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Composed by Giovanni Legrenzi. Edited by Brian Clark; Simon Carrington. Octavo. Alliance Music Publications #AMP 0602. Published by Alliance Music Publications (AN.AMP-0602).
Legrenzi/Clark.
EDITORIAL NOTE Giovanni Legrenzi was one of the most influential Italian composers in the second half of the 17th century. Under his direction, the cappella at San Marco grew to an unprecedented scale. Although his output also includes operas and a set of madrigals, he is primarily remembered for his instrumental sonatas and his many volumes of church music which range from solo motets to large psalm settings for double choir and instruments, intended for days when the splendid golden altarpiece at St Markys was revealed to church-goers on special feast days.
This setting of Salve, Regina was published, along with the other three Marian antiphons (Ave regina coelorum, Regina coeli and Alma Redemptoris mater) in Legrenziys complete set for the service of Compline, that appeared in Venice in 1662. Apart from some short solo sections, the entire service as set by Legrenzi is scored for five-part choir with continuo. The realisation for organ printed here is little more than a guide for inexperienced players and should be used a basis for a more idiomatic accompaniment. Salve, Regina is the specified antiphon from Trinity Sunday until the Sunday before Advent.
Composed by Giovanni Legrenzi. Edited by Brian Clark; Simon Carrington. Octavo. Alliance Music Publications #AMP 0602. Published by Alliance Music Publications (AN.AMP-0602).
Legrenzi/Clark.
EDITORIAL NOTE Giovanni Legrenzi was one of the most influential Italian composers in the second half of the 17th century. Under his direction, the cappella at San Marco grew to an unprecedented scale. Although his output also includes operas and a set of madrigals, he is primarily remembered for his instrumental sonatas and his many volumes of church music which range from solo motets to large psalm settings for double choir and instruments, intended for days when the splendid golden altarpiece at St Markys was revealed to church-goers on special feast days.
This setting of Salve, Regina was published, along with the other three Marian antiphons (Ave regina coelorum, Regina coeli and Alma Redemptoris mater) in Legrenziys complete set for the service of Compline, that appeared in Venice in 1662. Apart from some short solo sections, the entire service as set by Legrenzi is scored for five-part choir with continuo. The realisation for organ printed here is little more than a guide for inexperienced players and should be used a basis for a more idiomatic accompaniment. Salve, Regina is the specified antiphon from Trinity Sunday until the Sunday before Advent.
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