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Anonymous
Dall' Abaco
Ahle
Albrechtsberger
Albrici
Altnikol
Ariosti
Georg Arnold
C. P. E. Bach
Heinrich Bach
J. S. Bach
Badia
Becker
Franz Benda
Bernabei
Bertali
Biber
Bodinus
Bononcini
Boxberg
Burney
Buxtehude
Francesca Caccini
Caldara
Capricornus
Cavalli
Charpentier
Clemens
Corrette
Croft
Dittersdorf
Donati
Du Mont
Endler
Erlebach
Fasch
Ferrandini
Finger
Foerster
Fux
Galuppi
Gassmann
Geist
Gentili
Gletle
Goldberg
Gombert
Grandi
J. G. Graun
K. H. Graun
Graupner
Graziani
Handel
Michael Haydn
Heinichen
J. W. Hertel
Hoeckh
Hoffner
Josquin
Keiser
Kraus
Lassus
Legrenzi
Leonarda
Leopold I
Lully
Manfredini
Biagio Marini
Rupert Ignaz Mayr
Virgilio Mazzochi
Meck
Meder
Merula
Monteverdi
Muller
Muffat
Naumann
Nichelmann
Oliver y Astorga
d'Ordonez
Andreas Oswald
Pachelbel
Pepusch
Peranda
Pfleger
Pohle
D. Purcell
Rameau
Ranisius
T. Richter
Rigatti
Ristori
Roellig
Rogers
Rosenmüller
Luigi Rossi
Rovetta
de la Rue
Sances
A. Scarlatti
Schelle
Schmelzer
Sebastian
Smieton
Somis
Steffani
Stölzel
B. Strozzi
Luigi Taglietti
Tartini
Taverner
Telemann
Tunder
Vaet
Vanhal
Veracini
Wagenseil
S. Wesley
Wetzke
Zelenka
Marc-Antoine Charpentier
*Canticum in honorem beatae Virginis Mariae*
This beautiful setting contrasts two sopranos (representing angels) and a trio of alto, tenor and bass (representing mankind). More than half of the piece is a full five-part chorus to a text beginning: 'What glorious things are said of thee, divine mother!'

Click here to see the opening.

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CHA002 Magnificat in F
Edited by Brian Clark
Although only written on eight staves, this work requires at least five singers (SSATB) and an ensemble of recorders, strings and continuo. The voices are marked Solo and Tutti in a way that suggests a ripieno group (i.e. in true grand motet style), and one marking even suggests that there were two sets of soloists.
Performing set: Seven scores, set of single parts (Four of the treble, since there are two recorders and two violins). Extra parts are available upon request, as is a vocal score for ripieno singers.
-""Sample page

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CHA003 Première leçon du Mercredi saint
Edited by Dennis Collins
Originally copied in F, Charpentier noted that the piece should be transposed up a tone, and added an introduction for two violes and continuo (H. 101), which is appended to this volume.
Performing set: Two scores.
-""Sample page

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CHA004 Seconde leçon du Mercredi saint
Edited by Dennis Collins
Scored for soprano and continuo, this setting of verses from the Lamentations is typical of Charpentier's mellifluous style.
Performing set: Two scores.
-""Sample page

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CHA005 Troisième leçon du Mercredi saint
Edited by Dennis Collins
Scored for dessus, bas-dessus and continuo, this setting divides the Hebrew capitals between the two singers.
Performing set: Three scores.
-""Sample page

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CHA006 Troisième leçon du Mercredi saint
Edited by Dennis Collins
Each of the three singers (SSA) in this expressive setting of verses from the Lamentations of Jeremiah has an opportunity to shine in solo passages.
Performing set: Four scores.
-""Sample page

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CHA007 Première leçon du Jeudi saint
Edited by Dennis Collins
This segment of the Lamentations has four sections between the opening Incipit lamentatione and the final Jerusalem, convertere. The edition also includes the prelude for two violins and continuo that Charpentier added later (H.100a).
Performing set: Two scores.
-""Sample page

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CHA008 Seconde leçon du Jeudi saint
Edited by Dennis Collins
These four passages from Jeremiah's Lamentations are set for two sopranos and continuo.
Performing set: Three scores.
-""Sample page

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CHA009 Seconde leçon du Jeudi saint
Edited by Dennis Collins
This marathon of declamation and virtuosity for soprano and continuo lasts 190 bars!
Performing set: Two scores.
-""Sample page

