logoHomeAbout usNewsLinksContactBack


 
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
Alessandro Grandi
GRA201 *Cantabo Domino *
S, 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.

Buy product
GRA202 *Surge propera *
SB, 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.

Buy product
GRA203 *Aperi mihi *
ST, 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.

Buy product
GRA204 *Factum est silentium *
SATB, 2vn, chitaronne, Bc.84pp. -""Sample page
Edited by Dennis Collins
Performing set: Five scores and single parts. A continuo realization can be provided within a week.

Buy product
GRA205 *O vos omnes*
S, 3 viole (SAB), Bc. 8pp. -""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.

Buy product
The following items come from the composer's book of motets for five voices and continuo and (unless otherwise stated) are scored for SATTB. We also have alternative versions for which Dennis has adpated the music for female voices (SSSAA) - the octave transpositions add lustre to the top of the texture without diminishing the bass part, and allow an insight into all-female vocal consort music from the early 17th century.

GRA500 *Deus misereatur nostri*
Edited by Dennis Collins.
Scored for the unusual combination of three Basses and continuo, this fine piece comes from Grandi's second book of concertato motets. The text comes from the first two verses of Psalm 66 [67 in the King James version].
Performing set: Six scores.
-""Sample page

Buy product
GRA501 *Judica me Domine*
Edited by Dennis Collins.
The opening 48 bars of this 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.
Performing set: Six scores.
-""Sample page

Buy product
GRA502 *Iste cognovit justitiam*
Edited by Dennis Collins.
This 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.
Performing set: Six scores.
-""Sample page

Buy product
GRA503 *Sancte Sebastiane*
Edited by Dennis Collins.
This five-voice tribute to the famous martyr opens with a phrase that will be familiar to anyone who has performed Monteverdi's 1610 Vespers. There is some effective concitato writing describing the showers of arrows he had to endure.
Performing set: Six scores.
-""Sample page

Buy product
GRA504 *Quomodo dilexi*
Edited by Dennis Collins.
A setting of texts from one of Grandi's favourite sources, The Song of Songs, this motet starts with an extended Soprano solo, which is answered by the Bass. A duet follows, before Soprano 1 sings alone again. At Bar 91, the Tenor opens the five-part section "Let us love him who before loved us".
Performing set: Six scores.
-""Sample page

Buy product
GRA505 *O bone Jesu Christe*
Edited by Dennis Collins.
The source of this fine motet has thus far evaded discovery. It features a strong, full forces opening and maintains a rich texture throughout.
Performing set: Six scores.
-""Sample page

Buy product
GRA506 *Exaudi Deus*
Edited by Dennis Collins.
This is one of the very few motets by Grandi that have been published before. Dennis's Urtext version offers performers the chance to enjoy a fine work with a perfect balance between the five voices. The text is a heartfelt plea for forgiveness, and Grandi responds with some very effective harmonic writing.
Performing set: Six scores.
-""Sample page

Buy product
GRA507 *Quam pulchra es*
Edited by Dennis Collins.
This motet is not, as you might expect, a setting of the familiar Song of Songs text; rather, it combines texts based on the Books of Wisdom and Proverbs as a warning that beauty and good favour on earth are no substitute for everlasting happiness in heaven.There are brief solos for the four upper voices.
Performing set: Six scores. >
-""Sample page

Buy product
GRA508 *Ave regina caelorum*
Edited by Dennis Collins.
After the opening "Ave" comes a Tenor / Bass duet. The second "Ave" is followed by a duet for the Sopranos. Thereafter, Grandi uses the five-part texture, alternates between three high voices and three low ones, before building to the final cadence "et pro nobis Christum exora."
Performing set: Six scores.
-""Sample page

Buy product
GRA509 *O dulcis et o pia*
Edited by Dennis Collins.
This fine 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.
Performing set: Six scores.
-""Sample page

Buy product
GRA510 *Innova Domine signa*
Edited by Dennis Collins.
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 sing together "O truly new miracles!" The first and third sections are a trio for Alto and two Tenors.
Performing set: Six scores.
-""Sample page

Buy product
GRA511 *Quo rubicunda rosa*
Edited by Dennis Collins.
The composer very skilfully sets this prayer to the Virgin Mary as a dialogue, the Soprano and Alto are one group and the lower three voices the other. He also uses rhythmic devices (single bars of common time within a triple section) to stress individual words in the text. A very effective piece.
Performing set: Six scores.
-""Sample page

Buy product
GRA512 *Anima mea*
Edited by Dennis Collins.
"My soul is melted" is the opening of the text of this expressive motet. The phrase returns throughout the work, each time given to a different voice until, finally, all five singers "melt" in a downward spiral to an effective plagal cadence.
Performing set: Six scores.
-""Sample page

