Violone Barbie Tens Ail!
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Baroque-Heading-Towards-Rococo Piece Is a Great Addition a Cantata with a Pair of Horns That Is Not Too Taxing for the to the Catalogue
Early Music Review EDITIONS OF MUSIC Barbare) for the 10 Ordinary masses are given with critical annotations xcvii-cxiv. Adding a translation to a volume Palestrina: Le messe dei Gonzaga. already weighing 6 or 7 lbs. was not feasible, but a volume with ‘only’ 463 pages of music separate from another of clvii Musiche della cappella di Santa Barbara pages could have provided also in English translation the in Mantova sections about Guglielmo, Palestrina and the compositional Ed. Ottavio Beretta (Vol. IV: Messe di Giovanni Pierluigi style of the masses! da Palestrina) Beretta opted to include the entire correspondence LIM, 2016, pp. clviii + 470. between Palestrina and Guglielmo in a 30-page appendix, ISBN 9788870968163 €100 after which he discusses what the instructions and intentions of Guglielmo were. Both respected the orders hese 12 polyphonic alternatim masses (alternating of the Council of Trent and thereby produced a type of monodic with polyphonic choruses, the monodic mass that the Vatican also desired to have for occasions of Tplainchant by solo, organ, or unison chorus or the highest solemnity, where a second choir replaced the soloists), commissioned by the court of Mantua between organ. Palestrina therefore asked Guglielmo for permission 1568 and 1579, are the only ones written for a liturgy (willingly granted) to use the Mantuan plainchant repertory different from Rome’s by Palestrina and his only masses in Rome. In its variants and rewritings it respected the unity composed between 1575 and 1581. They are of remarkable of mode in each piece, with the finalis and repercussion at the quality and well documented, yet ‘lost’ and unknown until beginning and end of every verse, filled in wide skips with 1950. -
Compact Discs / DVD-Blu-Ray Recent Releases - Spring 2017
Compact Discs / DVD-Blu-ray Recent Releases - Spring 2017 Compact Discs 2L Records Under The Wing of The Rock. 4 sound discs $24.98 2L Records ©2016 2L 119 SACD 7041888520924 Music by Sally Beamish, Benjamin Britten, Henning Kraggerud, Arne Nordheim, and Olav Anton Thommessen. With Soon-Mi Chung, Henning Kraggerud, and Oslo Camerata. Hybrid SACD. http://www.tfront.com/p-399168-under-the-wing-of-the-rock.aspx 4tay Records Hoover, Katherine, Requiem For The Innocent. 1 sound disc $17.98 4tay Records ©2016 4TAY 4048 681585404829 Katherine Hoover: The Last Invocation -- Echo -- Prayer In Time of War -- Peace Is The Way -- Paul Davies: Ave Maria -- David Lipten: A Widow’s Song -- How To -- Katherine Hoover: Requiem For The Innocent. Performed by the New York Virtuoso Singers. http://www.tfront.com/p-415481-requiem-for-the-innocent.aspx Rozow, Shie, Musical Fantasy. 1 sound disc $17.98 4tay Records ©2016 4TAY 4047 2 681585404720 Contents: Fantasia Appassionata -- Expedition -- Fantasy in Flight -- Destination Unknown -- Journey -- Uncharted Territory -- Esme’s Moon -- Old Friends -- Ananke. With Robert Thies, piano; The Lyris Quartet; Luke Maurer, viola; Brian O’Connor, French horn. http://www.tfront.com/p-410070-musical-fantasy.aspx Zaimont, Judith Lang, Pure, Cool (Water) : Symphony No. 4; Piano Trio No. 1 (Russian Summer). 1 sound disc $17.98 4tay Records ©2016 4TAY 4003 2 888295336697 With the Janacek Philharmonic Orchestra; Peter Winograd, violin; Peter Wyrick, cello; Joanne Polk, piano. http://www.tfront.com/p-398594-pure-cool-water-symphony-no-4-piano-trio-no-1-russian-summer.aspx Aca Records Trios For Viola d'Amore and Flute. -
En Atendant and Cesena
BAM 2013 Next Wave Festival #EnAtendant #Cesena Brooklyn Academy of Music Alan H. Fishman, Karen Brooks Hopkins, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Adam E. Max, Vice Chairman of the Board En Atendant Cesena Choreography by Choreography by Anne Teresa De Keersmaeker Anne Teresa De Keersmaeker Rosas Musical direction by Björn Schmelzer Rosas and graindelavoix BAM Howard Gilman Opera House Oct 19 & 20 at 2pm BAM Howard Gilman Opera House Approximate running time: one hour and 35 minutes; Oct 19 & 20 at 7:30pm no intermission Approximate running time: one hour and 50 minutes; Concept by Anne Teresa De Keersmaeker no intermission Created with and performed by Rosas Set design by Michel François Concept by Anne Teresa De Keersmaeker & Costume design by Anne-Catherine Kunz Björn Schmelzer Created with and performed by Rosas and graindelavoix Set design by Ann Veronica Janssens Costume design by Anne-Catherine Kunz BAM 2013 Next Wave Festival sponsor Major support for dance at BAM provided by: The Harkness Foundation for Dance The SHS Foundation En Atendant | Cesena En Atendant, at Cloître des Célestins, Avignon. Photo: Anne Van Aerschot EN Atendant AND CESENA In En Atendant and Cesena Anne Teresa De Keersmaeker takes a new step in her exploration of the relationship between music and dance. The choice of Ars Subtilior is linked with an invitation by the Avignon theater festival to make a piece for la Cour d’Honneur, the main courtyard of the Palais des Papes. The music of Ars Subtilior evokes the history of the city of Avignon and the Papal Schism. -
ORLANDO DI LASSO MADRIGALE 1587, .-.-,, .I "*H.- (MERMANN-MADRIGALE)!&@%-.~-Jqz~ DIE GRUPPE FUR ALTE MUSIK MARTIN ZOBELEY ORLANDO DI LASSO Ca
ORLANDO DI LASSO MADRIGALE 1587, .-.-,, .i "*h.- (MERMANN-MADRIGALE)!&@%-.~-Jqz~ DIE GRUPPE FUR ALTE MUSIK MARTIN ZOBELEY ORLANDO DI LASSO ca. 1532-1594 MADRIGALE (MERMANN-MADRIGALE) Niimberg 1587 11 grave dell' ed [4:53] Chi non sa (2. pars: Alma tu) instrumental Vedi l'aurora [1:44] (2. pars: Ma quel, ch'una instrumental sol volta) El Piii volte un be1 desio [4:03] Per aspro mar (2. pars: Hor a cantar) (2. pars: Non hanno) Come pianta [3:30] (3. pars: Errai) (2. pars: Perche qual) (4. pars: Ma quel gran) iI iI Ben sono i premi tuoi [5:28] (5. pars: Cosi quel) (2. pars: Poi che si grand) (6. pars: 0 voi, gia) Bl Canzon, la doglia [2:04] Ecco che pur vi lasso Che giova posseder [3:28] instrumental kl Cosi cor mio [2:27] IE Deh lascia anima instrumental Tanto t quel bene Dl Veggio se a1 vero [4:34] (2. pars: puro bene) (2. pars: Alhor mi desto) Hor ch'a l'albergo Eil Arse la fiamma [1:50] h4 Prendi l'aurata lira instrumental W 0 hgace dolcezza Chi t fermato [1:27] Signor, le colpe mie Total Time: 68:03 Gambenensemble: @@ CONCERTO DI VIOLE, BASEL 8 + 0 1994 Freiburger Musik Forum Aufnahme&i&ng/Recording supmision: Brian Franklin, Diskantgarnbe Bernhard Mahne Friederike Heumann, Altgambe Toningenieur/Bakznce engineer: Robert Schneider Sophie Watillon, Baflgambe Schnitt/Editing @ Tape-Mastning: Robert Schneider und Bernhard Mahne Brigitte Gasser, BaBgambe Digitale Aufnahme- und SchneidetcchniW Arno Jochem, Grofl-BaBgambe Digital technical equipment: Tonstudio Bernhard Mahne, Diessen a. A. Aufcnommen/Recordrd: 19.-21.1.1994, SchloB Dachau Titelbild/Front cover picture: Blaserensemble: Portrait Orlando di Lassos aus: Codex 18.744 (Collectio operum musicorum ecclesiastico~m, CORNETTI CON CREMA, mCH Stimme IV (Bassus), fol. -
