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The Sackbut and Pre-Reformation English Church Music
146 HISTORIC BRASS SOCIETY JOURNAL THE SACKBUT AND PRE-REFORMATION ENGLISH CHURCH MUSIC Trevor Herbert n the mid-1530s the household account books of the Royal Court in London showed that as many as twelve trombone players were in receipt of regular fees. If these accounts /signify all expenditure on Court music at that time, it can be estimated that an eighth of the wages bill for this part of its activities went to trombone players. The 1530s were something of a high point in this respect, but it remains the case that for the whole of the 16th century a corps of trombonists were, in effect, salaried members of the royal musical establishment.1 Yet, not a single piece of English music from this period is explicitly linked to the trombone. This in itselfis not significant, as the labelling of parts at this time was rare,2 but the illustration draws historians of brass instruments to a neat focus. Throughout the 16th century trombonists occupied a regular and important place in English musical life. The players were professionals, probably fine and distinguished performers: What did they play and when did they play it? In this article I address some issues concerning the deployment of trombones in the first half of the 16th century. It is worth stressing that musical practice in England in the 16th century was sufficiently different from the rest of Europe to merit special attention. As I explain below, the accession of Henry VII marks what many historians recognize as a watershed in British history. The death of his son Henry VIII in 1547 marks another. -
Amherst Early Music Festival Directed by Frances Blaker
Amherst Early Music Festival Directed by Frances Blaker July 8-15, and July 15-22 Connecticut College, New London CT Music of France and the Low Countries Largest recorder program in U.S. Expanded vocal programs Renaissance reeds and brass New London Assembly Festival Concert Series Historical Dance Viol Excelsior www.amherstearlymusic.org Amherst Early Music Festival 2018 Week 1: July 8-15 Week 2: July 15-22 Voice, recorder, viol, violin, cello, lute, Voice, recorder, viol, Renaissance reeds Renaissance reeds, flute, oboe, bassoon, and brass, flute, harpsichord, frame drum, harpsichord, historical dance early notation, New London Assembly Special Auditioned Programs Special Auditioned Programs (see website) (see website) Baroque Academy & Opera Roman de Fauvel Medieval Project Advanced Recorder Intensive Ensemble Singing Intensive Choral Workshop Virtuoso Recorder Seminar AMHERST EARLY MUSIC FESTIVAL FACULTY CENTRAL PROGRAM The Central Program is our largest and most flexible program, with over 100 students each week. RECORDER VIOL AND VIELLE BAROQUE BASSOON* Tom Beets** Nathan Bontrager Wouter Verschuren It offers a wide variety of classes for most early instruments, voice, and historical dance. Play in a Letitia Berlin Sarah Cunningham* PERCUSSION** consort, sing music by a favorite composer, read from early notation, dance a minuet, or begin a Frances Blaker Shira Kammen** Glen Velez** new instrument. Questions? Call us at (781)488-3337. Check www.amherstearlymusic.org for Deborah Booth* Heather Miller Lardin* Karen Cook** Loren Ludwig VOICE AND THEATER a full list of classes by May 15. Saskia Coolen* Paolo Pandolfo* Benjamin Bagby** Maria Diez-Canedo* John Mark Rozendaal** Michael Barrett** New to the Festival? Fear not! Our open and inviting atmosphere will make you feel at home Eric Haas* Mary Springfels** Stephen Biegner* right away. -
Instrument Descriptions
RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it. -
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
CHAN 0686 BOOK.Qxd 22/5/07 3:06 Pm Page 2
