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Sacred Music of Baldassare Galuppi in the

Context of Eigtheenth Century Venetian
Culture, with an Emphasis on Music Written
for the Mendicanti and the Incurabili
Keith Eric Knop
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THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
SACRED MUSIC OF BALDASSARE GALUPPI IN THE CONTEXT OF EIGTHEENTH-
CENTURY VENETIAN CULTURE, WITH AN EMPHASIS ON MUSIC WRITTEN FOR
THE MENDICANTI AND THE INCURABILI
By
KEITH KNOP
A dissertation submitted to the

College of Music
in partial fulfillment of the
requirements for the degree of
Doctor of Philosophy
Degree Awarded:
Summer Semester, 2011
The members of the committee approve the dissertation of Keith Knop defended on May 11,
2011.
_______________________________________
Charles Brewer
Professor Directing Dissertation
_______________________________________
Joseph Kraus
University Representative
_______________________________________
Douglass Seaton
Committee Member
_______________________________________
Denise Von Glahn
Committee Member
The Graduate School has verified and approved the above-named committee members.
ii
To my mother, and in memory of my father.
iii
ACKNOWLEDGEMENTS
I would first like to thank my parents, without whose support I would not have come so
far. I regret that my father did not live to see the completion of this document.
I must also thank the members of my committee, not only for their contributions to this
document but also for the education that made it possible. I am grateful to Charles Brewer for
the guiding hand that kept this project focused when it could easily have veered off in several
directions, and for his invaluable assistance with Latin, a language with which I have no formal
experience. Joseph Kraus suggested a number of possible analytical approaches at the inception
of this study that have proved highly useful. Douglass Seaton possesses not only an eye for fine
detail but also an uncanny knack for asking inconvenient questions, which have over the years
encouraged careful thought before committing myself to paper. And Denise Von Glahn has so
often encouraged me to write less pithily and more explicitly that occasionally I am successful in
doing so.
I am grateful to my friends and colleages at the Warren D. Allen Music Library, both
current and departed, not only for the occasional bit of material assistance with this project but
also for having made the task of keeping myself fed and sheltered for the past five years less
onerous than it could have been.
Finally, I am very grateful to Vincent Reniel and the staff of the reproduction department
of the Bibliothque Nationale de France for their patience with me and their generosity in
resupplying scans of numerous manuscripts after the original order vanished into a New York
customs office, never to be seen again.
iv
TABLE OF CONTENTS
PART I: TEXT
List of Tables ................................................................................................................................ vii

List of Figures .............................................................................................................................. viii
List of Musical Examples ............................................................................................................. ix
Abstract .......................................................................................................................................... xi
1. GALUPPI IN THE CONTEXT OF VENICE IN DECLINE .................................................2
1.1 Introduction....................................................................................................................2
1.2 Biographical Sketch .......................................................................................................5
1.3 Venices Sinking Fortunes.............................................................................................8
2. MUSIC IN VENETIAN LIFE...............................................................................................26
2.1 Overview......................................................................................................................27
2.2 The Oratorio.................................................................................................................32
2.3 The Motet and Other Liturgical Music ........................................................................39
3. AUTOGRAPHS AND RELIABLY ATTRIBUTED WORKS ............................................46
3.1 About the Autographs ..................................................................................................47
3.2 General Characteristics of the Music...........................................................................50
3.3 Galuppis Aria Structures ............................................................................................57
3.4 Oratorio ........................................................................................................................61
3.4.1 Adamo ed Eva ..................................................................................................62
3.5 Liturgical Motets..........................................................................................................71
3.5.1 Confitebor a 2 breve ........................................................................................73
3.5.2 Laudate pueri/Qui habitare .............................................................................79
4. GALUPPI AND THE PROBLEM OF DON ISEPPO BALDAN ........................................88
4.1 The Dresden Solo Motets.............................................................................................97
4.1.1 Sum nimis irata ................................................................................................99
4.1.2 Sum offensa ....................................................................................................105
4.1.3 Ab unda algente .............................................................................................108
4.1.4 Dum refulget in celo sereno...........................................................................110
4.1.5 Ecce volantem video saggitam.......................................................................112
4.1.6 Quaerenti per fontes ......................................................................................113
4.1.7 Non torrentes .................................................................................................115
4.1.8 Sub coelo sereno ............................................................................................116
4.2 General Comparisons and Summary .........................................................................119
5. CONCLUSION ...................................................................................................................125
v
PART II: TRANSCRIPTIONS
6. CRITICAL NOTES.............................................................................................................129
6.1 Editorial Policies........................................................................................................129
6.2 Critical Commentary..................................................................................................130
7. CONFITEBOR A 2 BREVE ...............................................................................................136
8. LAUDATE PUERI..............................................................................................................157
9. QUI HABITARE.................................................................................................................247
10. SUM NIMIS IRATA...........................................................................................................288
11. SUM OFFENSA..................................................................................................................338
12. AB UNDA ALGENTE........................................................................................................389
13. DUM REFULGET ..............................................................................................................437
14. ECCE VOLANTEM VIDEO SAGGITAM........................................................................484
15. NON TORRENTES ............................................................................................................532
16. QUAERENTI PER FONTES..............................................................................................581
17. SUB COELO SERENO ......................................................................................................630
APPENDICES .............................................................................................................................666
A. DRESDEN MOTET TEXTS ..............................................................................................666
B. RITORNELLO SCHEMATA .............................................................................................674
BIBLIOGRAPHY........................................................................................................................681
BIOGRAPHICAL SKETCH .......................................................................................................691
vi
LIST OF TABLES
3.1 Brief outline of Adamo ed Eva ..............................................................................................63
4.1 Dresden solo motets attributed to Galuppi ............................................................................92
4.2 Common ritornello schemata ..............................................................................................120
vii
LIST OF FIGURES
3.1 Autograph markers, Laudate pueri........................................................................................49
3.2 Unsteady beaming, Laudate pueri.........................................................................................49
4.1 Repeat indications, Sum offensa ............................................................................................98
viii
LIST OF MUSICAL EXAMPLES
2.1 Versetti per la Professione alle Virgini, no. 2 .......................................................................28
2.2 Vivaldi, Longe mala umbrae terrores ...................................................................................44
3.1a Alessandro nellIndie (1739): O su gli estivi ardori ..........................................................51
3.1b Judith (1746): Deus orantes ...............................................................................................51
3.1c Judith (1746): Dum exuror, ah, puro ardore ......................................................................52
3.1d Adamo ed Eva (1747): Sente questalma oppressa ............................................................52
3.1e Adamo ed Eva (1747): Quellaffano e quel dolore ............................................................53
3.1f Il mondo alla roversa (1750): Al bello delle fimmine.......................................................53
3.1g Confitebore breve (1757) ......................................................................................................54
3.1h Ave Regina coelorum (1764): I..............................................................................................54
3.1i Qui habitare (1771?): Gloria .............................................................................................54
3.1j Laudate pueri (1771): I .........................................................................................................55
3.1k Nunc dimittis (1772): I...........................................................................................................55
3.2 Adamo ed Eva: Ahi formidabil suono................................................................................66
3.3 Adamo ed Eva: Cara piaggia and Si la serena fronte openings ......................................69
3.4 Adamo ed Eva: Sente questalma oppressa falling motives...............................................70
3.5 Confitebor breve: mm. 1838................................................................................................76
3.6 Confitebor breve: mm. 69130..............................................................................................77
3.7 Laudate pueri: I .....................................................................................................................84
4.1 Miserere in C minor: Sacrificium Dei ...............................................................................96
4.2 Sum nimis irata: I, mm. 113 ..............................................................................................101
ix
4.3 Sum nimis irata: I, mm. 3439 ............................................................................................103
4.4 Sum nimis irata: I, mm. 4246 and 5153 ..........................................................................104
4.5 Sum offensa: I ......................................................................................................................106
4.6 Sum offensa: III....................................................................................................................107
4.7 Sub coelo sereno..................................................................................................................118
4.8a Judith: Planta aliquando...................................................................................................121
4.8b Judith: Densae horridae procellae....................................................................................121
4.9 Adamo ed Eva: Quellaffano e quel dolore......................................................................122
4.10 Sum nimis irata: I, mm. 134 ..............................................................................................123
4.11 Ab unda algente: I, mm. 113 .............................................................................................124
x
ABSTRACT
This dissertation examines selected sacred music of Baldassare Galuppi (1706-85) in the
wider context of Venetian culture and explores problems of questionable attribution arising from
Galuppis popularity in Venice and abroad. Galuppi was famous and influential as an opera
composer, but he also spent much of his career working in Venetian religious institutions.
Background is established through a short exploration of the government, society,
economic situation, and general musical landscape of Venice in the eighteenth century.
Particular attention is paid to two of the ospedali, the Mendicanti and the Incurabili, where
Galuppi was employed for much of his life.
Several autograph or reliably attributed works are examined in the context of the
institutions for which they were written and with regard to Galuppis compositional technique.
The pieces examined are drawn from the genres of the oratorio and the motet. Detailed
description is provided for the oratorio Adamo and for three autograph motet manuscripts,
including a 1757 Confitebor breve and two partial Laudate pueri settings from the 1770s, which
may be related. Additional autographs are referenced as needed.
The above information is then applied to a set of questionable works, a collection of solo
motets allegedly by Galuppi and presumably originally intended for the Mendicanti, that was
obtained by the Dresden court chapel. Several of these motets are known to be by other
composers, and there is reason to question the remainder. All were supplied by the Venetian
priest and music copyist Iseppo Baldan, who is notorious for falsifying attributions.
Transcriptions are provided of the three autograph motets and the eight solo motets that
are discussed.
xi
PART I: TEXT
1
CHAPTER ONE
GALUPPI IN THE CONTEXT OF VENICE IN DECLINE

Introduction
Baldassare Galuppi was one of the most celebrated composers of the eighteenth century,
active in nearly every contemporary genre. He produced prodigious numbers of operas, which
formed the backbone of his reputation as a composer. But he also had a long association with
the Basilica of San Marco and two of Venices famous ospedali, which by the eighteenth century
were complex amalgams of orphanage, religious institution, school, and musical conservatory.
This gave Galuppi cause to produce many pieces of sacred music, based on both liturgical and
newly-written texts. While vocal music forms the majority of his oeuvre, he also wrote over a
hundred keyboard sonatas, a small number of which were published (with or without his
knowledge) in London, Paris, and Nuremberg, and a small body of sinfonias and chamber works.
But, as with many famous composers of his generation, Galuppis fame did not long
outlast his lifetime. Already by the end of the eighteenth century lexicographers of music were
forgetting his most enduring contribution to opera, the ensemble opera buffa finale.1 Enough of
his fame survived into the nineteenth century for Robert Browning to reference him in his poem
A Toccata of Galuppis, published in 1855; the implication of the poem, however, is that
Galuppi and his music are, like the images of a bygone Venice they conjure up, things once
glorious but no longer relevant.2
Brownings poem is also suggestive insofar as there are few composers more thoroughly
identified with Venice, which, with the exception of two extended trips to England and Russia,
was the seat of Galuppis entire career. Although he made smaller journeys to other Italian cities
1
Jean-Benjamin de la Borde ascribed its creation to the minor composer Nicola Logroscino (or, as he spelled it,
Logrorgino, 16981764 or 65), while actually describing the practices of Nicol Piccini (17281800). In this he
was initially copied by Ernst Ludwig Gerber in his Lexikon der Tonknstler, but in the 1813 revision Gerber
dispensed with Logroscino and gave credit directly to Piccini. This view remained essentially unchallenged until the
1970s. Edward Dent made several attempts to correct this mistake in 190912, but his efforts were pointedly
ignored by Hermann Abert; for the full history of the error and its correction, see Daniel Heartz, The Creation of
the Buffo Finale in Italian Opera, Proceedings of the Royal Musical Association 104 (197778), 6778.
2
If Browning had a specific piece of Galuppis in mind when writing the poem, it has never been identified.
2
and to Vienna, these were only brief excursions, generally to oversee the openings of operas.
Though he could doubtless have made a living on opera alone, or as a court composer elsewhere,
he instead tied himself to Venetian institutions. All told, he spent over two decades in service to
two of the four ospedali, first the Mendicanti and later the Incurabili, and nearly three decades at
the Basilica of San Marco.
Galuppi and his music have gradually begun to attract more scholarly attention over the
past forty years or so, but the body of dedicated scholarship remains tiny in comparison to his
influence and relevance to the European musical scene in the period of his greatest activity, ca.
173376. Certainly there has been no Galuppi revival comparable to the resurgence of interest
in Vivaldi, another Venetian composer whose music long languished in obscurity after his death.
Galuppi belonged to a generation of composers that saw the beginnings of the galant style, a
generation that has not, on the whole, been well served by history. In Music in the Galant Style,
Robert Gjerdingen complains of overly strong music histories that created a false divide
between Baroque and Classical:
The galant world hardly fits into that stark dichotomy, and one sees the resulting
discomfort in the endless remarks in surveys and encyclopedias about musicians whose
compositions show characteristics of both Baroque and Classical styles. One might
conclude that all but the most one-dimensional eighteenth-century composers were
stylistically uncertain of their true identities.3
Of course Galuppi knew very well who he was, but at present there are not many who could say
the same of him. His relegation to the marginalia of history naturally resulted in a loss of
familiarity with his style; there is no body of knowledge, no common vocabulary to rely on as
one might with, for example, Vivaldi, Haydn, or Mozart. As with all composers who have fallen
out of the canon, there is thus a certain amount of inertia that must be overcome by any scholar
seeking to become acquainted with his works.
As a further complication to regaining familiarity with Galuppi, Napoleons conquest of
Venice in 1797, and the attendant plundering of Venices libraries and other cultural repositories,
contributed to the scattering of what would otherwise likely be a relatively undisturbed
repository of Galuppi works. The dispersal and loss of works has implications for establishing a
chronology of Galuppis output. Many of his sacred music autographs bear the date of
composition, either on the title page (if there is one) or by the first system of music, set off by
3
Robert Gjerdingen, Music in the Galant Style (Oxford: Oxford University, 2007), 434.
3
two diagonal slashes below and to the right. Copyists, however, usually did not preserve this
useful reference, so for works without known autographs the only source of date is outside
corroboration, which is often lacking. An incomplete chronology naturally hampers
comprehension of a composers changing style with the passage of time.
The lack of a clear chronology is especially problematic when dealing with questions of
attribution, and unfortunately Galuppi offers several of those. With any renowned composer one
expects a certain amount of forgery and misrepresentation to be perpetrated by the unscrupulous.
One such unscrupulous person was, regrettably, Don Iseppo Baldan, one of Venices most
prolific and widely employed copyists. Baldans easy willingness to falsify attributions to fulfill
commissions casts doubt upon a huge repository of alleged Galuppi compositions supplied to the
Dresden court, especially since several of the Galuppi pieces he supplied have since been
revealed to be previously lost works of Vivaldi. Many of the pieces in Dresden ascribed to
Galuppi are not known to exist anywhere else; in particular, the Dresden commission contains
the vast majority of all extant solo motets attributed to Galuppi.
The purpose of this study is threefold. The first and broadest is to examine Venice as the
backdrop of Galuppis career, beginning with the economic realities (and, frequently, the refusal
of Venetians to accept those realities) that helped shape the musical life of the city, followed by a
summary of genres in which Galuppi worked and how they fit into the overall musical culture of
Venice. The oratorio and the motet receive particular attention, as both developed along a
distinctive path in Venice, in large part as a result of their association with the ospedali.
The second is to examine a sample of Galuppis reliably attributed sacred workseither
autographs or works for which substantial outside corroboration of his authorship existswith
the intent of establishing some characteristics of Galuppis style. This will provide a baseline for
comparison with works of questionable authenticity. Particular attention will be paid to works
intended for the ospedali (and therefore favor the oratorio and the motet), and to possible
chronological markers.
Third, and most specific, will be to apply the information established in the forgoing
chapters to the examination of the collection of the Dresden solo motets ascribed to Galuppi.
These, if their attribution is accurate, would have been destined for performance at the
Mendicanti, where Galuppi was employed from 1740 to 1751. These motets present a number of
challenges for authentication; not only are their sources untrustworthy, but their period of
4
probable composition places them at a point when musical fashions were in flux, as apparently
was Galuppis own personal style. The motets will be compared to the works discussed in
Chapter 3 in terms of there general compositional traits and in terms of galant compositional
schemata as described by Robert Gjerdingen. As an aid to future study, transcriptions of the
autograph works discussed in Chapter 3 and the eight Dresden motets discussed in Chapter 4 are
appended.
Biographical Sketch4
Baldassare (or Baldissera in many contemporary Venetian documents) Galuppi (18
October 17063 January 1785) was born in Burano, a village occupying a series of small islands
in the Venetian Lagoon about four miles from Venice proper. His birthplace provided the
soubriquet Il Buranello, by which he was commonly known during his life. His earliest teacher
was probably his father, a barber who played violin in the small orchestras that provided
entracte music for comedies.
Much of what is known about Galuppis early life comes from the Venetian magistrate
and music historian Francesco Caffi (17781874), whose Storia della musica sacra nella gi
cappella ducale di San Marco in Venezia dal 1318 al 1797, published in 185455, is an
important source of information about sacred music in Venice. While Caffi had access to the
Venetian archives, and lived close enough to Galuppis own time to have known musicians who
worked with Galuppi, we must nevertheless consider most of the anecdotes about his early career
as potentially subject to embellishment by time and memory.
The standard story, as related by Caffi, is that Galuppi made an early and unsuccessful
entry into the world of opera at the age of sixteen. He produced the opera Gli amici rivali for
Chioggia, later repeated as Le fede nellincostanza in Vicenza; its poor reception purportedly
caused him to seek aid from Benedetto Marcello (16861739). Marcello saw him apprenticed to
Antonio Lotti (16661740), who was at the time first organist at the Basilica di San Marco. Lotti
made Galuppi promise to abstain from operatic composition for three years, focusing instead on
4
The most current source of general biographical information in English is Dale Monsons article in New Grove:
Dale E. Monson, Baldassare Galuppi, in Grove Music Online, Oxford Music Online,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/50020. All sources ultimately draw extensively
on Caffi, who dedicated a chapter to Galuppi in his history of sacred music in Venice: Francisco Caffi, Storia della
musica sacra nella gi Cappella Ducale di San Marco in Venezia dal 1318 al 1797 (Venice, 185455; reprint,
Hildeshiem, Georg Olms, 1982), 1: 373416.
5
counterpoint and the organ. According to Dale Monson, however, there is evidence that
Galuppis studies with Lotti began earlier.5
By age 20 he had established some repute as a harpsichordist both in and outside of
Venice, and was performing at three Venetian theaters, the SantAngelo, the San Samuele, and
the San Giovanni Grisostomo. He was also supplying the theaters with replacement arias. His
next major operatic endeavor is better documented than his first. It was a pastiche, Gli odi delusi
dal sangue, composed in collaboration with a fellow pupil of Lotti, Giovanni Battista Pescetti
(ca. 170466). While it was received with satisfaction, it opened on 4 February 4 1728, less
than a week before Shrove Tuesday, and so could not have run more than a few days.6 It did
however open the door to further commissions.
From 1733 until 1764 Galuppi composed anywhere from one to four operas every year.
In the 1740s he was also active in adapting and arranging the influx of new comic operas from
Naples, which probably influenced him to try his own hand at comic works. His La forza
damore of 1745 was apparently unsuccessful; the music does not survive.7 After that rough
beginning, his Arcadia in Brenta of 1749 marked the beginning of a long and successful
comedy-focused collaboration dramatist Carlo Goldoni (170793). Together the two pioneered
the operatic ensemble finale, which remains the development for which Galuppi is principally
remembered today.
In 176568 he was in St. Petersburg at the invitation of Catherine the Great, and his
operatic production slowed during and after his Russian sojourn. He composed one opera in
1766, one in each year 176871, two in 1772, and one (his last) in 1773.
It is difficult to say exactly when his involvement with sacred music began. It would not
be surprising if he composed sacred works under Lotti's tutelage, but certainly by the 1730s he
had begun composing for the church; an autograph Confitebor for three solo voices from 1733 is
preserved in Dijon,8 and in 1734 his first known oratorio, Tobia il giovane, was written for
Macerata.
5
Monson, Galuppi.
6
Eleanor Selfridge-Field, A New Chronology of Venetian Opera, 1660-1760 (Stanford: Stanford University Press,
2007), 401.
7
Daniel Heartz, Vis Comica: Goldoni, Galuppi and LArcadia in Brenta, in From Garrick to Gluck: Essays on
Opera in the Age of Enlightenment (Hillsdale, New York: Pendragon, 2004), 1213.
8
Dijon, Bibliothque du Conservatoire, IN 8o/80.
6
His involvement with church music certainly began in earnest in 1740 with his election to
the post of maestro di coro at the Ospedalo dei Mendicanti. Almost immediately after attaining
the post at the Mendicanti, however, he petitioned for leave to go to London at the invitation of
the Kings Theater company. Permission was reluctantly granted, after he pointed out the
quantity of music he had already supplied; he then spent 174143 in England, with mixed
success. In 1748 he added the post of vicemaestro at San Marco to his duties. There he was
subordinate to Giuseppe Saratelli (ca. 16801762), his predecessor at the Mendicanti.
Tensions with the Mendicanti surfaced again in 1750, when his career as a composer of
comic opera began to blossom. The governors, evidently feeling he spent insufficient time
attending to his duties at the Mendicanti, declined to renew his contract. In 1751 the vacancy
was filled with Galuppi's colleague (and possibly sometime pupil) Ferdinando Bertoni (1725
1813). This left him with more time to pursue his operatic career as well as his duties at San
Marco. In 1762 he was promoted to maestro of the Basilica, after Saratellis death.
Also in 1762 Galuppi again became attached to one of the ospedali, when he took the
post of maestro di coro at the Ospedalo degli Incurabili. In 1764 the invitation to Russia came;
he resigned his post at the Incurabili, although he retained his position at San Marco with the
stipulation that he continue to supply a Christmas Mass and additional Vespers music during his
absence.9 During his stay in Russia, in addition to his secular vocal and instrumental music, he
produced fifteen a cappella works for the Russian Orthodox Church. These provided a model
later emulated and developed by native Russian composers, including his pupil Dmitry
Bortnyansky (17511825), who was sent to study with him in Venice after his departure in
1768.10
Upon his return to Venice he resumed his duties at San Marco. He also retuned to the
Incurabili, as his replacement, Francesco Brusa (17001768), had died shortly before his return.
His tenure at the Incurabili ended in 1777, when the institution became the first of the ospedali to
fall into bankruptcy and be taken over fully by the state. Although salaries for outside musicians
9
Monson, Galuppi.
10
Ibid. Relatively little is known about Bortnyanskys studies with Galuppi, but for further information on their
connection and Bortnyanskys Italian sojourn see Marika C. Kuzma, Dmitrii Stepanovich Bortnianskii (1751
1825): An Introduction to the Composer through an Edition of His Choral Concertos Priidite, vospoim and Glasom
moim (Ph.D. diss., Indiana University, 1992), 3037.
7
were eliminated, music at the Incurabili did not cease immediately.11 Galuppi continued
composing nearly up to the time of his death on 3 January 1785, although in his last years health
problems slowed his output. He wrote his final dramatic sacred work, Il retorno di Tobia, to a
libretto by Gasparo Gozzi, for the Incurabili in 1782. It was composed for the visit of Pope Pius
VI in May of that year, and Galuppi conducted the performance himself, with musicians from all
four of the ospedali participating. Attendance was so high that back-to-back performances were
staged in the music room of the Incurabili, which reportedly had a capacity of 1,400.12
Galuppis death marked the end of an era for the Venetian Republic. He was among the
last native composers of an independent Venice to achieve international fame, and certainly the
last to remain so tied to the city. Many talented Venetians had by that point realized that there
were more lucrative opportunities to be had elsewhere. Venice retained its pomp and
circumstance up to the very end, but the city had been faltering for some time. The nature of that
decline, and its effects, are the subject of the remainder of this chapter.
Venices Sinking Fortunes

When Galuppi was born the Venetian Republic had already been in a state of slow
economic decline for years. At one time it had been among the economic and military
powerhouses of Europe, and at various points its lands included not only an extensive section of
the Italian mainland around the city proper, but also Dalmatia, on the opposite coast of the
Adriatic, and holdings in the Mediterranean. In time, the fortunes of the Republic dwindled, the
military atrophied, the Mediterranean holdings were lost to the Turks, trade declined, industries
withered or died, and noble families were reduced to penury.
Yet to the casual observer life in Venice went on much as it always had, filled frequently
with elaborate spectacles musical and otherwise. In part this was due to a peculiarly Venetian
trait of obduracy in the face of change. Venice, and the ruling nobility in particular, had a
difficult time letting go of the past; many Venetians seemed to project the impression that any
current economic woes were a temporary aberration that would no doubt shortly be resolved, and
accordingly there was no real need to cut back on expenditures. Another factor that kept the
spectacle of Venice afloat was the fact that the city became in the eighteenth century something
11
Jane L. Baldauf-Berdes, Women Musicians of Venice: Musical Foundations 15251855 (Oxford: Clarendon,
1993), 23132.
12
Ibid., 157.
8
of a tourist attraction, drawing moneyed visitors, sometimes with a retinue in tow, with much-
needed infusions of cash.
But despite superficial appearances, the decline had ramifications for the musical life of
the city in a number of ways, both obvious and obscure. In Venice, as elsewhere, wealthy
members of the nobility served as patrons of the artsin fact patronage, often lavish, was
practically a requirement of high office. In 1738 Galuppi himself was in service to the patrician
Michele Bernardo.13 He is also known to have had patrons in both the Gritti and Grimani
families, and it is possibly significant that members of both families served on the board of
governors of the Mendicanti at the time of Galuppis election.14 Fewer wealthy nobles obviously
equated to less direct patronage of musicians and artists, but there were less immediate
repercussions as well. For instance, poor nobles not only became a drain on the coffers of
society, they also helped to encourage the rapid increase in the number and popularity of
gambling casinos. These were regulated under the same laws that governed the open seasons
and operating hours of the theaters.15 Casinos thus threatened audience numbers at the theaters,
which in turn affected composers, singers, and instrumentalists; even the theaters devoted to
spoken comedy employed small orchestras. On top of that, each of the theaters was owned by a
noble family and frequently was administered by other, less fortunate members of the nobility,
whose incomes were thus also jeopardized. Finally, whether they realized it or not, the ospedali
had a vested interest in seeing the Venetian opera scene remain vibrant. As the fame of the
ospedali grew outside of Italy, and as Venice became more attractive to tourists, it became
increasingly important for the ospedali to retain major composers to provide their music. Since
the salaries they offered were relatively paltry compared to what a successful opera composer
could earn, having several active opera theaters in the city was a definite boon as far as
convincing famous composers to stay. The remainder of this chapter explores the causes and
effects of the decline and expands on the repercussions outlined above.
13
Monson, Galuppi.
14
Baldauf-Berdes, 222.
15
Venetian theaters and casinos were prohibited from operating during Lent for liturgical reasons, as was generally
the case elsewhere. The government further imposed additional restrictions for various reasons, including health
and sanitation concerns, crime prevention, and general control over the populace. Theatergoers were required by
law to be masked, at least from the latter 1740s, but this also naturally provided opportunity for undesirable criminal
activity. See Eleanor Selfridge-Field, Song and Season: Science, Culture, and Theatrical Time in Early Modern
Venice (Stanford: Stanford University, 2007), 98 and 10910. Theaters and casinos are also discussed in more detail
later in this chapter.
9
Although the long, slow decline of the Venetian economy had many causes and many
effects, they are nowhere as immediately obvious as they are in the tribulations of the nobility.
Noblemen formed an indispensable part of the Venetian government, but at the same time
actually holding a government post frequently meant incurring expenses that many members of
the nobility were, in the seventeenth and eighteenth centuries, increasingly unable to bear. The
structure of the government itself reinforced behaviors that were ultimately detrimental to the
financial well-being of all but the most fortunate noble families. The economic health of the
nobility had significant repercussions for musical life in Venice for a number of reasons. As
already mentioned, patronage of the arts was practically a requirement of high office; the nobility
made up a large part of the theatrical target demographic; and their taxes helped provide funding
for festivals and state-run institutions. These ties to the musical life of the city will be explored
in more detail, but first a brief examination of the state of the nobility and the government will
provide a context and illustrate several facets of Venetian society.
The functions of government were uniquely reliant on a ready supply of noblemen
because they and they alone were permitted to hold public office. The rank and file of the
bureaucracy was fleshed out with members of the cittadini originali,16 who might loosely, if
questionably, be called the middle class. In fact, the cittadini made up about the same
percentage of the population as the nobility, enjoyed extensive international trading privileges,
and were often quite wealthy.17 Even so, a large number of posts could be filled only from the
ranks of the nobility. The remainder of the population, the popolani, made up the bulk of
Venices inhabitants but were barred both from office and international trade.
There were several complicating factors in keeping key posts filled. Characteristic of
Venetian government was an almost paranoid aversion to the thought of any one person ever
being able to amass considerable personal power. This manifested most obviously in the short
term limits imposed on most offices: apart from the Great Council, which was principally an
electoral body and contained all noblemen over the age of 25, most posts had a term of only six
months or a year (although some lasted several years), and consecutive terms were prohibited;
additionally, some posts required a brief period of enforced retirement at their conclusion.18 The
16
James Cushman Davis, The Decline of the Venetian Nobility as a Ruling Class (Baltimore: Johns Hopkins, 1962),
23.
17
Gary Wills, Venice: Lion City: The Religion of Empire (New York: Washington Square, 2002), 123.
18
Ibid.
10
government was, additionally, highly decentralized. At a systemic level, Venetian government
seldom consolidated authority in the hands of one man where it could instead vest it in the hands
of two or more. Even the more important Venetian cities on the mainland were assigned two
governors rather than one.19 As James Cushman Davis explains it:
Its complexity was partly the result of a strong Venetian attachment to tradition.
Government bodies were rarely abolished, but tended to change their nature as centuries
passed. As a result of this process, lines of authority between them were often hazy and
responsibilities were not always clear. Some bodies absorbed a combination of
executive, legislative, and judicial functions. The complexity also resulted from a policy
of keeping authority diffused; most responsibility was not in the hand of individuals but
of committees of noblemen.20
The Republic of Venice was effectively run by committee, and although in theory the Doge was
the highest power in the land, in practice he was limited by a long list of restrictions by which he
pledged to abide at his inauguration and which, lest he forget, was read aloud to him every two
months.21 Coupled with centuries of accumulated tradition, the result of these policies was a
large and convoluted government structure in constant need of noblemen to fill a vast quantity of
frequently rotating posts.
A recurring concern was the fear of not having sufficient noblemen to fill those posts.
Davis estimates that there were roughly 60 key positions in the government, but because of
enforced temporary retirements, illness, travel, and so on, the actual number of men needed to
keep them filled would be closer to 100.22 There was legitimate cause for worry. A rising
percentage of the nobility was too poor to afford the expenses associated with the highest offices,
and even some of the better off families began to feel the strain of keeping up the appearances
demanded of the politically ambitious.23 Most prominent families, and indeed many that had
fallen on hard times, owned multiple residences, in Venice and on the mainland. The variable
periods between the summer and winter government sessions were known as villeggiatura, and
the expected practice was to spend these holidays on retreat at a country estate.24 Noble families
could thus incur the expense of household migration up to four times a year. Even financially
troubled families struggled to adhere to this custom. In his memoirs, the poet and playwright
19
Ibid., 23.
20
Ibid., 20-21.
21
Wills, 98.
22
Davis, 23.
23
John Julius Norwich, A History of Venice (New York: Knopf, 1982), 596.
24
Selfridge-Field, Chronology, 22.
11
Carlo Gozzi (17201806) relates the experience of returning from a three-year stint in military
service in Dalmatia to find the family home in Venice in desperate disrepair and the family away
at their Friulian farmhouseone of three on the mainland. Upon meeting up with them he found
the country home in little better condition, portions of it having been demolished and sold as
materials. In November the Gozzis dutifully returned to Venice, their traveling party consisting
only of the family, a few servants, and some domestic animals.25
Additional costs for keeping up appearances included expenses associated with hosting
academies (gatherings of like-minded individuals dedicated to the contemplation of music, art,
literature, or other intellectual pursuits) and giving balls, banquets, and other such
entertainments. Frequently these entertainments were for the benefit of visiting or resident
foreign dignitaries; the state would often designate someone to play host to a visitor, and this
host would need to foot the bill for some or all of the expenditures thus incurred. For instance, in
May of 1784 the Pisani family was responsible for organizing events for the visit of King Gustav
III of Sweden, including balls, a regatta, an opera, and a cantata with double orchestra.26
To make matters worse for the government, the noble population itself was in decline.
An outbreak of plague in 157577 had struck down many, and while the noble population rallied
toward the end of the century, by 1631 it had fallen again; there were fewer than 1,700 males
over 25, and the population never really recovered.27 New blood was added very infrequently:
the Venetian nobility had been essentially a closed caste since 1297, when the patrician families,
their privileges, and their responsibilities were defined by law.28 Several wealthy families were
added in 1381, after the War of Chioggia, when the Republic was desperate for both money and
men.29 After that no new families were admitted to the nobility for roughly 265 years, and even
then measures to add to the pool of noble families were adopted only with reluctance on the part
of the government.30
Because of the importance of the nobility and their limited supply, over the centuries
Venice adopted many policies intended to help preserve the noble class, either by force of law or
custom. In time these policies often proved unhelpful or even counterproductive, thanks either to
25
Carlo Gozzi, Useless Memoirs, trans. John Addington Symonds (London: Oxford University, 1962), 5868.
26
Elsie Arnold and Denis Arnold, Russians in Venice: The Visit of the Conti del Nord in 1782, in Slavonic and
Western Music: Essays for Gerald Abraham (Ann Arbor: UMI Research Press, 1985), 129.
27
Davis, 5657.
28
Wills, 112.
29
Ibid, 182.
30
Davis, 37.
12
unintended consequences or to their failure to anticipate and adapt to the natural changes all
societies undergo as demographics shift, industries rise and fall, and technology marches on. By
the time the pernicious effects of such policies became obvious, however, they had acquired the
weight of tradition, and an institutional opposition to change was endemic. Most notable among
these policies is the practice of fideicommissum, similar to the concept of entail or fee tail, which
itself helped spawn a host of associated customs. In its most general sense, a fideicommissum is
a type of will that not only governs the disbursal of the testators property after death but also
places restrictions on what the inheritor may do with it, including to whom it may be passed after
the inheritors own death. In the absence of a strong tradition of primogeniture, it emerged as a
way to prevent familial wealth from fragmenting, preserving capital and ideally allowing for a
steady income from landownership.
The fideicommissum was in use in Venice as early as the eleventh century, but by the
seventeenth it had evolved a fairly standard set of characteristics: it concerned immovable
goods (generally land), which could not be sold or divided by any heir; it established order of
inheritance as dictated by the testator, although the default was generally that property passed to
first-born sons in perpetuity; and it frequently established requirements that the inheritor look
after the needs of his younger brothers and sometimes provide dowries for sisters.31
While there were reasonable justifications for all of these provisions, at least originally,
by the end of the Republic they had probably done more harm than good for several reasons.
First, by requiring heirs to look after the financial needs of their siblings, it provided
encouragement for these younger offspring to live off the family estate rather than attempt to
secure their own finances. It did not help that at the same time Venetian commerce was
declining, the patrician families were beginning to view trade as undignified and inferior to the
lifestyle of the leisured, landed gentry (regardless of whether they had the income to sustain such
a lifestyle).32 Dudley Charleton, the English ambassador circa 1612, noted that after the old
manner theyr wont was to send theyr sonnes upon galies into the Levant to accustume them to
navigation and to trade. They now send them to travaile and to learne more of the gentleman
than the marchant.33 At the beginning of the eighteenth century the situation had not changed,
as Joseph Addison was able to observe that their nobles think it below their quality to engage in
31
Ibid., 68.
32
Ibid., 40.
33
Ibid., 45.
13
traffic, and despite his assurances from a noble Venetian, who is still a merchant that the state
was aware of the situation and would speedily find out some method to redress it this does not
seem to have been the case.34 Addisons anonymous nobleman must have been quite the
optimist, as by that point much of the nobility had been scorning trade for a century or more. Of
course, even should an impoverished noble have wished to improve his quality of life by
resuming trade activity, without the ability to sell property for liquid capital or to be rid of the
costs of maintaining it, it is questionable how well he could have competed with the established
and wealthy merchants among the cittadini.
A second consequence of the fideicommissum was that the necessity of supporting
younger siblings created a strong incentive to economize by restricting marriages in order to
keep families small. Frequently only a single brother, usually the eldest or youngest, would wed
and have children. Sisters and daughters, of course, presented the problem of dowries; if the
family was not in a position to provide one, or had more women than it could afford to marry off,
the time-honored solution was to send them to live in convents. In the eighteenth century,
however, it became increasingly common for not only surplus daughters but even superfluous
sons to seek refuge in the churchthe number of noble sons entering the church doubled
between 1620 and 1760.35 The practice of restricting marriage was not without its critics, nor its
dangers. The historian Michele Foscarini, in his history of the Venetian Republic, decried the
practice as a sign of customs corrupted by idleness and luxury, which persuade us to forego
having heirs, rather than leave them unable to meet the various expenses.36 As for danger, it
was entirely possible, if marriage plans went awry or inconvenient deaths interfered, for lines to
die out in this fashion; even some old and distinguished families met such a fate.37
The Gozzi family again provides a useful example; not only did they experience their
share of woe stemming from an entailed estate and unfortunate marriages, they were also deeply
involved in Venetian cultural life. Jacopo Gozzi was the titular head of the family, but he was a
semi-paralytic invalid. His responsibilities naturally devolved to others in the family, in this case
with unfortunate consequences. At one point the Gozzis had been rather prosperous, family
records indicating that Jacopos great-grandfather had paid taxes (the decime, a tithe to the
34
Joseph Addison, Remarks on Several Parts of Italy, &c, in the Years 1701, 1702, 1703 (Dublin: T. Walker, 1773),
59.
35
Davis, 67.
36
Cited in Davis, 66.
37
Norwich, 596.
14
state based on total property value) on over ten thousand ducats of income.38 That the familys
fortunes did not last can be readily seen in the description of the state of the family homes
mentioned earlier.
Of Jacopos four sons, two are of interest to musical historians. Carlo Gozzi, previously
mentioned, is chiefly remembered today for his rivalry with the playwright Carlo Goldoni,
championing the cause of the old commedia dellarte against Goldonis abandonment of masks
and traditional stock characters. During his lifetime he was not especially associated with music,
nor does it seem to have attracted much of his attention: in spite of the prominent place of
Goldoni in Gozzis memoirs, he never mentions either his rivals close association with Galuppi
or their operatic collaborations. However, in the nineteenth century his fondness for fairy tale
elements made him attractive to the German Romantics, and two of the plays he wrote in
response to Goldoni eventually achieved lasting operatic fame in the form of Puccinis Turandot
and Prokofievs Love for Three Oranges.
Of more immediate relevance to the musical scene of eighteenth-century Venice is the
eldest son, Gasparo (171386), also a poet and dramatist, as well as a philosopher and librettist.
At least two (or more probably three) of his libretti were set to music by Galuppi.39 He also had
a brief and unhappy career as the manager of the Teatro SantAngelo in 174748,40 and in 1760
again assumed a similarly brief entrepreneurial role as the editor of Venices first regularly
published newspaper, the Gazzetta veneta. The Gazzetta was in the spirit of the irregular news
sheets which had, around 1700, reverted to manuscript with the decline of the Venetian printing
industry.41 It dealt extensively with theatrical matters, and published opinion, fact, and fiction
somewhat indiscriminately, as in 1761 its publication license was not renewed on the grounds
that only a third of what it published was useful.42 As the eldest, it was he who was chosen
to marry, and his wife was yet another poet and librettist: Luisa Bergalli (170379), disciple and
friend of Apostolo Zeno.
38
Gozzi, 59.
39
Specifically the serenata I presagi (1755) and the oratorio Il ritorno di Tobia, written for the Incurabili (1782).
The Grove work list and other sources additionally name a comic opera, Il puntiglio amoroso (1762) as being by
either Carlo or Gasparo, but given Galuppis close association with Goldoni and the precedent of the serenata in
1755, Gasparo makes a much more likely author than his brother. Considering the poor survival rate of serenatas
and their libretti, additional settings are also possible. See Monson, Galuppi.
40
41
Selfridge-Field, Song and Season, 309. Venetian printing, particularly of music, had failed to keep pace with
technological advances elsewhere in Europe, and is discussed in greater detail in Chapter 4.
42
Ibid., 349, 353.
15
In theory, Gasparo was the acting head of the household. In practice, however, he was
unwilling or possibly unable to assume command in the face of two powerful women. One was
his wife, who aside from possessing a strong personality was ten years her husbands senior.
The other was his mother, Angela, who came from the much more prestigious Tiepolo family.
She insisted on managing the family finances herself, with Luisa as her frequent collaborator. In
his memoirs Carlo places much of the blame for the familys dire financial situation on these two
women. Carlo himself urged the family to give up city life and live frugally on the country
estates,43 a practice to which many land-rich but capital-poor nobles resorted. It was Luisa, he
claimed, who urged his brother into the ill-advised venture at the Teatro SantAngelo, which he
stated was far more under her control than her husbands.44 As for Gozzis mother, Symonds
corroborates his opinion that she had badly mismanaged the family finances, citing instances in
Gasparos correspondence where even he complains that she had made underhand contracts to
the prejudice of himself and his children, and explaining her mindset thus:
It was, in fact, a misfortune for the Gozzi that their father, Jacopo Antonio, married into a
patrician family of higher rank and pretensions than his own. Angela Tiepolo, knowing
herself to be one of the last representatives of a very noble house, with considerable
expectations from her childless brother, drove her easy-going husband into ruinous
expenditure, and domineered over her kindred by right of a marriage which savoured of a
msalliance.45
These underhand contracts included the fraudulent sale of entailed lands, ostensibly to pay the
portions of his sisters dowries still in arrears, among other expenses. Carlos objections to this
practice led to an eighteen-year legal saga of lawsuits and countersuits between Carlo, his family,
and his mothers co-conspirators.46
The Gozzi family thus provides us with an illustration of some of the problems that arose
from the fideicommissum and some of the dangers inherent in entrusting the perpetuation of the
family line to a single couple; an unfortunate marriage could have repercussions almost as dire as
a childless one. We also see in Angela Tiepolo Gozzi an instance of attempting to live up to
ones station, but beyond ones means. In this respect, we shall see, she was by no means
unique.
43
Gozzi, 81.
44
Ibid., 89.
45
Ibid., 71n.
46
Gozzis account is extensive, even with Symonds summarizing large portions of the text. See Gozzi, 7188.
16
There was one class of nobility for whom marriage was denied even as an option: those
who accepted relief from the state. Impecunious nobles came to be known as barnabotti, from
their tendency to reside near the parish of San Barnab. Those among them who received money
and housing from the state agreed to remain single, so as to bring no more barnabotti into the
world.47 This subset of the barnabotti increased markedly throughout the eighteenth century,
placing higher and higher demands on the coffers of the state. In 1736 the sum of 39,542 ducats
was set aside for the aid of poor patricians. By 1785, the year of Galuppis death, that number
had more than tripled to 121,752 ducats, even as the number of patricians declined.48 To place
these sums in context, the yearly salary of a singer at San Marco was approximately 80 ducats;49
the total yearly expenditure for the main officials, choir, and orchestra totaled roughly 4,750;50
and the extravagant musical festivities in honor of the visit of the Grand Duke and Duchess of
Russia in 1782, consisting of an opera, formal dinner, regatta, several balls, entertainment in the
piazzas, and an extraordinarily lavish cantata production, totaled very roughly 5,500 ducats,51
which was sufficient to draw the inquisitive eye of the Senate. The maintenance of impoverished
nobles was an expensive business.
Those who opted not to depend on the largesse of the state faced the significant problem
of making ends meet. As members of the patrician class, they were still expected to dress in silk,
and by virtue of their status they were blocked from becoming tradesmen or shopkeepers;
however, they were still entitled to sit in the Great Council, and some turned to rigging minor
elections or selling their votes to make a living.52 Others aspired to become confidence
tricksters, although the barnabotti seldom inspired much confidence.53 And a very great many
turned to gambling.
Europe in the eighteenth century found itself in the midst of a gambling craze that
afflicted not only Italy but also England, France, and Germany. Venice blossomed with casinos
that proved dangerously attractive to patricians hoping for a quick reversal of fortune, and the
47
Norwich, 596.
48
Davis, 50-51.
49
50
Arnold and Arnold, Russians in Venice, 128.
51
Ibid. This figure includes only the expenditures on musical entertainment; additional expenses could have
doubled or tripled this figure judging by other similar displays: see ibid., 129 and 130, note 26.
52
Norwich, 596.
53
Maurice Andrieux, Daily Life in Venice in the Time of Casanova, trans. Mary Fitton (New York: Praeger, 1972),
66.
17
state even harnessed the gambling urge to raise money by means of a civic lottery, established in
1692 and persisting until at least 1760.54
The most famous casino, principally catering to the more affluent citizens, was called the
Gran Ridotto, and it operated out of the mezzanine level of the Palazzo Dandolo until 1774. It
sat between San Marco and San Mois, and featured sixty tables; women were allowed, but were
permitted to play only the game of war, a restriction that prompted them to start their own
casinos.55 These female-run operations were probably mostly small, private salons, and they
proliferated so extensively that eventually the Council of Ten took action against them.56 In
1744 there were 144 identified by the Council, which shut them all down and tightened gambling
restrictions in response to the economic downturn that began the previous year.57 Some of them
were crooked: according to Andrieux, it was not unknown for noblemen to teach their daughters
to rig games of faro.58 This likely provided another good reason for the Council to close them.
Aside from the dangers of unscrupulous game runners, the casinos attracted other forms of
crime. Theft in the Gran Ridotto was a recurring problem, and there was an alarming tendency
for unpaid debts to be redressed by means of knife or gunplay.59
The popularity of the casinos and the state of the nobility both had significant
repercussions for another aspect of Venetian culture: the theaters. Until the early seventeenth
century gambling had been illegal in Venice, although this did very little to reduce its popularity.
Resigning itself to the inevitability of gambling, the state opted to legitimize it, but under
licensed controls.60 Also in the seventeenth century the government became concerned about the
level and kinds of nighttime activity occasioned by the popularity of theaters. In 1653 the
Provveditori alle Pompe, or Overseers of Festivity, began a renewed enforcement of sumptuary
laws, and by 1676 the Council of Ten regulated the hours of operation for theaters: they were
limited to the four hours after nightfall, except during Carnival, and constrained within two
seasons, one in mid-Autumn and one shortly before Lent (although a short Ascension season was
54
Selfridge-Field, Song and Season, 96.
55
Ibid., 94.
56
The Council of Ten was originally a branch of the government charged with policing the patrician class, but by
the eighteenth century it had appropriated or been given numerous additional powers and responsibilities, including
oversight or partial oversight of censorship, espionage and counter-espionage, and state money.
57
Ibid., 101.
58
Andrieux, 130.
59
60
Andrieux, 130.
18
later added).61 This is significant because theaters and casinos were limited to the same hours of
operation; as the nobility constituted a significant portion of the clientele of both types of
establishment, they were thus operating in direct competition.
Of course, theaters also faced competition from each other. The opening in 1755 of San
Benedetto, intended primarily as a seat for serious dramma per musica, brought the number of
permanent public theaters in Venice to seven.62 Combined with the lure of the casinos, this made
attracting audiences a tricky proposition. The government had a vested interest in ensuring that
the theaters stayed reasonably healthy, since all of them were owned by noble families,63 and
thus it is not surprising that legal steps were taken to prevent the situation from getting out of
hand. In November of 1757 the establishment of additional theaters was prohibited by law.64 It
helped that the various theaters tended to adopt different specialties, some favoring opera and
other spoken comedy. Different theaters even favored different types of entractes, with San
Giovanni Grisostomo, for instance, favoring balli (some of which in Venetian practice
approached full-scale ballets) and forbidding comic intermezzi altogether.65 San Salvatore
alternated between opera and comedy in autumn and winter, respectively.66 These specialties
sometimes fluctuated with the predilections of impresarios, but because different types of
production favored different seasons, the number of theaters in direct competition at any single
moment was kept at least somewhat in check.
Although noblemen owned the theaters, the day-to-day operation was generally entrusted
to a manager who leased the theater, and who might himself be a patrician, as was the case with
Gasparo Gozzi and his wife. The standard arrangement was that the owner received the money
taken as admission, while the managers profits came from the hire of seats, which was a
separate transaction.67 The best seats, of course, were the boxes hired by the nobility, and these
were hereditary. This became a problem in the 1720s and 1730s, as more people failed to pay
their rent; at one point, theater boxes had been considered an asset, but gradually they often came
to be seen as a liability, with some box inheritors unwilling or unable to honor their ancestors
61
62
Ibid., 524.
63
Andrieux, 184.
64
Ibid., 182.
65
66
Ibid., 25.
67
Andrieux, 184.
19
debts.68 This problem, like gambling, suggests a predilection for debt symptomatic of a larger
problem. As Selfridge-Field notes,
The concept of paying for anything in advance was one foreign to the Venetian nobility.
The informal credit system on which opera (and much else) depended in the seventeenth
century played a significant role in the decline of Venetian culture in the eighteenth. It
became increasingly common for debts due upon death to exceed the entire value of an
estate.69
This tendency pursued the Venetian nobility even outside their native Venice. As an example,
consider Cardinal Pietro Ottoboni (16671740), grandnephew of Pope Alexander VIII and scion
of an old Venetian family. He is remembered today principally for his extensive patronage of
the arts in Rome and as a benefactor of Corelli, Vivaldi, and other composers. Despite his high
standing in the church and the numerous posts he held, at the time of his death his debts were
massive; they have since been calculated at approximately fifty-seven times the amount of his
annual income.70
The unreliability of the nobility was doubtless one of the factors that brought the theaters
under government scrutiny again in the eighteenth century. Notaries served notices to managers
who failed to pay their bills, and repeat offenders were sometimes monitored nightly. Beginning
in 1753 managers and owners were required to pay a deposit of several thousand ducats in
advance of the seasons productions, in response to complaints from musicians, workers, and
other personnel.71 However, this was by no means the only problem facing theater owners in the
mid-eighteenth century. One issue was that the serious dramma per musica was beginning to
lose its novel spark and stagnate; by 1725 more productions relied on recycled libretti than
original ones, a state that continued until the 1750s, by which point comic opera was already in
the ascendant.72 The conventions of serious opera had also grown ripe for mockery. Benedetto
Marcellos satirical Teatro alla moda of 1720 famously skewers operatic singers and stereotypes,
and Marcello was not alone. Between 1726 and 1743 Venices various comedy troupes began
producing a series of mock-serious operas, performed by the comedians rather than
professional singers and musicians, with pompous titles and fictitious dedicatees: for instance,
the autumn season of 1735 saw Ottaviano trionfante, a melolepidodrammamusicale, dedicated
68
69
Ibid., 100.
70
Ibid., 101.
71
Ibid., 100.
72
20
to a Signor Odmuaponarcemdo Mirop. The year 1743 is significant, as it marks the introduction
of true comic opera.73 In the 1740s, comedy (operatic or spoken) was very appealing to theater
owners and managers, not least of all because it attracted a different audiencefewer nobility
and more of the cittadini and popolani, who had the great appeal, to the entrepreneur, of actually
paying. Comedy also had the virtue of being cheaper to produce than serious opera, with its
reliance on elaborate sets and stage machinery; productions at the San Salvatore, for instance,
were known for mesmerizing landscapes and stupendous visions,74 which no doubt
occasioned similarly stupendous expenditures. Spoken comedy, of course, was even cheaper
than comic opera, and indeed after Gasparo Gozzis 174748 run at the SantAngelo, the theater
promptly converted to a comedy house, playing fully-scripted comedies by Carlo Goldoni that
proved so successful that he was subsequently hired on a four-year contract, at an annual salary
of 450 ducats.75 This was also about the time that Goldoni began collaborating with Galuppi on
comedies, beginning with LArcadia in Brenta in 1749 and continuing for seventeen works in
total over the next seventeen years, with thirteen of those produced by 1755.
Even as serious opera was widely replaced with more attractive fare, attendance remained
a concern. Venetian audiences were strongly drawn to opening and closing nights, which
theaters exploited; opening night tickets cost double, and opening performances were often more
elaborate. However, performances ran for an average of three weeks.76 This left the problem of
filling the house in the intervening time. Many theaters featured gambling, whether licensed or
not, as a draw for the casino crowd, which no doubt helped.77 Luring visitors from outside of
Venice was also important. Fortunately, Venice in the eighteenth century was undergoing
something of a tourist boom. It was an attractive stop for young foreign aristocrats on their
Grand Tour and, after the winding down of wars in the early part of the century, began drawing
more notable visitors. Partly in response to all the trade lost to other ports, Venice began
promoting the Ascension fair as an additional draw.78 With respect to the tourist trade, Venices
73
Piero Weiss, Venetian Commedia dellArte Operas in the Age of Vivaldi, The Musical Quarterly 70, no. 2
(1984), 198200.
74
75
Ibid., 524. A salary of 450 ducats, incidentally, is 200 more than Galuppi (and Bertoni after him) earned as
maestro di coro at the Mendicanti; see Gastone Vio, I maestri di coro dei Mendicanti e la cappella marciana, in
Galuppiana 1985, ed. Maria Teresa Murano and Franco Rossi (Florence: Leo S. Olschhki, 1986), 108.
76
77
Andrieux, 184.
78
21
position was a mixed blessing. While the city was well situated for maritime trade, it was
difficult to reach for most other purposes. Floods and blizzards often made travel times
unpredictable, and furthermore all visitors from outside the Republic were subject to a strictly-
enforced quarantine period of two to five weeks.79 The positive side to these issues is that those
who came to Venice usually stayed for a long time, if only to make the effort worthwhile. In the
case of visiting nobility they often came with extensive retinues as well. The downside is that
these factors made life harder for theater managers, who not only hired singers (and had to hope
they arrived in a timely fashion), but were responsible for their travel and accommodations as
well.80
The rise in tourism was also a boon for the ospedali. By the end of the eighteenth
century, the all-female orchestras and choruses of the ospedali were internationally famous,
thanks to the reports of travelers, especially musically literate ones such as Charles Burney. In
1740, when Galuppi was hired at the Mendicanti, the performing ensembles (or cori) of the
ospedali were not yet so well known, but by the 1760s they were able to hold open competitions
to fill empty posts, with the expectation of being able to choose from among famous
composers.81 Aside from the highly visible positions of maestro and vicemaestro di coro, the
ospedali also employed other maestri in instructional roles when circumstances and finances
allowed; Vivaldi, for instance, spent most of his time at the Piet as maestro di violino. The
draw of celebrated composers, coupled with the girls reputations as performers, encouraged
high attendance at the regular concerts given by the ospedali, which helped to supplement their
income.
While the institutions received some state funding, it was not sufficient or predictable
enough to cover operating expenses. Aside from state funds, revenue sources for the ospedali
included legacies and endowments, gifts, stipends provided for Masses, lotteries, tuition for figlie
di spese (girls who paid for their education, rather than being accepted as orphans), and
donations for the use of scagni, chairs made available for use during the concerts presented by
the girls. Other income was historically derived by involving the girls of the ospedali in
commercial activities such as lace making or sewing sails for ships in the Arsenal.82 The hiring
79
80
Ibid.
81
82
Ibid., 161.
22
of chairs was particularly significant as a method of making the musicians more self-supporting.
The expected donation for use of a chair was 20 soldi, although some listeners were motivated to
greater generosity. Goethe reportedly thought the price of chairs too low; a box seat at the opera,
in comparison, cost four times as much and would have had the price of a candle and a libretto
tacked on as well. The donations for chairs did not constitute direct income for the ospedali:
rather, the proceeds from chair hires were divided among the participants. The method of
division varied by institution, but at the Mendicanti part of the proceeds also went to the
composer as a kind of bonus.83 By defraying the cost of the music in this way, more of the gifts,
legacies, and contributions to the donation baskets (separate from the hiring of chairs) provided
by appreciative patrons could go directly into the coffers of the ospedali.
Even so, the ospedali seldom missed an opportunity for frugality. While the cori were
certainly the most famous part of the ospedali, their numbers made up only a small portion of the
total population. Aside from the performers there were many other girls (and a smaller number
of boys) dependent on the ospedali for support. The governors of the ospedali, drawn from the
ranks of the nobility, were usually uncompensated and were actually expected to absorb
particularly severe expenditures that threatened the financial equilibrium of their institutions.84
This naturally tended to limit governorship to the shrinking pool of wealthy noblesoften from
theater-owning families, such as the Grimani. Additionally, salaries were kept small. For
example, Galuppi (and later Bertoni) earned an annual salary of 250 ducats at the Mendicanti,
although in practice this sum would have been higher thanks to the fraction of chair hire
proceeds the Mendicanti afforded them. Even so, the sum was paltry in comparison to what an
active opera composer might earn. By way of comparison, for a dramma per musica Galuppi
might earn 90 zecchini at San Grisostomo or 80 at San Benedetto in Venice, or 70 zecchini at the
theater in Padua.85 The multiplicity of denominations employed in the Venetian economy, and
their somewhat mutable relationships, makes a direct comparison tricky. However, the ducat in
general use (as opposed to the bank ducat or the oil ducat) was worth approximately 124
soldi; a zecchino was worth 440.86 A sum of 70 zecchini therefore amounts to a little over 248
ducats; in other words, for a single opera in the provinces Galuppi could match his yearly base
83
Ibid., 164.
84
Ibid., 158.
85
86
For an attempt at disambiguating Venetian currency, see Appendix 3 of Selfridge-Field, Chronology, 65859.
23
salary at the Mendicanti, and for an opera in Venice he could exceed it handily. Considering that
Galuppi sometimes produced as many as four operas in a year, and factoring in fees for revivals,
his salary from the Mendicanti was a relatively minor portion of his total income. This is all the
more reason why a healthy operatic scene in Venice had tangential benefits for the ospedali,
since it allowed opera composers such as Galuppi to supplement their incomes handsomely
through local channels, rather than constantly having to travel away from the ospedali or, worse,
leave entirely for greener pastures.
Although a great deal of attention has been paid to the nobility in particular, the rest of
the citys fortunes fluctuated while the nobles attended to their personal crises. Since class in the
Republic was primarily a legislative matter, each of its three castes (patricians, cittadini, and
popolani) had its shares of both the wealthy and the destitute. The nobilityeven newly minted
nobilitylargely abandoned trade as undignified for their station, instead choosing to turn their
freed-up trading capital into opulent mansions and palaces.87 Trade became primarily the bastion
of the cittadini, whose fortunes improved somewhat in the second third of the century. Piracy
had long been a major impediment to maritime trade, even during those times when war with the
Turks was not interfering with traffic.88 In 1736 the regulations on shipping changed:
previously, the government had required merchantmen to sail in convoys for protection, which
often required ship owners to suffer long waits while convoys were assembled and meant that
when the convoys reached their destinations, the sudden glut of goods from multiple ships
played havoc with prices. Subsequently, however, any ship with a minimum of 40 men and 24
guns was permitted to sail alone, a policy successful enough to revitalize shipping and kick-start
a small shipbuilding boom in the ancient industrial complex of the Arsenal.89 This was excellent
news for the merchants but little consolation for the nobility or for the government, whose taxes
leaned so heavily on property ownership. Other industries did not see a similar revival.
Historically, Venice had been a major center for wool, silk, and printing, but all of these were
tending to the moribund in the eighteenth century, having been surpassed by other centers long
87
Davis, 41.
88
One clear example of the widespread and long-felt piracy problem can be seen in insurance rates for international
shipping. Until the end of the sixteenth century, routes to Syria and Alexandria carried premiums of 26%; in the
early years of the seventeenth century, repeated attacks caused it to spike to 3040% in some cases. See Alberto
Tenenti, Piracy and the Decline of Venice, 15801615, trans. Brian Pullan and Janet Pullan (Berkeley: University of
California Press, 1967), 101.
89
Norwich, 59091.
24
before. The sadly diminished state of printing (musical printing in particular) will be addressed
in more detail in later chapters.
As for the government, twice in the eighteenth century they played their rarest card: they
opened the ranks of the nobility to purchase. Once in 1718, after the last cessation of hostilities
with the Turks, and again in 1775, the government offered a select group of families
ennoblement for the price of 100,000 ducats. In 1775 the offer was made to forty families from
the mainland who could prove membership in their local nobility for four or more generations
and an annual income of at least 10,000 ducats; of the forty approached, only ten accepted, and
not all of those with enthusiasm.90
Looking back at Venice with the benefit of historical hindsight, it is perhaps surprising
that the music programs of the ospedali survived as long as they did. It is a testament to the
deeply ingrained nature of music in Venetian society, or to Venetian stubbornnessor very
likely to boththat they were not among the first targets of the handlers of the citys finances.
But, as noted, many Venetians clung to the belief that their citys fortunes were merely
temporarily depressed. Regrettably little is known of Galuppi as a person, so his own opinions
on the Republics future are a mystery. Nevertheless, it was in part the belief that the future
would be brighter that enabled the creation of most of the works discussed in the next chapter.
90
Norwich, 600601.
25
CHAPTER TWO
MUSIC IN VENETIAN LIFE

Overview
Music in Venice served a wide variety of purposes, both sacred and secular, in venues
both public and private. Over the course of his career Galuppi was involved with most genres of
music in the city, either directly or indirectly. His large-scale works, especially his operas and
oratorios, were his most obvious contributions to the musical life of the city, along his with
Masses, Mass movements and motets for San Marco, and motets and Office music for the
Mendicanti and the Incurabili. His music circulated in less visible areas as well. He continued
to play organ in smaller churches, in addition to his duties at San Marco.91 He also produced a
number of small, utilitarian settings for use in the investiture ceremonies of young women
joining the monastic life. On the secular front, he contributed cantatas and serenatas for private
functions, but because such functions were often poorly documented it is impossible to say how
many such works Galuppi actually produced. The impetus behind his comparatively small body
of orchestral and chamber works is less clear, although the various banquets and dances to
commemorate special occasions, important elections, and honored visitors are likely outlets. The
origins of his solo keyboard sonatas are likewise uncertain; some may have been written for his
own entertainment or for his use when he was called upon to perform at the keyboard. He is
known to have written a set of six in 1782 to present to the visiting Grand Duke and Duchess of
Russia, and another set titled Passa tempo al cembalo is dated 1785, but beyond those two sets
they are nearly impossible even to date.92
Much of Galuppis output emerged directly from long-standing Venetian traditions. The
oratorio and the solo motet have particularly Venetian ties as a result of their link to the ospedali.
The solo motet was a prominent feature of performances at the ospedali and had long been
cultivated in Venice. The oratorio as presented at the ospedali was shaped by the unique
91
Monson, Galuppi.
92
Given Galuppis death on 3 January 1785, a date of 1784 for Passa tempo is more plausible. Newman argues that
most of the sonatas were probably written in the last thirty years of Galuppis life, in contrast to Torrefranca and
Raabe, who placed them in the period ca. 174060. See William S. Newman, The Sonata in the Classic Era (New
York: Norton, 1983), 19192.
26
circumstance of an all-female performing body. This naturally influenced the choice of subject
matter: although the girls sang male parts as necessary, female saints and Biblical figures
featured heavily as subjects. The oratorio and solo motet will be discussed in detail later. The
so-called versetti are also good examples not only of pieces that emerged from Venetian
tradition, but also of Galuppis interaction with the Venetian musical milieu in a routine and
small-scale manner. They constitute a voluminous but mostly lost body of works written for the
aforementioned investiture of noblewomen entering convents, which the leading musicians at
San Marco were frequently asked to supply.93 The texts of the ceremony drew on a wide array
of liturgical sources, including Psalm texts and responsories, and they varied depending on
circumstances, including the number of participants.94 A substantial collection of versetti
attributed to Galuppi (including several autographs) survives in the Bibliothque Nationale.95
Although they are for solo voice, these are not virtuoso pieces, unlike the Marian antiphons and
nonliturgical solo motets written for the ospedali. Each consists of several verses, set separately,
for voice and continuo, ranging in length from a mere four measures to about a page and a half at
most. Some of the more elaborate ones indicate repeats for some of the verses, either with a
simple da capo, or with something more elaborate, such as the instruction si dice tre volte
(said three times) after the sixth verse of the Versetti in S. Biaggio della Giudecca per
vestizione.96 Others give indications that they were designed to be placed within a larger musical
framework, such as the instruction doppo questo mottetto sonata di violini in the versetti Per
vestiario in S:ta Marta.97 Below is a typical versetto example, the second of a set of fourteen
[per] la Professione alle Virgini (Example 2-1).98
These simple, utilitarian pieces show a more intimate, less grandiose side of sacred music
in Venice, one that has been almost entirely forgotten. Better remembered, however, is the
sacred music particularly associated with six institutions. First among these was the Basilica of
San Marco, the principal church of the state, associated with the Doge himself. San Marco had
93
Selfridge-Field, Oratorio, 912.
94
For a description of the ceremony, see Franco Rossi, In margine agli ospedali: I versetti per la vestatzione, in
Musik an den Venezianischen Ospedali/Konservatorien vom 17. bis zum frhen 19. Jahrhundert, ed. Helen Geyer
and Wolfgang Osthoff, (Rome: Edizioni di Storia e Letteratura, 2004), 23334.
95
All of themnearly 30are collected under a single number, Ms. 1892.
96
Ms. 1892.6.
97
Ms. 1892.3.
98
Ms. 1892.4, an autograph, and 1892.13, which appears to be an autograph clean copy of the music, with the text in
a different hand. Both are undated, but judging from the handwriting they are probably from before 1760.
27
Example 2.1: [Versetti per] la Professione alle Virgini, F-Pn MS 1892.4, no. 2
an international reputation stretching back several hundred years, having secured the services of
some of the most famous and influential composers of previous centuries, including Adrian
Willaert, Andrea and Giovanni Gabrieli, and Claudio Monteverdi, to list only the most
illustrious. Galuppis election to the post of vice-maestro and assistant organist, and later
maestro, at San Marco placed him in rare company. Aside from supplying music for the basilica,
he also dealt extensively with the chorus and orchestra, especially so after his elevation to
maestro. He apparently did much to modernize the orchestra and raise standards of
performance.99
99
For an overview of Galuppis contributions to San Marco, see Francisco Caffi, Storia della musica 1: 38993.
Galuppi is frequently credited with sweeping reforms of the orchestra and chorus, including the pensioning off of
performers too old and infirm to reasonably contribute; Caffi cites decrees of the Procuratori enacting these reforms
from February, October, and December of 1765. As the Venetian civic calendar officially began on March 1, and
Caffi does not specify that he is using the modern calendar, it is likely that February 1765 was, in fact, February
1766 by modern reckoning. Even allowing for the oddities of the Venetian calendars, Galuppi cannot have
personally overseen all of these reforms, as by September of 1765 he was already in St. Petersburg for his three-year
stint at the court of Catherine the Great. For the accomplishments of Galuppis predecessors and immediate
28
In the eighteenth century the reputations of the various ospedali grew almost as
prominent as that of the Basilica. There were four of these institutions: the Ospedalo della Piet,
particularly remembered today for its association with Vivaldi; the Ospedalo deglIncurabili and
the Ospedalo di San Lazaro e dei Mendicanti, both of which employed Galuppi at various points
in his career; and the Ospedalo dei Derelitti, more commonly known as the Ospedaletto, the
smallest of the four. As their names suggest, they were originally hospitals, but they soon came
to fill more varied roles as charitable organizations. Today they are principally remembered as
orphanages and musical conservatories for young women, although in fact their purpose was
more general and varied from institution to institution.100 The choruses and orchestras
constituted a privileged minority of the population of the ospedali. Furthermore, not all of the
residents were actually orphans in the sense of having no families, or of having been abandoned
by their mothers as many romantic legends would have it. Often the childrens families were
known, and they were brought to the ospedali specifically because they would receive much
better care and education there than they would in their own homes. For some children the
ospedali were more like boarding schools than orphanages, and those who did not live up to
institutional standards were often threatened with being sent home.101 Nor were the residents of
the ospedali exclusively female, although in light of the extraordinary and unusual education and
prominence given to the female wards, by the standards of the day, it is easy to understand why
the boys have not been so well remembered.
Finally, there was the church of Santa Maria della Consolazione, more commonly known
as the Fava. The church was taken over by the order of San Filippo Neri, the Oratorians, in
1662.102 This group introduced the oratorio to Venice. The oratorio was subsequently adopted
(in Latin) by the ospedali; the Fava itself produced Italian oratorios somewhat sporadically,
although the mid-eighteenth century saw a long period of fecundity after several barren decades.
Three Galuppi oratorios were performed at the Fava; none appear to have been originally written
successor at San Marco, see also Gastone Vio, I maestri di coro dei Mendicanti e la Cappella Marciana, in Muraro
and Rossi, Galuppiana 1985, 95111.
100
The ospedali are one of the best-represented aspects of eighteenth-century Venetian musical culture in modern
scholarship. For general coverage, see in particular Baldauf-Berdes. Also noteworthy is a collection of symposium
papers dealing with nearly all aspects of musical life at the ospedali: Geyer and Osthoff, eds., Musik an den
Venezianischen Ospedali. The first paper in the latter work is particularly helpful as a summary of significant
scholarship pertaining to the ospedali in the twentieth century: Giuseppe Ellero, La riscoperta della musica dei
Quattro ospedali-conservatori veneziani nel ventesimo secolo, ibid., 121.
101
Baldauf-Berdes, 81.
102
Denis Arnold and Elsie Arnold, The Oratorio in Venice (London: Royal Musical Association, 1986), 1.
29
for that institution, although he wrote many more during his tenures at the Mendicanti and the
Incurabili.
Secular music, on the other hand, was most prominently represented in the public sphere
by the theaters. As mentioned in the previous chapter, the balance between opera and comedy in
the theatres was always in a state of some flux, and even performances by comedy troupes
sometimes included music as part of the experience, especially prior to the establishment of
comic opera. There were, however, ample opportunities to experience music out on the streets.
During Carnival temporary stages were often set up outdoors for performances, and small
ensembles of street musicians were a common sight at all times. Buskers occasionally rose to
prominent status: both the famous double bass virtuoso Domenico Dragonetti (17631846) and
the soprano Brigida Banti (17551806) spent time as street performers in Venice.103
Music of a more elevated nature could be encountered as part of civic festivities. The
visits of particularly noteworthy dignitaries were often marked by elaborate public spectacle, of
which music was often a part. Additionally, several important liturgical dates occasioned secular
as well as sacred celebration. The Feast of the Ascension was a major event in Venice,
celebrated by the fabled symbolic wedding of the city to the Adriatic amidst much pomp and
circumstance. Less prominent but still noteworthy were the feast days of the saints whom
Venice considered its special patrons: St. Mark, St. Stephen, Saints Vitus and Modestus, and St.
Justine. The feast of St. Stephen became particularly pronounced in the early eighteenth century,
and these feast days became occasions for frequently elaborate ducal entertainments.104 In some
cases the music for such events might technically be considered private productions for
government officials, but often they were held in circumstances where interested members of the
public could gather nearby and listen. Likewise, private productions of serenatas, dramatic
cantatas, and other musical works for the entertainment of the various academies of nobles and
intellectuals sometimes drew crowds of listeners, and they were occasionally explicitly opened to
the public.
Music in the private sphere is much less comprehensively documented. Major outlets
included academy meetings, as mentioned in the previous chapter, as well as government
functions and meetings of guilds and other trade associations. Much of the music for these
103
Thomas Bauman, Musicians in the Marketplace: The Venetian Guild of Instrumentalists in the Later 18th
Century, Early Music 19, no. 3 (August 1991), 345.
104
30
functions was never published, as it was by design of an ephemeral nature: unlike operas, with
their repeat performances and occasional revivals, and church music that could be preserved for
reuse at a later date, the serenatas, cantatas, and other such pieces written for private functions
were frequently for a singular and unpublicized event. Serenatas in particular prove opaque to
historical scrutiny; much of the music is lost, and while occasionally libretti were printed, often
the existence of a serenata can be deduced only from a title or even a passing mention of an
unnamed work.
The line between sacred and secular is slightly blurred here; while many works for
private use tended to be settings of pastoral texts, and few were explicitly religious, some
nevertheless cultivated an instructive or devotional nature. LOracolo del Vaticano, for instance,
is a serenata with text by Carlo Goldoni and music by Galuppi, one which survives probably on
account of both the fame of its authors and the prominence of its dedicatee.105 Written to
celebrate the promotion to Cardinal of the Bishop of Vicenza, Antonio Marino Priuli, it is
transparently intended to lionize him. His familys name is explicitly mentioned at various
points in the text. Nevertheless the libretto, in which personifications of Merit, Humility, and
Justice ruminate on the cardinals sterling qualities, also adopts a generally moralizing tenor of
the sort common to oratorio texts.106
One noteworthy and influential anomaly is Benedetto Marcellos LEstro armonico-
poetico, which set vernacular paraphrases of fifty psalms for various combinations of voices.107
Written with no specific venue in mind but intended for devotional use, its essentially generic
nature made it suitable for a wide array of purposes. It was published in eight volumes in Venice
in 1724-26, approximately at the time Galuppi would have been concluding his studies with
Lotti. Several points mark this collection as unusual. First, the relative scarcity of published
sacred music makes its publication noteworthy. Second, Marcello had it published in Venice,
whose once prosperous music publishing trade was by that point moribund and technically
105
The text is reprinted in volume 33 of Carlo Goldoni, Opere teatrali del Sig. avvocato Carlo Goldoni veneziano:
con rami allusive (Venice: Zatta e Figli, 1793), Google Books, accessed June 22, 2010,
http://books.google.com/books?id=JDstAAAAMAAJ.
106
The autograph of the music survives in the Bibliothque nationale (Ms. 1884). See Sylvie Mamie, La musique
Venise et limaginaire franais des Lumires (Paris: Bibliothque nationale de France, 1996), 386. A recording was
also released in 2004 on the Hungaroton label, HCD 32252.
107
A facsimile edition in four volumes of the original printing was published in 1967. Benedetto Marcello, Estro
poetico-armonico; parafrasi sopri primi venticinque salmi (Venice: Lovisa, 1724-26; reprint, Farnborough,
England: Gregg, 1967).
31
inferior to publishers in Amsterdam, Paris, and London, as it still relied on moveable-type
printing of the sort introduced in the sixteenth century.108 Third, it gained a significant place in a
number of liturgical repertories well into the nineteenth century, not only in Venice or even Italy
but throughout much of Europe. This was especially so after 1750 when interest spurred the
publication of translations.109 Very few eighteenth-century works attained such lasting appeal,
the sonatas of Corelli (1653-1713) constituting one of the few similar examples.110
The Oratorio
Oratorio was a late arrival to Venice, appearing only in the late seventeenth century with
the establishment of the Fava as an Oratorian church. In their work on the oratorio in Venice,
Denis and Elsie Arnold document some 41 oratorios given at the Fava between 1672 and 1705, a
majority of them by Giovanni Legrenzi (1626-1690). Not all of these were unique performances,
as some of them were revivals, and indeed Legrenzis La morte del cor penitente was produced
in 1705, fifteen years after its authors death.111 After 1705 came 35 years of silence; the next
oratorio performance given there was not until 1740, which marked the start of a major
resurgence of interest, with at least one oratorio a year nearly every year from 1740 until 1768.
After that, there was a single oratorio in 1773, and several more in 1785-89, and then once again
none.112 The oratorio remained relatively popular at the ospedali in the decade after 1705, but,
while production never quite ceased there, they too saw a marked decrease in oratorio production
until the 1740s.113
The renaissance of the oratorio in the 1740s corresponded neatly with the start of
Galuppis career as a regular church composer. It saw the Fava performing works by a much
more varied crop of composers, including Jommelli, Hasse, Durante, and Leo, as well as
humbler domestic talents. Three of the works produced at the Fava were by Galuppi, although
108
Michael Talbot, Vivaldis Venice, The Musical Times 119, no. 1622 (April 1978), 317.
109
Eleanor Selfridge-Field, Marcello, Benedetto Giacomo, in Grove Music Online, Oxford Music Online, accessed
June 24, 2010, http://www.oxfordmusiconline.com/subscriber/article/grove/music/17716.
110
Corellis op. 1 sonatas, for example, went through 39 known editions (not counting pastiches, arrangements, or
collected editions of with his other works) between their first publication in 1681 and 1790; the op. 5 violin sonatas
had at least 42 editions by 1800; and the op. 6 concerti grossi attained a popularity in England that lasted well into
the nineteenth century. See Michael Talbot, Corelli, Arcangelo, in Grove Music Online, Oxford Music Online,
accessed February 3, 2011, http://www.oxfordmusiconline.com/subscriber/article/grove/music/06478.
111
Arnold and Arnold, Oratorio, 79.
112
Ibid., 79-83.
113
Eleanor Selfridge-Field, Towards a Cultural History of the Venetian Oratorio, 1675-1725, in Florilegium
musicae: studi in onore di Carolyn Giantoruco, ed. Michael Burden and Patrizia Radicchi (Pisa: ETS, 2004), 912.
32
none of them was originally written for that venue: S. Maurizio e compagni martiri in 1740
(originally written for the church of S. Filippo Neri in Genoa, 1737), Adamo caduto in 1748
(originally for the Chiesa nuova in Rome, 1747),114 and Il sagrificio di Jefte in 1756 (originally
written for Florence in 1749).115
As may be deduced from the sampling of titles above, the works at the Fava were in
Italian, unlike those given at the ospedali which were (unusually for the eighteenth century) in
Latin. Also unlike those at the ospedali, they made use of male voices and sparse instrumental
accompaniment;116 beyond this, the performers of the Fava oratorios are left slightly mysterious,
as their names were not publicized. The Arnolds posit that many of the singers may have come
from the ranks of the singers at San Marco, given the strong ties between the two churches over
the next three decades.117 Nor is much known about the audience for these works, although, as
Selfridge-Field notes, the relatively austere nature of the Fava productions was more in line with
Counter-Reformation ideals and thus likely not intended to cater to the tastes of the nobility.118
The impetus for the revival of oratorio came, apparently, from the Fava musicians themselves:
1740 3 August. Our musicians having the desire to give oratorios in music, not done
since about the year 1700, and the Oratory being capable of doing so at the present, the
fathers propose that we agree to their desire which is also that of the fathers; and it was
passed 7 votes to 1 with, however, the condition that the sacristy shall be expected to
provide only the lighting, and the rest shall be gratis [i.e., provided for from the coffers of
the Oratory rather than the main church].119
Judging from their ready agreement, the fathers evidently had no doubt that audiences would be
forthcoming. Furthermore, the Fava library still retains bulk copies of printed libretti, running in
some cases into the hundreds,120 which certainly suggests a robust confidence in the drawing
power of their productions.
At the ospedali, as already noted, the oratorio developed in a different direction, and
indeed almost exactly opposite the style prevalent at the Fava: they were sung by a female cast,
114
This oratorio exists in several versions, under three titles; Adamo appears to have been the original title in Rome,
with later versions known as Adamo caduto and Adamo ed Eva. For more information, see Howard Smithers
introduction to the facsimile of the lattermost, in Baldassare Galuppi, Adamo ed Eva (New York: Garland, 1986).
115
From the work list in Grove, with the exception of the last: Monson, Galuppi. However, Monson lists Il
sagrificio as having been written for the Fava in 1756; the Arnolds claim it was commissioned seven years earlier:
see Arnold and Arnold, Oratorio, 52.
116
117
118
119
Fava archives, quoted in Arnold and Arnold, Oratorio, 36.
120
Ibid., 39.
33
they made use of the conservatories considerable orchestral resources, and at least in the
eighteenth century they were sung exclusively in Latin.121 Quite a bit more is known about the
performers at the ospedali, as well, since the best singers and instrumentalists at each of the
institutions tended to attract considerable followings among the concert-going populace. The
audiences, too, are better documented; Selfridge-Field theorizes that the choice of Latin may
have been intended to serve as an indication that they were targeted at the nobility, who
comprised the best part of oratorio audiences at the conservatories. Conservatory productions
often attracted patrons in much the same way as different opera houses did; the Mendicantis
patrons tended to be members of the Venetian nobility, whereas the Incurabili and Piet
generally pursued princes, princesses, dukes, and duchesses from Florence and Modena.122
Examining the lists of works produced for the ospedali reveals, unsurprisingly, much
more uniformity in terms of composers represented. Unlike the Fava, all of the ospedali retained
composers, sometimes for decades at a time, whose duties would have included the regular
production of oratorios. In fact, Galuppis third oratorio, S. Maria Magdalena, his first written
explicitly for Venice, was created for the Mendicanti in 1740. It served as a job application of
sorts, and he was elected maestro di coro later the same year.123 Between then and his dismissal
in 1751, he produced nine more, one of which, Jahel, was given two years in a row.124
The ospedali and the Fava also differed in the times they typically produced their
oratorios. The ospedali generally mounted productions during Advent and Lent, and
occasionally around the Feast of Ascension, whereas the Favas productions tended to be
between Easter and All Saints Day; at all five institutions, oratorios were given on Sundays, and
they never employed opera singers.125 Quite aside from any liturgical considerations, this choice
of dates would likely have guaranteed reasonable attendance, since the theaters were generally
closed during those periods. They would, as Selfridge-Field notes, have thus been attractive to
those suffering from opera withdrawal.126
121
122
123
Baldauf-Berdes, 22122; as she points out, it could not have hurt that the Mendicantis board of directors
included members of the noble Gritti and Grimani families, both of which had previously been patrons of Galuppi.
124
Specifically 1747 and 1748. Arnold and Arnold, Oratorio, 88.
125
Selfridge-Field, Song and Season, 196; however, the Arnolds also cite Epiphanythe season leading up to
Carnivalas the favorite period for oratorio at the Fava: Arnold and Arnold, Oratorio, 37.
126
34
There are of course some obvious similarities between oratorio and opera, as both are
essentially dramatic forms placing an emphasis on solo singers. It is therefore only natural that
there should be a certain amount of stylistic overlap. This is especially so given the enormous
percentage of Venetian oratorio composers who also had active operatic careers. Particularly in
the eighteenth century the four ospedali actively pursued musicians of repute to serve as their
maestri. This can be seen as a natural outgrowth of the increasing fame and drawing power of
the ospedali musicians; the more popular they became, the more the governors were willing to
spend to keep them content.127 As discussed in the previous chapter, securing a famous
composer had benefits for the ospedali as well, and as it happens, a successful opera career was
one of the surest paths to international fame. In Galuppis lifetime the only maestri who served
for extended periods at the four ospedali without having at least some operatic experience were
Giuseppe Saratelli (ca. 16801762), Galuppis predecessor at the Mendicanti 173139128 and
superior at San Marco until his death, and Bonaventura Furlanetto (17381817), who held his
post at the Piet for nearly fifty years, from 1768 until his death. Saratelli remains almost
completely unexamined. Furlanetto made a generally unfavorable impression on Burney, and
according to Burney Galuppi resented the degree of success that Furlanetto, whom he termed an
ecclesiastical dunce, managed to achieve. In Sven Hansells judgment, however, the quality of
Furlanettos compositions increased noticeably in the later 1770s and 1780s.129
As noted in the previous chapter, opera commissions would have presented an attractive
means of augmenting the comparatively paltry salaries associated with church positions,
especially for those who had first made their names in the theatrical world. In 1716, for instance,
the directors of the Piet and the Derelitti were paid 200 ducats annually; in the same period the
Mendicantis director earned 250 ducats, the same sum that was offered to Galuppi in 1740 and
even to his successor Ferdinando Bertoni (1725-1813) in 1752.130 The maestro di cappella at
San Marco in 1730 earned 400 ducats.131 As pointed out in Chapter 1, for a single opera Galuppi
might match or exceed his entire yearly salary from the Mendicanti.
127
128
The governors declined to renew his post in 1740.
129
Sven Hansell, Furlanetto, Bonaventura, in Grove Music Online, Oxford Music Online, accessed July 4, 2010,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/10398.
130
Baldauf-Berdes, 135; Vio, 108.
131
35
Stylistically, oratorio and opera drew closer to one another in the eighteenth century,
which is hardly surprising given the overlap in composers, but Michael Talbot cautions against
overgeneralization in this regard. He lists three general characteristics symptomatic of operatic
influence on the oratorio: first, the diminished role of the chorus, which traditionally had played
an important role in the oratorio but was significantly atrophied in contemporary opera; second,
the increased emphasis on explicitly soloistic singing, designed to showcase the singers voices,
especially if the singers in question were also operatic performers;132 and third, the abandonment
of the concept of the testo, or narrator, which opened up the oratorio to all the dramaturgical
devices of opera.133
Talbot takes as his example Vivaldis Juditha triumphans of 1716, to a text by Giacomo
Cassetti, belonging to the dry spell period in Venetian oratorio. Juditha is frequently held up as
an example of operas encroachment on the oratorio, and Talbot himself has in the past described
the work as Vivaldis best opera, in parody of the familiar quip about Verdis Requiem.134 He
cautions, however, against making too many assumptions based on perceived operatic elements,
and he goes on to point out respects, both musical and textual, in which Juditha balks operatic
conventions. First, while some of the characters obey conventional operatic stereotypes (the two
confidants of Judith and Holofernes, for instance, who emphasize the heroic natures of their
respective mistress and master by mirroring their characters at a more human level), the two
principals do not fit neatly into any conventional operatic mold: Judith is at once the feminine
heroine and a woman driven by vengeance; Holofernes both the tyrant and the suitor.135 Second,
in musical terms Vivaldi emphasized opportunities for pictorialism and word-painting with
even more intensity than in his operatic music. He treats the feelings of Holofernes and his
confidant with as much depth as he does those of Judith and hers, underlining the librettos
subtly, subversively sympathetic attitude to the Assyrian side to such an extent that taken out of
132
Note, however, that this is not generally applicable to Venetian oratorios; as has already been noted,
performances at the Fava did not include opera singers, and those at the ospedali would have been formed by singers
drawn from the coro.
133
Michael Talbot, How Operatic is Vivaldis Juditha triumphans? in Music as Social and Cultural Practice:
Essays in Honour of Reinhard Strohm, ed. Melania Bucciarelli and Berta Joncus (Woodbridge, England: Boydell,
2007), 215-16.
134
Ibid., 214.
135
Ibid., 22223.
36
context, Holoferness serenade to Judith, Noli, o cara, te adorantis, . . . is not credible as that of
a villain about to suffer a well-merited death a few minutes later.136 In conclusion, he opines:
If by operatic one refers to no more than the general character of individual movements
taken individually, then Juditha triumphans is as operatic as one could wish. Not a single
movement, from chorus to aria, from accompanied recitative to recitative semplice,
would be out of place in an opera, even if the relative incidence of movement-types is
slightly different. Where it departs radically, and in a way unexpectedly, from common
operatic practice, however, is in its treatment of plot and character. The less malleable
relationship of the poetic text to its source material has resulted in an originalfrom a
contemporary operatic viewpoint, skeweddramaturgy in which familiar elements,
through displacement or amalgamation, have acquired disturbing new meaning. There is
a real sense that, for both librettist and composer, the characters and events have moved
out of control, taking on a dramatic life of their own that they, the creators, may not fully
have intended.137
This is perhaps a slightly dramatic interpretation of the results of Vivaldi and Cassettis
collaboration. Talbots point, however, is clear: certain aspects of the oratorio, such as in this
case a Biblical underpinning to the story, immutable by its nature, can produce distinctly
unoperatic results even when elements of opera are introduced. Holoferness role as the
lecherous but doomed oppressor is set by holy writ, and however sympathetic the librettist may
be, that fact cannot be changed without fundamentally altering the story. He is, however, by
default also the leading man, and in operatic terms that usually implies a romantic lead destined
for a happy ending. The fusion of these roles produces effects that would be notably aberrant on
the contemporary operatic stage.
While Juditha is perhaps an extreme example, there is evidence that librettists continued
to approach oratorio texts differently than they did their operatic commissions. Goldoni, for
instance, followed different conventions when writing for music outside the world of the theater.
Goldoni is not commonly remembered as an oratorio librettist, which is unsurprising: in contrast
to the host of plays and opera libretti he produced, he wrote only two oratorios, the Latin
Magdalenae conversio, written for Saratelli at the Mendicanti in 1739 (music now lost), before
his theatrical career had truly begun, and the Italian Lunzione del sacro profeta Davidde, written
in 1759 and set by Antonio Boroni (1738-92) for a private performance.138 Pietropaolo argues
136
Ibid., 225.
137
Ibid., 22829.
138
Domenico Pietropaolo, Goldonis Magdalenae conversio, in Goldoni and the Musical Theater, ed. Domenico
Pietropaolo (Toronto: Legas, 1993), 121. Pietropaolo gives Boronis first name as Giovanni. Both texts are printed
in Goldonis complete works (previously cited), vol. 12. According to the brief Grove article on Boroni, the title of
the work as presented was Lunzione del reale profeta Davidde, and its first performance occurred in a Venetian
37
that neither the conventions of opera or standard dramatic theory are sufficient to analyze the
dramatic structure of the oratorio. He cites Arcangelo Spagnas Discorso dogmatico as a
contemporary cataloging of the typical form of the vernacular oratorio in the eighteenth century.
The Latin oratorio has no such convenient inventory, although he points to Juditha triumphans
as a representative model.139 For him, the crucial distinction between writing for opera and
writing for oratorio stems from the fundamental difference in presentation. An opera is staged,
providing visual cues to assist the audience in following the plot, but oratorio (at least in its
purest form) is devoid of any such aids, relying entirely on the text to convey the plot.
...all the performers are always present before the audience, there is no set to signify
textual space, and the audience is left with the task of determining from the words alone
all entrances and exits as well as the location and dynamics of the action. In this sense
the oratorio libretto is actually much closer to the script of modern radio drama than it is
to the opera libretto, for, unlike opera but like the oratorio, radio drama is founded
exclusively on the sense of hearing, regarded as the only channel through which the
performance text can be received by the audience's imagination.140
The young Goldoni, he argues, was not always successful in respecting this divide between the
genres, falling prey to operatic thinking by, for instance, including text that is never spoken or
sung by anyone, making sense only if viewed as a form of stage directionwhich, of course, is
of limited utility in an unstaged work.141 Despite these occasional lapses, however, Goldoni still
broadly respected the necessity of depicting the plot and the characters without visual assistance.
His Magdalenae conversio thus, even without surviving music, helps to underscore Talbots
argument: even though operatic elements may be present in the eighteenth-century oratorio, it
remains a genre unto itself, with its own requirements and conventions.
Despite these dramatic leanings, however, even a cursory glance at the titles of the
oratorios produced at the ospedali and the Fava suggests that multiple strains of oratorio
persisted throughout the century. At one extreme lie the more dramatic, operatic productions,
like Juditha triumphans. At the other are more old-fashioned, abstract, didactic works, such as
Galuppis 1776 Mundi salus, whose characters are personifications of Europe, Asia, Africa, and
apartment and was subsidized by Goldoni himself; Dennis Libby and James L. Jackman. Boroni, Antonio, in
Grove Music Online, Oxford Music Online, accessed July 19, 2010,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/03616. The music for this piece is also
presumably lost.
139
Pietropaolo, 12425.
140
Ibid., 131.
141
Ibid., 134.
38
America.142 A host of others fall somewhere in between. Oratorio encompasses a sufficiently
diverse collection of individual works that generalizations cannot be stretched especially far
before their utility becomes suspect.
The Motet and Other Liturgical Music

While the Mass was by its nature always the central element of the liturgy, the motet was
an extremely important element in the culture of Venetian church music. The term motet,
which after the Middle Ages had never been especially precise, reached a peak of vagueness in
the eighteenth century, when it came to encompass virtually any musical setting of liturgical or
Biblical text that had no more precise appellation. Although motets played some role in the
performance of the Mass, particularly during Communion, Psalm settings make up a particularly
large part of the motet repertoire for reasons not difficult to discern: the Divine Office, with its
weekly rotation throughout the entire book of Psalms, demanded a ready supply of settings for
services where Psalms were not given in plainchant. The Psalm Dixit Dominus, as a part of
every Vespers service, is especially well represented. Services at San Marco, as the preeminent
church in Venice, frequently called for the pomp and circumstance provided by full musical
settings, and the four churches of the ospedali together required prodigious quantities of music to
meet their needs.
The musical obligations of the ospedali were numerous. Mass was sung in the morning
and the Litania Lauretana, in honor of the Virgin Mary, in the evening; evening Vespers was
sung on Sundays and holy days; and various other performances occurred in fulfillment of
special requests, especially Requiems stipulated in will bequests.143 Additionally, the deaths of
governors and their wives, and the anniversaries of these dates, were marked by the celebration
of High Mass, and each of the ospedali presented afternoon musical events one Sunday each
month.144 Some of the more routine performances would have been in plainchant, but many of
the Vespers services, and of course all the feast day and concert performances, would have called
for fresh compositions. Such constant demand must have added credibility to rumors circulating
in 1745 that Nicola Porpora (who held posts at three of the four ospedali at various times and
transferred from the Piet to the Derelitti in 1744) had recycled a Vespers servicemotets,
142
The autograph of this work is in the Bibliothque Nationale, MS. 1889.
143
Margaret Joan Whittemore, Revision of Music Performed at the Venetian Conservatories in the Eighteenth
Century (Ph.D. diss., University of Illinois, 1986), 15.
144
39
antiphons and alloriginally written for the former institution at the latter. The accusation was
brought before the governors of the Derelitti, who on investigation found Porpora innocent of
such duplicity.145 The incident underscores the assumption that music for the ospedali was in
general expected to be fresh. In fact, this assumption carried the weight of policy: one of the
ancillary duties of the maestro di coro was to ensure that composers who provided music
explicitly for the ospedali did not allow their compositions to be performed elsewhere prior to
their premieres by the commissioning institution. The intent was both to guarantee the
availability of new repertoire and to preserve the distinct character of each of the four
institutions.146
For all these reasons, Venice enjoyed a motet tradition probably more robust than that of
any other city in the eighteenth century. Furthermore, the motets written for Venice can be
divided into at least two categories. First, there is what might loosely be termed the
conventional motet: a work usually in multiple movements, generally for chorus or chorus
with one or more soloists and with orchestral accompaniment.147 Psalm settings are typically of
this type, as are other liturgical or Biblical text settings. We may also include in this group
settings of the four great Marian Antiphons, the Alma Redemptoris mater, Ave regina coelorum,
Regina coeli, and Salve regina. These were frequently set as solo arias for the ospedali, but they
differ in form and text from the so-called motetto a voce sola, or solo motet, which forms a
second category. This is a genre not unique to Venice, having enjoyed popularity in other parts
of Italy and the rest of Europe, but more consistently cultivated there than anywhere else. The
solo motet, as the name implies, was written for solo voice with accompaniment, but the
distinction is not simply one of texture. For the most part, solo motets are constructed according
to a very predictable pattern, facilitated by the fact that their texts are generally not taken from
any liturgical source, but are instead freshly written pieces of Latin poetryreligious and
devotional in nature but frequently of highly sentimental or sensational character. In his
monograph on Hasses works for solo voice, Sven Hansell draws attention to the strong
correspondences between the texts for Hasses solo motets and his cantatas. Although the motets
145
Ibid., 131.
146
Ibid., 130131. Note, however, that this policy did not preclude subsequent adaptation of works written for the
ospedali for other venues; Whittemores dissertation principally concerns alterations made to works for the ospedali
to make them suitable for choirs containing male voices.
147
There are also a cappella examples, such as a set of stile antico motets by Lotti, but as these deliberately cultivate
a learned character they should probably not be taken as widely representative.
40
occasionally address feelings beyond the general pastoral scope of most cantatas, such as the
anguish and suffering expressed in Hasses In Carcere horrendo, the similarities are pronounced:
In addition to similarities in subject matter found in the motets and cantatas, both of
which express pathetic feelings through references to the beauties of the rural
countryside, impressive natural phenomena, and, of course, love, the texts are related
structurally. The Latin poetry . . . consists of two strophes permitting the musical
realization of a da capo aria. More importantly, the texts are written according to the
traditional ritmiche of Italian poetry, so that the musical meters, rhythms, and phrases
characterizing the arias of the cantatas figure distinctively in those of the motets.148
Johann Joachim Quantz, in his 1789 treatise on flute playing, also viewed the solo motet in terms
of the cantata: in fact, he defined it as a lateinische geistliche Solocantate, consisting of two
arias and two recitatives and concluding with an Alleluia.149 Hochstein expands on this
definition by noting the frequent occurrence of such operatic characteristics as coloratura
singing, solo cadenzas, and flashy string figurations.150
Although a single recitative was more common in Venetian solo motets, this definition of
the solo motet was reasonably accurate beginning in the early eighteenth century. The origins of
the solo motet, however, extend much further back. Arnold assigns credit for the genesis of the
genre to Ludovico Viadana (ca. 15601627), who included motetti a voce sola in his Cento
concerti ecclesiastici, op. 12, published in Venice in 1602. Arnold considers the century and a
half dating from 1625 (the publication of the castrato Leonardo Simonettis Ghirlandia sacra, an
anthology of solo motets) to 1775 (the beginnings of the collapse of the ospedali) as a coherent
entity, in which the solo motet was consistently cultivated in Venice.151 However, the
characteristics enumerated by Quantz, Hansell, and Hochstein are not consistently present until
the early eighteenth century. By the late seventeenth century the genre displayed a sectional
nature, with short arias emerging from a general arioso style, which Arnold attributes in part to
the influence of Venetian opera.152
Vivaldi appears to have played a large part in codifying the solo motet as it was
understood in Galuppis lifetime. In 1715 the governors of the Piet credited Vivaldi with
148
Sven Hostrup Hansell, Works for Solo Voice of Johann Adolph Hasse (16991783) (Detroit: Information
Coordinators, 1968), 21.
149
Johann Joachim Quantz, Versuch einer Anweisung die Flte traversiere zu spielen (Breslau, 1789), 288.
150
Wolfgang Hochstein, Die Solomotetten bei den Incurabili unter besonderer Bercksichtigung der
Kompositionen Jomellis, in Geyer and Osthoff, Musik an den Venezianischen Ospedali, 32122.
151
Denis Arnold, The Solo Motet in Venice (1625-1775), in Proceedings of the Royal Music Association 106
(197980), 56.
152
Denis Arnold, Pasquale Anfossis Motets for the Ospedaletto in Venice, in Ars Musica Musica Scientia:
Festschrift Heinrich Hschen (Cologne: Getarre und Laute Verlagsgesellschaft, 1980), 19.
41
supplying numerous works, including 30 motets and eight pieces called Introduzioni. The
introduzioni and the surviving motets all consist of a fast and a slow da capo aria, separated by
true recitative, as opposed to the earlier arioso.
The only evident musical difference between the pieces Vivaldi called motets and those
he called introductions is the presence in the motets of a concluding through-composed
Alleluia movement. As their name suggests, however, the introduzioni were explicitly intended
to lead into another work: some preceded the Gloria, others the Miserere, and at least one (RV
641, Non in pratis) served to introduce the Dixit Dominus.153 This Antiphon-like function was
also characteristic of the solo motet, and indeed, to judge by surviving word-books issued for
concerts at the ospedali, they frequently were performed in addition to Antiphons. These books
indicate that multiple solo motets frequently preceded a performance of the Salve Regina, a
practice well established by the middle of the eighteenth century.154
Since the texts of these solo motets are liturgically wholly superfluous, the clear intent
behind including them in services was to help generate spectaclewhether as a draw to
parishioners and audiences or in celebration of special occasionsin much the same manner as
sonatas and concertos played during portions of the Mass.155 Spectacle as a means of attracting
crowds to services was a tactic employed by the church since at least the Counter-Reformation,
but even in a less worldly city than Venice that would not likely be the principal motivation. In
court chapels, of course, elaborate music and virtuosic display would serve to enhance the
prestige of the attendant ruler. Doubtless such considerations were in force at San Marco. But
the four ospedali had a very practical reason to court prestige and the crowds that it attracted:
money. As noted in the previous chapter, the institutions were expensive to operate, and
government support was at best irregular and unpredictable. While each institution cultivated
multiple revenue streams, by the eighteenth century their celebrated all-girl ensembles were a
significant source of income. In 1733 patrons of the Incurabili concerts paid a man to bring them
a chair, and yet another wandered around collecting for charity.156 It would be unfair and
153
Arnold, Solo Motet, 6364.
154
Hansell, Works for Solo Voice, 22.
155
This practice was most common in the Proper of the Mass, with the Gradual, Communion, and Offertory singled
out especially often for such augmentation; Vespers services also sometimes used instrumental music in an
Antiphon-like role. For an overview of the use of instrumental music in the Mass and the Divine Office, see
Stephen Bonta, The Uses of the Sonata da Chiesa, Journal of the American Musicological Society, vol. 22, no. 1
(1969), 5484.
156
42
unreasonable unilaterally to deny the writers, composers, and performers of these solo pieces
genuine religious devotion, but at the same time it must be borne in mind that their motivations
were not entirely otherworldly. It is therefore almost inevitable that secular styles impinged
more obviously and aggressively on this genre than on other forms of sacred music.
The similarities between the solo motet and the cantata and between the solo motet and
opera have been noted. Since so many of the ospedalis maestri were celebrated opera
composers, that is hardly surprising, but it is noteworthy that, especially in the last quarter of the
century or so, the operatic influence was not limited to opera seria. Elements of buffo style
appear in some of the motets, as well. Arnold points in particular to six motets by Pasquale
Anfossi (172797), who came to the Derelitti as acting maestro di coro in 1773.157 This places
his tenure at the tail end of Galuppis directorship of the Incurabili, which was bankrupted in
1777 and taken under government control. Arnold characterizes the style of the Anfossi motets
as amabile rather than heroic.158 In a later article devoted specifically to these motets he
expands the observation:
The recitatives are still more expressive. Far from the rather perfunctory secco of
Vivaldis motets, these are accompagnati, several sections with different orchestral
thematic material underlining changes of mood. That of Somnos tuos is especially
delicate, reminiscent of Susannas recitative before Deh vieni in the last act of Le Nozze
di Figaro, the orchestra developing several contrasting themes, changing both key and
tempo. The central arias to which such recitatives lead are in the conventionally
sentimental vein, usually marked Andantino or Andante (although the middle section may
be marked to be taken faster) and in the da capo form. These are the galant, melodious,
not too serious arias of lovers in opera buffa, with elegant, decorative melody, built in
relatively short phrases which allow for the display of the tonal qualities of the voice
rather than its brilliance. In contrast, there is virtuosity in plenty in the final alleluja, the
movement which resembles the instrumental concerto most closely, though not so cruelly
as in Vivaldis motets.159
Just as interesting as the comparison to opera buffa is the comparison to the concerto. The
Alleluia, consisting of a single word, and thus for practical purposes effectively textless,
naturally lent itself to a more instrumental style. Without text to shape the melody or any
justification for a da capo form, the concerto was a natural place for composers to look for
157
It is unknown exactly when his association with the Derelitti officially ended. According to Baldauf-Berdes, his
works were performed there at least until 1788; see Baldauf-Berdes, 232. However, by 1782 he was already in
London, where he served sporadically as music director of the Kings Theater until 1786. Michael F. Robinson, et
al. Anfossi, Pasquale, in Grove Music Online, Oxford Music Online, accessed July 24, 2010,
158
159
Arnold, Anfossis Motets, 20.
43
guidance as to style and structure in the Alleluia. However, it is not only in the Alleluia that
Arnold sees traces of the concerto. Among earlier works, he points to Vivaldis Longe mala
umbrae terrores (RV 629), the opening aria of which begins with a long ritornello of the type
common in his opus 3 concerti, and which is followed by a slow aria featuring vocal writing
more reminiscent of violin than vocal writing.160 In fact it is not difficult to find examples of
violinistic writing even in the first movement, and one might well believe Arnolds choice of the
word cruel was quite apt (Example 2.2).
Example 2.2: Vivaldi, Longe mala umbrae terrores, movt. I, mm. 2642 (vocal part)
In the Anfossi motets the beginning arias are all in the classic mould of the late
eighteenth century concerto first movement.161 By this he refers to the uneasy mix of the earlier
ritornello form of Vivaldis era with the emerging so-called sonata form that worked its way all
but ubiquitously into nearly every facet of galant and Classic music. In Vivaldis case one might
make the argument that he was simply writing what he knew: his principal duties, after all, were
as an instrumental composer and an instructor in violin, and when he began supplying vocal
music to the Piet in 1715 he had only just begun his operatic career. Anfossi, however, was
already well established as a composer of vocal music. Any similarities to the concerto in his
motets were therefore presumably informed and deliberate decisions. Nor is Arnold the only one
to have observed concerto-like traits in the motets of the period. Alfred Einstein, writing much
earlier about Mozarts Exultate, jubilate (probably the most famous solo motet in the repertoire,
thanks at least in part to the identity of its composer), described it as a minature concerto.162
160
161
Arnold, Anfossis Motets, 20.
162
Alfred Einstein, Mozart: His Character, His Work (London: Oxford, 1945), 328.
44
While Exultate was not written for Venice, it is nevertheless a useful reference point for
several reasons. It was written during one of Mozarts Italian tours, during the course of which
he had ample opportunities to experience Italian church music, including in Venice. He wrote
the motet in January of 1773 for the soprano castrato and composer Venanzio Rauzzini, who
himself was engaged in Venice later that year and in 1774.163 This makes it roughly
contemporary with Anfossis arrival in Venice. On the whole, it therefore supports the idea that
the concerto as well as the cantata left a mark on the solo motet, and not just in Venice but
elsewhere. Analysis of pieces in the following chapter will illustrate varying degrees of concerto-
like forms and styles present in motets spanning the gap between Vivaldi and Anfossi. This
additional infusion of secular (and for that matter instrumental) influence into sacred pieces lends
further credence to the notion that brilliance and spectacle were deliberate goals of much of the
music written for the ospedali.
163
Kathleen Kuzmick Hansell, Rauzzini, Venanzio, in Grove Music Online, Oxford Music Online, accessed July
25, 2010, http://www.oxfordmusiconline.com/subscriber/article/grove/music/00917.
45
CHAPTER THREE
AUTOGRAPHS AND RELIABLY ATTRIBUTED WORKS

One of the issues in dealing with Galuppis sacred music is the question of verifying his
authorship. Sacred music was, for the most part, composed for specific venues, specific
performing forces and, often, specific events, which made publication impractical or unprofitable
for the most part; the choral music for the ospedali would be particularly hard to market in the
rest of Europe without arranging it for more conventional ensembles. Collections like
Marcellos Lestro poetico-armonico, intended for general use and wide applicability, were
oddities. Most sacred pieces circulated only in manuscript, often on commission, which opens
the door to forgery, misrepresentation, and misattribution.164 Galuppi had the misfortune of
associating with a particularly unscrupulous copyist, Iseppo Baldan, whose duplicity will be
discussed in more detail in the next chapter.
Before confronting the issuances of Baldans mendacious pen, it would be well to take a
closer look at a sample of verifiable Galuppi works, both to establish a firmer basis for informed
analysis of questionable works and to take steps towards reestablishing a vocabulary for further
study of Galuppi. The pieces examined in this chapter include an oratorio, Adamo ed Eva, from
1747, and two kinds of liturgical motet: a short (breve) setting, which fits the entire text of the
motet into a single movement, and a full (pleno) setting, which divides the text into several
movements, incorporating both choruses and solo arias. The breve example is a Confitebor
due dated 1757, probably for San Marco. The pleno setting consists of two possibly-related
Laudate pueri fragments (each comprising a chorus and two arias) from around 1771, written for
the Incurabili. The oratorio, while not an autograph, is amply documented as a Galuppi work,
and provides numerous examples of arias in the da capo style, or more specifically a Venetian
164
Publishers, it must be said, were not always paragons of honesty themselves: in a time before copyright, pirate
editions were commonplace. The important Amsterdam publisher Estienne Roger, for instance, was instrumental in
disseminating music of many Italian composers in the early eighteenth century, but particularly prior to 1710 much
of that was, as Rudolf Rausch politely phrases it, reprinted from Italian source editions. Rudolf Rausch, Corelli's
Contract: Notes on the Publication History of the Concerti Grossi... Opera Sesta [1714], Tijdschrift van de
Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 46, no. 2 (1996), 84. Roger himself had altercations
with John Walsh in London and another Amsterdam publisher, Pierre Mortier, who reprinted Rogers own material;
Samuel F. Pogue and Rudolf A. Rasch, Roger, Estienne, in Grove Music Online, Oxford Music Online, accessed
April 22, 2011, http://www.oxfordmusiconline.com/subscriber/article/grove/music/23665.
46
variant marked by the instruction alla parte. The Confitebor and Laudate pueri fragments are
all autograph; the Confitebor is an interesting experiment in adapting a form designed around
one type of text for another, while the Laudate pueri examples present several church arias in
addition to choral movements.
About the Autographs

A relatively large number of Galuppis autograph scores have survived, although they
have become somewhat scattered, in part thanks to the appropriation of many manuscripts and
documents by Napoleons forces after the fall of the Republic. Many still remain in Venice, at
the Biblioteca Nazionale Marciana, but substantial numbers have found their way to Genoa, at
the library of the Conservatorio di Musica Niccol Paganini; many more ended up in Paris or
Dijon as a result of Napoleons conquest of Venice; several migrated to England through the
agency of Domenico Dragonetti, the Venetian double bass virtuoso; and some crossed the
Atlantic to the United States.
There are several traits of Galuppis handwriting that may help to identify a score as an
autograph (Figure 3.1):
1. C as a time signature: When Galuppi uses a stylized C to indicate 4/4 or 4/2 time, it
is drawn with two pen strokes: one curve for the left side and bottom, and a second stroke for the
top. The strokes are almost always left slightly disjunct. The figure is often notably elongated,
resulting in a shape closer to rectangular than semi-circular; sometimes, presumably due to
careless or hasty penmanship, the two strokes cross at the right side, producing something like a
lower-case alpha.
2. Numerals: Galuppi's 3's have a tendency to list to the left; this is often only a slight
inclination, but in combination with the common Italian practice of beginning the stroke for a 2
or a 3 very low, often results in something like a lopsided heart shape, with the top and bottom of
the 3 nearly joined. It is not uncommon to find examples with a more extreme tilt, and a few are
so sharply inclined as to be nearly horizontal. This is relevant mostly in time signatures,
although triplets flagged with a 3 also occur. It is also relevant to figured bass, although, as in
much Italian music of the eighteenth century, figuration tends to be sparse.
3. Figured bass: Galuppi appears to have consistently written stacked figures in ascending
order from top to bottom, opposite to convention. In other words, where a chord would
47
ordinarily be figured 42, he instead writes 24. Other composers or copyists sometimes invert the
customary order as well, but inconsistently.165 Galuppi appears, based on the available evidence,
to have been entirely consistent in doing so. Because extensive use of figured bass is rare the
utility of this marker is limited.
4. Natural signs: Flats and sharps in Galuppi's hand are unremarkable, but for natural
signs he employed a shorthand form, a vertical line with a hitch in the middle. An additional L-
or 7-shaped pen stroke would complete the box-shape found in the middle of a conventional
natural sign. This form of notation is not unique to Galuppi, but it seems to have been a
consistent part of his handwriting style from at least the 1740s.
5. Clefs: Galuppi's treble clefs are not the highly stylized capital G in modern use and
common among many of his contemporaries, but simply a large, lower-case g. His C clefs are
much more distinctive: they look something like a lower-case q with part of its top missing, or
a y with a backward-facing tail. This may be an idiosyncrasy he inherited from Lotti. Emanual
Winternitz's Musical Autographs presents an undated Lotti Laudate pueri166 that features very
similar clefs; Winternitz makes no comment on them, but possibly they originated as a stylized C
with added descender. In any case, it is clear that Galuppis C clefs share some common
ancestry with these, and a case of the pupil imitating the master seems likely.167
In addition to these markers, at some point, roughly around 1760, Galuppis handwriting
begins to exhibit some distinct signs of unsteadiness, mild at first but gradually increasing in
frequency and severity. These are, early on, barely noticeable: a 1764 Ave Regina celorum,168
for instance, shows only a few kinked note stems and some mildly wavering beaming, especially
towards the end of the pen stroke. Seven years later, in a 1771 Laudate pueri fragment
(discussed in detail later), these moments of unsteadiness are more common (Figure 3.2) and also
include occasional oversized and misshapen note heads and fermatas. Another seven years
165
See, for example, the manuscript copy of a Miserere by Francesco Brusa in the Bibioteca Marciana, Cod. It. IV.
1379. Most of the figures are in the conventional order, but some are inverted.
166
Emanuel Winternitz, Musical Autographs: From Monteverdi to Hindemith (Princeton: Princeton University
Press, 1955), 2: plates 20-21.
167
It should be noted that the 1733 autograph Confitebor a 3 in Dijon features more conventional C clefs and fully-
formed natural signs. However, the general neatness of the manuscript and the unusually clear and legible text (by
the standards of Galuppis handwriting, at least) suggest it may have been written as a clean or presentation copy.
Several pages are reproduced in facsimile in the liner notes of the 1994 recording by Gerard Lesne and Il seminario
musicale, Virgin CDC 5 45030 2.
168
Bibliothque Nationale, Ms. 1895.
48
C time signature:
Numeral 3:
Natural sign:
C clef:
Figure 3.1: Autograph markers, Laudate pueri, 1771. Images courtesy of the Library of
Congress.
Figure 3-2: Unsteady beaming, Laudate pueri, 1771. Images courtesy of the Library of
Congress.
49
later the 1778 versetti for San Biaggio169 additionally show signs throughout of a mild but
persistent shakiness, not yet sufficient to impair the legibility of the music.
Galuppis handwriting seems to have degenerated rapidly in his final years: a set of 1784
versetti for San Zaccaria170 is nearly illegible. This gradual decline in Galuppis manual dexterity
not only provides potential markers for autograph identification but also allows for a rough
dating of undated autographs.
General Characteristics of the Music

Two broad generalizations can be made about Galuppis music, one of which appears to
be applicable for, at a minimum, the thirty years spanning 174676, and probably longer; the
other primarily applies to the 1740s but loses relevance probably some time in the 1750s.
The first relates to phrase construction. Galuppi often uses four-measure phrases, which
became standard in the eighteenth century. However, he is also very fond of five-measure
phrases, particularly elided phrases where the fifth measure finishes one phrase (often on the first
beat) and simultaneously begins another. This predilection for five-measure units may be in part
a natural outgrowth of an apparently favored technique for building phrases: he seems to have
been inordinately fond of building motives out of small rhythmic cells, which are stated three
times before the motive breaks free of the pattern. When the rhythmic cell occupies one
measure, as is often the case, the result tends to be three measures of identical (or near-identical)
rhythm, followed by one measure that serves to break the pattern and set up an end-of-phrase
cadence, which usually falls in the subsequent measure. This expansion through repetition is
principally concerned with the rhythm: treatment of pitch varies. In some cases the pitches may
be the same or nearly the same through all three iterations, particularly in ponte constructions
that serve to prolong the dominant; in others, the first and third iterations may share the same
pitches with the second being altered, as a kind of extended neighbor tone; or the repeated
rhythms may form a sequence. It is unclear whether Galuppis common use of five-measure
units results from his love of doubly-repeated rhythms, or if the doubly-repeated rhythms were
simply his way of expanding his phrases to their desired length. Other odd-numbered phrases
also occur, especially where an eighteenth-century tendency to treat 4/4 as essentially two
169
Bibliothque Nationale, Ms. 1892.6.
170
Bibliothque Nationale, Ms. 1892.7.
50
measures of 2/4 results in groupings of three or seven half-measures.171 Another possibility is
that the first two statements of a rhythmic unit form all or part of a period, while the third
(usually altered) statement and the following material form a second, the two periods together
constituting a complete musical sentence. These related techniques are present in Galuppis
music from early in his career until his last decade (Example 3.1) and show the influence of the
ars combinatoria, or art of combining, a popular concept in eighteenth-century thought that
manifested in music through the use of small cells and motives that were combined and
recombined in a variety of ways to produce larger structures.172
Example 3.1a: Alessandro nell'Indie (1739): O su gli estivi ardori, mm. 1221 (Allegro; vln I,
vln II, bass); descending sequence, pitch pattern breaking in the final measure.
Example 3.1b: Judith (1746): Chorus, Deus orantes, mm. 15 (Allegro; vln I/II, bass); simple
repetition of rhythmic patterns.
171
Rothstein calls this Italian compound meter, although as he points out it was not limited to Italy, especially in
the earlier half of the century. See William Rothstein, National Metrical Types, in Communication in Eigtheenth-
Century Music, ed. Danuta Mirka and Kofi Agawu (Cambridge: Cambridge University Press, 2008), 135.
172
The most blatant examples of the ars combinatoria in eighteenth-century music are the various musical games
(including examples by Haydn and Mozart) that allowed one to composes minuets or other simple pieces by
combining randomly-determined measures. This phenomenon is explored more fully in Stephen A Hedges, Dice
Music in the Eighteenth Century, Music & Letters 59, no. 2 (1978), 18087.
51
Example 3.1c: Judith (1746): Chabri, Dum exuror, ah, puro ardore, mm. 58 (Affetuoso; vln
I/II, vla, bass); extended lower neighbor figure (AGA) over a dominant pedal.
Example 3.1d: Adamo ed Eva (1747): Adamo, Sente quest'alma oppressa, mm. 116 (Allegro
non tanto; vlnI/II, vla, bass); an eight-measure (2 + 2 + 4) and two four-measure sentences. In
the first sentence the repeated rhythms are part of a descending sequence that makes up most of
the second period. In the following two (nearly identical) sentences they form part of a
deceptive/complete cadential pair, with a static melodic pattern that breaks down in the third
iteration.
52
Example 3.1e: Adamo ed Eva (1747): Angelo di Giustizia, Quellaffano e quel dolore, mm. 5
17 (Andante; vlnI/II, bass); 5-bar (2 + 3) and 8-bar (2 + 2 + 4) sentences, each with the first two
rhythmic units statements forming the first period and the final statement beginning the second.
Example 3.1f: Il mondo alla roversa (1750): Giacinto, Al bello delle femmine, mm. 1927
(Allegro assai; vln I/II, bass); two instances of repeated pitches and rhythms, in each case with
the pattern breaking in the final half-measure, leading to concluding material.
53
Example 3.1g: Confitebor breve (1757): mm. 914 (Andante; vln I/II, bass); static rythmic
pattern on a I-V-I ascent, the first part of a five-measure phrase elided with the beginning of the
next phrase.
Example 3.1h: Ave Regina coelorum (1764): movt. I, mm. 15 (Andante; vln I/II, bass); two
elided patterns, a sequential ascent (mm. 13) and an extended upper neighbor figure (BC-
sharpB, mm. 34), with concluding material forming a five-measure sentence (or alternately ten
half-measures, arranged 5 + 5).
Example 3.1i: Qui habitare (1771?): Gloria, mm. 17 (Andante; vln I, bass); two statements of
a stepwise descent with a high tonic pedal, four half-measures each, forming a deceptive
cadence/complete cadence pair.
54
Example 3.1j: Laudate pueri (1771): Laudate pueri, mm. 511 (Allegro; vln I/II, vla, bass);
ascent over a tonic pedal, forming part of an eight-measure period (2 + 2 + 2 + 1 + 1).
Example 3.1k: Nunc dimittis (1772): movt. I, mm. 15 (Allegro; vln I, vlnII/vla, bass); extended
upper neighbor figure as the first part of a five-measure phrase.
As abundant as such phrases are in Galuppis works, however, they are not omnipresent,
and their absence in a piece should not by itself be construed as evidence that Galuppi did not
55
compose it. A cursory examination of keyboard works and comic operas from the 1750s, for
example, suggests that the pattern is much less common in those genres. Nor did he necessarily
have a monopoly on such constructions.
The second generalization that may be made about Galuppis music relates to scoring. In
his dissertation on Galuppis Salve Regina settings Gary Day realized that Galuppis treatment of
the viola part was a probable stylistic marker, at least during the Mendicanti period. Specifically,
whether the viola line is independent or col basso is essentially a function of the vocal line: when
the vocal line is present, the viola plays in unison with the bass, and frequently the second violin
part assumes the violas previous autonomy; when the vocal line rests, the second violins usually
rejoin the first, while the violas again become independent.173 Day confirms this exchange as a
regular and consistent feature of Galuppis writing not only in the 1746 Salve Regina for
Signora Buonafede,174 but also the 1741 Confitebor in the Pierpont Morgan Library,175 and all
but one aria, N che vano, o ingordo affeto in Adamo. McClymonds points to a similar process
in Jommellis music, citing his 1749 setting of Achille in Sciro.176 However, it does not appear
to have been a consistent a feature of Jommellis music while he was active at the Incurabili, ca.
174447.177
Further investigation reveals the voice/viola exchange as a feature of Galuppis oratorio
Judith of 1746178 and his opera LOlimpiade of 1747. It thus seems to be a consistent feature of
Galuppis style at least through the 1740s. It no longer consistently holds true by the time he
joined the Incurabili in the early 1760s: a 1764 Confitebor 4 con instrumenti179 upholds the
pattern in its two arias, but a setting of the Marian Antiphon Ave Regina coelorum180 from the
same year does not. Further investigation is required to determine exactly when the pattern
begins to break down.
173
Gary A. Day, Five Salve Regina Settings of Baldassare Galuppi: Marian Antiphons at Two Venetian Ospedali
(Ph.D. diss., McGill University), 2002, 32-33.
174
Conservatorio musicale Nicol Paganini, Genova, C. 1.1. (G. 1. 24).
175
Pierpont Morgan Library, Cary 453.
176
Marita P. McClymonds, The Evolution of Jommellis Operatic Style, Journal of the American Musicological
Society 33, no. 2 (1980), 330.
177
See, for example, the solo motet Barbara poena afflicta. Both arias contain examples of simultaneous voice and
viola independence; relevant excerpts are reproduced in Wolfgang Hochstein, Die Solomotetten bei den Incurabili
unter besonderer Bercksichtigung der Kompositionen Jommellis, in Musik an den venezianischen Ospedali, 346-
47.
178
Autograph. Bibliothque Nationale Ms. 1888.
179
Autograph. Bibliothque Nationale Ms. 1893.
180
Autograph. Bibliothque Nationale Ms. 1895. The intended singer is Tonina, possibly Maria Antonia
Traversa, active at the Incurabili ca. 1753-67; see Arnold and Arnold, Oratorio, 8586 and 105.
56
Galuppis Aria Structures
Since solo arias comprise the bulk of the music described in this and the following
chapter, it will help to describe their common characteristics in detail now. The arias can be
divided into two broad categories based on the origin of their texts. The non-liturgical solo
motets and the oratorios overwhelmingly employ da capo-style arias, while the liturgical texts
are set in the related church aria form.
For the most part the da capo arias discussed below adhere closely to conventions
prevalent by the mid-eighteenth century. They are not technically da capo arias in the strictest
sense of the term, but a slightly compressed Venetian variant: after the B section and a highly
compressed tonic ritornello, the instruction alla parte indicates a return to the beginning of the
first vocal period, which is usually otherwise unmarked. They open with an introductory
ritornello, which typically presents between two and five thematic units, with three or four being
the most common. These units vary in length and complexity, but they are generally quite short,
constituting a single phrase or a small group of related phrases; the principal criterion used here
in deciding whether a phrase functions as a separate theme is whether or not it subsequently
reappears independent of surrounding material. The ritornello remains in the tonic key, as
expected.
As is common in the mature da capo aria, the first half of the text is stated twice in the A
section, its two iterations separated by a ritornello. In the arias examined here, both of these
vocal periods usually, although not invariably, begin with the first theme from the ritornello.
The vocal periods often use additional material from the introductory ritornello, but a significant
portion of each period always consists of new material. This new material introduces and
encompasses an extended melisma, usually on the final word, that concludes the period; less
frequently there may instead be textual repetitions with several smaller melismas. The first vocal
period cadences in the dominant; the cadence is usually a strong one, with the vocal line marked
with fermatas suggesting the necessity of a brief improvised embellishment, and the second
vocal period either begins back in the tonic or returns rapidly to it.181 A short ritornello passage
separates the two periods. Less often, there may be a third full statement of the text appended to
181
The tonic-dominant modulation assumes a major-key aria. Minor-key arias are too poorly represented in this
sample to draw any firm conclusions, but Adamo (discussed later) includes two: one that modulates to the relative
major, which is the most common approach elsewhere, and one that instead moves to the minor dominant.
57
the second vocal period as a kind of coda; the opening aria from Adamo, Sente questalma,
exhibits this trait.
The B section of a da capo aria is often of an unstable and modulatory nature, and in the
arias examined here Galuppi conforms to two basic conventions: in one, the B section begins in
the subdominant key and ends in the submediant, and in the other it begins in the submediant and
ends in the mediant. The following ritornello, usually based on the final ritornello theme, returns
immediately to the tonic with no transition, often rather jarringly. The overall structure of these
alla parte arias can be represented thus:
R1 A1 R2 A2 R3 |B | R4 | A1 R2 A2 R3 ||
Key: I I-V V-I I I IV-vi I I-V V-I I I
or V V-I or vi-iii or V V-I
The liturgical text settings for solo voice fall into the mold of the Kirchenarie, or church
aria, which developed in parallel with the da capo aria and is essentially equivalent to a da capo
A section: two vocal periods interspersed with ritornelli, and generally adhering to the same
harmonic conventions. The principal difference is that each vocal period may set the complete
text, rather than simply the first half, as there is no B section or repeat; longer texts, however,
may be divided in two, with half in each vocal period. In that case, the full text is heard only
once over the course of the aria.
The treatment of the ritornello material in both the da capo and church arias follows some
basic patterns. The opening theme almost always recurs at the start of each vocal period, but
subsequent themes are treated more loosely. It is common for one themeoften but not always
the final oneto be reserved for use only in ritornelli, while the remaining themes are employed
in one or both vocal periods. The second and subsequent ritornello statements are never
complete restatements but are built on one or two themes from the opening. This is reminiscent
of the ritornello practices adopted by several Venetian composers earlier in the century. In
discussing the development of the concerto in Venice, Selfridge-Field writes:
Many tutti ritornellos in the concertos of Albinoni and the Marcellos initially present
three or four thematic motives, of which one (or more) is used for interior tuttis, one (or
more) developed in solo passages and one reserved for the final ritornello, which may be
followed by a short coda or octave echo. This system of presenting all the motivic ideas
58
at the start and developing them individually (not necessarily in the original sequence)
can be traced back to the late canzona .182
Although the Galuppi arias examined here only occasionally reserve a theme exclusively for the
final ritornello, her description is broadly applicable to them, as well. There is one significant
difference: when themes introduced in the opening ritornello recur within a given section of the
aria Galuppi tends to use them rotationally. That is to say, although a section may omit themes
or interleave them with episodes of new material, the themes it reuses retain their original order.
A vocal period making use of themes a, c, and d, for instance, will almost always present them in
that order. 183 This regularity imposes an added degree of structure on a form that naturally lends
itself to ars combinatoria permutations.184
Although introductory ritornelli as a rule do not modulate away from the tonic,
Galuppis tend to resemble later instrumental sonata expositions, especially the longer and more
elaborate ones. The final theme (or sometimes the final two in longer ritornelli) exhibits strong
cadential characteristics, and the initial and middle themes frequently establish rhythmic or
melodic contrasts. This and the rotational presentation of themes together invite comparisons to
the Classic concerto. The arias as a whole also follow sonata-like harmonic plans, with a
modulation to the dominant in the first vocal period, answered by a return to the tonic in the
second.
The relationship between aria, sonata, and concerto in the mid-eighteenth century is a
complex one. Much of the music examined here falls in the middle of a kind of feedback loop
between vocal and instrumental music, as Rosen describes in Sonata Forms:
182
Eleanor Selfridge-Field, Venetian Instrumental Music from Gabrieli to Vivaldi (New York: Praeger, 1975), 209-
10.
183
Hepokosi and Darcy offer the following more thorough definition: Rotational structures are those that extend
through musical space by recycling one or more timeswith appropriate alterations and adjustmentsa referential
thematic pattern established as an ordered succession at the pieces outset. . . . Successive rotations in music are
often subjected to telling variation: portions of them may dwell longer on individual modules of the original musical
arrangement; they may omit some of the ordered modules along the way; or they may be shortened, truncated,
telescoped, expanded, developed, decorated, or altered with ad hoc internal substitutions or episodic interpolations.
James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-
Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 611.
184
In his Anfangsgrnde zur musicalischen Setzkunst (175268), the theorist Joseph Riepel (170982) in fact
specifically recommended an approach to concerto or aria composition that was heavily reliant on the ars
combinatoria. Stefan Eckert has argued Riepels assertion that a minuet, in its execution, is nothing but a concerto,
an aria, or a symphony was not simply metaphor but rather a compact espression of Riepels belief that each solo
and tutti passage of a concerto was literally a minuet, expanded, shortened, and varied by ars combinatoria means.
See Stephan Eckert, [. . .] wherein good Taste, Order and Thoroughness rule. Hearing Riepels Op. 1 Violin
Concertos through Riepels Theories, Ad Parnassum 3, no. 5 (2005), 2344.
59
The absorption of operatic style into the pure instrumental genres lies at the heart of the
development of music in the eighteenth century: in turn, by the 1760s if not before, the
newly dramatized instrumental style was to enrich the operatic stage and make possible a
dynamically conceived action, now at last realizable with abstract musical forms.185
Hepokoski and Darcy likewise acknowledge a link, arguing that the older ritornello form of the
concerto was, in the middle of the century, increasingly informed by formal layouts
characteristic of the new symphonic writing of the period, and that the same may be said of
eighteenth-century opera seria arias, which at least through the 1770s followed much the same
historical path.186
A detailed exploration of cross-pollination between the aria and instrumental forms is
outside the scope of this study, but it is useful to keep in mind as context when examining
Galuppis arias from the mid-to-late 1740s, especially in comparison to his contemporaries.
Niccol Jommelli, for instance, was active at the Incurabili for several years while Galuppi was
at the Mendicanti, and McClymonds argues that at the time he was writing arias with
instrumentally-influenced structures:
[In the 1740s] Jommelli increasingly wrote arias in which the internal structure and
function are clearly differentiated, using techniques associated with instrumental sonata
procedures. Many of his arias of the 1740s have first themes, transitions, second and
closing themes, clearly delineated by changes in texture, dynamics and orchestration. His
interest in formal clarity was most pronounced during this decade, during which he was
writing the most modern-sounding music of anyone (Terradellas being a close second
and Galuppi joining them around 1745); he also stands out for his interest and skill in the
details of expression.187
It is not so easy to assign clear functionality to the themes of Galuppis arias of 1745-50,
especially given the prominence of new material in each of the vocal periods, but the rotational
use of thematic material suggests that he was moving in that direction. Certainly by 1771 he was
fully aware of and conversant with modern instrumental forms, because the opening chorus of
the Laudate pueri discussed later in this chapter can be analyzed as a clearly articulated sonata
form framed by instrumental ritornelli, although of course Galuppi himself would not have
thought of it in those terms.
185
Charles Rosen, Sonata Forms (New York: Norton, 1988), 45.
186
Hepokoski and Darcy, 430.
187
McClymonds, Jommelli.
60
Oratorio
Galuppis oratorios remain almost totally unexplored, despite constituting a significant
portion of his output. Howard Smither mentions Galuppi only in passing in his history of the
oratorio, although to be fair Smither was handicapped by the belief that only two of Galuppis
oratorios survived.188 The Arnolds accord him a little more space in their monograph on the
oratorio in Venice, discussing Adamo in passing and Il sagrificio di Jefthe in slightly more detail;
both are Italian oratorios originally written for other cities. They point out that his oratorios
tended more toward the old-fashioned mystery oratorios than the newer, more dramatic style,
though like Smither they labored under the belief that fewer of his oratorios had survived than is
now known.189
Galuppis Italian oratorios were all commissions from outside of Venice; three of these
were performed at the Fava. The Latin oratorios written for the Mendicanti and the Incurabili
are much more numerous: nine for the Mendicanti, and seventeen for the Incurabili. Jahel190 is
the only one of the Latin oratorios to have received scholarly attention. Bernard Janz discussed
it in a 2001 symposium paper, although he appears to attach too much significance to the alla
parte format, apparently believing it to be a Galuppian characteristic rather than a Venetian
one.191 Although the majority of Galuppis oratorios still appear to be lost, to the above
mentioned scores can be added autographs of Judith (1746), Triumphi divini amoris (1765),
Dialogus sacer Jepthe et Helcana (1771), and Mundi salus (1776) in the Bibliothque
Nationale.192
188
Howard Smither, A History of the Oratorio (Chapel Hill: University of North Carolina, 1987), 3: 71.
189
190
Scores (not autographs) are preserved in the Staatsbibliothek zu Berlin Preuischer Kulturbesitz (Mus Ms.
6950, S. 1) and the Zentralbibliothek in Zrich (AMG 501).
191
Bernhard Janz, Niemand dachte damals an Geschmackverirrung zu Baldassare Galuppis Oratorium Jahel, in
Geyer and Osthoff, Musik an den venezianischen Ospedali, 115-44. The examples include one complete aria in full
score, Jahels Ad murmur frondis.
192
Judith: Ms 1888; Triumphi divni amoris: Ms 1890; Dialogus sacer: Ms 1887; Mundi salus: Ms 1889.
61
Adamo ed Eva
I-Vnm Cod. It. IV 1021 (= 10794)

