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The unusual grace that characterizes the section of the Benedictus beginning at ‘In nomine Domini’ was evidently recognized by contemporary musicians, several of whom included it in their anthologies of favourite extracts. Not only was it arranged for a variety of vocal and instrumental ensembles, but it also provided the inspiration for a new genre of major importance. Known as the ‘In nomine’, this instrumental form was distinguished by its cantus firmus, the ‘Gloria tibi Trinitas’ plainchant, and it was widely cultivated by English composers up to the end of the seventeenth century.
from notes by Sally Dunkley © 2000
La grâce insolite qui caractérise la section du Benedictus commençant à «In nomine Domini» fut manifestement reconnue par les musiciens contemporains de Taverner, puisque plusieurs l’inclurent dans leurs anthologies d’extraits préférés. Ce morceau fut non seulement arrangé pour divers ensembles vocaux et instrumentaux, mais il inspira un genre nouveau, d’importance majeure: l’«In nomine». Cette forme instrumentale, qui se distinguait par son cantus firmus, le plain-chant «Gloria tibi Trinitas», fut largement cultivée par les compositeurs anglais jusqu’à la fin du XVIle siècle.
extrait des notes rédigées par Sally Dunkley © 2000
Français: Hypérion
Die außergewöhnliche Anmut, die den Abschnitt des Benedictus ab „In nomine Domini“ kennzeichnet, wurde von zeitgenössischen Musikern offensichtlich wahrgenommen—mehrere von ihnen nahmen ihn in ihre Zusammenstellungen beliebter Auszüge auf. Er wurde nicht nur für eine Vielzahl von Vokal- und Instrumentalensembles arrangiert, sondern inspirierte auch ein neues Genre von erheblicher Bedeutung. Bekannt als „In nomine“, zeichnete sich diese Instrumentalgattung durch ihren Cantus firmus aus, den Choral „Gloria tibi Trinitas“, und wurde von vielen englischen Komponisten bis zum Ende des 17. Jahrhunderts gepflegt.
aus dem Begleittext von Sally Dunkley © 2000
Deutsch: Anne Steeb/Bernd Müller
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