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English Madrigal School
THE ENGLISH MADRIGAL SCHOOL Transcribed, Scored and Edited by REV. EDMUND HORACE FELLOWES M.A., Mus.Bac, Oxon. VOL. V. ORLANDO GIBBONS First Set of MADRIGALS AND MOTETS OF FIVE PARTS (Published in 1612) LONDON: STAINER AND BELL, LTD., 58, BERNERS STREET, OXFORD STREET, W. 1914 THE^ENGLISH MADRIGAL SCHOOL. LIST OF SUBSCRIBERS To VOLUMES V.-VIII. Dr. Guido Adler, Proressor of Musical Research in Percy C. Buck, Esq., Mus.Doc, Professor of Music in Vienna University. Trinity College, Dublin ; Director of Music, Harrow W. G. Alcock, Esq., M.V.O., Mus.Doc, Organist and School. Composer to His Majesty's Chapels Royal. F. C. Butcher, Esq., Mus.Bac, Organist and Music B, C. Allchin, Esq., Organist of Hertford College, Master, Hoosac School, New York, U.S.A. Oxford. L. S. R. Byrne, Esq. Hugh P. Allen, Esq., Mus.Doc, Choragus of Oxford University, Organist and Fellow of New College, Capt. Maurice Caillard. Oxford. Sir Vincent H. P. Caillard. The Right Hon. Viscount Alverstone, G.C.M.G., Cardiff University College Library. D.C.L., formerly Lord Chief Justice of England. F. Clive Carey, Esq. (2 copies). E. Amphlett, Esq. Rev. T. B. Carter. W. Anstice, Esq. Sir Francis Champneys, Bart., M.D. Mrs. Argles. The City Glee Club. Godfrey E. P. Arkwright, Esq. J. B. Clark, Esq. Miss Marian Arkwright, Mus. Doc. Rev. Allan Coates. Frl. Amaiie Arnheim. Mrs. Somers V. Cocks. Franck Arnold, Esq. H. C. Colles, Esq., Mus.Bac. Miss R. Baines. The Hon. Mrs. Henn Collins. E. L. Bainton, Esq. Mrs. A. S. Commeline. E. C. -
Gibbons US 6/8/06 11:30 AM Page 16
557681 bk Gibbons US 6/8/06 11:30 AM Page 16 1 Prelude ™ The First Song of Moses (Gibbons arr. A. Pitts) [Song 1] 0:46 (Gibbons arr. A. Pitts) [Song 1] 2:07 2 A Song of Joy / Christmas Day £ Lord, who by Thy Resurrection (Gibbons arr. A. Pitts) [Songs 47/46] 3:34 (A. Pitts) 1:05 GIBBONS 3 The Song of Angels ¢ The Song of Hannah (Gibbons arr. A. Pitts) [Song 34] 0:45 (Gibbons arr. A. Pitts) [Song 4] 2:14 4 Interlude ∞ The Song of Deborah (Gibbons) [Song 13] 0:23 (Gibbons arr. A. Pitts) [Song 3] 2:21 Hymns and Songs of the Church 5 Thine for ever! § O Lord Most High (A. Pitts) 1:29 (Richard James Pitts) 2:40 6 Amen 0:17 ¶ Amen 0:19 7 The First Canticle • Veni Creator TONUS PEREGRINUS (Gibbons arr. A. Pitts) [Song 9] 2:23 (Gibbons arr. A. Pitts) [Song 44] 2:28 8 The Fifth Canticle ª St Matthias (Gibbons arr. A. Pitts) [Song 13] 2:47 (Gibbons arr. A. Pitts) [Song 67] 0:57 9 The Sixth Canticle º Veni Creator (Gibbons arr. A. Pitts) [Song 14] 4:11 (Gibbons arr. A. Pitts) [Song 44] 1:08 0 The Tenth Canticle ⁄ We are of Thee (Gibbons arr. A. Pitts) [Song 18] 1:30 (Gibbons arr. A. Pitts) [Song 1] 1:40 ! Thy way, not mine ¤ Hark, my soul! (John Michael Pitts) 2:02 (A. Pitts) 2:07 @ Amen 0:18 ‹ Amen 0:20 # There is a green hill far away › Come unto Me (A. -
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. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
The Renaissance Period
The Renaissance Period The Renaissance, which literally means “rebirth” in French, saw movement and change in many different spheres of cultural activity as Europe began to rediscover and identify with its Greco-Roman heritage. The natural sciences (in particular astronomy) began advancing at a rapid pace, and some philosophers began to discuss secular humanism as a valid system. The discovery of the American continents by European navigators resulted in the first widespread speculations of international law and began a crisis of consci ence over human rights that would haunt the West for centuries to come. In particular, however, the Renaissance is remembered for a great a flourishing of the Arts. Secular instrumental music (for early instruments like shawms, crumhorns, and sackbuts) became increasingly popular during this period and composers began to write it down for the first time. The polyphonic madrigal became very popular in England thanks to composers like John Dowland and William Byrd. The motet, a three-part polyphonic composition written for voices or instruments, became popular around this time as well. Despite the increase in secularism, it was still within a religious context that the Renaissance arts truly thrived. Renaissance popes (corrupt as they were) were great patrons of such artists as Michelangelo, Raphael, and Gianlorenzo Bernini. Composers of church music expanded polyphony to six, eight, or even ten interwoven parts. The masses of Giovanni Pierluigi da Palestrina, Tomás Luis de Victoria, and Orlando di Lasso in particular remain some of the most beautiful music ever composed. This polyphonic style was also used by the French composer Josquin des Prez, who wrote both sacred and secular music. -
