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DOLCI MIEI SOSPIRI Tra Ferrara E Venezia Fall 2016
DOLCI MIEI SOSPIRI Tra Ferrara e Venezia Fall 2016 Monday, 17 October 6.00pm Italian Madrigals of the Late Cinquecento Performers: Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Dolci miei sospiri tra Ferrara e Venezia Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra We express our gratitude to Pedro Memelsdorff (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) for his assistance in planning this concert. Program Giovanni Girolamo Kapsberger (1580-1651), Toccata seconda arpeggiata da: Libro primo d'intavolatura di chitarone, Venezia: Antonio Pfender, 1604 Girolamo Frescobaldi (1583-1643), Voi partite mio sole da: Primo libro d'arie musicali, Firenze: Landini, 1630 Claudio Monteverdi Ecco mormorar l'onde da: Il secondo libro de' madrigali a cinque voci, Venezia: Gardane, 1590 Concerto di Margherita Giovanni de Macque (1550-1614), Seconde Stravaganze, ca. 1610. Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Luzzasco Luzzaschi (ca. 1545-1607), Aura soave; Stral pungente d'amore; T'amo mia vita Giovanna Baviera, voce e viola da gamba da: Madrigali per cantare et sonare a uno, e due e tre soprani, Roma: Verovio, 1601 Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Claudio Monteverdi (1567-1463), T'amo mia vita da: Il quinto libro de' madrigali a cinque voci, Venezia: Amadino, 1605 Luzzasco Luzzaschi Canzon decima a 4 da: AAVV, Canzoni per sonare con ogni sorte di stromenti, Venezia: Raveri, 1608 We express our gratitude to Pedro Memelsdorff Giaches de Wert (1535-1596), O Primavera gioventù dell'anno (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) da: L'undecimo libro de' madrigali a cinque voci, Venezia: Gardano, 1595 for his assistance in planning this concert. -
Finding Their Voice: Women Musicians of Baroque Italy
Trinity University Digital Commons @ Trinity The Expositor: A Journal of Undergraduate Research in the Humanities English Department 2016 Finding Their Voice: Women Musicians of Baroque Italy Faith Poynor Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/eng_expositor Part of the Musicology Commons Repository Citation Poynor, F. (2016). Finding their voice: Women musicians of Baroque Italy. The Expositor: A Journal of Undergraduate Research in the Humanities, 12, 70-79. This Article is brought to you for free and open access by the English Department at Digital Commons @ Trinity. It has been accepted for inclusion in The Expositor: A Journal of Undergraduate Research in the Humanities by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Finding Their Voice: Women Musicians of Baroque Italy Faith Poynor emale musicians began to achieve greater freedom and indepen- dence from men during the Baroque period, and their music and Fcreative talent consequently began to flourish. Due to the rise in popularity of female vocal ensembles that resulted after the establishment of the con- certo delle donne in 1580, women composers in early modern Italy gained greater access to musical training previously only available to men or nuns. As seen by the works of composers and singers such as Francesca Caccini and Barbara Strozzi, this led to an unprecedented increase in women’s mu- sical productivity, particularly in vocal music. The rise of female vocal ensembles in the early Baroque period was a pivotal moment in women’s music history, as women finally achieved wide- spread recognition for their talents as musicians. -
SIGNUMCLASSICS YELLOW Catalogue No
CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD073 BLACK Job Title Virgin Mary Page Nos. ALSO on signumclassics Piangete SIGCD040 Emotionally charged Cantatas & Motets from the pen of Italian Baroque composer Giacomo Carissimi – from the pain and angst-ridden Siam tre miseri piangenti to the lighter and tuneful Va dimanda al mio pensiero, interspersed with a variety of church music: rarely recorded works, reviving interest in an unjustly neglected master of the Roman School of music. “So much new repertoire, recorded in a vibrant acoustic, makes this a very attractive disc” - BBC Music Magazine Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD073 BLACK Job Title Virgin Mary Page Nos. music for the virgin mary biographY Celebrating 300 years of Marc-Antoine Charpentier (1643-1704) Concerto delle Donne 1. Lebègue Prélude du cinquième ton (C major) [1.14] Concerto delle Donne was formed principally to perform the unique Italian QUEEN OF HEAVEN vocal repertoire of the late 16th and early 17th centuries. Its title refers to the three celebrated singing ladies of the court of Duke Alfonso of 2. Charpentier Antiphon Ave Regina coelorum H.19 (DD, GR, JC, Choir) [3.07] Ferrara in the 1580s. The Duke was such an enthusiast of the female voice that he gathered together a Concerto delle Donne comprising the THE BIRTH OF THE VIRGIN finest sopranos of the day, famed throughout Italy for the beauty of their 3. -
