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Oorspronkelijk

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

Vertaling

Palestrina. Assumpta Est Maria - Motet. Davison. SSATTB. Bladmuziek. Koor-. CHOIR. Giovanni Palestrina.

Oorspronkelijk

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.

Vertaling

Palestrina is een van de torenhoge cijfers van de late Renaissance kerkmuziek wiens meerstemmige composities blijven actief uitgevoerd in het koorrepertoire. Hij componeerde meer dan 250 motetten. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. In 1545, het Concilie van Trente uiteengezet om verschillende praktijken in de Rooms-Katholieke Kerk te hervormen in de verdediging van de bedreigingen van de nieuwe protestantse beweging. Duidelijkheid van de schriftuurlijke woorden was een van de onderwerpen op het spel, vooral omdat de polyfone stijl, waarvan Palestrina was een meester, bedekt vele zanglijnen, het maken van complexe 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.