Hans Leo Hassler published his Sacri Consentus, a set of 52 motets in 1602. A few instrumental pieces were added, and it was expanded to 63 in a second edition of 1612.
The motets, set for 4 to 12 parts, continue to show the influence of the Franco-Flemish and the Venetian schools with an emphasis on text expression.
Along with many of his contemporaries, Hassler sought to blend the Italian virtuoso style with the traditional style prevalent in Germany. This was accomplished in the chorale motet by employing basso continuo and ornamentation. (1) Let's listen to a few examples. For a more extensive selection listen here and here.
No. 4 Ite in universum mundum (Go into all the world), à 4. The text derives from Mark 16:15-16. (2)
No. 6 Cantate Domino (Sing to the Lord), à 4, 'should be performed with vitality and attention to natural word stress. While a beautiful tone quality is important, employing an overly legato approach should be avoided. Since all voice parts are of equal importance, conductors should strive to achieve a good balance between all four parts.'(3) The motet begins with an opening statement followed by a section in triple meter and concludes with forceful closing statement. (4)
No. 7 Laetentur coeli (Rejoice, Ye Heavens), à 4. For the text see here.
No. 9 Gratias agimus tibi (We give thanks to You)
No. 17 (1601 ed.)/20 (1612 ed.) Exsultate Deo (Rejoice in God), à 5, on Psalm 81. This joyful motet is an excellent example of Hassler's fitting music to words.
No. 18 (1601 ed.)/21 (1612 ed.) Alleluja, laudem dicite (Hallelujah, Speak praise), à 5, text from Revelation of John 19:5-7.
No. 19/22 Canite tuba in Sion (Blow the Trumpet in Zion), à 5.
No. 20/23 Ad Dominum, cum tribularer (In my distress I cried to the Lord, à 5. Striking is its chromaticism: ascending in the opening line, descending in the closing line on the words "and a deceitful tongue".'(5)
No. 30/34 Illumina oculos meos (Give Light to Mine Eyes), à 6, Psalm 12:4b.
No. 31/37 O sacrum convivium (O Sacred Banquet), à 7.
To conclude, two beautiful motets I couldn't find in Hassler's published cycles:
Ecce sacerdos magnus (Behold a great priest), a responsory sung at the reception of a Bishop.
Ave Maris Stella (Hail, star of the sea), à 4, on the popular Vespers hymn.
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(1)"Hans Leo Hassler, Style." Wikipedia entry. (http://en.wikipedia.org/wiki/Hans_Leo_Ha%C3%9Fler#Style (05/10/2014))
(2) Michael Procter, "Hassler, Hans Leo (1562 [sic] - 1612)."
Catalog of Editions, Edition Michael Procter. (http://www.edition-mp.com/edition/composer/148/ (05/10/2014))
(3)"Cantate Domino a 4." Performance suggestions and editorial methods, Alliance Music Publications website. (http://www.alliancemusic.com/product.cfm?iProductID=918 (05/10/2014))
(4) Abel Searor, "September 9, 2012 - Proper 18." Music at St. David's website. (http://stdavidsmusic.blogspot.com/2012/09/september-9-2012-proper-18.html (05/10/2014))
(5) Johan van Veen, "Hans-Leo HASSLER (1564-1612), Sacred and secular music." CD Review, recorded 1999-2000, MusicWeb International website. (http://www.musicweb-international.com/classrev/2011/Mar11/Hassler_KTC1409.htm (05/10/2014))
The motets, set for 4 to 12 parts, continue to show the influence of the Franco-Flemish and the Venetian schools with an emphasis on text expression.
Along with many of his contemporaries, Hassler sought to blend the Italian virtuoso style with the traditional style prevalent in Germany. This was accomplished in the chorale motet by employing basso continuo and ornamentation. (1) Let's listen to a few examples. For a more extensive selection listen here and here.
No. 4 Ite in universum mundum (Go into all the world), à 4. The text derives from Mark 16:15-16. (2)
No. 6 Cantate Domino (Sing to the Lord), à 4, 'should be performed with vitality and attention to natural word stress. While a beautiful tone quality is important, employing an overly legato approach should be avoided. Since all voice parts are of equal importance, conductors should strive to achieve a good balance between all four parts.'(3) The motet begins with an opening statement followed by a section in triple meter and concludes with forceful closing statement. (4)
No. 7 Laetentur coeli (Rejoice, Ye Heavens), à 4. For the text see here.
No. 9 Gratias agimus tibi (We give thanks to You)
No. 17 (1601 ed.)/20 (1612 ed.) Exsultate Deo (Rejoice in God), à 5, on Psalm 81. This joyful motet is an excellent example of Hassler's fitting music to words.
No. 18 (1601 ed.)/21 (1612 ed.) Alleluja, laudem dicite (Hallelujah, Speak praise), à 5, text from Revelation of John 19:5-7.
No. 19/22 Canite tuba in Sion (Blow the Trumpet in Zion), à 5.
No. 20/23 Ad Dominum, cum tribularer (In my distress I cried to the Lord, à 5. Striking is its chromaticism: ascending in the opening line, descending in the closing line on the words "and a deceitful tongue".'(5)
No. 30/34 Illumina oculos meos (Give Light to Mine Eyes), à 6, Psalm 12:4b.
No. 31/37 O sacrum convivium (O Sacred Banquet), à 7.
To conclude, two beautiful motets I couldn't find in Hassler's published cycles:
Ecce sacerdos magnus (Behold a great priest), a responsory sung at the reception of a Bishop.
Ave Maris Stella (Hail, star of the sea), à 4, on the popular Vespers hymn.
____________________________________________________________
(1)"Hans Leo Hassler, Style." Wikipedia entry. (http://en.wikipedia.org/wiki/Hans_Leo_Ha%C3%9Fler#Style (05/10/2014))
(2) Michael Procter, "Hassler, Hans Leo (1562 [sic] - 1612)."
Catalog of Editions, Edition Michael Procter. (http://www.edition-mp.com/edition/composer/148/ (05/10/2014))
(3)"Cantate Domino a 4." Performance suggestions and editorial methods, Alliance Music Publications website. (http://www.alliancemusic.com/product.cfm?iProductID=918 (05/10/2014))
(4) Abel Searor, "September 9, 2012 - Proper 18." Music at St. David's website. (http://stdavidsmusic.blogspot.com/2012/09/september-9-2012-proper-18.html (05/10/2014))
(5) Johan van Veen, "Hans-Leo HASSLER (1564-1612), Sacred and secular music." CD Review, recorded 1999-2000, MusicWeb International website. (http://www.musicweb-international.com/classrev/2011/Mar11/Hassler_KTC1409.htm (05/10/2014))