ê K t e m £f % - *he. f\(K -VOm & r ë x ? g Ê g Ë = ± Ef ex 1?i - 4ïÊ. na - e 151 Example 23. Missa In Dupliclbus maioribus. Credo, mm. 118-122, Tenor. YC Example 24. Missa Die M e rc u rll. Agnus De I . a. Tenor, mm. 18-24. / £ 9 nuf, D e c^\ -h ? l - lis I r r p ^ c - C O . - v i\o i\ b. Cantus, mm. 29-33. d \ , f Netherlandish ars p e rfe c ta . c a llin g for the primacy of musical pro portions over lit e r a r y considerations, hung heavy in much Ita lia n litu r g ic a l music u n til quite late in the century. This dualism, so in flu e n tia l in other aspects of Rovigo's work, also provides the foundation for his fundamentally sixteenth-century approach to word s e ttin g . I t is an approach of the kind which Lowinsky has charac terized as deriving from both the "musical organism" and the rhythm of natural declamation.3 3Eduard Lowinsky, "Zur Frage der Deklamations-rhythmik in der a-cappel1a-Musik des 16. Jahrhunderts." Acta Muslcologica 7 (1935):63 152 Final cadences in the Masses are frequently characterized by a rhythmic slowing or stretching out. Notes are sometimes held out in several voices while the others slow more gradually, as in Missa in Duplicibus maioribus. G lo ria , mm. 125-126. In other places, such as the Q .Ui toi 1 is of Missa Dominical is and the fin a l cadence of the Credo movement of Missa Apostolorum, a chordal codetta in even, rather square rhythm rounds out the segment. However, syncopation often occurs in such c o d e tta -lik e endings. These may tend e ith e r toward homophony, as in the fin a l cadence of the Agnus Dei of Missa in Duplicibus maioribus, or toward polyphony, as in mm. 39-40 of the Sanctus of Missa Apostolorum. Proportional changes in mensuration are comparatively rare in the Masses of Rovigo. Duple rhythm under a mensuration sign of (J pervades these works in a ll but two places. In Missa Die Mercuri i ternary rhythm occurs in a somewhat predictable passage. The rather b rie f but joyous Hosanna II is joined to the Benedictus by an elided cadence (m. 32) which in itia te s eight measures in the proportion of ( j) 2' Hemiola rhythm precedes the fin a l cadence of this passage. In Missa in Duplicibus maioribus the e n tire Confiteor segment is set in the same ternary proportion, functioning to a rtic u la te the form of the e n tire Credo movement. This segment occupies a position in the move ment s im ila r to the placement of such rhythmic changes in certain motets and Mass movements by Josquin, that is, approximately three- fourths through the m o v e m e n tT h is position also co incid entally ^ S im ila rly , passages in ternary rhythm occur in the Confiteor of both Missa Range Lingua and Missa de Beate Virgine by Josquin. 153 resembles that of the Minuet or Scherzo In a la te Classical symphony, and i t functions in a lik e psychological fashion, providing a “ l i f t " and extra impetus toward the fin a le (Et vitam venturi saeculi in the case of Rovigo's Mass) at a point where in terest in the form could conceivably be lagging. In it ia l voice entries in the Confi teor d is play reconfirming evidence of rhythmic f l e x i b i l i t y , as the f i r s t three begin respectively on beats one, two, and three of the pre vail ing tactus (Ex. 25). Example 25. Missa in Duplicibus maioribus. Credo, mm. 152-155. 154 Cadences Of the several cadence types in Rovigo's Masses the greatest preponderance, except In Missa Die M e rc u riI, is the perfect authentic ( V - 1) on the modal f in a l. In only three Instances, a ll occurring in Missa Apostolorum, is the imperfect, or half-cadence (l-V ) formation found at fin a l cadences. These appear at the end of the dui toi l i s . Et incarnatus, and Et î t e rum segments. More frequently in this Mass the dominant (confInal is ) is stressed by perfect fin a l cadences on D. Three consecutive segments of the G1oria conclude in this manner (mm. 22-23, 29-30, and 5 1-52 ), followed by the G-D cadence of the du i toi l i s , which is in turn followed by a perfect cadence on the dominant to conclude the duoniam segment. The f i r s t two segments of the Credo end with V-l cadences on D. In Missa in Duplicibus maioribus a unique instance of a perfect cadence on C occurs at the conclusion of Tu solus a ltiss im u s . Plagal cadences ( iV - l) may be found in a ll Masses. The prob lems of Missa Die Mercuri i involving plagal cadences must be discussed separately, but tendencies in the other Masses may be generalized. Two c la s s ific a tio n s may be observed: ( l) a d ire c t cadence growing out of the segment i t s e lf (not to be found in Missa in Duplicibus maioribus) , and (2) a plagal extension or “codetta" following a per fe c t cadence on the modal f in a l. In Missa Apostolorum and Missa Dom inicalIs. both composed on a version of Dorian Mode, an ornamental 155 feature îs sometimes incorporated into such a passage. Between soundings of the IV chord a chrom atically in flected th ird scale degree in the Bassus forms the foundation for a concentus (15) which func tions In the manner of an a u x ilia r y chord, the extension of an a u x il iary note (Ex. 26). Example 26. Missa Apostolorum, Credo, mm. 182-183. t C Table 11 lis ts segments ending in plagal cadences of both c la s s ific a tio n s . An a sterisk s ig n ifie s those cadences containing the auxi1iary concentus. The e n tire harmonic s itu a tio n in Rovigo's Missa Die MercurIi is problematic, stemming d ire c tly from the peculiar nature of the chant in the Kyria 1e for this Mass. Stress la id upon the plagal confina1 is (A), with its frequent role in re c ita tio n to n e -lik e 156 TABLE 11 FINAL PLAGAL CADENCE FORMATIONS D irect Cadences Extension or "Codetta" Missa i n Duplicibus maioribus Kyrie 1 1 Bonae volun tatis Amen (G loria) Et vitam Sanctus 1 Agnus Dei Missa Apostolorum Kyr ie 11 Kyrie 1 Bonae volun tatis Amen (G loria) Tu solus *Hosanna *E t vitam Sanctus 11 Agnus Dei Missa Domi n i c a lî s -Kyrie 1 *Q,uî toi lis -C hriste Q,uon i am Benedicimus te Pat rem Glorificamus te -Tu solus ''Amen (G loria) -Et Vîtam -Amen (Credo) 157 formulas and its place in fin a l cadences of the chant, is reflected in Rovigo's polyphonic settin g . The result is a sort of modal b ifo c a lity which is carried over into Rovigo's e n tire harmonic struc ture . A-E harmonic b ifo c a lity in Missa Die Mercurii is most c le a rly seen in the pattern of fin al cadences. Cadences preceding D-A occur in segments other than movement endings. While these generally are interpretable as plagal cadences on A, those ending segments which have begun with fugal entries on D and A (rather than E and A )- - C h ris te , Sanctus 11, and Agnus Dei I{--m igh t also be perceived as an imperfect cadence on 0. Cadences which close e n tire movements, on the other hand, are invariably A-E, or plagal on E, although p rio r A -p o la rity tends to a lte r the precise focus of these places. (Every fugal exposition contains entries on A, and every cadence features an A chord in some component fun ction .) The one clue which tips the scale in favor of the plagal in terp retatio n of cadences on A and E respectively is to be found by comparing the ending note of the pi a in song model with the fundamental note of the fin a l chord in each seg ment set by Rovigo (Table 12). The segments of this Mass are generally too short to allow for medial cadences which might produce supporting evidence. The only clear medial cadences occur once in Agnus Dei II on D (mm. 14-15) and twice in Agnus Dei ill both on A (mm. 28 and 32). Greater fr e quency and v a rie ty may be noted in the medial cadences of other Masses, however. In Missa in Duplicibus maioribus (Eighth Mode) 158 TABLE 12 FINAL CADENCES IN MISSA DIE MERCURII Segment PI a insong: Ending Note Rovi go: Final Concentus Kyrie 1 A A Christe E (high A Kyr ie 11 E ( fin a l) E Sanctus 11 A A Sanctus Dominus A A Bened i ctus A A Hosanna E (fin a l) E Agnus Dei 1 I A A Agnus De i I I I E (fin a l) E medial cadences f a ll upon G, D, and C. In Missa Apostolorum (trans posed F irs t Mode) only G and D are stressed. Missa Dominical is (transposed Second Mode) displays cadences on these two tones. Gen e r a lly , those on D are of the so-called "Phrygian" type. Occa sionally F provides a cadence point, p a rtic u la rly in the Pleni sunt (mm. 7-8 and 14-15). A type of cadence formation used widely by Rovigo, especially in medial positions, is related to fifte en th -c en tu ry cadential prac tices involving three-voice polyphony. A fte r the gradual phasing out of double leading tone cadences (Ex. 27a), the unaltered fourth scale 159 Example 27. Fifteenth-century cadences. . 1____________________ . b« _____ ^ "O' degree appeared in cadences, s t i l l resolving in the same way (Ex. 27b ) .5 The fact that Rovigo's employment of the cadence owes its heritage to the ancient fauxbourdon and English Discant t r a d itio n is apparent In three-voice passages where such cadences are found (Ex. 28) . Despite the trito n e between upper voices (never appearing before the la st un-accented beat before re s o lu tio n ), each of these is consonant with the lowest, or "leading"^ voice. In four- and fiv e -v o ic e textures the fourth scale degree generally persists in resolving upward to the f i f t h (Ex. 29). Frequently the fourth scale degree Is doubled, in which case those voices resolve by contrary motion (Ex. 3 0). In a few comparatively progressive instances an undoubled fourth scale degree resolves downward to the th ird of the resolute concentus.7 |n Missa in Duplicibus maioribus, which contains many more examples of these quasi-fauxbourdon cadences than any other 5$ee the explanation in Edward E. Lowinsky, "The Function of C o nflictin g Signatures in Early Polyphonic Music," ^ 31 (1945):227- 46. ^Aldrich, "Analysis of Renaissance Music," p. 11. ^Zarlino, Le is titu t io n i harmoniche, 111:248 (Example l4 l) holds this to be the preferable resolution of the trito n e in three- part w ritin g , whereas e a r lie r (Example 138) a 4-5 resolution lik e those of Rovigo is shown a t the end of a fa u lty progression of p a ra l le l fourths. 160 Example 28. Misse Apostolorum, Credo, mm. 33-36, : : Example 29. Missa in Duplicibus maio rib u s , K y rie , mm. 27-28. C .A- _ s . 1 n Example 30. Missa in Duplicibus maiorlbus. K y rie , m. 87 161 Rovîgo Mass,S two exceptional cases of the type occur, each with a delayed resolution of the fourth scale degree (Ex. 31). The quasi- fauxbourdon cadence is frequently arrived at by e d ito ria l musica f i e t a . This is the case with its appearance at the end of the three- voice Et resu rrexit segments of both Missa Dominical is and Missa Apostolorum. The only other formation used as a fin a l cadence appears at the end of the Q u i toi 1is of Missa in Duplicibus maioribus. in the la tte r Mass the quasi-fauxbourdon often constitutes part of another notable cadence device: the m ultip le cadence. Double cadences may be found in the Kyrie and Sanctus (Ex. 32), which as in several other m ultiple cadences, involve the application of musica f i e ta . Example 31. Missa in Duplicibus maioribus. a. K yrie, m. 47. b. G lo ria , m. 4$ c, Î £ g - I f f ^Missa In Duplicibus maioribus contains nineteen such cadences as compared with three in Missa Apostolorum, two in Missa Dom inicalis, and one in Missa Die M ercurii. 162 Example 32. Missa în Duplîcîbus maioribus. a. K y rie , mm. 81-82. c, ■ # 0 A. fi. y f ' S . m M à I È $ m/ _ V,../ i b. Sanctus. mm. 11-12, . - J 4- Î V x D A n i T ,£ . J S 4 ? t fe± r c. Sanctus, mm. 44-46. A .Q 163 In Example 32a a cadence on D prepares the way for a furth er p erfect resolution on G. Examples 32b and c illu s t r a t e t r ip le cadences where an avoided cadence leads to a quasi-fauxbourdon resolution on D, which in turn prepares a perfect cadence on G. In sharp contrast with the unique example of an archaic "under-third" cadence (Ex. 3 3 ),^ occasional cadences of an undeniably progressive nature appear in the Masses of Rovîgo. The Credo of Missa in Duplicibus maioribus contains a medial cadence on D in which neither the th ird nor the f i f t h of "dominant" chord resolves d ire c tly to the fundamentum of the temporary "to n ic" (Ex. 3 4). In much the same way the leading voice (Altus) of a cadence in Missa Apostolorum moves upward to the th ird of the concluding concentus, robbing the subtonium modi (Tenor) of unequivocal chromatic a lte ra tio n under the standard rules of musica f ic t a (Ex. 3 5). F in a lly , a unique example Example 33. Missa in Duplicibus maioribus, G lo ria , mm. 118-119 ■ C . m T ,3. I 1 m £ A £ ^As in the Rovigo example, the suspension in a ll Palestrina examples of this sort occur in an inner voice. Cf. Jeppesen, The Style of Palestrina and the Dissonance, pp. 194-95. 164 Example 34. Missa in Duplîcîbus maioribus. Credo, mm. 144-145 Example 35. Missa Apostolorum. Credo, mm. 39-40. Example 36. Missa Apostolorum, G lo ria , mm. 93-94. M p p a . s . 165 in Rovîgo's Mantuan Masses of the "root" of a fin a l concentus moving down a perfect fourth as an a fterb e a t concludes a half-cadence in a manner suggestive of fashionable Venetian pomp and flo u ris h (Ex. 36). Treatment of Dissonance In Renaissance Ita ly the broad v a rie ty of applications of dissonance w ith in an e s s e n tia lly central mainstream of a c t iv it y is in i t s e l f a fascinating study.^ ^ Within th is tra d itio n the p a rtic u la r dissonances any certain composer stresses or the manner and circum stances in which he applies them forms an important hallmark of his s ty le . Perhaps more precisely than any other s ty le feature the t r e a t ment of dissonance indicates the composer' s position in the evolution of Western musical s ty le . With Rovigo, as in his cadence procedures. I t may be seen that at times he is firm ly tra d itio n a l while at others he proves to be extremely progressive, occasionally even u t iliz in g techniques associated with the Seconda P rattica around the year 1600. His melodic style may be viewed in two contexts. The f i r s t , and more general, concerns invention. Since this aspect is in e xtric ab ly con nected with paraphrase elaboration, it has been touched on in Chapter V I. The second viewpoint focuses on melodic and rhythmic consid erations in re la tio n to harmonic stru ctu re. The present segment rounds out the discussion of melody by concentrating on the la t t e r aspect. ^^In Jeppesen, The Style of Palestrina and the Dissonance the e n tire scope of dissonance as fa r back as the age of Dunstable is discussed, demonstrating the continuity of many practices through the period and works of P alestrina. 166 Unaccented passing tones moving e ith e r upward or downward may be found in the Masses of Rovigo following any strong beat, but never in note values larger than a minim. Pairs of descending crome follow ing e ith e r a semiminim or a dotted minim are also a prominent c h a ra c te ris tic of Rovigo's music. In these, the f i r s t note is a passing dissonance, resolving to the consonant second note. Fol lowing this type of figure the melody generally turns upward aga in , ^ ^ leading to a suspension formation. This gives the appearance of an a u x ilia ry tone In diminished note values. However, in Rovigo, the aux!1iary-tone group in crome always follows a dotted minim and moves away in a d irectio n opposite to the passing-tone group. Both types of crome figures occur in consecutive measures in Example 37. Lower a u x ilia ry tones in semiminims are common, occurring, with few excep tio ns, on the offbeat of the second or fourth minim. Pairs of crome may sometimes be found woven into the thematic fa b ric In the form of ornamentation. The shape and function of such figures in Example 38 (especially the Altus) resembles the style of 1 ? pre-Baroque passaggi, i f not actual gorgia. In this connection, occasional short examples of restrained passaggi sty le may be found elsewhere, as in Missa Apostolorum, where a q u a s i-p ic to ria l setting of the word " baptisma" (dipping motion) occurs (Ex. 39). In contrast with th is, see the continuing downward motion after such a figure in Zarlino, Le istitutionl harmoniche, 111:198, Ex. 73. l^Such as those found in Girolamo Dalla Casa's manual on improvisation, 11 vero modo di diminuir (Venice, 1584). 167 The a n tic ip a tio n is a c h a ra c te ris tic melodic formation in Rovigo which precedes nearly every suspension. in this figure the note of a n tic ip atio n introduces the "preparation" phase of the note to be suspended. From the standpoint of dissonance the a n tic ip atio n is found in one of three d is tin c t situations: Example 37* Missa Apostolorum, G lo ria , mm. 68- 69. c. Â JL AT. + i m 8 - Ê rT T T l .1 P.X - z r Example 38. Missa in Duplicibus maioribus. Credo, mm. 39-42. a . T T S . Example 39. Missa Apostolorum. Credo, mm. 156-150, Cantus. Ü- rwmba-'pfi ~ 168 (1) The note is a true a n tic ip a tio n , since i t is dissonant (usually a fourth or seventh, occasionally a ninth) in the prevailing concentus, yet i t anticip ates a consonance in the following one (Ex. 40a). (2) The note is an e a rly , offbeat resolution of a suspension, e ith e r 7-6 (Ex. 40b) or 9-8. (3) Neither the a n tic ip atio n nor the note preceding i t is dissonant; in which case the interval progression must be (Ex. 40c). Accented passing tones in semiminims (moving downward on the second or fourth minim) have been shown by Jeppesen to be derived from an ornamental f i l l i n g in of the skip in cadential cambiata f i g u r e s . I n Palestrina*s style this derivation is confirmed by an upward melodic turn on the following beat.^^ Continuing downward motion occurs only when another voice moves downward conjuctîvely in the same rhythm.15 |n Rovigo's Masses this constraint is not observed, Continuing downward motion is used fre e ly in the Kyrie of Missa in Duplicibus maioribus (m. 25, Altus and m. 28, Quintus). The upward- turning type may also be observed (Missa Die M e rc u rii. Sanctus. 13Jeppesen, The Style of Palestrina and the Dissonance, pp. 148-51. The author uses the term " r e la tiv e ly accented passing dissonance" to s ig n ify the phenomenon called "accented passing tone" in this paper. 1^1n Zarlin o, Le is t it u t io n i harmoniche, 111:199, Ex. 74, the only two accented passing tones shown follow th is pattern. l^Jeppesen, The Style of Palestrina and the Dissonance, p. 137 169 Example 40. A nticipation figures. a. Missa in Duplicibus maioribus. K y rie , mm. 17-18 b. Missa in Duplicibus maioribus. Credo, mm. 96-97 c. Missa Apostolorum, Sanctus, mm. 26-27. [ 6- S] 170 mm. 3 -4 , Altus and Agnus De î , mm. 36-37, Cantus). Since the descending version of this dissonance was to be found frequently and without p a rtic u la r re s tric tio n s in the works of the Netherlanders around the year 1500, but was one of the forms which *’a la te r period would not to le ra te ^ i t is problematical to attempt to id e n tify Rovigo's use of I t as e ith e r an archaic tendency or a progressive fo retaste of pre-Baroque lib e ra tio n from the s tric tu re s of la tte r-d a y ars p e rfe c ta . The conventional suspension formula, or "syncope" as It was c a lle d ,^7 is the most c e n tra lly important dissonance which may be discussed re la tiv e to Rovigo's musical s ty le . Considered as a " p r i mary phenomenon"^^ of the compositional process, the composer's handling of this procedure reveals some of the most s ig n ific a n t data in th is inquiry. For the sake of orderliness, each part of the form u la — preparation, suspension, and resolu tio n—w ill be discussed in tu rn . As stated above, the preparations of most suspensions In Rovigo's Masses are approached by anticip atio ns which have descended from a step above. Frequently this note is I t s e l f the resolution of a suspension (function no. 2, above). Such consecutive suspensions are re-enactments of an old cadential formula, and they are found p . 2 2 1 . 