Alma redemptoris mater [120]

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AR120 Alma redemptoris mater 5 vv

Partitions

Polyphonic ensemble STBX

[S]-C3; Ct-C3; T-C3; B-F4 & F3. Voci pari. Entire range, F-a’. B functions as a foundation for the three upper voices that share the same range. Chant serves as cantus firmus in semibreves and longae (e.g., “redemptoris mater,” T, mm. 12-8; “tuum sanctum genitorem,” T, mm. 92-8; and “sumens…peccatorum,” T, mm. 122-33) and permeates the texture at beginning of textual phrases. The ten-measure segment devoted to “Alma” (mm. 1-10), constitutes a prelude to the antiphon. The anonymous composer demonstrates spatial concerns not only through imitation, but also a variety of voice groupings: “mater,” S/Ct, mm. 17-21; “quae…celi,” T/B, mm. 21-9; and “Gabriela ab ore,” S/T/B, mm. 114-20. A series of lst-inversion chords (mm. 61-4 and 112-4) prepares cadences. Text setting combines syllabic and melismatic styles; a casual treatment of text underlay prevails. Final F, b♭ signature.

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Textes

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Alma redemptoris mater, quae pervia caeli porta manes
Et stella maris, succurre cadenti surgere qui curat populo:
Tu quae genuisti, natura mirante, tuum sanctum genitorem:
Virgo prius ac posterius, Gabrielis ab ore sumens illud, Ave, peccatorum miserere.

Bibliographie

Éditions modernes

[1987]

1987, London, British Library, MS Royal 8 G. vii, New York.
(ff. 48v-50)

Références

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Contributeurs

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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https://ricercardatalab.cesr.univ-tours.fr/works/1284/

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Alma redemptoris mater [120], dans RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/1284/] (accessed 31 janvier 2026).

Dernière modification : 14 novembre 2025