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ماخذ

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

ترجمه

Palestrina. Assumpta به وقت ماریا - سرود چند صدایی. دیویسون. SSATTB. نت موسیقی. دسته سرایندگان. هم سرایان. جیووانی Palestrina.

ماخذ

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.

ترجمه

Palestrina یکی از چهره های قوی از اواخر رنسانس موسیقی کلیسایی که ترکیب پلی فونیک باقی می ماند به طور فعال در کارنامه کرال انجام است. او بیش از 250 motets تشکیل شده. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. در 1545، شورای ترنت مجموعه ای از برای اصلاح شیوه های مختلف در کلیسای کاتولیک روم در دفاع از تهدیدات جنبش جدید پروتستان. وضوح کلمات کتاب مقدس یکی از مسائل در خطر است، به خصوص به عنوان سبک پلی فونیک، که Palestrina استاد بود، تزیین بسیاری از خطوط آواز بود، ایجاد بافت های پیچیده. 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.