DOCSLIB.ORG

THE EAR of the HUGUENOTS HUELGAS ENSEMBLE PAUL VAN NEVEL the Ear of the Huguenots

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE EAR of the HUGUENOTS HUELGAS ENSEMBLE PAUL VAN NEVEL the Ear of the Huguenots THE EAR OF THE HUGUENOTS HUELGAS ENSEMBLE PAUL VAN NEVEL The Ear of the Huguenots I. LES PSAUMES DES HUGUENOTS II. ROME 1572: CÉLÉBRATION À L’OCCASION Psalm music of the Huguenots DES “BONNES NOUVELLES” DU MASSACRE Die Psalmvetonungen der Hugenotten À PARIS LE 23 AOÛT Rome 1572: a celebration on receiving the “good news” Claude Goudimel (1514/20 –1572) of the massacre in Paris on the 23rd August Psaume LXVII à 4 Rom 1572: Feier anlässlich der „guten Neuigkeiten“ 1 Dieu nous soit doux et favorable 4.38 über das Massaker in Paris am 23. August (text: Théodore de Bèze) Anonymus (16th cent.) Claude Le Jeune (1528/30 –1600) 4 Lauda à 3: Chi vol seguir la guerra 2.38 Psaume LXVII à 3 2 Dieu nous soit doux et favorable 3.45 Giovanni Animuccia (1520 –1571) (text: Théodore de Bèze) 5 Lauda à 4: Gia fu presa da te 3.39 Jacques Mauduit (1557–1627) Giovanni Pierluigi da Palestrina (1525–1594) Psaume CI à 4 Messa “Ut re mi fa sol la” à 6 & 7 3 Pardon et justice il me plaît de chanter 5.54 6 Agnus Dei 7.39 (text: Jean-Antoine de Baïf) 2 III. PROFANE ET SACRÉ DANS LE MILIEU HUGUENOT Secular and sacred music from the Huguenot circle Weltliche und geistliche Musik aus dem Umkreis der Hugenotten Paschal de L’Estocart (1539 –after 1584) Guillaume Costeley (1530 –1606) 7 Peccantem me quotidie (motet à 4) 6.39 10 Noblesse gist au coeur du vertueux 10.40 8 Le monde un jour contre (chanson à 4) Vertu faché (chanson à 4) 3.33 Claude Le Jeune Jean Servin (1530 –1596) 11 Cigne je suis de candeur 6.07 Psalm XV à 8 (chanson en vers mesurés à 3 & 5) 9 Stellata coeli (text: George Buchanan) 4.01 12 Povre cœur entourné 5.46 (chanson à 5) huelgas ensemble paul van nevel 3 cantus: Axelle Bernage, Michaela Riener, Sabine Lutzenberger alto/Alt: Witte Maria Weber tenor: Achim Schulz, Adriaan De Koster, Bernd Oliver Fröhlich, Matthew Vine bass: Tim Scott Whiteley, Guillaume Olry Annelies Decock, Jérôme van Waerbeke, violin/Violine · Lies Wyers, viola da gamba · Matthieu Lusson, violone Paul van Nevel, direction/Leitung www.huelgasensemble.be 4 Total time: 65.09 Cover painting: The Story of David, painted tabletop, 1534 (oil on panel), Beham, Hans Sebald (1500-50) / Louvre, Paris, France / Peter Willi / Bridgeman Images · Booklet photos: © DG Art Projects Warsaw/Philharmonic (pp.4, 5) · © Alidoor Dellafaille (p.5) · Artwork: Christine Schweitzer, Cologne Recording: September 23–24, 2016, Monasterium PoortAckere, Gent, Belgium Recording producer, balance engineer, editing & mastering: Markus Heiland P & g 2017 Sony Music Entertainment Germany GmbH 5 Die Klangwelt der Hugenotten Martin Luther (1483–1546) hatte die optimistischste Sicht auf die Musik, Welt. Übersetzungen ins Niederländische, Deutsche und zahlreiche weitere die für ihn als „ancilla theologiae“ – als „Dienerin der Theologie“ – galt. In Sprachen (darunter das Osmanisch-Türkische) erschienen bald, musi kalische der Liturgie blieb er dabei der Tradition verhaftet, indem mehrstimmige Bearbeitungen jeglicher Besetzung und Stilrichtung wurden komponiert. und instrumentale Kompositionen auch in lateinischer Sprache erhalten blieben, brachte aber den volkssprachlichen Gemeindegesang als Neuerung Poetikreform und Genfer Psalter ein. Dabei wurden die Melodien nicht nur neu komponiert, sondern Die stilistische Bandbreite der Psalmbearbeitungen ist beträchtlich und reicht aus ver schiedenen, auch weltlichen Quellen adaptiert. Johannes von vielstimmigen, komplex-polyphonen Motetten zum contrapunctus simplex Calvin (1509–1564) ist in einer mittleren Position zu sehen: (einem schlichten Satz Note gegen Note) und allen denkbaren Mischformen