DOCSLIB.ORG

De Un Libro De Música De Vihuela

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
De Un Libro De Música De Vihuela 35th SEASON Imaginario: de un libro de música de vihuela Armonía Concertada María Cristina Kiehr soprano Ariel Abramovich vihuela de mano Saturday 5 October 2019 Oak Bay United Church 2019-20 Concert Season Haydn, Beethoven, If Music be the Food of Love von Weber 11 January 2020 Saturday 8pm 26 October 2019 Saturday 8pm Alix Goolden Hall Alix Goolden Hall The Baltimore Consort (USA) Eric Hoeprich classical clarinet London Haydn Quartet (UK) The Four Seasons 22 February 2020 Saturday 8pm Corelli and the Alix Goolden Hall Roman School Concerto Köln (GERMANY) 23 November 2019 Saturday 8pm Shunske Sato violin Alix Goolden Hall Accademia Hermans (ITALY) Vivaldi in Paris Fabio Ciofini 14 March 2020 Saturday 8pm harpsichord and direction Alix Goolden Hall Martin Bernstein recorder (USA) Christmas Anna Marsh bassoon in Colonial Latin America Byron Schenkman harpsichord 21 December 2019 Saturday 8pm St. Andrew’s Cathedral (740 View St.) Plaisirs de la Chambre El Mundo (CALIFORNIA) 18 April 2020 Saturday 8pm Richard Savino Alix Goolden Hall guitar and direction Emma Hannan soprano Victoria Baroque (PACIFIC NORTHWEST) Soile Stratkauskas flute and direction Imaginario: de un libro de música de vihuela O dulce contemplación, a 4 Juan Vasquez (c.1500 – c.1560) Vos me matastes, a 3 Juan Vasquez Por una vez que mis oxos alcé, a 4 Adrian Willaert (1490 – 1562) "De mon triste des Plaisir” Jean Richafort (c.1480 – c.1547) Fantasia de "Mon triste" Francesco da Milano (1497 – 1543) O dolce vita mia, a 4 Adrian Willaert (1490 – 1562) Qué sentís coraçon mío, a 4 Juan Vasquez Ricercar Julio Segni da Modena (1498 – 1561) Chiare fresche et dolci acque, a 5 Jacques Arcadelt c.1504 – 1568) INTERMISSION Si de vos bien me aparto, a 5 Anónimo, Cancionero de Uppsala (pub. 1556). Se per colpa del vostro fiero sdegno, a 4 Jacques Arcadelt Se pur ti guardo, a 4 Adrian Willaert Anchor che col partir, a 4, Cipriano de Rore – Anonymous (Ms Castelfranco Veneto) Fantasia sobre el madrigal “Anchor che col partire” Anonymous (Ms Castelfranco Veneto) Si no os hubiera mirado, a 4 Juan Vasquez De los álamos vengo, madre, a 4 Juan Vasquez Quien dice que l'ausencia causa olvido, a 3 Juan Vasquez Duélete de mi, señora, a 3 Juan Vasquez 3 Texts and Translations O dulce contemplación ¡O dulce contemplación! Oh sweet contemplation! ¡O preciosa fantasía, Oh delightful fantasy, Que me muestras cada día You show me each day Una tan clara visión Such a clear vision Qu’es salud del alma mía! That is the health of my soul! Es tan grande la excelencia The excellence of your beautiful preeminence De tu linda preeminencia, Is so profound Que, por tu gracia escogida, That, by your select grace, Bivo yo de nueva vida, I live a new life, Después de muerto en ausencia. After dying in absence. GARCI SÁNCHEZ DE BADAJOZ, CANCIONERO GENERAL (VALENCIA, JORGE COSTILLA, 1514) Vós me matastes Vós me matastes, You killed me, Niña en cabello. Girl with the long hair. Vós me aveis muerto. You have killed me. Ribera de un río On the river bank Vi moca virgo. I saw the young virgin. Niña en cabello, Girl with the long hair, Vós me aveis muerto. You have killed me. ANONYMOUS (TRADITIONAL) Por una vez que mis ojos alcé Por una vez que mis ojos alcé For having raised my eyes dicen que yo lo maté. They said that I killed him. Ansí, vaya madre, Like that, come on mother, virgo a la veguilla, virgin of the field, como al caballero that gentleman no le di herida. I did not wound him Por una vez que mi ojos alcé For having raised my eyes dicen que yo lo maté. They said that I killed him. ANONYMOUS O dolce vita mia O dolce vita mia, che t’haggio fatto, O my sweet life, what have I done to you, che minacci ogn’ hor, con tue parole, to make you constantly threaten me, with your words, et io mi struggo come nev’ al sole. and I languish like snow in the sun. ANONYMOUS 4 Qué sentís, coraçon mío ¿Qué sentís, coraçon mío? What do you feel, my love? ¿No dezís Don’t you say Qué mal es el que sentís? What sickness you feel? ¿Qué sentistes aquel día, What did you feel that day, Quando a mi señora vistes, When you saw me, my lady, Que perdistes alegría You lost happiness Y el descanso perdistes? And you lost rest? Como a mí nunca bolvistes, As you never returned to me, ¿No dezís Don’t you say Qué mal es el que sentís? What sickness you feel? COMENDADOR ESCRIVÁ, CANCIONERO GENERAL, RECOPILADO POR HERNANDO DEL CASTILLO (VALENCIA, 1511) Chiare, fresche et dolci acque Chiare, fresche et dolci acque, Clear, sweet fresh water ove le belle membra where she, the only one who seemed pose colei che sola a me par donna; woman to me, rested her beautiful limbs: gentil ramo ove piacque gentle branch where it pleased her (con sospir’ mi rimembra) (with sighs, I remember it) a lei di fare al bel fiancho colonna; to make a pillar for her lovely flank: herba et fior’ che la gonna grass and flowers which her dress leggiadra ricoverse lightly covered, co l’angelico seno; as it did the angelic breast: aere sacro, sereno, serene, and sacred air, ove Amor co’ begli occhi il cor m’aperse: where Love pierced my heart with eyes of beauty: date udïenza insieme listen together a le dolenti mie parole extreme. to my last sad words. FRANCESCO PETRARCA, CANZONIERE, 126 5 Si de vos mi bien me aparto ¿Si de vos mi bien me aparto Goodness, if I abandon you, Que hare? what shall I do? Triste vida bivire. Mine will be a sad life. El bien tiene condicion Goodness has the condition De ser de todos querido, Of being loved by everyone. Si alguno lo a perdido Should one lose it, No le faltara passion, He will not be lacking in passion ¿Pues yo con tanta razon Goodness, if I abandon you, Que haré? what shall I do? Triste vida biviré. Mine will be a sad life. ANONYMOUS Se per colpa del vostro fiero sdegno Se per colpa del vostro fiero sdegno, Should, because of your proud disdain, il dolor che me affligge, the pain that afflicts me drag me, Madonna, mi trasporta al alta Stigge: Milady, down into the dark Styx: non havro dol del mio supplicio indegno, I shall feel no pain for that undeserved torture, né del eterno fuoco: nor for the eternal fire, ma di voi, che verret’ a simil loco. but rather for you, who will come down to such a place. Perché soventi in voi mirando fiso Because I’ve embedded in my memory, per virtù del bel viso by virtue of many stares, your beautiful face, pena non fia la giù che al cor mi tocchi, there won’t be suffering down there that could touch my heart, sol’ un tormento avrò, di chiuder gli occhi. — torment will only come when I close my eyes [and see you]. JACOPO SANNAZARO, RIME (NAPLES AND ROME, 1530) Se pur ti guardo Se pur ti guardo If I as much as look at you, Dolce anima mia my sweet soul Tu me ne trai You draw del peto il vivo core caro thesoro my living heart from my breast, dear treasure, Viso mio bello beautiful face. Deh non mi dar tanto martello O, do not give me so much a hammering, ch’io son pur tuo servitore for I am your servant. Deh non mi far morir O, do not let me die. O dolce anima mia. O my sweet soul. Si no os uviera mirado Si no os uviera mirado If I hadn’t looked at you Pluguier’a Dios que n’os viera; It would please God that I hadn’t seen you; Porque mi vida no fuera Because my life wasn’t Cativa de su cuidado. Lacking his care. Mas, pues os é conocido But, as I know you Solamente por quereros, Just by loving you, Quiero más quedar perdido I’d prefer to remain lost Que cobrado por no veros. Than be poorer for not having seeing you. 6 De los álamos vengo, madre, a 4 De los álamos vengo, madre, I come from the poplars, mother, de ver cómo los menea el aire. from seeing the breezes stir them. De los álamos de Sevilla, From the poplars of Seville, de ver a mi linda amiga. from seeing my sweet love, De los álamos vengo, madre, I come from the poplars, mother, de ver cómo los menea el aire. from seeing the breezes stir them. Quien dice que l’ausencia causa olvido Quien dize quel Ausencia causa Olvido He who says that absence causes forgetfulness Merece ser de todos olvidado. Deserves by all to be forgotten. El Verdadero y firme Namorado The only truly and firmly in love Está quando ‘sta ausente, mas perdido. Is, when absent, more at lost. Abiva la Memoria su Sentido. Memory enlivens his senses, La Soledad levanta su Cuydado. Solitude enhances his grief. Hallarse de su Bien tan apartado Being so distant from his beloved Haze su Dessear mas encendido. Inflames his desire the more. No sanan las Heridas en él dadas, The wounds given him are not healed Aun que cesse el Mirar que las causó, Even though the sight that caused them ceases, Si quedan en el Alma Confirmadas. For in his soul it was confirmed. Que si Uno ‘sta con muchas cuchilladas, For if one has many gashes Por que huya de quién le acuchilló Fleeing from the one who slashed, No por esso serán meior curadas.
Load more

Recommended publications
  • Digibooklet Co'l Dolche Suono
    Co‘l dolce suono Ulrike Hofbauer ensemble arcimboldo | Thilo Hirsch JACQUES ARCADELT (~1507-1568) | ANTON FRANCESCO DONI (1513-1574) Il bianco e dolce cigno 2:35 Anton Francesco Doni, Dialogo della musica, Venedig 1544 Text: Cavalier Cassola, Diminutionen*: T. Hirsch FRANCESCO DE LAYOLLE (1492-~1540) Lasciar’ il velo 3:04 Giovanni Camillo Maffei, Delle lettere, [...], Neapel 1562 Text: Francesco Petrarca, Diminutionen: G. C. Maffei 1562 ADRIANO WILLAERT (~1490-1562) Amor mi fa morire 3:06 Il secondo Libro de Madrigali di Verdelotto, Venedig 1537 Text: Bonifacio Dragonetti, Diminutionen*: A. Böhlen SILVESTRO GANASSI (1492-~1565) Recercar Primo 0:52 Silvestro Ganassi, Lettione Seconda pur della Prattica di Sonare il Violone d’Arco da Tasti, Venedig 1543 Recerchar quarto 1:15 Silvestro Ganassi, Regola Rubertina, Regola che insegna sonar de viola d’archo tastada de Silvestro Ganassi dal fontego, Venedig 1542 GIULIO SEGNI (1498-1561) Ricercare XV 5:58 Musica nova accomodata per cantar et sonar sopra organi; et altri strumenti, Venedig 1540, Diminutionen*: A. Böhlen SILVESTRO GANASSI Madrigal 2:29 Silvestro Ganassi, Lettione Seconda, Venedig 1543 GIACOMO FOGLIANO (1468-1548) Io vorrei Dio d’amore 2:09 Silvestro Ganassi, Lettione Seconda, Venedig 1543, Diminutionen*: T. Hirsch GIACOMO FOGLIANO Recercada 1:30 Intavolature manuscritte per organo, Archivio della parrochia di Castell’Arquato ADRIANO WILLAERT Ricercar X 5:09 Musica nova [...], Venedig 1540 Diminutionen*: Félix Verry SILVESTRO GANASSI Recercar Secondo 0:47 Silvestro Ganassi, Lettione Seconda, Venedig 1543 SILVESTRO GANASSI Recerchar primo 0:47 Silvestro Ganassi, Regola Rubertina, Venedig 1542 JACQUES ARCADELT Quando co’l dolce suono 2:42 Il primo libro di Madrigali d’Arcadelt [...], Venedig 1539 Diminutionen*: T.
