Cal's Mid-Spring Tournament 2018 Written by Members of the Berkeley
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Missa Hercules Dux Ferrarie, Missa D'ung Aultre Amer & Missa
Gimell Other Masses by Josquin previously recorded by The Tallis Scholars Missa Ad fugam CDGIM 039 Missa Ave maris stella CDGIM 044 Missa Da pacem (formerly attrib.) CDGIM 052 Missa De beata virgine CDGIM 044 Missa Di dadi ‘The Dice Mass’ CDGIM 048 Missa Fortuna desperata CDGIM 042 Missa Gaudeamus CDGIM 050 Missa L’ami Baudichon CDGIM 050 Missa La sol fa re mi CDGIM 009 Missa L’homme armé sexti toni CDGIM 019 Missa L’homme armé super voces musicales CDGIM 019 Missa Malheur me bat CDGIM 042 Missa Mater Patris CDGIM 052 Missa Pange lingua CDGIM 009 Missa Sine nomine CDGIM 039 Missa Une mousse de Biscaye CDGIM 048 Cover illustration: Ercole I d’Este, Duke of Ferrara, by Dosso Dossi C A. De Gregorio / De Agostini Picture Library / Bridgeman Images 2 s mell Record i ve Barda. © 2013 G ve i Photo by Cl “With this ninth and final release in our Josquin Mass cycle, we come to three of his greatest works. Together they form a perfect showcase for a genius who felt challenged to make each setting different.” Peter Phillips 3 CONTENTS Track listing and credits page 5 Music note page 7 Sung texts and translation page 11 Notice en Français page 14 Textes chantés et traduction page 18 Kommentar auf Deutsch Seite 21 Gesangstexte und Übersetzung Seite 25 4 Josquin des Prés (c1450–1521) Missa Hercules Dux Ferrarie 27.29 Tu solus qui facis mirabilia 4.48 CONTENTS Kyrie 2.47 24. Tu solus qui facis mirabilia 1.47 1. Kyrie I 1.06 25. -
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 -
THE TALLIS SCHOLARS Vocal Ensemble
THE TALLIS SCHOLARS Vocal Ensemble The Tallis Scholars were founded in 1973 by their director, Peter Phillips. Through their recordings and concert performances, they have established themselves as the leading exponents of Renaissance sacred music throughout the world. Peter Phillips has worked with the ensemble to create, through good tuning and blend, the purity and clarity of sound which he feels best serves the Renaissance repertoire, allowing every detail of the musical lines to be heard. It is the resulting beauty of sound for which The Tallis Scholars have become so widely renowned. The Tallis Scholars perform in both sacred and secular venues, giving around 80 concerts each year. In 2013 the group celebrated their Photo © Nick Rutter 40th anniversary with a World Tour, performing 99 events in 80 venues in 16 countries. They now look ahead to their 50th anniversary in 2023. In 2020 Gimell Records celebrated 40 years of recording the group by releasing a remastered version of the 1980 recording of Allergri’s ‘Miserere’. As of the beginning of the cancellations caused by the COVID-19 crisis, the Tallis Scholars had made 2,327 appearances, worldwide. 2021/22 season highlights include performances in Amsterdam, Vienna, Paris, the RheinVokal and Regensburg Festivals, Klangvokal Musikfestival Dortmund, Bremen Musikfest and tours of Italy, in addition to their usual touring schedule around the USA, Europe and the UK. As part of the postponed Josquin des Prez’ 500th anniversary celebrations The Tallis Scholars will sing all eighteen of the composer’s masses over the course of 4 days at the Boulez Saal in Berlin in July 2022. -
Course Syllabus: “The Glory of the Renaissance”