1 Ib>id., p. 132. ^7$ee Z a rlin o , Le is titu t io n i harmoniche. I l l , ch. 49. ^^Jeppesen, The Style of Palestrina and the Dissonance, 171 extremely often în the fin a l cadences of these Masses. O n rare occa sions an a n tic ip atio n may appear an e n tire minim ahead of the prepar ation (Missa in Duplicibus maioribus, G lo ria , mm. 16 and 18). More freq uently, however, the a n tic ip a tio n appears on an o ffb e a t, approached by step e ith e r from above (Missa Dom inicalis, Kvrie I, m. 14) or below (Missa in Duplicibus maioribus, G lo ria . m. 7 ). In so-called "conso nant fo u rth s," where the interval of a perfect fourth with the lowest voice occurs at the moment of preparation, a v a rie ty of approaches may be observed. Rovigo engages these preparations sometimes by step from above (Ex. 4 la ) or below (Ex. 4 lb ): the classical formula, infrequent but more progressive instances call for an approach by upward leap of a fourth from a semiminim (Ex. 41c). Ornamentation may occur between preparation and suspension as a rhythmic continuation of an anticipation (Ex. 4 2 ). After the moment of suspension and before the resolution has been reached one or more voices not Involved in the formula may move. In certain final cadence suspensions Rovigo uses a cambiata figure which differs from that discussed by Jeppesen.The cambiata which in older music was placed before the moment of suspension is relocated to occur during the suspension dissonance in Rovigo's music (Ex. 4 4 ). Even more fre quently the composer fills in the cambiata's skip with stepwise motion, reducing note values to crome in a manner resembling the accented ^^1 b id . , p. 149; Ex. 43 below has been transcribed from this page. 172 Example 41. “Consonant fou rths." a. Missa Apostolorum, Credo, m. 175. i _ - b. Mi ssa Die M e rc u r!i, Agnus D e i. m. 35 È . TTS. -4 j E)# f - c. Missa Domin ic a li s , Patrem, m. 22. A.T. 173 Example 42. Mi ssa Apostolorum, G lo ria , mm. 51-52. È - ü - ijg - p - t t c 0=» C 0 3 Example 43. Cambiata placed before suspension. (General example by Jeppesen) 174 Example 44. Mlssa Apostolorum, Credo, mm. 171-172. 'S5 passing-tone fig ure in diminished rhythm. At cadences examples may be seen in both duple and t r ip le mensurations (Ex. 4 5 ). Suspensions occurring at the moment of the fin a l concentus are always connected with plagal cadences. Dissonances of this sort are infrequent in P a l e s t r i n a , b u t occur once in each of three Rovigo Masses (Ex. 4 6 ). In Examples 46a and b the device affords a graceful cadential extension to an e n tire movement. It may be noted that an upward leap of e ith e r a fourth or an octave is used to approach the preparation in a ll cases. Two isolated anachronisms connected with Rovigo's suspensions must be mentioned as harbingers of Baroque s ty le . At the end of the Glorificamus te of Missa Apostolorum a passing seventh joins the reso lution of a cadential suspension to the raised th ird of the fin a l con centus (Ex. 4 7 ). The opening measures of the Credo of Missa in ^l^By contrast, three of them may be found in the Mi ssa Dominicalis by Pseudo-Palestrina. See P alestrina, Werke, 33:1 1 , 27, and 30. 175 Example 45. Hissa în Duplîcîbus maîoribus. a . Credo, mm. 150-151. C . ^ A — I & t $ i £ c 0 3 & Credo, mm. 182-183. 176 Example 46. Cases of suspended fin a l concentus. a. Missa in Duplicibus maioribus, G lo ria , mm. 135-136. b. Missa Apostolorum, K yrie , mm. 71-7^ U c , , cr7>3 a C1713 I f c . Missa Dominical is, Benedicimus te , mm. 8-9 177 Duplicibus maioribus lead to a suspension between Cantus and Altus in which the voice which normally would remain stationary during the resolution (Altus) Instead moves downward, creating an even harsher dissonance somewhat in the manner of a ’’C o relli clash" (Ex. 4 8). F in a lly , Example 49 is a passage by Rovigo which must be cited for its clear association with the Seconda P r a ttic a . In the ars per fecta (or Prima P ra ttic a ) the suspension had been tolerated as the only dissonance allowable on an accented beat . . . because in singing the syncopated semibreve the voice holds firm , and a certain suspension is heard, a ta c itu r n ity that is noticed amid the percussions that produce the tones and make them distinguishable from one another in time. So the ear barely notices this dissonance, not being s u ffic ie n tly stimulated by it to comprehend it f u lly . Since there is no percussion, the movement seems weak to the ear, which is stimulated by percussions. When the syncopated note is thus held, the voice loses that v iv a c ity which it had on its f i r s t percussion. The disso nance, placed on the second h a lf of the syncopated note, is thus weakened and is barely perceived, con cealed as it is by a stronger movement in the other voice, which is changing location at the same time with a liv e lie r progress io n .21 By a rtic u la tin g "tu so-lus" with a "percussion" on the note which conventionally would have been held over as the second h alf of a syn cope, Rovigo has violated a basic rule of harmony from the code of classical polyphony. This instance anticipates s im ilar usage by Monteverdi more than a decade la te r . A suspension of this kind (Ex. 5 0 ), found in Monteverdi’ s madrigal "Anima mi a, perdona" 21Zarlino, Le is titu tio n i harmoniche, 111:197; tra n s ., p. 97. 78 Example 4%. Missa Apostolorum, G lo ria , mm. 29-30. 5 ioribus. Credo in DuplI c i bu Mi A.fi. (Cluarto Libro a5, 1603) was one of the passages so severely c r i t i cized in the famous Artusi-Monteverdi controversy.22 22Example 9 in the second ragionamento of G.M. A rtu s i, L *A rtusi, overo Del le im perfettioni della moderna musica (Venice, l600); the ragionamento is translated in Strunk, Source Readings, pp. 393-404. A rtusi*s example is not completely c lear, since i t does not show the preparatory note. This is brought out and c la r ifie d in Claude V. Palisca, "The Artusi-Monteverdi Controversy," in The Monte verdi Companion, ed. by Denis Arnold and Nigel Fortune (New York: Norton, 1968), pp. 153-54. Example 15 of that a r tic le shows the pas sage in reduced scoring; the fu ll score transcription below is taken from Claudio Monteverdi, Tutte le opere, v ol. 4: t 1 quarto 1ibro de madrigali a cingue v o c i, p. 34. 179 Example 49. Missa in Duplicibus maioribus, G lo ria , mm. 103-105. 7 . g 'c i-ü S ,+0 SO - v \t Example 50. Claudio Monteverdi, ''Anima mia, perdona,** Seconda p a rte , mm. 59-62. 22 ZZ men & m e h 1 80 Although Rovigo's passage is unique in the Masses, i t twice uses the same device. Here the dissonance has passed fu n c tio n a lly from a pure suspension toward a type of accented dissonance which w ill be c h a ra c te ris tic of the Baroque era: the a p p o g g i a t u r a I n contrast with archaic features lik e the under-third cadence occurring only fourteen measures la te r , this Seconda P rattica phenomenon appears even more s ta r tlin g . In matters of dissonance handling Rovigo's style stands Janus-like, looking both forward and backward, at a point in h isto ry where the once-revered rules of the ars perfecta are well on th e ir way to disin teg ratio n in the path of an oncoming, inevitable change in aesthetic a ttitu d e leading to a new age of music. Constituents of Form in one respect or another a ll the musical elements of Rovigo's Masses discussed so fa r contribute to the projection of formal d e f i n itio n . The impression as a whole is seldom e n tir e ly cohesive. Cer ta in of Rovigo's practices sometimes counterbalance disruptive forces, helping the Masses to maintain a stable, but seldom even, footing. Sometimes the disruptive forces are supported or produced by Rovigo's techniques themselves, which frequently upset old ars perfecta ideals of u n ity , balance, and cohesiveness. ^ W illi A pel, Harvard Dictionary of Music (Cambridge, Mass.: Harvard U niversity Press, Belnap Press, 1969), s .v . "Nonharmonic tones, l i ." Here the dissonance found in the Rovigo and Monteverdi excerpts is termed "prepared appoggiatura" (p. 577). 181 One unifying feature of the plainsongs of the Kyriale which is carried over to a great extent in Rovigo's polyphonic Masses is the handling of modality (or to n a lity ). The l-V or 1-lV c la r ity of chant organization and Rovigo's parallel tonal organization exhibited in fugal expositions, cantus firmus handling, and final cadences, have a ll been discussed. Evidence of a mixture of modes^^ may be found consistently applied only in the Missa Die Mercurii with re f erence to its bifocal tonality; ^-A and A-D. Likewise, fugal sub jects stressing fourth or fifth s in "re a l" combinations are somewhat rare and are generally limited to a dux progression of I-IV (scale degrees) answered analogously V-I (or IV-I answered l-V ). In the face of disruptive d etails, to be described below, each Mass's har monic cohesiveness is preserved on the whole. Referring again to the Kyrial e , the cantus firmus models themselves are a thematically disunified source for polyphonic con struction. Although a few instances of melodic recurrence exist (especially in the shorter movements: Kyrie, Sanctus, and Agnus D e i), the fact that each segment of each movement in any of the polyphonic Mass settings is based upon a cantus firmus model which is separate and d is tin c t from others used before or afterward, necessarily pro duces a variety in form when contrasted with sixteenth-century Masses whose various movements are unified by being composed on a single, recurring cantus firmus. Even when melodic recurrences from the ^^See Zarlino, Le is titu tio n i harmoniche, IV, ch. 30; trans. in Strunk, Source Readings, pp. 253-55. 182 Kyrî ale do appear, a variety of compositional techniques usually obscures the connection. Compare, for example, the third phrase of Kyrie I with the second phrase of Chr iste in Missa in Duplici bus maioribus. The plainsong models correspond exactly, but the poly phonic treatments stand out in sharp contrast to one another (Kyrie, mm. 18 f f . and 43 f f . ) . The Hosanna segments, with the exception of Missa Die Mercuri i , are given tra d itio n a l, l i t e r a l l y recurring form in Rovigo's Masses. In Missa Apostolorum the original codices do not make this e x p lic it, however its clearcut beginning in the la tte r part of m. 31 of the Sanctus suggests its separation for the purpose of restatement a fter the Benedictus. In Missa in Duplicibus maioribus and Missa Domini cans the Hosanna segments are dovetailed with the preceding segment, a practice which enhances continuity while it somewhat obscures formal recapitulation. Hosanna II of Mi ssa Die Mercur i i is e n tire ly deprived of any such correspondence, since its preceding counterpart is not heard in a polyphonic setting at a l l . The thematic pattern on the words "Sanctus, Sanctus, Sanctus Dominus . . ." of Missa in Duplicibus maioribus in the Kyriale is A-B-A . . . . By setting both of the thematically corresponding segments, Rovigo takes the opportunity to indulge in a b it of constructivism unique in these Masses. The two segments are notationally combined into one passage. In a ll manu script sources except one^5 the end of Sanctus I is signalled by the ^^Mantua, Codice polifonico— 1616. This is further evidence that the sectional alternatim practice had fallen into disuse by the 183 appearance of a corona over the final note followed by a pausa, a vertical line (Ex. 51). In performance the Sanctus II would be sounded on the organ, followed by the polyphonic Sanctus Dominus begun as a ^ capo of Sanctus I . However, this time the corone and pause are ignored, and the singers continue uninterrupted into the word "Dominus." Example 51. Missa in Duplicibus maioribus, Sanctus, MS /rs o iC / 1 _________ ' 1 1 / _____________ Ijf I lit M |P - * » |l}qa < T \ # W hile the composition of this passage does not require the s k ill which the dovetailing Hosanna segments do, the Sanctus I - Sanctus Dominus relationship is made clear by an effective formal device. The result is to momentarily mitigate the disunifying power of alternatim procedure. However, in the alternat im practice the tendency toward fragmentation is f e l t most strongly in the larger movements, Gloria and Credo. In these, large lite ra r y units made up of segments of smaller phrases have been carved up, somewhat checker board fashion, so that in some cases the grammatical sense is obscured or even lost. Such piecework is necessarily reflected in the musical pattern which no longer proceeds in large, sweeping, through-composed movements, divided up by one or two final cadences at the most. time of the writing of this MS. See also comments in Chapter IV con cerning the substitution of newly composed non-alternatim Gloria and Credo movements in this codex. 184 Rather, each complete movement here consists of nine or ten polyphonic microcosms, each of which must identify it s e lf and then work toward a more or less final conclusion. Because of this the a 1ternatim practice brings about two results, both of which characterize pre- Baroque musical Mannerism: (1) a disruption of formal continuity and trajectory, and (2) an attendant intense concentration upon the moment, here embodied in the b rie f texts which are set as polyphonic micro cosms . Rovigo finds certain methods of restoring formal outlines, and i f continuity is not actually improved, the overall form is at least a rtic u 1ated in some manner. One of these methods is to reduce the voices in certain segments. Normally this practice is kept to re la tiv e ly traditional points in the disposition of larger movements or in the Pleni sunt or Benedictus s e g m e n ts .E ls e w h e r e , reduced forces may be found in the opening of Tu solus altissimus segments of Missa Apostolorum and Missa Domin ic a lis , supplanted in the second phrase by the f u l l , five-voice complement in both Masses. in the la tte r the continuing cantus firmus in the Cantus ties together the two phrases. Sim ilarly, many segments begin with a re la tiv e ly long passage a2 before the remainder of the ensemble joins in point-of- imitation technique. The function of this tendency may well be to ^^However, not every possible traditional place is treated in this way. Cerone, El Melopeo y maestro. Book X II, ch. 13, rule 10 cites that the Chr iste and second Agnus Dei (as well as the Cruc i f ixus, not set in Mantuan Masses) may also be composed for fewer voices than the Mass as a whole. See trans. in Strunk, Source Readings, p. 267- 185 give the impress ion of greater scope and formal development in a seg ment which is actually re la tiv e ly b rief (somewhat akin to the effect of mirrored rooms and halls of Mannerist architecture and decor). Chordal passages sometimes serve to a rtic u la te form. Rovlgo sets the words "Jesu Christe" semi-chorda 11 y in the Gloria movements of Missa in Dupllcibus maioribus (mm. 118-126) and Missa Apostolorum (mm. 110-117). Ce rone recommends the procedure here as well as on the words "Et incarnatus e s t."^7 Rich chords in longer notes may be found in the setting of the la tte r words in these two Masses as well. In both the texture dissolves into polyphony in the following phrase, "ex Maria Virgine." In Missa in Dupli cI bus maioribus this texture remains more or less unchanged up to the final cadence. However, in Missa Apostolorum a textural A-B-A effect is brought about by a return to chords in longer note values on the last phrase, "ET HOMO FACTUS ESI." Mensural contrast is rarely used for formal a rticu la tio n . The one clear example, the ternary rhythm setting of Confiteor in Missa in Dupli ci bus maioribus, articulates the form in the manner of a movement by Josquin (discussed under Rhythm, above). The thematic and textual disunification of Mass movements, especially the longer ones, results in a great and intensive use of devices which stress, and at times even exaggerate, the text being set. Each segment of a Gloria or Credo becomes, in e ffe c t, a tiny ^71 b id ., rule 9. 186 composition of its own, separated from the others not only by a lt e r - natim interruptions, but also by differences in contrapuntal pro cedure. The music seems to owe allegiance only to the phrases of text as they progress. Individually, a segment may be unified by the consistent or s lig h tly varied employment of a single contrapuntal device (paraphrase point of Imitation, cantus firmus, or canon). On the other hand, its phrases can just as legitim ately be highlighted individually by d iffe rin g devices. This variegation natural 1 y con tributes to disunity in the long view. Not only is disunity of the entire movement nurtured by varying these polyphonic devices at w i l l , but also a formal imbalance is \ created by exaggerating certain phrases or segments and not others. The alternatim disection of G1oria and Credo texts, containing c lassi cally perhaps only two major climaxes and few minor ones, eliminates some climactic points (for example, the Crucifixus) from the poly phonic setting. This procedure in it s e lf upsets balance and contin u ity . Of the segments which remain in Mantuan Masses few are of a length or dramatic importance to ju s tif y more than simple point-o f- imitation treatment. In some segments this is all that takes place. In others more amplitude is added by a "summary statement" found somewhere in the progress of a phrase. Even greater emphasis is placed upon phrases which are given cantus planus treatment. In addition, an imbalance in the potential equality of a ll voices is created by Rovigo's persistent habit of applying each of these tech niques in a prominent voice, usually Cantus or Tenor. Canonic tr e a t ment in longer notes most often involves one of these voices also. 187 In Masses of the High Renaissance and in la te r ones having the pretences of the ars perfecta the techniques of cantus firmus or canon are reserved for musical contexts of cantus firmus or canon of suffic ie n t length for the entire model to be heard and digested. The progress of such movements is generally leisurely, and a single tech nique usually dominates a large portion of the movement If not the entire Mass. in the Mantuan Masses of Rovigo the use of each of these techniques within a single movement appears exaggerated and Manneristic, since a "summary statement" or cantus firmus interjection rarely extends beyond a single phrase. Canons are usually broken o ff at phrase endings also, only to be taken up la te r ( i f at a l l ) between other voices and at a d ifferent in te rv a l. The few segments where i cantus planus style lasts throughout are invariably so short (e .g ., Mi ssa Dominical 1s , Tu solus altissimus: 11 measures) that its long notes seem disproportionate and its text exaggerated. In the Mantuan Masses of Rovigo the dual concept of form and content reflects much of the same re-evaluation then In progress in forward-looking secular vocal music (including that of Rovigo him s e lf ) . We may observe in the Masses steps taken along a road which had begun years before with an emphasis on well-proportioned, balanced forms in which compositional technique had dominated a restrained textual expression: the Prima P ra ttic a . The segment of the road in which Rovigo's bold but careful footsteps have been planted is part of a radical turning point, leading in the direction of the North Ita lia n Seconda Prattica, with its abbreviated but wel1-punctuated 188 formal units, its emphasis upon textual detail at the expense of overall balance and continuity, and its emphatic expression of emo tional content. The musical characteristics of the Masses represent a point of transition from a dying a rt to a newborn one. 1 89 CONCLUSION The position which Rovigo's Masses occupy within the total picture of Mantuan sacred music is a significant one. S ta tistica lly , these works make up nearly ten percent of the extant Santa Barbara Mass repertoire, placing Rovigo as the fourth most p rolific contri butor among eleven known composers. The actual value Rovigo's works hold in our view of the entire Mass repertoire of the Ducal Chapel cannot be accurately judged at the present time, since approximately two-thirds of the repertoire remains to be transcribed and studied. However, Rovigo's Masses have revealed at least one feature considered to be prevalent in the reper toire as a whole. Representative transposition practices are already clear in the four exemplars in canto figurato composed by Rovigo. Clefs in these Masses together with the pitch relationships of poly phonic settings to cantus firmi (found originally in the Mantuan Kyriale) indicates that the repertoire as a whole will prove valuable (or possibly even conclusive) as a source for the study of chiavette notation and transposition in sixteenth-century performance practice. Rovigo's success as a composer of sacred music may be a t t r i buted somewhat to his remarkable versatility. W hen called upon by the court of Graz, he was capable of composing sacred works in a relatively flamboyant, quasi-Venetian manner, tinged with Bavarian 1 9 0 secular parody. For the Mantuan Ducal Chapel under Gugllelmo, Rovigo styled his works more in the direction of the duke's taste for imi tative polyphony; a more learned Roman/Netherlandish orientation, yet s t i l l in the shadow of Venice. But even in Mantua, Rovigo's sacred music leaned heavily in the direction of progress. His contra puntal f le x ib ility , treatment of dissonance, and basic harmonic oper ations (seen especially clearly at cadences) reflect some of the more forward-looking trends of his day. Lapses into older, ars perfecta habits may be found, but in the spirit of his changing times he more often applies his firm classical training to an exploration of newer, more exciting p o ssib ilities than does, let us say, his Roman col league, Palestrina. Thus, Rovigo's Mantuan Mass style is a distinc tive amalgam of North Italian energy and adventurousness together with Netherlandish gravity and technique. The Masses themselves are a reflection both of the composer's working situation and of his own personality. Viewed as a chief part of the daily Mass fare, Rovigo's music, like the Palace Church it s e lf, forms a component of the pattern of pretentious and ostentatious relig io sity in the personality of an Italian Renaissance ruler. A fragmented Mass form such as the alternat im type might have hypo thetically suggested the simplicity and concise directness of some thing like the Missa Brevis procedure, especially in view of Santa Barbara's principal purpose as a burial chapel ( i . e . , not designed for large services). Instead, it e l ic it s in Rovigo, master artisan and true to his patron, a grandiloquence of technique which overdraws 191 individual details at the expense of proportion and overall inte grality. Nonetheless, it is within this rather Manneristic character that much of the chief fascination of the Rovigo Masses resides. Like Duke Guglielmo, Rovigo was intensely dedicated to matching the music of the Mass ceremony to the splendor of Mantuan court li f e . And like the town of Mantua it s e lf , Francesco Rovigo's aggregate of polyphonic Masses constitutes a miniature miracle of a r tistic achievement. 