Introduction

The 1629 Vespers cycle by Leandro Gallerano (b. Brescia, c. late 15th century; d. Padua, 1631) comes from the publication Messe e Salmi Concertati A Tre, Cinque, et Otto Voci Aggiontoui, il Terzo Choro ad libitum, op. 16 (Venice: Alessandro Vincenti, 1629), RISM G160. The publication comprises thirteen partbooks, containing a complete Mass, and two complete Vespers for the male cursus. This cycle is the first of the two in the publication. The composer also includes a dedication, and some suggestions for performance, which are summarized here.

Gallerano’s inclusion of introductory motets for the Dixit Dominus and Magnificat is unique amongst collections of this type. These pieces, brief duets featuring instrumental introductions in the canzona style, might have served as antiphon replacements, and Gallerano instructs performers that they may omit these motets and start directly with the Psalm as the occasion requires. The motet introducing the Magnificat (“Cantate almæ Matri Mariæ”) seems also to have been excerpted and published separately, and could be performed independently.

Composer’s Dedication

To the Most Illustrious, Most Reverend Fatherand Singular Patron

FR. VITTORIO NEGRIOLIVETIAN MONK

AND MERITORIOUS ABBOT OF SAN BENEDETTO NOVELLO OF PADUA.

An ancient religious custom was for the pagans to consecrate to their false gods the most prominent symbols of their virtues: to Venus, the rose; to Apollo, the plectrum; and to the Muses the other musical instruments. And this was also devoutly imitated by us, by dedicating to our Blessed Spirits figures indicating their rare skills: for Anthony, the lily; for Cecilia, the organ; and to the Angels, trumpets and cymbals. Such a pious and praised custom, myself also wanting now to observe, I consecrate these Musical Concerti of mine to the honored name of the Most Reverend Paternità Vostra [‘Your Paternity’, hereinafter referred to as P.V.] as a true symbol of your singular devotion to the Most Holy Mass and to the other Divine Offices. And as a living figure of noblest taste, that you possess of Music, and its performers, therefore, may the Most Reverend P.V. find pleasing this little, but proper and

due offering, of my deep regard for you. And while you view my black notes [Negre note: a play on the name of Fr. Vittorio Negri] prancing in the open fields of these white pages, hearing the sweet harmony of sonorous voices, resounding the divine praises of the celestial gods, just imagine seeing the Heroic Virtues of the Father Abbot Negri dancing out of the candid affection of my singular devotion, so to share in the sweet concert of my vital spirits, celebrating the greatness of the soul; Your Most Reverend P. V. to whom I bow reverently, I pray (for) you the perpetual harmony of eternal joy. Venice, 16 July, 1629

Of the Most Illustrious and Reverend P.V.Most Devoted and Evident Servant

LEANDRO GALLERANO1

1 Al Multo Illustre, & Reuer.mo P. Sig. | e Patron Singolarissimo | IL P.D. VITTORIO NEGRI | MONACO OLIVETANO, | ET ABBATE MERITISSIMO DI S. BENEDETTO | NOVELLO DI PADOVA. | Antico non men, che Religioso costume fù quello de Gentili, di consecrare à i loro falsi Numi i Simboli delle più eminenti loro virtù. Come à Vener la rosa, ad Apolline il plettro, & alle Muse gl’altri stromenti musicali. Et il che fù anco di poi Santamente immitato da noi, col dedicare alli Spiriti nostri Beati le figure delle più rare loro doti. Come ad Antonio il Giglio, à Cecilia l’Organo, & à gl’Angeli le Trombe, e i Cimbani. Vn così pio, & lodato costume, volendo hora osseruare anch’io, consacro questi miei Musicali Concenti ail’honorato nome della Paternità Vostra Reuerendissima come vero simbolo della singolar sua deuotione alla Santissima Messa & à gl’altri diuini Offici. Et come viua figura del nobilissimo gusto, ch’ella hà della Musica, & de i Professori di quella. Gradisca donque la P. V. Reuerendissima questo picciolo, ma proprio, & debito voto della profonda mia osseruanza verso di lei. Et mentre ella mira queste mie Negre note andar saltando per il solcato campo di queste blanche carte; ouero ella ode la dolce armonia delle sonore voci, andar ribombando le diuine laudi de i celesti Numi, s’immagini anco di vedere le Virtù Heroiche del P. Abbate Negro andar danzando per il candido affetto della mia singolar deuotione; ouero d’vdire il soaue Concento de i spiriti miei vitali, andar celebrando la grandezza dell’animo, della P.V. Reuerendissima alia quale riuerentemente m’inchino, & gli prego l’armonia perpetua di tutte le felicità. Di Venetia li 16. Luglio. 1629. | Della P.V. Molto Illustre, & Reuerendissima | Deuotissimo, & Deuintissimo Seruitore | LEANDRO GALLERANO

