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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 -
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. -
Guillaume De Machaut Coronation Anthems Remede De Fortune
HANDEL GUILLAUME DE MACHAUT CORONATION ANTHEMS REMEDE DE FORTUNE Pacific Baroque Orchestra, Alexander Weimann music director Vancouver Cantata Singers, Paula Kremer VCS artistic director Blue Heron, Scott Metcalfe music director EMV'S 50TH SEASON WILL BE ANNOUNCED! AT THE CHAN CENTRE AT CHRIST CHURCH CATHEDRAL APR| 14 MAR| 23 9 This concert is generously supported by Helen & Frank Elfert 9 Tickets from $36 | early music.bc.ca | 604.822.2697 This concert is generously supported by Elaine Adair E M V PARTNERSpartners Early Music Vancouver gratefully acknowledges the assistance and support of: board of directors Chris Guzy Chris Guzy GOVERNMENT SUPPORT president Fran Watters Fran Watters vice president Spencer Corrigal , We acknowledge the support of Ron Kruschen the Province of British Columbia treasurer Tony Knox Tony Knox past president Ilia Korkh Ilia Korkh FOUNDATIONS secretary Sherrill Grace Kathleen Bourchier THE BRENNAN SPANO Melody Mason FAMILY FOUNDATION Spencer Corrigal cpa,caJesse Read Sherrill GraceTim Rendell , THE DRANCE FAMILY Melody Mason EARLY MUSIC VANCOUVER FUND Ingrid Söchting Tim Rendell cpa,ca Vincent Tan Johanna Shapira 2018-19 PRODUCTION PARTNERS Ingrid Söchting Vincent TanJosé Verstappen EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia. ÷ pacific José Verstappen cm baroque artistic director emeritus orchestra alexander weimann ÷ MUSIC director Matthew -
GUILLAUME De MACHAUT Remede De Fortune/ a Remedy for Fortune
GUILLAUME de MACHAUT Remede de Fortune / A Remedy for Fortune 8:00 p.m. • Friday, March 17, 2017 First Church in Cambridge, Congregational GUILLAUME de MACHAUT VI. Dancing en plein air Remede de Fortune / A Remedy for Fortune Instrumental: Dis tans plus (Jehan Lescurel, arr. Nagy) Virelai: Dis tans plus (Lescurel) Virelai: Dame, a vous sans retollir (RF6) I. Prologue, or How to love well VII. Reunited with his Lady Ballade: Esperance qui m’asseure Messe de Nostre Dame: Kyrie I Estampies based on Machaut tunes (arr. Nagy) II. In the Court of Love Rondelet: Dame, mon cuer en vous remaint (RF7) Lai: Qui n’aroit autre deport (RF1) Motet: Hareu, hareu! / Helas! ou sera pris confors / Obediens usque ad mortem VIII. She loves me, she loves me not Ballade: Biauté qui toutes autres pere III. Love slays the Lover Motet: Trop plus est bele que biauté / Biauté parée de valour / Je ne sui mie certeins Ballade: Gais et jolis (instrumental) Complainte: Tieus rit au main qui su soir pleure (RF2) All works by Guillaume de Machaut (c.1300-1377) unless otherwise noted. IV. Lady Hope comes to the Lover’s aid RF1-7 are songs from the Remede itself. Chant royal: Joye, plaisance, et douce nourreture (RF3) Translations of all texts will be projected as supertitles. Motet: Qui es promesses de Fortune / Ha Fortune / Et non est qui adjuvet Complete texts & translations are available on our website: www.blueheron.org. Baladelle: En amer a douce vie (RF4) Pre-concert talk by Matilda Bruckner (Boston College, retired) sponsored in part by The Cambridge Society for Early Music INTERMISSION V. -
Performance Practice in the Seconda Prattica Madrigal Author(S): Rinaldo Alessandrini Source: Early Music, Vol
Performance Practice in the seconda prattica Madrigal Author(s): Rinaldo Alessandrini Source: Early Music, Vol. 27, No. 4, Luca Marenzio (1553/4-99) (Nov., 1999), pp. 632-639 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3128763 . Accessed: 04/04/2011 12:41 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=oup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. 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]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Early Music. http://www.jstor.org Performingmatters RinaldoAlessandrini Performancepractice in the secondaprattica madrigal Seconda prattica, de la quale e statto il primo rinovatore ne nance (Monteverdi, Marenzio), chromaticism and nostri caratteri il Divino Cipriano Rore .. -
