2 *#498010 - 0.12MB, ? *#498042 - 0.20MB, 10 pp. 8 (-) - !N/!N/!N - 237×⇩ - Reccmo, Engraving files (MuseScore, MusicXML, Shell script) 8 8 In bar 8, it changes to D Mixolydian and there is another Phrygian cadence in bar 11. O Magnum Mysterium . 6 Palestrina does not use a diatonic key, but freely employs accidentals. Michrond (2012/6/16), Synthesized Performance (-) - !N*/!N*/!N* - 15087×⇩ - CEV, Complete Score *#496011 - 0.86MB, 6 pp. 0.0/10 He explained how, on the word “Virgo,” which means Virgin in Latin, the alto’s sing a dissonant G-sharp appoggiatura, the only note not of the tonic in the whole piece. 2 4 6 10 0.0/10 8 0.0/10 Live Recording of O magnum mysterium (The Choir of Somerville College, Oxford; David Crown, conductor) Original text and translations. (-) - !N/!N/!N - 244×⇩ - Michrond, PDF typeset by arranger 8 *#498011 - 2.77MB - 3:02 -  -  -  (-) - !N/!N/!N - 215×⇩ - MID - Keanur, Complete Score (color) 4 Acciai, Giovanni (2017/10/9), Partitura completa 2 0.0/10 (-) - !N/!N/!N - 181×⇩ - Daniel Harmer, Engraving File (Finale) 2 Composer: Tomás Luis de Victoria, Number of voices: 4vv   Voicings: SATB or ATTB The idea of repetition is, however employed throughout the motet: The motet begins in duple meter, and changes to triple meter in bar 52 at the opening of the "Alleluia" section, and then changes back to duple meter at its closure for the beginning of the second big section of the piece. (-) - !N/!N/!N - 9814×⇩ - Ivdruiz, PDF typeset by editor 10 pp. "Giovanni Pierluigi Da Palestrina". As a result, there is not much dissonance in the work, and that which does occur is normally due to enharmonic notes in a syllabic melisma. *#498044 - 0.14MB, 10 pp. Modern clefs, transposed a whole tone higher than original. Title: O magnum mysterium 10 6 -  6 O great mystery and wonderful sacrament. pp. 4 2 SATB recorders, Scores in regular and alto notation, Tr T T B viols (tenors in alto and octave treble clefs). *#235104 - 0.31MB, ? 4 4 4 -  (-) - !N/!N/!N - 130×⇩ - Reccmo, ZIP typeset by arranger The text is in Latin and refers to the Bible's story of Christ in the manger. Palestrina gives the idea of the tonal areas of the motet by starting with three different chords; e minor, a minor and in d minor. -  Palestrina wrote it for Christmas to express the joy and awe of the shepherds as they celebrated Christ’s birth. (-) - !N/!N/!N - 108×⇩ - Afolop, ZIP typeset by arranger 2 8 2 *#258097 - 0.11MB, 1 pp. pp. 2 8 (2016). Daniel Harmer (2011/9/8), Complete Scores and Parts (transposed, A Dorian) 0.0/10 -  8 Palestrina used the first half of the third and fourth Responsories of the Matins on Christmas Day. O Magnum Mysterium. 4 8 Lauridsen explained his use of music in combination with text which led to the words being highlighted at important parts. He wrote it as a response against the complaints. O magnum mysterium Alt ernative. 2 8 *#63649 - 5.18MB, 5 pp. Michrond (2012/6/16), Engraving files (Finale) 6 Melodically, Palestrina employs many syllabic unisons in this motet and not much imitation between the voices. (-) - V/V/V - 6725×⇩ - RTM, Complete score (monochrome) 2 (-) - V/V/V - 309×⇩ - PML, Complete Score “Giovanni Pierluigi da Palestrina”. 6 It was published in 1569 in Rome and formed a part of a collection of motets for five-, six- and seven voices, known as his Liber Primus Motettorum. 4 ITV 101 Key G Dorian mode First Pub lication. 0.0/10 (-) - !N/!N/!N - 274×⇩ - Daniel Harmer, PDF typeset by arranger (-) - !N/!N/!N - 307×⇩ - MID - Michrond, MID file (audio/video) 8 10 -  Palestrina scored this motet for an unaccompanied choir in six parts (SSAATB). Instruments: A cappella. Description: Original text and translations may be found at O magnum mysterium. Daniel Harmer (2011/11/24), Virtual Performance 10 First published: 1572 in Motecta I (Tomás Luis de Victoria), no. 0.0/10 -  2 *#489885 - 0.09MB, 3 pp. O magnum mysterium is a six-part motet by Giovanni Pierluigi da Palestrina, based on the responsorial chant of the same name, and was written for the celebration of Christmas. 