LAURIDSEN O MAGNUM MYSTERIUM PDF

From Wikipedia, the free encyclopedia. None are quite as exquisitely nuanced or sung with such glowing vocal sheen as this. Please help improve this article by adding citations to reliable sources. Se Per Havervi, Oime. Lauridsen now divides his time between Los Angeles and his home in the San Juan Archipelago off the northern coast magnjm Washington State.

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Dicite, annunciate nobis quis apparuit? Whom have you seen, shepherds? Speak, tell us who has appeared? The newborn we have seen and a chorus of angels praising God. Palestrina gives the idea of the tonal areas of the motet by starting with three different chords ; e minor, a minor and in d minor. Palestrina does not use a diatonic key, but freely employs accidentals. Bars 1 to 3 are in E Mixolydian , and in bar 4 it changes to the Phrygian mode before ending with a Phrygian cadence a form of the "imperfect" cadence in D bar 7.

In bar 8, it changes to D Mixolydian and there is another Phrygian cadence in bar Bar 15 ends on yet another Phrygian cadence, after which it modulates to D and changes to E in bar At these cadence points, it can be seen that one voice remains a lead through to the other side of the cadence, while the others resolve cadentially, creating a movement through the cadence, and diminishing stagnation of the piece at cadence points.

Melodically, Palestrina employs many syllabic unisons in this motet and not much imitation between the voices. There is therefore a clarity of text and diction impossible in imitative counterpoint. As a result, there is not much dissonance in the work, and that which does occur is normally due to enharmonic notes in a syllabic melisma. All of this creates a piece which feels crisp and clear, reflecting the holy idea of the birth of Jesus depicted in the text.

Palestrina does, however, make use melodic and rhythmic motives in this motet, and uses word painting to exhibit the lyrics. The voices sing the phrase independently in syllabic unison, emphasising their importance through repetition.

The motet begins in duple meter , and changes to triple meter in bar 52 at the opening of the "Alleluia" section, and then changes back to duple meter at its closure for the beginning of the second big section of the piece. Palestrina makes use of scale patterns and variations, which are common in his other works. This can be seen in bar , in which quarter note s are used and sung in different variations as melismas. Finally, Palestrina ends the motet with a very strong plagal cadence.

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