If one has the fortune to see a live performance of the Vespers of 1610, it is immediately apparent that the instruments double the vocal parts in 80% of the work. It may come as a surprise that these doublings are not notated in any of the various partbooks, but follow the renaissance practice of colla parte (with the part). Aside from the opening Dixit Dominus, the Sonata and a few instrumental obligato lines in the Magnificat, the lion’s share of the instrumental part is doubling the voices.
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