 | Byrd, William - "Ave Maria" for Wind Quintet Flute, Hautbois, Cor anglais, Cor et Basson |
VoirPDF : "Ave Maria" for Wind Quintet (7 pages - 284.7 Ko)36x⬇ VoirPDF : Basson (52.08 Ko) VoirPDF : English Cor (53.47 Ko) VoirPDF : Flûte (58.86 Ko) VoirPDF : French Cor (52.83 Ko) VoirPDF : Hautbois (53.96 Ko) VoirPDF : Conducteur complet (251.04 Ko) MP3 : "Ave Maria" for Wind Quintet 6x⬇ 56x
Vidéo :
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| Compositeur : | Byrd, William (1534 - 1623) | ||
| Instrumentation : | Flute, Hautbois, Cor anglais, Cor et Basson | ||
| Genre : | Renaissance | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 18 Avr 2023 Although William Byrd spent virtually his entire adult life in the service of the Anglican Royal Chapel, Byrd himself was a devout Catholic. Given the often violently anti-Catholic atmosphere of England during the composer's day, his choice to publish not only three full Latin Masses but also, in the shape of the two collections of Gradualia, some hundred-and-eight Latin motets designed for use in the Mass service, is remarkable for both its audacity and the relative professional (and perhaps personal) danger it placed the composer in. The famous Alleluia. Ave Maria, from the first published book of the Gradualia, is actually part of a larger Mass Proper setting celebrating the Annunciation of the Blessed Virgin Mary, a traditionally ceremonius affair carried out exactly nine months before Christmas (or March 25) that Byrd composed somewhere around 1605. The Alleluia. Ave Maria treats in five voices the same basic text (the Angel's announcement of the immaculate conception) that Byrd set in an independent Ave Maria from around the same time. A five part structural plan informs the work. After a rich opening Alleluia, Byrd switches to homophony for the presentation of the Ave Maria proper, which is followed by a reworking of the Alleluia music (now moving from the G to D tonal planes-modally oriented, of course--, whereas the opening version traversed the A/G axis). The fourth section is a setting of the Virge Iesse text, while the fifth reprises the Alleluia in glorious attire. Source: AllMusic (https://www.allmusic.com/composition/alleluia-ave-mari a-motet-for-5-voices-sattb-mc0002355355) Although originally composed for Chorus (SATTB or ATTBarB), I created this Interpretation of "Ave Maria" (Hail Mary) for Wind Quintet (Flute, Oboe, English Horn, French Horn & Bassoon). | |||
