MISSA GAUDEAMUS

MISSA IOSQVINI
Mvsici Excellentissimi Super Gaudeamus

by Josquin Des Prez

(ca. 1440-1521)

Transcribed and edited by Richard St. Clair

1996

Josquin Des Prez - Missa Gaudeamus Notes by Richard St. Clair, editor/transcriber for this version

hy do we return to the music of long-bygone days for spiritual nourishment? Could it be that such music represents to us something pure and untrammeled, something we have lost in our headlong rush to tame the earths wildness and make its resources our plaything? Such concerns were assuredly unknown to the composer Josquin Des Prez, a great luminary genius of the High Renaissance in Europe. Born around 1440 and living until August 1521, Josquin (a nickname for his original Belgian name, Josse) had many concerns, primarily regarding his duties as a composer for the church. Though born in Flanders, Josquins talents as both singer and composer brought him first notice and then acclaim throughout European chapels and royal courts where he sang or presented his music. He had a lengthy stint on the Papal Chapel Choir at the Vatican. He was highly thought of in his own time, in which he was accorded the honorific moniker prince of music, a term reserved for but a handful of the finest composers. Among his admirers was the Reformationist leader, Martin Luther. Though Luther revolted against the Catholic Church, he nevertheless retained a fondness for its sacred part-music, particularly that of Josquin, of whose mastery he spoke in profoundly reverential tones. Josquins music was not restricted to providing liturgical support for the Church: he composed many secular pieces on amorous themes, as was typical for composers throughout the Renaissance. It is, however, his music for the church that has made Josquin famous. As Josquin died in August, it is fitting that this Mass - whose feast namesake is celebrated in August - is being performed 475 years after his passing. Our selection is a Mass which Josquin composed sometime before 1500 for one of the major Catholic feasts - the Assumption of the Blessed Virgin Mary. This Mass carries the name Missa Gaudeamus because Josquin adapted the music of a famous Gregorian Chant by that name and molded it into a multivoice or polyphonic composition of his own making. When composers of the Renaissance so borrowed a pre-existing piece of music as a platform upon which to build their own music, they customarily named the new piece according to the name of the borrowed music. Hence, a Mass using the Gaudeamus chant is called Missa Gaudeamus or Missa super Gaudeamus (Mass based upon Gaudeamus). The Gaudeamus chant is the very first music of the service which one hears -- called the introit or opening. It announces the Mass in a bold cantorial intonation. When we say a composer wrote a Mass we need to explain this. The Mass of the Catholic Church is a complicated and lengthy rite. To set to music all of the daily prayers (called the propers of the Mass) was not considered necessary and would have been onerous, not to say necessitating an extraordinarily long service. Hence, composers of the Renaissance, and many composers to this very day, set only those parts of the Mass which were sung each and every day (called the ordinary of the Mass). Those sections are titled Kyrie Eleison (Lord , Have Mercy), Gloria in Excelsis Deo (Glory to God in the Highest), Credo in Unum Deum (I Believe in One God), Sanctus (Holy), and Agnus Dei (Lamb of God). As these prayers are the most highly venerated texts of the Mass, the composers who wrote polyphonic Masses went to considerable lengths to create music of enduring beauty and grandeur which some have compared to the great cathedrals of that era. When sung at Mass, the music provided by the composers the ordinary (hardly ordinary in a musical sense!) - was then interspersed with single-voice (monophonic) Gregorian chants for the daily prayers. In his Missa Gaudeamus, Josquin has incorporated the general outline of the Gaudeamus chant in a manner called paraphrasing. The net effect of this technique is usually to round the edges off the chant and make it almost invisible except to the singers themselves, who would be extremely familiar with the chant, having sung it dozens if not hundreds of times in their singing of the Mass. Add to that the fact that this paraphrased chant is surrounded by three other vocal lines, each in their own way elaborating upon or

