ALMA REDEMPTORIS MATER PALESTRINA PDF

This Alma Redemptoris mater rightly has a reputation of being one of Palestrina 's most beautiful, most serene compositions. It is, not surprisingly, one of his more popular motets. Its approximately three-minute length, meager vocal forces, and simple beauty are the perfect combination for inclusion on many recordings and concert programs. For its text, Palestrina used an eleventh century Marian poem, the title of which is usually translated as Loving Mother of Our Savior. The motet opens with a tenor vocal line intoning the soothing, celestial theme with the other three vocal parts soon joining in.

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Language: Latin Instruments: A cappella. Description: As printed in the Palestrina Werke Breitkopf, vol. This antiphonal work is a completely different setting from the two others in the Palestrina Werke , one of which is in fact for four voices and the other of which features some 8-part writing at the very end.

Original text and translations may be found at Alma Redemptoris Mater. Original note values. In measure 28 in the Bassus the first dotted minim in the source is D, which we have corrected to C. Typesetter's notes in Appendix page. Stauff submitted MusicXML source file s is are in compressed.

Score information: Letter, 4 pages, Error summary: Missing syllable in underlay See the discussion page for full description. Navigation menu Personal tools Log in Request account.

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Alma Redemptoris Mater (Giovanni Pierluigi da Palestrina)

One of the four Marian antiphons traditionally sung at the end of Compline or Vespers, Alma Redemptoris Mater is a beautiful prayer of intercession to the Mother of God. The liturgical season during which it is appointed to be sung is the period from after Compline for the First Sunday of Advent until after Compline of February 2, the Feast of the Presentation of the Lord or the Purification of the Virgin in the Temple, Candlemas. The poem was once attributed to Hermannus Contractus d. Two four-voice settings of Alma Redemptoris Mater are attributed to Palestrina. One of them, which the composer published in his Second Book of Motets , has a texture that is rather imitative and contrapuntal.

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