Discover Palestrina's Hidden Gem | Palestrina: Missa 'Ut, Re, Mi, Fa, Sol, La' - Benedictus

Giovanni Pierluigi da Palestrina: Missa 'Ut, Re, Mi, Fa, Sol, La' - Benedictus
意大利作曲家帕勒斯替拿是文藝復興時期羅馬樂派的代表人物，他對複調音樂及對位法發展有莫大貢獻，巴赫也對帕勒斯替拿推崇備至。自小擔任教堂詩班歌手，一生致力教會音樂創作，單是彌撒曲流傳而今就過百首。彌撒曲《Ut, Re, Mi, Fa, Sol, La》收錄在1570年出版的《彌撒曲集》第三冊。文藝復興作曲家創作彌撒曲時，流行採用現成曲調作貫穿全曲反覆出現的「固定旋律」，彌撒曲就以原曲標題命名。這部彌撒曲以中世紀唱名「Ut, Re, Mi, Fa, Sol, La」為標題，顧名思義就是以簡單的六聲音階當成「固定旋律」。當音階以不同的時值長短反覆上下行走出現，帕勒斯替拿以出色的對位手法製造出微妙的音響效果，而光榮頌與信德頌則應用到主調寫法，為音樂加添變化。
Italian composer Palestrina was a representative figure of the Roman School of music during the Renaissance period. He made significant contributions to the development of polyphonic music and counterpoint, and he was highly esteemed by Johann Sebastian Bach. Starting from a young age, Palestrina served as a singer in a church choir, dedicating his life to composing sacred music. He has composed over a hundred masses, many of which are still widely performed today. Missa "Ut, Re, Mi, Fa, Sol, La" is included in the third book of Missarum, which was published in 1570. During the Renaissance, composers often used pre-existing melodies as "cantus firmus" (fixed-melody) which is a fixed tune that appeared repeatedly throughout the entire mass, the mass would be named after the original title of the tune. In this mass, Palestrina took the solmization "Ut, Re, Mi, Fa, Sol, La" as the title, indicating that the fixed melody was based on the hexachord (six-note series). Palestrina created subtle sonic effects by his tremendous counterpoint skills. ‘Gloria’ and ‘Credo’, on the other hand, employed a homophonic approach, adding variation to the music.
香港中文大學合唱團
吳尚倫（指揮）
The Chinese University of Hong Kong Chorus
Shanglun Wu (conductor)
2024年6月6日香港大會堂音樂廳演出實況
Live at Hong Kong City Hall Concert Hall on 9/6/2024
/ cuhkchorus
/ cuchorus
linktr.ee/cuchorus
www.cuchorus.or...