DOCSLIB.ORG

December 9–11, 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

December 9–11, 2016 2016-2017 Season Sponsor Jeanne Lamon Hall, Trinity-St. Paul’s Centre, 427 Bloor St. West With sincere appreciation and gratitude salutes Al and Jane Forest for their leadership and generous support of this production Be a part of our next CD Recording! The Consort will be heading into the studio to record The Italian Queen of France For your generous support, you will receive the following benefits: Amount You will receive $10 – $124 advance access to purchase the new CD when it is released in the Fall of 2017 $125 – $499 a copy of the new CD $500 or more two copies of the new CD All project donors will receive a tax receipt and will be listed in the house programs for our 2017-18 season Join us in the gymnasium to offer your support today! Magi videntes stellam Chant for the Feast of the Epiphany Nova stella apparita Florence Laudario, ca 1325 Salutiam divotamente Cortona Laudario, ca 1260 Ave regina caelorum Walter Frye (d. 1474) Gabriel fram hevene-King England, late mid-14th century Estampie Gabriel fram hevene-King arr. Toronto Consort Veni veni Emanuel France, ca 1300 O frondens virga Hildegard von Bingen (1098-1179) Nicolaus pontifex Paris, ca 1250 Nicolai sollempnia Das Glogauer Liederbuch, ca 1480 Wynter Tours, 14th century Deh tristo mi topinello northern Italy, ca 1400 Farwel Advent Selden MS, England, ca 1450 INTERMISSION Please join us for refreshments and the CD Boutique in the Gymnasium. Hodie aperuit nobis Hildegard von Bingen Nowel! Owt of your slepe aryse and wake Selden MS In dulci jubilo Liederbuch Anna van Coeln, ca 1500 Gloria Micinella Antonio Zacara da Teramo (ca 1350 - ca 1413) Verbum caro factum est Tuscany, ca 1400 Lullay lullay England, mid-14th century Ther is no rose Cambridge, ca 1400 Puer natus in Bethlehem Liederbuch Anna van Coeln Miri it is while sumer ilast Rawlinson MS, England, ca 1225 La vida de Culin Cancionero de Montecassino, ca 1480 Gloria in cielo Cortona Laudario Hodie Christus natus est Chant for Christmas Day TONIGHT’S PERFORMERS ARE: STAFF & ADMINISTRATION David Fallis, Artistic Director Michele DeBoer, voice Michelle Knight, Managing Director Adam Thomas Smith, David Fallis, voice, percussion Marketing Director Nellie Austin, Bookkeeper Ben Grossman, hurdy-gurdy, Kiran Hacker, Graphic Designer Yara Jakymiw, percussion, laouto Season Brochure Graphic Designer Martin Reis, Derek Haukenfreres Katherine Hill, voice, nyckelharpa, fiddle & Ruth Denton, Box Office Peter Smurlick, Database Consultant Paul Jenkins, voice, harp Gordon Baker, Stage Manager Cecilia Booth, Front of House Alison Melville, flute, recorder, voice & Volunteer Coordinator Gordon Peck, Technical Director John Pepper, voice Sam Elliott, Intermissions & Receptions Margaret Matian, CD Sales and Event Assistant WITH Heather Engli, Touring Kirk Elliott, harp, bagpipes, fiddle, psaltery BOARD OF DIRECTORS Jessica Wright, voice Heather Turnbull, President Ann Posen, Past President Laura Warren, Presentation Designer John Ison, Treasurer & Projectionist Kim Condon, Secretary Harry Deeg Trini Mitra Sara Morgan Tiffany Grace Tobias Under 35? FOLLOW US ON FACEBOOK! Do you love music? Are you 16-35 or 427 Bloor Street West Toronto ON M5S 1X7 a full-time student? Box Office 416-964-6337 Admin 416-966-1045 Join Club Consort and pay only [email protected] $15 for the best available seats. Sign up online, then call or visit the box office! TORONTOCONSORT.ORG ABOUT US Top Row: David Fallis, Alison Melville, Michele DeBoer, John Pepper, Paul Jenkins Bottom Row: Katherine Hill, Terry McKenna, Laura Pudwell, Ben Grossman Photo Credit: Paul Orenstein Since its founding in 1972, The Toronto The Toronto Consort has made recordings for Consort has become internationally recognized the CBC Collection, Berandol, SRI, Dorian, for its excellence in the performance of and currently Marquis Classics, with 10 CDs to medieval, renaissance and early baroque music. its credit, two of which have been nominated Led by Artistic Director David Fallis, nine of for Juno awards. The most recent recording Canada’s leading early music specialists have (Navidad) was released in 2012; in 2014, come together to form The Toronto Consort, the group re-released its popular Christmas whose members include both singers and recording The Little Barley-Corne. instrumentalists (lute, recorder, guitar, flute, early keyboards and percussion). Recently, the ensemble has been called upon to produce music for historical-drama TV series, Each year The Toronto Consort offers a including The Tudors, The Borgias and The subscription series in Toronto, presented in the Vikings, all produced by the cable network, beautiful acoustic of the recently-renovated 700- Showtime. The Toronto Consort recorded the seat Jeanne Lamon Hall, at the Trinity-St. Paul’s soundtrack for Atom Egoyan’s award-winning Centre in downtown Toronto. The ensemble filmThe Sweet Hereafter. also tours regularly, having been to Europe and Great Britain four times, and frequently across Canada and into the US. PROGRAM NOTES Medieval Music of the Annunciation, a feast taking