% This is an edition of Sibylla Samia by Orlande de Lassus prepared by
% Francis Hemingway (music@francishemingway.com) based on the CPDL edition (www.cpdl.org)
% by Brian Russell (CPDL #16135), which I checked against two sources, the first of which is a modern edition, and the second is the earliest
% known manuscript, housed in the Austrian National Library.
% 1. di Lasso, Orlando. "Sibylla Samia," in Prophetiae Sibyllarum, edited by Reinhold Schlötterer (Kassel, Germany: Bärenreiter, 1990).
% 2. Vienna, Österreichische Nationalbibliothek, Musiksammlung, Mus. Hs. 18.744
\version "2.10.33"
#(ly:set-option 'point-and-click #f)
\include "english.ly"
\header {
title = "5. Sibylla Samia"
subtitle = "from Prophetiae Sibyllarum"
composer = "Orlande de Lassus (1530 or 1532-1594)"
%mutopia-specific headers:
mutopiatitle = "Sibylla Samia"
mutopiacomposer = "LassusOd"
mutopiainstrument = "Voice (SATB)"
date = "Mid-to-late 1550's"
source = "Vienna, Österreichische Nationalbibliothek, Musiksammlung, Mus. Hs. 18.744"
style = "Renaissance"
copyright = "Creative Commons Attribution-ShareAlike 3.0"
maintainer = "Francis Hemingway"
maintainerEmail = "francis@francishemingway.com"
lastupdated = "2008/Dec/8"
% moreinfo = "
% This edition is based on the Choral Public Domain Library edition by Brian Russell (CPDL #16135), which I checked against two sources, the first of which is a modern edition, and the second is the earliest known manuscript, housed in the Austrian National Library. Apart from halving on note lengths, only two changes have been made from the manuscript source: the b natural in the tenor part in bar 25, which is needed to follow the rules of musica ficta and the last two words of the cantus part have been repeated: although they are not explicitly written out, a repeat is indicated, and this seems the most sensible interpretation. Not
%
% - di Lasso, Orlando. "Sibylla Samia," in Prophetiae Sibyllarum, edited by Reinhold Schlötterer (Kassel, Germany: Bärenreiter, 1990).
% - Vienna, Österreichische Nationalbibliothek, Musiksammlung, Mus. Hs. 18.744
%
"
footer = "Mutopia-2008/12/10-1602"
tagline = \markup { \override #'(box-padding . 1.0) \override #'(baseline-skip . 2.7) \box \center-align { \small \line { Sheet music from \with-url #"http://www.MutopiaProject.org" \line { \teeny www. \hspace #-1.0 MutopiaProject \hspace #-1.0 \teeny .org \hspace #0.5 } • \hspace #0.5 \italic Free to download, with the \italic freedom to distribute, modify and perform. } \line { \small \line { Typeset using \with-url #"http://www.LilyPond.org" \line { \teeny www. \hspace #-1.0 LilyPond \hspace #-1.0 \teeny .org } by \maintainer \hspace #-1.0 . \hspace #0.5 Copyright © 2008. \hspace #0.5 Reference: \footer } } \line { \teeny \line { Licensed under the Creative Commons Attribution-ShareAlike 3.0 (Unported) License, for details see: \hspace #-0.5 \with-url #"http://creativecommons.org/licenses/by-sa/3.0" http://creativecommons.org/licenses/by-sa/3.0 } } } }
}
%to fit the music A4 better, set the global-staff-szie to 17.
#(set-global-staff-size 17)
\paper
{
ragged-last-bottom = ##f
ragged-bottom = ##f
}
\score{
<<
%sop part
\relative c''
{
\set Staff.instrumentName = "Cantus"
%preamble
\key f \major
\time 2/2
%first line
g1 g
\time 3/2
f fs2 g1 a2 a b c4 a~a g2 g4 f2
\time 2/2
e1 fs g2. e4
%second line
e4 r8 c'4 a4 f8~f bf4 g a8 fs8. fs16 fs4 g g2 e1 f4 f g2 a4 c d2
%third line
b4 c a4. a8 e2 fs g4 g b4. b8 c2 a2~a4 a c bf~bf g e4. e8
%fourth line
e2 fs g r4 g4 g2 bf4 bf4 a bf4 a2 fs4 f2 f4 f g2 a4~
%fifth line
a4 a4 a2 g2 r2 r2 r4 f4~f4 f f f fs2 g4 d'~d d a4. a8
%sixth line
b2 r4 c4~c8 c8 c4 cs2 d4 bf4. bf8 bf4 bf1 a1 \bar "|."