Buy product
GRA513 *Versa est in luctum*
Edited by Dennis Collins.
This setting of verses from the Book of Job mostly maintains the five-voice texture throughout. The most expressive harmonies are reserved for the phrase "Thou are changed to be cruel toward me" - emotive stuff, indeed!
Performing set: Six scores.
-""Sample page

Buy product
GRA514 *Qui timetis Dominum*
Edited by Dennis Collins.
"Ye that fear the Lord" recurs four times in this setting of texts from Ecclesiastes. Grandi sets the opening as a Tenor duet, the second time he uses Soprano, Alto and Bass, the four upper voices sing the third occurrence, while the fourth is given to all five voices. The responses are full-textured and richly harmonic in each case.
Performing set: Six scores.
-""Sample page

Buy product
GRA515 *Deus misereatur nostri*
Edited by Dennis Collins.
This is an extraordinary tour de force, setting the opening verses of Psalm 66 [67 in King James] for five equal voices. Grandi's lightness of touch ensures that the texture remains light and transparent - mindful perhaps of the text "May he cause the light of his countenance to shine upon us".
Performing set: Six scores.
-""Sample page

Buy product
GRA516 *Litanie Beatae Mariae Virginis*
Edited by Dennis Collins.
In excess of 250 bars, this is one of Grandi's most extensive works. 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.
Performing set: Six scores.
-""Sample page

Buy product
GRA517 *Quemadmodum desiderat cervus*
Edited by Dennis Collins.
This Soprano / Bass duet comes from the sixth and last of the composer's concertato motets, printed in 1630 (the year he died). It is to all intents and purposes a sacred love duet, which starts with the bass calling to the soprano, who answers "Whose voice is this I hear?"
Performing set: Three scores. An unfigured bass part is available. If you require a realization of the figured bass for accompaniment purposes, please contact us.
-""Sample page

  more info Buy product


GRA518 *Benedictus sit*
Edited by Dennis Collins.
This Soprano / Tenor duet comes from the sixth and last of the composer's concertato motets, printed in 1630 (the year he died). Setting two verses of s text based on quotations from the Book of Tobias, the motet alternates between common and triple time. Both sections end with an extensive Alleluia.
Performing set: Three scores. An unfigured bass part is available. If you require a realization of the figured bass for accompaniment purposes, please contact us.
-""Sample page

Buy product
GRA084 Tota pulchra es

Edited by Dennis Collins
Soprano solo, 2 vns, Bc. 8pp. -""Sample page
Performing set: 2 scores plus three parts. This piece has no continuo realization; if you require one, please be aware that there might be a delay of a week or so. You can order it from the box below.

Buy product
Quasi arcus
This motet from the composer's third book of Motetti con sinfonie of 1629 sings the praise of St Alexander, one of the patrons of Bergamo, where Grandi was working at the time. Like other motets in the set, it is built in a ritornello structure with a decorated close.

-""Sample page

Buy product
Hic est vere martyr
Written in honour of St Vincent, another of Bergamo's patron saints, this motet also comes from Grandi's third book. It is slightly unusual in that it use plainchant as the basis for a central section, calling the men of Bergamo to pray to St Vincent.

-""Sample page

Buy product
Regina caeli
Also from Grandi's third book of motets with violins, this is a lovely setting of the Marian antiphon for the period from Easter to Trinity Sunday.

-""Sample page

Buy product
Amo Christum
A delightful motet from Grandi's Terzo libro di mottetti con sinfonie of 1629 in which the verses and ritornelli become increasingly ornate.

Click here if you want to see the first page of this piece.

Buy product
Ave mundi spes Maria
Setting a Marian text (Grandi's favourite sort of text!), this motet for soprano, two violins and continuo is from his third book of such motets, and is written in his familiar strophic form: some editorial ornamentation is added at the close.

Click here if you would like to see the first page of this piece.

Buy product
Decantabat populus Israel
A motet in praise of God for tenor, two violins and continuo in which triple and common time alternate, and flowing melody is contrasted with declamatory passages. This piece can also be sung by sopranos.

To see an extract from this piece, please click here.

Buy product
O beate Benedicte
Truly one of the composer's masterpieces, O beate Benedicte (written in honour of St Benedict) is scored for soprano, tenor, violin, viola da gamba or trombone and continuo, but works equally well with two sopranos, and a cornetto could take the violin part.

Click here if you would like to see the first page of this piece.

Buy product
O porta coeli
A Marian motet for SATB and continuo from Grandi's Sesto Libro di Motetti a 2, 3 et 4 voci, published in 1630. There are three sections, each followed by a triple time refrain.

Click here to see the opening of the piece.

Buy product
Salva me, salutaris hostia
This motet for two sopranos, two violins and continuo was not published by the composer himself, but rather comes from a collection of pieces "by the most celebrated masters".

To see the first page of this score, please click here.

Buy product
line
The following pieces are from Dennis Collins's Celesti Fiori series. For a complete listing of editions available from Prima la musica! click here, or click here to visit his website.
line
*Deus qui nos in tantis periculis*
This motet for SATB and continuo is from Grandi's Quatro libro de motetti (originally 1618, but the edition is based on the corrected reprint of 1628).

Buy product
*Cantemus Domino*
Taken from Il secondo libro de motetti of 1617 (reprinted in 1628), this piece for SAB and continuo sets a text from the Book of Exodus.

Buy product
*O dulcis Virgo*
This duet for sopranos comes from Grandi's Il sesto libro de mottetti, published in 1630, the year of his death.

Buy product
*Quam pulchra es*
This setting of a popular Song of Songs text is one of five cantilenas in Grandi's fifth book of concertato motets, Celesti Fiori (from which Dennis's series takes its name, of course). The two soloists (either sopranos or tenors) sing three verses (one each and then in duet), interspersed with a "choral" refrain.

Buy product
*Deus Deus meus*
Taken from Grandi's first publication (1610, the year Monteverdi's Vespers were also printed), this setting of texts selected from various psalms is scored for Soprano, Alto, Bass and Continuo.

Buy product
*Venite filii*
This duet for Sopranos (which may also be sung by Tenors) comes from Grandi's second book of motets, printed in 1617.

Buy product
*Domine ne in furore*
Published in the year of the composer's death, this setting of Psalm 6 for SATB and continuo comes from the 6th books of motets.

Buy product
*Bone Jesu verbum Patris*
This setting of a free poetic text is one of two duets from the 1629 Terzo libro de motetti.. con sinfonie.

Buy product
*In dulci jubilo*
Published in 1629, this motet (which is in triple time throughout) alternates duets with four-part writing. Although it opens with a familiar text for Christmas, it is in fact a more general celebration of the Virgin Mary.

Buy product
*O speciosa*
Another of Grandi's cantilenas, this motet in praise of the Virgin alternates a solo group of two sopranos and bass, or two tenors and bass with tutti sections, when the trio is reinforced by a ripieno group of SATB.

Buy product
*O quam suave*
This Marian motet comes from Grandi's second book of motets of 1617, although the edition is based on the fifth imprint of 1628. It alternates duple and triple time throughout.

Buy product
*Exulta et laetare terra*
This joyful duet for Soprano and Bass comes from Grandi's fourth book of motets, printed in Venice in 1628. It is slightly coloured by the composer's use of a minor key for the setting.

Buy product
*0 nomen Jesu*
Published for two Tenors and continuo, Grandi also suggests Sopranos in his 1619 fifth book of motets, Celesti fiori.

Buy product
*Quam pulchra es*
This Marian motet, setting a popular text from the Song of Songs, comes from Grandi's only printed set of motets for solo voice and continuo. The alto part ranges from the G below middle C to the B flat above.

Buy product
*Quam pulchra es*
Following contemporary practice, we also offer this motet transposed up a fourth (or down a fifth) for soprano or tenor (range c-e flat').

Buy product
*Fasciculus myrrhae*
Like over one third of the motets in Grandi's only solo book, this short motet is a setting of a text of the Song of Songs, comparing the beloved with a bundle of myrrh and a cluster of cypress. The soprano part covers middle C to the F an eleventh above.

Buy product
*In lectulo meo*
This motet for solo soprano (range d-f') sets a less familiar text from the Song of Songs. For the most part, it features a flowing triple time melody, but the final "anima mea" is a common time flourish.

Buy product
*Osculetur me*
Another setting fo the Song of Songs, this is one of the longer motets from Grandi's book of solos. It is scored for soprano (range d-f') and continuo, and calls for some agile ornamentation.

Buy product
*Virgo prudentissima*
This motet for soprano (range d-f') and continuo was printed in the 1621 book of solos, published by Grandi in Venice. The text comes from Song of Songs.

Buy product
*Tota pulchra es*
This Song of Songs setting likewise comes from Grandi's 1621 book of solo motets. It is scored for soprano (the range is d-f') and continuo.

Buy product
*Quasi cedrus*
Published in Grandi's last book of motets, this SATB setting of a text from Ecclesiasticus is through-composed. There is some imitative writting but no virtuosity.

Buy product
*Audivi vocem*
Scored for SSATB and continuo, this motet initially sets the tenor and bass apart from the upper voices until the final section, "And we shall always give you praise".

Buy product
*Ave Regina caelorum*
This extraordinary Marian Antiphon setting is designated "a quattri soprani", but the lowest voice would possibly suit an alto better. After various duets the four voices combine to produce a glorious sound.

Buy product
*Deus misereatur nostri*
The third soprano part of this setting from Psalm 66 (67) is rather low and should perhaps be taken by an alto. The motet was first published in 1617.

Buy product
*Vocem jucunditatis*
Obstensibly written for Soprano and Alto, this motet from Grandi's 1617 book may also be sung by Alto and Tenor. The text is after the prophet Isaiah and announces the deliverance of God's people.

Buy product
*O quam dulcis*
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.

Buy product
*Caecilia*
For much of the time, the bass voice doubles the continuo line of this motet while the sopranos enjoy singing in thirds. The alleluia section sees liberation until the final cadence, where the sopranos once more take the limelight.

Buy product
*Jucundare*
This trio (SSB) opens as if it were a soprano duet. The final Alleluia begins with an extended triple time passage, but culimates in a duple time cadence in which each of the voices has more melismatic writing.

Buy product
*Veni Sancte Spiritus*
Though not unique, this is one of very few Soprano / Bass duets of the period. For much of the time, the Bass voice doubles or ornaments the continuo line, but there are also concertato passages where the texture is written in three real parts.

Buy product
*Quam dilecta*
This strange piece comes from Grandi's first book of concertato motets of 1610. A setting for Psalm 83 (84): 2-5, it is homophonic throughout (with only hints at imitation) and the bottom voice (originally in Alto clef) is doubled at pitch throughout by the organ. Dennis has opted also to offer the piece transposed down an octave for male voices.

Buy product
*Regina caeli*
This Marian antiphon setting introduces each of the three female voices in turns, then they join for "Ora pro nobis, alleluia", which is perhaps most interesting for its precise dynamic markings.

Buy product
*Quae est ista*
This five-part Marian motet (which starts with a verse from the Song of Songs) opens with a Soprano / Tenor duet. It concludes with a triplet-time chorus for SSATB and continuo.

Buy product
*Laetamini*
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.

Buy product
*Ave sanctissima Maria*
This setting of a text atrributed to Pope Sixtus IV comes from Grandi's last book of concertato motets, published in 1630. There is little virtuosity; Grandi's interest seems to have lain more in producing a euphonious sound.

Buy product
*Nigra sum*
This delightful duet was appended to Grandi's book of five-part motets when it was re-printed at Venice in 1620. Setting a familiar text from the Song of Songs, it alternates a rocking triple-time theme, with more declamatory common time. The final cadence is beautiful.

Buy product
*Ego flos campi"
This setting of verses from the Song of Songs was originally printed for Tenor and continuo, with the indication In Soprano alla quinta alta ("or for soprano, a fifith higher.") In truth, the line lies rather low for soprano, so mezzo (or even alto) might be a btter description. The piece is a typical patchwork of duple and triple time sections (the latter often as a refrain), culminating in a lavish cadence.

Buy product
*Ego flos campi"
This is the transposed version for female voice.

Buy product
*O intemerata"
This Marian motet comes from Grandi's Motetti a voce sola of 1621. It is scored for Tenor and Continuo.

Click here to see the opening.

Buy product
*Deus canticum novum"
This motet is for soprano and continuo. The text comes from various of the psalms.

Click here to see the first page of the score.

Buy product
*Audite populi"
This motet for Alto and Continuo is printed here in treble clef. It is also available in trebletenor clef at the same pitch, if required. The texts are paraphrases of words from the Books of Jeremiah and Joel.

Click here to see the opening.

Buy product
*Respice Domine*
This motet is for Soprano and Continuo and sets a text based on verses from Psalms 24 and 26.

To see the first page, click here.

Buy product
*O quam tu pulchra es*
The original version of this motet is for Soprano and Continuo. It is also available tranposed (as the composer suggests) for Alto and Continuo.

Click here to see the first page.

Buy product
*Quam pulchra es*
This setting of verses from the Song of Songs is for Tenor and Continuo. It is also available for the same voice transposed down a fourth (as suggested by the composer).

Click here to see the opening.

Buy product
*Salvum me fac*
This is Grandi's only solo motet for Bass and Continuo, and requires a full range from D to d'. The text is from Psalm 68: Save me, O God, for the waters are come even unto my soul.

To see the first page, click here.

Buy product
*Jesu mi dulcissime*
This beautiful motet is scored for soprano and continuo, and has some delightful meslimata in the concluding section


Buy product
*Plorabo die ac nocte*
This poignant motet sets a variety of texts meditating on the crucified Christ: the soprano of an SATB ensemble represents the Virgin Mary. Extended recitando passages alternate with "choruses".

Buy product
*O beata Virgo Maria*
One hears quite a lot of music for three sopranos from the beginning of the 17th century, but not very much for three tenors! Should Pavarotti & Co. ever decide to try out "early music", this piece should certainly be in their repertoire - the voices are treated more or less equally throughout. Of course, it might be used by three sopranos as well...