Cozzolani - Scherzi Di Sacra Melodia

Chiara Margarita Cozzolani (1602–c.
1677)
SCHERZI DI SACRA MELODIA
(Venice, 1648)
Edited and reconstructed by Lucas Harris

General Introduction by Robert L. Kendrick
Motet Translations and Textual Notes by John Pepper
WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC

www.sscm-wlscm.org
WLSCM no. 37
Chiara Margarita Cozzolani, Scherzi di Sacra Melodia, ed. Lucas Harris et al., 2021 Introduction, 2
CONTENTS
Acknowledgments – Lucas Harris.......................................................................................................................... 4

INTRODUCTION 7
General Introduction – Robert L. Kendrick............................................................................................................ 7
EDITORIAL REPORT 10
Editorial Policies – Lucas Harris .......................................................................................................................... 10
Note on the Texts – John Pepper .......................................................................................................................... 12
Critical Notes 15
2. O Jesu meus amor ............................................................................................................................................. 15
3. Venite qui esuritis ............................................................................................................................................. 16
4. Venite gentes .................................................................................................................................................... 17
5. Venite ad me omnes ......................................................................................................................................... 17
6. O quam tristis ................................................................................................................................................... 17
7. Ave Maria ......................................................................................................................................................... 17
8. Amate o populi ................................................................................................................................................. 18
10. Quis mihi det calicem bibere Domini? ........................................................................................................... 18
11. Venite populi .................................................................................................................................................. 18
12. O præclara dies ............................................................................................................................................... 18
Texts and Translations 20
Dedication and Laudatory Sonnets – R. L. Kendrick ........................................................................................... 20
Motets – John Pepper ........................................................................................................................................... 24
1. Alleluia, cantemus, exultemus .......................................................................................................................... 24
2. O Jesu meus amor ............................................................................................................................................. 25
4. Venite gentes .................................................................................................................................................... 26
6. O quam tristis ................................................................................................................................................... 28
7. Ave Maria ......................................................................................................................................................... 29
8. Amate o populi ................................................................................................................................................. 30
9. Succurre o Diva clemens .................................................................................................................................. 31
11. Venite populi .................................................................................................................................................. 33
12. O præclara dies ............................................................................................................................................... 34
MUSIC
1. Alleluia, cantemus, exultemus .......................................................................................................................... 36
2. O Jesu meus amor ............................................................................................................................................. 47
4. Venite gentes .................................................................................................................................................... 62
6. O quam tristis.................................................................................................................................................... 76
7. Ave Maria ......................................................................................................................................................... 82
8. Amate o populi ................................................................................................................................................. 88
9. Succurre o Diva clemens .................................................................................................................................. 95

11. Venite populi .................................................................................................................................................. 108
12. O præclara dies ............................................................................................................................................... 117
FIGURES
Figure 1: Chiara Margarita Cozzolani, Scherzi di sacra melodia (1648), title page. ................................................5
Figure 2: Daniel Speer, Philomela angelica cantionum sacrarum (1688), title page. ..............................................6
Figure 3: “O Jesu meus amor” basso continuo part from from Speer’s Philomela angelica cantionum sacrarum
(1688). ........................................................................................................................................................................9
Figure 4: Chiara Margarita Cozzolani, Scherzi di sacra melodia (1688), excerpt from No. 12, “O praeclara dies.”
.................................................................................................................................................................................. 14
Figure 5: Engraving from Daniel Speer’s Philomela angelica cantionum sacrarum (1688)..................................35
Acknowledgments – Lucas Harris

Funding for this project was made available by the Pluralism Fund and administered by Toronto’s
Chamber Factory. Heartfelt thanks in particular goes to Monica R. Armour for her continued
encouragement and support.
The Canada Council for the Arts also provided a grant to make the premiere video performance
recordings of four of the Scherzi motets. These are available to view on YouTube and are also embedded
at https://www.lucasharris.ca/cozzolani-reunited.
Lysiane Boulva did the initial engraving work.
John Pepper not only prepared his careful reconstruction and translation of the poems but also
carefully proofed multiple drafts of the edition for both textual and musical elements.
Both Lysiane and John as well as Suzie LeBlanc and Ariadne Lih made excellent suggestions for
small adjustments in the reconstructed basso continuo parts.
Professor Robert Kendrick and Candace Smith have been advisors for the project.
Many thanks to the Wrocłow University Library, the Museo internazionale e biblioteca della
musica di Bologna, and the Bibliothèque nationale de France for making the original Cozzolani and
Speer partbooks available online.
Lucas Harris
Lutenist and Conductor
www.lucasharris.ca
lucasharris@live.ca
Figure 1: Chiara Margarita Cozzolani, Scherzi di sacra melodia (1648), title page.
Reproduced with permission from the Museo internazionale e biblioteca della musica di Bologna.
http://www.bibliotecamusica.it/cmbm/viewschedatwbca.asp?path=/cmbm/images/ripro/gaspari/_Z/Z031/
Figure 2: Daniel Speer, Philomela angelica cantionum sacrarum (1688), title page.
Reproduced with permission of the Bibliothèque nationale de France, Département de la Musique, VM1-1057.
https://gallica.bnf.fr/ark:/12148/btv1b9062553f
INTRODUCTION
General Introduction – Robert L. Kendrick
Chiara Margarita Cozzolani (1602–c. 1677) was a musical Benedictine nun in the convent of Santa
Radegonda, an institution in the center of Milan. Her first book of motets (1640) seems irretrievably
lost, while her prints of 1648 and 1650 survive complete. For a long time, it seemed that only the vocal
part, not the basso continuo, of her solo motets (1648), had survived. But several recent discoveries
have changed that picture, as discussed here.
In 2016, Jana Bartová noted that the opening contents of Daniel Speer’s sacred music collection
Philomela angelica (1688) could have been taken from the works of Chiara Margherita Cozzolani and
followed this up in 2018 with an identification of six solo motets that Speer had taken from the
Benedictine nun’s Scherzi di sacra melodia (Venice, 1648), which survives with only its vocal part-book
extant. Since Speer had added string parts but made only minor modifications to the original vocal line,
it was thus obvious that Cozzolani’s pieces—half of the twelve motets in her 1648 collection—could
thus be “deconstructed” by simply using the continuo line as given in Speer’s print, although some
broader philological issues have been raised by Marina Toffetti. 1
This Web Library edition gives Harris’s deconstruction of the six motets in Speer and, in a
different category, his reconstruction of the continuo line for the other six, not present in Speer. In terms
of the former, Speer added sinfonias and accompaniments for a five-part string band, along with
composing some new bars of phrase extensions and echoes for the strings. But apart from these, he was
generally respectful of Cozzolani’s vocal lines, as a comparison of the surviving voice part-book in
Bologna and Wrocłow shows. 2
Cozzolani’s print contains both Eucharistic/Christological works (which were the items selected
by Speer for what he must have envisioned as a Lutheran public for his print), along with pieces for
Marian and sanctoral feasts (these ignored by Speer). 3 The German organist and schoolteacher probably
had his edition printed in Ulm, although the title-page both gives “Venice” as its place of publication
and ascribes the first twelve items to an anonymous Franciscan nun composer in Rome.
1. We would like to emphasize the original insights found in Jana Kalinayová-Bartová, “Philomela angelica Daniela
Speera—k neznámemu dielu známeho hudobníka (Philomela Angelica by Daniel Speer—an Unknown Work of a Well-
known Musician),” Musicologica Brunensia 51 (2016) (online at: http://www.phil.muni.cz/journals/index.php/musicologica-
brunensia, accessed February 2020; originally positing Speer’s source as Cozzolani’s lost Primavera di fiori musicali from
1640) and then Kalinayová-Bartová [with the correct source], “Italian Sacred Monody North of the Alps. From Chiara
Margarita Cozzolani’s Scherzi di sacra melodia (1648) to Daniel Speer’s Philomela angelica (1688),” Musicologica
Brunensia 53 (2018); and Marina Toffetti, “Deconstructing Daniel Speer’s Philomela angelica (1688) to Reconstruct Chiara
Margarita Cozzolani’s Scherzi di sacra melodia (1648),” Musicologica Brunensia 53 (2018).
2. RISM A/I C 4361. Copies are held in the Museo internazionale e biblioteca della musica di Bologna (I-Bc Z. 31)
http://www.bibliotecamusica.it/cmbm/viewschedatwbca.asp?path=/cmbm/images/ripro/gaspari/_Z/Z031/ and the Biblioteka
Uniwersytecka, Wrocław (PL-WRu 50370 Muz) http://www.bibliotekacyfrowa.pl/dlibra/docmetadata?id=22181.
3. On Cozzolani’s collection, its dedication, contents, and style, see R. L. Kendrick, Celestial Sirens: Nuns and their
Music in Early Modern Milan (Oxford: Clarendon Press, 1996), 378–388, and Harris/Kendrick, “Of Nuns Fictitious and
Real: Revisiting Philomela angelica (1688),” Recercare XXXII (2020), the latter of which also considers the German
printing of the 1688 volume. https://www.lim.it/it/recercare/5982-recercare-xxxii12-2020-9788855430531.html.
Whether Speer did this to hide his tracks or to capitalize on the general fascination with Italian
nuns’ music-making is unclear. He also “borrowed” motets by Maurizio Cazzati (Terzo libro de’ motetti
a voce sola [Venice, 1651], one of which, a Marian motet, he retexted in a Christological vein) and
Isabella Leonarda (no surviving printed source) for his first group of pieces with his string-band
accompaniment (Leonarda’s piece is actually a duet); he himself may have composed the final two items
in this section. Speer’s 1688 edition ends with twelve sacred concerti, all beginning with the word
“Ecce” (taken from various Biblical verses), for a different ensemble of ATB plus two violins; these the
title-page states as being by the author, whose name is given only as an anagram (“Res plena Dei” =
“Daniel Speer”) in the edition.
We have gone into greater detail elsewhere concerning Speer’s evidently more explicit continuo
figuration compared to the original (as Cazzati’s print survives intact and thus can be compared with the
1688 volume, the 1651 pieces give a clue as to Speer’s procedures). 4 In several places, Speer simplified
and modernized Cozzolani’s vocal lines; this Web Library edition takes its vocal part from the 1648
original, with only the continuo derived from Speer (see the Critical Notes below for details). 5
Although reading seventeenth-century dedications is often an exercise in vacuity, there is some
suggestion that Cozzolani’s inscription of her edition to the president of the Cassinese Congregation of
Benedictine monks, Claudio Benedetti OSB (?c.1585–post 1650), actually includes some musical
references. In the case of Venite qui esuritis, we have attempted to give some possible allusions;
certainly few dedications of motet books are so explicitly musical in their metaphors. Benedetti had been
the dedicatee of Vincenzo de’ Tuzzi’s Missa cum tribus vocibus (Venice: Vincenti, 1628, a far more
somber print than Cozzolani’s) and thus may have had some musical expertise. Here, for the first time to
our knowledge, we translate the dedication to Benedetti plus the three sonnets in praise of Cozzolani that
preface the 1648 edition. 6
As for Cozzolani’s motets not present in Speer’s edition, we presume that they were also
originally written at roughly the same time as the others. There were four of these in the 1642 Concerti
sacri; those of 1648 are roughly as long but perhaps more virtuosic in their vocal demands. The
extrovert Marian piety in four of the 1648 pieces is very much on a par with Cozzolani’s other texts and
with her surroundings. As has been noted before and repeated in the edition, the name of the female
saint honored in Venite populi, accurrite gentes, given in the edition as “N.”, is set musically to four
pitches with a stress on the penultimate syllable; hence “Radegundam” could easily be inserted here to
make the patron saint of Cozzolani’s convent into the text’s subject. 7 Whether or not the links suggested
below are valid, Cozzolani’s dedication to Benedetti does suggest that she was self-aware of her own
tendencies to writing difficult vocal lines, punctuated by sometimes unexpected internal cadences.
4. Harris/Kendrick, “Of Nuns Fictitious and Real”.

5. Cozzolani’s 1648 edition is online at
http://www.bibliotecamusica.it/cmbm/viewschedatwbca.asp?path=/cmbm/images/ripro/gaspari/_Z/Z031/, with a link to the
copy in Poland; Speer’s print can be seen at https://gallica.bnf.fr/ark:/12148/btv1b9062553f/f54.item.r=philomela (both
accessed June 2020). The two copies (I-Bc and PL-WRu) of Cozzolani’s voice-partbook seem identical.
6. On other issues in the dedication, see Harris/Kendrick, “Of Nuns Fictional and Real,” and Kendrick, Celestial Sirens,
139. The only similarly “musical” dedication of a solo motet book seems to be that of Giovanni Felice Sances (1638) to the
Emperor-musician Ferdinand III. The sonnets could have been written by another nun in Cozzolani’s house of S. Radegonda
or by one of the male Cassinese literati, such as Agostino Lampugnani OSB (c.1586–1666).
7. Other possibilities include “Catherinam” or “Margaritam”, although the textual references to her “flight from the
world” with no mention of martyrdom suggest a nun like Radegund.
With this set of motets, essentially all the surviving works of Cozzolani are available in modern
editions (the psalm and Magnificat settings from her 1650 book can be obtained from http://cappella-
artemisia.com/artemisia-editions/). It is a great pleasure to present Harris’s reconstructions here on the
Web Library.
Figure 3: “O Jesu meus amor” basso continuo part from from Speer’s Philomela angelica cantionum sacrarum (1688).
EDITORIAL REPORT
Editorial Policies – Lucas Harris

The goal of this project has been to present an edition of Cozzolani’s Scherzi di sacra melodia which is
readily usable for performers but also makes the best possible speculation of how the complete
collection originally appeared with all parts intact.
For numbers 1, 6, 7, 8, 9, and 11, there are no known sources for the missing continuo parts, and
so I have composed parts from scratch. I have done my best to write in Cozzolani’s idiom, though I
would encourage performers familiar with the style of the period to experiment with alternatives to what
I have set down here.
In the case of numbers 2, 3, 4, 5, 10 and 12, I have reconstructed them using the arrangements
from Speer’s Philomela. The crucial part of this work was extracting the additional music Speer inserted
for his added five-part string ensemble, mostly sinfonias and phrase extensions. 8
We have studied the Philomela canto parts to cross-check Cozzolani’s accidentals, rhythms,
spellings, and other details but as a rule have avoided adopting Speer’s changes except where his
spelling of a particular word seemed preferable. We have no such luxury to treat the Philomela continuo
parts with such casual disregard, on the other hand, as they are the only historical source material
available to suggest what Cozzolani’s parts might have looked like.
We can never know for certain how much Cozzolani’s original continuo parts might have been
changed in Philomela. However, the works by Cazzati and Leonarda mentioned above provide a useful
guide, since those works survive in other sources with their continuo parts intact. What we see is that,
outside of the new material for the string group, Speer did not introduce many changes except to add
extra figures. For this reason, we have largely reproduced the basso continuo from Philomela, resisting
the temptation of making changes where they did not seem essential.
Italian sources from this time are notoriously underfigured, and Speer was not the only
contemporary German composer who felt the need to provide continuo players with a more complete set
of figures, as is evidenced in Heinrich Schütz’s preface to the continuo partbook of his Symphoniae
Sacrae III (Dresden, 1650). 9 I have followed Schütz’s example in the Speer motets by adding some
extra figures for convenience, even beyond what appears in Philomela, which I assume contains more
figures than the missing Scherzi partbook.
By the same token, I occasionally suspected that Speer might have overfigured certain passages.
This might be a result of Speer “updating” Cozzolani’s harmonic idiom to what was more typical in
1688, but I think more often these figures reflect additional harmonic changes that grew out of his new
8. See Marina Toffetti, “Deconstructing Daniel Speer’s Philomela angelica (1688),” for a detailed elucidation.
9. “I have had the figures indicated with all possible care above the bass for the organ. A good many Italians are
accustomed today to employ no numbers, professing that experienced organists would have no need of them and without
them would know well to play in accordance with the counterpoint, whereas the inexperienced [organist] would not find the
musical concordance or harmony, even if one did put the figures right above it [i.e., the bass] for them. This in itself is indeed
doubtless true: it is not such a simple thing to play properly from the basso and to satisfy a musical ear with it, despite what
many a man might suppose. That I, however, make use of the aforementioned figures in my published compositions up to
now follows the precept: Abundans cautela non nocet (Abundant caution does not harm).” Translation by Gregory S.
Johnston, A Heinrich Schütz Reader (Oxford University Press, 2013), 179–180.
string parts. Performers should feel free to simplify the figures in such passages to reflect what might
have been more typical of Cozzolani's publication. There are also places where Speer’s figures are
confused or incorrect. In the edition, parentheses appear around any figures that modify or supplement
those from Philomela, and any passages where I felt the Philomela material had to be adjusted are listed
in the critical notes.
Original note values and time signatures have been retained throughout. Bar lines have been
added, and colored notation has been modernized. Where Cozzolani indicates a da capo repetition of an
opening section (in nos. 1 and 11) we have chosen to write it out. Fermatas are original though
performers should note that they only indicate the conclusion of a section.
Accidentals have been adjusted to modern usage, carrying through each bar. Natural symbols are
used in place of original flat or sharp symbols which cancel out an accidental. Musica ficta symbols
suggest accidentals not present in the original. In the basso continuo part, these ficta have parentheses
around them to avoid mistaking them for figures.
Continuo figures follow the convention of using ♯ for a major third and ♭ for a minor third, even
if the indicated pitch is a natural.
In a few recitative-like passages, we have suggested ties between two equal bass notes by using a
dashed slur.
Repeated text indicated by an “ij” marking has been written out in italics.
Dynamics are original except when bracketed. Cozzolani does enjoy echo effects (in numbers 2
and 11) but is not always consistent about indicating a piano for each of them nor about cancelling them
out with a forte.
Vocal slurs are original. It is not always obvious whether Cozzolani intended the slur markings
to be articulations or lyric slurs, and some could be either or both. It is also sometimes unclear visually
where slurs or brackets were meant to begin and end, and we have erred on the side of what seems
logical. Note that some sort of portamento is likely intended in highly expressive passages where
chromatic semitone alterations occur under a slur (i.e., no. 6, m. 12; no. 8, m. 122).
Note on the Texts – John Pepper
We aimed to present a readable and practical text that stays as close as possible to Cozzolani’s original.
In the Speer motets, there are some differences between the texts of the two versions. For several words
we chose the diction or spelling that appears in Philomela rather than Scherzi, but, in general, wherever
it was possible to adhere to the original, we did so. Consideration of the rhetorical patterning
characterizing these texts usually makes it clear which of two variants is preferable; the same principle
applies to passages requiring emendation in the Scherzi motets that do not appear in Philomela. In any
case, every significant variation between our text and the Cozzolani original and/or the Speer version is
listed in the critical notes.
The notes explain our reasons for adopting a particular reading and also mention the possible
attractions of readings that we have not adopted. The purpose of textual editing and the comparison of
variants is not to choose our favorites, but, if possible, to restore the text as it was originally intended.
My only misgiving about the choices we have made is lest, by being biased in favor of the first edition,
we might have occasionally defeated that purpose. So, we encourage the performer to consult the notes
and to experiment with the variant readings.
We have mostly modernized the punctuation and capitalization. Much of this is a matter of
adding punctuation marks for the sake of clarity; note, however, that Latin, because of its grammatical
inflections, tends to need less punctuation than English.
Scherzi mainly adheres to the classical standard of Latin spelling, and we have brought all the
spelling into conformity with that standard as far as possible (exceptions are noted in the critical notes).
The original text has a few spellings that seem Italian rather than Latin, and these may be the work of
the print compositor, but we cannot rule out the possibility that they are the composer’s and that they
reflect the way she expected these words to sound. With that idea in mind, we mention these cases in the
notes for the information of singers who may want to experiment with them.
The original edition displays numerous archaic spelling conventions, not all of them used
consistently: the substitution of & for et; the substitution of ę (e with an “ogonek”) for the ligatures æ
and œ; a straight line over a vowel to indicate the omission of a following m or n; presenting the
interjection o as ò; the invariable use of i for both the vowel i and the consonant represented by j in
modern standard spelling, except that ii is always spelled ij, regardless of which sound is which (gaudijs
for gaudiis, but also reijcis for rejicis); the invariable use of v in initial position and u in every other
position for both the vowel u and the consonant represented by v in modern standard spelling. These are
not significant variations, and all have been silently standardized.
Many singers will approach these pieces with the assumption that Latin texts must be sung using
the modern Italianate ecclesiastical system of pronouncing Latin. And as that system depends on the
standard classical spelling, those singers will find no difficulty in using the texts in this edition.
But there is one word that requires special comment here, leading to a larger issue of interest to
those performers who would like to experiment with the historical pronunciation of early vocal music.
The word annuntiemus (no. 12, mm. 103–105) is spelled annunciemus in both Scherzi and Philomela. If
we had left it spelled that way, the singer of modern church Latin would mispronounce this one word.
This spelling, which implies that -ntie- and -ncie- are interchangeable, is a clue suggesting that
Cozzolani had in mind the local Latin pronunciation that would have been used in her native Milan. That
system requires that every c before a front vowel (æ, e, i, œ, y) and not preceded by s or x be pronounced
[ts], not [tʃ]. This and some other characteristic features differentiating the Milanese pronunciation of
Latin in Cozzolani’s time from the standard ecclesiastical system are outlined in the following chart,
along with a few additional guidelines in order to define the differences more clearly. 10
Selective sound-chart for Cozzolani’s Milanese Latin
Spelling Pronunciation (IPA symbols) Word examples

au [au] pauper, gaudeo
c [k] before a, o, u, a consonant, or final cantemus, sacro, fac
[ts] before æ, e, i, œ, y dulcis, respice, cælum
See also sc and xc
cc [kk] before a, o, u peccata, accurrite
[tts] before æ, e, i, œ, y ecce, accedant
eu [εu] heu
gn [ɲ] (not lengthened) regnat, pignus
ihi [iki] or possibly [içi] mihi
sc [sk] before a, o, u esca, obstupescunt
[ʃ] (not lengthened) before æ, e, i, œ, y conscendunt, viscera
u [y] in open syllables alleluia, crucies, tuam
[u] in closed syllables lux, meus, mundum
[w] unstressed between g or q and a vowel sanguine, qui
See also au and eu
xc [ksk] before a, o, u (no example in these texts)
[kʃ] before æ, e, i, œ, y excipiant, excelsis
10. For further information, please consult Harold Copeman, Singing in Latin, or Pronunciation Explor’d (Oxford,
1992), 272–275, and Copeman, “Italian Latin,” Chapter 14 in Singing Early Music, ed. Timothy J. McGee (Bloomington and
Indianapolis, 1996), 213–215.
Figure 4: Chiara Margarita Cozzolani, Scherzi di sacra melodia (1688), excerpt from No. 12, “O praeclara dies.”
Reproduced with permission from the Museo internazionale e biblioteca della musica di Bologna.
http://www.bibliotecamusica.it/cmbm/viewschedatwbca.asp?path=/cmbm/images/ripro/gaspari/_Z/Z031/
Critical Notes
Lucas Harris and John Pepper
2. O Jesu meus amor

m. 23 text: Cozzolani has non; Speer has me.
mm. 25, 27 text: Cozzolani has amo with a lyric slur; Speer has amabo in a syllabic underlay; his
emendation of mm. 23–27 makes no sense, but the future tense is attractive for parallelism with
mm. 17, 21.
m. 31 bc, beat 1: the F# has this confusing figure in Speer:
mm. 42–43 text: Cozzolani has beatis (a compositor’s error?); Speer has beabis me. Beabis is clearly the
right word; Speer’s me is attractive for parallelism with mm. 32–35 but not necessarily
preferable.
m. 43 bc, beat 1: Speer has A natural.
mm. 45–46 bc: Speer’s figures are confusing but meant to indicate a simple B minor harmony. We’ve
clarified this by putting (#)5.
m. 53 bc: Speer has # before both Gs, but the G natural at the end of the bar fits better with the G
naturals in the voice in the following bar and may be what Cozzolani intended.
mm. 55–60 bc: Speer basso part and figures seem confused here:
In m. 56 the # before the 6 has been disregarded. In m. 59 the 4 has been changed to 7 to produce a
typical 7#6 cadence—likely an original 7 was mistaken for a 4 somewhere along the way.
One possible theory for mm. 55–56 is that the original bass had an A minor harmony all the way through
both bars: an original A in the bc part might have been taken for C in a Terzverschreibung by
Speer (or by Cozzolani’s printer), and then Speer might have added the 5665 figures above the C
in order to explain the A which appears in the canto.
mm. 68–69 text: Cozzolani has Jesu mi—we’ve used mi Jesu as it appears in every similar cadence as
well as in Speer.
m. 76 canto: missing F# added.

m. 87 bc: Speer’s figure is clearly a flat (natural 3rd), but we have changed it to a B major harmony
which seems more likely in Cozzolani’s idiom.
m. 79 bc: G corrected to A.
m. 117 bc: Speer’s figure over F# is a flat, indicating a minor 3rd which is already in the key signature.
Changed to (#)5 for clarity.
mm. 126–7 bc: Speer’s figures changed: flat over E changed to sharp and 6 over F# changed to #5.
m. 138 bc: Speer’s #4 corrected to 4#

mm. 166–167, 169–170 text: Cozzolani has jocunditas; Speer has jucunditas—the standard classical
spelling, but jocunditas was a common alternative; see related notes at No. 4, mm. 48–49 and
No. 6, m. 67.
mm. 181–194 bc: although the 6/4-5/3 suspensions in this section seem a bit late for Cozzolani’s style,
they have been left here. Possibly Cozzolani’s original might have assumed a simple 5/3 chord
on the downbeat, making the canto suspensions more expressive by being outside of the played
harmony.
3. Venite qui esuritis

m. 9 text: Speer has panem; Cozzolani has bonum—clearly a mistake (a mishearing?).
m. 14 canto: F# appears only in Speer.
m. 23 canto, beat 1: sharp symbol before B rather than C (correct in Speer).
m. 29 canto, beat 3: sharp symbol before B rather than C (correct in Speer).
m. 36 canto & bc, beat 4: Speer has D# in both canto and bc on this beat, including the figure 6.
This is tonally awkward, so we have kept Cozzolani’s D natural in the canto and imagined the
original continuo part to have D natural as well.
m. 39 bc: composed (not present in Speer).
m. 41 text: Cozzolani has carnem; Speer has panem—a poor match for sanguinem in the next phrase.
m. 42 bc: Speer has figure 5-6 which we have simplified to 6.
mm. 47–58 bc: Speer has more figures here than would be typical of an Italian print of this time,
including some that seem redundant or excessive:
We’ve simplified the figures to assume one harmony per bar.

m. 77 text: Cozzolani has pavent; Speer has parent—a compositor’s error?
mm. 77–78 bc: No sharp on G in Speer (and no sharp figure above E in bc).
mm. 87–89 text: Speer has transcendit; Cozzolani has trascendit—incorrect but possibly what she
intended (the Italian verb is “trascendere”).
m. 101, 141 bc: composed (these bars not present in Speer).
m. 142 bc: Speer has a flat figure above the D which we did not include.
4. Venite gentes
mm. 48–49 text: Cozzolani has jocundius; Speer has jucundius. (See note to No. 2, mm. 166–167, 169–
170.)
mm. 90 text: Cozzolani has splendor hic est; Speer has hic splendor est—attractive for parallelism with
mm. 66, 74, 82, 99–100.
m. 100 bc: Speer’s figure 3-4 corrected to 4-3.
5. Venite ad me omnes
m. 27 bc: re-composed (Speer’s voice and bc parts differ at this cadence).
m. 40 bc: Speer has # above both Ds.
mm. 49–52 bc: Figures in Speer all moved one note to the left.
m. 57: Speer has F# in canto and figure #6, Cozzolani has F natural.
m. 62 text: Cozzolani has audet; Speer has audes.
m. 65 text: Cozzolani has valet; Speer has vales.
m. 66 text: Cozzolani has Ille; Speer has Iste.
mm. 68–69 text: Cozzolani has ille extorsit; Speer has iste retorsit.
mm. 69–70 text: Cozzolani has eduxit; Speer has reduxit.
m. 85 bc: composed. Speer’s continuo part works fine with his changed canto part but less well with
Cozzolani.
mm. 92–93, 98, 107 text: Cozzolani has viscera; Speer has vulnera.
m. 116 bc: Speer has a D-minor harmony here for four beats (with the vocal coloratura extended), but
we prefer Cozzolani’s original accompanied by the D-major harmony.
6. O quam tristis
m. 47–48 text: Cozzolani has sulpiria, presumably a compositor’s error, which has been corrected to
suspiria.
m. 67 text: Cozzolani has jocundor. (See note to No. 2, mm. 166–167, 169–170.)
7. Ave Maria
m. 76 text: dæmones—Cozzolani has Demones.
m. 84 bc: composed.
m. 94 text: renovantur—Cozzolani has rennovantur. This is incorrect but may be what she intended (the
Italian verb is “rinnovare”).
m.145 canto: Sharp in Cozzolani is before the B, here moved to before the C.
8. Amate o populi
m. 96 canto: last two notes in bar moved up a third to match m. 35.
m. 110 canto: downbeat C# added to match parallel passage in m. 49.
m. 120 text: Cozzolani’s reijcis changed to rejicis, an acceptable variant of reicis.
10. Quis mihi det calicem bibere Domini?

mm. 3–5 text: Cozzolani has Calicem bibere Domini, Speer has bibere calicem Domini.
m. 42 text: secer is from Speer; Cozzolani has sęcer.
m. 66 text: Cozzolani has Pectines; Speer has bestiæ.
m. 67 text: beluæ from Speer; Cozzolani has Belluæ—incorrect but possibly what she intended (the
Italian noun is “belva” but the adjective is “belluino”).
mm. 70–73 text: Cozzolani has trucidate; Speer has truditate.
mm. 80, 91 text: pœnæ is from Speer; Cozzolani has penæ.
11. Venite populi

mm. 89–90 text: As mentioned in the introduction and the edition: the indication "N." was an invitation
to substitute the name of different saints, which allowed the music to be used on various feast
days. This poem would seem to describe a female saint known for rejecting earthly concerns, and
one such saint is Radegund, the namesake of Cozzolani's Benedictine convent. Radegund's four-
syllable Latin name "Radegunda" also fits the music nicely and would be sung here in the
accusative form, "Radegundam."
mm. 92–93 text: aluit—Cozzolani has alluit.
m. 94 text: mundum—Cozzolani has mundus—possibly compositor’s error repeated from m. 92,
grammatically impossible, and mundum is confirmed by transposed but parallel mm. 100–103.
m. 142 canto: an unclear symbol appears before the downbeat E.
We’ve taken it to be a redundant natural sign.
12. O præclara dies

m. 12 text (twice): felix is taken from Speer; Cozzolani has fęlix.
mm. 25–43, 52–70, 82–100, 116–134, 138–149: Speer uses a 3/2 time signature.
mm. 31, 33 canto: note ligatures in Cozzolani have been transcribed as simple lyric slurs.
mm. 47–48 text: mysterium is taken from Speer; Cozzolani has misterium.
mm. 81–82 text: regnans is from Cozzolani; Speer has regnat.
mm. 104–105 text: though both sources have annunciemus, we’ve used the standard annuntiemus (see
the Notes on the texts).
mm. 138–141, 144–147 text: resonet taken from Speer; Cozzolani has ressonet.
m. 149 bc: Speer has no figure in bc but g-sharp in second viola (tenor).
mm. 177, 185, 205, 219, 221 canto: again, two-note ligatures transcribed as simple lyric slurs.
mm. 159–206, 210–237: Speer uses 6/4 time signature.
Texts and Translations
Dedication and Laudatory Sonnets – R. L. Kendrick
Dedication to Claudio Benedetti, OSB (c.1585–after 1650)
MOLTO ILL.re E REVER.mo PADRE MIO Very Illustrious and Most Reverend, My Most
COLENDISSIMO Respected Father:
Apena V.P. Reuerendissima si degnò accettare la As soon as your most reverend Paternity deigned
Presidenza di Nostra Religione, carico ben’ douuto to accept the presidency of our Order, a post due
à suoi gran’meriti, che tosto per tutto la sparse con’ to your great merits, Fame diffused this [event]
mille plausi la fama. Ad auuiso si giocondo fiorì everywhere with a thousand tributes.
vn’allegrezza indicibile ne’cuori di tutti; la onde, Unspeakable happiness filled the hearts of all at
per darle anc’io qualche saggio del giubilo, che mi such happy news; and thus, in order for myself
brilla nel petto, hò stimato conueneuole too to give a sign of the joy sparkling in my
inuiar’alcuni SCHERZI DI SACRA MELODIA A heart, I decided to send some “Scherzi di sacra
V. P. REVERENDISSIMA, come quella, che melodia” to your most reverend Paternity, as
partialissima dell’Arte, colle rare, e ben concertate someone [i.e. Benedetti] who, most partial to the
qualità dell’animo suo forma sempre all’orecchie arts, brings most joyous harmony to the ears of
del mondo giocondissima armonia. Degni dunque the world via his rare and well-arranged qualities
con quella medesima gentilezza, colla quale, of spirit. So please deign to accept this unworthy
ambito Presidente di nostra Religione, reggerà, little work—which hopes to be illustrious with
qual’Orfeo, i’Chori de’nostri cuori, accoglier’ the shade of your splendors, and famous with
parimente questa indegna Operetta, che spera farsi your fame—with the same courtesy with which
illustre col’ombra de’suoi Splendori, e famosa you, great president of our order, will rule the
colla sua fama. E mentre le [Benedetti] dedico choruses of our hearts like a new Orpheus. And,
nella seria Armonia vn riuerente ossequio, ne’ trilli as I dedicate a reverent homage via my serious
vn cuor’ brillante à suoi cenni, ne’ passaggi harmony, my heart sparkling to your instructions
speditezza nel seruirla, nè gl’intrecci catene via my trills, my quickness to serve you in my
d’oblighi eterni, e nelle molte cadenze mille passaggi, my chains of eternal obligation in my
humilissimi inchini, le priego dal Cielo ogni intrecci (possibly: “suspensions”), and a
bramata felicità. à di Primo Settembre. 1648. thousand humble bows in my many cadences, 11 I
pray all desired happiness from heaven for you.
September 1, 1648.
11 A few possible parallels to Cozzolani’s musical references here can perhaps be identified within Venite qui esuritis
(Scherzi no.3):
- “seria Armonia”: m. 40; an unexpected modulation to E minor;
- “ne’ trilli”: mm. 175–178 o dulcissime Jesu; three repeated written-out trilli on successively higher pitch levels;
- “ne’ passaggi”: mm. 27–37 et inebriamini; three descending passaggi begin an eleven-measure melisma;
- “ne gl’intrecci”: mm. 72–75 o mira clementia; three suspensions followed by ornaments;
- “nelle mille cadenza”: 18 structural internal cadences in a 183-measure piece.
Di V.P. Molto Illustre, e Reuerendissima The most devout and humble servant of your
Diuotissima, & Humilissima serua very illustrious and most reverend Paternity,
D. Chiara Margherita Cozzolani Donna Chiara Margherita Cozzolani.
Sonnets:
In lode della Compositrice. In praise of the composer:
[1]
Dal casto petto d’amor sacro piena This woman, full of divine love, brings forth from
Scoglie questa si dolce i’ dotti accenti, her chaste breast her learned accents so sweetly that,
Che qual del Tempio armonica Sirena, like a harmonious Siren of the temple, she makes the
Fà, che dormono al Mondo i’ cori intenti. hearts listening to her fall asleep to the world. 12
Hor’ con volo canoro, agguaglia i’ venti, Now, with her sweet flight, she quiets the winds;
Hor’ con vezzoso suon’ le voci affrena, now with her lovely timbre, she restrains voices;
Hor’ le piega, hor l’inalza, hor, l’incatena, now she bends them; now raises them; now enchains
Hor’ le rispinge hor’ le sostien’ cadenti. them; now she repels them; now she supports them
as they fall.
Hor’ tonante l’accresce, hor’ dolce humile, Now, thundering, she increases them; now sweetly
Le fà cader’, hor’ con garrir’ tremante, and humbly she makes them fall; now with
Sembra emular’ de l’vssignuol’ lo stile. trembling chirps she seems to emulate the style of
small birds.
Così con varie tempre, e frà cotante Thus with various graces, and among so many sweet
Dolcezze scopre in Musica gentile passages, a small image of Paradise is found in a
Del’ Paradiso vn picciolo sembiante. gracious female singer.
12. i.e., the attractions of the world.

[2]
In queste carte armoniche loquaci In these sounding harmonious pages, she who is a
Questa, ch’è di virtù concorde cetra, tuned lyre of virtue displays the phrases which clear
Spiega gl’accenti, ond’i’ macigni spietra, the cliffs of their stones and stops the swift winds at
E ferma à suo voler’ l’aure fugaci. her pleasure.
Altri ammolisce, altri di sacre faci She softens some; melts others with her sweet
Strugge, e per istupor’ mill’altri impietra, torches; wondrously turns others to stone, and
D’altri guida il pensier’ alzando al’Etra guides others’ thoughts, raising them to heaven and
A gioie più sublimi, e più veraci. to more sublime and truthful thoughts.
Così lucido Sol’ co’ raggi ardenti Thus, like the sun with his shining rays, she brings a
Mille varie virtudi à noi comparte, thousand different virtues to us, hardening the earth
E’l suolo indura, e scioglie l’acque algenti. and melting the frigid waters;
Ma vince il Sol’ di questa Saggia l’arte, But the art of this wise woman outclasses the sun,
Che move i corpi il Sol’, questa le menti for just as the sun moves bodies, she moves minds
Aggira al suon’ de la sue note sparte. through the sound of her diffused notes.
[3]
Apre si dolce i’ Zeffiri canori This sovereign Muse 13 of a sacred flock
Questa di Sacro stuoll’ sourana Musa, opens the melodious south winds 14 so sweetly, that
Ch’ogni Cigno appo lei vinto s’accusa, any swan, compared to her, considers itself only
E l’invidian’ di Pindo i’ dotti Chori. moving air, and the learned choirs 15 of the Pindus 16
envy her.
E sì leggiadra i’ suoi Musici Fiori Thus she 17 interweaves her musical flowers, 18
Contesse, che dal Ciel’ rassembra infusa, as if she were inspired by heaven;
L’arte, che per gl’inchiostri à noi difusa art, diffused among us by ink, 19
Le porge trà famosi eccelsi honori. brings her highest honors among the famous.
Cosi di doi tesor’ ricca, e feconda, Thus rich and fertile with two treasures, 20
A cui presente il canto vdir’ non puote she fills the choirs with her pages of joy,
Co’ le carte di gioia i’ cori innonda. for anyone who cannot hear her song live. 21
13. i.e., Cozzolani.

14. “winds” = voices.
15. “learned choirs” = The Muses.
16. The Pindus mountains.
17. Cozzolani.
18. “Flowers” = the Scherzi motets.
19. “ink” = the print itself.
20. “two treasures” = her voice and her compositions?
21. “live” in person.
E con quel’or’ de le pregiate note, And with that gold of her highly-praised notes
Ond’altri alletta, à sè d’allor’ la fronda with which she entices others, she obtains for herself
Merca, cui fiero stral’ non arde, o scuote. that laurel crown, which no proud arrows 22 can burn
or strike.
D’incerto. Anonymous
22. “proud arrows” of criticism.

Motets – John Pepper

1. Alleluia, cantemus, exultemus
Alleluia, cantemus, Alleluia! Let us sing,

exultemus, alleluia. let us exult, alleluia!
Surrexit illæsus Jesus is risen
ab inferis Jesus. unhurt from hell.
Surrexit Salvator: The Saviour is risen:
lætare peccator. rejoice, O sinner!
Hodie Salvator mundi Today the Saviour of the world,
mortem nostram moriendo destruxit by dying, destroyed our death,
et vitam resurgendo reparavit. and, by rising again, restored our life.
O lux triumphalis! Oh triumphal light!
O dies vitalis! Oh day of life!
Jubilemus et lætemur in ea. Let us rejoice and be glad in it.
Ubi mors victoria tua? O death, where is your victory?
Ubi inferne stimulus tuus? O hell, where is your sting?
O mors, mors tua Christus est; O death, Christ is your death;
Inferne, morsus tuus Jesus est. O hell, Jesus is your destruction.
Consolamini flentes; Let us comfort those who weep;
lætamini gentes: let us be glad, O nations:
peccata delevit the Saviour has blotted out
et omnes redemit Salvator. sins, and redeemed everyone.
Ne flete, ne flete, Do not weep, do not weep,
gaudete, gaudete! rejoice, rejoice!
2. O Jesu meus amor
O Jesu meus amor, O Jesus my love,

mea vita, meum cor, et omnia, my life, my heart, and all things,
mea lux, mea sors, et omnia, my light, my fate, and all things,
amo te bone Jesu. I love you, good Jesus.
Vel si me fugias sequar te; Even if you flee me, I will follow you;
vel si me crucies laudabo te; even if you torment me, I will praise you;
vel si non diligas amo te. even if you do not value me, I love you.
Ostende mihi faciem tuam et salvabis me; Show me your face and you will save me;
me respice et beabis. look upon me and you will bless me.
Quo fugis dilecte mi, o mi Jesu? Whither do you flee, my beloved, O my Jesus?
Ne recedas, heu meum cor, vita fugit. Do not go, ah my heart, my life is vanishing!
En umbra mortis cæca venit nox, Lo! in death’s shadow, dark comes the night,
heu miserum me! ah, wretched me!
Converte faciem tuam o mi Jesu; Turn your face, O my Jesus;
revertere, heu mi Jesu, perimis me. turn back, ah my Jesus, you are killing me!
Veni, veni, amo te. Come, come, I love you.
Mea felicitas, mea lux, My happiness, my light,
redeas, redeas, amo te. return, return, I love you.
Veni, veni meum cor, Come, come, my heart,
mea lux, mea sors, o veni. my light, my fate, oh come.
Bone Jesu, mea lux, mea sors, Good Jesus, my light, my fate,
veni, veni, amo te. come, come, I love you.
Mea jocunditas, mea felicitas, My delight, my happiness,
veni, veni, amo te. come, come, I love you.
Bone Jesu, dulcis Jesu, Good Jesus, sweet Jesus,
care Jesu, amo te. dear Jesus, I love you.
3. Venite qui esuritis
Venite qui esuritis, O come, you who hunger,

comedite panem vitæ et saturamini. eat the bread of life and be satisfied.
Venite sitientes, O come, you who thirst,
bibite vinum lætitiæ et inebriamini. drink the wine of gladness and be intoxicated.
Comedite carnem Christi, Eat Christ’s flesh,
bibite sanguinem ejus in Sacramento mirabili. drink his blood in the marvellous Sacrament.
O amoris prandium! Oh dinner of love!
O dulce convivium! Oh sweet banquet!
Quis loquetur potentias Domini Who will tell the Lord’s power
et mirabilia quæ fecit and the wonders he has done
in hoc sacro convivio? in this sacred banquet?
Dum in cælis Christus regnat, While Christ reigns in the heavens,
hic se nobis totum donat: here he gives all of himself to us:
o mira clementia! oh amazing kindness!
Quem pavent angeli comedunt homines; Him at whom angels tremble, mortals eat;
quem timent fortes suscipiunt fragiles. him whom the strong fear, the weak receive.
Divitias cæli recipiunt pauperes; The poor receive heaven’s riches;
ad mensam Dei conscendunt humiles; the lowly climb up to God’s table;
vilis natura transcendit limites. for wretches, nature oversteps her boundaries.
O magna Dei bonitas! Oh the great goodness of God!
Fac te semper esuriam, Grant that I may always hunger for you,
te cibum vitæ comedam, may eat you as the food of life,
te fontem vitæ sitiam may thirst for you as the fountain of life,
et te nunquam fastidiam, and may never despise you,
o dulcissime Jesu. O most sweet Jesus.
4. Venite gentes
Venite gentes, properate populi, Come, you nations, hurry, you peoples,
currite ad Agni nuptias. run to the Lamb’s wedding.
Ecce sacrum convivium Behold the sacred banquet
in quo Salvator sumitur; in which the Savior is consumed;
æterni Patris Filius the Son of the everlasting Father
vinum hic bibitur, is here drunk as the wine
germinans virgines. that makes the maidens flourish.
Esurientes edite panem angelicum. You who hunger, eat the bread of angels.
Nihil est dulcius, Nothing is sweeter,
nihil suavius, nothing more delightful,
nihil jocundius. nothing more pleasing.
Sitientes bibite calicem Domini, You who thirst, drink the Lord’s goblet,
divinum sanguinem. God’s blood.
O quam amabilis, Oh how lovely,
quam delectabilis how delightful
hic potus est. is this drink!

