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Composed by David Gleba. Text: Missale Romanum. A setting of the actual Communion Antiphon for Midnight Mass. Christmas. Octavo. Published by CanticaNOVA Publications (C5.5007).
This is the Communion Antiphon for Christmas Midnight Mass, and would certainly pair well with the composer's Laetentur coeli, the Offertory Antiphon for the same Mass. The Latin text: "In splendoribus sanctorum ex utero ante luciferum genui te." translates "In the brightness of the Saints, from the womb before the daystar I begot Thee. [Psalm 110:3]" Written in neo-Renaissance style, this motet can be preceded by an organ intonation, provided by the composer, which not only offers a pitch for the motet (a cappella or accompanied), but also sets the style and mood appropriately. The motet is of moderate difficulty, with good voice leading and comfortable ranges. The composer makes great use of stylistic Renaissance techniques, like points of imitation, variety of vocal textures, and effective rhythmic and harmonic progressions. This is a good way to introduce a choir to the beauties of Renaissance-style polyphony. It is also a good way for an accomplished choir to quickly add a wonderful new motet to the repertoire.
Composed by David Gleba. Text: Missale Romanum. A setting of the actual Communion Antiphon for Midnight Mass. Christmas. Octavo. Published by CanticaNOVA Publications (C5.5007).
This is the Communion Antiphon for Christmas Midnight Mass, and would certainly pair well with the composer's Laetentur coeli, the Offertory Antiphon for the same Mass. The Latin text: "In splendoribus sanctorum ex utero ante luciferum genui te." translates "In the brightness of the Saints, from the womb before the daystar I begot Thee. [Psalm 110:3]" Written in neo-Renaissance style, this motet can be preceded by an organ intonation, provided by the composer, which not only offers a pitch for the motet (a cappella or accompanied), but also sets the style and mood appropriately. The motet is of moderate difficulty, with good voice leading and comfortable ranges. The composer makes great use of stylistic Renaissance techniques, like points of imitation, variety of vocal textures, and effective rhythmic and harmonic progressions. This is a good way to introduce a choir to the beauties of Renaissance-style polyphony. It is also a good way for an accomplished choir to quickly add a wonderful new motet to the repertoire.
Preview: In splendoribus sanctorum
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