Partitions $7.88

Original

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

Traduction

Palestrina. Maria Assumpta - Motet. Davison. SSATTB. Partitions. Choral. CHORALE. Giovanni Palestrina.

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.

Traduction

Palestrina est l'une des figures imposantes de la musique d'église de la Renaissance tardive dont les compositions polyphoniques rester effectué activement dans le répertoire choral. Il a composé plus de 250 motets. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. En 1545, le Concile de Trente a entrepris de réformer diverses pratiques dans l'Eglise catholique romaine dans la défense des menaces du nouveau mouvement protestant. Clarté des mots scripturaires était l'un des enjeux, d'autant que le style polyphonique, dont Palestrina était un maître, recouvert de nombreuses lignes vocales, créer des textures complexes. 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.