Hoc bibe poculum si immundus es; Drink this cup if you are unclean;
cælorum puritas hic potus est. this drink is the purity of the heavens.
Hunc panem comede si pauper es; Eat this bread if you are poor;
cæli thesaurus hic panis est. this bread is the treasury of heaven.
Hac esca pascere si tristis es; Feed on this nourishment if you are sad;
mundi lætitia hæc mensa est. this table is the world’s gladness.
Hunc cibum comede si cæcus es; Eat this food if you are blind;
æternæ gloriæ splendor hic est. this is the brightness of the everlasting glory.
Cælestes epulas gusta famelicus Enjoy heavenly dishes when you are famished
si venit mors; if death comes;
vita mortalium, vera immortalitas the life of mortals, the true immortality
hic cibus est. is this food.
Alleluia. Alleluia.
5. Venite ad me omnes
Venite ad me omnes, Come to me, all of you,

venite et videte. come and see.
Venite et attendite fideles, Come and consider, O faithful ones,
attendite dolorem, consider the sorrow,
attendite amorem: consider the love:
dolorem quo crucior, the sorrow by which I am tormented,
amorem quo ardeo. the love with which I burn.
Ecce ego agnus innocens Behold, I am the innocent lamb
ductus ad patibulum, led to the gibbet,
ductus ab amore led by love
et transfixus a dolore. and pierced by sorrow.
Ecce morior, ecce spiro. Behold, I die; behold, I expire.
O dolor! o amor! Oh the sorrow! oh the love!
O dolor quantum audet! Oh the sorrow, how bold it is!
O amor quantum valet! Oh the love, how strong it is!
Ille plagavit, iste sanavit; The one wounded, the other healed;
ille extorsit, iste eduxit spiritum. the one wrenched, the other raised up the spirit.
Nolite ergo flere, Do not weep, then,
nolite plangere dolorem, do not bewail the sorrow,
sed celebrate amorem but glorify the love,
et dicite: and say:
O verbera salutifera! Oh health-giving blows!
O plagæ plenæ gaudiis! Oh wounds full of joys!
O sanguis pignus gloriæ! Oh blood, the pledge of glory!
O mors certe vivifica! Oh death that assuredly gives life!
O cara, cara viscera! Oh dear, dear entrails!
O cara, cara vulnera, Oh dear, dear wounds,
amoris Christi monumenta! reminders of Christ’s love!
6. O quam tristis
O quam tristis est anima mea Oh how sorrowful is my soul

dum recordor tui, o Mater Eva! when I think of you, O Mother Eve!
Suspiro, lamentor, langueo, doleo I sigh, lament, droop, grieve,
et plango amare dolorem meum. and bitterly bewail my grief.
O Mater male cauta, O Mother unwary,
o Mater nimis credula, O Mother too gullible,
serpens antiquus, pater mendacii the old serpent, father of the lie,
decipiens te decepit nos; deceiving you, deceived us;
manducasti pomum you ate the fruit
et dentes filiorum obstupescunt; and your children’s teeth are set on edge;
gustati paululum dulcedinis you tasted a little bit of sweetness
et ecce nos morimur. and behold, we die.
O Eva, non Eva, O Eve, not Eve,
non mater viventium not the mother of the living,
sed mater morientium. but the mother of the dying!
Ecce nos crucias: ubique mæror, Behold, you torture us: everywhere mourning,
ubique dolor, ubique luctus, everywhere grief, everywhere affliction,
suspiria, languores, sighing, faintness,
martiria, clamores, agony, shrieks,
ærumnæ, miseriæ, hardships, troubles,
vulnera, mors. wounds, death.
O Eva, non Eva, O Eve, not Eve,
non mater viventium not the mother of the living,
sed mater morientium. but the mother of the dying!
Consolatur sed anima mea Yet my soul is comforted
dum recordor tui, o Maria. when I think of you, O Mary.
Respiro, jocundor, I breathe again, I celebrate,
gaudeo, jubilo in canticis. I rejoice, I sing songs out loud.
O Virgo prudentissima, O Virgin most wise,
o Mater fidelissima, O Mother most faithful,
veritas Domini the truth of the Lord,
captivans te liberavit nos. taking you captive, set us free.
Beata quæ credidisti, Blessed are you who believed,
quia credendo beasti nos. because, by believing, you blessed us.
Angelo Satanæ credidit Eva, Eve believed Satan’s angel—
angelo Domini tu Virgo. you, O Virgin, believed the Lord’s angel.
Eva credendo nos perdidit, By believing, Eve ruined us;
tu credendo salvasti. by believing, you saved us.
Eva nos pauperes, Eve made us poor,
Ave tuum divites fecit, your “Ave” made us rich;
Eva nos mæstos, Eve made us gloomy,
Ave nos hilares, Ave made us merry;
Eva dolentes, Eve, grieving;
Ave gaudentes, Ave, rejoicing;
Eva damnatos, Eve, condemned;

Ave beatos. Ave, blessed.
Eva mortem dat æternam, Eve gives eternal death,
Ave vitam sempiternam. Ave gives life everlasting.
7. Ave Maria
Ave Maria! Hail, Mary!

Maria Mater Dei, Mater et Virgo, O Mary, Mother of God, Mother and Virgin,
tibi dico Mater Ave. to you, Mother, I say: Hail!
Quid mihi Domina dulcius tuo Ave? What is sweeter to me, Lady, than your Hail?
O mirum Ave, Oh wondrous Hail,
quod cælesti quadam dulcedine which by a kind of heavenly sweetness
inebriat cor devotum! inebriates the devout heart!
O mirabile et superadmirabile Ave, Oh wonderful and more than wonderful Hail,
ad quod dæmones effugantur, whereat the devils are avoided,
peccatores liberantur, the sinners are freed,
filii delectantur, the children are delighted,
angelus gratulatur, the angel rejoices,
Verbum incarnatur, the Word is made flesh,
Virgo fœcundatur! the Virgin becomes fruitful!
O dulcissimum et suavissimum Ave, Oh most sweet and charming Hail,
cujus fructu creaturæ renovantur, in consequence whereof creatures are revived,
homines redimuntur, human beings are redeemed,
angeli reparantur! angels are restored!
Ergo tibi Ave To you, therefore, “Hail!”
omnis creatura sine fine promat; let every creature bring out endlessly;
accedant omnes ad Mariam let all those approach Mary
qui volunt alligari amore. who wish to be bound by love.
Et cum salutaverint ex corde, And when they have greeted her from the heart,
amplius fortiusque constringentur, they will be more strongly and firmly tied,
et quanto constringentur fortius, and by how much more firmly they are tied,
libentius salutabunt, the more gladly will they greet her,
et dicent Ave. and say: Hail!
8. Amate o populi
Amate o populi Mariam, O you peoples, love Mary,

Mariam Sponsam, Mary the Spouse,
Mariam Matrem: Mary the Mother:
Matrem pietatis, the Mother of kindness,
Sponsam caritatis, the Spouse of love,
Mare gratiarum the Sea of graces,
populi amate. O you peoples, love.
Hæc est Mare quod vos ducit, She is the Sea that guides you,
hæc est gratia quæ vos ditat, she is the grace that enriches you,
hæc est Sponsa quæ vos vocat, she is the Spouse that calls you,
hæc est Mater quæ vos alit. she is the Mother that nourishes you.
O Mater, o Sponsa, o Mare, O Mother, O Spouse, O Sea,
o Maria gratia plena, O Mary, full of grace,
tu tota pulchritudo, you are all beauty,
tu tota gratiosa, you are all gracious,
tu tota plenitudo, you are all fullness,
tu tota speciosa. you are all fair to see.
Amate o populi Mariam, O you peoples, love Mary,
Mariam Sponsam, Mary the Spouse,
Mariam Matrem: Mary the Mother:
Matrem timoris, the Mother of fear,
Sponsam dilectionis, the Spouse of love,
Mare spei et fiduciæ the Sea of hope and of trust,
populi amate. O you peoples, love.
Hæc est Mare quod vos recipit, She is the Sea that rescues you,
hæc est spes quæ vos erigit, she is the hope that raises you up,
hæc est Sponsa quæ vos adjuvat, she is the Spouse that sustains you,
hæc est Mater quæ vos liberat. she is the Mother that sets you free.
O Mater, o Sponsa, o Mare, O Mother, O Spouse, O Sea,
o Maria gratia plena, O Mary, full of grace,
tu nullum respicis, you look back upon none,
tu nullum despicis, you despise none,
tu nullum rejicis, o benigna. you refuse none, O kindly one.
Properate filii ad Matris brachia, Hurry, children, to the Mother’s arms,
venite flebiles ad Sponsæ gaudia, come, mourners, to the Spouse’s joys,
currite profugi ad Maris undas, run, fugitives, to the Sea’s waves,
confugite pauperes ad Mariæ gratias: flee, you poor, to Mary’s graces:
gratias quæ vos sublevent, the graces to support you,
undas quæ vos salvificent, the waves to save you,
gaudia quæ vos lætificent, the joys to gladden you,
brachia quæ vos excipiant the arms to catch you,
errantes amate; O you wandering ones, love;
et ut foveant et firment and, so that they may foster and support
et solident amantes, amate. and strengthen those who love, love.
9. Succurre o Diva clemens
Succurre o Diva clemens, Help, O divine, merciful woman,

succurre o Dea cæli, help, O Goddess of heaven,
succurre misero perituro. help a wretch about to perish.
Audi Mater, Hear, Mother,
audi Virgo, hear, Virgin,
audi potens, hear, mighty one,
audi miserum clamantem, hear a wretch who shouts,
audi miserum dicentem: hear a wretch who says:
Tu mea spes, You are my hope,
tu mea sors, you are my fate,
tu mea vita, you are my life,
tu meum cor. you are my heart.
Heu jam langueo, Ah, now I am drooping,
heu jam doleo, ah, now I am grieving,
heu jam pereo. ah, now I am perishing!
Subveni Mater misericordiarum Come to the rescue, Mother of mercies
et totius consolationis. and of all comfort.
Porrige manum, Stretch out your hand,
o Mater, o Diva, o Clemens, O Mother, O Divine, O Merciful,
o Mater heu cado, O Mother, ah, I am falling,
sustine spiritum; uphold my spirit!
o Diva heu langueo, O Divine, ah, I am drooping,
sustine vitam; uphold my life!
o Clemens heu morior, O Merciful, ah, I am dying,
ama Mater, love me, Mother,
ama Virgo, love me, Virgin,
ama Sponsa. love me, Spouse!
Tu vera salus, You are the true health,
tu vera vita, you are the true life,
tu verus amor peccatoris. you are the true love of the sinner.
10. Quis mihi det calicem bibere Domini?
Quis mihi det calicem bibere Domini? Who will give me the Lord’s cup to drink?
O bone Jesu, dulcis Jesu, care Jesu, O good Jesus, sweet Jesus, dear Jesus,
cupio dissolvi pro te. I desire to be destroyed for you.
O patiar, o urar, o secer, o moriar pro te. Oh may I suffer, burn, be cut, die for you!
Vincla, catenæ venite, properate, sævite, Prison, chains, come, hasten, rage,
ligate clamantem, amantem vos. tie up one who calls upon you and loves you.
Bone Jesu, Good Jesus,
o patiar, o urar, o secer, o moriar pro te. oh may I suffer, burn, be cut, die for you!
O aquæ submergite, flumina obruite, O waters, sink me; rivers, overwhelm me;
ignes incendite, cruces suspendite, fires, burn me; crosses, hang me;
lanceæ, gladii, fulmina spears, swords, thunderbolts,
figite, fodite, sternite me. pierce, stab, overthrow me.
Dulcis Jesu, Sweet Jesus,
Pectines, ungulæ, beluæ Combs, claws, monsters,
vulnerate, lacerate, trucidate hæc viscera. Wound, mangle, massacre these entrails.
Care Jesu, Dear Jesus,
O dulces pœnæ, tormenta mellea, Oh sweet pains, torments of honey,
felicia vulnera, beata mors. happy wounds, blessed death!
Sic fuso sanguine, When thus my blood has been shed,
solute corpore, my body broken,
emisso spiritu, my spirit released,
volem ad te, te fruar, te satier, may I fly to you, enjoy you, be satisfied by you,
requiescam in te in æternum et ultra. rest in you for ever and beyond.
11. Venite populi
Venite populi, Come, you people,

accurrite gentes, hurry up, you nations,
canite omnes. sing, all of you.
Alleluia. Alleluia.
Venite populi, Come, you people,
accurrite gentes, hurry up, you nations,
canite omnes. sing, all of you.
O beatam, o felicem N.! Oh blessed, oh happy N.! [a female saint]
Illam mundus peperit; The world gave birth to her;
mundus illam aluit. the world reared her.
Illa mundum sprevit; She rejected the world;
mundum illa fugit; she left the world;
illa cælum dilexit. she prized heaven.
Sprevit illa mundum, She rejected the world,
a mundo damna patiens. putting up with injuries by the world.
Fugit illa mundum, She left the world,
a mundo mala referens. bringing back evils by the world.
Dilexit illa cælum, She prized heaven,
a cælo bona expectans, looking for good things from heaven,
bona æternum duratura. good things that will last for ever.
Hæc bona cælum obtulit, These good things heaven bestowed;
hæc bona illa tenet. these good things she possesses.
Eia Diva, his bonis gaude, Ah, divine woman! rejoice in these good things,
his bonis fruere sempiternis. enjoy these everlasting good things.
Alleluia. Alleluia.
12. O præclara dies
O præclara dies Oh splendid day

quæ nobis illuxit, which has dawned upon us,
o felix, o beata oh happy, oh blessed,
in qua Virgo intemerata on which an undefiled Virgin
protulit Deum et hominem! brought forth God and man!
Jubilemus, alleluia. Let us shout for joy, alleluia.
Tantum miraculum, So great a miracle,
tam grande mysterium such a great mystery
et admirabile sacramentum and wonderful sacrament
decantemus, alleluia. let us sing repeatedly, alleluia.
En majestas infinita Lo, the unbounded majesty
in paupertate inaudita in unheard-of poverty,
jacens in præsepio lying in a manger
et in cælis regnans, alleluia. and reigning in the heavens, alleluia.
Celebremus et annuntiemus Let us glorify and proclaim
in universa terra in all the earth
Verbum caro factum, alleluia. the Word made flesh, alleluia.
Ut devotis concentibus With devout harmonies
resonet turba fidelis let the faithful crowd resound,
dum laudibus divinis while with heavenly praises
personat angelicus ordo dicens: the company of angels re-echoes, saying:
Gloria in excelsis Deo, alleluia. Glory to God in the highest, alleluia.
Figure 5: Engraving from Daniel Speer’s Philomela angelica cantionum sacrarum (1688).
C. M. Cozzolani, Scherzi di Sacra Melodia, ed. Lucas Harris et al., 2021 36
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1.
Alleluia, cantemus, exultemus
Chiara Margherita Cozzolani (1602–c. 1677)
b
Edited and continuo reconstructed by Lucas Harris
6 œ œ œ œ œ œ œ œœœœœ œ œ œ œ œ œ œ œ
Canto & c4 Œ œ œ œ œ œ
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WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org), WLSCM No. 37

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- de - mit Sal - va - tor, om - nes, om - nes, om - nes, om - nes, om - nes, re - de - mit, ne fle - te, gau -
?œ œ ˙ œ! # œ6 œ
# œ6 œ! #œ œ
6  32
6 7 6 ! 6
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 
& 32 ˙ ˙ ˙
159
- de - te, gau - de - te, gau - de - te, gau - de - te, gau - de - te, gau - de - te, gau - de - te,
?3 w ˙ w ˙ w ˙ w ˙ w ˙ w ˙ w 
2
& ˙. œ ˙ ˙ ˙ œ œ ˙ ˙ œ œ #˙ ˙ ˙ ˙ ˙ ˙ #˙ ˙ ˙ ˙ ˙ ˙
166
w.
om - nes re - de - mit, ne fle - te, ne fle - te, gau - de - te, gau - de - te, gau - de - te, gau -
? w. w #˙ w #˙
6 6 6 ! w! ˙ w ˙ w ˙
˙ ˙ ˙ # ˙ ˙ ˙ # ˙ ˙  46 Œ Œ œ œ œ œ œ # œ œ œ œ œ
& #˙ ˙ ˙
173
.
- de - te, gau - de - te, gau - de - te, gau - de - te! O lux tri - um - pha - lis! O di - es vi -
?
w ˙ w ˙ w ˙ w  46 ˙# ˙.
˙! .
˙.

____________________________________________________________________________________
œ œ # œ œ œj j œ œ j j j œ œ œ. œ œ
œ œ . œ œ œ œ œ J J J J œJ
179
& #œ J J œ #œ œ J J
˙.
- ta - lis! Ju - bi - le - mus, ju - bi - le - mus, ju - bi - le - mus et læ - te - mur, ju - bi - le - mus et læ -
? ˙. ˙! . ˙ . ˙.
! ˙! .
œ œ j j œ j j j U
&œ œ œ ˙ œ ˙ œ . b œ
J J J œ œ œ œ JJ œ œ œ œ œ œœ˙ w œ b œ . c
182
˙.
- te - mur in e - a, ju - bi - le - mus et læ - te - mur, ju - bi - le - mus et læ - te - mur in e - a.
? ˙. ˙. ˙. ˙. œ ˙4 . ! ! c
4 3 ˙# . ˙! w
u
b
6 œ œ
& c4 Œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ œ œ œ
187
œœ
Al - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia, al - le -
? c6 ˙. # ˙6 . œ œ ˙! ˙ œ b œ ˙6´
4
˙. ˙# ˙.
Œ Œ œ œ œ œ œ œ œ œ œJ œJ œ œ œ
œ œ
191
& œ œ œ œ œ ˙. œ œ
˙.
- lu - ia, can - te - mus, can - te - mus, can - te - mus, can - te - mus, al - le - lu - ia,Ial - le -
?œ ! ˙.
˙ w. ˙. ˙. ˙.
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
195
&
? #˙. œ ˙ œ ˙ ˙ œ œ ˙ œ ˙
6 ! ˙. 6 ! ˙.

____________________________________________________________________________________
œ œ
& Œ Œ J œJ œ œ J œJ œ œ œ œ œ œ œ œJ œJ œ œ œ
199
œ
ex - ul - te - mus, ex - ul - te - mus, can - te - mus, can - te - mus, al - le - lu - ia,Ial - le -
? ˙.
w. ˙. ˙. ˙.
& œ œ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œœ
202
œ ˙.
? ˙. œ b˙ œ ˙ ˙ œ œ b ˙6 œ ˙
6
˙. ˙.
Œ Œ œ b œ œ jj œ œ œ bœ œ œ bœ œ œ œ œ œ
œ œ œ œ
œ œ œ œ œ JJ
206
& J J œ œ JJ
ex - ul - te - mus, can - te - mus, can - te - mus, ex - ul - te -mus, ex - ul - te -mus, can - te -mus, al - le -lu - ia,Ial -le -
? w. ˙. ˙. ˙. ˙.
b˙. ˙. #
b
œ
& œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ ˙.
210

? #˙. œ ˙ œ ˙ ˙ œ b œ ˙6´ œ ˙
6 # # # ! ˙# . # # ! ˙# .
jj jj
& ŒŒ Jœ œJ b œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
214
ex - ul - te - mus, can - te-mus, can-te-mus, ex - ul - te-mus, al - le - lu-ia,Ial-le - lu-ia,Ial-le -lu-ia,Ial -le -

? ˙. # ˙6 . œ ˙#
w# . ˙. ˙. ˙.
____________________________________________________________________________________
b
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ∑
218
- lu - ia, al - le - lu - ia,Ial - le - lu - ia.

?œ ! ˙ œ b œ ˙6´ œ ˙! bœ ˙ œ ˙`! œ œ ˙`! `!
˙ ˙. ˙ ˙.

____________________________________________________________________________________
2.
O Jesu meus amor
Edited by Lucas Harris; continuo reconstructed after D. Speer (1688)
Canto & c Œ œ #œ. œ œ #˙ Œ œ œ œ œ #œ œ Œ œ œ œ œ œ #œ œ œ œ œ

O Je - su, Je - su, Je - su, o Je - su me - us
˙
[Basso Continuo]
?c w
! ˙ œ4w . # œ5e j ˙! # ˙6 ˙
!
j j œ #œ j Œ œj œj # œ œJ œj
& # œ œ Œ œ œj # œ œ Œ œJ œ œJ œJ J œJ # œ œ œ . œ ˙
5
a - mor, me - a vi - ta, me - a vi - ta, me - um cor, et om - ni - a, me - a lux, me - a
? ˙! œ #œ œ
# ˙6 ˙! # ˙6 6 ! œ∑Œ5 6 ˙4 ! ˙! # ˙6 œ! # œ™6
&œ
œ
œ œ . œj w
Œ # œj œj ˙ œj œj œj œJ ˙ œ œJ œJ # œ œ 3 ˙ #˙ ˙
10
2
sors, et om - ni - a. a - mo te, a - mo, a - mo te bo - ne Je - su. Vel si me
?œ ˙ N ˙7t ˙! 3 w!
6 œ6 ˙4 ! w! w! ˙ # 6 2 ˙6
#œ
˙. #œ ˙  ˙ ˙ #˙ ˙. œ ˙
#˙ ˙ ˙ #w ˙ #œ œ #œ œ w 
16
&
fu - gi - as se - quar te; vel si me cru - ci - es lau - da - bo te;
? # w6 . w! . w! # ˙6 •!`w5~ª . w´5 # ˙!
w! . !`6 w! .

p
____________________________________________________________________________________
[ f]
& #˙ ˙ ˙ ˙. œ ˙ ˙ #˙ ˙ #w.  c Œ ‰ œJ œ œ
23
˙ #˙ ˙ #w
vel si non di - li - gas a - mo te, a - mo te. Os - ten - de,
? w# ! cw
˙!`6 w . w! . ! 6 ™!`'7
˙ #˙ ˙ w.
!
w.
œJ œ . œ [p]
r œ œJ œJ œ œ Œ œ œ œ œ œ œ # œ œ œ j œ œ œ œ œ # œ œ œ
‰ J R œJ . œ œ
30
& J J œ œ J œ œ
os - ten - de mi - hi fa - ci - em tu - am et sal - va - bis me, sal - va - bis me,
? ˙ # #`˙5 ˙ ˙ œ œ œ# œ œ œ#
3 4 6 # ! !
˙
[ f] [p] [ f]

œ œ œœœœ œ
&Œ J J œ œ œ œ œ œJ œ œ œ œ œ œ œ œ
j Œ œ œ # œj. œr œ Œ œ œ œJ . œ œ
34
R
et sal - va - bis me, sal - va - bis me; me res - pi - ce, me res - pi - ce
? œ# œ! œ# œ! # ˙6 ˙! # ˙6 ˙
˙ œ# œ#
‰ œ œ œ œœœœ œœœœœœœ œ œ œ . œ #œ ˙ œ
‰œœœ œ ˙  ∑
œ
38
t
& œ #œ œ œ œ œ
et be - a - bis.
?˙ ˙ w ˙! ˙6 ˙ ˙6 # ˙5 6 5 ˙4 ! ˙ œ # œ6 ˙ œ6Œ # œ7 ™!`'6
#œ r j j œ r
& Œ ‰ œJ œJ . œ œ # œ ‰ œJ œJ # œr R œJ œR œR œJ . # œ œJ ≈ # œR # œ # œj œJ œ œ œJ œJ œJ œJ œJ . # œ
45
Quo fu - gis, quo fu - gis, quo fu - gis di - lec - te mi, quo fu - gis o mi Je - su, o di - lec - te
? w5´ # ˙5Œ ˙5Œ ˙ ˙

w# 6 •'5 6'ª

____________________________________________________________________________________
j # œ œ j œ œ œj. # œr œ œ
& # œJ ≈ œR # œ # œj Œ œ #œ œ œ œ #œ.
t
Œ œ
49
#˙
mi, quo fu - gis? Ne re - ce - das, heu me - um cor, heu
? # ˙5Œ ˙! ˙# # ˙4 !
# ˙ # ˙6 ˙ ˙!
œ œ œ . œ œ œ œ œj œ j j j ‰ Œ ‰ j ˙ œ j j Œ j r j
53
& J R J œ œ # œ œ œ œ œ œ œ œ œ . N œ œ. œ
me - um cor, me - um cor, vi - ta fu - git. En um - bra mor - tis cæ - ca ve - nit
? # ˙™6 œ Nœ # •!`œ6~ª œ#
# ™6 œ! œJ! ‰ w5 6 ˙6 5 ˙ ˙. 4w œ5e
&œ œ ˙ œ # œ œ œj œj ˙  32   ˙ # ˙ ˙ #w
58
˙ ˙ ˙. #œ ˙
nox, heu mi - se - rum me! Con - ver - te, con - ver - te fa - ci - em
? w5 3 w.
6 w7 !`6 ˙!  2 ! w! # ˙6 w! ˙ w! .
˙
& #˙ ˙ œ œ #œ œ ˙ œ œ œ œ w ˙ #˙ ˙ ˙
65
˙ w w #˙ ˙
tu - am o, o mi Je - su, con - ver - te, con - ver - te, con -
? w! w! # ˙6 w # ˙6t ˙ w w! # ˙6 w! # ˙6 w! #˙
# ˙6 4 ! 6
˙ #w I ˙ #˙ œ œ #œ œ ˙ œ œ #œ œ w
& #˙ ˙ ˙ ˙ . œ ˙ ˙ w
72
- ver - te, con - ver - te fa - ci - em tu - am o, o mi Je -
? w! #˙ w. w! . w #˙ w w! # ˙6t ˙ w4
6 ! ! 6 ! # ˙6 !

p
____________________________________________________________________________________
œ œ #œ œ ˙ œ œ #œ œ w ˙ w C ˙ Œ ‰ œJ # œJ . œ œJ œJ œJ . œ œ
&w
79
R R
- su, o, o mi Je - su; Re - ver - te - re, re - ver - te - re,
? #˙ w w!™ # ˙œ6t ˙ w4 C w! ˙ ˙
w! 6 ! # ˙6 ! !
[ f]
œ œ j r j 3 ˙ ˙
& Œ ‰ J # œJ . œR œJ J # œ . œ œ œJ œ œ œ . # œj œj œj œ œJ œJ œ # ˙
85
2
re - ver - te - re, re - ver - te - re, heu mi Je - su, pe - ri - mis me. Ve - ni,
? w! ˙! w∑Œ5 ˙7 32 w# .
˙# 6 ˙!
p Allegro
[ f]
˙ ˙ w ˙ ˙ ˙ ˙ w  ˙ ˙ ˙ w  ˙ ˙ ˙
& w #˙ 
90
ve - ni, ve - ni, ve - ni, a - mo te, a - mo te. Me - a fe -
?w ˙ ˙ w ˙ w. w.
˙! ˙ # ! ˙ ˙6 ˙7 w! . w.
& ˙. œ #˙  ˙ ˙ #w  ˙. œ ˙ ˙. œ #˙ ˙ #˙ ˙ #w 
98
- li - ci - tas, me - a lux, re - de - as, re - de - as, a - mo te,
˙. œ ˙ #˙. œ w.
? # w6 . w# . w™! . 6 ˙
! ! ˙™! # ˙6 ™!`˙'7
  #˙ ˙ w #˙  ˙ ˙ #w
˙  ˙ ˙ w 
105
& ˙ #˙ ˙ #w
w.
a - mo te. Ve - ni, ve - ni, ve - ni, ve - ni me - um cor,
#˙ w ˙ w
? w! . w! . ! 6 !
˙ #w
! •!ª`'5
˙ w # ˙6 w!

