DOCSLIB.ORG

CIM/CWRU Joint Music Program Wednesday, Octoberdecember 5, 7,2016 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CIM/CWRU Joint Music Program Wednesday, Octoberdecember 5, 7,2016 2016 CIM/CWRU Joint Music Program Wednesday, OctoberDecember 5, 7,2016 2016 La Fonteinne amoureuse CarlosCWRU Salzedo Medieval (1885–1961) Ensemble Tango Ross W. Duffin, director Grace Cross & Grace Roepke, harp with CWRU Early Music Singers, ElenaPaul Hindemith Mullins, (1895–1963) director from Sonate für Harfe Sehr langsam Grace Cross ProgramCarlos Salzedo Chanson dans la nuit Grace Cross & Grace Roepke Kyrie from La Messe de Nostre Dame Guillaume de Machaut (ca.1300–77) Caroline Lizotte (b. 1969) from Suite Galactique, op. 39 Early Music Singers Exosphère Gracedirected Roepke by Elena Mullins Pierre Beauchant (1885–1961) Triptic Dance Douce dame Machaut Grace Cross & Grace Roepke Nathan Dougherty, voice withSylvius Medieval Leopold WeissEnsemble (1687–1750) from Lute Sonata no. 48 in F-sharp minor (arr. for guitar by A. Poxon) I. Allemande Lucas Saboya (b. 1980) from Suite Ernestina I. Costurera Quarte estampie royale II. DeAnonymous Algún Modo (Manuscrit du Roy) AllisonBuddy Johnson Monroe, (1915-1977) vielle • Karin Cuellar,Since rebec I Fell for You Laura(arr. for Osterlund, guitar by A. recorderPoxon) • Margaret Carpenter Haigh, harp Andy Poxon, guitar Agustín Barrios (1885–1944) Vals, op. 8, no. 4 Comment qu’a moy lonteinne Machaut J. S. Bach (1685–1750) from Sonata no. 3 in C major, BWV 1005 Margaret Carpenter Haigh, voice IV. Allegro assai Heitorwith ensemble Villa-Lobos (1887–1959) Etude no. 7 Year Yoon, guitar Portrait of Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine(continued Arts, Boston Gift of Mrs. onJ. D. Cameron reverse) Bradley 55.1116. Photograph © 2016 Museum of Fine Arts, Boston. Series sponsors Centennial loan on view in gallery 208 through November 1.. CIM/CWRUQuant Theseus/Ne quier veoir Joint MachautMusic Program Wednesday,Margaret Carpenter October Haigh, 5, Nathan 2016 Dougherty, voices Allison Monroe, Karin Cuellar, vielles HoquetusCarlos Salzedo David (1885–1961) TangoMachaut Grace Cross & Grace Roepke, harp AllisonCIM/CWRU Monroe, Karin Cuellar, Joint vielles Music Program CIM/CWRU Joint Music Program PaulLauraWednesday, Hindemith Osterlund, (1895–1963) October douçaine 7, 2015 from Sonate für Harfe Wednesday, October 7, 2015 Sehr langsam Grace Cross Par maintes foys Jean Vaillant (fl. 1360–90) CarlosWolfgang Salzedo Amadeus Mozart (1756–1791) ChansonString Quartet dans la No. nuit 23 in F major, K. 590 Wolfgang Amadeus Mozart (1756–1791) String Quartet No. 23 in F major, K. 590 Margaret Carpenter Haigh, voice I. Allegro moderato I. Allegro moderato Grace Cross & Grace Roepke Laura Osterlund, recorder • Karin Cuellar,II. Andante vielle (Allegretto) II. Andante (Allegretto) CarolineRebecca Lizotte Benjamin (b. 1969) and Yu Ming Ma, violins;from Suite Mark Galactique Liu, viola;, op. Sarah39 Miller, cello Rebecca Benjamin and Yu Ming Ma, violins; Mark Liu, viola; Sarah Miller, cello Exosphère Hé,GraceLeoš tres Janácˇek Roepke doulz (1854–1928) roussignol StringBorlet Quartet (fl. No.1380–1400?) 1, “Kreutzer Sonata” Leoš Janácˇek (1854–1928) String Quartet No. 1, “Kreutzer Sonata” I. Adagio con moto I. Adagio con moto MargaretPierre Beauchant Carpenter (1885–1961) Haigh, Nathan Dougherty,Triptic Dance voices II. Con moto II. Con moto Laura Osterlund, recorder • Allison Monroe, vielle Grace Cross & Grace Roepke Carter Coleman and Colin Laursen, violins; Chloé Thominet, viola; Carter Coleman and Colin Laursen, violins; Chloé Thominet, viola; David Olson, cello David Olson, cello Sylvius Leopold Weiss (1687–1750) from Lute Sonata no. 48 in F-sharp minor (arr. for guitar by A. Poxon) I. Allemande QuantBedrˇich je Smetana suy mis (1824–1884) StringMachaut Quartet No. 1 in E minor, JB 1:105 Bedrˇich Smetana (1824–1884) String Quartet No. 1 