CDGIM – Palestrina: Missa Assumpta est Maria & Missa Sicut lilium. CDGIM Digital booklet (PDF) · Giovanni Pierluigi da Palestrina (/ ). Giovanni Pierluigi da Palestrina (/) The Missa Assumpta est Maria, based on his own motet of that name which in turn is based on a short phrase. Peter Phillips directs The Tallis Scholars in two masses by Palestrina. This album won the Gramophone Early Music Award in
|Published (Last):||11 April 2007|
|PDF File Size:||6.44 Mb|
|ePub File Size:||11.22 Mb|
|Price:||Free* [*Free Regsitration Required]|
It was our deliberate intention to pair two works in such contrasting styles from this great master. Retrieved from ” set No Renaissance composer and few later ones have been as proficient as Palestrina at writing positive, outward-going, major-key music, and in this context Assumpta est Maria represents one of the most important works of the period.
The musical style of them both supports this too: It is the inventiveness of these different sub-divisions of the main choir, constantly grouping and regrouping, and the elastic way plaestrina which the text is set, which gives this music its irrepressible character. By contrast, Sicut lilium presents a quite different side of his thought: Hyperion offers both CDs, and downloads in a number of formats. The Tallis Scholars have fst his music more th Seit der Mitte des February Total duration: Latin text Gaudete et exsultate omnes recti corde.
On the other hand, The Tallis Scholars had to rely on their own editions for recording amria Masses Sicut liliumNigra sumBenedicta es and Nasce la gioja mia.
Two-part motet, the model for the parody mass of the same name. Midi files one for each part zipped. This late-Renaissance method is then transferred to the Mass, most obviously in the Gloria and Credo but also in the first Kyrie, where greater elaboration was more customary.
Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. The first Kyrie, for example, begins with imitation between all the parts but very quickly has settled into alternating harmonically controlled phrases which rely for their effect on being rescored.
Sacred Music in the Renaissance, Vol.
Giovanni Pierluigi da Palestrina Number of voices: The Mass based on it did not appear until the Fifth Book of —which was about half-way through his Mass publications—but there is every reason to think it a quite early work.
Don’t show me this message again. The recording, made in the Church of St Peter and St Paul, Salle, Norfolk is well handled and adds powerfully to these flexible, expressive and beautiful readings’ Gramophone.
It is interesting to follow the historical process by which a work like the Missa Assumpta est Maria becomes so much more famous than any other comparable work of the period.
Two-part motet, the model for the parody mass of the same name External websites: Beethoven and Mozart are possible rivals in this, but with them the process hasn’t been going on for so long.
Transposed down a note. Preme sottolineare, poi, che The Tallis Scholars hanno preferito affidarsi ad edizioni appositamente preparate per loro delle messe Sicut liliumNigra sumBenedicta es e Nasce la gioja mia. assumpa
Missa Assumpta est Maria (Palestrina, Giovanni Pierluigi da)
Navigation menu Personal tools Log in Request account. Although Palestrina is much less well known in this mood, he wrote a large number of pieces which are akin to Sicut liliumof which the Missa Nigra sum is perhaps the most accessible, though many of his madrigals provide excellent examples of the same thing.
Assumpta est Maria a 6 (Giovanni Pierluigi da Palestrina) – ChoralWiki
It is a feature of modern music-making that professional concert-choirs do not necessarily choose the same repertoire as that of church choirs, even though they make their selection from the same composers. Original text and translations may be found at Assumpta est Maria and Quae est ista quae progreditur. Original text and translations Original text and translations may be found at Assumpta est Maria and Quae est ista quae progreditur. Anche lo stile musicale di entrambi i lavori suffraga questa ipotesi: Das erste Kyrie beispielsweise beginnt mit Imitation in allen Stimmen, doch sehr schnell werden daraus alternierende harmonisch bestimmte Phrasen, die ihre Wirkung durch Umschichtung der Stimmen erzielen.
Presumably Lassus took part in performances of the pieces contained in it, though his sacred compositions scarcely reflect the elegiac mood of Sicut lilium and in general he seems to have learnt little of importance from Palestrina. In both cases the power of the writing is largely attributable to bright sonorities: Assumpta est Maria a 6 Composer: There have been fourteen different editions of Papae Marcelli since the middle of the nineteenth century and eight of Assumpta est Maria of which the first was prepared by Carl Proske in Es scheint einem Werk auch zugute zu kommen, wenn sich eine attraktive Geschichte darum rankt—die Missa Papae Marcelli hat davon sicher profitiert.
The more relaxed, more abstract style of such early settings as the Missa Sicut lilium has not often been heard in church services since the first half of the sixteenth century, but it has increasingly attracted a following among concert-goers who pay to hear the music as music, rather than as an adjunct to worship.
Peter Phillips directs The Tallis Scholars in the historic concert celebrating Palestrina’s th anniversary, filmed in the Roman Basilica of Santa Maria Maggiore where the composer sang as a choirboy and later became maestro di c Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.
Assumpta est Maria a 5 (Giovanni Pierluigi da Palestrina) – ChoralWiki
Web page content is available under the CPDL copyright license ; please see individual editions for their copyright terms. Don’t show me this message again. The musical style is noticeably lucid, and although it is not as protracted as some of his very first settings, like Benedicta es caelorumin which he was still clearly learning his trade, there is some exhaustive working of the basic musical material. Quia hodie Maria virgo cum Christo regnat axsumpta aeternum.
Giovanni Pierluigi da Palestrina. These features inevitably transfer themselves to the parody Mass, most obviously in the Gloria and Credo, but also in the shorter movements where greater elaboration was customary. Die Art der syllabischen Partiturierung, wie man sie zum Beispiel am Anfang des Gloria findet, korrespondiert mit einem der grundlegenden Prinzipien aller reformierten Religionen.
It also seems to help a piece if there is an attractive story to go with it, and the Missa Papae Marcelli has undoubtedly benefited from this. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. The brighter sound this high-scored six-voice SSATTB choir produces is then emphasized in palestrinz style of the writing, which is more chordal than usual.
The whole system of reputation in pre-Baroque music rests largely on historical accident and is open to review at any time.