The declamation is nearly syllabic.
Thereafter the chant is more or less decoratively paraphrased: The final entry, in the bassus, is in each case the least adorned and the most straightforwardly declaimed. The order of entries is varied at last; but more importantly, so is the time interval between the entries, which is subtly tightened, stretto-fashion—the tenor following the superius after only one beat instead of two, and the four voices all gathering in to sound together for the first time at the cadence. All of these effects, so carefully and subtly planned, serve to mark off the prefatory quatrain from what follows.
Every succeeding textual unit is marked off cadentially in similar, but never identical, fashion. Closer examination by eye reveals what the ear perceives with delicious immediacy: Where all the other voices have trochees, the tenor has iambs or perhaps better, considering the words, displaced trochees. It is also the most heterogeneous texture to be found in the motet, and gives rise, in the nonessential voices, to the most ornate albeit still relatively modest melismatic tracery to be found anywhere in the motet.
But meaning is never entirely inherent. It is also relational. The textural intricacy of the climactic stanza offsets the really stark homorhythm of the concluding prayer Ex. Here the four voices are absorbed into the perfect consonance so as to sound like an amplification of a single voice. Description Book — x, p. The Nuemes of the Martianus Capella manuscripts. Instrumental titles to the sequentiae of the Winchester Tropers. An English broadside of the s.
Old and new in Byrd's Cantiones Sacrae. Purcell, the stylistic origins of the early church music. Purcell, the domestic sacred music. Some notes on editing Handel's Semele. Anticipations of dramatic monody in the late works of Lassus. The original version of Alesandro Scarlatti's Griselda. Handel's Sosarme, a puzzle opera. The early development of opera in Poland. Beethoven's Fidelio and the Leonore overture no. A note on opera at Oxford. Description Book — liij,  leaves: Christophorus,  Description Music recording — 1 online resource 1 sound file Sound: Summary Kyrie in festivitatibus B.
Sanctus de Beatissima Maria 5: Agnus Dei in festivitatibus B.
Description Music recording — 1 sound disc 63 min. Summary Ei, ich sach in dem trone 1: Frauenlob's Song of songs: Pennsylvania State University Press, c Description Book — xxi, p.
Summary "Frauenlob" was the stage name of Heinrich von Meissen c. A famous and controversial figure in his day, Frauenlob meaning "praise of ladies" exercised a strong influence on German literature into the eighteenth century. This book introduces the poet to English-speaking readers with a fresh poetic translation of his masterpiece, the "Marienleich" - a virtuosic poem of more than lines in praise of the Virgin Mary.
Barbara Newman, known for her pathbreaking translation of Hildegard of Bingen's "Symphonia", brilliantly captures the fervent eroticism of Frauenlob's language. More than the mother of Jesus, the Lady of Frauenlob's text is a celestial goddess, the eternal partner of the Trinity. Like Christ himself she is explicitly said to have two natures, human and divine. Frauenlob lets the Lady speak for herself in an unusual first-person text of self-revelation, crafted from the "Song of Songs", the Biblical wisdom books, the Apocalypse, and a wide array of secular materials ranging from courtly romance to Aristotelian philosophy.
Included with the book is a CD recording of the "Marienleich" by the noted ensemble Sequentia, directed by Benjamin Bagby and the late Barbara Thornton. The surviving music is the composer's own, reconstructed from fragmentary manuscript sources. Accompanying Newman's translation is a facing-page edition of the German text, detailed commentary, and a critical study presenting the most thorough discussion to date of Frauenlob's oeuvre, social context, philosophical ideas, sources, language, music, and influence.
Rescuing a long-forgotten medieval masterpiece, Frauenlob's "Song of Songs" will fascinate students and scholars of the Middle Ages as well as scholars, performers, and connoisseurs of early music. F7 A66 Unknown.
La Bottega Discantica, [? Tactus,  Description Music recording — 1 online resource 1 sound file Sound: Summe rex sempiterne 6: O patriarcha pauperum 4: Katharinental [sound recording] . Deutsche Harmonia Mundi, c Summary In viglia Sancti Iohannis baptiste. Ne timeas Zacharia 4: Fuit homo missus a deo 2: De ventre matris meae 3: Priusquam te formarem 1: Alleluia, Inter natos mulierum: Introitus ; Iustus ut palma 3: Alleluia, Pie pater Dominice 2: Alleluia, Hic est discipulus 2: Iustus ut palma 1: Salve sancta parens 3: Alleluia, Hodie Maria virgo 3: Grands motets solennels [sound recording] .
Selections Isaac, Heinrich, approximately Description Music recording — 1 sound disc 57 min.
Summary Optime pastor ovili 8: Gaudeamus omnes in Domino: Introitus ; Alleluia, Conceptio gloriosae virginis: Versus Alleluiaticus ; De radice Jesse: Sequentia ; Ut aurora surgens Te signarunt ora prophetica Offertorium ; O vera spes: Hymnus ; Diffusa est gratia in labiis tuis: Gregorian chant [electronic resource]: Veneration of the Cross Christus factus est 3: Mass during the day: Victimae paschali laudes 2: The Proper of the Mass: Iustus ut palma 3: Sony Classical,  Description Music recording — 1 online resource 1 sound file.
Surrexit Dominus ; Alleluia: Pascha nostrum ; Sequentia: Viri Galilaei ; Offertorium: Veni Sancte Spiritus ; Communio: Spiritus Domini, Kyrie, Gloria, Alleluia: Veni Sancte Spiritus, Offertorium: Confirma hoc, Sanctus, Agnus Dei, Communio: Deus in adjutorium ; Antiphon: Dum complerentur dies, Psalmus Dixit Dominus ; Antiphon: Spiritus domini replevit, Psalmus Beatus vir qui timet ; Antiphon: Loquebantur variis, Psalmus Laudate pueri ; Capitulum: Cum complerentur dies ; Hymnus: Veni Creator Spiritus ; Antiphon: Hodie completi sunt dies, Magnificat ; Benedicamus Domino.
Description Book — p. H M38 Unknown. Reverdie Musical group Performer Omegna, Italy: Arcana,  Description Music recording — 1 online resource 1 sound file Summary Vita. Gottschalk, of Limburg, , author. Description Book — pages: Summary Gottschalk von Aachen: G68 S47 Available. Recensvit et emendavit Pavlvs de Winterfeld .
The Annunciation (John Reager) Score information: Letter, 22 pages, MB Copyright: CC BY NC ND: Edition Title: The Annunciation. Heinrich Schütz. The annunciation. Ankündigung der Geburt Jesu. Evangeliendialog. Aus: Kleine geistliche Konzerte II. SWV ,
Hrotsvitha, approximately approximately Berolini, apud Weidmannos, Description Book — 2 p. Gothofredi Manuale iuris, sev parva juris mysteria,: Juris civilis Romani I. Description Book — , ,  p. Delphian,  Description Music recording — 1 online resource 1 sound file. Ad cantus laetitiae 1: Hostia grata deo 1: Diem festum veneremur 6: Summary Officium defunctorum Antiphona Gaude et letare 2: Lectio Liber generacionis 7: Jill Feldman, soprano incandescente: F45 B67 Unknown.
Pro authore typis Johannis Hayes Description Book — , [i. Komponistinnen aus Jahren . Olivier, Antje, Originalausg. W7 O45 In-library use. Selections Wolkenstein, Oswald von, ? Description Music score — vii, p.
A19 L7 Available. Libreria Antiquaria Palmaverde, Accentus Music,  Description Video — 1 videodisc 55 min.
Eurico Carrapatoso studied history at the Faculdade de Letras da Universidade do Porto and there earned a degree in Biography Born on the 15th February, , Mirandela. For the new theatre's inauguration. This award was given to "O Magnum Mysterium 1". Nuno Carinhas stage direction, scenography Carlos Assis lights. Jorge Listopad stage direction.
Aquel camino sin gente; Aquel camino El agua toca su tambor de plata Born on the 15th February, , Mirandela. Te Deum em louvor da paz.
Sete Melodias em Forma de Bruma. Motetes para um Tempo de Alegria. Cinco canciones para ensemble y voz emocionada. Um Pequeno Conto Musical.