ACDA is including my edition of “Laudate Pueri” at a reading session in Dallas this week, so just in case anybody is thinking of performing it (which you should! It’s FABULOUS!), here are some things:
There are a few typos/mistakes in the notes. In the third paragraph, JJ suggests “conducting this work in 4/2 to achieve better musical line.” That should be, of course, 2/2 (beat half notes, not quarter notes).
In the transliteration of the Latin into German Latin, there are three mistakes–quite a lot for so few words! Sorry. Quite embarrassing, but I had just starting the editing thing and had not yet some to realize just how fastidious one must be. Also, GIA doesn’t “do” a lot of IPA, so communicating IPA symbols across technology a la distance to talented, hardworking engravers who are used to solving issues to musical notation and ensuring the edition conforms to the beautifully legible and aesthetically pleasing GIA template, not delving into text issues, was more complicated than I anticipated. At least I have this platform here to let you know about the mistakes!
In the first and second lines: [la:ʊ-da-tə] (not [lo])
In the third line, [no men] should be identical to its companion from the second line, [no-mən]. As to whether or not this should be [nɔ-mən] instead is debatable, but I stand by the closed [o] in the first syllable.
In the fourth line, the first word should be [nʊŋk]. But I failed to explain the difference between [un] and [ʊŋ] to an engraver who knows everything there is to know about musical notation, but isn’t a linguist; and then I there’s the chronic problem of cross-alphabet conflation, where my eyes slide right over C and [k]. In my dissertation, I’m transliterating Cyrillic into IPA and Roman, and this problem is the bane of my existence. So there it sits in black and white: [nunc] *shudder*
Whew. I feel better now.
But, really, sing it in German. You should be singing in German anyway, and there’s piles of accessible Latin music. Use this as an opportunity to sing in German!
As for the solfeggion, I’m a true believer. James Jordan’s solfege editions are exactly the thing I wished existed when I was teaching high school. I made my students write their own solfeggio in to their scores just like this, and that was a good exercise in itself. But sometimes I just wanted to hand them a score with the solfege done, and not have to do it myself. So, I hope you like it!