[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-414938-105":3,"detail-sidebar-cat-0-en-105":81,"doc-detail-414938-en":130},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":74,"head_meta":76,"extra_data":78,"updated_unix":80},105,"en","faber-baroque-choral-series-ignazio-donati-alleluia-haec-dies","Faber Baroque Choral Series - Ignazio Donati - Alleluia, Haec Dies","","A choral work in the Faber Baroque Choral Series: Ignazio Donati’s “Alleluia, Haec Dies” for SATB, with optional violin and keyboard continuo. The document provides historical context on early seventeenth-century church music in northern Italy, describing the concertato motet style and evolving compositional techniques. Performance guidance covers instrumentation choices, continuo realization, and the optional use of organ and harpsichord. An editorial note specifies which musical details are editorial versus original, including slurs and corrections, supporting accurate scholarly performance.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/literature/","Literature",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/faber-baroque-choral-series-ignazio-donati-alleluia-haec-dies/414938/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/faber-baroque-choral-series-ignazio-donati-alleluia-haec-dies/414938.png","ImageObject",300,407,{"name":42,"@type":43},"Mimi","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-31","2026-09-28",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. The violin part can be omitted, and larger choirs should consider more than one violin.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How should the continuo be performed?",{"text":68,"@type":64},"The continuo is for organ, but a harpsichord may be used if an organ is not available. It’s also possible to use both by limiting 4/4 sections to harpsichord and adding organ for the Alleluias.",{"name":70,"@type":61,"acceptedAnswer":71},"Which markings are editorial and which are original?",{"text":72,"@type":64},"Dynamics, tempi, expression marks, violin phrasing, continuo realization, and slurs are editorial except for specified slurs in the second Alleluia section and slurred paired quavers in bars 66–73.","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},414938,1790818790,{"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 & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":89,"slug":90},80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":92,"show_sort_weight":93,"slug":94},"Exam",70,"exam",{"id":55,"doc_module":4,"doc_module_name":25,"category_name":96,"show_sort_weight":97,"slug":98},"Comic",60,"comic",{"id":100,"doc_module":4,"doc_module_name":25,"category_name":101,"show_sort_weight":102,"slug":103},6,"Technology",50,"technology",{"id":105,"doc_module":4,"doc_module_name":25,"category_name":106,"show_sort_weight":107,"slug":108},7,"Healthcare",40,"healthcare",{"id":110,"doc_module":4,"doc_module_name":25,"category_name":111,"show_sort_weight":112,"slug":113},8,"Research & Report",30,"research-report",{"id":115,"doc_module":4,"doc_module_name":25,"category_name":116,"show_sort_weight":117,"slug":118},9,"Religion & Spirituality",20,"religion-spirituality",{"id":117,"doc_module":4,"doc_module_name":25,"category_name":120,"show_sort_weight":117,"slug":121},"World Cup","world-cup",{"id":123,"doc_module":4,"doc_module_name":25,"category_name":124,"show_sort_weight":123,"slug":125},10,"Lifestyle","lifestyle",{"id":127,"doc_module":4,"doc_module_name":25,"category_name":128,"show_sort_weight":55,"slug":129},19,"General","general",{"code":4,"msg":82,"data":131},{"doc_id":79,"user_id":132,"nickname":42,"user_avatar":133,"doc_module":4,"category_id":26,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":55,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":139,"language":140,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":12,"update_tm":144,"read_time":145},2336477974920,"https://ap-avatar.wpscdn.com/davatar_155a257f0dc6eb9ab79c44ca47cae57d","# Faber Baroque Choral Series\n\nIgnazio DonatiALLELUIA,HAEC DIES  \nfor SATB,with optional violin and keyboard continuo  \nA1  \nC  \n\n|  |  |  |  |\n| --- | --- | --- | --- |\n| AUTHOR  \u003Cbr>00NT  \u003Cbr>工   |  | CLASS No.  \u003Cbr>783.      |  |\n| TITLE  \u003Cbr>lic  \u003Cbr>hate  \u003Cbr>A1u   |  |  |  |\n|  |  | BOOK No.  \u003Cbr>a0097G421   |  |\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 Baroq Cburch Masic\n\nOf all the periods of change in cnurch 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 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,II 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 Roche  \n1968 by Faber Music Ltd.F0062  \nF0062  \n20Andante  \n(d.:d)mpAl-le -lu-ia,Al-le-luAl·le-lu ·ia,Al-le-luA1-le-luia,Al-le-lú  \n·ia,Al-le-luia,haec20  \nce-le-brate to-ge-ther in feast-ing,let us ce-le-brate to -ge-ther infeast-ing,F0062","cbCaimYQTQBHBUeS","https://ap.wps.com/l/cbCaimYQTQBHBUeS","pdf",1731068,24,"English","# Early Baroq Cburch Masic\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. The violin part can be omitted, and larger choirs should consider more than one violin.\"},{\"question\":\"How should the continuo be performed?\",\"answer\":\"The continuo is for organ, but a harpsichord may be used if an organ is not available. It’s also possible to use both by limiting 4/4 sections to harpsichord and adding organ for the Alleluias.\"},{\"question\":\"Which markings are editorial and which are original?\",\"answer\":\"Dynamics, tempi, expression marks, violin phrasing, continuo realization, and slurs are editorial except for specified slurs in the second Alleluia section and slurred paired quavers in bars 66–73.\"}]","Faber Baroque Choral Series - Ignazio Donati - Alleluia, Haec Dies | PDF",1790599342,37]