ALMA REDEMPTORIS MATER PALESTRINA PDF

Language: Latin Instruments: A cappella. Description: As printed in the Palestrina Werke Breitkopf, vol. This antiphonal work is a completely different setting from the two others in the Palestrina Werke , one of which is in fact for four voices and the other of which features some 8-part writing at the very end. Original text and translations may be found at Alma Redemptoris Mater. Original note values. In measure 28 in the Bassus the first dotted minim in the source is D, which we have corrected to C.

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Language: Latin Instruments: A cappella. Description: As printed in the Palestrina Werke Breitkopf, vol. This antiphonal work is a completely different setting from the two others in the Palestrina Werke , one of which is in fact for four voices and the other of which features some 8-part writing at the very end.

Original text and translations may be found at Alma Redemptoris Mater. Original note values. In measure 28 in the Bassus the first dotted minim in the source is D, which we have corrected to C. Typesetter's notes in Appendix page. Stauff submitted MusicXML source file s is are in compressed. Score information: Letter, 4 pages, Error summary: Missing syllable in underlay See the discussion page for full description.

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Alma Redemptoris Mater a 8 (Collegio Romano ms.) (Giovanni Pierluigi da Palestrina)

This Alma Redemptoris mater rightly has a reputation of being one of Palestrina 's most beautiful, most serene compositions. It is, not surprisingly, one of his more popular motets. Its approximately three-minute length, meager vocal forces, and simple beauty are the perfect combination for inclusion on many recordings and concert programs. For its text, Palestrina used an eleventh century Marian poem, the title of which is usually translated as Loving Mother of Our Savior. The motet opens with a tenor vocal line intoning the soothing, celestial theme with the other three vocal parts soon joining in. The mood throughout remains serene in its soaring, mesmeric singing, the four vocal lines typically uniting to convey a sense of religious ecstasy, then often focusing on one part -- usually the soprano -- to impart a greater sense of intimacy and peace.

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Alma redemptoris Mater (Palestrina, Giovanni Pierluigi da)

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