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原文

Philippe Rogier. Laboravi in gemitu meo. Sheet Music. SSAATB. SATB. Philippe Rogier.

译文

菲利普·罗吉尔. Laboravi在gemitu MEO. 乐谱. SSAATB. SATB. 菲利普·罗吉尔.

原文

Rogier's Laboravi in gemitu meo is a deeply expressive setting of Psalm 6, verse 6. Featuring imitative entries, word-painting, undulating parallel phrases, and oscillating harmonies, the music of this motet perfectly reflects the anguish and poignancy of the text. Edited by Sally Dunkley. Sally Dunkley's interest in 16th-century vocal music was established during her years as a student at Oxford University, where she sang with the pioneering group the Clerkes of Oxenford and studied with its director, David Wulstan. Since then, her career as a professional consort singer has developed hand-in-hand with continuing in-depth study of the music as editor, writer, researcher, and teacher. The experience of working with several of the leading British groups in this area--she is a founding member of The Sixteen and sang over a thousand concerts with The Tallis Scholars--has afforded her unique insights into questions of performance practice. She has been involved in the preparation of practical scholarly editions over several decades and is increasingly engaged in sharing her experience through workshops and summer schools.

译文

Rogier's Laboravi in gemitu meo is a deeply expressive setting of Psalm 6, verse 6. Featuring imitative entries, word-painting, undulating parallel phrases, and oscillating harmonies, the music of this motet perfectly reflects the anguish and poignancy of the text. Edited by Sally Dunkley. Sally Dunkley's interest in 16th-century vocal music was established during her years as a student at Oxford University, where she sang with the pioneering group the Clerkes of Oxenford and studied with its director, David Wulstan. Since then, her career as a professional consort singer has developed hand-in-hand with continuing in-depth study of the music as editor, writer, researcher, and teacher. The experience of working with several of the leading British groups in this area--she is a founding member of The Sixteen and sang over a thousand concerts with The Tallis Scholars--has afforded her unique insights into questions of performance practice. She has been involved in the preparation of practical scholarly editions over several decades and is increasingly engaged in sharing her experience through workshops and summer schools.