216.302.8404 “An Early Music Group with an Avant-Garde Appetite.” — the New York Times
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559288 Bk Wuorinen US
INNER CHAMBERS Royal Court Music of Louis XIV Couperin • Hotteterre • Lully • Marais • Montéclair Les Ordinaires Leela Breithaupt, Traverso Erica Rubis, Viola da gamba David Walker, Theorbo Inner Chambers Inner Chambers Royal Court Music of Louis XIV Royal Court Music of Louis XIV Introduction préluder sur la flûte traversière (‘The Art of Preluding on Jacques-Martin Hotteterre (1674–1763): Michel Pignolet de Montéclair the Flute’). In the manual, Hotteterre teaches his pupils L’Art de préluder sur la (1667–1737): Musical life at the court of Louis XIV was highly ritualised step by step how to improvise or write a prelude in various flûte traversière (1719) Brunetes anciènes et modernes (1725) and filled with dazzling formal public displays. However, keys, and ends with two preludes composed by the 1 Prelude in D major 4:20 $ Je sens naître en mon coeur 1:56 the Sun King also enjoyed music in his more private author. As one of the king’s employed chamber spheres. This debut album reveals the intimate sound musicians, Hotteterre was well respected both as a flautist François Couperin (1668–1733): Deuxième Concert – Suite (1720) 14:59 world that Louis XIV embraced in his inner chambers at and composer. the Palaces of Versailles and Fontainebleau. The music The French Suite was a very popular musical form Premier Concert (1722) 11:03 % Prélude 1:41 reflects the court’s aesthetic preferences: lavish display of which was typically comprised of several dance 2 Prélude 2:18 ^ Allemande 1:49 ornaments and affluence paired with strict hierarchies, movements including Allemande, Courante, Sarabande, 3 Allemande 1:59 & Courante à l’italienne 1:18 love of allegory, and an affected nostalgia for pastoral life Gavotte, Gigue and Menuet, among others. -
The Baroque Cello and Its Performance Marc Vanscheeuwijck
Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 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]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f. -
Table 7-1 French Opera Repertory 1753–62
1 Table 12-1 French Opera Repertory 1753–63 (with Court performances of opéras- comiques in 1761–63) See Table 1-1 for the period 1742–52. This Table is an overview of commissions and revivals in the elite institutions of French opera. Académie Royale de Musique and Court premieres are listed separately for each work (albeit information is sometimes incomplete). The left-hand column includes both absolute world premieres and important earlier works new to these theatres. Works given across a New Year period are listed twice. Individual entrées are mentioned only when revived separately, or to avoid ambiguity. Prologues are mostly ignored. Sources: BrennerD, KaehlerO, LagraveTP, LajarteO, Lavallière, Mercure, NG, RiceFB, SerreARM. Italian works follow name forms etc. cited in Parisian libretti. LEGEND: ARM = Académie Royale de Musique (Paris Opéra); bal. = ballet; bouf. = bouffon; CI = Comédie-Italienne; cmda = comédie mêlée d’ariettes; com. lyr. = comédie lyrique; d. gioc.= dramma giocoso; div. scen. = divertimento scenico; FB = Fontainebleau; FSG = Foire Saint-Germain; FSL = Foire Saint-Laurent; hér. = héroïque; int. = intermezzo; NG = The New Grove Dictionary of Music; NGO = The New Grove Dictionary of Opera; op. = opéra; p. = pastorale; Vers. = Versailles; < = extract from; R = revised. 1753 ALL AT ARM EXCEPT WHERE MARKED Premieres at ARM (listed first) and Court Revivals at ARM or Court (by original date) Titon & l’Aurore (p. hér., 3: La Marre, Voisenon, Atys (Lully, 1676) FB La Motte / Mondonville, Jan. 9) Phaëton (Lully, 1683) Scaltra governatrice, La (d. gioc., 3: Palomba / Fêtes Grecques et romaines, Les (Blamont, 1723) Cocchi, Jan. 25) Danse, La (<Fêtes d’Hébé, Les)(Rameau, 1739) FB Jaloux corrigé, Le (op. -
Toccata Classics TOCC0052 Notes
RAMEAU ON THE PIANO, VOLUME THREE 1 by Graham Sadler The two suites recorded on this disc are from the Nouvelles suites de pièces de clavecin of 1729 or 1730, Rameau’s final collection of solo keyboard music.2 Like those of his Pièces de clavessin (1724), they are contrasted both in tonality and character. The Suite in A minor and major is dominated by dances and includes only three character pieces, whereas the Suite in G major and minor consists almost exclusively of pieces with character titles. In its make-up if not its style, the latter thus follows the example of François Couperin, whose first three books of pièces de clavecin (1713, 1717 and 1722) had established the vogue for descriptive pieces. In that sense, Rameau may be regarded as somewhat conservative in devoting half of his two mature solo collections to suites of the more traditional type. Suite No. 4 in A minor and major Conservative they may be, but the dance movements of the Nouvelles suites are among the most highly P developed in the repertory, the first two particularly so. The Allemande 1 unfolds with an effortless grace, its unerring sense of direction reinforced by the many sequential passages. At the end of both sections, the duple semiquaver motion gives way unexpectedly to triplet motion, providing a memorable ‘rhyme’ to the two parts of the movement. The Courante 2, more than twice as long as its predecessors in Rameau’s output, displays a technical sophistication without parallel in the clavecin repertory. Three themes interlock in mainly three- part counterpoint – a bold motif in rising fourths, and two accompanying figures in continuous quavers, the one in sinuous stepwise movement, the other comprising cascading arpeggios. -
The Baroque Period
Developing wider KS4/5 listening: the Baroque period Simon Rushby is a freelance Simon Rushby musician, writer and education consultant, and was a director of music and senior leader in Introduction secondary schools for more than This is the first in a series of resources to help students develop their understanding and experience of 25 years. He is author of a number music from the Baroque, Classical and Romantic periods, and from the 20th and 21st centuries. of books and resources, including Starting with this one on the Baroque period, each resource will examine the style and characteristics the ABRSM’s new Discovering of the music of its time through listening and practical activities. As students prepare for and navigate Music Theory series and GCSE through their GCSE or A level courses, it’s essential that they gain a broad overview of the context and books for Rhinegold. He is an style of their set works so that they can approach wider listening questions – which expect them to ABRSM examiner, and a songwriter, have experienced a broader range of music – with confidence and understanding. composer and performer. Additionally, I hope that students will enjoy developing their ‘stylistic ear’ through listening to a range of music that they might not otherwise encounter. A general understanding of what makes Baroque music different to Classical, or Classical different to Romantic, will take them a long way, not only in their GCSE or A level studies, but also in their general cultural knowledge. This resource could be equally valuable to Year 8 or 9 students thinking of doing music for GCSE, and those learning instruments or singing who would like to develop a better understanding of the music they’re performing and, perhaps, prepare for those ‘style and period’ questions in practical exam aural tests. -
Considerations for Choosing and Combining Instruments
CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH Item Type text; Electronic Dissertation Authors Park, Chungwon Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 04:28:57 Link to Item http://hdl.handle.net/10150/194278 CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH by Chungwon Park ___________________________ Copyright © Chungwon Park 2010 A Document Submitted to the Faculty of the School of Music In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College The UNIVERSITY OF ARIZONA 2010 2 UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Chungwon Park entitled Considerations for Choosing and Combining Instruments in Basso Continuo Group and Obbligato Instrumental Forces for Performance of Selected Sacred Cantatas of Johann Sebastian Bach and recommended that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________Date: 5/15/2010 Bruce Chamberlain _______________________________________________________Date: 5/15/2010 Elizabeth Schauer _______________________________________________________Date: 5/15/2010 Thomas Cockrell Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. -
Cpo 555 156 2 Booklet.Indd 1 12.06.2020 09:36:39 Jean-Philippe Rameau
Jean-Philippe Rameau Pigmalion · Dardanus Suites & Arias Anders J. Dahlin L’Orfeo Barockorchester Michi Gaigg cpo 555 156_2 Booklet.indd 1 12.06.2020 09:36:39 Jean-Philippe Rameau cpo 555 156_2 Booklet.indd 2 12.06.2020 09:36:39 Jean-Philippe Rameau (1683–1764) Pigmalion Acte-de-ballet, 1748 Livret by Sylvain Ballot de Sauvot (1703–60), after ‘La Sculpture’ from Le Triomphe des arts (1700) by Houdar de la Motte (1672–1731) (selected movements: Suite & Arias) 1 Ouverture 4'41 2 [Air,] ‘Fatal Amour’ (Pigmalion) 3'22 3 Air. Très lent – Gavotte gracieuse – Menuet – Gavotte gai – Chaconne vive – 5'44 Loure – Passepied vif – Rigaudon vif – Sarabande pour la Statue – Tambourin 4 Air gai 2'19 5 Pantomime niaise 0'44 6 2e Pantomime très vive 2'07 7 Ariette, ‘Règne Amour’ (Pigmalion) 4'35 8 Air pour les Graces, Jeux et Ris 0'50 9 Rondeau Contredanse 1'37 cpo 555 156_2 Booklet.indd 3 12.06.2020 09:36:39 Dardanus Tragedie en musique, 1739 (rev. 1744, 1760) Livret by Charles-Antoine Leclerc de La Bruère (1716–54) (selected movements: Suite & Arias) 10 Ouverture 4'13 11 Prologue, sc. 1: Air pour les [Jeux et les] Plaisirs [et la Jalousie et sa Suite] 1'06 12 Air pour les [Jeux et les] Plaisirs 1'05 13 Prologue, sc. 2: Air gracieux [pour les Peuples de différentes nations] 1'30 14 Rigaudon 1'41 15 Act 1, sc. 3: Air vif 2'46 16 Rigaudons 1 et 2 3'36 17 Act 2, sc. 1: Ritournelle vive 1'08 18 Act 4, sc. -
4 Classical Music's Coarse Caress
The End of Early Music This page intentionally left blank The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2007 by Bruce Haynes Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Haynes, Bruce, 1942– The end of early music: a period performer’s history of music for the 21st century / Bruce Haynes. p. cm. Includes bibliographical references and index. ISBN 978-0-19-518987-2 1. Performance practice (Music)—History. 2. Music—Interpretation (Phrasing, dynamics, etc.)—Philosophy and aesthetics. I. Title. ML457.H38 2007 781.4′309—dc22 2006023594 135798642 Printed in the United States of America on acid-free paper This book is dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of music, and Joni M., Honored and Honorary Doctor of broken-hearted harmony, whom I humbly invite to be its patronesses We’re captive on the carousel of time, We can’t return, we can only look behind from where we came. -
| 216.302.8404 “An Early Music Group with an Avant-Garde Appetite.” — the New York Times
“CONCERTS AND RECORDINGS“ BY LES DÉLICES ARE JOURNEYS OF DISCOVERY.” — NEW YORK TIMES www.lesdelices.org | 216.302.8404 “AN EARLY MUSIC GROUP WITH AN AVANT-GARDE APPETITE.” — THE NEW YORK TIMES “FOR SHEER STYLE AND TECHNIQUE, LES DÉLICES REMAINS ONE OF THE FINEST BAROQUE ENSEMBLES AROUND TODAY.” — FANFARE “THE MEMBERS OF LES DÉLICES ARE FIRST CLASS MUSICIANS, THE ENSEMBLE Les Délices (pronounced Lay day-lease) explores the dramatic potential PLAYING IS IRREPROACHABLE, AND THE and emotional resonance of long-forgotten music. Founded by QUALITY OF THE PIECES IS THE VERY baroque oboist Debra Nagy in 2009, Les Délices has established a FINEST.” reputation for their unique programs that are “thematically concise, — EARLY MUSIC AMERICA MAGAZINE richly expressive, and featuring composers few people have heard of ” (NYTimes). The group’s debut CD was named one of the "Top “DARING PROGRAMMING, PRESENTED Ten Early Music Discoveries of 2009" (NPR's Harmonia), and their BOTH WITH CONVICTION AND MASTERY.” performances have been called "a beguiling experience" (Cleveland — CLEVELANDCLASSICAL.COM Plain Dealer), "astonishing" (ClevelandClassical.com), and "first class" (Early Music America Magazine). Since their sold-out New “THE CENTURIES ROLL AWAY WHEN York debut at the Frick Collection, highlights of Les Délices’ touring THE MEMBERS OF LES DÉLICES BRING activites include Music Before 1800, Boston’s Isabella Stewart Gardner THIS LONG-EXISTING MUSIC TO Museum, San Francisco Early Music Society, the Yale Collection of COMMUNICATIVE AND SPARKLING LIFE.” Musical Instruments, and Columbia University’s Miller Theater. Les — CLASSICAL SOURCE (UK) Délices also presents its own annual four-concert series in Cleveland art galleries and at Plymouth Church in Shaker Heights, OH, where the group is Artist in Residence. -
Jean-Philippe Rameau — Georg Anton Benda PYGMALION
Jean-Philippe Rameau Georg Anton Benda PYGMALION PHILIPPE GAGNÉ NORMAN D. PATZKE HEYSE – DE WILDE – WEYNANTS APOTHEOSIS ORCHESTRA KORNEEL BERNOLET Programme Soloists English text German text French text Sung texts Rameau Spoken texts Benda Imprint Jean-Philippe Rameau — Georg Anton Benda PYGMALION Two Visions of the Myth of Pygmalion and Galatea Zwei Visionen des Mythus von Pygmalion und Galatea Deux visions du mythe de Pygmalion et Galathée Jean-Philippe RAMEAU (1683–1764) Pigmalion Acte de ballet (1748) 1 Ouverture 4:34 2 Pigmalion: Fatal amour 3:23 3 Céphise & Pigmalion: Pigmalion, est-il possible 4:10 4 Pigmalion & La Statue: D’où naissent ces accords 5:01 5 Amour: Du pouvoir de l’Amour / Jeux et Ris qui suivez mes traces 3:26 6 Les Grâces 2:47 7 Sarabande et Tambourin: Cédons à notre impatience / Le peuple dans ces lieux s’avance 3:24 8 Air gay pour l’entrée du peuple 1:50 9 Pigmalion & Chœur: L’Amour triomphe 2:41 10 Pantomime niaise / Pantomime très vive 3:31 11 Pigmalion: Règne, Amour 5:13 12 Air gracieux / Contredanse en rondeau 2:19 Georg Anton BENDA (1722–1795) 13 Pygmalion Monodrama (1779) 26:22 ^menu SOLOISTS Pigmalion Philippe Gagné www.gagnephilippe.com Pygmalion Norman D. Patzke www.derbariton.com La Statue & Galathee Morgane Heyse www.morganeheyse.com 4 Céphise Lieselot De Wilde www.lieselotdewilde.net Amour Caroline Weynants www.operamusica.com/artist/caroline-weynants CHOIR Soprano Caroline Weynants, Morgane Heyse, Mieke Dhondt Alto Kerlijne Van Nevel, Bart Uvyn Tenor Govaart Haché, Sean Clayton Bass Wouter Vande Ginste, Joris Stroobants 5 KORNEEL BERNOLET made his debut at age 19 as a continuo player for Sigiswald Kuijken, followed by a Young Musi- cian of the Year award from the Belgian Music Press Association in 2014. -
Baroque Music 1600-1750 Definition
Baroque Music 1600-1750 Definition The word “Baroque” means “a misshaped pearl”. This term was initially used to describe the flamboyant, decorative lines and curves of architecture from the 17th to mid 18th centuries (1650s- 1700s) & eventually used to describe the music of this period as well. The Baroque period was an important time in the history of the world. This era witnessed new exploration of ideas and innovations in the arts, literature and philosophy, to name a few: Sir Isaac Newton discovered the laws of gravity Galileo Galilei laid down the foundation of astronomy Sir William Harvey discovered the circulation of blood Historical overview Throughout the Baroque period, composers continued to be employed by the church and wealthy ruling class. This system of employment was called the patronage system. As the patron paid the composer for each work and usually decided what kind of piece the composer should write, this limited the composer’s creative freedom. Monarchs (Royalty) had absolute power. The nobility owned land and were entertained by hunting and music. Peasants worked hard for their bread and butter and could relax after hours. Italy was the hub of new culture and led the way. This was an age of paradox/contrast Church vs. State Monarchy vs. Bourgeoisie Aristocracy vs. Affluent Middle Class Scientific Research vs. Superstition, Witchcraft Importance of humanity vs. Religious Persecution Music responded to this paradox Vocal vs. Instrumental Church Modes vs. Tonality (Major, minor) Sacred Music vs. Secular Music Polyphonic -
The Harpsichord: a Research and Information Guide
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad.