Musica Britannica
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LCSH Section L
L (The sound) Formal languages La Boderie family (Not Subd Geog) [P235.5] Machine theory UF Boderie family BT Consonants L1 algebras La Bonte Creek (Wyo.) Phonetics UF Algebras, L1 UF LaBonte Creek (Wyo.) L.17 (Transport plane) BT Harmonic analysis BT Rivers—Wyoming USE Scylla (Transport plane) Locally compact groups La Bonte Station (Wyo.) L-29 (Training plane) L2TP (Computer network protocol) UF Camp Marshall (Wyo.) USE Delfin (Training plane) [TK5105.572] Labonte Station (Wyo.) L-98 (Whale) UF Layer 2 Tunneling Protocol (Computer network BT Pony express stations—Wyoming USE Luna (Whale) protocol) Stagecoach stations—Wyoming L. A. Franco (Fictitious character) BT Computer network protocols La Borde Site (France) USE Franco, L. A. (Fictitious character) L98 (Whale) USE Borde Site (France) L.A.K. Reservoir (Wyo.) USE Luna (Whale) La Bourdonnaye family (Not Subd Geog) USE LAK Reservoir (Wyo.) LA 1 (La.) La Braña Region (Spain) L.A. Noire (Game) USE Louisiana Highway 1 (La.) USE Braña Region (Spain) UF Los Angeles Noire (Game) La-5 (Fighter plane) La Branche, Bayou (La.) BT Video games USE Lavochkin La-5 (Fighter plane) UF Bayou La Branche (La.) L.C.C. (Life cycle costing) La-7 (Fighter plane) Bayou Labranche (La.) USE Life cycle costing USE Lavochkin La-7 (Fighter plane) Labranche, Bayou (La.) L.C. Smith shotgun (Not Subd Geog) La Albarrada, Battle of, Chile, 1631 BT Bayous—Louisiana UF Smith shotgun USE Albarrada, Battle of, Chile, 1631 La Brea Avenue (Los Angeles, Calif.) BT Shotguns La Albufereta de Alicante Site (Spain) This heading is not valid for use as a geographic L Class (Destroyers : 1939-1948) (Not Subd Geog) USE Albufereta de Alicante Site (Spain) subdivision. -
LCOM182 Lent & Eastertide
LITURGICAL CHORAL AND ORGAN MUSIC Lent, Holy Week, and Eastertide 2018 GRACE CATHEDRAL 2 LITURGICAL CHORAL AND ORGAN MUSIC GRACE CATHEDRAL SAN FRANCISCO LENT, HOLY WEEK, AND EASTERTIDE 2018 11 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LÆTARE Introit: Psalm 32:1-6 – Samuel Wesley Service: Collegium Regale – Herbert Howells Psalm 107 – Thomas Attwood Walmisley O pray for the peace of Jerusalem - Howells Drop, drop, slow tears – Robert Graham Hymns: 686, 489, 473 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Benjamin Bachmann Psalm 107 – Lawrence Thain Canticles: Evening Service in A – Herbert Sumsion Anthem: God so loved the world – John Stainer Hymns: 577, 160 15 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: Thomas Tomkins Psalm 126 – George M. Garrett Canticles: Third Service – Philip Moore Anthem: Salvator mundi – John Blow Hymns: 678, 474 18 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LENT 5 Introit: Psalm 126 – George M. Garrett Service: Missa Brevis – Giovanni Pierluigi da Palestrina Psalm 51 – T. Tertius Noble Anthem: Salvator mundi – John Blow Motet: The crown of roses – Pyotr Ilyich Tchaikovsky Hymns: 471, 443, 439 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Thomas Tomkins Psalm 51 – Jeffrey Smith Canticles: Short Service – Orlando Gibbons Anthem: Aus tiefer Not – Felix Mendelssohn Hymns: 141, 151 3 22 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: William Byrd Psalm 103 – H. Walford Davies Canticles: Fauxbourdons – Thomas -
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. -
UNIVERSITY SINGERS Gregory Gilmore and David Rayl, Conductors
