(no subject)
Фантазия In nomine для четырех гамб. Ренессанс:
Вот кратко о фантазии In nomine:
This "most conspicuous single form in the early development of English consort music" (Edwards 2001) originated in the early 16th century from a six-voice mass composed before 1530 by John Taverner on the plainchant Gloria Tibi Trinitas. In the Benedictus section of this mass, the Latin phrase "in nomine Domini" was sung in a reduced, four-part counterpoint, with the plainchant melody in the mean (alto part). At an early point, this attractive passage became popular as a short instrumental piece, though there is no evidence that Taverner himself was responsible for any of these arrangements (Bowers, Doe, and Benham 2001). Over the next 150 years, English composers worked this melody into "In Nomine" pieces of ever greater stylistic range.
Click to viewВот кратко о фантазии In nomine:
This "most conspicuous single form in the early development of English consort music" (Edwards 2001) originated in the early 16th century from a six-voice mass composed before 1530 by John Taverner on the plainchant Gloria Tibi Trinitas. In the Benedictus section of this mass, the Latin phrase "in nomine Domini" was sung in a reduced, four-part counterpoint, with the plainchant melody in the mean (alto part). At an early point, this attractive passage became popular as a short instrumental piece, though there is no evidence that Taverner himself was responsible for any of these arrangements (Bowers, Doe, and Benham 2001). Over the next 150 years, English composers worked this melody into "In Nomine" pieces of ever greater stylistic range.