• Hymns, Psalms, Antiphons & other Latin Polyphony by John Sheppard Choir - Sheet Music

Hymns, Psalms, Antiphons & other Latin Polyphony by John Sheppard Choir - Sheet Music

By John Sheppard

This is an important addition to the pair of consecutive EECM volumes of John Sheppard's Latin compositions for the Use of Salisbury published in the 1970s. Although he had evidently mastered the forms of Mass and votive antiphon, the composer is at his most characteristic in his settings of the plainsong melodies which form the bedrock of the Sarum liturgy. These account for most of the contents of this volume, together with free-composed settings of Biblical texts and a small corpus of devotional polyphony, most of it fragmentary. In general, textural richness is cultivated in preference to long arcs of melisma, and perfect time is favoured over imperfect, creating a directness of expression that seems to typify mid-Tudor polyphony. The format of this volume follows EECM's house style for post-Reformation composers.

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Details

Summary
Instrument:
Choir
Ensembles:
Choir
Composers:
John Sheppard
Publishers:
Stainer & Bell Ltd.
ISBN:
9780852499023
Format:
Vocal Score
Item types:
Physical
Musical forms:
Polyphony
Artist:
John Sheppard
Usages:
Psalms Hymn Anthems
Shipping Weight:
4.75 pounds
Detailed Description

SKU: ST.EC54

Composed by John Sheppard. Edited by Magnus Williamson. Library Volumes. Edited by Magnus Williamson. First published in 2012. Pages: 304. Format: Hardback. Dimensions (mm): 324 x 247 x 29. Choral Score. Stainer & Bell Ltd. #EC54. Published by Stainer & Bell Ltd. (ST.EC54).

ISBN 9780852499023.

This is an important addition to the pair of consecutive EECM volumes of John Sheppard's Latin compositions for the Use of Salisbury published in the 1970s. Although he had evidently mastered the forms of Mass and votive antiphon, the composer is at his most characteristic in his settings of the plainsong melodies which form the bedrock of the Sarum liturgy. These account for most of the contents of this volume, together with free-composed settings of Biblical texts and a small corpus of devotional polyphony, most of it fragmentary. In general, textural richness is cultivated in preference to long arcs of melisma, and perfect time is favoured over imperfect, creating a directness of expression that seems to typify mid-Tudor polyphony. The format of this volume follows EECM's house style for post-Reformation composers.

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