Andrin Pertout

for Choir (SATB) and String Orchestra

No. 428
 Andrin Pertout

for Choir (SATB) and String Orchestra

No. 428

Composed between November, 2014 and February, 2015

Commissioned by Mario Dobernig and the Victoria Chorale in Celebration of

Arvo Prts 80th Birthday

In Memory of the First World War (1914-1918) Composed as part of the 100th
Anniversary of the ANZAC Landings at Gallipoli (25 April, 1915)

Premiere: 18 April, 2015, Deakin Edge, Federation Square, Melbourne, Australia

Duration: 922

Copyright 2015 Andrin Pertout

 PROGRAMME NOTES

Horace (Quintus Horatius Flaccus) was born in Apulia, in the heel of the boot of Italy, in 65 B.C.E. His father was a
well-to-do freedman who saw to it that his gifted son received a good education, first in Rome and then in Athens.
While in Athens Horace joined the army of Brutus, two years after the assassination of Julius Caesar. He became a staff
officer and fought, by his own account not very valiantly (Ode ii.7), at the battle of Philippi, where Octavian (later to be
the emperor Augustus) and Mark Antony defeated Brutus. Apparently as a result, the property of Horaces family was
confiscated. But Horace went to Rome and secured a position in the Treasury, and after some time, under the
sponsorship of the poet Virgil, he was received into the literary circle around Octavian and his chief adviser, Maecenas.
Maecenas, especially, became a close friend as well as Horaces patron. It was he who gave Horace his villa, the
Sabine farm, in the countryside a few miles from Rome, near Tibur (now called Tivoli).

Quintus Horatius Flaccus. The Odes of Horace: A Translation by David Ferry. New York: Farrar, Straus, and Giroux, 1997.

Angustam Amice was commissioned by Mario Dobernig and the Victoria Chorale in Celebration of Arvo
Prts 80th Birthday, and composed In Memory of the First World War (1914-1918) as part of the 100th
Anniversary of the ANZAC Landings at Gallipoli (25 April, 1915). The work sets to music a poem by Quintus
Horatius Flaccus (65 B.C.-8 B.C.) from the classic text of Carmina (23 B.C.) a collection of four books of
Latin lyric poems, more commonly referred to as the Odes of Horace. The fourth stanza of Liber III.2, or
Book 3.2 (the selected poem featuring a metrical pattern based on an Alcaic stanza, or 11 2, 9, 10) opens
with the famous line Dulce et decorum est pro patria mori (or Sweet and proper it is to die for your
country) utilized by English poet and soldier Wilfred Owen (1893-1918) in his October 1917 anti-war
poem where, as Kenneth Simcox from the Wilfred Owen Association explains, the title is ironic and the
intention was not so much to induce pity as to shock, especially civilians at home who believed war was
noble and glorious. Angustam Amice also adopts an interpretation of Estonian composer Arvo Prts
tintinnabuli style within its utilization of a Dorian !4/ Lydian "7 two-octave scale (O and RI forms for ascending
Dorian !4, R and I forms for descending Lydian "7).

In an article entitled Musical Archetypes: The Basic Elements of the Tintinnabuli Style, contained within the
publication of The Cambridge Companion to Arvo Prt Leopold Brauneiss describes the essential ingredients
of the musical language of Prt thus: Tintinnabulation: the joining of scale and triad: In tintinnabulation, every
single note of a melody voice formed by scales (which English conductor Paul Hillier calls the M-voice)
ideally gets assigned a note of a triad at a certain distance to this M-voice. In the so-called first position
above (+1) or below (1) the M-voice, this produces diatonic dissonances of minor and major seconds
and also thirds and fourths; in second position (+2, 2) we get fourths, fifths, and sixths. By this method, a
second voice develops consisting exclusively of triad notes which sounds throughout the whole
composition like the peal of bells. From this we get the terms tintinnabuli-voice (T-voice), and tintinnabuli
triad (T-triad), which itself consists of three tintinnabuli-notes (T-notes).
Angustam amice, Carmina, Liber III.2 (23 B.C.)

Angustam amice pauperiem pati

robustus acri militia puer
condiscat et Parthos ferocis
vexet eques metuendus hasta,

vitamque sub divo et trepidis agat

in rebus. Illum ex moenibus hosticis
matrona bellantis tyranni
prospiciens et adulta virgo

suspiret: Eheu, ne rudis agminum

sponsus lacessat regius asperum
tactu leonem, quem cruenta
per medias rapit ira caedes.

Dulce et decorum est pro patria mori:

mors et fugacem persequitur virum,
nec parcit imbellis iuventae
poplitibus timidove tergo.

Virtus, repulsae nescia sordidae,

intaminatis fulget honoribus,
nec sumit aut ponit securis
arbitrio popularis aurae.

Virtus, recludens immeritis mori

caelum, negata temptat iter via,
coetusque vulgaris et udam
spernit humum fugiente penna.

Est et fideli tuta silentio

merces. Vetabo qui Cereris sacrum
vulgarit arcanae sub isdem
sit trabibus fragilemque mecum

solvat phaselon; saepe Diespiter

neglectus incesto addidit integrum,
raro antecedentem scelestum
deseruit pede Poena claudo.

Quintus Horatius Flaccus (65 B.C.-8 B.C.)

 Dulce Et Decorum Est (8 October, 1917)

Bent double, like old beggars under sacks,

Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of tired, outstripped Five-Nines that dropped behind.

Gas! Gas! Quick, boys! An ecstasy of fumbling,

Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling
And floundring like a man in fire or lime...
Dim, through the misty panes and thick green light,
As under a green sea, I saw him drowning.

In all my dreams, before my helpless sight,

He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace

Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devils sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

Wilfred Owen (1893-1918)

 The Odes, Book III.2 (23 B.C.): Translation by David R. Slavitt (1935-)

To be any good, a young man ought to have

some toughening up. For this a soldiers life
with its hardships of mind and body and bare
subsistence living will work wonders.
Let him harry the mounted Parthian horde
simply by brandishing his Roman spear;
Let him learn to live with danger
and thrive under the open sky.

When the enemy looks down from their battlements,

let the wife of their chief and their grown daughter
compare him to her fianc
who has never been battle-hardened.
In their eyes the Roman soldier is fearsome
and, if he is provoked, will demand blood,
rampaging through the dead and dying
of their troops strewn on the field.

To die for ones fatherland is right and proper,

and Death can spot a coward and hunt him down.
Even one who tries to run
will be cut down at the knees.
How do we reckon worth? Does a man campaign
for office and lose? His glory is undiminished
and does not wax or wane at the publics
fickle and unpredictable whims.

For a man of honor a good death is waiting

and the gates of heaven will open wide.
Say he does not deserve to die
he will walk on a special path
closed to the vulgar crowd who burden the earth.
He will instead soar up into the skies.
Battles are not the only measure
of a mans mettle. Other virtues

mean much and deserve to be rewarded.

Is he loyal or does he betray a cults
secrets? Such a one Id spurn
and never go out in a small boat
with him aboard, for the gods vengeance
often lumps the good and the bad together.
Retribution may limp slowly
but it is determined and catches up.

