DOCSLIB.ORG

Jacob Van Eyck's Ultimate Mastery

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Published by the American Recorder Society, Vol. XLIV, No. 5 The world’s most dependable and chosen recorders are also the most playful that students are sure to enjoy. Sour Apple Green, Cotton Candy Blue and Bubble Gum Pink colors add that extra fun for students beginning their music education. Yamaha 20 Series Recorders are specially designed for beginning students and are easy to play in every range. They offer the ideal amount of air resistance for effortless control and an accuracy of intonation that provides a rich, full sound. Playful with serious quality Yamaha is known for, Yamaha Recorders are the thoughtful choice for teachers that care. ©2004 Corporation of America www.yamaha.com Yamaha Antonio de Cabezon: "Himnos" for ATTB recorders / viols. Intermediate A set of four fantasias on religious tunes. The pieces have a meditative quality with rich polyphonic invention, and no part is stuck with trying to stay awake during an endless cantus firmus! Item# TR00042 Score & Parts $5.50 EDITOR’S ______NOTE ______ ______ ______ ______ Volume XLV, Number 1 January 2004 Announced by all the trumpets of FEATURES the sky, arrives the snow.”--Ralph Waldo “Fantasia & Echo” . 14 Emerson Jacob van Eyck’s Ultimate Mastery, The cover artist for this issue of AR, Jeff by Thiemo Wind Jurich (also the artist for the March 2003 Setting a Name to Music . 21 AR cover), seems to have substituted a A work commissioned as a gift to ARS members for recorder for the trumpet—and that idea 4 Play-the-Recorder Month 2004, fits nicely with my frame of mind, as I look by Adam Knight Gilbert out from my office at snow that covers well the dry grass and brown earth underneath. Looking back like Janus at last year, DEPARTMENTS we will find more appearances in this issue Advertiser Index . 44 by the November 2003 AR cover—as Book Reviews . 40 Rebecca Arkenberg examines more Chapters & Consorts . 35 closely the music in the image (page 6), 14 and readers write of their reactions to the Classified . 44 “Vanitas,” in Response (page 25). With this first issue of a new year, we Compact Disc Reviews . 42 welcome a new department editor whose Education . 12 writings will focus on education (page 12). Music Reviews. 27 Jody Miller teaches band at McCleskey Middle School in Marietta, GA, and On the Cutting Edge. 37 applied recorder and early music at Emory Opening Measures . 13 36 University in Atlanta. In previous AR President’s Message . 3 issues, you have read of three performanc- es at the Boston Early Music Festival by the Q&A . 10 McCleskey Middle School Recorder ON THE COVER: Response . 25 Ensemble, which he directs, plus his own Illustration Tidings . 4 ARS Great Recorder Relay performances. by Jeff Jurich Recorder residency at Sitka, new recorder orchestra to debut, Questions, comments or suggestions can ©2004 be e-mailed to him at <Recorder96@aol Flanders Recorder Consort joins New Amsterdam Trio .com>, or mailed to 3970 Norman Road, Stone Mountain, GA 30083. It took several people on two conti- nents to bring you the article in this issue GAIL NICKLESS, Editor (page 14) by Van Eyck expert Thiemo Contributing Editors Wind, whom we are happy to have as an FRANCES BLAKER, Beginners; JOHN H. BURKHALTER III, Book Reviews AR contributor. Van Eyck also shows up in THOMAS CIRTIN, Compact Disc Reviews; JODY L. MILLER, Education this issue’s Music Reviews (page 27). CONSTANCE M. PRIMUS, Music Reviews; CAROLYN PESKIN, Q & A TIMOTHY BROEGE, 20th-Century Performance Using the same methods, two recorder LISA SCHMIDT, Design Consultant ensembles are joining forces as an interna- tional sextet of virtuosi to produce con- Advisory Board certs, as described in a report from Rachel Martha Bixler • Valerie Horst • David Lasocki Begley (page 8). Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy It won’t have to be that much of a Kenneth Wollitz production to participate in Play-the- Copyright © 2004 American Recorder Society, Inc. Recorder Month—unless you choose to Visit AR On-Line at <www.recorderonline.org> American Recorder (ISSN: 0003-0724), 5554 S. Prince, Suite 128, Littleton, CO 80120, is published bimonthly (January, March, May, September, and make it a production and submit it for the November) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for a subscription to American Recorder. Articles, reviews, and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine does not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles may be typed or submitted on PC discs (Word “Most Creative” event contest. It’s super for Windows 95, or RTF preferred) or as an attachment to or text in an e-mail message. They should be for the exclusive consideration of AR, unless otherwise noted. Photographs may be sent as color or black-and-white prints, or 300-dpi TIFF images. Advertisements may be sent in the PDF or EPS format, with fonts to have a newly-commissioned work embedded. Editorial office: Gail Nickless, Editor, American Recorder, 7770 South High St., Centennial, CO 80122; 303-794-0114 (phone & fax); by Adam Gilbert for the celebration, <[email protected]>. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), and September 15 (November). Books for review: Editorial office. Music for review: Constance M. Primus, Box 608, Georgetown, CO 80444. Recordings for ARS Fantasia super (page 21). review: Thomas Cirtin, 8128 N. Armstrong Chapel Road, Otterbein IN 47970. Cutting Edge: Editorial office. Chapter newsletters and other reports: Editorial office. Advertising: Steve DiLauro, LaRich & Associates, Inc., 15300 Pearl Road, Suite 112, Strongsville, OH 44136-5036; 440-238-5577; 440-572-2976 (fax); <[email protected]>. Advertising Closings: December 1 (January), February 1 (March), April 1 (May), August 1 (September), and October 1 Gail Nickless (November). Postmaster: Send address changes to American Recorder Society, Box 631, Littleton, CO 80160-0631. Periodicals postage paid at Littleton, CO, and at an additional mailing office. ARS Chapters ALABAMA ILLINOIS Long Island: Margaret H. Brown Birmingham: Ken Kirby Chicago: Kim Katulka (708-484-4578) (516-765-1867) (205-822-6252) Chicago-West Suburban: New York City: Michael Zumoff ARIZONA Christopher Culp (630-690-7304) (212-662-2946) AMERICAN Rochester: Frank Amato Phoenix: Donald Harrington LOUISIANA (602-956-1344) (716-225-6808) Baton Rouge: John Waite RECORDER Tucson: Scott Mason (520-721-0846) Rockland: Lorraine Schiller (225-925-0502) (845-429-8340) ARKANSAS SOCIETY New Orleans: Chris Alderman Westchester: Carol B. Leibman Aeolus Konsort: Don Wold INC (504-862-0969) (914-241-3381) . (501-666-2787) Honorary President Bella Vista: Barbara McCoy MARYLAND NORTH CAROLINA ERICH KATZ (1900-1973) (479-855-6477) Northern Maryland: Dawn Culbertson Triangle: Cindy Osborne Honorary Vice President CALIFORNIA (410-235-2354) (919-851-1080) INIFRED AEGER W J Central Coast: MASSACHUSETTS OHIO Statement of Purpose Margery Seid (805-474-8538) Boston: Laura Conrad (617-661-8097) East Bay: Kathy Cochran Greater Cleveland: Edith Yerger The mission of the American Recorder Society is Recorders/Early Music Metro-West (440-826-0716) (510-483-8675) Boston: Sheila Beardslee to promote the recorder and its music by Monterey Bay: Sandy Ferguson Toledo: Marilyn Perlmutter developing resources and standards to help (831-462-0286) (978-263-9926) (419-531-6259) people of all ages and ability levels to play and North Coast: Kathleen Kinkela-Love Worcester Hills: Madeline Browning study the recorder, presenting the instrument (707-822-8835) (508-842-5490) OREGON Oregon Coast: Corlu Collier to new constituencies, encouraging increased Orange County: Doris Leffingwell MICHIGAN career opportunities for professional recorder (949-494-9675) (541-265-5910) Sacramento: Robert Foster Ann Arbor: David Goings performers and teachers, and enabling and PENNSYLVANIA (916-391-7520) or (734-663-6247) supporting recorder playing as a shared Elsa Morrison (916-929-6001) Kalamazoo: Wade Lawrence Philadelphia: Dody Magaziner social experience. Besides this journal, San Diego County: Richard Chang (269-353-9885) (215-886-2241) or ARS publishes a newsletter, a personal study (760-726-8699) Metropolitan Detroit: Joanne Ford (215-844-8054) program, a directory, and special musical San Francisco: Florence Kress Claudia Novitzsky (248-548-5668) Pittsburgh: Helen Thornton editions. Society members gather and play (415-731-9709) Northwinds Recorder Society: (412-781-6321) together at chapter meetings, weekend and South Bay: Joanna Woodrow Janet Smith (231-347-1056) RHODE ISLAND summer workshops, and many ARS-sponsored (408-266-3993) Western Michigan: Marilyn Idsinga Southern California: Lynne Snead Rhode Island: David Bojar events throughout the year. In 2000, the (231-894-8415) (401-944-3395) Society entered its seventh decade of (661-254-7922) MINNESOTA service to its constituents. COLORADO TENNESSEE Twin Cities: Jean Fagerstrom Boulder: Rose Marie Terada Greater Knoxville: Ann Stierli (612-722-4967) Board of Directors (303-666-4307) (865-637-6179) Alan Karass, President Colorado Springs: Jeanne LeClercq MISSOURI Nashville: Janet Epstein Carolyn Peskin, Vice President; (719-473-0714) St. Louis: Norm Stoecker (615-297-2546) Chair, Scholarship; Co-Chair, Education Denver: Anne Chetham-Strode (636-532-3255) Marilyn Perlmutter,
Recommended publications
  • 559288 Bk Wuorinen US