ii

freely diverging from the paraphrased chant melody, and one is scarcely able to discern the original chant melody at all. Given all this obscurantism, then how can this elite musical technique interest us now? Perhaps because the opening six notes of the Gaudeamus introit are made to stand out vividly against the otherwise serene flow of this ornate tapestry. Those six notes, G-A-A-E-F-E, have a sweep to them, starting low and launching upward where it levels off a fifth higher. Sometimes Josquin uses this bare outline of notes and sometimes he fills in it in with stepwise melody. Josquin was clearly struck by and even enamored of this motif, for he uses it throughout the Mass, sometimes as a cantus firmus inner voice, sometimes as a descant melody atop all the other voices, and sometimes in imitation between two or more voices, but far more so than any other part of the chant melody. The closing Agnus Dei section of the Mass, on the text Dona nobis pacem (grant us peace) is a cascade of this motif in various transpositions and imitations -a resounding musical denouement to the music of his Mass and a powerful reprise recalling the opening notes of the chant which began the Mass. The manner of composing by the Renaissance masters is much different from any music since then. First off, the different voice parts are extremely fluid and crisscross each other continuously. There is no tune to follow - instead, we hear a sinuous continuous melody which is going on simultaneously in different ways in all of the voice parts. Secondly, the harmony of this music is not like the crystal clear tonality of Bach, Haydn or Beethoven: it is not conceived as melody plus accompaniment -- rather, it is the harmonious co-sounding of independent yet interdependent melodies. Further, it does not have themes to latch onto, nor does it have sections and harmonic markers called cadences except at rare moments of transition or section endings. There are no trumpets and drums, no bells and whistles. It is a subtle style of music whose great power is felt subtly. The Renaissance style is a thing unto itself which we are obliged to approach on its terms if we are truly to appreciate it. How then do we listen to this music? It might be likened to watching the ocean, where waves continuously break over each other, sometimes large and sometimes small. Sometimes there are periods of near calm. It is music for meditation, prayer, or reflection. It is not music which sets out to seduce us with its allure, yet it has its own pure kind of allure. If one is listening for a catchy melody or beat, one will be disappointed. But if one is willing to listen, be aware, and be carried along on this ocean of sound, one will find the voyage quietly exhilarating and fascinating. It is truly the music of heaven and earth.

iii

Editorial Notes In preparing this edition of Josquins Missa Gaudeamus, I first consulted the edition of Albert Smijers published in 1927. What followed was a search into the various manuscripts and prints. I decided early on to base this new transcription upon a single manuscript source, the particularly fine Cod. Mus. 46 at Stuttgarts Wrttembergische Landesbibliothek. This choirbook is of 16th century vintage, on paper, and measures about 15 by 19. The Missa Gaudeamus is the fourth and last mass in the choirbook, contained in folios 103v 139r. The title page for this mass reads: Missa Josquini, musici excellentiss[imi], super Gaudeamus in bold lettering from one to two inches in height. As this is a performing edition for SATB mixed choir, a few difficult decisions were reluctantly made. The Et in spiritum sanctum section of the Credo has a tenor part without text (aside from the opening words Et is spiritum). For this reason the decision was made to call this line an instrumental part rather than attempt a highly conjectural underlay for the Tenors. (It is left to the discretion of the performers as to the specific realization of this instrumental line.) Instead, the Altus part is divided between Altos and Tenors in an antiphonal style, which additionally solves the problem of the very low writing in parts of the Altus. In doing this the editor retained the integrity of phrasings; i.e., only phrases set off by rests were imported from the Alto line to the Tenor line. There are variant readings between the Stuttgart MS and other sources. Occasionally a rest in the one is filled by a note in the other. Accordingly, the reading in the Stuttgart MS was respected throughout, with the sole exception of an obvious mistake in the Bassus part in the Benedictus (our m. 10), in which the bottom note of the ligature reads an erroneous B. This creates a stylistic impossibility and is corrected in other original sources for the Mass. Hence the editor silently corrected this obvious error. It was also decided to dispense with the academically valid but visually confusing indication of ligatures by brackets except, and only in, those cases where it was felt necessary to underlay two ligatured notes. In all other instances ligatured notes are not underlayed by more than one syllable. Text underlay which does not come directly (whether literally or by reasonable inference) from manuscript indications is indicated in italic print. The relaxed manner of writing underlay during Josquins time indicates a high degree of expertise among the singers, which is to say, a high degree of skill which obviated the necessity for hyper accuracy of notation (particularly, underlay). Nevertheless, it is necessary for the modern editor to specify exact underlay. Every attempt was made to respect the underlay in the MS, but whenever so doing was awkward vocally or conceptually, an attempt was made to find a more elegant solution. The final version decided upon here is not presented as authoritative urtext: any transcriber or performer of music of this period, i.e. one who studies the music from original sources and not modern editions, is continually humbled by the futility at deciding upon any single underlay solution. This solution represents what the editor considers to be his best solution at this time. However, creative musicians are invited to consult the original sources and make any changes they feel would be an improvement upon the solutions given here. Justification for musica ficta solutions will not be offered in detail at this time. The prevailing esthetic herein is to minimize ficta usage except when there is a clear-cut inflection around a 7-6 pre-cadence figure, or when the line requires the perfecting of the augmented 4th. The numerous transpositions in the Agnus III of the Gaudeamus head-motif do not lend themselves to a consistent literal transposition of the whole-tone at first and the half-tone at the end. Therefore, in those cases where a diminished vertical fifth would occur by applying una nota super la the vertical perfect fifth was preferred. This occurs at the conclusion of the Mass, where it is highly unlikely that the composer would have caused such an intrusive discord, particularly over the text dona nobis pacem.

