Music in the Archives of the Basilica of Santa Maria in Trastevere Author(s): Beekman C. Cannon Source: Acta Musicologica, Vol.

41, Fasc. 3/4 (Jul. - Dec., 1969), pp. 199-212 Published by: International Musicological Society Stable URL: http://www.jstor.org/stable/932387 . Accessed: 31/03/2011 16:16
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Elements in the Laude andDramatic Narrative H. E. Smither: Filippine

199

and year, as in AppendixI. Column2 lists the numberof lauda texts in each book. (A lauda dividedinto two partsis listed as a single lauda.)Column3 lists the numberof texts with narrativeand dramaticelementsfirst printedin each book, and column 4 lists the in parentheses are those assignedto the numberreprinted. In columns3 and 4 the numbers and dramatic laude in AppendixII. Column5 lists the total number of texts using narrative of elementsin a given book, includingthose first printedand reprinted.The percentages column6 show the relationship betweenthe numbersof columns3 and 2; the percentages of column 7 show the relationship between the numbersof columns 5 and 2.

Musicin the Archives of the Basilica of SantaMariain Trastevere*

BEEKMAN C. CANNON (NEW HAVEN/CONNECTICUT)

For a number of reasons Santa Maria in Trastevere is one of the most renowned of the ancient Basilicas of Rome. It is justly famous for its architectural beauty, its superb mosaics and its artistic treasures. In contrast to its obvious visual splendors, music has not been known to be one of its distinguished adornments. Yet, Baroque organ cases provide some evidence of musical activity, as they do in many other ancient Roman churches partially or completely redecoratedduring the late sixteenth and seventeenth centuries. Further evidence that music played an active role at least during the seventeenth century in many of the great Basilicas and churches of Rome such as Santa Maria may be deduced from contemporaryanthologies of sacred music, like those published by R. Floridus, Canonicus de Silvestris e Barberano, and Giovanni Battista Caifabri. The great majority of their contents are by the leading composers of sacred music in Rome, whose current posts are generally identified. From these sources it is evident that the post of Maestro di Cappella in Santa Maria in Trastevere was regarded as one of importance in the seventeenth century. From the same sources we know that from 1645 until 1662 Silvestro Durante directed the music in Santa Maria, and that his successor still occupied this post in 1675. By 1693 the learned writer, teacher and composer, Angelo Berardihad become Maestro di Cappella. It is generally impossible to flesh out these snippets of information, however, without access to the relevant archives. Unfortunately, as experience has often
* Die Schriftleitung begliickwiinscht den Verfasser, daB es ihm gelungen ist, eine Genehmigung zur Bekanntgabe dieses vor allem fiir die Musikgeschichte des 17. Jahrhunderts wichtigen Fundes zu erhalten. Aus Zuschriften von Herrn Prof. Dr. FriedrichBlume vom 27. August 1958 und 29. April 1969 an den Schriftleiter geht hervor, daB der durch seine Arbeiten iiber die paipstliche Kapelle bekannte Dr. Hermann-Walther Frey (t) bereits seit 1955 erfolgreiche Nachforschungen in Santa Maria in Trastevere nach Werken A. Berardis durchfiihrte und auch dessen bisher unbekanntes Sterbedatum (9. April 1694 ,,aetatis suae an. circ. 58") feststellen konnte.

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proved, the contents of the archives of many Roman churches have been lost, while others have been strippedof all but a few remnants of musical prints and manuscripts, or fragments of account books, etc. Permission to examine them is usually difficult to acquire, sometimes impossible and, without unlimited time at one's disposal, such investigations may be fairly characterizedas dubious occupational hazards. During a fruitless search of the archives of the Confraternita di San Giovanni in Fiorentino, I was surprised to learn that the archives of Santa Maria in Trastevere still contain a quantity of music. With the generous assistance of Principessa Margherita Rospigliosi of the American Academy in Rome, permissionwas at length obtained to spend two hours a day for one month in the archives. This limitation of time made it possible to examine and list the music contained in the archives up to the first decades of the eighteenth century. In addition to the manuscriptsthe quantity of the prints, together with complete sets of part books, makes this collection exceptionally valuable to scholars of this period and justifies publication of this check-list. All the archives of the Basilica of Santa Maria in Trastevere are stored in a large room high up above the Sacristy, adjacent to the organ chamber behind the case in the south transept. Only a few panes of glass remain in the large windows of this room, but heavy shutters prevent wind and rain from reaching the manuscripts and prints stacked on open shelves along the inner walls. No serious leaks in the roof are apparent, but the sunny exposure and general airiness of this room probably account for the lack of serious damage to the paper from dampness. Both prints and manuscripts are wrapped in ordinary paper, tied up with twine in packages six to eight inches thick. The contents of these bundles, which appear to have been assembledfairly recently, are not orderedby consistent chronology, type of materials, composer, or even by the dimensions of the pages of music. They are shelved, however, in roughly chronological sequence. No catalogue or inventory resulting from this effort or any earlier one was located, nor did the priest in charge know of any. Examination of the volumes of church records also in the archives revealed no references to the appointment of Maestri di Cappella, nor to expenses for music or musicians. Analysis of these materials does yield some concrete information about sacred music in Santa Maria during the seventeenth century. It also raises a number of questions which cannot be answered without additional evidence and further study. It will be observed, first of all, that no manuscripts and only three prints are dated prior to 1600. (Only two prints date from the eighteenth century, which is not surprising in view of the sharp decline in the publication of sacred music in Rome at the seventeenth century.) The retention and preservation of a quantity of the music in use in the church seems to have commenced within the period of extensive rebuilding, redecoration and embellishment which began at the turn of the sixteenth century. Stemming from the time of Pope Sixtus V (1585-90) and Pope Clement VIII (1592-1605), the ancient mosaics were restored, the elaborate Cappella Altemps erected, the ceilings of the transepts installed, and many new pictures and decorations acquired. In the first decades of the seventeenth century further extensive embellish-