University of Missouri-Columbia School of Fine Arts Department of Music Event No. 130 in the 1996-97 Series UNIVERSITY SINGERS Gregory Gilmore and David Rayl, conductors 8:00 p.m. Saturday, April 12, 1997 Broadway Christian Church Columbia, Missouri ♦ Program Marienlieder, Op. 22 Johannes Brahms 1 . Der englische Gross 2. Marias Kirchgang 3 . Marias W allfahrt 4. Der Jager 7. Marias Lob Ave Maria Jacques Arcadelt Quand ie vous ayme ardentement Jacques Arcadelt 11 bianco e dole cigno Jacques Arcadelt In Peace and Joy James Fritsche! Blessed Be the Name of the Lord Dale Grotenhuis University Singers Gregory Gilmore, conductor Intermission ♦ Factum est silentium Richard Dering Richte mich, Gott Felix Mendelssohn Heilig Felix Mendelssohn Schone Fremde Fanny Mendelssohn Hensel Listen to the Lambs R. Nathaniel Dett Ave Maria R. Nathaniel Dett 0 Clap Your Hands, All Ye People! Carl Staplin University Singers David Rayl, conductor ♦ Special thanks to the Thomas L. Mills University Singers Foundation for ongoing support of the MU choral program. The University Singers and the Department of Music also extend thanks to Michael Straw and the people of Broadway Christian Church of Columbia for the use of their facilities. ♦ Program Notes and Translations The Marienlieder illustrate Johannes Brahms' (1833-1897) fondness for folk songs and early music. The cycle of unaccompanied part songs uses traditional texts that are a combination of documented events and legends that praise Mary for her pure and holy spirit. Brahms composed the cycle in the style of early German church music; as a result they sound closer to strophic chorales or carols than Romantic choral music. -
A Service of Lessons and Carols for Advent
A SERVICE OF LESSONS AND CAROLS FOR ADVENT SUNDAY , NOVEMBER 30, 2014 5:OO PM INTRODUCTION : FROM ADVENT TO CHRISTMAS TO NOW “God is love, and those who abide in love but “to do justice, love mercy, and walk humbly abide in God, and God abides in them. We love with God.” because God first loved us. The commandment Isaiah sees that the nation of Israel will be we have from God is this: those who love God able to realize God’s redemption—to break the must love their brothers and sisters also.” grip of sin, violence, and murder—only through great suffering endured by an innocent servant (to These words, from the First Letter of many readers the nation of Israel itself). This John, state a central tenet of our faith, and sum servant will become the receptacle for all up in a few words much of the message of the violence, an atoning human scapegoat. Bible. The story of the Bible is the story of the Advent of Christ, the gradual unfolding of our Isaiah envisions redemption for Israel understanding of God’s message of love and through suffering that is God’s will (Isa. 53:10). redemption. The readings tonight were chosen to With the coming of the Christ, it becomes clear illuminate this process. that redemption is for all humankind, and that the servant —Jesus—suffers not because of God’s will Cain murders Abel in a time when there for suffering, but because a world wedded to were no recorded rules against murder, when the violence will have it no other way (Sixth Lesson). -
Gabriel Jackson
Gabriel Jackson Sacred choral WorkS choir of St Mary’s cathedral, edinburgh Matthew owens Gabriel Jackson choir of St Mary’s cathedral, edinburgh Sacred choral WorkS Matthew owens Edinburgh Mass 5 O Sacrum Convivium [6:35] 1 Kyrie [2:55] 6 Creator of the Stars of Night [4:16] Katy Thomson treble 2 Gloria [4:56] Katy Thomson treble 7 Ane Sang of the Birth of Christ [4:13] Katy Thomson treble 3 Sanctus & Benedictus [2:20] Lewis Main & Katy Thomson trebles (Sanctus) 8 A Prayer of King Henry VI [2:54] Robert Colquhoun & Andrew Stones altos (Sanctus) 9 Preces [1:11] Simon Rendell alto (Benedictus) The Revd Canon Peter Allen precentor 4 Agnus Dei [4:24] 10 Psalm 112: Laudate Pueri [9:49] 11 Magnificat (Truro Service) [4:16] Oliver Boyd treble 12 Nunc Dimittis (Truro Service) [2:16] Ben Carter bass 13 Responses [5:32] The Revd Canon Peter Allen precentor 14 Salve Regina [5:41] Katy Thomson treble 15 Dismissal [0:28] The Revd Canon Peter Allen precentor 16 St Asaph Toccata [8:34] Total playing time [70:22] Recorded in the presence Producer: Paul Baxter All first recordings Michael Bonaventure organ (tracks 10 & 16) of the composer on 23-24 Engineers: David Strudwick, (except O Sacrum Convivium) February and 1-2 March 2004 Andrew Malkin Susan Hamilton soprano (track 10) (choir), 21 December 2004 (St Assistant Engineers: Edward Cover image: Peter Newman, The Choir of St Mary’s Episcopal Cathedral, Asaph Toccata) and 4 January Bremner, Benjamin Mills Vapour Trails (oil on canvas) 2005 (Laudate Pueri) in St 24-Bit digital editing: Session Photography: -
Foreword Orlando Gibbons
Foreword Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was a virginalist and organist of the late Tudor and early Jacobean periods. His Life Gibbons was born in 1583 (most likely in December) and baptised on Christmas Day at Oxford, where his father William Gibbons was working as a wait. Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university as a sizar in 1598 and achieved the degree of Bachelor of Music in 1606. That same year he married Elizabeth Patten, daughter of a Yeoman of the Vestry, and they went on to have seven children (Gibbons himself was the seventh of 10 children). King James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and was buried in Canterbury Cathedral. His death was a shock to his peers and brought about a post-mortem, though the cause of death aroused less comment than the haste of his burial and his body not being returned to London. -
Sun 7Th Mar 2021 to Sat 3Rd Apr 2021
SUNDAY 7 MARCH 0945 THE CATHEDRAL EUCHARIST ONLINE ONLY SUNDAY 14 0945 THE CATHEDRAL EUCHARIST NAVE ALTAR THIRD SUNDAY Missa in honorem sacratissimi cordis Henrik Andriessen Hymns Lent Prose, 395, 547 FOURTH SUNDAY Missa simplex Katherine Dienes-Williams Hymns 499 (omit vv3-9), 238, OF LENT Prevent us, O Lord Alan Ridout Psalm 19. 7-end OF LENT God so loved the world (Crucifixion) John Stainer 535 (133ii), 507 Preacher: The Venerable Stuart Beake Laetare Sunday Preacher: The Revd Canon Chris Hollingshurst Prelude in B minor (BWV 544) Johann Sebastian Bach Mothering Sunday Regina Pacis (Symphony No 1) Guy Weitz 1800 EVENSONG NAVE MONDAY 8 Evening service Sancti Ioannis Cantabrigiensis Philip Moore Hymns 163 (omit v 2), 109 Edward King, Lo, the full final sacrifice Gerald Finzi Responses: Ebdon Bishop of Lincoln, 1910 In manus tuas Jeanne Demessieux Psalm 107. 1-9 Felix, Bishop, Apostle to the East Angles, 647 Geoffrey Studdert Kennedy, MONDAY 15 1730 EVENSONG NAVE Priest, Poet, 1929 Magnificat Secundi toni Philippe de Monte Responses: Harris Nunc Dimittis Secundi toni plainsong Ubi caritas Philip Moore TUESDAY 9 1930 LENT TALK III: THE KINGDOM, THE POWER AND THE GLORY ONLINE ONLY The Very Revd Dianna Gwilliams For further details, please email [email protected] TUESDAY 16 0800 MORNING PRAYER PRESBYTERY 0830 HOLY COMMUNION 1730 EVENSONG NAVE WEDNESDAY 10 Short Evening service Thomas Weelkes Responses: Byrd Nolo mortem peccatoris Thomas Morley 1930 LENT TALK IV: THE KINGDOM, THE POWER AND THE GLORY ONLINE ONLY THURSDAY 11 The Very Revd Dianna Gwilliams For further details, please email [email protected] FRIDAY 12 WEDNESDAY 17 0900 MORNING PRAYER PRESBYTERY Patrick, Bishop, Missionary, 0930 HOLY COMMUNION SATURDAY 13 Patron of Ireland, c.460 THURSDAY 18 0900 MORNING PRAYER PRESBYTERY Cyril, Bishop of Jerusalem, 0930 HOLY COMMUNION Teacher of the Faith, 386 1730 FIRST EVENSONG OF JOSEPH OF NAZARETH NAVE Evening service in E minor Pelham Humphrey Responses: Byrd The Cherry Tree Carol traditional, arr. -
