Claudio Monteverdi: Exulta, filia Sion

from Lorenzo Calvi (ed): Quarta raccolta de sacri canti … de diversi eccellentissimi autori (Venice: Vincenti, 1629).

Giovanni Carrone, Congratulamini mihi

from Il primo libro delli motetti a una, due, tre, et quattro voci (Venice: Vincenti, 1629).

Benedetto Re, Lilia convallium

from Lorenzo Calvi (ed): Quarta raccolta de sacri canti … de diversi eccellentissimi autori (Venice: Vincenti, 1629).

 Heinrich Schütz: Exultavit cor meum and Paratum cor meum

from Symphoniae sacrae (Venice: Gardano/Magni, 1629).

Orazio Tarditi: Plaudite, cantate

from Celesti fiori musicali … a voce sola (Venice: Vincenti, 1629).

Alessandro Grandi, Salva me, salutaris Hostia

from Lorenzo Calvi (ed): Quarta raccolta de sacri canti … de diversi eccellentissimi autori (Venice: Vincenti, 1629).

Performing Editions

Having made the repertoire selection, one of our first priorities was to source reliable performing editions. Our primary criteria were that the editions should reflect the source materials as closely as possible, with minimal editorial intervention, and that original note values and mensuration signatures should be preserved as being integral to the interpretation of the music in question. 

Editions meeting the above criteria were sourced for some of the repertoire, as follows:


Dario Castello, Sonata terza and Sonata decima settima, in ecco, from Sonate concertate in stil moderno … libro secondo, edited by Andrea Bornstein, Ut Orpheus Editions (


Biagio Marini, Canzon prima, per quattro violini, ò cornetti; Sonata per l’organo, violino, ò cornetto; Capriccio, che due violini, sonano quattro parti; and Sonata senza cadenza, from Sonate, symphonie, canzoni … con altre curiose & moderne inventioni. Opera Ottava, edited by Martin Lubenow, Musiche Varie (


Alessandro Grandi, Regina caeli, from Motetti a una, et due voci con sinfonie di due violini … libro terzo, edited by Brian Clark, Prima la Musica (


Seven of the seventeen selected pieces has not previously been edited, and existing editions of the selected pieces by Monteverdi and Schütz failed to meet the above criteria, especially with respect to original note values and mensuration signatures. This necessitated the creation of ten new performing editions (available in PDF, below), which were prepared specially for this project by Jamie Savan according to the following editorial principles:


Editorial method for the Venice 1629 project


- Original note values and mensuration/time signatures are retained throughout.

- Final note longs are indicated by breve or semibreve with fermata.

- Clefs are modernised; original clefs and stave signatures are indicated in a prefatory stave.

- Beaming in vocal parts is modernised; beams are broken at change of syllable.

- Accidentals in the edition follow the modern convention of remaining in force throughout a bar unless cancelled.

- Redundant accidentals are tacitly omitted.

- Consequential accidentals are indicated in small type on the stave.

- Editorial accidentals are indicated in small type above the stave.

- Cautionary accidentals are indicated in round brackets.

- Figuring follows the format given in the source: sharp for major, flat for minor chords.

- Coloration is indicated by corner brackets.

- Ligatures are indicated by horizontal brackets.

- Punctuation and other orthographical aspects of the Latin texts have been modernised (e.g. v for u; j for i; ae for æ); however, original spellings have been retained where they might materially affect pronunciation. Repeated text (indicated in the original source by ij) is italicised. Syllabification follows the ‘Hyphen-la’ principles for ecclesiastical Latin.



Ignazio Donati, Maria Virgo

from Lorenzo Calvi (ed), Quarta raccolta de sacri canti … de diversi eccellentissimi autori (Venice: Vincenti, 1629).

 Martino Pesenti: Corrente detta La Granda and Corrente detta La Priula

from Il secondo libro delle correnti alla francese (Venice: Vincenti, 1630).