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June 2015 Broadside

T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff.
Conference Abstracts

Society for Seventeenth-Century Music A SOCIETY DEDICATED TO THE STUDY AND PERFORMANCE OF 17THCENTURY MUSIC Abstracts of Presentations at the Fifth Annual Conference 1013 April 1997, Florida State University, Tallahassee Index of Presentations Program and Abstracts Program Committee Index of Presentations: Candace Bailey, A Reassessment of Matthew Locke's Keyboard Suites Gregory Barnett, Corrente da piedi, Corrente da orecchie: Two Faces of the Sonata da camera Jennifer Williams Brown, "Innsbruck, ich muss dich lassen": Tracing Orontea's Footprints Joanna Carter, Selle as Music Tutor: A Model for Music Education at Lateinschulen in Northern Germany Stewart Carter, Instructions for the Violin from an Overlooked Source: Bartolomeo Bismantova's Compendio musicale (1677) Tim Carter, ReReading Poppea: Some Thoughts on Music and Meaning in Early Seventeenth Century Italian Opera Georgia Cowart, Carnival, Commedia dell'arte and the Paris Opéra in the Late Years of the Sun King Michael Robert Dodds, Transposition in OrganChoir Antiphony in the Mid and Late Seicento Frederick K. Gable, Eine so viel als die Andere: Rhythm and Tempo in SeventeenthCentury German Chant Beth L. Glixon, Vettor Grimani Calergi as Consumer and Patron of Opera Akira Ishii, ReEvaluation of Minoriten 725 as a Source for the Works of Johann Jacob Froberger YouYoung Kang, Revisiting SeventeenthCentury Counterpoint Kathryn Lowerre, The Sweets of Peace: Reconstructing and Interpreting Europe's Revels (London, 1697) Stephen R. Miller, On the Significance of 'Stile antico' Catherine Moore, Thundering Vortex: The 1631 Eruption of Vesuvius Commemorated in Madrigal Poetry Christopher Mossey, Characteristics of Roles and the Role of Character in Librettos by Giovanni Faustini Janet Pollack, Parthenia: The "Maydenhead of Musicke" as an Epithalamion Kerala J.
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland

United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al.
Winged Feet and Mute Eloquence: Dance In

Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera Author(s): Irene Alm, Wendy Heller and Rebecca Harris-Warrick Source: Cambridge Opera Journal, Vol. 15, No. 3 (Nov., 2003), pp. 216-280 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3878252 Accessed: 05-06-2015 15:05 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3878252?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal. http://www.jstor.org This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CambridgeOpera Journal, 15, 3, 216-280 ( 2003 CambridgeUniversity Press DOL 10.1017/S0954586703001733 Winged feet and mute eloquence: dance in seventeenth-century Venetian opera IRENE ALM (edited by Wendy Heller and Rebecca Harris-Warrick) Abstract: This article shows how central dance was to the experience of opera in seventeenth-centuryVenice.
Antonio Cesti L’Orontea Saturday, June 2 – Tuesday, June 5, 2018 Studebaker Theater | Chicago, Illinois Dear Friends

Antonio Cesti L’Orontea Saturday, June 2 – Tuesday, June 5, 2018 Studebaker Theater | Chicago, Illinois Dear Friends, Thank you for joining us as we close out our 7th season with Antonio Cesti’s sitcom opera L’Orontea. We hope that our performances will help restore this witty masterpiece to its rightful place alongside the works of Monteverdi and Cavalli. We are thrilled to have world famous countertenor Drew Minter join us both as a stage director and as Aristea for this production. Sarah JHP Watkins joins our creative team as stage designer. It is our pleasure to welcome mezzo soprano Emily Fons in her Haymarket debut in the title role of Orontea. New to HOC are also Kimberly Jones as Amore/Tibrino and Addie Hamilton as Filosofia/Giacinta. Dan Bubeck makes his Haymarket stage debut as Corindo after his beautiful performances as Stradella’s St. John the Baptist in our first Lenten Oratorio concerts in 2016. As a repertory company, we are so fortunate to regularly feature such fine Chicago artists as Sarah Edgar, Scott Brunscheen, Nathalie Colas, Ryan de Ryke, and Dave Govertsen. We extend a special welcome to virtuoso lutenist Nigel North who joins our Venetian-style orchestra. The whirlwind of activity behind the scenes is almost as operatic as one of our productions. Haymarket is growing! We continue to receive generous financial support from the Angell Family Foundation, the Richard H. Driehaus Foundation, the Elizabeth F. Cheney Foundation, the Department of Cultural Affairs and Special Events, and the Gaylord and Dorothy Donnelley Foundation. We are excited to announce a new two-year $20,000 “Innovation Grant” from Opera America, generously funded by the Ann and Gordon Getty Foundation.
Early Music Instruments on Permanent Loan to EMSQ from QUT Enquiries

