1 9 Bridge 3 : Two Missed Traditions O F the Late 16Th

Total Page：16

File Type：pdf, Size：1020Kb

1 9 B R I D G E 3 : T W O M I S S E D T R A D I T I O N S O F T H E L A T E 1 6 T H C . 1. Sext (possibly the last?) 2. Chromaticism a. Justification from Ancient Greeks: rediscovery of nondiatonic music b. Nicola Vicentino, mid16th c. theorist, wanted to bring back the three genera of Greek tet rachords. Built a keyboard to play them c. Integrated well with madrigal’s quest for new sounds d. Orlandus Lassus (Orlando Lasso), Timor et Tremor (motet) (pub. 1564) e. Luca Marenzio, Solo e Pensoso (ninth book of madrigals, 1599) Solo e pensoso i più deserti campi Alone and pensive I measure the fields vo misurando a passi tardi e lenti, the most deserted with tarrying and slow steps, e gl'occhi porto per fuggir intenti and turn my eyes to try to elude dove vestigio human l'arena stampi. any human signs imprinted in the sand, f. Carlo Gesualdo (Gesualdo da Venosa), “Moro, lasso, al mio duolo” (Book six, 1611) i. Gesualdo’s life ii. Murders (Maria d’Avalos (cousin) and Duke of Andria) in Naples iii. Isolation, Study in Ferrara, Isolation iv. Late Compositions, “Moro, lasso” 3. Michael Praetorius (1571–1621) and Instrumental Music a. Enormous output especially of sacred vocal music b. The exception: Terpsichore (1612) c. Bransle Simple I d. Voltas e. Syntagma Musicum II: De Organographia (1619) Topic 4: Music in Venice 1570–1660 20 (5/1) Maestri di cappella Venice: (Rore), Williaert (Andrea and) Giovanni Gabrieli and Music in the Basilica of S. Marco Cori spezzati. Gabrieli’s music for brass Preamble to the Baroque and the Rise of a New Style: Florentine Camerata Peri, Cavalieri, etc.: Early Monody Basso Continuo Reading Chapter 23, “Renaissance Instruments:” “Instrumental Genres” (on Merulo) Chapter 29, “Early Baroque Music” Chapter 30, “Birth of Opera:” “Early Opera in Florence” Chapter 31, “The Concerted Style in Venice and Dresden:” “Giovanni Gabrieli and the Concerted Motet;” Listening: Anthology #63 Claudio Merulo, Canzona 5 (c. 1600). Website: Giovanni Gabrieli, Sonata pian e forte a 8 from Sacrae symphoniae (Venice 1597); [ skim Adrian Willaert, Aspro core (mid 1540s) ] Giulio Caccini, Perfidissimo volto, “solo madrigal” (c. 1590) Jacopo Peri, Le musiche sopra l’Euridice, three excerpts. (1600) .

Copy Link

Recommended publications

The Motets of Andrea and Giovanni Gabrieli in the Rokycany Music Collection
Musica Iagellonica 2017 ISSN 1233–9679 Kateřina Maýrová (Czech Museum of Music, Prague) The motets of Andrea and Giovanni Gabrieli in the Rokycany Music Collection This work provides a global survey on the Italian music repertoire contained in the music collection that is preserved in the Roman-Catholic parish of Roky- cany, a town located near Pilsen in West-Bohemia, with a special regard to the polychoral repertoire of the composers Andrea and Giovanni Gabrieli and their influence on Bohemian cori-spezzati compositions. The mutual comparison of the Italian and Bohemian polychoral repertoire comprises also a basic compara- tion with the most important music collections preserved in the area of the so- called historical Hungarian Lands (today’s Slovakia), e.g. the Bardejov [Bart- feld / Bártfa] (BMC) and the Levoča [Leutschau / Löcse] Music Collections. From a music-historical point of view, the Rokycany Music Collection (RMC) of musical prints and manuscripts stemming from the second half of the 16th to the first third of the 17th centuries represents a very interesting complex of music sources. They were originally the property of the Rokycany litterati brotherhood. The history of the origin and activities of the Rokycany litterati brother- hood can be followed only in a very fragmentary way. 1 1 Cf. Jiří Sehnal, “Cantionál. 1. The Czech kancionál”, in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 29 vols. (London–New York: Macmillan, 20012), vol. 5: 59–62. To the problems of the litterati brotherhoods was devoted the conference, held in 2004 65 Kateřina Maýrová The devastation of many historical sites during the Thirty Years War, fol- lowed by fires in 1728 and 1784 that destroyed much of Rokycany and the church, resulted in the loss of a significant part of the archives.
