DOCSLIB.ORG

La Fresca Rosa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

La Fresca Rosa Galway Early Music Festival 2021 Aisling Kenny (soprano) Eamon Sweeney (lute & guitar) Yonit Kosovske (harpsichord) Amarilli, mia bella Guilio Caccini (1551–1618), arr. John Dowland (1563–1626) Amarilli, mia bella, Amaryllis, my beloved, Non credi, o del mio cor dolce desio, don’t you believe, oh my heart's sweet desire, D'esser tu l'amor mio? that you are my love? Credilo pur: e se timor t'assale, Believe only this: and if you are overcome by fear, Prendi questo mio strale. take this arrow for mine. Aprimi il petto e vedrai scritto in core: Open my chest and see written in my heart: Amarilli, Amarilli, Amarilli è il mio amore. Amaryllis, Amaryllis, Amaryllis, is my beloved. (possibly Giovanni Battista Guarini or Alessandro Guarini) (trans. Yonit Kosovske) Mio ben, teco il tormento (Eurydice, Orfeo Act 2) Luigi Rossi (ca.1597–1653) Mio ben, teco il tormento My dear, I would be tormented più dolce io troverei, more happily where I find you Che con altrui il contento. than with the contentment of others. Ogni dolcezza è sol dove tu sei, There is only sweetness wherever you are, E per me, amor aduna, and for me, in the return of your glances Nel girar de' tuoi sguardi ogni fortuna. love gathers together every fortune. (Francesco Buti) (trans. Yonit Kosovske) Partite sopra l’aria di Monica Girolamo Frescobaldi (1583–1643) Aura Soave Luzzasco Luzzaschi (ca.1545–1607) Aura soave di segreti accenti Gentle breeze of secret whispers, Che penetrando per l'orecchie al core which, piercing through my ears to my heart Svegliasti la dove dormiva Amore awakened Love from her sleep. Per te respiro e vivo For you I breathe and live Da che nel petto mio ever since into my breast Spirasti tu d'Amor vital desio you aroused Love's desire. Vissi di vita privo I lived a deprived life Mentre amorosa cura in me fu spenta while love's care was eclipsed in me. Hor vien che l'alma senta Now come, so that my soul may feel Virtu di quel tuo spirto gentile because of your gentle spirit Felice vita oltre l'usato stile. a happy life beyond the ordinary. (Giovanni Battista Guarini ) (trans. Yonit Kosovske) Ch'amor sia nudo Francesca Caccini (1587–ca.1641) Ch'amor sia nudo, e pur con l'ali al tergo That love is naked with wings on its back, Stia sotto il cieloe non procuri albergo è vanità. and lives under the sky seeking no shelter, that is useless. Ma che per gli occhi, egli dicend' al petto But it is through the eyes where love enters and reaches the breast, Et ivi posi et ivi abbia ricetto è verità. where it settles and is welcomed. That is the truth. E ch'ei sia cieco, e che non mai rimiri That love is blind and never looks Ove percota, e così l'arco tini è vanità. at what it strikes, and thus love aims its bow, that is pointless. Ma ch'apra il guardo, e senz' alcuna benda But as love opens its eyes, and is without a blindfold, E' pigli mira, e quindi l'arco tendae è verità. it shoots and then returns the bow. That is the truth. Che fra mortali, e che fra cor celesti That among mortals and among heavenly hearts Leggier sen voli, e non gia mai s'arresti è vanità. love flies fleetingly and never rests, that is foolish. Ma ch'ove posi un giorno sol le piume But wherever love places its feathers even for a day Eternamente abbia di star costume è verità. it tends to remain forever. That is the truth. Et io mel so, che s'egli avv´en ch'io nieghi, And I know that if I should refuse Ch´a suoi fier gioghi questo collo io pieghie è vanità. to bend my neck to his proud yoke, that is futile. Ma s'io dirò, che n´amorose tempre, But if I say that with no amorous temper, Et ardo, et arsi, et arderò mai sempre è verità. I burn, I have burned, and will always burn. That is the truth. (anonymous) (trans. Yonit Kosovske) Lagrime mie (Diporti di Euterpe op 7) Barbara Strozzi (1619–1677) Lagrime mie, à che vi trattenete? My tears, why do you hesitate? Perché non isfogate il fier dolore Why don’t you give in to the intense pain Che mi toglie'l respiro e opprime il core? that stops my breath and burdens my heart? Lidia, che tant'adoro, Lidia, whom I greatly adore, Perch'un guardo pietoso, ahi, mi donò, oh how she glanced so adoringly at me, Il paterno rigor l'impriggionò. she is imprisoned by her strict father. Tra due mura rinchiusa Between two enclosed