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highlighted at important parts. 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. This is done to focus attention on the importance of the symbolism behind the Virgin Mary and her part in the birth of the
Saviour. Palestrina highlights the text in a different way - through repetition.
130:. Palestrina wrote it for Christmas to express the joy and awe of the shepherds as they celebrated Christ’s birth. Palestrina wrote this motet during times when complaints were being made about the plainness of religious works. He wrote it as a response against the complaints. He furthered the bounds of complexity by writing his
334:”. The voices sing the phrase independently in syllabic unison, emphasising their importance through repetition. The repetition of the note can rather be seen as a declaration (a very short statement of form) instead of calling it a “real motif”. The idea of repetition is, however employed throughout the motet:
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and refers to the Bible's story of Christ in the manger. 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. Lauridsen explained his use of music in combination with text which led to the words being
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to D and changes to E in bar 19. At these cadence points, it can be seen that one voice remains a lead through to the other side of the cadence, while the others resolve cadentially, creating a movement through the cadence, and diminishing stagnation of the piece at cadence points.
99:. The piece is intended to express the joy and awe that was felt by the shepherds as they celebrated and worshiped the Christ-child in the manger on Christmas Eve. Palestrina took the text for this piece from the first half of the third and fourth
303:(a form of the "imperfect" cadence) in D (bar 7). In bar 8, it changes to D Mixolydian and there is another Phrygian cadence in bar 11. Bar 15 ends on yet another Phrygian cadence, after which it
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in two musical parts. 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
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The final “Alleluja” section is lively and the voices no longer sing in unison and all voices sound independently. Palestrina makes use of
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between the voices. There is therefore a clarity of text and diction impossible in imitative counterpoint. As a result, there is not much
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of the Matins on
Christmas Day. It is a simple polyphonic work in which most of the voices sing the same syllables on the same beats.
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Palestrina scored this motet for an unaccompanied choir in six parts (SSAATB). While the motet is broadly set in the mode of A
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liturgical music less complex by using fewer melismas and letting the voices sing the same syllables at the same time.
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in this motet, and uses word painting to exhibit the lyrics. An example of this can be seen in the repetition of “
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are used and sung in different variations as melismas. Finally, Palestrina ends the motet with a very strong
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in writing style. Palestrina gives the idea of the tonal areas of the motet by starting with three different
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https://chelseabmanning.wordpress.com/2014/12/25/o-magnum-mysterium-from-three-composers-perspectives/
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patterns and variations, which are common in his other works. This can be seen in bar 141, in which
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on
Christmas Day. The text has been set many times by numerous composers, such as Palestrina,
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in the work, and that which does occur is normally due to enharmonic notes in a syllabic
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http://www.allmusic.com/artist/giovanni-pierluigi-da-palestrina-mn0001213399/biography
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Melodically, Palestrina employs many syllabic unisons in this motet and not much
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http://global.britannica.com/biography/Giovanni-Pierluigi-da-Palestrina
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of
Christmas. Palestrina used the first half of the third and fourth
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http://saturdaychorale.com/2012/01/03/palestrina-o-magnum-mysterium/
280:, this composition can be considered “freely-composed” and is very
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Stevens, D.W. (2016). "Giovanni
Pierluigi Da Palestrina".
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Palestrina does, however, make use melodic and rhythmic
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Dickey,T. (2016). “Giovanni
Pierluigi da Palestrina”.
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429:Unknown (2012). “Palestrina: O magnum mysterium”.
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134:compositions for six parts, and yet he made the
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210:O great mystery and wonderful sacrament,
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66:Learn how and when to remove this message
235:Dicite, annunciate nobis quis apparuit?
218:The new-born we have seen and a chorus
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29:This article includes a list of general
342:” – bar 4 to 5 is echoed in bar 8 to 9.
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253:of angels praising God. Alleluia.
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203:Natum vidimus et chorus angelorum
197:ut animalia viderent Dominum natum
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245:Whom have you seen, shepherds?
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349:” – bar 11 to 13, and 15 to 16
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101:Responsories of Matins
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461:: Free scores at the
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440:Manning, C. (2014).
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