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December 9–11, 2016
December 9–11, 2016 2016-2017 Season Sponsor Jeanne Lamon Hall, Trinity-St. Paul’s Centre, 427 Bloor St. West With sincere appreciation and gratitude salutes Al and Jane Forest for their leadership and generous support of this production Be a part of our next CD Recording! The Consort will be heading into the studio to record The Italian Queen of France For your generous support, you will receive the following benefits: Amount You will receive $10 – $124 advance access to purchase the new CD when it is released in the Fall of 2017 $125 – $499 a copy of the new CD $500 or more two copies of the new CD All project donors will receive a tax receipt and will be listed in the house programs for our 2017-18 season Join us in the gymnasium to offer your support today! Magi videntes stellam Chant for the Feast of the Epiphany Nova stella apparita Florence Laudario, ca 1325 Salutiam divotamente Cortona Laudario, ca 1260 Ave regina caelorum Walter Frye (d. 1474) Gabriel fram hevene-King England, late mid-14th century Estampie Gabriel fram hevene-King arr. Toronto Consort Veni veni Emanuel France, ca 1300 O frondens virga Hildegard von Bingen (1098-1179) Nicolaus pontifex Paris, ca 1250 Nicolai sollempnia Das Glogauer Liederbuch, ca 1480 Wynter Tours, 14th century Deh tristo mi topinello northern Italy, ca 1400 Farwel Advent Selden MS, England, ca 1450 INTERMISSION Please join us for refreshments and the CD Boutique in the Gymnasium. Hodie aperuit nobis Hildegard von Bingen Nowel! Owt of your slepe aryse and wake Selden MS In dulci jubilo Liederbuch -
Program Notes Gloria, Vivaldi Venice, in the Early Eighteenth Century, Was
Program Notes Gloria, Vivaldi Venice, in the early eighteenth century, was a remarkably enlightened city-state and its governors saw fit to provide well for its poor, its sick, and its abandoned. The Ospedale della Pietá was one of four charitable institutions, this one for orphaned or abandoned babies. As the babies grew up, the boys were trained as craftsmen, the girls in lace- making and laundering, unless they showed special musical talent. If they were musically gifted, they received the finest instrumental and vocal training imaginable. Vivaldi, Il Pretto Roso (The Red Priest, so called because of his flaming red hair) was contracted by the Ospedale as a part time instructor. His title was Maestro di Violino. He was never was able to convince the board of the Ospedale to offer him the more prestigious full-time position of Maestro di Coro. Only when the installed Maestro di Coro took ill was Vivaldi asked to stand in as substitute for him and it was during these years, from 1713-1719, and again in 1739, that he wrote sacred choral music for the Ospedale. Such was the accomplishment of the girls and women singers and instrumentalists that, according to Charles de Brosses, writing in 1739, “The girls sing like angels, and play the violin, the flute, the organ, the oboe, the cello, the bassoon, in short there is no instrument large enough to frighten them.” French philosopher, Jean Jacques Rousseau, wrote: "Every Sunday in the churches of the four scuole, during Vespers, there are motets for a large chorus and orchestra. -
July-Chimes-2017.Pdf
Praise the Lord! Praise God in his sanctuary; praise him in his mighty firmament! Praise him with trumpet sound; praise him with lute and harp! Praise him with tambourine and dance; praise him with strings and pipe! Praise him with clanging cymbals; praise him with loud clashing cymbals! Let everything that breathes praise the Lord! Praise the Lord! (Psalm 150:1-6) Dear Friends, Trinity has been celebrating our 125th Anniversary (our quasquicentennial anniversary) in some really wonderful ways so far this year. Under the leadership of our Senior Warden, Bob Moore, we experienced a truly wonderful dinner and dance celebrating the 1920’s. Deborah Moore and her kitchen helpers (especially Linda Bond, Emily Malmevik, Finian Baird and Tiernan Baird) prepared and served up a tremendous meal. For the auction portion of the event, our Junior Warden, Melody Oxley and Vestry member Carol Bartley provided organization and leadership. Every member of the Vestry demonstrated a genuine commitment to serving our parish with generosity and creativity to make the event a successful fundraiser for us, bringing in just under $10,000. On Trinity Sunday, we enjoyed a wonderful brunch prepared by Charlene Rawson and her friend, with lovely decorations prepared by Aileen Barker and Dianne McCormack. Members of Historic Everett joined us for celebrations that day, including a really wonderful slide presentation by Jack O’Donnell. So many members of our music program contributed their talents to our combine morning service that day that one visitor remarked to me, “I think that I may need to change churches!” In the afternoon of Trinity Sunday, David Spring conducted our choirs and a chamber orchestra in a special anniversary concert, in which we were joined by six area faith leaders who contributed beautiful prayers for peace from their spiritual traditions. -
Claude Longchamp
3è Atelier de musique ancienne (Gruyères, 21-28.08.2005) Duo Crawford Young (USA) Margit Uebellacker (Autriche) 25.08.2005 Le duo de ce soir associe les cordes pincées (avec une plume d'autruche) du luth et de la guiterne, et les cordes frappées du "dulce melos" (forme de hackbrett de poche médiéval), un instrument décrit dans le Traité de Paulus Paulirinus (1460) comme "le plus beau parmi tous les instruments de musique". Les deux instruments sont bien adaptés à l'accompagnement de la danse, rôle central de la musique de cour médiévale, et le programme de ce soir contient plusieurs "Balleti", "Pizochara", "Petits Riens" à danser. Crawford Young et Margit Uebellacker nous emmènent en première partie de soirée à la Cour des Visconti (Pavie, 1400), puis à la Cour de Charles le Téméraire à Dijon (où brille Guillaume Dufay) et un peu plus tard à la Cour de Nuremberg. Outre les danses virtuoses, ils interprètent les mises en tablature savantes de chansons et motet célèbres de ce temps, de Francesco Landini, de Johannes Ciconia ou de Walter Frye. Notes sur le programme Association Guitare & Luth – CP 2254 – 1630 Bulle 2 CCP 17-6617-8 Compte BCF no 25 01 176.463-07 www.anselmus.ch/fr/association.htm Program notes : whose works turn up in a manuscript auctioned at Sotheby’s in 1996 and currently owned by the Oesterreichische Nationalbibliothek in Tonight’s program of fifteeenth-century arrangements for gittern/ lute Wien. Blindhammer may be considered something of a “missing link” solos and, with dulce melos, duos, consists of three focal points of leading to the Gerle / Neusidler generation of prominent Nürnberg musical culture, the Visconti court (Pavia/ Milan ca. -
Reception of Josquin's Missa Pange
THE BODY OF CHRIST DIVIDED: RECEPTION OF JOSQUIN’S MISSA PANGE LINGUA IN REFORMATION GERMANY by ALANNA VICTORIA ROPCHOCK Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. David J. Rothenberg Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2015 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Alanna Ropchock candidate for the Doctor of Philosophy degree*. Committee Chair: Dr. David J. Rothenberg Committee Member: Dr. L. Peter Bennett Committee Member: Dr. Susan McClary Committee Member: Dr. Catherine Scallen Date of Defense: March 6, 2015 *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS List of Tables ........................................................................................................... i List of Figures .......................................................................................................... ii Primary Sources and Library Sigla ........................................................................... iii Other Abbreviations .................................................................................................. iv Acknowledgements ................................................................................................... v Abstract ..................................................................................................................... vii Introduction: A Catholic -
Benedictus from the Armed Man a Mass for Peace Sheet Music