Libretto by Giovanni Granelli?193
Oratorio for four soloists and orchestra
SSAT solo, 2 violins, viola, 2 horns, continuo; 2 flutes and 2 oboes in the sinfonia
Clean manuscript copy, ca. 1748?
Adamo was Galuppis sixth oratorio, first performed on 19 February 1747 at the Chiesa
Nuova in Rome.194 It survives in several versions; the published facsimile is based on the clean
manuscript copy housed in the Biblioteca Nazionale Marciana, Venice, under the title Adamo ed
Eva. Appended to the facsimile is a reproduction of the printed libretto produced for the 1748
performance at the Fava in Venice, giving the title Adamo caduto. Yet another version of the
title is Adamo or LAdamo. All these titles refer to the same basic work, but a complete study of
the piece would require comparison of all the surviving manuscripts, which include copies in
Turin, Chioggia, and Uppsala as well as two in Venice. There are several differences between
versions, including arias with altered music or in different keys and a duet with s different text.195
For the present purpose, however, the value of the piece is principally as a means to gain insight
into Galuppis style, so a full comparison is superfluous for the moment.
The oratorio calls for four soloists: Adamo, a tenor; Eva, a soprano; and two angels,
Angelo di Giustizia and Angelo di Misericordia, alto and soprano respectively. The
instrumentation is simple: two violins, viola, and bass, with a pair of horns used in three arias
(one for each soloist save the Angelo di Misericordia), the first duet between Adamo and Eva,
and the concluding quartet. The horn parts are simple, serving primarily as harmonic
punctuation rather than presenting melodic material. The exception is the duet, which features a
great deal of characteristically hornlike materialparticularly the triadic motives and
emphasis on the intervals of the third and fifthalthough even there the horns are often limited
to a supporting role. The texture throughout the oratorio is often even thinner than a cursory
glance at the scoring suggests since, as in much contemporary opera, the second violins
193
Jackman lists Granelli as the librettist in the 1980 edition of New Grove, but according to Smither in the
introduction to the facsimile edition the librettist is unknown. Piva (see below) also cites Granelli in passing, but
does not provide a source, and may have been relying on Jackman. See James L. Jackman, Galuppi, Baldassare,
in New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (London: Macmillan, 1980), 7: 13438.
194
Franco Piva, LAdamo, o della ricerca, in Muraro and Rossi, Galuppiana 1985, 181.
195
Ibid., 182. None of these should be confused with a second oratorio on the subject, Adam, which Galuppi wrote
for the Incurabili in 1771; it is based on a different libretto by Chiari, after Klopstock. The score is not currently
known to have survived. See Arnold and Arnold, Oratorio, 86.
62
frequently play in unison with the first and the violas often double the bass at the octave. In a
few instances the first violin line is marked colla parte, indicating to copyists that they are to
double the vocal part. Several arias thus have sections with only three real voices, although four
is more common. The opening sinfonia does call for horns, oboes, and flutes, but given the
interchangeable nature of overtures prior to the nineteenth century that is not necessarily
significant, nor is it necessarily safe even to assume the sinfonia is Galuppis own. The sinfonia
of this manuscript differs entirely from that of the Turin version, which appears to be the one
recorded as Il caduto di Adamo by Claudio Scimone in 1985.196
As with most oratorios of the period, Adamo ed Eva is split into two parts; all told, it
comprises a three-part sinfonia, twelve arias, three duets, and a concluding chorus for all four
soloists, for a total of sixteen vocal numbers. Curiously, the libretto avoids the most obvious
dramatic hooks present in the story of the Fall: there is no role for the serpent, and in fact the
entirety of the action occurs after the actual Fall has been accomplished, with the temptation
described after the fact in secco recitative. The oratorio is summarized in Table 3.1.
Table 3.1: Brief outline of Adamo ed Eva
Movement Scoring Key Meter Tempo Remarks
Sinfonia (I) Strings, oboes, D major 3/4 Allegro Written-out ABA' form
horns, continuo
Sinfonia (II) Strings, flutes G major 3/8 None given Minuet; no repeat of B section
(doubling violins), indicated
continuo
Sinfonia (III) Strings, flutes D major 3/8 None given Minuet; no repeat of B section
(unlabeled), indicated
continuo
I. Sente questalma Strings, horns, F major C Allegro non Adamo expresses feelings of guilt and
oppressa Adamo, continuo tanto unease.
II. Non ti chieggo Strings, Eva, E major Alla breve Andantino Eva requests pity for her actions,
amore, e fede continuo instigated by the serpent.
III. Ahi formidabil Strings, horns, Eva, E major 6/8 Allegro Adamo and Eva, alarmed by the
suono Adamo, continuo molto appearance of angels, look for a place
to flee. See below for form.
IV. Quellaffanno e Strings, Angelo di G minor 3/4 Andante Angelo di Giustizia muses on the
quel dolore Giustizia, continuo misfortunes of wayward souls.
V. Chi s, se mentre Strings, Angelo di B-flat 2/4 Andante Angelo di Misericordia expresses
gemono Misericordia, major sympathy for the plight of mankind.
continuo Simile aria: stormy sea imagery.
196
Piva mentions[una copie manoscritte] sulla quale ho basato la prima esecuzione moderna, alla Biblioteca
Nazionale di Torino, ibid., 181-82. The recording was originally issued by Erato, and was reissued in 2008 on the
Apex label, publisher number 2564 69616-5.
63
Table 3.1 - continued
Movement Scoring Key Meter Tempo Remarks

VI. giusto Dio Strings, Angelo di A major Alla breve; Andante The angels resolve to go together to
Misericordia, 3/8 God, who is both just and merciful.
Angelo di
Giustizia, continuo End of Part I
VII. H che vano o Strings, Adamo, G major 2/4 Andante Adamo places blame for his actions on
ignordo affetto continuo Eva.
Text differs from the Venetian libretto.
VIII. Non s se il Strings, Eva, E major 3/4 Andantino Eva blames the serpent.
mio peccato continuo
IX. Cara speranza Strings, Angelo di C major Alla breve Andantino Angelo di Misericordia expresses hope
del mondo Misericordia, grazioso apropos the fate of the serpent.
continuo
X. Con la mano Strings, horns, D major C Allegro Angelo di Giustizia consigns humanity
onnipossente Angelo di to mortality.
Giustizia, continuo
XI. Amare lagrime Strings, Adamo, C minor Alla breve; Largo assai; Adamo weeps for his fate and curses
continuo 3/8 Allegro his failings. Concluding ritornello
meter marked 2/4.
XII. Se al ciel miro Strings, horns, Eva, E-flat C Allegro Eva expresses remorse and pleads for
continuo major mercy.
XIII. Cara piaggia Strings, Eva, G major 3/8 Larghetto, e Adamo and Eva contrast the paradise
Adamo, continuo grazioso they leave with the lands they are
confronted with. Through composed.
Ending marked segue subito.
XIV. Toglier le Strings, Angelo di C major 3/4 Allegro assai Angelo di Giustizia vows harsh
sponde al mare Giustizia, continuo judgment.
XV. Render le Strings, Angelo di A major Alla breve Andante e Angelo di Giustizia promises the
sponde al mare Misericordia, spiritoso opposite.
continuo
XVI. Si la serena Strings, horns, all D major 3/8 Andantino Ultimately mercy will win out, by
fronte soloists, continuo grazioso means of the sacrifice of Christ.
Part I contains six pieces: four arias, one for each of the soloists, and two duets, one
between Adamo and Eva and the other between the angels. The oratorio opens with a recitative
in which Adamo, having just consumed the forbidden fruit, relates his unease, subsequently
expressing his guilt and anguish over his actions in an aria (Sente questalma oppressa, F
major). Eva then expresses her own regrets to Adamo (Non ti chieggo amor, E major), and,
questioned as to her meaning, relates in a simple recitative the story of her temptation by the
serpent. The two are then startled by signs heralding the appearance of the two angels and look
for somewhere to flee (Ahi formidabil suono, duet, E major). The angels of justice and mercy
each sing an aria espousing their respective virtues (Quellaffanno e quel dolore and Chi s se
mentre, G minor and B-flat major, respectively), before finally compromising in a duet (
giusto Dio, A major).
64
Of the six pieces in Part I, five follow the alla parte format. The exception is the duet
Ahi formidabil suono, in which the eagerness of Adamo and Eva to flee the scene presumably
precludes repeated material. The duet is comparatively short and harmonically very simpleE
major and B major chords constitute the majority of the piece. The opening is a conventional
introductory ritornello, but the remainder of the duet quickly breaks away from the expected
form. The vocal parts are largely independent of the instrumental line and effectively through-
composed; there are no large-scale repeats of the text, although there is some local repetition and
the exhortation to flee, fuggiam, appearing first in the middle of the duet, returns at the end.
The accompaniment, however, more closely resembles an instrumental ritornello form: after an
initial statement of two thematic areas, these are repeated and expanded, resulting in the form
a-b | a-b-a-c-a-d-a. The duet is reproduced in condensed form (with horn parts omitted) in
Example 3.2.
The remaining arias in Part I are more conventional. Each features an opening ritornello
that cadences in the tonic, constructed from three or four thematic units (a, b, c, or d). Three is
the most common choice, with only Evas Non ti chieggo amore e fede employing four. In
four of the arias the function of each theme is similar. The a theme, after the initial statement,
generally becomes exclusively associated with the vocal portions of the aria, while the b and c
themes are principally reserved for the instrumental ritornelli. Two of the arias deviate slightly:
the first, Adamos Sente questalma oppressa, has a second instrumental statement of the a
theme at measure 40; and the fifth, the duet of angels Chi s se mentre, uses both a and b in the
vocal sections, reserving only c for the ritornelli. Quellaffanno e quel dolore differs more
significantly, in that all three of the themes in the opening ritornello are used both in vocal and
instrumental portions of the aria; all three are additionally of very similar character, based on
firm downward motion and repeated-note figures. These three themes make up the bulk of the
material in the aria, which, coupled with the minor key (one of only two in the oratorio), helps
underscore the stern and generally unforgiving nature of the Angelo di Giustizia; the succeeding
aria of the Angelo di Misericordia is, in contrast, based more on upward leaps and rising melodic
arcs.
At the beginning of Part II, confronted by the angels, Adamo blames Eve for his actions
(H che vano o ignordo affetto); Eve in turn blames the serpent (Non s se il mio peccato),
who is cursed in recitative by the Angelo di Giustizia. The Angelo di Misericordia reacts
65
Example 3.2: Adamo ed Eva: Ahi formidabil suono, continued on next page.
66
Example 3.2 - continued
67
favorably (Cara speranza del mondo), but the Angelo di Giustizia then pronounces judgment
on mankind (Con la mano onnipossente). Adamo laments this development (Amare
lagrime), but Eva pleads for their punishment to be tempered (Se al ciel miro), and Angelo di
Misericordia promises future relief in the form of a divine savior. Adamo and Eva compare the
peaceful land they had known with the harshness of the outside world (Cara piaggia). Conflict
again arises between the two angels, with Giustizia vowing to scourge the land (Toglier le
sponde al mare) and Misericordia promising, in turn, to preserve it (Render le sponde al
mare). Finally, the quartet agree that ultimately mercy will be victorious through the sacrifice
of Christ (Si la serena fronte).
Of the eight solo arias in Part II, all are in the alla parte form and are constructed
similarly to those in Part I; two each have three- and four-theme ritornelli, while the remaining
four have only two. The final two pieces, a duet and a quartet, are both quite short. Cara
piaggia, between Adamo and Eva, is in a loose binary form. The two verses present a contrast:
in the first, Adamo and Eva describe the peaceful land from which they have been exiled, set
against the harsh land that awaits them in the second. The A section is mostly in G major,
veering toward D major only at the very end of the first verse, and features recurring lombardic
rhythms perhaps intended to be evocative of the gentle shores described by the text. The
modulation to the dominant heralds the start of the B section and the second verse, whose
thematic construction is more varied. The concluding quartet, Si la serena fronte, is a more
well-defined ternary form, with a written-out repeat of the A text. The A sections consist of
clear theme groups (a-b-a-c-a-d in the first appearance, a-c-a-d in the second), while the B
section is through-composed.
There are notable similarities between the opening measures of Cara piaggia and Si la
serena fronte, both in terms of melodic contour and harmonic progression (Example 3.3). It
seems probable that this is the result of a deliberate attempt to link the lost paradise of Cara
piaggia with the eventual forgiveness promised in the concluding quartet: the exile is ended and
paradise is regained, albeit in a different form.
68
Example 3.3: Adamo ed Eva: Cara piaggia and Si la serena fronte openings.
The oratorio as a whole shows basic signs of a large-scale key structure. The opening
Sinfonia is in D major, Part I begins in F major and ends in A major, thus completing a tonic-
dominant shift, while Part II begins in G major and ends in the original tonic, D major. At a
more local level, key choice appears to have greater significance. The keys of the final three
arias of Part I, for example, exhibit a readily perceived symbolic logic. At their initial
appearance the angels of justice and mercy represent opposing but complementary concepts.
Their first arias are in G minor and B-flat major, respectively, which is to say a relative
minor/major pair: closely related but of contrasting character. The following duet, in which
compromise is reached, is in A major, which, while harmonically not especially close to either G
minor or B-flat major, lies squarely between both on the scale; they quite literally meet in the
middle by ascending or descending one scale degree.
In some cases the choice of key itself may be significant in the context of individual
arias. For example, the opening aria has the following text:
Sente questalma oppressa This soul feels oppressed
Della sua colpa il danno: By the wound of its guilt:
Erra turbato il sangue; The blood roams turbulently;
Palpita il core, e langue The heart palpitates, and languishes
Per doglia, e per timore, For pain, and for fear,
Che ancor non s spiegar. Which it still does not know how to explain.
69
Tu stessa, Eva, tu stessa Even you, Eva, even you
Mempi di nuovo affanno: Fill me with new anxiety:
Ardo, gelo, sospiro; I burn, I freeze, I sigh;
Forse per te deliro, Perhaps delirious for you,
Ma non ti s pi amar. But I no longer know how to love you.
Adamo, suddenly host to a multitude of hitherto unknown sensations, feels guilt and pain he is at
a loss to explain, and even Eva fills him with conflicting emotions. The aria, however, is in F
major, a key with strong traditional pastoral associations that stand in contrast to the emotional
content of the aria: the idyllic nature of Eden opposed by the inner turmoil Adamo experiences.
That the contrast is deliberate is also suggested by the prominence of falling motives throughout
the aria, evocative of the fall from grace. The falling diminished thirds in measures 49 and 51
stand out in particular (Example 3.4).
Example 3.4: Adamo ed Eva: Sente questalma oppressa falling motives.
This aria also illustrates several facets of Galuppis approach to text setting. One of the
criticisms sometimes leveled against Galuppi is his apparently haphazard and cavalier approach
to diction. Ross, for example, in comparing settings of the Miserere by Galuppi, Hasse,
Sacchini, Porpora, and Jommelli, finds that Galuppi (and to a lesser extent Sacchini) is prone to
misaccent (her term) words, stressing syllables in the music that would not be stressed in
speech and occasionally resorting to awkward elisions in order to fit the text to the music.197
Some of these traits can be seen even within the limited scope of the above example: the tonic
and agogic accent placed on the second syllable of the unimportant contraction della in m. 19,
197
Sylvia Lucy Ross, A Comparison of Six Miserere Settings from the Eighteenth Century Venetian
Conservatories (DMA thesis, University of Illinois, 1972), 55-61.
70
stress on the weak final syllable of timore in m. 53, and the elision of che anchor in m. 54
that stresses the first syllable.
But at the same time, it would be inappropriate to characterize Galuppi as insensitive to
the text. Aside from the previously mentioned Fall symbolism, on a smaller scale we can see, for
instance, the chromatic inflections on langue (m. 26 and m. 51) and the treatment of spiegar
as deliberate text painting. Spiegar in this context means to explain, but can also denote
unfolding or unfurling, additional meanings suggested by extended melismatic settings and
repetition. It should be acknowledged that Galuppi shows a strong tendency to treat the final
words of first verses melismatically: of the thirteen pieces in alla parte form, six feature extended
melismas on the final word of the opening verse, two on both the final word and another, four on
other words, and only one with no melismatic writing at all. It could therefore be argued that the
setting of spiegar is more structurally than poetically motivated. However, Sente questalma
has one unusual feature that suggests otherwise: unlike the other arias in the oratorio, the text of
the first verse is stated in full three times, rather than two. The first two statements follow the
normal aria pattern, but the third covers most of the verse perfunctorily until the final phrase,
which is repeated, fragmented, and rearranged:
Che ancor spiegar
Che ancor spiegar non s
Che ancor non s
Che ancor non s spiegar, spiegar
Non s non s spiegar
N n non s spiegar
Non s spiegar
This third statement thus expands upon and emphasizes the word in a fashion comparable to the
earlier melismatic settings, suggesting that it was in fact deliberately chosen for special
treatment.
Liturgical Motets
Galuppis liturgical motets have been better represented in scholarly literature, and have
formed, at least in part, the basis of three English-language doctoral studies. The earliest,
Chiuminattos 1959 Liturgical Music of Baldassare Galuppi,198 remains valuable as a
pioneering work, but it suffers from the fact that Chiuminatto had very few resources to draw
198
Anthony L. Chiuminatto, Ligurgical Music of Baldassare Galuppi Ph.D. diss, Northwestern University, 1959.
71
upon, and he appears to have discussed whatever pieces ascribed to Galuppi he could obtain.
This includes some works now considered to be of dubious authenticity, such as the C-major a
cappella Mass in the Kiesewetter collection of the sterreichische Nationalbibliothek.199 It also
suffers from some dated conceptions of eighteenth-century music in general; his opinion that
Galuppis works for chorus and orchestra are all in the character of Baroque compositions and
monothematic in construction holds up poorly in the face of more nuanced recent views of the
style galant and the emergence of Classic forms.200
Joan Whittemores 1986 Revision of Music Performed at the Venetian Conservatories in
the Eighteenth Century201 discusses the practices of various composers in arranging works
originally intended for the ospedali for performance by conventional SATB choirs; Galuppis
music is represented by one of his Dixit Dominus settings. Most recently, Gary Days Five
Salve Regina Settings of Baldassare Galuppi202 deals with one of the Marian Antiphons,
generally set as a series of church arias. Two of the Salve Regina settings he discusses are
autographs, one for the Mendicanti from 1746 and one for the Incurabili in 1775. The remaining
settings are undated, and for one of them there is a conflicting attribution to Giovanni Battista
Borghi (1738-96) in an alternate source.203 Day supplies full transcriptions of each Salve.
A German dissertation by Ines Burde was subsequently published in 2008 as Die
veneziansiche Kirchenmusik von Baldassare Galuppi,204 an extremely valuable resource that
collates a great quantity of material concerning the location, provenance, and status of Galuppi
scores. She touches on many topics related to Galuppis church music but discusses categories
of works more than specific pieces. Included is a thematic catalog of Galuppis sacred music,
excluding the oratorios; while not fully comprehensive (it lacks, for instance, the Laudate pueri
fragment discussed later, as well as a second copy of the C-minor Miserere and some works
199
SA.67.D.45.
200
Chiuminatto, 176.
201
Whittemore, Revision.
202
Day, Salve Regina Settings.
203
Although Day feels fairly confident that the Galuppi/Borghi Salve is properly a Galuppi piece, a quick glance at
the formal plan of the first aria is sufficient to suggest otherwise: if it is a Galuppi setting, it is a radically
experimental one. To touch only on the most salient points, the aria features a change of time signature and tempo
at the statement of Ad te clamamus (We cry out to you), and a change of key signature and tempo at Ad te
suspiramus (We sigh to you,) both of which are completely alien to the structure of any other Galuppi church
arias, including the other four Salve settings Day discusses. Additionally, the instrumental introduction presents no
material that serves even a rudimentary ritornello function. The structure of the aria suggests the hand of a younger
generation of composer and Borghi, 32 years Galuppis junior, is a much more believable prospect.
204
Ines Burde, Die venezianischen Kirchenmusik von Baldassare Galuppi (Frankfurt am Main: Peter Lang, 2008).
72
ascribed to Galuppi in the Einsiedeln library), it is by far the most complete and organized
attempt at a Galuppi catalog to date. Also notable is a comparison by Helen Geyer of Venetian
Laudate pueri settings, including three by Galuppi (from 1763, 1769, and 1774).205
The pieces discussed below represent two different approaches to setting long liturgical
texts. Breve settings encompass the complete motet text in a single movement and frequently
call for relatively small performing forces. The compression of a long text into one movement
presents a problem of form; through-composition is the most obvious solution, and that is the
approach Galuppi adopted in his stile antico setting of the Magnificat, a through-composed
imitative work with colla parte strings and a semi-independent trumpet part.206 The Confitebor a
due breve discussed below attempts instead to adapt conventional vocal forms to suit the text.
In contrast, full settings are multi-movement works, with each movement setting one or
more verses of the text. A mix of choral movements and solo arias is expected; the choral
movements also often include solo vocal passages for solo/tutti contrast. The arias are usually in
the normal mold of the church aria, which as noted resembles the typical da capo A section, with
the text stated twice in each vocal period. Where a particularly lengthy verse would produce an
aria of unwieldy proportions, however, the repetition of text is eschewed, and each vocal period
instead presents half of the text.207 The Laudate pueri fragments discussed below together
comprise three choruses and three solo arias.
Confitebor a 2 breve
A major
I-Gl, N.1.5.11 (Sc. 38)
Burde: II/8
SB solo, 2 violins, continuo, le Viole con Basso se si vuole
Autograph, 1757
The manuscript of this work resides in the library of the Conservatorio musicale Nicol
Paganini in Genoa, which classifies it, along with several other Galuppi holdings, as an
autograph. A facsimile edition was published in 1971.208 The date 1757 appears in the same
205
Helen Geyer, Beobachtungen an einigen Vertonungen des 112. Psalms Laudate pueri fr die veneziansichen
Ospedali (Conservatori), in Geyer and Osthoff, Musik an den venezianischen Ospedali,149-77.
206
A possible autograph is in the Conservatorio di Musica Nicol Paganini, MS N.L.5.11(Sc. 28); published edition:
Baldassare Galuppi, Magnificat a 4 da cappella, ed. Patricia Calahan (Orleans, MA: Paraclete, 1993).
207
See, for example, the 1775 Salve Regina setting transcribed in Day.
208
Baldassare Galuppi, Confitebor a 2 breve (Genoa: Edizioni della Polifonica Genovese dei Madrigalisti, 1971).
73
hand, apparently Galuppis, both on the title page and at the beginning of the score.209 While the
style of writing on the title page is more measured and formal than the hasty scrawl that sets
down the motet text, there are sufficient similarities in lettering to believe the title page may also
be Galuppis. Additionally, the 5 of 1757 bears the same distinctive shape as those found in
the figured bass. Taking the date, then, as accurate, that eliminates both the Mendicanti and the
Incurabili as likely intended venues, Galuppi having been dismissed from the Mendicanti in 1751
and not beginning his initial tenure at the Incurabili until 1762. Even if the date were to prove
unreliable, the use of the bass voice as one of the two soloists also strongly suggests a venue
outside the ospedali.210 The most likely scenario is thus that this piece was written for San
Marco, where Galuppi was at the time vicemaestro. However, the light instrumental scoring
(two violins and continuo only) leaves open the possibility that it was intended for a more
intimate setting.
Perhaps the most noteworthy aspect of this piece is its form. On cursory examination it
clearly follows the same general plan as the alla parte arias described above. Upon closer
examination the comparison starts to break down, revealing something that is neither a
conventional ternary aria nor wholly through-composed.
This Confitebor begins with an instrumental ritornello, comprising two short thematic
areas, which return together or separately at expected intervals; slightly atypically, the ritornello
cadences in the dominant, E major. The first section is in 3/4, occupies the first 162 measures of
the piece, and concludes, as expected, in the tonic key. As in a conventional aria form, the
209
Not all of the autographs at the Conservatorio appear to be reliably dated; the preface of the facsimile also lists
among the Conservatorio holdings an autograph Laudate pueri dated 1787. As Galuppi died in January 1785, either
the score is not an autograph or an incorrect date was added by a later hand.
210
While there is some ambiguous evidence to suggest that some of the singers present at the ospedali at various
times may have been capable of singing in the bass register, this would seem to be far more the exception rather than
the rule. Additionally, while a great deal of choral music written for the Mendicanti or Incurabili is notated for
SATB or SSAB chorus, in practice it is most likely to have been performed with the bass or possibly bass and tenor
parts transposed up an octave. There is, however, little reason to suspect that a solo bass part in a piece devoid of
chorus would have been written with transposition in mind. The issue of tenor and bass parts in music for the
ospedali has occasioned a great deal of scholarly consternation and as recently as 2009 was in part responsible for
what might diplomatically be termed a frank exchange of views between Joan Whittemore and Christopher Eanes
(Choral Journal vol. 49, no. 10 (April 2009), 7; the print exchange is highly abridged, with the full versions
supplied online though the publishers website: http://www.acdaonline.com/files/ChoJou_04_2009_Whittemore.pdf
and http://www.acdaonline.com/files/ChoJou_04_2009_Eanes_Rebuttal.pdf). Scholarship of the past 30 years has
at least overwhelmingly supported the notion that at no point did men ever perform with the figlie del coro. The
debate is, happily, outside the scope of this dissertation, but for additional information see Whittemores Revision
of Music, 1622 and passim, and Michael Talbot, Tenors and Basses at the Venetian Opsedali, Acta
Musicologica 66 (1994), 123-38.
74
second section is considerably shorter than the first, spanning only 19 measures, 163182. It
contrasts with the A section both in meter (common time) and in key (the submediant, F-sharp
minor, shifting to B minor). The return of the A section is atypical for two reasons. First, it is
fully written out; given Galuppis choices in dealing with the text, which was not designed with
binary structure in mind, this was probably unavoidable. While considerably shorter than the
initial statement of A, the final section still occupies 67 measures, 183250. Second, it begins
not in the tonic key but in the supertonic, B minor, the same key in which the second section
cadences. A firm A major is not reached until measure 194.
All of the above is principally applicable to the instrumental accompaniment, as the vocal
lines are entirely through-composed. This is a logical way of dealing with the text, since, as
mentioned above, it was obviously not written with the da capo structure in mind. Nor is it in a
regular poetic meter, as one would find in texts written for use in opera, oratorio, cantata, or
motet use; the irregular phrase lengths and stresses of the text, to say nothing of the sheer length,
make the use of recurring thematic material in the vocal parts impractical at best. Galuppi also
eschews any large-scale repetition of the text. The entire Psalm is sung once in its entirety, with
the first section containing everything from the beginning to mandavit in eternum testimenti
sui [sic]. The second section consists entirely of the sentence Sanctum et terribile nomen eius
initium sapienti timor Domini. The third contains the final sentence, Intellectus bonus
omnibus facientibus eum laudatio eius manet in sculum sculi, and the doxology.
The only recurring thematic elements are the two found in the opening ritornello, first
appearing at measure 1 and measure 13, and a sequential figure, first heard in measure 26, and
again in slightly altered forms in measures 59, 134, 235 and 241. In between statements of these
three motives, the role of the instrumental parts is mostly non-melodic, serving to provide
rhythmic punctuation to the vocal line, thicken the harmony, or agitate the texture by means of
repeated-note figures. These are accordingly the sections where the violin parts are most likely
to be independent; during the thematic sections the second violin is generally instructed to
double the first with the indication unis.
The recurring motives are not limited to spaces where the vocal lines are silent, which has
interesting implications for the phrase rhythms of the piece. The thematic elements frequently
unfold in a series of elided five-measure phrases. Due to the irregular nature of the text, the
vocal lines typically rely on a mixture of three-, four-, and five-measure phrases. As these do not
75
often line up neatly, the result is that the phrases of the vocal and instrumental lines in these
sections are frequently out of sync, resulting in a kind of subtle, large-scale syncopation
(Example 3.5).
Example 3.5: Confitebor breve: mm. 1838 (Andante; vln I/II, soprano, bass, continuo).
Harmonically, the piece generally follows convention, with the minor exceptions that the
first ritornello cadences on the dominant and the third section commences in B minor.
Beginning roughly in the middle of the first A section, at measure 70, is an area of extended
harmonic instability (Example 3.6) that serves a developmental function, as one might find in a
conventional da capo aria. The section begins in F-sharp minor, shifting to C-sharp minor by
means of a half-cadence in measure 85. In measure 94 a firm cadence in E major occurs. This
sets up an E-major statement of the opening ritornello theme at measure 101. Further instability
follows, passing again through F-sharp minor/major beginning around measure 111 to a
statement of the opening ritornello theme in B minor at measure 122, followed by another
statement in A major at measure 130. The key then remains stable until the end of the section.
76
Example 3.6: Confitebor breve: mm. 69130 (Andante; vln I/II, soprano, bass, continuo),
continued on next page.
77
Example 3.6 - continued
The latter half of the first A section thus almost exactly foreshadows the harmonic action
subsequently found in the following sections: the B section begins in F-sharp minor, passing
through a period of instability back to F-sharp, leading to a B-minor ritornello statement at the
beginning of the second A section that quickly returns to A major for the remainder of the piece.
78
Laudate pueri/Qui habitare
Laudate pueri [fragment]

A major
GB-Ob, MS Tenbury 619 [f. 7088]
Burde: n/a
S solo, SSAA chorus, violins, viola, 2 horns, continuo
Autograph, 1771
Qui habitare [fragment]

A major
US-Wc, ML 96 .G269 case
Burde: II/44
SA solo, SSAA chorus, violins, viola, 2 horns, continuo
Autograph, 1771? (or 1774?)
These two fragments are treated together, as it is possible they are two parts of the same
motet that somehow became separated. There is circumstantial evidence both for and against
this theory, which was first proposed by David Larson. Neither he nor anyone else appear to
have followed up on it. The Tenbury piece is not mentioned in the Qui habitare entry of Burdes
thematic catalog, and indeed neither the Tenbury Laudate pueri fragment nor another Tenbury
piece, a second copy of the C minor Miserere, appears in her catalog at all.
The Qui habitare manuscript in the Library of Congress is accompanied by the following
handwritten note:
There is in St. Michael's College Library, Tenbury Wells,211 a Galuppi autograph score
Laudate Pueri a 4.o / con Ist.ti / 1771. Shelf no. 619, f. 70-88. It too has a note by
Vincent Novello stating that he received the score from Dragonetti. The manuscript
terminates at the end of the Suscitans movement. This Library of Congress [ms. ML
96. G269 Case] takes up with the following movement, Qui habitare. The key is the
same, also the orchestra scoring and the women's chorus and soloists.
I have been unsuccessful in getting a microfilm of the St. Michael's ms for detailed
comparison. It is my guess that the Library of Congress ms & the St. Michael's together
comprise one complete work.
David Larson
Roosevelt University
Chicago, Ill.
August 2, 1975
211
This manuscript, along with most of the other Tenbury manuscripts, now resides at the Bodleian Library
following the closure of St. Michaels College.
79
The Tenbury Galuppi manuscripts have apparently eluded scrutiny from anyone after Novello,
despite their having been published as part of a microfilm series.212
As Larson mentioned, the front pages of both fragments bear notes from Vincent Novello
(17811861), the English publisher, editor, musician and composer. That on the Laudate is the
more detailed:
Vincent Novello
9 Craven Hill
Bayswater
I particularly prise [sic] this manuscript score, as it is written only (apparently) in the
composers own handwriting, but was given to me by my beloved friend Signn. [sic]
Dragonetti, who much admired the productions of Il Buranello (as he always called
him when conversing with me about Galuppi,) [sic] and with whom Dragonetti was
intimately acquainted at the commencement of his extraordinary musical career.
The note is interesting because, though sparse, it is one of the few direct pieces of information
we have about Galuppis personal acquaintances (assuming, of course, that neither Dragonetti
nor Novello exaggerated the degree of contact between the two). Dragonetti may have acquired
the pieces either as a result of his personal interaction with Galuppi or his association with the
orchestra of San Marco. Although he did not succeed in joining the orchestra there until 1787,
two years after Galuppis death, he had auditioned three years earlier, and perhaps more
significantly he received instruction on the bass from San Marco bassist Michele Berini.213
There is no definitive evidence that these two fragments are parts of the same piece, such
as would be provided by recurrence of thematic material in both fragmentsindeed, a return of
first-movement material to illustrate the meaning of sicut erat in principio in the Doxology is
common enough that the lack of recurring material in the final movement is one of the stronger
cautions against assuming these two fragments are related. There is however circumstantial
evidence to support the theory. First, as Larson notes, the key and orchestration of the two
fragments match; although Galuppi wrote many settings of the Laudate pueri, the Qui habitare
autograph is the only (partial) setting in A major listed in Burdes catalog. The placement of the
horns, sharing the top staff, is also the same in both scores.
212
The Music Collection of St. Michaels College, Tenbury, 77 reels, Music Manuscripts from the Great English
Collections (Brighton: Harvester Microform, 198184).
213
Fiona M. Palmer, "Dragonetti, Domenico," in Grove Music Online, Oxford Music Online, accessed October 2,
2010, http://www.oxfordmusiconline.com/subscriber/article/grove/music/08130; Nanna Koch, Dragonetti,
Domenico, in Die Musik in Geschichte und Gegenwart: Personenteil, ed. Ludwig Finscher (Kassel: Brenreiter,
2001), 5: 1385.
80
Second, both fragments appear to be written on the same type of paper: ten staves, with
the Library of Congress MS measuring 23.3 x 32 cm and the Tenbury 22.2 x 30 cm; the size
difference may be explained by the fact that the Tenbury MS is bound with multiple other
manuscripts, necessitating trimming: the right margins of the verso pages are almost wholly
swallowed by the spine in the Tenbury collection. Future investigation of watermarks, if any,
and Venetian paper types may help to strengthen or disprove this hypothesis.
Third, the Qui habitare can be dated to the same approximate period as the Tenbury
Laudate pueri. The initial page of the Qui habitare bears the date 1744 in light pencil, but this
can be rejected out of hand for two reasons. The first is handwriting: both manuscripts show
signs of having been written with hands prone to occasional shakiness. This is most obvious in
the beaming and note stems, which in some cases are more wave than line. The sporadic
unsteadiness is most obvious in the Qui habitare movements, but several prominent examples
are also present in the latter half of the Laudate pueri. Several examples from the Laudate have
been provided previously in Figure 3.2. The 1757 Confitebor autograph, by way of contrast,
shows no similar signs of manual infirmity. The dates can also be more accurately estimated by
the names of the soloists that appear in the scores; each solo aria bears the name of one of the
girls of the Incurabili, and in the opening chorus of the Laudate names are also given for the solo
passages. The names in the two fragments collectively include Serafina, Orsola, Momola,
Bettina, Marcolina, and [Catarina] Zerini, all of whom were active at the Incurabili at least
during the period 177076.214 Marcolina appears to have debuted in 1771.215 Burde provides
the date 1774 for the Qui habitare, apparently following Rossi, but Rossi but offers neither
explanation nor justification for how this date was arrived at.216
Between the two fragments the seventh verse (Ut collocet eum cum principibus, cum
principibus populi sui, That he may place him with princes, with the princes of his people),
which falls between the Suscitans and Qui habitare verses, is unaccounted for, although it
214
Unfortunately there does not appear to be a single, comprehensive list of performers at the ospedali, but Denis
and Elsie Arnolds monograph on the oratorio does list all the singers named in oratorio libretti for much of the
eighteenth century, which provides at least a rough account of soloists active dates. See Arnold and Arnold,
Oratorio, 1048.
215
Ines Burde, Thematisch-Systematisches Verzeichnis der venezianischen Kirchenmusik von Baldassare Galuppi,
167; CD-ROM supplement to Die venezianischen Kirchenmusik von Baldassare Galuppi (Frankfurt am Main: Peter
Lang, 2008).
216
Franco Rossi, La musica sacra di Galuppi tra ospedali e cappella ducale, in La Cappella musicale di San
Marco nellet moderna,ed. Francesco Passadore and Franco Rossi (Venice: Levi, 1998), 473.
81
may simply have been omitted or lost. It is curious that neither Novello nor, presumably,
Dragonetti made any remark on the apparent relationship between the two fragments. On the
whole, however, while no conclusive statements can be made, Larsons guess that these two
manuscripts are part of the same work is very plausible.
The Laudate pueri opens with a substantial chorus that encompasses half the text of the
motet proper. After an extended instrumental introduction the chorus sings the first verse, with
much repetition. The next three verses are then presented in a more straightforward fashion,
principally by choral soloists although with punctuation from the full chorus. The first verse
makes an extensive return to conclude the movement. One outstanding aspect of the opening
chorus is how instrumentally driven it is. Nearly all of the melodic interest and thematic
development is provided by the orchestra. This is a logical solution to the problem of setting a
long text not explicitly designed for musical setting for chorus and orchestra, and it is hardly
unique to Galuppi. However, in contrast with the earlier works so far examined, it is noteworthy
that the full complement of instruments comes to the fore: the first and second violin parts are
independent much more often, and the viola is likewise separate from the bass more often than
not (and even plays short passages of divided writing).
The style of writing is itself highly instrumental. Stripped of the vocal parts, the opening
chorus would not be out of place in a symphony or an overture. The introduction comprises five
thematic areas, which constitute the bulk of the choruss material. After an opening four-bar
phrase (a) that essentially outlines tonic and dominant twice, a syncopated rising sequence builds
tension over a tonic pedal point (b) before finally breaking out into a burst of sixteenth-note
figuration (c). This is followed by another pedal point section (d), this time on the dominant.
The pedal is supplied by the horns and part of the second violins, while the bass, violas, and
remaining second violins pass around a descending sequence; above, the first violins are silent
except for a five-note figure later taken up by the vocal soloists. Finally there is a short cadential
section (e) characterized by unaccompanied interjections from the horns.
Except for the presence of the introduction, the chorus otherwise fits neatly into the
binary-form pattern characteristic of the sonata and symphony in the eighteenth century. The
entrance of the chorus sees a repetition of themes a, b, and c, still in the tonic key. A new
section (f) is interjected, serving a modulatory function. This is one of the few sections where
the choral parts are musically significant: despite the occasional interjections by the vocal
82
soloists, the chorus is mostly carried by the orchestra, providing a homorhythmic harmonic
underpinning to the instrumental parts for much of the movement. In this section, however, the
instrumental parts are simply an elaboration of the chromatic ascent in parallel sixths in the first
and second altos, which gives rise to some surprising cross relations between the first altos and
the violas and first violins (E-sharp against E in measure 59, and F-double-sharp against F-sharp
in 60; Example 3.7).
The section ends on a half cadence in E major; when segment d arrives afterward it is in
the dominant, thus assuming the role of a secondary key theme. The first part of the A section
concludes with new cadential material (e) in the dominant. The second half opens, as expected,
with an area of harmonic instability serving a developmental function; it consists mostly of three
sections of new material (although the first also incorporates fragments of c), with a statement of
d in between the first and second. It is set apart not only harmonically and thematically but also
textually: while the whole of the A section contains only the first verse of the psalm, the second,
third, and fourth verses are all contained within this 25-measure development section, one verse
per new thematic area. The return to the tonic coincides with the reappearance of a, and the final
half of the B section is almost literally a recapitulation of the A section. Aside from the fact that
it remains in the tonic throughout, the only significant difference is that both the g and e
cadential sections are used.
The fifth verse, Quis sicut Dominus Deus, is set as a slow (largo molto) D-major
soprano aria, which also follows the church aria pattern. The full text is stated only once in each
half of the aria, as opposed to the two iterations common to the da capo aria, or the setting of the
Qui habitare verse discussed below. This choice was possibly influenced by the slow tempo of
the aria. The two halves of the verse are used as dividing points in the aria, similar to iterations
of the text in previously examined arias. In both halves of the aria the major key changesfrom
D major to A major in the A section and from harmonic instability back to D major in the B
sectionoccur at the words et humilia, the halfway point of the verse. The same words are
also associated with the introduction of material not found in the introduction.
The aria is dominated by a steady quarter-note pulse in the bass line, seldom interrupted,
which accelerates only in the final few measures. Often the first violins mirror the pulsation in
83
Example 3.7: Laudate pueri (1771): movt. I, mm. 59-65 (Allegro; horns, vln I/II, vla, SSAA,
bass)
84
diminution with repeated eighth notes.217 The b theme extends the motif to a second level of
diminution by giving the second violins a rocking figure in sixteenth notes. The orchestral parts
are mainly accompanimental, and the solo soprano line exhibits a high degree of autonomy, more
so than in earlier arias: not only do they share the same material only in the a theme, but both
halves of the aria afford the soloist opportunities for cadenzas, indicated with fermatas.
The aria exhibits two other minor peculiarities. First, as in many other Galuppi arias, the
final word of the text (terra in this case) is emphasized via melismatic setting. The major
melisma occurs immediately before the return to D major in the B section, but there are two
other brief examples, at the end of each of the two halves of the aria. In those instances the
melismas are short and relatively simple, on the words et in terra. What is puzzling is that in
each of these cases, et and terra receive equal attention; not only is et an insignificant
conjunction, it is also not a particularly flattering vowel. The second peculiarity is the placement
of the double bar at the end of the piece, which occurs after an apparent half cadence in the
soprano and continuo parts. A fermata indicates that improvisation is called for. After the
double bar, however, both parts resolve to D, an isolated quarter note left hanging in space, as it
were. The succeeding chorus is marked segue subbito [sic], so this may be Galuppis way of
indicating that the final cadence of the aria should resolve simultaneously with the beginning of
the chorus, also in D major.
The final chorus of the fragment is a short allegro in 6/8, setting the sixth verse. It has
much in common with the concluding chorus of the Qui habitare fragment: the time signatures
are similar, both open fugally, and both double the voices of the chorus with instrumental parts,
with the horns remaining independent. Unlike the Qui habitare chorus, however, the fugal
writing breaks down fairly quickly; only the first half of the verse is set fugally, and in measure
13 the remainder of the verse is introduced in a more homophonic style, along with a shift to A
major. In measure 31 a second iteration of the text begins, along with a return of the fugal
material. As before, the fugal style gives way to homophony at the appearance of the second
half of the verse in measure 43. The chorus is thus a simple ABA'B' binary form.
217
The repeated eighth notes in the violins are often but very inconsistently overtopped with a wavy line, similar, for
example, to those used by Purcell in the aria for the Cold Genius in King Arthur. The most obvious interpretation is
as a series of short trills. The inconsistency of application raises questions as to whether Galuppi intended for all
similar passages to be played in the same way or if his placement was deliberate.
85
The Qui habitare picks up with an A-major soprano aria, which follows the form typical
of the da capo or alla parte A section. The instrumental introduction is more expansive than
most of those found in Adamo and is built out of four thematic areas of 10, 7, 12, and 11
measures, with some overlap. Also unlike the arias in Adamo, none of these thematic units is
reserved for exclusive use as an orchestral ritornelloin fact there is no true ritornello at all, as
the instrumental interlude between iterations of the text and the one that ends the movement are
drawn from different thematic areas. The c theme leans toward tonicizing the dominant initially
but ends firmly back in A major; the d theme is distinguished by a simple organ obliggato. The
first statement of the text begins with the a and b themes, then branches out into new material,
leading up to the first melismatic setting of laetantem (rejoicing), the final word of the verse.
The c and d themes follow, with the vocal line still an active participant, followed by another
digression into new material for the second melisma on laetantem. After a five-measure
instrumental interlude, derived from the end of the d theme, the text enters its second iteration,
this time in the dominant, E major. As expected, this coincides with the reappearance of the a
theme; rather than proceed to the b theme, however, the aria digresses into new material again,
leading quickly to a third laetantem melisma. As in the first iteration, this is followed by the c
and d themes and a fourth and final laetantem melisma. The final seven measures bring back
the b theme, omitted in the second iteration, in slightly varied form as the concluding
ritornello.
The next movement is an alto aria in D major, setting the first line of the Doxology,
Gloria patri et filio et spiritui sancto. As the text is so shorta mere seven wordsit would
be impractical for use as an organizational tool after the fashion of the Qui habitare aria.
Instead, the aria is a binary form constructed out of four cycles of themes a, b, and c. The split
between the first two and last two cycles is emphasized by a key change to A major. The first
cycle is simply an instrumental introduction, followed by a literal repetition with the addition of
the voice as the second. This takes the text as far as the word filio; thereafter, in the B section,
the final word sancto begins to introduce new structural elements by being set melismatically
at each appearance, much as with laetantem in the previous aria. The third and fourth cycles
of the aria thus feature new material interpolated between each of the original three themes,
giving the complete aria the following structure: a b c | a b c || a' d b e c | a'' f b g c||.
86
The final movement is a chorus, with two added horns, setting the remainder of the
Doxology; in the latter part of the chorus the phrases laudate pueri and laudate Domine are
also interpolated. The chorus begins with a short introduction in 4/4, which starts on a B major
chord, far removed from the key signatures suggested A major. Its function is both introductory
and transitional; over the course of eight measures, it moves from the initial non-diatonic B
major to a half-cadence on E major. It thus serves as an extended V/V V leading up to the
real chorus, in 3/8.218 Much like the Suscitans movement of the Laudate pueri fragment,
this chorus begins fugally. Each of the four voices is paired with an instrument: soprano II to
violin II, alto I to violin I, soprano I to viola, and alto II to the continuo; the instrumental parts
double their paired voices, either at the unison or the octave. The horns remain independent,
serving as a fifth voice. The fugal style is maintained through most of the movement until it
pauses on a half cadence, marked with a fermata. After this point, the remainder of the
movement alternates between polyphonic and homophonic sections, the latter setting the
transplanted fragments of the opening Laudate pueri verse.
Although a span of over two decades separates the Laudate pueri setting from Adamo,
two major points remain consistent throughout that time. First, Galuppi retained an interest in
threefold rhythmic statements that apparently lasted his whole life. Second, most of the pieces
under consideration can be understood in terms of rotational structures, and at least onethe
opening Laudate pueri chorusis in most respects a clearly articulated sonata form; one may
tentatively conclude that the tendency toward clear rotational forms becomes more marked later
in Galuppis career. The next chapter, however, is primarily concerned with pieces from a much
narrower span of timepurportedly, at least, the 1740s. Within that timeframe Galuppi also
exhibits a consistent orchestration habit in which he limits the independence of the violas while
the vocal part is active. The works explored in this chapter will form the main basis of
comparison for those in the next.
218
The manuscript clearly indicates 3/8, but after the first four measures the remainder of the movement is notated in
6/8. This was presumably simply a matter of convenience, requiring fewer bar lines to be drawn.
87
CHAPTER FOUR
GALUPPI AND THE PROBLEM OF DON ISEPPO BALDAN

The priest Iseppo (or Giuseppe) Baldan (ca. 1710after 1770?) was one of the best-
known copyists active in Venice in the mid- and late-eighteenth century, and by all accounts also
one of the most skilled. The patrician Pietro Gradenigo, who occasionally noted skilled
tradesmen in his diaries, in an entry from 1760 called Baldan one of the most accurate copyists in
the city.219 Baldan was a near contemporary of Galuppi who got his start as a copyist in the
workshop (copisteria) of Francesco Trogiani but later set up his own shop near the bridge of San
Giovanni Grisostomo; there he had in his employ a number of other copyists, including two of
Vivaldis nephews, Daniele Mauro (son of his sister Cecilia, born 1717) and Carlo Vivaldi (son
of his brother Francesco, born 1731).220 He was also a celebrant at the church of Santa Maria dei
Miracoli.221 He remained a part of the musical scene throughout much of the century: the helpful
priest Giuseppe who so kindly supplied Burney with scores of Galuppi and Hasse during his
177071 travels through Europe was most likely Baldan.222
Such copyists were a critical part of eighteenth-century Venetian musical life, all the
more so since music publishing in Venice was effectively defunct by 1710, as suggested by
Vivaldis opting to send his concertos to Amsterdam for publication. As previously noted,
Italian music printers of the eighteenth century were still using moveable type of the kind
developed in the sixteenth century. Of the two largest firms in Venice during Vivaldis life, one,
that of Giuseppe Sala, folded in 1715, while that of Antonio Bortoli lasted until the 1760s.223
Even then, Bortoli averaged a meager output of one book of music every two years, despite
advertisements promising the best works of the most illustrious composers.224 In such a climate,
skilled copyists were naturally in high demand. They served two purposes. One was the most
basic copyists role of producing playable parts for a specific occasion. They also fulfilled some
219
Cited in Micky White and Michael Talbot, Pietro Maura, detto il Vivaldi: Failed Tenor, Failed Impresario,
Failed Husband, Acclaimed Copyist, in Vivaldi, Motezuma, and the Opera Seria (Turnhout: Brepols, 2008), 54.
220
Michael Talbot, Recovering Vivaldis Lost Psalm, Eighteenth-CenturyMusic 1, no. 1 (2004), 64.
221
Gaetano Cozzi, Una disavventura di pre Iseppo Baldan, copista del Galuppi, in Muraro and Rossi, Galuppiana
1985, 127.
222
Charles Burney, The Present State of Music in France and Italy (London: Becket, 1771), 180n.
223
Talbot, Vivaldis Venice, 317.
224
Mamy, 76.
88
of the functions elsewhere increasingly provided by publishers, namely providing extant music
on demand to interested parties. Fortunate Venetian copyists might be semi-officially attached to
one or more of the various theaters; while not directly remunerated by the management, in return
for supplying vocal and instrumental parts for stage productions they were allowed to retain the
scores to monetize as they desired. The result was that certain copyists enjoyed a kind of loose
monopoly on retailing the music presented at specific theaters, which sometimes occasioned
tension between rivals; Baldan himself enjoyed such an understanding with the impresario of
San Samuele and the proprietor of San Mois.225 Talbot explains the copyists dual role thus:
The activity of any Italian copisteria had two distinct aspects. One was to perform the
duties of an amanuensis for a composer, theatre, church, or court. The other was to act as
an independent retailer of music to members of the general public, who could visit the
shop in person, send an intermediary or make and receive their orders through the mails.
Most of the stock for the second task was acquired by surreptitiously making extra copies
while carrying out the first task. And whereas working directly on behalf of composers
provided no opportunity for the creative ascription of authorship, fulfilling
commissions from distant and often none too knowledgeable customers positively
encouraged the practice.226
Between his work for the theaters and his skillful reputation, Baldan presumably had no
difficulties in keeping his copisteria well stocked with desirable music. Both Galuppi and
Gioacchino Cocchi (a Neapolitan opera composer and acting maestro di coro at the Incurabili
from approximately 175257) are known to have visited his shop personally to deliver music.227
Baldans reputation was apparently sufficiently secure that he emerged from a scandal in 1754
55 with no evident lasting damage to his business: accused of impregnating a servant girl, he was
put on trial before the Signori Esecutori contro la Bestemmia, the branch of the Venetian
government charged with overseeing public morals. He ultimately avoided sentencing.228
Unfortunately, a putative predilection for young domestics was not Baldans only priestly
failing: he was also rather more comfortable with chicanery than one might desire in a man of
the cloth. He has attracted special attention in the past decade for having fraudulently supplied
the Dresden court chapel with at least three Vivaldi pieces, which he glibly attributed to the by
225
Mamy, 9596; according to Talbot (Recovering, 64) he also supplied San Giovanni Grisostomo. He may have
obtained this post at the expense of his first employer, Trogiani; he definitely seems to have wrested the patronage
of San Mois away from another previous employer, Andrea Noal, with resulting ill will, and neither Noal nor
Trogiani was kindly disposed toward Baldan by 1755; see Cozzi, 1289.
226
Talbot, Recovering Vivaldis Lost Psalm, 65.
227
Cozzi, 128.
228
The trial is described in detail in Cozzi, 127131.
89
then vastly more popular and up-to-date Galuppi. 229 This fraud was, alas, far from an isolated
incident: Stockigt and Talbot describe him as an inveterate falsifier of attributions,230 and
indeed he appears to have felt quite comfortable blithely passing off works by one composer as
the products of another in order to fulfill a commission whenever necessary.
The Schsiches Landesbibliothek Staats- und Universittsbibliothek (SLUB) in
Dresden houses one of the largest collections of music attributed to Galuppi outside of Italy.
Many of the compositions found there have, as yet, been found nowhere else. The Dresden
collection is a significant repository of material for Galuppi scholarship with the unfortunate
caveat that nearly every piece held in it must necessarily be viewed with some suspicion, because
Baldan supplied the bulk of them. The three misattributed Vivaldi scores in the Dresden
archives, all copied by Baldan or his associates, are symptomatic of the larger problem of
Baldans unreliability coupled with his prodigious output. In the 1750s, Baldan received one or
more large orders for church music from the Dresden Hofkapelle. Galuppi in particular was
specifically requested, as attested by the great quantity of his music (or alleged music) included
in the shipment, many works bearing Baldans distinctively ornate title pages; other composers
represented in manuscripts from his copisteria include Giuseppe Chiesa, Vincenzo Ciampi,
Niccol Jommelli, Giovanni Battisa Pergolesi, Giovanni Battista Pescetti, Antonio Puppi
(apparently a pupil of Galuppi, about whom little is known), and Johann Gottfried Schwanenberg
(who had studied with Hasse in Venice).231 Dresden was at the time apparently rather taken with
Galuppi. In 1754 three of his comic operas were performed there: Il mondo alla roversa, La
calamita de cuoiri, and Il mondo della luna, the first of which was reprised for the end of the
season; the following year saw productions of LArcadia in Brenta, Il filosofo di campagna, and
Il conte Caramella, and in 1756 came Il pazzo glorioso and La diavolessa.232 To say that he was
in the public eye in Dresden hardly seems sufficient. It is therefore not surprising that his music
was particularly sought for the (Catholic) royal chapel, which was open to the public and whose
performances drew even Protestant listeners throughout the year.233
229
The recovery of these pieces is detailed in Talbot, Recovering Vivaldis Lost Psalm, and Janice Stockigt and
Michael Talbot, Two More New Vivaldi Finds in Dresden, Eighteenth-Century Music 3, no. 1 (2006), 3561.
230
Stockigt and Talbot, 35.
231
Janice Stockigt, This Rare and Precious Music: Preliminary Findings on the Catalogue of the Music Collection
of the Dresden Catholic Court Church (1765), Musicology Australia, 27 (2005), 9.
232
Stockigt and Talbot, 3637.
233
Stockigt, 3.
90
Of the Dresden pieces ascribed to Galuppi, at least seven can be confidently assigned to
other composers: the Vivaldi pieces, plus a Mass and a Te Deum by Gassmann, and the solo
motet Quae columna luminosa by Johann Adolph Hasse. Another solo motet, Prata, colles,
plantes, flores, while almost certainly not by Galuppi based on the active dates of the singers
named therein, does not lack for other potential authors.234 A manuscript in London (GB-Lbm,
Add. 31628) ascribes it to Il Sassone, meaning Hasse, a possibility chronologically supported
by the singers named. However, Modulamina sacra, a manuscript collection of motet libretti,
which names (although not infallibly) the composers for whom the texts contained therein were
written, instead cites Gioacchino Cocchi,235 an ascription circumstantially supported by the
knowledge that Cocchi employed Baldan as a copyist. Cocchis music remains mostly
unexplored, however, so an argument for or against his authorship on stylistic grounds is not
currently feasible. RISM also lists two sources ascribing the motet to Leonardo Leo: a
manuscript in the Singakademie zu Berlin (D-Bsa, SA 781) and another in the Staatsbibliothek
zu Berlin (D-B, Am.B 292).236 If it is indeed by Leo, that would almost certainly mean that it
was not written for the ospedali at all, since Leo was never employed in Venice. In that case,
however, it is hard to explain the appearance of the libretto in a collection of texts written for the
ospedali, or the presence of ospedali singers names in the score. Hasse is probably the strongest
contender, as another singer named in the London MS predates Cocchis tenure at the
Incurabili,237 but none of the four attributions is completely satisfactory.
A further sixteen of the Dresden works ascribed to Galuppi are of uncertain authorship,
almost half of them solo motets. The solo motet made up a significant portion of the Dresden
order: according to a 1765 catalog of the Hofkapelles holdings, approximately thirty solo motets
were sent bearing Galuppis name. Unfortunately, seventeen of those listed are now missing.238
They were most likely lost during World War II, as were several sets of parts listed with their
parent scores. Of the remaining thirteen (actually eleven: one of the surviving motets exists in
two versionssoprano and tenorand one appears twice) seven are questionable, and two
(mentioned above) are spurious. The surviving motets may be broken down thus:
234
Burde, Thematisch-systematiches Verzeichnis, 28889.
235
Hansell, Sacred Music, 296, 507.
236
See RISM http://opac.rism.info/search?documentid=452504753 and
http://opac.rism.info/search?documentid=469078100 respectively. The Krause thematic catalog of Leos works
assigns this motet the number H 1.15.
237
Burde, Thematisch-Systematisches Verzeichnis, 28889.
238
Stockigt and Talbot, 37n.
91
Table 4.1: Dresden solo motets attributed to Galuppi
Motet SLUB Shelf Mark Catalog Remarks
Probably Authentic
Sum nimis irata Mus. 2973-E-38 III/7 Transposed for tenor
Ascribed to Galuppi in the libretto
collection Devoti Sacri Concentus (1748),
for the singer Hieronyma Tavani239
Sum offensa, sum Mus. 2973-E-19 III/8 Additional copies in Turin and Vienna by
irata unknown Italian copyists.
Ascribed to Galuppi in the libretto
collection Rhythmi Sacri (1747), for
Hieronyma Tavani.240
Uncertain
Ab unda algente Mus. 2973-E-36 Anh. 19 For tenor
Dum refulget Mus. 2973-E-37 Anh. 21 For tenor
Ecce volentem Mus. 2973-E-11 Anh. 22

video Saggitam
Non torrentes Mus. 2973-E-5 Anh. 24 Tenor version
Mus. 2973-E-13 Soprano version
Quaerenti per Mus. 2973-E-17 Anh. 25
fontes
Sub coelo sereno Mus. 2973-E-18 Anh. 26
Probably Spurious
Gravi angore Mus. 2973-E-12 Anh. 23 Ascribed to Bertoni in alternate MS (A-
conturbata TU Sign. 49), and in Modulamina sacra
(1756)
Spurious
Prata, colles, Mus. 2973-E-14 Probably Hasse, possibly Cocchi or Leo
plantae, flores
Quae columna Mus. 2973-E-15 Two copies; another copy in Paris copy
luminosa Mus. 2973-E-16 has a title page and flourish in Hasses
hand
The first eight of the motets listed above will be examined in detail later on.
The unfortunate consequence of this information is that every score existing only in a
Baldan copy, or in copies probably derived from Baldan, must be viewed with at least a little
239
Berthold Over, Per la Gloria di Dio: Solistiche Kirchenmusik an den venezianischen Opsedali im 18.
Jahrhundert (Bonn: Orpheus, 1998), 222.
240
Ibid., 221.
92
suspicion. Take, for instance, the Miserere in C minor (Burde II/45), a large-scale work for
double SSAA chorus, double string orchestra, and occasional horns, set in the full style with each
verse treated as a separate movement. It has been discussed at some length in several
monographs: Chiuminato discusses it in his dissertation on Galuppis liturgical works, as does
Ross in her comparison of Venetian Miserere settings.241 Burde also mentions it briefly in her
discussion of Galuppis double-choir works.242 Yet the only source acknowledged by any of
those three is a Baldan copy in the British Library, formerly the property of Vincent Novello
(GB-Lbm, Add 14402). There is, however, another manuscript of this work, part of the former
library of St. Michaels College, Tenbury, and now residing in the Bodleian Library (MS
Tenbury 939). This copy can be dated and placed thanks to the copyists inscription at the end of
the piece: Scrip:t Jos: Fish / Darwen Lancashire / 1771. How exactly this Miserere came to be
copied in Darwen, more than 200 miles northwest of London, must remain a mystery for the
present, especially absent knowledge of the Baldan scores movements prior to its acquisition by
Novello.
There is, of course, a possibility that the Fish score was copied from Baldans. In
comparing Fish with Baldan,243 with the exception of the format, only minor differences
(principally the presence or absence of slurs or accidentals) are evident, any of which could be
the result either of inattention or initiative on the part of the copyist and so are not especially
helpful. The two scores are, however, laid out differently: the Fish copy places each system on a
separate page, while the Baldan score is written continuously across facing pages, such that a
single system occupies the verso of one leaf and the recto of the next (that is, landscape format).
Fish does use one of the customary signs of the Baldan copisteria, two forward slashes
that indicate that the second violins are to play in unison with the first violins. This symbol is
not unique to Baldan, but Galuppi himself appears to have exclusively preferred the abbreviation
unis. Curiously, this abbreviation appears exactly once in the Fish copy, on page 49; all other
instances are indicated by means of forward slashes, including those on the very next page.
More puzzling is Fishs treatment of the violas. Scores from the Baldan copisteria may
indicate that the violas double the bass at the octave by use of a bass clef or the instruction col
basso, but in the Dresden sources examined they have generally been consistent within the
241
Chiuminatto, 16166 and passim; Ross, passim.
242
Burde, Venetianische Kirchenmusik, 13136.
243
The Baldan score is also transcribed in Ross, 379471.
93
scope of a single score. Fish, in contrast, uses four methods of indicating the same concept: a
bass clef, col basso, a bass clef together with col basso, and a bass clef with two forward
slashes. Possibly the most convincing, though by no means conclusive, evidence to suggest that
Fish was not copying from the Baldan score (or at least not from the Baldan score preserved in
the British Library) is that the title pages of the two manuscripts provide slightly different
information. The title page of the Baldan score reads: Miserere / A Otto Parti. / due cori con
/ Strumenti / Che Segue Subito doppo lOratorio. / Musica / Del Celebre Baldassar Galuppi,
detto / Buranello. The Fish title page, on the other hand, reads: Miserere / A Due Cori / A
Otto voce / Cantato il / Mercoledei, Giovedi e Venerdi Santo / Nel Pio Ospitale [sic] degl.
Incurabili / LAnno 1769. / Musica / del Signr Baldassar Galuppi / detto il / Buranello.
Presumably either Fish constructed his title page based on his own personal knowledge or
information provided to him, or he was not copying from the same manuscript. The information
from the two title pages combined suggests that the Miserere was written to follow an oratorio
performance in 1769 (leaving a surprisingly short two years for the work to cross Western
Europe, the English Channel, and most of England to end up in Mr. Fishs hands); the only
oratorio performed at the Incurabili in 1769, according to the Arnolds, was Galuppis Tres
Mariae ad sepulchrum.244 While this seems a broadly plausible pairing, the subject matter
indicated by the title of the oratorio points firmly toward Easter rather than Holy Week;
performing it on Good Friday, followed by a Miserere, would seem to be getting conspicuously
ahead of the calendar.
According to Chiuminatto, citing Caffi, the Miserere was written to follow a performance
of Galuppis Maria Magdalena245 in 1763, with the intent of replacing Hasses famous C minor
Miserere that had been performed at the Incurabili for the past 35 years.246 This seems logical
enough, especially since Fishs assertion that the psalm was performed in 1769 does not preclude
its having been written earlier. There is, however, the serious problem that Chiuminatto has
mistranslated Caffiunderstandable, given that the latter had something of a predilection for
florid prose. Caffi, in fact, makes the opposite claim: that Galuppi deliberately opted, contrary to
244
245
In full, Maria Magdalena introductio ad psalmum. Ibid.
246
Chiuminatto, 162. Hansell casts doubt on the figures given by Caffi, arguing that the Miserere was unlikely to
have been written before the 1730s; see Hansell, Music at the Incurabili, 284.
94
expectation, to retain Hasses Miserere rather than providing a new one of his own
composition.247
A third possibility suggests itself, based on the list of oratorios performed at the
Incurabili. In 1764 Galuppi wrote two oratorios, one of which was titled Sacrificium Abraham
introductio ad psalmum Miserere.248 Not only is the subject matter (the sacrifice of a son by his
father) more suggestive of Holy Week rather than Easter, the oratorio explicitly mentions a
following Miserere. Additionally, 4 and 9 could potentially be mistaken on a handwritten
document, depending on the quality and idiosyncrasies of the writing. We might conjecture that
Galuppi did eventually opt to replace the Hasse Miserere, the following year. However, one
final piece of evidence militates against that and suggests that 1769 may be the correct year after
all: in a letter dated April 2, 1768, the Abb Gian Maria Ortes, a friend of Hasses, informed him
that his Miserere, which had not ceased to be sung for almost 30 years was again being
performed at the Incurabili.249 If we assume that Ortes was neither mistaken nor for some
unknown reason lying, and that performances on different days of Holy Week did not alternate
between settings of the Miserere, the actual window of possible composition becomes rather
limited. Fishs inscription at the end of the Tenbury manuscript provides a terminus ante quem
of 1771, and Ortess letter provides at least a porous boundary of 1769, the first opportunity after
his letter for the Incurabili to present a new Miserere.
All this, of course, assumes that Galuppi is indeed the composer of this piece.
Stylistically, it is difficult to make direct comparisons to most of Galuppis body of works, since
the piece is in a deliberately severe and somewhat old-fashioned style; however, it does not
247
Caffi, 1: 3956. For comparison, the relevant passage in full: Gi tosto, nellanno successivo 1763, dovea
Galuppi, secondo lo stile, produrre il suo oratorio. Tutti laspettavano impazientemente, ed anche attendeasi un gran
Miserere pei tre di delle tenebre. A ci lo sollecitavano anche le stesse donzelle premurose di mantenere la loro
fama e di soddisfare al genio del pubblico di novit sempre avido, e forse di sentir per 35 anni continui il Miserere
dHasse, anche sazio. Ma Galuppi, che assai per una parte stimava quel classico celebratissimo lavoro del Sassone,
volea, per sua naturale generosit danimo, anche prendere per laltra parte la vendetta del granduomo verso Adolfo,
il quale acre e geloso in punto darte (e ben Porpora ne fece e in Dresda e in Vienna assai tristi esperiencze) con
occhio dinvidia avea guardato sempre il gigantesco avanzamento della di lui riputazione, e tentato anche
darrestarla. La prese questa vendetta gi subito, e con un tratto che dest generale sorpresa. Produsse per suo primo
un oratorio a sei voci, Maria Magdalena, che server fece dintroduzione a quel Miserere; e per tal modo un nuovo
trionfo anche in via straordinaria procure allegregia composizione del suo rivale. Cos dal meravigliato pubblico si
fecegli in doppio modo applauder giustamente. One may see more of the dramatist and the nationalist than the
historian in Caffis explication of Galuppis motives, especially given the evident warmth Hasse elsewhere
expressed for Galuppi; see Hansell, Music at the Incurabili, 283; Chiuminatto, 116. Caffi does suggest that the
two were friends by the time Hasse returned to Venice in his retirement; see Caffi, 1: 408.
248
249
Hansell, Music at the Incurabili, 284.
95
appear to contradict Galuppis style as found in similarly formal liturgical works.250 In the
choral movements rhythm is dominated by the text, and there is no semi-independent
instrumental form overlaying the choral sectionsthe instrumental parts are more in the nature
of embellishments layered on top of essentially stile antico choral writing. The four solo arias,
however, are more contemporary in style, conforming to the conventions of the standard church
aria. In the last of these, the solo aria for first-chorus soprano on Sacrificium Dei, one of
Galuppis common techniques, the triply-stated rhythmic cell, is brought prominently to the fore
(Example 4.1). The movement opens with an eight-measure period (4 + 2 +2). The first four
measures are mostly built from one pattern and are followed by a sentence that embraces two
two-measure units each built on a different pattern; the third pattern is a compressed version of
the second.
Example 4.1: Miserere in C minor (1769?): Sacrificium Dei, mm. 18, (Adagio; vln I, vln II,
bass)
Although the actual range of dynamic markings in this work is quite limited, there are several
points, beyond what is mentioned elsewhere, that find precedent in other Galuppi works: in
particular, the use of sudden forte-piano contrasts (as, for instance, on page 85 of the Fish score)
and, more unusually, piano-forte (as on page 62).
250
See Chiuminatto, 185388 passim, and Burde, 13236.
96
Style analysis as a means of attribution is fraught with danger in the best of cases, but
fortunately, there are also some circumstantial factors relating to notational habits that may
suggest Galuppis authorship. The Sacrificium movement features an unusual performance
indication that also exists in at least one autograph score. The bass line of the movement consists
almost entirely of quarter notes, and until the entrance of the vocal soloist these are punctuated
with a vertical stroke above each note. At the entrance of the solo line the strokes are augmented
with the direction staccato, apparently either amplifying or explaining the meaning of the
strokes; the bass line of subsequent pages is unadorned, with the evident implication that it
should be performed in a similar manner. This same patternstrokes above the notes of the bass
line, later augmented or clarified with the word staccatois also found in the opening
movement of the Tenbury Laudate pueri fragment. There is no guarantee this was a purely
Galuppian idiosyncrasy, but it remains suggestive. In any case, the C-minor Miserere would
repay further investigation into the circumstances of its composition and into its style, once a
more robust Galuppian vocabulary has been developed.
The productivity of Baldans copisteria and his willingness to prey on the good faith or
gullibility of foreign customers poses a significant impediment not only to the study of Galuppis
music but to that of works by many other composers active in Venice throughout most of the
eighteenth century. There is often an element of chance involved in trusting an uncorroborated
manuscript attribution, but in Baldans case a healthy skepticism is a necessity. The remainder
of this chapter will turn that skepticism to a subset of the Dresden repertoire bearing Galuppis
name: the eight solo motets with no competing claims for authorship.
The Dresden Solo Motets