____________________________________________________________________________________
&  ˙ ˙ #w  ˙ #˙ w ˙  #˙ ˙ ˙ ˙ ˙ w ˙ ˙  ˙
113
˙
ve - ni, ve - ni, ve - ni, ve - ni, me - a lux, me - a sors, o, o,
? ˙ ##`w5 ˙! •!ª`w'5 ˙ #w ˙ w #˙ w ˙ # *`w5

# ˙6 w! ˙ w ! •!ª`'5
I
& #˙     ˙ ˙  ˙ #˙   w ˙ ˙ ˙ œ ˙ ˙ œ œ
œ
121
o, o, ve - ni, ve - ni, o ve - ni, ve - ni,
? ˙! w ˙ #w ˙ w # ˙6 w™! w™! ˙
# ˙6 w! •!`˙5'ª w ™! ™!`´'5
& #w ˙ w. w   œ œ #˙ ˙ ˙. œ w   œ œ #˙
128
ve - ni, ve - ni, ve - ni, ve - ni me - um cor, ve - ni, ve -
? # •!`˙5'ª w∑Œ•!`7 6'ª w4 . ˙Œ•!ª`'7 ˙‰6 w4 ˙∑Œ•!ª`'7''

! w! œ œ # w6 ! w! œ œ # w6
& ˙ ˙. œ w   œ œ #˙   œ œ #˙
135
˙ ˙. œ w ˙ w
- ni me - a lux, ve - ni, ve - ni me - a sors, ve - ni, ve - ni, ve -
? ˙‰6 w4 ˙™! t™6 w! œ œ # w6 !`™ ˙'7t ˙‰6 w

! w! œ œ # w6 ˙ w4 ! 4 !
œ
˙ œ #œ  ˙ œ œ  #˙ œ œ  œ #œ ˙ ˙ œ œ #˙ ˙ #˙ ˙ ˙ #œ
142
&w
- ni, o, o, o, o ve - ni, o ve - ni, ve - ni, ve - ni,
? w! ˙ w! ˙ # ™!`w'5 ˙ w•!Œ`7 ˙6'ª w™! ˙ # ™!`w'5 ˙ w ˙

____________________________________________________________________________________
w ˙ œ #œ w w
Adagio
  #˙ ˙ w ˙  #˙ ˙ w   #˙ ˙
149
&
ve - ni, ve - ni, ve - ni. Bo - ne Je - su, me - a lux, me - a
? w! ˙ ˙ w w. w! . w. # w5Œ .
™!`'5 4 ! w! . w! . !
p
#œ
&w    #œ œ #˙ #˙ œ ˙ #˙ ˙ #˙ ˙ #˙ w  #˙ ˙ #˙
157
sors, ve - ni, ve - ni, ve - ni, ve - ni, a - mo te, a - mo
? w# ˙ #w. #w. w ˙# # w5Œ ˙ ˙ ˙6 ˙# # w! .

~!`6 !`6 #
#˙ ˙ ˙
Allegro
[ f]
 ˙ ˙ ˙ ˙. œ #˙
&w ˙. œ #˙ ˙ ˙ ˙ #˙. œ ˙
164
w. #w.
te. Me - a jo - cun - di - tas, me - a fe - li - ci - tas, me - a jo - cun - di - tas,
?!. w. # w6 . w. w! . ! 6
w
˙ ˙ #˙ #˙. œ
˙  ˙ ˙ w #˙  ˙ ˙ #˙ ˙ ˙ #˙ ˙ ˙
171
&
me - a fe - li - ci - tas, ve - ni, ve - ni, ve - ni, ve - ni, a - mo
? w7 . !`6
w.
!
w. # w6 . w# . w! . w! .
p
Adagio
[ f]
&w  #˙ ˙ ˙ w.  #˙ ˙ #w ˙  ˙ ˙ w ˙  ˙ ˙
178
te, a - mo te. Bo - ne Je - su, dul - cis Je - su, ca - re,
? ! # ˙6 ™!`˙'7 w! . w. w.
∑Œ`'6r 5e
w. # w6r . ™!`'5e #w.
˙ w! . !

____________________________________________________________________________________
&w œ œ œ #w.  #˙ ˙ #w ˙  ˙ ˙ w ˙
186
˙ w
ca - re Je - su, bo - ne Je - su, dul - cis Je - su,
w. #∑Œ`w'6r . 5e #w. w6r .

? ™!`w'6r . 5e w5 . !`6 w! . ! ™!`'5e
& ˙ ˙
w #˙ #w œ œœ w  ˙. œ œ ˙ w ˙ #˙ ˙ ˙ w 
193
ca - re, ca - re Je - su, a - mo, a - mo, a - mo te,
? w. !`™ w'6r
. 5Œ
w.
!
w. # w6 . w ˙ w.
! w! .
p π
˙. œœ˙ w ˙ #˙ ˙ ˙ w  #˙ ˙ ˙ w 
201
&
a - mo, a - mo, a - mo te, a - mo te.
? # w6 . w. w.
! w! . w! . ! 
w

____________________________________________________________________________________
3.
Venite qui esuritis
&c  Œ ‰ j œ œj œj œ # œ œJ œJ # œ œ   Œ ‰ j
Canto
œ œ
œ . œJ # œ6t œ!
Ve - ni - te, ve - ni - te, ve - ni - te, ve -
?c ˙ #˙ ˙4 !
˙!
[Basso continuo] w! ! 6 !
#
j j #œ œ œ #œ j œ j j j
&œ œ œ œ J J
œ
œ J œ œ œ œ œ œ J œ # œ J J # œ œ œJ œ œ œj
œ œ
5
- ni - te, ve - ni - te, ve - ni - te qui e - su - ri - tis, ve - ni - te, ve - ni - te, co - me - di - te
? ˙! #˙
6
˙
!
˙! ˙
!
#˙
6
˙
!
#˙
6
# # # #
#œ œ œ œ #œ œ œ j
& œ #œ œ œ œ #œ œ w ‰ œ œ œ œ
9
œ œ J œ J
pa - nem vi - tæ et sa - tu - ra - mi - ni, ve - ni - te, ve -
? # ˙!`6 ˙! œ! . # œJ # œ6 œ! œ6 ˙ ˙!
! ˙! 4 ! ˙!
˙ ˙ aœ œ œ #œ œ œ #œ j
œ œ ‰ œJ œ # œ œJ œJ œ œ œJ
13
& #œ œ
- ni - te et sa - tu - ra - mi - ni. Ve - ni - te, ve - ni - te, ve -
? ˙! œ! . œ # œ6 œ! œ6 ˙! ˙! œ œ #œ ˙
4 ! œ! ! 5 !
J

____________________________________________________________________________________
# j j j j #
j j œ œ œj # œ œ œ œ œ # œ œj œ # œ œ œ œ œj œ ˙
& # œ œ œ œJ œ œ
17
J J
- ni - te si - ti - en - tes, bi - bi - te vi - num, bi - bi - te vi - num læ - ti - ti - æ,
? ˙! 4 ! œ! . œ # ˙6 œ™! œ œ ˙!•`5ª œ! . j
# œ6 œ™! œ!
J ˙!
œ œ œ # œ j œ œ # œ œ œ œ œ œ j j j œ j# œ œ œ œ
& œ œJ # œJ œ œ œ J J J #œ œ #œ J #œ J
21
J J JJ
bi - bi - te vi - num, bi - bi - te vi - num læ - ti - ti - æ et in - e - bri - a - mi - ni, et i -
?# ˙6 œ œœ ˙ œ. # œ6 œ œ ˙! œ! # œ! #œ
7 ! J ! œ! 6
œ #œ œ j j # œj œj # œj œ œ j j # œj œj # œ œ œ # œ œ œ
& # œJ J # œJ J
25
œ œ J œ œ
œ
- ne - bri - a - mi - ni, et i - ne - bri - a - mi - ni, et i - ne - bri - a -
? œ! ! œ! # œ6 œ! œ! # œ6 œ! œ! #œ aœ
œ!
œ œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ
& #œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ
28
#œ œ
- - - - - - - -
? œ! œ 6 •!ª # œ5
œ! # œ6 œ! œ! œ™! # œ™6 œ•!`5ª
œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ
& œ œ #œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ
31
- - - - - - - -
? œ! œ #œ
5 6
œ5 !`6~ œ™! # œ6 œ
!
#œ #œ
™6 5 6
œ! œ # œ6 œ7 !`6 œ!™
œ # œ6

____________________________________________________________________________________
# œ ‰ œ œ ‰ œ # œ ‰ œ œ . œ œ œ œ œ œ œ # œ œ œ œ œ . œj w ∑
35
& J J J
œ #œ #œ
- - - - - mi - ni.
? ™6 5
œ œ # œ œπŒÅ`ud∏ œ! œπÅŒ`ud∏ ˙4 œ œ #˙
! ! ! ™!`'5 ! ™! ™6 •7 !`6ª
œ w!
j j j j r r
& Œ ‰ œj œ œ œ œ œ # œ œ œ œ œ œ œ œ œ . œ œ œ œ ‰ œj œj œj
40
Co - me - di - te car - nem Chris - ti, bi - bi - te san - gui - nem e - jus in Sa - cra -
? w# # ˙#`5 ˙! # w™6 ˙
5 ˙6
j j U 3 w w
j  
44
& ˙. #œ œ #˙ œ. œ w 2
- men - to mi - ra - bi - li. O, o,
? j 32 ˙! ˙¤ ˙ # ˙6 ˙
# ˙6 œ# . œ w4 !
w
! ¤ ˙¤ ¤
u
&w  w    ˙ ˙ ˙ ˙. œ
49
#w
o, o, o a - mo - ris pran - di -
? ˙! # ˙¤ ¤ ˙ ˙•!`5ª ˙! ˙¤ ˙ w™6 . ˙™6 w4

˙¤ ¤ ˙ ¤ !
&w  ∑  w  
54
#w #w
- um! O, o, o
? ˙ ˙! # ˙¤ ˙ ˙! ˙¤ ˙
w! # ˙6 ˙¤ ¤ ˙ ¤ ˙•!`5ª' ˙¤ ¤ ˙ ¤

____________________________________________________________________________________
&w ˙ ˙ ˙. œ c ˙  Œ œj œj œ œJ œJ œ . œ œ œ . œ œ
59
J R
dul - ce con - vi - vi - um! Quis lo - que - tur po - ten - tias Do - mi - ni
? w™6 ˙ ˙™6 w4 ! c w! w! ˙7Œ ˙
j jœ j j j
‰ œ œ œ œ œ œ J œ œ œ # œj ˙ œ j
œ # œj œ . j
64
& J J J J œ #w
et mi - ra - bi - li - a quæ fe - cit in hoc sa - cro con - vi - vi - o?
?˙ # ˙6 ˙# ˙6 ˙ ˙6 w!
œ œ j j j j
& Œ œJ œJ œJ œJ œJ œJ J J Œ œj œj # œj œ œ . # œ œ . œ œ # œ œ œ œ .
68
Dum in cæ - lis Chris - tus re - gnat hic se no - bis to - tum, to - tum, to - tum do -
? ˙ œ
w œ ˙# # ˙6 ˙# ˙4 !
I jœ jU
≈œœœœ œ œœœ
#œ œ œ ≈œœœ ˙ œœœ
#œ œ œ J œ. œ w
72
&˙
- nat, o mi - ra, o mi - ra cle - men - ti - a!
? w! # w6 ˙! ˙6 œ œ™6 ˙4 ! w
u
œ œ œJ . œR œ Œ # œ . œj # œ j r ‰ # œJ œJ œ œJ œJ ‰ # œj
& ‰ œJ œ.œ œ 
77
J J J
Quem pav - ent An - ge - li co - me - dunt ho - mi - nes, quem ti - ment for - tes su -
? ˙™! ˙ ˙ ˙ ˙ ˙!
w! !

____________________________________________________________________________________
r r j. r ‰ œJ œJ œR œR œJ œJ ‰ œj œ . r r j r
81
& #œ. œ œ œ œ œ œ œ œ. œ œ
- sci - pi - unt fra - gi - les. Di - vi - ti - as Cæ - li re - ci - pi - unt pau - pe - res;
? ˙ ˙
˙ ˙ ˙6 ˙
œ œ
& ‰ J œJ J œ œ ‰ œj œj œj j r Œ #˙ j j j j‰ j œ œ ‰#œ
œ œ œ œ œ J J J
84
#œ . œ œ
Ωhv
ad men - sam De - i con - scen - dunt hu - mi - les; vi - lis na - tu - ra tran - scen - dit, tran -
?˙ ˙! w! w
˙ ˙
# œ œ ‰ œ œ. #œ œ œ
j ‰ jœ œ œ j
œ œj # œ œ
88
& J J J #œ œ. œ ˙ œ
- scen - dit, tran - scen - dit li - mi - tes. O ma - gna De - i,
? w! w! # ˙6 ˙!
˙# ˙4 !
U
& Œ œJ # œj # œ œ œ œ œ ˙ œ . œj w 32 ∑ ∑
92
ma - gna De - i bo - ni - tas!
? # ˙6 œ! n œ™‹ w4 !
32 # w™6 ˙#
w!
u w ˙
∑  ˙ ˙ ˙ ˙ ˙ w  ∑
˙ w
97
&
Fac te sem - per e - su - ri - am,
? w4 . ˙# w4 . ˙ ˙ ˙
! w# ˙ w™6 ! w# . #

____________________________________________________________________________________
˙ ˙ ˙ w ˙ w 
103
&˙ ˙ ˙ ˙ ˙ ˙
˙ ˙
te ci - bum vi - tæ co - me - dam, te fon - tem
? w# . w ˙6 ˙ w ˙
4 3 w.
&œ œ œ œ ˙ œ œ ˙. œ w    #˙ 
108
#w
vi - tæ si - ti - am et te,
? ˙. œœ˙
6 ˙
˙
w ˙ w! ˙ w! ˙
˙
  ˙ w w ˙ ˙ ˙ ˙
&   ˙ w  
113
w
et te, et te nun - quam, nun - quam fas -
#w ˙ w ˙ w ˙ w ˙
? # w6 ˙ 5 6 # 6 5 6 5 6 # ˙7
&w ˙ w    #˙ #œ #œ ˙    ˙ œ œ ˙ 
119
- ti - di - am, et te, et te,
? w4 . w! ˙ w! ˙ # w6 ˙ #w ˙
! w! ˙ #`5 6
˙ œ œ ˙  w ˙ ˙ ˙ ˙
&  w ˙ w 
125
w
et te nun - quam, nun - quam fas - ti - di - am,
? w5 ˙ w ˙ w ˙
!`6 ™!`'5 6 5 6 # ˙7 w4 ˙! w# ˙

____________________________________________________________________________________
∑ ∑  ˙ ˙ ˙ ˙ ˙ w ˙ w 
131
&
fac te sem - per e - su - ri - am,
? w™6 ˙7 w4 . ! w ˙# w4 . !
w ˙ w# ˙
∑  ˙ ˙ ˙ ˙ ˙  ∑
137
& #w ˙ w
fac te sem - per e - su - ri - am,
? w™6 #˙ w ˙7´ w.
˙7 w™* ™6 4 ! w. ˙ ˙ ˙
œ œ œ œ œ œ w 
œ œ œ #œ œ œ
143
&˙ ˙ ˙ ˙ #˙ ˙ ˙ ˙ ˙
te ci - bum vi - tæ co - me - dam, te fon - tem vi -
? w6 w ˙ w4 ˙ w
˙ ˙6 ! w. ˙ ˙6 ˙6
& œ œ ˙.       ˙ 
149
œ w #˙ #w #w
- tæ si - ti - am et te, et te,
?˙ w4 ! # w6 ˙ w5∑Œ ˙6
w ˙ w! ˙ w! ˙
&  ˙ w  w ˙ ˙ ˙ 
155
˙ #w ˙ w
et te nun - quam, nun - quam fas - ti - di - am,
? w5 # ™!`w'5 ˙6 w ˙ w. w.
˙!`6 5 6 # 4 ! w! ˙

____________________________________________________________________________________
&   #˙    ˙ #œ œ œ œ ˙    ˙ œœœœ˙ 
161
#œ œ œ œ ˙
et te, et te, et te
? ˙ # w6 ˙ # w5 ˙6 w5 ˙!`6 # ™!`w'5 ˙6
w! ˙ w!
&w ˙ ˙ c ˙ Œ ‰ # œj
167
˙ ˙ #w ˙
nun - quam, nun - quam fas - ti - di - am, o
? w5 ˙ w ˙ ˙
6 # 4 w ! c ˙! ˙
& ˙ œ N œ # œ œ # œj. œr œ Œ œ œ œ . œ œ œ œ ‰
171
R R ˙ œ œ #œ
dul - cis - si - me, dul - cis - si - me Je - su, o,
? # w6 w w! 4 ! w
# # jœ
jœ j œ .
œ œ œ œ œ œ œ œ œ #œ #œ
175
& œ. œ œœœœœœœ œ œ œ œ . œ œ œ œ œ œ œœœ œ œ
? w6 5 ˙ # ˙6 ˙5 ˙! w6∑Œ 5
œ œ œ œ œ. œ œ œ œ œ œ ˙. œ œ w W
179
& #˙ J R J J
o dul - cis - si - me, o dul - cis - si - me Je - su.
? w! ˙ #˙ ˙ ˙7´ w4
# 6 # ! W!