Table of Contents Introduction Vii Editorial Notes Ix Texts and Notes Xi
Table of Contents Introduction vii Editorial notes ix Texts and notes x i Select bibliography x x v ii i Ayres for voice & lute 1. Lyk e as the lark Anonymous, Tottle’s Miscellany 3 2 a . Lost is my lyberty Anonymous, Ballet Lute Book 4 2b. My L of Dehims lamentation Anonymous, CUL Dd. 2.11 5 3. In angels weed William Byrd 6 4. My mind to me a kingdom is William Byrd 8 5. Pavana Bray Byrd / Francis Cutting 1 0 6. Galliard Mr Birde William Byrd 1 2 7. Susanna faire William Byrd 1 4 8. O deere life when shall it be William Byrd 16 9. O deere life when shall it be Anon / R. Dowland 18 10. O de a re l y fe Anon / Marsh Lute Book 19 11 a . Sidneys lamentation Anonymous, CUL Dd. 2.11 2 0 1 1b . Mein junges Leben hat ein end Sweelinck 21 1 2 . Author of light Thomas Campion 2 2 1 3 . Sypres curtain of the night Thomas Campion 23 1 4 . G alliard Edward Collard 24 1 5 . Tyme cruell tyme John Danyel 26 1 6 . Ouer these brookes Robert Jones 28 1 7 . Cradle pavan Holborne / CUL Dd. 2.11 3 0 1 8 . Sweete stay a while Dowland, 1612 3 2 19 a . Sweete stay a while (original) Anon / c.1626 3 4 19 b. Sweete stay a while (lower) Anon / c.1626 3 5 2 0 . Ah deere hart Orlando Gibbons 3 6 2 1 . The S il u er S wan ne Orlando Gibbons 3 7 2 2 a . -
Renaissance Terms
Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588. -
ANALYSIS of NOCTURNAL OP. 70 by BENJAMIN BRITTEN Presented
3*7 ANALYSIS OF NOCTURNAL OP. 70 BY BENJAMIN BRITTEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fullfillment of the Requirements For the Degree of MASTER OF MUSIC By David J. Frackenpohl, B.M. Denton, Texas December, 1986 rn-- Frackenpohl, David J. , Analysis of Nocturnal p. 70 b Benjamin Britten. Master of Music (Theory), December, 1986, 149 pp., 1 table, 74 illustrations, bibliography, 21 titles. Nocturnal o. 70 is one of the most important large- scale works written for guitar in the twentieth century. Brief biographical data and some background information on Nocturnal show how it exemplifies Britten's compositional approach. The focus of the analysis is on three structural aspects: the rhythmic, the intervallic, and the aspect of underlying pitch patterns. The rhythmic analysis discusses the distortion of rhythmic patterns by the use of com- pression, expansion, elisions, syncopation, and rhythmic dissonance. The pitch set analysis discusses the inter- vallic character of the work, identifying and correlating set types as they form networks of relationship. The reductive analysis discusses the underlying connections of focal pitches in the linear material of Nocturnal. The conclusion then correlates the results of the pre- ceding analyses, discussing the large-scale unfolding of the form in Nocturnal. @1987 DAVID JOHN FRACKENPOHL All Rights Reserved TABLE OF CONTENTS Page LIST OF TABLES . ... v LIST OF ILLUSTRATIONS . vi Chapter I. BENJAMIN BRITTEN ....... Short Biography of Britten Background on Nocturnal .70 II. RHYTHMIC ANALYSIS . 12 Variation I "Musingly" Variation II "Very agitated" Variation III "Restless" Variation IV "Uneasy" Variation V "March-like" Variation VI "Uneasy" Variation VII "Gently rocking" Variation VIII "Passacaglia" III. -
Lute Tuning and Temperament in the Sixteenth and Seventeenth Centuries
LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND SEVENTEENTH CENTURIES BY ADAM WEAD Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University August, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Nigel North, Research Director & Chair Stanley Ritchie Ayana Smith Elisabeth Wright ii Contents Acknowledgments . v Introduction . 1 1 Tuning and Temperament 5 1.1 The Greeks’ Debate . 7 1.2 Temperament . 14 1.2.1 Regular Meantone and Irregular Temperaments . 16 1.2.2 Equal Division . 19 1.2.3 Equal Temperament . 25 1.3 Describing Temperaments . 29 2 Lute Fretting Systems 32 2.1 Pythagorean Tunings for Lute . 33 2.2 Gerle’s Fretting Instructions . 37 2.3 John Dowland’s Fretting Instructions . 46 2.4 Ganassi’s Regola Rubertina .......................... 53 2.4.1 Ganassi’s Non-Pythagorean Frets . 55 2.5 Spanish Vihuela Sources . 61 iii 2.6 Sources of Equal Fretting . 67 2.7 Summary . 71 3 Modern Lute Fretting 74 3.1 The Lute in Ensembles . 76 3.2 The Theorbo . 83 3.2.1 Solutions Utilizing Re-entrant Tuning . 86 3.2.2 Tastini . 89 3.2.3 Other Solutions . 95 3.3 Meantone Fretting in Tablature Sources . 98 4 Summary of Solutions 105 4.1 Frets with Fixed Semitones . 106 4.2 Enharmonic Fretting . 110 4.3 Playing with Ensembles . 113 4.4 Conclusion . 118 A Complete Fretting Diagrams 121 B Fret Placement Guide 124 C Calculations 127 C.1 Hans Gerle . -