Quintus Horatius Flaccus (Horace), and David R. Slavitt. The Odes: Translated with Commentary by David R.
Slavitt. Madison, Wisconsin: The University of Wisconsin Press, 2014.
 The Odes, Book III.2 (23 B.C.): Translation by Stuart Lyons (1943-)

Hardship and poverty let him but bear,

The boy whos been toughened by service for war;
Let him learn them and welcome them, then ride and go
To harry he ferocious Parthian foe!

Let the Parthians quake at this knight and his spear;

Let him live under heaven and dare without fear!
On the enemy ramparts the queen from on high
Will gaze, and her daughter the princess will sigh,

As her father the tyrant is warring below

May this prince of my heart, oh this unseasoned foe,
Not provoke the fierce lion that blood-lust and wrath
Drive on through a chaos of carnage and death!

To die for ones country is glorious and sweet;

Death chases he runaway, however fleet;
It spares not the youth who is scared to attack,
But sunders his hams and his cowardly back.

Manliness knows of no sordid retreat

And untarnished honours lie bright at its feet;
Nor accepts nor resigns any office to please
The judgment that goes with the popular breeze.

Manliness finds a new way to the sky

Unlocking a road for men too good to die;
It shuns common gatherings, the earths soil that clings,
And flies up to heaven on vanishing wings.

And yet loyal silence has also its due;

The countrysides secrets are sacred. He, who
Dares publish them, wont stay beneath the same beams
Or share my canoe with me on country streams!

The Almighty, neglected, is not always sure

To draw a distinction between impure and pure,
But club-footed Punishment, time after time,
Catches up with the man whos committed a crime.

Quintus Horatius Flaccus (Horace), and Stuart Lyons. Horaces Odes and the Mystery of Do-Re-Mi. Edited
by Stuart Lyons. Oxford: Aris & Phillips, 2007.
 The Odes, Book III.2 (23 B.C.): Translation by Colin Sydenham (1937-)

A boy should be toughened by discipline

and schooled to welcome poverty, to chase
and terrify with horse and spear
the savage Parthians, and to embrace

life in the open and the presence of

real danger. Royal women, stationed high
on hostile walls, the bride-to-be and
queen, on catching sight of him should sigh

in horror lest the bridegroom-prince below,

as yet unskilled in battle, should waylay
that furious lion they see slicing
murderously through the bloody fray.

A patriotic death earns sweet renown;

fleeing wont save a man from deaths attack;
the runaway will end hamstrung, or
with a cowards death-wound in his back.

Virtue disdains political rebuff

and shines with an unblemished reputation,
and neither takes nor gives up office
at the shifts of public adulation.

Virtue to those whose merit transcends death

offers a private route to heavens height,
soaring above the vulgar throng and
humid earth in liberating flight.

Loyal discretion also finds a sure

reward; the man who blabs the mystery
of Ceres I shall not permit to
share my lodging nor to launch with me

a fragile pinnace. Often angry Jove

the blameless with the culpable will break;
though crime may steal a march, club-footed
vengeance seldom fails to overtake.

Quintus Horatius Flaccus (Horace), and Colin Sydenham. Horace: The Odes: Latin Text, Facing Verse
Translation, and Notes. London: Duckworth, 2005.
 The Odes, Book III.2 (23 B.C.): Translation by Robert Hass (1941-)

Let youth, toughened by a soldiers training,

Learn to bear hardship gladly,
And to harry the fierce Parthians
With a spear from the back of a horse,

And to live boldly under an open sky,

So that, seeing him from an enemy rampart,
Some warring kings wife, looking on,
Will turn to the young woman beside her,

Sighing: Oh, lets hope our young prince

Doesnt stir up that rough-skinned lion
Whom a cruel rage for blood drives
Straight to the middle of the slaughter.

Honorable and sweet to die for ones country,

Since death doesnt spare the deserter either
Nor the boy without a warriors instinct
Who goes down with his back and tendons slashed.

Real worth isnt determined in elections;

Of itself it shines out undefiled.
It neither picks up a public office
Nor puts it down at the publics whim.

Worth, opening heaven to those death

Cannot claim, makes its journey on a path
Not known to the vulgar crowd and flees
The damp earth on feathered wings.

Knowing when to be silent has also its reward.

I wouldnt sit under the same roofbeams
Or set sail in the same boat with someone
Who divulged the secret rites of Ceres.

Often enough Jupiter has been known

To punish the innocent along with the guilty,
And Vengeance rarely misses the wicked it means,
With its limping gait, to track down.

Quintus Horatius Flaccus (Horace), and Robert Bly. Horace, The Odes: New Translations by Contemporary
Poets. Edited by J.D. McClatchy. Trans. Robert Hass. Princeton, NJ: Princeton University Press, 2002.
 The Odes, Book III.2 (23 B.C.): Translation by Sidney Alexander (1912-1999)

Let youth toughened by harsh military service,

learn patiently to endure harrowing hardships
Let him become a cavalryman
vexing the Parthians, dreaded for his lance.

Let him lead his life in dangerous exploits,

exposed under the sky. And beholding him
from the wall may the nubile daughter
and the wife of some warring monarch

sigh: Eheu! Let not my royal husband,

unpracticed in battles, provoke by the merest touch
that savage lion whose thirst for blood
goads him to tie very midst of carnage.

Sweet and noble is it to die for ones country

yet Death pursues even the man who flees,
nor does he spare she languid loins
and cowardly backs of pusillanimous youth.

Virtue, unconscious of disgraceful defeat,

shines with unsullied honors
nor does she raise up or lay down the Fasces
at the mere murmuring of the mob.

Virtue throws open the gates of heaven

to those not deserving to die
and directs her course by forbidden ways
and spurns the vulgar crowd,

Soaring over swamps on swift wings;

and faithful silence, too, reaps its sure reward.
I will forbid the man who has divulged
the arcane mysteries of sacred Ceres

to abide with me beneath the same roof

or to sail with me within the same frail skiff;
oftentimes Jupiter neglected,
commingles the innocent with the guilty.
But rare is it that Vengeance, lame of foot
fails to overtake the wicked fleeing ahead.

Quintus Horatius Flaccus (Horace), and Sidney Alexander. The Complete Odes and Satires of Horace:
Translated, with Introduction and Notes by Sidney Alexander; with a Foreword by Richard Howard.
Princeton, N.J.: Princeton University Press, 1999.
 The Odes, Book III.2 (23 B.C.): Translation by Guy Lee (1918-2005)

The boy whom active service is toughening up

Must learn to suffer povertys pinch s friend
And harass the ferocious Parthians,
Lancer formidable for his spear-thrust,

And spend his life in the open on dangerous

Commissions. Him from the enemy battlements
The consort of the warrior tyrant,
Watching afar with her grown-up daughter,

Will sigh Alas, afraid lest the royal betrothed,

A tiro on campaign, should provoke the lion
Unsafe to handle, whom bloodthirsty
Anger drives on through the midst of slaughter.

Its sweet and right to die for ones native land.

Death also catches up with the man who flees,
And has no mercy on the hamstrings
And timid backs of unwarlike youngsters.

