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Published Series AIM

Musica Disciplina
(MD)

Corpus Mensurabilis Musicae
(CMM)

Corpus of Early Keyboard Music (CEKM)

Renaissance Manuscript Studies
(RMS)

Musicological Studies and Documents
(MSD)

Corpus scriptorum de musica
(CSM)

Miscellanea
(MISC)

Published Series IMM

Publications of Medieval Musical Manuscripts
(PMMM)

Musical Theorists in Translation
(MTT)

Collected Works
(CW)

Musicological Studies
(MS)

Contents
Introduction   XIII
  The Composer   XV
  The Publications   XXIII
  The "Salmi passaggiati"   XXIX
  The Falsobordone   XXIX
  Basso continuo and Monody   XXXIV
  Text   XXXIX
  Embellishment   XLII
  Tempo and Rhythm   LI
  Modality and Tonality   LIII
  The Performance   LVII
  The Editions   LIX
  Acknowledgments   LXII
  Selected Bibliography   LXIII
  Critical Notes   LXVI
Facsimiles   LXXIX
  Plate I. Salmi passaggiati, 1601 , Title Page   LXXIX
  Plate II. Salmi passaggiati, 1601, Dedication   LXXX
  Plate III. Salmi passaggiati, 1601, Introduction   LXXXI
  Plate IV. Conforti's Handwriting and Signature {1602)   LXXXII
  Plate V. Notice of Conforti's death (1608)   LXXXIII
  Plate VI. Salmi passaggiati, 1602, page 30   LXXXIV
  Plate VII. Salmi passaggiati, 1603, page 51   LXXXV
Salmi passaggiati for Soprano (1601) by G. L. Conforti   LXXXIX
  Dedication   XC
  To the Readers   XCI
   [1.] Laudate pueri. Primus Tonus   1
   [2.] Dixit Dominus. Secundus Tonus   10
   [3.] Laetatus sum. Tertius Tonus   18
   [4.] Confitebor. Quartus Tonus   25
   [5.] Nisi Dominus Quintus Tonus   35
   [6.] Beatus vir. Sextus Tonus   41
   [7.] In convertendo. Septimus Tonus   53
   [8.] Magnificat. Octavus Tonus   61
   [9.] In exitu. Tonus Peregrinus   69
Salmi passaggiati for Tenor (1602) by G. L. Conforti   79
  Dedication   80
  To the Readers   82
   [10.] Laudate pueri. Primus Tonus   83
   [11.] Dixit Dominus. Secundus Tonus   90
   [12.] Laetatus sum. Tertius Tonus   98
   [13.] Confitebor. Quartus Tonus   105
   [14.] Nisi Dominus. Quintus Tonus   115
   [15.] Beatus vir. Sextus Tonus   122
   [16.] In convertendo. Septimus Tonus   133
   [17.] Magnificat. Octavus Tonus   141
   [18.] In exitu. Tonus Peregrinus   150
Salmi passaggiati for Bass (1603) by G. L. Conforti   164
  Dedication   165
  To the Readers   166
   [19.] Laudate pueri. Primus Tonus   167
   [20.] Dixit Dominus. Secundus Tonus   175
   [21.] Laetatus sum. Tertius Tonus   183
  [22.] Confitebor. Quartus Tonus   192
   [23.] Nisi Dominus. Quintus Tonus   203
   [24.] Beatus vir. Sextus Tonus   210
   [25.] In convertendo. Septimus Tonus   218
   [26.] Magnificat. Octavus Tonus   226
   [27.] In exitu. Tonus Peregrinus   236
   (Appendix) Amara Vita   249

Contents
Introduction   XIII
  The Composer   XIII
  The Publications   XVI
  The "Sacred Concertos"   XXI
  Text and Form: Ritornello and Dialogue Motets   XXI
  Polychoral Writing and Concertato Style   XXXV
  Basso Continuo and Monody   XXXIX
  Acknowledgements   XLV
  Selected Bibliography   XLVI
  Critical Notes   XLVII
Facsimiles   LXV
  Plate I. I Sacri Concerti (1600), Title Page   LXV
  Plate II. I Sacri Concerti (1600), Dedication   LXVI
  Plate III. I Sacri Concerti (1600), Basso Generale, Title Page   LXVII
  Plate IV. I Sacri Concerti (1600), Basso Generale, Page One   LXVIII
  Plate V. I Sacri Concerti (1602), Avertimento   LXIX
  Plate VI. I Sacri Concerti (1602), Ripieni, Page One   LXX
Sacri Concerti a due Voci (1600) by Gabriel Fattorini   LXXIII
  Dedication   LXXIV
  Avertimento (1602)   LXXVI
[1] Haec dies   1
[2] Beata viscera   4
  Ripieno (1602)   11
[3] Ipsi peribunt   15
[4] Vanitas vanitatum   20
  Ripieno (1602)   28
[5] Laetamini   32
[6] Dic nobis Maria   35
[7] Cantabant Sancti   42
[8] Sancta Maria   47
  Ripieno (1602)   55
[9] Beate Romualde   58
[10] Si bona suscepimus   64
[11] Benefac, Domine   70
  Ripieno (1602)   76
[12] Audi Domine   78
  Ripieno (1602)   88
[13] Resonent organa   90
  Ripieno (1602)   103
[14] Veni Sancte Spiritus   106
[15] Exaudi Deus   115

Contents
Introduction   XIII
  The Music   XVI
  Cavalieri and Early Monody   XXVIII
  The Date of the Manuscript   XXXIII
  The Performance   XLI
  Acknowledgements   XLV
  Selected Bibliography   XLVI
  Critical Notes   IL
Facsimiles   LXVII
  Plate I. Rome, Biblioteca Vallicelliana, MS O 31, Title Page   LXVII
  Plate II. Rome, Biblioteca Vallicelliana, MS O 31, Opening Page of Music   LXVIII
  Plate III. Rome, Biblioteca Vallicelliana, MS O 31, Enharmonic Passage   LXIX
  Plate IV. Rome, Biblioteca Vallicelliana, MS O 31, Embellished Passage   LXX
The Lamentations of Jeremiah the Prophet   LXXI

I
The Lamentations by Emilio de' Cavalieri   LXXI
[1] Holy Thursday The First Lesson   1
  Incipit Lamentatio   1
  Aleph. Quomodo   1
  Beth. Plorans ploravit   4
  Ghimel. Migravit   7
  Jerusalem   9
[2] Holy Thursday The Second Lesson   11
  Vau. Et egressus est   11
  Zain. Recordata   13
  Heth. Peccatum   17
  Jerusalem   20
[3] Holy Thursday The Third Lesson   22
  Jod. Manum suam   22
  Caph. Omnis populus   24
  Lamed. O vos omnes   28
   [Jerusalem]   30
[4] Good Friday The First Lesson  31
  De lamentatione   31
  Heth. Cogitavit   32
  Caph. Defecerunt   35
  Jerusalem   39
[5] Good Friday The Second Lesson   42
  Lamed. Matribus   42
  Mem. Cui comparabo   44
  Nun. Prophetae tui   47
  Jerusalem   50
[6] Good Friday The Third Lesson   55
  Aleph Ego vir   55
  Beth. In tenebrosis   57
  Ghimel. Sed et   59
  Jerusalem   61
[7] Holy Saturday The First Lesson   63
  De lamentatione   63
  Heth. Misericordiae   63
  Heth. Novi diluculo   64
  Heth. Pars mea   66
   [Jerusalem]   67
[8] Holy Saturday The Second Lesson   68
  Aleph. Quomodo obscuratum   68
  Beth. Filii Sion   70
  Ghimel. Sed et lamiae   72
  Jerusalem   74
[9] Holy Saturday The Third Lesson 76
  Incipit oratio   76
  Recordare   76
  Hereditas   77
  Pupilli   78
   [Jerusalem]   78

