- published: 05 Aug 2016
- views: 9114
-
remove the playlistNigra Sum Orlande De Lassus
- remove the playlistNigra Sum 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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Jean L'Héritier - Nigra Sum
Jean L'Héritier (Lhéritier, Lirithier, Heritier and other spellings also exist) (c. 1480 – after 1551) was a French composer of the Renaissance. He was mainly famous as a composer of motets, and is representative of the generation of composers active in the early to middle 16th century who anticipated the style of Palestrina. Nigra Sum Tallis Scholars conducted by Peter Phillips L'Héritier mainly wrote motets, of which there are records of 48, not all of which survive. Some of them have been attributed to other composers, including Adrian Willaert, Jean Mouton, and Philippe Verdelot. Stylistically they are transitional between the styles of Josquin and Palestrina. The later works contain more evenly spaced imitation, and more equality of voices, and more smoothness of counterpoint than ...
published: 05 Aug 2016 -
Orlande de Lassus - Psalmi poenitentialis
1: Psalmi poenitentialis primus 0:00~ 2: Psalmi poenitentialis tertiu 13:45~ 3: Psalmi poenitentialis sextus 38:50~ 4: Psalmi poenitentialis septimus 46:35~ Kammerchor Josquian des Prez http://en.wikipedia.org/wiki/Orlande_de_Lassus
published: 25 Jan 2012 -
Giovanni Pierluigi da Palestrina - Missa Nigra sum
*Sounds a whole tone lower than score* Missa Nigra sum Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594) Performers: The Tallis Scholars, dir. Peter Philips 0:00 Kyrie 4:44 Gloria 11:19 Credo 21:33 Sanctus 25:05 Benedictus 29:49 Agnus Dei _________________________ "It is rare to be able to highlight the music of Jean Lhéritier, the composer of the motet Nigra sum which Palestrina parodied. In the reverential atmosphere which has long surrounded Palestrina’s music, it has been thought that his style was born perfect, needed to change little during his lifetime, and died with him, leaving theorists with a code of mathematical perfection which they have not tired of trying to crack to this day. The idea that he owed little to anybody in his formative years is attributable to th...
published: 17 Jun 2020 -
Palestrina, Missa Nigra sum. The Tallis Scholars, Peter Phillips
Giovanni Pierluigi da Palestrina (Palestrina, 1525 - Roma, 1594), Missa Nigra sum. The Tallis Scholars, Peter Phillips, director. The Palestrina 400 Collection [00,01~] 01. Plainchant - Nigra sum [00,31~] 02. Lheritier - Motet Nigra sum PALESTRINA - MISSA NIGRA SUM: [06,39~] 03. Kyrie [11,20~] 04. Gloria [17,47~] 05. Credo [28,14~] 06. Sanctus et Benedictus [36,28~] 07. Agnus Dei 1 et 2 The Tallis Scholars Soprano: Jane Armstrong, Alison Gough, Stephanie Sale, Judy Stell. Contratenor: Matthew Bright, Paul Bropy, Joe Cooke, David Cordier. Tenor: Joseph Cornwell, Andrew King, Rufus Müller. Bajo: Colin Mason, Francis Steele, Julian Walker, Jeremy White. Peter Phillips, director. - Más: Giovanni Pierluigi da Palestrina: [http://es.wikipedia.org/wiki/Giovanni_Pierluigi_da_Palestr...
published: 04 Jan 2014 -
Orlande de Lassus - Motet: Da Pacem Domine, LV 957. {w/ score.}
A beautiful and inspired Motet on the text of "Da Pacem Domine" by Orlando de Lassus, one of the most renowned composers of the Renaissance, along with Palestrin and Tomás Luis de Victoria. Performer(s): Wolfgang Helbich, Alsfeld Vocal Ensemble - recording: https://www.youtube.com/watch?v=7LAlISSRH8o
published: 23 Oct 2021 -
NIGRA SUM SED FORMOSA, Tomas Luis de Victoria - INGENIUM
European Grand Prix Association For Choral Singing 46th Tolosa Choral Contest 2014, Basque Country, Spain INGENIUM from Ljubljana, SLOVENIA NIGRA SUM SED FORMOSA, Tomas Luis de Victoria (1548-1611)
published: 08 Jan 2015 -
Palestrina ( 1525-1594 ) - Missa Nigra Sum
1.Kyrie 0:00~ 2.Groria 4:43~~ 3.Credo 11:19~ 4.Sanctus & Benedicutus 21:37~ 5.Agnus Dei 1&2 29:53~ The Tallis Scholars
published: 26 Feb 2013 -
CHANTICLEER: Nigra Sum Sed Formosa - Tomás Luis de Victoria
Nigra sum sed formosa -- Tomás Luis de Victoria (1548-1611) Recording The music of Renaissance Spain is inexorably linked with Italy, primarily because so many of Spain's composers traveled there to work and study. Composer and organist Tomás Luis de Victoria was born in Ávila and received training as a chorister in the Cathedral there. So promising was Victoria, he was sent to Rome at the age of sixteen to study at the Collegio Germanico. It is possible that he was tutored by the great Italian master Palestrina, who was teaching at the nearby Seminario—Victoria was certainly one of the few composers in Rome able to master the subtleties of Palestrina's style. Victoria was ordained to the priesthood in 1575, but continued to compose throughout his life, holding a variety of posts in Ita...
published: 22 Oct 2012 -
Jean L' Héritier - Nigra sum (Motet)
New videos and songs everyday. Like and subscribe to our channel: https://www.youtube.com/channel/UCnecaf9_nSWT__lhfu4EYpg
published: 02 Aug 2021 -
Jean L'Héritier - Motet Nigra sum
Nigra sum sed formosa, filia Ierusalem; ideo dilexit me rex, et introduxit me in cubiculum suum. (Cantiques 1:4)
published: 01 Mar 2016
developed with YouTube
5:15
Jean L'Héritier - Nigra Sum
- Order: Reorder
- Duration: 5:15
- Uploaded Date: 05 Aug 2016
- views: 9114
Jean L'Héritier (Lhéritier, Lirithier, Heritier and other spellings also exist) (c. 1480 – after 1551) was a French composer of the Renaissance. He was mainly f...