572840 Bk Eton EU
Music from THE ETON CHOIRBOOK LAMBE • STRATFORD • DAVY BROWNE • KELLYK • WYLKYNSON TONUS PEREGRINUS Music from the Eton Choirbook Out of the 25 composers The original index lists more represented in the Eton than 60 antiphons – all votive The Eton Choirbook – a giant the Roses’, and the religious reforms and counter-reforms Choirbook, several had strong antiphons designed for daily manuscript from Eton College of Henry VIII and his children. That turbulence devastated links with Eton College itself: extraliturgical use and fulfilling Chapel – is one of the greatest many libraries (including the Chapel Royal library) and Walter Lambe and, quite Mary’s prophecy that “From surviving glories of pre- makes the surviving 126 of the original 224 leaves in Eton possibly, John Browne were henceforth all generations shall Reformation England. There is a College Manuscript 178 all the more precious, for it is just there in the late 1460s as boys. call me blessed”; one of the proverb contemporary with the one of a few representatives of several generations of John Browne, composer of the best known – and justifiably so Eton Choirbook which might English music in a period of rapid and impressive astounding six-part setting of – is Walter Lambe’s setting of have been directly inspired by development. Eton’s chapel library itself had survived a Stabat mater dolorosa 5 may have gone on to New Nesciens mater 1 in which the composer weaves some the spectacular sounds locked forced removal in 1465 to Edward IV’s St George’s College, Oxford, while Richard Davy was at Magdalen of the loveliest polyphony around the plainchant tenor up in its colourful pages: “Galli cantant, Italiae capriant, Chapel – a stone’s throw away in Windsor – during a College, Oxford in the 1490s. -
Appendix: Catalogue of Restoration Music Manuscripts Bibliography
Musical Creativity in Restoration England REBECCA HERISSONE Appendix: Catalogue of Restoration Music Manuscripts Bibliography Secondary Sources Ashbee, Andrew, ‘The Transmission of Consort Music in Some Seventeenth-Century English Manuscripts’, in Andrew Ashbee and Peter Holman (eds.), John Jenkins and his Time: Studies in English Consort Music (Oxford: Clarendon, 1996), 243–70. Ashbee, Andrew, Robert Thompson and Jonathan Wainwright, The Viola da Gamba Society Index of Manuscripts Containing Consort Music, 2 vols. (Aldershot and Burlington: Ashgate, 2001–8). Bailey, Candace, ‘Keyboard Music in the Hands of Edward Lowe and Richard Goodson I: Oxford, Christ Church Mus. 1176 and Mus. 1177’, Royal Musical Association Research Chronicle, 32 (1999), 119–35. ‘New York Public Library Drexel MS 5611: English Keyboard Music of the Early Restoration’, Fontes artis musicae, 47 (2000), 51–67. Seventeenth-Century British Keyboard Sources, Detroit Studies in Music Bibliography, 83 (Warren: Harmonie Park Press, 2003). ‘William Ellis and the Transmission of Continental Keyboard Music in Restoration England’, Journal of Musicological Research, 20 (2001), 211–42. Banks, Chris, ‘British Library Ms. Mus. 1: A Recently Discovered Manuscript of Keyboard Music by Henry Purcell and Giovanni Battista Draghi’, Brio, 32 (1995), 87–93. Baruch, James Charles, ‘Seventeenth-Century English Vocal Music as reflected in British Library Additional Manuscript 11608’, unpublished PhD dissertation, University of North Carolina at Chapel Hill (1979). Beechey, Gwilym, ‘A New Source of Seventeenth-Century Keyboard Music’, Music & Letters, 50 (1969), 278–89. Bellingham, Bruce, ‘The Musical Circle of Anthony Wood in Oxford during the Commonwealth and Restoration’, Journal of the Viola da Gamba Society of America, 19 (1982), 6–71. -
