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Reinhard Keiser (1674-1739) Markuspassion Passion Selon Saint Marc - St Mark Passion
ENSEMBLE JACQUES MODERNE Gli Incogniti - Amandine Beyer Jan Kobow ténor - Thomas e. Bauer basse - Joël Suhubiette direction Jan Kobow ténor (Evangelist) Thomas E. Bauer basse (Jesus) Ensemble Jacques Moderne Anne Magouët soprano (arias et Magd) David Erler alto (arias et Hohepriester) Stephan Van Dyck ténor (arias et Petrus) Guilhem Terrail alto (Judas, Kriegsknecht) Gunther Vandeven alto (Hauptmann) Olivier Coiffet ténor (Pilatus) Cécile Dibon soprano Cyprile Meier soprano Marc Manodritta ténor Didier Chevalier basse Christophe Sam basse Pierre Virly basse Gli Incogniti Amandine Beyer violon 1 Alba Roca violon 2 Marta Páramo alto 1 Ottavia Rausa alto 2 Francesco Romano théorbe Marco Ceccato violoncelle Baldomero Barciela violone Anna Fontana orgue et clavecin Mélodie Michel basson Antoine Torunczyk hautbois Joël Suhubiette direction TRACKS 2 PLAGES CD REINHARD KEISER (1674-1739) Markuspassion Passion selon Saint Marc - St Mark Passion De récentes recherches musicologiques permettent de penser que la « Markuspassion » n’est pas l’œuvre de Reinhard Keiser, essentiellement pour des raisons stylistiques. En revanche, l’attribution à un autre compositeur du XVIIème siècle tel que Nicolaus Bruhns ou Gottfried Keiser, le père de Reinhard Keiser, n’est pas encore avérée et cette question reste donc à ce jour non élucidée. Recent musicological research tends to suggest that the Markuspassion is not the work of Reinhard Keiser, essentially for stylistic reasons. However, it has not yet proved possible to attribute it positively to any other contemporary composer, such as Nicolaus Bruhns, or to Gottfried Keiser, Reinhard’s father, and so its paternity is currently uncertain. Die Ergebnisse jüngster musikwissenschaftlicher Forschungen lassen, vor allem aus stilistischen Gründen, durchaus vermuten, dass Reinhard Keiser nicht der wirkliche Urheber der „Markuspassion“ ist. -
Unsung Heroines, Final Prg AB
The South African Early Music Trust (SAEMT) and Music Mundi present Unsung Heroines Celebrating Barbara Strozzi’s 400th birthday with an all-female Baroque composer’s programme Bianca Maria Meda Cari Musici (1665-1700) for solo soprano, 2 violins & bc Barbara Strozzi Le Tre Gratie (op 1, no 4) (1619-1677) for soprano trio & bc Sonetto proemio del opera: Mercè di voi (op 1, no 1) for soprano duet & bc Il Romeo: Vagò mendico il core (op 2, no 3) - for mezzo-soprano solo & bc Isabella Leonarda Sonata Decima (1620-1704) for two violins & bc Barbara Strozzi Che si può fare (op 8, no 6) for soprano solo & bc Canto di bella bocca (op 1, no 2) for soprano duet & bc – INTERVAL – Francesca Caccini Ciaccona (1587-ca.1641) for solo violin & bc Barbara Strozzi L’eraclito amoroso (op 2, no 14) for soprano solo & bc Dialogo in partenze: Anima del mio core (op 1, no 8) for soprano duet & bc La Riamata da chi Amava: Dormi, dormi (op 2, no 18) for soprano duet, two violins & bc Sino alla morte (op 7, no 1) Cantata for soprano solo & bc Nathan Julius – countertenor, soprano Tessa Roos – mezzo-soprano Antoinette Blyth – soprano & program compilation Annien Shaw, Cornelis Jordaan – Baroque violins Vera Vuković – lute, chitarrone Jan-Hendrik Harvey – Baroque guitar Grant Brasler – virginal Hans Huyssen – Baroque cello & musical direction We thank the Rupert Music Foundation and the Gisela Lange Trust for their generous support, as well as Bill Robson for the use of his virginal. Notes on Barbara Strozzi (1619-1677) Barbara Strozzi had the good fortune to be born into a world of creativity, intellectual ferment, and artistic freedom. -
Early Music Review EDITIONS of MUSIC Here Are Thirteen Works in the Present Volume
