Ignatio Donati

!
DON008.1

Congratulamini mihi

Edited by Dennis Collins.
8pp.
PLEASE NOTE: This edition does not include a continuo realization. If you require one, please tick the box. Remember, it may take a week to produce a continuo part.
This trio for Sopranos (or Tenors) is cast as an echo piece, and will work well with spatially separated voices.
DON007.1

Da mihi Domine

Edited by Dennis Collins.
4pp.
Scoring: Soprano (or Tenor) solo and continuo.
PLEASE NOTE: This edition does not include a continuo realization. If you require one, please tick the box. Remember, it may take a week to produce a continuo part.
This setting of texts suitable for male or female singers (the first part from the Book of Wisdom) comes from Donati's Op. 5 collection, which was first published in 1618.
DON003.1

Ego dormio

Edited by Dennis Collins.
4pp.
Scoring: Soprano or Tenor solo, continuo.
PLEASE NOTE: This edition does not include a continuo realization. If you require one, please tick the box. Remember, it may take a week to produce a continuo part.
Taken from the composer's 1619 book of solo motets, Ego dormio sets a text from The Song of Songs for either soprano or tenor. Donati uses descending scales to represent the singer falling asleep, and faster notes to denote his or her excitement when the loved one knocks on the door.
DON006.1

Exaudisti Domine

Edited by Dennis Collins.
4pp.
Scoring: Soprano solo and continuo.
PLEASE NOTE: This edition does not include a continuo realization. If you require one, please tick the box. Remember, it may take a week to produce a continuo part.
This setting of a text from the Pentecost liturgy (asking the Lord to bless his church) also comes from the 1636 didactic set, Op. 14. Here again passages of declamation are interspersed with flourishes, the most dramatic of them reserved for "in toto corde" and "Deus".
DON004.1

Gaudens gaudebo

Edited by Dennis Collins.
4pp.
Scoring: Soprano, Bass and continuo.
PLEASE NOTE: This edition does not include a continuo realization. If you require one, please tick the box. Remember, it may take a week to produce a continuo part.
This fine duet for soprano and bass comes from Donati's Op. 5 Concerti Ecclesiastici, first published in 1618. The jubilant text from Isaiah 61 is set mostly imitatively, although there are short passages of declamation for both singers as well. There is none of the virtuosity associated with the composer's solo motets.
DON001.1

In te, Domine, speravi

Edited by Brian Clark.
4pp.
Scoring: 2 sopranos or 2 tenors, continuo.
A duet for two sopranos or tenors, this setting of texts based on Psalms 30 and 70 comes from the composer's fourth book of Concerti Ecclesiastici of 1618.
DON002.1

O Dominum, salvum me fac

Edited by Brian Clark.
8pp.
Scoring: SATTB, continuo.
PLEASE NOTE: This edition does not include a continuo realization. If you require one, please tick the box. Remember, it may take a week to produce a continuo part.
This is the first piece in Donati's Motetti Concertati of 1627. The setting of words from psalm 117 is suitable for solo voices or choir, and lasts around four minutes.
DON009.1

Obstupescite caeli

Edited by Dennis Collins.
8pp.
PLEASE NOTE: This edition does not include a continuo realization. If you require one, please tick the box. Remember, it may take a week to produce a continuo part.
The three Soprano (or Tenor) voices in this setting of verses from Jeremiah are introduced one at a time. They then join for a prayer for deliverance from the evils of the world.
DON005.1

Salve regina

Edited by Dennis Collins.
4pp.
Scoring: Soprano solo and continuo.
PLEASE NOTE: This edition does not include a continuo realization. If you require one, please tick the box. Remember, it may take a week to produce a continuo part.
This Marian antiphon setting comes from the composer's Il secondo libro de motetti a voce sola, first published in 1636. It was printed "for the education of boys and girls" although several passages in the present work are clearly aimed at Donati's more able pupils! There are several vocal flourishes, though none as ornate as the final "Virgo Maria".