The Dresden motets appear to have been copied by three scribes. Scribe A, the most
prolific, produced the manuscripts for five of the six motets classed as of uncertain attribution
above, plus one of the two motets corroborated by the libretto collection, Sum nimis irata. It
seems likely that Scribe A was Baldan himself, especially since all of the motets in his hand have
title pages in florid lettering of the sort Baldan liked to create.251 Scribe B is responsible for the
other corroborated motet, Sum offensa, as well as one of the two versions of Hasses Qua
columna (Mus. 2973-E-16). Scribe C was the copyist for Quaerenti per fontes, apparently
251
See Talbot, Recovering Vivaldis Lost Psalm, 65.
97
portions of Ab unda algente, and the three motets with conflicting attributions: the other version
of Qua columna; Prata, colles, also probably by Hasse; and Gravi angore, attributed to Bertoni
in two other sources (and listed in a libretto collection from1756, too late to have plausibly been
a Galuppi work for the Mendicanti).
The principal concern here is with the two probably authentic and six uncertain motets,
but comparison across all the Dresden motets ascribed to Galuppi reveals an interesting and
possibly significant inconsistency in notational practices among the scribes. In all of the works
in Scribe As hand, repeats follow the Venetian alla parte convention. This is also true of the
two Hasse works and Quaerenti per fontes copied by Scribe C. However, both Scribe B
worksGaluppis Sum offensa and the other version of Hasses Qua columnaare instead
written as a more generic dal segno, with the first entrance of the voice marked with a multiply-
hashed bar line and the instruction al [hash mark] at the end (Figure 4.1). There are several
explanations for this discrepancy, depending on whether we assume that Scribe B reproduced
exactly what was before him or that he used his own editorial judgment.
Figure 4.1: Repeat indications, Sum offensa.
If Scribe B simply copied what was in front of him, that must necessarily raise suspicions
about the attribution of Sum offensa. Galuppi was using the dal segno convention consistently
by the time he wrote Triumphi divini amoris252 in 1765, but in the 1740s, in all of the autograph
da capo-style arias thus far examined, he uses alla parte to indicate repeats. Judith contains a
single instance of a hash mark at the entry point of the vocal line, positioned above the first
violin staff in the aria Plantae aliquando, but it is not referenced and the alla parte convention
stands.
However, as a more detailed look at Sum offensa will show, there is little stylistically to
militate against Galuppis authorship. Moreover, while Scribe B uses the same method to
indicate repeats in his copy of Qua columna, Scribe Cs version instead follows the Venetian
convention. A more detailed study of Hasses practices in his Venetian motets might provide
252
Bibliothque Nationale, Ms 1890.
98
more conclusive evidence as to which was the original, but based on the available information it
seems likely that Scribe B, presumably not a Venetian native, altered the given notation to
something less idiosyncratic.253 However, one work of Scribe C also breaks the Venetian
tradition: Bertonis Gravi angore also has repeats indicated with al [hash mark]. Since B and
C transcribed the same piece in different ways, one of them clearly made an editorial judgment.
As the three other motets in Scribe Cs hand all follow the Venetian convention, this also
supports the theory that Scribe B altered the indication of the repeats, while scribe C copied what
was in front of him. As for Bertoni, while he was celebrated as an adopted son of Venice, he
was actually a native of Sal, near Brescia, and his later training was in Bologna with Giovanni
Battista Martini. It would therefore not be surprising to find his notation differed from the
Venetian standard, and in any case the Gravi angore appears significantly to postdate many of
the other Dresden motets.
Sum nimis irata
G major
D-Dl Mus. 2973-E-38
Burde: III/7
T solo, obbligato violin (unmarked, second aria), 2 violins, viola, continuo
Manuscript copy (Baldan), before 1758
Written for the Mendicanti, ca. 1748
This solo motet is a fairly typical example of the genre, essentially a cantata in all but
name. It opens with an extended alla parte aria (197 measures, not counting the repeat), allegro
espiritoso, followed by a substantial accompagnato recitative, an andante alla parte aria254 in
the dominant, D major, and a short concluding Alleluia. The title page reads: Motetto. / In tenor.
/ A voce Sola Con Strum:ti / Del Sig:re Baldassar Galuppi, d:o Buranello. In spite of the
indicated voicing the motet was very likely written for soprano and simply copied with the vocal
line shifted down an octave; transposing it back up places the tessitura well within normal
soprano range, and means that the vocal line and the first violin part are frequently together,
either literally in unison or in close heterophonic approximation. At the beginning of the B
253
It is theoretically possible that Scribe B was not even part of the Baldan copisteriaso far as I am aware there is
no ironclad evidence that all of the motets attributed to Galuppi in Dresden came from Baldan. That might also
explain how the Dresden court ended up with two essentially identical copies of Qua columna, although if Scribe B
was not working for Baldan that raises the question of why both copies are falsely attributed to Galuppi.
254
The alla parte instruction is missing, but should probably be assumed, as the B section is clearly set off from the
A section at one end and the subsequent connecting ritornello on the other by double bars and changes in both key
and time signature.
99
section of the second aria, the first violin part is marked colla parte, i.e., in unison with the vocal
part; while technically executable on the violin in the relevant measures, in practical and musical
terms it must be transposed up an octave, and it is likely a remnant of the original soprano
version. Apart from musical considerations, the speaker in all of the Dresden solo motets is
grammatically female, which suggests (but does not necessarily require) a female performer.
The second aria, Me vox tua, is a gentle D major andante in 2/4 and like many of the
motets second arias it employs bridal imagery (Your dear, sweet voice speaks to me, bride and
sister). The scoring of this aria is noteworthy for two reasons. The first is the appearance of the
instruction Sordine at the head of the movement, mandating the use of mutes. The second is the
inclusion of a substantial violin obbligato part. It is not labeled as such and it does not even
receive its own staff, instead taking over either the tenor or viola staff; its appearance is heralded
by a treble clef. The use of widely-spaced triple stops (d'a'f#'') suggests that it was intended
for a string instrument rather than the organ. At times the obbligato transforms the aria into a
true duet, with voice and violin either trading motives in alternation or playing simultaneously,
usually in sixths (or thirds, if one assumes a soprano soloist). Both the use of mutes and the use
of obbligato instruments have precedents in autograph or well-documented Galuppi oratorios
from the same period. Judith (1746) features two arias calling for mutes, Amithals Ah!
pietatem si non sentis and Chabris Dum pavesco. Jahel (1748), meanwhile, calls for a pair
of obbligato cellos in Jahels Ad murmur frondis, although their contribution is more limited
than the violin part here.255 Aside from those points, this aria closely resembles those found in
Adamo, which after all was likely written at about the same time. The A sections follow the
same format, with two vocal periods, each containing a full statement of the first verse. In terms
of harmonic progression and the distribution of thematic material, there is a resemblance to the
emerging sonata form.
Burde includes this motet in the main body of her thematic catalog without comment, but
it is listed in the libretto collection Devoti Sacri Concentus as having been written for the singer
Hieronyma (or Geronima) Tavani at the Mendicanti.256 However, as this is a piece surviving only
in a Baldan copy and such libretto collections are not infallible, prudent skepticism suggests we
255
The Jahel aria is reproduced in full in Janz, 13444.
256
Over, 222.
100
consider the likelihood of Galuppis authorship at least fleetingly, especially as a basis for
comparison with less certain solo motets.
There are certainly many stylistic features of this motet that accord with Galuppis works.
Melodic lines are almost exclusively diatonic, with chromaticism left generally to the
accompaniment and, even then, reserved for climactic moments or developmental sections. The
exchanges of violin and viola independence corresponding to the entrance or suppression of the
vocal line adhere to the pattern observed by Day and noted in the previous chapter. While it
would be incautious to pin too much significance to this habit of orchestration, it is nevertheless
suggestive that none of the three Dresden motets properly belonging to Hasse and Bertoni
follows this pattern of orchestration (although the Bertoni motet is so late1757that by that
point it may no longer have been a consistent feature of Galuppis style.) The first aria also
makes prominent use of the threefold rhythmic cell as part of a series of elided phrases: measure
4 concludes a tonic triadic ascent and begins the second pattern (mm. 46). The second phrase
concludes at the beginning of measure 8, the second half of which begins another pattern, part of
a four-measure phrase that straddles bar lines and is extended to five measures by repetition of its
final measure (Example 4.2).
Example 4.2: Sum nimis irata: movt. I, mm. 113 (vln I, bass).
Two additional points circumstantially reinforce Galuppis authorship. As in most works

of a similar vintage, dynamic markings more explicit than forte or piano are rare. This motet
contains one instance each of mezzo forte (m.f.) and fortissimo (fmo.), but more significant is the
appearance of rinforzando (rinf.) in measure 55. This term seems to have been Galuppis
particular way of explicitly indicating a crescendo, especially when positioned between piano
101
and forte. Later works sometimes employ the even more explicit rinforzando poco a poco. This
appears to be a sufficiently distinctive usage to warrant attention. Chiuminatto included it in his
discussion of a Gloria in D major (Burde I/26), unfortunately not reliably datable, and made
comparison to Nicol Jommelli (171474), an early popularizer of the orchestral crescendo who
himself used the instruction crescendo il forte.257 The instruction rinforzando in the eighteenth
century was particularly associated with the Mannheim composers, who used it to indicate a
short crescendo.258 Crescendo effects occur frequently in the later works of Johann Stamitz
(17171757), likely under Jommellis influence.259 Galuppis use of crescendo in this case thus
seems to predate, or at least be roughly contemporaneous with, Stamitzs. If Jommelli is indeed
a common influence, it would not be surprising if Galuppi was the earlier adopter, since at the
time of Jommellis arrival in Venice his career was still in its early stages; in 1741 he had written
only six operas. He served as maestro di coro at the Incurabili for several years during Galuppis
tenure at the Mendicanti,260 and his Merope of 1741, Semiramide of 1742, and Sofonisba of 1745
were all written for San Giovanni Grisostomo. Galuppi would thus have had ample opportunity
to observe Jommellis compositional practices.
According to records of the ospedali in the Venetian state archives, Galuppi composed
sixteen solo motets for the Mendicanti during his first eighteen months there.261 If Sum nimis
irata belonged to those sixteen, Galuppis opportunities for contact with Jommellis music would
have been relatively limited. By the end of 1741 Jommelli had written just six operas, only one
of which had been performed in Venice, and that did not open until December 26.262 The entry
in Devoti Sacri Concentus, however, is for 1748; if that is an accurate representation of the
motets date of composition, it would place this motet roughly in line not only with Jommelli but
also Galuppis own Adamo, with regard to which the similarities of construction have been
noted.
257
Chiuminatto, 147.
258
David Fallows, Rinforzando, in Grove Music Online, Oxford Music Online, accessed November 1, 2010,
259
Eugene K. Wolf, et al., Stamitz, in Grove Music Online, Oxford Music Online, accessed November 1, 2010,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/40302pg1.
260
The exact dates of his tenure are not certain; he may have been appointed as early as 1743 but more likely in
1745, and left in late 1746 or early 1747. Marita P. McClymonds, et al., Jommelli, Niccol, in Grove Music
Online, Oxford Music Online, accessed October 30, 2010,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/14437; see also Baldauf-Berdes, 216.
261
262
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A second point is how closely the opening aria conforms to a species of aria described by
Reinhard Wiesend in his study of Galuppis opera seria. He terms it the G-Dur-Zorn-Typus, or
G-major rage type, for which he lists fifteen musical and textual characteristics and which, for
the most part, this aria possesses:263
1. An especially agitated affect, such as hate or anger. This is amply satisfied by the first
three words of the text, which might be loosely translated I am exceedingly angry. The affect,
however, is not uniform throughout the aria, as the latter half of the verse has a more wistful
tone: Sum nimis irata / delitiae terrenae / tam caeco gravata. / Errore comprehensa / vindictam
fallaces / par avide offensa / a nobis recedam / in pace vivendo. // Non ultra concedam / versari
in hac pena / me soluo catena / errorem cavendo.264
2. Settenari, or seven-syllable lines (although the actual number of syllables may be six
or eight, depending on the placement of the final accent). This aria does not follow that pattern
uniformly, as it makes use of alternate settenari and senari, or six-syllable lines. The fact that
the poetry is Latin rather than Italian and at least ostensibly devotional rather than operatic
render this characteristic less relevant.
3. A beginning to the first verse that starts on an unaccented upbeat.
4. The setting of the first verse favors fifths and octaves as melodic intervals. The initial
phrase enters on the fourth beat of measure 34, and, while lacking fifths, it does ascend by leaps
over the interval of an eleventh and ends with an octave drop (Example 4.3).
Example 4.3: Sum nimis irata: movt. I, mm. 3439 (vln I, T solo, bass).
263
Reinhard Wiesend, Studien zur Opera Seria von Baldassari Galuppi, 1: 23334.
264
Full motet texts and translations are provided in Appendix A.
103
5. Simple, predominantly syllabic declamation, generally following a pattern of seven
consecutive quarter notes, beginning on the final beat of a measure, occasionally altered by
dotted rhythms. The declamation of the aria is principally syllabic, and while the exact rhythmic
pattern Wiesend advances as a model is not present, the vocal part prominently features a six-
note and a seven-note pattern occupying the same amount of space and of similar character
(Example 4.4).
Example 4.4: Sum nimis irata: movt. I, mm. 4246 and 5153.
6. Coloratura in the vocal line. This is present, albeit in the expected places near the end
of each vocal period.
7. G-major tonality.
8. Common meter.
9. Quick tempo. In this case, allegro espirito.
10. Relatively large scoring, with winds, mostly with combination of two oboes and two
horns. This is lacking; the motet is for strings and continuo alone.
11. Running sixteenth-note scales. Present in places, although eighth-note triplets are
much more common.
12. Often, also thirty-second-note roulades (Rollfiguren). These are not present.
13. Modern composition (moderner Satz), meaning flexible melodies over strongly
metrical accompaniment, with frequent contrasts in dynamics. The bass line is principally of a
driving Trommelbass type, although a few sections are established as sharp contrasts, and
syncopation is limited mostly to the melodic line. Forte/piano dynamic contrasts are frequently
indicated.
14. Slow-moving harmonic rhythm (weitgespannter harmonicher Rhythmus), changing
seldom faster than the half measure. Although some passages change harmonies on the beat, for
the most part harmonic changes occur on the half or full measure.
104
15. Diminution of the accompaniment through repeated eighth- or sixteenth-note groups.
Wiesends phrasing is somewhat ambiguous, but the combination of Trommelbass and slow
harmonic rhythm would seem to qualify almost by default.
As examples of this aria type, Wiesend points to selections from Galuppis Alessandro
nell'Indie (1738), Scipione in Cartagine (1742), Antigona (1746), and Olimpiade (1747), all
except the first written during his tenure at the Mendicanti, and so from roughly the same time as
this motet. In all, the opening aria of Sum nimis irata matches or approximates thirteen of
Wiesends fifteen characteristics. In light of the chronological and other considerations
discussed above, this may be declared a composition of Galuppis with some confidence, even if
there were reason to doubt the accuracy of the attributions in Devoti Sacri Concentus.
Unfortunately, the motets of uncertain provenance ascribed to Galuppi in the Dresden collection
may not be so accommodating as to conform to an easily recognizable and distinctive archetype.
However, as any authentic Galuppi motets in Dresden were almost certainly composed during
his Mendicanti period, this motet and the oratorios from the same period together provide a
sizeable base of music representative of Galuppis solo aria compositional processes in the mid-
to-late 1740s against which they can be compared.
Sum offensa
D major
D-Dl Mus. 2973-E-19
Burde: III/8
S solo, obbligato violin (second aria), 2 violins, viola, continuo
Manuscript copy (Baldan copyist), before 1758
Written for the Mendicanti, ca. 1747
The earlier of the two Dresden motets with Galuppis authorship attested in libretto collections,
Sum offensa is likewise a rather substantial work, with an opening aria of 184 measures. The
opening ritornello is relatively long, at 32 measures, and contains five thematic areas; of these,
the a and b themes subsequently appear in the vocal periods while d and e are used in the
instrumental ritornelli. The c theme is a ponte linking b and d and does not appear outside the
initial ritornello. The first six measures are an orchestral unison, a device which, while not
ubiquitous in Galuppis music occurs fairly frequently. The triple cell arguably occurs in the c
theme and possibly the b theme as well, although both cases could simply be considered the
105
natural result of a sequence, and in the b theme the rhythms are homogenous and lacking a
distinct profile (Example 4.5).
Example 4.5: Sum offensa: movt. I, mm. 1023 (vln I, vln II, bass/vla).
Both vocal periods introduce new material, as expected, but the second vocal period
actually begins with new material. When this occurs, it is generally the case that the aria has not
yet returned to the tonic key, and this holds true here; the return to the tonic is heralded by a
return of familiar material, in this case the d theme at measure 127. The B section does not alter
the tempo or meter and follows a common modulatory path, beginning in the submediant, B
minor, and cadencing on the mediant, F-sharp, before returning to the tonic at the start of the
106
transitional ritornello preceding the alla parte. Another common pattern is from subdominant to
submediant; other variants occasionally occur.
The second aria is an andantino in 2/4, set in the subdominant, G major. Like the second
aria of Sum nimis irata, it features a violin obbligato that takes over the soprano or viola staff as
needed. The lack of such features in the other Dresden motets may indicate that they are earlier
works. The opening ritornello features three themes, all of which appear during the vocal
periods, while a and c recur in the ritornelli. Again the second vocal period begins with new
material. The B section retains the same time signature, but is marked allegro. It begins in the
submediant, E minor, and cadences on the mediant, B, as in the first aria. The triple-cell phrase
is present here as well, in both the b theme, carried first by the obbligato violin, and the c theme.
When the b theme recurs in the vocal period the pattern is effectively doubled, since the voice
and violin pass the cell between them in alternation (Example 4.6).
Example 4.6: Sum offensa: movt. III, mm. 2339 (vln obbligato, S solo, bass).
The same passage also serves as a clear example of text painting, as the duets imitations of
birdsong reflect the text, While the nightengale in the branches, singing, says I love.
107
Ab unda algente
C major
D-Dl Mus. 2973-E-36
Burde: Anh. 19
T solo, 2 violins, viola, continuo
Intended for the Mendicanti, ca. 17401750?
The text of this motet shows perhaps most clearly of all the Dresden motets the influence
of opera on Chiari and other poets writing solo motet texts. Were it in Italian rather than Latin it
would be virtually indistinguishable from an ordinary simile aria, and it even uses the
stereotypical metaphor of a ship in distress.
The initial aria is in 4/4 and is marked non tanto allegro. It occupies a brief 95 measures.
The introduction has three thematic areas, the second and third of which form the basis of the
concluding ritornello; the transition from the B section uses only the third. Curiously, the short
instrumental interlude between the two vocal periods uses new material which does not recur.
All three themes appear designed to reflect the frigid waves mentioned in the opening text: the
first is built from repeated rising triads played in unison by the full orchestra, followed by a
sixteenth-note descent, while the succeeding two are both based on the rapid alternation of two
adjacent notes. New material forms the preponderance of the vocal sections, which include a
number of incidences where the voice proceeds together with an independent viola line. Once
again, the use of the tenor voice is most likely the result of transcription from a score originally
conceived for one of the ospedali.
The B section retains the same meter and tempo, beginning in the submediant, A minor,
and cadencing in the mediant, E minor. It continues the stormy motif, with repeated, emphatic
descentsthe lowest notes marked forteand repeated-note trill passages in the strings.
The intermediate recitative of this motet stands out as especially dramatic, with multiple
tempo changes, some surprising dissonances, and what can only be interpreted as a deliberate
deceptiona cadence followed by a largo passage that first-time listeners would likely have
interpreted as the beginning of the next aria but that trails off abruptly in the third measure.
The real second aria is a 3/4 andantino in F major. The bass line of the first system has
staccato dots over every note save those in measure 4; no further such markings appear, but the
implication is that the pattern should continue simile. The pitch of the bass line changes nearly
108
every beat through much of the aria, giving it more the character of the older walking bass than a
typical galant composition. As in the first aria, the introduction is based on three thematic areas,
but it is more expansive at 20 measures. All three themes are used during the vocal periods, and
the second and third in the ritornelli. Just as in the first aria, the short interlude between the two
vocal periods does not use any of the initial themes: it employs new material that does not recur.
The whole aria is longer at either 127 or 142 measuresan ambiguity explained by the curious
feature of the motets middle part.
The second aria has two B sections. It is clear from the notationand the fact that they
set the same textthat these are alternatives to be chosen between, not part of some tripartite
experiment in form. The first option appears for three measures on the bottom of page 21, with
an explanatory note, and resumes on page 24. The note reads: questa seconda parte viene fatta
in altro tempo, onde V.S. volti le due faciate ch siegue; v al segno [star] e prende quella che
t [piace?]. Although only partially legible, the notes general intent is clear enough; the sign
of a star marks the point where the current option resumes, with the other option occupying the
two intervening pages. It is difficult to devise a rational explanation for why the two sections
would be notated in such a fashion: it would be more logical to finish one option, while noting
the existence of another, before starting the second.
The two options are of markedly different character. The first has no indicated tempo
change but is in 12/8. It begins in the subdominant, B-flat major, and cadences on the
submediant, D minor. It alternates between two textures. In the first, the bass and violas play
repeated notes in a quarter note-eighth rest pattern while the violins play whole-measure
descending arpeggios in eighth notes, resting on the first eighth of every three. The vocal line
has the melody in longer note values. In the second texture the violins are colla parte, with the
melody mostly in conjunct motion in groups of three eighth notes or a dotted quarter. The
second option is marked andante and is in 2/4. It begins in D minor and cadences in the mediant,
A minor; its character is much more stern and old-fashioned than the first option, with more
pronounced disjunct motion in the melodic line and with conjunct motion generally occurring in
syncopated rhythms.
On the whole this motet presents a number of issues that make judging its authenticity on
stylistic grounds an even shakier proposition than usual. Both arias have unconventional
elements that raise potential doubts that it comes from Galuppis hand. In the first aria it is the
109
violation of Galuppis standard orchestration to no obvious functional or dramatic purpose; in the
second, the presence of two B sections invites the obvious question of whether both (or either)
are by the same composer as the rest of the aria; and in both arias the presence of one ritornello
that does not actually make use of any returning material is unusual. In terms of overall style,
while it is in many ways an attractive piece, the motet seems stylistically inconsistent with itself.
There is a slightly shallow, almost frivolous aspect to the bluster of the seas in the first aria that
is curiously at odds with the high drama of the recitative and the more measured and mature
lyricism of the second aria (whichever B section one chooses.)
While there are several points that make Galuppis authorship questionable, it is not
wholly implausible. If this motet dates from his first years at the Mendicanti, the inconsistencies
might possibly be explained by simple experimentation. By the middle of the 1740s
McClymonds places Galuppi among the most modern composers of the time, but at the
beginning of the decade, during his London trip, Burney (otherwise a devoted admirer) criticized
his copying of a light and hasty style then in vogue on the continent.265 Both the first and
second arias do contain instances of the triple rhythmic cell. In the first, however, it is simply a
literal repetition of the same pitches in all voices, and in the context of the rest of the aria this
feels more suggestive of Vivaldis generation than Galuppis. In the second, it is a simple
descending sequence in even sixteenth notes, so it is unclear how much significance should be
granted to the pattern. In the absence of further evidence, the attribution to Galuppi seems
dubious, and indeed it is not unreasonable to wonder if all the movements in the motet are even
by the same composer.
Dum refulget in celo sereno
A major
D-Dl Mus. 2973-E-37
Burde: Anh. 22
T solo, 2 violins, viola, continuo
The opening aria of this motet is in 4/4; it is without tempo indication but seems to call
for a fairly brisk pace. It totals 142 measures. The introduction features five thematic areas;
themes a, c, and d recur variously during the two vocal periods, while a, d and e (the last clearly
265
Charles Burney, A General History of Music (London: Becket, Robson, and Robinson, 1776), 4: 447.
110
of cadential character) are used for the ritornelli. The bass is consistently marked for cellos
alone whenever theme c appears, with tutti indicated afterwards. At the appearance of theme c at
measure 41 the dots over the notes are supplemented with the instruction staccato, an apparent
redundancy since it is not the first time the theme appears and it is not repeated when the theme
returns, but staccato appears in similar contexts in other Galuppi pieces, as in the later Miserere
and the Tenbury Laudate pueri fragment. The second vocal period begins with new material
rather than theme a. We have seen precedent in both corroborated motets, as well as two arias
from Adamo: Adams Amare lagrime and Eves Se al ciel miro. Otherwise, new material in
the vocal periods is introduced by material from the opening; in measure 46, apparently new
material is derived from theme d and runs until the beginning of the final melisma of the period
in measure 49. Theme b (and it is perhaps stretching the term even to call it a theme) is only two
measures long and is simply connective material which does not appear again. The behavior of
the violas adheres to Galuppis customary orchestration throughout.
The B section has no change of tempo or time signature; it begins in the subdominant, D
major, and cadences in the submediant, F-sharp minor. It contains two very obvious examples of
text painting; the word rident (laugh at) is set to a descending pattern of two thirty-second notes
and a dotted eighth, and the word pastores (shepherd) is introduced by a long pastoral drone in
the bass, eventually adopted by the voice to set the word itself.
The second aria is in the subtonic, G major, rather than the more expected subdominant.
This may be a result of compromise during soprano-tenor transposition, but this seems unlikely,
as the ranges of both arias are identical, d-a'. It is set in 4/4 with a tempo marking of andantino.
There are four themes in the opening ritornello, all of which recur in the vocal periods, with the
third and forth also used in subsequent ritornelli. The B section is in 3/8 but with no indicated
change of tempo. While apparently beginning in the tonic, the opening G major chords soon
prove to be acting as a V/IV leading to the subdominant, C major; the cadence is in the
submediant, E minor.
Throughout both arias the standard Galuppi orchestration obtains. While in the second
aria the viola part is frequently written out in places where one would expect the customary col
basso, this is because playing an octave above the bass would lead to collisions with a low-lying
second violin part. Instead, in such places the violas are written in unison with the bass line,
where the range of the viola permits, and at the octave where it does not.
111
The construction and the orchestration of this motet are consistent with Galuppis
practices. In the first aria the regular presentation of the c theme, the relatively even balance of
new and previously introduced material in the vocal sections, and the derivation of new vocal
material from the d theme suggest that the composer was beginning to consider his thematic
material in a functional fashion rather than simply as elements in an ars combinatoria stew. This
would fit in with what is known about Galuppis development in the first half of the 1740s. Both
the first and second arias, though not the Alleluia, make use of the triple rhythmic cell, as well.
There is also the circumstantial point of the apparently redundant staccato, which appears in
other Galuppi pieces. There is little to argue against Galuppi as the composer of this piece; his
authorship seems likely.
Ecce volantem video saggitam
F major
D-Dl Mus. 2973-E-11
Burde: Anh. 22
S solo, 2 violins, viola, continuo
Manuscript copy (Baldan), ca. 1758?
The first aria of the motet is an allegro in 12/8. The opening ritornello introduces four
themes, of which a, c, and d are used in both vocal and intstrumental sections; the b theme recurs
only in the final ritornello. The second vocal period opens with a variant of the new material
introduced in the first vocal period, a structural element not seen elsewhere. The B section does
not change meter or tempo and follows an expected modulation, from the submediant, D minor,
to the mediant, A minor.
One curious feature is a crescendo indicated by the progression m.of:, for., fortis:mo in
measure 121; while examples of mezzo-forte and fortissimo dynamics occur in autograph
Galuppi scores, their use in succession as seen here is noteworthy. At the same point the bass
line bears the mark poco f:, which is also unusual. However, concrete information about
Galuppis notational habits in the early half of the 1740s remains spotty. The phrase structure of
the first aria is rather unusual, featuring a high incidence of repeated phrases. Galuppis slower
arias do tend to repeat full phrases, but in fast arias like this it is much less common, being
generally reserved, if it occurs at all, for concluding themes with a cadential character. Here, on
the other hand, every theme presented in the ritornello is built of repeated phraseseither literal
112
restatements, sequential repetitions, or parallel phrases that differ only in the final measure. The
concluding Alleluia exhibits the same unusual tendency towards repeated phrases. Both fast
movements are also almost completely devoid of odd-numbered phrases; groupings of two, four,
and six measures abound.
The second aria is an andantino notated in 3, without denominator. It is in the
subdominant, B-flat major; the ritornello introduces three themes, of which a and c are used
during the vocal periods, and all, rather unusually, appear in subsequent ritornelli. The B section
is in the submediant, G minor, and cadences in the mediant, D minor.
Orchestration throughout is consistent with Galuppis style. However, a notational
oddity found in both arias is that, while both use the conventional alla parte repeat instruction,
both also indicate the start of the first vocal period with hashed bar lines. It is unclear whether
this unusual combination is a scribal inconsistency or an idiosyncrasy of the original. Given the
variances in structure and notation from the norm and the atypical phrase construction of the fast
movements, Galuppis authorship of this motet seems suspect.
Quaerenti per fontes
G minor
D-Dl Mus. 2973-E-17
Burde: Anh. 25
This is the only minor-key solo motet attributed to Galuppi for which music is known to
survive. The motet appears to cultivate a deliberately severe, old-fashioned style through various
means. For instance, the first aria has a single-flat key signature, in the older Baroque manner.
Additionally, the time signature, effectively 3/4, is given as a big 3 without denominator.
Several of the themes in the first aria prominently feature angular leaps or syncopation, and at
measure 97, in the second period, the soloist sustains a pedal point for six measures.
The opening aria is marked allegro, e con brio. The introduction is more extensive than
most, at 32 measures, and incorporates five thematic areas. Of those, themes b, d, and e are used
for instrumental ritornelli, and all of them are used during the vocal periods. The amount of new
material introduced in the vocal sections is small in comparison to the material from the opening.
Galuppis normal orchestration practice is present throughout. The B section features no change
113
of tempo or meter; it begins in the mediant, B-flat major, and ends on the submediant, E-flat
major. In the latter half of the section the accompaniment is dominated by rising and falling
arpeggiated triads, traded between the bass and the two violin parts. The same figure features in
the bass line of the c theme in the A section, providing continuity between the two. A notable
oddity is that the ritornello after the B section is not an abrupt snap back to the tonic key, but
rather a short but effective modulatory passage moving quickly to the tonic by way of a first-
inversion C-minor chord, with a new transitional passage leading into the c theme.
The recitative contains two notational points of interest. The first is the use of the
instruction tenuto (ten.) in measure 13, which belongs to Galuppis repertoire of performance
instructions. The second is the figured bass two measures from the end. Figured bass is rare in
these motets, and frequently the examples present are single figures. This, however, indicates
flat 3, sharp 4. As noted earlier, one of the idiosyncrasies Galuppi exhibits in the 1757
Confitebor autograph is that he consistently and invariably writes multiple figures lowest to
highest, top to bottom. This is the opposite of the usual convention. This is however not a quirk
unique to Galuppi, as noted previously, since other composers occasionally if inconsistently
inverted bass figures as well.
The second aria is a 3/4 andantino in the submediant, E-flat major. The most notable
feature of this aria is its repeated flirting with contrapuntal writing. The opening is fugal, with
the a theme in the first violins, accompanied by an arpeggiated figure in the second violins. The
violins then play in unison while the violas answer at the dominant in measure 4, and then the
bass in the tonic at measure 7. The first reappearance of this theme is answered by the violas and
basses together, but subsequent appearances drop the imitation. The opening ritornello
introduces two other themes as well; all three are used in both the vocal periods and the ritornelli,
and the concluding ritornello of the A section is unusually thorough, running through all three
themes. Although the invocation of fugue is quickly abandoned, further nods to contrapuntal
writing include an imitative passage between the first violin and the voice plus second violin
beginning at measure 75, and at several points the bass line drops out, leaving the violas to
provide a bassetto. Galuppis conventional orchestration practices apply throughout, except
where the violas serve as the bass. The B section is a very brief allegro in 2/4, which both begins
and ends in C minor, the submediant. This stands out as particularly noteworthy, since no da
capo-style aria in Adamo, Judith, or the two corroborated motets features a B section that
114
cadences in the same key in which it begins. Submediant to mediant, subdominant to
submediant, tonic to minor dominant (in minor-key arias), and a few other modulations are
represented, but a static-key B section is unique among the literature under consideration.
The concluding Alleluia is noteworthy for its apparently deliberate anachronisms. A
presto notated alla breve with four beats to the measure, it is contrapuntal but not imitative.
Syncopation is abundant; syncopations across measures are commonly written with dots that
cross the bar line rather than with tied notes, an archaic notation that can be little but
Augenmusik. D Capella appears at the head of the movement, which appears to be more an
acknowledgement of the general character of the movement than a performance instruction.
There are several points throughout the motet, both stylistic and circumstantial, that
support Galuppis authorship, but also several that appear decidedly out of character, and these
latter ultimately seem to be the more compelling: in particular, the unique transition back to the
ritornello after the B section in the first aria, and the atypical harmonic stability of the B section
in the second. Unfortunately, the apparent deliberately antiquarian cast to much of the motet
unavoidably obscures some of the composers natural style. There is some precedent for such
nods to older styles in Galuppis oeuvre, most notably the C major da capella Magnificat
(Burde II/57)266 from around 1735. There are also several stile antico Masses or Mass
movements and a setting of In exitu Israel, but these are of questionable authenticity. Minor
keys in the eighteenth century often coincide with departures from established norms, but the
quirks here seem sufficient to suggest prudence. This is an excellent and finely constructed
motet, but whether it is by Galuppi is questionable.
Non torrentes
F major
D-Dl Mus. 2973-E-5 (soprano)
D-Dl Mus. 2973-E-13 (tenor)
Burde: Anh. 24
S or T solo, 2 violins, viola, continuo
Intended for the Mendicanti?, ca. 17401750?
266
Published edition: Baldassare Galuppi, Magnificat a 4 da cappella, ed. Patricia Calahan (Orleans, Massachusetts:
Paraclete, 1993). The Mason Martens edition cited by Burde is for a different, much later C major Magnificat. See
also Patricia Calahan, The Magnificats of Baldassare Galuppi, Choral Journal vol. 33, no. 5 (December 1992),
2126.
115
This motet opens with an aria in 4/4, marked allegro assai. Its length is comparable to
the opening arias of Sum nimis irata and Sum offensa at 215 measures. The introductory
ritornello contains four thematic areas. The first is a twelve-measure period consisting of an
elided five-measure and a seven-measure phrase, and subsequently returns at the beginning of
each vocal period. The second and third are variously employed in both vocal and instrumental
sections, and the last is reserved solely for the instrumental ritornelli. The resulting structure is
slightly looser than those found in the two corroborated motets, although comparable examples
exist in Galuppis oratorio arias. All the material presented in the introduction seems designed to
reflect the torrentes furibundi (madly rushing streams) mentioned in the first line: conjunct
melodic ascents followed by octave drops and rising and falling wavelike patterns are prominent.
The B section contrasts in both tempo and meter, being an andante in 3/8, and it both begins and
ends in the submediant, D minor. There is no precedent for this in the substantiated works
examined.
The second aria is a 3/4 andante in the subdominant, B-flat major. The introduction
consists of three thematic areas, the first of which recurs in both the vocal sections and ritornelli,
while the second recurs only instrumentally and the third only in the vocal periods. The B
section retains the same tempo and meter; unlike in the first aria, its key does not remain static,
beginning in the submediant, G minor, and cadencing in the mediant, D minor.
Aside from the remarkable lack of modulation in the first arias B section, another
suspicious characteristic of this motet is the frequency of coextensive vocal and independent
viola lines. This is observable through much of the latter half of the first aria and much of the
second aria as a whole. In the absence of positive evidence to the contrary, Galuppis authorship
of this motet should be considered dubious.
Sub coelo sereno
D major
D-Dl Mus. 2973-E-18
Burde: Anh. 26
The opening aria is an andante grazioso making extensive use of dotted rhythms, triplets,
and sextuplets. At 91 measures it is quite short in comparison to most of other opening arias, but
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this brevity is offset by the slower tempo. Additionally, although the aria is notated with a time
signature of C as though in 4/4, the position of many cadences and phrase beginnings in the latter
halves of measures instead suggests 2/4. Structurally it is somewhat loose in comparison to Sum
offensa, Sum nimis irata, and other contemporary Galuppi arias; one might therefore speculate
that, if authentic, it dates from the early 1740s. The opening ritornello, based almost entirely on
the chords I, V, and V7, consists of four small thematic areas, plus a few measures of connective
material. The principal theme, a, is a four-measure phrase, the first two measures of which are
repeated before being truncated into another two-measure phrase, b, which recurs in the final two
ritornelli. The c theme is a three-measure sequentially ascending melodic line over an elaborated
V-I progression (V-V42-I6-I-V6-V7-I), followed by two measures of connective material that
appear nowhere else and a short cadential area, d. Most of the vocal portions consist of new
material, and in fact the second vocal period begins, contrary to expectations, with a new
phrasestill in the dominantbefore returning to the a theme at the second line of the text.267
The concluding melismas of both periods are rhythmically complex, mixing triplet, dotted, and
simple duple patterns in a manner reminiscent of the empfindsamer Stil.
The B section retains the same tempo and meter. It begins in the subdominant, G major,
and cadences in B minor, the submediant, which accords with Galuppis practices elsewhere.
Texturally the aria follows the Galuppi pattern fairly closely. Significant portions of the first
violin line during the vocal sections are simply notated colla parte. There is one brief exception:
the violas remain independent during the c theme, even when the vocal part is active. They
double the bass throughout the B section.
The second aria is of similar proportions to the first. No tempo indication
is given, but convention would dictate something in the adagio or andante range. The A
section is in 2/4, a common choice in these motets, with an andante B section in 3/8. As in the
first aria, dotted rhythms (mostly Lombardic this time) and triplets are prominent. Indeed, they
abound in such profusion that the aria is almost aggressively (and suspiciously) Neapolitan.
Lombardic rhythms are not uncommon in Galuppis music, especially in the 1740s, but at the
same time their use is generally much more restrained. The aria is in G major, the subdominant
267
A similar false start to the second vocal period occurs in a much later piece, the solo aria from a 1772 Nunc
dimittis, although there it is only the key that defies expectations. The autograph is in the Biblioteca Marciana, B.
15. (Autograph). A modern edition has been published: Baldassare Galuppi, Nunc dimittis, ed. Franco Rossi
(Padua: Armelin Musica, 2006).
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of the motet as a whole, with the B section principally in C major, but with an abrupt tonicization
of B minor in the concluding measures.
The structure is tighter than that of the first aria, featuring three distinctive thematic
regions in the introductory ritornello, the first two of which are used in the vocal sections. New
material is limited to the end of each vocal period. Again the interplay of voice and viola
generally conforms to the Galuppi pattern, the exception being the appearance of the b theme in
the second vocal period in measures 4245, where the violas double the second violins at the
interval of a tenth.
It is likely that this motet, if it is genuinely by Galuppi, is from early in his tenure at the
Mendicanti. There is only a very limited sense in the first aria that the various themes serve a
structural purpose, as in Jommellis music of the period. For instance, the a theme is stated twice
on its first appearance, but the second statement is truncated by what appears at first to be a
rhythmic variant of the original ending, with the melodic contour altered slightly to end on a half
cadence. However, this altered ending instead serves as a semi-independent lead-in to the b
theme, and precedes the b theme in two of its three reappearances (Example 4.7).
Example 4.7: Sub coelo sereno: movt. I, mm. 19 (vln I, bass).
There are signs that this aria is moving in a functionally-driven direction, but the
construction feels slightly haphazard, resting uncomfortably between the classic Baroque da capo
and the sonata forms that dominated the later eighteenth century. The second aria, on the other
hand, is more cohesive, with two themes that recur in the vocal portions and a third reserved for
the instrumental ritornello, but at the same time it cultivates almost self-consciously Neapolitan
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rhythms that are unexpected for a Galuppi work. On the whole this motet is plausible as a
Galuppi piece, but the differences make it difficult to come to a firm decision.
General Comparisons and Summary

The above conclusions are at least tentatively supported by a comparison of the foregoing
motets, specifically the da capo-style arias, in terms of their basic galant building blocks, with
the roughly contemporary and comparable arias in the oratiorios Judith (1746) and Adamo
(1747), the latter of which was described in detail in the previous chapter. As the opening
ritornelli provide much of not only the melodic material but the structure of these arias, those
form the primary focus of the comparison.
In Music in the Galant Style, Robert Gjerdingen likens the construction of a galant piece
to the creation of a figure skating routine or a commedia dellarte play: each is built up out of a
repertoire of stock figures or maneuvers on the one hand, or stock speeches, scenes, or stunts on
the other, enlivened by the skill of their executors.268 The stock figures of eighteenth-century
music he terms schemata, and he catalogs a number of them based on studies of the repertoire
and of surviving partimenti, pedagogical manuscripts copied by studentsin essence, exercise
books for apprentice composers. Schemata were by nature somewhat flexible, but they may be
roughly defined as patterns of usually regularly-spaced interactions between bass and melody,
often carrying some sort of structural or functional connotation. The Prinner, for example,
which Gjerdingen names after the seventeenth-century teacher Johann Jacob Prinner (162494),
was a common schema most often used in reply to an introductory schema, and consisted of a
descent of scale degrees 6-5-4-3 in the melody over a corresponding 4-3-2-1, often with a leap
up or down to 5 between 2 and 1, in the bass. Other schemata include the Romanesca, based on
a pattern already old by the eighteenth century, of which Gjerdingen describes several variants:
an older version based on the leaping bass pattern 1-5-6-3-4-1, a version that simply descends
stepwise from 1 to 3, and a hybrid form popular with galant composers, generally assuming the
form 1-7-6-3-4. Also prominent are the sequential patterns called the monte and the fonte, which
ascend or descend respectively, temporarily tonicizing a pitch one scale degree above or below
the starting point; and the related ponte, which serves to prolong a dominant, often over a pedal
point. All are well represented in theoretical writings.
268
Gjerdingen, 79.
119
Applying Gjerdingens schemata to the two oratorios and to the eight motets described in
this chapter produces some interesting results. Judith, Adamo, and the two motets Sum offensa
and Sum nimis irata together contain twenty-six da capo-style arias, which contain sixteen
patterns cataloged by Gjerdingen (see below for examples, and Appendix B for a full
breakdown). Of those sixteen, eight appear more than five times, collectively accounting for a
little over 79% of the identifiable schemata in the sample (see Table 4.2). Of those eight, the
Romanesca, the Prinner, and the Ponte have been mentioned; the others include the Sol-fa-mi
and Do-re-mi, and cadential patterns Gjerdingen identifies as the Converging cadence, the Mi-re-
do, and Falling 3rds.269 Portions of the pieces not accounted for in this reckoning include
passages that defy easy classification or that articulate very basic concepts, such as a tonic triad
(as in the famous Mannheim rocket, or a simple fanfare based on the tonic chord), repeated V-I
progressions, or short, often insistently repeated passages built on simple cadential basses (4-5-1,
3-4-5-1, and 3-4-5-5-1 all being common).
Table 4.2: Common ritornello schemata.
Romanesca 15 Ponte 8
Prinner 11 Sol-fa-mi 7
Converging cadence 10 Do-re-mi 6
Mi-re-do 9 Falling 3rds 6
Generally speaking, the oratorios and the two probably authentic motets contain a high
incidence of recognizable schemata; passages that are difficult to classify are present, but they
are relatively uncommon in comparison to the more questionable motets, and where passages are
built on simple, repeated cadential patterns they are often introduced by a recognizable schema,
or serve as a conclusion to or continuation of one. In Planta aliquando, for example, two clear
Sol-fa-mi statements form the a theme. The b theme begins with a pair of cadences leading up to
a Prinner combined with a half cadence and followed by the two introductory cadences again.
269
The Sol-fa-mi and Do-re-mi, as their names imply, are based on a 5-4-3 descent and a 1-2-3 ascent in the melody,
respectively, usually over a 1-7-1 or 1-5-1 bass. The Mi-re-do is likewise a cadential pattern typified by a 3-2-1
melodic descent. The Converging cadence is a half cadence outlined by stepwise descent in the melodic line and a
telltale 4-#4-5 ascent in the bass. Falling 3rds is a precadential pattern built on a 1-6-4 or 1-6-4-2 descending bass; it
has obvious similarities to the conventional romanesca bass line and often appeared in conjunction with or merged
with the Romanesca schema.
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The c theme simply consists of two cadential statements followed by a concluding Mi-re-do
cadence (Example 4.8a). Densae horridae procellae (Example 4.8b) is less reliant on generic
Example 4.8a: Judith: Planta aliquando, mm. 123 (Andantino; vln I, bass).
Example 4.8b: Judith: Densae horridae procellae, mm. 115 (Andante; vln I/II, bass).
121
cadences, though there is still some ambiguity. The first schema is a Sol-fa-mi pattern, although
it could potentially also be interpreted as a Do-re-mi or simply a succession of consonances over
a tonic pedal. The remainder of the ritornello is, however, more sharply defined.
Both of the above arias are fairly representative of Judith. Adamo contains some arias of
similar construction, but it also features a number of arias that make much more controlled use of
schemata. In Quellaffanno e quel dolore, for instance, the only generic cadence arrives as the
conclusion to a Prinner at the end of the ritornello. The only point of ambiguity is a Romanesca
that begins on what would ordinarily be its third event, the 6 of a 1-7-6-3-4 bassline (Example
4.9).
Example 4.9: Adamo ed Eva: Quellaffanno e quel dolore, mm. 117 (Andante, vln I, bass).
In the six questionable motets, on the other hand, hard-to-classify passages and whole
thematic areas built on simple repeated cadences are much more prevalent (again, see Appendix
B). The Romanesca, Prinner, and Ponte are well represented, but all three were very common
schemata in any case. The other prominent schemata in the oratorios are less well represented,
and the less common schemata are almost entirely absent. Of the six, Dum refulget most closely
matches the construction found in the oratorios, which is another argument in favor of its
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authenticity; Sub coelo sereno also shows some similarities. On the other hand, Non torrentes
and Ab unda algente show little to dispel the doubts expressed earlier. The opening ritornelli of
Ab unda algente and Sum nimis irata offer a particularly stark contrast among the motets
(Examples 4.10 and 4.11). Sum nimis irata begins with a tonic triad pattern that then goes on to
introduce a number of varied schemata. Ab unda algente also opens with triadic material, but
Example 4.10: Sum nimis irata: movt. I, mm. 134 (Allegro, vln I, bass).
123
Example 4.11: Ab unda algente: movt. I, mm. 113 (Allegro, vln I, bass).
this leads to little more than more triads, scales, and simple cadential patterns. However, it
should once again be borne in mind that chronology may be a factor. Regular schemata appear
slightly more common in Adamo, composed in 1747, than in Jahel, written just a year earlier; the
difference is subtle, but it is another small point in favor of the notion that Galuppis style
underwent a change around the middle of the decade. In that case it is wholly plausible that
motets written earlier in the decade would show signs of different construction. Based on the
current information, however, Dum refulget still seems a likely candidate for a genuine Galuppi
piece, with Sub coelo sereno a firm maybe.
Although the conclusions drawn in this chapter are not as ironclad might be wished, the
study of these motets nevertheless highlights the kinds of problems posed to future Galuppi
scholarship by Baldans tainted quill. But the approaches taken here do illuminate some avenues
for future stylistic investigation, and making these motets more widely available will, one hopes,
encourage further study.
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CHAPTER FIVE
CONCLUSION
Despite three extended trips to England, Austria, and Russia, and travels throughout Italy,
Galuppi essentially spent his whole life and career in Venice. While modern knowledge of his
personal life is regrettably minuscule, he surely formed extensive personal ties in the cityat the
least, he had a wife and numerous children, a student/teacher relationship with Antonio Lotti and
possibly Benedetto Marcello, a long professional association with Ferdinando Bertoni, a fruitful
collaboration with Carlo Goldoni (at least before Goldoni departed for Paris), and, if Novellos
testimony is accurate, a friendship with a young Domenico Dragonetti. But we can be secure in
the knowledge of his professional ties to the city: thirty-five years with San Marco, over two
decades between the Mendicanti and the Incurabili, and a long association with the citys
theaters stretching back at least to his days playing harpsichord at the SantAngelo, if not before.
While Galuppi would not have achieved the international fame and success he did
without cultivating a degree of cosmopolitanism, at the same time he was shaped and influenced
by his associations with Venice, its institutions, and its residents. These influences may be as
apparently trivial as the way he drew his C clefs, or they may be more significant. One of the
more notable examples of the impact of Galuppis Venetian association is the simple fact that he
spent four decades routinely producing works for a small group of religious institutions. The
result is a body of works comparable to or likely exceeding in size even his voluminous operatic
output, but written for more consistent ensembles and a more consistent audience. Although he
supplied numerous original operas for the Venetian stage, many were also regularly written on
commission for Milan, Turin, Rome, Naples, or Padua, with less regular commissions coming
from London, Madrid, Vienna, and other cities.270
270
Galuppis 1749 setting of Metastasios Artaserse indicates Galuppi was aware of and responded to the
opportunities, issues, and exigencies presented by different performers and audiences. The original Vienna version
stitches four originally separate scenes into a single dramatic quartet, an act of temerity likely responsible for
Metastasios low opinion of Galuppi and his famously scathing letter to Farinelli about Galuppis defects. Daniel
Heartz discusses this setting in several places, including alterations made to the opera on subsequent revivals in
Padua and Venice; see Heartz, Music in European Capitals: The Galant Style, 17201780 (New York: Norton,
2003), 26971, and Heartz, Hasse, Galuppi, and Metastasio, in From Garrick to Gluck, 84104.
125
The existence of such a large body of relatively homogenous works is helpful because, as
noted at the beginning of this study, one of the principal challenges of addressing the music of a
largely forgotten composer is developing a functional vocabulary for that composers style.
Galuppis sacred music provides a good field for exploration, as the strong continuity of both
performers and audiences eliminates several potential variables from consideration, providing
large numbers of works in a fairly standardized repertoire in which one may observe his
compositional approach. In doing so, however, it is important to be able to distinguish what is
actually unique to the composer from what is simply drawn from conventions that are no longer
widely known. This is especially so in Galuppis case, since so many composers of his
generation were forgotten as thoroughly as he was. Doing so necessarily requires knowledge of
the context in which the composer lived and worked, and it is very easy to overlook minor details
with potentially significant repercussions. Janz, as noted, assumed that the alla parte form of the
arias in Jahel was a deliberate choice on Galuppis part, rather than a Venetian convention.
Iseppo Baldan is one figure in the Venetian context whom modern researchers might
wish Galuppi had never encountered, and he will no doubt continue to bedevil scholars for years
to comenot only of scholars of Galuppi, but of potentially any composer active in Venice
during the same period. Baldans regrettable productivity as a supplier of Galuppi works (or
Galuppi works, as the case may be) complicates efforts to reestablish a comprehensive view of
Galuppi as a composer while, at the same time, it demonstrates the necessity of doing so. The
Dresden solo motets serve as an excellent example of the kinds of problems inherent in dealing
with composers who have fallen out of the canon. When confronted with alleged Galuppi
manuscripts, without some idea of what it actually means to be by Galuppi, we are left to
accept the copyists word on blind faith. If that copyist is Baldanwhom it is all too easy to
envisage as the musical equivalent of a street peddler hawking counterfeit luggage to passing
touristsblind faith is not a winning proposition.
The autograph and reliably attributed scores discussed here have been examined with the
aim of beginning that process of establishing a lexicon of Galuppian characteristics, as well as
bringing to the fore more unknown or little known pieces. Galuppis methods of constructing
and expanding phrases seem to be especially worthy of further and more detailed examination.
In particular, his apparent fondness for five-measure phrases, especially in faster movements,
warrants further investigation, and though it is not so omnipresent as to be a smoking gun, it
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suggests that phrase rhythm may be a fruitful path of inquiry. His notational habits, especially in
comparison to other Venetian composers, also seem to deserve additional attention. The pieces
examined also suggest a willingness to experiment with form when the text provides no
guidance: the opening chorus of the Laudate pueri is effectively a concerto for orchestra with
obbligato chorus, making use of a clear sonata structure; the Confitebor due is an adaptation of
the alla parte aria to a long text devoid of repetition; the Gloria of the Qui habitare fragment
expands a very short text into a full binary form by interspersing each theme in the second half
with a new melismatic elaboration of the final word.
The Dresden solo motets represent only a portion of the questionable Galuppi works
contained in that collection, which for the most part still awaits evaluation. The conclusions
reached on several of them are still more tentative than is desirable, and will likely remain so at
least for the immediate future, but this study has at least suggested profitable avenues of attack
for approaching the issue.
There are still ample portions of Galuppis oeuvre awaiting critical attention. In
particular the oratorios have hardly been touched, and RISM Switzerland271 lists a significant
number of motets attributed to Galuppi in Swiss monastery libraries not accounted for in Burdes
thematic index, which still require evaluation, especially if they turn out to be Baldan exports.
While Galuppi scholarship still has many holes to fill, one thing that has become clear is that
those holes deserve to be filled. At his best, Galuppi wrote with a grace, charm, and easy fluidity
that exemplify the best ideals of the galant, concealing the underlying mechanics of the music
with a cultivated artlessness, but without descending into facility or vapidity. He is fully worthy
of the scholarly attention he has gradually begun to attract over the past few decades and, as the
autograph transcriptions that follow should show, also fully deserving of the fame he enjoyed
during his life.
271
http://www.rism-ch.org.
127
PART II: TRANSCRIPTIONS
128
CRITICAL NOTES
Editorial Policies
Although these transcriptions are not intended to be diplomatic, they nevertheless
endeavor to preserve the original character of the manuscripts. Editorial additions and alterations
have been kept to a minimum except where necessary to correct obvious errors, in which case
the changes are noted under the rubric of each specific piece. Alto, soprano, and tenor clefs in
the vocal parts have been modernized. Other alterations have been made in accordance with the
following policies:
Accidentals: In the manuscripts, accidentals generally persist across bar lines, especially in
passages featuring repeated notes or note patterns. Accidentals have been added without
comment to such passages to bring them into accord with modern usage, where accidentals are
canceled at each bar line. Cautionary accidentals rendered moot by modern convention have,
however, been retained. Also added without comment are accidentals missing in one voice but
logically required by accidentals in another voice or voices. Editorial accidentals are
parenthetical, with additional information in the notes for specific pieces as required.
Beaming: The original beaming has been preserved insofar as practical wherever it is suggestive
of musical meaning.
Dynamics: Dynamics in the first violin part are assumed to apply to the second violin part as
when wherever they are indicated as playing in unison. Likewise, dynamics in the bass are
assumed to apply to the viola part where it is marked col basso. All other editorial additions are
indicated parenthetically.
Pitch: Ambiguous pitches are remarked upon only where the correct pitch is not obvious from
context.
Slurs and Expression marks: Slurs and expression marks are sometimes irregularly or
inconsistently applied in parallel passages that recur throughout a movement. Minor variations
in expression are in keeping with the spirit of the ars combinatoria, and in any case such matters
would often be left to performers interpretation. As such, no concentrated effort has been made
to regularize them. Slur placement is, however, often rather haphazard, and where the starting
129
and ending notes are in question judgment has been made in favor of consistency. Where a
pattern of expression marks trails off and appears intended to continue, this is indicated via the
parenthetical instruction simile. Editorial slurs appear in dotted lines, and added expression
marks or ornaments appear in parentheses.
Critical Commentary
Laudate pueri
The horn parts are written at concert pitch in the manuscript, and are presented as such in the
transcription.
I. Chorus.
m. 21, violin I: The quarter-note value in the first violin part is an editorial assumption, as the
two violins are notated unisono on one staff until the following measure.
m. 69, violin II: The notes for the lower voice are absent in the manuscript.
m. 93, alto II: Slur omitted to conform with text underlay.
m. 133, violin II: The instruction Pop appears at the third beat: probably P[rim]o p[arte], that
is, indicating the need for dividing the part.
m. 140, violin II: Pop at the beginning of the measure.
III. Chorus.
m. 10, soprano I: The final note is swallowed by the spine of the binding; pitch assumed from
context.
m. 22, violin I: The lower voice is written as a dotted eighth, without the slashed stem used to
signify repeated notes. Sixteenth notes are assumed from context.
m. 31, violin I: The bottom note of the double stop is smudged, but is assumed to be an A.
m. 4243, alto I: The last note of 42 and the first two notes of 43 are illegible. Pitches and
rhythms have been derived from context.
m. 43, soprano II: The score is unclear; the first two notes could also be E, although this would
result in doubling the fifth of the A major chord.
m. 4950, bass: The tie between these measures in the organ voice is editorial.
The vertical arrangement of all continuo figures has been inverted to conform to standard
conventions.
130
Qui habitare
II. Aria.
m. 47, violin II: The manuscript lacks a natural sign; the first half of the measure is not notated,
but rather indicated as a unison with the first violins.
III. Chorus
Horns: The horn parts, while marked Corni A and notated in soprano clef with a C major key
signature, are not actually written in transposition but at concert pitch. Concert pitch has been
retained in the transcription, and the key signature altered to fit.
Sum nimis irata
I. Aria.
m. 8, violin I and II: The quarter note on beat two is written as an eighth.
m. 72, viola: Measures left blank; col basso assumed.
m. 92, viola: The notated pitch D has been changed to C to avoid an unlikely dissonance with
the CE oscillation in the first violins.
m. 97, viola: The pitch throughout the whole measure is very definitely written as C-sharp in the
manuscript. This seems to be a clear error and has been corrected to D.
II. Recitative
m. 22, tenor: The manuscript has an unnecessary sixteenth rest between the two C-sharps setting
the word estis.
m. 30, tenor: The quarter rest is written as a half rest in the manuscript.
III. Aria.
m. 56, violin I and II: The first beat of the measure is absent from the manuscript, but it appears
to be a literal repetition of the previous measure.
m. 107108: The notation of the ornaments is ambiguous. The first violins have a two-measure
slur, while the second violins have a wavy line drawn over each measure. In the solo violin and
tenor lines each note is marked individually.
m. 117, violin II: The manuscript is slightly blurred; the final triplet and eighth note could
possibly be a group of four sixteenths.
131
Sum offensa
I. Aria.
m. 108, violin I and II: The first two beats of the measure are blank. They have been filled with
the notes from the soprano part.
m. 139, violin I: The eighth note on the third beat is missing from the manuscript. The pattern
has been continued.
m. 142, violin I and II: The appoggiatura in the violin line is before the E on beat four. It has
been moved back half a beat to match the voice part.
m. 158, viola: The note on the first beat is missing. The pattern has been continued.
m. 170, soprano: The natural is purely editorial
II. Recitative.
m. 14, soprano: The first note is written as a quarter rather than an eighth.
m. 18, violins I and II: The descending runs are written as thirty-seconds rather than sixty-
fourths. Except for the sharp on the high G, all accidentals in the runs are editorial.
m. 2021, violin II: The C-naturals in the final two beats of 20 and the first two beats of 21 are
written as C-flats.
III. Aria.
m. 23, violin II: The final quarter note is erroneously dotted.
m. 38, soprano: The first note is written as an eighth rather than a quarter.
m. 77, violin obbligato: The dot on the final note is editorial.
m. 9899, soprano: The final four notes of 98 are written as sixteenths rather than thirty-
seconds. The first two notes of 99 are written as a dotted sixteenth and thirty-second rather than
a dotted eighth and sixteenth.
IV. Alleluia.
m. 52, soprano: The sharp on the final note is written as a natural.
Ab unda algente
I. Aria.
mm. 4850, bass: The pitches are sloppily notated, and frequently appear off by one step.
m. 52, tenor: The pitch of the quarter note is ambiguous due to blotting and bleed-through.
132
II. Recitative.
m. 30, violin I and II: Slur placement is very haphazard and inconsistent between the violin
parts. Exact positioning is editorial.
III. Aria.
m. 23, violin I and II: The violins are marked colla parte; the slur pattern of the previous
measure presumably continues.
m. 62, violin I and II: The manuscript has only a single slur encompassing the first eight notes.
m. 78, violin I: The third pitch is quite clearly written as F, but as this turns the final chord of the
measure into a very surprising V11 it has been pushed up one step to G, creating a more likely V7.
m. 109, tenor: The measure is two eighth notes short. The final F is an editorial insertion to fill
out the measure.
IV. Alleluia.
m. 47, tenor: The upper option is missing a sharp, required by the F-sharp in vln II.
m. 49, violin II: The final three notes are written as three sixty-fourth notes.
Dum refulget
I. Aria.
m. 5, violins I and II: The figure on the final beat of this measure is written as two thirty-
seconds, a dotted eighth, and a sixteenth, both here and in subsequent appearances. The dot has
been omitted as it results in overfilling the measure.
m. 8, bass: The abbreviation viotti is used in place of violoncelli here and throughout.
II. Recitative.
m. 16, viola: The first pitch is written F. It has been changed to G, as otherwise the resulting G7
serves no evident purpose.
III. Aria.
m. 9, violin I: The quarter note is erroneously dotted.
m. 19, tenor: The dotted sixteenth and thirty-second in the fourth beat are written as a dotted
eighth and sixteenth.
m. 49, tenor: The final sixteenth note is missing a flag.
m. 68, violins I and II: Here and in measure 72 the upward run is written as seven sixty-fourth
notes, leaving the measure one sixty-fourth short. The tied note has been changed to a thirty-
second.
133
Ecce volantem video sagittam
I. Aria.
m. 18, violin I and II: In the manuscript a dotted half note serves as shorthand for what is here
transcribed as a dotted quarter tied to a dotted half. This is also true of all later similar passages.
m. 68, soprano: The dot is missing on the first note of the measure.
m. 153, soprano: The quarter tied to a dotted quarter is written in the manuscript simply as a
dotted quarter.
III. Aria.
m. 92, viola: The fermata is over the final rest in the manuscript; it has been moved to match the
other parts.
IV. Alleluia.
m. 1: The edge of the page has been trimmed, partially obliterating the tempo marking.
m. 21, violin I and II: The measure contains one eighth note too many. The second grouping
contains the four pitches d'c'e'b-flat, which has been changed to d'c'b to conform to the
soprano line.
Non torrentes
I. Aria.
m. 181, soprano: The beaming and text underlay do not agree. The beaming from the similar
passage at m. 185 is used.
II. Recitative.
m. 6, soprano: The measure as written is overfull by half a beat, which has been remedied by
removing an eighth-note C between the end of the third and the beginning of the fourth beats.
III. Aria.
m. 100, violin II: The measure is blank, suggesting unison with the first violins, but the next
measure (with a tied E held over) suggests it should be a repetition of m. 95.
m. 106, bass: It is unclear whether the measure contains a dotted half note or a half note and a
quarter rest. A dotted half note has been assumed.
m. 120, viola: The pitch throughout the measure is D-flat, with the flat written out. This is
presumably a scribal error, possibly caused by accidentally sustaining the D from the previous
system, and should probably be a third lower, B-flat.
134
m. 127, violin I: The pitch of the last beat is written E-flat, with the flat written out. This is
almost certainly erroneous, and it has been changed to avoid a clash with the E natural in the
soprano line, which is otherwise congruent.
IV. Alleluja.
m. 20, violin I: This and similar figures are written with fermatas above them. As it appears
only in the violin part and there is no logical justification for a fermata at this point it is
presumably scribal error for a slur, although it is difficult to see how such a mistake could be
made repeatedly.
I. Aria.
m. 51, soprano: The second appoggiatura is not present in the manuscript.
m. 1068, violin I: Measures left blank; assumed colla parte.
II. Recitative.
mm.1617, bass: The manuscript lacks a tie between measures.
IV. Alleluia.
m. 15, bass: The second rest is not present in the manuscript.
m. 18, violin I: The manuscript lacks a dot on the dotted half note.
m. 20, violin I: The measure has only three beats; the first beat has been taken from the vocal
line.
m. 21, soprano: The final tied dotted quarter-half pair is written as a dotted half.
Sub coelo sereno
I. Aria.
m. 91, bass: The instruction violini soli appears for the first and only time here. It is unclear
whether the A section should have featured an earlier violini soli, later cancelled by tutti, or if
this is intended as an indication that the repeat of the A section should be played by strings alone,
without added continuo.
135
con instrumenti, canto, e basso (1757)
Baldassare Galuppi
### 3
Andante
j

Violin 1 & 4 p
### 3
j

Violin 2 & 4 p
### 3
Soprano & 4
? ### 3
Bass 4

? # # # 43

Continuo
6 6
5 p
6
###
Vn 1 &

f

###
Vn 2 &

f

###
S &
B
? ###

? ###
Cont
6 6
5 f 5
136
Confitebor
12
### #
&
# #
Vn 1

### #
&
# #
Vn 2

###
S
&
B
? ###

Cont
? ### # # #
6 6
5
18
###
Vn 1 &

###
Vn 2
&

### .
S
& .
JJ
. .
Con - fi - ti - bor ti - bi Do-mi- ne
B
? ###
Con - fi
-
? ###

Cont

6 6 6 6
137
Confitebor
24
### #
&

Vn 1

### #
&

Vn 2

### # #
S
&

in to - to cor - de cor - de
? ###

JJ
B

ti - bor ti - bi Do-mi-ne in to - to cor - de
? ###
#
Cont
#6
6
###
# #
30
Vn 1 &

f

#
##
Vn 2
& #

#
f

# # j #
& #
S
J

J
me - o in con - si - liIo ius - to - rum et con-gre-ga - ti -
B
? ### # J
me - o in con - si - liIo ius - to - rum et con-gre-ga - ti -
? ### #
Cont

#6 #6
6 3
5
138
Confitebor
36
### #

& #
Vn 1

### #
#

& #
Vn 2

###
S
&
o - - - ne.
? ###

B

o - - - ne.
? ### #
Cont

#3 6
#3
5
###

42
&

Vn 1
###
Vn 2
&

### . J
S
&

? ### . J .
ex - qui - si - ta in om - nes vo-lun - ta - tes e - ius
B J
Mag-na o - per -a Do - mi-ni
j Con -
Cont
? ### #
6 5 6 6 6
7 5
5 4 3
139
Confitebor
### #
#
49
n
Vn 1
&
###
Vn 2
& # # n #
###
S
&
n.
. n . J n.
et ius -

B
? ### J J

fes - si - o et mag-ni - fi - cen - ti - a o - pus e - ius
? ### n n n n n . #
Cont
#6
n3 #6 #3 _ _ n3 # 3 n7 5
5 3
### # .
.
55
& #

Vn 1
f p f p
# #
& # #. .

Vn 2
f p f p
#
# . . . .
S
& # J J
ti - ti - a
.
ei - us ius - ti - ti - a

e - ius
.
ma - net
.
ma -
B
? ### J
et ius - ti - ti - a e - ius ma
- net

ma

-
? ### . .
Cont

7 7 5 6 5
#53 5
3
3
140
Confitebor
62
###

Vn 1
&
f
###
Vn 2
&
f
### j . j
S
&
? ###
- net in sae - cu - lum sae - cu - li.
.
J
B

- net in sae - cu - lum sae - cu - li.

? ###

Cont

6 3 5 6 6 5 4 6
5 3 5
###

69
&

Vn 1
f p
### #
Vn 2
&
f
### . J
S
&
. J
Me - mo - ri-am fe - cit mi-ra - bi - li-um su - o - um
? ### # . #
B
J
.
? # # # . J # .
Me - mo - ri-am fe - cit mi-ra - bi - li-um su - o - rum mi - se - ri - cors
Cont
. #
5 6 5
5 5 3 6
#3 #3
4
141
Confitebor
76
### . . .
Vn 1
&
###
Vn 2
& #. . n. # # # #
### # . J # # . .
S
&
. . . . . .
mi - se - ri-cors et mi - se - ra - -
B
? ###
? ### . .
et mi - se - ra - - - - - - -
. . . .
Cont
#4 6 6
#6 5
#5 #4 _
3 _
2 3 4 5 4
83
### # # # # #
Vn 1 &
###
Vn 2
& # # #
### . # . #. #
S
& J
. #
- tor Do - mi-nus es - cam de - - - -
? ### J . .