Leandro Gallerano: Vespers (1629)

Composer’s Performance Directions

A declaration on the style of this concerted work2

Courteous and kind readers: The present work, or three, five, eight, with the third choir serving as needed as the ripieno, complimenting the voices and instruments. Here below you will find a brief recounting of the style of this work. ...DIXIT. An introduction, for five, that is the principal choir of two tenors, and the second choir of two violins and chitarrone. The Dixit is for five, the principal choir. The second and third choir, ad libitum. CONFITEBOR. The Confitebor is for three, that is the first choir of two tenors and alto. All the rest is ripieno. BEATUS. The Beatus is for eight, that is the first choir of four: two sopranos or tenors, alto, and bass in concertato style; the second choir is for four, that is, soprano, alto, tenor, bass. LAUDATE PUERI. The Laudate pueri is for eight, that is, two soprano, two alto, three tenor, and bass. Third choir, ad libitum. LAUDATE DOMINUM. The Laudate Dominum is for eight, that is the usual choir. MAGNIFICAT. The introduction is for five, that is the first choir of two tenors, and the second choir of two violins and a chitarrone, or another instrument. The Magnificat is for the first choir of five, the second and third choir ad libitum. ...Musicians, note when omitting the introductions to start precisely with the Psalms, as required. Farewell.

2 The full text reads: DICHIARATIONE, ET MODO | DI CONCERTARE LA PRESENTE OPERA. | Cortesi e Benigni Lettori: La presente Opera è à 3. 5. 8. et il Terzo Choro seruirà sempre ad libitum per ripieno, dupplicandolo à beneplacito con voci & instromenti; qui sotto vi narrarò breuemente il modo di concertare. | LA MESSA. Il Kyrie e Gloria in excelsis è à 8. cioè il Primo Choro cinque voci di Concerto. C. A. Q. T. B. il Secondo Choro tre Instrumenti, cioè Doi Violini, & vn Chitarrone, ouero altro stromento come parerà; il Terzo Choro ad libitum. Il Credo, Sanctvs, Agnus è à 5. Cioè il Primo Choro; il Secondo e Terzo Choro serue ad libitum. | DIXIT. L’ introdutione è à 5. Cioè il Primo Choro doi Tenori, & il Secondo Choro Doi Violini e Chittarone; il Dixit è à 5. il Primo Choro. il Secondo e Terzo Choro ad libitum. | CONFITEBOR. Il Confitebor è à 3. cioè nel Primo Choro doi Tenori e Alto. Tutto il resto è ripieno. | BEATUS. Il Beatus è à 8. cioè il Primo Choro à 4. doi Canti o Tenori, Alto, e Basso Concertati; il Secondo Choro è a 4. Cioè C. A. T. B. | LAVDATE PVERI. Il Laudate pueri è à 8. cioè. Doi Canti, doi Alti, tre Tenori, & Basso. Il Terzo Choro ad libitum. | LAUDATE DOMINVM. Il Laudate Dominum è à 8. a Chori vguali. | MAGNIFICAT. L’introducione è à 5. cioè, il Primo Choro doi Tenori; & il Secondo Choro dai Violini et vn Chittarono, o altro stromento. Il Magnificat è à 5 il Primo Ch., il Secondo e Terzo Ch. ad libitum. | DIXIT. il Dixit è à 5. il Primo Choro. il Secondo, e ‘1 Terzo Choro serue ad libitum. | CONFITEBOR. Il Confitebor è a 8. Cioè à Chori vguali. | BEATUS. Il Beatus è à 8. Cioè il Primo Cloro à 5. C. A. Q. T. e B. il Secondo Choro doi Violini et vn Chittarone, ouero altro stromento. il Terzo Choro ad libitum. | LAUDATE PVERI. Il Laudate pueri è à 3. cioè nel Primo Choro dai Tenori et Alto. Tutto il resto serue per ripieno. | LAVDATE DOMINVM. Il Laudate Dominum è à 8. à Chori vguali. | MAGNIFICAT. Il Magnificat è à 8. à Chori vguali. | Auertendo li Signori Musici, che le introducioni si ponno tralasciare, cominciando absolute li salmi; che è quanto m’ occorre; Viuete felici.