Early Music Instruments on permanent loan to EMSQ from QUT Enquiries about hiring instruments should be directed to Michael Yelland - email [email protected], mobile 0404 072 209 Monthly Item Maker's marks EMSQ Code Comments rental Deposit Viols Bass viol Inside label "Geoff Wills Lota 1973" BV1 $30 $120 Bass viol Inside label "Geoff Wills 1979" BV2 $30 $120 Tenor viol Inside label "Geoff Wills 1980" TeV1 $30 $120 Treble viol Inside label "Geoff Wills 1983" TrV1 $30 $120 Treble viol Geoff Wills 1976 TrV2 $30 $120 Bass viol Geoff Wills BV3 $30 $120 Tenor viol Geoff Wills - no label TeV2 $30 $120 Bass viol Geoff Wills BV4 $30 $120 Sopranino recorders Sopranino recorder Aulos Snino1 $10 $40 Not available Sopranino recorder Aulos Snino2 $10 $40 Not available Descant recorders Descant recorder Moeck SR1 Renaissance style, three joints $20 $80 Not available Descant recorder Hohner SR2 Baroque style, plastic rings, three joints $20 $80 Descant recorder Hohner SR3 Baroque style, plastic rings, three joints $20 $80 Descant recorder Moeck SR4 Baroque style, ivory rings, three joints $20 $80 Descant recorder Dolmetsch SR5 Baroque style. TJ16572, MJ16572, TJBJ16577 $10 $40 Not available Treble recorders Treble recorder Dolmetsch AR1 Baroque style, ivory mouthpiece $20 $80 Treble recorder Hohner AR2 Plastic rings, has been recorked $20 $80 Treble recorder AR3 Plastic rings, has been recorked, chips off bottom Hohner joint $20 $80 Treble recorder Moeck AR4 Ivory rings $20 $80 Treble recordeer Moeck AR5 Renaissance style, brass rings, flared
Martha Jane Gilreath Submi Tted As an Honors Paper in the Iartment Of

A STTJDY IN SEV CENT1 CHESTRATIO>T by Martha Jane Gilreath SubMi tted as an Honors Paper in the iartment of Jiusic Voman's College of the University of Xorth Carolina Greensboro 1959 Approved hv *tu£*l Direfctor Examining Committee AC! ' IKTS Tt would be difficult to mention all those who have in some way helped me with this thesis. To mention only a few, the following have mv sincere crratitude: Dr. Franklyn D. Parker and members of the Honors -fork Com- mittee for allowing me to pursue this study; Dr. May ". Sh, Dr. Amy Charles, Miss Dorothy Davis, Mr. Frank Starbuck, Dr. Robert Morris, and Mr, Robert Watson for reading and correcting the manuscript; the librarians at Woman's College and the Music Library of the University of North Carolina through whom I have obtained many valuable scores; Miss Joan Moser for continual kindness and help in my work at the Library of the University of North Carolina; mv family for its interest in and financial support of my project; and above all, my adviser, Miss Elizabeth Cowlinr, for her invaluable assistance and extraordinary talent for inspiring one to higher scholastic achievenent. TAm.E OF COKTB 1 1 Chapter I THfcl 51 NTURY — A BACKGROUND 3 Chapter II FIRST RUB OR( 13 Zhapter III TT*rn: fTIONS IN I] 'ION BY COMPOSERS OF THE EARLY SEVE TORY 17 Introduction of nasso Continuo 17 thods of Orchestration 18 Duplication of Instruments 24 Pro.gramatic I'ses of Scoring .25 id Alternation between Instruments. .30 Introduction of Various Instrumental devices 32 Dynamic Contrasts 32 Rowing Methods 33 Pizzicato
22. (5/8) VENICE 3 1. Exam