62
C. M. Cozzolani, Scherzi di Sacra Melodia, ed. Lucas Harris et al., 2021
____________________________________________________________________________________
4.
Venite gentes
j j j j j j r j
Canto & b c ‰ œJ œJ œJ œ œ œJ œ œ œJ œ œ œR œR œ œ œ . œ œ œR œR œ
Ve - ni - te gen - tes, ve - ni - te, ve - ni - te pro - pe - ra - te po - pu - li, pro - pe - ra -
?b c j œ œ
[Basso continuo]
œ. œ œ™6 œ œ œ. œ œ™6 œ œ œ. œ œ™6 œ
j j r
& b œ œR œR œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ œ œ œ . œ ˙ 
4
- te, pro - pe - ra - - - - te po - pu - li,
?b œ œ j j
œ œ œ. œ œ™6 œ œ œ . œ œ™6 œ œ
& b Œ ‰ œj œ œ ‰ œJ œ œ œJ œ œ œJ œJ œJ œ œ œR œ œ œj œj. œr œj œR œ œ
7
J J J R J R
ve - ni - te, ve - ni - te, ve - ni - te, ve - ni - te gen - tes, pro - pe - ra - te po - pu - li, pro - pe - ra -
? œ! œ!
b ˙ œ6 œ œ œ œ œ œ œ™! œ . œ œ™6 œ œ! œ. œ œ™6 œ
j œ œ I j r
& b œ R R œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œJ œ œ œ . œ
11
- te, pro - pe - ra - - - - - te po - pu -
? b œ! œ œ! j œ!
œ œ. œ œ™6 œ

63
____________________________________________________________________________________
b j r r j r r œ œ œ œj r j œ œ œ œ œ j r œ œ œ œj r r œJ œ œ
13
& œ œ œ œ œ œ œ J R R .œ œ J œ .œ œ J R R œ œ R R
- li, cur - ri - te, cur - ri - te, cur - ri - te, cur - ri - te ad A - gni nup - ti - as, cur - ri - te, cur - ri - te, cur - ri - te,
? œ œ6 œ œ
b œ! n œ6 œ6 œ œ œ6 œ œ6
b œ . œ œ œJ œ œ b œ œ œ . œ œ œ œ œ œ œ œ œ œ œj œj. r j r r
16
& J RJ J R J J J J J R R J œ œ œ œ œ
cur - ri - te ad A - gni nup - ti - as, ve - ni - te gen - tes, pro - pe - ra - te po - pu - li, cur - ri - te,
? œ6 bœ œ4 j
b œ 3 œ. œ œ™! œ . œ œ™6 œ œ! œ! n œ6
j r j œ œ œ œ j. r ‰ œ œœ œœ œœœœ
& b œj œr œr œJ œR œR œ . œ œ œJ
19
œ œ œ J
cur - ri - te, cur - ri - te, cur - ri - te ad A - gni nup - ti - as, ad A -
?b œ œ6 œ œ œ
œ6 œ œ w
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ ˙ jU ‰ œ œ
22
& œ. œ ˙ J
- - - - gni nup - ti - as, ve - ni -
?b w3 œ œ6
w6 w 4 3
˙
u
j œ œ œj œr œr œ œ œ œj œr œr Œ
& b œ œR œR œ œ œ
26
J R R J R R
- te, pro - pe - ra - te, cur - ri - te, cur - ri - te, cur - ri - te, cur - ri - te.
?b œ œ6 œ œ6 œ œ Œ
œ

64
____________________________________________________________________________________
œ œj ˙ . r
&b Œ ˙ œ œj œ . œ ˙ Œ ‰ œj œ œj œ œJ œj. œ œ ‰ œj œj œj
28
J J J J J
Ec - ce sa - crum con - vi - vi - um in quo Sal - va - tor su - mi - tur; ae - ter - ni
? w5 ˙6 ˙7´ 6 ˙. œ
b w w
& b # œ œ ‰ œJ œJ œJ œ œ œ œ œ .
j
œ ˙ œ œ œj œj. œr œ ‰ œ œ œ
33
J
pa - tris, ae - ter - ni Pa - tris Fi - li - us vi - num hic bi - bi - tur ger -
? # ˙6 œ œ ˙6 ˙
b ˙! # # ˙4 !
˙! ˙6
œœ˙ œ r r j ˙ ˙
Presto
3 ˙ ˙
&b œ J œ œ œ. ˙ ˙
37
œ ˙ 2
- - mi - nans vir - gi - nes. E - su - ri - en - tes
?b πyg∏ 32 ˙ ˙ ˙ w ˙
˙6 ˙ ˙4 3 7
˙
I
˙. œ #˙ œ œ œ œ œ œ #˙ ˙ ˙ w #˙ w
&b  c
41
e - di - te pa - nem an - ge - li - cum.
? b ẁ! . w ˙7 w # ˙6 ˙ w
`! # 4 ! w™! . c
r U
& b c ‰ œJ œJ œJ œJ . œR œ ‰ œJ œJ œJ œ . œ œ ‰ œ œ œ œ œ œ œ . œj w 32
46 Adagio
J
Ni - hil est dul - ci- us, ni - hil su - a - vi - us, ni - hil jo - cun - di - us.
? b c # ˙6 œ œ! # ˙6 œ œ! # œ6 œ 32
# # # œ# ˙4 !
w!
u

65
____________________________________________________________________________________
b 3 Œ
Allegro
jœ œ œ œ. j œ œj œ . j œ œ œ œ œ . œj
œ œ œ ˙ œ
50
& 2 J J œ œ
Si - ti - en - tes bi - bi - te ca - li - cem Do - mi - ni, di - vi - num san - gui -
? 3 j j
b 2 œ. œ œ œ ˙ ˙ ˙ ˙ œ. œ œ œ ˙
&b œ œ. œ œ j œ. œ œ j  c
53
J œ. œ œ J œ. œ w
- nem, bi - bi - te, bi - bi - te, bi - bi - te, bi - bi - te.
? ˙ ˙  c
b ˙ ˙6 ˙ ˙6 w
n n
œ. œ œ œ ‰#œ œ ˙ œ. œ #œ œ œ œ œ œ œ œ j j
t t
&b c  ˙
56
œ œ œ œ #œ
O quam a -
? b c # w6 # w6 # w6 # w6
b j r ‰ œ œ œ œ . œr j j  3  Œ œ œ œ
60
& #œ . œ œ J J J J œ œ œœœœ ˙ 2
- ma - bi - lis, quam de - lec - ta - bi - lis hic po - tus est. Hoc bi - be
? b w! ˙!  32 ˙ . œ œ œ
˙# ˙4 !
. j
& b œ œJ œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ œ œ œ œ
64
œ.
po - cu - lum si im - mun - dus es; cæ - lo - rum pu - ri - tas hic po - tus
? b ˙. œ ˙
™6
w ˙6 œ. œ œ œ ˙
J

66
____________________________________________________________________________________
& b w.  ∑ ∑
67
w
est.
jœ
?
b ˙. œ œ œ œ. œ œ ˙ ˙. œ œ œ œ . œJ œ œ ˙!
j œ œ œ ˙ œ œ œ. œ
&b  Œ œ œ œ œ. œ œ œ œ œ œ œ ˙.
71
J
Hunc pa - nem co - me - de si pau - per es; cæ - li the - sau - rus hic pa - nis
? œ œ œ ˙. œ •!`˙6~ª
b ˙. w ˙ ˙ ˙™6 ˙!
& b w. w  ∑ ∑
75
est.
? b ˙. œ œ œ œ . œJ œ œ ˙! ˙. œ œ œ œ . œJ œ œ ˙
!
n
Œ œ œ œ bœ. œ œ œ œ œ œ œ n˙ Œ œ œ œ
&b 
79
˙.
Hac es - ca pa - sce - re si tri - stis es; mun - di læ -
? b ˙# . œ œ œ #
œ b˙
6
w! ˙
j
& b œ. œ œ œ œ œ œ œ œ w. ∑ ∑
82
- ti - ti - a hæc men - sa est.
? b b œ . œ œ œ™# ˙! œ . œJ œ œ ˙!
J ˙™! . œ œ nœ ˙! . œ nœ œ

67
____________________________________________________________________________________
&b ∑  Œ œ œ œ œ. œ œ œ œ œ œ œ ˙ Œ œ bœ œ
86
J
Hunc ci - bum co - me - de si cæ - cus es; æ - ter - næ
? œ . œ œ œ ˙! ˙. ˙ ˙
b ˙. œ œ œ œ6 ˙!`6 ˙ 6
J
bœ
& b œ . œJ œ œ œ œ œ œ w
Adagio
 ˙ ˙ ˙ ˙. œ ˙
90
glo - ri - æ splen - dor hic est. Cæ - les - tes e - pu - las
? ˙# b˙ ˙ # w6 .
b w. 6
#w.
Allegro
&b ˙ œ œ ˙. Œ œ œ œ
94
˙ œ #œ #˙. œ ˙ œ ˙
gu - sta fa - me - li - cus si ve - nit mors; vi - ta mor -
? b # w#`5 . w! . ™6 ˙# . œ œ œ
#˙ w4 !
œ. œ ˙ œ
& b œ . œJ œ œ œ œ  c
98
J œ w ˙ w
- ta - li - um, ve - ra im - mor - ta - li - tas hic ci - bus est.
?b w ˙ w ˙œ6t w4 . 3 c
w.
j j j j
& b c ‰ œ œ œJ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ œ œ ˙
102
Al - le - lu - ia, al - le - lu - ia,
? b c œ. œ œ6 œ œ œ. œ œ
J 6 œ œ
J œ œ œ œ

68
____________________________________________________________________________________
b ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œJ
105
& J J J J J J J J J
œ œ œ
al - le - lu - ia, al - le - lu - ia, al - le - lu -
? œ. J 6 œ
6
œ. œ œ
J bœ œ
b ˙
p
j œ œ nœ œ œ œ nœ œ
& b œ œ œ œ œ œ œ œ œ œJ œ œ œ œ œ œ œ œ œJ œJ œ œ œ œ
108
œ
- ia, al - le - lu - ia, al - - -
? œ œ bœ œ# œ!
b œ œ œ œ w™!
f p f p f p
j j j
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ œ œ œ œ œ œJ œ œ œ Œ
111
- - - - - le - lu - ia, al - le - lu - ia,
?b w ˙ œ œ œ œ Œ
w™6 œ
f p f p f
œ œ œ œ œ œ œ œ œ œ œ œ
& b ‰ œœœ œœœ œœœ œœ œ œœœœ œ œ œ œ œœœœœ
115
al - - - - - - -
?b w ˙ ˙ w
œ œ œœœ œœœ œœ
& b œ œœœ œ œ œ œ œ œœœœ œ œœœ œœœ œœœœœ
118
œ œœ
œ
- - - - - - - -
?b ˙
˙6 ˙6 ˙ w

69
____________________________________________________________________________________
& b œ œœœœœœ˙ ˙. œ œ w
121
W
- - - - le - lu ia.
?b œ œ œ œ œ œ œ œ œ œ œœt6 w4
œ 3 W

____________________________________________________________________________________
5.
Venite ad me omnes
œœœœ˙ 3  ˙ ˙
Canto &c Œ œ ˙ 2  ˙ ˙
Ve - ni - te, ve - ni - te, ve -
[Basso continuo]
?c w w 32 w . w ˙
&˙ ˙ ˙ w ˙ ˙ ˙ Œ œ ˙ ˙ Œ œ ˙ ˙ 
5
- ni - te ad me om - nes, ve - ni - te, ve - ni - te,
?w ˙6 w. w. w ˙ w ˙
4 3 6 5
∑   ˙ ˙ ˙ ˙ w ˙ ˙ ˙
˙
10
&
ve - ni - te, ve ni - te et vi -
? w ˙ w ˙™7 w4
w6 5 ˙ ˙ ˙ w™6 !
˙ ˙ ˙ ˙ ˙ w œ œ œ œ œ œ
15
&˙ ˙
- de - te, ve - ni - te, ve - ni - te et
?w ˙6 w ˙
w ˙6 w.
6 5

____________________________________________________________________________________
œ œ ˙. œ w w. w. w.
19
& ˙
˙ ˙ ˙
at - ten - di - te, at - ten - - - - -
?˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙
6 4 3 w
& w. w. ˙. œ œ œ c w
24
œ œ w
- - - - di - te fi - de - les,
?˙ ˙ ˙ w7 c w
˙ ˙ ˙ ˙ w. 6
j œ Œ œ ˙ œ. œ œ œ œ œ œ œ ˙.
&Œ œ ˙ #œ. œ œ œ ˙ ˙
29
J
at - ten - di - te do - lo - rem, at - ten - di - te a - mo -
?w w!`6 w ˙. œ7 w!
w 4 !
&˙ Œ œ #œ ˙. œ # œ # œ . œj ˙ Œ œ #œ œ Œ œ œ œ œ œj
35
J J œ J
-rem: do - lo - rem quo cru - ci - or, a - mo - rem, a - mo - rem quo
? ˙ œ œ #˙ ˙! . œ # ˙6 ˙! #˙ œ œ
˙! # 6 •~!`6~ª ™6
j
&˙ œ . œj w Œ ˙ œ Œ œJ b œ œ œj œj œj œj. œr œ Œ œJ b œ
40
J J
ar - de - o. Ec - ce, ec - ce e - go a - gnus in - no - cens, ec - ce
?˙ ˙! ˙ w ˙ ˙6
™4 ˙ w

____________________________________________________________________________________
j j j jj r Œ œJ œJ œ œj œj œj œ œ Œ # œJ œJ ˙ œ jœœœœ
œ
45
& œ œ œ œ.œ œ J J #œ
duc - tus ad pa - ti - bu - lum, ec - ce duc - tus ab a - mo - re et trans - fi - xus a do -
?˙ ˙ # ˙6 ˙ ˙ ˙ œ œ #˙
™! ™! 6 6
j j
& #œ œ Œ œ œ œ œ . # œj œ Œ #œ nœ œ j
œ œ œj
‰ ∑ 32
49
bœ.
- lo - re. Ec - ce mo - ri - or, ec - ce spi - ro.
? ˙! # ˙6 ˙ ˙! ˙! ´™#`'7 6 Œ  3
˙7 6
˙ ˙4 3
œ
2
3 œ œ ˙ œ œ ˙ œ œ #˙ ˙ œ œ ˙ ˙
&2   ˙ ˙ 
54
O do - lor! o a - mor! o a - mor! o do - lor!
? 32 w w #˙ w #˙ w∑Œ5 ˙ ˙! ˙ 
˙ 5 6 5 6 ™*`‰'6
˙ w ˙ w ˙
&  ˙ ˙ ˙ ˙
59
˙ ˙
O do - lor, quan - tum au - det! O a - mor,
? ˙ w4 w ˙6 ˙ ˙ ˙6
w ˙ w ˙6 !
˙ ˙ ˙ c œ œJ œJ œ œ j
˙ ˙  œ œ œj œ œ œ œœ
64
& ˙ JJ
quan - tum va - let! Il - le pla - ga - vit, is - te sa - na - vit; il - le ex -
?˙ w  c ˙ ˙ ˙ ˙îr6 Œ5ø' ˙™! ˙™#

4 3 w ™#

____________________________________________________________________________________
œ œ j j œ œ œ œ œ . œj w 32 ˙ ˙ ˙ ˙ œ œ œ œ
69
& œ œœ
3 w
- tor - sit, is - te e - du - xit Spi - ri - tum. No - li - te er - go
? ˙ œ œ ˙ ˙ ˙ w
˙ 4 ! w 2 6
˙ ˙ ˙. œ œ œ
&w ˙ bœ œ w c
74
˙
fle - re, no - li - te plan - ge - re do - lo -
? w. ˙ ˙ ˙
w ˙´7 w4 ! c
œ œ
&c ˙ ‰ œj œj œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ R R œJ œR œR œ œ œ œ
78
J J
-rem, sed ce - le - bra - - - te, ce - le - bra - te a - mo -
?c œ6 œ œ œ œ6 œ œ
˙ œ œ œ 6 5
œ œ œœœœ œ j j j œ j j‰ œ œ œ œ œ œ œ œ
J œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ R R J R R œ
œ œ œ œ
81
&J J
-rem, a - mo - rem, sed ce - le - bra - - - te, ce - le - bra - te a - mo -
?œ œ #œ ˙! œ!
œ œ !œ 6 œ œ œ
j j j j r j j
& œ œJ œ œ œ œ œ œJ œJ . œR œJ œ ˙ j
œ œj ˙ Œ ‰ œj œJ œ œ œJ œ œ . œ œ œ
84
R R J
- rem, a - mo - rem et di - ci - te, et di - ci - te: O ver - be - ra sa - lu - ti - fe - ra! O
? œ! œ œ ˙ ˙
œ œ œ6 œ4 3 •~7 6~ª &
˙ ˙ ˙!

____________________________________________________________________________________
œ œ œ œ œ . œ œ œ œ œ ‰ œ œ œ ‰ œJ
& œJ œJ œJ œJ œJ . œR œJ œJ
88
J J J J J RJ
pla - gæ ple - næ gau - di - is! O san - guis pi - gnus glo - ri - æ! O, o, o
& 6 œ. j œ œ œ œ6™
˙ ˙ ˙ œ
œ œ œ œ œ œ œ œ œ œ œ. r œ b œ œ œj
& J J J œJ œJ . œR œJ J J J J J J œ œ
œ
91
J
mors cer - te vi - vi - fi - ca! O ca - ra, ca - ra vi - sce - ra! O ca - ra,
? #˙ œ œ œ ˙ ˙6
&œ œ•'4 3'ª
˙ 6 6 !
j j j r j j j j j j j j œ œ b œ œ œj
& œ œ œ . œ œ œ œ œ œ œ ‰ œ œ œ œj œj œ œj ˙
94
œ J
ca - ra vul - ne - ra, a - mo - ris Chris - ti, a - mo - ris Chris - ti mo - nu - men - ta! O ca - ra
? œ bœ œ ˙ œ ˙ ˙6
˙ ˙ œ ˙4 3
j r j œ œ œ œ œ œ . œ œ œJ # œ œ œj # œ jœ
& . œ œ J
œ œ J œJ . œR œ
98
J J J RJ J
vi - sce - ra, o ca - ra vul - ne-ra, o san - guis, o pla - gæ, o ver - be - ra,
?˙ #˙ ˙ ˙ ˙!
5 6 ! ˙
j r r j j j j j j
& Œ ‰ œj œ œ œ œ œj œj. œr œj œj œ œ œ œ # œ . œ œj œj œJ œJ œJ œ
101
O ver - be - ra sa - lu - ti - fe - ra! O pla - gæ ple - næ gau - di - is! O san - guis pi - gnus
?˙ ˙ #˙ ˙ ˙
˙ 6 ™!`'5

____________________________________________________________________________________
j r j œœœ ‰ œœ œ ‰ œJ œJ œ œ œj œj. œr œj œ j j
œ œ œj
104
&œ. œ œ J J
glo - ri - ae! O, o, o mors cer - te vi - vi - fi - ca! O ca - ra,
? œ. j œ ˙
œ œ™! œ6 œ6 œ œ4 ! # ˙6 5
j œ œ œ œ œ œ œ œ. r j j j j
& œ # œj œj. œr œ J J J J J œ œ œ œ œ #œ
107
œ
ca - ra vi - sce - ra! O ca - ra, ca - ra vul - ne - ra, a - mo - ris Chris - ti,
? œ# !`6 ! ˙# #˙ œ œ œ
œ œ 6 5 6 ! ˙! œ! œ œ!
œ œ j j j j j œ œ
& ‰ J œJ J œJ œ œJ œJ ˙ œ œ œ œ œ œ ‰ œJ œJ œJ œ œ ‰ J œJ J
110
a - mo - ris Chris - ti mo - nu - men - ta, a - mo - ris Chris - ti, a - mo - ris Chris - ti, a - mo - ris
?˙ œ ˙4 œ œœ˙ œœœ˙
6 œ ! ˙ œ
œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœœœœœ œ œ œœœœ
&œ œ ≈œœœ œ œ œ œ œ œ œœ œ
114
Chris - ti mo - - - - - - -
?œ œ œ ˙ ˙ ˙ ˙ ˙™!
6
œ œ œ œ œ œ œ œ œ œ œ. œ ˙ W
œ
& œ œ œ œ
117
J
- - - - - nu - men - ta!
?w w6 ˙
W
4 ˙3

____________________________________________________________________________________
6.
O quam tristis
&b c ˙ œ œ œ œJ ˙ œ œ œ œJ œ œ œ œ œj œj
Canto
J J J JJ J J J
O quam tris - tis est a - ni - ma me - a, dum re - cor - dor
?b c ˙ ˙4w #„¤ ˙ ˙ ˙
[Basso continuo]
˙ *`6
b œ œ bœ œ bœ œ ˙ œ œ ˙ ˙ Œ œ nœ œ œ Œ bœ œ œ. œ œ ˙ ‰œ œ
œ œ J J J J JJ J J bœ
4
&
tu - i, dum re - cor - dor tu - i, o Ma - ter E - va! Sus - pi - ro, la - men - tor, lan -
?b ˙ ˙´7 ˙ w
n ˙5 ˙# 4 ! ˙ ! ˙# b˙ ˙ ˙#
j
& b œ. œ œ œ œ . # œj ˙ ‰ œ œ n œ œ œ œ œ ‰ œ b œ œ œ œ œ A ˙ . œ œ œ . œj ˙ 31
10
J JJ
- gue - o, do - le - o et plan - go a - ma - re do - lo - rem me - um.
? b #´`˙6e j ˙ ˙. œ b ˙6 ˙!`6 ˙! 3
œ6 . œ 4 ! ˙! # !¤ w# 6 ˙ 1
w w.
& b 31 ∑ ∑ w w. ˙ ˙ ˙ w w ˙ ˙ ˙ c
16
O Ma - ter ma - le cau - ta, o Ma - ter ni - mis
? b 31 W. W. c
W. W.

____________________________________________________________________________________
& b c œJ . œR œ 
j
œ œ œœ œ j œj j r ‰ œ œ œ œr œ
œ œ œ . œj ˙
20
J œ œ œ .œ œ J J R
cre - du - la, ser - pens an - ti - quus, pa - ter men - da - ci - i de - ci - pi - ens te de - ce - pit nos;
?b c w ˙7 ˙ ˙!
!`6 ˙ ˙4 !
w ˙
b j j j œj œ œ ‰ œj œ . œj œj œ œJ œJ b ˙ œJ œJ ˙ ˙ ‰ # œJ œJ œJ ˙
25
& œ œ œ J
man - du - cas - ti po - mum et den - tes fi - li - o - rum ob - stu - pes - cunt; gus - tas - ti pau -
?b ˙ b˙. œ ˙ ˙ ˙ w
# ˙ ˙# # 4 ! !
& b œJ . # œR œJ n œJ œJ . œR œ Œ œœ˙ œ œj œj ˙ b˙ œ . œj ˙  31
30
- lu - lum dul - ce - di-nis et ec - ce nos mo - ri - mur.
?b ˙3  31
w! w N˙ #`5
˙ 4 3
˙
˙
3 w w w w
&b 1 ∑ ∑ w w w w w c
35
w
O E - va, non E - va, non Ma - ter vi -
? 3 W. W. c
b 1 W. W.
U
& b c œJ . œR œ Œ œ œ ˙ œ b œj œj œj ˙ j Œ ˙ j
œ œJ
39
J .
œ #œ w
- ven - ti-um sed Ma - ter mo - ri - en - ti - um. Ec - ce nos
?b c ˙ #˙ ˙ ´#`˙e6
j˙ N w6
6 œ6 . œ 4 ! w!
u
____________________________________________________________________________________
j j j j œ
& b bœ. œ œ œ œj œj œ œ ‰ œJ n œ œ n œ œ ‰ b œJ œJ œJ œJ . œR n œ Œ ‰ œ
44
J
cru - ci - as: u - bi - que mæ - ror, u - bi - que do - lor, u - bi - que luc - tus, su -
˙ ˙ ˙
?b w ˙# ! ˙# n ˙6
# !
b b œ . œ œ œ b œj œj ‰ œ b œ . œ œ ‰ œ œJ œJ ‰ œj œ œ ‰ j j r œ . œ b œ
48
& J RJ œ J J J J J œ bœ . œ œ
- spi - ri - a, lan - guo - res, mar - ti - ri - a, cla - mo - res, æ - rum - næ, mi - se - ri - æ, vul -
?b ˙ ˙ ˙# ˙ ˙# b ˙# b œ6 œ#
# # !
˙
b w
& b œJ œJ œ b œ ˙ 31 ∑ ∑ w w w w w
52
w
- ne - ra, mors. O E - va, non E - va, non
?b 31 W. W.
˙ ˙ W.
U
&b
w w w c œ. œ œ Œ œ œ ˙ œ b œj œj œj ˙ j n
56
J R J œ. #œ w
Ma - ter vi - ven - ti-um sed Ma - ter mo - ri - en - ti - um.
? c ˙ #˙ ˙ j˙
b W. 6 ´#`˙e6 œ6 . œ 4 ! ! n
w
u
œ
& Œ œJ œJ œ œJ J ˙ . œ œj œ œ # œj œj œj œ œ œ œ œ œJ œJ œJ œJ ˙ œJ œ
61
J J J J J
Con - so - la - tur sed a - ni - ma me - a dum re - cor - dor tu - i, dum re - cor - dor tu - i, o Ma -
?w ˙! ˙7 w! ˙ w5
! 6 ˙ 6

