MAY 2020 Blessed Sacrament Catholic Church Worcester
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Re/Defining the Imaginary Museum of National Music
Re/Defining the Imaginary Museum of National Music The Case of Croatia Zdravko Blažekovic´ The historian is a product of history himself, and of his situation. However hard we may try, he cannot escape the molding of his mind by his experience and his surroundings.1 Music historiography in Croatia was throughout the twentieth century marked by the path established in the late nineteenth century by Franjo Ksaver Kuhač (1834-1911), who defined the criteria for inclusion of musicians into the national canon on the basis of their Croatian ethnic origin rather than presenting cultural circles in which they were active. In the twentieth century, the central influence on the definition of the canon of Croatian music history came from Josip Andreis (1909-1982) in his historical survey published in three Croatian editions (Razvoj muzičke umjetnosti u Hrvatskoj [The development of musical arts in Croatia], 1962; Povijest hrvatske glazbe [History of Croatian music], 1974, 1989) and two English editions (Music in Croatia 1974, 1982). Synthesizing the existing views about Croatian music, he constructed in his narrative a museum of Croatian and foreign com- posers active in Croatia, as well as composers born in Croatia but living abroad. Besides nationalistic traits inherited from Kuhač, a reason for emphasizing activities of composers working abroad were the political and cultural circumstances surrounding Andreis during the time of communist Yugoslavia, when Croatian connections with the Central European musical space were particularly appreciated, especially when the quality of composers living abroad surpassed the musical production within the country. Being a part of multina- tional Yugoslavia situated between the Eastern and Western cultural and religious spheres, Croatians at the time wanted to distance themselves from the cultures in Eastern Europe and felt the need to be reassured about their belonging to Slavia Latina. -
Compact Discs by 20Th Century Composers Recent Releases - Spring 2020
Compact Discs by 20th Century Composers Recent Releases - Spring 2020 Compact Discs Adams, John Luther, 1953- Become Desert. 1 CDs 1 DVDs $19.98 Brooklyn, NY: Cantaloupe ©2019 CA 21148 2 713746314828 Ludovic Morlot conducts the Seattle Symphony. Includes one CD, and one video disc with a 5.1 surround sound mix. http://www.tfront.com/p-476866-become-desert.aspx Canticles of The Holy Wind. $16.98 Brooklyn, NY: Cantaloupe ©2017 CA 21131 2 713746313128 http://www.tfront.com/p-472325-canticles-of-the-holy-wind.aspx Adams, John, 1947- John Adams Album / Kent Nagano. $13.98 New York: Decca Records ©2019 DCA B003108502 2 028948349388 Contents: Common Tones in Simple Time -- 1. First Movement -- 2. the Anfortas Wound -- 3. Meister Eckhardt and Quackie -- Short Ride in a Fast Machine. Nagano conducts the Orchestre Symphonique de Montreal. http://www.tfront.com/p-482024-john-adams-album-kent-nagano.aspx Ades, Thomas, 1971- Colette [Original Motion Picture Soundtrack]. $14.98 Lake Shore Records ©2019 LKSO 35352 2 780163535228 Music from the film starring Keira Knightley. http://www.tfront.com/p-476302-colette-[original-motion-picture-soundtrack].aspx Agnew, Roy, 1891-1944. Piano Music / Stephanie McCallum, Piano. $18.98 London: Toccata Classics ©2019 TOCC 0496 5060113444967 Piano music by the early 20th century Australian composer. http://www.tfront.com/p-481657-piano-music-stephanie-mccallum-piano.aspx Aharonian, Coriun, 1940-2017. Carta. $18.98 Wien: Wergo Records ©2019 WER 7374 2 4010228737424 The music of the late Uruguayan composer is performed by Ensemble Aventure and SWF-Sinfonieorchester Baden-Baden. http://www.tfront.com/p-483640-carta.aspx Ahmas, Harri, 1957- Organ Music / Jan Lehtola, Organ. -
