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Ursprunglig

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

Översättning

Palestrina. Assumpta Est Maria - Motet. Davison. SSATTB. NOTER. Kor-. KÖR. Giovanni Palestrina.

Ursprunglig

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.

Översättning

Palestrina är en av de ståtliga figurer av sena renässansen kyrkomusik vars polyfoniska kompositioner förblir aktivt utförs i Choral repertoaren. Han komponerade mer än 250 motetter. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. År 1545 fastställde rådet av Trent ut att reformera olika praxis i den romersk-katolska kyrkan i försvar av de utmaningar som det nya protestantiska rörelsen. Klarhet i skrifterna ord var en av de frågor som står på spel, särskilt som den polyfona stil, varav Palestrina var en mästare, putsade många Vocal linjer, skapa komplexa texturer. 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.