MASSES AND MOTETS Giovanni Pierluigi da Palestrina Based on Raffaele Casimiri’s Edition ay DOVER PUBLICATIONS, INC. NEW YORKCopyright © 1993 by Dover Pubbestiors, lc [All eights reserved under Pan America aed ectatonsl ‘Copyrigh: Convendons “This Dover edition, fist published in 1993, isa republication of works from the Kalmus reprint (nd) ‘of Nolunes ILL, TY, ¥, VI, WIT, X, XXV and XXDX of TL opore complete ds Gionarmi Pieraigi de Pelestona, edited by Rallacks Cassie, published by Fentlli Sealers, 1939-1969, tn 32 volumes ‘A row rable of contents atd Publishees Nore have ben addled. “The publshee i geateil co Saal Novack foe electing the works co be incladedy ‘and to WW. Norton 8 Company, Inc, foe permission to reprint the rime and words of "L’Homme Asm, from Donald J. Grours A History of Western Masic (Revised Echtim), oprtight © 1073, 1960 by WWW: Nertox ge Company: Ines ‘Manufactured in dhe Unived Seates of Americe Dower Publications, Inc 51 Base Second Street Mineola, NY 11501 Llnary of Congress Cataloging-in-Publicstiow Dats Palestina, Giovorni Pech dy ca, 1925-199. {Nocal music. Seleion) ‘Masses and motets: based om Raaele Casimir’ edton / Goormnni Presi da Palestina. score Selections fiom the Kelas reprint of Le opere complexe db Giovann Pieri ds Palestia / edited by R. Casini (originally tubes by Fratll Sealeca 1939-1965) CCoreenis: Misa Ave Regian coelorum : Mass for 449 Sponsa Christ mote for 4 voices — Missa Veri sponse Chris Mes foe 4 vedes —O magn ryote : motet for 6 voices — ‘Awcenlo ad Pawenn : mocet for 5 voices — Missa Ascendo ad Pare Mast for 5 vores —- Missa homme arme : Mas: for 5 woies — Missa ‘apa Marcell: Mase for 6 seis. ISBN 0-486427051-7 1 Masses, Unaccompanisd Scores. 2. Mowers, 1. Casimir ‘Raffaele, [880.1943, Tl Palestrina, Giovanni Pietligi cy ea. 1525-1594, Masses. Selections, 1999. TIL, Palestina, Giovanni Peer da, ca 1925-1594, Morer. Sebctons. 1998, MBLP25V6 1993 93417230 cP M ices — VentPUBLISHER’S NOTE The music of Giovanni Pierluigi da Palestrina (1529- 1594) not only represents the culmination of the composition of polyphonic setngs of the Roman Mass, but may have even been responsible for safeguarding the place of polyphony in the Church. There sa legend chat the Council of Trent (1545-63), in an attempt to “purify” che music ofthe Church, very nearly abolished polyphony altogether until Palessrina composed a six- voice mass to show chat polyphony did indeed have a place in the liturgy and was noc at odds with the reverence due the solemn celebratwn of the Mass. On hearing this mass the Council concurred, thus making. Palestrina the “savior” of church music. The mass in question was the "Pope Marcellus” mass (Papae Mar- cell), contained in the present collection. As a result, Palesttina’ music hes been held up as a model of composition for the Church right up co our own time. ‘Coming at the end of 200 years of polyphonic mass compesition, Palestrina was indeed master of all the styles in favor among composers. The masses con- tained herein represent almost al of these seyles Quite common was the Paraphrase Mass, which relied on a piece of Gregorian Chant for its thematic material. The Misra Ave Regina Coclarto (p. 1) is derived from the final anthem of the Office of Com- pline for the period February 2 unel Wednesday of Hely Week: TRANSLATION: AU fail, Queen of heanen; all bail, Mistress of the Angel Hail, root; hail, dor, from whom a light hex risen forthe world. Rejoice, glorions Virgin, lovely beyond all there, Parenell. O. most heantifd, and plead for ws to Christ. The following three masses in this collection, Veni Sponsa Christi (p. 33), O Magnum Mpstenium (p, 66) and Ascendo ad Patrem (p. 114), are all of the type knowin as Parody Mass, In this form of composition, another polyphonic work is usec as the germ material from which the mass is composed. In the case of these ‘masses, the base works are all mocers of Palestrina’ ‘own composition, These movers are here included immediacely preceding the mass to which their name i given. Of special interest are both “O Megnum Myste- riusn” aad “Ascendo ad Patren the Prima Pats of the motet is used for some move- ments, while the Secunda Pars serves as the basis for the remainder of the mass setting, ‘The Missa L'Homme Armé (p. 148) is one of a long line of masses composed om this famous melody, begin- ning with Guillaure Dufay or even earliet. This style ‘of composition is known as Cantus Firmus ot ‘Tenor ‘Mass ("Tenor” being che word used co denote "Mel- ody” in early Western music). In Palescrina’ period of composition, suck a melody could be used in any voice, ° where material from oo even in. rultiple voices to provide chematic unity. This ancient folk melody is provided below: ve * Regina car-Ié-nu, AD ve Démi- ata a Angelinrum : Silve rédix, silws porta, Ex gus Sapo ee —- Gude Virgo gle-vi-d.ea, Super min-do lug ect dt: Poo Ex pro ud bis Cie stam * exd- TRANSLATION: The armed man it be feared. Everywhere it thas been proclaimed that everyone should arms hineself with at fave coal of mail “The final composition style represented in the pre- sont volume is the so-called Free-Composed Mass. In