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Show 55 The B portions the other; to B3 correspond only approximately rpeated is bass elodic variations form of the the over litera!ly in B apd passacaglia, motet was the of one favorite New for this is genre of thirty'-!fiv bars to the broad way it ear, cantus Number with firmus imposing work in is The da capo form. the seven, repeated a the t section first Mos{t impressive end. tenop in the over score into at least a fw simpe, lively of measures Ni • is sounds the so beginning must _'----It!: - .=----=:----,. --"f3:.- I ---I r r' t be :3It=---r._!__-==::::_ I I r Chor I. J-..l I _.. I I J-..n ...t:::: _L_ 4:- §.__ 3 --=----..----=t:...-- --3 ·c.r. --=-.-==: ------. -e:;.---- -.-..I..+--..I-.---- t;-- _ v- !:.=:::-.-. . .... _ ::- ... _ I .... i--::rr=- ... --. .,.---.- ....,., I I Chor II. - - 4l'fi=--- inter interesting -==-:t.-j.,...c::=._:::----_::'--ll------p-=-- .<C-_!t The of this Do· si a of both choirs. parts another, transformng the picture one of pure corresponding voices of both choruses complex that very massively set for all ten voices is in:which the weave a forms ten-part douQle-ohorus and thorough-basso for form, is aedificavit Dominus The onlyo continuously repeated bass, after a contemporary opera and monodic chamber mus1co Bl to each I- given: |
