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Ne timeas, Maria. Choir sheet music.

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Ne timeas, Maria. Kora notis.

Oriģināls

Ne timeas, Maria. No. 1 from Three Marian Motets. Composed by Ko Matsushita. For SSAA choir. Carus Contemporary. Contemporary choral music. Advent, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Full score. Text language. Latin. 8 pages. Published by Carus Verlag. CA.964200. ISBN M-007-14351-0. With Text language. Latin. Advent, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Matsushita's composition draws on elements of the Gregorian antiphon. It begins in unison Gregorian chant, as was typical of Renaissance motets, and the beginning of new lines of text are also derived from Gregorian material. Matsushita juxtaposes a syllabic, rhythmic declamation with this melody, constantly alternating bars with even and odd numbers of beats, the octave C' - C'' constantly repeated by the outer parts and leading towards the climax at the text "nomen Jesu". After ascending D major arpeggios, the central word "Jesu" radiates into F sharp major, the following repetition in the compass of an octave on C is more tranquil, ending peacefully with an F major chord, ppp.

Tulkojums

Ne timeas, Maria. No. 1 from Three Marian Motets. Sastādījis Ko Matsushita. Par SSAA korim. Carus Mūsdienu. Mūsdienu kora mūzika. Advente, Svētki Vissvētākās Jaunavas Marijas, Hymns slavinošā Jaunavas Marijas. Pilna partitūra. Teksta valoda. Latīņu. 8 lappuses. Publicējusi Carus Verlag. CA.964200. ISBN M-007-14351-0. Ar tekstu valodā. Latīņu. Advente, Svētki Vissvētākās Jaunavas Marijas, Hymns slavinošā Jaunavas Marijas. Matsushita sastāvs balstās uz elementiem Gregora antifona. Tas sākas unisonā Gregoriāņu dziedājums, kā tas bija tipisks renesanses motetes, un sākumā jaunu teksta rindiņām tiek iegūti arī no Gregora materiāla. Matsushita juxtaposes a syllabic, rhythmic declamation with this melody, constantly alternating bars with even and odd numbers of beats, the octave C' - C'' constantly repeated by the outer parts and leading towards the climax at the text "nomen Jesu". Pēc augošā D galvenās arpeggios, centrālā vārds "Jesu" izstaro uz F asas galvenais, jo kompasu oktāvas par C šāda atkārtošana ir vairāk rāms, beidzas mierīgi ar F lielu akords, PPP.