Partiture $7.88

Originalno

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

Prevod

Palestrina. Assumpta Est Maria - Motet. Davison. SSATTB. Sheet Music. Zborovska. ZBOR. Giovanni Palestrina.

Originalno

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.

Prevod

Palestrina je ena od številk visok pozne renesanse cerkvene glasbe, katere polifonične skladbe ostanejo aktivno izvaja v zborovski repertoar. Je napisal več kot 250 motetov. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. Leta 1545, Tridentinski koncil je določeno, da reformira različne prakse v Rimskokatoliški cerkvi v obrambi grožnjami novega protestantskega gibanja. Jasnost svetopisemskimi besedami je eno od vprašanj, ki so v igri, še posebej kot polifonijo slogu, od katerih je bil Palestrina mojster, obloži številnih vokalnih linij, ki ustvarja kompleksne teksture. 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.