iv

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124

lus

tis -

al

tis - si

T.

mus

al

tis

. .
Chri

B.

? w
124

al

si

mus

Ie -

-15-

.
-

su

lus

al

tis

S.

&
130

Ie -

- su Chri -

J
-

A.

&

130

T.

V .
130

ste.

si

mus

.
Ie - su

.
Chri

B.

?
130 135

Ie

si - mus

- su Chri -

S.

& & V
135 135

ste,

A.

Ie

su

T.

B.

135

Chri

w
-

b
-

te,

te,

Ie -

ste.

su - Chri

ri

.
3 3

in

- te,

S.

& &
140

140

Cum

San
3

w
3

cto
3

.
3

w
Spi

tu

A.

Cum

San

cto

T.

V
140

San -

cto

3 .
3

Spi

ri -

- tu

w
3

in

w w
-

glo - ri
3

w
- tu

Cum

Spi

B.

140

Cum

San

.
cto

3 .

ri -

.
in

Spi -

-16-

ri - tu

S.

&
145 145

ri -

w
a

glo

de -

.
3

.
3

w
-

A.

& .
a

glo

de

.
3

pa

T.

V w
145

B.

? w
145

in

ri - a

w
3

de

.
-

tris.

w w
pa -

w
a

pa

w
-

glo

ri

de

S.

&
150

pa -

tris.

tris.

.
3 3

.
3 3

w w

A -

A.

&

150

T.

V
150

B.

?
150

w
A -

w
-

tris.

S.

&
155

.
3

w
-

w
3

w
3 3

U w

men.

A.

&

155

T.

V
155

w .

w
-

men.

w w
-

B.

?
155

-17-

men.

U w U w

U w

men.

III. Credo

Soprano

3 &2
1 1

j .
- trem

Alto

3 &2 3 V2 w
1 1

Pa

Tenor

trem

om -

.
-

om - ni - po - ten

j . .
-

Pa

trem

w w

tem, om -

Bass

? 2 . 3 J
Pa trem

Pa

.
-

. J
om -

ni - po

ten -

- tem

ni -

po - ten

tem

S.

&
5 5

.
-

w
tem

fac

om

ni - po - ten

A.