}
\addlyrics {
%first line
Ec -- ce di -- es, ni -- gras quae tol -- let lae -- ta te -- ne -- bras, Mox ve -- ni
%second line
-- et, sol -- vens no -- do -- sa vo -- lu -- mi -- na va -- tum Gen -- tis Ju -- dae -- ae, re -- fe --
%third line
rent, ut car -- mi -- na ple -- bis. Hunc po -- te -- runt cla -- rum vi -- ro -- rum tan -- ge --
%fourth line
re re -- gem, Hu -- ma -- no quem vir -- go si -- nu in -- vi -- o -- la -- ta
%fifth line
fo -- ve -- bit. An -- nu -- it hoc coe -- lum, ru -- ti -- lan -- ti --
%sixth line
a si -- de -- ra mon -- strant, si -- de -- ra mon -- strant. __
}
%Altus part
\relative c'
{
\set Staff.instrumentName = "Altus"
%preamble
\key f \major
\time 2/2
%first line
d1 ef
\time 3/2
d1 d2 e1 e2 e g g4 f4~f4 d2 ef4 d2
\time 2/2
b1 d b2. c4
%second line
c8 g'4 e8 c4 f d bf8 ef4 c8 d4 d2 e a,1 a4 a e'2 f2. f4
%third line
g4 e f c~c8 cs8 cs4 d2 d4 d g4. g8 e2 e2 f4 f c d bf4. bf8 c2
%fourth line
cs2 d e e d4 e f2 fs4 g8 \melisma f e d \melismaEnd e4 a2 d,2 d4 d e2
%fifth line
f1 d4. \melisma e8 f e f4 \melismaEnd bf,8 \melisma c d bf c2 \melismaEnd d4 d2 d4 d d d2 fs4 fs2 fs4
%sixth line
g4. g8 e4 e4~e8 e8 g4 a2 f8 f4 f8 g2 g1 fs
}
\addlyrics {
%First line
Ec -- ce di -- es, ni -- gras quae tol -- let lae -- ta te -- ne -- bras, Mox ve -- ni --
%second line
et, sol -- vens no -- do -- sa vo -- lu -- mi -- na va -- tum Gen -- tis Ju -- dae -- ae, re --
%third line
fe -- rent, ut car -- mi -- na ple -- bis. Hunc po -- te -- runt, cla -- rum vi -- ro -- rum tan -- ge -- re
%fourth line
re -- gem, Hu -- ma -- no quem vir -- go si -- _ nu in -- vi -- o -- la
%fifth line
ta fo_ -- ve_ -- bit. An -- nu -- it hoc coe -- lum, ru -- ti --
%sixth line
lant -- ti -- a si -- de -- ra mon -- strant, si -- de -- ra mon -- strant. __
}
%tenor part
\relative c
{
\set Staff.instrumentName = "Tenor"
%preamble
\key f \major
\time 2/2
\clef "treble_8"
g'2 bf ~ | bf1 | % 3
\time 3/2
bf1 a2 | c1 cs2 | % 5
cs d e4 c ~ | c b2 c4 a2 \time 2/2 |
gs1 | a | % 9
d2. g,4 | g c a f | % 11
bf g8 bf c8. a16 a4 ~ | a b c2 | % 13
cs1 | d4 c c2 | % 15
c4 a bf2 | g4 a f4. f8 | % 17
a2 d, | g4 g d'4. d8 | % 19
c2 cs! | d4 c a f | % 21
g4. g8 g2 | a a | % 23
c c | b!4 c d2 | % 25
d4 d4~d8 \melisma cs16
%editorial / musica ficta natural
\set suggestAccidentals = ##t
b
\set suggestAccidentals = ##f
cs4 \melismaEnd | d2 bf | % 27
bf4 bf c2 | c4 d \melisma c8 a c4 ~ | % 29
c8 bf bf a16 bf c4 \melismaEnd d~ | d8 \melisma c bf2 a4 | % 31
\melismaEnd bf bf2 bf4 | a a bf2 | % 33
a d ~ | d4 d g,4. g8 | % 35
a4 e'4. e8 e4 | d2 bf4 ef4~ef8 ef8 d4 d2 d1
}
\addlyrics {
%First line
Ec -- ce di -- es, ni -- gras quae tol -- let lae -- ta te -- ne -- bras, Mox ve -- ni --
%second line
et, sol -- vens no -- do -- sa vo -- lu -- mi -- na va -- tum Gen -- tis Ju -- dae -- ae, re -- fe --
%third line
rent, ut car -- mi -- na ple -- bis. Hunc po -- te -- runt, cla -- rum vi -- ro -- rum tan -- ge -- re
%fourth line
re -- gem, Hu -- ma -- no quem vir -- go si_ -- nu in -- vi -- o -- la
%fifth line
ta fo_ -- ve_ -- bit. An -- nu -- it hoc coe -- lum, ru -- ti --
%sixth line
lant -- ti -- a si -- de -- ra mon -- strant, si -- de -- ra mon -- strant. __
}
%bass part
\relative c
{
\set Staff.instrumentName = "Bassus"
%preamble
\key f \major
\time 2/2
\clef bass
g'1 | ef | % 3
\time 3/2
bf d2 | c1 a2 | % 5
a' g c,4 f ~ | f g2 c,4 d2 \time 2/2 |
e1 | d | % 9
g,2. c4 | c r f d | % 11
bf ef c8 f d8. d16 | d4 g c,2 | % 13
r a | d4 f c2 | % 15
f r | r1 | % 17
r2 r4 a | bf4. bf8 g2 | % 19
r4 a2 a4 | d, f2 bf,4 | % 21
ef4. ef8 c2 | a d | % 23
r4 c c2 | g4 c bf4. \melisma c8 | % 25
d4 \melismaEnd g a2 | d, r | % 27
r1 | f2 f4 f | % 29
g2 a4 d, | g2 f | % 31
r4 bf,2 bf4 | d d g2 | % 33
d4 d2 d4 | g,4. g8 c2 | % 35
c'4. c8 a2 \melisma | bf \melismaEnd ef,4. \melisma f8 | g1 | \melismaEnd d
}
\addlyrics {
%First line
Ec -- ce di -- es, ni -- gras quae tol -- let lae -- ta te -- ne -- bras, Mox ve -- ni --
%second line
et, sol -- vens no -- do -- sa vo -- lu -- mi -- na va -- tum Gen -- tis Ju -- dae -- ae.
%third line
Hunc po -- te -- runt, cla -- rum vi -- ro -- rum tan -- ge -- re
%fourth line
re -- gem, Hu -- ma -- no quem vir_ -- go si -- nu
%fifth line
in -- vi -- o -- la -- ta fo -- ve -- bit. An -- nu -- it hoc coe -- lum, ru -- ti --
%sixth line
lan -- ti -- a si -- de -- ra_ mon_ -- strant. __
}
>>
\layout {}
\midi {}
}
¡°That accounts for it. I didn¡¯t know he was going to make the hop or I might not have come myself¡ªbut now¡ªwell,¡± the man broke off his phrase and started to clamber into the control seat, ¡°let¡¯s get going.¡± Larry, startled, seeing the pain in the face just under his own, relaxed for an instant, only being sure that his quick grip on the wrist holding the weapon in its hand was not released. When all his phrases were quite used up, Stone changed the key. What could be done for Mr. Taylor? Mr. Taylor motioned with his usual urbanity that the burden of speech lay with Cairness. What could he do for Mr. Cairness, then? But though the 21st of January was to be the day of the grand attack on the Ministry, the battle was not deferred till then. Every day was a field-day, and the sinking Minister was dogged step by step, his influence weakened by repeated divisions, and his strength worn out by the display of the inevitable approach of the catastrophe. The first decided defeat that he suffered was in the election of the Chairman of Committees. The Ministerial candidate, Giles Earle, was thrown out by a majority of two hundred and forty-two to two hundred and thirty-eight, and the Opposition candidate, Dr. Lee, was hailed by a shout that rent the House. Other close divisions followed. The fall of Walpole was now certain, and he would have consulted both his dignity and comfort in resigning at once. This was the earnest advice of his friends, but he had been too long accustomed to power to yield willingly. He was oppressed with a sense of his defeats, and the insolence of enemies whom he had so long calmly looked down upon without fear. He was growing old and wanted repose, but he still clung convulsively to his authority, though he had ceased to enjoy it. "Look out for your own men, my son," answered the Deacon, in whom the fire of battle was burning. "I'll look out for myself. If I'm hit the Gover'ment won't lose nothin'. I'm only a citizen." "Probably a caucus outside to set up the pins before goin' into the full meetin'," he said to himself. "As I always like to be with the winnin' side, I guess I'll jest jine 'em." "But it's sass of him to go sending off the girl wudout your leave." "Read it." HoMEËÑË÷Ò»¼¶Ã«Æ¬Ãâ·Ñ²¥·Å»ùµØ
ENTER NUMBET 0017
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