Early Music Review EDITIONS OF MUSIC here are thirteen works in the present volume. The first two are masses by John Bedingham, while the others are anonymous mass movements (either New from Stainer & Bell T single or somehow related). Previous titles in the series have been reviewed by Clifford Bartlett, and I confess this English Thirteenth-century Polyphony is the first time I have looked at repertory from this period A Facsimile Edition by William J. Summers & Peter M. since I studied Du Fay at university! At that time I also Lefferts sang quite a lot of (slightly later) English music, so I am not Stainer & Bell, 2016. Early English Church Music, 57 completely unfamiliar with it. I was immediately struck 53pp+349 plates. by the rhythmic complexity and delighted to see that the ISMN 979 0 2202 2405 8; ISBN 978 0 85249 940 5 editions preserve the original note values and avoids bar £180 lines - one might expect this to complicate matters with ligatures and coloration to contend with, but actually it is his extraordinarily opulent volume (approx. 12 laid out in such a beautiful way that everything miraculously inches by 17 and weighing more than seven pounds makes perfect sense. Most of the pieces are in two or three T- apologies for the old school measurements!) is a parts (a fourth part – called “Tenor bassus” – is added to marvel to behold. The publisher has had to use glossy paper the Credo of Bedingham’s Mass Dueil angoisseux in only in order to give the best possible colour reproductions of one of the sources). -
Radio 3 Listings for 5 – 11 March 2016 Page 1 of 20 SATURDAY 05 MARCH 2016 Polish Radio Symphony Orchestra, Lukasz Borowicz (Conductor)
Radio 3 Listings for 5 – 11 March 2016 Page 1 of 20 SATURDAY 05 MARCH 2016 Polish Radio Symphony Orchestra, Lukasz Borowicz (conductor) SAT 01:00 Through the Night (b071d0k5) 4:46 AM Nelson Goerner and Dang Thai Son at the 2014 Chopin and his Byrd, William (c.1543-1623) Europe International Music Festival Browning à 5 The Rose Consort of Viols: John Bryan, Alison Crum, Sarah Catriona Young presents a concert given by pianists Nelson Groser, Roy Marks, Peter Wendland (viols) Goerner and Dang Thai Son with the Orchestra of the Eighteenth Century in Poland. 4:50 AM Haydn, Joseph (1732-1809) or possibly Pleyel, Ignace 1:01 AM (1757-1831) arr. Perry, Harold Beethoven, Ludwig van [1770-1827] Divertimento (Feldpartita) (H.2.46) in B flat major arr. for wind Piano Concerto No. 5 in E flat major Op.73 (Emperor) quintet (attributed to Haydn, possibly by Pleyel) Nelson Goerner (piano), Orchestra of the 18th Century, Kenneth Bulgarian Academic Wind Quintet: Georgi Spasov (flute), Georgi Montgomery (conductor) Zhelyazov (oboe), Petko Radev (clarinet), Marin Valchanov (bassoon), Vladislav Grigorov (horn) 1:38 AM Chopin, Fryderyk [1810-1849] 5:01 AM From 24 Preludes Op.28 for piano - No.15 in D flat 'Raindrop' Ebner, Leopold (1769-1830) Nelson Goerner (piano) Trio in B flat major Zagreb Woodwind Trio 1:44 AM Chopin, Fryderyk [1810-1849] 5:08 AM Piano Concerto No.1 in E minor Op.11 Schumann, Robert [1810-1856] Dang Thai Son (piano), Orchestra of the 18th Century, Kenneth Adagio and Allegro in A flat major (Op.70) Montgomery (conductor) Lise Berthaud -
Finding Their Voice: Women Musicians of Baroque Italy
Trinity University Digital Commons @ Trinity The Expositor: A Journal of Undergraduate Research in the Humanities English Department 2016 Finding Their Voice: Women Musicians of Baroque Italy Faith Poynor Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/eng_expositor Part of the Musicology Commons Repository Citation Poynor, F. (2016). Finding their voice: Women musicians of Baroque Italy. The Expositor: A Journal of Undergraduate Research in the Humanities, 12, 70-79. This Article is brought to you for free and open access by the English Department at Digital Commons @ Trinity. It has been accepted for inclusion in The Expositor: A Journal of Undergraduate Research in the Humanities by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Finding Their Voice: Women Musicians of Baroque Italy Faith Poynor emale musicians began to achieve greater freedom and indepen- dence from men during the Baroque period, and their music and Fcreative talent consequently began to flourish. Due to the rise in popularity of female vocal ensembles that resulted after the establishment of the con- certo delle donne in 1580, women composers in early modern Italy gained greater access to musical training previously only available to men or nuns. As seen by the works of composers and singers such as Francesca Caccini and Barbara Strozzi, this led to an unprecedented increase in women’s mu- sical productivity, particularly in vocal music. The rise of female vocal ensembles in the early Baroque period was a pivotal moment in women’s music history, as women finally achieved wide- spread recognition for their talents as musicians. -
