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Оригінал

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

Переклад

Палестрина. Ассумпта Est Марія - Вокальна музика. Девісон. SSATTB. Ноти. Хоровий. ХОР. Джованні Палестрина.

Оригінал

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.

Переклад

Палестрина є одним з видатних людей епохи пізнього Відродження церковної музики, чиї поліфонічних творів продовжувати активно здійснюється в репертуарі хорового. Він склав більше 250 піснеспіви. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. У 1545 році Рада Трент викладені реформувати різні практики в Римсько-католицької церкви на захист загроз нового протестантського руху. Ясність Письма словами був одним з питань, поставлених на карту, тим більше, що поліфонічного стилю, з яких Палестрина був майстер, виклав багато вокальних партій, створюючи складні текстури. 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.