[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-415266-105":59,"doc-detail-415266-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-editorial-and-performance-notes","Faber Baroque Choral Series - Editorial and Performance Notes","","A choral-music volume in the Faber Baroque Choral Series by Ignazio Donati, featuring the work “Alleluia, Haec dies” for SATB with optional violin and keyboard continuo. The accompanying prose explains the musical and historical context of early seventeenth-century church music, especially the concertato motet style. Performance hints cover instrumentation options, continuo realization, and practical choices for large choirs, while editorial notes specify which markings are original and list discrete corrections to the score.",{"@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-editorial-and-performance-notes/415266/",{"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-editorial-and-performance-notes/415266.png","ImageObject",300,407,{"name":92,"@type":93},"Guten tag","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-31","2026-09-28",true,{"@type":102,"interactionType":103,"userInteractionCount":19},"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 for SATB, with an optional violin part and a keyboard continuo. The continuo is primarily for organ, but a harpsichord can be used if no organ is available.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How should the continuo be handled during performance?",{"text":117,"@type":113},"The continuo is realized through the provided organ (or harpsichord) part. Competent performers may add embellishments to the continuo line, and the score suggests practical options by limiting 4/4 sections to harpsichord for alternation with organ.",{"name":119,"@type":110,"acceptedAnswer":120},"Which musical markings are editorial versus original?",{"text":121,"@type":113},"All dynamics, tempi, expression marks, violin phrasings, continuo realization, and slurs are editorial except specific slur passages in the second Alleluia section and the slurs 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},415266,1791100714,{"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":19,"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},687212321768,"https://ap-avatar.wpscdn.com/avatar/a0010bdbe886d2fe77?x-image-process=image/resize,m_fixed,w_180,h_180&k=1789897067658708522","# Faber Baroque Choral Series\n\nIgnacio DonatiALLELUIA,HAEC DIES  \nfor SATB,with optional violin and keyboard continuo  \nU  \nC  \n\n|  |  |  |  |\n| --- | --- | --- | --- |\n| AUTHOR  \u003Cbr>00N  \u003Cbr>工   |  | CLASS No.  \u003Cbr>7 83.4    |  |\n| TITLE  \u003Cbr>eS  \u003Cbr>huLc  \u003Cbr>Aeuia   |  |  |  |\n|  |  | BOOK No.  \u003Cbr>49009726x   |  |\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 Cburc Music\n\nOf all the periods of change in church music,nbne 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 Ith 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.1635,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,baec 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(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  \nALLELUIA,HAEC DIES  \nfor SATB,with optional violin and keyboard continuo  \nEdited by Jerome Roche  \n6  \nCI968 by Faber Music LtdF0062  \n4  \nF0062  \n20Andante  \nia,Al-le-luia,Al-le-luia,Al-le -lu ·ia,Al-le-luia,haecdithissame20  \n\n|  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |\n| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |\n|  |  |  |  |","cbCaiuvaO0kwxU8p","https://ap.wps.com/l/cbCaiuvaO0kwxU8p","pdf",1736505,24,"English","# Historical Note\n# Hints on Performance\n# Editorial Note","[{\"question\":\"What ensemble and instrumentation does “Alleluia, Haec dies” require?\",\"answer\":\"It is for SATB, with an optional violin part and a keyboard continuo. The continuo is primarily for organ, but a harpsichord can be used if no organ is available.\"},{\"question\":\"How should the continuo be handled during performance?\",\"answer\":\"The continuo is realized through the provided organ (or harpsichord) part. Competent performers may add embellishments to the continuo line, and the score suggests practical options by limiting 4/4 sections to harpsichord for alternation with organ.\"},{\"question\":\"Which musical markings are editorial versus original?\",\"answer\":\"All dynamics, tempi, expression marks, violin phrasings, continuo realization, and slurs are editorial except specific slur passages in the second Alleluia section and the slurs at bars 66–73, which are original.\"}]","Faber Baroque Choral Series - Editorial and Performance Notes | PDF",1790600748,37]