Talk:Ecce beatam lucem (Alessandro Striggio): Difference between revisions
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I don't have a mental picture of the source material: why do the editions here lay out the choirs SATBSATB instead of SSAATTBB, as I think I hear it? [[User:Richard Mix|Richard Mix]] ([[User talk:Richard Mix|talk]]) 05:26, 16 September 2019 (UTC) | I don't have a mental picture of the source material: why do the editions here lay out the choirs SATBSATB instead of SSAATTBB, as I think I hear it? [[User:Richard Mix|Richard Mix]] ([[User talk:Richard Mix|talk]]) 05:26, 16 September 2019 (UTC) | ||
See the editorial notes prefaced to Philip Legge's edition of the work, which contain a detailed discussion of this aspect. The issue is not clear-cut, because Striggio uses the voices in various groupings in the course of the work (unlike in the related Mass). | :See the editorial notes prefaced to Philip Legge's edition of the work, which contain a detailed discussion of this aspect. The issue is not clear-cut, because Striggio uses the voices in various groupings in the course of the work (unlike in the related Mass). | ||
[[User:Mick Swithinbank|Mick Swithinbank]] ([[User talk:Mick Swithinbank|talk]]) 09:42, 16 September 2019 (UTC) Mick Swithinbank | [[User:Mick Swithinbank|Mick Swithinbank]] ([[User talk:Mick Swithinbank|talk]]) 09:42, 16 September 2019 (UTC) Mick Swithinbank | ||
::Thanks for the preface pointer! Philip Legge seems based on Sabine Cassola, and the last part of "This motet had variously been described as being composed of 4 choirs (of varying sizes between 6 and 16 voices), or 10 choirs of 4 voices" makes one wonder whether the 40th voice is labeled (either here or perhaps only in mass?) 'basso, coro X' instead of 'basso II, coro V'. Having chased down the Fenlon and Keyte article (''Memorialls of Great Skill: A Tale of Five Cities'', Early Music Vol. 8, No. 3 (Jul., 1980), pp. 329-334) it seems it was in fact labeled either "XXXX" or "No. 40", and that the contemporary 4 choir description was based, blurriness aside, on the initial entrances of 8, 10, 16 & 6 vv.. [[User:Richard Mix|Richard Mix]] ([[User talk:Richard Mix|talk]]) 21:32, 16 September 2019 (UTC) | |||
Revision as of 21:33, 16 September 2019
SATB.SATB..SATB.SATB..SATB.SATB..SATB.SATB..SATB.SATB???
I don't have a mental picture of the source material: why do the editions here lay out the choirs SATBSATB instead of SSAATTBB, as I think I hear it? Richard Mix (talk) 05:26, 16 September 2019 (UTC)
- See the editorial notes prefaced to Philip Legge's edition of the work, which contain a detailed discussion of this aspect. The issue is not clear-cut, because Striggio uses the voices in various groupings in the course of the work (unlike in the related Mass).
Mick Swithinbank (talk) 09:42, 16 September 2019 (UTC) Mick Swithinbank
- Thanks for the preface pointer! Philip Legge seems based on Sabine Cassola, and the last part of "This motet had variously been described as being composed of 4 choirs (of varying sizes between 6 and 16 voices), or 10 choirs of 4 voices" makes one wonder whether the 40th voice is labeled (either here or perhaps only in mass?) 'basso, coro X' instead of 'basso II, coro V'. Having chased down the Fenlon and Keyte article (Memorialls of Great Skill: A Tale of Five Cities, Early Music Vol. 8, No. 3 (Jul., 1980), pp. 329-334) it seems it was in fact labeled either "XXXX" or "No. 40", and that the contemporary 4 choir description was based, blurriness aside, on the initial entrances of 8, 10, 16 & 6 vv.. Richard Mix (talk) 21:32, 16 September 2019 (UTC)