Audivi vocem (Thomas Tallis): Difference between revisions
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*{{CPDLno|10616}} [{{SERVER}}/wiki/images/e/e8/AUDIVI2.pdf {{pdf}}] [{{SERVER}}/wiki/images/c/c0/AUDIVI2.mid {{mid}}] [{{SERVER}}/wiki/images/e/ec/Audivi_Vocem.enc Encore] | *{{CPDLno|10616}} [{{SERVER}}/wiki/images/e/e8/AUDIVI2.pdf {{pdf}}] [{{SERVER}}/wiki/images/c/c0/AUDIVI2.mid {{mid}}] [{{SERVER}}/wiki/images/e/ec/Audivi_Vocem.enc Encore] | ||
{{Editor|John Henry Fowler|2006-01-07}} {{ScoreInfo|Letter|3|35}} {{Copy|CPDL}} | {{Editor|John Henry Fowler|2006-01-07}} {{ScoreInfo|Letter|3|35}} {{Copy|CPDL}} | ||
:'''Edition notes:''' | :'''Edition notes:''' Use Sibelius score if possible. Encore has problem with whole-note rests. | ||
==General Information== | ==General Information== | ||
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'''Published:''' | '''Published:''' | ||
'''Description:''' | '''Description:''' Responsorium <br> | ||
A couple of extra points concerning the score to which I previously suggested changes. In bar 9, the alto's first three notes appear to be identical to the soprano's, whereas they should be: whole note B flat, half-note A. In bar 21 the alto's penultimate note (quarter-note F) should be deleted, so that the first note in bar 22 (likewise a quarter-note F) can be brought forward into bar 21. In bar 22, the alto's C sharp should be a half-note and its penultimate note in this bar should be editorially modified to C natural. In bar 28, the tenor should have C sharp rather than C natural, by analogy with bar 7, creating a nice false relation. Some editions also have a passage of plainsong at the end, which is not included here. | A couple of extra points concerning the score to which I previously suggested changes. In bar 9, the alto's first three notes appear to be identical to the soprano's, whereas they should be: whole note B flat, half-note A. In bar 21 the alto's penultimate note (quarter-note F) should be deleted, so that the first note in bar 22 (likewise a quarter-note F) can be brought forward into bar 21. In bar 22, the alto's C sharp should be a half-note and its penultimate note in this bar should be editorially modified to C natural. In bar 28, the tenor should have C sharp rather than C natural, by analogy with bar 7, creating a nice false relation. Some editions also have a passage of plainsong at the end, which is not included here. | ||
Revision as of 08:46, 7 February 2012
Music files
ICON | SOURCE |
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File details | |
Help |
- CPDL #10850: Sibelius 2
- Editor: David Fraser (submitted 2006-01-26). Score information: A4, 3 pages, 150 kB Copyright: Personal
- Edition notes:
- CPDL #10724: Sibelius 4
- Editor: John Henry Fowler (submitted 2006-01-14). Score information: Letter, 4 pages, 50 kB Copyright: CPDL
- Edition notes: Midi file: 6 Kbyte, Sibelius 4 file: 35 KByte - this edition has CHANT added, and has been fixed with Mick Swithinbank's edits.
- CPDL #10632: Sibelius 4
- Editor: John Henry Fowler (submitted 2006-01-07). Score information: Letter, 3 pages, 38 kB Copyright: CPDL
- Edition notes: Midi file: 6 Kbyte, Sibelius 4 file: 35 KByte - this edition has been fixed with Mick Swithinbank's edits.
- CPDL #10616: Encore
- Editor: John Henry Fowler (submitted 2006-01-07). Score information: Letter, 3 pages, 35 kB Copyright: CPDL
- Edition notes: Use Sibelius score if possible. Encore has problem with whole-note rests.
General Information
Title: Audivi vocem
Composer: Thomas Tallis
Source of text: Jeremiah 40:10 and Matthew 25:6
Number of voices: 4vv Voicing: SATB
Genre: Sacred, Motet
Language: Latin
Instruments: a cappella
Published:
Description: Responsorium
A couple of extra points concerning the score to which I previously suggested changes. In bar 9, the alto's first three notes appear to be identical to the soprano's, whereas they should be: whole note B flat, half-note A. In bar 21 the alto's penultimate note (quarter-note F) should be deleted, so that the first note in bar 22 (likewise a quarter-note F) can be brought forward into bar 21. In bar 22, the alto's C sharp should be a half-note and its penultimate note in this bar should be editorially modified to C natural. In bar 28, the tenor should have C sharp rather than C natural, by analogy with bar 7, creating a nice false relation. Some editions also have a passage of plainsong at the end, which is not included here.
External websites:
Original text and translations
Latin text
Audivi vocem de caelo venientem:
Oleum recondite in vasis vestris,
dum sponsus advenerit.
Media nocte clamor factus est.
Ecce sponsus venit.
English translation
by Mick Swithinbank, drawing on the Douay-Rheims Bible translation
I heard a voice from heaven saying:
Lay up the oil in your vessels
when the bridegroom cometh.
At midnight there was a cry made:
Behold the bridegroom cometh.