Benedictus From The Armed Man A Mass For Peace Sheet Music Download benedictus from the armed man a mass for peace sheet music pdf now available in our library. We give you 4 pages partial preview of benedictus from the armed man a mass for peace sheet music that you can try for free. This music notes has been read 3378 times and last read at 2021-09-25 01:56:30. In order to continue read the entire sheet music of benedictus from the armed man a mass for peace you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Clarinet, English Horn, Oboe, Organ, Piano Accompaniment Ensemble: Mixed Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music Benedictus From The Armed Man A Mass For Peace For Carillon Benedictus From The Armed Man A Mass For Peace For Carillon sheet music has been read 4995 times. Benedictus from the armed man a mass for peace for carillon arrangement is for Early Intermediate level. The music notes has 1 preview and last read at 2021-09-22 23:14:33. [ Read More ] Benedictus From The Armed Man A Mass For Peace By Karl Jenkins For Appalachian Mountain Lap Dulcimer Benedictus From The Armed Man A Mass For Peace By Karl Jenkins For Appalachian Mountain Lap Dulcimer sheet music has been read 4478 times. Benedictus from the armed man a mass for peace by karl jenkins for appalachian mountain lap dulcimer arrangement is for Advanced level. The music notes has 2 preview and last read at 2021-09-23 09:33:46. -
Caput: Ockeghem & the English
Ockeghem@600 | Concert 5 CAPUT: OCKEGHEM & THE ENGLISH 8 PM • FRIDAY, FEBRUARY 17, 2017 — First Parish of Lexington 8 PM • SATURDAY, FEBRUARY 18, 2017 — First Church in Cambridge, Congregational Ockeghem@600 | Concert 5 CAPUT: OCKEGHEM & THE ENGLISH OCKEGHEM & THE ENGLISH Johannes Ockeghem (c. 1420-1497) cantus In this fifth program of our multi-season survey particular the way in which it handles the Missa Caput Martin Near of the complete works of Johannes Ockeghem, two lower lines of its four-voice contrapuntal Laura Pudwell Kyrie • lp ms st dm / mn om jm pg we present one of his earliest surviving texture (labelled Tenor primus and secundus), Gloria • lp om jm pg works, the Missa Caput. Those who have influenced a generation of French and Flemish tenor & contratenor attended previous concerts in the series will composers. Ockeghem adopts the new manner John Pyamour (d. before March 1426) Owen McIntosh Quam pulcra es • om jm dm Jason McStoots perhaps share the impression we are forming of writing in four parts, but then ups the Mark Sprinkle of Ockeghem’s compositional character— technical ante considerably by the daring and Walter Frye (d. before June 1475) Sumner Thompson curious, experimental, boldly asserting novel use to which he puts the cantus firmus. • Alas alas alas is my chief song mn st pg his superior craft vis-à-vis his models by Ave regina celorum • lp ms dm bassus surpassing their technical achievements, and The cantus firmus melody quotes a long Ockeghem Paul Guttry stretching the theoretical systems of his time in melisma on the word “caput” from an antiphon Missa Caput David McFerrin ways that challenge our ability to find a definite sung during the foot-washing ceremony on Credo • mn jm st dm solution (and surely posed similar challenges Maundy Thursday in the Sarum rite. -
CROSSING the CHANNEL with Guest Artistic Director, Scott Metcalfe
2019-2020: The Fellowship of Early Music CROSSING the CHANNEL With Guest Artistic Director, Scott Metcalfe MARCH 6 & 7, 2020 2019-2020 Jeanne Lamon Hall, Trinity-St.Paul’s Centre Season Sponsor 2020-2021 A Wellspring of Early Music Subscriptions are now on sale. | Learn more at TorontoConsort.org PROGRAM La contenance angloise: Musical connections across the Channel, c. 1415-1515 I. Echoes across the Channel Deo gracias Anglia anonymous Je suy si povre de liesce (instrumental) ? Guillaume Du Fay (1397-1474) Adieu ma tresbelle maistresse anonymous / text ? by Charles d’Orléans (1394-1465) Speciosa facta es John Dunstaple (c. 1390-1453) Craindre vous vueil, doulce damme de pris Du Fay II. Englishmen at home Anonymous songs from Oxford, Bodleian Library, MS Ashmole 191 (copied 1445) O kendly creature Go hert hurt with adversite Thus y complayn my grevous hevynessse III. Englishmen