Noten
Einspielungen
Partituren und Stimmen
Oxford University Press, 1924.
Herausgeber
Richard Runciman Terry (1865–1938)
Verlag
Tudor Church Music, Vol.3 (pp.117-121)
London: Oxford University Press, 1924.
London: Oxford University Press, 1924.
Sonstige Bemerkungen
This file is part of the Submission Project.
Urheberrecht
Marc Lanoiselée.
Herausgeber
Verlag
Marc Lanoiselée
Sonstige Bemerkungen
These file(s) are part of the Werner Icking Music Collection.
TCM.
Herausgeber
Gervais Frykman, after TCM
Verlag
TCM
Sonstige Bemerkungen
This moving and beautiful piece is presumably a setting of the first two verses of Ps 42, and is presented here with editorial underlay. The piece is important in the transition from the florid pre-reformation style to the imitative Renaissance style, and was the head of an entire genre of bipartite psalm motets stretching to Gibbons' O Clap Your Hands of 1622, but only here is the bipartite form explained by the two verses being set. The cleffs imply upward transposition, of a tone in this case, and a further transposition is necessary because of the higher pitch, here a semitone. The alto parts are singable by tenors. The counter tenor did not appear in England until the 17th Century.
Oxford University Press, 1924.
Herausgeber
Richard Runciman Terry (1865–1938)
Verlag
Tudor Church Music, Vol.3 (pp.117-121)
London: Oxford University Press, 1924.
London: Oxford University Press, 1924.
Sonstige Bemerkungen
This file is part of the Submission Project.
Urheberrecht
Marc Lanoiselée.
Herausgeber
Verlag
Marc Lanoiselée
Sonstige Bemerkungen
These file(s) are part of the Werner Icking Music Collection.
TCM.
Herausgeber
Gervais Frykman, after TCM
Verlag
TCM
Sonstige Bemerkungen
This moving and beautiful piece is presumably a setting of the first two verses of Ps 42, and is presented here with editorial underlay. The piece is important in the transition from the florid pre-reformation style to the imitative Renaissance style, and was the head of an entire genre of bipartite psalm motets stretching to Gibbons' O Clap Your Hands of 1622, but only here is the bipartite form explained by the two verses being set. The cleffs imply upward transposition, of a tone in this case, and a further transposition is necessary because of the higher pitch, here a semitone. The alto parts are singable by tenors. The counter tenor did not appear in England until the 17th Century.