Canticum Canticorum (Giovanni Pierluigi da Palestrina): Difference between revisions
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== | ==General information== | ||
{{Title|''Canticum Canticorum - Songs of Solomon''}} | |||
'''Original title:''' ''Motettorum – Liber Quartus''<br> | |||
'''Composer:''' Giovanni Pierluigi da Palestrina<br> | |||
{{ | {{Voicing|5|SATTB}} (1-18, 29)<br> | ||
{{Voicing|5|SAATB}} (19-22, 27-28)<br> | |||
{{Voicing|5|SSATB}} (23-26)<br> | |||
{{Genre|Sacred|Motets}} | |||
{{Language|Latin}} | |||
{{Instruments|A cappella}} | |||
{{PubDatePlace|1584|Rome: Alessandro Gardano| }}<br> | |||
{{Pub|2|1587|Venice: Angelo Gardano| }} | |||
'''Description:''' The Song of Songs (Hebrew title שיר השירים, Shir ha-Shirim), is a book of the Hebrew Bible—Tanakh or Old Testament—one of the five megillot (scrolls). It is also known as the Song of Solomon or as Canticles, the latter from the shortened and anglicized Vulgate title Canticum Canticorum, "Song of Songs" in Latin. It is known as Aisma in the Septuagint, which is short for ῏Αισμα ᾀσμάτων, Aisma aismatôn, "Song of Songs" in Greek. | |||
: | |||
The Song of Songs is thought by some to be a allegorical representation of the relationship of God and Israel as husband and wife. Literally, however, the main characters of the Song are simply a woman and a man, and the poem suggests movement from courtship to consummation. It is one of the shortest books in the Bible, consisting of only 117 verses. According to Ashkenazi tradition, it is read on the Sabbath that falls during the intermediate days of Passover. In the Sephardi Jewish community it is recited every Friday night. (Above is the brief wikipedia article - Use link below to see full article.) | |||
The pieces in this collection are modally organised.<br> | |||
It means that the first 10 motets are in the transposed Dorian mode. Key signature one flat, finalis on G, high clefs (G2, C2, C3, F3).<br> | |||
Pieces 11-18 are in Mixolydian mode. No key signature, finalis on G, high clefs (G2, C2, C3, C4). Here the bass is notated in C4 clef, unlike in the Dorian pieces (F3).<br> | |||
Pieces 19-24 are in Phrygian mode. No key signature, finalis on E (Nos. 20-24), or A (No. 19). Low clefs (C1, C3, C4, F4).<br> | |||
Pieces 25-29 are in Lydian (or Ionian) mode. Key signature one flat, finalis on F. High clefs (G2, C2, C3, F3). | |||
The distribution of the voices also shows a pattern. In the Dorian and Myxolidian pieces (those ending on G) the doubled voice is the Tenor, just as in the last piece of this motet book, which rounds this motet book off.<br> | |||
In the Phrygian and Lydian pieces (with the exception of No. 29) either the Soprano or the Alto is doubled. | |||
Palestrina did not set the whole book of Song of Songs, only some long passages of it.<br> | |||
1,1-3,2 (with the exception of 2,15) Motets 1-8, 11-18. (Dorian and Myxolidian motets)<br> | |||
4,7-4,10 Motets 9-10. (Dorian motets. Later insertion?)<br> | |||
5,8-5,12 Motets 19-20. (Phrygian motets)<br> | |||
6,1-6,4a Motets 21-22. (Phrygian motets)<br> | |||
6,9-6,10 Motets 23-24. (Phrygian motets)<br> | |||
7,1-7,12 Motets 25-29. (Lydian motets)<br> | |||
==List of works== | |||
{|class="wikitable sortable" | |||
!Index | |||
!Title | |||
!Translation | |||
|- | |||
| 1 || [[Osculetur me (Giovanni Pierluigi da Palestrina)|''Osculetur me (osculo oris sui)'']] || Let him kiss me (with the kiss of his mouth) | |||
|- | |||
| 2 || [[Trahe me post te (Giovanni Pierluigi da Palestrina)|''Trahe me post te'']] || Draw me after you | |||
|- | |||
| 3 || [[Nigra sum, sed formosa (Giovanni Pierluigi da Palestrina)|''Nigra sum, sed formosa'']] || I am black but comely | |||
