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The Virgin Harpsichord
THE VIRGIN HARPSICHORD Skip Sempé THE VIRGIN HARPSICHORD 1 William Byrd Pavan: Sir William Petre (LNB) 5’09 2 Anonymous Dances: La Bounette / La Doune Cella / La Shy Myze (Mulliner Book) 2’44 3 Martin Peerson The Fall of the Leafe (FVB) 1’57 4 Robert Johnson Alman (FVB) 1’08 Skip Sempé 5 Ferdinando Richardson Pavana (FVB) 2’30 Virginal after Ruckers 6 John Bull Chromatic Pavan: Queen Elizabeth’s (MB 87) 5’44 by Martin Skowroneck, 1971 7 Orlando Gibbons Fantazia of foure parts (Parthenia) 4’19 1-5, 9-13, 16-26 8 Thomas Tomkins A Fancy for two to play (MB 32) 1’59 Harpsichord after 17th century Italian models by Martin Skowroneck, 1959 9 Master John Tayler Pavan (DVM) 1’44 6-8, 14-15 10 Anonymous Galliard (Mulliner Book) 1’58 11 Martin Peerson Alman (FVB) 1’17 Olivier Fortin 12 John Bull Trumpet Pavan (MB 128a) 2’06 Harpsichord after 17th century Italian models 13 John Dowland Sir Henry Umpton’s Funerall (1605) 4’27 by Martin Skowroneck, 1959 14 Thomas Tomkins Barafostus Dreame (MB 62) 4’48 2, 8, 17, 20, 24 Harpsichord after Dulcken 15 Orlando Gibbons Pavan (MB 16) 4’07 by Martin Skowroneck, 1963 16 Peter Philips / Thomas Morley Philips Pavan (1599) 2’34 16, 21, 26 17 El Maestro Pavan 1’57 18 William Byrd Pavan (MB 4a) 2’02 Pierre Hantaï 19 William Byrd Galliard (MB 4b) 1’08 Harpsichord after 17th century Italian models by Martin Skowroneck, 1959 20 Emilio de’Cavalieri / Jan Pieterszoon Sweelinck 16, 21, 26 Ballo della Granduca 1’38 21 Thomas Morley The Frog Galliard (1599) 2’11 22 William Byrd Pavana: The Earle of Salisbury (Parthenia) -
CHRIST CHURCH LIBRARY NEWSLETTER Volume 7, Issue 3 Trinity 2011
CHRIST CHURCH LIBRARY NEWSLETTER Volume 7, Issue 3 Trinity 2011 ISSN 1756-6797 (Print), ISSN 1756-6800 (Online) The Aeschylus of Richard Porson CATALOGUING ‘Z’ - EARLY PRINTED PAMPHLETS Among the treasures of the library of Christ Church is It is often asserted that an individual is that which an edition of the seven preserved plays of they eat. Whether or not this is true in a literal sense, Aeschylus, the earliest of the great Athenian writers the diet to which one adheres has certain, of tragedy. This folio volume, published in Glasgow, predictable effects on one’s physiology. As a result, 1795, by the Foulis (‘fowls’) Press, a distinguished the food we consume can affect our day to day life in publisher of classical and other works, contains the respect to our energy levels, our size, our Greek text of the plays, presented in the most demeanour, and our overall health. And, also as a uncompromising manner. I propose first to describe result, this affects how we address the world, it this extraordinary volume and then to look at its affects our outlook on life and how we interact with place in the history of classical scholarship. The book others. This is all circling back around so that I can contains a title page in classical Greek, an ancient ask the question: are we also that which we read? To life of Aeschylus in Greek, and ‘hypotheses’ or an extent, a person in their early years likely does summaries of the plays, some in Greek and some in not have the monetary or intellectual freedom to Latin. -
Richardson Was a Remarkable Figure in the History of English Music
NAXOS NAXOS Ferdinando Richardson was a remarkable figure in the history of English music. As Groom of the Privy Chamber he held one of the most prestigious political offices at the court of Elizabeth I and is thought to have overseen the compilation of the Fitzwilliam Virginal Book. The outstanding virtuosity of his few surviving works suggests not only that he himself was a supremely accomplished performer but that his music embodies 8.572997 RICHARDSON: the best qualities of his probable teachers, Thomas Tallis and John Bull. This recording RICHARDSON: concludes with a fascinating selection of rare works by his contemporaries. DDD Ferdinando Playing Time RICHARDSON 69:10 (1558–1618) Complete Works for Harpsichord Works for Harpsichord for Works 1 Pavane and Variation in D minor 5:36 ! James HARDING (1550–1626): Harpsichord for Works 2 Galliard and Variation in D minor 4:05 Fantasia 4:32 3 Pavane and Variation in @ Anthony HOLBORNE (1545–1602): G major/minor 6:38 Galliard ‘The Queen’s New Year’s 4 Galliard and Variation in G minor 4:10 Gift’ 2:14 5 Pavane in A minor 6:02 # Renaldo PARADISO (d. 1570): www.naxos.com ൿ Fantasia 3:38 Made in Germany Booklet notes in English Naxos Rights US, Inc. 6 Galliard in A minor 2:27 7 Allemande 1:21 Five Earlier Pieces & $ Anonymous: The Trumpet 0:36 Ꭿ 8 Thomas MORLEY (1557–1602): 2014 Pavane and Galliard for lute in % Anonymous (William BYRD?): D minor, arr. Richardson 7:50 Wakefield on a green 3:34 Anonymous Harpsichord Arrangements ^ Anonymous: Upon la mi re 3:32 from the Weelkes manuscript & El. -
The Viola Da Gamba Society Journal
The Viola da Gamba Society Journal Volume Nine (2015) The Viola da Gamba Society of Great Britain 2015-16 PRESIDENT Alison Crum CHAIRMAN Michael Fleming COMMITTEE Elected Members: Michael Fleming, Linda Hill, Alison Kinder Ex Officio Members: Susanne Heinrich, Stephen Pegler, Mary Iden Co-opted Members: Alison Crum, Esha Neogy, Marilyn Pocock, Rhiannon Evans ADMINISTRATOR Sue Challinor, 12 Macclesfield Road, Hazel Grove, Stockport SK7 6BE Tel: 161 456 6200 [email protected] THE VIOLA DA GAMBA SOCIETY JOURNAL General Editor: Andrew Ashbee Editor of Volume 9 (2015): Andrew Ashbee, 214, Malling Road, Snodland, Kent ME6 5EQ [email protected] Full details of the Society’s officers and activities, and information about membership, can be obtained from the Administrator. Contributions for The Viola da Gamba Society Journal, which may be about any topic related to early bowed string instruments and their music, are always welcome, though potential authors are asked to contact the editor at an early stage in the preparation of their articles. Finished material should preferably be submitted by e-mail as well as in hard copy. A style guide is available on the vdgs web-site. CONTENTS Editorial iv ARTICLES David Pinto, Consort anthem, Orlando Gibbons, and musical texts 1 Andrew Ashbee, A List of Manuscripts containing Consort Music found in the Thematic Index 26 MUSIC REVIEWS Peter Holman, Leipzig Church Music from the Sherard Collection (Review Article) 44 Pia Pircher, Louis Couperin, The Extant Music for Wind or String Instruments 55 Letter 58 NOTES ON THE CONTRIBUTORS 59 Abbreviations: GMO Grove Music Online, ed. D. -
Chris Church Matters
Chris Church Matters MICHAELMAS TERM 2014 ISSUE 34 Editorial Contents In this Michaelmas edition we welcome our 45th Dean, the Very Revd Professor Dean’s Diary 1 Martyn Percy, who joined us in October after ten years as Principal of Ripon College Cuddesdon. We also say goodbye to our former Dean, Christopher Lewis, and his wife Goodbye from Chrsitopher Lewis 2 Rhona as they retire to the idyllic Suffolk coast. Much has been achieved in this year Cardinal Sins 6 of change, and we celebrate the successes of members past and present in this issue. If you have news of your own which you would like to share with the Christ Church Christ Church Cathedral Choir 8 community, we invite you to make a submission to the next Annual Report – details Cathedral News 9 of this can be found in College News. A new Christ Church website will be launched in the spring, and with this a new Christ Church People: digital platform for Christ Church Matters. If you would like to receive the magazine Phyllis May Bursill 10 digitally, please let us know. Conservation work We wish you a wonderful Christmas and New Year, and hope to see you in 2015. on the Music Collection 12 Simon Offen Leia Clancy Cathedral School 14 Christ Church Association Alumni Relations Officer Vice President and Deputy [email protected] College News 16 Development Director +44 (0)1865 286 598 [email protected] Boat Club News 18 +44 (0)1865 286 075 Association News 19 FORTHCOMING EVENTS Sensible Religion: A Review 29 Event booking forms are available to download at www.chch.ox.ac.uk/development/events/future The Paper Project at Ovalhouse 30 MARCH 2015 APRIL 2015 SEPTEMBER 2015 Robert Hooke’s Micrographia 32 14 March 24-26 April 12 September FAMILY PROGRAMME LUNCH MEETING MINDS: ALUMNI BOARD OF BENEFACTORS GAUDY Who should decide on war? 34 Christ Church WEEKEND IN VIENNA Christ Church Parents of current or former All are invited to join us for 18-20 September Christ Church Gardens 30 students are invited to lunch at three days of alumni activities MEETING MINDS: ALUMNI Christ Church. -
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The richest single source of Tudor polyphony, reconstruction before they can be performed. The Sweetest Songs preserving almost 170 works many of which New editions of most of the works on this Music from the Baldwin Partbooks III survive nowhere else, is a set of manuscript album were prepared specially for the project, partbooks copied between about 1575 and and in five of these (tracks 3, 4, 6, 8, 1581 by John Baldwin, a lay clerk at St George’s and 0) the missing Tenor part has been Chapel, Windsor. This album is the third and reconstructed by Owen Rees, while the tenor final instalment in a series of recordings by of Mundy’s Memor esto verbi tui (track 7) is 1 Domine, non est exaltatum Robert White (c. 1535-1574) [8.43] Contrapunctus exploring contrasting aspects of adapted from that by Jason Smart. 2 Tristitia et anxietas William Byrd (1539/40-1623) [9.35] this remarkable treasure house of sacred music 3 In te Domine speravi John Mundy (c. 1555-1630) [8.02] covering much of the sixteenth century. Without The preoccupation with the psalm motet over Baldwin’s efforts our knowledge of the history the middle part of the sixteenth century was 4 Confitebor tibi Domine anon. [3.36] of the motet in England would be much the a distinctively English phenomenon, when 5 Peccavi super numerum William Byrd [6.00] poorer, and on this third recording we open a compared with the output of Continental window on a striking aspect of that history: composers. Why was this? The great advantage 6 Domine quis habitabit Robert Parsons (c. -
Le Nozze Di Figaro' Author(S): John Platoff Source: Music & Letters, Vol
Tonal Organization in 'Buffo' Finales and the Act II Finale of 'Le nozze di Figaro' Author(s): John Platoff Source: Music & Letters, Vol. 72, No. 3 (Aug., 1991), pp. 387-403 Published by: Oxford University Press Stable URL: https://www.jstor.org/stable/736215 Accessed: 26-02-2019 18:45 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Music & Letters This content downloaded from 132.174.255.206 on Tue, 26 Feb 2019 18:45:02 UTC All use subject to https://about.jstor.org/terms TONAL ORGANIZATION IN 'BUFFO' FINALES AND THE ACT II FINALE OF 'LE NOZZE DI FIGARO' BY JOHN PLATOFF THE TONAL PLAN of the finale to Act II of Mozart and Da Ponte's Le nozze di Fzgaro is an admirably clear structure, and one that has drawn nearly as much ap- proving comment from analysts as the opera itself has received from audiences.' The reasons for this favourable view of the finale's tonal scheme are not hard to find: its eight sections or movements move from the tonic of E flat to the dominant and then by a descending third to G, from which point the return to the tonic occurs through a regular series of falling fifths (see Table I). -