Überzeugt von der Macht der Musik, den Inhalt eines dazwischen. Der contrapunctus-simplex-Satz, der später als Vorbild für den Textes zu verstärken und zu vertiefen, jedoch protestantischen Kantionalsatz diente, hat seine Wurzeln in der humanistischen gleich zeitig genauso überzeugt von ihrem zer- Odenvertonung, deren Prinzipien Textverständlichkeit, syllabische Deklamation, störerischen Potential, reglementierte er die korrekte Skansion des Textes sowie Setzweise Note gegen Note mit den An- liturgische Musik streng. sprüchen an reformierte geistliche Musik in Einklang standen. Die Sphären 1539 veröffentlichte Calvin in Straßburg anonym den des reformierten Psalmengesangs und der sogenannten „musique mesurée ersten Psalter, Aulcuns pseaulmes et cantiques mys en à l’antique“ (Musik in antiken Versmaßen) überschnitten sich in einem chant Johannes. Die Calvin Texte stammten überwiegend von dem französi- Zirkel humanistisch inspirierter Komponisten und Dichter in Paris, nämlich schen Hofdichter Clément Marot (1496–1544). In diesem frühen der Académie de Poésie et de Musique um Jean-Antoine de Baïf (1532–1589), Sta- dium waren Psalmparaphrasen am Hof noch wohlgelitten. der einen Psalter invers mesurés schuf (Pardon et justice von Jacques Mauduit), 1562 erschien schließlich der vollständige Psalter, Les Pseaumes mis en und die Dichtergruppe der Pléiade um Pierre de Ronsard (1524–1585), mit rime francoise par Clement Marot & Theodore de Beze, mit zwischen 30.000 der vor allem Claude Goudimel in Verbindung stand. In diesem Umfeld be- und 50.000 gedruckten Exemplaren alleine im ersten Jahr ein ungeheurer wegte sich auch Guillaume Costeley, Hofkomponist und Musiklehrer des Kind- Erfolg. Obwohl der bald allgemein so genannte Genfer Psalter angesichts Königs Charles IX. (1550–1574). Er galt als führender Chanson-Komponist einer europa weit verbreiteten und zunächst Konfessionen übergreifenden seiner Generation (Noblesse gist au cœur). Es zeigt sich in der Geschichte Begeisterung für Psalmdichtung nicht alleine stand, setzte er sich durch und immer wieder, dass gerade künstlerisch orientierte Milieus häufig konfessionell erlebte eine erstaunliche Verbreitungs- und Rezeptionsgeschichte auf der ganzen gemischt waren, so waren Costeley, Baïf und Ronsard keine Protestanten. 46 Claude Goudimel, selbst Opfer der Bartholomäusnacht in Lyon, widmete handlung gesehen wird. Obwohl das „Programmheft“ zum Dankgottes- sich drei Mal dem Genfer Psalter und schuf Bearbeitungen zwischen contra- dienst in Rom die Namen der aufgeführten Komponisten nicht be- punctus simplex und hochvirtuoser Motette (Dieu nous soit doux et favorable). kanntgibt, ist Palestrina als führender und stilbildender Komponist Claude LeJeunes vielfältige Psalmbearbeitungen – hier Psalm 67 aus dem der katholischen Erneuerung eine nahe liegende Wahl. Sein dreistimmigen Gesamtpsalter Pseaumes de David – zeigen, wie auch sein Zeitgenosse Giovanni Animuccia ist ebenfalls unter die Re- weltliches Werk (Cigne je suis de candeur; Povre cœur) den Einfluss der Academie formkomponisten zu rechnen. Er brachte aus seiner de Poésie et de Musique und belegen den engen Zusammenhang zwischen florentinischen Heimat die Lauda nach Rom (Gia Genfer Psalter, musique mesurée à l’antique und Poetikreform. In diesen fu presa da te), eine Liedgattung aus der mittel- Zusammen hang gehört auch der lateinische Reimpsalter von George Bucha nan alterlichen Tradition der Laudesi (Betbru- (1506–1582) in antiken Metren, von Jean Servin in komplexe Poly phonie derschaften), die im Laufe des 16. Jahr- von zwei bis acht Stimmen ausgearbeitet (Te nostra carmina, Stellata coeli). hunderts mehrstimmig wurde und Claude Goudimel Nach dem Schrecken der Bartholomäusnacht ging die Produktion von Psalter- Eingang zwar nicht in die Messe, basierter Dichtung und Komposition jedoch