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
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Missa Assumpta est Maria (Palestrina, Giovanni Pierluigi da)
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In both cases the power of the writing is largely attributable to bright sonorities: 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.
By contrast, Sicut lilium presents a quite different side of his thought: 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.
It was our deliberate intention to pair two works in mariz contrasting styles from this great master. It is interesting to follow the historical process by which a work like the Missa Assumpta est Maria becomes mxria much more famous than any other comparable work of the period.
It is not essentially that it is a better piece of music than all the other contenders. The whole system of reputation in pre-Baroque music rests largely on historical accident and is open to review at any time.
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. 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 On the other hand, The Tallis Scholars had to rely on their own editions for recording the Masses Sicut liliumNigra sumBenedicta es and Nasce la gioja mia.
Indeed such pieces as the Missa Assumpta est Maria have regularly been performed in recent years in Protestant services where the kind of syllabic setting shown, for example, at the beginning of the Gloria is in line with one of the founding principles of all the reformed religions.
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.
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. The musical style of them both supports this too: 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.
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.
It is the inventiveness of these different sub-divisions of the main choir, constantly grouping and regrouping, and the elastic way in which the text is set, which gives this music its irrepressible character. 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.
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. In the motet the opening point is treated to two complete expositions in leisurely style, and the remaining music is scarcely less elaborately laid out.
Assumpta est Maria a 5 (Giovanni Pierluigi da Palestrina) – ChoralWiki
Similarly in the first Kyrie of the Mass Palestrina states the point twice, while cleverly abbreviating the entries, and all the other movements except the Gloria start with imitation of some kind, even the Credo.
Presumably Lassus took part in performances assumpt 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. Es scheint einem Werk auch zugute zu kommen, wenn sich eine attraktive Geschichte darum rankt—die Missa Paleetrina Marcelli hat davon sicher profitiert.
Seit der Mitte des Jahrhunderts erschienen von ihr 14 verschiedene Editionen und acht der Assumpta est Maria von denen die erste von Carl Proske besorgt wurde.
Die Art der syllabischen Partiturierung, wie man sie zum Beispiel am Anfang des Gloria findet, korrespondiert aassumpta einem der grundlegenden Prinzipien aller reformierten Religionen. 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.
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.
Assumpta est Maria a 6 (Giovanni Pierluigi da Palestrina)
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Don’t show me this message again. February Total duration: 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.
Per contro, la Sicut lilium presenta caratteristiche affatto diverse: