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Арыгінал

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

Пераклад

Палестрына. Ассумпта Est Марыя - Вакальная музыка. Дэвідсан. SSATTB. Ноты. Харавой. ХОР. Джавані Палестрына.

Арыгінал

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.

Пераклад

Палестрына з'яўляецца адным з выбітных людзей эпохі позняга Адраджэння царкоўнай музыкі, чые поліфанічных твораў працягваць актыўна ажыццяўляецца ў рэпертуары харавога. Ён напісаў больш за 250 спевы. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. У 1545 годзе Савет Трэнт выкладзены рэфармаваць розныя практыкі ў Рымска-каталіцкай царквы ў абарону пагроз новага пратэстанцкага руху. Яснасць Пісання словамі быў адным з пытанняў, пастаўленых на карту, тым больш, што поліфанічнага стылю, з якіх Палестрына быў майстар, выклаў шмат вакальных партый, ствараючы складаныя тэкстуры. 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.