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Orijinal

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

Tercüme

Palestrina. Assumpta Est Maria - Motet. Davison. SSATTB. Müzik Notaları. Koro. KOROSU. Giovanni Palestrina.

Orijinal

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.

Tercüme

Palestrina polifonik kompozisyonlar aktif Koro repertuarında gerçekleştirilen kalır Geç Rönesans kilise müziği yükselen isimlerinden biri olan. O 250'den fazla motets oluşan. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. 1545 yılında, Trent Konseyi, yeni Protestan hareketinin tehditler savunma Roma Katolik Kilisesi'nin çeşitli uygulamaları reform için yola. Kutsal kelimelerin Clarity karmaşık dokular yaratarak, birçok Vokal çizgiler üst üste özellikle Palestrina bir usta olduğu polifonik tarzı olarak tehlikede konulardan biri oldu. 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.