Dum transisset Sabbatum a 5 (Robert Johnson): Difference between revisions

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(Posted 2022-07-17) CPDL #70046:

Editor: Jason Smart (submitted 2022-07-17). Score information: A4, 7 pages, 213 kB Copyright: CC BY NC ND

Edition notes: Edited from the early manuscript sources. Original pitch and note values retained. Plainsong added from the printed Sarum antiphonal of 1519.

(Posted 2008-02-08) CPDL #15931: (Sibelius 5)

Editor: Jonathan Goodliffe (submitted 2008-02-08). Score information: A4, 5 pages, 59 kB Copyright: CPDL

Edition notes: The value of notes is halved. Corrected version uploaded 2010-02-22. Thanks to Mick Swithinbank and Simona Nass for corrections and suggestions.

General Information

Title: Dum transisset Sabbatum
Composer: Robert Johnson
Source of text: Mark 16:1

Number of voices: 5vv Voicing: SATBarB
Genre: Sacred, Responsory

Language: Latin
Instruments: A cappella

Manuscript 1580 in Dow Partbooks, no. 22
Description: From a manuscript in the library of Christ Church, Oxford. The soprano and alto parts are attributed in the manuscript to “Mr Johnson”.

The baritone part is attributed to “Tallis alias Johnson”. In the manuscript this part is written in plainchant notation. Slurs in this edition represent ligatures in the original plainchant. The work was published by Charles Burney in his “General History of Music” in 1776 with many changes to reduce dissonances and adapt the work to 18th Century taste.
In a complete performance, the plainsong intonation and entire polyphony were probably intended to be sung first. Then the plainsong verse Et valde mane; Then the polyphony from Ut venientes to the end. Then the plainsong Gloria patri. Finally the polyphonic Alleluia. In the original manuscript “Alleluia” is written out “Al-le-lui-a”.
There are a number of differences in published versions of (i) the plainsong intonation, (ii) the Et valde mane and (iii) the Gloria patri sections. These sections are not included in the manuscript source for this edition of the Johnson five part setting.
The three last notes in the intonation, usually sung “sse – e - et”, are sometimes replaced by a single long note in, for instance, published editions of Tallis’ 5 part setting of “Dum Transisset”.
There are a variety of different interpretations of the Et valde mane and the Gloria patri plainsong sections. Examples are included in the CPDL edition of the Taverner setting by Rupert Preston Bell, the edition of the Tallis setting by JJ Hutchings on Sibelius Music, the edition of the same Tallis setting by Richard Abram, published in “Musical Times”, February 1979, and the performance on CD of the Johnson four and five part settings by Cappella Nova (directed by Alan Tavener).

External websites:

Original text and translations

Original text and translations may be found at Dum transisset Sabbatum.

Retrieved from "https://www.cpdl.org/wiki/index.php?title=Dum_transisset_Sabbatum_a_5_(Robert_Johnson)&oldid=1773158"