abroad Songs from the Leuven Chansonnier (? Loire Valley, c. 1470) & elsewhere Ave regina celorum Walter Frye (d. before 1475) Plus j’ay le monde regardé Robert Morton (c. 1430-after 1479) Le souvenir de vous me tue Robert Morton (c. 1430-after 1479) Textless ballade (instrumental) anonymous Quand je fus prins au pavillon anonymous / text by Charles d’Orléans IV. Music at the court of Henry VIII Music from Henry VIII’s Manuscript, c. 1518 Adew mes amours et mon desyre William Cornysh (d. 1523) Benedictus (instrumental) Heinrich Isaac (c. 1450-1517) Allez regrets, vuidez de ma presence Hayne van Ghizeghem (b. c. 1445; d. 1476-97) Ales regrets (instrumental) Alexander -
Streaming Music Into Renaissance Studies: the Case of L'homme Armé
explorations in renaissance culture 43 (2017) 109-139 brill.com/erc Streaming Music into Renaissance Studies: The Case of L’homme armé Kevin N. Moll East Carolina University [email protected] Abstract College-level courses devoted to Renaissance culture typically put a premium on incorporating primary sources and artifacts of a literary, art-historical, and historical nature. Yet the monuments of contemporaneous music continue to be marginalized as instructional resources, even though they are fully as worthy both from an aesthet- ic and from a historical standpoint. This study attempts to address that problem by invoking the tradition of early polyphonic masses on L’homme armé – a secular tune used as a unifying melody (cantus firmus) throughout settings of the five-movement liturgical cycle. Beginning by explaining the origins and significance of the putative monophonic tune, the paper then details how a series of composers utilized the song in interestingly varied ways in various mass settings. Subsequently it sketches out a context for mysticism in the liturgical-musical tradition of L’homme armé, and points to some compelling parallels with the contemporaneous art of panel painting, specifically as represented in the works of Rogier van der Weyden. Keywords Franco-Flemish polyphony – mass cycle – cantus firmus – pedagogy – L’homme armé – Rogier van der Weyden – mysticism * This paper is a substantially altered version of the South-Central Renaissance Conference William B. Hunter Lecture, delivered in St Louis, mo on March 3, 2011 with the title “Some Straight-Shooting Observations on the Early L’homme armee Masses.” Because the study is being published in a journal that traditionally has been devoted primarily to non-musical studies, effort has been made to refrain here from overindulgence in specialized musical vo- cabulary and to clarify those terms that are used. -
CAMMAC READING Karl Jenkins the Armed Man: a Mass for Peace
CAMMAC (Canadian Amateur Musicians /Musiciens Amateurs du Canada) Toronto Region Event. Please copy and post. CAMMAC READING Karl Jenkins The Armed Man: A Mass for Peace Date SUNDAY, February 16, 2020 Time 2 PM SHARP TO 4:30 PM (Please arrive 15 minutes early.) Conductor Matthew Jaskiewicz Biography Since 1984, Matthew Jaskiewicz has been director of the Toronto Sinfonietta Orchestra and the Oakham House Choir (based at Ryerson University) of which he is founder and co-founder respectively. Before coming to Canada, he was the director of several prestigious ensembles in Poland and France. He has conducted “The Armed Man” on a number of occasions, most recently in 2018 in Toronto for a special performance to commemorate the centennial of the end of World War 1. Music notes “The Armed Man”, written by the Welsh composer Karl Jenkins in 2000, has become one of the most successful and often performed contemporary choral works. Commissioned by the Royal Armouries to commemorate the start of the new millennium, it continues the tradition of masses dating to the 15th century based on the French song "l'homme armé". Featuring four standard parts of the Christian mass, the work also includes nine movements from a wide range of biblical and poetic texts, and texts from other religions. It is scored for standard orchestral instruments as well as an eclectic mix of world percussion instruments. Place Christ Church Deer Park, 1570 Yonge St. (2 blocks north of St. Clair Avenue) in Elliott Hall (enter from Heath St.) Singers Choir and soloists Instrumentation 2 flutes (both doubling piccolo); 2 oboes; English horn; 3 clarinets (2 Bb and 1 bass clarinet); 2 bassoons; contrabassoon; 4 horns in F, 4 trumpets in Bb; 3 trombones; tuba; timpani; percussion -snare drum, tom toms, field drum, surdo, tambourine, triangle etc.; strings (including cello solo) Information For more information: Lynda Moon, [email protected] Cost CAMMAC members $6; non-members $10; students free. -
Thesis Submitted in Partial Fulfilment of Requirements for the Degree of Doctor of Musical Arts
CONDUCTOR AS MUSICIANSHIP MENTOR Aleta King A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Musical Arts Sydney Conservatorium of Music University of Sydney 2020 Statement of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: Aleta Serena King Date: December 16, 2020 ii Abstract This study investigates the conductor’s role as musicianship mentor through the rehearsal and performance process of three works for choir and orchestra. The concept of mentoring is examined through three research stages that parallel the three recitals. In the first stage, twelve participants rehearsing and performing Bach Cantata BWV 182 were asked about their experience of being mentored by the conductor. Questionnaire and focus group data showed that the conductor’s musicianship mentoring role was significant to their progress. They found five musicianship elements most important: inner hearing, musical memory, sight-singing, intervals, and solfège. Of these, solfège was perceived as foundational to developing the other four. In the second stage, the conductor’s self-mentoring process was analysed using a three-part self-reflective journal during preparation for a performance of Fauré’s Requiem. Part A and C explored the core relational aspect of mentoring, while Part B reflected on the conductor’s self-mentoring process. In the third stage, four of the original twelve participants were asked about their self-mentoring process during the rehearsal and performance of Karl Jenkins’ The Armed Man: Mass for Peace. Participants reported that they had acquired the skills to enable self-mentoring and become early-career mentors over two years between the first and third recitals. -
Mid-Fifteenth-Century English Mass Cycles in Continental Sources, Vol
Mid-Fifteenth-Century English Mass Cycles in Continental Sources, vol. 1 James Matthew Cook Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy July 2014 Abstract Fifteenth-century English music had a profound impact on mainland Europe, with several important innovations (e.g. the cyclic cantus firmus Mass) credited as English in origin. However, the turbulent history of the Church in England has left few English sources for this deeply influential repertory. The developing narrative surrounding apparently English technical innovations has therefore often focussed on the recognition of English works in continental manuscripts, with these efforts most recently crystallised in Curtis and Wathey’s ‘Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory’. The focus of discussion until now has generally been on a dichotomy between English and continental origin. However, as more details emerge of the opportunities for cultural cross-fertilisation, it becomes increasingly clear that this may be a false dichotomy. This thesis re-evaluates the complex issues of provenance and diffusion affecting the mid-fifteenth-century cyclic Mass. By breaking down the polarization between English and continental origins, it offers a new understanding of the provenance and subsequent use of many Mass cycles. Contact between England and the continent was frequent, multifarious and quite possibly reciprocal and, despite strong national trends, there exists a body of work that can best be understood in relation to international cultural exchange. This thesis helps to clarify the i provenance of a number of Mass cycles, but also suggests that, for Masses such as the anonymous Thomas cesus and Du cuer je souspier, Le Rouge’s So ys emprentid, and even perhaps Bedyngham’s Sine nomine, cultural exchange is key to our understanding.