walls Sta la bella innocente, stands the beautiful innocent one Dove giunger non può raggio di sole; where she cannot feel the sun's rays; E quel che più mi duole and what pains me the most Ed' accresc'al mio mal tormenti e pene, and adds torment to my anguish È che per mia cagione is that it is on my account Provi male il mio bene. that she is forced to suffer. E voi, lumi dolenti, non piangete? And you, sorrowful eyes, why don't you cry? Lagrime mie, à che vi trattenete? My tears, why do you hide? Lidia, ahimè, veggo mancarmi Lidia, alas, how I miss her, L'idol mio che tanto adoro; the favoured one I so greatly adore; Sta colei tra duri marmi, she's held inside within hard marble, Per cui spiro e pur non moro. for her I sigh and do not die. Se la morte m'è gradita, If I welcome death, Hor che son privo di spene, now that I am without hope, Dhe [deh], toglietemi la vita, Ah, take away my life, Ve ne prego, aspre mie pene. I beg you, please, take away my pain. Ma ben m'accorgo che per tormentarmi But how well I realize that to torment me Maggiormente la sorte even more than this Mi niega anco la morte. fate even denies me of death. Se dunque è vero, o Dio, Since this is true, oh God, Che sol del pianto mio that horrible fate Il rio destino ha sete, yearns only for my anguish, Lagrime mie, à che vi trattenete? my tears, why do you hide? (Pietro Dolfino) (trans. Yonit Kosovske) Capriccio sopra la Chiaccona Giovanni Battista Granata (ca.1620–1687) Quel sguardo sdegnosetto Claudio Monteverdi (1567–1643) Quel sguardo sdegnosetto That haughty little glance, lucente e minaccioso, bright and menacing, quel dardo velenoso that poisonous dart vola a ferirmi il petto, is flying to strike my breast. Bellezze ond'io tutt'ardo O beauties for which I burn, e son da me diviso by which I am severed from myself: piagatemi col sguardo, wound me with your glance, Sanatemi col riso. but heal me with your laughter. Armatevi, pupille Arm yourself, O eyes, d'asprissimo rigore, with sternest rigor; versatemi su'l core pour upon my heart un nembo di faville. a cloud of sparks. Ma 'labro non sia tardo But let lips not be slow a ravvivarmi ucciso. to revive when I am slain. Feriscami quel squardo, Let the glance strike me; ma sanimi quel riso. but let the laughter heal me. Begl'occhi a l'armi, a l'armi! O fair eyes: to arms, to arms! Io vi preparo il seno. I am preparing my bosom as your target. Gioite di piagarmi Rejoice in wounding me, in fin ch'io venga meno! even until I faint! E se da vostri dardi And if I remain vanquished io resterò conquiso, by your darts, feriscano quei sguardi, let your glances strike me, ma sanami quel riso. but let your laughter heal me. (Bartholomeo Magni) (www.cdpl.org) Si dolce è’l tormento Claudio Monteverdi (1567–1643) Si dolce è’l tormento So sweet is the torment Ch’in seno mi sta, that lies in my heart, Ch’io vivo contento that I live happily Per cruda beltà. because of its cruel beauty. Nel ciel di bellezza May beauty's fury S’accreschi fierezza grow wide in the sky Et manchi pietà: without compassion; Che sempre qual scoglio for my devotion shall hold All’onda d’orgoglio like a rock against Mia fede sarà. pride's unrelenting wave. La speme fallace False hope, Rivolgam’ il piè. keep me wandering! Diletto ne pace Let no peace Non scendano a me. nor pleasure befall me! E l’empia ch’adoro Evil woman, whom I adore, Mi nieghi ristoro deny me the rest Di buona mercè: that compassion would give; Tra doglia infinita, amidst infinite pain, Tra speme tradita amidst broken hopes Vivrà la mia fè shall survive my devotion. Per foco e per gelo There is no rest for me riposo non hò. in the warmth or the cold. Nel porto del cielo Only in heaven riposo avrò. shall I find rest. Se colpo mortale If the deadly strike con rigido strale of an arrow injured my heart, Il cor m'impiagò, I shall heal still, cangiando mia sorte and change my destiny, Col dardo di morte death's very heart il cor sanerò. with the same arrow. Se fiamma d’amore If the frigid heart Già mai non sentì that stole mine Quel rigido core Ch’il cor mi rapì, never has felt Se nega pietate love's ardour; La cruda beltate if the cruel beauty Che l’alma invaghì: that charmed my soul Ben fia che dolente, denies me compassion, Pentita e languente may she die one day Sospirimi un dì.
Recommended publications
  • Frescobaldi Gesualdo Solbiati

    Frescobaldi Gesualdo Solbiati

    Frescobaldi Gesualdo Solbiati FRANCESCO GESUALDI Accordion Girolamo Frescobaldi (1583 -1643) If we think of the theatre as a place in which audiences not only perceive with their eyes and ears, but also their deeper feelings, then the work presented in this recording Dal II Libro di Toccate is in many respects theatrical. The explanation lies in the fact that one of Francesco 1. Toccata I 4’42 Gesualdi’s particular gifts as a performer is his ability to produce sounds that conjure 2. Toccata II 4’44 up the action underlying the music, and indeed evoke the spaces in which the events 3. Toccata III, da sonarsi alla Levatione 8’51 take place. This is particularly noteworthy when performance is actually separated 4. Toccata IV, da sonarsi alla Levatione 6’58 from the reality of visualization. 5. Toccata VIII, di Durezze e Ligature 5’01 The synaesthetic experience underlying vision and visionary perception is arguably one of the fundamental ingredients of the “Second Practice”, or stile moderno, which Dal I Libro di Toccate aimed at engaging the feelings of the listener. This art was essential to the evocative 6. Partite sopra l'Aria della Romanesca (1–14) 21’49 power of Frescobaldi’s music. In his performance Francesco Gesualdi establishes a particular spatial and temporal Carlo Gesualdo (1566–1613) universe in which the constraints of absolute formal rigour are reconciled with 7. Canzon francese del Principe 6’40 freedom of accentuation and vital breath, so as to invest each execution with the immediacy of originality. In this ability to renew with each rendering, Gesualdi’s Alessandro Solbiati (1956) playing speaks for the way wonderment can forge the essential relationship between 8.
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort Olson25@Marshall.Edu

    Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]

    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
  • Aesthetics of Opera in the Ancien Régime, 1647–1785

    Aesthetics of Opera in the Ancien Régime, 1647–1785

    Aesthetics of Opera in the Ancien Regime,´ 1647–1785 Downing A. Thomas published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruizde Alarc on´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Downing A. Thomas 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Dante MT 10.75/14 pt System LATEX 2ε [tb] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Thomas, Downing A. Aesthetics of opera in the Ancien Regime,´ 1647–1785 / Downing A. Thomas. p. cm. – (Cambridge studies in opera) Includes bibliographical references and index. isbn 0-521-80188-5 1.Opera–France–17th century. 2. Opera – France – 18th century. 3. Music and state – France – History. 4. Enlightenment – France. 5. Music – France – Philosophy and aesthetics. I. Title. II. Series. ml3858 .t46 2002 782.1094409032–dc21 2002067211 isbn 0 521 80188 5 hardback CONTENTS List of illustrations viii Introduction 1 Part I French opera
  • DOLCI MIEI SOSPIRI Tra Ferrara E Venezia Fall 2016