|- | |||
| 4 || [[Vineam meam non custodivi (Giovanni Pierluigi da Palestrina)|''Vineam meam non custodivi'']] || My vineyard I have not kept | |||
|- | |||
| 5 || [[Si ignoras te (Giovanni Pierluigi da Palestrina)|''Si ignoras te'']] || If you do not know | |||
|- | |||
| 6 || [[Pulchrae sunt genae tuae (Giovanni Pierluigi da Palestrina)|''Pulchrae sunt genae tuae'']] || Thy cheeks are beautiful | |||
|- | |||
| 7 || [[Fasciculus myrrhae (Giovanni Pierluigi da Palestrina)|''Fasciculus myrrhae (dilectus meus mihi)'']] || A bundle of myrrh (is my beloved to me) | |||
|- | |||
| 8 || [[Ecce tu pulcher es (Giovanni Pierluigi da Palestrina)|''Ecce tu pulcher es'']] || Behold thou art fair | |||
|- | |||
| 9 || [[Tota pulchra es (Giovanni Pierluigi da Palestrina)|''Tota pulchra es'']] || You are altogether beautiful | |||
|- | |||
| 10 || [[Vulnerasti cor meum (Giovanni Pierluigi da Palestrina)|''Vulnerasti cor meum'']] || You have ravished my heart | |||
|- | |||
| 11 || [[Sicut lilium inter spinas, I (Giovanni Pierluigi da Palestrina)|''Sicut lilium inter spinas'']] || As the lily among thorns | |||
|- | |||
| 12 || [[Introduxit me rex (Giovanni Pierluigi da Palestrina)|''Introduxit me rex (in cellam vinariam)'']] || He brought me (into the cellar of wine) | |||
|- | |||
| 13 || [[Laeva eius (Giovanni Pierluigi da Palestrina)|''Laeva eius (sub capite meo)]] || His left hand (is under my head) | |||
|- | |||
| 14 || [[Vox dilecti mei (Giovanni Pierluigi da Palestrina)|''Vox dilecti mei'']] || The voice of my beloved | |||
|- | |||
| 15 || [[Surge propera a 5 (Giovanni Pierluigi da Palestrina)|''Surge, propera amica mea'']] || Arise, my love | |||
|- | |||
| 16 || [[Surge amica mea (Giovanni Pierluigi da Palestrina)|''Surge, amica mea, (speciosa mea et veni)'']] || Arise, my love, (my fair one, and come away) | |||
|- | |||
| 17 || [[Dilectus meus mihi (Giovanni Pierluigi da Palestrina)|''Dilectus meus mihi, (et ego illi)'']] || My beloved is mine, (and I am his) | |||
|- | |||
| 18 || [[Surgam et circuibo civitatem (Giovanni Pierluigi da Palestrina)|''Surgam et circuibo civitatem'']] || I will rise and go about the city | |||
|- | |||
| 19 || [[Adiuro vos (Giovanni Pierluigi da Palestrina)|''Adiuro vos (filiae Jerusalem)'']] || I charge you, (O ye daughters of Jerusalem) | |||
|- | |||
| 20 || [[Caput eius (Giovanni Pierluigi da Palestrina)|''Caput eius (aurum optimum)'']] || His head (is as the finest gold) | |||
|- | |||
| 21 || [[Dilectus meus descendit (Giovanni Pierluigi da Palestrina)|''Dilectus meus descendit (in hortum suum)'']] || My beloved is gone down (into his garden) | |||
|- | |||
| 22 || [[Pulchra es amica mea (Giovanni Pierluigi da Palestrina)|''Pulchra es, amica mea'']] || Thou art beautiful, O my love | |||
|- | |||
| 23 || [[Quae est ista quae progreditur (Giovanni Pierluigi da Palestrina)|''Quae est ista (quae progreditur quasi)'']] || Who is she (that cometh like the dawn) | |||
|- | |||
| 24 || [[Descendi in hortum nucum (Giovanni Pierluigi da Palestrina)|''Descendi in hortum nucum'']] || I went down into the garden of nuts | |||
|- | |||
| 25 || [[Quam pulchri sunt (Giovanni Pierluigi da Palestrina)|''Quam pulchri sunt (gressus tui in calceamentis)'']] || How graceful are (your feet in sandals) | |||
|- | |||
| 26 || [[Duo ubera tua (Giovanni Pierluigi da Palestrina)|''Duo ubera tua (sicut duo hinnuli)'']] || Thy two breasts are like two young roes | |||
|- | |||
| 27 || [[Quam pulchra es (Giovanni Pierluigi da Palestrina)|''Quam pulchra es et quam decora'']] || How fair and pleasant you are | |||
|- | |||
| 28 || [[Guttur tuum sicut (Giovanni Pierluigi da Palestrina)|''Guttur tuum sicut (vinum optimum)'']] || Thy throat is like (the best wine) | |||
|- | |||
| 29 || [[Veni, veni dilecte mi (Giovanni Pierluigi da Palestrina)|''Veni, veni, dilecte mi, (egrediamur in agrum)'']] || Come, my beloved, (let us go forth into the fields) | |||
|} | |||
==Works at CPDL== | |||
{{MultiPubList|yr,seq,gen,subg,vo,voices|1584}} | |||
==External links== | |||
== | |||
*[http://www.fourmilab.ch/etexts/www/Bible/Song_of_Solomon.html Texts of all the "Songs of Solomon" in English]. | *[http://www.fourmilab.ch/etexts/www/Bible/Song_of_Solomon.html Texts of all the "Songs of Solomon" in English]. | ||
*[http://en.wikipedia.org/wiki/Song_of_Songs Wikipedia's article on the "Songs of Solomon" | *[http://en.wikipedia.org/wiki/Song_of_Songs Wikipedia's article] on the "Songs of Solomon". | ||
*[[imslp:Motettorum - Liber Quartus (Palestrina, Giovanni Pierluigi da)|Motettorum - Liber Quartus]] on IMSLP | |||
[[Category: | [[Category:Music publications]] | ||
[[Category:Renaissance music]] | [[Category:Renaissance music]] |
Revision as of 01:47, 8 April 2021
General information
Title: Canticum Canticorum - Songs of Solomon
Original title: Motettorum – Liber Quartus
Composer: Giovanni Pierluigi da Palestrina
Number of voices: 5vv Voicing: SATTB
(1-18, 29)
Number of voices: 5vv Voicing: SAATB
(19-22, 27-28)
Number of voices: 5vv Voicing: SSATB
(23-26)
Language: Latin
Instruments: A cappella
Publication date and place: 1584 Rome: Alessandro Gardano.
2nd published: 1587 Venice: Angelo Gardano
Description: The Song of Songs (Hebrew title שיר השירים, Shir ha-Shirim), is a book of the Hebrew Bible—Tanakh or Old Testament—one of the five megillot (scrolls). It is also known as the Song of Solomon or as Canticles, the latter from the shortened and anglicized Vulgate title Canticum Canticorum, "Song of Songs" in Latin. It is known as Aisma in the Septuagint, which is short for ῏Αισμα ᾀσμάτων, Aisma aismatôn, "Song of Songs" in Greek.
The Song of Songs is thought by some to be a allegorical representation of the relationship of God and Israel as husband and wife. Literally, however, the main characters of the Song are simply a woman and a man, and the poem suggests movement from courtship to consummation. It is one of the shortest books in the Bible, consisting of only 117 verses. According to Ashkenazi tradition, it is read on the Sabbath that falls during the intermediate days of Passover. In the Sephardi Jewish community it is recited every Friday night. (Above is the brief wikipedia article - Use link below to see full article.)
The pieces in this collection are modally organised.
It means that the first 10 motets are in the transposed Dorian mode. Key signature one flat, finalis on G, high clefs (G2, C2, C3, F3).
Pieces 11-18 are in Mixolydian mode. No key signature, finalis on G, high clefs (G2, C2, C3, C4). Here the bass is notated in C4 clef, unlike in the Dorian pieces (F3).
Pieces 19-24 are in Phrygian mode. No key signature, finalis on E (Nos. 20-24), or A (No. 19). Low clefs (C1, C3, C4, F4).
Pieces 25-29 are in Lydian (or Ionian) mode. Key signature one flat, finalis on F. High clefs (G2, C2, C3, F3).
The distribution of the voices also shows a pattern. In the Dorian and Myxolidian pieces (those ending on G) the doubled voice is the Tenor, just as in the last piece of this motet book, which rounds this motet book off.
In the Phrygian and Lydian pieces (with the exception of No. 29) either the Soprano or the Alto is doubled.
Palestrina did not set the whole book of Song of Songs, only some long passages of it.
1,1-3,2 (with the exception of 2,15) Motets 1-8, 11-18. (Dorian and Myxolidian motets)
4,7-4,10 Motets 9-10. (Dorian motets. Later insertion?)
