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Recorder in Oxford Music Online Oxford Music Online
14.3.2011 Recorder in Oxford Music Online Oxford Music Online Grove Music Online Recorder article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/23022 Recorder. A woodwind instrument with a thumb-hole and (generally) seven finger-holes. It is the chief Western member of the class of duct flutes, i.e. flutes with a whistle mouthpiece, being distinguished from most other members particularly by its thumb-hole. Invented (or imported to Europe) during the Middle Ages, it was one of the most common wind instruments of the Renaissance and continued to play an important role in the Baroque. After being little used during the Classical and Romantic periods, it was resuscitated in the early 20th century and featured prominently in the early-music revival. Today it is a widely popular educational and amateur instrument and has attracted a skilled body of professionals. Recorders are made in different sizes, with compasses corresponding to different vocal ranges. There are four main instruments in use today: the descant (known in the USA as the ‘soprano’; lowest note c″); treble (in the USA ‘alto’; lowest note f′), tenor (lowest note c′) and bass ( f). Sopranino ( f″) and great bass ( c) instruments are also fairly common. The treble and tenor are written for as non-transposing instruments, but music for the sopranino, descant, bass and great bass is customarily written an octave below their sounding pitch. See also ORGAN STOP . I. The instrument 1. Nomenclature. The verb ‘to record’, meaning ‘to remember for oneself, to recall to another’, derives from the Latin recordari , ‘to remember’; thus a recorder was a rememberer or relater, such as a minstrel or, by extension, his instrument (E. -
J a N U a R Y 2 0
January 2010 Published by the American Recorder Society, Vol. LI, No. 1 • www.americanrecorder.org NEW! Enjoy the recorder Denner great bass Mollenhauer & Friedrich von Huene “The Canta great bass is very intuitive to play, making it ideal for use in recorder “The new Mollenhauer Denner orchestras and can be great bass is captivating with recommended .” its round, solid sound, stable in every register. Its key mechanism Dietrich Schnabel is comfortable and especially (conductor of recor- well designed for small hands. An der orchestras) instrument highly recommended for both ensemble and orchestral playing.” Daniel Koschitzky Canta knick great bass (member of the ensemble Spark) Mollenhauer & Friedrich von Huene G# and Eb keys enable larger finger holes and thus an especially stable sound. The recorder case with many extras With adjustable support spike … saves an incredible amount of space with the two-part middle joint … place for music … integrated recorder stand Order-No. 2646K Order-No. 5606 www.mollenhauer.com A Care and Maintenance Manual Chapter 1 - Where It All For the Recorder Started • A Brief History Your Recorder, like a pet, can "purr like a well fed pussycat, or an uncontrollable • How It Works and unpredictable beast…" • The Birth of a Recorder "This book, like the late Barbara Woodhouse, will show you how to take your recorder on walkies in respectable society and still stand proud!" Chapter 2 - Basic Training • Keeping its coat shiny • Maintaining the inner pet – cleaning the bore. • Block Cleaning • Windway Cleaning • Block Replacement Chapter 3 - Advanced Training • Recorder Voicing • Looking and Seeing Chapter 4 - Really Major Surgery • The Windway • The Labium Chapter 5 - Tuning the bore and finger holes • DYI Tuning • Diagrams for note, finger and pitch influence, bore diameter and pitch. -
29 September 2019
29 September 2019 12:01 AM Selim Palmgren (1878-1951) Cinderella (Overture) Finnish Radio Symphony Orchestra, George de Godzinsky (conductor) FIYLE 12:05 AM Giovanni Picchi (c.1571-1643) 3 Ballos - Ballo alla Polacca; Ballo Ongaro; Ballo ditto il Pichi Rinaldo Alessandrini (harpsichord) DEWDR 12:12 AM Nino Rota (1911-1979) Concerto for bassoon and orchestra Christopher Millard (bassoon), CBC Vancouver Orchestra, Mario Bernardi (conductor) CACBC 12:30 AM Giovanni Pierluigi da Palestrina (c.1590-1664) Magnificat primi toni for 4 voices Marco Beasley (tenor), Davide Livermoore (tenor), Fabian Schofrin (alto), Annemieke Cantor (alto), Daniele Carnovich (bass), Diego Fasolis (conductor) CHRTSI 12:38 AM Joseph Haydn (1732-1809) Divertimento in C major, aka London Trio No 1 (Hob.4 No 1) Carol Wincenc (flute), Philip Setzer (violin), Carter Brey (cello) GBBBC 12:47 AM Stefan Kisielewski (1911-1991) Suite from the ballet "Fun Fair" Polish Radio National Symphony Orchestra Katowice, Michal Nesterowicz (conductor) PLPR 01:00 AM Jean Sibelius (1865-1957) 13 Pieces for piano (Op.76) Eero Heinonen (piano) FIYLE 01:20 AM Antonin Dvorak (1841-1904) Symphony no 5 in F major, Op 76 Rotterdam Philharmonic Orchestra, James Conlon (conductor) NLNOS 02:01 AM Wolfgang Amadeus Mozart (1756-1791) String Quartet no.19 in C major K.456, 'Dissonance' Artis Quartet ESCAT 02:29 AM Fritz Kreisler (1875-1962) String Quartet in A minor Artis Quartet ESCAT 02:55 AM Johannes Brahms (1833-1897) String Quartet no.2 in A minor Artis Quartet ESCAT 03:25 AM Bohuslav Martinu -
Music for the Cimbalo Cromatico and the Split-Keyed Instruments in Seventeenth-Century Italy," Performance Practice Review: Vol
Performance Practice Review Volume 5 Article 8 Number 1 Spring Music for the Cimbalo Cromatico and the Split- Keyed Instruments in Seventeenth-Century Italy Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1992) "Music for the Cimbalo Cromatico and the Split-Keyed Instruments in Seventeenth-Century Italy," Performance Practice Review: Vol. 5: No. 1, Article 8. DOI: 10.5642/perfpr.199205.01.08 Available at: http://scholarship.claremont.edu/ppr/vol5/iss1/8 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]. Early Baroque Keyboard Instruments Music for the Cimbalo Cromatico and Other Split- Keyed Instruments in Seventeenth-Century Italy* Christopher Stembridge The Concept of the Cimbalo Cromatico Although no example of such an instrument is known to have survived intact, the cimbalo cromatico was a clearly defined type of harpsichord that apparently enjoyed a certain vogue in Italy during the late sixteenth and early seventeenth centuries.1 The earliest use of the term is found in the titles of two toccatas per il cimbalo cromatico included by Ascanio Mayone in his Secondo Libro di Diversi Capricci per Sonare published in Naples in 1609.2 Subsequently the term was used in publications by This is the first of three related articles. The second and third, to be published in subsequent issues of Performance Practice Review, will deal with the instruments themselves. -
CHAN 0761 Sacred Garland: Devotional Chamber Music from the Age of Monteverdi
CHAN 0761 Sacred Garland: Devotional Chamber Music from the Age of Monteverdi Nicolò Corradini (d. 1646) 1 Spargite flores 4:19 from Motetti… libro primo (Venice, 1613) Claudio Monteverdi (1567–1643) 2 Venite, sitientes ad aquas 4:09 from Seconda raccolta de sacri canti (Venice, 1624) Painting by A. Magrini © Lebrecht Music & Arts Photo Library Photo & Arts A. by Music © Lebrecht Magrini Painting Giovanni Pierluigi da Palestrina (1525 /26 –1594) 3 Pulchra es amica mea 4:34 with divisions by Francesco Rognoni (d. after 1626) from Selva di varii passaggi (Milan, 1620) Alessandro Grandi (1586 – 1630) 4 Jesu, mi dulcissime 3:20 from Motetti… con sinfonie… libro secondo (Venice, 1625) Girolamo Alessandro Frescobaldi 3 attrib. Michelangelo Rossi (c. 1602 –1656) 5 Partite sopra la Romanesca 2:43 Girolamo Alessandro Frescobaldi (1583–1643) from a MS appended to Toccate et correnti (Rome, 1657) 10 Canzona ‘La Bernardinia’ 3:03 from Il primo libro delle canzoni (Rome, 1628) Tarquinio Merula (1594/95–1665) 6 Nigra sum 3:53 Giovanni Picchi (fl. 1600 – 1625) from Il primo libro de motetti e sonate concertati (Venice, 1624) 11 Toccata 4:31 from the Fitzwilliam Virginal Book Alessandro Piccinini (1566 – c. 1638) 7 Toccata XII 2:34 Benedetto Re (fl. early 17th c.) from Intavolatura di liuto, et di chitarrone, libro primo (Bologna, 1623) 12 Tulerunt Dominum 3:19 from Sacrum cantionum (Venice, 1618) Ignatio Donati (c. 1570 –1638) 8 O gloriosa Domina 3:30 Girolamo Alessandro Frescobaldi from Flores praestantissimorum (Milan, 1626) 13 Canzona ‘La Capriola’ 3:29 from Il primo libro delle canzoni (Rome, 1628) Giovanni Battista Bovicelli (fl. -
Presenting a Comprehensive Picture of Bach's Creative Genius Is One Of
Presenting a comprehensive picture of Bach’s creative genius is one of the chief objectives of the Baldwin Wallace Bach Festival. The list that follows records works performed on Festival programs since its inception in 1933. VOCAL WORKS LARGE CHORAL WORKS BWV 232, Messe in h-moll. 1935, 1936, 1940, 1946, 1947, 1951,1955, 1959, 1963, 1967, 1971, 1975, 1979, 1983, 1985, 1989, 1993, 1997, 2001, 2005, 2007, 2011, 2015, 2019. BWV 245, Johannespassion. 1937, 1941, 1948, 1952, 1956, 1960, 1964, 1968, 1972, 1976, 1980, 1984, 1990, 1994, 1998, 2002, 2006, 2010, 2014, 2018. BWV 248, Weihnachts-Oratorium. 1938, 1942, 1949, 1953, 1957, 1961, 1965, 1969, 1973, 1977, 1981, 1986, 1991, 1995, 1999, 2003, 2009, 2013. BWV 244, Matthäuspassion. 1939, 1950, 1954, 1958, 1962, 1966, 1970, 1974, 1978, 1982, 1987, 1992, 1996, 2000, 2004, 2008, 2012. BWV 243, Magnificat in D-Dur. 1933, 1934, 1937, 1939, 1943, 1945, 1946, 1950, 1957, 1962, 1968, 1976, 1984,1996, 2006, 2014. BWV 249, Oster-Oratorium. 1962, 1990. MOTETS BWV 225, Singet dem Herrn ein neues Lied. 1940, 1950, 1957, 1963, 1971, 1976, 1982, 1991, 1996, 1999, 2006, 2017, 2019. BWV 226, Der Geist hilft unsrer Schwachheit auf. 1937, 1949, 1956, 1962, 1968, 1977, 1985, 1992, 1997, 2003, 2007, 2019. BWV 227, Jesu, meine Freude. 1934, 1939, 1943, 1951, 1955, 1960, 1966, 1969, 1975, 1981, 1988, 1995, 2001, 2005, 2019. BWV 228, Fürchte dich nicht, ich bin bei dir. 1936, 1947, 1952, 1958, 1964, 1972, 1979, 1995, 2002, 2016, 2019. BWV 229, Komm, Jesu, komm. 1941, 1949, 1954, 1961, 1967, 1973, 1992, 1993, 1999, 2004, 2010, 2019. -
Rafael Puyana Will Present a Program of Baroque Music for the Harpsichord in La Jolla on May 5
Rafael Puyana will present a program of Baroque music for the harpsichord in La Jolla on May 5 April 26, 1962 Rafael Puyana, young musician of South America, will present a program of Baroque music for the harpsichord in La Jolla Saturday night, May 5. Puyana will appear at Sherwood Hall, Art Center in La Jolla, under the auspices of the University of California's All-University Concert Series, at 8:30 p.m. He will play an instrument specially built to his specifications by Pleyel of Paris. The program will include "Sarabande Grave en Rondeau," by Gaspard Le Roux (166o-1710), "Branie Gay," by Jean Baptiste Besard (1567-c.1625), "Tombeau de M. de Blancrocher," by Louis Couperin (c.1626-1661), "Musette de Choisi," by Francois Couperin (1668-1733), "Pavana Dolorosa," by Peter Philips (c.156o-1628), "The King's Hunt," by John Bull, "Concerto in D Minor," by J. S. Bach (1685-1750), "Balli d'Arpicordo (Venice, 1621)," by Giovanni Picchi, and two sonatas by Domenico Scarlatti (1685-1757). Tickets for the event are $1.00 for students, $2-50 general admission. They are on sale at the Art Center, at University Extension in downtown San Diego, and on the San Diego campus. Born in Bogota, Colombia, Puyana developed a special love for the music of the early composers and longed to play it on the harpsichord for which it was written, although he had never heard or seen the instrument. It was not until he entered the New England Conservatory of Music in Boston that he touched the keys of a harpsichord for the first time, and it was instantly apparent that his was a genuine affinity for the instrument. -
Chamber Music of the Seventeenth Century
CHAMBER MUSIC OF THE SEVENTEENTH CENTURY The seventeenth century, particularly the first few decades, was a time of great creativity in music. A large amount of challenging, experimental and virtuosic music was produced during this time, especially in Italy, by such musicians as Dario Castello, Francesco Turini, Biagio Marini, Giovanni Battista Buonamente and others. All titles published as score and parts. CS1 GIOVANNI BATTISTA RICCIOC,a nzone (1620-1), for recorder (violin, CS12 MARCO UCCELLINI, Two Sonatas from Op, .for 4 soprano instrument, cornetto) and continuo. This is one of the very few early seventeenth-century bass instrument and continuo.£4.00 pieces to actually specify recorder. £3.00 CS13 MARCO UCCELLINI, Aria Undecima sopra il Caporal Sim, foron two CS2 GIOVANNI BATTISTA RICCIOC, anzone (1612) for two recorders soprano instruments and continuo. A very lively set of variations on a popular (violins, cornetts) and continuo. Like the above piece, originally scored for tune. £3.50 recorders. £3.50 CS14 SALAMONE ROSSI, Sonata sopra Aria del Tenor di Na,p foroli 2 CS3 GIOVANNI BATTISTA RICCIO, TwoC anzoni for recorder, bass soprano instruments and continuo.£3.50 instrument (dulcian, trombone, cello, bassoon) and continuo. In one of these pieces fagotto (i.e. dulcian ) is specified for the lower part. £4.50 CS15 BIAGIO MARINI, Passacali foro three or four instruments with continuo. A slowish number on a ground bass pattern: it has some wonderful harmonic CS4 SALAMONE ROSSI, Four Sonatas from thQeu arto Libro for two high crunches.£3.50 instruments and continuo. This selection contains two slow expressive pieces, and two lively ones based on dance tunes, including the famous CS16 BIAGIO MARINI, Three Sinfonias from Op, .for 1 soprano instrument, Bergamasca.£6.00 bass instrument and continuo.£3.50 CS5 SALAMONE ROSSI, Sonata sopra l’Aria di Ruggi,e forro two high CS17 DARIO CASTELLO, Two Sonata fors solo soprano instrument and instruments and continuo. -
CHAN 0670 Front.Qxd 9/7/07 11:53 Am Page 1
CHAN 0670 Front.qxd 9/7/07 11:53 am Page 1 CHAN 0670 CHANDOSCHACONNE CHANDOS early music CHAN 0670 BOOK.qxd 9/7/07 11:54 am Page 2 Capriccio stravagante, Volume 2 Alessandro Stradella (1644 –1682) 1 Sinfonia 17 7:07 two violins, bass violin and organ Lebrecht Music Collection Music Lebrecht Giovanni Battista Vitali (1632 –1692) 2 Passagallo primo from ‘Varie partite del passemezo, ciaccona, capricij, e passagali, a tre’, Op. 7 2:13 two violins, bass violin and harpsichord Michelangelo Rossi (1601/2 –1656) 3 Toccata decima from ‘Toccate e corenti d’intavolatura d’organo e cimbalo’ (Rome, c. 1634) 5:53 organ Biagio Marini (c. 1587–1663) 4 Canzon seconda from ‘Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, gagliarde, & retornelli’, Op. 8 2:46 violin, two violas, bass violin and organ Dario Castello (1590 –1644) 5 Sonata sesta from ‘Sonate concertate in stil moderno, Title page of the third printing of libro secondo’ 4:59 Salamone Rossi’s Terzo libro (1623) violin, trombone, organ and chitarrone 3 CHAN 0670 BOOK.qxd 9/7/07 11:54 am Page 4 Girolamo Frescobaldi (1583–1643) Girolamo Frescobaldi 6 Balletto, Corrente del Balletto and Passacagli from 11 Canzon terza from ‘Canzoni da sonare, libro primo’ 3:17 ‘Toccate d’intavolatura di cimbalo et organo, libro two violins, bass violin and organ primo’ (Rome, 1637) 1:47 harpsichord Giovanni Battista Vitali 12 Capriccio sopra dodici figure from Op. 7 3:00 Biagio Marini two violins, bass violin and organ 7 Sonata septima sopra A voi dò vinto il cor from Op. -
Dario Castello's Music for Sackbut
DARIO CASTELLO’S MUSIC FOR SACKBUT: THE SONATE CONCERTATE IN STIL MODERNO (1629) Jason M. Hausback, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2013 APPROVED: Jan Kagarice, Major Professor Tony Baker, Committee Member Eugene Corporon, Committee Member John Holt, Director of the Division of Instrumental Studies John Murphy, Interim Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Hausback, Jason M. Dario Castello’s Music for Sackbut: The Sonate Concertate in Stil Moderno (1629). Doctor of Musical Arts (Performance), May 2013, 56 pp., 13 examples, 1 table, references, 56 titles. Dario Castello’s Sonate concertate in stil moderno is a collection of 29 trio sonatas in two volumes, with 10 of them employing the sackbut. These works represent a significant repertoire for the sackbut in an era where specific instrumentation was only starting to become a convention. While these pieces are often studied, performed and recorded in Europe, most American trombonists are not aware of their existence. This study seeks to acquaint the American trombonist with the sonatas of Castello and to provide performance suggestions for those less familiar with this genre. Chapter 1 presents a survey of the current literature on Castello. Chapter 2 provides an historical background for music in Venice in the early 17th century, while Chpater 3 focuses on the composer and his music for sackbut. Chapter 4 investigages the sonata in early 17th century Venice. Chapter 5 provides an insight into early baroque performance practice by discussing principles such as affect, tempo, ornamentation, diminution and articulation. -
The Trombone in A: Repertoire and Performance
THE TROMBONE IN A: REPERTOIRE AND PERFORMANCE TECHNIQUES IN VENICE IN THE EARLY SEVENTEENTH CENTURY by BODIE JOHN PFOST A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2015 THESIS APPROVAL PAGE Student: Bodie John Pfost Title: The Trombone in A: Repertoire and Performance Techniques in Venice in the Early Seventeenth Century This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Music and Dance by: Marc Vanscheeuwijck Chairperson Margret Gries Member Henry Henniger Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2015 ii © 2015 Bodie John Pfost CC-BY-NC-SA iii THESIS ABSTRACT Bodie John Pfost Master of Arts School of Music and Dance December 2015 Title: The Trombone in A: Repertoire and Performance Techniques in Venice in the Early Seventeenth Century Music published in Venice, Italy in the first half of the seventeenth century includes a substantial amount specifying the trombone. The stylistic elements of this repertoire require decisions regarding general pitch, temperament, and performing forces. Within the realm of performing forces lie questions about specific instrument pitch and compositional key centers. Limiting this study to repertoire performed and published in approximately the first half of the seventeenth century allows a focus on specific performance practice decisions that underline the expressive elements of the repertoire. -
Recercare, Vol. XXVII (1-2) 2015
Recercare , XXVII /1 - 2 (2015) T ABLE OF CONTENTS Articles Lucia Marchi , For whom the fire burns: m edieval images of Saint Cecilia and music Bonnie J. Blackburn, Making lutes in Quattrocento Venice: Nicolò Sconvelt and his German colleagues Marco Di Pas quale, Giovanni Gabrieli, un consorzio fra orga nisti, due compagnie di violini. D ocumenti inediti sull’organizzazione del lavoro musicale a Venezia nel primo Seicento Rebecca Cypess, Frescobaldi’s Toccate e partite … libro primo (1615 – 16) as a pedagogical text: a rtisanship, imagination, and the process of learning Chiara Granata, «Un’arpa grande tutta intagliata e dorata». Nuovi documenti sull’arpa Barberini Dario Pontiggia, Barberini harp. Data sheets Cory M. Gavito , Oral transmission and the productio n of guitar tablature books in seventeenth - century Italy __________ SUMMARIES L UCIA M ARCHI , For whom the fire burns. Medieval images of Saint Cecilia and music The caccia Dappoi che ’l sole by Nicolò da Perugia appears to deploy the classic metaphor of fire to represent the sudden onset of courtly love. The object of passion is a lady whose name is carefully hidden inside a numerical senhal : CICILIA . But the scene of the fire and its extinction bears a strong similarity to the martyrdom of Saint Ceci lia as described in her Passio , in which the virgin remains unharmed by the flames of a Roman bath: thus, I argue that the piece celebrates not a woman, but a saint. This blend of meanings – a sacred theme disguised in the secular form of the Italian cacc ia – raises two hermeneutical issues.