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Musical settings include Mozart's motet Ave verum corpus (K. 618), [2] as well as settings by William Byrd and Sir Edward Elgar. Not all composers set the whole text. For example, Mozart's setting finishes with "in mortis examine", Elgar's with "fili Mariae". Marc-Antoine Charpentier composed three versions: H.233, H.266, H.329.
Ave verum corpus ("Hail, True Body"), (K. 618), is a motet in D major composed by Wolfgang Amadeus Mozart in 1791. It is a setting of the Latin hymn of the same name.Mozart wrote it for Anton Stoll, a friend who was the church musician of St. Stephan in Baden bei Wien.
Ex. 1, from Ave Verum Corpus, by William Byrd. Play ⓘ In the above example, a chromatic false relation occurs in two adjacent voices sounding at the same time (shown in red). The tenor voice sings G ♯ while the bass sings G ♮ momentarily beneath it, producing the clash of an augmented unison.
"Tantum ergo" is the incipit of the last two verses of Pange lingua, a Medieval Latin hymn composed by St Thomas Aquinas circa A.D. 1264. The "Genitori genitoque" and "Procedenti ab utroque" portions are adapted from Adam of Saint Victor's sequence for Pentecost. [1]
Ave regina caelorum á 5 (ATTBarB) – Claimed to be by "Mr Byrde" in the Paston Lute Book, however the editors of the Tudor Church Music Book attributed the work to John Taverner. Joint commissions [ edit ]
William Byrd (/ b ɜːr d /; c. 1540 – 4 July 1623) was an English Renaissance composer. Considered among the greatest composers of the Renaissance, he had a profound influence on composers both from his native country and on the Continent. [1]
Ave maris stella in a 14th-century antiphonary "Ave maris stella" (Latin for 'Hail, star of the sea') is a medieval Marian hymn, usually sung at Vespers.It was especially popular in the Middle Ages and has been used by many composers, as the basis of other compositions.
It has four sections: Exsultate jubilate – Allegro ()Fulget amica dies – Secco recitative Tu virginum corona – Andante ()Alleluja – Allegro (F major) Musicologist Stanley Sadie called the final section, "Alleluia", "a jewel of a piece with its high spirits and its wit ... like no other piece of Mozart's; its music speaks unmistakably of his relaxed high spirits at the time he wrote it ...