Not knowing drab defeat at the polls Manhood

Shines ever bright with unsullied victories
Nor takes up nor lays down the axes
Bidden by the breath of the peoples favour.

Manhood that opens heaven above to those

Unworthy of death dares go the forbidden way
And spurns all contact with the vulgar
And with dank earth on evasive pinions.

Trustworthy silence also will have a sure

Requital. Ill forbid any publicist
Of secret Ceres ritual to
Share the same roof or unmoor a fragile

Sailboat with me, for often Diespiter

When slighted mixes guilty with innocent,
But limping Punishment has seldom
Failed to catch sinners despite their head start.

Quintus Horatius Flaccus (Horace), and Guy Lee. Odes and Carmen Secular: With an English Version in the
Original Metres, Introduction and Notes by Guy Lee. Leeds: F. Cairns, 1998.
 The Odes, Book III.2 (23 B.C.): Translation by David Ferry (1924-)

May the young Roman be toughened by experience,

Disciplined in the field, and able to bear
Hardship without complaint, and may he learn
To terrify the terrifying Parthian.

May he spend his days out under the open sky

Doing the work of war. May the young virgin,
With her royal mother on the enemy walls
Watching the furious battle rage, cry out,

Frantic in fear for the life of her fianc:

Alas, let not my young unready man,
O let him not arouse that lions thirst
Making its way toward his body through the fight.

Sweet and proper it is to die for your country,

But Death would just as soon come after him
Who runs away; Death gets him by the backs
Of his fleeing knees and jumps him from behind.

Virtue, rejecting everything thats sordid,

Shines with unblemished honor, nor takes up office
Nor puts it down persuaded by any shift
Of the popular wind; virtue shows the way

To those who deserve to know it, disdaining the crowd,

Taking its flight to heaven on scornful wings;
And he who knows what good faith means, he too
Will be rewarded. I would not sleep beneath

The selfsame roof nor venture to go on board

The selfsame perilous ship as the man who knows
The secret rites and mysteries of Ceres
And cant be trusted with them. Jupiter,

Enraged, might strike the innocent with the guilty.

But in the end it will all be sorted out:
The guilty have a head start, and retribution
Is always slow of foot, but it catches up.

Quintus Horatius Flaccus (Horace), and David Ferry. The Odes of Horace: A Translation by David Ferry. New
York: Farrar, Straus, and Giroux, 1997.
 The Odes, Book III.2 (23 B.C.): Translation by James Michie (1927-2007)

Disciplined in the school of hard campaigning,

Let the young Roman study how to bear
Rigorous difficulties without complaining,
And camp with danger in the open air,

And with his horse and lance become the scourge of

Wild Parthians. From the ramparts of the town
Of the warring king, the princess on the verge of
Womanhood with her mother shall look down

And sigh, Ah, royal lover, still a stranger

To battle, do not recklessly excite
That lion, savage to touch, whom murderous anger
Drives headlong through the thickest of the fight.

The glorious and the decent way of dying

Is for ones country. Run, and death will seize
You no less surely. The young coward, dying,
Gets his quietus in the back and knees.

Unconscious of mere loss of votes and shining

With honours that the mobs breath cannot dim,
True worth is not found raising or resigning
The fasces at the wind of popular whim.

To those who do not merit death, exploring

Ways barred to ordinary men, true worth
Opens a path to heaven and spurns on soaring
Pinions the trite crowds and the clogging earth.

Trusty discretion too shall be rewarded

Duly. I will not suffer a tell-tale
Of Ceres sacred mysteries to be boarded
Under my roof or let my frail boat sail

With him; for, slighted, often God confuses

The innocent with the evil-doers fate.
Yet Vengeance, with one lame foot, seldom loses
Track of the outlaw, though she sets off late.

Quintus Horatius Flaccus (Horace), and James Michie. The Odes of Horace: Translated with an Introduction
by James Michie. Harmondsworth: Penguin, 1967.
 The Odes, Book III.2 (23 B.C.): Translation by Sir Stephen de Vere (1812-1904)

Rome, teach thy offspring to sustain

Stern poverty; to wield the spear,
To spur the war-horse oer the plain,
And smite the Parthian foe with fear:
To watch beneath the frosty skies,
To face the tempest and endure;
The bed and banquet to despise,
In doubt and danger still secure.

The royal maid, the princely dame,

Shall mark him from the rampart high,
Shall track his course through blood and flame,
And thus in faltering accents sigh:
My King, my gracious Lord, forbear
To brave yon warriors fatal wrath;
Untrained to warlike arms beware,
Nor cross the raging lions path.

Blessed who for his country dies

Blessed and honoured! Pitiless Death
Spares not the coward slave who flies,
The trembling limbs, the panting breath.
Virtue self-centred, fearless, free,
Shines with a lustre all her own,
Nor takes nor yields her dignity,
When fickle nations smile or frown:

Through realms unknown she wings her flight

Spurning the sordid clay beneath,
And lifts into celestial light
The spirit that has conquered death.
Silence and secrecy not less
The gods reward: never may he
Who dares their mandates to transgress
Revealing Ceres mystery,

Abide beneath my roof or steer

My fragile shallop oer the main;
Jove hurls his bolts, by law severe,
Alike on guiltless and profane.
Justice with silent footstep slow,
With steadfast eye, but halting gait,
The felon tracks, and on his brow
Stamps the remorseless doom of Fate.

Quintus Horatius Flaccus (Horace), and Harold Edgeworth Butler. The Odes of Horace in English Verse: Latin Text
with Translations by Various Hands; Chosen by H.E. Butler. Trans. Sir Stephen de Vere. London: G. Bell, 1929.
 The Odes, Book III.2 (23 B.C.): Translation by John Conington (1825-1869)

To suffer hardness with good cheer,

In sternest school of warfare bred,
Our youth should learn; let steed and spear
Make him one day the Parthians dread;

Cold skies, keen perils, brace his life.

Methinks I see from rampired town
Some battling tyrants matron wife,
Some maiden, look in terror down,

Ah, my dear lord, untraind in war!

O tempt not the infuriate mood
Of that fell lion I see! from far
He plunges through a tide of blood!

What joy, for fatherland to die!

Deaths darts een flying feet oertake,
Nor spare a recreant chivalry,
A back that cowers, or loins that quake.

True Virtue never knows defeat:

Her robes she keeps unsullied still,
Nor takes, nor quits, her curule seat
To please a people's veering will.

True Virtue opens heaven to worth:

She makes the way she does not find:
The vulgar crowd, the humid earth,
Her soaring pinion leaves behind.

Seald lips have blessings sure to come:

Who drags Eleusis rite today,
That man shall never share my home,
Or join my voyage: roofs give way

And boats are wreckd: true men and thieves

Neglected Justice oft confounds:
Though Vengeance halt, she seldom leaves
The wretch whose flying steps she hounds.