J.E. Gardiner (SDG
Johann Sebastian Bach 1685-1750 Cantatas Vol 13: Köln/Lüneburg SDG162 COVER SDG162 CD 1 65:19 For the First Sunday in Advent Nun komm, der Heiden Heiland I BWV 61 Nun komm, der Heiden Heiland II BWV 62 Schwingt freudig euch empor BWV 36 Joanne Lunn soprano, William Towers alto Jan Kobow tenor, Dietrich Henschel bass CD 2 69:03 For the Fourth Sunday in Advent Wachet! betet! betet! wachet! BWV 70 C Bereitet die Wege, bereitet die Bahn! BWV 132 M Herz und Mund und Tat und Leben BWV 147 Y Brigitte Geller soprano, Michael Chance alto K Jan Kobow tenor, Dietrich Henschel bass The Monteverdi Choir The English Baroque Soloists John Eliot Gardiner Live recordings from the Bach Cantata Pilgrimage St. Maria im Kapitol, Köln, 3 December 2000 Michaeliskirche, Lüneburg, 10 December 2000 Soli Deo Gloria Volume 13 SDG 162 P 2009 Monteverdi Productions Ltd C 2009 Monteverdi Productions Ltd www.solideogloria.co.uk Edition by Reinhold Kubik, Breitkopf & Härtel Manufactured in Italy LC13772 8 43183 01622 8 13 SDG 162 Bach Cantatas Gardiner Bach Cantatas Gardiner CD 1 65:19 For the First Sunday in Advent The Monteverdi Choir The English Double Bass 1-6 15:06 Nun komm, der Heiden Heiland I BWV 61 Baroque Soloists Barry Guy Sopranos 7-12 19:33 Nun komm, der Heiden Heiland II BWV 62 Suzanne Flowers Violins I Oboes 13-20 30:26 Schwingt freudig euch empor BWV 36 Lucinda Houghton Maya Homburger Michael Niesemann Nicola Jenkin Nicolette Moonen Catherine Latham Gillian Keith Anne Schumann Bassoon Joanne Lunn soprano, William Towers alto Joanne Lunn Sarah Bealby-Wright Alastair Mitchell Jan Kobow tenor, Dietrich Henschel bass Emma Preston-Dunlop Roy Mowatt Cornetto Altos Violins II Michael Harrison Simon Baker Peter Lissauer The Monteverdi Choir Elinor Carter Jane Gillie Harpsichord The English Baroque Soloists William Missin Silvia Schweinberger Rob Howarth William Towers Penelope Spencer John Eliot Gardiner Organ Tenors Violas Andrew Arthur Simon Davies Mari Giske Live recording from the Bach Cantata Pilgrimage Rory O’Connor Colin Kitching Nicolas Robertson Penny Veryard St. -
Il Canto Delle Dame B
IL CANTO DELLE DAME B. STROZZI, F. CACCINI, C. ASSANDRA, I. LEONARDA MARIA CRISTINA KIEHR — JEAN-MARC AYMES — CONCERTO SOAVE Le Centre culturel de rencontre d’Ambronay reçoit le soutien du Conseil général de l’Ain, de la Région Rhône-Alpes et de la Drac Rhône-Alpes. Le label discographique Ambronay Éditions reçoit le soutien du Conseil général de l’Ain. Ce disque a été réalisé avec l’aide de la Région Rhône-Alpes. Concerto Soave reçoit le soutien du ministère de la culture et de la communication (Direction régionale des affaires culturelles de la région Provence-Alpes-Côte d’Azur) au titre de l’aide aux ensembles conventionnés, de la Région Provence-Alpes-Côte d’Azur, du Conseil général des Bouches-du-Rhône et de la Ville de Marseille. Il est membre de la FEVIS (Fédération des ensembles vocaux et instrumentaux spécialisés). www.crab-paca.org Remerciements particuliers à Agnès T. Director Alain Brunet Executive Producer for Ambronay Éditions Isabelle Battioni Assistant Charlotte Lair de la Motte Recorded in the abbatial church of Ambronay (France) — 23-26th May 2010 Recording Producer, mixing Tritonus Musikproduktion GmbH, Stuttgart (Germany) Cover photograph & design Benoît Pelletier, Diabolus — www.diabolus.fr Booklet graphic design Ségolaine Pertriaux, myBeautiful, Lyon — www.mybeautiful.fr Booklet photo credits Bertrand Pichène Printers Pozzoli, Italy & © 2010 Centre culturel de rencontre d’Ambronay, 01500 Ambronay, France – www.ambronay.org Made in Europe Tous droits du producteur phonographique et du propriétaire de l'œuvre enregistrée réservés. Sauf autorisation, la duplication, la location, le prêt, l'utilisation de ce disque pour exécution publique et radiodiffusion sont interdits. -
Francesco Corbetta - the Best of All