[Show full text]
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]
Press Info: Giovanni Gabrieli Heinrich Schütz Polychoral Splendour
PLAYS ON ALL CD- AND SACD- PLAYER MUSIKPRODUKTION Press Info: Giovanni Gabrieli Heinrich Schütz Polychoral Splendour from the four galleries of the Abbey Church of Muri CAPPELLA MURENSIS LES CORNETS NOIRS Johannes Strobl, musical director The young Heinrich Schütz’s four-year sojourn with Giovanni Gabrieli proved to be one of the most fruitful educational journeys to Italy undertaken by German musicians, artists and writers. Following his return, Schütz presented his Psalms of David in 1619: an impressive result of his encounter with the Italian musical style. These Teutsche Psalmen auf Italienische Manier (“German Psalms in the Italian Manner”) are consistently based on the polychoral style with which Schütz had become acquainted in the Venetian tradition of cori spezzati. As ﬁ rst organist of St Mark’s, Venice, Gabrieli included in his compositions the architecture of this ecclesiastical building in a unique way, placing the singers and instrumentalists, who were divided into as many as four choirs, in facing galleries, thus achieving remarkable sonic and spatial effects. On this recording the Cappella Murensis and the ensemble Les Cornets Noirs make use of the four galleries in the Abbey Church at Muri, following the historic model: in the works for two, three and four choirs, voices and instruments blend with a total of four continuo organs, producing a unique sound. The inclusion of the two large historic Bossart organs (“Epistle” and “Gospel Organ”) as continuo instruments creates an additional dynamic palette. Rather than being constantly present as soloists, the vocal parts are often integrated, as instruments, into the overall sound, thus appearing all the more prominent in solo passages.
[Show full text]
Exploring Implications of the Double Attribution of the Madrigal “Canzon Se L’Esser Meco” to Andrea Gabrieli and Orlande De Lassus
A 16th Century Publication Who-Dun-it: Exploring implications of the double attribution of the madrigal “Canzon se l’esser meco” to Andrea Gabrieli and Orlande de Lassus. Karen Linnstaedter Strange, MM A Double Attribution Why was a single setting of “Canzon se l’esser meco” published in 1584 and 1589 under different composers’ names? For centuries, music history has ascribed this setting of a text from a Petrarchan madrigale to either Orlande de Lassus or Andrea Gabrieli, depending on the publication. It has been assumed the two original publications contain distinct creations of “Canzon se l’esser meco,” and to support this confusion, slight differences in notation between the two modern editions induce an initial perception that the two pieces differ. (See Figures 1A & 1B.). With a few moments of comparison, one can see that the madrigal published under Orlande de Lassus’ name in 1584 is the same piece attributed to Andrea Gabrieli by a different publisher five years later. In fact, no difference exists in the original publications beyond incidental choices by the two publishers, such as the number of notes printed per line and the notation for repeated accidentals. 1 (See Figures 2-5 A & B.) Suppositions and Presumptions The exactness of the two publications provokes interesting questions about issues of personal composer relations and influence, study by copying, and misattribution. In exploring all the possibilities, some quite viable, others farfetched, we can perhaps gain a clearer overview of the issues involved. On the less viable side, perhaps the piece was written simultaneously by each composer and, through some miracle, the two pieces turned out to be exactly the same.
[Show full text]
Music and Silence
CONSERVATORIO DI MUSICA ARRIGO BOITO PARMA LABRETMUS LABORATORY ON MUSICAL RHETORIC MUSIC AND SILENCE "Silence is not acoustic. It is a state of the mind, a turning around." John Cage FROM MERULO TO FRESCOBALDI Opening Concert after restoration of Claudio Merulo’s Organ Auditorium del Carmine Wednesday, March 25, 2015, h 18.00 Pierre-Alain Clerc, organ We publicly thank the Chiesi Farmaceutici S.p.A. for the contribution that has allowed the restoration of Claudio Merulo’s Organ. Claudin de Sermisy (1495-1562), Tant que vivray en age florissant Claudio Merulo (1533-1604), Toccata sesta del settimo tuono (dal Libro secondo, 1604) Claudio Merulo, Kyrie – Christe – Kyrie dalla Missa Virginis Mariae (1568) Andrea Gabrieli (1532-1585), Fantasia allegra (1595) Giovanni Maria Trabaci (1575-1647), Consonanze stravaganti Giovanni Gabrieli (1557-1612), Canzona detta La Spiritata (1593) Andrea Gabrieli (1532-1585), Suzanne ung jour (da Orlando di Lasso) Tarquinio Merula (1595-1665), Capriccio cromatico Andrea Gabrieli, Anchor che col partire (da Cipriano de Rore) Heinrich Scheidemann (1595-1663), Praeambulum in re Antonio Carreira (1520?-1590?), Cançao a 4 Christian Erbach (1570-1635), Canzone a 4 del quarto tono Girolamo Frescobaldi (1583-1643), Toccata sopra i Pedali (da Il secondo Libro, 1627) Anonimo spagnolo (Flores de Musica, 1709, ed. A. Martin y Coll ed.), Obra de falsas cromaticas de primero tono Girolamo Frescobaldi, Bergamasca (dai Fiori musicali, 1635) Claudio Merulo was composer and organist, a star of the sixteenth century music. Born in Correggio in the family Merlotti in 1533, he changed later his surname in Merulo. For almost thirty years was organist at the Basilica of San Marco with Annibale Padovano: the two organs at the ends of the transept were used in the performance of music “a doppio coro”.
[Show full text]
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.
[Show full text]
3. Monody and Opera
Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced
[Show full text]
ÄÁŒ @Ë§7'È½“¾¢É˚Há©ÈÈ9
557864bk Philips US 11/7/06 3:05 pm Page 4 Elizabeth Farr Peter Elizabeth Farr specialises in the performance of keyboard music of the seventeenth and eighteenth centuries. She has performed solo recitals on the harpsichord, organ, and pedal harpsichord to critical acclaim throughout the United States and in Germany. Her PHILIPS performances as a collaborative artist, concerto soloist, and basso-continuo player have (1560/61–1628) also earned high praise. Her recording of Elisabeth-Claude Jacquet de La Guerre’s Suites Nos. 1-6 for Harpsichord (Naxos 8.557654-55) was awarded the Preis der deutschen Schallplattenkritik, Bestenliste 1/2006. Elizabeth Farr holds degrees in harpsichord and organ performance from Stetson University, the Juilliard School, and Harpsichord Works the University of Michigan, having studied with Paul Jenkins, Vernon de Tar, and Edward Parmentier. Currently she is on the faculty of the University of Colorado where Fantasia in F • Bonjour mon cœur • Io partirò she teaches harpsichord and organ, conducts the Early Music Ensemble, and offers classes in performance practices and basso-continuo playing. Elizabeth Farr The Harpsichord Jerome de Zentis was a consummate musical instrument-maker. He built instruments first in Rome, then in Florence for the Medici family, London as the ‘King’s Virginal Maker’, Stockholm as the instrument-maker to the court, Viterbo for the Pope, and finally in Paris for the King of France. The instrument used in this recording is one he made upon his return to Italy after ten years in Sweden as the instrument-maker royal to Queen Christina. This instrument is unusual because it is clearly an Italian instrument, but appears to have been made by a North German maker, or at least an Italian maker who was fully informed of the Northern European harpsichord-making practices and materials.
[Show full text]
Undiscovered Southern Italy: Puglia, Calabria, Lecce & Reggio
12 Days – 10 Nights $4,995 From BOS In DBL occupancy Springfield Museums presents: Undiscovered Southern Italy: Puglia, Calabria, Lecce & Reggio Travel Dates: April 24 to May 5, 2019 12 Days, 10 Nights accommodation, sightseeing, meals and airfare from Boston (BOS) Escape to Southern Italy for a treasure trove of art, ancient and prehistoric sites, cuisine and nature. Enchanting landscapes surround historic towns where Romanesque and Baroque cathedrals and monuments frame beautiful town squares in the shadows of majestic castles and noble palaces. This tour is enhanced by the rich, natural beauty of the rugged mountains and stunning coastline. Museum School at the Springfield Museums 21 Edward Street, Springfield, Ma. 01103 Contact: Jeanne Fontaine [email protected] PH: 413 314 6482 Day 1 - April 24, 2019: Depart US for Italy Depart the US on evening flight to Italy. (Dinner-in flight) (Breakfast-in flight) Day 2 - April 25, 2019: Arrive Reggio Calabria. Welcome to the southern part of the beautiful Italian peninsula. After collecting our bags and clearing customs, we’ll meet our Italian guide who will escort us throughout our trip. We will check-in to our centrally located Hotel in Reggio Calabria. The city owns what it fondly describes as "the most beautiful mile in Italy," a panoramic promenade along the shoreline that affords a marvelous view of the sea and the shoreline of Sicily some four miles across the straits. This coastal region flanked by highlands and rugged mountains, boasts a bounty of local food products thanks to its unique geography. After check in, enjoy free time to relax before our orientation tour of the city.
[Show full text]
The Baroque Period, Part 1: Italian Vocal Repertoires of the Seventeenth Century
A-R Online Music Anthology www.armusicanthology.com Content Guide The Baroque Period, Part 1: Italian Vocal Repertoires of the Seventeenth Century Jonathan Rhodes Lee is Assistant Professor of Music at by Jonathan Rhodes Lee the University of Nevada, Las Vegas, with interests in both eighteenth-century topics (particularly the works of University of Nevada, Las Vegas George Frideric Handel) and film music. His publications have appeared in the Cambridge Opera Assigned Readings Journal, Music and Letters, The Journal of Musicology, Core Survey Eighteenth-Century Music, and elsewhere. His book, Film Music in the Sound Era: A Research Guide Historical and Analytical Perspectives appeared with Routledge in 2020. He is also the editor of Composer Biographies the complete harpsichord works of La Font, published by Supplementary Readings A-R Editions. Giovanni Maria Artusi, excerpt from L'Artusi, or, Of the - Imperfections of Modern Music - Giulio Cesare Monteverdi, excerpt from forward to Il quinto libro de madrigali Summary List Genres to Understand Musical Terms to Understand Contextual Terms, Figures, and Events Main Concepts Scores and Recordings Exercises This workbook is for authorized use only. Unauthorized copying or posting is an infringement of copyright. If you have questions about using this article, please contact us: http://www.armusicanthology.com/anthology/Contact.aspx Content Guide: Baroque 1 (Vocal Music of the Seventeenth Century) 1 _________________________________________________________________________ Content Guide The
[Show full text]
IN the NAME I
ounded 100 years ago, ENIT was originally known as the Ente Nazionale per le Industrie FTuristiche before changing its name to the Agenzia Nazionale del Turismo in 2016. Focusing on the period between its founding in 1919 and the 1960s – a decade characterised by a lively and y l a productive spirit – this book takes a look back at the history and cultural heritage of Italy’s tourism t I board, delving into its century-long dedication to promoting Italy abroad. n IN THE NAME i This publication explores how ENIT came to be founded, the strategies it employed to promote y g Italy’s attractions and the innovative marketing tools it devised over the years. Embark on a e t of BEAUTY a fascinating, historical journey that culminates in a collection of never-before-seen photographs taken r Enit: 100 years of cultural policy t s from ENIT’s own archives, yet further testament to the institution’s impressive initiatives to and tourism strategy in Italy m document Italy and promote its charm all over the world. s i r An additional project is currently underway to catalogue and digitise ENIT’s cultural assets, in the u o t hope of being able to make them available to the public in the near future, so that you may continue d to satisfy your curiosity piqued by this informative and essential publication. n a y c i l o p l a r u t l u c f o s r a e y 0 0 1 : t anuel Barrese graduated from the University of Rome, La Sapienza, with a Ph.D.
[Show full text]
A Dynamic Analysis of Tourism Determinants in Sicily
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NORA - Norwegian Open Research Archives A Dynamic Analysis of Tourism Determinants in Sicily Davide Provenzano Master Programme in System Dynamics Department of Geography University of Bergen Spring 2009 Acknowledgments I am grateful to the Statistical Office of the European Communities (EUROSTAT); the Italian National Institute of Statistics (ISTAT), the International Civil Aviation Organization (ICAO); the European Climate Assessment & Dataset (ECA&D 2009), the Statistical Office of the Chamber of Commerce, Industry, Craft Trade and Agriculture (CCIAA) of Palermo; the Italian Automobile Club (A.C.I), the Italian Ministry of the Environment, Territory and Sea (Ministero dell’Ambiente e della Tutela del Territorio e del Mare), the Institute for the Environmental Research and Conservation (ISPRA), the Regional Agency for the Environment Conservation (ARPA), the Region of Sicily and in particular to the Department of the Environment and Territory (Assessorato Territorio ed Ambiente – Dipartimento Territorio ed Ambiente - servizio 6), the Department of Arts and Education (Assessorato Beni Culturali, Ambientali e P.I. – Dipartimento Beni Culturali, Ambientali ed E.P.), the Department of Communication and Transportation (Assessorato del Turismo, delle Comunicazioni e dei Trasporti – Dipartimento dei Trasporti e delle Comunicazioni), the Department of Tourism, Sport and Culture (Assessorato del Turismo, delle Comunicazioni e dei Trasporti – Dipartimento Turismo, Sport e Spettacolo), for the high-quality statistical information service they provide through their web pages or upon request. I would like to thank my friends, Antonella (Nelly) Puglia in EUROSTAT and Antonino Genovesi in Assessorato Turismo ed Ambiente – Dipartimento Territorio ed Ambiente – servizio 6, for their direct contribution in my activity of data collecting.
[Show full text]