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Оригиналан
Palestrina. Assumpta Est Maria - Motet. Davison. SSATTB. Sheet Music. Choral. CHOR. Giovanni Palestrina.
Превод
Палестрина. Ассумпта Ест Марија - Мотет. Дејвисон. ССАТТБ. Схеет Мусиц. Хорски. ХОР. Ђовани Палестрина.
Оригиналан
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.
Превод
Палестрина је један од веома висок фигура касне ренесансе црквене музике чији полифоне композиције остају активно извршава у Цхорал репертоару. Компоновао је више од 250 Песнопениј. This one, Assumpta Est Maria for the Feast of the Assumption, is of particular interest. У 1545., Савет Трент кренули да реформише различите праксе у Римокатоличке цркве у одбрани претњи новог протестантског покрета. Јасноћа библијским речи била је једна од питања на коцки, поготово што полифоних стилу, од којих је Палестрина мајстор, окује многе воцал линија, креирање комплексних текстуре. 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.