    559288 Bk Wuorinen US

    INNER CHAMBERS Royal Court Music of Louis XIV Couperin • Hotteterre • Lully • Marais • Montéclair Les Ordinaires Leela Breithaupt, Traverso Erica Rubis, Viola da gamba David Walker, Theorbo Inner Chambers Inner Chambers Royal Court Music of Louis XIV Royal Court Music of Louis XIV Introduction préluder sur la flûte traversière (‘The Art of Preluding on Jacques-Martin Hotteterre (1674–1763): Michel Pignolet de Montéclair the Flute’). In the manual, Hotteterre teaches his pupils L’Art de préluder sur la (1667–1737): Musical life at the court of Louis XIV was highly ritualised step by step how to improvise or write a prelude in various flûte traversière (1719) Brunetes anciènes et modernes (1725) and filled with dazzling formal public displays. However, keys, and ends with two preludes composed by the 1 Prelude in D major 4:20 $ Je sens naître en mon coeur 1:56 the Sun King also enjoyed music in his more private author. As one of the king’s employed chamber spheres. This debut album reveals the intimate sound musicians, Hotteterre was well respected both as a flautist François Couperin (1668–1733): Deuxième Concert – Suite (1720) 14:59 world that Louis XIV embraced in his inner chambers at and composer. the Palaces of Versailles and Fontainebleau. The music The French Suite was a very popular musical form Premier Concert (1722) 11:03 % Prélude 1:41 reflects the court’s aesthetic preferences: lavish display of which was typically comprised of several dance 2 Prélude 2:18 ^ Allemande 1:49 ornaments and affluence paired with strict hierarchies, movements including Allemande, Courante, Sarabande, 3 Allemande 1:59 & Courante à l’italienne 1:18 love of allegory, and an affected nostalgia for pastoral life Gavotte, Gigue and Menuet, among others.
  • The Baroque Cello and Its Performance Marc Vanscheeuwijck

    The Baroque Cello and Its Performance Marc Vanscheeuwijck

    Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f.
  • Henry Purcell Jeremiah Clarke

    Henry Purcell Jeremiah Clarke

    SON OF ENGLAND HENRY PURCELL JEREMIAH CLARKE LES CRIS DE PARIS LE POÈME HARMONIQUE VINCENT DUMESTRE MENU › TRACKLIST › TEXTE FRANÇAIS › ENGLISH TEXT › DEUTSCH KOMMENTAR › SUNG TEXTS SON OF ENGLAND JEREMIAH CLARKE (1674-1707) ODE ON THE DEATH OF HENRY PURCELL 1 I. OVERTURE 3’30 2 II. COME, COME ALONG FOR A DANCE AND A SONG 2’30 3 III. MR. CLARKE’S CEBELL 1’32 4 IV. HOLD, SHEPHERDS, HOLD! 3’48 5 V. NO MORE THIS LING’RING BLOW 2’03 6 VI. OH, DISMAL DAY! 5’58 7 VII. AND SEE, APOLLO HAS UNSTRUNG HIS LYRE 1’42 8 VIII. MR. PURCELL’S FAREWELL 1’26 9 IX. ALL’S UNTUNED, BUT YOND DIVINER SPHERE 2’53 HENRY PURCELL (1659-1695) FUNERAL SENTENCES FOR THE DEATH OF QUEEN MARY II 10 I. THE QUEEN’S FUNERAL MARCH SOUNDED BEFORE HER CHARIOT 2’46 11 II. MAN THAT IS BORN OF A WOMAN 2’27 12 III. IN THE MIDST OF LIFE 1’31 13 IV. YET, O LORD, MOST MIGHTY 2’44 14 V. CANZONA 2’09 15 VI. THOU KNOWEST, LORD 2’30 › MENU WELCOME TO ALL THE PLEASURES Z 339 16 I. SYMPHONY 1’59 17 II. WELCOME TO ALL THE PLEASURES 1’58 18 III. HERE THE DEITIES APPROVE 4’44 19 IV. WHILE JOYS CELESTIAL 3’12 20 V. BEAUTY, THOU SCENE OF LOVE 3’08 21 VI. IN A CONSORT OF VOICES 1’06 TOTAL TIME: 55’44 KATHERINE WATSON SOPRANO NICHOLAS TAMAGNA ALTO JEFFREY THOMPSON TENOR GEOFFROY BUFFIÈRE BASSE LES CRIS DE PARIS LE POÈME HARMONIQUE VINCENT DUMESTRE LES CRIS DE PARIS GEOFFROY JOURDAIN ANNE-MARIE BEAUDETTE, ADÈLE CARLIER*, ELLEN GIACONE, CÉCILE LARROCHE, MARIE PICAUT, AMANDINE TRENC SOPRANOS CÉCILE BANQUEY, ANNE-LOU BISSIERES, JOSQUIN GEST, STÉPHANIE LECLERCQ, WILLIAM SHELTON ALTO S ALBAN DUFOURT,
  • Agricola Und Das Verkehrte. Zum Umgang Mit Satztechnischen Idiosynkrasien in Musik Des Späten 15

    Agricola Und Das Verkehrte. Zum Umgang Mit Satztechnischen Idiosynkrasien in Musik Des Späten 15

    Agricola und das Verkehrte Zum Umgang mit satztechnischen Idiosynkrasien in Musik des späten 15. Jahrhunderts Markus Roth ABSTRACT: Die vorliegende, vom Kyrie I der Missa Sine Nomine ausgehende Untersuchung wid- met sich bemerkenswerten Eigenarten der Kompositionstechnik Alexander Agricolas (1446–1506), dem schon die unmittelbaren Nachfahren bescheinigten, Dinge »auf ungewohnte Weise zu wen- den« (Hulrich Brätel 1536). Tatsächlich zeigen sich bestimmte Paradoxien im Tonsatz des späten 15. Jahrhunderts bei Agricola auf besonders eigentümliche Weise. Die Studien von Fabrice Fitch (2005; 2007) vertiefend, diskutiert der Beitrag die Frage, auf welche Weise Agricola seinerzeit Regeln ›verkehrte‹ und sich über satztechnische Normen hinwegsetzte. In diesem Zusammenhang wird der Begriff der ›mi contra fa-Latenz‹ vorgeschlagen, um den grundsätzlichen Problemen der Musica ficta zu begegnen. This essay, starting with the Kyrie I of the Missa Sine Nomine, is dedicated to some remarkable compositional idiosyncracies of Alexander Agricola (1446–1506), of whom his contemporaries attested the talent of “turning things in an unexpected manner” (Hulrich Brätel 1536). Certain pa- radoxes in the formal composition of late 15th century music appear in Agricola’s work in a strange fashion. Drawing on and furthering the studies of Fabrice Fitch (2005; 2007), this paper reveals how Agricola breaks with compositional conventions. To frame this analytical discussion, I propose the term “mi contra fa-Latenz” to explain some of the fundamental problems of musica
  • Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy

    Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy

    MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake.
  • APPENDIX 1 Inventories of Sources of English Solo Lute Music

    APPENDIX 1 Inventories of Sources of English Solo Lute Music

    408/2 APPENDIX 1 Inventories of sources of English solo lute music Editorial Policy................................................................279 408/2.............................................................................282 2764(2) ..........................................................................290 4900..............................................................................294 6402..............................................................................296 31392 ............................................................................298 41498 ............................................................................305 60577 ............................................................................306 Andrea............................................................................308 Ballet.............................................................................310 Barley 1596.....................................................................318 Board .............................................................................321 Brogyntyn.......................................................................337 Cosens...........................................................................342 Dallis.............................................................................349 Danyel 1606....................................................................364 Dd.2.11..........................................................................365 Dd.3.18..........................................................................385
  • Trumpet, Cornet, Flugelhorn GRADE 5 from 2017

    Trumpet, Cornet, Flugelhorn GRADE 5 from 2017

    Trumpet, Cornet, Flugelhorn GRADE 5 from 2017 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 Bizet Chanson bohème. Great Winners, arr. Lawrance (Brass Wind: brass edition; B piano accomp. published & b separately) 2 J. Clarke The Prince of Denmark’s March. No. 9 from Old English Trumpet Tunes, Book 1, arr. Lawton (OUP) 3 Debussy The Girl with the Flaxen Hair. Winning Matrix for Trumpet, arr. Lawrance (Brass Wind: & brass edition; piano accomp. published separately) 4 John Frith Caber Dance ¸ Shining Brass, Book 2 (ABRSM: / brass edition; B piano accomp. published ˝ & ? b 5 David A. Stowell Jam Bouree ˛ separately) 6 Gibbons Coranto (ending at Fig. D). No. 2 from Gibbons Keyboard Suite for Trumpet, arr. Cruft (Stainer & Bell 2588: B b/C edition) 7 Hummel Romanze. Time Pieces for Trumpet, Vol. 3, arr. Harris and Wallace (ABRSM) 8 Schubert Ave Maria. Trumpet in Church, arr. Denwood (Emerson E283) 9 Verdi Triumphal March (from Aida). Onstage Brass for Trumpet, arr. Calland (Stainer & Bell H430) LIST B 1 Tom Davoren Lindy Hop! ¸ Shining Brass, Book 2 (ABRSM: / brass edition; B piano accomp. published ˝ & ? b 2 Peter Meechan Final Thought ˛ separately) 3 Barry Gray Thunderbirds. Great Winners, arr. Lawrance (Brass Wind: brass edition; B piano accomp. published & b separately) 4 Joplin Solace: A Mexican Serenade. Concert Repertoire for Trumpet, arr. Calland (Faber) 5 Bryan Kelly Miss Slight (Spinster of this Parish): No. 4 from Whodunnit – Suite for Trumpet (Stainer & Bell H442) 6 McCabe P. B. Blues: No. 3 from Dances for Trumpet (Novello NOV120530) 7 Prokofiev March (from The Love for Three Oranges).
  • Instruments of the Orchestra

    Instruments of the Orchestra

    INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings.
  • ACET Junior Academies'

    ACET Junior Academies'

    ACET Junior Academies’ Scheme of Work for music Year 5 Unit 1.1: A Musical Masque About this unit: This unit of work is linked to the History scheme of work HT 1.1 Post 1066 Study: The Tudors. It is a starting point for exploration into Tudor music. In it children will begin to learn about Tudor Dance music, in particular the Pavan as a popular Tudor dance. Children will identify its characteristic musical features and rhythms before attempting to dance the Pavan and performing their own Pavan melody over a drone accompaniment. Children will then move on to learn about traditional Tudor musical instruments before exploring Tudor songs and madrigal-style songs with a ‘fa, la, la, la’ refrain. Where they will compose their own lyrics to a madrigal melody. Fanfares are explored briefly before children work towards putting on a Tudor style banquet/concert combining elements of all the musical learning in to a class performance. Unit structure National Curriculum objectives: This unit is structured around six sequential music enquiries: 1. What is a Pavan? Links to previous and future National Curriculum 2. How do we perform a Pavan? units/objectives 3. What do Tudor instruments sound like? KS2 4. What is a Madrigal? ● Listen with attention to detail and recall sound with 5. What is a Fanfare? increasing aural memory. BBC Ten Pieces 6. A musical masque – banquet/concert. ● Appreciate and understand a wide range of high-quality live and recorded music drawn from different traditions and from great composers and musicians. ● Play and perform in solo ensemble contexts, using their voices and playing musical instruments with increasing accuracy, fluency, control and expression.
  • Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 Email: Orders@Guildmusic.Com

    Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 Email: [email protected]

    Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 email: [email protected] CD-No. Title Composer/Track Artists GMCD 7101 Canticum Novum My soul, there is a country - Charles H.H.Parry; All Wisdom cometh from the Lord - Philip The Girl Choristers, The Boy Choristers and The Lay Vicars of Moore; Tomorrow shall be my dancing day - John Gardner; Psalm Prelude (2nd Set, No.1) - Salisbury Cathedral directed by Richard Seal / David Halls Organ / Herbert Howells; Quem vidistis pastores dicite - Francis Poulenc; Videntes stellam - Francis Martin Ings Trumpet Poulenc; The old order changeth - Richard Shepard; Even such is time - Robert Chilcott; Paean - Kenneth Leighton; When I survey the wondrous Cross - Malcolm Archer; Magnificat (Salisbury Service) - Richard Lloyd; A Hymn to the Virgin - Benjamin Britten; Pastorale - Percy Whitlock; Psalm 23 (Chant) - Henry Walford Davies; Love's endeavour, love's expense - Barry Rose; Ye Choirs of new Jerusalem - Richard Shepard GMCD 7102 Coronation Anthems & Hymns “Jubilant” Fanfare - Arthur Bliss; I was glad when they said unto me - Charles H.H. Parry; O The Choir of St Paul’s Cathedral directed by Barry Rose / Christopher taste and see - Ralph Vaughan Williams; Credo from the “Mass in G minor” - Ralph Vaughan Dearnley Organ Williams; Praise, my soul, the King of heaven - John Goss; Trumpet Tune f GMCD 7103 In Dulci Jubilo Ad Libitum/O Come, all ye faithful - Hark! the Herald-Angels Sing - Once in Royal David's city - - Festive & Christmas Music - Paul Plunkett Trumpets & Rudolf Lutz The First Nowell - Ding Dong! Merrily on High - Away in a Manger - Angels from the Realms Organ of Glory - Noël Op.
  • September 2007 Published by the American Recorder Society, Vol

    September 2007 Published by the American Recorder Society, Vol

    september 2007 Published by the American Recorder Society, Vol. XLVIII, No. 4 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com NEW FROM MAGNAMUSIC American Songs Full of Songs Spirit & Delight Fifteen pieces For TTB/SST freely arranged for The twenty lovely recorder trio, SAT, pieces in this by Andrew aptly named set Charlton. Classics demonstrate why like America, Michael East in Battle Hymn of the his time was Republic, America arguably one of the Beautiful, The the most popular Caisson Song, of the Elizabethan Columbia, the Gem composers. of the Ocean, The Marines Hymn, Chester, Complete edition from the original score, with Battle Cry of Freedom, All Quiet along the intermediate difficulty. 3 volumes. $8.95 each Potomac, I'm a Yankee Doodle Dandy, Vol. 1 ~ TTB Vol. 2 ~ TTB Vol. 3 ~ SST Marching through Georgia, and more! TR00059 TR00069 TR00061 Item No. JR00025 ~ $13.95 IN STOCK NOW! An inspiring and instructive guide for everyone who plays the recorder (beginner, intermediate, experienced) and wants to play more beautifully. The Recorder Book is written with warmth and humor while leading you in a natural, methodical way through all the finer points of recorder playing. From selecting a recorder to making it sing, from practicing effectively to playing ensemble, here is everything you need. This is a most enjoyable read, whether you are an amateur or an expert. The repertoire lists have been updated, out-of-print editions have been removed, and edition numbers have been changed to reflect the most recent edition numbering.
  • Cappella Pratensis Royal Exequies: Music for the Funeral of Philip the Fair

    Cappella Pratensis Royal Exequies: Music for the Funeral of Philip the Fair

    Williams College Department of Music Cappella Pratensis Royal Exequies: Music for the Funeral of Philip the Fair Part 1: Backdrop Lecture-Demonstration by M. Jennifer Bloxam and the Singers of Cappella Pratensis ***Intermission*** Part 2: Royal Exequies Procession to the Church Responsorium: Subvenite sancti Dei Plainsong from the Office for the Dead The Requiem Mass Introitus: Requiem eternam Pierre de la Rue (c.1460-1518) Kyrie Pierre de la Rue Graduale: Si ambulem Plainsong from the Mass for the Dead Tractus: Sicut cervus Pierre de la Rue Offertorium: Domine Jesu Christe Pierre de la Rue Sanctus Pierre de la Rue Agnus Dei Pierre de la Rue Communio: Lux eterna Pierre de la Rue Requiescat in pace Plainsong from the Mass for the Dead Motet: Delicta Juventutis Pierre de la Rue Final Prayers for Absolution Antiphon: Aperite mihi Plainsong from the Burial Liturgy Motet: Absolve quesumus, Domine Josquin des Prez (c.1450/55-1521) Saturday, February 22, 2014 8:00 p.m. Thompson Memorial Chapel Williamstown, Massachusetts Please turn off cell phones. No photography or recording is permitted. Cappella Pratensis Artistic leader: Stratton Bull Superius: Stratton Bull, Andrew Hallock Altus: Christopher Kale, Lior Leibovici Tenor: Olivier Berten, Peter de Laurentiis Bassus: Lionel Meunier, Pieter Stas Project collaborator: M. Jennifer Bloxam, Professor of Music,Williams College Fellow in Sacred Music, Worship, and the Arts, Yale Institute of Sacred Music Cappella Pratensis The Dutch-based vocal ensemble Cappella Pratensis – literally ‘Cappella des prés’– champions the music of Josquin des Prez and the polyphonists of the 15th and 16th centuries. The group combines historically informed performance practice with inven- tive programmes and original interpretations based on scholarly research and artistic insight.