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ments were made. The most notable of these is Domenichino's magnificent ceiling of the Nave which was commissioned by Cardinal Pietro Aldobrandini, nephew of Clement VIII, and completed in 1617.1 It is also probable that the organs with their balconies high up on the walls of the transepts were installed during this period of energetic renewal. The Inventario of 1624, in the Archives, contains the following description (f. 154): Organie chori per ii musici.Organouno grande,posto in alto nel muroalla bandedella con tre divisioni,e con archi, nelle canneapparenti detta di StradaCupa:repartito Cappella e colonni di legno indorato;il suo palcho e choro per le musici pure di legno indorato, et ornato di varie pittura,e con le sue gelosie. Un altro palco grandesenta(?) Canne,di manifattura simile, ma non indorato,e posto in del Sigr.Duca Altemps,e non finito, il alto a fronte del sudettodella bandadella Cappella al soprad.Choridue per li musici quale dovra servireper un altro da farsi corrispondente con sui paochettidi albuccio,e gelosie, posti nel pavimentoa i lasi del choro grandede' Sigri.Canonici,e dietro alle Sechilide Benefitati. This appears to be the only reference to musical furnishings in any of the inventories. The preponderanceof music published after 1650 in the archives is of course most striking. The majority of the manuscripts, including those of Angelo Berardi, also come from the second half of the century. By comparison, the musical repertory of the years from 1585 to 1650 is only partially represented,perhapsby those collections that continued in use for the longest time. Some of the prints show evidence of much heavier use than others, but virtually all are complete. There are two part books for each vocal part in all collections of music for more than four voices. The repertory itself, though largely by composers working in Rome, and particularly by such prolific writers as Francisco Foggia and Bonifatio Gratiani, includes a considerable number of works by membersof the Bolognese School. There are no Oratorios, Historiae, or even dramatic Dialogues to startle the ears of the faithful or attract the cognoscenti. Sacred music in Santa Maria seems to have been almost entirely concerned with the liturgies of Mass and Vespers. The printed music and the autograph manuscripts by Angelo Berardi, Maestro di Cappella nell'Insigne Basilica di Santa Maria in Trastevere from 1693 until his death, the date of which is still unknown, is in many ways the most notable feature of the musical archives. Prints and manuscripts number altogether over two hundred and fifty items, and represent a comprehensive collection of his work throughout his entire career. Born between 1630 and 1640, Berardi was Maestro di Cappella of the Cathedral of Viterbo in the '60s when his music was first published. Dates of subsequent publications and his own dating of some of his manuscripts provide evidence of creative activities during his successive posts as Maestro di Cappella at Santa Croce in Tivoli, "Professore Armonico e Maestro di Cappella" at the Cathedral of Spoleto, Canon of the Collegiate Church of S. Angelo in Viterbo, and, finally, as Maestro di Cappella at Santa Maria. Two of the prints appear to be unique copies,the SacriConcentusLiberPrimusof 1664, and the Psalmi Vespertina Opus 9 of 1682. The existence of such a quantity of his music in manuscript has been heretofore unS. Maria in Trastevere (Le Chiese di Roma) (Rome 1933), p. 42. I Carlo CECCHELLI,

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known. This collection thus provides ample material for a thoroughly comprehensive monograph on Angelo Berardi as composer, critic and theorist, which, it is hoped, may be soon undertaken. The checklist of the contents of the archives which follows is not designed to provide scholars of seventeenth century Italian Sacred Music with a conclusive catalogue, but with the most vital information requiredfor further study and research. Limitations of accessibility and of time for examining and listing both prints and manuscripts, to which I have previously referred, lead necessarily to the omission of some details frequently included in standard catalogue procedures. For example, the name and position of a patron to whom a given publication is dedicated, often found in a title page, are not given. Positions and titles of composers themselves, which some of them delight in listing, are included only when such information may assist in the identification of works by lesser known composers. On the other hand, I have reproducedas accurately as possible the most essential information found on the title page of each item. Thus I have deliberately not modernized or corrected typographical errors or inconsistancies, archaic spellings of words and irregular capitalizations of initial letters, nor have I rearrangedeccentric word order to conform with standard musical catalogue procedures. Unfortunately, in a few instances, the names of publishers, which have been standardized, are missing where the title pages are illegibly stained or damaged. No feature of seventeenth century bibliographies of printed materials are more bothersome than the spelling of the composers' or editors' names. This problem springs, of course, from the carelessness or vagaries of the original editors and printers themselves. Recently scholars have adopted the natural procedure of standardizing certain names. At times, these modernizations seem to be somewhat questionable. One such example, prominent in this check-list because of the inclusion of ten published collections, is the Roman composer, Bonifatio Gratiani. The editor of Die Musik in Geschichte und Gegenwart, following the example of Gaetano Gaspari and other lexicographers, but not Robert Eitner, substitutes Z for T in both first and last names. In all of his works contained in the collection of Santa Maria and in the majority of others, with which I am familiar, his patronymic is spelled Gratiani. In only one of the ten works listed is his first name spelled Bonifacio rather than Bonifatio. Because it seems to me more accurate if less conventional to use his own spelling of his name I have retained it in this list. In other instances, where variations occur in the spelling of a composer's name from one edition to another I have employed the standard spelling for the alphabetical entry, but have also included the composer's name as spelled in the title page of each work. Where there are no variants of this nature I have omitted the composer's name within the title itself. The manuscripts are generally stored within their original covers. In listing the actual pieces I have grouped those which are found separately and those found collectively under the liturgical classifications provided by the composer, or under Miscellaneous. I have listed the liturgical designations, titles and/or incipits as given