Album Booklet
The Excellency of Hand English Viola da Gamba Duos Robert Smith Paolo Pandolfo S10186 E R Christopher Simpson (c. 1605-1669) John Jenkins The Excellency of Hand 1. Divisions for Two Viols in G major, VdGS 28 [6:29] 15. Divisions on a Ground in G minor, VdGS 23 [4:02] English Viola da Gamba Duos 2. Prelude No. 2 in D minor [0:18] Simon Ives 16. Ayre for Two Bass Viols No. 2 [2:46] John Jenkins (1592-1678) 3. Divisions on a Ground in D major, VdGS 21 [4:19] Robert Smith (b. 1980) 17. Prelude in A minor [0:59] Christopher Simpson Robert Smith & Paolo Pandolfo violas da gamba 4. Prelude No. 5 in A minor [1:00] Christopher Simpson 18. Division for Two Viols in A minor, VdGS 25 [3:52] John Jenkins 5. Divisions on a Ground in A minor, VdGS 19 [5:47] John Jenkins 19. Air with Divisions in C major, VdGS 12 [5:48] 6. Divisions on a Ground in C major, VdGS 13 [4:56] 20. Ayre for Bass Viols and Basso Continuo Simon Ives (1600-1662) in D minor, VdGS 32 [3:21] 7. Ayre for Two Bass Viols No. 1 [2:50] Christopher Simpson Christopher Simpson 21. Prelude No. 3 in F major [0:35] 8. Prelude No. 4 in F major [0:16] 22. Division for Two Viols in F major, VdGS 27 [5:26] 9. Division for Two Viols in F major, VdGS 26 [3:07] John Jenkins Total playing time [73:52] About Robert Smith: 10. -
Impassibile Infiammato
Impassibile Infiammato a journey around Satie by and with Andrea Pandolfo - trumpet, flugelhorn, voice Paolo Pandolfo - electroacoustic viola da gamba, voice Michelangelo Rinaldi - accordion, piano, toy piano Impassibile Infiammato (Impassive in Flames) takes its name from Erik Satie’s surreal and scathing agogics and expressive markings, which Ornella Volta compiled and translated into Italian in her “Quaderni di un mammifero” (“Notebooks of a mammal”) published by Adelphi, Italy. This album is a journey into the poetics of Satie, filtered through our own personal musical sensibility, as we have many years behind us of shared experimenting with sound styles, which are not at all common or mainstream. The musical material of Impassibile Infiammato is comprised of original tracks, music (and words) by Eric Satie, free improvisation and brief incursions into the baroque repertoire for the viola da gamba. Le Trois sonneries de la Rose+Croix (1892) and Sports et Divertissements (1914), were composed by Satie within a time frame spanning from the end of the nineteenth century to the beginning of World War One. These two tracks are the matrix of our own compositions and more in general they are the source of inspiration for the building and the shaping of our own artistic content and creation. These two compositions, which sometimes appear explicitly and sometimes only as a mere conceptual evocation, represent two opposed polarities, rich in compositional stimuli. The first work shows its ample scale with an abundancy of esoteric suggestions; the second work comes with its lightning brevity and its powerful inventiveness, free from language conventions. The two works also mark a polarised historical distance, which a century later comes to us full of assonances and cross-references to our lives of people of today. -
A Brief History of Time Chamber Landscapes Curated by Genevieve Lacey