____________________________________________________________________________________
r
&˙ ˙ ‰ œJ # œJ œj ‰ œJ œ œj œJ œ œ œJ œ œ œJ . œR œJ œJ ˙ œ. œ w
66
J R RR J
- ri - a. Res - pi - ro, jo - cun - dor, gau - de - o, ju - bi - lo, ju - bi - lo in can - ti - cis.
?˙ œ! œ! œ6 œ. 6t j ˙. œ
4 ! œ!
˙ œ œ œ w3 4 3
Œ œ œ œ œ œ œ . œ œ Œ œ œ œj œ œ œj œr œ 31 w . ˙ w
71
& J J J J J R J J J .
O Vir - go pru - den - tis - si - ma, o Ma - ter fi - de - lis - si - ma, ve - ri - tas
? ˙! ˙ ˙4 31 # W .
w5 !`6 6 ! ˙! 6
w ˙ ˙ #w W U
& w. ˙ w ˙ ˙ W #˙ ˙ W ∑ b c
75
Do - mi - ni cap - ti - vans te li - be - ra - vit nos.
? W. #w w w W! . ∑
6 6 ! W7 . !`6 W! b c
u
b c Œ ‰ œ
j Œ ‰ œ œj œr œr œj. r œ œ j œj A œ œ œ œ œ
80
& #œ œ J œ #œ œ J J
Be - a - ta, be - a - ta quæ cre - di - dis - ti, qui - a cre - den - do, qui - a cre -
? c w w! w! ˙
b ! ˙
r
&b
bœ œ œ œ œ œ œ œ Œ œj œ œ œ œ œ œj œr œr œ œ Œ œj œ œ
84
J J œ w R J R R RR
- den - do be - as - ti nos. An - ge - lo Sa - ta - næ cre - di - dit E - va, an - ge - lo
?b ˙ œ œ ˙ ˙6 ˙
# # ! w! ˙
____________________________________________________________________________________
œ . œ œJ œ ˙ w j j j œj œ . œ œ Œ œJ œ œ œ œ ˙
b
88
& J R J œ œ œ œ œ J R J J J
Do - mi - ni tu Vir - go. E - va cre - den - do nos per - di-dit, tu cre - den - do sal - vas -
?b œ ˙ b ˙6 ˙
œ ˙4 ! ˙! . œ w ˙6 4 3
b ˙ œ . b œ œ œ . œ œ œj œ œ œj œ . œr œ j œj œ
œ # œ œ Œ œœ œ
93
& R R J R J J R ˙ ˙ œ
- ti. E - va nos pau - pe - res, A - ve tu - um di - vi - tes fe - cit, E - va nos mæs - tos, A -
?b ˙ ˙ ˙
6
˙ ˙ ˙4 # ˙6 w!
3
˙
œ
& b œ œ œ n œJ . œR œ Œ ˙ œj œj b œ œ Œ œ œ œ œ œ œ œ b œ œ œJ œJ ˙ ˙
98
- ve nos hi - la-res, E - va do - len - tes, A - ve gau - den - tes,
? b #˙ ˙ ˙ w# ˙# b œ6 œ6´ ˙ ˙!
6 ! n ˙6 4 !
j œ Œ œJ b œJ œJ œ œJ œ œ
&b Œ ˙ œ œJ œ œ Œ œ œ œJ J ˙ ˙ œ
103
J J
E - va dam - na - tos, A - ve be - a - tos. E - va mor - tem dat æ - ter - nam,
? w ˙ ˙ ˙! ˙
b 6 ˙ ˙4 ! ˙ ˙
b Œ œ œ œ j œ j Œ œJ œ œ œj œJ œ œ œj œJ œ œ œj œ œj
œ J œ ˙ ˙
108
& J J J J J J J J J J
A - ve vi - tam sem - pi - ter - nam, E - va mor - tem, A - ve vi - tam, E - va mor - tem dat æ -
?b w ˙4 ! ˙!
w# w
____________________________________________________________________________________
b j j j jj j j j Œ œj œj # œj j œj œj # œj j œJ œJ n œ œj œJ œJ
œ œ œ œœ œ œ
112
& œ ˙ ˙ œ œ J
- ter - nam, A - ve vi - tam sem - pi - ter - nam, E - va mor - tem, A - ve vi - tam, E - va mor -tem, A - ve
?b w w! ˙ ˙
# ˙4 ! ! !
˙
b n œ j œJ œJ b œ œ œ œ œ œ œ œ œ œj œ œj w
116
& J œ J J J J J J J J J J ›
vi - tam, E - va mor - tem dat æ - ter - nam, A - ve vi - tam sem - pi - ter - nam.
?b ˙ ˙# ˙! !
w# 4
˙ ›!

____________________________________________________________________________________
7.
Ave Maria
Canto & c3 ∑ ∑ ∑ ∑ ∑ ∑ ∑
? c 3 w. w6Œ . w7 . 6 w! w4 .
[Basso continuo] ¤ ˙ w6 . w!`6 . !
&  ˙. œ w. w. ˙. œ œ ˙ w   ˙ ˙ ˙ ˙ ˙ #w
8
.
A - - - - ve, A - ve, A - ve Ma - ri -
? w. w6Œ . w7 .
w.
6 w! ¤ ˙ w6 . w!`6 . w4 . !
  ˙ ˙ œ œ œ œ œ . œJ œ . œ œ . œj # œ j œ
. œ #˙ œ #œ œ œ ˙ œ œ œ
16
& w J
- a, A - ve, A - - - - - -
? w. w.
w. w!`6 . # w!`6 . w.
& ˙. œ œ œ ˙. œ œ œ ˙ œ œ œ œ œ œ #˙ w œ œ #w  ∑
22
w
- - - - - ve Ma - ri - a!
? w. wŒ6 . ˙7 w !w
w. wŒ6 .
˙7 ˙ w4 !

____________________________________________________________________________________
∑ ∑   ˙ #˙ œ œ œ œ ˙ œ #œ œ œ #w  w
29
& ˙
Ma - ri - a Ma - ter De - i, Ma -
? w7 . 6 w! . w. wŒ6 . w7 . 6 ẁ! . w ˙›
& ˙ ˙ ˙ wt . w   ˙ ˙ w ˙ w ˙ w w
36
˙ #˙
- ter et Vir - go, ti - bi di - co Ma - ter A - ve, A - ve,
? w ˙6 w6 . w. w7Œ .
w7 . !`6 w ˙› w. w!`6 .
 w w c #w ∑
44
& #w. w ˙ #˙ w
A - ve, A - ve, A - ve, A - ve.
? w4 . ! › c w4 ˙7
w #˙ w6 . w!`6 . !
w
! ˙ 6
œ j r j j j ‰ œj œJ œj œ œ ‰ œ œJ œ
& ‰ J œJ œJ # œ . œ œ œ œ œ œ œj œ
51
#˙ J J
Quid mi - hi Do - mi - na dul - ci - us tu - o A - ve? O mi - rum A - ve, o mi - rum
? w! # w6 ˙! # ˙6 ˙ #˙
5 6
j j j j j r I I
& #œ œ Œ œ œ œ œ ˙ œ
œ # œJ # œ . œ œ ‰ œ œ œ R œ . œ ˙ w
55
J J J R J
A - ve, quod cæ - les - ti qua - dam dul - ce - di - ne i - ne - bri - at cor de - vo - tum!
? ˙! w! !ª`• ˙7Œ ˙4
˙! ˙ ˙! ! w!

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 ˙ ˙ ˙
&3 ˙ ˙ ˙. œ ˙ œ œ œ œ ˙. œ
60
#˙. œ ˙ ˙
O mi - ra - bi - le, o mi - ra - bi - le et su - per - ad - mi - ra - bi - le
? 3 # w6 . w! . # w6 . w. w ˙5´ 6 w.
œœœœœœ œ œ
œ œœœ œœœœœœ œœœœœ œœœœœœ œœœœœœ
66
& œ
A - - - - - - - -
? w ˙6
w. w. w. w ˙6 w ˙6
œœœœ œœœœœœ c w ˙ Œ œj œj œ œ œR ‰ œ œ œ œ œ œ œ œ œ# œ
&œœ
72
J R RR
- - - - ve, ad quod dæ -mones ef-fu -gan -
?w ˙ w ˙ c ˙4 ˙3 w ˙ ˙
j œj œ œj œj j œ œ j r r
Œ œ œ œ œ. œ œ œ œ œ œ œj # œj œj œj œ
77
& œ œ œ J œ J RR J R
- tur, pec - ca - to - res li - be - ran - tur, fi - li - i de - lec - tan - tur, an - ge-lus gra - tu - la - tur, Ver -
? ˙ ˙5 ˙! ˙ ˙! ˙
˙ !`6 ˙6
j j œ œ œj œj # ˙
& œj # œj œ œ # œ Œ ˙ œ ∑
81
œ J J w
- bum in - car - na - tur, Vir - go fœ - cun - da - tur!
? ˙! w!
˙ ˙6 ˙5 ˙!`6 ˙4 ! œ œ6 ˙7 6

I I
____________________________________________________________________________________
œ œ œ ˙ œ œ I
&  œ œ #œ œ œ œ œ œ ˙ œ #œ œ œ œ œ #œ œ œ #œ œ ≈ œ œ œ œ œ œ œ #œ œ œ
86
? ! # w6
w # w6 w!
I j r
& œ œœ œ.œ œ ‰ œj œj œj œ . œ # œ j j
# œ œ Œ œ œ œ œ Œ œj œj
90
R R
dul - cis - si - mum et su - a - vis - si - mum A - ve, cu - jus fruc - tu cre - a -
? Œ!`œ7e œ! ˙ œ œ›
! w! !
˙
# w6
j j j œ œ œ œ œj œ œ œœœ œ ˙ U
& œ œ # œ œj œ œ
94
œ J R R J J RRJ J w
- tu - ræ re - no - van - tur, ho - mi - nes re - di - mun - tur, an - ge -li re - pa - ran - tur!
? # ˙5 ˙! # ˙6 ˙ ˙ ˙4 ! w
u
#˙ ˙ ˙ #˙ ˙ #˙ ˙. #œ œ œ #˙ w ˙. œœœ
&3 w ˙
98
Er - go, er - go ti - bi A - ve, A -
?3 #˙ w ˙. œ œ œ #˙
w. w! . !w . 6 ! ! 6 w!
&˙ w ˙. œ œ œ ˙ #w ˙. œ œ #œ ˙ ˙ œ œ #˙ ˙ œ œ
104
- ve, A - ve om - nis cre - a - tu - ra si - ne fi - ne, si - ne
? ˙ . œ œ œ ˙6 w ˙! . œ œ œ w . w5 . 6 w5Œ . 6

____________________________________________________________________________________
œœ œœ w ˙. œ œ œ ˙ w ˙. œ œ œ #˙
110
&˙ ˙ w. w
fi - ne, si - ne fi - ne pro - mat, A - ve, A - ve,
?w ˙ ˙ w4 ˙ #˙ ˙ . # œ œ œ # ˙6 w ˙! . œ œ œ
! w 6 !w
& ˙. œ #œ œ ˙ #w #˙. œ œ #œ ˙ ˙ œ œ #˙ ˙ #œ œ ˙ ˙ œ œ
117
A - ve om - nis cre - a - tu - ra si - ne fi - ne, si - ne fi - ne, si - ne
? ˙6
w ˙! . œ # œ œ !
w. w5 . 6 w5Œ . !`6 w!`5 ˙
œœ ˙
˙ œ œ œ œ #w œ œ œ œ œœœœœœ c
123
& œ #œ w w ˙
fi - ne pro - mat, si - ne fi - ne, si - ne fi - ne pro - mat, si - ne fi - ne, si - ne fi - ne
?
w4 ! w~! 6 ˙ ˙ w4 !
˙ w5 w!`6 . c
˙ #˙ w
& c #w ∑ ∑ ∑ ∑ ‰ j # œj œj œ œ j. r
129
w œ J J œ #œ
pro - mat; ac - ce - dant om - nes ad Ma -
? c w4 !
w! ˙`! # ˙6 ˙ ˙7 6 ˙! ˙6 w!
˙!`6 ˙4 !
r r j
& # œ œ Œ ‰ œj # œ œ ‰ œ œ œ œ œ œ #œ. œ ˙ œ œ œ œ. œ ˙ œ œ œ œ. œ
136
JJ
- ri - am qui vo - lunt al - li - ga - - - - ri a - mo - re.
? w! # ˙6 ˙5 ˙!`6 # ˙6 ˙! œ. #œ œ. œ
J J ˙7 6

____________________________________________________________________________________
j I
& ˙ # œj œj œj œj # œj œj œj # œ œ œ 3 ˙. œ #˙ ˙. œ #˙ œ œ œ œ #œ œ
141
Et cum sa - lu - ta - ve - rint ex cor - de, amp - li - us for - ti - us - que
? ˙! # ˙6 ˙ ˙! 3 # w6 ˙! w6Œ ˙! # w6 œ! œ
w #œ œ œ œ w w.
j
c Œ ‰ œ # œ œ Œ # œJ œJ œ œ œ œ # œJ . œ œ Œ ‰ œ
j
146
& R
con - strin - gen - tur, et quan - to con - strin - gen-tur for - ti - us, li -
? # w6 ˙! ˙ w4 ! w! . c w! ˙! ˙7 !`6 w!
& # œJ . œR œJ œR œR
œ œ Œ œj œj ˙ œ j # œj 3w
152
œ #œ œ ˙
- ben - ti - us sa - lu - ta - bunt, sa - lu - ta - bunt, et di - cent A - ve,
? ˙! ˙! #˙ ˙ ˙7 6 ˙! 3 w.
&w w w
156
#˙ #w. w. ˙ #˙ #w. w.
A - ve, A - ve, A - ve, A - ve, A - ve.
? w.
w!`6 . w4 . !
w. w!`6 . w4 . ! !
w.

____________________________________________________________________________________
8.
Amate o populi
˙ ˙ ˙ ˙. œ
Canto & c3   ˙ ˙ ˙ ˙ #˙. œ ˙   ˙ ˙
A - ma - te o po - pu - li, a - ma - te o po - pu - li
? c 3 w. w! ˙ ˙ ˙ ˙ #˙. œ ˙ ˙. œ ˙
[Basso continuo] ! # w6 . ! ¤ ¤ 6 !
˙. #œ ˙ ˙. œ #˙ #˙. œ ˙ #˙ w
 w #˙
7
& #˙ w w
Ma - ri - am, po - pu - li, po - pu - li, po - pu - li a - ma - te, a -
? ˙ w ˙! . œ¤ ¤ ˙ #w ˙ #w ˙
! ˙! . œ # ˙6 !`Œ ˙7e w4
!`7~ 4 ! 6 6 ! w! .
#˙ ˙ #˙ w. ˙ ˙ ˙ ˙. œ ˙
w ˙ ˙ ˙ #˙ ˙ ˙
14
& ˙
- ma - te Ma - ri - am, a - ma - te, a - ma - te, a - ma - te o po - pu - li
? w! . w4 . # w6 . w! .
! w! . # w6 . ˙ . œ ˙6
j j j
c ‰ œ œ œ œ œ ‰ œ œ œ # œJ œJ œ n œJ œ œ œ ˙ ˙
21
& #˙ w ˙ JJJ J J J
Ma - ri - am, Ma - ri - am Spon - sam, Ma-ri -am Ma - trem: Ma - trem pi - e - ta - tis,
? c ˙! # ˙6 ˙ #˙ ˙ ˙7´ ˙4 ! ˙!
˙!`7 w4 ! 6 ! 6

____________________________________________________________________________________
j j j j j j j œ . r j j
Œ œ œ œ œ œ ∑
26
& . œ #œ œ #œ œ œ œ œ J œ #œ w w
Spon - sam ca - ri - ta - tis, Ma - re gra - ti - a - rum po - pu - li a - ma - te.
? #w ˙! #˙ ˙ . # œ6 œ # œ6 ˙7
6 6 ˙ w! 4 ! !˙ !`6
j j j j œ œ
& Œ œ # œj œJ œJ œ œ œ # œ œ Œ œ œj œJ œR œR œ # œ œ œ œ Œ œJ œJ J J œ œ œJ
32
Hæc est Ma-re quod vos du - cit, hæc est gra - ti - a quae vos di - tat, hæc est Spon - sa quæ vos
?˙ œ œ
! ! œ! . œJ # œ œ œ œ! ˙! ˙ œ œ!
œ œ œ œ œ œ œ œ œ
& œ œ Œ J œJ J J œ œ J œ œ œœ ˙ 3  ˙ ˙ ˙ ˙
36
t
vo - cat, hæc est Ma - ter quæ vos a - lit. O Ma - ter, o
? œ . œJ œ œ œ œ!~ œ
œ ˙4 3 w. #w.
! ˙ 6
˙ ˙ ˙ ˙ ˙ ˙ ˙
& œ #œ œ œ œ œ œ #w œ œ œ #œ œ œ œ #œ œ œ œ œ
41
Spon - sa, o Ma - ter, o Spon - sa, o Ma - - -
? w. w! . ˙6 # w6 w. #w. w7 .
7 !`6 6 !`6
& #˙ ˙ ˙ ˙  ˙ #˙  ˙ ˙ N˙ ˙ ˙ w ˙ ˙ ˙ ˙ w c
47
- re, o, o, o Ma - ri - a, o Ma - ri - a
? w. w ˙ w ˙ #w. w. ˙ w c
! ! 6 w. !~

____________________________________________________________________________________
r j œ œ. œ œ r
c œ . œ œ j j ‰ œj œr # œr œr œ
54
& J œ J #œ œ ˙ ˙
gra - ti - a, gra - ti - a ple - na, tu to - ta pul - chri -
?c
˙ ˙ ˙!`t6 ˙4 !
˙!
# ˙6
r r r œ œ ‰œ œ œ œ œ œ œ˙
& # œj œ œ œ œR œR œR œJ œR œR œR œR œR R # œJ œJ J J J J J J J
57
- tu - do, tu to - ta gra - ti - o - sa, tu to - ta ple - ni - tu - do, tu, tu to - ta, to - ta spe - ci - o -
? ˙ # ˙6 ˙# ˙4
! ˙ ˙! !
&˙ ‰ œJ œJ œJ œJ œJ œJ œ ˙ 3w ˙ ˙ ˙ ˙   ˙
60
J #˙. œ ˙
- sa, tu to - ta, to - ta spe - ci - o - sa. A - ma - te o po - pu - li, a -
? ˙# ˙4 3 w! . w! ˙ ˙ ˙ ˙
˙! # ˙6 ! # w6 . ! ¤ ¤
66
˙ ˙ ˙ ˙. œ ˙  ˙. #œ ˙ ˙. œ #˙ #˙. œ ˙
& #˙ w w
- ma - te o po - pu - li Ma - ri - am, po - pu - li, po - pu - li, po - pu - li
? #˙. œ ˙ ˙. œ ˙ ˙ w ˙! . œ¤ ¤ ˙ # w6 ˙ #w ˙ ˙! . œ # ˙6
6 ! 6 ™!`'7 4 ! 6 !
#˙ ˙ #˙
& #˙ w w #˙ w. w ˙ ˙ ˙ #˙ ˙ ˙
73
˙
a - ma - te, a - ma - te Ma - ri - am, a - ma - te, a - ma - te, a -
? Œ!`˙7e w w! . w4 . # w6 . w! .
4 ! w! . ! w! .

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& ˙ ˙ ˙ ˙. œ ˙ c ‰ œj œj œj œ œ ‰ œ œ œ
80
#˙ w ˙ J J J
- ma - te o po - pu - li Ma - ri - am, Ma - ri - am Spon - sam, Ma - ri - am
? c ˙! #˙ ˙ #˙
#w. 6 ˙. œ ˙6 ˙!`7 w4 ! 6 6
r r
& # œJ œJ œ n œ œ œJ œJ ˙ ˙ Œ ˙ œr # œr œr œ # œ œ Œ œj œj œj # œj œj œj œ . œ œ
85
J
Ma - trem: Ma - trem ti - mo - ris, Spon - sam di - lec - ti - o - nis, Ma - re spe - i et fi - du - ci - æ
? ˙! ˙7 ˙4 ! ˙! # w6 w! #˙ ˙
6 6
rj j
œ .
& J œ œ #œ ˙  ∑ Œ œj # œj œ œ œ œj # œj. r Œ œj œj
90
˙ J Jœ œ œ
po - pu - li a - ma - te. Hæc est Ma - re quod vos re - ci - pit, hæc est
? ˙! . # œ6 œ # œ6 ˙7 ˙! œ œ œ! . œ #œ œ
˙ ˙4 ! !`6 ! J
œ œ œ j j r Œ œ œ œ œ œ œ œ œ . œr Œ œ œ œ œ ≈ œ œ œ œ œ œ œ
95
& œ œ #œ œ œ . œ œ J J J J J J œ J J J J œ
spes quæ vos e - ri - git, hæc est Spon-sa quæ vos ad - ju - vat, hæc est Ma - ter quæ vos
? ˙! œ! œ. œœ œ œ
œ œ! ˙ œ J œ œ! œ
j ˙ ˙ ˙ ˙
& œ. œ ˙ 3   ˙ ˙ ˙ ˙ œ #œ œ œ œ œ œ #w ˙ ˙ ˙
99
li - be - rat. O Ma - ter, o Spon - sa, o Ma - ter, o Spon - sa, o
?˙
4 ! 3 w. #w.
6
w7 . !`6 w! . ˙6 # w6 w.
˙

____________________________________________________________________________________
& œ œ œ #œ œ œ œ #œ œ œ œ œ #˙ ˙ ˙ ˙  ˙ a˙  ˙ ˙ N˙ ˙
106
Ma - - - re, o, o, o Ma -
? #w. w7 . w ˙ w ˙ #w.
6 !`6 w! . ! - 6
r j
&˙ w ˙ ˙ ˙ ˙ w c œ . œ œj œJ œ . œ œ œ jj ‰ œ œ œ
112
J #œ œ ˙ ˙ J J
- ri - a, o Ma - ri - a gra - ti - a, gra - ti - a ple - na, tu nul - lum
? w. ˙ w c ˙ ˙ !`˙6t ˙4 ˙!
w. !~ ! !
˙
j r j j j U
& # œJ . œR œ ‰ œj œj œj # œ . œ œ ‰ œ œ œ œJ . œR œ ˙ œ . œ œ # ˙ n œ . œj ˙
118
w
res - pi - cis, tu nul - lum des - pi - cis, tu nul - lum re - ji - cis, o be - ni - gna.
? ˙! ˙! ˙ # ˙6t ˙! *`7´
˙! !
˙ ˙ ˙ ˙4 ! !
w
u
3  œ œ œ œ j œ œ œ œ œ œ œ œ œ œ . œj œ # œ œ
124
& #œ. œ ˙ #˙ ˙ œ œ
Pro - pe - ra - te fi - li - i, pro - pe - ra - te, pro - pe - ra - te, pro - pe - ra - te fi - li - i ad Ma - tris
?3 w w! w! #˙ w #˙ w ˙
! # ˙6 # ˙6 6 6 !
. j
& œ œJ œ œ ˙ œ #œ œ nœ œ. œ ˙. œ œ œ ˙. œ ˙ œ . œJ œ œ . œ œ
129
J
bra - chi - a, ve - ni - te, ve - ni - te fle - bi - les ad Spon - sæ gau - di - a, cur - ri - te, cur - ri - te
?w ˙ ˙ ˙!`6 #˙ ˙ ˙ ˙! ˙. ˙.
! *`5 w.

