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Paper for Tivoli
Edinburgh Research Explorer Giovanni Maria Nanino and the Roman confraternities of his time Citation for published version: O'Regan, N 2008, Giovanni Maria Nanino and the Roman confraternities of his time. in G Monari & F Vizzacarro (eds), Atti e memorie della Società Tibertina di storia e d’arte: Atti della Giornata internazionale di studio, Tivoli, 26 October 2007. vol. 31, Tivoli, pp. 113-127. Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Atti e memorie della Società Tibertina di storia e d’arte Publisher Rights Statement: © O'Regan, N. (2008). Giovanni Maria Nanino and the Roman confraternities of his time. In G. Monari, & F. Vizzacarro (Eds.), Atti e memorie della Società Tibertina di storia e d’arte: Atti della Giornata internazionale di studio, Tivoli, 26 October 2007. (Vol. 31, pp. 113-127). Tivoli. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 GIOVANNI MARIA NANINO AND THE ROMAN CONFRATERNITIES OF HIS TIME NOEL O’REGAN, The University of Edinburgh Giovanni Maria Nanino was employed successively by three of Rome’s major institutions: S. -
Il 6 Nazioni. All’Olimpico
IL 6 NAZIONI. ALL’OLIMPICO. ITALIA VS FRANCIA 3 FEBBRAIO ITALIA VS GALLES 23 FEBBRAIO ITALIA VS IRLANDA 16 MARZO © 2012 adidas AG. adidas, the 3-Bars logo and the 3-Stripes mark are registered trademarks of the adidas Group. trademarks registered mark are and the 3-Stripes logo adidas, the 3-Bars © 2012 adidas AG. l’italia del rugby veste adidas Indossa la nuova maglia ufficiale della Nazionale Italiana di Rugby e fai sentire la tua voce su vocidelrugby.com adidas.com M0203_150x210_MediaGuide_AD_Mischia.indd 1 15/01/13 14:31 INDICE Il saluto del Presidente . 2 Il saluto del Presidente del CONI . 4 Il saluto del Sindaco di Roma . 5 La Federazione Italiana Rugby . 6 Il calendario del 6 Nazioni 2013 . 7 Gli arbitri del 6 Nazioni 2013 . 8 La storia del Torneo . 9 L’Albo d’oro del Torneo . 11 Il Torneo dal 2000 ad oggi . 13 I tabellini dell’Italia nel 6 Nazioni . 26 Le avversarie dell’Italia Francia . 38 Scozia . 40 Galles . 42 Inghilterra . 44 Irlanda . 46 Italia . 48 Lo staff azzurro . 50 Il gruppo azzurro . 57 Statistiche . 74 Programma stampa Nazionale Italiana . 84 Gli alberghi dell’Italia . 86 Contatti utili . 86 Calendario 6 Nazioni 2013 Femminile . 88 Le Azzurre e lo Staff . 89 Calendario 6 Nazioni 2013 Under 20 . 92 Gli Azzurrini e lo Staff . 93 media guide 2013 1 Il saluto del Presidente E’ per me un grande piacere rivolgere un caloroso saluto, a nome mio personale e di tutta la Federazione Italiana Rugby, al pubblico, agli sponsor, ai media che seguiranno gli Azzurri nel corso dell’RBS 6 Nazioni 2013. -
EARLY MUSIC NOW with SARA SCHNEIDER Broadcast Schedule — Winter 2019
EARLY MUSIC NOW WITH SARA SCHNEIDER Broadcast Schedule — Winter 2019 PROGRAM #: EMN 18-27 RELEASE: December 24, 2018 Gaudete! Music for Christmas This week's program features Christmas music from several centuries to help get you in the holiday spirit, with hymns and carols by Michael Praetorius and Johannes Brassart, a Christmas concerto by Francesco Manfredini, and a traditional German carol sung by Emma Kirkby. Other performers include La Morra and the Gabrieli Consort and Players. PROGRAM #: EMN 18-28 RELEASE: December 31, 2018 To Drive the Cold Winter Away This week, Early Music Now presents songs to usher out the old year, and welcome the new; plus ditties and dances to bring some cheer to the cold winter days! Our performers include Pomerium, Ensemble Gilles Binchois, and The Dufay Collective. PROGRAM #: EMN 18-29 RELEASE: January 7, 2019 La Serenissima The 16th century Venetian School influenced composers all over Europe- from the polychoral masterpieces of Gabrieli to the innovative keyboard music of Merulo. We'll also hear selections from the Odhecaton: the earliest music collection printed using movable type, published by Petrucci in Venice in 1501. PROGRAM #: EMN 18-30 RELEASE: January 14, 2019 Music at the court of Emperor Maximilian I Maximilian I of Austria employed some of the finest artists and musicians of his time to glorify his reign and create a permanent legacy. He was known for wanting music in his environment constantly, even when he was alone. We'll hear from the composers who served him, like Isaac and Senfl, plus some of the music that shaped his young adulthood at the Burgundian court. -
