Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio Page: 73
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Anerio - GIo ia, mm. 47-54
47
54
Cantus
Altus
Tenor
Bassus
_)ranum[DI
PIlagal [Cl]
[1l
Example 48, Anerio, Qui tollis peccata
The third text phrase Qui sedes ad dexteram Patris, miserere nobis continues on [G] in a
three-voice homophonic setting with an intermediate plagal motion on Patris [F]-[C], m. 57,
example 49. The second segment of this phrase continues with a change in three-voice texture
and concludes with an imperfect cadence on [C], m. 60. While the voice lines are not the same
as the model, this pair of three-voice textures is a likeness of the double choir texture found in
the Palestrina; however, the repetition of the second duet is missing.73
I AP I M I1IEd
Q1ut tot 1B i pee-ea - ia nuin di, sv - 0i - pe de- pre- ca-i-o- ne n , -n srai
t~~ JJ iiii F l
Q itot - I pL-ca - Ia man -di, slis-ci - cd .r - 'rl-oJl:l lO - sr
n~~~~ I~7F vm n Y
Qui tot is pe-ca - ta run di, a sn I Ci -c de- pre -Ica-i - ln l no stream.
~~.[ JVF~rr r tr *rf f
Q1ui tol - ]i pctc - ta mun - di, sus -ici p de - pi e - ca-ti-o-1nerm no - strait.
, u tot., h - _, ,--ca tam n , ;u 1 p e p c i- c , - i , tril
r ~ ~ ~ L. -1 ,l J '1 1 . IF-] .I J 1 Ia r " -
_ 4 _or_ _
0 L q PF
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Moore, Michael J. Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio, thesis, May 2006; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc5257/m1/79/: accessed May 8, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .