악보
연주
악보 및 파트보
Oxford University Press, 1924.
편집자
Richard Runciman Terry (1865–1938)
출판사
Tudor Church Music, Vol.3 (pp.117-121)
London: Oxford University Press, 1924.
London: Oxford University Press, 1924.
기타 참고 사항
This file is part of the Submission Project.
Marc Lanoiselée.
출판사
Marc Lanoiselée
기타 참고 사항
These file(s) are part of the Werner Icking Music Collection.
TCM.
편집자
Gervais Frykman, after TCM
출판사
TCM
기타 참고 사항
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.
편집자
Richard Runciman Terry (1865–1938)
출판사
Tudor Church Music, Vol.3 (pp.117-121)
London: Oxford University Press, 1924.
London: Oxford University Press, 1924.
기타 참고 사항
This file is part of the Submission Project.
Marc Lanoiselée.
출판사
Marc Lanoiselée
기타 참고 사항
These file(s) are part of the Werner Icking Music Collection.
TCM.
편집자
Gervais Frykman, after TCM
출판사
TCM
기타 참고 사항
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.