[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-435086-105":59,"doc-detail-435086-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-hints-on-performance-435086","Faber Baroque Choral Series - Hints on Performance","","“Alleluia, Haec Dies” is presented as a SATB choral work from the Faber Baroque Choral Series, with options for violin and keyboard continuo. The text provides historical context on Ignazio Donati and the early seventeenth-century development of church music, particularly the concertato motet and evolving styles for small and larger forces. Performance guidance covers optional violin doubling, continuo practice on organ or harpsichord, and practical decisions for texture and phrasing. An editorial note clarifies which markings are editorial and lists specific corrections.",{"@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-hints-on-performance-435086/435086/",{"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-hints-on-performance-435086/435086.png","ImageObject",300,407,{"name":92,"@type":93},"jayni","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-11-03","2026-09-29",true,{"@type":102,"interactionType":103,"userInteractionCount":34},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"Can “Alleluia, Haec Dies” be performed without violin?","Question",{"text":112,"@type":113},"Yes. It may be performed with or without the violin part; the violin adds an extra line above the four-part interplay but is described as inessential.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"What keyboard continuo instruments are suggested?",{"text":117,"@type":113},"The continuo is for organ, but a harpsichord may be used instead if an organ is not available. It is also possible to combine both by limiting certain 4/4 sections to harpsichord and adding organ for the Alleluias.",{"name":119,"@type":110,"acceptedAnswer":120},"Which musical markings are editorial, and what remains original?",{"text":121,"@type":113},"All dynamics, tempi, expression marks, violin phrasings, continuo realisation, and slurs are editorial except specific slurs in the second Alleluia section and in bars 66–73, which are stated to be original. Value and time-signature notes for the 4/4 sections are also clarified.","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},435086,1791278265,{"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":34,"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},3985747859343,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","# Faber Baroque Choral Series\n\nIgnazio DonatiALLELUIA,HAEC DIES  \nfor SATB,with optional violin and keyboard continuo  \n⑧9  \n七  \n\n|  |  |  |  |\n| --- | --- | --- | --- |\n| AUTHOR  \u003Cbr>DONAT  \u003Cbr>工   |  | CLASS No.  \u003Cbr>743.44   |  |\n| TITLE  \u003Cbr>Ls  \u003Cbr>he  \u003Cbr>Alua   |  |  |  |\n|  |  | BOOK No.  \u003Cbr>t9009732    |  |\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\n3 as theearly seventeenth century,and in this age one of the areas Huo p~ductivein 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 r7th 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 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:—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  \nEdited by Jerome Rocbe  \nF0062  \n6  \n牲  \n6  \n6  \nF0062  \n其  \n6  \nce-le-brate to-ge-ther in feast-ing,  \nex-ul-temus et lae-te-mur in e -a.  \nlet us ce-le-brate to -ge-ther infeast-ing,","cbCaivlFQdUfuNYb","https://ap.wps.com/l/cbCaivlFQdUfuNYb","pdf",2127231,24,"English","# Historical Note\n# Hints on Performance\n# Editorial Note","[{\"question\":\"Can “Alleluia, Haec Dies” be performed without violin?\",\"answer\":\"Yes. It may be performed with or without the violin part; the violin adds an extra line above the four-part interplay but is described as inessential.\"},{\"question\":\"What keyboard continuo instruments are suggested?\",\"answer\":\"The continuo is for organ, but a harpsichord may be used instead if an organ is not available. It is also possible to combine both by limiting certain 4/4 sections to harpsichord and adding organ for the Alleluias.\"},{\"question\":\"Which musical markings are editorial, and what remains original?\",\"answer\":\"All dynamics, tempi, expression marks, violin phrasings, continuo realisation, and slurs are editorial except specific slurs in the second Alleluia section and in bars 66–73, which are stated to be original. Value and time-signature notes for the 4/4 sections are also clarified.\"}]","Faber Baroque Choral Series - Hints on Performance | PDF",1790671807,37]