Andrea Gabrieli - O Sacrum Convivium, Sanctus & Benedictus (c. 1580)

[@PepeTheFrogUFPR]

Stuff like this makes me wonder what angels singing sounds like. May God permit that we all be there to experience it

[@wolfgangtrabis9468]

15 comments within 5 years: not too many as for this incomparable music

[@georgealderson4424]

They talk about newly acquired wealth being life changing but for me music such as this is an instant, life enhancing experience. Thank you.

[@marcvcivsnoveboracensis]

And the more you listen, the more you evolve accordingly.

[@marcvcivsnoveboracensis]

I think this is Andrea Gabrieli's finest piece, and this is an exceptional performance. It shows some stylistic influence from Lassus, I think, too. Well done.

[@LuizBHMG]

Renascença. Ahh, renascença, que seria da música sem ti?! Bellíssima polyphonia que, quiçá até mesmo o barroco não a fez aßi.

[@MsCLawless]

From about 4:09 to about 4:20 if you listen very closely you can hear the organ in the background adding a little something extra. Brilliant!

[@_PROCLUS]

TY

[@julianmunby3535]

O sacred banquet, wherein Christ is received; the memorial of his passion is renewed; the soul is filled with grace; and a pledge of future glory is given to us.

[@carlosmontes6568]

👌👌👍

[@georgealderson4424]

It is beautiful isn't it? Blessings and peace Carlos

[@carlosmontes6568]

@@georgealderson4424 : Yes, Indeed, thank you, that's very kind of you, be well, Hugs!

[@georgealderson4424]

@@carlosmontes6568 💜

[@smguy7]

Three flats? Why do people transpose these works?

[@stalbrmusic498]

weird af

[@gervaisfrykman266]

Because pitch at that time was different from ours, so if you don't transpose you are singing at the wrong pitch. Another cause is the system of transposing clefs. The bass part in O Sacrum Convivium is in the F3 clef, F on the 3rd line up. This is a transposing clef and the music has to go down a tone, as here, or down a fourth.

[@pannonia77]

Because in the Renaissance pieces like this (in the so-called Lydian) mode can only end on F (with one flat). But generally pieces in the Lydian mode are notated in the so-called high chiavette (high clefs), i.e. the soprano has violin (G2) clef, the alto mezzosoprano clef (C2), the tenor has alto (C3) clef, and the bass a baritone (F3) clef. Pieces notated in these clefs were not supposed to be sung at written pitch, they were supposed to be sung transposed down a fourth, or (pieces in the Mixolydian mode with no flat) even a fifth. The Gabrieli Consort sing it transposed down a fourth, and the voices are: countertenor, tenor, two baritones, bass. Many choirs (e.g. Tallis Scholars, and many others) perform such music with higher voices (female soprano, countertenor, tenor and bass), and they need a much smaller transposition downwards, so they generally sing such pieces only transposed down a tone. The score used in this video was made for such a choir.