2 2 . ( 5 / 8 ) V E N I C E 3 1. Exam: Similar to midterm. Essay question will ask you to discuss how musical compositions are related to the culture and the (biography of the) person that produced them. 2. Squarely in the Baroque — music, art, and literature a. Literature, mainly German: Grimmelhausen (novels), Martin Opitz (poetry) 3. Other developments in Venice: a. Biagio Marini (Brescia 1594–Venice 1663) and the violin sonata i. Violinist, student of Monteverdi ii. Sonata IV per il violino per sonar con due corde (ca. 1626) iii. Seconda prattica—monody for instruments (different from Gabrielli) iv. Sections of different style and tempo, some arialike, are connected all in a row; later these will be expanded and become separate movements. v. This piece was written when Marini was away from Venice, but it was for Venice, and he first used the special technique of this piece in a composition written in Venice. b. Later Opera Composers [nice to know, not NEED to know] i. Both more enduring in their time than Monteverdi ii. [Pier] Francesco Cavalli (1602–1676) 1. Second Organist at S. Marco 2. The major opera composer after Monteverdi 3. Established an “accademie in musica” at the major theater in Venice, the Teatro S. Cassiano. 4. Tended to write one opera a year in good times. 5. Giasone (Jason) (1649) — with the wonderfully stuttering Hunchback Demo [1.vi–vii] iii. Antonio Cesti (16231669) 1. Name often given as “Marc Antonio Cesti” but is incorrect. 2. As famous as a tenor as a composer in his life.
5021524-Dbac9e-827949064661.Pdf

Prologue Luigi Rossi (1597-1653) 6 Il palazzo incantato overo La guerriera amante: 3. 22 Claudio Monteverdi (1567-1643) Prologue Vaghi rivi (La Pittura) 1 L’Orfeo: Toccata and Prologue Dal mio Permesso amato 7. 21 Premiered in Rome, Teatro delle Quattro Fontane, 1642 (La Musica) Premiered in Mantova, Palazzo Ducale, 1607 Francesco Cavalli (1602-1676) 7 L’Ormindo: Sinfonia and Prologue Non mi è Patria l’Olimpo 7. 24 Giulio Caccini (1551-1618) (L’Armonia) 2 L’Euridice: Prologue Io che d’alti sospir (La Tragedia) 3. 59 Premiered in Venice, Teatro San Cassiano, 1644 Premiered in Florence, Palazzo Pitti, 1602 Pietro Antonio Cesti (1623-1669) Francesco Cavalli (1602-1676) 8 Il Pomo d’oro, Sinfonia and Prologue Amore et Imeneo 6. 12 3 La Didone: Sinfonia and Prologue Caduta è Troia (Iride) 4. 03 (La Gloria Austriaca) Premiered in Venice, Teatro San Cassiano, 1640 Premiered in an open-air theatre in Vienna, 1668 Francesco Cavalli (1602-1676) Alessandro Stradella (1639-1682) 4 L’Eritrea: Prologue Nelle grotte arimaspe (Iride) 3. 29 9 Sinfonia a due violini e basso 6. 42 Premiered in Venice, Teatro Sant’Apollinare, 1652 Pietro Antonio Cesti (1623-1669) Stefano Landi (1587-1639) 10 L’Argia: Sinfonia e Prologo De’ gotici splendori (Amore) 5. 03 5 Il Sant’Alessio: Sinfonia and Prologue Roma son io (Roma) 9. 54 Premiered in Innsbruck’s Court Theatre, 1655 Premiered in Rome, Palazzo Barberini, 1632 Alessandro Stradella (1639-1682) il pomo d’oro 11 Prologo per musica. La Pace incatenata che dorme, 9. 19 si risveglia e dice: Con meste luci Enrico Onofri first violin (Marco Minnozzi, Ravenna 2016) Premiered in Rome, [?] 1668 Alfia Bakieva second violin (Eriberto Attili, Rome 2010) Maria Cristina Vasi viola (Franz Josef Knitl, Mittenwald 1795) Alessandro Scarlatti (1660-1725) Ludovico Minasi cello (Eriberto Attili, Rome 2011), gamba (Marco Nuñez Rodriguez, Sevilla 2009) 12 Gli equivoci in amore, o vero La Rosaura: 7.
475255 2.Pdf

This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The Chamber Duets of Agostino Steffani (1654-1728), with Transcriptions and Catalogue. Timms, C. R The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 175 9 THE TEXTS OP STEFFNI'S DUETS The first consideration in the study of alnxst any type of vocal music should be the text • After looking at this separately, one should be in a position to see why the music is in its present form, to distinguish between the contributions of the composer and poet and to point out eys in which they may have collaborated.
How to Shop the Catalog

How to Shop the Catalog Click on the musical instrument title or picture to quick link to it’s location in the online store. a season for giving F WINTER COLLECTION Like the skills needed to create these handcrafted musical instruments, these gifts will be passed from generation to generation G MOUNTAIN DULCIMER New Design These Mountain Dulcimers are one of our brand A new designs. They feature a scroll peghead, an improved strum hollow, and arches on the underside of the fretboard for improved sound. • DMARSH4 $259 D CUTAWAY DULCIMER The CutAway Dulcimer is very similar in B appearance and sound to the standard dulcimer except it is thinner on one side. This allows it to be played “guitar style”. It can also be played in the lap position like a traditional mountain dulcimer. • DMCRT4 $259 WILDWOOD DULCIMER Fun, lightweight, and easy to play, our Wildwood C C Dulcimer has the rich sound of a mountain dulcimer with just a little bit of banjo twang. The body style of the Wildwood allows it to be played like a guitar instead of the traditional “flat in the lap” position of the mountain dulcimer. • DMW $200 • DMWFS $259 BOWED PSALTERY The Bowed Psaltery creates an ethereal and D mysterious sound. This zither’s ancestry dates back to the ancient lyre, but the modern derivation is less than 100 years old. • PSSRR $170 • PSARR $229 • PSBRR $289 KANJIRA H E A South Indian frame drum, the traditional Kanjira E was made using skin of the now endangered Monitor Lizard. The 7” Skyndeep lizard graphic drum head creates a similar look and feel.
Society for Seventeenth-Century Music Twelfth Annual Conference

Society for Seventeenth-Century Music A SOCIETY DEDICATED TO THE STUDY AND PERFORMANCE OF 17TH-CENTURY MUSIC Twelfth Annual Conference La Jolla, California 1517 April 2004 ABSTRACTS OF PRESENTATIONS * Index of presentations * Abstracts * Program Committee Index of Presentations Antonia L. Banducci (University of Denver), “Staging Music: The Dramatic Role of Preludes and Ritournelles in French Baroque Opera” Gregory Barnett (Rice University), “Church Music, Musical Topoi, and the Ethos of the Sonata da chiesa” Grey Brothers (Westmont College) and the Westmont Chamber Singers, “The Polyphonic Passion in Mexico City: The Passio secundum Mattheum of Antonio Rodríguez de Matta (d. 1643)” Michele Cabrini (Princeton University), “From the Visual to the Aural: Tempête and the Power of Instrumental Sound in the French Cantata” Stuart Cheney (Goucher College), ”Transcriptions for Solo Viol of the Music of Jean- Baptiste Lully” Michael R. Dodds (Southern Methodist University), “Plainchant at Florence Cathedral in the Late Seicento: Unwritten Sharps and Shifting Concepts of Tonal Space” David Dolata (Eastern Washington University), “Bellerofonte Castaldi’s Extraordinary Capricci a due stromenti” Don Fader (Indiana University), “Marin Mersenne and the French View of Musical Rhetoric” Alex Fisher (University of British Columbia), “Approaching Music and Religious Identity in Early Modern Germany: Sacred Music in Augsburg during the Thirty Years’ War" Wendy Heller (Princeton University), “I pianti d’Apollo: Desire, Melancholy, and the Power of Song”