DOCSLIB.ORG

Scenic Breakdown of the Musical Repertoire Scene Music Commentary Introduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Scenic Breakdown of the Musical Repertoire Scene Music Commentary Introduction Scenic Breakdown of the Musical Repertoire Scene Music Commentary Introduction. Intertitles explain the Je me complains - Guillaume Christine de Pizan wrote her poem in 1429, shortly after the Dauphin had been film’s context and we see the original Dufay (1397-1474): lyrics crowned Charles VII at Reims. This particular stanza compares Joan to other transcript of the trial. by Christine de Pizan from heroines: Esther, Judith, and Deborah. La Ditié de Jeanne’d’Arc The trial begins and Joan is sworn in. Salve Regina - Hymbert In all her letters, Joan wrote the words ‘“Jesus Maria” separated by the sign of the Salinis (b 1378–84; fl cross to indicate the sources of her divine inspiration. The Salve Regina is one of the 1403–9) standard Marian texts, here set by Hymbert Salinis, a French composer. Pierre Cauchon, the Burgundian chief Salve Sancta parens - Gilles Gilles Binchois was one of the most famous composers of the era and was employed prosecutor, begins the interrogation. Binchois (b.c.1400-1460) by Phillip the Good, Duke of Burgundy. The setting is in a style known as fauxbourdon, They ask if Joan knows her “Our essentially a succession of parallel second-inversion chords, a simple design that Father.” shows its improvised origins. Further questioning. Joan insists that Sanctus - Gilles Binchois Binchois set some 28 mass movements though no complete mass setting. Like many the English will be driven out of France. of his works, this uses note-against-note harmonization of an original chant part. Cauchon quizzes Joan about her visions Plainchant antiphon for the It’s likely that Joan would have heard this. She was travelling with Charles VII in of angels. Feast of St. Michael and All September and the Feast day falls on 29th of that month. Angels and the Offertory, Stetit Angelus. The questioning turns to Joan’s dress. Imera dat hodierno - Grossin was a French composer working in Paris, which was by this time occupied by According to Deuteronomy, it is a sin Estienne Grossin (fl. 1418– the English. Imera dat hodierno appears in several important sources. for women to wear men’s clothing. 1421) Increasingly agitated, Jean d'Estivet Section from Gloria - This excerpt from a Gloria by Johannes Le Grant expresses the self-righteousness of accuses Joan of blasphemy and spits in Johannes Le Grant Joan’s accusers. Johannes Le Grant was born in what is now part of Belgium, though her face. (fl c1420–40). he was indisputably French by nationality. Shocked by the violence, Nicolas de O Redemptor sume carmen - This anonymous English setting of the plainchant hymn alternates polyphonic verses Houppeville calls Joan a saint. The Anonymous with a plainchant refrain. priests turn on him. An older priest challenges Cauchon, but to no avail. The questioning begins again. Salve sancta parens - Gilles The Binchois setting of the Salve Sancta parens returns, though this time scored for Binchois lower voices. Once again Cauchon is unable to faze O Regina clementissima - Loqueville’s setting of another Marian text is set in chanson style, with two untexted Joan. The camera lingers on her face. Richard Loqueville (d. 1418) voices providing the harmonic foundations for a beautiful and simple melody. Loqueville was almost certainly Dufay’s teacher. Joan is led to her cell. Cauchon and Vexilla Regis - Guillaume Guillaume Dufay, the leading composer of his generation, like many of his compatriots Warwick plan for Loyseleur to forge a Dufay travelled from war-torn Northern France to work in Italy. This hymn is a simple letter in the hand of Charles VII. alternation of plainchant and a simply decorated polyphony. One of the English soldiers steals Joan’s Te Deum - Anonymous This English Te Deum is a typically robust example of discant. Although a sacred ring, giving Loyseleur the opportunity hymn of praise, it also had a more secular function. It was sung by the Orléanais when to assure Joan of his protection. the siege was lifted, and by people of Beauvais in August 1429 to celebrate Joan’s successes (apparently to the annoyance of Cauchon, who was Bishop of Beauvais). 1 Scene Music Commentary Loyseleur returns Joan’s ring and Kyrie - Estienne Grossin Taking its place in both the mass and the requiem mass, the Kyrie eleison is part of the presents her with the letter, ostensibly ordinary of the mass, set to music by composers since the medieval era. Grossin came signed by the King, but she cannot read. from the diocese of Sens, some 100 miles from Orléans. Loyseleur reads the letter, claiming that Reading from Epistle Etymologically speaking, an epistle is simply a letter, and in this case we sing Saint Joan’s King is on the way to rescue her. Paul’s letter to the Galatians. The priests gather in Joan’s cell and Fauxbourdon A setting of the text for the Feast of the Assumption, Audi filia et vide: “Listen, my begin interrogating her again. daughter, and consider my words attentively; thou art to forget, henceforward, thy own nation.” This is essentially the duplicitous subtext of the priests’ advice. The priests invite Joan to say her “Our Praeceptibus salutaribus... It is known that Joan knew both her “Ave Maria” and her “Pater noster”, both Father.” Pater noster... Amen fundamental texts for the dutiful Catholic. The questioning leads Joan to assert Gloria - Johannes Le Grant The hymn of praise to God is a different setting of the ordinary of the mass by the that she is in a state of grace, which can same composer. only be granted to her by the priests. She looks to Loyseleur for advice. Massieu warns Joan of the dangerous Gaude, tu baptista - Benoit This isorhythmic motet is by Benoit, a French singer and composer originally from implications of her answer. He is (fl 1436–55) Sens, is typical of the urgent Italian style adopted by the composer and many others of shouted down by Cauchon, who senses the period. Above long, drawn-out notes in the two lower parts, the two texted upper that Joan is about to damn herself. parts duel, exchanging musical ideas and phrases. Joan finally answers: “If I am not, may Salve Regina - Johannes While the film suggests a parallel between the passion of Christ and that of Joan, the God put me there! And if I am, may God Reson (fl c1425–35) parallels between Mary and Joan are never far away. Alain Chartier, a contemporary so keep me!” Like many of her answers, commentator, poet, and notary to Charles VII, wrote these words about Joan in 1429: it’s a brilliant response and offers the “O singular virgin, worthy of all glory, worthy of all praise, worthy of divine honours! priests no traction. Joan requests to You are the honour of the reign, you are the light of the lily, you are the beauty the attend mass. Realising that he has glory, not only of France, but of all Christendom.” Reson’s setting of this Marian text leverage, Cauchon says she can if she underlines that comparison. changes into women’s clothes. An angry Cauchon claims that Joan is Qui tollis from Gloria - The righteous anger of the clerics is further pursued in the lively rhythms of Le part of Satan’s gang. Loyseleur orders Johannes Le Grant Grant’s Gloria. the torture room to be prepared. Returned to her cell, Joan is taunted by Agincourt Carol - The battle of Agincourt in 1415 is probably the most famous English triumph of the the English soldiers, who dress her with Anonymous Hundred Years War, celebrated in this (narrative) carol. a crown of reeds and give her an arrow as her sceptre. The young priest, Massieu, dismisses Pour la douleur - Johannes Cesaris was a singer at Bourges and worked for the Duke of Burgundy. This dou- the soldiers and comforts Joan. Cesaris (fl 1406–17) ble-texted chanson speaks of pain and grief, comparing a lover’s plight to martyrdom. The priests gather again, this time in Ad te levavi The plainchant setting is of the words to Psalm 123, the tract and versus for the third the torture chamber. week in Lent. The priests try to trap Joan, mercilessly Epistle - plainchant The Epistle tells the story of Jesus casting out the demon from the stricken woman. berating her and trying to get her to sign her abjuration (an admission of heresy). 2 Scene Music Commentary Joan accepts that her fate is to be Sanctus - Richard Harking back to the fourteenth century, this rhythmically vital song of praise is full of alone—alone with God. The torture Loqueville (d 1418) hocketing and virtuosic triplet runs. instruments are prepared. Having fainted, Joan is led back to Sanctus - Fauxbourdon This setting of the Sanctus text accords with the principles of fauxbourdon, one of the her cell. The English solider Warwick standard improvisatory forms of the time. insists she should not die naturally. The Doctor says that Joan should be Ave verum - Johannes Reson was primarily active in Italy, and this two-part setting of a standard text is a bled. Warwick agrees, but counsels Reson hymn of praise and a request for clemency, addressed to Christ, through whose blood them not to let her kill herself. redemption is assured. Fearing death, Joan asks to be buried on Benedicta es Virgo - This is the Gradual text from Libert’s Marian mass, the Missa de Beata Virgine. Libert consecrated ground. Cauchon assures Reginaldus Libert (fl was a French composer and master of the choristers in Cambrai in 1424. her that the church is merciful and that c1425–35) he has sent for the sacrament.
