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English Madrigal School
THE ENGLISH MADRIGAL SCHOOL Transcribed, Scored and Edited by REV. EDMUND HORACE FELLOWES M.A., Mus.Bac, Oxon. VOL. V. ORLANDO GIBBONS First Set of MADRIGALS AND MOTETS OF FIVE PARTS (Published in 1612) LONDON: STAINER AND BELL, LTD., 58, BERNERS STREET, OXFORD STREET, W. 1914 THE^ENGLISH MADRIGAL SCHOOL. LIST OF SUBSCRIBERS To VOLUMES V.-VIII. Dr. Guido Adler, Proressor of Musical Research in Percy C. Buck, Esq., Mus.Doc, Professor of Music in Vienna University. Trinity College, Dublin ; Director of Music, Harrow W. G. Alcock, Esq., M.V.O., Mus.Doc, Organist and School. Composer to His Majesty's Chapels Royal. F. C. Butcher, Esq., Mus.Bac, Organist and Music B, C. Allchin, Esq., Organist of Hertford College, Master, Hoosac School, New York, U.S.A. Oxford. L. S. R. Byrne, Esq. Hugh P. Allen, Esq., Mus.Doc, Choragus of Oxford University, Organist and Fellow of New College, Capt. Maurice Caillard. Oxford. Sir Vincent H. P. Caillard. The Right Hon. Viscount Alverstone, G.C.M.G., Cardiff University College Library. D.C.L., formerly Lord Chief Justice of England. F. Clive Carey, Esq. (2 copies). E. Amphlett, Esq. Rev. T. B. Carter. W. Anstice, Esq. Sir Francis Champneys, Bart., M.D. Mrs. Argles. The City Glee Club. Godfrey E. P. Arkwright, Esq. J. B. Clark, Esq. Miss Marian Arkwright, Mus. Doc. Rev. Allan Coates. Frl. Amaiie Arnheim. Mrs. Somers V. Cocks. Franck Arnold, Esq. H. C. Colles, Esq., Mus.Bac. Miss R. Baines. The Hon. Mrs. Henn Collins. E. L. Bainton, Esq. Mrs. A. S. Commeline. E. C. -
LCSH Section L
L (The sound) Formal languages La Boderie family (Not Subd Geog) [P235.5] Machine theory UF Boderie family BT Consonants L1 algebras La Bonte Creek (Wyo.) Phonetics UF Algebras, L1 UF LaBonte Creek (Wyo.) L.17 (Transport plane) BT Harmonic analysis BT Rivers—Wyoming USE Scylla (Transport plane) Locally compact groups La Bonte Station (Wyo.) L-29 (Training plane) L2TP (Computer network protocol) UF Camp Marshall (Wyo.) USE Delfin (Training plane) [TK5105.572] Labonte Station (Wyo.) L-98 (Whale) UF Layer 2 Tunneling Protocol (Computer network BT Pony express stations—Wyoming USE Luna (Whale) protocol) Stagecoach stations—Wyoming L. A. Franco (Fictitious character) BT Computer network protocols La Borde Site (France) USE Franco, L. A. (Fictitious character) L98 (Whale) USE Borde Site (France) L.A.K. Reservoir (Wyo.) USE Luna (Whale) La Bourdonnaye family (Not Subd Geog) USE LAK Reservoir (Wyo.) LA 1 (La.) La Braña Region (Spain) L.A. Noire (Game) USE Louisiana Highway 1 (La.) USE Braña Region (Spain) UF Los Angeles Noire (Game) La-5 (Fighter plane) La Branche, Bayou (La.) BT Video games USE Lavochkin La-5 (Fighter plane) UF Bayou La Branche (La.) L.C.C. (Life cycle costing) La-7 (Fighter plane) Bayou Labranche (La.) USE Life cycle costing USE Lavochkin La-7 (Fighter plane) Labranche, Bayou (La.) L.C. Smith shotgun (Not Subd Geog) La Albarrada, Battle of, Chile, 1631 BT Bayous—Louisiana UF Smith shotgun USE Albarrada, Battle of, Chile, 1631 La Brea Avenue (Los Angeles, Calif.) BT Shotguns La Albufereta de Alicante Site (Spain) This heading is not valid for use as a geographic L Class (Destroyers : 1939-1948) (Not Subd Geog) USE Albufereta de Alicante Site (Spain) subdivision. -
University" Microfilms International 300 N
