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1 特定非営利活動法人 KF アーカイブ 収集対象音源 Discographia De Fontibus Inquæsitibus Corporationis Pro

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特定非営利活動法人 KF アーカイブ 収集対象音源 Discographia de fontibus inquæsitibus corporationis pro non-lucro KF-Archive Discographie des sources inquisitrices pour la corporation à but non lucratif KF-Archive Discography of searching sources for the Specified Nonprofit Corporation KF-Archive 収集音源に就いてお知らせ下さい。 https://www.kf-a.org/kfa#4 Ne hæreatis introire in contactum cum nobis pro fontibus sonoribus. N’hésitez pas à entrer en contact avec nous pour les sources sonores. Please don’t hesitate to get in contact with us for these sound sources. Johann Sebastian Bach, * 1685-03-31, Eisenach; † 1750 -07-28, Leipzig BWV 1-225 Kantaten (1707-48) ◊ Hermann Achenbach Da Camera SM-94012 BWV 172 192 1966 ◊ Hugh Percy Allen HMV C-1596 BWV 50 1928 ◊ Ernst Ansermet Decca SXL-6266 BWV 45 105 1966 ♦ SXL-6392 BWV 67 130 1968 ◊ Jean-Marie Auberson Tono FC-486 BWV 57 1964 ♦ Helmut Barbe Cantate 641-205 BWV 13 166 1960 ◊ Rudolf Barshai Melodiya Д-08969-70 BWV 169 1961 ◊ С-01269-70 BWV 47 1966 ◊ Kurt Bauer Baroque BRJ-1816 BWV 70 95 1960 ◊ BRJ-2802 BWV 147 1960 ◊ Piroquette JA-19009 BWV 76 1965 ◊ JA-19017 BWV 31 50 1965 ◊ Rudolf Baumgartner Deutsche Grammophon 138-086 BWV 202 1959 ◊ 138-969 BWV 56 1965 ◊ Pierre Bernac Lumen LD-1107 BWV 189 c.1955 ◊ Anthony Bernard Columbia ML-4792 BWV 82 1952 ♦ Arnold Black Allegro AL-53 BWV 211 1952 ◊ Wilfried Boettcher Concert Hall SMS-2486 BWV 151 1965 ◊ Nadia Boulanger Greenough 262~70 BWV 4 1938 ◊ Gerhard Bosse Eterna 825-755 BWV 199 209 1968 ◊ Gustave Bret HMV DB-4939~40 BWV 212 1935 ◊ Frank Brieff Decca DL-79411 BWV 58 1960 ◊ Gilbert Brungardt Century 22880 BWV 141 1965 ◊ Pablo Casals Columbia ML-4641 BWV 189 1951 ◊ Francis Cébron Lumen 30096 BWV 51 1943 ◊ Marcelle Charbonnier Trésors de la musique TM-20~21 BWV 203 1950 ◊ Marcel Couraud Discophiles Français DF-179 BWV 140 150 1955 ◊ DF-180 BWV 21 50 1955 ◊ Philips 835-493 BWV 31 200 1956 ◊ 839-140 BWV 11 65 1956 ◊ Robert Craft Columbia MS-6177 BWV 131 198 1959~60 ♦ Thurston Dart L’Oiseau-Lyre SOL-60003 BWV 53 54 200 1957 ◊ Ludwig Doormann Cantate 640-210 BWV 187 1958 ◊ 651-201 BWV 93 117 1960 ◊ Roland Douatte Jericho JM-1 BWV 54 1958 ◊ Thomas Dunn Decca DL-10089 BWV 51 1963 ♦ Wilhelm Ehmann Cantate 641-212 BWV 49 84 1961 ◊ 641-213 BWV 36 64 1962 1 KF-Archive 古典音楽目録・ 収集音源一覧 / Inventarium thematicum & Discographia Catalogue thématique & Discographie / Thematic catalogue & Discography 201 5-11-07 ◊ 651-218 BWV 4 182 1964 ◊ 651-219 