Italian Renaissance Music and Sound in the Newberry Collection
QUICK GUIDE Italian Renaissance Music and Sound in the Newberry Collection How to Use Our Collection The Newberry is an independent research library; readers do not check books out to take home, but consult materials—mostly rare books, manuscripts, maps, and other materials with a focus on the humanities—here. We welcome into our reading rooms researchers who are at least 14 years old or in the ninth grade. Creating a free reader account and requesting collection items takes just a few minutes. Visit https://requests.newberry.org to begin the registration process and to start exploring our collection; when you arrive at the Newberry for research, a free reader card will be issued to you in our third-floor reference center. Sampling of the Works of Bartolomeo Tromboncino and Franciscus Bossinensis Antico, Andrea. Canzoni, sonetti, strambotti et and in modern notation. Call number: VM 2 .I87 frottole: libro tertio. Northampton, MA: Smith n.s. v. 3 College, c1941. Composers named in this collection of music include Bartolomeo Tromboncino and Bossinensis, Franciscus. Tenori e contrabassi Marchetto Cara, two of the best known composers intabulati col soprani in canto figurato per of frottole. Frottole (singular: frottola) – like those cantar e sonar col lauto. [Venice: Per in today’s performance – are simple, secular, vocal Octauaianu[ue] Petrutium, 1509]. Very rare work compositions that were popular in late 15th- and by Bossinensis and the last known book to be early 16th-century courts. Call number: VM 2 .S64 printed by Ottaviano Petrucci in Venice. The v. 4 volume includes pieces by the best-known composers of frottole, including Bartolomeo Bossinensis, Franciscus. -
PETRUCCI E-02 TIBALDI 15-04-2005 09:20 Pagina 491
PETRUCCI E-02 TIBALDI 15-04-2005 09:20 Pagina 491 RODOBALDO TIBALDI REPERTORIO TRÀDITO E COEVO NELLE INTAVOLATURE PER CANTO E LIUTO RACCOLTE DA FRANCESCO BOSSINENSIS CON UNO SGUARDO ALLE RACCOLTE ANALOGHE I due libri di intavolature per canto e liuto raccolti da Franciscus Bossinensis e pubblicati da Ottaviano Petrucci nel 1509 e nel 1511 sono stati variamente conside- rati dagli studi musicologici, talvolta in riferimento alla prassi esecutiva, talvolta con una certa attenzione a singoli e ben determinati fenomeni analizzati in alcuni brani, ma più spesso come riduzioni a tre parti di componimenti ‘vocali’ a quattro voci (o comunque concepiti a quattro voci); il più delle volte, comunque, vengono esamina- ti come un qualcosa esistente in quanto dipendente dai libri di frottole editi tra il 1504 e il 1514, e non nella loro autonomia. Eppure, uno sguardo complessivo alle due sil- logi, alla mappa delle relazioni con i testimoni a penna e a stampa afferenti al mede- simo repertorio (tra i quali un posto non secondario ricopre l’importante manoscrit- to Parigi, Bibliothèque Nationale de France, Rés. Vmd. ms 27), il confronto tra le diverse versioni, che talvolta rivela alcuni aspetti interessanti riguardanti non solo la sfera dell’esecuzione, ma soprattutto quella della composizione (o, per lo meno, sembra talvolta che la diversa destinazione delle raccolte del Bossinensis sia consi- derata proprio nella sua ‘alterità’), ed infine il numero degli unica conservati nei due libri, e nel secondo in modo particolare, ci permettono di osservarli in una prospetti- va un poco diversa, forse anche a causa della perdita del decimo libro di frottole. -
Complete Piano Music Rˇák
DVO COMPLETE PIANO MUSIC RˇÁK Inna Poroshina piano QUINTESSENCE · QUINTESSENZ · QUINTESSENZA · QUINAESENCIA · QUINTESSÊNCIA · QUINTESSENCE · QUINTESSENZ · QUINTESSENZA · QUINAESENCIA · QUINTESSÊNCIA Antonín Dvorˇák 1841-1904 Complete Piano Music Theme and Variations Op.36 (1876) Two Furiants Op.42 (1878) Six Mazurkas Op.56 1. Theme 1’21 26. No.1 in D major 5’33 51. No.1 2’50 76. No.4 in D minor, poco andante 2’46 2. Variation 1 1’09 27. No.2 in F major 7’38 52. No.2 2’28 77. No.5 in A minor, vivace 3’04 3. Variation 2 1’12 53. No.3 1’58 78. No.6 in B major, poco allegretto 2’56 4. Variation 3 2’56 Eight Waltzes Op.54 (1880) 54. No.4 2’57 79. No.7 in G flat major, poco lento 5. Variation 4 0’41 28. No.1 in A major 3’39 55. No.5 2’37 e grazioso 3’26 6. Variation 5 1’00 29. No.2 in A minor 4’05 56. No.6 2’35 80. No.8 in B minor, poco andante 3’22 7. Variation 6 1’36 30. No.3 in C sharp minor 2’55 8. Variation 7 0’58 31. No.4 in D flat major 2’52 57. Moderato in A major B.116 2’10 81. Dumka, Op.12/1 (1884) 4’00 9. Variation 8 3’53 32. No.5 in B flat major 3’00 33. No.6 in F major 5’05 58. Question, B.128a 0’27 82. -
Renaissance Terms
Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588. -
Diamm Facsimiles 6
DIAMM FACSIMILES 6 DI MM DIGITAL IMAGE ACHIVE OF MEDIEVAL MUSIC DIAMM COMMITTEE MICHAEL BUDEN (Faculty Board Chair) JULIA CAIG-McFEELY (Diamm Administrator) MATIN HOLMES (Alfred Brendel Music Librarian, Bodleian Library) EMMA JONES (Finance Director) NICOLAS BELL HELEN DEEMING CHISTIAN LEITMEIR OWEN EES THOMAS SCHMIDT diamm facsimile series general editor JULIA CAIG-McFEELY volume editors ICHAD WISTEICH JOSHUA IFKIN The ANNE BOLEYN MUSIC BOOK (Royal College of Music MS 1070) Facsimile with introduction BY THOMAS SCHMIDT and DAVID SKINNER with KATJA AIAKSINEN-MONIER DI MM facsimiles © COPYIGHT 2017 UNIVERSITY OF OXFORD PUBLISHED BY DIAMM PUBLICATIONS FACULTY OF MUSIC, ST ALDATES, OXFORD OX1 1DB ISSN 2043-8273 ISBN 978-1-907647-06-2 SERIES ISBN 978-1-907647-01-7 All rights reserved. This work is fully protected by The UK Copyright, Designs and Patents Act 1988. No part of the work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise without the prior permission of DIAMM Publications. Thomas Schmidt, David Skinner and Katja Airaksinen-Monier assert the right to be identified as the authors of the introductory text. Rights to all images are the property of the Royal College of Music, London. Images of MS 1070 are reproduced by kind permission of the Royal College of Music. Digital imaging by DIAMM, University of Oxford Image preparation, typesetting, image preparation and page make-up by Julia Craig-McFeely Typeset in Bembo Supported by The Cayzer Trust Company Limited The Hon. Mrs Gilmour Printed and bound in Great Britain by Short Run Press Exeter CONTENTS Preface ii INTODUCTION 1. -
A Summer of Concerts Live on WFMT
A summer of concerts live on WFMT Thomas Wilkins conducts the Grant Park Music Festival from the South Shore Cultural Center Friday, July 29, 6:30 pm Air Check Dear Member, The Guide Greetings! Summer in Chicago is a time to get out and about, and both WTTW and WFMT are out in The Member Magazine for WTTW and WFMT the community during these warmer months. We’re bringing PBS Kids walk-around character Nature Renée Crown Public Media Center Cat outdoors to engage with kids around the city and suburbs, encouraging them to discover the 5400 North Saint Louis Avenue natural world in their own back yards; and we recently launched a new Chicago Loop app, which you Chicago, Illinois 60625 can download to join Geoffrey Baer and explore our great city and its architectural wonders like never Main Switchboard before. And on musical front, WFMT is