{"id":88230,"date":"2021-02-03T07:11:33","date_gmt":"2021-02-03T05:11:33","guid":{"rendered":"https:\/\/wp.929.org.il\/?p=88230"},"modified":"2021-02-03T07:11:33","modified_gmt":"2021-02-03T05:11:33","slug":"like-a-visit-to-a-renaissance-art-museum","status":"publish","type":"post","link":"https:\/\/wp.929.org.il\/en\/like-a-visit-to-a-renaissance-art-museum\/","title":{"rendered":"Like A Visit To A Renaissance Art Museum"},"content":{"rendered":"
<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[281],"tags":[],"acf":{"old_id":"88230","type":"no","iframe":"","writer":79834,"related_cahpter":"669","type_929":"2","show_author_image":false,"old_create_date":"","old_url":"","post_main_content":{"description":"A new series - this time: Orlande de Lassus ","content":"

Orlande de Lassus (1530-1594) \u201cDomine exaudi orationem maem\u201d (\u201cO LORD, hear my prayer\u201d), from the \u201cPenitential Psalms\u201d<\/span><\/p>\n

The concept \u201cPenitential Psalms\u201d comprises seven psalms, including Psalm 102. The Christian tradition attributes them to King David, who was doing penance for his sins in the affair of Bathsheba and Uriah the Hittite.<\/span><\/p>\n

The most well-known and central among them is Psalm 51 (The Miserere, which <\/span>we presented here<\/span><\/a>). Likewise, <\/span>we discussed Psalm 32, the largest and most comprehensive composition <\/span><\/a>of Orlande de Lassus, who was one of the greatest composers of the late Renaissance. Lassus wrote musical settings for all seven of these psalms in their entirety in seven comprehensive works for a capella choir.\u00a0<\/span><\/p>\n

Psalm 102 is a relatively long chapter, composed from a sequence of short sections for different combinations of voices, and various techniques of vocal performance. Each section is dedicated to a single verse, or even half-verse, and rarely goes beyond a single musical phrase. In contrast to the Jewish practice of the rapid recitation of \u201csaying Tehillim,\u201d here we sink into the text slowly, tasting them in small portions, verse after verse.\u00a0\u00a0<\/span><\/p>\n

We can compare listening to this work to visiting a large museum of Renaissance art in Italy. The visitor moves from picture to picture, lingering over their technical perfection, absorbing the atmosphere and the style, and only occasionally stopping to go deeper into one of them. \u201cPictures\u201d that are worthy of a deeper look are those where the composer has gone beyond the intentionally conservative style of the piece, and has included newer, more daring elements.\u00a0\u00a0<\/span><\/p>\n

Lassus is also well-known for compositions he created for didactic purposes, including motets for two voices that to this day are used as models for students of composition. There are moments like this in this work, which also functions as a didactic guide to vocal composition.\u00a0<\/span><\/p>\n

There isn\u2019t the space here of course to relate to each and every verse. The accompanying video (there are many more versions on the internet) includes the tablature and the libretto along with the performance.\u00a0<\/span><\/p>\n

Psalmi Davidis poenitentiales \/ \/ Collegium Vocale Gent, Philippe Herreweghe, 2013<\/span><\/p>\n

Psalm 102 begins at mark 24:19 of the video<\/span><\/em><\/p>\n

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