Quintus Horatius Flaccus (Horace), and John Conington. The Odes and Carmen Saeculare of Horace:
Translate into English Verse by the Late John Conington. London: George Bell and Sons, 1888.
 Pitch Material

Dorian !4 and Basic Transformations

Lydian "7 and Basic Transformations

Dorian !4/ Lydian "7 Two-Octave Scale

Tintinnabuli Voice Positions

(a) First Position, Superior (+1)

Second Position, Superior (+2)

 (b) First Position, Inferior (1)

Second Position, Inferior (2)

(c) First Position, Alternating Superior and Inferior (+1/1)

Second Position, Alternating Superior and Inferior (+2/2)

(d) First Position, Alternating Inferior and Superior (1/+1)

Second Position, Alternating Inferior and Superior (2/+2)

 INSTRUMENTATION

18 Soprani
16 Contralti
14 Tenori
12 Bassi

6 1st Violins, Vln. 1

6 2nd Violins, Vln. 2
4 Violas, Vla.
4 Violoncellos, Vlc.
2 Contrabasses, Cb.

PERFORMANCE NOTES

All instruments, with the following exceptions, sound as written in the score: the contrabasses sound an
octave lower than written.

In this score, accidentals affect only those notes which they immediately precede; accidentals are not
repeated on tied notes; and accidentals are not repeated for repeated notes unless one or more different
pitches intervene. If a sharp or flat is followed directly by its natural form, a natural is used. Cautionary
accidentals or naturals have been used to clarify ambiguities.

Although one passage of the score (bar 86) demands divisi contrabass, and therefore a requirement for at
least two players, it is possible to perform the work with one single player, which is articulated in the score
thus: divisi (or non div. if single contrabass).

short pause

regular pause

long pause

Strings

upward arpeggiation

downward arpeggiation
 snap pizzicato (Bartk pizzicato)

play x times play or repeat motive a specific number of times

slap strings with palm

left-hand pizzicato

play highest note

behind the bridge (play between the bridge and the tailpiece)

portamento (a smooth and rapid sliding between two pitches, executed

continuously)
glissando (a smooth and rapid sliding over the keys or strings (so that every
individual note is articulated , no matter how rapid the sliding)
quarter-tone sharp

three-quarter-tone sharp

quarter-tone flat

three-quarter-tone flat

d. mano destra (right hand)

s. mano sinistra (left hand)

fronte front tap the instrument on the front of the body

lato side tap the instrument on the side of the body

 Text by Quintus Horatius Flaccus (65 B.C.-8 B.C.)

Angustam Amice
Commissioned by Mario Dobernig for Choir (SATB) and String Orchestra
and the Victoria Chorale (Australia)

P
A Calmo, sereno e tranquilo h = 42 {q = 84} Andrin Pertout, No. 428

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Angustam Amice Copyright 2015 Andrin Pertout

www.pertout.com PO Box 4172 Richmond East Victoria 3121 Australia
Made in Australia International Copyright Secured
2 Angustam Amice

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Angustam Amice 3

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B.

2
? w.

&
arco met
Vln. 1
- - #
p
&

Vln. 2

p
n # tutti
B - -
p
Vla.

arco (ord.) ( n )

sul C

?
sul tasto

p
Vlc.

()

Cb.
?
arco

AP 428
4 Angustam Amice

F ;q=q:
> # 44
13

1 &
a pu - er
S.

2 & w . w . w . 44

F
(Ah)

44
1 & # w.
mi - li - ti - a
A.

4
& 4
w . w . w . w w
2

(Ah)
F
w # 4
1 V 4
F
a
T.

w # 4
2 V 4
P F
a

? 4
1 # 4

F
pu - er
B.

? # 4
2 4
er

#
divisi
> 44
&
tutti
Vln. 1
# w
P
#
unisono

44 # w
ord.

w
divisi (ord.) sul pont.

& w #
p
Vln. 2

- P (ord.)
# 4 .. ord. ..
unisono (spiccato) play 4 times

.. ..
sim.

B w. 4 . . #
divisi

. . #
. #
P . . .
Vla.

- -
4
ord. divisi

? # 4
p
Vlc.
P

? j 44
p P (sub.)
Cb.

AP 428
Angustam Amice 5

B
P
18 [Solo Soprano]

32
;q=q:
1 &
con - dis - cat
S.

2 & 32

P
32
[Solo Alto]

1 &
et Par - thos
A.

3
& 2
w w . w . w .
2

P
(Ah)

3 b
1 V 2
et Par - thos
T.

3
2 V 2
P
b
? 3
1 2
con - dis - cat
B.

? 3
2 2

32
tutti (sul tasto)

&
met

b
Vln. 1

w 32 - -
&
ord.

Vln. 2

p
b
tutti (senza vibrato)

3 b b
met (ord.)

B .. # ..
(sul tasto)

2
sul tasto

. . # . # . p
Vla.

p
b -
- pizz.
3 unisono
arco (senza vibrato)

? 2 B ?
p p
Vlc.

( )

? 3 .
B
sul D
Cb. 2

AP 428
6 Angustam Amice

22

1 &

)
fe
S.

2 & w.
Ah

1 &
ro - cis
A.

&
w . w . w .
2

(Ah)
p
b w
1 V

p
fe - - - - ro - cis
T.

2 V w

F p
cis

1
? b # b

p
ro - cis cis
B.

2
? w b
ro - cis

&
ord. sul tasto
Vln. 1
b - - -
p

col legno battuto

&
sul tasto

b
P
Vln. 2

b
divisi unisono (pizz.)

B b b L

P
Vla.

vibrato normale
;
? b # :::: unisono
arco (vibrato normale)

b
divisi (pizz.) sul tasto

:P
Vlc.

slap strings with palm
( ) sul A
B ?
pizz.

p P (sub.)
Cb.

AP 428
Angustam Amice 7

b b b
26

1 &
ve - xet e - ques
S.

2 & w . w . w . w .
(Ah)

1 &
A.

2 &
P
b
1 V
e - ques
T.

2 V
P
b
ques

1
? w.
ve - xet

B.

2
? w.
xet

met (ord.) tutti (sul tasto)
Vln. 1 & b
p
- -

arco

Vln. 2 &
p
divisi (ord.) (p)

b ( )
arco (sul tasto) unisono (senza vibrato)

B b
p p
Vla.
p sul A
- -
arco (senza vibrato)

? B ?
arco (ord.) pizz.

p () p
Vlc.

()

? .
B
arco
Cb.

AP 428
8 Angustam Amice

F
# #
30

12

; e=e:

& 8
tutti
1

ha - sta,
S.

2 & w . w . w . 12
8

F
(Ah)

&
tutti
12
8
1
w.
P F
me - tu - en - dus
A.

12
2 & w # 8

F
dus

# w. 12
1 V 8

P F
me - tu - en - dus
T.

12
2 V w. 8

F
dus

? b 12
# 8
>
1

F
dus ha - sta,
B.

? 12
2 8

sta,

divisi (senza sordino)

12
8
&
ord.

j
p- -
Vln. 1

P

12
divisi (senza sordino)

& 8
w. P
Vln. 2

# #
B b b b 12
divisi

w #
senza sordino (vibrato normale)
Vla. 8
P
? n 12
senza sordino (vibrato normale) ord.

8
divisi
Vlc.
#
P
(ord.)

senza sordino # b >

B ? 12
# 8
p
Cb.