CHAN 0686 Front.qxd 22/5/07 3:04 pm Page 1 CHAN 0686 CHACONNE CHANDOS early music CHAN 0686 BOOK.qxd 22/5/07 3:06 pm Page 2 Elisa is the fayrest Quene 1 Suite of five Galliards 7:51 Galliard I, by Estienne du Tertre (fl. mid-16th century): ‘Galliarde Première’ from Septième Livre de Danceries (Paris, 1557) – Lebrecht Collection Lebrecht Galliard II, by Anonymous, from the Lumley Collection (mid-16th century) – Galliard III, by Pierre Attaingnant (c. 1494–1551/52), from Second Livre de Danceries (Paris, 1547) – Galliard IV, by Anonymous, from the Lumley Collection (mid-16th century) – Galliard V, by Claude Gervaise (fl. 1540–1560): ‘Fin de Galliard’ from Sixième Livre de Danceries (Paris, 1555) Richard Thomas, Rachel Brown, Philip Dale, Adam Woolf, Adrian France, Kathryn Cok; Elizabeth Pallett, Raf Mizraki Edward Johnson (fl. 1572–1601) For the Elvetham entertainment, 1591 2 Elisa is the fayrest Quene, Verse 1 1:08 Stephen Wallace; Richard Thomas, Philip Dale, Adam Woolf, Adrian France, Kathryn Cok 3 Come againe, sweet Nature’s treasure 1:50 Stephen Wallace, Timothy Massa; Philip Dale, Adam Woolf, Adrian France 4 Elisa is the fayrest Quene, Verse 2 1:10 Stephen Wallace; Richard Thomas, Philip Dale, Adam Woolf, Adrian France, Kathryn Cok William Byrd (c. 1540–1623) 5 Fantasia (‘A Lesson of Voluntarie’) 5:21 Title page of John Dowland’s ‘First Booke of Songes Richard Thomas, Rachel Brown, Philip Dale, Adam Woolf, Adrian France, or Ayres’, 1597 Kathryn Cok 3 CHAN 0686 BOOK.qxd 22/5/07 3:06 pm Page 4 John Dowland (?1563–1626) Francis Cutting (before 1571–1596) From The First Booke of Songes or Ayres of fowre partes 10 Divisions on ‘Walsingham’ 3:12 (London, 1597) Elizabeth Pallett 6 Come again, sweet love doth now invite 4:46 Stephen Wallace, Timothy Massa, Julian Podger, Robert McDonald; Antony Holborne (?1545–1602) Richard Thomas, Philip Dale, Adam Woolf, Adrian France; Elizabeth Pallett From Pavans, Galliards, Almains, and other short Aeirs both Robert Parsons (c. -
The English Slide Trumpet
262 HISTORIC BRASS SOCIETY JOURNAL THE ENGLISH SLIDE TRUMPET John Webb he most significant period in the evolution of the trumpet was the last two decades of the 18th century. Clearly, the art of natural trumpet playing was in decline, as exemplified by Burney's complaints about out-of-tune eleventh and thirteenth Tharmonics in a performance of "The Trumpet Shall Sound" by Sargant (1784): "He had not been bred in the clarion way of playing and could not temper these tones to their proper intonation."1 Three years later, we had Shaw's "Harmonic Trumpet,"2 the earliest surviving example of a brass instrument equipped with nodal venting. About the same time, hand-stopping was introduced (with the demi-lune trumpet, a natural instrument curved to make the bell accessible to one hand). The keyed trumpet, too, must have been around on the Continent for Haydn to have been familiar enough with its capabilities for his concerto (1796). In England, the big development was the slide trumpet. The only novelty about the slide trumpet was the slide-return mechanism. The principle of slides on trumpets goes back probably to the 15th century and the common ancestors of the trumpet and trombone. Many engravings exist of the Zugtrompete, the instrument that could move to and fro on its mouthpipe yard. A few, showing U-bend slide trumpets, have come to light. Three are reproduced here (Figures 1 a, lb and 1c). Their kinship with the trombone is hinted at in Figure 1 e, the Cellier woodcut (ca. 1585), as well as in several descriptions: Trevor Herbert, in his article "The Sackbut in England in the 17th and 18th centuries," cites a 1692 dictionary definition of a sackbut as a "drawing trumpet".3 There is also Burney's "sackbut or double trumpet" (see note 1), Cerone and Mersenne's "sackbut or harmonic trumpet," and, of course, there are a number of engravings of the English flat trumpet with their "sackbut" captions.4 Figure 1 d shows the most familiar flat trumpet depiction. -
Vox Luminis Lionel Meunier, Founder and Artistic Director THU / OCT 11 / 7:30 PM
Vox Luminis Lionel Meunier, Founder and Artistic Director THU / OCT 11 / 7:30 PM Zsuzsi Tóth SOPRANO Stefanie True SOPRANO Caroline Weynants SOPRANO Victoria Cassano SOPRANO Alexander Chance ALTO Jan Kullmann ALTO Robert Buckland TENOR Philippe Froeliger TENOR Olivier Berten TENOR David Lee TENOR Sebastian Myrus BASS Lionel Meunier BASS & ARTISTIC DIRECTOR Anthony Romaniuk ORGAN Ricardo Rodríguez Miranda VIOLA DA GAMBA PERFORMANCES MAGAZINE 8 ABOUT THE PROGRAM PROGRAM Martin Luther (1483-1546) “Music for farewell” Mit Fried und Freud ich fahr dahin The hymn Mit Fried und Freud ich fahr dahin (“In peace and joy Martin Luther (1483-1546) I now depart”) by Martin Luther is a paraphrase in German of Mit Fried und Freud ich fahr dahin (verses 1 & 4) the Latin “Nunc dimitis,” which is the canticle of Simeon. Luther created the text and melody in 1524, and it was first published in the same year. It has been used for funerals and appears in Schütz’ Heinrich Schütz (1585-1672) Musikalische Exequien and Bach’s chorale cantata Mit Fried und Musikalische Exequien, "Funeral Mass", Op. 7 Freud ich fahr dahin, BWV 125. Concert in Form einer teutschen Begräbnis-Missa SWV 279 Heinrich Schütz (1585-1672) Motette: Herr, wenn ich nur Musikalische Exequien, “Funeral Mass”, Op. 7 dich habe SWV 280 Heinrich Schütz, the greatest German composer of the 17th Canticum B. Simeonis: Herr, nun lässest du century, belonged to a prominent bourgeois family. Facile in deinen Diener in Friede fahren SWV 281 many languages, Schütz also showed an early gift for music. The Landgrave Moritz, who was a distinguished musical amateur, INTERMISSION heard him sing in 1598, and was so impressed that he invited him to his court in Kassel, where Schütz would attend the Collegium Mauritianum, a school for local nobles. -
Baroque Music of the Seventeenth Century Carl Johengen
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 1-29-2013 Faculty Recital: Baroque Music of the Seventeenth Century Carl Johengen Brad Hougham Marc Webster Jean Radice Mark A. Radice See next page for additional authors Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Johengen, Carl; Hougham, Brad; Webster, Marc; Radice, Jean; Radice, Mark A.; Hoffman, Heidi; Goodhew Romm, Lee; and Reynolds, Harold, "Faculty Recital: Baroque Music of the Seventeenth Century" (2013). All Concert & Recital Programs. 841. http://digitalcommons.ithaca.edu/music_programs/841 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Authors Carl Johengen, Brad Hougham, Marc Webster, Jean Radice, Mark A. Radice, Heidi Hoffman, Lee Goodhew Romm, and Harold Reynolds This program is available at Digital Commons @ IC: http://digitalcommons.ithaca.edu/music_programs/841 Faculty Recital: Carl Johengen, tenor Brad Hougham, baritone Marc Webster, bass Jean Radice, organ and harpsichord Mark A. Radice, organ and harpsichord Heidi Hoffman, cello Lee Goodhew Romm, bassoon Harold Reynolds, sackbut Hockett Family Recital Hall Tuesday January 29th, 2013 8:15 pm Baroque Music of the Seventeenth Century Program March, from Music for the Funeral of Queen Mary, Henry Purcell -
Quint Essential Sackbut and Cornett Ensemble
Música antigua . para nuestro tIempo QuintEssential Sackbut and Cornett Ensemble Inglaterra Agrupación instrumental de música antigua Viernes 13 de septiembre de 2002 • 10:00 a.m. SALA DE CONCIERTOS ... B ANCO DE LA REPÚBLICA BIBLIOTECA LUIS Á GEL ARA GO Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. QuintEssential Sackbut and Cornett Ensemble Inglaterra I Inglaterra - Agrupación instrumental de música antiguá ~ l . •• Richard Thomas (cometas y cornamusas) Philip Dale, y Adrian France (sacabuches y trompetas naturales) Nicholas Perry (bajón, chirimías, gaitas flamencas"flautas dulces y percusión) Kathryn Cok (clavecín) "QuintEssential es una agrupación muy bien equilibrada y muy vigorosa, con una entonación verdaderamente resplandeciente