The Journal of the Viola Da Gamba Society
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up-dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Contents of Volume 12 (1983) Editorial Chelys, vol. 12 (1983), p. 2 John Harper article 1 The Distribution of the Consort Music of Orlando Gibbons in Seventeenth-Century Sources Chelys, vol. 12 (1983), pp. 5-18 John M. Jennings article 2 Thomas Lupo Revisited - Is Key the Key to hisLater Music Chelys, vol. 12 (1983), pp. 19-22 Lynn Hulse article 3 John Hingeston Chelys, vol. 12 (1983), pp. 23-42 Gordon Dodd article 4 Tablature Without Tears? Chelys, vol. 12 (1983), pp. 43-46 Hazelle Miloradovitch article 5 Eighteenth-Century Manuscript Transcriptions for Viols of Music by Corelli & Marais in the Bibliothèque Nationale, Paris: Sonatas and ‘Pièces de Viole’ Chelys, vol. 12 (1983), pp. 47-73 Reviews Clifford Bartlett Orlando Gibbons: new publications of the consort music review 1 Gordon Dodd John Coprario: ‘The Six-part Consorts and Madrigals review 2 Gordon Dodd Richard Charteris: ‘A Catalogue of the printed Book on Music, Printed Music and Music Manuscripts in Archbishop Marsh’s Library, Dublin’ review 3 [extract on] Thomas Gainsborough R.A. -
Conference Abstracts
The Society for SeventeenthCentury Music Eighth Annual Conference Vermillion, South Dakota April 27-30, 2000 ABSTRACTS (in alphabetical order by author) SPANISH NUN MUSICIANS: EARLY MODERN CAREER GIRLS? Colleen R. Baade Lincoln, Nebraska This paper examines the social situation of Spanish nun musicians at women’s monasteries in Madrid, Segovia, Toledo, and Valladolid during the seventeenth and eighteenth centuries. Sources for my study include contracts for reception and profession of nun musicians whose dowries were waived or reduced in exchange for their service as musician, and monastery account books which show that some religious communities paid regular monetary stipends to sister musicians. I will address the question of just what a girl’s musical ability was worth and discuss ways in which the duties of and compensation to nun musicians changed from the beginning of the seventeenth century to the end of the eighteenth. It has been contended that a position as convent musician constituted one of very few “career opportunities” available to women in early modern Europe, but documentary evidence suggests that the majority of girls who received dowry waivers were prepared from early childhood by parents or guardians to become nun musicians because their families had no other means of paying a nun’s dowry, let alone any prospects for securing a suitable marriage. The demands placed upon “hired” nun musicians were probably quite heavy, and most of these women, unless prevented by illness or old age, were expected to serve as convent musicians their entire lives. In one case, a nun whose age and ailment prevented her from playing was required to refund part of the dowry that had been waived for her in order to be released from her duties as convent musician. -
Program Notes
PROGRAM NOTES According to the writings of the ancient Greek physician Hippocrates, melancholy was caused by an excess of black bile, one of the four humors. An imbalance of blood, phlegm, yellow bile, or black bile could cause disease—or even determine personality traits. Albrecht Dürer’s famously allegorical “Melencholia I” of 1514 on the program’s cover most likely portrays a morose being who is rendered idle by inspiration’s absence. But for an artist, who can imagine a more destructive affliction than waiting for ideas that just won’t come? During the 16th and 17th centuries, a curious cultural and literary cult of melancholia swept England—in music epitomized by John Dowland’s Lachrimae, or by Shakespeare’s Hamlet— although the Dane’s melancholy probably arose from his paralyzing indecision. And yet, music was considered a cure for melancholy. According to the 17th-century scholar Robert Burton, “Besides that excellent power [music] hath to expel … diseases, it is a sovereign remedy against despair and melancholy….” In any case, depressing subjects certainly stimulate composers’ quirkier ideas and sad music ofen has a cathartic effect on listeners. It is interesting to note that two of the funeral odes on this program do not rely on Christian imagery, but turn to the humanistic Greek mythology of ages past. Although little is known about Anthony Holborne’s life, he was employed by Queen Elizabeth and also admired by his contemporaries. Te esteemed John Dowland dedicated “I Saw My Lady Weepe” from his Second Booke of Songes to him. Holborne composed sixty-five dances that comprise the collection Pavans, Galliards, Almains.