BWV 37 76 1965 ◊ Rudolf Ewerhart Vox DL-1360 BWV 202 1965 ◊ TV-34071 BWV 203 211 1966 ◊ TV-34127 BWV 204 209 1966 ♦ John Fesperman Cambridge CRM -417 BWV 61 1963 ◊ Wilfried Fischer Corona SM-30006 BWV 213 214 215 1969 ◊ Sebastian Forbes Decca 76067 BWV 118 1967 ◊ Karl Forster Angel 35698 BWV 158 1958 ◊ Electrola E-70475 BWV 208 212 1963 ◊ STE-80618 BWV 211 1960 ◊ Walther Geiser CIBA -Geigy LM-30/390 BWV 25 c.1970 ◊ Peter Gellhorn Columbia ML-4792 BWV 51 1950 ♦ Michael Gielen Vanguard BG-518 BWV 63 1952 ♦ BG-523 BWV 122 133 1952 ◊ Szymon Goldberg Philips SABL -194 BWV 170 1960 ◊ Arnold Goldsbrough HMV HLPS -13 BWV 50 1954 ◊ Wolfgang Gönnenwein Cantate 641-209 BWV 127 171 1961 ◊ 641-216 BWV 29 135 1963 ◊ Electrola SME-91424 BWV 32 39 1965 ◊ SME-91657 BWV 79 80 1967 ◊ SME-91658 BWV 140 148 1967 ◊ SME-91659 BWV 126 149 1967 ◊ Carl Gorvin Archiv 14604 BWV 152 158 1953 ◊ Heinz Markus Göttsche Da Camera CH-4002 BWV 106 161 1964 ◊ SM-94013 BWV 55 160 189 1966 ◊ SM-94014 BWV 52 161 1966 ◊ SM-94015 BWV 62 142 1966 ◊ SM-94016 BWV 52 209 1966 ◊ Günter Graulich Cantate 683-537 BWV 25 103 1965 ◊ Hans Grischkat Lyrichord LL-34 BWV 11 1951 ◊ Renaissance X-34 BWV 6 19 1951 ◊ X-35 BWV 51 189 1951 ♦ X-36 BWV 112 185 1951 ◊ X-37 BWV 9 137 1951 ◊ X-42 BWV 201 1952 ◊ X-43 BWV 205 1952 ◊ Karl Haas Parlophone PMA -1023 BWV 202 1951 ♦ Westminster WL-5067 BWV 152 1952 ◊ Herbert Haarth Chant du Monde LDXS -8247 BWV 211 1961 ◊ Bernard Haitink Radio Nederland RN-518~20 BWV 51 1965 ◊ Nikolaus Harnoncourt Telefunken SAWT -9515 BWV 211 212 1967 ◊ SAWT -9539 BWV 50 83 197 1967 ◊ Michael Hauptman Bach Society LX-7001 BWV 158 1951 ◊ Joel Babcock Hayden Dasca D-520 BWV 170 c.1970 ♦ Anton Heiller Vanguard BG-546 BWV 51 209 1952 ◊ Hans Heintze Cantate 641-207 BWV 189 199 1961 ◊ 651-215 BWV 33 95 1962 ◊ Charles Henderson Vox PL-6760 BWV 56 1949 ◊ Diethard Hellmann Cantate 640-210 BWV 34 1958 2 KF-Archive 古典音楽目録・ 収集音源一覧 / Inventarium thematicum & Discographia Catalogue thématique & Discographie / Thematic catalogue & Discography 201 5-11-07 ◊ 641-207 BWV 189 1958 ◊ CAN -1202 BWV 157 169 1960 ◊ Da Camera SM-94011 BWV 200 1966 ◊ SM-94109 BWV 119 129 1967 ◊ Sudwestfun SWF-37~38 BWV 39 c.1970 ◊ Bernhard Henking Concert Hall F-12 BWV 76 116 118 1952 ◊ Karl Hoochreiter Europa 1210 BWV 56 82 1967 ◊ Erich Hübner Pelca PSR-40601 BWV 84 1969 ◊ Reginald Jacques Columbia BTC-501 BWV 6 140 1955 ◊ London LPS-160~61 BWV 11 67 1949 ◊ Aladar Janes Angelicum LPA-986 BWV 160 189 1957 ♦ Antonio Janigro Musica Heritage Soceity MHS -889 BWV 51 199 1967 ◊ Vanguard BG-670/BGS -70670 BWV 169 1964 ♦ Geraint Jones HMV CLP-1178 BWV 147 