Course Syllabus: “The Glory of the Renaissance” Long title: “The Glory of the Renaissance: How Music, Painting and Architecture Thrived at the Nexus of Spiritual, Political and Intellectual Power in Fifteenth- Century Italy” LS 770-73 Summer 2017 Thomas Brothers, Professor of Music 071 Mary Duke Biddle Dept. of Music [email protected]/Office hours by appointment “The disciplines are interconnected, and a person cannot master one unless he seeks light from another.” Aeneas Silvius Piccolomini, 1450. Course overview You can lose yourself in the magnificent Duomo of Florence, completed by the great fifteenth-century architect, Filippo Brunelleschi. You can also lose yourself in a painting by Piero della Francesca, or in Guillaume Dufay’s brilliant music for the Catholic liturgy, pieces like the Missa Se la face ay pale—lose yourself in the sense of tasting a vast and brilliant world that leaves the petty concerns of day-to-day life behind. Fifteenth-century Italy enjoyed a strong tradition of art designed with this in mind. Composers, painters and architects used the full range of intellectual and emotional power available to them to create a transcendent world, and they did so through the patronage of powerful people who expected something in return. That is how the themes of art, spirituality, intellectual inquiry and politics intersect, and that is how some of the greatest art in the European tradition was created. Much of it is still around for us to enjoy and understand today. This course covers music, painting, architecture, religion and politics in the 15th Century, primarily in Florence and Rome. -
Download Booklet
DISCOVER EARLY MUSIC Contents page Track list 4 Early Music, by Lucien Jenkins 9 I. What were the Middle Ages? 11 II. The Church and Music 13 III. Secular Music 21 IV. Notation 27 V. Instruments 29 VI. Towards the Renaissance 33 VII. What was the Renaissance? 40 VIII. The Renaissance Madrigal 46 IX. Europe Divided 49 X. Europe United 59 Sources of featured panels 64 A Timeline of Early Music (music, history, art and architecture, literature) 66 Further Listening 78 Early Music Composers 81 Map 86 Glossary 87 Credits 92 4 DISCOVER EARLY MUSIC Track List CD 1 Anonymous 1 Antiphona post Evangelium 3.21 In Dulci Jubilo / Alberto Turco 8.553502 Anonymous 2 Versus Alleluiatici: Adorabo 2.21 Nova Schola Gregoriana / Alberto Turco 8.550711 Hildegard of Bingen (1098–1179) 3 Ordo Virtutum: Procession 4.25 Oxford Camerata / Jeremy Summerly 8.550998 Léonin (fl. 1150s–c. 1201) 4 – 9 Viderunt omnes 9.30 Tonus Peregrinus / Anthony Pitts 8.557340 Traditional 10 Gaudete Christus est natus 1.39 Oxford Camerata / Jeremy Summerly 8.550751 5 DISCOVER EARLY MUSIC Anonymous 11 Cantiga de Santa Maria 2.20 Unicorn Ensemble / Michael Posch 8.554256 Anonymous 12 Exiit diluculo 2.47 Oni Wytars Ensemble / Unicorn Ensemble 8.554837 Guiraut Riquier (c. 1230–c. 1300) 13 Humils forfaitz 7.01 Unicorn Ensemble / Michael Posch 8.554257 Guillaume Dufay (1397–1474) 14 Adieu ces bons vins de Lannoys 5.32 Unicorn Ensemble / Michael Posch 8.553458 Francesco Landini (c. 1325–1397) 15 Non avrà ma’pietà questa mia donna 4.19 16 Non ara may pieta questa mia dona 3.35 Unicorn Ensemble / Michael Posch 8.553618 John Dunstable (c. -
Algorithmic Music Analysis: a Case Study of a Prelude from David Cope's
ALGORITHMIC MUSIC ANALYSIS: A C ASE STUDY OF A PRELUDE FROM DAVID COPE’S “FROM DARKNESS, LIGHT” Reiner Krämer, B.M., M.M. Dissertation Prepar ed for the Degree of DOCTOR OF P HILOSOPHY UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: David Bard-Schwarz, Major Professor Andrew May, Minor Professor Thomas Sovík, Committee Member Frank Heidlberger, Chair of the Department of Music History, Theory, and Ethnomusicology Benjamin Brand, Director of Graduate Studies James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Krämer, Reiner. Algorithmic Music Analysis: A Case Study of a Prelude from David Cope’s “From Darkness, Light.” Doctor of Philosophy (Music Theory), May 2015, 433 pp., 16 tables, 57 figures, 125 examples, bibliography, 278 titles. The use of algorithms in compositional practice has been in use for centuries. With the advent of computers, formalized procedures have become an important part of computer music. David Cope is an American composer that has pioneered systems that make use of artificial intelligence programming techniques. In this dissertation one of David Cope’s compositions that was generated with one of his processes is examined in detail. A general timeline of algorithmic compositional practice is outlined from a historical perspective, and realized in the Common Lisp programming language as a musicological tool. David Cope’s compositional output is summarized with an explanation of what types of systems he has utilized in the analyses of other composers’ music, and the composition of his own music. Twentieth century analyses techniques are formalized within Common Lisp as algorithmic analyses tools. -
Renaissance Phrygian Handout
Workshop “Affective horizons of ‘song’ in the long fifteenth century.”, Centre d’Études Supérieures de la Renaissance (CESR) Tours, 27–28 June 2018 Prof. Wolfgang Fuhrmann (University of Leipzig) “The ‚Renaissance‘ of the Phrygian mode ” Sacred music ending on E mi (or A c. 1460-c.1520 Note. Strictly liturgical polyphony (such as Magnificat, hymn settings, etc. is not included. If not signalled otherwise, all pieces in four voices with final E mi. A♭ = in A phrygian +A = cadence on E but with A in bass/A sound in bass + contratenor ++A = closing on confinalis A (dorian/“aeolian”) NJE = New Josquin Edition Composer Title Comments I. Low-spirited Affects 1. Passion/Compassion Peñalosa Ave, vera caro Christi elevation/Corpus Christi motet, remembering the Passion and praying for mercy Pipelare Memorare Mater 7vv, on Wreede’s chanson; see Christi/Nunca fué pena section 2 mayor Escobar(/Peñalosa?) Memorare piissima Josquin Qui velatus facie fuisti Gaspar Stabat mater/Vidi 5vv spetiosam Bauldeweyn Stabat Virgo iuxta 6vv antiphon in T II. Quinta vox crucem/Tota pulchra es missing Michele [Pesenti]/(Josquin Tulerunt Dominum attr.) meum 2. Mourning/Death/Valediction La Rue Considera Israel on death of Philipp the Fair? La Rue Delicta iuventutis on death of Philipp the Fair? La Rue Doleo super te (= quarta pars of Considera Israel) on death of Philipp the Fair? Anon. [La Rue?] Dulces exuviae B-Br 9126, B-Br 228 Anon. Dulces exuviae B-Br 9126 Josquin Dulces exuviae Mouton Dulces exuviae A♭ Ghiselin Dulces exuviae Ockeghem Intemerata Dei mater Obrecht -
Harvard-Radcliffe Collegium Musicum
Harvard-Radcliffe Collegium Musicum Jameson Neil Marvin Conductor 1978-2010 Repertoire Harvard-Radcliffe Collegium Musicum Jameson Marvin, Conductor 1978-2010 Steven Sametz Acting Conductor Spring 1984 Beverly Taylor Acting Conductor Spring 1992 Constance Defotis Associate Conductor 1996-2004 Kevin Leong Associate Conductor 2004-Present Assistant Conductors: V. Paul Moravec, Jr. 1978-1980 Daniel Melamed 1980-1982 Eugene Lee 1982-1984 Stephen Kett 1984-1986 Peter Urquhart 1986-1987 Mark Janello 1987-1988 Scott Tucker 1988-1990 Anita Kupriss 1990-1991 Thomas Kim 1991-1992 Scott Tucker 1992-1993 Charles Kamm 1993-1996 Kevin Leong 1996-1999 Akiko Fujimoto 1999-2001 Andrew Clark 2001-2003 Michael McGaghie 2003-2004 Michael Barrett 2004-2007 Jeffrey Grossman 2007-2008 Miguel Felipe 2008- Renaissance † edited by Jameson Marvin for HRCM * major works for choir and orchestra published edition King Alonso, 15th century †La tricotea Samartin la vea Arcadelt, Jacob Quand je vous ayme Byrd, William Sanctus, Agnus Dei from Mass for 4 Voices †Gaudeamus omnes Laetentur coeli †Lullaby, my sweet little baby Terra tremuit Victimae Paschali Certon, Pierre La, la, la, je ne l’ose dire Desprez, Josquin †Mille regretz Kyrie, Gloria, Agnus Dei from Missa de Beata Virgine † Sanctus, Agnus Dei from Missa La sol fa re mi † Sanctus from Missa L’Homme Armé super voces musicales † Kyrie, †Sanctus from Missa sine nomine † Sanctus from Missa Gaudeamus Ave Maria † Gaude virgo mater Christi † Salve Regina Tu solus qui facis mirabilia Dufay, Guillaume Ave Regina coelorum Franck, Melchior Meine Schwester, liebe Braut Gabrieli, Andrea Egredimini ejus Gabrieli, Giovanni Hodie completi sunt Gibbons, Orlando Hosanna to the Son of David O Clap your hands This is the record of John Gombert, Nicolas Vous etes trop jeune Goudimel, Claude †O combien est plaisant Hassler, Hans Leo Cantate Domino Hofhaimer, Paul †Mein trauens Lasso, Orlando di Matona mia cara Mon coeur se recommande á vous Exaltabo te In hora ultima Nos qui sumus Salve Regina †Tristis est anima mea (ed. -
The Tallis Scholars
CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, December 4, 2009, 8pm Beata Virgine this mass; from examining the many sources, it First Congregational Church is apparent that Josquin wrote it—and that it was HE TERM “Renaissance polyphony” is applied distributed—as separate movements and not as a Tto an enormous amount of different kinds of group of five. Unlike most mass settings written music. Of course, we only have other terms, such in the Renaissance which were based on a single The Tallis Scholars as “Baroque” or “Romantic,” to compare it with, model—either a melody drawn from plainchant or Peter Phillips, director but it is the great breadth and variation of style, a secular song or an entire polyphonic framework aesthetic and, of course, historical and cultural taken from a motet—this “chant paraphrase” mass Soprano background exhibited by different types of “po- takes as its inspiration the collection of plainsong Janet Coxwell Amy Haworth lyphony” when compared with other, later styles melodies associated with the Mass Ordinary texts. Alto that makes the term only a blunt categorization The movements lack the characteristic unity of me- Patrick Craig Caroline Trevor tool at best or a colloquialism at worst. During lodic theme and sonority found in later masses but the last 150 years of the Renaissance, the pace of because of this they stand on their own as indi- Tenor cultural change, and the intensity of the cultural vidually conceived and performed works. The ab- Christopher Watson Simon Wall George Pooley Will Balkwill conflicts which resulted, increased remarkably and solute clarity so characteristic of Josquin’s music is Bass the musical manifestations of these changes and apparent from the start, imitative passages worked Donald Greig Rob Macdonald conflicts necessarily reflected this. -
Josquin Des Prez Discography
Josquin des Prez Discography Compiled by Jerome F. Weber This discography of Josquin des Prez (Josquin Lebloitte dit des Prez, formerly cited as Josquin Desprez or Josquin des Près and alphabetized under D, J or P), compiled by Jerome F. Weber, adopts the format of the Du Fay discography previously posted on this website. It may be noted that at least three book titles since 2000 have named him simply “Josquin,” bypassing the spelling problem. Acknowledgment is due to Pierre-F. Roberge and Todd McComb for an exhaustive list of records containing Josquin’s music in www.medieval.org/emfaq. It incorporates listings from the work of Sydney Robinson Charles in Josquin des Prez: A Guide to Research (Garland Composer Resource Manuals, 1983) and Peter Urquhart in The Josquin Companion (ed. Richard Sherr, Oxford, 2000), which continued where Charles left off. The last two lists each included a title index. This work has also used the following publications already incorporated in the three cited discographies. The 78rpm and early LP eras were covered in discographic format by The Gramophone Shop Encyclopedia of Recorded Music (three editions, 1936, 1942, 1948) and The World’s Encyclopaedia of Recorded Music (three volumes, 1952, 1953, 1957). James Coover and Richard Colvig compiled Medieval and Renaissance Music on Long-Playing Records in two volumes (1964 and 1973), and Trevor Croucher compiled Early Music Discography from Plainsong to the Sons of Bach (Oryx Press, 1981). The Index to Record Reviews compiled by Kurtz Myers (G. K. Hall, 1978) provided useful information. Michael Gray’s classical-discography.org has furnished many details. -
Some Notes on the Reception of Josquin and of Northern Idioms in Portuguese Music and Culture*
Some Notes on the Reception of Josquin and of Northern Idioms in Portuguese Music and Culture* João Pedro d’Alvarenga From Robert Stevenson’s contribution to the 1971 Josquin Festival-Conference we learn that the majority of the surviving evidence concerning Josquin’s impact in the Iberian Peninsula and particularly in Portugal dates from the late 1530s and 1540s onwards.1 By then, thanks to his reputation, Josquin had become a symbol in Portuguese humanistic culture and, as Kenneth Kreitner puts it in a recent article, he had turned into ‘a kind of obsession’ for Spanish musicians and patrons.2 Yet (again in Kreitner’s words) ‘during his own lifetime, if the extant sources are any indication, Josquin seems to have been regarded in Spain as just one composer among many’.3 The main surviving collection of Portuguese sources of polyphony dating from the first half of the sixteenth century consists of just five manuscript volumes, all originating from the Augustinian monastery of Santa Cruz in Coimbra (Coimbra, Biblioteca Geral da Universidade MM 6, MM 7, MM 9, MM 12, and MM 32).4 The manuscripts transmit Spanish, northern, and local repertories. According to Owen Rees, they were all compiled from around 1540 to the mid-1550s. Most of the pieces in Coimbra MM 12, apparently the oldest member of the group, can be related to the Spanish court. Coimbra MM 6 includes no northern composers.5 Other important, coeval Portuguese extant sources of different provenance are: – Ms. CIC 60 in the National Library of Portugal [Lisbon CIC 60]: a small songbook of unknown origin containing both sacred and secular Iberian repertories. -
Unifying Elements in the Masses of Josquin Des Prez Honolulu
Unifying Elements in the Masses of Josquin des Prez by Jason Paulk Editor's note: This article is based on analysis of three representative masses until Josquin's death in 1521 at Conde, a presentation made at the Research will illuminate the performance possibili Poster Session in Los Angeles at the ties of this vast body of choral repertoire, 2005 ACDA National Convention. while also making the process of analyz The topic is based on research ing Renaissance music more palatable that the author undertook during and less intimidating by relaying some doctoral studies at the University of formal compositional processes that are Oklahoma. representative in choral music of the era. Deeper understanding will ensure that the conductors experience more in-depth and he primary purpose of the informed analysis, more efficient listen present research is to survey ing experiences, and ultimately, stron the unifying elements in the ger and more effective performances. masses of Josquin des Prez, Specifics about Josquin des Prez's and to determine how these techniques life and compositions are often debated Honolulu Symphony are employed to unify movements within among musicologists. It is generally Chorus and Orchestra the masses and unify each mass as an agreed upon, however, that Josquin's entire process. While it is impossible compositional output can .be divided Karen Kennedy to survey the entire output of Josquin's into three periods. Macey describes the Festival Artistic Director masses in the scope of this column, early period as spanning from 1450 until unifying elements employed throughout around 1485, just before Josquin's entry 2006 March 26 - April 2 CLOSED his musical output will be highlighted into the Papal Chapel in Rome.