Vesper and Compline Music for One Principal Voice by Unknown

Author:Unknown
Language: eng
Format: epub
Publisher: Routledge

Critical Notes

Unless indicated otherwise, comments refer to the notation of the original source. Numbers refer to measure numbers in the present edition. Numerals in parentheses refer to basso continuo figurations.

1. Original clefs: C1 G2 G2 F4 F4.

Canto Primo. 15, 31: black notation; 51: flats missing; 83–84: amen split across minim rests.

Organo. Black notation: 20, 32, 46, 65. The following figures have been editorially added: 3 (second ), 4 (second ), 5 (second ), 6 (second #), 7, 8, 12 (second ), 14–17, 19, 20, 25, 29, 31, 33, 34, 37–39, 40 (second ), 43, 46, 47 (second #), 50 (second ), 51, 54, 55 (second ), 56, 58, 60, 61, 65, 68, 70, 71, 72 (second ), 73, 75, 76 (second ), 77 (5), 78–81, 83 () 84 (6), 85 (), 88, 90, 91 (6), 92, 93.

2. Original clefs: F4G2G2F4F4. The organ and violone are published in separate part-books.

Basso. 21: slur missing; 44: black notation; 72: before seventh note missing.

Violino Primo. 44, 48: black notation; 49: fermata missing; 54: missing.

Violino Secondo. 14: # before previous g′; 44, 48: black notation; 49: fermata missing; 72: first and fourth #s missing.

Violone overo Chitarone. 44: black notation.

Organo. 48: black notation; 50: # missing. All continuo figures are editorial except the following:4 (first 6), 41, 46, 50 (4, 3), 53, 67, 72 (first #), 75 (#).

3. Original clefs: C1F4.

Cantus. p. 17, m 8: first and second #s editorial; p. 17 m 15: first # editorial; p. 19 m 7: final two notes minim and semiminim.

Basso Continuo. All continuo figures are editorial except the following: p. 16 m 15; p. 17 m 7 (#); p. 17 m 16; p. 18 m 20 (first #); p. 20 m 12 (#); p. 21 m 13 (#). Editorial basso continuo figures are not necessarily prescriptive for the continuo player; rather they indicate the motion of the voice. The continuo player may wish to sustain a single chord or dyad during a 4–3 suspension or a 3–4–3 cadential figure in order not to duplicate the vocal part.

4. Original clefs: G2F4.

Voice. 95–96: Playing a major triad in the basso continuo does not necessarily require f#s in the voice part. Similarly the absence of f#s in the voice part does not necessarily argue against a major triad in the continuo; 194: eleventh and twelfth notes g′–a′.

Basso Continuo. All continuo figures are editorial except the following: 9, 15, 18–19 (except #s), 29, 38, 44, 59–60 (except #s), 69–70, 79–80 (except #s), 87 (except #s), 94, 97 (except #s), 107 (6), 116, 134, 143, 146–147 (except #s), 150 (except #s), 155 (except #), 165 (except #), 168, 170, 177 (except #), 191, 197 (except #), 203, 209 (except #), 229.

5. Original clefs: C1F4.

Canto. 12: seventh note fusa; 10: seventh note f′, # missing; 13: # editorial; 19: missing; 20: b′s could well be flatted; 30: # placed before previous a′; 35: #s editorial; 41: # editorial; 45: missing; 47: missing; 51: first missing; 53: first editorial; 54: first note c″; 55: penultimate note e″; 58: last four notes in doubled values.

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