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on the covers or as the heading of each separate manuscript piece. To further assist in identification I have supplied missing headings in square brackets. It is not certain that all the manuscripts of Berardi'smusic are autographs, though the majority certainly are. He seems to have been at pains, however, to identify his own works by inscribing his own initials, "AB", in a noticeably ornate script, on the cover page of each composition. For reasons of clarity this check-list is presented in three parts: Printed Music, Seventeenth and Eighteenth Century Manuscripts, and Music by Angelo Berardi. I. PrintedMusic Anonymous: CantusEcclesiasticus PassionisDominiNostriIesuChristiSecundum Marcum, Matthaeum, Lucam& Ioannem.
Roma, 1586.

LiberPrimus,Verba Evangelista. LiberTertius,VerbaTurbarum. Anonymous: iuxta ritumCapellaeSanctissimae. CantusEcclesiasticus Officii MaiorisHebdomodae

Roma, 1587.

Anonymous: Cantus EcclesiasticusPassionis D.N. Iesu Christi secundumMatthaeum,Marcum, Lucam& Ioannemiuxta Ritum CappellaeS.D.N. Papaeac Sacrosanctae BasilicaeVaticane... Sumptibus Io. BaptistiCaifabri.
Roma, 1689.

LiberPrimus,VerbaEvangelista. LiberSecundus, VerbaChristi. Agazzari,Agostino: Missae Quattuor tam Organis quampleno choro accomodataequarumduae quattuor cum Basso ad Organum. vocibus, altera quinquepostremauero octo Concinnuntur, AuctoreAugustinoAggazario... OpusDecimumseptimum ...
Venezia, B. Magni, 1625.

Anerio, GiovanniFrancesco: ac Te NativitatisDominiuna cum invitatorioet psalmoVenite Exultemus, Responsoria Deum laudamus, Ternis,quaterniset octonis vocibus... Roma, G. B. Robletti, 1614.
Messarum Quatuor, Quinisque et sex vocibus. Missa Quinque pro defunctis . . . cum

Bassoad organum. Roma, G. B. Robletti, 1614. LitaniaeDei parae Virginis.Maioresde Ea Antiphonaetemporalis& Motecti Septem Octonisquevocibus. ..
Roma, P. Masotti, 1626.

Messe a quattrovoci, le tre primedel Palestrina,Cionda Papa Marcelloridottaa 4 da Gio. FrancescoAnerio, Iste Confessor& Sine Nomine: la Quarta della Battaglia,delAnerio, con il BassoContinuoper I'organo. I'istessoIo. Francisco
Roma, L. Grignani, 1646.

ed diligenter Mansuetam Franciscum Missa pro defunctisnoviterimpressa per Reverend. cumadditiones correctaa PetroPauloSabbatini, Tractus,& BassiContinuocommoditati canentum...
Roma, L. Grignani, 1649.

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Antonelli, Abundio: Abundio Antonellio Metropolitanae Cappellae Beneventanae Modoratore Sacrarum Cantionum quae & quaternis & quinis ac senis vocibus concinuntur ... cum basso ad organum. Roma, B. Zannetti, 1614. Caifabri, Giovanni Battista: Scelta de' Motetti da Cantarsi a due, e tre voci Composti in musica da diversi Eccellentismi (sic) Autori Romani Raccolta dal molto Rev. Sig. D. Francesco Canallotti, Benefitiato della Basilica di S. Lorenzo in Damaso e Dati alle stampe da Gio. Battista Caifabri. Parte Prima. Roma, G. Fei, 1665. Sacras Cantiones ab excellentissimis musices auctoribus binis, ternisque vocibus suavissimus modulis concinatas Jo. Baptista Caifabrius in lucem edendas curavit. Secunda Pars. Roma, A. Belmonte, 1667. Scelta di Motetti Sacri Raccolti da diversi Excellentissimis (sic) Autori a 2. e 3. voci... da Gio. Battista Caifabri. Roma, succ. Mascardi, 1675. Salmi Vespertini a quattro voci concertati e brevi con l'organo per tutte le feste dall'anno di diversi eccellentissimi autori. Raccolti da Gio. Battista Caifabri. Opus IV. Roma, V. Mascardi, 1683. Capece, Alessandro: Alexandri Capocii Interamnatis In Seminario Romano Musicae Moderatoris Responsoria una cum Motecto ac Reliquis quae in sacris Domini Natalibus concinuntur Binis, Ternis, Quaternis, Senis atque Octonis vocibus cum Basso ad organum. Roma, L. A. Soldi, 1623. Casini, Giovanni Maria: loannis Mariae Casini Organi Maioris Ecclesiae Florentinae Modulatoris et Sacerdotio Praediti Moduli Quatuor Vocibus Opus Primum. Roma, V. Mascardi, 1706. Cima, Tullio: Ecclesiasticae Modulationes in hoc libro quinto Binis ac Ternis vocibus, Organo concinendae ... Roma, G. B. Robletti, 1656. Vespertina Psalmodia Missa et Litaniae B. Maria Virginis Tribus vocibus, Organo Concinendae ... Opus 7. Roma, G. A. Mutii, 1675. Colonna, Giovanni Paolo: Salmi Brevi per tutto I'anno a otto voci von uno o due organi se piace... Opera Prima. Bologna, G. Monti, 1681. Messe Piene a otto voci con uno, 6 due Organi se piace ... Opera Quinta. Bologna, G. Monti, 1684. Messe, Salmi e Responsori per ii Defonti, a otto voci pieni ... Opera sesta. Bologna, G. Monti, 1685. Il secondo libro da Salmi brevi a otto voci, con uno o due Organi se piace, con il Te Deum . . . Opera settima. Bologna, G. Monti, 1686. Motetti Sacri a Voce Sola con due Violini... Opera Seconda. Bologna, P. M. Monti, 1691. Psalmi Octo Vocibus ad ritum Ecclesiasticae Musices concinendi & ad primi, & secundi Organi Sonum accomodati, Liber Tertius... Opus undecimum. Bologna, P. M. Monti, 1694.

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Cortellini, Camillo: Letanie della B. Vergine a cinque, sei, sette et otto voci, Di Camillo Cortellini detto il Violino. Venezia, G. Vincenti, 1615. Constantini, Fabio: Selectae Cantiones excellentissimorum auctorum octonis vocibus concinendae . . . da F. Constantini. Roma, B. Zannetti, 1614. Cossoni, Carlo Donato: Delli Motetti a Due, e Tre voci, con le Letanie della B. V. Maria a 3 ... Opera Prima. Venezia, F. Magni, 1665. Salmi a otto voci Pieni, e Brevi, per li Vespri (sic) di Tutte le solennita dell'anno ... Opera Terza. Bologna, G. Monti, 1667. Inni a voce sola, con Violini, per tutti li Vesperi, le quattro Antifone del' anno e il Tantum Ergo in quattro modi con Violino a beneplacito. Opera quarta. Bologna, G. Monti, 1668. Diruta, Augustino: Viridarium Marianum in quo Deiparae Virginis Letaniae, et Hymni, quaternis, quinis, senisque vocibus, una cum Basso ad Organum decantantur... Opus XV. Roma, G. B. Robletti, 1631. Hymni Pro Vesperis Totius Anni, quatuor & quinque vocibus ad organum concinendi... Opus XIX. Roma, L. Grignani, 1646. Fabri, Stefano: Salmi Concertati a cinque voci di Stefano Fabbri Romano Gil Maest. di Cap. in S. Maria Maggiore. Roma, G. Fei, 1660. Falusi, Angelo Michaele: Responsoria Hebdomadis Sanctae, Una cum Benedictus, Miserere ac Antiphonis quatuor vocibus cum organo, Auctore P. Mag. Fr. Michaele Angelo Falusi Romano Ord. Min. Convent SS. Theologiae Doctore, ac in Basilica SS. XII Apostolorum de Urbe Cappellae Magistro. Opus Primum. Roma, (?) V. Mascardi, (partly illegible) 1684 2 Filippini, Stefano: Salmi a cinque voci, brevi per tutto 1'anno, da cantarsi von I'organo, e senza, da Steffano Filippini M. D. C. in S. Giovanni Evangelista di Rimini. Opus VI. Bologna, G. Monti, 1670. Florido, R.: R. Floridus Canonicus de Sylvestris a Barberano, Has Quatuor Missas ab excellentissimis Musices Auctoribus Suavissimus modulis quatuor, quinque et octo vocibus concinnatas, curavit in lucem edendas. Roma, G. P. Collini, 1651. R. Floridus . . . Psalmos Istos ab excellentissimis Musices Auctoribus Suavissimis modulis Tribus diversis Vocibus concinnatos in lucem edendos curavit. Roma, I. de Lazzari, 1662. R. Floridus . . . Sacras Musicales octo vocibus, et pro processionibus, Auctore R. Bernardino Vannino Cathedralis Viterbiensis olim Musices Praefecto in lucem edendas curavit. Roma, I. de Lazzari, 1666.
2