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 ==Music files==
-{{Legend}}
+{{#Legend:}}
+*{{PostedDate|2022-07-17}} {{CPDLno|70046}} [[Media:Johnson-Dum1.pdf|{{pdf}}]] [[Media:Johnson-Dum1.mid|{{mid}}]]
+{{Editor|Jason Smart|2022-07-17}}{{ScoreInfo|A4|7|213}}{{Copy|Creative Commons Attribution Non-Commercial No Derivatives}}
+:{{EdNotes|Edited from the early manuscript sources. Original pitch and note values retained. Plainsong added from the printed Sarum antiphonal of 1519.}}
-*{{NewWork|2008-02-08}} '''CPDL #15931:''' [{{SERVER}}/wiki/images/6/68/Joh-dum.pdf {{pdf}}] [{{SERVER}}/wiki/images/6/62/Joh-dum.mid {{mid}}] [{{SERVER}}/wiki/images/2/20/Joh-dum.sib Sibelius 5]
+<!--
-{{Editor|Jonathan Goodliffe|2008-02-08}}'''Score information:''' A4, 5 pages, 59 kbytes&nbsp;&nbsp;&nbsp;{{Copy|CPDL}}
+*{{:Edition:CPDL 23469}}
-:'''Edition notes:''' The value of notes is halved.  Corrected version uploaded 2008-03-02. Thanks to Mick Swithinbank for corrections to and suggestions on the first version.
+-->
+*{{PostedDate|2008-02-08}} {{CPDLno|15931}} [[Media:Joh-dum.pdf|{{pdf}}]] [[Media:Joh-dum.mid|{{mid}}]] [[Media:Joh-dum.mxl|{{XML}}]] [[Media:Joh-dum.sib|{{sib}}]] (Sibelius 5)
+{{Editor|Jonathan Goodliffe|2008-02-08}}{{ScoreInfo|A4|5|59}}{{Copy|CPDL}}
+:{{EdNotes|The value of notes is halved. Corrected version uploaded 2010-02-22. Thanks to Mick Swithinbank and Simona Nass for corrections and suggestions.}}
 ==General Information==
-'''Title:''' ''Dum transisset Sabbatum''<br>
+{{Title|''Dum transisset Sabbatum''}}
 {{Composer|Robert Johnson}}
+'''Source of text:''' Mark 16:1
-'''Number of voices:''' 5vv '''Voicing:''' SATBB<br>
+{{Voicing|5|SATBB|SATBarB}}
-{{Genre|Sacred|Motets}}
+{{Genre|Sacred|Responsories}}
 {{Language|Latin}}
-'''Instruments:''' {{acap}}<br>
+{{Instruments|A cappella}}
-'''Published:''' 1776
+{{Pub|0|1580|in ''[[Dow Partbooks]]''|ms=ms|no=22}}
+{{Descr|From a manuscript in the library of Christ Church, Oxford. The soprano and alto parts are attributed in the manuscript to “Mr Johnson”.
-'''Description:''' From a manuscript in the library of Christ Church College Oxford. The soprano and alto parts are attributed in the manuscript to “Mr Johnson”. The baritone part is attributed to “Tallis alias Johnson”. In the manuscript this part is written in plainchant notation. Slurs in this edition represent ligatures in the original plainchant. The work was published by Charles Burney in his “General History of Music” in 1776 with many changes to reduce dissonances and adapt the work to 18th Century taste.
+*The baritone part is attributed to “Tallis alias Johnson”. In the manuscript this part is written in plainchant notation. Slurs in this edition represent ligatures in the original plainchant. The work was published by Charles Burney in his “General History of Music” in 1776 with many changes to reduce dissonances and adapt the work to 18th Century taste.
+*In a complete performance, the plainsong intonation and entire polyphony were probably intended to be sung first. Then the plainsong verse ''Et valde mane''; Then the polyphony from ''Ut venientes'' to the end. Then the plainsong ''Gloria patri''. Finally the polyphonic ''Alleluia''. In the original manuscript “Alleluia” is written out “Al-le-lui-a”.
-In a complete performance, the plainsong intonation and entire polyphony were probably intended to be sung first. Then the plainsong verse ''Et valde mane''; Then the polyphony from ''Ut venientes'' to the end. Then the plainsong ''Gloria patri''. Finally the polyphonic ''Alleluia''.
+*There are a number of differences in published versions of (i) the plainsong intonation, (ii) the ''Et valde mane'' and (iii) the ''Gloria patri'' sections. These sections are not included in the manuscript source for this edition of the Johnson five part setting.
+*The three last notes in the intonation, usually sung “sse – e - et”, are sometimes replaced by a single long note in, for instance, published editions of Tallis’ 5 part setting of “Dum Transisset”.
-In the original manuscript “Alleluia” is written out “Al-le-lui-a”.
+*There are a variety of different interpretations of the ''Et valde mane'' and the ''Gloria patri'' plainsong sections. Examples are included in the CPDL edition of the Taverner setting by Rupert Preston Bell, the edition of the Tallis setting by JJ Hutchings on [http://www.sibeliusmusic.com/ Sibelius Music], the edition of the same Tallis setting by Richard Abram, published in “Musical Times”, February 1979, and the performance on CD of the Johnson four and five part settings by [http://www.cappella-nova.com/discog.html Cappella Nova] (directed by Alan Tavener).}}
+{{#ExtWeb:}}
-There are a number of differences in published versions of (i) the plainsong intonation, (ii) the ''Et valde mane'' and (iii) the ''Gloria patri'' sections. These sections are not included in the manuscript source for this edition of the Johnson five part setting.
-The three last notes in the intonation, usually sung “sse – e - et”, are sometimes replaced by a single long note in, for instance, published editions of Tallis’ 5 part setting of “Dum Transisset”.
-There are a variety of different interpretations of the ''Et valde mane'' and the ''Gloria patri'' plainsong sections. Examples are included in the CPDL edition of the Taverner setting by Rupert Preston Bell, the edition of the Tallis setting by JJ Hutchings on [http://www.sibeliusmusic.com/ Sibelius Music], the edition of the same Tallis setting by Richard Abram, published in “Musical Times”, February 1979, and the performance on CD of the Johnson four and five part settings by [http://www.cappella-nova.com/discog.html Cappella Nova] (directed by Alan Tavener).
-'''External websites:'''
 ==Original text and translations==
+{{LinkText|Dum transisset Sabbatum}}
-Bible, Mark chapter 16 verse 1
-{{Text|Latin}}
-Dum transisset Sab[b]atum,
-Maria Magdalene et Maria Jacobi et Salome
-emerunt aromata ut venientes ungerent Jesum.
-Alleluia.<br>
-Et valde mane, prima sabbatorum, veniunt ad monumentum, orto iam sole.
-Gloria patri, et filio et spiritui sancto.
-{{Translation|English}}
-And when the Sabbath was past,
-Mary Magdalene and Mary the mother of James and Salome
-had brought sweet spices, that they might come and anoint him.
-Alleluia.<br>
-And very early in the morning, the first day of the week, they come to the sepulchre, the sun being now risen.<br>
-Glory to the father and to the son and to the holy ghost.
 [[Category:Sheet music]]
-[[Category:SATBB]]
 [[Category:Renaissance music]]
 [[Category:Easter]]