Francesco Corbetta - The Best of All A study of his life and works Section IV – Thematic Index & Bibliography Introduction p.343-344 Thematic index p.345-365 Thematic index Appendix p.366-368 Bibliography p.369-379 343 Thematic Index to Pieces in Manuscript Sources Introduction The final section of this study is a thematic index to pieces attributed to Corbetta in sources other than his five surviving printed books. Pieces are grouped first by key, then by movements from the standard suite in the order that they usually appear – i.e. prelude, allemande, courante, sarabande, gigue followed by miscellaneous movements – such as the minuet, etc. Sets of variations on the chaconne, folias and passacailles are at the end. The pieces have been given a running catalogue number starting with FC 01. Each entry includes a transcription of the opening bars of the piece. These have been transcribed with notes on the fifth course always in the upper octave identified by lozenge shaped note-heads. Notes on the fourth course are transcribed in the lower or upper octave depending on the underlying part writing identified by lozenge shaped note-heads highlighted in blue. In the sake of clarity notes on the fifth course which duplicate notes on the upper courses in unison have usually been omitted from five-part chords unless they have implications for the part-writing. This is followed by details of the source(s) in which the piece is found, the folio/page number and the title of the piece in the source with the attribution in brackets. -
Santiago De Murcia: the French Connection in Baroque Spain
1 ,,'ttP'f i ·t1I1'I'WSUMn ttW'UWWW tttWf1ctttttEK=.er$1 .. , ny)UC S7r?7S1Z'tt?· mf..CWWttttrfWgcWtBlEFF ' 'ttEffBFH'i This interpretation, however, is seen to be inaccurate and mislead ing when we examine the two books for baroque guitar by Santiago de Murcia, his Resumen de acompditar la parte con la guitarra (I714) and the "Passacalles y obras de guitarra por todos los tonos naturales y acidentales [sic] (1732)."4 The opening pieces in the Resumen are not original compositions, as has generally been assumed. Each one of them is a baroque guitar arrangement of a contredanse taken from publications of the French dancing master Raoul-Auger Feuillet. Oc cupying the opening pages of the Resumen are eight selections from Feuillet's Recueil de dances compos~es par M. Pecour...et mise sur Ie papier par M. Feuillet (Paris, 1700) (see Appendix Ia). The dances from pages 83 to 85 of the Resumen are drawn from Feuillet's Recueil de contredances mises en chor~graphie (Paris, 1706) (see Appendix Ib). Without question, the remaining dances in the Resumen are also SANTIAGO DE MURCIA: based on Feuillet publications, although the majority of them are no longer extant. One copy of Feuillet's Recueil in the Biblioteca Na TIlE FRENCH CONNECI10N IN BAROQUE SPAIN cional in Madrid includes an additional plate in the back of the book advertising the publications available from Feuillet's shop.s A com By Craig H. Russell parison of this list with the remaining dances in the Resumen (pp. 65-82) reveals not only the same dances, but the same dances in the It is a common misconception that baroque music in Spain received same order (see Appendix Ie). -
William Shelton (Countertenor)
William Shelton (Countertenor) William Shelton was born in Nancy (France). His parents who were both members of the Nancy Opera chorus encouraged him to develop his musical potential and he won a scholarship to Salisbury Cathedral School (England) at the age of eight. He continued his musical studies at Dole, Besançon and Dijon conservatories, where he studied singing, horn, organ, music theory, chamber music and orchestra. He moved to Paris in 2015 after obtaining a Bachelors degree in Physics and Chemistry at Besançon university, a Horn diploma, an organ diploma and a singing diploma with the highest distinctions. He has had the opportunity to develop his singing by participating in masterclasses with Hans Jörg Mammel, Jan Kobow, Michel Laplénie, Isabelle Druet, Robert Expert, Regina Werner, Mickaël Mardayer and by entering the Philippe Jaroussky Academy in 2017. In 2018 he won the Young Artist Award at the Pietro Antonio Cesti baroque opera competition in Innsbruck, he was awarded the 2nd prize at the Froville international baroque singing competition and he was admitted into the Opera Fuoco Opera Company for young artists conducted by David Stern. William Shelton takes part in projects of many renowned vocal ensembles : Les Cris de Paris, Pygmalion, Les Arts Florissants, La Compagnie la Tempête, Scherzi Musicali, La Fenice, Collegium Vocale Gent and Vox Luminis. His Bach Cantatas debut with Raphaël Pichon at the Paris Philharmonie was broadcast live on french television and was followed by a tour to Israël for the Eilat chamber music festival. He was subsequently engaged by William Christie in the Bach B minor Mass as Alto soloist for the Arts Florissants Spring Festival in Vendée. -