The music of Cuthbert Hely in Cambridge, Fitzwilliam music ms. 689 Item Type text; Thesis-Reproduction (electronic) Authors Cockburn, Brian, 1963- 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 27/09/2021 06:38:47 Link to Item http://hdl.handle.net/10150/276717 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. -
Gibbons US 6/8/06 11:30 AM Page 16
557681 bk Gibbons US 6/8/06 11:30 AM Page 16 1 Prelude ™ The First Song of Moses (Gibbons arr. A. Pitts) [Song 1] 0:46 (Gibbons arr. A. Pitts) [Song 1] 2:07 2 A Song of Joy / Christmas Day £ Lord, who by Thy Resurrection (Gibbons arr. A. Pitts) [Songs 47/46] 3:34 (A. Pitts) 1:05 GIBBONS 3 The Song of Angels ¢ The Song of Hannah (Gibbons arr. A. Pitts) [Song 34] 0:45 (Gibbons arr. A. Pitts) [Song 4] 2:14 4 Interlude ∞ The Song of Deborah (Gibbons) [Song 13] 0:23 (Gibbons arr. A. Pitts) [Song 3] 2:21 Hymns and Songs of the Church 5 Thine for ever! § O Lord Most High (A. Pitts) 1:29 (Richard James Pitts) 2:40 6 Amen 0:17 ¶ Amen 0:19 7 The First Canticle • Veni Creator TONUS PEREGRINUS (Gibbons arr. A. Pitts) [Song 9] 2:23 (Gibbons arr. A. Pitts) [Song 44] 2:28 8 The Fifth Canticle ª St Matthias (Gibbons arr. A. Pitts) [Song 13] 2:47 (Gibbons arr. A. Pitts) [Song 67] 0:57 9 The Sixth Canticle º Veni Creator (Gibbons arr. A. Pitts) [Song 14] 4:11 (Gibbons arr. A. Pitts) [Song 44] 1:08 0 The Tenth Canticle ⁄ We are of Thee (Gibbons arr. A. Pitts) [Song 18] 1:30 (Gibbons arr. A. Pitts) [Song 1] 1:40 ! Thy way, not mine ¤ Hark, my soul! (John Michael Pitts) 2:02 (A. Pitts) 2:07 @ Amen 0:18 ‹ Amen 0:20 # There is a green hill far away › Come unto Me (A. -
Direction 2. Ile Fantaisies
CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
NPR ISSUES/PROGRAMS (IP REPORT) - March 1, 2021 Through March 31, 2021 Subject Key No
NPR ISSUES/PROGRAMS (IP REPORT) - March 1, 2021 through March 31, 2021 Subject Key No. of Stories per Subject AGING AND RETIREMENT 5 AGRICULTURE AND ENVIRONMENT 76 ARTS AND ENTERTAINMENT 149 includes Sports BUSINESS, ECONOMICS AND FINANCE 103 CRIME AND LAW ENFORCEMENT 168 EDUCATION 42 includes College IMMIGRATION AND REFUGEES 51 MEDICINE AND HEALTH 171 includes Health Care & Health Insurance MILITARY, WAR AND VETERANS 26 POLITICS AND GOVERNMENT 425 RACE, IDENTITY AND CULTURE 85 RELIGION 19 SCIENCE AND TECHNOLOGY 79 Total Story Count 1399 Total duration (hhh:mm:ss) 125:02:10 Program Codes (Pro) Code No. of Stories per Show All Things Considered AT 645 Fresh Air FA 41 Morning Edition ME 513 TED Radio Hour TED 9 Weekend Edition WE 191 Total Story Count 1399 Total duration (hhh:mm:ss) 125:02:10 AT, ME, WE: newsmagazine featuring news headlines, interviews, produced pieces, and analysis FA: interviews with newsmakers, authors, journalists, and people in the arts and entertainment industry TED: excerpts and interviews with TED Talk speakers centered around a common theme Key Pro Date Duration Segment Title Aging and Retirement ALL THINGS CONSIDERED 03/23/2021 0:04:22 Hit Hard By The Virus, Nursing Homes Are In An Even More Dire Staffing Situation Aging and Retirement WEEKEND EDITION SATURDAY 03/20/2021 0:03:18 Nursing Home Residents Have Mostly Received COVID-19 Vaccines, But What's Next? Aging and Retirement MORNING EDITION 03/15/2021 0:02:30 New Orleans Saints Quarterback Drew Brees Retires Aging and Retirement MORNING EDITION 03/12/2021 0:05:15 -
Let the Heavens Rejoice!
April 27, 2018 April 28, 2018 April 29, 2018 St. Noel Church Lakewood Congregational Church Plymouth Church UCC LET THE HEAVENS REJOICE! Concert de Simphonies (1730) – Jacques Aubert (1689–1753) Ouverture – Menuets – Gigues Sarabande – Tambourins – Chaconne In convertendo – Jean-Philippe Rameau (1683–1764) Récit: In convertendo (Owen McIntosh) Choeur: Tunc repletum est gaudio Duo: Magnificavit Dominus (Elena Mullins, Jeffrey Strauss) Récit: Converte Domine captivitatem nostram (Strauss) Choeur dialogué: Laudate nomen Dei (Sarah Coffman) Trio: Qui seminant in lacrimis (McIntosh, Mullins, Strauss) Choeur: Euntes ibant et flebant INTERMISSION Conserva me (1756) – Louis-Antoine Lefebvre (1700–1763) Owen McIntosh, tenor Salve Regina à trois choeurs and basse continue – Marc-Antoine Charpentier (1643–1704) Quire Cleveland Venite exultemus (1743) – Jean-Joseph Cassanea de Mondonville (1711–1772) Récit et choeur: Venite exultemus (Mullins, Coffman) Récit: Quoniam Deus Magnus Dominus (Strauss) Récit: Quoniam ipsius est mare (Strauss) Récit: Venite adoremus (Mullins) Récit: Quia ipse est Dominus (Mullins) Récit et choeur: Hodie si vocem (Coffman) Récit: Sicut in exacerbatione (McIntosh) Récit: Quadraginta annis proximus fui (McIntosh) Duo et choeur: Gloria patri (Coffman, Mullins) Quire Cleveland (Ross Duffin, Artistic Director) Les Délices (Debra Nagy, Artistic Director) Scott Metcalfe, Guest Conductor Heartfelt thanks to Charlotte & Jack Newman and Donald W. Morrison for their generous sponsorship of this program. 2017/2018 SEASON anniversaries HELP YOUR and FAVORITE ARTS farewells ORGANIZATION Martin Kessler MUSIC DIRECTOR AS A VOLUNTEER! OPPORTUNITIES INCLUDE: Event Support MAESTRO’S FINAL CONCERT October 15th May 14th at 8pm December 10th Artist Host February 4th Maltz Performing Arts Center at the Temple-Tifereth Israel March 18th Sponsored By Case Western Ambassador Reserve Department of Music Admin. -
The Renaissance Period
The Renaissance Period The Renaissance, which literally means “rebirth” in French, saw movement and change in many different spheres of cultural activity as Europe began to rediscover and identify with its Greco-Roman heritage. The natural sciences (in particular astronomy) began advancing at a rapid pace, and some philosophers began to discuss secular humanism as a valid system. The discovery of the American continents by European navigators resulted in the first widespread speculations of international law and began a crisis of consci ence over human rights that would haunt the West for centuries to come. In particular, however, the Renaissance is remembered for a great a flourishing of the Arts. Secular instrumental music (for early instruments like shawms, crumhorns, and sackbuts) became increasingly popular during this period and composers began to write it down for the first time. The polyphonic madrigal became very popular in England thanks to composers like John Dowland and William Byrd. The motet, a three-part polyphonic composition written for voices or instruments, became popular around this time as well. Despite the increase in secularism, it was still within a religious context that the Renaissance arts truly thrived. Renaissance popes (corrupt as they were) were great patrons of such artists as Michelangelo, Raphael, and Gianlorenzo Bernini. Composers of church music expanded polyphony to six, eight, or even ten interwoven parts. The masses of Giovanni Pierluigi da Palestrina, Tomás Luis de Victoria, and Orlando di Lasso in particular remain some of the most beautiful music ever composed. This polyphonic style was also used by the French composer Josquin des Prez, who wrote both sacred and secular music. -
Organ Faculty: Marilyn Mason, "The Well·Tempered Chorister" by Passacaglia and Fugue in C Minor
THE DIAPASON AN INTERNATIONAL llONTllLl' DEVOTED TO TIlE ORGAN AND THE INTERESTS OF ORGANISTS Sixly-third rt"ar. Nrl. 10 - WI/cle No. i54 SEPTEMHER. 19;2 S"llScript;ollS $4.00 n )'t'ar - 40 cellI! tJ copy University of Iowa Dedicates New Facilities N~chthorn .. fl. The 5Ccond studio organ \\'~5 built Prinzillal 2 h. hf the Moller Organ Company in 1971. "oll£.lole 2 h. The 2i-SIOp. 3-manual instrumcnt has Sc:squiahera II 2% h . Kleinmhtur III I (t. electro· pneumatic key and stop action. Zimhel III y. re. al!d the manual compa5S is 61 noles. Duq ian l ti h. It ill Mollcr'!! opus 10500. Oboe 8 ft. The new Caso\'onl organ in Clapp R,citol Ha:l. KI:.rine -I It. GREAT T U:mui;Ult Ilrill1ipal 8 h. PEDAL Rnhrflnle 8 h. Prinzillal 16 ft. Ocla\·c" h. Subbass 16 It. Dnllblelle 2: h . The School or Music of the Unh'crsity The llIain case contains the Hauptwcrk Okla,· 8 ft . Fourniturc III I ft. of IOW3, Iowa Cit)'. has IlImcd into a and Sthwellwcrk, the Pedal didsion be· Rohrpomlllrr B ft. Sordlln 16 ft. (POIili\') multi-million dollar cOlllpl c: x consisting ing dh'idcd in two cases at each side Cllnralbus .. ft. SWELL of a new Music Building. CIOlPP Recilal o£ the main case £om'ard on the org:tn Rnhr"lrife -I ft. Unurdon 8 fl. Hall, ami Hancher Auditorium. plat£orm. The manual compass is 56 Nachlhorn 2 ft. Sal:cinnal 8 ft. The organ department, which "rof. -
CHAN 0686 BOOK.Qxd 22/5/07 3:06 Pm Page 2
CHAN 0686 Front.qxd 22/5/07 3:04 pm Page 1 CHAN 0686 CHACONNE CHANDOS early music CHAN 0686 BOOK.qxd 22/5/07 3:06 pm Page 2 Elisa is the fayrest Quene 1 Suite of five Galliards 7:51 Galliard I, by Estienne du Tertre (fl. mid-16th century): ‘Galliarde Première’ from Septième Livre de Danceries (Paris, 1557) – Lebrecht Collection Lebrecht Galliard II, by Anonymous, from the Lumley Collection (mid-16th century) – Galliard III, by Pierre Attaingnant (c. 1494–1551/52), from Second Livre de Danceries (Paris, 1547) – Galliard IV, by Anonymous, from the Lumley Collection (mid-16th century) – Galliard V, by Claude Gervaise (fl. 1540–1560): ‘Fin de Galliard’ from Sixième Livre de Danceries (Paris, 1555) Richard Thomas, Rachel Brown, Philip Dale, Adam Woolf, Adrian France, Kathryn Cok; Elizabeth Pallett, Raf Mizraki Edward Johnson (fl. 1572–1601) For the Elvetham entertainment, 1591 2 Elisa is the fayrest Quene, Verse 1 1:08 Stephen Wallace; Richard Thomas, Philip Dale, Adam Woolf, Adrian France, Kathryn Cok 3 Come againe, sweet Nature’s treasure 1:50 Stephen Wallace, Timothy Massa; Philip Dale, Adam Woolf, Adrian France 4 Elisa is the fayrest Quene, Verse 2 1:10 Stephen Wallace; Richard Thomas, Philip Dale, Adam Woolf, Adrian France, Kathryn Cok William Byrd (c. 1540–1623) 5 Fantasia (‘A Lesson of Voluntarie’) 5:21 Title page of John Dowland’s ‘First Booke of Songes Richard Thomas, Rachel Brown, Philip Dale, Adam Woolf, Adrian France, or Ayres’, 1597 Kathryn Cok 3 CHAN 0686 BOOK.qxd 22/5/07 3:06 pm Page 4 John Dowland (?1563–1626) Francis Cutting (before 1571–1596) From The First Booke of Songes or Ayres of fowre partes 10 Divisions on ‘Walsingham’ 3:12 (London, 1597) Elizabeth Pallett 6 Come again, sweet love doth now invite 4:46 Stephen Wallace, Timothy Massa, Julian Podger, Robert McDonald; Antony Holborne (?1545–1602) Richard Thomas, Philip Dale, Adam Woolf, Adrian France; Elizabeth Pallett From Pavans, Galliards, Almains, and other short Aeirs both Robert Parsons (c. -
Guide to the Dowd Harpsichord Collection
Guide to the Dowd Harpsichord Collection NMAH.AC.0593 Alison Oswald January 2012 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: William Dowd (Boston Office), 1958-1993................................................ 4 Series 2 : General Files, 1949-1993........................................................................ 8 Series 3 : Drawings and Design Notes, 1952 - 1990............................................. 17 Series 4 : Suppliers/Services, 1958 - 1988...........................................................