Adon Olam, the concluding hymn on Shabbat and Festival morning services, consists of ten stanzas of rhyming couplets in a form which roughly corresponds to our iambic tetrameter. Surprisingly, Rossi's setting is not stropic, as is normally the case in congregational hyms of this type. Instead, the music grows organically from verse to verse to verse with only limited thematic recurrence. Rossi's writing bears influence from Renaissance composers such as Monteverdi and Palestrina, with a sensitiv
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