Faber Baroque Choral Series - Alleluia, Haec Dies - 5-3 - Performance Hints

Sep 29, 2026

A historical and performance overview for the choral work “Alleluia, Haec Dies” for SATB, with optional violin and keyboard continuo. The text explains its place in early Baroque church music, describing stylistic developments such as concertato techniques, dramatic text expression, and changing motet forms in seventeenth-century northern Italy. Practical guidance covers optional violin use, continuo instrumentation, and where embellishments may be added. Editorial notes document original slurs and specific musical corrections.

LanguageEnglish

CategoryLiterature

FormatPDF

Pages24

Reading Time37 min

AccessFree to download

Early Baroque Choral Series

Early Baroque Church Music

Historical Note

Hints on Performance

Editorial Note

# R Faber Baroque Choral Series Ignacio DonatiALLELUIA,HAEC DIES for SATB,with optional violin and keyboard continuo 5-3 C | | 490 097332 | | | | --- | --- | --- | --- | | AUTHOR
0N | | CLASS No.
7%3·4 | | | TITLE
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CA
A71
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u | | | | | | | BOOK No.
aooa7332 | | | This book must be returned on or before the date shown above
to the Library from which it was borrowed
LANCASHIRE COUNTY LIBRARY
143 CORPORATION STREET,PRESTON,PR18RH | | | | ## Early Baroque Cblarch Music Of all the periods of change in church music,none is so fascinating as theearly seventeenth century,and in this age one of the areas most productivein church music that is both well-written and rewarding to perform wasnorthern Italy,the area bounded by the Venice-Bologna-Milan triangle.Many factors combined to inject a new vigour into the composing ofchurch music:the development of vocal writing and the new awareness ofthe possibilities of dramatic expression of the text,apparent in the earlyoperas,were fused with sound contrapuntal techniques to produce thestyle of the concertato motet.The aspirations of the Council of Trent,thatthe faithful should be uplifted to devotion,were reflected in a new fervencyin church music,which can be seen either in the brilliant colours of large-scale works with instruments and solo voices,or in the prayerful approachof the smaller motet for one or two voices and organ. Standing midway between these two new forms of church music,themotet for the conventional choir in four to six parts received a new leaseof life in the early decades of the I7th century.Grandi,Donati and Crivelliwere among the most progressive composers to concern themselves withthis medium,and their clarity and simplicity of style offers a strong con-trast to the rich sonorities favoured by Prioli and by Bernardi in his lateworks. JEROME ROCHE ## Historical Note Source:Ignazio Donati,I Secondo Libro de Motetti af voci in Concerto,Venice,I629. Library of the Conservatorio G.B.Martini,Bologna. Ignazio Donati,who died c.I635,published his second book of five-partmotets while directing the music at the cathedral of Novara,not far fromMilan.He had already composed several volumes of motets for any numberup to six voices and continuo and was a competent master of the concertatostyle of church music that evolved rapidly in the early years of the seven-teenth century,being second only to Grandi in this field. ## Hints on Performance Alleluia,haec dies may be performed with or without the violin part,which adds an extra but inessential line above the four-part interplay of thevoices:there should be more than one violin if the choir is large.The con-tinuo is for organ,though a harpsichord may be used instead if an organ isnot available.It would be possible to use both by limiting 4/4 sections tothe harpsichord and adding organ for the Alleluias.Embellishments may beadded to the continuo part by those competent to do so. ## Editorial Note All dynamics,tempi,expression marks,violin phrasings,the continuorealisation and slurs are editorial except:—In the second Alleluia sectionall slurs covering two quavers on the second beat of the bar are original(Al-le-lu-ia),and at bars 66-73 all paired quavers are likewise slurred inthe original. Note values are unchanged in the 4/4 sections,whose original timesignature is C. Corrections:—Bar33,alto:minim rest missing. 48,tenor,fourth note:undotted semibreve. 70,tenor,first note:B 82,violin,first note:G √ Pi.f ・ inGF-Ccinbe C-Dl-Co5 tosC. t S. ALLELUIA,HAEC DIES for SATB,with optional violin and keyboard continuo Edited by Jerome Roche C 1968 by Faber Music Ltd.F0062 F0062

FAQs

What forces are used for “Alleluia, Haec Dies”?

It is written for SATB with optional violin and keyboard continuo, where the continuo is primarily for organ but may be adapted to harpsichord if needed.

How should the violin part be handled if the choir is large?

The violin can be performed with or without the violin part; when present and the choir is large, there should be more than one violin to support the interplay.

Which musical markings in the score are editorial, and what is original?

Editorial notes state that dynamics, tempi, expression marks, violin phrasings, continuo realisation, and slurs are editorial except for specific slurs in the second Alleluia section and at bars 66–73, which are original, along with noted corrections.

Sep 29, 2026

Uploaded by Alex Sinclair