The Sultan Fainted / New York Voices ; Composed by Meader - Eldridge ; Arranged by Meader - Eldridge
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Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
Membra Jesu Nostri
Diskothek: Dietrich Buxtehude: Membra Jesu Nostri Montag, 26. März 2018 20.00 - 22.00 Uhr, SRF 2 Kultur Samstag, 31. März 2018 14.00 - 16.00 Uhr, SRF 2 Kultur (Zweitsendung) Gäste im Studio: Julia Schröder (Geigerin) und Jean-Christophe Groffe (Sänger). Gastgeberin: Jenny Berg Das Resultat Aufnahmen mit Werken aus der Barockzeit zeigen oft grosse Unterschiede, da die Barockmusik den Interpretinnen und Interpreten viele Freiheiten lässt. So ist es auch bei Dietrich Buxtehudes «Membra Jesu nostri»: Es gibt chorische und solistische Besetzungen, unterschiedlich gestimmte Instrumente, italienische und lateinische Textaussprache bei diesen fünf Aufnahmen – und es gibt noch etliche weitere Interpretationen auf dem CD-Markt. In Runde eins wird die Tempowahl zum Ausschlusskriterium: René Jacobs mit dem Concerto Vocale Gent (A3) geht die Beschreibung der Körperteile Jesu zu sportlich an, das Bach Collegium Japan mit Dirigent Masaaki Suzuki (A4) schwankt zu stark im Tempo – eine vergleichsweise gute, aber auch gewöhnliche Interpretation, fanden die beiden Gäste. In der zweiten Runde scheidet das Purcell Quartett (A5) aus – eine Aufnahme mit ausgezeichneten Sängern, dafür aber mit einer recht schlichten Gestaltung des Basso continuo. Am Schluss gibt es einen klaren Sieger: Obwohl Cantus Cölln mit Konrad Junghänel (A1) immer wieder für Gänsehaut sorgt, den Text bewusst ausgestaltet und sehr rhythmisch agiert, überzeugt über alle drei Runden die Aufnahme mit Ton Koopmann und dem Amsterdam Baroque Orchestra & Choir) am meisten (A2). Er hat das Werk mehrfach aufgenommen, dies hier ist die zweite Einspielung: Eine sehr lebendige Aufnahme, die ins Innere geht, die die Stimmungen bewusst einsetzt, um die harmonischen Bewegungen zu schärfen, und dabei elegant und historisch informiert verziert. -
La Petite Bande Olv
2007-2008 BLAUWE ZAAL DO 24 APRIL 2008 La Petite Bande olv. Sigiswald Kuijken 2007-2008 Bach wo 14 november 2007 KOOR & ORKEST COLLEGIUM VOCALE GENT OLV. PHILIppE HERREWEGHE za 15 december 2007 FREIBURGER BAROckORCHESTER & COLLEGIUM VOCALE GENT OLV. MASAAKI SUZUKI do 24 april 2008 LA PETITE BANDE OLV. SIGISWALD KUIJKEN Bach LA PETITE BANDE SIGISWALD KUIJKEN muzikale leiding SIRI THORNHILL sopraan PETRA NOskAIOVÁ mezzo CHRISTOPH GENZ tenor JAN VAN DER CRAbbEN bas JOHANN SEBASTIAN BACH (1685-1750) Cantate ‘Es ist euch gut, dass ich hingehe’, BWV108 20’ Pictogrammen DeSingel AUDIO gelieve uw GSM uit te schakelen Cantate ‘Wahrlich, wahrlich, ich sage euch’, BWV86 18’ Cantate ‘Sie werden euch in den Bann tun’, BWV44 22’ pauze De inleidingen kan u achteraf beluisteren via www.desingel.be Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze. Himmelfahrtsoratorium REAGEER ‘Lobet Gott in seinen Reichen’, BWV11 32’ & WIN Op www.desingel.be kan u uw visie, opinie, commentaar, appreciatie, … betreffende het programma van deSingel met andere toeschouwers delen. Selecteer hiervoor voorstelling/ concert/tentoonstelling van uw keuze. Neemt u deel aan dit forum, dan maakt u meteen kans om tickets te winnen. Bij elk concert worden cd’s te koop aangeboden door ’t KLAverVIER, Kasteeldreef 6, Schilde, 03 384 29 70 > www.tklavervier.be foyer deSingel enkel open bij avondvoorstellingen in rode en/of blauwe zaal open vanaf 18.40 uur kleine koude of warme gerechten te bestellen vóór 19.20 uur broodjes tot net vóór aanvang van de voorstellingen -