227 1957 ◊ VSM FALP -582 BWV 56 82 1958 ◊ Ifor Jones Victor DM-1045 BWV 78 1946 ♦ Jürgen Jürgens Telefunken SAWT -9425 BWV 206 1962 ♦ SAWT -9427 BWV 208 1962 ♦ SAWT -9442 BWV 18 152 1964 ◊ SAWT -9443 BWV 106 182 1963 ◊ SAWT -9489 BWV 118 158 1966/67 ♦ SAWT -9496 BWV 27 198 1966 ♦ Helmut Kahlhöfer Cantate 641-211 BWV 207a 214 1961 ♦ 651-204 BWV 46 65 1960 ◊ 651-321 BWV 61 132 1966 ◊ Valois MB-774 BWV 56 82 1965 ◊ Igor Kipnis Stand SLS-7416 BWV 51 1962 ◊ Helmut Koch Vanguard BG-514 BWV 201 1952 ♦ BG-515 BWV 205 1952 ◊ Eterna 820-157 BWV 202 1961 ◊ Fritz Lehmann Archiv 14005 BWV 19 79 1952 ◊ 14024 BWV 21 1952 ♦ 14028 BWV 170 189 1952 ◊ 14080 BWV 39 105 1952 ◊ Decca DL-7523 BWV 1 4 1950/52 ◊ DL-9619 BWV 53 189 200 1951 ◊ DL-9671 BWV 19 1952 ◊ DL-9672 BWV 39 79 1951~52 ◊ DL-9673 BWV 21 1951~52 ◊ DL-9682 BWV 105 170 1951~52 ◊ Gustav Leonhardt Telefunken SAWT -9442 BWV 18 152 1964 ◊ SAWT -9443 BWV 106 182 1963 ◊ SAWT -9465 BWV 203 209 1964 ◊ Vanguard BG-550 BWV 54 170 1954 ♦ Ernest MacMillan Hallmark CS-2 BWV 51 1953 ◊ Neville Marriner L’Oiseau -Lyre SOL-280 BWV 56 82 1964 ♦ SOL-295 BWV 159 170 1966 ◊ Émile Martin Pathé 33DT -1001 BWV 106 1949 ◊ Erhard Mauersberger Eterna 825-802 BWV 80 140 1966 ◊ 825-989 BWV 18 62 1967 3 KF-Archive 古典音楽目録・ 収集音源一覧 / Inventarium thematicum & Discographia Catalogue thématique & Discographie / Thematic catalogue & Discography 201 5-11-07 ◊ 826-099 BWV 55 189 1968 ◊ 825-885 BWV 78 172 1970 ◊ Willem Mengelberg Archive Documents AD-104 BWV 57 1940 ♦ Discocorp CC-234 BWV 202 1939 ◊ Yehudi Menuhin HMV SXLP -30289 BWV 82 169 1966 ◊ C-063 -01-995 BWV 56 82 1966 ◊ Lluis Millet HMV D-2066 BWV 4 140 1931 ◊ John Moriarty Cambridge CRS-2710 BWV 51 1969 ◊ CRS-2772 BWV 202 1970 ◊ Blanche Honegger Moyse Ars Nova/Ars Antigua AA-500 BWV 30 1970 ◊ Helmut Müller -Brühl Nonesuch H-71136 BWV 199 209 1965 ◊ Charles Münch HMV DB-5193~94 BWV 189 1941 ◊ Karl Münchinger Decca LXT-2926 BWV 51 202 1953 ◊ SXL-6400 BWV 10 1968 ♦ David Nott Everest SDBR -3223 BWV 131 182 1964 ◊ Reinhard Peters Harmonia Mundi 1996873 BWV 202 1964 ◊ Daniel Pinkham Allegro Elite BWV 212 1953 ◊ Rudolf Pohl Deutsche Harmonia Mundi 1C-065 -99751 BWV 106 1968 ♦ Felix Prohaska Vanguard BG-508 BWV 80 1951 ♦ BG-511 BWV 4 150 182 1951 ◊ BG-512 BWV 31 1952 ◊ BG-513 BWV 161 202 1952 ♦ BG-524 BWV 70 1953 ♦ BG-525 BWV 146 1953 ♦ BG-537 BWV 78 106 1954 ♦ BG-555/BGS -5005 BWV 50 1957 ♦ BG-598/BGS -5026 BWV 4 140 1959 ◊ BG-615 BWV 31 70 1952~53 ◊ Brian Priestman Desto DC-7139~40 BWV 3 1969 ◊ Günther Ramin Eterna LPM-10 BWV 201 1953 ♦ 820-288 BWV 41 179 1950 ♦ 820-452 BWV 65 119 1952/53 ♦ 820-453 BWV 72 73 111 