    [Show full text]
  • High School Madrigals May 13, 2020
    Concert Choir Virtual Learning High School Madrigals May 13, 2020 High School Concert Choir Lesson: May 13, 2020 Objective/Learning Target: students will learn about the history of the madrigal and listen to examples Bell Work ● Complete this google form. A Brief History of Madrigals ● 1501- music could be printed ○ This changed the game! ○ Reading music became expected ● The word “Madrigal” was first used in 1530 and was for musical settings of Italian poetry ● The Italian Madrigal became popular because the emphasis was on the meaning of the text through the music ○ It paved the way to opera and staged musical productions A Brief History of Madrigals ● Composers used text from popular poets at the time ● 1520-1540 Madrigals were written for SATB ○ At the time: ■ Cantus ■ Altus ■ Tenor ■ Bassus ○ More voices were added ■ Labeled by their Latin number ● Quintus (fifth voice) ● Sextus (sixth voice) ○ Originally written for 1 voice on a part A Brief History of Madrigals Homophony ● In the sixteenth century, instruments began doubling the voices in madrigals ● Madrigals began appearing in plays and theatre productions ● Terms to know: ○ Homophony: voices moving together with the same Polyphony rhythm ○ Polyphony: voices moving with independent rhythms ● Early madrigals were mostly homophonic and then polyphony became popular with madrigals A Brief History of Madrigals ● Jacques Arcadelt (1507-1568)was an Italian composer who used both homophony and polyphony in his madrigals ○ Il bianco e dolce cigno is a great example ● Cipriano de Rore
    [Show full text]
  • Une Jeune Pucelle 3’43 Se Chante Sur « Une Jeune Fillette »
    menu tracklist texte en français text in english textes chantés / lyrics AU SAINCT NAU 1 Procession Conditor alme syderum 2’40 2 Procession Conditor le jour de Noel 1’20 Se chante sur « Conditor alme syderum » 3 Eustache Du Caurroy Fantaisie n°4 sur Conditor alme syderum 1’48 (Orgue seul) 4 Jean Mouton - Noe noe psallite noe 3’21 5 Jacques Arcadelt - Missa Noe noe, Kyrie 8’06 Alterné avec le Kyrie « le jour de noël », qui se chante sur Kyrie fons bonitatis 6 Clément Janequin - Il estoyt une fillette 3’01 Se chante sur « Il estoit une fillette » 7 Anonyme/Christianus de Hollande Plaisir n’ay plus que vivre en desconfort 4’03 Se chante sur « Plaisir n’ay plus » 8 Claudin de Sermizy Dison Nau à pleine teste 3’27 Se chante sur « Il est jour, dist l’alouette » 9 Claudin de Sermizy - Au bois de deuil 3’49 Se chante sur « Au joly boys » 10 Eustache Du Caurroy Fantaisie n°31 sur Une jeune fillette 1’48 (Orgue seul) 3 11 Loyset Pieton O beata infantia 8’20 12 Eustache Du Caurroy Fantaisie n°30 sur Une jeune fillette 1’37 (Orgue seul) 13 Eustache Du Caurroy Une jeune pucelle 3’43 Se chante sur « Une jeune fillette » 14 Guillaume Costeley - Allons gay bergiere 1’37 15 Claudin de Sermizy L’on sonne une cloche 3’35 Se chante sur « Harri bourriquet » 16 Anonyme - O gras tondus 1’42 17 Claudin de Sermizy Vous perdez temps heretiques infames 2’16 Se chante sur « Vous perdez temps de me dire mal d’elle » 18 Claude Goudimel Esprit divins, chantons dans la nuit sainte 2’16 Se chante sur « Estans assis aux rives aquatiques » (Ps.
