Noter $7.88
Original
Palestrina. Assumpta Est Maria - Motet. Davison. SSATTB. Sheet Music. Choral. CHOR. Giovanni Palestrina.
Oversettelse
Palestrina. Assumpta Est Maria - Motet. Davison. SSATTB. Noter. Choral. CHOIR. Giovanni Palestrina.
Original
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.
Oversettelse
Palestrina er en av de ruvende skikkelsene i slutten av renessansen kirkemusikk som polyfone komposisjoner forbli aktivt utføres i Choral repertoar. Han komponerte mer enn 250 motetter. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. I 1545, Rådet for Trent satt ut for å reformere ulike praksiser i den romersk-katolske kirke i forsvar av truslene i den nye protestantiske bevegelsen. Klarhet i Skriftens ord var en av de sakene som står på spill, særlig ettersom den polyfone stil, hvorav Palestrina var en mester, kledde mange vokallinjer, skape komplekse teksturer. 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.