place for Midwinter and Christmas on March 25th (i.e., nine months before by Katherine Hill, Guest Artistic Director Christmas Day), but re-told at Christmas time, featuring Gabriel fram hevene-King As winter weather and decreasing daylight (also known as Angelus ad Virginem), hours are setting in, we know that we are a song still sung in carol services in the experiencing the approach of midwinter just present day. The popularity of this melody as the people of western Europe did in the in 14th-century England means we have the middle ages: we lament the early setting of luxury of mixing and matching from among the sun, we look forward to the brightness several extant versions of this enduringly of a holiday celebration, and we bundle up appealing song. against the cold. The rest of the music in the first half The passage of time and the turning of the of the programme traces the season of seasons in the middle ages would have been Advent itself, the four weeks leading up to viewed through overlapping lenses, related Christmas. While we experience the month to the natural world (the agricultural cycle, of December now as a time of concert- weather, daylight hours), vestiges of the going, parties and get-togethers (and time- pre-Christian year (most notably the winter sensitive shopping!), in the middle ages solstice, or the shortest day of the year), these weeks formed a penitential season that and the church calendar (tracing events in required strict fasting. The last two pieces in the life of Christ, as well as the sequence of the first half of the programme, the 14th- saints’ feast days). This evening’s programme century Italian Deh tristo mi topinello (Ah, draws together texts, music and images from sad little mouse that I am) and the English western Europe that reflect just a few of the Farwel Advent, highlight the sad state of artistic, recreational and ritual responses affairs at the dinner table during this season. of medieval people to the approach of We will also acknowledge the feast day of midwinter and Christmas. St Nicholas (also known as Sinterklaas and Santa Claus) on December 6th by including We begin with the star in the east, the two pieces in his honour: one solemn supernatural sign foretelling the birth of melody from 13th-century Paris, featuring Christ. The lauda (praise song) Nova stella the hurdy-gurdy, and a jaunty three-part apparita from 14th-century Florence tells setting from the Glogau Songbook, a the story of the Magi, reflecting a virtuosic German manuscript compiled in Głogów, and “pop” style of singing from the time. Poland, around the year 1480. We will also hear music relating to the story No collection of Advent music would be (ca 1350 - ca 1413). The English Nowel! complete without referencing the mystical Owt of your slepe aryse and wake describes “O Antiphons”, sung at Vespers for the the same moment; the glorious and seven days leading up to Christmas. Each tuneful English carol repertoire is further piece invokes a longed-for aspect of Christ, represented by another beloved Christmas missing from the world but soon to appear. piece, Ther is no rose of swych vertu. Many of these attributes are listed in the Although we cannot understand every word familiar carol Veni veni Emanuel (O come, of middle English at first hearing, these O come, Emmanuel), sung here in a 13th- texts (and their music) allow us, a little more century setting for two voices. The Advent directly, to find that human connection mood of expectation is also expressed in with the people who first created and 12th-century abbess Hildegard of Bingen’s enjoyed them. antiphon O frondens virga, which describes Mary as the leafy branch bearing the flower The latest source for this programme is the of Christ, bending down to offer help and songbook of Beguine nun Anna of Cologne, comfort to a fallen world. compiled around the year 1500. The Beguines lived in communities within urban While a significant majority of extant centres, and many of the songs from Anna’s medieval music was generated and pocket-sized book display this contact with recorded by the church, secular material the secular world in their popular character, for midwinter has survived to our time, including a charming refrain-song Puer sometimes hidden away in sacred musical natus in Bethlehem (A Child is born in works. One such example is the lively Bethlehem) and an early, two-part setting English dance “Wynter”, surviving as of In dulci jubilo (In sweet rejoicing). one line of a 13th-century three-voice sacred French motet from Tours. From the We end our programme with another Aragonese court of Alfonso V at Naples, Italian lauda, Gloria in cielo, echoing the the 15th-century song La vida de Culin Angels’ cry of “peace on earth, and good describes a trip to the tavern for a warming will towards men”, as well as a mesmerizing drink, complete with nonsensical syllables chant for Christmas Day, as we return to and a “pop” refrain, the text of which is the image of single star in a winter night simply “O, o, o, o”; easy enough to join in sky.
Recommended publications
  • TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of

    TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of

    T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources.
  • Antonio ZACARA Da Teramo

    Antonio ZACARA Da Teramo

    http://www.musicweb-international.com/classrev/2012/Sept12/Zacara_LWC1026.htm Antonio ZACARA da Teramo (c1350/60 - 1413 or later) Ferito già d'un amoroso dardo [5:08] Movit'a pietade [4:16] Benché lontan me trovi in altra parte [4:56] Plorans ploravi perché la fortuna [8:31] Nuda non era, preso altro vestito [5:37] Le temps verra tam-toust après [4:08] Spinato intorno al cor (instr) [4:34] Un fiore gentil m'apparse [4:25] Rosetta che non canbi may colore [6:32] Spinato intorno al cor [5:58] Currentes (Kristin Mulders (soprano), Kjetil Almenning (tenor), Hans Lub (medieval fiddle), David Catalunya (clavisimbalum), Jostein Gundersen (recorder)/Jostein Gundersen rec. 8-10 October 2010, Hoff Church, Norway. DDD LAWO CLASSICS LWC 1026 [54:10] One has to look closely at the frontispiece of this disc to track down the name of the composer to whom it is devoted: Antonio Zacara da Teramo. The last part of his name refers to the town where he was born. The name 'Zacara' is in fact a term of abuse in the dialect and means "a splash of mud". This refers to his severe physical handicap, called phocomelia, a congenital disorder which stunted his growth and resulted in missing fingers. His physical disorder is clearly visible in his portrait in the Squarcialupi Codex, in which several of his compositions are preserved. It didn't stop him from making quite a career as a scribe and composer. His life was bu no means easy, though, and that was not just due to his physique.
  • Italian Division of the International Academy of Pathology Journal Of

    Italian Division of the International Academy of Pathology Journal Of

    Cited in Index Medicus/MEDLINE, BIOSIS Previews, SCOPUS Journal of the Italian Society of Anatomic Pathology and Diagnostic Cytopathology, Italian Division of the International Academy of Pathology Periodico trimestrale - Aut. Trib. di Genova n. 75 del 22/06/1949 - ISSN: 0031-2983 (Print) – 1591-951X (Online) Periodico trimestrale - In this issue: Original articles Current usefulness of aspiration cytology (FNAC) in the head and neck diagnosis An outbreak of cutaneous leishmaniasis in Modena province (Northern Italy): report of 35 cases Vol. 109 December 2017 Case reports Proceedings III Meeting Nazionale 2017, Gruppo Italiano di Paleopatologia Società Italiana di Anatomia Patologica e Citopatologia Diagnostica, Divisione Italiana della International Academy of Pathology 430 3° MEETING NAZIONALE DEL GRUPPO ITALIANO DI PALEOPATOLOGIA Restoration and preservation of the upper class of the Umbrian rural population of the XVII century. The mummy is well preserved. Macroscopic, of the anatomical specimens radiological and CT examination were performed. The anthro- of the Museum of Pathological pological study revealed that the subject was an adult mature Anatomy at the University of Pisa male with a stature of 1.69 cm. The macroscopic study had not evidenced any skin lesions or pathological alterations. S. MINOZZI1, L. LANDINI1, G. NACCARATO2, Tooth examination evidenced an osteolytic lesion of the first V. GIUFFRA1 upper left molar compatible with a cyst can also be observed. 1Division of Paleopathology, Department of Translational Research CT examination revealed calcified lamina tectoria and neo and New Technologies in Medicine and Surgery, University of Pisa, articulation with clivus. The spine showed diffuse spondylo- Italy; 2Department of Translational Research and New Technologies sis and osteophytosis with intersomatic bridge.
  • Leon Battista Alberti