16Th Century
16th century notes towards the end of the piece are deliberate, and won’t seem so bad if you play them well? In bars 115 and 117 Cherici reproduces the notes as Mudarra had them, but I EDITIONS wonder if there is a case for changing them to match the rest of the sequence from bars 111 to 122, if only in a footnote. Anthology of Spanish Renaissance Music In three of the Fantasias by Mudarra the player is required for Guitar: to use the “dedillo” technique – using the index finger to Works by Milán, Narváez, Mudarra, Valderrábano, Pisador, play up and down like a plectrum. Of the nine pieces from Fuenllana, Daça, Ortiz Enriquez Valderrábano’s Silva de Sirenas (1547), three are Transcribed by Paolo Cherici marked “Primero grado”, i.e. easiest to play. Diego Pisador is Bologna: Ut Orpheus, 2017 CH273 less well known than the other vihuelists, perhaps because accid his Libro de musica de vihuela (1552) contains pages and his well-chosen anthology comprises solo music pages of intabulations of sacred music by Josquin and for the vihuela transcribed into staff notation others. However, there are some small-scale attractive for the modern guitar, and music for the viola da pieces of which Cherici picks five including a simple setting T of La Gamba called Pavana muy llana para tañer. The eight gamba with SATB grounds arranged for two guitars. For the vihuela pieces the guitar must have the third string tuned pieces from Miguel de Fuenllana’s Orphenica Lyra (1554) a semitone lower to bring it into line with vihuela tuning. -
THE TALLIS SCHOLARS Vocal Ensemble
THE TALLIS SCHOLARS Vocal Ensemble The Tallis Scholars were founded in 1973 by their director, Peter Phillips. Through their recordings and concert performances, they have established themselves as the leading exponents of Renaissance sacred music throughout the world. Peter Phillips has worked with the ensemble to create, through good tuning and blend, the purity and clarity of sound which he feels best serves the Renaissance repertoire, allowing every detail of the musical lines to be heard. It is the resulting beauty of sound for which The Tallis Scholars have become so widely renowned. The Tallis Scholars perform in both sacred and secular venues, giving around 80 concerts each year. In 2013 the group celebrated their Photo © Nick Rutter 40th anniversary with a World Tour, performing 99 events in 80 venues in 16 countries. They now look ahead to their 50th anniversary in 2023. In 2020 Gimell Records celebrated 40 years of recording the group by releasing a remastered version of the 1980 recording of Allergri’s ‘Miserere’. As of the beginning of the cancellations caused by the COVID-19 crisis, the Tallis Scholars had made 2,327 appearances, worldwide. 2021/22 season highlights include performances in Amsterdam, Vienna, Paris, the RheinVokal and Regensburg Festivals, Klangvokal Musikfestival Dortmund, Bremen Musikfest and tours of Italy, in addition to their usual touring schedule around the USA, Europe and the UK. As part of the postponed Josquin des Prez’ 500th anniversary celebrations The Tallis Scholars will sing all eighteen of the composer’s masses over the course of 4 days at the Boulez Saal in Berlin in July 2022. -
Chapter 6: After Perfection: Pressures for Change
Chapter 6: After Perfection: Pressures for Change I. Introduction A. The Utopian aesthetic world of the ars perfecta could not contain the turmoil of religious upheaval and the pressures of humanism. During the sixteenth century, a new set of musical values arose that reflects these and other influences. II. The Protestant Reformation A. A series of revolts against the Catholic Church, spearheaded by Martin Luther (1483– 1546), had far-reaching consequences on the history of Europe. B. Music did not hold a high place for many of the new Protestants. 1. John Calvin of Geneva was particularly severe in his criticism of religious music. 2. He only allowed sung psalms. 