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b C O.
B
B b C O.
Tenor, 2
Tenor prim
B b C O.
B b C O.
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1
TI
V b C w.
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For
reh.
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[h = c. 69]
? b C ww
O sacred banquet!
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For
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31
TI
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31
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TI
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67
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85
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79
For
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glo
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91
bis
TI
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91
For
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TI
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103
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103
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109
TI
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For
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? b
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109
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For
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only
w.
Vb w
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115
TI
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121
For
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Vb
TII
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121
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115
For
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only
al
lu
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127
TI
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133
For
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only
? b
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127
For
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only
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BII
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ww
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Sources:
MS 11 in the Archivio Musicale dellOpera di Santa Maria del Fiore, Florence, Italy, folios 100-101.
Arcadelt, Jacob. Opera omnia, ed. Albert Seay, Vol. 10, 9-12. [Rome]: American Institute of Musicology, 1970.
The Composer:
Although Jacques Arcadelt is best known today for his secular works, it was his sacred output--all from early in his career--that was most
widely disseminated during and immediately following his lifetime. This motet was published in Ferrara in 1539, about the time of his
appointment to the Roman papal establishment--first at the Cappella Giulia, then at Cappella Sistina.
Editorial Method:
The note values of the manuscript have been retained in this edition and Mensurstrich has been used to visually maintain the sense of and
length of melodic lines. In the alto and tenor II lines, the last breve in each line is intended to be held until the completion of the other
lines. Accidentals (both above the staves and cautionary), breath marks, and tempo are editorial.
Notes for Performance:
Tenor I and II have been reversed in this edition out of consideration for the tessituras of the two parts.
Since Arcadelts Flemish descent is doubted by scholars, and since much of his early life was spent working in various cities is Italy, the
performer should feel free to choose between a Franco-Flemish pronunciation and the Italianate, liturgical pronunciation of the Latin.
The translation of the text has been placed above the score to aid in interpretation.
Jeffers, Ron. Translations and Annotations of Choral Repertoire, vol. I: Sacred Latin Texts. Corvallis, Ore.: earthsongs, 1988.