ave verum corpus choral score william byrd
TRANSCRIPT
Ave Verum Corpus
A motet for the Feast of Corpus Christicomposed by
William Byrd (1543-1623)
(Edition by Drew Collins)
The conversion of England from the Roman Catholic church to the Church of England by King Henry VIII (and later Queen Elizabeth I) forced those who wished to practice Catholicism to do so covertly, as penalties included fines, scrutiny, torture or death. All vestiges of the “old religion" were summarily prohibited, including the use of Latin (only English was permitted). In this highly volatile and oppressive atmosphere, Byrd played a dangerous game. Refusing to conform to the new religion, he composed music for use in Catholic services (held secretly in private residences), more often than not in Latin. He managed this rebellion without loss of life or livelihood, due in part both to his exemplary musical skill and by frequently dedicating publications to the Queen. It is widely accepted that Byrd intended his Latin motets for use either in these underground Masses, or for publication in books for use in homes, much like madrigals. Either way, the music was most likely performed 1 or 2 singers/players per part, and with female sopranos.
Some of Byrd’s contemporaries: -William Shakespeare (1564-1616) -Galileo Galilei (1564-1642) -John Donne (1573-1631) -G. P. da Palestrina (c1525-1594) -Thomas Morley (1558-1602) -Claudio Monteverdi (1567-1643)
Soprano(SUPERIUS)
Alto(MEDIUS)
Tenor(TENOR)
Bass(BASSUS)
&
&
V
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b
b
b
b
b
b
b
b
C
C
C
C
h» 30-44
w
A -
w
A -
w
A -
w
A -
2
˙#˙
ve ve -
˙˙
ve ve -
w
ve
˙˙
ve ve -
3
œœ
œ#œ
rum cor -
œ œ˙
rum cor -
.˙œ
ve - rum
œœ
˙
rum cor -
4
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œnœ
œŒ
pus,
˙ œ
Œ
pus,
˙œn Œ
cor - pus,
˙
œ
Œ
pus,
5
˙˙
na - tum
˙ ˙
na - tum
˙˙
na - tum
˙
œ
œ
na - tum de
6
œ œ˙
de Ma - ri -
œ œ ˙
de Ma - ri -
œ œ
˙
de Ma - ri -œ
œœ
œ
Ma - ri - a
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b
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7
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J
œ
a Vir - gi -
œ œ.œ
j
œ
a Vir - gi -
œœ .œ
j
œ
a Vir - gi -
.œœ
œœ
œ
Vir - gi -
8
˙Œ
œ
ne, Ve -
˙
Œ
œ
ne, Ve -
˙#
Œœ
œ
ne, Ve -
˙ Œœ
ne, Ve -
9
œœ
˙
re pas -
œ œ ˙
re pas -
œ
œ˙
re pas -
œœ
˙
re pas -
10
˙
Œ
œ
sum, im -
œ
Œ
˙
sum, im -
œ
Œ ˙
sum, im -
˙Œ œ
sum, im -
11
œœ
˙
mo - la -
œœn
˙
mo - la -
œœ œ
œ
mo - la - tum
œœ
˙
mo - la -
12
˙Œ
œ
tum in
˙
˙
tum
Œœ
˙
in cru -
˙
Œœ
tum in
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b
b
b
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b
13
˙˙
cru - ce
Œ
œ
.œ
j
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in cru - ce
œœ œ
œ
ce pro
˙˙
cru - ce
14
œœ
.œ
j
œ
pro ho - mi -
œœ œ
œ
pro ho - mi -
.œj
œœ œ
ho - mi -
œ
œ
.œ
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pro ho - mi -
15
˙#
Œœ
ne: Cu -
˙
Œ
œn
ne: Cu -
˙Œ
œ
ne: Cu -
˙ Œœ
ne: Cu -
16
œ œ˙
jus la -
œ œn˙
jus la -
œ œ ˙
jus la -
œ œ
˙
jus la -
17
œœ œ
œ œ
tus per - fo - ra -
œnœ œ
œ
tus per - fo -
œœ œ
œ
tus per - fo -
œœ œ
œ
tus per - fo -
18
œœ .œ
‰
tum,
œœn
œœ
<
œ
ra - tum, un -
˙˙
ra - tum,
œœn
˙
ra - tum,
William Byrd (1543-1623)ed. Drew Collins
SATB a cappellaAve Verum Corpus
Copyright ©2001 Andrew S. CollinsThis edition may be freely distributed, duplicated, performed, or recorded.