G. Ph. TELEMANN ERIK BOSGRAAF & FRIENDS - ENSEMBLE CORDEVENTO
G. Ph. TELEMANN ERIK BOSGRAAF & FRIENDS - ENSEMBLE CORDEVENTO THE DOUBLE CONCERTOS WITH RECORDER DIE DOPPELKONZERTE MIT BLOCKFLÖTE Georg Philipp Telemann 1681–1767 Telemann’s Double Concertos The Double Concertos with Recorder with Recorder In his autobiography of 1740, Georg Philipp “the Italian style ... currently occupies me Concerto in E minor for alto recorder, traverso, Concerto in B-fl at major for two alto recorders, Telemann (1681–1767) mentions that he more than the [other styles] do.” strings and basso continuo, TWV 52:e1 strings and basso continuo, TWV 52:B1 taught himself to play the recorder as well The Telemann scholar Steven Zohn has 1 Largo 3:53 17 Grave 2:07 as the violin and zither in elementary school noted: “The fact that the 1740 autobiography 2 Allegro 4:15 18 Vivace 1:32 before the age of 10, and continued to is silent on his Eisenach encounter with con- 3 Largo 3:39 19 Tendrement 1:49 practice the recorder into his teens. This love certos seems to indicate a change of heart. 4 Presto 2:39 20 Gayment 2:05 and practical understanding of the instrument Telemann’s apparent distaste for virtuosity help to explain why he wrote so much as an end in itself ... led him to develop his Concerto in A minor for two alto recorders, idiomatic music for it. own stylistic paradigm for the concerto, strings and basso continuo, TWV 52:a2 Total time: 63:14 In his lifetime, Telemann was considered one that tended to downplay soloistic display 5 Gravement 2:13 the consummate master of the new, progres- in favor of close dialogue and mixed-taste 6 Vistement 1:34 sive “mixed” German style, which drew on cosmopolitanism.” Telemann imbues ritornel- 7 Largement 1:56 Erik Bosgraaf, recorder & direction French and Italian elements. -
Fiori Musicali: Per La Notte Di Natale
Fiori Musicali: Per la notte di Natale Montag, 24.12.2018 22.00 - 24.00 Uhr, SRF 2 Kultur Weihnachten ist musikalische Hightime seit jeher. Eine Auswahl davon, was sich Komponisten für dieses besondere Fest ausgedacht haben, ist in dieser Ausgabe der «Fiori musicali» zu hören. Von Mexiko über Spanien bis nach England und Deutschland. Redaktion: Norbert Graf Weihnacht der Spielleyt (A minstrel Christmas) Label: Christophorus Track 09: Tylman Susato - Branle Tracks 02 - 03: Laßt uns das Kindlein wiegen Freiburger Spielleyt Regina Kabis (Sopran) Un Niño nos es naçido - Spanische Weihnachtsmusik Label: Sony Music Track 08: Francisco Guerrero - Niño Dios d'amor herido Track 03: Anonymus - Riu Riu Chiu Track 05: Juan del Encina - O reyes magos benditos! Track 15: Anonymus - La Folia Ensemble Phoenix, München Leitung: Joel Frederiksen The Baltimore Consort - Bright Day Star Label: Dorian Recordings Track 01: Anoymus - Ding Dong Merrily (Branle L'officiel) Track 10: Anoymus - The Bellman's Carol Track 09: John Bull - Carol "Een Kindeken Is Ons Geboren" Track 06: Traditional - The Wren Song (traditionelles irisches Weihnachtslied) Track 18: Anonymus - Christmas Is My Name Custer LaRue (Sopran) Webb Wiggins (Orgel) The Baltimore Consort Assisi Christmas Cantatas Label: Phoenix Edition Track 15: Francesco Maria Benedetti - Pastori o voi. Kantate "Per il Santissimo Natale" Ruth Ziesak (Sopran) L'Arte del Mondo Leitung: Werner Ehrhardt Corelli - The Complete Concerti Grossi Label: Zig Zag Territoires Tracks 30 - 34: Arcangelo Corelli - Concerto grosso -
Compact Disc 1 64:58 Compact Disc 2 61:11 Compact Disc 3 71
Johann Sebastian Bach (16851750) COMPLETE CANTATAS L'INTÉGRALE DES CANTATES DAS KANTATENWERK VOLUME 21 Sandrine Piau; Johannette Zomer (BWV 195); Caroline Stam (BWV 191) soprano Bogna Bartosz; Annette Markert (BWV 195) alto James Gilchrist (BWV 100, 195, 140, 97); Paul Agnew (BWV 34, 191) Christoph Prégardien (BWV 177); Jörg Dürmüller (BWV 143) tenor Klaus Mertens bass THE AMSTERDAM BAROQUE ORCHESTRA & CHOIR TON KOOPMAN COMPACT DISC 1 64:58 Was Gott tut, das ist wohlgetan BWV 100 19:43 Bekennen will ich seinen Namen BWV 200 4:20 Ich ruf zu dir, Herr Jesu Christ BWV 177 23:14 Dem Gerechten muß das Licht BWV 195 17:25 COMPACT DISC 2 61:11 Wachet auf, ruft uns die Stimme BWV 140 24:07 O ewiges Feuer, o Ursprung der Liebe BWV 34 15:27 Lobe den Herrn meine Seele BWV 143 11:35 Der Friede sei mit dir BWV 158 9:42 COMPACT DISC 3 71:50 Gott ist unsre Zuversicht BWV 197 25:51 In allen meinen Taten BWV 97 26:51 O Jesu Christ meins Lebens Licht BWV 118 4:11 Gloria in excelsis Deo BWV 191 14:48 Exporttekst: The cantatas of the 21st and penultimate volume of this complete edition – with the exception of the doubtful Cantata BWV 143 – date from the 1730s and 1740s. In the period after 1730 the composition of sacred cantatas no longer stands at the centre of Bach's creative activity, even though he continued to make substantial contributions to church music. With the conclusion of the cantata cycle of 172930 Bach had produced a large and varied repertoire of works that could be performed repeatedly. -
The Transcriber's Art – #51 Josquin
The Transcriber’s Art – #51 Josquin des Prez by Richard Yates “Take Five. There's a certain piece that if we don’t play, we’re in trouble.” —Dave Brubek It was a familiar situation: deep in the stacks, surrounded by ancient scores, browsing for music that might find artful expression through the guitar. Perusing pages of choral music, I was suddenly struck by the realization that what I was doing was precisely what lutenists 400 years ago had done. While not exactly déjà vu, there was a strong sense of threading my way along paths first explored centuries ago. And if I was struggling with this source material, did they also? What solutions did they find and what tricks did they devise? What can we learn from them to help solve the puzzle of intabulating Renaissance vocal polyphony? The 16th century saw the gradual evolution of musical ideals that culminated in the works of Giovanni Pierluigi da Palestrina (1525–94). Polyphonic music was to be a smooth, effortless flow of independent voices. Predominant stepwise movement emphasized continuity of individual lines but without drawing undue attention to any particular one. Dissonance was largely confined to the weak beats and passing tones or softened through suspensions. With its unique capacity for continuous modulation of timbre, pitch and volume, the human voice was exquisitely suited to this style. The articulation of syllables, true legato and subtle, unobtrusive portamento that connects phonemes and that is inherent in singing all facilitated the tracking of voices through a closely woven texture. Renaissance choral music is inextricably bound up with, and dependent on, the qualities of human voice. -
Kirchenmusik Evangelische Kirche Zum Erlöser - Konstantin-Basilika Juli Bis Dezember 2016
Kirchenmusik Evangelische Kirche zum Erlöser - Konstantin-Basilika Juli bis Dezember 2016 1 I E EDITORIAL SEITE 3 Sehr geehrte Freundinnen und Freunde der Kirchenmusik, ORGELSOMMER 2016 - ÜBERSICHT SEITE 4 vielen Dank für Ihr Interesse an den kirchenmusika- VERANSTALTUNGEN SEITE 5 lischen Veranstaltungen des Jahres 2016 in der Ev. Kirchengemeinde Trier. Diese sind von großer Vielfalt MUSIKALISCH GESTALTETE GOTTESDIENSTE SEITE 29 geprägt und reichen von musikalisch besonders ge- stalteten Gottesdiensten durch unsere gemeindli- chen Gruppen (Caspar-Olevian-Chor, Kinderchor, Po- IHRE HILFE ZÄHLT SEITE 31 saunenchor, Blockfl ötenkreis) über Kammerkonzerte und Chorkonzerte des Trierer Bachchores sowie aus- DISPOSITION DER SCHUKE-ORGEL SEITE 32 wärtiger Gastchöre bis zu zahlreichen Orgelkonzerten. DISPOSITION DER EULE-ORGEL SEITE 33 Von der Programmgestaltung her steht der Kompo- nist Max Reger (1873 – 1916) anlässlich seines 100. CD-EINSPIELUNGEN SEITE 34 Todestages in diesem Jahr besonders im Mittelpunkt. Dies wird in der Basilika in mehreren Konzerten deut- lich, die Teil einer ökumenischen Veranstaltungsreihe ORGELPFEIFEN-PATENSCHAFTEN SEITE 37 zum Reger-Jahr sind unter dem Motto „Keine Note zuviel!“ Diese Konzertreihe, in deren Rahmen alle großen Orgelwerke Regers, aber auch Chor- und Kammermusik des Kompo- AUF EINEN BLICK SEITE 38 nisten erklingen, wird veranstaltet in Kooperation von Hoher Domkirche Trier und der Ev. Kirchenmusik an der Konstantin-Basilika. Am 31.10. (Reformationstag) beginnt das Gedenkjahr „500 Jahre Reformation“. Die Ev. Kirche im Rheinland begeht dieses unter dem Motto „Ich bin vergnügt, erlöst, befreit“ – ein Satz aus einem Psalmgedicht von Hanns Dieter Hüsch. Auch, wenn wesentliche mu- sikalische Höhepunkte des Reformationsjubiläums erst in 2017 stattfi nden, so setzt doch der Beginn am diesjährigen Reformationstag ein besonderes Zeichen mit der „Nacht der off enen Kirche“ (siehe Seite 21). -
Downloaded from Brill.Com09/26/2021 09:24:42AM Via Free Access Chapter 5 Parish Liturgy
Ruben Suykerbuyk - 9789004433106 Downloaded from Brill.com09/26/2021 09:24:42AM via free access Chapter 5 Parish Liturgy Before it became a pilgrimage destination, Saint Leonard’s church was first and foremost the seat of the parish of Zoutleeuw. As the smallest unit in the ecclesiastical hierarchy, the parish was the level on which Christians practiced and experienced religion on a daily basis. From an administrative point of view, parishes were defined as territorial entities, but they were in fact constituted by the com- munity of its inhabitants, especially in smaller towns or rural areas. Parishioners – the churchwardens among them – had the respon- sibility to care for their weakest neighbors and contribute to the maintenance of the religious infrastructure. Such commitments often ‘fostered a sense of belonging and ownership in the parish community’.1 Its material exponent was the parish church, often the largest stone building, and both literally and figuratively the center of the town. The church was the framework for the proper adminis- tration of the sacraments. Key moments in parishioners’ lives were ritually celebrated here (fig. 80), from baptism of new-born children and their subsequent confirmation and participation in commu- nion at Mass, over marriage, to funeral rites and burial after having received the last rites by the parish priest.2 The stories chaplain Munters recorded in his diary show that, during the sixteenth century, many of these communal rites of pas- sage were subjected to great pressure. Protestants started question- ing and taunting not just religious images, pilgrimages and miracles, but also the core elements of the parish liturgy. -
Compositeur Naissance Décès Période Notker Balbulus C
Compositeur Naissance Décès Période Notker Balbulus c. 840 912 Médiévale Odo of Cluny c. 878 942 Médiévale Guido da Arezzo c. 991 c. 1033 Médiévale Hermann of Reichenau 1013 1054 Médiévale Guillaume d'Aquitaine 1071 1126 Médiévale Petrus Abaelardus 1079 1142 Médiévale Hildegard von Bingen 1098 1179 Médiévale Bernart de Ventadorn c. 1130 a. 1230 Médiévale Léonin 1135 1201 Médiévale Pérotin 1160 1225 Médiévale Philippe le Chancelier c. 1160 1236 Médiévale Pierre de Molins 1170 c. 1220 Médiévale Walther von der Vogelwide c. 1170 c. 1230 Médiévale Alfonso el Sabio 1221 1284 Médiévale Adam de la Halle c. 1235 1288 Médiévale Petrus de Cruce c. 1260 a. 1302 Médiévale Philippe de Vitry 1291 1361 Médiévale Guillaume de Machaut c. 1300 1377 Médiévale Francesco Landini c. 1325 1397 Médiévale Johannes Ciconia c. 1335 1412 Médiévale/Renaissance Jacopo da Bologna Bologna c. 1340 c. 1386 Médiévale Zacara da Teramo c. 1350 c. 1413 Médiévale/Renaissance Leonel Power c. 1370 1445 Médiévale/Renaissance Oswald von Wolkenstein c. 1376 1445 Médiévale/Renaissance John Dunstaple c. 1390 1453 Renaissance Guillaume Dufay 1397 1474 Renaissance Gilles Binchois c. 1400 1460 Renaissance Johannes Ockeghem c. 1410 1497 Renaissance Gilles Joye c. 1424 1483 Renaissance Antoine Busnois c. 1430 1492 Renaissance Alexander Agricola c. 1446 1506 Renaissance Heinrich Isaac c. 1450 1517 Renaissance Loyset Compère c. 1450 1518 Renaissance Josquin des Prez c. 1450 1521 Renaissance Jacob Obrecht c. 1457 1505 Renaissance Jean Mouton c. 1459 1522 Renaissance Antoine Brumel c. 1460 c. 1513 Renaissance Pierre de la Rue c. 1460 1518 Renaissance Robert Fayrfax 1464 1521 Renaissance William Cornysh 1465 1523 Renaissance Francisco de Penalosa c. -
An Interview with Shirley Robbins
september 2008 Published by the American Recorder Society, Vol. XLIX, No. 4 3IMPLYHEAVENLYn OURNEWTENORSANDBASSESWITH BENTNECK 0LEASEASKFOROURNEW FREECATALOGUEANDTHE RECORDERPOSTER Q Q Q Q Q Q Q Q Attaignant: Second Livre de Danceries Gervaise: Quart Livre de Danceries, 1550 For SATB Recorders For SATB/ATTB Recorders Very little ensemble dance music has come down Whilemuchlikethetitleatleftinthatitcontainsahefty from the 16th century. The Attaignant dance prints 42 pieces, this volume 4 is distinguished by a number of collection is one of the only collections of ensemble particularly elegant pavanes based on chansons of the pe- pieces of that period. This volume 2 is probably the riod. most varied of the Attaingnant books, containing Item # LPMAD04, $13.25 basse dances, tourdions, branles, pavanes and galli- Also in this collection... ards. The tunes are mostly French in origin, though LPMAD05: 5th Livre de Dances, 53 pieces. $12.25 there are a few Italian pieces. Many are based on LPMAD06: 6th Livre de Dances, 48 pieces. $12.25 famous chansons of the time. 38 page score with extensive introduction LPMAD07: 7th Livre de Dances, 27 pieces. $8.75 and performance notes. Item # LPMAD02, $13.25 Praetorius: Dances from Terpsichore For SATB/SATTB Recorders 127(:257+<1(:6 From this major German contribu- tor to early baroque music came his from your friends at Magnamusic Distributors collection of 312 short French and Italian instrumental dances in Mendelssohn: Overture to ‘A Midsummer four, five and six parts, including courantes, voltes, Nights Dream’, Abridged, Charlton, arr. bransles, gaillardes, ballets, pavanes, canaries, and For NSSAATTB(Gb) recorders bourees. Volumes 1 to 4, Large bound scores, The famous piece that helped popularize the famous play. -
T. Koopman & Amsterdam Baroque Orchestra
Johann Sebastian Bach (1685 – 1750) COMPLETE CANTATAS – L’INTÉGRALE DES CANTATES DAS KANTATENWERK VOLUME 18 Johannette Zomer, Sandrine Piau, Sibylla Rubens soprano Bogna Bartosz alto Christoph Prégardien, James Gilchrist tenor Klaus Mertens bass THE AMSTERDAM BAROQUE ORCHESTRA & CHOIR TON KOOPMAN COMPACT DISC I 74’56 “Ich armer Mensch, ich Sündenknecht” BWV 55 12’54 Dominica 22 post Trinitatis On the 22nd Sunday after Trinity – Am 22. Sonntag nach Trinitatis – Pour le 22e dimanche après la Trinité Text: unknown. (5) 6th verse from Werde munter, mein Gemüte, Johann Rist 1642 Strings, traverso, oboe d´amore, basso continuo Christoph Prégardien, tenor 01 Aria (Tenor): “Ich armer Mensch, ich Sündenknecht” 5’44 02 Recitative (Tenor): “Ich habe wider Gott gehandelt” 1’11 03 Aria (Tenor): “Erbarme dich, laß die Tränen dich erweichen” 3’31 04 Recitative (Tenor): “Erbarme dich! Jedoch nun tröst ich mich” 1’28 05 Chorale: “Bin ich gleich von dir gewichen” 1’00 “Wer sich selbst erhöhet, der soll erniedriget werden” BWV 47 19’27 Dominica 17 post Trinitatis On the 17th Sunday after Trinity – Am 17. Sonntag nach Trinitatis – Pour le 17e dimanche après la Trinité Text: Johann Friedrich Helbig 1720. (1) Luke 14, 11; (5) 11th verse from Warum betrübst du dich, mein Herz, anon. 1561 Strings, oboes, bassoon, organo obbligato, basso continuo Sandrine Piau, soprano – Klaus Mertens, bass 06 Chorus: “Wer sich selbst erhöhet” 5’22 07 Aria (Soprano): “Wer ein wahrer Christ will heißen” 8’04 08 Recitative (Bass): “Der Mensch ist Kot, Staub, Asch und Erde” 1’44 09 Aria (Bass): “Jesu, beuge doch mein Herze” 3’31 10 Chorale: “Der zeitlichen Ehrn will ich gern entbehrn” 0’46 “Ich lasse dich nicht, du segnest mich denn” BWV 157 16’37 Festo Purificationis Mariae At the feast of the purification – Mariae Reinigung – Pour la Fête de la Purification de Marie Text: Christian Friedrich Henrici (Picander) 1727, after Mose 32, 27; (5) 6th verse from Meinem Jesum laß ich nicht, Christian Keymann 1658.