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Paper for Tivoli
Edinburgh Research Explorer Giovanni Maria Nanino and the Roman confraternities of his time Citation for published version: O'Regan, N 2008, Giovanni Maria Nanino and the Roman confraternities of his time. in G Monari & F Vizzacarro (eds), Atti e memorie della Società Tibertina di storia e d’arte: Atti della Giornata internazionale di studio, Tivoli, 26 October 2007. vol. 31, Tivoli, pp. 113-127. Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Atti e memorie della Società Tibertina di storia e d’arte Publisher Rights Statement: © O'Regan, N. (2008). Giovanni Maria Nanino and the Roman confraternities of his time. In G. Monari, & F. Vizzacarro (Eds.), Atti e memorie della Società Tibertina di storia e d’arte: Atti della Giornata internazionale di studio, Tivoli, 26 October 2007. (Vol. 31, pp. 113-127). Tivoli. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 GIOVANNI MARIA NANINO AND THE ROMAN CONFRATERNITIES OF HIS TIME NOEL O’REGAN, The University of Edinburgh Giovanni Maria Nanino was employed successively by three of Rome’s major institutions: S. -
The Call of Rome
CORO CORO Hail, Music from Mother of the Redeemer the Sistine Chapel The Call of Rome “This is state-of-the-art Renaissance singing by “Sixteen, Sistine: a choir and conductor it’s a match made Allegri · Josquin who have done more in heaven.” than most to deepen our awareness, and the times Anerio · Victoria enjoyment, of music.” cor16088 classic fm cor16147 The Earth Resounds Palestrina: Volume 8 “The Gloria opens with “Yet another some truly delicate breathtaking singing, and the clear, example of restricted harmonies choral singing.” evoke a performance of the scotsman monumental majesty from The Sixteen.” cor16097 bbc music magazine cor16175 To find out more about The Sixteen, concert tours, and to buy CDs The Sixteen HARRY CHRISTOPHERS visit www.thesixteen.com cor16178 he power and wealth of the Catholic church in the piece has evolved over the centuries into the version audiences know and love today. TRenaissance times centred on Rome. The papacy was Although born around the same time as Allegri, Anerio died relatively young, but he supreme, and naturally it attracted the greatest composers left us a wealth of splendid double-choir motets. His setting ofRegina caeli laetare and from all over Europe. This album concentrates on that call the Litaniae Beatissimae Virginis Mariae are brilliantly crafted and, at times, break with to Rome which was irresistible for the Flemish composer tradition with just a hint of the Baroque. I think many of you listening will also be surprised Josquin and the Spaniard Victoria. Here they sit alongside by the contrapuntal skills that Allegri displays in the Gloria of his Missa In lectulo meo – Felice Anerio and Gregorio Allegri who spent their lives a far cry from the simplicity of the Miserere. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
Presentation of the Jubilee of the Sick and Disabled
N. 160609d Thursday 09.06.2016 Presentation of the Jubilee of the sick and disabled Vatican City, 9 June 2016 – This morning in the Holy See Press Office a press conference was held to present the Jubilee of the sick and disabled (10 to 12 June). The panel was composed of Archbishop Rino Fisichella, president of the Pontifical Council for Promoting New Evangelisation, Bishop José Octavio Ruiz Arenas and Msgr. Graham Bell, respectively secretary and under-secretary of the same dicastery. The Jubilee will begin tomorrow, Friday, with the usual pilgrimage from Castel Sant'Angelo to the Holy Door. Later, at 5 p.m., in the Church of Santa Maria in Vallicella, there will be a catechesis addressed to all and in particular to the deaf and blind, given by the Redemptorist Fr. Cyril Axelrod, also deaf and blind and known throughout the world, especially in China, the United Kingdom and South Africa, for his full commitment to disability issues. The catechesis will be made available in International Sign Language (ISL), in Italian sign language and in tactile sign language. On Saturday 11 there will be two special moments. The first, of a religious nature, will be an appointment in various churches in the city centre from 10 to 11 am., for catechesis offered in various languages and methods of communication, entitled "Mercy, source of joy". In the Church of Sant'Andrea della Valle there will be, in Italian, a symbolic catechesis with a dramatisation of the Gospel reading and various simple gestures to accompany prayer, which will enable those with intellectual disabilities to participate. -
Download/Autori C/ Rmcastagnetti-Bonifica.Pdf)
QUELLEN UND FORSCHUNGEN AUS ITALIENISCHEN ARCHIVEN UND BIBLIOTHEKEN BAND 93 QFIAB 93 (2013) QFIAB 93 (2013) QUELLEN UND FORSCHUNGEN AUS ITALIENISCHEN ARCHIVEN UND BIBLIOTHEKEN HERAUSGEGEBEN VOM DEUTSCHEN HISTORISCHEN INSTITUT IN ROM BAND 93 DE GRUYTER QFIAB 93 (2013) Redaktion: Alexander Koller Deutsches Historisches Institut in Rom Via Aurelia Antica 391 00165 Roma Italien http://www.dhi-roma.it ISSN 0079-9068 e-ISSN 1865-8865 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2014 Walter de Gruyter GmbH, Berlin/Boston Druck: Hubert & Co. GmbH & Co. KG, Göttingen ? Gedruckt auf säurefreiem Papier Printed in Germany www.degruyter.com QFIAB 93 (2013) V INHALTSVERZEICHNIS Jahresbericht 2012 .................. VII–LXIII Michael Borgolte, Carlo Magno e la sua colloca- zione nella storia globale . ............... 1–26 Marco Leonardi, Gentile Stefaneschi Romano O. P. (†1303) o Gentile Orsini? Il caso singolare di un Domenicano nel Regnum Siciliae tra ricostruzione storica e trasmissione onomastica .......... 27–48 Brigide Schwarz, Die Karriere Leon Battista Alber- tis in der päpstlichen Kanzlei . .......... 49–103 Christiane Schuchard, Die Rota-Notare aus den Diözesen des deutschen Sprachraums 1471–1527. Ein biographisches Verzeichnis . .......... 104–210 Heinz Schilling, Lutero 2017. Problemi con la sua biografia . ....................... 211–225 Andrea Vanni, Die „zweite“ Gründung des Theati- nerordens . ....................... 226–250 Alessia Ceccarelli, Tra sovranità e imperialità. Genova nell’età delle congiure popolari barocche (1623–1637) ....................... 251–282 Nicola D’Elia, Bottais Bericht an den Duce über seine Deutschlandreise vom September 1933 . -
Gregorio Allegri (1582-1652) Opere Inedite Dai Manoscritti Della Collectio Altæmps Unpublished Works from the Manuscripts of the Collectio Altæmps
TC 550007 Gregorio Allegri (1582-1652) Opere inedite dai manoscritti della Collectio Altæmps Unpublished works from the manuscripts of the Collectio Altæmps Musica Flexanima Ensemble Cantus: Andrea Caroline Manchée, Paola Ronchetti Altus solo: Simona Braida Altus: Maria Alessandra Astolfi, Simona Braida Countertenor / Tenor: Daniele Pellegrini Tenor: Fabrizio Giovannetti Bassus: Giuliano Mazzini, Andrea Robino-Rizzet Violin I: David Simonacci Violin II: Giancarlo Ceccacci Viola: Gianfranco Russo Bass violin and Viola da gamba: Renato Criscuolo Lute: Giovanni Bellini Lute and Theorbo: Simone Colavecchi Organ: Fabiola Lekaji, Alessio Pacchiarotti Transcriptions from the original manuscripts, performance edition and conductor: Fabrizio Bigotti R Testi / Texts 1 TC 550007 2. Salutis humanae sator Missa «In Lectulo Meo» Salutis humanae sator 6. Kyrie Jesu voluptas cordium orbis redempti conditor Kyrie eleison. et casta lux amantium. Christe eleison. Kyrie eleison. Qua victus es clementia ut nostra ferres crimina mortem subires innocens 7. Gloria a morte nos ut tolleres. Gloria in excelsis Deo Perrumpis infernum chaos Et in terra pax hominibus bonae voluntatis. vinctis catenas detrahis Laudamus te, benedicimus te, victor triumpho nobilis Adoramus te, glorificamus te: ad dexteram patri sedes. Gratias agimus tibi Propter magnam gloriam tuam. Te cogat indulgentia Domine Deus, rex coelestis, ut damna nostra sarcias Deus pater omnipotens. tuique vultus compotes Domine fili unigenite Jesu Christe: dites beato lumine. Domine Deus, agnus dei, filius patris: Qui tollis peccata mundi, miserere nobis: Tu dux ad astra et semita Qui tollis peccata mundi, sis meta nostris cordibus, Suscipe deprecationem nostram: sis lachrymarum gaudium, Qui sedes ad dextram Patris, miserere nobis: sis dulce vitae premium. Quoniam tu solus sanctus, tu solus Dominus, Tu solus altissimus, Jesu Christe: Cum sancto spiritu in gloria Dei patris. -
Aftennatb.:Ofassisi • • • • • •• Dom Ermin Vitry
Aftennatb.:ofAssisi ••••• •• Dom Ermin Vitry Plamsol1gRhythm •••••• Dam Gregory Murray VOLUME 84, NO. 1 FEBRUARY, 1957 ~5 CAECILIA Published four times a year, February, May, August and November. Application for second-class privileges is pending at Omaha, Nebr. Subscription price-$3.00 per year; $.5.00 for two years. All articles for publication must be in the hands of the editor, P. O. Box 1012, Omaha 1, Nebraska, 30 days before month of publication. Business Manager: Norbert Letter Change of address should be sent to the circulation manager: Paul Sing, P. O. Box 1012, Omaha 1, Nebraska Postmaster: Form 3579 to Caecilia, P. O. Box 1012, Omaha 1, Nebr. TABLE OF CONTENTS Editorials -------------- --- --- ---_- --- -_-- ----_____________ _____ ____ _______ ____ ____ __ ________________ _ 5 Plainsong Rhythm-Dom Gregory Murray, O.S.B.--________________________________ 10 The Music Collections of the Vatican Library-Rev. Richard Schuler____ 25 Aftermath of Assisi-Dom Ermin Vitry, O.S.B.-_______________________________________ 29 Modern Music: Let's Face It!-Fidelis Smith, O.F.M.______________________________ 32 Ramblings of a Church Organist-Paul Koch____________________________________________ 44 Materials for the Restored Holy Week Ceremonies- Rev. Richard Schuler -_ _ 48 Music at Grailville-Eleanor Walker ---- --- --- _--- -- - - ---- 51 Shepherd's Hey and Alleluya-Sheila Kaye Smith____________________________________ 54 Little Litany for the Marian Year-C. C. Gould________________________________________ 55 Review (Masses) --------------------------------------------------------____________________________________ -
Gr. 4 to 8 Study Guide
Toronto Symphony TS Orchestra Gr. 4 to 8 Study Guide Conductors for the Toronto Symphony Orchestra School Concerts are generously supported by Mrs. Gert Wharton. The Toronto Symphony Orchestra’s School Concerts are generously supported by The William Birchall Foundation and an anonymous donor. Click on top right of pages to return to the table of contents! Table of Contents Concert Overview Concert Preparation Program Notes 3 4 - 6 7 - 11 Lesson Plans Artist Biographies MusicalGlossary 12 - 38 39 - 42 43 - 44 Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 45 - 56 57 - 58 59 - 60 The Toronto Symphony Orchestra gratefully acknowledges Pierre Rivard & Elizabeth Hanson for preparing the lesson plans included in this guide - 2 - Concert Overview No two performances will be the same Play It by Ear! in this laugh-out-loud interactive February 26-28, 2019 concert about improvisation! Featuring Second City alumni, and hosted by Suitable for grades 4–8 Kevin Frank, this delightfully funny show demonstrates improvisatory techniques Simon Rivard, Resident Conductor and includes performances of orchestral Kevin Frank, host works that were created through Second City Alumni, actors improvisation. Each concert promises to Talisa Blackman, piano be one of a kind! Co-production with the National Arts Centre Orchestra Program to include excerpts from*: • Mozart: Overture to The Marriage of Figaro • Rimsky-Korsakov: Scheherazade, Op. 35, Mvt. 2 (Excerpt) • Copland: Variations on a Shaker Melody • Beethoven: Symphony No. 3, Mvt. 4 (Excerpt) • Holst: St. Pauls Suite, Mvt. 4 *Program subject to change - 3 - Concert Preparation Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance. -
Improvisation in Vocal Contrapuntal Pedagogy
Performance Practice Review Volume 18 | Number 1 Article 3 Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Centuries Valerio Morucci California State University, Sacramento Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Morucci, Valerio (2013) "Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Centuries," Performance Practice Review: Vol. 18: No. 1, Article 3. DOI: 10.5642/perfpr.201318.01.03 Available at: http://scholarship.claremont.edu/ppr/vol18/iss1/3 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]. Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Centuries Valerio Morucci The extemporaneous application of pre-assimilated compositional paradigms into musical performance retained a central position in the training of Medieval and Renais- sance musicians, specifically within the context of Western polyphonic practice.1 Recent scholarship has shown the significance of memorization in the oral transmission of plainchant and early polyphony.2 Attention has been particularly directed to aspects of orality and literacy in relation to “composition” (the term here applies to both written and oral), and, at the same time, studies correlated to fifteenth- and sixteenth-century contra- puntal theory, have mainly focused on the works of single theorists.3 The information we 1. -
Contrapuntally Crafted, Harmonically Eloquent : Corelli's Sonatas and the Compositional Process in the Late 17Th Century
Contrapuntally crafted, harmonically eloquent : Corelli's sonatas and the compositional process in the late 17th century Autor(en): Sanna, Alberto Objekttyp: Article Zeitschrift: Basler Jahrbuch für historische Musikpraxis : eine Veröffentlichung der Schola Cantorum Basiliensis, Lehr- und Forschungsinstitut für Alte Musik an der Musik-Akademie der Stadt Basel Band (Jahr): 37 (2013) PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-868876 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte -
Texas Arly Music Project Daniel Johnson, Artistic Director E
TEXAS ARLY MUSIC PROJECT DANIEL JOHNSON, ARTISTIC DIRECTOR E It’s About Time: Companions (Arrangements & Added Polyphony by D. Johnson, except as noted) Music Direction Daniel Johnson Producers Meredith Ruduski & Daniel Johnson Story & Script Daniel Johnson with Meredith Ruduski Stage Director Phil Groeschel Choreography & Movement Toni Bravo Lighting Christopher Brockett & Wendy Brockett Stage manager Jacob Primeaux Supertitles Ethan Thyssen ACT I OVERTURE ❦ SCENE 1: ONCE UPON A TIME THERE WAS ... THERE WAS ... AND YET THERE WAS NOT IN A DREAMSCAPE ❦ SCENE 2: AN IBERIAN WEDDING GATHERING, MARCH 31, 1492 THE DEPORTATION ❦ INTERMISSION ❦ ACT II OVERTURE ❦ SCENE 1: PROMENADE INTERNATIONAL A PLEASING MELANCHOLY ❦ SCENE 2: CAFÉ DES AMANTS: FRANCE ❦ SCENE 3: ONCE UPON A TIME THERE WAS ... THERE WAS ... WASN’T THERE? EPILOGUE TEXAS EARLY MUSIC PROJECT IT’S ABOUT TIME: COMPANIONS Special Guests: Ryland Angel, tenor & alto Toni Bravo, choreographer & dancer Jordan Moser, dancer Mary Springfels, treble viol Peter Walker, bass The Singers (Featured Soloists ***) Erin Calata, mezzo-soprano *** Robbie LaBanca, tenor *** Cristian Cantu, tenor Sean Lee, alto *** Cayla Cardiff, soprano *** David Lopez, tenor Heath Dill, bass Hannah McGinty, soprano Rebecca Frazier-Smith, alto Gitanjali Mathur, soprano *** Jenny Houghton, soprano *** Susan Richter, alto Daniel Johnson, tenor *** Meredith Ruduski, soprano *** Eric Johnson, bass Jenifer Thyssen, soprano *** Jeffrey Jones-Ragona, tenor *** Shari Alise Wilson, soprano *** Morgan Kramer, bass Gil Zilkha, bass *** Sara Schneider, reader The Orchestra Elaine Barber, harp Josh Peters, oud & percussion Bruce Colson, Baroque violin Stephanie Raby, tenor viol & Baroque violin Victor Eijkhout, recorders Susan Richter, recorders Therese Honey, harp John Walters, bass viol, vielle, & mandolin Scott Horton, archlute, vihuela, & guitar Shari Alise Wilson, piano Jane Leggiero, bass viol Please visit www.early-music.org to read the biographies of TEMP artists. -
Liszt and Christus: Reactionary Romanticism
LISZT AND CHRISTUS: REACTIONARY ROMANTICISM A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Robert Pegg May 2020 Examining Committee Members: Dr. Maurice Wright, Advisory Chair, Music Studies Dr. Michael Klein, Music Studies Dr. Paul Rardin, Choral Activities Dr. Christine Anderson, Voice and Opera, external member © Copyright 2020 by Robert Pegg All Rights Reserved € ii ABSTRACT This dissertation seeks to examine the historical context of Franz Lizt’s oratorio Christus and explore its obscurity. Chapter 1 makes note of the much greater familiarity of other choral works of the Romantic period, and observes critics’ and scholars’ recognition (or lack thereof) of Liszt’s religiosity. Chapter 2 discusses Liszt’s father Adam, his religious and musical experiences, and his influence on the young Franz. Chapter 3 explores Liszt’s early adulthood in Paris, particularly with respect to his intellectual growth. Special attention is given to François-René, vicomte de Chateaubriand and the Abbé Félicité de Lamennais, and the latter’s papal condemnation. After Chapter 4 briefly chronicles Liszt’s artistic achievements in Weimar and its ramifications for the rest of his work, Chapter 5 examines theological trends in the nineteenth century, as exemplified by David Friedrich Strauss, and the Catholic Church’s rejection of such novelties. The writings of Charles Rosen aid in decribing the possible musical ramifications of modern theology. Chapter 6 takes stock of the movements for renewal in Catholic music, especially the work of Prosper Gueranger and his fellow Benedictine monks of Solesmes, France, and of the Society of Saint Cecilia in Germany.