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Alkuperäinen

Palestrina. Assumpta Est Maria - Motet. Davison. SSATTB. Sheet Music. Choral. CHOR. Giovanni Palestrina.

Käännös

Palestrina. Assumpta Est Maria - Motetti. Davison. SSATTB. Nuotit. Kuoro-. KUORO. Giovanni Palestrina.

Alkuperäinen

Palestrina is one of the towering figures of late Renaissance church music whose polyphonic compositions remain actively performed in the Choral repertoire. He composed more than 250 motets. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. In 1545, the Council of Trent set out to reform various practices in the Roman Catholic Church in defense of the threats of the new Protestant movement. Clarity of scriptural words was one of the issues at stake, especially as the polyphonic style, of which Palestrina was a master, overlaid many Vocal lines, creating complex textures. It is debated whether this motet, with a newfound clarity of language, was written in response to the Council of Trent, or if it predated the Counterreformation and sprung with its innovations entirely from Palestrina’s own fertile creativity. This edition was prepared from the Vatican choirbook contemporary with the composer’s life. It is scored for Cantus I and II, Alto, Tenor I and II and Bass with rehearsal Piano accompaniment.

Käännös

Palestrina on yksi jyrkät luvut myöhäisrenessanssin kirkkomusiikin jonka melodiset koostumukset edelleen aktiivisesti suoritetaan Choral ohjelmistoon. Hän sävelsi yli 250 motetteja. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. Vuonna 1545, neuvoston Trent lähti uudistamaan eri käytäntöjä roomalaiskatolisen kirkon puolustukseksi uhkia uuden protestanttisen liikkeen. Selkeys kirjoitusten sanoja oli yksi kysymyksistä, varsinkin kun moniäänisiä tyyli, josta Palestrinan oli mestari, päällysti monet Vocal linjat, monimutkaisten tekstuurit. It is debated whether this motet, with a newfound clarity of language, was written in response to the Council of Trent, or if it predated the Counterreformation and sprung with its innovations entirely from Palestrina’s own fertile creativity. This edition was prepared from the Vatican choirbook contemporary with the composer’s life. It is scored for Cantus I and II, Alto, Tenor I and II and Bass with rehearsal Piano accompaniment.