8 6 *#19716 - 0.12MB, 3 pp. 2 2 (-) - !N*/!N*/!N* - 15087×⇩ - Hopper, Complete Score 4 10 8 -  4 10 -  Palestrina gives the idea of the tonal areas of the motet by starting with three different chords; e minor, a minor and in d minor. 2 2 2 4 10 -  0.0/10 8 10 The text has been set many times by numerous composers, such as Palestrina, Poulenc, Lauridsen, and Morales. 0.0/10 2 -  8 2 4 -  -  0.0/10 4 *#258095 - 0.11MB, 1 pp. 2 Afolop (2011/10/15), Complete Score 6 4 Salve Regina / Ad te / Et Jesum / O clemens, Salve Regina I / Ad te / Et Jesum / O pia, http://imslp.org/index.php?title=O_magnum_mysterium_(Victoria,_Tom%C3%A1s_Luis_de)&oldid=2959812, Works first published in the 16th century, Pages with commercial recordings (Naxos collection), Pages with commercial recordings (BnF collection), Creative Commons Attribution-ShareAlike 4.0 License. (-) - !N/!N/!N - 594×⇩ - Reccmo, PDF typeset by arranger 10 8 *#156047 - 0.01MB - 3 min. 0.0/10 10 2 No. 0.0/10 4 An example of this can be seen in the repetition of “ut animalia viderent Dominum”. 10 is a true transcription of Morten Lauridsenʼs original choral composition. 0.0/10 6 6 Finally, Palestrina ends the motet with a very strong plagal cadence. 4 0.0/10 0.0/10 2 8 8 (-) - !N/!N/!N - 896×⇩ - Micah Walter, Altus 8 Montréal: Les Éditions Outremontaises, 2013. 4 *#63573 - 8.85MB, 5 pp. *#498009 - 0.14MB, 5 pp. *#19716 - 0.12MB, 3 pp. -  pp. The final “Alleluja” section is lively and the voices no longer sing in unison and all voices sound independently. 0.0/10 Palestrina does, however, make use melodic and rhythmic motives in this motet, and uses word painting to exhibit the lyrics. *#19716 - 0.12MB, 3 pp. *#492277 - 0.06MB, 2 pp. -  Afolop (2011/10/15), Engraving files (Personal composer) 6 The voices sing the phrase independently in syllabic unison, emphasising their importance through repetition. 0.0/10 (-) - !N/!N/!N - 711×⇩ - Stiltoncracker, PDF typeset by arranger 4 Micah Walter (2012/11/10), ⇒ 5 more: Cantus • Altus • Tenor • Bassus • Piano reduction, transposed up one step, Cantus 2 Ivdruiz (2012/9/14), Complete Score 2 1572 in Motecta, Libro 1 (No.5) Librettist Liturgical Language Latin Dedication In Circumcisione Domini Average Duration Avg. -  0.0/10 While the motet is broadly set in the mode of A Aeolian, this composition can be considered “freely-composed” and is very harmonic in writing style. Palestrina makes use of scale patterns and variations, which are common in his other works. *#235105 - 0.01MB - 2:16 -  8 6 *#498043 - 0.21MB, 10 pp. Palestrina scored this motet for an unaccompanied choir in six parts (SSAATB). It was specially chosen as a celebration of the birth of Jesus Christ from the Virgin Mary and to illustrate God’s grace and mercy to sinners. *#498045 - 0.13MB, 16 pp. -  *#280150 - 0.32MB, 2 pp. 6 4 2 10 8 Title Composer Victoria, Tomás Luis de: I-Catalogue Number I-Cat. 8 (-) - !N/!N/!N - 1014×⇩ - Acciai, Giovanni, PDF typeset by editor Agarvin (2017/8/22), Complete score (-) - !N/!N/!N - 474×⇩ - Micah Walter, Bassus 0.0/10 6 The only significant difference between the two pieces is the choice of key. 4 2 10 0.0/10 O magnum mysterium is a responsorial chant from the Matins of Christmas. (-) - !N/!N/!N - 327×⇩ - DianaHein519, PDF typeset by arranger Michrond (2012/6/16), Complete Score and Parts *#280461 - 0.01MB - 2:46 -  6   2nd published: 1622 in Promptuarii musici concentus ecclesiasticos, Pars Prima, no. *#489886 - 0.45MB, 6 pp. Original text and translations may be found at O magnum mysterium. 8

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