Similar compositions in the English language are called anthems , but some later English composers, such as Charles Villiers Stanford , wrote motets in Latin. The majority of these compositions are a cappella , but some are accompanied by organ.
In the 20th century, composers of motets have often consciously imitated earlier styles. MOTET, a musical art-form of paramount importance in the 16th century. The word is of doubtful etymology , and probably its various uses and forms in the 13th and 14th centuries connect with more than one origin. Thus modulus suggests modulus or melody ; and probably represents the notion underlying the use of the term motetus or motellus to designate one of the middle parts in a vocal combination.
On the other hand the obvious connexion between the Italian word mottetto diminutive of motto with the French mot in the sense of bon mot is in conformity with the use of a profane art-form contemporary with the conductus and rondel of these early epochs of music.
The only really definite and mature art-form denoted by the word motet is that of the 16th-century pieces of ecclesiastical music in one or two rarely more continuous movements, for the most part on Biblical or other ecclesiastical prose texts. The word is, however, used for any single Latin -text composition in continuous form, not set sectionally verse by verse, and not forming a permanent part of the mass. Thus Palestrina's Stabat mater is included among his motets; though the text is metrical and rhymed, and the style , though continuous, is far from being that of the typical polyphonic motet.
The title of motet is also occasionally loosely used for non-ecclesiastical works, such as many of the numbers in the Magnum opus musicum of Orlando di Lasso and the dedicatory motet at the beginning of Palestrina's fifth book. And in this way it is sometimes applied to compositions not to Latin text; as in Josquin's Deploration de Jehan Okenheim, where all except the canto fermo is in French. The most important kind of motet is that which is intimately connected with the solemn mass for a particular holy day.
Such motets are sung between the Credo and the Sanctus of the mass. They are, in typical cases, founded on the Gregorian tones of their texts, and the mass is founded on the same themes, thus giving the whole service a musical unity which has never since been approached in any church music even under Bach.
When a motet was not founded on Gregorian tones it was still possible for the composer to design a mass on the same themes, and most of the titles of 16th-century masses, when they do not indicate a secular origin, indicate either the motet or the Gregorian tones on which they are founded. Thus Palestrina's masses Assumpta est Maria; 0 admirabile commercium; Dum complerentur; Hodie Christus natus est; Dies santificatus; Veni sponsa Christi, and the second Missa Tu es Petrus, are magnificent examples selected almost at random from the masses which the composer has founded on his own motets of the same name.
When such masses are performed, whether in a concertroom or church, it is indisputable that the motet ought always to be included. Sometimes one composer founded a mass on another composer's motet; thus Soriano's fine Missa, Nos autem gloriari, is based upon a motet by Palestrina.
When a motet was in two movements the second movement almost always ended with the last clauses of the first, both in text and in music, thereby sometimes producing a distinctly modern impression of da capo form. In later times the term motet is little more than a name for any choral composition of clearly single design; and the fact that such compositions have often been sung, like the 16thcentury motet, between the Credo and Sanctus of High Mass, has nothing to do with their character as an art-form.
Bach's motets are great German choral works in several movements, with no written accompaniment , though there is internal and external evidence that they were accompanied from score by the organ. Handel's motets belong to his Italian period and are simply Latin cantatas of various kinds, with instrumental accompaniment.
The later meanings attached to the word are quite indefinite, and have no common idea, except that the motet is nowadays the shortest kind of sacred choral music. The word Motet is used to mean: a piece of music for a church service sung by a choir without instrumental accompaniment. The words are usually in Latin.
If the words are written in English for the Anglican church it is called an anthem. Motets have been written since the Middle Ages. If you are a seller for this product, would you like to suggest updates through seller support? Skip to main content. Buy Used. Used: Good Details. Sold by VikaSP. Condition: Used: Good. Comment: Case has some wear, no cracks, plays good. Add to Cart. See All Buying Options.
Have one to sell? Sell on Amazon. Image Unavailable Image not available for Color:. Traditions: Hymns, Motets, and Folk Songs. Born in Germany, she and her mother were incarcerated in the Bergen-Belsen concentration camp, later escaping to Holland before making their home in Israel. Cilla served in the Israeli army and then trained as an X-ray technician. She performed solo recitals, in chamber ensembles - mostly with the David Trio — and sang church music, Lieder, songs in Yiddish and Ladino and much Israeli music, both in Israel and on her many European concert tours.
She performed and recorded much with her close friend — organist Elisabeth Roloff. Zvi Semel has been her piano accompanist over recent years. May her memory be for a blessing. Andrews Scots Memorial Church, Jerusalem. The program consisted of Motets of J. The Israeli Bach Soloists, a vocal- and instrumental ensemble directed by Sharon Rosner, sets its targets at performing J. Founded in by Sharon Rosner and Zohar Shefi, the IBS bases its performance on historical research, placing emphasis on all aspects of the verbal text - diction, pronunciation and intonation.
The motet has enjoyed an uninterrupted history from the beginning of the 12th century. Its status has always been lofty in the realm of polyphonic musical artistry. During the 18th century, in the Leipzig churches of St. Thomas and St. Nicholas, where J. Bach worked from till his death, the motet constituted a fixed element in the service, being sung by boys and men following the introductory organ prelude.
It seems Bach composed motets throughout his career; however, six survive: all are settings of sacred texts in German for choir and basso continuo and most are thought to be from his time in Leipzig.
