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Original LilyPond files

N. Andrew Walsh 4 years ago
parent
commit
85ae271afd
50 changed files with 10630 additions and 0 deletions
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control/brackets.ily View File

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+
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+
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+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
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+%% A function to add labels to analysis brackets.  Allows for different text
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+%% if broken between staves.
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+%%
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+%% Use with \tweak.  For example: -\tweak #'stencil #(label "antecedent" "ant." "")
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+%% This will add "antecedent" to the bracket if unbroken (or to the first piece, if
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+%% broken), "ant." to the first broken piece, and an empty string to the next piece
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+%% (if there is one).  If no "" were specified, all pieces after the first would be
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+%% labelled "ant."
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+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
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+
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+
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+% http://lsr.di.unimi.it/LSR/Item?id=1009
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+
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+#(define* (center-stencil-on-stencil stil-a stil-b #:optional axis)
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+   "Return a copy of stencil @var{stil-b} that has been moved 
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+   so it is centered on stencil @var{stil-a} on @var{axis}. When
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+   @var{axis} is omitted, the centering is done on both X and Y
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+   axes. @var{axis} can be X or Y, which are equivalent to 0 and 1."
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+   (if axis
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+       ;; center on one axis only
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+       (ly:stencil-translate-axis
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+        (ly:stencil-aligned-to stil-b axis CENTER)
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+        (interval-center (ly:stencil-extent stil-a axis))
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+        axis)
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+       ;; center on both X and Y axes
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+       (ly:stencil-translate
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+        (centered-stencil stil-b)
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+        (cons
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+         (interval-center (ly:stencil-extent stil-a X))
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+         (interval-center (ly:stencil-extent stil-a Y))))))
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+
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+
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+#(define (add-label grob text)
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+   (let ((grob-stil (ly:horizontal-bracket::print grob))
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+         (text-stil (grob-interpret-markup grob (markup text))))
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+     (ly:stencil-combine-at-edge
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+      grob-stil Y
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+      (ly:grob-property grob 'direction)
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+      (center-stencil-on-stencil grob-stil text-stil X)
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+      0.2)))
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+
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+#(define ((label . text) grob)
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+   (let* ((orig (ly:grob-original grob))
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+          (siblings (if (ly:grob? orig)
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+                        (ly:spanner-broken-into orig)
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+                        '())))
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+
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+     (define (helper text siblings)
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+       ;; step through the pieces to find the current one, and modify its stencil
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+       (if (eq? (car siblings) grob)
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+           (add-label grob (car text))
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+           (if (or (null? (cdr siblings))
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+                   (null? (cdr text)))
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+               (add-label grob (car text)) ;; if not enough text for pieces, use last given
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+               (helper (cdr text) (cdr siblings)))))
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+
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+     (if (pair? siblings)
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+         (helper text siblings)
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+         (add-label grob (car text)))))

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control/functions-historical.ily View File

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+%%% various useful functions for historical transcription
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+
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+%% Define a general function to draw vertical-accent articulations
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+
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+upline = 
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+#(define-event-function (parser location) () 
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+   #{ 
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+      %% possible tweaks here, e.g: 
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+      -\tweak padding #1 
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+      %-\tweak avoid-slur #'around 
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+      %-\tweak direction #DOWN 
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+      -\tweak stencil #(lambda (grob) (grob-interpret-markup grob 
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+                          #{ 
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+                             \markup 
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+                             \override #'(thickness . 1.5) 
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+                             \draw-line #'(0 . 1) 
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+                          #})) 
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+       \stopped 
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+   #}) 

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control/global.ily View File

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+%%% Global stylesheet
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+
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+\version "2.19.36"
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+#(ly:set-option 'relative-includes #t)
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+
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+#(set-global-staff-size 15)
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+
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+\paper { 
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+  #(define fonts
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+    (set-global-fonts
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+      #:music "emmentaler"
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+      #:brace "emmentaler"
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+      #:roman "Linux Libertine O"
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+      #:sans "Linux Biolinum O"
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+      #:typewriter "DejaVu Sans Mono"
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+      #:factor (/ staff-height pt 20 )
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+  ))
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+}
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+#(ly:set-option 'relative-includes #t)
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+\include "./layout-default.ily"
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+  

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control/layout-carus.ily View File

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+%%% Standard ILY Stylesheet for Carus-Scores
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+
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+\paper { 
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+   %% Set system-system distance 
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+  
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+  system-system-spacing.basic-distance = #32
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+  
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+  indent = 18\mm
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+  two-sided = "true"
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+  inner-margin = 15.0\mm
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+  outer-margin = 3.3\mm
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+  top-margin = 8.0\mm
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+  bottom-margin = 12.0\mm
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+  
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+  %% Set Page numbers to the bottom
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+  oddHeaderMarkup = \markup \fill-line { " " }
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+     evenHeaderMarkup = \markup \fill-line { " " }
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+     oddFooterMarkup = \markup \abs-fontsize #10 \fill-line { 
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+         \on-the-fly #not-part-first-page \line {Carus xx.xxx }
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+         \on-the-fly #print-page-number-check-first \fromproperty #'page:page-number-string
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+     }
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+     evenFooterMarkup = \markup \abs-fontsize #10 \fill-line { 
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+         \on-the-fly #print-page-number-check-first \fromproperty #'page:page-number-string
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+         \on-the-fly #not-part-first-page \line {Carus xx.xxx }
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+     }
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+
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+}

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control/layout-default.ily View File

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+%%% Standard ILY Stylesheet for Default Scores
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+
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+\paper { 
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+   %% Set system-system distance 
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+  
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+  system-system-spacing.basic-distance = #18
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+  
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+  indent = 24\mm
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+  two-sided = "true"
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+  inner-margin = 20.0\mm
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+  outer-margin = 5\mm
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+  top-margin = 10.0\mm
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+  bottom-margin = 15.0\mm
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+  
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+  %% Pull composer-shortstring and catalog-number to create score ID
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+  
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+  #(define-markup-command (substitute layout props) ()
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+   (interpret-markup layout props
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+     (markup (string-append composer-shortstring "." catalog-number))
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+     ))
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+
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+  
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+  %% Set Page numbers to the bottom
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+  oddHeaderMarkup = \markup \fill-line { " " }
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+     evenHeaderMarkup = \markup \fill-line { " " }
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+     oddFooterMarkup = \markup \abs-fontsize #10 \fill-line { 
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+         \on-the-fly #not-part-first-page \line {Klang Büro \substitute }
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+         \on-the-fly #print-page-number-check-first \fromproperty #'page:page-number-string
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+     }
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+     evenFooterMarkup = \markup \abs-fontsize #10 \fill-line { 
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+         \on-the-fly #print-page-number-check-first \fromproperty #'page:page-number-string
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+         \on-the-fly #not-part-first-page \line {Klang Büro \substitute }
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+     }
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+   
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+   %% Set default page size
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+   #(set-paper-size "a4")
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+
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+}

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control/openlilylib.ily View File

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+%% Include OpenLilyLib and init ScholarLY
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+\include "openlilylib"
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+
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+\useLibrary Stylesheets
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+
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+\useLibrary Scholarly
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+
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+\useModule scholarly.annotate
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+
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+
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+#(display "loaded\n")
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+
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+%\registerOption documentation.include-file "scholarly/annotate"
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+%\loadModule "_internal/doc-include/usage-example.ily"
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+
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+\markup \vspace #1
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+
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+\setOption scholarly.annotate.export-targets #'("plaintext" "latex")

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kantaten/transkription kayser cantata 1 score.ly View File

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+\score {
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+  <<
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+      \override Score.BarNumber.font-size = #.5
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+      \override Score.BarNumber.padding = #2.2
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+      \override Score.BarNumber.self-alignment-X = #left 
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+      \override Score.BarNumber.font-shape = #'italic
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+      
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+
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+<<
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+ \new ChoirStaff = "Staff_voci"
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+ \with {
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+  \override VerticalAxisGroup.default-staff-staff-spacing =
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+    #'((basic-distance . 12)
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+       (minimum-distance . 9)
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+       (padding . 1)
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+       (stretchability . 10))
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+}
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+   << 
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+     \new Staff = "canto" <<
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+       \override Staff.InstrumentName.self-alignment-X = #LEFT
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+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Canto } 
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+        \new Voice = "canto" {
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+        \global \IcantoMusic 
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+        }
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+     >>
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+      \new Lyrics \lyricsto "canto" {
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+      { \IcantoLyrics }
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+      }
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+   >>
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+ >>
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+     
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+  \new StaffGroup = "StaffGroup_strings" << 
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+    \new GrandStaff = "GrandStaff_violins" <<
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+      \new Staff = "Staff_violinoI" <<
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+          \override Staff.InstrumentName.self-alignment-X = #LEFT
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+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Violino I } }
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+          \global \IViolinoOneMusic \Isystembreaks
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+      >>
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+      \new Staff = "Staff_violinoII" <<
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+          \override Staff.InstrumentName.self-alignment-X = #LEFT
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+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Violino II } }
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+          \global \IViolinoTwoMusic
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+      >>
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+    >>
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+    \new Staff = "Staff_violoncello" <<
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+          \override Staff.InstrumentName.self-alignment-X = #LEFT
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+          \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Violoncello }
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+          \global \IViolaMusic
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+    >>
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+  >>  
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+  \new Staff = "Staff_continuo" <<
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+          \override Staff.InstrumentName.self-alignment-X = #LEFT
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+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Organo } \line {\italic {cum basso cont. } } }
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+          \new Voice = "continuoupper" {
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+          \global \IOrganoMusicUpper
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+          }
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+          \new Voice = "continuolower" {
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+           \global \IOrganoMusicLower 
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+          }
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+          \new FiguredBass {\IOrganoFB }
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+  >>
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+  >>
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+  \layout {
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+  \context {
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+    \Staff \RemoveEmptyStaves
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+  }
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+  }
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+  \midi {}
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+  \header {
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+  piece = \markup { \abs-fontsize #18 \left-align { I. De Tempore } } 
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+  opus = ##f
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+  }
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+
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+}

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kantaten/transkription kayser cantata 1.ly View File

