The setting of the sequence for the Resurrection Sunday by Giovanni Pierluigi da Palestrina, in an excellent video where you can follow the score, while listening to the fantastic recording by The Cardinall’s Musick. This is a typically palestrinian well-carved work, where the points of imitation are clearly visible (the score even makes it easier to follow). The sequence was one of the two 8-part settings preserved in manuscript at the Collegio Romano.
The sequence is set for double choir (SSAT/SATB), although most of the work is set in a four-part texture, with the verses alternating between Choir I and Choir II. Palestrina brings the choirs together after “Surrexit Christus”, with a clear expressive purpose. This final triple-time section begins with the choirs responding to each other with new text, which gives some movement to the previous predominantly homorhythmic sections. Responds between the choirs get shorter after the end of the triple-time section, with both choirs only joining at the final word “Alleluia”. The accumulation of choral mass with the gradual intensification of rhythm is a simple device, used quite often by composers, but with much interesting effects.