3. The Swiss German Reformed Church of Ulrich Zwingli burned organs and music books. C. Luther was an exception to this anti-music bent. 1. He saw music as a means to augment the religious experience. 2. He played several instruments. 3. Luther advocated the Tenorlied, which is a polyphonic setting of a song melody, which is usually paced in the tenor. 4. He admired Josquin and Senfl. III. The Lutheran Chorale A. Luther promoted congregational singing. B. The strophic German hymn sung in the Lutheran Church is a chorale. 1. Some chorales are direct translations of Catholic hymns. 2. Some chorales are adapted from secular songs, such as Ein’ feste Burg ist unser Gott. C. Johann Walther (1496–1570) arranged the first printed polyphonic chorales. See Anthology 1-54. D. The soprano part eventually received the melody in chorales. IV. The Catholic Response: The Counter-Reformation A. The Counter-Reformation was the Catholic response to the Reformation. -
Music in the Pavilion: Piffaro: the Renaissance Band
UNIVERSITY of PENNSYLVANIA LIBRARIES KISLAK CENTER Music in the Pavilion Pifaro: Te Renaissance Band September 23, 2016 Back before Bach http://www.library.upenn.edu/exhibits/music_series.html Back before Bach A Musical Journey German Popular Tunes Hildebranntslied/Es taget/Zart liep Anonymous, German, 16th c. Bagpipes, recorder, guitar, percussion Christ ist erstanden Chant traditional, 11th c. Setting à 3 Glogauer Liederbuch, c. 1480 Setting à 4 Heinrich Isaac (1450-1515) Setting à 5 Stephen Mahu (c.1490 – c.1591) Setting à 3 “auf Bergreihenweis” Johann Walther (1527-1578) Setting à 4 “ad aequales” J. Walther Chorale à 4 Michael Praetorius (1571 – 1621) Chorale BWV 276 Johann Sebastian Bach (1685 – 1750) Shawms, schalmei, sackbuts, dulcians A Jolly Song & Two Dances from Terpsichore Zu Regensburg Anonymous Philou & Ho Herders M. Praetorius Bagpipes, guitar, krumhorns, percussion A solis ortus/Christum will sollen loben schon A solis ortus Anonymous, late 15th c. Motet: Christum wir sollen loben schon à 4 J. Walther Hymnus: Christum wir sollen loben schon à 5 J. Walther Chorale: A solis ortus à 4 M. Praetorius Canzona: A solis ortus à 4 Samuel Scheidt (1587 – 1684) Chorale: Christum wir sollen loben schon à 4 J.S. Bach Recorders, harp Dances from Terpsichore Passameze à 6 M. Praetorius Allemande S. Scheidt Volta M. Praetorius Shawms, sackbuts, dulcian, percussion Intermission Te World of Chromaticism Musica, Dei donum optimi Orlande de Lassus (c.1532 – 1594) Carmina chromatico: Prologue de Lassus Mirabile mysterium Jakob Handl (1550 – 1591) Steht auf, ihr liebe Kinderlein Kile Smith (b. 1956) Shawms, sackbuts, dulcians A Song from Andernach along the Rhine Tander naken Jakob Obrecht (1450 – 1505) Tanndernac Antoine Brumel (c. -
Western Culture Has Roots in Ancient
20 14. The leading poets were ________________, Chapter 11 _____________, ______________, __________, and Madrigal and Secular Song ____________. The subject matter was __________ or in the Sixteenth Century ____________. Francesco Petrarca (1304-1374; Petrarch), Ludovico Ariosto 1. [241] The 15th century was about __________ style; the (1474-1533), Torquato Tasso (1544-1595), Giovanni 16th, ___________ style. Battista Guarini (1538-1612), Giovan Battista Marino International; national (1569-1625); sentimental or erotic 2. What are the characteristics of the Spanish __________, 15. (246) Early madrigal has ___ voices; midcentury had Italian _________, and French ___________? The ___ voices but could have as many as ___. culmination was reached in the ____________. 4; 5; 6+ Villancico, frottola, chanson; simple, strophic, mostly syllabic and homophonic, easily singable for amateur performers; 16. How were voices named beyond four? madrigal Latin, quintus, sextus 3. Printing allowed for more people, including amateurs, to 17. How many collections were published between 1530 and participate in music-making and it created a demand for 1600? new music. 2,000 4. (243) SR TQ: Summarize what he's talking about. 18. What are characteristics of Verdelot's madrigals? Doctrine of affections 4 voice, homophonic, cadences at ends of lines; 5- and 6-voice madrigals have imitation, varying voice grouping, 5. What are the generic traits of the villancico? overlapping parts at cadences. Short, strophic, syllabic, mostly homophonic 19. (247) How about Arcadelt's? The White Swan might 6. What are the villancico body parts? have an erotic message. Refrain (estribillo), 1+ stanzas (coplas); stanzas begin with a Homophonic with occasional imitation new section (mundanza, "change") with two statements of a contrasting idea and conclude with a return to the 20. -
Album Booklet
CON ARTE E MAESTRIA Virtuoso violin ornamentation from the dawn of the Italian Baroque Monteverdi String Band In Focus Oliver Webber violin Steven Devine organ & harpsichord Con arte e maestria Giovanni Bassano (c.1561–1617) Gärtner (dates unknown) 1. Ricercata prima [2:29] 9. Toccata [2:34] Virtuoso violin ornamentaon from Cipriano de Rore (c.1515–1565) Biagio Marini the dawn of the Italian Baroque (ornaments by Riccardo 10. Sinfonia ‘L’Orlandina’ [2:09] Rognoni, c.1550–c.1620) 2. Anchor che col parre [3:35] Giovanni Gabrieli (c.1555–1612) Monteverdi String Band In Focus 11. Toccata del secondo tuono [2:16] Giovanni Pierluigi da Oliver Webber violin Palestrina (c.1525–1594) Tomas Luis de Victoria (c.1548–1611) Steven Devine organ & harpsichord (ornaments by Oliver Webber b.1969) (ornaments by Giovanni Basta 3. Deh hor foss’io col vago della luna [4:07] Bovicellim, fl. late 16th century) 12. Dilectus tuus candidus [6:40] Ascanio Mayone (c.1565–1627) 4. Canzon francese prima [2:39] Cipriano de Rore (ornaments by Oliver Webber) Biagio Marini (1594–1663) 13. Signor mio caro [3:50] 5. Sinfonia ‘La Gardana’ [2:06] Oliver Webber Oliver Webber (aer Claudio Monteverdi et al.) (aer Giovanni Bassano) 14. Ciaccona [4:23] 6. Ricercata [1:59] Michelangelo Rossi (c.1601–1656) Thomas Crecquillon (c.1505–c.1557) 15. Toccata nona [3:48] About Oliver Webber: (ornaments by Oliver Webber) 7. Par trop souffrir de fortune Dario Castello (1602–1631) ‘Oliver Webber [bows] with rapier-like eloquence’ ennemie [4:29] 16. Sonata prima [4:05] Gramophone Orlando di Lasso (c.1532–1594) Carlo G (fl. -
MUH 6671, Seminar in Renaissance Music, Spring 2020 T Periods 7 - 9 (1:55–4:55 Pm)
Jennifer Thomas University of Florida 1 MUH 6671, Seminar in Renaissance Music, Spring 2020 T Periods 7 - 9 (1:55–4:55 pm) The Long Venetian Century ca. 1500-1650 Overview The iconic piazza of San Marco has recently been before us as twenty-first- century Venice threatens to sink into the lagoon from which it arose when refugees fled from invaders, by at least the fifth century. Gentile Bellini - Procession in St. Mark's Square (Galleria dell'Accademia, Venice) Situated at the intersection of East and West, Venice became a military, political, commercial, and cultural power in its own right. Insular by design, Venice experienced a unique Renaissance, marking the early modern world with its own democratic, cosmopolitan perspective. Humanist, technologically-pioneering Venice invented a particular face of modernity, drawing international travelers in the sixteenth-century just as it does today. Music, drama, and ceremony played out in Venice’s piazzas, churches, and courts, and its publishing houses disseminated music more widely than ever before. Musical genres, including madrigal, laude, motet, mass, and opera, hint at Venice’s visual and aural splendor. The seminar will begin with the humanist cultural milieu at the turn of the 16th century, when Petrucci began to print polyphonic music, permanently transforming ideas of ownership and authorship, and conclude with the birth of the new genre of opera in the early 17th century. Canonic composers such as Adrian Willaert, Cipriano de Rore, Claudio Monteverdi, and Alessandro and Giovanni Gabrieli, as well as less- famous contemporaries, allow us to consider ideas about musical style and its change over time and the development of new genres and musical media.