Vă puteți imagina cîntarea cîntărilor învelită în sunet? Iată versiunea lui Palestrina.

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http://youtu.be/kwz6wJXl9Z4

One of Palestrina’s most sublime and expressive works … an excellently balanced and natural-sounding recording.
There are too many love poems about of Catholic faith
In this way Palestrina began the dedication to Pope Gregory XIII of his Fourth Book of Motets. He continued with an apology that has seemed to some modern historians to be pure hypocrisy. The composer ‘blushed and grieved’ that he was one of those whose musical art had been lavished upon such love-poems and that he had been in company with those who were ruled by passion and corrupted by their youthfulness.

But this was not the first time that Palestrina had claimed to suffer a bad conscience about the use of his composer’s gifts in the service of ‘light and vain ideas’. Indeed, in 1569 at the age of about forty-four, he regarded himself as getting elderly and assured another of his dedicatees and his public that his gifts would henceforth be devoted to things ‘dignified and serious, worthy of a Christian soul’.
There are indications of haste in the first printing. The tenor and bass part-books are dated 1583, the other three 1584. There are a few obvious errors and omissions in this original set. We may assume publication early in 1584, perhaps to meet a special demand.
Our modern age can hardly avoid some cynicism in regard to the traditional Jewish and Christian allegorical interpretation of the Song of Songs: the texts clearly evolved from the love poetry of desert people, from cult-mythology and tribal wedding songs. But the Songs must be seen, and the music heard, in the context of an age of Roman Catholic Counter-Reformation fervour, an age devoted by Roman authority to the triumph of the Virgin as well as her tenderness.
1.- No 01: Osculetur me osculo oris sui [2’52]
2.- No 02: Trahe me post te [2’45]
3.- No 03: Nigra sum sed formosa [3’09]
4.- No 04: Vineam meam non custodivi [1’50]
5.- No 05: Si ignoras te, o pulchra [2’58]
6.- No 06: Pulchrae sunt genae tuae [3’23]
7.- No 07: Fasciculus myrrhae dilectus meus [2’15]
8.- No 08: Ecce tu pulcher es [2’43]
9.- No 09: Tota pulchra es, amica mea [2’16]
10.- No 10: Vulnerasti cor meum [3’07]
11.- No 11: Sicut lilium inter spinas [3’39]
12.- No 12: Introduxit me rex in cellam [2’08]
13.- No 13: Laeva eius sub capite meo [2’24]
14.- No 14: Vox dilecti mei [2’11]
15.- No 15: Surge, propera, amica mea [2’17]
16.- No 16: Surge, amica mea, speciosa mea [2’36]
17.- No 17: Dilectus meus mihi [2’18]
18.- No 18: Surgam et circuibo civitatem [1’58]
19.- No 19: Adiuro vos, filiae Hierusalem [4’04]
20.- No 20: Caput eius aurum optimum [3’06]
21.- No 21: Dilectus meus descendit [2’13]
22.- No 22: Pulchra es amica mea [2’17]
23.- No 23: Quae est ista quae progreditur [2’53]
24.- No 24: Descendi in hortum meum [2’57]
25.- No 25: Quam pulchri sunt gressus tui [2’26]
26.-No 26: Duo ubera tua [3’44]
27.-No 27: Quam pulchra es, et quam decora [3’02]
28.-No 28: Guttur tuum sicut vinum optimum [2’44]
29.- No 29: Veni, dilecte mi [3’05]