Load more

Recommended publications
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • Juan Latino and the Dawn of Modernity
    Juan Latino and the Dawn of Modernity May, 2017 Michael A. Gómez Professor of History and Middle Eastern and Islamic Studies New York University Juan Latino’s first book is in effect a summons not only to meditate upon the person and his work, but to reconsider the birth of a new world order from a vantage point both unique and unexpected, to view the beginning of a global transformation so thoroughgoing in its effect that the world continues to wrestle with its implications, its overall direction yet determined by centuries-old centripetal forces. The challenge, therefore in seeing the world through the eyes of Juan Latino is to resist or somehow avoid the optic of the present, since we know what has transpired in the nearly five hundred year since the birth of Juan Latino, and that knowledge invariably affects, if not skews our understanding of the person and his times. Though we may not fully succeed, there is much to gain from paying disciplined attention to matters of periodization in the approximation of Juan Latino’s world, in the effort to achieve new vistas into the human condition. To understand Juan Latino, therefore, is to grapple with political, cultural, and social forces, global in nature yet still in their infancy, which created him. To grasp the significance of Juan Latino is to come to terms with contradiction and contingency, verity and surprise, ambiguity and clarity, conformity and exceptionality. In the end, the life and times of Juan Latino constitute a rare window into the dawn of modernity. Celebrated as “the first person of sub-Saharan African descent to publish a book of poems in a western language” (a claim sufficiently qualified as to survive sustained scrutiny), Juan Latino, as he came to be known, was once “Juan de Sessa,” the slave of a patrician family, who came to style himself as “Joannes Latīnūs,” often signing his name as “Magīster Latīnūs.”i The changing, shifting nomenclature is as revealing as it is obfuscating.
    [Show full text]
  • Johann Reuchlin's Open Letter of 1505
    Studies in Christian-Jewish Relations A peer-reviewed e-journal of the Council of Centers on Jewish-Christian Relations Published by the Center for Christian-Jewish Learning at Boston College In Search of an Explanation for the Suffering of the Jews: Johann Reuchlin’s Open Letter of 1505 Franz Posset Volume 5 (2010) http://escholarship.bc.edu/scjr/vol5 Posset, In Search of an Explanation Posset 1 http://escholarship.bc.edu/scjr/vol5 Studies in Christian-Jewish Relations Volume 5(2010): Posset 1-11 In 1505, the humanist Johann Reuchlin (1455-1522) time to use Hebrew phrases, given in Hebrew characters,5 with- published a booklet titled Doctor iohanns Reuchlins tütsch in the Early New High German text. If Reuchlin had written the missiue, warumb die Juden so lang im ellend sind1 (Johann text in Latin as one scholar to another, it might not be particu- Reuchlin‘s German-language open letter [discussing] why the larly exceptional, but he writes in 1505 in the then non-scholarly Jews have been in ―exile‖2 so long). One may debate whether vernacular language. The only other document of the very early or not Reuchlin‘s ―German open letter‖ is to be understood as sixteenth century written in German and Hebrew is the pam- merely repeating the ―conventional view that they [the Jews] phlet by the former Jew, Johann Pfefferkorn (1469–1523), titled were suffering for the sins of their forefathers who had mur- The Enemy of the Jews and published in 1509,6 i.e., four years dered Jesus.‖3 However, such an interpretation is a far too after the Missiue.