on title pages of two of the part books, "ad usumAngeli Berardi." Inscribed

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Florimi, Giovanni Andrea: Salmi Pieni a otto voci con il Te Deum del P. Gio. Andrea Florimi Servita da Sienna Opera Seconda. Bologna, G. Monti, 1669. Foggia, Francisco: Concentus Ecclesiastici duarum, trium, quatuor et quinque vocum Auctore Francisco Foggia Romano Sacrosanctae Lateranensis Ecclesiae Musicae Praefecto. Roma, L. Grignani, 1645. Psalmi Quaternis vocibus auctore Francisco Foggia Romano Sacro Sanctae Lateranensis Basilicae Musices Praefecto. Roma, I. de Lazzari, 1660. Sacrae Cantiones tribus vocibus paribus sine Cantu pro quolibet Sanctorum Communi, una cum Motectis de omni tempore, Litanijs, e Salve Regina B. M. V. Auctore Francisco Foggia Romano in Basilica insigni S. Laurentii in Damaso Moderatore, ad maiorem commoditatem, concinendae. Opus VIII. Roma, G. Fei, 1665. Psalmodia Vespertina quinque vocibus concinenda ad Organi sonum accomodata, Auctore Francisco Foggia Romano in insigni Basilica S. Laurentiis in Damaso Musices Praefecto, Liber Secundus, Opus Decimum tertium. Roma, A. Belmonti, 1667. Messe a Tre, Quattro e Cinque Voci Di Francesco Foggia Romano ... Opera Decimaquinta. Roma, G. A. Mutii, 1672. Letanie a tre, quattro, cinque e sei voci, di Francesco Foggia Romano, Maestro di Cappella nell'insigne Basilica in S. Lorenzo e Damaso. Opera Decimasesta. Roma, G. A. Mutii, 1672. Francisci Foggiae Romani Basilicae S. Laurentij in Damaso de Urbe, Musicae Moderatoris. Octo Missae quaternis, quinis, octonis, novensisq. vocibus concinendae. Roma, G. Fei, 1673. Gastoldi, Giovanni Giacomo: Salmi Per Tutto I'anno a cinque voci col suo Basso Continuo a beneplacito di Gio. Giacomo Gastoldi. Novamente Ristampati. Bologna, G. Monti, 1673. Ghizzolo, Giovanni: Messe. Parte Per Capella Et Parte Per Concerto a quattro e cinque Voci & una per li Defonti. Con Basso per I'Organo di Giovanni Ghizzoli Maestro di Capella della Veneranda Arca di S. Antonio di Padoua Opera Decimanona... Venezia, A. Gardano, 1625. Giamberti, Giuseppe: Antiphonae et Motecta Festis omnibus propria et communia iuxta formam Breviarii Romani. Una cum plurimis quae Dominicis per Annum aptari possunt, Binis, ternis, quaternisque vocibus concinendae. Auctore Josepho Giamberto Romano. Roma, G. B. Robletti, 160so. Girelli, Santino: Salmi Intieri a cinque voci con il Basso Continuo per I'Organo di Santino Girelli da Brescia con un Dixit & Magnificat Concertati. Venezia, A. Vincenti, 1626.

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Grandi, Alessandro: Salmi Per i Vesperi di Tutto I'anno con le litanie delle B. V. Te Deum e Tantum Ergo a quattro voci pieni di Alessandro Grandi Maestro di Cappella della Catedrale di Rimini. Opera Seconda. Bologna, Marino Silvani, 1692.3 Graziani, Bonifazio: 11secundo libro de Motetti a due, tre, quattro, cinque e sei voci di D. Bonifatio Gratiani Maestro di Cappella nella Chiesa del Giesu e Seminario Roma. Roma, V. Mascardi, 1652. Bonifacii Gratiani In Ecclesia Domus Professae & in Seminario Romano Musices Praefecti Responsoria Hebdomadae Sanctae. Quatuor vocibus concinenda, Una cum organo si placet. Roma, I. de Lazzari, 1663. Litanie della Madonna a tre, quattro, cinque, sette e otto voci di Don Bonifatio Gratiani ... Opera XI. Roma, G. Fei, 1665. Antifone della Beatissima Vergine Maria Soliti Ricitarsi tutto I'anno doppo l'offizio Divino Ciod sette Salve Regina, due Alma Redemptoris Mater, due Ave Regina, et due Regina Caeli Composte in Musica a Quattro, Cinque e Sei Voci dal Signor Don Bonifatio Gratiani Gia Maestro di Capella nella Chiesa del Giesui, e Seminario Romano, Opera Decima Terza.4 Roma, G. Fei, 1665. R. D. Bonifacii Gratiani In Ecclesia Domus Professae Societatis Jesv, & SeminarioRomano iam Musicae Praefecti, Psalmi Vespertina quinis Vocibus concinendi. Opus Quintum. Roma, G. Fei, 1666. 11 Primo libro delle Messe a quattro e cinque, del Signor D. Bonifatio Gratiani Opera Decima Ottava. Roma, G. A. Mutii, 1671. Inni Vespertini per tutte le principali Festivita dell'anno composti in Musica a tre, quattro, e cinque Voci, alcuni con i Ripieni da Bonifatio Gratiani ... Opera XXI. Roma, V. Mascardi. 1673. Psalmi Vespertini Dominicales quinque Vocibus cum Organo e sine Organo decantandi Auctore Rev. Bonifacio Gratiano ... Lib. I. Opus Quartum. Roma, V. Mascardi, 1674. II Secondo Libro delle Messe a quattro, cinque e otto voci di D. Bonifatio Gratiani ...

OpusXXII.

Roma, succ. Mascardi, 1674. Motetti a due, tre, quattro, e cinque voci di Don Bonifatio Gratiani ... Opus XXIII. Roma, V. Mascardi, 1674. Massenzio, Domenico: Davidica Psalmodia Vespertina Integis & Ripartita, in totius anni Festivitatibus Quaternis vocibus ad novum Ecclesiasticum modum, una cum Litaniis Beatae Mariae Virginis decantanda, Et gravi ad organum Parte depulsanda da Domenico Massentio Lib. 7.

OpusXVII.
Roma, P. Masotti, 1643. Mazzocchi, Virgilio: Piae Meditationes de Passione D. N. Iesu Christi da Virgilio Mazzacchio quae in Vilacana Sanctissimi Crucifixi Cappella Sextus feriis per annum concinuntur. Roma, L. Grignani, 1648. 3 An earlier edition of the print dated 1707 in Bologna, Biblioteca del Conservatorio, CatalogiaII, p. 238). to Angelo Berardi. 4 This collectionis dedicated
(GASPARI:

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Melani, Alessandro: Delectus SacrorumConcentuum binis, ternis, quaternis, quinisque vocibus Concinendus ... Auctore Alexandro Melano Ristoriensi in Ecclesia Sancti Ludovici Nationis Gallorum Musicae Praefecto. Liber Secundus. Roma, V. Mascardi, 1673. Merula, Tarquinio: Arpa Davidica con Artificiosa Inventione composta, la quale da tre, quattro voci contrapuntizata obligata a non pidiviste maniere con insolita Vaghezza risuona Salmi et Messa concertati con alcuni Canoni al fine . . . Opera 16. Venezia, A. Vincente, 1640. Mortaro, Antonio: Canzoni da Sonare a quattro voci con due a otto con il suo Basso per l'organo del Antonio Mortaro di Brescia. Venezia, 1623.5 Palestrina, Giovanni: Ioannis Petri Aloysii Praenestini Sacrosanctae Basilicae Vaticanae Cappellae Magistri Hymni Totius Anni. Roma, J. Tornerius & B. Donangelus, 1589. Penna, Lorenzo: I1 sacro Parnaso delli Salmi Festivi, e Brevi per Tutto I'anno a 4 & 8 voci se piaci aggiunti' li Quattro all' uso Carmelitano di F. Lorenzo Penna... Opera 8. Bologna, G. Monti, 1677. Petrobelli, Francesco: Musiche Sacre Concertate con Istromenti di ... Opera Ottava. Bologna, G. Monti, 1670. Piazzi, Carlo: Messe da Capella a quattro voci ... Opera Prima di Carlo Piazzi Maestro di Capella nel Duomo di Cremona. Bologna, G. Monti, 1680. Sabino, Mario Psalmi de Vespere a quattro voci del Cavalier Mario Sabino da Turi Maest. Di Capella della Chiesa del Castello Novo. Napoli, A. Magnetta, 1627. Stamegna, Nicolo: Sacrorum Concentuum Binis, Ternis, Quaternisque Vocibus Auctore Canonico Nicolae Stamigna Hyspellate, & in Ecclesia S. Jacobi Nationis Hispanorum Musicae praefecto Liber Primus . .. Roma, G. Fei, 1670. Steffani, Agostino: Psalmodia Vespertina Volans Octo Plenis Vocibus Concinenda ... dicata ab Augostino Steffano . . Roma, G. A. Mutii, 1674. Turini, Francesco: Messe da Capella A quattro e cinque Voci con il Basso Continuo, Libro Primo Di... Venezia, B. Magni, 1643. Vanini, Bernardino: See under Floridus.
5

This collection, listed in J. G. WALTHER, Musicalisches Lexicon, p. 423, is probably a later print of the edition of 1611 cited in Die Musik in Geschichte und Gegenwart.