To Download Press
BIO - GRAPHY Tapestry Tapestry made its debut in Jordan Hall with a performance of Steve Reich’s Cristi Catt, soprano, has performed with Tehillim, deemed “a knockout” by The Boston Globe. The trademark of the leading early music groups including En- Boston-based vocal ensemble is combining medieval repertory and contem- semble PAN, Revels, Boston Camerata porary compositions in bold, conceptual programming. Critics hail their rich and La Donna Musicale. Her interest in the distinctive voices, their “technically spot-on singing” and their emotionally meeting points between medieval and folk charged performances. The LA Times writes “They sing beautifully separately traditions has led to research grants to Por- and together with a glistening tone and precise intonation” and The Cleve- tugal and France, and performances with land Plain Dealer describes Tapestry as “an ensemble that plants haunting HourGlass, Le Bon Vent, Blue Thread, and vibrations, old and new, in our ears.” Most recently, Tapestry has expanded their repertoire to include works of impression- ists including Debussy, Lili Boulanger and Vaughan Williams for a US tour in celebra- tion of the 100-year anniversary of World War One Armistice, culminating with a per- formance at the National Gallery in Wash- ington DC. Their newest program, Beyond Borders, builds on their impressionistic discoveries and expands to works of Duke Ellington, Samuel Barber, and Leonard Ber- nstein programmed with early music and folk songs. Concert appearances include the Utrecht Early Music and -
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. -
Download/Autori C/ Rmcastagnetti-Bonifica.Pdf)
QUELLEN UND FORSCHUNGEN AUS ITALIENISCHEN ARCHIVEN UND BIBLIOTHEKEN BAND 93 QFIAB 93 (2013) QFIAB 93 (2013) QUELLEN UND FORSCHUNGEN AUS ITALIENISCHEN ARCHIVEN UND BIBLIOTHEKEN HERAUSGEGEBEN VOM DEUTSCHEN HISTORISCHEN INSTITUT IN ROM BAND 93 DE GRUYTER QFIAB 93 (2013) Redaktion: Alexander Koller Deutsches Historisches Institut in Rom Via Aurelia Antica 391 00165 Roma Italien http://www.dhi-roma.it ISSN 0079-9068 e-ISSN 1865-8865 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2014 Walter de Gruyter GmbH, Berlin/Boston Druck: Hubert & Co. GmbH & Co. KG, Göttingen ? Gedruckt auf säurefreiem Papier Printed in Germany www.degruyter.com QFIAB 93 (2013) V INHALTSVERZEICHNIS Jahresbericht 2012 .................. VII–LXIII Michael Borgolte, Carlo Magno e la sua colloca- zione nella storia globale . ............... 1–26 Marco Leonardi, Gentile Stefaneschi Romano O. P. (†1303) o Gentile Orsini? Il caso singolare di un Domenicano nel Regnum Siciliae tra ricostruzione storica e trasmissione onomastica .......... 27–48 Brigide Schwarz, Die Karriere Leon Battista Alber- tis in der päpstlichen Kanzlei . .......... 49–103 Christiane Schuchard, Die Rota-Notare aus den Diözesen des deutschen Sprachraums 1471–1527. Ein biographisches Verzeichnis . .......... 104–210 Heinz Schilling, Lutero 2017. Problemi con la sua biografia . ....................... 211–225 Andrea Vanni, Die „zweite“ Gründung des Theati- nerordens . ....................... 226–250 Alessia Ceccarelli, Tra sovranità e imperialità. Genova nell’età delle congiure popolari barocche (1623–1637) ....................... 251–282 Nicola D’Elia, Bottais Bericht an den Duce über seine Deutschlandreise vom September 1933 . -
PMMS Josquin Des Prez Discography June 2021
Josquin des Prez Discography Compiled by Jerome F. Weber This discography of Josquin des Prez (Josquin Lebloitte dit des Prez), who has been indexed as Josquin Desprez, Des Près, and Pres, 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. David Fallows offered many valuable suggestions. -
Aftennatb.:Ofassisi • • • • • •• Dom Ermin Vitry
Aftennatb.:ofAssisi ••••• •• Dom Ermin Vitry Plamsol1gRhythm •••••• Dam Gregory Murray VOLUME 84, NO. 1 FEBRUARY, 1957 ~5 CAECILIA Published four times a year, February, May, August and November. Application for second-class privileges is pending at Omaha, Nebr. Subscription price-$3.00 per year; $.5.00 for two years. All articles for publication must be in the hands of the editor, P. O. Box 1012, Omaha 1, Nebraska, 30 days before month of publication. Business Manager: Norbert Letter Change of address should be sent to the circulation manager: Paul Sing, P. O. Box 1012, Omaha 1, Nebraska Postmaster: Form 3579 to Caecilia, P. O. Box 1012, Omaha 1, Nebr. TABLE OF CONTENTS Editorials -------------- --- --- ---_- --- -_-- ----_____________ _____ ____ _______ ____ ____ __ ________________ _ 5 Plainsong Rhythm-Dom Gregory Murray, O.S.B.--________________________________ 10 The Music Collections of the Vatican Library-Rev. Richard Schuler____ 25 Aftermath of Assisi-Dom Ermin Vitry, O.S.B.-_______________________________________ 29 Modern Music: Let's Face It!-Fidelis Smith, O.F.M.______________________________ 32 Ramblings of a Church Organist-Paul Koch____________________________________________ 44 Materials for the Restored Holy Week Ceremonies- Rev. Richard Schuler -_ _ 48 Music at Grailville-Eleanor Walker ---- --- --- _--- -- - - ---- 51 Shepherd's Hey and Alleluya-Sheila Kaye Smith____________________________________ 54 Little Litany for the Marian Year-C. C. Gould________________________________________ 55 Review (Masses) --------------------------------------------------------____________________________________ -
The News Magazine of the University of Illinois School of Music from the Dean
WINTER 2012 The News Magazine of the University of Illinois School of Music From the Dean On behalf of the College of Fine and Applied Arts, I want to congratulate the School of Music on a year of outstanding accomplishments and to WINTER 2012 thank the School’s many alumni and friends who Published for alumni and friends of the School of Music at the University of Illinois at Urbana-Champaign. have supported its mission. The School of Music is a unit of the College of Fine and Applied Arts at the University of Illinois at Urbana-Champaign and has been an accredited institutional member of the National While it teaches and interprets the music of the past, the School is committed Association of Schools of Music since 1933. to educating the next generation of artists and scholars; to preserving our artistic heritage; to pursuing knowledge through research, application, and service; and Karl Kramer, Director Joyce Griggs, Associate Director for Academic Affairs to creating artistic expression for the future. The success of its faculty, students, James Gortner, Assistant Director for Operations and Finance J. Michael Holmes, Enrollment Management Director and alumni in performance and scholarship is outstanding. David Allen, Outreach and Public Engagement Director Sally Takada Bernhardsson, Director of Development Ruth Stoltzfus, Coordinator, Music Events The last few years have witnessed uncertain state funding and, this past year, deep budget cuts. The challenges facing the School and College are real, but Tina Happ, Managing Editor Jean Kramer, Copy Editor so is our ability to chart our own course. The School of Music has resolved to Karen Marie Gallant, Student News Editor Contributing Writers: David Allen, Sally Takada Bernhardsson, move forward together, to disregard the things it can’t control, and to succeed Michael Cameron, Tina Happ, B. -
Celebrate a Medieval Christmas with the Boston Camerata
Anne Azéma, Artistic Director Joel Cohen, Music Director Emeritus December 1, 2011 FOR IMMEDIATE RELEASE Please contact Tim Alexander at [email protected] or 617-272-2092 for further information. "A Medieval Christmas," absent for many years from the Boston area, now returns for four performances this Christmas season in New England. Directed by Anne Azema, the performances are December 10 (8 pm) at Boston's Old West Church; December 11 (3:30 pm) at First Parish Church in Newbury; December 17 (8 pm) in Lexington's Hancock United Methodist Church; and December 20 (8 pm) at First Church of Cambridge. Union College in Schenectady has engaged the Camerata for an additional performance there on December 18. "Away with scholastic debate and with the coldness of rectitude: Let the light and awe from some of the most magnificent medieval pieces