5,8-5,12 Motets 19-20. (Phrygian motets)
6,1-6,4a Motets 21-22. (Phrygian motets)
6,9-6,10 Motets 23-24. (Phrygian motets)
7,1-7,12 Motets 25-29. (Lydian motets)
List of works
Index | Title | Translation |
---|---|---|
1 | Osculetur me (osculo oris sui) | Let him kiss me (with the kiss of his mouth) |
2 | Trahe me post te | Draw me after you |
3 | Nigra sum, sed formosa | I am black but comely |
4 | Vineam meam non custodivi | My vineyard I have not kept |
5 | Si ignoras te | If you do not know |
6 | Pulchrae sunt genae tuae | Thy cheeks are beautiful |
7 | Fasciculus myrrhae (dilectus meus mihi) | A bundle of myrrh (is my beloved to me) |
8 | Ecce tu pulcher es | Behold thou art fair |
9 | Tota pulchra es | You are altogether beautiful |
10 | Vulnerasti cor meum | You have ravished my heart |
11 | Sicut lilium inter spinas | As the lily among thorns |
12 | Introduxit me rex (in cellam vinariam) | He brought me (into the cellar of wine) |
13 | Laeva eius (sub capite meo) | His left hand (is under my head) |
14 | Vox dilecti mei | The voice of my beloved |
15 | Surge, propera amica mea | Arise, my love |
16 | Surge, amica mea, (speciosa mea et veni) | Arise, my love, (my fair one, and come away) |
17 | Dilectus meus mihi, (et ego illi) | My beloved is mine, (and I am his) |
18 | Surgam et circuibo civitatem | I will rise and go about the city |
19 | Adiuro vos (filiae Jerusalem) | I charge you, (O ye daughters of Jerusalem) |
20 | Caput eius (aurum optimum) | His head (is as the finest gold) |
21 | Dilectus meus descendit (in hortum suum) | My beloved is gone down (into his garden) |
22 | Pulchra es, amica mea | Thou art beautiful, O my love |
23 | Quae est ista (quae progreditur quasi) | Who is she (that cometh like the dawn) |
24 | Descendi in hortum nucum | I went down into the garden of nuts |
25 | Quam pulchri sunt (gressus tui in calceamentis) | How graceful are (your feet in sandals) |
26 | Duo ubera tua (sicut duo hinnuli) | Thy two breasts are like two young roes |
27 | Quam pulchra es et quam decora | How fair and pleasant you are |
28 | Guttur tuum sicut (vinum optimum) | Thy throat is like (the best wine) |
29 | Veni, veni, dilecte mi, (egrediamur in agrum) | Come, my beloved, (let us go forth into the fields) |
Works at CPDL
Title | Year | No. | Genre | Subgenre | Vo. | Voices |
---|---|---|---|---|---|---|
Adiuro vos | 1584 | 19 | Sacred | Motets | 5 | SAATB |
Caput eius | 1584 | 20 | Sacred | Motets | 5 | SAATB |
Descendi in hortum nucum | 1584 | 24 | Sacred | Motets | 5 | SSATB |
Dilectus meus descendit | 1584 | 21 | Sacred | Motets | 5 | SAATB |
Dilectus meus mihi | 1584 | 17 | Sacred | Motets | 5 | SATTB |
Duo ubera tua | 1584 | 26 | Sacred | Motets | 5 | SSATB |
Ecce tu pulcher es | 1584 | 8 | Sacred | Motets | 5 | SATTB |
Fasciculus myrrhae | 1584 | 7 | Sacred | Motets | 5 | SATTB |
Guttur tuum sicut | 1584 | 28 | Sacred | Motets | 5 | SAATB |
Introduxit me rex | 1584 | 12 | Sacred | Motets | 5 | SATTB |
Laeva eius | 1584 | 13 | Sacred | Motets | 5 | SATTB |
Nigra sum, sed formosa | 1584 | 3 | Sacred | Motets | 5 | SATTB |
Osculetur me | 1584 | 1 | Sacred | Motets | 5 | SATTB |
Pulchra es amica mea | 1584 | 22 | Sacred | Motets | 5 | SAATB |
Pulchrae sunt genae tuae | 1584 | 6 | Sacred | Motets | 5 | SATTB |
Quae est ista quae progreditur | 1584 | 23 | Sacred | Antiphons | 5 | SSATB |
Quam pulchra es | 1584 | 27 | Sacred | Motets | 5 | SAATB |
Quam pulchri sunt (1584) | 1584 | 25 | Sacred | Motets | 5 | SSATB |
Si ignoras te | 1584 | 5 | Sacred | Motets | 5 | SATTB |
Sicut lilium inter spinas I | 1584 | 11 | Sacred | Motets | 5 | SATTB |
Surgam et circuibo civitatem | 1584 | 18 | Sacred | Motets | 5 | SATTB |
Surge amica mea | 1584 | 16 | Sacred | Motets | 5 | SATTB |
Surge propera a 5 | 1584 | 15 | Sacred | Motets | 5 | SATTB |
Tota pulchra es | 1584 | 9 | Sacred | Motets | 5 | SATTB |
Trahe me post te | 1584 | 2 | Sacred | Motets | 5 | SATTB |
Veni, veni dilecte mi | 1584 | 29 | Sacred | Motets | 5 | SATTB |
Vineam meam non custodivi | 1584 | 4 | Sacred | Motets | 5 | SATTB |
Vox dilecti mei | 1584 | 14 | Sacred | Motets | 5 | SATTB |
Vulnerasti cor meum | 1584 | 10 | Sacred | Motets | 5 | SATTB |
External links
- Texts of all the "Songs of Solomon" in English.
- Wikipedia's article on the "Songs of Solomon".
- Motettorum - Liber Quartus on IMSLP