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+global= {
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+  \set Timing.baseMoment = #(ly:make-moment 1/4)
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+  \set Timing.beatStructure = #'(1 1 1)
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+  \set Timing.beamExceptions = #'()
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+  \time 4/4
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+  \key bes \major
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+  \numericTimeSignature
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+  %% NB: Best-practice sequence of glyphs is: note->articulation->dynamic->slur->beam->tie
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+}
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+
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+beambreakOn = {
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+  \set subdivideBeams = ##t
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+  \set baseMoment = #(ly:make-moment 1/8)
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+  \set beatStructure = #'(2 2 2)
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+}
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+
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+beambreakOff = {
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+  \set subdivideBeams = ##f
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+  \set baseMoment = #(ly:make-moment 1/8)
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+  \set beatStructure = #'(2 2 2)
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+}
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+
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+
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+
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+IcantoMusic = \relative c'' {
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+  \autoBeamOff \dynamicUp  
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+  R1*6 | r4 f,8 bes16[ a] bes4 f | r2 r4 bes16[ a] bes[ c] | d4 bes bes16[ c] d[ es] f8 g | es4 d c8 d16[ bes] a8[ bes] | %% Bar 10
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+  c4. f8( c) d16[ bes] a8[ bes] | c4 bes8 bes bes4 f | r d'8 d d4 bes | bes16[ c d es] f8 g es4 d | c8 \tuplet 3/2 { d16[ c bes] } a8[ bes] c4 r8 f( | %% Bar 15
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+  c) d16[ bes] a8[ bes] c4 r8 f \melisma | es16[ f] g4 \melismaEnd f16[ es] d[ es] f4 es16[ d] | c[ d] es4 d16[ c] bes[ \melisma c] d4 c16[ bes] | a[ bes] c4 bes16[ a] \melismaEnd g4 r8 f'( | e) f16[ d] c\staccato[ c\staccato] d([ bes)] a8. bes16 c8 f( | %% Bar 20
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+  e) f16[ d] c\staccato[ c\staccato] d[ bes] a8. bes16 c8 f | a, g16[ f] g4 f r8 f'( | a,) g16[ f] g4 f r | R1*2 | %% Bar 25
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+  r2 r4 c8 f16[ e] | f4 d r f8 a | a4 f r a8 c | c4 a r f8 bes16[ a] | bes4 f r bes16[ a] bes[ c] | %% Bar 30
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+  d4 bes r2 | r2 bes16[ c] d[ es] f8 bes, | es4 d c8 \tuplet 3/2 { d16[ c bes] } a8[ g] | f4. f'8( c) d16[ bes] a8[ g] | f4 r c'8. f,16 f8 f | %% Bar 35
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+  f16[ g] a[ g] f4 c'8. f,16 f8 f | f16[ g] a[ g] f4 f es' | d16[ c] bes8 r4 f es' | d8 bes r f \melisma g16[ f es f] g[ a bes c] | a[ g f g] a[ bes c d] bes[ a g a] bes[ c d es] | %% Bar 40
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+  c[ bes a bes] c[ d es f] es8 \melismaEnd g16[ f] es8[ d] | c4 r r2 | r4 r8 f bes, c16[ bes] bes8[ c16 bes] | bes4 r8 g' c, d16[ c] c8[ d16 c] | c4 r8 c \melisma \tuplet 3/2 {d16[ c d } bes8] \tuplet 3/2 { es16[ d es } bes8] |%% Bar 45
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+  \tuplet 3/2 { f'16[ es f } bes,8] \tuplet 3/2 { g'16[ f g } bes,8] a16[ f bes c] c4\trill \melismaEnd | bes4 bes8 bes bes4 f | R1*6 | %% Bar 53 (break/fermata here)
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+  r2 d'16[ c] bes[ a] g4 | R1*2 | d'16[ c] bes[ a] g4 a8 bes16[ fis] g4 | bes8 c16[ d] es8 es c16[ d] es8 es d | g, a16[ b] c8 c a16[ b] c8 c b | g f e[ es] d4\fermata r | %% Bar 60
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+  d'8. d16 d8 e a,4 r8 a | a4 r8 a a[ \melisma b16 cis] d8[ d] | d2\trill~ d16[ d e-! d-!] d4\trill~ | d16[ d e d] d4\trill~ d16[ cis d e] f[ e f g] | a8 \melismaEnd a, r a a' a, r4 | %% Bar 65
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+  d8. d16 d8 d d4.\trill cis8 | d2 r_\markup { \center-align \italic { Da Capo } }  | %% End Aria, Bar 67
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+  %% Recit
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+  r8 bes bes es, es r16 es' es8 es, | es4 r16 es g bes as8 as g es16 es | r8 es bes' bes16 bes r bes es g, a?8 f | d' bes16 bes r4 r8 f bes16 bes d f | bes,8 bes16 bes r8 f es' es r es16 c | f,8. a16 c8 es d bes16 bes r8 f' | d c16 d bes8 a bes4 r | R1 | %% End Recit, Bar 75
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+  %% Grave, Bar 76
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+  \time 2/2
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+  \partial 4 f4 | bes1 | f2\fermata r4 f | bes f c' \tuplet 3/2 { es8[ d c] } | d a bes4 r2 | %% Bar 80
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+  R1*9 | r2 r4 f | bes1 | f2\fermata r4 f | bes f c' \tuplet 3/2 { es8([ d c)] } | d a bes4 r bes | bes8[ c] d[ es] f4 bes, | %% Bar 95
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+  a8 g f4 r2 | g4 r f4. f'8 | g,4 \tuplet 3/2 { es'8[ d c] } d2 | g,4 r f4. f'8 | g,4 \tuplet 3/2 { es'8[ d c] } d2 | %% Bar 100
46
+  a16[ \melisma bes] c4. bes16[ c] d4. | c16[ d] es4. d16[ es] f4. | d8[ bes] \melismaEnd c4 r2 | bes2 bes4 bes | bes8[ \melisma a g' f] e[ d c bes] | %% Bar 105
47
+  a4\staccato a\staccato a\staccato a\staccato | a8[ g f' e] d[ c] \melismaEnd bes[ a] | g2 r | a8[ bes] c4 bes8[ c] d4 | c8[ d] e4 d8[ e] f4 | %% Bar 110
48
+  g bes,8[ a] bes2\fermata | a4 c8 f, g4. g8 | f4 f' c a | f2 r | R1*7 | r2 r4 f8 g | a[ bes] c4 \tuplet 3/2 { c8[ bes a] } \tuplet 3/2 { bes[ a g] } | a[ g] f4 r f8 g | a[ bes] c4 \tuplet 3/2 { c8[ bes a] } bes[ g] | %% Bar 125
49
+  a4 f r2 | es'4 d2 c4 | bes2 a8[ bes] c[ a] | bes2 a8[ bes] c[ a] | bes2 r | %% Bar 130
50
+  g8[ a] bes[ a] g4 g' | g,8[ a] bes[ a] g4 g' | es2\trill \melisma es16[ d c8] c16[ d es8] | d2\trill d16[ c bes8] bes16[ c d8] | c2\trill c16[ bes a8] a16[ bes c8] | %% Bar 135
51
+  bes8 \melismaEnd g g4 r2 | cis4 b8[ a] d4. e8 | f[ \melisma cis d es] d4.\trill \melismaEnd cis8 | d2 r | r f, | %% Bar 140
52
+  bes1 | f2\fermata r4 f | bes f c' \tuplet 3/2 { es8[ d c] } | d a bes4 r bes | bes8[ c] d[ es] f4 bes, | a8 g f4 r2 | R1*4 | %% Bar 150
53
+  g4 r f4. f'8 | g,4 \tuplet 3/2 { es'8[ d c] } d2 | g,4 r f4. f'8 | g,4 \tuplet 3/2 { es'8[ d c] } d2 | bes bes4 bes | %% Bar 155
54
+  bes8[ \melisma f g f] bes[ f d' f,] | c'[ f, g f] c'[ f, es' f,] | d'[ f, g f] d'[ f,] \melismaEnd f'[ d] | es1\fermata | d4( a) bes c | %% Bar 160
55
+  c2.\trill bes4 | bes2~ \melisma bes8[ c bes a] | bes2~ bes8[ c bes\staccatissimo a\staccato] | bes2 \melismaEnd g' | es f | bes,4 bes f d | bes2 r | R1*7 | %% End middle part, Bar 174
56
+  %% 2/4
57
+  \time 2/4
58
+  \partial 8 f'8 | bes c4 bes16[ a] | bes8[ \melisma d c a] | bes c4 bes16[ a] | \melismaEnd bes4 r | R2*7 | r4 r8 f | bes c4 bes16[ a] | bes8[ \melisma d c a] | bes c4 bes16[ a] \melismaEnd | %% Bar 190
59
+  bes4 r8 f' | f \melisma es4 d8~ | d c4 bes8~ | bes a4 \melismaEnd g8 | f4 r8 c' | d g,4 d'8 | e4 r8 e | f bes,4 f'8 | g4 r8 bes, | a bes4 a16[ g] | %% Bar 200
60
+  a8[ \melisma c bes g] | a bes4 a16[ g] \melismaEnd | a4 r8 d \melisma | c4.\trill d8 | c4.\trill d8 | c8[ e] \melismaEnd f[ f,] | g2 | f8 \melisma g4 f16[ e] | f8 \melismaEnd a g e | f \melisma g4 f16[ e] \melismaEnd | %% Bar 210
61
+  f4 r | R2*4 | r4 r8 f | c' d4 c16[ bes] | c4 r | R2 | r4 r8 bes | f' g4 f16[ es] | f4 r8 f | f \melisma es4 d8~ | d c4 bes8~ | bes a4 \melismaEnd g8 | %% Bar 225
62
+  f4 r8 f' | g,4. es'8 | f,4. \melisma d'8 | es,4. c'8 | \melismaEnd d,4 r8 f | g16[ a] bes4 a8 | bes16[ c] d4 c8 | d16[ c] d[ es] f8 bes, | c4 bes8[ a] | bes4 r | %% Bar 235
63
+  R2 | r4 r8 f | bes c4 bes16[ a] | bes8[ \melisma d c a] | bes c4 bes16[ a] | bes16[ c d es] \melismaEnd f8 bes, | c4 a | bes r | R2 | %% End Cantata, Bar 244
64
+  
65
+}
66
+
67
+IcantoLyrics = \lyricmode {
68
+  
69
+  Sur -- sum cor -- da sur -- sum cor -- da sur -- sum sur -- sum cor -- da mun -- de va -- %% Bar 10
70
+  le mun -- de va -- le sur -- sum cor -- da sur -- sum cor -- da mun -- _ de va -- le sat -- ve -- xa -- sti sa -- %% Bar 15
71
+  tis ma -- lè, sat -- ve -- xa -- _ sit sa -- _ tìs ma -- lè il -- lu -- si -- sti mi -- se -- ris, mun -- %% Bar 20
72
+  de peg -- ma car -- cer -- is, va -- _ le va -- le, sa -- tìs ma -- lè. %% Bar 25
73
+  Sur -- sum cor -- da sur -- sum cor -- da (sur -- sum cor -- da) Sur -- sum cor -- da, Sur -- sum %% Bar 30
74
+  cor -- da, Mun -- de (mun -- de) va -- le sat -- ve -- xa -- sit, sa -- tìs ma -- lè il -- lu -- si -- sti %% Bar 35
75
+  mi -- se -- ris mun -- de, peg -- ma car -- ce -- ris va -- le, va -- le, sa -- tìs ma -- lè, va -- %% Bar 40
76
+  le va -- le sat sat -- ve -- xa -- sti, sa -- _ tìs ma -- lè va -- le, va -- le, va -- le. %% To fermata, Bar 53
77
+  Li -- ber -- sum, li -- ber -- sum: vin -- cu -- lum, quod pa -- ra -- sti, ev -- vi ta -- vi; quod me vin -- xit, con -- cul -- ca -- vi; con -- cul -- ca -- vi; %% Bar 60
78
+  ad su -- per -- na jam jam (jam) vo -- la -- vi vo -- la -- vi, i -- bi do -- mi -- ci -- li -- um. %% End Aria, Bar 67
79
+  %% Recit
80
+  Fe -- li -- cem me! fe -- li -- cem me! flu -- xe -- runt mor -- tis la -- que -- i, qui a ni -- mæ, qui ad hæ -- se -- runt cor -- po -- ri in li -- ber -- ta -- tis Pa -- tri -- a, in cœ -- lo me -- a jam qui e -- scit a ni -- ma. Fe -- li -- cem, fe -- li -- cem me! %% End Recit, Bar 75
81
+  %% Grave, Bar 76
82
+  O de -- cor! ô de -- cor! ô di -- vi -- ti -- æ! O %% Bar 90
83
+  de -- cor! ô de -- cor! ô di -- vi -- ti -- æ! ô Su -- pe -- rum de -- li -- ci -- æ! non non vos ca -- _ pit non (non) vos sa -- _ pit %% Bar 100
84
+  e -- xul e -- xul à Pa -- tri -- a. Non vos ca -- pit, non von sa -- pit, %% Bar 110
85
+  non (non) non e -- xul à Pa -- tri -- a, à Pa -- tri -- a. %% Bar 120
86
+  I -- te, i -- te sua -- vi -- ta -- tes i -- te car -- nis vo -- lu -- pta -- tes, e -- _ stis fel; dul -- ce mel, dul -- ce mel, præ -- bent cœ -- li, %% Bar 130
87
+  præ -- bent cœ -- li a -- tri --a præ -- bent cœ -- li a -- tri -- a. O %% Bar 140
88
+  De -- cor! ô de -- cor! ô di -- vi -- ti -- æ! ô Su -- pe -- rum de -- li -- ci -- æ! %% Bar 150
89
+  non non vos ca -- _ pit, non non vos sa -- _ pit e -- xul à Pa -- tri -- a, e -- xul à Pa -- tri -- a __ à Pa -- tri -- a, à Pa -- tri -- a. %% End Grave, Bar 174
90
+  %% Presto, Bar 175
91
+  Al -- le -- _ lu -- ja, __ _ Al -- le -- _ lu -- ja, __ _ %% Bar 190
92
+  Al -- le -- lu -- ja, al -- le -- _ lu -- ja al -- le -- _ lu -- ja, al -- le -- _ lu -- %% Bar 200
93
+  ja, __ _ al -- le -- lu -- ja, __ al -- le -- lu -- ja, __ _ %% Bar 210
94
+  al -- le -- _ lu -- ja, al -- le -- _ lu -- ja, al -- le -- lu -- ja, al -- le -- lu -- ja, __ _ al -- %% Bar 230
95
+  le -- _ lu -- ja, __ _ al -- le -- lu -- ja, al -- le -- lu -- ja, al -- le -- _ lu -- ja, __ _ al -- le -- lu -- ja. %% End Cantata, Bar 244
96
+  
97
+}
98
+
99
+
100
+IViolinoOneMusic = \new Voice \relative c'' {
101
+  
102
+  bes4 r8 bes'\f a bes16( g) f-! f-! g es | d-! d-! c d bes8 bes a bes16( g) f-! f-! g es | d-! d-! c d bes8 f'' g16( es d) es-! g( es d) es-! | f( d c) d-! f( d c) d-! es-! es-! f es d-! d-! es d | c4 r8 d c16-! c-! d bes c8.\trill d16 | %% Bar 5
103
+  c-! c-! d bes c8.\trill f16 d f bes bes, c4\trill | bes r r r8 bes' | a bes16( g) f-! f-! g es d-! d-! c d bes4 | f'16-!\p f-! g f f-! f-! g f f4 r | R1 | %% Bar 10
104
+  \override Stem.stemlet-length = #0.5
105
+  \override Stem.details.beamed-lengths = #'(5)
106
+  r8[ \tuplet 3/2 { bes16( a g)] } 
107
+  \revert Stem.details.beamed-lengths
108
+  \revert Stem.stemlet-length
109
+  a8 d, c16-! c-! d-! bes-! a8 bes | c4 r bes'16 bes, bes bes bes bes bes bes | bes' bes, bes bes bes bes bes bes bes' bes, bes bes bes bes bes bes | bes8 bes, r4 r2 | r 
110
+  \override Stem.stemlet-length = #0.5
111
+  \override Stem.details.beamed-lengths = #'(5)
112
+  r16[ bes'' a g] 
113
+  \revert Stem.details.beamed-lengths
114
+  \revert Stem.stemlet-length
115
+  a8 d, | %% Bar 15
116
+  c d16 bes a8 bes c4 r | r c'2 bes4~ | bes a2 g4~ | g f e r8 f | e f16( d) c-! c-! d bes a8 g f f' | %% Bar 20
117
+  e f16( d) c-! c-! d bes a8 g f bes, | c d bes c f16 f a c f4 | r2 f,4\f r8 f' | e f16( d) c-! c-! d bes a-! a-! g a f8 a' | g16-! g-! a f g8. a16 g-! g-! a f g8. bes16 | %% Bar 25
118
+  a g a f f8. e16 f4 r | 
119
+  \musicalIssue \with {
120
+    author = "N. Andrew Walsh" 
121
+    message = "Dynamikzeichen ist in der OE hier zwei Schläge zu früh. Vgl. Vlno. II und Viola."
122
+    source = "Faksimile der OE-Stimme"
123
+    }
124
+   DynamicText %% Incongruent dynamic noted, Bar 27
125
+  f16\pp f, f f f f f f f' f, f f f f f f | f' f, f f f f f f f' f, f f f f f f | f' f, f f f c' bes c d8 bes 
126
+  \override Stem.stemlet-length = #0.5
127
+  \override Stem.details.beamed-lengths = #'(5)
128
+  r16[ f' g a] | 
129
+  \revert Stem.details.beamed-lengths
130
+  \revert Stem.stemlet-length
131
+  bes bes, bes bes bes f' g a bes bes, bes bes bes f' g a | %% Bar 30
132
+  bes bes, bes bes bes8\f bes' a bes16 g f f g es | d d c d bes4 r2 | R1 | r8 bes\p a4 r2 | r8 g' f4 f8[ c a c] | %% Bar 35
133
+  f,4 r f'8[ c a c] | f,4 r es'2\trill | d16( bes) f'( d) bes'( f) d( bes) es2\trill | d8 d, r4 r8 bes' c4 | r8 c d4 r8 d es4 | %% Bar 40
134
+  r8 es f4 d8 g16( f) es8 d | c4 r8 d\f c16 c d bes c8 bes' | a16 a bes g a8 f bes,16\p bes c bes bes bes c bes | bes bes c bes bes8 g' c,16 c d c c c d c | c c d c c4 r2 | %% Bar 45
135
+  R1*2 | bes4\f r8 bes' a16-! a-! bes g f-! f-! g es | d-! d-! c d bes8 bes a bes16 g f-! f-! g es | d-! d-! c d bes8 f'' g16( es d) es-! g( es d) es-! | %% Bar 50
136
+  f( d c) d-! f( d c) d-! es-! es-! f es d d es d | c4 r8 d c16 c d bes c8. d16 | c c d bes c8. f16 d f bes bes, c4\trill | bes8 
137
+  bes,-\tweak padding 1.5 -\fermata r4 r g''\f~ | g16 g a g g4~ g16 g a g g4~ | %% Bar 55
138
+  g16 g es c a es' d a bes g d bes g4 | r2 es''4\p d | bes8 c16( d) es8( es) c es\staccatissimo es\staccatissimo d | g, a16( b) c8( c) a c\staccatissimo c\staccatissimo bes | g-! f-! e-! es-! es'2-\tweak padding 1 -\fermata | %% Bar 60
139
+  d4 r 
140
+  \override Stem.stemlet-length = #0.5
141
+  \override Stem.details.beamed-lengths = #'(4)
142
+  r16[ a\p b cis]
143
+  \revert Stem.details.beamed-lengths
144
+  \revert Stem.stemlet-length
145
+  d e f g | a8 a, r4 r r8 d,~ | d f16 g a cis d e f4~ f16 f-! g-! f-! | f4~ f16 f g f f( cis) d( e) f( e) f( g) | a a, cis 
146
+  \musicalIssue \with {
147
+    author = "N. Andrew Walsh" 
148
+    message = "Diese Note hat in der OE kein Vorzeichen. Vgl. Vlno. II"
149
+    source = "Faksimile der OE-Stimme"
150
+    }
151
+   NoteHead %% Missing accidental noted, Bar 65
152
+  e a8 a, \beambreakOn a16 b32( cis) d( e f) g \beambreakOff a8 a, | %% Bar 65
153
+  f'2\trill r2 | r8 d-! a-! f-! d4-! r_\markup { \right-align \italic { Da Capo } } | %% End Aria, Bar 67
154
+  %% Recit tacet
155
+  R1*8^\markup { \center-align { Recitative tacet. } }
156
+  %% Grave, Bar 76
157
+  \time 2/2
158
+  \partial 4 r4 | r2 d'\p | d\fermata r | R1*2 | %% Bar 80
159
+  g2\f f4. g8 | es2 d | g8( f) es( d) c4 bes | a16( g f4.) r2 | c'16( d es4.) d16( es f4.) | %% Bar 85
160
+  es16( f g4.) f16( g a4.) | bes1\fermata | a,\fermata | bes'8( f) d( bes) a4.\trill bes8 | bes4 bes, r2 | %% Bar 90
161
+  r f''\p | f1\fermata | bes,2 c4 \tuplet 3/2 { es8( d c) } | d2 bes'4-! bes,-! | d16( es f4.) d16( es f4.) | c2 a'4-! a,-! | g2 f | R1 | g2 f | R1 | %% Bar 100
162
+  a16( bes c4.) bes16( c d4.) | c16( d es4.) d16( es f4.) | d8( bes) c4 a'-! a,-! | r2 g'2\p~ | g8 f e d c bes a g | f4 a' a2~ | a8 g f e d c bes a | g2 e'4-! e,-! | r c'~ c bes8 d~ | d4 c8 e~ e4 d8 f~ | %% Bar 110
163
+  f e g4 g2\fermata | R1 | r4 f-!\p c-! a-! | f2 r | f'\f c4 bes' | a16 g f4. r2 | d'2 c4. d8 | bes2 a | d8( c) bes( a) g( f) e( d) | e8. c16 f8 g,-! g4.\trill f8 | %% Bar 120
164
+  f4 f'-! c-! a-! | f2 r | R1 | r2 g'8\p f\staccatissimo f4\staccato | R1 | r2 g8 f\staccatissimo f4\staccato | es d2 c4 | bes8 g'\staccatissimo g4\staccato r2 | bes,8 g'\staccatissimo g4\staccato r2 | bes,8 g'\staccatissimo g4\staccato r2 | %% Bar 130
165
+  r g\trill | g,8( a) bes( a) g4 g' | r g f2\trill | r4 f es2 | r4 es d2 | r2 g4-! g,-! | R1*2 | r4 d'-!\f a-! f-! | d2 r | %% Bar 140
166
+  r d'\p | d2\fermata r | R1 | r2 bes'4-! bes,-! | d16( es f4.) d16( es f4.) | c2 r | g'\f f4. g8 | es2 d | g8( f) es( d) c4 bes | a16( g f4.) r2 | %% Bar 150
167
+  g2\p f | R1 | g2 f | R1 | r2 r4 bes4(~ | bes8 f) g( f) bes( f) d'( f,) | c'( f,) g( f) c'( f,) es'( f,) | d'( f,) g( f) d'( f,) 
168
+  \musicalIssue \with {
169
+    author = "N. Andrew Walsh" 
170
+    message = "Bindebogen ist hier unklar."
171
+    source = "Faksimile der OE-Stimme"
172
+    }
173
+   Slur %% Oddly-placed slur noted, Bar 158
174
+  f'( d) | es1\fermata | R1*2 | %% Bar 166
175
+  bes8 c bes a bes2~ | bes8 c bes a bes2 | r g'-! | es-! f-! | bes,4 bes-! f-! d-! | bes2-! r | a'16\f( bes c4.) bes16( c d4.) | c16( d es4.) es16 es f4. | bes1\fermata | %% Bar 175
176
+  a,\fermata | bes'8( f) d( bes) a4. bes8 | bes4 bes-! f-! d-! | bes1 | %% End Grave, Bar 179
177
+  %% 2/4
178
+  \partial 8 r8 | bes'\p r c r | bes4 r | bes8 r c r | bes4 r8 c\f | d es4 d16 c | d8 f es c | d es4 d16 c | d4 r8 f~ | f es4 d8~ | d c4 bes8~ | %% Bar 190
179
+  bes a4 g8 | f4 r | bes8\p r c r | bes f es c' | bes r c r | bes4 r8 f'~ | f es4 d8~ | d c4 bes8~ | bes a4 g8 | f4 
180
+  \override Stem.stemlet-length = #0.5
181
+  \override Stem.details.beamed-lengths = #'(4)
182
+  r16[ c' bes c] | %% Bar 200
183
+  \revert Stem.details.beamed-lengths
184
+  \revert Stem.stemlet-length
185
+  d8 g,4 d'8 | e4 
186
+  \override Stem.stemlet-length = #0.5
187
+  \override Stem.details.beamed-lengths = #'(4)
188
+  r16[ e f g] | 
189
+  \revert Stem.details.beamed-lengths
190
+  \revert Stem.stemlet-length
191
+  f8 bes,4 f'8 | g4 r8 bes, | a bes4 a16 g | a8 c bes g | a bes4 a16 g | a8 d c4~ | c8 d c4~ | c8 d c4 | %% Bar 210
192
+  R2*2 | a8 r bes r | a4 r | a8 r bes r | a4 r8 c\f | f g4 f16 e | a8 bes4 a16 g | a8 c bes g | a8 bes4 a16 g | %% Bar 220
193
+  a8 a, r4 | R2 | 
194
+  \override Stem.stemlet-length = #0.5
195
+  \override Stem.details.beamed-lengths = #'(4.5)
196
+  r16[ a\f bes c] 
197
+  \revert Stem.details.beamed-lengths
198
+  \revert Stem.stemlet-length
199
+  bes c d es | f8 g4 f16 es | f8 bes,\p d bes | d es4 d16 c | d4 r | r r8 f~ | f es4 d8~ | d c4 bes8 | %% Bar 225
200
+  a4 r | r8 f' g,4~ | g8 es' f,4~ | f8 d' es,4~ | es8 c' d, r | r4 r8 f | g16 a bes4 a8 | bes4 r | R2 | r4 r8 bes\f | %% Bar 235
201
+  d es4 d16 c | d8 f es c\p | bes r c r | bes4 r | bes8 r c r | bes4 r | R2 | r4 a'\f | bes r | %% End Cantata, Bar 244
202
+  
203
+}
204
+
205
+IViolinoTwoMusic = \new Voice \relative c'' {
206
+  
207
+  bes4 r8 bes'\f a8 bes16( g) f-! f-! g es | d-! d-! c d bes8 bes a bes16( g) f-! f-! g es | d-! d-! c d bes8 d' bes r bes r | bes r bes r c16-! c-! d c bes-! bes-! c bes | a4 r8 bes a16-! a-! bes g a8. bes16 | %% Bar 5
208
+  a-! a-! bes g a8. c16 bes4. a8 | bes4 r r r8 bes' | a16-! a-! bes g f-! f-! g es d-! d-! c d bes4 | d16-!\p d-! es d d-! d-! es d d4 r | R1 | %% Bar 10
209
+  \override Stem.stemlet-length = #0.5
210
+  \override Stem.details.beamed-lengths = #'(4)
211
+  r8[ \tuplet 3/2 { g16( f e]) } 
212
+  \revert Stem.details.beamed-lengths
213
+  \revert Stem.stemlet-length
214
+  f8 bes, a16-! a-! bes d c8 d16( bes) | a4 r r bes'16 bes, bes bes | bes bes bes bes bes' bes, bes bes bes bes bes bes bes' bes, bes bes | bes8 d, r4 r2 | r 
215
+  \override Stem.stemlet-length = #0.5
216
+  \override Stem.details.beamed-lengths = #'(4)
217
+  r16[ g' f e] 
218
+  \revert Stem.details.beamed-lengths
219
+  \revert Stem.stemlet-length
220
+  f8 bes, | %% Bar 15
221
+  a bes c d16( bes) a4 r | es'4.\trill f16 g d4.\trill es16 f | c4.\trill d16 es bes4.\trill c16 d | a4.\trill bes16 c g4 r8 f' | e f16( d) c-! c-! d bes a8 g f f' | %% Bar 20
222
+  e f16( d) c-! c-! d bes a8 g f bes, | c d bes c f16 a c f a4 | r2 f,4\f r8 f' | e f16( d) c-! c-! d bes a-! a-! g a f8 f' | e16-! e-! f d e8. f16 e-! e-! f d e8. e16 | %% Bar 25
223
+  f e f c c8. bes16 a4 r | r 
224
+  \musicalIssue \with {
225
+    author = "N. Andrew Walsh" 
226
+    message = "Dynamikzeichen ist in der OE hier nur piano. Vgl. Vlno. I und Viola."
227
+    source = "Faksimile der OE-Stimme"
228
+    }
229
+   DynamicText %% Incongruent dynamic noted, Bar 27
230
+  f'16\pp f, f f f f f f f' f, f f | f f f f f' f, f f f f f f f' f, f f | f f f f f a g a bes8 d, r4 | 
231
+  \override Stem.stemlet-length = #0.5
232
+  \override Stem.details.beamed-lengths = #'(4.5)
233
+  r16[ f' g a] 
234
+  \revert Stem.details.beamed-lengths
235
+  \revert Stem.stemlet-length
236
+  bes bes, bes bes bes f' g a bes bes, bes bes | %% Bar 30
237
+  bes f' g a bes8\f bes a bes16( g) f-! f-! g es | d-! d-! c d bes4 r2 | R1 | r8 g\p f4 r2 | r8 bes a4 f'8 c a c | %% Bar 35
238
+  f,4 r f'8 c a c | f,4 r c'2\trill | bes16( f) d'( bes) f'( d) bes( f) c'2\trill | bes8 bes, r4 es8 g r g | f a r a g bes r bes | %% Bar 40
239
+  a c r c bes es16 d c8 bes | a4 r8 
240
+  \musicalIssue \with {
241
+    author = "N. Andrew Walsh" 
242
+    message = "Dynamikzeichen ist hier eine Achtelnote später in der OE. Vgl. Vlno. I."
243
+    source = "Faksimile der OE-Stimme"
244
+    }
245
+   DynamicText %% Oddly-placed dynamic noted, Bar 42
246
+  bes\f a16 a bes g a8 d | c16 c d bes c4 f,16\p f g f f f g f | f f g f f8 r g16 g a g g g a g | g g a g g4 r2 | %% Bar 45
247
+  R1*2 | bes4\f r8 bes' a16-! a-! bes g f-! f-! g es | d-! d-! c d bes8 bes a bes16 g f-! f-! g es | d-! d-! c d bes8 d' bes r bes r | %% Bar 50
248
+  bes r bes r c16-! c-! d c bes-! bes-! c bes | a4 r8 bes a16 a bes g a8. bes16 | a a bes g a8. c16 bes4. a8 | bes4\fermata r r2 | g4\f~ g16 g a g g4~ g16 g a g | %% Bar 55
249
+  g8 a4 bes16 c bes g d bes g4 | r2 c'4\p bes | d8( bes) bes( bes) a( c) a( a) | d( g,) g( g) f( a) f( f) | g-! f-! e-! es-! a2\fermata | %% Bar 60
250
+  bes4 r r2 | 
251
+  \override Stem.stemlet-length = #0.5
252
+  \override Stem.details.beamed-lengths = #'(4)
253
+  r16[ a\p b cis] 
254
+  \revert Stem.details.beamed-lengths
255
+  \revert Stem.stemlet-length
256
+  d e f g a8 a, r d,~ | d f16 g a8 b16 cis d4~ d16 d-! e-! d-! | d4~ d16 d-! e-! d-! d( cis) d( e) f( e) f( g) | a a, cis e a8 a, \beambreakOn a16 b32( cis) d( e) f( g) \beambreakOff a8 a, | 
257
+  d2 r | r8 d-! a-! f-! d4-! r_\markup { \right-align \italic { Da Capo } } | %% End Aria, Bar 74
258
+  %% Recit is tacet
259
+  R1*8^\markup { \center-align { Recitative tacet. } }
260
+  %% Grave, Bar 76
261
+  \time 2/2
262
+  \partial 4 r4 | r2 bes'\p | bes\fermata r | R1*2 | %% Bar 80
263
+  es2\f d4. es8 | c2 bes | g g4 g | a c r2 | a16( bes c4.) bes16( c d4.) | c16( d es4.) d16( es f4.) | g1\fermata | f,\fermata | d'4 c c2\trill | bes4 d, r2 | %% Bar 90
264
+  r d'\p | d1\fermata | f,2 f | f d'4-! d,-! | bes'16( c d4.) bes16( c d4.) | a2 f'4-! f,-! | es2 d | R1 | es2 d | R1 | %% Bar 100
265
+  f16( g a4.) g16( a bes4.) | a16( bes c4.) bes16( c d4.) | bes8( g) a4 f'-! f,-! | r2 bes\p~ | bes8 a g' es e d c bes | a4 f' f2~ | f8 e d c bes a g f | e2 c'4-! c,-! | r a'~ a g8 bes~ | bes4 a8 c~ c4 bes8 d~ | %% Bar 110
266
+  d4 c8 e e2\fermata | R1 | r4 f-!\p c-! a-! | f2-! r | f\f g | a8 bes c4 r2 | bes'2 a4. bes8 | g2 f | bes8( a) g( f) e( d) c( bes) | g4 a8 f f4( e) | %% Bar 120
267
+  f f'-! c-! a-! f2 r | R1 | r2 bes8\p a a4 | R1 | r2 bes8 a a4 | c bes a a | g8 bes bes4 r2 | g8 bes bes4 r2 | g8 bes bes4 r2 | %% Bar 130
268
+  R1 | g'2\trill g,8 a bes a | g4 es' es2 | d1 | c | r2 g'4-! g,-! | R1*2 | r4 d'\f a f | d2 r | %% Bar 140
269
+  r bes'\p | bes\fermata r | R1 | r2 d4-! d,-! | bes'16( c d4.) bes16( c d4.) | a2 r | es'2\f d4. es8 | c2 bes | g g4 g | a c r2 | %% Bar 150
270
+  es,2\p d | R1 | es2 d | R1 | r2 r4 f | f( f) f( f) | f( f) f( f) f( f) f( f) | c'1\fermata | R1*2 | %% Bar 160
271
+  f,4( g) f r | f( g) f r | r2 g'-! | es-! f-! | bes,4 bes f d | bes2 r | 
272
+  \musicalIssue \with {
273
+    author = "N. Andrew Walsh" 
274
+    message = "Hier soll \"forte\" markiert sein, fehlt in der OE. Vgl. Vlno. I."
275
+    source = "Faksimile der OE-Stimme"
276
+    }
277
+   DynamicText %% Missing forte noted, Bar 168
278
+  f'16\f( g a4.) g16( a bes4.) | a16( bes c4.) bes16( c d4.) | g1\fermata | f,\fermata | d'4 c c2\trill | bes4 bes-! f-! d-! | bes1 | %% End Grave, Bar 174
279
+  %% 2/4
280
+  \time 2/4 
281
+  \partial 8 r8 | f'\p r g r | f4 r | f8 r g r | f4 r8 f\f | bes c4 bes16 a | %% Bar 180
282
+  bes8 d c a | bes c4 bes16 a | bes4 r8 d~ | d c4 bes8~ | bes a4 g8~ | g f4 e8 | f4 r | f8\p r g r | f4 r | f8 r g r | %% Bar 190
283
+  f4 r | r r8 f'~ | f es4 d8~ | d c4 bes8 | a4 r | r 
284
+  \override Stem.stemlet-length = #0.5
285
+  \override Stem.details.beamed-lengths = #'(4)
286
+  r16[ d e f] | 
287
+  \revert Stem.details.beamed-lengths
288
+  \revert Stem.stemlet-length
289
+  e8 a,4 e'8 | f4 
290
+  \override Stem.stemlet-length = #0.5
291
+  \override Stem.details.beamed-lengths = #'(4.5)
292
+  r16[ f g a] 
293
+  \revert Stem.details.beamed-lengths
294
+  \revert Stem.stemlet-length
295
+  g8 c,4 g8 | f g4 f16 e | f8 a g e | %% Bar 200
296
+  f g4 f16 e | f8 bes a4~ | a8 bes a4~ | a8 bes a4 | 
297
+  \musicalIssue \with {
298
+    author = "N. Andrew Walsh" 
299
+    message = "Hier vermutlich ein Druckfehler: Die Pause ist in der OE nur ein Takt; danach stimmen die I. und II. Vlno. nicht überein, und Vlno II. endet ein Takt zu früh. Vgl. Vlno. I."
300
+    source = "Faksimile der OE-Stimme"
301
+    }
302
+   Rest %% Possible misprint (one bar rest too few) noted, Bar 204/205
303
+  R2*2 | f8 r f r | f4 r | f8 r f r | f4 r | r r8 c'\f | %% Bar 210
304
+  f g4 f16 e | f8 a g e | f g4 f16 e | f4 r | R2 | 
305
+  \override Stem.stemlet-length = #0.5
306
+  \override Stem.details.beamed-lengths = #'(4.5)
307
+  r16[ f,\f g a]
308
+  \revert Stem.details.beamed-lengths
309
+  \revert Stem.stemlet-length
310
+  bes c d es | d8 es4 d16 c | d8 d,\p f d  | f g4 f16 es | f4 r8 f'~ | %% Bar 220
311
+  f es4 d8~ | d c4 bes8~ | bes a4 g8 | f4 r8 f' | g,4. es'8 | f,4. d'8 | es,4. c'8 | d,4 r8 f | g16 a bes4 a8 | bes16 c d4 c8 | %% Bar 230
312
+  d4 r | R2 | r4 r8 f,\f | bes c4 bes16 a | bes8 d c a\p | f r g r | f4 r | f8 r g r | f4 r | R2 | r4 c'\f | d r | %% End Cantata, Bar 244
313
+  
314
+}
315
+
316
+IViolaMusic = \new Voice \relative c' {
317
+  \clef alto
318
+  d4 r8 f\f f g bes a | bes4 r8 bes a bes16( g) f-! f-! g es | d8 c16 d bes8 r g' r g r | f r f r es c d g | %% Bar 5
319
+  a4 r8 bes, f'4~ f16 f d bes | f'4~ f16 f d c d8 f f8. es16 | d4 r r r8 f | f g bes a bes a bes4 | bes,8\p bes'4 bes,8 bes4 r | %% Bar 10
320
+  R1 | r8 c f, f' f r f r | f4 r d8 es f es | d es f es d es f es | d4 r r2 | %% Bar 15
321
+  r r8 c f, f' f f, f f f4 r | r8 bes' c4~ c8 c16 a bes4~ | bes8 bes16 g a4~ a8 a16 f g4~ | g8 g16 e f8 d e4 r | r2 r4 r8 f | %% Bar 20
322
+  e f16( d) c-! c-! d bes a8 g16( a) f8 r | r2 r4 r8 bes | c d bes c f\f a r a | g4 r8 e f e f f, | c'4 r8 c c4 r8 g' | %% Bar 25
323
+  f a g8. g16 a4 r | a,8\pp bes c bes a bes c bes | a bes c bes a bes c bes | a bes c f f4 r | d8 es f es d es f es | %% Bar 30
324
+  d es 
325
+  \musicalIssue \with {
326
+    author = "N. Andrew Walsh" 
327
+    message = "Dynamikzeichen ist hier eine Viertelnote später in der OE. Vgl. Vlni."
328
+    source = "Faksimile der OE-Stimme"
329
+    }
330
+   DynamicText %% Oddly-placed dynamic noted, Bar 31
331
+  f\f d c g' bes a | bes a bes4 r2 | R1 | f,4-!\p f'-! r2 | f,4-! f'-! r2 | f8 c a c f,4 r | f'8 c a c f,4 
332
+  \override Stem.stemlet-length = #0.5
333
+  \override Stem.details.beamed-lengths = #'(5)
334
+  r16[ f' f f] | 
335
+  \revert Stem.details.beamed-lengths
336
+  \revert Stem.stemlet-length
337
+  f4 r r 
338
+  \override Stem.stemlet-length = #0.5
339
+  \override Stem.details.beamed-lengths = #'(5)
340
+  r16[ f f f] | 
341
+  \revert Stem.details.beamed-lengths
342
+  \revert Stem.stemlet-length
343
+  f4 r r r8 es | c4 r8 f d4 r8 g | %% Bar 40
344
+  es4 r8 a f4 r8 g | a4 r8 bes,\f f' bes f f | f f f d d16-!\p d-! es d d-! d-! es d | d-! d-! es d d8 e e16-! e-! f e e-! e-! f e | e-! e-! f e e4 r2 | %% Bar 45
345
+  R1*2 | d4\f r8 f f g bes a | bes4 r8 bes a bes16 g f-! f-! g es | d-! d-! c d bes8 r g' r g r | f r f r es c d g | a4 r8 bes, f'4~ f16 f d bes | %% Bar 50
346
+  f'4~ f16 f d c d8 f f8. es16 | d4\fermata r r2 | r8 g\f bes4 r8 g bes4 | g 
347
+  \musicalIssue \with {
348
+    author = "N. Andrew Walsh" 
349
+    message = "Druckfehler: hier ist das Fis als Achtelnote geschrieben. Vgl. Streicher."
350
+    source = "Faksimile der OE-Stimme"
351
+    }
352
+   NoteHead %% Rhythmic error noted, Bar 54
353
+  fis 
354
+  \override Stem.stemlet-length = #0.5
355
+  \override Stem.details.beamed-lengths = #'(5)
356
+  r16[ g d bes] 
357
+  \revert Stem.details.beamed-lengths
358
+  \revert Stem.stemlet-length
359
+  g4 | r2 fis'8\p( a) bes4 | %% Bar 55
360
+  g8( g) g( g) g( g) fis( fis) | f( f) e( e) es( es) d( d) | g-! f-! e-! es-! fis2\fermata | g4 r8 bes cis,( cis) cis( cis) d( d) cis( cis) d4 r8 d~ | d f16( g) a8\staccatissimo a d, d' a\staccatissimo a | %% Bar 60
361
+  f\staccatissimo f d\staccatissimo d d r d r | cis r e r cis r e r | b'2 r | r8 d-! a-! f-! d4-! r_\markup { \right-align \italic { Da Capo } } | %% End Aria, Bar 67
362
+  %% Recit is tacet
363
+  R1*8^\markup { \center-align { Recitative tacet. } }
364
+  %% Grave, Bar 76
365
+  \time 2/2
366
+  \partial 4 r4 | r2 f\p | f\fermata r | R1*2 | bes,4\f g' bes bes~ | bes a bes2 | %% Bar 80
367
+  bes4 g g c, | c2 r | a'4 f bes f | c' f, d' f, | c1\fermata | c\fermata | f4 g f4. es8 | d2 r | r bes'\p | bes,1\fermata | %% Bar 90
368
+  bes2 a | bes r | f'4( f) f( f) | f2 r | bes, bes | R1 | bes2 bes | R1 | f4( f) f'-! f,-! | f( f) f' f, | %% Bar 100
369
+  f( f) r2 | r e'~ | e g | r f | d d | e r | c4( c) c( c) | c( c) c( c) | c1\fermata | R1 | %% Bar 110
370
+  r4 f-!\p c-!a-! | f2 r | c'\f f | f4. d8 c4 f | f2 f~ | f4 e f2 | r g | c,4. d8 c4 bes | a f'-! c-! a | f2 r | %% Bar 120
371
+  R1 | r2 c'8\staccatissimo\p c c4\staccato | R1 | r2 c8\staccatissimo c c4\staccato | c d2 d4 | d8\staccatissimo d d4\staccato r2 | d8\staccatissimo d d4\staccato r2 | d8\staccatissimo d d4\staccato r2 | R1 | r2 g | %% Bar 130
372
+  g r4 f | f2 r4 es | es2 r4 d | d2 g4-! f,-! | R1*2 | r4 d''-!\f a-! f-! | d2-! r | r f\p | f\fermata r | %% Bar 140
373
+  R1*2 | f4( f) f( f) | f a r2 | bes2\f bes~ | bes4 a bes d, | bes( bes) c( c) | c a r2 | bes2\p bes | R1 | %% Bar 150
374
+  bes2 bes | R1 | r2 r4 d | d( d) d( d) | c( c) c( c) | d d d d | f1\fermata | R1*2 | d4( es) d r | %% Bar 160
375
+  d( es) d r | r2 g-! | es-! f-! | bes,4 bes'-! f-! d-! | bes2-! r | a'4\f f bes f | a f bes f | c1\fermata | c\fermata | f4 g f4. es8 | d4 bes'-! f-! d-! bes1-! | %% End Grave, Bar 174
376
+  %% 2/4 
377
+  \time 2/4 
378
+  \partial 8 r8 |  d\p r es r | d4 r | d8 r es r | d4 r | f\f f | %% Bar 180
379
+  f r | f f | f r | g f | es d | c bes | a r | d8\p r es r | d4 r | d8 r es r | %% Bar 190
380
+  d4 r | R2*2 | c4 c | c r | d8 bes' r4 | e,8 c' r4 | f,8 d' r4 | c, c | c c | %% Bar 200
381
+  c r | c c | c8 bes f'4~ | f8 bes, f'4~ | f8 bes, f'4 | R2*2 | c8 r d r | c4 r | c8 r d r | %% Bar 210
382
+  c4 r | R2 | c4\f c | c r | c c | c r | R2*2 | bes4 bes | bes r | %% Bar 220
383
+  bes\p es | bes r | R2*2 | c4 c | c r | r8 d es4 | r8 c d4 | r8 bes c4 | d r | %% Bar 230
384
+  r r8 f | bes,4 r | R2*3 | f'8\f r g r | f d r4 | d8\p r es r | d4 r | d8 r es r | d4 r | R2 | r4 f\f | f r | %% End Cantata, Bar 244
385
+
386
+}
387
+
388
+
389
+IOrganoMusicUpper = \new Voice \relative c {
390
+  \clef bass \voiceOne
391
+
392
+ 
393
+}
394
+
395
+IOrganoMusicLower = \new Voice \relative c {
396
+  \clef bass \oneVoice
397
+  bes4^\markup { \center-align \italic { W } } r8 bes f' es d c | bes4 r8 bes'-! a-! 
398
+  \musicalIssue \with {
399
+    author = "N. Andrew Walsh" 
400
+    message = "Akzent fehlt auf dieser Achtelnote."
401
+    source = "Faksimile der OE-Stimme"
402
+    }
403
+   Script %% Missing staccato noted, Bar 2
404
+  bes16-! g-! f-! f-! g-! es-! | d8-! c16-! d-! b4 es8 r es r | d r d r c a bes es | f f, r4 r2 | %% Bar 5
405
+  r4 r8 a' bes d, f f, | bes4 r^\markup { \center-align \italic { Vox } }  r r8 bes^\markup { \center-align \italic { W } } | f' es d c bes f' d bes | r2 bes'4^\markup { \center-align \italic { Vox } } r8 bes | c f, bes d, f4. g8 | %% Bar 10
406
+  f4 r r2 | r bes,8 c d c | bes c d c bes c d c | bes4 r8 bes' c f, bes d, | f4. g8 f f, r4 | %% Bar 15
407
+  r2 r8 f' d bes | c bes' a f bes a g es | a g f d g f e c | f e d bes c4 r | r2 r4 r8 f-! | %% Bar 20
408
+  e-! f16-! d-! c-! c-! d-! bes-! a8-! g16-! a-! f8-! r | r2 r4 r8 bes | c d bes c f4^\markup { \center-align \italic { W } } r8 f | c' bes a g f c' a f | r4 r8 f, c'4 r8 c | %% Bar 25
409
+  f a, c c, f4 r | f'8^\markup { \center-align \italic { Vox } } g a g f g a g | f g a g f g a g | f g a f bes,4 r | bes8 c d c bes c d c | %% Bar 30
410
+  bes c d bes f'^\markup { \center-align \italic { W } } es d c | bes f' d bes r4 r8 g' | c, f bes d, f4-! f,-! | r2 f'4-! f,-! | R1 | %% Bar 35
411
+  f'8 c-! a-! c-! f,4-! r | c'8-! c-! a-! c-! f,4-! 
412
+  \override Stem.stemlet-length = #0.5
413
+  \override Stem.details.beamed-lengths = #'(5.5)
414
+  r16[ a' a a] | 
415
+  \revert Stem.details.beamed-lengths
416
+  \revert Stem.stemlet-length
417
+  bes4 r r 
418
+  \override Stem.stemlet-length = #0.5
419
+  \override Stem.details.beamed-lengths = #'(5.5)
420
+  r16[ a a a] | 
421
+  \revert Stem.details.beamed-lengths
422
+  \revert Stem.stemlet-length
423
+  bes4 r es,8 es c c | f f d d g g es es | %% Bar 40
424
+  a a f f bes4 r8 es, | f4 r r r8 bes,^\markup { \center-align \italic { W } } | f' bes f4 r2 | R1 | r2 bes,8^\markup { \center-align \italic { Vox } } r c r | %% Bar 45
425
+  d r es r f bes, f' f, | bes4 r r2 | bes4^\markup { \center-align \italic { W } } r8 bes f' es d c | bes4 r8 bes'-! a-! bes16-! g-! f-! f-! g es | d-! d-! c d bes4 es8 r es r | %% Bar 50
426
+  d r d r c a bes es | f f, r4 r2 | r4 r8 a' bes d, f f, | bes4\fermata r g'^\markup { \center-align \italic { Vox } } r | g8^\markup { \center-align \italic { W } } g, r f' es es, r bes' | %% Bar 55
427
+  c c, d'4 
428
+  \override Stem.stemlet-length = #0.5
429
+  \override Stem.details.beamed-lengths = #'(5)
430
+  r16[ g-! d-! bes-!] 
431
+  \revert Stem.details.beamed-lengths
432
+  \revert Stem.stemlet-length
433
+  g4 | g'^\markup { \center-align \italic { Vox } } r g g | R1*2 | r2 c,\fermata | %% Bar 60
434
+  bes8 bes' g e a a g g | f f e e d4 r8 d~ | d f16-! g-! a8-! a-! d d\staccatissimo a\staccatissimo a | f f\staccatissimo d\staccato d\staccato d r bes r | a r a r a r a r | %% Bar 65
435
+  ges2 a | r8 d-! a-! f-! d4-! r_\markup { \right-align \italic { Da Capo } } | %% End Aria, Bar 67
436
+  %% Recit
437
+  es'1 | es2. es4~ | es1 | d2 d~ | d a~ | a bes4 r | r r8 f'' d c16 d bes8 f | bes,4 r r2 | %% End Recit, Bar 75
438
+  %% Grave
439
+  \time 2/2 
440
+  \partial 4 r4^\markup { \center-align \italic { Vox } } | r2 bes | bes\fermata r | bes4 bes'2 a4 | bes2 r | %% Bar 80
441
+  es,4^\markup { \center-align \italic { W } } c d bes | c f, bes2 | es4( es) e( e) | f2 r | f4( f) f( f) | f( f) f( f) | e1\fermata | es\fermata | d4 es f f, | bes2 r | %% Bar 90
442
+  r bes^\markup { \center-align \italic { Vox } } | bes1\fermata | R1*2 | bes4( bes) bes( bes) | f'2 r | r r4 bes | c f, bes2 | r r4 bes | c f, bes2 | %% Bar 100
443
+  R1*3 | g4 d e d | c2 c | f4 c d c | bes2 bes | c r | c1~^\markup { \center-align \italic { Tasto solo } } | c | %% Bar 110
444
+  c\fermata | f4 a, c c, | f f'-! c-! a-! | f2-! r | f4^\markup { \center-align \italic { W } } f' e c | f4. bes8 a4 f | bes, g' a f | g c, f2 | r bes,~ | bes4 a8 bes c4 c, | %% Bar 120
445
+  f2^\markup { \center-align \italic { Vox } } r | f r | f' e | f r | f e | f r | f4( f) fis( fis) | g( g) fis( fis) | g( g) fis( fis) | g g, r2 | %% Bar 130
446
+  g'4( g) f?( f) | es( es) bes( bes) | c c' a, a | bes bes' g, g | a a' fis, fis | g2 r | g' f4 e | d g a a, | r d-! a-! f-! | d2-! r | %% Bar 140
447
+  r bes' | bes\fermata r | bes4 bes'2 a4 | bes2 r | bes,4( bes) bes( bes) | f'2 r | es4^\markup { \center-align \italic { W } } c d bes | c f, bes2 | es4( es) e( e) | f2 r | %% Bar 150
448
+  r r4 bes^\markup { \center-align \italic { Vox } } | c f, bes2 | r r4 bes, | c f, bes2 | d4 es d8 c d c | bes4( bes) bes( bes) | a( a) a( a) | bes( bes) bes( bes) | a1\fermata | bes4 c d es | %% Bar 160
449
+  f2 f, | bes4 r d es | d r d es | d2 g-! | es-! f-! | bes,4-! bes'-! f-! d-! | bes2-! r | f'4(^\markup { \center-align \italic { W } } f) f( f) | f( f) f( f) | e1\fermata | e\fermata | d4 es? f f, | bes bes'-! f-! d-! | bes1-! | %% End Grave, Bar 174
450
+  %% 2/4 
451
+  \time 2/4 
452
+  \partial 8 r8 | bes^\markup { \center-align \italic { Vox } } r bes r | bes4 r | bes8 r bes r | bes4 r | bes^\markup { \center-align \italic { W } } f | %% Bar 180
453
+  bes r | bes f | bes r | R2*2 | f'4 c | f r | bes,8 r bes r | bes4 r | bes8 r bes r | %% Bar 190
454
+  bes4 r | R2*2 | f'4 c | f r8 a, | bes4 r | c r | d r | e c | f e | %% Bar 200
455
+  f r | f e | f r8 bes | a4. bes8 | a4. bes8 | a g f a, | c4 c, | f8 r f r | f4 r | f8 r f r | %% Bar 210
456
+  f4 r | R2 | f'4 c | f r | f c | f r | f^\markup { \center-align \italic { Vox } } bes | f^\markup { \center-align \italic { W } } es | d8 bes es4 | bes r^\markup { \center-align \italic { Vox } } | %% Bar 220
457
+  R2*4 | f'4 c | f r | c'16 c bes bes c c a a | bes bes a a bes bes g g | a a g g a a f f | bes4 r | %% Bar 230
458
+  R2 | r4 r8 f | bes,4 d8 g | f4 f, | bes r^\markup { \center-align \italic { W } } | bes8 r bes r | bes4 r | bes8 r bes r | bes4 r | bes8 r bes r | %% Bar 240
459
+  bes4 r | es f | bes, f' | bes, r | %% End Cantata, Bar 244
460
+ 
461
+}
462
+
463
+IOrganoFB = \figuremode {       
464
+    
465
+  s2 < 3 >8 < 3 > < 3 > < 3 > | s1 | s2 \bassFigureExtendersOn < 3 >8 < 3 > < 3 > < 3 > \bassFigureExtendersOff | < 6 > s s4 < _- >8 < 6 > s4 | s1 | %% Bar 5
466
+  s4 s8 < 6 > s4 < 4 >16 < 3 > s8 | s1 | < 3 >8 < 3 > < 3 > < 3 > s < 3 > < 6 > s | s2 < 5 >4 s8 < 6 > | < 7 > < 7 > s < 6 > < 3 >4. < _- >8 | %% Bar 10
467
+  < 5 >4 s s2 | s1*2 | s4 s8 < 6 >8 < 7 > < 7 > s < 6 > | s4. < _- >8 < 5 > s s4 | %% Bar 15
468
+  s2 s8 s < 6 > s | < 3 9 > s < 5 3 > s < 9 > s < 3 > s | < 9 > s < 3 > s < 9 > s < 5- 3 > s | < 9 > s < 3 > s < _! >4 s | s1*2 | %% Bar 21
469
+  s2 s4 s8 < 5 > | < 6 > s < 6 5 > < _! > s2 | < _! >8 < 3 > < 3 > < _- > s < _! > < 6 > s | s2 < _! >4 s8 < _! > | %% Bar 25
470
+  s < 6 > < 4 > < 5 _! > s2 | s4 < 6 >8 s s2 | s4 < 6 >8 s s2 | s4 < 6 >8 s s2 | s4 < 6 >8 s s4 < 6 >8 s | %% Bar 30
471
+  s4 < 6 >8 s s4 < 6 >8 < 6 > | s4 < 6 >8 s s4 s8 < _- > | s < 7 > < 3 > < 6 > s2 | s1*3 | %% Bar 36
472
+  s2 s4 s16 < 6 5 > s8 | s2 s4 s16 < 6 5 > s8 | s2 < 5 >8 s < _- > s | s4 < 3 >8 s < _- > s < 5 > s | %% Bar 40
473
+  < 3 > s < 5 > s < 3 >4 s8 < 7 5 > | < 5 >4 s s2 | < 3 >8 < 3 > < 3 >4 s2 | s1 | s2 s4 < 6 >8 s | %% Bar 45
474
+  < 6 > s s4 s < 4 >8 < 5 3 > | s1 | s2 s4 < 6 3 >8 < 6 3 > | s1 | s2 \bassFigureExtendersOn < 3 >8 < 3 > < 3 > < 3 > \bassFigureExtendersOff | %% Bar 50
475
+  < 6 >8 s s4 s2 | s1 | s4 s8 < 6 5 > s < 6 > < 4 >16 < 3 > s8 | s2 < _- >4 s | \bassFigureExtendersOn < _- >8 < _- > < _- > < _- > < _- > < 6\! 3 > s < 6\! > | %% Bar 55
476
+  < 6 > \bassFigureExtendersOff < 6 4- > < _+ >4 s2 | s2 < 6- 4 7+ >4 < 5 _- > | s1*2 | s2 < 3- 6 4+ 2 > | %% Bar 60
477
+  < 6 >8 s < 5 > < 5- > \bassFigureExtendersOn < _+ > < _+ > < _+ > < _+ > \bassFigureExtendersOff | < 6 > s < 6\\ > < 4 > < _- >4 s | s2 < 3 >8 s s < 6 4 > | < 8 6 > s s4 < _- >8 s < 6 > s | < _+ > s s4 < _+ >8 s s4 | %% Bar 65
478
+  < 7- 5 >2 < 4 >4 < _+ > | s1 | %% End Aria, Bar 67
479
+  %% Recit
480
+  s1 | < 4- 2 >2. < 3 >4 | s2. < 4! 2 >4 | \bassFigureExtendersOn < 6 >2 < 6 > \bassFigureExtendersOff | < 6 > < 5- > | < 6 >4 < 5- > s2 | s4 s8 < 3 > < 6 > s s < 3 > s1 | %% End Recit, Bar 75
481
+  %% Grave
482
+  \time 2/2
483
+  \partial 4 s4 | s1*2 | s4 < 3 > < 2 > s | s1*2 | %% Bar 81
484
+  < 7 >4 < 7 > s2 | < 5 >4 s < 6 5 > s | s1 | < 5 3 >4 s < 6 4 > s | < 7 5 > s < 8 6 > s | < 6 5 3 >1 | < 6 4 2 > | < 6 >4 < 6 5 > < 5 4 > < 3 > | s1*5 | < 3 >4 s s2 | %% Bar 95
485
+  < 5 >2 s | s1 | < 7 >4 < 7 > s2 | s1 | < 7 >4 < 7 > s2 | %% Bar 100
486
+  s1*3 | \bassFigureExtendersOn < _- >4 < _- > < _- > < _- > | < 7 _! >2 < 7 _! > | < 3 >4 < 3 > < 3 > \bassFigureExtendersOff s | < 7 3 > s < 6 > s | < _! >2 s | s1*2 | %% Bar 110
487
+  <7 _! >1 | s2 < 4 >4 < _! > | s1*2 | s2 < 6 >4 s | s4. < 5 >8 < 6 >4 s | < 3 > s < 6 > s | < 7 > <_! > s2 | s < 6 > | < 6 4\+ 2 >4 < 6 >8 < 6 5 > < 4 >4 < _! > | %% Bar 120
488
+  s1*2 | s2 < 6 > | s1 | s2 < 6 > | s1 | < 7 5 >4 \bassFigureExtendersOn < 6 4 > < 6 > < 5 3 > \bassFigureExtendersOff | < _- > s < 6 > s | < _- > s < 6 > s | < _- > s s2 | %% Bar 130
489
+  \bassFigureExtendersOn < 3 8 >4 < 3 8 > < 3 8 > < 3 8 > \bassFigureExtendersOff | < 5 3 > s < 6 > s | < _- > s < 6 5 > s | < 3 > s < 6 5 > s | < 3 > s < 6 5 > s | < 3 >2 s | < 4\+ 2 > < 6 >4 < 6\\ > | < _- > < 6\\ > < 4 > < _+ > | s1*4 | %% Bar 142
490
+  s4 \bassFigureExtendersOn < 4 3 > < 4 2 > < 4 2 > \bassFigureExtendersOff | s1 | < 3 >4 s s2 | s1*3 | < 3 >4 s < 6 > < 5 > | s1*2 | %% Bar 151
491
+  < 7 >4 < 7 > s2 | s1 | < 7 >4 < 7 > s2 | \bassFigureExtendersOn < 6 >4 < 6 > \bassFigureExtendersOff < 6 > s | < 3 > s s2 | < 6 >4 s s2 | < 5 >4 s s2 | < 6 5- 3 >1 | s4 < 6 > < 6 > < 6 > | < 4 >2 < 3 > | s < 6 >4 < 6 > | %% Bar 160
492
+  < 6 > s < 6 > < 6 > | < 6 >2 s | s1*3 | < 5 3 >4 s < 6 4 > s | < 7 5 > s < 6 4 > s | < 6 5 >1 | < 6 4 2 > | < 6 >4 < 6 5 > < 4 > < 3 > | s1*2 | %% End Grave, Bar 174
493
+  %% 2/4
494
+  \time 2/4
495
+  \partial 8 s8 | < 3 > s < 6 4 9 > s | < 8 >4 s | < 3 > < 6 4 9 > | s2*7 | s4 < _! > | s2 | < 3 >4 < 6 4 9 > | \bassFigureExtendersOn < 3 > s | < 3 > \bassFigureExtendersOff < 6 4 9 > | %% Bar 190
496
+  < 8 > s | s2*2 | s4 < _! > | s s8 < 6 > | < 5 >8 < 6 > s4 | \bassFigureExtendersOn < 5 _! >8 < 6 _! > \bassFigureExtendersOff s4 | < 5 >8 < 6 > s4 | < 6 5 > < _! > | s < 6 5 > | %% Bar 200
497
+  s2 | s4 < 6 5 > | s2 | < 6 >4. s8 | < 6 >4. s8 | < 6 > < 6\\ > s < 6 > | < 4 >4 < _! > | < 5 3 > < 6 4 > | < 5 3 > s | < 5 3 > < 6 4 > | %% Bar 210
498
+  < 5 3 > s | s2 | s4 < _! > | s2 | s4 < _! > | s2*2 | s4 < 4 2 > | < 6 >8 s s4 | s2*5 | s4 < 7 _! > | %% Bar 225
499
+  s2 | < _- >16 s < 6 5 3 > s \bassFigureExtendersOn < _- > < _- > < _- > < _- > \bassFigureExtendersOff | < 6 5 > s < 6 5 3 > s \bassFigureExtendersOn < 3 > < 3 > < 3 > < 3 > \bassFigureExtendersOff | < 6 5 > s < 6 5 3 > s < 6 > s < 7 3 > s | \bassFigureExtendersOn < 9 3 > < 8 3 > \bassFigureExtendersOff s8 s4 | %% Bar 230
500
+  s2*2 | s4 < 6 >8 < _- > | \bassFigureExtendersOn < 5 4 >4 < 5 3 > \bassFigureExtendersOff | s2 | < 3 5 >4 < 4 9 6 > | \bassFigureExtendersOn < 3 5 > < 3 5 > | < 3 5 > < 4 9 6 > | < 4 9 6 > < 4 9 6 > | < 4 9 6 > \bassFigureExtendersOff < 4 9 6 > | %% Bar 240
501
+  s2 | < 6 5 >4 < 3 > | s < 7 > | s2 | %% End Cantata, Bar 244
502
+   
503
+    
504
+  }
505
+
506
+Isystembreaks = \new Voice {
507
+   \tempo \markup {\sans \medium \fontsize #4 "Vivacè" }
508
+   s1*53  \once \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
509
+   \mark \markup { \musicglyph #"scripts.ufermata" } \bar "|"\break %% End first part of aria, Bar 53
510
+   s1*12
511
+   \tempo \markup {\sans \medium \fontsize #4 "Adagio" }
512
+   s1*2 \once \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
513
+   \mark \markup { \musicglyph #"scripts.ufermata" } 
514
+   \set Score.repeatCommands = #'(end-repeat) \break %% End aria, Bar 67
515
+   \tempo \markup {\sans \medium \fontsize #4 "Recit." }
516
+   s1*8 \once \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
517
+   \mark \markup { \musicglyph #"scripts.ufermata" } \bar "||"\break %% End Recit, Bar 75
518
+   \time 2/2
519
+   \tempo \markup {\sans \medium \fontsize #4 "Gravè" }
520
+   \partial 4 s4 | 
521
+   s1*98 \once \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
522
+   \mark \markup { \musicglyph #"scripts.ufermata" } \bar "||"\break %% End middle, Bar 174
523
+   \time 2/4
524
+   \tempo \markup {\sans \medium \fontsize #4 "Preſto" }
525
+   \partial 8 s8 | 
526
+   s2*69 \once \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
527
+   \mark \markup { \musicglyph #"scripts.ufermata" } \bar "||"\pageBreak %% End Cantata, Bar 244
528
+   
529
+   }
530
+

+ 78
- 0
kantaten/transkription kayser cantata 3 score.ly View File

@@ -0,0 +1,78 @@
1
+\score {
2
+  <<
3
+      \override Score.BarNumber.font-size = #.5
4
+      \override Score.BarNumber.padding = #2.2
5
+      \override Score.BarNumber.self-alignment-X = #left 
6
+      \override Score.BarNumber.font-shape = #'italic
7
+      
8
+
9
+<<
10
+ \new ChoirStaff = "Staff_voci"
11
+ \with {
12
+  \override VerticalAxisGroup.default-staff-staff-spacing =
13
+    #'((basic-distance . 12)
14
+       (minimum-distance . 9)
15
+       (padding . 1)
16
+       (stretchability . 10))
17
+}
18
+   << 
19
+     \new Staff = "canto" <<
20
+       \override Staff.InstrumentName.self-alignment-X = #LEFT
21
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Canto } 
22
+        \new Voice = "canto" {
23
+        \global \IcantoMusic 
24
+        }
25
+     >>
26
+      \new Lyrics \lyricsto "canto" {
27
+      { \IcantoLyrics }
28
+      }
29
+   >>
30
+ >>
31
+     
32
+  \new StaffGroup = "StaffGroup_strings" << 
33
+    \new GrandStaff = "GrandStaff_violins" <<
34
+      \new Staff = "Staff_violinoI" <<
35
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
36
+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Violino I } }
37
+          \set Staff.midiInstrument = #"violin"
38
+          \global \IViolinoOneMusic \Isystembreaks
39
+      >>
40
+      \new Staff = "Staff_violinoII" <<
41
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
42
+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Violino II } }
43
+          \set Staff.midiInstrument = #"violin"
44
+          \global \IViolinoTwoMusic 
45
+      >>
46
+    >>
47
+    \new Staff = "Staff_violoncello" <<
48
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
49
+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line { Alto Viola } }
50
+          \set Staff.midiInstrument = #"viola"
51
+          \global \IViolaMusic
52
+    >>
53
+  >>  
54
+  \new Staff = "Staff_continuo" <<
55
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
56
+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Organo } \line {\italic {cum b. c. } } }
57
+          \set Staff.midiInstrument = #"reed organ"
58
+          \new Voice = "continuoupper" {
59
+          \global \IOrganoMusicUpper
60
+          }
61
+          \new Voice = "continuolower" {
62
+           \global \IOrganoMusicLower 
63
+          }
64
+          \new FiguredBass {\IOrganoFB }
65
+  >>
66
+  >>
67
+  \layout {
68
+  \context {
69
+    \Staff \RemoveEmptyStaves
70
+  }
71
+  }
72
+  \midi {}
73
+  \header {
74
+  piece = \markup { \abs-fontsize #18 \left-align { Ⅲ. De Uno Apostolo } } 
75
+  opus = ##f
76
+  }
77
+
78
+}

+ 345
- 0
kantaten/transkription kayser cantata 3.ly View File

@@ -0,0 +1,345 @@
1
+global= {
2
+  \set Timing.baseMoment = #(ly:make-moment 1/4)
3
+  \set Timing.beatStructure = #'(1 1 1)
4
+  \set Timing.beamExceptions = #'()
5
+  \time 2/4
6
+  \key a \major
7
+  %% NB: Best-practice sequence of glyphs is: note->articulation->dynamic->slur->beam->tie
8
+}
9
+
10
+beambreakOn = {
11
+  \set subdivideBeams = ##t
12
+  \set baseMoment = #(ly:make-moment 1/8)
13
+  \set beatStructure = #'(2 2 2)
14
+}
15
+
16
+beambreakOff = {
17
+  \set subdivideBeams = ##f
18
+  \set baseMoment = #(ly:make-moment 1/8)
19
+  \set beatStructure = #'(2 2 2)
20
+}
21
+
22
+
23
+
24
+IcantoMusic = \relative c'' {
25
+  \autoBeamOff \dynamicUp  
26
+  \partial 8 e8 | a,4 b | cis16([ b)] cis([ b)] a4 | R2*12 | r4 r8 e' | a,4 b | cis16([ b)] cis([ b)] a8 fis' | fis e e d | cis b16[ cis] a8 fis'\p | %% Bar 20
27
+  fis e e d | cis b16[ cis] a4 | cis16[ d] e8 e fis16[ a,] | a8. gis16 gis4 | cis16[ d] e8 e fis16[ a,] | a8. gis16 gis4 | a8. a16 a8 a | a16 dis fis8 r4 | fis16[ e] dis[ cis] b8 a | a gis16 gis r8 gis | a16[ \melisma gis fis gis] a[ b gis a] | %% Bar 30
28
+  b[ a gis a] b[ cis a b] | cis[ b a b] cis[ dis b cis] | dis8. \melismaEnd dis16 e8 a, | \tuplet 3/2 8 { gis16[ \melisma b a] gis[ fis e] } fis8. \melismaEnd e16 | e8 e' b gis | e4 r | R2*7 | r4 r8 e' | b[ cis] b[ cis] | %% Bar 45
29
+  b4. cis8 | d4 cis | b r8 e | a,16[ b] cis[ d] e8 a, | a8. a16 a8 fis' | b,16[ cis] d[ e] fis8 b, | b8. b16 b8 cis | d16[ fis d b] cis[ e cis a] | b4 r | c8 b d dis | e8. e,16 e4 | c'8 b d dis | e8. e,16 e4 | r r8 fis' | fis e4 d8 | %% Bar 60
30
+  cis8 b16[ cis] a8 fis'\p~ | fis e4 d8 | cis b16[ cis] a8 a' | \tuplet 3/2 { cis,8[ b a] } b8. a16 | a4 r | c8\p b d dis | e8. e,16 e4 | c'8 b d dis | e8. e,16 e4 | r4 r8 fis'\f~ | %% Bar 70
31
+  fis e4 d8 | cis b16[ cis] a8 fis'\p~ | fis e4 d8 | cis b16[ cis] a8 a' | \tuplet 3/2 { cis,8[ b a] } b8. a16 | a8 a' e cis | a4 r | R2*13 \once \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
32
+   \mark \markup { \musicglyph #"scripts.ufermata" }| %% End first part, Bar 90
33
+  a4 d | d8 cis16[ b] cis4 | a fis' | fis8 e16[ d] e4 | r r8 a, | g8[ fis] fis[ e] | e r r a | g[ fis] fis[ e] | e4 r | R2 | %% Bar 100
34
+  d4. \melisma g8 | fis4. b8 | a4. e'8 | d2\trill~ | d16[ cis d e] d[ cis d e] \melismaEnd | d2\fermata | a4 d | cis c | b bes | bes2\fermata | %% Bar 110
35
+  a8 fis' e d | cis16[ b] cis[ b] a4 | cis8 e e fis | d16[ cis] d[ cis] b4 | cis8. eis,16 fis8 dis'16[ cis] | bis4.\trill \melisma gis8 | cis16[( bis cis) gis] dis'[( cis dis) gis,] | e'[ dis] \melismaEnd cis[ bis] cis8 cis | cis2\trill~ | cis8 gis16 gis r4 | \partial 4. \textLengthOn r4 r8^\markup { \right-align { Da Capo } } \textLengthOff | %% End Ariose, Bar 121
36
+  %% Recit
37
+  \time 4/4
38
+  a4 r8 d d a fis'16 d cis e | d8 d r d16 b gis4 r8 e' | e, e16 e r8 e'\p e, e16 e r8 gis16\f b | a8 e r gis16\p b a8 e r4 | R1 | %% End Recit, Bar 126
39
+  %% Adagio
40
+  \time 2/2
41
+  a4. e'8 cis gis a b | a4 e8 e r2\fermata | R1*10 | a4. e'8 cis gis a b | a4 e8 e r2 | R1 | r4 b'2 a4 | r d2 cis4 | r a r a | r a r a | a2. b8 a | e2 r | cis'2. d8 cis | b2 r | r r4 cis | %% Bar 150
42
+  b cis8[ e] a,4 a | gis e8 e r4 a | gis e8 e r4 a | gis e' fis, fis8 gis | e2 r | b' r4 cis | b2 r4 a | gis b cis2 \melisma | b a | gis( fis4) \melismaEnd a8 fis | gis2 r4 dis' | e2 r | %% Bar 160
43
+  R1*6 | r2 r4 e | b cis8[ e] b4 a | gis8[ e] fis[ e] e2 | R1 | r2 r4 e' | b cis8[ e] b4 a | gis8[ e] fis[ e] e2 | R1 | r2 r4 gis | gis8[ \melisma fis] a4~ a8 gis b4~ | b8[ a] cis4~ cis8[ b] \melismaEnd dis4 | cis8[ e] dis[ cis] b4 a | %% Bar 180
44
+  gis16[ \melisma fis] e4. a2\trill | gis16[ fis] e4. cis'2\trill | b8[ e e, fis] fis4. \melismaEnd e8 | e4 e' dis cis8[ dis] | bis4 e dis cis | bis2 r | r2 r4 ais | ais4. dis,8 dis4 cis' | bis gis8 gis r2 | R1*2 | %% Bar 191
45
+  a4. e'8 cis gis a b | a4 e8 e r2 | R1 | r4 b'2 a4 | r d2 cis4 | r a r a | r a r a | a2. b8 a | e2 r | cis'2. d8 cis | e,2 r4 cis' | fis, e'8[ cis] d4. b8 | e,4 d'8[ b] cis4. cis8 | d,4 cis'8[ a] b4. b8 | cis,4 a'8 a r4 e' | cis b8[ a] b4 b8 cis | a2 r | r r4 cis\p | fis, e'8[ cis] d4. b8 | e,4 d'8[ b] cis4. cis8 | d,4 cis'8[ a] b4. b8 | cis,4 a'8 a r4 e' | cis b8[ a] b4 b8 cis | a2 e' | a, r | R1*10 | %% End Adagio, Bar 226
46
+  %% Presto
47
+  \time 2/4 
48
+  e8 a4 b8 | gis4 a | R2*2 | e8 a4 b8 | gis4 a | R2*2 | a4.\trill \melisma e8 | a[ e cis' e,] | b'4.\trill e,8 | b'[ e, d' e,] | cis'4.\trill e,8 | cis'[ e, e' e,] | d' cis4 d8 | b8 a4 b8 \melismaEnd | gis fis4 gis8 | e4 r | %% Bar 240
49
+  r8 e' a, g | fis[ \melisma e'] d4 | e,8[ d'] cis4 | d,8[ cis'] b4 | cis,8[ b'] a4 \melismaEnd | e8 a4 b8 | gis4 a8 a' | cis,[ a] b4 | a r | cis \tuplet 3/2 { e8[ dis cis] } | dis4 e8 a, | gis[ e] fis4 | e r | R2 | r4 r8 e' | b a4 gis16[ fis] | gis4 e | R2 | r4 r8 e' | b a4 gis16[ fis] | %% Bar 260
50
+  gis4 e | b'8 cis4 b8 | a[ cis] fis, fis' | a,[ fis] gis4 | fis r | R2 | cis'8[ d] e4 | cis8[ d] e4 | r8 e d cis | d4 r | b8[ cis] d4 | b8[ cis] d4 | r8 d cis b | cis4 r | r8 e a, g | fis[ \melisma e'] d4 | e,8[ d'] cis4 | d,8[ cis'] b4 | cis,8[ b'] a4 \melismaEnd | e8 a4 b8 | gis4 a8 a' | \tuplet 3/2 { cis,[ b a] } b4 | a r | r8 e'\p a, g | fis[ \melisma e'] d4 | e,8[ d'] cis4 | d,8[ cis'] b4 | cis,8[ b'] a4 \melismaEnd | e8\f a4 b8 | gis4 a8 a' | \tuplet 3/2 { cis,[ b a] } b4 | a r | R2*2 | %% End Cantata, Bar 296
51
+  
52
+}
53
+
54
+IcantoLyrics = \lyricmode {
55
+  
56
+  O Je -- su, Je -- su mi! ô Je -- su, Je -- su mi! ô Je -- su mi! Ma -- gi -- ster mi! ô Je -- su mi! Ma -- gi -- ster mi! Gau -- dens pro te -- pa -- ti -- or, at -- ta -- men non fa -- ti -- or, mil -- le con -- tu -- me -- li -- îs, mil -- le nec sup -- pli -- ci -- îs, non fa -- ti -- %% Bar 30
57
+  or, non fa -- ti -- or, non non non non. O Je -- su mi, Ma -- gi -- ster mi! gau -- _ dens pro te -- pa -- ti -- or, at -- _ ta -- men non fa -- ti -- or, non fa -- ti -- or, mil -- le con -- tu -- me -- li -- îs, mil -- le nec sup -- pli -- ci -- îs, non non non non %% Bar 60
58
+  fa -- ti -- or, non non non fa -- ti -- or non fa -- _ ti -- or. Mil -- le con -- tu -- me -- li -- îs, mil -- le nec sup -- pli -- ci -- îs non non non fa -- ti -- or, non non non fa -- ti -- or non fa -- _ ti -- o, non non non non, %% Fermata break, Bar 90
59
+  Tu, tu me -- a Lux, Tu, tu vi -- æ Dux, Tu me -- a Lux, Tu vi -- æ Dux! Lu -- bens pro te mo -- _ _ ri -- ar, Cœ -- lo ut ex -- o -- ri -- ar: Tu â sic præ -- sen -- ti -- â per -- fru -- ar in glo -- ri -- a, in glo -- ri -- a. %% End Aria, Bar 126
60
+  %% Recit.
61
+  Quid, quid e nim mi -- hi est in Cœ -- lo, & à Te quid vo -- lu -- i, quid vo -- lu -- i su -- per ter -- ram, su -- per ter -- ram?
62
+  %% Adagio
63
+  Quæ, quæ ha -- bet ter -- ra sor -- di -- da, Quæ, quæ ha -- bet ter -- ra sor -- di -- da, pla -- nè, pla -- nè non, non, non, non sa -- ti -- ant me, sa -- ti -- ant me, sed %% Bar 150
64
+  ar -- bi -- tror ùt ster -- co -- ra, ùt ster -- co -- ra, ùt lu -- cri fa -- cr -- am te, te, te, te, ut lu -- cri -- fa -- cri -- am te, te, te, Tu Je -- su mi -- hi o -- mni -- a, Tu Je -- su mi -- hi o -- mni -- a, Te si -- tit si -- tit me -- a %% Bar 180
65
+  a -- ni -- ma; En! fi -- li -- um, di -- sci -- pu -- lum, fac mo -- ri -- ar, fac u -- ni -- ar! Quæ, quæ ha -- bet ter -- ra sor -- di -- da, pla -- nè, pla -- nè non, non, non, non sa -- si -- ant me, %% Bar 200
66
+  sa -- ti -- ant me, sed ar -- bi -- tror ùt ster -- co -- ra, sed ar -- bi -- tror ùt ster -- co -- ra, ùt lu -- cri -- fa -- ci -- am te, sed ar -- bi -- tror ùt ster -- co -- ra sed ar -- bi -- tror ùt ster -- co -- ra, ut lu -- cri -- fa -- ci -- am te, te, te. %% End Adagio, Bar 226
67
+  %% Presto
68
+  Al -- _ le -- lu -- ja, al -- le -- _ lu -- ja, al -- le -- _ lu -- ja, al -- le -- lu -- ja, __ al -- _ le -- lu -- ja, al -- le -- lu -- ja, al -- le -- lu -- ja, al -- le -- lu -- ja. Al -- le -- _ _ lu -- ja, al -- le -- _ _  lu -- ja, al -- _ le -- lu -- ja, al -- le -- lu -- ja, %% Bar 270
69
+  al -- le -- lu -- ja, al -- le -- lu -- ja, al -- le -- lu -- ja, al -- le -- lu -- ja, al -- le -- lu -- ja, __ al -- _ le -- lu -- ja, al -- le -- lu -- ja __ al -- le -- lu -- ja, __ al -- _ le -- lu -- ja, al -- le -- lu -- ja. %% End Cantata, Bar 296
70
+  
71
+}
72
+
73
+
74
+IViolinoOneMusic = \new Voice \relative c'' {
75
+  
76
+  \partial 8 r8 | R2 | r4 r8 fis\f~ | fis e4 d8 | cis( b16 cis) a8 fis'\p~ | fis e4 d8 | cis( b16 cis) a4 | cis32\f\( d e8.~ e16.\) fis32 d16 cis | cis4 b | \beambreakOn b'16 d, \tuplet 3/2 { d\( cis b\) } \beambreakOff a'\( e\) cis\( e\) | \beambreakOn b' d, \tuplet 3/2 { d\( cis b\) } \beambreakOff a'\( e\) cis\( e\) | %% Bar 10
77
+  fis\( a\) gis\( a\) fis e d cis | b8. e16 a,8 d | cis4 b\trill | a8 a' e cis | a4 r | e\p\( d\) | cis r | R2 | r4 r8 fis'~ | fis e4 d8 | %% Bar 20
78
+  cis( b16 cis) a4 | R2 | r4 \override Stem.stemlet-length = #0.5 \override Stem.details.beamed-lengths = #'(4.5) r16[ b cis d] \revert Stem.details.beamed-lengths | cis8. d16 e8 fis | cis4 b | r a'~ | a16 gis fis( gis) fis( e) dis( e) | dis4 a' | r8 gis gis, gis' | cis,4 dis~ | %% Bar 30
79
+  dis e~ | e fis~ | fis gis8 r | R2 | r8 e-!\p b-! gis-! | e4-! r | b'8\f cis16 dis e8 gis~ | gis16 a fis e fis8 a,~ | a16 b gis fis gis8 cis~ | cis b4 a'8~ | a gis4 fis8 | e4.\trill dis8 | e e-! b-! gis-! | e4 r | r r8 e'\p | b8( cis) b( cis) | d4 cis | b r | a16( b cis) d e8 a, | a4.\trill fis'8 | %% Bar 50
80
+  b,16( cis d) e fis8 b, | b4.\trill r8 | R2*2 | c8\p( b) d( dis) | e( b) c( b) | c?( b) d( dis) | e( b) c( b) | a'-! gis-! r4 | R2 | r4 r8 fis~ | fis e4 d8 | cis b16( cis) a4 | R2*2 | c8\pp( b) d( dis) | e( b) c( b) | c( b) d( dis) | e( b) c( b) | a'( gis) r4 | %% Bar 70
81
+  R2 | r4 r8 fis~ | fis e4 d8 | cis b16( cis) a4 | R2 | r8 a'-!\p e-! cis-! | a4 r8 fis'\f~ | fis e4 d8 | cis b16 cis a8 fis'\p~ | fis e4 d8 | %% Bar 80
82
+  cis b16( cis) a4 | cis32\f\( d e8.~ e16.\) fis32 d16 cis | cis4 b | \beambreakOn b'16 d, \tuplet 3/2 { d\( cis b\) } \beambreakOff a'( e) cis( e) | \beambreakOn b' d, \tuplet 3/2 { d\( cis b\) } \beambreakOff a'( e) cis( e) fis( a) gis( a) fis e d cis | b8. e16 a,8 d | cis4 b\trill | a8 a'-! e-! cis-! | a4 r\fermata | %% Bar 90
83
+  R2 | e'4\p g~ | g16 e fis g fis4 | d4. b'8~ | b a16 g a8 a, | g fis4 e8~ | e fis4 fis'8 | e d4 cis8~ | cis d4 cis16 b | cis4 r | r8 g fis4~ | fis8 b a4~ | a8 e' d4~ | d8 g fis16( e) fis( g) | fis4~ fis16 e fis( g) | fis2\fermata | 
84
+  \musicalIssue \with {
85
+    author = "N. Andrew Walsh" 
86
+    message = "Diese Note hat in der OE ein b-Vorzeichen. Vgl. Vlno. II"
87
+    source = "Faksimile der OE-Stimme"
88
+    }
89
+   Accidental %% Wrong accidental noted, Bar 106
90
+  f4 r | R2 | d4 g | g2\fermata | R2*2 | g8\p e4 fis8 | d4 r | cis4. dis16 cis | bis8( gis') bis,( gis') | cis,( gis') dis( gis) e( gis) r4 | e2 | dis4 r8 dis | \partial 4. \textLengthOn eis4 r8^\markup { \right-align { Da Capo } } \textLengthOff | %% End Aria, Bar 121
91
+  %% Recit tacet
92
+  \time 4/4
93
+  R1*5 | %% End Recit, Bar 126
94
+  \time 2/2 
95
+  R1 | cis\p\fermata | R | \tuplet 3/2 4 { a'8\f e d-. cis b a } b4\trill a | r2 \tuplet 3/2 { a8 cis e-. } a4 | r2 \tuplet 3/2 { a,8 cis e-. } a4 | r fis \tuplet 3/2 4 { fis8 gis fis fis gis fis } | e2\trill \tuplet 3/2 4 { e8 fis e e fis e } | d2\trill \tuplet 3/2 4 { d8 e d d e d | cis d cis cis d cis cis a cis e cis e | a e d cis b a } b2\trill | a4 a, r2 | R1*2 | %% Bar 140
96
+  \tuplet 3/2 4 { a''8\f e d cis b a } b4\trill a | r2 \tuplet 3/2 { a8\p cis e } a4 | r2 \tuplet 3/2 { a,8 cis e } a4 | \tuplet 3/2 4 { cis,8 d cis cis d cis cis a cis cis a cis | cis d cis cis d cis cis a cis cis a cis } | a'4 a, r cis~ | cis b \tuplet 3/2 4 { b8 cis d b cis d } | cis2 r | fis\trill \tuplet 3/2 4 { fis8 g fis fis g fis } | fis4 e r2 | %% Bar 150
97
+  R1 | r4 b,\p a'2\trill | r4 e cis'2\trill | R1 | r2 cis | b a | gis fis | e r | r r4 cis''\p | b2\trill a\trill | %% Bar 160
98
+  gis\trill fis\trill | e r | R1 | \tuplet 3/2 4 { e8 b' a gis fis e } fis4\trill e | r2 \tuplet 3/2 { b8 e gis } b4 | r2 \tuplet 3/2 { b,8 e gis } b4 | \tuplet 3/2 4 { gis8 a gis gis a gis gis a gis gis a gis | fis gis fis fis gis fis } fis2\trill | \tuplet 3/2 4 { e8 b e b gis b } gis2 | R1*2 | %% Bar 171
99
+  \tuplet 3/2 4 { e'8\f b' a gis fis e } fis4\trill e | R1*3 | fis,8\p( fis) fis( fis) g( g) g( g) | g( g) fis4 r2 | a\trill b\trill | cis\trill dis\trill | R1 | r4 b r fis' | r b, r fis' | R1*3 | gis,4 dis bis gis | cis'1~ | cis | gis'2 e,4. e8 | dis4. dis8 dis4. dis8 | eis1 | R1*2 | %% Bar 191
100
+  \tuplet 3/2 4 { a'8 e d cis b a } b4\trill a | r2 \tuplet 3/2 { a8\p cis e } a4 | r2 \tuplet 3/2 { a,8 cis e } a4 | \tuplet 3/2 4 { cis,8 d cis cis d cis cis a cis cis a cis | cis d cis cis d cis cis a cis cis a cis } | a'4 a, r cis~ | \tuplet 3/2 4 { cis8 d cis b cis b b cis d b cis d } | %% Bar 200
101
+  cis2 r4 a'~ | a gis r2 | fis\trill \tuplet 3/2 4 { fis8 gis fis fis gis fis } | e2\trill \tuplet 3/2 4 { e8 fis e e fis e } | d2\trill \tuplet 3/2 4 { d8 e d d e d } | cis4 cis, r2 | R1 | \tuplet 3/2 4 { a''8\f e d cis b a } b4\trill a | r2 r4 e'\p | \tuplet 3/2 4 { e8 fis e e fis e } d4. d8 | %% Bar 210
102
+  \tuplet 3/2 4 { d8 e d d e d } cis4. cis8 | \tuplet 3/2 4 { cis d cis cis d cis } b4. b8 | a2 r | R1 | a'2-! e-! | a,-! r | R1 | \tuplet 3/2 4 { a'8\f e d cis b a } b4\trill a | r2 \tuplet 3/2 { a8 cis e } a4 | r2 \tuplet 3/2 { a,8 cis e } a4 | %% Bar 220
103
+  r fis \tuplet 3/2 4 { fis8 gis fis fis gis fis } | e2\trill \tuplet 3/2 4 { e8 fis e e fis e } | d2\trill \tuplet 3/2 4 { d8 e d d e d | cis d cis cis d cis cis a cis e cis e | a e d cis b a } b2\trill | \tuplet 3/2 4 { a8 e a e cis e } cis2 | %% End Adagio, Bar 226
104
+  %% Presto
105
+  \time 2/4 
106
+  R2 | r4 r8 a' | e d4 cis16 b | cis4-! a-! | R2 | r4 r8 a' | e d4 cis16 b | cis4-! a-! | a'8\p( cis) a( e-!) | a4.-!\trill e32\( fis gis a\) | b8( d) b( e,) | b'4.\trill e,64\( fis gis32 a b\) | cis8( e) cis( e,-!) | cis'4.-!\trill e,8 | %% Bar 240
107
+  d' cis4 d8 | b a4 b8 | gis fis4 gis8 | e b' cis d | e4 r | R2*4 | a,,8 b cis d | e d cis a | R2*2 | a''2\p | dis,4 r | R2*2 | b8\f e4 fis8 | dis4 e | R2*2 | %% Bar 261
108
+  b8 gis'4 a8 | fis4 gis | R2*5 | r8 fis,\f e d | cis d cis b | a4 cis'8\p( d) | e4 cis8( d) | e4 r | r8 fis,\f d cis | b4 b'8\p( cis) | d4 b8( cis) | d4 r | r8 e,\f cis b | a4 r | R2*7 | r8 a'\pp cis d | e4 \override Stem.details.beamed-lengths = #'(4.5) r16[ e, d e] \revert Stem.details.beamed-lengths | fis4 \override Stem.details.beamed-lengths = #'(4.5) r16[ d cis d] \revert Stem.details.beamed-lengths | e4 \override Stem.details.beamed-lengths = #'(4.5) r16[ cis' b cis] \revert Stem.details.beamed-lengths | d4 \override Stem.details.beamed-lengths = #'(4.5) r16[ b a b] \revert Stem.details.beamed-lengths | cis4 \override Stem.details.beamed-lengths = #'(4.5) r16[ e, d e] \revert Stem.details.beamed-lengths cis4 r | R2 | cis'4 b\trill | a8 a'\f e16 d cis b | a8 a e cis | a4 r | %% End Cantata, Bar 296
109
+  
110
+}
111
+
112
+IViolinoTwoMusic = \new Voice \relative c'' {
113
+  
114
+  \partial  8 r8 | R2 | r4 r8 d\f~ | d cis4 b8 | a e cis d'\p~ | d cis4 b8 | a e cis4 | a'32\f\( b cis8.~ cis16.\) d32 b16 a | a4 gis | e16\( b' d8\) cis16( a) e( cis') | e,\( b' d8\) cis16( a) e( cis') | %% Bar 10
115
+  d( fis) e( fis) d cis b a | gis8. b16 cis8 b | a4. gis8 | a a'-! e-! cis-! | a4 r | cis,\p( b) | a r | R2 | r4 r8 d'~ | d cis4 b8 | %% Bar 20
116
+  a e cis4 | R2 | r4 \override Stem.stemlet-length = #0.5 \override Stem.details.beamed-lengths = #'(4.5) r16[ gis' a b] \revert Stem.details.beamed-lengths \revert Stem.stemlet-length | a8. b16 cis8 d | a4 gis | r fis'~ | fis16 e dis( e) dis( cis) b( cis) |  a4 fis' | r8 e e, e' | a,2 | %% Bar 30
117
+  b | cis | dis4 e8 r | R2 | r8 e-!\p b-! gis-! | e4-! r | gis8\f b4 e8~ | e16 fis dis cis dis8-! fis,-!~ | fis16 gis e dis e8 a~ | a gis4 cis8~ | cis b4 a8 | gis4 fis8. fis16 | gis8 e'-! b-! gis-! e4-! r | r r8 
118
+  \musicalIssue \with {
119
+    author = "N. Andrew Walsh" 
120
+    message = "Piano-Zeichen fehlt. Vgl. Vlno. I"
121
+    source = "Faksimile der OE-Stimme"
122
+    }
123
+   DynamicText %% Missing dynamic noted, Bar 45
124
+  cis'\p | gis( a) gis( a) | b4 a | gis r | r r8 e' | a,16 cis d e fis8-! a,-! | b4.\trill fis'8 | b,16 dis e fis gis8 r | R2*2 | a,8\p( gis) 
125
+  \musicalIssue \with {
126
+    author = "N. Andrew Walsh" 
127
+    message = "Diese Note hat in der OE ein b-Vorzeichen. Vgl. Vlno. I"
128
+    source = "Faksimile der OE-Stimme"
129
+    }
130
+   Accidental %% Wrong accidental noted, Bar 55
131
+  f( fis) | 
132
+  \musicalIssue \with {
133
+    author = "N. Andrew Walsh" 
134
+    message = "Diese Note hat in der OE ein b-Vorzeichen. Vgl. Vlno. I"
135
+    source = "Faksimile der OE-Stimme"
136
+    }
137
+   Accidental %% Wrong accidental noted, Bar 56
138
+   g( gis) a( gis) | a( gis) 
139
+   \musicalIssue \with {
140
+    author = "N. Andrew Walsh" 
141
+    message = "Diese Note hat in der OE ein b-Vorzeichen. Vgl. Vlno. I"
142
+    source = "Faksimile der OE-Stimme"
143
+    }
144
+   Accidental %% Wrong accidental noted, Bar 57
145
+   f( fis) | 
146
+   \musicalIssue \with {
147
+    author = "N. Andrew Walsh" 
148
+    message = "Diese Note hat in der OE ein b-Vorzeichen. Vgl. Vlno. I"
149
+    source = "Faksimile der OE-Stimme"
150
+    }
151
+   Accidental %% Wrong accidental noted, Bar 58
152
+   g( gis) a( gis) | c-! b-! r4 | R2 | r4 r8 d~ | d cis4 b8 | a e cis4 | R2*2 | a'8\pp gis 
153
+   \musicalIssue \with {
154
+    author = "N. Andrew Walsh" 
155
+    message = "Diese Note hat in der OE ein b-Vorzeichen. Vgl. Vlno. I"
156
+    source = "Faksimile der OE-Stimme"
157
+    }
158
+   Accidental %% Wrong accidental noted, Bar 66
159
+   f fis | g( gis) a( gis) | a( gis) 
160
+   \musicalIssue \with {
161
+    author = "N. Andrew Walsh" 
162
+    message = "Diese Note hat in der OE ein b-Vorzeichen. Vgl. Vlno. II"
163
+    source = "Faksimile der OE-Stimme"
164
+    }
165
+   Accidental %% Wrong accidental noted, Bar 68
166
+   f( fis) | g( gis) a( gis) | c-! b-! r4 | R2 | r4 r8 d~ | d cis4 b8 | a e cis4 | R2 | r8 a''\p-! e-! cis-! | a4 r8 d\f~ | d cis4 b8 | a e cis d'\p~ | d cis4 b8 | %% Bar 80
167
+   a e cis4 | a'32\f\( b cis8.\) cis16. d32 b16 a | a4 gis | e16\( b' d8\) cis16( a) e( cis') | e,\( b' d8\) cis16( a) e( cis') | d( fis) e( fis) d cis b a | gis8. b16 cis8 b | a4.\trill gis8 | a a'-! e-! cis-! | a4 r\fermata | %% Bar 90
168
+   R2 | a4\p e'~ | e16 cis d e d4 | b4. g'8~ | g fis16 e fis8 fis, | e d4 cis8~ | cis d4 a'8 | gis fis4 e8~ | e fis4 e16 d | e4 r | %% Bar 100
169
+   r8 e d4~ | d8 g fis4~ | fis8 b a4~ | a8 e' d16( cis) d( e) | d4~ d16 cis d( e) | d2\fermata | a4 r | e a | b bes | bes2\fermata | %% Bar 110
170
+   R2*2 | e4\p cis | b r | gis a | dis,8( dis') dis,( dis') | gis,( e') gis,( dis') | gis, e' r4 | cis2~ | cis4 r8 bis | \partial 4. \textLengthOn cis4 r8^\markup { \right-align { Da Capo } } \textLengthOff | %% End Aria, Bar 121
171
+   %% Recit tacet
172
+   \time 4/4 
173
+   R1*5 | %% End Recit, Bar 126
174
+   \time 2/2 \beambreakOff %% Need beambreakOff to set subdivision for tuplets
175
+   R1 a\p\fermata | \tuplet 3/2 4 { a'8\f e d cis b a } b4\trill a | R1 | %% Bar 130
176
+   \tuplet 3/2 { e8 gis b } d4 r2 | \tuplet 3/2 { e,8 gis b } d4 r e | \tuplet 3/2 4 { e8 fis e e fis e } d2\trill | \tuplet 3/2 4 { d8 e d d e d } cis2\trill | \tuplet 3/2 4 { cis8 d cis cis d cis } b2\trill | \tuplet 3/2 4 { a8 b a a b a a e a cis a cis | e cis b } a2 gis4 | a cis, r2 | R1 | \tuplet 3/2 4 { a''8\f e d cis b a } b4\trill a | %% Bar 140
177
+   R1 | \tuplet 3/2 { e8\p gis b } d4 r2 | \tuplet 3/2 { e,8 gis b } d4 r2 | \tuplet 3/2 4 { a8 b a a b a a e a a e a | a b a a b a a e a a e a } | cis4 cis, r a'~ | a gis \tuplet 3/2 4 { gis8 a b gis a b } | a2 e'\trill | \tuplet 3/2 4 { e8 fis e e fis e d e d d e d } | d4 cis r2 | %% Bar 150
178
+   R1 | r4 gis,\p fis'2\trill | r4 b, a'2\trill | R1 | r4 b2 a4~ | a gis2 fis4~ | fis e2 dis4 | e2 r | r4 gis' fis2~ | fis4 e2 dis4 | b2 a\trill | %% Bar 160
179
+   gis r | \tuplet 3/2 4 { e'8\f b' a gis fis e } fis4\trill e | R1 | \tuplet 3/2 { b8 dis fis } a4 r2 | \tuplet 3/2 { b,8 dis fis } a4 r2 | \tuplet 3/2 4 { e8 fis e e fis e e fis e e fis e } | e2\trill \tuplet 3/2 4 { e8 fis e dis e d | e gis, b gis e gis } e2 | R1*3 | %% Bar 172
180
+   \tuplet 3/2 4 { e'8\f b' a gis fis e } fis4\trill e | R1*2 | dis,8\p( dis) dis( dis) e( e) e( e) | e( e) dis4 r gis~ | gis8 fis a4~ a8 gis b4~ | b8 a cis4~ cis8 b dis4 | R1 | %% Bar 180
181
+   r4 gis, r dis' | r gis, r cis | R1*3 | gis4 dis bis gis | ais'1 | ais | bis2 cis,4. cis8 | cis4. cis8 cis4. bis8 | %% Bar 190
182
+   cis1 | R1 | \tuplet 3/2 4 { a''8\f e d cis b a } b4\trill a | R1 | \tuplet 3/2 { e8\p gis b } d4 r2 | \tuplet 3/2 { e,8 gis b } d4 r2 | \tuplet 3/2 4 { a8 b a a b a a e a a e a | a b a a b a a e a a e a } | cis4 cis, r a'~ | \tuplet 3/2 4 { a8 b a gis a gis gis a b gis a b } | %% Bar 200
183
+   a2 r4 cis~ | cis b e2\trill | \tuplet 3/2 4 { e8 fis e e fis e } d2\trill | \tuplet 3/2 4 { d8 e d d e d } cis2\trill | \tuplet 3/2 4 { cis8 d cis cis d cis } b2\trill | a4 a, r2 | R1*2 | \tuplet 3/2 4 { a''8\f e d cis b a } b4\trill a | r fis'\p \tuplet 3/2 4 { fis8 gis fis fis gis fis } | %% Bar 210
184
+   e4. e8 \tuplet 3/2 4 { e fis e e fis e } | d4. d8 \tuplet 3/2 4 { d e d d e d } | cis2 r | R1 | a'2-! e-! | a,-! r | \tuplet 3/2 4 { a'8\f e d cis b a } b4\trill a | R1 | \tuplet 3/2 { e8 gis b } d4 r2 | \tuplet 3/2 { e,8 gis b } d4 r e | %% Bar 220
185
+   \tuplet 3/2 4 { e8 fis e e fis e } d2\trill | \tuplet 3/2 4 { d8 e d d e d } cis2\trill | \tuplet 3/2 4 { cis8 d cis cis d cis } b2\trill | \tuplet 3/2 4 { a8 b a a b a a e a cis a cis | e cis b } a2 gis4 | \tuplet 3/2 4 { a8 cis, e cis a cis } a2 | %% End Adagio, bar 226
186
+   %% Presto
187
+   \time 2/4 
188
+   R2 | r4 r8 e''\f | cis b4 a16 gis | a4-! e-! | R2 | r4 r8 e | cis b4 a16 gis | a4-! a-! | a'8\p( cis) a( e-!) | a4.-!\trill e32\( fis gis a\) | b8( d) b( e,-!) | b4.-!\trill e64\( fis gis32 a b\) | cis8( e) cis( e,-!) | cis'4.-!\trill r8 | %% Bar 240
189
+   r4 r8 e, | d' cis4 d8 | b8 a4 b8 | gis16 e fis gis a8 b | cis4 r | R2*4 | a,8 b cis d | e d cis a | R2*2 | cis'4 dis | b r | R2*2 | e,8\f gis4 a8 | fis4 gis | R2*2 | %% Bar 261
190
+   gis8 e'4 fis8 | dis4 e | R2*5 | r8 fis,-!\f e-! d-! | cis-! d-! cis-! b-! | a4-! a'8\p( b) | cis4 a8( b) | cis4 r | r8 fis,\f d cis | b4 gis'8\p( a) | b4 gis8( a) | b4 r | r8 e,\f cis b | a4 r | R2*7 | r8 e'\pp a b | cis4 \override Stem.stemlet-length = #0.5 \override Stem.details.beamed-lengths = #'(4.5) r16[ cis, b cis] \revert Stem.details.beamed-lengths | d4 \override Stem.details.beamed-lengths = #'(4.5) r16[ b a b] | %% Bar 290
191
+   cis4 \override Stem.details.beamed-lengths = #'(4.5) r16[ a' gis a] \revert Stem.details.beamed-lengths | b4 \override Stem.details.beamed-lengths = #'(4.5) r16[ gis fis gis] \revert Stem.details.bemed-lengths | a4 \override Stem.details.beamed-lengths = #'(4.5) r16[ cis, b cis] \revert Stem.details.beamed-lengths | a4 r | R2 | a'4.\trill gis8 | a a'\f e16 d cis b | a8 a-! e-! cis-! a4-! r | %% End Cantata, Bar 296
192
+  
193
+}
194
+
195
+IViolaMusic = \new Voice \relative c' {
196
+  \clef alto
197
+  \partial 8 r8 | R2 | r4 r8 a'\f~ | a4. gis8 | a( gis) a d,\p | a4. b8 | cis e a16 fis\f e d | cis8. d16 e8 fis | e4 e | e8( e) e( e) | e( e) e( e) | %% Bar 10
198
+  R2 | e8. gis16 e8 fis | e4( d) | cis8 a'-! e-! cis-! | a4-! r | a\p e | a r | R2 | r4 r8 d | a4. b8 | cis e a4 | R2*2 | cis,8. b16 a8 d | e4 e, | cis'8 fis4 e8 | dis4 r | dis4. b8 | b4 b | r r8 dis | %% Bar 30
199
+  b4 r8 e | cis4 r8 fis | b,4 b | R2 | r8 e-!\p b-! gis-! | e4-! r | b''-!\f e,-! | b4. fis'8 | b,4 r | e r | e4. fis8 | b,4. a'8 | gis e-! b-! gis-! | e4 r | r r8 a\p | e' a, e' e | e4 e | e r | e8( e) e( e) fis fis fis fis | %% Bar 50
200
+  fis fis fis fis | gis4 r | R2*2 | dis8\p e r4 | R2 | dis8 e r4 | R2 | fis8-! gis-! r4 | R2 | r4 r8 d | a4. b8 | cis e a4 | R2*2 | dis,8\pp e r4 | R2 | dis8 e r4 | R2 | fis8-! gis-! r4 | %% Bar 70
201
+  R2 | r4 r8 d | a4. b8 | cis e a4 | R2 | r8 a-!\p e cis | a4 r8 a'\f | a4. gis8 | a( gis) a d,\p | a4. b8 | cis e a16 fis\f e d | cis8. d16 e8 fis | e4 e | e8( e) e( e) | e( e) e( a) | a fis r4 | e8. gis16 e8 fis | e4( d) | cis8 a'-! e-! cis-! | a4 r\fermata | %% Bar 90
202
+  R2 | a'4\p r8 a, | d4 r | g r8 g, | d'4 r | r r8 g~ | g fis4 r8 | r4 r8 g~ | g fis4 a8 | a,4 r | R2 | d4.\pp g8 | fis4. b8 | a4. fis8 | fis16 e fis g fis8 a | a2\fermata | a4 r | e d | d4. e8 | e2\fermata | R2*2 | cis4\p cis | d r | eis fis~ | fis2 | gis8 r gis r | gis e r4 | ais2 | gis4 r8 gis | \partial 4. \textLengthOn gis4 r8^\markup { \right-align { Da Capo } } \textLengthOff  | %% End Aria, Bar 121
203
+  %% Recit tacet
204
+  \time 4/4
205
+  R1*5 | %% End Recit, Bar 126
206
+  \time 2/2 \beambreakOff %% Need \beambreakOff to set beat devision
207
+  R1 | e\p\fermata | cis4\f e fis e | cis e fis e | b' e, cis' e, | b' e, cis' e, | r a2 b4 | r gis2 a4 | r fis2 gis4 | e cis a a' | cis, e e4. d8 | cis2 r | R1 | cis4\f e fis e | cis e fis e | r d2\p cis4 | r fis2 e4 | a-! r a-! r | a-! r a-! r | cis,4. d8 e4 fis | r e e, e' | e2 r | r a | a r %% Bar 150
208
+  | r r4 b~ | b b, r b'~ | b b, r fis' | b,2 r | R1*3 | r2 r4 fis'~ | fis e2 dis4~ | dis e2 fis4~ | fis e2 dis8( fis) | %% Bar 160
209
+  gis2 r | gis4\f b cis b | gis b cis b | fis b, gis' gis | fis b, gis' gis | b, e gis b | cis2 b4. a8 | gis2 r | R1*2 | %% Bar 171
210
+  gis4\f b cis b gis b cis b | R1*2 | dis,8\p( dis) dis( dis) cis( cis) cis( cis) | b2 r4 e~ | e8 dis fis4~ fis8 e gis4~ | gis8 fis a4~ a8 gis b4 | R1 | %% Bar 180
211
+  r4 b, r b | r b r fis' | R1*3 | gis4-!\p dis-! bis-! gis-! | dis'1~ | dis~ | dis2 gis4. gis8 | a,4. a8 gis4. gis8 | %% Bar 190
212
+  gis1 | R1 | cis4\f e fis e | cis e fis e | r d2\p cis4 | r fis2 e4 | a-! r a-! r | a-! r a-! r | cis,4. d8 e4 fis | r e e, e' | %% Bar 200
213
+  e2 r | r e | e r | r a4 b | gis r gis a | fis r fis gis | e2 r | 
214
+  \musicalIssue \with {
215
+    author = "N. Andrew Walsh" 
216
+    message = "An dieser Stelle hat die OE eine Ganznotepause extra, vermutlich ein Druckfehler. Vgl. T.193"
217
+    source = "Faksimile der OE-Stimme"
218
+    }
219
+   NoteHead %% Extra whole rest noted, Bar 209
220
+  cis4\f e fis e | cis e fis e | %% Bar 210
221
+  r2 a4\p b | gis r gis a | fis r fis gis | e2 r | R1 | a2-! e-! | a,-! r | cis4\f e gis e | cis e fis e | b' e, cis' e, | b' e, cis' e, | %% Bar 220
222
+  r a2 b4 | r gis2 a4 | r fis2 gis4 | e cis a a' | cis, e e4. d8 | cis2-! cis-! | %% End Adagio, Bar 226
223
+  %% Presto
224
+  \time 2/4
225
+  r2 | r4 r8 e\f | e4 e | cis cis | R2 | r4 r8 e | e4 e | e r | a8\p( cis) a( e) | a4.\trill e8 | b'( d) b( e,) | b'4.\trill e,8 | cis'( e) cis( e,) | cis'4.\trill r8 | %% Bar 240
226
+  R2*2 | b,4 b | b e8 d | cis4 \override Stem.stemlet-length = #0.5 \override Stem.details.beamed-lengths = #'(4.5) r16[ e d e] \revert Stem.details.beamed-lengths | fis4 \override Stem.details.beamed-lengths = #'(4.5) r16[ d cis d] \revert Stem.details.beamed-lengths | e4 \override Stem.details.beamed-lengths = #'(4.5) r16[ cis b cis] \revert Stem.details.beamed-lengths | d4 \override Stem.details.beamed-lengths = #'(4.5) r16[ b a b] \revert Stem.details.beamed-lengths | cis4 \override Stem.details.beamed-lengths = #'(4.5) r16[ e d e] \revert Stem.details.beamed-lengths | cis4 r | %% Bar 250
227
+  R2*3 | e4 fis | fis r | R2*2 | b8\f gis4 fis8 | fis4 e | R2*2 | b'8 gis4 fis8 | fis4 e | R2*5 | r8 fis-!\f e-! d-! | cis-! d-! cis-! b-! | %% Bar 270
228
+  a\p a'16( b) cis4 | a8( b) cis4 | R2*2 | gis8( a) b4 | gis8( a) b4 | R2*2 | cis,4 \override Stem.details.beamed-lengths = #'(4.5) r16[ e d e] \revert Stem.details.beamed-lengths | fis4 \override Stem.details.beamed-lengths = #'(4.5) r16[ d cis d] \revert Stem.details.beamed-lengths | e4 \override Stem.details.beamed-lengths = #'(4.5) r16[ cis b cis] \revert Stem.details.beamed-lengths | d4 \override Stem.details.beamed-lengths = #'(4.5) r16[ b a b] \revert Stem.details.beamed-lengths | cis4 \override Stem.details.beamed-lengths = #'(4.5) r16[ e d e] \revert Stem.details.beamed-lengths | cis4 r | R2*10 | e4-! e-! | e r | r8 a-! e-! cis-! | a4-! r | %% End Cantata, Bar 296
229
+
230
+}
231
+
232
+
233
+IOrganoMusicUpper = \new Voice \relative c {
234
+  \clef bass \voiceOne
235
+
236
+ 
237
+}
238
+
239
+IOrganoMusicLower = \new Voice \relative c {
240
+  \clef bass \oneVoice
241
+  \partial 8 r8 | a'4 gis | a r8 d, | a4. b8 | cis e a r | R2 | r4 \override Stem.stemlet-length = #0.5 \override Stem.details.beamed-lengths = #'(4.5) r16[ d, cis b] \revert Stem.details.beamed-lengths | a8. b16 cis8 d | e4 e, | gis'8 gis a a | gis8 gis a a | R2 | %% Bar 10
242
+  d,4 cis8 d | e4 e, | a8 a'-! e-! cis-! | a4^\markup { \center-align \italic { Vox } } r | R2 | r4 r8 d | a4. b8 | cis e a4 | R2*2 | cis,8 b a d | e4 e, | R2*2 | fis'8 cis dis cis | b4 r | b4. dis8 | e4 gis8 e | fis fis dis fis | gis gis e gis | %% Bar 30
243
+  a a fis a~ | a4 gis8 a | b4 b, | r8 e-! b-! gis-! | e4-! r | e' gis8 e | b'4 b, | e r | e r | e4. a8 | b a b b,-! | e e-! b-! gis-! | e4 r | e' r | r r8 cis | b gis a cis | e4 r | cis8 cis cis cis | d d d d | d b b b | %% Bar 50
244
+  e4 r8 a | b gis a4 | e r | R2 | e,8 e' r4 | R2 | e,8 e' r4 | dis8 e r dis | a4. b8 | cis e a4 | R2 | r4 r8 cis,16 d | e4 e, | a r | R2 | e8 e' r4 | R2 | e,8 e' r4 | dis8 e r dis | %% Bar 70
245
+  a4. b8 | cis e a4 | R2 | r4 r8 cis,16 d | e4 e, | r8 a'-! e-! cis-! | a4-! r8 d | a4. b8 | cis e a4 | R2 | r4 \override Stem.details.beamed-lengths = #'(4.5) r16[ d, cis b] \revert Stem.details.beamed-lengths | a8. b16 cis8 d | e4 e, | gis'8 gis a a | gis gis a a | d,4 r | d cis8 d | e4 e, | a8 a'-! e-! cis-! | a4 r\fermata | %% Bar 90
246
+  d r8 fis | a4 r | d r8 d, | g4 r | d r8 d-! | a'2~^\markup { \center-align \italic { tasto solo } } | a~ | a~ | a~ | a4 r | %% Bar 100
247
+  R2 | d,4-! r | R2 | d4-! r | R2 | d2\fermata | d4 
248
+  \musicalIssue \with {
249
+    author = "N. Andrew Walsh" 
250
+    message = "Diese Note hat in der OE ein b-Vorzeichen. Vgl. Vlno. II"
251
+    source = "Faksimile der OE-Stimme"
252
+    }
253
+   Accidental %% Wrong accidental noted, Bar 107
254
+  f8 gis | a4. fis8 | g4. e8 | cis2\fermata | %% Bar 110
255
+  d4 r8 gis? | a4 r | a r8 ais | b4 r | b a8 fis | gis4. fis8 | e r bis r | cis4 r | g'2 | gis?4 r8 gis, | \partial 4. \textLengthOn cis4 r8^\markup { \right-align { Da Capo } } \textLengthOff | %% End Aria, Bar 121
256
+  %% Recit
257
+  \time 4/4
258
+  d1~ | d2 d~ | d~ d4 r | a'16 e gis e c' e, b' e, a e gis e c' e, b' e, | a e 
259
+  \musicalIssue \with {
260
+    author = "N. Andrew Walsh" 
261
+    message = "Diese Note hat in der OE ein b-Vorzeichen. Vgl. Vlno. II"
262
+    source = "Faksimile der OE-Stimme"
263
+    }
264
+   Accidental %% Wrong accidental noted, Bar 126
265
+  f d e8 e, a4 r | %% End Recit, Bar 126
266
+  %% Adagio
267
+  \time 2/2
268
+  a2 r | a1\fermata | a4 cis d cis | a cis d cis | gis' gis a a | gis gis a a~ | a d b gis~ | gis cis a fis~ | fis b gis e | a e cis a~ | a cis e e, | a2 r | a r | a4 cis d cis | %% Bar 140
269
+  a cis d cis | gis' gis a a | gis gis a a | a a gis gis | fis fis cis e | a,4. b8 cis4 d | e2 r | a,4 e' cis a | d a' fis d | a'2 r4 a | %% Bar 150
270
+  gis2 r4 b, | e( e) dis( dis) | e( e) dis( dis) | e2 b'4 b, | e1~^\markup { \center-align \italic { tasto solo } } | e~ | e~ | e~ | e~ | e~ | %% Bar 160
271
+  e2 b'4 b, | e2 r | e4 gis a gis | e gis a gis | dis( dis) e( e) | dis dis e e | e' b gis e | a fis b b, | e2 r | e4 a gis fis | %% Bar 170
272
+  e2 e, | e'4 gis a gis | e gis a gis | e2 r4 b | e2 e, | b'8\p( b) b( b) ais( ais) ais( ais) | b2 r | b-! r | b-! r | cis dis | %% Bar 180
273
+  e4( e) dis( dis) | e( e) dis( dis) | e a b b, | e2 fis | gis4 e fis2 | gis4 dis-! bis-! gis-! | g'1~ | g | fis2 e4. e8 | %% Bar 190
274
+  fis4. fis8 gis4. gis,8 | cis1 | a2 r | a4 cis d cis | a cis d cis | gis' gis a a | gis gis a a | a a gis gis | fis fis cis e | a,4. b8 cis4 d | e2 r | %% Bar 200
275
+  a4 a, cis a | e'2 r | r4 d' b gis | r cis a fis | r b gis e | a2 r4 gis | a2 e4 e, | a cis d cis | a cis d cis | r d' b gis | %% Bar 210
276
+  r cis a fis | r b gis e | a2 r4 gis | a2 e4 e, | a'2-! e-! | a,-! r | a4 cis d cis | a cis d cis | gis' gis a a | gis gis a a~ | a d b gis~ | gis cis a fis~ | fis b gis e | a e cis a~ | a cis e e, | a2 a | %% End Adagio, Bar 
277
+  %% Presto
278
+  \time 2/4
279
+  a8 b cis d | e d cis a | e'4 e, | a r | a8 b cis d | e d cis a | e'4 e, | a r | a'8-!( cis-!) a-!( e-!) | a4.-! e8-! | b'-!( d-!) b-!( e,-!) | b'4.-! e,8-! | cis'-!( e-!) cis-!( e,-!) | cis'4.-! r8 | %% Bar 240
280
+  R2*2 | e,4 b | e8 d cis b | a4 \override Stem.details.beamed-lengths = #'(4.5) r16[ cis' b cis] \revert Stem.details.beamed-lengths | d4 \override Stem.details.beamed-lengths = #'(4.5) r16[ b a b] \revert Stem.details.beamed-lengths | cis4 \override Stem.details.beamed-lengths = #'(4.5) r16[ a gis a] \revert Stem.details.beamed-lengths | b4 \override Stem.details.beamed-lengths = #'(4.5) r16[ gis fis gis] \revert Stem.details.beamed-lengths | a4 \override Stem.details.beamed-lengths = #'(4.5) r16[ cis, b cis] \revert Stem.details.beamed-lengths | a4 r | %% Bar 250
281
+  r r8 cis | e4 e, | a r | a4. a'8~ | a4 gis8 a | b4 b, | e r | e4. a,8 | b a gis e | b'4 d | %% Bar 260
282
+  e8 b' gis fis | e4. a,8 | b a gis e | b'4 dis | e8 b' gis fis | e4 eis | fis4. a8 | cis4 cis, | r8 fis-! e-! d-! | cis-! d-! cis-! b-! | %% Bar 270
283
+  a4-! a-! | a a | a fis' | b, r | e e | e e | e gis | a r | a \override Stem.details.beamed-lengths = #'(4.5) r16[ cis b cis] \revert Stem.details.beamed-lengths | d4 \override Stem.details.beamed-lengths = #'(4.5) r16[ b a b] \revert Stem.details.beamed-lengths |  %% Bar 280
284
+  cis4 \override Stem.details.beamed-lengths = #'(4.5) r16[ a gis a] \revert Stem.details.beamed-lengths | b4 \override Stem.details.beamed-lengths = #'(4.5) r16[ gis fis gis] \revert Stem.details.beamed-lengths |a4 \override Stem.details.beamed-lengths = #'(4.5) r16[ cis, b cis] \revert Stem.details.beamed-lengths | a8 b cis d | e d cis a | e'4 e, | a r | R2*5 | %% Bar 292
285
+  a8 b cis d | e d cis a | e'4 e, | a r | r8 a'-! e-! cis-! | a4-! r | %% End Cantata, Bar 298
286
+ 
287
+}
288
+
289
+IOrganoFB = \figuremode {       
290
+    
291
+  \partial 8 s8 | s4 < 6 > | s2 | < 6 4 >16 < 5 3 > s4 < 6\+ >8 | < 6 > < _+ > s4 | s2*2 | s4 < 6 >8 < 6 >16 < 5 > | < 6 4 >4 < 5 _+ > | < 6 5 >8 s < _+ > s | < 6 5 >8 s < _+ > s | s2 | < 4 2 >4 < 6 >8 < 6 > | < 4 >4 < _+ > | s2*4 | < 6 4 >16 < 5 3 > s4 < 6\+ >8 | < 6 > < _+ > s4 | s2*2 | %% Bar 21
292
+  < 6 >8 s s4 | < 6 4 > < 5 _+ > | s2*2 | < _- >8 < _- > < _- > < _- > | < 7 _+ >4 s | < 7 _+ >4. < 5 >8 | < 4 >16 < 3 > s8 s4 | s2 | < 3 >8 s s4 | < 3 >8 s s4 | < 4 2 >4 < _+ 6 >8 < 6 5 > |  < 5 4 >4 \bassFigureExtendersOn < 5 _+ > \bassFigureExtendersOff | s2*2 | s4 < 6 >8 s | < 6 4 >16 < 5 _+ > s8 < _+ >4 | < 4 9 >16 < 3 8 > s8 s4 | < 6 4 >16 < 5 3 > s8 s4 | %% Bar 40
293
+  < 6 4 >16 < 5 3 > s8 s < 6 5 > | < 6 4 > \bassFigureExtendersOn s < 5 4 > \bassFigureExtendersOff < _+ > | s2*3 | s4 s8 < 6 > | < 6 5 > s < 6 > s | < _+ >4 s | < 6 >8 s s4 | < 5 >8 s s4 | < 6 >8 < _- > s4 | < _+ >4 s | < _- >8 s s4 | s2*2 | < _! >8 < _+ > s4 | s2 | < _! >8 < _+ > s4 | < 7- 5 >8 < 5 _+ > s < _+ > | < 6 4 >16 < 5 _+ > s4 < 6\+ >8 | %% Bar 60
294
+  < 6 > < _+ > < _+ >4 | s2 | s4 s8 < 6 >16 s | < 5 4 >4 \bassFigureExtendersOn < 5 _+ > \bassFigureExtendersOff | s2*2 | < _! >8 < _+ > s4 | s2 | < _! >8 < _+ > s4 | < 7- 5 >8 < 5 _+ > s < _+ > | < 6 4 >16 < 5 _+ > s4 < 6 >8 | < 6 >8 <_+ > s4 | s2 | s4 s8 < 6 >16 s | < 5 4 >4 \bassFigureExtendersOn < 5 _+ > \bassFigureExtendersOff | s2*2 | < 6 4 >4 < 5 _+ > | < 6 >8 s s4 | s2*2 | %% Bar 80
295
+  s4 < 6 >8 < 5 > | < 6 4 >4 < 5 _+ > | < 6 5 >8 s < _+ > s | < 6 5 >8 s < _+ > s | s2 | < 4 2 >4 < 6 >8 < 6 5 > | < 6 4 >4 < 5 _+ > | s2*2 | s4 s8 < 6 > | < 5 4 >16 \bassFigureExtendersOn < 5 3 > \bassFigureExtendersOff s8 s4 | < 4! 9 >4 s8 < _+ > | < 7 3 >4 s | < 6 4! >16 < 5 _+ > s8 s4 | s2*10 | %% Bar 105
296
+  < _+ >2 | < _- >4 < 3 >8 < 3- > | < _+ >4 < _- >8 \bassFigureExtendersOn < _- > \bassFigureExtendersOff | < 3 >4 < _- >8 \bassFigureExtendersOn < _- > \bassFigureExtendersOff | < 7- 3 >2 | < _+ >4 s8 < 5 > | < _+ >4 s | s s8 < 6 > | < _- >4 s | < 4+ 2 >4 < 6 >8 < 6\+ > | < 7 _+ >4 \bassFigureExtendersOn < 7 _+ >8 < 7 _+ > \bassFigureExtendersOff | < 6 >8 s < 6 > s | < _- >4 s | < 7- 3 >2 | < 5 4 >4 s8 < _+ > | \partial 4. < _+ >4 s8 | %% End Aria, Bar 121
297
+  %% Recit
298
+  \time 4/4
299
+  s1 | s2 < 4 2 > | s1 | < _- >16 s < 6 > s < 6 > s s8 < _- >16 s < 6 > s s4 | < _- >16 < _+ > s < 6 > < 4 >8 < _+ > < _+ >4 s | %% End Recit, Bar 126
300
+  %% Adagio
301
+  \time 2/2
302
+  < _+ >2 s | < _+ >1 | < _+ >4 < 6 > < 6 > < 6 > | < _+ > < 6 > < 6 > < 6 > | %% Bar 130
303
+  < 6 5 > s < _+ > s | < 6 5 > s < _+ > s | s < _+ 9 > < 5 7 > < 7 3 > | < 6 5 > \bassFigureExtendersOn < 3 6 _ > \bassFigureExtendersOff < 5 7 > < 7 _- > | < 6 5 > \bassFigureExtendersOn < 3 6 _ > < 5 7 > < 5 _+ > | < _+\! 8 > < _+ 8 > < _+ 8 > < _+ 8 > \bassFigureExtendersOff | s < 6 > < 5 4 > \bassFigureExtendersOn < 5 _+ > \bassFigureExtendersOff | < _+ >2 s | s1 | s4 < 6 > < 6 > < 6 > | %% Bar 140
304
+  s < 6 > < 6 > < 6 > | s < 3 5 > < 9 4 > < 8 3 > | < 6 5 > < 7 5 > < 6 4 > < 5 3 > | < _+ > \bassFigureExtendersOn < _+ > < 4 2 > < 4 2 > | < 5 3 > < 5 3 > < 6 > < 6\! 4 > \bassFigureExtendersOff | s2 < 6 >4 < 7 5 > | < 6 4 > < 5 _+ > s2 | < _+ >4 \bassFigureExtendersOn < _+ > < 6 > s | < 9 6\! > < 6\! 6 > < 6\! 4 > < 6 4 > \bassFigureExtendersOff | < 6 4 > < 5 _+ > s2 | %% Bar 150
305
+  < 6 >2 s4 < 7 _+ > | < _+ > \bassFigureExtendersOn < _+ > < 6 5 > s | < _+\! > < _+ > \bassFigureExtendersOff < 7 5 > s | < _+ >2 < 5 4 >4 \bassFigureExtendersOn < 5 _+ > \bassFigureExtendersOff | s1*6 | %% Bar 160
306
+  s2 < 4 >4 < _+ > | < _+ >2 s | s4 < 6 > < 6 > < 6 > | < _+ > < 6 > < 6 > < 6 > | < 6 5 > \bassFigureExtendersOn < 6 5 > < _+ > < _+ > | < 6 5 > < 6 5 > < _+ > < _+ > | < _+\! > < 6 4 > < 6 4 > < 6 4 > \bassFigureExtendersOff | < 6 5 > s < 5 4 > \bassFigureExtendersOn < 5 _+ > \bassFigureExtendersOff | < _+ >2 s | < _+ >4 s < 6 > < 6\+ > | %% Bar 170
307
+  < _+ >2 s | < _+ >4 < 6 > < 6 > < 6 > | < _+ > < 6 > < 6 > < 6 > | < _+ >2 s | < _+ > s | < _+ >4 s < 7- > s | < 6- 4 > < 5 _+ > s2 | s1*2 | < 6 >2 < 6 >8 < 5 > s4 | %% Bar 180
308
+  < _+ > \bassFigureExtendersOn < _+ > \bassFigureExtendersOff < 7 5 > s | < _+ > \bassFigureExtendersOn < _+ > \bassFigureExtendersOff < 7 5 > s | < _+ > < 6 5 > < 4 > < _+ > | < 6\+ _+ >2 < 5 _- > | < _+ >4 < 6\+ 6 > < 5 _- >2 | < _+ >4 s s2 | < 6 5 >1 \bassFigureExtendersOn | < 6 5 > \bassFigureExtendersOff | < 6\+ 4+ 2+ >2 < 6 >4 \bassFigureExtendersOn < 6 >8 < 6 > \bassFigureExtendersOff | < 6\+ 5 _- >4 s < 5 4 > \bassFigureExtendersOn < 5 _+ > \bassFigureExtendersOff | %% Bar 190
309
+  < _+ >1 | < _+ >2 s | < _+ >4 < 6 > < 6 > < 6 > | s < 6 > < 6 > < 6 > | < 6 5 > < 3 5 > < 9 4 > < 8 _+ > | < 6 5 > < 7 5 > < 6 4 > < 5 _+ > | < _+ > \bassFigureExtendersOn < _+ > < 4 2 > < 4 2 > | < 5 3 > < 5 3 > < 6 > < 6 > \bassFigureExtendersOff | < _+ > s < 6 > < 6 > | < 6 4 >8 < 5 _+ > s4 s2 | %% Bar 200
310
+  s < 6 >4 s | < 6 4 > < 5 _+ > s2 | s4 < _+ 9 > < 5 3 7 >\bassFigureExtendersOn < 5 3 3\! > | s < 3\! 9 > < 5 3\! 7 > < 5 3 3\! > | s < 3\! 9 > < 5 3\! 7 > < 5 3 _+ > | < _+\! >2 s4 < 6 > | < _+ >2 < 5 4 >4 \bassFigureExtendersOn < 5 _+ > \bassFigureExtendersOff | s < 6 > < 6 > < 6 > | < _+ > < 6 > < 6 > < 6 > | s < 3 9 > < 5 3 7 > \bassFigureExtendersOn < 5 3 3\! > | %% Bar 210
311
+  s < 3\! 9 > < 5 3\! 7 > < 5 3 3\! > | s < 3\! 9 > < 5 3\! 7 > < 5 3 3\! > | s1 | s2 < 4 >4 < _+ > | s1*2 | s4 < 6 > < 6 > < 6 > | < _+ > < 6 > < 6 > < 6 > | < 6 5 > \bassFigureExtendersOn < 6 5 > < _+ > < _+ > | < 6 5 > < 6 5 > < _+ > < _+ > \bassFigureExtendersOff | %% Bar 220
312
+  s < 3 9 > < 5 7 > < 7 3 > | < 6 5 > \bassFigureExtendersOn < 3 5 > < 5\! 7 > < 7\! 3 > | < 6 5 > < 3 5 > < 5\! 7 > < 7\! 3 > | < _+ 8 > < _+ 8 > < _+ 8 > < _+ 8 > \bassFigureExtendersOff | s < 6 > < 5 4 > \bassFigureExtendersOn < 5 _+ > \bassFigureExtendersOff | < _+ >2 < _+ > | %% End Adagio, Bar 226
313
+  %% Presto
314
+  \time 2/4
315
+  s2 | < _+ >8 s < 6 > s | < 6 4 >4 < 5 _+ > | s2 | < _+ >8 s < 6 > s | < _+ > s < 6 > s | < 6 4 >4 < 5 _+ > | s2*9 | %% Bar 242
316
+  < _+ >4 < 7 _+ > | < _+ >8 s < 6 > < _- > | < _+ >4 s16 < 5- > s8 | < 3 >4 s16 < 5 > s8 | < 3 >4 s16 < 5 > s8 | < _- >4 s16 < 5 > s8 | < _+ >4 s16 < 6 > s8 | < _+ >4 s | %% Bar 250
317
+  s s8 < 6 > | < 4 >4 < _+ > | < _+ > s | s4. < 6 5 >8 | < 4+ 2 >4 < 6 >8 < 6 5 > | < 5 4 >4 \bassFigureExtendersOn < 5 _+ > \bassFigureExtendersOff | < _+ > s | s4. < 6 >8 | < _+ > s < 6 > s | < _+ >4 < 5 > %% Bar 260
318
+  < _+ >8 \bassFigureExtendersOn < _+ > < 6 > < 6 > \bassFigureExtendersOff | s4. < 6 >8 | < _+ > s < 6 > s | < _+ >4 < 5 > | < _+ >8 \bassFigureExtendersOn < _+ > < 6 > < 6 > \bassFigureExtendersOff | < _+ >4 < 6 > | < _- >4. < 6 >8 | < 6 4 >4 < 5 _+ > | s2*3 | %% Bar 271
319
+  < _+ >4 < _+ > | < _+ > < 7 _+ > | < _- > s | < 7 _+ > \bassFigureExtendersOn < 7 _+ > | < 7\! _+\! > < 7 _+ > \bassFigureExtendersOff | < 7 _+ > < 5 3 > | < _+ > s | s s16 < 5- > s8 | < 3 >4 s16 < 5 > s8 | %% Bar 280
320
+  < 3 >4 s16 < 5 > s8 | < _- >4 s16 < 5 > s8 | < 3 >4 s16 < 6 > s8 | s4 < 6 >8 < 6 > | < _+ > s < 6 > s | < 5 4 >4 \bassFigureExtendersOn < 5 _+ > \bassFigureExtendersOff | s2*6 | < _+ >8 s < 6 > s | < _+ > s < 6 > s | < 5 4 >4 \bassFigureExtendersOn < 5 _+ > \bassFigureExtendersOff | s2*3 | %% End Cantata, Bar 296
321
+   
322
+    
323
+  }
324
+
325
+Isystembreaks = \new Voice {
326
+   \tempo \markup {\sans \medium \fontsize #4 "Ariosè" }
327
+   \partial 8 s8 | s2*89  \bar "|" \break %% End first part of aria, Bar 90
328
+   s2*31 | \partial 4. s4 s8 | \once \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
329
+   \mark \markup { \musicglyph #"scripts.ufermata" } \bar "||" \break %% End Aria, Bar 121
330
+   \time 4/4
331
+   \tempo \markup {\sans \medium \fontsize #4 "Recit." }
332
+   s1*5 \bar "||" \break %% End recit, Bar 126
333
+   \time 2/2
334
+   \tempo \markup {\sans \medium \fontsize #4 "Adagio" }
335
+   s1*60 %% tempo change, Bar 186
336
+   \tempo \markup {\sans \medium \fontsize #4 "Adagiosissimo" }
337
+   s1*40 \once \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
338
+   \mark \markup { \musicglyph #"scripts.ufermata" } \bar "||" \pageBreak %% End Adagiosissimo, Bar 226
339
+   \time 2/4 
340
+   \tempo \markup {\sans \medium \fontsize #4 "Preſto" } 
341
+   s2*72 \once \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
342
+   \mark \markup { \musicglyph #"scripts.ufermata" } \bar "||" \pageBreak %% End Cantata, Bar 298
343
+   
344
+   }
345
+

+ 46
- 0
kantaten/transkription kayser kantaten.ly View File

@@ -0,0 +1,46 @@
1
+%% Include global and specific config files
2
+#(ly:set-option 'relative-includes #t)
3
+\include "../control/global.ily"
4
+\include "../control/layout-default.ily"
5
+\include "../control/openlilylib.ily"
6
+
7
+\header {
8
+  title = \markup { \normal-text \abs-fontsize #32 "CANTATÆ SACRÆ" }
9
+  subtitle = \markup { \medium \fontsize #4 \italic "Kantaten"}
10
+  composer = \markup \right-column { \abs-fontsize #11 \line { "R. P. Isfrido Kayser" } \line {\abs-fontsize #11 "1712–1771" } }
11
+  opus = \markup { \abs-fontsize #11 "Opus I" } 
12
+  tagline = \markup {
13
+    Engraved at
14
+    \simple #(strftime "%Y-%m-%d" (localtime (current-time)))
15
+    with \with-url #"http://lilypond.org/"
16
+    \line { LilyPond \simple #(lilypond-version) (http://lilypond.org/) }
17
+  }
18
+  
19
+}
20
+
21
+composer-shortstring = "Ka"
22
+catalog-number = "001"
23
+
24
+%% \include "transkription kayser cantata 1.ly"
25
+%% \include "transkription kayser cantata 1 score.ly"
26
+
27
+%% \include "transkription kayser cantata 2.ly"
28
+%% \include "transkription kayser cantata 2 score.ly"
29
+
30
+\include "transkription kayser cantata 3.ly"
31
+\include "transkription kayser cantata 3 score.ly"
32
+
33
+%% \include "transkription kayser cantata 7a.ly"
34
+%% \include "transkription kayser cantata 7a score.ly"
35
+
36
+%% \include "transkription kayser cantata 7b.ly"
37
+%% \include "transkription kayser cantata 7b score.ly"
38
+
39
+%% \include "transkription kayser cantata 7b.ly"
40
+%% \include "transkription kayser cantata 7b score.ly"
41
+
42
+
43
+
44
+
45
+
46
+                                        

+ 297
- 0
messen/messe 1/transkription kayser 1. messe c-dur - kyrie.ly View File