spürbar zurück. Als späte Er- aber doch in paraliturgische Gottes- scheinung 1583 veröffentlichte Paschal de L’Estocart noch einen Gesamt- dienstformen fand. Der schlichte Stil der psalter im motettischen Stil (hier vertreten durch die Motette Peccantem Laude, der volkssprachliche Text und der me quotidie und die Chanson Le monde un jour contre Vertu faché). homophone Satz passten zum Zeitgeschmack Als hauptsächlicher, im späteren Verlauf mythologisch überhöhter Exponent (Chi vol seguir la guerra). der nachtridentinischen Kirchenmusik gilt Giovanni Pierluigi da Palestrina, in dessen Stil eine Synthese zwischen polyphoner Kunst und klarer Textbe- Judith Haug (gekürzte Fassung) 57 The Ear of the Huguenots Martin Luther (1483–1546) held the most optimistic view of music, which man Empire, appeared very quickly, leading in turn to musical adaptations he regarded as the ancilla theologiae: the “handmaid of theology”. In terms involving all manner of resources and reflecting all manner of different styles. of the liturgy he remained bound by tradition, retaining the Latin language for polyphonic and instrumental compositions, but introducing the vernacular Poetry reform and the Genevan Psalter for congregational singing. This was an important innovation. The melodies These reworkings of the psalms cover a remarkably wide range of styles, for these settings were in some cases newly composed and in other cases from complex polyphonic motets to simple counterpoint, note against note, adapted from various other sources, including secular sources. John Calvin and all conceivable forms in between. Simple counterpoint, which was later (1509–64) may be seen as occupying a midway position: convinced of the to be the model for the Protestant cantional style, has its roots in settings of power of music to increase and deepen the meaning of a text, he was equally Humanist odes, the guiding principles of which were the intelligibility and convinced of music’s destructive potential, and so he drew up strict rules correct scansion of the text, syllabic word-setting and a note-for-note setting, for liturgical music. all of
Load more

Recommended publications
  • Le Sieur De Machy and the French Solo Viol Tradition
    Le Sieur de Machy and the French Solo Viol Tradition Shaun Kam Fook Ng This thesis is presented for the degree of Master of Arts of The University of Western Australia School of Music 2008 ii Abstract During the late seventeenth century in France, the viol was beginning to emerge as one of the most important musical instruments of the day. French luthiers had created the quintessential French viol, which allowed violists in France to make their mark on viol playing, both as performers and teachers. So fervent was this enterprise that players soon formed cliques, creating two opposing schools of viol playing. One of the main protagonists who is the focus of this thesis, De Machy, led one of these schools. Although we are fully aware of this historical dichotomy, it is widely assumed that De Machy’s rivals were the eventual victors of this conflict, and thus have become the model for modern violists to emulate. This has, however, encouraged modern violists to completely disregard the efforts of De Machy, which, as this thesis shall demonstrate, are as important as those of his contemporaries. Chapter 1 discusses De Machy’s place in modern scholarship, giving readers an overall view of the kinds of biases and prejudices that currently exist. It also serves to act as a brief collation and analysis of modern writings that discuss De Machy. Chapter 2 provides us with a historical account of the viol in France, giving special emphasis to solo viol playing. It also traces the evolution of musical style and playing technique as well as the development of the instrument within its social role.
    [Show full text]
  • 16Th Century
    16th century notes towards the end of the piece are deliberate, and won’t seem so bad if you play them well? In bars 115 and 117 Cherici reproduces the notes as Mudarra had them, but I EDITIONS wonder if there is a case for changing them to match the rest of the sequence from bars 111 to 122, if only in a footnote. Anthology of Spanish Renaissance Music In three of the Fantasias by Mudarra the player is required for Guitar: to use the “dedillo” technique – using the index finger to Works by Milán, Narváez, Mudarra, Valderrábano, Pisador, play up and down like a plectrum. Of the nine pieces from Fuenllana, Daça, Ortiz Enriquez Valderrábano’s Silva de Sirenas (1547), three are Transcribed by Paolo Cherici marked “Primero grado”, i.e. easiest to play. Diego Pisador is Bologna: Ut Orpheus, 2017 CH273 less well known than the other vihuelists, perhaps because accid his Libro de musica de vihuela (1552) contains pages and his well-chosen anthology comprises solo music pages of intabulations of sacred music by Josquin and for the vihuela transcribed into staff notation others. However, there are some small-scale attractive for the modern guitar, and music for the viola da pieces of which Cherici picks five including a simple setting T of La Gamba called Pavana muy llana para tañer. The eight gamba with SATB grounds arranged for two guitars. For the vihuela pieces the guitar must have the third string tuned pieces from Miguel de Fuenllana’s Orphenica Lyra (1554) a semitone lower to bring it into line with vihuela tuning.
    [Show full text]
  • Viol in Oxford Music Online Oxford Music Online
    14.3.2011 Viol in Oxford Music Online Oxford Music Online Grove Music Online Viol article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/29435 Viol [viola da gamba, gamba] (Fr. viole ; Ger. Gambe ; It. viola , viola da gamba ). A bowed string instrument with frets; in the Hornbostel-Sachs system it is classified as a bowed lute (or fiddle). It is usually played held downwards on the lap or between the legs (hence the name ‘viola da gamba’, literally ‘leg viol’). It appeared in Europe towards the end of the 15th century and subsequently became one of the most popular of all Renaissance and Baroque instruments and was much used in ensemble music ( see CONSORT and CONTINUO ). As a solo instrument it continued to flourish until the middle of the 18th century. In 18th- and 19th-century American usage the term BASS VIOL was applied to a four-string instrument of the violin family. 1. Structure. During its history the viol was made in many different sizes: pardessus (high treble), treble, alto, small tenor, tenor, bass and violone (contrabass). Only the treble, tenor and bass viols, however, were regular members of the viol consort. The pardessus de viole did not emerge until the late 17th century, and the violone – despite its appearance in the 16th century – was rarely used in viol consorts. The alto viol was rarely mentioned by theorists and there is some doubt as to how often it was used. Two small bass instruments called ‘lyra’ and ‘division’ viols were used in the performance of solo music in England ( see LYRA VIOL and DIVISION VIOL ).
    [Show full text]
  • When the Choir Sings out of Tune of Vierne Guy Weitz
    Founded A.D. 1874 by John Singenber9'er SOLOS IN THE LIGHT OF THE CATHOLIC LITURGY WHEN THE CHOIR SINGS OUT OF TUNE ANALYSIS OF SOME ORGAN WORKS OF VIERNE QUESTIONS AND ANSWERS GUY WEITZ-COMPOSER CHAlDEAN CHURCH IN CHICAGO APRIL 1936 No.4 Entered as second class mat.. ter, October 20, 1931, at the Post Office at Boston, Mass., under the Act of March 3, 1879. Formerly, published in St. ar4t <!Tattilia Francis, Wisconsin. Now issued Monthly Magazine of Catholic Church and School Music monthly, except in July. Subscription: $3 per year, pay.. able in advance. Single copies Vol. 63 April, 1936 No.4 SOc. Honorary Editor OTTO A. SINGENBERGER Managing Editor WILLIAM ARTHUR REILLY Business and Editorial Office 100 Boylston St., Boston, Mass. Contributors • REV. LUDWIG BONVIN, S.}. Buffalo, N. Y. DOM ADELARD BOUVILL.. IERS, O.S.B., Belmont, N. C. V. REV. GREGORY HUGLE, IN THIS ISSUE O.S.B., Conception, MO- REV. CARLO ROSSINI, OPPICE NOTES 156' Pittsburgh, Pa. REV. J. LEO BARLEY, Baltimore, Md. SOLOS IN THE LIGHT OF CATHOLIC LITURGY REV. JEAN RIBEYRONt San Francisco, Calif. By Roland Boisvert 159 REV. F. T. WALTER, St. Francis, Wise. REV. JOSEPH VILLANI, S. C., WHEN THE CHOIR SINGS OUT OF TUNE­ San Francisco, Cal. SOME CAUSES AND CURES REV. P. H. SCHAEFERS, Cleveland, Ohio. By Clifford Roberts 161 REV. H. GRUENDER, S.J., St. Louis, Mo. ANALYSIS OF SOME OF LOUIS VIERNE'S SR. M. CHERUBIM, O.S.F. Milwaukee, Wise. ORGAN WORKS SR. M. GISELA, S.S.N.D.• By Dom Adelard Bouvilliers 165 Milwaukee, Wise.
    [Show full text]
  • MUSIC in the RENAISSANCE Western Music in Context: a Norton History Walter Frisch Series Editor
    MUSIC IN THE RENAISSANCE Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE RENAISSANCE Richard Freedman Haverford College n W. W. NORTON AND COMPANY Ƌ ƋĐƋ W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4 W.
    [Show full text]
  • Chansons Polyphoniques Françaises
    1/23 Data Chansons polyphoniques françaises Thème : Chansons polyphoniques françaises Origine : RAMEAU Domaines : Musique Autre forme du thème : Polyphonies françaises Notices thématiques en relation (2 ressources dans data.bnf.fr) Termes reliés (2) Airs de cour Chansons françaises Documents sur ce thème (28 ressources dans data.bnf.fr) Livres (26) La chanson de Debussy à , Aix-en-Provence : Bookelis La chanson polyphonique , Marielle Cafafa, Paris : Ravel , 2018 française au temps de l'Harmattan , impr. 2017 (2018) Debussy, Ravel et Poulenc (2017) Songs, scribes, and society , Jane Elise Alden, New Allegorical play in the Old , Sylvia Jean Huot, Stanford (2010) York (N.Y.) : Oxford French motet (Calif.) : Stanford University University Press , 2010 (1997) press , 1997 De Guillaume Dufay à , Ignace Bossuyt, Paris : Hexachord, Mensur und , Christian Berger, Stuttgart Roland de Lassus Cerf ; Bruxelles : Racine , Textstruktur : F. Steiner , 1992 (1996) 1996 (1992) Die Chansons Johannes , Clemens Goldberg, Laaber The Partbooks of a , George Karl Diehl, Ann Ockeghems : Laaber-Verlag , 1992 Renaissance merchant Arbor ; London : University (1992) (1978) microfilms international , 1978 data.bnf.fr 2/23 Data The chanson in the humanist era. - [5] A Chanson rustique of the early Renaissance : Bon (1976) temps. - [21] (1967) Aspects littéraires de la , Georges Dottin, Lille : La Chanson française au XVIe siècle. - [33] chanson musicale à Faculté des lettres et (1960) l'époque de Marot sciences humaines , 1964 (1964) Le "Livre des vers du luth", , André Verchaly A Chanson sequence, by Fevin. - [18] manuscrit d'Aix-en- (1903-1976), Aix-en- (1957) Provence. Préface de Paul Provence : la Pensée Juif universitaire , [1958] (1958) Notes sur quelques chansons normandes du manuscrit Vaudeville, vers mesurés et , Kenneth Jay Levy, [S.l.] : de Bayeux.
    [Show full text]
  • Senza Continuo
    Sen za Co ntin uo Margaret Litt le viole de ga mbe ACD2 2612 ATM A Classique Sen za Co ntin uo JEAN DE SAINTE-COLOMBE (XVII e siècle) TOBIAS HUME (v.1570-1645) Trois préludes en ré mineur [MANUS ., S.D.] 7:14 Pièces pour viole seule [THE FIRST BOOK OF AYRES , LONDRES , 1605 ] 1 • Prélude 1:43 13 • A Pavin 5:25 2 • Prélude 2:47 14 • Tickle me quickly 1:09 3 • Prélude 2:44 15 • Touch me lightly 1:25 16 • Good again 5:17 LE SIEUR DE MACHY (XVII e siècle) Suite de pièces pour viole en sol majeur [PIÈCES DE VIOLE , PARIS , 1685 ] 14:46 MARIN MARAIS (1656-1728) 4 • Prélude 0:48 Suite de pièces pour viole en ré majeur 20:09 5 • Allemande 2:46 [PREMIER LIVRE DE PIÈCES DE VIOLE , PARIS , 1686 ] 6 • Courante 2:00 17 • Prélude 2:09 7 • Sarabande 2:44 18 • Fantaisie 1:18 8 • Gigue 1:48 19 • Allemande 3:14 9 • Gavotte en Rondeau 1:14 20 • Courante 2:13 10 • Chaconne 3:26 21 • Sarabande 2:21 22 • Gigue 2:04 AURELIO VIRGILIANO (v.1540-v.1600) 23 • Chaconne 6:50 11 • Ricercata per Viola Bastarda [IL DOLCIMELO , MANUS ., 1600 ] 3:52 GIOVANNI BASSANO (1558-1617) 12 • Ricercata Quarta 2:38 Margaret Litt le [RICERCATE , PASSAGI ET CADENTIE PER POTERSI ESSERCITAR NEL DIMINUIR , VENISE , 1585 ] viole de ga mbe / viola da gamba es origines de la viole de gambe remontent madrigaux à la mode, toutes sortes de passaggi et diminutions virtuoses, point de départ de Lquelque part en Espagne à la fin du XV e siècle.
    [Show full text]
  • Samedi 2 Décembre 2000 - 18 H 00 Galerie Basse Du Château De Versailles
    UNE SÉANCE À L’ACADÉMIE DE POÉSIE ET DE MUSIQUE SOUS LE RÈGNE D’HENRY IV Samedi 2 Décembre 2000 - 18 h 00 Galerie basse du château de Versailles Centre de Musique Baroque de Versailles Établissement public du musée et du domaine national de Versailles 5 PROGRAMME Claude Le Jeune Première Fantaisie (ca1530-1600) Dans sa plaisante demeure... Scavolae Sammanthismae Opera tum Poetica, tum eaque soluta oratione scripsit, Paris, 1616, II, P. 18-19 ; Scevole de Sainte Marte, Eloge des hommes illustres (traduit du latin en français par G. Colletet), 1644, p. 47-48 Claude Le Jeune Plantons le mai Michael Praetorius Danse (1571-1621) Charles par la Grâce de Dieu roy de France Lettre patente et réglement de l’Académie de Musique et de Poésie de Baïf et Thibault Jacques Mauduit Voyci le verd et beau may (1557-1627) Charles par la Grâce de Dieu roy de France (suite) Claude Le Jeune Voyci le verd et beau may Charles par la Grâce de Dieu roy de France (fin) Michael Praetorius Danse Au Roi Charles IX de Pierre de Ronsard Préface sur la musique de Pierre de Ronsard Clément Janequin Qui voudras voir (ca1485-1558) Les anciens qui ont traité de la musique... Le Printemps, Claude Le Jeune, Paris, 1603, préface Claude Le Jeune Revecy venir du printans Michael Praetorius Danse 6 Des modes de chanter, selon les Anciens, la Dorienne, la Phrygienne, La Lydienne, l’Iästienne, l’Eolienne Le Solitaire Second, Pontus de Tyard Estranges effects de puissance de Musique. D’Alexandre et de Timothée Le Solitaire Second, Pontus de Tyard (suite) Claude Le Jeune Cygne je suis Effets de la Musique Militaire Le Solitaire Second, Pontus de Tyard (suite) Les Cretes.
    [Show full text]
  • Dubuisson: a Study of His Music
    OR/ vot/0 DUBUISSON: A STUDY OF HIS MUSIC FOR SOLO BASS VIOL THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Stuart G. Cheney, B.M. Denton, Texas December, 1988 Copyright by Stuart G. Cheney 1988 iii TABLE OF CONTENTS Page LIST OF TABLES. ....... .f .& ." .t .s .0 . 0V LIST OF EXAMPLES ... ... ."."."." . vi Chapter . 1.... I. INTRODUCTION .. II. LIFE AND SOURCES . .L 5 Biography . ... Sources . III. THE VIOL IN FRANCE . .!. ." . !. " . 20 Before 1660 . E r ." ." .r 20 ." ." ." .w Tunings .". !.! . ." 26 .s ." .a ." Repertoire . .'.... ." ." ." 28 ." ." .s 1660-1685: Dubuisson' S Era ." ." ." 33 s .s ." After 1685 . 37 IV. THE SUITE IN FRANCE . ." . 42 .42....".".".". Before 1600 . 1600-1663 . .. .. .48 V. DUBUISSON'S MUSIC . Dubuisson's Suites . ." ." ." ." ." . ." 48 ." ." Preludes and Fantasies ." ." ." ." ." .r ." 51 . .r ." ." Allemandes . .a ." ." ." ." 62 ." ." ." Courantes . ." .s .r . 74 ." ." ." ." . Sarabandes . ." ." 85 ." ." ." Gigues . ." ." ." . 94 .r ." Optional Movements . ." . ." ." 103 ." Variation Movements . 110 VI. SUMMARY..... ." .# ." .f ." ." ." . ." . 118 APPENDICES A. INSTRUCTIONS FROM LC FOL. 90r . .i .! 120 B. TRANSCRIPTIONS OF SIXTEEN TABLATURE PIECES, .0 124 BIBLIOGRAPHY . ............ 154 iv z m LIST OF TABLES Table Page I. Concordances . ...... .......--.. 19 II. Type and Number of Dubuisson's Movements . 51 III. Dubuisson's Preludes and Fantasies . 61 IV. The Allemandes of Dubuisson . 72 V. The Allemandes of Dubuisson's Contemporaries 73 VI. The Courantes of Dubuisson ................. 83 VII. The Courantes of Dubuisson's Contemporaries . 85 VIII. The Sarabandes of Dubuisson . 93 IX. The Sarabandes of Dubuisson's Contemporaries . 94 X. The Gigues of Dubuisson . 102 XI. The Gigues of Dubuisson's Contemporaries .
    [Show full text]
  • The Lute in the Netherlands in the Seventeenth Century
    The Lute in the Netherlands in the Seventeenth Century The Lute in the Netherlands in the Seventeenth Century: Proceedings of the International Lute Symposium Utrecht, 30 August 2013 Edited by Jan W.J. Burgers, Tim Crawford and Matthew Spring The Lute in the Netherlands in the Seventeenth Century: Proceedings of the International Lute Symposium Utrecht, 30 August 2013 Edited by Jan W.J. Burgers, Tim Crawford and Matthew Spring This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Jan W.J. Burgers, Tim Crawford, Matthew Spring and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9075-8 ISBN (13): 978-1-4438-9075-5 Dedicated to the memory of Louis Peter Grijp 1954-2016 TABLE OF CONTENTS Introduction: The Lute in the Netherlands in the 17th Century ........................................ ix JAN BURGERS, TIM CRAWFORD and MATTHEW SPRING I. The Lute in the Dutch Golden Age: The Social and Cultural Contexts Psalms for the Lute in the Dutch Republic and Elsewhere .......................... 2 LOUIS PETER GRIJP † Cultural Entrepreneurship in the Dutch Republic of the Early 17th Century: The Case of the Lutenists Joachim van den Hove and Nicolas Vallet ..................................................................................... 39 SIMON GROOT Leiden, an International Lute Centre in the Golden Age ..........................
    [Show full text]
  • 2 79 Fi, Not ; O,Ell-,A-7
    2 79 fi, Not ; O,ell-,a-7.. t TlE. FRENCH BALLET DE COUR AND ITS PREDECESSORS, 1400-1650 THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by 197051 John Arch Bice, B. Mus. Longview, Texas January, 1952 197054 TABLE OF CONTENTS Chapter Page 1. TE ORIGINSOFBALLET ............ 1 The Development of Ballet in France up to and during the Fifteenth Century The Development of Ballet in Italy up to and during the Sixteenth Century The Development of Ballet in France during the Sixteenth Century II. THE BALLET-*COMIUEDE LA REINE ....... 43 III. THE SEVENTEENTH CENTURY BALLET DE COUR . 74 The Ballet-mascarades The Ballet-melodramatique The Ballet-entrdes Characteristics of the Ballet de Cour BIBLIOGRAPHY . 103 INDEX OF DANCES USED . , * . 108 iii CHAPTER I THE ORIGINS OF BALLET The history of theatrical entertainments during the Middle Ages is extremely difficult to trace. This diffi- culty arises in part from the restrictions imposed by the Roman Church on anything considered mundane, Records that may have been kept were either destroyed or have not been found. It is to be remembered that in this first chapter a period of nearly five hundred years is covered (eleventh to sixteenth century), and therefore only essential facts can be treated. Since no music to these earliest entertainments has been preserved, the present discussion must confine itself to the spectacular and literary elements. Furthermore, it must be remembered that to draw accurate lines of demarcation between any two forms of entertainment is an impossibility because one tends to merge with the other.
    [Show full text]
  • M Javelinotc M Javelinot C Muh-Seeö Zhah-Vuh-Lee-No C
    M javelinot C M Javelinot C muh-seeö zhah-vuh-lee-no C (character in the opera Dialogues des Carmélites [deeah-lawg day kar-may-leet] — Dialogues of the Carmelites [KAR-muh- l§tss]; music by Francis Poulenc [frah6-seess pôô-lah6k]; libretto by Poulenc after Georges Bernanos [zhawrzh behr-nah-nawss]) Ma C Ma, Yo-Yo C MAH, YO-yo C (the Chinese family name is Ma, but the musician is often known as Yo-Yo Ma in the United States) Ma belle mere requiem C A ma belle-mère (requiem) C ah mah bell-mehr (ray-küee-emm) C (song by Gioachino Rossini [johah-KEE-no rohss-SEE-nee]) Ma belle rebelleC O ma belle rebelle C o mah bell ruh-bell C (Oh My Pitiless Beauty) C (song by Charles Gounod [sharl gôô-no]) Ma bergere ma lumiere C Ma bergère, ma lumière C mah behr-zhehr, mah lü-meeehr C (song by Jehan Planson [zhehah6 plah6-soh6]) Ma bravi ma benone C Ma bravi! Ma benone! C mah BRAH-vee! mah bay-NO-nay! C (excerpt from the opera Il barbiere di Siviglia [eel bar-beeAY-ray dee see-VEE-leeah] — The Barber of Seville [suh-VILL]; music by Gioachino Rossini [johah-KEE-no rohss-SEE-nee]; libretto by Cesare Sterbini [chay-ZAH-ray stayr-BEE-nee] after Pierre-Augustin Caron de Beaumarchais [peeehr-o-güss-teh6 kah-raw6 duh bo-mar-sheh] and Giuseppe Petrosellini [joo- ZAYP-pay pay-tro-zayl-LEE-nee]) Ma dallorrido divulsa C Ma dall’orrido divulsa C mah dahl-lohr-REE-doh dee-VOOL-sah C (aria from the opera Un ballo in maschera [oon BAHL-lo een MAH-skay-rah] — A Masked Ball; music by Giuseppe Verdi [joo-ZAYP-pay VAYR-dee]; libretto by Antonio Somma [ahn- TAW-neeo SOHM-mah]
    [Show full text]