& V .
5

ni - po - ten - tem

. .

fac -

T.

j . j j . j . j - to - rem coe - li et ter w. . .

to - rem coe - li

. J

et ter -

B.

? .
5

.
-

. w
si -

vi

vi

S.

& . J
10

vi -

- li -

si - bi - li -

A.

& V
10 10

10

T.

w.
si

rae

- rae

si - bi - li - um

om

ni -

in

vi

. w. w.
-

.
bi -

um

om

- um

w
-

B.

? . J
um

bi

li

. J
om -

om - ni

om

ni

um
-18-

ni - um,

et

in -

S.

&
15 15

.
-

j
et

#
um

A.

& . j . V
15

um

in - vi - si - bi - - li

T.

ni - um

et

b
in vi

si - bi - li

um

et

B.

?
15 19

um

et

bi -

in -

- vi - si

bi

li

um,

et

vi

si

li - um,

Et

S.

&
et

do -

.
mi - num

j
Ie -

in u - num

sum Chri

. J
-

stum

- li - um

. J

A.

&

19

T.

V
19

19

j j . . in u - num do - mi - num Ie - sum Chri - stum w.

in u -

.
mi

- li -

. j . j .
i u -

de -

- um de

B.

?
in u
23

j .
num -

do

num

num

Ie - sum

Chri - stum

S.

&
i

A.

&
23

23

.
-

T.

V . ? .
23

j . j
- ni - ge

u - ni - ge -

. J
-

. .

.
-

j
-

ni - tum

- li - um de - i

- ni - tum et

ex pa

j . .
-

B.

. J
u -

ni -

-19-

S.

& w &
27

27

j .
-

. . b
-

Et

b
ex pa -

tre

.
-

na

A.

tre na
T.

w
tum

V
27

27

w w

w. .
Et

et

ex

pa - tre

. w
na

j
-

tum

B.

?
ge -

ni

ge

ni

tum,

pa -

tre

{.
et na

J
-

S.

&
31 31

A.

& w
31

{ j j . .
ni tum, -

ex

tum

.
la

T.

{ . j V
an ex
31

an

te

{
-

om - ni - a

.
-

pa - tre na - tum

te

om - ni

se

B.

? . b . b J J
-

.
an -

- -

{
cu -

te

.
om -

tum

S.

j & .
35

A.

&
35

an

te

. J
om -

ni - a

j . . J w w w.
-

se -

T.

V .
35 35

se

.
-

cu - la

B.

?
- ni -

.
a se - cu -20-

se

.
-

w.

cu

la

de

la

. . . . J J J J
se -

S.

j & . w.
40

b .

A.

&
40 40

cu - la

T.

V w.

40

de

um,

w. w.

de - um de

de

w.

j
-

de - um de de

. j

w.

w
o

B.

? . J
44

um

.
de

J
o

{
w
de

cu

la

de - um de

S.

j & J
o, lu - men de

A.

& V
44 44

44

lu - mi - ne

um

T.

w.
ve -

lu

men

de

j j w.
lu - mi - ne -

de

ve - rum

de

#
de - o ve

[
-

de - um ve - rum

w.

de

de

w.
o

ve

B.

?
48

de de - o

J J
lu - men de

de

um

lu - mi - ne,

- um ve - rum

S.

& &
48

ro,

ge - ni - tum

non fac - tum

con - sub - stan

ti - a - lem

.
pa - -

A.

ro
T.

V
48

48

w.

ge - ni - tum

w.

non fac

tum con - sub - stan

w.

ti - a

w
-

ti -

lem

B.

? . . J J
de de - o

rum,

de

b
non fac - tum,

.
con - sub - stan -

ve - ro, ge - ni - tum
-21-

S.

&
52 52

.
-

per

A.

& . V
52 52

tri

per quem om - - ni - a,

quem om - ni - a

T.

pa

tri

per

w.
ro,

quem om

.
ni - a fa -

de
3

B.

