Giovanni Pierluigi da Palestrina. Adoramus te Christe, motet for 4 voices (from Motets Book II for 4 voices). Composition Information ↓; Description ↓; Appears . Adoramus te (We adore Thee) is a stanza that is recited/sung mostly during the Stations of the Cross of the Catholic tradition. It is retained in some confessional. By Giovanni Pierluigi da Palestrina / ed. Russell Robinson. SATB, a cappella Choral Octavo. Long a standard in the choral repertoire, Palestrina’s Adoramus Te.

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Navigation menu Personal tools Log in Request account. MusicXML source file is in compressed. Palestrina published Adoramus te, Christe in his Second Book of Motets in ; though that volume does not survive, it was immediately reprinted in Joy to the World.

Stations of the Cross. La Cappella Sistina e la Musica dei Papi. Giovanni Pierluigi da Palestrina. 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.

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. Retrieved from ” https: Romantic Evening Sex All Themes.

Adoramus te Christe (Palestrina, Giovanni Pierluigi da)

As with many historical myths, this view is only partly true. 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. Title wrongly reads Adoremus let’s adore instead of Adoramus we adore. Includes a keyboard reduction of the a cappella choral score.


This page was last edited on 12 Februaryat Andrea Angelini submitted Please enable JavaScript in your browser to use the site fully. Drew Collins submitted Ian Haslam submitted Views Read View source View history.

An Evening with Leopold Stokowski. Adoramus te not to be confused with 2 authentic settings.

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. All voices addoramus 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.

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

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Introspection Late Night Partying. He thus probably composed the piece adormaus the s, during a period of both great professional success — simultaneous postings at St.

Adoramus te Christe, motet for 4 voices (from Motets Book II for 4 voices)

The first passage of music, which addresses Christ directly and abjectly, seems even more restrained than Palestrina ‘s normal practice: 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. Brian Marble submitted 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.


James Gibb submitted Sexy Trippy All Moods. And the music across his vast output does retain a uniformly high level of balance, clarity, and extremely careful control over the flow he harmonic dissonance and consonance.

Peter’s Basilica and the pope’s Cappella Giulia — and personal grief, with several family members dying of the plague. Giovanni Pierluigi da Palestrina: Spirit of the Season. Symphony for the Season. Palestrina set it with all due respect and intimacy. 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.

Symphony of the Air. See notes for details and correct composer below.