[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-434558-105":59,"doc-detail-434558-en":130},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":123,"head_meta":125,"extra_data":127,"updated_unix":129},105,"en","faber-baroque-choral-series-early-b-historical-note","Faber Baroque Choral Series - Early B - Historical Note","","Faber Baroque Choral Series presents the choral work “Alleluia, haec dies” by Ignazio Donati for SATB with optional violin and keyboard continuo. The introduction outlines the musical context of early seventeenth-century northern Italy, linking the concertato motet style to developments in vocal writing, dramatic text expression, and Counter-Reformation aspirations. A historical note traces Donati’s second book of motets and performance setting, followed by practical guidance on instrumentation and editorial specifics for performance.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/faber-baroque-choral-series-early-b-historical-note/434558/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/faber-baroque-choral-series-early-b-historical-note/434558.png","ImageObject",300,407,{"name":92,"@type":93},"Mary Man","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-11-02","2026-09-29",true,{"@type":102,"interactionType":103,"userInteractionCount":29},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What ensemble and instrumentation does “Alleluia, haec dies” require?","Question",{"text":112,"@type":113},"It is written for SATB, with an optional violin part and an optional keyboard continuo. The continuo is for organ, but a harpsichord can substitute if no organ is available.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How can performers handle the violin part if they have a choir of different size?",{"text":117,"@type":113},"The piece may be performed with or without the violin. If the choir is large, more than one violin is recommended.",{"name":119,"@type":110,"acceptedAnswer":120},"Which performance details are editorial and which are original?",{"text":121,"@type":113},"Dynamics, tempi, expression marks, violin phrasings, continuo realisation, and slurs are editorial except for specified slurs in the second Alleluia section and at bars 66–73, which are original.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},434558,1791310678,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":29,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},7421720224475,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","# Faber Baroque Choral Series\n\nIgnazio DonatiALLELUIA,HAEC DIES  \nfor SATB,with optional violin and keyboard continuo  \n①10  \n。  \n\n|  |  |  |  |\n| --- | --- | --- | --- |\n| AUTHOR  \u003Cbr>0N  \u003Cbr>卫   |  | CLASS No.  \u003Cbr>73.   |  |\n| TITLE  \u003Cbr>dies  \u003Cbr>…  \u003Cbr>以  \u003Cbr>■  \u003Cbr>ha   |  |  |  |\n|  |  | BOOK No.  \u003Cbr>900973   |  |\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|  |  |\n| --- | --- |\n\n## Early B\n\nOf all the periods of change in church music,none is so fascinating as the  \nearly 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,Il Secondo Libro de Motetti as 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 ifan 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(A1-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:—Bar 33,alto:minim rest missing.  \n48,tenor,fourth note:undotted semibreve.  \n70,tenor,first note:B  \n82,violin,first note:G  \nALLELUIA,HAEC DIES  \nfor SATB,with optional violin and keyboard continuo  \nF0062  \nF0062","cbCaie6UXzu9kvmo","https://ap.wps.com/l/cbCaie6UXzu9kvmo","pdf",2129081,24,"English","# Early B\n# Historical Note\n# Hints on Performance\n# Editorial Note","[{\"question\":\"What ensemble and instrumentation does “Alleluia, haec dies” require?\",\"answer\":\"It is written for SATB, with an optional violin part and an optional keyboard continuo. The continuo is for organ, but a harpsichord can substitute if no organ is available.\"},{\"question\":\"How can performers handle the violin part if they have a choir of different size?\",\"answer\":\"The piece may be performed with or without the violin. If the choir is large, more than one violin is recommended.\"},{\"question\":\"Which performance details are editorial and which are original?\",\"answer\":\"Dynamics, tempi, expression marks, violin phrasings, continuo realisation, and slurs are editorial except for specified slurs in the second Alleluia section and at bars 66–73, which are original.\"}]","Faber Baroque Choral Series - Early B - Historical Note | PDF",1790669827,37]