AP 428
Angustam Amice 9

33

& 12 44

. .
q. = 84 {q = 126}

;e= e:
1 8 J
S.
j 44
2 & 12
8 . .

p
(Ah) [Alto 1 and 2]

& 12 j . . . . . . 44
1 8
vi - tam - que
A.

4
2 & 12
8
j . . 4

j 4
1 V 12
8 . . 4
T.

4
2 V 12
8
j . . 4

? 12 j 4
1 8 . . 4
B.

? 12 j 4
2 8 . . 4
()

w .. w .. w .. . . .
unisono gli altri

44
& 12
[Solo Violin 1]

8 .
harmonic gliss (sul A)
Vln. 1

() e. . ( ) q. e. . q. e. .
e. . q.
q.

. J
. J . J . J 44
& 12
unisono

Vln. 2 8

j . ( ) . ( ) .

B 12 4
h. q.

8 J . . & . . .
harmonic gliss (sul D)

. 4

Vla.

j . . .
harmonic gliss (sul A)

. & j
sul pont.

? 12 () ()
j j j . 4
q. e. q. e. q. e.
?
unisono (ord.)

8 . . . . 4
.
Vlc.

molto sul tasto

? 12 .. 4
8 ..
play 12 times

Cb. 4
(sub.)

AP 428
10 Angustam Amice

p
[Soprano 1 and 2]

#.
36

& 44
C q = 84 {h = 42} cresc. poco a poco

S. J
in re - bus. Il - lum ex

j
A. & 44 .
# #.
j

p
sub di - vo et tre - pi - dis a - gat [Tenor 1 and 2]

V 44
cresc. poco a poco

T.

p
[Bass 1 and 2]
in re -

?4 . #.
B. 4 J # J
vi - tam - que sub di - vo et tre - pi - dis a - gat

j
Vln. 1 & 44 .
# #.
j

()

sul E

& 44
(gli altri)

Vln. 1

#.
& 44
[Solo Violin 2]

Vln. 2 J
cresc. poco a poco
4
gli altri

Vln. 2 &4

& 44
[Solo Viola]
B

Vla.

& 44
gli altri (pizz.)
B

Vla.

?4 . # #.
[Solo Violoncello]

4 J J

Vlc.

n
? 4 # # # J # J
gli altri (pizz.)

4 J

Vlc.

? 44

pizz.

Cb.

AP 428
Angustam Amice 11

41
# # # P p j
& . n .
S.
J #
moe - ni - bus ho - sti - cis ma - tro - na bel - lan - tis ty - ran - ni

A. &

P p (sub.)
#. # # j
V J . .
T.
J
bus. Il - lum ex moe - ni - bus ho - sti - cis ma - tro - na bel - lan - tis

B.
?

Vln. 1 &

Vln. 1 &

# # # . n j
Vln. 2 & J . #
p

Vln. 2 &

B #. # # j
Vla.
J . J .
p (sub.)

Vla. B

Vlc.
?

?
Vlc. b J # n J #

? b
Cb.

AP 428
12 Angustam Amice

46

S. &

p
j
( )

A. & . # #w w
pro - spi - ci - ens et a - dul - ta vir - go

T. V #

p
ty - ran - ni

? . #w
#
( )

B. J
pro - spi - ci - ens et a - dul - ta vir -

j
& . # #w w
()
Vln. 1

Vln. 1 &

Vln. 2 &

Vln. 2 &

Vla. B #

+
simultaneous left-hand pizz. and col legno battuto

B

Vla.

? . #w
J #
)
Vlc.

(
()
sul A

? # j
j
#

Vlc.

()
? n sul D


Cb.

AP 428
Angustam Amice 13

(p)
.
51
D

& . J
S.
J
sus - pi - ret: E - heu, ne ru - dis ag - mi - num

A. &

p
. .
V
( )

T.
J J
sus - pi - ret: E - heu, ne ru - dis ag - mi - num

? w
cresc. poco a poco

B.
go spon - sus

Vln. 1 &

Vln. 1 &

& . .
J
Vln. 2
J
( )

Vln. 2 &

B . .
J
Vla.
()
J

B
pizz.
Vla.


? w
Vlc.

+simultaneous
J j
left-hand pizz. and col legno battuto

?
pizz.

Vlc.

?


Cb.

AP 428
14 Angustam Amice

56

S. &

p P p (sub.)
j j
( ) cresc. poco a poco

A. & #. # # .
spon - sus la - ces - sat re - gi - us a - spe - rum tac - tu le -

T. V
P p
? #. # # .
.
J

B. J J
la - ces - sat re - gi - us a - spe - rum tac - tu le - o - nem, quem

& #.
j
. j
Vln. 1
# #
() cresc. poco a poco p (sub.)

Vln. 1 &

Vln. 2 &

Vln. 2 &

Vla. B

Vla. B

? #. # # .
.
J

J J
p
Vlc.

Vlc.
? j b j b n J

?
Cb.

AP 428
Angustam Amice 15

61
p P; q = q :
. 22
( )

S. & J
P
per me - di - as ra - pit i - ra cae - des.

A. & . J 22

p P
o - nem, quem cru - en - ta cae - des.

. w 22

( )

T. V J
P

per me - di - as ra - pit i - ra cae - des.

? 2
B. 2
cru - en - ta cae - des.

2
& . J 2
p
Vln. 1

2
Vln. 1 & 2

. 2
Vln. 2 & J 2
() p

2
Vln. 2 & 2

B . w 22
Vla.
()
J
arco
p

B w w 22
ord. sul pont.

p
Vla.

? 2
2
p
Vlc.

. . . .
arco (spiccato)

sul tasto ord.

? J .. .. 2
play 12 times

Vlc. 2
F
()

? 2
2
sul E
Cb.

AP 428
16 Angustam Amice

67

& 22 j # j
E h = 42 {q = 84}
b j b
S.
#. b n b
Dul - ce et de - co - rum est pro pa - tri - a mo - ri:

& 22 j
b j j
n

A.

de - co - rum mo - ri:

V 22 b j b j # j
T.
#. n b b
Dul - ce et de - co - rum est pro pa - tri - a mo - ri:

?2
B. 2

b . . . b .
. . . . . . . . b
play 3 times
divisi (spiccato)

2 .. .. J .. .. J
play 4 times

&2
cresc. poco a poco spiccato
Vln. 1

j t b . . . . play 4 times b . . b . .
.
2 J J

&2 .. .. .. ..
sim.

P (sub.) cresc. poco a poco

Vln. 1

& 22 j j b # j
divisi divisi

b
tutti unisono
Vln. 2
#. b b n b n
P
. .
play 3 times

B 22 .. b . . . . .. j
. .. b b . . .. .
spiccato (ord.) play 4 times
divisi
Vla. 1
J
cresc. poco a poco
b . .
.. . . b . ..
spiccato (ord.)

B 22 .. . .. .. J
play 4 times sim.
Vla. 2
. . .
cresc. poco a poco
? 22 b j
#. J b n b b # J
tutti
Vlc.

P
? 22

Cb.

