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Partitions Orchestre ⮞ Ensemble à vent ⮞ Giovanni Pierluigi da Palestrina

"Missa Papae Marcelli" for Wind Ensemble
Giovanni Pierluigi da Palestrina

Ensemble à vent

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VoirTélécharger PDF : "Missa Papae Marcelli" for Wind Ensemble (58 pages - 1.04 Mo)206x⬇

VoirTélécharger PDF : Basson (110.64 Ko)

VoirTélécharger PDF : Bb Clarinette (144.5 Ko)

VoirTélécharger PDF : English Cor (132.62 Ko)

VoirTélécharger PDF : French Cor (119.55 Ko)

VoirTélécharger PDF : Flûte (138.4 Ko)

VoirTélécharger PDF : Hautbois (131.43 Ko)

VoirTélécharger PDF : Conducteur complet (603.43 Ko)

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Compositeur	Giovanni Pierluigi da Palestrina (1526 - 1594)
Instrumentation	Ensemble à vent
Genre	Renaissance
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - ) Suivre 101 Contacte Faire un don
Droit d'auteur	Public Domain
Giovanni Pierluigi da Palestrina (c. 1525 – 1594) was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition. He had a long-lasting influence on the development of church and secular music in Europe, especially on the development of counterpoint, and his work is considered as the culmination of Renaissance polyphony. Palestrina was born in the town of Palestrina, near Rome, then part of the Papal States...(+) Giovanni Pierluigi da Palestrina (c. 1525 – 1594) was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition. He had a long-lasting influence on the development of church and secular music in Europe, especially on the development of counterpoint, and his work is considered as the culmination of Renaissance polyphony. Palestrina was born in the town of Palestrina, near Rome, then part of the Papal States. Documents suggest that he first visited Rome in 1537, when he is listed as a chorister at the Santa Maria Maggiore basilica. He studied with Robin Mallapert and Firmin Lebel. He spent most of his career in the city. Palestrina left hundreds of compositions, including 105 masses, 68 offertories, at least 140 madrigals and more than 300 motets. In addition, there are at least 72 hymns, 35 magnificats, 11 litanies, and four or five sets of lamentations. The Gloria melody from Palestrina's Magnificat Tertii Toni (1591) is widely used today in the resurrection hymn tune, Victory (The Strife Is O'er). His attitude toward madrigals was somewhat enigmatic: whereas in the preface to his collection of Canticum canticorum (Song of Songs) motets (1584) he renounced the setting of profane texts, only two years later he was back in print with Book II of his secular madrigals (some of these being among the finest compositions in the medium). He published just two collections of madrigals with profane texts, one in 1555 and another in 1586. The other two collections were spiritual madrigals, a genre beloved by the proponents of the Counter-Reformation. One of his most important works, the Missa Papae Marcelli (Pope Marcellus Mass), has been historically associated with erroneous information involving the Council of Trent. According to this tale (which forms the basis of Hans Pfitzner's opera Palestrina), it was composed in order to persuade the Council of Trent that a draconian ban on the polyphonic treatment of text in sacred music (as opposed, that is, to a more directly intelligible homophonic treatment) was unnecessary. However, more recent scholarship shows that this mass was in fact composed before the cardinals convened to discuss the ban (possibly as much as 10 years before). Historical data indicates that the Council of Trent, as an official body, never actually banned any church music and failed to make any ruling or official statement on the subject. These stories originated from the unofficial points-of-view of some Council attendees who discussed their ideas with those not privy to the Council's deliberations. Those opinions and rumors have, over centuries, been transmuted into fictional accounts, put into print, and often incorrectly taught as historical fact. While Palestrina's compositional motivations are not known, he may have been quite conscious of the need for intelligible text; however, this was not to conform with any doctrine of the Counter-Reformation, because no such doctrine exists. His characteristic style remained consistent from the 1560s until the end of his life. Roche's hypothesis that Palestrina's seemingly dispassionate approach to expressive or emotive texts could have resulted from his having to produce many to order, or from a deliberate decision that any intensity of expression was unbecoming in church music, reflects modern expectations about expressive freedom and underestimates the extent to which the mood of Palestrina's settings is adapted to the liturgical occasions for which the texts were set, rather than the line-by-line meaning of the text, and depends on the distinctive characters of the church modes and variations in vocal grouping for expressive effect. Performing editions and recordings of Palestrina have tended to favour his works in the more familiar modes and standard (SATB) voicings, under-representing the expressive variety of his settings. Source: Wikipedia (https://en.wikipedia.org/wiki/Giovanni_Pierluigi_da_Pa lestrina). Although originally composed for Chorus (SATTBB), I created this Arrangement of the "Missa Papae Marcelli" for Wind Ensemble (Flute, Oboe, Bb Clarinet, English Horn, French Horn & Bassoon).
	Ajoutée par magataganm, 30 Nov 2019