Giovanni Pierluigi da Palestrina. Adoramus te Christe, motet for 4 voices (from Motets Book II for 4 voices). Composition Information ↓; Description ↓; Appears . L. Stokowski): Adoramus te Christe (arr. L. Stokowski for orchestra) How Fair Thou Art: Biblical Passions by Giovanni Pierluigi da Palestrina · More Giovanni.

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Sexy Trippy All Moods. Share on facebook twitter tumblr. James Gibb submitted And the music across his vast output does retain a uniformly high adoramuus of balance, clarity, and extremely careful control over the flow of harmonic dissonance and consonance. An Evening with Leopold Stokowski.

This page was last edited on 12 Februaryat Original text and translations may be found at Adoramus te, Christe. Navigation menu Personal tools Log in Request account. Andrea Angelini submitted Drew Collins submitted Streams Videos All Posts. All voices now sing a brief imitative motive and somewhat more extended melodies; a series of similar plagal cadences are this time bookended between two more conclusive “perfect” cadences.

Peter’s Basilica and the pope’s Cappella Giulia — and personal grief, with several family members dying of the plague.


Adoramus te, Christe (attrib. Giovanni Pierluigi da Palestrina) – ChoralWiki

Spirit of the Season. Introspection Late Night Partying. The Symphony Of The Air. La Cappella Sistina e la Musica dei Papi. Palestrina set it with all due respect and intimacy.

Adoramus te, Christe (attrib. Giovanni Pierluigi da Palestrina)

Romantic imagination in the nineteenth and twentieth centuries saw Giovanni Pierluigi da Palestrina as the epitome of reserved spirituality, founder of a musical ars perfecta.

Title wrongly reads Adoremus let’s adore instead of Adoramus we adore.

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As with many historical myths, this et is only partly true. Brian Marble submitted Retrieved from ” https: Ian Haslam submitted Includes a keyboard reduction of the a cappella choral score. Stations of the Cross. Drinking Hanging Out In Love. Please enable JavaScript in your browser to use the site fully.

Yet the fact remains that he contributed mightily to the worship music of the Catholic Church, publishing almost 30 books of masses, motets, and other liturgical compositions in his lifetime. The worshipers are thanking Christ for redeeming the world through the Cross, however, and the composer expands the musical texture at this more hopeful text. Dating apparently from the 19th century and circulated as being by Palestrina, the soprano part was taken from the lovely motet of the same title by Francesco Rosselli.


Palestrina published Adoramus te, Christe in his Second Book of Motets in ; though that volume does not survive, it was immediately reprinted in Giovanni Pierluigi da Palestrina: Adoramus te not to be confused with 2 authentic settings.

Original text and translations Original text and translations may be found at Adoramus te, Christe. The text of this motet is an intimate devotional work, used within Italian Catholicism both in the deeply emotional Holy Week service of the Adoration of the Cross, and in para-liturgical settings as a confraternal Lauda.

Adoramus te, Christe (Giovanni Pierluigi da Palestrina) – ChoralWiki

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