AP 428
Angustam Amice 17

j #
71

j j#
#
[Soprano 1]

S. & #. n # #
mors et fu - ga - cem per - se - qui - tur vi - rum, nec par - cit im -

& j
[Soprano 2]

#
par - cit im -

& j j j
A.

per - se - qui - tur par - cit im -

j # j
# j #
[Tenor 1]

T. V #. n # #
mors et fu - ga - cem per - se - qui - tur vi - rum, nec par - cit im -

V j
[Tenor 2]

#
P)
par - cit im -

? j j j
(

B.

b . . . b .
. . b
per - se - qui - tur par - cit im -
.
. . .
J J
& .. .. .. ..
sim.

p decresc. poco a poco

Vln. 1

b . . . . b . . b . .
. .
J .. .. J .. ..
&
p decresc. poco a poco
Vln. 1

j # j j#
divisi unisono

&
unisono divisi
Vln. 2
#. n # # #

. .
.
B .. b . . . .. j
. .. b b . . .. .
sim.
Vla. 1
J
p decresc. poco a poco
. b . .
.. . . b . ..
B b J .. . .. J
Vla. 2
p decresc. poco a poco . . .
j
# #
divisi

? #. n # #
unisono

#
divisi

J J
Vlc.

Cb.
?

AP 428
18 Angustam Amice

F
; e=e:

b n # 6
J b n b
75

1 &
#
J
J 8

F
bel - lis iu - ven - tae po - pli - ti - bus ti - mi - do - ve ter - go.
S.

& # b n j j #j 6
2
b n b 8
F
bel - lis iu - ven - tae po - pli - ti - bus ti - mi - do - ve ter - go.

& j j j 68
A.
b n
bel -
F
lis
b
po - pli - ti - bus

ter - go.
n #
1 V
# J b n
J b J 6
8
F
bel - lis iu - ven - tae po - pli - ti - bus ti - mi - do - ve ter - go.
T.

b n j b j # j 6
2 V # n b 8
F
bel - lis iu - ven - tae po - pli - ti - bus ti - mi - do - ve ter - go.

? j j j
68

B.

b . . . b .
. . b
bel - lis po - pli - ti - bus ter - go
.
. . .
& .. .. J .. .. ## 68
Vln. 1
cresc. poco a poco P
b . . . . b . . b . . F
. .
J .. .. J .. .. 6
& 8
cresc. poco a poco P
Vln. 1

b j j j
n b n b #
& ## b n
b A n

b
# 68
n

Vln. 2
J J
F J
. . . .
. j b
B .. b . . . .. . .. b .. .
# 8
6
P
Vla. 1

cresc. poco a poco F

. .
b .
B b J .. . . . . .. J .. . . b . .. 6
8
cresc. poco a poco
Vla. 2
P
unisono b j
? # n b n b # 68
divisi

divisi

unisono

J n J
Vlc.

F
b j j
? # J b n b 68
arco

Cb.

AP 428
Angustam Amice 19
q. = 84 {q = 126}

Fdecresc. poco a poco

[Soprano 1 and 2] sotto voce (breathy) indeterminate pitch

j
79

6
& 8 J J j .
S.


J

P
Ah ah ah ah ah

j
sotto voce (breathy) indeterminate pitch

& 68
J
decresc. poco a poco

A.

Ah ah

T. V 68

?6
B. 8

# # . n b n # b . n # .
J J J
Vln. 1 & 68
(F ) decresc. poco a poco
b # n . b n # . n #
J J
Vln. 1 & 68 .
decresc. poco a poco

# .
(divisi)

J
& 68
P decresc. poco a poco
Vln. 2

# #
& 68 .
P decresc. poco a poco
Vln. 2

Vla. B 68

?6
Vlc. 8

?6
Cb. 8

AP 428
20 Angustam Amice

j
82

& . j j
S. J J
ah ah ah ah ah

j
& j



j . . j


A.

ah ah ah ah
p j
[Tenor 1 and 2] sotto voce (breathy) indeterminate pitch

j

decresc. poco a poco
T. V J J
Ah ah ah ah

B.
?

n # # . n # # n # .
J J # # n n # .
Vln. 1 & J

. n # n # . # # # n # .
J J J # # n
Vln. 1 &

n # n # . # # # n # .
J # # n # .
Vln. 2 & J J

. n # # n # . # # n n # .
Vln. 2 & J J J # #

# # n n # .
(divisi)

# # .
B J J
p decresc. poco a poco
Vla.

# # n # . #
B . J
p decresc. poco a poco
Vla.

Vlc.
?

Cb.
?

AP 428
Angustam Amice 21

F h = 21 {q = 42}
85

j 32

& . .
U

;q= e: ;e=q:
S.
J

ah ah

j j 32
& J
U
j
A.


ah ah ah ah

j 32
V . .
U
T.
J

)

ah ah

? J j
sotto voce (breathy) indeterminate pitch (

j 3 U
decresc. poco a poco [Bass 2]

B.
J 2 w .
Ah ah ah ah Ah

.
& # # J n # j 3 U
2
Vln. 1
# .

. j 3
& # J
U
# . n b 2
senza vibrato
Vln. 1


j j 3 U
Vln. 2 & # . n b # n . 2

. j 3 U
& J n # . n b n 2
senza vibrato
Vln. 2
#

n # # . n b n # b . 32 U
Vla. B J J

. n b # n .
Vla. B J J b 32 senza vibrato U
#

b # n .
(divisi)

J
b # J. 3
? 2
U

decresc. poco a poco
Vlc.

b # b . n
? . J # 3 wsenza vibrato U
2
decresc. poco a poco
Vlc.

.j
# n #
U
B J 3 #w
?
divisi (or non div. if single contrabass) senza vibrato

2

Cb.

AP 428
22 Angustam Amice

p #
b
88

w b w
h = 42 {q = 84}
1 &
Vir - - - - tus, re -
S.

2 &

1 &
A.

2 &

p
1 V b # b
Vir - tus, re - pul - sae
T.

2 V

1
?
B.

?
2 w . w . w . w .
(Ah)

#
met (con sordino) vibrato normale

w
col legno tratto
b b w
&

Vln. 1

Vln. 2 &

B
met (con sordino) vibrato normale
Vla.
b #

? b
met (con sordino) vibrato normale

Vlc.

Cb.
B

AP 428
Angustam Amice 23

b w
92

1 &

p
pul - sae
S.

2 & w

p
sor - di - dae,

1 &

p
sor - di - dae,
A.

2 & # #

P
sor - di - dae,

[Solo Tenor]

V b # n b b
3 3

ne - sci - a sor - di - dae, ho - no - ri - bus,
T.

2 V w . w .
p
Ah

? # b # b # n #
[Solo Bass] 33 3 3
1

ne - sci - a in - ta - mi - na - tis ful - get ho - no - ri - bus,

B.

?
2 w . w . w . w .
(Ah)

b w
Vln. 1 &

j #
met (con sordino) vibrato normale

J
pizz.

Vln. 2 & J

B
Vla.
b b
p

? b # n
divisi (arco) col legno battuto

tutti (non div.)

pluck with the third

Vlc.
pizz.
or fourth finger p
+ slide thumb and index finger

B
unisono (con sordino) pizz. (vibrato normale)

? K
col legno battuto (behind the bridge)

Cb.

