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• Desprez: Ave Maria

Desprez: Ave Maria

set for recorders (SATB or SA/sTTT/bB), or viols by LaNoue Davenport.

This famous motet, by the premier composer of the period, was first written in four parts then later the composer added two more to make it a six-part motet. This edition includes, in one score, the four-part original (Soprano I, Tenor I, Tenor II, Bass II), and the six-part gloss on that piece with the addition of Alto/Soprano II, and Tenor III/Bass 1. The piece can be played either way-just the four-part original, or the six-part version. We have also published the piece with no bar-lines as an introduction to this common practice of the period (and in accordance with my father's strongly held beliefs to do so). LaNoue believed that of all the differences between renaissance notation and that of the present day, the bar-line was the most important. "The 'tyranny of the bar-line' has a most profound effect on the performance of renaissance music, since it organizes melodic structure in a way that was not necessarily indicative of the composer's intentions (with regular strong beats occurring at pre-set intervals of time). With no bar-line intervening with its strength, medieval and renaissance composers were free to write melodic structures of varying, often uneven lengths."