As Bach allowed the text to dictate musical form, each is differently structured and the motets bear no standardized form. Thought by some scholars to be funeral music, they are complex and original, demanding deep aesthetic study and technical virtuosity on the part of the singers.
So why are these masterpieces performed so seldom? Using texts from Psalms and and an adaptation of a Lutheran hymn by Johann Gramann, the motet falls into four clear sections. It was later re-ascribed to J. Ernesti, headmaster of the Thomasschule, draws on a text from Romans 8 and a hymn by Martin Luther. It is the only Bach motet for which complete orchestral scores survive — with strings doubling the first choir and reeds doubling the second.
It was clear the singers and instrumentalists alike were properly familiar with the German texts and the fact that Bach was a deeply religious man. Hearing these works - some of the finest and most profound Baroque sacred music - performed on such a high level was, indeed, both an uplifting- and humbling experience. A four-voiced work with some stylistic traits of native Mexican composers, Herzog worked much on deciphering its tempi and rhythm changes and, aware of the fact that the Mexicans like the Mass performed with instruments — chrimias shawms , recorders, sackbuts, dulcians, rebec, etc.
The Zapotec Mass was written by an Indian of the Zapotec tribe. The Kyrie-Gloria, Credo, the Sanctus and Agnus Dei include pieces of various composers, each section ending with the relevant movement from the Zapotec Mass. The pieces accompanying the Mass were chosen by Herzog in an attempt to create an imaginary trip to Mexico.
In fact, she recently visited the region of the Zapotec Indian tribe, the capital of which is Oaxaca, and was impressed by the area and its pyramids. The different styles represented here work well together - from gentle, lilting Mexican dance rhythms, to contrapuntal sacred music, to joyful celebratory pieces; this is due to careful, sensitive and tasteful approach to detail, shaping and balance of timbres.
Singers were heard as soloists, duos, in small groups and as an ensemble. Okon is clearly at home in the Spanish language and with this genre. No less pleasing was the instrumental ensemble, outstanding in its attention to each individual mood and color, the blending of instruments and to the quality and textural diversity of the various solos.
Herzog mostly conducted, infusing the music with its innate joy and infectious rhythms; at other times she joined as an instrumentalist. Among the solos, there was some very impressive recorder-playing. Oh, in the guaracha, let's celebrate him While the infant surrenders to dreams As in the other arts, the music of the period was significantly influenced by the developments which define the Early Modern period: the rise of humanistic thought; the recovery of the literary and artistic heritage of Ancient Greece and Ancient Rome; increased innovation and discovery; the growth of commercial enterprises; the rise of a bourgeois class; and the Protestant Reformation.
From this changing society emerged a common, unifying musical language, in particular, the polyphonic style of the Franco-Flemish school, whose greatest master was Josquin des Prez. The mass , a form of sacred musical composition, is a choral composition that sets the invariable portions of the Eucharistic liturgy to music. Most masses are settings of the liturgy in Latin, the liturgical sacred language of the Catholic Church's Roman liturgy, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm.
For example, there are many masses written in English for the Church of England. Musical masses take their name from the Catholic liturgy called "the mass" as well.
He was one of the most representative members of the generation of northern composers who moved to Italy and transplanted the polyphonic Franco-Flemish style there. Isorhythm is a musical technique using a repeating rhythmic pattern, called a talea , in at least one voice part throughout a composition. Taleae are typically applied to one or more melodic patterns of pitches or colores , which may be of the same or a different length from the talea.
Costanzo Festa was an Italian composer of the Renaissance. While he is best known for his madrigals, he also wrote sacred vocal music. He was the first native Italian polyphonist of international renown, and with Philippe Verdelot, one of the first to write madrigals, in the infancy of that most popular of all sixteenth-century Italian musical forms.
In music, a cantus firmus is a pre-existing melody forming the basis of a polyphonic composition. The Burgundian School was a group of composers active in the 15th century in what is now northern and eastern France, Belgium, and the Netherlands, centered on the court of the Dukes of Burgundy. In late medieval Western music, a clausula was a newly composed polyphonic section for two or more voices sung in discant style over a cantus firmus.
Clausulae eventually became used as substitutes for passages of original plainchant. They occur as melismatic figures based on a single word or syllable within an organum.
The text of a clausula differs from that of the plainchant melody underneath it. Each clausula is clearly delineated by a final cadence. The chorale motet was a type of musical composition in mostly Protestant parts of Europe, principally Germany, and mainly during the 16th century. It involved setting a chorale melody and text as a motet. Johannes Brassart was a composer of the early-Renaissance Burgundian school.
Of his output, only sacred vocal music has survived, and it typifies earlyth-century practice. Taken from Martin Luther's German translation of the Magnificat canticle, the title translates as "My soul magnifies the Lord".
Also known as Bach's German Magnificat , the work follows his chorale cantata format. The cyclic mass was the first multi-movement form in western music to be subject to a single organizing principle. The Montpellier Codex is an important source of 13th-century French polyphony.
The Codex contains polyphonic works probably composed c. It is believed to originate from Paris.The Choir of St. Ignatius shines in thisrecording featuring stunning a cappella works spanning 1, years of sacred music. Including Hailstork’s Motherless Child, MacMillan’s Christus Vincit, Bach’s Komm, Jesu, komm and much more. Download a selection from this CD ( MB) Get Flash to see this player.