DOCSLIB.ORG

Parthenia Partheniain – Violata

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Parthenia Partheniain – Violata L B M P – 0 2 1 P A R T H E N I A P A R T H E N I A I N – V I O L A T A E X L I B R I S Edited by Jon Baxendale and Francis Knights ISMN 979-0-706670-44-7 All rights reserved.! ! © 2021, Lyrebird Music ISMN 979-0-706670-44-7 All rights reserved. All rights reserved. No part of this publication may be reproduced, distributed, or transmiHed in any form or by any means, including photocopying, recording or other eleIronic or meJanical methods, without the prior wriHen permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other non-commercial uses permiHed by copyright law. For suJ permission, please email the publisher, addressed ‘AHention: Permissions Coordinator’ at [email protected]. www.lyrebirdmusic.com Printed in the United Kingdom T O G L E N W I L S O N C O N T E N T S 14. Galiardo 35 15. Galiardo 38 1. $e genesis of the Parthenia publications i. Brief notes on music printing before c. 1612 i O R L A N D O G I B B O N S i ii. Parthenia: sources, protagonists and relationships 16. Galiardo 40 v iii. Parthenia In-Violata 17. Fantazia of foure parts 43 2. $e Music – a brief overview 18. $e lord of Salisbury his Pavin 48 i. Parthenia vi 19. Galiardo 50 ii. Parthenia In-Violata vii 20. $e deenes Com"and 53 21. Preludium 56 3. $e composers i. William Byrd viii ii. John Bull x P A R T H E N I A I N – V I O L A T A iii. Orlando Gibbons xi 1. $e Kinges MorisQ 60 4. AMeNs of performance 2. $e Lordes Mask 62 i. Instruments and tuning xii 3. $e Irish dance 63 ii. Ornamentation xiii 4. New Noddie 64 iii. Fingering xiv 5. Old Noddie 66 iv. Time signatures xvii 6. Ages youth 68 v. BlaQ notation xvii 7. $e first part of the old yeere 69 5. Using this edition xviii 8. $e last part of the old yeere 71 9. Miserere 72 10. Almain 74 P A R T H E N I A 11. –– 76 12. –– 78 W I L L I A M B Y R D 13. –– 80 14. [Corant] 82 1. Preludium. 1 15. Almaine 84 2. Pavana: Sr: Wm: Petre 2 16. Almaine 85 3. Galiardo. 8 17. [$e Dujess of BrunswiQs Toy] 86 4. Preludium 11 18. [Welsh Dance] 87 5. Galiardo. Mris Marye Brownlo. 12 19. [$e sjolding woman] 89 6. Pavana. $e Earle of Salisbury. 16 20. –– 90 7. Galiardo. 17 8. Galiardo. Secundo Mris Marye Brownlo. 18 B A S S V I O L P A R T S 92 J O H N B U L L 9. Preludiū 20 Editorial procedure 104 10. Pavana. St: $omas Wake 21 Commentary 104 11. Galiardo. St: $omas Wake 24 12. Pavana 28 Bibliography 107 13. Galiardo 33 Editions and Reference | SeleN discography 111 i 1 . T H E G E N E S I S O F T H E P A R T H E N I A P U B L I C A T I O N S rolling press became more widely used. 1586 saw the first colleYion engraved from copper plates in Simone Verovio’s Dile=o >irituale: canzone=e a tre et a qua=ro voci […] i. Brief notes on music printing before c. 1612 con l’intavolatura del cimbalo et liuto, and other Italian printers began to follow suit. Dough Johann Gutenberg established the first press in 1450, some decades passed before the tePniques he developed were adopted for printing music. Manuals for type- PAR is among these early publications. It was engraved by William Hole for Dorothy casters and printers exist from the sixteenth century onwards. While none mentions the Evans and printed by George Lowe sometime between late 1612 and early 1613. Hole produYion of music, we must assume that the fundamental tePnique of arranging the (d. 1624) was appointed cuneator (or Pief engraver) by James I (Grueber, 1907, 346) and type in formes, correYly aligning these with the paper to be printed and applying the was aYive from about 1607 when he produced the title plate for a London edition of the ink itself to both notation and le[ers was the same. For music, though, the system was Geneva Bible. We know of only four Hole engravings of music: Orlando Gibbons’s more complicated: among required fonts were staves, clefs, accidentals and notes of Fantazies of Free Parts (whiP curiously claims to be ‘Cut in Copper, the like not 1 differing value and, in the case of keyboard music, it was important to convey Pords heretofore extant’ (q.v.)), an engraving of Notari’s cantatas (1613), PAR and Parthenia 2 and polyphonic parts, beams, accidentals, clefs and metrical symbols. In addition, In-Violata (hereafter PIV). longer pieces would have reQuired more ParaYers than some typese[ers had at their di^osal. Because of this, formes might have