Layout Table~~~~1505~1505~~

name~~~~1505~1619~~

line~~~~1505~794~~

Link to geocities~If you are interested in the life and works of Antonio Bertali, click here to visit Brian's information website.~~~1505~2066~~

Justus germinabit~The manuscript of this motet for the feast of a Confessor is dated February 1676. Scored for SSATTB, six viole, six ripieno voices and continuo, the piece has solos for all six voices, passages accompanied by the viole, and a recurring triple time Alleluia.

A set consists of two full scores, six vocal scores and one each of the instrumental parts. Additional vocal scores may be ordered.

The sonata can be viewed by clicking here.~~Set|BER002.2|Score|BER002.1|Vocal score|BER002.3|~1505~1101~Bertali, ssattb, soprano, alto, tenor, bass, viole, ripieno~

Laudate pueri~This setting of Psalm 112 [113] is one of the few pieces for solo voice by Bertali that have survived. The solo alto alternates with a pair of violins until verse 8 "that he may set him with princes" and the final Gloria section.

Click here to see the first page of the score. ~~Two scores and parts|BER001.2|Score|BER001.1|~1505~795~Bertali, Bertalli, violin, alto~

Chiacona~Bertali is often overshadowed by his Austrian contemporaries, Schmelzer and Biber, but here he shows himself to have been their technical equal, and a highly imaginative composer. This chaconne is great fun, and includes scale and arpeggio passages, double-stopping and some funky rhythms and harmonies.

The set includes two continuo parts to allow players to cover the absolutely impossible page turns. The score has no continuo realization.

Click here to see the first page.~~Score and parts|BER003.2|Score|BER003.1|~1505~1920~Bertali, Chiacona, ciaccona, chaconne, violin, solo violin~

Sonata a 8~This sonata contrasts two groups, one consisting of a pair of violins with viola da gamba, and the other of five "viole", which must be members of the violin family. After an opening section from the first group, the "viole" have a slower chromatic passage, leading (eventually, after some interplay between the groups) to a triple time dance, with a short codetta. Altogether it lasts about five minutes, although some parts have the final tripla repeated.

To see the first page, click here.~~Score and parts|BER004.2|Score|BER004.1|~1505~1954~Bertali, sonata, violin, viole, viola~

Sonata a 2 Chori~This sonata comprises two groups, each with a virtuoso violin and a viola da gamba; Choir I also has two violas, while Choir II has three trombones. There are solo passages for the violins in alternation, and a section for the violins and the gambas of each choir. Shortly before the end, there is a triple time section in which everyone has a say, before the violinists have another interactive cadenza, and the piece ends with a long plagal cadence that sounds like Uccellini.

Click here to see the opening.~~Score and parts|BER005.2|Score|BER005.1|~1505~1956~Bertali, sonata, violin, viole, viola, trombone, gamba, viola da gamba~

Six Sonatellae~These six one-movement sonatas for five-part strings (or winds, in one source) were possibly written for use either in church services, or as part of an entertainment. The fourth of them also survives as a sonata for five flutes (possibly recorders?).

To see the opening of the first sonata, click here.~~Score and parts|BER007.2|Score|BER007.1|~1505~2090~Bertali, sonata, sonatella, sonatellae, strings, wind, violin, viola, recorder, cornetto, trombone~

Laudate Dominum~This setting of one of the shortest of the psalms is scored for four voices (SATB), two violins and continuo.

Click here to see the first page of the score.~~Six scores and parts|BER014.2|Score|BER014.1|~1505~2663~laudate dominum, psalm 116, psalm 117, satb, vienna~

Dixit Dominus~This delightful setting of Psalm 110 is scored for SSATB (soli and tutti), two violins, two violins and continuo. The fact that three organ parts survive suggests a large-scale performance.

To see the opening page of the score, click here.~~Seven scores and parts|BER016.2|Score|BER016.1|Vocal score|BER016.X|Doubling parts|BER016.Y|~1505~2674~ssatb, psalm, dixit~

Missa Resurrectionis~This magnificent setting of the mass for eight solo and ripieno voices uses different instrumental scorings for the various movements: the Kyrie and Gloria use two violins with sackbut and two cornetti with three further sackbuts; the Credo uses two trumpets, four viole and five sackbuts; the Sanctus and Agnus Dei use two violins, four viole, two trumpets and five sackbuts - all in all, a luxurious soundworld!

