Miserere nostri (Thomas Tallis): Difference between revisions
m (Text replace - ''''Genre:''' {{pcat|Sacred| music}}, Motet <br>' to '{{Genre|Sacred|Motets}}') |
(→General Information: Link to publication page, with sequential number) |
||
(43 intermediate revisions by 10 users not shown) | |||
Line 1: | Line 1: | ||
==Music files== | ==Music files== | ||
{{Legend}} | {{#Legend:}} | ||
<!-- | |||
*{{:Edition:CPDL 40426}} | |||
*''' | *{{:Edition:CPDL 40427}} | ||
{{Editor|Paul R. Marchesano|2004-01-30}} | --> | ||
:'''Edition notes:''' | *{{CPDLno|28214}} [[Media:Tallis_Miserere.pdf|{{pdf}}]] [[Media:Tallis_Miserere.mid|{{mid}}]] [[Media:Tallis_Miserere.mxl|{{XML}}]] [[Media:Tallis_Miserere.capx|{{Capx}}]] | ||
{{Editor|Gerd Eichler|2013-02-04}}{{ScoreInfo|A4|3|60}}{{Copy|CPDL}} | |||
:'''Edition notes:''' Mensural notation, original key and note values, musica ficta clearly marked, clefs modernized. {{MXL}} | |||
<!-- | |||
*{{:Edition:CPDL 23135}} | |||
--> | |||
*{{CPDLno|6605}} [[Media:Tallis_miserere.pdf|{{pdf}}]] [[Media:ws-tall-mis.mid|{{Mid}}]] [[Media:ws-tall-mis.mus|{{mus}}]] (Finale 2002) | |||
{{Editor|Paul R. Marchesano|2004-01-30}}{{ScoreInfo|Letter|5|148}}{{Copy|Personal}} | |||
:'''Edition notes:''' | |||
==General Information== | ==General Information== | ||
Line 10: | Line 20: | ||
{{Composer|Thomas Tallis}} | {{Composer|Thomas Tallis}} | ||
{{Voicing|7|SSTTTBB, AATTBBB}}<br> | |||
{{Genre|Sacred|Motets}} | {{Genre|Sacred|Motets}} | ||
{{Language|Latin}} | {{Language|Latin}} | ||
{{Instruments|A cappella}} | |||
{{Pub|1|1575|in ''[[Cantiones quae ab argumento sacrae vocantur]]''|no=34}} | |||
'''Description:''' ''Miserere nostri'' is an astoundingly ingenious canon. Most obvious is the canon between the two top voices (mentioned at the foot of page 1), which sing the same line throughout but half a bar apart. Meanwhile, however, a different and less audible canon is in progress between four of the five lower voices: all start singing the same melody at the same time but at four different speeds, two of them in inversion. By bar 6, the Second Bass has already sung the whole of the part assigned to the slowest singer, the First Bass. Amazingly, this fiendish process not only works but produces convincing harmonies which sound as if they are the very raison d’être of this understandably short piece. To enjoy them to the maximum, the music should be taken fairly slowly, so as not to skate over the passing dissonances. | '''Description:''' ''Miserere nostri'' is an astoundingly ingenious canon. Most obvious is the canon between the two top voices (mentioned at the foot of page 1), which sing the same line throughout but half a bar apart. Meanwhile, however, a different and less audible canon is in progress between four of the five lower voices: all start singing the same melody at the same time but at four different speeds, two of them in inversion. By bar 6, the Second Bass has already sung the whole of the part assigned to the slowest singer, the First Bass. Amazingly, this fiendish process not only works but produces convincing harmonies which sound as if they are the very raison d’être of this understandably short piece. To enjoy them to the maximum, the music should be taken fairly slowly, so as not to skate over the passing dissonances. | ||
Line 20: | Line 30: | ||
''(from the score of CPDL #6605):'' Original key: F major. Pitch in 16th century England was likely very high and this key is probably closer to the actual performance pitch. This likely earlier work was probably part of a full setting of the Psalm, but this section is all that remains of this setting. It demonstrates surprising rhythmic complexity. Note values and barring have been adjusted for modern notation. It is particularly important in this antiphon to sing through the barlines, allowing the rhythmic and natural accent of the text to guide phrasing. | ''(from the score of CPDL #6605):'' Original key: F major. Pitch in 16th century England was likely very high and this key is probably closer to the actual performance pitch. This likely earlier work was probably part of a full setting of the Psalm, but this section is all that remains of this setting. It demonstrates surprising rhythmic complexity. Note values and barring have been adjusted for modern notation. It is particularly important in this antiphon to sing through the barlines, allowing the rhythmic and natural accent of the text to guide phrasing. | ||
'''External websites:''' | '''External websites:''' | ||
==Original text and translations== | ==Original text and translations== | ||
{{Text|Latin}} | {{Text|Latin| | ||
Miserere nostri Domine, miserere nostri.}} | |||
{{Translation|English| | |||
''Have mercy on us Lord, have mercy on us.''}} | |||
{{Translation|English | |||
''Have mercy on us Lord, have mercy on us.'' | |||
[[Category:Sheet music]] | [[Category:Sheet music]] | ||
[[Category:Renaissance music]] | [[Category:Renaissance music]] |
Revision as of 14:58, 6 June 2019
Music files
ICON | SOURCE |
---|---|
Midi | |
MusicXML | |
Capella | |
Finale | |
Finale 2015 | |
Zip file | |
Web Page | |
File details | |
Help |
- Editor: Gerd Eichler (submitted 2013-02-04). Score information: A4, 3 pages, 60 kB Copyright: CPDL
- Edition notes: Mensural notation, original key and note values, musica ficta clearly marked, clefs modernized. MusicXML source file(s) in compressed .mxl format.
- Editor: Paul R. Marchesano (submitted 2004-01-30). Score information: Letter, 5 pages, 148 kB Copyright: Personal
- Edition notes:
General Information
Title: Miserere nostri
Composer: Thomas Tallis
Number of voices: 7vv Voicings: SSTTTBB or AATTBBB
Genre: Sacred, Motet
Language: Latin
Instruments: A cappella
First published: 1575 in Cantiones quae ab argumento sacrae vocantur, no. 34
Description: Miserere nostri is an astoundingly ingenious canon. Most obvious is the canon between the two top voices (mentioned at the foot of page 1), which sing the same line throughout but half a bar apart. Meanwhile, however, a different and less audible canon is in progress between four of the five lower voices: all start singing the same melody at the same time but at four different speeds, two of them in inversion. By bar 6, the Second Bass has already sung the whole of the part assigned to the slowest singer, the First Bass. Amazingly, this fiendish process not only works but produces convincing harmonies which sound as if they are the very raison d’être of this understandably short piece. To enjoy them to the maximum, the music should be taken fairly slowly, so as not to skate over the passing dissonances.
(from the score of CPDL #6605): Original key: F major. Pitch in 16th century England was likely very high and this key is probably closer to the actual performance pitch. This likely earlier work was probably part of a full setting of the Psalm, but this section is all that remains of this setting. It demonstrates surprising rhythmic complexity. Note values and barring have been adjusted for modern notation. It is particularly important in this antiphon to sing through the barlines, allowing the rhythmic and natural accent of the text to guide phrasing.
External websites:
Original text and translations
Latin text
Miserere nostri Domine, miserere nostri.
English translation
Have mercy on us Lord, have mercy on us.