- published: 06 Feb 2015
- views: 96
-
remove the playlistCanon In Two Voices No. 6 Orlande De Lassus
- remove the playlistCanon In Two Voices No. 6 Orlande De Lassus
Orlande de Lassus
Roland de Lassus (also Orlande de Lassus, Orlando di Lasso, Orlandus Lassus, or Roland de Lattre; 1532, possibly 1530 – 14 June 1594) was a Netherlandish or Franco-Flemish composer of the late Renaissance. He is today considered to be the chief representative of the mature polyphonic style of the Franco-Flemish school, and one of the three most famous and influential musicians in Europe at the end of the 16th century (the other two being Palestrina and Victoria).
Life
Lassus was born in Mons in the County of Hainaut, Habsburg Netherlands (modern-day Belgium). Information about his early years is scanty, although some uncorroborated stories have survived, the most famous of which is that he was kidnapped three times because of the singular beauty of his singing voice. At the age of twelve, he left the Low Countries with Ferrante Gonzaga and went to Mantua, Sicily, and later Milan (from 1547 to 1549). While in Milan, he made the acquaintance of the madrigalist Spirito l'Hoste da Reggio, a formative influence on his early musical style.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Orlande_de_Lassus
Podcasts:
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Canon No. 1 a 2
Provided to YouTube by NAXOS of America Canon No. 1 a 2 · Church of the Ascension and Saint Agnes Choir Lassus, O.: Missa Surrexit Pastor Bonus Ii / Missa Surrexit Pastor Bonus Ii / Canons Nos. 1, 6 and 15 ℗ 2002 Centaur Records, Inc. Released on: 2002-01-01 Choir: Church of the Ascension and Saint Agnes Choir Conductor: Haig Mardirosian Composer: Orlando di Lasso Auto-generated by YouTube.
published: 06 Feb 2015 -
Oculus non vidit - Orlande de Lassus - Baritone/Bass Multitrack
A 2-part motet by Orlande de Lassus / Orlando di Lasso / Orlandus Lassus Oculus non vidit, nec auris audivit, nec in cor hominis ascendit, quae preparavit Deus his, qui diligunt illum. Eye hath not seen, nor ear heard, neither have entered into the heart of man, The things which God hath prepared for them that love Him. Scored for Baritone/Bass by Velthur Tognoni. Score here: http://www3.cpdl.org/wiki/images/6/61/Lass-Oculus.pdf
published: 16 Oct 2016 -
The Sound of 2-Voice 16th-C Counterpoint
From Lassus' St. Matthew Passion (1575) 0:00. #6 Numquid ego sum 0:18 #7 Et si omnes 0:45 #8 Et si oportuerit 1:15 #9 Quemcumque oseulatus 1:48 #10 Ave Rabbi 2:05 #12 Nihil respondes ad ea 2:34 #13 Adjuro te per Deum vuvum
published: 03 Sep 2019 -
Orlandus Lassus: Lagrime di San Pietro (Szent Péter könnyei) 21/2
Ma gli archi che nel petto (cuore) gli a[v]ventaro le saette più acute e più mortali fur gli occhi del Signor, quando il miraro: gli occhi fur gli archi e i guardi fur gli strali, che, del cor non contenti, se ’n passaro fin dentro a l’alma; e vi fer piaghe tali che bisognò, mentre ch’ei (che) visse poi, ungerle col liquor de gli occhi suoi. Ám az íjak közül, melyek mellkasát célozták, A leghegyesebb és leghalálosabb nyíl Ura szeme volt, ahogy rátekintett; Szeme volt az íj és tekintete a nyíl, Mely nem érte be szívének átdöfésével, Behatolt lelke mélyébe és oly sebeket ejtett, Hogy egész hátralévő életében Saját könnyeivel kell kenje. Die Bögen aber, die ihm die schärfsten und tödlichsten Pfeile in die Brust schleuderten, waren die Augen des Herrn, als sie ihn betrachteten. Die Augen w...
published: 23 Mar 2020 -
Giandomenico Martoretta - Vergine Sacra a 6 1554
Un madrigale a 6 voci (sarebbe a 4 ma il basso presenta 3 voci a canone all'unisono) dal Terzo Libro de' Madrigali del Martoretta, compositore calabrese attivo in Sicilia intorno alla metà del Cinquecento. Fu tra i primi madrigalisti meridionale a comporre su testi in italiano, latino e dialetto siciliano. In questo caso il testo è la prima strofa di una Canzone di Francesco Petrarca (versione rimaneggiata in chiave spirituale dal Malipiero della canzone "S’i’ ’l dissi mai, ch’i’ vegna in odio a quella", visto che in quegli anni spesso il Petrarca era sottoposto a forte censura dalla Chiesa) dedicata alla Madonna; curioso che il Martoretta conservi in parte (sbagliandosi?) in una sola voce su quattro un termine usato dal Petrarca nei confronti di Laura "signoria" e trasformato dal Malipier...
published: 11 Oct 2020 -
Spem In Alium (Thomas Tallis) - Tallis Scholars
Spem in alium nunquam habui Praeter in te, Deus Israel Qui irasceris et propitius eris et omnia peccata hominum in tribulatione dimittis Domine Deus Creator caeli et terrae respice humilitatem nostram. (I have never put my hope in any other but in You, O God of Israel who can show both anger and graciousness, and who absolves all the sins of suffering man Lord God, Creator of Heaven and Earth be mindful of our lowliness.) CD: The Tallis Scholars sing Thomas Tallis / Spem In Alium
published: 09 Mar 2013 -
Lassus - Haec quae ter triplici
An animated score of "Haec quae ter triplici", by Lassus. Q: How did you make this animation? A: With a program I wrote in Python. I also used FFMPEG, SoX, TiMidity, FluidSynth, Python Image Library, and midicsv. All excellent, free, open-source software. Q: Could you make a video of this other song? A: Sure! Well, maybe. For copyright reasons, it has to be public domain music. Just comment below, or send me a message and I'll see what I can do. Q: I really appreciate your work; how can I support you? A: Thanks! It would be very kind if you'd subscribe, like, or share my videos so more people will find them. Q: Have you made a video of [artist]? A: Search "animidify [artist]" and you should be able to see what I've done so far.
published: 10 Mar 2013 -
Lasso: Sixth Penitential Psalm (Psalm 130)
Orlando di Lasso wrote settings of seven major penitential psalms: 6, 32, 38, 51, 102, 130, and 143. The most famous are probably 51 (Miserere mei) and 130 (De profundis clamavi ad te, Domine). I offer this one to start because it is the shortest at eight verses plus the two verses of the closing Gloria Patri, and because it uses a different compositional technique than the others. While six of the settings are freely composed in di Lasso’s usual counterpoint that is not overly florid but very beautiful in its stateliness, in this setting di Lasso incorporates the chant psalm tone thoughout the entire piece as a “cantus firmus” which is usually in the tenor but moves around as you can see below. This somewhat limits how adventurous he can be with the harmonies because the next note is ...
published: 20 Aug 2021 -
Orlando de Lassus - Bone Jesu - Motet For 4 Voices
https://www.discogs.com/Orlando-Di-Lasso-Ensemble-Pro-Cantione-Antiqua-London-Bruno-Turner-Requiem-Zu-5-Stimmen/master/938241
published: 16 Feb 2021 -
Here's What's Cooking - A Feast for 40 Voices - Part 2
Come into Key Chorale's kitchen and see how the "sausage" is made for their upcoming concert, "Choral Splendor in 40 Parts." Join Maestro Joseph Caulkins and special guests Robin and Graham Bier from Les Canards Chantants behind the scenes of this program of polychoral extravagance and unparalleled splendor. To purchase tickets for the May 6 or 7 concert, visit KeyChorale.org.
published: 07 Jan 2022
developed with YouTube
2:35
Canon No. 1 a 2
- Order: Reorder
- Duration: 2:35
- Uploaded Date: 06 Feb 2015
- views: 96
Provided to YouTube by NAXOS of America
Canon No. 1 a 2 · Church of the Ascension and Saint Agnes Choir
Lassus, O.: Missa Surrexit Pastor Bonus Ii / Missa Sur...
Provided to YouTube by NAXOS of America
Canon No. 1 a 2 · Church of the Ascension and Saint Agnes Choir
Lassus, O.: Missa Surrexit Pastor Bonus Ii / Missa Surrexit Pastor Bonus Ii / Canons Nos. 1, 6 and 15
℗ 2002 Centaur Records, Inc.
Released on: 2002-01-01
Choir: Church of the Ascension and Saint Agnes Choir
Conductor: Haig Mardirosian
Composer: Orlando di Lasso
Auto-generated by YouTube.
https://wn.com/Canon_No._1_A_2
Provided to YouTube by NAXOS of America
Canon No. 1 a 2 · Church of the Ascension and Saint Agnes Choir
Lassus, O.: Missa Surrexit Pastor Bonus Ii / Missa Surrexit Pastor Bonus Ii / Canons Nos. 1, 6 and 15
℗ 2002 Centaur Records, Inc.
Released on: 2002-01-01
Choir: Church of the Ascension and Saint Agnes Choir
Conductor: Haig Mardirosian
Composer: Orlando di Lasso
Auto-generated by YouTube.
1:20
Oculus non vidit - Orlande de Lassus - Baritone/Bass Multitrack
- Order: Reorder
- Duration: 1:20
- Uploaded Date: 16 Oct 2016
- views: 8293
A 2-part motet by Orlande de Lassus / Orlando di Lasso / Orlandus Lassus
Oculus non vidit,
nec auris audivit,
nec in cor hominis ascendit,
quae preparavit Deus ...
A 2-part motet by Orlande de Lassus / Orlando di Lasso / Orlandus Lassus
Oculus non vidit,
nec auris audivit,
nec in cor hominis ascendit,
quae preparavit Deus his,
qui diligunt illum.
Eye hath not seen,
nor ear heard,
neither have entered into the heart of man,
The things which God hath prepared
for them that love Him.
Scored for Baritone/Bass by Velthur Tognoni.
Score here:
http://www3.cpdl.org/wiki/images/6/61/Lass-Oculus.pdf
https://wn.com/Oculus_Non_Vidit_Orlande_De_Lassus_Baritone_Bass_Multitrack
A 2-part motet by Orlande de Lassus / Orlando di Lasso / Orlandus Lassus
Oculus non vidit,
nec auris audivit,
nec in cor hominis ascendit,
quae preparavit Deus his,
qui diligunt illum.
Eye hath not seen,
nor ear heard,
neither have entered into the heart of man,
The things which God hath prepared
for them that love Him.
Scored for Baritone/Bass by Velthur Tognoni.
Score here:
http://www3.cpdl.org/wiki/images/6/61/Lass-Oculus.pdf
- published: 16 Oct 2016
- views: 8293
3:06
The Sound of 2-Voice 16th-C Counterpoint
- Order: Reorder
- Duration: 3:06
- Uploaded Date: 03 Sep 2019
- views: 98
From Lassus' St. Matthew Passion (1575)
0:00. #6 Numquid ego sum
0:18 #7 Et si omnes
0:45 #8 Et si oportuerit
1:15 #9 Quemcumque oseulatus
1:48 #10 Ave Rabb...
From Lassus' St. Matthew Passion (1575)
0:00. #6 Numquid ego sum
0:18 #7 Et si omnes
0:45 #8 Et si oportuerit
1:15 #9 Quemcumque oseulatus
1:48 #10 Ave Rabbi
2:05 #12 Nihil respondes ad ea
2:34 #13 Adjuro te per Deum vuvum
https://wn.com/The_Sound_Of_2_Voice_16Th_C_Counterpoint
From Lassus' St. Matthew Passion (1575)
0:00. #6 Numquid ego sum
0:18 #7 Et si omnes
0:45 #8 Et si oportuerit
1:15 #9 Quemcumque oseulatus
1:48 #10 Ave Rabbi
2:05 #12 Nihil respondes ad ea
2:34 #13 Adjuro te per Deum vuvum
- published: 03 Sep 2019
- views: 98
2:30
Orlandus Lassus: Lagrime di San Pietro (Szent Péter könnyei) 21/2
- Order: Reorder
- Duration: 2:30
- Uploaded Date: 23 Mar 2020
- views: 136
Ma gli archi che nel petto (cuore) gli a[v]ventaro
le saette più acute e più mortali
fur gli occhi del Signor, quando il miraro:
gli occhi fur gli archi e i gua...
Ma gli archi che nel petto (cuore) gli a[v]ventaro
le saette più acute e più mortali
fur gli occhi del Signor, quando il miraro:
gli occhi fur gli archi e i guardi fur gli strali,
che, del cor non contenti, se ’n passaro
fin dentro a l’alma; e vi fer piaghe tali
che bisognò, mentre ch’ei (che) visse poi,
ungerle col liquor de gli occhi suoi.
Ám az íjak közül, melyek mellkasát célozták,
A leghegyesebb és leghalálosabb nyíl
Ura szeme volt, ahogy rátekintett;
Szeme volt az íj és tekintete a nyíl,
Mely nem érte be szívének átdöfésével,
Behatolt lelke mélyébe és oly sebeket ejtett,
Hogy egész hátralévő életében
Saját könnyeivel kell kenje.
Die Bögen aber, die ihm die schärfsten
und tödlichsten Pfeile in die Brust schleuderten,
waren die Augen des Herrn, als sie ihn betrachteten.
Die Augen waren die Bögen und die Blicke waren die Pfeile,
die, mit dem Herzen nicht zufrieden,
bis in die Seele drangen und dort solche Wunden schlugen,
daß er sie bis an sein Lebensende
mit dem Naß seiner Augen feuchten mußte.
The bows, however, that hurled towards his chest
the fiercest and most deadly arrows
were the eyes of the Lord, when they saw him:
the eyes were the bows and arrows were the eyes,
which, not content with the heart, burrowed
into the soul; and caused wounds so deep
that he had, for the rest of his life,
to anoint them with the tears of his eyes.
Translation by Campelli
Lagrimae di San Pietro is an Italian religious madrigal series composed to Luigi Tansillo’s poems (1510-1568). The cycle is concluded with a Latin motet. The Tears of St Peter is the last work by the old and frail composer, dedicated to Pope Coleman 8th 3 weeks before his death, in 1594. The piece were published post humus in Munich in 1495 It describes the sorrow and pain St Peter feels on account of his betrayal of Jesus (Mt 26:69-75). Number mysticism plays an important role in the music. Number 7 could refer to the sacraments, to the seven sorrows of the Holy Virgin, and number three to the Holy Trinity. The piece is scored for seven voices, as the text of the madrigals can be divided to seven parts. The series consists of three times seven madrigals. In the current series of Lassus, only the first seven tones and the tonus peregrinus is included, the eighth is not. (1-4: 1st tone, 5-8: 2nd tone, 9-12: 3rd and 4th tones, 13-15: 5th tone, 16-18: 6th tone, 19-20: 7th tone, 21: tonus peregrinus). From the musical point of view, Lagrime is the cross-section of Lassus’s style. In it, you can recognize Palestrina’s polyphonic style and observe the chromaticism and characteristics of madrigals. In the final motet (Vide homo, quae pro te patior – See man how I am suffering for you) the suffering Christ calls out to us in first person singular, forgiving the sins of Peter and every man. (Monika Kecskés) (English translation: Hajnal Lekeny)
A Lagrime di San Pietro 20, olasz nyelvű, vallásos madrigálból álló sorozat, Luigi Tansillo (1510–1568) verseire. A ciklust latin nyelvű motetta zárja le. A Szent Péter könnyei az idős, megtört komponista utolsó műve. 1594-ben komponálta, és VIII. Kelemen pápának ajánlotta, éppen három héttel halála előtt. A darab csak poszthumusz jelenhetett meg, 1495-ben, Münchenben.
A mű Szent Péter bánatát és fájdalmát jeleníti meg, amelyet Jézus elárulása miatt érzett (Máté 26: 69–75). A számmisztika a műben fontos szerepet kap. A hetes szám utalhat a hét Szentségre, a Szentséges Szűz hét fájdalmára, a hármas szám pedig a Szentháromságra. A hét szólamú darab madrigáljainak szövege sok esetben éppen hét részre osztható. A sorozat egésze éppen háromszor hét madrigálból áll. Lassus jelen sorozatában csak első hét tónus, valamint a tonus peregrinus szerepel, a nyolcadik egyáltalán nem. (1-4: 1. tónus; 5-8: 2. tónus; 9-12: 3. és 4. tónus; 13–15: 5. tónus; 16–18: 6. tónus; 19 és 20: 7. tónus.; 21: tonus peregrinus). Zenei szempontból a Lagrime Lassus stílusának keresztmetszete. Palestrina polifón stílusa éppúgy megfigyelhető benne, mint a késő-reneszánsz madrigálok kromaticizmusa, szófestése. A záró motettában – Vide homo, quae pro te patior (Lásd ember, hogy szenvedek érted) – a szenvedő Krisztus szól hozzánk egyes szám első személyben, valójában megbocsátva Péter és minden ember bűnét.
(Kecskés Mónika)
Előadja Belvárosi Ferences Templom Greccio Kamarakórusa (mv. Kecskés Mónika):
S I: Dallos Bernadett, Tóth Emese Gyöngyvér
S II: Petneházi Gyöngyvér, Sárkány Júlia
A I: Paszabi Ágnes, Táborszki Györgyi, Tatai Lilla, Zsibrita Ildikó
A II: Daragó Rita Laura, Juhász János/Kecskés Mónika
T I: Harmath Dénes
T II: Cser Miklós, Dénes Marcell Worowski
B: Bódi Balázs, Cser Balázs
Vezényel: Kecskés Mónika (1–20) és Juhász János (21)
https://wn.com/Orlandus_Lassus_Lagrime_Di_San_Pietro_(Szent_Péter_Könnyei)_21_2
Ma gli archi che nel petto (cuore) gli a[v]ventaro
le saette più acute e più mortali
fur gli occhi del Signor, quando il miraro:
gli occhi fur gli archi e i guardi fur gli strali,
che, del cor non contenti, se ’n passaro
fin dentro a l’alma; e vi fer piaghe tali
che bisognò, mentre ch’ei (che) visse poi,
ungerle col liquor de gli occhi suoi.
Ám az íjak közül, melyek mellkasát célozták,
A leghegyesebb és leghalálosabb nyíl
Ura szeme volt, ahogy rátekintett;
Szeme volt az íj és tekintete a nyíl,
Mely nem érte be szívének átdöfésével,
Behatolt lelke mélyébe és oly sebeket ejtett,
Hogy egész hátralévő életében
Saját könnyeivel kell kenje.
Die Bögen aber, die ihm die schärfsten
und tödlichsten Pfeile in die Brust schleuderten,
waren die Augen des Herrn, als sie ihn betrachteten.
Die Augen waren die Bögen und die Blicke waren die Pfeile,
die, mit dem Herzen nicht zufrieden,
bis in die Seele drangen und dort solche Wunden schlugen,
daß er sie bis an sein Lebensende
mit dem Naß seiner Augen feuchten mußte.
The bows, however, that hurled towards his chest
the fiercest and most deadly arrows
were the eyes of the Lord, when they saw him:
the eyes were the bows and arrows were the eyes,
which, not content with the heart, burrowed
into the soul; and caused wounds so deep
that he had, for the rest of his life,
to anoint them with the tears of his eyes.
Translation by Campelli
Lagrimae di San Pietro is an Italian religious madrigal series composed to Luigi Tansillo’s poems (1510-1568). The cycle is concluded with a Latin motet. The Tears of St Peter is the last work by the old and frail composer, dedicated to Pope Coleman 8th 3 weeks before his death, in 1594. The piece were published post humus in Munich in 1495 It describes the sorrow and pain St Peter feels on account of his betrayal of Jesus (Mt 26:69-75). Number mysticism plays an important role in the music. Number 7 could refer to the sacraments, to the seven sorrows of the Holy Virgin, and number three to the Holy Trinity. The piece is scored for seven voices, as the text of the madrigals can be divided to seven parts. The series consists of three times seven madrigals. In the current series of Lassus, only the first seven tones and the tonus peregrinus is included, the eighth is not. (1-4: 1st tone, 5-8: 2nd tone, 9-12: 3rd and 4th tones, 13-15: 5th tone, 16-18: 6th tone, 19-20: 7th tone, 21: tonus peregrinus). From the musical point of view, Lagrime is the cross-section of Lassus’s style. In it, you can recognize Palestrina’s polyphonic style and observe the chromaticism and characteristics of madrigals. In the final motet (Vide homo, quae pro te patior – See man how I am suffering for you) the suffering Christ calls out to us in first person singular, forgiving the sins of Peter and every man. (Monika Kecskés) (English translation: Hajnal Lekeny)
A Lagrime di San Pietro 20, olasz nyelvű, vallásos madrigálból álló sorozat, Luigi Tansillo (1510–1568) verseire. A ciklust latin nyelvű motetta zárja le. A Szent Péter könnyei az idős, megtört komponista utolsó műve. 1594-ben komponálta, és VIII. Kelemen pápának ajánlotta, éppen három héttel halála előtt. A darab csak poszthumusz jelenhetett meg, 1495-ben, Münchenben.
A mű Szent Péter bánatát és fájdalmát jeleníti meg, amelyet Jézus elárulása miatt érzett (Máté 26: 69–75). A számmisztika a műben fontos szerepet kap. A hetes szám utalhat a hét Szentségre, a Szentséges Szűz hét fájdalmára, a hármas szám pedig a Szentháromságra. A hét szólamú darab madrigáljainak szövege sok esetben éppen hét részre osztható. A sorozat egésze éppen háromszor hét madrigálból áll. Lassus jelen sorozatában csak első hét tónus, valamint a tonus peregrinus szerepel, a nyolcadik egyáltalán nem. (1-4: 1. tónus; 5-8: 2. tónus; 9-12: 3. és 4. tónus; 13–15: 5. tónus; 16–18: 6. tónus; 19 és 20: 7. tónus.; 21: tonus peregrinus). Zenei szempontból a Lagrime Lassus stílusának keresztmetszete. Palestrina polifón stílusa éppúgy megfigyelhető benne, mint a késő-reneszánsz madrigálok kromaticizmusa, szófestése. A záró motettában – Vide homo, quae pro te patior (Lásd ember, hogy szenvedek érted) – a szenvedő Krisztus szól hozzánk egyes szám első személyben, valójában megbocsátva Péter és minden ember bűnét.
(Kecskés Mónika)
Előadja Belvárosi Ferences Templom Greccio Kamarakórusa (mv. Kecskés Mónika):
S I: Dallos Bernadett, Tóth Emese Gyöngyvér
S II: Petneházi Gyöngyvér, Sárkány Júlia
A I: Paszabi Ágnes, Táborszki Györgyi, Tatai Lilla, Zsibrita Ildikó
A II: Daragó Rita Laura, Juhász János/Kecskés Mónika
T I: Harmath Dénes
T II: Cser Miklós, Dénes Marcell Worowski
B: Bódi Balázs, Cser Balázs
Vezényel: Kecskés Mónika (1–20) és Juhász János (21)
- published: 23 Mar 2020
- views: 136
2:53
Giandomenico Martoretta - Vergine Sacra a 6 1554
- Order: Reorder
- Duration: 2:53
- Uploaded Date: 11 Oct 2020
- views: 515
Un madrigale a 6 voci (sarebbe a 4 ma il basso presenta 3 voci a canone all'unisono) dal Terzo Libro de' Madrigali del Martoretta, compositore calabrese attivo ...
Un madrigale a 6 voci (sarebbe a 4 ma il basso presenta 3 voci a canone all'unisono) dal Terzo Libro de' Madrigali del Martoretta, compositore calabrese attivo in Sicilia intorno alla metà del Cinquecento. Fu tra i primi madrigalisti meridionale a comporre su testi in italiano, latino e dialetto siciliano. In questo caso il testo è la prima strofa di una Canzone di Francesco Petrarca (versione rimaneggiata in chiave spirituale dal Malipiero della canzone "S’i’ ’l dissi mai, ch’i’ vegna in odio a quella", visto che in quegli anni spesso il Petrarca era sottoposto a forte censura dalla Chiesa) dedicata alla Madonna; curioso che il Martoretta conservi in parte (sbagliandosi?) in una sola voce su quattro un termine usato dal Petrarca nei confronti di Laura "signoria" e trasformato dal Malipiero in "servitù" nei confronti della Madonna.
A 6-voices madrigal (SATB + 2 more B voices in unison canon) by Giandomenico Martoretta, a mid-16th century composer from Southern Italy (born in Calabria, active both in Calabria and Sicily, but also in Cyprus, at the time a Venetian possession). The text is taken from Petrarca, although "spiritualized" by Girolamo Malipiero; this was a habit in the mid-16th century, since Petrarca's poetry dedicated to Laura was often censored by Inquisition.
Transcription by Guido Menestrina, available in modern clefs on http://www.musicaltranscriptions.com/Giandomenico-Martoretta-Vergine-Sacra-a-6-1554
https://wn.com/Giandomenico_Martoretta_Vergine_Sacra_A_6_1554
Un madrigale a 6 voci (sarebbe a 4 ma il basso presenta 3 voci a canone all'unisono) dal Terzo Libro de' Madrigali del Martoretta, compositore calabrese attivo in Sicilia intorno alla metà del Cinquecento. Fu tra i primi madrigalisti meridionale a comporre su testi in italiano, latino e dialetto siciliano. In questo caso il testo è la prima strofa di una Canzone di Francesco Petrarca (versione rimaneggiata in chiave spirituale dal Malipiero della canzone "S’i’ ’l dissi mai, ch’i’ vegna in odio a quella", visto che in quegli anni spesso il Petrarca era sottoposto a forte censura dalla Chiesa) dedicata alla Madonna; curioso che il Martoretta conservi in parte (sbagliandosi?) in una sola voce su quattro un termine usato dal Petrarca nei confronti di Laura "signoria" e trasformato dal Malipiero in "servitù" nei confronti della Madonna.
A 6-voices madrigal (SATB + 2 more B voices in unison canon) by Giandomenico Martoretta, a mid-16th century composer from Southern Italy (born in Calabria, active both in Calabria and Sicily, but also in Cyprus, at the time a Venetian possession). The text is taken from Petrarca, although "spiritualized" by Girolamo Malipiero; this was a habit in the mid-16th century, since Petrarca's poetry dedicated to Laura was often censored by Inquisition.
Transcription by Guido Menestrina, available in modern clefs on http://www.musicaltranscriptions.com/Giandomenico-Martoretta-Vergine-Sacra-a-6-1554
- published: 11 Oct 2020
- views: 515
9:41
Spem In Alium (Thomas Tallis) - Tallis Scholars
- Order: Reorder
- Duration: 9:41
- Uploaded Date: 09 Mar 2013
- views: 1892143
Spem in alium nunquam habui
Praeter in te, Deus Israel
Qui irasceris et propitius eris
et omnia peccata hominum
in tribulatione dimittis
Domine Deus
Creator cae...
Spem in alium nunquam habui
Praeter in te, Deus Israel
Qui irasceris et propitius eris
et omnia peccata hominum
in tribulatione dimittis
Domine Deus
Creator caeli et terrae
respice humilitatem nostram.
(I have never put my hope in any other
but in You, O God of Israel
who can show both anger and graciousness,
and who absolves all the sins
of suffering man
Lord God,
Creator of Heaven and Earth
be mindful of our lowliness.)
CD: The Tallis Scholars sing Thomas Tallis / Spem In Alium
https://wn.com/Spem_In_Alium_(Thomas_Tallis)_Tallis_Scholars
Spem in alium nunquam habui
Praeter in te, Deus Israel
Qui irasceris et propitius eris
et omnia peccata hominum
in tribulatione dimittis
Domine Deus
Creator caeli et terrae
respice humilitatem nostram.
(I have never put my hope in any other
but in You, O God of Israel
who can show both anger and graciousness,
and who absolves all the sins
of suffering man
Lord God,
Creator of Heaven and Earth
be mindful of our lowliness.)
CD: The Tallis Scholars sing Thomas Tallis / Spem In Alium
- published: 09 Mar 2013
- views: 1892143
2:15
Lassus - Haec quae ter triplici
- Order: Reorder
- Duration: 2:15
- Uploaded Date: 10 Mar 2013
- views: 253
An animated score of "Haec quae ter triplici", by Lassus.
Q: How did you make this animation?
A: With a program I wrote in Python. I also used FFMPEG, SoX, Ti...
An animated score of "Haec quae ter triplici", by Lassus.
Q: How did you make this animation?
A: With a program I wrote in Python. I also used FFMPEG, SoX, TiMidity, FluidSynth, Python Image Library, and midicsv. All excellent, free, open-source software.
Q: Could you make a video of this other song?
A: Sure! Well, maybe. For copyright reasons, it has to be public domain music. Just comment below, or send me a message and I'll see what I can do.
Q: I really appreciate your work; how can I support you?
A: Thanks! It would be very kind if you'd subscribe, like, or share my videos so more people will find them.
Q: Have you made a video of [artist]?
A: Search "animidify [artist]" and you should be able to see what I've done so far.
https://wn.com/Lassus_Haec_Quae_Ter_Triplici
An animated score of "Haec quae ter triplici", by Lassus.
Q: How did you make this animation?
A: With a program I wrote in Python. I also used FFMPEG, SoX, TiMidity, FluidSynth, Python Image Library, and midicsv. All excellent, free, open-source software.
Q: Could you make a video of this other song?
A: Sure! Well, maybe. For copyright reasons, it has to be public domain music. Just comment below, or send me a message and I'll see what I can do.
Q: I really appreciate your work; how can I support you?
A: Thanks! It would be very kind if you'd subscribe, like, or share my videos so more people will find them.
Q: Have you made a video of [artist]?
A: Search "animidify [artist]" and you should be able to see what I've done so far.
- published: 10 Mar 2013
- views: 253
8:27
Lasso: Sixth Penitential Psalm (Psalm 130)
- Order: Reorder
- Duration: 8:27
- Uploaded Date: 20 Aug 2021
- views: 52
Orlando di Lasso wrote settings of seven major penitential psalms: 6, 32, 38, 51, 102, 130, and 143. The most famous are probably 51 (Miserere mei) and 130 (De...
Orlando di Lasso wrote settings of seven major penitential psalms: 6, 32, 38, 51, 102, 130, and 143. The most famous are probably 51 (Miserere mei) and 130 (De profundis clamavi ad te, Domine). I offer this one to start because it is the shortest at eight verses plus the two verses of the closing Gloria Patri, and because it uses a different compositional technique than the others. While six of the settings are freely composed in di Lasso’s usual counterpoint that is not overly florid but very beautiful in its stateliness, in this setting di Lasso incorporates the chant psalm tone thoughout the entire piece as a “cantus firmus” which is usually in the tenor but moves around as you can see below. This somewhat limits how adventurous he can be with the harmonies because the next note is dictated by the chant, yet I don’t find the piece to be overly static. Six of the ten sections are for five voice, two are for three voices (in different voicings), one is for four voices, and the final section is for six voices.
Versus 1 à5 SATTB (c.f. in tenor) "Out of the depths..."
Versus 2 à5 SATTB (c.f. in tenor, canon at the fifth in alto) "Lord, hear my voice..."
Versus 3 à5 SATTB (c.f. in tenor, canon at the fourth in alto) "If thou should mark iniquities..."
Versus 4 à3 ATB (c.f. in tenor) "But there is forgiveness..."
Versus 5 à5 SATTB (c.f. in bass) "I wait for the Lord..."
Versus 6 à5 SATTB (c.f. in tenor II) "My soul waits for the Lord..."
Versus 7 à3 SAT (c.f. in soprano) "Let Israel hope in the Lord..."
Versus 8 à4 ATTB (c.f. in alto) "And he shall redeem Israel..."
Gloria Patri à5 SATTB (c.f. in tenor) "Glory be to the Father..."
Sicut erat à6 SSATB (c.f. in tenor) "As it was in the beginning..."
https://wn.com/Lasso_Sixth_Penitential_Psalm_(Psalm_130)
Orlando di Lasso wrote settings of seven major penitential psalms: 6, 32, 38, 51, 102, 130, and 143. The most famous are probably 51 (Miserere mei) and 130 (De profundis clamavi ad te, Domine). I offer this one to start because it is the shortest at eight verses plus the two verses of the closing Gloria Patri, and because it uses a different compositional technique than the others. While six of the settings are freely composed in di Lasso’s usual counterpoint that is not overly florid but very beautiful in its stateliness, in this setting di Lasso incorporates the chant psalm tone thoughout the entire piece as a “cantus firmus” which is usually in the tenor but moves around as you can see below. This somewhat limits how adventurous he can be with the harmonies because the next note is dictated by the chant, yet I don’t find the piece to be overly static. Six of the ten sections are for five voice, two are for three voices (in different voicings), one is for four voices, and the final section is for six voices.
Versus 1 à5 SATTB (c.f. in tenor) "Out of the depths..."
Versus 2 à5 SATTB (c.f. in tenor, canon at the fifth in alto) "Lord, hear my voice..."
Versus 3 à5 SATTB (c.f. in tenor, canon at the fourth in alto) "If thou should mark iniquities..."
Versus 4 à3 ATB (c.f. in tenor) "But there is forgiveness..."
Versus 5 à5 SATTB (c.f. in bass) "I wait for the Lord..."
Versus 6 à5 SATTB (c.f. in tenor II) "My soul waits for the Lord..."
Versus 7 à3 SAT (c.f. in soprano) "Let Israel hope in the Lord..."
Versus 8 à4 ATTB (c.f. in alto) "And he shall redeem Israel..."
Gloria Patri à5 SATTB (c.f. in tenor) "Glory be to the Father..."
Sicut erat à6 SSATB (c.f. in tenor) "As it was in the beginning..."
- published: 20 Aug 2021
- views: 52
4:13
Orlando de Lassus - Bone Jesu - Motet For 4 Voices
- Order: Reorder
- Duration: 4:13
- Uploaded Date: 16 Feb 2021
- views: 56
https://www.discogs.com/Orlando-Di-Lasso-Ensemble-Pro-Cantione-Antiqua-London-Bruno-Turner-Requiem-Zu-5-Stimmen/master/938241
https://www.discogs.com/Orlando-Di-Lasso-Ensemble-Pro-Cantione-Antiqua-London-Bruno-Turner-Requiem-Zu-5-Stimmen/master/938241
https://wn.com/Orlando_De_Lassus_Bone_Jesu_Motet_For_4_Voices
https://www.discogs.com/Orlando-Di-Lasso-Ensemble-Pro-Cantione-Antiqua-London-Bruno-Turner-Requiem-Zu-5-Stimmen/master/938241
- published: 16 Feb 2021
- views: 56
7:35
Here's What's Cooking - A Feast for 40 Voices - Part 2
- Order: Reorder
- Duration: 7:35
- Uploaded Date: 07 Jan 2022
- views: 174
Come into Key Chorale's kitchen and see how the "sausage" is made for their upcoming concert, "Choral Splendor in 40 Parts." Join Maestro Joseph Caulkins and sp...
Come into Key Chorale's kitchen and see how the "sausage" is made for their upcoming concert, "Choral Splendor in 40 Parts." Join Maestro Joseph Caulkins and special guests Robin and Graham Bier from Les Canards Chantants behind the scenes of this program of polychoral extravagance and unparalleled splendor.
To purchase tickets for the May 6 or 7 concert, visit KeyChorale.org.
https://wn.com/Here's_What's_Cooking_A_Feast_For_40_Voices_Part_2
Come into Key Chorale's kitchen and see how the "sausage" is made for their upcoming concert, "Choral Splendor in 40 Parts." Join Maestro Joseph Caulkins and special guests Robin and Graham Bier from Les Canards Chantants behind the scenes of this program of polychoral extravagance and unparalleled splendor.
To purchase tickets for the May 6 or 7 concert, visit KeyChorale.org.
- published: 07 Jan 2022
- views: 174
2:35
Canon No. 1 a 2
Provided to YouTube by NAXOS of America
Canon No. 1 a 2 · Church of the Ascension and Sai...
published: 06 Feb 2015
Canon No. 1 a 2
Canon No. 1 a 2
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- published: 06 Feb 2015
- views: 96
Provided to YouTube by NAXOS of America
Canon No. 1 a 2 · Church of the Ascension and Saint Agnes Choir
Lassus, O.: Missa Surrexit Pastor Bonus Ii / Missa Surrexit Pastor Bonus Ii / Canons Nos. 1, 6 and 15
℗ 2002 Centaur Records, Inc.
Released on: 2002-01-01
Choir: Church of the Ascension and Saint Agnes Choir
Conductor: Haig Mardirosian
Composer: Orlando di Lasso
Auto-generated by YouTube.
1:20
Oculus non vidit - Orlande de Lassus - Baritone/Bass Multitrack
A 2-part motet by Orlande de Lassus / Orlando di Lasso / Orlandus Lassus
Oculus non vidit,...
published: 16 Oct 2016
Oculus non vidit - Orlande de Lassus - Baritone/Bass Multitrack
Oculus non vidit - Orlande de Lassus - Baritone/Bass Multitrack
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- published: 16 Oct 2016
- views: 8293
A 2-part motet by Orlande de Lassus / Orlando di Lasso / Orlandus Lassus
Oculus non vidit,
nec auris audivit,
nec in cor hominis ascendit,
quae preparavit Deus his,
qui diligunt illum.
Eye hath not seen,
nor ear heard,
neither have entered into the heart of man,
The things which God hath prepared
for them that love Him.
Scored for Baritone/Bass by Velthur Tognoni.
Score here:
http://www3.cpdl.org/wiki/images/6/61/Lass-Oculus.pdf
3:06
The Sound of 2-Voice 16th-C Counterpoint
From Lassus' St. Matthew Passion (1575)
0:00. #6 Numquid ego sum
0:18 #7 Et si omnes
0:45...
published: 03 Sep 2019
The Sound of 2-Voice 16th-C Counterpoint
The Sound of 2-Voice 16th-C Counterpoint
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- published: 03 Sep 2019
- views: 98
From Lassus' St. Matthew Passion (1575)
0:00. #6 Numquid ego sum
0:18 #7 Et si omnes
0:45 #8 Et si oportuerit
1:15 #9 Quemcumque oseulatus
1:48 #10 Ave Rabbi
2:05 #12 Nihil respondes ad ea
2:34 #13 Adjuro te per Deum vuvum
2:30
Orlandus Lassus: Lagrime di San Pietro (Szent Péter könnyei) 21/2
Ma gli archi che nel petto (cuore) gli a[v]ventaro
le saette più acute e più mortali
fur g...
published: 23 Mar 2020
Orlandus Lassus: Lagrime di San Pietro (Szent Péter könnyei) 21/2
Orlandus Lassus: Lagrime di San Pietro (Szent Péter könnyei) 21/2
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- published: 23 Mar 2020
- views: 136
Ma gli archi che nel petto (cuore) gli a[v]ventaro
le saette più acute e più mortali
fur gli occhi del Signor, quando il miraro:
gli occhi fur gli archi e i guardi fur gli strali,
che, del cor non contenti, se ’n passaro
fin dentro a l’alma; e vi fer piaghe tali
che bisognò, mentre ch’ei (che) visse poi,
ungerle col liquor de gli occhi suoi.
Ám az íjak közül, melyek mellkasát célozták,
A leghegyesebb és leghalálosabb nyíl
Ura szeme volt, ahogy rátekintett;
Szeme volt az íj és tekintete a nyíl,
Mely nem érte be szívének átdöfésével,
Behatolt lelke mélyébe és oly sebeket ejtett,
Hogy egész hátralévő életében
Saját könnyeivel kell kenje.
Die Bögen aber, die ihm die schärfsten
und tödlichsten Pfeile in die Brust schleuderten,
waren die Augen des Herrn, als sie ihn betrachteten.
Die Augen waren die Bögen und die Blicke waren die Pfeile,
die, mit dem Herzen nicht zufrieden,
bis in die Seele drangen und dort solche Wunden schlugen,
daß er sie bis an sein Lebensende
mit dem Naß seiner Augen feuchten mußte.
The bows, however, that hurled towards his chest
the fiercest and most deadly arrows
were the eyes of the Lord, when they saw him:
the eyes were the bows and arrows were the eyes,
which, not content with the heart, burrowed
into the soul; and caused wounds so deep
that he had, for the rest of his life,
to anoint them with the tears of his eyes.
Translation by Campelli
Lagrimae di San Pietro is an Italian religious madrigal series composed to Luigi Tansillo’s poems (1510-1568). The cycle is concluded with a Latin motet. The Tears of St Peter is the last work by the old and frail composer, dedicated to Pope Coleman 8th 3 weeks before his death, in 1594. The piece were published post humus in Munich in 1495 It describes the sorrow and pain St Peter feels on account of his betrayal of Jesus (Mt 26:69-75). Number mysticism plays an important role in the music. Number 7 could refer to the sacraments, to the seven sorrows of the Holy Virgin, and number three to the Holy Trinity. The piece is scored for seven voices, as the text of the madrigals can be divided to seven parts. The series consists of three times seven madrigals. In the current series of Lassus, only the first seven tones and the tonus peregrinus is included, the eighth is not. (1-4: 1st tone, 5-8: 2nd tone, 9-12: 3rd and 4th tones, 13-15: 5th tone, 16-18: 6th tone, 19-20: 7th tone, 21: tonus peregrinus). From the musical point of view, Lagrime is the cross-section of Lassus’s style. In it, you can recognize Palestrina’s polyphonic style and observe the chromaticism and characteristics of madrigals. In the final motet (Vide homo, quae pro te patior – See man how I am suffering for you) the suffering Christ calls out to us in first person singular, forgiving the sins of Peter and every man. (Monika Kecskés) (English translation: Hajnal Lekeny)
A Lagrime di San Pietro 20, olasz nyelvű, vallásos madrigálból álló sorozat, Luigi Tansillo (1510–1568) verseire. A ciklust latin nyelvű motetta zárja le. A Szent Péter könnyei az idős, megtört komponista utolsó műve. 1594-ben komponálta, és VIII. Kelemen pápának ajánlotta, éppen három héttel halála előtt. A darab csak poszthumusz jelenhetett meg, 1495-ben, Münchenben.
A mű Szent Péter bánatát és fájdalmát jeleníti meg, amelyet Jézus elárulása miatt érzett (Máté 26: 69–75). A számmisztika a műben fontos szerepet kap. A hetes szám utalhat a hét Szentségre, a Szentséges Szűz hét fájdalmára, a hármas szám pedig a Szentháromságra. A hét szólamú darab madrigáljainak szövege sok esetben éppen hét részre osztható. A sorozat egésze éppen háromszor hét madrigálból áll. Lassus jelen sorozatában csak első hét tónus, valamint a tonus peregrinus szerepel, a nyolcadik egyáltalán nem. (1-4: 1. tónus; 5-8: 2. tónus; 9-12: 3. és 4. tónus; 13–15: 5. tónus; 16–18: 6. tónus; 19 és 20: 7. tónus.; 21: tonus peregrinus). Zenei szempontból a Lagrime Lassus stílusának keresztmetszete. Palestrina polifón stílusa éppúgy megfigyelhető benne, mint a késő-reneszánsz madrigálok kromaticizmusa, szófestése. A záró motettában – Vide homo, quae pro te patior (Lásd ember, hogy szenvedek érted) – a szenvedő Krisztus szól hozzánk egyes szám első személyben, valójában megbocsátva Péter és minden ember bűnét.
(Kecskés Mónika)
Előadja Belvárosi Ferences Templom Greccio Kamarakórusa (mv. Kecskés Mónika):
S I: Dallos Bernadett, Tóth Emese Gyöngyvér
S II: Petneházi Gyöngyvér, Sárkány Júlia
A I: Paszabi Ágnes, Táborszki Györgyi, Tatai Lilla, Zsibrita Ildikó
A II: Daragó Rita Laura, Juhász János/Kecskés Mónika
T I: Harmath Dénes
T II: Cser Miklós, Dénes Marcell Worowski
B: Bódi Balázs, Cser Balázs
Vezényel: Kecskés Mónika (1–20) és Juhász János (21)
2:53
Giandomenico Martoretta - Vergine Sacra a 6 1554
Un madrigale a 6 voci (sarebbe a 4 ma il basso presenta 3 voci a canone all'unisono) dal T...
published: 11 Oct 2020
Giandomenico Martoretta - Vergine Sacra a 6 1554
Giandomenico Martoretta - Vergine Sacra a 6 1554
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- published: 11 Oct 2020
- views: 515
Un madrigale a 6 voci (sarebbe a 4 ma il basso presenta 3 voci a canone all'unisono) dal Terzo Libro de' Madrigali del Martoretta, compositore calabrese attivo in Sicilia intorno alla metà del Cinquecento. Fu tra i primi madrigalisti meridionale a comporre su testi in italiano, latino e dialetto siciliano. In questo caso il testo è la prima strofa di una Canzone di Francesco Petrarca (versione rimaneggiata in chiave spirituale dal Malipiero della canzone "S’i’ ’l dissi mai, ch’i’ vegna in odio a quella", visto che in quegli anni spesso il Petrarca era sottoposto a forte censura dalla Chiesa) dedicata alla Madonna; curioso che il Martoretta conservi in parte (sbagliandosi?) in una sola voce su quattro un termine usato dal Petrarca nei confronti di Laura "signoria" e trasformato dal Malipiero in "servitù" nei confronti della Madonna.
A 6-voices madrigal (SATB + 2 more B voices in unison canon) by Giandomenico Martoretta, a mid-16th century composer from Southern Italy (born in Calabria, active both in Calabria and Sicily, but also in Cyprus, at the time a Venetian possession). The text is taken from Petrarca, although "spiritualized" by Girolamo Malipiero; this was a habit in the mid-16th century, since Petrarca's poetry dedicated to Laura was often censored by Inquisition.
Transcription by Guido Menestrina, available in modern clefs on http://www.musicaltranscriptions.com/Giandomenico-Martoretta-Vergine-Sacra-a-6-1554
9:41
Spem In Alium (Thomas Tallis) - Tallis Scholars
Spem in alium nunquam habui
Praeter in te, Deus Israel
Qui irasceris et propitius eris
et ...
published: 09 Mar 2013
Spem In Alium (Thomas Tallis) - Tallis Scholars
Spem In Alium (Thomas Tallis) - Tallis Scholars
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- published: 09 Mar 2013
- views: 1892143
Spem in alium nunquam habui
Praeter in te, Deus Israel
Qui irasceris et propitius eris
et omnia peccata hominum
in tribulatione dimittis
Domine Deus
Creator caeli et terrae
respice humilitatem nostram.
