Faber Baroque Choral Series - Music and Drama - Historical Note - Hints on Performance

Sep 29, 2026

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The document presents a baroque choral work titled “ALLELUIA, HAEC DIES,” composed by Ignazio Donati and issued within the Faber Baroque Choral Series. It explains historical context of early seventeenth-century church music in northern Italy, describing the development of concertato styles and evolving motet forms. Performance guidance covers SATB arrangement, optional violin, and keyboard/organ continuo practice. Editorial notes clarify what musical markings are editor-made versus original, including specific slur and correction details.

LanguageEnglish

CategoryLiterature

FormatPDF

Pages24

Reading Time37 min

AccessFree to download

Historical Note

Hints on Performance

Editorial Note

# Faber Baroque Choral Series Ignazio DonatiALLELUIA,HAEC DIES for SATB,with optional violin and keyboard continuo CENTRAL LIBRARYMARKET SQUAREPRESTON 53191 ## MUSIC AND DRAMA | | | | | | --- | --- | --- | --- | | AUTHOR
DONAT),工 | | CLASS No.
7634 | | | TITLE
L
A
以
h | | | | | | | BOOK No.
490 097227 | | | This book must be returned on or before the date shown above
to the Library from which it was borrowed
LANCASHIRE COUNTY LIBRARY
143 CORPORATION STREET,PRESTON,PR18RH | | | | Earl Of all the periods of change in church music,none is so fascinating as the early 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. Standing 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 17th 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. JEROME ROCHE ## Historical Note Source:Ignazio Donati,II Secondo Libro de Motetti a5 voci in Concerto,Venice,I629. Library of the Conservatorio G.B.Martini,Bologna. Ignazio 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. ## Hints on Performance Alleluia,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. ## Editorial Note All 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. Note values are unchanged in the 4/4 sections,whose original timesignature is C. Corrections:—Bar33,alto:minim rest missing. 48,tenor,fourth note:undotted semibreve. 70,tenor,first note:B 82,violin,first note:G ALLELUIA,HAEC DIES for SATB,with optional violin and keyboard continuo Edited by Jerome Rocbe I968 by Faber Music Ltd.F0062 F0062

FAQs

What ensembles and accompaniments can be used for “Alleluia, Haec Dies”?

It is for SATB with an optional violin part and optional keyboard continuo. The continuo is primarily for organ, though a harpsichord can be used when an organ is unavailable.

How should the violin be handled during performance?

The violin may be performed with or without the violin part, and if the choir is large there should be more than one violin.

Which performance markings are editorial and which are original?

Editorial notes state that 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.

Sep 29, 2026

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