Page:A Dictionary of Music and Musicians vol 2.djvu/349

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MISERERE.
337
 

{  <<  \new Staff << \time 4/2 \key d \minor \new Voice { \relative d'' { \stemUp d2. d4 d2 d | d1^\cresc d | bes2 ees1 d2 |
  c\breve | bes1\! c2 c4 c | c1 c2 r |
  R\breve | r2^\pp c2. d4 bes a | bes2 ees1 d2 ~ |
  d c4 bes a g fis a | bes\breve | a \bar "||" } }
\new Voice { \relative bes' { \stemDown bes2.\pp bes4 bes 2 bes | a1 f2 f ~ | f ees4 g f2 bes ~ |
  bes a4 g a1 | bes\f a2 a4 a | a1 a2 r |
  R\breve | R\breve } }
\new Voice = "Altus" { \relative g' { \stemDown g2. g4 g2 g | f1 bes | g1 c,2 d |
  f\breve | f1 f2 f4 f | f1 f2 f ~ |
  f4 g ees d ees2. f4 | g1. g2 | g2 c4 c f,2 bes ~ |
  bes a4 g fis g a fis | g\breve ~ | g2 fis4 e fis1 } }
>>
\new Lyrics \lyricsto "Altus" { Mis -- er -- e -- re me -- i De -- _ _ _ us, se -- cun -- dum mag -- nam mi -- _ se -- ri -- cor -- _ di -- _ am, _ _  mi -- _ se -- ri -- cor -- _ di -- am tu -- am. }
\new Staff { \clef bass \key d \minor << \new Voice { \relative b { \stemUp bes2. bes4 bes2 bes | f a d1 ~ | d2 c4 bes a2 bes |
  c\breve | d1 c2 a4 a | a1 a2 r |
  g1 g2. f4 | ees2 ees' d d ~ | d c4 c c2 bes |
  g a a1 ~ | a2 g4 fis g1 | a\breve } }
\new Voice { \relative e' { \stemUp s\breve*8 | g1 f | ees2 ees a, d | d\breve | d } }
\new Voice { \relative g, { \stemDown g2. g4 g2 g | d'1 bes | ees f2 bes, |
  f\breve | bes1\f f'2 f4 f | f1 f2 r |
  c1 c2. d4 | ees2. f4 g1 | g,2. a4 bes1 |
  c2 c4 c d1 | g,\breve | d' } } >> }
>> }


The second Verse is sung, in unisonous Plain Chaunt, to the Second Tone, transposed.

{ \clef bass \key d \minor \cadenzaOn { bes\breve c'1 bes \bar "|" bes\breve a1 f g \bar "||" }
\addlyrics { Et_secundum_multitudinem_miserationum_tu -- a -- rum: dele_iniquita -- tem me -- am } }

We first meet with the Abellimenti in the third Verse, which is sung in the form of a Concertino—that is to say, by a Choir of four choice Solo Voices. In the following example, the text of the Faux-bourdon is printed in large notes, and the two Abellimenti—one at the end of each clause—in small ones.[1]

{ \override Score.Rest #'style = #'classical << \new Staff << \time 4/2 \key d \minor
  \new Voice { \relative d'' { \stemUp d2. d4 d2 d4 d | d2 r d4 d d d
    d1 c | \tiny ees4 d d2 r4 d2 f4 | ees4. d8 c8. d16 bes4 c2 \once \set suggestAccidentals = ##t cis |
    d\breve | d\fermata | \normalsize ees2 ees4 ees ees2 ees |
    d1 d2 \tiny r | g1. c2^\pp ~ | c bes aes g | \once \set suggestAccidentals = ##t fis1.. g16 f ees f |
    g\breve ~ | g\fermata \bar "||" } }
  \new Voice = "altus" { \relative b' { \stemDown bes2. bes4 bes2 bes4 bes | bes2 r bes4 bes bes bes |
     bes1. a2 ~ | \tiny a g bes1 ~ | bes r |
     bes2\f a8. bes16 g4 a1 | a\breve | \normalsize c2 c4 c c2 c |
     bes1 a2 \tiny d ~ | d c c1 _~ | c\breve _~ | c _~ | c _~ | c2 b4 a b!1_\fermata } }
>>
\new Lyrics \lyricsto "altus" { Am -- pli -- us la -- va me ab in -- i -- qui -- ta -- te me -- _ _ _ _ _ _ a Et a pec -- ca -- to me -- o mun -- _ da -- me. }
\new Staff << \clef bass \key d \minor 
  \new Voice { \relative g' { \stemUp g2. g4 g2 g4 g | g2 r g4 g g g |
    f1 f | \tiny bes,2. a4 g2 g' | g\breve ~ |
    g1 ~ g2 fis8. g16 e4 | fis\breve | \normalsize g2 g4 g g2 g |
    g1 d2 \tiny r | ees\breve\pp | c ~ c |
    ees2 d4 c ees2 d4 c d\breve } }
  \new Voice { \stemDown g2. g4 g2 g4 g | g2 r g4 g g g |
    bes1 f | \tiny g ees ~ | ees\breve |
    d\breve | d_\fermata | \normalsize c2 c4 c c2 c |
    g1 fis2 \tiny r | c'\breve aes _~ aes |
    g _~ g_\fermata } >>
>> }

In describing this beautiful passage, Mendelssohn says, 'The Abellimenti are certainly not of antient date; but they are composed with infinite talent, and taste, and their effect is admirable. This one, in particular,[2] is often repeated, and makes so deep an impression, that, when it begins, an evident excitement prevades all present.… The Soprano intones the high C, in a pure soft voice, allowing it to vibrate for a time, and slowly gliding down, while the Alto holds its C steadily; so that, at first, I was under the delusion that the high C was still held by the Soprano. The skill, too, with which the harmony is gradually developed, is truly marvellous.'

The unisonous melody of the fourth Verse serves only to bring this striking effect into still bolder relief.

{ \clef bass \key d \minor \cadenzaOn { bes\breve c'1 bes \bar "|" bes\breve a1 f g \bar "||" }
\addlyrics { Quoniam_iniquitatem_meam_ego_cog -- nos -- co: et_peccatum_meum_contra_me est sem -- per. } }

The fifth Verse is sung like the first; the sixth, like the second; the seventh, like the third; and the eighth, like the fourth: and this order is continued—though with endless variations of Tempo, and expression—as far as the concluding Strophe, the latter half of which is adapted to a Double Chorus, written in nine parts, and sung very slowly, with a constant ritardando, 'the singers diminishing or rather extinguishing the harmony to a perfect point.'[3]

  1. The accidentals in brackets are undoubtedly due to the caprice of individual Singers.
  2. That is, the last shewn in our example.
  3. These words are Burney's. Adami's direction is, L'ultimo verso del Salmo termina a due Cori, e però sarà la Battuta, Adagio, per fuirlo Piano, smorzando poco a poco l'Armonia.