活页乐谱

原文

Dum transisset Sabbatum. Robert Johnson. A cappella. Sacred , Motet. Language. Latin. SATBarB.

译文

达姆transisset Sabbatum. 罗伯特·约翰逊. 无伴奏合唱. 神圣，经文歌. 语. Latin. SATBarB.

原文

From a manuscript in the library of Christ Church, Oxford. The soprano and alto parts are attributed in the manuscript to “Mr Johnson”. The baritone part is attributed to “Tallis alias Johnson”. In the manuscript this part is written in plainchant notation. Slurs in this edition represent ligatures in the original plainchant. The work was published by Charles Burney in his “General History of Music” in 1776 with many changes to reduce dissonances and adapt the work to 18th Century taste. In a complete performance, the plainsong intonation and entire polyphony were probably intended to be sung first. Then the plainsong verse Et valde mane. Then the polyphony from Ut venientes to the end. Then the plainsong Gloria patri. Finally the polyphonic Alleluia. In the original manuscript “Alleluia” is written out “Al-le-lui-a”. There are a number of differences in published versions of. the plainsong intonation,. ii. the Et valde mane and. iii. the Gloria patri sections. These sections are not included in the manuscript source for this edition of the Johnson five part setting. The three last notes in the intonation, usually sung “sse – e - et”, are sometimes replaced by a single long note in, for instance, published editions of Tallis’ 5 part setting of “Dum Transisset”. There are a variety of different interpretations of the Et valde mane and the Gloria patri plainsong sections. Examples are included in the CPDL edition of the Taverner setting by Rupert Preston Bell, the edition of the Tallis setting by JJ Hutchings on Sibelius Music , the edition of the same Tallis setting by Richard Abram, published in “Musical Times”, February 1979, and the performance on CD of the Johnson four and five part settings by Cappella Nova. directed by Alan Tavener.

译文

从基督教会，牛津的图书馆手稿. 女高音和女低音部分归因于手稿“约翰逊先生”. 男中音部分归因于“塔利斯别名约翰逊”. 在手稿这部分是写在plainchant符号. 在这个版本的诬蔑代表原始plainchant连写. 这项工作被出版了查尔斯伯尼在他的“音乐通史”在1776年有许多变化，减少不和谐，适应工作，18世纪的味道. 在一个完整的表现，圣歌语调和整个复音很可能打算先唱. 那么圣歌诗句的Et鬃毛VALDE. 然后从UT的复音venientes到底. 那么圣歌荣耀颂. 最后的和弦哈里路亚. 在原稿中“哈里路亚”被写入了“阿尔 - 乐吕-A”. 有若干差异的已发布版本. 在圣歌语调，. ii. 在ET VALDE鬃毛和. 三. 在荣耀颂节. 这些部分不包括在稿件来源为约翰逊5部分设置的这个版本. 在语调的最后三个音符，通常唱“上证 - é - 等”，由一个长音符有时取代，例如，出版的“姆Transisset”塔利斯“5部分设置版本. 有各种各样的的Et VALDE鬃毛不同的解释和荣耀颂圣歌节. 实施例都包括在塔弗纳设置由鲁珀特普雷斯顿贝尔，上西贝音乐，同样塔利斯设置由Richard亚伯兰，发表于“音乐时报”，1979年2月的版本的塔利斯设置由JJ哈钦斯的版CPDL版，以及由无伴奏合唱新星约翰逊四，五部分设置CD的性能. 导演阿伦·塔文纳.