    [Show full text]
  • Academic Genealogy of Mason A. Porter C
    Sharaf al-Dīn al-Ṭūsī Kamāl al-Dīn Ibn Yūnus Nasir al-Dīn al-Ṭūsī Shams al‐Dīn al‐Bukhārī Maragheh Observatory Gregory Chioniadis 1296 Ilkhans Court at Tabriz Manuel Bryennios Theodore Metochites 1315 Gregory Palamas Nilos Kabasilas Nicole Oresme 1363 Heinrich von Langenstein Demetrios Kydones Elissaeus Judaeus 1363 Université de Paris 1375 Université de Paris Manuel Chrysoloras Georgios Plethon Gemistos Johannes von Gmunden 1380, 1393 1406 Universität Wien Basilios Bessarion Georg von Peuerbach 1436 Mystras 1440 Universität Wien Johannes Müller Regiomontanus Guarino da Verona Johannes Argyropoulos 1457 Universität Leipzig 1408 1444 Università degli Studi di Padova 1457 Universität Wien Vittorino da Feltre Marsilio Ficino Cristoforo Landino 1416 Università degli Studi di Padova 1462 Università degli Studi di Firenze Theodoros Gazes Ognibene (Omnibonus Leonicenus) Bonisoli da Lonigo Paolo (Nicoletti) da Venezia Angelo Poliziano Florens Florentius Radwyn Radewyns Geert Gerardus Magnus Groote 1433 Università di Mantova Università di Mantova 1477 Università degli Studi di Firenze 1433 Constantinople Sigismondo Polcastro Demetrios Chalcocondyles Leo Outers Gaetano da Thiene Georgius Hermonymus Moses Perez Scipione Fortiguerra Rudolf Agricola Thomas von Kempen à Kempis Jacob ben Jehiel Loans 1412 Università degli Studi di Padova 1452 Mystras 1485 Université Catholique de Louvain 1493 Università degli Studi di Firenze 1478 Università degli Studi di Ferrara 1424 Università degli Studi di Padova 1452 Accademia Romana Jacques (Jacobus Faber) Lefèvre
    [Show full text]
  • Download Discantus Artistic Projects
    SPEEDMEETINGS SUBSCRIPTION FORM COMPANY : Ensemble Discantus / Centre de musique médiévale de Paris Brigitte LESNE (in french and spanish, available until 15:00) Anne PIFFARD (English), Alain GENUYS (French) e-mail : [email protected] - tél : 0033 1 45 80 74 49 Describe your company in a few words : Discantus is women vocal ensemble that brings alive the vocal repertoire, primarily sacred, of the Middle Ages from the first Western musical notation of the 9th century up to the 15th century. Founded in 1989 under the direction of Brigitte Lesne, it brings together passionate singers from diverse backgrounds capable of adopting a vocal style appropriate to the medieval repertoire, uniting unique individual timbres to form a coherent ensemble sound. Since the 2000’s, Discantus’ handbells became like the "signature" of the ensemble. Invited to the most prestigious festivals, Discantus performs regularly in France, in Western, Central and Eastern Europe (Croatia, Slovenia, Slovakia, Hungary, Poland) and as far as Fes in Morocco, Beyrouth in Lebanon, New York, Perth, and also in Colombia. The 13th recording, "the Argument of Beauty" (sacred polyphonies by Gilles Binchois, at æon recordings) was rewarded as 2010 best recordings of the year by Le Monde newspaper. In 2014, « Music for a King » - also by æon – alternates 11th century repertoire with two pieces commissioned to young composers using texts of Boethius. Discantus keeps enlarging it's repertoire with two new programs incorporating typical medieval stringed instruments (harp, hurdy-gurdy, psaltery, fiddle) played by the singers themselves: "A path to the field of stars, pligrim's songs" and "Santa Maria, At the court of Alfonso el Sabio".
    [Show full text]
  • BH Program FINAL
    MUSIC BEFORE 1800 Louise Basbas, Director Blue Heron Christmas at the Courts of 15th-Century France & Burgundy Scott Metcalfe, director and harp Jennifer Ashe, Pamela Dellal, Martin Near, Daniela Tosic Michael Barrett, Owen McIntosh, Jason McStoots, Stefan Reed, Mark Sprinkle, Sumner Tompson Cameron Beauchamp, Paul Guttry Laura Jeppesen, vielle and rebec; Charles Weaver, lute and voice Advent O clavis David (O-antiphon for December 20) plainchant Factor orbis Jacob Obrecht (1457/8 - 1505) O virgo virginum (O-antiphon for December 24) plainchant O virgo virginum Josquin Desprez (c. 1455 - 1521) Conditor alme siderum (alternatim hymn for Advent) Guillaume Du Fay (c. 1397 - 1474) Ave Maria gratia dei plena Antoine Brumel (c. 1460 - c. 1512) Christmas O admirabile commercium / Verbum caro factum est Johannes Regis (c. 1425 - 1426) INTERMISSION Christmas Letabundus (Christmas sequence) Guillaume Du Fay Praeter rerum seriem Adrian Willaert (c. 1490 - 1562 New Year’s Day La plus belle et doulce figure Nicolas Grenon (c. 1380 - 1456) Dieu vous doinst bon jour et demy Guillaume Malbecque (c. 1400 - 1465) Dame excellent ou sont bonté, scavoir Baude Cordier (d. 1397/8?) De tous biens playne (instrumental) Johannes Tinctoris (c. 1435 - 1511?) Margarite, fleur de valeur Gilles Binchois (c. 1400 - 1460) Ce jour de l’an voudray joie mener Guillaume Du Fay Christmas Gloria Spiritus et alme Johannes Ciconia (c. 1370 - 1412) Nato canunt omnia Antoine Brumel Tis concert is sponsored, in part, by the Florence Gould Foundation, Music Before 1800’s programs are supported, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Department of Cultural Affairs in partnership with the City Council.
    [Show full text]
  • Academic Genealogy of the Oakland University Department Of
    Basilios Bessarion Mystras 1436 Guarino da Verona Johannes Argyropoulos 1408 Università di Padova 1444 Academic Genealogy of the Oakland University Vittorino da Feltre Marsilio Ficino Cristoforo Landino Università di Padova 1416 Università di Firenze 1462 Theodoros Gazes Ognibene (Omnibonus Leonicenus) Bonisoli da Lonigo Angelo Poliziano Florens Florentius Radwyn Radewyns Geert Gerardus Magnus Groote Università di Mantova 1433 Università di Mantova Università di Firenze 1477 Constantinople 1433 DepartmentThe Mathematics Genealogy Project of is a serviceMathematics of North Dakota State University and and the American Statistics Mathematical Society. Demetrios Chalcocondyles http://www.mathgenealogy.org/ Heinrich von Langenstein Gaetano da Thiene Sigismondo Polcastro Leo Outers Moses Perez Scipione Fortiguerra Rudolf Agricola Thomas von Kempen à Kempis Jacob ben Jehiel Loans Accademia Romana 1452 Université de Paris 1363, 1375 Université Catholique de Louvain 1485 Università di Firenze 1493 Università degli Studi di Ferrara 1478 Mystras 1452 Jan Standonck Johann (Johannes Kapnion) Reuchlin Johannes von Gmunden Nicoletto Vernia Pietro Roccabonella Pelope Maarten (Martinus Dorpius) van Dorp Jean Tagault François Dubois Janus Lascaris Girolamo (Hieronymus Aleander) Aleandro Matthaeus Adrianus Alexander Hegius Johannes Stöffler Collège Sainte-Barbe 1474 Universität Basel 1477 Universität Wien 1406 Università di Padova Università di Padova Université Catholique de Louvain 1504, 1515 Université de Paris 1516 Università di Padova 1472 Università
    [Show full text]
  • Study of the Burgundian Chanson As a Source of Material for the High School Vocal Ensemble
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1968 Study of the Burgundian chanson as a source of material for the high school vocal ensemble Franklin Paul Halpin The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Halpin, Franklin Paul, "Study of the Burgundian chanson as a source of material for the high school vocal ensemble" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3737. https://scholarworks.umt.edu/etd/3737 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. /Y/ A STUDY OP THE BUHGUHDIAN CHANSON AS A SOURCE OP MATERIAU POR THE HIGH SCEOCU VOCAU ENSEMBLE by P. EAUU HAEPIN B. A, Idaho State University, 1953 ■resented in partial fulfillment of the requirements for the degree of Master of Music Education 1968 Approved by: September 13, 1 9 ^ 8 Date UMI Number: EP35336 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 complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.
    [Show full text]
  • Eu Whoiswho Official Directory of the European Union
    EUROPEAN UNION EU WHOISWHO OFFICIAL DIRECTORY OF THE EUROPEAN UNION EUROPEAN COMMISSION 16/09/2021 Managed by the Publications Office © European Union, 2021 FOP engine ver:20180220 - Content: - merge of files"Commission_root.xml", "The_College.XML1.5.xml", "temp/CRF_COM_CABINETS.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_SG.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/ CRF_COM_SJ.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_COMMU.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_IDEA.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_BUDG.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/ CRF_COM_HR.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_DIGIT.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_IAS.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_OLAF.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/ CRF_COM_ECFIN.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_GROW.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_DEFIS.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_COMP.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/ CRF_COM_EMPL.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_AGRI.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_MOVE.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_ENER.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/ CRF_COM_ENV.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_CLIMA.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_RTD.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/CRF_COM_CNECT.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml", "temp/ CRF_COM_JRC.RNS.FX.TRAD.DPO.dated.XML1.5.ANN.xml",
    [Show full text]
  • | 216.302.8404 “An Early Music Group with an Avant-Garde Appetite.” — the New York Times
    “CONCERTS AND RECORDINGS“ BY LES DÉLICES ARE JOURNEYS OF DISCOVERY.” — NEW YORK TIMES www.lesdelices.org | 216.302.8404 “AN EARLY MUSIC GROUP WITH AN AVANT-GARDE APPETITE.” — THE NEW YORK TIMES “FOR SHEER STYLE AND TECHNIQUE, LES DÉLICES REMAINS ONE OF THE FINEST BAROQUE ENSEMBLES AROUND TODAY.” — FANFARE “THE MEMBERS OF LES DÉLICES ARE FIRST CLASS MUSICIANS, THE ENSEMBLE Les Délices (pronounced Lay day-lease) explores the dramatic potential PLAYING IS IRREPROACHABLE, AND THE and emotional resonance of long-forgotten music. Founded by QUALITY OF THE PIECES IS THE VERY baroque oboist Debra Nagy in 2009, Les Délices has established a FINEST.” reputation for their unique programs that are “thematically concise, — EARLY MUSIC AMERICA MAGAZINE richly expressive, and featuring composers few people have heard of ” (NYTimes). The group’s debut CD was named one of the "Top “DARING PROGRAMMING, PRESENTED Ten Early Music Discoveries of 2009" (NPR's Harmonia), and their BOTH WITH CONVICTION AND MASTERY.” performances have been called "a beguiling experience" (Cleveland — CLEVELANDCLASSICAL.COM Plain Dealer), "astonishing" (ClevelandClassical.com), and "first class" (Early Music America Magazine). Since their sold-out New “THE CENTURIES ROLL AWAY WHEN York debut at the Frick Collection, highlights of Les Délices’ touring THE MEMBERS OF LES DÉLICES BRING activites include Music Before 1800, Boston’s Isabella Stewart Gardner THIS LONG-EXISTING MUSIC TO Museum, San Francisco Early Music Society, the Yale Collection of COMMUNICATIVE AND SPARKLING LIFE.” Musical Instruments, and Columbia University’s Miller Theater. Les — CLASSICAL SOURCE (UK) Délices also presents its own annual four-concert series in Cleveland art galleries and at Plymouth Church in Shaker Heights, OH, where the group is Artist in Residence.