Jean L'Héritier (Lhéritier, Lirithier, Heritier and other spellings also exist) (c. 1480 – after 1551) was a French composer of the Renaissance. He was mainly famous as a composer of motets, and is representative of the generation of composers active in the early to middle 16th century who anticipated the style of Palestrina.
Nigra Sum
Tallis Scholars conducted by Peter Phillips
L'Héritier mainly wrote motets, of which there are records of 48, not all of which survive. Some of them have been attributed to other composers, including Adrian Willaert, Jean Mouton, and Philippe Verdelot. Stylistically they are transitional between the styles of Josquin and Palestrina. The later works contain more evenly spaced imitation, and more equality of voices, and more smoothness of counterpoint than the earlier works. Often L'Héritier varied polyphonic with homophonic passages, a technique for achieving variety which was common among many Franco-Flemish composers of the time.
Most of the motets are based on standard liturgical material: psalms, devotional hymns, responsories, and so forth. Most are in a single section, with the remainder being in two parts. Occasionally L'Héritier wrote for many independent parts: for example, Locutus est Dominus is for nine voices (four to six was the norm). Another motet, Nigra sum (One of three settings of this text), was familiar to Palestrina, who used it as source material for his Missa nigra sum of 1590.
Only two secular songs by L'Héritier have survived, including one based on an extremely erotic secular poem (Cum rides mihi basium negasti).
A four-part setting of the Mass Ordinary also survives.
L'Héritier was one of the leading figures in disseminating the Franco-Flemish style in Italy in the early 16th century, along with Willaert. Since L'Héritier was mainly a composer of sacred music, and worked in Rome, leaving numerous compositions in the Vatican archive, he may have been one of the most influential northern musicians on the development of the later Palestrina style. In addition, since his work appears in numerous manuscripts of the 16th century—at least 66, as well as 45 printed collections—and in areas as far apart as Spain, Austria, Bohemia, and Poland, in addition to France and Italy—his influence seems to have been considerable.
https://wn.com/Jean_L'Héritier_Nigra_Sum
Jean L'Héritier (Lhéritier, Lirithier, Heritier and other spellings also exist) (c. 1480 – after 1551) was a French composer of the Renaissance. He was mainly famous as a composer of motets, and is representative of the generation of composers active in the early to middle 16th century who anticipated the style of Palestrina.
Nigra Sum
Tallis Scholars conducted by Peter Phillips
L'Héritier mainly wrote motets, of which there are records of 48, not all of which survive. Some of them have been attributed to other composers, including Adrian Willaert, Jean Mouton, and Philippe Verdelot. Stylistically they are transitional between the styles of Josquin and Palestrina. The later works contain more evenly spaced imitation, and more equality of voices, and more smoothness of counterpoint than the earlier works. Often L'Héritier varied polyphonic with homophonic passages, a technique for achieving variety which was common among many Franco-Flemish composers of the time.
Most of the motets are based on standard liturgical material: psalms, devotional hymns, responsories, and so forth. Most are in a single section, with the remainder being in two parts. Occasionally L'Héritier wrote for many independent parts: for example, Locutus est Dominus is for nine voices (four to six was the norm). Another motet, Nigra sum (One of three settings of this text), was familiar to Palestrina, who used it as source material for his Missa nigra sum of 1590.
Only two secular songs by L'Héritier have survived, including one based on an extremely erotic secular poem (Cum rides mihi basium negasti).
A four-part setting of the Mass Ordinary also survives.
L'Héritier was one of the leading figures in disseminating the Franco-Flemish style in Italy in the early 16th century, along with Willaert. Since L'Héritier was mainly a composer of sacred music, and worked in Rome, leaving numerous compositions in the Vatican archive, he may have been one of the most influential northern musicians on the development of the later Palestrina style. In addition, since his work appears in numerous manuscripts of the 16th century—at least 66, as well as 45 printed collections—and in areas as far apart as Spain, Austria, Bohemia, and Poland, in addition to France and Italy—his influence seems to have been considerable.
1:00:39
Orlande de Lassus - Psalmi poenitentialis
- Order: Reorder
- Duration: 1:00:39
- Uploaded Date: 25 Jan 2012
- views: 1048714
1: Psalmi poenitentialis primus 0:00~
2: Psalmi poenitentialis tertiu 13:45~
3: Psalmi poenitentialis sextus 38:50~
4: Psalmi poenitentialis septimus 46:35~
Ka...
1: Psalmi poenitentialis primus 0:00~
2: Psalmi poenitentialis tertiu 13:45~
3: Psalmi poenitentialis sextus 38:50~
4: Psalmi poenitentialis septimus 46:35~
Kammerchor Josquian des Prez
http://en.wikipedia.org/wiki/Orlande_de_Lassus
https://wn.com/Orlande_De_Lassus_Psalmi_Poenitentialis
1: Psalmi poenitentialis primus 0:00~
2: Psalmi poenitentialis tertiu 13:45~
3: Psalmi poenitentialis sextus 38:50~
4: Psalmi poenitentialis septimus 46:35~
Kammerchor Josquian des Prez
http://en.wikipedia.org/wiki/Orlande_de_Lassus
- published: 25 Jan 2012
- views: 1048714
35:07
Giovanni Pierluigi da Palestrina - Missa Nigra sum
- Order: Reorder
- Duration: 35:07
- Uploaded Date: 17 Jun 2020
- views: 12601
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)
Performers: The Tallis Scholars, dir. Pete...
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)
Performers: The Tallis Scholars, dir. Peter Philips
0:00 Kyrie
4:44 Gloria
11:19 Credo
21:33 Sanctus
25:05 Benedictus
29:49 Agnus Dei
_________________________
"It is rare to be able to highlight the music of Jean Lhéritier, the composer of the motet Nigra sum which Palestrina parodied. In the reverential atmosphere which has long surrounded Palestrina’s music, it has been thought that his style was born perfect, needed to change little during his lifetime, and died with him, leaving theorists with a code of mathematical perfection which they have not tired of trying to crack to this day. The idea that he owed little to anybody in his formative years is attributable to the lack of any obvious predecessor; his music does not sound like that of Josquin, and there are no major figures to bridge the gap between the two of them. Lhéritier, with de Silva, Penet and Morales, fills this gap – and, on the evidence of Lhéritier’s five-voice motet Nigra sum, very obviously so. Lhéritier’s music has much of the balance that is associated with Palestrina; the points unfold slowly and spaciously, and the part-writing is sonorous. The principal difference is that Lhéritier wrote counterpoint throughout, whereas Palestrina added homophony to his general technique.
Palestrina wrote fifty-three parody Masses, of which thirty-one were based on music by other composers. Almost all of these models were by French, Flemish and Spanish composers – not Italians. This strongly suggests that Palestrina was showing his own appreciation of the Franco-Flemish style, and probably at the same time learning to write in it himself. Another feature of these thirty-one models is that almost all were available to Palestrina in print by 1563. It has been said that the resulting parody Masses by Palestrina pre-date the remaining twenty-two based on his own motets, and that they must be – in the broadest sense – apprentice works, as Palestrina refined in his own way the styles of those he most admired. This recording shows what he gained from Lhéritier.
The text for the plainchant Nigra sum, sed formosa combines three Marian antiphons – Nigra sum, Iam hiems transiit and Speciosa facta es – sung now at Second Vespers for the common Feasts of the Virgin; with the Alleluia placed at the end of each antiphon, the plainchant is proper to the Easter period. It will be seen from the words how Church authorities tried to tame the erotic imagery of the Song of Songs and make it serviceable; the effusions of praise are reinterpreted to refer to the Virgin Mary.
Jean Lhéritier (c.1480–after 1552) was a French disciple of Josquin, and widely known in his own time – copies of his music may be found in Poland and Bohemia, even though he himself worked in France and Italy. He joins Josquin’s style to Palestrina’s by developing the technique known as ‘ad imitationem’, ‘using imitation consistently’, which he then helped to make more generally known throughout Italy. That his melodies can be described as presenting ‘nicely balanced arches … resulting from predominantly step-wise motion’ is tribute to his influence on Palestrina.
[...] The motet and Palestrina’s Mass, including the second Agnus Dei, are scored for soprano, countertenor, two tenors and bass.
Palestrina’s Missa Nigra sum (published in 1590, but written many years earlier) follows its model unusually closely. Whereas with the Missa Benedicta es Palestrina adapts Josquin’s music very noticeably, in this case he feels himself unable to add very much. Most of the movements start with the opening of the motet which thus becomes a head-motif. The ‘Hosanna’ takes a point which occurs almost incidentally in the motet and turns it into an impressively spacious piece of counterpoint. The falling scale, which Lhéritier probably took from the chant, is put to a wide variety of different uses by Palestrina; it is interesting to see what can be made of so simple a phrase. At ‘descendit de caelis’ in the Credo it contributes to some exciting word-painting. At ‘miserere nobis’ in the Gloria the phrase takes on a much more supplicatory air. At ‘dona nobis pacem’ it carries the Mass to a peaceful conclusion. The motif of the falling and rising third is also used consistently throughout the work. This Mass has no musical connection with Palestrina’s own motet Nigra sum, as has been maintained (Zoë Kendrick Pyne, Palestrina, his Life and Times, London, 1922). Palestrina’s motet is not recorded here because it has a different text, after its initial phrase, from these settings."
~Peter Philips
Source: https://www.hyperion-records.co.uk/dc.asp?dc=D_CDGIM003
________________________
For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
https://wn.com/Giovanni_Pierluigi_Da_Palestrina_Missa_Nigra_Sum
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)
Performers: The Tallis Scholars, dir. Peter Philips
0:00 Kyrie
4:44 Gloria
11:19 Credo
21:33 Sanctus
25:05 Benedictus
29:49 Agnus Dei
_________________________
"It is rare to be able to highlight the music of Jean Lhéritier, the composer of the motet Nigra sum which Palestrina parodied. In the reverential atmosphere which has long surrounded Palestrina’s music, it has been thought that his style was born perfect, needed to change little during his lifetime, and died with him, leaving theorists with a code of mathematical perfection which they have not tired of trying to crack to this day. The idea that he owed little to anybody in his formative years is attributable to the lack of any obvious predecessor; his music does not sound like that of Josquin, and there are no major figures to bridge the gap between the two of them. Lhéritier, with de Silva, Penet and Morales, fills this gap – and, on the evidence of Lhéritier’s five-voice motet Nigra sum, very obviously so. Lhéritier’s music has much of the balance that is associated with Palestrina; the points unfold slowly and spaciously, and the part-writing is sonorous. The principal difference is that Lhéritier wrote counterpoint throughout, whereas Palestrina added homophony to his general technique.
Palestrina wrote fifty-three parody Masses, of which thirty-one were based on music by other composers. Almost all of these models were by French, Flemish and Spanish composers – not Italians. This strongly suggests that Palestrina was showing his own appreciation of the Franco-Flemish style, and probably at the same time learning to write in it himself. Another feature of these thirty-one models is that almost all were available to Palestrina in print by 1563. It has been said that the resulting parody Masses by Palestrina pre-date the remaining twenty-two based on his own motets, and that they must be – in the broadest sense – apprentice works, as Palestrina refined in his own way the styles of those he most admired. This recording shows what he gained from Lhéritier.
The text for the plainchant Nigra sum, sed formosa combines three Marian antiphons – Nigra sum, Iam hiems transiit and Speciosa facta es – sung now at Second Vespers for the common Feasts of the Virgin; with the Alleluia placed at the end of each antiphon, the plainchant is proper to the Easter period. It will be seen from the words how Church authorities tried to tame the erotic imagery of the Song of Songs and make it serviceable; the effusions of praise are reinterpreted to refer to the Virgin Mary.
Jean Lhéritier (c.1480–after 1552) was a French disciple of Josquin, and widely known in his own time – copies of his music may be found in Poland and Bohemia, even though he himself worked in France and Italy. He joins Josquin’s style to Palestrina’s by developing the technique known as ‘ad imitationem’, ‘using imitation consistently’, which he then helped to make more generally known throughout Italy. That his melodies can be described as presenting ‘nicely balanced arches … resulting from predominantly step-wise motion’ is tribute to his influence on Palestrina.
[...] The motet and Palestrina’s Mass, including the second Agnus Dei, are scored for soprano, countertenor, two tenors and bass.
Palestrina’s Missa Nigra sum (published in 1590, but written many years earlier) follows its model unusually closely. Whereas with the Missa Benedicta es Palestrina adapts Josquin’s music very noticeably, in this case he feels himself unable to add very much. Most of the movements start with the opening of the motet which thus becomes a head-motif. The ‘Hosanna’ takes a point which occurs almost incidentally in the motet and turns it into an impressively spacious piece of counterpoint. The falling scale, which Lhéritier probably took from the chant, is put to a wide variety of different uses by Palestrina; it is interesting to see what can be made of so simple a phrase. At ‘descendit de caelis’ in the Credo it contributes to some exciting word-painting. At ‘miserere nobis’ in the Gloria the phrase takes on a much more supplicatory air. At ‘dona nobis pacem’ it carries the Mass to a peaceful conclusion. The motif of the falling and rising third is also used consistently throughout the work. This Mass has no musical connection with Palestrina’s own motet Nigra sum, as has been maintained (Zoë Kendrick Pyne, Palestrina, his Life and Times, London, 1922). Palestrina’s motet is not recorded here because it has a different text, after its initial phrase, from these settings."
~Peter Philips
Source: https://www.hyperion-records.co.uk/dc.asp?dc=D_CDGIM003
________________________
For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
- published: 17 Jun 2020
- views: 12601
41:59
Palestrina, Missa Nigra sum. The Tallis Scholars, Peter Phillips
- Order: Reorder
- Duration: 41:59
- Uploaded Date: 04 Jan 2014
- views: 175173
Giovanni Pierluigi da Palestrina (Palestrina, 1525 - Roma, 1594),
Missa Nigra sum.
The Tallis Scholars,
Peter Phillips, director.
The Palestrina 400 Collection...
Giovanni Pierluigi da Palestrina (Palestrina, 1525 - Roma, 1594),
Missa Nigra sum.
The Tallis Scholars,
Peter Phillips, director.
The Palestrina 400 Collection
[00,01~] 01. Plainchant - Nigra sum
[00,31~] 02. Lheritier - Motet Nigra sum
PALESTRINA - MISSA NIGRA SUM:
[06,39~] 03. Kyrie
[11,20~] 04. Gloria
[17,47~] 05. Credo
[28,14~] 06. Sanctus et Benedictus
[36,28~] 07. Agnus Dei 1 et 2
The Tallis Scholars
Soprano:
Jane Armstrong,
Alison Gough,
Stephanie Sale,
Judy Stell.
Contratenor:
Matthew Bright,
Paul Bropy,
Joe Cooke,
David Cordier.
Tenor:
Joseph Cornwell,
Andrew King,
Rufus Müller.
Bajo:
Colin Mason,
Francis Steele,
Julian Walker,
Jeremy White.
Peter Phillips, director.
-
Más:
Giovanni Pierluigi da Palestrina:
[http://es.wikipedia.org/wiki/Giovanni_Pierluigi_da_Palestrina]
[http://www.refinandonuestrossentidos.com/archivos-2009-sitemap/giovanni-pierluigi-da-palestrina/]
[http://www.refinandonuestrossentidos.com/archivos-2009-sitemap/giovanni-pierluigi-da-palestrina/]
THE TALLIS SCHOLARS:
[http://es.wikipedia.org/wiki/The_Tallis_Scholars]
[http://www.thetallisscholars.co.uk/]
[http://www.refinandonuestrossentidos.com/archivos-2009-sitemap/giovanni-pierluigi-da-palestrina/]
Pinturas:
Michelangelo Merisi da Caravaggio (1571 - 1610)
[http://es.wikipedia.org/wiki/Caravaggio]
---
https://wn.com/Palestrina,_Missa_Nigra_Sum._The_Tallis_Scholars,_Peter_Phillips
Giovanni Pierluigi da Palestrina (Palestrina, 1525 - Roma, 1594),
Missa Nigra sum.
The Tallis Scholars,
Peter Phillips, director.
The Palestrina 400 Collection
[00,01~] 01. Plainchant - Nigra sum
[00,31~] 02. Lheritier - Motet Nigra sum
PALESTRINA - MISSA NIGRA SUM:
[06,39~] 03. Kyrie
[11,20~] 04. Gloria
[17,47~] 05. Credo
[28,14~] 06. Sanctus et Benedictus
[36,28~] 07. Agnus Dei 1 et 2
The Tallis Scholars
Soprano:
Jane Armstrong,
Alison Gough,
Stephanie Sale,
Judy Stell.
Contratenor:
Matthew Bright,
Paul Bropy,
Joe Cooke,
David Cordier.
Tenor:
Joseph Cornwell,
Andrew King,
Rufus Müller.
Bajo:
Colin Mason,
Francis Steele,
Julian Walker,
Jeremy White.
Peter Phillips, director.
-
Más:
Giovanni Pierluigi da Palestrina:
[http://es.wikipedia.org/wiki/Giovanni_Pierluigi_da_Palestrina]
[http://www.refinandonuestrossentidos.com/archivos-2009-sitemap/giovanni-pierluigi-da-palestrina/]
[http://www.refinandonuestrossentidos.com/archivos-2009-sitemap/giovanni-pierluigi-da-palestrina/]
THE TALLIS SCHOLARS:
[http://es.wikipedia.org/wiki/The_Tallis_Scholars]
[http://www.thetallisscholars.co.uk/]
[http://www.refinandonuestrossentidos.com/archivos-2009-sitemap/giovanni-pierluigi-da-palestrina/]
Pinturas:
Michelangelo Merisi da Caravaggio (1571 - 1610)
[http://es.wikipedia.org/wiki/Caravaggio]
---
- published: 04 Jan 2014
- views: 175173
2:29
Orlande de Lassus - Motet: Da Pacem Domine, LV 957. {w/ score.}
- Order: Reorder
- Duration: 2:29
- Uploaded Date: 23 Oct 2021
- views: 7927
A beautiful and inspired Motet on the text of "Da Pacem Domine" by Orlando de Lassus, one of the most renowned composers of the Renaissance, along with Palestri...
A beautiful and inspired Motet on the text of "Da Pacem Domine" by Orlando de Lassus, one of the most renowned composers of the Renaissance, along with Palestrin and Tomás Luis de Victoria.
Performer(s): Wolfgang Helbich, Alsfeld Vocal Ensemble - recording: https://www.youtube.com/watch?v=7LAlISSRH8o
https://wn.com/Orlande_De_Lassus_Motet_Da_Pacem_Domine,_Lv_957._W_Score.
A beautiful and inspired Motet on the text of "Da Pacem Domine" by Orlando de Lassus, one of the most renowned composers of the Renaissance, along with Palestrin and Tomás Luis de Victoria.
Performer(s): Wolfgang Helbich, Alsfeld Vocal Ensemble - recording: https://www.youtube.com/watch?v=7LAlISSRH8o
- published: 23 Oct 2021
- views: 7927
3:15
NIGRA SUM SED FORMOSA, Tomas Luis de Victoria - INGENIUM
- Order: Reorder
- Duration: 3:15
- Uploaded Date: 08 Jan 2015
- views: 132
European Grand Prix Association For Choral Singing
46th Tolosa Choral Contest 2014, Basque Country, Spain
INGENIUM from Ljubljana, SLOVENIA
NIGRA SUM SED FORMO...
European Grand Prix Association For Choral Singing
46th Tolosa Choral Contest 2014, Basque Country, Spain
INGENIUM from Ljubljana, SLOVENIA
NIGRA SUM SED FORMOSA, Tomas Luis de Victoria (1548-1611)
https://wn.com/Nigra_Sum_Sed_Formosa,_Tomas_Luis_De_Victoria_Ingenium
European Grand Prix Association For Choral Singing
46th Tolosa Choral Contest 2014, Basque Country, Spain
INGENIUM from Ljubljana, SLOVENIA
NIGRA SUM SED FORMOSA, Tomas Luis de Victoria (1548-1611)
- published: 08 Jan 2015
- views: 132
35:21
Palestrina ( 1525-1594 ) - Missa Nigra Sum
- Order: Reorder
- Duration: 35:21
- Uploaded Date: 26 Feb 2013
- views: 79434
1.Kyrie 0:00~
2.Groria 4:43~~
3.Credo 11:19~
4.Sanctus & Benedicutus 21:37~
5.Agnus Dei 1&2 29:53~
The Tallis Scholars
1.Kyrie 0:00~
2.Groria 4:43~~
3.Credo 11:19~
4.Sanctus & Benedicutus 21:37~
5.Agnus Dei 1&2 29:53~
The Tallis Scholars
https://wn.com/Palestrina_(_1525_1594_)_Missa_Nigra_Sum
1.Kyrie 0:00~
2.Groria 4:43~~
3.Credo 11:19~
4.Sanctus & Benedicutus 21:37~
5.Agnus Dei 1&2 29:53~
The Tallis Scholars
- published: 26 Feb 2013
- views: 79434
4:00
CHANTICLEER: Nigra Sum Sed Formosa - Tomás Luis de Victoria
- Order: Reorder
- Duration: 4:00
- Uploaded Date: 22 Oct 2012
- views: 27231
Nigra sum sed formosa -- Tomás Luis de Victoria (1548-1611)
Recording
The music of Renaissance Spain is inexorably linked with Italy, primarily because so man...
Nigra sum sed formosa -- Tomás Luis de Victoria (1548-1611)
Recording
The music of Renaissance Spain is inexorably linked with Italy, primarily because so many of Spain's composers traveled there to work and study. Composer and organist Tomás Luis de Victoria was born in Ávila and received training as a chorister in the Cathedral there. So promising was Victoria, he was sent to Rome at the age of sixteen to study at the Collegio Germanico. It is possible that he was tutored by the great Italian master Palestrina, who was teaching at the nearby Seminario—Victoria was certainly one of the few composers in Rome able to master the subtleties of Palestrina's style. Victoria was ordained to the priesthood in 1575, but continued to compose throughout his life, holding a variety of posts in Italy and, from 1587 until his death, his native Spain. Victoria's many masses, motets, and other religious compositions brought him a great deal of fame, certainly enhanced by his ability to publish most of his works: all but one of the eight volumes of his Opera omnia consist entirely of music published during his lifetime.
In Nigra sum sed formosa, Victoria sets text from the Song of Songs. The Catholic Church of the Middle Ages and the Renaissance tended to interpret this text as allegorical to the Virgin Mary, assigning the texts to Marian feasts. This particular text is used as an Antiphon for Second Vespers of the major Marian feasts. Victoria apparently intended for this connection to Mary in liturgical use for this piece as he published it in 1576, assigning the motet "de Beata Virgine" or "of the Blessed Virgin."
TEXT AND TRANSLATION:
Nigra sum sed formosa filia Jerusalem,
ideo dilexit me Rex,
et introduxit me in cubiculum suum.
et dixit mihi: surge amica mea et veni.
Jam hiems transiit, imber abiit, et recessit,
flores apparuerunt in terra nostra,
tempus putationis advenit.
I am a black, but beautiful daughter of Jerusalem,
Therefore I have pleased the Lord,
And he has brought me into his chamber.
And said to me: "Rise up, my darling, and come.
For now the winter is past, the rain is over and gone,
The flowers have appeared in our land,
The time to prune the vines has come."
------
https://chanticleer.org
https://facebook.com/chanticleersings
https://instagram.com/chanticleersf
https://wn.com/Chanticleer_Nigra_Sum_Sed_Formosa_Tomás_Luis_De_Victoria
Nigra sum sed formosa -- Tomás Luis de Victoria (1548-1611)
Recording
The music of Renaissance Spain is inexorably linked with Italy, primarily because so many of Spain's composers traveled there to work and study. Composer and organist Tomás Luis de Victoria was born in Ávila and received training as a chorister in the Cathedral there. So promising was Victoria, he was sent to Rome at the age of sixteen to study at the Collegio Germanico. It is possible that he was tutored by the great Italian master Palestrina, who was teaching at the nearby Seminario—Victoria was certainly one of the few composers in Rome able to master the subtleties of Palestrina's style. Victoria was ordained to the priesthood in 1575, but continued to compose throughout his life, holding a variety of posts in Italy and, from 1587 until his death, his native Spain. Victoria's many masses, motets, and other religious compositions brought him a great deal of fame, certainly enhanced by his ability to publish most of his works: all but one of the eight volumes of his Opera omnia consist entirely of music published during his lifetime.
In Nigra sum sed formosa, Victoria sets text from the Song of Songs. The Catholic Church of the Middle Ages and the Renaissance tended to interpret this text as allegorical to the Virgin Mary, assigning the texts to Marian feasts. This particular text is used as an Antiphon for Second Vespers of the major Marian feasts. Victoria apparently intended for this connection to Mary in liturgical use for this piece as he published it in 1576, assigning the motet "de Beata Virgine" or "of the Blessed Virgin."
TEXT AND TRANSLATION:
Nigra sum sed formosa filia Jerusalem,
ideo dilexit me Rex,
et introduxit me in cubiculum suum.
et dixit mihi: surge amica mea et veni.
Jam hiems transiit, imber abiit, et recessit,
flores apparuerunt in terra nostra,
tempus putationis advenit.
I am a black, but beautiful daughter of Jerusalem,
Therefore I have pleased the Lord,
And he has brought me into his chamber.
And said to me: "Rise up, my darling, and come.
For now the winter is past, the rain is over and gone,
The flowers have appeared in our land,
The time to prune the vines has come."
------
https://chanticleer.org
https://facebook.com/chanticleersings
https://instagram.com/chanticleersf
- published: 22 Oct 2012
- views: 27231
5:09
Jean L' Héritier - Nigra sum (Motet)
- Order: Reorder
- Duration: 5:09
- Uploaded Date: 02 Aug 2021
- views: 529
New videos and songs everyday.
Like and subscribe to our channel: https://www.youtube.com/channel/UCnecaf9_nSWT__lhfu4EYpg
New videos and songs everyday.
Like and subscribe to our channel: https://www.youtube.com/channel/UCnecaf9_nSWT__lhfu4EYpg
https://wn.com/Jean_L'_Héritier_Nigra_Sum_(Motet)
New videos and songs everyday.
Like and subscribe to our channel: https://www.youtube.com/channel/UCnecaf9_nSWT__lhfu4EYpg
- published: 02 Aug 2021
- views: 529
5:06
Jean L'Héritier - Motet Nigra sum
- Order: Reorder
- Duration: 5:06
- Uploaded Date: 01 Mar 2016
- views: 786
Nigra sum sed formosa, filia Ierusalem;
ideo dilexit me rex, et introduxit me in cubiculum suum.
(Cantiques 1:4)
Nigra sum sed formosa, filia Ierusalem;
ideo dilexit me rex, et introduxit me in cubiculum suum.
(Cantiques 1:4)
https://wn.com/Jean_L'Héritier_Motet_Nigra_Sum
Nigra sum sed formosa, filia Ierusalem;
ideo dilexit me rex, et introduxit me in cubiculum suum.
(Cantiques 1:4)
- published: 01 Mar 2016
- views: 786
5:15
Jean L'Héritier - Nigra Sum
Jean L'Héritier (Lhéritier, Lirithier, Heritier and other spellings also exist) (c. 1480 –...
published: 05 Aug 2016
Jean L'Héritier - Nigra Sum
Jean L'Héritier - Nigra Sum
- Report rights infringement
- published: 05 Aug 2016
- views: 9114
Jean L'Héritier (Lhéritier, Lirithier, Heritier and other spellings also exist) (c. 1480 – after 1551) was a French composer of the Renaissance. He was mainly famous as a composer of motets, and is representative of the generation of composers active in the early to middle 16th century who anticipated the style of Palestrina.
Nigra Sum
Tallis Scholars conducted by Peter Phillips
L'Héritier mainly wrote motets, of which there are records of 48, not all of which survive. Some of them have been attributed to other composers, including Adrian Willaert, Jean Mouton, and Philippe Verdelot. Stylistically they are transitional between the styles of Josquin and Palestrina. The later works contain more evenly spaced imitation, and more equality of voices, and more smoothness of counterpoint than the earlier works. Often L'Héritier varied polyphonic with homophonic passages, a technique for achieving variety which was common among many Franco-Flemish composers of the time.
Most of the motets are based on standard liturgical material: psalms, devotional hymns, responsories, and so forth. Most are in a single section, with the remainder being in two parts. Occasionally L'Héritier wrote for many independent parts: for example, Locutus est Dominus is for nine voices (four to six was the norm). Another motet, Nigra sum (One of three settings of this text), was familiar to Palestrina, who used it as source material for his Missa nigra sum of 1590.
Only two secular songs by L'Héritier have survived, including one based on an extremely erotic secular poem (Cum rides mihi basium negasti).
A four-part setting of the Mass Ordinary also survives.
L'Héritier was one of the leading figures in disseminating the Franco-Flemish style in Italy in the early 16th century, along with Willaert. Since L'Héritier was mainly a composer of sacred music, and worked in Rome, leaving numerous compositions in the Vatican archive, he may have been one of the most influential northern musicians on the development of the later Palestrina style. In addition, since his work appears in numerous manuscripts of the 16th century—at least 66, as well as 45 printed collections—and in areas as far apart as Spain, Austria, Bohemia, and Poland, in addition to France and Italy—his influence seems to have been considerable.
1:00:39
Orlande de Lassus - Psalmi poenitentialis
1: Psalmi poenitentialis primus 0:00~
2: Psalmi poenitentialis tertiu 13:45~
3: Psalmi poe...
published: 25 Jan 2012
Orlande de Lassus - Psalmi poenitentialis
Orlande de Lassus - Psalmi poenitentialis
- Report rights infringement
- published: 25 Jan 2012
- views: 1048714
1: Psalmi poenitentialis primus 0:00~
2: Psalmi poenitentialis tertiu 13:45~
3: Psalmi poenitentialis sextus 38:50~
4: Psalmi poenitentialis septimus 46:35~
Kammerchor Josquian des Prez
http://en.wikipedia.org/wiki/Orlande_de_Lassus
35:07
Giovanni Pierluigi da Palestrina - Missa Nigra sum
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Pa...
published: 17 Jun 2020
Giovanni Pierluigi da Palestrina - Missa Nigra sum
Giovanni Pierluigi da Palestrina - Missa Nigra sum
- Report rights infringement
- published: 17 Jun 2020
- views: 12601
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)
Performers: The Tallis Scholars, dir. Peter Philips
0:00 Kyrie
4:44 Gloria
11:19 Credo
21:33 Sanctus
25:05 Benedictus
29:49 Agnus Dei
_________________________
"It is rare to be able to highlight the music of Jean Lhéritier, the composer of the motet Nigra sum which Palestrina parodied. In the reverential atmosphere which has long surrounded Palestrina’s music, it has been thought that his style was born perfect, needed to change little during his lifetime, and died with him, leaving theorists with a code of mathematical perfection which they have not tired of trying to crack to this day. The idea that he owed little to anybody in his formative years is attributable to the lack of any obvious predecessor; his music does not sound like that of Josquin, and there are no major figures to bridge the gap between the two of them. Lhéritier, with de Silva, Penet and Morales, fills this gap – and, on the evidence of Lhéritier’s five-voice motet Nigra sum, very obviously so. Lhéritier’s music has much of the balance that is associated with Palestrina; the points unfold slowly and spaciously, and the part-writing is sonorous. The principal difference is that Lhéritier wrote counterpoint throughout, whereas Palestrina added homophony to his general technique.