    [Show full text]
  • 11-17-19 9 Am
    NOVEMBER 17, 2019 THE TWENTY-THIRD SUNDAY AFTER PENTECOST 9:00 A.M. HOLY EUCHARIST ST. CHRYSOSTOM’S EPISCOPAL CHURCH 1424 NORTH DEARBORN PARKWAY, CHICAGO, ILLINOIS 60610 www.saintc.org 312.944.1083 WELCOME TO SAINT CHRYSOSTOM’S CHURCH Whoever you are, and wherever you find yourself on the journey of faith, you are welcome here. We are so glad you have chosen to join us today. If this is your first time here, please fill out a welcome card, located in the pews or at the back of the church, and leave it in the offering plate or with one of our ushers. THINGS TO KNOW BUILDING MEANINGFUL WORSHIP HABITS Restrooms Arrive early to settle your mind and body. Ask Are available in the first-floor Harding Room, God to open your eyes, ears, mind, and heart downstairs by Sunday School classrooms, and to receive God’s Word. upstairs by the second-floor Guild Room. Participate fully. Sing when there is music. Pray when there is prayer. Listen to the Fellowship Scriptures and pay attention to what word or Grab some coffee and a muffin in the 1st floor phrase sticks with you. Harding Room and enjoy some good Introduce yourself by name to someone you conversation. Coffee hour ends at 1 p.m. don’t know and build your church community. Consider which part of worship you are most Formation Hour 10 a.m. – 11 a.m. drawn to. Then consider signing up to assist in Adult Forum: 2nd floor Guild Room. that ministry when you can. *More details on Adult Formation can be found in the back of this bulletin in the WOULD YOU LIKE TO SPEAK TO A MINISTER? announcements section.
    [Show full text]
  • November 2011 Broadside
    T H E A T L A N T A E A R L Y M U S I C A L L I A N C E B R O A D S I D E Volume XII, # 2 November, 2011 President’s Message Let’s face it: Lovers of Early Music are romantics, and we are a proud and often silent tiny “fringe” group. We enjoy the music of past times and reawakening it with old and recreated historical instruments. We know in so doing that we discover the amazing inventions and immense creativity of instrument makers and composers of at least seven centuries. The many styles and musical structures impress us. Above all, we savor the beauty and the emotions of those sound pieces. The entire treasure of western music passes before our eyes and pleases our ears. It is the foundation of nearly all music, even that presently created. We are fascinated and enthralled. Beyond that, we have available to us, thanks to modern technology, what no other era had available: Recordings of enlightened contemporary performances of the entire musical spectrum, presented by excellent singers and players of the Early Music genre. We are indeed blessed! AEMA MISSION It is the mission of the Atlanta Early Music Alliance Furthermore, we have around us, here in the Metro-Atlanta area, fabulous to foster enjoyment and performing groups, too many to name, who delight us with Early Music performances awareness of the historically informed performance of in churches, synagogues and concert halls, all accessible to us “common” citizens, at music, with special emphasis on music written mostly affordable cost.
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from the King's Research Portal At
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Sixteenth centuary accidentals and ornamentation in selected motets of Josquin Desprez: a comparativbe study of the printed intabulations with the vocal sources Erictoft, Robert The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 g c1Yr, c-rj, prLr Ac.fl IN SELECTED MOTETS OF ,JOSQUIN DESPREZ: A COMPARATIVE STUDY OF T}LE PRINTED INTABULATIONS WITH THE VOCAL SOURCES VOLUME I by ROBERT ERIC TOFT Dissertation for the Degree of Doctor of Philosophy King's College University of London 198 ABSTRACT One of the major problems in Renaissance music scholarship has been to establish a precise understanding of the structure and development of pretonal polyphony.
    [Show full text]
  • Universiv Microtlms International 300 N
    INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note w ill appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete.
