Layout Table~~~~1569~1569~~

name~~~~1569~1633~~

line~These editions are the work of Alsatian musicologist, Jean-Luc Gester. Although Swiss by birth, Gletle (1628-83) worked at the cathedral in Augsburg for most of his professional life.~~~1569~780~~

Pie Pellicane~This setting of the sixth and seventh quatrains of the Oratio S. Thomae can function as a hymn on the Feast of the Most Blessed Sacrament. It is scored for solo soprano, with an accompanying ensemble of two violins, trombone or viola (in the alto range), and continuo.

To see the first page of this piece, please click here.~~Two scores and parts|GLE001.2|Score|GLE001.1|~1569~782~Gletle, soprano, violin, trombone, viola~

Pie Pellicane~Following the composer's own suggestion, this version is re-scored for Alto, two trombones, bassoon and continuo.

Click here to see the first page.~~Two scores and parts|GLE001A.2|Score|GLE001A.1|~1569~783~Gletle, alto, trombone, basoon, continuo~

Pie Pellicane~In response to a request from one of our customers, we have also produced another version, this time transposed down a fourth. This fits Alto voice with two string parts (violin and viola, or two violas), trombone or gamba, and continuo.~~Two scores and parts|GLE001B.2|Score|GLE001B.1|~1569~766~Gletle, violin, viola, trombone, gamba, continuo~

Qualis ista~This Christmas motet is taken from Gletle's 1677 set of solo pieces. Three verses of a triple time aria with instrumental ritornelli are followed by a more declamatory section, that leads into a celebratory Noe! The composer stipulates two obbligato violins and three optional violas, all of which are included in this edition.

Click here to see the opening of this piece.~~Two scores and parts|GLE003.2|Score|GLE003.1|~1569~798~Gletle, Christmas, vilin, viola~

Salve Regina~This Marian antiphon setting can only be sung by basses with considerable agility - and a good bottom C! As you can see from the first page of the score, the writing is virtuosic, with semiquaver runs and a range of over two octaves.~~Two scores and parts|GLE004.2|Score|GLE004.1|~1569~2020~Gletle, bass, bass solo, violin, bassoon, motet, antiphon~

Sileat misericordiam~This motet from the same printed source as Pie Pellicane is scored in its original version for Alto, two violettas, basso viola and continuo. An invocation to the Virgin, the piece is headed in all the parts "con maniera & affetti per tutto". Gletle also suggested transposition up a fifth for Soprano, two violins, trombone and continuo. If you would like the latter version, please order the standard edition and add the comment "for Soprano" in the box provided on the order form.

Click here to see the opening of the piece.~~Two scores and parts|GLE002.2|Score|GLE002.1|~1569~737~Gletle, alto, basso viola, continuo, bass,~

Salve Regina~This lovely Marian antiphon setting is for solo tenor (or soprano) with five-part strings and continuo. Once again, it confirms Gletle's melodic gifts.

To see the beginning of the piece, click here.
~~Two scores and parts|GLE006.2|Score|GLE006.1|~1569~2888~tenor solo, gletle, marian antiphon~

Regina coeli~Gletle sets this Marian antiphon as a duet for sopranos or tenors, and he takes an opportunity to display his contrapuntal gifts, but never at the expense of his trademark melody.

Click here to see the first page of the score.
~~Three scores|GLE007.2|Score|GLE007.1|~1569~2889~marian antiphon, gletle, soprano duet, tenor duet~

Regina coeli~Gletle stipulates Tenor or Soprano solo for this setting, in which the voice is accompanied by two violins, two violas and bassoon with continuo. Typically of the composer, there are many interesting harmonic twists, and the various verses of the text are set in different styles.

Click here for a preview.~~Two scores and parts|GLE008.2|Score|GLE008.1|~1569~2890~marian antiphon, gletle~