Edited by David Millard Reconstruction of presed voc orig Mikołaj Zieleński ca. 15501615 Cantus Altus Tenor Bassus Partitura pro Organo 4 troibo Altare i Communio for Sexagesima 4 tro i bo ta tro i bo re ta re tro i bo tro 6 ta re ta re ta re tro i bo tare i ta re, bo ta re ta re tro tro 2015 Éditions Doulce Mémoire This edition may be freely reproduced and performed.
2 12 i i tro i bo, bo bo ta re tro i bo ta re, ta ta re tare ta re re 17,,,,,,,
23 ti fi cat ti fi cat ti fi cat ti fi cat ven tu tem me ven tu tem me ven tu tem me ven tu tem me tro 3 29 tro i bo i bo, ta re tro i bo tro i bo tro i bo ta re ta re tare ta re tare
4 35,,,,, 41 ti fi cat ven tu tem me am, ti fi cat ven tu tem me am, ti fi cat ti fi cat ven tu tem me ven tu tem me am, am,
5 47 ti ti ti fi cat fi cat fi cat ven tu tem me ven tu tem me ven tu tem me am, am, am, ti fi cat ti fi cat ti fi cat ti fi cat 53 ven tu tem me ven tu tem me ven tu tem me ven tu tem me am, B am, am, ven ven am, ven ven tu tem me tu tem tu tem me B tu tem me me
6 Notes Source: Communiones / Totius Anni / Quibus Solennioribus Festis Sancta Romana Ecclesia vti consueuit cant / organi per Vnam, Duas, Tres, Quatuor, Quque, & Sex voces, / c strentis Musicibus & vocis reso / lutione quam Itigorgia vocant, / decantandæ. His accesserunt iquot Sacræ Symphoniæ, Quatuor, Quque, & Sex voc; & Tres / Fantasiæ strentis Musciibus accomodatæ. / VENETIIS / APUD JACOBUM VINCENTIUM. / MDCXI. (Communions for the whole year which the Holy Roman Church customarily uses its more solemn feasts, to be sung with the organ by one, two, three, four, five, and six voices, ong with music strents and that unbdg of the voice which the Itians cl gorgia. To which are ded sever Sacræ Symphoniæ for four, five and six voices, and three fantasias suitable for music strents. Venice, at the house of Giacomo Vcent 1611.) The present edition is a companion to the editor s edition of the same work the form which it appeared the Communiones. There it appears as a solo for bass voice with organ accompaniment. The various pieces of the Communiones origated as polyphonic settgs. For this publication Zieleński recast them as solo and ensemble works with organ, each case the voc les beg decorated with passaggi (the gorgia mentioned on the title page) and set agast a keyboard tabulation of the orig voc parts. Typicly, the organ part is a fourstave partitura (open score, as distct from a twostave tavolatura) but a sml nber of pieces the organ part consists of only two voices. Such is the case with troibo tare i. The lower staff provides a basso seguente which the lowest soundg voice (whether Altus, Tenor or Bassus) is notated. The upper staff does the same for the highest soundg voice (one could perhaps cl it a canto seguente ). It was tended that the organist improvise the ner parts to make a complete accompaniment. The preparation of an edition of the version for bass and organ was facilitated by reconstructg a version approximatg the fourvoice orig. dog so it was possible to clarify those passages which the prevailg voices (Cantus and Bassus) give over to the ner voices (Altus and Tenor). One particularly curious passage occurs at measures 36 37 of this edition, which the source appear thus: The passage makes no sense if viewed as treble and bass, but when it is noted that the Bassus solus has stopped sgg, the bflat must occur the tenor, and is clearly an stance of the lafami gesture set to the words. This gesture suggests an accompanyg miremi suspensionresolution the Altus. The clear anogy the Cantus to mm. 21 22 explas the sudden appearance of a" which has been displaced one semibreve to the left of where it belongs. The passage most likely was tended to re: Orig notevues and time signatures have been retaed. The use of 3/2 (rather than modern 3/1) dicates proportio sestera, that is, three semibreves of the triple occupy the same duration as two semibreves of the duple metre. It proved too unwieldy to distguish typographicly the notes of the orig Organo part from those of the ded parts. For those terested comparg the orig to the reconstructed version, see the transcription of the orig partitura the appendix of my edition of the Bassus solo version of this piece. The use of G2 and C4 clefs the orig version suggests that the voc orig was notated chiavette or high clefs. Regardless of one s opion of what (if any) transposition is dicated by the use of these clefs, the piece would suit most modern choirs if sung a tone lower than notated. I have published a version of the Bassus solo version a tone lower. Choirs needg a transposed copy of the Organo part for rehears or performance may use that. Keyboard players may prefer to use the solo version any case as the part that version has been laid out more idiomaticly for keyboard rather than followg the strict SA TB distribution used here.