y una tendencia irresistible a tomar riesgos". (Andrew Robinson, Early Music Oranisation ofIreland). La agrupación está conformada por cinco músicos con un deslumbrante arsenal de talento musical. Especializada en música antigua y con un inusual repertorio, logra que los instrumentos de cobre de época hablen a una audiencia contemporánea con un sonido emocionante e innovador. Escuchar a este ensamble único permite ser transportado al Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. pasado a través de instrumentos de cobre renacentistas y con un repertorio fresco y vibrante. Conformado en 1993 por un organista y cinco intérpretes de instrumentos de viento, los miembros de QuintEssential han tocado con los más importantes grupos -
The Development of Works for Choir and Brass: a Study of Four
THE DEVELOPMENT OF WORKS FOR CHOIR AND BRASS: A STUDY OF FOUR REPRESENTATIVE WORKS A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Christina Marie Armendarez In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music April 2012 Fargo, North Dakota North Dakota State University Graduate School Title THE DEVELOPMENT OF WORKS FOR CHOIR AND BRASS: A STUDY OF FOUR REPRESENTATIVE WORKS ByByBy Christina Marie Armendarez The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTDOCTOROR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Dr. Jo Ann Miller Chair Dr. Michael Weber Dr. Andrew Froelich Dr. John Helgeland Approved: 4/05/2012 Dr. John Miller ii ABSTRACT As brass instruments evolved from crude instruments limited to only a few notes into instruments that could play melodic passages within the vocal range, they began to be paired with the voice. The development traced in this paper will focus primarily on the addition of brass instruments with a choral ensemble from the late Renaissance period through the Modern period. Insight into the historical use of brass and the evolution of choral and brass music allows us to better understand the genre and how subject matter, text, and/or the occasion for which the compositions were composed often influenced the composer’s decision to add brass. Four representative pieces will be studied: In Ecclesiis by Giovanni Gabrieli (c.1554-1612); Herr, unser Herscher by Heinrich Schütz (1585-1672); Ecce Sacerdos by Anton Bruckner (1824- 1896); and Ode a la Musique by Frank Martin (1890-1974). -
February 2020 Vol
SEATTLE RECORDER SOCIETY Recorder Notes February 2020 Vol. LI, No. 6 www.seattle-recorder.org From the Music Director (Vicki Boeckman) SRS Meeting Greetings dear members! Friday, February 7, 2020 I hope you are staying dry and warm and settling into @ 7:30 pm the rhythm of the new year. I am grateful that the days are getting noticeably longer but Brrr! As I write, the Opening Program and rain is relentlessly pelting in horizontal streams. Our Playing Session: furnace decided to give up a few days ago and move on (Jonathan Oddie to furnace heaven, so until the replacement comes we and Miyo Aoki) and the cats are hovering close to the fireplace and pil- The music of Orland Gibbons ing on the layers. This month’s playing session will not and Richard Dering only be led by Miyo Aoki, but the opening program will All sizes of recorders be presented by Jonathan Oddie on harpsichord. So you and viols are welcome. get a Two-fer! Please keep reading to see what she has in store for you. Back Room Gang Hope to see you there. Laura Faber Our Guest Directors (Miyo Aoki and Jonathan Oddie) This is a great option for any- one who is less experienced or would like a slower pace. If For February's meeting, we will you plan to be there, please lead an exploration of sacred let Laura know so she can and secular music by two very choose repertoire accordingly! different English composers from [email protected] the turn of the 17th century: Orlando Gibbons (1583-1625) and Richard Dering (c. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.