? & b
56 56

{
-

b
lem

ve

{.
J

S.

pa

fac

ta sunt,

. J
qui prop - ter

tri

per

quem om - ni - a fac - ta

. j
nos ho -

{ . J
sunt, qui prop-ter nos

prop - ter nos -

- mi - nes et

A.

& V .
56 56

- cta sunt

T.

B.

{ . . ? J J
ho - mi-nes et prop - ter nos-tram sa - lu - tem,

qui prop - ter

nos

ho - mi - nes

et prop - ter nos - tram sa -

w . J
- scen

et prop - ter

de -

no

stram sa - lu -

S.

&
60 60

tram sa - lu - tem

de - scend - dit de coe

. J
-

. . J J
-

[ U

lis.

A.

& . j V
60 60

lu - tem de - scen

T.

- dit

j .

de

coe

. J
-

j . w.
-

w. w.

lis.

U. w U
w.

B.

dit

de

coe

lis.

-22-

de -

tem de-scen-dit de coe

lis,

scen - dit

de coe - lis.

Et Incarnatus
S.

&2 2
66

w
Et

A.

&2 w 2
66

in

car -

B.

?2 2
66 73

Et

in - car

na - tus

est

de

j .

na

tus

est

spi - ri - tu

san -

S.

& & ?
73 79 73

de

spi - ri

. j
tu

A.

B.

. j w
-

san -

. j .

Et

.
-

in - car

na - tus

est

S.

&
79

ri -

A.

& ?
79 85

cto.

Ex

Ma

ri

vir

j .
-

B.

spi

- cto.

Ex

Ma

ri

et

de

tu

san

cto.

S.

&
85

A.

j & .
vir - gi - ne,

gi

ne

w
Ma
-23-

ex

B.

?
85

w
ex

{ w

Ma

- ri - a

{
vir - a vir -

gi

ri

- gi

S.

& . J
91

w
mo,

et

et

ho

ho

A.

&

91

ne

B.

? w
91

et

ho -

mo,

w
et

ho - mo

{ w

fac -

ne

ho - mo

S.

&

97

mo

fac -

tus

est.

A.

& ?
97

97

B.

w
-

tus

est.

Cru - ci

xus,

Cru

ci

xus,

cru - ci -

fac

tus

est.

Cru - ci -

xus,

S.

&
103 103

A.

& ?
103 109

cru - ci

xus e - ti - am

pro no

cru - ci

B.

sub

bis

xus

e - ti - am

cru - ci

xus

e - ti -

xus

e - ti - am,

cru - ci

xus

e - ti - am pro no

S.

j & .
Pon - ti - o Pi - la

to pas

A.

&

109

B.

?
109

am pro no

bis

sub

-24-

Pon - ti - o

Pi - - la

#
-

[-

sus

to

pas - sus et

bis

S.

&

115

. J

et

j . . J #

A.

&
115

115

tus

w
est.

se

B.

? & &
121

pas -

- sus et

se - pul -

. j
-

pul

tus

est.

est.

re -

se - pul - tus

Et

S.

121

et

.
re

A.

B.

?
121 127

Et

re

w
xit

- sur - re

xit

sur - re

xit

ter - - ti - a

se -

di

j . .
-

ter -

di -

.
-

- sur - re

S.

& &
127

ti - a

A.

di

j .
-

B.

?
127

#
e

ter - ti

J
-

.
cun

dum

se

- cun - dum scrip

j
-

scrip -

- dum

tu

- e

se - cun

scrip - tu

ras

S.

. &
133

- tu

ras

et

as - cen - dit in coe

[
-

A.

& . ?
- ras
133

133

B.

et as - cen -

dit in

coe - lum

se - det ad

dex

te

et as - scen - dit

in coe
-25-

lum, se - det ad

dex - te - ram pa -

S.

&
139

A.

&
139

lum, se - det ad

dex - te - ram

pa - - tris

et

B.

139

tris

ram

pa - tris, pa

. j w
-

et

. J
tris

i - te et ven - tu - rus

i - te - rum

S.