For more free downloadable choral editions, visit www.InnerVoices.orged. 6/3/2001rev. 7/3/2002
This edition was prepared for the 2001 Trinity Concert Singers
Pope Innocent III or IV
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19
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œ
un - de flu -
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de flu -
∑
Ó Œœ
un -
20
œœ
.œ
j
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xit san - gui -
˙ .œ
j
œ
xit san - gui -
Œœ œ
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un - de
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de flu -
21
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<
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,
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ne, san - gui -
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flu - xit san - gui -
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22
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ne. Es -
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ne. Es -
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ne. Es -
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ne. Es -
23
œ œ ˙
to no -
œ œ˙
to no -
œ
œ œœn
to no -
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to no -
24
œœ œ œ
bis prae - gu -
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bis prae - gu -
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sta - tum in
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sta - tum in
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sta - tum in
˙
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sta - tum
26
.˙œ
mor - tis
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< œ
mor - tis, in
.˙œ
mor - tis
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in mor -
27
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ex - a -
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mor - tis ex -
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ex - a -
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tis ex - a -
28
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mi - ne. O
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a - mi - ne.
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mi - ne.
œ œ
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mi - ne.
29
˙˙
dul - cis,
Œ
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O dul -
Œ œ˙
O dul -
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O dul -
30
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O pi -
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cis, O
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cis, O
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cis, O
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31
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e, O
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32
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Je - su
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33
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su Fi - li
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O Je - su
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Fi - li
34
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li Ma - ri -
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Ma - ri -
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Fi - li Ma - ri -
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Ma - ri -
35
˙˙#
ae;
œœ
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Œ
ae;
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ae;
˙˙
ae;
3
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36
∑
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j
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œ
mi - se - re - re
.œ
J
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œ
mi - se - re - re
∑
37
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œ
mi - se -
˙œ
Œ
me - i,
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me - i,
.œ
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œ
mi - se - re - re
38
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re - re me -
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j
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¯
mi - se - re - re
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œ
mi - se -
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me - i,
39
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i,
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œ
mi - se - re - re
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œ
.
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re - re me -
œ
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mi - se - re - re
40
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me - i, mi - se -
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41
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me - i, me -
œœ
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re - re me -
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i, mi - se -
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œ
se - re - re me -
42
œœ
.
œ œœ#
œœ
˙
œœ
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re - re me -
œœ
˙
43
1.
˙Œ
œ
i, O
wn
i,
w
i,
w
i,
44
2.
.˙Œ
i,
œn
Œ
˙
i, A -
œŒ
˙
i, A -
œ
Œ.œ
J
œ
i, A -
45
w
A -
œœ
˙
œœ œ
œ.
œ
œœ
œœ
œ
46
w
U
men.
œœ
œ˙
U
men.
œœn
œ˙
U
men.
w
U
men.
4
SOURCE: Gradualia, revised edition, 1610 (originally pub. 1605)CRITICAL NOTES: Note values halved, bar lines added (mensurstriche), slurs added. Tenor (m.39), Alto (m.40-41): text underlay uncertain. Bass (m.37): Rhythm of beats 3 & 4 altered. Final bar omitted (previous pitches were tied over).
TEXT and TRANSLATION:Ave verum corpus, natum de Maria Virgine, Hail true body, born of the Virgin Mary.vere passum, immolatum in cruce pro homine: Truly suffering, was sacrificed on the cross for all, Cujus latus perforatum, Unde fluxit sanguine. From whose pierced side flowed blood,Esto nobis praegustatum in mortis examine: Be for us a foretaste in the final judgment.O Dulcis, O pie, O Jesu fili Mariae, O sweet, O merciful, O Jesus, Son of Mary,miserere mei. Amen. Have mercy on me. Amen. -Pope Innocent III or IV (Sequence Hymn for the Feast of Corpus Christi)