Pater peccavi a 5 (Andrea Gabrieli): Difference between revisions
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'''Description:''' Gabrieli's setting of the Prodigal Son passage seems to stress redemption over the usual penitence. Although it is in two sections, it is not overly long, at around five minutes. It seems that Gabrieli must have felt quite favourably toward this motet, since he later based his Missa Pater Peccavi (6vv) on it. | '''Description:''' Gabrieli's setting of the Prodigal Son passage seems to stress redemption over the usual penitence. Although it is in two sections, it is not overly long, at around five minutes. It seems that Gabrieli must have felt quite favourably toward this motet, since he later based his Missa Pater Peccavi (6vv) on it. | ||
Source: Andreae Gabrielis Sacrae Cantiones […], Liber Primus, published Antonio Gardano, Venice 1565. This is Gabrieli's first published collection of his compositions and shows his early style. 1565 is an interesting date as Gabrieli's star was just rising in Venice - he had travelled to Munich in 1562, befriending Orlandus Lassus, and then he became organist at San Marco in 1566. Quite possibly this collection, dedicated to Prince Albert, Duke of Bavaria and probably at least partially composed while in Munich, helped Gabrieli to gain the post. | Source: Andreae Gabrielis Sacrae Cantiones […], Liber Primus, published Antonio Gardano, Venice 1565. See the main [[Sacrae Cantiones (Vulgo Motecta Appellatae), Quinque Vocum, Liber Primus. (Andrea Gabrieli)|CPDL page for this publication]] for more commentary and links to the other motets in the volume. This is Gabrieli's first published collection of his compositions and shows his early style. 1565 is an interesting date as Gabrieli's star was just rising in Venice - he had travelled to Munich in 1562, befriending Orlandus Lassus, and then he became organist at San Marco in 1566. Quite possibly this collection, dedicated to Prince Albert, Duke of Bavaria and probably at least partially composed while in Munich, helped Gabrieli to gain the post. | ||
As suggested on the 1565 title page, instrumental support or substitution is optional but worth considering. The source is in high clefs, so downward transposition for performance was likely. | As suggested on the 1565 title page, instrumental support or substitution is optional but worth considering. The source is in high clefs, so downward transposition for performance was likely. | ||
Revision as of 11:59, 23 August 2018
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- (Posted 2015-07-19) CPDL #36179: (LilyPond)
- Editor: Alistair Kirk (submitted 2015-07-19). Score information: A4, 6 pages, 133 kB Copyright: CPDL
- Edition notes: At published pitch for lower voices (Gabrieli uses natural clefs). Various voice combinations might work, though this piece does not easily fit a modern choir: AATTB, SSTTB, SSTBarB, SATBarB, AATBarB etc. However, the Lilypond source code is specially designed to be easy to transpose, change clefs, change music font size, change paper size etc, so users are encouraged to experiment. Corrections and constructive criticism welcomed.
- (Posted 2015-07-19) CPDL #36178: (LilyPond)
- Editor: Alistair Kirk (submitted 2015-07-19). Score information: A4, 6 pages, 134 kB Copyright: CPDL
- Edition notes: Transposed up for modern mixed choir. SSATB. However, the Lilypond source code is specially designed to be easy to transpose, change clefs, change music font size, change paper size etc, so users are encouraged to experiment. Corrections and constructive criticism welcomed.
General Information
Title: Pater Peccavi a 5
Composer: Andrea Gabrieli
Lyricist:
Number of voices: 5vv Voicing: SSATB
Genre: Sacred, Motet
Language: Latin
Instruments: A cappella
{{Published}} is obsolete (code commented out), replaced with {{Pub}} for works and {{PubDatePlace}} for publications.
Description: Gabrieli's setting of the Prodigal Son passage seems to stress redemption over the usual penitence. Although it is in two sections, it is not overly long, at around five minutes. It seems that Gabrieli must have felt quite favourably toward this motet, since he later based his Missa Pater Peccavi (6vv) on it.
Source: Andreae Gabrielis Sacrae Cantiones […], Liber Primus, published Antonio Gardano, Venice 1565. See the main CPDL page for this publication for more commentary and links to the other motets in the volume. This is Gabrieli's first published collection of his compositions and shows his early style. 1565 is an interesting date as Gabrieli's star was just rising in Venice - he had travelled to Munich in 1562, befriending Orlandus Lassus, and then he became organist at San Marco in 1566. Quite possibly this collection, dedicated to Prince Albert, Duke of Bavaria and probably at least partially composed while in Munich, helped Gabrieli to gain the post.
As suggested on the 1565 title page, instrumental support or substitution is optional but worth considering. The source is in high clefs, so downward transposition for performance was likely.
External websites:
Original text and translations
Original text and translations may be found at Pater peccavi.