192 APPENDIX A EDITORIAL PRO CEDURE AND CRITICAL NO TES FO R V O L U M E I I Volume II of the present study Includes the three Mantuan Masses by Rovigo which have not been published to date. The one work, therefore, not included in this volume is the Missa in Domini ci s diebus a 5 (Missa Dominicalis). This work was o rig in a lly published in 1592, and the very fine modern edition of it by Hellmut Federhofer in Denkmaler der Tonkunst in Qsterreich, vol. 90 is s t i l l accessible.! In addition to the three unpublished Masses, Volume II also contains an appendix of cantus firmi for all four of Rovigo's Masses, quoted from the Mantuan Kyr ia le . ^ In keeping with the overall appearance of manuscript scores from the second half of the sixteenth century,^ barlines run through each entire brace. Editorial fermate, or corone, are distinguished from original ones by the application of brackets. At the end of each segment or movement an editorial fermata in each part indicates the ^Complete bibliographic information on both publications may be found under No. 3 below. ^Mantua. Archivio Storico Diocesano (Fondo Santa Barbara), Libro di Coro No. I: Kyriale ad usam Ecclesie Sancte Barbare. ^For facsimiles of some of these, see Edward E. Lowinsky, "Early Scores in Manuscript," JAMS 13 (19^0): 126-73. 193 final 1onqa in that part, regardless of the note value in transcrip tion.^ Unbracketed fermate, transcribed from original sources, occur only in the Sanctus of Missa in Duplici bus maioribus a 5 . In the matter of contextual accidentals, the sources of Rovigo's Masses are re la tiv e ly complete. Therefore a policy of caution has been followed in the application of editorial musica f i e t a , the greater portion of which has arisen out of causa pulchri- tudInis rather than causa necessitatis. That is, the primary concern is for the proper treatment of imperfect consonances. Most often these accidentals appear in cadence contexts, in order to either (l) approach a perfect consonance by the closest imperfect consonance or (2) preserve the sixteenth-century practice of raising a minor to a major third at the end of a final cadence.5 |n cases where a melo dic or cadence formula suggested the addition of an accidental, but the exact conditions of mus ica fic ta rules could not be e n tire ly met, a question mark appears a fte r the accidental. A uniform rule of dura tion has been applied to original and editorial accidentals alike: an accidental remains in force for the remainder of the measure unless cancelled. Cancellation at the barline is automatic, but wherever it ^A11 segments begin on the downbeat of the f i r s t measure; therefore, the final rhythmic attack sometimes occurs halfway through the final measure. 5por a concise discussion of musica fic ta in the sixteenth century, see Edward E. Lowinsky, Foreword to Musica Nova, ed. H. Col in Slim (Chicago University Press, 1964), pp. v i iî- x ; cf. also W illi Apel, The Notation of Polyphonic Music, 900-1600, 5th ed. (Cambridge, Mass.: Medieval Academy of America, 1953), p. 120. 194 seemed advisable a reminder accidental in parenthesis appears in the following measure. In general, rubrical indications given in original sources have been copied into transcriptions. With the exception of Mass movement t i t l e s , a ll rubrics supplied e d ito r ia lly have been placed in brackets. The spelling, s y lla b ific a tio n , punctuation, and c a p it a li zation of text underlay have been modernized in accordance with the Liber Usual i s Throughout the sources of Rovigo's Masses text under lay is generally clear and unequivocal. In places where exact place ment of text was open to question Zarlino's ten rules of text under- 1 ay7 were considered before reaching a decision. This procedure was also applied to textual repeats indicated by symbols. Such repeats appear underlined in transcription. Missing texts supplied e d ito r i a lly appear in brackets. The lis tin g of works below reflects the order and contents of the polyphonic portion of Volume II of this study with the insertion of Missa in Dominicis diebus a5 between Missa in Festis Apostolorum a5 and Missa fin Feriis per Annum"! Die Mercurii a5. The Masses are ordered to correspond to the Mantuan K yriale. C ritical notes are ^Benedictines of Solesmes, eds., Liber Usual is: Missae et o f f i c i i pro Dominicis et festls (Tournai: Desclee, 1964), pp. 2-4. ^Gioseffo Zarlino. Le i sti tu t ion i harmoniche (Venice, 1558), Book IV, chap. 33. English trans. in Reese, Music in the Renaissance, p. 378; and Strunk, Source Readings, pp. 260-61. 195 arranged to include (1) number and complete t i t l e of composition; (2) sources where composition appears; and (3) inclusive pages of the Kvriale where cantus firmi may be found. Sources for the three tran scribed Masses are unusually accurate. Therefore, no discrepancies between sources and only one correction (in No. lb) necessitates ment i on. 1. Missa in Dupllcibus maioribus a5. a. Milan. Biblioteca del Conservatorio, Fondo di S. Barbara: 254 (S.B. 127) .8 Five fascicles, eight pages each. b. Milan. Biblioteca del Conservatorio, Fondo di S. Barbara: 256 (S.B. 166), "MANT[UAE]./ Per/Franciscu[m ]/Sfor-/tiam /1592." f . lv-22. Sanctus, m. 26, Altus: brevis rest missing. c. Mantua. Archivio Storico Diocesano (Fondo capitolare della Cattedrale): Codice p o l1fo n ic o --l6 l6, "Missae sex/adsunt/dulci modulamine voces/has [s ic] cane, nam gaudet, dum modulare,/Deus . . . . Qui cantis a rtis opus Francisci respice Sforzae/Cui nutrix Virtus, Mantua cui patria est . . . 1616." f . 79V-100. K yrie, Sanctus, and Agnus Dei by Rovigo; Gloria and Credo by Antonio Tarroni. d. Mantua, K yriale . pp. 1-13. ^Each M S from the Milan Conservatory collection is here iden tifie d by the number assigned to it in that catalogue, followed parenthetically by its prior identification number. For the history of the collection and its various catalogues, see pp. v-xxx of the Cataloqo. 196 2. Mi ssa In Festis Apostolorum aS. a. Milan. Biblioteca del Conservatorio, Fondo di S. Barbara: 132 (S.B. 192). [Sforza MS.] f . 102V-123. b. Milan. Biblioteca del Conservatorio, Fondo di S. Barbara: 253 (S.B. 129). Five fascicles: C, Q ., T, B— seven pages; A— eight pages. c. Mantua, K yriale , pp. 38-4-9. 3. Missa in Dominicis diebus a5. (Missa Dominicalis.) a. Milan. Biblioteca del Conservatorio, Fondo di S. Barbara: 132 (S.B. 192). [Sforza MS.] f . 41V-63. b. Milan. Biblioteca del Conservatorio, Fondo di S. Barbara: 255 (S.B. 128). Five fascicles, eight pages each. c. Missae dominicales/quin is vocibus/dlversorum auctorum/ A. F. lu lio Pel 1ino Carmel. M ant./collectae./ Mediolani. / Ex Typographia Michael is T in i. M.D.LXXXX1 1.9 Five fascicles, pp. 7-13. d. Modern edition: Hellmut Federhofer, ed., Niederlandische und italienische Musiker der Grazer Hofkapelle Karls 11.. 1564- 1590, Denkmaler der Tonkunst in Qsterreich, vol. 90 (Vienna: Osterreichischer Bundesverlag, 1954), pp. 60-76 (C ritical notes, p. 104). e. Mantua, K yriale, pp. 50-61. 4. Missa rin Feriis per Annuml Die Mercurii a5. a. Milan. Biblioteca del Conservatorio, Fondo di S. Barbara: 92 (S.B. 180). [Sforza MS., 1613.] f . 2IV - 26. b. Mantua, Kyr ia le , pp. 105-7- 9risM, 1592^. 197 APPENDIX B SOURCES FOR OTHER W ORKS The numerical lis tin g of Appendix A is here continued. The purpose of this appendix is to convey the scope of the remainder of Rovigo's known music. Relevant lite ra tu re is cited wherever appro priate . Sacred Vocal Music 5. Missa super"Susanna un qîour" a 12. Vienna. Osterreichische Nationalb îbliothek: Cod. I 6707, dated 1610. [Kuglmann MS.] Two fascicles: Secundus Chorus, Tertjus Chorus, f. 22-37- (Primus Chorus missing for some yearsl.) 6. Magnificat [ T e r t i i Toni] a4. Milan. Biblioteca del Conservatorio, Fondo di S. Barbara: 252 (S.B. 60), "Magnificat di Franc[esc]o Rovigo et/due di Giaches Wert." Four fascicles, pp. 1-3. 7 . Magnificat super "Venus, du und dein Kindt," Primi Toni a6. a. Graz. Uni versita ts b îb liothek: Mus. Hs. 22, dated I 6O7. [Kuglmann MS.] f . 157V-166. b. Kremsmunster. St 1ftsbibliothek: MS L [ca. 1605], vol. 4, pp. 205- 239. ^Cf. Eitner, Quellen-Lexicon. s.v. "Rovigo." 198 c. Ljubljana. Narodna in univerzitetna knjîznîca: MS. 339 [Kuglmann MS.] f . 74v-85. 8. Magnificat super "Benedicta es coelorum reglna" a6. a. Ljubljana. Narodna In univerzitetna knjiznica: MS 339. [Kuglmann MS.] f . 62v-74. b. Ljubljana. Narodna in univerzitetna knjiznica: MS 341. ca. 1600. f . 257V-267. c. Kassel. Murhardische Bibliothek und Landesbibliothek: Chorbuch 2° Mus. 13 [c a . 1590-l600], pp. 19-31. (Work wrongly attributed to Francesco "Konigo" due to misinter pretation of t i t l e page.) (Modern edition of nos. 7 and 8: Gernot Gruber, ed., DTP, vol. 128.) 9. Passio secundum Lucam a5. Milan. Biblioteca del Conservator io, Fondo di S. Barbara: 226 (S.B. 164), "MANTUAE/ Per Franciscum S fortiam /script./cjc cl LXXXVII." f . 134v-143. 10. Ad Tertiam Psalmus, Secundi Toni a4. Mantua. Arch ivio Storico Diocesano (fondo capi toi are del la Cattedrale): Codice p o lifo n ic o --l6 l6. f. 139V-148. (Source for nos. 11 and 12:) Ljubljana. Narodna in univerzi tetna knjiznica: MS 344, "11lustrissimo et Reverendissimo/Principi D[omi]no D[omi]no Thomas E[pisco]po Labacensi, nec non Serenissimo/Ferdinando Archduci Austriae/a Cons i l ij s, 199 1 1 . et elusdem Ex-/celsi Regiminîs Locumtene[n]-/ti meritissimo, Ofomijno e t/P rin c îp î suo Clemen-/ t i s s î mo. / Hune Litanîarum llbrum a Georgio Kuglmanno Bass 1sta propria ma-/nu scriptum atq[ue] post se relictu[m] humîllîme o b t u l i t . / Filius eius Carol us Kuglman J[u r i s] V [tr iusque] D[oct o r ] / Anno 1616." Litaniae Sacrae [1-1 pro uno fi d e li defuncto. Cum duobus Choris Primus Praecînens Chorus a4. Secundus vero Ftotus chorus] a6. f. 222-241V. 12. Litanae Sacrae [11.1 pro fi d e lï bus defuncti s . Cum duobus Choris Primus a4 Secundus vero F totus chorusl a6. f. 242-272V. 13. [Motet:] Laudate Dominum in Sanctis eius a8. Vienna. Osterreichische Nationalbiblîothek: Cod. I 6703 [Kuglmann MS.] f . 12V-21. Secular Vocal Music 14. [Madrigal:] "Liete le muse a l ' ombra" a6. a . IL LAVRO VERDE,/ MADRIGALl / A SEl VOCl / di diuersi Autori / device] / IN FERRARA, / Per V itto rio Baldini. 1583 Six fascicles, f. 8v. 2r|SM, 1583’ °. 1591®, 1593^. Vogel^, Vokalmusik. 15838, 159)8, 1593 . Bernard Huys, Catalogue des Imprimes musicaux des XVe, XVle et XVI le siècles: fonds general (Brussels: Bibliothèque Royale de Belgique, 1965), entry 213. 200 b. FlQRl / DEL GIARDINO / DI DIVERS! ECCELLENTlSSIHI AVTORl / à / Quattro, cinque, sel, sette, otto, & nove, voc i. / Raccolte con mol ta d îllg e n tia & novamenta date în luce. / NORIMBERGO / Appresso Paulo Kaufmann. / M.D.XCVII.3 Six fascicles. [lu te arrangement:] FLORES MVS 1 CAE, / hoc est, / SVAVISSIMAE ET LE- / PIDISSIMAE CANT 10- / NES, MADRIGALlA VUL- / GUS NOM 1 NAT, / . . . collectae & nunc / primum i ta descriptae, ut test 1tud inis f i di bus / can i possint, / PER / JOHANNEM RUDENIUM LIPSIENSEM . . . / Una veneunt MATTAEI REYMAN 1 toronensis Noctes musicae perquam a rti ficiose com- / pos Î ta e , in gu ibus variata praeludia et passamezzae . . . / [device] / HEIDEL- BERGE, / TYPI VOEGELINIANIS. / M.D.C.4 [ V o l . I :] no. 42. d. New York Public Library: Drexel 4302 ("Sambrooke" MS). English MS partitura of 1600-1616.5 e. Northampton, Massachusetts. Smith College, Werner Josten Library: Alfred Einstein, éd., "Einstein C ollection," vol. 1, pp. 31-33. 15. [Canzona:] "Tutta sareste bel la" a3. IL SECONDO LIBRO / DELLE CANZONI / A Tre Voci, / DI LODOVICO TORTI PAVESE / nouamente composte. S - date in luce. / [device] / IN VENETIA / Presso Giacomo Vincenzi, £ ■ Ricciardo Amadino, compagni. / M.D.LXXXII I I .6 Three fascicles, p. 19.7 3r is M. 1597^^. Vogel, Vokalmusik. 1597^. ^RISM, I6005a. ^Federhofer, MusikpfIege, p. 126; Lowinsky, "Early Scores in Manuscript," pp. 155 and 172. ^RISM, 15841^. Emil Vogel, Bibliothek der gedruckten wel11ichen Vokalmusik Italiens aus den Jahren 1500-1700. reprint rev. Alfred Einstein, 2 vols. (Hi 1desheim: 01ms, 1962), 2:249. Eitner, Quel 1en-Lexicon, s .v ., "Rovigo." ^Authorship of the canzona is here designated as "Giovanni" Rovigo. However, since there is no other historical evidence of that 201 (Source f o r 16 and 1 7 :) SDEGNOSI ARDORt . / MVS ICA DI DI VERS 1 / AVTTORl, SOPRA VN ISTESSO / SOGGETTO 01 PAROLE, A CIN- / QVE VOCl, RACCOLTl IN- / SIEME DA GIVLIO GIGLI DA IMMOLA. / TENOR / MONACHIl EXCVDEBAT ADAMVS BERG. / Cum gratia & p riu lleg io Sacrae Caesareae Maiestatis peculiari. / ANNO SALVATIS / M.D.LXXXVI Five fascicles. 16. [M adrigal:] "Ardo s i, ma non t'amo" a5. No. V. Modern edition: Alfred Einstein, ed., Italienische Musiker und das Kaiserhaus, 1567-1625. Denkmaler der Tonkunst in Osterreich, vol. 77 (Graz: Akademi sche Druck und Verlagsanstalt, 1934), pp. 56-57. 17. [Madrigal:] "Ardo s i, ma non t'amo" a5. No. VI. Both madrigals transcribed in Einstein, "Einstein c ollection," vol. 1, pp. 34-35 and 36-37 respectively .9 18. [Madrigal:] "Misera che faro poi che mi moro" a5. L'AMOROSA CACCIA / DE DIVERSI ECCELLENTlSSI Ml / MVSICI MANTOVANI NAT IVI / A CINQVE VOCI: / Nouamente Composta & data in luce. / [device] / In Venetia Appresso Angelo Gardano / M.D.LXVII I .1^ Five fascicles. name, it was undoubtedly a p r in te r ’ s error. See Federhofer, "Matthia Ferrabosco," p. 217. ^Thirty-one settings of the verse, "Ardo s i, m a non t ’amo," by G. B. Guarini. RISM. 1585^7. Vogel, Vokalmusik, 1585^, 15867. ^For commentary on these and other madrigals by Rovigo, see Alfred Einstein, "Italienische Mus i k und italienische Musiker am Kaiserhof und an den erzherzoglichen Hofen in Innsbruck und Graz," Studien zur Musikwissenschaft, vol. 21 (Vienna: Akademische Druck- und Verlagsanstalt, 1934), pp. 32-34. 'ORISM, 1588'4, 15924. Vogel. Vokalmusik. 1588^, 1592'*. Pio Lodi, comp., Cataloqo del le opere musicali . . . esistente nelle bib- lioteche e negli arch ivi . . . d 'It a li a : c itta di Modena, R. 202 Instrumental Music 19. Toccata for keyboard. Vienna. Osterreichische Nationalbibliothek: Cod. 10110, "LIBRO / DI PARTITVRA ET INTAVOLATVRA / DMNSTRV- MENTO. / Doue cî sono uarie cose come Toccatte Napolitane / MadrigalÎ Motteti et a ltre diuersse / cossette A 3 , 4, 5, 6 et 8 Voci. S critto da / RVDOLPHO LASSO. / in seruitu del / MOLTO ILLVSTRE S[ign]or IL S[i gn]or BERNARD I- / no Baron de Hermenstain, M[aestr]o di Stalla del Ser[enissi]mo S[i gn]or / Duca di Bauer ia & suo osseruand i ss[i]mo S[ign]or / et Patron etc." Undated, around 16OO.^ ^ 20. Canzona, "La Biuma" a4. Lucca. Biblioteca del Seminario: A. 163, CANZONI FRANCESE / Per sonar con ogni sorte de 1nstromenti A Quattro, Cinque, et Otto / DI FRAN CESCO ROGNON 1 TAEGIO Senator / de Violino. et di Viola bastarda et / a l t r i 1nstromenti. / IN MILANO, Per 1i Hered! di Agostino / Tradate. Con licenza dei Superiori. [Dedication signed 15 April 16O 8 .] Two fascicles, p. 15 in each. ^ ^ Biblioteca Estense (Bologna: Forni, 1923), pp. 280-81. Catalogue of the Printed Music in the Library of the Royal College of Music (London, 1909), entry l.C. 35. [edition of 159^-] ^^Wolfgang Boetticher, Orlando Lasso und seiner Z e i t , 2 vols (Kassel: Barenreiter, 1958), 2:835- ^ ^Unicum. Emilio Magg in i, ed,, Lucca: Biblioteca del Semi nar io. Cataloqo del le mus i che stampate e manoscri tte del fondo antîco (Milan: 1s titu to Editoriale Italiano, 1965), p. 183; Claudio Sartor 1, Biblioqrafia del 1 a musica strumentale italiana stampata in It a l ia fino al 1700, 2 vols. (Florence: Olschki, 1952-1968), 2:49-50 (entry 1608^"). 203 (Source for 21-27:) Reggio n e ll'E m ilia . Biblioteca Municipale: PARTITVRA / DELLE CANZONI / DA SVONARE / à quattro. £- a otto. / DI FRANCESCO ROVIGO, ET RVGGIER TROFEO, / ORGAN I ST 1 ECCELLENTiSSIMI. / NVOVAMENTE RlSTAMPATE. / [device] / IN MILANO, Appresso Filippo Lomazzo, No date. 21 . Canzon Prima, a4. pp. 2-5. 22. Canzon Seconda, a4. pp. 5-9. 23. Canzon Terza, a4. pp. 10-13. 24. Canzon Quarta, a4. pp. 14-19 (upper). 25. Canzon Quinta, a4. pp. 18 (lower) - 23 (upper). ^^Unicum. R1SM, [c. I 6I 3] (brackets theirs); S a rto ri, Bibli o q rafia , 2:1613 (?) ; Paul Kast, "Die Mus i kdrucke des Kataloges Giunta von 1604," Analecta musicologica 2 (1965): 70; Franz Waldner, "Zwei Inventerien aus dem 16. und 17. Jahrhunderts uber hînterlassene Musik instrumente und Musikalien am Innsbrucker Hofe," Studien zur Musikwissenschaft 4 ( I 9 I 6) : 136. Claudio S a rto ri, DIzionario degl i editori ita lia n i (Florence: Olschki, 1958), p. 88 has determined that 1613 is the e arlies t date Filippo Lomazzo published music under his own name alone. Another copy of the collection (a f i r s t edition?) apparently once existed in the Brussels Cathedral lib ra ry — see Eitner, Quellen-Lexicon, 8:342; and Edmond van der Straeten, La musique aux Pays-Bas avant le XlXe siècle: documents inédits et annotés (Brus sels: Muquardt, 1867; reprint éd., New York: Dover, 1969) , p. 27. B e rto lo tti, Mus i c i , p. 63 assigns a date of 1583 to the f i r s t edition. 204 26. Canzon Sesta, a4. pp. 22 (lower) - 27 (upper). 2 7. Canzon Decimaottava, a8. pp. 80- 8 9. (Source for 21a - 26a:) Turin. Biblioteca Nazionale: Clntavolatura d'organo tedesca in 16 fa s c ic o lî, 1637-1640.] Fascîcle X.14 21a. Canzon Prima d i Ms. Francesco Rovigo. f . 7 4 v - 7 5 v . 22a. Canzon Seconda, f . 7 5 V - 7 7 V . 23a. Canzon Terza. f . 7 7 v - 7 8 v . 24a. Canzon Quarta. f . 7 8 v - 8 1 . 25a. Canzon Quinta, f. 81-82, 26a . Canzon Sesta. f . 82-84. ^^Oscar Mischiati, "L'1ntavolatura d'organo tedesca délia Biblioteca Nazionale di Torino: Catalogo ragionato," L'Organo 4 ( 1963) : 74. 205 Lost Works Veni Creator Spiritus and other Vesper hymns, 1573 or e a r lie r . Mantua. Archivlo Storico Diocesano (Fondo S. Barbara), Diario del 1572 al 1602 et a l t r i (Marzo 1573), quoted in Pierre M. Tagmann, "La cappella dei maestri cantori del 1 a Basilica Pala- tina di Santa Barbara a Mantova (1565-1630)," Civil ta Mantovana 4 ( 1969/ 71):400, n. 63. Madrigali a5 voci, Libro I . PRIMERA PARTE / DO INDEX DA / LiVRARlA DE MUSICA DO MUYTO ALTO, E PODEROSO / Rev Dorn lOAO o IV. Nosso Senhor. / Por ordem de su i Mag, por Paulo Craesbeck. Anno 1649 / Livraria d ’Alcobaca. (Facs. reprint ed.: Damiao Peres, e d ., Lisbon: Academia Portugesa da Historia, 1967.) Caixao 7°, no. 238. Endclopedia della musica Ricordi, s.v. "Rovigo" by Hellmut Federhofer and La Musica, s.v. "Rovigo" give the following pub lication information: Venice: Gardano, 1581. In the catalogue of King Joao, listed above, no date or publisher appears. In addition, no mention of the collection is made in Cardano's catalogue of 1591. See Genevieve Thibault, "Deux catalogues de lib raries musicaux: Vincenti et Gardane (1591)," Revue de Musicologie 10 ( l 920): 177-83; 1) (1930): 7-18. Canzonette Francesco Rovigo e Ruggier Trofeo a4. Kast, "Die Musickdrucke," p. 48. Die Mus ik in Geschichte und Gegenwart, s.v. "Rovigo" by Denis Arnold assigns a date of 1583 to this collection. It is possible that it has been confused with the original publication date of the Canzoni da Suonare by the same two composers. See footnote 13 above. Canzonette per Sonare Francesco Rovigo a4. Kast, "Die Musikdrucke," p. 48. Possibly transcriptions of vocal canzonette above? 