Adriano Banchieri (1568-1634)

Total Page:16

File Type:pdf, Size:1020Kb

Adriano Banchieri (1568-1634) 1/11 Data Adriano Banchieri (1568-1634) Pays : Italie Langue : Italien Sexe : Masculin Naissance : Bologne (Italie), 03-09-1568 Mort : Bologne (Italie), 1634 Note : Organiste et compositeur. - Moine Olivétain. - Écrivain sous les pseudonymes : Camillo Scaliggeri dalla Fratta ; Attabalippa dal Perú Autre forme du nom : Griffagno delli Impacci ISNI : ISNI 0000 0001 0884 840X (Informations sur l'ISNI) Autres identités : Attabalippa dal Perú (1568-1634) Camillo Scaliggeri dalla Fratta (1568-1634) Adriano Banchieri (1568-1634) : œuvres (141 ressources dans data.bnf.fr) Œuvres musicales (138) Saviezza giovenile. Op. 1 Magnificat. Op. 35 (1628) (1613) Dixit Dominus. Op. 35 I gemelli armonici (1613) (1609) Contraponto bestiale Il metamorfosi musicale (1608) (1601) Media nocte Festino nella sera del Giovedì grasso avanti cena. Op. (1600) 18 Udite, ecco le trombe Madrigale alla napolitana. Op. 12, no 15 Cinque cantori in diversi lenguaggi. Op. 12, no 7 La Pomponazza L'Alcenagina sopra Vestiva i colli La pazzia senile Petre, amas me ?. Voix (2), orgue O Cain, ubi est frater tuus ?. Voix (2), orgue data.bnf.fr 2/11 Data La guamina Ego vado praeparare. Voix (2), orgue Dialogo secondo Festino nella sera del Giovedi grasso avanti Cena. Voix (5) Sonates. Orgue. No 1 Ave Maria, gratia plena. Voix (2), orgue Mulier, cur ploras hic. Voix (2), orgue O fili, quid cogitas. Voix (2), orgue Mulier cur ploras hic. Op. 48, no Sonates. Orgue. 3 Barca di Venetia per Padova. Op. 12 Fantaisies. 1605. Orgue. No 2 Organo suonarino. Orgue Fantasie overo canzoni alla francese. Instruments non précisés (4) La battaglia Voir plus de documents de ce genre Manuscrits et archives (1) "La Pazza senile (VM FONDS 25 ROL-3)" avec Adriano Banchieri (1568-1634) comme Compositeur Spectacles (2) "Barca di Venezia per Padova" "Barca di Venezia per Padova" (1986) (1984) de Mireille Larroche de Mireille Larroche avec Adriano Banchieri (1568-1634) comme Auteur ou responsable avec Adriano Banchieri (1568-1634) comme Auteur ou responsable intellectuel intellectuel data.bnf.fr 3/11 Data Adaptations réalisées à partir des œuvres de Adriano Banchieri (1568-1634) (1 ressources dans data.bnf.fr) Œuvres musicales (1) Canzoni alla francese Vol. I (2014) Documents sur Adriano Banchieri (1568-1634) (9 ressources dans data.bnf.fr) Livres (6) Studien zum literarischen , Andreas Wernli, Bern ; Die Messen des Adriano , Hermann-Josef Wilbert, und musikalischen Werk Stuttgart : P. Haupt , 1981 Banchieri..., von Hermann- Augsburg : Blasaditsch , Adriano Banchieris Josef Wilbert... 1969 (1568-1634) (1969) (1981) Adriano Banchieri , Oscar Mischiati Adriano Banchieri, dalla "Prudenza" alla "Saviezza (1568-1634). Profilo (1936-2004), [S.l.] : [s.n.] , giovenile". - [1] biografico e bibliografia 1965-1970 (1957) delle opere (1965) Precisozioni biografiche su , Enrico Capaccioli, Milano Arte e vita musicale a , Francesco Vatielli Adriano Banchieri : [s.n.] , 1954 Bologna, studi e saggi. (1876-1946), Bologna : N. (1954) Volume I° Zanichelli , 1927 (1927) Documents multimédia (2) Le sourire du moine , Nice : Serre éd. , cop. Le sourire du moine , Nice : Serre éd. , cop. (2008) 2008 (2008) 2008 data.bnf.fr 4/11 Data Documents d'archives et manuscrits (1) (Fonds Montpensier - Italie None / Compositeurs / A - BERIO) Thèmes en relation avec Adriano Banchieri (1568-1634) (8 ressources dans data.bnf.fr) Musique (5) Clavecin, Musique de Csíki Székely múzeum -- Manuscrit. Nr. 6199 (Cod. 35) Motets Orgue Orgue, Musique d' Auteurs (1) Adriano Banchieri (1568-1634) Sciences de l'information et de la documentation (1) Fac-similés Religion (1) Motets data.bnf.fr 5/11 Data Auteurs en relation avec "Adriano Banchieri (1568-1634)" (249 ressources dans data.bnf.fr) Auteurs liés en tant que compositeur (179) Giuseppe Aldrovandini (1671-1707) Gregorio Allegri (1582-1652) Lorenzo Allegri (1573?-1648) Giovanni Francesco Anerio (1567?-1630) Costanzo Antegnati (1549-1624) Andrea Antico (147.?-1539?) Thoinot Arbeau (1520-1595) Floriano Arresti (1667-1717) Gioseffo Ascanio (15..-16..) Giovanni Battista Bassani (1650?-1716) Vincenzo Bellavere (1540?-1587) Giuseppe Bencini (16..-17..) Francesco Bendusi Piero Benedetti (1585?-1649) Lelio Bertani (1553?-1612) Giovanni Maria Bononcini (1642-1678) William Brade (1560-1630) William Byrd (1543?-1623) Pierre Cadéac (compositeur, 15..-15..) Serafino Cantone (15..?-1627) Turlogh Carolan (1670-1738) Fabritio Caroso (1527?-16..) Gasparo Casati (1610?-1641) Giovanni Maria Casini (1652-1719) Giovanni Cavaccio (1556?-1626) Girolamo Cavazzoni (1525?-157.?) Marco Antonio Cavazzoni (1490?-1560?) Antonio Cifra (1584-1629) Andrea Cima (15..?-16..?) Giovanni Paolo Cima (1570?-1630) Phileno Agostino Cornazzani (1545?-1628) Nicolò Corradini (15..-1646) Gasparo Costa Domenico Crivellati (15..-16..) Francesco D'Ana (1460?-1503?) Albert De Klerk (1917-1998) Jean Deschamps Girolamo Diruta (1554?-161.) John Dowland (1563?-1626) Eustache Du Caurroy (1549-1609) data.bnf.fr 6/11 Data Juan del Encina (1468-1529?) Paul Eraly (1910-1987) Giulio Eremita (1550?-1600?) Jean d' Estrée (15..-1576) Carlo Farina (1600-1639) Giovanni Battista Fasolo (1598?-1664?) Gabriel Fatorini (compositeur, 15..?-16.. ) Heinrich Finck (1444?-1527) Giacomo Finetti Giorgio Flori (1558?-1594?) Fabrizio Fontana (1610?-1695) Giovanni Battista Fontana (1589?-1630?) Vincenzo Fontana (compositeur, 15..-15..) Giacomo Fornaci (15..-16..) Johannes de Fossa (1540?-1603) Melchior Franck (1579?-1639) Girolamo Frescobaldi (1583-1643) Andrea Gabrieli (1533?-1585) Giovanni Gabrieli (1555?-1612) Giulio Cesare Gabucci (155.?-1611) Giovanni Battista Galeno (155.?-1626?) Jacobus Gallus (1550-1591) Claude Gervaise Wolfgang Getzmann Ruggiero Giovannelli (1560?-1625) Johann Grabbe (1585-1655) Alessandro Grandi (1590-1630) Tomaso Gratiani (1553?-1634) Gioseffo Guami (1542-1611) Andreas Hammerschmidt (1611-1675) Hans Leo Hassler (1564-1612) Gerhardus Havingha (1696-1753) Henri VIII (roi d'Angleterre et d'Irlande, 1491-1547) Antony Holborne (1545?-1602) Marc'Antonio Ingegneri (1536?-1592) Heinrich Isaac (1450?-1517) Josquin Des Prés (145.-1521) János Kájoni (1629?-1687) Cor Kee (1900-1997) Jean Langlais (1907-1991) Ferdinand de Lassus (1560?-1609) Roland de Lassus (1532-1594) Rudolph de Lassus (1563?-1625) Leonhard Lechner (1553?-1606) Giovanni Legrenzi (1626-1690) Matthäus Apelles von Löwenstern (1594-1648) Luzzasco Luzzaschi (1545?-1607) Giorgio Mainerio (1535?