in E minor, JB 1:105 Lucas Saboya (b. 1980) fromI. Allegro Suite vivo Ernestina appassionato I. Allegro vivo appassionato Daniel Fridley, voice I. Costurera II. Allegro moderato a la Polka II. Allegro moderato a la Polka with ensemble II. De Algún Modo The Belka Quartet The Belka Quartet BuddyBeatrice Johnson Hsieh (1915-1977) and Charles Gleason, violins;Since I FellMatthew for You Geise, viola; Beatrice Hsieh and Charles Gleason, violins; Matthew Geise, viola; (arr. for guitar by A. Poxon) Daniel Blumhard, cello Daniel Blumhard, cello DitAndy de Poxon, la Fonteinne guitar amoureuse Machaut (translation by R. Barton Palmer) Agustín Barrios (1885–1944) Vals, op. 8, no. 4 Margaret Carpenter Haigh, Nathan Dougherty, Daniel Fridley, voices, J. S. Bach (1685–1750) from Sonata no. 3 in C major, BWV 1005 with ensemble IV. Allegro assai Heitor Villa-Lobos (1887–1959) Etude no. 7 Year Yoon, guitar Portrait of Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine Arts, Boston Gift of Mrs. J. D. Cameron Series sponsors: Series sponsors: Bradley 55.1116. Photograph © 2016 Museum of Fine Arts, Boston. Series sponsors Centennial loan on view in gallery 208 through November 1.. A Canal in Venice, Italy, c. 1900–1920. Edward Crosby Doughty (American, A Canal in Venice, Italy, c. 1900–1920. Edward Crosby Doughty (American, 1877–1952). Gelatin silver print; 19.5 x 24 cm. Gift of Mrs. Edd A. Ruggles 1877–1952). Gelatin silver print; 19.5 x 24 cm. Gift of Mrs. Edd A. Ruggles 1972.1088. This work is on on view in gallery 230 as part of the exhibition 1972.1088. This work is on on view in gallery 230 as part of the exhibition Shadows and Dreams: Pictorialist Photography in America. Shadows and Dreams: Pictorialist Photography in America. Notes on the Program Guillaume de Machaut is believed to have been though no less passionate song, the singer assures his born in 1300 and educated near Reims. His surname lover that regardless of their separation, she is always in identifies him as coming from the nearby town of his thoughts. Finally, in Quant je suy mis, the slow and Machault. Machaut received an ecclesiastical education quiet intensity of the melody underscores the singer’s and became a canon in 1337. He was employed as a elation after meeting with his lady. secretary to John I, Count of Luxembourg and King of Bohemia and traveled extensively with the king’s Quant Theseus/Ne quier veoir is a four-voice court. Machaut was both a poet and composer. His ballade, another forme fixe with a refrain. Only the output includes some 400 poems, a substantial upper two voices are texted, and each sings a different number of which were set to music. The poetic style of French poem. The top voice sings of the adventures of Machaut in the formes fixes was emulated by medieval Theseus, Hercules, and Jason while the second asserts authors such as Jean Froissart and Geoffrey Chaucer. that he does not wish to experience the wonders of A polyphonic setting by François Andrieu laments antiquity; they both, however, sing the same refrain Machaut’s death in 1377. at the end of the chanson: “I see enough, when I see my lady.” Musically, the ballade is highly complex. Composed in Reims in the 1360s, Machaut’s La Each voice is independent, often moving in rapid Messe de Nostre Dame for four voices is the first syncopations against the others. stylistically cohesive setting of the Mass Ordinary. The work was used as the memorial mass for the death of The two instrumental pieces on our program his brother, and was popular enough to be performed showcase the virtuosity of instruments in different even after Machaut’s death, perhaps even into the 15th families played together. Stringed instruments join century. In the Kyrie, polyphonic settings of the text forces with woodwind and reed instruments, a common alternate with monophonic renditions of the plainchant. practice during the Middle Ages that reflects the