B. C. Cannon: Musicin the Archivesof SantaMariain Trastevere II. Seventeenth and Eighteenth Century Manuscripts

209

(All Ms in parts unless otherwise indicated.) Agostino, Paolo: Missa Regina Concertato. SATB+-SATB+ Bc. Amadori, Giuseppe: Beatus Vir. 1715. A+SATB+VV+Bc. Anerio, Giovanni Francesco: Missa pro defunctis. SATB. Antonelli, Abundio: Missa Speravi. SATB+SATB+Bc. Benevoli, Orazio: Magnificat. SATB+SSATB+Bc. Casali, Giovanni: [Three Antiphons for the Assumption] [Assumpta est Maria] SAT+Bc. [Maria Virgo assumpta est] SAT+Bc. [In odorem unguentorum] SAT+Bc. Celani, (Giuseppe C.?): Motet, Cara Mea. SAT+Bc. Durante, Francesco: Messa per i Defuncti. (ad usum Insignis Basilicae S. Mariae Trastyberese). SATB+Bc. Foggia, Francesco: Messa a 4. SATB+Bc. Motet: Ecce panis Angelorum. SAT+Bc. Galeano, Mara: Messe a 5. SSATB+Bc. Giamberti, Josepho: 2 Missae a 4. SATB+Bc. Jommelli, Nicol6: Sequenza Victimae Paschali Laudes a 6. Score. SSATTB+Bc. [Landi?], Stefano: Missa a 5. SSATB+Bc. Lanciani, Flavio: Laudate Pueri. Score. A + SATB+ SSATB+Bc. Melani, Alessandro: Laudate Pueri a 5 con Ripieno. 1688. SSATB+SATB +Bc. Portelli, Giuseppe: Magnificat a 4. Concertato. SATB+Bc. Motet: Quo tres cinque. 1721. SS+Bc. Ratti, Lorenzo: Missa sine nomine. SATB+SATB +VV+Bc. Messa do re mi fa sol la. SATB+Bc. Scarlatti, Alessandro: Missa a 4. SATB+Bc. Simonelli, Matteo: Te Deum a 4 pieni e breve. SATB. Victoria, Thome Ludovici: Benedictus Dominus Deus Israel. SATB. Zazzeia, Domenico: Hymnes in Festo Apostolorum: Exultet orbis gradius. S+VV+Bc. (3 settings). Celestis urbs lerusalem. 1678. SATB+Bc. Vexilla Regis. 1688. SATB+Bc. Credidi. 1689. Score. S+SATB+Bc. Laudate Pueri. Octtobre (sic) 1689. S+SATB+SATB+Bc. Ziretta, Joseph: Quinque Antiphoni diversis vocibus in utrisque Vesperis Assumptionis BMV. SATB+Bc. III. Music by Angelo Berardi. Prints Sacri Concentus Binis, Ternis, Quaternis, Quinisque vocibus concinendi. Liber Primus Roma, G. A. Mutii,1660. Missa Pro Defunctis cum Sequentia & Resp. Libera me Domini. Roma, G. A. Mutii, 1663. Salmi Concertati a tre Voci Di Angelo Berardi da S. Agata Maestro di Cappella nel Duomo di Viterbo Libro Secondo, Opera Quinta... Bologna, G. Monti, 1668. Angelo Berardi A S.Agata in Eccl. Cathedrali Viterbien Musicae Praefecti Sacri Concentus Binis, Ternis, Quaternis, Quinisque vocibus... Concinendi. Liber Secundus.

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Roma, G. A. Mutii, 1669. Psalmi Vespertini quator vocibus Concinendi cum Organo ad libitum. Una cum Missa ad Organi sonum accomodata... Opus 8. Roma, G. A. Mutii, 1675. Psalmi Vespertini. Ternis Quaternis Quinis Senisque vocibus concinendi ad organi sonum accomodati. Una cum Missa quinque voccibus Opus 9. Bologna, G. Monti, 1682. Musiche diverse Variamente Concertate per Camera a due, tre e 4 voci del Canonico D. Angelo Berardo... Opera XIII. Bologna, G. Monti, 1689. Manuscripts (In Parts unless otherwise indicated) 1. Masses Missa sine Nomine a 4. Roma 2. 1673. Score. SATB. Missa sine Nomine a 5 et a 9. Tivoli 1676. SSATB+SATB. Missa Exaltati Deo a 5 et a 9. 1676. Parts & Score. SSATB+SATB. Missa Octavi Toni sex vocibus. 1679. Parts & Score. SAT+STB. Missa Beata Mater a 4. Parts & Score. SATB+Bc. Missa a 4. SATB+Bc. Missa Tui sunt Coeli a 4. SATB+Bc. Missa brevis octo vocibus a 2 chori. SATB+SATB. Missa octo vocibus Panis Angelicum. Score. SATB+ SATB+ Bc. Messa a 8. Score. SATB+SATB. Missa Gaudeamus omnes a 9. Parts & Score. SSATB+SATB. Missa Octavi Toni a 12, 3 Cori. SSAT+SATB +ATTB. Missa sine nomine a 16v. SSAT+SATT+SATB+ATTB. Missa brevis defunctorum. Parts & Score. SATB+Bc. 2. Alleluia Alleluia qui timent Dominus. In Dom. XXII post Pent. Parts & Score. SATB+Bc. 3. Antiphons In Assumptionis BMV. 1680 2. Maria Virgo assumpta est. Parts & Score. BB+Bc. In die Assumpt. BMV. 1. Assumpta est Maria. Parts & Score. SSSS. 2. [Maria] Virgo assumpta est. ATB +VVV+Bc. In Assumptionis BMV. 1. Assumpta est Maria. Unison. 2. Maria Virgo assumpta est. Unison. 3. In odorem unguentorum. Unison. 4. Benedicta filia. Unison. 5. Pulchra es et decora. Unison. Ad Magnificat 1.: Hodie Maria Virgo. Unison. Ad Magnificat 2.: Assumpta est Maria. Unison. In die Circumcisionis et Purifactionem. 1. O admirabile commercium. Score. SS+Bc. 2. Quando [natus es]. Score. SS+Bc. 3. Rubum quem. Score. SS+Bc. 4. Germinavit [radix Jesse]. Score. SS+Bc. In Commrune Apostolorumiet Evangelii in Primis Vesperis. 1677. 1. Hoc est praeceptum. SAT+Bc. 2. Maiorem caritatem. SS+Bc. 4. Beati pacifici. SS+Bc.

