Salve Regina | Agenda Bookshop
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A06=Diogo Dias Melgás
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Age Group_Uncategorized
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B01=Sally Dunkley
Category1=Non-Fiction
Category=AVGC3
Category=AVGC8
Category=AVGD
COP=United Kingdom
Delivery_Pre-order
Language_English
PA=Reprinting
Price_€5 to €10
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Salve Regina

English

for SATB unaccompanied This edition of the Salve Regina by Portuguese composer Diogo Dias Melgás (1638-1700) is the first published version of the work, which has previously only been available in a library edition. Suitable for liturgical or concert performance, this setting is in four equally active parts throughout, each of which takes the initial plainsong motif at the opening. The effectiveness of this moving work lies in the skilful manipulation of simple motivic material, through the use of devices such as parallel writing, sequences, repetition, suspensions, and hocket. The vocal score is presented alongside detailed performance and editorial notes, and an optional basso continuo part appears as an appendix. Salve Regina is featured on The Sixteen's CD 'A Golden Age of Portuguese Music', conducted by Harry Christophers (COR16020). See more
Current price €8.27
Original price €8.99
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A06=Diogo Dias MelgásAge Group_Uncategorizedautomatic-updateB01=Sally DunkleyCategory1=Non-FictionCategory=AVGC3Category=AVGC8Category=AVGDCOP=United KingdomDelivery_Pre-orderLanguage_EnglishPA=ReprintingPrice_€5 to €10PS=Activesoftlaunch

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Product Details
  • Weight: 56g
  • Dimensions: 228 x 130mm
  • Publication Date: 03 Jan 2013
  • Publisher: Oxford University Press
  • Publication City/Country: United Kingdom
  • Language: English
  • ISBN13: 9780193385566

About

Sally Dunkley's interest in 16th-century vocal music was established during her years as a student at Oxford University where she sang with the pioneering group the Clerkes of Oxenford and studied with its director David Wulstan. Since then her career as a professional consort singer has developed hand-in-hand with continuing in-depth study of the music as editor writer researcher and teacher. The experience of working with several of the leading British groups in this area--she is a founding member of The Sixteen and sang over a thousand concerts with The Tallis Scholars--has afforded her unique insights into questions of performance practice. She has been involved in the preparation of practical scholarly editions over several decades and is increasingly engaged in sharing her experience through workshops and summer schools.

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