pour in, the energy of a young group of performers combined with the sheer fun of the seasonal feast," in the words of artistic director Anne Azema. "Enjoy these performances, which are drawn from a vast medieval trove that includes some of the most beautiful music ever produced in Europe." Audiences will hear magnificent medieval song and poetry from France, Provence, England, and Germany, performed by a virtuoso consort of voices and instruments. The Boston area is truly blessed to be the home of a world-famous early-music ensemble. The Boston Camerata began touring overseas in 1974, and in the summer of 2011 it reached new heights, with combined audiences for tours in France, Germany, Belgium, Holland, and Finland exceeding 15,000. -
Program Notes Machaut
ABOUT THE MACHAUT MASS by Anne Azéma Program and Production Notes for the upcoming March 29 and March 30 performances Amherst and Cambridge, Ma. The present production of the epoch-making “Messe de Notre Dame” by Guillaume de Machaut (c.1300–77) was the result of a 2011 commission to The Boston Camerata by the Reims Music Festival. The mission confided to us then was to reconsider and reconceive Machaut’s masterpiece, the earliest known polyphonic setting of the mass Ordinary from the hand of a single composer, in honor of the 800th anniversary of the glorious Reims Cathedral. That is the place where Canon Machaut’s music was almost certainly first performed. These 2013 performances in Amherst and Cambridge mark the North American première of that Reims production, a significant milestone both in the history of the Cathedral and of our ensemble. As it is with history’s appreciation of the Reims cathedral itself—a building successively neglected, adored, altered, partially destroyed, rebuilt and restored—our views of medieval musical art in general and of Machaut’s achievement in particular have changed and evolved greatly over the generations. During the Enlightenment and into the earlier nineteenth century, medieval music (or what little was known of it) was generally considered to be crude and primitive. Ever since the earliest transcriptions of medieval polyphony by later nineteenth-century musical paleographers began to circulate, a reappraisal began, and in Machaut’s case appreciation for his musical art has never ceased to grow and progress. His place as one of the greatest composers in music history is now virtually unchallenged, and even his prolific literary output, for so long relegated to the second rank, is now undergoing positive reevaluation. -
PMMS L'homme Arme' Masses Discography
Missa L’homme armé Discography Compiled by Jerome F. Weber This discography of almost forty Masses composed on the cantus firmus of L’homme armé (twenty- eight of them currently represented) makes accessible a list of this group of recordings not easily found in one place. A preliminary list was published in Fanfare 26:4 (March/April 2003) in conjunction with a recording of Busnoys’s Mass. The composers are listed in the order found in Craig Wright, The Maze and the Warrior (Cambridge and London: Harvard University Press, 2001), p. 288; the list is alphabetical within broad eras. In particular, he discusses Du Fay (pp. 175ff.), Regis (pp. 178ff.), the Naples Masses (pp. 184ff.), and Josquin des Prez (pp. 188ff.). Richard Taruskin, “Antoine Busnoys and the L’Homme armé Tradition,” Journal of AMS, XXXIX:2 (Summer 1986), pp. 255-93, writes about Busnoys and the Naples Masses, suggesting (pp. 260ff.) that Busnoys’s Mass is the earliest of the group and that the Naples Masses are also by him. Fabrice Fitch, Johannes Ockeghem: Masses and Models (Paris, 1997, pp. 62ff.), suggests that Ockeghem’s setting is the earliest. Craig Wright, op. cit. (p. 175), calls Du Fay’s the first setting. Alejandro Planchart, Guillaume Du Fay (Cambridge, 2018, p. 594) firmly calls Du Fay and Ockeghem the composers of the first two Masses, jointly commissioned by Philip the Good in May 1461. For a discussion of Taruskin’s article, see Journal of AMS, XL:1 (Spring 1987), pp. 139-53 and XL:3 (Fall 1987), pp. 576-80. See also Leeman Perkins, “The L’Homme armé Masses of Busnoys and Okeghem: A Comparison,” Journal of Musicology, 3 (1984), pp.