& &
145

145

i - te - rum ven - tu - rus est

w
-

. j
cum

A.

B.

? w
151

145 rum

ven - tu -

rus

ext

glo - ri - a

cum

glo

j .
-

iu - di - ca - - re

iu - di

vi - vos

ri - a

glo - ri - a

est

cum

iu - di

S.

& . & . ?
151 151

j
vi -

et mor - tu - os,

et

mor -

os

cu -

tu

os

A.

ca

re

B.

- vos et

157

ca

mor -

. j
-

ius

tu

cu -

re

cu

re - gni

non

S.

&
ius re -

.
cu -

- gni,

non

ius

re - gni

e - rit

nis.

w w

A.

& ?
157

157

re

ius

B.

gni

non

J
-

rit

e - rit

-26-

nis.

nis.a

Soprano

&2 2
163

Et in Spiritum Sanctum

Alto

&2 2
163

Et

in

Spi - ri - tum

Et

in

ri - tum

w w
San -

Tenor

V2 2
163 163 163

[=Altus]

Instrumental

V2 w 2 ?2 2
Et

[Et

w
in

Spi

Bass

b w

et

w
vi -

w .
-

Spi - ri - tum

San - ctum do - mi - num

S.

& b
169

A.

&

169 ctum

do - mi - num

T.

169

Inst.

V w
169

San - ctum do - mi - num

et

vi - vi - -

B.

169

in

et

Spi -

w w

- -

w w

S.

&
175 175

vi - - - can

A.

& V
175

can - tem,

T.

et

tem, vi - vi - - - can

vi - vi - - can -

#
-

[-

tem

tem

vi

vi - - can - tem

dit,

Inst.

V w
175

B.

?
175

ri

b
ex pa - - tre

Qui ex pa - - tre,

tum]

J
li - o - que
-27-

ce -

Qui

pro - ce

pro

S.

& b
181

- tre

A.

&

181

Qui

T.

V V

181

ex

pa

w w w
-

w
-

w
- li -

w
-

qui

w w
pro -

ex

pa - tre

181

Inst.

B.

?
181

w w
- ce -

- li - o

w w

S.

&
187

A.

j & .
187

que

dit,

pro -

- ce -

qui

w
-

ex

- dit,

T.

187 que

pro

ce - dit,

pro - ce

qui

ex pa

tre

Inst.

V w
187

w w
tre

w .
qui

dit,

B.

? w
187

ex

dit,

pa - tre

. #
-

que

S.

&
193

- li - o

.
que

pa

w
pro

li - o

ce

A.

&

193

T.

V V

193

- li - o - que

pro - ce - dit

w w

w w w

193

Inst.

B.

?w
193

w w
-28-

lio - que pro - ce -

pro

ce

dit

S.

&
199

dit, qui

tre

.
-

b
-

A.

&
199 199

ex

pa

T.

V V
199

dit,

ex

- li - o - que

Inst.

qui

pa - tre

o - que

pro

- li

B.

199

.
pro -

- dit,

b .
li -

S.

&
204 204

.
pro -

o - que

pro - ce

A.

& . V
204

- ce -

T.

ce

dit,

ce - dit,

pro

.
-

Inst.

Vw
204

.
pro

j .
-

B.

?
204

qui

ex

.
-

dit,
S.

pa - tre

li - o - que

pro - ce -

dit,

Qui

& &
209 209

209

et

- ce -

A.

pa

- dit

Qui

cum

pa

T.

V V
209

Qui

cum

Inst.

B.

?
209

ce

dit

pa

tre

- li - o

w
-29-

cum

tre

.
et -

w J .
et

et

- li - o,

li - o,

S.

& &

214

et

214 tre

- li - o

A.

si

mul

a - do - ra

.
-

T.

214

w
glo -

.
-

Inst.

V w
214

w
-

si

mul

a - do - ra

w .

B.

?
214

li

et o

si

mul

S.

& &
219

219

con

.
-

a - do - ra

tur

A.

ri

J
-

ca

tur

T.

V
219

Inst.

V w
219

b
-

tur

b
et

w w
et

w w

con

glo

B.

? bw
219 224

tur,

b
a

S.

& &
224

si

A.

mul

.
a - do - ra

do

ra -

tur

tur

con - glo - ri - - ca - tur,

T.

V .
224

Inst.

Vw
224

224 ri

J
-

w
a - do - ra

si

mul,

si

mul

- - ca - tur,

B.

?
si -

mul

tur

et
-30-

con - glo - ri - - ca - tur,

S.

& .
229

A.

& V V
229

229

et

con -

glo

j
-

ri -

[
-

- ca -

w
- tur

w w

Qui

a - do - ra - tur

T.

et

con - glo - ri

ca

tur

w w

Qui

lo -

229

Inst.

B.

?
229

.
-

.
-

.
-

con - glo

- ri

ca

tur

S.

&
234

lo -

A.

&

234

cu

T.

234

tus

est,

w
-

tus

qui

lo

cu

w
Qui

Inst.

Vw
234

w w

lo

. w w

cu

w w

est

w w

per

w w w

w w w

B.

?
234 241

tus

cu

est

per

bw
-

S.

& w &
241

A.

est

per

tus

pro - phe

. j w
-

pro

U U U U U

tas.

T.

V w V w ? w
241

241

241 pro

phe

Inst.

w w

w
-

w
tas.

w w w

w w

B.

phe

bw

-31-

tas.

Et Unam Sanctam
S.

3 & 2 .
248

A.

3 &2
248 248

Et

nam

san

ctam

ca - tho - li - cam

et

a - pos -

T.

3 V 2 . ? 2 . 3
248 252

Et

b
u

nam

. .

b
san -

ctam

. .

ca - tho - li - cam

. .

et

B.

S.

&
to - li - cam ec - cle

.
-

A.

& .
252

T.

V .
252

a - po - sto - li - cam

j ec - cle . .

[
si -

- si . .

B.

? .
252

S.

& w
255

am

con - - - te

A.

&

255

T.

V w.
255

am

con

- te - or

or

u -

num

bap -

w.
-

num bap - tis

w.

B.

? .
255

re

con - - te

J
-

.
u -

or

J
-32-

num

bap

J
tis -

S.

j & . J
258

tis

ma

.
re -

in

J
-

.
- mis

si - o

J
to

nem

pec -

A.

&

258

T.

V
258

w ma
-

.
si -

in

re

mis - si - o - nem pec

nem pec - ca -

- ca .
-

B.

?
258 261

mis

.
in

ma

re - mis - si

. J
o - nem pec

- o

. J
-

- to

J
-

ca - to

J
-

rum

rum

S.

&
- ca - to -

. .
ex - spe -

et

A.

& V
261 261

261

rum

rum

et

cto

re - - sur - rec - ti - o - nem

.
-

T.

B.

?
264

Et

.
et

.
ex -

.
spe -

J
cto

S.

& &
264 264

ex - spe

A.

cto

re

sur - re - cti - o - nem

j
-

.
mo -

J
-

tu -

T.

V . ?
264

mor

- .

w.
ex -

tu

B.

.
re -

sur - rec - ti - o - nem

mor - tu - o

J
-

rum,

mor

J
-

-33-

S.

& j J
267

[
-

rum

et

vi - tam

ven - tu

j .
3 3

ri se

j .
3

[
cu

2 2 2 2 2 2 2 2

A.

&
267

T.

V
267 267

rum

re -

et

j .
3 3

3 3

vi - tam

ven

B.

? .

spe - cto

tu - o

J
-

sur - rec - ti
3

rum

et

. 3 J
3

o - nem

mor

vi

tam

ven - tu

3. 3 J
-

- tu - o - rum

S.

&2 2
270

A -

A.

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