proud to bring you live summer (773) 583-5000 concerts from the Ravinia and Grant Park festivals; this month, in a first Member and Viewer Services for the station, we will be bringing you a special Grant Park concert from (773) 509-1111 x 6 the South Shore Cultural Center with the Grant Park Orchestra led by WFMT Radio Networks (773) 279-2000 guest conductor Thomas Wilkins. Remember that you can take all of this Chicago Production Center content with you on your phone. Go to iTunes to download the WTTW/ (773) 583-5000 PBS Video app, the new WTTW Chicago’s Loop app, and the WFMT app for Apple and Android. -
Able Fairy: the Feminine Aesthetic in the Compositions of Rolande Falcinelli
Copyright by Lenore Audrey Jane Alford 2008 The Treatise Committee for Lenore Audrey Jane Alford certifies that this is the approved version of the following treatise: Able Fairy: The Feminine Aesthetic in the Compositions of Rolande Falcinelli Committee: Andrew Dell’Antonio, Supervisor Gerre Hancock, Co-Supervisor Marianne Gedigian Donald Grantham Judith Hancock Russell Schulz Able Fairy: The Feminine Aesthetic in the Compositions of Rolande Falcinelli by Lenore Audrey Jane Alford, B.Mus.; M.Mus. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin December 2008 Dedication To Greg, my perfect husband Acknowledgements Graham Hunter made much of this research possible through his generous help in locating many of the scores; Kathleen Thomerson provided excellent ideas (and inspiration for further research); Sylviane Falcinelli, Philippe Brandeis, Naji Hakim, Pierre Pincemaille, and Christopher Teel gave valuable insights and information; Louise Samson and Julie-Anne Derome helped sort out layers of meaning in translating the French texts. Thank you all so very much. v Able Fairy: The Feminine Aesthetic in the Compositions of Rolande Falcinelli Lenore Audrey Jane Alford, D.M.A. The University of Texas at Austin, 2008 Supervisor: Andrew Dell’Antonio Co-supervisor: Gerre Hancock This study links patriarchal Catholic Church culture and feminist studies in musicology to reveal the multi-faceted opus and career of Rolande Falcinelli, 1920-2006. Organist, composer, and pedagogue Rolande Falcinelli was the first woman to be named titular over a prestigious organ console in Paris, that of the Sacré-Coeur Basilica, in 1945; she was also a renowned organ pedagogue at the Paris Conservatory for over thirty years. -
The Dating and Provenance of Bologna, Civico Museo Bibliografico Musicale, MS Q 19
The Dating and Provenance of Bologna, Civico Museo Bibliografico Musicale, MS Q 19 ROBERT NOSOW It ha, now been mm·e than twenty yea" 'ince the publication of Edward E. Lowinsky's edition of the Medici Co dex.' The theses presented by Lowinsky concerning the Medici Co dex and concerning Bologna, Civico Museo Bibliografico Musicale, 92 MS Q 19, "the Rusconi Codex," have occasioned much comment and stimulated substantial new research. Most of the discussion concern ing Q 19 has been tied to the hypotheses set out by Lowinsky, and less has been said about the general problems presented by the manu script.2 In view of the recent publication of the manuscript in the Garland series of Renaissance Music in Facsimile, the time is ripe to synthesize some of the subsequent research findings-mostly pub lished as reviews of or responses to Lowinsky-and to add new evi dence that may present a solution to the problems of dating and provenance.'~ The question of the provenance of Q 19 has aroused a great deal of debate not only because of the importance of the collection, but because it offers so many different clues. I will deal briefly with the relevant aspects of physical structure and organization. The manu script comprises 211 paper folios, with 7 preliminary folios, 202 folios with original numeration in ink on the top right hand corner of each ' Edward E. Lowinsky, ed., The Medici Codex of 1518 (Chicago and London, 1968), published as vols. III-V of Monuments of Renaissance Music, 8 vols. to date, general editor Edward E. -
Notation and Editing | Prifysgol Bangor University
09/24/21 Notation and Editing | Prifysgol Bangor University Notation and Editing View Online Dr CT Leitmeir Accone, Frank A. D’, and Biblioteca comunale di Siena. 1986. Siena, Biblioteca Comunale Degli Intronati, MS K.I.2. Vol. Renaissance music in facsimile. New York: Garland Pub. Accone, Frank A. D’, and Biblioteca estense (Modena, Italy). 1987. Modena, Biblioteca Estense E Universitaria, MS Alpha F. 9.9. Vol. Renaissance music in facsimile. New York: Garland. Accone, Frank A. D’, and Biblioteca nazionale centrale di Firenze. 1986. Florence, Biblioteca Nazionale Centrale, MS Banco Rari 230. Vol. Renaissance music in facsimile. New York: Garland Pub. Accone, Frank A. D’, and Biblioteca nazionale di Torino. 1986. Turin, Biblioteca Nazionale Universitaria, MS Ris. I. 27 (olim Qm III. 59). Vol. Renaissance music in facsimile. New York: Garland Pub. Accone, Frank A. D’, and Opera di S. Maria del Fiore (Florence, Italy). 1987. Florence, Archivio Musicale dell’Opera Di Santa Maria Del Fiore, Ms 11. Vol. Renaissance music in facsimile. New York: Garland. Accone, Frank A. D’, and Università di Pavia. 1986. Pavia, Biblioteca Universitaria, Aldini MS 362. Vol. Renaissance music in facsimile. New York: Garland. Agricola, Alexander. 1504. Misse Alexandri Agricole. Venezia: Petrucci. Aichinger, Gregor. 1598. Tricinia Mariana, Quibus Antiphonae, Hymni, Magnificat, Litaniae et Variae. niponti (Innsbruck): Apud Ioannem Agricolam. Anon. 1502. Motetti A. Numero Trentatre. Venezia: Petrucci. Anon. 1503. Motetti de Passione, de Cruce, de Sacramento, de Beata Virgine et Huius Modi . Venezia: Petrucci. Anon. 1504a. Frottole, Libro Primo. Venezia: Petrucci. Anon. 1504b. Motetti C. Venezia: Petrucci. Anon. 1505a. Fragmenta Missae. Venezia: Petrucci. Anon. 1505b. -
Beethoven String Trio Op.3 · Serenade Op.8
95819 Beethoven String Trio Op.3 · Serenade Op.8 Trio Italiano d’Archi Ludwig van Beethoven 1770-1827 The Early String Trios and Ineluctable Fate To understand the creative essence of the Trio in E flat major Op.3 and the Serenade in D major Op.8, which are two of Beethoven’s best-known string trios, it certainly String Trio in E flat Op.3 Serenade in D Op.8 helps to take into account the background and conditions in which the composer was 1. I. Allegro con brio 11’37 7. I. Marcia: Allegro-Adagio 9’49 then working. A biographical introduction of this sort should also help underline the 2. II. Andante 7’37 8. II. Menuetto: mature nature of the works, despite the fact that they belong to Beethoven’s “youth” 3. III. Menuetto: Allegretto-Trio-Coda 2’12 as a composer. Allegretto-Trio-Coda 3’58 9. III. Adagio: Scherzo Allegro Although he was convinced that his birthdate was two years later, Beethoven was 4. IV. Adagio 7’43 molto-Adagio 4’48 actually born in Bonn on 16 December 1770, the second child of Maria Magdalena 5. V. Menuetto: 10. IV. Allegretto alla polacca 3’13 Keverich and Johann van Beethoven, whose first son had died in early childhood. Moderato-Minore 3’30 11. V. Tema con variazioni: Considered an extremely mediocre musician by 19th century historians, the 6. VI. Finale: Allegro 6’50 Andante quasi Allegretto 10’21 composer’s father must have been endowed with some skill, since he held the post of tenor and musician at the court of the Archbishop Elector of Cologne.