-1582) data.bnf.fr 7/11 Data Cristofano Malvezzi (1547-1599) Biagio Marini (1594-1663) Francesco Maria Marini (compositeur, 16..?-16..) Giovanni Battista Martini (1706-1784) Fiorenzio Mascara (1540?-1580?) Paolo Masnelli (15..-16..) Stanislao Mattei (1750-1825) Maurice (landgrave de Hesse-Cassel, 1572-1632) Ascanio Mayone (1565?-1627) Giovanni Battista Mazzaferrata (16..-1691) Tarquinio Merula (1594?-1665) Claudio Merulo (1533-1604) Hans Friedrich Micheelsen (1902-1973) Jacobus Milarte Bartolomeo Montalbano (1598?-1651) Philippe de Monte (1521-1603) Claudio Monteverdi (1567-1643) Antonio Morari (15..-1597) Giacomo Moro Alberto Mossato (15..?-16..?) Bernardino Mosto (15..?-16..?) Giovanni Battista Mosto (154.?-1596) Jean Mouton (1459?-1522) Massimiliano Neri (1621?-1666?) Filippo Nicoletti (15..-1634) Ninot le Petit Jacob Obrecht (1457?-1505) Diego Ortiz (1510?-1570?) Johann Pachelbel (1653-1706) Annibale Padovano (1527-1570) Ferdinando Pagano (15..?-16..?) Bernardo Pasquini (1637-1710) Ercole Pasquini (15..-161.?) Vincenzo Pellegrini (1562?-1630) Paul Peuerl (1570-162.?) Carlo Francesco Pollarolo (1653?-1723) Nicola Porpora (1686-1768) Costanzo Porta (1529?-1601) Hieronymus Praetorius (1560-1629) Michael Praetorius (1571-1621) Giovanni Battista Predieri (1678-1760?) Alfonso Preti Paolo Quagliati (1555?-1628) Pietro Ragno (15..?-16..?) Vottorio Rai (15..?-16..?) Thomas Ravenscroft (1592?-1635?) Jacob Regnart (154.-1599) Flavio Ricci (15..?-16..?) data.bnf.fr 8/11 Data Giulio Riccio (15..?-16..?) Antonio Romanini (compositeur, 15..-15.. ) Michelangelo Rossi (1601?-1656) Salamone Rossi (1570-1630?) Giovanni Rovetta (1595?-1668) Francesco Rovigo (1541?-1597) Vincenzo Ruffo (1508?-1587) Bernardo Sabadini (16..-1718) Ippolito Sabino (1550?-1593) Franz Sales (1540?-1599) Giovanni Felice Sances (1600?-1679) Samuel Scheidt (1587-1654) Johann Hermann Schein (1586-1630) Bernhard Schmid (le Jeune, 1567-1625) Heinrich Schütz (1585-1672) Claudin de Sermisy (1490?-1562) Ján Šimbracký (160.?-1657) Agostino Soderini (15..?-16..?) Bertoldo Sperindio (1530?-1570) Joannes Spielenberger Johann Stadlmayr (1580?-1648) Herman Strategier (1912-1988) Orazio Tarditi (1602-1677) Antonio Taroni (15..?-16..?) Giuseppe Torelli (1658-1709) Giovanni Maria Trabaci (1575?-1647) Ascanio Trombetti (1544-1590) Marco Uccellini (1603?-1680) Antonio Valente (1520?-1581) Giovanni Valentini (1582?-1649) Michele Varotto (1550?-1599?) Orazio Vecchi (1550-1605) Antonio Veracini (1659-1733) Gabriël Verschraegen Ludovico Viadana (1560?-1627) Giovanni Battista Vitali (1632-1692) Jaap Vranken (1897-19..) Wilhelm Joseph von Wasielewski (1822-1893) Erasmus Widmann (1572-1634) Adrian Willaert (1490?-1562) Johann Woltz (1550?-1618) Gasparo Zanetti (16..?-1660) Domenico Zipoli (1688-1726) data.bnf.fr 9/11 Data Auteurs liés en tant que auteur ou responsable intellectuel (31) Gregor Aichinger (1564-1628) Costanzo Antegnati (1549-1624) Enrico Capaccioli Giovanni Croce (1557?-1609)
Recommended publications
  • 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]
  • The Italian Double Concerto: a Study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy
    The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy a document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Performance Studies Division – The University of Cincinnati College-Conservatory of Music 2013 by Jason A. Orsen M.M., Kent State University, 2003 B.M., S.U.N.Y Fredonia, 2001 Committee Chair: Dr. Vivian Montgomery Prof. Alan Siebert Dr. Mark Ostoich © 2013 Jason A. Orsen All Rights Reserved 2 Table of Contents Chapter I. Introduction: The Italian Double Concerto………………………………………5 II. The Basilica of San Petronio……………………………………………………11 III. Maestri di Cappella at San Petronio…………………………………………….18 IV. Composers and musicians at San Petronio……………………………………...29 V. Italian Double Concerto…………………………………………………………34 VI. Performance practice issues……………………………………………………..37 Bibliography……………………………………………………………………………………..48 3 Outline I. Introduction: The Italian Double Concerto A. Background of Bologna, Italy B. Italian Baroque II. The Basilica of San Petronio A. Background information on the church B. Explanation of physical dimensions, interior and effect it had on a composer’s style III. Maestri di Cappella at San Petronio A. Maurizio Cazzati B. Giovanni Paolo Colonna C. Giacomo Antonio Perti IV. Composers and musicians at San Petronio A. Giuseppe Torelli B. Petronio Franceschini C. Francesco Onofrio Manfredini V. Italian Double Concerto A. Description of style and use B. Harmonic and compositional tendencies C. Compare and contrast with other double concerti D. Progression and development VI. Performance practice issues A. Ornamentation B. Orchestration 4 I.
    [Show full text]
  • Some Historical Perspectives on the Monteverdi Vespers
    CHAPTER V SOME HISTORICAL PERSPECTIVES ON THE MONTEVERDI VESPERS It is one of the paradoxes of musicological research that we generally be- come acquainted with a period, a repertoire, or a style through recognized masterworks that are tacitly or expressly assumed to be representative, Yet a masterpiece, by definition, is unrepresentative, unusual, and beyond the scope of ordinary musical activity. A more thorough and realistic knowledge of music history must come from a broader and deeper ac- quaintance with its constituent elements than is provided by a limited quan- tity of exceptional composers and works. Such an expansion of the range of our historical research has the advan- tage not only of enhancing our understanding of a given topic, but also of supplying the basis for comparison among those works and artists who have faded into obscurity and the few composers and masterpieces that have sur- vived to become the primary focus of our attention today. Only in relation to lesser efforts can we fully comprehend the qualities that raise the master- piece above the common level. Only by comparison can we learn to what degree the master composer has rooted his creation in contemporary cur- rents, or conversely, to what extent original ideas and techniques are re- sponsible for its special features. Similarly, it is only by means of broader investigations that we can detect what specific historical influence the mas- terwork has had upon contemporaries and younger colleagues, and thereby arrive at judgments about the historical significance of the master com- poser. Despite the obvious importance of systematic comparative studies, our comprehension of many a masterpiece stiIl derives mostly from the artifact itself, resulting inevitably in an incomplete and distorted perspective.
    [Show full text]
  • Music for the Cimbalo Cromatico and the Split-Keyed Instruments in Seventeenth-Century Italy," Performance Practice Review: Vol
    Performance Practice Review Volume 5 Article 8 Number 1 Spring Music for the Cimbalo Cromatico and the Split- Keyed Instruments in Seventeenth-Century Italy Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1992) "Music for the Cimbalo Cromatico and the Split-Keyed Instruments in Seventeenth-Century Italy," Performance Practice Review: Vol. 5: No. 1, Article 8. DOI: 10.5642/perfpr.199205.01.08 Available at: http://scholarship.claremont.edu/ppr/vol5/iss1/8 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early Baroque Keyboard Instruments Music for the Cimbalo Cromatico and Other Split- Keyed Instruments in Seventeenth-Century Italy* Christopher Stembridge The Concept of the Cimbalo Cromatico Although no example of such an instrument is known to have survived intact, the cimbalo cromatico was a clearly defined type of harpsichord that apparently enjoyed a certain vogue in Italy during the late sixteenth and early seventeenth centuries.1 The earliest use of the term is found in the titles of two toccatas per il cimbalo cromatico included by Ascanio Mayone in his Secondo Libro di Diversi Capricci per Sonare published in Naples in 1609.2 Subsequently the term was used in publications by This is the first of three related articles. The second and third, to be published in subsequent issues of Performance Practice Review, will deal with the instruments themselves.
    [Show full text]
  • Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio De’ Cavalieri
    Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio de’ Cavalieri Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Julius-Maximilians-Universität Würzburg Vorgelegt von Elam Rotem aus Basel 2015 Erstgutachter: Professor Dr. Andreas Haug Zweitgutachter: Professor Dr. Ulrich Konrad Drittgutachter: Professor Dr. Johannes Menke Tag des Kolloquiums: 14/11/2016 Acknowledgment This work came to light thanks to a common doctoral program of the University of Würzburg/Institut für Musikforschung and University of Applied Sciences and Arts Northwestern Switzerland (FHNW)/Musikhochschulen (Schola Cantorum Basiliensis and Hochschule für Musik). I would like to thank the Head of the Schola Cantorum Basilienis Prof. Dr. Thomas Drescher as well as my advisers Prof. Dr. Andreas Haug (Würzburg), Prof. Dr. Ulrich Konrad (Würzburg), and Prof. Dr. Johannes Menke (Basel) for their help and support throughout the work. 3 Contents Preface .......................................................................................................................................................... 5 Terminology, abbreviations, and comments ................................................................................................ 9 Chapter I – Introduction .............................................................................................................................. 11 1.1 Early basso continuo ........................................................................................................................