@@ -0,0 +1,297 @@
1
+\header {
2
+  piece = \markup { \abs-fontsize #18 \left-align {Kyrie } }
3
+}
4
+
5
+global= {
6
+  \set Timing.baseMoment = #(ly:make-moment 1/8)
7
+  \set Timing.beatStructure = #'(2 2 2)
8
+  \set Timing.beamExceptions = #'()
9
+  \time 3/4
10
+  \key c \major
11
+}
12
+
13
+beambreakOn = {
14
+  \set subdivideBeams = ##t
15
+  \set baseMoment = #(ly:make-moment 1/8)
16
+  \set beatStructure = #'(2 2 2)
17
+}
18
+
19
+beambreakOff = {
20
+  \set subdivideBeams = ##f
21
+  \set baseMoment = #(ly:make-moment 1/8)
22
+  \set beatStructure = #'(2 2 2)
23
+}
24
+
25
+ClarinoOneMusic = \new Voice \relative c'' {
26
+  e2 e4 | e4. e8 e4 | r4 r r8. e16-. | | e4-. d-. r | r r r8. f16-. | f4-. e-. r | r r r8. g16-. | g4-. f-. r | d2 e4 | d d2 | %% Bar 10
27
+  e4 r r8. d16-. | c4-. c-. r \bar "||"
28
+  \time 4/4 %% Start of Allegro, Bar 13
29
+  R1 * 26
30
+  
31
+
32
+}
33
+
34
+ClarinoTwoMusic = \new Voice \relative c'' {
35
+  c2 c4 | c4. c8 c4 | r r r8. c16 | c4 g r | r r r8. d'16 | d4 c r | r r r8. g'16 | g4 f r | g,2 c4 | c g4. g8 | %% Bar 10
36
+  e2 r8. g16 | e4 e r \bar "||"
37
+  \time 4/4 %% Start of Allegro, Bar 13
38
+
39
+
40
+  
41
+}
42
+
43
+TympanoMusic = \new Voice \relative c {
44
+  \clef bass
45
+  c2 c4 | c2. | r4 r r8. c16 | g4 g r | r r r8. g16 | c4 c r | r r r8. c16 | c4 c r | R2. | r4 g4. g8 | %% Bar 10
46
+  c2 r8. g16 | c4 c r \bar "||"
47
+  \time 4/4 %% Start of Allegro, Bar 13
48
+  
49
+  
50
+  
51
+}
52
+
53
+ViolinoOneMusic = \new Voice \relative c'' {
54
+  e4. e8 e4 | e4. g8 g4 | r r r8. c16 | c4 b r | r r r8. d16 | d4 c r | r r r8. bes16 | bes4 a r | b?4. b8 c4 | c c( b) | %% Bar 10
55
+  c2 r8. b16 | c4 c r \bar "||"
56
+  \time 4/4 %% Start of Allegro, Bar 13
57
+  
58
+  
59
+}
60
+
61
+ViolinoTwoMusic = \new Voice \relative c'' {
62
+  g4. c8 c4 | c4. e8 e4 | r r r8. e16 | e4 d r | r r r8. f16 | f4 e r | r r r8. e16 | g4 f r | d4. d8 e4 | d d2 | %% Bar 10
63
+  e r8. d16 | e4 e r \bar "||"
64
+  \time 4/4 %% Start of Allegro, Bar 13
65
+  
66
+  
67
+}
68
+
69
+VioloncelloMusic = \new Voice \relative c {
70
+  \clef bass
71
+  c2. | c2. | r4 r r8. c16 | g'4 g r | r r r8. g16 | c4 c r | r r r8. c,16 | f4 f r | f2 e4 | f g g, | %% Bar 10
72
+  c2 r8. g'16 | c4 c, r \bar "||"
73
+  \time 4/4 %% Start of Allegro, Bar 13
74
+  
75
+
76
+}
77
+
78
+cantoMusic = \relative c'' {
79
+  c4. c8 c4 | e4. e8 e4 | g,8[ c] c[ b] c r16 e | e4 d r | b8[ d] d[ c] d r16 f | %% Bar 5
80
+  f4 e r | r r r8. g16 | g4 f r | d4. d8 e4 | d d2 | %% Bar 10
81
+  e r8. d16 | e4 e r \bar "||"
82
+  \time 4/4 %% Start of Allegro, Bar 13
83
+  
84
+}
85
+
86
+cantoLyrics = \lyricmode {
87
+  Ky -- ri -- e, Ky -- ri -- e e -- _ lei -- _ son, e -- lei -- son, e -- _ lei -- _ son, e -- %% Bar 5
88
+  lei -- son, e -- lei -- son, Ky -- ri -- e e -- lei -- %% Bar 10
89
+  son, e -- lei -- son. %% End Adagio, Bar 12
90
+}
91
+
92
+altoMusic = \relative c'' { 
93
+  g4. g8 g4 | g4. g8 g4 | r r r8. g16 | g4 g r | g8[ b] b[ a] b r16 b | %% Bar 5
94
+  g4 g r | e8[ g] g[ f] g r16 bes | bes4 a r | g4. g8 g4 | a g2 | %% Bar 10
95
+  g r8. g16 | g4 g r \bar "||"
96
+  \time 4/4 %% Start of Allegro, Bar 13
97
+  
98
+  
99
+}
100
+
101
+altoLyrics = \lyricmode { 
102
+  Ky -- ri -- e, Ky -- ri -- e e -- lei -- son, e -- _ lei -- _ son, e -- %% Bar 5
103
+  lei -- son, e -- _ lei -- _ son, e -- lei -- son, Ky -- ri -- e e -- lei -- %% Bar 10
104
+  son, e -- lei -- son. %% End Adagio, Bar 12
105
+ 
106
+ 
107
+}
108
+
109
+tenoreMusic = \relative c' { \clef "treble_8"
110
+  e4. e8 e4 | c4. c8 c4 | r r r8. c16 | c4 b r | r r r8. d16 | %% Bar 5
111
+  d4 c r | c8[ e] e[ d] e r16 e | c4 c r | b4. b8 c4 | c c( b) | %% Bar 10
112
+  c2 r8. b16 | c4 c r \bar "||"
113
+  \time 4/4 %% Start of Allegro, Bar 13
114
+  
115
+  
116
+}
117
+
118
+tenoreLyrics = \lyricmode {
119
+  Ky -- ri -- e, Ky -- ri -- e e -- lei -- son, e -- %% Bar 5
120
+  lei -- son, e -- _ lei -- _ son, e -- lei -- son, Ky -- ri -- e e -- lei -- %% Bar 10
121
+  son, e -- lei -- son. %% End Adagio, Bar 12
122
+  
123
+  
124
+}
125
+
126
+bassoMusic = \relative c {
127
+  \clef bass
128
+  c4. c8 c4 | c'4. c8 c4 | r r r8. c,16 | g'4 g r | r r r8. g16 | %5 Bar 5
129
+  c4 c r | r r r8. c,16 | f4 f r | f4. f8 e4 | f g( g,) | %% Bar 10
130
+  c2 r8. g'16 | c4 c, r \bar "||"
131
+  \time 4/4 %% Start of Allegro, Bar 13
132
+ 
133
+ 
134
+}
135
+
136
+bassoLyrics = \lyricmode {
137
+  Ky -- ri -- e, Ky -- ri -- e e -- lei -- son, e -- %% Bar 5
138
+  lei -- son, e -- lei -- son, Ky -- ri -- e e -- lei -- %% Bar 10
139
+  son, e -- lei -- son.
140
+ 
141
+ 
142
+}
143
+
144
+OrganoMusicUpper = \new Voice \relative c {
145
+  \clef bass \voiceOne
146
+ s2.*12 %% Adagio, to Bar 12
147
+ \time 4/4 
148
+ s1*6 %% To Bar 18
149
+ c8 c e f g2 | a4. a8 g4 r8 e'8 | %% Bar 20
150
+ d c b a b16 c d4 b8 | 
151
+ 
152
+ 
153
+}
154
+
155
+OrganoMusicLower = \new Voice \relative c {
156
+  \clef bass \oneVoice
157
+  c2. | c | r4 r r8. c16 | g'4 g r | r r r8. g16 | %% Bar 5
158
+  c4 c r | r r r8. c,16 | f4 f r | f2 e4 | f g g, | %% Bar 10
159
+  c2 r8. g'16 | c4 c, r \bar "||"
160
+  \time 4/4
161
+  c2-! d4.-! d8-! | c4-! r8 a'-! g-! f-! e-! d-! | e16-! f-! g4-! e8-! d16-! e-! f4-! d8-! | %% Bar 15
162
+  e16-! f-! g4-! e8-! d16-! e-! f4-! d8-! | e8 c a'4( a8) d, g4( | g8) c, f4( f8) e d4 | \voiceTwo s2 g4 g( | g) fis g c, | %% Bar 20
163
+  fis2 g16 a b4 g8 | fis16 g a4 fis8 g16 a b4 g8 | fis!16 g a4 fis8 g4. e8 | fis4. d8 e4. e8 | 
164
+    
165
+
166
+}
167
+
168
+OrganoFB = \figuremode {       
169
+    s2. | s2. | s2. | < 6 4 >4 < 5 3 >4 < _ > | r4 r r8. < 7 >16 | %% Bar 5
170
+    < 4 9 >4 < 3 8 > r | r r r8. < 7-- >16 | < 4 9 >4 < 3 8 > r | < [_!] 2 >2 < 6 >4 | < 6 5 > < 4 > < 3 > | %% Bar 10
171
+    s2. | s2. | %% End Adagio
172
+    
173
+    
174
+  }
175
+
176
+systembreaks = \new Voice {
177
+   \tempo \markup {\sans \medium \fontsize #4 "Adagio" }
178
+   s2.*6 \break
179
+   s2.*6 \break
180
+          
181
+        }
182
+
183
+\score {
184
+  <<
185
+      \override Score.BarNumber.font-size = #.5
186
+      \override Score.BarNumber.padding = #2.2
187
+      \override Score.BarNumber.self-alignment-X = #left 
188
+      \override Score.BarNumber.font-shape = #'italic
189
+      
190
+    \new StaffGroup = "StaffGroup_banda" <<
191
+      \new Staff = "Staff_ClarinoOne" <<
192
+        \override Staff.InstrumentName.self-alignment-X = #LEFT
193
+        \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Clarino I } \line {\italic {ad lib. } } }
194
+        \global \ClarinoOneMusic \systembreaks
195
+      >>
196
+      \new Staff = "Staff_ClarinoTwo" {
197
+        \override Staff.InstrumentName.self-alignment-X = #LEFT
198
+        \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Clarino II } \line {\italic {ad lib. } } }
199
+        \global \ClarinoTwoMusic
200
+      }
201
+      \new Staff = "Staff_Tympano" {
202
+      \override Staff.InstrumentName.self-alignment-X = #LEFT
203
+      \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Tympano } \line {\italic {ad lib. } } }
204
+      \global \TympanoMusic
205
+    }
206
+    >>
207
+  \new StaffGroup = "StaffGroup_strings" << 
208
+    \new GrandStaff = "GrandStaff_violins" <<
209
+      \new Staff = "Staff_violinoI" {
210
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
211
+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Violino I } }
212
+          \global \ViolinoOneMusic
213
+        }
214
+      \new Staff = "Staff_violinoII" {
215
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
216
+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Violino II } }
217
+          \global \ViolinoTwoMusic
218
+      }
219
+    >>
220
+    \new Staff = "Staff_violoncello" {
221
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
222
+          \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Violoncello }
223
+          \global \VioloncelloMusic
224
+    }
225
+  >>  
226
+<<
227
+ \new ChoirStaff = "Staff_voci"
228
+ \with {
229
+  \override VerticalAxisGroup.default-staff-staff-spacing =
230
+    #'((basic-distance . 12)
231
+       (minimum-distance . 9)
232
+       (padding . 1)
233
+       (stretchability . 10))
234
+}
235
+   << 
236
+     \new Staff = "canto" <<
237
+       \override Staff.InstrumentName.self-alignment-X = #LEFT
238
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Canto } 
239
+        \new Voice = "canto" {
240
+        \global \cantoMusic
241
+        }
242
+     >>
243
+      \new Lyrics \lyricsto "canto" {
244
+      { \cantoLyrics }
245
+      }
246
+       \new Staff = "alto" <<
247
+       \override Staff.InstrumentName.self-alignment-X = #LEFT
248
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Alto } 
249
+        \new Voice = "alto" {
250
+        \global \altoMusic
251
+        }
252
+       >>
253
+      \new Lyrics \lyricsto "alto" {
254
+      { \altoLyrics }
255
+      }
256
+      \new Staff = "tenore" <<
257
+      \override Staff.InstrumentName.self-alignment-X = #LEFT
258
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Tenore } 
259
+        \new Voice = "tenore" {
260
+        \global \tenoreMusic
261
+        }
262
+      >>
263
+      \new Lyrics \lyricsto "tenore" {
264
+      { \tenoreLyrics }
265
+      }
266
+      
267
+      \new Staff = "basso"<<
268
+      \override Staff.InstrumentName.self-alignment-X = #LEFT
269
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Basso } 
270
+        \new Voice = "basso" {
271
+        \global \bassoMusic
272
+        }
273
+      >>
274
+      \new Lyrics \lyricsto "basso" {
275
+      { \bassoLyrics }
276
+      }
277
+   >>
278
+ >>
279
+  \new Staff = "Staff_continuo" <<
280
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
281
+          \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Organo }
282
+          \new Voice = "continuoupper" {
283
+          \global \OrganoMusicUpper
284
+          }
285
+          \new Voice = "continuolower" {
286
+           \global \OrganoMusicLower 
287
+          }
288
+          \new FiguredBass {\OrganoFB }
289
+  >>
290
+  >>
291
+  \layout {
292
+  \context {
293
+    \Staff \RemoveEmptyStaves
294
+  }
295
+  }
296
+  \midi {}
297
+}

+ 30
- 0
messen/messe 1/transkription kayser 1. messe c-dur.ly View File

@@ -0,0 +1,30 @@
1
+\include "/home/elassus/carrier1/Documents/music stuff/2015 Stuttgart/transkription kayser/control/global.ily"
2
+\include "/home/elassus/carrier1/Documents/music stuff/2015 Stuttgart/transkription kayser/control/layout-carus.ily"
3
+
4
+
5
+\header {
6
+  title = \markup { \normal-text \abs-fontsize #20 "MISSA I." }
7
+  subtitle = \markup { \medium \fontsize #4 \italic "Messe C-Dur"}
8
+  composer = \markup \right-column { \abs-fontsize #11 \line { "R. P. Isfrido Kayser" } \line {\abs-fontsize #11 "1712–1771" } }
9
+  opus = \markup { \abs-fontsize #11 "Opus II" } 
10
+  tagline = \markup {
11
+    Engraved at
12
+    \simple #(strftime "%Y-%m-%d" (localtime (current-time)))
13
+    with \with-url #"http://lilypond.org/"
14
+    \line { LilyPond \simple #(lilypond-version) (http://lilypond.org/) }
15
+  }
16
+  
17
+}
18
+
19
+\include "transkription kayser 1. messe c-dur - kyrie.ly"
20
+
21
+%%Include OpenLilyLib and init ScholarLY
22
+\include "openlilylib"
23
+
24
+\useLibrary Scholarly
25
+
26
+\useModule scholarly.annotate
27
+
28
+
29
+
30
+                                        

+ 115
- 0
messen/messe 5/transkription kayser 5. messe c-dur - agnusdei score.ly View File

@@ -0,0 +1,115 @@
1
+\score {
2
+  <<
3
+      \override Score.BarNumber.font-size = #.5
4
+      \override Score.BarNumber.padding = #2.2
5
+      \override Score.BarNumber.self-alignment-X = #left 
6
+      \override Score.BarNumber.font-shape = #'italic
7
+      
8
+    \new StaffGroup = "StaffGroup_banda" <<
9
+      \new Staff = "Staff_ClarinoOne" <<
10
+        \override Staff.InstrumentName.self-alignment-X = #LEFT
11
+        \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Clarino I } \line {\italic {ad lib. } } }
12
+        \global \ClarinoOneMusic \systembreaks
13
+      >>
14
+      \new Staff = "Staff_ClarinoTwo" {
15
+        \override Staff.InstrumentName.self-alignment-X = #LEFT
16
+        \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Clarino II } \line {\italic {ad lib. } } }
17
+        \global \ClarinoTwoMusic
18
+      }
19
+      \new Staff = "Staff_Tympano" {
20
+      \override Staff.InstrumentName.self-alignment-X = #LEFT
21
+      \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Tympano } \line {\italic {ad lib. } } }
22
+      \global \TympanoMusic
23
+    }
24
+    >>
25
+  \new StaffGroup = "StaffGroup_strings" << 
26
+    \new GrandStaff = "GrandStaff_violins" <<
27
+      \new Staff = "Staff_violinoI" {
28
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
29
+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Violino I } }
30
+          \global \ViolinoOneMusic
31
+        }
32
+      \new Staff = "Staff_violinoII" {
33
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
34
+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Violino II } }
35
+          \global \ViolinoTwoMusic
36
+      }
37
+    >>    
38
+  >>  
39
+<<
40
+ \new ChoirStaff = "Staff_voci"
41
+ \with {
42
+  \override VerticalAxisGroup.default-staff-staff-spacing =
43
+    #'((basic-distance . 12)
44
+       (minimum-distance . 9)
45
+       (padding . 1)
46
+       (stretchability . 10))
47
+}
48
+   << 
49
+     \new Staff = "canto" <<
50
+       \override Staff.InstrumentName.self-alignment-X = #LEFT
51
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Canto } 
52
+        \new Voice = "canto" {
53
+        \global \cantoMusic
54
+        }
55
+     >>
56
+      \new Lyrics \lyricsto "canto" {
57
+      { \cantoLyrics }
58
+      }
59
+       \new Staff = "alto" <<
60
+       \override Staff.InstrumentName.self-alignment-X = #LEFT
61
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Alto } 
62
+        \new Voice = "alto" {
63
+        \global \altoMusic
64
+        }
65
+       >>
66
+      \new Lyrics \lyricsto "alto" {
67
+      { \altoLyrics }
68
+      }
69
+      \new Staff = "tenore" <<
70
+      \override Staff.InstrumentName.self-alignment-X = #LEFT
71
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Tenore } 
72
+        \new Voice = "tenore" {
73
+        \global \tenoreMusic
74
+        }
75
+      >>
76
+      \new Lyrics \lyricsto "tenore" {
77
+      { \tenoreLyrics }
78
+      }
79
+      
80
+      \new Staff = "basso"<<
81
+      \override Staff.InstrumentName.self-alignment-X = #LEFT
82
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Basso } 
83
+        \new Voice = "basso" {
84
+        \global \bassoMusic
85
+        }
86
+      >>
87
+      \new Lyrics \lyricsto "basso" {
88
+      { \bassoLyrics }
89
+      }
90
+   >>
91
+ >>
92
+  \new Staff = "Staff_continuo" <<
93
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
94
+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Organo } \line {\italic {cum basso cont. } } }
95
+          \new Voice = "continuoupper" {
96
+          \global \OrganoMusicUpper
97
+          }
98
+          \new Voice = "continuolower" {
99
+           \global \OrganoMusicLower 
100
+          }
101
+          \new FiguredBass {\OrganoFB }
102
+  >>
103
+  >>
104
+  \layout {
105
+  \context {
106
+    \Staff \RemoveEmptyStaves
107
+  }
108
+  }
109
+  \midi {}
110
+  \header {
111
+  piece = \markup { \abs-fontsize #18 \left-align { Agnus Dei } } 
112
+  opus = ##f
113
+  }
114
+
115
+}

+ 322
- 0
messen/messe 5/transkription kayser 5. messe c-dur - agnusdei.ly View File