The score is volume 1 of our new The Viennese Mass series, soon to be followed by two masses by Schmelzer, and two by Vanhal.

Performance material (including a vocal score) is available, but please email your requirements so that we can quote you a reasonable price.

To see the opening sonata, click here.

Please note: This work is now available on CD featuring Yale Collegium Musicum and the Spiritus Collective. As well as the mass, there are two Easter motets by Christian Geist and instrumental music by Bertali, Vejvanovksy and Froberger. Details available on request.~~Score|BER011.1|~1505~2675~mass, vienna, trumpet, cornetto, sackbut, sackbutt, SSAATTBB, SATB~

Litaniae B: V: M:~This fine setting of the Marian Litany is scored for two "choirs", each consisting of violin and four voices with continuo. The top choir is SSAT and may have been sung by soloists, while the lower choir is SATB and features additional parts for ripieno singers. It is entirely possible that this choir was doubled by instruments and anyone interested in performing the piece thus can request additional parts.

The performing set consists of two full scores, eight vocal scores and the necessary instrumental parts.

Click here to see the first page.~~Performing set|BER012.2|Score|BER012.1|Choir 1 vocal score|BER012.X|Choir 2 vocal score|BER012.Y|Choir 2 doubling parts|!1575|~1505~2856~litany, litaniae, kyrie eleison, vienna, bertali~

Ecce, illuxit nobis~This Christmas motet is scored for SSATTB, three flautae (which may be either flutes or recorders - two are printed in soprano clef, the third in alto), two violins and viola (originally in tenor clef, but marked da braccio), and continuo. There are several sections, including a recurring triple time lullaby passage.

Click here to see the opening of the Sonata.~~2 scores, 6 vocal scores, parts|BER013.2|Score|BER013.1|Vocal score|BER013.9|~1505~2769~Bertali, SSATTB, Christmas, Xmas, recorder~

Veni, Sancte Spiritus~This is possibly one of the most original of Bertali's works to have survived into modern times. It combines two Whitsun (Pentecost) texts: Veni, Sancte Spiritus and and sets each distinctly: the former has six voices, two violins, trombone and continuo, while the latter (representing the Holy Spirit) a solo bass, accompanied by three violas (either gambas or da braccio, as neither is specified).

Click here to see the opening Sonata.

Score: 16pp. Duration: ca. 6 minutes~~Eight scores and parts|BER015.2|Score|BER015.1|~1505~2817~SSATTBB, whitsun, pentecost, solo bass~

"1000 Gulden" sonata~This is possibly Bertali's most widely-known work, and with good reason - the rich string scoring and the composer's clever use of the patchwork structure (and some typically striking juxtapositions of keys!) keep performers and listeners entertained. >>>~~Score and parts|!1633|Score|!1634|~1505~2997~violin, viola~

Sonata a 6~This sonata is similar to the Schmelzer Sonata a 6 (SCH026) in that there is a prominent solo violin part - slightly longer in duration, there are several contrasting sections. >>>~~Score and parts|BER019.2|Score|BER019.1|~1505~3014~~

"1000 Gulden" Sonata 2~It came as something of a surprise to discover that more than one sonata in the Düben Collection has this title! Although this possibly has the more striking opening, the original parts are a bit of a mess, and it is difficult to believe that Bertali would have had any reputation at all based on a performance from that material. Restoring it was, however, a labour of love. See the results for yourself. >>>~~Score and parts|BER021.2|Score|BER021.1|~1505~3019~~

Missa lacrymarum~This fine mass setting is much more modest that the Missa resurrectionis and requires only four singers, two violins, three violas (possibly gambas, given that they often form an independent consort in the texture) and continuo.

Our performing set consists of six scores (one for each singer, one for the director and another for the continuo player) and a complete set of string parts. Extra scores and string parts are available. If you plan a performance with choir and would like a vocal score showing just the voice parts and the continuo line, please contact us and we will be happy to discuss costs.

To see the opening, click here.~~Performing set|BER030.2|Score|BER030.1|~1505~3498~~