    [Show full text]
  • Mise En Page 1
    GESUALDO - MAIONE TRIBULATIONEM MOTTETTI, MADRIGALI E CAPRICCI CONCERTO SOAVE MARA GALASSI JEAN-MARC AYMES S E R I O T I R R E T G A Z - G I Z GESUALDO - MAIONE ZZT TRIBULATIONEM 319 MOTTETTI, MADRIGALI E CAPRICCI CONCERTO SOAVE MARA GALASSI JEAN-MARC AYMES Certains compositeurs ont marqué la postérité tant Some composers are remembered by posterity as par leurs œuvres que par leur vie. C’est le cas de for much for their lives as for their works. One such Carlo Gesualdo, Prince de Venosa, pas sionné de is Carlo Gesualdo, Prince of Venosa, whose passion musique jusqu’à la plus profonde mélancolie, et ja - for music drove him to the dee pest melancholy, loux jusqu’au meurtre. while his jealousy drove him to murder. Exprimant le dérèglement des sens par le dérè - Expressing mental disturbance through distur bance glement du discours, mais aussi son extrême élabo - of the discourse, but also its extreme ela boration, ration, la musique du Prince nous parle tout à la fois the Prince’s music speaks to us at once of love and d’amour, de désir et de mort. Jean-Marc Aymes et desire and of death. Jean-Marc Aymes and his en - son ensemble nous donnent également à entendre semble also give us a chance to hear a contempo - un contemporain de Gesualdo, Asca nio Maione, rary of Gesualdo, Ascanio Maione, who wrote qui a écrit pour le clavecin, l’orgue et la harpe une astonishing and admirable music for harpsichord, musique étonnante et ad mirable. organ, and harp.
    [Show full text]
  • The Galpin Society for the Study of Musical Instruments
    The Galpin Society For the Study of Musical Instruments Newsletter 38 February 2014 Musikinstrumenten-Museum Berlin CONTENTS: ::2:: Contacts; New Members ::3:: Editorial; Shofarot Query ::4:: The English Flageolet Abroad ::8:: The Rackwitz Clavichord ::10:: Berlin Visit ::11:: Neapolitan Virginal ::13:: ‘No Shawms, No Crumhorns’ THE GALPIN SOCIETY Registered Charity no. 306012 Website: www.galpinsociety.org President: Jeremy Montagu [email protected] Vice-Presidents: Friedrich von Huene, Charles Mould, Arnold Myers, The Master of the Worshipful Company of Musicians THE COMMITTEE Chairman: Graham Wells, 24 Gloucester Road, Teddington, Middlesex, TW11 0NU [email protected] Administrator: Maggie Kilbey, 37 Townsend Drive, St Albans, Herts, AL3 5RF [email protected] Editor: Lance Whitehead, 3 Hazelbank Terrace, Edinburgh, EH11 1SL [email protected] Journal Editor: Michael Fleming, 13 Upland Park Road, Oxford, OX2 7RU [email protected] Reviews Editor (UK): Mimi Waitzman, Horniman Museum, London Road, Forest Hill, London, SE23 3PQ [email protected] Reviews Editor (USA): Bradley Strauchen-Scherer, Dept of Musical Instruments, Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028-0198, USA [email protected] Advertisement Andy Lamb, The Bate Collection, Faculty of Music, St Aldate’s, Oxford, Manager: OX1 1DB [email protected] Archivist: Diana Wells, 24 Gloucester Road, Teddington, Middlesex, TW11 0NU [email protected] Other committee members: Bruno
    [Show full text]
  • FRESCOBALDI Scarlatti Sonatas RICHARD LESTER Harpsichord
    Richard Lester’s Complete FRESCOBALDI Scarlatti Sonatas RICHARD LESTER Harpsichord NI 1725 NI 1726 Volume 2 NI 1727 NI 1728 NI 1729 16NI 1730 NI 1731 NI 5822/3 NI 5861 NI5861 1 Harpsichord by Giovanni Battista Boni (c1619) 2 NI 5861 NI 5861 15 Richard Lester’s FRESCOBALDI series: Girolamo Frescobaldi (1583-1643) Volume 1 Harpsichord Volume 2 Toccatas, Canzonas, Capriccios and Partites from Il primo libro di toccate, Il secondo libro di toccate e canzone. RICHARD LESTER Il primo libro di capricci. Harpsichord by Giovanni Battista Bonci (c.1619) Volume 3 Organ 1 Five Gagliardes 5.32 Toccatas, Canzonas, Capriccios, Fantasies and Ricercars from 2 Toccata Settima 4.47 Il secondo libro di toccate, Fiori Musicali and the Chigi manuscript 3 Partite sopra l’Aria di Monicha 13.25 4 Partite sopra Ciaccona 1.25 Volume 4 Harpsichord 5 Toccata Nona 5.33 Toccatas, Gagliardes, Correntes and Capriccios from 6 Partite sopra Passacaglia 2.14 Il primo libro di toccate, Il secondo libro di toccate and 7 Toccata Terza 4.03 Il primo libro di capricci. 8 Toccata Quinta 5.02 9 Corrente & Ciaccona 1.24 Visit www.frescobaldi.org.uk or www.wyastone.co.uk for release dates and 10 Toccata Settima 3.49 track listings. 11 Balletto e Ciaccona 1.19 12 Toccata Seconda 3.50 13 Toccata Sesta 5.46 14 Partite sopra l’Aria di Ruggiero 9.58 Playing time 68.07 14 NI 5861 NI5861 3 Tracks 2-3, 7-9, 11, 13-14 Richard Lester was described both by The Times and the Daily Telegraph as ‘one of Il primo libro di Toccate e Partite d’intavolatura di cembalo (1615-1616/37) our leading players’ and more recently acclaimed as ‘one of the greatest early music keyboard players of this or any other time.’ In 1981, Sir William Glock, former BBC Tracks 1, 4-6, 10, 12 controller of music invited him to perform a solo harpsichord recital at the Bath Il secondo libro di Toccate, Canzone.
    [Show full text]
  • 4845058-9D6a50-4015023241923.Pdf
    L‘ arpa di Partenope Harp Music from Early Baroque Naples Facciam che v’avvenga d’udire o in tempo di notte buia, o di lontano, Giovanni Maria Trabaci (1575-1647) Francesco Lambardo (1587-1642) tanto che nol veggiate, un valentissimo sonator d’arpa, che dopo una brieve ricercata, 1 Toccata Seconda, & Ligature per l´Arpa 3:23 11 Toccata 2:18 ch’è l’esame dell’accordatura, dia nelle più vaghe, e artificiose sonate, ch’egli sappia, Carlo Gesualdo (1566-1613) Giovanni Maria Trabaci d’ogni Tuono, e d’ogni Modo le proprie, e Dorico grave, e Lidio guerriero, e Frigio mesto; 2 Gagliarda del Principe di Venosa 1:47 12 Ancidetemi pur, per l´Arpa 5:43 hor semplici, hor intrecciati, con quel maraviglioso dialogizzare che sembrano far le corde, e interrogarsi, e rispondersi le acute, e le gravi, Ascanio Mayone (1565-1627) Ascanio Mayone hor con botte lente, e poche, hor velocissimamente sminuite, 3 Toccata Prima 4:10 13 Ricercar sopra il Canto fermo 3:44 quasi tutte insieme: come fosser due cori di musici di Constantio Festa Giovanni de Macque (1550-1614) che si corrono dietro, seguendosi su le medesime note, 4 Durezze, e ligature 5:09 Giovanni de Macque e pur sempre lontane alcuno spazio misuratissimo, 14 Seconde Stravaganze 2:16 sì come spazio di consonanza. Gian Leonardo dell´Arpa (c 1525-1602) 5 Io navigai un tempo 1:21 Ascanio Mayone (Opere del padre Daniello Bartoli, Tomo I, Venezia 1659) 15 Partite sopra Fidele 2:42 Giovanni Domenico da Nola (1510-1592) 6 Venga quel bel Narcisso 2:18 Lucas Ruiz de Ribayaz (1650-?) 16 Achas 1:48 Giovanni de
    [Show full text]
  • Italian Musical Culture and Terminology in the Third Volume of Michael Praetorius’S Syntagma Musicum (1619)
    Prejeto / received: 3. 6. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.04 ITALIAN MUSICAL CULTURE AND TERMINOLOGY IN THE THIRD VOLUME OF MICHAEL PRAETORIUs’S SYNTAGMA MUSICUM (1619) Marina Toffetti Università degli Studi di Padova Izvleček: Bralec tretjega zvezka Syntagme mu- Abstract: From the third volume of Michael sicum Michaela Praetoriusa dobi vtis, da so bili Praetorius’s Syntagma musicum one receives po mnenju avtorja na tekočem le tisti glasbeniki, the impression that, according to its author, ki so znali skladati, igrati ali peti »all'italiana«, only those who were able to compose, play or torej na italijanski način. Zato to delo predstavlja sing ‘all’italiana’ (in the Italian manner) were nekakšno ogledalo miselnosti in razumevanja considered culturally up-to-date. This treatise načina recepcije italijanske glasbe severno od can therefore be seen as a mirror reflecting Alp v drugem desetletju 17. stoletja. Razprava, ki the way in which Italian music was perceived temelji na ponovnem branju tretje knjige Prae- north of the Alps in the second decade of the toriusovega traktata Syntagma musicum, govori seventeenth century. The present article, based o tem, kako so v prvih desetletjih 17. stoletja on a re-reading of the third volume of Syntagma krožile glasbene knjige ter kako je asimilacija musicum, shows how in the early decades of italijanske glasbene kulture in terminologije the seventeenth century the circulation and prežela nemško govoreče dežele in doprinesla the assimilation of Italian musical culture and h genezi panevropskega glasbenega sloga in terminology was far-reaching in the German- terminologije. speaking countries, contributing to the genesis of a pan-European musical style and terminology.
