[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-413179-105":59,"doc-detail-413179-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","Faber Baroque Choral Series - Hints on Performance","","Instructional and editorial material for the baroque choral piece “Alleluia, haec dies” for SATB, with optional violin and keyboard continuo. The document provides historical context on early seventeenth-century northern Italian concertato motets, guidance on instrumentation choices (violin presence, continuo realization, alternatives to organ), performance suggestions including embellishments, and editorial clarification of dynamics, tempi, expression marks, and slurs, plus specific corrections to notation in selected bars.",{"@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/413179/",{"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/413179.png","ImageObject",300,407,{"name":92,"@type":93},"Theodore","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-31","2026-09-28",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 performers and instruments are suggested for “Alleluia, haec dies”?","Question",{"text":112,"@type":113},"The piece is written for SATB, with an optional violin part and a keyboard continuo. The continuo is for organ, though a harpsichord can substitute if no organ is available.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How should the violin part be handled when the choir is large?",{"text":117,"@type":113},"The violin adds an extra line above the four-part interplay. There should be more than one violin if the choir is large.",{"name":119,"@type":110,"acceptedAnswer":120},"Which markings are editorial and which are original according to the editorial note?",{"text":121,"@type":113},"Dynamics, tempi, expression marks, violin phrasings, the continuo realization, 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},413179,1790818790,{"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},7971461740886,"https://ap-avatar.wpscdn.com/davatar_3d24733baf745e90a7e4bdd5f77d97b2","# Faber Baroque Choral Series\n\nIgnazio DonatiALLELUIA,HAEC DIES  \nfor SATB,with optional violin and keyboard continuo  \n015  \nC  \n\n|  |  |  |  |\n| --- | --- | --- | --- |\n| AUTHOR  \u003Cbr>工   |  | CLASS No.  \u003Cbr>783.   |  |\n| TITLE  \u003Cbr>dies  \u003Cbr>haL  \u003Cbr>A   |  |  |  |\n|  |  | BOOK No.  \u003Cbr>900a7294   |  |\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## Eariy Baroque Church 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  \nHistorical Note  \nSource:Ignazio Donati,I 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 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 continuo,realisation 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  \naeC=wa。90am   = qwaamALLELUIA,HAEC DIESatewlay(fefor SATB,with optional violin and keyboard continuoEdited by Jerome RocbeCI585-I635  \nF0062  \n·I968 by Faber Music Ltd.  \nF0062  \n5  \n20Andanteia,Al·le-lu -Al·le-luia,Al-le·lu -ia,Al-le-luAl-le-luia,dithissame20  \n\n|  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |\n| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | ---","cbCainSnLt309ggB","https://ap.wps.com/l/cbCainSnLt309ggB","pdf",1722070,24,"English","# Early Baroque Church Music\n# Hints on Performance\n# Editorial Note","[{\"question\":\"What performers and instruments are suggested for “Alleluia, haec dies”?\",\"answer\":\"The piece is written for SATB, with an optional violin part and a keyboard continuo. The continuo is for organ, though a harpsichord can substitute if no organ is available.\"},{\"question\":\"How should the violin part be handled when the choir is large?\",\"answer\":\"The violin adds an extra line above the four-part interplay. There should be more than one violin if the choir is large.\"},{\"question\":\"Which markings are editorial and which are original according to the editorial note?\",\"answer\":\"Dynamics, tempi, expression marks, violin phrasings, the continuo realization, 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 - Hints on Performance | PDF",1790594001,37]