Editorial Principles

Voice part and instrument names are reproduced from Gallerano’s original publication. Parts have been grouped by choir (primo, secondo, and terzo), and have been ordered from the highest voice to the lowest voice within each choir. The designation primo choro is reserved for principal (solo) voices – three, five or eight, as the title of the publication indicates. Gallerano mentions that the principle duet in the Beatus vir may be performed by two sopranos or tenors (“doi Canti o Tenori”). With the exception of the Beatus vir and Laudate Dominum, the instruments and voices of the secondo choro and terzo choro are used as ripieno, and the composer indicates that these parts may be performed or omitted ad libitum. Gallerano does not distinguish his two violino parts as primo or secondo. His suggestion that the basso secondo choro be performed by chitarrone is similarly indicated in parentheses (he goes on to suggest that other instruments may be used if desired). While not specifically mentioned in the introduction, contemporaneous writings on music in this style suggests that the terzo choro could be performed by soloists or by a choir; the use of instruments to complement or replace the terzo choro is another possibility.

In this edition, music written in C is printed in two-minim bars, C3 in three-minim bars, and 3/2 in three- semibreve bars. The source features barlines only in the basso per l’organo partbook. The use of barlines in the print is inconsistent, most often resulting in bars twice as long as those in this edition.

The original clefs are noted, and the range of each part is given. Original note values and time signatures have been retained. Because it was printed using blocks with one note on each, eighth notes and sixteenth notes in the original publication are not beamed; in this edition, they are beamed in melismatic passages and the violin parts. For vocal lines, pitches are left unbeamed when sung on different syllables, as is standard modern practice.

All original slurs and ties are retained. Some ties have been added to notes that are divided as a result of the editorial barlines. All internal fermatas are original. The final maxima at the ends of movements has been transcribed instead using a fermata. The only dynamic markings occur in the Laudate Pueri. Ligatures have been transcribed using closed brackets, coloration with open brackets. All accidentals provided by Gallerano, including accidentals rendered redundant by modern

editing practices, are included. All editorial accidentals, including courtesy accidentals and suggestions for ficta, are enclosed in parentheses, and may be omitted or adjusted. Gallerano’s original bass figures are provided below the basso per l’organo line; these have been aligned tacitly with the changes in harmony in the upper parts. The textual cues in the basso per l’organo are original.

Archaic spellings have been modernized. Text intended to be repeated through the use of an idem sign (ij) is written out without comment. Commas are added when text repeats, and other punctuation (commas, colons, and periods) which clarifies the beginnings and ends of psalm verses are added as per the usage of the Vulgate.

Musical differences between the source material and the modern edition which are not covered by the application of these editorial methods follow. Locations within each piece are identified first by measure number, then by part name. Pitches are identified according to the Helmholtz system, in which middle C = c’.

Dixit Dominus

Introducione: Hodierna die omnes vigilemus

Hodierna die omnes vigilemus, laudibusque sacris diem consacramus, et .N. pium pro nobis invocamus. Jubilus in corde ascendat, nec a corde umquam recedat. Organis cantemus, vocibusque jubilemus. igitur suavum intonemus omnes: Now let us all keep vigil on this day, let us consecrate the day with holy praise, and let us invoke pious [saint’s name] on our behalf. Let joy ascend in the heart, and let it never retreat from the heart. Let us sing with instruments, let us rejoice with voices. And so, let us all intone sweetly: Trans. Richard Robbins

Dixit Dominus Domino meo: Sede a dextris meis, donec ponam inimicos tuos scabellum pedum tuorum. Virgam virtutis tuæ emittet Dominus ex Sion: dominare in medio inimicorum tuorum. Tecum principium in die virtutis tuæ in splendoribus sanctorum: ex utero, ante luciferum, genui te. Juravit Dominus, et non pœnitebit eum: Tu es sacerdos in æternum secundum ordinem Melchisedech. Dominus a dextris tuis; confregit in die iræ suæ reges. Judicabit in nationibus, implebit ruinas; conquassabit capita in terra multorum. De torrente in via bibet; propterea exaltabit caput.