II
The Responsories for Holy Week 79
[10] Holy Thursday The First Responsory Eram quasi   81
[11] Holy Thursday The Second Responsory Una hora   86
[12] Holy Thursday The Third Responsory Seniores populi   90
[13] Good Friday The First Responsory Tradiderunt me   94
[14] Good Friday The Second Responsory Jesum tradidit   98
[15] Good Friday The Third Responsory Caligaverunt   103
[16] Holy Saturday The First Responsory Astiterunt   109
[17] Holy Saturday The Second Responsory Aestimatus sum   112
[18] Holy Saturday The Third Responsory Sepulto   116

III
The Lamentations for Holy Week   121
[19] Holy Thursday. The First Lesson   122
  Incipit lamentatio   122
  Aleph. Quomodo   123
  Beth. Plorans ploravit   125
   [Jerusalem]   127
[20] Holy Thursday. The Second Lesson   128
  Daleth. Viae Sion   128
  Mem. Quoniam   132
   [Jerusalem]   135
[21] Holy Thursday. The Third Lesson   136
  Sade. Vide Domine   136
  Zain. O vos omnes   139
   [Jerusalem]   141
[22] Good Friday. The First Lesson. By Duritio Isorelli   142
  De lamentatione   142
  Heth. Non est lex   143
  Lamed. Defecerunt   143
  [Jerusalem]   145
[23] Good Friday. The Second Lesson. By Emilio de' Cavalieri   146
  Aleph. Levemus   146
  Lamed. Judicasti   149
   [Jerusalem]   151
[24] Good Friday. The Third Lesson   152
  Ghimel. Conclusit   152
  Beth. In tenebris   155
  Aleph. Me minavit   157
   [Jerusalem]   158

IV
Alternate Verses for the Lamentations   159
[25] Judicasti   161
[26] Zain. Plauserunt   164
[27] Beth. In tenebris   170
[28] [Aleph.] Me minavit   173
[29] O vos omnes   175
[30] Jerusalem. By Costanzo Festa   178
[31] Aleph. Quomodo sedet   184
[32] Beth. Plorans ploravit   189
[33] Jerusalem   193
[34] Lamed   195
[3S] Beth   196
[36] Ghimel   197

Abstract
Cavalieri’s dramatic setting of the Rappresentatione di Anima, et di Corpo is one of the most important compositions in Western music. Produced in February 1600, in a small room off the right transept of the church of Santa Maria in Vallicella (Rome), Cavalieri called for costuming, staging, scenery, dancing, recitatives, songs, and choruses for his little drama and wanted it all to be sung throughout (except for an introductory dialogue). Cavalieri, in short, composed our first opera, and in an introduction gave invaluable and extensive information for producing such dramas, advice that is as sound and valid for theatrical productions of today as it was back in 1600. This new edition includes all of the music, as well as the libretto with translation, and critical notes.

Contents
Introduction   IX
Acknowledgments   X
Critical Report   XI

Rappresentatione di Anima, et di Corpo   2
All' Illustrissimo et Reverendissimo Signor   4
A' Lettori   6
Avvertimenti per la presente Rappresentatione   8
Avvertimenti particolari   10

O Signor santo, e vero   13
Proemio   17
Atto Primo   23
Scena Prima   23
Scena Seconda   26
Scena Terza   31
Scena Quarta   33
Scena Quinta   38
Sinfonia   45
Atto Secondo   50
Scena Prima   50
Scena Seconda   51
Scena Terza   53
Scena Quarta   58
Scena Quinta   74
Scena Sesta   77
Scena Settima   79
Scena Ottava   91
Scena Nona   95
Sinfonia   102
Atto Terzo   108
Scena Prima   108
Scena Seconda   114
Scena Terza   115
Scena Quarta   119
Scena Quinta   121
Scena Sesta   124
Scena Settima   126
Scena Ottava   131
Scena Nona   134
Festa   147

******
Rappresentatione di Anima, et di Corpo (Libretto)   169
Atto Primo   170
Atto Secondo   175
Atto Terzo   185

******
Aria Cantata e Sonata; al modo Antico   194

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