A Brief History of Time Chamber Landscapes Curated by Genevieve Lacey Friday 8 – Monday 11 March UKARIA Cultural Centre 1 Welcome To be human is to make music. Australian Indigenous people have the oldest living tradition on the planet. They have been singing for millennia, their music passing through Genevieve thousands of generations of ears, hands, and hearts. In Western classical music, we speak of ‘early’ music; music from the Lacey Middle Ages to the Enlightenment. A brief history of time sets Western early music, up to a millennium old, within the time-expanding universe of Indigenous music-making, and then finds a place for us to meet in contemporary Australia. The cast of musicians for a brief history of time comes from different cultures, countries, generations and genres. They are distinguished not only by their extraordinary skill, but also by their generosity and courage as artists. We’re so glad you’re here with us, part of our conversation. Thank you for listening. March 2019 Acknowledgements This project has been assisted by Concerts & conversations will the Australian Government through be recorded by ABC Classic for the Australia Council, its arts funding delayed broadcast during the and advisory body. Easter long weekend in April. Generously supported by Leading Patron Ulrike Klein AO. Commissioned work supported by the Chamber Landscapes Commissioning Circle: Rob Brookman AM & Verity Laughton, Julian Burnside AO QC, Mark de Raad , Ulrike Klein AO, The Hon Amanda Vanstone, Sam & Margo Hill-Smith. The Adelaide Festival wishes to thank Hugh Ronzani, Paul Dyer AO and the Australian Brandenburg Orchestra, Bernard Rofe and the Australia Chamber Orchestra, and Bruce Stewart and the Adelaide Symphony Orchestra for their skilful and supportive librarianship; and Ulrike Klein AO, Alison Beare, and the staff at UKARIA. -
Duetto Für Zwei Viole Di Gamba in D Minor 7
FEUER UND BRAVOUR THE VIOLA DA GAMBA AT THE COURT OF FREDERICK THE GREAT DIE VIOLA DA GAMBA AM HOFE FRIEDRICHS DES GROSSEN LA VIOLE DE GAMBE A LA COUR DE FRÉDÉRIC LE GRAND LUDWIG CHRISTIAN HESSE (1716-1772) Opera arrangements for two viola da gambas and violoncello from Zaïde, reine de Grenade by Joseph-Nicolas-Pancrace Royer 1. Ouverture 3:41 2. Lent et doux 2:10 from Le Roy et le Fermier by François-André-Danican Philidor / Pierre-Alexandre Monsigny 3. Ah! Ma Tante 2:16 GEORG ANTON BENDA (1722-1795) from Sammlung vermischter Clavierstücke I 4. Sonatina I in D Major, Rondeau. Andante 2:09 5. Sonatina II in F Major, Andantino 2:24 6. Sonatina III in A Minor, Allegro 1:52 CHRISTOPH SCHAFFRATH (1709-1763) Duetto für zwei Viole di gamba in D Minor 7. Poco allegro 6:33 8. Adagio 4:46 9. Allegro 3:43 LUDWIG CHRISTIAN HESSE Opera arrangements for two viola da gambas and violoncello from Castor et Pollux by Jean-Philippe Rameau 10. Descente de Jupiter. Majestueux 1:03 from Le Roy et le Fermier by François-André Danican Philidor / Pierre-Alexandre Monsigny 11. Andante Allegretto 1:31 from Les Fêtes d'Hébé by Jean-Philippe Rameau 12. Accourez, riante jeunesse 1:51 13. Tambourin en Rondeau 1:47 ANONYMOUS (mid-18th century) 14. Scherzando in F Major 2:42 15. Rondeau in C Major 1:48 GEORG ANTON BENDA from Sammlung vermischter Clavierstücke I 16. Sonatina IV in C Major, Mezzo allegro 2:00 17. Sonatina V in E Minor, Allegretto 1:56 18. -
Clubmediéval 'S First Public Performance Took Place in Antwerp, Belgium in the Summer of 2010, with a Programme of Music by Paolo Da Firenze
