AVE REGINA CAELORUM DUFAY PDF

This has been overseen by Besseler and other scholars because of the melodic similarities between the various text parts. It creates thus a sense of extreme "completeness" of each movement and in the end of the whole Mass, notwithstanding its extraordinarily variegated texture. The Mass opens we the 8 measure long polyphonic headmotif that will reappear at the opening of each of the five main sections. Kyrie: The anomalous form of the Kyrie presents a serious problem: Only two polyphonic versions of the first Kyrie group and the Christe group are documentad, with differing "montage" in the various Mss.

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Nit Navigation menu Personal tools Log in Request account. Lest we may be damned on high, have mercy on us and aid us, that in the hour of our death our hearts may be beautiful. Genre Choral Classical Vocal Music. Views Read View source View history. The site is also available in coelroum languages. In both interpolations, which are punctuated by unexpected shifts to C minor, Dufay makes the devotional tone of the motet a deeply personal one: Hail queen of heaven, hail mistress of the angels, have mercy on your erring Dufay lest through sin he may fall in the fire of intoxication.

Sexy Trippy All Moods. Romantic Evening Sex All Themes. Be influential, thou most graceful, and always plead with Christ for us. This is an SATB arrangement in modern notation that redistributes the original parts to make them easier to sing. Gaude gloriosa Super omnes speciosa. Hyperion Records Our research has never had any government or institutional funding, so if you found the information here useful, please consider making a donation. Not all the material on this website is in the public domain.

Gregorian Based Choral Masterworks. Introspection Late Night Rgina. It is almost as if Dufay is consciously appealing to the prayers—and sensibilities—of a future age, one which, like presumably his own, could not fail to miss the poignancy of his utterance. Share on facebook twitter tumblr.

Miserere supplicanti Dufay Sitque in conspectus tuo Mors eius speciosa. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Hail holy root cielorum whom came light for the world. Alessandro Simonetto submitted Gaude gloriosa, super omnes speciosa, Miserere, miserere supplicanti Dufay sitque in conspectu tuo mors eius speciosa. The original parts have wide tessituras, leaps, and crossing lines, and I think it can be a little intimidating for some singers.

Jazz Latin New Age. Go to the text. Streams Videos All Posts. Stylistically it distinguishes itself from earlier motet styles in its use of the cantus firmus. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Salve radix sancta Ex qua mundo lux est orta. Vale, valde decora Et pro nobis sancte Christi exora.

This website began in as a personal project, and I have been working on it full-time without a salary since Privacy policy About ChoralWiki Disclaimers. Perhaps the most distinctive aspects of the piece, however, are the personalized interpolations with which Dufay tropes the antiphon text.

Drinking Hanging Out In Love. Web page regna is available under the CPDL copyright license ; please see individual editions for vufay copyright terms. TOP Related Posts.

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Ave Regina coelorum a 4 (Guillaume Dufay)

Nit Navigation menu Personal tools Log in Request account. Lest we may be damned on high, have mercy on us and aid us, that in the hour of our death our hearts may be beautiful. Genre Choral Classical Vocal Music. Views Read View source View history. The site is also available in coelroum languages. In both interpolations, which are punctuated by unexpected shifts to C minor, Dufay makes the devotional tone of the motet a deeply personal one: Hail queen of heaven, hail mistress of the angels, have mercy on your erring Dufay lest through sin he may fall in the fire of intoxication.

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Ave Regina caelorum (Dufay)

Its popularity perhaps derives from its position near the juncture between the architectonic approach to form inherited from the isorhythmic motet of de Vitry and Machaut in the fourteenth century and the more flowing and expressive contours that would characterize vocal music of the mature Renaissance. To be sure, its use of the tenor cantus firmus holds the entire polyphonic structure together and lends the motet its overall shape. As exemplified in the work under consideration, this trend toward greater expressivity became more pronounced in the so-called "tenor motet," which was not obligated to meet the same liturgical demands as the mass. The Ave regina caelorum, which is usually given the Roman numeral designation "III" to distinguish it from two earlier motets on the same antiphon, was composed sometime before , the year in which it was copied into a manuscript at Cambrai. Stylistically it distinguishes itself from earlier motet styles in its use of the cantus firmus. In fact, at the beginning of the motet, before the tenor even enters with the cantus firmus, the three other voices take turns "foreshadowing" the antiphon melody; thus, when the tenor finally appears, the cantus firmus does not seem like a sturdy structural pillar so much as the natural outgrowth of a series of imitative entries.

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Ave Regina caelorum, antiphon for 4 voices

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AVE REGINA CAELORUM DUFAY PDF

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