Gesualdo Cruel Ecstasy City 2021 PROG-2
City Summer Sounds 21 June 2021, 7pm Festival Concert Filmed at Holy Trinity Hoxton EXAUDI Gesualdo: Cruel Ecstasy Programme Carlo Gesualdo (1566-1613): Madrigals from Books V and VI (1611) Gioite voi col canto (Libro V) Itene, o miei sospiri (V) Deh, come invan sospiro ‘Io parto’, e non più dissi (VI) Asciugate i begli occhi (V) Patrick Hegarty (*1996): Recitation (2019) Gesualdo: Madrigals from Books V and VI Se la mia morte brami (VI) O dolorosa gioia (V) Al mio gioir (VI) Mille volte il dì (VI) Tu piangi, o Filli mia (VI) Languisce al fin chi da la vita parte (V) EXAUDI Juliet Fraser soprano Lucy Goddard mezzo Tom Williams countertenor Stephen Jeffes, David de Winter tenor Jimmy Holliday bass James Weeks director The Department of Music at City, University of London, would like to thank Fr Andrew Newcombe at Holy Trinity Hoxton for his generosity in hosting this event. Notes on the Music Gesualdo: Madrigals from Books V and VI Four hundred years after his death, Carlo Gesualdo, Prince of Venosa, remains the most tantalising of musicians, the most alluring of myths. We are drawn back to the dark flame of this strange, obsessive music like moths to the candle, like lovers who can’t let go. At the heart of his work we sense a mystery, an inward-turning, a kind of silence: its extreme chromatic harmonies and wild polarities no mere artifice or exoticism, but emanating from a soul whose nature is other, lying apart from us, outside our cosmology, orbiting a different sun. This is music which begets myths, and its composer’s sad and troubled life supplies plenty. -
Join Us for Our Next Playday with Coach Elisabeth Reed – Saturday, Sept. 14Th • 9 - 9:30 Am – Set Up, Coffee/Tea
Vol. 35, No. 1 September, 2019 Join us for our next PlayDay with coach Elisabeth Reed – Saturday, Sept. 14th • 9 - 9:30 am – Set up, coffee/tea. Be ready to play by 9:30. • 9:30 - 12:30 – Group session with coach, then 1-on-a-part coached consorts • 12:30 – Bring a bag lunch to enjoy with us • 1 - 2:30 pm – Uncoached DIY consort playing Hillside Swedenborgian Community Church 1422 Navellier Street, El Cerrito, CA 94530 FREE – a great membership benefit! Elisabeth Reed teaches viola da gamba and Baroque cello at UC Berkeley and at the SF Conservatory of Music, where she co-directs the Baroque Orchestra. Recent teaching highlights: master classes at the Juilliard School, the Shanghai Middle School, and the Royal Academy of Music. Her playing has been described as “intense, graceful, suffused with heat and vigor” (Seattle Times). A soloist and chamber musician with Voices of Music, Archetti, and Wildcat Viols, she’s also appeared frequently with regional orchestras and music festivals. She can be heard on the Virgin Warming up with Feldenkrais/ Classics, Naxos, Magnatunes, Focus, and Plectra Singing with John Ward recording labels. She is a Guild-certified Our group session will be about singing with practitioner of the Feldenkrais Method of the viol, by playing the six-part English Awareness Through Movement, with a focus on Madrigals Apt for Viols and Voyces, composed by working with musicians and performers. John Ward and published in 1613. We’ll focus Register for our PlayDay on-line on how we can bring text painting and diction Deadline: noon, Thursday, Sept.12 to our viol playing so that the listener can almost hear the words as we play. -
MUSIC in the RENAISSANCE Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE RENAISSANCE Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE RENAISSANCE Richard Freedman Haverford College n W. W. NORTON AND COMPANY Ƌ ƋĐƋ W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4 W. -
Music 301/501 Women in Music Renaissance: Approx. 1450-1600. a Time of "Revival;" Philosophy and Art Developed At
Music 301/501 Women in Music Renaissance: approx. 1450-1600. A time of "revival;" philosophy and art developed at very accelerated pace Many precipitating events; some very important ones: Invention of printing press/moveable type 1454 by Gutenberg Fall of Constantinople (1453): Byzantine culture alive there until this time; with invasion, scholars ran for lives with ancient manuscripts and art Renaissance development can be categorized by geography: Northern and Italian Northern came first: grew out of French supremacy in artistic things through middle ages. "Northern" includes French, Dutch and Belgian composers Most Northern Renaissance composers wrote both sacred and secular music th Most powerful French court in 15 Century was Burgundian: Dukes of Burgundy owned huge amounts of land until 1477 when the court was taken over by the French King Artists from Burgundy scattered to other cities: Ghent, Antwerp, Brussels Women seldom mentioned in accounts of Northern renaissance, probably because of their diminished political power and lack of training in polyphonic music England: Less affected by male-dominated circumspections of continental European countries Educated people (including some women) would study the Quadrivium (in Liberal Arts, the so-called “upper group” or mathematical disciplines: arithmetic, music, geometry and astronomy) as well as the rhetorical or lower group, the Trivium (grammar, logic and rhetoric) th Italian (musical) Renaissance made rapid progress in 16 C: Italians recruited northerners to fill most important music jobs; learned from them; gradually grew to outpace the teachers Background: 15th Century Italy: Evidence mostly deals with upper class th th Through 15 Century, Italian secular music modeled French (chanson); beginning in 16 C, Italians more independent th Women in 15 C Italy were still excluded from participation in church services and therefore musical composition. -
Women in Music (Mus 4749)
WOMEN IN MUSIC (MUS 4749) COLLEGE OF MUSIC & DRAMATIC ARTS LOUISIANA STATE UNIVERSITY SPRING 2018 primary Dr. Blake Howe ([email protected]) instructor M&DA 274 office hours: Thursdays, 1:00–2:00, or by appointment meetings Tuesdays and Thursdays, 9:00–10:20 M&DA 273 prerequisite Students must have passed MUS 2054 (Survey of Western Music History II). Howe / Women in Music / 2 GENERAL INFORMATION COURSE OBJECTIVES What would narratives of music history look like if women were the protagonists? In this course, we pursue a chronological survey of the lives, careers, and works of women composers, primarily of classical music. Topics include the antiphons of Hildegard of Bingen, the madrigals of Maddalena Casulana, the cantatas of Barbara Strozzi, the lieder of Corona Schröter, the chamber music of Louise Farrenc, the character pieces of Teresa Carreño, the operas of Ethel Smyth, the tone poems of Lili Boulanger, the symphonies of Florence Price, the musique concrète of Else Marie Pade, the text scores of Pauline Oliveros, and much more. We also consider the contributions of performers (the concerto delle donne, for example), patrons (Isabella d’Este, Sara Levy), and teachers (Nadia Boulanger), and spend time examining the social and cultural biases that women musicians have confronted throughout history. Over the course of the semester, we will survey composers from medieval times (Kassia) to the near- present (including Galina Ustvolskaya and Pauline Oliveros, recently deceased). The final project—a paper in conjunction with an in-class presentation—will offer students the opportunity to learn more about the music of a living woman composer of their choice. -
Chapter 8: Music Travels: Trends in Italy, Germany, France, and England
Chapter 8: Music Travels: Trends in Italy, Germany, France, and England I. Introduction A. During the seventeenth century, instrumental music rose in prominence and respect. B. Different political climates in Italy, France, Germany, and England resulted in national musical styles. II. Instrumental Music A. Some Organists: Frescobaldi, Sweelinck, and Others 1. Formal plans that did not depend on a text allowed instrumental music to expand to substantial compositions. 2. Written examples demonstrated what a virtuoso performer could do in improvisation. a. The music of the organist at St. Peter’s, Rome, Girolamo Frescobaldi (1583– 1643) is a good example of how this works. 1) He was a flamboyant composer whose music illustrates that early seventeenth-century musicians performed in an almost excessively impressive style. 2) Twelve of his sixteen published volumes are of instrumental music. 3) Two genres associated with him are the toccata and partite. a) Toccatas turn the act of playing into a form of theater, thereby linking them to current trends in vocal music. b) Frescobaldi’s toccatas are sectional and can be ended where need be. 4) His partite, or variations, were inventive works that evince years of improvisation. a) They include examples of the passacaglia and ciaccona. b. Jan Pieterszoon Sweelinck (1562–1621), a Dutch organist, was another famous composer, chiefly known for improvisation. 1) He published old-fashioned vocal music but also performed in a modern style on the keyboard. 2) English Catholic composers who moved to the Netherlands introduced Sweelinck to the music of the virginalists (English keyboard composers), including Byrd. B. Lutheran Adaptations: The Chorale Partita and Chorale Concerto 1. -
A Study of Monteverdi's Three Genera from the Preface to Book Viii of Madrigals in Relation to Operatic Characters in Il
A STUDY OF MONTEVERDI’S THREE GENERA FROM THE PREFACE TO BOOK VIII OF MADRIGALS IN RELATION TO OPERATIC CHARACTERS IN IL RITORNO D’ULISSE IN PATRIA AND L’INCORONAZIONE DI POPPEA _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by JÚLIA COELHO Dr. Judith Mabary, Thesis Advisor JULY 2018 © Copyright by Júlia Coelho 2018 All Rights Reserved The undersigned, appointed by the Dean of the Graduate School, have examined the thesis entitled A STUDY OF MONTEVERDI’S THREE GENERA FROM THE PREFACE TO BOOK VIII IN RELATION TO OPERATIC CHARACTERS IN IL RITORNO D’ULISSE IN PATRIA AND L’INCORONAZIONE DI POPPEA presented by Júlia Coelho, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________ Professor Judith Mabary ________________________________________ Professor Michael J. Budds ________________________________________ Professor William Bondeson ________________________________________ Professor Jeffrey Kurtzman ACKNOWLEDGEMENTS Over the last years, I have been immensely fortunate to meet people who have helped me tremendously—and still do—in building my identity as an aspiring scholar / performer in the Early Music field. The journey of researching on Claudio Monteverdi that culminated in this final thesis was a long process that involved the extreme scrutiny, patience, attentive feedback, and endless hours of revisions from some of these people. To them, I am infinitely grateful for the time they dedicated to this project. I want to ex- press first my deep gratitude to my professors and mentors, Dr. -
Madrigals for Three Sopranos
Foolish Heart MADRIGALS FOR THREE SOPRANOS Galàn Foolish Heart Galàn is a spirited young ensemble committed to rediscovering the exciting and often Madrigals for Three Sopranos neglected sound world of three soprano voices and continuo. Specialising in European Renaissance and Baroque music, the group is accompanied by theorbo and harpsichord, and takes its name from the old English term for ‘enchantment’ and ‘to sing’. Domenico Mazzochi 1592-1665 Claudio Monteverdi The group was originally inspired by the Concerto Delle Donne, at female trio 1. Folle Cor 1’43 7. Ohime Dove il mio ben 4’57 that performed in Ferrara at the end of the sixteenth century. This ground-breaking ensemble led the way in gaining acceptance in Europe for the female voice as a worthy Antonio Draghi 1634-1700 Luzzasco Luzzaschi instrument for respectable entertainment, as for centuries the perceived seductive 2. Lo Specchio 21’32 8. Non Sa che Sia Dolore 2’32 quality of a woman’s voice had been deemed to imply a shaky moral, and therefore social, status to any female who sang in public and outside convent walls. It was not Claudio Monteverdi 1597-1643 Angelo Michele Bartolotti 1615-1681 until the early baroque era that we find female singers as central to courtly life as their 3. O viva Fiamma 3’06 9. Preludio 2’54 male counterparts. A culture of patronage was particularly nurtured in Italy, which established a fertile environment for the composition and performance of music that Giacomo Carissimi 1605-1674 Claudio Monteverdi would not only provide entertainment but also proclaim a court’s stature and wealth. -
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.