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CHA010 Troisième leçon du Jeudi saint
Edited by Dennis Collins
Unusually in this setting for soprano and continuo of passages from the Lamentations of Jeremiah, the composer sets each of the Hebrew capitals three times as well.
Performing set: Two scores.
-""Sample page

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CHA011 Troisième leçon du Jeudi saint
Edited by Dennis Collins
Scored for two sopranos, alto and continuo, this setting varies the settings of the Hebrew capitals between solos, duets and trios.
Performing set: Four scores.
-""Sample page

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CHA012 Première leçon du Vendredi saint
Edited by Dennis Collins
This is the most complicated of all the works in this sequence. The present edition provides the basis for performance - a setting for soprano, viole and continuo. Charpentier obviously re-thought the work (perhaps at different stages) and added ritornelles for pairs of violins and viols, all of which is included in the score (as well as more elaborate Hebrew capital settings for three voices).
Performing set: Two scores and set of single parts.
The ritornelles and Hebrew letters are also available for performances of the possible variants.
-""Sample page

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CHA013 Seconde leçon du Vendredi saint
Edited by Dennis Collins
This setting for soprano and continuo set no fewer than six sections of the Lamentations of Jeremiah.
Performing set: Two scores.
-""Sample page

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CHA014 Troisième leçon du Vendredi saint
Edited by Dennis Collins
This setting of verses from the Lamentations of Jeremiah for Holy Week lack the Hebrew capitals which are so characteristic of the remainder of the cycle. If is scored for two sopranos, alto and continuo.
Performing set: Four scores.
-""Sample page

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CHA015 Premier répons du Mercredi saint
Edited by Dennis Collins
This setting of In monte Oliveti is scored for two sopranos, alto and continuo.
Performing set: Four scores.
-""Sample page

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CHA016 Second répons du Mercredi saint
Edited by Dennis Collins
Charpentier scores this setting of Tristis est anima mea for two sopranos and continuo.
Performing set: Three scores.
-""Sample page

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CHA017 Troisième répons du Mercredi saint
Edited by Dennis Collins
This setting for alto and continuo is focussed on Judas Escariot's betrayal of Christ.
Performing set: Two scores.
-""Sample page

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CHA018 Quatrième répons du Mercredi saint
Edited by Dennis Collins
Scored for two sopranos, alto and continuo, this motet is a setting of Christ's words of warning to Judas.
Performing set: Three scores.
-""Sample page

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CHA019 Cinqième répons du Mercredi saint
Edited by Dennis Collins
A solo soprano sings a text reflecting Christ's realization that the world is turned against him.
Performing set: Two scores.
-""Sample page

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CHA020 Sixième répons du Mercredi saint
Edited by Dennis Collins
It seems strange that Charpentier sets such a person-centred text for three voices - perhaps the two sopranos and alto are suggestive of the Holy Trinity?
Performing set: Four scores.
-""Sample page

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CHA021 Septième répons du Mercredi saint
Edited by Dennis Collins
This setting for alto and continuo tells of the conspiring of the Jewish authorities to bring about Christ's downfall.
Performing set: Two scores.
-""Sample page

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CHA022 Huitième répons du Mercredi saint
Edited by Dennis Collins
Charpentier choses to set this condemnation of Judas for two sopranos, alto and continuo. All three voices throughout.
Performing set: Four scores.
-""Sample page

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CHA023 Neuvième répons du Mercredi saint
Edited by Dennis Collins
This relatively brief motet for two sopranos and continuo asks why Judas was driven to betray Christ to the Jews. It opens and closes in gentle triple time.
Performing set: Three scores.
-""Sample page

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CHA024 *Gaudia Virginis Mariae*
Edited by Dennis Collins
SSS, Bc. 8pp. -""Sample page

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CHA025 *Transfige dulcissime Jesu*
Edited by Dennis Collins
SSATB, Bc. 24pp. -""Sample page

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CHA026 *Miserere mei Deus*
Edited by Dennis Collins
SSA, Bc. 24pp. -""Sample page

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> CHA027 *Salve regina *
T, Bc. 4pp. -""Sample page
Edited by Dennis Collins
Performing set: Two scores. A bass part is available, and a continuo realization can be provided within a week.


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CHA028 *Felix namque es *
TB, Bc. 4pp. -""Sample page
Edited by Dennis Collins
Performing set: Three scores. A bass part is available, and a continuo realization can be provided within a week.


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The following pieces were edited by Dennis Collins at the request of Alastair Ross for his Concerto delle Donne. It is always nice to have feedback from the actual performers, and Dennis gratefully acknowledges Alastair's input.

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