Palestrina wrote fifty-three parody Masses, of which thirty-one were based on music by other composers. Almost all of these models were by French, Flemish and Spanish composers – not Italians. This strongly suggests that Palestrina was showing his own appreciation of the Franco-Flemish style, and probably at the same time learning to write in it himself. Another feature of these thirty-one models is that almost all were available to Palestrina in print by 1563. It has been said that the resulting parody Masses by Palestrina pre-date the remaining twenty-two based on his own motets, and that they must be – in the broadest sense – apprentice works, as Palestrina refined in his own way the styles of those he most admired. This recording shows what he gained from Lhéritier.
The text for the plainchant Nigra sum, sed formosa combines three Marian antiphons – Nigra sum, Iam hiems transiit and Speciosa facta es – sung now at Second Vespers for the common Feasts of the Virgin; with the Alleluia placed at the end of each antiphon, the plainchant is proper to the Easter period. It will be seen from the words how Church authorities tried to tame the erotic imagery of the Song of Songs and make it serviceable; the effusions of praise are reinterpreted to refer to the Virgin Mary.
Jean Lhéritier (c.1480–after 1552) was a French disciple of Josquin, and widely known in his own time – copies of his music may be found in Poland and Bohemia, even though he himself worked in France and Italy. He joins Josquin’s style to Palestrina’s by developing the technique known as ‘ad imitationem’, ‘using imitation consistently’, which he then helped to make more generally known throughout Italy. That his melodies can be described as presenting ‘nicely balanced arches … resulting from predominantly step-wise motion’ is tribute to his influence on Palestrina.
[...] The motet and Palestrina’s Mass, including the second Agnus Dei, are scored for soprano, countertenor, two tenors and bass.
Palestrina’s Missa Nigra sum (published in 1590, but written many years earlier) follows its model unusually closely. Whereas with the Missa Benedicta es Palestrina adapts Josquin’s music very noticeably, in this case he feels himself unable to add very much. Most of the movements start with the opening of the motet which thus becomes a head-motif. The ‘Hosanna’ takes a point which occurs almost incidentally in the motet and turns it into an impressively spacious piece of counterpoint. The falling scale, which Lhéritier probably took from the chant, is put to a wide variety of different uses by Palestrina; it is interesting to see what can be made of so simple a phrase. At ‘descendit de caelis’ in the Credo it contributes to some exciting word-painting. At ‘miserere nobis’ in the Gloria the phrase takes on a much more supplicatory air. At ‘dona nobis pacem’ it carries the Mass to a peaceful conclusion. The motif of the falling and rising third is also used consistently throughout the work. This Mass has no musical connection with Palestrina’s own motet Nigra sum, as has been maintained (Zoë Kendrick Pyne, Palestrina, his Life and Times, London, 1922). Palestrina’s motet is not recorded here because it has a different text, after its initial phrase, from these settings."
~Peter Philips
Source: https://www.hyperion-records.co.uk/dc.asp?dc=D_CDGIM003
________________________
For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
41:59
Palestrina, Missa Nigra sum. The Tallis Scholars, Peter Phillips
Giovanni Pierluigi da Palestrina (Palestrina, 1525 - Roma, 1594),
Missa Nigra sum.
The Tal...
published: 04 Jan 2014
Palestrina, Missa Nigra sum. The Tallis Scholars, Peter Phillips
Palestrina, Missa Nigra sum. The Tallis Scholars, Peter Phillips
- Report rights infringement
- published: 04 Jan 2014
- views: 175173
Giovanni Pierluigi da Palestrina (Palestrina, 1525 - Roma, 1594),
Missa Nigra sum.
The Tallis Scholars,
Peter Phillips, director.
The Palestrina 400 Collection
[00,01~] 01. Plainchant - Nigra sum
[00,31~] 02. Lheritier - Motet Nigra sum
PALESTRINA - MISSA NIGRA SUM:
[06,39~] 03. Kyrie
[11,20~] 04. Gloria
[17,47~] 05. Credo
[28,14~] 06. Sanctus et Benedictus
[36,28~] 07. Agnus Dei 1 et 2
The Tallis Scholars
Soprano:
Jane Armstrong,
Alison Gough,
Stephanie Sale,
Judy Stell.
Contratenor:
Matthew Bright,
Paul Bropy,
Joe Cooke,
David Cordier.
Tenor:
Joseph Cornwell,
Andrew King,
Rufus Müller.
Bajo:
Colin Mason,
Francis Steele,
Julian Walker,
Jeremy White.
Peter Phillips, director.
-
Más:
Giovanni Pierluigi da Palestrina:
[http://es.wikipedia.org/wiki/Giovanni_Pierluigi_da_Palestrina]
[http://www.refinandonuestrossentidos.com/archivos-2009-sitemap/giovanni-pierluigi-da-palestrina/]
[http://www.refinandonuestrossentidos.com/archivos-2009-sitemap/giovanni-pierluigi-da-palestrina/]
THE TALLIS SCHOLARS:
[http://es.wikipedia.org/wiki/The_Tallis_Scholars]
[http://www.thetallisscholars.co.uk/]
[http://www.refinandonuestrossentidos.com/archivos-2009-sitemap/giovanni-pierluigi-da-palestrina/]
Pinturas:
Michelangelo Merisi da Caravaggio (1571 - 1610)
[http://es.wikipedia.org/wiki/Caravaggio]
---
2:29
Orlande de Lassus - Motet: Da Pacem Domine, LV 957. {w/ score.}
A beautiful and inspired Motet on the text of "Da Pacem Domine" by Orlando de Lassus, one ...
published: 23 Oct 2021
Orlande de Lassus - Motet: Da Pacem Domine, LV 957. {w/ score.}
Orlande de Lassus - Motet: Da Pacem Domine, LV 957. {w/ score.}
- Report rights infringement
- published: 23 Oct 2021
- views: 7927
A beautiful and inspired Motet on the text of "Da Pacem Domine" by Orlando de Lassus, one of the most renowned composers of the Renaissance, along with Palestrin and Tomás Luis de Victoria.
Performer(s): Wolfgang Helbich, Alsfeld Vocal Ensemble - recording: https://www.youtube.com/watch?v=7LAlISSRH8o
3:15
NIGRA SUM SED FORMOSA, Tomas Luis de Victoria - INGENIUM
European Grand Prix Association For Choral Singing
46th Tolosa Choral Contest 2014, Basque...
published: 08 Jan 2015
NIGRA SUM SED FORMOSA, Tomas Luis de Victoria - INGENIUM
NIGRA SUM SED FORMOSA, Tomas Luis de Victoria - INGENIUM
- Report rights infringement
- published: 08 Jan 2015
- views: 132
European Grand Prix Association For Choral Singing
46th Tolosa Choral Contest 2014, Basque Country, Spain
INGENIUM from Ljubljana, SLOVENIA
NIGRA SUM SED FORMOSA, Tomas Luis de Victoria (1548-1611)
35:21
Palestrina ( 1525-1594 ) - Missa Nigra Sum
1.Kyrie 0:00~
2.Groria 4:43~~
3.Credo 11:19~
4.Sanctus & Benedicutus 21:37~
5.Agnus Dei...
published: 26 Feb 2013
Palestrina ( 1525-1594 ) - Missa Nigra Sum
Palestrina ( 1525-1594 ) - Missa Nigra Sum
- Report rights infringement
- published: 26 Feb 2013
- views: 79434
1.Kyrie 0:00~
2.Groria 4:43~~
3.Credo 11:19~
4.Sanctus & Benedicutus 21:37~
5.Agnus Dei 1&2 29:53~
The Tallis Scholars
4:00
CHANTICLEER: Nigra Sum Sed Formosa - Tomás Luis de Victoria
Nigra sum sed formosa -- Tomás Luis de Victoria (1548-1611)
Recording
The music of Renai...
published: 22 Oct 2012
CHANTICLEER: Nigra Sum Sed Formosa - Tomás Luis de Victoria
CHANTICLEER: Nigra Sum Sed Formosa - Tomás Luis de Victoria
- Report rights infringement
- published: 22 Oct 2012
- views: 27231
Nigra sum sed formosa -- Tomás Luis de Victoria (1548-1611)
Recording
The music of Renaissance Spain is inexorably linked with Italy, primarily because so many of Spain's composers traveled there to work and study. Composer and organist Tomás Luis de Victoria was born in Ávila and received training as a chorister in the Cathedral there. So promising was Victoria, he was sent to Rome at the age of sixteen to study at the Collegio Germanico. It is possible that he was tutored by the great Italian master Palestrina, who was teaching at the nearby Seminario—Victoria was certainly one of the few composers in Rome able to master the subtleties of Palestrina's style. Victoria was ordained to the priesthood in 1575, but continued to compose throughout his life, holding a variety of posts in Italy and, from 1587 until his death, his native Spain. Victoria's many masses, motets, and other religious compositions brought him a great deal of fame, certainly enhanced by his ability to publish most of his works: all but one of the eight volumes of his Opera omnia consist entirely of music published during his lifetime.
In Nigra sum sed formosa, Victoria sets text from the Song of Songs. The Catholic Church of the Middle Ages and the Renaissance tended to interpret this text as allegorical to the Virgin Mary, assigning the texts to Marian feasts. This particular text is used as an Antiphon for Second Vespers of the major Marian feasts. Victoria apparently intended for this connection to Mary in liturgical use for this piece as he published it in 1576, assigning the motet "de Beata Virgine" or "of the Blessed Virgin."
TEXT AND TRANSLATION:
Nigra sum sed formosa filia Jerusalem,
ideo dilexit me Rex,
et introduxit me in cubiculum suum.
et dixit mihi: surge amica mea et veni.
Jam hiems transiit, imber abiit, et recessit,
flores apparuerunt in terra nostra,
tempus putationis advenit.
I am a black, but beautiful daughter of Jerusalem,
Therefore I have pleased the Lord,
And he has brought me into his chamber.
And said to me: "Rise up, my darling, and come.
For now the winter is past, the rain is over and gone,
The flowers have appeared in our land,
The time to prune the vines has come."
------
https://chanticleer.org
https://facebook.com/chanticleersings
https://instagram.com/chanticleersf
5:09
Jean L' Héritier - Nigra sum (Motet)
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published: 02 Aug 2021
Jean L' Héritier - Nigra sum (Motet)
Jean L' Héritier - Nigra sum (Motet)
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- published: 02 Aug 2021
- views: 529
New videos and songs everyday.
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5:06
Jean L'Héritier - Motet Nigra sum
Nigra sum sed formosa, filia Ierusalem;
ideo dilexit me rex, et introduxit me in cubiculum...
published: 01 Mar 2016
Jean L'Héritier - Motet Nigra sum
Jean L'Héritier - Motet Nigra sum
- Report rights infringement
- published: 01 Mar 2016
- views: 786
Nigra sum sed formosa, filia Ierusalem;
ideo dilexit me rex, et introduxit me in cubiculum suum.
(Cantiques 1:4)
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
Jean L'Héritier - Nigra Sum...
Orlande de Lassus - Psalmi poenitentialis...
Giovanni Pierluigi da Palestrina - Missa Nigra sum...
Palestrina, Missa Nigra sum. The Tallis Scholars, ...
Orlande de Lassus - Motet: Da Pacem Domine, LV 957...
NIGRA SUM SED FORMOSA, Tomas Luis de Victoria - IN...
Palestrina ( 1525-1594 ) - Missa Nigra Sum...
CHANTICLEER: Nigra Sum Sed Formosa - Tomás Luis de...
Jean L' Héritier - Nigra sum (Motet)...