(I have never put my hope in any other
but in You, O God of Israel
who can show both anger and graciousness,
and who absolves all the sins
of suffering man
Lord God,
Creator of Heaven and Earth
be mindful of our lowliness.)
CD: The Tallis Scholars sing Thomas Tallis / Spem In Alium
2:15
Lassus - Haec quae ter triplici
An animated score of "Haec quae ter triplici", by Lassus.
Q: How did you make this anima...
published: 10 Mar 2013
Lassus - Haec quae ter triplici
Lassus - Haec quae ter triplici
- Report rights infringement
- published: 10 Mar 2013
- views: 253
An animated score of "Haec quae ter triplici", by Lassus.
Q: How did you make this animation?
A: With a program I wrote in Python. I also used FFMPEG, SoX, TiMidity, FluidSynth, Python Image Library, and midicsv. All excellent, free, open-source software.
Q: Could you make a video of this other song?
A: Sure! Well, maybe. For copyright reasons, it has to be public domain music. Just comment below, or send me a message and I'll see what I can do.
Q: I really appreciate your work; how can I support you?
A: Thanks! It would be very kind if you'd subscribe, like, or share my videos so more people will find them.
Q: Have you made a video of [artist]?
A: Search "animidify [artist]" and you should be able to see what I've done so far.
8:27
Lasso: Sixth Penitential Psalm (Psalm 130)
Orlando di Lasso wrote settings of seven major penitential psalms: 6, 32, 38, 51, 102, 130...
published: 20 Aug 2021
Lasso: Sixth Penitential Psalm (Psalm 130)
Lasso: Sixth Penitential Psalm (Psalm 130)
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- published: 20 Aug 2021
- views: 52
Orlando di Lasso wrote settings of seven major penitential psalms: 6, 32, 38, 51, 102, 130, and 143. The most famous are probably 51 (Miserere mei) and 130 (De profundis clamavi ad te, Domine). I offer this one to start because it is the shortest at eight verses plus the two verses of the closing Gloria Patri, and because it uses a different compositional technique than the others. While six of the settings are freely composed in di Lasso’s usual counterpoint that is not overly florid but very beautiful in its stateliness, in this setting di Lasso incorporates the chant psalm tone thoughout the entire piece as a “cantus firmus” which is usually in the tenor but moves around as you can see below. This somewhat limits how adventurous he can be with the harmonies because the next note is dictated by the chant, yet I don’t find the piece to be overly static. Six of the ten sections are for five voice, two are for three voices (in different voicings), one is for four voices, and the final section is for six voices.
Versus 1 à5 SATTB (c.f. in tenor) "Out of the depths..."
Versus 2 à5 SATTB (c.f. in tenor, canon at the fifth in alto) "Lord, hear my voice..."
Versus 3 à5 SATTB (c.f. in tenor, canon at the fourth in alto) "If thou should mark iniquities..."
Versus 4 à3 ATB (c.f. in tenor) "But there is forgiveness..."
Versus 5 à5 SATTB (c.f. in bass) "I wait for the Lord..."
Versus 6 à5 SATTB (c.f. in tenor II) "My soul waits for the Lord..."
Versus 7 à3 SAT (c.f. in soprano) "Let Israel hope in the Lord..."
Versus 8 à4 ATTB (c.f. in alto) "And he shall redeem Israel..."
Gloria Patri à5 SATTB (c.f. in tenor) "Glory be to the Father..."
Sicut erat à6 SSATB (c.f. in tenor) "As it was in the beginning..."
4:13
Orlando de Lassus - Bone Jesu - Motet For 4 Voices
https://www.discogs.com/Orlando-Di-Lasso-Ensemble-Pro-Cantione-Antiqua-London-Bruno-Turner...
published: 16 Feb 2021
Orlando de Lassus - Bone Jesu - Motet For 4 Voices
Orlando de Lassus - Bone Jesu - Motet For 4 Voices
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- published: 16 Feb 2021
- views: 56
https://www.discogs.com/Orlando-Di-Lasso-Ensemble-Pro-Cantione-Antiqua-London-Bruno-Turner-Requiem-Zu-5-Stimmen/master/938241
7:35
Here's What's Cooking - A Feast for 40 Voices - Part 2
Come into Key Chorale's kitchen and see how the "sausage" is made for their upcoming conce...
published: 07 Jan 2022
Here's What's Cooking - A Feast for 40 Voices - Part 2
Here's What's Cooking - A Feast for 40 Voices - Part 2
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- published: 07 Jan 2022
- views: 174
Come into Key Chorale's kitchen and see how the "sausage" is made for their upcoming concert, "Choral Splendor in 40 Parts." Join Maestro Joseph Caulkins and special guests Robin and Graham Bier from Les Canards Chantants behind the scenes of this program of polychoral extravagance and unparalleled splendor.
To purchase tickets for the May 6 or 7 concert, visit KeyChorale.org.
Orlande de Lassus
Roland de Lassus (also Orlande de Lassus, Orlando di Lasso, Orlandus Lassus, or Roland de Lattre; 1532, possibly 1530 – 14 June 1594) was a Netherlandish or Franco-Flemish composer of the late Renaissance. He is today considered to be the chief representative of the mature polyphonic style of the Franco-Flemish school, and one of the three most famous and influential musicians in Europe at the end of the 16th century (the other two being Palestrina and Victoria).
Life
Lassus was born in Mons in the County of Hainaut, Habsburg Netherlands (modern-day Belgium). Information about his early years is scanty, although some uncorroborated stories have survived, the most famous of which is that he was kidnapped three times because of the singular beauty of his singing voice. At the age of twelve, he left the Low Countries with Ferrante Gonzaga and went to Mantua, Sicily, and later Milan (from 1547 to 1549). While in Milan, he made the acquaintance of the madrigalist Spirito l'Hoste da Reggio, a formative influence on his early musical style.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Orlande_de_Lassus
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by Skye Sweetnam
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by Oceans Of Sadness
Two Voices
by: Skye Sweetnam(Liana: It's so rare to find a friend like you
(Alexa): Somehow when you're around, the sky is always blue
(Liana): The way we talk, the things you say
(Alexa): The way you make it all ok
(Liana): And how you know all of my jokes,
(Alexa):But I laugh anyway!
Chorus: If I could wish for one thing,
I'd take the smile that you bring,
Wherever you go in this world I'll come along.
Together we dream the same dream.
Forever I'm here for you, you're here for me.
Oh whoa,
Two voices, one song.
(Liana):Now everyday is something new
(Both):And any path we take
I'm looking foward to
(Alexa):The way we try & never quit
(Liana):The way that all our pieces fit
(Alexa): The way we know the parts by heart
(Both): And sing out loud
(Chorus)
Bridge: And anywhere you are,
You know I'll be around.
And when you call my name,
I'll listen for the sound
(Repeat Chorus 2x)