LEADER 03187nam 2200433 450 001 9910580298603321 005 20230506150236.0 010 $a3-99012-945-7 035 $a(CKB)5600000000474043 035 $a(NjHacI)995600000000474043 035 $a(EXLCZ)995600000000474043 100 $a20230506d2022 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aLudwig Senfl $eMotets For Five Voices /$fLudwig Senfl ; editors, Scott Lee Edwards, Stefan Gasch, Sonja Tro?ster 205 $aNew Senfl third edition. 210 1$aVienna :$cHollitzer Verlag,$d2022. 215 $a1 online resource (xli, 385 pages) 225 0 $aDenkma?ler der Tonkunst in O?sterreich 330 $aIn this volume of the NSE, all five-part motets by Ludwig Senfl are published for the first time. It contains Marian motets such as Mater digna Dei / Ave, sanctissima Maria, which reflect the deep Marian devotion at the court of Duke Wilhelm IV, psalm motets in which Senfl sometimes refers to Josquin Desprez in different ways (e.g. Miserere mei, Deus), or works like Qui prophetice prompsisti, whose Tertia pars Vita in ligno moritur was extraordinarily widespread in the 16th century. In addition, the volume offers for the first time an edition of Senfl's large-scale Te Deum laudamus as well as various multi-text motets. Compositions such as Christ resurgens ex mortuis / Christ has risen show the points of contact between the spiritual Latin and vernacular spheres, other works - for example the Tanto tempore vobiscum / Philippe qui videt me - follow the tradition of the cantus firmus motet, in which Senfl enrolls sustainably. In the present volume of the NSE, all of Ludwig Senfl's five-part motets are published for the first time. It includes Marian motets such as Mater digna Dei / Ave, sanctissima Maria reflecting the Marian devotion at the court of Duke Wilhelm IV, psalm motets that refer to Josquin Desprez in various ways (e. g. Miserere mei, Deus), or works such as Qui prophetice prompsisti, whose tertia pars Vita in ligno moritur was widespread during the sixteenth century.In addition, the volume offers the first edition of Senfl's large-scale Te Deum laudamus as well as several polytextual motets. Compositions such as Christus resurgens ex mortuis / Christ ist erstanden show the points of contact between the sacred Latin and the vernacular spheres, while other works - for example Tanto tempore vobiscum / Philippe qui videt me - take up the long tradition of the cantus firmus motet , into which Senfl inscribes himself with lasting effect. 517 $aLudwig Senfl 606 $aMotets$xHistory and criticism 606 $aSheet music 615 0$aMotets$xHistory and criticism. 615 0$aSheet music. 676 $a782.26 700 $aSenfl$b Ludwig$fapproximately 1486-1542 or 1543,$01262681 702 $aEdwards$b Scott Lee 702 $aGasch$b Stefan 702 $aTro?ster$b Sonja 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910580298603321 996 $aLudwig Senfl$92953241 997 $aUNINA