Ave Maria, for chorus (ascribed to Arcadelt, not authentic). Composition Information ↓; Description ↓; Appears On ↓. Share on. facebook · twitter · tumblr. A beautiful Marian motet: Ave Maria by Jacques Arcadelt. Ave Maria Gratia plena. Maria, gratia plena. Maria, gratia plena. Ave, ave dominus. [PDF] – Choral SATB – Religious – Sacred * License: Free Art License -.
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Jacques Arcadelt also Jacob Arcadelt ; c. Although he also wrote sacred vocal music, he was one of the most famous of the early composers of madrigals ; his first book of madrigals, published within a decade of the appearance of the earliest examples of the form, was the most widely printed collection of madrigals of the entire era. Arcadelt was the most influential member of the early phase of madrigal composition, the “classic” phase; it was through Arcadelt’s publications, more than those of any other composer, that the madrigal became known outside of Italy.
Later composers considered Arcadelt’s style to represent an ideal; later reprints of his first madrigal book were often used for teaching, with reprints appearing more than a century after its original publication.
He moved to Italy as a young man, and was present in Florence by the late s, therefore having an opportunity to meet or work with Philippe Verdelotwho wrote the earliest named madrigals. Peter’s Basilica; many composers from the Netherlands served as singers there throughout this era, and it is even possible that he went to Rome before coming to Florence.
Ave Maria (Arcadelt) SATB
Arcadelt remained in Rome as a singer and composer at the Sistine Chapel untilexcept for one leave of absence to visit France in During this period, probably in earlyhe made the acquaintance of Michelangelobut his madrigalian settings of two of the artist’s sonnets were received with indifference; indeed, from Michelangelo’s letters on the topic, he probably considered himself unmusical and incapable of appreciating Arcadelt’s work.
Michelangelo paid Arcadelt with a piece of satin suitable for making into a doublet. Arcadelt wrote over madrigals before he left Italy in to return to Francewhere he spent the remainder of his life; his numerous chansons date from this and subsequent years.
In this publication he was mentioned as a member of the royal chapel, and therefore must have served both Henry II died and Charles IX during this late phase of his career.
In Paris he employed the publishing house of Le Roy and Ballard, who printed his abundant chansons, masses and motets just as sve Venetian printers had earlier printed his madrigals. During his long and productive career, Arcadelt wrote music both sacred and secular, all of it vocal. He left a total of 24 motetsFrench chansons, approximately madrigals about fifty of which are of uncertain attributionthree massesas well as settings of the Lamentations of Arccadelt and the Magnificat.
There may be as many as more madrigals by Arcadelt which survive anonymously in manuscript sources.
Ave Maria (Arcadelt, Jacob)
Of all the early madrigalists, he was by far the most universal in his influences as well as his appeal; and his influence on others was enormous. Arcadelt brought the madrigal form to its early maturity.
Arcadelt’s several arcwdelt madrigals, composed over a span of at least two decades, were usually for four voices, although he wrote a few for three, and a handful for five and six voices. Stylistically his madrigals are melodious and simple in structure, singable, and built on a clear harmonic basis, usually completely diatonic.
Ave Maria (Arcadelt-Dietsch) – ChoralWiki
The music is often syllablic, and while it sometimes uses repeated phrases, is almost always arcaddelt as opposed to the contemporary chanson, which was often strophic. His music became immensely popular in Italy and France for more than a hundred karia, with his first book of madrigals being reprinted fifty-eight times byand his music appearing in innumerable intabulations for instruments such as the luteguitarand viol.
Unlike later generations of madrigal composers, Arcadelt did not expect professional singers to be the only consumers of his work; anyone who could read notes could sing his madrigals.
For his texts, Arcadelt chose poets ranging from Petrarch and his setting of a complete canzone, as a set of five interrelated madrigals, was the predecessor of the vogue for madrigal cyclesPietro BemboSannazaroto Florentines Lorenzino de’Medici, Benedetto Varchi, Filippo Strozzi, and Michelangelo himself, to others such as Luigi Cassola of Piacenza, a now-obscure writer who was among the most often-set poets of the early madrigalists.
Another poet he set was the Marquis Alfonso d’Avalos, who wrote the words to his most single famous composition, and one of the most enduring zrcadelt the entire 16th century: This madrigal was appealing on aecadelt levels.
According to Alfred Einsteinwriting in The Italian Madrigal”… he is content with a simple, tender declamation of the text, depending upon the elementary and magical karia of music, of harmony, which veils this poem in a cloak of sublime and distant sentimentality. Arcaddlt has conferred upon this composition a quality which is very rare in sixteenth-century secular music, namely durability …”  The texture is mostly homophonic, marua a hint of fauxbourdon in the harmony; the subject matter is erotic, with the orgasmic “thousand deaths” portrayed by a rising fourth figure in close imitation ; brief bits of word-painting occur, such as the use of a flattened seventh on “piangendo”; and the musical phrases overlap the lines of verse, blurring the formal division of the line, a technique known in music, as in poetry, as enjambment.
Since Arcadelt lived both in France and Italy, and wrote secular music in both places, his chansons and madrigals not unexpectedly share some features. The chanson was by nature a more stable form, often strophic arcadelf with patterned repetition; avr madrigal, on the other hand, was usually through-composed.
Most of his chansons are syllablic aecadelt simple, with brief bursts of polyphonic writing, occasionally canonic, and with sections imitating the note nere zrcadelt of arcavelt madrigal — the fast “black notes” producing the effect of a patter song. Some of his chansons were actually contrafacta of his madrigals the same music, printed with new words French instead of Italian.
Rarely in music history were the madrigal and the chanson more alike. In addition to his copious output of madrigals and chansons, Arcadelt produced three masses24 motetssettings of the Magnificatthe Lamentations of Jeremiahand some sacred chansons — the French equivalent of the madrigale spirituale. The masses are influenced by the previous generation of Franco-Flemish composers, particularly Jean Mouton and Josquin des Prez ; the motets, avoiding the dense polyphony favored by the Netherlanders, are more declamatory and clear in texture, in a manner similar to his secular music.
Much of his religious music, except for the sacred chansons, he probably wrote during his years in the papal chapel in Rome. Documents from the Sistine Chapel archives indicate that the choir sang his music during his residence there. Antoine Gardano became the primary Italian publisher for Arcadelt, although the competing Venetian publishing house of Scotto brought out one of his madrigal books as well.
The first volume contains Arcadelt’s masses; his secular compositions are in volumes two through nine, and his motets and maroa sacred music are in volume ten.
Below is an partial list of his works. Note that numbering is by number of voices: From Wikipedia, the free encyclopedia.
Ave Maria (Arcadelt) SATB sheet music for Voice download free in PDF or MIDI
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