1952/54 ♦ 820-454 BWV 12 103 1947/51 ♦ 820-455 BWV 49 137 1950/53 ♦ 820-456 BWV 24 177 1952/54 ♦ 820-457 BWV 95 106 1952/53 ♦ 820-522 BWV 72 73 111 1953/54/56 ◊ 820-523 BWV 42 67 1953/54 ♦ 820-524 BWV 43 128 1951/53 ♦ 820-525 BWV 117 131 1949/52 ♦ 820-526 BWV 51 138 1948/53 ♦ 820-527 BWV 36 57 1951/52 ◊ Fono Ring FGLP -77879 BWV 78 106 1950/53 ◊ Karl Rankl Decca K-2228 BWV 53 1946 ◊ Kurt Redel Ducretet -Thomson LAG-1074 BWV 202 209 1952 ◊ Erato LDE-3043 BWV 89 174 189 1956 ♦ LDE-3044 BWV 55 151 157 1956 ◊ STU-70682 BWV 52 84 c.1970 ◊ Philips 6581-014 BWV 142 1964 4 KF-Archive 古典音楽目録・ 収集音源一覧 / Inventarium thematicum & Discographia Catalogue thématique & Discographie / Thematic catalogue & Discography 201 5-11-07 ◊ Bruno Reibold HMV DA-1757~58 BWV 202 1939 ◊ Rolf Reinhardt Lyrichord LL-98 BWV 32 57 1954 ♦ Vox PL-8980 BWV 203 211 1954 ◊ Walter Reinhart Concert Hall MMS -70 BWV 78 1951 ◊ André Rieu Telefunken SAWT -9425 BWV 206 1962 ◊ SAWT -9427 BWV 208 1962 ◊ Karl Richter Archiv 195-004 BWV 55 189 1959 ♦ 198-027 BWV 51 202 1959 ◊ 198-028 BWV 8 45 1959/60 ♦ 198-197 BWV 78 1961 ♦ 198-331 BWV 60 147 1961/64 ◊ Telefunken LW-50070 BWV 12 1957 ◊ LW-50112 BWV 79 1957 ◊ SAWD -8527 BWV 160 1958 ♦ SAWD -8902 BWV 140 1956 ◊ SAWD -8907 BWV 137 1956 ♦ SAWD -9904 BWV 67 108 1958 ◊ SAWD -9917 BWV 4 127 1958 ◊ Helmuth Rilling Bärenreiter -Musicaphon BM-30 -SL-1323 BWV 208 1965 ◊ BM-30 -SL-1352 BWV 201 1966 ◊ BM-30 -SL-1353 BWV 205 1966 ◊ BM-30 -SL-1354 BWV 206 1966 ◊ BM-30 -SL-1355 BWV 215 1966 ♦ BM-30 -SL-1356 BWV 213 1967 ◊ BM-30 -SL-1357 BWV 249a 1967 ◊ Cantate 651-223 BWV 45 176 1967 ◊ 651-224 BWV 35 158 1969 ◊ Supraphon 1-12-0792 BWV 21 1970 ♦ Karl Ristenpart Archiv 14004 BWV 56 82 1952 ◊ Discophiles Français DF-208 BWV 199 202 1956 ♦ DF-217 BWV 53 55 189 200 1957 ◊ EX-25033 BWV 82 1956 ◊ EX-25108 BWV 51 54 200 1953 ◊ Club Français du Disque 161 BWV 82 159 1958 ◊ 162 BWV 32 79 1958 ◊ 275 BWV 211 212 1961 ◊ 293 BWV 57 140 1962
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    Performance Practice Review Volume 18 | Number 1 Article 3 Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Centuries Valerio Morucci California State University, Sacramento Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Morucci, Valerio (2013) "Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Centuries," Performance Practice Review: Vol. 18: No. 1, Article 3. DOI: 10.5642/perfpr.201318.01.03 Available at: http://scholarship.claremont.edu/ppr/vol18/iss1/3 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]. Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Centuries Valerio Morucci The extemporaneous application of pre-assimilated compositional paradigms into musical performance retained a central position in the training of Medieval and Renais- sance musicians, specifically within the context of Western polyphonic practice.1 Recent scholarship has shown the significance of memorization in the oral transmission of plainchant and early polyphony.2 Attention has been particularly directed to aspects of orality and literacy in relation to “composition” (the term here applies to both written and oral), and, at the same time, studies correlated to fifteenth- and sixteenth-century contra- puntal theory, have mainly focused on the works of single theorists.3 The information we 1.
  • Performing National Identity During the English Musical Renaissance in A

    Performing National Identity During the English Musical Renaissance in A

    Making an English Voice: Performing National Identity during the English Musical Renaissance In a 1925 article for Music & Letters entitled ‘On the Composition of English Songs’, the British musicologist Edward J. Dent urged the ‘modern English composer’ to turn serious attention to the development of ‘a real technique of song-writing’.1 As Dent underlined, ‘song-writing affects the whole style of English musical composition’, for we English are by natural temperament singers rather than instrumentalists […] If there is an English style in music it is founded firmly on vocal principles, and, indeed, I have heard Continental observers remark that our whole system of training composers is conspicuously vocal as compared with that of other countries. The man who was born with a fiddle under his chin, so conspicuous in the music of Central and Eastern Europe, hardly exists for us. Our instinct, like that of the Italians, is to sing.2 Yet, as he quickly qualified: ‘not to sing like the Italians, for climactic conditions have given us a different type of language and apparently a different type of larynx’.3 1 I am grateful to Byron Adams, Daniel M. Grimley, Alain Frogley, and Laura Tunbridge for their comments on this research. E. J. Dent, ‘On the Composition of English Songs’, Music & Letters, 6.3 (July, 1925). 2 Dent, ‘On the Composition of English Songs’, 225. 3 Dent, ‘On the Composition of English Songs’, 225. 1 With this in mind, Dent outlined a ‘style of true English singing’ to which the English song composer might turn for his ‘primary inspiration’: a voice determined essentially by ‘the rhythms and the pace of ideal English speech – that is, of poetry’, but also, a voice that told of the instinctive ‘English temperament’.
  • PMMS L'homme Arme' Masses Discography

    PMMS L'homme Arme' Masses Discography

    Missa L’homme armé Discography Compiled by Jerome F. Weber This discography of almost forty Masses composed on the cantus firmus of L’homme armé (twenty- eight of them currently represented) makes accessible a list of this group of recordings not easily found in one place. A preliminary list was published in Fanfare 26:4 (March/April 2003) in conjunction with a recording of Busnoys’s Mass. The composers are listed in the order found in Craig Wright, The Maze and the Warrior (Cambridge and London: Harvard University Press, 2001), p. 288; the list is alphabetical within broad eras. In particular, he discusses Du Fay (pp. 175ff.), Regis (pp. 178ff.), the Naples Masses (pp. 184ff.), and Josquin des Prez (pp. 188ff.). Richard Taruskin, “Antoine Busnoys and the L’Homme armé Tradition,” Journal of AMS, XXXIX:2 (Summer 1986), pp. 255-93, writes about Busnoys and the Naples Masses, suggesting (pp. 260ff.) that Busnoys’s Mass is the earliest of the group and that the Naples Masses are also by him. Fabrice Fitch, Johannes Ockeghem: Masses and Models (Paris, 1997, pp. 62ff.), suggests that Ockeghem’s setting is the earliest. Craig Wright, op. cit. (p. 175), calls Du Fay’s the first setting. Alejandro Planchart, Guillaume Du Fay (Cambridge, 2018, p. 594) firmly calls Du Fay and Ockeghem the composers of the first two Masses, jointly commissioned by Philip the Good in May 1461. For a discussion of Taruskin’s article, see Journal of AMS, XL:1 (Spring 1987), pp. 139-53 and XL:3 (Fall 1987), pp. 576-80. See also Leeman Perkins, “The L’Homme armé Masses of Busnoys and Okeghem: A Comparison,” Journal of Musicology, 3 (1984), pp.
  • La Caccia Nell'ars Nova Italiana

    La Caccia Nell'ars Nova Italiana

    8. Iohannes Tinctoris, Diffinitorium musice. Un dizionario Il corpus delle cacce trecentesche rappresenta con «La Tradizione Musicale» è una collana promossa di musica per Beatrice d’Aragona. A c. di C. Panti, 2004, ogni probabilità uno dei momenti di più intenso dal Dipartimento di Musicologia e Beni Culturali pp. LXXIX-80 e immediato contatto tra poesia e musica. La viva- dell’Università di Pavia, dalla Fondazione Walter 9. Tracce di una tradizione sommersa. I primi testi lirici italiani cità rappresentativa dei testi poetici, che mirano Stauffer e dalla Sezione Musica Clemente Terni e 19 tra poesia e musica. Atti del Seminario di studi (Cre mona, alla descrizione realistica di scene e situazioni im- Matilde Fiorini Aragone, che opera in seno alla e 20 febbraio 2004). A c. di M. S. Lannut ti e M. Locanto, LA CACCIA Fonda zione Ezio Franceschini, con l’intento di pro- 2005, pp. VIII-280 con 55 ill. e cd-rom mancabilmente caratterizzate dal movimento e dalla concitazione, trova nelle intonazioni polifo- muovere la ricerca sulla musica vista anche come 13. Giovanni Alpigiano - Pierluigi Licciardello, Offi - niche una cassa di risonanza che ne amplifica la speciale osservatorio delle altre manifestazioni della cium sancti Donati I. L’ufficio liturgico di san Do nato di cultura. «La Tradizione Musicale» si propone di of- portata. L’uso normativo della tecnica canonica, de- Arezzo nei manoscritti toscani medievali, 2008, pp. VIII-424 NELL’ARS NOVA ITALIANA frire edizioni di opere e di trattati musicali, studi 8 finita anch’essa ‘caccia’ o ‘fuga’, per l’evidente me- con ill. a colori monografici e volumi miscellanei di alto valore tafora delle voci che si inseguono, si dimostra 16.