ClubMediéval 's first public performance took place in Antwerp, Belgium in the summer of 2010, with a programme of music by Paolo da Firenze. This small club of friends from across Europe, in their twenties and thirties, weave their unique musical gifts into a rich fabric of vocal and instrumental polyphony, each contributing to a process of experimentation and improvement, until they are ready to invite their audience to be enveloped into their creation. Working with Capilla Flamenca, Mala Punica, Micrologus, Graindelavoix, Concerto Italiano, Jordi Savall, Los Musicos de Su Alteza and l’Arpeggiata amongst many others, the musicians of ClubMed have come to understand that there is ‘truth’ in historically informed performance when each performer's artistic authenticity is allowed to shine forth, and 'beauty' when these different personal truths can meet. Within a spirit of openness and collaboration, the artistic leadership is provided by Thomas Baeté. On the basis of its two first concerts the ensemble has already received critical acclaim, being nominated as ‘Promising Talent of the Year 2010’ by the Flemish classical radio KLARA. ************ Thomas Baeté (°1978) trained as a choirboy and violin player in his hometown of Oostende, Belgium. Later he took up the viola da gamba as an autodidact, before studying it in Brussels and Barcelona with Wieland Kuijken, Jordi Savall and Sophie Watillon. He took masterclasses with Paolo Pandolfo. Currently, he also regularly performs on the medieval fiddle and he can be seen (and heard on recordings) performing with Mala Punica (Pedro Memelsdorff), Capilla Flamenca, Graindelavoix. Thomas was invited to play with the baroque orchestras La Petite Bande and Les Agrémens. -
Paolo Pandolfo, Viola Bastarda
Paolo Pandolfo, viola bastarda [Pierre Bohr, Milan 2016 (string length 77 cm ) 1; Pierre Bohr, Milan 2017 (string length 73 cm ) 2; anonymous, Italy 17th centur y 3; bows by Eduardo Gorr (Cremona) & Randall Cook (Basel)] Thomas Boysen, theorbo Chiara Granata, arpa doppia Amélie Chemin, lira da gamba Francesco Saverio Pedrini, organ & harpsichord La Pedrin a* Gabriel Jublin, countertenor Paolo Borgonovo, tenor Matthias Deger, tenor Raitis Grigalis, baritone Matteo Bellotto, bass Francesco Saverio Pedrini, direction Regina bastarda The virtuoso viola da gamba in Italy around 1600 01 Oratio Bassani (before 157 0- 1615) 10 Aurelio Virgiliano (fl .c.1600) Toccata per b quadr o 1 2:07 Ricercare per la viola bastard a 2 4:54 02 Giovanni Pierluigi da Palestrina (c .152 5- 1594) 11 Thomas Crecquillon (c .150 5- 1557) Vestiva i coll i* 2:43 Ung gay berge r* 1:42 03 Francesco Rognoni (after 157 0- after 1626) 12 Riccardo Rognoni Vestiva i coll i 2 4:23 Ung gay berge r 2 3:53 04 Giovanni Pierluigi da Palestrina 13 Pierre Sandrin (c .149 0- c.1561) Così le chiome (Vestiva i colli, seconda parte )* 2:29 Doulce mémoir e* 2:43 05 Oratio Bassani 14 Vincenzo Bonizzi (second half of 16th centur y- 1630) Così le chiom e 2 4:37 Doulce mémoir e 1 5:48 06 Cipriano de Rore (151 5- 1565) 15 Orlando di Lasso (153 2- 1594) Anchor che col partir e* 2:18 Susanne un jou r* 2:18 07 Riccardo Rognoni (c .155 0- 1620) 16 Oratio Bassani Anchor che col partir e 2 4:13 Susanne un jou r 2 6:32 08 Diego Ortiz (c .151 0- c.1570) Ricercata terz a 2 1:50 17 Adrian Willaert (149 0- 1562) 09 Girolamo dalla Casa (c .154 3- 1601) Jouissance vous donnera i* 2:28 Anchor che col partir e 3* 3:05 18 Vincenzo Bonizzi Jouissance vous donnera i 1 5:38 4 5 Sources 01 Oratio Bassani, in: Regole di contrapunto by Francesco Maria Bassani, 162 0- 22 (I-Bc C.85, fol.