Gloria Patri, et Filio, et Spiritui Sancto: Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

111 V2 4 d’’

118 C1 3 b’120 C1 3 c’’254 C1 4–5 .279 V2 1 282 V2 1

Confitebor tibi, Domine

Confitebor tibi, Domine, in toto corde meo, in consilio justorum, et congregatione. Magna opera Domini: exquisita in omnes voluntates ejus. Confessio et magnificentia opus ejus, et justitia ejus manet in sæculum sæculi. Memoriam fecit mirabilium suorum, misericors et miserator Dominus. Escam dedit timentibus se; memor erit in sæculum testamenti sui. Virtutem operum suorum annuntiabit populo suo, ut det illis hæreditatem gentium. Opera manuum ejus veritas et judicium [Original print has juditium]. Fidelia omnia mandata ejus, confirmata in sæculum sæculi, facta in veritate et æquitate. Redemptionem misit populo suo; mandavit in æternum testamentum suum. Sanctum et terribile nomen ejus. Initium sapientiæ timor Domini; intellectus bonus omnibus facientibus eum: laudatio ejus manet in sæculum sæculi. Gloria Patri...

Beatus vir

Beatus vir qui timet Dominum: in mandatis ejus volet nimis. Potens in terra erit semen ejus; generatio rectorum benedicetur. Gloria et divitiæ in domo ejus, et justitia ejus manet in sæculum sæculi. Exortum est in tenebris lumen rectis: misericors, et miserator, et justus. Jucundus [Original print has jocundus] homo qui miseretur et commodat; disponet sermones suos in judicio: quia in æternum non commovebitur. In memoria æterna erit justus; ab auditione mala non timebit. Paratum cor ejus sperare in Domino, confirmatum est cor ejus; non commovebitur donec despiciat inimicos suos. Dispersit, dedit pauperibus; justitia ejus manet in sæculum sæculi: cornu ejus exaltabitur in gloria. Peccator videbit, et irascetur; dentibus suis fremet et tabescet: desiderium peccatorum peribit. Gloria Patri...

Laudate, pueri, Dominum

Laudate, pueri, Dominum; laudate nomen Domini. Sit nomen Domini benedictum ex hoc nunc et usque in sæculum. A solis ortu usque ad occasum laudabile nomen Domini. Excelsus super omnes gentes Dominus, et super cælos gloria ejus. Quis sicut Dominus Deus noster, qui in altis habitat, et humilia respicit in cælo et in terra? Suscitans a terra inopem, et de stercore erigens pauperem: ut collocet eum cum principibus, cum principibus populi sui. Qui habitare facit sterilem in domo, matrem filiorum lætantem. Gloria Patri...

41 T3 1–3 b

Laudate Dominum

Laudate Dominum, omnes gentes; laudate eum, omnes populi. Quoniam confirmata est super nos misericordia ejus, et veritas Domini manet in æternum. Gloria Patri...

The use of a chiavette combination of high clefs indicates a transposition downward; this edition transposes the piece down a fourth. Choir II, Basso, initial clef given as F4, instead of F3 but the original partbook features the following handwritten instruction at the bottom of the page: “La chiave va in terza riga” (the clef goes on the third line).

Magnificat

IntroducioneCantate almae Matri Mariae, cantate canticum novum. Tronus ejus super Choros Angelorum: latetur Virgo in eo qui elegit eam, et omnes exultent in Regina sua. Laudent nomen ejus cum gaudio, et in canticis labiorum, et cytharis psallant ei, quia beneplacitum est Domino habitare in ea, et exaltabit ancillam suam in matrem. Exultabunt Sancti in Maria: laetabuntur in splendoribus suis. Cantemus ergo, cantemus omnes. Sing to the nurturing Mother, Mary. Sing a new song. She is enthroned above the choirs of angels. Let the Virgin rejoice in Him who chose her, and let all exult in their Queen. Let them praise Her name with gladness, and with the song of their lips, and let them play the stringed instruments, because God is pleased to dwell in Her, and will raise the handmaiden to be His mother. The saints shall exult in Mary: they shall rejoice in her splendor. Let us sing, therefore: let us all sing. Trans. Richard Robbins

Magnificat anima mea Dominum: et exsultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillæ suæ: ecce enim ex hoc beatam me dicent omnes generationes, quia fecit mihi magna qui potens est: et sanctum nomen ejus, et misericordia ejus a progenie in progenies timentibus eum. Fecit potentiam in brachio suo: dispersit superbos mente cordis sui. Deposuit potentes de sede, et exaltavit humiles. Esurientes implevit bonis: et divites dimisit inanes. Suscepit Israël puerum suum, recordatus misericordiæ suæ: sicut locutus est ad patres nostros, Abraham et semini ejus in sæcula. Gloria Patri... [Luke 1:46b-55 ]

118 V1 extra minim rest.

Richard RobbinsHouston, Texas, 10th April 2014