needed to be reset for eaP line of music, ii. Parthenia: sources, protagonists and relationships whiP might be the reason why so many early music books adopted a landscape paper PAR is in upright format with plates measuring approximately 263 x 162mm. Folios are orientation to help conserve available type as muP as possible. not numbered in any surviving copy, though eaP page is marked with a roman numeral Typese[ing was a solution that worked best for vocal and instrumental genres and that corre^onds to the music’s serial position. Dere is a surprising number of blank tablature, but it was inadeQuate for conveying polyphonic or highly ornamented music pages, whiP seem to serve no purpose, and whiP were never filled in in later issues. on two-stave systems. Dus, hand-copying remained a more praYical means of None of these is numbered. Pages are arranged verso-reYo, the probable rationale being addressing the Pallenges provided by suP composers as those who contributed to that, since PAR’s contents ^an no more than two sides, beginning on the verso side of Parthenia (hereafter PAR). a folio would negate the need for page-turning. Dis has resulted in longer pieces Dere are examples of intaglio-engraved printing that date as far baa as the 1440s, appearing compressed, and it could be that some of the material in PAR was shortened whiP were produced using a mangle press, drawing both plates and paper through to aPieve this end. For example, Bull’s ‘Galiardo: St Domas Wake’ (PAR 9) omits the rollers. Surviving examples of engraved maps are found in Ptolemy’s Geographia fifth variation found in Fe FiIwilliam Virginal Book (FVB 36). PAR itself is divided into (Bologna, 1477; Rome, 1478; Florence, 1482), though––except for an una[ributed map of three seYions, eaP of whiP contains the work of one composer. De first has eight central Europe in 1491––the absence of similar engravings suggests the tePnique was pieces by William Byrd and is followed by collations of seven and six works by John widely unknown. De earliest identified copperplate engraving of music is the Bull and Orlando Gibbons, re^eYively. Durston Dart’s suggestion (1960, 39) that anonymously produced and undated Intabolatura da leuto del divino Francesco da Milano Gibbons was the driving force behind the colleYion seems highly plausible, e^ecially novamenta stampada. Another early example is Francesco Marcolini’s Intabolatura di liuto because Gibbons travelled to the Netherlands in 1613––where he may have met di diversi, though he soon returned to moveable type after this publication (Boorman, Sweelina––in the new Queen’s retinue;3 this may suggest some close relationship Grove Music Online). Dis should come as no surprise since nothing in either engraving between composer and monarP. At any rate, the works by Gibbons in PAR are of the could be aPieved without employing the older method, whiP reQuired less complex highest quality and were likely seleYed to invite direY and favourable comparison with treatment. Bull and Byrd: Gibbons exceeds the former in virtuosity in his ‘Galiardo’ (PAR 16) and Other examples of impressed printing began appearing from the late sixteenth the la[er in depth in his se[ing of the Salisbury memorial pavan and galliard. In century in mainly devotional prints. While Vincenzo Galilei’s Dialogo della musica antica addition, Gibbons provides the sole examples in PAR of a contrapuntal fantasia and et della moderna (Florence, 1581) contains an engraved table showing the finals and keyboard variations, two genres of whiP Byrd was the leading exponent.4 dominants of the twelve modes, no known engraved music was to appear until the De title reads: 1 #is suggests the engraving predates PAR, though its dedicatee was Edward Wraye, ‘one of ye 3 Twelve works from Parthenia were copied into Lynar A2 soon after, by a scribe close to Groomes of his Mats bed Chamber’, whose appointment was not secured until the end of June 1618. SweelinP. See Pieter Dirksen, ‘Orlando Gibbons’s Keyboard Music: #e Continental However, the reference makes sense if taken to refer to genre rather than the method of publication. PerUeVive’, in Smith and Taylor (2013), pp. 157–168 at 158–159. 2 Prime Musi*e nuove di Angelo Notari a una, due, et tre Voci, per Cantare con la Tiorba et altri Strumenti, 4 Gibbons had recently published a set of Madrigals and Motets (London, 1612), another public Nouamente posti in luce.
Load more

Recommended publications
  • Richard Goode, Piano
    Sunday, April 22, 2018, 3pm Zellerbach Hall Richard Goode, piano PROGRAM William Byrd (c. 1539/40 or 1543 –1623) Two Pavians and Galliardes from My Ladye Nevells Booke (1591) the seconde pavian the galliarde to the same the third pavian the galliarde to the same Johann Sebastian Bach (1685 –1750) English Suite No. 6 in D minor, BWV 811 (1715 –1720) Prelude Allemande Courante Sarabande - Double Gavotte I Gavotte II Gigue Ludwig van Beethoven (1770 –1827) Sonata No. 28 in A Major, Op. 101 (1815 –16) Etwas lebhaft, und mit der innigsten Empfindung. Allegretto, ma non troppo Lebhaft. Marschmäßig. Vivace alla Marcia Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro INTERMISSION Claude Debussy (1862 –1918) Préludes from Book Two (1912 –13) Brouillards—Feuilles mortes—La puerta del Vino—Les fées sont d’exquises danseuses— Bruyères—“Général Lavine” – excentric— La terrasse des audiences du clair de lune— Ondine—Hommage à S. Pickwick Esq. P.P.M.P.C.— Canope—Les tierces alternées—Feux d’artifice Richard Goode records for Nonesuch Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. 7 PROGRAM NOTES William Byrd Among Byrd’s most significant achievements Selections from My Ladye Nevells Booke was the raising of British music for the virginal, William Byrd was not only the greatest com - the small harpsichord favored in England, to poser of Elizabethan England, but also one of a mature art, “kindling it,” according to Joseph its craftiest politicians. At a time
    [Show full text]
  • English Lute Manuscripts and Scribes 1530-1630
    ENGLISH LUTE MANUSCRIPTS AND SCRIBES 1530-1630 An examination of the place of the lute in 16th- and 17th-century English Society through a study of the English Lute Manuscripts of the so-called 'Golden Age', including a comprehensive catalogue of the sources. JULIA CRAIG-MCFEELY Oxford, 2000 A major part of this book was originally submitted to the University of Oxford in 1993 as a Doctoral thesis ENGLISH LUTE MANUSCRIPTS AND SCRIBES 1530-1630 All text reproduced under this title is © 2000 JULIA CRAIG-McFEELY The following chapters are available as downloadable pdf files. Click in the link boxes to access the files. README......................................................................................................................i EDITORIAL POLICY.......................................................................................................iii ABBREVIATIONS: ........................................................................................................iv General...................................................................................iv Library sigla.............................................................................v Manuscripts ............................................................................vi Sixteenth- and seventeenth-century printed sources............................ix GLOSSARY OF TERMS: ................................................................................................XII Palaeographical: letters..............................................................xii
    [Show full text]
  • Elizabeth Farr, Harpsichord C M Y 3 Cds K 8.570139-41 8 570139-41Bk Byrd:570034Bk Hasse 16/5/07 9:31 AM Page 2
    570139-41bk Byrd:570034bk Hasse 16/5/07 9:31 AM Page 8 Elizabeth Farr Elizabeth Farr specialises in the performance of keyboard music of the seventeenth and eighteenth centuries. She has performed solo recitals on the harpsichord, organ, and pedal harpsichord to critical acclaim throughout the United States and in Germany. Her performances as a collaborative artist, concerto soloist, and basso-continuo player have also earned high praise. Her recording of Elisabeth-Claude Jacquet de La Guerre’s Suites Nos. 1-6 for Harpsichord (Naxos 8.557654-55) was awarded the Preis der deutschen Schallplattenkritik, Bestenliste 1/2006, and the 2007 Eaton Faculty Award for achievement in the Arts and Humanities from the University of Colorado. Her recording of harpsichord works of Peter Philips (Naxos 8.557864) is the first recording featuring the newly restored harpsichord built by Jerome de Zentis in 1658. Elizabeth Farr holds degrees in harpsichord and organ performance from Stetson University, the Juilliard School, and the University of Michigan, having studied with Paul Jenkins, Vernon de Tar, and BYRD Edward Parmentier. Currently on the faculty of the University of Colorado, she teaches harpsichord and organ, conducts the Early Music Ensemble, and offers classes in performance practices, keyboard literature, and basso-continuo playing. My Ladye Nevells Booke Elizabeth Farr, Harpsichord C M Y 3 CDs K 8.570139-41 8 570139-41bk Byrd:570034bk Hasse 16/5/07 9:31 AM Page 2 William Byrd (c. 1540–1623) extension to the case and soundboard. Unlike the German for two sets of 8’ gut strings and one set of 4’ strings in My Ladye Nevells Booke (1591) makers, I chose to adhere to the sizes of bridge and brass, playable from two manuals.
    [Show full text]
  • (Ornamental) Strokes in English Virginalist Music: a Brief Chronological Survey Desmond Hunter
    Performance Practice Review Volume 9 Article 6 Number 1 Spring The Application of (Ornamental) Strokes in English Virginalist Music: a Brief Chronological Survey Desmond Hunter Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Hunter, Desmond (1996) "The Application of (Ornamental) Strokes in English Virginalist Music: a Brief Chronological Survey," Performance Practice Review: Vol. 9: No. 1, Article 6. DOI: 10.5642/perfpr.199609.01.06 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Renaissance Ornamentation The Application of (Ornamental) Strokes in English Virginalist Music: a Brief Chronolo- gical Survey Desmond Hunter Signs in the form of oblique strokes were used by the virginalists to indicate graces.1 Only one sign, the double stroke (^), enjoyed widespread currency. It appears in virtually every source of English keyboard music of the virginalist era, but surprisingly is not explain- ed by any contemporary English theorist. The sign appears also in various 17th-century north-German sources and is mentioned by Reincken in his Hortus Musicus (1687): "two strokes II denote a shake which impinges on a note from above."2 The association of the double stroke with a form of shake is suggested by the application of the sign in several 16th-century sources of English keyboard music and is one which continued throughout the virginalist era.
    [Show full text]
  • T H E P Ro G
    Tuesday, April 17, 2018, at 7:30 pm m a Virtuoso Recitals r g o Richard Goode, Piano r P BYRD Two Pavans and Galliards, from My Ladye Nevells Booke of Virginal Music (1591) e The Seconde Pavian h The Galliarde to the Seconde Pavian The Third Pavian T The Galliarde to the Third Pavian BACH English Suite No. 6 in D minor (1715–20) Prelude Allemande Courante Sarabande—Double Gavotte I and II Gigue BEETHOVEN Sonata No. 28 in A major, Op. 101 (1816) Allegretto ma non troppo Vivace alla marcia Adagio ma non troppo, con affetto Allegro Intermission Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Alice Tully Hall, Starr Theater Adrienne Arsht Stage Great Performers Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center UPCOMING GREAT PERFORMERS EVENTS: Tuesday, April 19 at 7:30 pm in Alice Tully Hall Mark Padmore, tenor Paul Lewis, piano SCHUMANN: Liederkreis BRAHMS: Six songs SCHUMANN: Dichterliebe Friday, April 27 at 8:00 pm in David Geffen Hall Los Angeles Philharmonic Gustavo Dudamel, conductor ESA-PEKKA SALONEN: Pollux (New York premiere) VARÈSE: Amériques SHOSTAKOVICH: Symphony No.
    [Show full text]
  • Page 1 L B M P – 0 0 2 T H E
    L B M P – 0 0 2 T H E F I T Z W I L L I A M V I R G I N A L B O O K V O L U M E I N o s . 1 – 7 3 E X L I B R I S Edited by Jon Baxendale and Francis Knights ISMN 979-0-706670-09-6 All rights reserved. C O N T E N T S P R E F A C E T H E M U S I C 1. Editing the Fitzwilliam Virginal Book i 1 Walsingham John Bull 2 2. Historical context i 2 Fantasia John Mundy 26 Fantasia, Faire Wether, etc. John Mundy 32 3. The copyist ii 3 4 Pavana Ferdinando Richardson 37 4. The manuscript 5 Variatio Ferdinando Richardson 39 i. Physical attributes iv 6 Galiarda Ferdinando Richardson 43 ii. Content v iii. Notation and technique v 7 Variation Ferdinando Richardson 45 iv. Marginalia and emendations ix 8 Fantasia William Byrd 49 v. Plenary notes xi 9 Goe from my Window Thomas Morley 55 5. The music 10 Jhon come kisse me now William Byrd 60 i. Composers and sources xi 11 Galliarda to my Lord Lumleys Pavan John Bull 67 ii. Dances xiii 12 Nancie Thomas Morley 70 iii. Variations xv 13 Pavana [Trumpet Pavan] John Bull 76 iv. Grounds xiv 14 Alman Anon. 79 v. Fantasias xvi 15 Robin John Mundy 80 vi. Intabulations of vocal music xvii 16 Pavana Anon. 83 vii. Cantus firmus pieces xvii 17 Galiarda John Bull 85 viii.
    [Show full text]
  • Robert Spring
    GRACES IN PLAY: THE KEYBOARD MUSIC OF WILLIAM BYRD GUY WHATLEY ORGAN & HARPSICHORD ORGAN SERIES ORGAN HALL OCTOBER 20, 2019 • 2:30 PM Program Recently acclaimed by the Arizona Daily star as “a rock star on the Praeludium to ye Fancie William Byrd harpsichord,” GUY WHATLEY A Fantasi of mr Birds (1539-1623) enjoys a diverse international career Fitzwilliam Virginal Book (before 1612) as a harpsichordist and organist, performing as a soloist, collaborative Ecce Tempus Idoneum [2 verses] Thomas Tallis artist, and ensemble director. Dr. The Mulliner Book (c. 1545) (1505-1585) Whatley has played in several of the world’s most prestigious venues with The short mesure off my Lady Wynkfylds rownde Anon. many notable musicians of our time. Royal Appendix 58 (c. 1530) In 2005, Dr. Whatley completed a Doctor of Musical Arts degree at The Woods so Wild W. Byrd Arizona State University and holds My Ladye Nevells Booke (1591) diplomas from The Royal College of Music and The Royal Academy of Music. Dr. Whatley has studied with Ton Koopman, Maria Boxall, A Fancy for a double orgaine Orlando Gibbons Ludger Lohmann, Jon Laukvik, Marie-Claire Alain, Jean Boyer, Benjamin Cosyns Virginal Book (c. 1622) (1583-1625) Kimberly Marshall, and Christopher Stembridge. Dr. Whatley regularly performs repertoire spanning the middle ages to the present day, and has Selections from Mr Birds Battle W. Byrd performed major, if not complete works by composers ranging from My Ladye Nevells Booke (1591) Tallis and Byrd, Bach and Handel, to Ligeti and Xenakis, and Howells • The March of Footmen and Messiaen.
    [Show full text]
  • Performing Ornaments in English Virginal and Harpsichord Music (Based on the Study of Original Interpretation Instructions)* A
    UDC 781.15 Вестник СПбГУ. Искусствоведение. 2020. Т. 10. Вып. 1 Performing Ornaments in English Virginal and Harpsichord Music (Based on the Study of Original Interpretation Instructions)* A. A. Panov1, I. V. Rosanoff 1,2 1 St. Petersburg State University, 7–9, Universitetskaya emb., St. Petersburg, 199034, Russian Federation 2 Saint Petersburg Rimsky-Korsakov State Conservatory, 3, Teatralnaya sq., St. Petersburg, 190000, Russian Federation For citation: Panov, Alexei, and Ivan Rosanoff. “Performing Ornaments in English Virginal and Harpsichord Music (Based on the Study of Original Interpretation Instructions)”. Vestnik of Saint Petersburg University. Arts 10, no. 1 (2020): 41–67. https://doi.org/10.21638/spbu15.2020.103 The focus of the article is centered on the problems of performing ornaments in English vir- ginal music of the Elizabethan and several first decades of Post-Elizabethan time. The paper presents a comparative analysis of information from historical sources, representing the views of early British virginalists regarding the methods and rules which deal with the interpretation of the unique, for that period, ornament signs. Special attention is given to the MS Res. 1186 located in the Bibliothèque nationale de France. Historically, the situation was such that ex- cept for information from the MS materials by Edward Bevin (c1630), science did not have any information directly related to the execution of virginal ornamentation. A critical review is undertaken of the scientific literature of the 19th–21st centuries, devoted to the interpre- tation of early English virginal music, as well as the review of information from reference and encyclopedic literature. Numerous inaccuracies, discrepancies and even serious errors in the interpretation and presentation of materials from early sources by modern researchers are revealed.
    [Show full text]
  • The Solo Lute Music of John Dowland David Tayler Department of Music University of California at Berkeley
    The Solo Lute Music of John Dowland David Tayler Department of Music University of California at Berkeley Notes for the PDF edition: In preparing my dissertation for both internet access and also for the universally readable PDF format, I was presented with a number of choices. The text is unchanged; however, I have used a proportional font which is not only easier to read but also trims nearly 100 pages from the typescript. Footnotes are at the bottom of each page. The musical examples have for now been placed at the end, and these were scanned as compressed JPEG into the PDF format. At some point they will be put into the text using Sibelius software. As I read over this parvulum opusculum, as the Elizabethans would have called it, I am all too well aware that it should be revised; but for now, it is a dissertation like any other. All material is copyright by the author. David Tayler El Cerrito, California, 2005 Table of Contents Introduction ................................................................................................ 1 Chapter I: The Sources of the Solo Lute Music ......................................... 6 The songbooks .................................................................................... 16 Lachrimae or Seaven Teares ............................................................... 17 The lutebooks of Matthew Holmes ..................................................... 21 D2 ................................................................................................. 24 D5 ................................................................................................
    [Show full text]
  • The Keyboard Music of Peter Philips
    THE KEYBOARD MUSIC OF PETER PHILIPS Bradley J. Bennight, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2010 APPROVED: Lenora McCroskey, Major Professor Lyle Nordstrom, Minor Professor Graham H. Phipps, Committee Member and Director of Graduate Studies Jesse Eschbach, Chair, Division of Keyboard Studies James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies Bennight, Bradley J. The Keyboard Music of Peter Philips. Doctor of Musical Arts (Performance), August 2010, 66 pp., 37 musical examples, 4 illustrations, 3 appendices, references, 25 titles. The keyboard works of the English virginalist Peter Philips have been little studied in comparison with his more famous contemporaries, William Byrd, John Bull and Jan Pieterszoon Sweelinck. While Philips left comparatively fewer keyboard works than these composers, his music contains very unique attributes. This study compiles the latest research of Philips’ life as well as an analysis of representative works showing many of the individual and uncommon features to be found in Philips’ works for keyboard. Pieces from all genres of Philips’ keyboard output are represented and discussed, including Pavanes and Galliards, Fantasias and Intabulations of madrigals. Musical examples of each of these works are provided. A description of the instruments needed for the performance of the music and an illustration of the rare type of keyboard instrument required in the Pavana and Galliarda Dolorosa is included. A discussion of Philips’ style, particularly regarding ornamentation, is included with a comparison to the works of his contemporaries.
    [Show full text]
  • Tihomir Popović Mäzene
    Tihomir Popović Mäzene – Manuskripte – Modi Untersuchungen zu My Ladye Nevells Booke Band 2: Anhang 2 Inhaltsverzeichnis Tabelle 1: Der Inhalt von My Ladye Nevells Booke 3 Anhang A zu Teil 2: Abbildungen 6 Anhang B zu Teil 2: Genealogische Tabellen 12 Anhang A zu Teil 3: Abbildungen 22 Anhang B zu Teil 3: Liste der Korrekturen 48 Anhang zu Teil 4: Abbildungen 78 Anhang A zu Teil 5: Abbildungen 79 Anhang B zu Teil 5: Analysen 85 Anhang zu Kapitel 5.2 (Fantasien) 85 Anhang zu Kapitel 5.3 (Pavanen und Galliarden) 103 Anhang zu Unterkapitel 5.4.1 (Grounds) 139 Anhang zu Unterkapitel 5.4.2 (Melodievariationen) 145 Anhang zu Kapitel 5.5 (Battaglia, Marsch, Varia) 153 3 Tabelle 1. Der Inhalt von MLNB. Nr. in Nr. in MB Folio Bezeichnung Titel im Analytisches MLNB XXVII- innerhalb Manuskript2 Kapitel, in XXVIII der welchem das („BK“)1 vorliegenden Stück Studie besprochen wird 1 XXVIII/57 1r My Lady my ladye 5.4 (Ground) Nevell´s nevels Ground grownde3 2 XXVII/19 8r Chi Passa Qui passe: 5.4 (Ground) for my ladye nevell 3 XXVIII/93 13v The March the marche 5.5 (Varia) before the before the Battle battell 4 XXVIII/94 18r The Battle the battell 5.5 (Varia) (a) 18r The Soldiers´ the souldiers Summons sommons (b) 19r The March of the marche Footmen of footemen (c) 20r The March of the marche Horsemen of horsmen (d) 21r The Trumpets the trupetts (e) 22v The Irish the Irishe March marche (f) 24r The Bagpipe the bagpipe and the Drone and the drone (g) 25r The Flute and the flute & the Drum the droome (h) 28r The March to the marche the Fight to the fighte (i) 31r The Retreat The retreat 5 XXVIII/95 32r The Galliard the galliarde 5.5 (Varia) for the Victory [„for the victorie” im Verzeichnis, Folio 194r] 6 XXVIII/92 34r Barley Break the barelye 5.5 (Varia) breake 7 XXVII/18 43r The Galliard A galliards 5.5 (Varia) Jig gygge 8 XXVII/40 46r Hunt´s up the huntes 5.4 (Ground) upp 9 XXVIII/64 52v Ut, re, mi ut: re: mi: 5.2 (Fantasie) fa: sol: la 10 XXVII/29a 58v Erste Pavane the firste 5.3 (Pavanen und pauian Galliarden) 11 XXVII/29b 61r Erste the galiarde Ebd.
    [Show full text]
  • Dow Text:Layout 1
    DIAMM FACSIMILES 2 DI MM DIGITAL IMAGE ACHIVE OF MEDIEVAL MUSIC DIRECTORS DR MAGAET BENT CBE FBA DR JULIA CAIG McFEELY (General Editor) POFESSOR THOMAS SCHMIDT-BESTE ASSOCIATE DIRECTORS DR NICOLAS BELL DR ELIZABETH EVA LEACH DR MATIN KAUFFMANN DR OWEN EES THE DOW PATBOOKS Introduction by John Milsom DI MM facsimiles in association with the Viola da Gamba Society © COPYIGHT 2010 DIGITAL IMAGE ACHIVE OF MEDIEVAL MUSIC PUBLISHED BY DIAMM PUBLICATIONS FACULTY OF MUSIC, ST. ALDATES, OXFORD OX1 1DB ISSN 2043-8273 ISBN 978-1-907647-02-4 SERIES ISBN 978-1-907647-01-7 All rights reserved. This work is fully protected by The British copyright, Designs and Patents Act 1988. No part of the work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise without the prior permission of DIAMM Publications. Typesetting and page make-up by Julia Craig-McFeely Printed in Great Britain by Information Press Eynsham Oxfordshire Contents Introduction 1 Select bibliography 28 The Latin inscriptions, with translations by Leofranc Holford-Strevens 29 Performance issues 39 Gathering diagrams 51 Notes on the photography and the reproduction 59 Inventory and indexes Main inventory 61 Index of clef combinations 73 Index of composers, listing modern editions of the works 83 Index of titles 91 The Dow Partbooks: an introduction John Milsom There are many reasons why Robert Dow’s partbooks1 make such an admirable subject for facsimile reproduc- tion. First, they are among the very few Tudor partbook sets to survive complete and fully intact; and they are also legible from beginning to end.
    [Show full text]