@@ -0,0 +1,322 @@
1
+global= {
2
+  \key c \major
3
+  %% NB: Best-practice sequence of glyphs is: note->articulation->dynamic->slur->beam->tie
4
+}
5
+
6
+beambreakOn = {
7
+  \set subdivideBeams = ##t
8
+  \set baseMoment = #(ly:make-moment 1/8)
9
+  \set beatStructure = #'(2 2 2)
10
+}
11
+
12
+beambreakOff = {
13
+  \set subdivideBeams = ##f
14
+  \set baseMoment = #(ly:make-moment 1/8)
15
+  \set beatStructure = #'(2 2 2)
16
+}
17
+
18
+ClarinoOneMusic = \new Voice \relative c'' {
19
+  
20
+  r4 e8 e g g | a2 r4 | r a8 a a a | b2 r4 | g,2 r4 | g2 r4 | d'8 f f4 e | e d r | e8 e e e fis fis | g g g g fis fis | %% Bar 10
21
+  g2 r4 | g,2 r4 | g2 r4 | g2 r4 | d'8 d d d d d | e e e e e e | e e e e e e | fis fis fis fis g g | g2 fis4 | g2 g,8 g | %% Bar 20
22
+  g2 r4 | r e'8 e g g | a2 r4 | r a8 a a a | b2 r4 | g,2 r4 | g2 r4 | d'8 f f4 e | e d r | d8 d d d e e | d4 d2 c2 r8 c-! | d4-! e-! r | %% End Adagio, Bar 33
23
+  %% Dona Nobis copied from Kyrie Andante
24
+  \time 2/4
25
+  R2*18 | %% Bar 41
26
+  e8 g f e16 d | e4 r | r8 e f g | r e f g | d4 r | r r8 g | g f4 e8 | e8. d16 d4 | c r | r r8 g'\p | %% Bar 51
27
+  g f4 e8 | e8. d16 d4 | c4 r8 fis\f | g4r | R2*10 | r8 e d4 | r8 e d4 | R2*2 | r8 g g8. fis16 | g4 r8 g,16 g | %% Bar 71
28
+  g4 r | R2*6 | e'8 g f e16 d | e4 r | r8 e f g | r e f g | d4 r | r r8 g | g f4 e8 | e8. d16 d4 | c r | r r8 g'8\p | g8 f4 e8 | e8. d16 d4 | c r | r e8\f f | g f16 e d4 | c r | R2 |  %% Bar 95, end Messe 5
29
+
30
+}
31
+
32
+ClarinoTwoMusic = \new Voice \relative c'' {
33
+  
34
+  r4 c8 c e e | f2 r4 | r fis8 fis fis fis | g2 r4 | g,2 r4 | g2 r4 | g8 d' d4 c | c g r | c8 c c c d d | d d d d d d | %% Bar 10
35
+  d2 r4 | g,2 r4 | g2 r4 | g2 r4 | g8 g g g g g | g g g g g g | e' e e e e e | d d d d e e | d4 d4. d8 | d2 g,8 g | %% Bar 20
36
+  g2 r4 | r e8 c' e e | f2 r4 | r fis8 fis fis fis | g2 r4 | g,2 r4 | g2 r4 | g8 d' d4 c | c g r | g8 g g g c c | c c g g g4 | e2 r8 e-! | g4-! g-! r | %% End Adagio, Bar 33
37
+  %% Dona Nobis copied from Kyrie Andante
38
+  \time 2/4
39
+  R2*18 | %% Bar 41
40
+  c8 e d g, | c4 r | r8 c d e | r c d e | g,4 r | r r8 e' | e d4 c8 | c8. d16 g,4 | e r | r r8 e'\p %% Bar 51
41
+  | e d4 c8 | c8. d16 g,4 | e8 r r c'16\f d | d4 r | R2*10 | r8 c g4 | r8 c g4 | R2*2 | r8 d'16 e d4 | d r8 g,16 g %% Bar 71
42
+  | g4 r | R2*6 | c8 e d g, | c4 r | r8 c d e | r c d e | g,4 r | r r8 e'8 | e d4 c8 | c8. d16 g,4 | e r | r r8 e'8\p | e d4 c8 | c8. d16 g,4 | e r r c'8\f d | e d16 c g4 | e r | R2 |  %% Bar 95, end Messe 5
43
+  
44
+}
45
+
46
+TympanoMusic = \new Voice \relative c {
47
+  \clef bass
48
+  r4 c8 c c c | c4 r r | r c8 c c c | g2 r4 | g2 r4 | g2 r4 | g g c | g g r | R2.*2 | %% Bar 10
49
+  g2 r4 | g2 r4 | g2 r4 | g2 r4 | g8 g g g g g | c c c c c c | R2.*3 | g8 g16 g g8 g g g | %% Bar 20
50
+  g2 r4 | r c8 c c c | c2 r4 | r c8 c c c | g2 r4 | g2 r4 | g2 r4 | g g c | g g r | R2. | r4 g g8 g | c2 r8 c | g4 c r | %% End Adagio, Bar 33
51
+  %% Dona Nobis copied from Kyrie Andante
52
+  \time 2/4
53
+ R2*18 | %% Bar 41
54
+ c8 c r4 | c8 c r4 | R2*2 | g4 r | R2*2 | r4 g8 g16 g | %% Bar 51
55
+ c4 r | R2*2 | r4 g8\p g16 g | c4 r8 c\f | g4 r | R2*10 | r8 g16 g g8 r | r g16 g g4 | R2*3 | g4 r8 g16 g | g4 r | R2*6 | c8 c r4 | c8 c r4 | R2*2 | g4 r | R2*2 | r4 g8 g16 g | c4 r | R2*2 | r4 g8 g16 g | c4 r | R2 | c4 r8 g16 g | c4 r | R2 | %% Bar 95, end Messe5
56
+  
57
+}
58
+
59
+ViolinoOneMusic = \new Voice \relative c'' {
60
+ 
61
+  r4 g'8( g) g( g) | a f16-!\f e-! f8-! c-! a-! f-! | r4 a'8( a) a( a) | b g16-! fis-! g8-! d b g | r g16 fis g8 d b g | r g'16 fis g8 e c g | f''4 f e | e d r | g8( g) g( g) a( a) | b( b) a( a) a( a) | b g,16 fis g8 d b g | %% Bar 10
62
+  r g'16 fis g8 d b g | r g'16 fis g8 e c g | r g'16 fis g8 d b g | g''( g) g( g) g( g) | g( g) g( g) g( g) | a( a) a( a) a( a) | a( a) a( a) bes( bes) | bes( bes) a( a) a( a) | g g,16 fis g8 d b d | g,2 r4 | %% Bar 20
63
+  r g''8( g) g( g) | a f16 e f8 c a f | r4 a'8( a) a( a) | b g16 fis g8 d b g | r g16 fis g8 d b g | r g'16 fis g8 e c g | f''4 f e | e d r | d8( d) d( d) d( d) | d( d) d( d) d( d) | c c16 b c8 g e e' | d4 e r | %% End Adagio, Bar 33
64
+  %% Dona Nobis copied from Kyrie Andante
65
+  \time 2/4
66
+ R2*13 | %% Bar 36
67
+ \beambreakOn r16\f g, a b c32 d e f g16 bes,~ | bes? a( a) c d32 e f g a16 c,~ | \beambreakOff c b?( b) d \beambreakOn e32 f g a b16 d,~ | \beambreakOff  d c( c) d c8. b16 | c g e'8 d c16 b | c e e g f8 c16 d | e4 r8 c | a16 g g e' f e e c | a g g e' f e e c | b8 g g'4~ | g8 f4 e8~ | e d4 c8~ | c8. d16 d4\trill | e8 g,\p g'4~ | g8 f4 e8~ | %% Bar 51
68
+ e d4 c8~ | c8. d16 d4\trill | c8 r r4 | r16 d,\f e fis \beambreakOn g32 a b c d16 f,~ | \beambreakOff f e( e) g \beambreakOn a32 b c d e16 g,~ | g fis( fis) a \beambreakOn b32 c d e fis16 a,~ | \beambreakOff a g( g) a g8 fis | g4 r | g8 g,\p g' g, | g' g, r4 | %% Bar 61
69
+ R2 | r4 r8 g' | a e d fis | g d g,16 
70
+ \criticalRemark \with {
71
+    author = "N. Andrew Walsh" 
72
+    message = "Dynamikzeichen auf letzten Noten fixiert, soll aber auf der vorvorletzten sechzehntel sein (Vgl. Vln. II)."
73
+    source = "Faksimile der OE-Stimme"
74
+    }
75
+   DynamicText %% Typo noted, Bar 65
76
+ e''\f e e | d g g g g e e e | d g g g g8 b~ | b a4 g8~ | g a d, g | a g4 fis8 | g16 g, fis g d c b a | %% Bar 71
77
+ g4 r | R2 | r8 g'\p e g | f f d g | c,4 r | R2 | 
78
+  \criticalRemark \with {
79
+    author = "N. Andrew Walsh" 
80
+    message = "Forte-Zeichen in OE auf zweiter Sechzehntelnote, soll aber auf Erste (Vgl. Vlo. I)"
81
+    source = "Faksimile der OE-Stimme"
82
+    }
83
+   DynamicText %% Typo noted, Bar 78
84
+ c'16\f g e'8 d c16 b | c e e g f8 e16 d | e4 r8 c | a16 g g e' f e e c | %% Bar 81
85
+ a g g e' f e e c | b g b d g4~ | g8 f4 e8~ | e d4 c8~ | c8. d16 d4 | e8 g,\p g'4~ | g8 f4 e8~ | e d4 c8 | c8. d16 d4 | e16 g\f g g a a bes bes | c8 c c b | c c c b | c4 r | R2 | %% Bar 95, end Messe 5
86
+  
87
+}
88
+
89
+ViolinoTwoMusic = \new Voice \relative c'' {
90
+  
91
+  r4 e8( e) e( e) | f f16-!\f e-! f8-! c-! a-! f-! | r4 fis'8( fis) fis( fis) | g g16-! fis-! g8-! d-! b-! g-! | r g16 fis g8 d b g | r g'16 fis g8 e c g | d''4 d c | c b r | c8( c) c( c) c( c) | b g' g g fis fis | %% Bar 10
92
+  g g,16 fis g8 d b g | r g'16 fis g8 d b g | r g'16 fis g8 e c g | r g'16 fis g8 d b g | d''( d) d( d) d( d) | e( e) e( e) e( e) | e( e) e( e) e( e) | fis( fis) fis( fis) g( g) | g( g) g( g) fis( fis) | g g,16 fis g8 d b d | %% Bar 20
93
+  g,2 r4 | r e''8( e) e( e) | f f16 e f8 c a f | r4 fis'8 fis fis fis | g g16 fis g8 d b g | r g16 fis g8 d b g | r g'16 fis g8 e c g | d''4 d c | c b r | b8( b) b( b) c( c) | c( c) c( c) b( b) | c c16 b c8 g e c' | b4 c r | %% End Adagio, Bar 33
94
+  %% Dona Nobis copied from Kyrie Adagio
95
+  \time 2/4
96
+  R2*13 | %% Bar 36
97
+  r8 e-!\f g-! g, | c, f'-! a-! a, | d, g'-! b-! b, | a d, d8. d16 | e8 g a g | g e' d b | 
98
+   \musicalIssue \with {
99
+    author = "N. Andrew Walsh" 
100
+    message = "Erste Note als Viertelnote in der Stimme, nach Pausenzeichen muss aber eine Achtelnote sein"
101
+    source = "Faksimile der OE-Stimme"
102
+    }
103
+   NoteHead %% Typo noted, Bar 43
104
+  c r r4 | r8 g b c | r g b c16 e | d4 r8 e~ | e d4 c16 g'~ | g8 f4 e8~ | e8. d16 c8 b c4 r8 e\p~ | e d4 c16 g'~ | g8 f4 e8~ | e8. d16 c8 b | %% Bar 51
105
+  c r r4 | r8 b-!\f d-! d, | g, c'-! e-! e, | a, d'-! fis fis, | b, c a4 | b r | g'8 g,\p g' g, | g' g, r4 | R2 | r4 r8 g'\p | %% Bar 61
106
+  a e d fis | g d g,16 c'\f c c | b e e c b c c c | b e e c b8 d~ | d c4 b8~ | b a4 g8 | fis g16 a a4 | b16 g fis g d c b a | g4 r | %% Bar 71
107
+  R2 | r8 g'\p e g | f f d g | c,4 r | R2 | e8\f g a g | g e' d c | c4 r | r8 g b c | r g b c16 e | d4 r8 e~ | e d4 c16 g'~ | g8 f4 e8~ | e8. d16 c8 c | c4 r8 e8\p~ | %% Bar 81
108
+  e d4 c16 g'~ | g8 f4 e8~ | e8. d16 c8 b | c16 e\f e e f f g g | a8 g a f | e d d4 | e r | R2 | %% Bar 95, End Messe 5
109
+  
110
+}
111
+
112
+
113
+
114
+cantoMusic = \relative c'' {
115
+  \autoBeamOff \dynamicUp
116
+  r4 e^\markup { \center-align \italic tutti } e | f f r | r fis fis | g g d | b8[ d] d4 d | e e e | f2 e4 | e d r | e4. e8 fis4 | g g( fis) | g2 r4 | %% Bar 10
117
+  R2.*3 | d2 d4 | e2 e4 | e2 e4 | fis2 g4 | g g( fis) | g2 r4 | r d d | %% Bar 20
118
+  e e e | f f r | r fis fis | g g d | b8[ d] d4 d | e e e | f2 e4 | e d r | d4. d8 e4 | d d2 | c r8 e | d4 e r | %% End Adagio, Bar 33
119
+  %% Dona Nobis music copied from Kyrie Andante
120
+  \time 2/4
121
+  c16[^\markup { \center-align \italic solo } g] e'8 d c16[ b] | c[ b] c4 c8 | a16[ g] g e' f[\melisma e d c] | b8 \melismaEnd g r4 | R2*4 | %% Bar 20
122
+  r4 r8 g | \beambreakOn a8[\melisma \tuplet 3/2 { c16 b a] } b[ d \tuplet 3/2 { d c b] } | c8[ \tuplet 3/2 { e16 d c] } d[ f \tuplet 3/2 { f e d] } | \beambreakOff e[ d e d] \melismaEnd e8 d | c4( b) | c r | R2*3 | c16[^\markup { \center-align \italic tutti } g] e'8 d c16[ b] | %% Bar 30
123
+  c8[\melisma g'] f[ e16 d] | e[ d]\melismaEnd e8 r c | a16[ g] g e' f[ e] e c | a[ g] g e' f[ e] e c | b8 g16 g g'4~\melisma | g8 f4 e8~ | e d4 c8~ | c \melismaEnd c16 d c8[ b] | c g\p g'4~\melisma | g8 f4 e8~ | %% Bar 40
124
+  e d4 c8~ | c \melismaEnd c16 d c8[ b] | c d\f e[ fis] | g4 r | R2*4 | b,8^\markup { \center-align \italic solo } d4 \tuplet 3/2 { e16[ d c] } | d8 b r4 | %% Bar 50
125
+  R2 | r4 r8 d | c16[ b c b] c8 c | b16[ a b a] b8 e | d4 r8 e | d4 r8 d | d \melisma c4 b8~ | b a4 g8 | fis \melismaEnd g16 a a4 | b4 r | %% Bar 60
126
+  R2*6 | c16[^\markup { \center-align \italic tutti } g] e'8 d c16[ b] | c8[ \melisma g'] f[ e16 d] | e[ d] \melismaEnd e8 r c | a16[ g] g e' f[ e] e c | %% Bar 70
127
+  a[ g] g e' f[ e] e c | b8 g16 g g'4~ \melisma | g8 f4 e8~ | e d4 c8~ | c \melismaEnd c16 d c8[ b] | c g g'4~ \melisma | g8 f4 e8~ | e d4 c8~ | c \melismaEnd c16 d c8[ b] | c c16\f e f8 e | f g16 g f4 | e8 d16 d d4 | e r8 d | e e r4 | %% Bar 84, end Kyrie
128
+  
129
+}
130
+
131
+cantoLyrics = \lyricmode {
132
+  
133
+  Ag -- nus De -- i Ag -- nus De -- i, qui tol -- lis pec -- ca -- ta pec -- ca -- ta mun -- di, mi -- se -- re -- re no -- bis. %% Bar 10
134
+  Mi -- se -- re -- re mi -- se -- re -- re no -- _ bis. Ag -- nus %% Bar 20
135
+  De -- i, qui tol -- lis Ag -- nus De -- i, qui tol -- lis pec -- ca -- ta pec -- ca -- ta mun -- di. Do -- na no -- bis pa -- cem da pa -- cem. %% End Adagio, Bar 33
136
+  %% New Lyrics (mostly) for Andante
137
+  Do -- na no -- bis pa -- cem no -- _ bis pa -- _ %% Bar 41
138
+  cem pa -- _ cem pa -- _ cem. Ky -- ri -- e e -- lei -- son e -- lei -- son e -- lei -- son (e -- lei -- son) (e -- lei -- son) e -- lei -- son e -- lei -- son e -- lei -- son e -- lei -- %% Bar 51
139
+  son e -- lei -- son e -- lei -- son. Do -- _ na no -- bis %% Bar 61
140
+  pa -- _ cem (pa -- _ cem) Do -- na no -- bis pa -- _ cem pa -- _ cem. Do -- na no -- bis pa -- cem, pa -- _ cem, pa -- _ cem pa -- _ cem pa -- _ cem, pa -- _ cem, pa -- _ cem, pa -- %% Bar 90
141
+  _ cem, pa -- _ cem, pa -- _ cem, Do -- na no -- bis pa -- cem, pa -- _ _ cem, pa -- _ cem, pa -- _ cem. %% End Agnus Dei, Bar 105
142
+  
143
+}
144
+
145
+altoMusic = \relative c'' { 
146
+  \autoBeamOff \dynamicUp
147
+  r4 g^\markup { \center-align \italic tutti } g | a a r | r a a | b b b | g8[ b] b4 b | c c c | b( g) g | g g r | g4. g8 a4 | b a2 | 
148
+   \musicalIssue \with {
149
+    author = "N. Andrew Walsh" 
150
+    message = "Rechtschreibung weicht hier in der OE von den anderen Stimmen ab."
151
+    source = "Faksimile der OE-Stimme"
152
+    }
153
+   LyricText %% Typo noted, Bars 10--11
154
+  b r4 | %% Bar 10
155
+  R2.*3 | g2 g4 | g2 g4 | a2 a4 | a2 bes4 | bes a2 | g2. | r4 g g | %% Bar 20
156
+  g g g | a a r | r a a | b b b | g8[ b] b4 b | c c c | b( g) g | g g r | g4. g8 g4 | a g2 | g r8 g | g4 g r | %% End Adagio, Bar 33
157
+  %% Dona Nobis music copied from Kyrie Andante
158
+  \time 2/4
159
+  R2*3 %% Bar 26
160
+  g16[^\markup { \center-align \italic solo } d] b'8 a g16[ fis] | g[ fis] g4 g8 | e16[ d] d b' c[ \melisma b a g] | fis8 \melismaEnd d r d | \beambreakOn e8[ \melisma \tuplet 3/2 { g16 fis e] } fis[ a \tuplet 3/2 { a g fis] } | %% Bar 31
161
+  g[ fis] \melismaEnd g4 r8 | r4 r8 g | a[ \melisma \tuplet 3/2 { c16 b a] } b[ d \tuplet 3/2 { d c b] } | c[ b c b] \melismaEnd c8 a | e4( d) | c r | R2*4 | %% Bar 46
162
+  g'8^\markup { \center-align \italic tutti } g a g | g g r4 | r8 g b c | r g b c16 g | g8 g r4 | r r8 g | a[ \melisma d g, c] | a \melismaEnd g16 a g4 | g r | r r8 g\p | %% Bar 51
163
+  a[ \melisma d g, c] | a \melismaEnd g16 a g4 | g8 g\f g[ a] | b4 r | R2*4 | g8^\markup { \center-align \italic solo } b4 \tuplet 3/2 { c16[ b a] } | b8 g r4 | %% Bar 61  
164
+  R2 |r4 r8 b | \beambreakOff a16[ g a g] a8 a | g16[ fis g fis] g8 g | g4 r8 g | g4 r8 b | b \melisma a4 g8~ | g[ a d, g] | a \melismaEnd g16 g g8[ fis] | g r r4 | %% Bar 71
165
+  \musicalIssue \with {
166
+    author = "N. Andrew Walsh" 
167
+    message = "Wahrscheinlich hier ein Kopiefehler: ein weiteres \"pacem\" fehlt. Vgl. Sopranstimme"
168
+    source = "Faksimile der OE-Stimme"
169
+    }
170
+   LyricText %% Missing "pacem" noted, Bar 81
171
+  R2*7 | %% (Bars 82 through 89)
172
+  \musicalIssue \with {
173
+    author = "N. Andrew Walsh" 
174
+    message = "\"tutti\" fehlt (Vgl. Canto)"
175
+    source = "Faksimile der OE-Stimme"
176
+    }
177
+   NoteHead %% Typo noted, Bar 79
178
+  g8^\markup { \center-align \italic tutti } g a g | g g r4 | r8 g b c |  %% Bar 81
179
+  r g b c16 g |g8 g r4 | r r8 g | a[ \melisma d g, c] | a \melismaEnd g16 a g4 | g r | r r8 g\p | a[ \melisma d g, c] | a \melismaEnd g16 a g4 | g8 g16\f g a8 bes | a g16 g a8[ \melisma b] | c \melismaEnd a16 a g4 | g r8 g | g g r4 | %% Bar 95, End Messe 5
180
+  
181
+}
182
+
183
+altoLyrics = \lyricmode { 
184
+  
185
+  Ag -- nus De -- i Ag -- nus De -- i, qui tol -- lis pec -- ca -- ta pec -- ca -- ta mun -- di, mi -- se -- re -- re no -- bis. %% Bar 10
186
+  Mi -- se -- re -- re mi -- se -- re -- re no -- _ bis. Ag -- nus %% Bar 20
187
+  De -- i, qui tol -- lis Ag -- nus De -- i, qui tol -- lis pec -- ca -- ta pec -- ca -- ta mun -- di, do -- na no -- bis pa -- cem da pa -- cem. %% End Adagio, Bar 33
188
+  %% New Lyrics (mostly) for Andante
189
+  Do -- na no -- bis pa -- cem pa -- _ cem pa -- _ cem pa -- _ cem pa -- _ cem pa -- _ cem. Ky -- ri e e -- lei -- son e -- lei -- son (e -- lei -- son) (e -- lei --son)  e -- lei -- son e -- lei -- son, %% Bar 51
190
+  e -- lei -- son e -- lei -- son e -- lei -- son. Do -- _ na no -- bis pa -- _ cem (pa -- _ cem) Do -- na no -- bis pa -- _ cem (pa -- _ cem). Do -- na no -- bis pa -- cem, pa -- _ cem, pa -- _ cem, pa -- _ cem, pa -- %% Bar 95
191
+  _ cem, pa -- _ cem, pa -- _ cem, pa -- _ cem, Do -- na no -- bis pa -- cem, pa -- _ cem, pa -- _ cem, pa -- _ cem. %% End Mass 5, Bar 105
192
+ 
193
+}
194
+
195
+tenoreMusic = \relative c' { 
196
+  \clef "treble_8"
197
+  \autoBeamOff \dynamicUp
198
+  r4 c^\markup { \center-align \italic tutti } c | c c r | r es es | d d r | R2. | r4 r c | d2 c4 | c b r | c4. c8 c4 | b8[ d] d2 | %% Bar 10
199
+  d4 d^\markup { \center-align \italic solo } d | d b d | e e8 e e e | e4 d r | b(^\markup { \center-align \italic tutti } d) d | c2 c4 | a( e') e | d2 e4 | d2. | b | %% Bar 20
200
+  r4 b b | c c c | c c r | r es es | d d r | R2. | r4 r c | d2 c4 | c b r | b4. b8 c4 | c c( b) | c2 r8 c | b4 c r | %% End Adagio, Bar 33
201
+  %% Dona Nobis music copied from Kyrie Andante
202
+  \time 2/4
203
+  R2*18 %% Bar 30
204
+  \autoBeamOff
205
+  c16[^\markup { \center-align \italic tutti } g] e'8 d b | c c r4 | r8 c d e | r c d e16 e | d8 d r e | e \melisma d4 c16[ g'] | g8 f4 e8~ | e \melismaEnd e16 d d4 | e r8 e\p | e \melisma d4 c16[ g'] | %% Bar 51
206
+  g8 f4 e8~ | e \melismaEnd e16 d d4 | e8 d c8.[ d16] | d4 r | R2*3 | b8^\markup { \center-align \italic solo } d4 \tuplet 3/2 { e16[ d c] } |  d8 b r4 | r r8 d | %% Bar 61
207
+  c16[ b c b] c8 c | b16[ a b a] b4 | R2 | r4 r8 c^\markup { \center-align \italic tutti } |b4 r8 c | b4 r8 b | b[ c] d d | d \melisma c4 b8 | d \melismaEnd d16 c d4 | d r | %% Bar 71
208
+  r8 g,16^\markup { \center-align \italic solo } g g8 g | a16[ \melisma b g a] b[ c a b] | \melismaEnd c8 b16 b b8 b | c16[ \melisma d b c] d[ e c d] | \melismaEnd e8 d e16[ \melisma f d f] | e8[ d] d4 | \melismaEnd c r | c16[^\markup { \center-align \italic tutti } g] e'8 d b | c c r4 | r8 c d e |  %% Bar 81
209
+  r c d e16 e | d8 d r e | e \melisma d4 c16[ g'] | g8 f4 e8~ | e \melismaEnd e16 d d4 | e r8 e\p | e \melisma d4 c16[ g'] | g8 f4 e8~ | e \melismaEnd e16 d d4 | e8 e16\f c c8 bes | c c16 c c8[ \melisma d] | e \melismaEnd c16 c c8[ b] | c4 r8 b | c c r4 | %% Bar 95, End Messe 5
210
+  
211
+}
212
+
213
+tenoreLyrics = \lyricmode {
214
+  
215
+  Ag -- nus De -- i, Ag -- nus De -- i pec -- ca -- ta mun -- di, mi -- se -- re -- re no -- bis. Ag -- nus %% Bar 10
216
+  De -- i, qui tol -- lis pec -- ca -- ta mun -- di, mi -- se -- re -- re mi -- se -- re -- re no -- bis. Ag -- nus %% Bar 20
217
+  De -- i, qui tol -- lis Ag -- nus De -- i, pec -- ca -- ta mun -- di, do -- na no -- bis pa -- cem, da pa -- cem. %% End Adagio, Bar 33
218
+  %% New Lyrics (mostly) for Andante
219
+  Do -- na no -- bis pa -- cem. e -- lei -- son (e -- lei -- son) (e -- lei -- son) e -- lei -- son e -- lei -- son e -- lei -- %% Bar 51
220
+  son e -- lei -- son e -- lei -- son. Do -- _ na no -- bis pa -- %% Bar 71
221
+  _ cem (pa -- _ cem) Do -- na no -- bis pa -- _ cem pa -- _ cem pa -- _ cem. %% Bar 81
222
+  Do -- na no -- bis pa -- cem. Do -- na no -- bis pa -- cem pa -- _ cem. Do -- na no -- bis pa -- cem, pa -- _ cem, pa -- _ cem, pa -- _ cem, pa -- %% Bar 95
223
+  _ cem, pa -- _ cem, pa -- _ cem, pa -- _ cem, Do -- na no -- bis pa -- cem, pa -- _ cem, pa -- _ cem, pa -- _ cem. %% End Messe 5, Bar 105
224
+  
225
+}
226
+
227
+bassoMusic = \relative c {
228
+  \clef bass
229
+  \autoBeamOff \dynamicUp
230
+  r4 c'^\markup { \center-align \italic tutti } bes | a a r | r c c | b? b r | R2. | r4 r g | g( b) c | g g r | e4. e8 d4 | g d2 | g4 b^\markup { \center-align \italic solo } b | %% Bar 10
231
+  b g b | c c8 c c c | c4 b r | g^\markup { \center-align \italic tutti } b,2 | c c4 | cis2 cis4 | d2 cis4 | d2. | g | %% Bar 20
232
+  r4 g g | c c bes | a a r | r c c | b? b r | R2. | r4 r g | g( b) c | g g r | f4. f8 e4 | f g( g,) | c2 r8 c' | g4 c, r | %% End Adagio, Bar 33
233
+  %% Dona Nobis music copied from Kyrie Andante
234
+  \time 2/4
235
+  R2*18 %% Bar 41
236
+  c'8^\markup { \center-align \italic tutti } c, f g | c, c r4 | r8 e d c | r e d c16 c | g'8 g r4 | r r8 c | f,16[ \melisma b a b] e,8[ a] | f16[ d] \melismaEnd e d g4 | c, r | r r8 c'\p | %% Bar 51
237
+  f,16[ \melisma b a b] e,8 a | f16[ d] \melismaEnd e f g8[ g,] | c b c[ a] | g4 r | R2*3 | g'8^\markup { \center-align \italic solo } b4 \tuplet 3/2 { c16[ b a] } | b8 g r4 | r r8 b | %% Bar 61
238
+  a16[ g a g] a8 a | g16[ fis g fis] g4 | R2 | r4 r8 c,^\markup { \center-align \italic tutti } | g'4 r8 c, | g'4 r8 g | e16[ a g a] d,8 g | c,16[ fis e fis] b,8 e | d[ \melisma b16 c] d4 | \melismaEnd g, r | %% Bar 71
239
+  R2*2 | r8 g'16^\markup { \center-align \italic solo } g g8 g | a16[ \melisma b g a] b[ c a b] | \melismaEnd c8 b c16[ \melisma d b d] | c8[ f, g g,] | \melismaEnd c4 r | c'8^\markup { \center-align \italic tutti } c, f g | c, c r4 | r8 e d c | %% Bar 91
240
+  r e d c16 c | g'8 g r4 | r r8 c | f,16[ \melisma b a b] e,8[ a] | f16[ d] \melismaEnd e f g8[ g,] | c4 r | r r8 c' | f,16[ \melisma b a b] e,8[ a] | f16[ d] \melismaEnd e f g8[ g,] | c c'16\f c a8 g | f e16 e f8[ \melisma d] | c \melismaEnd f16 f g4 | c, r8 g' | c c, r4 | %% Bar 105, End Messe 5
241
+ 
242
+}
243
+
244
+bassoLyrics = \lyricmode {
245
+  
246
+  Ag -- nus De -- i Ag -- nus De -- i pec -- ca -- ta mun -- di, mi -- se -- re -- re no -- %% Bar 10
247
+  bis. Ag -- nus De -- i, qui tol -- lis pec -- ca -- ta mun -- di, mi -- se -- re -- re mi -- se -- re -- re no -- bis. %% Bar 20
248
+  Ag -- nus De -- i, qui tol -- lis Ag -- nus De -- i pec -- ca -- ta mun -- di, do -- na no -- bis pa -- cem, da pa -- cem. %% End Adagio, Bar 33
249
+  %% New Lyrics (mostly) for Andante
250
+  Do -- na no -- bis pa -- cem. e -- lei -- son (e -- lei -- son) e -- lei -- son e -- lei -- son, e -- %% Bar 51
251
+  lei -- son e -- lei -- son e -- lei -- son e -- lei -- son. Do -- _ na no -- bis pa -- _ cem (pa -- _ cem) Do -- na no -- bis pa -- _ cem pa -- _ cem pa -- _ cem. %% Bar 81
252
+  Do -- na no -- bis pa -- cem pa -- _ cem. Do -- na no -- bis pa -- cem, pa -- _ cem, pa -- _ cem, pa -- _ cem, pa -- %% Bar 95
253
+  _ cem, pa -- _ cem, pa -- _ cem, pa -- _ cem, Do -- na no -- bis pa -- cem, pa -- _ cem, pa -- _ cem, pa -- _ cem. %% Bar 105, End Messe 5
254
+ 
255
+}
256
+
257
+OrganoMusicUpper = \new Voice \relative c {
258
+  \clef bass \voiceOne
259
+
260
+ 
261
+ 
262
+}
263
+
264
+OrganoMusicLower = \new Voice \relative c {
265
+  \clef bass \oneVoice
266
+  r4 c'8^\markup { \center-align \italic tutti } c bes bes | a f16-! e-! f8-! c-! a-! f-! | r4 c''8 c c c | b g16-! fis-! g8-! d-! b-! g-! | r g'16 fis g8 d b g | %% Bar 5
267
+  r g'16 fis g8 e c g | g4 b c | g' g r | e8 e e e d d | g g d d d, d | %% Bar 10
268
+  g g'16^\markup { \center-align \italic solo } fis g8 d b g | r g'16 fis g8 d b g | r g'16 fis g8 e c g | r g'16 fis g8 d b g | g^\markup { \center-align \italic tutti } g b b b b | %% Bar 15
269
+  c c c c c c | cis cis cis cis cis cis | d d d d cis cis | d d d d d, d | g g'16 fis g8 d-! b-! d-! | %% Bar 20
270
+  g,2-! r4 | r c'8 c bes bes | a f16-! e-! f8-! c a f | r4 c''8 c c c | b g16-! fis-! g8-! d-! b g | %% Bar 25
271
+  r g'16 fis g8 d b g | r g'16 fis g8 e c g | g4 b c | g' g r | f8 f f f e e | f f g g g, g | c c'16 b c8 g e-! c | g4 c, r | %% End Adagio, Bar 33
272
+  %% Dona Nobis copied from Kyrie Andante
273
+  \time 2/4
274
+  c'^\markup { \center-align \italic solo } f8 g | c, c e c | f e d f | g4 c,8 d | g g b g | c b a c | d d b g | c c a a | %% Bar 41
275
+  g g e c | f f d g | f f d d | c4 r8 f | g f g g, | c c e e | f f d d | g g e e | a f g g, | c4^\markup { \left-align \italic tutti } f8 g | %% Bar 51
276
+  c c, f g | c,4 r8 e | f e d c | f e d c | g'4 r8 g | a16 d c d g,8 c | f,16 b a b e,8 a | f16 d e f g8 g, | c4 r8 g'\p | a16 d c d g,8 c | %% Bar 61
277
+  f,16 b a b e,8 a | f16 d e f g8 g, | c b c a | g g b b | c c a a | d d b b e c d d, | g' g, g' g, | g4 r | r8 g' b g | %% Bar 71
278
+  a e d fis | g d g,4 | R2 | r4 r8 c | g'4 r8 c, | g'4 r8 g | e16 a g a d,8 g | c,16 fis e fis b8 e, | d b16 c d8 d, | g16 g'-! fis-! g-! d-! c-! b-! a-! | %% Bar 81
279
+  g8-! g'^\markup { \center-align \italic solo } e c | f e d g | c, g' e g | f f d g | c,4 r | c8 f g g, | c4^\markup { \center-align \italic tutti } f8 g | c, c f g | c,4 r8 e | f e d c |  %% Bar 91
280
+  f e d c | g'4 r8 g | a16 d c d g,8 c | f,16 b a b e,8 a | f16 d e f g8 g, | c4 r8 g'8\p | a16 d c d g,8 c | f,16 b a b e,8 a | f16 d e f g8 g, | c c'\f a g | f e f d c f g g, | c4 r | R2 | %% Bar 105, End Messe 5
281
+    
282
+
283
+}
284
+
285
+OrganoFB = \figuremode {       
286
+  
287
+  s2 < 2 >8 s | < 6 > s s2 | s4 < 6 4\+ _- >8 s s4 | < 6 >8 s s2 | \bassFigureExtendersOn < 5 3 >8 < 5 3 > < 5 3 > < 5 3 > < 5 3 > < 5 3 > | %% Bar 5
288
+  < 6 4 > < 6 4 > < 6 4 > < 6 4 > < 6 4 > < 6 4 > \bassFigureExtendersOff | s4 < 6 5 > s | < 6 4 > < 5 3 > s | < 6 >8 s s4 < 7 _+ >8 s | s4 < 4 >8 s < _+ > s | %% Bar 10
289
+  s2.*2 | \bassFigureExtendersOn < 6 4 >8 < 6 4 > < 6 4 > < 6 4 > < 6 4 > < 6 4 > | < 6\! 4\! > < 5 3 > < 5 3 > < 5 3 > < 5 3 > < 5 3 > \bassFigureExtendersOff | s4 < 6 >8 s s4 | %% Bar 15
290
+  s2. | < 6 >8 s s2 | < _+ >8 s s4 < 7- >8 s | < 6- 4 > s < 5 4 > s < _+ > s | s2.*2 | %% Bar 21
291
+  s2 < 2 >8 s | < 6 > s s2 | s4 < 6 4\+ _- >8 s s4 | < 6 >8 s s2 | %% Bar 25
292
+  \bassFigureExtendersOn < 5 3 >8 < 5 3 > < 5 3 > < 5 3 > < 5 3 > < 5 3 > | < 6 4 > < 6 4 > < 6 4 > < 6 4 > < 6 4 > < 6 4 > \bassFigureExtendersOff s4 < 6 5 > s | < 6 4 > < 5 3 > s | < 2 >8 s s4 < 6 >8 s | %% Bar 30
293
+  s4 < 4 >8 s < 3 > s | s2 s8 < 3 > | < 5 3 >4 < 8 3 > r | %% End Adagio, Bar 33
294
+  %% Dona Nobis FB copied from Kyrie Andante
295
+  s2*3 | s4 < 6 4+ >8 s | s2*2 | < _+ >8 s s4 | s < 6\+ >8 s | s2 | s4 < 6 >8 s | %% Bar 41
296
+  s4 < 6 >8 s | s2 | < 6 4 >8 s < 3 > s | s2*3 | s4 < 4 3 >8 s | s4 < 6 >8 s | %% Bar 51
297
+  s4 < 6 >8 s | s4 s8 < 6 > | s2*2 | s4 s8 < 8 6 > | \bassFigureExtendersOn < 7 5 >16 < 7 5 > < 4 2 > < 4 2 > < 7 >8 \bassFigureExtendersOff s | \bassFigureExtendersOn < 9 7 >16 < 9 7 > < 6 4 > < 6 4 > < 9 7 >8 \bassFigureExtendersOff < 5 > | < 7 >16 s < 6 > < 6 > < 4 >8 < 3 > | s4 s8 < 6 > | < 7 >16 s s s < 7 >8 s | %% Bar 61
298
+  < 9 7 >16 s < 6 4 > s < 9 7 >8 < 5 > | < 7 >16 s s < 6 > < 4 >8 < 3 > | s < 6 > s < 6\+ > | s2*2 | < _+ >8 s s4 | s < 4 >8 < _+ > | < 6 4 > s < 4 2 > s | < 3 >4 s | s2 | %% Bar 71
299
+  s2 | s8 < _+ > s4 | s2*4 | < 7 >16 s s s < 7 >8 s | < 9 7 >16 s s s < 9 7 >8 s | < _+ > s < 4 _+ > s | s2 | %% Bar 81
300
+  s2 | s8 s < 6 > s | s s < 5 > s | < 5 > s < 6 > s | s2 | s4 < 4 3 >8 s | s4 < 6 >8 s | s s < 6 > s | s4 s8 < 6 > | s s < 6 > s | %% Bar 91
301
+  s2 | s4 s8 < 6 > | < 7 >16 s < 4 2 > s < 7 >8 s | < 9 7 >16 s < 6 4 > s < 9 7 >8 < 5 > | < 7 >16 s < 6 > < 6 > < 4 3 >8 s | s4 s8 < 6 > | < 7 >16 s < 4 2 > s < 7 >8 s | < 9 7 >16 s < 6 4 > s < 9 7 >8 < 5 > | < 7 >16 s < 6 > s < 4 3 >8 s | s s < 6 > < 6 _- > | s s s < 6 > | s s < 4 > < 3 > | s2*2 | %% Bar 105, End Messe 5
302
+    
303
+  }
304
+
305
+systembreaks = \new Voice {
306
+  \time 3/4
307
+  \key c \major
308
+  \set Timing.beamExceptions = #'()
309
+  \set Timing.baseMoment = #(ly:make-moment 1/8)
310
+  \set Timing.beatStructure = #'(2 2 2)
311
+  \tempo \markup {\sans \medium \fontsize #4 "Adagio" }
312
+  s2.*33 \bar "||" \break
313
+  \time 2/4
314
+  \set Timing.beamExceptions = #'()
315
+  \set Timing.baseMoment = #(ly:make-moment 1/4)
316
+  \set Timing.beatStructure = #'(1 1)
317
+  \tempo \markup {\sans \medium \fontsize #4 "Andantè" }
318
+  s2*72  \once \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
319
+   \mark \markup { \musicglyph #"scripts.ufermata" } \bar "|." \pageBreak %% End 5. Mass, Bar 105
320
+          
321
+   }
322
+

+ 115
- 0
messen/messe 5/transkription kayser 5. messe c-dur - credo score.ly View File

