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Editorial notes document original slurs and specific musical 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Sinclair","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-11-02","2026-09-29",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",5,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69],{"name":60,"@type":61,"acceptedAnswer":62},"What forces are used for “Alleluia, Haec Dies”?","Question",{"text":63,"@type":64},"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.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How should the violin part be handled if the choir is large?",{"text":68,"@type":64},"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.",{"name":70,"@type":61,"acceptedAnswer":71},"Which musical markings in the score are editorial, and what is original?",{"text":72,"@type":64},"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.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},437958,1791299654,{"code":4,"msg":82,"data":83},"success",[84,88,91,95,99,104,109,114,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & 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continuo  \n5-3  \nC  \n\n|  | 490 097332   |  |  |\n| --- | --- | --- | --- |\n| AUTHOR  \u003Cbr>0N   |  | CLASS No.  \u003Cbr>7%3·4   |  |\n| TITLE  \u003Cbr>s  \u003Cbr>CA  \u003Cbr>A71  \u003Cbr>h  \u003Cbr>u   |  |  |  |\n|  |  | BOOK No.  \u003Cbr>aooa7332   |  |\n| This book must be returned on or before the date shown above  \u003Cbr>to the Library from which it was borrowed  \u003Cbr>LANCASHIRE COUNTY LIBRARY  \u003Cbr>143 CORPORATION STREET,PRESTON,PR18RH   |  |  |  |\n\n## Early Baroque Cblarch Music\n\nOf 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.  \nStanding 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.  \nJEROME ROCHE  \n## Historical Note\n\nSource:Ignazio Donati,I Secondo Libro de Motetti af voci in Concerto,Venice,I629.  \nLibrary of the Conservatorio G.B.Martini,Bologna.  \nIgnazio 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.  \n## Hints on Performance\n\nAlleluia,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.  \n## Editorial Note\n\nAll 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.  \nNote values are unchanged in the 4/4 sections,whose original timesignature is C.  \nCorrections:—Bar33,alto:minim rest missing.  \n48,tenor,fourth note:undotted semibreve.  \n70,tenor,first note:B  \n82,violin,first note:G  \n√ Pi.f  ・ inGF-Ccinbe   \nC-Dl-Co5  \n  tosC. t S.   \nALLELUIA,HAEC DIES  \nfor SATB,with optional violin and keyboard continuo  \nEdited by Jerome Roche  \nC 1968 by Faber Music Ltd.F0062  \nF0062","cbCaibSGBDcFyNt8","https://ap.wps.com/l/cbCaibSGBDcFyNt8","pdf",2211917,24,"English","# Early Baroque Choral Series\n## Early Baroque Church Music\n## Historical Note\n## Hints on Performance\n## Editorial Note","[{\"question\":\"What forces are used for “Alleluia, Haec Dies”?\",\"answer\":\"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.\"},{\"question\":\"How should the violin part be handled if the choir is large?\",\"answer\":\"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.\"},{\"question\":\"Which musical markings in the score are editorial, and what is original?\",\"answer\":\"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.\"}]","Faber Baroque Choral Series - Alleluia, Haec Dies - 5-3 - Performance Hints | PDF",1790683652,37]