Handel's Last Prima Donna
SUPER AUDIO CD HANDEL’s LAST PRIMA DONNA GIULIA FRASI IN LONDON RUBY HUGHES Orchestra of the Age of Enlightenment LAURENCE CUMMINGS CHANDOS early music John Christopher Smith, c.1763 Smith, Christopher John Etching, published 1799, by Edward Harding (1755 – 1840), after portrait by Johan Joseph Zoffany (1733 – 1810) © Lebrecht Music & Arts Photo Library Handel’s last prima donna: Giulia Frasi in London George Frideric Handel (1685 – 1759) 1 Susanna: Crystal streams in murmurs flowing 8:14 Air from Act II, Scene 2 of the three-act oratorio Susanna, HWV 66 (1749) Andante larghetto e mezzo piano Vincenzo Ciampi (?1719 – 1762) premiere recording 2 Emirena: O Dio! Mancar mi sento 8:35 Aria from Act III, Scene 7 of the three-act ‘dramma per musica’ Adriano in Siria (1750) Edited by David Vickers Cantabile – Allegretto premiere recording 3 Camilla: Là per l’ombrosa sponda 4:39 Aria from Act II, Scene 1 of the ‘dramma per musica’ Il trionfo di Camilla (1750) Edited by David Vickers [ ] 3 Thomas Augustine Arne (1710 – 1778) 4 Arbaces: Why is death for ever late 2:21 Air from Act III, Scene 1 of the three-act serious opera Artaxerxes (1762) Sung by Giulia Frasi in the 1769 revival Edited by David Vickers [Larghetto] John Christopher Smith (1712 – 1795) 5 Eve: Oh! do not, Adam, exercise on me thy hatred – 1:02 6 It comes! it comes! it must be death! 5:45 Accompanied recitative and song from Act III of the three-act oratorio Paradise Lost (1760) Edited by David Vickers Largo – Largo premiere recording 7 Rebecca: But see, the night with silent pace -
My Door Is Locked»: La Scena Dell’ Exclusio E L’Interazione Con I Modelli Plautini in the Comedy of Errors Di Shakespeare
ELENA ROSSI LINGUANTI «MY DOOR IS LOCKED»: LA SCENA DELL’ EXCLUSIO E L’INTERAZIONE CON I MODELLI PLAUTINI IN THE COMEDY OF ERRORS DI SHAKESPEARE 0. È noto che The Comedy of Errors , una delle prime commedie di Shakespeare 1, annovera tra le sue fonti i Menaechmi e l’ Amphitruo di Plauto 2: i Menaechmi per la storia dei gemelli che, separati nell’infanzia, si trovano nella stessa città, vengono scambiati l’uno per l’altro e alla fine si riconoscono, e l’ Amphitruo per il raddoppiamento della coppia gemellare (oltre ai due padroni, Antifolo di Efeso e Antifolo di Siracusa, i due servi, Dromio di Efeso e Dromio di Siracusa), per le scene fra servo e padrone, per il personaggio di Adriana, moglie di Antifolo di Efeso, che si ispira ad Alcmena più che alla “matrona”, moglie di Menecmo I, e per la lite fra Adriana e il marito (IV, iv), che riprende il conflitto fra Alcmena ed Anfitrione ( Amph. 633-860) 3. Per offrire un esempio della raffinata tecnica di contaminatio shakespeariana, que - sto saggio si propone di analizzare la scena dell’ exclusio , in cui Antifolo di Efeso viene respinto dalla propria casa all’interno della quale si trova il suo gemello di Si - racusa ( The Comedy of Errors III, i), e di indagare in essa l’interazione fra i modelli. 1 Rappresentata per la prima volta al Gray’s Inn nel 1594. 2 È stata lungamente indagata dai critici la questione se Shakespeare abbia consultato i testi latini (come sostiene ad esempio W. RIEHLE , Shakespeare, Plautus and the Humanist Tradition , Cambridge 1990), se abbia fatto ricorso a una traduzione di Plauto (la prima in inglese, di William Warner, venne pubblicata nel 1595, ma probabilmente circolava in versione manoscritta anche prima, e Shakespeare potrebbe averla consultata, cfr.