206 Music for G. B. Guar i n i ' s 11 pastor fid o , 1591. D'Ancona, Origîni del te a tro , 2:54-3. 207 BIBLIOGRAPHY Aldrich, Putnam. "An Approach to the Analysis of Renaissance Music." Music Review 30 ( I 969) : 1-21. Ancona, Alessandro D'. Origlni del teatro ita lia n o . 2nd e d ., rev. and e n l. 3 vols, in 2. Turin: E. Loescher, I 89I. Antegnati, Costanzo. L'Arte organica. Brescia: Tebaldino, I 6O 8; new edition, preface by R. Lunelli and German trans. by Paul Smets. Mainz: Rheingold, 1958. Anthon, Carl. "Some Aspects of the Social Status of Ita lia n Musi cians During the 16th Century." Journal of Renaissance and Barogue Music 1 (1946):111-123; 222-34. Apel, W illi. Harvard Dictionary of Music. 2nd ed., rev. and enl. Cambridge, Mass.: Harvard University Press, Bel nap Press, 1969. The Notation of Polyphonic Music, 9OO-I6OO. 5th ed. Cambridge, Mass.: The Medieval Society of America, 1953. Barclay Sguire, William. Catalogue of the Printed Music in the Library of the Royal College of Music. London: n .p ., 1909. Becker, Carl Ferdinand. Die Tonwerk des XVI. und XVII. Jahrhunderts, oder systematisch-chronoloqische Zusammenstel1ung der in diesen zwei Jahrhunderten gedruckten Musikalien. Leipzig: Fleisch, 1855; repr. ed., Hi 1desheim: 01ms, I 9 69. Bel 1 onei, Maria. A Prince of Mantua: The Life and Times of Vincenzo Gonzaqa. Translated by Stuart Hood, New York: Harcourt, Brace, 1956. Bernstein, Melvin. "The Sacred Music of Giaches de Wert." Ph.D. dissertât ion. University of North Carolina, 1964. B erto lotti, Antonio. Mus ici a lla corte de i Gonzaqa in Mantova dal secolo XV al X V I I I . Mîlan: Rîcordî, I 89O; reprint éd., Bologna: Forni, I 969. Birnbaum, Eduard. "Musici Ebrei a lla corte di Mantova dal 1542 al 1628." Edited by Vittore Colorni. Civil ta Mantovana 2 ( 1967) : 185- 216. 208 Boetticher, Wolfgang. Orlando Lasso und seiner Z e l t . 2 vols, Kassel: Barenre!ter, 1958. Brown, Howard Mayer. Instrumental Music Printed Before I 6OO: A Bibliography. Cambridge, Mass: Harvard University Press, 1965. C a ffi, Francesco. Storia del 1 a musica sacra nella gia Cappella Ducale di S. Marco in Venezia dal 1318 al 1797. Venice, 1854- 55. 2 vols. CampogaIIiani, Francesca. "Guglielmo e Francesco Gonzaga: un prin cipe e un sacerdote nella storia musicale délia Chiesa di Santa Barbara in Mantova." Doctoral dissertation, Univers i ta di Padova, 1970. Canal, Pietro. Del 1 a mus i ca în Mantova: noti zie tra tte principal- mante dal'archivlo Gonzaga. Venice: Presso la Segretaria del Rea le 1st!tuto, 1881. Cerone, Domenico Pietro. El melopeo y maestro. Naples: Gargano £ - Nucci, 1613. Facsimile reprint, Bologna: Forni; portions translated in Strunk, Source Readings (q .v .). Cesari, Gaetano. "L'Archivio musicale di Santa Barbara in Mantova e una Messa di Guglielmo Gonzaga." In Festschrift Theodor Krover. pp. 118-29. Regensburg: G. Bosse, 1933. Coniglio, Giuseppe. I Gonzaga. N .p.: d all'O g lio , I 967. Cordero di Pamparato, Stanislao. "I music! a lia corte di Carlo Emanuele I di Savoia." In Carlo Emanuele I Mi seel 1anea. Biblioteca del 1 a Societa Storica Subalpina, no. 121. Turin: Societa Storica Subalpina, 1930. Crawford, David. "The Francesco Sforza Manuscript at Casa 1e Mon- ferrato." Journal of the American Musicological Society 24 (1970:457-62. Davari, Stefano. "Notizie biografiche del d istinto Maestro di Musica Cl audio Monteverdi." A tti e memorie del 1 a Reale Accademia Virgiliana di Mantova. pp. 78-130, Mantua: Mandovi, 1882. Diruta, Girolamo. 11 TransiIvano: dialoqo sopra 11 vero modo di sonar organi et istromenti da penna. 2 parts. Venice: Vincenti, 1593-1622. Facsimile reprint, Bologna: Forni, 1969. Oonesmondi, Ippolito. Del 1 ' istoria ecclesiastica di Mantova. 2 parts. Mantua: Osanna, I6 l2 -l6 l6 . 209 Einstein, Alfred. "Italien isch e Mus ik und italienische Musiker am Kaiserhof und an den erzherzoglichen Hofen in Innsbruck und Graz." In Studien zur Musîkwissenschaft, vol. 21, pp. 3-52. Vienna: Akademi sche Druck- und Verlagsanstalt, 1934. "Salamone Ross i as a Composer of Madrigals." Hebrew Union College Annual 23 (l950/51):383-96. Eitner, Robert. Biographisch-bibliographisches Quel 1en-Lexicon der Musiker und Musikgelehrten der christlichen Zeitrechnunq bis zur Mi tte des 19. Jahrhunderts. 10 vols. Leipzig: Breitkopf & H a rte l, 1898-1904. Federhofer, Hellmut. "Einleitung." in his edition, Niederlandische und italienische Musiker der Grazer Hofkapelle Karls 11., 1564-1590, pp. v-xxxi i i . Denkmaler der Tonkunst in Oster re ich, vol. 9 0. Vienna: Osterreichischer Bundesverl ag, 1954. "Hohe und tie fe Schlusselung im 16. Jahrhundert." In Festschrift Friedrich Blume zum 70. Geburtstag, pp. 104-111. Edited by Anna Amalie Abert and Wilhelm Pfannkuch. Kassel: Barenreiter, 1963. . "Matthia Ferrabosco." Musica DiscipiIna 7 (1953): 205- 33. . "Mus i k am Grazer Habsburgerhof der Erzheroge Karl 11. und Ferdinand (1564-1619).'* Osterreichische M usikzeitschrift 25 ( 1970) : 585- 9 5. Musikpflege und Musiker am Grazer Habsburgerhof der Erzherzoqe Karl und Ferdinand von Innerosterreich, 1564-1619. Mainz: Schott's Sohne, I 967. . "Pietro Antonio Bianco und seine Vorganger Andreas Zweilie r und Pietro Ragno an der Grazer Hofkapelle." Kirchenmusikalisches Jahrbuch 38 (1954):55-83. Fellerer, K[ar1] G. "Church Music and the Council of Trent." Musical Quarterly 39 (1953):576-94. Foilino, Federico. Descri tione del 1 ' infi rmi t a , morte, et fvn e rali del sereniss. sig. il sig. Guglielmo Gonzaga, 111. Dvca di Mantova, e di Monferrato I. Con quelle del Ie solenni Cerimonie, fa tte nella corona11 one del sereniss. sig. 11 sig. Dvca Vincenzo svo f ig l i o e svccessore. Mantua: Osanna, I 587. G rillo , Giovanni Battista. Breve tra tta to di guanto successe a lia Maesta della Regina D. Margarita D'Austria . . . . Naples: V ita le , 1604. 210 Gruber, Gernot. "Beitrage zur Geschichte und Komposî tions- technik des Parodiemagnîficat in der 2. Halfte des 16. J a h r h u n d e r t s in a u g u r a l dissertation, Karl-Franzens- Unlversitat, Graz, 1964. Haberl, Francis Xavier. “Das Archiv der Gonzaga in Mantua, mît besonderer Rucksicht auf Giov. Pierluigi da Palestrina Kirchenmusikalisches Jahrbuch 1 (1886): 3-45. Hartmann, Arnold Jr. “Battista Guarini and 11 pastor fid o .“ Musical Q.uarterly 39 (1953):^15-25. Hermelinck, Siegfried. Dispositiones Modorum: die Tonarten in der Musik Palestrinas und seiner Zeitgenossen. Tutzing: Schneider, 196O. Intra, G.B. “Una pagine del 1 a giovinezza del Principe Vincenzo Gonzaga." Archivio Storico jtaliano Ser. IV, I 8 (1886): 197- 230. Jeppesen, Knud. “ Pierluigi da Palestrina, Herzog Guglielmo Gonzaga und die neugefundenen Mantovaner-Messen P alestrina's." Acta Musi coloqica 25 ( l 953):132-79. ______________. “The Recently Discovered Mantova Masses of Palestrina: A Provisional Communication." Acta Musi coloqica 22 (1950): 36- 4 7. _____________ . The Style of Palestrina and the Dissonance, 2nd ed. London: Oxford, 1946; reprint edition. New York: Dover, 1970. Kast, Paul. “Die Musikdrucke des Kataloges Giunta von l604.“ Analecta Musi coloqica 2 (1965) : 4 l -47. Kenton, Egon. Life and Works of Giovanni G a b rie li. Rome: American Institute of Musicology, I 967. Kretzschmar, Hermann. “Lodovico Zacconis Leben auf Grund seiner Autobiographie." Jahrbuch der Musikbibliothek Peters fur 1910, pp. 45- 5 9. Leipzig: Peters, I 9 I I . Lamp], Hans. "A Translation of Syntaqma Musicum 111 by Michael Praetorius.“ D.M.A. dissertation. University of Southern Gali fo rn ia , 1957. Lincoln, Harry B., ed. The Madriqal Collection "L'Amorosa Ero" (Brescia, 1588). Binghamton, New York: State University of New York Press, 19^8. 211 Lodi, Pio, compiler. Cataloqo del 1e opere musicali . . . esistente nelle biblioteche e neqli archivi . . . d 'It a li a : Citta di Modena, R. Biblioteca Estense; reprint ed., Bologna: Forni, 1923. Lewinsky, Edward E. "Early Scores in Manuscript." Journal of the American Musicological Society 13 (I960):126-73. "Foreword" to Mus ica Nova, pp. v -x x i. Edited by H. Colin Slim. Chicago: University of Chicago Press, 1964. "Zur Frage der Deklamations rhythmik in der a-cappella- Musik des 16 . Jahrhunderts." Acta Musicologica 7 (1935): 62-67. "The Function of Conflicting Signatures In Early Polyphonic Music," M^ 31 (1945): 227-60. MacClintock, Carol. "The Five-part Madrigals of Giaches de Wert." Ph.D. dissertation, Indiana University, 1955. __ . Giaches de Wert: Life and Works. Rome: American Institute of Musicology, 1966. ______________. "New Sources of Mantuan Music." Journal of the American Musicologica1 Society 22 (1969):508-11. Maggini, Emilio, ed. Lucca: Biblioteca del Seminario. Cataloqo del le musiche stampate e manoscritte del fondo antico. Milan: 1st 1 tuto Editoriale Italiano, 1965. Marshall, Robert L. "The Paraphrase Technique of Palestrina in His Masses Based on Hymns." Journal of the American Musicological Society 16 (1963):347-72. Mendel, Arthur, "Devices for Transposition in the Organ Before I 6OO." Acta Mus icoloqica 21 ( l 949): 24-40. "Pitch in the 16th and Early 17th Centuries." Mus ica1 quarterly 34 (1948):28-45, 199- 221, 336-57, 575-93. Milan. Conservatorio di Musica "Giuseppe Verdi." Catalogo del 1 a biblioteca d iretto da Guglielmo Barblan: Fondi speciali 1, Musiche della Cappella di S. Barbara in Mantova. Florence: Olschki, 1972. M ischiati, Oscar. "L*Intavolatura d'organo tedesca del 1 a Biblioteca Nazionale di Torino: Catalogo ragionato." L'Organo 4 (1963): 1- 154. 212 Morîey, Thomas. A Plain and Easy Introduction of Practical Music. (London, 1597.) Edited by Alec Harman. London: Dent, 1952 Die Mus ik in Geschichte und Gegenwart. Allqemeine Enzyklopadie der Mus ik . . . . Edited by Friedrich Blume. 14 vols. Kassel and Basel: Barenreiter, 1949-19^7. Neri, A chille. "G1i ' intermezzi' del ' Pastor fid o " ." Giornale Storico del 1 a Letteratura italian a 11 (1888):405-15. Newman, Joel. "The Madrigals of Salamon de' Rossi." Ph.D. disser tatio n, Columbia University, 1962. and Rikko, F ritz . A Thematic Index to the Works of Salamon Rossi. Hackensack, N.J.: Boonin, 1972. Palisea, Claude V. "The Artusi-MonteverdI Controversy." In The Monteverdi Companion, pp. 133-66. Edited by Denis Arnold and Nigel Fortune. New York: Norton, 1968. Reese, Gustave. Music in the Renaissance. Rev. ed. New York: Norton, 1959. R1SM = International Inventory of Musical Sources. Series A/1. Ei nzeldrucke vor 1800. Kassel, Barenre i t e r , 1971 -. Series B. 2 vols. Munich: Henle, 196O. Vol. 1: Recuei1s imprimés XVIe-XVIle siècles. Liste chronologique. Sartor i , Claudio. B ib lîografia del 1 a mus i ca strumentale italiana stampata in It a lia fino al 1700. 2 vols. Florence: Olschki, 1952- 1968. Dizionario degli edjtori musicali i t a l i a n i . Florence; Olschki, 1958. Schering, Arnold. "Zur alternatim-Orgelmesse." Z e its c h rift fur Musikwissenschaft 27 (1935).* 19-32. Schmid, Ernst F ritz . Musik an den Schwab!schen Zol1ernhofen der Renaissance. Kassel, Barenreiter, 1962. Schrade, Leo. Monteverdi: Creator of Modern Music. New York: Norton, 1950. Senn, Walter. Musik und Theater am Hof zu Innsbruck: Geschichte der Hofkapel1e vom 15. Jahrhundert bis zu deren Auflosung im Jahre 1748. Innsbruck: Oesterreichische Verlagsanstalt, 1954. 213 Straeten, Edmond van der. La Musique aux Pays-Bas avant le XIXe siècle: documents inédits et annotés. Brussels: Muquardt, 1867; reprint éd., New York: Dover, I 969. Strunk, Oliver. "Guglielmo Gonzaga and Palestrina's Missa Dominical i s ." Musical quarterly 33 (l947): 228-39. _____________ . Source Readings in Music History. New York: Norton, 1950. Tagmann, Pierre M. Archivalische Studien zur Musikpflege am Dorn von Mantua (1500-1627). Publlkationen der Schweizerischen Musikforschenden Gesel1schaft, Serie 11, vol. 14. Bern: Haupt, 1967. _____________ . "La cappella de i maestri cantor i del 1 a Basilica Palatina di Santa Barbara a Mantova ( I 565- I 63O)." Civ i 1ta Mantovana 4 (1969):376-400. _____________ . "Girolamo Cavazzoni—Girolamo Mantovano. Identi- tatsfragen." In Arnold Geering zum 70. Geburtstag, pp. 149- 5 8. Edited by Victor Ravizza. Bern: Haupt, 1972. _____________ . "The Palace Church of Santa Barbara in Mantua, and Monteverdi's Relationship to Its Liturgy." In Festival Essays for Pauline Alderman: A Musicological T rib u te , pp. 53- 6 0. Edited by Burton L, Karson. Provo, Utah: Brigham Young University Press, 1976. Vogel, Emil. Bibliothek der qedruckten weltlichen Vokalmus ik Italiens aus den Jahren 1500-1700. 2 vols. rev. ed. by Alfred Einstein. Hi 1desheim: 01ms, 1962. Wagner, Peter. Geschichte der Messe. I. T ell: bis I 6OO. Leipzig: Breitkopf & H arte l, 1913. Waldner, Franz. "Zwei Inventarien aus dem 16. und 17. Jahrhundert liber h interl assene Mus i kins trumente und Mus I kal I en am Innsbrucker Hofe." Studien zur Musikwissenschaft 4 (19 I 6): 128- 4 7. Wallner, Bertha Antonia. MusikalIsche Denkmaler der Steinatzkunst des 16. u . 17. Jahrhunderts nebst Beitragen zur Musikpflege dieser Z e i t . Munich: Lentnersche Hofbuchhandlung, 1912. Winn, Jeanne. "The Instrumental Music of Salamone Rossi." M.A. thesis. University of California at Los Angeles, 1972. [Zacconi, Lodovico.] "Vita con le cose avvenute al P. Bacc. Lodovico Zacconi da Pessa[ro]." Pesaro, Biblioteca 01iveriana, MS 563; typescript copy by Claudio S a rto ri. 2 1 4 Prattica di mus Ica. 2 parts. Part I, Venice: Carampei i o, 1592; Part I I , Venice: Vincent i , 1622. Fac simile reprint, Bologna: Forni, 1967. Zarlino, Gioseffo. Le is titu tio n i harmoniche. 4 parts. Venice, 1558. The Art of Counterpoint: Part Three of Le is titu tio n i harmoniche. 1558. Trans, by Guy A. Marco and Claude V. Palisea. New Haven: Yale University Press, 1968. Portions of Parts 111 and IV trans. in Strunk, Source Readings ( q .v .) . 215 u h T v 'H m rr CF g jjT E m yM return this ho&k to thr: depseîirem fro m w h ich if; ?v borrowed. A f i n e o f 10 tfer.ts per day i i assesstd on books not returned tvben doe. r E T ’D L O A N tJ C T 30 R f J ' D L O A N M O V 1 0 R ET'D L O A N J A N 17 1 9 8 0 THE LIFE AND MANTUAN MASSES OF FRANCESCO ROVIGO (1541/42-1597) VOLUME 11 by Michael Armand Fink A D is s e rta tio n Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In P a rtia l F u lfillm e n t of the Requirements fo r the Degree DOCTOR OF PHILOSOPHY (Mus ic) June 1977 Copyright Michael Armand Fink 1977 f p h . n , '77 CONTENTS ^ _ .? » v MISSA IN DUPLIGIBUS MAIORIBUS ............................... 1 MISSA IN FESTIS APOSTOLORUM................................... 48 MISSA [IN FERUS PER ANNUM] DIE MERC UR 1 1 .................... 82 MUSICAL APPENDIX .............................................. 91 11 M liS fr ^ 1 DufLIC16i)S M aiombjs A 5. K / f t l É T GamTüS 1 / 4 H '.w y É A-ltuS M = s: r f SE T GluiNrus 4-w Ü =i k a a TgM O K Kv r i 1 4 l l ' w b4 6assus I I H ^ A m W a,y Kv r i $ ï f = - f ZC Kv ri J2_ É zz ± a K . e - l e i son. Kv- r i - m m f " f r l e i - son. Kv r i - e Ï2: y K y # -e e - lei son. l e x - Kv r i son l e i son l e i Kv son r i - r i l e i - e son l e i r i son ZZ - e r i l e i son l e i son r i Kv r i l e i s o n . Ky ri I’ei son - r i l e i son. r i - l e i son r i lei Kv ri- e son. e 20 i l Kv B j — I - j - - 0 r i - e e - £ r B Ky — r i - e l e i - son. g :zz: ' t = T Z Q 22: l e i son. r i - É U ^ ■ f: m s i ? # # #■ l e i - y f p f " f î . e i son. i l e i - son. 8 Æ . i i 2Z: S S Ky - r i e m m f i : n i J ? l e i - son. ? 1 s o n . Ky - r i - e l e i - K v r i 30 = F = f a : f 0 Ky ri Lei - É * — r s o n . Çz-n: 3Z É SE z : Ô l e 1 - son. '1 - e l e i m z z f ê -, e e l e i - S ¥ g s o n . [ / T > : - s o n . Kv — ri l e - i - •lei son. ri - e lei s son. son. I l m C h r i - s t e , C h r i i s t e e C h ri: s te l e - P S C h r i Ùhr j i E s te e - - 1 - son. t 40 l e # C h r i - s te e 1 - son, -ig # -é é- e - l e i l e i son. -0 --------------f- e e l e i - son. C h r i - s te e a l e i ? o Bon. S l e i C h r i - s t e e - g i f Chr: s te e - s o n . l e i l e C h r i son s te ZZ C h r i l e s te C h r i son s t - s o n . C h r i - l e i l e i son. son. Chri ste lei - son. I — y -------- C h r i - s t e son. C h r i s t e , è r - — ^ ■ v :_ _ M C h r i - s t e e - l e i - son. ? a l e i - s o n . C h r i s t e e - i s a # Ste l e i - son. C h r i s t e zzc l e i son. 50, § v #- e - son. C h r i - s t e = S I r . f -|g. C h r i s te z c l e i son. C h r i - s te i ? a : l e i son. Î C h r i s te i 55 r 1 le n - so - e - l e i son. C h r i - s te son. C h r i - & Ê g l e i son. C h r i s te s m g 1er - son. C h r i s t e - l e i - s o n . C h r i - s t e e - f 33: g w ~ = ~ C h r i - s t e g ¥ 2=zz lei son. chri ste e - lé 1 -son. 60 _____________ ' ' " T ] I ' - l - 3 : 3 2 : £ F Ste l e i - s o n . £ i 9 - l e i - son. C h r i s t e e l e i - son. * £ C h r i - s t e e ê £ l e i ' son. C h r i s te g e^ r l e i - — pr m $ ZZ: r ~ l e i - son. C h r i s te g a £ « » C h r i - s t e e l e i - son. C h r i - s te l e i son l e i son - s o n l e i s o n . l e i e son. Kv r i e i r i l e i son. r i $ I - s o n , e Ky & H Z w l e i e - son. r i g l e Ky - r i g g: i - s o n . —5C S £ 70 Î l e i £ :± ry ^ X r £ 1 ^ , É £ ' r i l e i - son. ? Kv £ l e i - son. m £ g - s o n . a r i - e I £ g l e i son. r i - e f F - P 6 r i - e '■ <T- 4 - n — é = ° = - l e i -f f- l e i son. r i - e e - l e i son. son. Kv l e i - son. Kv - r i T f f' t r i - e a r i I» |i ^ *- - l e i 5- z z son. £ l e i ? i l e i £ ? z c ri - e e - lei son. 80 l e i Kv r i l e i son. son . l e t Kv r i son. l e i -s o n r i son l e i - son r i son. K y e i Kv r i son r i l e i - s o n . Ky l e i- s o n l e i - s o n . Ky l e i r i son l e i Kv e - r 1 e son . 90 l e i - son. lei l e i s o n . r i le i - r 1 son , : 0 3 K v r i 1 -son l e i r i e e son Û lo& ia 3 f-"/ ..i... f » # # ■ G lo t ^ M r i - a in ex - c e l s is De o. E t in t e r - r a pax ho - m i - n i - b u s . P r Bo née Ê vo - — — É- lu n - ta # #1 ê Bo n4* vo - lu n - t a - g I s Bo # Bo Bo t is lu n - t i s t i s . Bo ta vo =V lu n t i s Bo ta vo ta lu n t is Bo vo lu n t i s næ Bo t a vo 10 Æ. C 03 -n A g vo - lu n a — t a t i s , C 0 7 e vo l i m - t a - t i s , f f VO lu n - t a t i s . g £ n â ^ vo - lu n - ta t i s , U : X m z : -ndfr vo - lu n - ta t i s . eoJ ? vo - lu n i ; " k :;z: Lau * — r * da - mus - » # - t e . •r- ta t i s . d i Be ne Be d i Be ne Cl a I t ’ — 1*— ^ CL - mus f- t e . Be g ‘ Z l B - ne. A O - -mus a i te , d i Be Be C l - mus Be ne g t e . ne d i Be ne - a i - c i d i - ne mus t e . mus Cl d i mus T Z Z Z 10 20 t e . C l mus -n e be d i te ne Cl - mus Cl mus d i Be ne Cl mus B e te t e . ne c 1 d i Be c i te te ne A - d o - ra te mu m m ? ? ¥ ■ ¥ ^ G lo ca - mus t e . G lo r i f i - ca f — — m T, . f . ................ f 3 C ¥ S G l o - r i - f i - ca - mus t e . G lo - f i - ca 1 i ¥ G lo - r i - f i ca - mus t e . G lo - r i - f i - ca - mus m É G lo ca - mus t e . M g G lo 11 mus r 1 G lo f i t e . te ca ri mus mus G lo t e te ca mus ri G lo G lo - r i te te ca ca mus mus r 1 G lo ca mus r i G l o - r i G lo fi f i t e . te te ca c a mus mus r 1 -JL -* ^ # r a - c i - as a - g i-m u s 35 ---------------- , ’ û t i - b i p r o p t e r ma gnam g lo - r i - a m tu - am. d Tftcer. Do mx - ne De u s . Rex cgg - le i Do m i - ne De us , Rex 40 Do ne m i Do De Rex ne mi us. - s t i s , Rex s t i s le Do s t i s . mi - ne 45 g S 3 D e us , Rex c S - - le s t i s , C&. - le s t i s , Rex cü? - le i l M m De US , s Rex cae Rex le s t i s . De - c aC - le s t i s . 12 z r ? De - us Pa t e r . 50 De IZ C Pa F s t i s . De us Pa t e r , -p--- D e - us Pa t e r . De - us Pa i r r — - r F g g ■us Pa z : t e r c - # — mni po t e n s , o _ mux - po S f ' t e n s , De Z I à , — Z Z De Pa p o - t e n s . De t e r Pa us m ni us t e r te n s ten s po mni po Pa De t e r t e r te n s us po Pa De Pa t e r ten s t e r -us p o - us te n s £o mni Pa De ten s t e r m ni po - .tens po us m D o -m i - ne C h r i Je n i - t e s te n 1 su Do De ne u s Do ne Do De Do mi ne us Do m i - 13 60 g Do m i - ne De us S a 1 De □ E Z us , IS l -m i - ne De g ? us , A - -# ■ gnus gnus De De s -n e De B us ( — gnus De ~L ■ r y î m i Do De ne us Fi De l i - us m l i F i Pa us l i gnus De F i us Pa t r i s F i F i t r i s Pa F i w gnus De 1, ■ > 7 0 Pa t r i s . F i - l i - us Pa t r i s F i t r i s Pa t r i s . us l i - u s Pa Pa F i t r i s t r i s us Pa t r i s l i - us F i Pa t r i s . C03 F i l i l i - u s Pa Pa t r i s u s 14 i i t a—^ ■ * 3 -*— w s e - re - r e no - b i s . 8 O u iQ u i t o l - l i s p e c - c a - ta m u n -d i,m i t o i Q ui 1 is pec ca l i s d i , q u i t o i Q u i ta pec ca mun t o i l i s d i Q u i ta pec ca mun Q u i t o i Q u i d i ta mun pe ca t o i 1 is d i ta £££ ca pec mun £ e c d i ta pec ca mun t o i 1 is d i ta pec ca mun pec t o i l i s d i t a q u i pec ca mun Z ta su mun t a mun su pe su ta ca mun SCI pe su su ta su mun su SCI pe su SCI pe 15 90 S C I - SCI ê pe » g pe de p r e - £ " f ~ r " f f 7 ca - t i - o 32: de g nem no p re - ca - t i - y f*- - s tr a m , de - f ■ f fz SCI £ £ de - p re - ca - t i - m SCI - pc de - p re - ca t i - o - nem no s tr a m , de p re - ca - t i - £ de - p re - ca - t i - o - nem no - s tra m , i 95 eoj g - o - nem stram,d_e - p re - ca - t i - o - nem no s tra m . co:- ......# ï = f p r e - ca t i - o nem no ZZ s tr a m . a : S - o- nem no s t r a m ,de - p re - ca - t i - o - nem no s tr a m . -# 0 - -o - nem no s t r a m ,de - p re - ca - t i - o - nem O s tr a m . de p re - c ^ - O i - nem no s tr a m . r ^ Hitt c<3— a H H ov -0 0- Q u i s e -d e s ad d ex - t e -ra m Pa - t r i s , m i - sc - re - re no - b i s . ? Quo n i tu so lu s san Î Quo i i Quo am tu so 16 100 Quo n L am lu s c tu s tu lu s c tu s so tu san so san lu s tu am so lu s c tu s san - tu so Quo n i am quo lu s san r r n - T i c tu s n i - am quo lu s t u so san y -ctus ■ tu s o - lu s c tu s so tu c tu s san c tu s lu s an tu ■ c tu s SO san lu s tu n i am so san t u lu s c t u s , tu 5 0 c tu s san a s 0 Tu s o - lu s Do - m i - nus, \ ______________________________ 110 I---------- ■ Tu s o - lu s a l - t i s S I - m us, Tu so F - r A t f g f Tu Tu so - lu s a l t i s - s i - m us, a l t i s - f,. SO - lu s a l 3 t i s - s i mus , tu 17 115 a l t i s s 1 m u s Je s 1 m u s su lu s a l t is Je so s 1 m u s lu s a l t i s Je so s 1 mus 120 Chr i Je su C h r i Je su C h r i Je s te C h r i Je s te -s u a C h r i Je s te , su s u , 125 su C h r i Je - s t e C h r i I h r i - s te Je Je s t e . Co3 s te su su C h r i C h r i Je s te s te su su C h r i Je s t e . Co3 su su C h r i Je s t e . su S M f f > f S g. . . . # 0 Cum san - c t o S p i r i - t u , in g lo - r i - a De i Pa —T~ t r i s , 18 130 men men. men men 135 men men men. men men men s. men men men C&EDO C rfid o tV N Uv\Um Pa tre m o -m n i- p o - te n tem 19 Fa c to cae rem Fa l i c to e t t e r cae rem Fa c to rem f a c to rem cae fa c to ra e rem t e r e t c to cae rae Fa c to rem F ac l i to e t t e r ca rem 10 e t t e r rae e t t e r ra e b i e t t e r e t t e r ra e -re m rae cae VI e t t e r cae VI s 1 ra e b i l i - s 1 - r a e VI 20 b i 11 - urn VI m ni um b i VI s 1 um um m ni um 1 i - um b i um VI s 1 m ni um b i -um m ni um VI s 1 um 20 & b i e t in VI SI e t m ni - um in SI VI in b i e t e t VI um e t mm - um in V I s 1 l i b i e t e t m ni um in VI s 1 um b i um b i VI -bi um. in - VI s 1 um * * ' # * * *—j- E t i n u - num D o - m i-n um Je - sum C h r i - stum , F i - l i - u m De - i u - n i - g e - n i - turn. 21 25 Pa E t t r e turn te ex na an tn n i- ■ a r Pa E t ex Pa E t t r e turn te ex na an 30 ZZ Pa la E t t r e ex sae cu n in i- a Pa e t t r e tu s t r e ex na na Pa Pa t r e e t t r e turn ex e t na ex m m - Pa E t turn t r e an ex na Pa t r e Pa e t E t t r e turn ex na ex la te cu tu s m n i- sae an na an te tu s m ni an te m ni te turn an m n i- sae cu an na te an te sae cu mni te o an tu rn na 22 te sae an -m n i c u - l a . C O î te sae cu -a sae cu m n i- a sae cu l a -m n i sae cu a î • # — *- # * D e - -------------, ,--------k------------------------- um de D e - o , l u - men de lu -»-r m i- n e , —— —f g —« De-um v e - rum de D e - o ve - r o . 40 Ge non fa ctum Ge tum n i f a Ge tum non n i fa Ge ctum tum n i non fa ctum tum non n 1 fa ctum tum n i non ee sub ctum ctum con non f a ctum Ge tum non n i 3 con 23 50 con con sub m sub -f M - s ta n - t i - a - lem s ta n Pa ci t r i . con sub i ? :?r- - s t a n - t i - a lem Pa t r i , con sub - s ta n S f ~W — 1 — ctum . - t u m , non f a con sub s ta n - t i S lem Pa sub t r i : s ta n - l e m Pa t r i : p e r lem fa - s t a n - t i Pa t r i : c t a p e r quem m n i- lem Pa t r i : - t i p e r quem om lem Pa fa c t a t r i : p e r quem - m m - a m ni p e r o quem 55 V i s u n t C03 f a c t a quem m m f a s u n t , p e r su n t c -r^ 3 c t a quem fa fa c t a s u n t c t a su n t p e r m m - a f a s u nt c t a sunt q uem ,p e r quem m n i-a p e r f a - c t a fa s u n t p e r c t a s u n t . quem o m m - a - » — # - ^Oui :A " ' # : Q u i p r o p t e r nos hom ines e t p r o p t e r n o s tra m s a lu - tem d e - s c e n - d i t de cae l i s , 24 60 de E t tu s e s t c a r na in E t de tu s e s t in c a r na E t e s t tu s in c a r na E t tu s e s t c a r in na de E t e s t tu s c a r na in S p i San tu c to r 1 ex San Ma V l r c to t u r i r i ex S p i San tu c to r 1 ex de S p i M a- r i San tu c to r i ex S p i San tu c to r i 70 V i r V i r Ma Ma g i- n e ex e x r i r i 4L V i r Ma ne ne ex V i r Vir Ma ex r i ne r 1 Ma g i ne ex V i r Ma ex r 1 25 T I '1 ; i - n e , ex - r i - a V i r § 1 P g i -0 # - M a I 7EZ r i n e , Ma A 1 ^ r i - a f s —r~ V i r V i r - g i - n e; ET m a ..... j . — . g i - HO - MO FA - ex Ma - r i V i r gi ne : * T y - r i - V i r ne : ET HO m z : g MO ET HO ne : 80 ET HO MO FA CTUS -n e : E S T , ET HO CTUS MO ET HO FA MO CTUS EST. c o : ET HO MO FA CTUS EST ET MO HO FA CTUS EST ZE MO FA - CTUS EST MO ET FA EST. HO CTUS e- - CTUS EST FA CTUS EST, FA ET CTUS EST HO - MO FA , , 1 / y # C r u - c i - f i - x u s e - t i - a m p ro n o - b is sub P o n - t i - o P i - la -C o : p a s -s u s , e t se - p u l - tu s e s t . S E t res s u r re x i t t e r t i a d i - g Tacet E t re s u r re 26 85 E t s u r re re d i t i t e r t e r d i t i x i t E t t e r s u r re re d i t i t i x i t t e r t e r 90 d i t i - x i t t e r se d i d i t i t e r d i d i t e r t e r -e d i d i t i t e r t e r t i ^ 95 dum S c r i ptu -c u n dum S c r i p tu se cun S c r i dum p tu -e se cun dum S c r i p tu ras se cun -e à - . f E t a - s c e n - d i t in cae - lum: s e - d e t ad d e - x t e - ram Pa - t r i s . 27 m 100 E t i - te rum tu ■ 5? ru s e s t ^ --------------- 4 E t 1 - ; j i g g F E t te - rum ven - tu - ru s e s t , i - ^ - ? S E t te rum ven - tu rus e s t , 105 g lo cum r i g lo r i - t e tu e s t cum rum ven ru s g lo rum v e n - ' tu tu e s t e s t - rus rus ven - cum g lo e t e s t tu rum rus cum r i - i - te rum ven - tu rus e s t cum g lo r i - a , d i - ca - r re d i d i -a ca re re ca r i ca r e -d i re ca ju ca r e g lo d i cum a ju re cum r i a r i ca 28 110 e t t u - o s V I v o s m o r V I e t v o s t u - o s e t tu tnor t n o r o s : e t t u v o s V I t n o r o s V I v o s e t t u - o s m o r V I v o s v o s VI e t t u e t v o s m o r o s vi V I mor v o s m e t tu v o s m o r o s : c u g n i c u r e r e c u n o n e t t u m o r o s e t t u m o r cu o s J U S e t t u r e g n i n o n c u J U S 120 r i t J U S c u r e g l l L n o n r e g n i n o n r i t r i t n o n n i s n o n n i s f i r i t J U S r e c u g n i n o n f i r i t r e g n i n o n n i s fi r i t e n i s 29 125 r i t fi non n is n is non r i t re n is cu JUS non - n i s ju s cu re g n i non jm . re g n i cu c u r i t . g n i non e non cu JUS re r i t n i s . f i r i t n is - r i t fi n is f i n i s , r i t non fi r i t non e n i s . - r # E t i n S p l - r i - tum S a n -c tu m D o - m l M -num e t v i - v l 130 - f i - c a n -te m ; g i l lE F Q u i cum Pa t r e , e t F i l i - Q u i a Q u i cum Pa t r e , e t m cum F i l i - 30 135 Pa Q u i t r e e t cum jF F i F i Pa Q u i e t e t t r e cum l i Pa t r e e t cum -o m u l l i F i Pa t r e e t s 1 l i F i Pa - t r e e t o - o q u i cum mul do F i - r a s 1 iF mul do - r a s 1 mul do t u r r a s 1 mul do t u r SI r a do mul SI 140 g l o - e t t u r con g l o - t u r ; - t u r e t ca con Z Z g l o - e t t u r con g lo g l o - t u r do e t e t t u r ca con con r a r i t u r : e t t u r ca con - r a 31 lo q u i t u r : tu s e s t ca cu - r 1 lo e s t , q u i tu s tus cu q u i q u i tu s e s t tu s ca - t u r : - r i q u i cu lo t u r : - r i ca cu q u i lo P ro tu s e s t q u i eu - p e r 150 P ro phe p e r phe Pro phe Pro e s t ta s p e r p e r Pro phe e s t ta s p e r P r o - phe tus e s t t a s . p e r -p h e P ro phe ta s ta s p e r É n * # A fi • E t u - nam s a n - c t a m ,c a - t h o - l i - cam m e t a - p o - s t o - l i - c a m Ec - d e - s i - am. 155 C on- f i ba te p t i o r num Con ba te o r num sma f i Con te JÊL Con te o r Con 32 160 t i te o r con sma ba te c o n o r num num ba p t i f i te - o r sma con f i ba te num sma con f ba te te p t i sma o r num con 165 ba p t i num sma 6 - p t i ba p t i sma num sma ba p t i - o r num sma re in s 1 mis ba s 1 - sma in re mis o r ba S I - o - o r u sma in r e 170 to re mis s 1- pec ca in nem re ca mis re pec in nem in mis s 1- nem nem re mis nem in to -nem ca pec i n re pec rum mis si- nem to s i - o -nem pec - ca re pec in mis ca rum nem 33 175 in re m is S L- to nem pec ca to rum in re mis s 1 - in r e mis s 1 to p e c - ca nem rum to ca rum in re mis s 1 nem to rum 180 in rum re mis 31- to nem pec ca -nem to in re s 1 nem pec ca pec rum .Z in to re mis s 1 nem pec t o ca rum pec ca to - c a rum in re mis s 1 nem pec ca in re to m is s 1 o nem to ca rum pec ca I! p : P I - U J M ru m , pec - ca o = to _Æ . 4 rum. C03 r •ca to - e - rum. : /n ] ■rum, pec ca - to rum. C03 i to — r - rum. I /T n 3 to -r u m . pec ca rum. E t e x - s p e - c to r e - s u r - r e c - t i - tu nem mor rum 185 E t tu tam ri s a e - c u - ven E t tam v e n - tu r i sae cu - VL E t E t tam v e n - t u r i sae E t 190 E t tu tam ven r i VI tam tu ven sae ri sae - cu cu r i r i tam tu tu sae ven ven sae cu E t tam tu ven cu VI E t tu V I ven r i sae 195 sae cu E t tam ven tu r i sae c u - VI E t tam tu cu - VI ven c u - r i sae tu r i sae c u - sae ven r i l i 1 tu tara sae VI r 1 sae cu cu ven i: ô : men. 35 t e San m i m SAdCfUS f C f: c tu s , San g 7 San c tu s , San ----1 3± San San San San c tu s San c tu s San c tu s San ctus 1 0 San c tu s San San San c tu s c tu s c tu s San ctus c tu s San c tu s 36 c tu s c tu s o San - San c tu s c tu s c tu s San c tu s ' g c t u s , San c t u s . San -z.~ c t u s . 2£L Ê •c tu s Do m i nus De u s . Do - p: é c tu s Do m i - nus De us Sa - $ c tu s Do - m i - nus De - us Sa ba - o t h . Sa - -gq. , • * ' - c t u s Do ~ ~ y ~ - m i-n u s De - us Sa - b a - o t h . Do • •y r j/'" ,tz t pz: c tu s Do - m i-n u s De - us Sa 25 ba - o t h , CO 5 Î ba m i - nus De 7 us Sa g O t h . C /0 3 g ba - o t h . De us Sa g ba - o t h . £ ? ba - o t h . Sa ba - o t h . ~ E?>3 » - m i - nus r De - us Sa - b a - o t h . Do - m i - nus De - us ■ ■ ' ^ Sa 1 ba - o t h . X f Do - - m i - nus ' De - us Sa ba - o t h . 37 m P ie P ie n i su n t £ £ P ie su n t f ..- 4 " cae P ie Z3~ £ cae ni l i , n i 1 1 n p = su n t 3 : su n t e t t e r cae cae 11 — f — 11 £ cae 11 P ie n i su nt cae y 30 11 e t g lo g lo r i ra e t t e r ra g lo g lo e t t e r r i r a g lo g lo e t t e r r 1 r a t e r r a tu a . r 1 g lo r 1 tu r i g lo g lo tu r i r i g lo r l - a , g lo - 38 40 S a n Ho ho san n a Ho tu san r i Ho san na Ho tu r i Ho tu san r i 45 ho na san c e l na ex - i n ho ho na san san na ho na san san na ho n a san n a c e l i n i n ex s is na c e l - s is c e l c e l in - S I S - ex i n ex i n S I S ex am . c e l ex i n c e l c e l in ex S I S i n ex s is ex - c e l c e l in S I S in ex 39 c e l c e l S I S in S I S S I S in ex c e l s is S I S in S I S in ex - in e x - c e l in S I S in ex - c e l S I S , in ex S I S in c e l in ex S I S e x - c e l s is c e l i n in ex e x - c e l c e l s is in ex s is - c e l ce 1 S I S in ex S I S c e 1 S I S . J ------- a d i Be n i t c tu s q u i ne ve d i Be c tu s ne Be V Do in m i n o ne m i n i in n i t n i t q u i ve q u i ve in no mi d i n i t c tu s ne q u i no m i ve in m Do m i ne n i no mi Do ne m i n i in no m i Do n i no in Ho san Ho Do no mi ne in m i n i ZZ Do Do m i ne n i n i n o - mi in Do n o - m i ne mi n i in ho na w ho san na -s a n Ho na san ho Ho san Do na san mi ni -n e Ho Do san m i n i - n e ho in na san -n a ho san na -n a ce 1 c e l in S IS ex S IS in ex in JÊ L c e l ex in na c e l ho ex in n a san -n a c e l c e l S IS ex SIS in ex c e l c e l ex SIS in in ex c e l ce 1 SIS ex in ex S IS ce 1 ex in S IS in ex SIS c e l c e l ex in S IS ex S IS in 69 c e 1 c e 1 in in SIS, ex c e l c e l c e l i n e x SIS , e x i n S IS , i n e x C O 1 c e l in e x S IS i n e x S IS i n c e l i n e x - s IS S IS , i n c e 1 S IS e x i n 90 c e l e x c e l e x SIS SIS . f i - A . -» # - -# # - • A A - gnus De q u i t o i - I ls p e c t a -4 .---------- ^ ^ ------------- — -------- — 7 ^ ---------------^ # j # 0 ë ë - ' • * * • ë • à * # ^ mun d i : m i - s e r e r e no b i s . 43 De gnus De De De De gnus gnus 22. De gnus - L 2 Z De gnus De gnus gnus De A g n u s l i s t o i De pec q u i 22 q u i t o i De gnus d i t o i l i s pec ta ca mun q u i l i s pec t o i ta De ca mun qu 1 q u i t o i q u i ta ca mun “ l i s d 1 ta t o i pec 1 is ca mun 1 is to q u i t o i ta q u i pec ca 1 is t o l ta pec ca ta q u i ca mun “ l i s t o i ta pec ca q u i £ e ç c a pec ca 20 d i t a mun l i s ta p ec ca mun mi se re re no - m i se re re no d i m i t a se re re 25 se m i re re no b is m i “ m i se re re no b is . m i - b is b is se mi re re no b is no m i 45 b is b is m i se re se re re no re re m i se re no se re se re re no se re se re re no re 30 2 re se re re re m i m i se b is b is m i re no no se re r e 2 b is - b i s se re re no re re m i se m i -b is mi re re mi se b i s mi b is n o re re se m i b is se re m i re m i se re re no se se re no se re re re m i se b is no re se re s e no m i re se re 46 h i s - r e re no h is re no b i s . - r e re no ^ ----------------------------------------- ------------------------------- ■ -g '# ^ " " — ...— I V J— # ' " 0 — i — #---------:—-— ^ j — 0---------#--------- ------- 0-----1------- Ê----- ,-------------------K------------------------------•------------------Î-----C-------•----------,--------------------- £-----Z----------1-----------------------f-----#-------------f------C---------------=---------- T A - gnus do De na q u i t o i - l i s pec - ca ta mun d i : no n- - * b is pa cem. 47 H is S À IN f i s r i s k ? O S T û L û 'R ô iil K y iM £ CCftN/îüs] 4 k - > - - T - ^ 'H 0 ------------------- - — ' ■ ' h - = ---------------- e -------------------- - f ----------------- 3 --------------------- \ " "p?' ' — ...... ----------------------- C A l t ü s ] A ' < > 1 ^ 1 ? ------------------------- r . r - T - ' i ' -----------------------; -------------------: Ky 1 ----- j ------------------( ---------- ^ = r ...... ........ r i e ------------ 1 -------- r ...... - ^ # [ T ê N O i \ ] 1 1 ‘ ÿ ' b ÿ 9 " " / " ) / t - 9 ------------ 9 --------------- K y - r i ,,,... -------------------------- " ~ s !"..... .............t — ■ ■ . - f — . e e - p . * J j ^ ; J •>= l e - i - s o n , e - --------------------------- g ------------------ --------------- S - 4 ---------------- C G lü iW T ü S ] J . 0 0 a o = t i " ( ' — K y - :| P Y ---------------------------------------- [ B a s s ü s ] a ^ q r i ; . o --------n — i " r ---------------: — Ky - r i e II— ] b y»* I ¥ S 5 f le i- son, le son , a ? l e i - s o n , Ky - r 1 - e B zz l e - 1 - son, Ky f g ï r , b j . m - r i ’ ^2= Z g s 0 e - l e i s o n . KX ri f - f ' r " . f f i i Ky ri e e 48 10 le Kv r 1 l e i K y - r 1 son ri son, Ky r 1 1 e i - s on le e r 1 1 son e r 1 s on - l e i K v Son r 1 - a son ri son Kv son son le Ky e 1 - G r i 20 son S Ky 1- son r i son son - r 1 2S l e i son -son r 1 49 25 £ Ch r i E s te g £ C h ri Ch r i s te 1 A * ste £ e - le ■ ~à— f T m & t = Q : = F S ^ C h r i s . 30 l e i son s te C h r i - ste C h ri l e i - son, s te C h r i Chr i ste s on l e i s o n ,C h r i - ste e - le son C h r i ste C h r i s te l e i son C h r i ste - son , e - -s te le C h ri s te C h r i ste le son, 1 e 50 40 m g l e - -son, IM I É —zsr C h r i £ son, ê ste é à e LÈL C h ri ( = f f- r - s o n , C h ri - ste le t e Ê M l È l i r -y f le son ) Ë t e - ' - % S i g îz: C h r i s te son 45 - s t e son C h ri s te son C h ri son s te 50 le i - r 1 le le i-s o n Kv r i r 1 Ky r i Kv r 1 e 51 3Z ri son l e i Kv r i son le son r i Kv le i son l e i son son r 1 son Kv le r i son K v r i -e son le r i Kv 1 - son , e e - r 1 K v r 1 l e i - s o n , Ky Kv r 1 r 1 le son K y r 1 i- s o n l e i son , e e 52 70 son j- le son -e son son le 1 son. e G u o K IA r e -g ,, f T" f l • * n i - bus Glo r i - a in ex - c e l - s is De - o. E t in t e r - r a pax ho - mi lun Bo ta VO ne Bo n e t i s , bo l u n - ta Bo ne V O t i s , bo lun Bo ta VO ne ne V O Bo ne 53 10 bo lun - 1 is ta n e V O lun lun t i s , VO t i s t a ta VO lu n - t i s l u n - ta t a VO bo lun ta IG lun lun t i s , VO t i s ta ta V O lun b o t is ta ne VO lun bo ta VO ne lun t i s t i s ta VO t i s . c o : lun ta V O bo ne lun - ta t i s . Lau - da - mus te . d i be d i Be te ne mus Cl ne d i b e - ne d i Be C L mus te Cl ne b e - n e - d i d i Be C l- mus ne d i d i te n e ne Cl be d i t e , Be c 1 m u s ne be ne - d i te te. lo : m u s C i - m u s be d i te ne C l m u s m u s be d i t e . n e c 1 d i te mus ne C l d i t e . -ne C l - m u s ^ A - do ra m u s t e . 25 Glo ca r 1 Glo te ca m u s r 1 Glo te ca m u s r 1 G lo te m u s ca r 1 r i fi G lo te ca r i mus ca -11 m u s c a ri t e . c a m u s -fi t e . m u s ca I l G r a - t i - as 9 nÿ: a - gi-m us t i - b i p r o - p t e r ma gnam g lo - r i - # tu 1~ arn Do ml ne De us Do ne m i • ar De Do mi ne Do De m i- ne us Do ne rni Do De m i us Do ne 'V Do mi - 40 le Rex ca e - le s t is c a e - Rex De us s t i s Rex cae us De s t i s Rex c a e - le De u s Rex cae De mi Do us ne u s -n e Rex cae us , De -ne 45 De - s t i s De tens P a po t e r mm De us Pa t e n s ,De us po Pa tens t e r m n i- po us tens po- Pa t e r po m m us po - te n s , Pa t e r De - l e s t i s mni o us Pa t e r -us te n s . De Pa tnni po us Pa t e r us t e n s , De Pa ran 1 ££ us - t e r tens De Pa ra n i po us -t e n s Pa De us De Pa Pa t e r De us us 50 - t e r tens rani ££ t e r tens po - t e tens ran 1 £0 - t e r mni po - t e r tens rani po Do \ * ■ » mi - ne F i - 11 u - n i - ge # » n i - te Je ----- » ------r - su C h r i - s te . TRlflUS V O C lB U S . C T g h lû P vE rû ü lf^ T Jb TPfCSrl — G ----------------S-------------------- ---- 7-----------------â ------------------- > — » i — f -------- ----------f---- --- ------------ ---- Do - mi - ne De - us. Do - nrâ - ne De T fT ? ' — — 1 -------- 1 -----Î ----- -------1 -----------------------------1 -------- - y -----ô----: ------f = f - ------ 1 ------- . — 1__. L _ j--------------- ,— i -------- — 9 ----------------< ---------# - — J j ■ ■ i- - » --------i ; Do - mi - ne De - u s , ^ - mi - ne_ De à us , Do - f " f ‘" f ' f>ii— A-----------------m------------------------- — ---------------------L------------------ ------1 --- = +--------- -, .. , ------1 -----------1 ------------------------------- Do mi - ne De 37 i >r ijL. p_.. i _ y 60 US , Do - mi - ne De - IE s 5 I. n n ; 1 1 - ne De f . - r - j i i ^ . n j = ^ _ A _ s & Do mi - ne De u s , ÏÉ Ë £ 6 5 us , A - gnus De ~ 7 C ~ -US, A - gnus De F i gnus De F i 1 i - us a — y Pa 1 i - us IZt A F i 70 » —r -7—S- — 3— t r i s , Pa F i 1 1 -y us :..f..... --fi t r i s , F i l i T F i 1 i - us g 4 ! - - - r - -li us Pa t r i s , F i 1 i us Pa - é - 'F r 75 r o 3 - l i us Pa I k l JÈL t r i s . c o l Pa 0 0 t r i s . Pa a t r i s . i £ J . ~ ? ty t r i s . ■ r V * b -» j- Qu i t o i - l i s p e c - c a - t a m u n -d i, m i- se - re r re no b i s , 58 80 l i s ta t o i mun ca pec Qui l i s t o i ta mun Qui p e c - ca l i s t o l - Qui l i s t o i Qui l i s t o i Qui d i su - d i , p e c - ca ta mun d i - d i , p e c - ca su pe SCI - su ta mun pe su su d i pe su SCI su c a - ta mun pec SU SCI SU t i de ca pre pe s c i - t i de pre ca pe sc 1 pe su - SCI t i de s tram nem no ca p re p e sc 1 de pre pe sc pe su de p re ca pe scx pe s u SCI 59 strain s t ram nem no no s tram s tram -o nem no no de St ram pre ca no nem stram -ca nem no t i stram o nem no ) ---------------------------- 'k --------------------------— -------------------- — - ,.......^ ----------------------------------l i — *---------«— » f ^ f— — ,-----,— ^ t r i s , mi - se - re - re so - lu s san Quo tu tu ctus am Quo tu ctus n i am uo- san lus Quo tu n i so . san am Quo w Quo tu n i am 100 lus am tu c tu s ctus quo n i so san lus lus c t u s , so sa so san ZZ lus tu ctus ctus so san Q U O n i lus tu ctus tu ctus am n i so san so lu s lus tu so ctus ctus san s o san quo am n i 60 I lu so - lus Do mi - nus. ij__L-------------------------------------------------------- ----- ^ -----9 ------------------------ad------------------------ P 1 — .1 f f r — H ■fi : — — 1 — i— ------------------------ Tu so - lus a l - t i s s i - mus, - k - ! t ---- ^ ---------------------------------- 1 ------------- -------1 ------------------------ -------1 --------------------------- ------------------------ ' ' ■ ■ ■ ' ^ ............ = i = ' — r 1 ------------0 ------------- i Z ^ : r , ' ............... Tu so 'O lus a l - t is - s i mus , h - i ,------G --------------------------------------------- ------------------ ; --------Q ----------------------- # .m 1 f ___ — B ----------------------------= --------------------- i H :------“ ------------------1 -------------------------- - .......r - ........ - 1 1 —— ^ g r Tu so K lus al t i s s i m u s , " 7^ L M a m -e -------------------------------------- 94--- 110 A Je su C h r i s t e , Je Je C h r i s t e , Je - f £ . . . J e - su C h r i s t e . t-p - su C h r i 0 . . .Je g C h r i s te , 115 C h r i ste , 4;---- F=---------------------- S ----------------------- -------Q ------------------------------------------------- - 4 ^ ----------------f — 73----------------------- ---------- t r = -------------------------------------------- ? 3 t i = = & ----------------------- > — M -------------------------------------------- S ^ 1 u C h r i s t e . M f-----------------------------, k r - 4 . --------------------------------------1 ------------ ----------- - - - - - - - - - - - - ^ — f ----------^-----------------------f ------------ ~s i ^ --------- --------- -------------- 9 -------------------------------------------- C h r i SU üLc. ............ - ' — L [ O l ' ^ XI ' h r - O ----------------------- — 3- - - - - - - - - - - a ----------------------- -----m=-------------------------------------------------- - - - - - - - Q - - - - - - - - - - - - - - - - - - - - - - U . . r _ ... z d - ---------- f T — p : - s t e , Je .--------------------------------r ~ --------------------- SU C h r i S t e . t o J -ri !? - . - = e ----------------------- ----------------------B ----------------------- t: V------------------------------- — 9 --------------------------------------------------- ------------- 9 --------------------------------------------- ^ Je su C h r i s t e . Col ^ ------5 -----------------------^----------------------- ^ ------------------------------ tmf -------O ----------------------------------------------------------- Je - - su C h r i - s te . 61 i ^ ----:ÿ=- Cum S a n -c to S pi - r i - t u . -»• * -♦-r- g lo De - i Pa # t r i s , 120 I------ £ z z § 3Z: r\'M i 5 ± e : -f-: men. —#- f ? = f g jz: mep • r - u i 52 men. a men men men. Ç/D] men men men men. CHEDO Credo ir urUm.DeJm ■ ■ :T=: 7 ” "■■ ................ ” ■ • • Pa - t e r o- mni - po - ten - -J — tern, 62 S g ■ z z . Fa c to rem cae n 9 Fa - c to rem c a e - l i e t t e r - cae — * g l i e t f a Fa cto rem cae e t t e r - g « i f -■T tL f E Fa e t t e r c to rem 10 LÉl 11- b i -1 1 e t te r s 1 rae V I b l t e r s 1 rae b l r a e , v l fa t e r c to s 1 cae rem - r a e Fa e t t e r cto rae V I rem cae 11 e t t e r rae , cae rae b l um s 1 VI m n i- um 11- um b 1 mni um VI s 1 mni um 1 i -um b l V I s 1 m n 1 mni um ZZ æ. 11- um b l b i s 1 V 1 um s 1 -um 11 11-um b l b l o S I um V I s 1 V I 63 ~ a r mn 1 um b i e t SI U T U um in VI V I l i b i mni um 8 1 um b i e t s 1 in mni um e t VI s 1 o mni um in mn 1 um 20 b i e t s 1 VI in l i b i SI l i - b i e t SI in VI l i b i e t VI - in s 1 um l i bi -b i e t um s 1 in VI - um s rX— m — = #' * # 0 E t in u - num Do- m i- num Je-sum C h r i - s tu m ,F i - l i - um De - i u - n i - g e - n i turn. 25 V Pa E t t r e ex Pa Et t r e na ex Pa E t turn t r e ex na ■31 Et ex Pa Et t r e 64 na ex 30 turn an na ex Pa te t r e -turn e t m n i- a an - na an ex Pa t r e turn et an - n a la Pa te turn an t r e cu mni na la Pa te turn - turn e t t r e na a sae cu an o mni ex la te te an - sae cu ra n i la te te an sae cu ram te te rani an sae cu ra n i te an te m ni- a n la see rani- a cu sae cu ram sae cu rani sae -rani cu ram - a sae la . ---------- ' -------*— 9-----^ ------•------- • ----------------- W De - um ve - rum de De - o ve - ro. De - um de De - o, lu - mon de l u - m i- ne, 65 45 Ge turn, non ni fa Ge tu ra non ni -a- fa Ge ctum turn, non ni fa Ge n i - tum non turn, non fa ni 50 ti sub- Stan c turn con ctum c o n sub S t a n - con 1cm sub-stan- ti Pa tri ctum con- lem Pa tri sub t i- s t a n con lem Pa tri : per quern lem Pa sub Stan- ti- 1cm sub- stan-ti con lem Pa t r i : t r i Pa sub- s ta n - lem Pa t r i : con- Pa sub ti Stan a con 66 ^ f t . J r " o - m n i-a fa - 60 c ta s u n t , £cr B Z $ - t r i : g per quem o - m n i- a fa c t a s u n t, per 1 ' f t = t gziry per quem o - - m n i- a f a - c t a s u n t , pc r quem £ m n i-a f a - c ta y r per quem o - - m n i- a fa -c ta s u n t , g g - t r i ; per J f" f quem o - m n i- a fa - c ta s u n t, _______________é __________ ________________ quem ^ m n i- a fa c ta s u n t . 5 -*------T=- quem o_ - m n i- s u n t . fa c ta t ' r ^ s u n t , fa c t a s u n t. fa c ta s u n t . # & l f p e r luem o - mni - a c ta T . r e # : s u n t , coa p e r ]uem o - mni - a c ta s u n t . -3 " " * ' -0 0 ~ ^ » - l i s Q u i p r o - p t e r nos 6^______________________________ ho - mi - nés, e t pro - p t e r n o -s tra m s a - l u - tem ' d e - s c e n - d it de coe B É I I Et in - c a r - na tus e s t a £ E t in car na tus e s t B E a E t c a r - na tus e s t Ê t E t m in c a r - na tus e s t de S pi - B f » a E t in c a r - na tus e s t de Spi 67 d e c to ex Ma - San de Sni cto tu ex de Spi San c to tu V i r Ma tu San c to r 1 ex -ri Ma tu San a ri c to ex -ri 68 i L ' ê " ■ n = = ^ = t = — h -------P --------9 -------------- — 3------. .-------------= # f • : ....r " M -------: -------- - i = \ . z -;-r = - f - f ' - f ..i --------^2------- — V ir - g i- ne. ex Ma - r i ----: --------------- ^.1 ■ a V ir — 1 ------------------ 1 ----------------- 1 1 1 ' '4 o t-» -------w ------»------------- r r - -■» ' - L V ---------------- ----" ---------------P -------------- — y ---------: -------J--------- — lU ----------------------------- — - r i - a V ir — ; -------«----------------------- - g i- ne. ex Ma - ^ - a g ; ■ -h:-----■ y ‘---- % ----------------- 1 -------- ' I ■ ' ■ ■ -- 1..... ^ --------------- * — t i = ; ^ = = q ,1. = j = i r' ex Ma k — T : -------- ï - n * ----------------- r i - a i V ir - g i - -------------------------------- ne , ■f p- ^ V ir - g i - y ^ r D r — .. #------- g r - j - f c z j L ' r. r = i i - 4 ^ — : ------- p _ -------- z _ i ------------------------------- * -------- -ne , Ma - r -------------------------- 1 -------- i - a V ir g i-n e , ex Ma- r i ---! ------------------- 1 ----------------- a V ir - ■ " 1 # # " P ------- S------=---------------- — 1 ----------------- 1 ------------fv - f ------------------------------- 3--- — g.------------------1 ----------1 ------ p, r ' f 0>‘ ---------1 ------- —J ----- 9-J--- j- 1 ^ = t = — - - 9 - - r - Vir- 80 ;i - n e , ex Ma - r i V i r - g i - n e . Ma- r i V i r - g i - ne: - ne: ET HO MO — f FA CTUS f -n e : ET HO MO FA CTUS :i - ne; ET HO MO 3: FA CTUS g h-*- - ne: ET HO MO FA CTUS b p - . . S : . „ 1 ----------------------------------f --------- a ---------------:— ë _ ---------L_:— --------------■ ■ ^ ^------------------------------------ r i y. --------------------------------------------------------------- ET 10 - MO :A - CTUS EST. C 0 3 i Y ' ' T T ' " ----------p — ... 9 iS . . l -------------------------------------f------------------------ E ST, ET r— > -----------------------------------------------P---------- HO - MO - .. FA - CTUS X — » EST. c o : 4 ---------^ ----------------------- P ----------------------- a/ . .. , u y r r ... — r— - - " — E S T , ET HO MO FA - CTUS EST. t 0 3 U 1 t :-'-' ........ - ------p — --------------------- 1 ----------------------- ^ ^ ----------------------- ^ EST, ET n - , ------- " ■ ' — .... HO - m FA - CTUS " ^ ... ■ ■ p ' EST. [ O ] ^ — f ------------------------à ------------------------ V»............... , -------------------- 1 ---------- ----------------------------------------9 ---------- r - ......r „ . = d - ■ ■ EST . ET HO MO FA CTUS EST. ■ ■ 'C r u - c i- f i -#-*—#------------------------------------ xus e-ti-a -m p ro no - b is : # w w ÿ » # - ^ 9 sub P o n - t i - G P i - l a - to p a s - s u s ,e t s e - p u l - t u s e s t . 69 Tft'SyiS T h ie r] 90 x i t t e r - c l d i Et re re sur d i d i t i t e r - t i E t x i t t e r sur re re 95 d i t i d i t e r - t e r d i t e r se cun dum S e r i - d i x i t t e r t i E t se cun re re sur 100 dum S e r i - p t u ' dum S e r i - ptu cim - se ras se cun dum S e r i - ptu “dum S c r i - p t u ras se “ cun ras se dum S e r i - ptu - p t u s e - cun ras 105 S e r i - ptu ras se cun - r a s dum S e r i ptu ptu ras ras sc cun dum S e r i - ptu S e r i - ptu ras se - cun ras ras E t a - seen- d i t in cae - lum: sc - det ad de - x te - ram Pa - t r i s , 70 110 E t te Et e s t v e n - t u - e s t cum tu te rus rus rum ven- cum g lo E t te t u - rus e s t rum ven E t tu rus e s t cum te e s t , et tu te rum ven rus 1 1 rum ven 115 g lo tu e s t ju rum ven rus cum r 1 4 M L g lo E t rum ven- tu rus e s t te r 1 cum ju g lo ca re r 1 - e s t tu t e - rus rum ven d i g l o vos e t ca VI re ju r i 120 -d i vos e t et tu os VI mor VOS ca re V 1 A -d i tu e t e t mor- tu os : ju s mor eu os ca vos re v 1 tu e t mor vos VI vos VI e t os mor c a re VI e t mor t u - os: tu e t tu os vos mor os VI 71 f r. P 125 mor tu - os; M re gn i m T -c -ê -s - Ü C Z s vos e t mor - tu eu r i t f i m jus ? os : re g n i eu jus ? “OS : eu JUS A l £ re g n i non g i r i t JUS re g n i eu non n is 130 r i t n is non r i t n is non n is f i r i t re n is L^3 gn i non - r i t n is r i t re non n is eu us :r-r -------------------------------- - #— -------------------•—*----------•— "—# ---•----- '--^— 9 — — ¥— E t in S p i - r i - t u m Sanctum Dominum,et v i v i f i c a n t e m ; q u i ex P a - t r e F i - l i - o - que pro - ce - d i t , ûv;ATuom y/ociiüS. LÛ^üifJrOi TACéT] Qui f i cura Pa t r e , e t Pa F i Qui F i e t e t t r e cum Qui Pa t r e e t cura Pa F i l i Q ui t r e , e t cura s 1 o 72 il li - 140 mul do - ra - rnu 1 a “ do - ra tur, SI - mu 1 a - d o - F i li S O s i - r’ t f r g mu1 a - do g f : ra t u r , mul a Ltrf f P \ l do A . ra & s t u r , 145 S £ * tur, et CDU - glo ri - fi - ca t e s i C = ç - r a t u r , e t — ' — •----- W con-glo- r i fi - ca A $ e t con - glo- r i fi - ca t u r , e t con- glo- ri - fi - ca S g e t con-glo - r i fi jtL tur : -tur: qui lo eu - tus e s t , q u i lo - eu tus est ± tT -É - % T - -tur: qui lo - f - cu tus est per Pro phe - tas, per Cb) -tur; qui lo f — r - e u # tus -f— e s t , qu i lo - eu - tus M . ? qui lo eu - tus est f 150 i m p e r Pro r ^ ] phe t a s , q u i lo eu - p e r Pro phe - t a s . COI î l — f — Pro phe t a s . [ Q ] > c— I zz w e s t ^ y -tus est p er ~yif E££ Pro phe g Pro - phe t a s . COJ t a s . 73 4 *___»— —J- * ' . # = 3 : - # — * - E t u - nain, sane tain c a - t h o - l i - c a m e t a - po- s t o - li-c a ;n E c - c le - s i nuin ba p t i num ba Con p t i te or f i Con te or Con t i te or Con te f i Con te or u 160 sma in re mis s 1 -num ba - p t i ba in sma re - mi num ba p t i te sma con or ba b a- p t i p t i - o r num sma sma ba p t i f i num ba te -num sma con or u 165 re m is - SI in nem c a - to -s 1 t < y nem pec rum ca b a -p t i -sma sma in re s 1 mis m i s - s 1 - to re in nem p e c - ca rum - sma in mis - re s 1 o nem. in 74 170 to p e c - ca rum COI to ca m i s - S I - o n e m pec rum. r e in to ca nem pec nem re - m i s - S I in t o re nem pec ca mis s 1 - li r e - mis - 31 - o nem pec - - c a - to rum. E t e x - spe - c to re - s u r - r e c - t i - o - nem mor - tu rum. 175 E t V I w Et ta rn tu r i V I ven E t tu ta rn cu r 1 sae ven VI E t tu tam ven VI E t tu r i ven - VI 180 tam tu sae cu r i ven l i cu sae -11 t u e t tam r 1 sae cu- ven VI e t VI c u sae - r i 1 1 e t tam tu e t sae r I cu v e n VI 75 c u - sae tu sae c u rl ven tu cu - sae r L ven l i tu tam ven cu sae r 1 VI men. S ajnTC-TOS bb ISZ San 0 0 ctus , San %z- San ctus san J*L Ctus san San ctus San san 76 c tu s c Lus san san c tu s -c t u s 5 san 10 m M S * o ----------g — c t u s , san f B E c tu s , san :tu s , san # -= - /<- c tu s , san ■ g g m ? — t — s a T i -À c tu s , 15 -f-k C03 g -*—0 - - c t n s - c t u s , s a n - B =... J c t u s , [■03 ! O c tu s , 2 san T T / ^ " T r " f ; > u f i Ctus C03 san- c tu s sar /y r r f C tu s , in ii. a e c t u s , san ^ c t u s . é S L r r) ctus san c tu s , c tu s D o- Tci- nus Sa - ba - otb / / I m P ie 20 “© — F ie m n i s u n t cae - n i — i su nt # ' \ li, pie. E cae su nt cae m m m 25 g lo t e r r i e t ra g lo ri g lo tu e t t e r - r i ra g lo tu r i 30 ho Ho n a tu san -a Ho san t u n a . ho Ho san tu san r 1 -a Ho Ho san 78 35 ho ho na san na n a san in -s a n ho na san in na ho ho sail -n a san ho san n a -s a n h o ho ho san na n a -n a san 40 C G 1 e x c e l S IS ex c e l c e l SIS ex S IS in in ex -n a c e l S IS ex n a in ce 1 S IS ex na in san j # ; jr B e- ne - d i - c tu s q u i ve n i t in no m i - ne # Do m i - n i . [H’ o^aninI a üt s u fta ] J r " ' ■ _ — 1 ^ # A ' ^ > ' V à • ' e 9 " ^ é * * • f 9 * A - é g n u s • • * De - 9 * * i , q u i t o l - l i s pec - ca * ^ • * t a ir.un - d i ; • é m i- se - re - re n o - b i s . 79 I "I" A gnus £ De i . A £ : gnus De - É A - gnus De TT i , A - T - 'I ~ T ~ * » * • gnus De _ r j . - i De gnus 10 gnus De De gnus t o i l i s p e c - q u i #22 De gnus gnus De qu 1 t o i l i s p e c - ta ca m u n q u i l i s pec l i s , q u i t o i t o i ta ca m u n q u i q u i t o i d i , ta -c a mun 1 is t o i ca pec q u d i , t o i l i s pec t a ca m u n 80 20 b is no re SB re m i b is di m i - d i , p e c - ca re se re ta m i mun d i : re b is no ta se re mi ca pec mi t a mun ZZ d i : m i t a mun ca pec b is no re re se b is b is no re re mi se re no se re b is re no r e se mi b is b is no r e re m i se re no re se b is b is no re re m i se no re re sc i I * 3E " *•' * X"\, 1 s- —w~ cem. A - gnus D e - i , q u i t o l l i s pec - ca - ta mun- d i : d o - na no - b is pa 81 lyllSSPr C IW F êAIIS A N W Ü M .] D s M e u c j a ii C C a m t ü s J K y f t - i E l i CAl tjsJ i CÛLlJlIvlTOS] ( | i I Ü4 ' ^ ^ ^ ' i a a ~ r ? ClïNO fk] Ky f I I 32: C S A ssjaJ g y- Ky f P r i le i - r 1 Z Z l e i Ky le i - r i - e s o n , r i l e i - s o n . l e i r i son . I -s o n . Kv - £ r i - e g l e i [ 0 3 s o n . C03 T E —#----- c>- -s o n . Ky r 1 le i Jj 2LL 3 : r- ,, l e i l i £ % ? r Kv le i s o n . C ^3 ^ - £ - l e i son. Kv r 1 - e l e i son . w C h r i s te 1 - son. C hr i l e i C h r i s te l e i C h r i s t e son 20 C h r i s te 1- le i Ch r i s te s o n . Z Z - s t e s o n , l e i C h r i s te -son l e C h r i s te 1 son. e 83 I r ! P ' f -r' r f Kv l e i g ------ 1 Kv r 1 “ e e ï i É 1 Ky e e le Ky - g «» 7f -------------- : — p ----------------- z_| — © -*---------------------------- %----------- ---- 0 c — ^ -------- :------------ f ■ • . -------- 1 • p— ------------ô ------------- \ --------------------! ------------------------ -s o n . Ky P — .... — r i - e — F--------- e -----------1 ------------------------ = ± = — r P 1e - i % son. C 0 3 ) — , 1 ----- 1 ----------- 1 ---------------------- 1 ------ -— ------[ ----------, ------------1 -------------1 --------- ? 9— 1 -----------! - f - J ---------- r—J ---------9 -------------------- ^----------- \ _ _ 4 _ , ^ J f . ÿ J-, - à r . . ------- & - 3 --------------- i — »---------• ----------■---------- l e - i son. - rh - --------------------------------------------------- ----------------^---------- Z------------------^ c e ---------- f -------------------------------------- le - i - ------------------------------ son. C 0 3 4 - = ------------- ------------------------------ '----------1 ------------j---------------------- J - . - - - p .....- -s o n . Kv - T ^ ^ r i - e e le - j. t J son. t f T M -y ------ ■----------e ---------------------: ---------- — f ---------i 1 -----------S --------------------- — #---------m--------------------------1 --------- __ ! !---------, ----------- ------------- p = E = .. - f - z : - = p : ' ■ ' = r g - _ 1----------J------------ -----------S ------------- ? - r i - e e 1 ....J e - r - son. e - le - i son. C 0 3 4G-----------------------------F --------------------- — p « ---------------------------1------------- ------- :----------- «--------- — ----------------- " . ' p ^ -----K -------------------- 1 ------------------------ = i = f| ^ ----- — 1 O - Ky r i le 1 - son. SAiJCTiJS ï Ë #-ï- San cCus , J B San - c tu s , a San - c t u s , San San San c tu s , r #-=- C t u s , San 84 San 5 * ? c tu s , i C O J 22: î ctus . J 103 7 - Ctus, San- ctus. C 0 3 f San ? tus. i c/n: L r f rf ' f - c t u s , San ctus, 10 g E ZZ: San ctus Do 22: ' / r c. r- r 2 2 : s San ctus Do - m i-nus i f" " # — y o th ba De Sa Do San ctus niL-nus us De Do S a r c tu s mi-nus us San ctus De o th Do S a us De mi-nus na m i- nus De o th Do ha Sa us m i-nus us b a sa Do De S a n ctus us -nus 85 20 b a oth Sa ba De Sa Do Till- nus us Sa o t 'n ba b a oth S a b a- o th Be Sa Do u s nus oth b a - o t h De S a Do rni -nus ex- c e l - s is P ie Ho tu san na in n i 25 #— f J 3 L I Be ne d i - c tu s q u i v e n i t in no - fni - ne Do- Î & a i Be - ne - d i c tu s q u i ve n i t in no - mi - ne ? , Do Be ne -y- m mi - n i , in 30 no- mi - ne Do - a - Æ m i - h ■ t i — j . mi 1 i ^ j i in j -d 1 c tu s q u i n i t in no - m i-ne mi - ne a Do £ m i- Do V - ml - 1 86 Ho san - n i na in e x ce 1 Ho n a san ex in S I S Ho na - n i san in 52. Ho na ex san in c e l Ho san ex s is , in na in -c e 1 c e l ex S I S i n ce 1 in ex - c e l c e l s i s . Z^2 ex ex S I S in - c e l ce 1 S I S , in ex - c e l 1e I c I y # ^ A - gnus De - i , q u i t o l - l i s p e c - c a - ta mun- d i , m i - se - r e - r e n o - b i s , g ¥ A De i , q u i t o i S '" 'h :PF ■ * y i , q u i gnns De f ~ y ~ " " ' A f gnus De i , q u i t o i l i s pec - ca - ta ssr r , A gnus m s gnus De - l i s pec - ca È ta mun d i , pec - ca - ta mun _______________________ I — ZC t o i l i s pec - ca ta mun d i , pec - ca - t a mun # # d i , q u i t o i l i s pec ca t a mun r r r Dc i , q u i t o i l i s pec - ca - ta d i . q u i t o i l i s pec ca - t a mun 10 b is re mi se re no d i re re se m i m i - se re re no b is re re no se m i b is mi se re no mi re d i se b is re no se re no no re m i se re b is - r e no b i s . b is no re se mi - r e r e no 20 gnus q u i t o l - 1 is De gnus p e c - ca A t o i q u i 25 1 is De ta pec ca De gnus q u i t o i l i s p e c - ca De t a gnus mun d i ta pec - c ^ - ta mun ca pec mun l i s pec - ca ta , pec - ca ta 30 B miin d i , do na no b is m £ lJ , = i a : -#-ï- mun do na no - b is pa P d i do zaz na b is pa g mun $ di :â= 89 do c e - pa do cem na no pa b is do cem na no pa do no na do b is pa cem n o na b is pa no -n a do b is na no -cem do b is na no -cem •e- do b is pa no cem na b is d o pa cem. n a n o 90 M ü SJC-AL A ? g £ N D I X . MaSSSS PR DM ' T H e K y R I à L E Aù üSÜ M E c C L E S IE S A aJ C I'Ë - B a R B A f ^ g U6ED FOff. PoL/PriOlNllC S B T T I f J & S S / F raisT C E S C IO I. MrssA ifi T)iJgLici&(]s MftroRrsiJS Cf.ljl i \j ---------------------------------- =ss=sz----------------------------------------- k V ' ------- »------9----- — i — ■— ' -------— î --------------------^ ------ h------------------------------- a --------- ^ --------- y , — *— -BT'*--- K 2 _ 2 -------------- : ----------------------- ----------------------------------------------------- 0------------- --— , ------ — 7 ^ # — a — # ----- - # ■ " *- ^-■y— ... ■ y Ky - r i - e » S - r e É f ..% 5_ g l e - i - son. C h r i - s t e -y #- " « - g » g f » -» *- l e - i - son. Kv r i - e a : ~ ¥ —# f 7 ~r # • a # -—r f à —T e - l e - i - son. n r — > r - ~ 1 ~ T a=z± » » • •— ' » g M m l o r i — a in ex — c e l - s is Do o . E t i n t e r - r a p ax ho - ici - ------------- 1 -----y— i : . • . - * # - M - -0 * - » # n i — bus bo - nae ;o - lu n - t a - t i s . — y Lau - da - mus t e . 9 I Z Z # ' ' # # z -TT- 3---*- 9----* - A - do - ra B e - ne - d l C l - mus t e . mus t e . n i o - r i - f i - c a - nus z : * * ±: t e . n ra - t i - as a - g i - nus t i - b i p ro - p t e r n a - gnara g lo - r i - * * • # -an tu - an . Do - rai -n e De - u s , Rex cae - l e - s t i s . De - us Pa - t e r — — m ni - DO te n s . Do -m i - ne F i l i u - n i - ge - n i - te Je - j r / y ' 1 ........'■»------------------ m a • » m e - • X ^ -s u C h r i - s t e . Do - n i ne De - us , A- gnus De - i . F i - l i - us Pa t r i s . O ui t o l - l i s p e c -c a d i , n i b i s . ta mun se r e re no O u i t o i - l i s p e c -c a d i de t i s c i ta pe p r e - ca mun s u I? .* ] S -# »- -n em no - s t r a n . Q ui s e - des ad de x t e - ram Pa - t r i s , m i - se - r e - : : „---- #----------------------------- —,------- —: -----------------------1 ---- # ------ - g -------- ----------- 3 ----« -------'' M - - ' ■ ' #-----1 • ■ i • -____ • ..... -------------------- «— 0 ------ f---- — •—g ------------------------ ^ ■---- --------------- . 1 no - b i s . Ouo - n i - am tu so - lu s san - c tu s . Tu 30 - lu s s -# *- o Do - m - n u s , 80 - lu s a l - t i s - s i - m u s,Je - su C h r i - s t e . Cum San - c to é? 'jê zz— æ : .u C - tr:^ . 3 S p i r i - t u . i n g lo r i - a De - Pa ^ --------------Zzx,---------------------------------------------------------------------------------------1 — J - . VllJ # # # # # 1 A - men. --------------- 9---- •-----"-------- Pa - tre m o -m n i - p o - te n —•----9-----•-------“-------- r a e , v i - s i - b i - l i tem . f a - c t o - rem cae - l i e t t e r 3=i= um o - m m - um e t i n - v i - s i - b i l i - un. E t in u - num » # - r . t * --------------------- * —# — r-*- ÜO - ir.i - num ,Je - sum C h r l - s t u n , F i - l i - un De - i u - n i - %e - n l - tu n . \ _ r " -------- 0— —1---- — ------- 1 T t--------- r — — a— — «— — 0— a —#— • • 0 — 0---- 0 j---- - . ^ T._ a ■ — ... --W- L - * — • — , — . — E t ex Pa - t r e na - turn. an - te o - n n i - a sae - cu - l a . De - urn de De - o . -à- # p ' * # *- l u - men de l u - n i - n e . De - un ve - rum de De - o ve - r o . Ce - n i - tu n . — P ---- •-------*--0-----“---- # ----•---% --- p e r quem o - n n i - a f a - c t a s u n t non f a c t u n , c o n - s u b - s t a n - t i - a - l e n Pa - t r i : i 0 » * -# r- -3---- ^ O u i p r o - p t e r nos ho - n i - n é s , e t p r o - p t e r no— s tra m s a - l u - te n de - s c e n - d i t de cae — l i s , E t i n - c a r - n a - tu s e s t de S p i - r i - tu San - c t o ex îla - r i - a S 2 ^ _______________________________ V i r - g i - ne; ET HO - MO -•—9 ---- ^ — r FA CTUS EST. Cru - c i - f i - xus e - t i - an p ro no - b is sub P o n - t i - o ■ ■ y 0 m V m « y ? ------ #------- ■------ a--------- # --- *--- • — Z ____L # —#----X — # — P i - l a to : p a s -s u s , e t se - p u l - tus e s t . E t r e - s u r - r e - x i t t e r - t i - a d i - -0 " 0 * 0 - a - 0 se - cu n -d u m S c r i - p t u - - r a s . E t a - s c e n - d i t in cae - lum ; se - d e t ad d e - x t e - ram i l # M -0----- , # ■ ------------- Pa - t r i s . E t 1 - te -r u m v e n - t u - ru s e s t cum g l o - r i - a j u - d i - c a - r e v i -v o s e t m o r- 0 - t u - o s : cu - ju s r e - g n i non e - r i t f i - n i s . E t in S p i - r i - tu n S a n -c tu n D o - m i - num. ^_ I e t v i - v i - f i - c a n -te m : q u i ex Pa - t r e E i - l i - o - que pro - c e - d i t . O ui cum Pa - t r e e t ............ ~~ I ï " ' T --------- .... ^ ' ------- # y - I f > * * - " I » ' ■ ' ' , ----- , ------ --------------------------------------------------------------- F i - l i - O s i - n u l a -d o - r a - t u r , e t c o n - g l o - r i - f i - c a - t u r : q u i lo - eu - tu s e s t p e r -0 * 0- i 1 P r o - p h e - t a s . E t u - n an , s a n - c t a m ,c a - th o - l i - cam, e t a - p o - s t o - l i - cam E c - c le - s i - am. » ■ » -j-----0---- “----------------- ■ ----------------- “ ---0 ----- g — C o n - f i - t e - o r u - num b a - p t i - sma in r e - n i s - s i - o - nen p e c - ca - to - rum . 93 iJlL -# *- • — 0 --------------------------------------- — «— I — »-------------------------------p— ----------------------------------- E!t e x - s p e - c to r e - s u r - r e - c t i - o - nein raor- tu - o - r u n . F,t v i - t a n v e n - tu r i 4-------^ ------------------ j- ^ ^ ■ ' — .." " 6 ----*---------—0 *—f---- a-----#---- ;— 7 0- " ... , . .— — sae cu - 1 1 . A n e n . *■ » » San - c t u s , San c t u s , San - c tu s D o - m i - nus -0 0- De - us Sa - ba - o t h . P i e - n l s u n t c a e - l i e t t e r - r a g lo d l l____ r i - a t u - a. y ' > . a-# » ■ - 0 0- Ho - san - na in ex c e l - s i s . B e - n e - d i - c tu s — 0 - q u i v e - n i t in no - m l ne Do m i - n i . Ho ^ :.. - ... — « - # _ V \ ^ "s. - 0 ^ 0 g — à — Î— - 0 f ... san - n a in ex c e l - s is , 0 .-0 0—, -0 0- -0 ■ ■ — * * ~ 0 —w - A - gnus De i , q u i t o i - l i s pec - ca ta mun 1 -1 /W -------------- --- ------ 0 - — ---» « = --- , .. ''“ N - . . 1 ^ _# _ » • 0 * ---------- •-- 0 m — « * 0 1 — -----^ ----- Î-----• 0 M 0 • *---- --------1 - d i : m i - se - re re no - b i s . A - gnus I — De 1, 0 ^ 0 ^ q u i t o i - l i s p e c - ca - t a mun 0 — g ----- d i : m i - se - r e re 4 ----------------------------------L ------------------------ y-«--- ------ — — m 0 ~ A % ------- r -------- : --------. ^ ....# 0 — , —# *• 0 ______ — a------ • — 0 - -----------1 0 » * a » * m A no - b i s . A - gnus De - i , q u i t o i - l i s pec - ca - ta mun - d i : —9-----P —^ do na no - b is pa 0 ■ M - 0---- 0- cen. 94 IV . M ^ ir S S A IN ITESTIS A ? osTolûS.i)m — -----«=S----*—*— -----s------ - ^ — ---------- W ' ' ---0---*----------- ~ -ë '---*----ë------ L ' ' # 1 . 1 . ' . . = l i Kv - r i - e e - l e - i - son. ----------------------* -----------------#— a— 9-----------* — 0— a ------ ë----------• -------- 9------- ----------- C h r i - s t e l e - i - son. 25: » » S E Ky - r i - e e - j y. ' * 7 a l e - i - son. = 5; = g 3 = ^ 3 3 : 3 = Z = —E G lo — r i - a i n ex - c e l - s is De - o . E t i n t e r - r a pax ho - ~ 0 ^ 0 ^ 9 9 9 9 - m i - n i -b u s b o - nae vo - lu n - t a - t i s . L a u - da - mus t e . Be - ne - d i - Tr- 9 • — V rrv - c i - mus t e . A - do - r a - mus t e . G lo - r i - f i - c a - mus t e . Gra - t i - as # ' # * : ^ ------------------------ ---- — C ------------------------------------ ------------------------—'------9-----r a - g i - mus t i - b i p r o - p t e r ma gnam g lo - r i - am t u - am. D o - mi - ne - tfM -i__________ 9 0 * * ' De - u s , Rex cae - l e - s t i s . De - us Pa - t e r o - mni p o - te n s . ' » . Do - m i - ne F i - l i u - n i - ge - n i - te Je - su C h r i - s t e . Do - m i - ne a . .. • * # - De - u s , A - gnus De - i . F i - • l i - us _b___________ ^ ________________________________ Pa t r i s . O ui t o i - b_ _* m . 9» ë 9- 3 : - l i s p e c - c a - ta mun- d i , m i - so - r e -■ r e no - b i s . O u i t o i - l i s 95 '» i a * — * # * ■ p e c - c a - ta ra u n -d i, su - s c i - ne d e - p r e - c a - t i - o - nem n o -s tr a in . Q u i se - des ad d e x - t e - ram Pa iL_ t r i s n o - b i s . Ouo- n i tu m i r e r e se am lu s s a n c tu s lu s Do Tu so lu s a l - t i s - s i - mus, Je Tu so so nus su 1--------------------------------------------------------------------------------------------------------- --------------------------------------------------------------------------------------------------------------- ■!?--------------------------------------------------------------------------------- " • ^ \ ' " " ■ ■ ■ Æ ^ -------9 0 ......'Æ ' 0 1 ■ ■ - M — --------------- * ------------ 0 — ^ — 0 ---------------- . ------------------ --------------- * -----------------! ----------------- . ---------------- . ----------------------------------------------------------------------- -------------- ---- ------------ 0 ^ ---------------------------^ ------------- « ------------------------------------- # ---------------- , ----------------- • ----------------- ■ ---------------------------------------- C h ri s t e . Cum S a n -c to S p i - r i - t u , in g lo r i - a De - i t r i s . * — S - - - - - - - - r men. Pa o - m n i- po f a c to -r e m c a e - l i v i - s i - b i - l i - um trem te n tem , e t t e r r a e , jF e t i n - v i - s i b i E t i n u - num D o - m i - num J e - sum C h r i o - m n i um um è » * A à - s turn, F i - l i - um De - i u - n i - g e - n i - turn. 413________________________ E t e x Pa - t r e n a - tum a n - t e o - m ni - a £g. • * s a e — cu - l a . D e - um de De - o , l u - men de lu - m i - n e , D e - um ve - rum de De - o * r à ' ' ---------------^ ctum , c o n - s u b - s t a n - t i - a - lem Pa - t r i : p e r quem v e 0 r o . G e- n i - tum, non f a - A « « " é ~ 9 -----------•-----W -----------------------------------------------------------------------------»---- ^ o - m n i- a f a - c t a s u n t. O u i p r o - p t e r nos h o - m i- n é s , e t p r o - p t e r n o -s tr a m sa - l u - tem d e - scen- "—9— ^ f— d i t de cae - l i s . 0 0 E t i n - c a r - n a - tu s e s t de S p i - r i - tu S a n - c to ex M a- r i - a V i r - g i - n e: ET HO - MO È F A - CTUS EST. C r u - c i - f i - xus e - t i - am p ro no - bis 9 ' ^ r sub P o n - t i - o P i - l a - to : - # -------- 9 - S l o Æ L # * p a s - s u s , e t se - p u i - t u s e s t . F.t r e - s u r - r e - x i t t e r - t i - a d i e , s e - cun-dum i -#— #- * * S c r i - p tu - r a s . S ' --------------------------------------------------------------------------------------------------------------- E t a - s e e n - d i t i n c a e - lum : s e - d e t ad d e - x t e - rum P a - t r i s . -0 0- -y- m E t i - t e - rum v e n - t u - ru s e s t cum g l o - r i - a j u - d i - ca - r e v i - v o s - e t m o r - tu - os; ------------------ - # 0- cu - ju s r e - g n i non e - r i t : f i - n is . Et i n S p i - r i - tum S an -ctu m Do - m i -num , e t v i - v i - - J ----------0- - f i - c a n -te m : q u i ex P a - t r e . F i - l i - o - que p ro - ce - d i t . O u i cum Pa - t r e , e t F i - l i - o ----- - a — " é ^ ê •----------------- # 9 t u r , e t c o n - g l o - r i - f i - ca - t u r : q u i l o - cu - tu s e s t p e r P r o - p h e - t a s . ____________________________________________________Q pJÜJ _____________________________________________ s i - m u l ad - o - r a - -p— * -0 # - - ' ■ ' ~ E t u - n a m ,s a n -c ta m ,c a - t h o - l i - cam e t a - po - s t o - l i - cam E c - d e - s i - am. C on- f i - t e - -*— ÿ :— 9 -----# ---------------------- -— -•—»— :ÿ:— f — i n r e - m is - s i - o - nem pec - ca - t o - rum . Ô - o r u - num b a - p t i - sma E t e x - s p e - c t o r e - s;: “• • 9 ^ 9~ r i sae - c u - l i . s u r - r e - c t i - o - nem m o r- tu - o - rum. E t v i - tam ven - tu - i — ? — m en. e A — r ■ — - — ^ # 9 ............. ...........T 1 ( i ^ ... H ------7 ^ ----■ ----*----i--- -------- à ê ^ j *-■ , .. J ' y — , ------------------------î _ j _ 1 J * a * ^ San - c t u s , San È c t u s , San ■7^ ü - A # “ • 9 9 i 0~ c tu s D o - m i - nus De us Sa - b a - o t h . —9 ----'—i----- 0— P i e - n i s u n t cae - l i e t T- -0 0- -A -a- — 0 ----*—9 ----- r H o - san - na t e r - r a g lo r x 0 tu 0^ a. i n 3 ; -0 0 - — 9- - - - - - - -9— c e l - s is . — » -----•—T B e - ne - — 9 --- d i - ex c tu s q u i ve n i t i n no - m i - ne s — r Do —9 -----•----•—r m i - n i . •—» — Ho - san - • f jr— i n ex - c e l - s i s , M l - * — 0 - * # -#— #- A - gnus De - i , q u i t o i - l i s pec - ca - t a mun - d i ; a - 3 = r no - b i s . —•—y- t o l m i - se - r e - re A - gnus De - i , q u i l i s z s : 9 ---------"—r p e c -c a - t a mun - d i : V - — - r - * r e no m i - se - r e - b i s , A - gnus De - i , -T-r- q u i t o i - l i s pec - ca - » P " - # t a mun - d i : do - na no - — P b is pa - cem. y. M i SSA M ~LoKlltJIC£S T^IESüS JL2a5£l - — 9— :ÿ = — 9 — l e - i - son. Kv - r i - e e - C h r i - s t e l e l e - i - s o n son r i - -»------ r e x - c e l - s i s De - o. ■ 9 ^ ---- 0--------' ------- — * --------9-------- 7 ------------ ------- *■ E t i n t e r - r a pax ho - m i - n i - b u s . G lo - r i - a i n X T — ■ " ' ' 1 ' -------------------------------------- ---------------------------------------------------------------- n S»-------•----e-------a-------#-------■ -------#------ X ------- ------ # -----------------------------------a------ -------a------ a—P------ #------a-------- ------a------- ------> ------ bo - n a e vo - l u n - t a - t i s . Lau da - mus t e . Be - ne - d i - c i - mus t e , A — do — : ^ P ~ ~ g ~ G l o - r i - f i - ca - mus -y * T " -r*r- ^ - r a - mus t e , T Gra - -*—9-----“---P —7------ *----9- as a - g i-m u s t i - b i t e . r t i q g V 9---------9—^ -------p--------- - - - - -•--------9---------9------ p r o - p t e r m a- gnam g l o - r i - am . tu - am. z : —B-------------—■----"— » ----------- * ---P- Do - m i ne De - -» P " -------• ------- 9------- u s , Rex c a e - l e - s t i s , ^ ^ ^ 9 us Pa - t e r o - m ni - p o - te n s . De Do - m i - ne F i - l i u - n i - g e - n i - t e 1 - r — 9— su C h r i - s t e . "9 P P 9------ 9 ^ ------P------- — P------9-------# — u s , A - gnus De - i , F i - l i - us P a - t r i s . Je - Do - m i - ne De - 9 - ^ - " P O u i t o i - l i s pec - ca ■ O u i t o i - l i s pec - ca - t a m u n -d i, m i - se - r e - r e no - b is , 2=: ■ta m u n - d i, su [q,fA] _ _ _ g 9 9 ^ • s c i - pe d e - p r e - c a - t i - o - nem 9 9 n o - s tr a m . O ui se - des ad ~9— d e x - "ïï"....a-----------------------------------------------------------------------------------------------------n ----------------------------------------------------------------------------------------------------------------- _ -------i——#— — — — r - — M 1 - - - - - - - -^ # ' M * 0- — a- - - -P — m — #---- - t e -r a m P a - t r i s , m i - se - r e - r e n o - b i s . Ouo - n i - am tu so - lu s s a n -c tu s . ■ ......... ■ ' ---------- \ ' '■ f ---------a----------------# * >--------a---------:--------a--------- — a ------- a r ^ ---------# *---- P------- =------- a --------- ---------e ' ' * ----0 --------=------- m ■ Tu s o - l u s Do - m i - n u s . Tu so - lu s a l - t i s - s i - mus, J e - su C h r i - s t e . Cum San - -0 #- » ë # ' p i Pa c t o S p i - r i - t u , i n g lo - r i - a De - y p ------p — 9 " - t r i s . M ~ r A $ w Tîien. U i Ü 'p ' p -p — # — # — p- Pa - t r e m o - m n i- po - • •9 ’ te n - 0 tem . f a - c t o - rem c a e - l i e t t e r - r a e , v i - s i - b i - l i - um o - ^ *---- - I l - um. - m n i - um e t i n - v i - s i - b i E t i n u - num Do - ml - num Je -sum * ê r -0 P- p T I C h r i- s t u m , F i - l i - um De - i u - n i - ge - n i - p^ tum. E t ex Pa - t r e na - tum P # t i a n - t e o - m ni - a sae - cu - "9 — l a . De - um de D e - “ 9" o, ^ men de l ù - rai - n e . ~ * # 9 " * • ' 9 ^ 1 ^ 9— De - um v e - rum de De - o v e - r o . — 9------ 9 — " ---- 9--------------- 9---------^ " Ge - n i - tum ,non f a - ctum , c o n - s u b - s t a n - t i - a - lem î f f ? --------- B------- p-------- #--------; ------ o - n n i - a f a - c t a s u n t. —» — :# = ----9 -----•---- ------•---- 9— —9 — = — ;# = —9—*— Q ui p ro - p t e r nos ho - m i - nés e t p ro ^ p t e r n o s tra m il P a - t r i : p e r quem "9 ^ ' l u - tem d e - s c e n - d i t de 9- - - - - - - - -" - - - - - - -9- - - - - - - - - - - - 9—9- - - - - - - - - 9 - - - - - - - - - 9—'- - - - - -9- - - - - - -ÿ - - - - - - - - - -- - - - - - - - - - - -9 — P " cae - l i s . E t i n - c a r - na - tu s e s t de S p i - r i - tu e s a - - * 9 - 0 » * -P - #--------- S a n -c to ex Ma - r i - a V i r - p i - n e: ET ' 9 _ 9 i t i - :T h o- MO E A - C ' ^ EST. C ru - c i - f i - xus e - t i - i P ' A * 9 2 5 : # • -am p ro no b is sub P o n - t i - o P i - l a - te : p a s - sus e t se - p u l - tu s e s t . - | > T - -# r - P - m E t r e - s u r - r e - x i t t e r - t i - a d i - e , s e - cun - dum S c r i - p t u - r a s . ~r E t a -s c e n - ----------— --------------- 1 --------------=---------:--------- : ------------------------ r , ' ' ' ë . : d i t i n c a e - lu m : se - d e t ad d e x - te - ram Pa - t r i s . E t i - t e - rum v e n - tu - ru s e s t 0 0 0 - * - - - - - - - - - 9 - - - - - - - - - - - - - P" cum e l o - r i - a - 7 P 9- - - - - - - -9 - j u - d i - c a - r e v i - vos e t m o r- t u - o s: cu - ju s r e - g n i non e _____________________________________________________________ ^ — 9 — “ — 9 — » ^ — — p — “—- — '------------------- 9— '— p- E t i n S p i - r i - tum S an-ctu m Do - m i - num, e t v i - v i - f i - c a n - tem: e - r i t f i - n i s . - m 0 - -P - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -9 - - - - -"- - - - - - - - -P - - - - - - - -9- - - - - - -— 9 P 9 - q u i ex P a - t r e , F i - l i - o - que p r o - c e - d i t . 9-----^-P -9----— P--------------- Q u i cum Pa - t r e , e t F i l i - o -#- - - - - -'- - - - - -*- - - - - - - -9- - - - - - - -9- - - - - - - -9- s i - m ul ad - o - r a - t u r , e t c o n - g l o - r i - f i - c a - t u r : q u i l o - c u - tu s e s t p e r P ro - phe - -H t-------------------------n---------------------------------------------------------------------------[ a ’f î j 9 9 J .... * -9- 9 P —r -9 - - - - - - - - - -- - -— 9- - - - - -9— — ‘ - - - - - - - - - - -9—lÿ:— - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -9— 9- - - - - -“- - - - - - - - - - - - - - - - - - - - -“- - - - - - - - -9- - - - - - - - - — p— 9 - - t a s . E t u - nam, s a n -c ta m , ca - t h o - l i - cam e t a - po - s t o - l i - cam E c - d e - s i - am. •f , ' é ' 3 Z : C on- f i - t e - o r u - num b a - p t i - sma i n r e - m i s - s i - o - nem p e c - c a - to rum. -9— p - — # — 9- - - - - - - - - -9- - - - - - -=—9 - - - - - - - -B —^ - - - - - -9 - - - - - - - - - - - - - - - - - - - - - - - - - - 9 -9- nem m o r- tu - o - rum . E t v i - tam ven E t e x - s o e - c t o r e - s u r - r e - c t i - o - f-": ' - r 9 2,: ? “ - 9 - P eu - l i . -9—9 - ---9— m en. tu - r 1 s a e - t - iüO / T - - - - - - - - - - * * # , » -# r- -»—*- c t u s , San - - f- - - - - - - - - - - - - * — r Do - m i - nus De - San - c t u s , San - - c tu s -*— m m --------------------------------------- 9— * -----#= s u n t cae - 11 e t t e r - r a -u s Sa - ba - o th . P ie - n i # f — ^ - » - i n ex - c e l * à g lo - r x - a t u - a . Ho - san - na - s x s . -*—r- ve - n i t B e - n e - d i - c tu s q u i i n no - m i - ne Do - m i - n i . s Ho san - na i n ex - c e l sxs. Co.61] -■0- s -*—0- gnus De i , q u i t o i - l i s pec - ca - t a mun - d i : A ------ r - \ ----- , ■ Id 0 — »■ ■ ■ ■ — :-------- • — ■— — 0 — m _ •'■■"...§ * 9^ 0 0 * 0 ~ 9 m i - se - r e - r e n o - b i s . A- gnus De - i . q u i t o i - l i s p e c - ca - ta A 1 U — ■ ■ 1 ---------- — g— — ------------- "H ----------^ -----------^ ^ 3 — — • — a — 0-------- m u n - d i: " '0 m i * * - s e - * 9 r e - r e •0“ no - 0 b i s . f ' A - gnus — • — ----- 0— De — '9 ~ i , — 1__ ..^ — q u i t o i - — P"—T— 3 = ^ * » 9— *-----^ mun - d i : — 0 0- do - na -f f -»-----9— n a - cem. - l i s pec - ca - ta no - b is ’ 01 Z. M is.s'a w F k ^ ir s geg. A ■ tJM UM. J llA O p . -0 0- Kv - r l e - l e - i - so n. C h r i - s t e e - l e - i - son. Ky - r i - e e - l e - i - son. T J — 1 , - - - - - -^ é # * e é # 0 # m # m W ' ' ê # - - - - - - - - -#— S a n - c t u s , S a n - c t u s , S a n -c tu s D o - m i - nus De - us Sa - ba - o t h . P i e - n i s u n t cae- Ê é m * S - l i e t t e r - r a g l o - r i - a tu - a . Ho - san - na i n e x - c e l - s i s . Be - ne - d i - c tu s .................................................................................................................. .....- - -1 , .................4 m * # ■ « # # # • m ---------5------- "---- • --------J— " ' * ë ♦ » ^ q u i v e — n i t i n no - m i - ne Do - m i - n i . Ho - san - na i n ex - c e l - s i s . [ f . m 0 m m 0- B A - gnus De - i , q u i t o i - l i s p e c - c a - ta mun- d i : m i - s e - r e - r e no - b is . ^ ---------- - T * r- É A - gnus De - ^ i , q u i t o i - l i s p e c - c a - ta mun- d i : m i - s e - r e - r e no - b i s . » 9 -r \- f - * — r A - gnus De - i , q u i t o i - l i s p e c - ca - ta m un- d i : do - na no - b i s pa - cem. 102 U în V H ïïS ïT Y O F SO ûTK SEK üW LlP O aN IA i*lfa:e return this book to thî department from vrhich it W 35 borrowed. A fine of 10 fent; per day i; assessed on books not returned '.vhen due. ® o/s RETD LOAN RET'D LOAh NOV 10 197 i

