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The polychoral motets of Psalmen Davids had been largely ignored in the first two decades of the century because they lacked a sense of drama.
The first three of these deal mainly with occasions for polyphony during the liturgical year and within the Ambrosian liturgy, the fourth is a list of polychoral works by Donati surviving in the Duomo archives, and the last is a list of musical prints from 1596 to 1617 with basso or keyboard parts or in score (relating to an interesting discussion of the issue in chapter 7 [pp.
Should this piece be transposed upwards, or does the unusual cleffing imply the use of certain groups of instruments, in the same way that Schutz and Michael Praetorius used clefs to denote instrumentation in their polychoral pieces?
A study of these concordances might show how the collection was used in the lively tradition of polychoral performance at Breslau's Lutheran churches.
28) By far the largest number of editions are devoted to sacred vocal music, including polychoral works that were so admired by Gumpelzhaimer.
For example, indications in sources used and owned by Gumpelzhaimer verify that he performed a sizable number of polychoral works, among them Giovanni Gabrieli's splendid Ascension Day motet, Plaudite, psallite (a 12; C.
For the majority of the evening, good German pronunciation coupled with clear and incisive diction proved to be an impressive facet, especially in intricate polychoral sections.
In these pieces we heard both frequent solo-voice sections, skilfully, arrestingly rendered, and polychoral textures, such as the Salve Regina, with its male-voice trio and archlute singing around a candelabra in the middle of the nave.
For the edition (which Gable first presented in his dissertation "The Polychoral Motets of Hieronymus Praetorius" [University of Iowa, 1966]), Gable uses the version in the earliest surviving source, Practorius's Cantiones variae.
Whereas the entire Harmoniae morales is set for a vocal quartet, many of the pieces in the Moralia use eight-voice polychoral textures.
Wider Spanish traditions certainly influenced some characteristics of Comes's music; in fact, Olson traces the composer's use of polychoral textures to the visit of the Spanish royal chapel to Valencia in 1599.
These include polychoral motets, chorale and Magnificat settings, sacred concertos, secular vocal works, and instrumental dances.