| 作曲者 | Ko Matsushita |
| タイトル | Assumpta est Maria |
| 出版社 | Carus・カールス |
| シリーズ名 | Carus Contemporary |
| 楽器編成 | 女声合唱、アカペラ |
| 楽器編成（詳細） | Coro SSAA |
| 品番 | M007143527 |
| 言語 | ラテン語 |
| 形状 | 8 ページ・21 x 29.7 cm・24 g・表紙カバー無し |
| 出版年 | 2014年 |
| 出版番号 | CV 09.643/00 |
| ISMN | 979-0-007-14352-7 |
| その他 | No. 2 from Three Marian Motets |
| サンプル | https://www.carusmedia.com/images-intern/medien/00/0964300/0964300x.pdf |
Matsushita sets each section of the Offertorium text vividly, in keeping with the style of Renaissance motets. The opening motif soars powerfully upwards over a pedal point in leaps of a fifth and fourth from the starting note of C, before pausing on a chord of superimposed fourths at the word coelo (heaven). In the corresponding place at the end of the work, the same tender chord is heard en passant at the word “Maria”, a beautiful musical portrayal of the mystery of the Assumption of Mary into heaven. The angels’ rejoicing and the alleluia forms the greater part of the motet: imbued with playful repetitions and eighth note rests, the emphasis in the words is displaced and individual, dance-like syncopations are created. The dynamic climax of the work is in three upswings at the words “cum Christo regnat in aeternum”, arriving at a radiant B flat major at the word “aeternum” (eternity), chanted forte hymnically over five measures.