Merbecke (1510–1585) Gathering of the Community
ĎPMýIZQ[PāP]ZKP Ash Wednesday WNí \ĉ]SM 26 February 2020 We acknowledge that we meet and work in the Treaty One Land, Welcome Guests the traditional land of the Anishinaabe, Cree, and Dakota people, Newcomers are encouraged to make themselves known to the and the homeland of the Métis Nation. clergy and to phone the parish office at 204.452.3609 should you We are grateful for their stewardship of this land and their hospitality wish to express any needs or concerns. Please complete a visitor which allows us to live, work, and serve God the Creator here. leaflet or envelope with your email address if you would like to receive parish newsletters sent to you regularly. 19:30 – Sung Eucharist and Imposition of Ashes Service Music Setting: Communion Service - John Merbecke (1510–1585) Gathering of the Community Voluntary (Mr. Kinnard) Miserere mei, Deus - Gregorio Allegri (1582–1652) Hymn 67 Come down, O love divine §stand Down Ampney Greeting Priest The Lord be with you. People And with thy spirit. Let us pray. Collect for Ash Wednesday Priest Almighty and everlasting God, you despise nothing you have made and forgive the sins of all who are penitent. Create and make in us new and contrite hearts, that we, worthily lamenting our sins and acknowledging our brokenness, may obtain of you, the God of all mercy, perfect remission and forgiveness; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen. Proclamation of the Word First Lesson Isaiah 58.1–12 §sit Lector A Reading from the Book of Isaiah. -
S Y N C O P a T I
SYNCOPATION ENGLISH MUSIC 1530 - 1630 'gentle daintie sweet accentings1 and 'unreasonable odd Cratchets' David McGuinness Ph.D. University of Glasgow Faculty of Arts April 1994 © David McGuinness 1994 ProQuest Number: 11007892 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11007892 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 10/ 0 1 0 C * p I GLASGOW UNIVERSITY LIBRARY ERRATA page/line 9/8 'prescriptive' for 'proscriptive' 29/29 'in mind' inserted after 'his own part' 38/17 'the first singing primer': Bathe's work was preceded by the short primers attached to some metrical psalters. 46/1 superfluous 'the' deleted 47/3,5 'he' inserted before 'had'; 'a' inserted before 'crotchet' 62/15-6 correction of number in translation of Calvisius 63/32-64/2 correction of sense of 'potestatis' and case of 'tactus' in translation of Calvisius 69/2 'signify' sp. 71/2 'hierarchy' sp. 71/41 'thesis' for 'arsis' as translation of 'depressio' 75/13ff. Calvisius' misprint noted: explanation of his alterations to original text clarified 77/18 superfluous 'themselves' deleted 80/15 'thesis' and 'arsis' reversed 81/11 'necessary' sp. -
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Royal Rhymes and Rounds ELIZABETH II Choral Dances from “Gloriana” Benjamin Britten u Time [1.51] i Concord [2.25] HENRY VIII o Time and Concord [1.46] 1 Pastime with good companie (The King’s Ballad) King Henry VIII [1.53] p Country Girls [1.17] 2 Ah, Robin, gentle Robin William Cornysh [2.26] a Rustics and Fishermen [1.00] 3 Blow thy horn, hunter William Cornysh [2.23] s Final Dance of Homage [2.20] 4 King Henry VIII [1.33] It is to me a right great joy d A Rough Guide to the Royal Succession Paul Drayton [12.48] 5 Anonymous [3.56] Hey, trolly lolly lo! (It’s just one damn King after another…) ELIZABETH I Total timings: [65.50] 6 Long live, fair Oriana Ellis Gibbons [2.39] 7 The Silver Swan (Round) Orlando Gibbons [2.00] THE KING’S SINGERS 8 The Silver Swan Orlando Gibbons [1.46] 9 Fair Oriana, beauty’s Queen John Hilton [2.21] www.signumrecords.com 0 Lightly she whipped o’er the dales John Mundy [3.11] q Flow, O my tears John Dowland [1.37] ROYAL RHYMES AND ROUNDS w Weep, O mine eyes John Bennet [2.44] medieval times to the prestigious position of e As Vesta was from Latmos hill descending Thomas Weelkes [3.19] There is little doubt that the development of ‘Master of the Queen’s Music’, currently held by Western classical music over the centuries owes Sir Peter Maxwell Davies (b.1934). In this VICTORIA a great deal to the patronage of kings and Diamond Jubilee year, as we mark the 60th r The Triumph of Victoria Sir Walter Parratt [2.33] queens. -
Part Two Patrons and Printers
PART TWO PATRONS AND PRINTERS CHAPTER VI PATRONAGE The Significance of Dedications The Elizabethan period was a watershed in the history of literary patronage. The printing press had provided a means for easier publication, distribution and availability of books; and therefore a great patron, the public, was accessible to all authors who managed to get Into print. In previous times there were too many discourage- ments and hardships to be borne so that writing attracted only the dedicated and clearly talented writer. In addition, generous patrons were not at all plentiful and most authors had to be engaged in other occupations to make a living. In the last half of the sixteenth century, a far-reaching change is easily discernible. By that time there were more writers than there were patrons, and a noticeable change occurred In the relationship between patron and protge'. In- stead of a writer quietly producing a piece of literature for his patron's circle of friends, as he would have done in medieval times, he was now merely one of a crowd of unattached suitors clamouring for the favours and benefits of the rich. Only a fortunate few were able to find a patron generous enough to enable them to live by their pen. 1 Most had to work at other vocations and/or cultivate the patronage of the public and the publishers. •The fact that only a small number of persons had more than a few works dedicated to them indicates the difficulty in finding a beneficent patron. An examination of 568 dedications of religious works reveals that only ten &catees received more than ten dedications and only twelve received between four and nine. -
St. Peter's Anglican Cathedral Evensong
Evensong The THIRTEENTH SUNDAY AFTER TRINITY 29 August 2021 | 5:00pm St. Peter’s Anglican Cathedral Reaching One Another, Tallahassee, and the World with the Transforming Love of Jesus Christ EVENSONG Please observe silence before the service for prayer and meditation. All mobile telephones, pagers, and electronic devices should be turned off prior to the service. When you enter a St. Peter’s worship service/event, you will be entering an area where photography, video, and audio recording may occur. “Daily Morning and Evening Prayer are the established rites (offices) by which, both corporately and individually, God’s people annually encounter the whole of Holy Scriptures, daily confess their sins and praise Almighty God, and offer timely thanksgivings, petitions, and intercessions.” (2019 Book of Common Prayer, Page 6). Unlike the Eucharist, these Daily Offices can be said by anyone either publicly or privately. Many churches, like Saint Peter’s, say or sing the Offices publicly on a daily basis. While on the weekdays our Evening Prayer is said, on Sunday evenings it will be sung. The service of Evensong is Evening Prayer sung by the people, or chorally by a choir on behalf of the people. Musical settings are drawn from many eras, some reflecting modern prayer book language and others from the original 1662 Book of Common Prayer. We invite you to join along, as able, or sit in prayerful contemplation as the voices of the singers and scripture wash over you. Prelude Remain seated. Ringing of the Bell Please stand. Opening Scripture Jesus spoke to them, saying, “I am the light of the world.