Linked assets

University of Southern California Dissertations and Theses

Conceptually similar

PDF

William Lawes: His life and works

PDF

Aspects of the tension complex in the life and works of Jakob Wassermann

PDF

The effect of cooperative and individualistic goal structures on the preferences and attribution of field-dependent and field-independent students

PDF

The relationship of two methods of marking to the quality of compositions and to attitudes toward writing of selected fourth grade pupils

PDF

Proposition 140: A study of the impact of term limits on the California Assembly

The <underline>Notre Dame Mass</underline> of Guillaume de Machaut: Musical style, analysis, and performance considerations

PDF

The Notre Dame Mass of Guillaume de Machaut: Musical style, analysis, and performance considerations

PDF

An experimental analysis of source credibility and message discrepancy under differential levels of ego-involvement in political television commercials

PDF

An investigation Piaget's theory of cognitive development as a basis for the assessment of reading disability of Afro-American junior high school students and for developing remedial curricula

PDF

Reaffirmation and transformation of gender in popular film: A feminist approach to mythic rhetoric

PDF

Women's autobiography and national identity: Natalia Ginzburg, Anna Banti and Renata Vigano

PDF

Family-based risk and protective mechanisms for youth at-risk of gang joining

PDF

I'm not much different: Occupation, identity, and spinal cord injury in America

PDF

Synthesis and identification of mathematical models for the discrete control behavior of human operators

PDF

The harpsichord works of Nicolas Le Begue

PDF

Life goals of retirement home residents and applicants in selected organizational climates

PDF

Alianza Hispano-Americana, 1894-1965: A Mexican American fraternal insurance society

PDF

An historical study of Bob Pierce and Worlds Vision's: Development of the evangelical social action film

PDF

Concerto for violoncello and chamber orchestra

PDF

Bounding filters in the presence of inexactly known parameters

PDF

The effects of library directors' theory of management upon middle management behavior in medium-size public libraries

Asset Metadata

Creator Fink, Michael Armand (author)

Core Title The life and Mantuan masses of Francesco Rovigo (1541/42-1597)

Contributor Digitized by ProQuest (provenance)

Degree Doctor of Philosophy

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag communication and the arts,OAI-PMH Harvest,Social Sciences

Format application/pdf (imt)

Language English

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c37-12495

Unique identifier UC11631788

Identifier DP32407.pdf (filename),usctheses-c37-12495 (legacy record id)

Legacy Identifier DP32407.pdf

Dmrecord 12495

Document Type Dissertation

Format application/pdf (imt)

Rights Fink, Michael Armand

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA