DOCSLIB.ORG

Lpaston Friends of Llusic, Inc. 3Hepherd School of L(Lasic

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lpaston Friends of Llusic, Inc. 3Hepherd School of L(Lasic TWENTY-FIRST SEASON SECOND CONCERT ]lpaston Friends of llusic, Inc. and 3hepherd School of l(lasic PRESENT THE Mark Deller, Director Hamman Hall Wednesday, November 5, 1980 Rice University 8:00 P.M. PROGRAM European Madrigals c. 1600 Hark, all ye lovely saints Thomas Weelkes (1575-1623) Care for thy soul Francis Pilkington (1562-1638) Tanzen und springen Hans Leo Hassler (1564-1612) . Sfogava con le stelle Claudio Monteverdi (1567-1643) Leggiadretto Clorino Orazio Vecchi (1550-1605) Iteneo miei Carlo Gesualdo (1560-1613) Lute Solos John Dowland(l563-1626) The Earl of Essex Galliard Semper Dowland, semper do/ens Queen Elizabeth's Galliard Theatre Music of the Restoration Henry Purcell When the cock begins to crow (1659-1695) Dialogue: Good neighbor, why? Tis wine was made to rule the day On , the sweet delights of love Tis women make us love Intermission 16th Century French Chansons Mignonne al/on voir si la raze Guillaume Costeley (1531-1606) Objet dont /es charmes Antoine Boesset (1585-1643) Ce mois de May Clement Jannequin (1485-1558) Courante et Bran/es (lute solo) Robert Ballard (1575-.1640) Comment penses vous que je vive? Claude le Jeune (1528-1600) Dessus le marche d 'Arras Roland de Lassus (1530-1594) Folk-Songs of the British Isles Swansea town (Wales) arr . Gustav Holst Ca' the yowes (Scotland) arr . R Vaughan Williams The lark in the clear air (Ireland) arr . John Vine The Farmer's Daughters (Somerset) arr Gerrard Williams The Wraggle Taggle gypsies (Somerset) arr . Robert Spencer Just as the tide was flowing (Somerset) arr R Vaughan Williams J Represented by Mariedi Anders Artists Management Inc. I 535 El Camino Del Mar. San Francisco, California 94121 I Photographing and sound recording are prohibited. We further request that audible paging devices not be used during performaces. Paging arrangements may be made with ushers. -, If it is anticipated that tickets will not be used, subscribers t. are encouraged to turn them in for resale. l 1 ] HOUSTON FRIENDS OF MUSIC is a non-profit organization dedicated to the presentation of chamber ensembles with national and international reputations and the development of new audiences for chamber music through concerts available to everyone. HOUSTON FRIENDS OF MUSIC TWENTY-FIRST SEASON HOUSTON FRIENDS OF MUSIC/ SHEPHERD SCHOOL OF MUSIC FOURTH SEASON October 23, 1980 ....... : ......... .. .......... Prague String Quartet November 5, 1980.... .' .. .. .. ....... ... ........ Deller Consort Jar:iuary 20, 1981 . ...... ....... ... .. .. Paillard Chamber Orchestra February 17, 1981. ... .......... .. ... ... Vermeer Quartet March 11, 1981. .. ... ............... .. ..... .... Trio di Milano AprH 14, 1981. ... ............. ... .. ... .. Tokyo String Quartet PATRONS Cultural Arts Council Nancy & Harold Sternlicht Shell Companies Foundation of Houston BENEFACTORS Ervin Adam Alexander Goldstein, Jr. Franklyn K. Levin Anonymous Grady Hallman W. H. Mannheimer J . K. Arbenz William Ward Jones Julia Mazow Emory & Margaret E. Carl Barbara Kauffman Weinstein and Spira, C.P.A. Dennis & Susan Carlyle Harold P. Klebanoff Samuel & Angela Weiss George Coughlin Carl & Naomi Levinson S. C. Wexler Gulf Forge Tomas Klima Robert and Edith Zinn SPONSORS James & Carolyn Alexander Robert A. Hettig Bette T. Snyder Ralph A. Anderson R. Ilaria Tom & Barbara Solis Lutz & Mariel Birnbaumer Tom & Frances Leland Peter VanMeurs Chester & Jaimie Cochran Aaron & Helen Mintz Ronald & Margrit Young Norman & Hannah Decker Malcolm & Horty Sher CONTRIBUTORS Steven D. Baker Lila Gene George Howard & Carole Marmell Bernice L. Beckerman Fred & Eva Haufrecht Richard & Eva Rosencranz James & Barbara Butler Alfred J . Kahn Mark & Amanda Schnee Edward Doughtie Walter & Margaret Kaye Margaret Sinclair James H. Duffy Bill Landfield Doris F. Wechter Lloyd E. Elliott, Jr. Clifford & Bette Laurence Herbert H. Yuan Ann Fairbanks Patti Ruth Linbeck PAST PRESIDENTS John Hill ... ... ..... .............. ........... .. .. 1960-1967 Alf;ed Neuman·n .. .... .... .... .. ....... .. ............. 1967-1968 Stratton Hill .. ·,: ........ ........... ... ...... .. ... ........ .. 1968-1973 Harvey L. Gordon ... .. ... .. .. ......... .. ............. 1973-1977 Nancy Sternlicht. ... .......... .... .. .. .... .... .. 1977-1979 1980 - 1981 OFFICERS President. .... ... .... .. ...... ............... .. J. Kaspar Arbenz First Vice President (Program Chairman) ....... ... .. ....... Jack B. Mazow Second Vice President (Subscriptions Manager) . ... .... ...... Daniel Musher Third Vice President (Concert Arrangements Chairman) . .. James Alexander Fourth Vice President (Publicity Chairman) . .... ...... ...... Bette Snyder Secretary . ..... .. .... :· ........ .... .. .... .... ... Peter van Meurs Treasurer . ... .. ...... .. .. .... .... ...... Edward Doughtie Community Relations Officer . .. .. .... .. ...... .... Nancy Sternlicht DELLER CONSORT f, The Deller Consort was formed by the late Alfred Deller, perhaps the world's best known countertenor, in 1950. His son Mark Deller, the current director, is also a countertenor. The group's concerts and recording of Renaissance and Baroque music have met with critical acclaim around the world. PROGRAM NOTES Most madrigals are true chamber music in that they are conceived as much for the performers as for an audience; indeed, the relationship between word and music can usually be more fully understood by the singers. The madrigal and related lighter forms originated and flourished in Italy, but spread to England and Germany as well. Hassler' s peice is a balletto, which has a chordal texture and a "fa-la" refrain; Weelkes's is an adventuresome combination of balletto and madrigal characteristics. Pilkington's and Vecchi's madrigals share the in­ dependent voices of the true madrigal, but one is sober and spiritual, the other lighthearted. Vecchi, who wrote most of his own texts, was a merry and a pious priest," according to Alfred Einstein. Gesualdo was neither merry nor pious: he murdered his wife, her lover, and her child. His madrigal is typical in its con­ trapuntal texture and its illustration of the text (as in the caught breath on the word sospiri, "sighs"); but its startling harmonies are peculiar to this brilliant but sinister nobleman. Monteverdi's dramatic declamatory madrigal of 1603 show movement in the direction of opera, the new form he was soon to master. Although John Dowland had an international reputation as a lute virtuoso and was employed by the King of Denmark, he was not able to secure a court ~ appointment at home until 1612, near the end of his creative life. The galliard dedicated to Queen Elizabeth apparently did not result in a job. Perhaps his disappointments had something to do with his carefully cultivated image as a melancholy sufferer; the punning title of his pavan means "Always Dowland, always sorrowing." His most famous composition was another pavan, "Lachrymae" ("tears"). Besides music for lute and other instruments, Dowland composed a number of beautiful songs, one of which, "Can she excuse my wrongs," has the same music as "The Earl of Essex Galliard." Henry Purcell, "Orpheus Britannicus" to his contemporaries, was for almost two hundred years considered England's greatest composer (especially since changes in muscial styles obscured the achievements of the Elizabethans). Purcell did manage to compose a quantity of excellent music in his short life. The son and nephew of musicians, Purcell's abilities won him regular employ­ ment from the time he was a boy chorister at the Chapel Royal to his appoint­ ment as organist at Westminster Abbey. By 1690, hs was much in demand as a composer of music for the theater. The soprano duet, "Oh, the sweet delights of love," was part of the music for Dioclesian, a strange hodge-podge made by Thomas Betterton from an old Fletcher and Massinger play, part native English masque, part French opera-ballet. That it was successful was largely due to Purcell's music. The dialogue, "Good neighbor," is also more memorable than the play it was composed for, Edward Ravenscroft's The Canterbury Guests. "When the cock begins 'to crow" may have been written for insertion into The Fairy Queen, but it may not even be by Purcell. "Tis wine was made to rule the day" is a drinking song of unusual magnitude; the concluding song is a witty I catch or round. The French chanson was the dominant part-song in Europe before the L spread of the madrigal, and continued to flourish alongside the Italian form. l Chanson comes in many varieties: Jannequin's is typical of lighter styles, with its homophonic texture and spritely rhythm. Costeley's setting of Ronsard's verse is slightly more complex. Antoine Boesset's song is an air de cour, a relative of the English lute song. Like Dowland and other instrumental composeres, Robert Ballard used dance forms for his pieces. Claude le Jeune worked with the Academie de poesie et musique, a group dedicated t imitating ancient Greek song. Fortunately the academic theories did not prevent the composer from pro­ ducing delightful music. Roland de Lassus had such a beautiful voice as a child that he was kidnapped three times. The last time, he was taken to Sicily where he acquired a knowledge of Italian music and an Italian name, Orlando de Lasso. This chanson is based on a popular tune. :~ Trained musicians have been arranging folksongs to good effect since the Middle Ages; Dowland use "The Woods so Wild" in the last part of his "Earl of f Essex Galliard." Two of the songs in this group are versions of ballads
Load more

Recommended publications
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • George Frideric Handel Cc 9127 George Frideric Handel
    GEORGE FRIDERIC HANDEL CC 9127 GEORGE FRIDERIC HANDEL male lead in The Bear for Hemsley, who played it under the composer on BBC Television in George Frideric Handel (1685-1759) 1970. His book Singing and Imagination is a lucid guide to his finely-honed art. = `çåÅÉêíç=áå=_JÑä~í=ets=OVQ=léK=Q=kçK=S=ENTPSF= NNKNN Geraint Jones (1917-98). The son of a Glamorgan minister, Jones studied at the Royal 1-3 I Andante allegro 3.53 2 II Larghetto 4.31 3 III Allegro moderato 2.53 Academy of Music before being rejected for World War II service on grounds of poor health. Osian Ellis, harp. The Boyd Neel Orchestra directed by Thurston Dart Determined to ‘do his bit’, he made his debut as a harpsichordist in 1940 at one of Myra Hess’s A BBC studio broadcast, 26 February 1957 National Gallery concerts, later touring widely with his wife, the violinist Winifred Roberts. After the war he became highly influential in the ‘authentic’ baroque movement, forming his own = ^éçääç=É=a~ÑåÉ=ets=NOO=ENTNMF= QPKMR orchestra for the acclaimed performances at London’s Mermaid Theatre in 1951 of Dido and Aeneas, with Kirsten Flagstad and Thomas Hemsley. Jones’s many recordings included Dido 4 Recitative and Aria Apollo ‘La terra è liberata … Pende il ben dell’universo’ 5.18 (The earth is set free … The good of the universe) with those singers (plus Elisabeth Schwarzkopf as Belinda and Arda Mandikian as the 5 Recitative and Aria Apollo 3.54 Sorceress) as well as music by Bach, Handel and Mozart.
    [Show full text]
  • 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.
    [Show full text]
  • Les Pseaumes De David (Vol
    CONVIVIUMchoir for renaissance·MUSICUM music Scott Metcalfe, music director Les pseaumes de David (vol. II) Les pseaumes mis en rimes francoise, par Clément Marot, & Théodore de Bèze (Geneva, 1562) Jan Pieterszoon Sweelinck (1562–1621) Claude Le Jeune (c. 1530–1600) Claude Goudimel (c. 1520–1572) Ps. 114 Quand Israel hors d’Egypte sortit 1. Clément Marot (poem) & Loys Bourgeois (tune), Les pseaumes mis en rimes francoise (Geneva, 1562) 2. Jan Pieterszoon Sweelinck, Livre second des pseaumes de David (Amsterdam, 1613) Ps. 127 On a beau sa maison bâtir 1. Théodore de Bèze (poem) & Loys Bourgeois (tune),Les pseaumes mis en rimes francoise 2. Sweelinck, Livre second des pseaumes de David Ps. 130 Du fonds de ma pensée 1. Marot & Bourgeois, Les pseaumes mis en rimes francoise 2. Claude Goudimel, Les 150 pseaumes de David (Paris, 1564) 3. Goudimel, Les cent cinquante pseaumes de David (Paris, 1568) 4. Sweelinck, Livre second des pseaumes de David Sweelinck: Motets from Cantiones sacrae (Antwerp, 1619) De profundis clamavi (Ps. 130) O domine Jesu Christe Ps. 23 Mon Dieu me paist sous sa puissance haute 1. Marot & Bourgeois, Les pseaumes mis en rimes francoise 2. Claude Le Jeune, Les cent cinquante pseaumes de David (Paris, 1601) 3. Le Jeune, Dodecachorde, contenant douze pseaumes de David (La Rochelle, 1598) intermission Ps. 104 Sus sus, mon ame, il te faut dire bien 1. Marot, Les pseaumes mis en rimes francoise 2. Claude Goudimel, Les 150 pseaumes de David 3. Goudimel, Les cent cinquante pseaumes de David 4. Sweelinck, Livre quatriesme et conclusionnal de pseaumes de David (Haarlem, 1621) Le Jeune: Two psalms from Pseaumes en vers mesurez mis en musique (1606) Ps.
    [Show full text]
  • THE DELLER CONSORT ~ F MEANY HALL OCTOBER 3, 1964 F 8:30 P.M
    · .' UNIVERSITY OF WASHINGTON OFFICE OF LECTURES AND CONCERTS AND FRIENDS OF MUSIC present THE DELLER CONSORT ~ f MEANY HALL OCTOBER 3, 1964 f 8:30 p.m. ~~----~~~~--~----== " .. == ROLAND DELASSUS ...... Mon coeur se recommande a vous THE DELLER CONSORT (1530- 94) o let me look on thee once more, since that my heart full sorely acheth, HONOR SHEPPARD. Soprano SALLY LESAGE. Soprano And spite of watching envious eyes, listen while my love its farewell taketh. ALFRED DELLER, Counter-tenor My lips which once smiled on thee gladly. and told my love with tender grace, MAX WORTHLEY, Tenor MAURICE BEVAN, Baritone Now alas are used but in cursing those who banish me from thy face o let me look on thee once more .... ,~ GUILLAUME COSTE LEY ... Allon gay, bergeres (1531-1606) Let us go merrily, Nymphs, let us go merrily. be light. Follow me THOMAS WEELKES Hark, all ye lovely saints above Let us go and see the King, who from Heaven, is born on earth. ( -1623) o care. thou wilt despatch me Merry, merryl Let us go merrily, Nymphs, Hence, care, thou art too cruel Let us go merrily, be light, Follow me. The nightingale A beautiful present shall I make him, Of this flageolet I have, I have so merry. Let us go merry nymphs. THOMAS MORLEY Fire. fire, my heart A cake shall I give himl Merry, merry I (1557-1603) Let us go merrily, be light, the King is drinking! JOHN DOWLAND Fine knacks for ladies (1563-1626) Me, me and none but me ROLAND DELASSUS ...... Bonjour, mon coeur Wilt thou unkind thus reave me Hello, my heart, hello my tender life; Sleep wayward thoughts Hello, my eye, hello my tender friend.
    [Show full text]
  • Album Booklet
    Calvin Psalter Calvin Psalter Mon Dieu me paist Verses 1 & 3 harm. Claude Goudimel (c. 1505–1572) harm. Claude Goudimel Psalms by Verse 2 harm. Claude Le Jeune (1528–1600) 14. C’est un Judée (Psalm 76) [0:55] Claude Le Jeune (1528/30–1600) 1. Or sus serviteurs du Seigneur (Psalm 134) [2:20] Claude Le Jeune C’est un Judée (Psalm 76) Calvin Psalter Du dixiesme mode harm. Claude Goudimel 15. C’est un Judée proprement [2:30] 2. Mon Dieu me paist (Psalm 23) [1:10] 16. La void-on par lui fracassez [1:27] The Choir of St Catharine’s College, Cambridge 17. On a pillé comme endormis [1:53] Claude Le Jeune 18. Tu es terrible et plein d’effroi [1:28] Mon Dieu me paist (Psalm 23) 19. Alors ô Dieu! [2:09] Edward Wickham conductor Du quatriesme mode 20. Quelque jour tu viendras trouser [1:58] 3. Mon Dieu me paist [2:21] 21. Offrez vos dons à lui [1:28] 4. Si seurement, que quand au val viendroye [2:57] Calvin Psalter 5. Tu oins mon chef d’huiles [1:46] harm. Claude Goudimel 22. Dés qu’adversité (Psalm 46) [0:59] Calvin Psalter 6. Propos exquis (Psalm 45) [1:01] Claude Le Jeune Dés qu’adversité (Psalm 46) Claude Le Jeune Du neufiesme mode Propos exquis (Psalm 45) 23. Dés qu’adversité nous offense [2:22] Du troisieme mode 24. Voire deusent les eaux profondes [2:00] 7. Propos exquis [2:16] 25. Il est certain qu’au milieu d’elle [2:44] 8.
    [Show full text]
  • Zarlinian Modality in Claude Le Jeune's Dodecacorde Jessica
    Zarlinian Modality in Claude Le Jeune’s Dodecacorde Jessica Herdman It is widely acknowledged that Claude Le Jeune was exalted among his contemporaries for his facility in modal composition – a reputation that he purposefully exploited through the publication of modally organized works. “According to his friend Artus Thomas and the organist Jehan Titelouze, Le Jeune excelled his predecessors in his understanding of the modes, as illustrated by… two airs performed during the wedding festivities of the Duke of Joyeuse in 1581.”1 Even in the present day, with the controversial discussion of the possible polemic between the theory and practice of mode during the Renaissance, scholars frequently point to Claude Le Jeune’s Octonaires and Dodecacorde as exemplary of a purposeful theoretical- practical union. Both of these works were explicitly intended to represent contemporary conceptions of modality; in particular, the Dodecacorde espoused an affiliation with the modal theory presented by Zarlino in his 1573 edition of Le Institutioni harmoniche.2 1 Frank Dobbins and Isabell His, “Claude Le Jeune” Grove Music Online, ed. L. Macy, http://www.grovemusic.com (accessed No- vember 8, 2007). 2 Claude Le Jeune, Dodecacorde, ed. Anne Harrinton Heider (Madi- son: A-R Editions, 1989), xvi. Heider explains that, while the name of the work, Dodecacorde, would imply an alliance with Glarean’s own theoretical Dodecacorde, Le Jeune’s modal ordering is purposely Zarlinian, placing Ionian (C–C) as the first mode (Glarean’s expansion of the modal system retained
    [Show full text]
  • King's Research Portal
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by King's Research Portal King’s Research Portal DOI: 10.1108/20442081111180377 Link to publication record in King's Research Portal Citation for published version (APA): Wilson, N. (2011). The business of authenticity: a false relation?. Arts Marketing: An International Journal, 1(2), 159-170. 10.1108/20442081111180377 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal 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.
    [Show full text]
  • Alfred Deller Portrait of a Legend ALFRED DELLER (1912-1979) CD 1 Opera & Stage Music by Henry Purcell CD 2 Sacred Song
    Alfred Deller Portrait of a Legend ALFRED DELLER (1912-1979) CD 1 Opera & Stage Music by Henry Purcell CD 2 Sacred Song The Fairy Queen 1 Incipit lamentatio Jeremiae prophetae (Gregorian chant) 5’01 Dernière Leçon du Samedi Saint (Office des Ténèbres) 1 Act II A Fairy: Come all ye songsters of the sky 1’57 2 Prelude 0’41 2 Te lucis ante terminum (Cantiones sacrae) • Thomas Tallis 2’08 3 Three Elves: May the God of Wit inspire / While Echo 2’05 Deller Consort 4 Act III Dialogue Corydon / Mopsa 3’50 5 Act IV Symphony 1’05 3 Deuxième Leçon de Ténèbres pour le Mercredy • François Couperin 13’17 6 Act V A Chinese Man: Thus, thus the gloomy world 4’48 4 Cantata Jubilate Domino • Dietrich Buxtehude 7’58 7 A Chinese Woman: Thus happy and free 0’51 for solo voice, viola da gamba and basso continuo 8 A Chinese Man: Yes, Xansi, in your looks I find 2’09 Raphaël Perulli (viola da gamba), Michel Chapuis (organ) 9 Monkey’s Dance 0’55 A Fairy: Alfred Deller / Three Elves: Alfred Deller, John Buttrey, Maurice Bevan 5 In guilty night (Saul and the Witch of Endor) • Henry Purcell 9’20 Corydon & Mopsa: Norman Platt, Alfred Deller Honor Sheppard (Witch), Alfred Deller (Saul), Maurice Bevan (Samuel) A Chinese Man: Alfred Deller / A Chinese Woman: Jean Knibbs Anna Shuttleworth (cello), Robert Elliott (organ) Stour Music Chorus & Orchestra, dir. Alfred Deller 6 Great King of Gods • Orlando Gibbons 6’00 King Arthur Deller Consort & Jaye Consort of Viols 10 Act I, scene 2: I call ye all 2’26 Jane Ryan (viola da gamba), Robert Elliott (harpsichord) 7 Ave verum • G.
    [Show full text]
  • Performer's Guide to Michael Tippett's the Blue Guitar Orlando Roman
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Performer's Guide to Michael Tippett's the Blue Guitar Orlando Roman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC PERFORMER’S GUIDE TO MICHAEL TIPPETT’S THE BLUE GUITAR By ORLANDO ROMAN A Treatise submitted to the School of Music In partial fulfillment of the Requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2003 The members of the Committee approve the treatise of Orlando Roman, defended on April 25, 2003. _______________________________ Charles Brewer Professor directing Treatise _______________________________ Bruce Holzman Committee Member _______________________________ Larry Gerber Committee Member ________________________________ James Streem Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Examples………………………………………………………………………... iv Abstract………………………………………………………………………………...... vi INTRODUCTION…………………………………………………………………...….. 1 1. THE OLD GUITARIST……………………………………………………………… 2 2. THE MAN WITH THE BLUE GUITAR…………………………………………..… 9 3. MICHAEL TIPPETT………………………………………………………………... 17 4. THE BLUE GUITAR……………………………………………………………….. 33 BIBLIOGRAPHY…………………………………………………………………… 48 DISCOGRAPHY……………………………………………………………………. 50 BIOGRAPHICAL SKETCH………………………………………………………... 51 iii LIST OF EXAMPLES 1. Tippett, The Blue Guitar, “Transforming,” m. 5 and m. 13……………………...… 35 2. Tippett, The Blue Guitar, “Transforming,” mm. 17-19………………………...….. 35 3. Tippett, The Blue Guitar, “Transforming,” m. 23 and m. 24…………………...….. 37 4. Tippett, The Blue Guitar, “Transforming,” m. 31…………………………….…… 37 . 5. Tippett, The Blue Guitar, “Transforming,” m. 36 and m. 45…………………...….. 38 6. Tippett, The Blue Guitar, “Transforming,” mm. 54-56………………………...….. 38 7. Tippett, The Blue Guitar, “Transforming,” m. 57……………………………...….. 38 8.
