Antico Edition corrections and emendations

Corrections and emendations

With the arrogance of youth our general editor once thought that it was possible to produce error-free copy. With the arrogance of impending senility he now thinks that since he has never managed to do so, it cannot be done. Over the years mistakes and things that could be done better have been noticed in several Antico editions; there must be others yet to be found. Since it may be some time before an edition is exhausted and can be reprinted with changes, this Corrections and Emendations page is provided so that users of our editions can benefit quickly from revisions.

The list below will be added to from time to time. If you find mistakes in our volumes, or come across anything in the music or text which you consider dubious or capable of improvement, please let us know by sending an e-mail message to: earlymusic@anticoedition.co.uk.

Corrections and emendations

AB07 (Peerson Sacred songs)

Page 30, all parts, bar 52: add dotted bar-line after fourth minim beat;
Page 123, Tenor, bar 1: key-signature missing;
Page 146, Tenor, bar 43: read “see” for “sce”;
Page 154, Tenor, bar 124: end syllable continuation line after crotchet D;
Page 166, Tenor, bar 39: delete hyphen before “to”;
Page 171, Tenor, bar 93: delete syllable continuation-line after tied minim G;
Page 198, Bassus, bar 8: second semibreve should be G at top of bass staff;
Page 232, Tenor, bar 126: add syllables “-men, A-” below the two semibreve Gs;
Page 237, Bassus, bar 60: add sharp to third note (F);
Page 240: bar numbers at beginning of systems should be 85, 89, 93;
Page 255, Organ, bar 15: lower note in r.h. on third beat should be E not F;
Page 280, Organ, bar 69: add editorial semibreve rest after semibreve D in r.h.

AE11 (Four French Songs)

In the 2014 reprint the top part of Le Grant Pleyser should be in the treble clef, not in the octave-transposing G clef.

AE41 (Seven Songs from the Age of Shakespeare)

Page 19, Tenor, bars 20 and 21: the literal source reading (minim g, minim g, minim b flat, minim a) should be emended to minim g, minim b flat, minim A, crotchet f sharp, crotchet g.

RCM104 (Richard Pygott: Salve regina)

Tenor, bar 193 (page 14): for breve AF read semibreve F, minim rest, minim FA, semiminim GF, minim high C, semiminim BA.

RCM105 (Robert Fayrfax: O Maria deo grata)

Page iii, fn. 6: the reference should be to London, British Library, MS Arundel 201, f. 96;
Bass, bar 289 (page 18): for semibreve AA read breve A.

RCM106 (Nicholas Ludford: Salve regina)

Tenor, bars 186–7 (page 13): take high FEDC an octave lower then continue as printed.

RCM108 (John Mason: Ave fuit prima salus)

Tenor, bars 164–5 (page 12): for dotted-minim F semiminim G semibreve A breve B semibreve rest read semibreve F (pre) semibreve A (li) semibreve GFG.

RCM115 (William Pashe: Sancta Maria mater dei)

Tenor, bar 38 (page 12): for semibreve FA breve G read dotted-minim F, seminimin GAB, semibreve C, semiminim BA, semibreve G;
Tenor, bar 115 (page 17): for semibreve F read semibreve C a fifth above;
Tenor, bars 142–4 (page 19): read breve FG, breve AB, semibreve AFDE.

RCM117 (Hugh Sturmy: Exultet in hac die / William Whytbroke: Sancte deus)

Mean, bar 85 (page 7): the parallel octaves with the Treble could be removed by reading breve DF for long F.

RCM124 (John Merbecke: Ave dei patris filia), First Edition (to July 2019)

Treble, bar 18 (page 2): the last two minims of the bar should be B flat B flat, not DD.

RCM126 (Anonymous: Missa Sine nomine (Confessor domini?))

Gloria, page 7: the first bar of the third system should be numbered 93, not 94.
Agnus, page 32: the first bar of the second system should be numbered 20, not 21.
Agnus, Contratenor, bar 66 (page 35): the pitch of the sixth note in the bar (dotted minim) should be G, not A.
Sanctus, Treble, bar 138 (page 30): for semibreve G read minim rest minim G (there is no minim rest in the source, and the G was initially written as a minim but changed by the copyist into a semibreve; the resulting parallel octaves with the Bass, and the up-beat entries in the other voices, suggest that the composer intended the Treble to have a minim rest followed by a minim G).

RCM132 (Nicholas Ludford: Missa Inclina cor meum)

Sanctus, Tenor, bar 34 (page 26): for dotted-breve A read breve A semibreve rest.

RCM135 (Nicholas Ludford: Missa Regnum mundi)

Credo, Tenor, bar 120 (page 19): for breve D read semibreve D, semibreve rest;
Sanctus, Treble, bar 176 (page 33): for high G read B a sixth below.