    [Show full text]
  • The Use of Harp in Early Seventeenth-Century Italy
    THE USE OF HARP IN EARLY SEVENTEENTH-CENTURY ITALY by Yi-Yun Loei Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University July 2017 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Elisabeth Wright, Research Director ______________________________________ Elzbieta Szmyt, Chair ______________________________________ Nigel North ______________________________________ Stanley Ritchie July 6, 2017 ii Copyright © 2017 Yi-Yun Loei iii ACKNOWLEDGEMENTS I would like to thank Prof. Elisabeth Wright for her guidance as my research director, for opening the door of early music for me, and fostering a love and interest in the art of continuo playing. My education has been greatly enriched not only by her expertise, but also by her constant patience and encouragement during my time at Indiana University. My appreciation also extends to my research committee members: Elzbieta Szmyt, Nigel North, and Stanley Ritchie, for their time and advice in the completion of this document. I would also like to thank a few friends who have generously helped along the way: thank you to Hannah Lane and Antoine Malette-Chénier for sharing their insights and knowledge of the arpa doppia and early harp music; to Nathanael Udell for helping me scan all the necessary documents from the IU library that I would have otherwise been unable to access; and also to Daniel Stein and Sarah Huebsch for their moral support and encouragement in finishing the document.
    [Show full text]
  • Robinson, S.E 2017 Vol.1.Pdf
    ‘In her right hand she bore a trumpet, in her left an olive branch...’ Performance Space and the Early Modern Female Wind Player In 2 volumes Sarah Emily Robinson Volume 1 Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Newcastle University, The International Centre for Music Studies (ICMuS) May 2017 Abstract References to early modern female wind players are scattered across a wide range of organological, iconographical and musicological scholarship. Normally highlighted as being unusual and in stark opposition to conventional ideals of female behaviour and musical practice of this time, such examples are often reduced to footnotes or side-lined as interesting, but unique instances. To date, no scholar has systematically brought these sources together to examine the continuities, tensions and changes to representations of, attitudes to, and detailed evidence for early modern women playing wind instruments. Among the questions I ask in this thesis are: How did early modern female wind players have access to musical educations, tutors, instruments and repertoire? What were the types of performance spaces in which they could play? Were there any constraints or rulings that stipulated how they were to present their music to private or public audiences? And where possible, I will also ask how female wind players were received by audiences and how the presentation of such unusual skills might have been used to contribute to institutional reputations. Importantly, these examples enable moments of change and stasis in the use of wind instruments to be traced to certain times and places during the early modern period which, in turn, reflect wider social patterns relating to musical developments, as well as changing instrument use and accessibility.
    [Show full text]