@@ -0,0 +1,115 @@
1
+\score {
2
+  <<
3
+      \override Score.BarNumber.font-size = #.5
4
+      \override Score.BarNumber.padding = #2.2
5
+      \override Score.BarNumber.self-alignment-X = #left 
6
+      \override Score.BarNumber.font-shape = #'italic
7
+      
8
+    \new StaffGroup = "StaffGroup_banda" <<
9
+      \new Staff = "Staff_ClarinoOne" <<
10
+        \override Staff.InstrumentName.self-alignment-X = #LEFT
11
+        \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Clarino I } \line {\italic {ad lib. } } }
12
+        \global \ClarinoOneMusic \systembreaks
13
+      >>
14
+      \new Staff = "Staff_ClarinoTwo" {
15
+        \override Staff.InstrumentName.self-alignment-X = #LEFT
16
+        \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Clarino II } \line {\italic {ad lib. } } }
17
+        \global \ClarinoTwoMusic
18
+      }
19
+      \new Staff = "Staff_Tympano" {
20
+      \override Staff.InstrumentName.self-alignment-X = #LEFT
21
+      \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Tympano } \line {\italic {ad lib. } } }
22
+      \global \TympanoMusic
23
+    }
24
+    >>
25
+  \new StaffGroup = "StaffGroup_strings" << 
26
+    \new GrandStaff = "GrandStaff_violins" <<
27
+      \new Staff = "Staff_violinoI" {
28
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
29
+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Violino I } }
30
+          \global \ViolinoOneMusic
31
+        }
32
+      \new Staff = "Staff_violinoII" {
33
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
34
+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Violino II } }
35
+          \global \ViolinoTwoMusic
36
+      }
37
+    >>    
38
+  >>  
39
+<<
40
+ \new ChoirStaff = "Staff_voci"
41
+ \with {
42
+  \override VerticalAxisGroup.default-staff-staff-spacing =
43
+    #'((basic-distance . 12)
44
+       (minimum-distance . 9)
45
+       (padding . 1)
46
+       (stretchability . 10))
47
+}
48
+   << 
49
+     \new Staff = "canto" <<
50
+       \override Staff.InstrumentName.self-alignment-X = #LEFT
51
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Canto } 
52
+        \new Voice = "canto" {
53
+        \global \cantoMusic
54
+        }
55
+     >>
56
+      \new Lyrics \lyricsto "canto" {
57
+      { \cantoLyrics }
58
+      }
59
+       \new Staff = "alto" <<
60
+       \override Staff.InstrumentName.self-alignment-X = #LEFT
61
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Alto } 
62
+        \new Voice = "alto" {
63
+        \global \altoMusic
64
+        }
65
+       >>
66
+      \new Lyrics \lyricsto "alto" {
67
+      { \altoLyrics }
68
+      }
69
+      \new Staff = "tenore" <<
70
+      \override Staff.InstrumentName.self-alignment-X = #LEFT
71
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Tenore } 
72
+        \new Voice = "tenore" {
73
+        \global \tenoreMusic
74
+        }
75
+      >>
76
+      \new Lyrics \lyricsto "tenore" {
77
+      { \tenoreLyrics }
78
+      }
79
+      
80
+      \new Staff = "basso"<<
81
+      \override Staff.InstrumentName.self-alignment-X = #LEFT
82
+        \set Staff.instrumentName = \markup \left-column \abs-fontsize #10 {Basso } 
83
+        \new Voice = "basso" {
84
+        \global \bassoMusic
85
+        }
86
+      >>
87
+      \new Lyrics \lyricsto "basso" {
88
+      { \bassoLyrics }
89
+      }
90
+   >>
91
+ >>
92
+  \new Staff = "Staff_continuo" <<
93
+          \override Staff.InstrumentName.self-alignment-X = #LEFT
94
+          \set Staff.instrumentName = \markup \left-column { \abs-fontsize #10 \line {Organo } \line {\italic {cum basso cont. } } }
95
+          \new Voice = "continuoupper" {
96
+          \global \OrganoMusicUpper
97
+          }
98
+          \new Voice = "continuolower" {
99
+           \global \OrganoMusicLower 
100
+          }
101
+          \new FiguredBass {\OrganoFB }
102
+  >>
103
+  >>
104
+  \layout {
105
+  \context {
106
+    \Staff \RemoveEmptyStaves
107
+  }
108
+  }
109
+  \midi {}
110
+  \header {
111
+  piece = \markup { \abs-fontsize #18 \left-align { Credo } } 
112
+  opus = ##f
113
+  }
114
+
115
+}

+ 409
- 0
messen/messe 5/transkription kayser 5. messe c-dur - credo.ly View File

@@ -0,0 +1,409 @@
1
+global= {
2
+  \key c \major
3
+  %% NB: Best-practice sequence of glyphs is: note->articulation->dynamic->slur->beam->tie
4
+}
5
+
6
+beambreakOn = {
7
+  \set subdivideBeams = ##t
8
+  \set baseMoment = #(ly:make-moment 1/8)
9
+  \set beatStructure = #'(2 2 2)
10
+}
11
+
12
+beambreakOff = {
13
+  \set subdivideBeams = ##f
14
+  \set baseMoment = #(ly:make-moment 1/8)
15
+  \set beatStructure = #'(2 2 2)
16
+}
17
+
18
+ClarinoOneMusic = \new Voice \relative c'' {
19
+  
20
+  r8 c c e d4 r8 g | e4 r r2 | r8 c, c c r4 r8 e' | d e d4 c r | R1*2 | r2 r4 r8 g'8 | fis g4 fis8 g4 r8 g,16 g | g4 r8 g16 g g4 r | R1*2 | %% Past Bar 10, Bar 11
21
+  r2 r4 e8. e16 | e4 r8 e' d4 r8 g | e4 r r2 | r r4 r8 e | d e d4 c r | 
22
+  \key c \minor
23
+  R1*14 | %% End first part of Credo, Bar 30
24
+  %% 3/4
25
+  \key c \major
26
+  r8 g g g g c | d4. d8 d d | e e e e e e | e2. | d8 d d d d d | d2. | e8 g,16 g g8 g e4 | R2. | r4 r d' | e8 g4 e8 g e | %% Bar 40
27
+  d4. d8 d d | d2. | c2 r4 | R2.*3 | r8 g' g g g g | g g g g g g | f f f f f f | f2. | e4 r r8 c | d4. d8 d d | e e e e e e | e2. | d8 d d d d d | d2. | e8 g e d d8. c16 | c4 r r | %% End Credo, Bar 58
28
+  
29
+
30
+}
31
+
32
+ClarinoTwoMusic = \new Voice \relative c'' {
33
+  
34
+  r8 e, e c' d4 r8 e | c4 r r2 | r8 c, c c r4 r8 c' | g c g4 e r | R1*2 | r2 r4 r8 d' | d d d4 d r8 g,16 g | g4 r8 g16 g g4 r | R1*2 | %% Past Bar 10, Bar 11
35
+  r2 r4 e8. e16 | e4 r8 c' d4 r8 e | c4 r r2 | r r4 r8 c | g c g8. g16 e4 r | 
36
+  \key c \minor
37
+R1*14 | %% End first part of Credo, Bar 30
38
+  %% 3/4
39
+  \key c \major
40
+  r8 e e e e e | g4. g8 g g | c c c c c c | c2. | c8 c c c c c | c2 g4 | g8 e16 e e8 e c4 | R2. | r4 r g' | c8 e4 c8 e c | %% Bar 40
41
+  g4. g8 g g | e4. e8 e e | e2 r4 | R2.*3 | r8 e' e e e e | e e e e e e | d d d d d d | d2. | c4 r r8 e, | g4. g8 g g | c c c c c c | c2. | c8 c c c c c | c2 c4 | g8 d' c4 g8. g16 e4 r r | %% End Credo, Bar 58
42
+
43
+  
44
+}
45
+
46
+TympanoMusic = \new Voice \relative c {
47
+  \clef bass
48
+ r8 c c c c r8 r4 | R1 | r8 c16 c c8 c r2 | r4 r8 g16 g c4 r | R1*3 | r2 g4 r8 g | g4 r8 g g4 r | R1*3 | r8 c c c c r r4 | R1*2 | r4 r8 g16 g c4 r |
49
+ \key c \minor
50
+ R1*14 | %% End first part of Credo, Bar 30
51
+ \key c \major
52
+ r8 c16 c c8 c c c | g4. g8 g g | R2.*3 | r8 g16 g g8 g g g | r c16 c c8 c c c | R2.*2 | r8 g16 g g8 g g g | r8 g16 g g8 g g g | R2.*9 | %% Bar 50
53
+ r8 c16 c c8 c c c | r8 g16 g g8 g g g | R2.*3 | r8 g16 g g8 g g g | c g c4 r8 g | c4 r r | %% End Credo, Bar 58
54
+  
55
+}
56
+
57
+ViolinoOneMusic = \new Voice \relative c'' {
58
+ 
59
+ r8 c e16 g e c d g g g g g g g | c, c c c c c a a b e e e e e e e | a, a a a a a f f g g g g c c e e d8 e d4 c16 g g c e g e c | d d d d g g g g c, c c c a' a a a | %% Bar 5
60
+ a a g d d b'a g fis d fis a fis d fis a | g g g g a a a a a a g fis g b b g | fis8 g g8. fis16 g8 g,, g4 | r8 g g4 r8 b'' b b | b a r4 r8 a gis16 b b e, | %% Bar 10
61
+ f? b b f f b b f e a a e e a a e | d b' b d, d b' b d, c8 b b8. b16 | a8 g c16 g' e c d g g g g g g g | c, c c c c c a a b e e e e e e e | a, a a a a a f f g g g g c c e e | %% Bar 15
62
+ d8 e d8. d16 c4 r | 
63
+ \key c \minor %% Key change at Adagio
64
+ R1*2 | r2 r4 es,8 r | es\p r es r as, r f' r | f r f r bes r f'4 | es d d2 | c8( c) c( c) as( as) bes( bes) | bes( bes) bes( bes) c( c) bes( bes) | g( g) es'( es) es( es) d( d) | %% Bar 25
65
+ d( d) c( c) c( c) bes( bes) | bes( bes) as( as) as( as) g( g) | g4 r r2 | r4 es8( es) d( d) d( d) | e2 r2 | %% End first part of Credo, Bar 30
66
+ \key c \major %% 3/4
67
+ r8 c'16 d e d e f e d e c | d g g g g f g a g f e d | c( b) c( b) c( b) c( b) c( b) c( b) | c( b) c( b) c( b) c( b) c( b) c( e) | d c d c d c d c d c d c | %% Bar 35
68
+ b c d c d c d c d c d f | e c e g e c e g e c e g | fis c fis a fis c fis a fis c fis a | b d, g b g d g b g d g b | e, c e g e c e g e c e g | %% Bar 40
69
+ d b d g d b d g d b d g | d b d b' d, b d b' d, b d b' | c, a c a' c, a c a' c, a c a' | dis, b dis fis dis b dis fis dis b dis fis | e b e b' e, b e b' e, b e b' | %% Bar 45
70
+ fis b, fis' b fis b, fis' b fis b, fis' b | g e g b g e g b g e g b | g e g a g e g a g e g a | f d f a f d f a f d f a | f d f g f d f g f d f g | %% Bar 50
71
+ e8 c16 d e d e f e d e c d g g g g f g a g f e d | c b c b c b c b c b c b | c b c b c b c b c b c e | d c d c d c d c d c d c | b c d c d c d c d c d f | e8 d e c'4 b8 | c4 r r | %% End Credo, Bar 58
72
+  
73
+  
74
+}
75
+
76
+ViolinoTwoMusic = \new Voice \relative c'' {
77
+  
78
+  r8 g g a~ a16 b b b b8 b~ | b a16 g a8 e f16 g g g g8 g~ | g f16 e f8 d d16 e e e g g c c | b8 c c8. b16 c e e g c, g c e | d d g g d d e e e e e e d d d d | %% Bar 5
79
+  d d b b b d c b a8 d16 fis d a d fis | e e e e e e e e d d d d d d d b | a8 b a8. a16 b8 g, g4 | r8 g g4 r8 d'' d d | c c r4 r8 gis b gis' | %% Bar 10
80
+  b,16 gis' gis b, b gis' gis b, c e e c c e e c | f d d f e d d e a,8 a a gis | a e g a~ a16 b b b b8 b~ | b a16 g a8 e f16 g g g g8 g~ | g f16 e f8 d d16 g g g g g c c | %% Bar 15
81
+  b8 c c b c4 r | 
82
+  \key c \minor %% Key change at Adagio
83
+  R1*2 | r2 r4 es,8 r | es\p r es r as, r f' r | f r f r bes, r d'4 | c c c b | c8 es, es( es) es( es) f( f) | g( g) es( es) es( es) d( d) | es( es) g( g) g( g) as( as) | %% Bar 25
84
+  b( b) g( g) as( as) f( f) | g( g) es( es) f( f) d( d) | es4 r r2 | r4 c8( c) c( c) b( b) | c2 r | %% End first part of Credo, Bar 30
85
+  \key c \major %% 3/4
86
+  r8 c'16 d e d e f e d e d | d g g g g f g a g f e d | c( b) c( b) \slurDashed c( b) c( b) c( b) c( b) | c( b) c( b) c( b) c( b) c( b) c( e) | \slurSolid d c d c d c d c d c d c | %% Bar 35
87
+  b c d c d c d c d c d f | e c e g e c e g e c e g | fis c fis a fis c fis a fis c fis a | b d, g b g d g b g d g b | e, c e g e c e g e c e g | %% Bar 40
88
+  d b d g d b d g d b d g | d b d b' d, b d b' d, b d b' | c, a c a' c, a c a' c, a c a' | dis, b dis fis dis b dis fis dis b dis fis | e b e b' e, b e b' e, b e b' | %% Bar 45
89
+  fis b, fis' b fis b, fis' b fis b, fis' b | g e g b g e g b g e g b | g e g a g e g a g e g a | f d f a f d f a f d f a | f d f g f d f g f d f g | %% Bar 50
90
+  e8 c16 d e d e f e d e c | d g g g g f g a g d e d | c b c b c b c b c b c b | c b c b c b c b c b c e | d c d c d c d c d c d c | b c d c d c d c d c d f e8 b c a' d,4 | e r r | %5 End Credo, Bar 58
91
+  
92
+}
93
+
94
+
95
+
96
+cantoMusic = \relative c'' {
97
+  \autoBeamOff \dynamicUp
98
+  r8 c^\markup { \center-align \italic tutti } e c d g g g16 g | c,8 c c a16 a b8 e e e | a, a16 a a8 f16 f g8 g c e | d[ e] d8. d16 c8 c16 c e8 e | d d16 d g8 g c, c e c16 c | %% Bar 5
99
+  b8 b d c16[ b] a8 a16 a a8 d | e e e e d d d d16 b | a8[ b] a8. a16 b8 b b c | d g e e16 e d8 d16 d d8 d | c c16 c c8 d e4 e8 e16 e | %% Bar 10
100
+  f8 f f f e e e16 e e e | d8 d d d c b16 b b8. b16 | a8 g c e16 c d8 g g g | c, c c a16 a b8[ e] e e | a,4 a8 f 
101
+  \musicalIssue \with {
102
+    author = "N. Andrew Walsh" 
103
+    message = "\"Cœlis\" ist im OE-Text nicht großgeschrieben. Vgl. Tenor- u. Baßstimmen."
104
+    source = "Faksimile der OE-Stimme"
105
+    }
106
+   LyricText %% Typo noted, Bar 15
107
+  g[ c] c e | %% Bar 15
108
+  f g16 g 
109
+  \musicalIssue \with {
110
+    author = "N. Andrew Walsh" 
111
+    message = "\"Cœlis\" ist im OE-Text nicht großgeschrieben. Vgl. Tenor- u. Baßstimmen."
112
+    source = "Faksimile der OE-Stimme"
113
+    }
114
+   LyricText %% Typo noted, Bar 16
115
+  d4 c es | 
116
+  \key c \minor
117
+  d es c c | b bes c bes8 bes | as2 g4 bes8 des | c bes des16[ c] des[ bes] c4 r | %% Bar 20
118
+  r2 r4 d | c c c b | c r r2 | R1*7 | %% End first part of Credo, Bar 30
119
+  \key c \major %% 3/4 
120
+  r8 c^\markup { \center-align \italic (tutti) } c c c c | g' g16 g g8 g16 g g8 g16 g | c,8 c c c c c16 c | c8 c c c16 c c8 c16 c | c8 c16 c c8 c c c | %% Bar 35
121
+  c c b d d d16 d | e8 e e e e e16 e | fis8 fis16 fis fis8 fis fis fis16 fis | g8 g g g d d | e e16 e e8 e e e16 e | %% Bar 40
122
+  d8 d d d d d | d d d d d d | c c16 c c8 c e e | dis8 dis16 dis dis8 dis16 dis dis8 dis | e e e e16 e e8 e | %% Bar 45
123
+  fis fis fis fis 
124
+    \criticalRemark \with {
125
+    author = "N. Andrew Walsh" 
126
+    message = "\"Qui\" wird in Sopran- u. Altstimmen kleingeschrieben, abweichend von anderen Stellen. Vgl. Tenor- u. Baßstimmen, wo \"conglorificatur\" mit einem Punkt gefolgt wird (auch abweichend)."
127
+    source = "Faksimile der OE-Stimme"
128
+    }
129
+   LyricText %% Orthography noted, Bar 46
130
+  fis fis | g g16 g g8 g g g16 g | g8 g g g16 g g8 g | f f f f f f | f f f f f f | %% Bar 50
131
+  e e e c c c | g' g g g g g | c, c c c c c | c c c c c c | c c c c c c | c c16 c b8 b16 d d8 d | e d16 d c8 c c[ b] | c4 r r | %% End Credo, Bar 58
132
+  
133
+  
134
+}
135
+
136
+cantoLyrics = \lyricmode {
137
+  Pa -- trem o -- mni -- po -- ten -- tem, Fa -- cto -- rem Cœ -- li & ter -- ræ vi -- si -- bi -- li -- um o -- mni -- um & in -- vi -- si bi -- _ li -- um. Et in u -- num Do -- mi -- num Je -- sum Chri -- stum Fi -- li -- um  %% Bar 5
138
+  De -- i un -- ni -- gen -- i -- tum. Et ex Pa -- tre na -- tum an -- te o -- mni -- a sæ -- _ cu -- la. De -- um de De -- o, Lu -- men de Lu -- mi -- ne, De -- um ve -- rum de De -- o ve -- ro. Ge -- ni -- %% Bar 10
139
+  tum non fa -- ctum con -- sub -- stan -- ti -- a -- lem Pa -- tri, per quem o -- mni -- a fa -- cta sunt. Qui pro -- pter nos ho -- mi -- nes & pro -- pter no -- stram sa -- lu -- tem de -- scen -- dit de Cœ -- lis de -- %% Bar 15
140
+  scen -- dit de Cœ -- lis. Et in -- car -- na -- tus est de Spi -- ri -- tu San -- cto ex Ma -- ri -- a Vir -- gi ne, & ho -- mo fa -- ctus est. %% To end first part of Credo, Bar 30
141
+  Et re -- sur -- re -- xit ter -- ti -- a di -- e se -- cun -- dum Scri -- ptu -- ras, & a -- scen -- dit in Cœ -- lum, se -- det ad dex -- te -- ram Pa -- tris, & i -- te -- rum ven -- %% Bar 35
142
+  tu -- rus est cum glo -- ri -- a ju -- di -- ca -- re vi -- vos & mor -- tu -- os, cu -- jus re -- gni non e -- rit fi -- nis, & in Spi -- ri -- tum San -- ctum Do -- mi -- num %% Bar 40
143
+  & vi -- vi -- fi -- can -- tem, Qui ex Pa -- tre Fi -- li -- ó -- que pro -- ce -- dit, Qui cum Pa -- tre & Fi -- li -- o si -- mul a -- do -- ra -- tur, & con -- glo -- %% Bar 45
144
+  ri -- fi -- ca -- tur, qui lo -- cu -- tus est per Pro -- phe -- tas, & u -- nam San -- ctam Ca -- tho -- li -- cam & A -- po -- sto -- li -- cam Ec -- cle -- si -- am. Con -- %% Bar 50
145
+  si -- te -- or u -- num ba -- ptis -- ma in re -- mis -- si -- on -- em pec -- ca -- to -- rum. Et ex -- spe -- cto re -- sur -- re -- cti -- o -- nem mor -- tu -- o -- rum. Et vi -- tam ven -- tu -- ri sæ -- cu -- li a -- men a -- men. %% End Credo, Bar 58
146
+  
147
+}
148
+
149
+altoMusic = \relative c'' { 
150
+  \autoBeamOff \dynamicUp
151
+  r8 g^\markup { \center-align \italic tutti } g a a b b b16 b | b8 a16[ g] a8 e16 e f8 g g g | g f16 e f8 d16 d d8 e g g | g4. g8 g g16 g g8 g | fis g16 g b8 b b a16[ g] a8 a16 a | %% Bar 5
152
+  a8 g b a16[ g] fis8 fis16 fis fis8 fis | g g g g a g16[ fis] g8 g16 g | fis8 g4 fis8 g g g a | b b c c16 c c8 b16 b b8 b | f a16 a a8 a gis4 gis8 gis16 gis | %% Bar 10
153
+  gis8 gis gis gis a a a16 a a a | a8 a gis gis a a16 a a8 gis | a e g a16 a a8 b b b | b a16[ g] a8 e16 e f8[ g] g g | g[ f16 e] f8 d 
154
+  \musicalIssue \with {
155
+    author = "N. Andrew Walsh" 
156
+    message = "\"Cœlis\" ist im OE-Text nicht großgeschrieben. Vgl. Tenor- u. Baßstimmen."
157
+    source = "Faksimile der OE-Stimme"
158
+    }
159
+   LyricText %% Typo noted, Bar 15
160
+  d[ g] g g | %% Bar 15
161
+  g g16 g 
162
+  \musicalIssue \with {
163
+    author = "N. Andrew Walsh" 
164
+    message = "\"Cœlis\" ist im OE-Text nicht großgeschrieben. Vgl. Tenor- u. Baßstimmen."
165
+    source = "Faksimile der OE-Stimme"
166
+    }
167
+   LyricText %% Typo noted, Bar 16
168
+  g4 g g | 
169
+  \key c \minor %% Key change at Adagio
170
+  g g g f | g g as g8 g | f2 es4 g8 bes | as g bes16[ as] bes[ g] as4 r | %% Bar 20
171
+  r2 r4 f | es d d d | es r r2 | R1*7 | %% End first part of Credo, Bar 30
172
+  \key c \major %% 3/4
173
+  r8 g^\markup { \center-align \italic (tutti) } g g g g | g g16 g g8 g16 g b8 b16 b | c8 c a a a a16 a | g8 g g g16 g g8 g16 g | a8 a16 a a8 a a a | %% Bar 35
174
+  g g g g g g16 g | g8 g g g g g16 g | a8 a16 a a8 a a a16 a | b8 b b b b b | g g16 g g8 g g g16 g | %% Bar 40
175
+  g8 g g g g g | 
176
+  \musicalIssue \with {
177
+    author = "N. Andrew Walsh" 
178
+    message = "\"Qui\" der OE-Stimme ist nicht großgeschrieben. Vgl. andere Stimmen"
179
+    source = "Faksimile der OE-Stimme"
180
+    }
181
+   LyricText %% Typo noted, Bar 19
182
+  g g g g g g | e e16 e a8 a a a | b b16 b b8 b16 b b8 b | b b b b16 b b8 b | %% Bar 45
183
+  b b b b 
184
+  \criticalRemark \with {
185
+    author = "N. Andrew Walsh" 
186
+    message = "\"Qui\" wird in Alt- u. Sopranstimmen kleingeschrieben, abweichend von anderen Stellen. Vgl. Tenor- u. Baßstimmen, wo \"conglorificatur\" mit einem Punkt gefolgt wird (auch abweichend)."
187
+    source = "Faksimile der OE-Stimme"
188
+    }
189
+   LyricText %% Orthography noted, Bar 46
190
+  b b | b b16 b b8 b b b16 b | a8 a a a16 a a8 a | a a a a a a | g g g g g g | %% Bar 50
191
+  g g g g g g | g g g g b b | c c a a a a | g g g g g g | a a a a a a | g g16 g g8 g16 g g8 g | g g16 g g8 a g4 | g r r | %% End Credo, bar 58
192
+  
193
+}
194
+
195
+altoLyrics = \lyricmode { 
196
+  
197
+  Pa -- trem o -- mni -- po -- ten -- tem, Fa -- cto -- rem Cœ -- li & ter -- ræ vi -- si -- bi -- li -- um o -- mni -- um & in -- vis -- si -- bi -- li -- um. Et in u -- num Do -- mi -- num Je -- sum Chri -- stum Fi -- li -- um %% Bar 5
198
+  De -- i u -- ni -- ge -- ni -- tum. Et ex Pa -- tre na -- tum an -- te o -- mni -- a sæ -- _ cu -- la. De -- um de De -- o, Lu -- men de Lu -- mi -- ne, De -- um ve -- rum de De -- o ve -- ro. Ge -- ni -- %% Bar 10
199
+  tum no sa -- ctum con -- sub -- stan -- ti -- a -- lem Pa -- tri, per quem o -- mni -- a fa -- cta sunt. Qui Pro -- pter nos ho -- mi -- nes & pro -- pter no -- stram sa -- lu -- tem de -- scen -- dit de Cœ -- lis de -- %% Bar 15
200
+  scen -- dit de Cœ -- lis. Et in -- car -- na -- tus est de Spi -- ri -- tu San -- cto ex Ma -- ri -- a Vir -- gi -- ne, & ho -- mo fa -- ctus est. %% End first part of Credo, Bar 30
201
+  Et re -- sur -- re -- xit ter -- ti -- a di -- e se -- cun -- dum Scri -- ptu -- ras, & a -- scen -- dit in Cœ -- lum, se -- det ad dex -- te -- ram Pa -- tris, & i -- te -- rum ven -- %% Bar 35
202
+  tu -- rus est cum glo -- ri -- a ju -- di -- ca -- re vi -- vos & mor -- tu -- os, cu -- jus re -- gni non e -- rit fi -- nis, & in Spi -- ri -- tum San -- ctum Do -- mi -- num %% Bar 40
203
+  & vi -- vi -- fi -- can -- tem, Qui ex Pa -- tre Fi -- li -- ó -- que pro -- ce -- dit, Qui cum Pa -- tre & Fi -- li -- o si -- mul a -- do -- ra -- tur, & con -- glo -- %% Bar 45
204
+  ri -- fi -- ca -- tur, Qui lo -- cu -- tus est per Pro -- phe -- tas, & u -- nam San -- ctam Ca -- tho -- li -- cam & A -- po -- sto -- li -- cam Ec -- cle -- si -- am. Con -- %% Bar 50
205
+  si -- te -- or u -- num ba -- ptis -- ma in re -- mis -- si -- on -- em pec -- ca -- to -- rum. Et ex -- spe -- cto re -- sur -- re -- cti -- o -- nem mor -- tu -- o -- rum. Et vi -- tam ven -- tu -- ri sæ -- cu -- li a -- men a -- men. %% End Credo, Bar 58
206
+ 
207
+}
208
+
209
+tenoreMusic = \relative c' { 
210
+  \clef "treble_8"
211
+  \autoBeamOff \dynamicUp
212
+  r8 e^\markup { \center-align \italic tutti } c e f d d e16 e | e8 e e c16 c d8 b b c | c c16 c c8 a16 a b8 c c c | b c4 b8 c c16 c c8 c | a b16 
213
+  \criticalRemark \with {
214
+    author = "N. Andrew Walsh" 
215
+    message = "\"Dominum\" ist im OE-Text zu \"Dominū\" abgekürzt. Vgl. andere Stimmen."
216
+    source = "Faksimile der OE-Stimme"
217
+    }
218
+   LyricText %% Orthography noted, Bar 5
219
+  b d8 e e 
220
+  \criticalRemark \with {
221
+    author = "N. Andrew Walsh" 
222
+    message = "\"Christum\" ist im OE-Text zu \"Christū\" abgekürzt. Vgl. andere Stimmen."
223
+    source = "Faksimile der OE-Stimme"
224
+    }
225
+   LyricText %% Orthography noted, Bar 5
226
+  e d d16 d | %% Bar 5
227
+  d8 d d d d d16 d d8 d | d c16[ b] c8 a b b b d16 d | d8 d16 d d8. d16 d8 d d c | b d c e16 c d8 d16 d e8 e | e e16 e c8 a b4 b8 b16 b | %% Bar 10
228
+  b8 b b b c c c16 c c c | f8 f e e e f16 f e8. e16 | e8 c e c16 e f8 d d e | e e e c16 c d8[ b] b c | c4 c8 a b[ g] g c | %% Bar 15
229
+  b c16 c c8[ b] c4 c |
230
+  \key c \minor %% Key change at Adagio
231
+  \musicalIssue \with {
232
+    author = "N. Andrew Walsh" 
233
+    message = "\"incarnatus\" ist im OE-Text falscherweise großgeschrieben. Vgl. andere Stimmen."
234
+    source = "Faksimile der OE-Stimme"
235
+    }
236
+   LyricText %% Typo noted, Bar 16
237
+  d c c4. c8 | d4 es es es8 es | c4( bes) bes r | r2 r4 c8 es | %% Bar 20
238
+  d c c16[ es] d[ c] d4 g, | g as g g | g r r2 | R1*7 | %% End first part of Credo, Bar 30
239
+  \key c \major %% 3/4
240
+  r8 e'^\markup { \center-align \italic (tutti) } e e e e | d d16 d d8 d16 d d8 d16 d | e8 e e e e e16 e | e8 e e e16 e e8 e16 e | d8 d16 d d8 d d d | %% Bar 35
241
+  d d d b b b16 b | c8 c c c c c16 c | c8 c16 c c8 c c c16 c | d8 d d d b b | c c16 c c8 c c c16 c | %% Bar 40
242
+  b8 b b b b b | b b b b b b | c c16 c e8 e e e | fis fis16 fis fis8 fis16 fis fis8 fis | e e e e16 e e8 e | %% Bar 45
243
+  a, a a 
244
+    \criticalRemark \with {
245
+    author = "N. Andrew Walsh" 
246
+    message = "\"conglorificatur\" wird in Tenor- u. Baßstimme mit einem Punkt gefolgt, abweichend von anderen Stellen. Vgl. Sopran- u. Altstimmen."
247
+    source = "Faksimile der OE-Stimme"
248
+    }
249
+   LyricText %% Orthography noted, Bar 46
250
+  a b b | b b16 b b8 e e e16 e | e8 e e e16 e e8 e | d d d d d d | d d d d d d | %% Bar 50
251
+  c c c e e e | d d d d d d | e e e e e e | 
252
+  \criticalRemark \with {