Grandi:Scholarly and practical editions

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.

Click here to see the opening.~~Three scores and parts|GRA081.2|Score|GRA081.1|~1571~3175~~

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.

Click here to see the opening.~~Three scores and parts|GRA082.2|Score|GRA082.1|~1571~3176~~

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.

Click here to see the opening.~~Three scores and parts|GRA083.2|Score|GRA083.1|~1571~3177~~

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.~~Two scores and parts|GRA001.2|Score|GRA001.1|~1571~287~Grandi, soprano, violin~

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.~~Two scores and parts|GRA002.1|Score|GRA002.1|~1571~332~Grandi, soprano, violin~

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.~~Two scores and parts|GRA003.2|Score|GRA003.1|~1571~720~Grandi, tenor, violin~

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.~~Three scores and parts|GRA004.2|Score|GRA004.1|~1571~333~Grandi, soprano, tenor, violin, viola, gamba, cornett, cornetto, trombone, sackbutt~

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.~~Five scores|GRA014.2|Score|GRA014.1|~1571~843~Grandi, soprano, alto, tenor and bass, astb~

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.~~Three scores and parts|GRA005.2|Score|GRA005.1|~1571~340~Grandi, soprano, violin, motet~

New Display Item~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.~~~1571~1667~~

*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).~~Five scores|GRA015.2|Score|GRA015.1|Continuo part|GRA015.3|~1571~947~Grandi, soprano, alto, tenor, bass~

*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.~~Four scores|GRA016.2|Score|GRA016.1|Continuo part|GRA016.3|~1571~946~Grandi, soprano, alto, tenor~

*O dulcis Virgo*~This duet for sopranos comes from Grandi's Il sesto libro de mottetti, published in 1630, the year of his death.~~Three scores|GRA017.2|Score|GRA017.1|Continuo part|GRA017.3|~1571~945~Grandi, soprano~

*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.~~3 scores plus ripieno parts|GRA018.2|Score|GRA018.1|Continuo part|GRA018.3|~1571~944~Grandi, soprano, tenor, satb, alto, bass~

*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.~~Four scores|GRA019.2|Score|GRA019.1|Continuo part|GRA019.3|~1571~969~Grandi, soprano, alto, bass~

*Venite filii*~This duet for Sopranos (which may also be sung by Tenors) comes from Grandi's second book of motets, printed in 1617.~~Three scores|GRA020.2|Score|GRA020.1|Continuo part|GRA020.3|~1571~968~Grandi, soprano~

*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.~~Five scores|GRA021.2|Score|GRA021.1|Continuo part|GRA021.3|~1571~967~Grandi, soprano, alto, tenor, bass~

*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.~~Three scores|GRA022.2|Score|GRA022.1|Continuo part|GRA022.3|~1571~966~Grandi, soprano~

*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.~~Five scores|GRA023.2|Score|GRA023.1|~1571~1097~Grandi, soprano, alto, tenor~

*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.~~Four scores+ripieno parts|GRA024.2|Score|GRA024.1|~1571~1098~Grandi, soprano, bass, tenor, alto~

*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. ~~Three scores|GRA025.2|Score|GRA025.1|~1571~1105~Grandi, duet, soprano~

*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.~~Three scores|GRA026.2|Score|GRA026.1|~1571~1106~Grandi, duet, soprano, bass~

*0 nomen Jesu*~Published for two Tenors and continuo, Grandi also suggests Sopranos in his 1619 fifth book of motets, Celesti fiori.~~Three scores|GRA027.2|Score|GRA027.1|~1571~1107~Grandi, duet, tenor, soprano~

*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.~~Two scores|GRA029.2|Score|GRA029.1|~1571~1195~Grandi, alto, motet,~

*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').~~Two scores|GRA029A.2|Score|GRA029A.1|~1571~1196~Grandi, soprano, tenor~

*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.~~Two scores|GRA030.2|Score|GRA030.1|~1571~1197~Grandi, motet, soprano~

*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.~~Two scores|GRA031.2|Score|GRA031.1|~1571~1198~Grandi, soprano, motet~

