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Im Original

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

Übersetzung

Palestrina. Assumpta Est Maria - Motette. Davison. SSATTB. Noten. Chor-. CHOR. Giovanni Palestrina.

Im 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.

Übersetzung

Palestrina ist eine der überragenden Figuren der späten Renaissance Kirchenmusik, dessen polyphone Kompositionen bleiben aktiv an der Chorrepertoire durchgeführt. Er komponierte über 250 Motetten. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. 1545 das Konzil von Trient dargelegt, um verschiedene Praktiken in der römisch-katholischen Kirche in der Abwehr der Bedrohungen der neuen protestantischen Bewegung zu reformieren. Klarheit der biblischen Worte war eine der Fragen auf dem Spiel, zumal die polyphonen Stil, von denen Palestrina war ein Meister, überlagert viele Gesangslinien, die Erstellung komplexer Texturen. 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.