Among Palestrina’s or so motets, Exsultate Deo has always been a favourite. With its joyous tunefulness and vivid word-painting depicting musical. Exultate Deo. composer. Giovanni Pierluigi da Palestrina (/). Motettorum quinque vocibus liber quintus, author of text. Bible. Psalm 80 ( 81): From the fanfare-like opening of Exultate Deo and its soul-mates by Viadana, Gabrieli, Byrd and Monteverdi, through the linear beauties of Ave verum corpus ( as.
| Author: | Majin Mauzshura |
| Country: | Tajikistan |
| Language: | English (Spanish) |
| Genre: | Art |
| Published (Last): | 1 February 2006 |
| Pages: | 370 |
| PDF File Size: | 8.83 Mb |
| ePub File Size: | 6.3 Mb |
| ISBN: | 230-1-26804-183-3 |
| Downloads: | 70893 |
| Price: | Free* [*Free Regsitration Required] |
| Uploader: | Vuzil |
Exultate Deo (Palestrina) – from CDA – Hyperion Records – MP3 and Lossless downloads
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 exyltate twelfth century to the twenty-first.
Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.
Please use the dropdown buttons to set your preferred options, or use paldstrina checkbox to accept the defaults. This recording was made one hundred years after the foundation stone of the Westminster Cathedral was laid and is a testimony to a century of conservation and innovation in the performance of music within the Roman Catholic liturgy.
The context of the English music recorded here is curious. These motets were designed for unofficial Roman Catholic gatherings, hence the intensely intimate nature of the musical settings.
The virtuosic part-writing of Haec diesthe respectful restraint of Ave verum corpusand the carefully-paced decadence of Civitas sancti tui are nothing short of symphonic in the true sense of the word. In contrast to Byrd and Tallis, Peter Philips fled England as a young man because he was unable to maintain his Roman Catholic beliefs comfortably.
Maria di Monserrato—the Aragonese church in Rome.
Motet Translations
Musical greatness is sometimes difficult to ascribe with certainty, but in the case of composers such as Palestrina and Victoria the task is an easy one; the fact that they worked in the same place at the same time is more than mere historical accident. Exultate justi is a fine motet, but his corpus of sacred music will never be compared favourably with that of Palestrina.
Allegri was more fortunate in his work in Rome, partly because he was still a boy when Palestrina died, and partly because his Miserere has found remarkable favour in its own right. Written to be sung by the papal choir in Holy Week, the Miserere is intriguing for two reasons: A sound recording of even the most masterly examples of sacred polyphony is bound to involve compromise.
The function of church music is to adorn a living liturgy.
O quam gloriosum is an integral part of Vespers for All Saints, the Miserere complements the sombre drama associated with Lent, and so on. This recording was made exactly one hundred years after the foundation stone of Westminster Cathedral was laid in and is a testament to a century of conservation and innovation in the performance of music within the Roman Catholic liturgy at the Cathedral.
Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.
Don’t show me this message again.
Exsultate Deo, motet for 5 voices… | Details | AllMusic
Exultate Deo Masterpieces of Sacred Polyphony. February Total duration: From the fanfare-like opening of Exultate Deo and its soul-mates by Viadana, Gabrieli, Byrd and Monteverdi, through the linear beauties of Ave verum corpus pxlestrina set by Byrd and Philips and Parsons’ Ave Mariathe imploring devotion of Lotti’s incomparable Crucifixus and the serenity of Pzlestrina O nata luxall is brought glowingly alive.
Introduction English The dates which musicians use to delineate historical periods are frequently misleading. The yearfor instance, is conventionally regarded as a convenient point at which to exulhate the Renaissance era from the Baroque; the fact that the earliest complete surviving opera dates from that year fuels this otherwise arbitrary division.
However, the labels Renaissance and Baroque are of limited use when applied to the sacred music of the late sixteenth and early seventeenth centuries: In England the distinction between Renaissance and Baroque carries even less weight—it is only the Puritanism of the Protectorate in the mid-seventeenth century that interrupts a continuous stylistic thread that links the sacred music written during the years immediately preceding the Civil War with that of the Reformation.
In dei, there is much that connects the items within this anthology in spite of historical generalizations that might indicate otherwise.