The Tabernacle: A Collection of Hymn-Tunes, Chants, Sentences, Motets, and Anthems, adapted to Public and Private Worship, and to the Use of Choirs, Singing-Schools, Musical Societies, and Conventions.

The first three died in early manhood, after showing themselves in some sort heirs of their father's genius: in the second book of his motets Palestrina has included some of their compositions.

There is an unusual number of anthems, motets, etc.,many of them at once solid and attractive.

Orlando di Lasso, "one of the morning stars of modern times," whose music was so beautiful that once at Munich a thunder-storm was miraculously hushed at the first note of one of his motets, lived a love-life much like Schumann's, save that he seems to have had no hard-hearted parents to strengthen and purify his resolve.

His most poignantly impressive motets seem to have been written under the anguish of Lucrezia's death.

LAUDATE PUERI DOMINUM; a collection of 100 hymns and motets and an easy Mass for unisonous chorus.

Treize livres de motets.

Treize livres de motets.

Vanguard Press, Inc. (PWH); 16Nov61; R285436. SMIJERS, A. Treize livres de motets; parus chez Pierre Attaingnant en 1534 et 1535.

The a cappella singer, mixed voices; a collection of motets, madrigals, chansons, carols, ayres, ballets.

Later Renaissance motets, 1524-1580.

Later Renaissance motets, 1524-1580. Vol.1.

Spiritual songs & motets as arr. by Michael Praetorius.

Motets and chorales for treble choirs.

LAUDATE PUERI DOMINUM; a collection of 100 hymns and motets and an easy Mass for unisonous chorus.

Treize livres de motets.

Treize livres de motets.

Vanguard Press, Inc. (PWH); 16Nov61; R285436. SMIJERS, A. Treize livres de motets; parus chez Pierre Attaingnant en 1534 et 1535.

The a cappella singer, mixed voices; a collection of motets, madrigals, chansons, carols, ayres, ballets.

Later Renaissance motets, 1524-1580.

Later Renaissance motets, 1524-1580. Vol.1.

Spiritual songs & motets as arr. by Michael Praetorius.

In Rome he shares the glory with the famous master; his portrait is in the Vatican, and his lamentations, his motets, and his Magnificat rest here, forgotten for centuries.

Delsarte was present; the church was so hung with black that the choristers were alarmed for the effect of their motets.

The organist was in love with the old masters and on holidays celebrated masses by Palestrina and Orlando Lasso, psalms by Marcello, oratorios by Handel, motets by Bach; he preferred to render the sweet and facile compilations of Father Lambillotte so much favored by priests, the "Laudi Spirituali" of the sixteenth century whose sacerdotal beauty had often bewitched Des Esseintes.