    DOLCI MIEI SOSPIRI Tra Ferrara E Venezia Fall 2016

    DOLCI MIEI SOSPIRI Tra Ferrara e Venezia Fall 2016 Monday, 17 October 6.00pm Italian Madrigals of the Late Cinquecento Performers: Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Dolci miei sospiri tra Ferrara e Venezia Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra We express our gratitude to Pedro Memelsdorff (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) for his assistance in planning this concert. Program Giovanni Girolamo Kapsberger (1580-1651), Toccata seconda arpeggiata da: Libro primo d'intavolatura di chitarone, Venezia: Antonio Pfender, 1604 Girolamo Frescobaldi (1583-1643), Voi partite mio sole da: Primo libro d'arie musicali, Firenze: Landini, 1630 Claudio Monteverdi Ecco mormorar l'onde da: Il secondo libro de' madrigali a cinque voci, Venezia: Gardane, 1590 Concerto di Margherita Giovanni de Macque (1550-1614), Seconde Stravaganze, ca. 1610. Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Luzzasco Luzzaschi (ca. 1545-1607), Aura soave; Stral pungente d'amore; T'amo mia vita Giovanna Baviera, voce e viola da gamba da: Madrigali per cantare et sonare a uno, e due e tre soprani, Roma: Verovio, 1601 Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Claudio Monteverdi (1567-1463), T'amo mia vita da: Il quinto libro de' madrigali a cinque voci, Venezia: Amadino, 1605 Luzzasco Luzzaschi Canzon decima a 4 da: AAVV, Canzoni per sonare con ogni sorte di stromenti, Venezia: Raveri, 1608 We express our gratitude to Pedro Memelsdorff Giaches de Wert (1535-1596), O Primavera gioventù dell'anno (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) da: L'undecimo libro de' madrigali a cinque voci, Venezia: Gardano, 1595 for his assistance in planning this concert.
  • Direction 2. Ile Fantaisies

    Direction 2. Ile Fantaisies

    CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18.
  • Finding Their Voice: Women Musicians of Baroque Italy

    Finding Their Voice: Women Musicians of Baroque Italy

    Trinity University Digital Commons @ Trinity The Expositor: A Journal of Undergraduate Research in the Humanities English Department 2016 Finding Their Voice: Women Musicians of Baroque Italy Faith Poynor Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/eng_expositor Part of the Musicology Commons Repository Citation Poynor, F. (2016). Finding their voice: Women musicians of Baroque Italy. The Expositor: A Journal of Undergraduate Research in the Humanities, 12, 70-79. This Article is brought to you for free and open access by the English Department at Digital Commons @ Trinity. It has been accepted for inclusion in The Expositor: A Journal of Undergraduate Research in the Humanities by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Finding Their Voice: Women Musicians of Baroque Italy Faith Poynor emale musicians began to achieve greater freedom and indepen- dence from men during the Baroque period, and their music and Fcreative talent consequently began to flourish. Due to the rise in popularity of female vocal ensembles that resulted after the establishment of the con- certo delle donne in 1580, women composers in early modern Italy gained greater access to musical training previously only available to men or nuns. As seen by the works of composers and singers such as Francesca Caccini and Barbara Strozzi, this led to an unprecedented increase in women’s mu- sical productivity, particularly in vocal music. The rise of female vocal ensembles in the early Baroque period was a pivotal moment in women’s music history, as women finally achieved wide- spread recognition for their talents as musicians.
  • SIGNUMCLASSICS YELLOW Catalogue No

    SIGNUMCLASSICS YELLOW Catalogue No

    CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD073 BLACK Job Title Virgin Mary Page Nos. ALSO on signumclassics Piangete SIGCD040 Emotionally charged Cantatas & Motets from the pen of Italian Baroque composer Giacomo Carissimi – from the pain and angst-ridden Siam tre miseri piangenti to the lighter and tuneful Va dimanda al mio pensiero, interspersed with a variety of church music: rarely recorded works, reviving interest in an unjustly neglected master of the Roman School of music. “So much new repertoire, recorded in a vibrant acoustic, makes this a very attractive disc” - BBC Music Magazine Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD073 BLACK Job Title Virgin Mary Page Nos. music for the virgin mary biographY Celebrating 300 years of Marc-Antoine Charpentier (1643-1704) Concerto delle Donne 1. Lebègue Prélude du cinquième ton (C major) [1.14] Concerto delle Donne was formed principally to perform the unique Italian QUEEN OF HEAVEN vocal repertoire of the late 16th and early 17th centuries. Its title refers to the three celebrated singing ladies of the court of Duke Alfonso of 2. Charpentier Antiphon Ave Regina coelorum H.19 (DD, GR, JC, Choir) [3.07] Ferrara in the 1580s. The Duke was such an enthusiast of the female voice that he gathered together a Concerto delle Donne comprising the THE BIRTH OF THE VIRGIN finest sopranos of the day, famed throughout Italy for the beauty of their 3.
  • FRENCH CONNECTIONS with Avery Gagliano, Piano

    FRENCH CONNECTIONS with Avery Gagliano, Piano

    FRENCH CONNECTIONS with Avery Gagliano, piano February 13, 2021 | 7:30 PM Welcome to OMP's Virtual Concert Hall! Bonjour et bienvenue! Thank you to our loyal donors and season subscribers for your continued support, and a warm welcome to those who are joining us in our "Virtual Concert Hall" for the first time. Your contributions have made it possible for OMP to present our third virtual chamber orchestra performance in HD audio and video! We hope you enjoy this programme musical français featuring First Prize and Best Concerto Prize winner of the 2020 10th National Chopin Piano Competition Avery Gagliano! THANK YOU TO THESE GENEROUS GRANTING ORGANIZATIONS: Get the PremiumExperience! Level A Subscription Seat Access to Virtual Premium Special Concerts and additional OMP content or concerts. Receive "Kelly's Recommendation" in headphones: Bose® SoundLink around-ear headphones II with contactless shipping Select a personally autographed CD or DVD of "A Virtual Recital", featuring 2015 Young Soloist Competition Winner John Fawcett, violin and Kelly Kuo, piano. Complimentary, contactless wine delivery upon virtual reception advanced reservation Current 2020-21 Subscribers can use the amount of their tickets as a credit toward their purchase of an OMP Premium Experience Package! Give the gift of with OMP and Bose at oregonmomzaurstipclayers.org/tickets Orchestra Kelly Kuo, Artistic Director & Conductor VIOLIN Jenny Estrin, acting concertmaster Yvonne Hsueh, principal 2nd violin Stephen Chong Della Davies Sponsored by Nancy & Brian Davies Julia Frantz Sponsored by James & Paula Salerno Nathan Lowman Claudia Miller Sponsored by Jeffrey Morey & Gail Harris Sophie Therrell Sponsored by W. Mark & Anne Dean Alwyn Wright* VIOLA Arnaud Ghillebaert principal viola Lauren Elledge Kimberly Uwate* CELLO Dale Bradley acting principal cello Sponsored by Larissa Ennis & Lindsay Braun Eric Alterman Noah Seitz BASS Nicholas Burton, principal bass HARPSICHORD/PIANO Thank you to our additional musician sponsors: John Jantzi, Theodore W.
  • Girolamo Frescobaldi Aria Detta La Frescobalda

    Girolamo Frescobaldi Aria Detta La Frescobalda

    Girolamo Frescobaldi 1583 - 1644 Aria detta la Frescobalda Aus dem II. Buch der Toccaten, Canzonen ... (Rom 1637) für Gitarre bearbeitet von / arranged for Guitar by Thomas Königs Aria detta la Frescobalda Aus dem II. Buch der Toccaten, Canzonen ... (Rom 1637) Für Gitarre bearbeitet Girolamo Frescobaldi von Thomas Königs (1998) (1583-1644) Prima Parte CII 4 3 3 3 3 3 4 4 4 4 2 0 0 # Ó œ œ œ œ ˙ ˙ ˙ œ œ œ œ 0 # c 1 w 1 ˙ ˙ 1wŒ œ ˙# ˙ œ œ œn œ V 2 w 0 w w 1 w ˙ 1 ˙ œ w w ˙# œ 2 ˙n ˙ 3 ˙ w ˙ . œ ˙ 1 4 4 2 3 1 4 Ó j 0 œ œ. œ œ œ # œ œ œ 0 œ ˙ wœ. œ œ œ # 2 œ œn É . J ˙ V 3 w œ ˙˙ ˙ . Œ ˙ w œ w ˙ 1 ˙ ˙ w ˙n . ˙ ˙ 2 0 4 4 4 3 0 2 U # #˙ 3 3 œn 1 œ 2 œ# ˙ ˙ 3 ˙ á # ˙ ˙œ 4 1 œ œ œ œ œ ˙ œ á V œ 2 œ# œ 1 œ 1œ ˙ á w ˙ œ ˙n œ w á Ó á Seconda Parte 4 4 3 3 3 # œ œ œ œ 0 œ ˙. ˙. œ ˙ # 6 2 œ œ œ œ œ œ œ ˙. ˙. V 4 1 ˙. œ œ œ ˙. ˙. ˙. ˙# . œ œn œ ˙. ˙. œ œ œ 4 3 Œ 0 Œ œ # ˙. ˙. ( ) 0 0 ˙. # ˙n . ˙. ˙# œ 0 œ œ 1 œ œ3 œ V 2 Œ œ ˙ œ 1 ˙. Œ œ 4 2 2 ˙. œn œ œ œ œ œ ˙. ˙. ˙. ˙. 3 4 # œ œ œ V # œn ˙.
  • JAMS7302 01 Brosius 207..266

    JAMS7302 01 Brosius 207..266

    University of Birmingham Courtesan singers as courtiers Brosius, Amy DOI: 10.1525/jams.2020.73.2.207 License: None: All rights reserved Document Version Publisher's PDF, also known as Version of record Citation for published version (Harvard): Brosius, A 2020, 'Courtesan singers as courtiers: power, political pawns, and the arrest of virtuosa Nina Barcarola', Journal of the American Musicological Society, vol. 73, no. 2, pp. 207-267. https://doi.org/10.1525/jams.2020.73.2.207 Link to publication on Research at Birmingham portal Publisher Rights Statement: Amy Brosius; Courtesan Singers as Courtiers: Power, Political Pawns, and the Arrest of virtuosa Nina Barcarola. Journal of the American Musicological Society 1 June 2020; 73 (2): 207–267. doi: https://doi.org/10.1525/jams.2020.73.2.207 © 2020 by the American Musicological Society. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints. General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research.
  • The Renaissance Period

    The Renaissance Period

    The Renaissance Period The Renaissance, which literally means “rebirth” in French, saw movement and change in many different spheres of cultural activity as Europe began to rediscover and identify with its Greco-Roman heritage. The natural sciences (in particular astronomy) began advancing at a rapid pace, and some philosophers began to discuss secular humanism as a valid system. The discovery of the American continents by European navigators resulted in the first widespread speculations of international law and began a crisis of consci ence over human rights that would haunt the West for centuries to come. In particular, however, the Renaissance is remembered for a great a flourishing of the Arts. Secular instrumental music (for early instruments like shawms, crumhorns, and sackbuts) became increasingly popular during this period and composers began to write it down for the first time. The polyphonic madrigal became very popular in England thanks to composers like John Dowland and William Byrd. The motet, a three-part polyphonic composition written for voices or instruments, became popular around this time as well. Despite the increase in secularism, it was still within a religious context that the Renaissance arts truly thrived. Renaissance popes (corrupt as they were) were great patrons of such artists as Michelangelo, Raphael, and Gianlorenzo Bernini. Composers of church music expanded polyphony to six, eight, or even ten interwoven parts. The masses of Giovanni Pierluigi da Palestrina, Tomás Luis de Victoria, and Orlando di Lasso in particular remain some of the most beautiful music ever composed. This polyphonic style was also used by the French composer Josquin des Prez, who wrote both sacred and secular music.
  • Understanding Music Past and Present

    Understanding Music Past and Present

    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.