Pater, peccavi in caelum, et coram te: iam non sum dignus vocari filius tuus: Fac me sicut unum ex mercenariis tuis. Quanti mercenarii in domo patris mei abundant panibus, ego autem hic fame pereo! Surgam, et ibo ad patrem meum, et dicam ei. Pater, peccavi....
and Vidi Dominium facie ad faciem: Et salva facta est anima mea. Et dixit mihi: Nequaquam vocaberis Jacob, sed Israel erit nomen tuum. Vidi Dominum..../i>
I managed to dig up this photo of Et dixit mihi: Nequaquam... chant (Portuguese source). It's the bottom of the 79verso page (on the left in the photo). Pater peccavi... begins at the bottom of the 80recto page and continues on the next photo (80verso).
I just finished transcribing the prima pars of Castro's Pater peccavi. Attached is the PDF score and an MP3 sound simulation. I'll work on the secunda pars shortly.
RISM gives several settings of Vidi Dominum (not "Dominium") Facie, though not as many as Vidi Dominum Sedentem. Wilhelm Breitengraser (early 16th) SATB Melchior Franck a6 (may be incomplete) Clemens non papa a 4 (in the collected works) Thomas Frisch a 6 (incomplete?) Hieronymous Praetorius SSATB bc
Not sure why, but the prima pars of this piece took me an hour, while the secunda pars took a couple of days. Maybe because the partbooks were fainter on the secunda pars, making the rests harder to see. I agree with Heath, about the challenges of the tessitura. Would be happy to raise/lower/rescore it for anyone, if desired.
(N.B. editorial accidentals are indicated in a smaller point-size. They're large enough for the singer to read easily, but small enough that a conductor can readily distinguish them from the composer's accidentals and rescind them if preferred.)
I finished the secunda pars late last night and just got back to post this, noting now that CGM has posted his edition. I agree that the secunda pars pars was difficult to read/decipher in the scanned part books (especially the tenor part), but finally managed to get it done once the music returned at the end to the same ending as the prima pars. I've been very careful that all editorial ficta are placed above their respective notes in the score. I've also made an ATB edition (down a whole step) and an SAT edition (up a whole step). I can make other transpositions for anyone (just let me know).
The Phinot — which has a chain of suspensions that seem to resolve via an actual half-step modulation — is pretty stunning, too. Its five voices may be beyond the scope of the OP, though. (Probably the eight voices of the Crecquillon is!) There's a brief five-voice setting by Lobo which is effective.
There are good four-voice settings by Porta and Manchicourt as well. (The Manchicourt is particularly lovely.)
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