____________________________________________________________________________________
& # œ œ œ œ œ . œj ˙ œ . œJ # œ œ . # œ œ # œ œ œ œ œ . œ œ œ œ # œ œ œ œ œ œ # œ œ œ œ œ
134
J J
pro - fu - gi, cur - ri - te, cur - ri - te pro - fu - gi ad Ma - ris
? w. ˙! ˙¤ ¤ # ˙ ˙4
! ˙!`5 . w! . ¤˙
˙. ˙!
I œ
& œ œ œ œ . œJ ˙. œ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ c #œ œ ‰ œ œ œ
139
un - das, con - fu - gi - te pau - pe - res ad Ma - ri - æ, ad Ma - ri - æ gra -
? c w!
w! . 6 6 w. # w6 .
#w. w.
œ œ
& #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ. œ
145
t t
- - - - - - - -
? w # ˙6 ˙!
# w6 w
U j r r j
& œ œ #œ œ œ œ œ œ œ œ œ œ œ ˙ j œ œ œ œ # œj œJ . œ œ
149
œ. œ w R
- - - - ti - as: gra - ti - as quæ vos sub - le - vent,
? w ˙! ˙!`5
œ! # œ6 ˙ !w 4 !
u!
œ.œ œ j r r r r j r œ . œ œ œ œ œ œJ . œ œ œ
& œ œR œR œR œR J R œ . œ œ œ œ œr œ . œ œ
153
J RR R R R R J J
un - das quæ vos sal - vi - fi - cent, gau-di - a quæ vos læ - ti - fi - cent, bra - chi - a quæ vos ex - ci - pi - ant er -
?˙ ˙ ˙ ˙ ˙!
˙

____________________________________________________________________________________
r
& œ œJ œJ
œ œ œ ˙ œ ‰ # œJ œ œ œ ˙ ˙ Œ œj œj œj. œ œj œ ˙
156
J J JJ J
- ran - tes a - ma - te, a - ma - te, a - ma - te, a - ma - te; et ut fo - ve - ant et fir -
? ˙ w
˙ !˙ 4 ˙ ! ! !
w 4 ! ! ˙! ˙6
j j j U
& œ # œ œj œ . œr œj œj œj œj ‰ # œ œ œj œj ˙ ‰ # œj œ j j Œ
161
œ œœ ˙ œ
- ment et so - li - dent a - man - tes, a - ma - te, a - ma - te, a - ma - te, a - ma - te.
? #˙ ˙! œ! ˙! Œ
5 œ! ˙6 ˙4 ! ˙6 ˙4 ! !
œ u

____________________________________________________________________________________
9.
Succurre o Diva clemens
˙˙˙˙˙˙
Canto & b c 31 ∑ ∑ w w. ˙ w ∑ ∑ w w. ˙ w
Suc - cur - re, suc - cur - re o Di - va
? b c 31 W . W. w

[Basso continuo]
W. W. W

∑ ∑ w w. b˙ w ∑ ∑ w
&b w w w w w w w. ˙ w
6
cle - mens, suc - cur - re, suc - cur - re, suc - cur - re, suc -
? W. W. W. W.
b W. W.
w. b˙ w ˙ ˙ b˙ ˙ b˙ ˙ w w w w w w. ˙ w w w ˙˙
&b w
12
- cur - re o De - a cæ - li, suc - cur - re, suc - cur - re, suc - cur - re
? b W. bW w W. W.
W. W.
bw w ˙ ˙ bw ˙ w w
& b w. ˙ w w. ˙ b˙ ˙ W.
18
. W
mi - se - ro, suc - cur - re mi - se - ro pe - ri - tu - ro, suc -
? b bW. W# . #`7´ . W4 .
W# . W 3
W.

____________________________________________________________________________________
&b w w w w. ˙ w ∑ ∑ ∑ ˙ ˙ ˙ ˙ w w ∑
24
- cur - re, suc - cur - re. Au - di Ma - ter,
? b W. w W4 W w W w
w . ˙ w6 3
W.
&b ∑ ˙˙ ˙˙ w w ∑ ∑ ˙ ˙ ˙ b˙ w w ∑ ∑ b˙ ˙ ˙ ˙ nw. ˙ ˙ ˙
30
au - di Vir - go, au - di po - tens, au - di mi - se - rum cla -
?b W w W w W w
W w W# w W! .
ḃ
w ˙ ˙ ˙ bw. ˙ b˙ ˙ bw W
& b w. nœ œ nw W ∑ ∑ ∑ w
36
- man - tem, au - di mi - se - rum di - cen - tem: Tu
? b W# w# W# W4 w ˙˙˙˙ w
6´
w w! w6 n w5 w! W
&b w ˙ ˙ ˙ ˙ W w w ˙ ˙˙˙ ˙ ˙˙ ˙˙˙ W ∑ w w w

42
me - a spes, tu me - a sors, tu me - a
? b w6 W7 6
W. w W W. W6 . W.
&b w w w w ˙ ˙ ˙ ˙ W.
48
w. ˙ ˙ ˙ w. ˙ ˙ ˙ W.
vi - ta, tu me - um cor,
? b W. w W w w w w w w w w
w W.

____________________________________________________________________________________
&b ∑ ∑ ∑ ∑ ∑ ∑ w w b˙ ˙ ˙ ˙
54
tu me - a
? b W. ˙ w6 W.
W6 . bw. b w W4 3 w6 W´7 6
ḃ W . w bw w
&b W w w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w bw w
60
spes, tu me - a sors, tu me - a vi - ta, tu
? b W. W. bW.
w W W. W6 .
w ˙ ˙ ˙ ˙ W. w. ˙˙ ˙ w. ˙ ˙ ˙ W.
&b ∑
66
me - um cor,
? b w W4 w w w w w bw w w
3 w W. Ẃ5 . 6
ḃ
&b ∑ ∑ ∑ ∑ ∑ w w ˙ ˙ ˙ W ∑
72
tu me - a spes,
? b W6 . b w . ˙ w6 b w W4 W.
3 W. W6 .
&b w ˙ ˙ ˙ ˙ W ∑ w w w w w w w ˙ ˙ ˙ ˙ W ∑
78
me - a sors, tu me - a vi - ta, tu me - um cor,
?b W. W. w W4
W7 . 6
W. 3
W.

____________________________________________________________________________________
&b w w w w w w w ˙ ˙ ˙ ˙ c ˙  Œ œ œœœ œ
84
tu me - a vi - ta, tu me - um cor. Heu jam
? b W. W. w W4 3 c œ œ œ # w6
˙
& b # œ . œj ˙ Œ œ œ œ œ œ nœ. œ œ bœ œ œ bœ nœ ˙ œ. nœ œ Œ Œ œ. œ œ
89
J J J
lan - gue - o, heu jam do - le - o, heu jam pe - re - o. Sub - ve - ni,
? b w! # w6 w œ# œ#`6Œ b ˙7 6 w6
! w4 !
j .
j
& b ‰ œJ . œR œ œ œJ œJ œJ œ œJ œJ œ œ ‰ œJ œR œ b œ œJ œJ b œJ œJ œJ œJ œ œ
95
J
sub - ve - ni Ma - ter mi - se - ri - cor - di - a - rum, sub - ve - ni Ma - ter mi - se - ri - cor - di - a - rum,
?b w #`5 ˙ ˙ ˙
w6 #`5 ˙
œ bœ œ œ œ j œr œ œ œ œ œ œj œ œ œj œ œ œj œ
& b œJ œJ J œJ J J œ œ ˙ ˙
99
œ R JRR J J J
et to - ti - us con - so - la - ti - o - nis. Por -ri - ge, por-ri - ge ma - num, O Ma - ter, o Di - va, o
?b ˙ ˙# ˙4 ! ˙! N ˙6 ˙
w
j œ œ œ nœ œ œ n œ œj j Œ
&b œ œ œ œ œR œ œJ n œ œ œ
103
R J R R J J J JJ œ
cle - mens, por - ri - ge, por - ri - ge ma - num, o Ma - ter heu ca - do,
?b ˙ # ˙6 ˙ Œ
`! œ! œ# ˙4 !
œ
____________________________________________________________________________________
n j
b œ œ œ œ
J œ œ œ . œ œ œ
J œ œ œ œ # œ œ n ˙ œ . œ ˙ j r r œj r œr
106
R
& J R R R J R J J J œ œ œ œ
sus - ti - ne, sus - ti - ne spi - ri - tum, o Di - va, heu lan - gue - o, sus - ti - ne, sus - ti - ne,
?b ˙7 ˙4
˙6 A˙ ˙ ˙4 ! ! ˙! # ˙6
& b #œ j œj j j œ œ . # œj ˙ n ˙ œ . œj œ Œ  Œ
œ œœœœ œœœœ
110
œ #œ œ
vi - tam; o cle - mens, heu mo - ri - or, a -
? b w! ˙7 !`6 ˙! Œ ˙# . œ
˙7 ˙4 !
œ
!
b œ œ œ œ œ œ œ œ œ j jœ œœœœœ œ œ j j œ œb œ œ œ œ œ œ œ œ œ œ
œ JJ œ œ œ œ œœœ œ œ
115
&
- - ma, a - ma Ma - ter, a - ma Ma - ter, a - ma Vir - go, a - ma Vir - go, a - ma
? b œ. j œ œ œ6 bœ œ
œ ˙5 6
œ œ6 œ
œ
&b J œ œ œ œ bœ œ œ œ œ œ œ œj œj œ œ œ b œ œ œ œ œ œ œ
118
J J J J J
Spon - sa, a - ma Spon - sa, a - ma Vir - go, a - ma Vir - go, a - ma
?b œ œ œ œ œ œ œ œ
6 6 6 6
j j j j
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œj Œ  31
120
Ma - ter, a - ma Ma - ter, a - ma Vir - go, a - ma Vir - go, a - ma Spon - sa.
?b œ œ œ œ Œ  31
œ6 œ œ6 œ œ

____________________________________________________________________________________
& b 31 w w w w w ∑ w w w w w ∑ w w w W w
123
Tu ve - ra sa - lus, tu ve - ra vi - ta, tu ve - rus a - mor
? b 31 W . W. w w w W. W.
w w w 6 7 6
&b W w w w w
129
W. W w W w W.
pec - ca - to - ris, ve - rus a - mor pec - ca - to -
? b W. W4 . 3
W. W. W. W4 . !
w w w w w ∑ bw w w w w ∑ w w w
& b W.
135
- ris, tu ve - ra sa - lus, tu ve - ra vi - ta, tu ve - rus
?b ! W. W# . W6 .
W. w w w w w w
bW w W w W. w w w W w
&b W w
141
a - mor pec - ca - to - ris, ve - rus a - mor pec - ca -
? b Ẃ7 . 6 W. W4 . 3 W. W. W.
& b W. w w w w w ∑ ∑ w w w w ∑ ∑ bw w
147
- to - ris, ve - rus a - mor, ve - ra sa - lus, ve - ra
? b W4 . ! ∑ w w W. ∑ w w Ẃ5 .
W.

____________________________________________________________________________________
w w w w ∑
&b w w ∑ ∑ ∑ w w W w W w
153
vi - ta, ve - rus a - mor, ve - rus a - mor pec - ca -
?b ∑ w w W. W5 . W. W. W.
& b W. w w w w w ∑ ∑ w w W w W w
159
- to - ris, ve - rus a - mor ve - rus a - mor pec - ca -
? b W4 . W. W. W.
! ∑ w w 6 7 6
W.
& b W. w w w W w W w c w
165
›
- to - ris, ve - rus a - mor pec - ca - to - ris.
? b W4 . w c w3
3 W6 W7 . 6
W. 4 3
›

____________________________________________________________________________________
10.
Quis mihi det calicem bibere Domini?
n
j j
& b c ‰ œJ œ œ ˙ œ b
Œ ‰ Jœ œ œ œ ˙ b œj œ ˙ œ. œ œ
Canto
J J J R R
Quis mi - hi det, quis, quis mi - hi det ca - li - cem bi - be - re
?b c w w# ˙ ˙™6
[Basso continuo] # b ˙™6 ˙#
n
& b n œJ . œR œ  32 ˙ ˙ . œ ˙ ˙ ˙ œ #œ œ œ œ œ
5
#w ˙ #w ˙
Do - mi - ni? O bo - ne Je - su, dul - cis Je - su, ca - re
?  3 ˙ ˙ b˙ w! . bw . bw
b ˙! 2 ! 6 ˙´7 !w ˙´7
œ œ œ bœ œ œ œ œ
& b #w c œJ œJ œJ œ œ œ J J J J J œ b œ œ b œ œj œj ˙
11
˙ J R R
Je - su, cu - pi - o dis - sol - vi, cu - pi - o dis - sol - vi, dis - sol - vi, dis - sol -
? b w. c # ˙6 ˙
! ™# n ˙6 ˙™# ˙# ˙!
œ œ bœ œ œ j œj ˙ Œ ‰ œ œj. œr œ Œ ‰ œ œ œ Œ ‰ œ œ œ Œ ‰ b œJ
b b œ œ
15
& œ œ J J J
- - vi pro te. O pa - ti - ar, o u - rar, o se - cer, o
?b ˙ b˙ n ˙6 ˙ #˙ w •#`6Œ'ª'
b w•'7 \6'ª ˙! # 6 ™#

____________________________________________________________________________________
bœ
& b œJ . œR œJ J ˙ œ . n œ œ . œ U˙ ‰ œ œj ‰ œj œJ œJ ‰ œJ œj œj ‰ œJ œJ œ œ
20
J RJ R R R
mo - ri-ar, o mo - ri - ar pro te. Vin - cla, ca - te - næ ve - ni - te, ve - ni - te, ve -
? b b˙. œ ˙ ˙
# 4 !
u w w
b
r r r r
œ r r œ œ œ œ œ œ n œ r œR œR œ œ œ œ œ œ œ œ œ œ b œ œ
& œ œ œ œ œ œ œ #œ œ R R
24
Rœ
- ni - te, pro - pe - ra - te, pro - pe - ra - te, pro - pe - ra - - -
?b ˙ ˙! ˙
˙!
jj œ 3 ˙ b˙ ˙ ˙ ˙ c œ œ ‰ œj œ
&b œ œ Œ Œ ‰J 2 ˙ ˙ ˙ ˙ ˙ ˙ ˙
26
- te, sæ - vi - te, li - ga - - - - te cla - man -
?b Œ ˙ 32 w . w. w. w. c b˙ ˙#
œ
b ‰ jœ œ ‰ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ ˙ ‰ œ œ œ bœ œ œ œ œ œ
œ œ
32
& J J
- tem, cla - man - tem, a - man - tem vos, a -
?b ˙ b˙ ˙ ˙ œ ˙
˙ œ œ œ b˙
œ b œ œ œ œœ b œ œ œ œ œ œ .
& b œ œ œœ œ œœ œ œ œ ˙ Œ œ . œ # œ œ Œ ‰ œ œj. œr œ Œ ‰ œJ
36
J J R J
- man - - - - tem vos. Bo-ne Je - su, o pa - ti - ar, o
?b w ˙ ˙ ˙! ˙Œ™6 b˙ n ˙6
˙•'3 4'ª
˙4 3

____________________________________________________________________________________
bœ bœ
& b œ œ Œ ‰ œJ œ œ Œ ‰ J œJ . œR œJ J ˙ œ . n œ œ . œ U˙ Œ œ ˙
41
J RJ R
u - rar, o se - cer, o mo - ri-ar, o mo - ri - ar pro te. O a -
?b ˙ #˙ wπÎt Åy∏ b˙. œ ˙

6 # 4 !~ ˙
u!
w!
 
 j j r
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ . œ œ œ ≈ œR œ . œ œj ‰ 32
46
- - - - - - quæ sub - mer - gi - te,
?b w w! w! 32
!
3
& b 2 ˙. œ ˙
˙. œ ˙ ˙ ˙. œ w  c Œ œ . œj ‰ œj # œj. r œ œ
49
œ œ
flu - mi - na, flu - mi - na ob - ru - i - te, i - gnes in - cen - di - te, cru - ces
? b 23 w ˙ ˙ . œ ˙6 ˙ w4 c w ˙! ˙
! 3
w.
55
b Œ œ ˙ œ. bœ ˙ j r œ . œ œ œj œr œ œ œ œ œ œ œ ‰ b œ œ œ œ œ
& J œ .œ œ J R . JRR JRR œ #œ œ
sus - pen - di - te, lan - ce - æ, gla - di - i, ful - mi - na fi - gi - te, fo - di - te, ster -
? b ˙. œ6 ˙4 ˙ b˙ ˙ œ5 bœ
3 ˙# ˙# !˙ 4
j j r j j
& b œ œ œJ ˙ Œ œj œ # œ œj œ œ . œ œ œJ œ œ œJ œ œ b œJ œJ . œ œJ b œJ
60
J J J R
- ni - te me. Dul - cis Je - su, o pa - ti - ar, o u - rar, o se - cer, o mo - ri-ar, o
?b ˙ ˙ ˙Œ6 b œ5 n œ6 œ #œ ˙ b˙
! ˙! # 5 6 •'5 #`6'ª

____________________________________________________________________________________
&b ˙ œ. nœ œ. œ ˙  # œ . n œ # œ œj. œr œ j r Œ #œ œ #œ. nœ œ œ œ

64
J RJ R J R œ .œ œ J J J JJ
mo - ri - ar pro te. Pec - ti - nes, un - gu - læ, be - lu - æ vul - ne - ra - te, la - ce -
?b œ œ ˙ w!
˙
!
˙ #˙
# 4 ! w ˙! 6
œ  
&b œ . œ œ œ œ œ œ œ œ œ nœ œ nœ œ Œ œ. œ bœ œ œ œ œ œ œ œ œ
œ j j Œ Œ œ. œ
69
J R #œ œ œ œ œ J R
- ra - - - te, tru - ci - da - - - te, tru - ci -
? b #w ˙ ˙ ˙# œ´6 œ!
6 ! # ˙™6 n ˙6
b œ œ œj œ j Œ œj. œ # œ œj œ œj. œr œj œ œ œj œJ œ œ b œJ
&b
73
J . œ ˙ J J J
R
- da - te hæc vi - sce - ra. Ca - re Je - su, o pa - ti - ar, o u - rar, o se - cer, o
? b œ. j ˙ b œ5 n œ6 œ #œ ˙
# œ ˙4 ! ˙ # ˙~™6Œ 5 6 ´•'5 #`6'ª
bœ
& b œJ . œR œJ J ˙ œ . n œ œ . œ U˙ 32 b ˙ ˙ ˙ ˙ . œ ˙ ˙ ˙ b˙ n˙. œ ˙
77
J RJ R
w.
mo - ri - ar, o mo - ri - ar pro te. O dul - ces pœ - næ, tor - men - ta mel - le - a,
? b b˙. œ ˙ w. bw. w.
# 4 ! ˙! 32 # 6 7 6 !
u
& b ˙ ˙ œ œ b˙. œ ˙ ˙ #œ œ œ œ w  ∑ ∑ ∑
83
fe - li - ci - a vul - ne - ra, be - a - ta mors.
? b w. w ˙ ˙ ˙ ˙ b ˙ . œ ˙#
6 # # ˙´7 w4 ! w! . ™# 6 ˙´7 w4 !

____________________________________________________________________________________
&b ∑ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ˙
90
#˙. œ ˙ ˙ ˙ œ œ b˙. œ ˙
O dul - cis pœ - næ, tor - men - ta mel - le - a, fe - li - ci - a vul - ne - ra,
?b w. w. b w7 . w! . w# ˙
w! . # 6 6 n w6 .
& b ˙ #œ œ œ œ w  ˙ ˙ œ œ ˙. œ ˙ ˙ #œ œ œ œ w  ∑
97
be - a - ta mors, fe - li - ci - a vul - ne - ra, be - a - ta mors.
?b w! . #w. ˙. œ b˙ ˙´7 w4 ˙ ˙ ˙
˙ w4 ! 6 ! w! . # 6
&b ∑ ∑ ∑
˙ œ œ #œ œ #˙. œ ˙
104
˙ œ œ œ œ ˙. œ ˙
Sic fu - so san - gui - ne, so - lu - te cor - po - re,
? b b˙. œ ˙ ˙´7 w4 n w6 . w! . # w6 . w! .
# ! w! .
I
& b #˙ œ œ œ œ ˙. œ ˙ ‰ œœœœœ˙ œ œ œ ˙. œ  ˙ œœœœ
111
œœ w
e - mis - so spi - ri - tu, vo - lem ad te, sic fu - so
? b w™6Œ . bw. w™6 . ˙# w4 N w6 .

! w! .
 
œ˙
& b ˙. œ ˙ ˙ œ œ œ n˙. œ ˙ n˙ bœ œ œ œ ˙. œ ˙
œ ‰ œ œ œ œ œ bœ
117
san - gui - ne, so - lu - te cor - po - re, e - mis - so spi - ri - tu, vo -
? b w. #w. w. w. bw. b w™6 .

6 ! !


____________________________________________________________________________________
œ œ bœ ˙. ˙ œ œ bœ œ œ 
b œ w  ‰ œ œ œ œ œ bœ œ c œ œ nœ œ œ œ œ œ bœ œ
123
&
- lem ad te, vo - - - - -
?b ˙ w w# . b w™6 . c ˙œ´7 œ b œ™6

´7 4 ! ™!
bœ œ. bœ ˙ Œ ‰ j j j‰ j nœ. œ œ Œ nœ œ ˙ . n œ œ œ œj œj œj œj œ œ
&b œ œ œ œ JR
127
J R J J J J JJ
- lem ad te, te fru - ar, te sa - ti - er, re - qui - es - cam in te, in æ - ter - num, in æ -
? b œœ´7 œ™! ˙ ˙! œ #œ ˙
! ˙ ˙
6 ˙! b ˙ ˙4 !
œ bœ œ
&b
œ œ œj œ œ œ œ œ œ œ œJ œJ œJ œJ œ
J J œœœ œ
132
J œ J J
- ter - num et ul - tra, in æ - ter - num, in æ - ter - num et ul -
?b ˙ ˙4 ˙ b˙ ˙
3 4 3
˙
j j j j œ œ œ œœœœœ bœ œ
&b œ œ œ œ œ œJ œJ œ n œJ œJ œJ œJ J J
135
J J
- tra, in æ - ter - num, in æ - ter - num et ul - tra, in æ - ter - num, in æ -
?b ˙ b˙ ˙4 ˙#
˙# ! ˙!
œ œ bœ œ œ œ œ œ p
&b J J œ ‰ b œJ œ œ œ b œ œ œ ‰ J œ œ œ bœ œ
b œ œ Œ 
138
- ter - num et ul - tra, et ul - tra, et ul - tra.
?b ˙# ˙# Œ 
˙# ˙4 ! ˙4 ! ˙4 !
œ
____________________________________________________________________________________
11.
Venite populi
˙ w ˙
Canto & b c 31 w w w w. ˙ ˙ w. ˙ w w.
Ve - ni - te po - pu - li, ve - ni - te, ve - ni - te, ve -
w w W
? b c3 w W W 6
W

[Basso continuo] 1 6 w6

&b w w. ˙ w w ˙
5
w w. ˙ w w ˙ ˙ ˙ ˙ w. ˙ ˙
- ni - te, ve - ni - te, ac - cur - ri - te gen - tes, ac - cur - ri - te, ac -
? W W. W7 . W
b w W. !`6 w6
˙ w w. ˙ w. ˙ ˙ ˙
& b w. ˙ w w ˙ w
10
w. w.
- cur - ri - te gen - tes, ve - ni - te, ve - ni - te, ac - cur - ri - te, ac -
?b W W w w W W
w 6 w6 w. ˙ w6
& b w. ∑  ˙ ˙. œ ˙. œ ˙. œ ˙. œ w. ˙ nw w ˙ ˙ ˙. œ
15
˙ w
- cur - ri - te, ca - - - ni - te om - nes, ca -
?b w w w w6 W6t w
W. W ! W w

____________________________________________________________________________________
b ˙. œ ˙. œ ˙. œ w. ˙ w w ˙ . œ ˙ . b
œ ˙ . b
œ ˙. œ w.
˙ ˙ ˙ ˙. œ
20
&
- - - ni - te om - nes, ca - - - -
?b W w W w W
W w6 W. w
w. ˙ w
& b ˙. œ ˙. œ ˙. œ w. ˙ ˙. œ ˙. œ ˙. œ ˙. œ w. ˙ w
25
- - - - - - ni - te, ca - ni - te
?b W w w. ˙ w6
W w W6 w6 w. ˙ w6
w. ˙ w U 6
& b w. ˙ ˙ ˙ W ∑ w. ˙ w
30
W. W 4
om - nes, ca - ni - te, ca - ni - te om - nes.
? b W. W. w. ˙ w6 W4 . 46
4 3 ˙ w6 3
w. W
u
6
&b 4 Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ
36
Al - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia, al - le - lu - ia,Ial - le -
? b 46 w. w.
w. w.
œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ œ œ œ œ
&b œ œ œ œ
40
œ œ
- lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia, al - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le -
? b w. w.
˙. ˙. ˙. ˙.

____________________________________________________________________________________
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
44
& œ œ œ
- lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le -
?b ˙. œ œ œ œ œ œ ˙.
˙. œ6 œ œ œ6 œ œ ˙ .
& b œ œ œ ˙. œ œ œ œ œ œ œ œ ˙. c 31 w w w
˙  
48
œ
- lu - ia,Ial - le - lu - ia, al - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia. Ve - ni - te
? b ˙6t . ˙4 . œ œ œ ˙. ˙6t . ˙4 .   c 31 w W6

3 3
˙
˙ w ˙ w

& b w. w. ˙ w w. ˙ w w
53
˙ ˙ w. w
po - pu - li, ve - ni - te, ve - ni - te, ve - ni - te, ve - ni - te, ac -
w w W
?b W 6
W w W
w6 W.
˙ w. ˙
& b w. ˙ w w
58
˙ w w ˙ ˙ ˙ ˙ w. ˙ ˙ w.
- cur - ri - te gen - tes, ac - cur - ri - te, ac - cur - ri - te gen - tes, ve -
? b W. W w
W7 . !`6 W w6 W w 6
˙ w.
&b w w. ˙ w ˙ ˙ ˙ w. ∑  ˙ ˙. œ
63
w. ˙ w
- ni - te, ve - ni - te, ac - cur - ri - te, ac - cur - ri - te, ca -
?b w W W w
w. w w
w6 ˙ w6 W.

____________________________________________________________________________________
& b ˙. œ ˙. œ ˙. œ w. ˙ nw w ˙ ˙ ˙. œ ˙. œ ˙. œ ˙. œ w. ˙ w
68
- - - ni - te om - nes, ca - - - ni - te
?b W w6 W6t w W w
! w w6 W
W
w ˙ i i
œ ˙ . œ ˙ . œ ˙. œ w.
b ˙ ˙ . ˙ ˙. œ ˙. œ ˙. œ ˙. œ
73
&
om - nes, ca - - - - - - -
?b W w W
W. w W w
œ ˙. œ ˙. œ w. w. ˙ w
& b w. ˙ ˙. œ ˙. ˙ w
77
- - - - - ni - te, ca - ni - te
?b W w w. ˙ w6
W6 w6 w. ˙ w6
w. ˙ w U
& b w. ˙ ˙ ˙ W ∑ w. ˙ w
81
W. W
om - nes, ca - ni - te, ca - ni - te om - nes.
? W. ˙ w6
b W4 . 3
w. ˙ w6 w. W4 . 3
W
u
j œ j j œ . œ j j œ . œi œ œ b œ . œ œ b œ œ b œ ˙ w
&b Œ œ. œ œ J R œ œ J R J J J R J J
87
R
O be - a - tam, o fe - li - cem, o be - a - tam, o fe - li - cem N.! *
? œ œ6 œ œ œ œ# œ œ ˙ w!
b œ œ ! # 4 !
* The indication "N." was an invitation to substitute the name of different saints, which allowed the music to be used on various
feast days. This poem would seem to describe a female saint known for rejecting earthly concerns, and one such saint is
Radegund, the namesake of Cozzolani's Benedictine convent. Radegund's four-syllable Latin name "Radegunda" also fits the
music nicely, and would be sung here in the accusative form, "Radegundam."

____________________________________________________________________________________
&b Œ œ œ œ œ œ œ . œr œ œ œ œ œ œ œ b œ œ œJ . œR œ œj œj œj œ œ œ
91
J J J J
Il - lam mun - dus pe - pe - rit; mun -dus il - lam a - lu - it. Il - la mun - dum spre -
?b œ œ œ ˙ œ œ6 œ!`6
œ 6 6 œ# ! ˙!
&b œ œœœœœœœœœ Œ œJ œJ œJ œR œR œ œ œ œ œ œ
94
˙
- vit; mun - dum il - la fu - git; il - la cæ - lum di - le - xit. Spre - vit
?b ˙ œ! œ œ œ œ œ ˙
! œ œ 6 6 !
œ œ œ j j œ œ œ œ œ œ œ œ. j
& b J œJ œ œ œ œ œ œ œ œ œ œ œ œ ‰ J J
97
J œ ˙
il - la, spre - vit, spre - vit il - la mun - dum, a mun - do dam - na pa - ti - ens.
?b ˙ œ œ ˙! œ# ˙4
œ # œ6 ! ˙!
b ≈ œ œ œ œ ≈ œ œ œ œ œ ≈ œ œ œ bœ œ œ œ œ œ œ œ ≈ j j≈ j j
œœœœ œ œœœ œ
œ
100
& œ JJ JJ J J J J
Fu - git, fu - git, fu - git il - la mun - dum, fu - git, fu - git,
? b bœ n œ6 œ #œ œ bœ œ œ
6 œ n œ6 œ # œ6
j j j j j
& b ≈ œ œ œ œJ œJ œ œ œ œ œj Œ ‰ œ œ œ œ œj œ œ œ . j ‰ œj œ œ œ . œ
103
œ ˙ J J
fu - git il - la mun - dum, a mun - do ma - la re - fe - rens. Di - le - xit il - la
?b œ œ œ # ˙6 œ w
œ œ ˙4 ! !
˙

____________________________________________________________________________________
b œ œ ‰ j œ œ ‰ #œ œ. nœ œ œ ‰ œ œ œ œ œ œ œ œ j œ w
œ J J R J J J œ
107
& J J J J
cæ - lum, di - le - xit, di - le - xit cæ - lum a cæ - lo bo - na ex - pec -
?b ˙ ˙ ˙ œ œ œ œ . œJ œ6 œ œ œ
!`6~ œ6
˙
&b ˙ œ. œ œ œ ˙ œ œJ œJ œ œ œJ œ œ œJ œJ œJ œ œj ˙
111
J J J w
- - tans, bo - na æ - ter - num, æ - ter - num, æ - ter - num du - ra - tu - ra.
? b œ œ œ œ œ6 œ ˙
6 w ˙ ˙4
˙ 3 w
jœ œ j j r r r r j
b ‰ œ r j≈ œ œ œ œ
J œ J J œ œ . œ œ. œ œ œ œ œ œ #œ œ R R R œ œ œ œ ˙
116
&
Hæc bo - na cæ - lum ob - tu - lit, hæc bo - na il - la, hæc bo - na il - la te - net,
?b ˙ œ œ œ ˙
œ! . œj
# ! 7 6 !
# œ6 œ œ4 ! œ!
b ‰ œ œ œ bœ œ œ.
J J J J J J œ œ . œ œ œr œ œ œ n œ j ≈ œR œ œR
119
& R R R R J œ R
hæc bo - na cæ - lum ob - tu - lit, hæc bo - na il - la, hæc bo - na
?b ˙ œ# œ! b œ7 6 ˙! n œ6
œ!
bœ œ œ œ œ j œ œ œ
&b œ ≈ œR œR œR œ œj Œ ≈ R R R œ œ œ œ ˙ ˙ 31 ∑ w
121
w
il - la te - net, hæc bo - na il - la hæc bo - na il - la te - net. E - ia,
?b œ œ4 ! œ! œ6 œ œ ˙4 3 ˙ 31 W .
#
œ œ6

____________________________________________________________________________________
. ˙ ˙ ˙ #w w w
&b w W w #w W ∑ w w
125
e - - - ia, e - ia Di - va, his bo -
? b W. W.
7 6 W! . W! . W.
w ˙ ˙ ˙ ˙ w w ˙ ˙ w. ˙ W
&b w ∑ c
130
- nis gau - de, his bo - nis fru - e - re,
?b w W w w W W! . c
W! 6 4 !
œœœœœœœ œ œ j j œœœœœœœ œ œ
&b c Œ œ œœ œ œ œ œœ œœœœœœœœœ œœœœœœ
134
œ
gau - de, gau - - - - -
?b c œ œ œ!`6 œ œ œ6 œ
œ œ6 œ6 œ œ6 œ6 œ
f p
b œ œ r œ œ œ œ œ œ œ œ œ œ nœ œ œ j r œ
œ œ œ œ œ J J J J J œ œ R
137
& J œœœ œ œ œœœœ J œœœ œ J

- de, gau - de, gau - de, gau - de, gau - de, gau - de, gau - de, gau - de, fru - e - re
?b œ œ œ6
œ6 œ œ4 3
œ œ œ œ œ6 œ œ4 3
˙
œ !
œ œ œ œœœ œ œœœœ œœœ œ œ œ

b œ œ j
œ œ œ œ œ œ œ œ œ œj nœ œ œ œ œ œ œ œ œ œ
140
& J
sem - pi - ter - nis, gau - - de, gau - - - -
?b œ œ œ œ œ œ œ!`6 œ n œ6 œ
œ
!`6
œ œ œ œ
!
6 4 3 6 6

p f
____________________________________________________________________________________
œœœœœœœ œ œ œ œ
œ J œ œ œ œ œ œ œ œ œ œ œj
œ œ j j j r r
b J œ n œ
143
& R œ J J J œ œ # œ œ œ œ bœ œ
- de, gau - de, gau - de, gau - de, gau - de, gau - de, gau - de, gau - de fru - e - re
? b œœ œ œ œ œ6 œ œ6 œ œ4 ˙ œ œ! bœ œ6
6 ! !
j œœ œ œ œ œ œ œ œ #œ œ œ j nœ œ œ œ œ œ j r r
b
& œ œ J J J J J œ œR R J œ œ œ
146
œ J
sem - pi - ter - nis, gau - de, gau - de, gau - de, gau - de, fru - e - re sem - pi - ter - nis, fru - e - re
? b b œ œ6´ œ œ œ œ
4 ! ˙ œ! œ œ6 œ œ6 œ4 ! 6
b œ œ œ œ œ œ œ j j j j œ œ j j j rr
œ œ œ œ œ œ œ œ œ œj œ œ
149
& J J J J J œ œ J J J œ œ œ
sem - pi - ter - nis, gau - de, gau - de, gau - de, gau - de, gau - de, gau - de, gau - de, gau - de, fru - e - re
? b œ bœ œ œ œ œ œ6 œ
6 4 3 œ 6 œ œ6 ˙
U
& b œ œœ ˙ 46 Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
152
w
sem - pi - ter - nis. Al - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,
?b œ
œ6 ˙4 46 w . w.
3
w w.
u
157
b Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ
& œ œ
al - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia, al - le - lu - ia,Ial - le -
? b w. w. ˙. ˙.
w.

____________________________________________________________________________________
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
161
- lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le -
? b ˙. ˙. œ œ œ œ œ œ
˙. ˙. œ6 œ œ œ6 œ œ
b œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
˙  
165
& ˙. œ
- lu - ia,Ial - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia, al - le - lu - ia,Ial - le - lu - ia,Ial - le - lu - ia.
? b ˙. ˙. ˙6t . ˙4 . œ œ œ ˙. ˙6t . ˙4 .  
3 3
˙

____________________________________________________________________________________
12.
O præclara dies
&c w ‰ œ œ œ œ œ œ.œ ˙ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ
t
Canto
J J J
O, o, o præ - cla - ra di - es, præ - cla - ra
?c w œ œ™6 ˙•7 œœ œ œ œ œ œ œ œ6 œ œ
[Basso continuo] !`6'ª' œ ™6 6
j œ œ œ œ jœœœœ ‰ j j j j j
& œ œJ œ œ œ
6
J J J œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ
di - es quæ no - bis il - lu - xit, o præ - cla - ra di - es, prae - cla - ra di - es quæ
?˙ œ™6 •!`œ6'ª œ6 œ œ6 œ œ4 ! œ œ6 œ œ4 ! ˙
œ
j j j j œ jœ œ
& œ œj œ œ j œ œ b œJ œJ œ œj œ œ œJ œ œ œJ œ œ œ œ œ œ œ œ œ . œ J œJ œ
10
œ
no - bis il - lu - xit, quæ no - bis il - lu - xit, o fe - lix, o fe - lix, o be - a -
?˙ ˙6 ˙ ˙ ˙ œ œ6 œ œ
6 ˙
œ
& œ œœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ
14
œ œ œ œ œ œ œ œ œ œ œ
œœœœ
- ta, o
?˙ œ œ œ œ™6 œ œ
œ6 œ œ œ

____________________________________________________________________________________
œ œ. œ ˙ j r r j r
& œ œ œ œ œ œ œ œ œ. œ w Œ œ ˙ œ œ œœ. œ œ œ
17
J
be - a - ta in qua Vir - go in - te - me - ra - ta
? œ. œ ˙ ˙ ˙ w ˙. œ6 ˙7
J 6 7 •'4 3'ª !`6 ˙
&Œ ˙ œ œJ œ œ œ œ œ œ ˙ œ . œj 31 W ∑ ∑ w w
22
J W w
pro - tu - lit De - um et ho - mi - nem! Ju - bi - le - mus,
?w ˙ ˙ w4 31 w w W™6 w™6 W w
! w 6
&∑ w w W ˙ ˙ ˙ ˙ w w w w W w w w w
28
w
ju - bi - le - mus, al - le - lu - ia, al - le - lu - ia,
? w w W w™6 W w
w W. W6 w W w6
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ W ˙ ˙ ˙ ˙ ˙ ˙
34
& W w w
al - le - lu - ia, al - le - lu - ia, al - le -
?W w™! w w w W w W
™6 w™6 W•'5 . !`6~ª
&W w. ˙ ˙ ˙ w. ˙ ˙ ˙ w. ˙ w w W c w
39
w
- lu - ia, al - - - - - le - lu - ia.
? c w
W ™6 W. W. W 6 w™6 W4 3
w w
____________________________________________________________________________________
Œ ˙ œ œ j r Œ ‰ j ˙. œ œ j r ‰ œ œ œ œ . œj j œ œ œ
œ œ œ œ
45
& J J . J J #œ . œ œ J J J #œ J J J
Tan - tum mi - ra - cu-lum, tam gran - de mys - te - ri - um et ad - mi - ra - bi - le, et ad - mi -
? w w! # ˙6 ˙6Q
w w
œ . œ jœ œ œ œ œ œ œ ˙ 3 w w w w ˙ ˙ ˙ ˙
œ w
50
& J 1 w w
- ra - bi - le sa - cra - men - tum de - can - te - mus, de - can -
? ˙Œ6 ˙ ˙4 ! 31 W w W w6 w w
˙ w7
w. ˙ w w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ w. ˙ w
&W w
55
- te - mus, al - - - - - - le - lu -
?W w W. W6 . W•~7 . !`6~ª W.
˙. œ w w
& w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ w. ˙ w w ˙. œ
60
w
- ia, al - - - - le - lu - ia, al - le - lu - ia, al - le - lu -
? W. W™6 . W. W. W.
w. wt . ˙ w w. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
& w. ˙ w ˙ w
65
t t
- ia, al - - - - - -
? W. W™6 w W w W. W w6

____________________________________________________________________________________
˙ Œ ‰œ ˙ œ ‰ j œj j œj œ j j
& ˙ W c w  ˙ # œ œ J # œ œ ‰ œ œ œJ
70
J
- le - lu - ia. En, en ma - jes - tas in - fi - ni - ta in pau - per -
?w W c w w! w! ˙ ˙ ˙! ˙!
4 3 7 6
j j j j j j j j
& œj # œj œj # œ œ œ Œ # œ . œj œ # œj œj. œr œj œ œ # œ œ œj œj. œrœ Œ œ œ
76
- ta - te in - au - di - ta ja - cens in præ - se - pi - o, ja - cens in præ - se - pi -o et in
? ˙7 ˙ #˙ ˙
6 ˙! ™# 6 •!`5 ˙6'ª w
œ œ œœ ˙ œ. j
œ ˙ 31 W ∑ ∑ ∑ w w
80
&J J JJ w w W w
cæ - lis, et in cæ - lis re - gnans, al - le - lu - ia, al - le -
?˙ w4 31 w w W™6 w™6 w w
˙6 ! w W w w
˙ ˙ ˙ ˙ w w w w W w w w w
&W
86
w
- lu - ia, al - le - lu - ia, al - le - lu - ia,
?W w6 W w W. W6 w W w6
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ W
91
& W w w
al - le - lu - ia, al - le - lu - ia, al - le -
?W w! w w w W w W
™6 w™6 W•~5 . !`6~ª

____________________________________________________________________________________
&W ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w. ˙ ˙ ˙ w. ˙ w c w
96
w
- lu - ia, al - - - - - le - lu - ia.
? c w
W w6 W. W. W w w7 W4 3
Œ j j j j œj œ œ œ œ œ œ œ œ œ œ j œj œ œ œ ‰ œ œ œ
102
& œ œ œ œ J J J J J J œ J JJJ
Ce - le - bre - mus, ce - le - bre - mus et an - nun - ti - e - mus, et an - nun - ti - e - mus in u - ni -
? ˙. œ6 ˙
˙ ˙ ˙ ˙•5 !`6'ª œ œ6
. œ . œ . œ . œ œ. œ œ œ œ œ œ œ œ œ œ ˙ j
&œ œ œ œ œ œJ œJ œJ œ . œ œ . œ œ . œ œ . œ
106
-ver - - - - sa ter - ra, in u - ni - ver -
? œ™! #œ œ! œ ˙4 œ œ # œ6 œ
œ œ6 œ 6 œ™6 ! ˙
& œ. œ œ œ œ #œ œ œ œ œ œ #˙ ˙ Œ ˙ #œ Œ ˙ #œ #˙ nœ. œ w 31
110
J
- - sa ter - ra Ver - bum, Ver - bum ca - ro fac -
? # œ6 œ •!`œ6'ª 3
œ! ˙4 ! ˙ # ˙6 ˙! # ˙6 ˙! # ˙6 ˙7 w4 ! 1
w. ˙ w
& 31 w w w w w ˙ ˙ ˙ ˙ W w
116
w w
- tum, al - le - lu - ia, al - le - lu - ia, al - le - lu -
? 31 W# . W w6 w w7 w W. W.

____________________________________________________________________________________
˙ w ˙ ˙ ˙ ˙ w.
&w ˙ ˙ ˙ ˙ w w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙
121
- ia, al - - - - le - lu - ia, al - - -
? W. W. W6 .
6 W5 . !`6 W.
˙. œ w ˙. œ w w. wt . ˙ w
˙ w w ˙ w
126
t
& w. w
- le - lu - ia, al - le - lu - ia, al - le - lu - ia, al -
? W. W. W. W. W6 w
t.
w ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ W c w
131
&
- - - - - - le - lu - ia.
?W w W w6 w W c w
W. 4 3
j . w. ˙ w
& Œ # œJ œJ œ œJ œJ œ . œ ˙ 31 w ˙ w w. ˙ w
136
Ut de - vo - tis con - cen - ti - bus re - so - net, re - so - net, re - so - net,
? w! 3 #W. W. W.
w! 1 6
& #w. ˙ w w ˙ ˙ w W ∑ w. ˙ w
141
#w. ˙ w
re - so - net tur - ba fi - de - lis, re - so - net, re - so - net,
? W! . W w! # W6 . W! .
W! .

____________________________________________________________________________________
& w. ˙ w w ˙ ˙ #w ∑ c
146
#w. #˙ w W
re - so - net, re - so - net tur - ba fi - de - lis
? W. W! . w! W•!ª . c
•!`5~ª W
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Cozzolani - Scherzi Di Sacra Melodia

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Chiara Margarita Cozzolani (1602–c.

Edited and reconstructed by Lucas Harris

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC

Acknowledgments – Lucas Harris.......................................................................................................................... 4

10. Quis mihi det calicem bibere Domini? ........................................................................................................... 102

Acknowledgments – Lucas Harris

General Introduction – Robert L. Kendrick

4. Harris/Kendrick, “Of Nuns Fictitious and Real”.

Editorial Policies – Lucas Harris

Note on the Texts – John Pepper

Selective sound-chart for Cozzolani’s Milanese Latin

Spelling Pronunciation (IPA symbols) Word examples

c [k] before a, o, u, a consonant, or final cantemus, sacro, fac

[ts] before æ, e, i, œ, y dulcis, respice, cælum

See also sc and xc

cc [kk] before a, o, u peccata, accurrite

[tts] before æ, e, i, œ, y ecce, accedant

gn [ɲ] (not lengthened) regnat, pignus

ihi [iki] or possibly [içi] mihi

sc [sk] before a, o, u esca, obstupescunt

[ʃ] (not lengthened) before æ, e, i, œ, y conscendunt, viscera

u [y] in open syllables alleluia, crucies, tuam

[u] in closed syllables lux, meus, mundum

[w] unstressed between g or q and a vowel sanguine, qui

See also au and eu

xc [ksk] before a, o, u (no example in these texts)

[kʃ] before æ, e, i, œ, y excipiant, excelsis

2. O Jesu meus amor

m. 31 bc, beat 1: the F# has this confusing figure in Speer:

m. 76 canto: missing F# added.

m. 138 bc: Speer’s #4 corrected to 4#

3. Venite qui esuritis

We’ve simplified the figures to assume one harmony per bar.

10. Quis mihi det calicem bibere Domini?

11. Venite populi

We’ve taken it to be a redundant natural sign.

12. O præclara dies

Texts and Translations

Dedication and Laudatory Sonnets – R. L. Kendrick

Dedication to Claudio Benedetti, OSB (c.1585–after 1650)

D. Chiara Margherita Cozzolani Donna Chiara Margherita Cozzolani.

In lode della Compositrice. In praise of the composer:

12. i.e., the attractions of the world.

13. i.e., Cozzolani.

22. “proud arrows” of criticism.

Motets – John Pepper

Alleluia, cantemus, Alleluia! Let us sing,

2. O Jesu meus amor

O Jesu meus amor, O Jesus my love,

3. Venite qui esuritis

Venite qui esuritis, O come, you who hunger,

hic potus est. is this drink!

Venite ad me omnes, Come to me, all of you,

O quam tristis est anima mea Oh how sorrowful is my soul

Eva damnatos, Eve, condemned;

Ave Maria! Hail, Mary!

Amate o populi Mariam, O you peoples, love Mary,

9. Succurre o Diva clemens

Succurre o Diva clemens, Help, O divine, merciful woman,