Spartiti
Esecuzioni
Spartiti e parti
Oxford University Press, 1924.
Curatore
Richard Runciman Terry (1865–1938)
Editore
Tudor Church Music, Vol.3 (pp.117-121)
London: Oxford University Press, 1924.
London: Oxford University Press, 1924.
Osservazioni varie
This file is part of the Submission Project.
Copyright
Marc Lanoiselée.
Curatore
Editore
Marc Lanoiselée
Osservazioni varie
These file(s) are part of the Werner Icking Music Collection.
TCM.
Curatore
Gervais Frykman, after TCM
Editore
TCM
Osservazioni varie
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.
Curatore
Richard Runciman Terry (1865–1938)
Editore
Tudor Church Music, Vol.3 (pp.117-121)
London: Oxford University Press, 1924.
London: Oxford University Press, 1924.
Osservazioni varie
This file is part of the Submission Project.
Copyright
Marc Lanoiselée.
Curatore
Editore
Marc Lanoiselée
Osservazioni varie
These file(s) are part of the Werner Icking Music Collection.
TCM.
Curatore
Gervais Frykman, after TCM
Editore
TCM
Osservazioni varie
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.