B
- tor Do - mi-nus es - cam de - - -
Cont
? ###
#6 #5 #6 #6
5
6
4
#3 6
5
6
_
5
142
Confitebor
### # #

89
Vn 1
&

f

###
Vn 2
& #
f

### #
#.
S
& J #
- dit ti - men - ti - bus se. Me-mor er - it in
B
? ### .
J
- dit ti - men - ti - bus se.
? ###
#
Cont

n6 #6 #5
#3
6 5 6
6 _ _ 5
3 4 3
###
#
96
Vn 1 &

p f
##
# p
Vn 2
& #
#
f p
### . #
S
&
.
sae - cu - lum tes - ta - men - ti su - i:
B
? ### .
#
vir - tu - tem
? ### # # .
J

Cont
#6
#53
7 6 4 5 6
7
3 5 4
143
Confitebor
###
#
103
Vn 1
&
#.
f p f p

# # #
& # #.
Vn 2

f p f p

###
S
&
? ### . .
B J J
o - pe-rum o - pe - rum su - o - rum an - nun - ti -
? ### # #.
Cont

#6 6
5
109
###

&

Vn 1
n
f p

### #
# # #
Vn 2
& n
f p

###
S
&

Ut det il - lis hae - re - di - ta - tem gen - ti -
B
? ###
a - bit po - pu - lo su - o
Cont
? ### n n . . . . .
#6 7 6
#53 6
4 #53 6
4 #53 6
144
Confitebor
116
### # # n # n
&
. .
Vn 1
### # . #
Vn 2
& . .
### J n .
& J J J #
J
S

um: o - per - a man-uIum e - ius ve - ri - tas et iu - di - ci -
B
? ###
# n n
? ### #

Cont
#3 6 #3 #6 #3 6
#6 n3 #3
122
### n
& #
#
Vn 1

f p f p
#
##
n
& #
Vn 2
#

f p f p
# #
S
& #
. . . J
? ### .
um.
B J J

Fi - de - li - a om - ni - a man - da - ta
? ###
#
Cont

n3 #3 #3 6
145
Confitebor
128
###
Vn 1
& # . .
f p f p
###
Vn 2
& # .
.
f p f p
###
S
&

B
? ### # .
e - ius
con - fir - ma - ta

in

sae - cu - lum
? ### # . n
Cont
J
5 5 6
134
###
&
Vn 1
###
&
Vn 2

###
S
&

? ### . .
B
J
sae - cu - li: fac - ta in ve - ri - ta - te et ae - qui -
? ### #
Cont

7 7 6 5
5
146
Confitebor
140
### n n
&

Vn 1
### n n
Vn 2
&
### .
S
& J n

Re-demp - ti - o - nem mi -si po - pu-lo su -
? ###
B

ta - - - te.
? ### n n n n
Cont

6 6 5 6 5 5 7 3
2
###
j
146
&

Vn 1
###
j

Vn 2
& #
### . . .
S
& J J
o
. .
man - da - vit in ae - ter - num man - da - vit in ae - ter - num
.
tes -
B
? ### J J
man - da - vit in ae - ter - num man - da - vit in ae - ter - num tes -
? ### # n
Cont n
_ 6
7 7 6 5
5 4 3
147
Confitebor
152
###
Vn 1
&
###

Vn 2
&
### .
S
&
? ### .
ta - men - ti su - i tes - ta - men - ti su -

B

ta - men - ti su - i tes - ta - men - ti su -
? ### .

Cont
6 6 5 6 5 6
4 3
158
### 44
&

Vn 1
### 44
&

Vn 2

### 4
S
& 4
i. Sanc - tum
B
? ### 4
4

i. Sanc - tum
? ### 44

Cont

6 5
3
148
Confitebor
### . . . n . .
r
164
Vn 1
&
p
### . r
Vn 2
& . . . # . #
### . . . # . . . .
S
& J . J
? ### . # . . n . .
et ter - ri - bi - le no - men e - ius ter - ri - bi - le no - men e -
B
J
et ter - ri - bi - le no - men e - ius
Cont
? # # # . . # . n . .
#4
4
2
6
5 n3 6
### .
. # .
168
& . . .
# # . .
.
Vn 1
f
# #
Vn 2
& # . . #. . . . # # w
### w .
S
&
R w
- -
. - ius
. .
ter - ri - bi - le no - men e -
? ### J . w
B
J

ter - ri - bi -le ter - ri - bi-le ter - ri - bi - le no - men e -
Cont
? ### J J . . w
#3 #3 #4 6 7 6 5 6
149
Confitebor
### . n m m m m m m m m m m m m m m m
172
Vn 1
& .#
p
###
Vn 2
& #. .
mm m mmmm mmm m mm m m
p
### j j

r
& . .
S
#
.
ius in - i - ti-um sa - pi - jen - ti - ae ti -
? ###

B
ius in - i - ti- um sa - pi - en - ti - ae
? ### m m m m m m m
mm m mmmm
Cont
#3 6 6 5 6 6 5
3 5 4 4
### # n
#
176
Vn 1 &
###
Vn 2
& # #
### # n .
S
& J
# . #
- mor Do - - - mi - ni ti - mor Do -
? ### J

B
ti - mor Do - mi - ni ti - mor Do -
Cont
? ### n #
#4 #3
5
4
3 6 6
4 #53 7
5
6
5
6
4
7
6
5 4
150
Confitebor
### U
n
3
#
180
Vn 1
& n # 4 n #
f f
## # U n
Vn 2
& #
n # # 3
4 n #
f f
#
# U
. . 3
& # J
J 4
S

-
#
-

- -
U

-
. # . mi - ni.

? ### J J 43

B

? ### n # # U 34
- - - - - mi - ni.
Cont
w
# f6 n3 #6
#7 8 7 6 6 3
3 5 4
7
4
5
5 4 #53
185
### n
Vn 1 &

### # j
Vn 2
& . .

### j
S
& n.
.
In - tel - lec - tus bo - nus om - ni - bus fa - ci -
? ### #

J
B
? ###
In - tel - lec - tus bo - nus om - ni - bus fa - ci -
Cont # n . J
#6 5 6 6 n5
3
151
Confitebor
### n

192
Vn 1
& #
f p
# #
& # #

Vn 2
f p
### . .
S
& n J
.
en - ti - bus e - um Lau - da - ti - o e - ius
? ### n . n
B J

? ### n
en - ti - bus e - um Lau - da - ti - o e - ius
.
Cont
6 6
#6
4
199
### #
& #
.
Vn 1
f
###
Vn 2
& #
.
f
### # j
.
S
& . J
ma -

net in sae - cu

- lum sae - cu - li. Glo - ri - a
? ### . .

. #.
B
J J
? ### #
ma - net in sae - cu - lum sae - cu - li. Glo - ri - a
n #

Cont
9 6 9 6 9 6 5 6 6
152
Confitebor
### #

206
Vn 1
&
p
### #
Vn 2
&
### #.
S
& # J
.
.
Pa - tri Pa - tri et Fi - li - o et Spi - ri - tuIi Sanc -
? ### # J n .
B

Pa - tri Pa - tri et Fi - li - o et Spi - ri - tuIi Sanc -
Cont
? ### # n #
6
#3 5 6
5
212
### . .
Vn 1 &
f
### . .
Vn 2
&
### . n . .
S
& J J
# . J . # .
to. Si - cut e - rat in prin - ci - pi-o et nunc et sem - per sem - per
B
? ### J
to. Si - cut e - rat in prin - ci - pi-o et nunt et
? ### . .
Cont
#
n3

7 7 9 8 7
#53 7 6 5
153
Confitebor
218
###
Vn 1
&
f
###
Vn 2
&

f
### . .
S
& . J .
. . . J
sem - per et in sae - cu -la sae -
B
? ###
n
sem - per
et in sae - cu - la
? ###
Cont
4 5 6 6 5
3
224
###
Vn 1 &

###
Vn 2
&
### . . J . . .
S
& J
. . . J - -
cu - lo - rum A - -
B
? ###
sae

- cu - lo - rum. A

-

-

-
? ###

Cont

5 9 3 9 3
6
154
Confitebor
230
###
&

Vn 1
###
&

Vn 2

f
### .
S
&

- - - - - men a - men.
? ###
B

- - - - - men a - men.
? ### # n
Cont

9 3 9 6
9 8 7
7 6 5
236
###
&

Vn 1
p f
#
#
& #

Vn 2

p
# #
S
& # .

A -

- - men.
.
? ###

B
A - - - men.
? ###

Cont
155
Confitebor
243
### U
Vn 1
&

f
### U
&

Vn 2

### U
S
& .
A - - - men a - men a - men.
U
? ### .

B
A - - - men a - men a - men.
? ### U

Cont
156
Laudate pueri a 4
con instrumenti (1771) Baldassare Galuppi
[I. Chorus]
###

Allegro
& c

Horns

in A

###
& c j j
Violin 1

###
& c j j

Violin 2

#
B ## c
Viola

### c
Soprano 1 &

### c
Soprano 2 &

### c
Alto 1 &

### c
Alto 2 &

#
? ## c
Bass &

Organ
157
Laudate pueri
###

5
Horns &
w w
p
# .
# j . . . .
r
Vn 1
& # r
p
###
Vn 2 &
#
Va B ##
p
###
S1 &
###
S2
&
###
A1 &
###
A2
&
? ###
Bass

p
158
Laudate pueri
7
###
Horns & w w
w w
### . . . . .
r
r

Vn 1
& J
### j r . . .
r

Vn 2 &
#
Va B ##
###
S1 &
###
S2
&
###
A1 &
###
A2
&
? ###
Bass

159
Laudate pueri
9
###
Horns & w w
w w f r
. .
r
r .
rinforzando
###
Vn 1
& J
rinforzando
.
r
### . .
r

r

Vn 2 & J
rinforzando
#
Va B ##
###
S1 &
###
S2
&
###
A1 &
###
A2
&
? ###
Bass

rinforzando
160
Laudate pueri
11
###
& w
Horns
w
# # # J
J

Vn 1
&
f
# # # J
& J

Vn 2
f
#
Va B # #
###
S1 &
###
S2
&
###
A1 &
###
A2
&
? ###
Bass

f
161
Laudate pueri
###
14
Horns &

#
## r
r
r r
Vn 1
&
#
## r
r
r r
Vn 2 &
#
Va B ##
J J
###
S1 &
###
S2
&
###
A1 &
###
A2
&
? ### J
Bass J
162
Laudate pueri
###

17
Horns & . .
### . . . .
Vn 1
& # #
### . . . . # #
Vn 2 &
#
B ##
. . #
Va
###
S1 &
###
S2
&
###
A1 &
###
A2
&
? ### . . #

Bass

163
Laudate pueri
###

20
&
Horns
w w
p
###
Vn 1
& #
soli j
### #
Vn 2 & .
#
# . . . . .
B ## J
staccato

. . . .
Va
###
S1 &
###
S2
&
###
A1 &
###
A2
&
# . . . . . . . .
? ### J
staccato
Bass
violoncelli soli
164
Laudate pueri
23
###
Horns & w w
### .
Vn 1
&
sfor.
### j
Vn 2 & . . . . . . . . . . . .
#
B ## . .
J

. .
Va
###
S1 &
###
S2
&
###
A1 &
###
A2
&

Bass
? ### J
165
Laudate pueri
25
###
&

Horns

f

### . . . .

(tutti)
Vn 1
& . .
f
### . . .

(tutti)
Vn 2 & . .
f
#
Va B ##
###
S1 &
###
S2
&
###
A1 &
###
A2
&
Bass
? ###

tutti
166
Laudate pueri
28
###
&
Horns
w w

p

sfor.
### .
Vn 1
&
j
# # #

(divisi)
Vn 2 &

B ##
#
Va J J
###
S1 &
###
S2
&
###
A1 &
###
A2
&

? ### J J

Bass
violoncelli soli
167
Laudate pueri
31
###
&
Horns
w
### .
Vn 1
&
f
### j

Vn 2 &
f
#
Va B ##
###
S1 &
###
S2
&
###
A1 &
###
A2
&

Bass
? ###
168
Laudate pueri
###
33
soli
Horns &
### . .
Vn 1
&

### . .
Vn 2 &
#
Va B ##
###
S1 &
###
S2
&
###
A1 &
###
A2
&
? ###
Bass

169
Laudate pueri
# # #

36
&

Horns
###
Vn 1
& .
###
Vn 2 & .
#
Va B ##

###
S1 &
###
S2
&
###
A1 &
###
A2
&
? ###
Bass

170
Laudate pueri
###

40
&
Horns
p
### j
j
j j
&

Vn 1
###
& j j
Vn 2
#
Va B ##
###
S1 &
Lau-da - te lauda
- - te lau - - -
###
S2
&
Lau-da - te lau-da - te
###
&

A1

Lau-da - te lau - da - te lau - - -
###
&

A2
Lau - da - te lau - da -

te
? ###
Bass

171
Laudate pueri
###

45
Horns &
w w

### r . . .
r

Vn 1
& J J J
### j j
Vn 2 &
#
Va B ##
###
S1 &
- - - - da - - - - - - - te
###
S2
&
lau - - - -
###
A1 &
- - - - da - - - - - - - - - -
###
A2
&
? ###
Bass

172
Laudate pueri
47
###
Horns & w w
w rinforzando
w
### . . .
r
r
Vn 1
& J J J
rinforzando a poco a poco
### r . . .
r

Vn 2 & J J J
#
Va B ##
rinforzando
###
&
S1

pue - - - - - - - ri
###
S2
&
- - - - da - - - - - - - te - - - -
###
A1 &
te pue - - - - - - - ri
###
A2
&

lau - - -
? ###
Bass

173
Laudate pueri
49
###
& w

Horns
w

f
. r
J
# # # r . . J
r

Vn 1
&
f
# # # r . . . J
r
r

Vn 2 & J
f
#
Va B ##
f
###
&

S1
lau - da - - - - - - - - - te
###
S2
&
- - lau - da - - - - - - - - - te
###
A1 &
lau - da - - - - - - - - - te
###
A2
&
-
- - -

da - - -

- - - -
- -

te
? ###
Bass

f
174
Laudate pueri
51
###
&

Horns

# # # J

r

Vn 1
&
###

r

& J

Vn 2
#
Va B # #
###
&

S1
lau - da - te lau - da - - - - - te
###
&
S2

###
A1 &
###
A2
&
lau - da -

te

lau -

da - -

- - -

te
? ###
Bass

175
Laudate pueri
54
### j
&
J
Horns

# # # r r r
Vn 1
&
# # # r r r
Vn 2 &

#
Va B ## J
### .
& J R
S1

lau - da - - - - - te pu - e - ri
### j r
S2
& .
lau - da - - - - - te pu - e - ri
### j
A1 & . r
lau - da - - - - - te pu - e - ri
###
& j r

A2
lau -

da - - - - - te
.
pu - e - ri
Bass
? ### J
176
Laudate pueri
### j j

56
&

J J
Horns
### . .
Vn 1
& . #
### . .
Vn 2 & . #
# . . .
Va B # # J
### . . j .
& J J J J . # J R
R
S1
lau - da - te lau - da - - - te pue - ri Do - mi - num
### . .
& j J . .
J J J R J R
S2

###
A1 & j j j
j . .
j r
.
### j j j j r j r
A2
& j . . . .
? # # # J . . .
Bass

177
Laudate pueri
59
### #
Horns &
### # n # n #
Vn 1
& #
### # n # # n #
Vn 2 &
#
Va B ##
### #
S1 &
lau - da - - - - - - te no - - - -
###
S2
&

lau - - - - da - te no - - - - - men
###
A1 & . # .
lau - - - - - da - te
###
A2
&
lau - - - -

da - - - -
# te
no - - - -
? ### #
Bass

178
Laudate pueri
61
### #
&
Horns

### # #
Vn 1
&
### # #
Vn 2 &
# #
B ##
Va
### #
&
S1

- - men Do - - - - - mi - ni lau -
### #

S2
&
Do - - - - - - - - - mi - ni lau -
###
A1 & .
no - - - - - men Do - mi - ni lau -
###
A2
&
# #mi
men Do - - - - - - - - ni lau -
? ###
Bass # #
179
Laudate pueri
63
###
Horns &
### #
Vn 1
& # #
### # # #
Vn 2 &
# # #
Va B ## #
### # #.
S1 & J
da - te no - men no - men Do - - - mi -
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S2
& J
### j
A1 & # # .
###
A2
& # # j
.
? ### #
Bass #
180
Laudate pueri
###

65
Horns &
###
Vn 1
&

###
(divisi)

j pizz.
Vn 2 &

# j
B ## #
Va
### #
S1 &
ni.
###
S2
&
ni.
###
A1 &
ni.
###
A2
&

ni.
? ###
Bass
J
violoncelli soli
181
Laudate pueri
67
###
Horns & w w
p
### # .
Vn 1
&
sfor.
###
j
&
#
Vn 2
# j
B ## #

Va
###
S1 &
### # .
solo
S2
&
Lau - - - da - te
###

solo
A1 & .
Lau - - - da - te
###
A2
&
? ### #
Bass J
182
Laudate pueri
69
###
& .

Horns
f
### #. #
Vn 1
& #
f
### #
j #
Vn 2 &
(arco)
J f
#
B ## j
#
Va
###
S1 & J # #
lau da - te no - men Do - mi - ni
### # . tutti .
S2
& J J J
lau - - - da - te lau - da - te no - men Do - mi - ni
### j j tutti
j
A1 & . .
lau - - - da - te lau - da - te no - men Do - mi - ni
###
& j j

A2
.

lau - da - te no - men Do - mi - ni
? ### # J
Bass

violoncelli soli
tutti
183
Laudate pueri
###

72
Horns & w
### #.
Vn 1
&
sfor.
###
j
&

Vn 2
# j
B ## #

Va
###
S1 &
### #.
solo

S2
&
lau - - - - da - te
###

solo
A1 & .
lau - - - - da - te
###
A2
&
? ### #
Bass J
tutti
184
Laudate pueri
74
###
Horns & w .
###
#.
Vn 1
&
f
### j
j
Vn 2 & #
f
#
B ## #
J

Va
###
S1 & J
lau -
### #. tutti
S2
& J J
lau - - - da - te lau -
### j tutti
A1 & .
lau - - - da - te
J
lau -
###
A2
&
j
lau -
? ### #
Bass
J
185
Laudate pueri
76
### # U
&

Horns
### # # # U
Vn 1
&
### # # # U
Vn 2 &
# U
Va B ##
### # # # U
S1 &
da - te no - men - no - men no - men Do - mi - ni
### # #
U
S2
&
da - te no - men no - men - no - men Do - mi - ni
### U
A1 &
da - - - - - - - - - - te Do - mi - ni
###
U
&

A2

da - te no - men no - men - no - men Do - mi - ni
? ### U
Bass
186
Laudate pueri
79
###
Horns &
### .
Vn 1
& # # .
### # # .
Vn 2 & .
#
Va B ##

###
S1 & J J # #
no - men no - men Do - mi - ni
### .
S2
& J J J
###
A1 & j j .
j

### j j
& j

A2
.
? ###
Bass

187
Laudate pueri
###

82
Horns &
### .
Vn 1
& .
#
p f

### . #
Vn 2 & .
p f

j j

B ##
#
J

Va
###
j J
solo
S1 & J
sit no - men Do - mi - ni be - ne - dic - tum
### j
solo jj
S2
&
sit no - men Do - mi - ni be - ne - dic - tum
###
A1 &
###
A2
&
? ### #
Bass
188
Laudate pueri
###

86
Horns &
###
& # #
#
Vn 1
p f

### # #
&
#
Vn 2
p f

Va
#
B # # # # # # #
###

tutti
S1 &
a so - lis
###
tutti
S2
&
a so - lis
### j j
j j
solo
A1 &
ex hoc nunc, et us - que in sae - cu - lum
###
j j j j
solo
A2
& # #
ex hoc nunc, et us - que in sae - cu - lum
# J
Bass
? ### # #
189
Laudate pueri
90
###
Horns &
f
### #
Vn 1
& # #
### j
&

Vn 2
#
Va B ## J
###
S1 &
or - - - - tu us - - - - que ad
###
S2
&
or - - - - tu us - - - - que ad
###

tutti
A1 & .
###
us - - - -

tutti
A2
& #.
us - - - -
? ### #
Bass J
#6
# 64 6
4
2 3
190
Laudate pueri
92
### w
Horns & w
# # # #
Vn 1
& # #
### j
& #

Vn 2
# #
Va B ## J
### w
S1 & w
occa - - - - - - - sum
### w
&
w
S2
occa - - - - - - - sum
###
A1 & .
que ad oc -
###
A2
& #.
? ###
que

ad
#
oc -
Bass J
191
Laudate pueri
###

94
&

Horns
# # #
j
# . . . . .
& J J # #
.
Vn 1
J p
# # # j j j j
& . . . .
J . .
Vn 2
J
#
Va B ## #
### #. . r
# # J .
solo
S1 & J R J R
lau - da - bi - le lau - da - bi - le lau - da - bi - le
### solo
r
. j r j r
S2
& J . .
lau - da - bi - le lau - da - bi - le lau - da - bi - le
### solo
j r j r
& . . .
#
A1
ca - sum lau - da - bi - le lau - da - bi - le lau -
### solo
j r
& . . # j r
# # .
A2
#
ca - sum lau - da - bi - le lau - da - bi - le lau -
? ### #
Bass
#
violoncelli soli
192
Laudate pueri
###

97
Horns &
### # # J #
& J J # J J J

J J
Vn 1
### # # # J # # J J
& J J J J J
Vn 2

#
Va B ##
### # # # # #
&
S1

no - - - men Do - - - - - - - - mi -
### # # # # #
S2
&
no - - - men Do - - - - - - - - mi -
### j r
A1 & . # w .
da - bi - le no - men Do - - - - - - - - mi -
###
& j r w .
. #
A2
da - bi - le no - men Do - - - - - - - - mi -
Bass
? ###
193
Laudate pueri
###

100
Horns &
### # n
Vn 1
& J # # #
f
### # # # #
Vn 2 & J #
B ##
#
Va # #
### w
# # J # J J j j
#
n
tutti
S1 & J J
ni ex - cel - sus su - per om - - - - - nes om - nes gen - tes
# # # # tutti j j# # w j j #
S2
& J # J J #
ni ex - cel - sus su - per om - - - - - nes om - nes gen - tes
###

tutti
A1 & j j # j j
#
ni su - per om - nes gen - tes
###

tutti
& j j j j #

A2
# #
ni su - per om - nes gen - tes
? ###
Bass
# # #
tutti
194
Laudate pueri
###

103
Horns &
# # # J J # J
Vn 1
& J J J J J
p
### j
&
J J J J J J J
Vn 2

B ### # n
j J J J J J J
Va
J
### .
solo

S1 & J J J
Do - - - - - mi - ni et su - per cae - los glo - ri - a
### .
solo
j j
S2
& J
Do - - - - - mi ni et su - per cae - los glo - ri - a
###
j j j n j j j j j j
solo
A1 &
#
om - nes gen - tes Do - mi - ni et su - per cae - los glo - ri - a
### j j

solo
A2
& j j j j j j
#

om - nes gen - tes do - mi ni et su - per cae - los glo - ri - a
? ### J J J J J J
# J
Bass
violoncelli soli
195
Laudate pueri
### U

106
Horns &
### U j j
& w

Vn 1

f

### U j j
& w

Vn 2

f

# U
Va B ## # w
# # # U . j #
r

tutti
S1 &
e - - - 3 - ius lau - da - te - - - lau -
### U
tutti

S2
& w
e - - - - ius lau -
### U

tutti
A1 & w

e - - - - ius lau -
### U

tutti
A2
& #w

e - - - - ius
? # # # #U
w
Bass

tutti
196
Laudate pueri
111
###
Horns &
w w

p
### j r . . .
r
Vn 1
&
p
###
Vn 2 &

#
Va B ##
###
S1 & w w
da - te lau - - - - - - da - - - - -
###
S2
&
da - te
###
&
w w
A1

da - te lau - - - - - - da - - - - -
###
A2
&

? ###
Bass

p
197
Laudate pueri
114
###
Horns & w w
w rinforzando w
### . . .
r
r
Vn 1
& J
rinforzando
### j r . . .
r

Vn 2 &
p rinforzando
#
Va B ##
rinforzando
### w w
S1 &
te pue - - - - - - -
### w
S2
& w
lau - - - - - - - da - - - - - - -
###
A1 & .
- - - - te pu - - - - - e -
###
A2
&
? ###
Bass

rinforzando
198
Laudate pueri
116
###
Horns & w w
w w
f
.
r
r . .
r
###
Vn 1
& J
f
.
r
### . .
r

r

Vn 2 & J
f

Va B ###
### . .
S1 &
ri lau - da - - - - - - -
### . w
S2
&
###
te lau - da - - - - - - -
A1 & . .
ri lau - da - - - - - - -
###
A2
&
w w
lau - - - - - - - da - - - - - - -
? ###
Bass

f
199
Laudate pueri
118
###
Horns &

# # # J
r
J
Vn 1
&
# # # J
r
Vn 2 & J
#
Va B # #
### w
S1 &
- - te lau - da - te lau - da - - - -
### w
S2
&
- - te lau - da - te lau - da - - - -
###
A1 & w
- - te lau - da - te lau - da - - - -
###
&
w
A2

- - te lau - da - te lau - da - - - -
? ###
Bass

200
Laudate pueri
121
###
Horns &
# # # r r r
Vn 1
& J
# # # r r r
Vn 2 & J

Va B ### J J
### . .
& J
S1
J R
te lau - da - - - te pu - e - ri lau -
### . j r j
S2
& .
### j
A1 & . r j
### j
& j r

A2
.
? ### J
Bass J
201
Laudate pueri
### j

124
& . .

Horns

J
### . . #
Vn 1
& .
### . . .
Vn 2 &
# . . .
Va B ##
### . . .
S1 & J J J . # J R
da - te lau - da - - - te pue - ri Do - mi - ni lau - - -
### . .
& J J J . .
J R
S2
### j j j j r
A1 & . . .
da - te lau - da - - - te pue - ri Do - mi - ni lau -
### j j j j r
A2
& . . . .
? ### . . .
Bass

202
Laudate pueri
127
# # # w
&
Horns
### # n
Vn 1
&
### # n
Vn 2 &
#
Va B ##
###
S1 & # #
- - - - da - - - - - - te no - - - -
### #
S2
& #
- - - - da - - - - - - te no - - - -
###
A1 & . .
da - - - - - te no - - - - - men
###
A2
& # #
da - - - te no - - - men
Bass
? ### # #
203
Laudate pueri
129
###
&
Horns
. . . .
###
Vn 1
&
###
Vn 2 &
# #
Va B # #
### #
S1 &
- - men Do - mi - ni lau - da - te
###
S2
&
- - men Do - mi - ni lau - da - te
###
A1 & .
Do - - - - - mi - ni lau - da - te
###
&
#
A2

Do - - - - - mi - ni lau - da - te
? ### #
Bass
204
Laudate pueri
###

131
&
Horns

###
Vn 1
&
###
Vn 2 &
#
Va B ## #
### # .
S1 & J
no - men no - men Do - - - mi - ni
### .
S2
& J
### j
A1 & .
no - men - no - men Do - - - mi - ni
### j
A2
& .
? ###
Bass
205
Laudate pueri
133
###
Horns & w w
p
###
Vn 1
&
j
###
Vn 2 &
#
B ## . . . .
staccato
J . . . .
Va
###
S1 &
###
S2
&
###
A1 &
###
A2
&

staccato
. . . . . . . .
Bass
? ### J
violoncelli soli
206
Laudate pueri
###

135
&
Horns
w w
f
### . .
Vn 1
&
f p f p f
###
Vn 2 & J
#
Va B ## J

###
S1 & J
lau -
# # # solo
& . .
tutti
S2 J J
lau - - - da - te lau - da - te lau -
### j j

solo tutti
A1 & . .
lau - - - da - te lau - da - te lau -
###
A2
& j

? ###
lau -
J
Bass

tutti
207
Laudate pueri
# # #

138
&
Horns
w
p
# # #
Vn 1
&
j
# # #
Vn 2 &
#
B ## J . . . .
. . . .
Va
### .
S1 & J
da - te no - men Do - mi - ni
### .
S2
& J
###
A1 &
### j
& .
A2
. . . . . . . .
? ### J
Bass

violoncelli soli
208
Laudate pueri
141
###
Horns & w w
### .
&

Vn 1
### j

Vn 2 &
#
Va B ##
J

###
S1 &
# # # solo
.
S2
&
lau - - - - da - te
###

solo
A1 & .
###
A2
&
. .
? ### . . J
Bass
209
Laudate pueri
###

143
Horns &
f
### .
Vn 1
&
###

Vn 2 &
#
B ##

Va

### j
S1 &
lau - da - - - - - - - -
### .
tutti

S2
& J J
lau - - - da - te lau - da - te no - men
### j
j
tutti
A1 & .
lau - - - da - te lau - da - te no - men
###
& j

A2

lau - da - te no - men
? ###

Bass

tutti
210
Laudate pueri
### . . . . . U

145

soli
Horns &

### U
Vn 1
&

# # # U

Vn 2 &

Va
#
B #
# U
### U .
S1 & J J J
- - te no - men Do - mi - ni no - men no - men Do - mi - ni
###
U
J J .
S2
& J
no - men no - men Do - mi - ni no - men no - men Do - mi - ni
### j jU
A1 &
### U
j
A2
& j j .
? ### U

Bass

211
Laudate pueri
# # #

149
Horns &
###
Vn 1
&
###
Vn 2 &
#
Va B ##

###
S1 &
###
S2
&
###
A1 &
###
A2
&
? ###
Bass

212
Laudate pueri
###

152
Horns &

###

Vn 1
&
j

###

& j

Vn 2
#
Va B ##
###
S1 &
###
S2
&
###
A1 &
###
A2
&
Bass
? ###

213
Laudate pueri
[II. Aria]
## m m m ( m m m ) .
Lento molto
Violin 1 & c
(f) p f p p
# m m m ( m m m ) .
& # c

Violin 2
(f) p f p p
Viola B ## c J J J J J
J J J J

J J
f p f p f
## c
Soprano &
solo
? # # c j j j j j j
Bass &
Organ J J J J J
f p f p f
4
# # J . m m m m m m m m m m m m m m
Vn 1 & J
p
## j
& j

Vn 2
B # # J j j j J J J J
J J J J
Va
p
#
S
& #
? # # J J j j j j j
Bass
J J J J J
p
214
Laudate pueri
7
## m m m m mj n
m m
Vn 1
& #
j #
f
## n
& j j #
#
Vn 2
f
j j
Va B # # J J
#
S
& #
? # # j j
Bass
J J
f
9
## j j
r J

r
J r j
Vn 1 & j J
f p f
## j j
r J r
r j
Vn 2 & j J J
f p f
B # # j j

J

Va
p
##
S
&

Bass
? # # J
J J J J JJ J #
p f
215
Laudate pueri
12
## j [ m m m] m m m
& J
j
J
Vn 1

p
## m m m] m m m]
j
[ [
&
J J
Vn 2
p
Va B # # j j # #
J J J J J J J J
f p f p
#
& #
S

Quis quis
? # # J j # # j
j j j
Bass
J J J J
p f p f p
16
# # . J . J . . m m m m m m m
Vn 1 & J
## j j j
Vn 2 &
B # # J j J J j
Va
J J J J J J
f p
## .
& J .
S
R R J
si - - - cut Do - mi - nus De - us no - ster
? # # j j J
J j
Bass
J J J J J J
f p
216
Laudate pueri
19
## (simile)
Vn 1
& #
#
& #
#
Vn 2
j j
B # # J J
J J J J
Va
# . #
S
& #
qui qui in al - tis
? # # j j j j j

j

Bass
J J
21
# #
Vn 1 & #
##
&
# # #
Vn 2

Va B # # j j J J
J
J
J

J
## . # #
& J
R
S
ha - bi - tat in al - - - - - - tis
? ## j j
Bass
J J J J J J
217
Laudate pueri
## n .
23
& #

Vn 1
sforz.
#
& # # # #

Vn 2
sforz.
j
B # # J J
ten.
J
Va
# # m m m m n r . j
S
& . J
ha - - - - - - - - bi - tat et hu -
? # # j J j j J J # J
J
Bass
26
# #
& # # #

Vn 1
sforz.
.
##
& # #

Vn 2
.
sforz.
B ## j j

J J
Va
## . . # #
& R R J . J R
S
J J R R
mi - li - a hu - mi - lia res - pi-cit res - pi - cit in
? ## # J # J
Bass J J J J J
218
Laudate pueri
# # U n
j
28
& J
j #
Vn 1
j #
f p p f p p
# # j U n
& # j
j #
Vn 2
j #
f p p f p p
U
Va B ##
# # U . # # n #
S
& J J J
cae - lo et in ter - ra et in
? ## U

J
Bass
30
## r J r j j

Vn 1 & j #

## r r
j j
Vn 2 & j J # #

#
#
B #
Va
J J
## j j . j n # r
S
& # . #
ter - ra in cae - lo et in ter -
? # # j j j
Bass
J J J J J
219
Laudate pueri
32
# # j r r j
j

Vn 1
& J #
# j r j j
& # J #
r
Vn 2 #
#
Va B ##
J
J
## . j #
S
& # . #
ra in cae - lo et in ter -
? # # j j
j

Bass
J J J J J
.
34
# # . . . . . . # .
Vn 1 &
(m m m

(m m m

)

f p )
f p
##
Vn 2 & #
f p f p

B ## j j J J
J J J J

Va
f p f p
## #
S
&
ra in ter - - - ra? Quis
? ## j j J J J
Bass
J J J
f p f p
220
Laudate pueri
## . . .
J m m m m m m m
37
Vn 1
& J J
f p
# j j
Vn 2 & # J j j

J
#
B # J J J J J J j
Va
J J J J
f p
## . . J
J . .
S
& R R J
quis si cut Do - mi - nus De - us no - ster

? # # J J J J J
J j
Bass
J J J J J
f p
40
# # m m m m m m m # j ..
n
&
J
Vn 1
f p
## j j
Vn 2 & # . .
f p
j j j j
B ## n
J J J J
J J J
Va
f r p
## j j J . # . j j r
S
& J J R JJ . n.
J
Qui in al-tis ha - bi - tat in al - tis ha - bi - tat et hu -
Bass
? # # n j j j j j j j
J J J J
f p
221
Laudate pueri
## ..

43

r r
Vn 1
& n
..
n
..
f p
#
Vn 2 & # n . . # . . n . .
f p
B ## w j j j j
ten.
Va
J J J J
f p
# j j .
& # . n. RR . j
RJ J R
S
mi - li - a hu - mi - li - a res - pi - cit in cae - lo et in
? ## w
ten.
j j j j
Bass
J J J J
f p
#
& #

46
Vn 1 n
##
&

Vn 2
Va B # # J J J J
J J J J
J J J

J
&
## r r j n
S

ter - - - - - - - - - - - - - -
? ##
Bass
J J J J J J J J J J J J
222
Laudate pueri
##

49
Vn 1
&
##
Vn 2 &

Va B ## J J J
J J J j j

## n #
S
&
? # # J
Bass J J
J J J j j

##
51
&

Vn 1

##
&

Vn 2

Va B ##
## j j r j j j
S
& .
r
.
ra et hu - mi - li - a hu - mi - lia

? ## J J J J J J
J J
Bass
223
Laudate pueri
53
## U n
& j # j
J j
Vn 1
f p f p
# j U n
Vn 2 & # # j
j # j
f p f p
U
B # # J

Va
U
# # j r j . J J j
r
j
& . J RJ j j j
#
S

res - pi - cit res - pi - citin cae - lo et in ter - ra in te -
U
? # # J j j
Bass

56
# # j r J
r
J
r r
J J
Vn 1 & J J
# # j r J
r
j j j
r J r

Vn 2 &
Va B ##
##
& . .
J n .

S
ra in cae - lo et in ter - ra in

? ##
J J J J J J J J J J J
J
Bass
224
Laudate pueri
## n
r J
59
& J
Vn 1
J
#
& # j

j
Vn 2

Va B # # J j j

j

# # . n
&
S
J
? # # J
cae - lo et in ter - - - - - - - - -

Bass
J J J
61
# # . .
#
U

Segue subito
Vn 1 & J J #
# # . .
#
U

Vn 2 & J J #
# U
Va B ## # w
## U
& .
J J
S

ra et - in ter - - - - ra
# U
Bass
? ## # w
225
Laudate pueri
[III. Chorus]
## 6 . .

Allegro
Horns & 8 . .
in D
## 6 . .
Violin 1 & 8
## 6 j .
Violin 2 & 8 . . J

Viola B # # 68 . . J J
# 6 . .
& # 8
Soprano 1
J
Su - - - sci - tans a
# 6 j .
Soprano 2 & # 8 . j . J J
Su - - - sci - tans a ter - raIa ter - ra i - - - no
## 6 j
Alto 1 & 8 . j . J
Su - - - sci tans a te - raIa ter - ra
## 6
Soprano & 8
solo
Bass & ? # # 68 . . . .
Organ
226
Laudate pueri
5
# # .. .. .. .. ..
Horns &
##
Vn 1 &
## .
Vn 2
&

Va B ## J J
## . . . . .
S1
&
ter - - - - - - - - - - - - - ra
## . . . . .
S2
& J
pem su - sci tans a ter - ra
## . . . . .
A1 & .
i - - - no - - - pem a ter - ra
## j
& j . J
.
A2
Su - - - - - sci - tans a ter - raIa ter - ra

Bass
? ## . . J J
227
Laudate pueri
8
## .. . .. .
Horns & . .
Vn 1 &
## #
Vn 2 &
## #

Va B ##
# J J J J J
S1
& # J J J
J J J
i - no - pem su - sci - tans a ter - ra a ter - raIa ter - ra
# j
S2
& # J J J J J J J J J
J
# j j j j j j # j j j j j
A1
& # #
#
A2
& # J j j j j j j
j j

j
j

? ##
Bass

228
Laudate pueri
## . . . .
12
Horns & . .
##
& # n # n

Vn 1
## j
& # #

Vn 2
# #
Va B ##
# . #. n . . #. n.
S1
& # J J J J
i - no - pem et de ster - co - rem e - ri - gens
#
S2
& # J J J #. . .
J #. . .
## j j j j
A1
& . . # . . . #.
## j j
A2
& j j j . .

i - no - pem et de ster - co - re, e -
? ## . .
Bass
. .
229
Laudate pueri
## . ..

17
Horns & .
##
& n
Vn 1

## n #
&
Vn 2

#
Va B ## .
# . . . .
S1 & # . n.
J
.
pau - - - - - pe - rem e - ri - gens pau - - - -
# j
S2
& # . # j . #. . . . .
pau - - - - - pe - rem e - ri - gens pau - - - -
##
A1 & . .
j
.
pau - - - - - pe - rem
#
& # . j j
#. .
A2

- - ri - gen pau - pe - rem
#
Bass
? ##
.
230
Laudate pueri
22
# # .. .. ..
Horns &
# #
Vn 1 &
##
& # #

Vn 2
#
#
Va B ##
## . . .
S1 & J
- - - - - - - - - - - - - - pe -
## . . .
S2
& J
- - - - - - - - - - - - - - pe -
## . .
A1 & J J
e - - - - - ri - gens e - - - ri -
## j j
A2
& #. . #.
#
e - - - - - ri - gens e - - - ri -
#
Bass
? ##
231
Laudate pueri
25
## . . # .. ..
Horns & . .
# #
Vn 1 &
##

#
Vn 2 & # # #
j
Va B ## . . .
## . . . . . .
S1
&
rem e - - - ri - gens pau - - - - -
## j
S2
& . # j j . # . .
rem e - - - ri - gens pau - - - - - - - -
# j
A1
& # . #. .
gens e - - - - ri - - - gens pau - - -
#
& # j j
j . . .
A2
gens e - ri - gens pau - - - - - - - - - - -
? ## j . . .
Bass

232
Laudate pueri
j j
29
## . . . ..
Horns & J J .
# # #

& J J
Vn 1
# j
& #
#

J
Vn 2
J
Va B ## #
J
# . . # j .
S1
& # .
- - - pe - - - rem su - sci - tans a
## . . J . . # j
S2
& J
- - - - - - - - pe - rem Su - sci -
## . j
A1
& . # j .
- - - - - - - - pe - rem
## j j
A2
& #. . .
J
- - - - - - - - pe - rem
? ## #
Bass
J . .
233
Laudate pueri
## . . . ..

33
& . . .
J
Horns
# # .
. J J
Vn 1 &
# # . .
Vn 2 & n
# J J
Va B # . . .
## # . j . .
S1 & J J . J
ter - raIa ter - ra i - no - pem su - sci - tans a
# . j .
S2
& # . J J . .
tans a ter - raIa ter - ra i - no - pem
##
j .
J j
& j
. .
A1
Su - sci tans - a ter - raIa ter - ra i - no -
## j
J
. j .
A2
&
Su - sci - tans a ter - raIa ter - ra
? ## . . .
J
Bass
. J
234
Laudate pueri
##

39
&
Horns

&
## # n #
Vn 1

##
# n #
Vn 2 &

Va
#
B #
## . . J J J
S1 & J J J J J
ter - ra su - sci - tans a ter - ra a ter - ra a
#
S2
& # J
J J J

J j J # j
su - sci - tans a ter - ra a ter - ra a
## j j j # j j j j j
A1 & .
pem su - sci - tans a ter - ra a ter - ra a
##
j j j j j j j
& . j j
A2

i - no - pem su - sci - tans a ter - ra a ter - ra a
? ##
Bass

235
Laudate pueri
43
##
Horns & . . . .
. . . .
##
# n # n
Vn 1 &
##
Vn 2
&
Va B ##
## . . . . . .
S1
& J J
ter - ra et de ster - co - rem e - - - ri - gens
# j .
S2
& # . .
J . . .
ter - ra et de ster - co - rem e - ri -
# j
A1
& # j
. #. n . . #. n.
ter - ra et de ster - co - rem e - - - ri - gens
#
A2
& # j

ter - ra
? ##
Bass
. . . .
236
Laudate pueri
47
## . . . .
& .
in D
Horns
. . .
##
Vn 1 &
##
Vn 2
& # n # n
Va B ##
## . . . . . . . .
S1
&
pau - - - - - - - - - - - - - pe -
# . . .
S2
& # . n .
J
#. n.
gens et de ster - co - rem e - - - ri - gens
#
A1
& # . . . . . . . .
pau - - - - - - - - - - - - - pe -
#
A2
& # . . .
j
.
et de ster - - - co - rem
Bass
? # # . . . .
237
Laudate pueri
##

51
Horns &
## #
Vn 1 &
## n #
Vn 2 & # #

Va B ## n # n
## . . . #. . . . #.
S1 &
rem e - - - - ri - gens e - - - - ri -
#
S2
& # . . . . #. .
pau - - - - - - - - - - - - - -
#
A1 & # . . . #. . .
rem e - - - ri - - - - - gens pau - - -
# j
A2
& # . . n. . #. n.
et de ster - co - rem e - ri -
? ## n # n
Bass

238
Laudate pueri
##

55
Horns &
n
## #
Vn 1 &
##
Vn 2 & J
# n #
Va B ## J
## . . . .
S1
& J J
gens pau - - - - - - - pe - rem
# .
S2
& # . . n. . .
J

- - - - - - - - - pe - rem
## . . .
A1
& #. . . J
- - - - - - - - - pe - rem
## . j
A2
& . #. n. . # .
gens pau - - - - - - - pe - rem
? ## # n #
Bass J
239
Laudate pueri
59
## . ..
Horns & .
# #
Vn 1 &
##
&

Vn 2

Va B ## n
## . .
S1
& J
e - - - - - - ri - gens
# .
S2
& # .
J

e - - - - - - ri - gens
##
A1
& . .
##
A2
& . .
? ## n
Bass
240
Laudate pueri
61
## . .. .. . . ..
Horns & . .
# #
Vn 1 &
## j
&

Vn 2
B ## .
Va .
## . . . . .
S1
& J
e - - - - ri - gens pau - - - - - - - -
# .
S2
& # .
J
. .
e - - - - ri - gens pau - - - - - -
##
A1
& . . . .
pau - - - - - - - -
##
A2
& . . . .
pau - - - - - - - -
? ## .
Bass .
241
Laudate pueri
j j j
65
## . .. ..
& . J
J J
Horns
##
Vn 1 & J
## n
Vn 2 & J
n
B ## j

Va
J
# . . .
S1
& # J J
- - pe - rem
# . . .
S2
& # J J
- - pe - rem
## j j
A1
& . . . .
- - pe - rem e - - - ri - gen
## j j
& . . .
.
A2
- - pe - rem
n
e - - - ri - gens

? ## j
Bass
J
242
Laudate pueri
j
69
# # .. .. . . .. .. .
.
Horns & J
## #
Vn 1 &
## n
Vn 2 & #
n . . .
Va B ##
# . . . .
S1
& #
pau - - - - - - - - - -
# . . .
S2
& # . .
pau - - - - - - - - - -
## j .
A1
& . .
e - - - ri - gens pau - - - - - - - - -
## j
A2
& . . .
? ## n . . .
e - - - ri - gens pau - - - - - - - - -
Bass

243
Laudate pueri
j j
##

73
Horns & J J
##
Vn 1 & J

&
## j
Vn 2
J
. . .
Va B ## J j
J . .
## . . . .
S1
& J J J J
- - - pe - rem e - - - ri - gens pau - - - - pe -
# . j
S2
& # J J

J . .
## j j j
A1
& . . . . .
## j . j
A2
& j . . j
.
- pe - rem
? ## j . . .
- - e - - - ri - gens pau - - - - pe -
J .
Bass
J .
244
Laudate pueri
78
## .
Horns & .
# #
Vn 1 &
# #
Vn 2 &

Va B ##
# .
S1
& #
rem.
#
S2
& # .
rem.
##
A1
& .
rem.
##
A2
& .
rem.
? ##
Bass
245
Laudate pueri
# # .
. .
80
Horns & .
# # J j

& .

Vn 1

# # J j

&
.
Vn 2
Va B ##
#
S1
& #
#
S2
& #
##
A1
&
##
A2
&
Bass
? ##
246
Qui habitare
(Laudate pueri fragment, early 1770s)
[I. Aria] Baldassare Galuppi
Andante brioso
### 3 . r
& 8 J . . J

.
Violin 1
### 3 . r
& 8 J . . J

.
Violin 2

B # # # 38 J .
Viola
J
### 3
Soprano & 8
solo
### 3
Organ & 8
(obbligato)
? ### 3 j .
Bass &
Organ
8
r
8
### . . r .
r
.
r j
.
Vn 1 &

r
### . . . r .

r
. r j
.
Vn 2
&

Va B ###
###
S &
? ###
Bass

247
Qui habitare
# # # . r
r
.

14 ten.

3
&
Vn 1

f
# # # . r .
3
r 3

ten.

3
Vn 2
&
f

3

B ###
3

Va J
f
###
S
&

Bass
? ###

# . .
(f)
. . . . . . . .
# # # J
# . . n # . .

19 3 ten.
&

Vn 1
p
3
f p3
3

. . . . . .
3
# # # . J. 3 ten. # . . n # . .
&

Vn 2
p3
3
f p3
3

#
Va B ## J . . .
p f p
# #
S
& #

? ### .
ten.
. .

Bass
p f p
248
Qui habitare
25
# # # n . . . . . j
j

Vn 1
& .
f
# # # n . . . . . j
j
Vn 2
& .
f
Va
#
B ## . #
J

# #
S
& #
###
& j .
.. J .
Org.

? ### .

Bass
f p
### j

32
Vn 1 &
j
###
Vn 2
& j
j

B ###

Va
f
###
S
&
###
& j .
j
.
j j
Org.
. J .

? ###

Bass
f p f
249
Qui habitare
### .
38
Vn 1
& . J
J . J
.
p
###
& . J

Vn 2
J

B ###

j .

Va

p
### .
& J . J J J J
S
J .
Qui ha - bi - ta - re fe - cit ste - ri - lem in do - mo ste -
? ### j .

Bass

47
### . r . r . j . . . j . .
Vn 1 & J

pf
### . . .

r r

Vn 2
& J

B ### j

j

Va
f
### .
r
. .
r
j
S
& J

? ##
#
- ri - lem in do - mo ma - trem
j j
Bass

f
250
Qui habitare

53
# # # . j # # . # . .
Vn 1
&
3 3
###
Vn 2 & . .

B ###

Va
### R J J # R J # J R
. # r j # .
S
& R 3
R .
3
fi - li - o - rum fi - li - o - rum fi - li o - - - - rum lae - tan -
? ###
Bass

59
###
Vn 1 &
###
Vn 2 &
Va B ###
# # # . . j # . . . . # . . .
S
& R . R J R
? ###
- - - - - - - - - - - - - -
Bass
251
Qui habitare
### # # 3 . # . .
64 ten. ten.
J # .
3
Vn 1
& J J # .
f p3 f
3
###
# #
ten.
. # . . ten.

J # . J # .
3 3
Vn 2 &
f p f
3
# #
3

Va B ### J # #
f p
# # # . r r # #
S & R .
J JJ
? ### #
- - - - - - - tem ma - trem fi - li -
J # # #
Bass

f p
### . # . . # #
# n
70
Vn 1 & J # . . .
p 3
3

# # # . # . . # # # # n
Vn 2 & J . . .
p3
3

# # . . . . #
Va B # J

### . # # # n
&
S

. .
o - rum ma - trem ma - trem fi - li - o - rum lae -
Bass
? ### J . . #

252
Qui habitare
76
### J
Vn 1 &
j
# J
j

### J
Vn 2
& # J
j j
# #

Va B ### J
###
r
j
j
J j j j
S
&
j
# J
tan - - - - tem ma - trem - fi - li - o - rum
### .. # .. #
Org.
&
? ### J

Bass
.. .
### # j . . # . . . # . . . . .
84
Vn 1
&
### .. .
& j . # . . . # . . .
Vn 2
# .

Va B ###
J
J J
.
### . . # . . . # . . .
S
& J j
# # # . # . # j lae - tan - - - - - - - -
Org.
& . .
J
? ###
J
Bass
J J
253
Qui habitare
# # # . . . J
# # J
91
j
Vn 1
&
f
# # # . . . J #
Vn 2 & #
(f)

Va B # # # J
#
f
# # # J # j
S
&
? ### -

- - - - - - - - tem
#
Bass
J
f
# # # J #
j
96
&
. J J . .
Vn 1

### j
& . .
.
Vn 2
B ### # #
Va
J
### . .
S
& J J .
Qui ha - bi - ta - re fa - cit ste -
? ### #
Bass
J
254
Qui habitare
103
### J

Vn 1
&
J J J J
f 3 p
3
### j
&

Vn 2

B ### #

Va
f p
###
J R .
&
J
S
R J J JJ
3 3
- - - - - - ri - lem in do - mo ma - trem fi - li -
? ### #

Bass
f p
110
### n j j j j j
Vn 1
& . . . . .
f p f p f p f p f p
### j j j j j
& J . . . . .
Vn 2
# # n
Va B ### #
### n n . n n . . .
S & J J J J
3
3
o - rum lae - tan - - - - - - - - - - -
? ### # # n
Bass
#
255
Qui habitare
116
###
ten.

ten.

ten. n
J
Vn 1
& . J J
f p f p f p f p
### j
ten.
j ten.

ten.
& n J J
.
Vn 2

Va B ###
J
f p f p f
### n . #
S
&
3 3 3 3 3 3 3 3 3
3
-3

- - - - - - - - - - - - -
? ###
J
Bass
f p f p f
### . ten. . . . . .

121
J
3 3
Vn 1 &
f p f p
3 3
### .
3 3
Vn 2
&

Va B ### #
J
f
### . .
S
& JJ J JJ
- - - -

tem

ma

-

trem

fi - li - o - rum
? ### #
Bass
J
f
256
Qui habitare
127
### # # # n . . j
Vn 1
& .
j

###
j
Vn 2 &
j

Va B ### . . . . n
### # # n j
S
&
j

ma - trem ma - trem fi - li - o - rum lae - tan -
? ### . . n
Bass . .
# # # j .

133
Vn 1 & J
j

### j j
Vn 2 &
j

B ###

Va
# # #
& J J J J
J J
S
###
- - tem ma - trem fi - li - o - rum
&
.. J .. J
j j

Org.

? ###
Bass

257
Qui habitare
140
###
j

.
. . . . . .
Vn 1
& R R
### .
Vn 2 & j
R . .

J J
Va B ### J
### j . . . . . .

S
& J J
###
lae - tan - - - - - - -
&
.. J .. J
Org. j j

? ### J J
Bass
J
. . . . .
# # # J

147
Vn 1
&
###
Vn 2
&

B ### J J

Va
# # # J R j
r
S &
- - - - - - - - - - - - tem
? # # # J J
n

Bass
258
Qui habitare
# # # # n r r U r r r
r
.
152
& J
J
Vn 1
. r
r
### j U r r
&
J
Vn 2
#
#
B # # # U
Va
J
U
### j

S
& .
? ### # # U
lae - tan - tem.
.

Bass
# # # j r r . r .
157 r
Vn 1 & . J
J
# # # j r r . r .
r
Vn 2
& . J
J

Va B ### j
###
S
&
? ###
j

Bass
259
Qui habitare
[II. Aria]
Andante
## j
J j
ten.
c
ten. ten.
&
r

. .
Violin 1
. p
sotto voce
#
& # c r j J j
ten. ten. ten.

. . .
Violin 2
sotto voce
p
Viola B ## c
## c
Soprano &
solo
? ## c
sotto voce
Bass &
Organ
j . . .
r
# j
& # J j j j j
4
Vn 1
J J J J
p
## j j J j j r

j . .

& J J j J J
.
Vn 2
p

Va B ##
##
S
&
Bass
? ##
260
Qui habitare
# # . . . . r
r
. . r .
8
&

Vn 1
f
## .
r
. r . . r
Vn 2
&
. . .

f . . . .
#
Va B #
##
A
&
. . .
? ## .
Bass

f
11
## ten. ten.
j j j
& J
r
J
. . .
Vn 1
p
##
r j J j j
ten. ten.
& J
. . .
Vn 2
p
Va B ##
# j
& # w j
r
A w
Glo - - - - - - - - - ri - a
Bass
? ##
261
Qui habitare
## j j . . r .
. .
j j
15
Vn 1 j .
& J J J J . .

## j j r

. .
Vn 2
& J j j J J J j . . . . .
.

Va B ##
## j jj r j
A
& J
J . . r
glo - ri - a pa - tri glo - ri - a fi - li - o glo - ri - a
Bass
? ##

##
r

. . . .
19

&

Vn 1
f p
## .
r

& . . .

Vn 2
f p
. . .
Va B ## .
# . r
& #
r
r
A
J
. . .
glo - ri - a glo - - - ria
? ## .

Bass

262
Qui habitare
# j# . j
& # # .
22
#

Vn 1
#
Vn 2
& # # #

Va B ##
## j j j
& # . # J j j #. .
m
A
pa - tri glo - - - ri - a fi - lio et spi - ri -
Bass
? ## #
26
## j j J J J J
& #
J J J J J
Vn 1
## j j j j j
Vn 2 & # j j # j j j
Va B # # J J
J J J J
J J J J
# j j m m
& # # n #
r
m
A
m
tu - i sanc - - - - - - - - - - - -
? ##
Bass
J J J J J J J J J J
263
Qui habitare
#
J J J J J
29
Vn 1 & # J J J J J J J J
p p
# j j j j j j J

Vn 2
& # # J
J
J
J
J # # J
p p

Va B # # J J J J
## j j # j # j
A
& J J
- - - - - - to glo - ria pa - tri
? ##
Bass
J J J J
33
# # J J # n
Vn 1
& J J J
# # J J j j
& # # # #
J
Vn 2

Va B ##
#
& # # j # j j # . . n .
. #. .
A
J
pa - tri et fi - lio et - spi - ri - tui sanc - - - - -
Bass
? ##
264
Qui habitare
## . m r

37

Vn 1 &
#
Vn 2
& #
Va B ##
# # . r . r .
A
& . # r . . #
- - - - - - - - - - - - - - -
Bass
? ##
39
## j # # . .

Vn 1
& . # . .
f
## j # # . .

Vn 2 & # . # . .
# #
Va B ##
# #
A
&
- - - to
? ## #

Bass
265
Qui habitare
##
# .
42 ten. ten.
&
p
Vn 1
.

#
& # # .
ten. ten.

. p
Vn 2

Va B ## .
## j
A
& .
.
glo - ria glo - ria pa - tri
Bass
? ##
. .
46
## n
Vn 1
&
##
&

Vn 2
Va B ##
# j r j j j j r . j j r . n
A
& # . . . . J
glo - ri - a glo - ri - a fi - li - o glo - ria glo - ri - a et spi - ri -
? ## # n
Bass

266
Qui habitare
#
& # n J J J J J J J J
50
Vn 1
# j j j j j j
Vn 2
& # J J
Va B ##
## n j # j j
& J j
J J
A
tu - i sanc - - - - - - - - - - - -
? # # J J J J J J J J
Bass
J J J J J J
## j j n J
54
& J J J J .
J
Vn 1
## j j j j j
Vn 2 & J

B ##
J J J J J J J J J
J
Va
# j
A
& # . r . j n .
- - - - - - - - - - - - - - -

? ##
J J J J J J J J J J
J J
Bass
267
Qui habitare
57
# # . . . . . U
. j j
& J R J J
p p
Vn 1

f
## . . . U j
& . # . J J j
p p
Vn 2
U
Va B # # j j JJJJ
##
U
. . r
A
& J J
- - to glo - ria pa - tri glo - ria fi - li - o
U
Bass
? ## j j
JJJJ
## j j
& J j J J j J
j j
61
j # . j .
.
Vn 1
.
f p f p
##
& J j j J j J j J j
j

Vn 2
#
Va B ##
# j j j r j j
A
& # J
J . #.
j .
glo - ria pa - tri glo - ria fi - li - o et spi - ri -
Bass
? ## #
268
Qui habitare
65
## j . . r . . . . n.
Vn 1 & . .
.
f p pf f
#
Vn 2
& # #

Va B ##
f
## j . . . r . r
r
& .
A

tu - i sanc - - - - - - - - - - - -
Bass
? ##
f
.
r
## . U

67

Vn 1
& . # . . . .
## . U r

& . # . . J N j . .

.
Vn 2
U
Va B ## J #
# U
& # w . j

A
U
- - - - - - - - - - - to
? ## # w

Bass
J
269
Qui habitare
# # . . . .
r

. . . .
70

Vn 1 &
#
r
. .
& # . . . . . .

Vn 2

. . . .
Va B ##
##
A
&
. . . .
Bass
? ##
270
Qui habitare
[III. Chorus]
### j

.
Horns & c . J
in A

### c . . . n
. . #.
.
& J
Violin 1
R
### . . #.
n .
Violin 2 & c . J R
.
Viola B ### c J . J J
### . J
& c . J R

Soprano 1
J
### j j
Si - cut e - rat in prin - ci - pi - o et
Soprano 2 & c . . r J
### c # j
si - cut e - rat in prin - ci - pi - o et
Alto 1 &
j
.
j r
.
###
Si - cut e - rat in prin ci - pi - o et
& c j j . r j
Alto 2
#.

? ### c # .
Si - cut e - rat in prin - ci - pi - o et
Bass & . J J
Organ J
271
Qui habitare
4
###
j
ww
&

Horns
J
### . . .
r . w
& #. .
Vn 1

# # # . . r . . . w
Vn 2
& #.
w
B ###
j
Va J J
### J J w
S1
&
###
nunc et nunc et nunc et sem - per sem - per sem -
& J w
J
S2
### j
A1
& j w
###
& j j
#w
A2

? # # # j
Bass J j #w
272
Qui habitare
8
### w 38
Allegro

Horns & w
### w 38
Vn 1
&
### w 38 . .
Vn 2
&
B ###
Va
w 38
### w 3
S1
& 8
### w j
per
& 38 . . J J
J J
S2
###
per Et in sae - cu - la sae - cu lo - rem
A1
& w 38
###
per
A2
& w
3
8
? ### w
per
Bass
38
273
Qui habitare
14
###
Horns &
### . .

Vn 1
&
### #
& J J
Vn 2
Va B ###
###
S1
&
### #
& J J
S2
###
a - - - - - - - - - - men a -
j j
A1
& . . J
###
Et in sae - cu - la
A2
&
Bass
? ###
274
Qui habitare
18
###
Horns &
###
J
Vn 1
&
### #
& J
J J
Vn 2
Va B ### . .
### . .
S1
&
###
Et in
#
S2
& J J J
###
- - - men a - - - - - - - - -
j j
&
J
A1
###
sae - cu - lo - rem a - - - - - - - -
A2
&
Bass
? ###
275
Qui habitare
23
###
Horns &
###
J

J

Vn 1
& J J
### j j
Vn 2
& J J
Va B ### #
J
### j
S1
& J J
J
J #
J
###
sae - cu - la sae - cu - lo - rem a - - - - - - -
j j
S2
& J J
###
men a - - - men a - - - - - - - -
j j j j
A1
&
###
men a - - - men a - - - men
A2
& . .
? ### . .
Et in
Bass
276
Qui habitare
29
### .. ..
Horns &
### J J
Vn 1
& J J
### J #
Vn 2
& J
B ###
j j J #
Va # J # J
### # J # J J #
S1
& J J
###
men a - men a - men a -
S2
& J #
J
###
men a - - - - - - - -
& j
j

J J
A1
### j j j # j
a - men a - men
j j j j
A2
& J J
? # # # J J # J
sae - cu - la sae - cu - lo - rem a - - - - men a - men a -
Bass
J J
277
Qui habitare
###
39
Horns &
### . .

Vn 1
&
### j

. .
& # J J J
Vn 2
B # # # # # # J
j j j
Va # J # J #
### # # #
# J # J #
S1
& J J J J
### j . .
- - - - - - men a - men a - - - - -
& # J J
J
S2
###
men a - men a - men a - men et in
& . . j j
J J J
A1
### j j j
et in sae - cu - la sae - cu lo - rem a - men
A2
& # n
J # # #
? # # # # J n a - men
men a - - - - - men a - - - -
Bass
J J J # # #
278
Qui habitare
###
49
Horns &
# # J J
# # # J # # J J
n
Vn 1
&
### # # # # #
Vn 2
& #
.
B # # # # # J
Va
j
. #
### # # J
. . #
S1
& J
# # # J J # # .
men a - - - men a - - - - - - -
J # #. #
S2
& J J
### j
sae - cu - la sae - cu - lo - rem a - - - - - - - - -
j
A1
& # # J # # J J . .
###
a - - - men a - - - men a - - - - -
& j j .
# # .
A2

? # # # J J # .
men a - men a - - - - - - - -
Bass
# .
279
Qui habitare
57
###
Horns &
### J . .
Vn 1
&
### # # # # . # # # # j
Vn 2
&

.
Va B ### . # #.
J
J #

### . # #. . . #. j
S1
& J
### .
- - - - - - - - - - men a - men a-
# # # # . # #
& J # J J
S2
### j
- - - - - - - - - - - - - men
j j
A1
& .
. . j
###
- - - - - - - - men et in sae - cul - la
& j .
#. #
A2

# #- - - - -
? ### # . j j
- - - - - men a - men
#
Bass
# #
280
Qui habitare
### j j

65
Horns &

J J
### # # # # # # J
Vn 1
& J J J
### j n
Vn 2
& # # J # # J
J J J
n # J
B ### J

Va J J J
### j n
S1
& # # J # # J J J J
### j j j
- - men a - - - men a - men a - men a -
S2
& j
J j j #
###
a - men a - men a - - - - - - men a -
j j
# j # j j j # # j # #
A1
& j j
### j
sae - cu lo - rem a men a - - - men a - men a-
A2
& j j j j

a - men a - men
? # # # J
a - men a - men a-
Bass J J J
J
281
Qui habitare
74
### . . .. ..
Horns & . .
###
& J
J J
Vn 1
### # #
Vn 2
& J J J
#
B # # #
J

J

J J .
Va
J
### # # J n .
S1
& JJ J J J
### j j
- - - men a - men a - men a - - - - -
n .
S2
& # J J
###
men a - men a - men a - men a - - - - -
j .
A1
& J J .
###
men a - men a - men a - - - - - - -
j .
& J .
A2

? ### a - - - - - - .
.
men a - men - - - - -
Bass
J J
282
Qui habitare
# # # .. j j
.. U .
84
&
J J
Horns
### . U
& . .
Vn 1
J J
p
### j j U f
& . .

Vn 2
U
Va B ### .
J J J
.
j
### . U
. J J J J . R J
S1
& J J .
### .
- - -
j
-
j
men a - men
U lau - da - te pu - e - ri
.
S2
& . . J J J J RJ
### U j j j
- - - - men a - men lau - da - te pu - e - ri
j J J . R
A1
& . . .
### j j U
j j j j . r j
&
j

. .
A2
J J . U
? ###
Bass
J .
j
283
Qui habitare
94
###
Horns &

### .

Vn 1
&
p f
### f .

Vn 2
&
p f

Va B ###
j J
### . J J .
S1
& J JJ J R J J J RJ
### j j j r
lau - da - te Do - mi - ne lau - da - te pu - e - ri
. n j . j
S2
& J J J J R J
### j j j j j j j
A1
& J J . R .
### j j j j . r j
lau - da - te Do - mi - ne in sae - cu - lo - rem
& j j j j . r j

A2

? ###
Bass

j j
284
Qui habitare
102
### .. .. .. .. .. ..
Horns &
###
Vn 1
&
### .
Vn 2
&
p f
B ### . . .
Va

### J J . . .
S1
& J J
### j j j
in sae - cul - lo - - - rem a - - - - - -
& . . .
J
S2
### j j j j j j j j .
in sae - cu - lo - - - rem a - - - - - -
& . j . .
R
A1
###
lau - da - te pu - e - ri in - sae - cu - lo - rem a - - - -
& j j j j . . .
A2

in sae - cu - lo - rem a - - - - - - -
? ### . . .
Bass

285
Qui habitare
111
# # # j
j

j
. j
j
j
&
.

J J J J
Horns
J J
###

J
Vn 1
&
###
&

Vn 2
J
Va B ###
J J J
J J
### . J J
S1
& J J
###
- - - - - men a - men a - men a-
& . .
J

J J
J
S2
### j j j j
- - - - - men a - men a - men a-
A1
& . . j
### j j
- - - - - men a - men a - men a-
& . j j

A2

J

- - - - - men a - men a - men a-
? ### j j
j
J
Bass
J
286
Qui habitare
### j j
j
119
&
Horns
J
J J
## #
Vn 1
& J
###
&
Vn 2
J
B ###
J

J
J
Va
### J
S1
& J J J J
###
men a - men a - men a - men a - men
& J J J J
J
S2
### j j j j j
men a - men a - men a - men a - men.
A1
&
### j j
& j j j

A2

J
? ### j j
Bass
J
287
Sum nimis irata
Baldassare Galuppi
[I. Aria]
# .
Violin 1 & c .
.
# c .
Violin 2 & . .
Viola B# c
# c
Tenor V
?# c

Bass
4
# m . m . .
&
. . . . . .
m
Vn 1
#
. m . . .
& . . . . .
m m
Vn 2
. . .
B # J J J

Va
#
T V

?# J J
Bass
J
288
Sum nimis irata
# . . .
. . .
8
Vn 1
& .
# . . .
. . .
Vn 2
& .
. .
Va
#
B J
#
T V
. .
Bass
?# J
# m . . .
J m .
r
12
.
r
Vn 1
&
# m . .
& J . j
.
j
m
Vn 2
. . w w
Va B # J w
#
T V
. . w w
Bass
?# J w
289
Sum nimis irata

# . . r j
17
. J
r r
Vn 1
& .
# . j
r J
r
& .
Vn 2

w w
Va B# w w J J
#
T V
w w
?# w J
Bass
w J
22
# J

m . . . . . . .
& J J .
J J J
Vn 1
f
m .
3
.
. . . . .
3
# j j j
Vn 2
& J J J .
f
3 3
B#
Va J J
#
T V
?#
Bass
J J J
290
Sum nimis irata
26
# 3 3 . . . . . . .
& . . . . - .
..
Vn 1
# 3 3 . . . . . . .
& . . . . - .
..
Vn 2
Va B#

#
T V
?#

Bass
30
# . m . m . . . .
& r . .
m
Vn 1

# . . .
& . r . .
m m
Vn 2
. .
Va B#

#
V

T
Sum

?#
Bass

291
Sum nimis irata
# j .

34
& . . .

Vn 1
f
# . j .
Vn 2
& .
f
B#
Va
J
p f p
# w .
V w JJ
T

ni - - - - mis ni - - - mis i - ra - ta i -
?# J
Bass

p f p
38
# m . m . U
& . . . .
m
Vn 1
f p f p
# . U
& .
. . . .
m m
Vn 2
f p f p
B # J U
Va J
f p f p U
# . . m
T V J R J R . .
ra - ta sum ni - mis
U
de - li - tiae de - li - tiae ter - re - nae Iam
? # J J
Bass
f p f p
292
Sum nimis irata
42
#
Vn 1
&
#
Vn 2
&

Va
#
B
#
T V J J
cae - co - gra - va - ta Er - ro - re com - pre - hen - sa
vin -
Bass
?#
# # j

46
& . . .

Vn 1
# # . . . a
Vn 2
&
# #
Va B
# #
T V # . j . r a
#
dic - tam

fal - la - ces

par a - vi - de of - fen - - - -
?#
Bass

293
Sum nimis irata
# a U
# .. . #
50
& # #
Vn 1

f p f p
# a U
rinf.
#w
Vn 2
& w w
B#
U .
.
Va

U
# j am .
T V . j J J # # a
U
- - sa a vo - bis re - ce - dam in pa - ce vi - ven - do a

?#
Bass
w
f p f p
. .
# # ..
. .
55
Vn 1
& #
f p f p

# #w . . . #
Vn 2
& w
.
.
Va B # . #
# j j #
T V .
#

vo - bis re - ce - dam vi - - ven - do in pa - - - -
?# #
Bass
w
294
Sum nimis irata
59
#
Vn 1
&
#
Vn 2
& #

Va B#
#
r

T V #
?#
- - - - - - - - - - - - - - -
Bass
# . # .

63
Vn 1
& #
p

# # .

Vn 2
&
(p)

w
Va B#
J
w
# . . #.
T V .
?#
- - - - - ce a
w w
J
Bass
295
Sum nimis irata
# .
r r r . # .
.
67

Vn 1
&
#
r
r # # .
.

&
Vn 2

B# w
Va
w w

# # j
T V
vo - - bis re - ce - dam vi -
?# w w
Bass
w

r
# .
r

J
71
Vn 1
& J
#
r
r # j j
Vn 2
&
# #
Va B# w J J J J
# j
T V # J J J J
vi # - ven - do in # pa
?# w
ven - do in pa - - ce -
Bass
J J J J
296
Sum nimis irata
# . . . . .
#
75
Vn 1
& J .
f p
3
3
#
# . . . .
Vn 2
j
&
# . .
f . . . . .
3
.

Va B#
f p m
# # # j j
T V
3 3
. . . .
3

ce vi - ven - do in pa 3 - - - ce de - li - tiae ter -
?#
.
.
Bass

f p

#. . . . . .
79
Vn 1
& . .
f
# . . #
Vn 2
& . . . . . .
. . . . . . .
. f
B#
Va
f # m
# jj jj
T V .
3
. . . . . . . .
3
re - naeIa vo - bis re - ce - dam in pa - ce vi - ven - do vi - ven -
?#
Bass

f
297
Sum nimis irata
r # r
83
#
Vn 1
&
r # r
3 3
#
Vn 2
&
3 3

Va B
#
#
T V

? # #
do
Bass
# r # m
r

87

Vn 1
&

f p f
3

# r # m
r
3
&

Vn 2
f p f
3
#

3
B#

Va
#
V
.

T

Sum ni - mis i - ra - ta
Bass
?#
298
Sum nimis irata
91
# j
&
Vn 1

p f
# j
&

Vn 2

(p) (f)
B#

Va
#
T V
.
de - li - tiae ter - re - nae Iam cae - co gra - va - ta
Bass
?#
f
# m .

96
Vn 1
&
p m .
#
Vn 2
&

Va B#
#
V
J J
T
er - ro - re com - pre - hen - sa
a vo - bis re -
Bass
?#
p
299
Sum nimis irata
100
# . . .
Vn 1
& J J J J J J J
# j j j j j j

Vn 2
& J J

Va B #
#
T V J

vi - ven - do
ce - dam

in

pa -

-
-

-
-
-

-
Bass
?#
104
#
Vn 1
& JJ J J J J J J J J J J J J
f p f p
# j j j j j j j j j j j j
Vn 2
& J J
(f) p

Va B#
f p f p
# r r # r r
J
T
V
3 3 3 3

- - - - - - - - - - - - - - -
?#
Bass
f p f p
300
Sum nimis irata
#
J J
108
Vn 1
& JJJJ JJJJ J J J J J
f p
# j j j
& j j
Vn 2
j j j j j j

Va B#
f p r
#
r
r
3
T V J
3
?#
- - - - - - - - - - 3 - 3
- - - -
Bass
f p
# J
& J J J J J J J

112
Vn 1
#
Vn 2
& J
#
Va B
# r
V JJ JJ

T
3 3

- - - - 3 - - - -
- - - - ce in pa - ce vi -
Bass
?#
301
Sum nimis irata
116
#
& .

Vn 1
f p f
#
& .
Vn 2

f

J .

Va B#
p f
# j j
V J j r
3
3
.
ven - do vi - ven - do in pa - ce ven -
vi - - - - do
Bass
?# J
p f
120
# . m . m . . . .

& . . . . .
m m
Vn 1
p f p
# m m
. . . .
. .
& . . . . .
m m
Vn 2
. p f p . .

B# J . . J
Va
f p f
# j r
J . . J . j . r . #
T V
-. .-
? # . . .
J
sum ni - mis i - ra - ta de - li - tiae ter - ren -
Bass J
f p f
302
Sum nimis irata
# U
. . r
124
.
r r
Vn 1
& .
# U .
Vn 2
&

r
r .
U w w
Va B# w w
# U
T V
ne
U w w
a vo - bis re - ce - dam
?# w
Bass

# . .

r
129
.
r
Vn 1
&
# . r

Vn 2
& r
# w w j j
Va B w
# j jj
T V
?# w
in pa - ce vi - ven - do vi - ven -
w w
Bass
J J
303
Sum nimis irata
# J r
r

133

Vn 1
& J
3
# r

3
r
& J
J
Vn 2
3
3
B# j j
Va J
# r
r

T V
3
do in pa - ce vi - ven - do 3 -
?#
Bass
J J J
137
# . . . . . . . . . . . . . . .
Vn 1
& .
F
# . . . . . . . . . . . . . . .
Vn 2
& .
F
Va B#
# . . . . . . . . . . . . . . .
3
r
r
3
T V
m J J JJ J J JJ
- in pa - - - ce de - li - tiae ter - re - naeIa vo - bis re - ce - dam in pa - ce vi -
Bass
?#
304
Sum nimis irata
141
# # 3

3
&
m #
Vn 1

# # 3

3

& #
Vn 2

B #

#

Va
# # r 3 r 3
V
m
T
ven - - - - - - - do in
?# #
Bass
#U
145
# . . .
Vn 1
& w
#U # . . .
Vn 2
& w
U
Va B# w
#U j
V J .
m
T
?# U
pa - ce vi - ven - do.
Bass w
305
Sum nimis irata
# . m . m .
.
149
& .
m . m
Vn 1
# . m . m
.
& . .
m . m
Vn 2
m . m . . .
Va
#
B J J
#
T V
m . m . . .
?# J J
Bass

153
# . m . m . . r 3 r 3
&
m m
Vn 1

# . . . r

3

.
3
& r

m
Vn 2

Va B#
#
T V
Non
?#
Bass

306
Sum nimis irata
157
#
& n n
Vn 1
p
#
Vn 2
& n

Va
#
B
#
T V
n
n
ul - tra

con - ce - dam

ver - sa - riIin

hac

pe - na
ver -
Bass
?#
161
# n
& n . . . n .

Vn 1
f p

#
& n . . . n . w w

Vn 2
f . p
. n . w
B # . #w
Va
f p
# n
T V n .
sa - riIin hac pe -
na . . n me sol - uo
w
ca - te - na er -
Bass
? # . . #w
f p
307
Sum nimis irata
166
# n.
Vn 1
& J
#
Vn 2
& # #

Va B# w
# n # j J w
V #w J J
T
ro rem ca - ven - - - - - - -
- - - -
Bass
?# w
170
# #
Vn 1
&
#
Vn 2
&
# #
Va B#
#
V J J w
J

J n J
J
#
J J
T
? # # #
- - - - - - - - - - - - - - -
Bass
308
Sum nimis irata
174
# # # J #m . . # j # j
& J
Vn 1
m J .
f m
# # m . . # j j
Vn 2
& J J J .
m m
f.
# n . . . # . . .
Va B #
f
# #
T V #
. . . . # .
- - - - - - - do
Bass
? # n # . .
f
# U . .
# J J j
178
& J
Vn 1
# U . .
Vn 2
& # j J J j

U
Va B # . . . .
# U
. U
T V j

U
ca - ven - - - do.
?#
w
Bass
. . . .
309
Sum nimis irata
# . m . .
. J . .
182
&
m
Vn 1
p
# . m .
& . J . .
m
Vn 2
. . w
Va B # J
#
T V
. . w
Bass
?# J
187
# . r . .
.
r r
Vn 1
& .
# .
& .
r
Vn 2 r .

w w w
Va B# w

#
T V
w
Bass
?# w w w

310
Sum nimis irata
# r r alla parte
r
r r 3
192
& . m . . . .
3
r

Vn 1
f r
3 p
# r r 3 r 3
3

r
Vn 2
& r m . . . .
f
3
B# w
Va

#
T V
Sum
?# w
Bass

311
Sum nimis irata
[II. Recitative]
Violin 1 &c
Violin 2 &c
Viola Bc
c j j r j j j j j j
V
Tenor
J J # R J # J
Ex - ur - ge a - ni - ma me - a quae mens quae mo - ra? cor - ri - geIaf -
? c #w
Bass w
. .. 3
Allegro

4
#
Vn 1
& #. . . a .
3
. # . . 3

#.
& . a
. .
Vn 2
Va B
j j j j j j j
V j j # j j # J # j
T
j
fec - tus ti - biIin me - dio cor - dis est li - ber - tas de - co - ra
# # #
Bass
?w w #
3 3
312
Sum nimis irata
. # #
missing G#
# .
3
Vn 1
& #. # . # #.
3
#
& #. # . # .
3
Vn 2
. .
3
Va B
V J J j
J J
T
#
# #
nosci quod is i - ma - go
Bass
?
3 3
# #
# . # .
12
&
Vn 1
R R
Vn 2
& # r . # # r . #
Va B
j j r r # j j #
T V # R J R R # J J # J J
J J J J J R R
sim - plex et im - mor - ta - lis ae - ter - ni De - i; Bo - num hoc per - fec - tum in - ter spi - nas re -
? # . # .
Bass
R R
313
Sum nimis irata
#
& # R . # # # #
15

Vn 1

r # #
& . # # # # #
Vn 2

#
Va B
j r r j j
V # # # # # J # j j
J
T
qui - re po - si - de vo - tis tu - is te - ne di - lec - tum
Bass
? # .
R # #
FB: #

19
& #
#
Vn 1
& #
#
Vn 2
Va B #
j
V # J # # j # J J J J # J J
RR J RR
T
Dic va - ni - ta - ti, et suis il - le - ce - bris re - ce - di - teIin ae -
Bass
? #
314
Sum nimis irata
# # #
&
22
#
# #
Vn 1
#
# #
Vn 2
& # # #

B
Va
#
j j j
V # # J R # R J J # j # J
JJ J J J
T
ter - num es - tis in - dig - nae et in - de dic spon - so tuo Cae -
Bass
? # #
#
Lento
#
26
Vn 1
& # #
# #
Vn 2
& # #
Va B # #
jj j j # j j
V # J # j j
J J R R J
T
les - ti ec - ce ve - nio tu - a sum, de non di - mit - tam jus -
Bass
?
315
Sum nimis irata
# #. #
un poco lento
#
30
Vn 1
&
#

p
# #
&
# .
Vn 2
# p
B #
Va #
J J j j #
j j
T V # J R # R J R R # J J

tis pe - ca - vi in de - li - cet in - gra - ta De - li - tia cor - dis me - i
Bass
? #
. # # #m
& J
34
Vn 1
Vn 2
& J #. # # . .
Va B . .
# j r r
T V J j j
ver - a ex - op - ta - ta
?
Bass
p # #
316
Sum nimis irata
[III. Aria]
Andante
## 2 j . .
J J J .
sordine
Violin 1 & 4J J J J J
# j j j
Violin 2 & # 42 j j j j . j j .
.
#
Violin solo & # 42
Viola B # # 42 J J
#
Tenor V # 42
? ## 2
Bass
4
# j j
& # . . j
7
Vn 1
m

## . j j j
& .

Vn 2
m

## j
& J J J
J J
Vln Solo
Va B ##

#
T
V #

Bass
? ##

317
Sum nimis irata
## #

14
Vn 1 &
#
Vn 2
& # # #
# j j
. j # .
& #

Vln Solo
J J J J
B ## # # n
Va J
#
T V #
? ## #
Bass # n
20
## . .
J . .
Vn 1
&
f
##
# . .

Vn 2
& J . .
# # J m (f)
..
. . . . .
Vln Solo & J .
B ## j
3 3
Va

f
##
T V
? ##
Bass
j
(f)
318
Sum nimis irata
26
##
Vn 1 & J
p
#
Vn 2
& # J
p m
##
3 3
& . . . . .
. . m
Vln Solo
B ## j J J
Va J J
J J J
#
T V #
? ## j
JJ J J J J J
J
Bass
## m m
j J J
3
.
31
Vn 1
&
.
m m
3
## j
3
. j j
Vn 2
&
.
# # m m
3
&
J
Vln Solo
B ##

Va
#
T V # J J

Me vox
? ##
Bass

319
Sum nimis irata
## j j
.
37

Vn 1 & J . J J J . J J J
# j j j j
Vn 2
& # j . j
j . j

#
& #
J
Vln Solo

B ##

Va
# j .
T V # J J J J

J
J
j

tu - a dul - cis et ca - ra spon - sam di - cit et so - ro - rem
Bass
? ##

44
## #
Vn 1
&
## #
Vn 2
&
#

# . . .
Vln Solo & # .

Va B ##
# j . . j
T V # # J R J J J
de - lic- ta fac
me - a

ut plo - rem spon - sam in - de
Bass
? ##
320
Sum nimis irata
50
# # j
Vn 1 & J J J J
# j j j j
Vn 2
& # # # #
#
Vln Solo & # #. .

Va B ## # #
J J

J J

J J

J J
# .
.

T V # #.
? ## # #
vo - ca ad te

Bass
J J J J J J J J
55
# # . . . . . . . . (simile)
Vn 1
& J J
# . . . . . . . .
& # J J
(simile)
Vn 2
## . #
3 3
Vln Solo &

3 3 3
B # # J J
3 3

Va
J J
#
T V # .
3 3 3 3

3 3 3
? ##
Bass
J J J J
321
Sum nimis irata
60
## # #
&
J
Vn 1
## j # #
Vn 2
& #
##
j

Vln Solo &
J
B ## J J J J J J
Va
J
## . j .
T V #
vo - - - ca
J vo -
? ## J J J J J J
Bass
J
# . . # . . m m

64
## .
&
J 3 3
Vn 1
f p f 3 . 3. . m 3 3
## . .
# m
Vn 2
& J # # #
3 f3 3 3 3
#
3
Vln Solo & #

B ##

Va
f p f
# # J m # m j m
#

T V J . .
3 3 3 3 3 3
ca vo - - - ca ad te vo - ca ad te
? ##
Bass

f p f 322
Sum nimis irata
m m m
## # m

69
Vn 1 & .
m 3 m 3 m
#
3

3
p
## . m
Vn 2
&

(p)
3 3 3 3
#
Vln Solo & #
# # #
Va B ##
## j

r
V .
T
J J
#
Me vox tu - a
? ##
Bass

## . #
j
75
Vn 1
& J J J
# j j
Vn 2
& # .
J

r

j
#
Vln Solo & # J J

Va B ## # J
## . j
T V J R R J # R R .
J
j

dul - cis dul - cis et ca - radul - cis dul - cis et ca - ra Spon - sam
? ## # J
Bass

323
Sum nimis irata
## j
n n n J
81
Vn 1 & J
f p
# j j
Vn 2
& # j j j j j .
(f) (p)
#
& # J
J J
Vln Solo

B ## J J J J .
Va
J
f
# j j j
n n N
T V # j
J J J J
J
di - cit et so - ro - rem me - a de - lic ta fac ut
? ## J .
Bass
J J J
f
# # n # .. j .. j

87
Vn 1
& J
fp f p
## j .. j .. j
& J J J
Vn 2
(f)(p) (f) (p)

#
Vln Solo & #
# .
Va B ## J

J
p f f p f p
## N # r j j j
T V JJ J J J .

plo - rem fac ut plo - rem spon - sam in de vo ca vo ca ad te
? ## # .
Bass J J
p f f p f p
324
Sum nimis irata
94
## J J J J J J J
Vn 1 & J
# j j j j j j
Vn 2
& # j
J

##
Vln Solo &
Va B ##

#
T V #
? ##

Bass

98
## J J J J J J J J
Vn 1
& J J
# j j J J
Vn 2
& # j J J J
J

J

## #
3 3
Vln Solo &

B ##
3 3 3 3
Va
J J J J J J
#
T V #
3 3 3 3 3 3
? ##
Bass
J J J J J J
325
Sum nimis irata
##
103
J J J J J mmmm
& J
mmmm
Vn 1
# j
& # J J
J
J
#
J mmmmmmmm
Vn 2
#
& #
m
Vln Solo
3 3
j J
3 3 3 3 3 3 3
Va B ## J J J J
# # 3 #
3
m
3 3
V #
m
T
? ## j J J J J J
3 3 3 3
Bass

108
# # mm mm mmm m
Vn 1
& J
f
# # mmm m
& J
mmmm
Vn 2
(f) m
# m
m . m
& #
mm
Vln Solo

Va B ## J J J J J J
p
# # m m m m j m
T V .
j

? ##
vo - ca ad te plo - ret
J J J
Bass
J J J

p
326
Sum nimis irata
## m m m U

114
& .
J
Vn 1
f m m pj f
3 3 3 3 3
3
#
& # U
Vn 2
J J
f 3 (f) 3
3 3
U
3
# . m
Vln Solo & #

B # # J J
Va
f p m f
#
V # j

jJ J . mJ .
T J R
3

vo - ca vo - - ca ad te vo ca ad
? ##
J J

Bass
f p f
## J J j
119
Vn 1
& J J
p
3 3 3
j
3
# j
& #
J
Vn 2
J J
p
3 3 3
3
#
Vln Solo & #

B ## J J
Va
J J J J
#
T V #
? ##
te.
J J
Bass
J J J
327
Sum nimis irata
124
##
Vn 1 &
#
Vn 2
& #
m
## m
Vln Solo & .
3 3 3
B ## J
Va
J J J J
#
T V #
? ##
J J J J
J
Bass
# # m m m m m . U
Andante
38
128
& . J n. n
.
Vn 1
f
# # m m m m m .
3 3 3
3
U 38
& .
.
Vn 2
f 3 3 3
3
#
& # 3
Vln Solo 8
# U 3
B # 8 J n
J J .
Va
# 3
T V # 8 J n. n J
J J
. U 3
Do - num est oh Rex vir
? ##
Bass 8 J n
328
Sum nimis irata
##
134
. n j . n j
n
Vn 1 & J J . . j J n
J
f p
# j j . n j j
Vn 2
& #
j
. . j J
j
# #
. (p)
f
#
Vln Solo & #
n
#
B # n j n j
Va
J
# . j J
j
T V # J J J R J n
J # n J J
tu - tis
n
sic
quod u - mi - li - a

ex - ul - tat me con for - ta au - tor sa -
Bass
? ## n
j
J
n j
142
## j j
# J j # # j#
Vn 1
& # J
J
# # #
& # # # # J j #
j

Vn 2
J J
#
Vln Solo & #

B ##
J
# J J J
J
Va
# # j #
T V J J J J # J # J J J # j j . .
m
? ## j j
lu - tis me con - for - ta au - tor sa - lu - tis fa - ceIa mo - ris
# # j
Bass
J J
329
Sum nimis irata
## # #m #
150
Vn 1 & # J
# j #
& # # J # #
j
# J J
J m J
Vn 2
#
Vln Solo & #
B ## j J
Va
J J J J
# # # #m

T V # J J J JJ
J
fa - ceIa - mo - ris reg - na in me reg - naIin me reg - na
? ## j
#
J

J j J
J
Bass
# # j U 24 . . J . .
159
Vn 1
&
# # j U
Vn 2
& 42 . . J . .
## .
. .
42 . j
3
Vln Solo & ...

3
U
Va B ## . 2
J 4
j

## U j r 42
T V # .
m
U
re - na in me
? ## . 42 j
Bass
J
330
Sum nimis irata
##
164

Vn 1 & J
p
#
Vn 2
& # J
p m
## . 3

Vln Solo &
J J J
3
Va B # # j J J J J
#
T V #
? ## j
J J J J J J
J
Bass
## m m m m
3 3

169 (alla parte)
& .

Vn 1
f3
3 3
m m m m
3 3
##
3

Vn 2
& .

f
3 3
3 3 3
#
Vln Solo & #

Va B ## J J J
#
T V #
? ##

Bass
J
331
Sum nimis irata
[IV. Alleluia]
Allegro
# 3 j 3 . . j
. .
3 3
Violin 1 & 8
3
# 3 j . .
3
j
. .
3 3 3
Violin 2 & 8
.
3 3
Viola B # 38 j .
J . . j
# 3
Tenor V 8
. . .
Bass ? # 3 J
8 . J
J
j
6
# . .
. . j j
Vn 1 & J 3 3 3
j
3
j j
3 3
# . .
Vn 2
& J . . 3 3 3
3 3 3
. .
B#
J

Va
#
T V
?# j . .
#
Bass
332
Sum nimis irata
# j j
. .
j
12
Vn 1
& . . .
3 3 3
p 3
# j
j
3 3
Vn 2
& . . . j . .
3
3
3 3
3

B# j . .
Va
J
# j .
T V J R .
# n
Al - le - lu - ia
?# .
j .
Bass

# j . .
#
19
Vn 1
& J J J
f p
# j j
3

Vn 2
&
. .

J J
B # J . . j #
J
J
Va
# j . .
V J . . J . .
3
T
R J
3
3 3 3
al - le - lu - ia al - - - - - le - lu - ia al -
?# j
. . j #
J
Bass
J
333
Sum nimis irata
26
# #
Vn 1
& J J
# # #
&
Vn 2
J J
#
Va B# #
J J J
# j . j . # j # . j . # n 3 3
T V J J J J 3 J J
3 3
3 3 3

- - - - - - - - - - - - - - -
?# # # J
Bass
J J
# j #
&
# n # n
32
j
Vn 1
#. J J
f p f
# j j j j j j j # n
j
& . J

Vn 2
f p f

B # # j
J
Va
J J
# j 3 3 j j #
T V # #
J J J J
- le - lu - ia al - le - lu - ia al - le - lu - ia al - le - lu - ia
? # #
Bass
J J
334
Sum nimis irata
# j j
#
40
j
Vn 1
& J J J
p f j j
3 3
#
# #
j
Vn 2 & J J J
p (f) j

3 3

. j #
j
B#
J
Va
J
# # # 3 3 m
T V J J
3
al - le - lu - ia - 3 al - le - lu - ia
?#
Bass

# j . #. rK
. . .
47
& J j j n. .
3 3
Vn 1
R

J
p 3 f
# j . #. Kr

& J j j n. . .
3
Vn 2
R

. . J
p (f)
.
B# . . . j
Va
J
# j j
J . R #. n J . . J
3
T
V R

3 3
al - le - lu - ia al - le - lu - ia al - - - -
.
?# . . . j
J
Bass
335
Sum nimis irata
j j
54
# . . .
& .

Vn 1
p F J J J J J J
j j
# j j
& J .

Vn 2
(p) F J J J J J J

B# #
J
Va
# . . .
V . J 3 J 3
J 3 J 3
T
3 3

3 3
- le - lu - ia al - - - - - - - - - -
?# j
Bass #

# . m . J j j n
60
& .
m .
Vn 1
f
# . m . j j n
& . J
m .
Vn 2
f
#
B# J J J J
Va
J
j
# j j . . j j
T
V J . .

3 3
#
- - - - le - lu - ia al - le - lu - ia al - le - lu - ia

?# J J J J
J
Bass
336
Sum nimis irata
# j n j

67
& J
j

Vn 1
J J J
p f p
# j n j j
Vn 2
& j j J j
(p) f (p)
j
B# j

J

Va
# j j 3

J J J 3
V
m
T
3 3 3
3 3
?#
al - le - lu - ia al - le - lu - ia
j
- al

- le - lu

- ia
-
al -
j
Bass
j jj
73
# . . . 3 3 3
& . . .

Vn 1
3 3
j jj
3
# .
. .
3
. .

3
.
3
Vn 2 &
3

3
3
B#
Va

f
# . K
. J R r J .
3
V J J .
m
T

le - lu - ia al - le - lu - ia al - le - lu - ia.
?#
Bass

f
337
Sum offensa
Baldassare Galuppi
[I. Aria]

[Allegro]
# .
Violin 1 & # c # .
p f
## c
Violin 2 & . # .
. p f
.
B ## c

Viola
#
Soprano & # c
. .
? ## c

Bass
6
# j
Vn 1
& # . . J
p f
## j
Vn 2 & . . J
p f
Va B ##
#
S
& #

Bass
? ##
338
Sum offensa
9
## w
Vn 1
&
##
Vn 2 &

Va B ##
#
S & #

Bass
? ##
j j
11
## w w
Vn 1 &
## j j

Vn 2 &

Va B ##
#
S & #
? ##
Bass

339
Sum offensa
## . . . . j j . .

14
Vn 1
&
p
## . . . . j j
Vn 2 &
. .

Va B # # J
#
S & #
? ## #
Bass
## . . . .

18
Vn 1 &
##
Vn 2 & . . . .
Va B ##
#
S & #
Bass
? ##
340
Sum offensa
22
##
J J J
&
J
Vn 1
##
& J J J
J
Vn 2
Va B ##
#
S & #
Bass
? ##
##
r

25
r
Vn 1 & JJJJ
##
r
r
Vn 2 & JJJJ
Va B ##
#
S & #
Bass
? ##
341
Sum offensa
# # r
r r r
28
r

r
Vn 1
&
r
# # r
r
r
r
r
Vn 2 &

Va B ##
#
S & #
? ##

Bass

%
31
## .

#
Vn 1 &
f p
## .

#
&

Vn 2

f p .
Va B ##
f p
#
S & # .
Sum of - fen - sa
.
? ##

Bass
f p
342
Sum offensa
36
## j
Vn 1
& . . . J
f p f
## j
& . . .
Vn 2 J
f p f
.
B ##

Va
f p
# j
& # . . .
S
J

sum of - fen - sa sum i -
? ## .
Bass
f p
40
##
Vn 1 &
##
Vn 2 &

Va B ##
#
S & # w w w
ra - - - - - - - - - - - - - -
Bass
? ##
343
Sum offensa
43
##
Vn 1
&
##
Vn 2 &

Va B ##
## . U
S & w w
- - - - - - - - - - - ta. Ei - a
Bass
? ##

48
##
&

Vn 1

f
##
&

Vn 2

#
Va B #
##
&

S

for - tis a - mor me - us ar - cum ten - de - vi - bra te - - - -
Bass
? ##
344
Sum offensa
52
## . . .
Vn 1
& . J
f p
## . . j
& . .

Vn 2
f p

B ##
Va
J
## . . .
& . .
. .
S

lum vi - bra - te - lum. Ca - dat
Bass
? ##
##

56
Vn 1 & J J J
fp fp fp f p

## j j
Vn 2 & j #
f p
B ##
J
Va
#
S & # .

im - pius ca - dat re - us ti - - - mor
? ##
Bass
345
Sum offensa
60
## w J J
Vn 1
& J J
## j j
Vn 2 & # J J
w
#
Va B # #
#
S & # # . .
a - - - ni - me fa - ta - - - - - - - -
? ## #
Bass
##

64
Vn 1 &
##
Vn 2 &

Va B ## #
r
## j J # j
.
r

S & J
- - - - - - - - - - - - - - -
Bass
? ## #
346
Sum offensa
68
##
Vn 1
&
##
Vn 2 & #
Va B ##
r
## r
r
j j r
J # j

S & #
J
- - - - - - - - - - - - - - -
Bass
? ##
72
##
Vn 1 & #
##
Vn 2 & #
B ##
#

Va
##
a j . j
r r

S & # . .
- - - - - - - - - - - - lis
? ##
Bass
#

347
Sum offensa
## j j j j

76
Vn 1
&
f
## j j j j
Vn 2 &
f
# # J
Va B # J
f p p f p
#
& # j
. #
S

ca - dat im - pi - us
Bass
? # # J # J
f p p f p
## j j j j jj
.
79
& #.
Vn 1
J
p
## j j j j
&
Vn 2

B ## # J
Va
p
# j
S & # . j
#
. #.
J
ca - dat re - - - us ti - - - mor
Bass
? # # # J
p
348
Sum offensa
82
## j j . j
J .
j j
J .
Vn 1
& . J J

## j . .
& J J

Vn 2

Va B ## #
#

#
## j j . r
.
r j

S & . J J

a - ni - me fa - ta - - - - - - - - - -
? ## #
Bass
85
# # j J .
Vn 1 &
# # j .
& #
Vn 2
J
#
B ##

Va
# # r r
#
j
.
& j

S
- - - - - - - - - - - - - - -
? ##

Bass
349
Sum offensa
# # j . j #
88
j
Vn 1
& J

f
&
##
. j j #
Vn 2
J
f
#
Va B ##
# # r #

r
S &
- - - - - - - - - - - - - - -
Bass
? ## #
91
## #
Vn 1 &
##
Vn 2 & #
#
B ##

Va
##
S &

- - - - lis fa - ta - - - - - lis.
? ## #

Bass
350
Sum offensa
94
## . # r
& .

Vn 1
## . # r
& .

Vn 2

Va B ## # #

#
S & #
? ##

Bass
a
j
98
##
Vn 1 &
f p f p f p f p

j
## a
Vn 2 &
(f) (p) (f) (p) (f) (p) (f) (p)

B ## w #
Va
w w w
f p f p f f p f p
# #
S & # . J . J . J . J . J . J
Sum of - fen - sa ar - cum ar - cum ten - de sum i - ra - ta
? ## #
Bass
w w w w
f p f p f f p f p
351
Sum offensa
## #

104
Vn 1
& w w
p f p
## #
& w w

Vn 2
(f) (p)
n
Va B ## #
## #
S &
vi - bra vi - bra te - lum Ei - a for - tis a - mor me - us ar - cum
? ## # n
Bass

##

109
&
Vn 1

f p f p f p
##
&

Vn 2
(f) (p) (f) (p) (f) (p)

Va B ##
#
S & #

ten - de ca - dat im - pius vi - bra te - lum ca - dat re - us ti - mor
? ##
Bass

352
Sum offensa
114
## n
Vn 1
&
##
& n

Vn 2
Va B ##
#
S & # n j j

a - ni - me fa - ta - - - - - - - - - - -
Bass
? ##
##

118
Vn 1 &
##
Vn 2 &

Va B ##
##
S & j

- - - - - - - - - - - - - - -
Bass
? ##
353
Sum offensa
122
##
Vn 1
&
##
Vn 2 & #

Va B ##
#
S & # # . #
- - - - - - - - - - - - - lis.
Bass
? ##
127
##
&
J J J J
Vn 1
f p f
##
&
J J J J
Vn 2
f p f
Va B ##
f p f
#
S & #

Ca - dat im - pius
Bass
? ##
f p f
354
Sum offensa
130
## . .
j
. J . j
j
& J J J
J J J
Vn 1
(p)
##
&
J J J J
Vn 2
(p)
B ##
Va
p
# . J . j
j
. J . J
j
S & #

ca - dat re - us ti - mor a - ni - me fa -
Bass
? ##
p
134
## j j r
Vn 1 &
j
.
j
.
j

## j
Vn 2 & j .
j
r .
j

Va B ##
## r
S &
j

j

r
.
r

- ta - - - - - - - - - - - - - -

Bass
? ##
355
Sum offensa
137
## j jj
Vn 1
& . .
## j j
Vn 2 & r . .

Va B ##
r
# # r
S &
r

r

- - - - - - - - - - - - - - -
? ##

Bass

140
## J j
Vn 1 &
j

J
j
##
Vn 2 & j

w
Va B ##
m
##
r
j
r j
S &
r

- - - - - - - - - - - - - - -
? ##
w
Bass

356
Sum offensa
144
# # J
Vn 1
&
#
# # J
&

#
Vn 2

Va B ##

#
# # j .
S & .
J
- - - - - - - lis a - ni - me fa -
? ##
Bass
#
## U)

148

(
&
J J J J
Vn 1

## U)

(
&
J J J J
Vn 2

U
Va B ## w
# # U
S &

ta - - - lis.
? ## U
Bass
w
357
Sum offensa
##
r

151
r
&
J J J J
Vn 1
##
r
r
&
J J J J
Vn 2
Va B ##
#
S & #
Bass
? ##
r
r r r
154
# # r
Vn 1 &
r
r r r
# # r
&

Vn 2

Va B ## J J
#
S & #
? ##
Bass
. .
J

J
358
Sum offensa
##
158
j
Vn 1
& . # # #
p
##
& # #

Vn 2

(p)
# #
Va B ##
# j j j j
S & #
JJ . # # # j
Cor - dis no - toIar - ri - de - at Ce - lum me fu - ro - re ac o - dio ar -
? ## # #
Bass

## #

162

Vn 1 & # #
##
Vn 2 & # # # # #
Va B ## #
# #
S & # # # w j j
#
ma - ta per - cit il - li tam cru - de - - - - lis. Sic ex -
Bass
? ##
359
Sum offensa
166
## # #
& #

Vn 1
p
## #
Vn 2 & # w
(p)
Va B ## # #
# #
S & # J J
#
in - de ope fir - ma - ta fi - des e - rit im - mor - ta - - -
Bass
? ## # #
170
## # # #
& J J

Vn 1
## j j j
Vn 2 & w w # # .

Va B ## # #
#
# #
S & # # N # # #
#
- - - - - - - - - - - - lis im - mor -
? ## # #
Bass
#
360
Sum offensa
##
j J J j
174
Vn 1
& #
##
Vn 2 & # j J J j
# U
Va B # # w
# j
S & # . # . #
ta - - - - lis im - mor - ta - - - lis.
? ##
U
Bass
# w
# # j
179 r
Vn 1 &
f
# # j
r
Vn 2 &
f
Va B ##
#
S & #
Bass
? ##
361
Sum offensa
182
# # j j
al segno
Vn 1
&
# # j j
&

Vn 2

Va B ## J J
#
S & #
? ##
. .
Bass
J J
362
Sum offensa
[II. Recitative]
Violin 1 &c
Violin 2 &c
Viola Bc
j j j r j j j
& c # # j j #
Soprano
R
Quae lo - quor quae - de - li - ro ti - mor non est quiIa - ma - re
Bass
? c nw w w
Allegro
Vn 1 &

Vn 2 &

Va B
j
S & J J J R R . b # j
cae - li tur - bat in me Heu! dum as -
Bass
? #
363
Sum offensa

# r .
9
Vn 1
&

& r
# .
Vn 2

Va B
j j
S & J J J J n J J # J J
JJ J J

pi - ro ad sum - mum Dei fa - vo - re ve - ra fer - vet a - mor
? # .
Bass
R
r
. #
13
Vn 1 & #
& r # #
# . #
Vn 2
Va B #
r r j j j # j # r # r # a R # j j
S & # J # J J J J R J J
sem - per ti - mor - e ri - gut sed nunc mai - or ab ip - sa af - fec - tus vi - get
Bass
? # . # R . # # #
364
Sum offensa
#
Largo
& # #
16
#
# #
Vn 1

f p f p (f) (p)
& # # # #
#
Vn 2

(f) (p) (f) (p) (f) (p)
#
Va B
f p f p f p
S &
? #
Bass

f p f p f p
18
# a
a a a
Vn 1
& a
# a
Vn 2
& # a
a a

#
# #
Va B #
f
S &
? J #
Bass J # #
f
365
Sum offensa

& # # n
w
19
Vn 1

&
# n n n n n
#
Vn 2
B j j #
Va #
j j # j j
j n j
S & # J J
J J J
i - ta sit er - go spe - ra ex - o - ra plan - ge
? j j
Bass

J J J J J J
22
a j
&J j j #
Vn 1

a
& j j j
# #
Vn 2

Va B j
j
& J J j j
J J J
j
#
j

J R R
S
cla - ma fi - dem con - fir - ma tu - am ti - me ed a - ma
Bass
?
J
J J
366
Sum offensa
[III. Aria]
Andantino
# 2 . . . .
Violin 1 & 4 J . . J
# 2 . . . r
& 4 . J . J
.
Violin 2
# 2
Violin & 4
obbligato
B # 42 J
J
j

Viola
# 2
Soprano & 4
? # 42
Bass J
6
# j
Vn 1
&
# j
Vn 2
&
# . m m m m . m m m m . . .

Vn obb
&
.
mmmm 3
3
Va B # J
#
S
&

? # soli
J
Bass J J J J J
p
367
Sum offensa
#
. r . .
12
Vn 1
&
#
Vn 2 & . . .
#
Vn obb
&
Va B#
J

J

#
S &

?# J j J j J
tutti
Bass
J
. . . .
18
# . . .
j
& .
Vn 1
f
3 3

3
# . (. . . . . . )
& j
.
Vn 2
f
3
3

#
3
Vn obb
&
j
Va
#
B J J
#
S &
? # J
Bass j J
368
Sum offensa
% . . .
23
#
Vn 1 & . . . J .
# . . .
& J .
. . .
Vn 2
#
Vn obb
&

Va B # J
J J

J
# j . rK j . j . rK j . . .
.
S & R J R J J

Dum Phi - lo - me - laIin ra - mo dum Phi - lo - me - laIin ra - mo can - ta - do di - cit
?# J J
J
Bass
J
28
# j
Vn 1
& J J . .
J

J

J
# j
Vn 2 & J . . . .
j

j

j
#
Vn obb
& . .
# J
Va B J J J J
# j
S & J J . . . .
J

? # J
a - mo can - tan - do - di - cit a - - - - - - - - - -

Bass
J J J J
369
Sum offensa
#

34
Vn 1
& J
J

J
#
& j j j

Vn 2
# . .
Vn obb
& .
3 3

B# J J J J j

Va
# . .
.
& J j
R J
S
3
3
- - - - - - - - - - - mo di - cit a - mo
?#
Bass J J J J j

# . #
. J
40
Vn 1
& J J J
#
& . j # j
J j
#
Vn 2
# . #
&
.
J
Vn obb
J J J

Va B # J J
# r
& j r j J J # j r r j . # J # J J
J J
S
per au - ras dul - ce pe - nas me - tus in - fes - ti nar - rat me - sta ge - men - do ge -
?# J J J
Bass
J J
370
Sum offensa
#
. j .
j
. j .
j

46

Vn 1
&
# . j . j . j .
j
Vn 2 & #
# j
. .
Vn obb &

J . J .
#
B # J
Va
J J J
#
S & # J j
. . . .
men - do in spe me - sta ge - men -
?# #
Bass
J J J J
# j . . .
J
52
Vn 1
& #
3 3
# j # . . a .
Vn 2 & j #
3 3
# . .
Vn obb & J

J
B # J J
Va

&
#

j # j J #
S

3 3
3 3
do me - sta ge - men - doIin se me - sta ge - men - doIin se.
?# J J

J
Bass
371
Sum offensa
58
# . . .

j
Vn 1 & J .
3 3 3
# . . # . #
. j
Vn 2
& J 3 3
3
#
Vn obb &

B# J
J #
J
Va
#
S &
?# #

J
Bass
# n. n J n . . . . .
63
& J
Vn 1
J
(p)
# n. j . . . a . j j
Vn 2 & n n J
(p)
# n j
Vn obb & .
3
#
B# J # J j

j

Va
p
# n n . . . . j
S
.
& J R R J J J .
Dum phi - lo - me - laIin ra - mo can - tan - do di - cit a - mo can - tan -
? # J #

j j
Bass
# J
p 372
Sum offensa
#

68
& J .
Vn 1
J
#
Vn 2 & j j
.
.b
# #
Vn obb
& .

Va B # j j

# # j r
S & . J
R
- - - - - - - - - - - - - do dum in

Bass
?# j
j

# j j
.
73
Vn 1
&
f p
3
3
# j j
Vn 2 & j
j

# #
J .
Vn obb
&
#
#
B J J
J
Va
# j . r J j
3
S & J J

3 3
3

ra - mo di - cit a - mo can - tan - do phi - lo - me - la
? # j #
Bass J J
373
Sum offensa
U
# j
j #
78
&

Vn 1
# U j
Vn 2 & j j j
#
Vn obb
&
Va B#
# r r
& j # . R R
R
S
[per] au - ra dul - ce pe - nas me - tus in - fes - ti nar - rat
?# J J
J
J
Bass
83
#
r
Vn 1
& #
#
# j j
r
Vn 2 & j
#
#
Vn obb
&
B# j J

Va
# j j J .
& J J
S
J R R
me - tus in fes - ti nar - rat me - sta ge - men - do
?# J
Bass
J J j J

374
Sum offensa
# n
# # # # n # j
88
Vn 1
&
r

r
# n
# # # # n # j
r r
Vn 2 &
#
Vn obb
&
# n
B#
J

J
Va

# j r r j r
j j j
j .
j
S &
3
me - sta3
n
in se ge - men -do me - staIin se ge 3 - men - do in
?# j #

J
Bass
# (. . )
. . . .
92
Vn 1
&
#
& .
( . .) .
Vn 2
# m m m m m m m m m m m m m m m m m m m m
Vn obb
& J J

Va B# J j
J j

# r r
& . J . J
J R RR R R R
S
se. Dum phi - lo - me - la in ra - mo per au - ras dul - ce nar - rat
?# J j J j
Bass

375
Sum offensa
# .
. . j . J .
97
Vn 1
& J

# j j
& . .
( . ).
J
Vn 2
# . .
Vn obb
& J J J

Va B# J J j
J J
K
# r r
& . . . .
RRR R
S
me - tus in - fes - ti pe - nas me - sta ge - men - doIin se ge - men -

?#
Bass J J J j J

#
102

& J . . J
J J .
Vn 1
(f)
3
3
#
& J j j J j
j
. .
Vn 2
(f)
3
. . . . .
3
#
Vn obb
& J J J J

B# J J J j

Va
f
#
S & J . .
J
J

3
3
do ge - men - do me - sta ge - men - doIin
?# j
Bass
J J J
376 f
# J U
Sum offensa
J . . . .
r
J
r
107
.

Vn 1
&
3 3 3
# U

r
J . . . .
& J r
. J
Vn 2

3 3
# . . . U
3
Vn obb
&

Va B# J
J
J

# J . . . U
S &

se me - sta ge - men - doIin se.
?#
J
J
Bass
J

# J
Allegro
113
Vn 1
& j R R
3 3
(f) (p) (f)(p)

3
# r r
Vn 2 & J
j
3 3
3
(f) (p) (f) (p)
#
Vn obb
&

Va B#
f p f p

# j
& J j r . Kr
S
J J
Sic quan - da um - bra ti - mo ris fit
?#
Bass
377 f p f p
Sum offensa
118
# # # # # #
Vn 1
& R
(f) (p)
# r # # #
& #
Vn 2

(f) (p)
#
Vn obb
&
Va B# # #
f p
# # j
S & J J J J J
j

cau - sa mei do - lo - - - - - - ris
?# # #
Bass
f p
122
# n # #
Vn 1
& J J # J J
#
& j # J #
J J
Vn 2
#
Vn obb &

Va B#

#
j r r j j r r j
# J
# . . #
S & # J J R RJ J
vo - ces ad Cae - lum spar - git me - tuIet a - mo - re ple - nas me - tuIet a - mo - re
?#
Bass

378
Sum offensa
127
# # . # #
Vn 1
& J #
f
# #
& # # #
J J J
Vn 2
(f)
#
Vn obb
&
# # U
Va B # J J
# j
& # # #
J # J # .# .
J J J J R
S
ple - nas af - flic - tum cor in me af - flic - tum af - flic - tum cor in
? # # # U
Bass
J J
. .
[Andantino]
#
J
134
Vn 1
&
3 3 3
# . .
Vn 2
& J
3 3
3
#
Vn obb
&

Va B#
#
S &
te.
?#
Bass
379
Sum offensa

139
#
al segno
Vn 1 & j

#
Vn 2 & j

#
Vn obb &
Va B # J
J

#
S &

Bass
?# J
380
Sum offensa
[IV. Alleluia]
j j j j j j j j j
## 3 . .
j . .
[Allegro]
Violin 1 & 8 .
p
# # 3 j . j j j
.
j

j . j

j
.
j
Violin 2 & 8 .
j

p
Viola B # # 38 j j j j j
## 3
Soprano & 8
? # # 38
Bass
J J J J J J J J J
j
8
## . j j J J J
Vn 1 &
p 3 3 3 3 3
# # j
3

3 3
& j j J J J
Vn 2
.
p 3 3 3 3 3
3 3 3
Va B ##
#
S & #
? ##
J
Bass
381
Sum offensa
##

15
& J J
3
Vn 1
3 3 3 3 3
## 3

Vn 2 & J J
3 3 3 3 3
#
3
B ##
J . .
Va

##
S
&
? ## #
Bass
J . .
j j j j j j j
# # jU . . . j .

22
& j

Vn 1
p f
j j j j j j j
&
# # (jU . ) . . j .
Vn 2
j
U) p f
B ## . j j
(
Va

# J J J j j j
S & #
Al - le - lu - ia al - le - lu - ia
U)
? ##
(
.
J J J J J J J
Bass
382
Sum offensa
j j
j
## . j

31
Vn 1
& j
p
# # j . jj
j

& j

Vn 2
p
Va B # # j j j
## j j j J
& J
S
3 3 3
3 3

al - le - lu - ia 3

? ##
J J J
Bass
# j

38
Vn 1
& #
## j
Vn 2 & J
#
Va B ##
## 3 j 3 j 3 3 3 3
S & J
3 3
3 3 3 3
? ## #
Bass

383
Sum offensa
44
# # j j j j
r
j
Vn 1
& J J J J J J J
##
j
j
j
j j

r
j

& J J J
J J J
Vn 2

# # # #
Va B #
# # j
j
J r r j J j
r
S
& J J J J
# #
Bass
? ## #
#
& # J J

51
j

Vn 1 J J J J J
# # j j j j
& J J # j #
J
Vn 2
#
#
B # J # J

J
J
Va
J J
## 3 j 3 j # 3
S & J J # # #
3 33 3 3
3
? ## #
J # J j
Bass
J J

J

384
Sum offensa
56
## j r r
Vn 1
& J J J J J
# j j j j j
& # # j # #
J
Vn 2
B # # j # J

J

J
Va
J J
## j 3 j 3 j # 3
r r r
S
& # # # R
3 3 3 3 3
3 al - le - lu -
? ## j # j
Bass
J J J
J

j j j j j j
#

61
Vn 1
& #
j j j j j j
##
& #
Vn 2

#
B ##

Va
# r J J
S & # R

ia al - le - lu - ia al - le
? ## #
Bass

385
Sum offensa
## j j j j j j j j j j
. . j j
67
&
Vn 1

p
# j j j j j j j j
& # . . j j

Vn 2
(p)
Va B ## j

j j

j
j j j j

##
& # j j

S
lu - ia al - le - lu - ia
Bass
? ## j j j j
j j j j

76
## j j j j
r r
j j
& j
J
Vn 1
## j j

j
j
r

r
j j
& j
J
Vn 2

Va B ##
# j j j j j j
r r r
& # j
3
S
J
3
al - le - lu - ia
? ##
Bass
386
Sum offensa
## j r

r
j
83
Vn 1
& J J J J J J
## jr r
j j
& J

J J J
J
Vn 2
#
B ##
J

J #
J J J
Va
J
##
#

rj
r
j
3
j
3 3
S
& J 3 3 3 3
3 3 3
? ## #
J # J
Bass
J J J J

#
89
Vn 1
& # J
J

J J J
##
& J # j

Vn 2
J
J J J

#
B # J J J J
Va
J
# # j j
S & JJ J JJ J
3 3
3 3

al - le - lu - ia al - le - lu - ia al - le - lu - ia al -
? # # J J
Bass
J J J
387
Sum offensa
## J 3
98 3
Vn 1
& J J J
3
3
#
& # J 3
3
Vn 2 J J J
3
B ##
Va J
J J
##

3 3 3

3 3 3
S
&
3 3 3
3 3 3
- - - - - - - - - - - - - [le - lu -
? ##
Bass J J J
j j j j
##
104

Vn 1
&

# # j j
j j
Vn 2 &

Va B ##
# . .
S & #
ia].
Bass
? ##
388
Ab unda algente
Attributed to Baldassare Galuppi
[I. Aria] (doubtful)

Violin 1 c j j
& j j
. . . . p
f

&c j j j
. . . .
Violin 2
f p

B c . . . .
Viola
J J J J
Tenor Vc
? c j j j j
J J J J
Bass
3

& j j j j j j j j
. . .
Vn 1
. . . . .
f p f
& j j j j j j j j
Vn 2

f . . . . f . . . .
p
B j j j j . . . .
Va
. . . . J J J J
T V
j j j j
? j j j j

J J J J
Bass
J J J J
389
Ab unda algente
6
r r # r r
Vn 1
&
p f p f
r r # r r
Vn 2 &
p f p f

Va B #
p f p f
T V
?
Bass

p f p f
mm mm
# # m m . n . . m mm
#
.
8
Vn 1 & .
p f p f p f p f
m m mm
# # m . n . .
m
. m
m m
#
Vn 2 & .
p f p f p f p f

B J J j
J
Va
J J
T
V

? j j j j
Bass

p f
390
Ab unda algente
# m m m m m
&
11
. j j
.
.
Vn 1
p f p f .
f
# m m m m m
& .
.
j j
.
Vn 2
p f p f .
f
j . .
B J J J .
J J
Va
T V .
Ab un - daIal - gen - te
? j j
j j

Bass
. J J
p f p f
15

j
& j

Vn 1
. . p . . . .

& j j
. .
Vn 2
p . . . .

B . . . . . .
J J
Va
.
T
V J J J J
na - vis ve - xa - ta Eu - ro stri -
? j j j j j j
Bass
J J

J J J J
391
Ab unda algente
( m m) m m
&
18
Vn 1
j j
. . p p f p f
f
( m m) mm
Vn 2 & j j
. . p p f p f
f
B
Va
. . J J
j j
T V . j j j j J
den - te stat in pro - cel - la Eu - ro stri -
? j j
Bass
J
J J
m m
& j J
21
J J
Vn 1
J
p f p f p

m m
& J j # j
J J
Vn 2
p f p (f) (p)

B J JJ J J J
Va
J
j j j j j . j J
T
V J
J J
den - te
m
stat in - pro - cel - la lit - to - ra quaerit por - tum spe - ran -

? J J J J J
Bass
J J
f
392
Ab unda algente
j j J J
j j
J J
25

Vn 1
&J J J
j j
Vn 2 & J
J J # j
J j J
J

J J # j
J
Va B
j j J j j m m
T VJ J J J J J
- - - - - - - - - - - - - - -
Bass
?
& # j J J
29
J b
Vn 1
J J J J J
f p
j j
j j j j
Vn 2 & # j b J J
(f) (p)
j j
B b b J J
J J J J
Va
b . r j
T
V J . R b # .
J

- - - - do lit - to - ra li - to - ra quae - rit
? j j j j j j
b b J
Bass
J
393
Ab unda algente
& J J J J J J
32
Vn 1
j j j j
Vn 2 & b J J # #
B b j j
Va
J J J J
j
T V b . b n
J
por - tum por - tum spe - ran - - - - - - - -
? j j j j
Bass
b J J
m .
# # # n
&

35
Vn 1
f
# m .

Vn 2 & #
(f)

Va B
# .
V
m
T

- - - - - - - - - - - do
? #
Bass
394
Ab unda algente
# n # n m
. #. . .
37
&
m
Vn 1
# n . #.
. . m
&
m
Vn 2

Va B # J # J
V j

T

Ab
#
?
Bass

&
j j j j j
40
j j j j j
. .
Vn 1
. . . . p f p
p f
& j j j j j j j j j j

Vn 2
. . .
. (p)
.
f . (p)

p f
B j j
. . .
j j . .
. J J
Va
V . j
j j j
j

T
un - daIal - gen - te na - vis ve - xa - ta Eu - ro stri -

j j
? j j j j

J J
Bass
J J J J
p f
395
Ab unda algente
j j

43
Vn 1
& j j

J J
f. . p f

& j j
j j J
. J
Vn 2
f . (p) f
B . .
J J J J
J J
Va
j j j
V . J
J
T
m
den - te stat in pro - cel - - - - - - la lit - to - ra quaerit
? j j
Bass
J J J J J J

47
&J J m
Vn 1

&J
J
Vn 2
Va B J J

VJ . . . . . . . . . . . . j
J
T
por - tum spe - ran - - - - - - - - - - - - -
?
Bass
J J
396
Ab unda algente
. . . . . . . . . . . .
50
Vn 1
&
. . . . . . . .
Vn 2 & . . . .

Va B
J . . .
T V
m

- - - - - - - - - - - - - - -
Bass
?
# m m m m
j
&

54
Vn 1
# m m m m
j
Vn 2 &
J

Va B
J J J J J J
j m J J J J
T
V
- - - - - - - - - do spe
ran - do ab un - da al -

? j j
Bass

397
Ab unda algente
# m m # m m # m m m m
&
58
Vn 1
. . .# # j

# m m # m m # m m m m
Vn 2 & . . .# # j

B J . . . #
J J J
Va

V J J . # . # J J J J J

T
gen - te na - vis ve - xa - - - ta Eu - ro stri - den - te
Bass
? j . . . #
j j j

# J J J J
J J J J J J J J J
61
Vn 1 & . . .#
p
# J J J J J J J J J
& . . .# J J J
J
Vn 2
(p)

Va B . . .# J J J J J J J J J J J J
V . # .
j
. j .
T
J R J R
m
stat in pro - cel - la lit - to - ra quae - rit por - tum spe - ran - do lit - to - ra
? . . .# J J J J J j J J
Bass
J J J J
p
398
Ab unda algente
m . m
. .
& J J J J . .
65
Vn 1

f p f p
m .
. .
Vn 2 & J J J J . .
f p f p

Va B J J J J

. . . . . . j m
j
V

T
quae - rit por - tum spe - ran - - - - - - - - - -
? J
Bass
J J J
. b. . . . . . .
. . .
r r
68
Vn 1 & .
p f
. b.
..
. . . . . . .
r r
Vn 2 & .
p f
Va B
V J J J . m
T
J
do por - tum spe - ran - - - do
Bass
? w
p f
399
Ab unda algente
r r . . . . # m m m m
m

71
Vn 1
& # .
p f p (f) (p) (f)
r r . . . . # m m m m
m
Vn 2 & # .
p f p (f) (p) (f)

Va B J j
J J J
T V
j j
Bass
?
J
p f p f p f
j U
. .
. # j .
74
& J J
. .

Vn 1
U p f p
j . .
& J J . # j .
. .
Vn 2
p f p
U
B J
J
J
Va
U
T
V # j
U
Sr - tes pa - ves - cit pa -
? j
Bass
J J
400
Ab unda algente

j # j
77
& j # j j
(simile)
j

Vn 1
f p f p f p f f p f p

& j # j j # j j
(simile)
j

Vn 2
f p f p f p f f p f p
B J
J
Va
J J J J
j j j j
V J # J j j # j
J
T
ves - cit pa - ves - cit et a - gi - ta - ta si - ne sua du - ce se -

? j
J

Bass
J J J J

j
80
Vn 1 & j J j j j j
f p f p f fp f p mmm mmm

(simile)
& j j # j # j j j j
# #
Vn 2
f p f p f (f) (p) f (p) (m m m

(simile)
mmm )
B J
Va b
j j j j j
T
V # J b
#
re - na stel - la se - re - na stel - la in um - bra noc - tis
? j j
Bass
J j j
f mp m m f mp m m f mp m m f mp m m
401
Ab unda algente
j . m .
& j j
j jj j j
84
Vn 1
. m m m m mm . # . . # .
.
mmm
m mm m mm m mm
& j j j j j j j j . m .
# #
Vn 2
(simile)
Va B j J
j
V b # . .
. # #
T
cur - rit va - gan - do in um - bra noc - tis cur - rit va - gan -
? j j j j j J
. .j j j
. . . mmm . mmm . mm m
Bass
f mp m m f mp mm mmm
(simile)
m mm
. m . . U
& J . . # j . J . . #
88
Vn 1
. m . . U
Vn 2
&J . .
# j J . #
. .#

B J # J #
U

Va
J J J J
.
T
V J . . # j . J . . # . #
- - - - - - - - do cur - rit va - gan - do

? J J J J J
J
Bass

402
Ab unda algente
mm mm
# m . m
92

alla parte
& .
.

Vn 1

mm mm
# m . m
& .
.

Vn 2

J
Va

B J J J J J J J J J .
T V
? .
Bass
J J J J
403
Ab unda algente
[II. Recitative]
Adagio
& c .
Violin 1
#
f p f p
& c .
Violin 2
#
f p f p
Viola Bc
f p f p
Tenor Vc
?c #
Bass
n
#
2
Vn 1
& .
f p

Vn 2
& . # n
f p
Va B
f p
T
V
Bass
?
404
Ab unda algente
& #
3
Vn 1
f mmmmmmmmmmm mmmmmmmmmmmmmmmmmmmmmm
p
& #

Vn 2
mmmmmmmmmm mmmmmmmmmm
f pmmmmmmmmmm
Va B
f p ( mmmmmmmmmm ) mmmmmmmmmmm
T V
? #
Bass

mmmmmmmmmm mmmmmmmmmm
&
4

Vn 1

mmmmmmmmm mmmmmmm mmmmmmmm
&

Vn 2

mmmmmmmmm mmmmmmmmmmmmmmm
Va B #
mmmmmmmmm
j r r j j
V

T
Ge - li - do ple - na metu
#
?
Bass

mmmmmmmmm pmmmmmmmmmmmmmmm
405
Ab unda algente
Allegro non tanto
Vn 1
& #
mmmmmmmmm
Vn 2 &
b
mmmmmmmmm

Va B

mmmmmmmmm
j j
V j j j j b r # J R J j j j j
R R
T
ama - ro as - pe - sa fle - tu mei re - a - tus a tur - bi - neIa - gi - ta - ta

Bass
?

fmmmmmmmmm
b
&
9
Vn 1
b
Vn 2 & b b
b

B b
J

J

J
Va
j
V j j b b j j
J
T
cae - ci mun - di per ae - quor lit - tus quae - ren - do
Bass
? b j
b
j
j
b
406
Ab unda algente
. . b . . .
13
Vn 1
& .
f
& b . . . . . .

Vn 2
(f)
B . . . .
J R
Va
V b . Kr j j j
T
J J R
di - ra ma - la se - quor
Bass
? j
b r . . b
Andante
. b
& j . . # .
. . b
16
j # . . . . .
Vn 1
. . . . . . .
. .
& j . . # . . . b j # . b
. . . .
Vn 2

. . . . . . . .
. .
Va B . . . . . . # . .
T
V
? . . . .
Bass
. . . .
407
Ab unda algente
& j
. . b
18

Vn 1
. . . . . j b

.
Vn 2 & j . . b
. . . . . j

b
.
b
B b
Va
J J
T V j
b
ah? spes
j
? b
J
Bass
&
20
. b . b . .
Vn 1
. . . . . b . . . . . b

..
Vn 2 & . b
. . . . . b . b . .
. . . . . b

..
b b
Va B b b
j j
V b J J J J J j j j b # j j
JJ
T
al - ma et di - vi - na a - tam gra - vi ru - i - na he - u!
b b
Bass
? b b
408
Ab unda algente
Largo
. . b j j j
23
& .
. . . . . b
. . . . . b j
Vn 1
. . .
& . j . . b . . j j
j
. . . . . b . . . .
Vn 2
. .
Va B
j r
T V J j . r
quae - so e - ri - pe me

Bass
? b j j j j j j
b n

26
Vn 1 & J J
Vn 2 & j j
Va B
j j b j j j j
sotto voce
T
V b
si - ne tua lu - ce per - di - ta sum.
? b
J J
Bass
409
Ab unda algente
b . b . b 3 3
3 3 3
29
Vn 1
& b J .

3
3 3 3 3
b .
3

3 3
b .
3 3 3
b
3
Vn 2 & J . b
3 3 3 3

b b
3 3
Va B b
T V
? b
Bass
b b b
b # n j
n # r #
31
Vn 1 &
3 3
b #
& b # r

Vn 2
3 3
B b n

Va
r K
V b . r j j . R
J J R
T
te co - mi- te, te du - ce por - tam sa -
? b j b
Bass # #
3
410
Ab unda algente
# r . b
R . .
34
Vn 1
& #
.b
Vn 2 & # r . .
R

b .
B . .
R
Va
J J Jj j j j j b R Jj j j j
j
V J# j J J J J
j
J J
T
lu-tis cor-di er-rantiIaten

- -de et a - ni-mamcae - les - ti. a-more
- ac - cen -de.
b .
Bass
? # R . . b b
411
Ab unda algente
[III. Aria]

Andantino

& b 43
.
Violin 1

& b 43 .
Violin 2
3 . . . . . . .
Bb 4 .
Viola
.
Tenor V b 43
? b 3 . . . . . . . . . . . .
Bass 4 .
b

6
Vn 1 &b # n
Vn 2 &b

# n b
. . . . . . . . . . . . .
Va Bb
T
Vb
. . . . . . .
Bass
? b . . .
. b . .
412
Ab unda algente

b
&b

10
. .
Vn 1

b
Vn 2 & b . .
.
Bb . .
Va
(simile) p f
T Vb
?b
Bass
(simile) (p) (f)
14
m . . .
Vn 1 &b
m
Vn 2 &b
. . .

Bb

Va
J
T
Vb

?
Bass
b
f
413
Ab unda algente

& b .

19
Vn 1

j
m

& b .
j

m
Vn 2
Va Bb

T Vb
J J
Te - cum e - ro for - tuna - ta
?b
Bass

25
&b j #

Vn 1

&b j #

Vn 2

Va Bb

T
Vb J J n
et pro flam - ma tam bea
- - ta te - - - - cum
?
Bass
b
414
Ab unda algente
b b
n
30
Vn 1
& b n #

b b
Vn 2 & b n # n

Va Bb b n
V b . n . # . j
T

vi - vam ca - ra ca - ra in pa - ce
?b b
Bass
n
. . .
. n
34
Vn 1 &b
(simile)

Vn 2 & b n n . . . n
(simile)
Va Bb . . # .
(simile)
n .
T
Vb n n n.
3
te - - - cum vi - vam ca - ra in pa - - -
? (
)
. . # .
Bass
b
(simile)
415
Ab unda algente

&b

38
Vn 1
Vn 2 & b n
Va Bb n
T V b n n # #
- - - - - - - - - - - - - - -
?b
Bass
n

. . .
42
Vn 1 &b
Vn 2 &b . . .
n n n
Va Bb
b n J J
T
V
- - - - - ce ca - ra ca - ra
n n n
?
Bass
b
416
Ab unda algente
r . n
.
. . . .
46

Vn 1
&b
r . n
Vn 2 &b
. n
. . . .
n
Va Bb
. . . . n
T Vb
n
ca - ra in pa - - - - - - - - - - - ce in
?b
Bass
51
n # n .
&b

Vn 1
J
n # .
Vn 2 & b n n
J

Va Bb
m
T
Vb
pa - - - ce.
n
?
Bass
b
417
Ab unda algente
.
. m
55
& b
J

Vn 1
p
. . m
Vn 2 & b J

p

Va Bb J n

T Vb
J
Te - cum e - ro for - tu - na -
?b
n
J

Bass

61
b n
Vn 1 & b

b n
Vn 2 & b

Va Bb
n . j
T
Vb .
ta et per flam - - - - ma
?
Bass
b
418
Ab unda algente
64

Vn 1
& b n J
J n

Vn 2 & b n J j n

n
Va B b n
j
. j
Vb J .
m
T
tam be - a - ta tam bea
- - ta
?b n
Bass
n
69
b n
Vn 1 &b
m
&b
b n
Vn 2

m

Va Bb
Vb
b r r J
T
J
m

te - cum vi - vam ca - ra in pa - ce in pa - - - - -

?

Bass
b
419
Ab unda algente
75
.
Vn 1
&b J

.

Vn 2 &b J

Va Bb J
j
T V b J J J J .
m
- - - - - - - - - - - - - - -
Bass
?b
J
.
#
n
80
&b J J
J
Vn 1
f p
. #
Vn 2 &b J n
J j
f p

Va Bb J
j
T
V b . . .
m m
- - - - - -

-
- - ce te - cum
Bass
?
b J
420
Ab unda algente
# j
& b n
. .

85
J
J m
Vn 1
f
# j
Vn 2 & b n J j . .

f
Va Bb
j
j j j
T V b . . j
J

e - ro te - cum vi - vam for - tu - na - ta ca - ra
?b
Bass

. .
90

&b

Vn 1
m

.

&b

Vn 2

Va Bb
b
V
j . r r

T
J J J . m m
ca - ra tam be - a - ta vi - vam in pa - - - - - - - -

?
Bass
b
421
Ab unda algente

&b n b .
95
#
Vn 1

p

Vn 2 &b # n b .
p

Va Bb
T Vb
ce.
?b b
Bass

m U
. .
b 12
99
&b 8
.
Vn 1
m U
. .
b 12
&b 8
.
Vn 2
U b 12
Va Bb 8
T
Vb b 12
8
U
Bass
?
b b 12
8
422
Ab unda algente

[B Section: Option 1]

12
104
Vn 1
&b 8

f p f p f p

12
&b 8

Vn 2

f p f p f p
Va B b 12
8
T 8 .
V b 12 . J . . . b J .
Me - ror a - bit ri - det a - mor

Bass
? b 12
8
b

107
Vn 1 &b b
f p f p f p

b
Vn 2 &b

b

f p f p f p

Va Bb
T
V b . . j . # . .
cor - dis me - - - i jam ces - sat
? b
Bass
b
423
Ab unda algente

b b
110
&b J

Vn 1
f p

&b b b

Vn 2
f p

Va Bb b .
V b . b. j j j j
. . J J J J JJ J
T
cla - - - - - mor tu - a gau - den - do cla - ra fa - ce [tu - a gau - den - do cla - ra
?b .
Bass

113
Vn 1 &b J
f

Vn 2 &b
f

Va Bb
j jj j . jj
V b
J J
.
J
T
fa - ce tu - a gau - den - do cla - ra] fa - - - - - - ce tu - a gau -

? #
Bass
b
424
Ab unda algente

.
116
Vn 1
&b . . .
p f

&b . . . .
Vn 2
. .
p f
Va Bb
V b . . . . .

J
T
den - do cla - ra fa - - - - - - - - -

Bass
?b #
U
43 .
119
Vn 1 & b .
.
U
&b 43 .
. #.
Vn 2
.
U 3
Va Bb
. 4
. . U
V b . . . . 43
.
T

m
U
- - - - ce cla - ra fa - - ce.
? ( ) . . 43
Bass
b
425
Ab unda algente

b m alla parte
. 2
123
Vn 1
&b . . 4
b m
&b
. . 42
Vn 2
.

Va Bb 42
T Vb 42

Bass
?b 42
[B Section: Option 2]
Andante
.
.
& b 42
128

J J
J J J

Vn 1
p f f p
. .
& b 42 J J J #
J J
Vn 2
p (f) (f) p

B b 42 J J J J J
J
Va
V b 42 # n j J J # J J
J J
T
Me - ror a - bit ri - det a - mor ri - det a - mor cor - dis
? 42 J j
J J
Bass
b J J
426
Ab unda algente
. .

135

Vn 1
&b J J J JJ
f
. .
Vn 2 &b J J J #
J J
j J
f

Bb J J
Va
J J J J J J
j j
V b # n j J J # J J j J
J J J J J J
T
me - i jam ces - sat cla - mor ces - sat cla - mor tua gau - den - do cla - ra
? b J j J
Bass
J J J J J
141

Vn 1 &b #
3 3
j
Vn 2 &b J J J J

j
B b # n
J J
Va
j j j j j
T
Vb J # J
3 3
fa - ce tua gau - den - do cla - ra fa - - - - -
? # j j
Bass
b n
427
Ab unda algente
j . .
n J J . J n J J . n
144
& b # n J

Vn 1
J J J J J
f f
j j j j j
. n J # j
.
Vn 2 & b J n J # J n J n . n J # J n J .
(f) (f)
B b J J # J J n J J J n
J J J J J J J J
Va
j n . n
T V b # n J n J J J J
- - - - ce tu-a gau - den - do cla - ra
? b # J j j
J J n
Bass
J J J J J J J J n J J
f f
# U
43
154

& b n n
#
Vn 1
f
U
& b n n 43
#
Vn 2
(f)
n # U
J J J
Bb J J 3
Va J 4
U
j n j j j m
T
V b J J J .n
R 43
fa - ce tua gau - den - do cla - ra fa - ce cla - - - - - ra fa - ce.

? J
b

J J J n # U
3
4
Bass
J J
428
Ab unda algente
m alla parte
b
& b 4 . . .
3
161

.
Vn 1
p f f
m
b
& b 43 . . .
.
Vn 2
(p) f f
3
Va Bb 4
T
V b 43

Bass
? b 43
p f
429
Ab unda algente
[IV. Alleluia]
Allegro
38 . . . .
Violin 1 &
p f
38 . . . .
&

Violin 2
p f

Viola B 38 J
p f
Tenor V 38
?3
8
Bass
J
(p) (f)

10
Vn 1
&

Vn 2 &

Va B
T
V

?
Bass

430
Ab unda algente
18
. . . .

Vn 1
&
p f p
. .
& . .

Vn 2
p f p

B
Va

p f
j
T V J . J . jJ . J .
Al - le - lu - ia al - le - lu - ia al - le - lu - ia al - le - lu - ia
?

Bass

p f
# # # j
J j
29
Vn 1 & J J
# # #
Vn 2 & J J J J J
#
Va B #

V J J j J
# .
# .
m
T
m

#
al - le - lu - ia al - le - lu - ia al - - - - - - -
Bass
? #
431
Ab unda algente

37
# #
# # #
Vn 1
& J J J

j j# # # # # #
Vn 2 & # J
Va B
.
T V j j
# #
J . .
- - - - - - - - - le - lu - ia al - - -
?
Bass

j
& # n
44

j
. J j
. J m
Vn 1

& # n j J j #
#
Vn 2

Va B

. . a.
j
j

j
V . J J m
.
T
- - - - - le - lu - ia [al] - le - lu -
?
Bass

432
Ab unda algente

j
J J j #
52
j

Vn 1
&
f
j j
Vn 2 &
j
J #
#
(f)
#
Va B
j
J j
j
V J J m
J
T

ia al - le - lu - ia al - le - lu - ia.
? #
Bass

# #
..
&
j .
60
m
Vn 1

# #
.
.
Vn 2 & j .
m

Va B
T
V j J . J .

Al - le - lu - ia al -
Bass
?
433
Ab unda algente

. ..
69
Vn 1
& J

.
. j
Vn 2 & .

Va B
j .
V J . J b j
T J
- le - lu - ia al - le - lu - ia al - le - lu - ia al - - -
?

Bass

j
b j
b b

78
j
Vn 1 & b J
j
& b

Vn 2
Va B
b j
j
b . .
T
V b J . . .
- - - - - - - - - - - - - -
m -
Bass
?
434
Ab unda algente
86
j
Vn 1
& J
f p F
j
Vn 2 & J
(f) (p) F

Va B
. J m
T V
- - - - - - - - - - le - lu - ia
Bass
?

..
95
Vn 1 &
..
Vn 2 &

Va B

V J J .
J J
T
?
Bass

435
Ab unda algente
103
m
Vn 1
&

&
Vn 2
J

Va B
m .
T V J
al - le - lu - - - ia.
?
Bass

107

&
Vn 1

&
Vn 2

Va B
T
V
Bass
?
436
Dum refulget
attributed to Baldassare Galuppi
[I. Aria]
###
j
. jm . m . m .
Violin 1 & c J J J J .
###
j
. jm . m . m .
Violin 2 & c J J J J .

Viola B ### c J J J J
###
Tenor V c

? ### c
Bass
# # # . . m . #
. .#
4
Vn 1
&
p f
# # # . . m . # #
& . .
Vn 2

p f
# j
B ## j j
J
J J
Va
(p) (f)
###
T
V
? ### j J

J J J J

Bass
p f
437
Dum refulget
7
### . # . . . . (. .) . . .
Vn 1
& . . J J J J . .
.j .) p
### p . # . .
. ) . . . . .
J . .
(
.
(
Vn 2 & J J
p ( . . (p)
# j
B # j
#
.
J J . )
Va
J J
(p)
###
T
V
? # # # J . . (. .)
J J J J
J
Bass
(p) violoncelli soli
# # # . . . . . .
m . . . . m
11
j
Vn 1 & J J J J . . .
f
# # # . . j . . . . . j
. . m
Vn 2
& J J . J . . .
m
f
#
B # # J J J J
(simile)

Va
###
T
V
? # # # J
(simile)

Bass
J J J
tutti
438
Dum refulget
. . . # . . . m
14
# # # . . . . . j . .
Vn 1
&
. . . # . . . m
# # # . . . . . j . .
Vn 2 &

Va B ### J
###
T
V
? ###
Bass J
# # # m

16
Vn 1 & . .
# # # m
. .
Vn 2
&

Va B ### J J
###
T
V
? ###

Bass
439
Dum refulget
### m
J m m J
18
Vn 1
& . . J

###
Vn 2 & . . J J J

Va B ###
### m m
V
J m J J J
T
J J
Dum re - ful - get in coe - lo se - re - no in
? ###
Bass
21
###
Vn 1 & J .
###
& J

Vn 2

Va B ###
### j j j r j r
V J . J R J R R J J . j . r J
R
T
coe - lo se - re - no Ru - bi cun - da diei ma - ter Au - ro - ra ru - bi cun - da diei ma - ter Au -
? ###

Bass

440
Dum refulget
24
### j . . . . # .
&
. . . J J
Vn 1
f p
### . . .
& j #
. . .
Vn 2

(f) (p)
#
Va B ##
# # # m . . # J
T
V J J . J
ro - ra a - ves can - tu lae - tan - tur a -
? ###
Bass

27
### r . # j r #
#
Vn 1 & . J J . .
### # #
Vn 2
& #
#
Va B ###
### j . # J J . j . m # j
V . J J J J #
J
T
me - no flo - re va - rio sunt pra - ta de - co - ra ma - tu - ti - ni dum stil - lant
Bass
? ### #
441
Dum refulget
31
###
Vn 1
&
###
Vn 2 & # #

Va B ###
### #

V

T

? ###
hu - mo - - - - - - - - - - - -
Bass
34
###
Vn 1 &
###
Vn 2
& # #

Va B ###
### # #
V

T
? ###
- - - - - - - - - - - - - -
Bass
442
Dum refulget
37
# # # j m . # m . j
m .

m .
& . . .
. J#
J J
Vn 1
# # # j m . # m . j
m .
m .
Vn 2 & J . . .
. J# J
Va B ### #
# # # j m . # m . j
m .

m .

T
V J .
. . . # J J
- - - - - - - - - - - - - -
Bass
? ### #
### j . . . . . . . .
J J
40
& . . . .# . #
m m
Vn 1
### j . . .
staccato
& . J J
m #
Vn 2
#
B ## # . j
Va
J .
### j
V . . . .# . #
m m
T
. .
- - - - - - - - res
? ### #
(
Bass J J
violoncelli soli
443
Dum refulget
# # # J. . . j . . . . . .
J J J . . j j .
43
Vn 1
& J J . J J . R
# # # . j j j . . . . . . j j j
& J . . . J J J .
Vn 2
.( .)
j j
B # # # . j . . . j . j j j
J . J . J . .
).
Va
### .
j
.
T
V
. a. .- ves
. can - tu (simile) lae - tan - tur a - me - no

? # # # J J J j J J J J J j
Bass
47
### . . j
. #. .
.
j
& . . J
m
Vn 1
### j
Vn 2
& # # .
Va B ### #
### . j j j . #.
. . R . . R
j
V J
m
T
flo - re va - rio sunt pra - ta de - co - ra ma - tu - ti - ni dum
Bass
? ### #
(tutti)
444
Dum refulget
### j 3 3
(simile)
.
50 3
J J
3 3

3
Vn 1
&
### j
(simile)
j .
3
j 3
J
3 3 3 3
Vn 2 & # J

B ###
Va #
### j r r 3
j 3
J J
3 3 3

3
T
V
m

stil - lant hu - mo - - - - - - - - - - - -
Bass
? ###
#
52
# # # 3 # m m m m #
Vn 1 &
3 3
3
# # # 3 # m m m m #
Vn 2
&
3 3
Va B ###
# # # 3 # m m m m m #

T
V
3 3
- - 3 - - - - - - - - - - res stil - lant hu -

Bass
? ###
445
Dum refulget
###
j
. j m . m .
J . #
55
Vn 1
& J
f j
. j m . m .
### #

J J . #
Vn 2 &
(f)
#
J # J
j #
Va B ##
###
T
V
mo
m- res

Bass
? ### # #
### #
# # . #
58
&
. . .
Vn 1
### #
& # .
. #. #.
Vn 2
Va B ###
###
T
V
? ###
Bass
446
Dum refulget
60
### j . J .
Vn 1
& J
p
# # # j . J .
Vn 2 & J
p
#
Va B ## #
### J J j .
r r
.
j
J . j
T
V J J J RR
Dum re - ful - get in coe - lo se - re - no in coe - lo se - re - no ru - bi -

? ### #

Bass
64
###
Vn 1 &
###
Vn 2
&

Va B ###
### j j
T
V J
J
J J
cun - da diei ma - ter Au - ro - ra ma - - - - - - ter Au -
Bass
? ###
447
Dum refulget
### m . # j

67
Vn 1
& . . . J

m
###
. #
j

&
. . . J
Vn 2

Va B ### . J

###
. m . # J
j
j
T
V J J
J
ro - ra A - ves can - tu lae - tan - tur a - me - no
? ###
Bass
. J
70
# # # m . #
Vn 1 & J n
# # # m . #
Vn 2
& J

Va B ### . J #
# # # m . # J j j
j
j
T
V J J n J J J J J
flo - re va - rio sunt pra - ta de - co - ra ma - tu - ti - ni dum stil - lant hu -

Bass
? ### . J #
448
Dum refulget
73
### # n # n j
j
Vn 1
& J J J J J J
### ten.
w
Vn 2 &
w
Va B ### # # #
### # n # n j
j J
T
V J J J J J
- mo - - - - - - - - - - - - - -
? ### #
Bass
# #
77
### #
Vn 1 &
###
Vn 2
&

Va B ###
### #
T
V #
- - - - - - - - - - - - - -
Bass
? ###
449
Dum refulget
80
###
Vn 1
&
f p
###
Vn 2 &

f p
#
B ##
Va
###

V
T

- - - - - - - - - - - - - -
Bass
? ###
83
# # # m . m . m . m .
& J J
J J m m
Vn 1
### j j j j j j
Vn 2
& j j

#
B # # J J J J J J J J #
Va
# # # m . m . m . m .
V J J
J J m m
T

- - - - - - - - - - - - - -

Bass
? # # # J J J J J J J J #
450
Dum refulget
.
###

. . .
86
& J

Vn 1
f p f .
### .
& . .

Vn 2
(f) (p) f

B ###
j J

Va
###
V
T
.
- - - - - - res hu - mo - - - - res
? ### j
J
Bass

89
# # # . . . . . . . . . . m
Vn 1 &
# # # . . . . . . . . . . m
Vn 2
&

Va B ### #
### m
J
j
. #
T
V J J
a - ves can - tu lae - tan - tur a - me - no
? ###

Bass

451
Dum refulget
92
### . . . . . . . . . j . . . . . . .
Vn 1
& . J J J J . JJ
### . . . . . . . . j ( J. ) j . . . . . . . .
Vn 2 & J J . J J
. . . .
B ###
(simile)
JJJJ J j JJ

Va
###
j
j j
J J . R

T
V
. . . . )
sunt pra - ta flo - re va - ri - o
? ###
(
J J J j (simile)
J J
Bass
J J
96
# # # . . J J
3 3
Vn 1 & J J J
3 3 3 3
3 3
# # # j . J J
3 3
Vn 2
& . J J
3 3 3 3

3 3

B # # # J J J j

Va
### . 3

J R
3
T
V J J J J
3 3 3 3
3 3
ma - tu - ti - ni dum stil - lant
? ### j

Bass
J J J
452
Dum refulget
99
###
Vn 1
&
f
3 3 3 3
###
Vn 2 &
(f)
3 3 3 3
B ###

Va
# # # m
T
V
3 3 3 3
hu - mo -
? ###

Bass
# # # U j . m . m .
102
Vn 1 & J J
# # # U j . m . m .
Vn 2
& J J

B ###
U
w J J
J
Va
U
### .
U
V
J J
T
res stil - lant hu - mo - - res.

U
? ### w
Bass

453
Dum refulget
. .
106
# # # . . . . . . j . . . . . jm
Vn 1
& R
. p . f
# # # . . . . . . j . . . . . jm
Vn 2 & R
p f
#
B ##

Va

###
T
V
? ###

Bass
. m
109
# # # . . # . . . . m

Vn 1 &
. m
# # # . . # . . . .

Vn 2
&

Va B ###
###
T
V
? ###

Bass
454
Dum refulget
111
### . U j j
& .
Vn 1
. .

p
### . U
Vn 2 &
. . . j j

(p)
B ### ( U )

Va
(p)
###
T
V
Den - se
U
Bass
? ###
(p)
### j
114
j j j j j j j
Vn 1 & n n n
### j j j
Vn 2
& j j j j j

B ###

Va
### j n j J . j
V
j
n. J
. J J
T

noc - tis ho - ro - re ho - ro - re fu - ga - to ho - ro - re fu -
? ###
Bass

455
Dum refulget
### j j . . . n . . . . .
118
Vn 1
&
### j . .
Vn 2 & j . . n . . .

B ### n
Va
n
### . . n
T
V . . . . . . .
ga - to ri - dent a - rua ri - dent a - rua ri - dent
? ### n
Bass
n

### J n n
J
122
J
Vn 1 & n.
. . J
### n
& .
J J J J
. .
Vn 2
.

B ###

Va
###
T
V n . J J w w w
a - rua lae - tan - tur pas - to - - - - - - - - - -
Bass
? ###

456
Dum refulget
126
### j j . . . .
Vn 1
& J n
n #
f p f p
### j j j
. .
#
. .

& n

Vn 2
f p f p
B ### J
n
Va J J n J
### . . j . . j r
# . # .
V R
T

- - res ri - dent a - ru - a ri - dent a - ru - a
? ### J J
J J
Bass
### n n
J J J
130
J J J
Vn 1 & J
### J J J # J J J #
Vn 2
& J
Va B ### w w w w
### # j w w
T
V J
lae - tan - tur pas - to - - - - - -
Bass
? ### w w w w
457
Dum refulget
.
# # # (. .) # U . . . . . j

135
Vn 1
& J

.
### U . . . . . j
Vn 2 & J . .

# U J
B ###

Va

### m
T
V # J J
U
res lae - tan - - - tur pas - to - res.
? ### #
j
Bass
. . m
139
# # # . . . . . jm . . . # . . . .
Vn 1 &
p . f . . m
# # # . . . . . jm . . .
#. . .
Vn 2
&
p f
#
B ##
J
Va
(p) (f)
###
T
V
? ### j
Bass

p f
458
Dum refulget
# # # m alla parte
141
Vn 1
& . . . .
3

# # # m
. .
Vn 2 & . .
3

Va B ###
###
T
V
? ###

Bass
459
Dum refulget
[II. Recitative]
.# . . .
Andante
Violin 1 &c R R n
. . R . a .
Violin 2 &c R
Viola B c # R . . # R . .
j j j j j
Tenor Vc J J #
Dul - cis - si - me mi De - us!
? c # . . # R . .
Bass R
.
R . n
3
Vn 1
&
p
Vn 2 & R . . #
(p)
r
Va B # . .
j r j j rr
V
R J J RR J
T
a - ni - mae me - ae so - la pax ve - rum gau - di - um ah
Bass
? # r . .
460
Dum refulget
w w
R
6
Vn 1
&
Vn 2 &w
w R
Va Bw w
r j
T
V J J R R # J R R J J J R R J J JR R J
que - ro in cul - pae noc - te a - ni - maIer - ron - doIa Te, nun - quam la - bo - ret i - mo co - mis - sa
?w #
Bass

. n
& # J
9
Vn 1
J . . .
(f)
j
Vn 2
j
& # . n
. . .
(f)
B j n

Va
(f)
#
T
V J J J R R J J
su - a do - let de - plo - ret
?
Bass

#
J
f
461
Dum refulget
. . . j j
11 3 3
Vn 1
& # .
p
. j j
. . .
3 3
Vn 2 &
(p)
Va B
(p)
j
V J J J J J
T
J RR R J J J
con - ten-ta, et fe-lix e-ro siIAu - ro- ra lu - mi- no -sa
Bass
?
p

15
& #
J
Vn 1
3
3
j

3
Vn 2
& #
3
B
Va
j j j r r j
J j r # J R j
T
V # R J R R J R
ful - geat sem - per in me gra - tiae cae - les - tis at - queIa cul - pis meum cor sol - lat in fes - tis.
?
Bass
# #
462
Dum refulget
[III. Aria]
Andantino
# c . . r . . j j . . . r . .
Violin 1 &
# . r . . r .
Violin 2 & c . . j j .
.
.

B # c j

Viola
#
Tenor V c
?# c
Bass

4
# j j j
. . . r m
& . . .
J
Vn 1
mmmm (mmmm ) mmm

# r . . . j
& j j
. . .
Vn 2
mmmm m
mmmm ( m m m )
B#
j

Va
#
T
V

?#
Bass

463
Dum refulget
# . .
. #. . . .
7 3 3
&
3 3
J
Vn 1
p 3 f
3 3
# . . . #. . n. .
&
3 3
J
Vn 2
p f
3 3
#
Va B
#
T
V
?#
Bass
10
# . . m . . . m j
Vn 1 & . . . . .
m m
p f
6 3 3 3
# . . m . . m j
Vn 2
& . . . . . .
m m
p f
6 3 3 3
B#
Va
(p) (f)
#
T
V

Bass
?#
p f
464
Dum refulget
13
#
j
. j j . .
j
. j j
Vn 1
& . J J

#
& . . . .
j j
j j . j j

Vn 2
J J

B#

Va
# . j . j
V
j j
j j
. J .

T
. J J
A - tri vul - tus in pal - lo - rae cor - dis que - ru - li in me -
?#
Bass

17
# . . .
Vn 1 & . . . j
mmmm mmmm
# . . .
j
( )
Vn 2
& .
. .
mmmm mmmm
B#
Va

# r r j#
T
V
3
3
ro - - - - - - - re ha - bes sig - num mei do -
?#

Bass

465
Dum refulget
19
# #m #
Vn 1
& J J
&
#
# m # m
Vn 2
J J J
#
B# #

Va
# # r j j r r j ja n. 3 3 j m .
V J . . J #
R m
T
lo - ris dul - cis a - mor Je - su ca - re Je - su ca - - - - -
Bass
?# # #

22
#
Vn 1 &
# #
Vn 2
&

Va B# # #
# j # m .
T
V # n # j
n .
- - - - -3 - - - - - - - - - -
?#
Bass # #
466
Dum refulget
b .
# n n
24
Vn 1
&
F p b .
3 3 3 3 3
# # n
n
Vn 2 &
F p
3 3 3 3 3

Va B# # #
# . n . r j
T
V # . n.
#
- - re ha - - - bes sig - num
#
?#
Bass

# n b . . .
#. . . # .
n
26
Vn 1 &
3
# n b .
3 3 3
. .
Vn 2
& n #. . . # .
3
3 3 3

Va B# # # J
# . n j . r j #. . .
V J n. #. . . R
R
T
#
me - i do - lo - ris dul - - - cis a - mor Je - su
?# #
Bass
J
467
Dum refulget
28
# #
Vn 1
&
f
3 3
Vn 2
#
& #
f
3 3
#
Va B#

# m
V #

T

m
#
ca - - - - - - - - - - - re
?#
Bass

# # 3 m j
30
.
. j
3
Vn 1 &
.
p
3
3
# # 3
m j
# j
3
Vn 2
& . .
.
(p)
3
B#
J #
J
Va
# j
T
V . . j
A - tri vul - tus in pal -
?# #

Bass
468
Dum refulget
33
# . . m j j
Vn 1
& j .
. . m m m m
mmmm
# . . .
Vn 2 & j j . .
(mmmm) (m m m m )
. .

Va B # J
# . . j j
T
V . .
. .
lo - re cor - dis quae - ru - li in me - ro - - - re
?#
Bass
J
#
& . j #. . . .
36
Vn 1
# J
n
Vn 2
& j J
.
#
B# j n #
Va
J J
# n. . .
# . . . . J J
r
V J #. J J
J
T
ha - bes sig - num me - i do - lo - ris dul - - - cis a - mor Je -
?# j n # j
j
Bass

469
Dum refulget
# . .
.
39
& # . . . . .
m
Vn 1
# n j . . .
Vn 2 & .
#
Va B # J
# K m
R . r # # #
j
T
V # . . . . J J
JJ J
- - - su ca - re ca - re ca - re Je - su ca - - - - -
Bass
?#
42
#
Vn 1 &
#
Vn 2
&
Va B#
# r # m r m . . J . . J
V
m m m -m -
T
- - - - - - - - - - - - -
?#
Bass

470
Dum refulget
# # N. .
. .
45 3
b
3
Vn 1
&
f 3
# j . . . j
3
.
Vn 2 & b
f

B# #

Va
# # N. . . .
V . . r j . .
. m

m m
T
- - - - - - re Je - su ca - - - - re
Bass
?# #

# b b . b .
b . . # . .
48 3 3
Vn 1 &
p f p f
3 3
# b b . b . . .
b
3 3
Vn 2
& . .
p f p (f)
3 3
B# b
Va

# b j #
3
b . . Jj
b .
3
j
T
V .

3
ha - bes sig - num me - - i me - i do -
?# b
Bass

471
Dum refulget
# U . . . n . . .
50
Vn 1
& . .
p
Vn 2 &
# ( ) U
. . . n .
. .
. .
p
U
Va B#
f p
# m # U n R . J
3
T
V
lo - ris dul - -3 - cis a - mor
U
Bass
?#
f p
52
# . . . N . . . .
U
Vn 1 & . .
. N . f .
3 3
3 3
# .
. . . U
Vn 2
& . .
f
3 3
3 3
U
Va B#
U
#
.
n
V . .
m
T
3
Je - su ca 3 - 3- -3 - - - - - - - -
?# U
Bass
472
Dum refulget
# . . m
54 3
#
3
& .

m
Vn 1
3
3 3
#
3
. . m
#
3
& .

m
Vn 2
3
3 3
J
Va B#
#U
T
V
re.
?#
Bass

# . . . . U
. . .
38
56
Vn 1 & .

p. f
3 3 3
# . . . . . . U
38
Vn 2
& .

p f
3 3 3
Va B# J J U 38
# 38
T
V
U
?# 38
Bass

473
Dum refulget
# 3 n J
59
Vn 1
& 8 J J J
# 3 J
Vn 2 & 8 J J J
B # 38 n j b
Va
J J J
# j j n J
T
V 38 J J J J J J J J J J J J
J
Pec - tus me - cum ah que - roIin - flam - ma a - que - roIin - flam - ma cu - pioIar -
? # 3 J n j b
Bass
8 J J J
66
# n . . n J n
Vn 1 & J
p f
# . f n n
Vn 2
& . J
(p)
. f
Va B# #.
# n
# j
T
V J J J
do - re Di - va flam - ma Te - que sem - per ve - reIa - ma - re
Bass
? # . #.
f p
474
Dum refulget
73
# J n . n .
& J
J J
Vn 1
f p
# J j j j .
Vn 2 & #
J J
f (p)

Va B# J J J
n J
#
# j n n n

T
V J
Te - que sem - per ve - reIa - ma - - - - - - - - - re
Bass
? # J
J

J
n
J
f p
81
# n jm j
Vn 1 & J R R
R R c
# f

R j
j
& J c
R R
R
Vn 2
(f) U
B# n c
Va
# # .
f U
# n U .
T
V J
c
U
a - ma - re ve - re a - ma - re.
? # n c
Bass
# # .
f
475
Dum refulget
88
# c . #. . . . j .
. .
Vn 1
&
6
# c . #. . n. . .
6
& j . .
Vn 2

Va B# c
J
J
#
T
V c
?# c

Bass
# . . .
alla parte
. .
90
Vn 1 & . .
m
p f p
3 3
6 3
# . .
& . . . . .
Vn 2

m
p f (p)
3 3
6 3
B#
Va
#
T
V . J

A - tri

?#

Bass
476
Dum refulget
[IV. Alleluia]
Presto
### 2 j
J
r r
Violin 1 & 4

p f p
#
# 2 J
r r
Violin 2 & # 4 j

f .
# # . . .
.
Viola B # 42 .
### 2
Tenor V 4
. . .
Bass
? # # # 42 . . .
### j J
8
Vn 1 & J
f
###
Vn 2 & j
J J

. . . . . . . . .
Va B ## # .
###
T
V
? ### . . . . . . . . .
Bass .
477
Dum refulget
### J
15
Vn 1
& J J
p f p
###
J
& J J
Vn 2
p. . . f p
.
B # # # .

Va .
p
###
r

T
V
Al - le - lu - ia
? # # # . . . .
Bass
. .
(p)
23
### j
j
Vn 1 &

p
###
j

Vn 2
& j

p

Va B ###
###
j j
T
V

al - le - lu - ia al - - - - -
? ###
Bass
478
Dum refulget
31
# # # j . . # . . . . # . .
( )

Vn 1
&
# # # j . . . . . .
Vn 2 & . .

B ###

Va #
### j #
V #
T
- - - - - - - - - - - - - -
? ###
Bass #
39
### #
Vn 1 &
m
###
Vn 2
& #
# #
Va B ###

###
j # J # J #
j r
T
V
m
le - lu - ia al - - - - - - - - - - - -
? ### # #
Bass
479
Dum refulget
### j j
J

46
& J .
#
Vn 1
m
f p
### j j
Vn 2 & # J # J #
m
(f) (p)
Va B ### #

### j
J
j
J
T
V # .
m
- - lu -
#
ia al - le - lu - ia al - le - lu - ia
? ### #
Bass
. .
54
# # # # .
Vn 1 &

. . p
# # # # .
Vn 2
&

p
B ### #

Va
###
T
V
# #
al - le -

Bass
? ###
480
Dum refulget
62
###
j r
Vn 1
&

###

r
&

Vn 2

B ###

Va
###
T
V

lu - ia al - le - lu - ia [al - - - -
? ###
Bass
### j

70
Vn 1 & J
### j J
Vn 2
&
Va B ### #
### j
V
J
T

- - - - - - - le - lu - ia]
? ### #
Bass
481
Dum refulget
77
# # # J j
Vn 1
& J J J
# # # J j
Vn 2 & J J J

Va B ###
### J J j J .
T
V J
m
al - le - lu - ia al - le - lu - ia al - le -
? ###
Bass

84
# # # J . m
Vn 1 & J
# # # J
Vn 2
& J

Va B ###
### j
. m
T
V J J
lu - ia al - le - lu - ia al - le - lu -
? ###

Bass
482
Dum refulget

###
90
& .
Vn 1

###
Vn 2 &
B ###

Va
###
T
V .
ia al - le - lu - ia al - le - lu - ia - al - le - lu -
? ###

Bass
98
###
&
Vn 1

###
&
Vn 2

Va B ###
###
T
V
ia.
? ###
Bass

483
[I. Aria]
Allegro

Violin 1
12
& b 8 . . . J . .

Violin 2
12
& b 8 . . . J . .
B b 12 . . . . . . . . . . .
(simile)
.
Viola 8 . . . . . . . .
Soprano & b 12
8
. . . . . . . . . . . . . . . .
.
? b 12
(simile)
Bass 8 . . .

. . J . J
4
Vn 1 & b . . .

Vn 2 & b . . . . . J . J

B b . . . . . . . . . . . . . .
Va
.
S
&b
. .
? b . . . . . . . . . . .
. .
Bass
484
8
. .
& b . .
Vn 1
.
Vn 2 &b
Va Bb
S &b
? b . J . . . . . . . .
Bass J J
11
. . .
Vn 1
&b .
Vn 2 &b
Bb
Va

S &b
? b . . . . . . . .
Bass . . . .
485

. . . .
14
Vn 1
& b .
. . .
&b
.
Vn 2

Va Bb . . . . . . J J
S &b
?b . . . . .
. . . J J
Bass
. .
17
.
Vn 1
&b . .
b . . .
Vn 2 &
B b . . . J J . .
Va
. J .
S &b
? b . . . J J . .
Bass
. J .
486

20
j . .
Vn 1
&b J . .

j . .
Vn 2 &b J . .
. . J J J
Va B b . . . . .
S &b
? b . . . . . . . J
Bass J J
23
.
Vn 1
&b . .
p
b . . .
Vn 2 &
B b . . . J J . .
Va
. J .
p
S &b
? b . . . J J . .
Bass
. J .
p
487

26

J .
&b

Vn 1
J
f
.
Vn 2 &b
J J
. . . .
Va B b . . . .
.
. . .
S &b
? b . . . . . . . .
Bass
. . . .
f
29

Vn 1
&b . . . .
p f p

Vn 2 &b . . . .
p f p
. j . . . . j
Va Bb . . . .
.
S &b
? b . j . j
Bass
. . . .
. . .
.
488

32
&b j j .
.. .
Vn 1
. .
f
&b j j .
.. .
Vn 2
f . .
B b . .
Va .
. . . . . .
S &b
? b . .
Bass . . . . . .
.
35
. J . .
Vn 1
& b . .
p
j .
Vn 2
& b . . . J .
. . . .
Va B b . . . . . . . .
j J j . . j
S & b . . .
Ec - ce vo - lan - tem vi - deo sag - gi - tam vi - deo sag -
? b . . . . .
Bass
. . . . . . .
489
J
38
& b . . . . .

Vn 1
& b . . . . J
.

Vn 2

J . . . . . .
Va Bb . J J . .
S & b . . . . j
. J j
gi - tam Au - dio cla - man - tem Je - sus of -
? b . . .
Bass
J J .
J
. . . . .
41
b .
& . . .

Vn 1
Vn 2
& b . . . .

. . . . J J J . . . .
Va Bb .
b . j . .
S & . . . J
fen - sam Je - sus of - fen - sam Ar - - - det i-
.
Bass
? b . . . . J
J .
J . . .
490

44
Vn 1
&b
Vn 2 &b
Va B b . . . . . . . . . . . .
j
S & b n J . . . .
J
n .
J
.
ra - ta fax con - tra me
Bass
? b . . . . . . . . . . . .
47

Vn 1
&b
Vn 2
& b n
. . . . . . . . . . . .
Va Bb
b . . . . nw.
S & J
ar - - det ar - - - det i - ra - - - - -
Bass
? b . . . . . . . . . . . .
491
. . . .
50
Vn 1
&b
Vn 2 & b n. . . .
. .
Va Bb . . . . . . . . . .

S & b n
. j
. n
- - - - - - - - - - - - - - -
Bass
? b . . . . . . . . . . . .
. . . . . . .
. . .
53
Vn 1
&b
. .
Vn 2
&b . . . .
Va B b n. . . . . . . . . . . .

&b
. j . .
S .
- - - - - - - - - - - - - - -
? b n. . . . . . . .
Bass
. . . .
492
. . . . . . . . . . . . . . . . .
n
56
Vn 1
& b
f
.
Vn 2 & b . . . . . . . . n
(f)
B b . . . . #. . . . . . . .
Va
. . n . . n . .
S &b
- - - - - - - - - - - - - - -
Bass
? b . . . . #. . . . . . . .
. . . . n
.
(simile)

59
& b

Vn 1
p f p
.
&
b
(.
. n . n . n
) (simile)
Vn 2

(p) (f) (p)
. . . . . . . . . . . .
Va Bb

n . n
S &b . .
- - - - - - - - - - - - - - -
Bass
? b . . . . . . . . . . . .
493

& b n. .
62
Vn 1
. . .
f p
Vn 2 & b . . n . . .
(f) (p)
. . .
Bb . . J
Va
. . J J
f p
j
S & b n. . . . n.
- - - ta au - dio cla -
? b . .
. . . J
Bass
. . J J
f p
.
65
Vn 1
& b . .
f (p)
n
Vn 2
& b n . . .
(f) (p)
Va B b . . . J J J . .
. .
f p
S & b . . . . n. . . .
man - tem Je - sus of - fen - sam
? b . . . J J . .
J
Bass
. .
f p
494
. n . n J J
68
Vn 1
& .
b J
f p
. n . n J J
Vn 2 & .
b J n
f p
B b . . . . . . . . . .
Va
. .
. n
. J n J J n .
S &b
ar - det i - ra - ta fax con - - - tra
? b . . . . . . . . . .
Bass
. .

n . n.
71
Vn 1
& b . n.
pf p

Vn 2
& b . n. n . n.
pf p
. . . . . . . . .
Va B b . . .
f p

S & b . . n . .
me con - tra con - tra me
? b . . . . . . . . . .
Bass
. .
f p
495
74

Vn 1
&b n J J
fp fp
b n
n
Vn 2 & J J
fp fp
. . .
Va Bb .
n . .
.
S & b .
con - tra con - tra me con - - tra
? b . . .
Bass
.
. .
77
Vn 1
& b . .
f p f
. . . n
Vn 2
& b .
(f) (p) (f)
. . .
Va B b . . . . .
.
. .
S & b . . . . . .
me con - tra me con - tra me
Bass
? b . . . . . . . .
f (p) (f) .
496
80

Vn 1
& b . . .

Vn 2 & b . . . n
. . . .
Va B b . J J J . . .
S &b
. .
? b . . . . #.
J J J
Bass

.
83
&b . .
Vn 1
J .
. p

&b . . .
Vn 2
J .
. (p)
. . n. .
Va B b . . . . . .
S &b . .
J
Ec - - - ce vo -
Bass
? b . . n. .
. . . . . .
497
j

86
Vn 1
&b J
. .
j
Vn 2 & b j . .
. .
B b . . . . . j . .
Va
.
. j j j
S &b . J . . .
lan - tem vi - de - o sag - gi - tam
. .
Bass
? b . . . . .
.
j . .
89
b . .
& . . .
.
Vn 1
f p f p
. .
b
& . . .

.
Vn 2
f p f p
J . . .
B b . . . J J .
Va
. .
b . .
.
S & . .
au - dio cla - man tem Je - sus of -
?b J
J . . .
. . . J .
.
Bass
498

92
& b . .

Vn 1

& b . .

Vn 2
. . . .
Va B b . J J J . . . .
. . b. . .
S & b . . .
fen - sam ar - - - det i - ra - - - - -
? b . . . . . . . . .
Bass
J J J
. .
&b

95
Vn 1
Vn 2
& b . .
. . . . . . . . .
Va Bb .
b b .
S & . J . .
- - - - - - - - - - - - - - -
Bass
? b . .
. . . . . . . .
499
.
98
Vn 1
& b .
Vn 2 & b . .
. . . . . . . . .
Va Bb .
b
& . .
.
S
- - - - - - - - - - - - - - -
Bass
? b . . . . . . . . . .
. . .
101
Vn 1
& b . . . . .
& b . . . . . . .
.
Vn 2
.
Bb . . . . . . .
Va
.
S & b . .
- - - - - - - - - - - - - - -
? b . . . . . . . .
.
Bass
500
. . . . . . . . . . .
104
Vn 1
& b . .
& b . . . . . .
. . . . .
.
Vn 2
.
. . . . . .
Va Bb . .

& b

S
- - - - - - - - - - - - - - -
. . .
? b . . . .
Bass
.
107
j
Vn 1
&b J J J
( )

j j
Vn 2
&b J J
. . . . . . . . .
Va Bb . . .

. . . J J J j . j
S & b . .
- - ta ar - de i - ra - ta fax con - - tra
. . . .
Bass
?b . . . . . .
. .
501
.
110
. .
Vn 1
&b
f p f
b . . .
Vn 2 &
(f) (p) (f)
. . J . . .
Bb . .
Va
. .
f p f
. .
b
& . . . . .
J
S
me au - dio cla - man - tem
? b . . . J . . . .
. .
Bass
f p f
113
. . . .
Vn 1
& b .
p f p
b . . . .
Vn 2
& .
(p) f p
. J . . . . .
Bb . . .
Va
.
p
. . . .
& b . .
J
S
Je - sus of - fen - sam ar - det i -
? b . J . . . . . . . .
.
Bass
502

j
116
&b J J
J . .
Vn 1

&b J j j .
J .
Vn 2
. . . . .
Va B b . . . .
. . .
.. j

j j .
S &b J J . . .
ra - - - ta fax con - - - tra me
? b . . . . . . .
Bass . . . . .
& b . .
119
Vn 1

f p f p
Vn 2
&b . .

f p f p
. . .
Bb . . . . . ..
.
Va
.
f p (f) (p)
&b . .

S

con - tra con - tra me con - tra con - tra
. . . .
? b . . . . . . .
Bass
.
f p (f) (p)
503
122
j
Vn 1
&b J J J
F f

b
&
J j j
J
Vn 2
j j
Bb J J J J j
Va
J . . . .
. f
poco f
. . w . .
S &b
me

? b J J J j j j
Bass
J J . . . .
poco f f
U .
.
125
Vn 1
& b . . .
U
. . . .
Vn 2
& b .
U . . J J
B b w. . J
Va
.
U U
j .
S & b . . .
con - tra me.
?b U
w. . . . J J J
.
Bass
504

128
j
j .
&b

Vn 1

j
&b

j .

Vn 2
. .
Va Bb . . . . . . .
S &b
? b . . . . . . .
.
.
Bass

131
Vn 1
& b . .

. .
p f p
& b . .
Vn 2
. .
p f p
. .
Va B b . . . . . . . .
(p) f p
S &b
? b . . .
Bass . . . . . . .
p f p
505
U
. .

134
&b j j
.. .
Vn 1
. .
f
U
Vn 2 &b j j
.. . . .
. .
f
. . U
Bb . . . . .
Va
. . . .
f
S &b
. . . U
? b . . . .
. . . .
Bass
#6
f
&b

137
Vn 1
p
Vn 2
&b
(p)
. . . . . . . .
Bb . . .
Va
.
&b
. . . . . .
S
J J
Cor in ti - mo - re mi - - - se - rum
. . . . . . . . . . .
?b
Bass
.
506

140
Vn 1
&b
Vn 2 &b
. .
Va B b . . . . . . #. . . .
. .
S & b . . . . . .
lan - guet sed cum do - lo - - - re
? b . . .
Bass . . . . . #. . . .
. . . . #. .
& b #
143
Vn 1 . . .
f p
. . . n.
Vn 2
& b . . . . .
f (p)
. . . .
Bb . . . . #. .
.
Va
. . . n.
S & b . . . . .
man - - - net in spe ma - - - - net in
? b . . . .
Bass . . . . #. .
.
507

146
Vn 1
& b n n
Vn 2 & b # #
Va Bb . . . . . . . . . . . .
S & b #w. n. . . .
spe man - - - - - net
Bass
?b . . . . . . . . . . . .
& b n
149
Vn 1
Vn 2
& b n #
B b #. . . . . . . . .
Va
. . .
. j n . j n j n . j # j
S &b J J J J
ma - - - - - - - - - - - - - -
?b . . . .
Bass
#. . . . . . . .
508
. . . . .
.
152
Vn 1 b
& . . . .
f
. . . .
Vn 2 b
& . . . . .
f
Va B b . . . . w. . .
f
. . . j
S b
& . n . . . .

- - - - - - net in spe.
? b . . . . w. . . . .
Bass
. .
f

156

. .
Vn 1
& b .
Vn 2
&b
Va Bb
S &b
Bass
? b . . . . . . . . . . . .
509

159
. .
& b

J J
Vn 1

.
b
& J J

Vn 2
Bb . . . . . .
Va
.
S &b
?b . . . .
Bass . . . . . .
.. .. ..
.
162 alla parte
&b
Vn 1
J J . . .
& b .. .. ..
.
Vn 2
J J . . .
B b . .
Va
. . . .
S &b
?b .
. . . . .
Bass
510
[II. Recitative]
Violin 1 &c
Violin 2 &c
Viola Bc
j j j j j j j
Soprano & c # J . R J b J J J J # J J
O quis me - tus hor - res - co mea de - lic - ta quae pe - na vel - lem ex -
Bass
? c #w w
Andante
j j j j
4
Vn 1 & # #
f p f
& j j j j
#
Vn 2
(f) (p) (f)

B #
#
Va
(f) p f
jj j r j j j r
S & J J J R # j . j j
i - re oh De - us sed re - ti - net no - len - tem mea ca - te - na
Bass
? w # #
(f) p f
511
j j
8
Vn 1
& #
p f
Vn 2 & # j j

(p) (f)
Va B # #
p (f)
& j # j j j j j r r j j j j
S
# # #
oh som - num te - ne - bro - sum a - ni - maeIin - tel - li - gen - tis
Bass
? # #
p (f)
j j
11
Vn 1
& #
(p) f (p) f
Vn 2
& # j j #

(p) (f) (p) (f)
Va B # # #
(p) f p (f)
j j j j
& . J J # j # j j # j j j
J J
S
oh quis la - que - us A - ver - ni quae frau - des rei ser - pen - tis
Bass
? # # #
(p) f p (f)
512
# .
#
15
Vn 1
& # .
3
f
3
#.
# #
3
Vn 2 & # .
(f) 3
Va B . .
(f)
r
& J J j j j # j
j
j r r j

R
S
Tum me - cum be - ne Je - sum ca - put su - per - bum de -
Bass
? . .
f
.

17
Vn 1
&
Vn 2
& .
Va B .
j j
S & J R R
J

R R J

J

J
b
R R J

J
pri - me con - tun - de bra - chium ad me Di - vi - num haud mo - raIex -
Bass
?
513
.
& .b . .
19
.
Vn 1
.b
& . . . .
. .

Vn 2
b
B . . b . . . b
Va
. b
j j j j r j j j j j
j j b j j j
S & R b
ten - de sur - gam hoc de la - cu pro - fun - do ab um - bra mor - tis re -
? . . . b . . . b b

Bass
&

22
Vn 1 J J
j j
Vn 2
& b b

Va B J J
j j j r j j

S & b b J j b j n b j j
J
dito ad lu - cem ge - ne - ro - sa et for - tis
Bass
? b J n J b
514
[III. Aria]
Andantino
b 3 . . j r
j
.
Violin 1 & b 4 . J . J
p
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517
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520
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Va B bb n
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522
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524
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bb
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525
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102
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B bb . . j
Va
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Bass
526
[IV. Alleluja]
[Alle]gro [ass]ai
m m
& b 42
3
Vn 1

f p
3 3 3 3
3 3 3
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3
Vn 2 & 4
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3 3 3 3
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Va B b 42

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3
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&
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Va Bb .
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527
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Vn 2
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Va Bb

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Bass

f

23
Vn 1
& b n
3 3 3 3 3 3 3 3
3 3 3
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n
Vn 2
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3 3 3 3 3 3 3 3
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S & b
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528
30
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&
3 3 3
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m
b
3 3
Vn 2 &
3 3 3
3 3 3 3 3

Va Bb
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3
S &
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Bass
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Va Bb n .
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3
S &
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Bass
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529
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46
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Vn 1
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Va Bb

S &b J J J J
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r r

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&b
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r r
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&b
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Va Bb

& b . .
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3

le - lu - ja al - le - lu - ja al - le - lu - ja
Bass
?b
530

r

58
&b
3
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r

&b
3
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Va Bb
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3

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3 3

U
B b . . . .
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S &b
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Bass
531
Non torrentes
[I. Aria]
. j j
Violin 1 &b c . . . .
m
. j j
Violin 2 &b c . . . .
Viola Bb c
Soprano &b c
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Bass b
(simile)
n

5
Vn 1
&b
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n
3 3
(simile)

3
Vn 2 &b

3 3 3 3 3 3
3

Va Bb
S
&b

Bass
?
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532
Non torrentes

9
n n
&b
3
Vn 1

3 3
3

&b n n
3
Vn 2

3 3
3
B b n
Va
n
S
&b
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Bass
b n

&b

12
Vn 1

Vn 2 &b
Va Bb
S &b
Bass
?b
533
Non torrentes

15
&b . . .

Vn 1
p

Vn 2
&b . . . w
. . .
Va Bb
S
&b
. . .
Bass
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Vn 1
& b
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Bb
Va

S &b
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534
Non torrentes
.
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&b

Vn 1
&b w . . . . . .
Vn 2

Bb
Va

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Bass
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&b
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f
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. . . .
Va Bb
S &b
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Bass

f tutti
535
Non torrentes
. j

32
&b . . . j
Vn 1
.
p m
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Vn 2
&b
. . . . j

p m

Bb
Va
b . j j j j j
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Non tor - ren - tes fu - ri - bun - di qui pre - ci - pi - unt
a
Bass
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3 3
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536
Non torrentes

41
Vn 1 & b n
p f p

Vn 2
& b n
p f p
n
Va Bb n n
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& b . J . . j
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non le - o - nes si - ti - bun - di si - ti bun - di
Bass
b n n
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Vn 1
& b b. b . b . b .
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&b
w w w w
Vn 2
Bb w w b
bw
Va

S & b b. . b . b . b
tor - voIas - pec - - - tu ter - - rent me
Bass
? b b b
537
Non torrentes
# m
n
49 3
Vn 1 & b bw

f 3
3 p
6

&b w n #
Vn 2
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(f)
3
Bb n
Va
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Bass
b
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Vn 1
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6
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&b

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Vn 2
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Va Bb
m
& b n n
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S

b
6
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- - - - - - - - - - - - - - -
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Bass
538
Non torrentes
m

57
Vn 1 &b

&b b n n

Vn 2
Va B b # #
n
m n n m
S
&b n
6
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Bass
b n
m m m m
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61
& b n

Vn 1
f p
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&b

Vn 2
w
f (p)

Va Bb n w
m (p)
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S &
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- - - - - - - tu ter - rent me
?b
Bass
n
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539
Non torrentes
66
& b n . .
j
Vn 1
m . . . . w
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Vn 2
& b . . . . . . n w
n
Bb w n
Va
w

&b n.
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S
tor - - - vo as - pec - tu ter - rent ter - rent me
?
Bass
b n
70
n . .
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Vn 1
&b
. . . . n
Vn 2 &b w . . . . . . n
Bb w w n
Va

&b n.

S
tor - - - vo as - pec - tu ter - rent ter - rent
Bass
?b n
540
Non torrentes
74
. m .
j

Vn 1 &b
f p f j p
b . n .
n
Vn 2
&
f (p) f (p)

Va Bb w
p f p
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S
& b
me ter - rent ter - rent me ter - rent ter - rent
?
Bass
b
p f p
n . m .
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b

&

Vn 1
f
b . .
Vn 2 &
(f) .
.
Va Bb

S &b
me
. ter - rent me . ter - rent me
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Bass
541
Non torrentes
. . . .
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82

&b n

Vn 1
. . . . n . .
Vn 2
&b

Va Bb .
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&b
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Bass
b n

86
Vn 1
& b n
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& b n

Vn 2
(p) (F) (f)

n n
Va Bb n
(p) (F) (f)
&b . j j n

S
n
Non tor - ren - tes fu - ri - bun - di qui pre - ci - pi - unt a
Bass
?b n n
(p) F (f)
542
Non torrentes
n

.
91
&b n . n. .
3

3
Vn 1
w
f
3 3
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&b .
n . n. .
3

3
Vn 2
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3 3
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&b
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mor - te a mor - te a mor - te Non le -
Bass
b #
96
#
3

Vn 1
& b

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3
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#
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w
Vn 2

Va B b # #
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S & b J J . .
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o - nes si - ti - bun - di si - ti - bun - di Non le - o - nes si - ti -
? b # #
Bass
543
Non torrentes
101 3

Vn 1 & b . b b .
3
p
3

Vn 2
& b w w
3
(p)
Bb bw
Va
w
(p)
& b .
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bun - di si - ti - bun - di tor - - voIas - pec - - - tu
?
Bass
b b
p

105
Vn 1
& b b . b . bw

Vn 2 &b w w w
Va Bb w b w
.
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ter - - - rent non ter - rent me
Bass
? b b n
544
Non torrentes
. . . . .
.
109
&b . . .

Vn 1

. . .
&b . . .
. . .

Vn 2

Va Bb
.
&b
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S
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6
tor - voIas - pec - - - - - - - - - - - -
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Bass
b
. . .
114
& b
Vn 1
(simile)

& b . . .
Vn 2

(simile)

Va Bb
S &b .

6
m
- - - - - - - - - - - - - - -
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Bass
545
Non torrentes
.
&b .
119

Vn 1

& b . .

Vn 2

Va Bb
. m
S
&b
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- - - - - - - 6 - - - - - - - -
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Bass
b

124
Vn 1
&b
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6

Vn 2 &b
(f)
6

Va Bb
f
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- - - - - - - - tu ter - rent me tor - voIas -
Bass
?b
f
546
Non torrentes

128

Vn 1 &b
p f p f p f

Vn 2
&b
(p) (f) (p) (f) (p) (f)

Va Bb
p f p f p f

& b

S
pec - tu ter - rent
ter - rentter - rent me
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Bass
b
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m . b

132
Vn 1
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Bb J J
Va

m . m
S &b
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ter - me
rent ter - rent ter - - - rent me

Bass
547
Non torrentes
136
bw w w w w w
Vn 1 &b
f p f p f p
w w w
Vn 2
&b nw bw w
(f) (p) (f) (p) (f) (p)
b w
Va Bb w w w w
(f) (p) (f) (p) (f) (p)
b . n. . n .
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Non tor - ren - tes fu - ri - bun - di non le - o - nes
? nw w bw w w
Bass
b nw
f p f p f p
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142
& b nw

Vn 1
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Vn 2 &b w w .
(f) (p)
Va B b b w w

(f) (p)

. .
S & b n.
si - ti - bun - di
Bass
? b bw
f (p)
548
Non torrentes
. . . .
147
j
& b
w

Vn 1 j

& b . . . . w w
Vn 2

j
Bb w
Va

S
&b
w
tor - voIas - pec - tu ter - rent me
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Bass
b
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. .

Vn 1
& b
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Vn 2 & b . . .
Bb w
Va

S &b
tor - voIas - pec - tu ter - rent
?b
Bass

549
Non torrentes
154

Vn 1 &b J J J J
f f

Vn 2
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(f) (f)
Va Bb
m
S
&b
ter - rent
me

ter - - - rent me
?
Bass
b
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157
Vn 1
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Vn 2 &b
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Bb U
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S &b .
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ter - - - rent me.
?b U
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Bass
550
Non torrentes

&b
161
Vn 1

Vn 2
&b

Va Bb
S
&b
?
Bass
b
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164
Vn 1
&b . . .
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Va Bb
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Bass
551
Non torrentes
168
.
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. . . .
Vn 1 &b

. . . . .
p f
. . .
&b w . .
. . . .

Vn 2

(p) (f)

Va Bb w w

(p) f
S
&b
Bass
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violoncelli soli tutti f
U 38 #
Andante
.
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& b .
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Vn 1
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Va Bb .
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38 # j
&b J
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JJ J
S
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Fi - deIa - man - ti et te quae - ren - ti in - ter
Bass
38 #
(p)
552
Non torrentes
. #
180
Vn 1 & b
&b j j J
Vn 2
. # . . #

j j
Va B b . j . . J
& b j jj
j . # j
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sl - vae al - tos her - o - res al - tos her - o - res cha - ri
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b
n. b # b
188
Vn 1
& b # . # #

b b J
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&
. . .
Vn 2
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Va Bb J
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# # J J # J J
#
sunt pae - nae do - lo - res pae - nae do - lo - res dul - ce est mo - ri dul - ce est
?b #
Bass J
553
Non torrentes
b. b . . . j j n. #
196
Vn 1 & b # . # .
j n. #
&b b .
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Vn 2
# . #
Bb J J

Va
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#
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Bass

[Allegro assai]
&b
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Vn 1 c

Vn 2 &b c
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Va Bb
.
S & b j
c
- -
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tiam pro te.
? b . .
Bass c
554
Non torrentes
208
Vn 1 &b

Vn 2
&b
Va Bb
S
&b
?
Bass
b
. . . .
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(alla parte)

211
& b
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. . .
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&b . .
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. . . .
Va Bb
S &b
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Bass
555
Non torrentes
[II. Recitative]
Violin 1 &c
Violin 2 &c
Viola Bc
j j
& c b b J rr j j j
Soprano
J J J J
Ah de sub - li - mi ver - ti - ce flo - ren - tis L - ba-ni o spon - se
Bass
?c w w
Vn 1 &
Vn 2 &
Va B
j j j j j j j j j
J R b R b
S
& J # J R R J J
re - di, ah re - di ac - cen - sut fer - vi - lis - si - ma flam - ma re - spi - ce cor in
Bass
? # w w
556
Non torrentes
b . . .
Andante

& b
7
. bw
. . b
Vn 1
.
b . . .
& b

Vn 2
. . b w
. .
Va B bw
& j jb j j b j r rb
J J
S
me Ri - vi ca - den - tes sl - ves an - no - sae fron - den -
Bass
? w
. b . . b b
b n J
10
Vn 1
& J
p
.
& b b . n . b b j
J
Vn 2
(p)
Va B b J b j
(p)
b j j j b b b . j
S & J R R J J b b b J J J J R J

J b
tes dici - teIaf - fec - tus me - os di - ci - te vo - ces di - lec - to pa - nas me - as nar -
Bass
? b J b J
(p)
557
Non torrentes
b b b

13
Vn 1 & b b b
f
b b
Vn 2
& b
(f)
Va B b b
(f)
n b b b b r
S
& J J J b J J J J J R
ra - te ad vo - ces spon - se can - di-de
? b
Bass b n
(f)
b
b
16
Vn 1
&
b
& b b

Vn 2
Va B
j j j b b j b
S & n j J J

spon - sa pen - det pen - det cor meum a te
Bass
? bw
558
Non torrentes
b.

19
Vn 1 & b. b b b.
p
b.
Vn 2
& . b . b
(p)
Va B bw w
w w
(p)
jb b
S
& b J J R R J J b
tu mea tu so - la u - ni - caIop - ta - ta spes.
w b
Bass
? w b
(p)

23
Vn 1
& b. b bw . b
p
& b .
bw b.A
Vn 2
(p)
Va B w w b
w w
(p)
jr r j
& b J J b b j b b b J
J
S
Re - deat Au - ro - ra si - de - raIhos - cu - rat nox, sem - per tu
Bass
?
b nw b
f p
559
Non torrentes
risoluto
27
b. b b b.
Vn 1 & bw w
b
Vn 2
& bw w b. b. b b
B w w b b
Va
b A j rb j j j j b j
& J R R J J b J b
R
S
se - des so - lus in cor - de me - o fi - do, et sin - ce - ro et so - loIa
Bass
? w w b
n
30
Vn 1
& .
p f
Vn 2 & n. b
(p) (f)
B b.
Va
(p) (f)
b b j j j
S & n J R R J
te pa - cem op - tan - do quae - ro.
Bass
? b
J
b
(p) f
560
Non torrentes
[III. Aria]
Andante
b . . . . m . j
& b 43 . .
m
Violin 1
p
b 3 . . . . . . m . j
b
& 4
m
Violin 2
p

Viola B b b 43
b 3
Soprano &b 4
? b 43
Bass b
. . . .
5
b . . m .
&b

m
Vn 1
f
b
&b . . . . . . m .
m
Vn 2
f

Va B bb
b
S &b
? bb
Bass

p
561
Non torrentes
m m
bb . n J b . . . . n J b . .
9
Vn 1 & R R . J
p
bb m . n J b . . . m . n J b . .
Vn 2
& R R . J
p
b
Va Bb b
dolce
b
S
&b
? b
Bass
b
r
bb . # . m m
r

14
Vn 1
& . . J
Fr

&b
b . . m . m .
Vn 2
J
F
. . . . b
Va B bb
b
S &b
(. . .)
? bb J

Bass
562
Non torrentes
r
bb . #
.
. m
19 r
Vn 1 &
F r f f
bb . . . m

Vn 2
&
F f f
. . . .
Va Bb b
b
S
&b
( )
(. . .)
? b
b

Bass
23
b m j . .
j
. . . .
& b .
Vn 1

p
b b m j j J
Vn 2 & .

p

Va B bb

b . . J J . . . .
j
&b
S
J J J J
Sic flo - res a - man - - - tes as sol - lis ful -
? bb

Bass
563
Non torrentes
b j
. . . . . J
& b . j . .
28

Vn 1
b
Vn 2
&b
.

B bb
Va

b b . r j . .
j
. . . . . J
S
& J J J J J J
go - res ad so - lis ful - go - - - res mo - ven - tur con - stan - tes ut
? b
Bass
b
bb . j jm j
n.
33

Vn 1
& J J
b j
Vn 2 &b J n
Va B bb
&b
b . j jm jj
J
S
J J n.
so - lis mo - ven - tur pro Ae - the - ra fax ut so - lis mo -
Bass
? bb
564
Non torrentes
38
b j j
n. b

&b
j
Vn 1 . J
b j
Vn 2
&b n
J

Va B bb
b j j j j .
& b . J #
S
n.
ven - tur pro Ae - - - the - ra fax
? b

Bass
b
b
&b
n
42
J
Vn 1
b
Vn 2 &b j

b
Va Bb
S
b . . n
& b a #. J n . . J j . n
Bass
? bb
565
Non torrentes
b j . n
. #
47
j
Vn 1 &b
j
. J .
m
F p
b j j
Vn 2
& b n . . . n
(F) (p)

Va Bb b b . j

(f)
b b j j j . # N r . n
& .
. J J J
S
m
? b
ut so - lis ut so - lis mo - ven - tur pro Ae - - - the - ra
Bass
b J
f
b j . n
& b . . #
52
Vn 1 . n
F f
b j
Vn 2 &b . .
(F) (f)

Va B bb b .
b j r
. n
& b . J J # j

S
J . n.

fax ut so - lis mo - ven - tur pro Ae - - - ter - ra
? bb

Bass
566
Non torrentes
57
b j n . j j n . j n
Vn 1 b
&
f p f p f
b b j j
j n

Vn 2
& j n

. n (. ) n
Va
b
Bb J J
f p f p f
b j n . j n . n j
b
&
j j
. .
S

m

fax ut so - lis pro Ae - - - - - - the - ra
? b .
Bass
b J n (J. ) n
f p f p f
b n . j j . n.
& b j . . n
61
Vn 1
p
b j n . j j . n.
Vn 2 b
& . . n

Va B bb
b
S &b
fax
b Sic n

Bass
? b b (simile)
n
J
567
Non torrentes
b . . . . . . . j
65
Vn 1 &b
b
Vn 2
&b b

n
Va B bb
b . . J J . . . . . j
S
&b J J J J
flo - - - res a - man - - - tes ad so - - - lis ful - go - res mo -
n
? bb
Bass

b . j . j
69
Vn 1
& b . J J . J b
b j
Vn 2 &b .
. .
B bb . j . j
Va
.
b J j j . J j . j j
S
& b . JJ J J . J b
J
j .
ven - tur con - stan - tes ut so - lis mo - ve - tur pro Ae - the - ra
? bb . .
Bass
J
568
Non torrentes
b
bb j
74
Vn 1 &
b
Vn 2
&b b # n

Va B bb n
b
& b b # # n n n
S
J J
fax
? b
Bass
b
79
b
Vn 1
&b
b
Vn 2 & b b
Va B bb n
b
& b b J .

S

Bass
? bb n
569
Non torrentes
. . . m
bb
84
Vn 1 &
b (. . .
&b
)
Vn 2

B bb
J J J
J j
J
Va

b r m m
& b JJ .
J
S
pro Ae - - - the - ra
? b
J J j
b
Bass
J J J
b . . . m . n J . m
( . .) . n

J R .
R
89
& b j .
Vn 1

f p f m p
bb . . . m . n J . . .
Vn 2 & R
j . ( ) . n J R .
f p f p

Va B bb
b
&b J
j
R R J R R
S
fax sic flo - res ad so - lis mo - ven - tur con -
Bass
? bb
f p f p
570
Non torrentes
r
93
bb ( U ) . #
r . n . m
& .
Vn 1
J
f p F rf p
b ( U ) . j . n j

b
& .
Vn 2
J m
f p f p
U b
Va B bb

U
b .
& b .
. # . J
m
S
ten - tes ut so - lis mo - ve - tur
pro Ae

- the - ra -
? b U
Bass
b
r
98
b . #
r . n .
Vn 1
&b . J
F rf
b . j .
n .
Vn 2 &b . J
F f
b
Va B bb
b . .
S &b J
fax pro Ae
- - - - the - ra
? bb

Bass
571
Non torrentes
. j . j
b # n U
j
103
Vn 1 & b J J N n
f p
# U
bb J j
j j
&
n N n
Vn 2
J J J
(f) (p)
B bb J n U
Va
J J J
(f) (p)
. j . j U m
& bb . .
J J
S
fax mo - ven - tur mo - ven - tur pro Ae - the - ra
? b j j n U.
Bass
b
f p f p
b . . j . . j . . . j
107
Vn 1
& b
Vn 2 &
bb . . j . . j . .
. j

Va B bb
b U
S &b
fax
? bb n b

Bass
572
Non torrentes
b U

112
Vn 1 &b

b U
Vn 2
&b #

U
Va B bb
b J j . j

&b .

S
J J J
Sic fi - de se - quen - do cae - les - tis splen - do - res cae -
? b U #
Bass
b
b
117
Vn 1
&b . . b.

b
Vn 2 &b # . . .
( )
Va B bb b
b j b .
&b J J J . . . .
j
. J J
S

les - tis splen - do - res con - ten - ti sunt flo - res con - ten - ti sunt
Bass
? bb
573
Non torrentes
b b j n J b j n J b
122
Vn 1 & b . b
b
Vn 2
& b . n n n
Va B bb b
b j
S
& b b. . b n b b J
? b n n n
flo - res et da - tur a - man - ti dul - cis - si - ma pax et
Bass
b
b
& b b
N b b n. #.
127
Vn 1
p f p pf p
b
Vn 2 &b . .
Va B bb b . n.
b b
S
b
& b b n n #
? bb b b
da - tur a - man - ti dul - cis - si - ma
b
Bass
574
Non torrentes
. . m . n b . m . j . (. .)
b n U
r
132
Vn 1 & b
f
b U r . . m . n b . m . j . (. .)
Vn 2
&b

n U
Va Bb b
b .
S
&b j
n.

m
? b # .
Bass
b
f
bb m .n b . . . j . m
(alla parte)
. . . j
137
Vn 1
& J J

m .n b . j .
b . . . . . m j
Vn 2 &b
J J

B bb
Va
b
S &b

Sic

? bb b

Bass
575
Non torrentes
[IV. Alleluja]

Presto
b 3
& 8 J
Violin 1 J
3
b
& 8 J J
Violin 2

Viola B b 38
&b 8
Soprano
3
? 38
b
Bass

J J
8
&b

Vn 1
f p f p

&b
J
J

Vn 2
f p f p

Va Bb
j j j
S &b J J J J J

?b
Al - le - lu - ja al - le - lu - ja al - le - lu - ja al -

Bass

576
Non torrentes

j j . . .
17
Vn 1 & b . J
m
j
& b . j j . j. j.
Vn 2
J n
m
m .
Bb J J J n j
Va
J J J J
.
j
&b jj j . j .

S

? b J m .
le - lu - ja al - le - lu - ja al - - - - - - -
J J J j n j
J J
Bass
j
j j n
n j
26
Vn 1
&b J
J J
f p
&b j n j n
J J J
Vn 2
(f) (p)
n
B b J J J J

J
Va
n j
& b n n J J n n
j
S
J
- - - - - - - - - - le - lu - ja al - le - lu -
? b j J n
Bass
J J J
577
Non torrentes
j j j j

34
& b J

Vn 1
f
j j j
& b j
n
Vn 2
J
(f)

Bb
Va

J J
j n j
S
& b J
J J
?
ja al - le - lu - ja Al - le lu - ja
j j
Bass
b

b. .
. n .
42
Vn 1
& b J .
f p
j
Vn 2 b
& J . . n . .
f p
b n
Va Bb
j b. b j .
. n
S &b J J J

n
al - le - lu - ja al - - - - - - - - - - -
?b b

Bass
578
Non torrentes
. j j jb
&b
50
Vn 1 . b. J J
f p f p f
j j j j
& b n . . j
Vn 2
J
(f) (p) (f) (p) (f)

Va B b J J J J j
n
j
S b
& J
j n . b. j b J

- - - - - - - - - - - - - - -
?
b J J J j
n
Bass
J
58
j
&b J J j
Vn 1
J
p f J
F
j jj
&b
Vn 2
J J
(f) (p) (F)

Bb j
J
Va
n j
S b
& J J j j J

- - - - - - le - lu ja al - le - lu - ja
? b j j
Bass

579
Non torrentes
64

Vn 1 & b
J

Vn 2
&b

J

Bb J j
Va

b j m
& . .
J
S

al - le - lu - - - ja
? J
b j

Bass
580
[I. Aria]
Allegro, e con brio
& b 4 #
3 j
Violin 1
b b
& b 4 #
3 b j b
Violin 2

# b
Viola B b 43
Soprano & b 43
?b 3 b #
Bass 4
r
r r
. .
b j b b . b.
J
4

Vn 1
& b . r
r r
. .
. b j b b . b.
&b J

Vn 2

Bb b J b
Va

S
&b
#
Bass
?b
J

581

r
n . b . . .
r r
# . n
r
j r . b.
r
8
.
&b .

J
Vn 1
r
n . b . . .
r r
.
j r r . b .
& b # n J
r .
.

Vn 2

b
Va Bb J J J b J
S
&b
Bass
? b b
#
& b # . b j
12
j

Vn 1
b #

& b # .
j j

Vn 2
# #
Va Bb J J J J
S
&b
? b b # #
J J J
Bass
582
j
j # #
17
&b

Vn 1
j
&b j # #

Vn 2

Va B b J J # J #
S
&b
? b # #
J J J
Bass
b
. #
r
21
Vn 1
& b # b #
b
. #
r
Vn 2
& b # b #
b b
Va B b b
S
&b

?b #
Bass

583
. . J. . . .
# J . J .
25
& b J
Vn 1
J J J J
p
. . J. . .
Vn 2 &b J . J .
J
#
J J J .
J
p
j # j
# b j j
Va Bb
p
S
&b

Bass
?b J # J # J # J #
p
b
b # #
30
Vn 1
&b
f p
b
&b b # #

Vn 2
f p
#
Va Bb J
f

&b j .

S

Quae - ren - ti per

Bass
?b J
f
584

&b b #
. j
34
j
b b . J J b b .
Vn 1
f
b j . j b #
Vn 2 & b b . J b b . J
# # f
Bb
Va

j . j
S
&b b b . J b b . J .

fon - tes per val - les et mon - tes per val - les et mon - tes
?b # #
Bass

j . j b
39
&b
j

Vn 1

p
j .
Vn 2
&b j

p

Va Bb J
S
&b . j b
j

suo cor - de fer - ven - ti Cae - les - tis oc - cur - ret dul -
?b
J
Bass

585
44
j j j
&b .
r

J
Vn 1
j j j
Vn 2 &b n
J

n
Va Bb
j . j j n
&b . .
r
S . J
cis - si - ma pax
Bass
? b n
A
& b j A b
49

Vn 1
J .
A
Vn 2
& b j
J

Va Bb b n
j r r
.
b . b .
r
& b n .

S
J

?b b n
Bass

586
53
.
. n .
Vn 1 b
& . . .
b . . n .

Vn 2 & . . .
Va B b b b
j . .
S
&b J
J J
quae - ren - ti per fon - tes per val - les, et
?b b b

Bass
. . b b .
b . b J .
57
Vn 1
&b J
.
b J .
Vn 2
&b . . .
J

Va B b b b b
J
b b b . . .
b J
S
&b J J

mon - tes Cae - les - tis oc - cur - ret dul - cis - si - ma pax
? b b b b J

Bass
587
. .
b J . b J . b J. .
62
Vn 1
& b J J J
. . .
b b J . b J. .
Vn 2 &b J J J J

Va Bb J b J J b

. . b b . . b . .
S
& b J J J
b b
J J J
dul - cis - si - ma pax dul - cis - si - ma
Bass
?b
m b m
m
67
&b
.
3
J
Vn 1
3 m

3 3
Vn 2
& b
f

Va B b b

m m b m
b
.
3
S
& J
3
3
3
m
pax dul - cis - si - ma pax.
? b b b

Bass
588
71
b .