In the polyphonic settings, the chant appears in “unequal” composition of polyphonic pieces. The the slow-moving tenor voice in a series of repeated Quarte estampie royal is a dance that was copied down rhythmic motives, a technique known as isorhythm; in middle of the 13th century (between 1255 and 1260) the rhythmic motive grows longer in the “Christe” and and is included in the Manuscrit du Roi with over 600 longer still in the fourth and sixth “Kyries.” Machaut pieces by troubadours and trouvères. The work is also gives contratenor voice an isorhythmic treatment constructed of melodically varied puncti alternating beginning in the “Christe,” with a rhythmic pattern that with open (ouvert) and closed (clos) refrains. The term covers half of each polyphonic section through the hoquetus, or hocket, comes from the French word end of the piece. The upper two voices, meanwhile, are meaning to “hiccup.” The composition features closely consistently more active than the lower, often moving alternating rhythm between the two upper voices in rapid, syncopated passages. above a long-note cantus firmus. The Medieval Ensemble’s program features three Par maintes foys, another virelai by Jean Vaillant, virelai, one of the three Medieval formes fixes, or fixed and Borlet’s Hé, tres doulz roussignol both feature forms, that governed French poetry in the 14th and 15th onomatopoeic texts that describe the songs of birds. In centuries. True to the form, each of songs has a refrain Par maintes foys the skylark, goldfinch, starling, cuckoo, wherein all of the voices can join in to sing familiar and nightingale sing their songs. The celebrated words to a familiar tune. The word “virelai” comes from work was later set to German poetry (“Der mai mit the old French word “virer,” or “to turn” or “to twist,” lieber zal”) by Oswald von Wolkenstein. Hé, tres doulz highlighting its connection to dance. As such, all three roussignol is an entreaty to the nightingale and lark to feature a regular pulse and dance rhythms. In Douce appeal to and melt the heart of the woman beloved.
Load more

Recommended publications
  • Universum Alte Musik
    Fiori Musicali: Universum Alte Musik Montag, 12. Juni 2017, 22.05 - 24.00 Uhr Ein nächtlicher Flug durch 500 Jahre Musikgeschichte vom Mittelalter bis zum Barock. Vom wandernden Ritter Oswald von Wolkenstein über die Tänze der italienischen Piffari bis zu den opulenten Klanggemälden in den Kathedralen. Und auf anderen Wegen wieder zurück. Redaktion: Norbert Graf Salamanca. Guy Bovet Label: Auvidis Valois Track 04: Antonio de Cabezón- Pour un plaisir. Bearbeitung für Orgel Guy Bovet, Orgel Music for the Spanish Kings: Renaissance Music from the Neapolitan Court Label: Virgin Track 17: Antonio de Cabezón / Adrian Willaert- Je fille quand Dieu me donne de quoy. Diminution Track 12: Antonio de Cabezón- Tiento Nr. 9. Quinto tono Track 11: Antonio de Cabezón- Diferencias sobre "Las vacas" Track 09: Antonio de Cabezón- Tres sobre la Alta. La Spagna Track 03: Antonio de Cabezón- Diferencias sobre "La dama le demanda" Hespèrion XX, Leitung: Jordi Savall The marriage of England and Spain. Orchestra of the Renaissance Label: Glossa Track 01: Hochzeitsmesse für die Heirat von Maria Tudor und Philipp von Spanien in der Winchester: Fanfare, Levet (Cesare Bendinelli) Track 02: Processional: Jubilate Deo omnis terra (Cristóbal de Morales) Track 10: Sanctus (John Taverner : Missa Gloria tibi Trinitas) William Missin, Kontratenor, Simon Berridge, Tenor, Charles Gibbs, Bass Tom Phillips, Tenor, Orchestra of the Renaissance, Leitung: Richard Cheetham Ye sacred muses. Music from the House of Tudor Label: Carus Track 09: William Byrd- Wilson's wild. Variationen Track 08: William Byrd- La volta Track 11: William Byrd- The hunt's up, or Pescodd time Track 10: William Byrd- Pavana Track 25: Augustine Bassano- Pavan zu 5 Stimmen Track 28: Jeronimo Bassano- Fantasie zu 5 Stimmen Nr.
    [Show full text]
  • Reading Questions
    Music 331 – Burkholder (10th edition) Reading Questions Free Advice: Begin by reading each chapter without the questions at hand. Next, read each question and begin to reread the chapter, jotting down your answers as you find the information you need. Part I: The Ancient and Medieval Worlds—Chapter 1: Music in Antiquity 1. What are the four historical traces of music from past eras? 2. What two categories of musical evidence survive from the Stone Age? 3. On what occasions did the Mesopotamians perform music? (name 4) 4. What genre did the earliest known composer write, and what might be surprising about that composer? 5. When did Babylonians begin to write down aspects of music, and what did they record? 6. What is the date of earliest known (nearly) complete piece, and what genre is it? 7. Which three instruments were most important to the ancient Greeks, & what “trace” evidence survives? 8. In what two categories did the Greeks write about music? 9. For the Greeks (not Plato), what did harmonia mean, and what did it encompass? 10. What is ethos, and how does music relate to it? 11. Which harmoniai did Plato endorse, and why? 12. Why would Aristotle have been unhappy if his son wanted to appear on American Idol or The Voice? 13. What is a tetrachord, and what are its three genera? 14. What did the word “species” mean to Cleonides (and who was he)? 15. How much ancient Greek music survives, spanning what centuries? 16. What is the Proslambanomenos of the Iastian tonos? (You can figure this out by using the tonos information on p.
    [Show full text]
  • TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
    T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources.
    [Show full text]
  • H O N Y Post Office Box #515 Highland Park, Illinois 60035 FAX #847-831-5577 E-Mail: [email protected] Website: Lawrence H
    P O L Y P H O N Y Post Office Box #515 Highland Park, Illinois 60035 FAX #847-831-5577 E-Mail: [email protected] Website: http://www.polyphonyrecordings.com Lawrence H. Jones, Proprietor Auction Catalog #148 [Closing: Noon, Central Daylight Time; Tuesday, July 18th, 2017] Dear Fellow Record Collectors - WELCOME TO THE ONLINE VERSION OF POLYPHONY’S AUCTION CATALOG #148! All items are offered at auction; the minimum acceptable bid for each is shown at the end of its listing. The deadline for receipt of bids is Noon, Central Dayight Time; Tuesday, July 18th, 2017. SPECIAL INSTRUCTIONS FOR ONLINE: The internet version is essentially the same as the print version which is sent worldwide except that no bidsheet is provided, since all you really need to do is send me an e-mail with careful notation of your bids and the lot numbers of the items in which you are interested. A brief description of the item helps in case of mis-readings of lot numbers. If you are a new bidder and I do not have your physical address, obviously I will need it. And if you wish to authorize me to charge your winnings to a Visa, Mastercard or American Express card which I do not already have on file, I do not suggest that you send this information via e-mail since it is not very secure. You are welcome to quote an account number for me via the phone/FAX number or via the physical address shown above – or you may wait for me to send you a copy of your invoice and quote the account number by return mail.
    [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]
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • 4970379-70Ef42-714439855734.Pdf
    GUILLAUME DE MACHAUT la messe nostre-dame - l ‘ amour courtois ARS ANTIQUA DE PARIS directed by michel sanvoisin Joseph Sage, countertenor Hugues Primard, tenor Pierre Eyssartier, tenor Marc Guillard, baritone Michel Sanvoisin, recorders Philippe Matharel, cornet Raymond Cousté, lute Colette Lequien, vièle Marie Jeanne Serero, organ La Messe Nostre-Dame 1. Kyrie I, Christe, Kyrie II, Kyrie III 06:52 2. Gloria 05:12 3. Credo 06:44 4. Sanctus 04:35 5. Agnus Dei 03:29 6. Gratias 01:44 L'Amour Courtois 7. De Toutes Flours (organ, vièle) 03:31 8. Quant Theseus (two tenors, vièle, organ, lute) 04:44 9. Plus Dure Que Un Dyamant (lute) 01:59 10. Ma Fin Est Mon Commencement (countertenor, recorder, lute) 06:14 11. Hoquet David (vièle, organ, lute) 02:16 12. Douce Dame Jolie (countertenor) 03:54 13. Ce Qui Soutient Moy (recorder, lute) 01:29 14. Rose, Liz (tenor, baritone, organ, vièle, cornet, lute) 04:16 15. Dame, Ne Regardes Pas (recorder, vièle) 01:51 16. Ma Chiere Dame (countertenor, recorder, vièle, lute) 01:46 17. Dame, Se Vous M'estes Lonteinne (baritone, organ, vièle, cornet) 02:55 18. Trop Plus Est Belle (vocal and intstrumental ensemble) 02:59 TOTAL PLAYING TIME 68:14 Recorded at Scuola Grande di San Giovanni Evangelista, Venice 1990 Recording Engineers: Silvia and Giovanni Melloncelli p©20161Edelweiss Emission The Originals is a unique series that has once again been made available for audiophiles, so they can enjoy the stellar euphonic sound of EDELWEISS EMISSION. 2016 begins with the reissue of a previously sold out series of outstanding releases performed by a number of celebrated musicians.
    [Show full text]
  • Songs in Fixed Forms
    Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain.
    [Show full text]
  • BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973)
    [Show full text]
  • Durham E-Theses
    Durham E-Theses The life and the autobiographical poetry of Oswald von Wolkenstein Robertshaw, Alan Thomas How to cite: Robertshaw, Alan Thomas (1973) The life and the autobiographical poetry of Oswald von Wolkenstein, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7935/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk THE LIFE AND THE AUTOBIOGRAPHICAL POETRY OF OSWALD VON WOLKENSTEIN Thesis submitted to the University of Durham for the degree of Doctor of Philosophy by Alan Thomas Robertshaw, B»A. Exeter, March, 1973 The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. CONTENTS Chapter Page Acknowledgements i Abstract ii Abbreviations iv I, INTRODUCTION 1 1o Summary of Research 1 20 Beda
    [Show full text]
  • Formules N°12
    /(6211(7 26(/ 7(112 &217(0325$,1712& 5230(7 1,$5 UHWRXUVDXVRQQHWXRWHU UVDX VR WHQQR MDFTXHVGDUUDVMDFTXHVUpGDMDFTXHVURXEDXGFDM DUUDGVHXTF V UR GXDEX 6(//( 6RXVODGLUHFWLRQ QRLWFHULGDOVXR6 Q (052)61 G¶DODLQFKHYULHUHLUYHKFQLDOD¶G HLUYHKFQLDODG U HWGRPLQLTXH HXTLQLPRGWH H PRQFRQG¶KX\\XK¶GQRFQRP \ (89( (5 12, 12, 5(98( 6(/80 7 $ $7 (5& &6(' &6(' 052) )2508/(6 '(6&5($7,216)250(//(6 12(6,6(21 6,6 Retours au sonnet Poitiers, 1er-2 septembre 2007 Colloque organisé à l’université de Poitiers les 1er et 2 septembre 2007 par les revues Formules et Formes poétiques contemporaines avec la collaboration de la revue La Licorne et avec le soutien de l’équipe FORELL (E.A. 3816, Université de Poitiers / M.S.H.S.) 1 formules12.indb 1 28/04/2008 19:13:28 Revue publiée avec le concours du Centre National du Livre (France), et de la Communauté Française de Belgique. Formules est une publication de l’Association Reflet de Lettres, avec la collaboration de la Fondation Noésis Internationale et de l’Association Noésis-France. Formules est une revue traitant d’un domaine
    [Show full text]
  • 1 the Middle Ages
    THE MIDDLE AGES 1 1 The Middle Ages Introduction The Middle Ages lasted a thousand years, from the break-up of the Roman Empire in the fifth century to the end of the fifteenth, when there was an awareness that a ‘dark time’ (Rabelais dismissively called it ‘gothic’) separated the present from the classical world. During this medium aevum or ‘Middle Age’, situated between classical antiquity and modern times, the centre of the world moved north as the civil- ization of the Mediterranean joined forces with the vigorous culture of temperate Europe. Rather than an Age, however, it is more appropriate to speak of Ages, for surges of decay and renewal over ten centuries redrew the political, social and cultural map of Europe, by war, marriage and treaty. By the sixth century, Christianity was replacing older gods and the organized fabric of the Roman Empire had been eroded and trading patterns disrupted. Although the Church kept administrative structures and learning alive, barbarian encroachments from the north and Saracen invasions from the south posed a continuing threat. The work of undoing the fragmentation of Rome’s imperial domain was undertaken by Charlemagne (742–814), who created a Holy Roman Empire, and subsequently by his successors over many centuries who, in bursts of military and administrative activity, bought, earned or coerced the loyalty of the rulers of the many duchies and comtés which formed the patchwork of feudal territories that was France. This process of centralization proceeded at variable speeds. After the break-up of Charlemagne’s empire at the end of the tenth century, ‘France’ was a kingdom which occupied the region now known as 2 THE MIDDLE AGES the Île de France.
    [Show full text]