Attende Domine 4-Part - Sheet Music

Attende Domine is one of the most famous Lenten chant hymns. Its Latin has roots in the 10th century and one of the popular English translations reads: "Draw near, O Lord, our God, graciously hear us; guilty of sinning before Thee." The composer has arranged this for SATB choir and organ, with optional congregation on the refrain. This format makes it ideal as a Communion processional, since the people can sing the familiar refrain without music, the choir and organ supplying the verses. Verse textures are varied: Verse 1 - Unison sopranos, other voices entering in unison, and breaking into harmony on the last two measures / Verse 2 - Unison altos, tenor and bass entering in unison, and breaking into harmony on the last two measures / Verse 3 - Melody in unison TB line, with S and A adding harmonies above / Verse 4 - Melody in unison SA line, with T and B adding harmonies below / Verse 5 - Unison beginning, breaking into four parts in the third measure. Refrain II, sung after Verses 3, 4 and 5, adds a soprano descant over choral harmonies. A choral Amen, sung after the final refrain, brings the piece to a close. The chant melody sounds like D Major to our modern ears, but Koraus deftly peppers his choral harmonies with C-natural, introducing a welcome modal flavor (Dorian, in this case) to the work. His writing shows a beautifully modern take on chant, very reminiscent of Maurice Durufle.

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Details

Format:
Octavo
Item types:
Physical
Usages:
Lent
Shipping Weight:
0.81 pounds

SATB choir, organ

SKU: C5.4207

Composed by Matthew Koraus. Choral motet based on a familiar Latin chant. Lent. Octavo. Published by CanticaNOVA Publications (C5.4207).

Attende Domine is one of the most famous Lenten chant hymns. Its Latin has roots in the 10th century and one of the popular English translations reads: "Draw near, O Lord, our God, graciously hear us; guilty of sinning before Thee." The composer has arranged this for SATB choir and organ, with optional congregation on the refrain. This format makes it ideal as a Communion processional, since the people can sing the familiar refrain without music, the choir and organ supplying the verses. Verse textures are varied: Verse 1 - Unison sopranos, other voices entering in unison, and breaking into harmony on the last two measures / Verse 2 - Unison altos, tenor and bass entering in unison, and breaking into harmony on the last two measures / Verse 3 - Melody in unison TB line, with S and A adding harmonies above / Verse 4 - Melody in unison SA line, with T and B adding harmonies below / Verse 5 - Unison beginning, breaking into four parts in the third measure. Refrain II, sung after Verses 3, 4 and 5, adds a soprano descant over choral harmonies. A choral Amen, sung after the final refrain, brings the piece to a close. The chant melody sounds like D Major to our modern ears, but Koraus deftly peppers his choral harmonies with C-natural, introducing a welcome modal flavor (Dorian, in this case) to the work. His writing shows a beautifully modern take on chant, very reminiscent of Maurice Durufle.