Chorpartitur

Miserere ZWV 57
Jan Dismas Zelenka
Miserere I

 
Adagio
         
 
f

Sopran    
Mi- se- re - re me - i, mi- se- re -


 f

Alt      
          
Mi- se- re - - re, mi- se- re - -

 
          
f

Tenor       
 Mi- se- re - - - - re, mi- se- re -

          
 
 
f
Bass   
Mi- se- re- re, mi- se- re - - re, mi- se-

          
16

      

- - - - - re me - i, De - -

 
              

- - - - - - - re me- i, De -

 
     
           

 re, mi- se- re - - re me - - i, De - - -

              
   
re- re, mi- se- re- re, mi- se- re- re,

Editor: Notenschreiber @ IMSLP Source: Score edited by Sharon Rosner

Copyright: Creative Commons Attribution-NonCommercial-ShareAlike 4.0
2 Chorpartitur

      
21

            

- - - - - - us, mi- se- re - - re,

  
               
- - - - - - us, mi- se- re - -

                   
     

 - - - - - us, mi- se- re- re me- i, De - - -

                 
  
mi- se- re- re me- i, mi- se- re- re, mi- se- re- re,

             
26

      
mi- se- re - - - - re me- i, De- us, mi- se-

 
          
- re me- i, mi - - se- re- re me-

          
     
 - - - - - - - - - us, mi- se-

          

 
  

mi- se- re- re, mi- se- re- re me- i, De- us,

     
30
  
ff

 
re - - - - re.

  
           


i, mi- se- re- re.

       
 
f

 re

- - - - - re.

     

   

mi- se- re- re.
 Chorpartitur 3

Miserere II
Andante man non troppo
       
     
Mi- se- re- re me- i, De-

       
                  
   
Mi- se- re- re me- i, De- us, se- cun- dum ma - gnam mi- se- ri- cor- di- am tu -

    


 
   

   
5

                

  
us. Et se- cun- dum mul- ti- tu- di- nem mi- se- ra - ti -

  
              
    

am. Et se- cun- dum mul- ti- tu- di- nem mi- se- ra- ti- o- num

                
 
   
 Et se- cun- dum mul- ti- tu- di- nem mi- se-

     
      
Mi- se- re- re me- i De- us.

       
8

        

  
o- num tu- a- rum, de - - - le, de -

      
         
      
tu- a- rum, de - - le in- i- qui- ta- tem me- am.
 
           
     
  
 ra- ti- o- num tu- a- rum, de- le in- i- qui- ta- tem. Mi- se-

  
         
Mi- se- re- re me- i De- us.
4 Chorpartitur

     
11

         
- le in- i- qui- ta- tem me- am.

 
   
                     
 
Am - pli- us la- va, la- va me ab in- i- qui- ta- te me- a: et

     
              
 re- re me- i, De - - - us. Am- pli- us la- va

         
 
Mi- se-re- re me- i De-

  
15

      

Mi- se- re- re me- i, De- us.

        
               

  
a pec- ca - to- me - o mun - da me, mun- da, mun-
    
                  
 me ab in- i- qui- ta- te me - a: et a pec- ca- to

        
     
us. Mi- se- re- re me- i De-

              
19

         
  
 
Quo- ni- am in- i- qui- ta- tem me- am e - go co- gno- seo:

      

   
      
da me. Mi- se- re- re me- i, De- us. Et
          
       
 me- o mun- da me. E- go co- gno - sco. Mi- se- re- re

       
  
us. Mi- se- re- re
 Chorpartitur 5

           
23
 
        
  
et pec- ca- tum me - um con- tra me est sem - - - - per,

       
                  

 
pec- ca- tum me- um con- tra me est sem - - -

      
 me- i, De - us.
   
      
 
me- i De- us. Mi- se- re- re

     
27

          
  
   
con- tra me est sem - per. Ti- bi so- li pec- ca -

         
      
- per. Mi- se- re- re me- i, De-

              
             
 Con- tra me est sem- per. Ti- bi so- li pec- ca - -

       

me- i De- us.

       
31
 
       
         
- vi, et ma- lum co- ram te fe - - ei: ut ju- sti- fi-

  
           


    
us. Ti- bi so- li pec- ca- vi. Mi- se- re- re me- i,


             
      
    
 - vi: ut ju- sti- fi- ce - - - - ris, ut ju- sti- fi- ce-

           
 
Mi- se- re- re me- i De- us.
6 Chorpartitur

     
35

            
   
  
ce - - ris in ser- mon - ni- bus tu - is, et vin-

  
     
De- us.

        
             
 
 ris, et vin- cas, et vin- cas cum ju- di- ca- ris, et vin-

        
   
Mi- se- re- re me- i De- us.

         
39

         
      
cascum ju- di- ca- ris. Ec- ce e- nim, in in- i- qui- ta- ti-

   

             
   
Ec - ce e- nim, in in- i- qui- ta- ti- bus con- ce- ptus
      
      
 cas cum ju- di- ca - - - ris.

     
      
Mi- se- re- re me- i De- us.

    
42

         
    
bus con- ce- ptus sum: et - in pec- ca- tis

 
             
sum: et in pec- ca- tus me - - - - -

       
             
   
 Ec- ce e- num in in- i- qui- ta- ti- bus con- ce- ptus

        
  

Mi- se- re- re me- i De-
 Chorpartitur 7

    
45

             

me- is con- ce - - pit me ma- ter me- a.

     
        
  

       
-

      
is, et in pec- ca - tis me- is on- ce - pit me ma- ter me-

    
        
 sum.
  
Mi- se- re- re me- i, De - us. Ec- ce e -

      

  

us. Mi- se- re- re me- i De-

    
 
49

              


Mi- se- re- re me- i, De - - - us. A - sper- ges

            
       
a. Ec- ce e- num, ve- ri- ta- tem di- le- xi - sti.

 

                     
    
 nim: in- cer- ta et oc- cul- ta sa- pi- en- ti- ae tu- aema- ni- fe- sta -

         
 

 
us. Mi- se- re- re rne- i De-

    
53

                   
me: et su- per -ni vem de- al- ba - - - - bor.

       
      
      
Hys- so- po,
et mun- da - bor: et su- per ni- vem de- al-

                

 - - - - - sti mi- hi. Su- per ni-vem de-

         
    

us. Mi- se- re- re me- i
8 Chorpartitur


57
        
   
   
Au - di tu- i me- o da- bis

           

            
us. Au - di - tu- i me - o

       
ba - bor. Mi- se- re- re me- i, De -

                
   
 al- ba- bor. Mi- se- re- re me- i, De- us. Da- bis gau- di- um, da-

   

     
De- us. Mi- se- re- re

   
61

     
         


gau- di- um et lae- ti - - ti- am, et lae- ti- ti- am, lae-

         
            
da- bis gau- di- um et lae - - - ti- ti- am: et
 
            
    
 bis gau- di- um et lae- ti- ti- am, lae- ti- ti- am:

       
  
me- i De- us. Mi- se-

                  
64

   

  
ti- ti- am. A - ver- te fa- ci- em tu - am a pec- ea- tis

             

       
     
ex- sul- ta- bunt os- sa hu- mi- Ii- a- ta. Et o- mnes in-
  
       
      

 et ex- sul- ta- bunt. Mi- se- re- re me- i,

     
  
re- re me- i De- us.
 Chorpartitur 9


67
 
         
me - - is. Mi- se- re- re

       
                      
i- qui- ta- tes me- as, o- mnes in- i- qui- ta- tes me- as de - -


                    
  
 De - - - us. Cor mun- dum cre- a in me, De- us: et

            
  
Mi- se- re- re me- i De- us.
71
   
   
me- i, De- us.

        
             
    
- - - - le. In- no- va in- vi- sce- ri- bus

     
       
         
 spi- ri- tum re- ctum in- no- va, in- no- va in vi-

    
     
Mi- se- re- re me- i De-

             
74

              
  
  
Ne pro- ji - ci- as me a fa- ci-e- tu- a: ne au- fe- ras a me.

    
           
me- is. Mi- se- re- re me- i, De - - us. Red

       
    
          
 
 sce- ri- bus me - is. Et spi-ri- tum san- ctum tu- um. Mi- se-re- re

       
  
us. Mi- se- re- re
10 Chorpartitur

           
78

                
 

 
Sa- lu- ta- ris tu - i: et spi - ri- tu prin- ci- pa- li con- fir-

         
         

     
de mi- hi lae- ti- ti - am: et spi- ri- tu prin- ci- pa -

      

 me- i, De- us.
   
  

me- i De- us.

 
            
81

      

  
ma me. Do- ce- bo in- i- quos, in- i- quos vi- as tu-


               
      
- - li con- fir - ma me. Mi- se- re- re me- i,

            
         
 Do- ce- bo in- i- quos vi- as tu- as: et

       
   

Mi- se-re- re me- i De- us.