    [Show full text]
  • N O V E M B E R 2 0
    november 2007 Published by the American Recorder Society, Vol. XLVIII, No. 5 Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com 2 American Recorder 127(:257+<1(:6 from your friends at Magnamusic Distributors Newly reprinted from our AWPWM02 ~ friends at Jolly robin Ayton: Ballad of the Press comes a classic Rosemary, for voice, collection of Christmas alto recorder, treble, songs and Carols for so- tenor and bass viols. prano and alto recorder $13.50. duet, The ballad of the rose- arranged by mary was based on a Andrew Charlton. poem from A Wreath of Item # JR00027. Christmas Legends by $13.50 Phyllis McGinley and set to music by Will Ay- ton. It is played on the JR00010 ~ Charlton: Merrie Old England popular Parthenia CD. 12 page score and parts. For SAT recorders, $13.50 16 pieces of traditional 16th and 17th century favor- KEMR152 ~ Medieval Tunes, for Soprano ites Recorder solo. $5.95 33 medieval pieces in a 27 page spiral bound short ST12910 ~ Bowman: Fun and Games with Recorder score. at Christmas, for various SAT Recorders, $10.95 PJT0044 ~ Rawsthorne: Interludes from Hamlet, S/ 7 pieces arranged from the very popular collection A recorders and piano, $20.00 and aimed at intermediate beginners with 2 to 3 years experience. PP00175 ~ Revency: Claude Le Jeune, for SAATB recorders, $6.25 ST12911 ~ Bowman: Fun and Games with Recorder Ensemble, for mostly SAT but some SATB record- PP00176 ~ Locus Iste: Anton Bruckner, for SATB ers, $17.95. recorders, $5.75 35 attractive pieces from Handel, Mozart, Beetho- ven, Joplin and others, designed to encourage PP00177 ~ Mozart, WA: Divertismento 8, for younger players into ensembles.
    [Show full text]
  • Purcell King Arthur (Extraits) Mp3, Flac, Wma
    Purcell King Arthur (Extraits) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: King Arthur (Extraits) Country: France Released: 1979 Style: Baroque MP3 version RAR size: 1305 mb FLAC version RAR size: 1317 mb WMA version RAR size: 1878 mb Rating: 4.9 Votes: 100 Other Formats: WMA MP2 MPC WAV DTS AC3 RA Tracklist A1 Ouverture Et Air A2 Acte I, Scène 2 A3 Acte II, Scène 2 «How Blest Are Shepherds» B1 Acte III, Scène 2 «Scène Du Froid» Acte V, Scène 2 B2a - Air «Ye Blust'ring Brethern Of The Skies» B2b - Symphony B2c - Harvest Home B2d - Air «Fairest Isle» B2e - Trumpet Tune B2f - Air Et Chœur «St George, The Patron Of Our Isle» B2g - Chaconne Credits Choir – Deller Choir* Composed By – Henry Purcell Conductor – Alfred Deller Conductor [The King's Musick] – Roderick Skeaping Ensemble – Deller Consort, The King's Musick Notes Disque-Catalogue 25e Anniversaire de Harmonia Mundi. Label on back sleeve states "Distribution Harmonia Mundi France HM 31". This is non-gatefold variant. Other versions Category Artist Title (Format) Label Category Country Year Purcell* - Deller Purcell* - Deller Consort, The King's Consort, The Musick, Roderick King's Musick, Harmonia HM 252/53 Skeaping, Alfred HM 252/53 France 1979 Roderick Mundi Deller - King Arthur Skeaping, Alfred Or The British Worthy Deller (2xLP + Box) Purcell* – Deller Purcell* – Deller Consort & Choir* Consort & Choir* / Harmonia HMC HMC / The King's The King's Musick / Mundi Germany Unknown 90252.53 90252.53 Musick / Alfred Alfred Deller - King France Deller Arthur (2xCD,
    [Show full text]