Audi dulcis amica mea (Orlando di Lasso)

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• (Posted 2023-04-24)  CPDL #73577: 

Editor: Richard Shakeshaft (submitted 2023-04-24).   Score information: Unknown   Copyright: Personal

Edition notes: Transposed down a minor third from original. A preview is available, but name and email are required to download complete free licensed copies.

• (Posted 2020-03-18)  CPDL #57574: 

Original key (high chiavette):        

Transposed down a fourth:      

Editor: Pothárn Imre (submitted 2020-03-18).   Score information: A4, 4 pages, 97 kB   Copyright: CPDL

Edition notes: Transcribed from 1555 print. Original note values.

• (Posted 2013-10-28)  CPDL #30442:        (Finale 2008)

Editor: André Vierendeels (submitted 2013-10-28).   Score information: A4, 5 pages, 128 kB   Copyright: CPDL

Edition notes:

General Information

Title: Audi dulcis amica mea
Composer: Orlando di Lasso

Number of voices: 4vv   Voicing: SATT
Genre: Sacred, Motet

Language: Latin
Instruments: A cappella

First published: 1555 in Le quatoirsiesme livre a 4 parties, no. 20
    2nd published: 1563 in Liber primus Musarum cum quatuor vocibus sacrarum cantionum (Antonio Barré), no. 26
    3rd published: 1568 in Selectissimae cantiones, no. 2.46
    4th published: 1569 in Sacrarum cantionum quatuor vocum, Liber 2, no. 2
    5th published: 1572 in Moduli 4-8vv, no. 1
    6th published: 1579 in Altera pars selectissimarum cantionum, no. 58
    7th published: 1604 in Magnum opus musicum, no. 60
Description: The text is conflated from verses from the Song of Songs (1:5, 2:4, 4:7). At the text "Nigra es sed formosa" (You are black but beautiful) the notation is in black notes. This may only be a visual "clue" to the singers, and does not necessarily mean a change of tempo. (I.e. the minim of the tempus imperfectum diminutum is probably equal to the semibreve of the black notes.) The 1568 edition, the 1579 edition and the edition in Magnum Opus Musicum is virtually identical with the 1555 print, there are only a handful differences in accidental placement, the most significant is the sharp sign before the B flat in the Superius right after the black notes in the 1579 edition of Selectissimae cantiones and in Magnum Opus Musicum (the 1555 and 1568 editions have no sharp sign here), so they indicate here a major chord as a cadence instead of a minor chord.

Original text and translations

Original text and translations may be found at Audi dulcis amica mea.