85
       
          


as: et im- pi- i ad te con - ver- ten -

     
              
De- us. Et im- pi- i ad te con- ver- ten-

  
   
            
       

 
 im- pi- i ad te con- ver- ten - - - tur, ad teeon- ver- ten-

        
  
Mi- se-re- re me- i De-
 Chorpartitur 11


88

               
  
- - - - tur. Li- be- ra me de san- gui- ni-

  
         
tur. Mi- se- re- re me- i, De - -
     
           
   
  
 tur, con- ver- ten- tur. Li- be- ra me de san- gui- ni- bus, De- us,

  
     
us. Mi- se-

      
91

    
     

     
bus, De- us sa- Iu- tis me- ae: et ex- sul-

  
   
- - - - - - us, De-
    
      
    
  
   
 De- us sa- lu- tis me - - ae: et ex- sul-

      
 

re- re me- i De- us.

   
 
94

          
     

ta- bit lin- gua me- a ju- sti- ti- am, ex- sul- ta- bit ju-

         
            

   
us. Do- mi- ne Ia- bi- a me- a a- pe- ri-

   
            
 ta- bit lin- gua me- a ju- sti- ti- am tu - - - am.

   
        
Mi- se- re- re me- i De- us.
12 Chorpartitur

    
97

     

     
sti - - ti- am tu- am. Quo- ni- am si vo- lu-

  
   
        
      

            
es: et os me- um an- nun- ti- a- bit lau- dem tu - -

         
     
 Quo- ni- am si vo- lu- is- ses sa- cri- fi- ci- um de- dis- sem u- ti-

        
  

Mi- se- re- re me- i De-

           
100

       
       
    
is- ses sa- cri- fi- ci- um, de- dis- sem, de- dis- sem u- ti- que, u- ti-

 
              
 
am. Ho- lo- cau- stis non, non, non de- le- cta- be- ris.

            
-

     
     
 que. Mi- se- re- re me- i, De - us. Sa- cri- fi- ci- um

      
    
us. Mi- se- re- re

   
103
 
      


que. Mi- se- re- re me- i, De -

                 
 
            
Sa- cri- fi- ci- um De- o spi- ri- tus con- tri- bu- la - tus: De- us, non,

        
         
 De-
   
o spi- ri- tus con- tri- bu- la -

  
  
me- i De- us.
 Chorpartitur 13

             
106

  
 
- - us. Be- ni- gne fac, Do- mi- ne: ut ae-

   
             

non, non de- spi- ci- es. In- bo- na vo- lun-

                 
      
 -tus: cur con- tri- tum, et hu- mi- li- a- tum, De-

          
   

Mi- se- re- re me- i De- us.

  
109

       
         

di- fi- cen - - - tur mu- ri Je- ru- sa- lem.

            
          
ta- te tu- a Si - on: ut ae- di- fi- cen - tur mu- ri

         

  
    
 us, De- us, non de- spi- ci- es. Ut ae- di- fi- cen-

       
    
Mi- se- re- re me- i

    
         
112
  
    
Tunc ac- ve- pta- bis sa- cri- fi- ci- um ju- sti- ti-

      
           
     
          
Je- ru- sa- lem. Mi- se- re- re me- i, De- us. Ob - la- ti- o-

           
 tur mu- ri. Mi- se- re- re me- i, De- us. la- ti-

    

De- us.
14 Chorpartitur

115

      
     


ae: tunc im- po - - - nent

  
              
nes, et ho- lo- cau- sta: tunc im- po- nent

     
          
 o- nes, et ho- lo- cau- sta: su- per al- ta- re

   
       
   
Mi- se- re- re me- i De- us. Tunc im- po-

      
118

Adagio
     
    

su- per al- ta- re tu- um vi- tu- los.

        
           
            
su- peral- ta - - re tu- um vi- tu- los.

         
  
 tu- um vi- tu- los, su- per al- ta- re tu- um vi- tu- los.

           
nent su- per al- ta- re tu- um vi- tu- los.

Larghetto ma non troppo

Gloria Patri I
 

TACET


  
TACET

  
TACET




TACET
 
 Chorpartitur 15

Gloria Patri II
Largo
  
1

             
Glo- ri- a Pa- tri, Pa- tri, et Fi- li- o,

                
Glo- ri- a Pa- tri, Pa- tri, et Fi- li- o,

                
 Glo- ri- a Pa- tri, Pa- tri, et Fi- li- o,

              

Glo- ri- a Pa- tri, Pa- tri, et Fi- li- o,


7
              

et Spi- ri- tu- i, et Spi- ri- tu- i, et Spi-

            
  
et Spi- ri- tu- i, et Spi- ri- tu- i, et Spi-

   
         
 et Spi- ri- tu- i, et Spi- ri- tu- i,

        
     
et Spi- ri- tu- i, et Spi- ri- tu- i,
12 Adagio
 
         
ri- tu- i San - - - - - - cto.

           
ri- tu- i San - - - - - - cto.

        
 
 et Spi- ri- tu- i San- cto.

      
     
et Spi- ri- tu- i San- cto
16 Chorpartitur

Sicut erat

     
Andante ma non troppo
    
            
Et in sae- cu- la sae- cu- lo - - rum, sae- cu- lo -

            
              

     
Sic- ut e- rat in- prin- ci- pi- o, sic- ut e- rat in prin- ci- pi-

        
    
     
 Sic- ut e- rat in prin- ci- pi- o, et nunc, et sem-

   

     

Mi- se- re- re me- i,

     
4

         


- - - - - rum. A- men. Sic- ut e- rat in prin-

                    

per, et in sae- cu- la sae- cu- lo- rum. A - - -

               
o, et nunc, et sem-

     

 per, et in sae- cu- la sae- cu- lo- rum. A - - -

        
    
De- us. Mi- se- re- re me- i, De-

         
8

               

  
ci- pi- o, et nunc, et sem- per, et in sae- cu- la sae- cu- lo- rum.

   
  
    
          
 
men.
- Sic- ut e- rat in prin- ci- pi- o, et nunc, et sem- per,

                 
f

   
 Mi- se- re- re me- i, De- us. Sic- ut e- rat

      
  
men.


us. Mi- se- re- re
 Chorpartitur 17

   
11
 
        

A- men. Mi- se- re- re me- i, De -

      
       
          
 
  
et in sae- cu- la sae- cu- lo- rum, et in sae- cu- la sae- cu- lo- rum. A -

                 
      
 in prin- ci-
   
pi- o, sic- ut e- rat, e- rat in prin- ci- pi-

  
  
me- i, De- us.

   
           
14

      


- - us. Et in sae- eu- la sae- eu- lo- rum, sic- ut

   
            

- - - men. Et in sae- cu- la sae- cu-

    
             
 o, et nunc, et sem- per, et nunc, et sem - -

        
   

 
Mi- se- re- re me- i, De- us.

    
     
17

            

e- rat in prin- ci- pi- o, et nunc, et sem - - per,

        
          
lo- rum. A - men. Et in sae- cu- la sae- cu- lo- rum.

   
            
 -per, nunc, et sem- per, et in sae- cu- la sae-

       
   

Mi- se- re- re me- i,
18 Chorpartitur

       
20

        
  
   
et in sae- cu- la sae- cu- lo- rum. A- men, a-

           

           
A - men. Mi- se- re- re mei- i, De- us. Et in sae- cu- la sae-

               
  
f

    
 cu- lo- rum. Mi- se- re- re me- i, De- us. In sae- cu- la

    

De- us.

              
23

        
men. Et in sae- cu-la sae- cu- lo- rum. A- men. Et in sae- cu-la

                  
    
cu- lo - rum. A- men. Et in sae- cu-la sae- cu- lo- rum. A -

     
                  
 sae- cu- lo- rum. A- men. Et in sae- cu-la sae- cu- lo -

      
         
 
Mi- se- re- re me- i, De- us. Nunc, et sem- per, et in

             
27
 
        
sae- cu- lo - - rum. A - - - - -

         
            
- - - - - - men,a - men, a -

                       
     
 rum. A - men,a - - - - - men, A -

     
     
 

 
sae- cu- la sae- cu- lo - - - rum. A -
 Chorpartitur 19

Miserere III
Adagio
              
 
f

   


men. Mi- se- re - re me- i, mi- se- re -

 
         
f

      


men. Mi- se- re - re, mi- se- re - -

            
f

        
 men.

Mi- se- re - - - re, mi- se- re-

   
f
     

      
men. Mi- se- re- re, mi- se- re- re, Ini- se-

 
11
               
      

- - - - - f


re, mi- se- re - - re me-
 
                
- - - - f


re, mi- se- re - - re me-
        
     
 
  
    


re, mi- se- re - - re, mi- se- re - - - re

           
   


re - - - - re, mi- se- re- re me- i,

    
16
   
f

ff
    
 
i, De- us, rni- se- re - - re.

 
ff  
              


i, De- us, Ini- se- re- re.

 
                
f ff

 me- i, De-

us, rni- se- re- re.

        
f ff
  
      
De- us, mi- se- re - re.