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Show 129 one of Has51erus its simplicity; able changes very it is beautifl compQsitions, distinguished by nevertheless work, of mood. such features the most Kretzschmar H. "romanticft• Of all for long, Miserere a the skillful has appropriately other motets is triplechoir with remark called in the irregular; group, it is homophonic throughout, almost fcitativo, occasionally conceived faux-bourdon also appearso psalmody; three-part as choirs alternate in middle, anq again performng various sections; at the end, all three choruses The twice three in the sing together. These passages how basically homophonic composition with eleven voices (3 a are worthy of spcial attention since they show plus plus 4) may yet be full of motion, through occasional tiny interpolations in the pats, passing tones, and resolutions of suspended notes in th fioritura. the few in which Hasler make$ We may certainly not call hf.m I any a conjure up the sharps and flats as did Miserere), did 'the as extensive s ams factae Marenzio and style of the passiono , sunt, The a of wor which reaches Duo over into seraRhim polyphony, represents is the clama the apogee artistic portrait of Hassler is fortunately supplemented by the republication The harmony--he the Marriage at writing triple-choir. of chromaticism. of Similar in style Venosa. of for one (in bis six-part splendid motet, with richly ornamented also f1effectsfl wi th his Giovanni Gabriel1 twelve-part, tripal-cboral narrative Cana, Nunt1ae use is master of chromatic did not know how to or The piece of his Sacri |
