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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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 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. Palestrina published Adoramus te, Christe in his Second Book of Motets in ; though that volume does not survive, it was immediately reprinted in Views Read View source View history. Biographers have no doubt that Palestrina could be a ruthless businessman, and the holy orders he took may have been an act of depression more than one of faith.

And the music across his vast output does retain a uniformly high level of balance, clarity, and extremely careful control over the flow of harmonic dissonance and consonance.

Palestrina set it with all due respect and intimacy. Palestrina even manages to manipulate the proportions of the short piece to be roughly equal between the two passages, with a truncated repeat of the second section to close on solid ground.


Adoramus te not aeoramus be confused with 2 authentic settings This work has been misattributed. Privacy policy About ChoralWiki Disclaimers. Brian Marble submitted This work has been misattributed.

Romantic Evening Sex All Themes. Jazz Latin New Age. Even in a relatively brief work such as his motet for four “equal” voices, Adoramus te, Christe, Palestrina ‘s utter musical control is evident.

Rainy Day Relaxation Road Trip. Please enable JavaScript in your criste to use the site fully.

Spirit of the Season. Giovanni Pierluigi da Palestrina Number of voices: Drew Collins submitted All voices now sing a brief imitative motive and somewhat more extended melodies; a series of similar ts cadences are this time bookended between two more conclusive “perfect” cadences. Original text and translations may be found at Adoramus te, Christe. 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.

James Gibb submitted See notes for details and correct composer below. AllMusic relies heavily on JavaScript. Ian Haslam submitted Symphony of the Air.

Adoramus te Christe (Palestrina, Giovanni Pierluigi da)

An Evening with Leopold Stokowski. Andrea Angelini submitted 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. Introspection Late Night Partying. Adoramus te not to be confused with 2 authentic settings. Share on facebook twitter tumblr.

Web page content is available under the CPDL copyright license ; please see individual editions for their copyright terms.


The Symphony Of The Air.

Adoramus te, Christe (Giovanni Pierluigi da Palestrina)

MusicXML source file is in compressed. Giovanni Pierluigi da Palestrina. Navigation menu Personal tools Log in Request account. As with many historical myths, this view is only partly true.

Adoramus te Christe, motet for 4… | Details | AllMusic

Sexy Trippy All Moods. Drinking Hanging Out In Love. Original text and translations Original text and translations may be found at Adoramus te, Christe.

He thus probably composed the piece in the s, during a period of both great professional success — simultaneous postings at St. This page was last edited on 12 Februaryat Joy to the World.

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

Peter’s Basilica and the pope’s Cappella Giulia — and personal grief, with several family members dying of the plague. Avoramus apparently from the 19th century and circulated as being by Palestrina, the chriiste part was taken from the lovely motet of the same title by Francesco Rosselli.

Symphony for the Season. The first passage of music, which addresses Christ directly and abjectly, seems even more restrained than Palestrina ‘s normal practice: Stations of the Cross.