AP 428
24 Angustam Amice

96
p b
1 & #w # nw
nec su - mit aut
S.

2 &

p
1 & w
su - mit
A.

2 &

[Solo Tenor]

p
[Tenor 1] tutti

b # n #

3

V
3 3

b #
3

nec su - mit aut po - nit se - - - cu - ris

T.

2 V w . w . w . w .

(Ah)

1
? # #
se - cu - ris
B.

?
2 w . w . w . w .
(Ah)

#w # w b
Vln. 1 &

col legno tratto

& w

Vln. 2

Vla. B
b #

? b
met (arco)

Vlc.

Cb.
?

AP 428
Angustam Amice 25

# w
100

& # # n

>
1

p
po - nit ar - bi - tri - o po - pu - la - ris au - rae.
S.

& # #

>
2

P p
ar - bi - tri - o po - pu - la

& w # #
1
> n n b
P p
po - nit ar - bi - tri - o po - pu - la - ris au - rae.
A.

# #
&
>
2

p
ar - bi - tri - o po - pu - la

n b
[Tenor 1] tutti
>
1 V b #
ar - bi - tri - o po - pu - la - ris au - rae.
T.

2 V w . w . w . w .

P > p
(Ah)

? b # #
[Bass 1] tutti

ar - bi - tri - o po - pu - la - ris au - rae.

B.

?
2 w . w .
(Ah)

# w
ord. sul tasto

# # n
tutti (arco) divisi

&
>
Vln. 1


ord. sul tasto

& w # #
tutti (arco) divisi
Vln. 2
> n n b
p
> n b ord. sul pont. ord. j
ord. sul tasto

B
tutti

b #
Vla.

>
#
ord. sul tasto

? b #

tutti (arco)

Vlc.
p

Cb.
?

AP 428
26 Angustam Amice

104
p b #
b w
G

1 & w
Vir - - - - tus, re -
S.

2 &

1 & w
Vir - tus
A.

2 &

p
1 V b # b
Vir - tus, re - clu - dens
T.

2 V w . w . w . w .
(Ah)

1
?
B.

2
?

b b w #
met (col legno tratto) ord.

& w

Vln. 1

&
met (col legno tratto) ord.

w
unisono (sul tasto)

Vln. 2

B
b - -
ord. met

b
Vla.

-
? b #
tutti

met (ord.)

Vlc. -

arco (sul tasto)

?

Cb.

AP 428
Angustam Amice 27

b w
108

1 &

p
clu - dens
S.

2 & w

p
mo - ri

1 & w

p
clu - dens mo - ri
A.

2 & # #

P
mo - ri

b b
[Solo Tenor]

V b # n
3 3

im - me - ri - tis mo - ri i - ter vi - a,
T.

2 V w . w .
(Ah)
p
? # b # b # n
#
[Solo Bass] 33 3 3
1

me - ri - tis cae - lum, ne - ga - ta temp - tat i - ter vi - a,

B.

?
2 w . w .
Ah

b w n
divisi behind the bridge (play between the bridge and the tailpiece)

& w I
tutti (arco)

p
Vln. 1

j j j
pizz. (ord.)

#
&
divisi

Vln. 2

tutti (non div.)col legno battuto

arco (sul tasto)

B
Vla.
b # n

pluck with the third +
() - or fourth finger p slide thumb and index finger
divisi
(arco)
-
? n b b
()
p
Vlc.
pizz.
- sul tasto


arco

?
pizz. (ord.)

Cb.

AP 428
28 Angustam Amice

112
p
& #w #
n
>
1

p
coe - tus - que vul - ga - -
S.

& #w #

>
2

P
coe - tus - que vul - ga

# #
&
>
1

P
coe - - - tus - que vul - ga -
A.

# #
&
>
2

p
[Tenor 1] tutti coe -
[Solo Tenor]
- - tus - que

vul - ga

b
# n #
3

V
3 3

b #
3

coe - tus - que vul - ga - ris et u - dam

T.

2 V

1
? # #
et u - dam
B.

?
2 w . w . w . w .
(Ah)

>
#w #
divisi (arco)

&
# n
Vln. 1

- - - - >
p arco (ord.) (p)
>
# #
(divisi)

& #

Vln. 2

arco (sul tasto)

p (ord.) >
B
met (ord.)

Vla.
b - b

-
? b #
tutti

met (arco)

-

Vlc.

?

Cb.

AP 428
Angustam Amice 29
H

116 P; q = q :
& n bw 44
1
J
P F
ris pen - na.
S.
j
2 & 44

p P F
pen - na.

44 j j j j
& n
[Alto 1 and 2]

p P F
A. - - ris pen - na. Est et fi - de - li tu - ta

4 j
& 4

2

p [Tenor 1] tutti > n bP F
pen - na. Est et

4 j j j j
V b #
[Tenor 1 and 2]

1 4

p P F
sper - nit hu - mum fu - gi - en - te pen - na. Est et fi - de - li tu - ta
T.

V b
4
4 j
2

P > F
pen - na. Est et

? b # # 44
[Bass 1] tutti

J b
[Bass 1 and 2]

1
J J
P F
sper - nit hu - mum fu - gi - en - te pen - na. tu - ta
B.

? 4 j
2 w . # 4
(Ah) pen - na

. . . . play 8 times

. play 4 times.
44 .. . . . .. . . b .. .. . . b ..
spiccato

.
unisono (senza sordino)

&
sim.
Vln. 1
n bw p

(p)
cresc. poco a poco

j j j j
senza sordino

n 44 . .
unisono

&
. . . . .
p
Vln. 2
P J ord. F
> punta n b w w
sul pont.

4 nw
tutti (senza sordino)

B
d'arco

# n 4
Vla.
b b P (sub.)
p
> al tallone
# 4 . . . . . . .
? b #
# 4 J J b J
senza sordino
Vlc.
J
p P F
? 4 j
senza sordino (ord.)
Cb.
# 4
p P

AP 428
30 Angustam Amice

F
[Soprano 1 and 2]

b
121

& J
S.
J
si - len - ti - o

j j j j
A. &
si - len - ti - o mer - ces.

j j j j
T. V
si - len - ti - o mer - ces.

? j n
B.
J
si - len - ti - o

.. . . . . ..
play 12 times

&
P decresc.
Vln. 1

poco a poco

b . . . . j . j
& J
divisi unisono

Vln. 2
w w
P (sub.) F

&
.
J
Vln. 2

(F )

w . . . . j .
. . . j word.
ord.

spiccato

B
Vla.
. .
. . . . . . . . . . . . . . . .
? n J J
spiccato divisi

Vlc.
J J J J
P F
?
d. (fronte) - tap the instrument on the front of the body

(P)

. . . . . . . .
arco (spiccato)

?

pizz.

P
Cb.

AP 428
Angustam Amice 31

125

S. & J # J
Ce - re - ris sa - crum

j j
J
[Alto 1]

A. & J
Ve - ta - bo qui Ce - re - ris sa - crum

j j j

[Alto 2]

&
qui Ce - re - ris sa - crum

j j j j

[Tenor 1]

T. V
Ve - ta - bo qui Ce - re - ris sa - crum

j j j

[Tenor 2]

V #
qui Ce - re - ris sa - crum

? b b j
B.
J J
qui Ce - re - ris sa - crum

. b . . ..
.
& .
.
.
. .. . . b .. .. . . . . ..
play 4 times play 8 times play 12 times

Vln. 1

j j .
& . . . . . . . . #
divisi
Vln. 2
J w
P (sub.)
.
&
J
(F )
w w w . . . . j
sul pont. ord.

