Assumpta est Maria

Palestrina is one of the towering figures of late Renaissance church music whose polyphonic compositions remain actively performed in the Choral repertoire. He composed more than 250 motets. This one, Assumpta Est Maria fortheFeast of the Assumption, is of particular interest.

In 1545, the Council of Trent set out to reform various practices in the Roman Catholic Church in defense of the threats of the new Protestant movement. Clarity ofscripturalwords was one of the issues at stake, especially as the polyphonic style, of which Palestrina was a master, overlaid many Vocal lines, creating complex textures.

It is debated whether this motet, with a newfound clarityoflanguage, was written in response to the Council of Trent, or if it predated the Counterreformation and sprung with its innovations entirely from Palestrina’s own fertile creativity.

This edition was prepared from theVaticanchoirbook contemporary with the composer’s life. It is scored for Cantus I and II, Alto, Tenor I and II and Bass with rehearsal Piano accompaniment.