Palestrina missa tu es petrus pdf

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The celebrated Choir of Westminster Cathedral goes back to its roots with this recording of some of the towering masterpieces of Renaissance polyphony—a genre which the choir has made its own through the ritual of daily liturgical performance.

Recent reviews have declared the choir to be at the peak of its powers, and this disc is an important celebration of a great musical tradition. The Mass, like the chant on which it is based, is in the Phrygian mode, which in modern terms can be regarded as a modal form of E minor. In about became a choirboy in Avila Cathedral, where he received his earliest musical training. When his voice broke he was sent to the Collegium Germanicum at Rome where he was enrolled as a student in He was to spend the next twenty years in Rome, and he occupied a number of posts there of which the most important were at S Maria di Monserrato, the Collegium Germanicum, the Roman Seminary where he succeeded Palestrina as maestro di cappella in and S Apollinare.

Around he left Italy and in that year took up an appointment in Spain as chaplain to the dowager Empress Maria at the Royal Convent for Barefoot Clarist Nuns, where he acted as maestro to the choir of priests and boys that was attached to the convent. This recording contains two Masses by Palestrina. The earliest known source of this Mass is a manuscript in the Papal Chapel, Codex 32, into which it was copied in The text is constructed from a number of complex and diverse elements, some of which are thought by scholars to point to an origin before the mid-fourth century.

Nowadays this is a chant of praise to God which is sung at the end of Matins on Sundays or on Feast days, but it is known to have been used in earlier times as a processional chant, as the conclusion of a liturgical drama, for thanksgiving at the consecration of a Bishop, or to celebrate a battlefield victory.

A particular form of regularity he thankfully avoids is metrical regularity. Because his music is built from the inside, as it were, in the rhythmic units of the line rather than being driven by a metrical engine, it rarely falls into predictable metrical patterns. This also helps account for the tremendous effect it has, as the lack of the metric regularity makes the music feel like it comes from a yet more remote source.

The music also resonates because of his careful harmonic planning. It is considered a modal, pre-tonal music, but that doesn't mean it won't submit to scrutiny within the tonal system. In fact, the V - I and the IV - V chordal motions that produce much of the sense of direction and structural meaning in tonal music emerge as key structural principles in Palestrina 's music.

Palestrina 's style has virtually become a stand-in for sacred-sounding music, partly because his was the last generation of composers dedicated to a purely contrapuntal style. His own stylistic aim seems to have been to sum up and bring to a peak of refinement and clarity the accomplishments of those who came before him. Missa Tu es Petrus is one of those works where that aim is most perfectly achieved.

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PDF, For wind sextet wind quintet with added bass clarinet. Log in to post a comment. For flute choir or flute sextet Arranged by Solomons D. For saxophone sextet Arranged by Solomons D. For string sextet Arranged by Solomons D.

For wind sextet wind quintet with cor anglais Arranged by Solomons D.