J b

Vn 1
& b J
b .

J b
Vn 2 & b J
Va Bb b J n
S
&b
?b

Bass

n j b . j
75
Vn 1
&b b
p f
n j b
& b . j
Vn 2
b
p f
b
Va
Bb J
j . j . b j
S
&b J b
Quae - ren - ti per fon - tes per val - les et mon - tes per
?b b
Bass J
589
r
r r
. .
J b .
80

Vn 1
& b b
#
p fr r r
.
b . .
& b b # J
#
Vn 2
f

Va B b # # J
b
&b .
S
b . J
val - les et mon - - - tes suo
?b
Bass
# # J
r
b .
r
. j
# .
84
r
&b n n .
.
J
Vn 1
r
b .
r
. j
# .
r
&b n n .
.
J
Vn 2
Va Bb b
b # . b .
S
&b J J .
J
cor - de fer - ven - ti cae - les - tis oc -
Bass
?b b
590
. . .
j . . . .
r
. b .
r
87

& b .
r
# .

Vn 1
r
. b . j
r

& b .
r
# .
Vn 2
Va Bb
j j b n jb
S
& b . # .

J
3
3
cur - ret dul - cis - si - ma pax
Bass
?b
. . . . . b
j b j
91 (simile)
& b
Vn 1
J b
j (. . ) j
(simile)
& b b j
(. . . )
Vn 2

Va Bb b
b J J
j
3
b #
3

3
S
& J
3 3
? b b
Bass

591
#
j
96
& b j

Vn 1
f p f
# j
& b j

Vn 2

f p f

Va B b J # J # J
J
. . . .
& b J J
j
S
?b # #
Bass
J J J J
101
j # b # n b #
Vn 1
&b j
p f p
j # b # n b #
Vn 2
&b j
p f p

Va Bb J # J # J .
. . b # n b #
S
&b

Cae - les - tis oc - cur - ret dul -
? b # #
J .
J J
Bass
592

& b n n

106
Vn 1 . #
f
Vn 2 & b n n
# #

f

B b . J
J
Va

j j J
S
& b n n .

ci si - ma dul cis - - - si - ma pax per
Bass
? b . j J
b b
110
Vn 1
&b # b # # b
p f p
b b
Vn 2
& b # b # # b
p f p

B b b j b
J J
Va
j b j
S
&b . # J .
val - les et mon - tes suo cor - de fer -
j j
Bass
?b b j
b
593
b . . j .

& b #
J .
113

Vn 1
. . J
f p
b . . j .
Vn 2 & b # . . # J .
J
f p
Va B b j # J #
& b # J b
j . .
S
J
ven - ti Cae - les - tis - oc - cur - ret dul - cis - si - ma
Bass
?b j
# J #
. .
. . . . #
117
& b
Vn 1
J J # J J J J

b . . . . . . #
Vn 2
& J J # J J J J
J #

Va Bb J # J #

& b
. . # . . . . #
S
J J J
pax dul - cis - si - ma pax dul - cis - si - ma
?b J # J # J #
Bass

594

n b. b J
122
&b .

Vn 1
f
n b. b
&b . # J

Vn 2
f
U
B b b . . .
.
Va

n b. j b U

S
&b . .
pax dul - cis - si - ma pax dul - cis - si - ma -
? b b U
. . .
.
Bass
r
r r
# . . r r
.
b .
# . n
r
n . b .

126

Vn 1
&b J

r
r
b .
r
# . . r r
.
# . n n . b .
r
&b

J
Vn 2
b
Va Bb J b J J
U
S
&b
pax.
?b b
Bass

595
. j r
r
. b . b
# # b
r
129
Vn 1 b
& .
. r
j r r . b . b
Vn 2 b
& . # # b
Va B b J b J
S
&b
Bass
?b
.
. J .
& b # r
133

#
Vn 1
J
.

r
. J .
& b # #

Vn 2
J
Va Bb
#

j

S
&b
?b # J #
Bass

596
. . b # U
J
137
& b J
Vn 1
J
p
. . b # U
&b
J
J

J

Vn 2
p
j U
Va Bb
S
&b .

Fal - la - ces ful -
U
Bass
?b
J # b
. . b.
b b . .
j b
142
Vn 1
& b J
f p
b b . .
Vn 2
&b J

.
n. j b
n p
b b.
Va Bb J

b j . b . n .
S
& JJJ
go - res sunt sae - cu - li ho - no - - res hic lu - ci - da so - lis non
? b n b b.
Bass
J
597
148
. b . . b b b
& b J
J
Vn 1
. . .
& b n J b b

J
Vn 2
b
Va Bb J b J

b b b
3
b
S
&b b. b .
3 3
3

e - mi - cat fax
?b b
Bass

J b J
A n b b b
153
& b
Vn 1
J J
j A j n b b
Vn 2
& b b
b b b b
Bb b
Va
J
b b n b b b
3
&b
3
S
. b
3 3
b b
no non e - mi - cat
? b b b b
J
Bass
598
#
b.
158
Vn 1
&b
f
f #
b.
Vn 2 &b
f
f

Va B b n . . J
f
U
b. b j j
S
&b J b. . b
3
fax non e - mi - cat fax.
?b . . b b
Bass
n
#2

n b
j # j
163
&b # j
Vn 1
J
n b
&b # J j # j j

Vn 2

Bb n # #
Va
J J
S
&b
?b #

#
J J
Bass
#2 6
599
j
j #
168
&b

Vn 1
j
&b j #

Vn 2

Va B b J J # J #
S
&b
?b # #
J J J
Bass

Alla parte

171
& b
#
Vn 1
p

& b
#
Vn 2
p
n b
Va Bb
&b j

S
?b n b
Bass

600
[II. Recitative]
Violin 1 &c
Violin 2 &c
Viola Bc
j j j j j r r j r r
Soprano & c J # J J J J # J J J J J
Si - li - te he - u! uos mun - di blan - di - ti - ae in - ca - u - ta! huc us - que uos se -
Bass
? c# w w
Andantino

4
r
& b r

Vn 1

p
& r
b
Vn 2

p
B
Va

j j j
S
& J J R R J J J J J
tan - do ni - xi ma - la pro bon - nis am - plex - an - do
Bass
?
601
Vn 1
& . b

&

Vn 2
. b
Va B b
r
& j b R b R j b R
S
R R J J R J J R
ad uos o sil - vae lae - tae o fon - tes cla - ri gres - sus di - ri - goIan -
Bass
? .
. b . .
r b . b .
r
b
10
Vn 1
& A
p
&
r
A r . b .

Vn 2
B b b
. b . .
Va
r
& b J J j j b J r
S
J J
he - los Mi di - lec - tae spon - se Je - suIa - do
? b b
Bass
b
602
A . .
ten.

13
&
Vn 1

p

ten.
Vn 2 & # . .
(p)
Va B A
j j b j j r jj j
S
& # R R b R # R # J R R b
ra - te ad te fe - sti - no il - lic te fru - ar con - ten - ta
Bass
? b
#
16
w .
&

Vn 1
p
& b w .
Vn 2 b
(p)
Va B w
b r j j b j r r R j
S
& J J RR J J RRJ
Ca - re te so - lus vo - lo, mun - di vin - cu -la fu - gio et ad te vo - lo.
Bass
? w
603
.
& .n
b # .
19
Vn 1
f f
Vn 2 & b. # . b . n
(f) (f)
Va B # . .
j j r
& b J J # j j b J R R
S
J J R J J
Luc - to - sae va - ni - ta - tis uos or - na - men - ta, et flo - res
.
Bass
? b # # .
f
Adagio
b r b r j
n. .
22 3
Vn 1
& n #
n. . b r b r j
3
Vn 2
& n #
n.

Va B b.
b b J
& J n J

S
J R R J J
n.
sper - no pro - te - ro fran - go: a -
Bass
? b.
#
b 34
604
&
25
Vn 1 # . .
Vn 2 &
. b .
Va B

j j
S
& J
J
b
J

j

bi - te a - mo - res.
?
Bass

605
[III. Aria]

Andantino
b
Violin 1 & b b 43 . . . b
bb 3
Violin 2 & b 4 n b

Viola B b b b 43 . .
b 3
Soprano &bb 4
Bass
? b b 43
b

bb b n . . . .
6
Vn 1
& .

Vn 2
bb n . . .
& b

. .
n J
Va B bbb J J
b
S
&bb
.
? bb
b . J
J J
Bass
606
b .
. . . b.
& b b n.
11
Vn 1
b .
. . b.
Vn 2 & b b n. .
b
j
B b b b J
J J
Va
b
S
&bb
? b b j j b
Bass
b J
. . . . . .
r r
bb b n

16
Vn 1
& .
pr
bb n
r
Vn 2
& b .
p

Va B bbb
p
b
S
&bb
? bb
Bass
b
607

bb . .
20
Vn 1
& b . . . .
f
bb b . . .
Vn 2 & . . .
f
n

Va B bbb
b .
S
&bb
Ve - niIo pax dul - cis a -
? bb
Bass
b
b . .
.
&bb
.
26
. . .
. . . . J J
Vn 1
b . .
.
&bb .
.
. . . .
Vn 2
.
Va B bbb . j
J J
b j .
b
& b . .
J J
S
- ma - bi - lis ve - ni ve - ni pax dul - cis a-

? bb
b . . J j
J
Bass
608
b n J j j # J j n
31
Vn 1
& b b j
J
bb b n J j j # J j j n
Vn 2 & n
Va B bbb n
b . . . n
S
& b b . #
ma - bi - lis um - bra vi - tae de - plo - ra - bi - lis
? bb n
Bass
b
. .
bbb n b
36
Vn 1
&

n
b n . .
&bb n

Vn 2

b n n
Va Bbb
b n n
&bb n

S

n
ne va - ne - scat haec a - ma - - - - - -
? bb n

Bass
b
609
n
bb .
41
Vn 1
& b n
F
Vn 2
b
&bb b n .
F
Va B bbb n n b
b .
S
& b b n .
- - - - - - - - - ra
? bb n
b
Bass
b n
m r . .
bb .
46

3
Vn 1
& b b m n

3
b m n . .
. b
r
3
Vn 2
&bb m n n
3
B bbb
Va

bb .
3
S
& b n
3
ne va - ne - scat a - ma - ra
? bb
Bass
b
610
U
b . .
r r
51
Vn 1 b
& b

f U
b . . n
& b b n n
r r
Vn 2
f
U
Va B bbb

U
b . .
S
&bb
e - va - nes - cat e - va - nes cat haec a - ma - - -
? bb U

Bass
b
b . n .
r

55
Vn 1
& b b .
b . n .
& b b . n
r
Vn 2
Va B bbb n n
b
S
&bb

n
ra
? bb n
Bass
b
611
bb r . . .

59
Vn 1
& b n .
bb b r n . . .

Vn 2 & .

n
Va B bbb
b .
&bb
S
J
Ve - ni o
? bb
b
Bass
b .
64
Vn 1
&bb . .
f
b .
.
Vn 2
&bb .
f
n n
Va B bbb
b . j
S
&bb .
pax dul - cis a - ma - bi - lis
n n
Bass
? bb
b
612

b . .
& b b b
b
70
Vn 1 . .
p
b . .
Vn 2 &bb . .
n
Va
b
Bbb n

bbb b . . b . .
S
&

um - brae vi - tae de - plo - ra - bi - lis ne va -
? bb n n
Bass
b
# #. n n.
bbb . b
75
Vn 1
& J J J
b . n. b b
Vn 2
& b b . J J J J
b ten.. .
Va Bbb
.
b b n . n. b b
S
& b b . J J J J
nes - cat haec - - - a - ma - - - - - - - - -
? bb . .
ten.
Bass
b .
613
b b b .
. . b
81
Vn 1 b
& b J J
F
b j j . . b
Vn 2 & b b n. b
F
b
Va B bbb . .
b j j
S
& b b n. b . b
- - - - - - ra e - va -

Bass
? bb .
b . b

r
b n . .
86
Vn 1
& b b .

r
bb
& b
n . .
Vn 2
j
Va B bbb

bb .
r
. .
S
& b .
- nes - - - - scat haec a - ma - ra

Bass
? bb
b
614
b
r r
U
.
90
Vn 1 b
& b . . .

f

bb . .
rK U
b
r
.
Vn 2 & .

f

U
b
Va Bbb
U
b . . j
S
&bb
R . .

U
e - va - nes -cat e - va - nes - cat - haec a - ma - - ra.
? bb

Bass
b
95
b .
Vn 1
& b b .
b
.
Vn 2
& b b .
b
Bbb
Va
n

b
S
&bb
? bb n

Bass
b
615
rK

bb . b. n

101
Vn 1
& b

bb b . b .
r
& n
Vn 2
R

Va B bbb b
b
S
&bb
? bb
Bass
b b
rK

Allegro
b . . .
42
106
&bb
3

Vn 1

bb . .
r
2
& b .
3
R 4

Vn 2
b 24
Va Bbb
b
r
42

S
&bb n
Pres - to
Bass
? bb
b 2
4

616
b n n n # #

n
111
Vn 1 b
& b #
b bb n n n #

n
Vn 2 &

n
B bbb

Va
b n n
S
&bb
sis: ah tan - tem ve - ni ah tan - dem ve - ni
? bb n
b

Bass
b j
.
& b b n n
116

J J
Vn 1
J J J
b j j j j j j j j j j
Vn 2
& b b J n n
B b b b J J J J n
J J J
J # J
J J
Va
b n n j
.
&bb

S
J J J J J
in me spi - res au - ra le - ni mul - ce cor lae - ti - ti - a
? bb J n j j
b J J J J J J J # J

Bass
617
b . j
# j n . n n
123
Vn 1
& b b n J J JJ JJ
f p f p
b J n . J n . n
& b b n J j j J n
J J J J JJ
n
Vn 2
f p f p
.
Va B bbb J J J J J J J J J
J J
b . j
S
& b b n # j n . J J JJ n
JJ
n
ca - - - - - - - - ra lae - ti - ti - a ca - ra ca - ra lae -
? b b J J J J J J J J J J.
Bass
b J
f p f p
U
(Andantino)

bb . . . . . . . . . . b
43
131
Vn 1
& b
b . . . . . . . .
3 . . b
Vn 2 b
& b . 4
.
Va
b
Bbb 43
b
U
bb
S
& b 43
ti - ti - a ca - ra.
? b b . 3
b
Bass
b 4
618

bb .
137 Alla parte
Vn 1
& b . . .
.

bb b .
. . .
Vn 2 &
.

Va B bbb
b
S
&bb

? bb
Bass
b
619
[IV. Alleluia]
Presto
. b b .
& b 42

D Capella
Violin 1
. b b .
Violin 2 & b 42
b
B b 42

Viola
Soprano & b 42
Bass
? 42
b # n b

# b

3
Vn 1
& b # .

# b
Vn 2 & b # .
Va Bb #
b

S &b
.
Bass
?b
. b

620
b .
& b #
6

Vn 1

b
Vn 2 & b # .

w #
Bb

Va
S
&b
Bass
?b bw

. b
&b
8
.
#

b
Vn 1

b

Vn 2
&b b
.
#
#
. . n .
Bb b a
.

Va
S
&b
? b b b . . .
Bass
.

621
11
b # b
&b

Vn 1
b # b
&b

Vn 2
. .
.
.
Va B b b n . . . . b n b
S
&b
. .
? b b . . n . . b n b
Bass
. .
. b .
14
Vn 1
& b .
(p)
Vn 2
& b . b
p
Bb w b b

Va

. b .
S
&b
Al - - - - - - - - -
?b b b
w
Bass

622
.
17
b # . n
Vn 1
& b # .
f .
# . n
Vn 2 & b #
f
Va Bb b

b .
S
& b # w
- - - - le - lu - ia
Bass
?b
b

20
b b. b. .
Vn 1
&
p
b b . b. .

&

Vn 2

p
Va Bb b n
b. b.
S
&b .
.
w
al - - - - - - le - lu - ia
Bass
?b b n
623
.
&b b
23

Vn 1
f
.
Vn 2 &b
f
Va Bb

n w b w
S
&b
al - le - lu - ia

Bass
?b

. . .
. b .
26
Vn 1
& b
f . .
b . b
. .
Vn 2
&
f . . .
Va Bb b
.

S
&b . A . w
. .
.
?b b b
.
Bass

624
. b . . . b
.
29
Vn 1
&b
p. b . f
. . p b

Vn 2 &b
p . f . p
. b . . . b
Bb

.

.
Va
(simile)
j
b
S
&b

w
.
al - le - lu - ia al - le - lu - ia al - le - lu -
? b . . .
b . . b
.
Bass

. (simile)
.
b .
32
Vn 1
& b

f .
b .
Vn 2
&b

f
b
Va Bb b

j
b
w

&b . w

S
ia al - le - lu - ia al - le - - - lu - - - ia
?b b
b
Bass

625
. . b

35
Vn 1
& b

. . b
Vn 2 & b

Bb

Va
S
&b
Bass
?b b b

. b . b . .
38
&b
Vn 1
#
p
. b . b
Vn 2
&b #
p
. b .
Bb b . . . .

Va

. b . # b
S
&b
al - - - - - - - - - - - - le - lu -
?b b #
Bass b b
626
n b w.
b w b w
41
Vn 1
& b
.
Vn 2 & b # w w b w
b w w
Va Bb n

b w w w
&b w bw
S

w
ia al - - - - - - - - - - - - -
?b w
Bass n
b

44
& b

Vn 1
f b p

& b

Vn 2
f p

B b #w b

Va
w W
S
&b w

- - - - - - - - - - - - - - -
? b #w b

Bass

627
b
b
.
& b .
b .
47
Vn 1
f b p b
. b . .

&b
Vn 2
#
f p
b
Va Bb

f

.
. b
. A
S
&b w
- - - le - lu - ia al - - - -
Bass
?b b
f

50
b
& b . .

Vn 1
f p f

& b . #

Vn 2
f. p f.
. b . . .
Va Bb . n . . w w .
f p f

S
& b . w b . w
lu - lu - ia al - le - lu - ia
. . . . .
?b . b . n . w w .
.
Bass
f p f

628

b w
. b b
53
&b w
ww
Vn 1
p
w
&b # b b w
ww
Vn 2
p
. . . w U
Va B b b n . w

b W
p

S
&b . b
b
w W
al - le - lu - ia al - le - lu - ia.
? b b . . n . w w b U
Bass
.
W
p

629
Sub coelo sereno
[I. Aria] attributed to Baldassare Galuppi
Andante e grazioso
# r r
c J R . J R .
j j
Violin 1 & #
p f
##
j j r
c r . .
j
Violin 2 & R J R
(p) f
Viola B ## c J
p f
# c
Soprano & #

Bass
? ## c J
p f

## . . . m m r j . r
J R
3
Vn 1
& .
p

3
3

## . . .
& . . r
r j j
R
Vn 2
3
3
p
Va B # # J J
p
#
S
& #

? ## J
Bass

p
630
Sub coelo sereno

6
# # j . .

Vn 1
& J R
f 6
# # j .

Vn 2
& J R .
f
B ## j

Va
J J
f
#
S
& #

? ##
Bass J

f
##

9
Vn 1
&
6 6 6 6
##
Vn 2 &

Va B ##
##
S &
Bass
? ##
631
Sub coelo sereno
##
J R j
# n R
11
& n J R
Vn 1
6
p f 6
# n
j
# n R
Vn 2
& # J R
J R
p f 6

Va B ##
J
p
#
S
& #
? ## #
Bass
J
p
# # .
. . j
13
Vn 1
& J J J
3
# # . .
J . J j
3
Vn 2 &

3
B ##
Va
J J J J
##
S &
? ## n

Bass
J J
632
Sub coelo sereno
15
# # J r . j . r . j .
Vn 1
& J J
3 3 3 3
p
# # j r j r j
Vn 2
& J . . .
.
(p)
3 3
# J
Va B # J J
(p)
## r j . j j j .

J R J
&
S
J R
Sub coe - lo se - re - no sub coe - lo se -

? ## J
J J
Bass
(p)

. .
# . . . . j r . .
3

18
j
& #
3

Vn 1
f p
## . .
3
j
. J .
3
Vn 2 & . .
(f) p

#
Va B # J J
## j
. . j j j j . . . j
r j .
S & J . . J R
re - no sunt a - ves ca - nen - tes sunt a - ves ca - nen - tes in hor - tu-lo a -
? ##
Bass
J J
633
Sub coelo sereno
21
# # r . j . . .
Vn 1
&
3
3
#
& # r . .
j
Vn 2

#
Va
J
B # J J
## j r . j . . j j j j j j

S
& J J R J
3
3
me - no in hor - tulo a - me - no sunt flo - res vi - den - tes sunt flo - res vi -

Bass
? ## J J J
## 3
3

24
Vn 1
& j
#

f3 p f p f
## 3 j
Vn 2 &

# #
(f) (p) (f) (p) f
Va B ##
## j j
S & . j j J RR J j J R R J # J R
R

den - tes In mon - te et in fon - te in mon - te et in fon - te Dei glo - ri - a en - na -
? ##
Bass
634
Sub coelo sereno

27
##
. .
Vn 1
&
#
Vn 2
& # #
Va B ##

## .
S
& # # .
ra - - - - - - - - - - - - - -
Bass
? ##

## . .
# J r . .
30
& . # . j
.
Vn 1
## j j j # J r . .
& # .
. j J

Vn 2
#
B ## # J

Va

##
. . r . .
& . # . j # J RJ R
.
S
- - - - - - - - - - - tur. In hor - tu - lo a-
? ## # J
Bass
#
635
Sub coelo sereno
# # j j r . . . .
33
Vn 1
&
# j
Vn 2
& # # r . . # #

#
Va B # # J j J J j

# # j j r . j j . . j
& J J J J J R R R .
R R
S
me - no sunt flo - res vi - den - tes in mon - te et in fon - te Dei glo - ri - a en - na - ra -

? # # J j # J J j
Bass

36
## j m j m j 3
j m j m j
Vn 1
&
#
3 3
m m3
# # j m3
3 3 3 3
m3
3
j 3
& j # j j #
3
Vn 2

# # #
Va B # J J J J
## j m j m j 3
j m j m j
S &
#
3 3
3 3 3 3 3
- - - - - - - - - - - - - - -

? # # J #
J
#
Bass
J J
636
Sub coelo sereno

38
## #
j J J #
Vn 1
&
f 3 3 3 3 3
# j J
Vn 2
& # # J
f 3
3 3 3 3
B ##

Va
f
## J #

S
&
tur, en - na - ra - - - - - tur.
? ##
Bass

f
40
# # J J J
# j j
3 3 3
3 3
Vn 1
&
3 3 3
3 p
# # J 3
# j
3 3
& J J
3 3

Vn 2
3 3
3 3
Va B ##
##
S & j
Sub
? ##
Bass

637
Sub coelo sereno
## j . r

42
Vn 1
& . J
# . j
f p
# j . J #
Vn 2
& # . j r
p (f) p

Va B ## . . .
## j r j j . j j
S
& . J R J #
coe - lo se - re - no, sub coe - lo se- re - no sunt a - ves ca - nen - tes. In
? ## . . .
Bass

)
## . . j . j .
(
. .
45
j
Vn 1
&

## j
& . . . .
j j
Vn 2
.

#
B # J

Va
# # . j . j j . j . j . . j j j j
S & J R J RJ J R J RJ
hor - tu-lo a - me - no, in hor - tu-lo a - me - no sunt flo - res vi - den - tes, sunt

Bass
? ## J

638
Sub coelo sereno
##
. n
48 6
6
Vn 1
&
3
3 6
#
n

6
& #
6

Vn 2

Va B ## #
## j j j
j j j n j
S
& . j J J
3
3
flo - res vi - den - tes. In mon - te et in fon - te, in
n
? ##
Bass

#
& # # #
50
Vn 1
6 6 6
##
Vn 2 & # #
6 6 6
Va B ## #
## j # j j # j . .
& J J J J J J
J J
S
mon - te et in fon - te Dei glo - ri - a en - na - ra - - -
? ##
Bass

639
Sub coelo sereno
52
##
Vn 1
&
#
Vn 2
& #

Va B ##
# # j . . . .
S
&
3
3
- - - - - - - - - - - - - - -
Bass
? ##

54
## .

6
Vn 1
&
3 3
3 3 6
##
& . j

Vn 2
#
Va B ##

## .

6
S &
3 3 3 3
3 3 6
- - - - - - - - - - - - - - -
? ## #
Bass
640
Sub coelo sereno
U
## r . . . r
J
57
Vn 1
&
p
U r j . . .
## r
Vn 2
& R J
(p)

Va B ## J j
U
## . U j
6
S
&
- - - - - - - - tur. In
? ## U j
Bass J

##
. . . r
j. . . j R
r j R
60
Vn 1
& J . . .
##
. .
R J r j . . r
& r j
j
. j
Vn 2
.
.
j . R .
R

Va B ## J j J j J j

## r
j r j . . j r
& . j . . . j
J

S
hor - tu - lo a - me - no sunt flo - res vi - den - tes in
? # # J j
j
J

J j
Bass

641
Sub coelo sereno
## . . . . . . .

63
Vn 1
& .
f 3
3
p f
3
3
# # j . . . . 3
&
.. .
Vn 2
(f) p f
3 3
3

Va B ##

(f) (p) (f)

## . J j j j
R J
& J R R R . J J R R
S
3 3
3 3
mon - te et in fon - te Dei glo - ri - a en - na - ra - tur Dei glo - ri - a en - na - ra - tur en - na -
? ##
Bass

f p f
## .
U
. . .
66
& . .
.
Vn 1

## . . U .
& . .
Vn 2
J .
U
Va B # # # J
U
##
S &
J J
ra - - - tur en - na - ra - tur.
? ##
U
#
J
Bass
642
Sub coelo sereno
69
##
Vn 1
&
6 6
6
##

Vn 2
&

Va B ##
#
S
& #

Bass
? ##

## J J

71
Vn 1
&
6 6 6 3 3
##
Vn 2 & J J

J J
3 3
Va B ##
##
S &
? ##
Bass
J J
643
Sub coelo sereno
73
# # J J
Vn 1
& J J
3 3 3 3 3 3 3 3
# 3 3
& #
j
3
J J
3
Vn 2

3 3
3

Va B ##
J

J
# J
S
& #
In
? ##

J J
Bass

## n
n j J J J
75
Vn 1
& n
p 6

## n
Vn 2 & j J J J

(p) n

B ## n n

Va
(p)
## j n j . n . j
S & .R . . . . J J J
cam - po fe - cun - do sunt her - bae - vi - ven - tes In col - le ju - cun - do sunt
? ## n
n n

Bass
(p)
644
Sub coelo sereno
## n . .
#
78
&

Vn 1
#
Vn 2
& # n. .
n

B ##

Va
# j
j
S
& # n . . . . J
j

j n J

j
o - ves nas - cen - tes In valle et in col - le in
? ##
Bass

80
##
n . n
Vn 1
& .
F
## n
&
n j
Vn 2
(F)
B ## #
n J n
Va J

## j J n r
n . n
& J R
S
valle et in col - le De - i vir - tus lau - da - - - - - - -
? ## # n J n
Bass
J
645
Sub coelo sereno
83
## # U .
Vn 1
& J
f
## U .
Vn 2
& J
f
U
Va B ## J

J

J

# j
S
& # J .
tur Dei vir - tus lau - da - tur.
U U
Bass
? # # J
J J
6
##

86
&

Vn 1
6 6
6
##
Vn 2 &

Va B ##
##
S &

Bass
? ##
646
Sub coelo sereno
## .

88
& . . .
Vn 1
6
6 6

## . .
Vn 2
& . .

Va B ##
#
S
& #
? ##
Bass
## r
alla parte
.
3
.
90
j

3

&

Vn 1
.
p
## 3
r . j .
3
&

Vn 2
.
(p)
B # # J
Va
J J J
## r

j
& .
S
J R
Sub coe - lo se -
? ##
Bass

J

J
violini soli
647
Sub coelo sereno
[II. Recitative]
Violin 1 &c
Violin 2 &c
Viola Bc
j j j
Soprano & c J # J J j j # J j j j j

Si ce - li et ter - ra De - um sem - per lau - da - re non ces - sunt
Bass
? c #w w
Vn 1
&
Vn 2 &
Va B
j j j j
& j j R R J J J j j j r r # j r r j j r
S
J R
sui fac - to - ris pro - di - gia de - can - tan - do, cur non e - go si - mi - li - ter? Cur ob - dor - mis in
? #
Bass w
6
648
Sub coelo sereno
Andante
&
7

. #. . .
Vn 1
Vn 2
& . #. . .

Va B
j jjr r j j j r
& # j j # j r r j r r r r J J
R
S
mor - te a - ni - ma me - a? E - ja te - ne - bris ex - cu - te ex - ci - ta - re illi - co ad Deum ac -
Bass
?
5 #6
. #
. . . .
10
Vn 1 & . . . #
Vn 2
.
& . . . # . . . . #

B
#
Va
& J J

J J J J J j # J R
j

S
J R JJ
ce - de va - de fes - ti - na ab eo nun - quam re - ce - de.
? #
Bass
649
Sub coelo sereno
[III. Aria]
# 2 . . j . . j
[Adagio]
Violin 1 & 4 . . . . .
# 2 . . j . . j
Violin 2 & 4 . . . . .

Viola B # 42
# 2
Soprano & 4
? # 42
Bass

6
# m m m m 3 3
& J J #
J
Vn 1
p 3 3 3
f 3 m 3
# m 3 3
& J j j j #

Vn 2
m 3
f f
3

Va B#
f
#p
S
&
?#
Bass
#
p f
650
Sub coelo sereno
# m
m j m # j
3
10
Vn 1
& j # J n J 3 3
p 3 3 f
3 3
3 3 3 3 3
m
# m m # j
3
Vn 2
& j # j J n J 3 3
p 3 3 f
3
3 3

3 3 3 3
B # J J J
Va
J
p f
#
S
&

?# J
Bass
J J
p f

# . j . . . . .
14
& .
.
Vn 1
p
#
&
. J J
Vn 2
(p)
B#
Va
J J
(p)
#
S & . . j . . . . . j
ca - re Je - s, in m de - scen - de in
?#

Bass

(p)
651
Sub coelo sereno
20
# . . m j m j m
Vn 1
&
3 3 3
# j j
Vn 2
&
j

(f)
#
Va B
# . . . . j . . j
S
&
m de - scen - de cor me - um ac - cen - de

Bass
?#
24
#
Vn 1
& #
# # #
Vn 2 &
(p)
#
Va B#
# # 3
r r Kr # r
3

R .
3
. J
3
&
m
S
ahi non tar - da - re ahi non tar - da - - - -
?# #
Bass

652
Sub coelo sereno

# m m m

27
Vn 1
& #
3 3
m m m
3
#
Vn 2
& n # J #
3 3
3

Va B#
#
3

S
& J # # .
3
3
- - - - - - - - - - - - - - -
Bass
?#
.
. . . . # .
j
31
# U j m m
Vn 1
& #

f
. . . . . # .
3 3
j

# U m m

Vn 2 &
j
#

U (f)

3 3
Va B#
U (f)
#
S &
- - re.
U
?# #
Bass
# #
(f)
653
Sub coelo sereno
#
r
. .
. j
36
& .
j
J R
Vn 1
(p)
3 3
#
r

Vn 2
&
(p)
3 3

Va B#
J
# #
(p)
# j r
S
& . . j
J R

j
. R J .
ca - re Je - s in m, in m de -
. .
Bass
?#
#
(p)
# m
# j
3

41 3
& .
Vn 1
J
m 3 m
# j j j
&

Vn 2

(f)
Va B# # j J
(f)
# j . j j j
S & . # J
scen - de cor me - um ac - cen - de cor
?#
Bass
654
Sub coelo sereno
# j m
m
44
&
J
Vn 1
3 3
#
& j

j

Vn 2
(p)
Va B # j
(p)
# j j . j . j
& J J R R . # .

S
me - um ac - cen - de ahi non tar-da - - - - -
?#
Bass
48
#
Vn 1
&
f
# j
&
Vn 2
f
B# # J
Va

# j 3
& . . . .

S
3
- - - - - - - - - - - - - re, tar -
?# J
Bass
#
655
Sub coelo sereno
52
# . j m # j n m
Vn 1
& . J

p 3 3
3 3 3
# . j m m
Vn 2
& . # j J n

p 3 3 3 3 3

B# J J

Va
12

#
.
&

S

da - - - - - - - re. Ahi,
?#
Bass
J J
j
56
# m
j
3 3 U m
# J
3
Vn 1
&

f 3
3 3
3 3
# j m 3 3 U
j
#
3
&
J 3

Vn 2

f
3

3 3
# U
Va B
(f) U
# .
& J J

S
ahi non tar - da - - - - - - re.
?# U
Bass
#
f
656
Sub coelo sereno
# m m m
3

60
# j n
3 3
& J
J
Vn 1
3 3 3
p 3
m
3 3
#
3
m

j # j n
3 3
& j

Vn 2
3 3 3
p 3 3
Va B#

J
p
#
S
&
?# #
J
Bass

p

# m . 38 n
64 Andante
&
.
Vn 1
3 3
f
3 3
f 3
m .
3
# 38 j
Vn 2 & .
f f
3 3 3 3 3
B# 3 J
Va
J J 8
f
# 38 j n
S & J J
mi di lec - te,

?# 3
8 J
Bass

f
657
Sub coelo sereno
# n n n #
70
Vn 1
& J
# j #
& n j j

Vn 2
# n
B J n #
Va
J J
# n j n n
S
& J J J
in tua fa - vil - la, ca - ra scin - til - la, ahi - m so - la - re.
? # n j J
n #
Bass
J
# j # j # j
76
Vn 1
& J
# j
& # j # j
Vn 2
J
Va B#
# . n
S & J . R J J . R J J R
mi di - lec - te, mi di - lec - te ahi - m so -
? # n
Bass
658
Sub coelo sereno
# . . n n n . n

81
Vn 1
&
f p
# . .
&
j
.
Vn 2
J
f p
n
Va B# J
# . . j n n j n j
S
& J
la - re ahi - m so - la - reIa[hi] - m. mi di -
?# n n
Bass
J
86
# n . n
n . n
Vn 1
& R R
f
# . .

Vn 2 & R R
f
Va B # J
J
# j j n j j n
S & . . J J
lec - te, ca - ra scin - til - la, ahi - m so -
? # j

j

Bass

659
Sub coelo sereno
# U
# j
90
& J
#
Vn 1
f
# j U
Vn 2
& J
# #
f U

Va B# J # # .
# U
S
& # . . . .#
la - - - - - - - - - - - - - re.
# . U
Bass
? # j #
j alla parte
# 2 m m
J m
j j
96
Vn 1
& 4 J
p3 f 3 3
3
# 2 m
& 4
j j j j j

Vn 2
3

3
3
Va B # 42
j
p
# 2
S & 4
? # 42
Bass

p
660
Sub coelo sereno
[IV. Alleluja]
j
## 6 . j

[Allegro]
Violin 1 & 8 . J J
j (p)
# . j jj
& # 68 . J
Violin 2
(p)

Viola B # # 68 J J

p
# j
Soprano & # 68 .
. . J J

Al - le - lu - ja al - - - - le - lu - ja
? # # 68
J
Bass
J
p
##
.
5
Vn 1 & #. # . # ..
f p f
##
Vn 2
& #. # .. # ..
f p f
# # .
Va B # . .
f
## j #. . .
S
& JJ # #
al - le - lu - ja al - - le - lu - ja al - - - - - -

? ## # . .
Bass
.
661 f
Sub coelo sereno
10
## j
Vn 1
& # J # .. # .. #
p p f p f p

# j
Vn 2
& # # # # ..
# ..

#
p p f p f p
j
B ## .
. . .

Va
# j # .
S
& # # J # . #
p f
- - - - le-lu - ja al - - - - - - - - -
? ## . . j
Bass
. .

# # j
#
15
Vn 1
& J
f
## j
Vn 2

& # # #

f
#
B #

Va
# # j f
S & J . . .
le-lu - ja alle - lu - ja

? ## #

Bass
f
662
Sub coelo sereno
j
##
20
Vn 1
& # j .

f f p
#
Vn 2
& # . j .

f
B ## . #
Va #. .
#
S
& # J #. # # J J J . J
Al - le - lu - ja al - - - - - le - lu - ja al - le - lu -

Bass
? ## . # #. .
24
## j
Vn 1
& . #
f p
## .
Vn 2 & #
j

#
B ## #
n
Va

## j j j
& #. J J J

S
.
ja al - - - - le - lu - ja al - le - lu - ja
# n
Bass
? ## #
663
Sub coelo sereno
## j
j
28
Vn 1
&
##
& j j

Vn 2
#
Va B ## .
##
S
& .
.

J
al - le - lu - ja, al -
? ## #
Bass .
## . . j .

32
Vn 1
& .. .
. J .
.
f p fp f p

## .
& .. .

. j
j .
.
Vn 2
. .
f p fp f p
B ## . . .
. . .
Va
J
p
# # . . j .
S & J
p
- - - - - - - - le - lu ja al - - - - -
? ## . . . . . .
Bass
J
f p
664
Sub coelo sereno
37
## . . . . j

Vn 1
& .. J
f p F
## . . . . j
Vn 2
& .. J
f p F

Va B ## .
f
## .
j
. .
S
& J
- - - - - - - le - lu - ja
f
? ## .
Bass

f
40
# # j

Vn 1 & J

# # j

Vn 2
& J

Va B ##
# # j . . . .
S
&
f
al - le - lu - ja.
? ##
Bass

665
APPENDIX A
DRESDEN MOTET TEXTS

The motet texts are presented here as nearly as possible as they appear in the manuscripts.
They are not wholly in either classical or ecclesiastical Latin, and their authorship is unknown.
They may have been commissioned works, but given the frequent necessity of economy at the
ospedali, it is more likely they were written by authors connected to or even within the coro. It
is also possible that the texts may have been written by volunteers, as was sometimes the case
with oratorio libretti for the ospedali. 1
The verses lack the regularity and rhyme schemes of Italian aria texts, but some of the
same techniques obtain, with several verses in the style of a simile aria. The motets make
extensive use of bridal imagery: all the texts present a female speaker, which refers at the
obvious level to the female singers of the ospedali, but may also represent the personified soul,
as in the standard interpretation of the Song of Songs.
The translations provided are rough. Many passages are syntactically or grammatically
ambiguous and thus open to alternate interpretations. Editorial punctuation has been supplied in
the translations in the interest of clarity.
Ab unda algente
[I]. Ab unda algente The ship, having been harrassed
navis vexata by a cold wave,
Euro stridente by the east wind, hissing,
stat in procella stands in a storm.
littora querit portum sperando It searches the shore, hoping for a port.
Syrtes [Syrte] pavescit et agitata, [By] the sandbank it becomes alarmed,
and having been shaken about,
sine sua duce serena stella without its guide, [its] serene star,
in umbra noctis currit vagando it runs wandering in the shadow of night.
[II]. Gelido plena metu Full with icy dread,

amaro aspera fletu rough with bitter weeping,
mei reatus a turbine agitata, having been shaken about by the whirlwind
of my guilt,
1
666
caeci mundi per aequor through the sea of the blind of the world,
littus quaerendo by searching for the shore,
dira mala sequor. I follow wicked, ill-boding events.
Ah? Spes alma et divina Ah, hope, nourishing and divine;
atam gravi ruina father, from grave catastrophe
heu Queso eripe me alas, I beg: rescue me.
sine tua luce Without your light
perdita sum I am lost.
te comite, te duce With you as companion, with you as leader
portam salutis cordi erranti ostende show the wandering heart the gate of
salvation
et animam caelesti[s]. and the soul of divinity.
amore accende. Enkindle [me] with love.
[III]. Tecum ero fortunata With you I will be fortunate

et per flamma tam beata and so blessed by ardor,
tecum vivam cara in pace. with you I would live in precious peace.
Meror abit ridet amor Grief departs, love laughs.
cordis mei jam cessat clamor The clamor of my heart now ceases
tua gaudendo clara face. by rejoicing in your bright torch.
[IV]. Alleluia. Alleluia.
Dum refulget
[I.] Dum refulget in caelo sereno So long as Aurora, ruddy mother of the
Rubicunda diei mater Aurora day, glitters in a serene sky,
Aves cantu laetantur ameno birds rejoice in lovely song;
flore vario sunt prata decora the meadows are adorned with various
flowers,
Matutini dum stillant humores while morning dew falls.
Dense noctis horrore fugato With the thick dread of night having fled
rident arua laetantur Pastores the fields laugh, the shepherds rejoice.
[II.] Dulcissime mi deus! My dearest God!

animae meae sola pax verum gaudium, Only peace, true joy of my soul.
ah quaero, in culpae nocte anima errando Ah, I search with the soul in the night of
a Te, sin, straying from you.
nunquam laboret, jmo commissa sua dolet Never let it be troubled, no indeed, let it
deploret. batter and deplore crimes.
Contenta, et felix ero si aurora luminosa I will be satisfied and happy if a luminous
fulgeat semper in me dawn would always shine in me,
gratiae caelestis atque a culpis meum cor and also the graces of heaven would free
sollat [solvat] in festis. my heart from sins in times of celebration.
[III.] Atri vultus in pallorae A countenance of black, in the pallor

cordis queruli in merore. of a heart groaning in sorrow:
667
habes signum mei doloris you have the proof of my sorrow,
dulcis amor Jesu care sweet love, dear Jesus.
Pectus mecum ah quero inflamma Ah, I ask that you inflame my breast;
cupio ardore diva flamma I long for love, divine flame,
Teque semper vere amare and you are always truly loved.
[IV.] Alleluja. Alleluja.
Ecce volantem video sagittam

[I.] Ecce volantem video sagittam Behold, I see the flying arrow,
Audio clamantem Jesus offensam I hear the clamorous disgust of Jesus.
Ardet irata fax contra m The angry torch burns against me.
Cor in timore A heart in fear
miserum languet wilts miserably,
sed cum dolore but also, with suffering,
manet in spe. endures in hope.
[II.] O quis metus horresco mea delicta O what fear; I shudder at my faults,
quae pena vellem exire; oh Deus sed retinet from whose punishment I want to escape,
nolentem mea catena. oh God, but my chains restrain [me],
unwilling.
oh somnum tenebrosum animae Oh dark sleep of the understanding soul!
intelligentes
oh quis laqueus Averni Oh what snare of Avernus,
quae fraudes rei serpentis what guilty tricks of the serpent!
Tum mecum bone jes Then with me, noble Jesus,
caput superbum deprime contunde humble and subdue the proud head;
brachium ad me Divinum haud mora extend to me the divine arm without delay;
extende
surgam hoc de lacu profundo I would rise from this deep pit,
ab umbra mortis from the shadow of death,
redito ad lucem generosa et fortis returning to the noble and strong light.
[III.] Caeca nube dissipata Blinding clouds having dissipated

exultabo rediviva I will exult again
Ecce venio parata Behold, I come preparing
t sequendo eterna fax the eternal torch by following you.
Sine metu et sine errore Without fear and without error,
j[m] est orta a tuo splendore now is descended to me from your splendor
mihi dulcis vera pax true, sweet peace.
[IV.] Alleluia. Alleluia.
668
Non torrentes
[I.] Non torrentes furibundi Not the furious torrents
qui precipiunt a morte which anticipate death,
Non Leones sitibundi nor thirsting lions
toruo aspectu terrent me savage mien terrifies me.
Fide amanti, et te quaerenti And by faith, beloved, by seeking you
inter slvae altos herrores during lofty wanderings of the woods,
Chari sunt paenae dolores dear are the sorrows of pain;
dulce est mori etiae pro te. it is sweet even to die for you.
[II.] Ah de sublimi vertice florentis Lbani, Ah, from the sublime blooming mountains
of Lebanon,
o sponse, redi ah redi accensus fervilissima o spouse, return, ah return to kindle the
flamma respice cor in me burning flames; look upon my heart.
Rivi cadentes slves annosae frondentes From streams falling in the ancient leafy
wilds
dicite affectus meos, speak, my affections,
dicite voces, speak, voices,
dilecto panas meas narrate ad voces by the delight of my pain narrate unto the
voices.
sponse candide sponsa pendet The bride esteems the radiant groom.
pendet cor meus a te My heart hangs down from you:
tu mea tu sola unica optata spes you are my only wished for hope.
Redeat Aurora sidera hoscurat nox, Let Aurora return; she obscures the stars of
night.
semper tu sedes solus in corde meo fido, Always you sit alone and pure in my
et sincere faithful heart,
et solo a te pacae optando quaero and only from you I seek the peace to be
desired.
[III.] Sic flores amantes As loving flowers

ad solis fulgores toward radiant sun
moventar constantes are constantly moving,
ut solis moventar p[ro] Aethera fax while the sun moves like a heavenly torch,
Sic fide sequendo thus faith will follow
caelestes splendores celestial splendor.
contenti sunt flores The flowers are content,
et datur amanti dulcissima pax and I am given sweetest loving peace.
[IV.] Alleluja [IV.] Alleluja.

[I.] Quaerenti per fontes By searching through springs,
per valles et montes through valleys and mountains,
669
suo corde ferventi with her impetuous heart
Caelestis occurret dulcissima pax sweetest peace will run to meet divnity.
Fallaces fulgores Deceitful splendors
sunt saeculi honores are the honors of the world.

hic lucida solis non emicat fax Here the bright torch of the sun does not
shine out.
[II.] Silite heu! Be silent, alas!

uos mundi blanditiae you inconsiderate blandishments of the
incauta! world!
huc usque vos sectando, You are going to pursue [me] to this place
with punishment,
nixi mala pr bonis amplexando. having depended on wicked [things] for
clinging to the good.
ad uos, silvae laetae, To you, o happy woods,
fontes clari gressus dirigo anhelos o clear springs, I direct breathless steps.
Mi dilectae sponse Jesu adorate My beloved spouse Jesus, having been
loved
ad te festino, I hasten to you.
illic te fruar, contenta There may I delight in you, content.
Care te solus volo, Dear one, I want you alone.
Mundi vincula fugio, I flee the fetters of the world,
et ad te volo. and fly to you.
luctuosae vanitatis You ornaments and flowers of grievous
vos ornamenta, et flores vanity
sperno I spurn,
protero I crush,
frango: I shatter:
abite amores. depart, you passions.
[III.] Veni pax dulcis amabilis Come, o sweet, delightful peace.

umbra vitae deplorabilis You deplorable shadow of life;
n vanescat haec amara let this bitterness vanish,
evanescat haec amara let this bitterness fade away.
Presto sis: ah` tandem veni May you be at hand: ah, finally come;
in me spires aura leni may you breathe a gentle wind in me
mulce cor laetitia cara and soothe with beloved joy the heart.
[IV.] Alleluia. Alleluia.

Sub coelo sereno
[I.] Sub caelo sereno Under a clear sky
sunt aves canentes are singing birds;
in hortulo ameno in a pleasant garden
sunt flores videntes are good-seeming flowers;
670
in monte et in fonte in mountains and in springs
dei gloria ennaratur the glory of God is related.
In campo fecundo In a fertile field
sunt herbae viventes are living grasses;
in colle jucundo in pleasant mountains
sunt oves nascentes are sheep being born;
In valle et in colle in valley and mountain
dei virtus laudatur the virtue of God is praised.
[II.] Si caeli et terra Deum semper laudare If heaven and earth always praise God,
non cessent sui factoris prodigia let them never cease chanting the wonders
decantando of their creator.
cur non ego similiter Why not I, similarly?
cur obdormis in morte anima mea Why do you fall asleep in death, my soul?
eja tenebras exute Quick, having cast off darkness,
excitare illico ad Deum accede wake up immediately, approach God!
vade festina Go, hasten!
ab eo numquam recede. From him never draw back!
[III.] O care Jes O dear Jesus,

in me descende come down into me.
cor meum accende Inflame my heart;
ah` non tardare ah, do not delay.
O mi delecte Oh my chosen one,
in tua favilla in your embers,
cara scintilla dear spark,
ah me solare ah, comfort me.

Sum nimis irata
[I.] Sum nimis irata delitiae terrenae I am greatly angered by earthly delights;
iam caeco gravata I will walk oppressed by blindness,
Errore omprehensa seized by sin,
vindictam fallaces the vengeance of deceit,
par avide offensa a companion eagerly offended.
a vobis recedam Let me withdraw from you,
in pace vivendo living in peace.
Non ultra concedam Let me not submit, besides,
versari in hac pena to be kept spinning in this punishment.
me soluo catena I release myself from captivity
errorem cavendo by avoiding sin.
[II.] Exurge Anima mea; quae mens quae Rise, my soul! what mind, what delay?
mora?
corrige affectus; tibi in medio cordis est Correct affection; from you in the center of
671
libertas decora nosci. the heart is graceful freedom to be learned:
quod sis imago, simplex et immartalis [i.e. It would be that simple and immortal image
immortalis] aeterni Dei; of eternal God.
Bonum hoc perfectum Inter spinas require Seek this perfect good among thorns,
posside votis tuis, tene dilectum sieze [it] by your vows, hold your dear one.
dic vanitati, et suis illecebris, Say to vanity and its enticements,
recedite in aeternum estis indignae Fall back eternally, being unworthy."
et inde dic sponso tuo Caelesti And thereafter say to your celestial groom,
ecce venio tua sum, Behold, I come, I am yours.
de non dimittam justis Do not send away justice,
peccavi in Te licet ingrata although I have sinned against you,
ungrateful.
delitia cordis mei Delight of my heart,
vera exoptata true, longed for.
[III.] Me vox tua dulceis et cara To me your voice, sweet and dear,
sponsam dicit et sororem speaks bride and sister.
mea delicta fac ut plorem Make my faults to lament.
sponsam inde voca ad te Therefore, having been taken in marriage,
call [me] to you.
Donum est oh Rex Virtutis It is a gift, o king of virtue,
quod umilia sic exaltat that humble [people] are thus lifted up.
me conforta Autor salutis Comfort me, author of salvation;
face amoris regna in me build in me kingdoms of love.

Sum offensa
[I.] Sum offensa sum irata I am offended, I am angry.
Eia fortis amor meus O, my strong love,
arcum tende vibra telum draw the bow, launch the arrow.
cadat impius cadat reus Let the wicked fall, let the guilty fall,
timor anime fatalis the fear of a doomed soul.
Cordis noto arrideat Celum May heaven smile on the knowledge of the
heart.
me furore ac odio armata Arm me with fury and also hatred.
percit illitam crudelis The cruel [person] attacks the anointed.
sic exinde ope firmata Thus, by that cause strengthened with
power,
fides erit immortalis faith will be immortal.
[II.] Quae loquor quae deliro Whatever I say, whatever I speak

deliriously,
timor non est qui amare caeli turbat in me it is not fear that bitterly, concerning
heaven, stirs in me.
672
Heu dum aspiro ad summum dei favore Alas, while I aspire on the whole to the
favor of God,
vera fervet amor true love burns.
semper timore rigat Always it moistens with fear,
sed nunc maior but now the greater
ab ipsa affectus viget affection itself flourishes.
ita sit ergo Therefore let it be:
spera exora plange clama hope, persuade, lament, cry out,
fidem confirma tuam time ed ama. confirm your faith, fear, proclaim, love.
[III]. Dum Philomea in ramo While the nightingale on the branch,

cantando dicit amo singing, says I love,
per auras dulce penas through the breezes sweet pains
metus infesti narrat it relates, of a hostile dread
mesta gemendo in se sad, groaning in itself.
Sic quando umbra timoris Thus when the shadow of fear
fit causa mei doloris creates the cause of my sorrow,
voces ad Caelum spargit it sows voices to heaven,
metu et amore plenas full with dread and love,
afflictum cor in me an afflicted heart in me,
afflictum cor in te an afflicted heart in you.
[IV]. Alleluia. Alleluia.
673
APPENDIX B
RITORNELLO SCHEMATA
What follows is a list, by theme, of the identified schemata in the ritornelli of each of the
da capo arias in the oratorios Adamo and Judith, and each of the eight Dresden motets covered in
Chapter 4. Schemata and distinctive cadence types defined by Gjerdingen 2 are capitalized;
cadence signifies simple, nondistinctive cadential patterns.
Lowercase terms in brackets describe events that do not conform to any evident
schemata. Bracketed schemata with a question mark are at least slightly ambiguous; they may be
partial examples, have only a melody or bass line to give them shape, be combined with other
schemata, or simply be open to alternate interpretations.
Adamo
1. Sente questalma oppressa
a. Meyer
b. Fonte + half cadence
c. (Pulcinella (deceptive) + cadence) x2
2. Non ti cheiggo amor
a. [Romanesca?] + cadence + [Romanesca] redux

b. Fonte + converging cadence
c. Do-si-do x2 + [Aprile?]
d. (Comma x2 + cadence) x2
3. Quel affano e quel dolore
a. Meyer
b. [Romanesca?] + converging cadence
c. Ponte + Prinner + Mi-re-do
4. Chi s se mente
a. (Sol-fa-mi + cadence) x2
b. [tonic pedal] + half cadence
2
Gjerdingen, Music in the Galant Style.
674
c. Ponte
d. [Long comma?] + evaded cadence + cadence
5. Pietoso e pur
a. [Do-re-mi?]
b. [Fonte?] + Cudworth cadence
c. Ponte + cadence
d. evaded cadence + cadence + Romanesca + cadence
6. H che vano
a. Sol-fa-mi x2
b. [V-I] x2
c. Romanesca x2 + cadence
7. Non s se il mio peccato
a. Sol-fa-mi + Converging cadence

b. Ponte + evaded cadence + cadence
8. Cara speranza
a. (Romanesca (truncated) + cadence) x2

b. Do-re-mi + half cadence
c. Long comma + Jommelli + cadence
9. Con la mano onnipossente
a. [tonic pedal] + [Romanesca?] (unison)

b. Romanesca/Converging cadence
c. [rising triad] + evaded cadence + cadence
10. Lagrime amare
a. [Sol-fa-mi?] + evaded cadence + cadence

b. Romanesca + Converging cadence (evaded)
c. Fenaroli x2 + deceptive cadence
d. half cadence x2 + cadence
11. Se al ciel miro
a. Romanesca x2 + half cadence

b. Converging cadence + cadence
675
12. Toglier le spsonde
a. Romanesca (unison) x2
b. [tonic pedal] + cadence
13. Render le sponde
a. ([descending triad] + cadence) x2

b. cadence x2 + half cadence
c. [Prinner?] x2 + cadence
d. [Romanesca?] + cadence
Judith
1. Nauta timeus
a. [rising triad] + Prinner

b. Converging cadence x2
c. Passo indietro x2 + cadence + Passo indietro x2 + cadence x2
2. Timoris umbrae
a. Quiscenza + [Fenaroli variant?] x2

b. (half cadence x2) x2
3. Planta aliquando
a. Sol-fa-mi x2
b. cadence x2 + Prinner/half cadence + cadence (redux) x2
c. cadence + Mi-re-do
4. Ah ita in sylva umbrosa
a. [rising triad] + ([Fenaroli variant?]/Sol-fa-mi) x2

b. [IV64 I over pedal 1] x2 + Fonte/half cadence
c. ([scalar material] + cadence) x2 + [V-I] x3
5. Densae horridae procellae
a. Do-re-mi x2
b. Mayer x2 + half cadence
c. Fenaroli x2 + evaded cadence + cadence
676
6. Dum exuror
a. Sol-fa-mi + converging cadence

b. Ponte
c. [Prinner?] + cadence
7. Aves audio, video fontes
a. ([tonic-dominant fanfare] + cadence) x2 + half cadence

b. Ponte
c. Do-re-mi/cadence + Do-re-mi/deceptive cadence
d. Mi-re-do
8. Non cessate affectus mei
a. Romanesca/half cadence + Romanesca/converging cadence

b. [Romanesca?] + Falling 3rds + cadence
c. Mi-re-do x2 + Cudworth (evaded) + Mi-re-do x2 + Cudworth
9. Anima jubilo
a. [tonic fanfare] x3 + evaded cadence x2 + half cadence

b. Falling 3rds + evaded cadence + cadence
10. Dum pavesco 3
(a.) Romanesca/Prinner
(b.) cadence
11. Ah mi deus (duet)
a. Do-re-mi + converging cadence

b. Romanesca/Falling 3rds
c. [Fonte?] + cadence + [Fonte?] + deceptive cadence
d. [vi6-IV-I6-IV under pedal 1 in the melody] + cadence
3
This ritornello does not possess a definite melody and is essentially a series of rhythmically undifferentiated
harmonic progressions, so the division into distinct a and b themes is somewhat murky.
677
Ab unda algente
I.
a. [tonic triad] + [5-2 descent] + [dominant triad] + [4-1 descent] + [tonic triad]
b. [Romanesca?] + (Ponte + cadence) x2
II.
a. (Romanesca + cadence) x2
b. Fonte (x1.5) + half cadence
c. ([Ponte?] + cadence) x2
Dum refulget
I.
a. Sol-fa-mi [with interpolated 5-4 oscillation] + cadence + cadence
b. Romanesca x2
c. [Romanesca?]/Falling 3rds
d. [Prinner?] x2 + cadence + cadence x2
II.
a. [Sol-fa-mi?] x2
b. [tonic pedal] + cadence
c. half cadence x2
d. half cadence + [Cudworth?] x2
Ecce volentem video saggitam
I.
a. ([rising triad] + cadence x2) x2
b. Romanesca/Falling 3rds + half cadence
c. ([tonic pedal] + cadence) x2
d. (deceptive cadence + cadence) x2
II.
a. [Do-re-mi?]/Prinner + Prinner
b. [tonic pedal] + converging cadence
c. deceptive cadence x2 + cadence
I.
a. [rising triad] + [tonic converging cadence?] x2
b. Romanesca/Falling 3rds + half cadence
c. Ponte
d. Ponte? + evaded cadence
e. [tonic triad] x2 + evaded cadence + [tonic triad] x2 + cadence
II.
678
a. Romanesca + [Quiescenza/Romanesca?] + cadence
b. [Quiescenza?] + cadence
c. [tonic emphasis] + cadence
Non torrentes
I.
a. Romanesca
b. [I x2 + V x2 + V7/V x2 + V]
c. Ponte + half cadence
d.[tonic pedal] + cadence
e. ([tonic fanfare] + cadence) x2
II.
a. ([tonic triad] + Mi-re-do) x2
b. [Ponte?]
c. ([Romanesca?]/[rising scale] + cadence) + cadence
Sub coelo sereno
I.
a. [Romanesca?] x2 + evaded cadence + cadence
a'. [Romanesca?] x2 (as above)
b. half cadence x2 + Ponte
c. Falling 3rds/Converging cadence + cadence
d. cadence x2
II.
a. Sol-fa-mi + deceptive cadence + cadence
b. Romanesca/Fonte + converging cadence
c. cadence x2 + cadence
Sum nimis irata
I.
a. [rising tonic triad] + Do-re-mi x3
b. Falling 3rds + half cadence x3
c. Prinner x2
d. [Romanesca?] x2 + [Cudworth cadence?]
e. Pulcinella (deceptive) x2 + Pulcinella + cadence
II.
a. Mi-re-do x2 + Falling 3rds/Prinner
a'. Mi-re-do x2
b. Prinner/half cadence + [Converging cadence?]
c. Fonte/ponte
d. Prinner + Prinner/evaded cadence + Mi-re-do (evaded) + Mi-re-do
679
Sum offensa
I.
a. Falling 3rds + [tonic pedal]
b. Prinner + [fanfare]/Converging cadence
c. Ponte
d. [V-I] x2
e. [Grand cadence?] (evaded) x2 + [tonic fanfare]
II.
a. half cadence + Mi-re-do
b. [rising tonic triad/pedal] + half cadence
c. [3-4-5] + evaded cadence + cadence
680
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Garland, 1986.
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Great English Collections. Brighton: Harvester Microform, 198184. Microfilm.
688
Music Manuscripts
[Bertoni, Ferdinando.] Gravi angore conturbata. D-Dl, Mus. Mus. 2973-E-12.
Brusa, Francesco. Miserere. I-Vnm, Cod. It. IV.
Galuppi, Baldassare. Adamo ed Eva. I-Vnm, Cod. It. IV 1021 (= 10794).
. Ave Regina celorum. Autograph. F-Pn, Ms. 1895.
. Confitebor a 2 breve. Autograph. I-Gl, N.1.5.11 (Sc. 38).
. Confitebor a 3. Autograph. F-Dc, IN 8o/80.
. Confitebor a 4 con strumenti. Autograph. F-Pn, Ms. 1893.
. Confitebor [1741]. Autograph. US-NYpm, Cary 453.
. Jahel. D-B, Mus Ms. 6950, S. 1.
. Dialogus sacer Jepthe et Helcana. Autograph. F-Pn, Ms 1887.
. Jahel. CH-Zz, AMG 501.
. Judith. Autograph. F-Pn, Ms. 1888.
. Laudate pueri. Autograph. GB-Ob, MS Tenbury 619, fols. 7088.
. Magnificat a 4 da cappella. Autograph? I-Gl, N.L.5.11(Sc. 28).
. Miserere in C minor [Baldan]. GB-Lbm, Add 14402.
. Miserere in C minor [Fish]. GB-Ob, Ms Tenbury 939.
. Mundi salus. Autograph. F-Pn, MS. 1889.
. Nunc dimittis. Autograph. I-Vnm, B. 15. (Autograph).
. LOracolo del Vaticano. Autograph. F-Pn, MS. 1884.
. Qui habitare. Autograph. US-Wc, ML 96 .G269 case.
. Sum nimis irata. D-Dl, Mus. 2973-E-38.
. Sum offensa. D-Dl, Mus. 2973-E-19.
689
. Triumphi divinii amoris. Autograph. F-Pn, MS. 1890.
. [Versetti]. Partially autograph. F-Pn, MS. 1892.
[Galuppi, Baldassare?]. Ab unda algente. D-Dl, Mus. 2973-E-36
. Dum refulget. D-Dl, Mus. 2973-E-37.
. Ecce volentem video saggitam. D-Dl, Mus. 2973-E-11.
. Mass. A-Wn, SA.67.D.45.
. Non torrentes [soprano]. D-Dl, Mus. 2973-E-13.
. Non torrentes [tenor]. D-Dl, Mus. 2973-E-5.
. Quaerenti per fontes. D-Dl, Mus. 2973-E-17.
. Sub coelo sereno. D-Dl, Mus. 2973-E-18.
[Hasse, Johann Adolf.] Quae columna luminosa. D-Dl, Mus. 2973-E-15.
. Quae columna luminosa. D-Dl, Mus. 2973-E-16.
[Hasse, Johann Adolf?] Prata, colles, plantae, flores. D-Dl, Mus. 2973-E-14.
Recordings
Galuppi, Baldassare. Il caduto di Adamo. I Solisti veneti. Claudio Scimione. With Mara
Zampieri, Susanna Rigacci, Marilyn Schmiege, Ernesto Palacio. Recorded July 1985.
Apex 2564 69616-5, 2008, compact disc. Originally released in 1987.
. Motets. Il Seminario musicale. Grard Lesne. With Vronique Gens, Peter Harvey,
Fabio Biondi. Recorded July 1992. Virgin CDC 5 45030 2, 1994, compact disc.
. LOracolo del Vaticano. Savaria Baroque Orchestra. Fabio Pirona. With Mo nika
Gonza lez, Edit Kroly, Tams Kbor. Recorded June 2003. Hungaroton HCD 32252,
2004, compact disc.
690
BIOGRAPHICAL SKETCH
Keith Knop was born in Decatur, Georgia on 17 July 1979 and spent most of his
childhood on St. Simons Island, Georgia. He received the B.A. in music in May 2001 from
Rhodes College in Memphis, Tennessee, and was accepted into the graduate musicology
program at The Florida State University the same year. He was awarded the M.M. in
musicology in August 2004. During his time at FSU he has taught undergraduate courses in
music literature and history and has been employed as a cataloger at the Warren D. Allen Music
Library since 2006.
His research interests are principally in the eighteenth century and have focused on
Baldassare Galuppi in particular. Galuppi was the topic of both his masters thesis and a paper
for the American Musicological Society, Southern Chapter, and in 2008 he created a performing
edition of the motet Sub coelo sereno for a performance by the Grand Tour Orchestra in New
York.
691

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Electronic Theses, Treatises and Dissertations The Graduate School

Sacred Music of Baldassare Galuppi in the

SACRED MUSIC OF BALDASSARE GALUPPI IN THE CONTEXT OF EIGTHEENTH-

CENTURY VENETIAN CULTURE, WITH AN EMPHASIS ON MUSIC WRITTEN FOR

THE MENDICANTI AND THE INCURABILI

A dissertation submitted to the

List of Tables ................................................................................................................................ vii

10. SUM NIMIS IRATA...........................................................................................................288

11. SUM OFFENSA..................................................................................................................338

12. AB UNDA ALGENTE........................................................................................................389

13. DUM REFULGET ..............................................................................................................437

14. ECCE VOLANTEM VIDEO SAGGITAM........................................................................484

15. NON TORRENTES ............................................................................................................532

16. QUAERENTI PER FONTES..............................................................................................581

17. SUB COELO SERENO ......................................................................................................630

A. DRESDEN MOTET TEXTS ..............................................................................................666

B. RITORNELLO SCHEMATA .............................................................................................674

BIOGRAPHICAL SKETCH .......................................................................................................691

3.1 Brief outline of Adamo ed Eva ..............................................................................................63

4.1 Dresden solo motets attributed to Galuppi ............................................................................92

4.2 Common ritornello schemata ..............................................................................................120

3.1 Autograph markers, Laudate pueri........................................................................................49

3.2 Unsteady beaming, Laudate pueri.........................................................................................49

4.1 Repeat indications, Sum offensa ............................................................................................98

2.1 Versetti per la Professione alle Virgini, no. 2 .......................................................................28

2.2 Vivaldi, Longe mala umbrae terrores ...................................................................................44

3.1a Alessandro nellIndie (1739): O su gli estivi ardori ..........................................................51

3.1b Judith (1746): Deus orantes ...............................................................................................51

3.1c Judith (1746): Dum exuror, ah, puro ardore ......................................................................52

3.1d Adamo ed Eva (1747): Sente questalma oppressa ............................................................52

3.1e Adamo ed Eva (1747): Quellaffano e quel dolore ............................................................53

3.1f Il mondo alla roversa (1750): Al bello delle fimmine.......................................................53

3.1g Confitebore breve (1757) ......................................................................................................54

3.1h Ave Regina coelorum (1764): I..............................................................................................54

3.1i Qui habitare (1771?): Gloria .............................................................................................54

3.1j Laudate pueri (1771): I .........................................................................................................55

3.1k Nunc dimittis (1772): I...........................................................................................................55

3.2 Adamo ed Eva: Ahi formidabil suono................................................................................66

3.4 Adamo ed Eva: Sente questalma oppressa falling motives...............................................70

3.5 Confitebor breve: mm. 1838................................................................................................76

3.6 Confitebor breve: mm. 69130..............................................................................................77

3.7 Laudate pueri: I .....................................................................................................................84

4.1 Miserere in C minor: Sacrificium Dei ...............................................................................96

4.2 Sum nimis irata: I, mm. 113 ..............................................................................................101

4.4 Sum nimis irata: I, mm. 4246 and 5153 ..........................................................................104

4.5 Sum offensa: I ......................................................................................................................106

4.6 Sum offensa: III....................................................................................................................107

4.7 Sub coelo sereno..................................................................................................................118

4.8a Judith: Planta aliquando...................................................................................................121

4.8b Judith: Densae horridae procellae....................................................................................121

4.9 Adamo ed Eva: Quellaffano e quel dolore......................................................................122

4.10 Sum nimis irata: I, mm. 134 ..............................................................................................123

4.11 Ab unda algente: I, mm. 113 .............................................................................................124

GALUPPI IN THE CONTEXT OF VENICE IN DECLINE

Venices Sinking Fortunes

MUSIC IN VENETIAN LIFE

The Motet and Other Liturgical Music

AUTOGRAPHS AND RELIABLY ATTRIBUTED WORKS

About the Autographs

General Characteristics of the Music

I-Vnm Cod. It. IV 1021 (= 10794)

Table 3.1: Brief outline of Adamo ed Eva

Movement Scoring Key Meter Tempo Remarks