    [Show full text]
  • Italian Painters, Critical Studies of Their Works: the Gemäldegalerie Alte Meister in Dresden
    Italian Painters, Critical Studies of their Works: the Gemäldegalerie Alte Meister in Dresden. An overview of Giovanni Morelli’s attributions1 Valentina Locatelli ‘This magnificent picture-gallery [of Dresden], unique in its way, owes its existence chiefly to the boundless love of art of August III of Saxony and his eccentric minister, Count Brühl.’2 With these words the Italian art connoisseur Giovanni Morelli (Verona 1816–1891 Milan) opened in 1880 the first edition of his critical treatise on the Old Masters Picture Gallery in Dresden (hereafter referred to as ‘Gemäldegalerie Alte Meister’). The story of the Saxon collection can be traced back to the 16th century, when Lucas Cranach the Elder (1472–1553) was the court painter to the Albertine Duke George the Bearded (1500–1539). However, Morelli’s remark is indubitably correct: it was in fact not until the reign of Augustus III (1696– 1763) and his Prime Minister Heinrich von Brühl (1700–1763) that the gallery’s most important art purchases took place.3 The year 1745 marks a decisive moment in the 1 This article is the slightly revised English translation of a text first published in German: Valentina Locatelli, ‘Kunstkritische Studien über italienische Malerei: Die Galerie zu Dresden. Ein Überblick zu Giovanni Morellis Zuschreibungen’, Jahrbuch der Staatlichen Kunstsammlungen Dresden, 34, (2008) 2010, 85–106. It is based upon the second, otherwise unpublished section of the author’s doctoral dissertation (in Italian): Valentina Locatelli, Le Opere dei Maestri Italiani nella Gemäldegalerie di Dresda: un itinerario ‘frühromantisch’ nel pensiero di Giovanni Morelli, Università degli Studi di Bergamo, 2009 (available online: https://aisberg.unibg.it/bitstream/10446/69/1/tesidLocatelliV.pdf (accessed September 9, 2015); from here on referred to as Locatelli 2009/II).
    [Show full text]
  • Notes – RECORDER CONSORT VIOLS Trotto (Anon Italian 14Th Century) Is a Lively Monophonic Dance in the Form of a Rondeau
    - Notes – RECORDER CONSORT VIOLS Trotto (Anon Italian 14th century) is a lively monophonic dance in the form of a rondeau. It originated around 1390.The time signature for the trotto is given as 6/8, Richard Mico (1590-1661) and John Jenkins (1592-1678) are celebrated fantasy and is infused with the triple meter swing, kind of like listening to horse riding and composers. This form is rather like an instrumental madrigal in which several points fox hunting. In Italian, trotto means to trot. of imitation are developed one after the other. Jenkins is our favourite composer, an inexhaustibly inventive melodist and a consummate contrapuntist. Like many of the English fantasy composers and like Haydn, Jenkins resided on the estates of the Virgo Rosa ( Gilles Binchois 1400-1460) provincial gentry; he preferred to be treated as a gentleman house-guest of Lord Gilles Binchois was a Franco-Flemish composer, one of the earliest members of the Dudley North (an amateur treble viol player) rather than an employee. Burgundian School, and one of the three most famous composers of the early 15th century. Binchois is often considered to be the finest melodist of the 15th century, Clive Lane is a Sydney based composer, with published works for viols and writing carefully shaped lines which are easy to sing, and utterly memorable. Most of recorders. He is also an accomplished singer and viol player, and is member of our his music, even his sacred music, is simple and clear in outline. consort. Air is a composition for quartet of viols (treble/tenor/tenor/bass) in a 16 th century style, in which Clive captures the mood of a viol piece by his favourite The words of this sacred motet - composer for viols: John Jenkins.
    [Show full text]