L'amante Segreto Parole D'incerto Barbara Strozzi (1619-1677) Ed
Buyer: Ricardo Niño Rosales ([email protected]) Transaction ID: 6XY74315JM4571126 BARBARA STROZZI The Complete Works L’Amante Segreto Opus 2.16 Cantate, Ariette, e Duetti. for soprano and continuo Edited by Richard Kolb Cor Donato Editions Candace A Magner, general editor ST2.16d © 2014 ISMN - 979-0-3016-0019-1 Buyer: Ricardo Niño Rosales ([email protected]) Transaction ID: 6XY74315JM4571126 2.16. L’Amante Segreto The Secret Lover Voglio, voglio morire, I want to die, Piutosto ch’il mio mal venga à scoprire. rather than have my distress discovered. O disgrazia fatale, Oh, fatal misfortune, Quanto più miran gl’occhi il suo bel volto the more my eyes see her beautiful face, Più tien la bocca il mio desir sepolto; the more I must keep my desire hidden: Chi rimedio non hà taccia il suo male. one who has no remedy must remain silent about his distress. Non resti di mirar chi non ha sorte, One with no luck can only look, Nè può da sì bel ciel venir la morte. nor could death come from such a clear sky. La bella donna mia sovente miro, I look at my beautiful lady, Ed ella à mè volge pietoso il guardo, and she looks on me with compassion, Quasi che voglia dire: as if to say: Palesa il tuo martire, “Reveal your torment,” Che ben s’accorge che mi struggo e ardo. for she is well aware that I'm consumed and burn. Mà io voglio morire... But I want to die... L’erbetta, ch’al cader di fredda brina The grasses and herbs, that bow their Languida il capo inchina; languishing heads when comes the cold frost, All’apparir del sole, when the sun appears Lieta verdeggia più di quel che suole: joyfully become more verdant than ever: Tal io, s’alcun timor mi gela il core, thus I, when fear chills my heart, All’apparir di lei prendo vigore. -
Collegium Vocale Gent Philippe Herreweghe Bach Donderdag 17 April 2003 Bach En Hoogdagen
Bach en Hoogdagen Koor en Orkest Collegium Vocale Gent Philippe Herreweghe Bach donderdag 17 april 2003 Bach en Hoogdagen . Seizoen 2002-2003 Ensemble Explorations Bach dinsdag 26 november 2002 Koor en Orkest Collegium Vocale Gent . Philippe Herreweghe Bach donderdag 12 december 2002 Koor Collegium Vocale Gent . Prometheus Ensemble Etienne Siebens Bach, Kurtág donderdag 6 maart 2003 La Petite Bande . Ex Tempore . Sigiswald Kuijken Graun donderdag 27 maart 2003 Koor en Orkest Collegium Vocale Gent . Philippe Herreweghe Bach donderdag 17 april 2003 Koor en Orkest Collegium Vocale Gent Philippe Herreweghe muzikale leiding Sibylla Rubens sopraan . Ingeborg Danz alt . Christoph Prégardien tenor (evangelist) . Jan Kobow tenor . Sebastian Noack bas (Jesus) . Thomas Bauer bas Johann Sebastian Bach Johannes Passion BWV 245 begin concert 20.00 uur einde omstreeks 22.00 uur geen pauze inleiding door Kevin Voets . 19.15 uur . Foyer teksten programmaboekje Stephan Moens coördinatie programmaboekje deSingel druk programmaboekje Tegendruk gelieve uw GSM uit te schakelen! Johann Sebastian Bach (1685-1750) De Johannes-Passie Toen Johann Sebastian Bach in mei 1723 zijn ambt als Tho- mascantor in Leipzig opnam, was dat met gemengde gevoe- lens. Enerzijds had hij een van de meest prestigieuze posten in het protestantse Duitsland veroverd en was hij nu zeker van een goede opvoeding voor zijn kinderen. Anderzijds moet het een knauw voor zijn eergevoel geweest zijn dat hij de betrekking niet als eerste keuze (voor hem hadden Telemann en Graupner met de raad van de stad Leipzig onderhandeld), maar slechts na een zware sollicitatieproce- dure had gekregen. Toch ging hij vlug aan het werk: een eerste jaargang cantates moest klaargemaakt worden, voor het kerstfeest een Magnificat en voor de goede week van het volgende jaar een passie.