    Leon Battista Alberti

    THE HARVARD UNIVERSITY CENTER FOR ITALIAN RENAISSANCE STUDIES VILLA I TATTI Via di Vincigliata 26, 50135 Florence, Italy VOLUME 25 E-mail: [email protected] / Web: http://www.itatti.ita a a Tel: +39 055 603 251 / Fax: +39 055 603 383 AUTUMN 2005 From Joseph Connors: Letter from Florence From Katharine Park: he verve of every new Fellow who he last time I spent a full semester at walked into my office in September, I Tatti was in the spring of 2001. It T This year we have two T the abundant vendemmia, the large was as a Visiting Professor, and my Letters from Florence. number of families and children: all these husband Martin Brody and I spent a Director Joseph Connors was on were good omens. And indeed it has been splendid six months in the Villa Papiniana sabbatical for the second semester a year of extraordinary sparkle. The bonds composing a piano trio (in his case) and during which time Katharine Park, among Fellows were reinforced at the finishing up the research on a book on Zemurray Stone Radcliffe Professor outset by several trips, first to Orvieto, the medieval and Renaissance origins of of the History of Science and of the where we were guided by the great human dissection (in mine). Like so Studies of Women, Gender, and expert on the cathedral, Lucio Riccetti many who have worked at I Tatti, we Sexuality came to Florence from (VIT’91); and another to Milan, where were overwhelmed by the beauty of the Harvard as Acting Director. Matteo Ceriana guided us place, impressed by its through the exhibition on Fra scholarly resources, and Carnevale, which he had helped stimulated by the company to organize along with Keith and conversation.
  • La Caccia Nell'ars Nova Italiana

    La Caccia Nell'ars Nova Italiana

    8. Iohannes Tinctoris, Diffinitorium musice. Un dizionario Il corpus delle cacce trecentesche rappresenta con «La Tradizione Musicale» è una collana promossa di musica per Beatrice d’Aragona. A c. di C. Panti, 2004, ogni probabilità uno dei momenti di più intenso dal Dipartimento di Musicologia e Beni Culturali pp. LXXIX-80 e immediato contatto tra poesia e musica. La viva- dell’Università di Pavia, dalla Fondazione Walter 9. Tracce di una tradizione sommersa. I primi testi lirici italiani cità rappresentativa dei testi poetici, che mirano Stauffer e dalla Sezione Musica Clemente Terni e 19 tra poesia e musica. Atti del Seminario di studi (Cre mona, alla descrizione realistica di scene e situazioni im- Matilde Fiorini Aragone, che opera in seno alla e 20 febbraio 2004). A c. di M. S. Lannut ti e M. Locanto, LA CACCIA Fonda zione Ezio Franceschini, con l’intento di pro- 2005, pp. VIII-280 con 55 ill. e cd-rom mancabilmente caratterizzate dal movimento e dalla concitazione, trova nelle intonazioni polifo- muovere la ricerca sulla musica vista anche come 13. Giovanni Alpigiano - Pierluigi Licciardello, Offi - niche una cassa di risonanza che ne amplifica la speciale osservatorio delle altre manifestazioni della cium sancti Donati I. L’ufficio liturgico di san Do nato di cultura. «La Tradizione Musicale» si propone di of- portata. L’uso normativo della tecnica canonica, de- Arezzo nei manoscritti toscani medievali, 2008, pp. VIII-424 NELL’ARS NOVA ITALIANA frire edizioni di opere e di trattati musicali, studi 8 finita anch’essa ‘caccia’ o ‘fuga’, per l’evidente me- con ill. a colori monografici e volumi miscellanei di alto valore tafora delle voci che si inseguono, si dimostra 16.
  • Compositeur Naissance Décès Période Notker Balbulus C

    Compositeur Naissance Décès Période Notker Balbulus C

    Compositeur Naissance Décès Période Notker Balbulus c. 840 912 Médiévale Odo of Cluny c. 878 942 Médiévale Guido da Arezzo c. 991 c. 1033 Médiévale Hermann of Reichenau 1013 1054 Médiévale Guillaume d'Aquitaine 1071 1126 Médiévale Petrus Abaelardus 1079 1142 Médiévale Hildegard von Bingen 1098 1179 Médiévale Bernart de Ventadorn c. 1130 a. 1230 Médiévale Léonin 1135 1201 Médiévale Pérotin 1160 1225 Médiévale Philippe le Chancelier c. 1160 1236 Médiévale Pierre de Molins 1170 c. 1220 Médiévale Walther von der Vogelwide c. 1170 c. 1230 Médiévale Alfonso el Sabio 1221 1284 Médiévale Adam de la Halle c. 1235 1288 Médiévale Petrus de Cruce c. 1260 a. 1302 Médiévale Philippe de Vitry 1291 1361 Médiévale Guillaume de Machaut c. 1300 1377 Médiévale Francesco Landini c. 1325 1397 Médiévale Johannes Ciconia c. 1335 1412 Médiévale/Renaissance Jacopo da Bologna Bologna c. 1340 c. 1386 Médiévale Zacara da Teramo c. 1350 c. 1413 Médiévale/Renaissance Leonel Power c. 1370 1445 Médiévale/Renaissance Oswald von Wolkenstein c. 1376 1445 Médiévale/Renaissance John Dunstaple c. 1390 1453 Renaissance Guillaume Dufay 1397 1474 Renaissance Gilles Binchois c. 1400 1460 Renaissance Johannes Ockeghem c. 1410 1497 Renaissance Gilles Joye c. 1424 1483 Renaissance Antoine Busnois c. 1430 1492 Renaissance Alexander Agricola c. 1446 1506 Renaissance Heinrich Isaac c. 1450 1517 Renaissance Loyset Compère c. 1450 1518 Renaissance Josquin des Prez c. 1450 1521 Renaissance Jacob Obrecht c. 1457 1505 Renaissance Jean Mouton c. 1459 1522 Renaissance Antoine Brumel c. 1460 c. 1513 Renaissance Pierre de la Rue c. 1460 1518 Renaissance Robert Fayrfax 1464 1521 Renaissance William Cornysh 1465 1523 Renaissance Francisco de Penalosa c.
  • 496 BIBLIOGRAPHY [No Editor Named]. Les Colloques De

    496 BIBLIOGRAPHY [No Editor Named]. Les Colloques De

    BIBLIOGRAPHY [no editor named]. Les Colloques de Wégimont II—1955, L’Ars nova: Recueil d’études sur la musique du XIVe siècle. Paris: Les Belles Lettres, 1959. Alzati, Giovanna Cantoni. See Cantoni Alzati, Giovanna. Anderson, Gordon A. and Luther A. Dittmer, editors. Canberra National Library of Australia Ms. 4052/2 1-16: The Musico-Liturgical Fragments from the Nan-Kivell Collection: Facsimile Re- production of the Fragments. Publications of Mediaeval Musical Manuscripts 13. Henryville- Ottawa-Binningen: Institute of Mediaeval Music, Ltd., 1981. Angerer, J. “Die Begriffe ‘Discantus,’ ‘Organa’ und ‘Scolares’ in reformgeschichtlichen Urkunden des 15. Jahrhunderts,” Anzeiger der philosophischen-historischen Klasse der Österreichischen Akademie der Wissenschaften 109 (1972). pp. 146–171. Anglès, Higini. “Die mehstimmige Musik in Spanien vor dem 15. Jahrhundert,” Beethoven- Zentenarfeier vom 26. bis 31. März 1927. Vienna: Universal-Edition, 1927. pp. 158–63. Anonymous 4 [theorist]. Der Musiktraktat des Anonymous 4. Edited by Fritz Reckow. 2 vols. Wies- baden: Franz Steiner, 1967. Beihefte zum Archiv für Musikwissenschaft 4, 5. Antonio da Tempo. Antonio da Tempo: Summa artis rithimici vulgaris dictaminis. Edited by Richard Andrews. Collezione di opere inedite o rare 136. Bologna: Commissione per i testi di lin- gua, 1977. Apel, Willi. “French, Italian and Latin Poems in 14th-Century Music,” Journal of the Plainsong and Medieval Music Society 1 (1978). pp. 39–56. ———. French Secular Compositions of the Fourteenth Century. Corpus Mensurabilis Musicae 53. [Rome]: American Institute of Musicology, 1970–72. ———. French Secular Music of the Late Fourteenth Century. Cambridge, Mass.: The Medieval Academy of America, 1950. ———. The Notation of Polyphonic Music, 900–1600. Fifth, Revised Edition.

  • ALSO AVAILABLE on Signumclassics

    174Booklet 7/8/09 13:06 Page 1 ALSO AVAILABLE on signumclassics Guillaume de Machaut: Motets, Mass music Brussels 5557: Masses by Frye Guillaume Dufay: Sacred music from & songs by Machaut from the Ivrea Codex and Plummer Bologna Q15 The Clerks The Clerks The Clerks SIGCD011 SIGCD015 SIGCD023 “Each singer has a naturally light, straight- “I am always impressed with the way they “It is an absorbing and revealing collection, toned voice and can effortlessly flat over the balance precision and polished vocal blend and everything is delivered with tonal beauty vocal lines like ‘a feather on the breath in the most difficult music … unlike other and scholarly stylishness” of God’” groups singing this music, the Clerks’ Group Early Music The Gramophone don’t seem to break a sweat.” Goldberg Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 174Booklet 7/8/09 13:06 Page 3 Don’t Talk - Just Listen! p Don’t run low [0.20] a Be an egg donor [0.23] s Please to not betray [0.46] d Five Motets Robert Saxton Royal from Day One [0.17] f 1 Motet 1: Dixit autem Dominus ad Abram [3.27] I am woman [0.35] g 2 Motet 2: Distant, a family travels [2.52] Vocal ensemble for hire [0.33] h 3 Motet 3: Down the ages a song has echoed [2.34] Proactive, professional [0.32] j 4 Motet 4: Returning, wander weary [2.25] Mature composer seeks work [0.27] k 5 Motet 5: Igitur egressus Iacob [4.27] Guarantee [0.36] 6 Thou wast present as on this day Antony Pitts [6.44] Three Contrafacta l The Man who spills his soup
  • Claude Longchamp

    Claude Longchamp

    3è Atelier de musique ancienne (Gruyères, 21-28.08.2005) Duo Crawford Young (USA) Margit Uebellacker (Autriche) 25.08.2005 Le duo de ce soir associe les cordes pincées (avec une plume d'autruche) du luth et de la guiterne, et les cordes frappées du "dulce melos" (forme de hackbrett de poche médiéval), un instrument décrit dans le Traité de Paulus Paulirinus (1460) comme "le plus beau parmi tous les instruments de musique". Les deux instruments sont bien adaptés à l'accompagnement de la danse, rôle central de la musique de cour médiévale, et le programme de ce soir contient plusieurs "Balleti", "Pizochara", "Petits Riens" à danser. Crawford Young et Margit Uebellacker nous emmènent en première partie de soirée à la Cour des Visconti (Pavie, 1400), puis à la Cour de Charles le Téméraire à Dijon (où brille Guillaume Dufay) et un peu plus tard à la Cour de Nuremberg. Outre les danses virtuoses, ils interprètent les mises en tablature savantes de chansons et motet célèbres de ce temps, de Francesco Landini, de Johannes Ciconia ou de Walter Frye. Notes sur le programme Association Guitare & Luth – CP 2254 – 1630 Bulle 2 CCP 17-6617-8 Compte BCF no 25 01 176.463-07 www.anselmus.ch/fr/association.htm Program notes : whose works turn up in a manuscript auctioned at Sotheby’s in 1996 and currently owned by the Oesterreichische Nationalbibliothek in Tonight’s program of fifteeenth-century arrangements for gittern/ lute Wien. Blindhammer may be considered something of a “missing link” solos and, with dulce melos, duos, consists of three focal points of leading to the Gerle / Neusidler generation of prominent Nürnberg musical culture, the Visconti court (Pavia/ Milan ca.
  • Reception of Josquin's Missa Pange

    Reception of Josquin's Missa Pange

    THE BODY OF CHRIST DIVIDED: RECEPTION OF JOSQUIN’S MISSA PANGE LINGUA IN REFORMATION GERMANY by ALANNA VICTORIA ROPCHOCK Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. David J. Rothenberg Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2015 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Alanna Ropchock candidate for the Doctor of Philosophy degree*. Committee Chair: Dr. David J. Rothenberg Committee Member: Dr. L. Peter Bennett Committee Member: Dr. Susan McClary Committee Member: Dr. Catherine Scallen Date of Defense: March 6, 2015 *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS List of Tables ........................................................................................................... i List of Figures .......................................................................................................... ii Primary Sources and Library Sigla ........................................................................... iii Other Abbreviations .................................................................................................. iv Acknowledgements ................................................................................................... v Abstract ..................................................................................................................... vii Introduction: A Catholic
  • Margaret Bent Publication List.Pdf

    Margaret Bent Publication List.Pdf

    Margaret Bent Classified list of publications (excluding short reviews) (last updated September 2009) Counterpoint, musica ficta, compositional process , musical grammar Counterpoint, Composition, and Musica Ficta (New York: Routledge, 2002). A collection of eleven essays related to compositional techniques, all but two previously published over the last thirty years, to which I have added a substantial new introduction updating my views and answering critics. Includes items marked * below. *"Musica Recta and Musica Ficta", Musica Disciplina 26 (1972), 73-100. Reprinted as pp. 1-28 in The Garland Library of the History of Western Music; Medieval Music II: Polyphony, ed. Ellen Rosand (New York: Garland, 1985). *"Some Factors in the Control of Consonance and Sonority: Successive Composition and the Solus tenor", pp. 625-34 in International Musicological Society: Report of the Twelfth Congress, Berkeley 1977, ed. Daniel Heartz and Bonnie Wade (Kassel: Bärenreiter, 1981). *"Resfacta and Cantare super librum", Journal of the American Musicological Society 36 (1983), 371-91. A shorter version appeared as "Resfacta und Cantare super librum", Schweizer Jahrbuch für Musikwissenschaft/ Annales Suisses de Musicologie, n. s. 3 (1983), 47-52. *"Diatonic Ficta", Early Music History 4 (1984), 1-48. French translation as "Musica ficta: une procédure diatonique", pp. 15-78 in Lire, composer, analyser à la Renaissance, Introduction and translation by Annie Coeurdevey (Minerve, CESR "Ricercar", Tours, 2003). *"Diatonic ficta revisited: Josquin's Ave Maria in context", Music Theory Online, September 1996 (http://www.societymusictheory.org/mto/): response to Roger Wibberley, "Josquin's Ave Maria: Musica Ficta versus Mode", Music Theory Online, 2.5, 1996. My article includes an essential corrective to "Diatonic Ficta".
  • Caput: Ockeghem & the English

    Caput: Ockeghem & the English

    Ockeghem@600 | Concert 5 CAPUT: OCKEGHEM & THE ENGLISH 8 PM • FRIDAY, FEBRUARY 17, 2017 — First Parish of Lexington 8 PM • SATURDAY, FEBRUARY 18, 2017 — First Church in Cambridge, Congregational Ockeghem@600 | Concert 5 CAPUT: OCKEGHEM & THE ENGLISH OCKEGHEM & THE ENGLISH Johannes Ockeghem (c. 1420-1497) cantus In this fifth program of our multi-season survey particular the way in which it handles the Missa Caput Martin Near of the complete works of Johannes Ockeghem, two lower lines of its four-voice contrapuntal Laura Pudwell Kyrie • lp ms st dm / mn om jm pg we present one of his earliest surviving texture (labelled Tenor primus and secundus), Gloria • lp om jm pg works, the Missa Caput. Those who have influenced a generation of French and Flemish tenor & contratenor attended previous concerts in the series will composers. Ockeghem adopts the new manner John Pyamour (d. before March 1426) Owen McIntosh Quam pulcra es • om jm dm Jason McStoots perhaps share the impression we are forming of writing in four parts, but then ups the Mark Sprinkle of Ockeghem’s compositional character— technical ante considerably by the daring and Walter Frye (d. before June 1475) Sumner Thompson curious, experimental, boldly asserting novel use to which he puts the cantus firmus. • Alas alas alas is my chief song mn st pg his superior craft vis-à-vis his models by Ave regina celorum • lp ms dm bassus surpassing their technical achievements, and The cantus firmus melody quotes a long Ockeghem Paul Guttry stretching the theoretical systems of his time in melisma on the word “caput” from an antiphon Missa Caput David McFerrin ways that challenge our ability to find a definite sung during the foot-washing ceremony on Credo • mn jm st dm solution (and surely posed similar challenges Maundy Thursday in the Sarum rite.