Musicin the Archivesof SantaMariain Trastevere B. C. Cannon: In Commune Apostolorum in Secundis Vesperis. 1677. 1. luravit Dominus. SSS+Bc. 3. Dirupisti Domine. ATB + Bc. Commune Ded. Ecclesiae. 1678. 1. Domum tuam. SS+Bc. 2. Domus mea. ATB+Bc. 3. Hic (sic) est domus Dominus. AT+Bc. Commune in Dedication. Eccles. 1. Domum tuam. TTB. 2. Domus mea. TTB. 3. Hic est Domus. TTB. 4. Bene fundata est. TTB. 5. Lapides pretiosi. TTB. Ad. Magni. in primis Vesperis: Sanctificavit Dominus. TTB. Ad. Magni. in secundis Vesperis: O quam metuendus est. TTB. Ad missam Introit: Terribilis est. TTB. In Dedicat. Ecclesiae. Ad. Magni. in primis Vesperis: Sanctivicavit Dominus. Parts & Score. BBB+Bc. In Commune unius Martiris extra tempus Paschale. 1675. 1. Qui me confessus. SS+Bc. 2. Qui sequitur me. SSB+Bc. 4. Si quis mihi ministraverit. ATB + Bc. In Fest. BMV. 1. Dum esset rex. Parts & Score. SB+ Bc. 3. Nigra sum. Parts & Score. SAT+Bc. In Festo St. Trinitatis. 1674. 1. [Gloria tibi Trinitas] SAT + Bc. 3. [Gloria laudis resonet] SAT+Bc. 4. [Laus Deo Patri] SAT+Bc. In Nativitatis. 1679. 1. Omnes Sancti. SS+Bc. 3. Corpora Sanctorum in pace. ATB+Bc. In Primis Vesperis. 2. Cum palma ad regna. SSB+Bc. In Secundis Vesperis. 1. Isti sunt Sancti. SSB+Bc. 2. Sancti per fidem. TTT+Bc. 4. Absterget Deus omnem. AT+Bc. Ad Magnificat: Gaudent in caelis. B+Bc. Per Confessori Pontefici. 1672. 1. Ecce sacerdos magnus. SS. 2. Non est inventus. SSAA. 3. Ideo jure jurando. ATB. Corpora Sanctorum in pace sepulti. SS+Bc. In caelestibus regnis. 1683. TTBB+Bc. 4. Graduals Adiutor im opportunitatibus. In Septuagesima. SS+Bc. Beatus Vir qui timet. Graduale unius Mart. SSB+VV+Bc.

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Bonum est confiteri. In Dom. XV post Pent. SS+Bc. Christus factus est. Feria 4 (?) In Coena Domini. Parts & Score. SATB. Constitues eos principes. Commune Apostolorum. SSATB+Bc. Domine refugium. In Dom. XXI post Pent. SATB+Bc. Inveni David servum meum. In Festo Mariae Pont. SSATB+VV+Bc. Laetatus sum in domum homini. In Dom. XVIII Post Pent. SSATB+Bc. Locus iste. In Dedicat. Ecclesia. Parts & Score. SS+Bc. Oculi omnium in te speravi. In Dom. XX post Pent. et in Corp. Chr. Parts & Score. SSATB+Bc. Propter veritatem et mansuetudinem. In Assumptionis BMV. Parts & Score. SSATB+VV + Bc. 5. Hymns Ave Maris Stella. SSATB+VV+Bc. Soli & Ripieni. Deus tuorum militum a 2 Cantores con Viol. e Ripieno. Parts & Score. SSATB+VV+Bc. In Nativitate Iannis Baptiste. [Ut queant laxis]. 1672. SATB+Bc. Victimae Paschali laudes. Six settings. SATB. 6. Introit See under Antiphons Commune in Dedication. Eccles. 7. Offertories Bonum est confiteri. SS+Bc. Gloria et honore. SSB+VV+Bc. Ad te Domine levavi animam meam. SATB+Bc.

8. Psalms
Beatus Vir a 6. Score. 1677. SSATTB Confitebor tibi Dominus a 6. 1676. SSATTB. Credidi a 8 pieno breve. SATB+SATB. Domine ad Adiuvandum, a 5 et a 9 con Instromenti. SSATB+SATB +VV+Bc. In exitu Israel a 8 Breve. Score. SATB+SATB. Laudate Pueri a 4. Parts & Score. SATB+ Bc. Laudate Pueri a 6. Parts & Score. SSATTB+Bc. Miserere mei Deus a 4. SATB. 9. Specific Liturgies Feria VI in Parasceve. Improperia. SATB. Popule meus. SATB. Sepulto Domino. Parts & Score. SATB. Mandatum novum. Parts & Score. SATB. In die Ressurectionis. Introit. a 4. [Resurrexi] SATB. Sequentia a 4. [Victimi Paschali laudes] SATB. Offertorium a 4. [Terra tremulit] SATB. 10.Manuscripts without liturgical designations Motetti 1677. Convertimini ad me. Parts & Score. SATB. Derelinquat. Parts & Score. SATB. Ecce nunc benedicite. SSATB+SATB +Bc. Ecce sacerdos magnus. SATB+Bc. In te Domine speravi a 8 piene brevi. 1680. In te Domine speravi. SSATB+ SATB+ VV + Bc. Iustorum anima in manu. SAATT+Bc. Magnificat a 4. Score. SATB.