Ave MariaUpdated on 15/08/2020
- Reference source
- Musical parameters
Voices Mensuration Clefs Final4 e c1c4c4f4D
- Special musical devices
- Other modern editions
Freis, Wolfgang, “Cristóbal de Morales and the Spanish Motet in the First Half of the Sixteenth Century: An Analytic Study of Selected Motets by Morales and Competitive Settings in SEV-BC 1 and TARAZ-C 2-3” (unpublished Ph.D. dissertation, The University of Chicago, 1992)Rees, Owen, “The Coimbra Manuscripts and the ‘Spanish Court Repertory’: The Motet Peccavi domine”, in Musical Exchanges, 1100-1650: Iberian Connections, ed. by Manuel Pedro Ferreira, Iberian Early Music Studies, 2 (Kassel: Reichenberger, 2016) pp. 191-208Rodríguez-García, Esperanza, “What Did the Composer Antonio de Ribera Learn from Alonso Pérez de Alba at Seville Cathedral? A New Look at Ribera’s Missa sine nomine and Devotional Motets”, Portuguese Journal of Musicology, new series, 6/1 (2019), 29-61 <http://rpm-ns.pt/index.php/rpm/article/view/367>
- Sources including this piece
In the first section, 'Dominus tecum' is inserted thrice in the text, acting as a refrain. The second section is made out of a string of litany-like pleas to the Virgin using the formula 'ora pro nobis'.
The use of 'Dominus tecum' as a refrain also appears in the anonymous motet Gabriel angelus.