    [Show full text]
  • Renaissance Declarative Knowledge
    Renaissance Declarative Knowledge Renaissance Sacred Music I. Renaissance Style 1. Golden age of a cappella style 1. imitative polyphony 2. harmony: fuller chords, 3rds and 6ths 3. carefully controlled dissonance 4. duple meter 2. Early Renaissance (1450–1520) 1. Belgium, northern France: Du Fay, Josquin 3. Later Renaissance (1520–1600) 1. Italy: Palestrina, Gabrieli II. The Early Renaissance Mass 1. Ordinary, fixed portion, set to music 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus Dei 2. Cantus firmus (fixed melody) 1. entire mass based on one melody 2. Gregorian chant or popular song III. Du Fay and the Cantus Firmus Mass 1. Guillaume Du Fay (c. 1397–1474) 1. Franco-Flemish composer 2. career in Italy and France 3. well-defined melodies; clear-cut rhythms 2. Listening Guide 8: Du Fay, L’homme armé Mass (The Armed Man Mass), Kyrie (1460s) 1. four-part, a cappella chorus 2. cantus firmus: L’homme armé, popular tune 3. polyphonic, but not imitative 4. three sections: slow triple meter, duple, triple meter 5. harmony: medieval, and fuller 3rds and 6ths of Renaissance IV. The Motet in the Renaissance 1. Motet: became sacred form 1. single Latin text 2. used in the Mass 3. praise of the Virgin Mary http://ibscrewed4music.blogspot.com/ 4. three, four, or more voices of equal importance 5. cantus firmus: chant or popular song V. Josquin des Prez and the Motet 1. Josquin des Prez (c. 1450–1521) 1. northern French composer 2. Italian court positions; papal choir in Rome 3. humanism: expressive harmony, serene melodies 4.
    [Show full text]
  • English Lute Manuscripts and Scribes 1530-1630
    ENGLISH LUTE MANUSCRIPTS AND SCRIBES 1530-1630 An examination of the place of the lute in 16th- and 17th-century English Society through a study of the English Lute Manuscripts of the so-called 'Golden Age', including a comprehensive catalogue of the sources. JULIA CRAIG-MCFEELY Oxford, 2000 A major part of this book was originally submitted to the University of Oxford in 1993 as a Doctoral thesis ENGLISH LUTE MANUSCRIPTS AND SCRIBES 1530-1630 All text reproduced under this title is © 2000 JULIA CRAIG-McFEELY The following chapters are available as downloadable pdf files. Click in the link boxes to access the files. README......................................................................................................................i EDITORIAL POLICY.......................................................................................................iii ABBREVIATIONS: ........................................................................................................iv General...................................................................................iv Library sigla.............................................................................v Manuscripts ............................................................................vi Sixteenth- and seventeenth-century printed sources............................ix GLOSSARY OF TERMS: ................................................................................................XII Palaeographical: letters..............................................................xii
    [Show full text]
  • 1 NEWSLETTER: 28 June 2020 Hi Everyone, This Should Have Been
    NEWSLETTER: 28 June 2020 Hi Everyone, This should have been the day of our joint concert! Have a look at this link!: Dre https://youtu.be/yYBAAEY77sM The Dream of Gerontius Rehearsal Links & Warm Up Video 1 https://youtu.be/T8yhEVv-lRE Video 2 https://youtu.be/nLhI6QUHUBY Video 3 https://youtu.be/_mRy-GzIxC4 These links are easily available in the Member Area of our web site https://mkchorale.org.uk alongside a downloadable copy of the full score. Jokes To Make You Groan! Why couldn't the string quartet find their composer? He was Haydn What is Beethoven's favourite fruit? "Ba-na-na-naaaaa" Why was the former conductor of the Berlin Philharmonic always first off the plane? Because he only had Karajan luggage. Why did JS Bach have so many children? Because he didn't have any organ stops Why didn't the bouncer let the quavers into the bar? Because they were slurring. Courtesy of Classic FM 1 Alex Aitken's Potted History of Music Part IV: The Late Renaissance (c.1500-1600) Petrucci begins publishing music anthologies, and musical education in churches and cathedrals becomes more widespread, training singers, instrumentalists and composers. Elizabeth of York (Henry VII’s Queen) takes delivery of a clavichord and is most pleasèd that she now has an excuse not to watch her husband joust peasants in the cold. Intermedio (‘between half’ spectacles of music and dance) begin to appear in between acts of plays; later becoming the intermezzo. Composers begin to set the Lamentations of Jeremiah to superb effect (Tallis, Lobo, Morales, Byrd, Mouton, Palestrina and Victoria all win at various points over the 16th century).