B
spiccato

Vla. .

? . . . . . . . . .
b b
.
n . . . . .
unisono (spiccato)

J J J
Vlc.
J J
P
?
Vlc.

. . . .
s. (lato) - tap the instrument on the side of the body
pizz. arco (spiccato)

?
slap the strings across the bridge


P
Cb.
strike the strings between the bridge and the tailpiece F

AP 428
32 Angustam Amice

129

S. &

j j j j
[Alto 1 and 2]

1 &
vul - ga - rit ar - ca - nae sub is -
A.

2 &

j j j j
[Tenor 1 and 2]

1 V
vul - ga - rit ar - ca - nae sub is -
T.

2 V

? #
B.
J J
sub is -

. ..
.. . . . b .. .. . . b ..
play 4 times

&
sim.

p cresc. poco a poco

Vln. 1

w w
ord. sul pont.

Vln. 2 & w w

j j j j
Vln. 2 & . . . . . . . .

. . . b . . . j . . b . . .
B . . . j . . . j .
Vla.
. . J

. . . . . . . . . . . . . . . . . . . .
? b
J
divisi
Vlc.
J J J
(P)

. . . . . . . .
? #
J J J J
F . ... . ... . . . .
. . . .
b b
?
Cb.
>+ left-hand pizzicato >+ >+

AP 428
Angustam Amice 33

F ) cresc. poco a poco f ; q = q :

b b
133

22
(

S. & J J

f
sit tra - bi - bus fra - gi - lem - que [Alto 1] me - cum

j 22
cresc. poco a poco

A. &

f
dem sit tra - bi - bus fra - gi - lem - que me - cum

22
[Alto 2]

&

f
[Tenor 1] me - cum

j 2
cresc. poco a poco

T. V 2

f
dem sit tra - bi - bus fra - gi - lem - que me - cum

V
2
[Tenor 2]

f
me - cum

? b j 2

cresc. poco a poco

B. 2
dem sit - tra - bi - bus fra - gi - lem - que me - cum

. .. ..
Vln. 1
. . .
& .. . .. .. . . . b .. . . b . . b . . . . . . . . 22
P F f (sub.)
j
w . . . . . 22
ord. sul pont. ord.

Vln. 2 & w
cresc. poco a poco F f (sub.)
b . . . . . . . # . 22
& .
J . .
Vln. 2

cresc. poco a poco F f

. . . . j . . . . j . b . . . j . b . . . j . . b . . .
B . . . . . . 22
Vla.
. J .
cresc. poco a poco F f (sub.)
? . . . . . . . . b . . . . . . b . . . . . .
. . 2
J J J 2
Vlc.
J
cresc. poco a poco F f
? . . . . b . . . . . j 2

Vlc.
J . .
... 2
. . .. . . . . F f
b
cresc. poco a poco

? 22
(arco)
Cb.
cresc. poco a poco
>+ >+ >+ f
F
AP 428
34 Angustam Amice

I Tempo rubato (ma non troppo) h = 28 {q = 56}
136

& 22
W
1
pha - se - lon; Di - es - pi -
S.

& 22
W
2

[Solo Alto]

2 W
[Alto 1] tutti [Solo Alto] [Alto 1] tutti

1 &2

sol - vat pha - se - lon; sae - pe Di - es - pi -
A.

& 22
W

2


pha - se - lon; Di - es - pi -

V 22
W
1
pha - se - lon; Di - es - pi -
T.

V 22
W
2

?2
W
1 2
pha - se - lon; Di - es - pi -
B.

?2 W

2 2

& 22
W

[Solo Violin 1] con sordino

Vln. 1

& 22
W

[Solo Violin 2] con sordino

Vln. 2

B 22
W

[Solo Viola] con sordino

Vla.

?2 W

[Solo Violoncello] con sordino

2

Vlc.

?2 W

Cb. 2

AP 428
Angustam Amice 35

141
W W
[Solo Soprano]

1 & #

ter ne - glec - tus in - ces - to ad - di - dit
S.
W W
2 & #
in - ces - to

W W
& #
1

ter ne - glec - tus in - ces - to
A.
W W
&
2

ter in - ces - to

V
W W
1

ter ne - glec - tus in - ces - to
T.

W W
2 V
in - ces - to

1
? W
# W

ter ne - glec - tus in - ces - to
B.

?
W W
2
in - ces - to
()
W

W

&
sul A

Vln. 1 #

W W
& #
Vln. 2

W W
Vla. B

Vlc.
? W
#
W

Cb.
? W

W

AP 428
36 Angustam Amice

146
[Soprano 1] tutti [Solo Soprano]

1 &
in - te - grum, ra - ro an - te - ce - den - tem
S.

2 & # #
in - te - grum, ra - ro

1 &

in - te - grum, ra - ro
A.

2 &

in - te - grum, ra - ro

1 V
in - te - grum, ra - ro
T.

2 V
in - te - grum, ra - ro

?
1

in - te - grum, ra - ro
B.

?
2

in - te - grum, ra - ro
()

& # #
sul A

Vln. 1

()
gli altri (con sordino)

&
sul A

Vln. 2

()

( ) sul C
gli altri (con sordino)

Vla. B
()

( ) sul A
gli altri (con sordino)

?

Vlc.
()

( ) sul A
con sordino

Cb.
?

AP 428
Angustam Amice 37

W U
151
W
& # #
1
w
S.
sce - les - tum de - se - ruit pe - de Poe - na clau -

do.

W W U
&
2
w
sce - les - tum de - se - ruit pe - de Poe - na clau -

do.

W W U
& #


#w
1

A.
sce - les - tum de - se - ruit pe - de Poe - na clau -

do.

W W U
2 & #

#w
sce - les - tum de - se - ruit pe - de Poe - na clau -

do.

W
W U
1 V w
T.
sce - les - tum de - se - ruit pe - de Poe - na clau -

do.

W
W U
2 V w
sce - les - tum de - se - ruit pe - de Poe - na clau -

do.
W
1
?
W U
w
sce - les - tum de - se - ruit pe - de Poe - na clau -

do.

?
B.
W U
w
W
2

U ( )
sce - les - tum de - se - ruit pe - de Poe - na clau - do.
W
gli altri ( )

# #
W (con sordino)

&
sul E

w
senza vibrato
Vln. 1

()
sul E
() X
U ( ) sul A
sul A

W W
sul
& #
D
()
Vln. 2
#w
senza vibrato
sul G ( )
sul D
() () X U
W senza vibrato
W
B
(dolce)

# w .
sul G

senza vibrato
Vla.

( )
sul G
sul( A) U
W

W
? w
.
senza vibrato (dolce)

Vlc.
senza vibrato
()
sul D
()
sul G
U
? W W
( ) sul A


Cb.

AP 428