*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.~~Two scores|GRA032.2|Score|GRA032.1|~1571~1199~Grandi, soprano, motet~

*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.~~Three scores|GRA033.2|Score|GRA033.1|~1571~1200~Grandi, soprano, motet~

*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.~~Three scores|GRA034.2|Score|GRA034.1|~1571~1201~Grandi, soprano, motet~

*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.~~Five scores|GRA035.2|Score|GRA035.1|~1571~1230~Grandi, soprano, alto, tenor, bass, satb~

*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".~~Six scores|GRA036.2|Score|GRA036.1|~1571~1231~Grandi, soprano, alto, tenor, bass, motet, ssatb~

*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.~~Five scores|GRA037.2|Score|GRA037.1|~1571~1232~Grandi, soprano, ssss~

*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.~~Four scores|GRA038.2|Score|GRA038.1|~1571~1233~Grandi, soprano, sss~

*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.~~Three scores|GRA039.2|Score|GRA039.1|~1571~1234~Grandi, Duet, soprano, alto, motet~

*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.~~Three scores|GRA040.2|Score|GRA040.1|~1571~1235~Grandi, Duet, soprano, tenor, motet~

*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.~~Four scores|GRA041.2|Score|GRA041.1|~1571~1236~Grandi, soprano, bass, ssb~

*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.~~Four scores|GRA042.2|Score|GRA042.1|~1571~1237~Grandi, ssb, soprano, bass~

*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.~~Three scores|GRA043.2|Score|GRA043.1|~1571~1238~Grandi, duet, soprano, bass, ssb~

*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.~~Four scores|GRA044.2|Score|GRA044.1|Four scores (Male voices)|GRA044A.2|Score (Male voices)|GRA044A.1|~1571~1239~Grandi, soprano, messo, alto, sma, motet~

*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.~~Four scores|GRA045.2|Score|GRA045.1|~1571~1240~Grandi, soprano, messo, alto, sma~

*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.~~Six scores|GRA046.2|Score|GRA046.1|~1571~1241~Grandi, soprano, alto, tenor, bass,ssatb~

*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.~~Four scores and ripieno|GRA047.2|Score|GRA047.1|~1571~1242~Grandi, stb, satb, soprano, tenor, bass, alto~

*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.~~Three scores|GRA048.2|Score|GRA048.1|~1571~1243~Grandi, motet, soprano, ss, duet~

*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.~~Three scores|GRA049.2|Score|GRA049.1|~1571~1244~Grandi, duet, motet, soprano, ss~

*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.~~Two scores|GRA057.2|Score|GRA057.1|~1571~2260~Grandi, motet, tenor, soprano~

*Ego flos campi"~This is the transposed version for female voice.~~Two scores|GRA057A.2|Score|GRA057A.1|~1571~2261~Grandi, motet,soprano, mezzo, alto~

*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.~~Two scores|GRA059.2|Score|GRA059.1|~1571~2304~Grandi, motet, tenor~

*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.~~Two scores|GRA060.2|Score|GRA060.1|~1571~2303~Grandi, motet, soprano~

*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.~~Two scores|GRA061.2|Score|GRA061.1|Two scores (Tenor version)|GRA061A.2|Score (Tenor version)|GRA061A.1|~1571~2302~Grandi, motet, alto~

*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.~~Two scores|GRA062.2|Score|GRA062.1|~1571~2300~Grandi, motet, soprano~

*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.~~Two scores|GRA065.2|Score|GRA065.1|~1571~2305~Grandi, motet, bass~

*Jesu mi dulcissime*~This beautiful motet is scored for soprano and continuo, and has some delightful meslimata in the concluding section
~~Two scores|GRA066.2|Score|GRA066.1|~1571~2306~Grandi, motet, soprano~

*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".~~Five scores|GRA075.2|Score|GRA075.1|~1571~3090~SATB, Bc~

*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...~~Four scores|GRA076.2|Score|GRA076.1|~1571~3091~TTT, Bc~

*O intemerata*~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!)~~Three scores|GRA077.2|Score|GRA077.1|~1571~3092~SA, Bc~