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Oriģināls
Palestrina. Assumpta Est Maria - Motet. Davison. SSATTB. Sheet Music. Choral. CHOR. Giovanni Palestrina.
Tulkojums
Palestrina. Assumpta Est Maria - Motet. Davison. SSATTB. Sheet Music. Kora. KORIS. Giovanni Palestrina.
Oriģināls
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.
Tulkojums
Palestrina ir viens stiprs figūrām vēlu renesanses baznīcas mūziku, kura polifonija kompozīcijas joprojām aktīvi veikta Kora repertuārā. Viņš veido vairāk nekā 250 motetes. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. 1545, Tridentas koncila noteikti reformēt dažādus praksi Romas katoļu baznīcas aizstāvot draudiem jauno protestantu kustību. Skaidrība par svēto rakstu vārdi bija viens no aktuālajiem jautājumiem, jo īpaši ņemot vērā polifonija stilu, no kuriem Palestrina bija kapteinis, pārvilka daudz Vokālā līnijas, radot sarežģītas tekstūras. 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.
