Alessandro Grandi

Possibly suitable for Christmas, this setting of an unidentified text uses three lines as a refrain - the soprano sings "Behold I make all things new" and the five voices (SATTB) sing together "O truly new miracles!" The first and third sections are a trio for Alto and two Tenors.
Edited by Dennis Collins.
16pp.

Performance materials by negotiation.

This SATTB setting of a text from the Common for a martyr (no saint is named, so the work is suitable for any celebration) alternates duetting voies with the full five-part texture.
Edited by Dennis Collins.
8pp.

Performance materials by negotiation.

The opening 48 bars of this SATTB setting of the first four verses of Psalm 25 [26 in the King James version] consist of two duets - one for Alto and Tenor, the second for Soprano and Bass. From that point on ("for thy mercy is before my eyes"), the five voices join in a contrapuntal texture punctuated by block chords.
Edited by Dennis Collins.
8pp.

Performance materials by negotiation.

In a cantilena, such as this, solo voices are joined in refrain sections by ripienists. Here, STB or TTB solos combine with a group of SATB to celebrate an unspecified Marian feast.
Edited by Dennis Collins.
8pp.

Performance materials by negotiation.

In excess of 250 bars, this is one of Grandi's most extensive works, scored for SATTB voices. Perhaps surprisingly, there are no extended solos, and the Tenor 1 part is almost continuous, since he sings the bottom of the high trio and the top of the lower one. The Agnus Dei opens with a re-casting of the Kyrie eleison.
Edited by Dennis Collins.
28pp.

Performance materials by negotiation.

The source of this fine motet's text has thus far evaded discovery. The SATTB setting features a strong, full forces opening and maintains a rich texture throughout.
Edited by Dennis Collins.
8pp.

Performance materials by negotiation.

This fine SATTB setting of a poetic text of unestablished origin uses the opening two lines as a triplet-time refrain - it occurs three times. Between them, Grandi uses his contrapuntal and melodic skills to distribute the material equally among the voices with charming effect.
Edited by Dennis Collins.
8pp.

Performance materials by negotiation.

This Marian motet for tenor comes from Grandi's Motetti a voce sola of 1621.
Edited by Dennis Collins.
4pp.

This fine duet for Soprano and Alto sets a text praising the Virgin Mary. The voices are well matched, with challenging runs for both singers. There is also some ad libitum pseudo-chanting at various points, which is most unusual in this medium (showing again what a tragedy it is that this fantastically talented composer died so young!)
Edited by Dennis Collins.
4pp.

Published for two Tenors and continuo, Grandi also suggests Sopranos in his 1619 fifth book of motets, Celesti fiori.
Edited by Dennis Collins.
8pp.

This Soprano / Tenor duet comes from Grandi's second book of concertato motets, first published in 1617. The text is in praise of Jesus, and is most suitable for Christmas.
Edited by Dennis Collins.
8pp.

Setting a text in praise of Mary, this fine Soprano duet comes from Grandi's last book of motets, published in the year of his premature death (1630).
Edited by Dennis Collins.
4pp.

This Marian motet comes from Grandi's second book of motets of 1617, although the edition is based on the fifth imprint of 1628. Scored for two sopranos and continuo, it alternates duple and triple time throughout.
Edited by Dennis Collins.
4pp.

This solo soprano setting of a text based on The Song of Songs is also available tranposed (as the composer suggests) for alto.
Edited by Dennis Collins.
4pp.