    [Show full text]
  • Download Booklet
    Rial_BL_Layout 1 16/03/11 21:44 Página 2 p h o t o © M Nuria Rial, soprano e r c è R i a cd i: l José Miguel Moreno, vihuelas & Renaissance guitar cd ii: [01-07] Orphénica Lyra Carlos Mena, countertenor Guido Balestracci, Alba Fresno, Sergi Casademunt, violas da gamba Juan Carlos de Mulder, Renaissance guitar Fernando Paz, recorders David Mayoral, percussion José Miguel Moreno, vihuela & direction [08-11] Orphénica Lyra Jordi Domènech, countertenor Fernando Paz, recorders Fahmi Alqhai, viola da gamba Eligio Quinteiro, Renaissance guitar Álvaro Garrido, percussio n José Miguel Moreno, vihuelas, Baroque guitar & direction [12-19] El Concierto Español Emilio Moreno, violin & direction 5 Rial_BL_Layout 1 16/03/11 21:44 Página 4 Nuria Rial 17 Mudarra : Si me llaman a mí 2:52 18 Mudarra : Claros y frescos ríos 4:03 The Spanish Album 19 Mudarra : Beatus ille 0:57 20 Vásquez - Fuenllana : Duélete de mí, señora 3:04 cd i 21 Pisador : La mañana de Sant Juan 2:34 22 Fuenllana : Fantasía [instr.] 2:38 from Claros y frescos ríos, with José Miguel Moreno (complete album) 23 Fuenllana : Passeávase el rey moro 2:46 01 Anonymous : Qué me queréis, caballero 1:12 24 Pisador : Dezilde al caballero 2:05 02 Esteban Daça : Quién te hizo Juan Pastor 3:09 03 Juan Vásquez - Diego Pisador : En la fuente del rosel 0:55 cd ii 04 Daça : A tierras agenas 2:58 05 Mateo Flecha - Miguel de Fuenllana : Teresica hermana 1:56 from Miguel de Fuenllana: Orphénica Lyra , with Orphénica Lyra and José Miguel Moreno 06 Cristóbal de Morales - Fuenllana : De Antequera sale el moro
    [Show full text]
  • 57 Escaso Resulta El Cuadro Anterior En Una España Poblada De Buenos Músicos Y Con Abundante Mecenazgo Desde El Poder Polític
    M ARCO MUSICAL h Escaso resulta el cuadro anterior en una España poblada de buenos músicos y con abundante mecenazgo desde el poder político y la Iglesia. La música Es- pañola renacentista y del primer gótico es un fenómeno cultural de primer orden, la cantidad de músicos nos ha obligado a desechar más nombres que los conte- nidos en ese marco gráfico. Además, para facilitar la visión del mismo, se ha cla- 57 DON TOMÁS “AD LIBITUM ” sificado a los autores, exceptuando a Victoria, en tres niveles que se observan por el tamaño de la fuente, su color y resalte. El criterio de clasificación utilizado posiblemente no sea el mejor, pero si es adecuado para el objeto de esta exposición. Escandalizará a algunos que nombres como de la Torre, Peñalosa, Narváez, Valderrábano, Milán, Ortiz, Mudarra, Ro- bledo, Salinas, Vivanco, Arañés, Cabanilles o Manuel Machado, ocupen posición en un segundo escalón, pero esto sólo es un indicador de la grandeza y relevancia del marco musical que envolvió a nuestro autor. Para un mejor conocimiento de ese marco, permítasenos dar algunas refe- rencias de los autores más resaltables en nuestra opinión. Juan del Encina (1468 – 1529) No hay acuerdo sobre el lugar de su nacimiento, unos opinan que en Fermoselle (Zamora), otros que en Encina de Sansilvestre o La Encina (Sala- manca). Murió en León, aunque está enterrado en Salamanca. Músico, poeta y dramaturgo, estudió en la Uni- versidad de Salamanca, siendo Nebrija uno de sus profesores. En 1484 ingresa en la capilla musical de la Cate- dral de Salamanca, en 1492 entra al servicio del Cancionero de Juan del Encina Duque de Alba, siendo su cometido la elabora- ción de comedias y músicas, en 1498 inicia su estancia romana, donde contó con el apoyo de los Papas Ale- jandro VI, Julio II y León X, que lo incorpora como cantante a su capilla musical.
    [Show full text]